Restorer's Art

Category: The Business of Antiques

  • Scriptus Pen & Writing Show

    Months of hard work are coming home to roost: Scriptus 2014, Toronto’s pen & writing show, is finally happening this Sunday, November 2, at the Toronto Reference Library.

    We will be there, with most of our stock, both from Restorer’s Art, and from the letterpress side of things, at Sevanti Letterpress. Joining us will be nearly forty tables of pen and writing goodies, ranging from pens and pencils to inks to fine stationery.

    We look forward to meeting any of you who can come visit. The show runs from 10:00 a.m. &endash;4:00 p.m., at the Appel Salon on the second floor of the Library at 789 Yonge St., just a block north of the Yonge & Bloor intersection in the heart of downtown Toronto.

    For more details, go to the show’s web site at: http://scriptustoronto.com.

  • Public Domain Pen Documents Now Online

    Public Domain Pen Documents Now Online

    For a look at a loud conversation about the legal and ethical issues pertaining to these documents, go to: http://fountainpenboard.com/forum/index.php?/topic/6174-public-domain-pen-documents-now-online

    Parker Pens 1929 Catalog

    It is always nice when someone decides to share. And when the thing shared is pen information, it is beyond nice: it’s a public service.

    We were browsing through our favourite host of online information, the Internet Archive and came across the fruits of some generous soul’s labour: high quality scans of vintage fountain pen & pencil documents. Catalogues and service manuals for some of the biggest names in the pen business. These are all public domain items, some in full colour, and represent a very valuable collection.

    The importance of this information cannot be understated. We can often pinpoint the age of a pen by it’s appearance in a catalogue. Or, we may be able to determine exactly which pen would have gone with which desk base. We have discovered the exact length of the neck ribbons originally supplied by Waterman. The list goes on, and that’s just the catalogues!

    The real treasure is in the service manuals. Detailed breakdowns of pens. Step-by-step instructions as to repair methods. Illustrations of tools designed & provided by the manufacturers. This information is a lifeline for old pens.

    So our thanks goes out to the kind soul who, rather than hoarding this information—or choosing to profit by selling it—chose to enrich us all. We will be monitoring archive.org closely; if this generous soul sees fit to add more documents, we will update our list here.

    The documents are posted to archive.org in groupings, which are not chronological and are named a bit oddly. We have decided to list them a little more intuitively here, so it’s easier to find what you are specifically interested in. It should be noted that the documents are available in a number of formats. Our headings here are linked to the corresponding archive.org conglomeration pages, while the individual documents listed are directly hot-linked to the pdf copies of the publications, directly on the host servers (a practice which is, incidentally, highly encouraged by the folks hosting the files).

    Parker
    Waterman

    NOTE: It has come to our attention that some of the documents listed above may have come from the online library of the Pen Collectors of America. This organization has used the library as a means of attracting new members. We appreciate that this information being freely available is a significant blow to the pca.

    This being said, there are several things to keep in mind. First, the documents hosted at archive.org are all in the public domain, which means that they are owned by no one, and are free for anyone to use. They were either never copyrighted, or their copyright has expired.

    Second, the issue of who controls information is the subject of great debate, both on the internet, and in the ‘real world’. Organizations like The Internet Archive have taken the stance that access to public domain works should not be used to enrich or empower. Large institutions such as universities, and companies like Ithaka Harbors (a non-profit company which controls jstor) take the opposing view: that access to knowledge should be controlled, for profit or purposes of accreditation.

    There have been no legal rulings on the matter, either in the usa, or in Canada (where we are). This means that simply providing the files for free is not theft, and the issue of what constitutes ownership is not relevant.

    This particular cat is out of the bag. It’s not our cat, nor was it our bag. Issues of whether these files should be available should be addressed to The Internet Archive We are going to leave this index page up, so long as the files are hosted by them.

    We also would like to express appreciation to all who provide pen information, either for profit, or not. As expressed above, more information means more interest in pens, wider & more complete knowledge of pens, and fewer pens consigned to the garbage. And no one should complain about that!

    We should also point out that the Pen Collectors of America is an excellent resource for anyone interested in pens. We encourage everyone to investigate membership there which includes, of course, access to a stunningly complete online library.

  • About Descriptions

    When it comes to describing antique and vintage items, there are no standards. This is both a blessing, and a curse. For example: the term wet noodle. This term is used by some to describe a pen which writes with a high ink flow, and whose nib is extremely flexible. But there are some real difficulties with using terms like this, because it is so subjective.

    Wet, compared to what? Flexible compared to what? Someone who has handled dozens of pens will have a completely different definition in their mind than someone who has handled hundreds, or thousands. And someone with a specific range of interests will often simply not pay attention to pens outside their chosen range. In contrast, a repair technician has no choice as to the pens they handle, and will thus have a wider range of experience. This may be vastly different from someone to whom they are speaking on the subject.

    So, to avoid the problem of making subjective assessments, we don’t. We have a simple standard: we only make objective assessments. We get out the calipers, and the rulers, and we measure. Often to the tenth of a millimeter.

    For example, when describing a nib, we might say:

    Nib
    stamped “parker | lucky [lazy S] curve | pen ”, fine width (0.4 mm). Flexible, to about 1.5 mm.

    This description means:

    Parker Duofold - "Lazy S" Nib
    Parker Duofold – “Lazy S” Nib
    • that the nib has the words in quotation marks stamped into it, in three tiers (the vertical bars indicate a new line, and the words in square brackets indicate our description of something graphic in nature; this is a convention used in bibliography, when describing things that have been printed).
    • that we have actually measured the width of the tipping at rest, and it is exactly 0.4 mm wide.
    • that we have flexed the nib to it’s safest pressure point, and measured it at 1.5 mm. Does this mean it can’t be flexed further? No. But some folks who make claims of ‘super’ nib flexibility flex their nibs past the point of safety. We have had to repair enough nibs which have been sprung out of shape that we know when to stop. So if we say that this “lazy S” nib can only be safely flexed to 1.5 mm, take it as our professional advice not to exceed that threshold, others’ opinions about these nibs notwithstanding.
    • that it has a fairly high ink flow. Any pen which writes when flexed to 1.5 mm has to have a high ink flow, or it will not be able to provide enough ink for a line that wide. If it was a dry writer, we would either adjust the pen itself, or adjust our description to downgrade the maximum thickness of writing line. Some things go without saying, and this is one of them: if it doesn’t write properly, it’s not listed on our site.

    Is this nib a “wet noodle”? Some might say so others might not. We don’t use the term. It’s just not accurate.

    This principle follows in a number of areas. Is it an “over-sized” pen? Is that box a piece of “treenware”? How is the barrel clarity? Is it a “BBB”? All subjective questions, and guaranteed to get a seller in trouble.

    So, if you have a question, read the description carefully; both what’s in it, and what is left out. If a photo is needed to clarify, we have probably provided it. If not, we would be happy to.

  • Cracked Wood: Problem, or No Problem?

    The other day, we came across a lovely writing box. We’ve seen all kinds, and sometimes we take them on, sometimes we don’t. But this one was nearly perfect. Around two hundred years old, and made for the aristocracy: solid rosewood case, mahogany interior; mother-of-pearl inlay and pewter stringing; ebony moulding along the perimeter of the lid; the obligatory secret compartments. And very little work required. We snapped it up, and within a week it is sitting for sale at one of Toronto’s most exclusive writing equipment boutiques.

    But one thing that came up when I discussed it with Peter, the shop’s owner, was: “what about the crack in the bottom. Does that concern you?”

    I gave a quick negative reply, got distracted, and moved on. But something stuck in the back of my mind. Why, exactly, would a crack in the wood not of concern? A crack in furniture is usually a problem. A crack in a window is always a problem. You fix problems, at least to make them look better. Why, exactly, is this crack not a concern? Why did I—almost instinctively—dismiss it?

    So I sat down and sent Peter an email with a good explanation. The one I should have given him at once. The one any customer buying a museum-quality heirloom writing box, fully restored, should have. And because it addresses so well the issues of conservation vs. cosmetic repair, I thought I would share the answer with everyone.

    The short answer is: no, the crack is not a concern. Here is the long answer:

    Wood still has life in it, even after it has been cut for years: it swells and shrinks with fluctuations in humidity, and nothing will prevent this. So, the important thing is to make sure that the movement is not causing damage.

    In the case of a box like this, it was constructed with no allowance for wood movement. As a result, cracks often appear, especially in large, flat pieces like tops and bottoms which have been glued solidly along the entire edge lengths. A crack will appear along the weakest point in the grain, and follow the grain. And certain woods (mahogany, ebony) are more prone to cracking than others.

    Once the crack has appeared, and especially if it has been there for years, the movement has generally done it’s job: released pressure at extremes of humidity. From that point forward, the gap will shrink or grow only in a repetitive way, like breathing. We know where it is. And we know how it will behave.

    As a conservator, one asks: does this crack i) cause further damage? ii) impact the object’s use? And: if we take steps to repair it, will the results be worse than if we leave it?

    In the case of this particular box, the crack is relatively small (about 1/8″ wide; nothing likely to be stored in that portion of the box will fall through it), discreet (in the bottom panel, with a piece of cloth glued to the bottom), and relatively stable.

    To repair it, we would have to completely disassemble half of the box, and glue the crack shut. Because the stress point changes with relative humidity, we would be transferring the stresses to another unknown point or points, which would only become evident over time, probably as a surprise to the owner. (As a side note, when one sees horrific cracking in antiques, it is usually either shoddy construction in the first place, or bad repair work done by the ignorant.)

    Thus, the crack is a concern, but a most minor one.

    As a postscript: thinking about repair in this way is often what differentiates the conservator from the casual or amateur repairer.

    It is a source of great irony to us that many antique dealers won’t bother to clean dust and dirt from their pieces, citing the all-powerful “patina”. Yet those same dealers will happily squish Gorilla Glue into a wobbly joint or crazy glue a crack down for the sake of making something seem in better condition than it really is; efforts with more lasting negative consequences than a good dusting would ever have!

    True conservation is a combination of things:

    • First, it is thought before action: What am I doing? Why am I doing it? Is it a good idea? Have I seen the results of this treatment before, or have my colleagues?
    • Second, it is a constant dance of cost vs. benefit—not in financial terms, but in the ethical sense: Does this truly need to be done? Why? Will the piece degrade if I don’t? Will it’s use be impacted negatively if I don’t? (Remember, display is a use, but so is using an item as the original maker intended.)
    • Third, it is skill & technique. Knowledge of original materials. Knowledge of the latest practices and methods. Balance between these two. Skill with tools. And, above all, patience and an eye for detail. Some of these can grow with time and experience, others must be cultivated, or come along with the right personality.
    • And finally, it is something motivated by more than money, or even the need to search for treasures. It is motivated by a deep respect for the pieces you work with, the people who made them, used them, and will one day continue caring for them. The man (it was almost certainly a man, although part of me hopes that a few daughters hung out in the back room of the shop, too) who carefully made the hidden mitered-dovetails that no one would ever see; the great Lord who carried his correspondence—in his trusty writing box—in the carriage from the town house to the country house; two hundred years of caretakers, who kept a box like this inside, clean and dry. If they could see the way a good conservator approaches the work, it should be worthy of a good nod of approval.

    It is important work, this. It is a rare work. But it is good, and it needs to go on.

  • Book Review: The Richardspens Guide to Fountain Pens, Volume 1: Glossopedia

    • Richard Binder
    • The RichardsPens Guide to Fountain Pens, Volume 1: Glossopedia
    • 2013, self-published.
    • $5.99; isbn-10: 0988407906, isbn-13: 978-0-9884079-0-9.
    • 258 pages, illustrations; ebook.

    Richard Binder is a name well-known in the North American fountain pen community. A self-made pen repair and nib-modification guru, his Nashua Pen Spa recently ceased repair operations, causing many to ask themselves in dismay, ‘What will we do without Binder?’, and ‘What will Binder do now?’ The answer has come: write. Binder has recently released the first in a series of ebooks, The RichardsPens Guide to Fountain Pens, Volume 1: Glossopedia.

    Many of us are already familiar with Binder’s web site, primarily as a source of excellent fountain pen-related reference material. And while many good web sites are ephemeral in nature, disappearing with their owners, it seems that Binder is aware of the importance of keeping this information available. “The purpose behind this publishing is to get the information into a format that will still be available after the day I wake up and find myself ‘asleep beneath the lawn.’ ” Thus, the Glossopedia includes the information found in it’s online namesake.

    Weighing in at a respectable 258 pages, this first volume is comprehensive. Arranged like an encyclopedia, it includes a wide range of information. The basics include definitions: pen parts, filling systems, and manufacturers. But Binder has included many details that wouldn’t necessarily be easily available, even in the internet age, and we benefit from both his extensive repair experience, and his network of knowledgeable contacts in the pen world. His folksy writing style and occasional wry comments (India ink: “is death to fountain pens”) make for easy and enjoyable reading.

    Although American manufacturers figure large in the listings, Binder doesn’t suffer from tunnel vision. The strong European influences in pen history are fully credited, and comprehensively so. Additionally, the author is an equal opportunist when it comes to era: modern pens are given the same weight as notable historic examples. Manufacturers’ entries include minute historical details, and their patents are listed and linked to URLs online (more on that later). While such details are wonderful to have, the lack of a bibliography or references might limit their use by serious historians. The author mentions in the acknowledgements the “many thousands of period books and magazines wherein I have gleaned much of the historical information you will find here.” It is, admittedly, a great deal of work to document these, but some would have vaulted this reference from ‘very good’ to ‘unparalleled’ in quality.

    A welcome inclusion are non-fountain pen entries, relating to pencils and other writing-related products. An example is the “check protector” machine, an early and ingenious protection against forgery which is educating and amusing, although somewhat esoteric. While pen filling systems and basic mechanics are touched on, they are not looked at in detail; in view of the author’s plainly stated intention to release this information in future volumes, this is not surprising, but should be mentioned.

    The book is heavily illustrated, with the same quality photographs and CAD drawings as the web site. Custom-produced to illustrate their respective entries, they go a long way to making this reference the first one we reach for. It should be noted, however, that the ebooks do not include any of the higher-resolution, enlargeable ones from the web site; all are frustratingly small, and at 96 dots-per-inch resolution. The iPad issue, in particular, does not support any more than the most cursory zooming (which bounces back to original size as soon as the users lets go of the screen), although this cannot be blamed on Binder.

    The book’s hyperlinks, while a good idea, are often frustrating. Patents link directly to the US Patent & Trademark Office, which is handy. What is not handy is again not the author’s fault: Apple devices will apparently never display the patents, as none of our iPad browsers seem to display the QuickTime content. Had I been aware of this, like the lack of image enlargement, I would never have bothered with the iPad version of the book. Internally, however, links are used to great effect for cross-indexing.

    There are a few shortcomings to be expected in a self-published book. Cross-indexing is well done, but sometimes there are no return links in an entry, which makes one think twice about casual exploration: it might be difficult to return to whence one started. In several places the photos were badly out of place (particularly the “S” section). Occasionally there are references to non-existent content (“View descriptions and filling instructions here”) which seem to have tagged along from the online content. None of these shortcomings is a deal-breaker, but in aggregate they are frustrating enough to make one wish the author had just hired a decent editor.

    Other issues arise when comparing different formats of the book, across platforms. Some photos in the iPad issue are not present in the Kindle version(perhaps this is the “enhanced” part mentioned by the author’s web site?) Link formatting was occasionally inconsistent in the iPad issue. The Kindle tablet reader lacks the navigation tools of the desktop software, with no alphabetical index or table of contents; one simply has to drag through the content in the hopes of landing near the entry one wants to find. (We were unable to compare the Nook issue of the book, as Barnes & Noble will not sell to non-US residents, and the author would not provide a review copy.)

    To be fair, some of the platform-related failings cannot be blamed on the author, and third-party improvements in software may help the presentation and navigation of his product. However, it is abundantly clear that Binder is very aware of digital rights management (DRM), as the only avenues of purchase—and available formats—are for very restricted use, within proprietary software. While this marketing choice is understandable, it means that these shortcomings are something that readers will be forced to live with, rather than being allowed to choose from among the better-quality reading software that is available for books released in rights-free formats. And that Damocletian choice is something that any ebook author or publisher must make, but with an awareness of the subsequent consequences.

    Despite any shortcomings, this book is a valuable reference, and one that no pen collector, historian, or technician should be without. The amount of effort in compiling the historical information alone is staggering, and the modest price is a bargain. While each electronic issue has it’s limitations, we whole-heartedly recommend the book itself. We are thankful that Binder has taken the time to preserve this information for the pen community’s lasting benefit. Hopefully the author will learn from the issues arising in this ebook, and make the needed improvements in subsequent volumes in the series.

  • We’re Moving…

    We are migrating our website to new servers, in an attempt to avoid irritating creeping slowness. So, if things look a bit strange, or completely inside out, over the next week or so, we apologize in advance. The end results will be worth it!

    update

    All of our files and postings have been successfully moved across, and we’ve tested everything, so hopefully it all works! Drop us a line if something does not appear as it should…