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Gillotts Big Four: left to right, #1 Principality, 604EF, 303, 170. These pens provide a good benchmark through which we can evaluate other nibs manufactured past and present.
4 many steps toward the nib released to the public. For instance, the slightest difference in the thickness of the steel could make a huge difference in the flexibility of the final product. I have begun the survey with the finest and most flexible nibs as they are of most interest to the vast majority of IAMPETH members. It was the many conversations with members at the IAMPETH Convention in Chicago last summer that sparked this series. The complaint was that there was practically no information about nibs available. To my knowledge, the only review of useful nibs to be found anywhere will be in the IAMPETH Newsletter so only IAMPETH members will have it. Hopefully, such a database will provide members with enough information to make informed purchases as nibs, especially vintage points, are expensive. Updates will occur whenever another nib becomes known. As this article will concern only fine and flexible nibs, the next issue will look at pens that are less flexible, but still useful for some work. Following that will be a survey of nibs for business penmanship, though we may only scratch the surface there. The main business of nib manufacturers was regular writing and there were thousands of different pens made specifically for that purpose. We will survey the most popular and the most available now.
An ad for the Zanerian Fine Writer from the 1928 Zaner-Bloser catalogue. The Fine Writer was a Principality clone, made by Gillott. The $1.75 price for a gross represented the better part of a days wages for the average worker in 1928.
As flexible as the Principality was, it was not the most flexible nib. That would be the post World War I Hunt 99, a very demanding pen not likely suitable for beginners. The super light touch required to make this pen work takes much practice. The earliest 99s were very similar to the Gillott 170 (next page), sharper and stiffer than the later model. Look for the small No. 99 stamped on the nib as opposed to the later, large 99 (no No.). I find the Principality class of nibs to be less than terrific for copperplate. Copperplate script demands a longer, somewhat thinner shade (thick stroke) than that found in ornamental p e n m a n s h i p . I have found that the Principality class of nibs is more That shade must adept at making strokes like the capital stem at left with its quick, but thick shade more so than the copalso be consis- perplate d to the right. Because of their super flexitent in width. bility, Principality-type nibs arent easy to control with This is not an long, straight shades found in copperplate, but rarely, easy task with if ever, in spencerian-type ornamental script. See text ultra flexible nibs for further explanation. as the slightest waver in the hand and/or arm will be apparent in the thick stroke. Principality-type nibs were made for the shades in ornamental writing that are normally curved in a more forceful swing of the pen. Nibs such as the Gillott 303 and Hunt 22 dont re-
An ad for the Spencerian Artitstic, also from the 1928 Zaner-Bloser catalogue. Spencerian pens were made by Perry & Company, Birmingham, England
spond well to the pressure required to make a really thick shade. Ive destroyed more than one of each in the attempt.
5 Ferth Chilled Steel #3. I dont know much about Mark Ferth Pens, as the company was called, but this pen is a dead ringer for the Esterbrook 128.
Gillott 303
The Gillott 303 (modern 303s are blue) is a pen that will produce a finer hairline than the 604EF, but the tines are not designed to spread as wide. As noted in the last IAMPETH Newletter, the 303 underwent some transformations after World War I that put the nib closer to the Gillott 604EF (though not as durable for thick ornamental penmanship shades) than to the present day pen which is closer to the 19th century design, so be careful in any pur-
The Gillott 604EF Class of Nibs. From left to right: Gillott 604EF, Musselman Perfection, Drake Colleges of New York and New Jersey, Esterbrook A1 Professional, Esterbrook 128, Esterbrook 358, Mark Ferth Pens #3, Spencerian #1, Spencerian #5, Sprotts #1, Hunt 56 School Pen, Hunt 20 Century Pen.
chase you make. Many fans of copperplate script find these pens ideal. Head of the class for most is the venerable Esterbrook 357, another in their Art & Drafting series. Nearly every copperplate scripsit I know covets this nib above all others. It has a superb fine point with excellent snap (Snap: the point quickly returns to shape after spreading.) and a great overall feel. The 357 is one of many reasons to mourn the passing of the Esterbrook Pen Company. One more excellent nib is the George Hughes 964, a rival to the 357 and 358 in every way. Hughes, once a Birmingham, England, company, merged into British Pens, Ltd., in 1961 along with Gillott, William Mitchell, Perry, and a few others. Only the Mitchell and Gillott names survive. The Hunt 22 is another fine pen in this group. At this writing, a slew of vintage 22s (ca. 1930) have come onto the market at fairly reasonable prices.
The Gillott 303 class of nibs. Left to right: Gillott 303, Gillott 404, Esterbrook 357, George Hughes 964, Hunt 22, Mark Ferth #4
Gillott has another nib in the 303 class, the 404. The latter is not as fine, but a good nib for copperplate. Like the 303, the modern 404 is blue. Another nib to consider is the Eagle Pencil Company #E370
6 College Pen. It is somewhat stiffer than the 303, but its extra fine point is an asset in small, delicate script. As with all pens, it will soften with use. One last nib is the Mark Ferth #4, a pen similar to the Eagle E370.
Crow Quills
This is an interesting class of pens. The tubular crow quills can perform most, if not all, the functions of a mapping pen. However, they hold more ink and have a nice point that allows for good albeit tiny script in their traditional straight holder. To add to my interest in crow quills, last year Paper and Ink Arts introduced its own Paper & Ink Arts Adjustable Oblique Holder based on the Bullock design. Both the PIA and Bullock holders can handle virtually any size nib including the crow quill. Heretofore, the only holders available for the crow quill (aside from custom holders) was a straight penholder, but with the Paper & Ink Arts holder, the tiny crow quill was in a position to write as other nibs in an oblique angle and thus needed a fresh look as a script writer. Crow quills had a variety of uses and, ironically, writing was way down on the use scale. They were used Gillott 659 crow for drawing, fine re- quill in a Miller touching, etching on Brothers straight limestone printing holder (left) and plates (early litho- the same nib in the graphic printing PIA holder at right plates, before photo- from Paper & Ink were Arts. Above: The Gillott 659 crow lithography, quill, left, fits into the rounded made from limestone slot of the head of the PIA and very heavy). Architects and engiOblique Penholder. Open neers found them very useful. It is not and close the adjusting bolt. If unusual to find crow quills with the the nib is a little loose, a layer names of technical firms such as Keufof masking tape will secure it. Below: A penholder designed fel & Esser stamped on them. They are very flexible with little by the late penman, I.W. Bullock, innovative years ago variation between brands and all have as it held a crow quill as well extremely fine points. I have found as a conventional nib. Photo them easier to use than mapping pens courtesy of Dr. Joseph Vitolo. in every instance. The major nib manufacturers all made crow quills and they are all of fine quality. The Hunt 108 and Gillott 659 are still made today.
Gillott 170
Ultra fine, very flexible, and smaller than the Principality, 604EF or 303, the 170 and others in this class are excellent for small copperplate and engrossers scripts. All require a delicate touch and are effective, but arent quite up to the challenge of the bold shades of ornamental penmanship. It will break. Modern Gillott 170s are blue. This is a small group, but another superb pen is the Esterbrook 356, part of the companys Art & Drafting Series. I recently wrote over 100 small table place cards with the 356 in ornamental script and it was terrific. I was careful not to tax the pen with ultra-thick shades. The final nib in this group is the modern Brause 66EF. This is what used to be called an arrow nib for The Gillott 170 class. Left to right: The Gillott 170, Esterbrook 356, its unusual shape. Most arBrause 66EF. row nibs were larger and much stiffer. The 66EF is a wonderful nib, well made with great snap and an extra fine point.
Mapping Pens
Mapping pens are very, very small, smaller even than the Gillott 170 class. As their names imply, they were used in fine drawing, particularly cartography. They are mentioned here because there are some who like to write with them. I am not one. (For any time I could use a mapping pen, Id prefer a crow quill. See following.) Besides being very small, they are incredibly flexible and dont hold much ink. When I use them at all, I put them to work in touch up or fine cross hatching. Mapping pens can render an unbelievably fine hairline. Excellent mapping pens were the Esterbrook 354 and 355. The 355 has a much stiffer action. They are black in color and Mapping pens. Left to right: are of typically good Esterbrook Hunt 100, Hunt 103, Esterquality. At this time, there seem brook 354, Esterbrook 355. to be a lot of them available on the open market. Hunt also made good mapping pens, the #100 and #103. Paper and Ink Arts (www.PaperInkArts.com, 800-7367772) and John Neal (www.JohnNealBooks.com, 800-369-9598) have both in their catalogues.
Write with a crow quill? Why not? Crow Quill was written by the author with a Keuffel & Esser 3200. Dr. Martins Bleedproof White on Canson Black. The x-height of letters is 1/16.
7 82EF counterpart, but just as flexible. A terrific pen. Spencerian Pen Company No. 6 Flourishing Pen. A fantastic pen, very flexible. It is similar to the Goode 82EF. Spencerian Pen Company No. 9 Bank Pen. Very similar to the No. 6, perhaps a little less flexible. The difference is negligible. This is a great pen.
8
The 1-inch Perry 27 is too long for the Zanerian Style holder at left. The point sticks out beyond the right side of the shaft making it a very awkward combination to write with. However, the same nib fits comfortably in the much larger Turn of the Century penholder at right.
Conti Gilbert, the #2552 Cemente. It is a super fine, super flexible pen that can render the smallest hairline with a shade to challenge a Principality. At 1 inches, it centers easily in a large penholder. This nib was made into at least the 1950s and it shows up on Ebay from time to time. My favorite of this group and one of my favorite nibs, period, is Perry & Companys No. 27 Elastic Pen. I found a box of these on Ebay about three years ago and a photo of the nib with its long tines and extra fine point looked promising. As the only bidder (long nibs tend to scare bidders), I got a steal. With this nib it was love at first write and I contacted the seller to inquire about more. He had a
considerable supply and I bought what I could. The Perry 27, which dates at least to the 1880s, has an extra fine point that I sharpen to an even finer point. The long tines make that an A close-up view of the large Perry 27 in the two holders pictured on the left side of this page. The tip of the long easy task. It is nib centers much easier over the axis of the pen shaft. not quite as The right combination is a pleasure to write with. Any flexible as the portion of the pen protruding from the back of the flange B l a n z y - P o u r e should not affect a proper grip. Cemente above, but its close. It can still render an incredibly thick shade. It may seem less than elastic at first, but loosens up considerably with just a little use. There is an imitation (Imitations of top selling nibs were very common among penmakers.) of the Perry 27 by Brause, which is coincidently called the #27EF Elastic Pen. It is identical is nearly every way except for a slight difference in the eye. Brause no longer makes their #27 and it may date from pre-World War II. Brauses version of the #27 is an excellent pen. I hope that this survey of fine and flexible nibs is helpful. As you can see, there were quite a few different makes and models. The problem is, as always, availability. The universe of useful vintage nibs is definitely finite and the challenge is to find a nib you like and obtain enough of them to last. Hopefully, this survey will provide some knowledge to make an informed buying decision. Please feel free to write and ask questions at any time. Bob Hurford
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