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  1. Hi fellow FPNers I'm considering ordering a custom-made Conway Stewart Marlborough lever fill pen from Bespoke British Pens (BBP). I've read horror stories of terrible customer service, leaking sacs and snapping/faulty levers in Conway Stewarts from before BBP took over. Could you please share your experiences with BBP-made Conway Stewart lever fill fountain pens? Have you had any issues and how were they resolved? The pen I'm thinking of ordering is not part of their usual line-up...is it advisable to ask them to make a pen with a filling system that's not usually in their production line? Your feedback would be much appreciated! Many thanks! Best, John
  2. Hi fellow FPNers I'm considering ordering a custom-made Conway Stewart Marlborough lever fill pen from Bespoke British Pens (BBP). I've read horror stories of terrible customer service, leaking sacs and snapping/faulty levers in Conway Stewarts from before BBP took over. Could you please share your experiences with BBP-made Conway Stewart lever fill fountain pens? Have you had any issues and how were they resolved? The pen I'm thinking of ordering is not part of their usual line-up...is it advisable to ask them to make a pen with a filling system that's not usually in their production line? Your feedback would be much appreciated! Many thanks! Best, John
  3. I have been keeping an eye out for a vintage Conway Stewart as I am eager to try one and my trip to the UK was preempted by the pandemic. The CS no. 388 is described as small/slim. I am curious if that makes it comparable to, say, a Sailor 1911 S, which fits my hand really well, or if it is narrower, more like a Pelikan 20x. The CS 759 is also described as slim but from the pictures I've seen the 388 and 759 look identical in size, but it is hard to judge width. Any guidance would be appreciated. I don't like super narrow pens because of how I grip them, but I don't care for KOP/Meisterstuck sizes either! Thanks.
  4. Hi all, I just purchased a lovely vintage Conway Stewart Dinkie pen and pencil set, circa early 1950s (from Heritage Collections in the UK). Both write beautifully. (Picture below) But I wondered if anyone out there collecting them can fill me in on some basics: 1. How do I refill the lead in the pencil? Through the tip or the barrel? If the barrel, is there some secret to getting in to the barrel? 2. Similarly, how do I separate the fountain pen section from its barrel? 3. Is Casein a form of plastic? 3. Is the 1.2 mm lead readily available? Has anyone out there tried 1.1 mm lead, which I've seen for sale, and found it fits sufficiently well? ---Both pen and pencil seem to be so tightly connected that I fear if I try to open them, I might break something. Are they supposed to be this way? I started to wonder whether I am not supposed to open them at all . . . . But that doesn't make sense to me, since these pens/pencils were used by so many for everyday writing and they would have needed to get at them at some point or another. Many thanks for any help. Liz
  5. I considered the Churchill to be the my favorite Conway Stewart design during my first few years or collecting pens. Its stepped clip grabs your attention without being ostentatious. It has an imposing size but remains practical even to those with smaller hands. It has a classic early 20th century design. And, it has a nice respectable name. I decided that if I could only have on Conway Stewart, it would be the Churchill. I ignored other CS designs like the Marlborough for the most part. In fact, I bought the top pen in the image below with the sole intent of reselling it for a small profit to help fund a Churchill purchase once a fairly priced one turned up. Half a decade later, the Marlborough is now my favorite pen design and I own a second one (bottom picture). The size is perfect for me. It rests comfortably in my hand unlike many modern oversized pens that make me feel like I'm writing with a marker rather than with a fountain pen. It maintains the same level of vintage inspiration as the Churchill does especially with that lovely knurling on the cap. It also preserves its link to British heritage with the name Marlborough as a potential reference to Churchill's ancestor the Duke of Marlborough. Most importantly, I have simply found myself writing with this more than the Churchill. The Marlboroughs I own are numbered 20 (top) and 03 (bottom). 20 has an F nib while 03 has a factory IF nib. They have different characters with 20 having more expressive mottling and 03 having restrained striations parallel to the length of the pen. Celluloid is the hottest material in the market, but, while I enjoy Arco Bronze as much as anyone else, ebonite has a special place in my heart as it evokes the strong wood that make up homes and furniture that have stood the centuries-long test of time. Rose ripple is a particularly attractive color. A pair of oxblood loafers allows a man to express himself beyond the sea of black and brown oxfords while maintaining an acceptable amount of formality. These Marlboroughs do the same for me when I use them out in the open in meetings. The color pops up just enough for people to take a second look without distracting them from what they're doing. This all made me want to learn more about this finish. I looked for catalogues of ebonite manufacturers online to see which of their rods resemble the rose ripple color the most. Stumbling upon, the German ebonite manufacturer SEM's catalogue, I saw that they had a few reddish ebonite rods. Their ponceau rods as shown below seemed to perfectly match the color of rose ripple. When I reached out to them, they confirmed that they provided the modern incarnation of CS with many ebonite rods. They said that ponceau does correspond to rose ripple while their night blue and cumberland colors correspond to CS' blue ripple and woodgrain. I have a hunch that the CS woodgrain is probably a mix of SEM's honey and cumberland but this is just speculation on my end. My contact couldn't confirm. It would have been appropriate for CS to name the Marlborough finish ponceau instead of rose ripple. I say that because 'ponceau' is French for poppy-colored and is rather appropriate for a pen with such English heritage - poppies being a strong symbol for the history of the First World War. As to the inspiration of the Marlborough's design, it began with a special commission by Andy Evans from Andy's pens. I posted the picture of my Marlboroughs on Facebook a few weeks ago. Andy replied how he commissioned a small set of pens from Conway Stewart inspired by the model CS200. CS unfortunately went into receivership and once it was bought and re-established (I believe this was unrelated to BBP and before BBP came in) the new owners released the production version of the Marlborough with the rose ripple as part of the first batch. The Marlborough is shorter than Andy's commissioned pens and unlike the commissioned pens, the clip was fixed to the Marlborough. The knurls were designed to make it easy to remove the clip. You would have been able to screw off the top blind cap with the grip from the knurls. That would certainly have been an interesting feature if it made its way into the final Marlborough release. Below is an image of a CS200 I found on Worthpoint (https://www.worthpoint.com/worthopedia/conway-stewart-200m-superb-mottled-hr-1778369286) Learning about the history of pens is one of the best parts of collecting. Many people find themselves absorbed in hours of online reading to figure out what makes a clip or nib special. Some people can tell not just what year but what quarter a pen was made in just by looking at the clip, nib or some other obscure part of the pen. People even debate about what proper name to call a pen (quite notable in the realm of Vacumatics). Knowing these minutiae and stories gives a comforting sense of pride and enjoyment to many people including myself. It was enjoyable to learn the history and design surrounding the CS Marlborough. Efforts like this are often reserved for hunting vintage pens however. I hope that we devote the same amount of time writing the history of modern brands like Bexley, Lamy, Danitrio, etc. the way we do for Parker, Montblanc, Wahl-Eversharp, Mabie-Todd, Pelikan, Aurora, etc. Cheers!
  6. Hi, just thought id share my selection of Stephens (1932) & Parker victory (1935-46) English made (discounting the first 5 years made in canada). when you look at the the period in general a lot of the the other makers were concentrating on lever fillers. would be nice to see what else is made during the period in button filler. regards Rick
  7. Simon Spector

    Conway Stewart Parts

    I have just bought a Conway Stewart 77 in green herringbone but the cap had suffered a trauma and the clip broken off cracking the cap at the break point. Any idea how this could be repaired or where I can get a replacement cap from? The rest of the pen and the nib are in great condition so I would like to be able to use the pen regularly.
  8. collectorofmanythings

    Conway Stewart Dandy Opinions

    Hello! I’ve been looking into possibly getting a modern Conway Stewart. I personally prefer gold nibs, and like the look of their Dandy model. I was wondering if any of you have any opinions on modern Conway Stewarts and/or this model. I haven’t seen really any review for it anywhere. Thanks, W. Major
  9. Hi I am new here so be gentle I have a modern 58 series Conway Stewart fountain pen.It is in a black presentation box with padding and blue ink. On the barrel it says Conway Stewart 300/113 Made in England and on the nib Conway Stewart 18ct Gold M It has a twist ink converter and is a reddish colour. Its never been used (I would like to find out roughly what it is worth before I use it) I got it through a competition win in the 1990s and the little book with it is not stamped or signed. I have tried to research it periodically over the years to find out the colour name and what it is made of in particular but have been unsuccessful so I have signed up here in the hope that someone can tell me how to find these things out. Can anyone help?
  10. I like celluloid, Omas, vintage (and of course modern too)... For a long time I resisted getting a vintage Omas Cracked Ice. The combination of the rare pattern and vintage Omas makes it quite expensive to acquire a senior sized or even a mid sized Omas Cracked Ice. I also have a vintage Conway Stewart Cracked Ice, which is considered one of the most attractive Conway Stewart patterns (along with Herringbone, Tiger Eye etc). So I convinced myself that I didn't need an Omas Cracked Ice. That is until the right moment came. Recently I was able to acquire a vintage Omas Cracked Ice in the lady/ring-top size. As I understand, the Omas is made of celluloid (cellulose nitrate) and Conway Stewart of cellulose acetate. Here I made some photographic comparisons. Some background notes: The Omas Cracked Ice pattern is known for discolouration. Most of the pens in this pattern are found in various discolouration on the barrel. Zero discolouration is extremely rare, as this celluloid (and indeed any "trasparente" patterns) is very sensitive to acidic ink. So my Omas is no exception, though I consider the discolouration here modest. I have seen better and some worse. 1. Both pens capped. Omas ring-top, 10cm long. Conway Stewart No. 24, 13.2cm long. 2. Nib side pattern comparison. 3. Feed side pattern comparison. 4. Omas nib side discolouration. 5. Omas feed side discolouration comparison. 6. Conway Stewart Cracked Ice cap and barrel, in cellulose acetate, no discolouration. 7. The "dark sides" of Omas Cracked Ice: Similar to the Arco pattern, the Omas Cracked Ice also has two "dark sides". This is what I love about this Omas version, that you can see that the Cracked Ice is revealed through cross-cutting the pearl like flakes in the celluloid, much like leaves in a pond! These "dark sides" are more intriquing than those of Arco in this aspect. I hope you find the above informative! I've always enjoyed handling a vintage 🙂.
  11. Hi All, I own a few modern Conway Stewarts in their various marbled/cracked ice finishes and I am wondering who makes the pen blanks for them? I know that SEM was their supplier for ebonite but I am not sure who makes the resins for them. Here are a few shots of my Conway Stewarts. If you aren't sure but you have a hunch of who is the manufacturer, please do share anyway. Thanks! Churchill in Honey Noire Belliever in Poinsettia and Duro in Cherry Red
  12. Having just picked up my grail pen, I was astounded by its size and thought a post such as this would be a useful reference. Take a look at the comparisons with a green Dinkie 540 (c.1950) and with its larger counterparts, a #77 (c.1958) , #58 (Red Herringbone c.1958 & Silver hatch c.1955) as well as with the c.1940s flat topped #1200 and the mighty Onoto Magna Classic (2019). The heart-breather nib design suggests my pen is a first edition. The #100 was released to coincide with the Golden Jubilee of Conway Stewart in 1955. Later models featured one band, no bands and a Duro point with a circular breather hole, like the #77 and the Herringbone #58 you see here. Please add to this post with your own comparisons, if not for the sake of usefulness then do it for the eye-candy!
  13. I currently have an old celluloid CS 479 from the early 1930s on my bench that, not surprisingly, needs a new sac. It's in very good condition otherwise. Since I have not that much experience with CS pens, I wonder if anyone here can tell me whether the section is friction fit or screw in? Thanks a lot in advance. P.s.: Sorry, my previous post had a typo in the title, which unfortunately I cannot edit. Maybe a moderator can remove the earlier post.
  14. Lunoxmos

    Conway Stewart No.489

    The pen that I'll be reviewing (or discussing) today is: "The Universal Pen Conway Stewart London No.489" I have had this pen for a bit over a month now, have used it everyday, and have found it to be a reliable writer. I managed to pick this pen up after doing some antique shop hunting, and managed to get it for only $23AUD. On that note, I think it is actually much better to go vintage pen hunting in person rather than online. It's more fun that way, not knowing what you'll find, and you probably end up with a nicer price, provided you're willing to do some relatively easy restoration work. This pen was made in England, in the late 1930s, so this is when fountain pens were generally moving away from the olympic-split style flex from the earlier period, and started featuring what I see as being *stiffer* nibs (though they still can produce very admirable amounts of line variation). It is made from a hard rubber, judging from the fact that what used to be black rubber has now faded to a dark brown, and also if you were to rub your finger on a patch of the pen and smell it, it should smell like old tires. It has a no.1, 14 carat gold nib, with what I see as a medium point (there's no markings in terms of size), and produces nice amounts of line variation. It also has an ebonite feed. Note how wide and deep the feed channel is. This means that this pen is an extremely wet writer (almost a firehose). This was very typical of vintage pens, requiring larger amounts of ink to accomodate for "flex writing". Also note the cutouts on the side. This allowed for any ink that had leaked out to be held, without dripping down the nib and forming blobs on the paper. I believe this was an attempt to mimic the spoon feed design from earlier Waterman pens, which were incredibly successful, and which was mimicked by many other pen companies. It also has a sac, very typical, and was filled via a lever on the side of the barrel. Also very typical. The pen itself is quite light, and is 131mm long capped, and 161mm posted. This pen can be posted very comfortably and securely, though whether you do so is all up to personal preference. a few notes: No, this pen is not for sale. This pen has been put through its paces, and has proved it's reliability by non-stop writing for 2 hours in English Exams, and a further 1.5 hours in that afternoon. It is VERY reliable. The iron gall ink used in the pen is wholly appropriate, due to many inks of the period being iron gall inks. Do not worry about the pen's current condition; it is part of a rigorous maintenance schedule, and is flushed out every single week. In addition, the ink used is formulated to be gentler on pens, and the pen itself, containing no metal parts excluding the gold nibs, easily stands up to it.
  15. I have recently inherited a couple of pens from my father. I'm mainly a Parker freak, and one of them was a battered P75 I've repaired and put back on the road. The other takes me out of my comfort zone: a Conway 87 - see photos below. It's in quite a bad way and needs a good deal of TLC. It is inscribed 14CTGOLD on the nib, and 'Conway 87 made in England' on the barrel. I've found a website that sys these pens were made (or started being made) in 1960. The sac has totally perished. It looks to me as if the squeeze filler is not a removable converter, but is fixed into the pen. Is this correct? I don't want to apply too much force. What is the best way to disassemble the pen? I've recently successfully replaced a sac on an old Parker Duofold, with the help of advice from people in the FPN and a couple of Youtube videos, but there seems to be nothing equivalent for Conway Stewarts. Is it the black ring that unscrews, with the help of a hair drier and section pliers? I imagine the nib must be removed outwards, but is it a straight pull or does it unscrew? All help and advice gratefully received. It would be really nice to put this veteran back into working order. Peter
  16. alexander_k

    Conway Stewart Duro 2A

    It's been some time since I wrote these first impressions but there's little to add. The Duro remains a delight to behold and to use. I've kept it at home and take it out of its dark cupboard every other night to write a page or two just for the fun of it. It starts without hesitation and keeps on going.
  17. Hi All, Recently, we did an India Exclusive Group Buy, for ASA Azaadi. A model which was designed after Conway Stewart Churchill model. Here I am producing a Group Picture of the pens made with Conway Stewart, Omas and Cocktail Blanks, for some of our customers. Thanks for looking. Subramaniam
  18. ASA Azaadi in opal Creating a new ASA Azaadi in opal gave me a four-part tutorial in pen design. I commissioned the Azaadi after reading an account of a stunning similar pen in casein by Prithwijit Chaki, a prolific contributor to the Fountain Pen Network. Inspired by the fine white-on-ivory veins of the casein, I set about looking for a material that would simulate the elegance without the fragility. [/url] Capped, the Azaadi is about 1 centimeter longer than a Lamy Safari. Uncapped, it’s about the same length, and considerably thicker. Lesson No. 1 – Material Selection The Azaadi, as explained by Chaki, is based loosely on the Churchill design of the most recent version of the Conway Stewart company in the United Kingdom. When Conway Stewart closed shop in 2014, Vince Coates of The Turners Workshop in Newcastle purchased the remaining inventory of blanks and rods, and some of these materials are still available. There wasn’t a matching, veined white material, but opal offered a similar, classic quality. Coates shipped the opal to L. Subramaniam at ASA Pens in Chennai, who sometimes makes custom pens with material supplied by his clients. This opal doesn’t look like the gemstone. It includes translucent shades of amber, honey, and ivory, like the biscuit color of stained glass table lamps in the Mission, Arts and Crafts, or Tiffany styles. Whatever is underneath the acrylic opal material is visible, especially if what’s underneath is dark. The Azaadi design typically uses black acrylic for the section and finials. Because the opal material remains relatively thick near the finials, most of the black acrylic underneath is obscured. But at the section, where two sets of threads overlap (the cap to barrel and the barrel to section), the material is extremely thin. At this joint, the black section shows through the opal material. The opal material is translucent, but white teflon tape masks the black section under the barrel-to-cap threads. If I were making the pen again, I would probably select a medium-toned, opaque ivory or amber color for the finials and section. But my error also presented a solution – the white Teflon tape used by plumbers to seal pipe fittings. It’s designed to be an extremely thin, white, sealing dry lubricant. Wrapped in a single layer around the threads between section and barrel, it masks the black section underneath. The tape needs to be replaced with ink changes, like lithium grease in an eyedropper, but it’s not a particularly big deal. Lesson – think not just about material aesthetics, but about how the materials fit together. Lesson No. 2 – Ink Compatibility This pen uses a Jowo No. 6, 1.1 mm italic nib and a Schmidt K-5 cartridge-converter. I’ve used this nib in other pens, and never had an issue with ink lubrication. But this particular Jowo nib is choosy about the ink it prefers. The first ink I selected worked beautifully -- a green-olive-brown color mix created by FPN contributor Chrissy, resembling the wrapper of a “candela” cigar. It uses Noodler’s permanent Bad Blue Heron and three Diamine inks. But then I realized that specks from the permanent ink component could stain the interior of the translucent material and show through to the outside. So I swapped out the ink for a conservative Waterman brown. Too dry. I tried Diamine Saddle Brown, another conservative choice. Too dry. My fourth choice, Pilot Iroshizuku yama guri, works smoothly and beautifully. Lesson – nibs and materials sometimes require different inks. Pilot Iroshizuku yama guri ink flows smoothly in this Jowo 1.1 mm italic nib. Lesson No. 3 – Furniture The ASA Azaadi has been reviewed several times, including Chaki and Sanyal Soumitra. A regular refrain is that the furniture could be better, and they are right. Furniture is the jewelry of the pen, the first thing people notice, setting a tone for everything else. This furniture is adequate, but no match for the elegant workmanship of the rest of the pen. Lesson – clips, bands, and rings make a difference. ASA tolerances and workmanship outclass the metal furniture. Lesson No. 4 – Azaadi The Azaadi is an Indian pen derived loosely from a Conway Stewart design named after Winston Churchill. Chaki explains that the pen was named “Azaadi,” (आजादी in Hindi), meaning "independence, freedom, or liberty.” The name is partly cheeky repartee to Churchill, who strongly opposed Indian independence, and partly a reference to the pen’s launch date on August 15, Independence Day in India. Azaadi also signifies political, spiritual, and intellectual enlightenment, with various spellings in other Indian and Iranian languages. Beyond the dictionary, the concept of azaadi is rooted in the Indian struggle for independence and the role of Netaji (meaning “Respected Leader”) Subhas Chandra Bose between 1920 and 1945. Bose revamped the Indian National Army and opposed the British during World War II, creating an independent, nationalist legacy that ultimately led to a British decision to withdraw from India. Bose's clarion call -- Tum mujhe khoon do, mein tumhe azaadi doonga (Give me blood, and I promise you freedom) -- shows the importance of azaadi. Based on a British design with a British material, constructed in India, named Azaadi in response to Churchill -- the ASA Azaadi pen is a story about a complicated relationship between India and the UK. Lesson – a pen is a symbolic tool of intellectual enlightenment. Pens tell stories, but they can also be the story. In Conclusion – Taking Risks Creating a new custom pen involves risks. My risks were minimal, because the design already had been used in several other iterations. Some things in my version worked perfectly, including the elegance of the opal material, the balance, and the writing comfort of the section and the nib. Some things didn’t, including my first ink choices, the translucent barrel-to-section joint, and the furniture. In other custom pen designs, I’ve seen how some choices work and some don’t. Conclusion – regardless of whether risks result in wins or losses, they offer independence of choice, freedom to make mistakes, and opportunity to learn. Writing sample from another country's declaration of independence. This particular Jowo 1.1 mm italic nib is choosy about the ink it prefers, and permanent inks could stain the interior of the translucent material. Iroshizuku yama guri flows smoothly.
  19. I have just stumbled upon a lovely blog. There are some great posts on Pitman's shorthand, Platignum pens and school pens from the 60s. I hope you enjoy reading it as I did. Link: https://shorthandtypist.wordpress.com
  20. I recently won an auction containing a bunch of beautiful Conway Stewarts. I'm in the process of getting them ready for the San Francisco pen show and sale in general. I opened one up late last night and instead of the usual flakes felt something solid, I pulled gently and got a very fun little surprise. Included also is a photo of the whole lot, mostly English celluloid, just for eye candy!
  21. Hallo, I'm looking for cap for Conway Stewart 756M, because pen is whithout it (photo attached). If anyone from You have such a cup, please give me a sign - I'd like to buy it. Regards. Artur
  22. Aikidoka

    Greetings From Cold London

    Hello from cold London (-5). I like fountain pens, but also have a Yard o Led ballpoint and one from Pelikan. My fountain pens (all broad nibs) are Grand Victorian by Yard-o-Led which is a great pen, albeit have nib replaced, Conway Stewart Churchill Poppy Edition, Conway Stewart Rudyard Kipling, Visconti Bronze oversize Homo Sapiens, Visconti Dali and a bright orange Visconti. I am just about to buy a Onoto Shakespeare. I use Diamine ink :- Royal blue, crimson, green, purple and red. So the collection is quite small and I have only started in the last four years. Any feedback or recommendations are welcome. After the Onoto I am thinking of a Sailor pen with one of their very broad nibs.
  23. Introduction: The Conway Stewart brand has always been one of Interest, Desire and Pride in the Fountain Pen community more so since the unfortunate events that befell it. But it seems that a conscious and considerable effort is being made to revive the brand. I was fortunate enough to attend my first pen show at Los Angeles in February of this year. After the initial “pen”sory overload, the hunt for a memorable “First Pen Show” Pen began. A word of caution, such hunts can begin and end at a single table if you’re not careful with your cash! And for me this could have been Sarj Minhas’s table, hadn’t it been for the overinflated valuation of an Omas Arco. So I had to move on…to Syd Saperstein’s table where a lively discussion on Conway Stewart was underway between a few patrons and Mr. Emmanuel Caltagirone himself. We come to know Manu has a few of the new Model 100 Conway Stewart pens for sale and we move to his table. And there is where my hunt ended; with me pocketing an Omas Ogiva Alba and the Model 100 in Classic Green (some call it Pistachio). I have been using the Conway Stewart daily for the past 1 month and would like to share my review of the pen. Packaging: The pen comes in a hard case with faux leather. The Cover of the box can be inverted and used as a pen rest which is lined with velvet and has the Conway Stewart branding. Inside is a booklet, in the recent redesign, with a lot of information on the history of the Company right till the recent acquisition. As per the specifications The New Conway Stewart Model 100 comes in 4 colors; Beluga Black, Blue Lapis, Pistachio and British Green. Solid Semi Flex 18k Nib. Special Engraving on the Nib. Greek Art Deco band on cap. Piston Filler Operated. The Pen: I chose the Classic Green just because I don’t have many green pens. It is the well-known Green Freckled material with lots of random sparkly bits (? Cellulose Acetate) and with Gold Trim. The pen is of a good size, comparable to large pens. Here are some size comparisons. (L to R): Platinum 3776 Kawaguchi, Omas Ogiva Alba, New Conway Stewart Model 100, Mont Blanc 149, Lamy Safari. The pen seems to have the Classic Model 100 Shape; I do not have the original for comparison. The Golden Trim I was told is Gold plated. The thicker Cap band has a Greek Key Motif and the New Conway Stewart Branding. The barrel tapers gradually and there is no Engraving like previous Conway Stewart pens. The cap takes exactly 1 complete turn to open and posts securely. In hand the pen feels well made with tight tolerances, fit and finish. The material does not feel plasticy and the pen has a pleasant weight to it. The balance is towards the barrel end but I find that it rests well on the web of my hand. The cap is light and posting the pen does not alter the balance. The posted size is very comfortable too. The section might be considered a bit short. It has flare towards the nib and the difference in thickness of the section is 2mm. The cap threads are polished and do not prevent you from gripping the pen over them. Filling System: The end of the barrel has the Piston Turning knob. I think this pen has a Captive Converter Piston. The knob does not move away from the barrel during operation as usual Piston fillers eg. MB 149, Lamy 2000. The piston action has been very smooth and the ink capacity is around 1.2ml. The Nib: The Nib is 18k Gold with engraving similar to the New Eversharp Decoband. Visually the difference between the glossy and matte areas is very striking. This is one of the few nibs that looks good with Nib Creep but also a pain in the butt if you like to keep your nibs pristine after inking.Compared to the Vintage Nib which I always found a bit boring, I like this better. Due to the limited number pens available for sale at the show I could only get a Medium nib whereas I prefer Broad Nibs. I did a dip test and was happy with the performance. The nib was very smooth out of the box, an 8/10 on wetness and soft. Then Manu points out that the nib is pretty soft and suggests I push it a bit! And I was sold. Writing Sample below. The last 3 lines were written with the Vintage Conway Stewart nib. I feel the people behind Eversharp’s Flex nibs might be behind this nib too and I feel the variation would be more apparent if the nib was a Fine to begin with. Compared to the Vintage Nib, the new one gives out more line variation when pushed and feels more soft/springy during regular writing. I might go as far as to say that the New CS Nib has equal, if not more, variation that a recent Flex Nib from an Italian Manufacturer! Having tried both at the L.A Pen Show. Size comparison to a Conway Stewart Wordsworth: The Little Things: The Cap Finial on my pen is dark brown in color with a bit of marbling. Would have been better if it was solid black or same color as the rest of the pen. The Clip is very secure. The capping/uncapping motion is very smooth. The flare on the section seems to create an air tight space like the Slip and Seal System found in Platinum pens. I have not faced any dry starts on this pen. The Greek Key cap band has ITALY marked on it! An ink window is sorely missed. The Piston knob has a mild resistance at the 2 extreme positions but continues to turn even beyond this point. Might this damage the mechanism over time? Conclusion: This being my first “Show Pen” it will be treasured always and being an almost perfect pen for me It has managed to be always inked. I do not know what the Retail price of the pen will be but for the sub $400 price I paid for it I am completely happy with it. The Conway Stewart Material, piston converter, and of course the Star of the Show, the Nib make for a good $400-500 Pen. Looking at the “New” Conway Stewart as a company it obviously has a lot of Italian influences behind it. I guess the British Heritage behind the name should be forgotten and the New Model 100 makes a good case for it.
  24. daveallw

    Joined Today In Plymouth Uk

    I used to work t Conway Stewart in early 2003 for a few months as one of their Laser Engravers until I was made redundant. Just found this site and joined today whilst researching a Conway Stewart Cracked Ice 24 that came into my business yesterday. I gather from some comments I am getting I have been posting details of some of my pens in the wrong forum. "Chatter"
  25. Hi all. Today I bought a Conway Stewart 466 lever filler from an antiques market. The pen is in nice condition and fills properly, but when writing with it it feels "scratchy" to me - at least compared to my TWSBI Eco(F). The pen has a 14ct gold nib(not sure of the size) and it is a flex nib. However, the nib looks like this: http://i.imgur.com/6rZpQNp.jpg?1 (Apologies for the slightly poor out-of-focus picture) Is the nib supposed to have that subtle "bend" in it at the end? Or am I just using a flex nib wrong? I gave the pen to my mother to try(she writes with a "straighter" grip with the pen more perpendicular to the paper if that makes sense) and she said it was fine but I could still hear it audibly scratching a fair amount. Is the nib at fault here or am I just failing to use a flex nib pen?





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