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A custom patterned steel knife, made by Erick Crolet using our goldwood celluloid, with trim bands of ivory celluloid.  Note that celluloid permits the use of concealed rivets, for an uninterrupted handle surface.

Edison Pen in ivory celluloid


Edison Pen in transparent tortoiseshell celluloid
Edison Pen in dark tortoiseshell celluloid

Above are three pens made by Brian Gray of the Edison Pen Co using samples of our celluloid stock in  imitation ivory and transparent tortoiseshell.


An Oldwin prototype, sans nib and clip, turned from our transparent tortoiseshell.  Read more about Oldwin pens here, or go straight to the source at Mora Stylos in Paris.

Swan pen
Congress pen

The pens above date to the later 1930s.  Both are made from celluloid tubing, made by wrapping a strip of sheet stock helically around a mandrel.  The Swan, at top, has its ends plugged.  The Congress, below, has its ends closed by heat forming and solvent welding.  The pen cap at the left below shows how neatly this could be done -- though as the celluloid ages, the solvent-welded joints often become more apparent, and may even open up.  The cap in the middle below is from an Eversharp Doric, c. 1932; the construction using tubing and a matching plug is clearly visible.  The polygonal profile was not machined, but was formed by heat and pressure in a mold.


At the right above is the barrel from a mid-1930s Sheaffer.  Note that the transparent striations were originally totally clear; where they were exposed to ink and deteriorating rubber filler seals, however, they have yellowed.  At the barrel mouth the original color is visible where the celluloid was protected from exposure to ink.  This is a good illustration of color stability over time.

The discoloration of the 1920s Sheaffer above is primarily the result of outgassing from a rotting rubber ink sac.  Where the material was protected from these fumes, however, the original jade green is still vivid over 80 years later.  The gold filled cap bands are also still tight and secure - a good indication of the long-term dimensional stability of properly-seasoned celluloid.  The same observations apply to the well-used black and pearl Sheaffer Balance from 1929 shown below.

1929 Sheaffer Balance

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