I happened to notice this auction, which ends in less than four hours. It's a shame that the cap has a major crack, because this is probably the best color I've ever seen on this plastic. This plastic is notorious for discoloring and almost every example has a dark brown barrel. It's not my genre of collecting, but it would make sense to pick this one up and find a decent cap to go with it. The barrel is a rock star. I have no connection with it whatsoever.
Fabulous color Parker Moderne
Started by John Danza, Apr 26 2013 10:32 PM
10 replies to this topic
#2
david i
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Posted 26 April 2013 - 10:35 PM
I happened to notice this auction, which ends in less than four hours. It's a shame that the cap has a major crack, because this is probably the best color I've ever seen on this plastic. This plastic is notorious for discoloring and almost every example has a dark brown barrel. It's not my genre of collecting, but it would make sense to pick this one up and find a decent cap to go with it. The barrel is a rock star. I have no connection with it whatsoever.
Agreed. If ( a big IF) it sells reasonably, there is a modest chance to find a cap, via a more typical "good cap, crappy barrel color" donor pen.
regards
david
David R. Isaacson MD. Website: VACUMANIA.com for quality old pens with full warranty.
Email: isaacson@frontiernet.net
Email: isaacson@frontiernet.net
#3
Procyon
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Posted 27 April 2013 - 03:41 AM
Question for John:
The pen companies seemed to like to use the word "Moderne" in the 20's and 30's. Waterman used it for the overlay that most collectors call "Night and Day" these days. Parker used it for the introduction of their black and pearl Duofolds. I have always associated it with Duofolds, and not the "Thrift Time" pens. However the pen you are referring to on eBay is one of those.
So, does "Moderne" refer to the actual celluloid color and pattern? or to the pen? The celluloid used for the Black and Pearl Duofolds, apparently a response to a similar color advanced by Sheaffer, was much more adventurous than their competitors, and included some compounds developed from actual fish scales, which gave an incredible pearlesent quality. Unfortunately, these tended to turn an amber color in actual use. So, I am wondering if the Thrift Time pens, such as the one on eBay, use the exact same celluloid as the earlier Duofolds.
If so, I certainly agree that the one you have pointed out has exceptional color! I am amazed how few of these Depression pens seem to show up. There were many great colors offered in the Thrift Time pens, and they don't seem to show up very often on eBay. Maybe I am not searching in the right way - I would like to see more of them.
The pen companies seemed to like to use the word "Moderne" in the 20's and 30's. Waterman used it for the overlay that most collectors call "Night and Day" these days. Parker used it for the introduction of their black and pearl Duofolds. I have always associated it with Duofolds, and not the "Thrift Time" pens. However the pen you are referring to on eBay is one of those.
So, does "Moderne" refer to the actual celluloid color and pattern? or to the pen? The celluloid used for the Black and Pearl Duofolds, apparently a response to a similar color advanced by Sheaffer, was much more adventurous than their competitors, and included some compounds developed from actual fish scales, which gave an incredible pearlesent quality. Unfortunately, these tended to turn an amber color in actual use. So, I am wondering if the Thrift Time pens, such as the one on eBay, use the exact same celluloid as the earlier Duofolds.
If so, I certainly agree that the one you have pointed out has exceptional color! I am amazed how few of these Depression pens seem to show up. There were many great colors offered in the Thrift Time pens, and they don't seem to show up very often on eBay. Maybe I am not searching in the right way - I would like to see more of them.
Schrödinger's cat walks into a bar. And doesn't.
Regards,
Allan
#4
david i
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Posted 27 April 2013 - 03:56 AM
From the Internet:
moderne [məˈdɛən]adj (Fine Arts & Visual Arts / Architecture) Chiefly US of or relating to the style of architecture and design, prevalent in Europe and the US in the late 1920s and 1930s, typified by the use of straight lines, tubular chromed steel frames, contrasting inlaid woods, etc.
Streamline Moderne
Main article: Streamline Moderne A style related to Art Deco is Streamline Moderne (or Streamline) which emerged during the 1930s. Streamline was influenced by modern aerodynamic principles developed for aviation and ballistics to reduce air friction at high velocities. Designers applied these principles to cars, trains, ships, and even objects not intended to move such as refrigerators, gas pumps, and buildings.[14]
One of the first production vehicles in this style was the Chrysler Airflow of 1933. It was unsuccessful commercially but the beauty and functionality of its design set a precedent.[37]
Streamlining quickly influenced automotive design and evolved the rectangular "horseless carriage" into sleek vehicles with aerodynamic lines, symmetry, and V-shapes. These designs continued to be popular after World War II.[38][39][40]
In Germany two variations of art deco flourished in the 1920s and 30s: The Neue Sachlichkeit (New Objectivity) employed the same curving horizontal lines and nautical motifs that are known as Streamline Moderne in the Anglophone world. While Neue Sachlichkeit was rather austere and reduced (eventually merging with the Bauhaus style), Expressionist architecture came up with a more emotional use of shapes, colours and textures, partly reinterpreting shapes from the Germany and Baltic Brick Gothic style. Notable examples are Erich Mendelsohn's Mossehaus and Schaubühne theater in Berlin, Fritz Höger's Chilehaus in Hamburg and his Kirche am Hohenzollernplatz in Berlin, the Anzeiger Tower in Hannover and the Borsig Tower in Berlin. Art deco architecture was revived in the late-20th century by architects like Hans Kollhoff (see his tower on Potsdamer Platz), Jan Kleihues and Tobias Nöfer.
One of the largest art deco buildings in Western Europe is the Basilica of the Sacred Heart in Koekelberg, Brussels. In 1925, architect Albert van Huffel won the Grand Prize for Architecture with his scale model of the basilica at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris.[
Art Deco Vs. Art Moderne
The Difference Between Two Often Confused Styles
he term Art Deco is often applied to furniture from the 1920s through the 1940s. So is the term Art Moderne. Understanding the difference between the two isn't always easy - especially since, just to add to the confusion, Art Deco was actually called Moderne in its own time, and today, much of what's technically Moderne is called Art Deco. Here, we unravel the difference between these two styles. ART DECO
The style known today as Art Deco (a term actually coined in the 1960s) hit the world in 1925, at the Paris Exposition Internationale des Arts Décoratifs et Industriels, a sort of world's fair for furniture - though it had actually begun to develop several years earlier (the Exposition had been planned for 1915, but was delayed by the onset of World War I). Art Deco built on the stylized, cleanly lined forms of immediate style predecessors Art Nouveau and Jugendstil. Whole books can be (and have been) written on the various influences on Art Deco, which range from Greco-Roman to Egyptian to Asian. From Greek and Roman architecture came the ideals of proportion and balance; from Egyptian art, a two-dimensional silhouette; from lacquered Asian artifacts, a shiny, glossy finish. Some of Art Deco's leading designers, such as Emile-Jacques Ruhlmann, were additionally influenced by late 18th-century furniture-making (whose aesthetic also hearkened back to Antiquity) - specifically, a sense of lightness and the use of contrasting inlays.
Just because they were simplified and stylized, however, doesn't mean that Art Deco pieces were plain or Spartan. Its practitioners were not form-follows-function guys (in fact, some of the furniture designed by architect Frank Lloyd Wright was notoriously unfunctional). Art Deco designers were all for ornamentation - just a different, more restrained kind of ornamentation. Victorians loved to stick stuff onto furniture, to embellish basic frames and shapes. In Art Deco, the texture and embellishment came from contrasts in the materials - variously colored woods and inlays - or in the material itself: burled or birds-eye or visibly grained woods, tortoise shell, ivory, tooled leathers. Lacquered glosses accentuated color differences. Animal skins and patterned fabrics in bright colors were popular too.
Like the Jazz Era in which it thrived, Art Deco furniture conveys a sense of dash and lightness. Some of that sensation derives from the lively patterns of its wood or upholstery; some derives from the contrasting shapes contained with a piece. A square table-top might sit on a lyre-shaped base, for example, or a kidney-shaped desk might stand on four ramrod-straight legs.
Along with Ruhlmann, the dominant names in Art Deco include Paul Follot, Jules Lelou and the design firms of Süe et Mare and Dominique.
ART MODERNE
If Art Deco has its roots in France, Art Moderne (also known as American Moderne or Modernist) is native to the United States, dating approximately from the early 1930s and lasting until the 1940s. And it shares many of the qualities associated with the country in that period: bigger, bolder, and brassier - literally.
Think of Art Moderne as Art Deco on steroids. Art Deco placed an emphasis on shape and absence of superfluity, but Moderne was positively streamlined (a hot new scientific theory of the time: the shaping of objects along curving lines to cut wind resistance and make them move more efficiently). The furniture is much more pared or stripped down, making all the more prominent its geometric outline (especially beloved: a swelling curve, like a tear drop or torpedo). Moderne designers often conceived pieces as a series of escalating levels - breakfronts were big - similar to a staircase or the setback effect of those newfangled skyscrapers that were arising in every city. Some of Moderne's most iconic pieces, designed by Paul Frankl, were actually called "Skyscraper" furniture (see photo, More Images).
Moderne subscribed to an ideal of the machine-made. Much of it was designed to be mass-produced, but even if it wasn't, it looked as if it could be: Art Deco's balance and proportion extended to regularity and repetition. Much of the decorative interest in a Moderne piece comes from the precision of line and duplication of functional features - handles, knobs, bolts. Otherwise, surfaces are often plain, with even less detail than in Deco pieces. Instead, as befits the contemporary sense of a speeded-up world, Moderne furniture often conveys a sense of motion - in a table's tiered levels, or the jutting thrust of a club chair's arms.
Though light and uncluttered, Moderne pieces never seem skimpy, thanks to the sensuality of their rounded, curvaceous forms. As in Art Deco furniture, big use is made of color contrasts, especially black and white, and contrasting materials - not just to different woods, but chrome, metal and plastics. Slick, shiny surfaces continue to predominate, giving furniture the gloss of a new machine.
Like the Austrian-born Frankl, many Moderne designers (K.E.M Weber, Josef Urban) were in fact European émigrés. Other major Moderne names include Paul Fuller, Donald Deskey, Norman Bel Geddes and Russel Wright.
Summing Up
Admittedly, Art Deco and Art Moderne overlap, both stylistically and chronologically (Frankl's first Skyscraper furniture, for example, dates from the late 1920s). Of the two, Art Deco is the more familiar term. In his Art Deco of the 20s and 30s, furniture historian Bevis Hillier applies it to both styles throughout the between-the-wars period, characterizing the earlier 1915-1930 version as feminine, and the later, 1931-1945, as masculine. But other historians, and many antiques dealers, reserve the term for furniture (usually European-designed) of the mid-teens and 1920s; the streamlined modes of the 1930s are, strictly speaking, Moderne - especially with American pieces.
But in the end, it's more a question of style than dates. Think of Art Deco as chic, Moderne as sleek. Or Art Deco as organic, Moderne as mechanic, the former reveling in restrained craftsmanship, the latter a celebration of geometric shape, as precise as only a machine can make
regards
d
moderne [məˈdɛən]adj (Fine Arts & Visual Arts / Architecture) Chiefly US of or relating to the style of architecture and design, prevalent in Europe and the US in the late 1920s and 1930s, typified by the use of straight lines, tubular chromed steel frames, contrasting inlaid woods, etc.
Streamline Moderne
Main article: Streamline Moderne A style related to Art Deco is Streamline Moderne (or Streamline) which emerged during the 1930s. Streamline was influenced by modern aerodynamic principles developed for aviation and ballistics to reduce air friction at high velocities. Designers applied these principles to cars, trains, ships, and even objects not intended to move such as refrigerators, gas pumps, and buildings.[14]
One of the first production vehicles in this style was the Chrysler Airflow of 1933. It was unsuccessful commercially but the beauty and functionality of its design set a precedent.[37]
Streamlining quickly influenced automotive design and evolved the rectangular "horseless carriage" into sleek vehicles with aerodynamic lines, symmetry, and V-shapes. These designs continued to be popular after World War II.[38][39][40]
In Germany two variations of art deco flourished in the 1920s and 30s: The Neue Sachlichkeit (New Objectivity) employed the same curving horizontal lines and nautical motifs that are known as Streamline Moderne in the Anglophone world. While Neue Sachlichkeit was rather austere and reduced (eventually merging with the Bauhaus style), Expressionist architecture came up with a more emotional use of shapes, colours and textures, partly reinterpreting shapes from the Germany and Baltic Brick Gothic style. Notable examples are Erich Mendelsohn's Mossehaus and Schaubühne theater in Berlin, Fritz Höger's Chilehaus in Hamburg and his Kirche am Hohenzollernplatz in Berlin, the Anzeiger Tower in Hannover and the Borsig Tower in Berlin. Art deco architecture was revived in the late-20th century by architects like Hans Kollhoff (see his tower on Potsdamer Platz), Jan Kleihues and Tobias Nöfer.
One of the largest art deco buildings in Western Europe is the Basilica of the Sacred Heart in Koekelberg, Brussels. In 1925, architect Albert van Huffel won the Grand Prize for Architecture with his scale model of the basilica at the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris.[
Art Deco Vs. Art Moderne
The Difference Between Two Often Confused Styles
he term Art Deco is often applied to furniture from the 1920s through the 1940s. So is the term Art Moderne. Understanding the difference between the two isn't always easy - especially since, just to add to the confusion, Art Deco was actually called Moderne in its own time, and today, much of what's technically Moderne is called Art Deco. Here, we unravel the difference between these two styles. ART DECO
The style known today as Art Deco (a term actually coined in the 1960s) hit the world in 1925, at the Paris Exposition Internationale des Arts Décoratifs et Industriels, a sort of world's fair for furniture - though it had actually begun to develop several years earlier (the Exposition had been planned for 1915, but was delayed by the onset of World War I). Art Deco built on the stylized, cleanly lined forms of immediate style predecessors Art Nouveau and Jugendstil. Whole books can be (and have been) written on the various influences on Art Deco, which range from Greco-Roman to Egyptian to Asian. From Greek and Roman architecture came the ideals of proportion and balance; from Egyptian art, a two-dimensional silhouette; from lacquered Asian artifacts, a shiny, glossy finish. Some of Art Deco's leading designers, such as Emile-Jacques Ruhlmann, were additionally influenced by late 18th-century furniture-making (whose aesthetic also hearkened back to Antiquity) - specifically, a sense of lightness and the use of contrasting inlays.
Just because they were simplified and stylized, however, doesn't mean that Art Deco pieces were plain or Spartan. Its practitioners were not form-follows-function guys (in fact, some of the furniture designed by architect Frank Lloyd Wright was notoriously unfunctional). Art Deco designers were all for ornamentation - just a different, more restrained kind of ornamentation. Victorians loved to stick stuff onto furniture, to embellish basic frames and shapes. In Art Deco, the texture and embellishment came from contrasts in the materials - variously colored woods and inlays - or in the material itself: burled or birds-eye or visibly grained woods, tortoise shell, ivory, tooled leathers. Lacquered glosses accentuated color differences. Animal skins and patterned fabrics in bright colors were popular too.
Like the Jazz Era in which it thrived, Art Deco furniture conveys a sense of dash and lightness. Some of that sensation derives from the lively patterns of its wood or upholstery; some derives from the contrasting shapes contained with a piece. A square table-top might sit on a lyre-shaped base, for example, or a kidney-shaped desk might stand on four ramrod-straight legs.
Along with Ruhlmann, the dominant names in Art Deco include Paul Follot, Jules Lelou and the design firms of Süe et Mare and Dominique.
ART MODERNE
If Art Deco has its roots in France, Art Moderne (also known as American Moderne or Modernist) is native to the United States, dating approximately from the early 1930s and lasting until the 1940s. And it shares many of the qualities associated with the country in that period: bigger, bolder, and brassier - literally.
Think of Art Moderne as Art Deco on steroids. Art Deco placed an emphasis on shape and absence of superfluity, but Moderne was positively streamlined (a hot new scientific theory of the time: the shaping of objects along curving lines to cut wind resistance and make them move more efficiently). The furniture is much more pared or stripped down, making all the more prominent its geometric outline (especially beloved: a swelling curve, like a tear drop or torpedo). Moderne designers often conceived pieces as a series of escalating levels - breakfronts were big - similar to a staircase or the setback effect of those newfangled skyscrapers that were arising in every city. Some of Moderne's most iconic pieces, designed by Paul Frankl, were actually called "Skyscraper" furniture (see photo, More Images).
Moderne subscribed to an ideal of the machine-made. Much of it was designed to be mass-produced, but even if it wasn't, it looked as if it could be: Art Deco's balance and proportion extended to regularity and repetition. Much of the decorative interest in a Moderne piece comes from the precision of line and duplication of functional features - handles, knobs, bolts. Otherwise, surfaces are often plain, with even less detail than in Deco pieces. Instead, as befits the contemporary sense of a speeded-up world, Moderne furniture often conveys a sense of motion - in a table's tiered levels, or the jutting thrust of a club chair's arms.
Though light and uncluttered, Moderne pieces never seem skimpy, thanks to the sensuality of their rounded, curvaceous forms. As in Art Deco furniture, big use is made of color contrasts, especially black and white, and contrasting materials - not just to different woods, but chrome, metal and plastics. Slick, shiny surfaces continue to predominate, giving furniture the gloss of a new machine.
Like the Austrian-born Frankl, many Moderne designers (K.E.M Weber, Josef Urban) were in fact European émigrés. Other major Moderne names include Paul Fuller, Donald Deskey, Norman Bel Geddes and Russel Wright.
Summing Up
Admittedly, Art Deco and Art Moderne overlap, both stylistically and chronologically (Frankl's first Skyscraper furniture, for example, dates from the late 1920s). Of the two, Art Deco is the more familiar term. In his Art Deco of the 20s and 30s, furniture historian Bevis Hillier applies it to both styles throughout the between-the-wars period, characterizing the earlier 1915-1930 version as feminine, and the later, 1931-1945, as masculine. But other historians, and many antiques dealers, reserve the term for furniture (usually European-designed) of the mid-teens and 1920s; the streamlined modes of the 1930s are, strictly speaking, Moderne - especially with American pieces.
But in the end, it's more a question of style than dates. Think of Art Deco as chic, Moderne as sleek. Or Art Deco as organic, Moderne as mechanic, the former reveling in restrained craftsmanship, the latter a celebration of geometric shape, as precise as only a machine can make
regards
d
David R. Isaacson MD. Website: VACUMANIA.com for quality old pens with full warranty.
Email: isaacson@frontiernet.net
Email: isaacson@frontiernet.net
#5
Procyon
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Posted 27 April 2013 - 04:21 AM
Interesting, David ( dang, at first I was sure that that came from your fertile brain, and not the internet). 
I have enough trouble sorting out Art Nouveau and Art Deco, and now you tell me I have to distinguish Art Moderne from those first two! Damn it! I am just a Physicist!
By the way, if you want to get picky - the Parker Black and Pearl celluloid looks more Art Nouveau than Moderne. I think they were overreaching. In fact, it looks totally organic - a characteristic of Art Nouveau. By God, now that I think about it, the composition is even organic - fish scales! Totally misnamed!
I have enough trouble sorting out Art Nouveau and Art Deco, and now you tell me I have to distinguish Art Moderne from those first two! Damn it! I am just a Physicist!
By the way, if you want to get picky - the Parker Black and Pearl celluloid looks more Art Nouveau than Moderne. I think they were overreaching. In fact, it looks totally organic - a characteristic of Art Nouveau. By God, now that I think about it, the composition is even organic - fish scales! Totally misnamed!
Edited by Procyon, 27 April 2013 - 04:48 AM.
Schrödinger's cat walks into a bar. And doesn't.
Regards,
Allan
#6
John Danza
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Posted 27 April 2013 - 04:56 AM
Question for John:
The pen companies seemed to like to use the word "Moderne" in the 20's and 30's. Waterman used it for the overlay that most collectors call "Night and Day" these days. Parker used it for the introduction of their black and pearl Duofolds. I have always associated it with Duofolds, and not the "Thrift Time" pens. However the pen you are referring to on eBay is one of those.
So, does "Moderne" refer to the actual celluloid color and pattern? or to the pen? The celluloid used for the Black and Pearl Duofolds, apparently a response to a similar color advanced by Sheaffer, was much more adventurous than their competitors, and included some compounds developed from actual fish scales, which gave an incredible pearlesent quality. Unfortunately, these tended to turn an amber color in actual use. So, I am wondering if the Thrift Time pens, such as the one on eBay, use the exact same celluloid as the earlier Duofolds.
If so, I certainly agree that the one you have pointed out has exceptional color! I am amazed how few of these Depression pens seem to show up. There were many great colors offered in the Thrift Time pens, and they don't seem to show up very often on eBay. Maybe I am not searching in the right way - I would like to see more of them.
Hi Allen,
These pens are not really my forte, although I do like the colors and had accumulated (more than collected) some in the past. My recollection on the term Moderne for the actual model comes I believe from Parker advertisements from the early 1930s, with an additional, larger model termed Premier, made from the same types of plastic (colorful, but not the same patterns) as the $3.50 pens. Sorry I can't be more specific than that. Perhaps someone else with more info on these will chime in.
John Danza
"Positive attitude makes for good decisions, but bad decisions make for great stories."
#7
Deb
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Posted 27 April 2013 - 09:22 AM
The pen companies seemed to like to use the word "Moderne" in the 20's and 30's. Waterman used it for the overlay that most collectors call "Night and Day" these days. Parker used it for the introduction of their black and pearl Duofolds. I have always associated it with Duofolds, and not the "Thrift Time" pens. However the pen you are referring to on eBay is one of those.
Here's another Moderne, this one by Mentmore, photographed alongside its Parker namesake. It appeared a couple of years after the Parker. These pens are not common now, especially in this cream and black pattern.
#8
David Nishimura
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Posted 27 April 2013 - 01:49 PM
I'm not certain about this, but the designations Moderne and Premier as applied to the so-called Thrift pens may be exclusively Canadian and British.
They are definitely the model names used in Parker catalogs and advertisements from Canada and the UK; whether they were also sometimes used in the USA is what I cannot recall with confidence.
They are definitely the model names used in Parker catalogs and advertisements from Canada and the UK; whether they were also sometimes used in the USA is what I cannot recall with confidence.
#9
david i
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Posted 27 April 2013 - 02:12 PM
I'm not certain about this, but the designations Moderne and Premier as applied to the so-called Thrift pens may be exclusively Canadian and British.
They are definitely the model names used in Parker catalogs and advertisements from Canada and the UK; whether they were also sometimes used in the USA is what I cannot recall with confidence.
Canadian pens often (not sure if always) are stamped "Premier" and "Modern" for the appropriate 1932-6 pens such as the example in the first post. I've seen no USA Parker info citing the names, and of course pens of this sort from the USA have just the bland "Parker" imprint.
Clearly, though, Moderne was a period art/style concept, which transcended pen names, rather like "Speedline", a term used in the late 1930's (as you know of course) with at least three pen brands, a term quite popular in transportation circles.
regards
david
David R. Isaacson MD. Website: VACUMANIA.com for quality old pens with full warranty.
Email: isaacson@frontiernet.net
Email: isaacson@frontiernet.net
#10
Rard
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Posted 27 May 2013 - 02:41 AM
I have recently collected a few of these pens and would like to share them with you. From what I understand they are as follows: from left to right,
1. Pearl and Black vein Parker Duofold Snr made in Canada (missing the pocket clip, discoloured barrel and cap).
2. Pearl and Black vein Parker Duofold Jnr made in the USA.
3. Pearl and green vein Parker Duofold Juniorette made in Canada.
4. Unmarked pen of identical size and dimensions to the Pearl and Black vein Parker Duofold Jnr but it has an English Warranted 14ct Gold nib.
Could someone please tell me which is a "Moderne" and which is not. I just love the coulours. I have removed all sac's so that they do not suffer any further discolouration as some were supplied fitted with latex sac's.
Your comments on my little Parker collection would be appreciated.
Regards
Rard
1. Pearl and Black vein Parker Duofold Snr made in Canada (missing the pocket clip, discoloured barrel and cap).
2. Pearl and Black vein Parker Duofold Jnr made in the USA.
3. Pearl and green vein Parker Duofold Juniorette made in Canada.
4. Unmarked pen of identical size and dimensions to the Pearl and Black vein Parker Duofold Jnr but it has an English Warranted 14ct Gold nib.
Could someone please tell me which is a "Moderne" and which is not. I just love the coulours. I have removed all sac's so that they do not suffer any further discolouration as some were supplied fitted with latex sac's.
Your comments on my little Parker collection would be appreciated.
Regards
Rard
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#11
John Jenkins
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Posted 01 June 2013 - 03:04 AM
Canadian pens often (not sure if always) are stamped "Premier" and "Modern" for the appropriate 1932-6 pens such as the example in the first post. I've seen no USA Parker info citing the names, and of course pens of this sort from the USA have just the bland "Parker" imprint.
regards
david
I think David has typo-ed above. The Canadians were imprinted "Premiere" & "Moderne" both with an "e". I've done a fairly extensive survey of these pens and haven't seen a single instance of pens stamped Premiere or Moderne that were not Canadian.
The OP's pen is interesting in that it is found in Black & Pearl as shown, and Black & Cream without the pearlescent. It is also found in Blue & Pearl (or maybe cream, I don't have one to check
)Cool pens & pencils. I like 'em a lot.
JJ
Edited by John Jenkins, 01 June 2013 - 03:04 AM.
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