6 replies to this topic

[penmanila]

I bit the bullet last night as grabbed this set off eBay when I saw it being sold BIN for for $185. 

 

http://www.ebay.com/...=STRK:MEBIDX:IT

 

 

 

My read is that this is an early Doric set in Morocco, full-sized at 5-1/4". Seems to me to be in pretty good shape. Thankfully it's a lever filler so resaccing should be pretty straightforward. The nib is a Gold Seal Manifold.

 

Am I missing something or is there anything I should keep in mind when I resac the pen?

 

Thanks in advance for any comments

Edited by penmanila, 28 June 2015 - 05:50 AM.

[david i]

Nice find. At least a standard. Lovely color is Morocco. As with some of the other Doric early colors, it is a bit chemically at risk.

 

regards

 

david

[penmanila]

thanks, david--thankfully there doesn't seem to be any crazing yet on the tips, although of course have to see the pen (maybe in a month) to be sure. would you or anyone know if we can take any active measures to prevent or postpone crazing, or is that something we leave to the fates?

[david i]

We've posted here some celluloid preservation articles. Not sure this is that article, but this one offers:

 

 

4.4 STORAGE, EXHIBIT ENVIRONMENT

The instability of celluloid is both inherent and environmental. If the environment of a celluloid object, in storage or on exhibit, is adequately controlled, deterioration may be slowed but never entirely halted. The chemical and physical characteristics of celluloid deterioration indicate that an ideal environment for celluloid objects would include:

1. low relative humidity to slow degradation due to denitration and hydrolysis, slow acid formation, and reduce dimensional changes
2. low temperature to slow the rate of deterioration, crystallization, and denitration
3. continual air exchange to help carry away gaseous autocatalytic deterioration products
4. no other cellulosic materials in proximity. Tissues, boxes, etc., will deteriorate rapidly, in proximity to celluloid, add to the risk of a fire, and complicate ongoing degradation
5. acid-resistant cases and cabinets to protect against rusting
6. devices that exclude or at least filter ultraviolet and other radiation such as Plexiglas UF 3
7. nonmetallic object containers (boxes, trays) made of glass, ceramic, or acid-resistant plastic. Metallic containers corrode and may lead to gelation of the celluloid.
8. protection from contact with the metallic oxides and salts of lead, calcium, arsenic, tin, iron, copper, and zinc. For example, if deteriorated celluloid becomes dissolved in moisture absorbed from the atmosphere or in liquid deterioration products, the metallic oxides of calcium in calcium-buffered materials can irreversibly gel the softened or dissolved celluloid.
9. an acid-absorbing material in the storage or exhibit space to react with the acids formed during deterioration (CaCO3 is one possibility if it is not in contact with the celluloid)
10. separate storage to prevent damage to other materials by the degradation products of the celluloid

5 CONCLUSION

THERE IS very little concrete and practical information available on the treatment and storage of celluloid. Research into its compatibility with other resins and compounds would allow more specific treatment recommendations, and experimentation with storage materials and containers would allow more specific housing suggestions. An examination of environmental control techniques for cases and storage units may provide ideas for maximum protection of celluloid objects from inherent and environmental degradation.

Celluloid is a material from which new information and techniques will grow. As the myriad synthetic polymers around us age and gain historical and even ethnographic (if not archaeological) value, conservators will be increasingly faced with a new class of materials that require treatment and care. If conservators are to be prepared to face the treatment, housing, and exhibition needs of plastics, they must begin research and experimentation now. For many celluloid objects it is already too late.

 

[david i]

If this one has wholly intact celluloid, could consider not resacing it, keeping it with cap open.  Could argue to remove section, but my fear there is that differential shrinkage could make tough to re-insert in few years.

 

Note the article mentiones to keep celluloid away from celluloid.  A real problem when one has 4000 pens.  Could that contribute to the stories of collectors' drawer trays of Dorics developing problems in concert, after  70 years?

 

regards

 

d

[penmanila]

many thanks again, that's very helpful. as this pen will almost certainly outlast me, i'll probably decide to enjoy it

[david i]

Sounds good

 

-d