Black Craze in Deco

Adored by Langston Hughes, F. Scott Fitzgerald, Pablo Picasso, Ernest Hemingway and Christian Dior, Hemingway called her the most sensational woman anyone ever saw. American dancer, singer and actress Josephine Baker was idolized in her adopted homeland of France. She became an instant success in 1925 at the Théâtre des Champs-Élysées after her opening in La Revue Nègre in which she introduced a new dance called the Charleston. In a later run at the Folies Bergères she solidified her fame and set the standard for erotic dance reviews. Baker’s success coincided with the Exposition des Arts Décoratifs in 1925, an event which defined the term Art Deco, and in fortunate timing France was seeing a renewal of interest in ethnic art forms, particular those from Africa. As a result of this timing, Josephine Baker became a perfect model for the fashion and style popular in France.

Four years later, Baker’s one-time lover and lifelong friend Paul Colin published a portfolio of lithographs called Le Tumulte noir (The Black Craze) which captured the exuberance of jazz music that so electrified Paris. Colin’s career in graphic design was launched by his poster advertising La Revue Nègre, one that was such a success he was asked to join the theater’s artistic staff. Twelve of the lithographs from Colin’s portfolio are shown below. The work was inspired by African sculpture, Cubism and the new Art Deco modernism.

Cartier Platinum 1847

Few can seriously doubt the quality of anything made by Louis Cartier. History and reputation almost guarantee that jewelry or otherwise bearing the Cartier logo is going to be of the highest quality, made by top craftsmen of the finest materials. There is no blurring of that line when it comes to a Louis Cartier fountain pen, especially a limited edition fountain pen commemorating the company’s 150th year.

The 1997 Louis Cartier Art Deco stylo plume in platinum finish with blue lacquer is a pen many might call a formidable handful. It’s big, it’s heavy and it’s expensive, a lot to pay for a fountain pen. I have no doubt it’s worth the high price, but the one on the desk before me now is not my fountain pen. In September of last year I wrote (here) about a friend who collects fountain pens, a collector who rather than using his pens enjoys looking at them, and from time to time holding them and admiring their design. When it comes to writing I have the feeling he is probably satisfied with a plastic giveaway ballpoint from the AAA Insurance Company. No criticism there; many of us do the same with things other than fountain pens.

Luckily for me this friend loans me his fountain pens to try out and pass on my impressions of how they perform. It’s pleasure enough for me to use, fiddle with, play with and research the pens for a couple of weeks. I doubt there are many who would freely hand over a valuable pen and say, “Here…have fun with it and tell me later how it writes.”

The platinum finish and blue lacquer Art Deco pen from Cartier is first of all a beautiful creation. (apologies for the poor photos.) The platinum finish almost makes sterling silver look like a weak sister and the two blue lacquer rings are a perfect measure of contrast. The base of the clip has the cartier ‘C’ in relief, and the bottom of the cap has the name Louis Cartier engraved, as well as the registered number of the pen. This one shows it is number 0499 of 1847 made.

The very large nib is platinum-plated 18 carat gold, also with the Cartier logo. This one is a medium nib, which happens to be my preferred size. The pen uses both cartridges and a converter, both included at purchase. Interesting to me were the instructions to always put two cartridges in—one into the feed and another on top to hold the open cartridge snug against the feed. I passed on the supplied black cartridges and instead filled the converter with Noodler’s Bay State Blue. Like other cartridges I have encountered the Cartier cartridge (most certainly made and supplied by someone other than Cartier) is difficult to fill. In the end I took it out and filled it with a needle-nose dropper.

The pen measures a shade over 5.5 inches (14.2cm) with the cap on, and a little under 6.5 inches (16.5cm) posted. I was unable to determine the exact weight of the pen, but with all the platinum plating it is weighty—heavier than any of the other forty pens around this house. It’s too heavy for a shirt pocket and I expect it might be uncomfortable in small hands. Possible I am mistaken about that, but it is nonetheless a hefty consideration.

On the subject of ink…

There is a lot of excitement in the pen and ink community over Noodler’s Bay State Blue. A couple of comments: This ink will stain everything it touches—hands, clothing, eye drop fillers and converters. Be careful about using it. It will leave your pen’s converter stained blue even after a thorough washing, and the same with any demonstrator (clear) pen. The color? I could name five other blue inks that are identical.

Phileas Fogg’s Namesake

Starting to reach bottom in the collection of fountain pens entrusted to me for cleaning and evaluation by a friend. Today I looked at pen number eight, a Waterman Phileas in red marble, a design from the 1990s. The pen is named for the character Phileas Fogg in Jules Verne’s 1873 book, Around the World in Eighty Days, and from that name Waterman has managed to spin a tale connecting pen and book. (Neither Waterman nor fountain pens existed in the 1870s, of course.)

Waterman, along with several of their vendors like to say that the Phileas reflects the art deco look of the 1930s, but that claim is something of a stretch. This pen has what anyone would call a handsome design, a traditional design, but it does not really evoke anything of the art deco era. The barrel and cap are plastic resin with a brass liner. The ebony black crown on the cap looks especially good with the gold band and pocket clip. The Phileas comes in several colors. There is the solid black model, and then the designs in faux marble finish, either blue, green or red. The nib, in either fine or medium is a wide two-toned, partially gold-plated steel nib, with a gold fan motif just over the usual Waterman hexagon with ‘W’ in the center. This gold fan motif is repeated on the pen’s barrel band. The Phileas uses either cartridge or a Waterman piston-fill converter.

I have heard the pen described as a good starter pen for the beginning fountain pen user. You can never be sure how cheaply a certain pen will sell for on ebay, but buying the Phileas brand new is a little more expensive that what most beginners want to pay. Not too long ago I mentioned to a non-enthusiast that a certain pen cost only $60, and the reaction was closer to shock than pleasant surprise. My opinion is that the Waterman Phileas is too expensive to be called a ‘starter pen.’

To be brief, the Phileas fine point nib I have here writes well, rather closer to medium than fine. It’s very smooth and wet enough, though not too wet. The feeling is unlike other steel-nibbed fountain pens, or at least that was the case in the one page I wrote using Iroshizuku Ajisai (hydrangea) ink. Good behavior on the 90g Clairefontaine paper with this ink. I have to give high marks to Waterman for this good looking, smooth writing and moderately priced fountain pen.