Managing a Collection of Steel Pens: Part 1, Recording Information

Ok, so you’ve read some of my ramblings and are interested in steel pens. You start to pick up a few from eBay, flea markets, estate sales, etc… Now what? If you’re anything like me, you will soon start to have bags and boxes of pens which need ordering so you can both know what you have as well as find those you want. You also want to store them in such a way as to keep them from rusting (or rusting further).

Congratulations, you now have a collection! Whether your collection is a few dozen or thousands, it will help you in the long run to have some kind of consistent way to record the pens, store the pens, and both should help you find the pens.

I’m going to write a short set of articles on these three main issues beginning with your records.

Keeping Records

You look at a pile of pens, especially vintage pens, and there are any number of ways of dividing them into individual types. There is also a lot of different information you can gather on each type. What you’re figuring out is what makes for an individual “record” and what information you want to collect for each record.

Let’s say you have a large pile of fruit. You can sort them by round fruit vs. long fruit, big vs. small (with a range for each), by color, etc… You could also divide by name and then record a lot of this information in each record so you can go back and make further divisions. So, you could record each fruit by it’s common name. You have a record for Granny Smith Apples, another for Red Delicious Apples, another for Valencia Oranges, and one for Unknown Pineapple. In each record you can record the shape, the color, the weight, whatever makes sense. Then later, with the right tools, you can go back and extract all of the records of red, round fruit, or all fruit over 20 grams and yellow.

What you put into each record depends on the type of information you are interested in. You can always start with a set of fields (discreet pieces of information like “size,” “shape,” etc…), and at some point if you wish to add more fields, you’ll have to go back to each physical object and record the new data point.

My records started out fairly basic but have grown over time. The first thing to think about is what will cause one pen to have one record, and another pen a separate one.  Name and number are the most obvious means to differentiate one pen from another. An Esterbrook 314 is obviously going to have a different record than an Esterbrook 556 or an Eagle E410. But there can be several other ways of differentiating pens.


Early on, reading the great sites like Brandon McKinney’s, I was able to find out that the imprints on pens can indicate a difference for when the pens were made, so I decided early on, that a difference in imprint (the words imprinted on a pen) would be a differentiator that would indicate a different type. I also decided that finish (gray, silver, gilt, black, etc…) would also be a differentiator.  Basically, I was looking for ways to further split pens into smaller groups (“types”) than just name and number.

You can also run into cases where the same kind of pen retains the same number, but the name changes. Esterbrook was particularly guilty of this re-naming as markets changed. The Esterbrook 556 is a rather extreme example. The imprints on the 556 include:

  • Just “556”
  • “556 Pen”
  • “556 Advanced School”
  • “556 School Medium Firm”
  • “556 Vertical Writer”

For my collection, these are all different types. And if I found a “556 Pen” in gold plated, in addition to the normal “gray” then that would be a different type altogether.


In the database world, what you want whenever possible is to “noramlize” the data, which means to make sure the same meaning always uses the same words. To take an example, let’s say I’m gather information about the color of the pens. For those who are have a (VERY) thin layer of gold on them, I could use the terms “gold,” “gilt,” and “golden” without any rhyme or reason. Some days I might use “gilt” and others something else. If you did this, what you would have are records which cannot all be found by searching on a single word. You would have to know all of the possible search words to find all of the records which match.

This is where “standardization of terms” becomes something very useful and not just for data nerds.

There are several fields (pieces of information I record for each record) I have attempted to standardize: Finish, Shape, and Tip. The problem I ran into is that there aren’t industry standard terms used consistently by all manufacturers to describe these characteristics of pens. Instead you get a lot of terms that all mean roughly the same thing. So, I decided to make my own list of standardized terms which, so far, have been “good enough.” to save you all of the trouble I went to, I’ll share with you what terms I’ve settled on. We’ll start with the easy ones first: finish and tip.


Pen colors
Found this picture on the internet of the range of colors pens can have. It’s not complete, but pretty close and gives a good idea of the range you can find. If anyone has an idea of the source, please let me know so I can give credit.

The final step in a pen’s actual manufacture, before sorting and boxing, was to pop it back into ovens to get a certain color on the pen. This accounts for most of the colors pens come in, especially the two most common, gray and bronze. You can achieve a fairly high range of colors just from re-heating.

Pen Colors Tempering_standards_used_in_blacksmithing
The colors possible just from heating steel.  Another image I’ve found in various places. Again, if anyone knows the source, let me know.

This re-heating is not hot enough to adversely affect the desired temper, but it does change the color. This step was also one of the most delicate and difficult steps which required someone very experienced who could get the pens to the right color without damaging them or their temper.

The other way to change the color of a pen is by a coating. Because steel rusts when in contact with water, manufacturers put all kinds of coatings on pens to supposedly slow down the inevitable rusting. These coatings could also be a status symbol, especially ones with a gold coating. Solid gold pens were orders of magnitude more expensive than a steel pen. (you might pay $12 for a normal gold pen when steel pens were $0.75 per gross) Some people wanted to be seen writing with a gold pen without paying for an actual gold pen, or liked the performance of a steel pen better but wanted the rust resistance of a gold coating.

Other common coating included silver alloys, nickel alloys and a black, tar-like substance. Copper coating is also mentioned but is extremely rare. Nickel-coated pens were also sometimes said to have a “white” finish. Nickel can sometimes be difficult to tell apart from very shiny steel. It’s usually not so shiny as a silver alloy, but shinier than bare steel.

And the last way to “color” a pen is the material. My collection is one of steel pens, but, along with steel, there were some pens made and sold like steel pens but were made of an alloy of brass. These pens are gold-colored, but aren’t gold plated (though there are examples of brass pens with gold plating). They are made of a copper-zinc alloy and have their antecedents in the “Pinchbeck” pens of the 18th-19th-centuries.

So, here are my standardized finishes with a little explanation of each

  1. Black: an easy-to-spot finish. Also called “Tar” finish
  2. Blue: also pretty self-explanatory. You rarely see this finish in the US except Esterbrook’s tiny artists pens. It’s more common in Europe.
  3. Bronze: one of the most common colors along with gray. Bronze can come in various shades from dark to light. This can be on purpose, but since I’ve found sealed boxes of bronze finishes that vary in lightness, I assume it can also be just how long the pen was left in the oven.
  4. Copper: Copper coating is extremely rare, and died out fairly quickly in the US. I have one copper-coated pen, an Esterbrook 048, but others were advertised as available in a copper finish. I assume this was also to prevent rust, though copper does corrode.
  5. Fawn: Another color advertised. I would assume, from seeing pictures of salesman sample books with pens identified as this finish, that it’s another word for a very light-colored bronze. This one is very difficult to differentiate in the wild without a positive identification. I’m sure some I’ve marked as “Bronze” were considered “Fawn” when sold, but it’s very hard to tell.
  6. Gold: This is the term I use for gold-plated or gilt. I record my actual gold pens in another data store, and they have different fields.
  7. Golden: This is the term often used to indicate the brass pens. I use this term for brass pens without an additional finish (like “Gold”).
  8. Gray: The most common finish for American pens, especially those made in the 20th-century. It’s the plain color of steel.
  9. Half-Gold: Esterbrook made one pen they call “half-gold” and I have adopted the term to also apply to pens like the Spencerian 42 Gilt-point where the body of the nib is gilt, but the heel is still plain steel.
  10. Nickel/White: There are three terms which can easily get mistaken for each other in the wild: Nickel, White, and Silver. A nickel coating is more silvery than a gray pen, but not as shiny as a silver-coated pen. I tend not to use this unless I’m pretty sure it’s actually nickel coated, like it’s silvery, but the pen never came in silver-coating but was advertised in nickel or white.
  11. Purple: Some purple can be difficult to differentiate from very dark Bronze in the wild. But this was an advertised finish so I’ve added it to my list in case I ever am lucky enough to find one labeled as such.
  12. Silver: Silver coatings were quite popular, with the Esterbrook Radio finish being the most common, along with the Hunt X-series.


I dealt with Shapes in my proposed Glossary of Shapes.

To the shapes I’ve discussed there, I’ve added three more

  1. Small Inflexible: While I try and stay away from capturing sizes of a particular shape (down that road lies calipers and madness), the Inflexible seems to have really only two sizes, big and little. The “big” is really just a normal-sized pen. The Small Inflexible is really smaller, as in a Lady Falcon vs. a normal Falcon.
  2. Pinched Leaf: While a Pinched Spoon is a spoon shape with a break between the heel and the body of the spoon, a Pinched Leaf is similar but for a leaf-shaped pen.
  3. Offset: This is an odd one. It is very, very slightly oblique, but not enough to be a truly oblique pen, and the body shape, while reminiscent of an elbow oblique, is unique.  The patent on the pen says: Pat 7-1-90 & 3-22-93.



The tip of a pen can greatly impact how a pen writes, and the kind of line(s) it produces. The tips of pens actually fall into fairly clear categories. Beware, though, you have to observe the actual nib and cannot rely on advertising because different manufacturers called the same kind of tipe many different things. This is particularly true of the first kind.

  1. Ball: When you look at this tip under magnification, it looks like someone took a very small round-tipped punch and deformed the tip of the pen into a small hollow as seen from above, or into a small round or oval convexity if seen from below. This is a very common type of tip and was called many, many things, Oval Point, Ball Point, Round Point, etc… They all look basically the same. Some may be a little more oval than others, but they’re all basically the same. Some Ball tips can be pretty shallow and the only way to tell if it is a Ball or a Turned-Up tip is to look under magnification. The way to tell a Turned-up tip from a Ball tip is that the turned up tip does not extend below the bottom surface of the tines. A Ball tip has the steel of the tip deformed so that it extends below the bottom surface. Est 902 Oval Tip top2
  2. DoublePoint: These nibs have more than one point. They can also be called names like Double Ruling Pen.
  3. Folded: Uncommon on dip pens, but much more common on cheap fountain pen nibs, the folded tip is where the very tip was drawn out longer than normal, then folded under to create an approximation of a Tipped nib. I’ve only seen these on very late dip pens which are trying to imitate the cheap fountain pen nibs of the day.
  4. Music: The other type of multiple point pen. These rare pens were used to draw musical staff lines and are one of the oldest forms of metallic pen.
  5. Oblique Stub: In this one case I am using the term “Oblique” like it is used in fountain pens. This means it’s a stub tip with one side longer than the other which then forms  a slanted stub.
  6. Oblique Pointed: These are fairly unusual pens where the body of the pen is straight, but at the very end the tip turns up and forms an oblique angle. These tips are found on pens with the “Oblique Tip” shape.
  7. Oval: the Round, Square and Oval are specific lettering pen shapes where the tip is an actual square, round or oval shape and so creates a line with that kind of end.
  8. Pointed: Your common steel pen. Points can be extra fine, fine, medium, broad (or coarse), etc…, but they’re all meant to come to a point. With some very broad tips, like some “J” pens, it’s almost a toss-up as to whether it’s a “pointed” pen or a stub.
  9. Round: See the “Oval” shape above.
  10. Ruling: This, like the Oblique Pointed, is a point type only found on a specific pen shape. In this case it is a folded “ruling pen” like the Esterbrook Osborn Ruling Pens
  11. Shading: I use this term rather than the more common (today) “Italic” because “shading” implies this use for more than one type of writing. But this is, basically, a sharp-cornered, broad nib used for decorative writing.
  12. Square: See “Oval” shape above.
  13. Stepped: A very unusual tip shape. basically, there’s a break in the line of the tines as they move to the point. Just before the point, there is a step inwards which then creates an even narrower last few millimeters of tine coming to a point. stepped tip
  14. Stub: A common tip that is broad across but is not sharp at the corners. These are almost all self-identified as stubs. Some stubs have slightly sharper corners which might make them “Shading” tips, but I defer to the manufacturer on this one. If it’s called a “stub” then I use that term. Stub pens were not meant, necessarily, for decorative writing, but were originally designed for rapid writing. You can find, though, some stubs, like the very broad Esterbrook Blackstone, also advertised as good for “engrossing.” (decorative writing like italic or blackletter)
  15. Turned-up: Similar to the Ball, but simpler and appeared earlier. The turned up tip is exactly that, the very tip has been bent to turn up at an angle. This turned up angle is meant to accomplish the same thing as the Ball tip, to make it easier to write faster without catching your sharp tip on the paper. Sometimes you have to look carefully, under magnification, to determine if it’s a turned-up tip vs. a ball tip.
  16. Tipped: Very rare in dip pens, but ubiquitous in fountain pens, the tipped nib has an actual tip applied to the end.


As I talked about in my short post on grinding, grinds can take different forms. I have created the following categories and so far they are sufficient for what I have cataloged so far.

  1. S1: The “S” are single grinds. I put them into three classes. This is a first-class grind. This is a single grind that is either more extensive, or more artistically done than the standard single grind. Artistic can include shaping the grind to fit in between the side slits, or, as in the case of the Gillott Mapping Pens, bringing a two-tone grind (grinding after coloring the nib) up to perfectly bisect the star-shaped center pierce. OLYMPUS DIGITAL CAMERA
  2. S2: The S2 is a second-class single grind, which is sufficient and pretty standard for that kind of pen. Stubs tend to have less of a grind, if they have any grind at all, so the standard for a stub pen is different than a pointed pen. This is a run-of-the-mill, standard grind.
  3. S3: Alas, we also see the third-class single grind. These are usually brief, poorly done, sketchy at best.
  4. D: The double grind. (see my Grind post)
  5. E: This is a grind where the embossed design is ground down usually to reveal the bare metal underneath, thus giving a pleasing contrast to the darker color of the nib. You find this most often with the “Letter” nibs where a large letter is embossed in the body of the pen just above the center pierce.
  6. T: The always amazing Triple Grind. (also discussed in my Grind Post)
  7. G: The dreaded stamped “grind” where, instead of grind marks, you find  stamped Grooves or even, in the case of the old Soviet nibs, a Grid.
  8. N: no grind or stamped grooves at all.

Because of a rather specialized interest of mine, I’ve also added “In” to my inventory to indicate where a grind is found on inverted pens. An inverted pen is one where the imprint is inverted, is on the inside of the concave portion of the pen. This happens when a pen is accidentally flipped before “raising” and so the imprint is on the wrong side.

By finding a grind on the inverted side, tells us that unlike how pens were originally made, by later times (and I only find these 1930’s or later, pens) grinding must have been done before raising. This makes sense if you are going to automate this or have a machine do the grinding, because it would have been much easier to have a machine take a swipe across a flat pen blank before raising than to try and do it to a rounded pen.


This seems to be both the piece of information about a pen which most people want to know, and also the hardest to capture. If you search through online pen fora you will find near-religious-war levels of disagreement about how to measure, and discuss the flexibility of a particular pen. (fountain, dip, whatever).

I will not wade into these waters except to tell you the terms I’ve decided on for my own collection. I can’t tell you how to measure or differentiate one from another. For me, it’s a highly subjective and comparative exercise. I’m not so interested as to try and make it scientific.

  1. Flexible: this is the furthest I will go. No “wet noodle” or other of the terms thrown about. This encompasses a fairly wide range of “action“, as do the next two.
  2. Semi-flex: More flexible than the next one, and less than the former. Like I said, this isn’t rocket science, at least how I do it, and so take each term for whatever you think it means.
  3. Firm-flex: some flex, but not as much as Semi.
  4. Firm: Amazing to fountain pen users who are used to “nails”, a “firm” dip pen still can yield subtle line modulation. (thick and thin parts) Many so-called “Inflexible” pens are actually just “firm”
  5. Manifold: This is a completely stiff pen. In fountain pens this is called a “nail.” Since the Manifold pens were purposely made to be super-stiff in order to write through the early forms of carbon paper (the most famous early brand was Manifold, and the name stuck).

Non-standard Fields

There are some other fields I capture which don’t lend themselves to the above level of standardization. These differ widely and may only be consistent within a pen brand.


This started out as a general field to differentiate different “makers” or “brands.” This is easy as long as the pen carries the big names, like Eagle, Esterbrook, Miller Bros, Spencerian. This gets to be more difficult when you start dealing with pens with obvious imprints from another maker.

In the end, I currently have “categories” which include entries like Eagle, Esterbrook, Miller Bros, and Spencerian, but I’ve also created categories for things like “Transportation,” Businesses” and “Schools” where I put the pens made with custom imprints for these kinds of entities. It gets tricky when you have some big brand like Spencerian which was a house brand for the big New York stationer/printer Ivison Phinney, but were all made by Perry. I’ve kept them under Spencerian as that makes the most common sense. I am starting to pull brands out from their own category if I become aware that they were just a stationer or other store which had pens made with a custom imprint, but were not trying to make a “pen brand” by itself.


Not all pens have numbers, and not all numbers are numbers. Some numbers are letters, and some have letters in them. For example, just about all Eagle pens are numbered something starting with an “E,” like the E470 or E310.


The imprint is what is actually printed on the pen from which I derive what category into which it will be placed. Imprints can be important for dating as well. Esterbrook tended to change its Esterbrook imprint over time (though I suspect there are some exceptions to the general rules). For example, if you find a pen with just “Esterbrook & Co.” it will most like be earlier than the imprint “R. Esterbrook & Co’s” or “R. Esterbrook and CO.” (unless it also has Made in U.S.A. on it, which means it’s later, see below).


Some pens mark down a location of where it is manufactured, or at least the location of the brand. The easy ones are the “Made in…” but you also find one word locations like “Birmingham.” If I know a location, but it isn’t marked and is significant, then I’ll include it in this field but in parenthesis. An example of this are some recent pens I purchased which were made in Argentina.

The location can sometimes give a general indication of relative date. If I have two Esterbrooks, for example, both with the same imprint (“R. Esterbrook & Co.”) and one says Made in U.S.A. and the other does not, I know the second one is older. Same with “England” vs. “Made in England.” The phrase “Made in…” generally shows up from around 1930 onward. Some, like Eagle, put their location on the pens from the beginning. (New York, U.S.A.) Others, like Gillott, don’t have any location on very early pens, then move from Birmingham, to England to Made in England. You might even find addresses on some pens.


Many, but not all, pens had names attached to the particular number or style, e.g. School, Manhattan Stub, Bank, etc… As I mentioned above, names can also change as marketing needs changed, despite being the same number . There were some very popular schools of penmanship which flourished for a while at the end of the 19th-century, but quickly disappeared in the 20th, such as Vertical Writing and Natural Slant. Pens were marketed by practically all manufacturers for these styles of penmanship, but once the popularity of that style of writing faded from popularity the pens were often re-named and sold under a new name. (The Esterbrook 556 “Vertical Writer” becomes the “556 Pen” and ends up as the 556 “School Medium Firm” meaning good for schools, medium point, and firm)

Names were often associated with the primary audience or profession to whom the pen was primarily marketed, or with whom the manufacturer wanted it associated. Stub pens tend to have names associated with the law, or academe as these folks were assumed to need to write frequently and quickly. (the primary purpose of stub pens)


Some pens are marked as being part of a series based on the type of tip, like “Bowl Pointed” or “Dome Pointed” pens. Other series have to do with the material or coating “Silver Alloy” or “Gladiator Series Nickaloid” pens. There are a few cases where the same manufacturer uses different series names for the same types of pens, like Hunt’s “Round Pointed” vs. “Bowl Pointed.” vs. “Shot pointed.” Under magnification they all seem pretty much the same thing, but it’s useful to differentiate in your inventory.

Storing and Finding

The next post will look at the physical storage of your pens in order to both protect them as well as to then find them as needed. This will touch upon how I use all of this information to order my records to help with those tasks.


Pen Shapes: A Proposed Glossary

Naming Pen Shapes

Steel pens come in many different shapes. There is no single source for “official” names for the various shapes. Some names are explicitly given by manufacturers and seem to be standard, like the Falcon and the Shoulder pen, but most are not explicit and almost none are consistent.

American pens also tended to come in fewer shapes than you find in Europe. Even that limited range of shapes was narrowed down by the turn of the century.  After WWI, when manufacturers were required to reduce their product lines to only a few pens, even fewer different shapes were brought back after the war. By the 1920’s the number of pen shapes generally made in the United States was greatly reduced.

As part of my capturing an inventory of my collection of pens, I have gathered together a list of shapes and descriptions that are useful to me. The names come from either standard names used in the industry, my attempt at a descriptive name, or it is named after a standard pen that seem to exemplify this shape, such as the Inflexible or the Colorado.

These tend to be rather broad categories. Many of these shapes have various sub-types under them. The most common shape, the Straight pen, can be found in variations such as the wide and shallow, the long and thin, the short and delicate, and others. Pinched Spoon pens, as well, tend to have quite a range of shapes to the pinched transition section between heel and body. Some are smooth, others faceted or decorated in one way or another, but all share the same, basic shape.

Other shapes are differentiated by degrees of one characteristic or another. The three stubs, short, medium and long, merely designate the three general sizes of straight-boded stub pens. These three designations work because manufacturers tended to make all of their straight-bodied stubs in one of these three sizes. Beaked pens and Bank pens are pretty closely related and only differ in the ratio of tines to body.

This is neither an exhaustive nor authoritative list, but one that I’ve put together to try and give names to the shapes of my pens. I’m sure as I progress in my detailed cataloging I will add to, or tweak this list. As flawed as it is, right now this is the best (and only) list I’ve found out there that tries to describe and standardize the main shapes of steel pens.

I’m sure that some disagree with some of my names and even my categorization. I’m also sure I’ll find examples that either don’t fit or are in between one or another shapes. That’s OK. This is a work in progress and I will be adding to, and modifying this list as I go along. It’s also far too limited for the wildly divergent shapes you find in England, France, Italy and German manufacturers. Should my collection begin to really to expand into those areas, I will have to expand my list of shapes.

If you find a shape that is specifically mentioned in a source and I call it something else, let me know and share the source. I may incorporate it or even revise my name. If you’d like to add to this list, especially for those pens not normally made in the US, feel free to let me know.

Pen Nomenclature.

I introduced the anatomy of a steel pen in more detail in another post, but I think it’s worthwhile including the annotated picture from that post here as well.


The descriptions of the shapes rely heavily on several main parts to the pen. There is the Heel, the Body and the Shoulders. This diagram does not include a transition section that some shapes have between the heel and the body. These transitions generally narrow between the heel and the body, but some, like the Crown shape actually increase in width.

When I talk about “up” or “down” assume the pen is placed vertically with the heel pointing down and the tip pointing up. The “line” or “axis” of the pen is the imaginary line drawn from the bottom of the heel to tip of the tines.


(thank you to The Esterbrook Project for use of many of their images)


Normal heel, large, embossed design, generally floral, leading to a long, tapering body.

Esterbrook #11 Albata
American Steel Pen, Albata Pen


A long, straight pen with longer tines than normal, but not as long as a Beaked pen.  Though the Bank pen is sometimes classified as a Beaked pen, I think there’s enough of a difference between the very common “Bank” pen shape and the longer tines of the rest of the beaked pens that I call out the Bank as a separate shape.

Esterbrook #14 Bank Pen


Pen where the heel is a complete tube and the body of the pen is shaped as normal. The body can come in various forms.

William Mitchell “N” pen


Generally a straight bodied pen with extra-long tines. Tines are much longer in relation to the body than even Bank pens.

Esterbrook #98 Correspondence (1883 catalog image)
Esterbrook #343 Red Ink Pen. All Red Ink and Laundry Pens are beaked.


Similar to a taper shape, but very shoulder-heavy, and a flat profile, as seen on the various Colorado pens from Esterbrook and others.

Warrington &  Co’s Colorado
Esterbrook #2 Colorado

Crow Quill

Same shape as a Barrel Pen but much smaller, thinner and a much finer point.

Esterbrook #63 Lithographic


Normal heel that transitions into a series of strips connecting the heel to the body of the pen. These strips are bent outwards in a rounded shape to make a sort of basket that resembles a crown.

A Perry 120 EF


1876 Esterbrook 224 Grecian
Esterbrook #224 Grecian

Double Elastic

A straight-bodied pen with notches cut out of the edges just below the shoulders.

Esterbrook #135 Double Elastic

Double Line

A pen that draws two lines simultaneously. There are two sets of tines.

Esterbrook #344 Double Line Ruling Pen

Double Spring

A straight-bodied pen with a cut-out across the body of the pen perpendicular to the line of the pen.

Esterbrook #129 Double Spring


Normal heel, then flared transition with embossed “shoulders” “cut-out” sides moving up to a shoulder and taper to longer tines.

Three different sized Falcons

Falcon Stub

A stub pen in the shape of a Falcon pen.

Esterbrook #442 Falcon Stub

Flat Leaf

Leaf-shaped pen but the body of the pen is flattened rather than rounded. There may or may not be a transition section between heel and body. Probably the best known pen of this shape is the Waverley Pen by Macniven and Cameron.

Macniven and Cameron Waverley Pen

Flat Spear

Similar to a spear, but the top of the body is flattened and sometimes curved.

Esterbrook #205 Spear Point, 1883 catalog


Shaped like a pointing index finger.

1870s Esterbrook 99 Ladies Pen Salesman Card 1
Esterbrook #99 Ladies Index Pen. Image courtesy of collection of David Nishimura


Related to a pinched spoon, but with a distinctive sharp dip and ridge as seen in the Esterbrook Inflexible pen, and others.

Esterbrook #322 Inflexible
Esterbrook #531 Flyer (Inflexible but with turned-up tip)


Similar to a spoon, but the body is bottom heavy with a deep curve at the bottom but quickly narrowing at the top. The body has a rounded profile.

Esterbrook #256 Tecumseh

Long stub

A longer , straight-bodied stub.

Esterbrook #312 Judge’s Quill

Medium Stub

A medium-length straight stub.

Esterbrook #314 Relief

Oblique Pens

Oblique pens different from regular pens in that they move the angle of writing away from the angle of the pen. There are at least four different ways of accomplishing this with the pen nib alone. You can also use a special oblique holder that holds a normal pen at this oblique angle.

Oblique, Elbow

An oblique pen shaped like a straight-sided pen that has been bent into an oblique, zig-zag shape.

Esterbrook #345 Elbow Pen

Oblique, Mordant

An oblique pen in the general shape of the original Mordant patent. The body is broad and generally leaf-shaped with a generous swell near the heel and tapering to a point quickly.

Warrington and Co oblique from David Berlin
Warrington & Co. Oblique
01 spencerian pen
Piquette Oblique gold nib

Oblique, Spear

Similar to a Mordant or Elbow Oblique in that the body of the pen is bent towards the oblique angle. But unlike the other two, a separate body shape begins after the bend.

spear oblique
Three William Mitchell Spear Oblique pens

Oblique Tip

Similar to the other oblique pens, the purpose of this pen shape is to point the tips toward the right degree of slant even if the hand is pointed to a steeper angle. Unlike the other two forms of Oblique pen, this only points the tips, rather than the body of the pen.

ESTERBROOK 240 CURVED POINT PEN 1877 image with caption
Esterbrook 240 from introduction in 1877. Not found in catalogs after 1883.
oblique tip Wm Mitchell
(Bottom): William Mitchell 0749 M

Examples of the four types of Oblique Pen

All oblique types
From Left: Spear Oblique, Mordant Oblique, Elbow Oblique, Oblique Tip

Pinched Center

A normal heel, then the beginning of the body is pinched in and down to make a center ridge that extends up to the main body, which is generally smaller and then tapered or rounded towards the tip.

Washington Medallion Pen
1870s Esterbrook 54 Superb Salesman Card 1
Esterbrook #54 Superb

Pinched Spoon

A spoon pen with a transition section between the heel and the body of the pen. This transition can be smooth, faceted or even decorated.

Esterbrook #717 Federal Pen


Normal heel, round body with small, triangular point sticking out

Esterbrook #341 Reservoir Stub

Ruling Pen

Folded sheet of steel or brass to create a v-shaped profile.

Gisburne ruling pens
Esterbrook Gisburne Ruling Pen #2


A straight-bodied pen with a small raised line perpendicular to the line of the pen, generally right above the imprint and before the pierce. Almost all of these shape pens are called “School” pens. The Gillott 404 is one of the most famous.

Esterbrook #444 School Pen


Normal heel, often there’s a transition section, then a slight, straight widening that ends in a wider shoulder. The key is that the widening from transition to shoulder is straight, not curved.

1876 Esterbrook 201 Favorite
Esterbrook #201 Favorite Pen
Esterbrook #202 Multicopy. An elongated version of the 201.

Short stub

Stub pen with a shorter, straight body

Esterbrook #239 Chancellor


Normal heel then an abrupt, sharp, 90 or near-90-degree transition to create a wider, deeper, straight body to the shoulders. These are usually long pens.

Esterbrook #9 Commercial.


Normal heel, very narrow and long body coming to a sharp point with no shoulders. There may be a transition section between heel and body, but it stays within a narrow profile.

Blanzy  #2500 Sergent Major


Wide at the bottom of the body, gentle and smooth narrowing to the tip. Abrupt transition from heel to widest part of the body.

Esterbrook #788


Straight sides and even width along the length from heel to shoulders.

Esterbrook #556 Pen


Straight-sided pen narrow at the heel and wide at the shoulders. The taper is straight from heel to shoulder.

Esterbrook #702 Modified Slant

Pen Shapes: The Falcon

Probably the second most common shape of a steel pen, besides the plain, straight pen, is the Falcon.

The origin of the Falcon, and how it got it’s name, is up for debate. But in the US, at least, it seems that the Esterbrook Steel Pen Co. was the King of the Falcons. The shape isn’t mentioned by name by any earlier US pen makers, but it was one of the first pens Esterbrook made. And for most of the company’s existence, the 048 Falcon was the top selling pen of any style for any US maker. It became the symbol of the company, second only to R. Esterbrook’s signature.

Esterbrook signature

Everyone produced at least one model of Falcon pen. Most manufacturers had several. They would differ in stiffness, fine, extra-fine, or medium tip, or even stub Falcons. (a story for another post)

Most falcons come in a standard size well-represented by the Esterbrook 048 Falcon. The 048 is the only number of Esterbrook’s which includes (and always includes) a zero at the beginning of the number. It is not a #48, it is a #048.

Esterbrook, as well as others, also often made a “Ladies’ Falcon” in the form of a small falcon. The more delicate, and sometimes more flexible, falcon was deemed suitable for the delicate pens with which delicate ladies wrote delicate letters delicately.

At the other end of the spectrum is Esterbrook’s Mammoth Falcon. This behemoth requires a special holder and seems better suited to small-scale gardening than to writing.

Here’s a photo of the two most common sizes of Falcon plus the Mammoth Falcon. The Lady Falcon at the top was made by Leon Isaacs.


Esterbrook also made a medium sized Falcon that fell somewhere between the 048 and the Mammoth. This was called the #491 Madison Pen and was introduced in 1891, ten years after the Mammoth Falcon. I’ve never seen one, nor is one available on The Esterbrook Project. They only appear in one of the catalogs and may have been produced for only a limited time.

Some of the Falcons found in my collection (not counting stub falcons):

  • Brooks & Co’s “Extra Falcon” (more falcon than then next guy’s?)
  • De Haan 3, and 33
  • Eagle E10, E12
  • Esterbrook’s 048, 182 (lady falcon), 520, 905, 920
  • Gillott’s 105, 1060, 1155
  • Hunt 95, 97, 98, 514
  • Leon Isaacs’s 1 and 6
  • Samual Isaacs’s 3 1/2, and 23
  • Miller Bros. 19, 87
  • Spencerian 23, 30, 40, 50, 80
  • Turner & Harrison 39, 239, 739
  • A wide assortment of businesses wanted falcons among their special imprinted pens: Bell Systems, Burlington Route (Esterbrook 048’s), Commonwealth of Massachusetts (Esterbrook 048’s), Hotel Belmont, Lehigh Valley Rail Road, New York Central, Pennsylvania Railroad, Santa Fe Railroad and Western Union, to name a few.