NEW MOA P.A.R.

[Opooh]

7 minutes ago, CBK said:

Based on these reactions it certainly appears this subforum is full of Manet fans…😂

I have some old like agatha etc. The only ones of this series to keep are Hemingway and Dumas because they have a 9 nib.

[ak47]

12 hours ago, Opooh said:

I have some old like agatha etc. The only ones of this series to keep are Hemingway and Dumas because they have a 9 nib.

And the Homer too. It has 9 nib

[Opooh]

6 hours ago, ak47 said:

And the Homer too. It has 9 nib

Yes, but that pen really is ugly. It is so disproportional, like some 2 or 3 little Homer will come out of it. It is MB Montegrappa style. Lol

[lamarax]

17 hours ago, CBK said:

Based on these reactions it certainly appears this subforum is full of Manet fans…😂

 

I don't even dare to think how they'd butcher a Manet 'theme' 😶

 

Maybe you'd get to undress Olympia by flipping the pen, like those 'floaty' pens popular in the 70s. Of course the transparent cap would be made out of Limoges crystal and the 'magic' liquid inside would be contaminated water from the Seine.

[lamarax]

I hereby challenge Montblanc to dedicate their next MOA© P.A.R.™ (😏) to:

 

Otto Dix...

 

...or even to James Ensor:

 

...then we're talking 😘

[a student]

5 hours ago, lamarax said:

I hereby challenge Montblanc to dedicate their next MOA© P.A.R.™ (😏) to:

 

Otto Dix...

 

...or even to James Ensor:

 

...then we're talking 😘

Enjoyed reading you make your point in the most graphic manner thus far. Thank you sir!

Please be assured that "I get it"; not sure about other FPN friends though

[kazoolaw]

“Please be assured that "I get it"; not sure about other FPN friends though.”

 

Some of us get your comment about “others”.  Most assuredly we do.  

[fpupulin]

My premise here is that I am not a collector of Montblanc Writers, Patrons of the Arts, or Masters of Art editions. I lack the means and, in most cases, my tastes do not coincide with Montblanc’s offers. I am happy to own the aforementioned Hemingway and Dumas (my only two limited edition MBs) and would happily add to them, cost permitting, a Schiller and a Christie and very unlikely, in the upper price category, a Karl der Grosse.

 

However, as a fan of many of Montblanc's more humanly priced writing instruments, I am always concerned that the house's new launches - even when I am not interested in them - are commercially successful, because I suppose that today it is precisely these expensive and very limited pens that are driving the "writing sector" of the house. I believe that there is no other explanation for the amount of work and investment that Montblanc dedicates to these "special editions", whether many of us like them or not, with a dozen or more new models every year. These require a great deal of conceptual study, design drawing, technical solutions and experience in mixing different materials, as well as the craftsmanship to carry out many of the operations that evidently require manual intervention. In a way, even if I don't have any numbers to prove it, I live with the perception that the resilience of Montblanc writing instruments that suit me depends on a segment of the entire "Montblanc writing" sector in which I do not participate as a customer. For this reason, allow me to express some personal considerations on the series of pens from the maison that most likely will not enter my collection, but will continue to ensure that Montblanc also produces the pens that I like.

 

I'm taking some of the suggestions made by @a student.

 

If the limited and ultra-limited edition pen business is profitable for Montblanc, I wouldn't reduce the frequency of new launches. I understand that the market is able to absorb the supply, which is why it would not be commercially advantageous to reduce it.

 

I think it's likely that, as @NoType has already said, Montblanc already has a select group of customers/consultants, with whom they maintain contact to test their ideas and offerings. What is certain is that, with some exceptions, that type of audience is not that of this forum nor, I believe, that of other pen enthusiast forums. I assume that most of us are interested in pens that write well and comfortably, relatively conservative in appearance, and in a price range that at best does not exceed - if not by a little - a thousand dollars, to be purchased every two or three years. In addition to a base like ours - which is entirely respectable - Montblanc also needs customers who, perhaps even occasionally, do not hesitate to spend 5 or 10 thousand dollars or more for an object whose main function will not be to write, but to amaze.

 

In the case of the Limited Editions, I would make a radical distinction between the editions of 4810 pens and the higher, more exclusive ones. I imagine that the larger runs of the Writers Editions will continue to have a relatively large audience of writing enthusiasts, anchored to basic values such as excellent functionality (because they love to write with their pens), usability in an urban and work environment - and therefore not too blingy - and a price tailored to an object that, however beautiful, will be used and subject to wear.

 

It may well be that interest in fountain pens themselves has waned - although the available numbers globally suggest otherwise - but it is certain that in the thirty years since Writers Edition's first release, the Hemingway with its 20,000 pens, followed by the 23,000 Christies, we have moved on to approximately 15,000 Wilde, Voltaire, Dumas, Poe, Dostoevsky, Poe, Proust, Schiller pens, and fewer than 10,000 Homer, Stevenson, Grimm, Kipling, Hugo, Tolstoy, Conan Doyle, Austen... Is it possible that there are no more than 20,000 customers for the pens of this series? Personally, I believe that there is not such a large number of "writers" with adequate income for these very pens. In the larger limitation runs, I continue to believe that pens with a more functional design, more inspired by the immense historical catalog of Montblanc, and at a price under a thousand dollars, would undoubtedly find a clientele. 20,000 pens at $990 would represent a greater income for Montblanc than half the pens at $1,300.

 

The further one deviates from these values, the more the concept of functionality of the pen takes on, in my opinion, a completely secondary meaning, which should not be among our concerns. I could not help but notice, even in this thread, a derogatory reference to some of the limited editions of Montegrappa. Even in that case, I, like probably most of the readers of this forum, would not be customers of a pen like Chaos, designed by Sylvester Stallone, but that does not change the fact that the entire edition of that pen has been sold, and has probably helped to open up new segments of the public previously disinterested in these writing products. And, as it happens with Montblanc, this allows Montegrappa to continue producing its delicious - although "regular" - Extra 1930 and Extra Otto pens in beautiful celluloid.

 

A last thought about the  lower tier of Montblanc’s offer, the regular Meisterstück collections. Here I would suggest a little more color. Perhaps it is right not to touch too much an icon like the 149 model, but I think the 146 and 145 would benefit immensely from a small choice of colors. If you decide to give a pen to your niece for her graduation, you can be sure that she will be happy with a Montblanc, as the name has an undeniable charm. Probably not a 149, too big a pen, and maybe not even a 146, but for a beautiful and slim 145, the only option left would be black, which is perhaps not the most youthful of colors. How about a green 145 like the 100th Anniversary one, or a not too dark blue, chosen with care, or a coral? I don't really think of a rainbow, but I think two or three colors to add to the black would make a big difference.

[Seney724]

56 minutes ago, fpupulin said:

My premise here is that I am not a collector of Montblanc Writers, Patrons of the Arts, or Masters of Art editions. I lack the means and, in most cases, my tastes do not coincide with Montblanc’s offers. I am happy to own the aforementioned Hemingway and Dumas (my only two limited edition MBs) and would happily add to them, cost permitting, a Schiller and a Christie and very unlikely, in the upper price category, a Karl der Grosse.

 

However, as a fan of many of Montblanc's more humanly priced writing instruments, I am always concerned that the house's new launches - even when I am not interested in them - are commercially successful, because I suppose that today it is precisely these expensive and very limited pens that are driving the "writing sector" of the house. I believe that there is no other explanation for the amount of work and investment that Montblanc dedicates to these "special editions", whether many of us like them or not, with a dozen or more new models every year. These require a great deal of conceptual study, design drawing, technical solutions and experience in mixing different materials, as well as the craftsmanship to carry out many of the operations that evidently require manual intervention. In a way, even if I don't have any numbers to prove it, I live with the perception that the resilience of Montblanc writing instruments that suit me depends on a segment of the entire "Montblanc writing" sector in which I do not participate as a customer. For this reason, allow me to express some personal considerations on the series of pens from the maison that most likely will not enter my collection, but will continue to ensure that Montblanc also produces the pens that I like.

 

I'm taking some of the suggestions made by @a student.

 

If the limited and ultra-limited edition pen business is profitable for Montblanc, I wouldn't reduce the frequency of new launches. I understand that the market is able to absorb the supply, which is why it would not be commercially advantageous to reduce it.

 

I think it's likely that, as @NoType has already said, Montblanc already has a select group of customers/consultants, with whom they maintain contact to test their ideas and offerings. What is certain is that, with some exceptions, that type of audience is not that of this forum nor, I believe, that of other pen enthusiast forums. I assume that most of us are interested in pens that write well and comfortably, relatively conservative in appearance, and in a price range that at best does not exceed - if not by a little - a thousand dollars, to be purchased every two or three years. In addition to a base like ours - which is entirely respectable - Montblanc also needs customers who, perhaps even occasionally, do not hesitate to spend 5 or 10 thousand dollars or more for an object whose main function will not be to write, but to amaze.

 

In the case of the Limited Editions, I would make a radical distinction between the editions of 4810 pens and the higher, more exclusive ones. I imagine that the larger runs of the Writers Editions will continue to have a relatively large audience of writing enthusiasts, anchored to basic values such as excellent functionality (because they love to write with their pens), usability in an urban and work environment - and therefore not too blingy - and a price tailored to an object that, however beautiful, will be used and subject to wear.

 

It may well be that interest in fountain pens themselves has waned - although the available numbers globally suggest otherwise - but it is certain that in the thirty years since Writers Edition's first release, the Hemingway with its 20,000 pens, followed by the 23,000 Christies, we have moved on to approximately 15,000 Wilde, Voltaire, Dumas, Poe, Dostoevsky, Poe, Proust, Schiller pens, and fewer than 10,000 Homer, Stevenson, Grimm, Kipling, Hugo, Tolstoy, Conan Doyle, Austen... Is it possible that there are no more than 20,000 customers for the pens of this series? Personally, I believe that there is not such a large number of "writers" with adequate income for these very pens. In the larger limitation runs, I continue to believe that pens with a more functional design, more inspired by the immense historical catalog of Montblanc, and at a price under a thousand dollars, would undoubtedly find a clientele. 20,000 pens at $990 would represent a greater income for Montblanc than half the pens at $1,300.

 

The further one deviates from these values, the more the concept of functionality of the pen takes on, in my opinion, a completely secondary meaning, which should not be among our concerns. I could not help but notice, even in this thread, a derogatory reference to some of the limited editions of Montegrappa. Even in that case, I, like probably most of the readers of this forum, would not be customers of a pen like Chaos, designed by Sylvester Stallone, but that does not change the fact that the entire edition of that pen has been sold, and has probably helped to open up new segments of the public previously disinterested in these writing products. And, as it happens with Montblanc, this allows Montegrappa to continue producing its delicious - although "regular" - Extra 1930 and Extra Otto pens in beautiful celluloid.

 

A last thought about the  lower tier of Montblanc’s offer, the regular Meisterstück collections. Here I would suggest a little more color. Perhaps it is right not to touch too much an icon like the 149 model, but I think the 146 and 145 would benefit immensely from a small choice of colors. If you decide to give a pen to your niece for her graduation, you can be sure that she will be happy with a Montblanc, as the name has an undeniable charm. Probably not a 149, too big a pen, and maybe not even a 146, but for a beautiful and slim 145, the only option left would be black, which is perhaps not the most youthful of colors. How about a green 145 like the 100th Anniversary one, or a not too dark blue, chosen with care, or a coral? I don't really think of a rainbow, but I think two or three colors to add to the black would make a big difference.

Thank you @fpupulin for your very measured and thoughtful analysis.

 

There is, I think, another "segment" of Montblanc's customer base which well assures them of a significant degree of success in selling their Writers, Patrons of the Arts and Masters of Art limited editions.

That is the sizable community of people who have, to date, collected each of the pens issued in these series and "automatically," so to speak, purchase any new releases in the series.  There is no consideration given to whether the new release is to their personal liking or not....it is only a matter of their desire to keep their collection fully intact and up to date.  For many, the packaging containing the pen is never even opened; the box goes into the closet, trunk or armoire cabinet fully sealed where it sits on top of (or next to) last year's iteration.

 

I know several collectors who fit this description; I liken the phenomenon to that of one receiving a chain letter and feeling obligated to pass it along.  Or, a "captive audience" of sorts.  I have to believe that, world-wide, the total number is quite sizable.  So, from the very moment of conception, Montblanc knows this sizable numbers of the new release will be sold regardless of how attractive or gaudy we FPN-type fountain pen enthusiasts find it to be......

[NoType]

1 hour ago, fpupulin said:

My premise here is that I am not a collector of Montblanc Writers, Patrons of the Arts, or Masters of Art editions. I lack the means and, in most cases, my tastes do not coincide with Montblanc’s offers. I am happy to own the aforementioned Hemingway and Dumas (my only two limited edition MBs) and would happily add to them, cost permitting, a Schiller and a Christie and very unlikely, in the upper price category, a Karl der Grosse.

 

However, as a fan of many of Montblanc's more humanly priced writing instruments, I am always concerned that the house's new launches - even when I am not interested in them - are commercially successful, because I suppose that today it is precisely these expensive and very limited pens that are driving the "writing sector" of the house. I believe that there is no other explanation for the amount of work and investment that Montblanc dedicates to these "special editions", whether many of us like them or not, with a dozen or more new models every year. These require a great deal of conceptual study, design drawing, technical solutions and experience in mixing different materials, as well as the craftsmanship to carry out many of the operations that evidently require manual intervention. In a way, even if I don't have any numbers to prove it, I live with the perception that the resilience of Montblanc writing instruments that suit me depends on a segment of the entire "Montblanc writing" sector in which I do not participate as a customer. For this reason, allow me to express some personal considerations on the series of pens from the maison that most likely will not enter my collection, but will continue to ensure that Montblanc also produces the pens that I like.

 

I'm taking some of the suggestions made by @a student.

 

If the limited and ultra-limited edition pen business is profitable for Montblanc, I wouldn't reduce the frequency of new launches. I understand that the market is able to absorb the supply, which is why it would not be commercially advantageous to reduce it.

 

I think it's likely that, as @NoType has already said, Montblanc already has a select group of customers/consultants, with whom they maintain contact to test their ideas and offerings. What is certain is that, with some exceptions, that type of audience is not that of this forum nor, I believe, that of other pen enthusiast forums. I assume that most of us are interested in pens that write well and comfortably, relatively conservative in appearance, and in a price range that at best does not exceed - if not by a little - a thousand dollars, to be purchased every two or three years. In addition to a base like ours - which is entirely respectable - Montblanc also needs customers who, perhaps even occasionally, do not hesitate to spend 5 or 10 thousand dollars or more for an object whose main function will not be to write, but to amaze.

 

In the case of the Limited Editions, I would make a radical distinction between the editions of 4810 pens and the higher, more exclusive ones. I imagine that the larger runs of the Writers Editions will continue to have a relatively large audience of writing enthusiasts, anchored to basic values such as excellent functionality (because they love to write with their pens), usability in an urban and work environment - and therefore not too blingy - and a price tailored to an object that, however beautiful, will be used and subject to wear.

 

It may well be that interest in fountain pens themselves has waned - although the available numbers globally suggest otherwise - but it is certain that in the thirty years since Writers Edition's first release, the Hemingway with its 20,000 pens, followed by the 23,000 Christies, we have moved on to approximately 15,000 Wilde, Voltaire, Dumas, Poe, Dostoevsky, Poe, Proust, Schiller pens, and fewer than 10,000 Homer, Stevenson, Grimm, Kipling, Hugo, Tolstoy, Conan Doyle, Austen... Is it possible that there are no more than 20,000 customers for the pens of this series? Personally, I believe that there is not such a large number of "writers" with adequate income for these very pens. In the larger limitation runs, I continue to believe that pens with a more functional design, more inspired by the immense historical catalog of Montblanc, and at a price under a thousand dollars, would undoubtedly find a clientele. 20,000 pens at $990 would represent a greater income for Montblanc than half the pens at $1,300.

 

The further one deviates from these values, the more the concept of functionality of the pen takes on, in my opinion, a completely secondary meaning, which should not be among our concerns. I could not help but notice, even in this thread, a derogatory reference to some of the limited editions of Montegrappa. Even in that case, I, like probably most of the readers of this forum, would not be customers of a pen like Chaos, designed by Sylvester Stallone, but that does not change the fact that the entire edition of that pen has been sold, and has probably helped to open up new segments of the public previously disinterested in these writing products. And, as it happens with Montblanc, this allows Montegrappa to continue producing its delicious - although "regular" - Extra 1930 and Extra Otto pens in beautiful celluloid.

 

A last thought about the  lower tier of Montblanc’s offer, the regular Meisterstück collections. Here I would suggest a little more color. Perhaps it is right not to touch too much an icon like the 149 model, but I think the 146 and 145 would benefit immensely from a small choice of colors. If you decide to give a pen to your niece for her graduation, you can be sure that she will be happy with a Montblanc, as the name has an undeniable charm. Probably not a 149, too big a pen, and maybe not even a 146, but for a beautiful and slim 145, the only option left would be black, which is perhaps not the most youthful of colors. How about a green 145 like the 100th Anniversary one, or a not too dark blue, chosen with care, or a coral? I don't really think of a rainbow, but I think two or three colors to add to the black would make a big difference.

@fpupulin I second @Seney724’s gratitude for this fully fledged contemplation of the role the more exclusively limited editions play in the availability of pens that are of greater interest and more accessible to the pen enthusiast communities.  As usual, your reasoning is sound, irreproachable, and a pleasure to peruse.

[NoType]

43 minutes ago, Seney724 said:

Thank you @fpupulin for your very measured and thoughtful analysis.

 

There is, I think, another "segment" of Montblanc's customer base which well assures them of a significant degree of success in selling their Writers, Patrons of the Arts and Masters of Art limited editions.

That is the sizable community of people who have, to date, collected each of the pens issued in these series and "automatically," so to speak, purchase any new releases in the series.  There is no consideration given to whether the new release is to their personal liking or not....it is only a matter of their desire to keep their collection fully intact and up to date.  For many, the packaging containing the pen is never even opened; the box goes into the closet, trunk or armoire cabinet fully sealed where it sits on top of (or next to) last year's iteration.

 

I know several collectors who fit this description; I liken the phenomenon to that of one receiving a chain letter and feeling obligated to pass it along.  Or, a "captive audience" of sorts.  I have to believe that, world-wide, the total number is quite sizable.  So, from the very moment of conception, Montblanc knows this sizable numbers of the new release will be sold regardless of how attractive or gaudy we FPN-type fountain pen enthusiasts find it to be......

@Seney724 You are absolutely correct in your dissection of this segment — that of the Collectors — and its significance in the schema @fpupulin described three posts earlier.  Your addendum is much appreciated.

[fpupulin]

I also believe like you, @Seney724, that the total number of collectors who buy the new Limited Edition releases just because they want to maintain their collections updated is sizable, and thank you for introducing this important variable into the equation. How much sizable is it, only Montblanc would know. 

 

Of course, if this segment "automatically" absorbs 70% or more of the production, Montblanc can safely do without our suggestions and design the pens they want without any restrictions in the use of motifs and materials that we perhaps consider less refined and functional.

[lamarax]

While I find the remarks above very apt in expounding the reasoning behind Montblanc's strategy and I agree, I still think this*

 

 

...is an outright mockery of that particular client base (the "collectors"), in that it underlines the fact that they don't have a clue, but that they're only interested to "make a killing" with their investment in a niche (just like it happens with stock markets).

Unfortunately, this can "paint" (excuse the pun) the state of the art market today as a whole; being divided between "consumers" who drive the demand, and the "wise guys".

 

*

[fpupulin]

@lamarax, I completely agree with your comment and - on a personal level - I also find the metal reproduction of the famous "Woman with a Hat" by Renoir from 1891 to be particularly poorly done, disproportionate and childish. Why Montblanc chose a subject so difficult to reproduce in high relief, we will never know... Frankly, I can't help but feel a certain pity for anyone who has to spend $25,000 on a tastelessly rendered "interpretation" of Renoir.

My point, however, is simple. The Masters of Art van Gogh, in the limitation of 161 pieces, i.e. the same as the "Woman with a Hat", had a price of 25,000 dollars, and I imagine that the 161 pens of the new launch do not differ much from these values. This makes of them, almost ontologically, objects for collectors, and at the same time excludes - I say this without regret - the majority of the frequenters of this forum as potential customers. For this reason I said above that the topic, in a certain sense, does not concern us.

However, as Montblanc customers, we can hope that the approximately 4 million dollars in revenues projected by this edition of 161 pens dedicated to Renoir can serve the company to continue designing, producing and proposing to the wider market - which includes us - new pens interesting for their aesthetic and/or functional characteristics, in a reasonable price range.

The recent initiatives of special nibs, the strong insistence of the 2024 advertising campaigns on the theme of "writing" and the frequent direct reference in product photographs to the Mesiterstück 149 seem to me to indicate a strong compromise of Montblanc with its original core business of writing, which is, for us, very promising. It may well be that, to maintain all this activity in relation to its "basic" writing products, Montblanc also needs the income - which I assume is considerable - deriving from its more limited and expensive editions (even if often aesthetically questionable), which in a certain sense are no longer "pens" but luxury objects aimed at a specific market of collectors and/or investors. As long as that niche of buyers exists, I believe we can continue to expect interesting novelties from Montblanc also for the pens that we like.

[CS388]

On 1/6/2025 at 9:26 PM, lamarax said:

 

 

 

 

 

My goodness! That is a dreadful representation!

 

 

 

 

[Lam1]

On 1/6/2025 at 3:26 PM, lamarax said:

While I find the remarks above very apt in expounding the reasoning behind Montblanc's strategy and I agree, I still think this*

 

 

...is an outright mockery of that particular client base (the "collectors"), in that it underlines the fact that they don't have a clue, but that they're only interested to "make a killing" with their investment in a niche (just like it happens with stock markets).

Unfortunately, this can "paint" (excuse the pun) the state of the art market today as a whole; being divided between "consumers" who drive the demand, and the "wise guys".

 

*

 

This reminds me of the (in)famous "restoration" of the Ecce Homo fresco in Spain!

It is almost "as good"! 🤣😂

 

That said, I believe MB does its homework and knows that there is a sure market to these kinds of pens - I believe the number of limited edition series and/or variants has increased in recent years, hasn't it? While manny of these pens may not appeal to most in our community, MB probably knows that they appeal to other customers (maybe from different cultures than the majority here) with lots of money to spend, and that is why they keep releasing these pens.

To me, this is great, since these pens do not tempt me in the least. So, the fact that I could never afford them becomes irrelevant!😊

 

 

[JCC123]

In any declining market, you have to go upmarket to survive or come up with alternatives. We see that Montblanc is pursuing both strategies. First, they have massively diversified away from just selling pens. Watches, bags, perfume, etc. Perfume? The founders must be rolling over in their graves. Second, moving upscale when the market you're in is shrinking by the minute is a tried and true strategy for extending the runway. It's still probably a lost cause. Think Leica. They were huge in cameras and now mobile phones pretty much taken over the world and computational photography is getting better each year at Moore's Law rates. They have no moves left but to milk those who would still be silly enough to pay 10 times for the privilege of showing off that red label. PT Barnum's quote comes to mind.

 

I think Montblan should try to consolidate what's left of the industry by taking market share. They should create additional pen lines that are historical. One simple move could be to bring back the more flexible line of nibs that they created before the 1960's. So, for example, Meisterstuck Historic line, which will be the current Mesiterstuck line but with old type of nibs where it's more flexible. I think most current owners which is probably a million strong would immediately be interested in acquiring one.

 

 

[CBK]

I think @fpupulin and @Seney724 have hit the nail on the head with their respective analysis.  The fact that a series of pens that were not designed for mass appeal or mass consumption, do not in fact, appeal to the majority of the consumer base should not be much of a surprise.  To then extend that to a belief that this series must be considered an abject failure is to take an extremely narrow and surface level view of the matter.  Obviously the determination of whether the Renoir series ends up being a success or not will only be possible in the future once the market has an opportunity to absorb the supply.  But, as was noted above, Montblanc most likely calibrates the number of pens at each level to optimize the absorption rate, otherwise we would be seeing a change in size of each edition.  I think we as a collective group sometimes forget that it would be bad business for Montblanc to establish the "satisfaction of all" as their core design goal.  If each pen was designed to be embraced and loved by all, then the customer base would inevitably shrink.  By designing certain series to match the aesthetics and price point of certain market segments Montblanc is able to expand their customer base and maintain their share of what is overal a very niche market.

 

Additionally, and at the risk of running counter to the prevailing sentiment, I don't understand the universal disdain for these designs.  I find them neither garish, hideous, nor ostentatious (with the exception of the LE 8 but at that price point it better be ostentatious 😂).  Yes, I'll stipulate that the engraved relief of Woman With a Hat misses the mark - but all-in-all I find the designs of the 4810, 888, and 92 to be simple, elegant and understated.  Nothing in any of the editions (LE 8 included) make me think that form doesn't support function.  Much like the Impressionist era itself it is the details in the pens that tie the designs together, from the choice of material, the incorporation of the silverpoint tip, the abundant and deliberate use of color, to the use of paint brushes as the clip design; I believe that Montblanc did a commendable job honoring not just Renior himself but the entire Impressionist era.  Consider the 4810, the olive wood in the barrel and cap will patina over time in a way that is unique to the usage pattern and environment of each particular owner such that in 10 years no two copies of that edition will look the same.  If that is not an appropriate tribute to the very concept of art I don't know what is.

 

I don't own any of the limited edition releases but this 4810 is the first one to seriously tempt me...then again perhaps I'm on an island 😀.   

 

 

[NoType]

4 hours ago, CBK said:

Much like the Impressionist era itself it is the details in the pens that tie the designs together, from the choice of material, the incorporation of the silverpoint tip, the abundant and deliberate use of color, to the use of paint brushes as the clip design; I believe that Montblanc did a commendable job honoring not just Renior himself but the entire Impressionist era.  Consider the 4810, the olive wood in the barrel and cap will patina over time in a way that is unique to the usage pattern and environment of each particular owner such that in 10 years no two copies of that edition will look the same.  If that is not an appropriate tribute to the very concept of art I don't know what is.

@CBK Thank you for this considered and thoughtful sentiment.  Although I concur in general with almost the entirety of your post (I balked ever so slightly at “understated”), I must confess a small sense of disappointment that Montblanc could not or would not enlist Meissen Porcelain for the 888 edition.  However visually interesting the guilloché beneath the translucent lacquer, genuine porcelain construction would have been much more preferable in my estimation.  Wood is another favourite material of mine, and like you, the 4810 edition holds not a little fascination.

[CBK]

44 minutes ago, NoType said:

@CBK Thank you for this considered and thoughtful sentiment.  Although I concur in general with almost the entirety of your post (I balked ever so slightly at “understated”), I must confess a small sense of disappointment that Montblanc could not or would not enlist Meissen Porcelain for the 888 edition.  However visually interesting the guilloché beneath the translucent lacquer, genuine porcelain construction would have been much more preferable in my estimation.  Wood is another favourite material of mine, and like you, the 4810 edition holds not a little fascination.

@NoType Appreciate the kind sentiment, and perhaps I could have used “simple” or “balanced” instead of “understated” (although to me the characterization holds).  Regarding the 888, I absolutely agree that incorporating Meissen Porcelain would have been a true delight.  I suspect, and this is pure speculation, that the brittle nature of porcelain precluded its use at the wall thickness required for the barrel and cap of the 888 edition while maintaining the ability to use the pen as intended.  The last thing Montblanc would want is to introduce a systemic risk of chips and cracks which were unrepairable.