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Ah. I would have said that the Royal Vogue "W" has six points, i.e., sharp ends. And most other "W"s have five. As to "four points", I thought first of serifs on both sides of the tops of the outermost strokes. Life is hard.
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A powder blue case with a zipper placement that screamed "TYPEWRITER!" caught my eye at an antique mall today... It happened to be a Lettera 32, in immaculate condition. It sat on top of the original shipping box, complete with an Eaton's price tag: $69.50!
Now, after the Studio 44, I had no real interest in anything Olimushy, however the price of $25 was hard to pass up. I can say that the action is significantly better than the Studio 44... I might even say it's nice. However, I don't know how they made the spacebar any thinner than the 44, but somehow they have, and it's like a carnival game rigged to make it impossible to win-- seriously, it's almost tucked under the bottom row of keys! Crazy.
P.S.-- Did anyone nab that AMC portable on Kijij today?
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M. Höhne wrote:
I would have said that the Royal Vogue "W" has six points, i.e., sharp ends. And most other "W"s have five.
Agree. The uppercase 'W' in Vogue is two superimposed 'V's that create a W very similar to the Volkswagen logo. I'd describe it as having six points too. I've never heard of Vogue being identified as a typeface with a four point W. To my eye the most distinctive element when looking at Vogue is the lowercase 'e' because the crossbar in the letter, which normally is horizontal, is at a 45° angle.
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Apologies-- a bit of shorthand in my post. I explained more fully to the seller what to look for!
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Today I picked up a '47 Remington Noiseless 7. Great condition-- super clean, and with a decent platen. The case had a picture of Rheims cathedral taped into the lid, and included was a bag of unopened old cotton ribbons, and a plastic box of type-cleaning putty. Neat!
It has a french keyboard, which is okay, but the space for the extra keys was made by pushing the backspace, and margin release keys farther up the machine... kinda out of reach.
I'd been looking for a noiseless to try it out, and so far can"t say that it's wonderful to type on. Weird, even. It feels like a machine ten years older. And really not much quieter than any other typewriter I own. The skewed slug design is interesting.
A question: Most of the typebars/slugs return precisely to their home position after a strike, but a few bounce on the typebar rest-- I think it's generally the outer letters. Is this normal? Doesn't seem to affect the type.
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Great week!
I stumbled on 3 lovely and very different machines on 3 seperate occasions.
A 1957 gorgeous Groma Kolibri in mint condition!
A 1946 Smith-Corona Sterling also mint!!
And finally the work horse that is my first SM9!!!
Pictures coming..........
Sum total was under 80$, so I'm ecstatic.
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That went well...
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Parum wrote:
Great week!
I stumbled on 3 lovely and very different machines on 3 seperate occasions.
A 1957 gorgeous Groma Kolibri in mint condition!
A 1946 Smith-Corona Sterling also mint!!
And finally the work horse that is my first SM9!!!
Pictures coming..........
Sum total was under 80$, so I'm ecstatic.
That's so neat! Yesterday I too got a 1946 S-C Sterling and an Olympia SM9, both in excellent condition. Now I wonder what I did wrong to miss a Kolibri. Based on my numbers, you paid about $55 for the Kolibri, eh?
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I picked up a 50s Remington Standard recently, with no. 39 Bold Bulletin 6-pitch type. Single case-- the shift keys are locked. The platen is nearly new (guessing this didn't get a lot of use?). It calls for 9/16" ribbon, but seems to work fine with the 1/2" I had on hand. Interestingly, the paper bale scale starts at 0 in the middle... guessing centring titles was a primary use for the machine.
Not sure if I'll permanently devote precious shelf space to this curiosity, but for now the whole family is having a blast typing prank "who ate my yoghurt?" notes to leave around the house!