La Visconti Giapponese

Sometimes reading the pen is truly helpful. Well, mostly always.

At the past Madrid Pen Show I saw the pen on the photograph.

A Visconti. A Visconti?

On it, the signs on the box and on the clip did not really match with the pen itself. The logo of Visconti and the plain inscription on the clip contrasted with the basic structure of the pen—a Japanese eyedropper coated with red urushi. The nib, or rather its engraving, provided the final clue—it was signed by GK, Kabutogi Ginjiro, and the pen is, most likely, a Ban-ei made by Sakai Eisuke (lathe work), Kabutogi Ginjiro (nib), Tsuchida Shuichi (assembly), and Takahashi Kichitaro (urushi coating).

A Ban-ei pen with "nashiji" decoration. Nib signed by Kabutogi Ginjiro.

The additional literature included in the box describes, in Italian, the virtues of the “lacca giapponese” (urushi, of course) and speaks of its long history. It also includes instructions on how to fill and use the pen. Finally, it declares that the pen was part of a limited edition of 100 pens per year, but it does not disclose for how long. This particular unit was made in 1990 as it is numbered as 007/90... out of 100 pens made. (NOTE added on Sept. 2020: Some reports --see comments-- speak of serial numbers over 100 despite what the pen docs claim. So we should add some pinches of salt to those words despite coming from Visconti).

So, what was Visconti doing at that time? How come this very Japanese pen showed up under an Italian brand?

Visconti started its operation in 1988 and immediately contacted the Japanese lathe master Kato Kiyoshi, with whom Visconti would later collaborate in the fabrication of some models, including some versions of the Ragtime. And it is also at this time that Visconti contacted Sakai Eisuke and his team.

Apparently, there was at least two series of pens made by the Ban-ei group for the Italian brand. The first one, to which the pen shown today belongs, had a golden ring on the cap. As was mentioned before, Visconti released 100 units per year and there are records of at least two batches: 1990 and 1991. About the colors, some sources say that there were pens in ro-iro (black) urushi, but I am only aware of pens made in shu-urushi (red) as the one here shown. The clip inscriptions are either "VISCONTI" or "URUSHI".

The GK-signed nib of the Visconti Ban-ei. Note also the inscription on the clip: "VISCONTI".

A second series of Ban-ei pens were produced at a later date—1993 or 1995. On this occasion, the pens carried no rings and came in three colors: black (100 units), red (100 units), and green (50 units). The units I have seen have their clips engraved with the word "URUSHI", but there might be other other texts on them.

Some people speak of a third batch of pens previous to the first series here described. They could have been prototypes and test products later marketed by Visconti.

These are the dimensions of the pen I found at the Madrid Pen Show (2017) that belongs to the first series, and was made in 1990:

Length closed: 145 mm
Length open: 126.5 mm
Length posted: 176 mm
Diameter: 16.5 mm
Weight (dry): 25.3 g
Ink deposit: 3.3 ml

The cap ring carries the unit number of the series over the production year. This particular unit is the 007.90: number 7 (out of 100) made in 1990.

It is interesting to note that these Japanese Viscontis seem to predate those Danitrio-commissioned (::1::, ::2::) that are much better known. However, these Visconti pens remained essentially anonymous, as was customary on Ban-ei pens, and the Italian brand did not even declare where they had been made.

A Danitrio-commissioned Ban-ei.

Of course!—we all know by now that GK was a magnificent Italian nibmeister… But reading the pen helps to know what you had on your hands beyond what labels and inscriptions might say.

Platinum 70th anniversary, green celluloid – Sailor Yama-dori

Bruno Taut
Nakano, January 17th 2018
labels: Ban-ei, Visconti, Danitrio, Italia, Japón, nibmeister Kabutogi Ginjiro, urushi

Ôsôji

Japanese people end the year with a traditional clean up of the house--and of the office at times. This is called ôsôji: big clean up. On the way, many forgotten or out of use goods end up in the garbage. But your junk might be someone else’s treasure.

The Wagner “end-of-the-year” bazaar is a mixture of an end of the year party and a small market where to sell all those pens –and accessories you might no longer want. Or at least that was at some time. Nowadays, it has become a small pen show for local traders perfectly comparable in size with the “Pen Trading” (such is the name) event celebrated in Tokyo in Spring, usually by the end of April or beginning of May (::1::, ::2::).

So, this past December 30th, pen aficionados in Tokyo gathered at the end-of-the-year bazaar organized by the Wagner group. Between 150 and 200 visitors, and about 15 traders conformed this event where the commercial activity dominated over any other aspect. Fair enough… save for the exhaustion of the formula: too few traders with small variety and selection of pens for a very active pen community. The paradox is that other events in Tokyo organized by Maruzen (World of Fountain Pens) and by Mitsukoshi (Fountain Pens of the World Festival; ::1::, ::2::, ::3::), both focused on new pens—attract a lot more people and generate a higher economic activity.

Japan seems faithful to its tradition of isolation. The Galápagos syndrome is alive and well in a number of areas in this island nation. It is not easy to pinpoint a single reason to explain such attitude, but Economics might provide some arguments—are there real incentives to open the market to Barbaric influences?

Now, how long can this isolation last?

Romillo Nervión – Sailor Blue Iron

Bruno Taut
Nakano, January 8th 2018
labels: evento, Tokyo, mercado, Japón

Yatate

Originally, a “yatate” (矢立) is a stand for the arrows in the old tradition of Japanese archery, “kyudô” (弓道). But the word is better known as a container to carry a brush and a small deposit of water. It was used by merchants and educated people who had the need to write on the go.

"Benri-gata" type of "yatate". This is the type whose style was copied for the "yatate" pen. On this example, the brush container has some holes.

This type of "yatate", "ittai-gata", is better known.

With the apparition of the fountain pen, those traditional “yatate” became obsolete. However, the name was rescued to describe a particular type of fountain pen. On them, the cap is almost as long as the pen itself—nib, section, and barrel. When closed, the pen might look just like a rod of ebonite, but upon opening it, a full size pen show up.

A typical "yatate" pen made of ebonite. At first, it just looks like an ebonite rod. Picture courtesy of Mr. Ariel Zúñiga.

Only open it is possible to see that there was a pen inside. Picture courtesy of Mr. Ariel Zúñiga.

“Yatate” pens saw their glory days by the beginning of the twentieth century. By 1920 they were gone almost completely, and only the occasional retro-looking pen in this geometry kept them alive.

Taccia is one of the brands stationer Itoya uses for its own pens, others being Romeo, Mighty, Natsuki, Itoya. Taccia pens, interestingly enough, are available overseas. In Japan, though, its distribution seems limited to Itoya shops. Some of its models, mostly high end, implement Sailor nibs, whereas the least expensive ones use JoWo nibs made of steel.

Obviously, a Taccia pen.

The following model is called Taccia Covenant, and it is, in actual terms, a “yatate” pen made of plastic. The Covenant uses international cartridges and converters, and sports a very correct JoWo steel nib. The available nib points are F, M, and B. The feed, needless to say, is made of plastic.

The "Midnight Breeze" Taccia Covenant. Well, a "yatate" pen.

This model comes in three possible colors: marbled brown (“Parchment Swirl”) with silver clip and rings; marbled blue (“Midnight Breeze”) with silver ornaments; and black (“Jet Black”) with golden accents.

The long cap screws on the pen both when closed and when posted. Posted, the pen is quite thick and could become a bit uncomfortable to some users. Unposted, the pen is very comfortable.

When posted, it becomes a hefty pen.

These are its dimensions:

Length closed: 145 mm.
Length open: 139 mm.
Length posted: 182 mm.
Diameter of the body: 12.5 mm.
Diameter of the cap: 15.5 mm.
Weight (inked): 34 g (uncapped, 19.0 g)

The steel nib made by JoWo.

The current price in Japan is JPY 14000, plus taxes, and it does not fare well against the workhorses of the main three Japanese manufacturers of fountain pens—Pilot´s Custom 74 and Custom 91, Platinum´s 3776 Century, and Sailor´s Slim Pro Gear, Profit and Promenade. All of them implement 14 K gold nibs and cost between JPY 10000 and JPY 12000 (save for the Platinum Century 3776 with music nib).

But they are not “yatate” pens…


My thanks to Mr. Ariel Zúñiga.

Eboya Hakobune XL – Sailor Black

Bruno Taut
Nakano, November 5th, 2017
etiquetas: Itoya, mercado, Japón, JoWo, Taccia

Pattern, Made in Japan

The history of fountain pens is mostly written by the major brands. However, on the side there have always been a bunch of small companies struggling for a place in the market with a number of arguments. We have seen some of those pens on these pages on these pages—Vanco, Surat, Mitaka, Capless Kogyosho, Sakai Eisuke, etc… Little we know about most of them, but some are interesting on their own merits.

"Pattern". Made in Japan.

Nothing we know, indeed, about this particular brand: “Pattern”. This particular model is made of celluloid and employs the well-known Japanese eyedropper system. The body is perfectly engraved with the company and brand names: “PATTERN” / THE FURUTA (logo) MFG. CO. LTD. / MADE IN JAPAN.

A Japanese eyedropper pen made of celluloid.

“PATTERN” / THE FURUTA (logo) MFG. CO. LTD. / MADE IN JAPAN.

The nib, made of steel, is also engraved: WARRANTED / KOKUJU / IRIDIUM / POINT / -<3>-. It is questionable, though, whether it is the original unit of this pen. The feed, on its side, shows the typical shape found on pre-war pens. All in all, albeit with many reservations, indicated a production date around 1940.

WARRANTED / KOKUJU / IRIDIUM / POINT / -<3>-. A replacement or the original nib? I would say the first...

These are the dimensions of the pen:
Length closed: 127 mm.
Length open: 115 mm.
Length posted: 157
Diameter: 13 mm
Weight: 18.0 g (dry)

The flat feed.

But what matters here is the existence of a well-made pen of an unknown brand. Sometimes it pays off to look for unknown and anonymous pens at flea markets and similar places. There are interesting surprises out there even though, like in this case, further research was needed.

Pilot Capless 1998 – Pilot Iroshizuku Ku-jaku

Bruno Taut
Nakano, August 13th 2017
etiquetas: Pattern, Japón

Ebonite Feeds in Japan

This text is long overdue. This is, in essence, a correction to a couple of old posts on the Pilot (and Namiki) pens with size 50 nibs (::1::, ::2::). I said (but I cannot recall when or on which text) that their feeds were made of ebonite, and that is not correct—they are made of plastic. Actually, all feeds made by Pilot are made of plastic.

Emperor size pen by Pilot, later on labeled as Namiki.

The feed of the previous pen. It is lacquered on one side, but the material is plastic.

And not only those by Pilot, but also those by Platinum and Sailor are made of plastic. Are there, in fact, any exception to this rule? There is, but it comes from small makers and in unusual forms:

-- Eboya (formerly Nebotek) pens implement ebonite feeds on its higher end pens, but Eboya feeds and nibs are made by Bock.

Ebonite feed on a pen made by Nikko Ebonite. But the feed is made by Bock in Germany out of, probably, German ebonite. The rest of the pen is made of Japanese ebonite.

-- Masahiro creates ebonite feeds for its pens, which use Pilot nibs.

And that seems to be it. Stylo-Art Karuizawa, Hakase, and Ohashido take their nibs from the big three Japanese companies, and they do not modify the feeds. Onishi Seisakusho employs Schmidt nibs and plastic feeds.

Some old nibmeisters –and I am mostly thinking of Kubo Kohei— keep on making their nibs on demand, and their feeds are often made of ebonite, but these craftsmen do not manufacture pens regularly or according to a established model.

A nib made by nibmeister Kubo Kohei. Its feed is made of ebonite.

Nibs and feeds of a Platinum 3776 and of a Nakaya. On both cases, the feeds are made of plastic.

So, the interesting conclusion id the almost complete absence of ebonite feeds among Japanese maker. This fact does not pose any functional problem to Japanese pens with one possible exception —the irregularly behaved Pilot’s size-10 falcon nib implemented on the models Custom 742 and Custom Heritage 912. And there are powerful arguments to support the use of some plastics, mostly ABS, on feeds.

Sailor's nib and feed. The nib is made of 21 K gold. The feed is made of ABS plastic.

But for some stylophiles, ebonite feeds are the one and only way to go. And they will never be satisfied with modern Japanese pens… save for a couple of exceptions.

Pilot Custom 823 – Sailor Blue Iron (original ink)

Bruno Taut
Nakano, July 27th 2017
etiquetas: soluciones técnicas, Pilot, Platinum, Sailor, Masahiro, Ohashido, Stylo-Art Karuizawa, Eboya, Kubo Kohei, Japón

A Non-Pilot Pilot

This text is the result of a collaborative effort: my friend Antolin2.0 found the pen and started asking questions and finding some answers. My contribution was limited to answering a couple of them and writing this text.


The pen Antolin2.0 found is the following—an inexpensive Pilot Super with an inscription in Bulgarian: балканкар България, Balkancar Bulgaria. The seller, from Leipzig, had said that he had got the pen at an industrial fair in the times of the German Democratic Republic. Balkancar was a public company dedicated to the production of heavy machinery, and it is still active.

The Bulgarian-Japanese-German pen.

On its side, the pen is clearly signed as Pilot. It is in all aspects one of the inexpensive Super models, albeit the nib geometry does not really match that of the early models.

So the first question is served: how could these two worlds –a Socialist company and a Capitalist pen— come together?

Historian Evgeni Kandilarov explains it in his book Bulgaria and Japan: From the Cold War to the Twenty-first Century (Sofia, 2009). In the 1960s, Kandilarov explains, the need to open markets for the fast growing Japanese economy matched the search for new technology of some Socialist countries outside the Socialist bloc. Contacts between Japan and Bulgaria started in 1959 (resumption of diplomatic relations), and by the mid 1960s companies Balkancar and Fujitsu Ltd. signed an agreement according to which the Bulgarian party would produce electronic devices and distribute them in the COMECON market. And that was just the beginning—some joint ventures followed soon afterwards and the economic ties between the two countries became very stable.

Evgeni Kandilarov's book Bulgaria and Japan: From the Cold War to the Twenty-first Century (Sofia, 2009). (http://www.tokyofoundation.org/en/articles/2013/bulgaria-and-japan-from-the-cold-war-to-the-twenty-first-century).

Therefore, the Bulgarian connection of this pen is easy to understand. But the pen, surprisingly, not so much.

New questions arise when the pen is disassembled. The nib is engraved with some elements apparently contradictory. On one hand, it is made in Japan, and the logo of the Japan Industrial Standards really supports this idea. But on the other hand, the manufacturing date includes an F: F467.

Letter F was understood to be associated to nibs made outside Japan, at any of the facilities Pilot had in India, Burma, Brazil… The manufacturing date –April of 1967—is also puzzling for a Super model. The same can be said about the logo, which corresponds to the 1950s and early 1960s.

The nib, at first sight, is a collection of contradictions.

Finally, Pilot pens of that time --1967—were engraved on the barrel with a manufacturing date code. On this pen, however, that inscription only says “PILOT / MADE IN / JAPAN”. And there is no hint of the model number—Super pens, might be worth remember, were numbered between 50 and 500.

So, this pen shows a number of contradicting and anachronistic elements.

Further questioning of the usual suspects revealed a surprising fact—this pen was not made by Pilot.

The story goes that once the early Super model was phased out, in the early 1960s, Pilot passed the machinery to a company named Fuji, also in Hiratsuka, where the main Pilot plant lies. Fuji, in return, manufactured pens only for export. The F in the manufacturing date is presumed to mean Fuji. Consequently, this pen was made in Japan.

So, all in all, what we have here is a Pilot Super pen, made by a company named Fuji in 1967 in Hiratsuka, Japan. The pen was likely to be exported to Bulgaria, and was chosen by the state company Balkancar as promotional advertisement gift.

More pictures are available on the following link to the Spanish forum "Foro de Estilográficas": http://estilograficas.mforos.com/1218373/12842260-una-pilot-super-50-de-la-rda-la-conexion-bulgara/

Lamy Safari – Lamy Blue

Antolin2.0 & Bruno Taut
Madrid & Nakano, Fall of 2016
etiquetas: Pilot, Bulgaria, Japón, Fuji

Las Danitrio Japonesas

Some weeks ago, my fellow blogger and friend Pedro Haddock published a very interesting article on a Danitrio pen on his blog “El pajarete orquidiado”. I then thought that I could offer some additional information on the story of the Ban-ei pens commissioned by Danitrio in the mid 1990s. This is the resulting text, this time written in Spanish as the information in this language on Danitrio is scarce.

I also wanted to recommend a visit to Pedro Haddock’s blog, one of the most interesting pen blogs written in Spanish. Remember that online translators are there to help you.


Danitrio, como ya está bien explicado, es esa empresa californiana fundada por el taiwanés Bernard Lyn que ahora se centra en plumas de lujo con decoración maki-e. El embrujo de esta decoración de Asia Oriental atrapó a su fundador alrededor del año 2000, pero previamente había hecho alguna aproximación muy interesante. Para explicarla hay que retroceder bastantes años.

La figura de Sakai Eisuke tiene algo de mito en Japón. Nació en 1916 y desde su adolescencia estuvo dedicado a aprender los secretos del “rokuro”, el torno tradicional japonés. Alrededor de los años 70 dirigió un pequeño grupo de artesanos –Tsuchida, Ginjiro, Nakamura, Takahashi— en la producción de unas plumas de gran calidad, pero sin nombre. Son las denominadas “Ban-ei” (挽栄), que era el nombre de trabajo de Sakai Eisuke, o “Tsuchida” (Tsuchida Shuichi), que era el encargado del montaje final de las piezas. En muchas de ellas, la única marca que permite su identificación es el grabado de las letras GK en el plumín. GK era Kabutogi Ginjiro, pero no era el único proveedor de plumines para estas plumas, por lo que hay otras plumas con el mismo origen, pero sin grabado identificador alguno.

Varios ejemplos de plumas Ban-ei.

Casi todas estas viejas Ban-ei eran plumas de cuentagotas con válvula de cierre (sistema de cuentagotas japonés), aunque hay ejemplos de llenado por “plunger filler”. Casi todas ellas están decoradas con laca urushi, o con motivos maki-e muy discretos. Pero hay un reducido número de plumas con decoraciones muy lujosas, habitualmente producto de encargos especiales.

Las fechas de esta operación son inciertas y nunca está claro cuáles son los artesanos que intervienen en cada una de esas plumas. Las plumas más recientes de este grupo son de 2004. Y Sakai Eisuke falleció en 2011.

Tres Ban-ei. La primera desde arriba lleva el grabado el nombre Ban-ei en la banda del capuchón. Las otras dos, no.

Dos de los plumines (en el centro y a la derecha) llevan grabadas las iniciales GK, de Kabutogi Ginjiro. El tercero (a la izquierda), perteneciente a la encargada por Danitrio, no. Este plumín fue fabricado por Sailor Platinum.

El anonimato de este grupo se rompió brevemente a mediados de los años 90. Bernard Lyn les propuso hacer una serie de plumas para Danitrio. Llevarían grabado el nombre Ban-ei, en japonés y en caracteres latinos (挽栄 - Ban-ei), y serían unas ediciones limitadas de pocos cientos de unidades. Y Danitrio no las firmaba.

Tres Danitrio japonesas.

En los capuchones, a la izquierda, se pueden ver los grabados "Ban-ei". El más cercano de los plumines fue hecho por Kabuitogi Ginjiro. Los otros dos son Sailor Platinum.

Estas son las Danitrio Ban-ei, las Danitrio japonesas: plumas hechas en Japón, por un grupo de venerables artesanos japoneses para una empresa estadounidense dirigida por un taiwanés. Todas ellas son plumas de cuentagotas japonés y con decoración de laca urushi o maki-e muy discreto. Los plumines son, en su gran mayoría, Sailor Platinum, aunque hay un reducido número de ellos hechos por el mencionado Kabutogi Ginjiro. Estos llevan una inscripción en japonés: 復刻手造万年筆, réplica hecha a mano. ¡Réplica hecha por el propio Kabutogi!

Una Danitrio Ban-ei con decoración "shu-urushi".

Al contrario que las Ban-ei quasi-anónimas, estas Danitrio japonesas se encuentran más fácilmente fuera de Japón. Al fin y al cabo, Danitrio tiene su mercado, sobre todo, en Estados Unidos.


NOTA añadida en junio de 2017: He hecho unas correcciones sobre la procedencia de los plumines de las Danitrio Ban-ei, que son Platinum en lugar de Sailor, como erróneamente decía. Más información, en la crónica On Ban-ei Nibs.

Ban-ei con plumín Henckel – Pilot azul

Bruno Taut
Nakano, octubre de 2016
etiquetas: Ban-ei, Danitrio, Kabutogi Ginjiro, Japón, Estados Unidos, maki-e, urushi, Platinum