Pelikan in Japan (I)

The star of the season, fountain pen wise, is undoubtedly the newly released Pelikan M800 with tortoise shell finish.

As we know, there is a precedent to this pen—the elusive M800 tortoise-shell released in 1987 in a very limited number of pens. The official story, by Pelikan in the voice of the official archivist Jürgen Dittmer, speaks of this pen as commissioned by some Spanish retailers. Some rumours even mentioned some shop by the name of “galeria”, that could very well be the now defunct department store Galerías Preciados. However, nobody in Spain seems to know anything about this story, and nobody in Spanish speaking fora acknowledged owning one of these pens.

The 1987 Pelikan M800 in brown tortoise shell.

Other voices speak of this 1987 pen as made especially for the Japanese market. I have no solid argument to favor this idea over the previous one, but given the popularity of Pelikan in Japan, I tend to think of this idea as more plausible. Actually, several of this pens can be seen at stylophile meetings in Tokyo. And there is also a previous example of Pelikan pens made thinking of the Japanese market.

A Pelikan 400NN made by Merz & Krell in the 1970s.

The Pelikan model 400, now named as 400NN, was phased out in 1965, and Pelikan then sold the machinery to produce it. But the demand for that model in Japan made Pelikan to commission its production to the company Merz & Krell. This makes the 400NN M&K relatively common in Japan.

But all those arguments provided no evidence, and the mystery of the 1987 Pelikan M800 in brown tortoise shell remains.

Platinum 3776 (2002 model) – Diamine Graphite

Bruno Taut
Machida, March 7th, 2013
etiquetas: Japón, España, Pelikan, Merz and Krell

Sírvase usted mismo

De vez en cuando me pregunto por qué el mercado japonés de plumas estilográficas es tan activo y tan atractivo. No tengo respuestas claras y determinantes, tan solo conjeturas. Sí veo que es muy sencillo encontrar estilográficas en las papelerías y en los grandes almacenes de este país. Es, de hecho, habitual darse de bruces con expositores de plumas a disposición de los clientes. Así que probar cómo escriben en un papel casi siempre decente, sin la mirada vigilante y controladora de un vendedor desconfiado es una experiencia casi trivial.

Las siguientes fotos muestran un procedimiento muy atractivo de dar a conocer y de vender plumas Pelikan: ¿qué modelo y con qué plumín desea probar la pluma? Sírvase usted mismo, por favor.

Las fotos fueron tomadas en los grandes almacenes Odakyu en Shinjuku (Tokyo), cuya sección de papelería está gestionada por Itoya, el pasado mes de noviembre.

Pilot 53R, red celluloid – Pelikan 4001 Royal blue

Bruno Taut
Yokohama, 7 de enero de 2013
etiquetas: mercado, Pelikan, Japón

On Line Channels

Fellow stylophiles Dan and Eric of FPGeeks have reported the final release of a maki-e Pelikan pen based on the Souverän M1000 model. Well, Eric and Dan reported on the release in the US market as this pen had been in the Japanese market since October. But there are more differences other than the release date. The price in Japan is JPY 210000, tax included, whereas in the US it is about USD 1000 more—USD 3638 (MSRP).

The Japanese brochure of the Pelikan Sunlight in raden costume.

The maki-e Pelikan on display at a stationery shop in Kawasaki, Japan. The picture was taken on November 10th (2012).

It is very hard to understand these variations. It really looks like some –if not all— pen brands had not understood the idea of globalization or, even worse, they wanted a globalized world in just one direction—for them to sell their good anywhere without obstacles but not for the buyer to choose the most convenient conditions.

The medium nib is the only one available on this pen. 300 units were released worldwide. This unit is number 284.

On line mechanisms allow for a quick transmission of information away from the official channels as well as for electronic commerce. Is this so hard to understand?

Pilot Bamboo – Unknown blue ink

Bruno Taut
Madrid, November 30th, 2012
etiquetas: Japón, Estados Unidos, Mercado, Pelikan, metabitácora

Innovation (II)

The obvious alternative to the asymmetric configuration of the opposed nibs is bending both nibs in a similar fashion. However simple this might look, the devil –as usual— is in the details. How do both tips interact? But that will be the topic of another chronicle.

Three Pelikan pens with symmetrically opposed nibs. Note the differences in the feeds.

Asymmetric vs. symmetric.

Suffice to say now that this configuration tends to make more rigid nibs. A perfect example if this is this Pelikan M200, albeit equipped with two Chinese-made nibs.

The very rigid creation by Mr. Yamada.

The goal was to create a very rigid and very resistant nib for a user who applied a lot of pressure when writing. The owner was truly happy with the final result of Yamada’s inventive mind.

The tip of the nib, we can see on this picture, is not symmetric. There is an upper nib and a lower nib, marked with the yellow sticker, as could be seen on the previous picture.

My thanks to Mrs. Arai and to Mr. Yamada.

Pilot Capless 1998 – Sailor Sei-boku

Bruno Taut
June 2nd, 2012
etiquetas: Yamada, plumín, evento, soluciones técnicas, Pelikan

Innovation (I)

Sailor’s specialty nibs, I have said on these chronicles, are arguably the most interesting innovation in fountain pens in recent years. The idea of overlapping two and three nibs is both elegant and efficient.

And on these texts, I have also mentioned the amazing creations of nibmeister Yamada. Among them, his version of a two-fold nib, based on a Pelikan M800, caught the attention of many of us.

Then, what’s next? Are there more possibilities in our understanding of nibs and pens? Mr. Yamada is indeed creative and daring. And so his question was more concrete, more advanced: What if instead of overlapping the nibs we opposed them?

A Senator (top) and a Pelikan 800 with opposed nibs.

Senator (left) and Pelikan (right) nibs. Their geometry are different.

Here we have a couple of average looking pens: a Senator and a Pelikan (M800). Their nibs, though, have been heavily modified and now are unique and radical. Mr. Yamada did really oppose two nibs, and to do so he had to make special feeds to provide ink to both of them.

These nib sets have the wonderful property of allowing a big number of different strokes, which in turn depend on the geometry and configuration. Needless to say, now there are many more possibilities. Today, I will only speak about the asymmetric configuration.

On the Senator pen, the lower nib, on the right in the picture, is made of steel. Its bending is quite progressive.

The Senator pen in the hands of its creator, Mr. Yamada. Please, note the variety of lines.

On it, one of the nibs is mostly untouched and the other is bended about 45 degrees in a quite sharp angle. The result is a wet fine point —fed by two slits— when writing with the tip. At more shallow angles, though, the whole lower nib draws a very thick line.

The Pelikan set is formed by two 18 K Pelikan nibs. The lower nib is bended at a much sharper angle than that of the Senator pen.

The nib set, as in any Pelikan pen, can easily be detached from the section. On the paper, some writing samples of the Pelikan nib. Note the possibility of drawing both thin and very broad lines.

Indeed a versatile nib with lines ranging from very fine to inordinately broad.

On another chronicle I will describe other possibilities.

Hats off to Mr. Yamada!

Pilot Capless 1998 – Sailor Sei-boku

Bruno Taut
May 23-26, 2012
etiquetas: Yamada, plumín, evento, soluciones técnicas, Pelikan, Senator.

At the Museum (V)

(As seen at the Kanagawa Prefectural Museum of Modern Literature).

The pens I am showing today belonged to HOTTA Yoshie (堀田善衛, 1918-1998). His name might click on some science-fiction aficionados’ minds by nothing that he, together with FUKUNAGA Takehiko (福永武彦, 1918-1979) and NAKAMURA Shinichiro (中村真一郎, 1918-1997), authored the seminal novel of the character Mothra (Mosura, モスラ) in 1961: The Luminous Fairies and Mothra (発光妖精とモスラ, Hakko Yosei to Mosura, originally published as a serial novel in Asahi Weekly in 1961, republished in 1994).

An Onoto with a size 5 nib.

Hotta was also an Akutagawa Prize winner in 1951 for his novel Loneliness in the Square (広場の孤独, Hiroba-no kodoku). In 1977, he received the Osaragi Jirô Award for his comprehensive biography of Spanish painter Francisco de Goya (ゴヤ, Goya, 1974-1977).

A Pelikan 500.

The Kugel extra fine nib.

The B nib of Pelikan 400.

His better known work, however, is Judgment (審判, Shinpan, 1963), a novel on the atomic bomb of Hiroshima.

A Pilot Custom in Sterling silver, and a Pilot Elite.

Regarding his pens, we see both European and Japanese units. An Onoto with a size 5 nib; three Pelikan, a Faber Castell, and two Pilot. On the Pelikan, an extra fine Kugel (KEF) and a B points.

(Sailor Profit Realo – Pelikan 4001 Brilliant Brown)

Bruno Taut
April 3rd, 2012
[labels: Faber-Castell, Pilot, Pelikan, Japón, evento, estilofilia, Onoto]

At the Museum (IV)

(As seen at the Kanagawa Prefectural Museum of Modern Literature).

On this chronicle I am presenting the pens that belonged to another female writer –NAKAZATO Tsuneko (中里 恒子, 1909-1987). She was the first woman to be awarded with the Akutagawa price in 1938. However, the price had just been established in 1935.

Nakazato´s pens. At least, those shown at this exhibit.

The golden nib of the New Clip jumbo pen.

Her pens, as shown at the Museum of Modern Literature in Yokohama, were mostly Western, with the sole exception of a New Clip jumbo (manufactured by Fukunaka Seisakusho), with an ink deposit suitable for a very long novel. The rest were a Sheaffer snorkel, a Pelikan 120, and a couple of identical French-made Watermans.

The Pelikan 120. Nominally, a student pen.

The snorkel in the feed of the Sheaffer pen.

The two identical French Watermans.

A user or a collector? It does not really matter… User she was, and successful at that! Collector, maybe.

(Aurora 88 – Pelikan 4001 Blue black)

Bruno Taut
March 11th, 2012
[labels: New Clip, Waterman, Pelikan, Japón, evento, estilofilia, Sheaffer]

At the Museum (I)

The Kanagawa Prefectural Museum of Modern Literature holds these days an original exhibit on Writers and Their Pens (from January 14th to February 26th). It is focused mostly on Japanese writers active on the second half of the twentieth century, albeit with some exceptions such as the very notable of SOSEKI Natsume (1867-1916).


Indeed, such a museum is a museum of fetishes. What truly matters of a writer is the final work. However, it is also fair to wonder how the tool would affect the work of art—would Tanizaki have written In Praise of Shadows ((陰翳礼讃, In'ei Raisan) on a keyboard? I guess not. “Elegance is frigid”, he said…

All stylophiles are fetishists. We value the tool over its actual function. What about writers themselves? Are they fetishists or mere users? An exhibit like this helps us to understand this question, no matter how irrelevant it might be to appreciate their work.

This is the first chronicle on some of the pens I had the chance to see and feel at the Museum.


Today I am showing this nice leather pen holder that belonged to SATOMI Ton (1888-1983). It was bought from the very prestigious shop of T. Tanizawa in Ginza, Tokyo. Inside, a Pelikan 400.


My thanks to Mr Niikura and Mr. Tarusawa, and to Mr. Kibo, chairman of the Museum.

(Pilot Super Ultra 500 – Athena Sepia)

Bruno Taut
February 6th, 2012
[labels: Pelikan, estilofilia, evento, Japón]

Certified Fake

Wagner meetings always have interesting pens to admire. Nibmeister Yamada, on top of his wonderful abilities to create innovative nibs, is very knowledgeable about pens. His collections seems to be very interesting and large.

Two apparently common Pelikan.

This time, he brought, among other things, these two Pelikan pens. Apparently, they are two regular 140s, the student model in the 1950s and early 1960s.

On top, the stenographic nib. On bottom... the other.

One of them has the stenographic (ST) nib—a flexible one desired by many. The other pen apparently displays a more normal point. It is engraved with the company name and the purity of the gold. However, Mr. Yamada tells us, despite all these indications, this nib was made in Japan—it is a copy. A copy made in Japan and certified by the Ministry of Industry—this nib was the JIS product number 4622, and was made by Kabutogi Ginjirô, probably as a replacement.

The imprint reads "Pelikan / 585 / 14 KARAT / PEN / PURPLE".

Therefore, here we have a true Pelikan with a Japan-certified fake nib.

My thanks to Mr. Yamada.

(Anonymous black hard rubber eyedropper – Sailor Tokiwa-matsu)
Bruno Taut
October 1st, 2011
[labels: evento, Pelikan, Japón, nibmesiter Kabutogi]

Local Produce

A market driven by collectors is bound to being irrational. And indeed, anything can happen when the actual needs give way to cravings.

Fountain pen inks are one such example. There are many inexpensive inks in the market, and many of those brands offer a very wide selection of colors. However, the business of fancy inks packaged like exquisite perfume is flourishing despite their color charts or their intrinsic quality might not be different from those cheaper ones. Diamine in Europe and Noodler´s in North America could easily be the rational inks of choice if we only paid attention to the actual price per milliliter of ink. And sure enough, their selection of colors is wide and rich—wider, actually, than those by most other brands.

Ink selection in a shop in Tokyo.

Japan, paradoxically, might have a more limited market. Paradoxically I say given the fascination felt in the West for dyes made by Japanese companies. The big three pen companies –Pilot, Platinum, and Sailor— have inexpensive inks for the domestic market, but with a very limited selection of colors. Interestingly enough, the cheapest ink in Japan, other than buying 350 ml bottles by Pilot, is the German-made Pelikan 4001 series.

The table shows the local prices of the inks mentioned on the text. Figures in bold face show the local prices in the local currency for those inks. The exchange rates used for the currency conversions are those of September 11th, 2011, as shown on the following table

The motto “think globally, act locally” might also be a good idea for the ink business in order to regain some common sense. Think globally to be aware of the market variations, and act locally to keep your buying power in good health.

(Platinum Pocket Pen, Atelier Yamada – Pilot Blue Black)

Bruno Taut
September 6th, 2011
[labels: Mercado, tinta, Noodler´s, Pelikan, Diamine, Pilot, Sailor, Platinum]