Added Value

Regular commenter Saltire Turquoise posed a very interesting question to my initial description of Sakai Eisuke's prototypes made for Pilot in early 1980s: Why can't Pilot make pens like those?

Although probably intended as rhetorical, it does trigger some reflections on the current situation of the pen market.

The first and easy answer to that question is a series of economic concerns—is there a market for those pens? Would they be economically viable?

It is worth to remember that Pilot does have a pen with similar characteristics to those prototypes: ebonite, urushi, Japanese eyedropper... but just bigger, much bigger—the Namiki Urushi 50. And this pen has a price of JPY 150000 in Japan. Expensive or not is anybody's guess, but it is not a pen you see everyday in the hands of aficionados.

From back to front, Pilot Urushi 50 (prior in time to the current Namiki model), Sakai's #10 and Sakai's #3.

However, I can think of a good argument for the marketing of pens like those Saltire Turquoise craved for–those prototypes and smaller versions of the Namiki Urushi 50.

In recent years we have seen how some Chinese companies have copied some very iconic Japanese (and other) fountain pens—Pilot Capless, Pilot Custom Urushi, Sailor ProGear, Platinum Curidas are some examples of pens with Chinese counterparts at much lower prices.

Jinhao or Sailor?

Lanbitou or Platinum?

In this scenario, little can the Japanese companies do save increase the value of their products. And pens like those Sakai's prototypes or like some older models offer interesting templates of what could offer that added value to their catalogs.

The critical question, however, can only be answered experimentally—is the market ready for those more expensive pens?

Thanks, Saltire Turqouise, for your questions.

Pilot Custom 748 – Pilot (Thai) Black

Bruno Taut
March 26th 2024
Etiquetas: Pilot, Sakai Eisuke, mercado, Japón

Pilot vs. Ban-ei

So, these prototypes were made by Sakai Eisuke. Then, how are they compared to other pens made by this master?

Needless to say, Mr. Sakai made pens in many shapes, some of which I have shown on these pages. However, balance models in a number of sizes and decorations were a very common canvas that came out of Sakai's lathe.

Four Ban-ei balance pens in four different sizes.

On the following pictures we see Sakai's prototypes and balance Ban-ei pens side by side. Do they share a common language?

From left to right, Pilot's Sakai #3, Ban-ei 4-bu, Pilot's Sakai #10, and Ban-ei 5-bu.

On top, Ban-ei "nashi nuri" in size 5-bu. Bottom, Pilot's Sakai #3.

Pilot Custom 74, Yamada Seisakusho – Diamine Teal

Bruno Taut
March 21st 2024
Etiquetas: Pilot, Ban-ei, Sakai Eisuke

Sakai's #10

The size 3 nib we saw on the previous text makes that pen a strange creature with no clear counterpart in the general catalog of Pilot.

On the contrary, the size 10 pen uses a more standard –and contemporary- Pilot nib. In fact, we can see a close relative in the form of the Pilot 65, the commemorative pen Pilot launched in 1983.

As we can see on the following picture, their nibs and feeds are identical to he manufacturing date, September of 1983.

These are the dimensions of these two pens:

	.Pilot 65.	.Sakai's 10.
Length closed (mm)	140	146
Length open (mm)	126	124
Length posted (mm)	159	176
Diameter (mm)	13.5	15.0
Weight (g)	17.9	18.6

Lotus Saral Titanium – Pilot (thai) Black

Bruno Taut
March 19th, 2024
etiquetas: Sakai Eisuke, Pilot, plumín

Sakai's #3

On the previous text I spoke about a couple of Pilot prototypes made by Sakai Eisuke in the early 1980s. These pens are urushi-coated balance units with Japanese eyedropper filling system.

The bigger of them implements a well-known size 10 nib, and I will go back to it on another text. Today I want to speak about the other pen, that with a size 3 nib: about what it is and about what it is not.

And this size 3 nib is not a modern size 3 nib. This nib size, not very popular, is implemented in current models Grance, and in discontinued Legance 89s, Legno 89s and Stella 90s.

The obviously different size 3 nibs. The Sakai's pen on top; a Stella 90 on bottom.

On the contrary, this nib is much closer, but not identical, to those made in the 1920s and 1930s. Its engraving, actually, follows the pattern seen on Pilot pens from the early 1920s.

The nib on the right belongs to the 1980s Sakai Eisuke pen. The other three nibs belong to late 1920s Pilot pens.

Exceptional size 8 Pilot nib from early 1920s. It belongs to a hoshiawase pen. Photo courtesy of Mr. Syrigonakis.

Then, where does this prototype nib come from? Is it an old nib that came in handy for the occasion? A newly crafted unit for the pen, either by Pilot or by some friend of Mr. Sakai's?

Hard to say as there's hardly any information on these singular pens. And when there is nothing we still have the pen...

Opus 88 Koloro – Caran d'Ache Electric Orange

Bruno Taut
March 18th, 2024
etiquetas: Sakai Eisuke, Pilot, plumín

Footnote

The world of prototypes is an uncharted one. And that despite the fact that we certainly know that they existed and how the final result –the marketed model– looked like.

But what we do not know far exceeds those basic facts: who made them? How many of them were made? How many iterations did the idea go before settling on the final design? Why and how were those prototypes released into the wild?

From a historical point of view, their interest –dare I say– is limited. Sure they inform the creative process to reach the final model, but their intrinsic scarcity makes more of the anecdote than a reference in themselves. The model is the story, the prototype is the footnote.

But that singularity is what attracts the attention of collectors and what brings prices up on those rare occasions those pens show up in the market.

The following two pens are prototypes of what later became the balance Custom models in the Pilot catalog (Custom 67, 74, 742, etc.). The man behind them, commissioned by Pilot, was lathe master Sakai Eisuke (酒井栄助) in early 1980s.

Two prototypes by Sakai Eisuke for Pilot.

Mr. Sakai looked back in the Pilot catalog to recreate the balance models of the brand in the early 1930s. As a result, these pens are made of ebonite, coated with urushi, and implement the very traditional Japanese eyedropper filling system.

Both of them have their bodies engraved in the same way, copying the style of those old Pilots: “PILOT” / THE PILOT PEN (P logo) MFG. CO. LTD. / MADE IN JAPAN. Note, though, that the P logo, P encircled by a lifebuoy, was adopted in 1938 and that those models from the early 1930s used a similar logo but with an N, Namiki, instead of the P.

The most significant difference between those two pens, aside of the size, lies on the nibs.

The smaller pen sports a size 3 nib with a very old fashioned engraving: WARRANTED / 14 K / PILOT / 3. It is not dated, and it is matched with a very generous ebonite feed.

The size 3 nib with the very generous feed made of ebonite.

The bigger unit has a size 10 nib similar to those present on models like the Custom 742. However, on this case the nib is not numbered as 10. Is is dated September 1983. The feed is also a contemporary unit made of plastic with the interesting detail of a shortened tail to accommodate the seal of the Japanese eyedropper system.

The size 10 nib made September 1983.

These are the dimensions of the pen together with those of a Custom 74:

	.Size 3.	.Size 10.	.Custom. 74
Length closed (mm)	137	146	143
Length open (mm)	120	124	125.5
Length posted (mm)	166	176	160
Max diameter (mm)	13.8	15.0	14.5
Weight, dry (g)	13.9	18.6	21.3
Ink deposit (ml)	2.6	2.7	1.0 (*)

(*) Capacity of converter CON-70. Other options are available.

From front to back, Sakai's #3, Sakai's #10, and Custom 74.

All in all, Sakai Eisuke combined his expertise in Japanese eyedroppers with the old aesthetics of the 1930s, balance Pilot pens. And at the end, from the prototype to the final model, only the basic shape was preserved.

One could argue, then, that the prototype was not representative of the final model, but this fact only adds appeal to these footnotes to the basic story.

Pilot Custom 748 – Pilot (Thai) Black

Bruno Taut
March 14th, 2024
etiquetas: Sakai Eisuke, Pilot

From Sakai to Pilot

In the 1980s Pilot renovated the fountain pen lineup. It all started with the Pilot 65 in 1983—the first modern balance Pilot, save the Art Silvern pens of the 1960s.

Pilot 65, and its insides.

Those new balance pens were modeled after some pre-war models, thus predating some alleged master pieces. In fact, Pilot commissioned lathe master Sakai Eisuke (酒井栄助), of Ban-ei fame, to create some prototypes.

Such is the case of the following unit—a balance Pilot made of ebonite, coated with urushi. Its filling system is a Japanese eyedropper. It was made in 1983 according to the date on the nib.

A Pilot pen by Sakai Eisuke.

The engraving on the body follows the pattern seen on pen in the 1938-1944 time window:

“PILOT” / THE PILOT PEN (P logo) MFG. CO. LTD / MADE IN JAPAN.

Its dimensions are slightly bigger than the later-produced Custom models with size 5 and 10 nibs. One such example of them is the following pen with the maki-e decoration in the form of East Asian phoenix (Hôô, 鳳凰), signed collectively by the Kokkokai, the Pilot guild of maki-e artisans. Its nib is dated October of 1988, and the filling system is a pulsated piston, an early version of what later would become the converter CON-70 (some additional information on my chronicle "Carving").

Pilot Hôô. A maki-e decorated size 10 pen.

	.Sakai´s pen.	.Pilot´s Hôô.
Length closed (mm)	146	142
Length open (mm)	124	127
Length posted (mm)	176	165
Max diameter (mm)	15.0	14.0
Weight, dry (g)	18.6	20.3
Ink deposit (ml)	2.5	1.4

This model set the structure of contemporary maki-e decorated pen we still see today—balance models with nibs 5 and 10 (Pilot numbering).

But at the same time, in those late 1980s, Pilot made a number of urushi-e decorated pens. Masa Sunami, on his book Fountain Pens of Japan (2012), speaks about them as “museum pieces”. These were very limited runs –between 5 and 20 units— of pens decorated with Tsugaru-nuri decoration in sizes 10 and 50. They are indeed rarities worth of some special attention, and of a Chronicle.

Museum pieces. Picture courtesy of Ottomarkiv.

My thanks to Ottomarkiv and to Masa Sunami.

Moonman A1 – Montblanc Burgundy Red

Bruno Taut
December 8th, 2022
labels: Pilot, Ban-ei, maki-e, Sakai Eisuke

On Ban-ei Nibs (III). Family Portrait

If only for the sake of documenting Ban-ei (挽栄) pens at large, it might be worth to publish a family picture of nibs used on them.

Ban-ei implemented nibs primarily made by nibmeister Kabutogi Ginjiro (兜木銀次郎), but there were some other units of different origin on them. The following picture shows eight examples, but there might me more.

Starting at 1 and clockwise, there are the nibs:

Eight nibs present on Ban-ei pens.

At 1. Sailor nib. On this case, it is associated to a torpedo pen with maki-e decoration.

At 2. Parley nib, JIS no. 3231 registered by Ishikawa Kinpen Seisakusho. The pen is a torpedo with black urushi.

At 4. Steady nib, JIS no. 3233. This is one of the brands registered by Kabutogi. Its pen, an Onoto-type already reviewed, might not be a Ban-es strictly speaking—only Sakai and Kabutogi participated in the production.

At 5. Nib engraved with a Japanese text (復刻手造万年筆, fukkoku tezukuri mannenhitsu, reissue hand-made fountain pen). This text appears on nibs implemented on some Danitrio-commissioned pens, and in some other numbered editions. This nib is likely to be equivalent to those singed as GK (see nib at 7).

At 7. GK-signed nib. Present in a variety of pens, included the Visconti Urushi series.

At 8. Kabutogi's nib labeled as 50. This particular unit is engraved with JIS no. 4622, registered to Kabutogi's brand Seilon.

JIS 4622.

At 10. Kabutogi's nib labeled as 60. This unit is also engraved with JIN no. 4622.

At 11. Platinum nib. Present in many of the Danitrio-commissioned series, but not only on those.

The eight pens.

References:
Eizo FUJII. “酒井栄助の万年筆” (Sakai Eisuke no mannenhitsu; The fountain pens of Sakai Eisuke). Shumi-no Bungubaku, 34, p. 120-124 (2015).
A. LAMBROU & M. SUNAMI. Fountain Pens of Japan. Andreas Lambrou Publishers Ltd., 2012.

Arenton no. 3 – unknown blue-black

Bruno Taut
July 3rd, 2021
etiquetas: Ban-ei, plumín, Sakai Eisuke, nibmeister Kabutogi Ginjiro, Platinum, Sailor, Ishikawa Kinpen Seisakusho, Steady

On Ban-ei Nibs (II). 50, 60 & GK

Ban-ei (挽栄), as we know by now, was a pen brand created by Sakai Eisuke (酒井栄助) with the collaboration of a number of expert craftsmen--Takahashi, Tsuchida, Kitamura, Nakamura, and, of course, Kabutogi Ginjiro (兜木銀次郎), the nibmeister.

However, Ban-ei pens have implemented nibs of diverse origin—-Sailor, Platinum, Ishikawa Kinpen... Today I will only describe the three most common nibs made by Kabutogi Ginjiro himself—those labeled as 50, 60, and GK. There are some others, but are not so common as these three.

Three Ban-ei pens with three characteristic nibs by nibmeister Kabutogi.

These are the dimensions of these nibs, together with those of a size 15 nib by Pilot (Custom 823, 743, 845) for comparison. For data on more nibs, please check the text "Nib Sizes, Feed Diameters".

	.- GK -.	.- 50 -.	.- 60 -.	.- Pilot 15 -.
.Length (mm).	29	29	30	32
.Shoulder width (mm).	7.8	8.4	9.4	8.8
.Feed diameter (mm).	6.5	6.5	6.5	6.4

From left to right, nibs labeled as 60, 50, and GK. The 60 nib is consistently associated to that flatter-looking feed.

The figures clearly show how all those three nibs are very similar in size. Their feeders are, on the other hand, virtually equivalent with a diameter of 6.5 mm. This means that the nibs are interchangeable in their pens.


References:
Eizo FUJII. “酒井栄助の万年筆” (Sakai Eisuke no mannenhitsu; The fountain pens of Sakai Eisuke). Shumi-no Bungubaku, 34, p. 120-124 (2015).
A. LAMBROU & M. SUNAMI. Fountain Pens of Japan. Andreas Lambrou Publishers Ltd., 2012.

Anonymous 6-bu jumbo pen – unknown blue-black ink

Bruno Taut
Nakano, June 29th, 2021
etiquetas: Ban-ei, plumín, nibmeister Kabutogi Ginjiro

Japanese Eyedropper Today (I)

The so-called Japanese eyedropper system –inki-dome shiki (インキ止め式) in Japanese— was in fact invented by Onoto in the beginning of the 20th century. Those Onoto reached Japan imported by Maruzen and the system –an eyedropper with a shut-off valve— clicked among the locals. The final result was that this system was copied and reproduced by most Japanese pen makers along its history up to today.

An Onoto with the shut-off valve system. Not yet a Japanese eyedropper, I guess.

A Japanese Swan (Nobuo Ito's Swan) with the Japanese eyedropper system.

The inki-dome, however, fell out of favor by the late 1950s when Platinum introduced the ink cartridge and most other makers followed the example. Only minor makers –I am thinking of Sakai Eisuke's operations— kept the system alive till the 1980s.

A Sakai Eisuke's pen made in collaboration with Kabutogi Ginjiro (::1::). Possibly from the 1960s.

In 1985, Pilot commissioned lathe master Sakai the creation of a prototype based on the style of the Pilot pens from the early 1930s, The result was what later became the Pilot (and Namiki) size 50 Urushi, and it implements the Japanese eyedropper system.

The Pilot Urushi in size 50--a modern Japanese eyedropper. This pen is incorrectly named by many as Namiki Emperor, but the Emperor model is decorated with maki-e techniques according to the Namiki catalog.

But who else followed? Not much.

Eboya used the system for some years (::2::, ::3::), but its production relied in the know-how of lathe master Kanesaki Noritoshi. Eboya's boss, Mr. Endo, has announced the new production of Eboya pens with this system, but there are no final dates for their release.

An old Eboya (2013) from the Kanesaki time. It implements the Japanese eyedropper system. At that time, the brand name was still Nebotek.

More recently, as of 2018, the sort-lived Iwase Seisakusho also marketed some pens with the Japanese eyedropper system. These were either old incomplete pen bodies by Ishi Shoten (owner of the brand Yotsubishi) or new pen bodies made by lathe master Momose. But Iwase Seisakusho had a very brief life and very few units of it made to the market.

An Iwase Seisakusho based on a body by Momose Yasuaki.

From California, Danitrio makes some models with Japanese eyedropper. These are usually expensive models with urushi or maki-e decoration.

Some Danitrio pens as exposed at Itoya Ginza (Tokyo) in 2010. Photo courtesy of Moskva.

Finally, a surprising actor is the Taiwanese brand Opus 88 (Jin Gi Industrial Co.). But these Japanese eyedroppers deserve a Chronicle on their own.

The Opus 88 Koloro. A surprising new actor in the Japanese eyedropper business.

Opus 88 Koloro – De Atramentis Beethoven

Bruno Taut
Nakano, September 12th 2019
etiquetas: soluciones técnicas, Pilot, Eboya, Danitrio, Iwase Seisakusho, Opus 88, mercado, Onoto, Japón, mercado, Kanesaki, Sakai Eisuke, Momose Yasuaki