PHILIPPINE EPHEMERA

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Kikumon on a Sailor Professional Gear

https://www.nineteenkopongkopong.com/post/the-gilded-bloom-how-the-kikumon-turns-luxury-into-legend

Kikumon on a Sailor Professional Gear

https://www.nineteenkopongkopong.com/post/the-gilded-bloom-how-the-kikumon-turns-luxury-into-legend

The beauty of the Sailor Shakkyo lies in the layering which the artist executed to perfection… what an unbelievable piece…

The beauty of the Sailor Shakkyo lies in the layering which the artist executed to perfection… what an unbelievable piece…

Candystripes anyone?

Candystripes anyone?

some vintage flat tops getting some light…

some vintage flat tops getting some light…

Platinum Izumo Maruzen Exclusives

The Map, The Bridge and the Cherry Blossoms…

Platinum Izumo Maruzen Exclusives

The Map, The Bridge and the Cherry Blossoms…

Rarely does one come across at such a focused and well curated collection. Truly an honor to have been part of this journey with the collector… incredible..

The complete set of 23 Parker Centennial Maki-es with three 1/1s……

Rarely does one come across at such a focused and well curated collection. Truly an honor to have been part of this journey with the collector… incredible..

The complete set of 23 Parker Centennial Maki-es with three 1/1s……

When another older but smaller brother finally meets a long-lost younger but also bigger brother….

Platinum 3776 Taka Maki-e Makie Takisansui

Platinum Izumo Taka Maki-e Takisansui

When another older but smaller brother finally meets a long-lost younger but also bigger brother….

Platinum 3776 Taka Maki-e Makie Takisansui

Platinum Izumo Taka Maki-e Takisansui

https://www.facebook.com/share/p/1UWyd7usoM/?mibextid=wwXIfr

https://www.facebook.com/share/p/1UWyd7usoM/?mibextid=wwXIfr

https://www.facebook.com/share/p/18Bp7YXpAv/?mibextid=wwXIfr

https://www.facebook.com/share/p/18Bp7YXpAv/?mibextid=wwXIfr

“Dalawang Bukid” or “Country Girl”

“Dalawang Bukid” or “Country Girl”

Waterman Serenite Maki-e
Artist: Tatsuya Todo
LE 43/60

Waterman Serenite Maki-e
Artist: Tatsuya Todo
LE 43/60

Waterman Serenite Maki-e “Dragon”

Waterman Serenite Maki-e “Dragon”

Vintage Platinums and Pilots… some, I’m still trying to figure out….

Vintage Platinums and Pilots… some, I’m still trying to figure out….

@revolvingpens ….Here is the pen from my previous post (8th pen from the left). I got it from an auction in Japan a couple of months ago… it reminds me of the Pilot pens from the mid 50’s because of the clip. But the big difference the pilot pens have “Pilot”
inscribed, while this pen has “R14k”… your thoughts would definitely help…

@revolvingpens ….Here is the pen from my previous post (8th pen from the left). I got it from an auction in Japan a couple of months ago… it reminds me of the Pilot pens from the mid 50’s because of the clip. But the big difference the pilot pens have “Pilot”
inscribed, while this pen has “R14k”… your thoughts would definitely help…

My contribution for Fountain pen day: from left to right.

1. F2 Anting-anting - Philippines (2025)
2. Kamagong Pen by Banwa - Philippines (2025)
3. Parker Snake Reissue - USA (1997)
4. Parker Vacumatic Maxima with vacumatic band - USA (1937)
5. Parker Vacumatic Long Major with Vacumatic Band - USA (1937)
6. Parker Duofold Centenial Kaga Maki-E Ichimatsu (Checkered Pine) Limited 1/1 - USA (2002)
7. Parker Duofold Centenial Maki-E “Sidare” (Weeping Cherry Tree) Nihonbashi Special - USA (2000)
8. Unknown Vintage Maki-E - Japan (?)
9. Kawakubo Maki-e - Japan (?)
10. Namiki Chinkin Royal Rooster Fountain Pen, Urushi lacquer - Japan (2016)
11. Namiki Jubilaeum AD 2000 off-catalogue - Japan (2000)
12. Eversharp Eversharp Decoband Gold seal - USA (2015)

My contribution for Fountain pen day: from left to right.

1. F2 Anting-anting - Philippines (2025)
2. Kamagong Pen by Banwa - Philippines (2025)
3. Parker Snake Reissue - USA (1997)
4. Parker Vacumatic Maxima with vacumatic band - USA (1937)
5. Parker Vacumatic Long Major with Vacumatic Band - USA (1937)
6. Parker Duofold Centenial Kaga Maki-E Ichimatsu (Checkered Pine) Limited 1/1 - USA (2002)
7. Parker Duofold Centenial Maki-E “Sidare” (Weeping Cherry Tree) Nihonbashi Special - USA (2000)
8. Unknown Vintage Maki-E - Japan (?)
9. Kawakubo Maki-e - Japan (?)
10. Namiki Chinkin Royal Rooster Fountain Pen, Urushi lacquer - Japan (2016)
11. Namiki Jubilaeum AD 2000 off-catalogue - Japan (2000)
12. Eversharp Eversharp Decoband Gold seal - USA (2015)

Mindanao

Mindanao

Souvenir from the Philippine Exhibit at the World’s Fair in 1904…

Souvenir from the Philippine Exhibit at the World’s Fair in 1904…

Back when things were less complicated… this came out….

Back when things were less complicated… this came out….

A collection of Philippine Regional Carnival Medals

A collection of Philippine Regional Carnival Medals

Platinum Izumo Kaga Maki-e Series

- Hama No Matsu Hira Maki-e (PIZ-300000)
- Hama No Matsu Taka Mak-e (PIZ-500000)
- Takisansui Taka Maki-e (PIZ-600000)

Platinum Izumo Kaga Maki-e Series

- Hama No Matsu Hira Maki-e (PIZ-300000)
- Hama No Matsu Taka Mak-e (PIZ-500000)
- Takisansui Taka Maki-e (PIZ-600000)

Coming soon at the Leon Gallery

September 13, 2025

Coming soon at the Leon Gallery

September 13, 2025

Coming to Auction in Leon Gallery

Considered to be the biggest Hildago to go to market…

untitled “Venus and the Swan”

Coming to Auction in Leon Gallery

Considered to be the biggest Hildago to go to market…

untitled “Venus and the Swan”

Parker Centennial Duofold Kaga Maki-e
“Ichimatsu” (Checkered Pine)

Year: 2002 (Special Edition)
Artist: Tatuya Todo

#fountainpens #fountainpen #japanese #makie #tatuya #kagamakie #japanesefountainpens #japanesefountainoen #parkerfountainpen #pen

Parker Centennial Duofold Kaga Maki-e
“Ichimatsu” (Checkered Pine)

Year: 2002 (Special Edition)
Artist: Tatuya Todo

#fountainpens #fountainpen #japanese #makie #tatuya #kagamakie #japanesefountainpens #japanesefountainoen #parkerfountainpen #pen

Parker Vacumatic: A Study in the 1937 Single-Band Design

Here is my small collection of four Parker Vacumatic pens, each a prime example from the pivotal year of 1937. This quartet serves as a micro-historical study on how a specific design element would have a big impact on the value and collectibility of these vintage writing instruments.

The pens from@left to right:
* Senior Maxima in Burgundy Pearl: A flagship model from the Vacumatic line, known for its commanding size and rich, deep color.

* Senior Maxima in Golden Pearl: This example showcases the vibrant, luminous qualities of Parker’s Golden Pearl celluloid.

* Long Major in Burgundy Pearl: A distinct, slender variation on the classic Major, exemplifying the diversity within the 1937 product line.

* Major in Silver Pearl: The quintessential Vacumatic, representing the iconic design in a classic, shimmering finish.

All four of these pens share a unique and highly sought-after feature: the 1937 single-“Parker Vacumatic” band design. This specific band was in production for only one year, making pens from this period exceptionally rare. Its scarcity not only marks a precise moment in Parker’s manufacturing history but also acts as a key determinant of its current market value, elevating these pens to a premium status in the collector’s market. This single design element is a powerful example of how production history can dramatically influence an object’s contemporary significance and price.

A true confluence of art, history, and industrial design.

Parker Vacumatic: A Study in the 1937 Single-Band Design

Here is my small collection of four Parker Vacumatic pens, each a prime example from the pivotal year of 1937. This quartet serves as a micro-historical study on how a specific design element would have a big impact on the value and collectibility of these vintage writing instruments.

The pens from@left to right:
* Senior Maxima in Burgundy Pearl: A flagship model from the Vacumatic line, known for its commanding size and rich, deep color.

* Senior Maxima in Golden Pearl: This example showcases the vibrant, luminous qualities of Parker’s Golden Pearl celluloid.

* Long Major in Burgundy Pearl: A distinct, slender variation on the classic Major, exemplifying the diversity within the 1937 product line.

* Major in Silver Pearl: The quintessential Vacumatic, representing the iconic design in a classic, shimmering finish.

All four of these pens share a unique and highly sought-after feature: the 1937 single-“Parker Vacumatic” band design. This specific band was in production for only one year, making pens from this period exceptionally rare. Its scarcity not only marks a precise moment in Parker’s manufacturing history but also acts as a key determinant of its current market value, elevating these pens to a premium status in the collector’s market. This single design element is a powerful example of how production history can dramatically influence an object’s contemporary significance and price.

A true confluence of art, history, and industrial design.

some vintage and modern Maki-e pens….

some vintage and modern Maki-e pens….

these Pelikans coming out to play… 100, 100N, 100N, 100n and 101N

these Pelikans coming out to play… 100, 100N, 100N, 100n and 101N

My “three-of-a-kind” vintage Parker Duofold family…

Big Red (Single Band)
Big Red (Double Band)
Big Red (Experimental Band)

Mandarin Yellow (Single Band)
Mandarin Yellow (Double Band)
Mandarin Yellow (Experimentl Band)

Lapis Blue-on-Blue (single band)
Lapis White-on-Blue (double band)
Lapis White-on-Blue (experimental band)

Jade Green (Single Band)
Jade Green (Double Band)
Jade Green Duofold Special

My “three-of-a-kind” vintage Parker Duofold family…

Big Red (Single Band)
Big Red (Double Band)
Big Red (Experimental Band)

Mandarin Yellow (Single Band)
Mandarin Yellow (Double Band)
Mandarin Yellow (Experimentl Band)

Lapis Blue-on-Blue (single band)
Lapis White-on-Blue (double band)
Lapis White-on-Blue (experimental band)

Jade Green (Single Band)
Jade Green (Double Band)
Jade Green Duofold Special

“The 1938 Davao Carnival was more than just a celebration; it was a complex social and political event that showcased the American colonial effort in Mindanao. It served to entertain while also fostering assimilation, unification and promoting the colonial government’s vision for the Philippines.”

“The 1938 Davao Carnival was more than just a celebration; it was a complex social and political event that showcased the American colonial effort in Mindanao. It served to entertain while also fostering assimilation, unification and promoting the colonial government’s vision for the Philippines.”

Rizal Day 1920

Rizal Day 1920

The 1926 Jolo Carnival, a local version of the much larger and more famous Manila Carnival, holds a significant place in the history of the American colonial period in the Philippines. While it may not have attracted the same nationwide attention as its Manila counterpart, the Jolo Carnival was a small reflection of the colonial government’s efforts to foster a sense of national unity and showcase the country’s progress, even in a region as historically distinct and resistant as the Sulu Archipelago.

The existence of the Jolo Carnival highlights the complex and often tense relationship between the American colonial government and the Moro people of Mindanao and Sulu. Unlike many other parts of the archipelago, Sulu has a long history of resisting foreign powers, including the Spanish and later the Americans.

By organizing a carnival in Jolo, the Americans aimed to project an image of peace and stability in a region still experiencing armed conflicts and political instability. It was a subtle yet effective way of pacification, using cultural festivals to mask and soften the harsh realities of military control. Although the carnival provided a brief moment of celebration for the town, its deeper significance lies in its role as propaganda for the American colonial administration. It served as a symbolic gesture of control and a means to build a unified identity in a land where that idea was still strongly challenged.

The 1926 Jolo Carnival, a local version of the much larger and more famous Manila Carnival, holds a significant place in the history of the American colonial period in the Philippines. While it may not have attracted the same nationwide attention as its Manila counterpart, the Jolo Carnival was a small reflection of the colonial government’s efforts to foster a sense of national unity and showcase the country’s progress, even in a region as historically distinct and resistant as the Sulu Archipelago.

The existence of the Jolo Carnival highlights the complex and often tense relationship between the American colonial government and the Moro people of Mindanao and Sulu. Unlike many other parts of the archipelago, Sulu has a long history of resisting foreign powers, including the Spanish and later the Americans.

By organizing a carnival in Jolo, the Americans aimed to project an image of peace and stability in a region still experiencing armed conflicts and political instability. It was a subtle yet effective way of pacification, using cultural festivals to mask and soften the harsh realities of military control. Although the carnival provided a brief moment of celebration for the town, its deeper significance lies in its role as propaganda for the American colonial administration. It served as a symbolic gesture of control and a means to build a unified identity in a land where that idea was still strongly challenged.

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