Hand-turned ebonite fountain pen, without clip. The cap and barrel of the pen were covered with 15 layers of deep black Kuro Roiro Urushi lacquer. Final layer of transparent Kijiro Urushi densely sprinkled with 22K gold flakes then carefully sanded according to the Nashiji Urushi technique. The Nashiji (or pear peel) technique imitates the roughness and appearance of a nashi pear peel. Final polishing, performed three times, with Kijomi Urushi, very fine mineral powder and camellia oil, rubbed gently with the fingers. Nib holder block turned in metal and lacquered with the same Nashiji Urushi technique used for the rest of the pen. 14K gold nib with 5 mm ink feeder, line F (fine) by the reknowned German manufacturer Bock, with international standard connection for cartridge or converter feeding. Gold-plated and lacquered metal ring with black Urushi at the mouth of the cap. Elements plated in gold and lacquered with black Urushi at the ends of the barrel and cap.

Hand-turned fountain pen in lime wood, without clip. The barrel and pen cap have been lacquered with 11 layers of red Aka Urushi, carefully sanded and polished. Work Maki-e representing, within gilded frames as was used in the miniatures of the fifteenth century, on the cap a landscape with hoopoe perched on a branch and on the barrel of the pen a landscape with an ancient city perched on a hill with vineyards, fields and mountains in the distance. Techniques used: Taka Maki-e (in which urushi colored white, green, red, blue and orange in multiple layers and fine powders of 22K gold, 23.75K gold, pure silver and pure platinum and palladium powders create a relief
painting) for the mountains, the cultivated fields, the city, the clouds; Togidashi Maki-e
(22K gold powders, pure palladium and puresilver are covered with layers of white, red and black colored urushi then abraded with magnolia charcoal to bring the metal back to light and create delicate shades) for the branch and the bird; Hira Maki-e (flat painting with urushi covered with 22K gold dust of different fineness) for the frames and bows. Final polishing, performed three times, with Kijomi Urushi, very fine mineral powder and camellia oil rubbed delicately with the fingers. Nib holder block In lacquered brass with red Aka Urushi. 14K gold nib with 6mm ink feeder, M (medium) stroke of the renowned German manufacturer Bock, with international standard connection for cartridge or converter feeding. Non-screwable cap on the back of the pen.

Hand-turned fountain pen in lime wood and ebonite, without clip. Lacquer of the pen red Aka Urushi and translucent Kijiro urushi with Tame Nuri technique. Maki-e on the barrel and cap of the pen depicting colored clouds at sunset over the sea in which an island with mountains and a distant golden city are reflected. Techniques used: Taka Maki-e (in which multi-layered white, purple, black, red and orange colored urushi and fine powders of 22K gold, 23.75K gold, pure silver and pure palladium powder create a relief painting) to make the clouds and the island; Chinkin technique 9dating back to the 10th century, in which the lacquer is engraved with points and lines by means of sharp chisels, subsequently filled with lacquer and 23K fine gold dust; the lacquer is then distributed on the surface to definitively consolidate the metal granules to create reflections on the sea and the city in the distance. Elements at the ends of the cap and barrel lacquered with black Roiro Urushi using the Bokashi technique (fine 22K gold powder sprinkled in graduation) with thin 925/1000 silver rings. Element of the pen holder block lacquered with black Rioro Urushi. Final polishing, performed three times, with Kijomi Urushi, very fine mineral powder and camellia oil rubbed delicately with the fingers. Metal elements plated in polished 18K gold. 14K golf nib with 5mm ink feeder, M (medium) stroke of the renowned German manufacturer Bock with international standard connection for cartridge or converter feeding. Non-screwable screw cap on the back of the pen.

Hand-turned ebonite fountain pen, without clip. A Maki-e work was created on the cap and barrel of the pen, depicting a dream in which an ancient bare tree dominates a vanishing desert in the fog, a skull, a banner and nocturnal creatures under the moon among the clouds. Techniques used to create the work: Taka Maki-e (relief painting with Urushi Red Aka lacquer sprinkled with 22K yellow gold powder and with Urushi White Shiro lacquer sprinkled with Pure Palladium powder. Pure Platinum powder and 999/1000) to make the tree, the rocks, the snake and lizard; Hira Maki-e (22K / 23.75K yellow gold dust and 12K white gold on Red Aka Urushi lacquer and translucent Urushi Syuai lacquer covered with translucent Urushi, then more or less completely abraded with magnolia charcoal and polished) for the dunes, the moon, the sand, the clouds and the banner pole; Nashiji Urushi (flakes of 22K gold on Syuai Urushi translucent lacquer, then covered with Syuai Urushi and polished) for the flag in the wind. Final polishing , performed three times, with Kijomi Urushi, very fine mineral powder and camellia oil rubbed delicately with the fingers. Nib holder block in lacquered metal with black Kuro Roiro Urushi delicately sprinkled with 22K gold dust with the Bokashi Maki-e technique. 14K gold nib with 6mm ink feeder, M (medium) stroke, by the renowned German manufacturer Jowo. Integrated plunger feeding system operated by rotating the rear end of the barrel with windows to view the ink level.

Hand-turned fountain pen in badger wood and ebonite, without clip. The cap and barrel have been covered with countless very thin layers of Ki Urushi lacquer (or raw lacquer) and Syuai Urushi (refined lacquer) with the Suri urushi technique. We then proceeded to careful smoothing and a first polishing. Maki-e representing, on the hood, a coiled snake looking at one small frog resting on a leaf, on the shaft of the pen. Techniques used: Taka Maki-e (relief painting made with several layers of urushi lacquer sprinkled with 23.75K yellow gold powder, pure platinum powder and 999/1000 silver and Togidashi Maki-e (Urushi lacquer sprinkled with 23.75K yellow gold powders, 999/1000 silver and pure platinum in turn covered with colored urushi lacquer then gradually abraded with vegetable charcoal to bring out the underlying design and shades) for the snake, the frog, the leaf and the drops of water on it. Final polishing, performed three times, with Kijomi Urushi, very fine mineral powder and camellia oil rubbed delicately with the fingers. 14K gold nib with 5mmink feeder, line F (fine), by the renowned German manufacturer Bock. Feeding system with international standard connection for cartridge or converter. Non- screwable screw cap on the back. Nib holder block in the ebonite lacquered with black Kuro Roiro Urushi. Steel ring at the mouth of the cap.