Named for a first-magnitude star in the constellation Virgo, the 3.5X “SPICA” was Nippon Kogaku’s second post-war product to make it into production, probably in late November or early December 1945. A 2X sport glass named Capella soon followed. Both names would be registered as trademarks by Nippon Kogaku on April 19, 1946.
“Opera glasses” or “sport glasses” are binoculars with no prisms to twist the light path into a shorter housing. They typically consist of single or doublet front components that provide the necessary magnification, and negative rear elements that both allow focusing and rotation the image to one that is upright and un-reversed. By avoiding prisms, these binoculars save on weight, but compactness can only come from limiting the designs to low magnifications, usually less than 4.5X. The Spica opera glass is no exception. Four by two by one-and-a-quarter inches (95 x 50 x 35mm), the light-weight, uncased glass slips readily into a coat pocket. Its all-black finish combines clean lines with a feel of precision and quality that most opera glasses lack. In short, this is a glass that is a pleasure to hold and to use.
Unlike NK’s first post-war prism binoculars, the Novar and the later Orions, the Spica was a new design. One wonders where NK found the resources to place such a product into production so quickly. But the Occupation forces were looking for quality optics at low prices. Perhaps NK felt that this might be a best seller. It is also possible that it was able to grind down glass that had been molded for use in the military Type 93 4X glasses.
Sales of NK opera glasses must have been strong enough initially, for SCAP records indicate a production of 709 in 1945 then 10,426 in 1946 with September the biggest month with 2190 produced. That high may have been in anticipation of that year’s upcoming Christmas season. Almost all of these sales would have been to the CPO (Central Purchasing Office) which provided the stock for the military occupation stores.
But then sales slacked. SCAP reports indicate production of only 2926 Spica the January 1947 to February 1948 period—a drop of 50 percent. Of these, 1,050 Spica went to the CPO. An additional 1,000 Spica were sold to the Continental Merchandise Company in New York City. So, only a few—no more than 426 Spica were sold domestically that year.
I can find no record of any NK opera glass production for 1948 and only one final run of 569 in December 1949.
The Spicas have no serial numbers, so actual production numbers can not be certain, but all these numbers in the SCAP records would suggest a total production of all NK post-war opera glasses, both Spica and Capella, of 21,539. That should make them more common than the post-war Orions, but far rarer than the plentiful and popular Novars.
This short span of production explains several features of the Spicas and Capellas. All seen so far feature the older Nikko logo that would be phased out in early 1948. In addition, the body coverings are the same glue-cork or sawdust composite that the early post-war Novars and Orions used. In addition, few seem to have the “Made in Occupied Japan” mark that is seen on almost all post-war Japanese export products. Why? Because that mark was not required until February 1947—at which time the production of the NK opera glasses was drawing to a close.
The typical Spica that shows up on ebay or in auctions has a black glossy finish over an aluminum cast body with a rough finish where hands would naturally grip. The back face is engraved with the “Nikko” mark and TOKYO to the left and SPICA and 3.5X on the right. A central focusing knob to the front moves the back unit for a focus range from infinity to around three feet. Most of the Spicas and the Capellas came in unlined leather cases with a snap flap and a short unadjustable carrying strap. But at least one Spica has been seen with a canvas case.
Three basic variations of the Spica seem to come up for sale. The most common type has no MIOJ markings on either the glasses or the case. The second type has MIOJ stamped on the case under the flap, but no markings on the glasses.
The third version, which must date from 1947 or maybe 1949, has MIOJ engraved and white-filled across the top of the focusing arm.
But there is an even rarer version, and these are the Spicas not finished in black. So far I have seen only eight of these: four in red, three in green and one in blue. Were these sold to the Japanese domestic market as children’s binoculars? Were any, ever sold in the PXs? Who knows. They are certainly rare, but except for their paint jobs, they are the same as the black-finished ones.
It is unclear as to what was the antecedent for the Spica design. The optical design is similar to many other opera glasses, but the black, serious finish is in contrast to most opera glasses which tend to feature fancy bodies and multiple metals or finishes. The most popular post-war Japanese opera glasses were the 2.5X Prides manufactured by Tokyo Kogaku in huge numbers (11,815 in 1947 alone). These featured fancier polished chrome trimmings and leather-covered bodies.
Why did NK discontinue what had been a lucrative range of products? Since we do not know what the originals sold for, it is hard to know, but competition from other Japanese manufacturers is the probable explanation. Even in 1946, NK’s management insisted that all of the company’s products had to meet NK’s high standards. But by late that year, dozens of tiny startup firms in Japan were attempting to ride the train of Japan’s growing optical reputation by assembling and selling cheap opera glasses. These used aluminum focusing screws, stamped sheet metal housings and marginal optics. Many were simpler copies of the brass and lacquered models that had once been the favorites of theater attendees in Europe and the United States. They were impossible to keep in optical alinement and most soon showed rust along their barrel seams. But they were cheap, much cheaper than NK’s own products. NK wasn’t making much money on the opera glasses—only $3.10 per Spica and only $1.74 per Capella sold to the CPO. Overseas sales were not much better. NK got only $3.40 for each of the Spicas sold to the Continental Company in 1947. That may not have been enough to justify continued production.
Another factor may have been a decision to promote the much-better finished Mikrons. These 6X binoculars took up little more space in a pocket than the Spicas did, but with their fine, brushed chrome finishes and obvious quality, they could demand a higher price which Occupation troops were willing to pay. The Mikrons were certainly popular items, so much so that when NK brought out a new range of binoculars in 1950, they called them all Mikrons.
The Pair of Spica opera glasses we see here is typical of NK’s line. At first glance, the Spica hints at fine quality and finish, but a closer examination shows evidence of the problems NK was experiencing with getting any manufacturing done that would meet the company’s own high standards. What at first appears to be a leather reveals itself to be merely a baked-on material molded onto the metal barrels themselves. Disassembling the focusing unit, reveals a beautifully-machined brass focus screw, but linings were cut from red cloth ornamented with white and green flowers(!)
[see illustration closeup]. Hardly the most obvious material to use. Still, the alinement has held and the view is sharp and clear, even after sixty years.
