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Meiji Satsuma Buddhist 100 Rakans Masters Gold Moriage Vase Meiji Satsuma Buddhist 100 Rakans Masters Gold Moriage Vase Meiji Satsuma Buddhist 100 Rakans Masters Gold Moriage Vase

Meiji Satsuma Buddhist 100 Rakans Masters Gold Moriage Vase


Meiji Satsuma Buddhist 100 Rakans Masters Gold Moriage Vase


Meiji Satsuma Buddhist 100 Rakans Masters Gold Moriage Vase

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Meiji Satsuma Buddhist 100 Rakans Masters Gold Moriage Vase

May 15, 2014 by Estate Auctions Inc.

Meiji Satsuma Buddhist 100 Rakans Masters Gold Moriage Vase – Hotoda Studio yqz
Japan Late 1800’s Early 1900’s Made Into Lamp
Auction Ending (May 25, 2014 18:36:01 PDT) http://yqz.me/Buddhist

Japan, late 1800’s early 1900’s. Meiji Satsuma Buddha Buddhist 100 Rakans Masters Gold Moriage Vase – Hotoda



Studio. Of sharp shouldered baluster shape with a bady tapering down to a hidden footring, the neck waisted and rising to a narrow everted rim. The body decorated in Kyoto Brocade Satsuma style with relief moulded figured such as the Buddha Amida and some of the Rakan (Buddhist Master or Disciple) heads, other details outlined in moriage raised slip decoration, gossu blue and heavy use of gold enamelling. The shoulder with Shimazu Clan crest (kamon) of a cross in a gold circle (Satsuma Clan), and base with a border of whorls. Lamped with bronze base and cap, vase drilled, but likely from the Hotoda (Hododa) studios. Wear and minor chipping to enamels (see photos of shoulder). Adjustable lamp rod. With the rod on top this measures approx. 30″ tall and 10″ across its widest.

The Nippon Era

May 15, 2014 by Estate Auctions Inc.

A Brief History of Nippon from nipponcollectorsclub (Great website!)

Nippon Vases and Bowls http://yqz.me/Nippon-Vases

Nippon Vases and Bowls

The Nippon era began in 1891 when the Japanese porcelain was clearly marked “Nippon” due to the McKinley Tariff Act. This act required that all porcelain be marked with the country of origin. (“Nippon” literally translates to “Japan”.) This porcelain was made specifically to be exported to the west with designs and patterns that suited American’s tastes. At that time, Japan had a thriving porcelain industry using methods used in Europe and the United States.

The Japanese items were less expensive than pieces coming from Europe and became very popular in the U.S. The porcelain was sold in gift shops, dime stores, fairs and even at the local grocery. Nippon items were also sold by Montgomery Ward, Sears & Roebuck, mail order houses and other department stores.

In 1921 the United States government changed its position and required that Japanese imports no longer be marked “Nippon”, but with “Japan”. This marks the end of the Nippon era.

Up in this auction is a great piece of Nippon hand painted poppy pattern china bowl circa 1899. This bowl is gold gilted around the rim and base,



and it really makes the poppies pop . Some of the moriage has come off in a few spots and there has been some gilt loss over time. The pattern has pink, deep orange, and yellow poppies. There are also 2 delicate flowers handpainted around the outside as well. The bowl itself is in great shape, and shows only one small crack on the bottom of the base. That was however painted over then glazed over during production. This is a fine piece, ready to be added to your collection. This measures approximately 6 1/2″ across at its widest and stands 3 1/4″ high. We are calling this shabby chic due to some gilt loss and some paint loss on the moriage. Still a delightful piece

If Only This Child Slave Shackle Could Talk

May 15, 2014 by Estate Auctions Inc.

Antique Hand Forged w Key Iron Locking Slave Shackle C.1850 Child Size Works

http://yqz.me/1850-Slave-Shackle   Ending May 23, 2014 9:30 PM EST

http://yqz.me/1850-Slave-Shackle Ending May 23, 2014 9:30 PM EST

Heartbreaking But No Longer In Use

History is often heartbreaking, and this auction is for an especially painful relic, a forged iron shackle, with the key. After spending some time searching through images of other shackles, the one we found that was the most similar was identified as being one used when transporting a number of imprisoned persons at the same time, a connecting link of a train of slaves. The size of this one suggests that it would have been used on someone small; a child, so sad. It comes with a key that turns to advance a bar inside of the cylinder which engages a hole at the end of the semi circle ring. The key can be removed; the captivity has been accomplished. As brutal as it is to consider this terrible piece of hardware, it is a part of history and can remind us of the progress we have made as a society in the many decades since this was in use. Let us not forget that there are people still in the world who have been forcibly removed from their families and put into modern captivity.

This piece measures approx. 8½” long with the key in place, the cylinder approx. 1¼” in diameter, the opening of the shackle approx. 2⅜” by 1⅞”. You can see the signs of the blacksmith’s forging, layers of iron plate rolled to create the cylinder, the hinge of the ring, the key, so many techniques required to manufacture this. Our best guess for a date would be the early to mid 19th century. The condition is quite good, with a wonderful aged patina. Be happy that this is now an object of curiosity, and no longer a sign of captivity. Good Luck!

Antique 1874 E Ingraham Kitchen Mantle Parlor Shelf Gingerbread Alarm Clock

May 13, 2014 by Estate Auctions Inc.

Antique 1874 E Ingraham Kitchen Mantle Parlor Shelf Gingerbread Alarm Clock
Auction Ending May 22, 2014 9:40 EST



Up in this auction is a great antique clock. Dated with an 1874 patent number on the movement. This is an E. Ingraham Bristol, Conn kitchen / mantle / parlor / shelf gingerbread alarm clock. We tested the clock and the chimes and it chimes the number of the hour and runs fine. It has a solid wood case, an etched ornate glass door. We call it shabby chic due to the oxidation of the metal, the finish has taken the texture of an orange peel and the face of the clock aged with time. But all of that doesn’t take away from the beauty of this clock. It measures approx. 20 1/2″ high and 14 1/2″ wide. Good luck.

We found the following history on the clockguy site on the internet (GREAT SITE!!):

E. Ingraham & Company was formed in 1860, succeeding several earlier clock-manufacturing firms in which casemaker Elias Ingraham had been involved, notably Brewster & Ingrahams (1843-1852), E. & A. Ingrahams (1852-1856) and Elias Ingraham & Company (1857-1860). The firm originally rented, and later purchased, a shop on Birge’s Pond in Bristol, which had been used by a number of clockmaking firms since 1820.

Having originally purchased their movements from various sources, in 1865 the firm decided to establish their own movement making facility. A hardware shop was moved onto a piece of land owned by the firm and veteran clockmaker Anson L. Atwood set up and managed the movement department for Ingraham for some years.

Elias Ingraham (1805-1885) designed a variety of popular cases and case features for the firm, receiving 17 patents between 1857 and 1873. Many of his cases utilized an unusual figure “8” door design for which he had received a patent in 1857. Rosewood veneered case models with names such as “Doric”, “Venetian”, and “Ionic” were often made in several sizes and held their popularity with the public for many years.

Elias Ingraham’s son Edward Ingraham (1830-1892) succeeded his father as head of the business in 1885. Edward had also received an important patent in 1884 for a method of applying black enamel paint (Japan) to wooden clock cases. Using this method to produce cheaper imitations of French marble mantel clocks was a great success. Though the process was soon imitated by most other clock manufacturers, the Ingraham firm became a leading maker of “black mantel” clocks, introducing 221 models plus special order styles in the following three decades.

In 1887, the firm had its first great expansion with the erection of a 300-foot long, 4 story case shop.

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