Modern Japanese Ceramics
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A fabulous Mizusashi, quite large with a rugged, natural shape covered in dwan colors of lavender, pink and gray by Hagi icon Kaneta Masanao enclosed in the original signed wooden box titled Hagi Hai-Kaburi Kurinuki Mizusashi. It is 8 x 8-1/2 x 9 inches (21 x 22 x 23 cm) and in excellent condition. Kaneta Masanao likely needs no introduction, certainly one of Hagi’s most well-known and easily identifiable names. Although an eighth-generation potter inheriting an overtly conservative tradition, he has transcended limitations, and was one of the first to begin carrying Hagi into the 21st century. His work evokes a distinct tension between both function and form, and technique and tradition. he has been displayed both nationally and internationally innumerable times. His pieces are in the collection of the Tokyo National Museum of Modern Art, Yamaguchi Prefectural Museum and Museum of Modern Art Brooklyn. He has been displayed at the Nihon Dento Kogei Ten and Nihon Togei Ten among many many others.
Modern Japanese Ceramics
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Sold, Thank you!
A hard to find water jar of rough clay scored and scarred and covered in cream colored glaze splashed with red by Yamada Kazu enclosed in the original signed wooden box titled Kaku-yu Oribe Mizusashi. This style is distinct to this artist, and easily recognizable as his work. It is 22 cm (8-1/2 inches) tall, 20.5 cm (8 inches) diameter and in excellent condition.
Yamada Kazu was born in Tokoname city in 1954, one of Japans ancient kiln areas, into a line of potters. He would have been influenced early on by his father, Yamada Kenkichi and uncle living National Treasure Yamada Jozan. He graduated the Osaka Art University before moving to Echizen to establish his first kiln. He was propelled to international fame after building an Anagama kiln in Germany in 1988. He has been displayed domestically at the Asahi Togeiten, Nihon Togeiten and Chunichi Kokusai Togeiten as well as a host of private exhibitions in prominent galleries and department stores, and his innovative forms and designs are in high demand.
Yamada Kazu was born in Tokoname city in 1954, one of Japans ancient kiln areas, into a line of potters. He would have been influenced early on by his father, Yamada Kenkichi and uncle living National Treasure Yamada Jozan. He graduated the Osaka Art University before moving to Echizen to establish his first kiln. He was propelled to international fame after building an Anagama kiln in Germany in 1988. He has been displayed domestically at the Asahi Togeiten, Nihon Togeiten and Chunichi Kokusai Togeiten as well as a host of private exhibitions in prominent galleries and department stores, and his innovative forms and designs are in high demand.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A crystal shaped sculpture of dark faceted sides upon which rust and charred colors cloud the surface by Hashimoto Tomonari enclosed in the original wooden box titled “Untitled”. It is 32 x 23.5 x 24 cm and is in excellent condition, directly from the artist.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. Work by him is held in the V&A in London, another piece has entered LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. Work by him is held in the V&A in London, another piece has entered LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A striking form covered coated in glistening green glass and gnarly clusterd of black ash by Furutani Hirofume enclosed in the original signed wooden box titled Shigaraki Shizen-yu Hen Hanaire. This is an absolute classic vessel by the artist. It is 31 x 10.5 x 34 cm (12 x 4 x 13-1/2 inches) and in excellent condition, directly from the artist.
Furutani Hirofumi (b. 1948) is the real deal, a Shigaraki potter trained under his father, recipient of tradition and knowledge who does not say much. After graduating school, he went to work in a large production kiln where he studied firing technique and clay preparation. He then returned to the family studio where he headed up the preparation and firing, while, taking a second position in that respectful Japanese way to his long-lived father, who strictly tortured clay, relying on his son to do all the “real work.” The Japanese title for such a person is: Ennoshita no chikara mochi (The true strength hidden under the eaves). A decade after the passing of Churoku, every day you will find him in search of the natural phenomena born from the dialog between soil and flame and the elements. He oversees kneading and preparing the clay, as well as the kiln work, stacking and preparations for firing, creating his own pieces while allowing his son to take the fore. He is not competing or seeking fame, just quietly making pots in that very Japanese way, treading the path of the Unknown Craftsman.
Furutani Hirofumi (b. 1948) is the real deal, a Shigaraki potter trained under his father, recipient of tradition and knowledge who does not say much. After graduating school, he went to work in a large production kiln where he studied firing technique and clay preparation. He then returned to the family studio where he headed up the preparation and firing, while, taking a second position in that respectful Japanese way to his long-lived father, who strictly tortured clay, relying on his son to do all the “real work.” The Japanese title for such a person is: Ennoshita no chikara mochi (The true strength hidden under the eaves). A decade after the passing of Churoku, every day you will find him in search of the natural phenomena born from the dialog between soil and flame and the elements. He oversees kneading and preparing the clay, as well as the kiln work, stacking and preparations for firing, creating his own pieces while allowing his son to take the fore. He is not competing or seeking fame, just quietly making pots in that very Japanese way, treading the path of the Unknown Craftsman.
Modern Japanese Ceramics
sold, thank you
sold, thank you
The raw red flesh glows softly under a coating of ash which wraps around in tendrils to the coal blackened base of this voluminous Vase by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Yohen Tsubo. Yohen, literally translated Kiln-altered, is a word for the unexpected results, or fortuitous accidents of firing. In this case, they are likely speaking of the unusual red coloration. Kiln effects are what this family is known for, and this does not disappoint. It is 31 x 31 x 31 cm (12-1/4 inches diameter), a modern form with roots growing deep from 500 years ago.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.
Modern Japanese Ceramics
sold, thank you
sold, thank you
Everything we could expect from this innovative artist, striking color combination and gleaming gold by Ichikawa Toru enclosed in the original signed wooden box titled simply Mizusashi. It is 20 cm (8 inches) diameter, 15.5 cm (6 inches) tall and in perfect condition.
Ichikawa Toru was born in Tokyo in 1973. In 2015 he established his current studio in Bizen after 4 years of apprenticeship under another Bizen Outsider, Kakurezaki Ryuichi. He has since developed quite a following, with his shows selling out often within hours.
Ichikawa Toru was born in Tokyo in 1973. In 2015 he established his current studio in Bizen after 4 years of apprenticeship under another Bizen Outsider, Kakurezaki Ryuichi. He has since developed quite a following, with his shows selling out often within hours.
Modern Japanese Ceramics
sold, thank you
sold, thank you
Glass flows over the surface of this volcanic structure by Hashimoto Tomonari, a powerful ceramic sculpture accompanied by the original signed wooden placard. It is 25 cm (10 inches) diameter, 16 cm (6-1/4 inches) tall and in excellent condition, directly from the artist. One of only a few glass works he has released to the public.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.
All Items : Antiques : Regional Art : Asian : Japanese : Stoneware : Pre 1930
item #1490482
(stock #MC540)
Modern Japanese Ceramics
sold, thank you
sold, thank you
An unusual Suzuri ink stone by one of the founding fathers of the influential Mingi movement, Kawai Kanjiro, enclosed in the original signed wooden box titled Tetsu-yu Suzuri. It is 10.5 x 18 x 5 cm (4 x 7 x 2 inches) and in excellent condition, dating from the 1920s.
Kawai Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Hamada Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Refusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined.
Kawai Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Hamada Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Refusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined.
Modern Japanese Ceramics
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Sold, Thank you!
A fabulous large Mizusashi with a rugged, natural shape covered in cool blue and gray by Hagi icon Kaneta Masanao enclosed in the original signed wooden box titled Hagi Hai-Kaburi Kurinuki Mizusashi. It is roughly 18.5 cm (7-1/4 inches) tall, 26.5 cm (10-1/2 inches) diameter and in excellent condition, complete with the artists shiori and shifuku.
Kaneta Masanao likely needs no introduction, certainly one of Hagi’s most well-known and easily identifiable names. Although an eighth-generation potter inheriting an overtly conservative tradition, he has transcended limitations, and was one of the first to begin carrying Hagi into the 21st century. His work evokes a distinct tension between both function and form, and technique and tradition. he has been displayed both nationally and internationally innumerable times. His pieces are in the collection of the Tokyo National Museum of Modern Art, Yamaguchi Prefectural Museum and Museum of Modern Art Brooklyn. He has been displayed at the Nihon Dento Kogei Ten and Nihon Togei Ten among many many others.
Kaneta Masanao likely needs no introduction, certainly one of Hagi’s most well-known and easily identifiable names. Although an eighth-generation potter inheriting an overtly conservative tradition, he has transcended limitations, and was one of the first to begin carrying Hagi into the 21st century. His work evokes a distinct tension between both function and form, and technique and tradition. he has been displayed both nationally and internationally innumerable times. His pieces are in the collection of the Tokyo National Museum of Modern Art, Yamaguchi Prefectural Museum and Museum of Modern Art Brooklyn. He has been displayed at the Nihon Dento Kogei Ten and Nihon Togei Ten among many many others.
Modern Japanese Ceramics
sold, thank you
sold, thank you
Matte colors in olive and silver coat the fiddle head fronds sprouting from this clump of clay studded with mysterious orbs by Masatomo Toi from his germination series of ceramic sculptures. The treatment of the rising horns is unusual in this piece, ordinarily more direct and threatening, these appear to be shy. The sculpture is 39 cm (15-1/2 inches) tall, 16.5 cm (6-1/2 inches) diameter and in excellent condition.
(The price includes professional packaging and shipping by private air freight to Western Europe, North America and Oceania. For other regions please inquire.)
The germination series is a true window into this artists soul. They are his representation of the power of the life cycle paired with our human frailties and strengths. He begins by forming the thorns, orbs and sabers which stud the work. These are bisk fired, then glazed and fired again. They are then embedded into the clod, and bisk fired again after drying. Glazed, they are once again fired at high temperature. Despite efforts and calculations, weight and temperature and oxidation cause unexpected changes, the tendrils bend and move with the heat waves, the clay clod can crack or disintegrate. The survivors are cooled, and then aged. When he is ready, he applies the gold and silver and Platinum and other metals, and they are once again fired, and again some fall to the wayside, unable to withstand the temperatures. Sometimes unexpected alterations occur, and other pieces do not make it through or break. Some of these can be repaired and fired again. According to Toi the sculptures are like us humans: Like our lives, we get damaged, scarred, and sometimes we can be mended. We bend with time and weight, and my works are the same. And yet we survive, altered by the experiences. There is no shame in it.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future.
(The price includes professional packaging and shipping by private air freight to Western Europe, North America and Oceania. For other regions please inquire.)
The germination series is a true window into this artists soul. They are his representation of the power of the life cycle paired with our human frailties and strengths. He begins by forming the thorns, orbs and sabers which stud the work. These are bisk fired, then glazed and fired again. They are then embedded into the clod, and bisk fired again after drying. Glazed, they are once again fired at high temperature. Despite efforts and calculations, weight and temperature and oxidation cause unexpected changes, the tendrils bend and move with the heat waves, the clay clod can crack or disintegrate. The survivors are cooled, and then aged. When he is ready, he applies the gold and silver and Platinum and other metals, and they are once again fired, and again some fall to the wayside, unable to withstand the temperatures. Sometimes unexpected alterations occur, and other pieces do not make it through or break. Some of these can be repaired and fired again. According to Toi the sculptures are like us humans: Like our lives, we get damaged, scarred, and sometimes we can be mended. We bend with time and weight, and my works are the same. And yet we survive, altered by the experiences. There is no shame in it.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future.
Modern Japanese Ceramics
sold, thank you
sold, thank you
An iconic bowl flaring out in pure celadon by Fukami Sueharu enclosed in the original signed wooden box titled simply Hachi (here he is using a play on sound, as he uses the Kanji character for eight pronounced Hachi in place of the character for bowl with the same reading). It is 22 cm (8-1/2 inches) diameter and in excellent condition.
Fukami Sueharu is synonymous with seihakuji celadon. He has been displayed numerous times at the prestigious Nitten, Nihon Togei Ten (National Japanese Ceramic Exhibition) and Nihon Gendai Kogei Ten (National Japanese Modern Crafts Exhibition) among others. He is held in the Yale University Museum among others. For more information on this artist a quick web-search, or a look at the article highlighting his life in the March 2005 edition of Orientations Magazine will be enlightening. The list of museums holding his work is, in fact, much to long for this page, but includes the National Museums of Modern Art, Tokyo /Kyoto / and Osaka, the Metropolitan Museum of Art, NY, Brooklyn Museum, Museum of Fine Arts, Boston, Philadelphia St. Louis, Portland, Chicago, Minneapolis, Smithsonian, British Museum, Victoria & Albert Museum, Musée national de céramique, Sèvres, Musée des arts décoratifs, Paris, Hetjens Museum, Düsseldorf and the National Gallery of Australia among many others
Fukami Sueharu is synonymous with seihakuji celadon. He has been displayed numerous times at the prestigious Nitten, Nihon Togei Ten (National Japanese Ceramic Exhibition) and Nihon Gendai Kogei Ten (National Japanese Modern Crafts Exhibition) among others. He is held in the Yale University Museum among others. For more information on this artist a quick web-search, or a look at the article highlighting his life in the March 2005 edition of Orientations Magazine will be enlightening. The list of museums holding his work is, in fact, much to long for this page, but includes the National Museums of Modern Art, Tokyo /Kyoto / and Osaka, the Metropolitan Museum of Art, NY, Brooklyn Museum, Museum of Fine Arts, Boston, Philadelphia St. Louis, Portland, Chicago, Minneapolis, Smithsonian, British Museum, Victoria & Albert Museum, Musée national de céramique, Sèvres, Musée des arts décoratifs, Paris, Hetjens Museum, Düsseldorf and the National Gallery of Australia among many others
Modern Japanese Ceramics
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sold, thank you
An iconic work by Morino Taimei (Hiroaki) enclosed in the original signed wooden box titled Senmon Kaki. It is 24 x 10 x 25.5 cm (10 x 4 x 10-1/4 inches) and is in excellent condition.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitz-gerald Collection.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitz-gerald Collection.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A masterpiece by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Shinogi Tsubo. Shinogi is this method of cutting away portions of the surface, in this case in waving patterns. This both allows the natural ash glaze a foot hold as it blows through the kiln, and as it cools, allows the molten ash to flow and create striking patterns on the surface. This vessel is 25 x 16.5 x 30 cm (10 x 6-1/2 x 12 inches) and is in excellent condition, directly from the artist.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A voluminous Tsubo decorated with autumn grasses scored into the clay with a gold moon rising up behind on the tarnished silver glaze, a spectacular combination by veteran Karatsu potter Nakazato Yoshitaka enclosed in the original signed wooden box titled Ginsai Tataki Tsubo. It is 33.5 cm (13 inches) diameter and in excellent condition.
Nakazato Yoshitaka was born in 1958, a descendant of the famous Nakazato Tarouemon family of Karatsu. He graduated the Saga Prefectural Arita Industrial Ceramic Research Facility in 1976, returning home to assist his father at the Sangen kiln. The following year he ventured to Kyoto where he studied tea ware manufacture under Miyagawa Kosai, before returning once again to Kyushu and the family kiln. In 1985 he was awarded at the 17th Nitten National Exhibition, and has received many awards since, as well as being collected by Saga prefecture. In 1987 he established his own kiln in Karatsu city.
Turquoise accumulates in the clefts like tourmaline water in the deep basin of this sculptural vessel by Yamaguchi Mio dating from 2021. It is 31 cm (12 inches) diameter, 28 cm (11 inches) tall and in excellent condition, directly from the artist.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11th International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11th International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A rare set of Sake Service Vessels (Tokkuri) by important artist Yagi Kazuo stamped near the base the white slip and engraved with butterflies and a poem. Emblazoned is the verse
URAURANI
TERERU HARUBINI HIBARI AGARI
KOKORO KANASHIMO
HITORISHI OMOEBA
The lark takes flight on a spring day
Inadvertently I am taken with sadness
Left thinking alone…
URAURANI
TERERU HARUBINI HIBARI AGARI
KOKORO KANASHIMO
HITORISHI OMOEBA
The lark takes flight on a spring day
Inadvertently I am taken with sadness
Left thinking alone…
Modern Japanese Ceramics
sold, with thanks!
sold, with thanks!
A very rare early sculpture by Imaizumi Masato (now Living National Treasure Imaizumi Imaemon XIV) enclosed in the original signed wooden box titled Shizen to no Kakawari Kata (In Relation to Nature) Plate III. Paper thin shards are embedded in the un-glazed disc of raw white Kaolin clay, a powerful expression indeed on our relationship with the natural world. It is 11 inches diameter and in excellent condition.
Imaizumi Masato succeeded as Imaemon XIV in 2002, heir to a century’s long tradition of working in porcelain. However he studied initially sculpture at Musashino Art University and trained with Suzuki Osamu of Sodeisha fame, and thus has a firm background in the avant garde. Since inheriting the family name he has concentrated on both traditional techniques of Iro-Nabeshima, while exploring new techniques using ink’s feature of repelling pigment and disappearing after firing. In 2009, he was granted the Medal with Purple Ribbon from the Emperor. In 2014, he received the ultimate distinction as the youngest artist in Japan ever to be designated a Living National Treasure.
Imaizumi Masato succeeded as Imaemon XIV in 2002, heir to a century’s long tradition of working in porcelain. However he studied initially sculpture at Musashino Art University and trained with Suzuki Osamu of Sodeisha fame, and thus has a firm background in the avant garde. Since inheriting the family name he has concentrated on both traditional techniques of Iro-Nabeshima, while exploring new techniques using ink’s feature of repelling pigment and disappearing after firing. In 2009, he was granted the Medal with Purple Ribbon from the Emperor. In 2014, he received the ultimate distinction as the youngest artist in Japan ever to be designated a Living National Treasure.
Modern Japanese Ceramics
Sold, with thanks!
Sold, with thanks!
A sculpture of unglazed white porcelain and wood by Yagi Akira enclosed in the original signed wooden box titled Jiki CLOD 92-13 (Porcelain Mass CLOD 92-13) exhibited at Gallery Koyanagi in Tokyo’s fashionable Ginza district in 1992. The original exhibition invitation card, featuring this piece, is included. The stand is 18 inches (46 cm) long an all is in excellent condition.
This name is a must have in any collection of modern Japanese Pottery. Akira was born in Kyoto in 1955, son of avant garde Yagi Kazuo (1918-1979) one of the founding members of Sodeisha. Akira was voted one of the 20 most important living artists by Honoho, Japans premier printed ceramic forum. Works by the artist are held in the British Museum, Victoria Albert Museum, Cleveland Art Museum, Sackler Gallery of the Smithsonian and Tokyo Muesum of Modern Art among many others. He was also the recipient of the Japan Ceramic Society (JCS) award in 1998, one in a long and prestigious list of awards.
This name is a must have in any collection of modern Japanese Pottery. Akira was born in Kyoto in 1955, son of avant garde Yagi Kazuo (1918-1979) one of the founding members of Sodeisha. Akira was voted one of the 20 most important living artists by Honoho, Japans premier printed ceramic forum. Works by the artist are held in the British Museum, Victoria Albert Museum, Cleveland Art Museum, Sackler Gallery of the Smithsonian and Tokyo Muesum of Modern Art among many others. He was also the recipient of the Japan Ceramic Society (JCS) award in 1998, one in a long and prestigious list of awards.