Catalog (939)

A huge architectural sculpture of smooth sheer porcelain shot through with a structure in textured black by Takeuchi Kozo accompanied by a signed wooden placard titled “Modern Remains, Ground”, dated 2022. It is 75 x 30 x 45 cm (29-1/2 x 12 x 18 inches) and is in excellent condition, directly from the artist.
Due to size the cost of shipping will be accrued separately.
Takeuchi Kouzo was born in Hyogo prefecture in 1977, and graduated the Osaka University of Arts in 2001 before advancing his studies at the Tajimi Municipal Ceramic Design Institute where he graduated in 2003. Beside an extensive list of solo exhibits in Japan he has been subject of exhibition in Paris and Boston as well as the Hyogo prefectural Ceramics Museum in 2024. His work decorates the Ritz Carlton Hotels in Tokyo and Kyoto, The Peninsula and Palace Hotels in Tokyo, the Mandarin Oriental in Shanghai, and the flagship Hoshinoya Resorts in both Tokyo and Kyoto among others. He is held in the collections of the Museum of Fine Art in Boston, Museum of Ceramic Art in Hyogo, Victoria and Albert Museum in London and Museum Sernuschi in Paris among others.

A truly one of a kind sculpture of three stacking pottery objects in oxidized color by rising star Hashimoto Tomonari. The only work like this the artist has yet produced, it is 82 cm (32 inches) tall and all in excellent condition, directly from the artist.
Hashimoto Tomonari was born in Wakayama the son of a sculptor in 1990 and has felt comfortable with the processes of creation since childhood. He graduated with a PHD from the Kanazawa University of Art in 2017, then relocated to Shigaraki. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world being shown in such faraway places as Paris, London, Basel, Moscow, New York Hong Kong and Miami. Work by him is held in the V&A in London, LACMA, Houston MFA, University of Georgia, Kalamazoo Institute of Arts, Hyogo Prefectural Ceramic Art Museum, LOEWE Foundation in Madrid, KOREA Ceramic Foundation, Shigaraki Ceramic Cultural Park, Museum of Oriental Ceramics in Osaka and a large sculpture has recently been installed in his home prefecture of Wakayama.

A seminal work in vivid blue decorated with an abstract floral spray by Kawaii Kanjiro dating from the height of his career enclosed in a wooden box signed by Koha. It is 20.6 x 13.5 x 10.5 cm (8 1/8 x 5 3/8 x 4 1/4 in) and in excellent condition.
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.

A white glazed receptacle embraced by raw earth creates this dramatic clay sculpture by pioneering female artist Ogawa Machiko enclosed in the original signed wooden box titled simply Utsuwa. It is 12 x 34.5 x 8 cm (5 x 13-1/2 x 3-1/4 inches) and is in excellent condition.
Ogawa Machiko was born in Sapporo on the Northern Island of Hokkaido in 1946. She studied under future Living National Treasures Fujimoto Yoshimichi, Tamura Koichi and Kato Hajime at the Tokyo University of Arts, graduating in 1969, then went on to further studies in France and Africa, returning to Japan in 1975. She began garnering attention in the mid eighties, and has since become one of the leading female figures in Japanese pottery. She was awarded the JCS prize in 2001, one of Japans most prestigious awards. Work by her is held in the Brooklyn Art Museum, LACMA, New York Metropolitan Museum of Art, Smith College, MIA, MOMAT and a host of others. For more see “Touch Fire, Contemporary Ceramics by Women Artists” (2009) or Toh, volume 67 (1993). For more information see the current exhibition Radical Clay at the Chicago Art Institute.

A split hemispherical form flattened on the sides decorated with swirling designs in a fractured circle laid over impressed clay and enclosed in the original signed wooden box. The form is quite unique, the split circle motif actually falling from the center around the mouth to form the opposite side. Not apparent when viewing from the side but easily distinguished from above. It is signed on the base and measures 22 x 27 x 15.5 cm (9 x 11 x 6 inches) and is in perfect condition.
Wada Morihiro (1944-2008) was born in Hyogo prefecture and apprenticed under Kyotos Tomimoto Kenkichi before moving to Kasama in 1976. He has been displayed at the Nihon Togei Ten (National Ceramics Exhibition), Nihon Dento Kogei Ten (National Traditional Crafts Exhibition) Gold medal at the Florence International Ceramics Exhibition in 1980 as well as being displayed at the Victoria Albert and Smithsonian as one representative of modern Japanese ceramics in 1983. He subsequently received the Japanese Ceramic Society Award in 1988, one of the highest honors for a Japanese potter.

A radical sculpture in colored porcelain by Murata Aya accompanied by a signed wooden placard titled Imo Mushi no Yume (An Inch-worms Dream). It is 29.5 x 21.5 x 23.5 cm (12 x 8-1/2 x 10 inches) and is in perfect condition. Each petal, flower, pistil and leaf are created individually, fired and set aside to be embedded into a body of softer clay which, when fired, shrinks down and locks the parts into place.
Murata Aya was born in Kyoto in 1979, and graduated the famous DODA Art School in 1998, before two years at the Kyoto College of Art, from which she graduated in 2000. Shen continued her studies at the Kyoto Prefectural Ceramics School, graduating in 2004. Since she has been exhibited widely both domestically and abroad, including The USA, Denmark, Finland, Taiwan, Italy, Korea and Belgium among others. She was selected for the prestigious Paramita Ceramic Art Taishoten in 2022. Works by her are held in the Korean Ceramic Foundation, the International Ceramic Museum in Faenze, the National Tainan University as well as the Yingge Ceramic Museum in Taiwan among others.

A masterpiece by contemporary ceramic legend Morino (Hiroaki) Taimei enclosed in the original signed wooden box titled Kurosabi Senmon Kaki. It is 21.5 x 10 x 25 cm (8-1/2 x 4 x 10 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.

A flower vase shaped like a woman’s silhouette characterized by its fluid design, evoking the image of a woman dancing, her dress flowing gracefully in the wind by Bizen star Baba Takashi enclosed in the original signed wooden box titled “ Torso”. "Torso" evokes the beauty of the human form, and when flowers are arranged in it, they become the face, completing the artwork. It is 19.5 x 13 x 45 cm (8 x 5 x 18 inches) and is in perfect condition directly from the artist.
Baba Takashi, a ceramic artist specializing in Bizen ware, was born in 1983 as the eldest son of Bizen ware artist Shosuke Baba. He graduated from the Department of Sculpture at Tokyo University of the Arts in 2006. He has exhibited internationally, including solo and group exhibitions in the UK, China, the UAE, Taiwan, the Philippines, Germany, and Italy as well as featured at major events abroad. Starting with being selected for the Okayama Prefectural Art Exhibition in 2008, he was a finalist for the Itazaki Shigeo Ceramics Award at the International Ceramic Exhibition, Mino, in 2011. He continued to receive recognition, being selected for the Japan Traditional Craft Exhibition, Chugoku Branch, in 2015 and the Tea Utensils Exhibition in 2016. Last year, he won an award once again at the International Ceramic Exhibition, Mino. With his expertise in traditional Bizen pottery and international recognition, Baba continues to expand the global appreciation of Japanese ceramics.

A spectacular Mizusashi in Natural Ash glaze by Tsujimura Shiro enclosed in the original signed wooden box titled Shizen-yu Mimi-tsuki Mizusashi. It is 19.5 x 22.5 x 18.5 cm (8 x 9 x 7-1/2 inches) and is in excellent condition, complete with two matching ceramic lids.
Tsujimura Shiro was born in Nara in 1947, and began his steps into the art world as an oil painter in 1965. While living at a Buddhist temple he experienced a profound connection with a Korean Tea Bowl, and began potting. He established his kiln and residence in 1970, with his first solo exhibition held in 1977. By the 1990s he had become an international star, with works exhibited in the US, UK, Germany, France and many other nations. He is highly acclaimed and somewhat reclusive, avoiding the public spectacles often needed to make one in Japan. A must have in any contemporary collection of Japanese ceramic art, work by him is held in museums throughout the globe, including The Metropolitan Museum of Art New York, The Museum of Fine Arts in Boston, The Cleveland Museum of Art, The Minneapolis Institute of Arts, The Brooklyn Museum of Art, The Freer Gallery of Art and Arthur M. Sackler Gallery at Smithsonian Institution, The Asian Art Museum of San Francisco, The Spencer Museum, Ackland Art Museum, The Art Institute of Chicago, The British Museum, Stockholm Museum of Art and the Miho Museum among many others

A splendid large basin of white porcelain “Dyed” with layers of cobalt by Fukushima Hiroko enclosed in the original signed wooden box titled Gosu-e Seimon Rinkabachi exhibited at the 62nd Nihon Dento Kogeiten (National Traditional Crafts Exhbition 2015) and published in the catalog for that year (included). It is 52.5 x 35.5 x 13.5 cm (21 x 14 x 5-1/2 inches) and is in excellent condition, directly from the artist. According to Hiroko The clay itself is like a canvas for glazing. The Kasuri pattern is expressed by repeatedly applying and scraping away three different types of Gosu. The depth of the glaze and inflections of the shades of indigo recall the colors and softness of textiles.
Fukushima Hiroko was born in Kanagawa prefecture and graduated the Joshi Bijutsu Daigaku Art College Western Painting Department in 1967. Her interest moved to ceramics in 1987, and after nearly a decade of practice and working in other kilns, she opened established her own kiln in 1996. That year her work was awarded at the Kanagawa Prefectural Art Exhibition. The following year would find her work accepted into the National Traditional Crafts Exhibition (Nihon Dento Kogei-ten) and again awarded at the Kanagawa Prefectural Art Exhibition. In 1999 she would be for the first time accepted into and subsequently awarded at the Asahi Togeiten Ceramics Exhibition. In both 2000 and 2002 she would garner prizes at the Seto Sometsuke Public Exhibition specializing in Blue and White ceramics, showing the respect her work had already gained among her peers. In 2007 her work was prized at the Nihon Shinsaku Kogei ten, and in 2010 was presented for public viewing at the MOA Museum of Art in Shizuoka. In 2013 she would begin exhibiting with the Tobi-ten of the Nihon Togei Biutsu Kyokai. Her work was purchased by the Imperial Household Agency in 2020. Following the death of her husband, and no longer able to carry the heavy pieces she had made alone, she retired from the ceramic world in 2023.

A spectacular large basin in blue and white by Fukushima Hiroko enclosed in the original signed wooden box titled Gosu-e Ao-mon Hachi exhibited at the 63rd Nihon Dento Kogeiten National Traditional Crafts Exhibition. It comes with a copy of the catalog in which it is published as well as the original label from the exhibition. The bowl is 35 cm (14 inches) diameter, 19 cm (just less than 8 inches) tall and in excellent condition, directly from the artist. According to Hiroko: The clay itself is like a canvas for glazing. The Kasuri pattern is expressed by repeatedly applying and scraping away three different types of Gosu. The depth of the glaze and inflections of the shades of indigo recall the colors and softness of textiles.
Fukushima Hiroko was born in Kanagawa prefecture and graduated the Joshi Bijutsu Daigaku Art College Western Painting Department in 1967. Her interest moved to ceramics in 1987, and after nearly a decade of practice and working in other kilns, she opened established her own kiln in 1996. That year her work was awarded at the Kanagawa Prefectural Art Exhibition. The following year would find her work accepted into the National Traditional Crafts Exhibition (Nihon Dento Kogei-ten) and again awarded at the Kanagawa Prefectural Art Exhibition. In 1999 she would be for the first time accepted into and subsequently awarded at the Asahi Togeiten Ceramics Exhibition. In both 2000 and 2002 she would garner prizes at the Seto Sometsuke Public Exhibition specializing in Blue and White ceramics, showing the respect her work had already gained among her peers. In 2007 her work was prized at the Nihon Shinsaku Kogei ten, and in 2010 was presented for public viewing at the MOA Museum of Art in Shizuoka. In 2013 she would begin exhibiting with the Tobi-ten of the Nihon Togei Biutsu Kyokai. Her work was purchased by the Imperial Household Agency in 2020. Following the death of her husband, and no longer able to carry the heavy pieces she had made alone, she retired from the ceramic world in 2023.

A massive spiraling basin in blue and white by master of indigo Fukushima Hiroko exhibited at the 60th Nihon Dento Kogeiten National Crafts Exhibition in 2013 and enclosed in the original signed wooden box titled Gosu-e Aomon O-hachi. It is 41.5 x 45.5 x 22 cm (16-1/2 x 18 x 9 inches) and is in excellent condition, directly from the artist. According to Hiroko: The clay itself is like a canvas for glazing. The Kasuri pattern is expressed by repeatedly applying and scraping away three different types of Gosu. The depth of the glaze and inflections of the shades of indigo recall the colors and softness of textiles.
Fukushima Hiroko was born in Kanagawa prefecture and graduated the Joshi Bijutsu Daigaku Art College Western Painting Department in 1967. Her interest moved to ceramics in 1987, and after nearly a decade of practice and working in other kilns, she opened established her own kiln in 1996. That year her work was awarded at the Kanagawa Prefectural Art Exhibition. The following year would find her work accepted into the National Traditional Crafts Exhibition (Nihon Dento Kogei-ten) and again awarded at the Kanagawa Prefectural Art Exhibition. In 1999 she would be for the first time accepted into and subsequently awarded at the Asahi Togeiten Ceramics Exhibition. In both 2000 and 2002 she would garner prizes at the Seto Sometsuke Public Exhibition specializing in Blue and White ceramics, showing the respect her work had already gained among her peers. In 2007 her work was prized at the Nihon Shinsaku Kogei ten, and in 2010 was presented for public viewing at the MOA Museum of Art in Shizuoka. In 2013 she would begin exhibiting with the Tobi-ten of the Nihon Togei Biutsu Kyokai. Her work was purchased by the Imperial Household Agency in 2020. Following the death of her husband, and no longer able to carry the heavy pieces she had made alone, she retired from the ceramic world in 2023.

A fabulous blue and white plate reflecting traditional textile patterns by Fukushima Hiroko awarded top prize at the 34th Nihon Kogei Kai Shinsaku Togeiten (National New Ceramic Art Works Exhibition) enclosed in the original signed wooden box titled Gosu-e Yamon Kakuzara. It is 36 x 36 x 11 cm 14 x 14 x 4-1/4 inches) and is in perfect condition, directly from the artist
Fukushima Hiroko was born in Kanagawa prefecture and graduated the Joshi Bijutsu Daigaku Art College Western Painting Department in 1967. Her interest moved to ceramics in 1987, and after nearly a decade of practice and working in other kilns, she opened established her own kiln in 1996. That year her work was awarded at the Kanagawa Prefectural Art Exhibition. The following year would find her work accepted into the National Traditional Crafts Exhibition (Nihon Dento Kogei-ten) and again awarded at the Kanagawa Prefectural Art Exhibition. In 1999 she would be for the first time accepted into and subsequently awarded at the Asahi Togeiten Ceramics Exhibition. In both 2000 and 2002 she would garner prizes at the Seto Sometsuke Public Exhibition specializing in Blue and White ceramics, showing the respect her work had already gained among her peers. In 2007 her work was prized at the Nihon Shinsaku Kogei ten, and in 2010 was presented for public viewing at the MOA Museum of Art in Shizuoka. In 2013 she would begin exhibiting with the Tobi-ten of the Nihon Togei Biutsu Kyokai. Her work was purchased by the Imperial Household Agency in 2020. Following the death of her husband, and no longer able to carry the heavy pieces she had made alone, she retired from the ceramic world in 2023.

An incredible Ceramic sphere in rich natural oxidized colors mottled with rich blues and metallic hues by Hashimoto Tomonari enclosed in the original signed wooden box. It is 24.5 cm (10 inches) diameter and in excellent condition, directly from the artist. A similar orb is held in the collection of the V&A in London.
Hashimoto Tomonari was born in Wakayama the son of a sculptor in 1990 and has felt comfortable with the processes of creation since childhood. He graduated with a PHD from the Kanazawa University of Art in 2017, then relocated to Shigaraki. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world being shown in such faraway places as Paris, London, Basel, Moscow, New York Hong Kong and Miami. Work by him is held in the V&A in London, LACMA, Houston MFA, University of Georgia, Kalamazoo Institute of Arts, Hyogo Prefectural Ceramic Art Museum, LOEWE Foundation in Madrid, KOREA Ceramic Foundation, Shigaraki Ceramic Cultural Park, Museum of Oriental Ceramics in Osaka and a large sculpture has recently been installed in his home prefecture of Wakayama.

A complex sculpture of sheer white porcelain combined with wood attached to a bracket for wall mounting by Takeuchi Kozo accompanied by a wooden placard signed by the artist and titled Modern Remains, Dying. It is 32 x 31 x 15 cm (12-1/2 inches diameter. And stands out 6 inches from the wall). It is in perfect condition, directly from the artist, dated on back 2021.
Takeuchi Kouzo was born in Hyogo prefecture in 1977, and graduated the Osaka University of Arts in 2001 before advancing his studies at the Tajimi Municipal Ceramic Design Institute where he graduated in 2003. Beside an extensive list of solo exhibits in Japan he has been subject of exhibition in Paris and Boston as well as the Hyogo prefectural Ceramics Museum in 2024. His work decorates the Ritz Carlton Hotels in Tokyo and Kyoto, The Peninsula and Palace Hotels in Tokyo, the Mandarin Oriental in Shanghai, and the flagship Hoshinoya Resorts in both Tokyo and Kyoto among others. He is held in the collections of the Museum of Fine Art in Boston, Museum of Ceramic Art in Hyogo, Victoria and Albert Museum in London and Museum Sernuschi in Paris among others.

A stacked architectural shape pierced with a square slot for flower arranging in rough textured black by Takeuchi Kozo enclosed in the original signed wooden box titled Genseki Koku-koku. It is 55 x 17 x 27.5 cm (22 x 7 x 11 inches) and is in perfect condition, directly from the artist late last year.
Takeuchi Kozo (also Kouzo) was born in Hyogo prefecture in 1977, and graduated the Osaka University of Arts in 2001 before advancing his studies at the Tajimi Municipal Ceramic Design Institute where he graduated in 2003. Beside an extensive list of solo exhibits in Japan he has been subject of exhibition in Paris and Boston as well as the Hyogo prefectural Ceramics Museum in 2024. His work decorates the Ritz Carlton Hotels in Tokyo and Kyoto, The Peninsula and Palace Hotels in Tokyo, the Mandarin Oriental in Shanghai, and the flagship Hoshinoya Resorts in both Tokyo and Kyoto among others. He is held in the collections of the Museum of Fine Art in Boston, Museum of Ceramic Art in Hyogo, Victoria and Albert Museum in London and Museum Sernuschi in Paris among others.

A heavily sculpted work of colored slabs with linear decoration dissonant to the form which causes a tension between the two by Kato Yasuhide (Kato Kobei VII) enclosed in the original signed wooden box titled Rittai Shito no Tsubo, Rokusai. It is 31.5 x 22 x 44.5 cm (12-1/2 x 9 x 17-1/2 inches) and is in excellent condition.
Kato Yasuhide was born the eldest son of (to be) Living National Treasure Kato Takuo in 1945. He came to prominence when he was awarded top prize at the Asahi Ceramic Art Exhibition in 1975. Focusing on sculptural forms, he was awarded and served as a juror for the Nitten National Exhibition where he exhibited consistently. In 1995 he succeeded the family name, becoming Kato Kobei VII. In 2000, upon the death of his father, he withdrew from the Nitten and in 2006 picked up his fathers legacy of research into Persian and silk Road ceramics. He has received high praise, awarded the status of holder of intangible cultural properties in Tajimi City and is former President of the Mino Ceramic Society.

An exquisite large platter decorated with swirling dots of pale color by Okayasu Manami enclosed in the original signed wooden box titled Reflection. It is 34.5 cm (13-3/4 inches) diameter, 7 cm (2-1/2 inches) tall and in excellent condition, directly from the artist this winter.
Okayasu Manami was born in Fukui prefecture in 1984, and graduated the Kyoto Saga Art College in 2007. She held her first solo exhibition at the prestigious Takashimaya in Kyoto in 2009, the first of many group and solo exhibitions around Japan and abroad over the last 15 years. She was selected for the Arita International Ceramics Exhibition in 2018. In 2024, she also exhibited at Ceramic Brussels in Belgium, receiving significant international recognition.