Catalog: Artists (1015)

A large and lovely platter by Koyama Kiyoko enclosed in the original signed wooden box.  The wavelike surface traps the thick crystalline ash glaze in deep green pools, the edges left raw and exposed.  The excessive amount of glaze is typical of this artists work, and she is known for firing her kiln for up to 14 days straight.  The dish is roughly 1 foot (30 cm) square and in excellent condition.  Kiyoko was the subject of the film Hi-Bi (2005) and is the pioneering female wood firing artist in Japan. Born in Sasebo, Nagasakin in 1938, she went to Shigaraki village, home of one of Japans Six Ancient Kilns (RokkoGama).  There she studied the traditional techniques,, and bore the brunt of centuries of discrimination against women.  Through it all she persevered to become one of the most highly sought of Shigaraki potters. It is a true pleasure to be able to offer this piece.

Lines of burnt straw scar the surface of this voluminous work by Yamamoto Yuichi enclosed in the original signed wooden box. It is 17-1/2 inches (45 cm) tall, 9 x 10 inches (23 x 25.5 cm) at the base and in excellent condition.
Born the son of Living National Treasure Yamamoto Toshu, Yuichi was raised among the clay and kilns of Bizen, at a vital time when Bizen was devastated by the war economy, and the dramatic years of growth and research following. He began making pottery in 1959, at a time when artists were both working to revive old traditions and styles, and yet invoking new forms and sculptural techniques on their work. He travelled extensively, incorporating foreign influences into his body of work. He has exhibited with the Nihon Dento Kogei Ten Traditional Arts and Crafts Exhibition, Nihon Togei Ten National Pottery Exhibition, as well as a plethora of private and public galleries both domestic and abroad. He received the Kaneshige Toyo pottery award in 1976. He was also awarded Grand Prize at the Tanabe Museum Modern Forms in Tea Ceremony Exhibition in 1996. Works by the artist are held in the French National Ceramics Museum, and the collection of the Imperial Household among others

A thick glazed tokkuri and chokko cup by Koyama Kiyoko enclosed in the original signed wooden box. The Tokkuri has a playful stance, slightly cocky and leaning, as if it wants to pour. Both are covered in thick, dripping ash glaze, a product of her legendary long firings, sometimes lasting ten days. It is 5 inches (13 cm) tall and in fine condition.
Kiyoko was the subject of the film Hi-Bi (2005) and is the pioneering female wood firing artist in Japan. Born in Sasebo, Nagasaki in 1938, she went to Shigaraki village, home of one of Japans Six Ancient Kilns (RokkoGama). There she studied the traditional techniques,, and bore the brunt of centuries of discrimination against women. Through it all she persevered to become one of the most highly sought of Shigaraki potters. It is a true pleasure to be able to offer this piece. For more see Soaring Voices-Contemporary Japanese Women Ceramic Artists (2009).

Red tinges the deeply fissured celadon on this massive basin by Living National Treasure Shimizu Uichi enclosed in the original signed wooden box titled Seiji Benisai Hachi (Celadon with red flamed Basin). Rising from a narrow foot, the piece seems to float in the air, gold and red shining through the cracks in the fissured glaze. It is 18 inches (46 cm) diameter, 4-1/2 inches (11.5 cm) tall and in fine condition. Due to size and weight this piece will require special shipping consideration.
Shimizu Uichi (1926-2004) was born in Kyoto the son of a ceramic dealer. Discarding the family business he apprenticed in plastic arts under Ishiguro Munemaro. His work retains some principal elements of his teachers style while incorporating an understated elegance and avant-garde spirit of challenge uncommon for his time. He was first exhibited at the Nitten in 1951, receiving numerous awards there since. He also took the gold medal at the Prague International Exhibition, and was at the Brussels World Exposition. He is in the collection of the Tokyo National Museum, Kyoto Museum of Modern art, Clark Center and the Freer Gallery among others.

Pale Sunset colors show mottled through the grays of this fine vase by important Hagi artist Kaneta Masanao enclosed in the original signed wooden box. It is 10 x 7 x 8 inches (25 x 18 x 21 cm) and is in fine condition.
Masano likely needs no introduction, certainly one of Hagi is most well known names, 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.

Sitg White crystalline glaze clings to the purple pitted sides of this fantastic set of 3 Mentori Shu-hai sake cups made especially for an exhibition in 2004 by Kato Toyohisa enclosed in the original signed wooden box. Enclosed is the original exhibition invitation showing a similar set. 1 cup is 5 inches (12 cm) tall, 4-1/2 inches (11 cm) diameter; the others are roughly 3-1/2 inches (9 cm) tall, 4 inches (10 cm) diameter. Toyohisa was born in 1962. His work is both original and fresh and his challenging pursuit of Mino ceramics is evident in both his contemporary pieces and his traditional ones. He first exhibited at the Asahi Ceramics Exhibition in 1983, and was awarded the rising star award. That same year he was awarded at the Tajimi City (home to innumerable Mino potteries) Art Exhibition. He has also exhibited and or been prized at the Tokai Dento Kogei ten, Mino Togei Ten, Issui Kai Ten and Gendai Chato Ten (modern Tea Ceramics Exhibition). In addition is a long list of Private exhibitions both domestic and abroad.

A sizeable seihakuji vase by celadon master Fukami Sueharu (b. 1947) enclosed in the original signed wooden box dating circa 1985. Graceful lines drape from 8 points evenly distributed about the rim, creating a sense of geometry on the simple orb. The vase is roughly 8-1/2 inches tall, 9-3/4 inches diameter and in excellent condition. The name of Kyotos 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.

Few foreign potters are able to embrace the Japanese aesthetic as well as Jeff Shapiro. Here is a piece from his second solo exhibition in Tokyo dated 1991. This piece is 9-1/2 inches (24 cm) tall, 9 inches (23 cm) diameter and in excellent condition.
Shapiro was born in New York in 1949. He studied ceramics in Japan from 1973 to 1980, returning to America to build an Anagama kiln in New York in 1981. Works by him are held in numerous American Museums, including Museum of Ceramic Art, The Brooklyn Museum of Art and the Fuller Museum. He has also been commissioned by the New York Metropolitan for its Japan Gallery. There is an abundance of published information on the artist including the 1998 “Ceramics and Beyond”, by Dai Ichi Arts and the 1995 “Yakimono Sanka – In Praise of Ceramics”, by Robert Yellen

An exquisite Nerikomi basin by Shiobara Yoshio enclosed in the original signed wooden box exhibited at the 9th Nihon Togeiten National Exhibition. Nerikomi is the technique of working with layers of variously colored clays. This basin measures 17 inches (43 cm) diameter, 6 inches (16 cm) tall and is in fine condition. The original exhibition tag remains on the base with a note stating it was purchased for 400,000 yen (currently about 5,000 dollars) at that time. The original exhibition catalog is also included.
Due to size the cost of shipping will be assessed separately from the list price.

A superb example of the work of this Living National Treasure, 8 inches (21 cm) diameter, 7-1/2 inches (19 cm) tall and in excellent condition.
Designated Living National Treasure in 1997 for his supremacy in the use of Kutani glazes, Yasokichi, born Masahiko, has gone a step further than many National Treasures by broadening his spectrum with a new style of Kutani ware. Masahiko graduated from the Kanazawa school of arts, and took up apprenticeship under his father Yasokichi II. His works are held by many private collections, as well as the Polk museum and Kanazawa Contemporary Museum of Art.

A Sueki style tiered vase by Koinuma Michio enclosed in the original signed wooden box. The cement like body exemplifies what we expect from Michio, crisp lines and geometric forms. It measures 12 inches (30.5 cm) tall and is in excellent condition.
Michio is a compelling figure unique among contemporary artists. He seems to have no limit to his imagination and creativity, still dazzling us with new concepts after four decades. Born in the hectic war years in 1936, he is incredibly intelligent, graduating the economics department of Osaka University, then on to Waseda for graduate studies, one of the top three schools in Japan. Relinquishing that life he opened a kiln in Mashiko in 1970. Since 1978 he has been consistently displayed at the best galleries in Japan, as well as overseas. For more see Contemporary Japanese Ceramics Fired with Passion (ISBN -10: 1-891640-38-0) or To volume 10, which is dedicated entirely to him.

A stunning white hagi glaze tinted with lavender cools on the sculpted natural from of this most expressive chawan by representative Hagi artist Kaneta Masanao enclosed in the original signed wooden box. It is roughly 5 inches (13 cm) diameter, the same height and in perfect condition. Like Ryuichi, Masano likely needs no introduction, certainly one of Hagis most well known names, 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.

A prominent mimitsuki mentori vase by Kakurezaki Ryuichi enclosed in the original signed wooden box. The tapering rectangular form has been gouged and cut, slabs torn off and odd holes sliced into the sides and top. The clay is dark and shiny, spattered with green ash. The vase is 15 inches (38 cm) tall, the base 5 x 8-1/2 inches (12.5 x 21.5 cm) and in excellent condition. It is likely that Ryuichi needs no introduction, one of the most well known of Bizen potters, he is interestingly originally not from Bizen but far off Nagasaki, which seems to have gifted him with the ability to see the clays potential beyond conventional form. He graduated the Osaka University of Fine Arts, then enjoyed a long apprenticeship under Bizen Living National Treasure Isezaki Jun before opening his own kiln in 1986. Combining traditional technique with modern architectural form, He was recipient of the Japan Ceramics Society Award, Grand Prize at the Fifth Contemporary Tea Ceremony Utensils Exhibition, Tanabe Museum and has a list of public and private exhibitions which go beyond this brief add, including a showing in New York this year. His works are held in the collection of the Victoria and Albert Museum of London, National Ceramic Museum of France and the Tanabe Museum among others. Respecting the wishes of the artist we will not publish his prices on line.

Two ethereal herons stand against a wind blasted bank lost to evening on this E-zara by Yokoishi Gagyu (b. 1975) enclosed in the original signed wooden box. The deep dish is covered in a dark glaze shot through with pale fingers of white, the two creatures small against the other-worldly background. The backside is decorated with swirling lines of white, signed within the foot ring. It is 9-1/4 inches (23.5 cm) diameter, 2 inches (5 cm) tall and in perfect condition. His first exhibited piece at the age of 20 in 1955 took the governors prize at the Nagasaki Kenten Prefectural Art Exhibition. That was the beginning of a prestigious career prolific with awards culminating in being named an important cultural property for Nagasaki prefecture in 1975 (the state version of a living national treasure) he has also displayed with the Nihon Dento Kogeiten (National Traditional Crafts Exhibition) among many others, and has an impressive number of private exhibitions. He is credited with reviving the lost art of Utsutsukawa-yaki, and is a very important figure in modern Arita.

Copper greens splash this bold chawan by Kojima Kenji enclosed in the original signe wooden box. It is 5 inches (12.5 cm) diameter, 3-3/4 inches (9 cm) tall and in fine condition. Kojima Kenji was born in Aichi prefecture in 1953, and graduated the Tokoname Ceramics High School in 1971. He moved to Iga where he studied and was immediately accepted into the Asahi Togeiten Ceramics Exhibition. The following year he moved to Okayama, where he would remain 5 years studying Bizen and the complexities of that clay and it’s firing process. He returned to Iga in 1979, where he built his own kiln on the ruins of an ancient site. He has since been exhibited at the Asahi Togeiten, Chunichi Kokusai Togeiten Ceramics Exhibition, and Nihon Togeiten National Ceramics exhibition among many others. His work is held in the Danish National Museum.

Charred ash deposits are baked into the side of this large Tsubo by Shigaraki Representative Otani Shiro enclosed in the original signed wooden box. Rivulets strike out from the heat blasted face, the coloring pleasing on all sides. The Tsubo is 10-1/2 inches (26 cm) diameter, 9 inches (23 cm) tall and in perfect condition.
Shiro (born 1936), of Shigaraki, was a student of Living National Treasure Shimizu Uichi and Kiyomizu Kyubei. He established his first kilns, a noborigama climbing kiln and Anagama in Shigaraki in 1973. He has since been displayed and prized at many National events, and has been guest lecturer at a number of universities in the United States.

The glaze on this sculpted form by The Bear of Echizen Kumano Kuroemon (also Kurouemon) is covered in the most fantastic crustations of glaze. Thick white over scarred red over shatterd black on an unconventional shape the artist has titled marukawara (round tile). It has Tomo everything, Artists history, wrapping cloth, with his ubiquitous calligraphy all over the signed box. The piece is 29 x 17 x 8 cm (11-1/2 x 6-1/2 x 3 inches) and is in perfect condition.
A ceramic madman, oil painter and recluse, Kuroemon is as eccentric as his pottery predicts. Born in Fukui prefecture in 1955 Kroemon was a painter from youth, he began his studies under Fujita Jurouemon in 1976, and moved to study also under Toda Soshiro. Invited to the Soviet Union he spent time there and in Sakhalin in the 80s, returning to Japan to build his own kiln in 1987. He was the feature of a major exhibition in Germany in 2004, butaside from a few small exhibitions held in Japan (which quckly sell out) he remains a huble artist holed up in his mountain hermitage and works by him are not easy to acquire, with guinomi selling at 1000 dollars.

A very cool Ginsai covered dish by Banura Shiro enclosed in the original signed wooden box. Bright silver swirls to the center alternated by wrinkled lead colored glaze. It is 8 inches (20.5 cm) diameter and in excellent condition.
Shiro was born the fourth son of Living National Treasure for Lacquerware. His sensitivity to textures may stem from that exacting influence. Although his older brother succeeded the family tradition (another branching into paper arts), Shiro, after graduating the Kyoto University of Fine Art, apprenticed in the plastic arts under Kawamura Kitaro (1899-1966). He has an impressive list of exhibitions, including a private exhibition at the Umeda Kindai Bijutsu-Ten as well as the Niponbashi Mitsukoshi, Takashimaya, and Ikebukuro Tobu, the equivalent of being displayed on New Yorks Fifth Avenue or other cities most Trendy streets, as well as many international exhibitions. Like most Iga-area artists, his output is low, but quality and originality high, making his work very much in demand.