Catalog: Artists (1010)

Words fall short on describing this breathtaking vessel by master potter Kimura Morikazu enclosed in the original signed wooden box titled Biryu Kessho Yohen Chawan. It is quite large at 14.5 cm (nearly 6 inches) diameter, 8 cm tall and is in perfect condition.
Kimura Morikazu was born to the house of a Kyo-yaki potter and studied under Ishiguro Munemaru, He established his first kiln in the Gojo Zaka area of Kyoto in 1947, moving to Fukui in 1976. He is held in the collection of both the Kyoto National Museum of Modern Art and the Imperial Household Agency. He has been displayed at innumerable private exhibitions in addition to major exhibitions such as the Nitten, Nihon Dento Kogeiten(National Traditional Crafts Exhibition) and Nihon Togei Ten (National Ceramics Exhibition) among others. Winner of the Japan Ceramics Society (JCS) award, purchased by the Ministry of Foreign affairs. Morikazu has been incredibly influential on the subsequent generation of potters.

Every effect you could ever want is visible on this masterpiece chawan by Anagama artist Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Chawan. It is 12 cm (just less than 5 inches) diameter and in excellent condition. What is most surprising about the tea bowls of Taketoshi is his ability to take this very rough Shigaraki clay, and coil form the walls of the bowl so thin, making the bowls deceptively light to hold. And yet these sit in the very precious Hai-kaburi space at the front of the kiln, so he is only able to get a few bowls like this from a firing. This year so far he ahs only fired twice, so likely has made less than 10 hai-kaburi chawan like this in the entire of 2022.
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 studying wheel technique, graduating the following year. He then did a year apprenticeship at a pottery before re-entering for a second course at the Research Facility, graduating in 1995. From that year he returned to the family kiln, receiving the family tradition from both his grandfather Furutani Churoku and father Furutani Hirofumi. Subverting the self, he makes simple, organic pots which have a timeless quality, very much rooted in the now, but paying homage to the traditions past down through the ages. He was named a Designated Traditional Craftsman (Dento Kogeishi) in 2013. He has exhibited with the Nihon Dento Kogeiten among others, and still works closely with his father at the family kiln.

A lovely lavender-tinged gray vase swept with brush strokes like fleeting snow in the Utsutsukawa-yaki tradition by Yoshioka Gagyu enclosed in the original singed wooden box titled Shirasagi Hanaire (White Egret Vase). Two birds stand against the cold on a long barren branch tinged with silver. Truly exquisite. The vase is 19.5 cm (just less than 8 inches) tall and in excellent condition.
Gagyu’s 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.

A cluster of ash and slag has adhered to the shoulder of this scarred and charred single flower vase by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Shinogi Ichirin Hanaire. The exterior has been thickly potted then sliced away in a slightly swirlin pattern in a style the artist calls Shinogi. This allows the flying ash plenty of hold to create the keshiki, or landscape effects) for which this family is known. It is 13.5 cm (5-1/2 inches) diameter, 19 cm (just under 8 inches) tall and 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.

A vibrant double vase covered in signature naïve designs by Yamashita Moe enclosed in the original signed wooden box titled Morinoyoru (Night in the forest). It is 12 x 24.5 x 27 cm (5 x 10 x 11 inches) and is in excellent condition. Her work is filled with joie de vie, and one cannot escape a smile when viewing it. Even the box is painted with a bright green silhouette of the vase, titled and signed in pink!
Yamashita Moe graduated the Kyoto Zokei University of Art in 2004. Her work has been accepted into a number of important Expositions including the Asahi Modern Craft Exhibition and the Rimpa Forever exhibition held at the Museum of Kyoto. She has nearly a dozen solo exhibitions, quite surprising for a young artist, and has participated in more than 30 group exhibitions. According to the artist, “I create works of organic form based on images of plants, creatures, and the scenery of my travels. I strive to make vessels that are fun and make the viewer happy.”

A striking Dry Lacquer form covered in black lacquer with a galaxy of red and gold swirling about the offset neck, the entire an undulating wave of abstracted dimensions by Okada Yuji enclosed in the original signed wooden box. It is 32 x 27 x 8.5 cm and in perfect condition, dating from 2007.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A jagged metallic shard has embedded into the lavender shaded side of this deep Shiro-Hagi Chawan by Miwa Kazuhiko enclosed in the original signed wooden box. The sheered metallic ring gleems softly gold in the light, a stark contrast against the moon-like glow of the body. The bowl is both sculptural and functional, the best combination. It measures 4 inches (10.5 cm) deep, 5 inches (12 cm) diameter and is in perfect condition. I hope you will take time to see the box being offered by his brother Miwa Eizo (1946-1999) in our inventory as well. Kazuhiko likely needs no introduction. Born into the family of living National Treasure Miwa Kyusettsu, he was not only heavily influenced by his father, but by his 5 years at the San Francisco Art Institute where he was able to acquire a novel eye in his approach toward the traditional Hagi style. He has a list of exhibitions much too long to state here, both inside and outside Japan.

A pair of cups in silver and blue with gold by rising star Ichikawa Toru enclosed in the original signed wood box complete with Shifuku and Shiori. Each is roughly 9.5 cm (4 inches) diameter, 8 cm (3-1/4 inches) tall and both are in new condition. There is quite a contrast, fascinating to hold and view. The silver is quite dry and heavily textured, reminiscent of Same-hada (Sharkskin) or Jakatsu (Scorpion and Snake) wares. However, the celadon is smooth and shiny, in a deep, absorbent color, while the gold shines like only gold can, creating a vivid dialog across the playful surface. To top it off, he has allowed the thin edges to degenerate just a touch, giving them a sense of fragility and impermanence, as if they are about to disappear before your eyes.
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.

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.

A vase with a carved-comb surface of white clay by Sakiyama Takayuki enclosed in the original signed wooden box titled dating circa 1998. It is 9 x 7 x 15 cm (3-1/2 x 3 x 6 inches) and is in excellent condition.
Sakiyama Takayuki (b. 1958) graduated the Osaka Art University in 1981. In 1984 he exhibited for the first time at the Nitten National Exhibition. He established his kiln in Shizuoka in 1987, and was accepted into and prized at the National Ceramics Exhibition (Nihon Togeiten) for the first time in 1991 as well as being prized at the Nihon Gendai Kogeiten (modern crafts exhibition). In 2005 he received Grand Prize at the Nihon Togeiten. Work by the artist is held in the collection of the Metropolitan Museum New York, Brooklyn Museum, Minneapolis, Boston, Philadelphia, New Orleans, LACMA, Musée national de Céramique- Sèvres, France, National Museum of Scotland as well as the Museum of Ceramic Art in Hyogo and the Sano Museum among many others.

Crusty black covers this vase by Kumano Kurouemon (also written Kuroemon) enclosed in the original signed wooden box titled Echizen Tetsuguro Hanaire. It is 30 cm (12 inches) tall, 15.5 cm (6 inches) diameter and in excellent condition.
A ceramic madman, oil painter and recluse, Kuroemon is as eccentric as his pottery predicts. Born in Fukui prefecture in 1955 Kuroemon 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, but aside from a few small exhibitions held in Japan (which quickly sell out) he remains a humble artist holed up in his mountain hermitage and works by him are not easy to acquire.

We asked Toi for a “Tea Bowl” of his imagining and here we have this unique vision in frothy vivid colors studded with golden spikes. The red and white glazes seem puffed up, while the blue flows naturally between. The raw clay of the base too has been covered in liquefied gold. It is 13 cm diameter plus the thorns and in perfect condition. It comes with a signed wooden box titled Kin Hoshi Konsai Wan directly from the artist.
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 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.

Silver glistens inside the near matt core of this fabulous chawan by JCS Gold Award winner Ito Keiji enclosed in the original signed wooden box. It is 12 cm (5 inches) diameter, 9.5 cm (just less than 4 inches) tall and in excellent condition.
Ito Keiji was born in 1935, and has spent his life challenging the accepted concepts of traditional ceramics. He was awarded at the 1981 Faenza International Ceramics Exhibition. He was awarded the Gifu Prefectural Cultural Award in 2006, and again the Award for Culture and Arts in 2013, culminating in the prestigious Japan Ceramics Society (JCS) Gold Award in 2017. Work by him is held in a plethora of important institutions throughout the globe. Tokyo and Kyoto National Museums of Modern Art, Gifu Prefectural Museum and Gifu Prefectural Museum of Contemporary Ceramics, Shiga Togeinomori Museum of Ceramic Art, Paramita Museum and Aichi Prefectural Ceramic Museum among others in Japan as well as the Everson Museum, Honolulu Museum, Art Gallery of New South Wales, and Faenza among others.

A very unusual architectural shape by Takauchi Shugo covered in winnowing blue salt glaze enclosed in the original signed wooden box titled Shio-yu Mentori Tsubo. This artist does have a surprisingly wide range, and this piece certainly proves that. Adept at Shino, Oribe, Mashiko styles and others, he is a tough one to nail down and even more difficult to acquire, his pieces proving very popular at exhibition. This is a rare opportunity to acquire one of his masterpieces. It is 27 x 26 x 23.5 cm (10-1/2 x 10-1/4 x 9-1/4 inches) and in excellent condition.
Shugo was born in Tokyo in 1937, opening his kiln in Mashiko at the age of 31. He has exhibited at the Nihon Dento Kogeiten National Traditional Crafts Exhibition, Nihon Togeiten National Ceramics Exhibition and as well as Gendai Nihon Togeiten National Modern Ceramics Exhibition in addition to innumerable public and private exhibitions. He is recipient of the Order of Cultural Merrit from Tochigi Prefecture, and his works have been selected for international exhibitions (Paris, London, Denmark and America) and work by him is held in the V&A, The Art Gallery of New South Wales. For more see the Book “Japanese Studio Crafts” (1995) by Rupert Faulkner of “Fired with Passion” (2006) by Beatrice Chang and Samuel J Lurie.

Amazing Glaze on this unusual three sided vase by Iga artist Atarashi Kanji enclosed in the original signed wooden box. Shell shapes are impressed into the thick green fromwhere it was supported in the kiln. Able to be used either standing or on its back, this is a superb work. It is 15 inches (39 cm) long 4-1/2 x 5-1/2 inches (11.5 x 14 cm) and is in excellent condition.
Kanji was born in Osaka in 1944, and graduated the Osaka College of Craft design. After 3 years in Kobe, and 4 in Kishiwada (Wakayama) he came to settle in Iga, where he was one of the driving forces behind the resurrection and preservation of the Iga tradition. Although displayed at the National Craft Exhibition, he prefers the intimacy of the private exhibition, of which he holds several every year. And if ones visit to japan is not timed right for an exhibition, he can otherwise be found at his kiln working along with his son and daughter.

A starkly traditional tsubo showing off the plethora of effects garnered from the inferno in an Anagam kiln by Furutani Taketoshi titled simply Shigaraki Shizen-yu Tsubo. It is formed in a medieval fashion with small foot growing in stages to a round wide shoulder, which then pinches to a small neck with pinched mouth. The coloration is fabulous, with rich greens fading to olive to crusty black on the blast side, while the natural clay dusted with flying ash shows off the quintessential shiseki and tombo-no-me for which Shigaraki is known. It is 29 cm (11-1/2 inches) diameter, 35.5 cm (14 inches) tall and 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.

A very unusual jar covered in crinkled metallic green glaze with a wooden lid covered with cloth wrapped in a net of orange chord made to hold tea leaves by Sugimoto Sadamitsu enclosed in the original signed wooden box. The appearance is deceptively large. Spectacular kiln effects live up to this artists reputation. It is 8 inches (20 cm) diameter, 8-1/2 inches (21.5 cm) tall plus lid. And in excellent condition.. This is the first and only tea leaf jar (Chatsubo) I have seen by this important artist.
Sugimoto Sadamitsu was born in Tokyo in 1935. A strong adherent to the Zen tradition, Sadamitsu established his own kiln at 33, receiving the kiln name from his mentor Daitokuji priest Tachibana Oki. His Zen studies have refined the spiritual side of his work, and all of his wood fired ceramics have a quiet and confident power. He has spent his life in the research of kohiki, Shigaraki Iga and Raku wares, and is more than well known in tea circles for the discriminating soul of his works. For more information on this artist see the book Fired with passion : contemporary Japanese ceramics ISBN 1-891640-38-0.