Catalog: Artists (1012)

An angular pottery form covered in Seto glaze by Kawamoto Taro enclosed in the original signed wooden box. The pierced sides are reminiscent of an oki-goro (an incense burner placed over a dish in which incense burns). It is 18 x 8 x 9 inches (46 x 20 x 23 cm) and in excellent condition, consistent with works dating from the later 80s.
Kawamoto Taro (b 1955) graduated Aichi prefectural art university in 1977. He has been exhibited and awarded at many national and international events including the Chunichi Kokusai Togei-ten (Grand Prize twice), Florence International Ceramics Exhibition and the Asahi Togei-ten (Asahi Ceramics Prize). For more on this important modern artist see To, The best selections of contemprorary ceramics in Japan, Vol. 74.

A playful Oribe style basin for Bonsai trees by Sugitani Keizo refecting the shapes of his Silent Shadows Series in the design. It is 19 x 19 x 6.5 cm (just less than 8 inches square) and is in excellent condition, directly from the artist. A signed wooden box will be ordered from Keizo upon sale.
Sugitani Keizo was born in Osaka in 1959. In 1982 he graduated the Ceramic Art Institute of the Tekisui Museum of Art. He has selected for a number of group exhibitions including the International Ceramics Competition Mino and the Asahi Art exhibition, where he has been awarded. He has been exhibited at some of Japns top galleries as well as London, Art Miami, Maastricht, New York, Taipei and Shanghai among others.

Scraped cut and beat out of form with looping ribbons of clay for handles, here is a mizusashi which certainly does not let down; everything we have come to expect from this popular Japanese artist enclosed in the original signed wooden box. It is heavily potted, creating a bold, lively experience. The piece is 8 inches (21 cm) tall, 7 inches (18 cm) diameter and in perfect condition.
This artist has been working with clay since the 1950s, devouring styles along the way. Seto, Oribe, Iga and Celadon, all very different approaches which he masters one at a time, extending his unique view of the arts to new realms, and moving on to the next challenge when his appetite and personal genius has been satiated. He was exhibited and prized at the National Japanese Crafts Exhibition (Nihon Dento Kogei Ten), National Ceramics Exhibition (Nihon Togei Ten), Chunichi International Ceramics Exhibition (Chunichi Kokusai Togei Ten) and Asahi Togei Ten among others, and is held in several important international collections.

A Tenmoku Hanging vase by the living master of that genre, Kimura Morikazu, enclosed in the original signed wooden box titled Tetsuyu Kohen Kake-hana-ike. The lozenge form features two lug handles in the shape of a traditional Waniguchi Japanese Shrine Gong. It is 7-1/2 x 6-1/2 x 2 inches (19 x 16.5 x 5.5 cm) nd in excellent condition, retaining the original shiori and wrapping cloth.
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.

A huge ice-cold blue tinged slab by Suzuki Kenji enclosed in the original signed wooden box perfect for an aray of Sashimi! It is 66 x 28 cm (26 x 11 inches) and is in fine condition. The four half-round feet were added after the firing.
Born into a long line of Kyoto potters, Suzuki Kenji studied initially (as did his brother Takuji) of course under his father Suzuki Kiyoshi. He graduated from the Kyoto University of Fine Arts in 1957 where he studied under Kondo Ryuzo, Tomimoto Kenkichi and Fujimoto Nodo and apprenticed with the Sixth Kiyomizu Rokubei. He was first accepted into the Nitten in 1958, and was exhibited and awarded there many times over the following years. In 1960 he was awarded the Mayors prize at the Kyoten. Throughout the 60s he submitted to international events in North and Central America, Australia, New Zealand and Europe. Also from 1965 to 1971 he worked as assistant professor to the 7th Kiyomizu Rokubei at his alma-matter. In 1967 he was awarded the Hokuto-sho prize at the Nitten for his work White Orb. In 1976 he established a new Kiln in Yamashina. He was awarded the order of Cultural Merit by Kyoto prefecture for his lifes work in 2005. Works by the artist are held in the collections of the Kyoto Prefectural Museum, Kyoto Municipal Museum and Kyoto University of Art among others. His research into metal glazes will have a long standing affect on contemporary pottery in Kyoto. Widely published, he wrote a book for the Tokyo National Museum of Modern Art titled Contemporary Ceramic Art : Canada, USA, Mexico and Japan (1971) as well as Sōsaku tōgei no tenkai / sekinin henshū (1984) among many others.

A quintessential Mimitsuki Mizusashi with loop handles by die hard Takahashi Rakusai enclosed in the original signed wooden box. This is a superb example of the form by master of the tradition. It retains both the original pottery lid and custom made black lacquered wood Kae-buta lid. The vessel is 16.5 cm (6-1/2 inches) diameter, 17.5 cm (7 inches) tall and in excellent condition.
Takahashi Takusai IV was born the eldest son of the 3rd generation Rakusai in Shigaraki in 1925, given name Mitsuo. Trained under his father, in 1973 he was invited to exhibit in Los Angeles where he lectured at the University of California. He took the name Rakusai in 1976. A die hard proponent of tradition, in 1991 he received the International Arts and Culture Award from the Japan Foundation for the Promotion of Culture.

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.

Earthen-toned glaze covers the fissured surface of this unusual small vase by Sugitani Keizo enclosed in the original signed wooden box. It is roughly 6 inches (15.5 cm) diameter and in excellent condition, directly from the artist this summer.
Sugitani Keizo was born in Osaka in 1959. In 1982 he graduated the Ceramic Art Institute of the Tekisui Museum of Art. He has selected for a number of group exhibitions including the International Ceramics Competition Mino and the Asahi Art exhibition, where he has been awarded. He has been exhibited at some of Japans top galleries as well as London, Art Miami, Maastricht, New York, Taipei and Shanghai among others.

A draping curtain of dark torn Bizen clay folds over the enigmatic form of this vase by Kaneshige Kosuke enclosed in the original signed wooden box. Texture varies from chattered extrusion to long, combed lines. Soft shades of color glow on the sides of the dark clay. The vase is 9 inches (23 cm) tall, 13 inches (33 cm) wide and in excellent condition, dating circa 1990.
Kaneshige Kosuke was born in 1943, third son of Bizen pillar Kaneshige Toyo. He studied from an early age with his father, then to Tokyo where he graduated the sculpture department of the Tokyo University of Art. Since he has been exhibited at the Nihon Kogeiten (Japan National Crafts Exhibition), Asahi Togei Ten (Asahi Ceramics Exhibition) and Tanabe Chanoyu Sculpture Exhibit. He has also been exhibited in the Tokyo National Museum of Modern Art, as well as internationally in New York, Paris, Seoul and Boston. He is held in the Tokyo National Museum of Modern Art, The Suntory Collection and the Okayama Museum of Modern Art among others.

A flamboyant vase by Kawai Toru enclosed in the original signed wooden box titled: Gosu Mentori Ashitsuki Tsubo. Outside the vase is covered in Gosu blue, inside contrasted with iron red. The shape is all Toru, an artist who took the work of Kanjiro and moved beyond, as represented in this large tri-legged tsubo. The vase is 14 inches (35 cm) tall, roughly 12 inches (30 cm) diameter and in perfect condition.
Toru was born in 1941, the son of Kawai Takeichi. He apprenticed jointly under his father and Grandfather in 1964, making him the last disciple of Kanjiro Kawai, and it is he who seems to have lived up to his mentors expectations, synthesizing the Kawai style and taking it to the next level.

An exquisite vessel in white with elegant stripes of soft color by hard to find Niwa Ryochi enclosed in the original signed wooden box titled Senmon Tsubo. There is a palpable grace to the piece which seems to reflect the Japanese appreciation of silence and shadows. It is 27.5 cm (11 inches) diameter, 33 cm (13 inches) tall and in excellent condition. Hirashimizu-yaki started when the Lord Niwa Jizaemon, invited Tojihei Ono, a potter from Ibaraki, to make pottery using clay from Chitoseyama during the Bunka era of the late Edo period. There are four kilns in operation today. During the Bunsei era (1818-1829) Abe Kakuzaemon of the Soma clan visited here, built a kiln, and spread the techniques of Soma-yaki pottery, which contributed to Hirashimizu becoming a large pottery-producing area. During the middle of the Meiji period (late 19th century) when the area was enjoying its most prosperous time, over 30 kilns were in operation. Today only 4 exist. Niwa Ryochi was born in Yamagata in 1931. In 1946 he entered apprenticeship at the Ryusen kiln, and due to circumstance, became 4th head of the kiln in 1950. He has exhibited at the Kofu-Kai, and Nihon Dento Kogeiten National Traditional Crafts exhibition as well as at many of Japans top galleries.

A striking work of heavy glass by Suzuki Genta enclosed in the original signed wooden box titled Shizuku Kaki (Dripping Vase). Thick dollops of glass run like giant rain drops over the surface. It is 36 cm (14 inches) tall, and in excellent condition.
Suzuki Genta was born in Kyoto in 1971, graduating the prestigious Doshisha Universtiy in 1994. That same year he packed up and went off to Sweden where he studied at the Kosta Glass School, graduating in 1996. He then travelled Europe, learning under Philip Baldwin and Monica Guggisberg at the Verrerie de Nonfoux in Switzerland, then back to Sweden where he worked under Ulla Bostrom at the Aister Glass Studio, then Peter Kuchinke at the Lauscha Glass Factory in Germany. He studied for 8 months with Anders Wingard at the Baskemolla Glass Studio in Sweden in 1997, then went to New Zealand for six months under Ola Hoglund before 3 months under Simone Cenedese at Linera Vetro in Italy, returning to Japan in 1999. He established the Genta Glass Studio in Toyama prefecture in 2003 and has lived and worked there ever since.

A small unusual Seed-Like basin in earth tones by Gomi Kenji enclosed in the original signed wooden box titled O-pa, both the vessel and the title seem open to interpretation. It is 29 x 21 x 16 cm (11-1/2 x 8-1/4 x 6 inches) and in excellent condition.
Gomi kenji was born in Nagano in 1978. After graduating from the prestigious Waseda University, he went to Okinawa where he studied Kokuba-Tougei, Tsuboya ware, which has been produced since the 17th century, in Naha City, Okinawa Prefecture. In 2004 he moved to Toki city in Gifu, then to Kasama in 2005. He is now Designated Professor, Kasama College of Ceramic Art. The process of firing ceramics is central to the creation of his works. The organic shape of the work is the result of choosing the most logical form from the viewpoint of firing. In addition, the color and texture that make you feel the full earthiness can be obtained by burying it in rice husks and firing it. He has been displayed at the Japan Ceramic Art Exhibition, the Kikuchi Biennale, Mashiko Ceramic Art Exhibition, and in 2014, he won the Grand Prix at the 10th International Ceramics Competition Mino, Ceramic Arts Category. Work by him is held in Museums here in Japan and throughout the world, including the Ibaraki Ceramic Art Museum, Museum of Modern Ceramic Art, Gifu, Museum of Ceramic Art, Hyougo and Victoria & Albert Museum, London among others.

A dark smokey work by Furutani Taketoshi, slightly closed to trap the aroma of the fragrant rice wine, perfect for winter sake. It is enclosed in the original signed wooden box titled Shigaraki Shizen-yu Guinomi. It is 5.8 cm (just over 2 inches) diameter, 4.8 cm (a hair under 2 inches) tall and in perfect 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.

The best sake related piece I have ever seen by Koinuma Michio enclosed in the original signed wooden box titled very simply Tokkuri. The draping curves and weep of color is superb, and sets this above all others. Michio has long been inspired by archaic forms, and this is reminiscent of the roughly 5000-year-old Jomon Venus (a National Treasure) unearthed in Chino, Nagano prefecture. His coloration seems derived from ancient Sue-ki ware, and he goes to great lengths to erode the pots, allotting them an almost hallowed quality, as if they have been treasured for millennia. This Tokkuri is 14.5 m (5-3/4 inches) tall and in excellent condition.
Koinuma 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, one of the top three schools in Japan, for graduate studies in economics and politics. 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 deep tsutsu chawan by Omori Kenji in matte charcoal outside, soft, running pink within enclosed in the original signed wooden box titled Yakishime Chawan. It is 10.5 cm (4 inches) diameter, 9-9.5 cm (3-1/2 -3-3/4 inhces) tall. As it does not have a foot ring, it is decidedly deep, perfect for a cold winter day, and the warm colors inside, combined with the steaming green tea, would be fabulous.
Omori Kenji was born in Saitama prefecture in 1982 In 2005 he graduated the Tokyo Zokei Daigaku Garden Design department, and followed up with two years at the Tajimi Technical institute Isshoken. He currently lives and works in Tajimi, concentrating on private exhibitions as his venue.

A classic work echoing the Zen aesthetic of Boku-seki (Brush-traces) of Zen lore by Shigemori Yoko enclosed in a signed wooden box titled simply Guinomi. It is 7 cm (just less than 3 inches) diameter, 5 cm (2 inches) tall and in excellent condition enclosed in a box signed by her nephew Tetsu.
Shigemori Yoko (1953-2021) was born in Kagoshima. Yoko came to Kyoto where she initially studied painting at the Kyoto Tankidai Art College, then moved to ceramics at the Kyoto Municipal Art University where she studied traditional pottery techniques under Kondo Yutaka before entering advanced courses under Yagi Kazuo, graduating in 1979. Her first solo exhibitions were held while still a student, at Gallery Iteza in Kyoto. She eschewed the world of competitive exhibitions in favor of the intimacy of private galleries, and her list of solo exhibitions is expansive. She received the Yagi Kazuo prize in 1986 and 1988 at the Nihon Gendai Togeiten. She was one of five artists featured in Toh, volume 76, The first issue dedicated to Kyoto Potters. Toh was at the time the most in depth survey of important contemporary potters published in 1993. Her work is held in the collection of the Victoria and Albert Museum in London.

An exquisite platter on two legs by Aoyama Tetsuro enclosed in the original signed wooden box. The rush of white and and soft blue across the surface is reminiscent of the “Ma”, or blank space of an ink waterfall painting. It measures 41 x 40.5 x 10 cm (16 x 16 x 4 inches) and is in excellent condition.
Aoyama Tetsuro was born in Gifu, home of the Mino potteries, in 1946. He apprenticed under Kato Jin in 1961, moving out on his own in 1973. He has exhibited at the Nitten, Nihon Shin Kogeiten, Chunichi Kokusai Togieten, Asahi Togiten, and Nihon Gendai Bijutsu Kogeiten among many others.