Catalog: Artists (945)

A wave like form seemingly cut from stone decorated with a river of black lacquer in which flows inlayed mother of pearl and Suzuita metal strips by Okada Yuji exhibited at the 32nd National Modern Crafts Exhibition in 1993. An exciting and striking work sure to inspire conversation. It is 43 x 55 cm. The height is dependent upon how it is displayed (we currently have one side elevated to flow like a waterfall).
This defines the challenging spirit of the artist, always pushing the boundaries of his medium.
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.

Try describing this incredible Mizusashi covered in glassy Oribe green glaze by important artist Hayashi Shotaro enclosed in the original signed wooden box. Spectacular is all that comes to mind. It is entirely sculptural, with a refinement of glaze only this artist can create. The piece is 7 inches (18 cm) tall, 9 inches (23 cm) diameter and in perfect condition. Shotaro (b. 1947) is one of the biggest names in contemporary Mino ceramics. He first began with a 7 year apprenticeship under his older brother Kotaro, ending when he established his own kiln in 1974. Since then his list of exhibitions and awards has been amazing, including the Nihon Dento Kogei Ten (National Traditional Arts and Crafts Exhibition), Governors Prize and five times winner of Best of Show at the Asahi Togei Ten (Asahi Ceramics Exhibition), and Best of Show at Gifu Prefectural Exhibition among many many others.

A unique waterfall-like architectural lacquered sculpture by Okada Yuji presented at the 33rd National Modern Crafts Exhibition (Nihon Gendai Kogeiten) in 1994. It is created in a contemporary version of the centuries old technique known as Datsu-Kanshitsu. Datsu Kanshitsu is a type of dry lacquer technique wherein cloth or some other pliable material is laid over a wooden structure to create a form. Ofter many layers, creating a solid form, the framework is removed leaving the piece hollow. After creating the wave-like form, the structure is covered in a stone textured mixture of foundation material, Sekkai and bonding agent over which has been applied layers of highly polished black lacquer inlaid with Mother of Pearl and Hirame gold disks polished down in the Togidashi fashion. An incredible work of art. It is 87 x 35 cm x 14 cm thick (34 x 14 x 5-1/2 inches) and is in excellent condition. It comes with a signed wooden placard directly from the artist as well as a copy of the original catalog page from the exhbition.
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 deep oblong bowl decorated in abstract underglaze blue imagery with flashes of red by Shibata Ryozo enclosed in the original signed wooden box titled Sometsuke Aka-e Hachi dating circa 1995. It is 17 x 19.5 x 6.5 cm (6-1/2 x 7-1/2 x 3 inches) an is in excellent condition.
Shibata Ryozo (b. 1952) completed advanced studies at the Kyoto Municipal University of Arts in 1978 (his work was purchased by the university the previous year for its permanent collection). In 1993 he first exhibited with the Nihon Dento Kogei Ten National Traditional Crafts Association, and in 94 was awarded at the Izushi Porcelain Trienial in Hyogo. After that he concentrated more on the Kansai area, and has been awarded at the Kyoto Bijutsu Kogeiten (97), Kyoto Kogei Bijutsu Sakka Kyokai Ten (98), Seto Sometsuke Exhibition (99) and Osaka Crafts Exhibition on multiple occasions. He has been a guest speaker at the University of Michigan in 2005, and artist in residence in Campbell Australia in 2006. Just this year his work was selected for exhibition in Boston at the Society of Arts and Crafts. In 2014 his work was collected by the Imperial household agency, and he is held in the collections of Kyoto City and Toyooka City Museums among others.

A fulling block form draped with ochre glaze over charred olive shades by Tsukigata Nahiko wrapped in a brocade bag and enclosed in the original signed wooden box titled Oni Shino Hana-Ike which is in turn enclosed in a black lacquered wooden double-wood storage box. It is a very traditional shape in Japanese pottery. This is 8 inches (20 cm) tall, 5 inches (12 cm) diameter and in excellent condition. A superlative example of this artists work.
Tsukigata Nahiko (1923-2006) was not only an accomplished ceramic artist, but also a painter, calligrapher, sculptor and musician. Born in Niigata prefecture, he was at Waseda University in 1941 when he was summarily drafted into the Army. After the war he attended the Arts course of Nippon Daigaku University and was struck by the works of Living National Treasure Arakawa Toyozo, to whom he apprenticed in the arts of Shino and took his mentors work to a new level. Like all art, his was alive and always evolving. Starting with the replication and research of Momoyama techniques to the culmination of his efforts in Oni-shino, Nahiko has taken Shino beyond all others. It was not an easy road, for the first 15 years he worked for a ballet school, spent time as a recluse priest at Myoanji temple, and wandered the country playing the shakuhachi. It was a time of great change in Japan, starvation was rampant immediately after the war and supporting oneself through the little known art of Shino-yaki was difficult. However he persevered, along with Toyozo, Kato Juuemon, Kato Kohei and others, to bring Shino to the forefront of ceramic arts. Heavily prized domestically and abroad in his lifetime, his low output and unique quality make his work a must have for collectors.

An exquisite pottery form by Kawase Takeshi enclosed in the original signed wooden box titled Hakuji Hori Hanamoyo Sara. The fluted edge rises around a central garden filled with scrolling florals. It is 14 inches (35 cm) diameter and in fine condition.
Kawase Takeshi (1953-2007) was born the second son of Kawase Chikushun II in Kanagawa prefecture. He began in the family kiln, eventually breaking off to establish his own kiln in 1986. He was the subject of a television show in 1999, and was ascending to greatness when he died suddenly at the age of 54. He is remembered for Hakuji, Aka-e and Kinsai styles.

A playful troupe of elephants parade around the rim of this early bowl by Shigemori Yoko enclosed in a signed wooden box titled Zobachi. The creatures are in relief, raised from the surface, not engraved into it. This was made by pressing the clay slab onto a surface into which were engraved the family of creatures. It is roughly 13cm 12.7 cm (over 5 inches) diameter, 6 cm (2-1/4 inches) tall and in excellent condition.
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 avant-garde 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 National Modern Ceramics Exhibition. She was one of five artists featured in Toh, volume 76, the first issue dedicated to Kyoto potters. Toh was, at the time

Each uniquely carved row of frets on this large textured vase is a variegated shade of raw clay by Mihara Ken enclosed in the original signed wooden box. The vase is 10 inches (25.5 cm) tall, 8-1/2 by 5-1/2 inches (22 x 14.5 cm) and dates circa 1994. Ken was born in Shimane prefecture in 1958, and apprenticed under Funaki Kenji at the age of 23. He has been exhibited and or prized at the All Japan Ceramic Exhibition (Nihon Togei Ten), Asahi Ceramic Exhibition, the National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) as well as the Tanabe Museum Chanoyu no Zokei Ten (Modern tea forms Sculpture Exhibition). He has displayed in both Europe and America and is held in the permanent collection of the Tanabe Museum of Art and the New Orleans Museum of Art among others.

Burgeoning grapes in vivid gold decorate this pure white bowl by Ono Hakuko enclosed in the original signed wooden box titled Hakuji Kinrande Chawan. It is 13.3 cm (over 5 inches) diameter, 7.2 cm (3 inches) tall and in excellent condition.
From Aichi prefecture, Ono Hakuko was trained by her father initially in the ceramic arts. However, she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japans most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics by Women Artists (2009)

An iconic work in pale white by Living National Treasure Tsukamoto Kaiji enclosed in the original signed wooden box titled Hakuji Wakaba-mon Dai-zara (Footed white porcelain dish decorated with young leaves. The execution is breathtaking, so perfectly formed it demonstrates clearly the talent for which he was named a Living National Treasure. It is 23.5 cm (9-1/2 inches) square, 5.5 cm (2 inches) tall and is in excellent condition.
Tsukamoto Kaiji (1912-1990) was fascinated with Song period hakuji and seihakuji porcelains and spent his life reviving that tradition. He received a Gold Medal at the 21st Century Exposition in California in 1964. In 1965 he was awarded at the 12th Nihon Dento Kogeiten National Traditional Crafts Exhibition, and was awarded again in 1967, the same year his work was exhibited at the worlds Expo in Montreal. He exhibited with the Nihon Togei Ten national Ceramics Exhibition from its inception in 1971. The following year he was once again awarded at the 19th Nihon Dento Kogeiten National Traditional Crafts Exhibition. He received the prestigious Japan Ceramic Society (JCS) award in 1979, and Japan-China Culture Award in 1980. In 1983 he was designated an Intangible Cultural Property (Living National Treasure) for seiji and seihakuji porcelain. Held in The National Museum of Modern Art in Tokyo, The National Museum of Modern Art in Kyoto, The Museum of Oriental Ceramics in Osaka, Aichi Prefectural Ceramic Museum and Menard Art Museum among others. For more see “Japanese Studio Crafts” (1995) by R. Faulknner.

A large sculpted image of the goddess of mercy Kannon cut from a solid slab of Iga clay by artist Kishimoto Kennin. The image is 12-1/2 inches (31.5 cm) tall and in perfect condition. The artists mark is engraved into the base of the back; there is no box. 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 complete set of the twelve animals of the zodiac by Miyashita Zenji, each enclosed in the original signed wooden box retaining the original Shifuku and Shiori. Sizes vary from 8 up to 16 cm (3 to 6 inches) and all are in excellent condition.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art under Kiyomizu Kyubei and Kusube Yaichi. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He began exhibiting in the annual Nitten exhibitions in 1964, eventually winning eighteen prizes. According to the Sackler, which holds 6 works by him, “ His mature work was a modern embodiment of a classic Kyoto mode associated with the Heian period (794–1185). He applied delicate layers of color—reminiscent of multilayered court robes or decorated papers made for inscribing poetry—using not over-glaze enamels or glazes but clay itself, dyed with mineral pigments”. He is held in the aforementioned Freer-Sackler, the British Museum, the Metropolitan Museum of Art New York, and the Brooklyn Museum the Minneapolis Institute of Arts, the Museum of Fine Arts Houston and of course the National Museums of Modern Art both in Kyoto and Tokyo among a host of others.

A stack of fused Bowls hollowed out as a vase by Satonaka Hideto enclosed in the original signed wooden box titled simply Utsuwa dating circa 1976. During the post war era a great amount of research was done in reviving ancient firing techniques, many potters and scholars working on medieval kiln excavations would unearth stacks of bowls and mounds of fused pots where kilns had collapsed during firing dating from the Heian period on to the age of the climbing kiln. These were well known to ceramic artists and researchers at the time. Here Hideto brings one such deformation into the modern world, perhaps a commentary on the fragility of our human efforts. Ordinarily fused and covered in encrustation of ash, here the artist has taken the opposite effect, with a brilliant crackled yellow glaze. It is 7-1/2 inches (19 cm) tall and in excellent condition.
Satonaka Hideto (1932-1989) was born in Nagoya and graduated advanced studies at the prestigious Tokyo Kyoiku University Arts Department in 1956, then went on to study under Miyanohara Ken, exhibiting his first ceramic sculpture with the Totokai in 1961, and garnering the Itaya Hazan Prize for it. Throughout the ‘60s he would exhibit there earning several awards as well as at the Sankikai. From 1970 he moved to the circle of Yagi Kazuo, and would fall under the umbrella of Sodeisha. Two of his works would be selected and awarded for the first Nihon Togeiten National Ceramics Exhibition in 1971. The following year he would be awarded at the Faenza International Ceramics Exhibition. He would leave Sodeisha after the death of his mentor in 1979. He would participate in the Valauris International Ceramic Biennale among many other overseas extravaganzas. While working as a professor at the Bunkyo University Art Department his life ended suddenly in an automobile accident in 1989. Six works by him are held in both the National Museums of Modern Art in Tokyo and Kyoto

A rare Mizusashi in rust colored glaze by Living National Treasure Hamada Shoji enclosed in the original signed wooden box titled Kaki-yu Ori-e Mizusashi. It is roughly 15 cm diameter, the same height and in excellent condition.
Hamada Shoji (1894-1978) was born in Tokyo, and enrolled in the Tokyo Technical University at the age of 19. In 1918 he met the important British potter Bernard Leach, and the history of ceramic arts was forever changed. One of the most influential and sought after of all Japanese Ceramic artists. He was a significant influence on studio pottery of the twentieth century, and a driving force of the mingei folk-art movement. In 1955 he was designated a "Living National Treasure". There is no shortage of reading material for those who would like to learn more about this potter.

The playful form of this pottery work by the ever lively Yangaihara Mutsuo seems to be overfull with joy, weeping out from the bottom to form a puddle below. It is enclosed in the original signed wooden box titled Kuro Oribe Choko and dated 1992. The vessel is 39 cm (16 inches) tall, 19 x 17 cm (7-1/2 x 7 inches) across the base and in excellent condition. This is a rare opportunity for one of the more greatly collected artists of recent years.
Yanigahara Mutsuo (b.1934) was raised in Seto, and studied in Kyoto along with contemporary Morino Taimei with whom he maintained a lifelong friendship. His work is largely sculptural, and his choice of colors is his reflection on the decadence of Japanese society. A list of exhibitions and awards would be much too long but includes the Japan Ceramics Society Gold prize in 2002. Listed as one of the most influential potters of the 20th century in the Japanese ceramics magazine Honoho Geijutsu, he is held in the Museum of Modern Art, both Tokyo and Kyoto (MOMAT, MOMAK), The National Museum of Art, Osaka, V&A, Great Victoria Art Gallery, Portland and any number of other prominent public and private collections throughout the world. For more see Japanese Studio Crafts, Tradition and the Avant Garde by Rupert Faulkner. According to the V&A his “work is striking for its blend of dynamism, colour and wit. A leading figure among Kyoto artists, Yanagihara has taught at Osaka University of Arts since 1968. Yanagihara's application of brightly coloured abstract motifs to vessel forms with anatomical, sometime sexually explicit features - a combination with which he first experimented in the late 1960s and early 1970s - has been a characteristic of his work for the past fifteen years. As in the case of Morino Taimei, a close friend and exact contemporary at Kyoto City University of Arts in the late 1950s, Yanagihara has been considerably influenced by the experiences he gained during two periods of teaching in the United States in 1966-8 and 1972-4. His use of gold and silver - a wry comment, he has explained, on the decaying values of contemporary society and the corruption of Japan's political system - echoes the extravagant style of certain North American artists.”

A wild work by Kishimoto Kennin enclosed in the original singed wooden box. The large work is of torn and scarred Iga clay, covered with a dusting of natural molten ash pooling as glass in the crevices. It is 11 inches (28 cm) diameter, 13-1/2 inches (34.5 cm) tall.and in fine condition.
Kennin has been working with clay since the 1950s, devouring styles along the way. Shino, 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. His Iga work is particularly remembered.

A sometsuke vase titled Time and Space by Kondo Takahiro published in the retrospective hard cover book “Kondo Takahiro ‘91-‘99” and enclosed in the original signed wooden box with exhibitions labels attached. It is 21 x 14 x 17 cm (8 x 5-1/2 x 7 inches). This piece was used as the cover of the book which is included with the sale.
Takahiro (b. 1958) was born the grandson of Living National Treasure Kondo Yuzo. However he graduated Hosei University not with a degree in sculpture or crafts, but in Literature. From there he studied at the Kyoto Prefectural Technical Institute of Ceramics, followed by a year at the Kyoto Municipal Institute of Industrial Research. 15 years later he would spend a year in Edinburgh studying glass making, and with this combination of skills, was born the silver mist series for which he is so highly acclaimed. Work by him is held in Museums throughout the world, including the National Museum of Scotland, Brooklyn Museum of Art, Los Angeles County Museum of Art, Minneapolis Institute of Arts, Museum of Arts & Design, New York, Spencer Museum of Art, The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Houston, Art Gallery NSW, Sydney, Hamilton Art Gallery, Australia, Miho Museum. National Gallery of Victoria, Paramita Museum, The Museum of Contemporary Ceramic Art, Shigaraki, and The São Paulo Museum of Art, Brazil among others. Without a doubt one of the most important contemporary artists in Japan today. For more see Celestial Ceramics: the Art of Kondo Takahiro (2002)

An exceptional work by Kondo Takahiro, three sided decorated with concentric squares triangles and circles in rushing fields of blue wrpped in a yellow cloth pouch and enclosed in the original signed wooden box titled Jikku tsubo. It is 59 cm (2 feet) tall and in excellent condition enclosed in the original signed wooden box. Created in 1994 it was exhibited at Takashimaya Department Store Gallery that same year in the exhibition "Blue Time 1200". It is also published in the book Kondo Takahiro Time and Space '91-99, Vase Raisonne. A copy of the book is included.
Kondo Takahiro (b. 1958) was born the grandson of Living National Treasure Kondo Yuzo. However, he graduated Hosei University not with a degree in sculpture or crafts, but in Literature. From there he studied at the Kyoto Prefectural Technical Institute of Ceramics, followed by a year at the Kyoto Municipal Institute of Industrial Research. 15 years later he would spend a year in Edinburgh studying glass making, and with this combination of skills, was born the silver mist series for which he is so highly acclaimed. Work by him is held in Museums throughout the world, including the National Museum of Scotland, Brooklyn Museum of Art, Los Angeles County Museum of Art, Minneapolis Institute of Arts, Museum of Arts & Design, New York, Spencer Museum of Art, The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Houston, Art Gallery NSW, Sydney, Hamilton Art Gallery, Australia, Miho Museum. National Gallery of Victoria, Paramita Museum, The Museum of Contemporary Ceramic Art, Shigaraki, and The São Paulo Museum of Art, Brazil among others. Without a doubt one of the most important contemporary artists in Japan today. For more see Celestial Ceramics: the Art of Kondo Takahiro (2002)

A striking work of lacquer art in unusual blue by the ever-challenging Okada Yuji dating from early in his career, circa 1975. The work is performed on a panel with built up mounds over which has been applied colored lacquer and gold foil. Down the center a zigzag line of mother of pearl is inlaid. To this design has been added extruded lacquer decoration bordered in burnished Suzu-ita metal overlay. The panel is 80.5 x 145 cm, about 2.5 cm thick, in excellent condition.
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.

Mottled blue in thick textured drips run down the sides over ashen glaze on this 4 eared Tsubo by Sakuchi Ensen enclosed in the original signed wooden box. The thickness of the drips adds a tactile sense to this piece, compelling the hands to reach out and touch. It is 11-1/2 inches (29.5 cm) tall 9 inches (23 cm) diameter and in fine condition. The box lid is stained.
Sakuchi Ensen (B. 1922) began on the path of the potter in 1946, searching to create something unusual in the hils of Okayama. His research led him to create this highly decorative yet wildly natural glaze he came to call Hishhoku Nanban Yaki.

An exemplary form accentuating the beauty of the Shigaraki clay and drama which plays out within the kiln by Furutani Michio enclosed in the original signed wooden box titled Shigaraki Mizusashi. The piece is blasted with yellow and green flying ash from one side, the glaze drizzling down into the grays of the charred clay where it had been buried in the embers. Opposite sunburnt red raw terracotta, a vessel which gives a different pleasure from every angle. This was fired in an anagama (a tunnel kiln) by Master of that firing process; in fact he wrote the book on it. The Mizusashi is roughly 20 cm (8 inches) diameter and in excellent condition.
Furutani Michio is one of the Gods of Shigaraki, an artist who wrote the book on Anagama kilns, and one of the more influential artists of the second half of the 20th century. He was born in Shigaraki; graduating the Konan High School of industrial Arts, he moved to further his studies (like so many great artist before him, Kanjiro, Hamada…) at the Kyoto Institute of Industrial Arts in 1964. After breaking out on his own, he started by building an Anagama in Shigaraki in 1970, the first since the middle ages. He was a true pioneer, reviving the tradition and going on to build over thirty kilns over the next thirty years. No other artist has shown such singular dedication to a firing technique. He has been featured in the Nihon Dento Kogei Ten (Japanese Traditional Crafts Exhibition), Nihon Togei Ten (Japanese Ceramic Exhibition) and the Chunichi Kokusai Togei Ten among others. He passed away at the peak of his career. For more on this artists contributions see his book Anagama – Building Kilns and Firing.

It is amazing the number of shades of gray playing across this simple tile-sculpture by Hayami Shiro. Just less than 2 feet (59 cm) tall. There is a small chip in the base (see photos). Due to size shipping will be accrued separately.
Hayami Shiro (b. 1927) was born in Kagawa Prefecture in 1927, and graduated the Tokushima Industrial University in 1949. His first exhibitions did not materialize until 1964, and from there he flourished. From the late 60s he began exhibiting in National Sculpture exhibitions, and has been often awarded; best known for Tile works and stone sculpture. In 2000 he received the International Artistic Cultural Award (Kokusai Geijutsu Bunka Sho). A prominent work by this artist is on semi-permanent display in front of the Freer Gallery, adjacent to the Smithsonian Museum on loan from the Hirshhorn Collection. Other works are held by the Togei No Mori Museum of Shiga Prefecture, Tokyo City Hall and the Aichi Art Culture Center. A piece by this artist was sold at Bonhams in 2007.

Viscious ash and charring cling to the side of this spectacular Mizusashi by Konishi Heinai enclosed in the original signed wooden box. It is 7 inches (18 cm) tall, the same diameter and in fine condition.
Konishi Heinai (1899-1991) was born into a family of farmers in Ehime on the Island of Shikoku. In 1925 he fell head over heels in love with Raku-yaki and it was in the world of pottery he chose to leave his mark. Returning to Shikoku in 1928, he studied various techniques and went on to study under Kawakita Handeishi from 1931. It was at this time he began to build his first Noborigama climbing kiln. Gaining fame throughout the war years, 1949 saw his fame and genius explode into public notoriety. In 1968 he passed the reins to his adopted son. Heinai II was born into the Beppu family in Aichi (Seto area) in 1928. He apprenticed under his uncle Heinai, followed by a sojourn under Handeishi, and in 1958 became the adopted son of Heinai I. His works were widely collected and exhibited throughout Japan, and he is held in the collection of the Metropolitan New York among many others. The Taiko Gama is one of the most famous for Tea Ware in Japan outside Kyoto.

A spectacular heavy basin rendered from the earth covered in rich emerald glaze by Mizuno Sokaku enclosed in the original signed wooden box titled Oribe Kaki. Measuring 25 x 23 x 16 cm (10 x 9 x 6 inches) and literally hollowed out from a block of clay, it weighs 5.7 kg (12-1/2 pounds) and is in excellent condition.
Mizuno Sokaku (1922-1997) was heavily influenced by the multi-talented artist Fujii Tatsukichi, a central figure in Japan’s modern kōgei (arts and crafts) movement. Sokaku allowed himself to be unfettered in approach to the plastic arts, and his unconventional works still draw interest today. He exhibited with the Nihon Togeiten National Ceramics Exhibition, the Seto Togeiten and Asahi Togeiten where he was awarded, the Nihon Kogeiten National Crafts Exhibition, the Nitten where he was awarded, and his work was selected n juried exhibitions to travel to America and New Zealand. His work is held in the Achi Prefectural Museum of Art, Queensland Art Gallery,

A cloud of terracotta clay floats over rays of white emanating down through the gray body of this object by Kawasaki Chitaru enclosed in the original signed wooden box titled Light Cloud. The complete lack of glaze accentuates the rich color of the clay body, tiny “tombo-no-me” (dragonfly eyes) salting the surface. It is 20 x 12.5 x 23 cm (8 x 5 x 9 inches ) and in excellent condition, with the artist name and date engraved on the side.
Kawasaki Chitaru (born in Hiroshima, 1938) has dedicated his life since 1988 to promote the development of a pottery village in Bayat, Klaten, Central Java. Splitting his time between there and his position at Kyoto Seika University. Retired in 2008, and now serving as an Honorary Lecturer, he started to focus on education program by building and developing a craft school in that village. As an artist, he has done a lot of art activities and exhibitions since 1960. His latest solo exhibition “Knot, Connection, and String Playing” was exhibited in National Gallery, Jakarta, Indonesia, in 2012. Among other awards he was granted Grand Prix at the 1995 “1st Busan International Exhibition”, Busan, South Korea. In 1983 he garnered Silver in the Ceramic Design Competition organized by the Ministry of International Trade and Industry, and in 1982 his work was selected for the Japan Modern Ceramic Exhibition which traveled throughout Europe.

An austere bottle glazed in rich green copper by the highly acclaimed Okabe Mineo enclosed in the original signed wooden box titled Oribe Ichirin Sashi. It is 21 cm (8-1/2 inches) tall and in excellent condition.
Okabe Mineo (1919-1990) was born the first son of important artist Kato Tokuro, however the relationship with his father was volatile. When he was 9 Tokuro moved the young family to Seto, where Mineo would graduate the Aichi Prefectural Ceramics School in 1937. After a year at the family kiln, he moved to Tokyo, then joined the army in 1940. He fought against the Americans and would spend several years as a prisoner of war in the Philippines, repatriated to Japan in 1947. He returned to Aichi prefecture, leaving enough distance between himself and his estranged family, and with his wife began producing pottery in Toyoda. In 1953 he met Koyama Fujio; that same year he was awarded the Hokuto prize at the Nitten, and his work was collected by the Ministry of Foreign Affairs. This was the true beginning of his career. In 1955 he received the JCS award, one of the highest honors for a Japanese potter. By the mid ‘60s. he moved to celadon ware. He changed his name from Kato to Okabe in 1978, to honor his wife who supported his efforts for so many years.

An elegant form in rich color by Living National Treasure Tokuda Masahiko (Yasokichi III) enclosed in the original signed wooden box. It is 26 cm (10-1/2 inches) tall and in excellent condition.
Tokuda Masahiko (1933- 2009, Yasokichi III) was designated Living National Treasure in 1997 for his supremacy in the use of Sai-yu Kutani glazes. Yasokichi, born Masahiko, went 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. The family name is now carried by his daughter, Junko, who now bears the title Tokuda Yasokichi IV.

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.

Ash fills the embedded patterns on this Kiln-altered Tsutsu-gata bowl by Living National Treasure Shimaoka Tatsuzo enclosed in the original signed wooden box titled Yohen Zogan Jomon Wan. Crisp black charring and the various depths of ash are a bit of a departure for this artist whose work is often sedate, relying on the texture and patterns of the Jomon rope design over dependence on colorful glazes. It is 11 cm (4-1/2 inches) diameter, 10 cm (4 inches) tall and in excellent condition.
Shimaoka Tatsuzo (1919-2007) was born in Tokyo and enrolled in the Tokyo Kogei Daigaku Ceramics division in 1939. The following year he would meet Mashiko Mingei potter Hamada Shoji, and the course of his life was thought set, graduating in 1941. However he was drafted in 1942, and sent to Burma where he would remain until repatriation after the cessation of hostilities. In 1946 Tatsuzo apprenticed under Hamada who encouraged him to find his own voice, which he did when in 1950 took part in research into ancient Jomon potteries with Shirasaki Shunji, which would have a profound influence on his style. Working with Jomon rope patterns, Tatsuzo set out to create a style unique to himself, establishing his own kiln in 1954. Widely exhibited, awarded and influential in his lifetime, he received the Japan Ceramic Society Gold award in 1994, one of the highest honors for a Japanese ceramic artist, and was designated a Living National Treasure (Juyo Mukei Bunkazai or Ningenkokuho) in 1996 culminating with receiving the Order of the Rising Sun in 1999.

A radical Tea bowl by Sakuchi Ensen enclosed in the original signed wooden box titled Hisshoku Nanban Chawan. This has everything, texture, color, size. Inside circles of flame burn white in the charred dark earth, while the outside is charred black with smatterings of red, blue and green. It is 13 cm (5-1/4 inches) diameter, 9 cm (3-1/4 inches) tall and in excellent condition. It comes complete with the original wrapping cloth and artists profile (shifuku and shiori).
Sakuchi Ensen (B. 1922) began on the path of the potter in 1946, searching to create something unusual in the hills of Okayama. His research led him to create this highly decorative yet wildly natural glaze he came to call Hishhoku Nanban Yaki.

Sunrise colors grow gradually lighter toward the top of this odd shaped vessel culminating in brilliant pink by Miyashita Zenji enclosed in the original signed wooden box titled Saidei Kaki. It is 31 cm (12 inches) tall and in excellent condition.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art under Kiyomizu Kyubei and Kusube Yaichi. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He began exhibiting in the annual Nitten exhibitions in 1964, eventually winning eighteen prizes. According to the Sackler, which holds 6 works by him, “ His mature work was a modern embodiment of a classic Kyoto mode associated with the Heian period (794–1185). He applied delicate layers of color—reminiscent of multilayered court robes or decorated papers made for inscribing poetry—using not over-glaze enamels or glazes but clay itself, dyed with mineral pigments”. He is held in the aforementioned Freer-Sackler, the British Museum, the Metropolitan Museum of Art New York, and the Brooklyn Museum the Minneapolis Institute of Arts, the Museum of Fine Arts Houston and of course The National Museums of Modern Art both in Kyoto and Tokyo among a host of others.

This piece is almost identical to the work submitted by the artist to the 7th Nihon Dento Kogei Ten in 1983 (featured as item number 116 in the catalog for that year) and indeed, shares the title Hi-iro In-mon Tsubo (Flame-Colored Stamp-Patterned Tsubo). It measures 34 cm (13-1/2 inches) diameter, 29.5 cm (12 inches) tall and is in excellent condition.
Kanzaki Muneaki (b 1949) is the fourth generation head of the traditional Mokusen Kiln in Koga, Shigaraki. His works have been exhibited at the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), Nihon Togeiten (National Ceramics Exhibition), Asahi Togeiten Asahi Ceramics Exhibition) and Chunichi Kokusai Togeiten (Chunichi International Exhibition) among many others.

Red Rivulets meld into the ashen gray textured glaze on this Tokkuri sake flask by Sakuchi Ensen wrapped in the original signed and stamped cloth enclosed in the original signed wooden box. It is 13 cm (5 inches) tall and in excellent condition.
Sakuchi Ensen (B. 1922) began on the path of the potter in 1946, searching to create something unusual in the hills of Okayama. His research led him to create this highly decorative yet wildly natural glaze he came to call Hishhoku Nanban Yaki.

A tall squared vase inlayed with the silhouette of trees against the evening sky by Saeki Moriyoshi enclosed in the original signed wooden box titled Zogan Jumoku Moyo Kabin and dated 1991. This artists fascination with trees against the sky is inspiring. He has chosen to imbue his works with memories of the perfect sunset, with an autumn morning or late afternoon in winter. This piece is quite large, 18 inches (45.5 cm) tall and in excellent condition.
Saeki Moriyoshi was born into the household of sculptor Saeki Rusuo in Utsunomiya city in 1949 and attended the Musashino University of Art Design department before moving into the Tokyo University of Fine Art: Crafts Division. He was first exhibited and awarded at the 1974 Ibaraki Prefectural Art Festival, and his graduation project would receive the Salon de Plantain award the next year. As well he would be accepted in the 15th Traditional Crafts New Works Exhibition (Dento Kogei Shinsaku Ten) in 1975 where he would be consistently exhibited. He followed that up the next year with works accepted into the International Ceramics Exhibition and the 23rd National Traditional Crafts Exhibition (Nihon Dento Kogeiten, where he would be repeatedly exhibited). He continued at the University to advanced studies, and the University purchased his final project in 1977. After a stint as a potter in a professional kiln, he established his own kiln in Ibaraki prefecture in 1981. In 1983 one of his works were selected for the Kyo no Nihon Togei (Today in Japanese Pottery) exhibition which travelled to the Smithsonian and the V&A in London. From 1987-2001 he would be a guest professor at his alma-mater, the Tokyo University of Fine Art. As well from 1987 he would exhibit nearly every time at the Nihon Togeiten National Ceramics Exhibition. In ’89 he would be granted the Cultural Award from Ibaraki Prefecture. He would receive many prizes at various exhibitions over the years including the aforementioned as well as the Issuikai Ten exhibition, Mashiko Ceramics Exhibition, and Shinsaku Togeiten (New Ceramic Artworks) exhibition, and in 2002 the Imperial Household Agency would acquire one of his works. His works are held in the Shiga Prefectureal Togei No Mori Museum, Sano City Yoshizawa Museum, and Worcester Art Museum among others.

A large deep bowl decorated in abstract underglaze blue imagery by Shibata Ryozo enclosed in the original signed wooden box titled Sometsuke Hachi and dating circa 1995. It is 35 cm (14 inches) diameter, 25.5 cm (10 inches) deep and in excellent condition.
Shibata Ryozo (b. 1952) completed advanced studies at the Kyoto Municipal University of Arts in 1978 (his work was purchased by the university the previous year for its permanent collection). In 1993 he first exhibited with the Nihon Dento Kogei Ten National Traditional Crafts Association, and in 94 was awarded at the Izushi Porcelain Trienial in Hyogo. After that he concentrated more on the Kansai area, and has been awarded at the Kyoto Bijutsu Kogeiten (97), Kyoto Kogei Bijutsu Sakka Kyokai Ten (98), Seto Sometsuke Exhibition (99) and Osaka Crafts Exhibition on multiple occasions. He has been a guest speaker at the University of Michigan in 2005, and artist in residence in Campbell Australia in 2006. Just this year his work was selected for exhibition in Boston at the Society of Arts and Crafts. In 2014 his work was collected by the Imperial household agency, and he is held in the collections of Kyoto City and Toyooka City Museums among others.

A complete set of 12 Tokkuri sake flasks by Imaizumi Imaemon XII enclosed in the original signed wooden box. Each is uniquely decorated with a delicately rendered image of one of the 12 animals of the Chinese zodiac. With a diverse enough crowd, each person could drink from their own sign. Each piece is in perfect condition. They are all identical in height and shape. roughly 14 cm (5-1/2 inches) tall and in excellent condition.
Imaizumi Imaemon XII (1897-1975) was born the second son of the 11th generation Imaemon thus heir to a centuries old tradition. Taking the family name in 1948, he worked tirelessly to promote the family business through the difficult post-war era, reviving the Nabeshima tradition. He would exhibit consistently with the Nihon Dento Kogeiten (National Traditional Crafts Exhibition) from 1955. In 1959 he would be commissioned to create the dinner service for the newly married Prince and Princess (now retired Emperor and Empress). In 1967 he would be awarded the Order of Cultural Merit with purple Ribbon for his lifetime dedication to the research and revival of Iro Nabeshima ware. In 1971 the Imaemon kiln under the 12th generation was designated an important cultural property. The following year he would receive the Order of the Rising Sun, one of the highest honors for a civilian in Japan. In 1975 his work was brought to America as a gift to then President Gerald Ford. He was succeeded by his son in 1975, wo would be named a living National Treasure in 1989.