Catalog: Artists (1023)

A tribute to classical literature and design, the zig-zagging eight bridges march through a wetland of blossoming iris on the black lacquer ground of this two panel screen by Okada Yuji. Lead, mother of pearl and Jewel beetle wing inlay on black lacquer with gold maki-e design. Each panel is 61.5 x 120 cm (24 x 47-1/4 inches) or roughly 120 cm (four feet) square. It is in excellent condition, directly from the Okada family.
Due to size the cost of shipping will be accrued separately.
The Eight Bridges originates from "The Tales of Ise" - a collection of episodes, attributed to the poet Ariwara no Narihara (825-880), about the life of a man on a journey from the capital into Eastern Japan. In Mikawa, the man and his companions stop to rest beside the Eight Bridges which ford eight channels that run through a marsh filled with irises.
"They arrived a place called Yatsuhashi (Eight Bridges), in the land of Mikawa, so named from the eight bridges spanning the streams that flowed out in all directions like the legs of a spider. They dismounted in the shade of a tree beside this marsh to eat their dried rice cakes. Irises were blooming beautifully in the marsh, and someone suggested they compose a poem on the theme of Travel, with the first syllable of each line to spell the word for iris, ka.ki.tsu.ba.ta. He composed this:
Karakomono, kitsutsu narenishi, tsuma shi areba, harubaru kinuru, tabi o shi zo omou
My wife, dear to me as a long-worn robe, swathing my thoughts with love, through these long distances
Subsequently the theme became a readily recognizable reference through many aspects of Japanese art and culture. Perhaps most famously the 18th century ‘Irises at Yatsuhashi’ pair of six-panel folding screens, by Ogata Kōrin depicts the Eight Bridges design running diagonally across the screens, between clumps of blue irises against a background of gold leaf.
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 small object like bound chords in raw white porcelain clay by Goto Miho accompanied by the original signed wooden box titled Heartbeat of the Skin. The looping object bound tightly in the center stirs mixed emotions, both reminiscent of bondage as well as the celebratory twisted rope talismans displayed at New years and in front of holy places. It is 8 x 7 x 11 cm (roughly 3 x 3 x 4-1/2 inches) and is in excellent condition, directly from the artist. When prompted about her message she said: I feel that there is something vaguely present that is never visible in my everyday life. It always speaks to me like a pulse beating deep within my thin skin, insisting on its existence. Although I have been expressing myself through painting for nearly ten years, now that I think about it, I feel like I've always been struggling to discover its true identity.
When I encountered ceramics for the first time, I suddenly felt that I had found the means to respond to this vague phantom within.
In this medium I constantly interact with unknown experiences; I am able to feel a certain sense of this diaphanous existence and create works through which I can touch people's five senses; gradually giving back to society. For the first time, I feel like I am a part of this world.
Goto Miho entered the ceramics course at Osaka University of Arts in 2021, already an advanced student initially trained in painting. She was awarded at the 14th Prince Takamado Memorial Netsuke Competition in 2022. In 2023 whe entered Ceramic Design Institute of Tajimi City, and the same year was recipient of the 9th Contemporary Art and Culture Foundation Ceramic Artist Support Grant. Her work was also selected for the Ceramic Synergy Exhibition held at the Kyoto City Kyocera Museum of Art. This is the first time her work has been offered to an overseas audience.

Ash runs in glassy rivulets down the sand textured sides of this large work by Tsuboshima Dohei enclosed in the original signed wooden box. The undulating rim calls to mind ancient firing traditions, the intense heat of the kiln warping the forms as they turn near molten. This exceptional piece is roughly 10 inches (24.5 cm) tall, 11 inches (28 cm) diameter and is in excellent condition. Born in Osaka, 1929, Dohei apprenticed under the eclectic Kawakita Handeishi immediately following World War II, becoming his top pupil, and eventually taking over the kiln in Tsu, Mie prefecture following the death of Handeishi in 1963. Handeishi was a unique bump on the Japanese ceramic landscape, a powerful businessman who took pottery as a hobby, much along the lines of earlier artist Nakamura Shuto, contemporary Kitaoji Rosanjin and Deguchi Wanisaburo. Dohei began large singular exhibitions of his own work in 1967, both in Osaka and Tokyo, and the following year in Yokohama. He continued these beyond his 30 year retrospective held in 1995, adding Nagoya to his list of sites in 2000. His philosophy has been to preserve the dignity of his teacher by both maintaining strong ties with other students of the master, and eschewing the world of large or mass exhibition. Works by the artist are held in the Mie Prefectural Art Museum among others.

A huge Yakishime vessel by modern ceramicist Mihara Ken (b. 1958) enclosed in the original signed wooden box. This piece has an almost haunting presence, the hada sandy and rough, you would think it could crumble in your hands, yet is fired so hot it rings like a bell when tapped. The dark grays and raw earth tones add to that sense of mystery, like something ancient discovered in a dark cave. The vase is 14-3/4 inches (37.5 cm) tall and 11-1/4 (28.5 cm) diameter and in perfect condition. 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.

This is a most unique work, a faceted Kurinuki chawan carved and hollowed out from a solid block of clay by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Shinogi Chawan. Shinogi is a term referring to a blade, and is the artist’s term for pieces from which he has cut away the surface. In this case, he carved and formed the outside from a single lump of clay, cutting away to reveal the form. Then he hollowed out the inside, making the interior slightly fluted to make it even lighter and easy to handle. Then the foot was carved away. The entire is a most unique sensory experience. Close your eyes when you rotate the bowl in the palm of your hand before drinking the tea and enjoy the feeling of the ash blasted and ribbed earth. It is 11 cm (4 plus inches) diameter 9 cm (3-3/4 inches) diameter 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.

Wow! A wide slab banded with galactic color which stands at a striking angle, challenging our sense of spatial cognizance by Hashimoto Tomonari. Created in 2023, it is 48 x 15 x 37 cm (18 x 6 x 14-1/2 inches) and is in prefect condition, directly from the artist. It comes with a signed wooden placard titled, as are all his sculptures, untitled.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

Bright blue brushstrokes dance over the pale glazed surface of this sake server by Shigemori Yoko enclosed in a signed wooden box titled Shuchu. It has been dipped several times in different colored glazes, with what appears to be a wash of ink wavering like a ghost around the rim and spout. This is a bridge between two of her styles, and unusual work which will make a nice conversation starter as you share a drink. It is 10 x 13 x 10 cm (4 x 5 x 4 inches) and in excellent condition, enclosed in a wooden box signed by her brother. It goes very well with the sake cup pictured.
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.

A glowering charred dark sake cup by Matsuo Takaaki enclosed in the original signed wooden box titled Iga Shizen-yu Youhen Nozoki Hai. It is 6cm (just over 2 inches) diameter, 7.5cm (3 inches) tall and in excellent condition. Matsuo Takaaki was born in Yokohama in 1938. He began studies under Tsuji Seimei at Renkoji in 1960 where he trained for over 15 years. He became independent in 1975 and built a climbing kiln in Tama. Since he has been exhibited with the Issuikai but mainly focuses on the intimacy of private exhibitions.

Fresh out of the oven, here is a delicious treat to start the new year right, a crusty dancing form by Murakoshi Takuma enclosed in the original signed wooden box titled Shigaraki Mimitsuki Hana-ire. Not only does the vase itself feel alive with movement, but the encrustations of ash and glossy molten ash glaze seem to be still in formation, as if it is still settling in the kiln. It is 26 cm (10 inches) tall and in perfect condition.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

A colorful Guinomi Sake cup by Shibata Masamitsu enclosed in the original signed wooden box. The design, while technically perfect, is playful with soft colors which allow the viewer a childish sense of wonder. It is 6 cm diameter, 7.5 cm (3 inches) tall and in excellent condition, directly from the artist.
Shibata Masamitsu was born in Toki City, the heart of Mino country, in 1961. After graduating from Kyotos Ritsumeikan Daigaku University, He spent a year at the Tajimi Ceramics Research Facility. His work is an extension of his personality, a little quirky, a little cute, always colorful!

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.

An Oribe Dai-hachi footed basin by Koie Ryoji enclosed in the original signed wooden box. It is 11 x 7-1/2 x 3-1/2 inches (28 x 19 x 9 cm) and is in excellent condition. A few pre-firing chips are shown in the close-ups, glaze over-running theedges proof that they happened before the piece was fired.
Born in Tokoname, 1938, Koie Ryoji graduated the Tokoname industrial school and moved on to work at the City Ceramic Research Facility. In 1966 he established his own studio. Largely displayed and prized, he was most recently awarded the Japan Ceramic Society Gold Award in 2009, the most prestigious of pottery prizes in Japan

A massive tsubo with fissured shoulder in earth tones by Sugitani Keizo accompanied by the artists signed placard. It is 45 cm diameter and in excellent condition. This is absolutely spectacular for large flower arrangements.
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.

A classic angular silhouette in vivid Oribe coloration pierced by a jagged handle by Takauchi Shugo enclosed in the original signed wooden box titled Oribe Te-oke. 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 36 x 15 x 32.5 cm (14 x 6 x 13 inches) and in excellent condition. A bucket form vase with spiked handle like this is held in the collection of the V&A.
Takauchi 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.

Dragonflies alight on autumn grasses and bush clover forming the perfect seasonal connotation under an engorged white moon on this pair of mouse-colored (Nezumi) vases by Shino legend Wakao Toshisada enclosed in the original signed wooden box titled Nezumi Shino So-heki. Together they are 29 cm (11-1/2 inches) long, 18 cm (7 inches) tall and in excellent condition.
Wakao Toshisada was born in Tajimi, Gifu prefecture, home of Mino pottery, in 1933. He was first recognized at the New Crafts exhibition of 1960, the same year he was first exhibited at the Central Japan Art Exhibition. Three years later he made his debut at the Asahi Ceramics Exhibition, following in 1965 with the National Traditional Crafts Exhibition. In 1971 he first exhibited with the Nihon Togeiten (All Japan Ceramics Exhibition) and was awarded the following year the New Mino Artists Prize, gathering acclaim as a leader in the field. After many domestic and International exhibits, he was awarded the Kato Kohei prize in 1986. and was recipient of the prestigious Japan Ceramics Society (JCS) Award in 1989. He was named an intangible cultural asset of Tajimi city in 1995, and of Gifu Prefecture in 2003, and works by the artist are held in the Museum of Modern Art Tokyo, V&A, Freer Gallery and Sackler among many others.

A large footed Bizen slab by Isezaki Shin exhibited at the 13th Nihon Togei Ten in 1995 enclosed in the original signed wooden box and retaining the original exhibition labels. It is 52 x 51.5 x 8.5 cm (20 x 20-1/2 x 3-1/2 inches) and is in fine condition. This is the same year he was awarded at the 42nd National Traditional Crafts Exhibition. Shin Isezaki (b. 1965) is the second son of important Okayama Prefecture intangible cultural property Isezaki Mitsuru. Studied under his father from Junior High age, he was first recognized at the age of 24 when he was awarded at the 40th Okayama Ken-ten art exhibition in 1989. He has since exhibited with and or been prized at the Tanabe Art Museum Modern Forms in Tea Exhibition, Chugoku Dento Kogeiten Regional Art Exhibition, Nihon Togeiten National Ceramic Exhibition, Nihon Dento Kogeiten National Traditional Crafts Exhibition, and this all beforehe opened his own kiln in Inbe in 1999.

A surprisingly relaxed cup with steep sides decorated both inside and out with a single joined black brush trace by Shigemori Yoko enclosed in a signed wooden box. It is covered in a millet colored glaze with a crawling dry black line circling the body. The form is slightly slumped on one side, exuding an unperturbed confidence. It is roughly 7.5 cm (3 inches) diameter and in excellent condition, in a box annotated by her nephew.
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.

Air bubbles appear trapped in the glaze like a thin slab of ice. This is a fantastic Chozara by Inoue Yoshihisa enclosed in the original signed wooden box. It measures 30-1/2 x 9 x 1 inches (77 x 23 x 2.5 cm) and is in perfect condition. Due to size the cost of shipping will be accrued separately for this item.
Yoshihisa (b. 1947) studied ceramics under Kiyomizu Rokube VI, certainly one reason for his emphasis on sculptural concerns. His work has often been accepted to the Nitten National Exhibition, as well as the All Japan New Crafts Exhibition where he received the Members prize, and the Kofukai-ten.