Catalog: Artists (1023)

A proud Shino bowl licked by flame by legendary artist Hori Ichiro enclosed in the original signed wooden box titled Shino Chawan. Red tendrils leap up the deeply fissured white glaze. The bowl is hefty yet comfortable to hold, perfectly formed with slightly tapering sides and a wavy rim. It is 14 cm (5-1/2 inches) diameter, 9 cm (3-1/2 inches) tall and in excellent condition.
Hori Ichiro (b. 1952) graduated the Tajimi School of Industrial Design and apprenticed under Kato Kozo. He has been awarded the Governors prize at the Asahi Ceramics Exhibition, and has been displayed at the Chunichi Kokusai Togei Ten as well as Nihon Dento Kogei Ten. He says, “I believe in making pottery which is born of nature…”

One of a very few works combined with glass by the innovative Hashimoto Tomonari, this piece a hollow rectangular form in his signature mottled metal glaze with a cascade of molten green glass coming down both sides and pooling in a froth on the top. It is 42 x 20 x 20 cm (16-1/2 x 8 x 8 inches) and comes with a signed wooden placard, directly from the artist.
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.

A Capricious sculpture like a colorful head towel removed yet retaining its shape by pioneering 20th century female artist Matsuda Yuriko signed on the base and enclosed in the original signed wooden box titled Kinrande Utsuwa. It is 9 x 7 x 5 1/2 Inches (22 x 17 x 14 cm) and in excellent condition.
Matsuda Yuriko was born in Ashiya, Hyōgō Prefecture in 1943nd lives and works in Oshino, Yamanashi Prefecture. Yuriko is an avid exhibitor; it is a wonder she has time to do any work at all. Both within Japan (Nihon Togei Ten, Gendai Togei Ten etc.) and without she has an impressive list of exhibitions in a host of countries. She received the Yagi Kazuo prize in 1986 among many others. According to the book “Touch Fire”, Many of the women artists included in this exhibition are independent innovators who work outside the constraints of Japanese ceramic traditions. However, several of the artists, including Matsuda Yuriko, continue to use traditional techniques with skills that rival, if not exceed, those of their predecessors, and in doing so they create new and challenging contemporary ceramic Sytg art. They reinterpret the traditional decorative technique for porcelain vessels, called iro-e over-glaze enameling, and transposes its motifs onto nonfunctional objects. Her beautifully enameled iro-e porcelain sculptures are witty odes to two favorite subjects: the female body and Mount Fuji. For more information on this artist and examples of her work see the books Contemporary Japanese Ceramics, Fired with Passion by Beatrice Chang and Samuel Lurie. Also see Contemporary Clay, Japanese Ceramics for the New Century based on the Museum of Fine Arts Boston exhibition or Soaring Voices, Contemporary Japanese Women Ceramic Artists (2010).

A small bottle with ash draped from the shoulder like a traditional priest robe by Takeuchi Kimiaki enclosed in the original signed wooden box titled Ko-tsubo. It is 10.5 cm (4 inches) tall and in excellent condition.
Takeuchi Kimiaki (1948– 2011) was born in Tokoname and started learning wheel throwing when he was a middle school student. He met his mentor Ezaki Issei at the Tokoname Ceramic School when he was 16 years old. Along with Ezaki, he and Osako Mikio revitalized Tokoname ware following eh nearly lost ancient traditions using local mountain clay and ash glaze. He exhibited with and was awarded at the Asahi Togeiten, Chunichi International Ceramic Exhibition, Nihon Dento Kogeiten National Traditional Crafts Exhibition and Nihon Togeiten National Ceramic Art Exhibition among many others. He earned Grand Prize at the International Exhibition of Vallauris. While paying homage to tradition, he imbues his work with a chic contemporary ambiance. Work by him is held in the collections of the New York Metropolitan Museum of Art, The V&A in London, the Minneapolis Institute of Art and the Tokyo National Museum of Modern Art among others.

A sculpted large blue chawan buy Sugitani Keizo enclosed in the original signed wooden box. It is 13.5 x 14 x 10 cm 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 Japns top galleries as well as London, Art Miami, Maastricht, New York, Taipei and Shanghai among others.

An iconic playful form, the two lug handles like short little arms extended for the dance by important artist Atarashi Kanji enclosed in the original signed wooden box titled Iga Tokkuri. There is a classic cut in the form, with raw earth visible below, the running green ash.which has pooled in a ringlet around the neckIt is 14.2 cm (5-3/4 inches) tall and in excellent condition, directly from the artist. I highly recommend this with the guinomi previously listed.
Atarashi 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 Fair, 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.

Blue glaze has been applied to the joined slabs of raw clay forming this elongated basin by Shigemori Yoko enclosed in a signed wooden box titled Mudai. Several slabs of clay were rolled and crushed together, the raw edges untouched forming a mountain-scape along the top. It is 66 cm (26 inches) long and in excellent condition, enclosed in a wooden box signed by her brother Naoki. This is one of only a couple examples we have from this torn series.
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 breathtaking sphere in oxidized blues like our gleaming blue planet with an artist performed kintsugi gold repair wrapping all the way around. It is 26 cm (10-1/4 inches) diameter and in excellent condition, directly from the artist.
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.

A large tsubo in gold and white slip by Miyashita Hideko enclosed in the original signed wooden box titled Haku-a Kaki Rin to Shite Yo. The title speaks of standing up alone, and the artist told me it was a piece she created when she came to terms with the grief of her husband passing away and had decided to make a fresh go of life. The form was influenced by ancient Chinese maternal sculptures, thus the forward, broad stance. An image of one of the sculptures can be seen on a ticket stub from the museum exhibition which will be included. This was exhibited in 2016 at the Kyoto Kogei Bijutsu Sakka Kyokai Ten (Kyoto Society of Artist and Craftsperson Exhibition) and published in the catalog for that event. It is 11 x 14 x 19 inches (28 x 35.5 x 48 cm) and is in perfect condition.
Miyashita Hideko was born in Tatsuno, Hyogo prefecture in 1944. She graduated the Kyoto Municipal University of Arts in 1967, her final project garnering the Tomimoto Prize, and that year she was accepted into the Kyoto Prefectural Art Exhibition as well as the Kyoten. In honorable Japanese fashion she put her career second to that of her husband, the famed Miyashita Zenji, but remained active in the ceramics world through crafts during her long marriage. In 1978 she was awarded at the WCC Craft Competition, and her subsequent list of awards and shows in impressive, with solo exhibitions at some of Japan’s top galleries and participation in the Asahi Modern Craft Exhibition, Asahi Togeiten Ceramics Exhibition and the National Ceramics Exhib9tion (Nihon Togeiten). After the passing of her husband in 2012 she has been reinvigorated to work, creating more large scale and sculptural works which are grabbing attention.

A huge museum quality pottery vase by Konishi Yohei (b.1941) enclosed in the original signed wooden box titled Tokoname Sen-Jomon Tsubo. The vase is 17-1/2 inches (45 cm) tall, roughly the same diameter and weighs 14 kg (30 lbs). It is in excellent condition, dating circa 1990. Yohei was born the son of Konishi Yusen in Tokoname city, graduating the Tokoname Ceramics institute in 1959. He was first accepted into the Modern Japan Ceramics Exhibition (Gendai Togeiten) in 1960 and has since racked up a tremendous list of exhibitions. Those include the Nitten, Nihon Dento Kogei Ten (National Traditional Crafts Exhibition) and Asahi Togei Ceramics Exhibition. Also the Nihon Mingei Ten, Sanki-Kai Ten(prized), Issui-Kai Ten and Chunichi Kokusai Togei Ten (prized). Barollis French International Exhibition (silver prize). Shipping will be considered separately due to size.

An iconic large tea bowl by Mino legend Kawamoto Goro enclosed in the original signed wooden box titled Haiyu Chawan. It is 13 cm (5 inches) diameter, 9 cm tall and in excellent condition. Kawamoto Goro (1919-1986) was born in Seto to a family of potters. He studied in Kyoto at the same institution as Kawai Kanjiro and Hamada Shoji. Returning to work at the family kiln, he was later adopted by Kawamoto Rekitei, a famous decorator of pottery. In 1953 he gained first recognition, accepted into the Nitten National Exhibition and garnering top prize at the Asahi Modern Ceramics Exhibition. In 1958 he would be awarded in Brussels, and in 1959 in California and at home was granted the 1959 JCS award. Much lauded the list is much too long for this article. work by him is held in the Kyoto National Museum of Modern Art as well as the The National Museum of Modern Art, Tokyo among many others.

Brisk inky swirls have been struck into the milky white sides of this large bowl titled San-nin-mawashi Chawan (Teabowl for 3) by Shigemori Yoko enclosed in a signed wooden box. As would be expected of this artist, the work is spontaneous and energetic with no sense of caution or hesitation. The base is thick and solid, the entirety exuding a sense of confidence and strength. It is 15 cm (6 inches) diameter, 11.5 cm (4-1/2 inches) tall and in excellent condition, the box annotated by her nephew. In some traditions tea was made in a large bowl and passed from hand to hand, each person taking a sip. A bit like passing the mashed potatoes at Thanksgiving…
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 rock textured Kurinuki tokkuri compliments this guinomi selected to match by Inayoshi Osamu enclosed in the original signed wooden box. The Tokkuri is 5 inches (12 cm) tall, the Guinomi 2-3/4 inches (7 cm) diameter and both are in perfect condition, enclosed in the original wooden box from the artist this summer.
Inayoshi Osamu was born in Aichi prefecture, the heart of Mino country, in 1976. He completed his initial training in the plastic arts at the Seto Pottery School in 2002, garnering an award that same year at the 56th Seto City Art Exhibition. In 2007 he established his own kiln in Toyohashi, and was awarded at the 19th Heart of Oribe Pottery exhibition (again the following year). In 2008 he began to focus on the Atsumi pottery of the Heian and Kamakura periods, building up a unique repertoire. After several more domestic shows and prizes, he had his overseas debut in 2010, and has since received a great deal of attention both at home and abroad.

A Pottery pouch covered in polka-dot silver glaze inspired by traditional textiles by pioneering female artist Tsuboi Asuka threaded with genuine silver couched chord and enclosed in the original signed wooden box. It is 11 cm (4-1/4 inches) tall and is in excellent condition.
Tsuboi Asuka was born in Osaka in 1932, but the family moved to Tokyo when she was 12. She graduated the prestigious and progressive Jiyu Gakkuen (A progressive girls School established in 1921) then moved to Kyoto in 1953, Kyoto, the city she has called home for half a century, where she would spend a year at the Sentsuji Yusai Kobo before enlisting under Living National Treasure Tomimoto Kenkichi. Her first works were exhibited that year at the Shinshokogeikai (where she would be awarded in 1955). She worked to establish the Joryu Togei Ten Ceramic Exhibition for female artists in 1957, to allow women a venue to exhibit works in what was then a very male dominated field. In 1961 she was accepted into the Asahi Togeiten Ceramic Exhibition, and in 1966 would be selected to represent contemporary Japanese ceramics in China, the following year saw he take a study trip to Korea, and in 1970 to Thailand while her work was exhibited at the Tokyo National Museum of Modern Art, which would purchase her work in ’71 . She would be awarded at the Canadian International Ceramic Exhibition in 1973, and since her work has been exhibited throughout the globe. Here work to promote the arts was recognized in 1988 with the Kyoto Prefectural Order of Arts and Culture Award, and in 1991 with the Kyoto city Order of Cultural Merit, and again in 1992 with the prefectural Order of Cultural Merit. All culminated in her receiving the Japan Ceramic Society Gold prize, perhaps the most important award allowed a potter, in 2004. Her work can be found in Museum collections including several works in both the Museums of Modern Art in Tokyo and Kyoto, Fukui and Wakayama Prefectural Museums of Art, Suntory Museum, Shiga Togei No Mori Museum, Ariana Museum, Yale University Museum and The International Ceramics Museum in Faenza. According to the book Touch Fire: Tsuboi Asuka's influence on the ceramic arts of Japan cannot be overstated. As one of the first women to aggressively challenge the male hierarchy, she forged a role for women ceramic artists that previously did not exist in Japan. Tsuboi was the charismatic leader of the influential Kyoto women's ceramic group Joryū Tōgei (Women's Association of Ceramic Art) when it was first formed in 1957. This group was pivotal not only in providing a platform for women to participate as artists in their own right, but in giving them the opportunity to present their challenging work to the public.

Glass flows over the surface of this volcanic structure by Hashimoto Tomonari, a powerful ceramic sculpture accompanied by the original signed wooden placard. It is 25 cm (10 inches) diameter, 16 cm (6-1/4 inches) tall and in excellent condition, directly from the artist. One of only a few glass works he has released to the public.
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.

A half hemisphere in moon tones by Hashimoto Tomonari enclosed in the original signed wooden box. The color palette is sedate, with rusted orange clouds tinged with gaseous blue washing across the lunar surface. It is 25.5 cm (10 inches) diameter, 12.5 cm (5 inches) tall and in excellent condition, directly from the artist. After hand forming and sculpting the shapes, they are bisque fired, then glazed and fired again at a relatively low temperature (Between 1000 and 1100 degrees, like Raku ware). Then he builds a brick oven around each piece and brings the temperature up to 500 degrees, and adds millet or rice husk, which carbonizes the surface, creating incredible colors and random patterns leaving the viewer with a feeling like rusted or heated metal. 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.

A gossamer work by the demanding young female artist Lu Xueyun enclosed in the original signed wooden box titled Breeze 2019-III. The vessel is made up of married sheets of thin porcelain, so thin in fact that light passes easily through it. Her works are truly exquisite, captivating in their frailty. I have been following the diaphanous works of Lu (known in Japan by the Japanese reading of her name, Ro-san) for nearly 5 years and waiting for the opportunity to introduce her to the outer world. This is 20 x 18.5 x 12 cm (12 x 7-1/2 x 5 inches) and is in excellent condition, directly from the artist
Lu Xueyun was born in Chongqing, China in 1987 and graduated the SiChuan International Studies University in 2010, before taking a position in a Chinese company overseas division. Unsatisfied with corporate life, she enrolled in the Traditional Arts Super College of Kyoto, Ceramics Course graduating in 2019, then did two years study at the Ishoken Tajimi City Pottery Design and Technical Center. While there she took part in several juried and group exhibitions, but this is the first time her works have been shown to an international audience.

A lot of drama in this crispy glazed tsubo deeply scored by the artists fingers, the trailing divets filled with running ash glaze by Murakoshi Takuma, two deep punctures in the side where it sank into the kiln supports, and a large artist performed gold repair where it had adhered to the kiln floor. The gold glimmers from the darkest part of the vessel, where it was charred black from laying in the embers. The fingerlets of flowing ash all circle the body, seeming to point out the flaw, accentuating the character. So raw, it speaks of another world, untamed. It is 37 cm (14-1/2 inches) tall, 33 cm (13 inches) diameter and in excellent condition. It comes with a wooden placard signed by the artist and titled Yakishime Hakkin-sai Otsubo (Unglazed Lage Tsubo with Gold).
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.

Dripping with gold, this artist really takes things to the extreme, challenging and yet incorporating something of the idea of Wabi into his outlandish works. Here is an exceptional (and rare) large tsubo by Ichikawa Toru enclosed in the original signed wooden box. It features a surface of raised white bumps like ray or sharkskin. The form is rough, more a natural growth than some plotted design. Brilliant gold flows over the textured white. It is quite overpowering, and would become central to any contemporary ceramic collection. The tsubo is 31 cm (12 inches) tall, 27 cm (10-1/2 inches) diameter and in excellent condition.
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.

Silver ray-skin texture covers this fabulous Katakuchi sake pot by Ichikawa Toru enclosed in the original signed wooden box. OMG a chilled Daiginjo served with this would have to taste like a million bucks! Like a footed softball, it is 12 cm (4-3/4 inches) diameter, ever so slightly shorter although it appears to be taller than it is wide.
One of my favorite artists, the innovative 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.

A twisting black form covered in layers of petals by Yamaguchi Mio enclosed in the original signed wooden box titled Idol. It is 10.5 x 16 x 35 cm (4 x 6 x 14 inches) and is in excellent condition, directly from the artist. The box will be ordered and signed upon purchase.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.

A matte-glazed sculptural stoneware form by contemporary female artist Tanaka Yu enclosed in the original signed wooden box titled Tsutusmi-mono 2020. The piece is made to look like a cloth sack. It is an unusual lavender color, quite pleasing and no one can resist touching it. The sculpture is 20 x 12 x 21 cm (Roughly 5 x 8 x 8 inches) and is in excellent condition.
Tanaka Yu was born in 1989, and graduated the Kyoto Saga University of Arts in 2013. Like many other of the younger generation of artists, she tends toward smaller venues than the large affiliated shows. She first garnered attention in Japan being awarded at the 49th Women's Association of Ceramic Art, Grand Prize (Kyoto Municipal Museum of Art) in 2015. This year she was one of six finalists featured at the prestigious Paramita Museum Grand Prize Ceramic Exhibition. Her work has been presented in galleries around the world.

A gorgeous Mimitsuki handled vase with flaring rim covered in in running ash glaze and encrustations of dark embers by Tanimoto Yo enclosed in the original signed wooden box titled Iga Hana-ire. It is 26 cm (10-1/4 inches) tall and in excellent condition. This is a superb example of the traditional Momoyama aesthetic.
Born in 1958 the son of Iga potter Tanimoto Kosei, Yo was raised among the kilns and has always had his hands in clay. He first began exhibiting in 1982, and in 1984 moved to Europe where he studied oil painting and sculpture (in Spain), and set up a pottery studio outside Paris. After returning to Japan he set up his own studio in 1988, working both in Japan and and Spain. Since his works have been exhibited widely, both domestically and abroad in New York, London, Barcelona and Paris.

A spectacular pottery sculpture of the Okoze (Scorpion Fish) by Kimura Gyokushu enclosed in the original signed wooden box titled simply Bizen Okoze. It is 27 x 18.5 x 9 cm (11 x 7-1/2 x 3-1/2 inches) and is in excellent condition.
Kimra Gyokushu was born the eldest son of the 16th generation Kimura Munetoku in 1953. He graduated from Nagoya University of Arts in 1976, then went on to be awarded the Okayama Mayor's Award at the Okayama Prefectural Exhibition that same year. In 1978 he was selected for the 10th Nitten National Exhibition, subsequently exhibiting there more than 30 times; and his work was again awarded at the Okayama Prefectural exhibition. He succeeded in his research and creation of white Bizen in 1995, and was selected for Shigaraki Ceramics Exhibition. He became a lecturer at Kobe Women's University Seto Junior College from 2001, and from 2003 served as a juror at the Okayama Prefectural Exhibition. In 2009 he was made vice president of the Japan Ceramic Sculpture Association. He accepted a position as lecturer at Okayama Prefectural University in 2013.

Iron and ash flow into vivid dark pools in the center of these 5 leaf shaped slabs by Murakoshi Takuma enclosed in the original signed wooden box titled Mokuha Itazara zen (Leaf Shaped Slab Dish Set). Size, shape, color, texture: these are perfect for showing off your signature dish with style. They are roughly 18 x 20 cm (7 x 8 inches), nearly 2 cm thick and in excellent condition, directly from the artist this autumn.
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. And if there is anything he is known for, it is without a doubt his legendary status among restaurants and Izakaya as the man to make your food presentation perfect. 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 fabulous large Mizusashi with a rugged, natural shape covered in cool blue and gray by Hagi icon Kaneta Masanao enclosed in the original signed wooden box titled Hagi Hai-Kaburi Kurinuki Mizusashi. It is roughly 18.5 cm (7-1/4 inches) tall, 26.5 cm (10-1/2 inches) diameter and in excellent condition, complete with the artists shiori and shifuku.
Kaneta Masanao likely needs no introduction, certainly one of Hagi’s most well-known and easily identifiable names. Although an eighth-generation potter inheriting an overtly conservative tradition, he has transcended limitations, and was one of the first to begin carrying Hagi into the 21st century. His work evokes a distinct tension between both function and form, and technique and tradition. he has been displayed both nationally and internationally innumerable times. His pieces are in the collection of the Tokyo National Museum of Modern Art, Yamaguchi Prefectural Museum and Museum of Modern Art Brooklyn. He has been displayed at the Nihon Dento Kogei Ten and Nihon Togei Ten among many many others.

An unusual cubic work by Hashimoto Tomonari in which he has altered his normal process to allow a powerful crusted texture to form on the work. Oxidized in shades of blue and rusty orange. It is 30 x 34 x 33.5 cm (12 x 13-1/2 x 13-1/2 inches) and in excellent condition, directly from the artist accompanied by a signed wooden placard.
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.

The abraded and torn red-tinged Iga clay fills with green glaze in a climbing spiral pattern forming this Tokkuri by Atarashi Kanji enclosed in the original signed wooden box. It is 14 cm (5-1/2 inches) tall and in excellent condition.
Atarashi 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 Fair, 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 Manabu.

Mukoyama Fumiya enclosed in the original signed wooden box titled Zogan Yusai Fusha-mon Tsubo (Color Inlayed Wind Mill Pattern Tsubo). It is 25 cm (10 inches) diameter, 22 cm (8-1/2 inches) tall and in excellent condition. Mukoyama Fumiya was born in Tokyo in 1960, graduating the Kyoto Ceramic Research institute before apprenticing in Hagi under 15th generation Sakakura Shinbei in 1984. He spent time in Shiga before settling in Mashiko in 1990, establishing his own kiln in 1993. The following year his work was collected by the Imperial Household Agency. He has been exhibited and or awarded at the National Craft Exhibition, National Traditional New Craft Exhibition, and Mashiko Pottery Exhibition among others.

Who says the work of a woman potter is feminine? This is a powerful Iga work by Watanabe Aiko enclosed in the original signed wooden box. There is nothing sedate about this work, charred and dripping with glassy green glaze, freckled with flying ash; the heavy lug handles jutting from the side slightly off kilter. The vessel is 7 inches (17 cm) tall, roughly the same diameter and in excellent condition.
Aiko established her first Anagama kiln in Shigaraki in 1994, and moved to Iga in 2001 where she built her second kiln. That was a big year of change for her, and she held her first of many private exhibitions in Shibuya, Tokyo, including one just finished at Kuroda Toen. Always building in 2003 she began planning her third Anagama kiln, which was first fired in 2005. A promising young artist still affordable, but with recent media attention that condition may not last.

Thin colors and wavering ink form landscapes and poetry on this small dimpled bottle vase by Shigemori Yoko enclosed in a signed wooden box titled simply Kakubin (Square bottle). It is roughly 8.5 x 8.5 x 12 cm (3-1/2 x 3-1/2 x 5 inches) and is in excellent condition, enclosed in a wooden 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.

A spectacular Oni Karatsu Vase by Inoue Toya of the Kyozan Kiln enclosed in the original signed wooden box. It is 10 inches (25 cm) tall 6 inches (16 cm) diameter and in excellent condition.
Inoue Toya (1942-2013), graduated the prestigious Nihon Daigaku in 1966, having spent his student years excavating ancient Karatsu shards and researching their techniques. He apprenticed under the multifaceted potter Nushi Ensai. In 1969 he opened his own kiln. He served as head of the Karatsu Ceramic Cooperative from 1983-2010 while focusing on private exhibitions held at Department stores and galleries throughout Japan. In 2008 his lifetime achievements were recognized with a private exhibition in Los Angeles.

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 white porcelain vessel by Sakurai Yasuko permeated with holes in a style typical of her work. It is 16 cm diameter, 8 cm tall and in excellent condition enclosed in a paper box. According to the Met: Sakurai Yasuko first studied ceramics in Kyoto, before becoming an artist in residence in Shigaraki, and then in Limoges, France. She makes perforated, unglazed, white porcelain forms that are studies in light and shadow. These forms are created around bundles of mold-cast porcelain tubes and then connected by clay and slip.
The artist is known for her challenge of light and dark, and this sculpture with its play through holes is a quintessential example of this, the light and dark accenting each other through the patterns cut into the body. Her work is held in the collections of the Metropolitan Museum of Art New York, the Boston Museum of Fine Arts, the Victoria & Albert Museum in London, the Shiga Prefectural Togei no Mori Museum, the International Ceramics Museum in Florence, the Paramita Museum, among many others. For more see Touch Fire, Contemporary Japanese Ceramics by Women Artists, 2009.

I have long wanted to offer a significant piece by this artist, and here is a spectacular Nezumi Shino pair of vases by Wakao Toshisada enclosed in the original signed wooden box. Red tinged white waves boil over the Nezumi-gray arc of the base, a white waxing moon floating above. They measure 9 x 3-1/2 x 12-1/2 and 8-1/2 x 3-1/2 x 10-1/2 inches (23 x 9 x 32 cm and 21.5 x 9 x 27 cm) respectively and are in perfect condition.
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 laer 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 very unusual work by the challenging artist Nakata Atsushi covered in red lacquer with modern designs enclosed in the original signed wooden box titled URUSHI TEA BOWL. It is 11.5 x 13.5 x 9.5 cm (4-1/2 x 5-1/4 x 3-3/4 inches) and is in New condition.
Nakata Atsushi was born in Toyama in 1968, and studied in the blossoming field of videography at Osaka University of Art however chose the path of potter after working at a friends kiln while at school. He graduated in 1992, then apprenticed under Imai Yasuhito famed for his tea ware. In 1996 Atsushi set out on his own in Ueno City, Mie prefecture (the center of Iga ware). He uses lacquer in most of his works, which requires typically three firings, and his work is characterized by its contemporary design and utilitarian forms.