Catalog: Artists (1015)

A quintessential Mashiko work by important artist Hamada Shoji enclosed in a wooden box annotated by his son Shinsaku. It is 11-1/2 inches (29 cm) square. 7 cm (2-1/2 inches) tall and in excellent condition.
Hamada Shoji 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. There is no shortage of reading material for those who would like to learn more about this potter.

A cone rises to a plateau in deep rust colors by Hashimoto Tomonari enclosed in the original signed wooden box titled, like all his work, “Untitled”. It is 25.5 cm (10 inches) tall, roughly the same diameter and in perfect condition, directly from the artist this winter. After 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.

An ovaloid hemisphere in deep rust colors by Hashimoto Tomonari enclosed in the original signed wooden box titled, like all his work, “Untitled”. It is 26 cm diameter, 27 cm tall and in perfect condition, directly from the artist this winter. After 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 already making international waves around Asia. The V&A recently acquired one piece by him. Get them while you can!

An inverted cone in deep rust colors by Hashimoto Tomonari enclosed in the original signed wooden box titled, like all his work, “Untitled”. It is 26 cm (10-1/4 inches) diameter, 23 cm (9 inches) tall and in perfect condition, directly from the artist. After 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 black Raku Guinomi by Hashimoto Tomonari enclosed in the original signed wooden box titled Raku Yaki Kohen Guinomi. It is 2-1/4 inches (6 cm) across, the same height and in excellent condition, directly from the artist this winter.
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 already making international waves around Asia. He will make his Western debut in Spring 2020. Get pieces by him while you can!

The surface of this bowl is like glossy rust, shot through with various shades and glimmering with mottled colors, the base irredescent red. It is by rising star Hashimoto Tomonari and comes enclosed in the original signed wooden box titled: Untitled Utsuwa (vessel). It is 13 cm (5-1/2 inches) diameter and in excellent condition, directly from the artist this winter.
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. Although many of his works are monumental, we have requested him to create some things a bit easier to ship…
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 Univversity 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 already making international waves around Asia. He will make his Western debut in Spring 2020. Get pieces by him while you can!

Vivid colors stand out on this fabulous multifaceted structure by Hashimoto Tomonari dating from this years firing. It is hollow, thus not as heavy as it looks, and comes accompanied by a signed wooden placard. The sculpture measures 37 x 36 x 36 cm (13 x 12 x 12 inches) and is 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 spectacular work in the shape of a curved wall covered in a galaxy of color by Hashimoto Tomonari enclosed in the original signed wooden box. It is 51 x 16 x 29 cm (20 x 6 x 11-1/2 inches) and is in perfect 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.

An eccentric crusty bowl, very different, by Hashimoto Tomonari enclosed in the original signed wooden box titled Raku Yaki Yohen Chawan. Unlike his normal burnished and color ridden surfaces, this bowl is ominous, matte, shot through with pin-hole-textures and rivulets streaming from the rim. It is like something from deep within the universe, an ancient traveler which has been charred and scarred on its way through the atmosphere. Not only that but it is slightly deeper than his normal bowls, 10.5 cm (4 inches) to the rim, and misshapen, 10.5 to 11.5 cm ((4-4-1/2 inches) diameter, making it fit better in the hand. On a recent visit to the artist, after viewing a number of his newest bowls, I had to ask: Which one is your favorite? Without hesitation he went straight to this one.
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 already making international waves around Asia. He is held in the collection of the V&A London and Los Angeles County Museums.

Iridescent red and a burst of gaseous gold cloud like some fantastical deep space event unfolds on the dark surface of this wan-gata (bowl shaped) black Raku guinomi by Hashimoto Tomonari enclosed in the original signed wooden box titled Raku-yaki Yohen Guinomi (Kiln Altered Raku sake cup. This completes the phrase: The Universe in the palm of your hand. I have had several bowls by Tomonari, known for his colored effects and this is unparalleled. It is 11.5 cm (4-1/2 inches) diameter, 10.5 cm (4 inches) tall and in excellent condition directly from the artist this summer.
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 already making international waves around Asia. Work by him is held in the V&A in London, another piece has entered LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

Irridescent red and silver tinges rise up like some deep space cloud on the meteoric surface of this wan-gata (bowl shaped) Raku chawan by Hashimoto Tomonari enclosed in the original signed wooden box titled Raku Yaki Kohen Chawan. It is 13 cm (5 inches) diameter, 15 cm (4 inches) tall 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 already making international waves around Asia. Work by him is held in the V&A in London, another piece has entered LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama. Get pieces by him while you can!

A galactic river flows across the top of this beautiful sculpture by Hashimoto Tomonari enclosed in the original signed wooden box titled simply: Untitled. It is 29.5 cm (just under 1 foot) in diameter, 21 cm (8 inches) tall 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 already making international waves around Asia. Work by him is held in the V&A in London, Los Angeles County Museum of Art, Houston and a large sculpture has recently been installed in his home prefecture of Wakayama.

An exquisite work of art like an opalized tear drop by Hashimoto Tomonari enclosed in the original signed wooden box. It is 54 cm (21-1/2 inches) tall, 26 cm (10 inches) diameter and in perfect condition.
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 crystal shaped sculpture of dark faceted sides upon which rust and charred colors cloud the surface by Hashimoto Tomonari enclosed in the original wooden box titled “Untitled”. It is 32 x 23.5 x 24 cm and is 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 already making international waves around Asia. Work by him is held in the V&A in London, another piece has entered LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

A modern interpretation of the six sided shuki popular in ki-seto from the Momoyama period, this in white Raku by Hashimoto Tomonari enclosed in the original signed wooden box titled Shiro Raku Guinomi. The fire blackened (originally white) clay sets off the thick white glazze like winter snow receding from garden stones. It is 6 cm (2-3/8 inches) across, the same height and in excellent condition, directly from the artist this year.
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 already making international waves around Asia. He is held in the collection of the V&A London and Los Angeles County Museum.

Vibrant colors and glistening gold decorate this leaf shaped sculpture by Matsuda Yuriko enclosed in the original signed wooden box titled HASU (Lotus Leaf). It is roughly 37 cm (15 inches) diameter 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 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). Her work is also currently on tour with the Radical Clay Exhibition at the Art Institute of Chicago.

A Tea Pot by Hattori Tatsuya enclosed in the original signed wooden box titled Ginsai Pot alongside a small doodle of the tea pot itself. It is 15 x 11 x 10 cm (6 x 4-1/4 x 4 inches) and in excellent condition, from the artist this past winter. He is a master of silver glazes, and his forms, especially his tea pots, are very popular and generally sell out quickly, we are lucky to be able to offer one.
Hattori Tatsuya was born in Tajimi, home of Shino and Oribe wares, in 1978 and was raised in the vibrant pottery scene of that region. However, he had no interest in pottery until after graduating with a degree in business from university. Taking a hiatus from studies and work, he stumbled onto the path of the potter by accident (or was it fate). He entered the Tajimi Ceramics Research Facility, graduating in 2004. His work was selected fr display at the Mashiko Ceramic Art Exhibition and Asahi Togeiten Ceramics Exhibition that year. He took a position as a ceramic designer at a local company, working nights and weekends on his own art and promoting himself in the off hours until he felt he could afford to devote himself completely to the wheel. At first he concentrated on making decorative works, but soon began moving steadily toward functional vessels, enjoying the dialog between the work and the user.

a ghostly bowl in the shape of a curled leaf, a wash of thin black accentuating the folds in the hadn formed clay by Shigemori Yoko enclosed in a wooden box titled Happa-bachi (Leaf Bowl). It is slab formed, one of her favorite methods, covered in black then washed down revealing the clay under a thin fog of black, which has remained in the crevices. It measures 15 x 19 x 9.5 cm (6 x 7-1/2 x just under 4 inches) and is in excellent condition, directly from the artist’s family, the box signed inside by her brother Naoki.
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

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 ghostly white crackle-glazed chawan by Living National Treasure Shimizu Uichi enclosed in the original signed wooden box titled Hakuyu Chawan (White Glazed Tea Bowl). It is 12.5 cm (5 inches) diameter10 cm (4 inches) tall and in excellent condition. It comes wrapped in a silk crepe pouch and retains the original artists shiori.
Shimizu Uichi (1926-2004) was born in Kyoto the son of a ceramic dealer. Discarding the family business, he apprenticed in plastic arts under future Living National Treasure 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 many others.

A set of five exquisite bowls covered entirely in silver glaze enclosed in the original signed wooden box titled Ginsai Kobachi Zen. They have been created in a manner with raw clay outside, glazed within, causing the silver texture to be matt outside, with an earthy feel, while the inside is smooth and glossy. Each is roughly 10 cm (4 inches) diameter, 5 m (2 inches) tall and all are in excellent condition.
Yamada Akira was born in Kyoto, son of Sodeisha founding member Yamada Hikaru, in 1964 and finished initial training at the Kyoto Prefectural Ceramics Vocational Training School in 1983, graduating the following year from the Kyoto City Industrial Ceramic Research Institute. In 1986 he was selected to exhibit at the Asahi Modern Craft Exhibition, Japan Craft Exhibition and Asahi Ceramics Exhibition. He held his first solo show in 1993 has had a plethora of solo exhibitions in some of Japa’s top galleries since. In 1994 his work traveled to France and New Zealand and he was selected for exhibition in China in 2000, Seoul Korea in 2003 and Singapore in 2006. In 2009 he would take part in Utsuwa to Katachi (Vvessels and Shapes) Part 1 at the Shiga Prefectural Ceramic Art Museum. And in 2010 was a finalist for the Paramita Ceramics Taisho Award Exhibition at the Paramita Museum. In Mie, one of the most progressive exhibitions in Japan.

This is a seminal work by the most legendary figure in Shino today, Hayashi Shotaro, in his signature Manyosai glaze with incredible color patterns enclosed in the original singed wooden box complete with wrapping cloth and name card (Shiori and Shifuku). It is huge at 53.5 x 10 x 24.5 cm (21 x 4 x 9-3/4 inches) and in perfect condition. Very Heavy!
Due to size the cost of shipping will be accrued separately.
Hayashi Shotaro (b. 1947) is one of the biggest names in contemporary Mino ceramics. Although initially entering regular employment upon graduating high school, in 1967 he returned to Toki city to help his brother Kotaro. Very quickly within him was born the urge to create. He won the highest award at the Gifu Prefectural Art Exhibition in 1968, and from there his talent blossomed. 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. At the Mino Ceramics Exhibition, in addition to the highest award, the Mino Ceramics Award, he has received all three major awards, including the Shoroku Award and the Kobei Award.

A playful sculpture which challenges the viewers perception by Hayashi Yasuo enclosed in the original signed wooden box titled simply Sakuhin (work). It is 12.5 x 9 x 12.5 cm and in perfect condition. According to a description of a similar work in the collection of the Met: Hayashi’s series of black and gray coil-built trompe l’oeil “boxes,” a group that was inspired by his experience flying without lights at night as a kamikaze pilot... this work presents new ways of looking at three-dimensional forms. Hayashi trained in the Japanese style of painting prior to World War II. After the war he became fascinated by avant-garde Western artists, including Pablo Picasso, whose work influenced his early ceramics. He then developed the spare, abstract style that characterizes his mature art. The artist created this piece’s surface patterning by masking certain areas and using an atomizer of his own design to spray glaze onto the stoneware before firing.
Hayashi Yasuo was born in Kyoto in 1928, son of a potter. He began to study traditional painting in 1940, but his studies were interrupted by the Second World War. Folowing the conflict and discharge from the military, he began making pottery, helping to found the Shikokai ceramic society of avant-garde ceramicists in 1947. His artistic career is daunting, and much too long to put into this brief introduction including many awards both domestic and abroad (Italy, France, Portugal, Canada, Australia, New Zealand…). Also he has been the focus of solo exhibitions in some of the most important galleries throughout the Japanese archipelago as well as the United States, Australia and Germany. He is held in the collection of the Museum of Art & Design, New York, Everson Museum of Art, New Orleans Museum of Art, Minneapolis Institute of Art, National Gallery of Australia, National Ceramic Museum Sevres in France, Vallauris Ceramic Museum, Museum of Modern Art, Faenza International Ceramics Museum, Museum of Decorative Art, Prague, Victoria & Albert Museum in London, Seoul Metropolitan Museum in South Korea, National Museum of Modern Art, Tokyo, National Museum of Art, Osaka, National Museum of Modern Art, Kyoto, Kyoto Municipal Museum of Art, Hokkaido Museum of Modern Art and Museum of Contemporary Ceramics in Shigaraki among many others.

A tsubo by Living National Treasure Tokuda Masahiko (Yasokichi III) enclosed in the original signed wooden box. It is 11cm (4 inches) diameter 27cm (11 inches) tall and in excellent condition.
Tokuda Yasokichi III (Masahiko, 1933-2009) was born the first son of Tokuda Yasokichi II who had been adopted as a teenager into the Tokuda family. Masahiko graduated from the Kanazawa school of arts, and took up apprenticeship under his grandfather and father Yasokichi I & II. Well versed in orthodox Kutani design, he broke with tradition developing his own unique style titled Saiyu in the 1970s. By broadening his spectrum with this new style of Kutani ware he garnered considerable attention. In 1986, he was named a Bearer of Important Intangible Cultural Assets by Ishikawa Prefecture (local version of Living National Treasure) and a decade later was designated Living National Treasure in 1997 for his supremacy in the use of Kutani glazes. Yasokichi III, His works are held by the Polk Museum, the Metropolitan Museum of Art New York, The British Museum, the Victoria & Albert Museum, the Smithsonian, the Indianapolis Museum of Art and Kanazawa Contemporary Museum of Art among many others.

A covered box in red tinged shino glaze by Hori Ichiro enclosed in the original signed wooden box titled Nezumishino Tobako. The pin-holed thick white glaze appears to be licked by the shadows of the flames, and on one side the artists finger prints are clearly visible as four molten points. The way the reds move like vapor across the surface it is as if it is still on fire. It is 10 inches (28cm) long 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 Exhibtion, 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…”

Dark iron accents the rim of this mouse colored Shino vase by Hori Ichiro enclosed in the original signed wooden box titled Shino Hanaire. It is 26 cm (10-1/4 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 Exhibtion, 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…”

Red oxidation swirls among the crinkled white covering the sandy clay of this tea bowl by Hori Ichiro enclosed in the original signed wooden box. It is 11 cm (4-1/2 inches ) diameter 9.5 cm (3-3/4 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 Exhibtion, 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…”

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.

Lavish charring on two sides contrasts with sliding Hai-yu glaze opposite on this thick and bold vase by Masamune Kengo enclosed in the original signed wooden box. The vase is 16 by 13 inches (40 by 33 cm) across, 11 inches (28 cm) tall and in excellent condition. The artist has been largely exhibited and prized, including the Chunichi Kokusai Togei Ten, Nihon Dento Kogei Ten, Nihon Togei ten, Issui Kai Ten, and Okayama Ken Ten.

A very large celadon platter by Yoshikawa Masamichi enclosed in the original signed wooden box. It is made to either sit or hang suspended from wire on the back. The platter is 75 x 20 x 5 cm (29-1/2 x 8 x 2 inches) and is in excellent condition. Due to size the cost of shipping will be accrued separately.
Yoshikawa Masamichi was born in Kanagawa in 1946, and graduated the Japanese Design Academy in 1968. He first garnered attention in Japan being awarded at the 1971 Asahi Togeiten Ceramics Exhibition, and the following year received honorable mention at the 3rd International Biennale of Ceramic Art Vallorious France(Gold prize there in 2002). He has since received numerous prizes including Grand Prize at the Asahi Togeiten 1981, 1983 as well as the Aichi Prefectural Art and Cultur Award in 2005. Work is held in the Korea World Ceramic Center (Soul), American Craft Museum New York, Keramik Museum Germany, Brooklyn Musuem, Tokoname City Museum, V&A London among many others.

A Heavy Slab-formed open rectangle of buff stoneware decorated with blanks of color “peeling” from the sides by Okada Kenzo enclosed in the original signed wooden box titled Kaku Tsubo. It measures 16 inches (40 cm) tall, 4-1/2 x 20 inches (12 x 51 cm) and weighs 16.5 kilograms (36 lbs) not including the box. It is in excellent condition. Due to size and weight the cost of shipping will be accrued separately. Okada Kenzo (b. 1948) is based physically in Mashiko but his work is based very much in the modern dimmension. He has exhibited at many domestic and international events including the Japan Traditional Art and Crafts exhibition, Chunichi International Ceramics Exhibition, and the Nihon Togeiten (National Pottery Exhibition), as well as Faenza International Ceramic Art exhibition and the 1993 Japan Society NY exhibition titled 'Modern Japanese Ceramics in American Collections. Work by him is held in the collection of the V&A, London among 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 striking Tetsu-yu Kakiwake Kabin by Shimizu Yasutaka enclosed in the original signed wooden box and accompanied by the original autographed exhibition catalog from 2007. The vessel is featured as item number 1 in the catalog, the star of the show and obviously very important to the artist to have earned such placement. It stands 16 inches (42 cm) tall, 11 inches (29 cm) diameter and is in excellent condition.
Yasutaka was born into the pottery household of future Living National Treasure Shimizu Uichi in 1947. Although always involved in pottery, he began his official apprenticeship in the plastic arts under his fathers tutelage after graduating Ryukoku University in 1971. One year later his first piece was accepted in National competition at the Japan Traditional Crafts Exhibition (Nihon Dento Kogeiten). The following year he was awarded the first of many awards at the second Kinki Area Nihon Kogei Kai Exhibition. In 1975 he was accepted into the Nihon Togei Ten (National Ceramics Exhibition). He has a constant following in the world of Private exhibitions, and his work is held by Kyoto Prefecture. Due to size the cost of shipping will be assessed separately from the list price.

A massive pottery platter with dramatic slashes of color on pale glaze by Warren McKenzie purchased at an exhibition held in Tokyo in 1989 (photocopies of catalog accompany the sale). Potters from around the world come to work and study in Japan, and these offerings were very possibly fired here in Mashiko judging by glaze and style. This platter is 18 inches (46 cm) diameter and in perfect condition. Warren McKenzie is one of American Pottery’s most influential figures. A proponent of the Mingei ideal of utilitarian design and function, he studied directly under Bernard Leach, the father of modern Studio pottery. Through this figure he came under the influence of Soetsu Yanagi and Hamada Shoji, leaders of the Mingei Philosophy in Japan whom he met in America at the age of 28. His traditional wheel thrown stoneware pots are simply glazed and reduction fired, following the Japanese style, and yet belie a cunning and spirit far beyond their seeming haphazard decoration. McKenzie taught at the University of Minnesota from 1952, and works from his studio in Stillwater Minnesota. He is considered one of the most important figures of the 20th century in the pottery world. He fathered many important pupils who have carried on in his shadow, and is a prize to have in any collection. These works were sold at a private exhibition the artist held in Japan in

An exquisite lidded ginger jar wrapped with a writhing dragon by Ibata Katsue. The artist mark is placed in a raised cartouche, like an old wax seal, on the side, and the dragons seem to reach for it like it was the pearl of Buddhist wisdom. It is roughly 8 inches (19.5 cm) tall and in excellent condition. This piece is from a private collection of modern art and was purchased from the artist. There is no box.
Ibata Katsue was born in Hamamatsu, Shizuoka, in 1958. She graduated the Nara College of Fine Arts in 1977, and apart from a brief period of teaching in Canada, she has always lived and worked Japan. She began working in Tokoname in 1985, then moved to Shizuoka in 1990. In 1991 she held a solo exhibition at the important Kuroda Toen Gallery in Shibuya, Tokyo (again in 2017) and was one of the demonstrators at the International Ceramics Festival in Aberystwyth. She ‘performed’ her pottery demonstration dressed in a cat suit and dancing to reggae music as if to negate any association with traditional Japanese pottery which has been so influential among British potters.

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.