Catalog: Artists (1010)

A quintessential work showing the decorative aesthetic of Ichino Masahiko enclosed in the original signed wooden box titled Senmonki (Lined Vessel). The square opening, thin and delicate, reminds me of the architectural grace of Ando Tadao. This is exactly what he is known for, and if you were going to have just one piece by Ichino-san, this might be just the thing to suit the bill. It is 26 cm (10-1/4 inches) diameter and in excellent condition.
The youngest winner ever at the 13th National Ceramic Exhibition (Nihon Togeiten), Ichino Hiroyuki is a powerhouse in Tamba, bringing that long forgotten corner of Japan’s ceramic realm back into the limelight. He was born in Sasayama, heart of Tamba, in 1961, and studied in Kyoto under Imai Masayuki, and under his father Ichino Shinsui. He established his own kiln in 1988, and in 1995 caught the worlds attention with his work “Kai” at the 13th Nihon Togeiten. In 99 his work was selected for the Japanese Ceramic Exhibition Tour sponsored by the Japan Foundation, and that was the first of many overseas exhibits featuring his work. In 2006 he received the JCS award (Japan Ceramic Society prize), one of the most coveted in Japan, and in 2009 received the grand prize at the Tanabe Museum Modern forms in Tea Exhibition. He is held in the collection of the V&A, New Orleans Museum of Art, Brooklyn Museum, Tanabe Museum and Japan Foundation among many others.

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.

A beautiful combination of grays and lavenders covers the natural sculpted form in sunset color Hagi clay by legendary artisan Kaneta Masanao enclosed in the original signed wooden box titled Hagi Kurinuki Hanaire dating circa 2000. It is 30 x 24 x 23 cm (12 x 10 x 9 inches) and is in excellent condition.
Kaneta Masanao likely needs no introduction, certainly one of Hagi is most well known names, 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.

A masterpiece by Shigaraki Icon Koyama Kiyoko enclosed in the original signed wooden box titled Shigaraki Shizen-yu Mentori Hanaire. She was well known for both her Mentori works, and the exuberant amount of ash accumulated from the 10 plus day firings of her kiln. This is a prime example of both those features. It is 24.5 cm (just udner 10 inches) diameter, roughly the same height, and in excellent condition.
Koyama Kiyoko was born in Sasebo, Nagasaki in 1936. Following the second world war the family moved to Shiga prefecture, eventually settling in the pottery village of Shigaraki. She took a job as a ceramic painter's assistant at a young age. In 1954 she began to work as a pottery decorator in Shigaraki under Nakashima Takamitsu. Later she moved to Kyoto to study Kenzan ware and Sometsuke under Yoshitake Eijiro. Aged 27 she began working in earnest in clay and studying clay technique under Misawa Kenzo. Enthralled by an ancient pot shard with natural blue ash glaze, she sought to recreate this effect in modern times, building her own kiln and repeatedly firing, searching for that magic point, but slowly pushing the family toward insolvency. Not only was she attempting to break barriers with the pots she created, but she was forced to break barriers in a male dominated world where women were prohibited from the wood fired kiln as unworthy. She did have her supporters of course, and with their help and persistence and ever longer firings she eventually succeeded in finding that blue. Kiyoko has a list of shows and prizes which would fill pages, including the Nihon Dento Kogei Ten Traditional Crafts Exhibition, Nihon Togei Ten Ceramic Exhibition, the Asahi Togei Ten Ceramics Exhibition as well as many international exhibitions. Her son Koyama Kenichi (1961-1992) worked to take over the family kiln, but succumbed to Leukemia after a long fight. Their story is the subject of the film Hi-Bi (2005) and the recent NHK television drama Scarlet. She is the preeminent pioneering female wood firing artist in Japan, 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. For more on her works see Modern Japanese Ceramics in American Collections, Japan Society New York, 1993

Swirling white brush strokes decorated with dabs of iron like leaves blowing in wind on this square form by Living National Treasure Shimaoka Tatsuzo enclosed in the original signed wooden box titled Hakeme Take Moyo Hoko (Bamboo Pattern on Brush Stroke Square Bottle). It is 10-1/2 inches (27 cm ) tall and in excellent condition.
After serving in World War II, Tatsuzo apprenticed under world famous Mashiko Mingei potter Hamada Shoji, establishing his own kiln in 1954. Working with rope patterns, Tatsuzo set out to create a style unique to himself, resulting in the piece you see here, which is quintessential Tatsuzo. In 1996 he was designated a Living National Treasure (Juyo Mukei Bunkazai or Ningenkokuho).

Silver streaks the thickly potted blue sides of this large vase by important artist Morino (Hiroaki) Taimei enclosed in the original signed wooden box. The patterns drape over the rim, and rise from the base like seaweed dancing in the current below a wavy line at the shoulder, the blue glaze filled with floating paler bubbles. The vessel is 28 cm (11 inches) tall and in excellent condition.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by the governor’s prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo Natby ional Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.

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.

A trumpeting vessel, the closed top split open dripping with thick Oribe copper glaze and iron patterns by Tanahashi Jun enclosed in the original signed wooden box. it is 18.5 cm (7-1/4 inches) diameter, 16.5 (6-1/2 inches) tall and in excellent condition.
Tanahashi Jun was born in Gifu prefecture in 1959. He established his kiln in Seto in 1990, and has exhibited with the Nitten, and awarded at the Nihon Shin Kogei Ten (New Crafts Exhibition) as well as the Asahi Togeiten Ceramics Exhibition and been collected by the Ministry of Foreign Affairs.

A spectacular Shino Vase in deep Murasaki, and white by Tamaoki Yasuo enclosed in the original signed wooden box titled Shino Tsubo. It is 14-3/4 inches (39 cm) tall, roughly 26 cm (10-1/2 inches) diameter and in excellent condition.
Tamaoki Yasuo was born in Tajimi in 1941, one of the homes of Mino ware. He began his path to professional ceramicist at the Tajimi Industrial High School, and a stint at the Gifu Ceramics Research institute, where he followed the footsteps of a number of modern ceramic artists such as Hamada Shoji and Kawai Kanjiro, who also began their careers in the same manner. He then apprenticed under Kato Kohei before establishing his own kiln. Since, his list of exhibitions and awards is too long to print, but include the Nihon Dento Kogei Ten (National Traditional Arts and Crafts Exhibition), Best of Show twice at the Tokai Dento Kogei Ten (Tokai Traditional Arts and Crafts Exhibition), as well as being prized at the Asahi Togei Ten (Asahi Ceramics Exhibition), and receiving the prestigious Japan Ceramics Society Award. In 1991 he was named an intangible cultural asset of Tajimi city

Playful bands of white and red alternate with raw clay on this fabulous large vessel by Tamaoki Yasuo enclosed in the original signed wooden box titled Shino Tsubo. It is 33 cm (13 inches) tall, 14 x 15.5 cm (5-1/2 x 6 inches) at the base and is in excellent condition.
Tamaoki Yasuo was born in Tajimi in 1941, one of the homes of Mino ware. He began his path to professional ceramicist at the Tajimi Industrial High School, and a stint at the Gifu Ceramics Research institute, where he followed the footsteps of a number of modern ceramic artists such as Hamada Shoji and Kawai Kanjiro, who also began their careers in the same manner. He then apprenticed under Kato Kohei before establishing his own kiln. Since, his list of exhibitions and awards is too long to print, but include the Nihon Dento Kogei Ten (National Traditional Arts and Crafts Exhibition), Best of Show twice at the Tokai Dento Kogei Ten (Tokai Traditional Arts and Crafts Exhibition), as well as being prized at the Asahi Togei Ten (Asahi Ceramics Exhibition), and receiving the prestigious Japan Ceramics Society Award. In 1991 he was named an intangible cultural asset of Tajimi city

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 fine Iga-yaki Tsutsu Chawan by Tsujimura Kai enclosed in the original signed wooden box. It is 11 cm (4-1/2 inches) diameter, 9 cm (3-1/2 inches) tall and in excellent condition.
Kai was born in Nara, son of Tsujimura Shiro, in 1976, making him one of the younger artists we have offered. Although of course growing up surrounded in pottery, he began apprenticing in earnest under his father in 1995, establishing his own studio in 2000.

A surprisingly thin-walled deep Sake cup covered in blasted ash by Matsuo Takaaki enclosed in the original signed wooden box titled Iga Shizen-yu Youhen Nozoki Hai. It is 5.5cm (2 inches) diameter 7cm (just under 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.

A thick coating of green glass covers the burnt terracotta clay of this misshapen Teapot by Iga representative Atarashi Kanji enclosed in the original signed wooden box. The form is scraped and gashed and pushed and contorted, very pleasing to the touch and eye. It is 9-1/2 inches (24.5 cm) tall, roughly 6 inches (15.5 cm) diameter and in perfect condition, as is the wooden box. 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 Exhibition, 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.

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.

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

Pale jade spots dot the incised surface of this unusual vase by Nagae Shigekazu enclosed in the original signed wooden box retaining the Shiori and Shifuku. The vase, if not for its distant, moon-like quality, has a very pop-art-presence, blending both the austerity of Japanese traditional aesthetics with contemporary art. Fun and moving; a haunting pleasure. It is 14 inches (35.5 cm) tall, 5 inches (13 cm) square at the base, 7 inches (19 cm) wide at the rim and in excellent condition.
Nagae Shigekazu (b. 1953) graduated the Seto Industrial School of Ceramics in 1974 Beginning to grab attention in the late 70s, he has striven to perfect porcelain casting techniques, creating one-off shapes and forms previously impossible. He is held in the collection of the V&A (London), LACMA (Los Angeles) and the National Gallery of Australia, Cincinnati and Cleveland Art Museums, Minneapolis Institute of Art, Japan Foundation and many many others. With very low output, this is a rare opportunity to join the worlds top museum collections by acquiring this artist.
According to Ceramics Now Magazine: Nagae Shigekazu (born in 1953), is one of the leading pioneers of porcelain casting and firing techniques in Japan. Casting is commonly associated with the mass production of porcelain, yet Nagae valiantly transcends this stereotype, ultimately elevating this technique to the avant-garde. Casting alone cannot achieve the natural movements found within Nagae’s forms. His popularity and recognition as an artist have skyrocketed, with acquisitions by the V&A in London, the Los Angeles County Museum of Art, and the National Gallery of Australia in just the past 3 years. Also collected by leading institutions such as the Musée National de Ceramique-Sèvres in Paris and the Musée Ariana in Geneva, among others, as well as receiving prestigious awards such as the Grand Prixs at the 1998 Triennale de la Porcelain in Nyon, the Mino Ceramic Festival and the Japan Ceramic Art Exhibition (both 1997), Nagae’s stature and respect in the world of porcelain has reached new heights.

An historically important work by Furutani Hiromu (Churoku I) from the initial firing of their newly established Nobori-gama climbing kiln in 1974. This type of work is called Hatsugama, or first from the kiln. It is the only piece in the show from the climbing kiln (which has not been fired in over 20 years) and the earliest piece in the show as well. It is 32 x 8 x 35 cm (13 x 3 x 14 inches) and in excellent condition, directly from the family.
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.

A breathtaking white form of draped porcelain by Nagae Shigekazu enclosed in the original signed wooden box with the original Daimaru Department Store exhibition invitation. Light patterns are almost indiscernible on the surface, incredibly detailed and crisp when viewed close-up. What is surprising about this work is the weight, incredibly light. The piece measures 16 x 16 x 5 inches (41 x 41 x 12 cm) and is in excellent condition. Due to fragility this piece will require special shipping consideration.
Shigekazu (b. 1953) graduated the Seto Industrial School of Ceramics in 1974 Beginning to grab attention in the late 70s, he has striven to perfect porcelain casting techniques, creating one-off shapes and forms previously impossible. He is held in the collection of the V&A (London), LACMA (Los Angeles) and the National Gallery of Australia, Cincinnati and Cleveland Art Museums, Minneapolis Institute of Art, Japan Foundation and many many others. With very low output, this is a rare opportunity to join the worlds top museum collections by acquiring this artist.

Enigmatic forms in black populate the oil spotted rust-colored body of this voluminous work by Shimizu Yasutaka enclosed in the original signed wooden box displayed at the 35th Nihon Kogei Kai Shinsaku Togei Ten (Japan Crafts Association Exhibition of New Ceramic Works) and published on page 8 of the catalog for that year (2007, catalog included). The vessel is 14-1/2 inches (37 cm) tall, roughly 1 foot (29 cm) diameter and in fine 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 father’s 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 sometsuke vase titled Time and Space by Kondo Takahiro published in the retrospective hard cover book “Kondo Takahiro ‘91-‘99” and enclosed in the original signed wooden box with exhibitions labels attached. It is 21 x 14 x 17 cm (8 x 5-1/2 x 7 inches). This piece was used as the cover of the book which is included with the sale.
Takahiro (b. 1958) was born the grandson of Living National Treasure Kondo Yuzo. However he graduated Hosei University not with a degree in sculpture or crafts, but in Literature. From there he studied at the Kyoto Prefectural Technical Institute of Ceramics, followed by a year at the Kyoto Municipal Institute of Industrial Research. 15 years later he would spend a year in Edinburgh studying glass making, and with this combination of skills, was born the silver mist series for which he is so highly acclaimed. Work by him is held in Museums throughout the world, including the National Museum of Scotland, Brooklyn Museum of Art, Los Angeles County Museum of Art, Minneapolis Institute of Arts, Museum of Arts & Design, New York, Spencer Museum of Art, The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Houston, Art Gallery NSW, Sydney, Hamilton Art Gallery, Australia, Miho Museum. National Gallery of Victoria, Paramita Museum, The Museum of Contemporary Ceramic Art, Shigaraki, and The São Paulo Museum of Art, Brazil among others. Without a doubt one of the most important contemporary artists in Japan today. For more see Celestial Ceramics: the Art of Kondo Takahiro (2002)

A stunning work by Shigaraki Legend Tsujimura Shiro enclosed in the original signed wooden box inside the lid of which is scrawled a nude figure and the epitaph NY 5/24/06. It is known that when in New York at an exhibition in 2006 the artist was entertained at a gentlemen’s club and was purported to have had a very good time. This is likely a reference to that event. The vessel is 14 inches (35 cm) tall, 12-1/2 inches (32 cm) diameter and in excellent condition. Tsujimura Shiro was born in Nara in 1947, and began his steps into the art world as an oil painter. While living at a Buddhist temple he experienced a profound connection with a Korean Tea Bowl, and began potting. He is highly acclaimed and somewhat reclusive, avoiding the public spectacles often needed to make one in Japan.

Ash encrusts one side of this flattened Signature form by Shigaraki Legend Furutani Michio enclosed in the original signed wooden box. Opposite is rich red terracotta and in between rivers of molten green glass. It is 45 cm (17-1/2 inches) diameter, and weighs 14 kg (30 pounds) plus the thick Kiri-wood box. This belongs in a museum of contemporary Japanese pottery.
Furutani Michio is one of the Gods of Shigaraki, an artist who wrote the book on Anagama kilns, and one of the more influential artists of the second half of the 20th century. He was born in Shigaraki; graduating the Konan High School of industrial Arts, he moved to further his studies (like so many great artist before him, Kanjiro, Hamada…) at the Kyoto Institute of Industrial Arts in 1964. After breaking out on his own, he started by building an Anagama in Shigaraki in 1970, the first since the middle ages. He was a true pioneer, reviving the tradition and going on to build over thirty kilns over the next thirty years. No other artist has shown such singular dedication to a firing technique. He has been featured in the Nihon Dento Kogei Ten (Japanese Traditional Crafts Exhibition), Nihon Togei Ten (Japanese Ceramic Exhibition) and the Chunichi Kokusai Togei Ten among others. He passed away at the peak of his career. For more on this artists contributions see his book Anagama – Building Kilns and Firing.

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

Jigen Tobako Ceramic Box decorated with a combination of his Time and Space themes with silver Mist exhibited at Takashimaya Department store in 1997 wrapped in a specially fitted silk bag with the Takashimaya pamphlet and enclosed in the original signed wooden box. It is 9 x 6 1/4 x 7 1/4 inches (22.5 x 16 x 18.5 cm) and in excellent condition. The time of this production marks a turning point in his production we see a combination hear of the time and space theme which dominated his work in the 90s and the Silver-mist which took over his work near the end of that decade. Perhaps a true Dimension Box, it shows many sides of this multi-faceted artist, his roots in Sometsuke porcelain inside, his Time and Space themes outside and overall his epochal Mist Series, three dimensions together in one piece. Certainly if you were looking for one work to represent Takahiro, this would be high on the list.
Kondo Takahiro (b. 1958) was born the grandson of Living National Treasure Kondo Yuzo. However, he graduated Hosei University not with a degree in sculpture or crafts, but in Literature. From there he studied at the Kyoto Prefectural Technical Institute of Ceramics, followed by a year at the Kyoto Municipal Institute of Industrial Research. 15 years later he would spend a year in Edinburgh studying glass making, and with this combination of skills, was born the silver mist series for which he is so highly acclaimed. Work by him is held in Museums throughout the world, including the National Museum of Scotland, Brooklyn Museum of Art, Los Angeles County Museum of Art, Minneapolis Institute of Arts, Museum of Arts & Design, New York, Spencer Museum of Art, The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Houston, Art Gallery NSW, Sydney, Hamilton Art Gallery, Australia, Miho Museum. National Gallery of Victoria, Paramita Museum, The Museum of Contemporary Ceramic Art, Shigaraki, and The São Paulo Museum of Art, Brazil among others. Without a doubt one of the most important contemporary artists in Japan today. For more see Celestial Ceramics: the Art of Kondo Takahiro (2002)

Gold nuggets gleam on the deep lavender and black surface of this organic form by Inayoshi Osamu enclosed in the original signed wooden box titled Kurinuki Kinsai Mizusashi. Kinsai is literally gold color, and here the artist has embedded gold into the surface, allowing it to expand and bubble out in the heat of the firing process. The effect of this on the dark matt surface is both striking and original. Kurinuki is the technique of digging a form out of a block of clay, and once again here the artist has then textured the surface with stones. Inside is a striking liquid silver, quite something to see. It is 18cm (7-1/2 inches) diameter 19 cm (rouhly the same) height and in excellent condition, including the original shiori and Shifuku, directly 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 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 fabulous stone textured Guinomi by Inayoshi Osamu enclosed in the original signed wooden box featuring dark raw clay alternating with black and white glaze. Osamu is very low production, and very selective of what he allows out into the world, and I am proud to be able to offer this. It is 7.5 cm (3 inches) diameter, 5.5 cm (2 inches) tall and in excellent condition.
Inayoshi Osamu was born in Aichi prefecture in 1976, the heart of Mino country. 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. He has just moved into a new kiln and workshop this summer, and I am looking forward to what will come out of there this autumn.

Do not let size fool you, this dainty work by Matsushima Iwao is flabbergasting, and will keep you wondering for days how he created it. It is core-formed glass, a process few have mastered, where variously colored rods, some infused with gold or other precious metals are heated and slowly built up over heat like forming a clay pot by coil and pinching (terribly oversimplified). According to the New Bedford Museum of Glass, “Long before the invention of the glass blow-pipe, which took place in the Roman Empire about 50 B.C., most hollow glass vessels were formed around a removable core”. This piece is roughly 6.5 cm (2-12 inches) diameter and comes complete with the original glass lid. Although traditional core-formed glass is at the basis of Matsushima’s work, he added significantly to the ancient technique; not merely imitating the ancient art, but refining and expanding it. Given the small size and fragility of his vessels, Matsushima does not sign them.
Matsushima Iwao was born in Okayama in 1946, and began delving into Core Glass forming in 1975. His work traveled the globe in 1981 as part of a show titled The Beauty of Modern Glass in 1981, the works visiting Australia, Canda and the US as well as being displayed at the National Museum of Modern Art in Kyoto (MOMAK). The following year he established his own studio and devoted himself fully to working professionally as a glass artist.
Works by the artist are held in the Metropolitan Museum of Art New York, the British Museum, and the Corning Glass Museum. In Japan three works by him are held in the National Crafts Museum, part of the National Museum of Modern Art in Tokyo (MOMAT). In addition, works are held in the Miho Museum, The Hokkaido Museum of Modern Art, and Toyama City Glass Museum among many others. He is now a lecturer at the Toyama City Institute of Glass Art and a faculty member at Okayama University, both in Japan.

An agate-like cluster floats in the crystal glass of this large vessel by leading Japanese glass artist Hosoi Moto-o enclosed in the original signed wooden box. Ever inventive his works speak of the asymmetry and textures of the natural world. It is 43 cm (16-3/4 inches) tall and in excellent condition.
Hosoi Moto-o (Motoo) was born in Osaka in 1964, and both his older brother and sister also became glass artists. After creating a studio with his brother, he ventured out on his own. He has been exhibited and or awarded at the National Modern Crafts Exhibition, (Nihon Gendai Kogei-Ten) and the Nitten National Art exhibition among others. His dynamic glass works are based on the theme of nature and time.

Wow, this Iga Shinogi Mizusashi by Atarashi Manabu is as good as it gets. The torn and slabbed surface is rough, accentuating the particular grains of Iga clay, covered in a smattering of smokey charring and spattered ash. The vessel comes enclosed in the original signed wooden box titled Iga Shinogi Mizusashi. It is 17.5 cm (7 inches) diameter, 20 cm (8 inches) tall and in perfect condition, directly from the artist this summer. It compliments perfectly the Chawan from the same firing.
Atarashi Manabu has been growing in popularity as one of the leaders in the Iga pottery tradition since the first time I saw his work nearly 20 years ago when visiting the family showroom in Iga village. Born in 1973 in Osaka son of the second generation artist and one of the leading revivalists of the Iga tradition in post war Japan, Atarashi Kanji. He graduated the literature department of Kansai University in 1995, moving to apprentice under his father a few years later. In 2002 he built his first anagama Kiln, and held his first of a multitude of solo exhibitions. Intensely fired multiple times to achieve the bidoro glass puddles and landscape effects which define his aesthetic, the geometric works add a contemporary sensibility to the traditional Iga style and transcend the realm of utilitarian crafts breaking into the sculptural domain. His work has proven innovative and challenging to the norm, taking his fathers tradition into the 21st century.

To use the term Museum quality would be an understatement. This piece, I always had the impression, wat the artwork for which Okada Sensei was most proud. A dry lacquer base covered in layer upon layer of iro-urushi colored lacquer to which has been added hira-maki-e, taka-maki-e, toidashi-maki-e, inlays of mother of pearl, and the entire carved through revealing the layers of color beneath. It was created in 2002 and comes enclosed in the original signed wooden box. Quite large, it is 66 x 54 cm (26 x 21 inches) and is in perfect condition, directly from the artist.
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 sumptuous design of white flowers among dark leaves on a cream-colored dry lacquer form by Okada Yuji exhibited at the Kyoto Kogeikai Kaiten in 2020. It is performed in multiple layers, first the form of dry lacquer, which entails a great amount of time in creation, layer upon layer of lacquer, cloth, paper and Tonoko powder. Then has been applied thick colored lacquer with tataki-nuri texture over which the cream-colored white lacquer is applied. This is ground down to reveal the ridges of the color layers. On top of this the leaves are created and sprinkled with gold, intimating color, while the thick carved shell has been inlayed into the surface. Breathtaking, the box is 26 x 26 x 23 cm (10-1/2 x 10-1/2 x 9 inches) and in perfect condition.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

An incredible bowl of spotted ink supplanted by a midnight blue rim by Kimura Moriyasu enclosed in the original signed wooden box titled humbly Tenmoku-yu Chawan. It is 5 inches (12.5 cm) diameter, 3-1/2 inches (8.5 cm) tall with a perfectly formed foot and slightly in-curving bowl form perfect for winter tea. The colors are reminiscent of the Kujaku-yu developed by Matsuyama Gae, yet the application is very different.
Kimura Moriyasu (b. 1935) studied pottery initially at the Kyoto Ceramics Research Facility (which turned out such masters as Hamada Shoji and Kawai Kanjiro) and then under his brother Kimura Morikazu. He is well known for his use of crawling and oil spot glazes. He exhibits with the Gendai Nihon Togeiten and Nihon Dento Kogeiten among others. He has been awarded the Kyoto Prefectural Order of Cultural Merit (2004). Work by him is held in the Britush Museum, Boston Museum, Dallas Museum and Ise Shrine among others.

Splendid Keshiki, it is difficult to describe this stunning square platter by Bizen master Kakurezaki Ryuichi (b. 1950) which comes enclosed in the original signed wooden box. The massive dish is torn and scraped from a single thick slab of clay. Spattered with natural ash glaze, it is a true masterpiece by this most sought after artist. The piece is 16-1/2 inches (42 cm) square and in excellent condition. It is likely that Ryuichi needs no introduction, one of the most well known of Bizen potters, he is interestingly originally not from Bizen but far off Nagasaki, which seems to have gifted him with the ability to see the clays potential beyond conventional form. He graduated the Osaka University of Fine Arts, then enjoyed a long apprenticeship under Bizen Living National Treasure Isezaki Jun before opening his own kiln in 1986. Combining traditional technique with modern architectural form, He was recipient of the Japan Ceramics Society Award, Grand Prize at the Fifth Contemporary Tea Ceremony Utensils Exhibition, Tanabe Museum and has a list of public and private exhibitions which go beyond this brief add, including a showing in New York this year. His works are held in the collection of the Victoria and Albert Museum of London, National Ceramic Museum of France and the Tanabe Museum among others. In preference to the wishes of this artist we are not listing the pice online.

A spectacular large basin covered in fissured green with tinges of red by Living National Treasure Shimizu Uichi enclosed in the original signed wooden box titled Seiji O-zara. It is 16-1/4 inches (42 cm) diameter, 4 inches (10 cm) tall and in excellent condition.
Due to size the cost of shipping will be accrued separately
Shimizu Uichi (1926-2004) was born in Kyoto the son of a ceramic dealer. Discarding the family business he apprenticed in plastic arts under Ishiguro Munemaro. His work retains some principal elements of his teacher’s 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 and the Freer Gallery among others. In 1985 he was named a Juyo Mukei Bunkazai (col. Living National Treasure) for his work in Tetsu-yu iron glaze. But this did not stop him continuing to research into uncommon ground, and he strove, like an artist as opposed to a craftsman, to constantly innovate and evolve to the day he died.