Catalog: Artists (1006)

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

A feminie curve defines this shapely vase by Miyashita Zenji enclosed in the original signed wooden box titled Deisai Sanka Kaki - Sawayaka Kaze (Colored Clay Scattered Flower Vase - Gentle Breeze). The colored clays are of course, his most famous forte, and here he has added a rim of golden "flower blossoms" on black. The vessel is 29 cm (11-1/2 inches) tall, 10.5 x 23 cm (4 x 9 inches) at the base.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art under Kiyomizu Kyubei and Kusube Yaichi. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He began exhibiting in the annual Nitten exhibitions in 1964, eventually winning eighteen prizes. According to the Sackler, which holds 6 works by him, “ His mature work was a modern embodiment of a classic Kyoto mode associated with the Heian period (794–1185). He applied delicate layers of color—reminiscent of multilayered court robes or decorated papers made for inscribing poetry—using not over-glaze enamels or glazes but clay itself, dyed with mineral pigments”. He is held in the aforementioned Freer-Sackler, the British Museum, the Metropolitan Museum of Art New York, and the Brooklyn Museum the Minneapolis Institute of Arts, the Museum of Fine Arts Houston and of course the National Museums of Modern Art both in Kyoto and Tokyo among a host of others.

Jagged bands of color like the climbing mountains surrounding Kyoto rise up the sides of this majestic work by Miyashita Zenji enclosed in the original signed wooden box exhibited at the 5th Kyoto Modern Ceramic Artists Exhibition in 1985. It is 14 x 17 x 37.5 cm (5-1/2 x 7 x 15 inches) and in excellent condition. It is a reasonably early work in this saidei oeuvre of the artist.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He is held in the British Museum, Metropolitan New York, and Brooklyn Museum among a host of others.

A spectacular square vase of undulating misty mountain forms in colored clay by important ceramic artist Miyashita Zenji enclosed in the original signed wooden box. The colors break from rich dark blue through the green spectrum to yellow and black. It is signed on bottom. The vase measures 29 x 22 x 28 cm tall (11-1/2 x 8-1/2 x 11 inches) and is in excellent condition. Included is the original box cover written by Zenji.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art under Kiyomizu Kyubei and Kusube Yaichi. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He began exhibiting in the annual Nitten exhibitions in 1964, eventually winning eighteen prizes. According to the Sackler, which holds 6 works by him, “ His mature work was a modern embodiment of a classic Kyoto mode associated with the Heian period (794–1185). He applied delicate layers of color—reminiscent of multilayered court robes or decorated papers made for inscribing poetry—using not over-glaze enamels or glazes but clay itself, dyed with mineral pigments”. He is held in the aforementioned Freer-Sackler, the British Museum, the Metropolitan Museum of Art New York, and the Brooklyn Museum the Minneapolis Institute of Arts, the Museum of Fine Arts Houston and of course The National Museums of Modern Art both in Kyoto and Tokyo among a host of others.

A tall covered box of coiled clay by Kyoto Legend Miyashita Zenji enclosed in the original signed wooden box titled Ransaihako. The box has been created with spaghetti like strands of pure white clay compressed together and splashed with a waterfall of blue glaze. A rare and interesting work by this artist, it is 12.5 x 12.5 x 27 cm (5 x 5 x 11 inches) and is in excellent condition.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art under Kiyomizu Kyubei and Kusube Yaichi. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He began exhibiting in the annual Nitten exhibitions in 1964, eventually winning eighteen prizes. According to the Sackler, which holds 6 works by him, “ His mature work was a modern embodiment of a classic Kyoto mode associated with the Heian period (794–1185). He applied delicate layers of color—reminiscent of multilayered court robes or decorated papers made for inscribing poetry—using not over-glaze enamels or glazes but clay itself, dyed with mineral pigments”. He is held in the aforementioned Freer-Sackler, the British Museum, the Metropolitan Museum of Art New York, and the Brooklyn Museum the Minneapolis Institute of Arts, the Museum of Fine Arts Houston and of course The National Museums of Modern Art both in Kyoto and Tokyo among a host of others.

A striking floral image decorates this odd shaped guinomi made to not be put down by Mizumoto Kayoko enclosed in the original signed wooden box titled Obana Guinomi. An Obana is a male flower, or a flower with only stamens and no pistils; lacking female reproductive function. The cup is 6.5 x 12 x 7 cm (2-1/2 x 4-1/2 x 3 inches) and is in excellent condition, dating from last year.
Mizumoto Kayoko was born in Ishikawa, home to the Kutani Ceramic Tradition, in 1971. She initially apprenticed in Yuzen Textile dying, where she worked for seven years, before teaching herself basic pottery techniques beginning in 1999. Having come to the traditiaonl Kutani world from outside, she was free to develop her own voice unfettered by traditional influences. In 2001 she entered a traditional kiln where she mastered the craft, and established her own kiln in 2010. Her work ahs been featured in prominent shows both in and out of Japan.

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

Heat shattered gold foil decorates the amber glass of this sake set by Yoshida Katsumi enclosed in the original signed wooden box. The Cups are 6.3 cm (2-1/2 inches) diameter, 3 cm tall. The pot is 21 x 17 x 17 cm (8-1/4 x 7 x 7 inches) and all are in excellent condition.
Yoshida Katsumi is a master craftsman born in Fukuoka Prefecture in 1938. He is well known for his tea utensils, including water pourers and sencha bowls. After being selected for the prefectural exhibition, he received high acclaim for his outstanding skills and delicate sensibilities.

A sizeable seihakuji vase by celadon master Fukami Sueharu (b. 1947) enclosed in the original signed wooden box dating circa 1985. Graceful lines drape from 8 points evenly distributed about the rim, creating a sense of geometry on the simple orb. The vase is roughly 8-1/2 inches tall, 9-3/4 inches diameter and in excellent condition. The name of Kyotos Sueharu is synonymous with seihakuji celadon. He has been displayed numerous times at the prestigious Nitten, Nihon Togei Ten (National Japanese Ceramic Exhibition) and Nihon Gendai Kogei Ten (National Japanese Modern Crafts Exhibition) among others. He is held in the Yale University Museum among others. For more information on this artist a quick web-search, or a look at the article highlighting his life in the March 2005 edition of Orientations Magazine will be enlightening.

Scrafitto dots surround a pool of crackled glass deeply impressed into the ovoid form of this ko-tsubo by Yagi Kazuo enclosed in a wooden box signed by his son Yagi Akira. White slip appears haphazardly slapped on the body as with a wide brush, creating a vigorous dynamic, combined with the pointilized circle and abstract form, there is a tension which draws one into the belly of the work, certainly reflecting the best this important artist had to offer. It is 16.5 x 13 x 15 cm (6-1/2 x 5 x 6 inches) and in excellent condition. For a nearly identical piece see New Forms, New Voices (2017) p. 85.
Yagi Kazuo (1918-1979) was one of the most influential Avant Garde potters of 20th century Japan. He was born into the family of potter Yagi Isso, a noted specialist in fine Chinese and traditional Japanese forms and glazes. Kazuo studied at the Kyoto Ceramics Research Facility, like many great potters before him including his father and the founders of the Mingei movement, Kawai Kanjiro and Hamada Shoji. While there immersed in traditional forms, he joined the Ceramic Sculpture Association of Japan, and in 1939 was exhibited with them. Drafted shortly thereafter, he wa sent to China, but quickly returned to Japan with illness, for which he was discharged, and went back to sculpture, very much influenced by Western Art movements of the time. The war years were difficult of course, but following Japan’s Surrender, Kazuo was accepted into the Nitten National Exhibition. Like many young artists who had been held in the yolk of Japan’s strict military regime, he was grasping for something new, and his work expressed a strong desire to throw off the weight of traditionalism and function. So it was in 1948 when Kazuo, along with a number of other potters including Suzuki Osamu, Yamada Hikaru and Kumakura Junkichi, founded the Iconic Sodeisha Group. The work of this group would change forever the perception of Japanese pottery, and he would go down as one of the most influential potters of the 20th century.

A sculptural form covered in iconic Iga Kiln effects by Toyosaki Nobuhiko of the Korin-kiln in Mie prefecture enclosed in the original signed wooden box. On the convex shoulder, green glass pools crystalline, while a smattering of goma (sesame) ash clings to the bulbous side, gray charring and plenty of flying ash to fill in the blanks. It is 25 cm (10 inches) tall and in excellent condition.
Born in 1955, he graduated Kyoto’s Ritsumeikan University department of Science and Engineering in 1980 before enrolling in the Seto Ceramic Research Facility. In 1982 he moved to Toki City where he apprenticed under the Iga master Kishimoto Kennin. In 1988 he returned to his hometown, establishing his own kiln that same year. He has remained focused on private venues and the intimacy of the private exhibition.

A large sculpted image of the goddess of mercy Kannon cut from a solid slab of Iga clay by artist Kishimoto Kennin. The image is 12-1/2 inches (31.5 cm) tall and in perfect condition. The artists mark is engraved into the base of the back; there is no box. This artist has been working with clay since the 1950s, devouring styles along the way. Seto, Oribe, Iga and Celadon, all very different approaches which he masters one at a time, extending his unique view of the arts to new realms, and moving on to the next challenge when his appetite and personal genius has been satiated. He was exhibited and prized at the National Japanese Crafts Exhibition (Nihon Dento Kogei Ten), National Ceramics Exhibition (Nihon Togei Ten), Chunichi International Ceramics Exhibition (Chunichi Kokusai Togei Ten) and Asahi Togei Ten among others, and is held in several important international collections.

A Shino bowl by modern pottery master Sato Katsuhiko enclosed in the original signed wooden box. Dark iron characters diffuse into the misty feldspar glaze, Mu (nothingness) on one side and a circle on the other. A bowl steeped in the tradition of Zen, it is slightly closed at the irregular rim to focus the aroma. The bowl is 4 inches (10 cm) tall, 4-1/2 inches (11.5 cm) diameter and in perfect condition. Katsuhiko is an eccentric artist, working aptly in not only pottery, but also painting and calligraphy. He was born in Manchuria in 1940, his family returning to Japan in 1947 to settle in Okayama. He formed his unique attitude toward life while on his deathbed with severe tuberculosis in 1960, and with an inner will which defied medical opinions, recovered to a full and healthy life through a practice of painting Buddhist images. Two years later he graduated university and became a teacher in a small village in Nara prefecture, home to some of Japans greatest Buddhist monasteries. He achieved fame with a collection of paintings nationally publicized, and later, after already having his oil, watercolor and calligraphic works privately exhibited at the Nara prefectural museum, he began potting under Tsujimura Shiro in 1974. He is truly a unique artist, broad based and with a joy which shines through all of his work. Much more could be written about this man, but I will leave that to be discovered by you.

A powerful Chossen-Karatsu mimitsuki hanaire flower vase by Nakagawa Jinembo (Jinenbo b. 1953) enclosed in the original signed wooden box. Licks of blue fire rim the blast of pale white covering the upper reaches of the dark earth. The shape is hammered and beaten by the flame, shinshoku wear from the extreme heat beginning to degrade the lip. It is 8-1/2 inches (22 cm) tall, 5-1/2 inches (14 cm) diameter and in excellent condition. A rare opportunity to acquire a masterpiece by this highly sought artist.
Jinembo was always fascinated with Karatsu ware, and studied under the great Inoue Toya from the age of 24. Several years later he returned to his hometown to establish a climbing kiln of his own, which he put to great use. From there, not satisfied with his own work skills, he went to Tanaka Sajiro for an additional apprenticeship. Since he has, as many Chajin artists, concentrated on private exhibitions as an outlet for his work, shunning the world of mass competition and retail, making his work both highly valuaed and hard to find.

A sculptural Green form by Yamazaki Akira (Yamazaki Koyo II, b. 1927) enclosed in the original signed wooden box titled Kujaku-yu Tori-tsubo (Peacock Glazed Bird Shaped Vase). The vase is 11 x 6 x 6 inches (28 x 15 x 14 cm) and in fine condition, signed on the base Akira.
Akira’s father, Yamazaki Koyo (1890-1979), was displayed and awarded consistently in many National Exhibitions and is held in the collections of the Museum of Modern Art Boston and Bern Museum of Art Switzerland among others. Akira studied under Kiyomizu Rokubei VI as well as his father and was equally exhibited and awarded, including the Hokutosho prize at the Nitten where he later served as Judge, Kofukai Ten and Governors prize at the Kyoten. For more see Fired with Passion: contemporary Japanese ceramics (2006).

A deep Choho-zara rectangular dish decorated with morning glories in dark rust and red over yellow with a black rim, a striking combination by Kyoto female artist Takagi Hoko enclosed in the original signed wooden box. Created from a heavy slab, the sides were raised and carved with wave patterns covered in white with a raw base chiseled out in long horizontal strokes. On the base is a worn piece of paper which gives the artists address and names the work, leading one to believe this was exhibited. The dish is roughly 15 x 10 inches (37.5 x 26 cm) and is in excellent condition.

Reminiscent of the Rolling Stones album cover, a wild sculpture by important contemporary sculptor Hayami Shiro. The bean shaped object is 15 cm (6 inches) diameter, 32 cm (12-1/2 inches) long and in excellent condition. It is signed on the base and appears to be dated 1999. Typical of this artist, it comes in a cardboard box
Hayami Shiro (b. 1927) was born in Kagawa Prefecture in 1927, and graduated the Tokushima Industrial University in 1949. His first exhibitions did not materialize until 1964, and from there he flourished. From the late 60s he began exhibiting in National Sculpture exhibitions, and has been often awarded; both domestic and international. He is best known for Tile works and stone sculpture. In 2000 he received the International Artistic Cultural Award (Kokusai Geijutsu Bunka Sho). A prominent work by this artist is on semi-permanent display in front of the Freer Gallery, adjacent to the Smithsonian Museum on loan from the Hirshhorn Collection. Other works are held by the Togei No Mori Museum of Shiga Prefecture, Tokyo City Hall and the Aichi Art Culture Center.

A striking black and orange striped vase in simplified ovoid form by Mukunoki Eizo enclosed in the original signed wooden box titled Kokusai Tsubo. This was purchased at a Mitsukoshi Exhibition. It is 8 inches (20 cm) tall and in excellent condition.
Mukunoki Eizo Born in Shimane, and graduated the prefectural ceramics research facility before he apprenticed under Kawai Kanjiro in 1958. He would stay with Kanjiro until the masters death in 1966. To show respect and mourning for his sensei, Eizo quit potting for 1 year after this passing. He has since repeatedly exhibited at the Nihon Mingei Exhibition, Nihon Togeiten National Ceramics Exhibition, and the National Traditional Crafts Exhibition. In 1974 he established his kiln in Toyooka, Hyogo prefecture. He changed his name to Shunsui in 1996.

An unusual vase with rough, pebble textured pink glaze over scratched in cranes by one of Japans most important post-war artists, Shinkai Kanzan, enclosed in the original signed wooden box. The shape and the design are exactly what we would expect from Kanzan, the coloring going even a step beyond. The texture is like unpolished jewels, the inside of a geode; very pleasing to the hands. The vase is 20.5 cm (8 inches) tall, 18 cm (7inches) diameter and in prefect condition.
Shinkai Kanzan was born the grandson of Seifu Yohei III in 1912 and was raised from a baby in the confines of the Gojo-zaka ceramic district of Kyoto, inducted daily into the realm of pottery by his father and grandfather. He graduated the Kyoto Municipal School of Arts and Crafts, and moved on to study painting (after his fathers urging) before returning to ceramics under Kiyomizu Rokubei V and Vi. He was first accepted into the Teiten (later Nitten) National Exhibition in 1930, and was displayed there consistently thereafter as well as others, being prized at the 1939 San Francisco Exposition. Just as he was beginning to take off as an artist, he was drafted and sent to China, whereafter he spent three years in a Russian Gulag in Siberia. Upon his return to Japan, he branched out on his own; with a unique vision grounded in the roots of the training and instruction he had receved before the war, but with a new style and concept to differentiate himself from his peers. In 1951 he was recognized with the Gold Award at the Japanese Art Expo. Following many prizes, In 1974 he was granted the Governors prize at the Nitten, and in 1980 the Niohon Geijutsu-in Sho (Japanese Art Academy prize). In 1989 he was awarded the Kyoto Prefectural Cultural Order of Merit for his life-long endeavors. Works by him are held in the Kyoto National Museum of Modern Art among others.

Gold invites the cool drink covered in a yellow glaze on this fine tokkuri by Ono Hakuko enclosed in the original signed wooden box. It is 5 inches (13 cm) tall, 3-1/2 inches (9 cm) diameter and in excellent condition.
From Aichi prefecture, Hakuko was trained by her father initially in the ceramic arts. However she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japan most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics by Women Artists (2009).

The glaze on this sculpted form by The Bear of Echizen Kumano Kuroemon (also Kurouemon) is covered in the most fantastic crustations of glaze. Thick white over scarred red over shatterd black on an unconventional shape the artist has titled marukawara (round tile). It has Tomo everything, Artists history, wrapping cloth, with his ubiquitous calligraphy all over the signed box. The piece is 29 x 17 x 8 cm (11-1/2 x 6-1/2 x 3 inches) and is in perfect condition.
A ceramic madman, oil painter and recluse, Kuroemon is as eccentric as his pottery predicts. Born in Fukui prefecture in 1955 Kroemon was a painter from youth, he began his studies under Fujita Jurouemon in 1976, and moved to study also under Toda Soshiro. Invited to the Soviet Union he spent time there and in Sakhalin in the 80s, returning to Japan to build his own kiln in 1987. He was the feature of a major exhibition in Germany in 2004, butaside from a few small exhibitions held in Japan (which quckly sell out) he remains a huble artist holed up in his mountain hermitage and works by him are not easy to acquire, with guinomi selling at 1000 dollars.

A proud striated egg shaped orb floats above the square block forming the base of this sculpture by Matsumoto Hideo covered with enigmatic graffito. The object is 12-1/2 inches (31.5 cm) tall, 4 x 7 inches (11 x 18 cm) at the base, and is in excellent condition. This piece was purchased from an exhibition held in October, 1993, and a copy of a Newspaper article introducing the exhibition is enclosed with the piece. Hideo has been widely represented in Museum exhibitions throughout Japan. He was born in the 1950s, when Sodeisha was leading the charge away from traditionalism and function to form, and this has had a lasting effect on his work, which is largely sculptural, often beyond recognition. This piece comes in a tag-board box.

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

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

Red burns through the dramatically pin-holed white glaze clinging viciously to the sides of this large Shino Chawan by representative Mino artist Kato Takeshi enclosed in the original signed wooden box. Enigmatic dark iron cuts through the clouds of tinged white, lending a brash sense of the primitive power of fire. It has great Hada, the texture so good it would certainly add flavor to your cup of tea. The chawan is 5 inches (12.5 cm) diameter, 3-1/2 inches (9 cm) tall and of course in excellent condition. Takeshi was born in 1947 and like so many other Shino artists attended the Tajimi Industrial School. He studied under Kobayashi Bunichi, Ohashi Momonosuke and later in Kyoto under Uchida Kunio, opening his own kiln in 1973. Since he has spurned the realm of public competition in favor of the personal world of private exhibitions, including the Shinjuku Odakyu and Isetan galleries among many others.

Two beer mugs by Morino Taimei enclosed in the original signed wooden boxes. They are 6-1/4 inches (16.7 cm) tall and 5-1/2 inches (14 cm) tall respectively, and both are in excellent condition. These are being offered for 300 dollars each, or 500 dollars for both.
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 governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National 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 ceramic free standing architectural sculpture by Morino Taimei (Hiroaki) enclosed in the original signed wooden box titled Work 88-30 Kaiheki (Matte Blue). The naïve modeling and playful use of colors make for a fun and energetic visual. Works from this series are held in the Brooklyn Museum and Manyoan Collection among others. Stoneware on wood stand, the ceramic slab is 20 x 3 x 27 cm (8 x 1-1/2 x 10-1/2 inches) plus the wooden base and is in perfect condition. It comes wrapped in the original stamped cloth pouch with the artists shiori.
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 large primitive robotic form by Morino Taimei in his iconic blue and gold dating from his experimental days in the early 1970 enclosed in the original signed wooden box titled Soji Shiho Kabin. It is 12 inches (30 cm) tall, 6 inches (15 cm) square and in excellent condition.
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 governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National 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.

Red glaze with tribal designs in black decorate this vase by Morino Taimei enclosed in the original signed wooden box titled Kokusen Kaki. It is 7.5 x 20 x 18.5 cm (3x 8 x 7-1/4 inches) 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 governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National 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 Fitz-gerald Collection.

An iconic work by Morino Taimei (Hiroaki) enclosed in the original signed wooden box titled Senmon Kaki. It is 24 x 10 x 25.5 cm (10 x 4 x 10-1/4 inches) and is 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 governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National 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 Fitz-gerald Collection.

A beautiful half orb in shimmering silver with matte Caribbean blue by Morino Taimei enclosed in the original signed wooden box titled Ginsai Hai. It is 6.5 cm (2-1/2 inches) diameter 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 riotous sculpture covered in thin glaze pooling and glimmering in the crevices by Yamaguchi Mio accompanied by a signed wooden placard titled Mu (Nothingness) dating from 2021. It is 28 x 32 x 46 cm (11 x 13 x 18 inches) and is in excellent condition, directly from the artist.
Due to size and weight, the cost of shipping will be accrued separately.
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 11th International 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.

An early piece from the Mudai series by Takiguchi Kazuo enclosed in the original signed wooden box. Unlike his later works which featured stone-like glazes, this glaze is soft and crinkled on the surface, like an undersea life form. It is 15-1/2 x 8 x 10 inches (39 x 20.5 x 25 cm) and is in excellent condition. Kazuo is an exceedingly sought after Kyoto artist, one of the heirs of the original Sodeisha movement. Born in 1953, he studied economics at Doshisha Univesity while making a brief sojourn into the studio of Kiyomizu Rokubei. However it was later under Yagi Kazuo at the Kyoto University of Art that he would begin to find his feet in the mud. He then went abroad to study at the Royal College of Art, graduating in 1982. The awards began rolling in in 1985, with prizes at the Nihon Togei Ten National Ceramics Exhibition and the Nihon Shin Kogei Ten New Crafts Exhibition. The following year was the Chunichi Kokusai Togei Ten and Kyoto Prefectural Arts and Crafts Association Exhibition. From there the list grows exponentially, including the JCS award, one of the most coveted prizes of them all. And he has been collected by a numbe of important institutions. According to a description from the V&A Museum in London:
For Takiguchi Kazuo, the young Kyoto-based maker of the large stoneware vessel, the development of a personal sculptural idiom has been closely associated with the pioneering of a particular method of hand-building.
The technique involves preparing a large sheet of extremely thin clay that is then folded and joined in a dynamic sequence of movements into a structure immediately resembling that of the intended final form. In the mid-1980s, when Takiguchi first used the technique, he lifted the clay up from the floor. Because this limited him to rather box-like shapes he went on to develop a way of draping the clay over moulds made from loosely assembled components and making his forms upside down. The new method allowed him to achieve the greater sense of fullness that he sought. At the same time the possibility of rearranging the components of the moulds allowed him to experiment with a much wider range of shapes than before. Having made a basic form, Takiguchi uses a number of secondary techniques to give it definition and character. These include pushing the walls out from the inside, compressing them from the outside, and cutting and joining, sometimes with the addition or removal of segments of clay.
Takiguchi's exploration of formal issues of shape, colour and texture through the making of individual works has been accompanied by his growing interest in the relationship between his sculptures and the surroundings in which they are displayed. When he is preparing for an exhibition he begins by making an exhaustive study of the venue using sketches, photographs and videos. It is only then that he starts to make any work. He develops his forms with the aim of creating an environment in which sculptures and surroundings are integrated into a single whole. The nature of a given series of work is determined by the process of planning for a particular exhibition and the total installation, usually incorporating an arrangement of props especially prepared for the occasion, is presented as an artistic statement in its own right.

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.

Deep grooves scored by the artists fingers allow this cup to fit snugly into ones hand, a perfect fit by Murakoshi Takuma enclosed in the original signed wooden box titled Sake-nomi. It is 8 x 7 x 6 cm and in perfect condition, directly from the artist.
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.

Green glass puddles in the centers of these fabulous feldspar studded plates in ash glaze by Murakoshi Takuma enclosed in the original signed wooden box titled Kittate Rokusun Sara. They are roughly 18 cm (7-1/2 inches) diameter and in perfect condition, directly from the artist.
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.

Crystalline green ash covers most of the rough clay that makes up this small steep sided bowl by Murakoshi Takuma enclosed in the original signed wooden box titled Hai-yu Chawan. It is 11 x 12 x 8.5 cm (4-1/4 x 4-3/4 x 3-1/2 inches) and is in perfect condition, directly from the artist this Fall.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

A green pool fills the basin of this steep sided bowl, the walls dragged by the fingers by Murakoshi Takuma enclosed in the original signed wooden box titled Hai-yu Chawan. Large Shiseki bubbles of white feldspar crystals burst through the surface. It is 12 x 13 x 7.5 cm (4-3/4 x 5 x 3 inches) and is in perfect condition, directly from the artist this Fall.
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.

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

An evocative thick slab curling up to form a basin on a circular solid clay foot elevating the contents 7 cm (3 inches) off the table. The artist fingers are clearly visible in the base forming deep impressions about which the cobalt and feldspar meander in rivulets. This piece is about as good as you can get, the entire nearly covered in white with underlying green glass and cobalt pooling dark in the center, bits of raw earth exposed like snow relinquishing the harsh winters grasp on a high mountain-scape. With this artist, as in nature, there are no straight lines, and these organic forms may just be the secret of his success. Japanese cuisine is a communal affair, and quite often main dishes will be placed in the center of the table on large dishes, where people can pluck away at it with their chopsticks. This dish is 28 x 17 cm (11 x 7 inches) with the corners curving up to 12 cm (5 inches) high. It is in excellent condition, from the artist over New Years. We have currently not had a box made for these to keep the price and shipping fee down, but one can be prepared if desired for 75 dollars.
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. 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.

Dark cobalt sinks deep into the rough terracotta clay giving this large serving platter its name Genso 27 (The periodic table number for cobalt). This is by Murakoshi Takuma, part of his newest series of work and comes enclosed in the original signed wooden box titled Genso 27 Kaku-zara (Atomic number 27 Square Platter). It is criss-crossed with drizzled snow white and emerald green which float on the surface in shiny drifts. The edges all turn up like a pagoda roof, ensuring the juices stay on the plate and not on the table cloth, and is raised on four bun feet, allowing your main dish to rise above the other plates. It is 29.5 x 34 cm (11-1/2 x 13-1/4 inches) and in perfect condition.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. 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.

Vivid dark ash forms emerald pools in the center of these 5 ogi-men (round fan) shaped slabs by Murakoshi Takuma. Size, shape, color, texture: these are perfect for showing off your signature dish with style. They are roughly 16 x 20 cm (6 x 8 inches), 2 cm (1 inch) thick and in excellent condition, directly from the artist this winter. We have currently not had a box made for these to keep the price and shipping fee down, but one can be prepared if desired for 75 dollars.
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. 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.

Not just for alcohol, this is perfect for winter tea, a beautifully formed deep cup covered in tri-colored glaze occasionally revealing the rough clay beneath by Murakoshi Takuma enclosed in the original signed wooden box titled Shunju Shochu-nomi. Literally translated Shunju is Spring and Fall, a phrase denoting all the colors of the seasons, and it is the term he has chosen to poetically describe the various colorations of his work. This cup is 12 x 9.5 x 9.5 cm (5 x 4 x 4 inches) and is in excellent condition, directly from the artist.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

A fabulous little Tsubo excavated from the sea of embers on the floor of an Anagama kiln by Murakoshi Takuma enclosed in the original signed wooden box. The body is entirely encrusted inside and out with a thick layer of charred natural ash encrustations, one side with a rivulet of shiny glass wrapping the neck. It is 15 cm (6 inches) diameter, 20 cm (8 inches) tall and in excellent condition, directly from the artist.
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.

One of his most popular new forms, this starkly arching elevated dish is by Murakoshi Takuma is covered in white over shadows of iron with areas of thin green revealing the clay beneath, weeping giant droplets onto the swirling center. It is called a Geta-zara, named after the traditional elevated wooden sandals worn in Japan in previous eras. 29 x 13 x 11 cm (4-1/2 inches tall, 5 x just less than 12 inches long) in perfect condition, directly from the artist and enclosed in the original signed wooden box titled Geta-zara.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

A lot of drama on the undulating surface of this ash glazed Guinomi accented with deep shell impressions by Murakoshi Takuma enclosed in the original signed wooden box titled Sake-nomi. This for a heavy drinker, quite large, perfect for Shochu (perhaps with a splash of water). The undulating dramatic form displaying square lug ears and with a gravity defying glass drip protruding from the rim is propped up on three shaky feet, I feel giddy just looking at it. It is 9 cm (3-1/2 inches) diameter and in excellent condition. Created as part of a restaurant consignment of 50 Guinomi, (for which he created about 70 in total), I was able to get in just after the firing and choose what I felt were a few of the best before anyone had a chance to view. I think this is a unique opportunity to acquire one of his finest pieces.
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.

What a pleasure to hold this deep precipitous vessel! Here the artist indicates it is for drinking shochu, a strong Japanese spirit, and one that he is quite familiar with as I can attest from our occasional outings together. It is as merry as the Takuma himself. Covered in his signature Shunju glaze, it is roughly 10 cm diameter, the same height, and in perfect condition, enclosed in the original signed wooden box titled Shunju Shochu-nomi
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

A voluminous bowl by Murakoshi Takuma enclosed in the original signed wooden box titled Shunju Awabibachi. Shunju is his signature glaze, a combination of Acorn ash, Feldspathic glaze and Iron, each ladeled out onto the rough Shigaraki clay. It is 17 x 15 x 7.5 cm (6-3/4 x 6 x 3 inches) and in excellent condition, directly from the artist this winter.
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.

Murakoshi Takuma is a jolly fellow, and loves to be in his cups. Therefore, he is quite good at making a cup which fits comfortably in a one’s hand, a cup you would not like to put down. This is a perfect example of that, a medium sized guinomi, smooth inside but wildly undulating out, covered in his signature Shunju glaze, a combination of Ash, Feldspar and Iron with occasional visions of untouched raw Shigaraki clay. The cup is 7.5 cm (3 inches) diameter, 7 cm (just less than three inches) on the high side, and in perfect condition, enclosed in the original signed wooden box titled Shunju Sake-nomi, directly from the artist.
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.

Murakoshi Takuma is a cherubic fellow who loves to share a cup. Therefore, he is quite good at making a guinomi you would not like to put down. This is a perfect example of that, a wide, shallow guinomi on a tall foot, undulating inside and out and covered in his tell-tale combination of Ash, Feldspar and Iron with occasional visions of untouched raw Shigaraki clay which he has poetically named Shunju or colors of the seasons. The cup is 9.5 x 8.5 x 7 cm (roughly 3-1/2 inches diameter just less than three inches tall) and in perfect condition, enclosed in the original signed wooden box titled Shunju Sake-nomi, directly from the artist.
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.

This odd squat bottle, with the sake cup resting on top, reminds me of images of the itinerant Buddhist Monk Taneda Santoka who wandered Japan in the pre-war era, his black robes flowing down around his bundled form, fueled by drink and composing poems. Here he is found, bamboo Kasa hat pulled down over his eyes, dozing off along the trailside. This Tokkuri and Guinomi are by Murakoshi Takuma, a cherubic poet in clay also fueled by his love for wine and given to wandering. The cup is 9 x 8.5 x 5 cm (2 inches tall) the Tokkuri 11 cm diameter 13 cm (5 inches) tall. Both are in excellent condition, directly from the artist, enclosed in the original signed wooden box.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

A new series, experimenting with his recently developed glossy white glaze, a chawan with iron decoration by Murakoshi Takuma enclosed in the original signed wooden box titled Haku-yu Chawan. It is 12 x 13 x 8 cm (4-3/4 x 5 x 3-1/4 inches) and is in perfect condition, directly from the artist this Fall.
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.

Wet swirls of color, lavender and thin blue fringed with yellow decorated this odd shaped slab-ware vase by Shigemori Yoko enclosed in a signed wooden box titled Murasaki no Hi (Purple Days). This is a work in unusual style by one of our favorite female artists. It is 22x 8.5 x 19.5 cm (9 x 3-1/4 x 8 inches) and is in excellent condition enclosed in a box annotated 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

A wild work by Kishimoto Kennin enclosed in the original singed wooden box. The large work is of torn and scarred Iga clay, covered with a dusting of natural molten ash pooling as glass in the crevices. It is 11 inches (28 cm) diameter, 13-1/2 inches (34.5 cm) tall.and in fine condition.
Kennin has been working with clay since the 1950s, devouring styles along the way. Shino, Seto, Oribe, Iga and Celadon, all very different approaches which he masters one at a time, extending his unique view of the arts to new realms, and moving on to the next challenge when his appetite and personal genius has been satiated. He was exhibited and prized at the National Japanese Crafts Exhibition (Nihon Dento Kogei Ten), National Ceramics Exhibition (Nihon Togei Ten), Chunichi International Ceramics Exhibition (Chunichi Kokusai Togei Ten) and Asahi Togei Ten among others, and is held in several important international collections. His Iga work is particularly remembered.

Creatures congregate among the fallen leaves and small grasses surrounding this incredible Kanshitsu (dry lacquer) box by Okada Yuji enclosed in the original signed wooden box titled Yafu (Field Wind). A plethora of techniques have been used to create this box. First the dry lacquer technique means perhaps a year in creating the egg-like shape, due to drying time of the many layers. It is covered in polished black lacquer, with leaves of gold maki-e riven with kirigane cut gold chips. The snail shell and dragonfly eyes are of shell, as is the body of the bulbous spider on top, which is in turn decorated with colored lacquer. The lady bug is built up red and black lacquer. The Spider web is inlayed with dew drops of hirame-gold discs and mother of pearl. Inside is glimmering gold Nashiji. This is the perfect Museum piece to represent this important artist. The box is 17 x 14 x 10 cm (roughly 7 x 6 x 4 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.

Another Spectacular work by one of my personal favorites, and undeniably one of the currently living greats of Shino Hayashi Shotaro enclosed in the original signed wooden box titled Shino Yohen Tsubo. The piece is 14-1/2 inches (26.5 cm) tall, 12-1/2 x 11 inches (32.5 x 28 cm) and in excellent condition.
Shotaro (b. 1947) is one of the biggest names in contemporary Mino ceramics. He first began with a 7 year apprenticeship under his older brother Kotaro, ending when he established his own kiln in 1974. Since then his list of exhibitions and awards has been amazing, including the Nihon Dento Kogei Ten (National Traditional Arts and Crafts Exhibition), Governors Prize and five times winner of Best of Show at the Asahi Togei Ten (Asahi Ceramics Exhibition), and Best of Show at Gifu Prefectural Exhibition.

Not to save the best for last, but this piece by Nagae Shigekazu is simply breathtaking. The pattern of light and dark squares which drives direct lines across the distended quadrilateral form hails images of the Ichimatsu-moyo pattern at the Katsura Rikyu imperial palace. The lyrical curves of the vessel itself are in sharp contrast to the extreme precision of the patterns, creating a unique dialog between viewer and viewed. It comes enclosed in the original signed wooden box titled Chokutai (Straightforward). The vessel is quite large at 47 cm (18-1/2 inches) tall, 31.5 x 23 cm (12-1/2 x 9 inches) 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 exquisite white shape by Nagae Shigekazu enclosed in the original signed wooden box dating circa 1996. Inscribed light patterns like waving blades of grass are almost indiscernible on the surface, incredibly detailed and crisp when viewed close-up, a green splash of color like a Christmas ribbon circling the form in both directions. It measures 14 inches (35 cm) tall, 5 inches (13 cm) square at base, mouth 7-1/2 x 2 inches (18.5 x 5 cm), and is in perfect condition. Included is the original exhibition invitation.
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. For more on this important modern artist see To, The best selections of contemprorary ceramics in Japan, Vol. 74.

A striking work covered in granulated geometric patterns by Nagae Shigekazu enclosed in the original signed wooden box titled Shikakkei no Katachi (Quadrilateral Form). The form is elastic, warped as if it is stretching after a deep sleep. This contrasts with the concise lines of the decorating pattern, creating an interesting dialog between man’s strive for perfection and order verses the freedom of the natural world. As they say, there are no straight lines in nature. The vessel is 35 cm (13-1/2 inches) tall, 33 x 17 cm (13 x 6-1/2 inches) across the base 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.

A bottle form of rough red clay blasted with a profusion of colors running in rivulets over the heavily tactile surface by Nakagawa Jinenbo enclosed in the original signed wooden box titled Chossen Karatsu Tokkuri. It is 5 inches (12 cm) tall and in excellent condition.
Nakagawa Jinenbo (1953-2011) was always fascinated with Karatsu ware, and studied under the great Inoue Toya from the age of 24. Several years later he returned to his hometown to establish a climbing kiln of his own, which he put to great use. From there, not satisfied with his own skills, he went to Tanaka Sajiro for an additional apprenticeship. Afterwards, as many Chajin artists, he concentrated on private exhibitions as an outlet for his work, shunning the world of mass competition and retail. His life and career were cut short far too early, making his work both highly valued and hard to find.