Modern Japanese Ceramics
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An Exhibited pottery box by Watanabe kunio enclosed in the original wooden box titled Iro-e Kin/Gin-Sai KiKaMon ToBako. This piece was featured on the exhibition invitation at the Marue Gallery (included). It measures 9 inches (23 cm) across, 2 inches (5 cm) tall and is in excellent condition.
The first time I saw this artists work I was blown away by the precision, skill and beauty inherent. Kunio was born in Yamanashi Prefecture in 1967, graduating the top Art school in Japan, The Tokyo University of Art Ceramics division in 1994. Very unusual for a young potter, his first private exhibition at the Urawa Isetan Department store the following year, while still attending advanced studies at his alma mater. In 1996 he was accepted into the Dento Kogei Shinsaku-Ten Exhibition as well as the Tokai Dento Togei-Ten and established himself in Seto city. 1997 saw his first acceptance into the National Traditional Crafts Exhibition. In 2000 he was awarded at the Tokai Dento Togei-Ten and has since received numerous awards.
The first time I saw this artists work I was blown away by the precision, skill and beauty inherent. Kunio was born in Yamanashi Prefecture in 1967, graduating the top Art school in Japan, The Tokyo University of Art Ceramics division in 1994. Very unusual for a young potter, his first private exhibition at the Urawa Isetan Department store the following year, while still attending advanced studies at his alma mater. In 1996 he was accepted into the Dento Kogei Shinsaku-Ten Exhibition as well as the Tokai Dento Togei-Ten and established himself in Seto city. 1997 saw his first acceptance into the National Traditional Crafts Exhibition. In 2000 he was awarded at the Tokai Dento Togei-Ten and has since received numerous awards.
Modern Japanese Ceramics
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Charred glaze runs in rivulets, blasted around the sides of this Kamahen Bizen vase by
Yamamoto Izuru enclosed in the original signed wooden box. The vessel is 10 inches (25.5 cm) tall, roughly 5 inches (13 cm) diameter and in excellent condition.
Yamamoto Izuru was born into the family of famous potter Yamamoto Toshu in 1944. He graduated the sculpture division of Musashino University, then went on to Paris for another two years of sculpting before returning to Bizen to apprentice under his father in plastic arts in 1970. He set out on his own path in 1975, establishing his own kiln. In 1980 he was prized at the Nihon Dento Kogeiten National Traditional Crafts Exhibition. His recognition grew in the eighties, being prized at both the Chunichi Kokusai Ceramics Exhibition and having a piece displayed at the Smithsonian and V&A in 1983, then garnering the Kaneshige Toyo prize in 1985, and subsequently acquired by the Brooklyn Museum of Art in 1987. In 1995 he built a kiln in Bourgogne France, working with clays from both regions, and this piece is from that period, dating circa 2,000. He has also been the winner of the 19th grand prize at the Tanabe Museum Modern Tea Forms Exhibition and was given the Cultural Award by Okayama Prefecture in 1997. He was named an intangible cultural property of Okayama Prefecture in 2012.
Yamamoto Izuru was born into the family of famous potter Yamamoto Toshu in 1944. He graduated the sculpture division of Musashino University, then went on to Paris for another two years of sculpting before returning to Bizen to apprentice under his father in plastic arts in 1970. He set out on his own path in 1975, establishing his own kiln. In 1980 he was prized at the Nihon Dento Kogeiten National Traditional Crafts Exhibition. His recognition grew in the eighties, being prized at both the Chunichi Kokusai Ceramics Exhibition and having a piece displayed at the Smithsonian and V&A in 1983, then garnering the Kaneshige Toyo prize in 1985, and subsequently acquired by the Brooklyn Museum of Art in 1987. In 1995 he built a kiln in Bourgogne France, working with clays from both regions, and this piece is from that period, dating circa 2,000. He has also been the winner of the 19th grand prize at the Tanabe Museum Modern Tea Forms Exhibition and was given the Cultural Award by Okayama Prefecture in 1997. He was named an intangible cultural property of Okayama Prefecture in 2012.
Modern Japanese Ceramics
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It is amazing the number of shades of gray playing across this simple tile-sculpture by Hayami Shiro. Just less than 2 feet (59 cm) tall. There is a small chip in the base (see photos). Due to size shipping will be accrued separately.
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; 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 piece by this artist was sold at Bonhams in 2007.
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; 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 piece by this artist was sold at Bonhams in 2007.
Modern Japanese Ceramics
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Air bubbles appear trapped in the glaze like a thin slab of ice. This is a fantastic Chozara by Inoue Yoshihisa enclosed in the original signed wooden box. It measures 30-1/2 x 9 x 1 inches (77 x 23 x 2.5 cm) and is in perfect condition. Due to size the cost of shipping will be accrued separately for this item.
Yoshihisa (b. 1947) studied ceramics under Kiyomizu Rokube VI, certainly one reason for his emphasis on sculptural concerns. His work has often been accepted to the Nitten National Exhibition, as well as the All Japan New Crafts Exhibition where he received the Members prize, and the Kofukai-ten.
Yoshihisa (b. 1947) studied ceramics under Kiyomizu Rokube VI, certainly one reason for his emphasis on sculptural concerns. His work has often been accepted to the Nitten National Exhibition, as well as the All Japan New Crafts Exhibition where he received the Members prize, and the Kofukai-ten.
Modern Japanese Ceramics
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A massive Oribe Slab by Hayashi Shotaro enclosed in the original signed wooden box titled Oribe Cho-ho-Zara. It is 25-1/2 x 13 x 4-1/2 inches (65 x 35 x 11.5 cm) and in excellent condition. Due to size the cost of shipping will be accrued separately for this item.
Shotaro is one of Japans true genius potters, moving far beyond tradition, glaze research and firing technique, to a place of inception. 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 among many others.
Shotaro is one of Japans true genius potters, moving far beyond tradition, glaze research and firing technique, to a place of inception. 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 among many others.
Modern Japanese Ceramics
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The surface of this rough slab is like an eroded plain with rivulets of glass running to a clouded pool in the center, signed along the edge and enclosed in the original signed wooden box by Sugimoto Sadamitsu. It is roughly 20-1/2 x 8-1/2 x 3 inches (52 x 21.5 x 8 cm) and in perfect condition.
Sadamitsu was born in Tokyo in 1935. A strong adherent to the Zen tradition, Sadamitsu established his own kiln at 33, receiving the kiln name from his mentor Daitokuji priest Tachibana Oki. His Zen studies have refined the spiritual side of his work, and all of his wood fired ceramics have a quiet and confident power. He has spent his life in the research of kohiki, Shigaraki Iga and Raku wares, and is more than well known in tea circles for the discriminating soul of his works. For more information on this artist see the book Fired with passion : contemporary Japanese ceramics ISBN 1-891640-38-0.
Sadamitsu was born in Tokyo in 1935. A strong adherent to the Zen tradition, Sadamitsu established his own kiln at 33, receiving the kiln name from his mentor Daitokuji priest Tachibana Oki. His Zen studies have refined the spiritual side of his work, and all of his wood fired ceramics have a quiet and confident power. He has spent his life in the research of kohiki, Shigaraki Iga and Raku wares, and is more than well known in tea circles for the discriminating soul of his works. For more information on this artist see the book Fired with passion : contemporary Japanese ceramics ISBN 1-891640-38-0.
Modern Japanese Ceramics
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Although I do not often use the term, this is a masterpiece by Iga artist Banura Shiro enclosed in the original signed wooden box. Even under the glaze the texture of the clay is clearly visible, rivulets of green glass arching around the body with slashes of color over the red terracotta. It is thin walled and quite light beguiling the size. The Tsubo is 15 inches (38 cm) tall, roughly 13-1/2 inches (35 cm) diameter and is in excellent condition. Due to size the cost of shipping will be accrued separately for this piece.
Shiro was born the fourth son of Living National Treasure for Lacquerware. His sensitivity to textures may stem from that exacting influence. Although his older brother succeeded the family tradition (another branching into paper arts), Shiro, after graduating the Kyoto University of Fine Art, apprenticed in the plastic arts under Kawamura Kitaro (1899-1966). He has an impressive list of exhibitions, including a private exhibition at the Umeda Kindai Bijutsu-Ten as well as the Niponbashi Mitsukoshi, Takashimaya, and Ikebukuro Tobu, the equivalent of being displayed on New Yorks Fifth Avenue or other cities most Trendy streets, as well as many international exhibitions. Like most Iga-area artists, his output is low, but quality and originality high, making his work very much in demand.
Shiro was born the fourth son of Living National Treasure for Lacquerware. His sensitivity to textures may stem from that exacting influence. Although his older brother succeeded the family tradition (another branching into paper arts), Shiro, after graduating the Kyoto University of Fine Art, apprenticed in the plastic arts under Kawamura Kitaro (1899-1966). He has an impressive list of exhibitions, including a private exhibition at the Umeda Kindai Bijutsu-Ten as well as the Niponbashi Mitsukoshi, Takashimaya, and Ikebukuro Tobu, the equivalent of being displayed on New Yorks Fifth Avenue or other cities most Trendy streets, as well as many international exhibitions. Like most Iga-area artists, his output is low, but quality and originality high, making his work very much in demand.
A set of five E-Karatsu Mukozuke by Nakazato Tarouemon XIII enclosed in the original signed wooden box. Radically brushed birds rise up into the sky, framed by a vertical bars of iron; inside soft earthen white. Each is roughly 3 inches (8 cm) diameter, 2-1/2 inches (6.5 cm) tall and in excellent condition, bearing the Tarouemon three star mark on the base.
Nakazato Shigetoshi was born in 1930 the third son of Living National Treasure Tarouemon XII (Muan) of Karatsu fame. He was first exhibited at the Nitten National Exhibition in 1952, and received the Matsuzakaya prize at the Modern Ceramics Exhibit 4 years later, the first of a great many awards culminating in the Saga Prefectural Cultural Award in 1985 given not lightly for his lifetime endeavors. He can be found in the British Museum among others.
Nakazato Shigetoshi was born in 1930 the third son of Living National Treasure Tarouemon XII (Muan) of Karatsu fame. He was first exhibited at the Nitten National Exhibition in 1952, and received the Matsuzakaya prize at the Modern Ceramics Exhibit 4 years later, the first of a great many awards culminating in the Saga Prefectural Cultural Award in 1985 given not lightly for his lifetime endeavors. He can be found in the British Museum among others.
Modern Japanese Ceramics
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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.
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.
Modern Japanese Ceramics
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A tower of geometric in silver and red by Kawano Eichi enclosed in the original signed wooden box. The pebble textured surface and straight lines of the side are juxtaposed by the irregular and angular patterns of silver, like the outline of stones leading to a temple cast in shadow across the sides. The vase is 13 inches (33.5 cm) tall, 4 inches (10 cm) square and in fine condition.
Eichi was born in Osaka, 1943, and was raised in the post-war era of huge change. He studied in the plastic arts under Kiyomizu Rokubei VI, and was certainly influenced by the movement towards modernism and sculpture in the 50s and 60s. This influence is evident here in this work, which lies between the modern world of sculpture and the traditional realm of function. From 1973 he began exhibiting with the Nitten National Exhibition, and was first exhibited at the National Modern Crafts Fair the following year. That same year (1974) he was awarded at the Kyoten Exhibition. He would be consistently awarded in years to come at the Kyoten and other Local and National exhibitions.
Eichi was born in Osaka, 1943, and was raised in the post-war era of huge change. He studied in the plastic arts under Kiyomizu Rokubei VI, and was certainly influenced by the movement towards modernism and sculpture in the 50s and 60s. This influence is evident here in this work, which lies between the modern world of sculpture and the traditional realm of function. From 1973 he began exhibiting with the Nitten National Exhibition, and was first exhibited at the National Modern Crafts Fair the following year. That same year (1974) he was awarded at the Kyoten Exhibition. He would be consistently awarded in years to come at the Kyoten and other Local and National exhibitions.
Modern Japanese Ceramics
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A large white Oni-Hagi tea pot by contemporary potter Shibuya Deishi enclosed in the original signed wooden box. The handle is bundled vine. The glaze crawls to reveal dark iron or bare terracotta in flashes of color beneath. Below is earth-toned Hagi glaze spattered with ash and surmounted by the thick white for which the artist is known. It is roughly 6 inches (16 cm) diameter and in new condition.
Shibuya Deishi has been the head of the Hagi Industrial Ceramics Association for some 20 years now. A pillar in the Hagi community, he has been exhibited at numerous Local and National Expositions, including the National Modern Crafts Exhibition. Oni-Hagi is one style for which he is best known. You may see pieces by this artist under his new retired name as well, as he makes way for his son to take over the business.
Shibuya Deishi has been the head of the Hagi Industrial Ceramics Association for some 20 years now. A pillar in the Hagi community, he has been exhibited at numerous Local and National Expositions, including the National Modern Crafts Exhibition. Oni-Hagi is one style for which he is best known. You may see pieces by this artist under his new retired name as well, as he makes way for his son to take over the business.
Modern Japanese Ceramics
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A superb Uzukumaru tsubo by Tsujimura Shiro enclosed in the original signed wooden box. Shell marks, kutsuki, ash blasting. The piece is 7-3/4 inches (19.5 cm) tall, 6 inches (15.5 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.
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.
Modern Japanese Ceramics
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White dots pattern the scalloped swirling form of this vase by Kitamura Junko enclosed in the original signed wooden box. The vase is 7-1/2 inches (19 cm) tall, 5-1/2 inches (14 cm) diameter and in excellent condition.
Kitamura Junko learned under the tutelage of Suzuki Osamu and Kondo Yutaka of the influential Sodeisha. Like Mashiko artist Shimaoka Tatsuzo, her work is influenced by Jomon pottery, however her approach is very different. After impressing patterns into the clay with bamboo and firing once with a dark slip, the impressions are painstakingly filled with white slip, defining the pattern, and fired again. Works by the artist are held in many public collections, including the National Museum of Modern Art, Tokyo; the Museum of Fine Arts, Boston; Houston Museum of Art and Brooklyn Museum of Art among many others. For more on this artist see Touch Fire: Contemporary Japanese Ceramics by Women Artists (2009) or Soaring Voices, Contemporary Japanese Women Ceramic Artists (2009)
Kitamura Junko learned under the tutelage of Suzuki Osamu and Kondo Yutaka of the influential Sodeisha. Like Mashiko artist Shimaoka Tatsuzo, her work is influenced by Jomon pottery, however her approach is very different. After impressing patterns into the clay with bamboo and firing once with a dark slip, the impressions are painstakingly filled with white slip, defining the pattern, and fired again. Works by the artist are held in many public collections, including the National Museum of Modern Art, Tokyo; the Museum of Fine Arts, Boston; Houston Museum of Art and Brooklyn Museum of Art among many others. For more on this artist see Touch Fire: Contemporary Japanese Ceramics by Women Artists (2009) or Soaring Voices, Contemporary Japanese Women Ceramic Artists (2009)
Modern Japanese Ceramics
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A large mizusashi extolling thevirtues of True Momoyama Bizen by Abe Anjin enclosed in the original signed wooden box. The iron like quality of the work comes from the temperature at which Anjin fires, 200 degrees higher than most Bizen potters. Scars and interconnecting symbols harken back to the days of group firing and kiln marks. The piece is 7-1/2 inches (19 cm) diameter, 7 inches (18 cm) tall and in excellent condition. Very rare!
Born in Osaka in 1938, the mysterious recluse began his artistic carreer as an oil painter training under Miyamoto Saburo. Although best known for his Momoyama inspired Bizen works, he began delving into the pottery world with Raku, then moved into Shigaraki and Bizen, firing from a kiln in Ehime prefecture, then Okayama and has also fired Nanban ware. Works by the artist are held in the Metropolitan Museum of Art, New York, Asian Art Museum, San Francisco, National Museum of Modern Art, Kyoto as well as the Imperial Household Collection among many others.
Born in Osaka in 1938, the mysterious recluse began his artistic carreer as an oil painter training under Miyamoto Saburo. Although best known for his Momoyama inspired Bizen works, he began delving into the pottery world with Raku, then moved into Shigaraki and Bizen, firing from a kiln in Ehime prefecture, then Okayama and has also fired Nanban ware. Works by the artist are held in the Metropolitan Museum of Art, New York, Asian Art Museum, San Francisco, National Museum of Modern Art, Kyoto as well as the Imperial Household Collection among many others.
Modern Japanese Ceramics
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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.
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.
Modern Japanese Ceramics
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A dramatic basin brutalized by the elements by Shigaraki Master Tsujimura Shiro enclosed in the original signed wooden box. Representative of this artists work, the lip has split with heat, one edge blasted off, and the entire charred and buried in ash. The dish measures 7.5 cm (3 inches) deep, 29 cm (12 inches) diameter and is 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.
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.
Modern Japanese Ceramics
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Ash is blasted around from the charred front of this amazing Tsubo by Harada Togetsu enclosed in the original signed wooden box. What an amazing looking piece, highlighting all the best in Bizen qualities. The first time I spotted this piece I could not halt my expressing something about the godlike nature of Feces (oddly?!) It is 10 inches (25 cm) tall, roughly the same diameter and in excellent condition.
Harada Togetsu (b. 1917) began potting in earnest late in life, in the early 60s, breaking out on his own in 1968. Potting more for personal pleasure than business, each piece is hand selected and meets some inner criteria. The kiln is now headed by the second generation.
Harada Togetsu (b. 1917) began potting in earnest late in life, in the early 60s, breaking out on his own in 1968. Potting more for personal pleasure than business, each piece is hand selected and meets some inner criteria. The kiln is now headed by the second generation.
Modern Japanese Ceramics
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I have long been searching for the right item by this artist to offer on the site, and here it is: blossoms and black decorate this fine cloth-textured pottery box by Ito Motohiko enclosed in the original signed wooden box. It is 10-1/2 x 10-1/2 x 4 inches (27 x 27 x 9.5 cm) and in excellent condition.
A similar workk by this artist was sold at Bonnhams in 209 for US$ 3,965 inc. premium
The artist is a famous Kasama potter, best known for his nunome pattern and exceptional designs. Motohiko was born in Fukuoka prefecture, 1939, and graduated the Tokyo University of Art in 1964, then moved on to advanced courses there, finishing in 1966. While at University he studied under Kato Hajime and Fujimoto Yoshimichi. It was in 1967 his first piece was accepted into the 6th Modern National Crafts Exhibition, and the next year would be spent working under to-be-Living National Treasure Matsui Kosei. His list of prizes and exhibitions is much too long to reproduce, but since 1967, he has Exhibited with the Nihon Dento Kogeiten, Nihon Dento Kogei Shinsaku Ten, Dento Kogei Musashino Ten, Tanabe Museum Modern Tea Forms Exhibition, been the subject of an NHK Television documentary, and participated in a ridiculous number of private exhibits at many of Japans top venues, and has been purchased by the current Emperor in person as well as receiving the Shijuho-sho prize from his majesty.
A similar workk by this artist was sold at Bonnhams in 209 for US$ 3,965 inc. premium
The artist is a famous Kasama potter, best known for his nunome pattern and exceptional designs. Motohiko was born in Fukuoka prefecture, 1939, and graduated the Tokyo University of Art in 1964, then moved on to advanced courses there, finishing in 1966. While at University he studied under Kato Hajime and Fujimoto Yoshimichi. It was in 1967 his first piece was accepted into the 6th Modern National Crafts Exhibition, and the next year would be spent working under to-be-Living National Treasure Matsui Kosei. His list of prizes and exhibitions is much too long to reproduce, but since 1967, he has Exhibited with the Nihon Dento Kogeiten, Nihon Dento Kogei Shinsaku Ten, Dento Kogei Musashino Ten, Tanabe Museum Modern Tea Forms Exhibition, been the subject of an NHK Television documentary, and participated in a ridiculous number of private exhibits at many of Japans top venues, and has been purchased by the current Emperor in person as well as receiving the Shijuho-sho prize from his majesty.
Modern Japanese Ceramics
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A Sueki style tiered vase by Koinuma Michio enclosed in the original signed wooden box. The cement like body exemplifies what we expect from Michio, crisp lines and geometric forms. It measures 12 inches (30.5 cm) tall and is in excellent condition.
Michio is a compelling figure unique among contemporary artists. He seems to have no limit to his imagination and creativity, still dazzling us with new concepts after four decades. Born in the hectic war years in 1936, he is incredibly intelligent, graduating the economics department of Osaka University, then on to Waseda for graduate studies, one of the top three schools in Japan. Relinquishing that life he opened a kiln in Mashiko in 1970. Since 1978 he has been consistently displayed at the best galleries in Japan, as well as overseas. For more see Contemporary Japanese Ceramics Fired with Passion (ISBN -10: 1-891640-38-0) or To volume 10, which is dedicated entirely to him.
Michio is a compelling figure unique among contemporary artists. He seems to have no limit to his imagination and creativity, still dazzling us with new concepts after four decades. Born in the hectic war years in 1936, he is incredibly intelligent, graduating the economics department of Osaka University, then on to Waseda for graduate studies, one of the top three schools in Japan. Relinquishing that life he opened a kiln in Mashiko in 1970. Since 1978 he has been consistently displayed at the best galleries in Japan, as well as overseas. For more see Contemporary Japanese Ceramics Fired with Passion (ISBN -10: 1-891640-38-0) or To volume 10, which is dedicated entirely to him.
Modern Japanese Ceramics
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How to describe the texture on this very unusual vase? It is porous, like a thick coat of lichen on the surface. This is one of the many unusual pieces we have come to expect from the artist Koinuma Michio, ever a surprise! The body is sculpted with thick undulating lines in relief, and covered with this earth-toned porous glaze. It is 10 inches (26 cm) tall, 12 x 5-1/2 inches (31 x 14 cm) and is in excellent condition. It is stamped on the base by the artist and signed Koinuma Michio, S. 50 6 5 (June 5th 1975) Mashiko. The Kiri-wood box is not signed.
Michio is a compelling figure unique among contemporary artists. He seems to have no limit to his imagination and creativity, still dazzling us with new concepts after four decades. Born in the hectic war years in 1936, he is incredibly intelligent, graduating the economics department of Osaka University, then on to Waseda for graduate studies, one of the top three schools in Japan. Relinquishing that life he opened a kiln in Mashiko in 1970. Since 1978 he has been consistently displayed at the best galleries in Japan, as well as overseas. For more see Contemporary Japanese Ceramics Fired with Passion (ISBN -10: 1-891640-38-0) or To volume 10, which is dedicated entirely to him.
Michio is a compelling figure unique among contemporary artists. He seems to have no limit to his imagination and creativity, still dazzling us with new concepts after four decades. Born in the hectic war years in 1936, he is incredibly intelligent, graduating the economics department of Osaka University, then on to Waseda for graduate studies, one of the top three schools in Japan. Relinquishing that life he opened a kiln in Mashiko in 1970. Since 1978 he has been consistently displayed at the best galleries in Japan, as well as overseas. For more see Contemporary Japanese Ceramics Fired with Passion (ISBN -10: 1-891640-38-0) or To volume 10, which is dedicated entirely to him.
Modern Japanese Ceramics
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A striking large and deep basin by Yamamoto Noriyuki decorated with rich gold and iron designs enclosed in the original signed wooden box. The pattern is reminiscent of Ainu texties from the indigenous Northern Peoples of Japan. The dish is 13-1/2 x 10-1/2 x 3-1/2 inches (34 x 27 x 9 cm) and in fine condition.
Born in Tottori Northern Japan in 1948, Noriyuki came under the influence of Mingei adherent Yoshida Shoya (1898-1972) at the age of 16, and this formed the basic principles of his philosophy of ceramic art. That it is something used daily, and becomes so much a part of us we do not even think about it, yet it is so dear. After meeting Bernard leach in Tokyo in 1967, he apprenticed at the age of 18 in Tottori, establishing his own kiln in 1971. That first ten years he spent searching for himself through the ceramic medium, and according to himself it was 7 turns and 8 stumbles before his first major solo exhibition. His Kiln was once destroyed in the Typhoon of 1990, but he rebuilt and was able to hold an exhibition that same year. Overall he has eschewed the world of competitive exhibition in favor of the private confines of the one-man show.
Born in Tottori Northern Japan in 1948, Noriyuki came under the influence of Mingei adherent Yoshida Shoya (1898-1972) at the age of 16, and this formed the basic principles of his philosophy of ceramic art. That it is something used daily, and becomes so much a part of us we do not even think about it, yet it is so dear. After meeting Bernard leach in Tokyo in 1967, he apprenticed at the age of 18 in Tottori, establishing his own kiln in 1971. That first ten years he spent searching for himself through the ceramic medium, and according to himself it was 7 turns and 8 stumbles before his first major solo exhibition. His Kiln was once destroyed in the Typhoon of 1990, but he rebuilt and was able to hold an exhibition that same year. Overall he has eschewed the world of competitive exhibition in favor of the private confines of the one-man show.
Modern Japanese Ceramics
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Sold, Thnk you!
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.
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.
Modern Japanese Ceramics
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Sold, Thank you!
A striking Tetsu-yu Kakiwake Kabin by Shimizu Yasutaka enclosed in the original signed wooden box and accompanied by the original autographed exhibition catalog from 2007. The vessel is featured as item number 1 in the catalog, the star of the show and obviously very important to the artist to have earned such placement. It stands 16 inches (42 cm) tall, 11 inches (29 cm) diameter and is in excellent condition.
Yasutaka was born into the pottery household of future Living National Treasure Shimizu Uichi in 1947. Although always involved in pottery, he began his official apprenticeship in the plastic arts under his fathers tutelage after graduating Ryukoku University in 1971. One year later his first piece was accepted in National competition at the Japan Traditional Crafts Exhibition (Nihon Dento Kogeiten). The following year he was awarded the first of many awards at the second Kinki Area Nihon Kogei Kai Exhibition. In 1975 he was accepted into the Nihon Togei Ten (National Ceramics Exhibition). He has a constant following in the world of Private exhibitions, and his work is held by Kyoto Prefecture. Due to size the cost of shipping will be assessed separately from the list price.
Yasutaka was born into the pottery household of future Living National Treasure Shimizu Uichi in 1947. Although always involved in pottery, he began his official apprenticeship in the plastic arts under his fathers tutelage after graduating Ryukoku University in 1971. One year later his first piece was accepted in National competition at the Japan Traditional Crafts Exhibition (Nihon Dento Kogeiten). The following year he was awarded the first of many awards at the second Kinki Area Nihon Kogei Kai Exhibition. In 1975 he was accepted into the Nihon Togei Ten (National Ceramics Exhibition). He has a constant following in the world of Private exhibitions, and his work is held by Kyoto Prefecture. Due to size the cost of shipping will be assessed separately from the list price.
Modern Japanese Ceramics
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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.
Modern Japanese Ceramics
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A bold set of six contemporary White Bizen Beer Mugs, each entirely unique with slightly different hada by Kitano Katsuhiko enclosed in the original signed wooden box. Over the pale, sheer clay deposits of ash glaze, goma kasu and hi-iro scorching combine with smoky black staining for a very unique experience. Each cup is roughly 4-1/2 inches (11.5 cm) tall, 3 inches (7.5 cm) diameter and all are in perfect condition.
After graduating Nihon Daigaku (University of Japan) Katsuhiko worked (like many before him including Hamada Shoji and Kawai Kanjiro) at the Kyoto Ceramics Research Facility. After establishing his own atelier, the artist has been displayed at the Nihon Dento Togei Ten (National Traditional Ceramics Exhibition) Nihon Togei Ten (National Ceramics Exhibition) Chunichi Kokusai Togei Ten as well as the Nihon Bijutsu Kogei Ten where he received the Kogei Daisho prize.
After graduating Nihon Daigaku (University of Japan) Katsuhiko worked (like many before him including Hamada Shoji and Kawai Kanjiro) at the Kyoto Ceramics Research Facility. After establishing his own atelier, the artist has been displayed at the Nihon Dento Togei Ten (National Traditional Ceramics Exhibition) Nihon Togei Ten (National Ceramics Exhibition) Chunichi Kokusai Togei Ten as well as the Nihon Bijutsu Kogei Ten where he received the Kogei Daisho prize.
Modern Japanese Ceramics
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I have long wanted to offer a significant piece by this artist, and here is a spectacular Nezumi Shino pair of vases by Wakao Toshisada enclosed in the original signed wooden box. Red tinged white waves boil over the Nezumi-gray arc of the base, a white waxing moon floating above. They measure 9 x 3-1/2 x 12-1/2 and 8-1/2 x 3-1/2 x 10-1/2 inches (23 x 9 x 32 cm and 21.5 x 9 x 27 cm) respectively and are in perfect condition.
Toshisada was born in Tajimi, Gifu prefecture, home of Mino pottery, in 1933. He was first recognized at the New Crafts exhibition of 1960, the same year he was first exhibited at the Central Japan Art Exhibition. Three years laer he made his debut at the Asahi Ceramics Exhibition, following in 1965 with the National Traditional Crafts Exhibition. In 1971 he first exhibited with the Nihon Togeiten (All Japan Ceramics Exhibition) and was awarded the following year the New Mino Artists Prize, gathering acclaim as a leader in the field. After many domestic and International exhibits, he was awarded the Kato Kohei prize in 1986. and was recipient of the prestigious Japan Ceramics Society (JCS) Award in 1989. He was named an intangible cultural asset of Tajimi city in 1995, and of Gifu Prefecture in 2003, and works by the artist are held in the Museum of Modern Art Tokyo, V&A, Freer Gallery and Sackler among many others.
Toshisada was born in Tajimi, Gifu prefecture, home of Mino pottery, in 1933. He was first recognized at the New Crafts exhibition of 1960, the same year he was first exhibited at the Central Japan Art Exhibition. Three years laer he made his debut at the Asahi Ceramics Exhibition, following in 1965 with the National Traditional Crafts Exhibition. In 1971 he first exhibited with the Nihon Togeiten (All Japan Ceramics Exhibition) and was awarded the following year the New Mino Artists Prize, gathering acclaim as a leader in the field. After many domestic and International exhibits, he was awarded the Kato Kohei prize in 1986. and was recipient of the prestigious Japan Ceramics Society (JCS) Award in 1989. He was named an intangible cultural asset of Tajimi city in 1995, and of Gifu Prefecture in 2003, and works by the artist are held in the Museum of Modern Art Tokyo, V&A, Freer Gallery and Sackler among many others.
Modern Japanese Ceramics
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Sold, With thanks
An exquisite Nerikomi basin by Shiobara Yoshio enclosed in the original signed wooden box exhibited at the 9th Nihon Togeiten National Exhibition. Nerikomi is the technique of working with layers of variously colored clays. This basin measures 17 inches (43 cm) diameter, 6 inches (16 cm) tall and is in fine condition. The original exhibition tag remains on the base with a note stating it was purchased for 400,000 yen (currently about 5,000 dollars) at that time. The original exhibition catalog is also included.
Due to size the cost of shipping will be assessed separately from the list price.
Due to size the cost of shipping will be assessed separately from the list price.
Modern Japanese Ceramics
Sold, with thanks
Sold, with thanks
A massive Bizen Charger with a large central spot like a sunflare by Kengo Masamune (b. 1954) enclosed in the original wooden box displayed at the 1987 Nihon Togei Ten IX (The Ninth Japan Ceramic Art Exhibition) and can be viewed as item number 169 in the catalog. It is huge at 21 inches (53 cm) in diameter, 3 inches (8 cm) tall. The exhibition label remains on the back of the dish and it comes with the exhibition catalog.
Kengo has been largely exhibited, including the Chunichi Kokusai Togei Ten, Nihon Dento Kogei Ten (Japanese Traditional Crafts Exhibition), Nihon Togei ten, Issui Kai Ten, and Okayama Ken Ten. Due to size the cost of shipping will be assessed separately from the list price.
Kengo has been largely exhibited, including the Chunichi Kokusai Togei Ten, Nihon Dento Kogei Ten (Japanese Traditional Crafts Exhibition), Nihon Togei ten, Issui Kai Ten, and Okayama Ken Ten. Due to size the cost of shipping will be assessed separately from the list price.
Modern Japanese Ceramics
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Sold, With thanks
A large Oshimon Kaki Vase by Ota Itaru enclosed in the original signed wooden box exhibited at the 9th Nihon Togei Ten National Exhibition. The entire surface is impressed with inverse pyramids, and patterned with dark and light triangles. An incredibly exacting design perfectly executed. The vase measures 16 inches (40 cm) tall, 11 inches (28 cm) diameter and is in fine condition. It comes with the original placard from the exhibition, as well as a copy of the exhibition catalog, and a clipping from the Mainichi Shinbun Newspaper in which the piece is visible in a photograph.
Born into the tumultuous post war era in 1948, Ota Itaru was subjected to the breakdown and rebuilding of Japanese society and culture throughout his early life. He graduated the Tokyo Institute of Technology in 1972, and opened his own kiln in 1975. He has since displayed at the Nihon Togeiten (National Ceramics Exhibition), Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), Dento Kogei Shinsaku Ten (Traditional Crafts New Exhibition) and has been awarded Governors prize at the Saitama Prefectural Exhibition. Due to size the cost of shipping will be assessed separately from the list price.
Born into the tumultuous post war era in 1948, Ota Itaru was subjected to the breakdown and rebuilding of Japanese society and culture throughout his early life. He graduated the Tokyo Institute of Technology in 1972, and opened his own kiln in 1975. He has since displayed at the Nihon Togeiten (National Ceramics Exhibition), Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), Dento Kogei Shinsaku Ten (Traditional Crafts New Exhibition) and has been awarded Governors prize at the Saitama Prefectural Exhibition. Due to size the cost of shipping will be assessed separately from the list price.
Modern Japanese Ceramics
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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.
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.
Modern Japanese Ceramics
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A striking Bizen Chawan of mixed clay by young artist Yokoyama Naoki enclosed in the original signed wooden box. The mixed earth is pulled and twisted out of shape; one can sense the plasticity with your eyes. The stretched earth is burnt red where it has been licked by flame, yet remains pale from the shadows of the kiln. The bowl is just less than 5 inches (12 cm) diameter, 3-1/2 inches (8.5 cm) tall and in fine condition.
Naoki has been displayed at the Chanoyu Zokei Ten at the Tanabe Museum as well as the National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) and National Ceramics Exhibition (Nihon Togei Ten) among others.
Naoki has been displayed at the Chanoyu Zokei Ten at the Tanabe Museum as well as the National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) and National Ceramics Exhibition (Nihon Togei Ten) among others.
Modern Japanese Ceramics
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Sold, Thank you
Who says the work of a woman potter is feminine? This is a powerful Iga work by Watanabe Aiko enclosed in the original signed wooden box. There is nothing sedate about this work, charred and dripping with glassy green glaze, freckled with flying ash; the heavy lug handles jutting from the side slightly off kilter. The vessel is 7 inches (17 cm) tall, roughly the same diameter and in excellent condition.
Aiko established her first Anagama kiln in Shigaraki in 1994, and moved to Iga in 2001 where she built her second kiln. That was a big year of change for her, and she held her first of many private exhibitions in Shibuya, Tokyo, including one just finished at Kuroda Toen. Always building in 2003 she began planning her third Anagama kiln, which was first fired in 2005. A promising young artist still affordable, but with recent media attention that condition may not last.
Aiko established her first Anagama kiln in Shigaraki in 1994, and moved to Iga in 2001 where she built her second kiln. That was a big year of change for her, and she held her first of many private exhibitions in Shibuya, Tokyo, including one just finished at Kuroda Toen. Always building in 2003 she began planning her third Anagama kiln, which was first fired in 2005. A promising young artist still affordable, but with recent media attention that condition may not last.
Modern Japanese Ceramics
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Sold, Thank you!
Encrusted in blue glass, this Iga Tokkuri by Furutani Kazuya is a pleasure to see and hold. It is 5 inches (12. Cm) tall, 3 inches (8.5 cm) diameter and in perfect condition, enclosed in the original signed wooden box.
Kazuya (b. 1976) is one of Japan’s most promising young stars. He graduated the Yamaguchi College of Art in 1997, and spent a year at the ceramics research facility in Kyoto before returning to work under his father, Furutani Michio, in Shigaraki. His Father’s sudden death in 2000 pushed Kazuya to the fore, and left him with big shoes to fill. That he has done! Building three Anagama in the following decade and displaying with the National Ceramics Exhibition and a number of private affairs in some of Japan’s top venues.
Kazuya (b. 1976) is one of Japan’s most promising young stars. He graduated the Yamaguchi College of Art in 1997, and spent a year at the ceramics research facility in Kyoto before returning to work under his father, Furutani Michio, in Shigaraki. His Father’s sudden death in 2000 pushed Kazuya to the fore, and left him with big shoes to fill. That he has done! Building three Anagama in the following decade and displaying with the National Ceramics Exhibition and a number of private affairs in some of Japan’s top venues.
Modern Japanese Ceramics
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Sold, Thank you!
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).
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).
Modern Japanese Ceramics
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Sold, Thank you!
A family of Stonefish (Okoze), the deadliest fish in the world, swim across the pure white surface of this large Tsubo by Uchida Tadashi enclosed in the original signed wooden box. It is 12 inches (30 cm) diameter, 13 inches (34 cm) tall and in excellent condition. The box is titled Tetsu-e Okoze-Mon Tsubo (Tsubo decorated with Okoze fish in Iron) and includes a thank you card from the artist to the collector. A label tied to the box chord states it was purchased from an exhibition at Takashimaya Department Store in the summer of 1996.
This is from the Matsui family collection of Fushimi, an extensive collection of art objects encompassing many aspects of crafts, including sculpture, Pottery and Metalwork, largely from Kyoto area Artists.
Born in Gifu in 1947, from 1968 Tadashi studied Hakuji and Sometsuke under Kondo Ryuzo, entering his first National exhibition (Nihon Dento Kogeiten) in 1974. In 1977 he established his own kiln on the former Ninnami Dohachi Kiln site in Kyoto.
This is from the Matsui family collection of Fushimi, an extensive collection of art objects encompassing many aspects of crafts, including sculpture, Pottery and Metalwork, largely from Kyoto area Artists.
Born in Gifu in 1947, from 1968 Tadashi studied Hakuji and Sometsuke under Kondo Ryuzo, entering his first National exhibition (Nihon Dento Kogeiten) in 1974. In 1977 he established his own kiln on the former Ninnami Dohachi Kiln site in Kyoto.
Modern Japanese Ceramics
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Sold, Thank you!
The edges burn dark brown on this large Bizen vase by Kawabata Fumio enclosed in the original signed wooden box. Green ash clings to the upper surface, peeling away from the superheated corners, the bottom rich dark raw clay. The vase is (‘29 x 21 x 36 cm) tall and in excellent condition.
Fumio was born in Yokohama city in 1948, far from the traditional kilns of Bizen hundreds of kilometers to the west in Okayama. After studying graphic design he was captivated by the natural landscapes presented by Bizen wares, and in 1974 moved to study pottery at the Ibu-no Kamamoto. His talent was spotted quickly and he was taken in by Kaneshige Riuemon where he was schooled in the gamut of traditional forms and styles. By 1984 he was considered a master potter, and moved to establish his own kiln. Concentrating largely on the personal world of private exhibitions, in 1989 he was given top prize at the Tanabe Museum Cha no Yu Zokei Ten (Sculptural Forms in Tea exhibition), and again was awarded there in 1994 as well as receiving the Okayama Prefectural Governors prize and has been prized at the National Ceramics Biennnale.
Fumio was born in Yokohama city in 1948, far from the traditional kilns of Bizen hundreds of kilometers to the west in Okayama. After studying graphic design he was captivated by the natural landscapes presented by Bizen wares, and in 1974 moved to study pottery at the Ibu-no Kamamoto. His talent was spotted quickly and he was taken in by Kaneshige Riuemon where he was schooled in the gamut of traditional forms and styles. By 1984 he was considered a master potter, and moved to establish his own kiln. Concentrating largely on the personal world of private exhibitions, in 1989 he was given top prize at the Tanabe Museum Cha no Yu Zokei Ten (Sculptural Forms in Tea exhibition), and again was awarded there in 1994 as well as receiving the Okayama Prefectural Governors prize and has been prized at the National Ceramics Biennnale.