Catalog: Artists: Ceramics (705)

A beautiful small Guinomi by Matsuo Takaaki enclosed in the original signed wooden box titled Shigaraki Shizen-yu Yohen Hai. It is 7 cm 2-3/4 inches) diameter, 5 cm (2 inches) tall and in excellent condition.
Matsuo Takaaki was born in Yokohama in 1938. He began studies under Tsuji Seimei at Renkoji in 1960 where he trained for over 15 years. He became independent in 1975 and built a climbing kiln in Tama. Since he has been exhibited with the Issuikai but mainly focuses on the intimacy of private exhibitions.

A Silent Shadows series sculpture by Sugitani Keizo enclosed in the original signed wooden box with engraved date beneath 220202. It is 16 x 13 x 25 cm (6 x 5 x 10 inches) and in excellent condition, directly from the artist this summer. Although imbued with the rustic sheen of metal, Sugitani’s works are in fact creations in Shigaraki clay that are hand-built into interlocking forms that are almost Escher-esque in their simple complexity. After blending a base white clay, the artist begins the rigorous process of hand-coiling his sculptures into the forms in his mind’s eye. After carving and smoothening the surfaces, the artist bisque-fires the work. Sugitani applies an original glaze that is rich in copper, and after a main firing in his gas-kiln, imbues his works with the distinctive patina of rusted metal. (Ceramics Now Magazine). Sugitani Keizo was born in Osaka in 1959. In 1982 he graduated the Ceramic Art Institute of the Tekisui Museum of Art. He has selected for a number of group exhibitions including the International Ceramics Competition Mino and the Asahi Art exhibition, where he has been awarded. He has been exhibited at some of Japns top galleries as well as London, Art Miami, Maastricht, New York, Taipei and Shanghai among others.

An elegant sake set in silver and celadon green over raw clay consisting of a set of guinomi and Tokkuri, perfect or sharing sake, by Masafumi Doi enclosed in the original signed wooden box titled Tessaiji Senmon Shuki (Metal Glazed Porcelain Sake Vessels with lines). The cups are 5.5 cm diameter (2-1/4 inches), the same height. The Tokkuri is 11.5 cm (4-1/2 inches) tall and all are in excellent condition. We picked these up earlier this year when we visited him in Nara, but are just bringing them out now as we open the new gallery space.
Doi Masafumi was born in Nara prefecture in 1972, and graduated the Aichi prefectural ceramic research facility in 2000. For the next seven years he would work at a kiln in Kyoto, absorbing the many styles and techniques associated with Kyo-yaki before establishing his won kiln back in Nara. He held is first solo exhibition in Kyoto in 2009, and in 2011 was awarded at the Nihon Togeiten National Ceramics Exhibition, where he has been featured many times.

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

An incredibly elegant form by Ikegami Eichi enclosed in the original signed wooden box titled Seiji HIsago Kaki (Gourd Shaped vessel). It is 30.5 cm (12 inches) tall and in excellent condition.
Ikegami Eichi was born in Kanazawa City, home of Kutani porcelain, in 1931, and during his time at the Kanazawa University of Art he submitted sculptures and was awarded at the Hokuriku Art Exhibitoin and Ishikawa Modern Art Exhibitions, graduating university in 1953. From 1954 to 1965 he submitted pottery works and was awarded several times at the Ishikawa Prefectural Modern Art Exhibition as well as the Toyama Prefectural Art Exhibition, his work being purchased by Toyama prefecture. In 1958 he was accepted into the Kofukai Exhibition. From 1963-1968 he exhibited with the Asahi Togeiten, and in 1967 joined the Nippu-kai. In 1970 he established in kiln in Kosugi, home of the ancient but nearly forgotten Kosugi-yaki pottery tradition. The same year he was awarded at the Nippukai Exhibition. Since his list of exhibitions and awards is lengthy to say the least, and his work with Kosugi ware has been much lauded. In 1996 he received the Arts and Culture Merit Award from the Toyama Prefectural Board of Education, and in 2001 the Toyama Prefectural Award of Merit, and in 2005 was recognized for his life dedication with the Cultural Award from Toyama Shimbun. The second generation head of his kiln is his daughter Mieko.

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.

A surprisingly thin-walled deep Sake cup covered in blasted ash by Matsuo Takaaki enclosed in the original signed wooden box titled Iga Shizen-yu Youhen Nozoki Hai. It is 5.5cm (2 inches) diameter 7cm (just under 3 inches) tall and in excellent condition. Matsuo Takaaki was born in Yokohama in 1938. He began studies under Tsuji Seimei at Renkoji in 1960 where he trained for over 15 years. He became independent in 1975 and built a climbing kiln in Tama. Since he has been exhibited with the Issuikai but mainly focuses on the intimacy of private exhibitions.

Lavender tinged crawling pale glaze covers the soft porous clay of this classically inspired Mizusashi by Living National Treasure Miwa Kyusetsu XI enclosed in the original signed wooden box titled Shiro-hagi Mizusashi. It is 20 cm (8 inches) diameter, 18 cm (7-1/4 inches) tall. It comes complete with the original ceramic lid as well as a Kae-buta (alternate lacquered lid) in a separate compartment within the box The box is contained inside a second, black lacquered wooden box, and all is in excellent condition.
Miwa Kyusetsu XI (1910-2012) was born the third son of the ninth generation Miwa Kyusetsu (Setsudo) and studied under his father and older brother (Kyusetsu X: Kyuwa). He also studied under Kawakita Handeishi. He was first exhibited in 1955, and garnered his first acolades at the 4th Natioanl Traditional Craft Exhibition (Nihon Dento Kogei Ten) in 1957. Following the retirement of the 10th generation Kyusetsu, he succeeded the name in 1967. He received the Imperial Order with Purple Ribbon in 1976 and the Order of the Sacred Treasure in 1982. He was acknowledged as a Yamaguchi Prefectural Preserver of Intangible Cultural Properties in 1972 and Designated Living National Treasure in 1983. He officially retired, passing on the family name and mantle to Miwa Ryusaku, but continued making pottery under the name “Jusetsu”.

Cosmic rays flow away in a burst of green over the twilight color of this vessel by Furutani Hiromu (Churoku I) enclosed in the original signed wooden box titled Shigaraki Shizen-yu Yohen Tsubo. The entire vase seems to be covered in ashen gray over which the vivid green glass has flown, forming rivulets leading to a single crystalline drop on the opposite side. It is 22 cm (9 inches) diameter and in excellent condition, directly from the artist.
Furutani Hiromu (Churoku I, 1922-2012) Fascinated by the aesthetics of "wabi" and "sabi" expressed in the “Koge” (Charing),“Hi-iro”(Flame Color) and other naturally born kiln effects of Shigaraki ware, Furutani Hiromu devoted himself to the recovery of pre-Edo firing techniques. He was on the forefront of research into ancient kiln construction and he recreated both an Anagama and then a climbing kiln which could produce wares to rival the ancients. In the manner of craftsmen of time immemorial, he produced both Tsubo and Tea Ware. He was the first artist named a Dento Kogeishi (Traditional Craftsman) in Shigaraki, accepting that honor in 1976. After that his works were exhibited throughout Japan, as well as internationally. Breaking from tradition however, he also worked to create carved and modeled pieces with animated creatures writhing across the surfaces or arching to form handles.

An incredible universe is born in the center of this masterpiece by Tenmoku legend Kimura Moriyasu enclosed in the original signed wooden box titled simply Tenmoku Chawan. It is 14 cm (5-3/4 inches) diameter, 7 cm tall and in excellent condition.
Born into the Kimura family in Kyoto in 1935 the youngest of four children, it was only natural for Moriyasu to move into ceramics, following and training under his brother Morikazu and learning decorating techniques from his father. It was in 1959 (at the age of 24) when Moriyasu gained National attention as he was selected as one of the participants at the Modern Ceramics of Japan exhibition at the National Museum of Art. Into the 60s he began exhibition with the Nihon Dento Kogeiten National Traditional Crafts Exhibition. It was when viewing a National Treasure Tsubo in the Atake collection that he was moved to express himself solely through the perfection of Tenmoku oil spot glazes. He is held in several important public collections, including the Boston Museum of Fine Arts, Dallas and Houston Museums, Peabody Essex Museum, National Palace Museum Taiwan, as well as the collection of Ise Shrine.

Words fall short on describing this breathtaking vessel by master potter Kimura Morikazu enclosed in the original signed wooden box titled Biryu Kessho Yohen Chawan. It is quite large at 14.5 cm (nearly 6 inches) diameter, 8 cm tall and is in perfect condition.
Kimura Morikazu was born to the house of a Kyo-yaki potter and studied under Ishiguro Munemaru, He established his first kiln in the Gojo Zaka area of Kyoto in 1947, moving to Fukui in 1976. He is held in the collection of both the Kyoto National Museum of Modern Art and the Imperial Household Agency. He has been displayed at innumerable private exhibitions in addition to major exhibitions such as the Nitten, Nihon Dento Kogeiten(National Traditional Crafts Exhibition) and Nihon Togei Ten (National Ceramics Exhibition) among others. Winner of the Japan Ceramics Society (JCS) award, purchased by the Ministry of Foreign affairs. Morikazu has been incredibly influential on the subsequent generation of potters.

A starkly traditional tsubo showing off the plethora of effects garnered from the inferno in an Anagam kiln by Furutani Taketoshi titled simply Shigaraki Shizen-yu Tsubo. It is formed in a medieval fashion with small foot growing in stages to a round wide shoulder, which then pinches to a small neck with pinched mouth. The coloration is fabulous, with rich greens fading to olive to crusty black on the blast side, while the natural clay dusted with flying ash shows off the quintessential shiseki and tombo-no-me for which Shigaraki is known. It is 29 cm (11-1/2 inches) diameter, 35.5 cm (14 inches) tall and in excellent condition, directly from the artist.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.

A breathtaking sculpture by Hashimoto Tomonari enclosed in the original signed wooden box. The inverted cone is dark gray with rust red and blue patterns waving across the surface like gas clouds on some distant moon. It is 46 cm (18 inches) tall, 19 cm (7-1/2 inches) diameter and in excellent condition, directly from the artist this winter. The wooden box is titled: Untitled. In fact he does not title any of his work now, preferring to leave interpretation up to the viewer. After hand forming and sculpting the shapes, they are bisque fired, then glazed and fired again at a relatively low temperature (Between 1000 and 1100 degrees, like Raku ware). Then he builds a brick oven around each piece and brings the temperature up to 500 degrees, and adds millet or rice husk, which carbonizes the surface, creating incredible colors and random patterns leaving the viewer with a feeling like rusted or heated metal. Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

Stratified layers fold over in a timeless rhythm on this covered box by Izumita Yukiya enclosed in the original signed wooden box titled Sekisoh Futamono. The laminated layers and uneven kiln texture folded over and over again, create a unique cadence on the baked earth which offers the viewer both urbanity and a view of the wilderness that resembles the strata of the earth. If one has ever walked the shoreline of Iwate where this artist lives, the influence is clear. The receptacle is 28 x 19 x 4 cm (11 x 7-1/2 x 1-3/4 inches) and is in excellent condition, directly from the artist. Izumita Yukiya was born in 1966 in Rikuzentakat, Iwate Prefecture, and studied potting technique at the Kokujiyaki Kilns under Shimotakke Gakuho. He opened his own kiln in 1995 in Noda Village. In 1998 he began firing in an Anagama hole kiln. He has an impressive list of exhibitions and awards including the grand prize twice at the Asahi Togeiten Ceramic Exhibition in 2000 and 2002. He has also exhibited at the Nihon Togeiten National Ceramics Exhibition, International Ceramics Festival in Mino, Asahi Modern Craft Exhibition as well as being awarded at the 20th Japan Ceramic Art Biennial Exhibition in 2009. He has displayed in both Europe and America and is held in the permanent collection of the Los Angeles County Museum of Art, Philadelphia Museum of Art, Yale University Art Gallery and Iwate Prefectural Museum and

The surface of this bowl is like glossy rust, shot through with various shades and glimmering with mottled colors, the base irredescent red. It is by rising star Hashimoto Tomonari and comes enclosed in the original signed wooden box titled: Untitled Utsuwa (vessel). It is 13 cm (5-1/2 inches) diameter and in excellent condition, directly from the artist this winter.
After hand forming and sculpting the shapes, they are bisque fired, then glazed and fired again at a relatively low temperature (Between 1000 and 1100 degrees, like Raku ware). Then he builds a brick oven around each piece and brings the temperature up to 500 degrees, and adds millet or rice husk, which carbonizes the surface, creating incredible colors and random patterns leaving the viewer with a feeling like rusted or heated metal. Although many of his works are monumental, we have requested him to create some things a bit easier to ship…
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa Univversity of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. He will make his Western debut in Spring 2020. Get pieces by him while you can!

Enigmatic script rises like fingerprints from the surface of this vertical black monolith by Shigemori Yoko dating from quite early in her career titled Autumn Field. The piece is slab-formed, the slabs pressed over a surface inscribed with mysterious scrawling and texts, one feels it possible to read, but it proves elusive. Like much of her work it is raw, Like garage band music. There is no other decoration, a powerful statement which staggers to one side. It is 14 x 17 x 40 cm (7 x 6 x 16 inches) and is in excellent condition.
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 spectacular faceted deep chawan in dual-color by Nishihata Daibi enclosed in the original signed wooden box titled Tamba Kakewake Chawan. It is 9.5 cm (just under 4 inchers) tall, 11-12 cm (4-1/2 to 5 inches) diameter and in excellent condition.
Nishihata Daibi (also sometimes written NIshibata) was born in Tachikui Village, Hyogu in 1976. After graduating the Law Department of Kyoto University, one of the countries most formidable schools, in 1999, the promising young lawyer moved to complete a ceramics course at the prefectural vocational school, and then a stint at the Municipal Industrial Research Institute (Like many of the greats before him, Kawai Kanjiro, Hamada Shoji etc). His first solo exhibition was held at Kuroda Toen in Ginza, quite a feat for a young artist. In 2005 he first exhibited with the Nihon Dento Kogeiten National Traditional Crafts Exhibition. The following year, in addition to that venue, he was exhibited at the Chanoyu Zokei Ten a (Modern Forms in Tea). While his works were popular in private Department store exhibits, he continued with these two jurried fairs, but tragically died of heart failure at the very young age of 34 in 2010. The number of works by this artist are very few and difficult to find. He is held in the collection of the Minneapolis Institute of Arts among others.

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