Catalog: Artists: Ceramics: Pottery (618)

An organic sake cup on stand in pastel yellow by Yamaguchi Michie enclosed in the original signed wooden box titled Shuhai. It is roughly 6 cm (2-1/2 inches) diameter and is in excellent condition, directly from the artist.
Yamaguchi Michie was born in Aichi prefecture in 1964, and came to pottery at the age of 35, opening her studio in Nagoya in 2003. She first exhibited with the Nitten National Art Exhibition in 2008. In 2009 she was accepted into the Nihon Togeiten National Ceramic exhibition, where she has been subsequently awarded. That same year she was recipient of the Shorei-sho prize at the Kobe Biennale, and she entered for the first time the Womans Association of Ceramic Artists (WACA) Exhibition, receiving the T-shi prize. In 2011 she would be awarded at the Kikuchi Biennale, the 45th Female Artist Exhibition, as well as the Nihon Shin Kogeiten National New Crafts Exhibition. She would also first enter the International Ceramics Festival in Mino. 2012 saw her work awarded at the Mino Togei Shorokusho Chawan Ten Tea Bowl exhibition as well as the Mino Togei Ceramic Exhibition. In 2014 she was prized at the Hagi Taisho-ten show. She was awarded again in 2017 at the 43rd Mino Togeiten, and Governors prize at the 54th WACA Exhibition in 2020. In 2021 she was awarded the 43rd Nihon Shin Kogeiten New Crafts Exhibition, as well as the Kasama Togei Taishou Ten and in 2022 at the Tobi Ceramic Art Society of Japan Exhibition. She has taken part in ceramic events in Europe and Korea, and her work is held in the Toshin Ceramic Museum.

An organic sake cup on stand in pastel yellow by Yamaguchi Michi enclosed in the orignalsl signed wooden box titled Shuhai. It is roughly 6 cm (2-1/2 inches) diameter and is in excellent condition, directly from the artist.
Yamaguchi Michie was born in Aichi prefecture in 1964, and came to pottery at the age of 35, opening her studio in Nagoya in 2003. She first exhibited with the Nitten National Art Exhibition in 2008. In 2009 she was accepted into the Nihon Togeiten National Ceramic exhibition, where she has been subsequently awarded. That same year she was recipient of the Shorei-sho prize at the Kobe Biennale, and she entered for the first time the Womans Association of Ceramic Artists (WACA) Exhibition, receiving the T-shi prize. In 2011 she would be awarded at the Kikuchi Biennale, the 45th Female Artist Exhibition, as well as the Nihon Shin Kogeiten National New Crafts Exhibition. She would also first enter the International Ceramics Festival in Mino. 2012 saw her work awarded at the Mino Togei Shorokusho Chawan Ten Tea Bowl exhibition as well as the Mino Togei Ceramic Exhibition. In 2014 she was prized at the Hagi Taisho-ten show. She was awarded again in 2017 at the 43rd Mino Togeiten, and Governors prize at the 54th WACA Exhibition in 2020. In 2021 she was awarded the 43rd Nihon Shin Kogeiten New Crafts Exhibition, as well as the Kasama Togei Taishou Ten and in 2022 at the Tobi Ceramic Art Society of Japan Exhibition. She has taken part in ceramic events in Europe and Korea, and her work is held in the Toshin Ceramic Museum.

Love the work of this elegant artist, here is an exquisite beer cup by Doi Masafumi enclosed in the original signed wooden box titled Seiji Tensenmon Mugi-shu-Hai. It is 13 cm (5-1/4 inches) tall and in excellent condition, directly from the artist. This would make a stunning gift for someone born in summer.
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.

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.

A small lapping cluster like a flower bulb in sand-textured earthtones by Yamaguchi Mio, a rare very small piece which can easily fill a nook in a collection. It is 8.5 x 9.5 x 8.5 cm (roughly 3-1/2 inches diameter) and is in excellent condition, directly from the artist. It comes with a signed wooden box, which will be ordered upon sale.
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 11International 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 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 playful troupe of elephants parade around the rim of this early bowl by Shigemori Yoko enclosed in a signed wooden box titled Zobachi. The creatures are in relief, raised from the surface, not engraved into it. This was made by pressing the clay slab onto a surface into which were engraved the family of creatures. It is roughly 13cm 12.7 cm (over 5 inches) diameter, 6 cm (2-1/4 inches) tall and 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 beautiful small flat serving dish on raised turned foot by Murakoshi Takuma the pebble studded clay covered in emerald green ash glaze and enclosed in the original signed wooden box titled Hai-yu Hira-maru Ita-zara. It is 18 cm (7-1/4 inches) diameter, and stands 4.5 cm (just less than 2 inches) tall. Perfect for cheeses fruits or other shared snacks.
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.

The flattened surface of this elevated dish is scored by the artist fingers and covered in a smattering of green ash glaze by Murakoshi Takuma enclosed in the original signed wooden box titeld Hai-yu Yubi-mon Sara. It is 23 x 20 x 5 cm (10 x 8 x 2 inches) 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 fluted ceramic sculpture by Yamaguchi Mio titled Sekai no Kyokai (Border of worlds). Thin earthen glaze covers the scalloping growth, like mushrooms or barnacles. It is 27 x 13 x 6 cm (11 x 5 x 2-1/4 inches) and is in excellent condition, directly from the artist.
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.

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.

Black Bizen Guinimo and Tokkuri by Oiwa Tomoyuki enclosed respectively in their original signed wooden boxes. There is a wonderful dialog between the two pieces, the bottle blackened with dark dry ash buffeting the surface, while over the same darkness has been blasted molten ash on the cup, flowing around and beading on one side. The juxtaposition between the liquidity and dryness of the two, same colored, ash effects is delightful. The sake cup is 7 cm (2-3/4 inches) diameter, 5.5 cm tall, the Tokkuri 14 cm (5-1/2 inches) tall and both are in excellent condition. We picked these up during our summer trip to Bizen in June.
Oiwa Tomoyuki was born in Hyogo prefecture in 1977, and graduated the Bizen Ceramic Center in 2004. The following year he came to study under the outsider Kakurezaki Ryuichi, where he would remain for 8 years, garnering a lifetime worth of knowledge from the master before going independent. In 2014 he built a half-submerged tunnel kiln (anagama), completing his first firing in 2015. He has since been featured widely and is known for sell out shows, especially for his sake vessels.

An elongated Kutsugata Chawan, the sloughing ash glaze interrupted by swaths of running iron, which turn to rivulets on the roughly textured outside, while forming a black pool in the center of the bowl. Surprisingly comfortable, it has a definite drinking point at one narrow end, the rich dark lagoon revealed as one tips up to take the last sip. It is 16 x 12 x 8 cm (6-1/4 x 5 x 2-1/4 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 perfect example of the Chossen Karatsu style of flowing glaze by master of the craft Nishioka Koju enclosed in the original signed wooden box. It is quite large for a Tokkuri, at 20.5 cm (just over 8 inches) tall and in excellent condition.
Nishioka Koju (1918-2006) was born in Saga prefecture, and after participating in kiln research began working in Karatsu style ceramics around 1950 in a kiln he built that was named by Koyama Fujio. To this kiln came Fujiwara Kei and Arakawa Toyozo, the latter from whom he received the name Koju. He always avoided the world of large scale exhibitions in favor of small personal spaces, always preferring the private exhibition. Despite this, his reputation was impeccable and he was rated as one of the most influential people in Japanese ceramics by Honoho Magazine. His work is contained in the Polk museum, the Cleveland Museum as well as many other important collections. He is one of the most highly valued of the Karatsu artists.

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.

An elegant bowl swept in a Zen circle of ink by Shigemori Yoko, the vessel evidencing several dips in white slip, creating a captivating sensibility which contests the simplicity of the coloration. It is 14 cm diameter, 8 cm tall and in perfect condition, directly from the artist’ family and comes enclosed in a wooden box annotated by her nephew.
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 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.

A Beautiful bowl in crackled white set into a lattice like structure of raw porcelain pierced with a plethora of various sized holes by Kato Yoshiyasu enclosed in the original signed wooden box titled Haku-yu no wan (White Glazed Bowl). It is 12.5 cm (5 inches) diameter, 10 cm (4 inches) tall and in excellent condition, from the artist this year.
Kato Yoshiyasu was born in Aichi prefecture in 1985, and graduated the Kurashiki Kogei Crafts School design department in 2008. He then went on to study at the Tajimi Ceramics Research Facility, finishing there in 2014. He moved to Nshio city in 2018, where he set up a studio and works today while raising a cute little baby with his wife.

Two semi crushed cylinders, of raw earth by Niisato Akio enclosed in the original compartmentalized and signed wooden box. Each is roughly the size of a real can, the standing piece 13 cm (5 inches) tall, 10 cm (4 inches) diameter, the recumbent work 8 cm (3-1/4 inches) diameter and both are in prefect condition. These were made during his sojourn at the Shigaraki Togei No Mori Ceramics Research facility last year (2019) and are an interesting diversion from his more common white porcelain forms.
Niisato Akio was born in Chiba, North of Tokyo in 1977. After leaving the philosophy course of Waseda University (one of Japan’s premier universities), he graduated from the Tajimi City Pottery and Design Center in 2001. He received grand prize at the 3rd Paramita Museum Ceramic Competition in 2008. He has participated in a number of group exhibitions as well as solo exhibitions, including at Keiko Gallery in America and in Italy. He served as an Artist in Residence in the Harvard Ceramic Program from 2011-2012, receiving an MA there. Work is held in the collection of the Paramita Museum in Mie and the Faenza International Ceramics Museum in Italy among others.

A sake serving vessel by Yamada Kazu enclosed in the original signed wooden box titled Kaku-yu Oribe Shuchu. It is 18.5 cm tall and in excellent condition.
Yamada Kazu was born in Tokoname city in 1954, one of Japans ancient kiln areas, into a line of potters. He would have been influenced early on by his father, Yamada Kenkichi and uncle living National Treasure Yamada Jozan. He graduated the Osaka Art University before moving to Echizen to establish his first kiln. He was propelled to international fame after building an Anagama kiln in Germany in 1988. He has been displayed domestically at the Asahi Togeiten, Nihon Togeiten and Chunichi Kokusai Togeiten as well as a host of private exhibitions in prominent galleries and department.

A set of five small dishes in the shape of an upturned roof tile covered in tri-colored glaze by Murakoshi Takuma enclosed in the original signed wooden box titled Shunju Kawara-zara. Each is roughly 14 x 12 x 5 cm (5-1/2 x 4-1/2 x 2 inches) and all are in excellent 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.

A set of large Abalone Shell Shaped bowls covered in ash glaze with liquid pools of jade green by Murakoshi Takuma enclosed in the original signed wooden box titled Hai-yu O-Awabi Bachi. This is one of his most popular forms, and we had to get to the kiln immediately after firing to garner a few sets. Perfect for winter food, Oden or even Niku-jaga. These are 19.5 x 15 x 8 cm (7-3/4 x 6 x 3 inches) and are in perfect condition, from his most recent firing.
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.

Wow! Here is a radical piece from deep in the embers of Sugimoto Sadamitsu enclosed in the original signed wooden box titled simply Iga Hanaire. It is utterly simplistic in form with dramatic and complex kiln effect born from placement and the inferno. The vase is 26.5 cm (10-1/2 inches) tall, 12.5 cm (5 inches) diameter and in excellent condition.
Sugimoto 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.

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.

Dashes of black like traces of some Zen ink painting decorate the surface of this set of five pates by Kondo Yutaka enclosed in the original signed wooden box titled Sumi-nagashi Chu-zara. Each is 23.5 cm (9-1/4 inches) diameter, and all are in excellent condition, dating circa 1978.
Kondo Yutaka (1932-1983) was born into a traditional pottery family in Kyoto. He studied under Living National Treasures Kondo Yuzo and Tomimoto Kenkichi at the Kyoto Municipal University of Art, graduating in 1957. That same year his work was accepted into the New Masters of Crafts Exhibition (Shin-takumi Kogeikai Ten). From 1962-63 he traveled in the US and lectured at Indiana University with Karl Martz. Returning to Japan he was granted a position at his Alma Matter, where he would continue to teach for the rest of his life, while making frequent research trips abroad to South and Central Asia, where he would master the T’zu Chou techniques. He twice received the Mayors prize at the Kyoten Exhibition, was awarded at the Asahi Togeiten, and is recipient of the coveted JCS award in 1967. The following year would see his work displayed at the New Generation of Ceramics Exhibition held at the Kyoto National Museum of Modern Art. In 1985 a posthumous exhibition was held honoring his life's work at the Kyoto Municipal Museum of Art. Work by the artist is held in the Metropolitan Museum of Art, NY, Musée Tomo, Tokyo, Minneapolis Institute of Art and the Victoria & Albert Museum, London among others. For more on this important artist see the book Kondo Yutaka: The Transformation of a Traditional Kyoto Family (2010).

A quintessential Mimitsuki Mizusashi with loop handles by die hard Takahashi Rakusai enclosed in the original signed wooden box. This is a superb example of the form by master of the tradition. It retains both the original pottery lid and custom made black lacquered wood Kae-buta lid. The vessel is 16.5 cm (6-1/2 inches) diameter, 17.5 cm (7 inches) tall and in excellent condition.
Takahashi Takusai IV was born the eldest son of the 3rd generation Rakusai in Shigaraki in 1925, given name Mitsuo. Trained under his father, in 1973 he was invited to exhibit in Los Angeles where he lectured at the University of California. He took the name Rakusai in 1976. A die hard proponent of tradition, in 1991 he received the International Arts and Culture Award from the Japan Foundation for the Promotion of Culture.

A prototypical Momoyama style Iga vase by Atarashi Kanji enclosed in the original signed wooden box titled Iga Mimitsuki Hanaire. It is 24 cm tall (just under 10 inches) and in excellent condition.
Atarashi Kanji was born in Osaka in 1944, and graduated the Osaka College of Craft design. After 3 years in Kobe, and 4 in Kishiwada (Wakayama) he came to settle in Iga, where he was one of the driving forces behind the resurrection and preservation of the Iga tradition. Although displayed at the National Craft Fair, he prefers the intimacy of the private exhibition, of which he holds several every year. And if ones visit to japan is not timed right for an exhibition, he can otherwise be found at his kiln working along with his son and daughter.

A radical Iga wall vase by Atarashi Manabu enclosed in the original signed wooden box titled Iga Kakehana-ire. It is 36.5 cm (14 inches) long and in perfect condition, directly from the artist.
Atarashi Manabu has been growing in popularity as one of the leaders in the Iga pottery tradition since the first time I saw his work nearly 20 years ago when visiting the family showroom in Iga village. Born in 1973 in Osaka son of the second generation artist and one of the leading revivalists of the Iga tradition in post war Japan, Atarashi Kanji. He graduated the literature department of Kansai University in 1995, moving to apprentice under his father a few years later. In 2002 he built his first anagama Kiln, and held his first of a multitude of solo exhibitions. Intensely fired multiple times to achieve the bidoro glass puddles and landscape effects which define his aesthetic, the geometric works add a contemporary sensibility to the traditional Iga style and transcend the realm of utilitarian crafts breaking into the sculptural domain. His work has proven innovative and challenging to the norm, taking his fathers tradition into the 21st century.

A spectacular Chawan Tea bowl in rich copper green by Tsukamoto Haruhiko enclosed in the original signed wooden box titled simply Oribe Chawan. It is 13 cm (5 inches) diameter, 9 cm (3-5/8 inches) tall and in perfect condition.
Tsukamoto Haruhiko was born in Toki city, Gifu, in the heart of ceramic country in 1959, and raised among the kilns of the Mino region. He turned toward ceramics at a young age, studying conversely under Nonaka Shunsei (from 1977) and graduated from both the Aichi prefectural Seto Ceramics Research Facility (1978) and Gifu Prefectural Tajimi Research Facility (1980). The following year he moved to study under Asai Reiji. He established his own kiln in 1985, capturing the worlds attention with his Grand Prix winning piece at the Asahi Ceramics Exhibition in 1996. He has been exhibited at the National Traditional Crafts Exhibition (Dento Kogeiten) and Issui Kai Exhibition among many others. He was awarded silver prize at the Contemporary Tea Ceramics Exhibition (Gendai Chato Ten) as well as being awarded at the Mino Togeiten Ceramics Exhibition

Be the only one on the block with a Murakoshi Takuma wash basin! Here is a sink made from his infamous rugged Shigaraki clay covered in Ash, iron and feldspar. This will undoubtedly become a conversation piece! It comes complete with stainless steel drain pipe fittings. The sink is 35 cm (14 inches) diameter, 12 cm 5 inches) deep and is 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.

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,

A superb example of the flame licked works of innovative Hagi artist Yamato Tsutomu enclosed in the original signed wooden box titled Hagi Kohiki Honosai Yonmen Hosoguchi Hanaire. It is 32.5 cm (13 inches) tall and in excellent condition.
Yamato Tsutomu was born the second son of Yamato Yasuo, the man who brought Hagi into the 20th century, in 1965. He graduated the Yamaguchi University of Arts in 1988. He has exhibited with Asahi Modern Craft Exhibition, the Nihon Dento Kogeiten (National Traditional Crafts Exhibition) and Dento Kogei Shinsaku Ten (New Traditional Crafts Exhibition) among others. His first solo exhibition was held in 1996. He served as a guest lecturer at Mendocino Art Center in California in 2001, and currently lectures at the Yamaguchi Prefectural University. Work by him is held in the British Museum, the Japan Foundation, the Asian Art Museum of San Francisco, the Yamaguchi Prefectural Museum of Art and Nomura Art Museum among others.

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 trumpeting fluted form covered in igneous blasted ash by Iga legend Kojima Kenji enclosed in the original signed wooden box titled Iga Ruiza Hanaire. Ruiza is the name of these small circular studs which decorate the vase between the flutes near the rim. It seems to dance on the table, the form bent as if in a twirl. This vessel, very organic in formation, is 25 cm (10 inches) tall, roughly 15 cm (6 inches) diameter at the top, and is in excellent condition.
Kojima Kenji was born in Aichi Prefecture in 1953 and graduated from the Tokoname Ceramic Vocational High School in 1971. In 1973 he spent a year in Iga before moving to Bizen for a five year apprenticeship with Konishi Tozo. He returned to Iga in 1979 and built an anagama. He has exhibited with the Nihon Togeiten National Ceramic Exhibition, Asahi Togeiten Ceramic Art Exhibition and Chunichi International Ceramic Exhibition as well as an impressive list of solo exhibitions in some of Japan’s top galleries.

A large broad-footed bowl with precipitous sides covered in black matte glaze by Shigemori Yoko enclosed in a signed wooden box titled Kuro-yu Utsuwa (Black-glazed Vessel) The surface is richly textured, with a slight outward curve at the rim over a raw line scored into the surface. Windows of light like the moon fighting its way through the stormy autumn sky break through the darkness. It is 14 cm (5-3/4 inches) diameter, 10.5 cm (4-1/4 inches) tall and in excellent condition. The box is 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 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.