Catalog: Artists: Ceramics: Pottery (618)

A covered container made as an incense burner by Koyama Kiyoko slabbed and cored from Shigaraki clay and covered in glassy green motlen ash enclosed in the original signed wooden box. It is 13.5 cm (5-1/2 inches) diameter, roughly the same height and in excellent condition.
Koyama Kiyoko was born in Sasebo, Nagasaki in 1936. Following the second world war the family moved to Shiga prefecture, eventually settling in the pottery village of Shigaraki. She took a job as a ceramic painter's assistant at a young age. In 1954 she began to work as a pottery decorator in Shigaraki under Nakashima Takamitsu. Later she moved to Kyoto to study Kenzan ware and Sometsuke under Yoshitake Eijiro. Aged 27 she began working in earnest in clay and studying clay technique under Misawa Kenzo. Enthralled by an ancient pot shard with natural blue ash glaze, she sought to recreate this effect in modern times, building her own kiln and repeatedly firing, searching for that magic point, but slowly pushing the family toward insolvency. Not only was she attempting to break barriers with the pots she created, but she was forced to break barriers in a male dominated world where women were prohibited from the wood fired kiln as unworthy. She did have her supporters of course, and with their help and persistence and ever longer firings she eventually succeeded in finding that blue. Kiyoko has a list of shows and prizes which would fill pages, including the Nihon Dento Kogei Ten Traditional Crafts Exhibition, Nihon Togei Ten Ceramic Exhibition, the Asahi Togei Ten Ceramics Exhibition as well as many international exhibitions. Her son Koyama Kenichi (1961-1992) worked to take over the family kiln, but succumbed to Leukemia after a long fight. Their story is the subject of the film Hi-Bi (2005) and the recent NHK television drama Scarlet. She is the preeminent pioneering female wood firing artist in Japan, and bore the brunt of centuries of discrimination against women. Through it all she persevered to become one of the most highly sought of Shigaraki potters. For more on her works see Modern Japanese Ceramics in American Collections, Japan Society New York, 1993

Crackled green glass pools in the center of this humble tea bowl by Ezaki Issei enclosed in the original signed wooden box titled simply Chawan. The works of Issei personify the humble virtues of the tea ceremony. They are imbued with a sense of Musakui (Lack of intention), a bowl that has come to be, rather than a bowl that was created. It is 15.5 cm (6 inches) diameter, 5.5 cm (2-1/4 inches) tall and in excellent condition.
Ezaki Issei (also Esaki, 1918-1992) was born in Tokoname, but came to the road of the potter later in life, establishing himself as an artist in 1956. It was he who set the pattern for the research and revival of medieval techniques. His work was exhibited and awarded at the National Art Exhibition (Nitten), National Traditional Crafts Exhibition (Nihon Dento Kogeiten), Asahi Crafts Fair (Asahi Kogeiten) and the Modern Japanese Ceramics Exhibition (Gendai Nihon Togeiten) among others. He taught both Osako Mikio and Takeuchi Kimiaki, making him likely the most influential 20th century Tokoname artist. After ten years battling sickness and on the slate to be named a living national treasure, he succumbed to illness at the age of 74. Several works by him is held in both the National Museums of Modern Art in Tokyo and Kyoto.

The best sake related piece I have ever seen by Koinuma Michio enclosed in the original signed wooden box titled very simply Tokkuri. The draping curves and weep of color is superb, and sets this above all others. Michio has long been inspired by archaic forms, and this is reminiscent of the roughly 5000-year-old Jomon Venus (a National Treasure) unearthed in Chino, Nagano prefecture. His coloration seems derived from ancient Sue-ki ware, and he goes to great lengths to erode the pots, allotting them an almost hallowed quality, as if they have been treasured for millennia. This Tokkuri is 14.5 m (5-3/4 inches) tall and in excellent condition.
Koinuma 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, one of the top three schools in Japan, for graduate studies in economics and politics. 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.

A crusty black clay vase by Sakata Jinnai enclosed in the original signed wood box. Sculpted out into a crescent, it roughly forms a 24 cm (9-1/2 inch) diameter circle. Excellent condition.
Sakata Jinnai was born in Tokyo in 1943, and began as an apprentice under the legendary Kamoda Shoji in 1964, establishing his first kiln in 1966. His work was selected for display at the Nihon Dento Kogei Shinsaku Ten (National Traditional New Crafts Exhibition) in 1969, and the following year the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition). In 1971 his work could be seen at the first Nihon Togeiten National Ceramics Exhibition. This event would tour the United States and Canada as well. Two years later he would be seen there again, and this time the show would tour South America. In 1977 he would move away from the competitive world of mass exhibitions and focus more on private galleries. He was the first artist selected for display at the newly opened Takashimaya Gallery in New York in 1993. Work by him is held in the collection of the British Museum, Rockefeller Foundation, Sakuma Museum, Waseda Universty Museum, as well as some of Japans holiest sites such as Ise Shrine, Izumo Shrine, Takachiho Shrine, Yakushiji in Nara and both Kodaiji and Enryakuji Temples in Kyoto. Not limited to clay, he also works in painting, Washi hand made paper (from 1995), and glass (from 2000).

A small peach-colored pebble shaped vase by Yamaguchi Michie enclosed in the original signed wooden box. The opening undulates in an organic manner, accentuating the natural state of the form. It is 17 x 15 x 14 cm and is in excellent condition, directly from the artist.
Yamaguchi Michie was born in Ichinomiya, Aichi, between the Seto and Mino pottery centers in 1964. Her works have been seen at the Nitten National Art Exhibition, Nihon Togeiten National Ceramic Art Exhibition, As well as Korea, Hungary and Czechoslovakia. She established her own kiln and studio in Northern Nagoya in 2003. She has been awarded at the Nihon Shin-Kogeiten National New Crafts Exhibition, Kikuchi Biennale, Mino Togeiten, Kobe Biennale, as well as the aforementioned Nitten, Joryuten and Nihon Togeiten, among many others.

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.

An ash encrusted vase by Kanzaki Shio enclosed in the original signed wooden box titled Shigaraki Hanaire. Perfect for the tea room, it exudes that sense of quietude and degradation (Wabisabi) central to that aesthetic. It is 27 cm (10-1/2 inches) tall and in excellent condition.
Kanzaki Shiho (1942-2018) preferred firing his kiln for ten days, resulting in the rich textures and heavy ash deposits apparent on his work. He was born in Shigaraki, and was fast tracked into the Kansai University Law Department, but rather the life of a lawyer, after graduation he went with his heart to take up the precarious life of a potter, apprenticing under Mino artist Matsuyama Suketoshi. Later he returned to Shigaraki working there at the research center while developing his own style and methods with the Anagama. He consistently stayed with the personal world of private exhibitions, developing a large following both at home and abroad and his list of exhibitions is impressive. He has been the subject of several documentaries and Television interviews, and is widely published. For more information see, The Fire Artist, a documentary by Canadian Director Claude Gagnon. He unfortunately passed away last year and these may be the last pieces we have by him.

A beautifully organic pouring vessel as if made of silvered leaves or barnacles by Shingu Sayaka enclosed in the original signed wooden box titled Gakuyo Mizutsugi. It is 13.5 x 21 x 18.5 cm (5-1/2 x 8-1/4 x 7-1/2 inches) and is in excellent condition, directly from the artist. Shingu Sayaka was born in Osaka, the industrial and commercial heartland of central Japan, in 1979. She graduated the Osaka University of Arts in 2001, before being selected as an artist in residence at the The Shigaraki Ceramic Cultural Park. She exhibits her amazing sculptures at the Asahi Togeiten where she has garnered a number of awards, and has a list of exhibitions to back up her popularity.

A spectacular pottery sculpture of the Okoze (Scorpion Fish) by Kimura Gyokushu enclosed in the original signed wooden box titled simply Bizen Okoze. It is 27 x 18.5 x 9 cm (11 x 7-1/2 x 3-1/2 inches) and is in excellent condition.
Kimra Gyokushu was born the eldest son of the 16th generation Kimura Munetoku in 1953. He graduated from Nagoya University of Arts in 1976, then went on to be awarded the Okayama Mayor's Award at the Okayama Prefectural Exhibition that same year. In 1978 he was selected for the 10th Nitten National Exhibition, subsequently exhibiting there more than 30 times; and his work was again awarded at the Okayama Prefectural exhibition. He succeeded in his research and creation of white Bizen in 1995, and was selected for Shigaraki Ceramics Exhibition. He became a lecturer at Kobe Women's University Seto Junior College from 2001, and from 2003 served as a juror at the Okayama Prefectural Exhibition. In 2009 he was made vice president of the Japan Ceramic Sculpture Association. He accepted a position as lecturer at Okayama Prefectural University in 2013.

Two platinum spikes erupt from the black glazed surface of this Kurinuki vase hollowed out from a black of black clay by Masatomo Toi, the first Kurinuki vase he has created (we think he is on to something). It is 21 cm tall, 25 x 23 cm (10 x 9 inches including the spikes. It comes with a signed wooden placard, directly from the artist.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future

Three gilded thorns shatter the matte white surface of this large vase by Masatomo Toi, a striking combination of ideas. It is from his Dilemma series, the only piece in matte finish. It is 20 cm (8 inches) diameter and in excellent condition.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future.

A deep black glazed bowl perfect for winter tea by Tsukigata Nahiko enclosed in a wooden box annotated by his student and titled Seto Guro Chawan. The subtleties difficult to discern, there are two distinct colors of black, with shiny, and one matte. It is 4-1/2 inches (11.5 cm) diameter, 3-3/4 inches (9 cm) tall and in excellent condition.
Tsukigata Nahiko (1923-2006) was not only an accomplished ceramic artist, but also a painter, calligrapher, sculptor and musician. Born in Niigata prefecture, he was at Waseda University in 1941 when he was summarily drafted into the Army. After the war he attended the Arts course of Nippon Daigaku University and was struck by the works of Living National Treasure Arakawa Toyozo, to whom he apprenticed in the arts of Shino and took his mentors work to a new level. Like all art, his was alive and always evolving. Starting with the replication and research of Momoyama techniques to the culmination of his efforts in Oni-shino, Nahiko has taken Shino beyond all others. It was not an easy road, for the first 15 years he worked for a ballet school, spent time as a recluse priest at Myoanji temple, and wandered the country playing the shakuhachi. It was a time of great change in Japan, starvation was rampant immediately after the war and supporting oneself through the little known art of Shino-yaki was difficult. However he persevered, along with Toyozo, Kato Juuemon, Kato Kohei and others, to bring Shino to the forefront of ceramic arts. Heavily prized domestically and abroad in his lifetime, his low output and unique quality make his work a must have for collectors. Ayukai Kogetsu was a female artist from Miyagi prefecture who became a student and follower of Tsukigata in 1979. She currently takes part in calligraphy and ceramic exhibitions throughout Japan.

Silver glistens inside the near matt core of this fabulous chawan by JCS Gold Award winner Ito Keiji enclosed in the original signed wooden box. It is 12 cm (5 inches) diameter, 9.5 cm (just less than 4 inches) tall and in excellent condition.
Ito Keiji was born in 1935, and has spent his life challenging the accepted concepts of traditional ceramics. He was awarded at the 1981 Faenza International Ceramics Exhibition. He was awarded the Gifu Prefectural Cultural Award in 2006, and again the Award for Culture and Arts in 2013, culminating in the prestigious Japan Ceramics Society (JCS) Gold Award in 2017. Work by him is held in a plethora of important institutions throughout the globe. Tokyo and Kyoto National Museums of Modern Art, Gifu Prefectural Museum and Gifu Prefectural Museum of Contemporary Ceramics, Shiga Togeinomori Museum of Ceramic Art, Paramita Museum and Aichi Prefectural Ceramic Museum among others in Japan as well as the Everson Museum, Honolulu Museum, Art Gallery of New South Wales, and Faenza among others.

Large Leafed Vines are silhouetted against age darkened silver on this striking covered basin by Banura Shiro enclosed in the original signed wooden box. A segment of vine serves as a handle on the lid and it appears to float above the table on three ribbon feet. It is 25 cm (10 inches) diameter, 15 cm (6 inches) tall and in excellent condition.
Banura Shiro (1941-2001) was born the fourth son of influential Lacquer Artist Banura Shogo. 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) who was a student of Kitaoji Rosanjin. Rosanjin, a restaurateur, artist, and overall renaissance man believed the dish was there to support and bring out the beauty of food served. Shiro took this as his raison d’etre; his lifetime pursuit to create dishes which complimented the seasonality, texture, color and flavor. He had 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 was low, but quality and originality high, making his work very much in demand.

A dramatic Shino Mizusashi covered in flowing glaze by Sakai Kobu enclosed in the original signed wooden box. It is 20 cm tall, 19cm diameter and in excellent condition.
“I follow no teacher. I take no disciples. Independent, I don't get along well with public exhibitions”. Kobu Sakai from Toki City, one of Japan’s ceramic heartlands, has mastered Shino through self-study. He succeeded a kiln mass producing generic pottery, but decided he wanted to make his own works. “I walked around the nearby mountains and fields. Any piece of pottery that I encountered in an old kiln became my teacher. His works have been shown in solo exhibitions at department stores, and in 2002, he was designated as an intangible cultural property of Toki City. The 85 year old is well known for developing in the 1990s a blue Shino glaze using Cobalt and Iron Oxides known as Heki-Shino which shocked traditional ideas.

A shell shaped swirling form by young female artist Takatsu Mio enclosed in the original signed wooden box. It is 6-1/2 inches (16.5cm)wide, roughly 7 inches (18cm) tall and in excellent condition.
Takatsu Mio (b. 1976) was raised in Gifu prefecture among the scattered kilns of Mino. She graduated the Osaka University of Arts Sculpture Department in 1999, moving on to advanced studies which she completed in 2001. Her first exhibited works were in 1999, and then again in Tokyo in 2001. The following year she exhibited with the 6th International Ceramics Exhibition in Mino with several private exhibitions over the following years in some of Japans top venues. In 2005 she made her overseas debut. In 2009 her work was featured in Women Ceramic Artists in the 21st Century (Paramita Museum/Mie Japan) 2011 saw her work accepted into the Faenza International Ceramics Exhibition in Italy, as well as the Nihon Togeiten National Ceramics Exhibition.

Every facet is unique on this natural torn shape by Kishimoto Kennin enclosed in the original signed wooden box titled Iga Hanaike ‘Honoka’ or Fire Flower. It is much like a flower in clay, rising up from the bulb, the flowers placed into it the extension of the stalk. It is 32.5 cm (12-3/4 inches) tall and in excellent condition.
Kishimoto Kennin has been working with clay since the 1950s, devouring styles along the way. Shino, Seto, Oribe, Iga and Celadon, all very different approaches which he masters one at a time, extending his unique view of the arts to new realms, and moving on to the next challenge when his appetite and personal genius has been satiated. He was exhibited and prized at the National Japanese Crafts Exhibition (Nihon Dento Kogei Ten), National Ceramics Exhibition (Nihon Togei Ten), Chunichi International Ceramics Exhibition (Chunichi Kokusai Togei Ten) and Asahi Togei Ten among others, and is held in several important international collections. His Iga work is particularly remembered.

The mouth of this vessel by Kato Yasuhide is placed off center, dissonant to the linear decoration which causes a tension between the two. It comes enclosed in the original signed wooden box titled Senmon Beni Hakusai Henko (Red and White Colored Odd Shaped Vessel with Line Decoration). It is 30 cm (12 inches) tall, 18.5 x 13.5 cm (7-1/4 x 5-1/2 inches) at the base and I excellent condition. Retaining the original Shifuu and Shiori.
Kato Yasuhide was born the eldest son of (to be) Living National Treasure Kato Takuo in 1945. He came to prominence when he was awarded top prize at the Asahi Ceramic Art Exhibition in 1975. Focusing on sculptural forms, he was awarded and served as a juror for the Nitten National Exhibition where he exhibited consistently. In 1995 he succeeded the family name, becoming Kato Kobei VII. In 2000, upon the death of his father, he withdrew from the Nitten and in 2006 picked up his fathers legacy of research into Persian and silk Road ceramics. He has received high praise, awarded the status of holder of intangible cultural properties in Tajimi City and is former President of the Mino Ceramic Society.