Catalog: Artists: Ceramics (890)

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.

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 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.

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.

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 versatile platter with three Mukozuke dishes, perfect for condiments or hors-d’oeuvres. I imagine, in Japanese cuisine, a large grilled fish shared by the family, with pink salt, sansho, and sea salt in the three dishes, there to flavor to your taste. The tops are smooth cut like folded paper, but the bottoms are torn away in honeycomb like cubicles, creating a very distinct contrast unique to this artist. The plate is 14 x 28 x 4 cm (5-1/2 x 11 x 1-1/2 inches). The high dishes are 8.5 cm (3-1/4 inch) cubes. They come enclosed in their original signed wooden boxes, untitled, but decorated with overlapping cubes. These are by the rising star Kato Hirotaka who was born in Tajimi, Gifu prefecture, home of Shino and Oribe in 1985. His work has been exhibited at the Takaoka Craft Competition, Itami International raft Exhibition and Japan Ceramic Art Exhibition among others.

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 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.

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 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.

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 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 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.

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 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.