Catalog: Artists: Ceramics (702)

A fabulous form in striking colors by Miwa Eizo enclosed in the original signed wooden box titled Hagi Hanaire. Raised from a square, the vase has been flattened, covered in Hagi glaze, then the shorter corners slabbed away revealing the raw clay. Thus fired, it is an engaging work of art, obviously buried slightly in the embers on one side, where it goes from smokey gray to mottled lavender and white into pink as it rises. It is 21 x 21 cm (8 x 8 inches) at the base, 30 cm (12 inches) tall and in excellent condition.
Miwa Eizo (1946-1999) was born the second son of Living National Treasure Miwa Kyusetsu XI. He graduated the Private Musashino Art University and was a member of Japanese Traditional Crafts Society, often displayed at their National Exhibition (Nihon Dento Togeiten). He was recipient of top prize at the Tanabe Museums prestigious Modern Tea Forms Exhibition (Gendai Cha no Yu Zokei Ten). ). Unfortunately, he died in 1999 at the early age of fifty two. His brother Ryosaku succeeded the family name as Miwa Kyusetsu XII. He is held in the collection of the British Museum and The National Museum of Modern Art in Tokyo among others. For more on this artist see the book: The Ceramic Works of Eizo Miwa (2001) published posthumously by the preeminent Kuroda Toen art gallery of Tokyo.

A black pipe reminiscent of both an ancient Japanese court cap and a industrial burner chimney by Shibata Shigeru dating circa 1978 enclosed in the original signed wooden box titled Kuro-yu Kaki, Okoru (Black Glazed Vase Titled Rise-up or Occurrence). This piece strongly shows the convention of the second generation Sodeisha members interest in form over decoration. It is quite large at 15 inches (38 cm) tall and in excellent condition.
Shibata Shigeru was born in Tokyo in 1950, graduating the Kyoto Municipal University of Art in 1973, upon which time he moved to his present location. In 1975 he became a member of the avant-garde Sodeisha group which stressed form over function. He held his first solo exhibition in 1980, and was selected for exhibition at the 6th Nihon Togeiten National Ceramic Exhibition in 1981. From there he has concentrated on the more intimate confines of private galleries. For more see Sodeisha Avant Garde Japanese Ceramics, (1979) or Toh vol. 58.

Although I love Bizen pottery for myself, I rarely offer it on the website as the colors are so subtle and designs often so very Japanese. This Chawan by (certainly for her era) the rare female potter Konishi Toko II is a striking exception. It stands out in a room of Bizen as if ringing a bell. This bowl is slightly smaller than normal, with a feminine grace to be found in the gentle curves, 10.5 cm diameter, 8.5 cm (3-1/4 inches) tall and in excellent condition enclosed in the original signed wooden box titled simply Bizen Chawan. The Sangiri surface is exceptional and smooth, almost wet looking, and covered in meandering waves of hi-iro color. Toko I developed the technique, a way to incorporate different shades of white, blue or gray to high-fired red pottery through oxidation without glaze. Toko II continued and expanded the tradition.
Konishi Toko II (Mitsue, 1927-2018) was born the second daughter of Konishi Toko I (1899-1954) and of course, learned from her father upon completion of her schooling. She took over the family business after her father died in 1954, in a very difficult time for Japan, battling against the effects of modernization and the lingering effects of the war and poverty of the early post war era as well as the handicap of being female in a very male-centric tradition. She was a powerhouse, carrying the kiln through the tumultuous years and was succeeded by her own son Tozo (b. 1957) who heads the family kiln today.

Flame shapes fan up on the sides of this trumpeting bottle by Funaki Kenji enclosed in the original signed wooden box. It is 6-1/2 x 7-1/2 x 9-1/2 inches (16.5 x 19 x 24 cm) and is in fine condition. Funaki Kenji (b. 1927) was born the son of potter Funaki Michitada (1900-1963) in Matsue, Shimane Prefecture. Michitada had been a follower of the Mingei movement closely associated with its founders Kanjiro, Shoji and Leach. Kenji trained under his father in both the traditional styles of Fujina and the slipware styles introduced by Leach and associates and also worked in the Mingei style under Hamada Shoji. Work by him is held in the Mingei-kan Japan Folk-craft Museum of Tokyo, Freer-Sackler of the Smithsonian, the Brooklyn Museum and the V&A in London among many others. For more see “The Ceramic Art of Japan” by H. Munsterberg.

A large sculpted image of the goddess of mercy Kannon cut from a solid slab of Iga clay by artist Kishimoto Kennin. The image is 12-1/2 inches (31.5 cm) tall and in perfect condition. The artists mark is engraved into the base of the back; there is no box. This artist has been working with clay since the 1950s, devouring styles along the way. 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.

A cloud of terracotta clay floats over rays of white emanating down through the gray body of this object by Kawasaki Chitaru enclosed in the original signed wooden box titled Light Cloud. The complete lack of glaze accentuates the rich color of the clay body, tiny “tombo-no-me” (dragonfly eyes) salting the surface. It is 20 x 12.5 x 23 cm (8 x 5 x 9 inches ) and in excellent condition, with the artist name and date engraved on the side.
Kawasaki Chitaru (born in Hiroshima, 1938) has dedicated his life since 1988 to promote the development of a pottery village in Bayat, Klaten, Central Java. Splitting his time between there and his position at Kyoto Seika University. Retired in 2008, and now serving as an Honorary Lecturer, he started to focus on education program by building and developing a craft school in that village. As an artist, he has done a lot of art activities and exhibitions since 1960. His latest solo exhibition “Knot, Connection, and String Playing” was exhibited in National Gallery, Jakarta, Indonesia, in 2012. Among other awards he was granted Grand Prix at the 1995 “1st Busan International Exhibition”, Busan, South Korea. In 1983 he garnered Silver in the Ceramic Design Competition organized by the Ministry of International Trade and Industry, and in 1982 his work was selected for the Japan Modern Ceramic Exhibition which traveled throughout Europe.

A sculpture in black glaze by Yoshitake Hiroshi enclosed in the original signed wooden box titled Sakuhin B and dating circa 1980. Very much in the vein of this important avant-garde organization, it has a great deal of presence compacted into a small space. A nearly identical work is published in the book: Sodeisha, 35th Anniversary (Sodeisha, Sanjugoshunen Kinenhan, 1983) which is titled Suikan (Inebriated). Interestingly, Suikan is also a homonym for water pipes. The sculpture is roughly 10-1/2 x 7-1/2 x 2-1/2 inches (19 x 27 x 6 cm) and is in excellent condition.
Yoshitake Hiroshi (Hiromu, 1938-2010) was born in Kyoto in 1938, entering the Kyoto Yoshigaoka School Ceramics Department in 1953. A member of Sodeisha, he currently resides in Nagano Prefecture. student. Along with Kawakami Rikizo and Kusano Fumihiko he helped to form the group Magma in 1958, centered on Outdoor sculpture and non functional forms. He began studying under Yagi Kazuo in 1964, becoming a member of Sodeisha in 1968. His works were selected for International Exhibition by that group (see Sodeisha Avant Garde Japanese Ceramics, 1979 plate 55). He moved to Nagano prefecture in 1990.

This is an amazing work of art, a quashed flaring bucket form covered in hi-iro flame color and natural ash glaze with large silver repairs by Shigaraki legend Tsuji Seimei enclosed in the original signed wooden box titled Yohen Mizusashi. Fired on its side, the piece has warped slightly in the conflagration, flying ash and embers settling on the inside opposite where it has adhered to the kiln floor, apparent as a large kutsuki above a large silver repair. Where it has gone oblong, the artist has filled lightning cracks with silver. Complimenting it, the custom made black lacquered wooden lid has also silver repairs looping along the edges. Incredibly pleasing to behold, it is 25.5 x 20 x 19 cm (10 x 8 x 7-1/2 inches and is in excellent condition.
Tsuji Seimei (1927-2008) was born the son of an antique dealer in Tokyo in 1927. He was a childhood prodigy, and had acquired a reputation before leaving school, allowing him to meet many of the great artists of his day. In 1941 he established a studio with his sister. In 1955 he built his own studio in Tama City, choosing Shigaraki as his medium, he fired prodigiously. He married Tsuji Kyo, also a potter, and together they formed a team which helped define the blending of post-war traditional and non-functional ceramics.

Spectacular Hi-iro defines this sake set by Konishi Toko II enclosed in the original signed wooden box. Various shades of color scorch the undecorated flame licked raw earth. A pleasure to drink from in every aspect, every cup offering a new facet. The tokkuri is 5-1/2 inches (14 cm) tall, cups 2-1/4 inches (6 cm) diameter and all is in perfect condition. Toko, of course, learned from his father Toko I (1899-1954) and was succeeded by his own son Toko III.

A modernist form in white decorated with a simple zen circle by Yoshikawa Masamichi enclosed in the original signed wooden box titled simply Utsuwa (vessel) and dating circa 1985. The minimalist approach is a feature of this artists work, and accentuates the aesthetic Mono-no-aware (p an awareness of impermanence)and the circle on front seems to remind us “keep it simple”. It is 11 x 16 x 18 cm (4-1/4 x 6-1/2 x 7 inches) and in excellent condition.
Yoshikawa Masamichi was born in Kanagawa in 1946, and graduated the Japanese Design Academy in 1968. He first garnered attention in Japan being awarded at the 1971 Asahi Togeiten Ceramics Exhibition, and the following year received honorable mention at the 3rd International Biennale of Ceramic Art Vallorious France(Gold prize there in 2002). He has since received numerous prizes including Grand Prize at the Asahi Togeiten 1981, 1983 as well as the Aichi Prefectural Art and Cultur Award in 2005. Work is held in the Korea World Ceramic Center (Soul), American Craft Museum New York, Keramik Museum Germany, Brooklyn Musuem, Tokoname City Museum, V&A London among many others.

A sculpture of unglazed white porcelain and wood by Yagi Akira enclosed in the original signed wooden box titled Jiki CLOD 92-13 (Porcelain Mass CLOD 92-13) exhibited at Gallery Koyanagi in Tokyo’s fashionable Ginza district in 1992. The original exhibition invitation card, featuring this piece, is included. The stand is 18 inches (46 cm) long an all is in excellent condition.
This name is a must have in any collection of modern Japanese Pottery. Akira was born in Kyoto in 1955, son of avant garde Yagi Kazuo (1918-1979) one of the founding members of Sodeisha. Akira was voted one of the 20 most important living artists by Honoho, Japans premier printed ceramic forum. Works by the artist are held in the British Museum, Victoria Albert Museum, Cleveland Art Museum, Sackler Gallery of the Smithsonian and Tokyo Muesum of Modern Art among many others. He was also the recipient of the Japan Ceramic Society (JCS) award in 1998, one in a long and prestigious list of awards.

Mystical heads adorn the four corners of this Persian-blue glazed open vase by Living National Treasure Kato Takuo enclosed in the original signed wooden box. It is 5 x 4 x 10 inches (11 x 13 x 25.5 cm) and is in excellent condition. Kato Takuo, I am sure, requires no introduction. He was trained in ceramics by both his father, Kato Kobei, and at the Kyoto School of ceramics. He was soon accepted and consistently displayed at any number of National and International Exhibitions, and was named an Intangible Cultural Asset in 1995. This is a rare opportunity to acquire a piece by this highly sought Japanese Artist.

It is amazing the number of shades of gray playing across this simple tile-sculpture by Hayami Shiro. Just less than 2 feet (59 cm) tall. There is a small chip in the base (see photos). Due to size shipping will be accrued separately.
Hayami Shiro (b. 1927) was born in Kagawa Prefecture in 1927, and graduated the Tokushima Industrial University in 1949. His first exhibitions did not materialize until 1964, and from there he flourished. From the late 60s he began exhibiting in National Sculpture exhibitions, and has been often awarded; best known for Tile works and stone sculpture. In 2000 he received the International Artistic Cultural Award (Kokusai Geijutsu Bunka Sho). A prominent work by this artist is on semi-permanent display in front of the Freer Gallery, adjacent to the Smithsonian Museum on loan from the Hirshhorn Collection. Other works are held by the Togei No Mori Museum of Shiga Prefecture, Tokyo City Hall and the Aichi Art Culture Center. A piece by this artist was sold at Bonhams in 2007.

An intriguing white tower by Kato Kiyoyuki enclosed in the original signed wooden box titled Hakuho 83-4. It is quite large at 54 cm (21-1/4 inches) and is in excellent condition. Although the size would make one expect it to be heavy, it is incredibly light. Deceptive….Intriguing…It feels more like a sculpture than a vase, a hallmark of this artist.
Kato Kiyoyuki was born in 1931, the heir to a long-established tile-making business in Seto, Kato studied ceramics at high school. His main interest lay in painting and sculpture, however, and it was only when he was in his late twenties that he began to work in ceramics. He made his submission to the Nitten exhibition in 1958. Having set out with an interest in producing well-designed utilitarian ceramics in keeping with the principles of the then newly established Japan Craft Design Association, he soon turned his hand to the making of sculptural ceramics. Kato's development as a ceramic sculptor owed much to his friendship with Teshigahara Sofu (1900-79), the former head of the Sogetsu school of flower-arranging. Rather as avant-garde tendencies in the world of flower-arranging led Hayashi Yasuo and other members of the Shikokai to produce so-called "objet" flower vases' in the late 1940s and 1950s, Terashige's experimental interests encouraged Kato to explore his sculptural ambitions in vessel as well as non-vessel formats. He is the recipient of the most prestigious Japan Ceramic Society Gold Prize

Enclosed in the original signed wooden box dated 1998. It is 16 x 10 x 12 inches (40 x 25 x 30 cm) and is in fine condition. Yanigahara Mutsuo (b.1934) was raised in Seto, and studied in Kyoto along with contemporary Morino Taimei with whom he maintained a lifelong friendship. His work is largely sculptural, and his choice of colors is his reflection on the decadence of Japanese society. A list of exhibitions and awards would be much too long but includes the Japan Ceramics Society Gold prize in 2002. Listed as one of the most influential potters of the 20th century in the Japanese ceramics magazine Honoho Geijutsu, he is held in the Museum of Modern Art, both Tokyo and Kyoto (MOMAT, MOMAK), The National Museum of Art, Osaka, V&A, Great Victoria Art Gallery, Portland and any number of other prominent public and private collections throughout the world. For more see Japanese Studio Crafts, Tradition and the Avant Garde by Rupert Faulkner.
According to the V&A his “work is striking for its blend of dynamism, colour and wit. A leading figure among Kyoto artists, Yanagihara has taught at Osaka University of Arts since 1968. Yanagihara's application of brightly coloured abstract motifs to vessel forms with anatomical, sometime sexually explicit features - a combination with which he first experimented in the late 1960s and early 1970s - has been a characteristic of his work for the past fifteen years. As in the case of Morino Taimei, a close friend and exact contemporary at Kyoto City University of Arts in the late 1950s, Yanagihara has been considerably influenced by the experiences he gained during two periods of teaching in the United States in 1966-8 and 1972-4. His use of gold and silver - a wry comment, he has explained, on the decaying values of contemporary society and the corruption of Japan's political system - echoes the extravagant style of certain North American artists.”

A stunning large Vase by important Hagi artist Yamato Yasuo enclosed in the original signed wooden box titled Hagi Ensai Henko (Flattened Hagi Vase in Flame Color). The top is raw earth burnt red by the flame, Below dark iron turns to ocher then the soft earthen beige of hagi, which gives way to pink, then cream before turning dark gray. It is 36.5 x 13 x 35 cm (14-1/2 x 5 x 14 inches) and is in excellent condition.
It is likely no collector of Hagi will need an introduction to this innovative artist. Yamato Yasuo was born in 1933 to a long line of Hagi potters. He learned under his father Harunobu and grandfather Shoroku. One of the first to challenge many traditions associated with Hagi Yaki. He was displayed with Sodeisha, Kofukai, the Nitten, Nihon Dento Togei Ten, Nihon Togei Ten among many others. His list of prizes is most impressive and much too long to write here and his influence on the world of Hagi pottery will likely be the source of a thesis someday in the not too distant future! He has been named an important cultural asset of Yamaguchi Prefecture (ken Juyo Mukei Bunkazai) and is held in the collection of the British Museum among many others.

A covered box in red tinged shino glaze by Hori Ichiro enclosed in the original signed wooden box titled Nezumishino Tobako. The pin-holed thick white glaze appears to be licked by the shadows of the flames, and on one side the artists finger prints are clearly visible as four molten points. The way the reds move like vapor across the surface it is as if it is still on fire. It is 10 inches (28cm) long and in excellent condition.
Hori Ichiro (b. 1952) graduated the Tajimi School of Industrial Design and apprenticed under Kato Kozo. He has been awarded the Governors prize at the Asahi Ceramics Exhibtion, and has been displayed at the Chunichi Kokusai Togei Ten as well as Nihon Dento Kogei Ten. He says, “I believe in making pottery which is born of nature…”

Vibrant yellow overfills this deep plate by Living National Treasure Tokuda Masahiko (Yasokichi III) enclosed in the original signed wooden box. It is 21cm (Just over 8 inches) diameters, 6.5cm (2-1/2 inches) tall and in perfect condition.
Tokuda Yasokichi III (Masahiko, 1933-2009) was born the first son of Tokuda Yasokichi II who had been adopted as a teenager into the Tokuda family. Masahiko graduated from the Kanazawa school of arts, and took up apprenticeship under his grandfather and father Yasokichi I & II. Well versed in orthodox Kutani design, he broke with tradition developing his own unique style titled Saiyu in the 1970s. By broadening his spectrum with this new style of Kutani ware he garnered considerable attention. In 1986, he was named a Bearer of Important Intangible Cultural Assets by Ishikawa Prefecture (local version of Living National Treasure) and a decade later was designated Living National Treasure in 1997 for his supremacy in the use of Kutani glazes. Yasokichi III, His works are held by the Polk Museum, the Metropolitan Museum of Art New York, The British Museum, the Victoria & Albert Museum, the Smithsonian, the Indianapolis Museum of Art and Kanazawa Contemporary Museum of Art among many others.