Catalog: Artists (750)

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.

Charred glaze runs in rivulets, blasted around the sides of this Kamahen Bizen vase by Yamamoto Izuru enclosed in the original signed wooden box. The vessel is 10 inches (25.5 cm) tall, roughly 5 inches (13 cm) diameter and in excellent condition.
Yamamoto Izuru was born into the family of famous potter Yamamoto Toshu in 1944. He graduated the sculpture division of Musashino University, then went on to Paris for another two years of sculpting before returning to Bizen to apprentice under his father in plastic arts in 1970. He set out on his own path in 1975, establishing his own kiln. In 1980 he was prized at the Nihon Dento Kogeiten National Traditional Crafts Exhibition. His recognition grew in the eighties, being prized at both the Chunichi Kokusai Ceramics Exhibition and having a piece displayed at the Smithsonian and V&A in 1983, then garnering the Kaneshige Toyo prize in 1985, and subsequently acquired by the Brooklyn Museum of Art in 1987. In 1995 he built a kiln in Bourgogne France, working with clays from both regions, and this piece is from that period, dating circa 2,000. He has also been the winner of the 19th grand prize at the Tanabe Museum Modern Tea Forms Exhibition and was given the Cultural Award by Okayama Prefecture in 1997. He was named an intangible cultural property of Okayama Prefecture in 2012.

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.

An intriguing form by Takeuchi Shingo titled Zogan Hento (An Inlaid Strange Vase) enclosed in the original signed wooden box. It measures 18 x 19 x 24.5 cm and is in fine condition, dating circa 2002.
Takeuchi Shingo(b.1955) hails from Seto city, one of the oldest ceramic production centers in Japan. He studied at the Aichi Prefectural Ceramics Research Facility until 1979, then under the great Kato Shuntei II before establishing his own kiln in 1982. Exhibited at the Asahi Togeiten Ceramics Exhibition, Chunichi Kokusai International Ceramics Exhibition, Nihon Togeiten Ceramics Exhibition, and in innumerable galleries both at home and abroad. He is held in many private and public collections including the Seto Musuem, The Korean International Ceramics Foundation, Yingge Ceramics Museum Taiwan and others.

A striking Dry Lacquer form covered in black lacquer with a galaxy of red and gold swirling about the offset neck, the entire an undulating wave of abstracted dimensions by Okada Yuji enclosed in the original signed wooden box. It is 32 x 27 x 8.5 cm and in perfect condition, dating from 2007.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

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.

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 vibrant double vase covered in signature naïve designs by Yamashita Moe enclosed in the original signed wooden box titled Morinoyoru (Night in the forest). It is 12 x 24.5 x 27 cm (5 x 10 x 11 inches) and is in excellent condition. Her work is filled with joie de vie, and one cannot escape a smile when viewing it. Even the box is painted with a bright green silhouette of the vase, titled and signed in pink!
Yamashita Moe graduated the Kyoto Zokei University of Art in 2004. Her work has been accepted into a number of important Expositions including the Asahi Modern Craft Exhibition and the Rimpa Forever exhibition held at the Museum of Kyoto. She has nearly a dozen solo exhibitions, quite surprising for a young artist, and has participated in more than 30 group exhibitions. According to the artist, “I create works of organic form based on images of plants, creatures, and the scenery of my travels. I strive to make vessels that are fun and make the viewer happy.”

Ash simply blankets this vessel by Koyama Kiyoko enclosed in the original signed wooden box titled Shigaraki Shizen-yu Tetsuki Hanaire. It is 29 cm (just less than 12 inches) tall, roughly 5 inches diameter 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. Unfortunately she passed away just two weeks before this show started.

A seminal Karatsu fresh water container by master of that style Nakagawa Jinenbo enclosed in the original signed wooden box titled Chossen Karatsu Mizusashi. Raw earth is supplanted with rich iron into which flows curtains of black into which flows rivulets of blue. Two lug handles drape from the sides and it retains the original ceramic lid. It is 16.5 cm (6-1/2 inches) diameter, 17.5 cm 7 inches) tall and in excellent condition.
Nakagawa Jinenbo (1953-2011) was always fascinated with Karatsu ware, and studied under the great Inoue Toya from the age of 24. Several years later he returned to his hometown to establish a climbing kiln of his own, which he put to great use. From there, not satisfied with his own skills, he went to Tanaka Sajiro for an additional apprenticeship. Afterwards, as many Chajin artists, he concentrated on private exhibitions as an outlet for his work, shunning the world of mass competition and retail. His life and career were cut short far too early, making his work both highly valued and hard to find.

A superb example of this traditional shape by Living National Treasure Isezaki Jun enclosed in the original signed wooden box titled Bizen Mizusashi. Glaze seems to be worn and deteriorated from centuries of use on the dark earthen surface. It is 18.5 cm (7-1/2 inches) Diameter, 19 cm (7-5/8 inches) tall and in excellent condition.
Isezaki Jun was born the second son to the prominent Bizen family of Isezaki Yozan. With his older brother Mitsuru he studied the plastic arts under the fierce tutelage of his father. He has displayed consistently at the Nihon Dento Kogei Ten (National Japanese Crafts Exhibition) since 1961 and was recipient of the coveted Kaneshige Toyo prize. It was Jun who took up the work of Kaneshige Toyo upon his death, continuing to revitalize and innovate, combining functional forms and modern sculptural shapes. He was the teacher of a host of important artists including Kakurezaki Ryuichi, Wakimoto Hiroyuki and American artists Donna Gilliss among dozens of others. He was named a Living National Treasure (Juyo Mukei Bunkazai or Intangible cultural property) in 2004.

Tarnished beaded silver is draped in gold over which runs a deep forest green on this apple shaped chawan by innovative artist Ichikawa Toru enclosed in the original signed wooden box. A thick gold tinged bead dangles from one side, and bubbly dark glaze pools within. It is 11.5 cm (4-1/2 inches9 diameter and in excellent condition. He really takes things to the extreme, challenging and yet incorporating something of the idea of Wabi into his outlandish works.
Ichikawa Toru was born in Tokyo in 1973. In 2015 he established his current studio in Bizen after 4 years of apprenticeship under another Bizen Outsider, Kakurezaki Ryuichi. He has since developed quite a following, with his shows selling out often within hours.

An agate-like cluster floats in the crystal glass of this large vessel by leading Japanese glass artist Hosoi Moto-o enclosed in the original signed wooden box. Ever inventive his works speak of the asymmetry and textures of the natural world. It is 43 cm (16-3/4 inches) tall and in excellent condition.
Hosoi Moto-o (Motoo) was born in Osaka in 1964, and both his older brother and sister also became glass artists. After creating a studio with his brother, he ventured out on his own. He has been exhibited and or awarded at the National Modern Crafts Exhibition, (Nihon Gendai Kogei-Ten) and the Nitten National Art exhibition among others. His dynamic glass works are based on the theme of nature and time.

A beautiful combination of grays and lavenders covers the natural sculpted form in sunset color Hagi clay by legendary artisan Kaneta Masanao enclosed in the original signed wooden box titled Hagi Kurinuki Hanaire dating circa 2000. It is 30 x 24 x 23 cm (12 x 10 x 9 inches) and is in excellent condition.
Kaneta Masanao likely needs no introduction, certainly one of Hagi is most well known names, he has been displayed both nationally and internationally innumerable times. His pieces are in the collection of the Tokyo National Museum of Modern Art, Yamaguchi Prefectural Museum and Museum of Modern Art Brooklyn. He has been displayed at the Nihon Dento Kogei Ten and Nihon Togei Ten among many many others.

A very unusual form of overlapping bubbles in snow white porcelain by Yatsugi Miho enclosed in the original signed wooden box titled Hakuji Chawan Hitoawa (A Bubble). It is 13 cm (5 inches) diameter and in excellent condition, directly from the artist.
Yatsugi Miho was born in Tokyo in 1973, and initially graduated advanced studies at the Tokyo National University of Agriculture and Technology in 1998. In 2018 she completed training at the Ibaraki Prefectural Kasama Togeidai Facility in the traditional Kasama region, then went on to the Tajimi Ceramics Research Facility. Her work has been featured at any number of private venues as well as the Joryu Togeiten Ceramics Exhibition.

A voluminous Chawan Tea bowl by Sawada Hayato enclosed in the original signed wooden box titled Kakusai Chawan. The hand built angular form is slip glazed with black clay inlayed creating paleolithic pattens tinged with red. It is roughly 15 cm (6 inches) wide, 9.5 cm (just under 4 inches) tall and in new condition. Sawada Hayato was born in Kasama City, Ibaraki Prefecture in 1978, and graduated Ryutsu Keizai University in 2000, going on to further study at the Tokyo University of Social Welfare from which he graduated in 2004. The following year he was selected for the 52nd Japan Traditional Craft Exhibition where he would be awarded in 2012 the Japan Kōgei Association Award. In 2013 he was awarded at the Kikuchi Biennale. Since his work has been shown in Shanghai, Europe, London and the United States. His work is held in the colletions of the Ibaraki Ceramic Art Museum, Crocker Art Museum, and Cincinnati Art Museum.

A splash of metalic glaze runs down opposite a splash of thick Kaki-colored glaze on the highly textured earth-colored surface of this bottle shaped vase by Living National Treasure Shimizu Uichi enclosed in the original signed wooden box. Titiled Tetsu-yu Nagashi Bin, this dates from early in his career, 1960-1965. It is 14.5 cm (5-3/4 inches) diameter, 22.5 cm (9 inches) tall and in excellent condition. Shimizu Uichi (1926-2004) was born in Kyoto the son of a ceramic dealer. Discarding the family business, he apprenticed in plastic arts under future Living National Treasure Ishiguro Munemaro. His work retains some principal elements of his teachers style while incorporating an understated elegance and avant-garde spirit of challenge uncommon for his time. He was first exhibited at the Nitten in 1951, receiving numerous awards there since. He also took the gold medal at the Prague International Exhibition, and was at the Brussels World Exposition. He is in the collection of the Tokyo National Museum, Kyoto Museum of Modern art, Clark Center and the Freer Gallery among many others.

Spectacular keshiki resulting from the combination of multiple kiln affects and textures defines this large footed slab by Kanzaki Shiho enclosed in the original signed wooden box. It is 14 x 20 inches (36 x 51 cm) and in excellent condition.
Kanzaki (b. 1942) prefers firing his kiln for ten days, resulting in the rich textures and heavy ash deposits apparent on this Tsubo. He began life 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 has 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.

Geometric designs in glimmering Raden (abalone shell) cross the surface of this intricate box by Okada Yuji enclosed in the original signed wooden box titled Youko. Inside gold nashiji glistens on the mirror black surface. It is 15 x 15 x 11 cm (6 x 6 x 4-1/2 inches) and is in excellent condition, directly from the artist.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A novel look at the Onioke idea of a handled vase, this one rising like Devils Tower to a narrow opening crossed by a handle by Nishihata Tadashi enclosed in the original signed wooden box titled Yohen Oke-gata Hanaire. It is 31.5 cm (12-1/2 inches) tall and in excellent condition.
Nishihata Tadashi was born in Sasayama in the mountains of Hyogo, and ancient castle town in 1948. He began potting in 1969, focusing on items for use. In 1986 he first entered the realm of public exhibitions with his entry into the Nihon Dento Kogeiten National Traditional Crafts Exhibition in 1986. He was awarded in 1988 at the Kinki Kogeiten regional Crafts fair. In 1989 he would see the first of many awards at the Nihon Dento Kogeiten National Traditional Crafts Exhibition as well as a first time entry into the Nihon Togeiten National Ceramics Exhibition. In 1990 he would continue garnering fame with the first of several awards at the Tanabe Art Museum Chanoyu no Zokei Ten (Modern Forms in Tea). After that his career has escalated, with many more recognitions at these Expositions. For more see the recently acquired piece by Tadashi at the Asia Pacific Art Museum in San Francisco

An angular pottery form covered in Seto glaze by Kawamoto Taro enclosed in the original signed wooden box. The pierced sides are reminiscent of an oki-goro (an incense burner placed over a dish in which incense burns). It is 18 x 8 x 9 inches (46 x 20 x 23 cm) and in excellent condition, consistent with works dating from the later 80s.
Kawamoto Taro (b 1955) graduated Aichi prefectural art university in 1977. He has been exhibited and awarded at many national and international events including the Chunichi Kokusai Togei-ten (Grand Prize twice), Florence International Ceramics Exhibition and the Asahi Togei-ten (Asahi Ceramics Prize). For more on this important modern artist see To, The best selections of contemprorary ceramics in Japan, Vol. 74.

Namako mottled dark blue glaze covers the fractured surface of this guinomi sake cup by Kashima Aya enclosed in the original signed wooden box. The technique is deceptively complex. In fact the initial form is created, then a thin layer of ceramic is made separately, dried, then cracked, and the individual pieces are applied like mosaic to the prepared form. Each the space in between the tiles is then abraded, the tiles glazed with color and the space n between glazed with iron. Each piece requires a great amount of painstaking dedication to complete. It is 6.5 cm (2-1/2 inches) diameter, 5.5 cm (just over 2 inches) tall and in excellent condition, directly from the artist.
Kashima Aya was born in Kanagawa prefecture in 1987. She graduated the Tokyo Kasei Gakuin University, Department of Arts and Culture in 2010. She graduated the Tajimi City Ceramic Design Institute Design Course in 2020, with an additional two years in their advanced Ceramic Lab, graduating in 2022. During this time, she took part in many group exhibitions. She received Nyusen status at the 55th Women's Association of Ceramic Artists (WACA) Exhibition in 2021. In 2023 her work was selected for presentation at the “Ceramic Synergy Exhibition” held at the Kyoto Kyocera Museum of Art.

A flash of gold blazes on the raw earth side of this masterpiece tea bowl by Kato Kiyoyuki enclosed in the original signed wooden box titled Hai-yu Chawan. Green ash runs down opposite the iridescent flash of gold. Inside the ash sees to catch on the horizontal furrows left by the artists fingers. It is 12.7 cm (5 inches) diameter and in excellent condition.
Kato Kiyoyuki was born in 1931, the heir to a long-established tile-making business in Seto. He studied ceramics at high school however his main interest lay in painting and sculpture, and it was only when he was in his late twenties that he began to work in pottery. He made his first submission to the Nitten exhibition in 1958, and began producing well-designed utilitarian ceramics in keeping with the principles of the then newly established Japan Craft Design Association, but soon turned his hand to 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. Terashige's experimental interests encouraged Kato to explore his sculptural ambitions in vessel as well as non-vessel formats. According to Kiyoyuki, “When a shape that is completely free of unnaturalness emerges, the clay and I become one”. He won the Grand Prize at the Asahi Ceramic Art Exhibition in both 1964 and 1965. He is the recipient of the most prestigious Japan Ceramic Society Gold Prize. He has exhibited with the aforementioned Nitten National Fine Arts Exhibition and Asahi Ceramics Exhibition, Chunichi Kokusai Togeiten International Ceramics Exhibition as well as Faenze International Ceramics Exhibition, Nihon Togeiten National Ceramics Exhibition, Nihon Gendai Kogeiten National Modern Crafts Exhibition and Seto Togeiten among many many others, and his list of private exhibitions could not be covered on this page. Work by him is held in the V&A (London), Tokyo and Kyoto National Museums of Modern Art, Canterbury Museum (New Zealand) and the Sogetsu Museum in Aichi among others. For more see Toh Volume 8, which was dedicated entirely to him.

A small unusual Seed-Like basin in earth tones by Gomi Kenji enclosed in the original signed wooden box titled O-pa, both the vessel and the title seem open to interpretation. It is 29 x 21 x 16 cm (11-1/2 x 8-1/4 x 6 inches) and in excellent condition.
Gomi kenji was born in Nagano in 1978. After graduating from the prestigious Waseda University, he went to Okinawa where he studied Kokuba-Tougei, Tsuboya ware, which has been produced since the 17th century, in Naha City, Okinawa Prefecture. In 2004 he moved to Toki city in Gifu, then to Kasama in 2005. He is now Designated Professor, Kasama College of Ceramic Art. The process of firing ceramics is central to the creation of his works. The organic shape of the work is the result of choosing the most logical form from the viewpoint of firing. In addition, the color and texture that make you feel the full earthiness can be obtained by burying it in rice husks and firing it. He has been displayed at the Japan Ceramic Art Exhibition, the Kikuchi Biennale, Mashiko Ceramic Art Exhibition, and in 2014, he won the Grand Prix at the 10th International Ceramics Competition Mino, Ceramic Arts Category. Work by him is held in Museums here in Japan and throughout the world, including the Ibaraki Ceramic Art Museum, Museum of Modern Ceramic Art, Gifu, Museum of Ceramic Art, Hyougo and Victoria & Albert Museum, London among others.

A hakuji sake bottle with a slightly lobed seihakuji sake cup by Suzuki Osamu enclosed respectively in their original signed wooden boxes. The Tokkuri is faceted with a spiraling twist, creating a fun dialog between itself and the low, lobed cup, at the center of which is impressed the character, Flower. The cup is 9.5 cm (just less than 4 inches) diameter, the Tokkuri is 16.2 cm (6-1/2 inches) tall and in excellent condition.
Suzuki Osamu (1926-2001) was, along with Kumakura Junkichi, Hikaru Yamada and Yagi Kazuo, one of the founding members of Sodeisha. He studied pottery at the Daini Kogyo Gakko in Kyoto. In 1948 he helped to establish Sodeisha. He received the JCS award in 1959 (and was granted the rare gold award in 1983). In 1962 he was awarded at the Prague International Ceramics Expo, the first of many international awards. In 1987 he was granted the Order of Cultural Merit by Kyoto Prefecture, followed by the same award from Kyoto City in 1993 and 1994. He exhibited with Sodeisha, The National Ceramics Exhibition (Nihon Togeiten) among others. Works by him are in too many collections to note in this small add, including the Kyoto and Tokyo National Museums of Modern Art, Victoria Albert and New York Metropolitan Museum of Modern Art.

An igneous Shigaraki hana-ire by the innovative young Mushin-Gama potter Kowari Tetsuya enclosed in the original signed wooden box. The vase is 6-1/2 inches (16.5 cm) tall, 4-3/4 inches (12 cm) diameter at the bottom. It is in perfect condition. Tetsuya was born in Fuji-city Shizuoka in 1970, and graduated the prestigious Meiji University. He has apprenticed under a number of teachers, taking a bit from each without allowing their direction to overpower his own personal style. He works in Shigaraki, Bizen and Shino wares. The artist has been displayed at the Nihon Togei Ten National Ceramics Exhibition, as well as the prestigious Nitten consistently.

Applied gold and colored glass decorate this Rimpa inspired yellow sake set by Kuroki Kuniaki enclosed in the original signed wooden box titled Kinsai Korin Hisago (Applied Gold Korin Series Gourd). The flask is 11 cm (4-1/2 inches) tall, the cups 5 cm (2 inches) tall and all are in excellent condition, a superb and functional example of this important artists work.
Kuroki Kuniaki was born in Miyazaki prefecture in 1945. He began his career employed straight out of school by the Yamaya Glass Company in 1963. It would only be a decade later that he would venture out on his own, to begin creating unique works of glass art. Yet another ten years would pass before he went fully independent in 1984. He began with a project to revitalize Edo style Cut glass (Satsuma Kiriko), and established his workshop in 1989. He was awarded the National Order of Excellence for modern craft in 1991 and began to garner attention overseas. He was awarded in Paris in 1995, Rome in 1996 and Athens in 1997. Since he has been exhibited widely throughout Japan, as well as the US, Singapore, Throughout Europe, Taiwan, Australia among many others. His works have been collected by the Imperial Household Agency and the Royal Family. They are held in the collection of Philadelphia, Denmark Glass Museum, Peking Palace Museum and Kitazawa Museum among others.

A large bowl by important contemporary porcelain artist Yagi Akira enclosed in the original signed wooden box. The shape is very elegant, with stiffly rising sides leading to an abrupt undulating rim in soft celadon green. A striking silhouette, it is 22 cm (8-1/2 inches) diameter, 16.5 cm (6-1/2 inches) tall and 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.

A tower of geometric in silver and red by Kawano Eichi enclosed in the original signed wooden box. The pebble textured surface and straight lines of the side are juxtaposed by the irregular and angular patterns of silver, like the outline of stones leading to a temple cast in shadow across the sides. The vase is 13 inches (33.5 cm) tall, 4 inches (10 cm) square and in fine condition.
Eichi was born in Osaka, 1943, and was raised in the post-war era of huge change. He studied in the plastic arts under Kiyomizu Rokubei VI, and was certainly influenced by the movement towards modernism and sculpture in the 50s and 60s. This influence is evident here in this work, which lies between the modern world of sculpture and the traditional realm of function. From 1973 he began exhibiting with the Nitten National Exhibition, and was first exhibited at the National Modern Crafts Fair the following year. That same year (1974) he was awarded at the Kyoten Exhibition. He would be consistently awarded in years to come at the Kyoten and other Local and National exhibitions.

A wild ceramic sculpture in rich dark iron glaze by Takatsu Mio enclosed in the original signed wooden box titled Soko ni Seisoku Suru (Living There). Mio is an amazing person, very intense when she works, very casual when she is not. She will happily take a hammer to a piece after months of work, if it does not meet her inner criteria, thus her production is quite low, but quality is extremely high. This piece is 37 cm (14-1/2 inches) long and in excellent condition, from the artist this summer.
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.

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.

Kishimoto Kennin at his best, deep in the clay of Iga, a slightly misshapen vase covered in a splash of ash glaze and dark charring, one side flattened down like a beret, a single drip of crystalline jade clinging to the rim. The vase is 29 cm (just under 12 inches) tall and in perfect condition, enclosed in the original signed wooden box.
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.

Ash runs in glassy rivulets down the sand textured sides of this large work by Tsuboshima Dohei enclosed in the original signed wooden box. The undulating rim calls to mind ancient firing traditions, the intense heat of the kiln warping the forms as they turn near molten. This exceptional piece is roughly 10 inches (24.5 cm) tall, 11 inches (28 cm) diameter and is in excellent condition. Born in Osaka, 1929, Dohei apprenticed under the eclectic Kawakita Handeishi immediately following World War II, becoming his top pupil, and eventually taking over the kiln in Tsu, Mie prefecture following the death of Handeishi in 1963. Handeishi was a unique bump on the Japanese ceramic landscape, a powerful businessman who took pottery as a hobby, much along the lines of earlier artist Nakamura Shuto, contemporary Kitaoji Rosanjin and Deguchi Wanisaburo. Dohei began large singular exhibitions of his own work in 1967, both in Osaka and Tokyo, and the following year in Yokohama. He continued these beyond his 30 year retrospective held in 1995, adding Nagoya to his list of sites in 2000. His philosophy has been to preserve the dignity of his teacher by both maintaining strong ties with other students of the master, and eschewing the world of large or mass exhibition. Works by the artist are held in the Mie Prefectural Art Museum among others.

A selection of three sake cups by Tanoue Shinya encapsulating the various characters fo this artists work. Each comes enclosed in the original signed wooden box. 700 dollars for all three or:
a) White W2.5(7cm) H2(5cm) 250.00
b) Blue W3.5(9cm) H2(5cm) 300.00
c) White W3(8cm) H1.5(4cm) 250.00
Tanoue Shinya was born in Kyoto, the cultural heartland of Japan in 1976. He garnered a BA from Doshisha University in Theology, and after two years in a textile company, an Associate in Fine Arts from Saga Art College in 2003. He has a list of private and group exhibitions very impressive for his age, including the Mino Ceramic Park International Ceramic exhibition (awarded 2005), Asahi Modern Craft Exhibition, Design in Ceramic Vessel Exhibition in Aichi, Nihon Togeiten National Ceramic Exhibition, (Awarded 2007) and Asahi Ceramic Exhibition, (Awarded 2007). Gendai Togeiten National Modern Ceramics Exhibition. His work has been exhibited in the United States, France, Germany, Hong Kong Italy and many others. His work is held in the collections of The Museum of Kyoto, The Museum of Ceramic Art in Hyogo, INAX Tile Museum, Minneapolis Institute of Arts, Tweed Museum of Art and the Los Angeles County Museum of Art among others.

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 flamboyant vase by Kawai Toru enclosed in the original signed wooden box titled: Gosu Mentori Ashitsuki Tsubo. Outside the vase is covered in Gosu blue, inside contrasted with iron red. The shape is all Toru, an artist who took the work of Kanjiro and moved beyond, as represented in this large tri-legged tsubo. The vase is 14 inches (35 cm) tall, roughly 12 inches (30 cm) diameter and in perfect condition.
Toru was born in 1941, the son of Kawai Takeichi. He apprenticed jointly under his father and Grandfather in 1964, making him the last disciple of Kanjiro Kawai, and it is he who seems to have lived up to his mentors expectations, synthesizing the Kawai style and taking it to the next level.

A signature work in gold Shino by Suzuki Tomio enclosed in the original signed wooden box titled Yohen Kin Shino Hachi (Shimmering Altered Gold Shino Bowl). It is 10-1/2 inches (27 cm) diameter, 5 inches (13 cm) tall and in excellent condition.
Suzuki Tomio was born in 1948 in Yawata, Kyoto, and has spent his life in the perfection of Shino glazing. He did not move for independence until establishing his own kiln at the age of 40. One of his most notable advances in Shino glazing is the development of Yohen-kin or transformed gold Shino. First introduced in 2003, this type of shino is an opulent, golden glaze and has come to serve as the predecessor for a number of lustrous glazes in the artist's growing body of shino work. In 2011, his work was acquired by the Philadelphia Museum of Art for display in their East Asian Art collection and in 2012 by the University of Durham's Oriental Museum in the United Kingdom. He holds regular exhibitions across Japan at major department store galleries, including Takashimaya, Hanshin, and Mitsukoshi.

Encrusted in blue glass, this Iga Tokkuri by Furutani Kazuya is a pleasure to see and hold. It is 5 inches (12. Cm) tall, 3 inches (8.5 cm) diameter and in perfect condition, enclosed in the original signed wooden box.
Kazuya (b. 1976) is one of Japan’s most promising young stars. He graduated the Yamaguchi College of Art in 1997, and spent a year at the ceramics research facility in Kyoto before returning to work under his father, Furutani Michio, in Shigaraki. His Father’s sudden death in 2000 pushed Kazuya to the fore, and left him with big shoes to fill. That he has done! Building three Anagama in the following decade and displaying with the National Ceramics Exhibition and a number of private affairs in some of Japan’s top venues.

A rare manageable sized sculpture by Yamaguchi Mio in raw terracotta clay with just a smattering of scattered glaze dating from 2022. It is 29 x 33 x 47 cm and is in excellent condition, directly from the artist. It comes with a signed wooden placard titled Metamorphosis.
Due to size, the cost of shipping will be accrued separately.
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.

A small flaring sake cup by Fukami Sueharu enclosed in the original signed wooden box titled Seihakuji Guinomi. It is 7.7 cm (3 inches) diameter and in perfect condition.
Fukami Sueharu is synonymous with seihakuji celadon. He has been displayed numerous times at the prestigious Nitten, Nihon Togei Ten (National Japanese Ceramic Exhibition) and Nihon Gendai Kogei Ten (National Japanese Modern Crafts Exhibition) among others. He is held in the Yale University Museum among others. For more information on this artist a quick web-search, or a look at the article highlighting his life in the March 2005 edition of Orientations Magazine will be enlightening. The list of museums holding his work is, in fact, much to long for this page, but includes the National Museums of Modern Art, Tokyo /Kyoto / and Osaka, the Metropolitan Museum of Art, NY, Brooklyn Museum, Museum of Fine Arts, Boston, Philadelphia St. Louis, Portland, Chicago, Minneapolis, Smithsonian, British Museum, Victoria & Albert Museum, Musée national de céramique, Sèvres, Musée des arts décoratifs, Paris, Hetjens Museum, Düsseldorf and the National Gallery of Australia among many others

A striking form covered coated in glistening green glass and gnarly clusterd of black ash by Furutani Hirofume enclosed in the original signed wooden box titled Shigaraki Shizen-yu Hen Hanaire. This is an absolute classic vessel by the artist. It is 31 x 10.5 x 34 cm (12 x 4 x 13-1/2 inches) and in excellent condition, directly from the artist.
Furutani Hirofumi (b. 1948) is the real deal, a Shigaraki potter trained under his father, recipient of tradition and knowledge who does not say much. After graduating school, he went to work in a large production kiln where he studied firing technique and clay preparation. He then returned to the family studio where he headed up the preparation and firing, while, taking a second position in that respectful Japanese way to his long-lived father, who strictly tortured clay, relying on his son to do all the “real work.” The Japanese title for such a person is: Ennoshita no chikara mochi (The true strength hidden under the eaves). A decade after the passing of Churoku, every day you will find him in search of the natural phenomena born from the dialog between soil and flame and the elements. He oversees kneading and preparing the clay, as well as the kiln work, stacking and preparations for firing, creating his own pieces while allowing his son to take the fore. He is not competing or seeking fame, just quietly making pots in that very Japanese way, treading the path of the Unknown Craftsman.

A blue tailed lizard, symbol of summer, crawls up the gnarled root, tiny ants, a tempting snack just above. This is a piece from the Shiun studio designed by Okada Yuji, the decoration performed in built up Iro-urushi colored lacquer. It is 45 cm (18 inches) long and in excellent condition, enclosed in the original signed wooden box titled Seasonal Visitors.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A large Tsubo with ruptured rim burnt to a mellow orange with a dusting of natural ash glaze on the shoulder by important Shigaraki artist Sawa Kiyotsugu enclosed in the original signed wooden box titled Shigaraki Tsuboi. Comb marks sweep the surface like rake marks in a Zen garden, a meandering trail scored into the side like a mountain path. Slightly misshapen, it is roughly 30 x 31 x 33 cm (12-1/4 x 12 x 13 inches) and is in excellent condition.
Sawa Kiyotsugu (b. 1948), originally of Shigaraki, spent two years at the Kyoto Ceramics Research institute before a five year apprenticeship under Takahashi Shunsai back in his hometown of Shigaraki. He has been a staunch supporter of the modern revival and development of Shigaraki yaki, his works sold through a network of private exhibitions. Work by him is held in the British museum

The fire is still alive on this striking Shigaraki Tsubo by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Yohen Tsubo. Yohen, literally translated Kiln-altered, is a word for the unexpected results, or fortuitous accidents of firing. In this case, they are likely speaking of the unusual coloration of the running ash wrapping around the blackened surface. Kiln effects are what this family is known for, and this does not disappoint. It is 27.5 x 27.5 x 33.5 cm (11 inches diameter, 13 inches tall) and in excellent condition, directly from the artist.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.

An exquisite work of micro-calligraphy by young female artist Tamura Seito IV enclosed in the original signed wooden box titled Karakusa moyo koro. It is roughly 4 inches tall and in new condition. Tamura Seito is a fourth-generation potter and chosen to inherit the tradition of Saiji micro-calligraphy for the Tamura family. She graduated Tsukuba University in 2004, then began to study under Tamura Keisei. In 2007 she graduated the Ishikawa prefectural Kutani Research Center and began a fellowship there. In 2010 she established her own kiln in Komatsu, and the following year changed her name from Natsuko to Seito.

Tarnished silver glows dully inside this raw clay bowl by female pottery pioneer Ogawa Machiko enclosed in the original signed wooden box titled simply Wan. It is 14 cm (5-1/2 inches) diameter, 7 cm (3 inches) tall and in excellent condition.
Ogawa Machiko was born in Sapporo on the Northern Island of Hokkaido in 1946. She studied under future Living National Treasures Fujimoto Yoshimichi, Tamura Koichi and Kato Hajime at the Tokyo University of Arts, graduating in 1969, then went on to further studies in France and Africa, returning to Japan in 1975. She began garnering attention in the mid eighties, and has since become one of the leading female figures in Japanese pottery. She was awarded the JCS prize in 2001, one of Japans most prestigious awards. Work by her is held in the Brooklyn Art Museum, LACMA, New York Metropolitan Museum of Art, Smith College, MIA, MOMAT and a host of others. For more see “Touch Fire, Contemporary Ceramics by Women Artists” (2009) or Toh, volume 67 (1993).

Dragonflies alight on autumn grasses and bush clover forming the perfect seasonal connotation under an engorged white moon on this pair of mouse-colored (Nezumi) vases by Shino legend Wakao Toshisada enclosed in the original signed wooden box titled Nezumi Shino So-heki. Together they are 29 cm (11-1/2 inches) long, 18 cm (7 inches) tall and in excellent condition.
Wakao Toshisada was born in Tajimi, Gifu prefecture, home of Mino pottery, in 1933. He was first recognized at the New Crafts exhibition of 1960, the same year he was first exhibited at the Central Japan Art Exhibition. Three years later he made his debut at the Asahi Ceramics Exhibition, following in 1965 with the National Traditional Crafts Exhibition. In 1971 he first exhibited with the Nihon Togeiten (All Japan Ceramics Exhibition) and was awarded the following year the New Mino Artists Prize, gathering acclaim as a leader in the field. After many domestic and International exhibits, he was awarded the Kato Kohei prize in 1986. and was recipient of the prestigious Japan Ceramics Society (JCS) Award in 1989. He was named an intangible cultural asset of Tajimi city in 1995, and of Gifu Prefecture in 2003, and works by the artist are held in the Museum of Modern Art Tokyo, V&A, Freer Gallery and Sackler among many others.

Gold shatters on the blue surface of this large vase by legendary female potter Ono Hakuko enclosed in the original signed wooden box titled Yuri Kinsai Hana Tsubo. It is 29 cm (11-1/2 inches) diameter, 31.5 cm (12-1/2 inches) tall and in excellent condition.
From Aichi prefecture, Ono Hakuko was trained by her father initially in the ceramic arts. However, she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japans most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics by Women Artists (2009)

Exquisite kiln effects mark this Ujoyaki Tsubo by Imai Rikei from Aomori Prefecture enclosed in the original signed wooden box named Zuiha (Swirling wave). It is 33 cm tall, 29 cm diameter and in excellent condition. Imai Rikei was born in Aomori Prefecture in 1947, and fires in the Ujoykai traditional manner making use of the worlds longest climbing kiln (guiness book of world records, 103 meters long, you can see it on youtube). He has received a number of awards and exhibited with the Asahi Ceramics Exhibition (Asahi Togeiten) among others. He is the most important artist in this lesser known Northern tradition of Japanese pottery.

Lines of burnt straw scar the surface of this voluminous work by Yamamoto Yuichi enclosed in the original signed wooden box. It is 17-1/2 inches (45 cm) tall, 9 x 10 inches (23 x 25.5 cm) at the base and in excellent condition.
Born the son of Living National Treasure Yamamoto Toshu, Yuichi was raised among the clay and kilns of Bizen, at a vital time when Bizen was devastated by the war economy, and the dramatic years of growth and research following. He began making pottery in 1959, at a time when artists were both working to revive old traditions and styles, and yet invoking new forms and sculptural techniques on their work. He travelled extensively, incorporating foreign influences into his body of work. He has exhibited with the Nihon Dento Kogei Ten Traditional Arts and Crafts Exhibition, Nihon Togei Ten National Pottery Exhibition, as well as a plethora of private and public galleries both domestic and abroad. He received the Kaneshige Toyo pottery award in 1976. He was also awarded Grand Prize at the Tanabe Museum Modern Forms in Tea Ceremony Exhibition in 1996. Works by the artist are held in the French National Ceramics Museum, and the collection of the Imperial Household among others

A beautiful half orb in shimmering silver with matte Caribbean blue by Morino Taimei enclosed in the original signed wooden box titled Ginsai Hai. It is 6.5 cm (2-1/2 inches) diameter and in excellent condition.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by the governor’s prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo Natby ional Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.

A superb example of the work of Kimura Morinobu enclosed in the original sgned wooden box. The cream colored crackle glaze is speckeld with flecks of iron an ishihaze with five Zen circles around the circumference, subtly calling to mind the Book of Five Rings (Miyamoto Musashi). The deep crevaces in the glaze and heafty load of the bowl are a pleasure to behold. It is 5 inches (13 cm) diameter, 3-1/2 inches (9 cm) tall and in fine condition. Morinobu (b. 1932) was one of the born into a pottery family in Kyotos Higashiyama pottery district. He attended the Kyoto Municipal School of Art graduating from the sculpture division, and entered the Kyoto Ceramic Research Facility, the stomping grounds of so many of the brightest talents in modern Japanese Pottery. After apprenticing under bothhis brother, Morikazu, and Living National Treasure Shimizu Uichi, he established his own kiln in 1967. Although his list of exhibitions is much too long to put down here, he was named an intangible Cultural Property (Mukei Bunkazai) of Kyoto Prefecture in 1992. Works by the artist are held in the Kyoto National Museum among others.

A set of 8 sake cups by members of Sodeisha enclosed in a singular compartmentalized wooden box titled Yose-hai and signed Sodeisha followed by the Sodeisha stamp. Sodeisha (Crawling Through Mud Association) is a group of revolutionary post war ceramic artists whose influence remains strong today. Artists in this set include: Suzuki Osamu, Toba Yoshimasa, Kanaegae Kazutaka, Kawamura Sachiko, Yoshitake Hiromu, Inoue Midori, Nakanishi Kosuke and Tsuji Kanji.
Suzuki Osamu (1926-2001) was, along with Kumakura Junkichi, Hikaru Yamada and Yagi Kazuo, one of the founding members of Sodeisha. He studied pottery at the Daini Kogyo Gakko in Kyoto. In 1948 he helped to establish Sodeisha. He received the JCS award in 1959 (and was granted the rare gold award in 1983). In 1962 he was awarded at the Prague International Ceramics Expo, the first of many international awards. In 1987 he was granted the Order of Cultural Merit by Kyoto Prefecture, followed by the same award from Kyoto City in 1993 and 1994. He exhibited with Sodeisha, The National Ceramics Exhibition (Nihon Togeiten) among others. Works by him are in too many collections to note in this small add, including the Kyoto and Tokyo National Museums of Modern Art, Victoria Albert and New York Metropolitan Museum of Modern Art.

Mastery of the Oribe genre is apparent in this Chawan by Yamada Kazu which comes enclosed in the original signed wooden box titled Kuro-Oribe Chawan. It is 13 cm (just over 5 inches) diameter, 9 cm (3-1/2 inches) 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 stores , and his innovative forms and designs are in high demand.

An incredible organic form, the delicate petals appearing to waft in some tide by Shingu Sayaka enclosed in the original signed wooden box. A closed bud on the side is lined with hundreds of tiny sharp needles in black. It is 6 x 5 x 4 inches (15 x 13 x 10 cm) and in excellent condition.
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.

Straight out of a Miyazaki Hayao fantasy is this Future Fossil Series Koro incense burner by Watanabe Takuma which comes enclosed in the original signed wooden box titled Bizen Koro Mirai Kaseki (future Fossil). It is 13 cm (5 inches diameter, 16.5 cm (6-1/2 inches) tall and in excellent condition, directly from the artist this summer.
Watanabe Takuma was born in Hyogo prefecture in 1968, and after graduating Kansai Daigaku University in 1991, began studying Bizen ware under Yamauchi Atsushi. In 1996 he entered the Bixen Toen Kiln. Shortly thereafter he began exhibiting and has receied numerous awards at the Okayama Prefectural Exhibition (Okayama Ken Bijutsu ten), National Traditional Crafts Exhibition (Nihon Dento Kogeiten), Issui-kai-ten, as well as being selected for the influential Tanabe Museum Modern Forms in Tea Exhibition among others. He built his own kin in 2006.

Two sake cups notched and torn from pure white porcelain by Kato Takahiro enclosed respectively in their original signed wooden boxes decorated with overlapping cubes titled Sake Cup. Each is roughly 6.5 cm (2-1/2 inches) tall, 5.5 cm (2-1/4 inches) square and both are in excellent condition, directly from the artist this year.
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 Craft Exhibition and Japan Ceramic Art Exhibition.

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.

A wild work by young pottery sensation Matsumura Jun enclosed in the original signed wooden box titled Necrosis TBF. It is 23 x 14.5 x 8 cm (9 x 5-1/2 x 3 inches) and is in excellent condition, from the artist late 2020. Matsumura Jun was born in Chiba Prefecture on the outskirts of Tokyo in 1986. He graduated from the University of South Alabama in 2010, and graduated the Tajimi Municipal Ceramics Research Facility in 2015, then went on to the Utatsuyama Research Facility in Kanazawa, leaving there in 2018. His transcendent, innovative forms have set the heart of the ceramic world racing and he has been awarded at the exhibition Tradition and Innovation-Japanese Ceramics Now as well as the 3rd Triennale of KOGEI in Kanazawa and have been presented at TEFAF in Maastricht, Art Fair Tokyo in 2018, Art Collect in London and Art Kyoto in 2019.

An inverted cone in deep rust colors by Hashimoto Tomonari enclosed in the original signed wooden box titled, like all his work, “Untitled”. It is 26 cm (10-1/4 inches) diameter, 23 cm (9 inches) tall and in perfect condition, directly from the artist. After forming and sculpting the shapes, they are bisque fired, then glazed and fired again at a relatively low temperature (Between 1000 and 1100 degrees, like Raku ware). Then he builds a brick oven around each piece and brings the temperature up to 500 degrees, and adds millet or rice husk, which carbonizes the surface, creating incredible colors and random patterns leaving the viewer with a feeling like rusted or heated metal. Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.