Catalog: Vintage Arts: Regional Art: Asian (75)

An otherworldly form from the age of Sputnick by important artist Morino Taimei exhibited at the 1959 Nitten National Art Exhibition and published in the Nittenshi (vol. 22). It is signed in romanized characters H. Morino (His given name is Hiroaki). It is roughly 12 inches (30 cm) tall, 15 inches (38 cm) 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 governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National 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.

Two shades of black form ethnic patterns on this hishigata vessel by Kiyomizu Rokubei dating circa 1960 nearly identical to figure 12 (page 85) of the catalog Yagi Kazuo to Kiyomizu Rokubei exhibited at the Muse Tomo in Tokyo in 2017. It is 18 x 13 x 24.5 cm (roughly 7 x 5 x 10 inches) and is in excellent condition. This came from the Rokubei family estate. No box
Kiyomizu Kyubei (1922-2006) was born Tsukamoto Hiroshi in Nagoya. He graduated from Nagoya Industrial High School (now the Nagoya Institute of Technology), majoring in architecture. Coming of age during the war years was not easy. he worked in glass and metal before being adopted into the Kiyomizu family in 1951. In 1953 he graduated from the Tokyo University of the Arts, majoring in metal casting. In 1958 he continued his studies of sculpture under under Shigeru Senno, while working in clay at the Rokubei kiln. In 1963 he became an assistant professor at the Kyoto City University of Arts, advancing to full professor in 1968. He then took a one year sabbatical in Italy and since has received many prizes including the 17th Mainichi Arts Award in 1976 and the Excellence Award at the Henry Moore Grand Prize Exhibition in 1979. He succeeded as head of the Kiyomizu Family in 1980, relinquishing the reins to his son Masahiro in 2000. According to the catalog from the recent Kyubei/Kazuo exhibtion “The works by Kiyomizu Hiroshi dating from the 1950s display handsome, geometric forms. Design like consideration is a sensibility shared by many ceramicists today and he gives us an impression that he was ahead of his time.
The National Museums of Modern Art in Tokyo, Kyoto and Osaka hod 16 works

A menagerie of 12 comic creatures grin back at us as we pour another cup of sake from this Tokkuri decorated by world renowned woodblock artist and painter Clifton Karhu enclosed in the original wooden box also decorated on all facets with the same humorous creatures as well as a self portrait on the lid captioned EVERY DAY IS A GOOD DAY. It is 17.5 cm (7 inches) tall and in excellent condition.
Clifton Karhu (1927-2007) had his first introduction to Japanese living stationed in Sasebo during the occupation from 1946 to 1948, and returned not long after graduating the Minneapolis Art University to spend many years as a missionary before he took up art as his modicum. Although he had participated in painting exhibitions, it was after his move to Kyoto in 1963 that he began working with woodblocks, for which he is most remembered. There he would remain, for nearly half a century, creating some of the most quintessential and recognizable prints of the 20th century.

A dish by preeminent avant-garde artist Yagi Kazuo enclosed in the original signed wooden box titled Haku Ogi Kashizara dating from the 1960s. The plate is ribbed like the surface of a folding fan, thus the name. It is roughly 7 inches (17.5 cm) diameter and is in excellent condition.
Yagi Kazuo (1918-1979) was one of the most influential Avant Garde potters of 20th century Japan. He was born into the family of potter Yagi Isso, a noted specialist in fine Chinese and traditional Japanese forms and glazes. Kazuo studied at the Kyoto Ceramics Research Facility, like many great potters before him including his father and the founders of the Mingei movement, Kawai Kanjiro and Hamada Shoji. While there immersed in traditional forms, he joined the Ceramic Sculpture Association of Japan, and in 1939 was exhibited with them. Drafted shortly thereafter, he was sent to China, but quickly returned to japan with illness, for which he was discharged, and went back to sculpture, very much influenced by Western Art movements of the time. The war years were difficult of course, but following Japan’s Surrender, Kazuo was accepted into the Nitten National Exhibition. Like many young artists who had been held in the yolk of Japan’s strict military regime, he was grasping for something new, and his work expressed a strong desire to throw off the weight of traditionalism and function. So it was in 1948 when Kazuo, along with a number of other potters including Suzuki Osamu, Yamada Hikaru and Kumakura Junkichi, founded the Iconic Sodeisha Group. The work of this group would change forever the perception of Japanese pottery, and he would go down as one of the most influential potters of the 20th century.

An elegant celadon receptacle with custom made black lacquered lid by important female potter Suwa Sozan II titled Seiji Mizusashi and enclosed in a wooden box annotated by the third generation head of the family. The Taru shape (a traditional bound shallow wood bucket) is surmounted at the rim with lily pads upon which rests a tiny frog. In the center of the base is her circular stamp. It is 24 cm (9-1/2 inches) diameter, 12 cm (5 inches) tall and in excellent condition.
Suwa Sozan (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako (Suwa Sozan II 1890–1977) was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.

A rare sculptural basin by Kiyomizu Kyubei dating from the late 1950s signed on the base Yo. Very heavy, it is 11 x 8 x 9 inches (28 x 20 x 23.5 cm) and is in excellent condition. This came from the Rokubei family estate. No box. Early works by Kyubei are rare because, according to the catalog: Yagi Kazuo to Kiyomizu Rokubei (exhibited at the Muse Tomo in Tokyo, 2017) “he changed names several times and is said to have destroyed the works he produced in those days. Judging from the ceramic works that remain and his achievements, his activities during the 1950s are significant.”
Kiyomizu Kyubei (1922-2006) was born Tsukamoto Hiroshi in Nagoya. He graduated from Nagoya Industrial High School (now the Nagoya Institute of Technology), majoring in architecture. Coming of age during the war years was not easy. he worked in glass and metal before being adopted into the Kiyomizu family in 1951. In 1953 he graduated from the Tokyo University of the Arts, majoring in metal casting. In 1958 he continued his studies of sculpture under under Shigeru Senno, while working in clay at the Rokubei kiln. In 1963 he became an assistant professor at the Kyoto City University of Arts, advancing to full professor in 1968. He then took a one year sabbatical in Italy and since has received many prizes including the 17th Mainichi Arts Award in 1976 and the Excellence Award at the Henry Moore Grand Prize Exhibition in 1979. He succeeded as head of the Kiyomizu Family in 1980, relinquishing the reins to his son Masahiro in 2000. According to the catalog from the recent Kyubei/Kazuo exhibtion “The works by Kiyomizu Hiroshi dating from the 1950s display handsome, geometric forms. Design like consideration is a sensibility shared by many ceramicists today and he gives us an impression that he was ahead of his time.
The National Museums of Modern Art in Tokyo, Kyoto and Osaka hold 16 works

Elegant imagery in rusty orange decorates the yellow body of this small vase by important artist and Living National Treasure Tokuda Yasokichi I enclosed in the original signed wooden box. It is 4-1/2 inches (11 cm) tall and in excellent condition. A very difficult artist to find, this is a rare opportunity.
Tokuda Yasokichi I (1873 –1956）was born into a family of textile dyers in Ishikawa prefecture, but entered the ceramics world under the tutelage of his Brother Matsumoto Sahei, specializing in the Yoshidaya decorative technique of Kutani ware in 1890. In 1922 he received Imperial patronage. He was named one of the first living National Treasures in 1953 (and his grandson, Yasokichi III would also be named such).

A set of five yunomi by Suzuki Osamu enclosed in the original signed wooden box titled Kao no Aru Yunomi. Each cup has a small face on one side, pale glaze covering all but that smiling fellow and the foote. Each cup is 3 inches (8 cm) tall and in fine condition.
Osamu was, along with Kumakura Junkichi, Hikaru Yamada and Yagi Kazuo, one of the founding members of the influential Sodeisha (Crawling Through Mud Association), a group of revolutionary post war ceramic artists whose influence remains strong today. 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.

Five unique plates by Tomimoto Kenkichi, from various eras depicting bucolic scenery each uniquely signed on the back. Kenkichi changed his signature regularly, which makes it very easy to date his works. These date from the 1950s. Each is between 18.5 and 19.5 cm diameter (roughly 7-1/2 inches). One has a slight firing flaw near at the rim, otherwise they are all in excellent condition. A smaller 6th plate will be included, bonus.
Tomimoto Kenkichi (1886-1963) is one of Japan's finest and most important ceramic artists ever, voted the number one most influential potter of the 20th century by Honoho Magazine. He was born into a privileged family in Nara, and would spend part of his youth in England studying design and manufacturing techniques. In 1950, Tomimoto became the first professor to the Ceramic Section of the Department of Crafts, Kyoto City University of Arts. He was also involved in a number of art associations and art universities throughout his life and trained many influential ceramic artists of modern Japan. He would be appointed member of the Japan Imperial Art Academy, as well as designated an intangible cultural asset (Mukei Bunkazai or Living National Treasure), and awarded the Order of Cultural Merit. For an excellent read see the recent article by John Wright in Arts of Asia.

A set of colorful Tokkuri in the shape of squared gourds by Living National Treasure Kato Hajime enclosed in the original signed wooden box titled Aka-e Hohyo Tokkuri (red glazed Tokkuri in squared gourd form). About the white bottom are fortuitous characters in green with a belt of blue, yellow and green in the center. They are 15.5 cm (6 inches) tall. There is slight rubbing of the red glaze typical of handling. Enclosed with them is a photocopy from an art book (unknown publication) with an identical set of Tokkuri and the artists biography up until his death in 1968.
Kato Hajime (1900-1968, sometimes referred to as Toshiro, an alternate reading of his name) was born in Seto city, home of a long pottery tradition. However, after serving briefly at the Aichi Prefectural Ceramics School, he moved to rural Mino in Gifu in 1926, another locale long known for its pottery tradition. The following year he was awarded at the 8th Imperial Art Academy Exhibition, the same year was accepted at the first Crafts division Exhibition of the Bunten National Exhibition. In 1937 he would be awarded at the Paris World Exposition. From 1940 he would move to Yokohama, where he would delve extensively into the techniques of Ming decorated porcelain. From 1955 he would serve as head of the ceramics department and the Tokyo National University of Art. His career culminated in being named one of the early Living National Treasures (Juyo Mukei Bunkazai) in 1961. In 1966, he became the president of the Japan Crafts Association and also became an expert committee member on the Council for Protection of Cultural Properties. In 1967 he became professor emeritus of the Tokyo University of the Art. The same year he was awarded the Imperial Order of Cultural Merit (Purple Ribbon) by the reigning Emperor. He was commissioned to decorate the Take-no-ma audience room of the new Imperial Palace in Tokyo.

A fabulous vase in the form of a rice pestle by Bizen Living National Treasure Kaneshige Toyo enclosed in the original signed wooden box titled Bizen Kine-gata Hanaire (Vase in the Shape of a Pestle). A fabulous range of colors plays across the surface, all natural kiln effects resulting from heat, cold, clay content and placement. The vase is 26 cm (10 inches) tall and in excellent condition. It comes with a custom made black lacquered wooden outer box to protect the original box.
Kaneshige Toyo (1896-1967) is one of the leaders of the group of artisans who sought to revive the tradition as it was flagging to extinction in the pre-war years and considered one of the most important figures in 20th century Bizen. It is Toyo who has been credited with having rediscovered the techniques of the Azuchi Momoyama period. Born in Bizen, Okayama prefecture, into the potting family of artisan Kaneshige Baiyo, Toyo began working with clay in 1910. By the 1930’s, he was thoroughly ensconced in the research of ancient techniques. Over the next 20 years, he was to become a leading figure in Japanese pottery, and lifelong friend of Kawakita Handeishi, Kitaoji Rosanjin and Miwa Kyuwa. Post-war, in an effort to elevate Japanese pottery, he, along with Arakawa Toyozo and Kato Tokuro, helped to establish the Nihon Kogei kai (Japan Art Crafts Association). He was designated Living National Treasure in 1956, and subsequently received the Order of Cultural Merit from Okayama for his lifework. For more see the new important tome by the Miho Museum: The Bizen (2019) according to which “He formed the Bizen Pottery Society, mentored the younger generation, participated in the founding of the Japan Kogei Association and built the foundations for the postwar success of Bizen ware”.

Raised designs in slip decorate the yellow glaze of this deep bowl by Kawai Kanjiro enclosed in a kiriwood box titled O-yu Tsutsugaki-mon Wan annotated by Kawai Toshitaka, current head of the Kawai Kanjiro Museum. This piece dates from later in the artists illustrious career, 1950s-1960s. It is 4 inches (10 cm) diameter, 3-1/4 inches (5 cm) tall and in excellent condition.
Kawai Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Hamada Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Refusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined.

An iconic Bizen sake set by legendary artist and Living National Treasure Kaneshige Toyo enclosed in the original signed wooden box dating from the pre-war era titled Inbe yaki Tokuri. The bottle is delicately rendered and features the play of colors and textures for which he would be known, with a dark gray rim, while the cup is thinly made in a warm orange tinge. Both bear his fundo stamp on the bottom. The bottle is 11 cm (roughy 4-1/2 inches) tall and both are in perfect condition, with an upper and lower compartment in the box for storage.
Kaneshige Toyo (1896-1967) is one of the leaders of the group of artisans who sought to revive the tradition as it was flagging to extinction in the pre-war years and considered one of the most important figures in 20th century Bizen. It is Toyo who has been credited with having rediscovered the techniques of the Azuchi Momoyama period. Born in Bizen, Okayama prefecture, into the potting family of artisan Kaneshige Baiyo, Toyo began working with clay in 1910. By the 1930’s, he was thoroughly ensconced in the research of ancient techniques. Over the next 20 years, he was to become a leading figure in Japanese pottery, and lifelong friend of Kawakita Handeishi, Kitaoji Rosanjin and Miwa Kyuwa. Post-war, in an effort to elevate Japanese pottery, he, along with Arakawa Toyozo and Kato Tokuro, helped to establish the Nihon Kogei kai (Japan Art Crafts Association). He was designated Living National Treasure in 1956, and subsequently received the Order of Cultural Merit from Okayama for his lifework. For more see the new important tome by the Miho Museum: The Bizen (2019) according to which “He formed the Bizen Pottery Society, mentored the younger generation, participated in the founding of the Japan Kogei Association and built the foundations for the postwar success of Bizen ware”.

Horses dash past in a fervent black mass both carved into and built up onto the paddled surface of this large vessel ballooning open from a narrow base by Nakazato Tarouemon XIII enclosed in the original signed wooden box. Inside the box is written Tataki Tsubo (Paddled Vessel), Kurabe Uma (Horse Race), exhibited Autumn 1958 at the Tokyo Mitsukoshi Sports Theme Art Exhibition; Ochawangama, Nakazato Tadao (given name of Nakazato Tarouemon XIII) followed by the artists seal. An excellent example of the mid-century aesthetic. The vessel is 34.5 cm (13-1/2 inches) diameter, 30 cm (12 inches) tall and in excellent condition. It has a copper insert for water (so you do not have to fill the whole Tsubo with water if displaying flowers). Due to size the cost of shipping will be accrued separately.
Nakazato Tadao (1923-2009) was born the first son of the 12th generation of Nakazato Tarouemon in Karatsu City. He graduated from the Craft Design Course, Tokyo School of Crafts (mod. Chiba University). In 1943, and first exhibited with the Nitten in 1951. In 1956 he would receive the Hokutosho prize there, followed by another commendation in 1958, and the JCS award in 1961. He took over the family name upon his fathers retirement in 1969. He would go on to receive many awards throughout his career, including the Prime Minister's Award in 1981, and the Japan Art Academy Award in 1984, The Saga Prefectural Order of Cultural Merit in 1985, and the Order of Cultural Merit by Karatsu city in 1995. In 2002 he retired from the world, entering a Buddhist temple and taking the name Hoan. He would ultimately be awarded the Order of the Rising Sun for his lifes work and be appointed an adviser of the Japan Art Academy. He was succeeded by his son,

Dark glaze covers this beautifully crafted Koro from Kawai Kanjiro dating circa 1936 enclosed in the original signed wooden box. It is 11.5 x 9 x 8.5 cm (4-1/2 x 3-1/2 x 3-1/2 inches) excluding the lid and is in excellent condition. The lid is of exotic hardwood with an agate finial, and is a later addition (Kanjiro did not make lids for his koro). For similar examples see the Katsukawa collection published in the biblical tome by the Kyoto National Museum of Modern Art.
Kawai Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Hamada Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Refusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined.

A spectacular silver and gold lid covers this small basin by Tomimoto Kenkichi enclosed in a wooden box titled Aka-e Tsutsugata Yunomi and annotated within: Made by Tomimoto Kenkichi Sensei in 1925 signed by Tsujimoto Isamu (for more on him see below). The cup is covered inside with creamy white, outside in red with decoration of gold plum blossoms. It is surmounted by a solid silver lid pierced with leafy vines and peaked with a gold chrysanthemum. The cup is 7 cm (2-3/4 inches) diameter and in perfect condition, signed inside the foot.
Tomimoto Kenkichi (1886-1963) is one of Japan's finest and most important ceramic artists ever, voted the number one most influential potter of the 20th century by Honoho Magazine. He was born into a privileged family in Nara, and would spend part of his youth in England studying design and manufacturing techniques. In 1950, Tomimoto became the first professor to the Ceramic Section of the Department of Crafts, Kyoto City University of Arts. He was also involved in a number of art associations and art universities throughout his life and trained many influential ceramic artists of modern Japan. He would be appointed member of the Japan Imperial Art Academy, as well as designated an intangible cultural asset (Mukei Bunkazai or Living National Treasure), and awarded the Order of Cultural Merit. For an excellent read see the recent article by John Wright in Arts of Asia.
Tsujimoto Isamu was a patron and great collector of the works of Tomimoto during the artists lifetime. Following his death Isamu created the Tomimoto Kenkichi Kinenkan Museum, and served as the first director there.

Chidori plovers soar between warm green clouds draped over the rim of this Oribe style bowl by Kitaoji Rosanjin enclosed in a double wood box (Nijubako) annotated by Living National Treasure Kaneshige Toyo. On the bottom of the bowl is the star mark of Rosanjin, which he used to mark pieces made for his restaurant. The bowl is 16.5 cm (6-1/2 inches) diameter and in excellent condition. The box is titled Oribe-fu Chawan, Rosanjin-saku (Oribe style bowl made by Rosanjin).
Kitaoji Rosanjin (1883-1959) They say adversity is the mother of invention, and Rosanjin can be said to epitomize that expression. Born during the tumultuous first half of the Meiji period in the cultural center of Kyoto, he was adopted at age six by a woodblock carver. He showed an early genius for calligraphy, and began his early manhood as a carver of seals and carver/painter of shop signs after a brief apprenticeship to a pharmacy. He also taught calligraphy and bought and sold antiques during these early years. In 1921 he founded what would become the impetus for his life’s work, his first restaurant, the Bishoku club, and followed in 1925 with a restaurant in Tokyo called the Hoshigaoka. Rosanjin began working in ceramics to replace the collection of dishes that was destroyed in the 1923 Kanto Earthquake. He was largely a self-taught artist with a diverse range, beginning with a kiln on his rented property .in Kamakura, and later paying visits for brief apprenticeships to many of the days top artists. He retired to work exclusively on the arts in 1936. Magazine editor, lacquer artist, metal-working and finally store owner in Tokyo’s Ginza, Rosanjin was everywhere at once. He was displayed at the museum of Modern Art in New York in 1954, a rare honor indeed for living artist. Like his contemporary, Kawai Kanjiro, Rosanjin was offered the title of Living National Treasure in 1955 for his work in Oribe pottery, but refused the offer.

A spectacular Mizusashi fresh water container by Bizen Living National Treasure Kaneshige Toyo enclosed in a wooden box annotated by his son Kaneshige Kosuke titled Bizen Yahazuguchi Mizusashi. A fabulous range of colors plays across the surface, all natural kiln effects resulting from heat, cold, clay content and placement. The receptacle is 18 cm (7 inches) diameter, 16.5 cm (6-1/2 inches) tall and comes with a custom made black lacquer wooden lid.
Kaneshige Toyo (1896-1967) is one of the leaders of the group of artisans who sought to revive the tradition as it was flagging to extinction in the pre-war years and considered one of the most important figures in 20th century Bizen. It is Toyo who has been credited with having rediscovered the techniques of the Azuchi Momoyama period. Born in Bizen, Okayama prefecture, into the potting family of artisan Kaneshige Baiyo, Toyo began working with clay in 1910. By the 1930’s, he was thoroughly ensconced in the research of ancient techniques. Over the next 20 years, he was to become a leading figure in Japanese pottery, and lifelong friend of Kawakita Handeishi, Kitaoji Rosanjin and Miwa Kyuwa. Post-war, in an effort to elevate Japanese pottery, he, along with Arakawa Toyozo and Kato Tokuro, helped to establish the Nihon Kogei kai (Japan Art Crafts Association). He was designated Living National Treasure in 1956, and subsequently received the Order of Cultural Merit from Okayama for his lifework. For more see the new important tome by the Miho Museum: The Bizen (2019) according to which “He formed the Bizen Pottery Society, mentored the younger generation, participated in the founding of the Japan Kogei Association and built the foundations for the postwar success of Bizen ware”.