Catalog (826)

A playful Oribe style basin for Bonsai trees by Sugitani Keizo refecting the shapes of his Silent Shadows Series in the design. It is 19 x 19 x 6.5 cm (just less than 8 inches square) and is in excellent condition, directly from the artist. A signed wooden box will be ordered from Keizo upon sale.
Sugitani Keizo was born in Osaka in 1959. In 1982 he graduated the Ceramic Art Institute of the Tekisui Museum of Art. He has selected for a number of group exhibitions including the International Ceramics Competition Mino and the Asahi Art exhibition, where he has been awarded. He has been exhibited at some of Japns top galleries as well as London, Art Miami, Maastricht, New York, Taipei and Shanghai among others.

A Tenmoku Hanging vase by the living master of that genre, Kimura Morikazu, enclosed in the original signed wooden box titled Tetsuyu Kohen Kake-hana-ike. The lozenge form features two lug handles in the shape of a traditional Waniguchi Japanese Shrine Gong. It is 7-1/2 x 6-1/2 x 2 inches (19 x 16.5 x 5.5 cm) nd in excellent condition, retaining the original shiori and wrapping cloth.
Kimura Morikazu was born to the house of a Kyo-yaki potter and studied under Ishiguro Munemaru, He established his first kiln in the Gojo Zaka area of Kyoto in 1947, moving to Fukui in 1976. He is held in the collection of both the Kyoto National Museum of Modern Art and the Imperial Household Agency. He has been displayed at innumerable private exhibitions in addition to major exhibitions such as the Nitten, Nihon Dento Kogeiten(National Traditional Crafts Exhibition) and Nihon Togei Ten (National Ceramics Exhibition) among others. Winner of the Japan Ceramics Society (JCS) award, purchased by the Ministry of Foreign affairs. Morikazu has been incredibly influential on the subsequent generation of potters.

Ash forms enigmatic shapes on this exquisite cocoon shaped wall vase by Yamada Jozan IV enclosed in the original signed wooden box. It is 8 cm (3 inches) diameter, 6 inches(16 cm) tall and in excellent condition.
Yamada Jozan IV was born into the house of third generation Living National Treasure Yamada Minoru in 1954. He graduated the Tokoname High Ceramics Course in 1973, before entering Osaka University of art. Disappointed with the university scene he left to work under his father, creating a climbing kiln, whereupon he began working with various forms, not only the famous teapots forwhich his family was known, but also ash glazed ware such as this piece. He succeeded the family name of Jozan in 2006 upon the death of his father.

A life-size feminine image of a toilet slipper by Satonaka Hideto in light colored clay covered with Irabo glaze enclosed in the original signed wooden box titled simply Sakuhin and dating circa 1975. It is just over 9 inches (23.5 cm) long and in excellent condition. From the 1950s to the 1970s there was a deep interest in an earthy convention by young ceramic artists called Tsuchi no Aji (Taste of the earth), and this Irabo glaze may have been one of the most popular extensions of that aesthetic. Tsuchi no Aji is defined as "the beautiful complexion of bare fired earth" in the manner of several types of ancient Japanese pottery traditions and practiced anew by contemporary Japanese potters in the postwar period who admired it as a "natural feeling for the oneness of clay and kiln." Experiments with earth flavor in the sculptural ceramics of the Sōdeisha group ranged from forms suggesting live organisms to clay works that protested the industrial pollution of the earth.
Satonaka Hideto (1932-1989) was born in Nagoya and graduated advanced studies at the prestigious Tokyo Kyoiku University Arts Department in 1956, then went on to study under Miyanohara Ken, exhibiting his first ceramic sculpture with the Totokai in 1961, and garnering the Itaya Hazan Prize for it. Throughout the ‘60s he would exhibit there earning several awards as well as at the Sankikai. From 1970 he moved to the circle of Yagi Kazuo, and would fall under the umbrella of Sodeisha. Two of his works would be selected and awarded for the first Nihon Togeiten National Ceramics Exhibition in 1971. The following year he would be awarded at the Faenza International Ceramics Exhibition. He would leave Sodeisha after the death of his mentor in 1979. He would participate in the Valauris International Ceramic Biennale among many other overseas extravaganzas. While working as a professor at the Bunkyo University Art Department hi life ended suddenly in an automobile accident in 1989. Six works by him are held in both the National Museums of Modern Art in Tokyo and Kyoto

Fujiuchi Saeko enclosed in the original signed wooden box titled Usuhanada Kanyu Chawan. Usuhanada is a traditional Japanese color in the blue tone. Kanyu is glaze crackling. This bowl is 13.5 x 14.5 x 7.5 cm (5-1/4 x 5-3/4 x 3 inches) and is in excellent condition, from the artist late 2020.
Fujiuchi Saeko wsa born in Shiga prefecture (home of Shigaraki) in 1983 but chose to study in the Okayama Prefectureal University (Okayama being the home of Bizen) graduating in 2006. She went on to advanced studies at the Tajimi Isshoken Ceramics Research Facility (Home of Shino and Oribe wares), graduating there in 2012. This has given her exposure to a smorgasbord of various traditional styles and influences. She was awarded last year at the Arita International Ceramics Festival.

A large deep bowl decorated in abstract underglaze blue imagery by Shibata Ryozo enclosed in the original signed wooden box titled Sometsuke Hachi and dating cica 1995. It is 28 cm (11 inches) diameter, 14 cm (5-1/2 inches) deep and in excellent condition.
Shibata Ryozo (b. 1952) completed advanced studies at the Kyoto Municipal University of Arts in 1978 (his work was purchased by the university the previous year for its permanent collection). In 1993 he first exhibited with the Nihon Dento Kogei Ten National Traditional Crafts Association, and in 94 was awarded at the Izushi Porcelain Trienial in Hyogo. After that he concentrated more on the Kansai area, and has been awarded at the Kyoto Bijutsu Kogeiten (97), Kyoto Kogei Bijutsu Sakka Kyokai Ten (98), Seto Sometsuke Exhibition (99) and Osaka Crafts Exhibition on multiple occasions. He has been a guest speaker at the University of Michigan in 2005, and artist in residence in Campbell Australia in 2006. Just this year his work was selected for exhibition in Boston at the Society of Arts and Crafts. In 2014 his work was collected by the Imperial household agency, and he is held in the collections of Kyoto City and Toyooka City Museums among others.

A deep tsutsu chawan by Omori Kenji in matte charcoal outside, soft, running pink within enclosed in the original signed wooden box titled Yakishime Chawan. It is 10.5 cm (4 inches) diameter, 9-9.5 cm (3-1/2 -3-3/4 inhces) tall. As it does not have a foot ring, it is decidedly deep, perfect for a cold winter day, and the warm colors inside, combined with the steaming green tea, would be fabulous.
Omori Kenji was born in Saitama prefecture in 1982 In 2005 he graduated the Tokyo Zokei Daigaku Garden Design department, and followed up with two years at the Tajimi Technical institute Isshoken. He currently lives and works in Tajimi, concentrating on private exhibitions as his venue.

Today I would like to introduce another talented potter living outside of the traditional potting centers. This is a beautiful Nezumi Shino (Gray Shino) chawan by Sagae Eimei, and comes enclosed in the original signed wooden box. This has an immediacy which speaks of our era, yet is based firmly in the pottery of the Momoyama period. It is 12.5 cm (5 inches) diameter, 9.5 cm (3 inches) tall and in excellent condition.
Sagae Eimei was born in Yamagata prefecture in 1949. Upon graduation from high school, he moved immediately to Gifu, where he studied Mino ware under Kato Kobei and future living National Treasure Kato Kozo. In 1970 he went to Africa for two years, before establishing his first kiln in the Hachioji district of rural Tokyo. In 1975 he moved to Shizuoka, and from there specialized in Shino ware for half a century, working to the revival of Momoyama era tea ware.

A bowl deeply impressed with Jomon rope designs by Living National Treasure Shimaoka Tasuzo enclosed in the original signed wooden box. It is 7.5 (3 inches) tall, 13.5 cm (5-1/4 inches) diameter.
Shimaoka Tatsuzo (1919-2007) was born in Tokyo and enrolled in the Tokyo Kogei Daigaku Ceramics division in 1939. The following year he would meet Mashiko Mingei potter Hamada Shoji, and the course of his life was thought set, graduating in 1941. However he was drafted in 1942, and sent to Burma where he would remain until repatriation after the cessation of hostilities. In 1946 Tatsuzo apprenticed under Hamada who encouraged him to find his own voice, which he did when in 1950 took part in research into ancient Jomon potteries with Shirasaki Shunji, which would have a profound influence on his style. Working with Jomon rope patterns, Tatsuzo set out to create a style unique to himself, establishing his own kiln in 1954. Widely exhibited, awarded and influential in his lifetime, he received the Japan Ceramic Society Gold award in 1994, one of the highest honors for a Japanese ceramic artist, and was designated a Living National Treasure (Juyo Mukei Bunkazai or Ningenkokuho) in 1996 culminating with receiving the Order of the Rising Sun in 1999.

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 deep wan-gata bowl swept with swirling Zen brush-strokes over earthen glaze by veteran female artist Shigemori Yoko enclosed ina wooden box titled O-Chawan (Big Tea Bowl). It is 13.5 cm (5-1/4 inches) diameter, 9.5 cm (just less than 4 inches) tall and in perfect condition, directly from the artist’ family and comes enclosed in a wooden box annotated by her nephew.
Shigemori Yoko (1953-2021) was born in Kagoshima. Yoko came to Kyoto where she initially studied painting at the Kyoto Tankidai Art College, then moved to ceramics at the Kyoto Municipal Art University where she studied traditional pottery techniques under Kondo Yutaka before entering advanced courses under avant-garde Yagi Kazuo, graduating in 1979. Her first solo exhibitions were held while still a student at Gallery Iteza in Kyoto. She eschewed the world of competitive exhibitions in favor of the intimacy of private galleries, and her list of solo exhibitions is expansive. She received the Yagi Kazuo prize in 1986 and 1988 at the Nihon Gendai Togeiten National Modern Ceramics Exhibition. She was one of five artists featured in Toh, volume 76, the first issue dedicated to Kyoto potters. Toh was, at the time

A large white Tea Bowl 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. 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 13.5 cm (5-1/4 inches) diameter, 9.5 cm (just under 4 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 large Namako Glazed Tea Bowl 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. 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 13.5 cm (5-1/4 inches) diameter, 9.5 cm (just under 4 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 fabulous Kutsugata Chawan by Matsuo Takaaki enclosed in the original signed wooden box titled Shigarai Shizen-yu Yohen Chawan. Rising from a round base to an elongated rim, it has been blasted by the inferno on one side, the molten ash circling about to form a Zen circle where it had been supported on its side in the kiln. At the narrowest part of the rim it has adhered to something else in the kiln, causing a break which has been filled with gold by the artist. In addition gold completes the Zen circle on the side, and glimmers like morning dew on the foot. A true masterpiece by this veteran artist. It is 14.5 x10.5 cm (5-1/2 x 4-1/8 inches) at the rim, 8.5cm(3-1/2 inches) tall and in excellent condition.
Matsuo Takaaki was born in Yokohama in 1938. He began studies under Tsuji Seimei at Renkoji in 1960 where he trained for over 15 years. He became independent in 1975 and built a climbing kiln in Tama. Since he has been exhibited with the Issuikai but mainly focuses on the intimacy of private exhibitions.

A riot of spring flowers in minute detail covers this dainty tea cup by Kawada Satomi enclosed in the original wooden box titled Hanazukushi-wan, and signed Kutani Satomi. The cup is 7.5 cm (3 inches) diameter, 6.5 cm (2-1/2 inches) tall and is in excellent condition. There are two types of Kutani overglazes, one like watercolor, opaque and vivid, the other like translucent glass. During the Meiji period when massive western demand brought about a thriving export market, the former was popular. However, in the later 20th century and more recently artists have been drawn to the latter. Like her mentor Nakamura Toshito, Kawada Satomi picks up where the Meiji tradition left off, but with a much more modern sensibility. Her work is delicate, extravagant, and peppered with unusual tones of blue and lavender. She graduated the Nagoya Design Institute in 1998, working as an illustrator. She enrolled at the Ishikawa Prefectural Kutani Research Facility, graduating in 2005, and entered the Nihon Kogeikai and followed with an apprenticeship under Nakamura Toshito. She was designated a Traditional Craftsperson in 2017.

This young guy’s stuff is very chic; a sake set by Kato Yoshiyasu in purest white and darkest black, everything a dialog between shadow and form. Here the artist has used a combination of his repertoire. The cup is pure white dipped into black, the black then chiseled away in divots creating a beautiful pattern for the eyes and texture for fingers. The Ozabu (Pillow shaped Daiza saucer) is a flattened ball, dimpled to receive the cup, then pierced with various sized holes. Alongside standing sentry the bent silhouette of the Tokkuri, a dark belt between pierced white: an eggshell coming apart. The cup is petite, perfect for a summer sipping reishu cold sake, the rim folded in to trap the delicate aroma. The UFO shaped Daiza (saucer) is 9 cm (3-1/2 inches) diameter and the Tokkuri is 16.5 cm (6-1/2 inches) tall. All are in excellent condition, enclosed in their respective signed boxes, directly from the artist this summer.
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 quintessential work showing the decorative aesthetic of Ichino Masahiko enclosed in the original signed wooden box titled Senmon Tokkuri (Lined Vessel). Sunset colors fade to dark about the rim, vertical lines like shooting stars. It is 12 cm (5 inches) tall and in excellent condition, complete with the original Shiori and Shifuku .
The youngest winner ever at the 13th National Ceramic Exhibition (Nihon Togeiten), Ichino Hiroyuki is a powerhouse in Tamba, bringing that long forgotten corner of Japan’s ceramic realm back into the limelight. He was born in Sasayama, heart of Tamba, in 1961, and studied in Kyoto under Imai Masayuki, and under his father Ichino Shinsui. He established his own kiln in 1988, and in 1995 caught the worlds attention with his work “Kai” at the 13th Nihon Togeiten. In 99 his work was selected for the Japanese Ceramic Exhibition Tour sponsored by the Japan Foundation, and that was the first of many overseas exhibits featuring his work. In 2006 he received the JCS award (Japan Ceramic Society prize), one of the most coveted in Japan, and in 2009 received the grand prize at the Tanabe Museum Modern forms in Tea Exhibition. He is held in the collection of the V&A, New Orleans Museum of Art, Brooklyn Museum, Tanabe Museum and Japan Foundation among many others.

A quintessential work showing the decorative aesthetic of Ichino Masahiko enclosed in the original signed wooden box titled Senmon Tokkuri. It is 13.3 cm (just over 5 inches) tall and in excellent condition.
The youngest winner ever at the 13th National Ceramic Exhibition (Nihon Togeiten), Ichino Hiroyuki is a powerhouse in Tamba, bringing that long forgotten corner of Japan’s ceramic realm back into the limelight. He was born in Sasayama, heart of Tamba, in 1961, and studied in Kyoto under Imai Masayuki, and under his father Ichino Shinsui. He established his own kiln in 1988, and in 1995 caught the worlds attention with his work “Kai” at the 13th Nihon Togeiten. In 99 his work was selected for the Japanese Ceramic Exhibition Tour sponsored by the Japan Foundation, and that was the first of many overseas exhibits featuring his work. In 2006 he received the JCS award (Japan Ceramic Society prize), one of the most coveted in Japan, and in 2009 received the grand prize at the Tanabe Museum Modern forms in Tea Exhibition. He is held in the collection of the V&A, New Orleans Museum of Art, Brooklyn Museum, Tanabe Museum and Japan Foundation among many others.

A beautiful bamboo shaped vessel of pale gray glaze by Takahashi Samon enclosed in the original signed wooden box titled Konabiki Hanaire. It is 28 cm (11 inches) tall and in excellent condition.
Takahashi Samon (b. 1948) first studied with Kato Kobei V and Living National Treasure Kato Takuo. He then entered the Gifu Prefectural Ceramic Institute to study kiln making before going to the Kamakura kiln of Kitaoji Rosanjin for further study. He established his own kiln in 1977. Unaffiliated, he relies on solo and group exhibitions to show his creations. He is held in the collection of the Minneapolis Institute of Arts.

A beautiful small wall hanging sculpture by Yamaguchi Mio, titled Kawa (Skin or bark) in rare lavender tinged glaze. It is 19 x 32 x 5.5 cm (8 x 12-1/2 x 2 inches) and is in excellent condition, directly from the artist.
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 11International 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.

Red Hidasuki lines of straw on austere Bizen clay by the master of that genre Isezaki Mitsuru enclosed in the original signed wooden box. Perfectly turned bowl representing this important artists style. 13 cm (5 inches) diameter, 7 cm (2-3/4 inches) tall and in excellent condition.
Isezaki Mitsuru (1934-2010) was born to a family of potters, his father Yozan and younger brother Jun both very important in Bizen pottery. In 1998 Mitsuru was named a Prefectural Intangible Cultural Property for Okayama (the prefectural version of a living National Treasure, likely more important as it is truly based on the artists contributions rather than heredity). He has innumerable exhibitions, including the Nihon Togei-Ten (National Ceramics Exhibition) Nihon Dento Kogei-Ten (National Traditional Crafts Exhibition) and Gendai Togei Ten (Modern Japanese Ceramics Exhibition). In fact his first piece exhibited with the First National Ceramic Exhibition was selected for display in a show which went around the globe. Recipient of the Kaneshige Toyo prize as well as purchased by the Japanese Foreign service as gift to foreign dignitaries. His Hidasuki was considered to be of the highest grade since the Momoyama period.

A joyful yellow light seems to shine like a jewel from within the fissures of this cool tea bowl by Kitagawa Kazuki enclosed in the original signed wooden box titled Kasane iro-me Chawan. It is 12 cm (4-3/4 inches) diameter, 8 cm (3 inches) tall and in excellent condition from the artist this autumn. This artist works by creating the body with subsequent applications of variously colored liquid clay, then scoring away the surface to create patterns by revealing the various layers.
Kitagawa Kazuki was born in Kyoto in 1991, and graduated Seika University Design department in 2014 before entering the Tajimi City Ceramics Research Facility, graduating there in 2016. He currently lives and works in Tajimi.

The cloth textured surface seems to glow warm like the promise of warm days to come, cherries blossoming wide on this sake set by Ito Motohiko enclosed in the original signed wooden boxes. The Guinomi is 7.5cm (3 inches) diameter 3.5cm (1-1/2 inches) tall. The Tokkuri is 9.5cm (just less than 4 inches) diameter, 14.5cm (just less than 6 inches) tall and both are in excellent condition.
Ito Motohiko is a famous Kasama potter, best known for his nunome pattern and exceptional designs. Motohiko was born in Fukuoka prefecture, 1939, and graduated the Tokyo University of Art in 1964, then moved on to advanced courses there, finishing in 1966. While at University he studied under Kato Hajime and Fujimoto Yoshimichi. It was in 1967 his first piece was accepted into the 6th Modern National Crafts Exhibition, and the next year would be spent working under to-be-Living National Treasure Matsui Kosei. His list of prizes and exhibitions is much too long to reproduce, but since 1967, he has Exhibited with the Nihon Dento Kogeiten, Nihon Dento Kogei Shinsaku Ten, Dento Kogei Musashino Ten, Tanabe Museum Modern Tea Forms Exhibition, been the subject of an NHK Television documentary, and participated in a ridiculous number of private exhibits at many of Japans top venues, and has been purchased by the Heisei Emperor in person as well as receiving the Shijuho-sho prize from his majesty.

A stone formed bowl covered entirely in platinum by Inayoshi Osamu enclosed in the original signed wooden box accompanied by the shiori and Shifuku. The bowl is carved and torn from a block of clay, then textured with natural stones specially selected for their surface patterns, splashed with glaze and then covered in platinum, creating dry. Matte regions punctuated by glistening liqid spatters. It is 10 cm (4 inches) diameter, 7.5 cm (3 inches) tall and in excellent condition from the artist this summer.
Inayoshi Osamu was born in Aichi prefecture, the heart of Mino country, in 1976. He completed his initial training in the plastic arts at the Seto Pottery School in 2002, garnering an award that same year at the 56th Seto City Art Exhibition. In 2007 he established his own kiln in Toyohashi, and was awarded at the 19th Heart of Oribe Pottery exhibition (again the following year). In 2008 he began to focus on the Atsumi pottery of the Heian and Kamakura periods, building up a unique repertoire. After several more domestic shows and prizes, he had his overseas debut in 2010, and has since received a great deal of attention both at home and abroad.

Beware, in this artists world the walls have ears and your sake cup is staring back at you. A striking work by Mizumoto Kayoko enclosed in the original signed wooden box titled Kujira Guinomi. As if the unblinking green eye were not enough, a silver thorn bursts from the surface on one side (or is it a devils horn, or Vikings come to call?). Sure to inspire conversation during a round of sake, the playful cup is 5.5 cm tall and in excellent condition.
Mizumoto Kayoko was born in Ishikawa, home to the Kutani Ceramic Tradition, in 1971. She initially apprenticed in Yuzen Textile dying, where she worked for seven years, before teaching herself basic pottery techniques beginning in 1999. Having come to the traditiaonl Kutani world from outside, she was free to develop her own voice unfettered by traditional influences. In 2001 she entered a traditional kiln where she mastered the craft, and established her own kiln in 2010. Her work ahs been featured in prominent shows both in and out of Japan.

Brilliant firing affects decorate this deep tapering cup of raw clay by Tsuji Seimei enclosed in the original signed wooden box. A classic work relying truly on Tsuchi-no-aji, or the taste of the clay. There is no attempt at overt decoration of sculpture, just a perfectly formed cup with a slightly wider base blasted in the furnace with black charring, thin rivulets of molten ash and lots of Hi-iro. It is 12.5 cm (5 inches) tall and in excellent condition.
Tsuji Seimei (1927-2008) was born the son of an antique dealer in Tokyo in 1927. He was a childhood prodigy, and had acquired a reputation before leaving school, allowing him to meet many of the great artists of his day. In 1941 he established a studio with his sister. In 1955 he built his own studio in Tama City, choosing Shigaraki as his medium, he fired prodigiously. He married Tsuji Kyo, also a potter, and together they formed a team which helped define the blending of post-war traditional and non-functional ceramics.

A set of five dishes which my staff creams over by Yamaguchi Michie enclosed in the original signed wooden box titled Momo Mame Sara. These live up to the word Kawaii so profound in contemporary Japanese pop culture. Each is roughly 15.5 x 17.5 cm (6 x 7 inches) ad all are in excellent condition, directly from the artist.
Yamaguchi Michie was born in Aichi prefecture in 1964, and came to pottery at the age of 35, opening her studio in Nagoya in 2003. She first exhibited with the Nitten National Art Exhibition in 2008. In 2009 she was accepted into the Nihon Togeiten National Ceramic exhibition, where she has been subsequently awarded. That same year she was recipient of the Shorei-sho prize at the Kobe Biennale, and she entered for the first time the Womans Association of Ceramic Artists (WACA) Exhibition, receiving the T-shi prize. In 2011 she would be awarded at the Kikuchi Biennale, the 45th Female Artist Exhibition, as well as the Nihon Shin Kogeiten National New Crafts Exhibition. She would also first enter the International Ceramics Festival in Mino. 2012 saw her work awarded at the Mino Togei Shorokusho Chawan Ten Tea Bowl exhibition as well as the Mino Togei Ceramic Exhibition. In 2014 she was prized at the Hagi Taisho-ten show. She was awarded again in 2017 at the 43rd Mino Togeiten, and Governors prize at the 54th WACA Exhibition in 2020. In 2021 she was awarded the 43rd Nihon Shin Kogeiten New Crafts Exhibition, as well as the Kasama Togei Taishou Ten and in 2022 at the Tobi Ceramic Art Society of Japan Exhibition. She has taken part in ceramic events in Europe and Korea, and her work is held in the Toshin Ceramic Museum.

A perfect example of the more refined side of Iga pottery by is represented by this large chawan by Tanimoto Yo enclosed in the original singed wooden box titled Iga Chawan. It is 14 cm (5-1/2 inches) diameter, 8.5 cm (3-1/2 inches) tall and in excellent condition.
Born in 1958 the son of Iga potter Tanimoto Kosei, Yo was raised among the kilns and has always had his hands in clay. He first began exhibiting in 1982, and in 1984 moved to Europe where he studied oil painting and sculpture (in Spain), and set up a pottery studio outside Paris. After returning to Japan he set up his own studio in 1988, working both in Japan and Spain. Since his works have been exhibited widely, both domestically and abroad in New York, London, Barcelona and Paris.

A smokey swirling faceted vessel by master potter Nishihata Tadashi enclosed in the original signed wooden box titled Yohen Tokkuri. A circular blank of pale gray shadow surrounded by raw burnt red clay gives way to a blanket of hazy ash. It is 15.5 cm (6 inches) tall, 11 cm (just over 4 inches) diameter 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

9 faceted sides rise up to the circular rim forming this deep bowl enveloping a jade pool by Yoshikawa Masamichi enclosed in the original signed wooden box titled simply Wan. The sides have been slabbed away forming 9 facets on 9 facets, resting on a seven sided foot. Defining each flattened surface are blue architectural lines. It is 13 cm (5 inches) diameter, 8 cm tall and in perfect condition.
Yoshikawa Masamichi was born in Kanagawa in 1946, and graduated the Japanese Design Academy in 1968. He first garnered attention in Japan being awarded at the 1971 Asahi Togeiten Ceramics Exhibition, and the following year received honorable mention at the 3rd International Biennale of Ceramic Art Vallorious France(Gold prize there in 2002). He has since received numerous prizes including Grand Prize at the Asahi Togeiten 1981, 1983 as well as the Aichi Prefectural Art and Cultur Award in 2005. Work is held in the Korea World Ceramic Center (Soul), American Craft Museum New York, Keramik Museum Germany, Brooklyn Musuem, Tokoname City Museum, V&A London among many others.

A small object like bound chords in raw white porcelain clay by Goto Miho accompanied by the original signed wooden box titled Heartbeat of the Skin. The looping object bound tightly in the center stirs mixed emotions, both reminiscent of bondage as well as the celebratory twisted rope talismans displayed at New years and in front of holy places. It is 8 x 7 x 11 cm (roughly 3 x 3 x 4-1/2 inches) and is in excellent condition, directly from the artist. When prompted about her message she said: I feel that there is something vaguely present that is never visible in my everyday life. It always speaks to me like a pulse beating deep within my thin skin, insisting on its existence. Although I have been expressing myself through painting for nearly ten years, now that I think about it, I feel like I've always been struggling to discover its true identity.
When I encountered ceramics for the first time, I suddenly felt that I had found the means to respond to this vague phantom within.
In this medium I constantly interact with unknown experiences; I am able to feel a certain sense of this diaphanous existence and create works through which I can touch people's five senses; gradually giving back to society. For the first time, I feel like I am a part of this world.
Goto Miho entered the ceramics course at Osaka University of Arts in 2021, already an advanced student initially trained in painting. She was awarded at the 14th Prince Takamado Memorial Netsuke Competition in 2022. In 2023 whe entered Ceramic Design Institute of Tajimi City, and the same year was recipient of the 9th Contemporary Art and Culture Foundation Ceramic Artist Support Grant. Her work was also selected for the Ceramic Synergy Exhibition held at the Kyoto City Kyocera Museum of Art. This is the first time her work has been offered to an overseas audience.

A gourd shaped black Bizen Tokkuri by Oiwa Tomoyuki enclosed in the original signed wooden box titled Kuro Tokkuri. A pleasure to view, the off-kilter form is blasted with powdery dry ash on one side which turns to molten rivulets on the edges crawling around to bead up on the opposite dark shiny clay. The Tokkuri 16.5 cm (6-1/2 inches) tall and in excellent condition. Acquired on our recent trip to Bizen in June.
Oiwa Tomoyuki was born in Hyogo prefecture in 1977, and graduated the Bizen Ceramic Center in 2004. The following year he came to study under the outsider Kakurezaki Ryuichi, where he would remain for 8 years, garnering a lifetime worth of knowledge from the master before going independent. In 2014 he built a half-submerged tunnel kiln (anagama), completing his first firing in 2015. He has since been featured widely and is known for sell out shows, especially for his sake vessels.

A pair of exquisite fluted porcelain bottles decorated in rich color by Tokuda Yasokichi II enclosed in the original signed wooden box. Flowers in various colors, red, yellow, purple blue and green rise up between patterned undulating bands of green and blue. Each is signed on the base in a yellow seal Kutani Yasokichi. They are 15 cm tall and in perfect condition.
The Tokuda family kiln was established by the first Yasokichi (1873-1956)、born into the house of a textile dying family. As one might expect, he initially studied painting under the tutelage of the famous Araki studio. Returning to his home he became employed decorating Kutani ware under his Brother in Law, Matsumoto Sahei, at the Shoun-Do. However after a sojourn in ceramic production under Asakura Isokichi he broke away and established his own kiln where he chafed at the cheap export ware being produced and began a lifelong search for the roots of Ko-Kutani. A search for which he was honored as a Living National Treasure in 1953. Just three years later the kiln was succeeded by his son, Yasokichi II (1907-1997). Yasokichi II was adopted into the Tokuda family in 1923, and studied initially at the Kyoto National Ceramics Research Facility alongside Hamada Shoji and Kanjiro Kawai. He learned under the tutelage of Living National Treasure Tomimoto Kenkichi before devoting himself fully to the family business. He was awarded at the Brussels World Exposition, Nitten, received the Hokuto-sho prize along with many others, and was displayed in Europe and America. He took many opportunities to continue his life quest by study sabbaticals throughout Asia, North and South America and Europe and was awarded the title Ken Juyo Mukei Bunkazai (Living Prefectural Treasure). He passed the name Yasokichi on to his son in 1988. Works are held in the Imperial Household Collection and Ishikawa Prefectural Museum among many others.

A striking floral image decorates this odd shaped guinomi made to not be put down by Mizumoto Kayoko enclosed in the original signed wooden box titled Obana Guinomi. An Obana is a male flower, or a flower with only stamens and no pistils; lacking female reproductive function. The cup is 6.5 x 12 x 7 cm (2-1/2 x 4-1/2 x 3 inches) and is in excellent condition, dating from last year.
Mizumoto Kayoko was born in Ishikawa, home to the Kutani Ceramic Tradition, in 1971. She initially apprenticed in Yuzen Textile dying, where she worked for seven years, before teaching herself basic pottery techniques beginning in 1999. Having come to the traditiaonl Kutani world from outside, she was free to develop her own voice unfettered by traditional influences. In 2001 she entered a traditional kiln where she mastered the craft, and established her own kiln in 2010. Her work ahs been featured in prominent shows both in and out of Japan.

Balancing the scales and industrial shape by Sodeisha star Takano Moto-o enclosed in the original signed wooden box titled simply Utsuwa (Receptacle) and dating from the height of Sodeisha influence in the 1960s. It is 12 x 15 x 12 cm (5 x 6 x 5 inches) and in excellent condition.
Takano Moto-o was born into a Kyoto pottery family in 1934, and although trained as a potter of tea ceramics, moved into the world of sculpture, entering Sodeisha in 1966, and would exhibit with the avant garde association until 1983 as well as the National Ceramic Exhibition (Nihon Togeiten). He was selected for the “Contemporary Ceramic Art” exhibition which toured Canada, U.S.A., Mexico and Japan in 1972. Since his work has been exhibited in North and South America, Australia, New Zealand, and various countries in Europe. He focuses on sculptural pursuits, filling the time between with tableware.

A very unusual work by the challenging artist Nakata Atsushi covered in red lacquer with modern designs enclosed in the original signed wooden box titled URUSHI TEA BOWL. It is 11.5 x 13.5 x 9.5 cm (4-1/2 x 5-1/4 x 3-3/4 inches) and is in New condition.
Nakata Atsushi was born in Toyama in 1968, and studied in the blossoming field of videography at Osaka University of Art however chose the path of potter after working at a friends kiln while at school. He graduated in 1992, then apprenticed under Imai Yasuhito famed for his tea ware. In 1996 Atsushi set out on his own in Ueno City, Mie prefecture (the center of Iga ware). He uses lacquer in most of his works, which requires typically three firings, and his work is characterized by its contemporary design and utilitarian forms.

A Tea Pot by Hattori Tatsuya enclosed in the original signed wooden box titled Ginsai Pot alongside a small doodle of the tea pot itself. It is 15 x 11 x 10 cm (6 x 4-1/4 x 4 inches) and in excellent condition, from the artist this past winter. He is a master of silver glazes, and his forms, especially his tea pots, are very popular and generally sell out quickly, we are lucky to be able to offer one.
Hattori Tatsuya was born in Tajimi, home of Shino and Oribe wares, in 1978 and was raised in the vibrant pottery scene of that region. However, he had no interest in pottery until after graduating with a degree in business from university. Taking a hiatus from studies and work, he stumbled onto the path of the potter by accident (or was it fate). He entered the Tajimi Ceramics Research Facility, graduating in 2004. His work was selected fr display at the Mashiko Ceramic Art Exhibition and Asahi Togeiten Ceramics Exhibition that year. He took a position as a ceramic designer at a local company, working nights and weekends on his own art and promoting himself in the off hours until he felt he could afford to devote himself completely to the wheel. At first he concentrated on making decorative works, but soon began moving steadily toward functional vessels, enjoying the dialog between the work and the user.

A beautiful small wall hanging sculpture by Yamaguchi Mio, titled Umi no Futa (Oceanic Lid) with blue tinged petals enclosed in the original signed wooden box. It is 13.5 x 17 x 5.5 cm and is in excellent condition, directly from the artist.
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 11International 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 sumptuous wood grain bowl by Tanaka Eiko covered outside in red and black lacquer, the lacquer thin enough to allow highlights of the tiger-striped grain to show through. Her tree of choice is the Horse Chestnut (Jap. Tocchi), which has unparalleled grain patterns. A perfectly fitted black lacquered lid with elegant finial covers the bowl. It is 10 cm (4 inches) diameter, signed on the base and comes in her red paper box with shiori card.
Tanaka Eiko was born in Aichi Prefecture in 1983, and graduated the Aichi Prefectural University of Education lacquer department in 2005. The following year her work was first presented at the Takaoka Craft Competition, the following year entered into the salon of Nakashima Torao, and had her work presented at the Ishikawa Dento Kogeiten Traditional Crafts Exhibition. She graduated the Ishikawa Prefectural Wood turning technology training center in 2010, establishing her own studio in 2012. Since her work has been exhibited around Japan, New York, Indonesia, Taiwan, Germany, Holland, Singapore and Thailand. She says: “The Japanese horse chestnut is a tree with great individuality. To bring out the personality of each tree I must confront it sincerely and draw out its strength by using red and black, the colors I love”. Exquisitely painted lacquer has brought new life to the chestnut wood. The attractiveness of curves by skillful wood turning also extends over the wood,

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.

Decorated with only a single platinum thumbprint this Unmistakable Crimson bowl by Masatomo turns inward as it closes upon the mouth. It is 15 cm (6 inches) diameter, 8 cm (just more than 3 inches) tall and in perfect condition, enclosed in the original signed wooden box titled Red Chawan and comes directly from the artist.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He is currently midway through a year of study and experimentation abroad, and we expect great things in his future.

There is nothing superfluous in the work of Saito Hiroyuki, often described as “Muda no nai utsuwa” (Vessel without waste). Here is an exquisite tea bowl in muted silver and black with a texture which will make your hands want to dance. Like the creator, it is chic, with a simplicity of form which is timeless, and yet very much rooted in the world we live in today. The bowl is 8 cm (3 inches) tall and in excellent condition, directly from the artist.
Although I would love to offer a plethora of his work, we will have to wait until our next trip to Kyushu, as Hiroyuki is now concentrating, according to his own personal policy, on the very local populace, with whom he can develop a personal relationship, and know through direct feedback that his creations are rewarding to the end user.
Saito Hiroyuki was born in Kumamoto on the Southern Island of Kyushu in 1978. He came to ceramics after 30, having worked in industry and as a florist. In his late 20 he began to ask, what is a lifelong career? A stylish fellow, he was profoundly affected by the simplicity and style of German born Hans Coper. But it was not necessarily the connections to history and a specific tradition, but the ability to express one’s unique character through clay which drew him toward the potters fold. Around 30 he had a brush with death, and in the ICU decided should he survive, he would dedicate the remainder of his life to expressing himself in earth. Survive he did, and initially he was self-taught, eschewing the practice of apprenticeship while exploring his own new path. In 2013 he entered the Gen-gama under Furumori Gen, taking over the running of the kiln the following year. In 2018 he remodeled, setting up a group studio now shared by several artists working in various mediums.

Thick iron and feldspar cover the Iga glaze of this small vase by Ayukai Kogetsu enclosed in the original signed wooden box titled Oni Iga Ko Tsubo. It is 13 cm (5 inches) tall, roughly 9 cm (3-3/4 inches) diameter and in excellent condition. I think it would also make a nice tokkuri.
Ayukai Kogetsu is a female artist from Miyagi prefecture. During a trip to Nara after graduating university, she was struck by a calligraphy exhibition, and became a student of calligraphy under Onodera Hosen in Kessennuma. From 1969-1979 she exhibited calligraphy in a number of venues including the Shodo Geijutsu Inten, and received a number of awards. In 1979 she became a student and follower of the ceramic artist of Oni Shino fame Tsukigata Nahiko, who was also known for his painting and sculpture, all of which she absorbed over a ten year apprenticeship. She opened her own kiln in Gifu prefecture in 1992. She currently takes part in calligraphy and ceramic exhibitions throughout Japan.

An absolute classic natural ash glazed sake bottle by the reclusive potter Osako Mikio enclosed in the original signed wooden box titled Tokkuri. Most of the surface is covered in ash, tremulous tears of liquefied ash weeping over the charred clay. It is 14 cm tall and in excellent condition.
Osako Mikio (1940-1995), born in Usa Oita prefecture on the Island of Kyushu, arrived at ceramics late in life, starting to study with Ezaki Issei at the Tokonmane ceramic Research Center in 1968 and staying with his teacher until he built his first kiln in 1982.. He received Grand Prize at the International Biennial of Ceramics in Vallauris, France in 1972. Known for his yakishime and ash glazed pottery, His profound understanding of wood firing, post firing and pottery in general was exceptional and his forms and surfaces are mature beyond his years of experience. A fitting quote by Dr. Frederick Baekeland from the catalogue; Modern Japanese Ceramics in American Collections, sums up the true nature of the potter and his pots; “The strong, conventional potting and rich sobriety of Osako’s ceramics appeal to modern taste and accords well with the aesthetic canons of the tea ceremony.”

A vase with a carved-comb surface of white clay by Sakiyama Takayuki enclosed in the original signed wooden box titled dating circa 1998. It is 9 x 7 x 15 cm (3-1/2 x 3 x 6 inches) and is in excellent condition.
Sakiyama Takayuki (b. 1958) graduated the Osaka Art University in 1981. In 1984 he exhibited for the first time at the Nitten National Exhibition. He established his kiln in Shizuoka in 1987, and was accepted into and prized at the National Ceramics Exhibition (Nihon Togeiten) for the first time in 1991 as well as being prized at the Nihon Gendai Kogeiten (modern crafts exhibition). In 2005 he received Grand Prize at the Nihon Togeiten. Work by the artist is held in the collection of the Metropolitan Museum New York, Brooklyn Museum, Minneapolis, Boston, Philadelphia, New Orleans, LACMA, Musée national de Céramique- Sèvres, France, National Museum of Scotland as well as the Museum of Ceramic Art in Hyogo and the Sano Museum among many others.

A sumptuous wood grain bowl by Tanaka Eiko covered outside in thin black lacquer, the inside clear to best present the exquisite grains of the wood. Her tree of choice is the Horse Chestnut (Jap. Tocchi), which has unparalleled grain patterns, here visible through the black outside as a soft glow about the center of the bowl. Inside black lines like an abstract ink painting decorating the straight grains. She brings the rim up to an extremely thin edge, abrupt, both delicate and challenging. The bowl is 12.5 cm (5 inches) diameter and in excellent condition. It is signed on the base and comes in her red paper box with shiori card.
Tanaka Eiko was born in Aichi Prefecture in 1983, and graduated the Aichi Prefectural University of Education lacquer department in 2005. The following year her work was first presented at the Takaoka Craft Competition, the following year entered into the salon of Nakashima Torao, and had her work presented at the Ishikawa Dento Kogeiten Traditional Crafts Exhibition. She graduated the Ishikawa Prefectural Wood turning technology training center in 2010, establishing her own studio in 2012. Since her work has been exhibited around Japan, New York, Indonesia, Taiwan, Germany, Holland, Singapore and Thailand. She says: “The Japanese horse chestnut is a tree with great individuality. To bring out the personality of each tree I must confront it sincerely and draw out its strength by using red and black, the colors I love”.

A swirling iron colored ceramic dish by Takatsu Mio enclosed in the original signed wooden box titled Uzumaki no Sara. It is 20 x 18 x 8.5 cm (8 x 7 x 3-1/2 inches) tall and in excellent condition, from the artist this summer. We use one of these at home for cheese and cold cuts, looks great with a wine glass and garners a lot of attention!
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.

Perhaps because of its proximity (or lack thereof) to central Japan, the beautiful lacquer wares of Akita may be lesser known than other regions. Here is an exquisite sake cup and katakuchi serer of turned wood covered in multiple layers of soft, black lacquer by Sato Fumiyuki of the Kawatsura lacquer tradition. A belt of gilded binding wrapping the body is the only decoration. This lack of distraction, in fact, accentuates the form and allows us to focus on the pure elegance of the lacquer itself. This sake set, initially matte in affect, will attain a soft sheen with use over the years.
Kawatsura has an 800 year history of consistent lacquer production, although burial mounds and excavations of Jomon artifacts have yielded lacquer ware thousands of years old in the area. Kawatsura lacquerware is characterized by its durable practicality due to its smoke-drying, thick wood, and robust foundation. Sato Fumiyuki is a third generation lacquer artist very proud of his trade and the intense processes which give birth to the beautiful objects he creates. He has been designated a Dento Kogeishi Traditional Craftsman by the Japan Kogei Association.

A striking black and orange striped vase in simplified ovoid form by Mukunoki Eizo enclosed in the original signed wooden box titled Kokusai Tsubo. This was purchased at a Mitsukoshi Exhibition. It is 8 inches (20 cm) tall and in excellent condition.
Mukunoki Eizo Born in Shimane, and graduated the prefectural ceramics research facility before he apprenticed under Kawai Kanjiro in 1958. He would stay with Kanjiro until the masters death in 1966. To show respect and mourning for his sensei, Eizo quit potting for 1 year after this passing. He has since repeatedly exhibited at the Nihon Mingei Exhibition, Nihon Togeiten National Ceramics Exhibition, and the National Traditional Crafts Exhibition. In 1974 he established his kiln in Toyooka, Hyogo prefecture. He changed his name to Shunsui in 1996.

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

Enigmatic designs in free flowing black and rigid lines impinge on the yellow square of this raised plate by Kim Hono. It is 24 x 25 x 4 cm (9-1/2 x 10-1/2 x 1-1/2 inches), signed underneath. This piece is from a private collection of modern art and was purchased from the artist. There is no box but one could be had for an additional fee.
Kim Hono was born in Seto City Aichi Prefecture in 1958, and graduated the Prefectural Ceramics School in 1977, then taking up apprenticeship at a local kiln before establishing himself as an independent artist in 1982. He held his first solo exhibition in Nagoya in 1985. He has been exhibited at the Nihon Togeiten National Ceramics Exhibition Dento Kogeiten National Traditiaonal Crafts Exhibition, Asahi Togeiten Exhibition, Chunichi Kokusai Togeiten, and his works being shown in some of Japans top galleries including Kuroda Toen in Tokyo’s Ginza ward. Not to be defined, even by himself, famously when asked by Hohnoho Magazine to define his work he cryptically replied only Kaze wo Kanjiru Koto (Feeling the wind).

An exquisite lidded ginger jar wrapped with a writhing dragon by Ibata Katsue. The artist mark is placed in a raised cartouche, like an old wax seal, on the side, and the dragons seem to reach for it like it was the pearl of Buddhist wisdom. It is roughly 8 inches (19.5 cm) tall and in excellent condition. This piece is from a private collection of modern art and was purchased from the artist. There is no box.
Ibata Katsue was born in Hamamatsu, Shizuoka, in 1958. She graduated the Nara College of Fine Arts in 1977, and apart from a brief period of teaching in Canada, she has always lived and worked Japan. She began working in Tokoname in 1985, then moved to Shizuoka in 1990. In 1991 she held a solo exhibition at the important Kuroda Toen Gallery in Shibuya, Tokyo (again in 2017) and was one of the demonstrators at the International Ceramics Festival in Aberystwyth. She ‘performed’ her pottery demonstration dressed in a cat suit and dancing to reggae music as if to negate any association with traditional Japanese pottery which has been so influential among British potters.

A pool of green and gold veined with black and spotted with white on a morphic form by Kobayashi Mitsugi enclosed in the original signed wooden box. It is 8 x 6 inches (20 x 15 x 4 cm) and in excellent condition. Kobayashi Mitsugi, born in Aichi, graduated the Tokyo National University of Fine Arts. He was awarded at the Nihon Gendai Kogei Ten (Japan Contemporary Arts and Crafts Exhibition) 1973 Kogeisho-Prize and 1980 Governor of Tokyo Prize as well as the Tokusen-Prize at the Nitten National Exhibition in 1993. He has been exhibited widely in Japan as well as Germany, France, New York and Budapest among others. He is held in the Kanagawa Prefectural Gallery, Museo Municipal de Arte en Vidrio (Madrid), Hokkaido Museum of Modern Art, and Paramita among others.

Scales of color overlap in the crystal basin of this oblong form by Kobayashi Mitsugi enclosed in the original signed wooden box titled Mosaic Mon Sara (mosaic pattern dish). It is 8 x 6-1/2 x 1-1/2 inches (21 x 16.5 x 3.5 cm) and in excellent condition.
Kobayashi Mitsugi, born in Aichi prefecture in 1932, and graduated the Tokyo National University of Fine Arts. He was awarded at the Nihon Gendai Kogei Ten (Japan Contemporary Arts and Crafts Exhibition) in 1973 Kogeisho-Prize and 1980 Governor of Tokyo Prize as well as the Tokusen-Prize at the Nitten National Exhibition in 1993. He has been exhibited widely in Japan as well as Germany, France, New York and Budapest among others. His works were featured in the 1978 “Modern Japan Craft”, at The National Museum of Modern Art, Tokyo. The 1982 “World Glass Now ’82” at the Hokkaido Museum of Modern Art, the 1991 “Biennale Internationale Du Verre D'Art Contemporain”, France where he received the Gold Prize culminating in a 2005 Solo Exhibition at the Paramita Museum, Mie. He is held in the Kanagawa Prefectural Gallery, Museo Municipal de Arte en Vidrio (Madrid), Hokkaido Museum of Modern Art, and Paramita among others.

A lidded bottle of hand blown blue glass with a white stripe swirling up to a ball-lilke bung of clear with a white center by Nakashima Yasushi It is 7 inches (18 cm) tall plus the lid, and in excellent condition. Perfect for chilled summer sake, signed on the base Y. Nakashima.
Nakashima Yasushi (1938-2017) was born in Hyogo prefecture and graduated the Kyoto Municipal University of Art in 1962. While still at university he was accepted into the Mainichi Kogyo Design exhibition. He began his career as a designer for Hino Automotive, in charge of their top model the Contessa. However dissatisfied with the opportunities there he moved to Nisshin Denki where he headed up the lighting design department. He left Nisshin in 1974, and began his own career as an independent artist, focused on the plastic arts of glass and ceramic while maintaining his contacts in the design world. With his past in lighting, he was innovative in creating works which combined glass, pottery, metal and electric lights. This did not deter him from consulting in other areas of design, and he was awarded at the National Catalog and Poster Exhibition in 1978. Although he would remain unaffiliated, a difficult place to be in group conscious Japan, he would be accepted into many of the National exhibitions including the National Traditional Crafts Exhibition and awarded at a number of important events, including the National Craft Exhibition, National Modern Ceramic Sculpture Exhibition (and the Shigaraki Ceramics Exhibition in 1999. One monumental work stands in the park in Toki City, Gifu prefecture. He is held in the collections of the Minneapolis Institute of Arts and Ringling Museum among others.

A fabulous stone textured Guinomi by Inayoshi Osamu enclosed in the original signed wooden box featuring dark raw clay alternating with black and white glaze. Osamu is very low production, and very selective of what he allows out into the world, and I am proud to be able to offer this. It is 7.5 cm (3 inches) diameter, 5.5 cm (2 inches) tall and in excellent condition.
Inayoshi Osamu was born in Aichi prefecture in 1976, the heart of Mino country. He completed his initial training in the plastic arts at the Seto Pottery School in 2002, garnering an award that same year at the 56th Seto City Art Exhibition. In 2007 he established his own kiln in Toyohashi, and was awarded at the 19th Heart of Oribe Pottery exhibition (again the following year). In 2008 he began to focus on the Atsumi pottery of the Heian and Kamakura periods, building up a unique repertoire. After several more domestic shows and prizes, he had his overseas debut in 2010, and has since received a great deal of attention both at home and abroad. He has just moved into a new kiln and workshop this summer, and I am looking forward to what will come out of there this autumn.

An unusual form by Mori Toshiaki enclosed in the original signed wooden box titled Bizen Te-bachi (handled basin). The basin has been paired off at the top, the ribbons of clay looping over each other to form the winding handle. A most unusual design. A blast of ash decorates the exposed upper surfaces, the basin itself rust colored raw clay. It is 20 cm (8 inches) diameter, 14.5 cm (5-3/4 inches) tall and in excellent condition, directly from the artist this summer.
Mori Toshiaki was born the first son of traditional Bizen potter Mori Yasushi in 1982.　Growing up in the family kiln, he entered the Bizen ceramic center in 2005, and after a year of study there continued in the family tradition. He has exhibited with the Okayama Ken-Ten art exhibition, Nihon Dento Kogeiten Traditional Crafts Exhibition, Gendai Chato Ten Modern Tea Ceramics Exhibition and the Chanoyu Zokei Ten (New forms in Tea Exhibition in addition to being exhibited in New York, Taiwan, and London.

An absolute classic natural ash glazed sake bottle by the reclusive potter Oasako Mikio enclosed in the original signed wooden box titled Hai Yu Tokkuri (ash glazed flask). Much of the dark surface is raw clay, with coals charring the front and tremulous tears of liquified ash dripping down both inside and out. It is 12 cm tall and in excellent condition.
Osako Mikio (1940-1995), born in Usa Oita prefecture on the Island of Kyushu, arrived at ceramics late in life, starting to study with Ezaki Issei at the Tokonmane ceramic Research Center in 1968 and staying with his teacher until he built his first kiln in 1982.. He received Grand Prize at the International Biennial of Ceramics in Vallauris, France in 1972. Known for his yakishime and ash glazed pottery, His profound understanding of wood firing, post firing and pottery in general was exceptional and his forms and surfaces are mature beyond his years of experience. A fitting quote by Dr. Frederick Baekeland from the catalogue; Modern Japanese Ceramics in American Collections, sums up the true nature of the potter and his pots; “The strong, conventional potting and rich sobriety of Osako’s ceramics appeal to modern taste and accords well with the aesthetic canons of the tea ceremony.”

A beautiful Shigaraki Chaire Tea urn by Matsuo Takaaki enclosed in the original signed wooden box measuring 5.5 cm (2 inches) diameter, 8 cm (3 inches) tall in excellent condition. Matsuo Takaaki was born in Yokohama in 1938. He began studies under Tsuji Seimei at Renkoji in 1960 where he trained for over 15 years. He became independent in 1975 and built a climbing kiln in Tama. Since he has been exhibited with the Issuikai but mainly focuses on the intimacy of private exhibitions.

Marbled porcelain clay in lavender and black in wavelike scales form this sake set by Kusaba Yuji enclosed in the original signed wooden box titled Nerito Kuro Namimon Shuki Soroi (Matching Sake set of Marbled Black Clay). This is absolutely perfect for summer sake, the shape is open allowing quick pours and the high fired clay keeps cool, passing on the chill through your fingers as you pour. The cup is 7 cm diameter, 5.5 cm tall (just more htan 2 inches), the Katakuchi 8.7 cm diameter, 9.5 cm (just less than 4 inches) tall. Both are in excellent condition, new from the artist.
Kusaba Yuji was born in Arita, the heartland of Japanese porcelain, in 1955, and graduated the prestigious Nihon Daigaku in 1979. He returned to the family kiln in 1984, to apprentice under his father, diverging from ordinary porcelain production, he chose to attempt the unexplored techniques of Neriage colored clay in porcelain. His work was first exhibited in 1990 at the Nagasaki Togeiten, where he received the Governors prize. Since he has been accepted into or awarded at The Nihon Togeiten National Ceramics Exhibition, Dento Kogeiten Traditional Ceramics Exhibition Saga Kenten Prefectural Exhibition and Asahi Crafts Exhibition among others.