Catalog (1104)

Golden spikes stud the black bulb of this grungy chawan Tea bowl by Masatomo Toi. One of two unique works in this style we have nicknamed Sid and Vicious. The bowl is 13 cm (5 inches) diameter, 9.5 cm (just under 4 inches) tall and in perfect condition, directly from the artist. The price includes a signed wooden box.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future.

Gold pinstripes glimmer beneath the yellow glaze of this striking pitcher by Ono Jiro enclosed in the original signed wooden box titled Yuri Kinsai Suichu. The vessel is expertly crafted, with the title Suichu being open ended, so that it may serve for serving Japanese sake, tea or any other liquid. It is 21 cm (8 inches) tall and in excellent condition. In the first photograph it is shown with a sake cup made by his wife Emi, the cup is not included.
Ono Jiro was born in Saga, in 1953, the son of future porcelain star Ono Hakuko. He graduated from the prefectural Ceramics Research facility in 1971. He continued there studying Wheel technique, graduating again in 1977. He has exhibited with the Nihon Dento Kogeiten National Traditional Crafts Exhibition, National Ceramic Art Exhibition (Nihon Togeiten. Much lauded, he has been repeatedly awarded at the Kyushu Yamaguchi Ceramics Exhibition, Saga prefectural Art Exhibition and West Japan Crafts Exhibition among many others.

A cylindrical vessel dressed in blue reminiscent of bamboo by Kumakura Junkichi enclosed in the original signed wooden box titled Namako-yu Hanaire. It is 24.5 cm (9-1/2 inches) tall, roughly 10 cm (4 inches) diameter and in excellent condition.

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 ghostly bowl in the shape of a curled leaf, a wash of thin black accentuating the folds in the hadn formed clay by Shigemori Yoko enclosed in a wooden box titled Happa-bachi (Leaf Bowl). It is slab formed, one of her favorite methods, covered in black then washed down revealing the clay under a thin fog of black, which has remained in the crevices. It measures 15 x 19 x 9.5 cm (6 x 7-1/2 x just under 4 inches) and is in excellent condition, directly from the artist’s family, the box signed inside by her brother Naoki.
Shigemori Yoko (1953-2021) was born in Kagoshima. Yoko came to Kyoto where she initially studied painting at the Kyoto Tankidai Art College, then moved to ceramics at the Kyoto Municipal Art University where she studied traditional pottery techniques under Kondo Yutaka before entering advanced courses under avant-garde Yagi Kazuo, graduating in 1979. Her first solo exhibitions were held while still a student at Gallery Iteza in Kyoto. She eschewed the world of competitive exhibitions in favor of the intimacy of private galleries, and her list of solo exhibitions is expansive. She received the Yagi Kazuo prize in 1986 and 1988 at the Nihon Gendai Togeiten National Modern Ceramics Exhibition. She was one of five artists featured in Toh, volume 76, the first issue dedicated to Kyoto potters. Toh was, at the time

Energetic strokes of black decorate this small flower vase by Shigemori Yoko, perfect for a single red Camellia flower. I love the fact you can clearly see her fingers pushing back the glaze along the base. It is 12.5 cm (5 inches) tall, the same diameter, enclosed in a signed wooden box titled Kotsubo.
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 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

A beautiful celadon bowl reminiscent of a fallen flower petal by Fukami Sueharu enclosed in the original signed wooden box titled Seihakuji Guinomi, Hikari (Celadon Sake Cup, Light). It is 6.5 x 7.3 x. 4 cm (roughly 2-1/2 inches) diameter, and in excellent 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

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.

Like an abstract painting, ink seems to wash over the earthen colored surface of this delicate shallow bowl by Shigemori Yoko enclosed in a wooden box titled Ao-sen Chawan. At first deceptive, upon turning the bowl upside down one sees a scribble of blue. Ao-sen means Blue Line, and those blue lines, thus the answer to why the bwl is titled blue line, are only isible once the tea has been finished. The bowl is 14 cm diameter (5-1/2 inches), 6 cm (2-1/2 inches) tall and is in excellent condition, directly from the artists’ family and comes in a box signed by her brother Naoki.
Shigemori Yoko (1953-2021) was born in Kagoshima. Yoko came to Kyoto where she initially studied painting at the Kyoto Tankidai Art College, then moved to ceramics at the Kyoto Municipal Art University where she studied traditional pottery techniques under Kondo Yutaka before entering advanced courses under avant-garde Yagi Kazuo, graduating in 1979. Her first solo exhibitions were held while still a student at Gallery Iteza in Kyoto. She eschewed the world of competitive exhibitions in favor of the intimacy of private galleries, and her list of solo exhibitions is expansive. She received the Yagi Kazuo prize in 1986 and 1988 at the Nihon Gendai Togeiten National Modern Ceramics Exhibition. She was one of five artists featured in Toh, volume 76, the first issue dedicated to Kyoto potters. Toh was, at the time

Precision cuts create bursting fireworks on the surface of this vase by Kitamura Junko enclosed in the orginal signed wooden box titled Hanaire. It is 8 inches (20 cm) tall and in excellent condition. Kitamura Junko learned under the tutelage of Suzuki Osamu and Kondo Yutaka of the influential Sodeisha. Like Mashiko artist Shimaoka Tatsuzo, her work is influenced by Jomon pottery, however her approach is very different. After impressing patterns into the clay with bamboo and firing once with a dark slip, the impressions are painstakingly filled with white slip, defining the pattern, and fired again. Works by the artist are held in many public collections, including the National Museum of Modern Art, Tokyo; the Museum of Fine Arts, Boston; Houston Museum of Art and Brooklyn Museum of Art 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.

Everything she creates seems to be bubbling with joy, here a second bowl of joyful flowers in blue and gold by Nakashima Katsuko enclosed in the original signed wooden box titled Hana no wan. It is 15 cm (6 inches) diameter, 8.5 cm (3-1/4 inches) tall and in excellent condition, directly from the artist.
Nakashima Katsuko graduated the Osaka School of Art and Design and first garnered attention with a silver prize at the Nihon Tojiki Ceramics Design competition in 1984. Her works have been selected for display and awarded at the Asahi Gendai Kogeiten Contemporary Craft Exhibition (awarded 1997), Mino International Ceramics Festival (Bronze award 1998) , Gyeonggi-do International Ceramics Exhibition, Korea, Gold prize in 2003 and Grand Prize at the Kobe International Ceramics Competition among a host of others.

A lively bowl of flowers in blue and gold by Nakashima Katsuko enclosed in the original signed wooden box titled Hana no wan. The flowers seem to beam out with glee, each ringed in golden light. The bowl is beautifully formed rising, from an elegant foot. It is 15 cm (6 inches) diameter, 8 cm (3 inches) tall and in excellent condition, directly from the artist.
Nakashima Katsuko graduated the Osaka School of Art and Design and first garnered attention with a silver prize at the Nihon Tojiki Ceramics Design competition in 1984. Her works have been selected for display and awarded at the Asahi Gendai Kogeiten Contemporary Craft Exhibition (awarded 1997), Mino International Ceramics Festival (Bronze award 1998) , Gyeonggi-do International Ceramics Exhibition, Korea, Gold prize in 2003 and Grand Prize at the Kobe International Ceramics Competition among a host of others.

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.

An evocative thick slab curling up to form a basin on a circular solid clay foot elevating the contents 7 cm (3 inches) off the table. The artist fingers are clearly visible in the base forming deep impressions about which the cobalt and feldspar meander in rivulets. This piece is about as good as you can get, the entire nearly covered in white with underlying green glass and cobalt pooling dark in the center, bits of raw earth exposed like snow relinquishing the harsh winters grasp on a high mountain-scape. With this artist, as in nature, there are no straight lines, and these organic forms may just be the secret of his success. Japanese cuisine is a communal affair, and quite often main dishes will be placed in the center of the table on large dishes, where people can pluck away at it with their chopsticks. This dish is 28 x 17 cm (11 x 7 inches) with the corners curving up to 12 cm (5 inches) high. It is in excellent condition, from the artist over New Years. We have currently not had a box made for these to keep the price and shipping fee down, but one can be prepared if desired for 75 dollars.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. If there is anything he is known for, it is without a doubt his legendary status among restaurants and Izakaya as the man to make your food presentation perfect. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

A 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.

We asked Toi for a “Tea Bowl” of his imagining and here we have this unique vision in frothy vivid colors studded with golden spikes. The red and white glazes seem puffed up, while the blue flows naturally between. The raw clay of the base too has been covered in liquefied gold. It is 13 cm diameter plus the thorns and in perfect condition. It comes with a signed wooden box titled Kin Hoshi Konsai Wan 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 will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future.

A rare blue gleams on the edges of this small cuboid by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Hen Hana-ire. The surface is heavily abraded as with a chisel, giving plenty of grip for the natural blown-ash glaze. It is 9 x 6.5 x 9 cm (3-1/2 x 2-1/2 x 3-1/2 inches) and is in excellent condition, directly from the artist.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churoku II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.

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,

The artist fingers have dragged furrows into the crystalline porcelain of this Chawan studded with platinum thorns by Masatomo Toi enclosed in the original signed wooden box. Elegant, it would be perfectly at home in the confines of the tea room. It is 8 x 12.5 x 10 cm (3 x 5 x 4 inches) and is in excellent condition, 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 will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future.

A simple blue flower on pure white porcelain by Kondo Takahiro showing his roots in Sometsuke mounted in a cloth lined wooden frame. The frame is 32.4 × 32.4 × 4.5 cm (roughly 13 x 13 x 2 inches). The dish is 15.5cm (6 inches) diameter and both frame and dish are in excellent condition.
Kondo Takahiro (b. 1958) was born the grandson of Living National Treasure Kondo Yuzo. However, he graduated Hosei University not with a degree in sculpture or crafts, but in Literature. From there he studied at the Kyoto Prefectural Technical Institute of Ceramics, followed by a year at the Kyoto Municipal Institute of Industrial Research. 15 years later he would spend a year in Edinburgh studying glass making, and with this combination of skills, was born the silver mist series for which he is so highly acclaimed. Work by him is held in Museums throughout the world, including the National Museum of Scotland, Brooklyn Museum of Art, Los Angeles County Museum of Art, Minneapolis Institute of Arts, Museum of Arts & Design, New York, Spencer Museum of Art, The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Houston, Art Gallery NSW, Sydney, Hamilton Art Gallery, Australia, Miho Museum. National Gallery of Victoria, Paramita Museum, The Museum of Contemporary Ceramic Art, Shigaraki, and The São Paulo Museum of Art, Brazil among others. Without a doubt one of the most important contemporary artists in Japan today. For more see Celestial Ceramics: The Art of Kondo Takahiro (2002)

Enigmatic Blue Lines like the singsong lilt of twilit vespers jag rhythmically across the surface of this deep bowl by Shigemori Yoko enclosed in a wooden box titled simply Ao-sen Hachi (Bowl with blue lines). It is slightly misshapen, as she almost always purposely off-threw her work, giving it a sense of dynamism. The bowl is 17.5 cm (7 inches) diameter, 9 cm (3-1/2 inches) deep and in excellent condition, enclosed in a box annotated by her brother Naoki.
Shigemori Yoko (1953-2021) was born in Kagoshima. Yoko came to Kyoto where she initially studied painting at the Kyoto Tankidai Art College, then moved to ceramics at the Kyoto Municipal Art University where she studied traditional pottery techniques under Kondo Yutaka before entering advanced courses under avant-garde Yagi Kazuo, graduating in 1979. Her first solo exhibitions were held while still a student at Gallery Iteza in Kyoto. She eschewed the world of competitive exhibitions in favor of the intimacy of private galleries, and her list of solo exhibitions is expansive. She received the Yagi Kazuo prize in 1986 and 1988 at the Nihon Gendai Togeiten National Modern Ceramics Exhibition. She was one of five artists featured in Toh, volume 76, the first issue dedicated to Kyoto potters. Toh was, at the time

A 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.

One of three sumptuous chawan in vibrant red, beautifully crafted on the potters wheel by Masatomo Toi complete with signed wooden box. It has a very thin lip, which may fool the viewer into thinking it is light, however it has a respectable weight, as the bowl is thicker at the bottom to both contain the heat and protect the hands of the holder from the boiling tea contained within. A single thumbprint in platinum marks the series. The unglazed base is also coated in platinum. In fact it has been fired three times, the initial bisk firing, the glaze firing, and the metal firing. I cannot help but equate this color with a classic sports car, so rich it almost seems out of place in Japan. However the contrast between the glossy red and the frothy green tea it is made for creates a dynamic conversation. Each roughly 13 cm (5 inches) diameter and in perfect condition, directly from the artist this spring.
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 these bowls are his first unadorned venture into the tea world (although we will also offer a few striking horned chawan as well). His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future.

It is difficult to put a descriptive on the colors of these bowls crafted on the potters wheel by Masatomo Toi. This one is the color of plums, or aubergine, or somewhere in between. The photographs do not capture the translucence or light of the purple glaze. It has a very thin lip, which may fool the viewer into thinking it is light, however it has a respectable weight, as the bowl is thicker at the bottom to both contain the heat and protect the hands of the holder from the boiling tea contained within. A single thumbprint in platinum marks the series. The unglazed base is also coated in platinum. The bowl itself has been fired three times, the initial bisk firing, the glaze firing, and the metal firing. It is roughly 13 cm (5 inches) diameter and in new condition, directly from the artist this spring and come complete with signed wooden box..
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 these bowls are his first unadorned venture into the tea world (although we will also offer a few striking horned chawan as well). His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future.

An emerald tear clings to the lip of this fabulous sake flask by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Tokkuri. It is 9 cm (3-1/2 inches) diameter, 13.5 cm (5-1/2 inches) tall and in perfect condition, directly from the artist. .
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.

A voluminous bowl by Murakoshi Takuma enclosed in the original signed wooden box titled Shunju Awabibachi. Shunju is his signature glaze, a combination of Acorn ash, Feldspathic glaze and Iron, each ladeled out onto the rough Shigaraki clay. It is 17 x 15 x 7.5 cm (6-3/4 x 6 x 3 inches) and in excellent condition, directly from the artist this winter.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

Gorgeous flowing ash covers this small bottle form by Sawa Katsunori enclosed in the original signed wooden box titled Shigaraki Tokkuri complete with shiori and wrapping cloth. An eye of raw terracotta clay, where it rested on its side, is surrounded by thick green crystallized ash. A superb work by this artisan. It is 5 inches (12.5 cm) tall and in new condition.
Sawa Katsunori was born in Shigaraki, son of master potter Sawa Kiyotsugu, in 1980. Growing up among the kilns, he graduated from the Shigaraki Ceramic Research Institute in 2002, then moved to an apprenticeship under the daring artist Suzuki Goro in Mino where he would remain until 2005. He has since concentrated on private exhibitions, of which he has had many including at the elite Kuroda Toen in Tokyo’s Ginza district.

Gold flecks twinkle like stars in the night sky inside this free form dry lacquer sake cup by female lacquer artist Arai Etsuko enclosed in the original signed wooden box. It is made of multiple layers of cloth, paper and lacquer with the final layer dusted with mother of pearl and gold flakes, polished down to a dull sheen. It is the cup 7 cm (2-1/2 inches) diameter, new from the artist in perfect condition.
Arai Etsuko (born in Kanagawa in 1980) apprenticed under Hiroshi Okada after Graduating the Kyoto School of Traditional Arts in 2003. For seven years she learned the arts of maki-e and kanshitsu, nunobari and inlay, working both on new pieces, as well as in the restoration of antique items, giving her a deep understanding of the various processes of lacquer over the centuries. In 2010 she moved out on her own. Her work is characterized by the exquisite mixture of traditional lacquer ware manufacturing methods and the delicate and gentle style unique to a woman. Her work has been exhibited at various venues throughout Japan, including the Asahi Craft exhibition and Kyoten. She was designated a Traditional Craftsperson (Dento Kogeishi) of Kyoto in 2014, Nationally in 2015. In a recent conversation she said she was drawn to the world of Lacquer by its glitter and sheen. Unlike drawing or pottery, the creation of lacquer art has no immediate sense of gratification, the imagery is brought out through layers over weeks or months, often invisible until the final stages. A most demanding medium, patience and diligence are paramount, but the result is unlike any other artform, and with proper care, can be passed through the generations, an heirloom to span the centuries.

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.

Red Rivulets meld into the ashen gray textured glaze on this Tokkuri sake flask by Sakuchi Ensen wrapped in the original signed and stamped cloth enclosed in the original signed wooden box. It is 13 cm (5 inches) tall and in excellent condition.
Sakuchi Ensen (B. 1922) began on the path of the potter in 1946, searching to create something unusual in the hills of Okayama. His research led him to create this highly decorative yet wildly natural glaze he came to call Hishhoku Nanban Yaki.

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.

What treasure or pleasure awaits inside this silver lined cup by Itaya Narumi, only for the bearer to know. The inside of the cup is lined with smooth silver glaze, while the glistening quite outside has been carved away, every divot and ridge a tactile pleasure. It comes enclosed in a wooden box titled simply: Hai (sake cup). It is 9 cm (3-1/2 inches) diameter and in excellent condition, from the artist this year.
Itaya Narumi was born in Gifu in 1991, and graduated the Toki City Ceramics Research Facility in 2015. She has participated in several exhibitions since, with an emphasis on natural forms and tactile senses.

A splash of gold like the August moon rises through wide brushed cobalt grasses on the crackle glazed surface of this Yunomi tea cup by Ando Hidetake enclosed in the original signed wooden box titled Kinsai Yunomi. It is 9 cm (3-1/2 inches) tall and in excellent condition.
Ando Hidetake was born third generation into a Mino pottery family in Gifu prefecture in 1938. He began an apprenticeship under Kato Tokuro in 1960. A testament to his skill, he was accepted for the first time four years later into the National Traditional Arts and Crafts Exhibition (Nihon Dento Kogei Ten), and followed that by taking governors prize at the Asahi Ceramics exhibition in 1970, and acceptance into the Japanese National Ceramics Exhibition (Nihon Togei Ten) in 1971; since he has displayed often with all of these important events. One of a small group of potters credited with the revival of Shino, he was named an Important Prefectural Cultural Property in 2003 (Gifu-Ken Juyo Mukei Bunkazai, the prefectural version of the Living National Treasure).

The abraded and torn red-tinged Iga clay fills with green glaze in a climbing spiral pattern forming this Tokkuri by Atarashi Kanji enclosed in the original signed wooden box. It is 14 cm (5-1/2 inches) tall and in excellent condition.
Atarashi Kanji was born in Osaka in 1944, and graduated the Osaka College of Craft design. After 3 years in Kobe, and 4 in Kishiwada (Wakayama) he came to settle in Iga, where he was one of the driving forces behind the resurrection and preservation of the Iga tradition. Although displayed at the National Craft Fair, he prefers the intimacy of the private exhibition, of which he holds several every year. And if ones visit to japan is not timed right for an exhibition, he can otherwise be found at his kiln working along with his son Manabu.

Iridescent red and a burst of gaseous gold cloud like some fantastical deep space event unfolds on the dark surface of this wan-gata (bowl shaped) black Raku guinomi by Hashimoto Tomonari enclosed in the original signed wooden box titled Raku-yaki Yohen Guinomi (Kiln Altered Raku sake cup. This completes the phrase: The Universe in the palm of your hand. I have had several bowls by Tomonari, known for his colored effects and this is unparalleled. It is 11.5 cm (4-1/2 inches) diameter, 10.5 cm (4 inches) tall and in excellent condition directly from the artist this summer.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. Work by him is held in the V&A in London, another piece has entered LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

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.

This odd squat bottle, with the sake cup resting on top, reminds me of images of the itinerant Buddhist Monk Taneda Santoka who wandered Japan in the pre-war era, his black robes flowing down around his bundled form, fueled by drink and composing poems. Here he is found, bamboo Kasa hat pulled down over his eyes, dozing off along the trailside. This Tokkuri and Guinomi are by Murakoshi Takuma, a cherubic poet in clay also fueled by his love for wine and given to wandering. The cup is 9 x 8.5 x 5 cm (2 inches tall) the Tokkuri 11 cm diameter 13 cm (5 inches) tall. Both are in excellent condition, directly from the artist, enclosed in the original signed wooden box.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

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.”