Catalog (825)

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 rare large work blasted with natural ash glaze by Koyama Kiyoko enclosed in the original signed wooden box titled Shigaraki Shizen-yu Kama-shizuku O-Tsubo. The rim is crusty and shows Shinshoku (degradation from the flame) a testament to her infamously long firing times. The front is coated in a flow of green and olive ash, while on the raw earth of the back a single drip (shizuku) from the kiln roof has landed as a colorful accent. This rare teardrop of the fire god is highly prized among collectors. The vessel is 35 cm (14 inches) tall and in excellent condition.
Koyama Kiyoko was the subject of the film Hi-Bi (2005) and the recent NHK television drama Scarlet. She is the preeminent pioneering female wood firing artist in Japan. Born in Sasebo, Nagasaki in 1938, she went to Shigaraki village, home of one of Japan’s Six Ancient Kilns. There she studied the traditional techniques, and bore the brunt of centuries of discrimination against women. Through it all she persevered to become one of the most highly sought of Shigaraki potters. For more on her works see Modern Japanese Ceramics in American Collections, Japan Society New York, 1993

A voluminous Tsubo decorated with autumn grasses scored into the clay with a gold moon rising up behind on the tarnished silver glaze, a spectacular combination by veteran Karatsu potter Nakazato Yoshitaka enclosed in the original signed wooden box titled Ginsai Tataki Tsubo. It is 33.5 cm (13 inches) diameter and in excellent condition. Nakazato Yoshitaka was born in 1958, a descendant of the famous Nakazato Tarouemon family of Karatsu. He graduated the Saga Prefectural Arita Industrial Ceramic Research Facility in 1976, returning home to assist his father at the Sangen kiln. The following year he ventured to Kyoto where he studied tea ware manufacture under Miyagawa Kosai, before returning once again to Kyushu and the family kiln. In 1985 he was awarded at the 17th Nitten National Exhibition, and has received many awards since, as well as being collected by Saga prefecture. In 1987 he established his own kiln in Karatsu city.

A classic angular silhouette in vivid Oribe coloration pierced by a jagged handle by Takauchi Shugo enclosed in the original signed wooden box titled Oribe Te-oke. This artist does have a surprisingly wide range, and this piece certainly proves that. Adept at Shino, Oribe, Mashiko styles and others, he is a tough one to nail down and even more difficult to acquire, his pieces proving very popular at exhibition. This is a rare opportunity to acquire one of his masterpieces. It is 36 x 15 x 32.5 cm (14 x 6 x 13 inches) and in excellent condition. A bucket form vase with spiked handle like this is held in the collection of the V&A.
Takauchi Shugo was born in Tokyo in 1937, opening his kiln in Mashiko at the age of 31. He has exhibited at the Nihon Dento Kogeiten National Traditional Crafts Exhibition, Nihon Togeiten National Ceramics Exhibition and as well as Gendai Nihon Togeiten National Modern Ceramics Exhibition in addition to innumerable public and private exhibitions. He is recipient of the Order of Cultural Merrit from Tochigi Prefecture, and his works have been selected for international exhibitions (Paris, London, Denmark and America) and work by him is held in the V&A, The Art Gallery of New South Wales. For more see the Book “Japanese Studio Crafts” (1995) by Rupert Faulkner of “Fired with Passion” (2006) by Beatrice Chang and Samuel J Lurie.

An historically important work by Furutani Hiromu (Churoku I) from the initial firing of their newly established Nobori-gama climbing kiln in 1974. This type of work is called Hatsugama, or first from the kiln. It is the only piece in the show from the climbing kiln (which has not been fired in over 20 years) and the earliest piece in the show as well. It is 32 x 8 x 35 cm (13 x 3 x 14 inches) and in excellent condition, directly from the family.
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 cylinder has been removed from this cylindrical vase, quite a striking shape by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Ohen Ichirin Hanaire. The hollow created has filled with a heavy deposit of ash with fingers of color reaching out from the dark interior wrapping around the vessel to the red eyelets. The top too is heavily coated in glistening molten ash in grays and greens, olives and ochers. It is 12.5 cm (5 inches) diameter, 21 cm (just over 8 inches) tall and in excellent condition, directly from the artist.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.

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

An incredible work by Furutani Hirofumi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Hen Hanaire. Crystaline green glass pools on one side, reaching down a hand to grasp the blackened shell impressions near the base surrounded in raw sunburnt clay. Opposite red discs surround shell marks where it was stacked in the kiln, beads of green forming like dew drops defying gravity on the rim. In between the earth is scorched and blackened, rivulets of olive running between. It is 37 x 11 x 40 cm (15 x 4-1/2 x 16 inches) and is in excellent condition, directly from the artist.
Furutani Hirofumi (b. 1948) is the real deal, a Shigaraki potter trained under his father, recipient of tradition and knowledge who does not say much. After graduating school, he went to work in a large production kiln where he studied firing technique and clay preparation. He then returned to the family studio where he headed up the preparation and firing, while, taking a second position in that respectful Japanese way to his long-lived father, who strictly tortured clay, relying on his son to do all the “real work.” The Japanese title for such a person is: Ennoshita no chikara mochi (The true strength hidden under the eaves). A decade after the passing of Churoku, every day you will find him in search of the natural phenomena born from the dialog between soil and flame and the elements. He oversees kneading and preparing the clay, as well as the kiln work, stacking and preparations for firing, creating his own pieces while allowing his son to take the fore. He is not competing or seeking fame, just quietly making pots in that very Japanese way, treading the path of the Unknown Craftsman.

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

A masterpiece by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Shinogi Tsubo. Shinogi is this method of cutting away portions of the surface, in this case in waving patterns. This both allows the natural ash glaze a foot hold as it blows through the kiln, and as it cools, allows the molten ash to flow and create striking patterns on the surface. This vessel is 25 x 16.5 x 30 cm (10 x 6-1/2 x 12 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 (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.

Ash flows through and fills the deeply crevassed surface of this closed bottle form by Furutani Hirofumi (Churoku II) enclosed in the original signed wooden box titled Shigaraki Shizen-yu Kuchi Jime Yohen Hanaire. All one must do is turn it a few degrees to get a new aspect or a new point of contemplation. Shinshoku, blasted green, olive fingering, and charcoal black all studded with the famous Shiseki of Shigaraki. It is 18.5 cm (7-1/2 inches) diameter and in excellent condition, directly from the artist.
Furutani Hirofumi (b. 1948) is the real deal, a Shigaraki potter trained under his father, recipient of tradition and knowledge who does not say much. After graduating school, he went to work in a large production kiln where he studied firing technique and clay preparation. He then returned to the family studio where he headed up the preparation and firing, while, taking a second position in that respectful Japanese way to his long-lived father, who strictly tortured clay, relying on his son to do all the “real work.” The Japanese title for such a person is: Ennoshita no chikara mochi (The true strength hidden under the eaves). A decade after the passing of Churoku, every day you will find him in search of the natural phenomena born from the dialog between soil and flame and the elements. He oversees kneading and preparing the clay, as well as the kiln work, stacking and preparations for firing, creating his own pieces while allowing his son to take the fore. He is not competing or seeking fame, just quietly making pots in that very Japanese way, treading the path of the Unknown Craftsman.

Cosmic rays flow away in a burst of green over the twilight color of this vessel by Furutani Hiromu (Churoku I) enclosed in the original signed wooden box titled Shigaraki Shizen-yu Yohen Tsubo. The entire vase seems to be covered in ashen gray over which the vivid green glass has flown, forming rivulets leading to a single crystalline drop on the opposite side. It is 22 cm (9 inches) diameter and in excellent condition, directly from the artist.
Furutani Hiromu (Churoku I, 1922-2012) Fascinated by the aesthetics of "wabi" and "sabi" expressed in the “Koge” (Charing),“Hi-iro”(Flame Color) and other naturally born kiln effects of Shigaraki ware, Furutani Hiromu devoted himself to the recovery of pre-Edo firing techniques. He was on the forefront of research into ancient kiln construction and he recreated both an Anagama and then a climbing kiln which could produce wares to rival the ancients. In the manner of craftsmen of time immemorial, he produced both Tsubo and Tea Ware. He was the first artist named a Dento Kogeishi (Traditional Craftsman) in Shigaraki, accepting that honor in 1976. After that his works were exhibited throughout Japan, as well as internationally. Breaking from tradition however, he also worked to create carved and modeled pieces with animated creatures writhing across the surfaces or arching to form handles.

A starkly traditional tsubo showing off the plethora of effects garnered from the inferno in an Anagam kiln by Furutani Taketoshi titled simply Shigaraki Shizen-yu Tsubo. It is formed in a medieval fashion with small foot growing in stages to a round wide shoulder, which then pinches to a small neck with pinched mouth. The coloration is fabulous, with rich greens fading to olive to crusty black on the blast side, while the natural clay dusted with flying ash shows off the quintessential shiseki and tombo-no-me for which Shigaraki is known. It is 29 cm (11-1/2 inches) diameter, 35.5 cm (14 inches) tall and in excellent condition, directly from the artist.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.

A voluminous vessel glowing with hi-iro flame color by Furutani Hirofumi (Churoku II) enclosed in the original signed wooden box titled Shigaraki Hi-iro Tsubo. This piece comes from deep within the kiln, far from the ash deposits in front, and the pale clay is altered by the heat and touch of the inferno as it rushes through the vortex, the path and shadows of other pieces leaving various patterns on the surface. It is 32 x 34 x 31 cm (13 x 14 x 12 inches) and in excellent condition, directly from the artist.
Furutani Hirofumi (b. 1948) is the real deal, a Shigaraki potter trained under his father, recipient of tradition and knowledge who does not say much. After graduating school, he went to work in a large production kiln where he studied firing technique and clay preparation. He then returned to the family studio where he headed up the preparation and firing, while, taking a second position in that respectful Japanese way to his long-lived father, who strictly tortured clay, relying on his son to do all the “real work.” The Japanese title for such a person is: Ennoshita no chikara mochi (The true strength hidden under the eaves). A decade after the passing of Churoku, every day you will find him in search of the natural phenomena born from the dialog between soil and flame and the elements. He oversees kneading and preparing the clay, as well as the kiln work, stacking and preparations for firing, creating his own pieces while allowing his son to take the fore. He is not competing or seeking fame, just quietly making pots in that very Japanese way, treading the path of the Unknown Craftsman.

A secret technique is used to induce the wide cracking which does not penetrate the sides of this Tsubo wrapped in fingers of natural ash glaze by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Yabure Tsubo. Green ash viciously assaults one side, the color spreading out over the surface, overshadowing the darkness where it was buried in the embers, and wraps around the body in streaks of color leading to shell impressed eyelets on a surface burnt orange and black. It culminates in a single crystalline bead of green glass. The tsubo is 27 cm (11 inches) diameter, 32.5 cm (13 inches) tall and in excellent condition, directly from the artist.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.

Every surface of this large tsubo by Furutani Taketoshi has been cut away in ascending and descending chevrons down the fire side of which crystalline glazes form in pools where the descending chevrons meet. On the fringes of the blast of ash are various shades of red while opposite shiseki inclusions bubble out from the raw pale clay. It is 32 cm (13 inches diameter) 37 cm (15 inches) tall and in excellent condition, enclosed in the original signed wooden box titled Shigaraki Shizen Yu Shinogi Tsubo, 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.

Lavender tinged crawling pale glaze covers the soft porous clay of this classically inspired Mizusashi by Living National Treasure Miwa Kyusetsu XI enclosed in the original signed wooden box titled Shiro-hagi Mizusashi. It is 20 cm (8 inches) diameter, 18 cm (7-1/4 inches) tall. It comes complete with the original ceramic lid as well as a Kae-buta (alternate lacquered lid) in a separate compartment within the box The box is contained inside a second, black lacquered wooden box, and all is in excellent condition.
Miwa Kyusetsu XI (1910-2012) was born the third son of the ninth generation Miwa Kyusetsu (Setsudo) and studied under his father and older brother (Kyusetsu X: Kyuwa). He also studied under Kawakita Handeishi. He was first exhibited in 1955, and garnered his first acolades at the 4th Natioanl Traditional Craft Exhibition (Nihon Dento Kogei Ten) in 1957. Following the retirement of the 10th generation Kyusetsu, he succeeded the name in 1967. He received the Imperial Order with Purple Ribbon in 1976 and the Order of the Sacred Treasure in 1982. He was acknowledged as a Yamaguchi Prefectural Preserver of Intangible Cultural Properties in 1972 and Designated Living National Treasure in 1983. He officially retired, passing on the family name and mantle to Miwa Ryusaku, but continued making pottery under the name “Jusetsu”.

A superb example of Karatsu ware by Nakazato Tarouemon enclosed in the original wooden box titled Tataki Chossen Karatsu Mimitsuki Mizusashi signed Jusandai Tarouemon. The pale clay is covered in white with color fingering its way through in permeated drips from the rim. The vessel is 19 cm (7-1/2 inches) diameter, 16 cm (6 inches) tall and in excellent condition. It comes complete with the original ceramic lid as well as a Kae-buta (alternate lacquered lid) in a separate compartment within the box
Nakazato Tadao (1923-2009) was born the first son of the 12th generation of Nakazato Tarouemon in Karatsu City. He graduated from the Craft Design Course, Tokyo School of Crafts (mod. Chiba University). In 1943, and first exhibited with the Nitten in 1951. In 1956 he would receive the Hokutosho prize there, followed by another commendation in 1958, and the JCS award in 1961. He took over the family name upon his fathers retirement in 1969. He would go on to receive many awards throughout his career, including the Prime Minister's Award in 1981, and the Japan Art Academy Award in 1984, The Saga Prefectural Order of Cultural Merit in 1985, and the Order of Cultural Merit by Karatsu city in 1995. In 2002 he retired from the world, entering a Buddhist temple and taking the name Hoan. He would ultimately be awarded the Order of the Rising Sun for his lifes work and be appointed an adviser of the Japan Art Academy. He was succeeded by his son,