Modern Japanese Ceramics
sold, thank you
sold, thank you
An earing clings to the “mimi” on this fabulous ash glazed vessel by one of our favorite hidden treasures, Tamura Roppo, enclosed in the original signed wooden box titled Koshu Iga Mimitsuki Hanaire. The traditional form is affixed with two “ears”, from one of which clings one tremulous drip of ash, seeming to slightly weigh down that side. Happenstance occurring at just the right place at just the right time during the firing process that it survived without falling or breaking off. It is this fostering of the accidental that is so definitive of the Japanese aesthetic. It is 27 cm (10-1/2 inches) tall and in excellent condition.
Tamura Roppo (b. 1960) claims his potting career began at the age of 20 when he took a lump of clay he had molded to the kiln of a nearby young potter begging for him to fire it. In 1982 he opened a kiln in Shinshu, then moved to Yamanashi in 1991. In 2001 he moved to his present location. He uses all local materials, and is well known for his Kosyu-Iga yakishime wares. Perhaps due to the hardships of his beginning, he allows young potters free use of his Anagama kiln, helping to cultivate the next generation.
Tamura Roppo (b. 1960) claims his potting career began at the age of 20 when he took a lump of clay he had molded to the kiln of a nearby young potter begging for him to fire it. In 1982 he opened a kiln in Shinshu, then moved to Yamanashi in 1991. In 2001 he moved to his present location. He uses all local materials, and is well known for his Kosyu-Iga yakishime wares. Perhaps due to the hardships of his beginning, he allows young potters free use of his Anagama kiln, helping to cultivate the next generation.
Modern Japanese Ceramics
sold, thank you
sold, thank you
An exquisite chawan tea bowl by Uraguchi Masayuki enclosed in the original signed wooden box titled Seiji Hyosai Chawan (Shattered Ice Celadon Tea Bowl). It is 13 cm (5 inches) diameter, 8.5 cm (3-1/2 inches) tall and in perfect condition.
Uraguchi Masayuki (b. 1964) discovered pottery while attending the Tokyo National University of Fine Art and Music and his world turned when he was introduced to a Song Dynasty Seiji Vase" at the Tokyo National Museum designated a National Treasure during one of his art courses. After graduation he met (and studied under) living National Treasure for celadon Miura Koheiji at the Tokyo University of Art. Inspired by the Southern Song celadons as well as the work of Japanese master ceramists Itaya Hazan and Okabe Mineo, Uraguchi spent years personally researching his own celadon glazes and clay bodies types. He finished his post graduate program in 1989, claiming a prize that same year at the National Traditional Arts and Crafts New Works Exhibition (Nihon Dento Kogei Shinsakuten). The following year he would b awarded at the Nitten National Exhibition. In 1991 he established his kiln in Tochigi prefecture. He has since received innumerable awards, including the Asahi Ceramic Art Exhibition, Japan Ceramic Art Exhibition (Nihon Togeiten) among many others. In 1995 he travelled to China to study first-hand the Song guan and Longquan ceramics. In 2001 he moved his Kiln to Hachigocho, Ibaraki Prefecture
Uraguchi Masayuki (b. 1964) discovered pottery while attending the Tokyo National University of Fine Art and Music and his world turned when he was introduced to a Song Dynasty Seiji Vase" at the Tokyo National Museum designated a National Treasure during one of his art courses. After graduation he met (and studied under) living National Treasure for celadon Miura Koheiji at the Tokyo University of Art. Inspired by the Southern Song celadons as well as the work of Japanese master ceramists Itaya Hazan and Okabe Mineo, Uraguchi spent years personally researching his own celadon glazes and clay bodies types. He finished his post graduate program in 1989, claiming a prize that same year at the National Traditional Arts and Crafts New Works Exhibition (Nihon Dento Kogei Shinsakuten). The following year he would b awarded at the Nitten National Exhibition. In 1991 he established his kiln in Tochigi prefecture. He has since received innumerable awards, including the Asahi Ceramic Art Exhibition, Japan Ceramic Art Exhibition (Nihon Togeiten) among many others. In 1995 he travelled to China to study first-hand the Song guan and Longquan ceramics. In 2001 he moved his Kiln to Hachigocho, Ibaraki Prefecture
Modern Japanese Ceramics
sold, thank you
sold, thank you
There is a lot of drama and tension between the various facets of this ash encrusted Shigaraki outcrop by Furutani Kazuya enclosed in the original signed wooden box titled Shigaraki Mentori Hanaire. (Faceted Vase). Every angle offers a unique view, texture, glazing, form, a vase which you can never grow tired of. I see it with an angular branch of plum blossoms, or perhaps Nandina loaded with red berries. It is 33 cm (13 inches) tall and in excellent condition, directly from the artist.
Furutani Kazuya was born the son of Anagama legend Furutani Michio in 1976. He graduated the Yamaguchi College of Art in 1997, and spent a year at the ceramics research facility in Kyoto before returning to work under his father in Shigaraki. His Father’s sudden death in 2000 pushed Kazuya to the fore, and left him with big shoes to fill. That he has done! Building three Anagama in the following decade and displaying with the National Ceramics Exhibition and a number of private affairs in some of Japan’s top venues.
Furutani Kazuya was born the son of Anagama legend Furutani Michio in 1976. He graduated the Yamaguchi College of Art in 1997, and spent a year at the ceramics research facility in Kyoto before returning to work under his father in Shigaraki. His Father’s sudden death in 2000 pushed Kazuya to the fore, and left him with big shoes to fill. That he has done! Building three Anagama in the following decade and displaying with the National Ceramics Exhibition and a number of private affairs in some of Japan’s top venues.
Modern Japanese Ceramics
sold, thank you
sold, thank you
An unusual large bottle-shaped vase by Morino Taimei enclosed in the original signed wooden box. It is fawn-speckled blue on black-mottled tarnished silver, a striking combination. The shape of the mouth he has taken from traditional Korean forms. The vessel is 27 cm (11 inches) tall and in excellent condition.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitz-gerald Collection.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitz-gerald Collection.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A striking wide dish in crystal clear colors by celebrated female artist Tokuda Yasokichi IV enclosed in the original signed wooden box titled Sekirei Akari (Red Light). Th inclusion of red is quite unusual for this artist. The dish is 27.5 cm (11 inches) diameter, 4.5 cm (just less than 2 inches) tall and in excellent condition.
Tokuda Junko (Yasokichi IV) was born the first child of future Living National Treasure Tokuda Masahiko in 1961. While on a trip to the United States in her mid-20s, the young Tokuda came across a pot from Jingdezhen, China and drew her back to the fold of the family tradition. She graduated from the Institute for Kutani in 1990 and embarked on her path as an artist. Succeeding the family name in 2010 upon the passing of her father, Junko is one of very few female heads of traditional potting family.
Tokuda Junko (Yasokichi IV) was born the first child of future Living National Treasure Tokuda Masahiko in 1961. While on a trip to the United States in her mid-20s, the young Tokuda came across a pot from Jingdezhen, China and drew her back to the fold of the family tradition. She graduated from the Institute for Kutani in 1990 and embarked on her path as an artist. Succeeding the family name in 2010 upon the passing of her father, Junko is one of very few female heads of traditional potting family.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A white porcelain vessel by Sakurai Yasuko permeated with holes in a style typical of her work. It is 16 cm diameter, 8 cm tall and in excellent condition enclosed in a paper box. According to the Met: Sakurai Yasuko first studied ceramics in Kyoto, before becoming an artist in residence in Shigaraki, and then in Limoges, France. She makes perforated, unglazed, white porcelain forms that are studies in light and shadow. These forms are created around bundles of mold-cast porcelain tubes and then connected by clay and slip.
The artist is known for her challenge of light and dark, and this sculpture with its play through holes is a quintessential example of this, the light and dark accenting each other through the patterns cut into the body. Her work is held in the collections of the Metropolitan Museum of Art New York, the Boston Museum of Fine Arts, the Victoria & Albert Museum in London, the Shiga Prefectural Togei no Mori Museum, the International Ceramics Museum in Florence, the Paramita Museum, among many others. For more see Touch Fire, Contemporary Japanese Ceramics by Women Artists, 2009.
The artist is known for her challenge of light and dark, and this sculpture with its play through holes is a quintessential example of this, the light and dark accenting each other through the patterns cut into the body. Her work is held in the collections of the Metropolitan Museum of Art New York, the Boston Museum of Fine Arts, the Victoria & Albert Museum in London, the Shiga Prefectural Togei no Mori Museum, the International Ceramics Museum in Florence, the Paramita Museum, among many others. For more see Touch Fire, Contemporary Japanese Ceramics by Women Artists, 2009.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A beautiful vessel by Kitamura Junko exhibiting the best of her handiwork. It is 16 cm (6-1/4 inches) diameter, 13.5 cm (5-1/2 inches) tall and in excellent condition. There is no box.
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.
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.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A splash of metalic glaze runs down opposite a splash of thick Kaki-colored glaze on the highly textured earth-colored surface of this bottle shaped vase by Living National Treasure Shimizu Uichi enclosed in the original signed wooden box. Titiled Tetsu-yu Nagashi Bin, this dates from early in his career, 1960-1965. It is 14.5 cm (5-3/4 inches) diameter, 22.5 cm (9 inches) tall and in excellent condition.
Shimizu Uichi (1926-2004) was born in Kyoto the son of a ceramic dealer. Discarding the family business, he apprenticed in plastic arts under future Living National Treasure Ishiguro Munemaro. His work retains some principal elements of his teachers style while incorporating an understated elegance and avant-garde spirit of challenge uncommon for his time. He was first exhibited at the Nitten in 1951, receiving numerous awards there since. He also took the gold medal at the Prague International Exhibition, and was at the Brussels World Exposition. He is in the collection of the Tokyo National Museum, Kyoto Museum of Modern art, Clark Center and the Freer Gallery among many others.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A small Hip-shaped vessel by Yamaguchi Michie enclosed in the original signed wooden box titled Momo-yu Kaki (peach colored Vase). This pink is her signature color, meant to intimate flesh, it is finely veined and matte, with a sense of moisture lik human skin. The vase is 20 x 21 x 17 cm and is 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.
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.
Modern Japanese Ceramics
sold, with thanks!
sold, with thanks!
A black pipe reminiscent of both an ancient Japanese court cap and a industrial burner chimney by Shibata Shigeru dating circa 1978 enclosed in the original signed wooden box titled Kuro-yu Kaki, Okoru (Black Glazed Vase Titled Rise-up or Occurrence). This piece strongly shows the convention of the second generation Sodeisha members interest in form over decoration. It is quite large at 15 inches (38 cm) tall and in excellent condition.
Shibata Shigeru was born in Tokyo in 1950, graduating the Kyoto Municipal University of Art in 1973, upon which time he moved to his present location. In 1975 he became a member of the avant-garde Sodeisha group which stressed form over function. He held his first solo exhibition in 1980, and was selected for exhibition at the 6th Nihon Togeiten National Ceramic Exhibition in 1981. From there he has concentrated on the more intimate confines of private galleries. For more see Sodeisha Avant Garde Japanese Ceramics, (1979) or Toh vol. 58.
Shibata Shigeru was born in Tokyo in 1950, graduating the Kyoto Municipal University of Art in 1973, upon which time he moved to his present location. In 1975 he became a member of the avant-garde Sodeisha group which stressed form over function. He held his first solo exhibition in 1980, and was selected for exhibition at the 6th Nihon Togeiten National Ceramic Exhibition in 1981. From there he has concentrated on the more intimate confines of private galleries. For more see Sodeisha Avant Garde Japanese Ceramics, (1979) or Toh vol. 58.
Modern Japanese Ceramics
Sold, Thank you!
Sold, Thank you!
An incredible bowl of spotted ink supplanted by a midnight blue rim by Kimura Moriyasu enclosed in the original signed wooden box titled humbly Tenmoku-yu Chawan. It is 5 inches (12.5 cm) diameter, 3-1/2 inches (8.5 cm) tall with a perfectly formed foot and slightly in-curving bowl form perfect for winter tea. The colors are reminiscent of the Kujaku-yu developed by Matsuyama Gae, yet the application is very different.
Kimura Moriyasu (b. 1935) studied pottery initially at the Kyoto Ceramics Research Facility (which turned out such masters as Hamada Shoji and Kawai Kanjiro) and then under his brother Kimura Morikazu. He is well known for his use of crawling and oil spot glazes. He exhibits with the Gendai Nihon Togeiten and Nihon Dento Kogeiten among others. He has been awarded the Kyoto Prefectural Order of Cultural Merit (2004). Work by him is held in the Britush Museum, Boston Museum, Dallas Museum and Ise Shrine among others.
Kimura Moriyasu (b. 1935) studied pottery initially at the Kyoto Ceramics Research Facility (which turned out such masters as Hamada Shoji and Kawai Kanjiro) and then under his brother Kimura Morikazu. He is well known for his use of crawling and oil spot glazes. He exhibits with the Gendai Nihon Togeiten and Nihon Dento Kogeiten among others. He has been awarded the Kyoto Prefectural Order of Cultural Merit (2004). Work by him is held in the Britush Museum, Boston Museum, Dallas Museum and Ise Shrine among others.
Modern Japanese Ceramics
sold, thank you!
sold, thank you!
An amazing, complex landscape covered in glossy copper glaze by Tsukamoto Haruhiko enclosed in the original signed wooden box titled Oribe Kaki (Oribe Flower Receptacle). This is very similar in design to the piece submitted to the 35th Asahi Ceramic Art Exhibition in 1997, the year after he took Grand Prize there. It is 19-1/2 inches (49 cm) long and in excellent condition.
Tsukamoto Haruhiko was born in Toki city, Gifu, in the heart of ceramic country in 1959, and raised among the kilns of the Mino region. He turned toward ceramics at a young age, studying conversely under Nonaka Shunsei (from 1977) and graduated from both the Aichi prefectural Seto Ceramics Research Facility (1978) and Gifu Prefectural Tajimi Research Facility (1980). The following year he moved to study under Asai Reiji. He established his own kiln in 1985, capturing the worlds attention with his Grand Prix winning piece at the Asahi Ceramics Exhibition in 1996. He has been exhibited at the National Traditional Crafts Exhibition (Dento Kogeiten) and Issui Kai Exhibition among many others. He was awarded silver prize at the Contemporary Tea Ceramics Exhibition (Gendai Chato Ten) as well as being awarded at the Mino Togeiten Ceramics Exhibition.
Tsukamoto Haruhiko was born in Toki city, Gifu, in the heart of ceramic country in 1959, and raised among the kilns of the Mino region. He turned toward ceramics at a young age, studying conversely under Nonaka Shunsei (from 1977) and graduated from both the Aichi prefectural Seto Ceramics Research Facility (1978) and Gifu Prefectural Tajimi Research Facility (1980). The following year he moved to study under Asai Reiji. He established his own kiln in 1985, capturing the worlds attention with his Grand Prix winning piece at the Asahi Ceramics Exhibition in 1996. He has been exhibited at the National Traditional Crafts Exhibition (Dento Kogeiten) and Issui Kai Exhibition among many others. He was awarded silver prize at the Contemporary Tea Ceramics Exhibition (Gendai Chato Ten) as well as being awarded at the Mino Togeiten Ceramics Exhibition.
Modern Japanese Ceramics
sold, with thanks!
sold, with thanks!
A very unusual covered urn made to hold fresh water for the tea ceremony of pristine white clay splashed with rivulets of emerald Seihakuji glaze by Tokuda Junko (Yasokichi IV) enclosed in the original signed wooden box titled Seihakuji-yu Mizusashi dating from 2003. More commonly we see the pieces made in the vein of her father’s style, and I am proud to be able to offer this piece which is both feminine and quite unique to her. It is 8 inches (20 cm) diameter and in excellent condition.
Tokuda Junko (Yasokichi IV) was born the first child of future Living National Treasure Tokuda Masahiko in 1961. While on a trip to the United States in her mid-20s, the young Tokuda came across a pot from Jingdezhen, China and drew her back to the fold of the family tradition. She graduated from the Institute for Kutani in 1990 and embarked on her path as an artist. Succeeding the family name in 2010 upon the passing of her father, Junko is one of very few female heads of traditional potting family.
Tokuda Junko (Yasokichi IV) was born the first child of future Living National Treasure Tokuda Masahiko in 1961. While on a trip to the United States in her mid-20s, the young Tokuda came across a pot from Jingdezhen, China and drew her back to the fold of the family tradition. She graduated from the Institute for Kutani in 1990 and embarked on her path as an artist. Succeeding the family name in 2010 upon the passing of her father, Junko is one of very few female heads of traditional potting family.
Modern Japanese Ceramics
sold, with thanks!
sold, with thanks!
As mentioned before, what I love about the work of Teramoto Mamoru is it is so vivacious and full of life, full of movement. This vase has all that life and movement on a perfect, elegant form. Here also is another dimension, with the pebble textured surface breaking up the reflection of light granting a tactile quality to the silver. It comes enclosed in the original signed wooden box titled Ginasi Hachi (Silver Glazed Bowl) complete with Shiroi and shifuku. The designs of various colors are applied in layers, each abstract from the overlying silver. Signed on the base Mamoru, the vase 32 cm (12-1/2 inches) tall, 17 x 11.5 cm (6-1/2 x 4-1/2 inches) and in excellent condition.
Teramoto Mamoru (1949-present) born in Kanagawa prefecture, initially worked at the Kasama Kobayashi Research Facility after graduating the Tokyo Craft Design Institute. Later he apprenticed under the instruction of both Matsumoto Saichi of Kutani, and Miura Isamu. He established his own kiln in 1976 in Kasama. His works have been displayed and prized at the Nihon Dento Kogeiten (National Traditional Crafts Exhibtion), Nihon Togei Ten (National Ceramics Exhibition) as well as the Shinsaku Ten (New Crafts Exhibition). For more information on this artist see the Catalog from the Nancy Fitz-Gerald Collection. Although Kasama has a long history as a pottery center, when Teramoto established himself there, not many old kilns existed. When asked why he chose the locale, “I thought that would free me from any fixed format and allow me to create freely.”
Teramoto Mamoru (1949-present) born in Kanagawa prefecture, initially worked at the Kasama Kobayashi Research Facility after graduating the Tokyo Craft Design Institute. Later he apprenticed under the instruction of both Matsumoto Saichi of Kutani, and Miura Isamu. He established his own kiln in 1976 in Kasama. His works have been displayed and prized at the Nihon Dento Kogeiten (National Traditional Crafts Exhibtion), Nihon Togei Ten (National Ceramics Exhibition) as well as the Shinsaku Ten (New Crafts Exhibition). For more information on this artist see the Catalog from the Nancy Fitz-Gerald Collection. Although Kasama has a long history as a pottery center, when Teramoto established himself there, not many old kilns existed. When asked why he chose the locale, “I thought that would free me from any fixed format and allow me to create freely.”
Modern Japanese Ceramics
sold, thank you
sold, thank you
Vivid yellow streaked with glassy Oribe green glaze highlights the sculpted middle of this exquisite covered jar by important artist Hayashi Shotaro enclosed in the original signed wooden box titled Oribe Mizusashi. It is entirely sculptural, with a refinement of glaze only this artist can create. Spectacular is all that comes to mind when viewing this groundbreaking artists work. The piece is 7 inches (18 cm) diameter, 6 inches (16 cm) tall and in perfect condition.
Hayashi Shotaro (b. 1947) is one of the biggest names in contemporary Mino ceramics. Although initially entering regular employment upon graduating high school, in 1967 he returned to Toki city to help his brother Kotaro. Very quickly within him was born the urge to create. He won the highest award at the Gifu Prefectural Art Exhibition in 1968, and from there his talent blossomed. He established his own kiln in 1974. Since then his list of exhibitions and awards has been amazing, including the Nihon Dento Kogei Ten (National Traditional Arts and Crafts Exhibition), Governors Prize and five times winner of Best of Show at the Asahi Togei Ten (Asahi Ceramics Exhibition), and Best of Show at Gifu Prefectural Exhibition. At the Mino Ceramics Exhibition, in addition to the highest award, the Mino Ceramics Award, he has received all three major awards, including the Shoroku Award and the Kobei Award.
Hayashi Shotaro (b. 1947) is one of the biggest names in contemporary Mino ceramics. Although initially entering regular employment upon graduating high school, in 1967 he returned to Toki city to help his brother Kotaro. Very quickly within him was born the urge to create. He won the highest award at the Gifu Prefectural Art Exhibition in 1968, and from there his talent blossomed. He established his own kiln in 1974. Since then his list of exhibitions and awards has been amazing, including the Nihon Dento Kogei Ten (National Traditional Arts and Crafts Exhibition), Governors Prize and five times winner of Best of Show at the Asahi Togei Ten (Asahi Ceramics Exhibition), and Best of Show at Gifu Prefectural Exhibition. At the Mino Ceramics Exhibition, in addition to the highest award, the Mino Ceramics Award, he has received all three major awards, including the Shoroku Award and the Kobei Award.
Modern Japanese Ceramics
sold, thank you
sold, thank you
Applied gold and colored glass decorate this Rimpa inspired yellow sake set by Kuroki Kuniaki enclosed in the original signed wooden box titled Kinsai Korin Hisago (Applied Gold Korin Series Gourd). The flask is 11 cm (4-1/2 inches) tall, the cups 5 cm (2 inches) tall and all are in excellent condition, a superb and functional example of this important artists work.
Kuroki Kuniaki was born in Miyazaki prefecture in 1945. He began his career employed straight out of school by the Yamaya Glass Company in 1963. It would only be a decade later that he would venture out on his own, to begin creating unique works of glass art. Yet another ten years would pass before he went fully independent in 1984. He began with a project to revitalize Edo style Cut glass (Satsuma Kiriko), and established his workshop in 1989. He was awarded the National Order of Excellence for modern craft in 1991 and began to garner attention overseas. He was awarded in Paris in 1995, Rome in 1996 and Athens in 1997. Since he has been exhibited widely throughout Japan, as well as the US, Singapore, Throughout Europe, Taiwan, Australia among many others. His works have been collected by the Imperial Household Agency and the Royal Family. They are held in the collection of Philadelphia, Denmark Glass Museum, Peking Palace Museum and Kitazawa Museum among others.
Kuroki Kuniaki was born in Miyazaki prefecture in 1945. He began his career employed straight out of school by the Yamaya Glass Company in 1963. It would only be a decade later that he would venture out on his own, to begin creating unique works of glass art. Yet another ten years would pass before he went fully independent in 1984. He began with a project to revitalize Edo style Cut glass (Satsuma Kiriko), and established his workshop in 1989. He was awarded the National Order of Excellence for modern craft in 1991 and began to garner attention overseas. He was awarded in Paris in 1995, Rome in 1996 and Athens in 1997. Since he has been exhibited widely throughout Japan, as well as the US, Singapore, Throughout Europe, Taiwan, Australia among many others. His works have been collected by the Imperial Household Agency and the Royal Family. They are held in the collection of Philadelphia, Denmark Glass Museum, Peking Palace Museum and Kitazawa Museum among others.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A deformed-vase by Kiyomizu Rokubei VIII (Masahiro) formed as a closed cylindar then cut to allow the clay to mis-shape during the firing process. It is covered in dark glaze with highlights of yellow. It is 10-1/4 inches (20 cm) diameter, 11-1/2 inches (24 cm) tall and in excellent condition. Although the first heads of the Kiyomizu family concentrated on traditional, popular objects and designs, Rokubei VII and VIII "took a radical turn" to produce abstract, geometric three-dimensional pieces which are either purely decorative, or combine function with distinctive, unexpected form. His works have been described as "futuristic-looking" and as having "a very Cubist sensibility.
This comes from the Kiyomizu Family estate, there is no box.
Kiyomizu Masahiro was born in Kyoto in 1954son of the sculptor and future 7th head of the Kiyomizu family Kyūbei (at that time known as Hiroshi). Masahiro graduated with a degree in Architecture from the prestigious Waseda University in 1979. Returning to Kyoto he would spend a year at the Kyoto Prefectural Ceramic Training Institute and another year at the Municipal Decorative Arts Institute in Kyoto before beginning at the family kiln where he would be handed the reins upon his father’s retirement in 2000. A technique he favors is joining together flat slabs of clay in extended forms, highlighting instead of hiding the process of their construction. He then makes cuts to weaken the structure, which results in distortions during firing. He has received numerous awards, including the Grand Prize at the Asahi Ceramics Exhibition in 1983 and 1986, Governors award at the Chunichi International Exhibition of Ceramic Arts (Chunichi Kokusai Togei ten), Kyoto Prefectural Culture Award in 1993 and 2009 and the JCS award in 2005. His work is held in the collections of the British Museum, National Art Museum of China, National Museum of Modern Art Tokyo, National Museum of Art in Osaka and Kyoto Municipal Museum of Art among others.
This comes from the Kiyomizu Family estate, there is no box.
Kiyomizu Masahiro was born in Kyoto in 1954son of the sculptor and future 7th head of the Kiyomizu family Kyūbei (at that time known as Hiroshi). Masahiro graduated with a degree in Architecture from the prestigious Waseda University in 1979. Returning to Kyoto he would spend a year at the Kyoto Prefectural Ceramic Training Institute and another year at the Municipal Decorative Arts Institute in Kyoto before beginning at the family kiln where he would be handed the reins upon his father’s retirement in 2000. A technique he favors is joining together flat slabs of clay in extended forms, highlighting instead of hiding the process of their construction. He then makes cuts to weaken the structure, which results in distortions during firing. He has received numerous awards, including the Grand Prize at the Asahi Ceramics Exhibition in 1983 and 1986, Governors award at the Chunichi International Exhibition of Ceramic Arts (Chunichi Kokusai Togei ten), Kyoto Prefectural Culture Award in 1993 and 2009 and the JCS award in 2005. His work is held in the collections of the British Museum, National Art Museum of China, National Museum of Modern Art Tokyo, National Museum of Art in Osaka and Kyoto Municipal Museum of Art among others.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A novel look at the Onioke idea of a handled vase, this one rising like Devils Tower to a narrow opening crossed by a handle by Nishihata Tadashi enclosed in the original signed wooden box titled Yohen Oke-gata Hanaire. It is 31.5 cm (12-1/2 inches) tall and in excellent condition.
Nishihata Tadashi was born in Sasayama in the mountains of Hyogo, and ancient castle town in 1948. He began potting in 1969, focusing on items for use. In 1986 he first entered the realm of public exhibitions with his entry into the Nihon Dento Kogeiten National Traditional Crafts Exhibition in 1986. He was awarded in 1988 at the Kinki Kogeiten regional Crafts fair. In 1989 he would see the first of many awards at the Nihon Dento Kogeiten National Traditional Crafts Exhibition as well as a first time entry into the Nihon Togeiten National Ceramics Exhibition. In 1990 he would continue garnering fame with the first of several awards at the Tanabe Art Museum Chanoyu no Zokei Ten (Modern Forms in Tea). After that his career has escalated, with many more recognitions at these Expositions. For more see the recently acquired piece by Tadashi at the Asia Pacific Art Museum in San Francisco
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