Modern Japanese Ceramics
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A large bowl by important contemporary porcelain artist Yagi Akira enclosed in the original signed wooden box. The shape is very elegant, with stiffly rising sides leading to an abrupt undulating rim in soft celadon green. A striking silhouette, it is 22 cm (8-1/2 inches) diameter, 16.5 cm (6-1/2 inches) tall and in excellent condition.
This name is a must have in any collection of modern Japanese Pottery. Akira was born in Kyoto in 1955, son of avant-garde Yagi Kazuo (1918-1979) one of the founding members of Sodeisha. Akira was voted one of the 20 most important living artists by Honoho, Japans premier printed ceramic forum. Works by the artist are held in the British Museum, Victoria Albert Museum, Cleveland Art Museum, Sackler Gallery of the Smithsonian and Tokyo Muesum of Modern Art among many others. He was also the recipient of the Japan Ceramic Society (JCS) award in 1998, one in a long and prestigious list of awards.
This name is a must have in any collection of modern Japanese Pottery. Akira was born in Kyoto in 1955, son of avant-garde Yagi Kazuo (1918-1979) one of the founding members of Sodeisha. Akira was voted one of the 20 most important living artists by Honoho, Japans premier printed ceramic forum. Works by the artist are held in the British Museum, Victoria Albert Museum, Cleveland Art Museum, Sackler Gallery of the Smithsonian and Tokyo Muesum of Modern Art among many others. He was also the recipient of the Japan Ceramic Society (JCS) award in 1998, one in a long and prestigious list of awards.
Modern Japanese Ceramics
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A sculpture of assembled ceramic shards by Yorigami Munemi in mottled moon colors enclosed in the original signed wooden box titled Recreations, Futatsu no Hankyu Tai (Two hemispheres). It is 28 cm (11 inches) diameter, 10 cm (4 inches) tall and in fine condition.
Yorigami Munemi was born in Kyoto in 1944, but went to Tokyo to study gardening at the Tokyo University of Agriculture, graduating in 1967. Two years later he apprenticed in ceramics under Yagi Kazuo, founding member of the avant-garde Sodeisha group, which Yorigami then joined. He has also exhibited domestically at the Asahi Togeiten Ceramics and Asahi Craft Exhibition among many others. In 1991 he was awarded gold at the Faenza International Ceramics Exhibition, and the following year exhibited in Cairo Egypt and Melbourne Australia (awarded) as well as being awarded at the Modern Ceramics Grand Prix Exhibition held at the National Museum of History in Taipei, Taiwan. The next year he was accepted into the exhibition “Ceramics Today” held at the Aichi Prefectural Museum. In 2001 His work was part of the exhibition “Kyoto Crafts 1945-2000” which was held at the Tokyo and Kyoto National Museums of Modern Art.
Yorigami Munemi was born in Kyoto in 1944, but went to Tokyo to study gardening at the Tokyo University of Agriculture, graduating in 1967. Two years later he apprenticed in ceramics under Yagi Kazuo, founding member of the avant-garde Sodeisha group, which Yorigami then joined. He has also exhibited domestically at the Asahi Togeiten Ceramics and Asahi Craft Exhibition among many others. In 1991 he was awarded gold at the Faenza International Ceramics Exhibition, and the following year exhibited in Cairo Egypt and Melbourne Australia (awarded) as well as being awarded at the Modern Ceramics Grand Prix Exhibition held at the National Museum of History in Taipei, Taiwan. The next year he was accepted into the exhibition “Ceramics Today” held at the Aichi Prefectural Museum. In 2001 His work was part of the exhibition “Kyoto Crafts 1945-2000” which was held at the Tokyo and Kyoto National Museums of Modern Art.
Modern Japanese Ceramics
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Mukoyama Fumiya enclosed in the original signed wooden box titled Zogan Yusai Fusha-mon Tsubo (Color Inlayed Wind Mill Pattern Tsubo). It is 25 cm (10 inches) diameter, 22 cm (8-1/2 inches) tall and in excellent condition.
Mukoyama Fumiya was born in Tokyo in 1960, graduating the Kyoto Ceramic Research institute before apprenticing in Hagi under 15th generation Sakakura Shinbei in 1984. He spent time in Shiga before settling in Mashiko in 1990, establishing his own kiln in 1993. The following year his work was collected by the Imperial Household Agency. He has been exhibited and or awarded at the National Craft Exhibition, National Traditional New Craft Exhibition, and Mashiko Pottery Exhibition among others.
Modern Japanese Ceramics
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A jaw-dropping igneous chawan tea bowl by Inayoshi Osamu like a shimmering mineral deposit found deep inside some calcitic limestone cavern. When I asked him about the effects on the surface, he said that he could not wholly explain them, they were some mystery of the kiln, caused during the firing. The bowl is 13.8 x 13 x 9.5 cm (5-1/2 x 5 x 4 inches) and in excellent condition. It comes enclosed in the original signed wooden box with shiori and shifuku, hand-picked from the artist this summer.
Inayoshi Osamu was born in Aichi prefecture, the heart of Mino country, in 1976. He completed his initial training in the plastic arts at the Seto Pottery School in 2002, garnering an award that same year at the 56th Seto City Art Exhibition. In 2007 he established his own kiln in Toyohashi, and was awarded at the 19th Heart of Oribe Pottery exhibition (again the following year). In 2008 he began to focus on the Atsumi pottery of the Heian and Kamakura periods, building up a unique repertoire. After several more domestic shows and prizes, he had his overseas debut in 2010, and has since received a great deal of attention both at home and abroad.
Inayoshi Osamu was born in Aichi prefecture, the heart of Mino country, in 1976. He completed his initial training in the plastic arts at the Seto Pottery School in 2002, garnering an award that same year at the 56th Seto City Art Exhibition. In 2007 he established his own kiln in Toyohashi, and was awarded at the 19th Heart of Oribe Pottery exhibition (again the following year). In 2008 he began to focus on the Atsumi pottery of the Heian and Kamakura periods, building up a unique repertoire. After several more domestic shows and prizes, he had his overseas debut in 2010, and has since received a great deal of attention both at home and abroad.
Modern Japanese Ceramics
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A Spectacular Bizen Tsubo dripping with ash glaze by Yukuyoshi Manabu enclosed in the original signed wooden box titled Bizen Yohen Tsubo (Kiln altered). The rim is covered in built up black ash, which grows more liquid as it enters the burning embers on the side, and is blasted around in rivulets to the back where it has created two shadows of raw earth where another pot was in close proximity. It is 23 cm (9 inches) diameter, 21.5 cm (8-1/2 inches) tall and in excellent condition.
Yukuyoshi Manabu was born in Kagatonishi near the heart of Bizen country in 1941. After working in Osaka as a young man, he returned to Bizen to assist the family building supply company. There he began to study clay under Mori Hozan and Ohira Seinosuke. After rebuilding an old kiln, he established his own. He ahs exhibited with the Issuikai Ten, the Chunichi Kokusai Togeiten, the National Ceramic Exhibition (Nihon Togeiten) among many others and has received a great many awards over his career.
Yukuyoshi Manabu was born in Kagatonishi near the heart of Bizen country in 1941. After working in Osaka as a young man, he returned to Bizen to assist the family building supply company. There he began to study clay under Mori Hozan and Ohira Seinosuke. After rebuilding an old kiln, he established his own. He ahs exhibited with the Issuikai Ten, the Chunichi Kokusai Togeiten, the National Ceramic Exhibition (Nihon Togeiten) among many others and has received a great many awards over his career.
Modern Japanese Ceramics
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A very unusual domed box shaped vase by Morino Taimei decorated with green dots and purple numbers on a rich textured blue enclosed in the original signed wooden box titled Iro-e Tabimakura (Colorful Travel Pillow). It is 19 cm (7-1/2 inches) square, 14 cm (5-1/2 inches) tall excluding the handles, and is in excellent condition, as can be seen there is a water stain in the upper right corner of the box lid.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.
Modern Japanese Ceramics
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An incense burner in white porcelain clay by Morino Taimei (Hiroaki) with silver lid of overlapping butterflies signed Sozo enclosed in the original signed wooden box titled Hakuji Koro. It is 3-3/4 inches (9.5 cm) diameter, and in excellent condition. Koro by this artist are extremely rare.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.
Modern Japanese Ceramics
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A complete set of the twelve animals of the zodiac by Miyashita Zenji, each enclosed in the original signed wooden box retaining the original Shifuku and Shiori. Sizes vary from 8 up to 16 cm (3 to 6 inches) and all are in excellent condition.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art under Kiyomizu Kyubei and Kusube Yaichi. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He began exhibiting in the annual Nitten exhibitions in 1964, eventually winning eighteen prizes. According to the Sackler, which holds 6 works by him, “ His mature work was a modern embodiment of a classic Kyoto mode associated with the Heian period (794–1185). He applied delicate layers of color—reminiscent of multilayered court robes or decorated papers made for inscribing poetry—using not over-glaze enamels or glazes but clay itself, dyed with mineral pigments”. He is held in the aforementioned Freer-Sackler, the British Museum, the Metropolitan Museum of Art New York, and the Brooklyn Museum the Minneapolis Institute of Arts, the Museum of Fine Arts Houston and of course the National Museums of Modern Art both in Kyoto and Tokyo among a host of others.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art under Kiyomizu Kyubei and Kusube Yaichi. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He began exhibiting in the annual Nitten exhibitions in 1964, eventually winning eighteen prizes. According to the Sackler, which holds 6 works by him, “ His mature work was a modern embodiment of a classic Kyoto mode associated with the Heian period (794–1185). He applied delicate layers of color—reminiscent of multilayered court robes or decorated papers made for inscribing poetry—using not over-glaze enamels or glazes but clay itself, dyed with mineral pigments”. He is held in the aforementioned Freer-Sackler, the British Museum, the Metropolitan Museum of Art New York, and the Brooklyn Museum the Minneapolis Institute of Arts, the Museum of Fine Arts Houston and of course the National Museums of Modern Art both in Kyoto and Tokyo among a host of others.
Modern Japanese Ceramics
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Colorful ash rains in a torrent down the torn sides of this fabulous vase by Hayashi Shotaro enclosed in the original signed wooden box titled Hai-yu Hanaire (ash glaze Vase). It is 13 cm (5 inches) diameter, 19 cm (7-1/2 inches) tall and in excellent condition.
Hayashi Shotaro (b. 1947) is one of the biggest names in contemporary Mino ceramics. Although initially entering reguar employment upon graduating highschool, 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 reguar employment upon graduating highschool, 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
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Here is a masterpiece by Wakao Toshisada, one of the great artists of the post-war era who helped to revive the Shino tradition (now one of the most popular Japanese forms) from extinction. An early masterpiece by the artist showing his abilities from inception, this bowl was selected for the cover of the exhibition invitation card in 1973 (card included). It is 14 cm (5-1/2 inches) diameter, 9 cm (3-1/2 inches) tall and in excellent condition.
Wakao Toshisada was born in Tajimi, Gifu prefecture, home of Mino pottery, in 1933. He was first recognized at the New Crafts exhibition of 1960, the same year he was first exhibited at the Central Japan Art Exhibition. Three years later he made his debut at the Asahi Ceramics Exhibition, following in 1965 with the National Traditional Crafts Exhibition. In 1971 he first exhibited with the Nihon Togeiten (All Japan Ceramics Exhibition) and was awarded the following year the New Mino Artists Prize, gathering acclaim as a leader in the field. After many domestic and International exhibits, he was awarded the Kato Kohei prize in 1986. and was recipient of the prestigious Japan Ceramics Society (JCS) Award in 1989. He was named an intangible cultural asset of Tajimi city in 1995, and of Gifu Prefecture in 2003, and works by the artist are held in the Museum of Modern Art Tokyo, V&A, Freer Gallery and Sackler among many others.
Wakao Toshisada was born in Tajimi, Gifu prefecture, home of Mino pottery, in 1933. He was first recognized at the New Crafts exhibition of 1960, the same year he was first exhibited at the Central Japan Art Exhibition. Three years later he made his debut at the Asahi Ceramics Exhibition, following in 1965 with the National Traditional Crafts Exhibition. In 1971 he first exhibited with the Nihon Togeiten (All Japan Ceramics Exhibition) and was awarded the following year the New Mino Artists Prize, gathering acclaim as a leader in the field. After many domestic and International exhibits, he was awarded the Kato Kohei prize in 1986. and was recipient of the prestigious Japan Ceramics Society (JCS) Award in 1989. He was named an intangible cultural asset of Tajimi city in 1995, and of Gifu Prefecture in 2003, and works by the artist are held in the Museum of Modern Art Tokyo, V&A, Freer Gallery and Sackler among many others.
Modern Japanese Ceramics
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Sold, with thanks!
A cluster of succulent flowers blossom among the vibrant leaves of the loquat tree on this unusually shaped vessel by Sueoka Nobuhiko enclosed in the original signed wooden box. It is 28 cm wide, 36 cm tall and in excellent condition.
Sueoka Nobuhiko was born in Fukuoka on Japans Main Sothern Island in 1948, and apprenticed under future Living National Treasure Fujimoto Yoshimichi in 1973. He stayed working with Yoshimichi for 16 years, before establishing his own kiln in 1989, and moving to mountainous Nagano Prefecture in 1995. Although he has been displayed at the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition) the artist has mostly eschewed the world of National competitions in favor of private exhibition. With small output works by this artist are hard to find and very much in demand.
Sueoka Nobuhiko was born in Fukuoka on Japans Main Sothern Island in 1948, and apprenticed under future Living National Treasure Fujimoto Yoshimichi in 1973. He stayed working with Yoshimichi for 16 years, before establishing his own kiln in 1989, and moving to mountainous Nagano Prefecture in 1995. Although he has been displayed at the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition) the artist has mostly eschewed the world of National competitions in favor of private exhibition. With small output works by this artist are hard to find and very much in demand.
Modern Japanese Ceramics
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A flash of gold blazes on the raw earth side of this masterpiece tea bowl by Kato Kiyoyuki enclosed in the original signed wooden box titled Hai-yu Chawan. Green ash runs down opposite the iridescent flash of gold. Inside the ash sees to catch on the horizontal furrows left by the artists fingers. It is 12.7 cm (5 inches) diameter and in excellent condition.
Kato Kiyoyuki was born in 1931, the heir to a long-established tile-making business in Seto. He studied ceramics at high school however his main interest lay in painting and sculpture, and it was only when he was in his late twenties that he began to work in pottery. He made his first submission to the Nitten exhibition in 1958, and began producing well-designed utilitarian ceramics in keeping with the principles of the then newly established Japan Craft Design Association, but soon turned his hand to sculptural ceramics. Kato's development as a ceramic sculptor owed much to his friendship with Teshigahara Sofu (1900-79), the former head of the Sogetsu school of flower-arranging. Terashige's experimental interests encouraged Kato to explore his sculptural ambitions in vessel as well as non-vessel formats. According to Kiyoyuki, “When a shape that is completely free of unnaturalness emerges, the clay and I become one”. He won the Grand Prize at the Asahi Ceramic Art Exhibition in both 1964 and 1965. He is the recipient of the most prestigious Japan Ceramic Society Gold Prize. He has exhibited with the aforementioned Nitten National Fine Arts Exhibition and Asahi Ceramics Exhibition, Chunichi Kokusai Togeiten International Ceramics Exhibition as well as Faenze International Ceramics Exhibition, Nihon Togeiten National Ceramics Exhibition, Nihon Gendai Kogeiten National Modern Crafts Exhibition and Seto Togeiten among many many others, and his list of private exhibitions could not be covered on this page. Work by him is held in the V&A (London), Tokyo and Kyoto National Museums of Modern Art, Canterbury Museum (New Zealand) and the Sogetsu Museum in Aichi among others. For more see Toh Volume 8, which was dedicated entirely to him.
Kato Kiyoyuki was born in 1931, the heir to a long-established tile-making business in Seto. He studied ceramics at high school however his main interest lay in painting and sculpture, and it was only when he was in his late twenties that he began to work in pottery. He made his first submission to the Nitten exhibition in 1958, and began producing well-designed utilitarian ceramics in keeping with the principles of the then newly established Japan Craft Design Association, but soon turned his hand to sculptural ceramics. Kato's development as a ceramic sculptor owed much to his friendship with Teshigahara Sofu (1900-79), the former head of the Sogetsu school of flower-arranging. Terashige's experimental interests encouraged Kato to explore his sculptural ambitions in vessel as well as non-vessel formats. According to Kiyoyuki, “When a shape that is completely free of unnaturalness emerges, the clay and I become one”. He won the Grand Prize at the Asahi Ceramic Art Exhibition in both 1964 and 1965. He is the recipient of the most prestigious Japan Ceramic Society Gold Prize. He has exhibited with the aforementioned Nitten National Fine Arts Exhibition and Asahi Ceramics Exhibition, Chunichi Kokusai Togeiten International Ceramics Exhibition as well as Faenze International Ceramics Exhibition, Nihon Togeiten National Ceramics Exhibition, Nihon Gendai Kogeiten National Modern Crafts Exhibition and Seto Togeiten among many many others, and his list of private exhibitions could not be covered on this page. Work by him is held in the V&A (London), Tokyo and Kyoto National Museums of Modern Art, Canterbury Museum (New Zealand) and the Sogetsu Museum in Aichi among others. For more see Toh Volume 8, which was dedicated entirely to him.
Modern Japanese Ceramics
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An exquisite Tenmoku tea bowl by veteran potter and master of the form Miura Shurei enclosed in the original signed wooden box titled Tetsu-yu Chawan. It is 12 cm (5 inches) diameter, 8 cm (3 inches) tall and in excellent condition.
Miura Shurei was born in 1942, and trained in the ceramic styles of both Arita and Kyoto. At the age of 23 he established a studio at the foot of Mt. Fuji in Yamanashi prefecture creating ceramics from local clay, and established the Shurei kiln in 1971. He has been much lauded in his lifetime, with awards at the Nihon Dento Kogeiten National Traditional Crafts Exhibition, Chunichi Kokusai Togeiten International Ceramic Exhibition, Arita Ceramics Exhibition as well as the Nihon Togeiten National Ceramics Exhibition. His work has been featured in many of Japan’s top galleries, including Takashimaya, Mitsukoshi and Kuroda Toen in the fashionable Ginza district.
Miura Shurei was born in 1942, and trained in the ceramic styles of both Arita and Kyoto. At the age of 23 he established a studio at the foot of Mt. Fuji in Yamanashi prefecture creating ceramics from local clay, and established the Shurei kiln in 1971. He has been much lauded in his lifetime, with awards at the Nihon Dento Kogeiten National Traditional Crafts Exhibition, Chunichi Kokusai Togeiten International Ceramic Exhibition, Arita Ceramics Exhibition as well as the Nihon Togeiten National Ceramics Exhibition. His work has been featured in many of Japan’s top galleries, including Takashimaya, Mitsukoshi and Kuroda Toen in the fashionable Ginza district.
Modern Japanese Ceramics
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A delicate white Raku bowl of incredibly light weight, the tall walls like a Japanese castle in the riven clouds by Sugimoto Sadamitsu enclosed in the original signed wooden box titled simply Shiro Chawan. It is 12.5 x 13 x 10 cm (5 x 5-1/8 x 4 inches) and is in excellent condition.
Sugimoto Sadamitsu was born in Tokyo in 1935. A strong adherent to the Zen tradition, Sadamitsu established his own kiln at 33, receiving the kiln name from his mentor Daitokuji priest Tachibana Daiki. His Zen studies have refined the spiritual side of his work, and all of his wood fired ceramics have a quiet and confident power. He has spent his life in the research of kohiki, Shigaraki Iga and Raku wares, and is more than well known in tea circles for the discriminating soul of his works. For more information on this artist see the book Fired with passion : contemporary Japanese ceramics ISBN 1-891640-38-0.
Sugimoto Sadamitsu was born in Tokyo in 1935. A strong adherent to the Zen tradition, Sadamitsu established his own kiln at 33, receiving the kiln name from his mentor Daitokuji priest Tachibana Daiki. His Zen studies have refined the spiritual side of his work, and all of his wood fired ceramics have a quiet and confident power. He has spent his life in the research of kohiki, Shigaraki Iga and Raku wares, and is more than well known in tea circles for the discriminating soul of his works. For more information on this artist see the book Fired with passion : contemporary Japanese ceramics ISBN 1-891640-38-0.
Modern Japanese Ceramics
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A classic work by pioneering artist Furutani Hiromu (Churoku I), the torn clay covered in naturally formed green ash-glaze. It retains the original ceramic lid and comes in a wooden box titled Shigaraki Shizen-yu Mizusashi, directly from the family. The receptacle is 18 x 18.5 x 23 cm (7-1/2 inches diameter, 9 inches tall) and is in excellent condition.
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.
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.
Modern Japanese Ceramics
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A striking glass bowl which defies explanation by important female glass artist Iwata Itoko enclosed in the original singed wooden box. Made like the feathers of a peacock, each blue flourish contains a round bead of air marking the eye of the feather. Incredible! It is 15 cm (6 inches) diameter and in excellent condition. This is a rare opportunity to acquire one of her chawan, as she produced very few and only in the last years of her life.
Iwata Itoko (1922-2008), started working with glass after her marriage to Iwata Hisatoshi, Her works are free flowing ideas with a feminine sense against the backdrop of the international style she acquired while living abroad as a child accompanied with the cultural knowledge cultivated from her childhood. She was born into a privileged family, and from age 4-7 lived in London, very unusual for a Japanese of either sex in the roaring 20s. From 1935 she studied western oil painting under Arishima Ikuma, one of the top painters in Japan at the time. The next decade saw the devastation of war, survival, and the beginning of revival. In 1949 she married Iwata Hisatoshi, the eldest son and heir of the godfather of modern Japanese art-glass Iwata Toshichi. In the late 50s, after working to revive and support the foundry, she began her own line of glass lighting. In 1960 she designed a monumental glass wall for the Takanawa Grand Prince Hotel, which was so well received she was swamped with orders afterward. By the mid 60s she was operating her own glass line and designing glass furnishings, pushing the limits of the medium as well as delving deeply into the possibilities through personal research. In the latter half of her more than 50 years of production, she also challenged herself with tea utensils. In 1984 she sat on the International board of the Pilchuck Glass School, one of the most influential glass schools in the world. Her work is held in the New York Metropolitan Museum of Art, the Corning Glass Museum, Denver Museum and Dusseldorf Museum among others. She was given the Lifetime Achievement Award in 19by the American Glass Art Society
Iwata Itoko (1922-2008), started working with glass after her marriage to Iwata Hisatoshi, Her works are free flowing ideas with a feminine sense against the backdrop of the international style she acquired while living abroad as a child accompanied with the cultural knowledge cultivated from her childhood. She was born into a privileged family, and from age 4-7 lived in London, very unusual for a Japanese of either sex in the roaring 20s. From 1935 she studied western oil painting under Arishima Ikuma, one of the top painters in Japan at the time. The next decade saw the devastation of war, survival, and the beginning of revival. In 1949 she married Iwata Hisatoshi, the eldest son and heir of the godfather of modern Japanese art-glass Iwata Toshichi. In the late 50s, after working to revive and support the foundry, she began her own line of glass lighting. In 1960 she designed a monumental glass wall for the Takanawa Grand Prince Hotel, which was so well received she was swamped with orders afterward. By the mid 60s she was operating her own glass line and designing glass furnishings, pushing the limits of the medium as well as delving deeply into the possibilities through personal research. In the latter half of her more than 50 years of production, she also challenged herself with tea utensils. In 1984 she sat on the International board of the Pilchuck Glass School, one of the most influential glass schools in the world. Her work is held in the New York Metropolitan Museum of Art, the Corning Glass Museum, Denver Museum and Dusseldorf Museum among others. She was given the Lifetime Achievement Award in 19by the American Glass Art Society
Modern Japanese Ceramics
sold, thank you
sold, thank you
A striking work of heavy glass by Suzuki Genta enclosed in the original signed wooden box titled Shizuku Kaki (Dripping Vase). Thick dollops of glass run like giant rain drops over the surface. It is 36 cm (14 inches) tall, and in excellent condition.
Suzuki Genta was born in Kyoto in 1971, graduating the prestigious Doshisha Universtiy in 1994. That same year he packed up and went off to Sweden where he studied at the Kosta Glass School, graduating in 1996. He then travelled Europe, learning under Philip Baldwin and Monica Guggisberg at the Verrerie de Nonfoux in Switzerland, then back to Sweden where he worked under Ulla Bostrom at the Aister Glass Studio, then Peter Kuchinke at the Lauscha Glass Factory in Germany. He studied for 8 months with Anders Wingard at the Baskemolla Glass Studio in Sweden in 1997, then went to New Zealand for six months under Ola Hoglund before 3 months under Simone Cenedese at Linera Vetro in Italy, returning to Japan in 1999. He established the Genta Glass Studio in Toyama prefecture in 2003 and has lived and worked there ever since.
Suzuki Genta was born in Kyoto in 1971, graduating the prestigious Doshisha Universtiy in 1994. That same year he packed up and went off to Sweden where he studied at the Kosta Glass School, graduating in 1996. He then travelled Europe, learning under Philip Baldwin and Monica Guggisberg at the Verrerie de Nonfoux in Switzerland, then back to Sweden where he worked under Ulla Bostrom at the Aister Glass Studio, then Peter Kuchinke at the Lauscha Glass Factory in Germany. He studied for 8 months with Anders Wingard at the Baskemolla Glass Studio in Sweden in 1997, then went to New Zealand for six months under Ola Hoglund before 3 months under Simone Cenedese at Linera Vetro in Italy, returning to Japan in 1999. He established the Genta Glass Studio in Toyama prefecture in 2003 and has lived and worked there ever since.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A stunning large Vase by important Hagi artist Yamato Yasuo enclosed in the original signed wooden box titled Hagi Ensai Henko (Flattened Hagi Vase in Flame Color). The top is raw earth burnt red by the flame, Below dark iron turns to ocher then the soft earthen beige of hagi, which gives way to pink, then cream before turning dark gray. It is 36.5 x 13 x 35 cm (14-1/2 x 5 x 14 inches) and is in excellent condition.
It is likely no collector of Hagi will need an introduction to this innovative artist. Yamato Yasuo was born in 1933 to a long line of Hagi potters. He learned under his father Harunobu and grandfather Shoroku. One of the first to challenge many traditions associated with Hagi Yaki. He was displayed with Sodeisha, Kofukai, the Nitten, Nihon Dento Togei Ten, Nihon Togei Ten among many others. His list of prizes is most impressive and much too long to write here and his influence on the world of Hagi pottery will likely be the source of a thesis someday in the not too distant future! He has been named an important cultural asset of Yamaguchi Prefecture (ken Juyo Mukei Bunkazai) and is held in the collection of the British Museum among many others.
It is likely no collector of Hagi will need an introduction to this innovative artist. Yamato Yasuo was born in 1933 to a long line of Hagi potters. He learned under his father Harunobu and grandfather Shoroku. One of the first to challenge many traditions associated with Hagi Yaki. He was displayed with Sodeisha, Kofukai, the Nitten, Nihon Dento Togei Ten, Nihon Togei Ten among many others. His list of prizes is most impressive and much too long to write here and his influence on the world of Hagi pottery will likely be the source of a thesis someday in the not too distant future! He has been named an important cultural asset of Yamaguchi Prefecture (ken Juyo Mukei Bunkazai) and is held in the collection of the British Museum among many others.