Modern Japanese Ceramics
sold, thank you
sold, thank you
A breathtaking sphere in oxidized blues like our gleaming blue planet with an artist performed kintsugi gold repair wrapping all the way around. It is 26 cm (10-1/4 inches) diameter and in excellent condition, directly from the artist.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A masterpiece by Shigaraki Icon Koyama Kiyoko enclosed in the original signed wooden box titled Shigaraki Shizen-yu Mentori Hanaire. She was well known for both her Mentori works, and the exuberant amount of ash accumulated from the 10 plus day firings of her kiln. This is a prime example of both those features. It is 24.5 cm (just udner 10 inches) diameter, roughly the same height, and in excellent condition.
Koyama Kiyoko was born in Sasebo, Nagasaki in 1936. Following the second world war the family moved to Shiga prefecture, eventually settling in the pottery village of Shigaraki. She took a job as a ceramic painter's assistant at a young age. In 1954 she began to work as a pottery decorator in Shigaraki under Nakashima Takamitsu. Later she moved to Kyoto to study Kenzan ware and Sometsuke under Yoshitake Eijiro. Aged 27 she began working in earnest in clay and studying clay technique under Misawa Kenzo. Enthralled by an ancient pot shard with natural blue ash glaze, she sought to recreate this effect in modern times, building her own kiln and repeatedly firing, searching for that magic point, but slowly pushing the family toward insolvency. Not only was she attempting to break barriers with the pots she created, but she was forced to break barriers in a male dominated world where women were prohibited from the wood fired kiln as unworthy. She did have her supporters of course, and with their help and persistence and ever longer firings she eventually succeeded in finding that blue. Kiyoko has a list of shows and prizes which would fill pages, including the Nihon Dento Kogei Ten Traditional Crafts Exhibition, Nihon Togei Ten Ceramic Exhibition, the Asahi Togei Ten Ceramics Exhibition as well as many international exhibitions. Her son Koyama Kenichi (1961-1992) worked to take over the family kiln, but succumbed to Leukemia after a long fight. Their story is 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, 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
Koyama Kiyoko was born in Sasebo, Nagasaki in 1936. Following the second world war the family moved to Shiga prefecture, eventually settling in the pottery village of Shigaraki. She took a job as a ceramic painter's assistant at a young age. In 1954 she began to work as a pottery decorator in Shigaraki under Nakashima Takamitsu. Later she moved to Kyoto to study Kenzan ware and Sometsuke under Yoshitake Eijiro. Aged 27 she began working in earnest in clay and studying clay technique under Misawa Kenzo. Enthralled by an ancient pot shard with natural blue ash glaze, she sought to recreate this effect in modern times, building her own kiln and repeatedly firing, searching for that magic point, but slowly pushing the family toward insolvency. Not only was she attempting to break barriers with the pots she created, but she was forced to break barriers in a male dominated world where women were prohibited from the wood fired kiln as unworthy. She did have her supporters of course, and with their help and persistence and ever longer firings she eventually succeeded in finding that blue. Kiyoko has a list of shows and prizes which would fill pages, including the Nihon Dento Kogei Ten Traditional Crafts Exhibition, Nihon Togei Ten Ceramic Exhibition, the Asahi Togei Ten Ceramics Exhibition as well as many international exhibitions. Her son Koyama Kenichi (1961-1992) worked to take over the family kiln, but succumbed to Leukemia after a long fight. Their story is 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, 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
This Oh-My-God breathtaking delicacy is by Kawase Shinobu enclosed in the original signed wooden box which is prepared with silk lined buffers to protect it. One of the most impressive pieces I have seen by this very impressive artist. It is 21.5 cm (8-1/2 inches) tall and in perfect condition.
Kawase Shinobu was born in Oiso, Kanagawa Prefecture in 1950, heir to a family tradition of potting. His grandfather and father were Kawase Chikushun I and II respectively, masters of Chinese based ceramic styles. He began working with his father, and first came to puclic attention with his acceptance into the 1969 Nihon Dentō Kōgei Shinsakuten (National Traditional Crafts Exhibition for New Works). This was followed by acceptance into the 1974 Nihon Dentō Kogeiten (National Traditional Crafts Exhibition), at both of which he exhibited frequently. In 1980 he was selected for the Japan Ceramics Society Exhibition and was awarded there the following year. In 1983 his work was selected for the Japanese Ceramics Today exhibition at the Smithsonian Institution, Washington D.C. and the Victoria & Albert Museum, London. From then his works have been exhibited throughout the globe and he is regarded as Japan’s most outstanding celadon artist working with the traditions of the Tang and Song dynasties. With his exquisite technique, organic forms and pristine glazes, he has developed a unique style that is both traditional and challenging and it is this fusion of contemporary and tradition which draws droves to his art. Work is held in the Victoria and Albert Museum (London), New York Metropolitan Museum of Art, San Francisco Asian Art Museum, Art Institute of Chicago, Minneapolis Institute of Arts, Cincinnati Art Museum, Denver Art Museum, Brooklyn, Birmingham Cleveland, New Orleans, Philadelphia and Saint Louis Museums of Art among others. There is a plethora of information available on this innovative artist, including: Japanese Ceramics Today: Masterworks from the Kikuchi Collection, (Tsuji, Tomo, Hayashiya, 1983), Modern Japanese Ceramics in American Collections (Frederick Baekeland and Robert Moes, 1993), Quiet Clarity “RIN” Beauty in Contemporary Ceramics (1996), Contemporary Clay: Japanese Ceramics for the New Century (Joe Earle, 2005), The Betsy and Robert Feinberg Collection: Japanese Ceramics for the Twenty first Century (Mintz, 2014), and or Into the Fold: Contemporary Japanese Ceramics from the Horvitz Collection (Harn Museum, 2015)
Kawase Shinobu was born in Oiso, Kanagawa Prefecture in 1950, heir to a family tradition of potting. His grandfather and father were Kawase Chikushun I and II respectively, masters of Chinese based ceramic styles. He began working with his father, and first came to puclic attention with his acceptance into the 1969 Nihon Dentō Kōgei Shinsakuten (National Traditional Crafts Exhibition for New Works). This was followed by acceptance into the 1974 Nihon Dentō Kogeiten (National Traditional Crafts Exhibition), at both of which he exhibited frequently. In 1980 he was selected for the Japan Ceramics Society Exhibition and was awarded there the following year. In 1983 his work was selected for the Japanese Ceramics Today exhibition at the Smithsonian Institution, Washington D.C. and the Victoria & Albert Museum, London. From then his works have been exhibited throughout the globe and he is regarded as Japan’s most outstanding celadon artist working with the traditions of the Tang and Song dynasties. With his exquisite technique, organic forms and pristine glazes, he has developed a unique style that is both traditional and challenging and it is this fusion of contemporary and tradition which draws droves to his art. Work is held in the Victoria and Albert Museum (London), New York Metropolitan Museum of Art, San Francisco Asian Art Museum, Art Institute of Chicago, Minneapolis Institute of Arts, Cincinnati Art Museum, Denver Art Museum, Brooklyn, Birmingham Cleveland, New Orleans, Philadelphia and Saint Louis Museums of Art among others. There is a plethora of information available on this innovative artist, including: Japanese Ceramics Today: Masterworks from the Kikuchi Collection, (Tsuji, Tomo, Hayashiya, 1983), Modern Japanese Ceramics in American Collections (Frederick Baekeland and Robert Moes, 1993), Quiet Clarity “RIN” Beauty in Contemporary Ceramics (1996), Contemporary Clay: Japanese Ceramics for the New Century (Joe Earle, 2005), The Betsy and Robert Feinberg Collection: Japanese Ceramics for the Twenty first Century (Mintz, 2014), and or Into the Fold: Contemporary Japanese Ceramics from the Horvitz Collection (Harn Museum, 2015)
Modern Japanese Ceramics
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Sold, thank you!
A wonderful early work by Hara Kiyoshi awarded at the 1962 Nihon Dento Kogeiten Traditional Crafts Exhibition enclosed in the original signed wooden box titled Ume-mon Hachi (Plum Patterned Basin). It is covered in a foamy blue-white glaze, the body sculpted like the five petals of a plum blossom. The dish is 43.5 cm (17 inches) diameter and is in excellent condition. It comes with the original catalog (published on page 1) as well as the original gold award label. This is a very rare opportunity to acquire a piece with all of its provenance from Japan. It is also an opportunity to see a piece, not by a Living National Treasure, but a piece recognized by an artist which gives reason why he would be designated a Living National Treasure. A part of ceramic history.
Hara Kiyoshi (b. 1936) was born in Shimane, and studied pottery under Living National Treasures Ishiguro Munemaru and Shimizu Uichi from 1954 before establishing his own kiln, first in Tokyo, then later in Saitama. He was first selected for exhibit at the National Traditional Crafts Exhibition in 1958. In 63 he first exhibited at the Asahi Togeiten Ceramics Exhibition. Since his work has received much attention,both within Japan and abroad in Europe, The Americas and Asia. He received the Japan Ceramic Society prize in 1975, and was named a Living National Treasure for Tetsu-yu in 2005 and is recipient of the Order of the Rising Sun.
Hara Kiyoshi (b. 1936) was born in Shimane, and studied pottery under Living National Treasures Ishiguro Munemaru and Shimizu Uichi from 1954 before establishing his own kiln, first in Tokyo, then later in Saitama. He was first selected for exhibit at the National Traditional Crafts Exhibition in 1958. In 63 he first exhibited at the Asahi Togeiten Ceramics Exhibition. Since his work has received much attention,both within Japan and abroad in Europe, The Americas and Asia. He received the Japan Ceramic Society prize in 1975, and was named a Living National Treasure for Tetsu-yu in 2005 and is recipient of the Order of the Rising Sun.
Modern Japanese Ceramics
sold, thank you
sold, thank you
Vibrant colors and glistening gold decorate this leaf shaped sculpture by Matsuda Yuriko enclosed in the original signed wooden box titled HASU (Lotus Leaf). It is roughly 37 cm (15 inches) diameter and in excellent condition.
Matsuda Yuriko was born in Ashiya, Hyōgō Prefecture in 1943nd lives and works in Oshino, Yamanashi Prefecture. Yuriko is an avid exhibitor; it is a wonder she has time to do any work at all. Both within Japan (Nihon Togei Ten, Gendai Togei Ten etc.) and without she has an impressive list of exhibitions in a host of countries. She received the Yagi Kazuo prize in 1986 among many others. According to the book “Touch Fire”, Many of the women artists included in this exhibition are independent innovators who work outside the constraints of Japanese ceramic traditions. However, several of the artists, including Matsuda Yuriko, continue to use traditional techniques with skills that rival, if not exceed, those of their predecessors, and in doing so they create new and challenging contemporary ceramic art. They reinterpret the traditional decorative technique for porcelain vessels, called iro-e over-glaze enameling, and transposes its motifs onto nonfunctional objects. Her beautifully enameled iro-e porcelain sculptures are witty odes to two favorite subjects: the female body and Mount Fuji. For more information on this artist and examples of her work see the books Contemporary Japanese Ceramics, Fired with Passion by Beatrice Chang and Samuel Lurie. Also see Contemporary Clay, Japanese Ceramics for the New Century based on the Museum of Fine Arts Boston exhibition or Soaring Voices, Contemporary Japanese Women Ceramic Artists (2010). Her work is also currently on tour with the Radical Clay Exhibition at the Art Institute of Chicago.
Matsuda Yuriko was born in Ashiya, Hyōgō Prefecture in 1943nd lives and works in Oshino, Yamanashi Prefecture. Yuriko is an avid exhibitor; it is a wonder she has time to do any work at all. Both within Japan (Nihon Togei Ten, Gendai Togei Ten etc.) and without she has an impressive list of exhibitions in a host of countries. She received the Yagi Kazuo prize in 1986 among many others. According to the book “Touch Fire”, Many of the women artists included in this exhibition are independent innovators who work outside the constraints of Japanese ceramic traditions. However, several of the artists, including Matsuda Yuriko, continue to use traditional techniques with skills that rival, if not exceed, those of their predecessors, and in doing so they create new and challenging contemporary ceramic art. They reinterpret the traditional decorative technique for porcelain vessels, called iro-e over-glaze enameling, and transposes its motifs onto nonfunctional objects. Her beautifully enameled iro-e porcelain sculptures are witty odes to two favorite subjects: the female body and Mount Fuji. For more information on this artist and examples of her work see the books Contemporary Japanese Ceramics, Fired with Passion by Beatrice Chang and Samuel Lurie. Also see Contemporary Clay, Japanese Ceramics for the New Century based on the Museum of Fine Arts Boston exhibition or Soaring Voices, Contemporary Japanese Women Ceramic Artists (2010). Her work is also currently on tour with the Radical Clay Exhibition at the Art Institute of Chicago.
Modern Japanese Ceramics
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Sold, Thank you
Gold bubbles out from the scraffito marked white surface of this kogo incense box with accompanying black and opaque glass incense burner by Kondo Takahiro enclosed in the original signed wooden box. The glass box is 9.5 x 11.3 x 10 cm. The pottery box is 6 x 5 x 4 cm and both are in excellent condition.
Takahiro (b. 1958) was born the grandson of Living National Treasure Kondo Yuzo. However he graduated Hosei University not with a degree in sculpture or crafts, but in Literature. From there he studied at the Kyoto Prefectural Technical Institute of Ceramics, followed by a year at the Kyoto Municipal Institute of Industrial Research. 15 years later he would spend a year in Edinburgh studying glass making, and with this combination of skills, was born the silver mist series for which he is so highly acclaimed. Work by him is held in Museums throughout the world, including the National Museum of Scotland, Brooklyn Museum of Art, Los Angeles County Museum of Art, Minneapolis Institute of Arts, Museum of Arts & Design, New York, Spencer Museum of Art, The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Houston, Art Gallery NSW, Sydney, Hamilton Art Gallery, Australia, Miho Museum. National Gallery of Victoria, Paramita Museum, The Museum of Contemporary Ceramic Art, Shigaraki, and The São Paulo Museum of Art, Brazil among others. Without a doubt one of the most important contemporary artists in Japan today. For more see Celestial Ceramics: the Art of Kondo Takahiro (2002)
Takahiro (b. 1958) was born the grandson of Living National Treasure Kondo Yuzo. However he graduated Hosei University not with a degree in sculpture or crafts, but in Literature. From there he studied at the Kyoto Prefectural Technical Institute of Ceramics, followed by a year at the Kyoto Municipal Institute of Industrial Research. 15 years later he would spend a year in Edinburgh studying glass making, and with this combination of skills, was born the silver mist series for which he is so highly acclaimed. Work by him is held in Museums throughout the world, including the National Museum of Scotland, Brooklyn Museum of Art, Los Angeles County Museum of Art, Minneapolis Institute of Arts, Museum of Arts & Design, New York, Spencer Museum of Art, The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Houston, Art Gallery NSW, Sydney, Hamilton Art Gallery, Australia, Miho Museum. National Gallery of Victoria, Paramita Museum, The Museum of Contemporary Ceramic Art, Shigaraki, and The São Paulo Museum of Art, Brazil among others. Without a doubt one of the most important contemporary artists in Japan today. For more see Celestial Ceramics: the Art of Kondo Takahiro (2002)
All Items : Vintage Arts : Regional Art : Asian : Japanese : Stoneware : Pre 1940
item #1414152
(stock #1406)
Modern Japanese Ceramics
Sold, with thanks!
Sold, with thanks!
Dark glaze covers this beautifully crafted Koro from Kawai Kanjiro dating circa 1936 enclosed in the original signed wooden box. It is 11.5 x 9 x 8.5 cm (4-1/2 x 3-1/2 x 3-1/2 inches) excluding the lid and is in excellent condition. The lid is of exotic hardwood with an agate finial, and is a later addition (Kanjiro did not make lids for his koro). For similar examples see the Katsukawa collection published in the biblical tome by the Kyoto National Museum of Modern Art.
Kawai Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Hamada Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Refusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined.
Kawai Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Hamada Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Refusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A fabulous wan-gata chawan on prominent foot reminiscent of the forms from his Okinawan experience by pottery legend Hamada Shoji enclosed in the original signed wooden box titled Kuro-yu Sabi-zo Chawan. An undulating snake of rust color drapes from the rim over the glossy black glaze, the effect mirrored around the foot ring. It is 13 cm (5 inches) diameter, 8.8 cm (3-1/2 inches) tall and in excellent condition.
Hamada Shoji (1894-1978) was born in Tokyo, and enrolled in the Tokyo Technical University at the age of 19. In 1918 he met the important British potter Bernard Leach, and the history of ceramic arts was forever changed. One of the most influential and sought after of all Japanese Ceramic artists. He was a significant influence on studio pottery of the twentieth century, and a driving force of the mingei folk-art movement. In 1955 he was designated a "Living National Treasure". There is no shortage of reading material for those who would like to learn more about this potter.
Hamada Shoji (1894-1978) was born in Tokyo, and enrolled in the Tokyo Technical University at the age of 19. In 1918 he met the important British potter Bernard Leach, and the history of ceramic arts was forever changed. One of the most influential and sought after of all Japanese Ceramic artists. He was a significant influence on studio pottery of the twentieth century, and a driving force of the mingei folk-art movement. In 1955 he was designated a "Living National Treasure". There is no shortage of reading material for those who would like to learn more about this potter.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A striking ceramic box scrawled with abstract lines covered in silver on top with silver droplets of mist covering the blue sides by Kondo Takahiro enclosed in the original signed wooden box titled Jigen Jikiro. It is 14.5 x 8.5 x 7 cm (5-3/4 x 3-1/4 x 3 inches) and is in perfect condition.
Kondo Takahiro (b. 1958) was born the grandson of Living National Treasure Kondo Yuzo. However, he graduated Hosei University not with a degree in sculpture or crafts, but in Literature. From there he studied at the Kyoto Prefectural Technical Institute of Ceramics, followed by a year at the Kyoto Municipal Institute of Industrial Research. 15 years later he would spend a year in Edinburgh studying glass making, and with this combination of skills, was born the silver mist series for which he is so highly acclaimed. Work by him is held in Museums throughout the world, including the National Museum of Scotland, Brooklyn Museum of Art, Los Angeles County Museum of Art, Minneapolis Institute of Arts, Museum of Arts & Design, New York, Spencer Museum of Art, The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Houston, Art Gallery NSW, Sydney, Hamilton Art Gallery, Australia, Miho Museum. National Gallery of Victoria, Paramita Museum, The Museum of Contemporary Ceramic Art, Shigaraki, and The São Paulo Museum of Art, Brazil among others. Without a doubt one of the most important contemporary artists in Japan today. For more see Celestial Ceramics: The Art of Kondo Takahiro (2002)
Kondo Takahiro (b. 1958) was born the grandson of Living National Treasure Kondo Yuzo. However, he graduated Hosei University not with a degree in sculpture or crafts, but in Literature. From there he studied at the Kyoto Prefectural Technical Institute of Ceramics, followed by a year at the Kyoto Municipal Institute of Industrial Research. 15 years later he would spend a year in Edinburgh studying glass making, and with this combination of skills, was born the silver mist series for which he is so highly acclaimed. Work by him is held in Museums throughout the world, including the National Museum of Scotland, Brooklyn Museum of Art, Los Angeles County Museum of Art, Minneapolis Institute of Arts, Museum of Arts & Design, New York, Spencer Museum of Art, The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Houston, Art Gallery NSW, Sydney, Hamilton Art Gallery, Australia, Miho Museum. National Gallery of Victoria, Paramita Museum, The Museum of Contemporary Ceramic Art, Shigaraki, and The São Paulo Museum of Art, Brazil among others. Without a doubt one of the most important contemporary artists in Japan today. For more see Celestial Ceramics: The Art of Kondo Takahiro (2002)
Modern Japanese Ceramics
sold, with thanks!
sold, with thanks!
Reminiscent of an excavated Haniwa figure of a house, this museum quality vase is by Koinuma Michio and comes enclosed in the original signed wooden box titled very simply Tsubo. It is an iconic work by this eclectic artist, whose work is entirely unique and easily discernible. It is 27.5 cm (11 inches) square, 37 cm (14-3/4 inches) tall and in excellent condition. Due to size this will require special shipping consideration.
Koinuma Michio is a compelling figure unique among contemporary artists. He seems to have no limit to his imagination and creativity, still dazzling us with new concepts after four decades. Born in the hectic war years in 1936, he is incredibly intelligent, graduating the economics department of Osaka University, then on to Waseda, one of the top three schools in Japan, for graduate studies in economics and politics. Relinquishing that life he opened a kiln in Mashiko in 1970. Since 1978 he has been consistently displayed at the best galleries in Japan, as well as overseas. For more see Contemporary Japanese Ceramics Fired with Passion (ISBN -10: 1-891640-38-0) or To volume 10, which is dedicated entirely to him.
The image is based on Haniwa funerary objects. The Haniwa are terracotta clay figures of people, animals, and houses which were deposited at Japanese tombs during the Kofun period (3rd to 6th century) in Japan. Haniwa were created according to the wazumi technique, in which mounds of coiled clay were built up to shape the figure, layer by layer. Michio follows that style, then through a process of multiple firing and various techniques degrades the surface to create the feeling of antiquity. A strikingly similar image is published, figure 18, in the anthology Toh, volume 10. According to the encyclopedia of Ancient History many Haniwa are particularly detailed in their execution and thus provide a valuable insight into the culture of the period. Standing over one metre in height, the mysterious figures are a striking example of early Japanese sculpture.
Koinuma Michio is a compelling figure unique among contemporary artists. He seems to have no limit to his imagination and creativity, still dazzling us with new concepts after four decades. Born in the hectic war years in 1936, he is incredibly intelligent, graduating the economics department of Osaka University, then on to Waseda, one of the top three schools in Japan, for graduate studies in economics and politics. Relinquishing that life he opened a kiln in Mashiko in 1970. Since 1978 he has been consistently displayed at the best galleries in Japan, as well as overseas. For more see Contemporary Japanese Ceramics Fired with Passion (ISBN -10: 1-891640-38-0) or To volume 10, which is dedicated entirely to him.
The image is based on Haniwa funerary objects. The Haniwa are terracotta clay figures of people, animals, and houses which were deposited at Japanese tombs during the Kofun period (3rd to 6th century) in Japan. Haniwa were created according to the wazumi technique, in which mounds of coiled clay were built up to shape the figure, layer by layer. Michio follows that style, then through a process of multiple firing and various techniques degrades the surface to create the feeling of antiquity. A strikingly similar image is published, figure 18, in the anthology Toh, volume 10. According to the encyclopedia of Ancient History many Haniwa are particularly detailed in their execution and thus provide a valuable insight into the culture of the period. Standing over one metre in height, the mysterious figures are a striking example of early Japanese sculpture.
All Items : Vintage Arts : Regional Art : Asian : Japanese : Porcelain : Pre 1940
item #1441392
(stock #1677)
Modern Japanese Ceramics
Sold, with thanks!
Sold, with thanks!
A spectacular silver and gold lid covers this small basin by Tomimoto Kenkichi enclosed in a wooden box titled Aka-e Tsutsugata Yunomi and annotated within: Made by Tomimoto Kenkichi Sensei in 1925 signed by Tsujimoto Isamu (for more on him see below). The cup is covered inside with creamy white, outside in red with decoration of gold plum blossoms. It is surmounted by a solid silver lid pierced with leafy vines and peaked with a gold chrysanthemum. The cup is 7 cm (2-3/4 inches) diameter and in perfect condition, signed inside the foot.
Tomimoto Kenkichi (1886-1963) is one of Japan's finest and most important ceramic artists ever, voted the number one most influential potter of the 20th century by Honoho Magazine. He was born into a privileged family in Nara, and would spend part of his youth in England studying design and manufacturing techniques. In 1950, Tomimoto became the first professor to the Ceramic Section of the Department of Crafts, Kyoto City University of Arts. He was also involved in a number of art associations and art universities throughout his life and trained many influential ceramic artists of modern Japan. He would be appointed member of the Japan Imperial Art Academy, as well as designated an intangible cultural asset (Mukei Bunkazai or Living National Treasure), and awarded the Order of Cultural Merit. For an excellent read see the recent article by John Wright in Arts of Asia.
Tsujimoto Isamu was a patron and great collector of the works of Tomimoto during the artists lifetime. Following his death Isamu created the Tomimoto Kenkichi Kinenkan Museum, and served as the first director there.
Tomimoto Kenkichi (1886-1963) is one of Japan's finest and most important ceramic artists ever, voted the number one most influential potter of the 20th century by Honoho Magazine. He was born into a privileged family in Nara, and would spend part of his youth in England studying design and manufacturing techniques. In 1950, Tomimoto became the first professor to the Ceramic Section of the Department of Crafts, Kyoto City University of Arts. He was also involved in a number of art associations and art universities throughout his life and trained many influential ceramic artists of modern Japan. He would be appointed member of the Japan Imperial Art Academy, as well as designated an intangible cultural asset (Mukei Bunkazai or Living National Treasure), and awarded the Order of Cultural Merit. For an excellent read see the recent article by John Wright in Arts of Asia.
Tsujimoto Isamu was a patron and great collector of the works of Tomimoto during the artists lifetime. Following his death Isamu created the Tomimoto Kenkichi Kinenkan Museum, and served as the first director there.
Modern Japanese Ceramics
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Sold, thank you!
The most unique work I have ever seen from innovative artist Ito Motohiko enclosed in the original signed wooden box titled Nunome Tsubaki-mon Kabin (Cloth Textured Vase with Camellia Design). Sensual sans eroticism, it is a frank and appreciative look at the beauty of the feminine form. This is from my personal collection, and I am torn with the idea of parting with it. The vase is 9 x 6-1/2 x 14-1/2 inches (23 x 16.5 x 37 cm) and is in excellent condition, retaining the original wrapping cloth and Shiori.
Ito Motohiko is a famous Kasama potter, best known for his nunome pattern and exceptional designs. Motohiko was born in Fukuoka prefecture, 1939, and graduated the Tokyo University of Art in 1964, then moved on to advanced courses there, finishing in 1966. While at University he studied under Kato Hajime and Fujimoto Yoshimichi. It was in 1967 his first piece was accepted into the 6th Modern National Crafts Exhibition, and the next year would be spent working under to-be-Living National Treasure Matsui Kosei. His list of prizes and exhibitions is much too long to reproduce, but since 1967, he has Exhibited with the Nihon Dento Kogeiten, Nihon Dento Kogei Shinsaku Ten, Dento Kogei Musashino Ten, Tanabe Museum Modern Tea Forms Exhibition, been the subject of an NHK Television documentary, and participated in a ridiculous number of private exhibits at many of Japans top venues, and has been purchased by the Heisei Emperor in person as well as receiving the Shijuho-sho prize from his majesty.
Ito Motohiko is a famous Kasama potter, best known for his nunome pattern and exceptional designs. Motohiko was born in Fukuoka prefecture, 1939, and graduated the Tokyo University of Art in 1964, then moved on to advanced courses there, finishing in 1966. While at University he studied under Kato Hajime and Fujimoto Yoshimichi. It was in 1967 his first piece was accepted into the 6th Modern National Crafts Exhibition, and the next year would be spent working under to-be-Living National Treasure Matsui Kosei. His list of prizes and exhibitions is much too long to reproduce, but since 1967, he has Exhibited with the Nihon Dento Kogeiten, Nihon Dento Kogei Shinsaku Ten, Dento Kogei Musashino Ten, Tanabe Museum Modern Tea Forms Exhibition, been the subject of an NHK Television documentary, and participated in a ridiculous number of private exhibits at many of Japans top venues, and has been purchased by the Heisei Emperor in person as well as receiving the Shijuho-sho prize from his majesty.
Modern Japanese Ceramics
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A breathtaking work by Hashimoto Tomonari, deep space covered in random clouds and explosions of color like some precious treasure, the origin of life, from another world. It is roughly 24 cm (9-1/2 inches) diameter, 34 cm (14 inches) tall and weighs 4.2 kilograms and comes enclosed in a signed wooden box from the artist this year.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. He is held in the collection of the V&A London, Los Angeles County Museum and Kalamazoo Institute of Arts among others.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. He is held in the collection of the V&A London, Los Angeles County Museum and Kalamazoo Institute of Arts among others.
Modern Japanese Ceramics
Sold, Thank you!
Sold, Thank you!
A colorful pair of hips by Matsuda Yuriko enclosed in the original signed wooden box titled Kinsai Aka-e Shiri -Goo- (Red and Gold Decorated Porcelain Buttocks, -Goo-. It was exhibited at the Ilmin Museum of Art exhibition: “Its Horizontal Its Vertical” in Seoul South Korea in 1997 and retains the original artist made stand as well as the exhibition pamphlet. The piece is 43 x 32.5 x 14 cm (17 x 13 x 5-1/2 inches) excluding the stand, and is in excellent condition.
Matsuda Yuriko was born in Ashiya, Hyōgō Prefecture in 1943nd lives and works in Oshino, Yamanashi Prefecture. Yuriko is an avid exhibitor; it is a wonder she has time to do any work at all. Both within Japan (Nihon Togei Ten, Gendai Togei Ten etc.) and without she has an impressive list of exhibitions in a host of countries. She received the Yagi Kazuo prize in 1986 among many others. According to the book “Touch Fire”, Many of the women artists included in this exhibition are independent innovators who work outside the constraints of Japanese ceramic traditions. However, several of the artists, including Matsuda Yuriko, continue to use traditional techniques with skills that rival, if not exceed, those of their predecessors, and in doing so they create new and challenging contemporary ceramic Sytg art. They reinterpret the traditional decorative technique for porcelain vessels, called iro-e over-glaze enameling, and transposes its motifs onto nonfunctional objects. Her beautifully enameled iro-e porcelain sculptures are witty odes to two favorite subjects: the female body and Mount Fuji. For more information on this artist and examples of her work see the books Contemporary Japanese Ceramics, Fired with Passion by Beatrice Chang and Samuel Lurie. Also see Contemporary Clay, Japanese Ceramics for the New Century based on the Museum of Fine Arts Boston exhibition or Soaring Voices, Contemporary Japanese Women Ceramic Artists (2010).
Matsuda Yuriko was born in Ashiya, Hyōgō Prefecture in 1943nd lives and works in Oshino, Yamanashi Prefecture. Yuriko is an avid exhibitor; it is a wonder she has time to do any work at all. Both within Japan (Nihon Togei Ten, Gendai Togei Ten etc.) and without she has an impressive list of exhibitions in a host of countries. She received the Yagi Kazuo prize in 1986 among many others. According to the book “Touch Fire”, Many of the women artists included in this exhibition are independent innovators who work outside the constraints of Japanese ceramic traditions. However, several of the artists, including Matsuda Yuriko, continue to use traditional techniques with skills that rival, if not exceed, those of their predecessors, and in doing so they create new and challenging contemporary ceramic Sytg art. They reinterpret the traditional decorative technique for porcelain vessels, called iro-e over-glaze enameling, and transposes its motifs onto nonfunctional objects. Her beautifully enameled iro-e porcelain sculptures are witty odes to two favorite subjects: the female body and Mount Fuji. For more information on this artist and examples of her work see the books Contemporary Japanese Ceramics, Fired with Passion by Beatrice Chang and Samuel Lurie. Also see Contemporary Clay, Japanese Ceramics for the New Century based on the Museum of Fine Arts Boston exhibition or Soaring Voices, Contemporary Japanese Women Ceramic Artists (2010).
Modern Japanese Ceramics
Sold, Thank you!
Sold, Thank you!
A masterpiece by Otani Shiro enclosed in the original signed wooden box titled Shigaraki Hai-Kaburi Tsubo (Ash blanketed Jar). Breathtaking, it appears straight from the inferno. With so much going on, the thick textured embers almost purple in color, encrustations covering the surface with a blast of molten ocher glaze on one side rivulets of color dripping down. It would wow the crowds in any museum exhibition and is the best piece I have ever owned by this legendary potter. The vessel is 24 cm (9-3/4 inches) diameter and in excellent condition. It was originally made for his 40th anniversary exhibition held at Takashimaya Department Store and is published in the catalog; catalog included.
Otani Shiro was born in Shigaraki in 1936 and graduated the Prefectural School in the ceramics department in 1956, which he followed up with 4 years studying decorating techniques under Morioka Yutaro. He then moved to Kyoto where he studied at the Municipal Ceramics Research Facility, where he trained under Kiyomizu Kyubei, Shofu Eichi and Uchida Kunio before returning to Shigaraki to yet further his studies in design. He garnered his first award at the Shiga Prefectural Art Exhibition in 1962, as well as the Governor’s prize at the National Rodosha Bijutsu-Ten Exhibition. He took a position with an industrial kiln in Shigaraki in 1963, and began potting in his free time, exhibiting and being awarded at the Asahi Togeiten among others. In 1968, he left his position at the kiln, and in 1969 was first accepted into the National Traditional Crafts Exhibition (Nihon Dento Kogeiten). In 1973 he established his own kilns in Shigaraki, both an Anagama submerged kiln and a climbing kiln, and began learning from future Living National Treasure Shimizu Uichi. From there he participated in the Nihon Dento Kogei Ten (National crafts Exhibition) as well as innumerable private exhibitions both domestic and International, and was named an Intangible Cultural Asset of Shigaraki in 1990. His work is held in The Museum of Art in Atlanta, The Boston Museum of Fine Arts, the Brooklyn Museum of Art, the Fogg Art Gallery of Harvard as well as the Morikami Museum and Smithsonian among others. For an in depth look at this potter see the article by Rob Barnard in Ceramics Monthly volume 39 (Summer 1991).
Otani Shiro was born in Shigaraki in 1936 and graduated the Prefectural School in the ceramics department in 1956, which he followed up with 4 years studying decorating techniques under Morioka Yutaro. He then moved to Kyoto where he studied at the Municipal Ceramics Research Facility, where he trained under Kiyomizu Kyubei, Shofu Eichi and Uchida Kunio before returning to Shigaraki to yet further his studies in design. He garnered his first award at the Shiga Prefectural Art Exhibition in 1962, as well as the Governor’s prize at the National Rodosha Bijutsu-Ten Exhibition. He took a position with an industrial kiln in Shigaraki in 1963, and began potting in his free time, exhibiting and being awarded at the Asahi Togeiten among others. In 1968, he left his position at the kiln, and in 1969 was first accepted into the National Traditional Crafts Exhibition (Nihon Dento Kogeiten). In 1973 he established his own kilns in Shigaraki, both an Anagama submerged kiln and a climbing kiln, and began learning from future Living National Treasure Shimizu Uichi. From there he participated in the Nihon Dento Kogei Ten (National crafts Exhibition) as well as innumerable private exhibitions both domestic and International, and was named an Intangible Cultural Asset of Shigaraki in 1990. His work is held in The Museum of Art in Atlanta, The Boston Museum of Fine Arts, the Brooklyn Museum of Art, the Fogg Art Gallery of Harvard as well as the Morikami Museum and Smithsonian among others. For an in depth look at this potter see the article by Rob Barnard in Ceramics Monthly volume 39 (Summer 1991).
Modern Japanese Ceramics
sold, thank you
sold, thank you
A massive tsubo with fissured shoulder in earth tones by Sugitani Keizo accompanied by the artists signed placard. It is 45 cm diameter and in excellent condition. This is absolutely spectacular for large flower arrangements.
Sugitani Keizo was born in Osaka in 1959. In 1982 he graduated the Ceramic Art Institute of the Tekisui Museum of Art. He has selected for a number of group exhibitions including the International Ceramics Competition Mino and the Asahi Art exhibition, where he has been awarded. He has been exhibited at some of Japns top galleries as well as London, Art Miami, Maastricht, New York, Taipei and Shanghai among others.
Sugitani Keizo was born in Osaka in 1959. In 1982 he graduated the Ceramic Art Institute of the Tekisui Museum of Art. He has selected for a number of group exhibitions including the International Ceramics Competition Mino and the Asahi Art exhibition, where he has been awarded. He has been exhibited at some of Japns top galleries as well as London, Art Miami, Maastricht, New York, Taipei and Shanghai among others.
Modern Japanese Ceramics
sold, thank you
sold, thank you
Gold shatters on the blue surface of this large vase by legendary female potter Ono Hakuko enclosed in the original signed wooden box titled Yuri Kinsai Hana Tsubo. It is 29 cm (11-1/2 inches) diameter, 31.5 cm (12-1/2 inches) tall and in excellent condition.
From Aichi prefecture, Ono Hakuko was trained by her father initially in the ceramic arts. However, she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japans most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics by Women Artists (2009)
From Aichi prefecture, Ono Hakuko was trained by her father initially in the ceramic arts. However, she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japans most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics by Women Artists (2009)
Modern Japanese Ceramics
sold, thank you
sold, thank you
Undoubtedly one of the stars of the show, this dynamic work is a one of a kind, a deeply sculpted vessel by Furutani Taketoshi in austere fire color enclosed in the original signed wooden box titled Shigaraki Hi-iro Chokoku Maru-Tsubo.
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.
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.