Catalog (1084)

An amorphic vessel covered in organic green by Sodeisha member Kumakura Junkichi enclosed in the original signed wooden box dated the 20th day of April 1970. It is 10 inches (25 cm) tall and in excellent condition. A major retrospective of his life work was held this summer at the Shigaraki Togeinomori Museum. Kumakura Junkichi (1920-1985) began working in ceramics in the 1940s, his works submitted to innumerable National and International Exhibitions including the Japan Art Festival, New York and the international Arts and Crafts Exhibition in Florence Italy. He also submitted to the Brussels World Exposition and helped design murals for the World Exposition Osaka. At the International Ceramics Exhibition, Prague in 1962 he took a silver prize. He was also often exhibited and is in the permanent collection of the Japanese National Museum of Modern Art as well as the National Museum of Modern Art, Kyoto. Along with Suzuki Osamu, Hikaru Yamada and Yagi Kazuo, Junkichi was one of the founding members of the influential Sodeisha (Crawling Through Mud Association), a group of revolutionary post war ceramic artists whose influence remains strong today.

A bottle decorated with biblical passages by Araki Takako fired at the kiln of Uchida Koichi enclosed in the original wooden box signed by KOichi. It is the introduction of Mary from the book of Luke. The slender bottle itself is very much in the style and color of Koichi, and one might venture to say he had a hand in its making. The biblical passage is the obvious work of Takako, and on bottom is engraved her signature. The vase is 23 cm (9 inches) tall and in excellent condition.
Araki Takako (1921-2004) was born daughter of a Zen priest in Nishinomiya, Hyogo prefecture between the cities of Osaka and Kobe. Araki devoted herself to the family profession of flower arranging until 1952 when she began to study painting. From 1960 to 1961 she studied sculpting in New York before returning to Japan where she studied ceramics at Kyoto Municipal Polytechnique School (today’s Kyoto Municipal Institute of Industrial Technology), and then in different pottery centers. Her reputation for sculptural ceramics was established in 1979 when she received the grand prize at the Nihon Tôgei Ten National Ceramics Exhibition as well as internationally the silver prize and Grand Prize at Faenza International Ceramic Competition, Italy. In 1996 she was awarded the JCS Gold prize, arguably the most important award for a potter, by the Japan Ceramics Society. Her work is held in the Art Gallery of New South Wales (Australia). For more see Soaring Voices-Contemporary Japanese Women Ceramic Artists, 2007.
Uchida Koichi is a ceramic genius bornin Nagoya in 1969. He travelled extensively to various ceramic centers around the world, surveying environments, techniques and the overall culture of pottery before setting up his own studio in Mie in 1992. He eschews the world of competitive exhibition in favor of the intimate world and direct contact of the private gallery. This has not inhibited his reputation, and at the very young age of 34 was held a solo exhibition of his oeuvre at the Paramita Museum. He has also been exhibited internationally in Australia, China, England, India, Italy, Korea, New York, Spain, Taiwan, Thailand and Vietnam among others. For more see New Forms New Voices (New Orleans Museum of Art, 2017).

Vivid dark ash forms emerald pools in the center of these 5 ogi-men (round fan) shaped slabs by Murakoshi Takuma. Size, shape, color, texture: these are perfect for showing off your signature dish with style. They are roughly 16 x 20 cm (6 x 8 inches), 2 cm (1 inch) thick and in excellent condition, directly from the artist this winter. We have currently not had a box made for these to keep the price and shipping fee down, but one can be prepared if desired for 75 dollars.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. If there is anything he is known for, it is without a doubt his legendary status among restaurants and Izakaya as the man to make your food presentation perfect. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

Rivulets of ash dribble down the red earth sides of this vase by Nishiura Takeshi enclosed in the original signed wooden box titled Echizen Henko. Positioning in the kiln, with one shoulder angled toward the flame, ensure the lip and one rounded corner are charred in that distinct ocher inidicative of the region. Elsewhere the ash is molten green. A great example of this lesser known ancient kiln site. The vessel is 18 x 13 x 17.5 cm (7-1/2 x 5 x 7-1/2 inches) and is in excellent condition.
Nishiura Takeshi was born in Fukui prefecture in 1941, and graduated the Law Depratment of the prestigious Tokyo University in 1965. A decade later, he did an about face and began to follow the path of the potter establishing his first kiln in Echizen in 1975. Later he created a traditional Ana-gama kiln in 1982, where he works with his wife Nakazawa Yoko. He has concentrated on private exhibition, and is one of the few contemporary potters (and my personal favorite) making waves in the world of Echizen.

Rare aubergine colors underlies the foggy surface of this beautiful deep bowl by Murakoshi Takuma enclosed in the original signed wooden box titled Take-hai-yu chawan (bamboo ash glaze chawan). From his most recent firing, he has only a small amount of this Bamboo ash, and when it is gone, that is all. Slightly out of round, it is 12 to 13.5 cm diameter, 9 cm tall.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

A white porcelain bowl with silver lining by the young female artist Itaya Narumi enclosed in the original signed wooden box titled Chawan (flower). Stylized floral motifs are raised off the raw white porcelain surface, richly textured, while the inside is sheer as gilded silk. About the delicate foot ring is glazed and sculpted with petals. The bowl is 12 cm (4-3/4 inches) diameter and in excellent condition, from the artist this year.
Itaya Narumi was born in Gifu in 1991. She graduated the Kanazawa University of Art in 2013 then graduated the Tajimi city Ceramics Research Facility in 2015. She has participated in several exhibitions since, with an emphasis on natural forms and tactile senses.

An organic form slabbed and hollowed out from a block of clay by revolutionary Hagi artist Kaneta Masanao enclosed in the original signed wooden box titled Hagi Kurinuki Tokkuri. The vessel is covered in pale smooth glaze, like river-rock, some jagged stone worn smooth and polished by centuries of rushing water. It is 15 cm (6 inches) tall and in excellent condition.
Kaneta Masanao likely needs no introduction, certainly one of Hagi’s most well-known and easily identifiable names. Although an eighth-generation potter inheriting an overtly conservative tradition, he has transcended limitations, and was one of the first to begin carrying Hagi into the 21st century. His work evokes a distinct tension between both function and form, and technique and tradition. he has been displayed both nationally and internationally innumerable times. His pieces are in the collection of the Tokyo National Museum of Modern Art, Yamaguchi Prefectural Museum and Museum of Modern Art Brooklyn. He has been displayed at the Nihon Dento Kogei Ten and Nihon Togei Ten among many many others.

This is a most unique work, a faceted Kurinuki chawan carved and hollowed out from a solid block of clay by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Shinogi Chawan. Shinogi is a term referring to a blade, and is the artist’s term for pieces from which he has cut away the surface. In this case, he carved and formed the outside from a single lump of clay, cutting away to reveal the form. Then he hollowed out the inside, making the interior slightly fluted to make it even lighter and easy to handle. Then the foot was carved away. The entire is a most unique sensory experience. Close your eyes when you rotate the bowl in the palm of your hand before drinking the tea and enjoy the feeling of the ash blasted and ribbed earth. It is 11 cm (4 plus inches) diameter 9 cm (3-3/4 inches) diameter and in excellent condition, directly from the artist.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.

A sculptural form covered in iconic Iga Kiln effects by Toyosaki Nobuhiko of the Korin-kiln in Mie prefecture enclosed in the original signed wooden box. On the convex shoulder, green glass pools crystalline, while a smattering of goma (sesame) ash clings to the bulbous side, gray charring and plenty of flying ash to fill in the blanks. It is 25 cm (10 inches) tall and in excellent condition.
Born in 1955, he graduated Kyoto’s Ritsumeikan University department of Science and Engineering in 1980 before enrolling in the Seto Ceramic Research Facility. In 1982 he moved to Toki City where he apprenticed under the Iga master Kishimoto Kennin. In 1988 he returned to his hometown, establishing his own kiln that same year. He has remained focused on private venues and the intimacy of the private exhibition.

A small powerful work in clear glass covered in spiraling silver foil with a lid of opaque black by Ogawa Kaoru enclosed in the original signed wooden box titled Ruri Koro. The piece is supported on three feet which seem to drip like black honey from the bottom while the same black crowns the six-sided form, rising in flutes to the finial. It is 13 cm (just over 5 inches) tall and in excellent condition.
Okawa Kaoru was born in Niigata in 1940 and graduated the design department of prestigious Tokyo Musashino Art School in 1964. A pioneering glass artist, works were exhibited in Europe and throughout Japan in the 1980s and 90s, receiving top prize at the first Tohoku Glass Art Exhibition in 1990 and again Top Prize at the 1st National Glass Art Exhibition in 1991. The artis then took a position as head of design for Hokuyo Glass in Aomori, famous for Tsugaru Vidoro Glass.

A wine glass with design of undulating colored ribbons in colored lacquer, gold and mother of pearl designed by Okada Yuji at his Shiun studio enclosed in the original signed wooden box. It is roughly 8 cm (3-1/4 inches) diameter, 21 cm (8-1/4 inches) tall and in perfect condition.
This is not dishwasher safe

An incredibly elegant form by Ikegami Eichi enclosed in the original signed wooden box titled Seiji HIsago Kaki (Gourd Shaped vessel). It is 30.5 cm (12 inches) tall and in excellent condition.
Ikegami Eichi was born in Kanazawa City, home of Kutani porcelain, in 1931, and during his time at the Kanazawa University of Art he submitted sculptures and was awarded at the Hokuriku Art Exhibitoin and Ishikawa Modern Art Exhibitions, graduating university in 1953. From 1954 to 1965 he submitted pottery works and was awarded several times at the Ishikawa Prefectural Modern Art Exhibition as well as the Toyama Prefectural Art Exhibition, his work being purchased by Toyama prefecture. In 1958 he was accepted into the Kofukai Exhibition. From 1963-1968 he exhibited with the Asahi Togeiten, and in 1967 joined the Nippu-kai. In 1970 he established in kiln in Kosugi, home of the ancient but nearly forgotten Kosugi-yaki pottery tradition. The same year he was awarded at the Nippukai Exhibition. Since his list of exhibitions and awards is lengthy to say the least, and his work with Kosugi ware has been much lauded. In 1996 he received the Arts and Culture Merit Award from the Toyama Prefectural Board of Education, and in 2001 the Toyama Prefectural Award of Merit, and in 2005 was recognized for his life dedication with the Cultural Award from Toyama Shimbun. The second generation head of his kiln is his daughter Mieko.

Ripples cover the archaic surface of this flattened vessel by Sakata Jinnai enclosed in the original signed wooden box titled Hakudeisai Hajomon Henko (White Clay Wave Patterned Henko) It is 11 x 23 x 32 cm (4 x 9 x 13 inches) and is in excellent condition.
Sakata Jinnai was born in Tokyo in 1943, and began as an apprentice under the legendary Kamoda Shoji in 1964, establishing his first kiln in 1966. His work was selected for display at the Nihon Dento Kogei Shinsaku Ten (National Traditional New Crafts Exhibition) in 1969, and the following year the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition). In 1971 his work could be seen at the first Nihon Togeiten National Ceramics Exhibition. This event would tour the United States and Canada as well. Two years later he would be seen there again, and this time the show would tour South America. In 1977 he would move away from the competitive world of mass exhibitions and focus more on private galleries. He was the first artist selected for display at the newly opened Takashimaya Gallery in New York in 1993. Work by him is held in the collection of the British Museum, Rockefeller Foundation, Sakuma Museum, Waseda Universty Museum, as well as some of Japans holiest sites such as Ise Shrine, Izumo Shrine, Takachiho Shrine, Yakushiji in Nara and both Kodaiji and Enryakuji Temples in Kyoto. Not limited to clay, he also works in painting, Washi hand made paper (from 1995), and glass (from 2000).

This is the earliest piece in our current exhibition highlighting the work of Masatomo Toi. A bit more aggressive and grungy than the growingly refined works he is creating today. This is like studded leather over a sex pistols T-shirt, and reflects the angst and aggressiveness of the artist when we first met him as a student at the ceramics research facility in Gifu. It is roughly 25 cm (10 inches) tall and in perfect condition. There is a rough edge to one of the pools of glaze at the foot, where it had adhered to the kiln floor, and had to be forcibly removed. It comes directly from the artist with a signed and titled wooden box as well as an exhibition catalog.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future.

A playful Oribe style basin for Bonsai trees by Sugitani Keizo refecting the shapes of his Silent Shadows Series in the design. It is 19 x 19 x 6.5 cm (just less than 8 inches square) and is in excellent condition, directly from the artist. A signed wooden box will be ordered from Keizo upon sale.
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.

A charred sake flask turned on a wheel then paddled flat by Isezaki Jun enclosed in the original signed wooden box titled Bizen Tokkuri. It is 12 cm (5 inches) tall and in excellent condition.
Isezaki Jun was born the second son to the prominent Bizen family of Isezaki Yozan. With his older brother Mitsuru he studied the plastic arts under the fierce tutelage of his father. He has displayed consistently at the Nihon Dento Kogei Ten (National Japanese Crafts Exhibition) since 1961 and was recipient of the coveted Kaneshige Toyo prize. It was Jun who took up the work of Kaneshige Toyo upon his death, continuing to revitalize and innovate, combining functional forms and modern sculptural shapes. He was the teacher of a host of important artists including Kakurezaki Ryuichi, Wakimoto Hiroyuki and American artists Donna Gilliss among dozens of others. He was named a Living National Treasure (Juyo Mukei Bunkazai or Intangible cultural property) in 2004.

A small celadon box by in the shape of an elephane by Akiyama Yo enclosed in the original signed wooden box titled Zo Kogo. Kogo are used to carry Shaped Incense. It is 2 x 2-1/2 x 2-1/2 inches (6 x 5 x 6.5 cm) and is in excellent condition.
Akiyama Yo was born in Yamaguchi, home of Hagi pottery) in 1953, but went to Kyoto to study at the Kyoto Municipal University of Arts in 1976. He has an impressive list of exhibitions both domestic and abroad. He was recipient of the prestigious JCS (Japan Ceramics Society) award in 1996 as well as the coveted Tanabe Art Museum Contemporary Forms in Tea Prize in 2006 among many others. Work by him is held in the Victoria Albert Museum, Museum of Fine Arts in Boston, Minneapolis Institute of Art, National Museum of Modern Art and Municipal Museum of Modern Art in Kyoto, Portland Museum, Museum of Modern Art in Shiga, Houston Museum of Fine Arts and the Art Gallery of South Australia among many others..

One of three vessels by avant garde potter Kumakura Junkichi enclosed respectively in their original signed wooden boxes. First an industrial shaped box in green measuring 7 x 5-1/2 x 6-1/2 inches. Second a bowl in namako glaze, 9 inches (23 cm) diameter. Last a Tsubo in green measuring 6-1/2 x 4-1/2 x 8-1/4 inches (16 x 11 x 21 cm). All are in excellent condition.
Junkichi (1920-1985) began working in ceramics in the 1940s, his works submitted to innumerable National and International Exhibitions including the Japan Art Festival, New York and the international Arts and Crafts Exhibition in Florence Italy. He also submitted to the Brussels World Exposition and helped design murals for the World Exposition Osaka. At the International Ceramics Exhibition, Prague in 1962 he took a silver prize. He was also often exhibited and is in the permanent collection of the Japanese National Museum of Modern Art as well as the National Museum of Modern Art, Kyoto. Along with Suzuki Osamu, Hikaru Yamada and Yagi Kazuo, Junkichi was one of the founding members of the influential Sodeisha (Crawling Through Mud Association), a group of revolutionary post war ceramic artists whose influence remains strong today.

A Tenmoku Hanging vase by the living master of that genre, Kimura Morikazu, enclosed in the original signed wooden box titled Tetsuyu Kohen Kake-hana-ike. The lozenge form features two lug handles in the shape of a traditional Waniguchi Japanese Shrine Gong. It is 7-1/2 x 6-1/2 x 2 inches (19 x 16.5 x 5.5 cm) nd in excellent condition, retaining the original shiori and wrapping cloth.
Kimura Morikazu was born to the house of a Kyo-yaki potter and studied under Ishiguro Munemaru, He established his first kiln in the Gojo Zaka area of Kyoto in 1947, moving to Fukui in 1976. He is held in the collection of both the Kyoto National Museum of Modern Art and the Imperial Household Agency. He has been displayed at innumerable private exhibitions in addition to major exhibitions such as the Nitten, Nihon Dento Kogeiten(National Traditional Crafts Exhibition) and Nihon Togei Ten (National Ceramics Exhibition) among others. Winner of the Japan Ceramics Society (JCS) award, purchased by the Ministry of Foreign affairs. Morikazu has been incredibly influential on the subsequent generation of potters.

Ash forms enigmatic shapes on this exquisite cocoon shaped wall vase by Yamada Jozan IV enclosed in the original signed wooden box. It is 8 cm (3 inches) diameter, 6 inches(16 cm) tall and in excellent condition.
Yamada Jozan IV was born into the house of third generation Living National Treasure Yamada Minoru in 1954. He graduated the Tokoname High Ceramics Course in 1973, before entering Osaka University of art. Disappointed with the university scene he left to work under his father, creating a climbing kiln, whereupon he began working with various forms, not only the famous teapots forwhich his family was known, but also ash glazed ware such as this piece. He succeeded the family name of Jozan in 2006 upon the death of his father.

A life-size feminine image of a toilet slipper by Satonaka Hideto in light colored clay covered with Irabo glaze enclosed in the original signed wooden box titled simply Sakuhin and dating circa 1975. It is just over 9 inches (23.5 cm) long and in excellent condition. From the 1950s to the 1970s there was a deep interest in an earthy convention by young ceramic artists called Tsuchi no Aji (Taste of the earth), and this Irabo glaze may have been one of the most popular extensions of that aesthetic. Tsuchi no Aji is defined as "the beautiful complexion of bare fired earth" in the manner of several types of ancient Japanese pottery traditions and practiced anew by contemporary Japanese potters in the postwar period who admired it as a "natural feeling for the oneness of clay and kiln." Experiments with earth flavor in the sculptural ceramics of the Sōdeisha group ranged from forms suggesting live organisms to clay works that protested the industrial pollution of the earth.
Satonaka Hideto (1932-1989) was born in Nagoya and graduated advanced studies at the prestigious Tokyo Kyoiku University Arts Department in 1956, then went on to study under Miyanohara Ken, exhibiting his first ceramic sculpture with the Totokai in 1961, and garnering the Itaya Hazan Prize for it. Throughout the ‘60s he would exhibit there earning several awards as well as at the Sankikai. From 1970 he moved to the circle of Yagi Kazuo, and would fall under the umbrella of Sodeisha. Two of his works would be selected and awarded for the first Nihon Togeiten National Ceramics Exhibition in 1971. The following year he would be awarded at the Faenza International Ceramics Exhibition. He would leave Sodeisha after the death of his mentor in 1979. He would participate in the Valauris International Ceramic Biennale among many other overseas extravaganzas. While working as a professor at the Bunkyo University Art Department hi life ended suddenly in an automobile accident in 1989. Six works by him are held in both the National Museums of Modern Art in Tokyo and Kyoto

Fujiuchi Saeko enclosed in the original signed wooden box titled Usuhanada Kanyu Chawan. Usuhanada is a traditional Japanese color in the blue tone. Kanyu is glaze crackling. This bowl is 13.5 x 14.5 x 7.5 cm (5-1/4 x 5-3/4 x 3 inches) and is in excellent condition, from the artist late 2020.
Fujiuchi Saeko wsa born in Shiga prefecture (home of Shigaraki) in 1983 but chose to study in the Okayama Prefectureal University (Okayama being the home of Bizen) graduating in 2006. She went on to advanced studies at the Tajimi Isshoken Ceramics Research Facility (Home of Shino and Oribe wares), graduating there in 2012. This has given her exposure to a smorgasbord of various traditional styles and influences. She was awarded last year at the Arita International Ceramics Festival.

A large deep bowl decorated in abstract underglaze blue imagery by Shibata Ryozo enclosed in the original signed wooden box titled Sometsuke Hachi and dating cica 1995. It is 28 cm (11 inches) diameter, 14 cm (5-1/2 inches) deep and in excellent condition.
Shibata Ryozo (b. 1952) completed advanced studies at the Kyoto Municipal University of Arts in 1978 (his work was purchased by the university the previous year for its permanent collection). In 1993 he first exhibited with the Nihon Dento Kogei Ten National Traditional Crafts Association, and in 94 was awarded at the Izushi Porcelain Trienial in Hyogo. After that he concentrated more on the Kansai area, and has been awarded at the Kyoto Bijutsu Kogeiten (97), Kyoto Kogei Bijutsu Sakka Kyokai Ten (98), Seto Sometsuke Exhibition (99) and Osaka Crafts Exhibition on multiple occasions. He has been a guest speaker at the University of Michigan in 2005, and artist in residence in Campbell Australia in 2006. Just this year his work was selected for exhibition in Boston at the Society of Arts and Crafts. In 2014 his work was collected by the Imperial household agency, and he is held in the collections of Kyoto City and Toyooka City Museums among others.

A deep tsutsu chawan by Omori Kenji in matte charcoal outside, soft, running pink within enclosed in the original signed wooden box titled Yakishime Chawan. It is 10.5 cm (4 inches) diameter, 9-9.5 cm (3-1/2 -3-3/4 inhces) tall. As it does not have a foot ring, it is decidedly deep, perfect for a cold winter day, and the warm colors inside, combined with the steaming green tea, would be fabulous.
Omori Kenji was born in Saitama prefecture in 1982 In 2005 he graduated the Tokyo Zokei Daigaku Garden Design department, and followed up with two years at the Tajimi Technical institute Isshoken. He currently lives and works in Tajimi, concentrating on private exhibitions as his venue.

Today I would like to introduce another talented potter living outside of the traditional potting centers. This is a beautiful Nezumi Shino (Gray Shino) chawan by Sagae Eimei, and comes enclosed in the original signed wooden box. This has an immediacy which speaks of our era, yet is based firmly in the pottery of the Momoyama period. It is 12.5 cm (5 inches) diameter, 9.5 cm (3 inches) tall and in excellent condition.
Sagae Eimei was born in Yamagata prefecture in 1949. Upon graduation from high school, he moved immediately to Gifu, where he studied Mino ware under Kato Kobei and future living National Treasure Kato Kozo. In 1970 he went to Africa for two years, before establishing his first kiln in the Hachioji district of rural Tokyo. In 1975 he moved to Shizuoka, and from there specialized in Shino ware for half a century, working to the revival of Momoyama era tea ware.

A fabulous image in blue of a wide shouldered beast by Shigemori Yoko enclosed in a signed wooden box titled simply Dobutsu (animal). The clay is rolled and folded, attached and glazed in blue prior to bisk-firing. Due to this unusual method, the blue seems to permeate out of the clay, not into it. This style was a particular staple of the work of Shigemori after 2000 and the animal series came after her early abstract sculptures, and prior to her three-dimensional landscapes. The creature is roughly 17 x 17 x 8 cm (6-1/2 x 6-1/2 x 3-1/2 inches). It comes enclosed in a box annotated by her brother Naoki.
. Shigemori Yoko (1953-2021) was born in Kagoshima. Yoko came to Kyoto where she initially studied painting at the Kyoto Tankidai Art College, then moved to ceramics at the Kyoto Municipal Art University where she studied traditional pottery techniques under Kondo Yutaka before entering advanced courses under Yagi Kazuo, graduating in 1979. Her first solo exhibitions were held while still a student, at Gallery Iteza in Kyoto. She eschewed the world of competitive exhibitions in favor of the intimacy of private galleries, and her list of solo exhibitions is expansive. She received the Yagi Kazuo prize in 1986 and 1988 at the Nihon Gendai Togeiten. She was one of five artists featured in Toh, volume 76, The first issue dedicated to Kyoto Potters. Toh was at the time the most in depth survey of important contemporary potters published in 1993. Her work is held in the collection of the Victoria and Albert Museum in London.

A bowl deeply impressed with Jomon rope designs by Living National Treasure Shimaoka Tasuzo enclosed in the original signed wooden box. It is 7.5 (3 inches) tall, 13.5 cm (5-1/4 inches) diameter.
Shimaoka Tatsuzo (1919-2007) was born in Tokyo and enrolled in the Tokyo Kogei Daigaku Ceramics division in 1939. The following year he would meet Mashiko Mingei potter Hamada Shoji, and the course of his life was thought set, graduating in 1941. However he was drafted in 1942, and sent to Burma where he would remain until repatriation after the cessation of hostilities. In 1946 Tatsuzo apprenticed under Hamada who encouraged him to find his own voice, which he did when in 1950 took part in research into ancient Jomon potteries with Shirasaki Shunji, which would have a profound influence on his style. Working with Jomon rope patterns, Tatsuzo set out to create a style unique to himself, establishing his own kiln in 1954. Widely exhibited, awarded and influential in his lifetime, he received the Japan Ceramic Society Gold award in 1994, one of the highest honors for a Japanese ceramic artist, and was designated a Living National Treasure (Juyo Mukei Bunkazai or Ningenkokuho) in 1996 culminating with receiving the Order of the Rising Sun in 1999.

It's Alive! Metal staples hold together this Frankenstein vessel in elegant white with patches of glimmering gold and platinum by Masatomo Toi enclosed in an artist signed wooden box. The rough looking sutures contrast wtih the white porcelain with its transparent skin. The vase is just less than 30 cm (12 inches) tall and in perfect condition, directly from the artist.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea, and these bowls are his first unadorned venture into the tea world (although we will also offer a few striking horned chawan as well). His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future.

A small flaring sake cup by Fukami Sueharu enclosed in the original signed wooden box titled Seihakuji Guinomi. It is 7.7 cm (3 inches) diameter and in perfect condition.
Fukami Sueharu is synonymous with seihakuji celadon. He has been displayed numerous times at the prestigious Nitten, Nihon Togei Ten (National Japanese Ceramic Exhibition) and Nihon Gendai Kogei Ten (National Japanese Modern Crafts Exhibition) among others. He is held in the Yale University Museum among others. For more information on this artist a quick web-search, or a look at the article highlighting his life in the March 2005 edition of Orientations Magazine will be enlightening. The list of museums holding his work is, in fact, much to long for this page, but includes the National Museums of Modern Art, Tokyo /Kyoto / and Osaka, the Metropolitan Museum of Art, NY, Brooklyn Museum, Museum of Fine Arts, Boston, Philadelphia St. Louis, Portland, Chicago, Minneapolis, Smithsonian, British Museum, Victoria & Albert Museum, Musée national de céramique, Sèvres, Musée des arts décoratifs, Paris, Hetjens Museum, Düsseldorf and the National Gallery of Australia among many others

A deep wan-gata bowl swept with swirling Zen brush-strokes over earthen glaze by veteran female artist Shigemori Yoko enclosed ina wooden box titled O-Chawan (Big Tea Bowl). It is 13.5 cm (5-1/4 inches) diameter, 9.5 cm (just less than 4 inches) tall and in perfect condition, directly from the artist’ family and comes enclosed in a wooden box annotated by her nephew.
Shigemori Yoko (1953-2021) was born in Kagoshima. Yoko came to Kyoto where she initially studied painting at the Kyoto Tankidai Art College, then moved to ceramics at the Kyoto Municipal Art University where she studied traditional pottery techniques under Kondo Yutaka before entering advanced courses under avant-garde Yagi Kazuo, graduating in 1979. Her first solo exhibitions were held while still a student at Gallery Iteza in Kyoto. She eschewed the world of competitive exhibitions in favor of the intimacy of private galleries, and her list of solo exhibitions is expansive. She received the Yagi Kazuo prize in 1986 and 1988 at the Nihon Gendai Togeiten National Modern Ceramics Exhibition. She was one of five artists featured in Toh, volume 76, the first issue dedicated to Kyoto potters. Toh was, at the time

A large white Tea Bowl by Kashima Aya enclosed in the original signed wooden box. The technique is deceptively complex. In fact, the initial form is created, then a thin layer of ceramic is made separately, dried, then cracked, and the individual pieces are applied like mosaic to the prepared form. The space in between the tiles is then abraded, the tiles glazed with color and the space n between glazed with iron. Each piece requires a great amount of painstaking dedication to complete. It is 13.5 cm (5-1/4 inches) diameter, 9.5 cm (just under 4 inches) tall and in excellent condition, directly from the artist. Kashima Aya was born in Kanagawa prefecture in 1987. She graduated the Tokyo Kasei Gakuin University, Department of Arts and Culture in 2010. She graduated the Tajimi City Ceramic Design Institute Design Course in 2020, with an additional two years in their advanced Ceramic Lab, graduating in 2022. During this time, she took part in many group exhibitions. She received Nyusen status at the 55th Women's Association of Ceramic Artists (WACA) Exhibition in 2021. In 2023 her work was selected for presentation at the “Ceramic Synergy Exhibition” held at the Kyoto Kyocera Museum of Art.

A large Namako Glazed Tea Bowl by Kashima Aya enclosed in the original signed wooden box. The technique is deceptively complex. In fact, the initial form is created, then a thin layer of ceramic is made separately, dried, then cracked, and the individual pieces are applied like mosaic to the prepared form. The space in between the tiles is then abraded, the tiles glazed with color and the space n between glazed with iron. Each piece requires a great amount of painstaking dedication to complete. It is 13.5 cm (5-1/4 inches) diameter, 9.5 cm (just under 4 inches) tall and in excellent condition, directly from the artist.
Kashima Aya was born in Kanagawa prefecture in 1987. She graduated the Tokyo Kasei Gakuin University, Department of Arts and Culture in 2010. She graduated the Tajimi City Ceramic Design Institute Design Course in 2020, with an additional two years in their advanced Ceramic Lab, graduating in 2022. During this time, she took part in many group exhibitions. She received Nyusen status at the 55th Women's Association of Ceramic Artists (WACA) Exhibition in 2021. In 2023 her work was selected for presentation at the “Ceramic Synergy Exhibition” held at the Kyoto Kyocera Museum of Art.

A fabulous Kutsugata Chawan by Matsuo Takaaki enclosed in the original signed wooden box titled Shigarai Shizen-yu Yohen Chawan. Rising from a round base to an elongated rim, it has been blasted by the inferno on one side, the molten ash circling about to form a Zen circle where it had been supported on its side in the kiln. At the narrowest part of the rim it has adhered to something else in the kiln, causing a break which has been filled with gold by the artist. In addition gold completes the Zen circle on the side, and glimmers like morning dew on the foot. A true masterpiece by this veteran artist. It is 14.5 x10.5 cm (5-1/2 x 4-1/8 inches) at the rim, 8.5cm(3-1/2 inches) tall and in excellent condition.
Matsuo Takaaki was born in Yokohama in 1938. He began studies under Tsuji Seimei at Renkoji in 1960 where he trained for over 15 years. He became independent in 1975 and built a climbing kiln in Tama. Since he has been exhibited with the Issuikai but mainly focuses on the intimacy of private exhibitions.

Liquid Green ash seems to overflow the rim of this heavily potted Iga vase by Iga star Kojima Kenji enclosed in the original signed wooden box titled Iga Mimitsuki Hanaire. The term Mimi refers to ears, usually a pair of lug like handles opposing each other on a pot. Here the ears have been elongated, more like lobes of some ancient sage, and become one with the wide flange of the base. Otherwise the mouth is modulating, the body cut and whacked with random symbols and pallet scars. It is 29.5 cm (11-3/4 inches) tall and in excellent condition.
Kojima Kenji was born in Aichi Prefecture in 1953 and graduated from the Tokoname Ceramic Vocational High School in 1971. In 1973 he spent a year in Iga before moving to Bizen for a five year apprenticeship with Konishi Tozo. He returned to Iga in 1979 and built an anagama. He has exhibited with the Nihon Togeiten National Ceramic Exhibition, Asahi Togeiten Ceramic Art Exhibition and Chunichi International Ceramic Exhibition as well as an impressive list of solo exhibitions in some of Japan’s top galleries.

A Guinomi and Tokkuri by Murakoshi Takuma enclosed in their respective original signed wooden boxes complete with Shiori and Shifuku. The deep well shaped cup rises vertically from the flat base, a dollop of hand crushed foamy feldspar glaze (this one he makes himself) clinging to the rim. The bottle is tall with a smattering of the same yellow green ash on one side, the opposite marked with distinct red hi-iro flame color. The Tokkuri is 16.5 cm (6-1/2 inches) tall, the cup 7.5 cm (3 inches) diameter and both are in new condition.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

A riot of spring flowers in minute detail covers this dainty tea cup by Kawada Satomi enclosed in the original wooden box titled Hanazukushi-wan, and signed Kutani Satomi. The cup is 7.5 cm (3 inches) diameter, 6.5 cm (2-1/2 inches) tall and is in excellent condition. There are two types of Kutani overglazes, one like watercolor, opaque and vivid, the other like translucent glass. During the Meiji period when massive western demand brought about a thriving export market, the former was popular. However, in the later 20th century and more recently artists have been drawn to the latter. Like her mentor Nakamura Toshito, Kawada Satomi picks up where the Meiji tradition left off, but with a much more modern sensibility. Her work is delicate, extravagant, and peppered with unusual tones of blue and lavender. She graduated the Nagoya Design Institute in 1998, working as an illustrator. She enrolled at the Ishikawa Prefectural Kutani Research Facility, graduating in 2005, and entered the Nihon Kogeikai and followed with an apprenticeship under Nakamura Toshito. She was designated a Traditional Craftsperson in 2017.