Catalog (1094)

A small wall hanging in Togidashi maki-e surrounded by a checkerboard pattern of polished Suzu-ita metal squares by Okada Yuji dating from the mid 1970s. The Togidashi technique requires the artist to create a design in Maki-e, then cover the design entirely in a layer of lacquer, polishing the lacquer through to reveal the image below. A labor intensive and time-consuming practice. In addition to this Yuji has here then applied variously polished panels of metal to the panel creating a stark contrast between the matt metal surfaces and the highly reflective lacquer. Finally he has inlayed Mother of Pearl disks into the surface. The panel is 41 x 31.5 cm (16 x 12-1/2 inches) and is in excellent condition.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

Like the layered hills of Kyoto at twilight, this vase is of Kanshitsu dry lacquer body with layers of colored Urushi by Okada Yuji enclosed in the original signed wooden box. It is 31 cm (just more than 12 inches) tall and in perfect condition.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A 7 tiered pagoda like Tower in red and black lacquer by Okada Yuji exhibited at the 13th Nitten National exhibition in 1981 titled Hokuto no Shirushi (Guide to the North Star). It is made of wood cores around a metal box, each “wing” covered in alternating layers of red and black with sheet suzu metal edging. On top is an acrylic panel engraved with a target finder-like symbol (guiding us North). It is roughly 60 cm (2 feet) square, 38 cm (15 inches) tall and in excellent condition.
Due to size the cost of shipping will be acrued separately
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A wave like form seemingly cut from stone decorated with a river of black lacquer in which flows inlayed mother of pearl and Suzuita metal strips by Okada Yuji exhibited at the 32nd National Modern Crafts Exhibition in 1993. An exciting and striking work sure to inspire conversation. It is 43 x 55 cm. The height is dependent upon how it is displayed (we currently have one side elevated to flow like a waterfall).
This defines the challenging spirit of the artist, always pushing the boundaries of his medium.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

Thick hirame polished gold disks glimmer on the surface of this peach-shaped container by Okada Yuji enclosed in the original signed wooden box titled Toju. The peak is tinged pink, while a green leaves embedded with kiri-gane gold wrapping up the sides. A striking work of kanshitsu (dried lacquer art) from the pinnacle of the artists career. It is 7.5 cm (3 inches) tall, the same diameter and is in excellent condition.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

Geometric designs in glimmering Raden (abalone shell) cross the surface of this intricate box by Okada Yuji enclosed in the original signed wooden box titled Youko. Inside gold nashiji glistens on the mirror black surface. It is 15 x 15 x 11 cm (6 x 6 x 4-1/2 inches) and is in excellent condition, directly from the artist.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A spectacular Shino Vase in deep Murasaki, and white by Tamaoki Yasuo enclosed in the original signed wooden box titled Shino Tsubo. It is 14-3/4 inches (39 cm) tall, roughly 26 cm (10-1/2 inches) diameter and in excellent condition.
Tamaoki Yasuo was born in Tajimi in 1941, one of the homes of Mino ware. He began his path to professional ceramicist at the Tajimi Industrial High School, and a stint at the Gifu Ceramics Research institute, where he followed the footsteps of a number of modern ceramic artists such as Hamada Shoji and Kawai Kanjiro, who also began their careers in the same manner. He then apprenticed under Kato Kohei before establishing his own kiln. Since, his list of exhibitions and awards is too long to print, but include the Nihon Dento Kogei Ten (National Traditional Arts and Crafts Exhibition), Best of Show twice at the Tokai Dento Kogei Ten (Tokai Traditional Arts and Crafts Exhibition), as well as being prized at the Asahi Togei Ten (Asahi Ceramics Exhibition), and receiving the prestigious Japan Ceramics Society Award. In 1991 he was named an intangible cultural asset of Tajimi city

Everything we could expect from this innovative artist, striking color combination and gleaming gold by Ichikawa Toru enclosed in the original signed wooden box titled simply Mizusashi. It is 20 cm (8 inches) diameter, 15.5 cm (6 inches) tall and in perfect condition.
Ichikawa Toru was born in Tokyo in 1973. In 2015 he established his current studio in Bizen after 4 years of apprenticeship under another Bizen Outsider, Kakurezaki Ryuichi. He has since developed quite a following, with his shows selling out often within hours.

A radical split vessel covered in tarnished silver with glints of gold and cascading green by Ichikawa Toru enclosed in the original signed wooden box titled simply Kaki (Flower Receptacle). It is 31.5 cm (12-1/2 inches) tall and in perfect condition.
Ichikawa Toru was born in Tokyo in 1973. In 2015 he established his current studio in Bizen after 4 years of apprenticeship under another Bizen Outsider, Kakurezaki Ryuichi. He has since developed quite a following, with his shows selling out often within hours.

A voluminous Chawan Tea bowl by Sawada Hayato enclosed in the original signed wooden box titled Kakusai Chawan. The hand built angular form is slip glazed with black clay inlayed creating paleolithic pattens tinged with red. It is roughly 15 cm (6 inches) wide, 9.5 cm (just under 4 inches) tall and in new condition. Sawada Hayato was born in Kasama City, Ibaraki Prefecture in 1978, and graduated Ryutsu Keizai University in 2000, going on to further study at the Tokyo University of Social Welfare from which he graduated in 2004. The following year he was selected for the 52nd Japan Traditional Craft Exhibition where he would be awarded in 2012 the Japan Kōgei Association Award. In 2013 he was awarded at the Kikuchi Biennale. Since his work has been shown in Shanghai, Europe, London and the United States. His work is held in the colletions of the Ibaraki Ceramic Art Museum, Crocker Art Museum, and Cincinnati Art Museum.

Kishimoto Kennin at his best, deep in the clay of Iga, a slightly misshapen vase covered in a splash of ash glaze and dark charring, one side flattened down like a beret, a single drip of crystalline jade clinging to the rim. The vase is 29 cm (just under 12 inches) tall and in perfect condition, enclosed in the original signed wooden box.
Kishimoto Kennin has been working with clay since the 1950s, devouring styles along the way. Shino, Seto, Oribe, Iga and Celadon, all very different approaches which he masters one at a time, extending his unique view of the arts to new realms, and moving on to the next challenge when his appetite and personal genius has been satiated. He was exhibited and prized at the National Japanese Crafts Exhibition (Nihon Dento Kogei Ten), National Ceramics Exhibition (Nihon Togei Ten), Chunichi International Ceramics Exhibition (Chunichi Kokusai Togei Ten) and Asahi Togei Ten among others, and is held in several important international collections. His Iga work is particularly remembered.

A fabulous large Mizusashi with a rugged, natural shape covered in cool blue and gray dusted with lavender by Hagi icon Kaneta Masanao enclosed in the original signed wooden box titled Hagi Yohen Kurinuki Mizusashi. It is roughly 23 x 21 x 22 cm (roughly a 9 inch cube) and is 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.

An elegant celadon receptacle with custom made black lacquered lid by important female potter Suwa Sozan II titled Seiji Mizusashi and enclosed in a wooden box annotated by the third generation head of the family. The Taru shape (a traditional bound shallow wood bucket) is surmounted at the rim with lily pads upon which rests a tiny frog. In the center of the base is her circular stamp. It is 24 cm (9-1/2 inches) diameter, 12 cm (5 inches) tall and in excellent condition.
Suwa Sozan (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio. His name became synonymous with celadon and refined porcelain. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others. Sozan Torako (Suwa Sozan II 1890–1977) was born in Kanazawa in 1890, and was soon adopted by her uncle, Suwa Sozan I. Her ceramics resemble those of Sozan I, but are considered to be more graceful and feminine. Torako assumed the family name upon her uncles death in 1922. She is held in the collection of the Imperial Household Agency among others.

An iconic bowl flaring out in pure celadon by Fukami Sueharu enclosed in the original signed wooden box titled simply Hachi (here he is using a play on sound, as he uses the Kanji character for eight pronounced Hachi in place of the character for bowl with the same reading). It is 22 cm (8-1/2 inches) diameter and in excellent 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 large basin by legendary female porcelain artist Ono Hakuko, raw white porcelain decorated with golden flowers enclosed in the original signed wooden box titled Kinrande Tsubaki Mon Hachi. It is 25 cm (10 inches) diameter, 11 cm (just more than 4 inches) tall an 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)

A striking sake set by Okushima Keiji consisting of a glass Tokkuri embedded and a glass Guinomi sake cup mixed with porcelain and lacquered inside with silver leaf, each enclosed in their original signed wooden boxes. When I first saw his work, although made of glass, I had the impression that it was made by a potter, and Keiji attempts to bridge these mediums, with the addition of lacquer and gold/silver leaf, applied, baked, charred, to create art works never before seen. The Tokkuri is 15 cm (5-3/4 inches) tall, the cup 7 cm (3 inches) diameter and both are in perfect condition, directly from the artist.
Okushima Keiji was born in Kyoto in 1977, and raised in rural Shiga prefecture just over the mountains from his birthplace. In 2000 he graduated Ritsumeikan University, and entered the Toyama Garasu Zokei Kenkyusho Glass Research Facility, graduating there in 2002. After working in a glass studio for several years, he established his own studio in Shiga in 2010. Since he has focused on the world of private exhibitions as his preferred venue. That said, he has been accepted into the Glass Craft Triennale in 2010, the National Craft Exhibition (Nihon Kurafuto Ten) in 2011, and received the Iwata prize at the Tableware Taishoten in 2012. 2013 saw his work in display in the Lansing At Gallery (US) and in Korea where he would be seen again in 2014 and 2015. From 2016 to 2019 his list of exhibitions is impressive, including exhibitions throughout Japan as well as New York and Korea. Like many artists, he is now recovering from that three year blank left in all our lives by COVID.

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 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.