Catalog (1092)

A bold set of six contemporary White Bizen Beer Mugs, each entirely unique with slightly different hada by Kitano Katsuhiko enclosed in the original signed wooden box. Over the pale, sheer clay deposits of ash glaze, goma kasu and hi-iro scorching combine with smoky black staining for a very unique experience. Each cup is roughly 4-1/2 inches (11.5 cm) tall, 3 inches (7.5 cm) diameter and all are in perfect condition.
After graduating Nihon Daigaku (University of Japan) Katsuhiko worked (like many before him including Hamada Shoji and Kawai Kanjiro) at the Kyoto Ceramics Research Facility. After establishing his own atelier, the artist has been displayed at the Nihon Dento Togei Ten (National Traditional Ceramics Exhibition) Nihon Togei Ten (National Ceramics Exhibition) Chunichi Kokusai Togei Ten as well as the Nihon Bijutsu Kogei Ten where he received the Kogei Daisho prize.

I have long wanted to offer a significant piece by this artist, and here is a spectacular Nezumi Shino pair of vases by Wakao Toshisada enclosed in the original signed wooden box. Red tinged white waves boil over the Nezumi-gray arc of the base, a white waxing moon floating above. They measure 9 x 3-1/2 x 12-1/2 and 8-1/2 x 3-1/2 x 10-1/2 inches (23 x 9 x 32 cm and 21.5 x 9 x 27 cm) respectively and are in perfect condition.
Toshisada was born in Tajimi, Gifu prefecture, home of Mino pottery, in 1933. He was first recognized at the New Crafts exhibition of 1960, the same year he was first exhibited at the Central Japan Art Exhibition. Three years laer he made his debut at the Asahi Ceramics Exhibition, following in 1965 with the National Traditional Crafts Exhibition. In 1971 he first exhibited with the Nihon Togeiten (All Japan Ceramics Exhibition) and was awarded the following year the New Mino Artists Prize, gathering acclaim as a leader in the field. After many domestic and International exhibits, he was awarded the Kato Kohei prize in 1986. and was recipient of the prestigious Japan Ceramics Society (JCS) Award in 1989. He was named an intangible cultural asset of Tajimi city in 1995, and of Gifu Prefecture in 2003, and works by the artist are held in the Museum of Modern Art Tokyo, V&A, Freer Gallery and Sackler among many others.

Yuteki black slips down over the pourous, crackled white of this bold work by Taniguchi Ryozo enclosed in the original signed wooden box. It is 8-1/2 inches (21.5 cm) tall and in excellent condition. The box is darkened with age.
Ryozo (1926-1996) studied initially under Kiyomizu Rokubei VI. He was first accepted into the Japan Academy of Arts exhibition in 1948, and subsequently into the Nitten National exhibition in 1951 and exhibited there often after, receiving many prizes including the Hokuto-sho, Prime Ministers Prize and Kiku-ka-sho as well as serving as a jury member. In 1956 he was awarded at the Modern Ceramic Art Exhibition, and five years later was recipient of the prestigious Japan Ceramics Society (JCS) Award (1961). Showing his prowess he was invited to exhibit at the National Museum of Modern Art Tokyo in 1964, and was invited to serve as a juror for the Kyoten that same year. From then his list of exhibitions and prizes is impressive and much too long to list in this add. He has also exhibited with the Modern Japanese Ceramics Exhibition as well as being awarded at the Modern Japanese Crafts Exhibition and the Kofukai, where he was awarded the Kofukai Members Prize (participating there from 1960). From the 1970s, other international and domestic exhibitions as well as a slew of private exhibitions at Japans top galleries. Works by the artist are held in the MOMAT, In 1989 he received the Kyoto Cultural award for his life works in the ceramics field.

An exquisite Nerikomi basin by Shiobara Yoshio enclosed in the original signed wooden box exhibited at the 9th Nihon Togeiten National Exhibition. Nerikomi is the technique of working with layers of variously colored clays. This basin measures 17 inches (43 cm) diameter, 6 inches (16 cm) tall and is in fine condition. The original exhibition tag remains on the base with a note stating it was purchased for 400,000 yen (currently about 5,000 dollars) at that time. The original exhibition catalog is also included.
Due to size the cost of shipping will be assessed separately from the list price.

A massive Bizen Charger with a large central spot like a sunflare by Kengo Masamune (b. 1954) enclosed in the original wooden box displayed at the 1987 Nihon Togei Ten IX (The Ninth Japan Ceramic Art Exhibition) and can be viewed as item number 169 in the catalog. It is huge at 21 inches (53 cm) in diameter, 3 inches (8 cm) tall. The exhibition label remains on the back of the dish and it comes with the exhibition catalog.
Kengo has been largely exhibited, including the Chunichi Kokusai Togei Ten, Nihon Dento Kogei Ten (Japanese Traditional Crafts Exhibition), Nihon Togei ten, Issui Kai Ten, and Okayama Ken Ten. Due to size the cost of shipping will be assessed separately from the list price.

A large Oshimon Kaki Vase by Ota Itaru enclosed in the original signed wooden box exhibited at the 9th Nihon Togei Ten National Exhibition. The entire surface is impressed with inverse pyramids, and patterned with dark and light triangles. An incredibly exacting design perfectly executed. The vase measures 16 inches (40 cm) tall, 11 inches (28 cm) diameter and is in fine condition. It comes with the original placard from the exhibition, as well as a copy of the exhibition catalog, and a clipping from the Mainichi Shinbun Newspaper in which the piece is visible in a photograph.
Born into the tumultuous post war era in 1948, Ota Itaru was subjected to the breakdown and rebuilding of Japanese society and culture throughout his early life. He graduated the Tokyo Institute of Technology in 1972, and opened his own kiln in 1975. He has since displayed at the Nihon Togeiten (National Ceramics Exhibition), Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), Dento Kogei Shinsaku Ten (Traditional Crafts New Exhibition) and has been awarded Governors prize at the Saitama Prefectural Exhibition. Due to size the cost of shipping will be assessed separately from the list price.

This piece is almost identical to the work submitted by the artist to the 7th Nihon Dento Kogei Ten in 1983 (featured as item number 116 in the catalog for that year) and indeed, shares the title Hi-iro In-mon Tsubo (Flame-Colored Stamp-Patterned Tsubo). It measures 34 cm (13-1/2 inches) diameter, 29.5 cm (12 inches) tall and is in excellent condition.
Kanzaki Muneaki (b 1949) is the fourth generation head of the traditional Mokusen Kiln in Koga, Shigaraki. His works have been exhibited at the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), Nihon Togeiten (National Ceramics Exhibition), Asahi Togeiten Asahi Ceramics Exhibition) and Chunichi Kokusai Togeiten (Chunichi International Exhibition) among many others.

A striking Bizen Chawan of mixed clay by young artist Yokoyama Naoki enclosed in the original signed wooden box. The mixed earth is pulled and twisted out of shape; one can sense the plasticity with your eyes. The stretched earth is burnt red where it has been licked by flame, yet remains pale from the shadows of the kiln. The bowl is just less than 5 inches (12 cm) diameter, 3-1/2 inches (8.5 cm) tall and in fine condition.
Naoki has been displayed at the Chanoyu Zokei Ten at the Tanabe Museum as well as the National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) and National Ceramics Exhibition (Nihon Togei Ten) among others.

Who says the work of a woman potter is feminine? This is a powerful Iga work by Watanabe Aiko enclosed in the original signed wooden box. There is nothing sedate about this work, charred and dripping with glassy green glaze, freckled with flying ash; the heavy lug handles jutting from the side slightly off kilter. The vessel is 7 inches (17 cm) tall, roughly the same diameter and in excellent condition.
Aiko established her first Anagama kiln in Shigaraki in 1994, and moved to Iga in 2001 where she built her second kiln. That was a big year of change for her, and she held her first of many private exhibitions in Shibuya, Tokyo, including one just finished at Kuroda Toen. Always building in 2003 she began planning her third Anagama kiln, which was first fired in 2005. A promising young artist still affordable, but with recent media attention that condition may not last.

A stunning Globular Bizen vase like burnished bronze covered by a dusting of ash by living National Treasure Yamamoto Toshu enclosed in an artist signed wooden box. The style is called Sangiri, and Toshu has pulled it off to perfection here, the keen characteristic suiting this artists work. It is likely an older (pre-war) work boxed later. The vase is 7 inches (17 cm) diameter, roughly the same height. There is a mark on the base, roughly 2 inches long. Toshu, (1906-1994) began working in a pottery at the age of 15. 12 years ater (1933) he went independent, but interestingly decided to train again later not under a Bizen master, but Kusube Yaichi, perhaps stimulating his unusual eye for Bizen. After much acclaim, it was in 1959 that he made his worldwide appearance, with a gold prize at the Brussels World Exposition, and was named an important cultural property of Okayama that same year. He was most in love with the wheel, and his forms are crisp and sharp. He was named a living national Treasure in 1987. Works by the artist are held in the National Museum of Modern Art Tokyo and National Museum of Modern Art Kyoto as well as the Victoria Albert Museum among many others.

Encrusted in blue glass, this Iga Tokkuri by Furutani Kazuya is a pleasure to see and hold. It is 5 inches (12. Cm) tall, 3 inches (8.5 cm) diameter and in perfect condition, enclosed in the original signed wooden box.
Kazuya (b. 1976) is one of Japan’s most promising young stars. He graduated the Yamaguchi College of Art in 1997, and spent a year at the ceramics research facility in Kyoto before returning to work under his father, Furutani Michio, in Shigaraki. His Father’s sudden death in 2000 pushed Kazuya to the fore, and left him with big shoes to fill. That he has done! Building three Anagama in the following decade and displaying with the National Ceramics Exhibition and a number of private affairs in some of Japan’s top venues.

Gold invites the cool drink covered in a yellow glaze on this fine tokkuri by Ono Hakuko enclosed in the original signed wooden box. It is 5 inches (13 cm) tall, 3-1/2 inches (9 cm) diameter and in excellent condition.
From Aichi prefecture, 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 Japan 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).

Namako glaze runs down, creating rivers flowing around the horns on the sides of this massive pot by Suzuki Kenji (1935-2010). Looking within one sees the volcanic explosions where the glaze pooled, bubbled and burst in the center. The vessel is 18 inches (45.5 cm) tall, roughly 13 inches (33 cm) square and weighs 20.5 kg (45 pounds). It is in fine condition. By size and structure it would be acceptable for display either inside or out.
This is from the Matsui family collection of Fushimi, an extensive collection of art objects encompassing many aspects of crafts, including sculpture, Pottery and Metalwork, largely from Kyoto area Artists. It would seem they had a special connection with the Suzuki family, as they owned many pieces, including bowls, vases and larger sculptural works which we happily acquired.
Born into a long line of Kyoto potters, Suzuki Kenji studied initially (as did his brother Takuji) of course under his father Suzuki Kiyoshi. He Graduated from the Kyoto University of Fine Arts in 1957 where he studied under Kondo Ryuzo, Tomimoto Kenkichi and Fujimoto Nodo and apprenticed with the Sixth Kiyomizu Rokubei. He was first accepted into the Nitten in 1958, and was exhibited and awarded there many times over the following years. In 1960 he was awarded the Mayors prize at the Kyoten. Throughout the 60s he submitted to international events in North and Central America, Australia, New Zealand and Europe. Also from 1965 to 1971 he worked as assistant professor to the 7th Kiyomizu Rokubei at his alma-matter. In 1967 he was awarded the Hokuto-sho prize at the Nitten for his work White Orb. In 1976 he established a new Kiln in Yamashina. He was awarded the order of Cultural Merit by Kyoto prefecture for his lifes work in 2005. Works by the artist are held in the collections of the Kyoto Prefectural Museum, Kyoto Municipal Museum and Kyoto University of Art among others. His research into metal glazes will have a long standing affect on contemporary pottery in Kyoto. Widely published, he wrote a book for the Tokyo National Museum of Modern Art titled Contemporary Ceramic Art : Canada, USA, Mexico and Japan (1971) as well as Sōsaku tōgei no tenkai / sekinin henshū (1984) among many others.

A family of Stonefish (Okoze), the deadliest fish in the world, swim across the pure white surface of this large Tsubo by Uchida Tadashi enclosed in the original signed wooden box. It is 12 inches (30 cm) diameter, 13 inches (34 cm) tall and in excellent condition. The box is titled Tetsu-e Okoze-Mon Tsubo (Tsubo decorated with Okoze fish in Iron) and includes a thank you card from the artist to the collector. A label tied to the box chord states it was purchased from an exhibition at Takashimaya Department Store in the summer of 1996.
This is from the Matsui family collection of Fushimi, an extensive collection of art objects encompassing many aspects of crafts, including sculpture, Pottery and Metalwork, largely from Kyoto area Artists.
Born in Gifu in 1947, from 1968 Tadashi studied Hakuji and Sometsuke under Kondo Ryuzo, entering his first National exhibition (Nihon Dento Kogeiten) in 1974. In 1977 he established his own kiln on the former Ninnami Dohachi Kiln site in Kyoto.

A large sculptural vase by Eiraku Zengoro XVI (Sokuzen, 1917-1998) enclosed in the original signed wooden box dating from the 1950s, an era when Japan was redefining its own views on art. This is an excellent example of work from that time. Born into traditional tea ware, Zengoro XVI was with the rest of his compatriots, experimenting with new ideas and new forms, unafraid of a dawning new era. This piece is 35.5 cm (14.5 inches) tall, 17 cm (7 inches) square and in fine condition. Born in Kyoto in 1917, into the house of the 15th generation Eiraku Zengoro. Losing his father at 15 he was immediately enrolled in the Kyoto School of Crafts and took over the family name in 1935. From 1937 to 1945 he fired from a kiln on the grounds of the Mitsui residence in Kanagawa prefecture as well as from Kyoto. Married at 25, his first son was born two years later, but he lost his wife in 1945, the same year he stopped working at the Mitsui kiln and Japan’s war effort collapsed, hurling the country into an era of uncertainty. As one of the 10 providers of tea ceramics to the main tea schools, he was able to get the family kiln moving again and prospering by 1949. During the 50s he exhibited both contemporary and traditional forms in the Top venues, Takashimaya and Mitsukoshi as well as at the Matsuzakaya. After a lifetime of production he was awarded the Order of Cultural Merit in 1986 from Kyoto. Work by the artist is held in the Kyoto National Museum among many others.

The edges burn dark brown on this large Bizen vase by Kawabata Fumio enclosed in the original signed wooden box. Green ash clings to the upper surface, peeling away from the superheated corners, the bottom rich dark raw clay. The vase is (‘29 x 21 x 36 cm) tall and in excellent condition.
Fumio was born in Yokohama city in 1948, far from the traditional kilns of Bizen hundreds of kilometers to the west in Okayama. After studying graphic design he was captivated by the natural landscapes presented by Bizen wares, and in 1974 moved to study pottery at the Ibu-no Kamamoto. His talent was spotted quickly and he was taken in by Kaneshige Riuemon where he was schooled in the gamut of traditional forms and styles. By 1984 he was considered a master potter, and moved to establish his own kiln. Concentrating largely on the personal world of private exhibitions, in 1989 he was given top prize at the Tanabe Museum Cha no Yu Zokei Ten (Sculptural Forms in Tea exhibition), and again was awarded there in 1994 as well as receiving the Okayama Prefectural Governors prize and has been prized at the National Ceramics Biennnale.

A draping curtain of dark torn Bizen clay folds over the enigmatic form of this vase by Kaneshige Kosuke enclosed in the original signed wooden box. Texture varies from chattered extrusion to long, combed lines. Soft shades of color glow on the sides of the dark clay. The vase is 9 inches (23 cm) tall, 13 inches (33 cm) wide and in excellent condition, dating circa 1990.
Kaneshige Kosuke was born in 1943, third son of Bizen pillar Kaneshige Toyo. He studied from an early age with his father, then to Tokyo where he graduated the sculpture department of the Tokyo University of Art. Since he has been exhibited at the Nihon Kogeiten (Japan National Crafts Exhibition), Asahi Togei Ten (Asahi Ceramics Exhibition) and Tanabe Chanoyu Sculpture Exhibit. He has also been exhibited in the Tokyo National Museum of Modern Art, as well as internationally in New York, Paris, Seoul and Boston. He is held in the Tokyo National Museum of Modern Art, The Suntory Collection and the Okayama Museum of Modern Art among others.

Flying goma ash dusts the ribbon scalloped sides of this large Bizen vase by Matsumoto Katsuya enclosed in the original signed wooden box. The piece is 12 inches (31 cm) tall, 11 inches (28 cm) wide and in excellent condition. Born in neighboring Hyogo prefecture in 1942, at the age of 29 Katsuya apprenticed under Fujiwara Yu. He opened his own kiln in 1976. In 1982 he debuted at the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition) and has consistently been exhibited there since, followed by both the Chunichi International Ceramics Exhibition and the Asahi Ceramics Exhibition, as well as the National Japanese Ceramics Exhibition.