Catalog (1094)

A dish by preeminent avant-garde artist Yagi Kazuo enclosed in the original signed wooden box titled Haku Ogi Kashizara dating from the 1960s. The plate is ribbed like the surface of a folding fan, thus the name. It is roughly 7 inches (17.5 cm) diameter and is in excellent condition.
Yagi Kazuo (1918-1979) was one of the most influential Avant Garde potters of 20th century Japan. He was born into the family of potter Yagi Isso, a noted specialist in fine Chinese and traditional Japanese forms and glazes. Kazuo studied at the Kyoto Ceramics Research Facility, like many great potters before him including his father and the founders of the Mingei movement, Kawai Kanjiro and Hamada Shoji. While there immersed in traditional forms, he joined the Ceramic Sculpture Association of Japan, and in 1939 was exhibited with them. Drafted shortly thereafter, he was sent to China, but quickly returned to japan with illness, for which he was discharged, and went back to sculpture, very much influenced by Western Art movements of the time. The war years were difficult of course, but following Japan’s Surrender, Kazuo was accepted into the Nitten National Exhibition. Like many young artists who had been held in the yolk of Japan’s strict military regime, he was grasping for something new, and his work expressed a strong desire to throw off the weight of traditionalism and function. So it was in 1948 when Kazuo, along with a number of other potters including Suzuki Osamu, Yamada Hikaru and Kumakura Junkichi, founded the Iconic Sodeisha Group. The work of this group would change forever the perception of Japanese pottery, and he would go down as one of the most influential potters of the 20th century.

A rare set of Sake Service Vessels (Tokkuri) by important artist Yagi Kazuo stamped near the base the white slip and engraved with butterflies and a poem. Emblazoned is the verse
URAURANI
TERERU HARUBINI HIBARI AGARI
KOKORO KANASHIMO
HITORISHI OMOEBA
The lark takes flight on a spring day
Inadvertently I am taken with sadness
Left thinking alone…

Geese take flight from autumn grasses on the dark clay surface of this flaring vase by Kiyomizu Rokubei VI dating circa 1960. It is 12-1/4 (31.5 cm) tall and in excellent condition. It is very similar in shape, style and theme to the piece held by the Nihon Geijutsu-in published on page 143 of the book Kiyomizu Rokubei Rekidaiten (2004). This came from the Rokubei family estate. There is no box.
The Kiyomizu family potters managed one of the most productive workshops in Kyoto’s Gojozaka district throughout the second half of the Edo period. From the Meiji they began producing tableware for export and special pieces for government-sponsored exhibitions under Rokubei IV. Rokubei V led the kiln into the 20th century, and his son, Rokubei VI (1901-1980), would assume lead in 1945, taking the kiln through the tumultuous years after the Second World War. He graduated the Kyoto Municipal School of Arts and Crafts, then the Kyoto Special School of Painting, before apprenticing under his father in 1925. He exhibited frequently and was often prized at the National Bunten, Teiten and Nitten Exhibits, where he later served as judge. He was also lauded abroad, in the USSR, France, Italy, Belgium and was appointed a member of the Japan Art Academy. In 1976 he was awarded the Order of Cultural Merit for his lifelong devotion to promoting Japanese pottery traditions. His works are held in numerous museums throughout the globe.

A rare late 1950s to '60s sculptural work by Kitade Fujio, an artist credited with bringing Kutani into the modern age, enclosed in the original signed wooden box titled Hekimen Ni Seshite Okizaru Kaki (Vase left abandoned by the wall). The clay is quite pure, covered in blasts of black and beige. It is 9-1/4 x 5-1/2 x 11 inches (24 x 14 x 28 cm) and in excellent condition. Kitade Fujio was born in 1919 the first son of potter Kitade Tojiro. He graduated the Ceramics research facility in 1937, but coming of age during the war years was, of course, disruptive, and he did not complete his courses at the Kanazawa University of Art until 1950, the same year he was first accepted into the Nitten National Exhibition. In 1955 he received top prize at the Ishikawa prefectural Art Exhibition, and about this time would change his name from Fujio (two characters) to Fujio (three characters, as is the signature on this box). He would subsequently be accepted into and awarded at the National Modern Crafts Exhibition and Asahi Ceramics Exhibition; He would garner the Hokutosho prize at the Nitten in 1965 and would later serve as a judge there as well as at the Chunichi International Ceramics Exhibition, The Gendai Kogeiten Craft Exhibition and at the Asahi Ceramics exhibition. He was awarded consecutively at the 1st through 3rd Traditional Kutani Craft Exhibitions. In 1979 he would be granted a professorship at the Kanazawa University of Art. From that time he would divide his time between teaching and working with clay, garnering many more awards. In 1983 he would be commissioned by the Emperor to make a Tsubo, and the following year would be honored with the Kaga Cultural Award. 1990 he would become principal of the Art University. In 2010 he would receive special accolades from the Japan Ceramic Society for his life’s work. Work by him is held in the 21st Century Museum of Contemporary Art, Kanazawa and the Kutani Art Museum among others.

A set of five yunomi by Suzuki Osamu enclosed in the original signed wooden box titled Kao no Aru Yunomi. Each cup has a small face on one side, pale glaze covering all but that smiling fellow and the foote. Each cup is 3 inches (8 cm) tall and in fine condition.
Osamu was, along with Kumakura Junkichi, Hikaru Yamada and Yagi Kazuo, 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. Works by him are in too many collections to note in this small add, including the Kyoto and Tokyo National Museums of Modern Art, Victoria Albert and New York Metropolitan Museum of Modern Art.

A trio of sculptural forms by Takano Moto-o dating from the formative years of modern Japanese crafts at the height of Sodeisha influence in the 1960s. These are being offered as a group for one price. One is distorted, like an apparition, or the world seen through an old pane of glass. The second is like a flute licking back; both in pure white. The third is a square basin with handles decorated with a geometric pattern. The piece on the left in the group photograph is 10 inches (26 cm) tall and comes enclosed in the original signed wooden box All three are in excellent condition.
Takano Moto-o was born into a Kyoto pottery family in 1934, and although trained as a potter of tea ceramics, moved into the world of sculpture, entering Sodeisha in 1966, and would exhibit with the avant garde association until 1983 as well as the National Ceramic Exhibition (Nihon Togeiten). He was selected for the “Contemporary Ceramic Art” exhibition which toured Canada, U.S.A., Mexico and Japan in 1972. Since his work has been exhibited in North and South America, Australia, New Zealand, and various countries in Europe. He focuses on sculptural pursuits, filling the time between with tableware.

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 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.

A set of colorful Tokkuri in the shape of squared gourds by Living National Treasure Kato Hajime enclosed in the original signed wooden box titled Aka-e Hohyo Tokkuri (red glazed Tokkuri in squared gourd form). About the white bottom are fortuitous characters in green with a belt of blue, yellow and green in the center. They are 15.5 cm (6 inches) tall. There is slight rubbing of the red glaze typical of handling. Enclosed with them is a photocopy from an art book (unknown publication) with an identical set of Tokkuri and the artists biography up until his death in 1968.
Kato Hajime (1900-1968, sometimes referred to as Toshiro, an alternate reading of his name) was born in Seto city, home of a long pottery tradition. However, after serving briefly at the Aichi Prefectural Ceramics School, he moved to rural Mino in Gifu in 1926, another locale long known for its pottery tradition. The following year he was awarded at the 8th Imperial Art Academy Exhibition, the same year was accepted at the first Crafts division Exhibition of the Bunten National Exhibition. In 1937 he would be awarded at the Paris World Exposition. From 1940 he would move to Yokohama, where he would delve extensively into the techniques of Ming decorated porcelain. From 1955 he would serve as head of the ceramics department and the Tokyo National University of Art. His career culminated in being named one of the early Living National Treasures (Juyo Mukei Bunkazai) in 1961. In 1966, he became the president of the Japan Crafts Association and also became an expert committee member on the Council for Protection of Cultural Properties. In 1967 he became professor emeritus of the Tokyo University of the Art. The same year he was awarded the Imperial Order of Cultural Merit (Purple Ribbon) by the reigning Emperor. He was commissioned to decorate the Take-no-ma audience room of the new Imperial Palace in Tokyo.

A stark flower in black rises to the rim of this white glazed early vase by Yagi Kazuo enclosed in the original signed wooden box. It is an excellent example of the mid-century aesthetic, dating from the 1950s to early 1960s. It is 13 cm (5 inches) diameter, 26 cm (10 inches) tall and in excellent condition.
Yagi Kazuo (1918-1979) was one of the most influential Avant Garde potters of 20th century Japan. He was born into the family of potter Yagi Isso, a noted specialist in fine Chinese and traditional Japanese forms and glazes. Kazuo studied at the Kyoto Ceramics Research Facility, like many great potters before him including his father and the founders of the Mingei movement, Kawai Kanjiro and Hamada Shoji. While there immersed in traditional forms, he joined the Ceramic Sculpture Association of Japan, and in 1939 was exhibited with them. Drafted shortly thereafter, he was sent to China, but quickly returned to japan with illness, for which he was discharged, and went back to sculpture, very much influenced by Western Art movements of the time. The war years were difficult of course, but following Japan’s Surrender, Kazuo was accepted into the Nitten National Exhibition. Like many young artists who had been held in the yolk of Japan’s strict military regime, he was grasping for something new, and his work expressed a strong desire to throw off the weight of traditionalism and function. So it was in 1948 when Kazuo, along with a number of other potters including Suzuki Osamu, Yamada Hikaru and Kumakura Junkichi, founded the Iconic Sodeisha Group. The work of this group would change forever the perception of Japanese pottery, and he would go down as one of the most influential potters of the 20th century.

Enigmatic script in Doro-e raised design decorates the sides of this simple white glazed chawan by 20th centiury Master Kawai Kanjiro enclosed in a wooden box endorsed by his wife Tsune. Brief tinges of subdued red appear through he cloudy white glaze. It is 5 inches (12.5 cm) diameter, 4 inches ((10 cm) tall and in perfect condition. 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.

A tall stem-footed Hagi flower vessel enclosed in the original wooden box by Yamato Yasuo. It was created in that postwar age when once again expression was finding a voice in Japan, and the early avant-garde potters such as Yamato Yasuo and Kumakura Junkichi were reaching beyond tradition as a means of verbalizing their interpretation of Japan in a new age. Here enigmatic shapes rise from the slightly striated Hagi clay, the entire covered in pale blue tinged glaze with outlines of iron and splashes of color on the queer images. The foot is bare earth, inscribed with the name Yasuo and the year 1958. The work is a fine representative of the period and its movements. It is large at almost a foot (29 cm) tall, roughly 8 inches (20 cm) diameter at the widest and is in excellent condition. Yamato Yasuo was born in 1933 to a long line of Hagi potters. He learned under his father Harunobu and grandfather Shoroku who would have been head of the kiln at the time of this pieces creation. He is one of Hagi’s most well respected artist, and his works are often displayed at the Nitten and other National Exhibitions. He has been named an important cultural asset of Yamaguchi Prefecture (ken Juyo Mukei Bunkazai). A rare opportunity to acquire an early work by one of the most important Hagi potters.

Here is an amazing vase by the most sought after of all Japanese potters, Kawai Kanjiro dating from the 1940s, enclosed in a fine kiri box endorsed by the Kawai Kanjiro Museum. The box is signed Kanjiro Saku, Gosu Hana-ire Hentsubo, Kawai Koha (Made by Kawai Kanjiro, a Gosu blue flower vase of altered urn shape, endorsed by Kawai Koha. Koha is Kanjiros daughter, and the current head of the Kawai Kanjiro Museum. The stately composure of its dramatic silhouette is surpassed only by the striking flashes of color dashed across the blue surface. Subtle yet seeming to speak of an excess of energy, the vase epitomizes work by this preeminent artist. The trapezoidal base rises to an elongated ovular center, from which extends a sharpened angular mouth. It is difficult to describe the power of this piece; one must hold it to truly appreciate the brilliance of its artistry. The vase is 8 inches (21 cm) tall, 5-1/2 by 4-1/2 inches (11 x 14 cm) across and is in perfect condition. 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.

Vibrant tusty red splashes across the black glazed surface of this sculpted vase by Kawai Kanjiro dating from the 1950s enclosed in a wooden box annotated by his daughter Koha, the head of the Kawai Kanjiro Kinenkan Museum. The vase is roughly 8 by 4 by 4-3/4 inches (20 cm x 12 x 10 cm) and is in perfect condition. 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 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

A heavily glazed early square pottery dish by Kimura Ichiro enclosed in the original signed wooden box. The sandy clay appears to have been twice fired, the first firing unglazed with a simple ash burn later a very thick feldspathick glaze wiped on and re-fired. It is roughly 11 by 11-1/2 x 2-1/2 inches (28 x 29 x 6 cm) and is in good condition, no chips or cracks but some color has soaked into the crackled white glaze. Originally from Mashiko, Kimura Ichiro (1915-1988) went to study ceramics at the Kyoto ceramic research institute, as had his forbearer Hamada Shoji, to whom he later apprenticed, establishing his own kiln in 1946 at the close of World War II. Along with Shoji and later Tatsuzo, He was one of the founders of modern Mashiko pottery and was displayed and awarded prolifically during his lifetime. Those include the Nihon Mingei ten, Gendai Tougei ten, National Tojiki ten, and National Traditional Arts and Crafts Exhibition among many others.

Enigmatic green and red florals capped by ascending butterflies alternate with bird images in the cathedral-like windows on the side of this large vessel by Kyoto artist Yamazaki Koyo enclosed in the original signed wooden box. The vase is 13-1/2 inches (34 cm) tall and in fine condition, dating circa 1950. Koyo (1890-1979) studied under Kiyomizu Rokubei VI, and was displayed consistently in many National and Local Exhibitions. He has been awarded four times at the Nitten, twice at the Nihon Shin Kogei Ten (Japanese National New Craft Exhibition) as well as the Kofukai and is held in the collections of the Museum of Modern Art Boston and Bern Museum of Art Switzerland among others

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.

This is a stunner; a piece exemplifying the style of this incredible artist! Radical black florals decorate the rich iron sides of the bowl, tapering ever so slightly closed toward the top to help trap the aroma of the green tea within. Imagine the color contrast of dark earth-tones with the foamy maccha inside! It comes enclosed in a fine kiri-wood box endorsed by Kawai Koha, current head of the Kawai Kanjiro Museum. The bowl is 4-3/4 inches (12 cm) in diameter, 3-1/2 inches (9 cm) tall and in perfect condition. 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.

An unusual long inverted pottery cone on a silver plated base by Kiyomizu Rokubei VI enclosed in the original signed wooden box titled Gengama Senmon Kabin. It is 15 inches (38 cm) tall and in excellent condition. Rokubei began experimenting with these fluted froms in the 50s, and what he called “Gengama” glazes around 1960. My guess is that this piece dates circa the early 60s. I have never seen another example like this with a metal base.
The Kiyomizu family potters managed one of the most productive workshops in Kyoto’s Gojozaka district throughout the second half of the Edo period. From the Meiji they began producing tableware for export and special pieces for government-sponsored exhibitions under Rokubei IV. Rokubei V led the kiln into the 20th century, and his son, Rokubei VI (1901-1980), would assume lead in 1945, taking the kiln through the tumultuous years after the Second World War. He graduated the Kyoto Municipal School of Arts and Crafts, then the Kyoto Special School of Painting, before apprenticing under his father in 1925. He exhibited frequently and was often prized at the National Bunten, Teiten and Nitten Exhibits, where he later served as judge. He was also lauded abroad, in the USSR, France, Italy, Belgium and was appointed a member of the Japan Art Academy. In 1976 he was awarded the Order of Cultural Merit for his lifelong devotion to promoting Japanese pottery traditions. His works are held in numerous museums throughout the globe.

Two shades of black form ethnic patterns on this hishigata vessel by Kiyomizu Rokubei dating circa 1960 nearly identical to figure 12 (page 85) of the catalog Yagi Kazuo to Kiyomizu Rokubei exhibited at the Muse Tomo in Tokyo in 2017. It is 18 x 13 x 24.5 cm (roughly 7 x 5 x 10 inches) and is in excellent condition. This came from the Rokubei family estate. No box
Kiyomizu Kyubei (1922-2006) was born Tsukamoto Hiroshi in Nagoya. He graduated from Nagoya Industrial High School (now the Nagoya Institute of Technology), majoring in architecture. Coming of age during the war years was not easy. he worked in glass and metal before being adopted into the Kiyomizu family in 1951. In 1953 he graduated from the Tokyo University of the Arts, majoring in metal casting. In 1958 he continued his studies of sculpture under under Shigeru Senno, while working in clay at the Rokubei kiln. In 1963 he became an assistant professor at the Kyoto City University of Arts, advancing to full professor in 1968. He then took a one year sabbatical in Italy and since has received many prizes including the 17th Mainichi Arts Award in 1976 and the Excellence Award at the Henry Moore Grand Prize Exhibition in 1979. He succeeded as head of the Kiyomizu Family in 1980, relinquishing the reins to his son Masahiro in 2000. According to the catalog from the recent Kyubei/Kazuo exhibtion “The works by Kiyomizu Hiroshi dating from the 1950s display handsome, geometric forms. Design like consideration is a sensibility shared by many ceramicists today and he gives us an impression that he was ahead of his time.
The National Museums of Modern Art in Tokyo, Kyoto and Osaka hod 16 works

A rare sculptural basin by Kiyomizu Kyubei dating from the late 1950s signed on the base Yo. Very heavy, it is 11 x 8 x 9 inches (28 x 20 x 23.5 cm) and is in excellent condition. This came from the Rokubei family estate. No box. Early works by Kyubei are rare because, according to the catalog: Yagi Kazuo to Kiyomizu Rokubei (exhibited at the Muse Tomo in Tokyo, 2017) “he changed names several times and is said to have destroyed the works he produced in those days. Judging from the ceramic works that remain and his achievements, his activities during the 1950s are significant.”
Kiyomizu Kyubei (1922-2006) was born Tsukamoto Hiroshi in Nagoya. He graduated from Nagoya Industrial High School (now the Nagoya Institute of Technology), majoring in architecture. Coming of age during the war years was not easy. he worked in glass and metal before being adopted into the Kiyomizu family in 1951. In 1953 he graduated from the Tokyo University of the Arts, majoring in metal casting. In 1958 he continued his studies of sculpture under under Shigeru Senno, while working in clay at the Rokubei kiln. In 1963 he became an assistant professor at the Kyoto City University of Arts, advancing to full professor in 1968. He then took a one year sabbatical in Italy and since has received many prizes including the 17th Mainichi Arts Award in 1976 and the Excellence Award at the Henry Moore Grand Prize Exhibition in 1979. He succeeded as head of the Kiyomizu Family in 1980, relinquishing the reins to his son Masahiro in 2000. According to the catalog from the recent Kyubei/Kazuo exhibtion “The works by Kiyomizu Hiroshi dating from the 1950s display handsome, geometric forms. Design like consideration is a sensibility shared by many ceramicists today and he gives us an impression that he was ahead of his time.
The National Museums of Modern Art in Tokyo, Kyoto and Osaka hold 16 works

An otherworldly form from the age of Sputnick by important artist Morino Taimei exhibited at the 1959 Nitten National Art Exhibition and published in the Nittenshi (vol. 22). It is signed in romanized characters H. Morino (His given name is Hiroaki). It is roughly 12 inches (30 cm) tall, 15 inches (38 cm) diameter and in excellent condition.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.

Elegant imagery in rusty orange decorates the yellow body of this small vase by important artist and Living National Treasure Tokuda Yasokichi I enclosed in the original signed wooden box. It is 4-1/2 inches (11 cm) tall and in excellent condition. A very difficult artist to find, this is a rare opportunity.
Tokuda Yasokichi I (1873 –1956）was born into a family of textile dyers in Ishikawa prefecture, but entered the ceramics world under the tutelage of his Brother Matsumoto Sahei, specializing in the Yoshidaya decorative technique of Kutani ware in 1890. In 1922 he received Imperial patronage. He was named one of the first living National Treasures in 1953 (and his grandson, Yasokichi III would also be named such).

Leaf images in various seasonal shades decorate the raw earth of these expertly crafted dishes by legendary artist Kitaoji Rosanjin, the set enclosed in a double box, the inner box the original age darkened kiri-wood box signed by Rosanjin, the outer box later covered in black lacquer showing the esteem for which both this dish set and box were afforded. On bottom is the star mark, indicating these were made for use in his restaurant. Each dish is roughly 18.8 cm (7-1/2 inches) diameter and in overall excellent condition. An abrasion in the edge of one dish is pre-firing (see last photo). For nearly identical plates see Kitaoji Rosanjin Ten (Jap. 1988).
Kitaoji Rosanjin (1883-1959) They say adversity is the mother of invention, and Rosanjin can be said to epitomize that expression. Born during the tumultuous first half of the Meiji period in the cultural center of Kyoto, he was adopted at age six by a woodblock carver. He showed an early genius for calligraphy, and began his early manhood as a carver of seals and carver/painter of shop signs after a brief apprenticeship to a pharmacy. He also taught calligraphy and bought and sold antiques during these early years. In 1921 he founded what would become the impetus for his life’s work, his first restaurant, the Bishoku club, and followed in 1925 with a restaurant in Tokyo called the Hoshigaoka. Rosanjin began working in ceramics to replace the collection of dishes that was destroyed in the 1923 Kanto Earthquake. He was largely a self taught artist with a diverse range, beginning with a kiln on his rented property .in Kamakura, and later paying visits for brief apprenticeships to many of the days top artists. He retired to work exclusively on the arts in 1936. Magazine editor, lacquer artist, metal-working and finally store owner in Tokyo’s Ginza, Rosanjin was everywhere at once. He was displayed at the museum of Modern Art in New York in 1954, a rare honor indeed for living artist. Like his contemporary, Kawai Kanjiro, Rosanjin was offered the title of Living National Treasure in 1955 for his work in Oribe pottery, but refused the offer.

An iconic square bottle by one of the most important Japanese artists, Kawai Kanjiro, enclosed in the original signed wooden box. The fawn spotted white glaze is decorated with Gosu floral patterns in blue and red with a rich iron red at the mouth, the raw clay revealed at the base. It is 12 x 12 x 18 cm tall (roughly 5 x 5 x 7 inches) and in excellent condition dating likely from the height of his career, 1940s-50s.
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.

A fabulous Bizen Tane-Tsubo Seed Jar in the Momoyama style by Living National Treasure Kaneshige Toyo enclosed in a wooden box annotated by Kaneshige Kosuke. Beautiful Hi-iro flame coloring brightens the sides and a smattering of yellow flying ash clings to the shoulder about a line of waves. The tsubo is marked on the base with the fundo weight mark of Toyo. It is 23.5 cm (9 inches) tall, 20.5 cm (8 inches) diameter and in excellent condition.
It comes with a photograph of the artist’s son, Kaneshige Kosuke, holding the jar, the photograph annotated: Toyo-saku Bizen Tane Tsubo sealed and signed by Kosuke.
Kaneshige Toyo (1896-1967) is one of the leaders of the group of artisans who sought to revive the tradition as it was flagging to extinction in the pre-war years and considered one of the most important figures in 20th century Bizen. It is Toyo who has been credited with having rediscovered the techniques of the Azuchi Momoyama period. Born in Bizen, Okayama prefecture, into the potting family of artisan Kaneshige Baiyo, Toyo began working with clay in 1910. By the 1930’s, he was thoroughly ensconced in the research of ancient techniques. Over the next 20 years, he was to become a leading figure in Japanese pottery, and lifelong friend of Kawakita Handeishi, Kitaoji Rosanjin and Miwa Kyuwa. Post-war, in an effort to elevate Japanese pottery, he, along with Arakawa Toyozo and Kato Tokuro, helped to establish the Nihon Kogei kai (Japan Art Crafts Association). He was designated Living National Treasure in 1956, and subsequently received the Order of Cultural Merit from Okayama for his lifework. For more see the new important tome by the Miho Museum: The Bizen (2019) according to which “He formed the Bizen Pottery Society, mentored the younger generation, participated in the founding of the Japan Kogei Association and built the foundations for the postwar success of Bizen ware”.

A bunch of grapes in slight color under shadowy cool leaves decorate the milky white and sand toned surface of this very unusual plate by Kitaoji Rosanjin enclosed in a wooden box annotated by Living National Treasure Arakawa Toyozo dated 1968. It is 19 cm (7-1/2 inches) diameter and in excellent condition.
Kitaoji Rosanjin (1883-1959) They say adversity is the mother of invention, and Rosanjin can be said to epitomize that expression. Born during the tumultuous first half of the Meiji period in the cultural center of Kyoto, he was adopted at age six by a woodblock carver. He showed an early genius for calligraphy, and began his early manhood as a carver of seals and carver/painter of shop signs after a brief apprenticeship to a pharmacy. He also taught calligraphy and bought and sold antiques during these early years. In 1921 he founded what would become the impetus for his life’s work, his first restaurant, the Bishoku club, and followed in 1925 with a restaurant in Tokyo called the Hoshigaoka. Rosanjin began working in ceramics to replace the collection of dishes that was destroyed in the 1923 Kanto Earthquake. He was largely a self-taught artist with a diverse range, beginning with a kiln on his rented property .in Kamakura, and later paying visits for brief apprenticeships to many of the days top artists. He retired to work exclusively on the arts in 1936. Magazine editor, lacquer artist, metal-working and finally store owner in Tokyo’s Ginza, Rosanjin was everywhere at once. He was displayed at the museum of Modern Art in New York in 1954, a rare honor indeed for living artist. Like his contemporary, Kawai Kanjiro, Rosanjin was offered the title of Living National Treasure in 1955 for his work in Oribe pottery, but refused the offer.
Arakawa Toyozo (1894-1985) was born in Tajimi,the ancient home of Shino and Oribe wares. In 1922 he met Kitaoji Rosanjin I Kyoto, and became his apprentice, working at the Hoshigaoka kiln in Kamakura until 1933. He moved back to Gifu and devoted his life to re-creating Shino and yellow-and-black Seto wares of the Momoyama period. He, along with Kato Tokuro, is responsible for the revival of Mino ware. He was designated Living National Treasure in 1955, and received the Order of Cultural Merit in 1971.

Dramatic waves are combed into the clay surface of this large Toban Platter by Living National Treasure Suzuki Osamu (Kura) covered in glass-like copper green; unusually signed and dated on bottom 1957 and enclosed in an artist signed wooden box. This has the wow factor in truckloads! A quintessential piece by this influential artist showing not only the innovation early in his career, but the consistency with which he approached Mino pottery, Museum quality, sure to become a centerpiece of any collection. It is 53.5 x 31 cm (21 x 12 inches) and in excellent condition.
Suzuki Osamu was born in Gifu prefecture in 1934, and graduated the Tajimi Technical School ceramics division in 1953. That same year he was awarded at the 6th Dento Kogeiten Traditional Crafts Exhibition. One of the great researchers, he spent many years excavating old kiln sites in an effort to re-invent Mino ware. In 1962 he was exhibited in Prague. And the next year took a prize at the Asahi Ceramic Exhibition. Very much lauded at this time, it culminated in 1969 when he received the JCS Gold award (Japan Ceramic Society), one of the highest honors for a Japanese potter. He would receive the JCS award again in 1982, and by that point be nurturing or inspiring a number of young potters aspiring to the forgotten ways of Shino ware. He was named a Living National Treasure in 1994 for his life-work. Work by him is held in a multitude of public collections throughout the world. For more see “Japanese Studio Crafts, Tradition and the Avant-Garde” (1995) by R. Faulkner.

Raised designs in slip decorate the yellow glaze of this deep bowl by Kawai Kanjiro enclosed in a kiriwood box titled O-yu Tsutsugaki-mon Wan annotated by Kawai Toshitaka, current head of the Kawai Kanjiro Museum. This piece dates from later in the artists illustrious career, 1950s-1960s. It is 4 inches (10 cm) diameter, 3-1/4 inches (5 cm) tall and in excellent condition.
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.

Five Sake Cups by the ;legendary Okabe Mineo enclosed in the original signed wooden box titled Seto-Te Hai. The cups hav a very intimate feel, tiny, just enough room for a shot, each in a different style of Mino ware: Shino, E- Shino, Ki-Seto, Nezumi Shino, and Ao-Oribe. Each cup is 4.5 cm (1-3/4 inches) diameter and all are in excellent condition. It even includes the artists biography from the time, still early in his career, likely 1950s.
Okabe Mineo (1919-1990) was born the first son of important artist Kato Tokuro, however the relationship with his father was volatile. When he was 9 Tokuro moved the young family to Seto, where Mineo would graduate the Aichi Prefectural Ceramics School in 1937. After a year at the family kiln, he moved to Tokyo, then joined the army in 1940. He fought against the Americans and would spend several years as a prisoner of war in the Philippines, repatriated to Japan in 1947. He returned to Aichi prefecture, leaving enough distance between himself and his estranged family, and with his wife began producing pottery in Toyoda. In 1953 he met Koyama Fujio; that same year he was awarded the Hokuto prize at the Nitten, and his work was collected by the Ministry of Foreign Affairs. This was the true beginning of his career. In 1955 he received the JCS award, one of the highest honors for a Japanese potter. By the mid ‘60s. he moved to celadon ware. He changed his name from Kato to Okabe in 1978, to honor his wife who supported his efforts for so many years.

A spectacular Mizusashi fresh water container by Bizen Living National Treasure Kaneshige Toyo enclosed in a wooden box annotated by his son Kaneshige Kosuke titled Bizen Yahazuguchi Mizusashi. A fabulous range of colors plays across the surface, all natural kiln effects resulting from heat, cold, clay content and placement. The receptacle is 18 cm (7 inches) diameter, 16.5 cm (6-1/2 inches) tall and comes with a custom made black lacquer wooden lid.
Kaneshige Toyo (1896-1967) is one of the leaders of the group of artisans who sought to revive the tradition as it was flagging to extinction in the pre-war years and considered one of the most important figures in 20th century Bizen. It is Toyo who has been credited with having rediscovered the techniques of the Azuchi Momoyama period. Born in Bizen, Okayama prefecture, into the potting family of artisan Kaneshige Baiyo, Toyo began working with clay in 1910. By the 1930’s, he was thoroughly ensconced in the research of ancient techniques. Over the next 20 years, he was to become a leading figure in Japanese pottery, and lifelong friend of Kawakita Handeishi, Kitaoji Rosanjin and Miwa Kyuwa. Post-war, in an effort to elevate Japanese pottery, he, along with Arakawa Toyozo and Kato Tokuro, helped to establish the Nihon Kogei kai (Japan Art Crafts Association). He was designated Living National Treasure in 1956, and subsequently received the Order of Cultural Merit from Okayama for his lifework. For more see the new important tome by the Miho Museum: The Bizen (2019) according to which “He formed the Bizen Pottery Society, mentored the younger generation, participated in the founding of the Japan Kogei Association and built the foundations for the postwar success of Bizen ware”.

A fabulous vase in the form of a rice pestle by Bizen Living National Treasure Kaneshige Toyo enclosed in the original signed wooden box titled Bizen Kine-gata Hanaire (Vase in the Shape of a Pestle). A fabulous range of colors plays across the surface, all natural kiln effects resulting from heat, cold, clay content and placement. The vase is 26 cm (10 inches) tall and in excellent condition. It comes with a custom made black lacquered wooden outer box to protect the original box.
Kaneshige Toyo (1896-1967) is one of the leaders of the group of artisans who sought to revive the tradition as it was flagging to extinction in the pre-war years and considered one of the most important figures in 20th century Bizen. It is Toyo who has been credited with having rediscovered the techniques of the Azuchi Momoyama period. Born in Bizen, Okayama prefecture, into the potting family of artisan Kaneshige Baiyo, Toyo began working with clay in 1910. By the 1930’s, he was thoroughly ensconced in the research of ancient techniques. Over the next 20 years, he was to become a leading figure in Japanese pottery, and lifelong friend of Kawakita Handeishi, Kitaoji Rosanjin and Miwa Kyuwa. Post-war, in an effort to elevate Japanese pottery, he, along with Arakawa Toyozo and Kato Tokuro, helped to establish the Nihon Kogei kai (Japan Art Crafts Association). He was designated Living National Treasure in 1956, and subsequently received the Order of Cultural Merit from Okayama for his lifework. For more see the new important tome by the Miho Museum: The Bizen (2019) according to which “He formed the Bizen Pottery Society, mentored the younger generation, participated in the founding of the Japan Kogei Association and built the foundations for the postwar success of Bizen ware”.

Horses dash past in a fervent black mass both carved into and built up onto the paddled surface of this large vessel ballooning open from a narrow base by Nakazato Tarouemon XIII enclosed in the original signed wooden box. Inside the box is written Tataki Tsubo (Paddled Vessel), Kurabe Uma (Horse Race), exhibited Autumn 1958 at the Tokyo Mitsukoshi Sports Theme Art Exhibition; Ochawangama, Nakazato Tadao (given name of Nakazato Tarouemon XIII) followed by the artists seal. An excellent example of the mid-century aesthetic. The vessel is 34.5 cm (13-1/2 inches) diameter, 30 cm (12 inches) tall and in excellent condition. It has a copper insert for water (so you do not have to fill the whole Tsubo with water if displaying flowers). Due to size the cost of shipping will be accrued separately.
Nakazato Tadao (1923-2009) was born the first son of the 12th generation of Nakazato Tarouemon in Karatsu City. He graduated from the Craft Design Course, Tokyo School of Crafts (mod. Chiba University). In 1943, and first exhibited with the Nitten in 1951. In 1956 he would receive the Hokutosho prize there, followed by another commendation in 1958, and the JCS award in 1961. He took over the family name upon his fathers retirement in 1969. He would go on to receive many awards throughout his career, including the Prime Minister's Award in 1981, and the Japan Art Academy Award in 1984, The Saga Prefectural Order of Cultural Merit in 1985, and the Order of Cultural Merit by Karatsu city in 1995. In 2002 he retired from the world, entering a Buddhist temple and taking the name Hoan. He would ultimately be awarded the Order of the Rising Sun for his lifes work and be appointed an adviser of the Japan Art Academy. He was succeeded by his son,

Five unique plates by Tomimoto Kenkichi, from various eras depicting bucolic scenery each uniquely signed on the back. Kenkichi changed his signature regularly, which makes it very easy to date his works. These date from the 1950s. Each is between 18.5 and 19.5 cm diameter (roughly 7-1/2 inches). One has a slight firing flaw near at the rim, otherwise they are all in excellent condition. A smaller 6th plate will be included, bonus.
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.

A rare set of small early earthy dishes by Kiyomizu Rokubei VII enclosed in the original wooden box signed Hiroshi titled Ki-yu Memezara roku-iri (6 Yellow Glazed Small Dishes). Dating from the 1950s, the shapes are flawless, and show the mastery of design for which this artist would become known. They are 14 cm (5-1/2 inches) diameter and all are in excellent condition.
Kiyomizu Kyubei (1922-2006) was born Tsukamoto Hiroshi in Nagoya. He graduated from Nagoya Industrial High School (now the Nagoya Institute of Technology), majoring in architecture. Coming of age during the war years was not easy. he worked in glass and metal before being adopted into the Kiyomizu family in 1951. In 1953 he graduated from the Tokyo University of the Arts, majoring in metal casting. In 1958 he continued his studies of sculpture under under Shigeru Senno, while working in clay at the Rokubei kiln. In 1963 he became an assistant professor at the Kyoto City University of Arts, advancing to full professor in 1968. He then took a one year sabbatical in Italy and since has received many prizes including the 17th Mainichi Arts Award in 1976 and the Excellence Award at the Henry Moore Grand Prize Exhibition in 1979. He succeeded as head of the Kiyomizu Family in 1980, relinquishing the reins to his son Masahiro in 2000. According to the catalog from the recent Kyubei/Kazuo exhibition “The works by Kiyomizu Hiroshi dating from the 1950s display handsome, geometric forms. Design like consideration is a sensibility shared by many ceramicists today and he gives us an impression that he was ahead of his time. The National Museums of Modern Art in Tokyo, Kyoto and Osaka hold 16 works by this important artist.

A true work of art by the most sought after of all Japanese potters, Kawai Kanjiro (1890-1966), enclosed in the original signed and stamped wooden box dating from the 1940s. It is covered in an unusual green glaze with swirling deco design on the shoulder, spinning flowers in the center like an iron dragon. The depth of the soft swirls around the neck is phenomenal. That contrasted with the crisp clarity of the iron design on the unusual green field make this vase very desirable. It is expertly crafted from red clay, and measures 7-3/4 inches (19.5cm) tall, 6-1/2 by 5-3/4 inches (14.5 x 16.5 cm) across the body. It is in perfect condition. 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 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