Catalog (1099)

A mischievous bowl covered in dense ash by the late master Furutani Michio (1946-2000) enclosed in the original signed wooden box. The ash is so thick as to almost pacify the ragged clay surface; its resonant peaks still visible underneath where the clay is roughest. Inside dark charring scars the back of the bowl where flame licked the surface, and rivulets of crusty green vein the gray skin. The bowl is almost 9 inches (22 cm) diameter, over 3 inches (8 cm) to the rim. Three crispy spurs are visible from within, with three more discs of raw earth circling the foot ring. The artists signature is visible along the footring, on back of the bowl. Furutani Michio is one of the Gods of Shigaraki, an artist who wrote the book on Anagama kilns, and one of the more influential artists of the second half of the 20th century. He was born in Shigaraki; graduating the Konan High School of industrial Arts, he moved to further his studies (like so many great artist before him, Kanjiro, Hamada…) at the Kyoto Institute of Industrial Arts in 1964. After breaking out on his own, he started by building an Anagama in Shigaraki in 1970, the first since the middle ages. He was a true pioneer, reviving the tradition and going on to build over thirty kilns over the next thirty years. No other artist has shown such singular dedication to a firing technique. He has been featured in the Nihon Dento Kogei Ten (Japanese Traditional Crafts Exhibition), Nihon Togei Ten (Japanese Ceramic Exhibition) and the Chunichi Kokusai Togei Ten among others. He passed away at the peak of his career. For more on this artists contributions see his book Anagama – Building Kilns and Firing.

Pale clay baked red with a dusting of natural ash glaze and small streaming rivulets complimenting the undulating ribbons billowing pell-mell from the top of this odd shaped sculptural vase by Kiyomizu Rokubei VII (1922-2006) enclosed in the original signed wooden box. The piece is 9 inches (23.5 cm) tall, 7-1/2 inches (19 cm) wide and in excellent condition. The Kiyomizu family potters managed one of the most productive workshops in Kyoto’s Gojozaka district from 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 V. The workshop declined after World War II but was revived by Kiyomizu Rokubei VII, an adopted artist from Aichi prefecture. A graduate of the Tokyo University of Fine Art, he was a trained sculptor specializing in, in addition to clay, media like metal, glass, wood, paper and photography. Rokubei studied in Italy from the 1969-1970, and was a common contributor to the Nitten (under the name Hiroshi) Receiving the Hokuto-sho prize there and later serving on the selection committee. He is also well known for sculptures. He succeeded the family name in 1987 and also used the name Kyubei. Kiyomizu Rokubei VIII, is now head of the kiln. For more on this important artist see Contemporry Clay, Japanese Ceramics for the New Century by Joe Earle, ISBN O-87846-696-7.

A phoenix flairs majestically out in minute detail on this large sometsuke vase by Nakamoto Chikuzan enclosed in the original signed wooden box. Written with an exacting hand, the bird is made up of hundreds of tiny strokes of the masters brush. Ordinarily we do not work with sometsuke however this is a powerful piece deserving exception. The vase is 13 inches (33 cm) tall and in perfect condition. Nakamoto Chikuzan I (1911-2000) cultivated his roots at the Tobe Industrial School before embarking on a remarkable career of research, revival and development, an artist credited with almost single handedly saving Tobe-Yaki from extinction. He was awarded innumerable praise including by the Imperial Family. He was most known for sometsuke porcelain decorated with classical scenery, but also worked in impressed and carved forms, and overglaze enamels. He was granted the Kyoiku-cho award in 1990, and this piece commemorates that auspicious occasion (as noted inside the box lid). A mosaic by Chikuzan 3 by 10 meters (10 by 30 feet) decorates the Tobe City Municipal Office building.

Enigmatic figures rise from concave discs on the front of this massive Tenmoku Vase by modern sculptural artist Ohi Toshiro enclosed in the original signed wooden box. The gourd shaped form is covered in a mottled red Kaki-yu spotted with flashes of black. The smooth evenly graduated sides contrast with the sharp rough edge of the opening, both surprising and pleasing. Signed clearly on the base, the vase is 14 inches (36 cm) tall, 9-1/2 inches (24 cm) diameter and in perfect condition. Toshiro was born in 1927, the first son of Ohi Chozaemon IX. He graduated the Tokyo University of Arts in 1949, and then returned for a short time to the family kiln. He has since been professor at a number of prestigious Japanese institutions. He has been a consistent exhibitor with the Nitten National Exhibition, and served as both judge and director there, as well as acting as judge for the Asahi Ceramics Exhibition. He was awarded the Japan Ceramics Society award in 1957. He was also granted the Art Academy Award of Japan, perhaps one of the most prestigious of all honors in this country in 1985. He has been actively exhibiting abroad since 1949, including North America, The former Soviet Union, most of Europe as well as in the Middle East. In 1983 a tea bowl made by Toshiro was given as a gift to the Emperor and it, as well as several subsequent pieces, are in the permanent collection of the Imperial Household Agency). He accepted the name of Ohi Chozaemon X in 1987. Since his reputation has only grown greater. There is a derth of information available on this artist.

A Shino bowl by modern pottery master Sato Katsuhiko enclosed in the original signed wooden box. Dark iron characters diffuse into the misty feldspar glaze, Mu (nothingness) on one side and a circle on the other. A bowl steeped in the tradition of Zen, it is slightly closed at the irregular rim to focus the aroma. The bowl is 4 inches (10 cm) tall, 4-1/2 inches (11.5 cm) diameter and in perfect condition. Katsuhiko is an eccentric artist, working aptly in not only pottery, but also painting and calligraphy. He was born in Manchuria in 1940, his family returning to Japan in 1947 to settle in Okayama. He formed his unique attitude toward life while on his deathbed with severe tuberculosis in 1960, and with an inner will which defied medical opinions, recovered to a full and healthy life through a practice of painting Buddhist images. Two years later he graduated university and became a teacher in a small village in Nara prefecture, home to some of Japans greatest Buddhist monasteries. He achieved fame with a collection of paintings nationally publicized, and later, after already having his oil, watercolor and calligraphic works privately exhibited at the Nara prefectural museum, he began potting under Tsujimura Shiro in 1974. He is truly a unique artist, broad based and with a joy which shines through all of his work. Much more could be written about this man, but I will leave that to be discovered by you.

We have been long searching after a larger vessel by Morihiro, and at last we have found one to offer. This is a peculiarly shaped vessel decorated with swirling designs in a fractured circle layed over impressed clay and enclosed in the original signed wooden box. The form is quite unique, the split circle motif actually falling from the center around the mouth to form the opposite side. Not apparent when viewing from the side but easily distinguished from above. It is signed on the base and measures 11 inches (28 cm) tall, 9-1/2 by 5 inches (24 x 13 cm) and is in perfect condition. Wada was born in Hyogo prefecture and apprenticed under Kyotos Tomimoto Kenkichi before moving to his current location in 1976. He has been displayed at the Nihon Togei Ten (National Ceramics Exhibition), Nihon Dento Kogei Ten (National Traditional Crafts Exhibition) Gold medal at the Florence International Ceramics Exhibition in 1980 as well as being dispayed at the Victoria Albert and Smithsonian as one representative of modern Japanese ceramics in 1983. He subsequently recieved the Japanese Ceramic Society Award in 1985, a very rare honor.

rta A bold work by 20th century potter Shimizu Jun enclosed in the original signed wooden box titled Red Rocet. The platter is 16 inches (40.5 cm) diameter, 2-1/2 inches (6 cm) tall and in perfect condition. Jun was born in Osaka in 1951, graduating the Osaka City Industrial Institute (Metalworking) in 1969, upon which time he moved to the Kyoto Ceramics Research Facility. Avoiding the political world of National competition, Jun concentrated on Local events as a forum for exposure, beginning with the Kyo-Ten (Kyoto Prefectural Art Exhibition) in 1971. Since 1979 works have been displayed at the Nihon Shin Kogei Ten (Japan New Crafts Exhibition). This piece dates circa that era.

Unusual in its use of a base pattern beneath the color, here is a large Kutani receptacle by Living National Treasure Tokuda Yasokichi (Masahiko) enclosed in the original signed wooden box. The tinge of yellow circling inside the rim is also a rare and highly sought feature in the artists work. The basin curves up, rising from a small foot with a steady graduation of both color and form inside and out, striking as it is perfect. The box is signed Masahiko, dating the piece prior to his succeeding the name Yasokichi in 1993. The basin is 18 inches (45.5 cm) diameter, 4 inches (10 cm) tall and in excellent condition. Designated Living National Treasure in 1997 for his supremacy in the use of Kutani glazes, Yasokichi, born Masahiko, has gone a step further than many National Treasures by broadening his spectrum with a new style of Kutani ware. Masahiko graduated from the Kanazawa school of arts, and took up apprenticeship under his father Yasokichi II. His works are held by many private collections, as well as the Polk museum and Kanazawa Contemporary Museum of Art.

Haunting shapes are scraped into the raw clay like some ancient Nazcan riddle on this huge ball vase by Sato Kazuhiko. The vase is 15-1/2 inches (40 cm) tall, 17 inches (43 cm) diameter and in excellent condition. There is no box. Kazuhiko (b. 1947) is a widely displayed artist and author of many books on the ceramic arts. For more information on this artist see Modern Japanese Ceramics in American Collections (1993). Due to size this piece will require special shipping consideration.

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.

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.

How to describe the texture on this very unusual vase? It is porous, like a thick coat of lichen on the surface. This is one of the many unusual pieces we have come to expect from the artist Koinuma Michio, ever a surprise! The body is sculpted with thick undulating lines in relief, and covered with this earth-toned porous glaze. It is 10 inches (26 cm) tall, 12 x 5-1/2 inches (31 x 14 cm) and is in excellent condition. It is stamped on the base by the artist and signed Koinuma Michio, S. 50 6 5 (June 5th 1975) Mashiko. The Kiri-wood box is not signed.
Michio is a compelling figure unique among contemporary artists. He seems to have no limit to his imagination and creativity, still dazzling us with new concepts after four decades. Born in the hectic war years in 1936, he is incredibly intelligent, graduating the economics department of Osaka University, then on to Waseda for graduate studies, one of the top three schools in Japan. Relinquishing that life he opened a kiln in Mashiko in 1970. Since 1978 he has been consistently displayed at the best galleries in Japan, as well as overseas. For more see Contemporary Japanese Ceramics Fired with Passion (ISBN -10: 1-891640-38-0) or To volume 10, which is dedicated entirely to him.

A spectacular Shino Vase in deep murasaki and white by Tamaoki Yasuo enclosed in the original signed wooden box. It is 11 inches (28 cm) tall, roughly the same diameter and in excellent condition. This piece is from the era in which Yasuo won the Japan Ceramic Society award (JCS) in 1979. Included is a catalog from Mitsukoshi Department Store and an advertisement for the Exhibition of JCS Award Winners.
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

A four sided vase in Aka-e design by important 20th century potter Kawamoto Goro enclosed in the original signed wooden box titled Aka-e Kamon Hanaike exhibited in 2001 and published in the book Kawamoto Rekitei, Goro, Taro, San-Dai-Ten (Three Generations of Kawamoto Family). It is 27.5 cm (11 inches) tall, 16 cm (6 inches) square and in excellent condition. The Book is included.
Kawamoto Goro (1919-1986) was born in Seto to a family of potters. He studied in Kyoto at the same institution as Kawai Kanjiro and Hamada Shoji. Returning to work at the family kiln, he was later adopted by Kawamoto Rekitei, a famous decorator of pottery. In 1953 he gained first recognition, accepted into the Nitten National Exhibition and garnering top prize at the Asahi Modern Ceramics Exhibition. In 1958 he would be awarded in Brussels, and in 1959 in California and at home was granted the 1959 JCS award, perhaps the most significant honor for a pottery in Japan. Much lauded in and after his lifetime, the list of awards is far too long for this article. Work by him is held in the Kyoto National Museum of Modern Art as well as the The National Museum of Modern Art, Tokyo among many others.

A rare set of Tokkuri by important artist Okabe Mineo enclosed in the original signed wooden box titled Seto-te Tokkuri. The shapes are twins, one in E-shino style with iron decoration under white feldspar, the other in austere Oribe green glaze. The flaring mouths are both ulled slightly creating a perfect pouring spout. They are 13 cm (5-/4 inches) tall, 7 cm (2-3/4 inches) diameter and in excellent condition.
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.

Scrafitto dots surround a pool of crackled glass deeply impressed into the ovoid form of this ko-tsubo by Yagi Kazuo enclosed in a wooden box signed by his son Yagi Akira. White slip appears haphazardly slapped on the body as with a wide brush, creating a vigorous dynamic, combined with the pointilized circle and abstract form, there is a tension which draws one into the belly of the work, certainly reflecting the best this important artist had to offer. It is 16.5 x 13 x 15 cm (6-1/2 x 5 x 6 inches) and in excellent condition. For a nearly identical piece see New Forms, New Voices (2017) p. 85.
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 wa 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.

An unusually large Tetsu-mon Vase by Ningen Kokuho Shimizu Uichi over 13 inches (33 cm) tall enclosed in the original signed wooden box. Dispersed over the pin-holed white glaze are diametrically opposed red and black iron dashes of color. A vase with huge presence. Shimizu Uichi (1926-2004) was born in Kyoto the son of a ceramic dealer. Discarding the family business he apprenticed in plastic arts under Ishiguro Munemaro. His work retains some principal elements of his teachers style while incorporating an understated elegance and avant-garde spirit of challenge uncommon for his time. He was first exhibited at the Nitten in 1951, receiving numerous awards there since. He also took the gold medal at the Prague International Exhibition, and was at the Brussels World Exposition. He is in the collection of the Tokyo National Museum, Kyoto Museum of Modern art and the Freer Gallery among others.

A stunning silver glazed Tokkuri by artist Kozuru Gen (b. 1938) in the original signed kiri wood box. The vase is completely covered in silver or platinum glaze with sansai like yellow and green in spontaneous crystalline dabs set in extra drippings of thick silver about the circumference. Countering this strength of character is faded orange, adding a subtle suggestion inside the mouth of the bulbous Tokkuri form. The vase, which dates circa 1980, is 7 inches (18 cm) tall. Gen has operated a kiln in both Fukuoka Japan as well as in Topsfield Massachusetts, and has participated in too many national and international exhibitions to mention. His work is held in the permanent collection of the Kyoto Museum of Modern Art among others.