Catalog (1092)

Brisk inky swirls have been struck into the milky white sides of this large bowl titled San-nin-mawashi Chawan (Teabowl for 3) by Shigemori Yoko enclosed in a signed wooden box. As would be expected of this artist, the work is spontaneous and energetic with no sense of caution or hesitation. The base is thick and solid, the entirety exuding a sense of confidence and strength. It is 15 cm (6 inches) diameter, 11.5 cm (4-1/2 inches) tall and in excellent condition, the box annotated by her nephew. In some traditions tea was made in a large bowl and passed from hand to hand, each person taking a sip. A bit like passing the mashed potatoes at Thanksgiving…
Shigemori Yoko (1953-2021) was born in Kagoshima. Yoko came to Kyoto where she initially studied painting at the Kyoto Tankidai Art College, then moved to ceramics at the Kyoto Municipal Art University where she studied traditional pottery techniques under Kondo Yutaka before entering advanced courses under Yagi Kazuo, graduating in 1979. Her first solo exhibitions were held while still a student, at Gallery Iteza in Kyoto. She eschewed the world of competitive exhibitions in favor of the intimacy of private galleries, and her list of solo exhibitions is expansive. She received the Yagi Kazuo prize in 1986 and 1988 at the Nihon Gendai Togeiten. She was one of five artists featured in Toh, volume 76, The first issue dedicated to Kyoto Potters. Toh was at the time the most in depth survey of important contemporary potters published in 1993. Her work is held in the collection of the Victoria and Albert Museum in London.

Red oxidation swirls among the crinkled white covering the sandy clay of this tea bowl by Hori Ichiro enclosed in the original signed wooden box. It is 11 cm (4-1/2 inches ) diameter 9.5 cm (3-3/4 inches) tall and in excellent condition.
Hori Ichiro (b. 1952) graduated the Tajimi School of Industrial Design and apprenticed under Kato Kozo. He has been awarded the Governors prize at the Asahi Ceramics Exhibtion, and has been displayed at the Chunichi Kokusai Togei Ten as well as Nihon Dento Kogei Ten. He says, “I believe in making pottery which is born of nature…”

Dark iron accents the rim of this mouse colored Shino vase by Hori Ichiro enclosed in the original signed wooden box titled Shino Hanaire. It is 26 cm (10-1/4 inches) tall and in excellent condition.
Hori Ichiro (b. 1952) graduated the Tajimi School of Industrial Design and apprenticed under Kato Kozo. He has been awarded the Governors prize at the Asahi Ceramics Exhibtion, and has been displayed at the Chunichi Kokusai Togei Ten as well as Nihon Dento Kogei Ten. He says, “I believe in making pottery which is born of nature…”

A covered box in red tinged shino glaze by Hori Ichiro enclosed in the original signed wooden box titled Nezumishino Tobako. The pin-holed thick white glaze appears to be licked by the shadows of the flames, and on one side the artists finger prints are clearly visible as four molten points. The way the reds move like vapor across the surface it is as if it is still on fire. It is 10 inches (28cm) long and in excellent condition.
Hori Ichiro (b. 1952) graduated the Tajimi School of Industrial Design and apprenticed under Kato Kozo. He has been awarded the Governors prize at the Asahi Ceramics Exhibtion, and has been displayed at the Chunichi Kokusai Togei Ten as well as Nihon Dento Kogei Ten. He says, “I believe in making pottery which is born of nature…”

A tsubo by Living National Treasure Tokuda Masahiko (Yasokichi III) enclosed in the original signed wooden box. It is 11cm (4 inches) diameter 27cm (11 inches) tall and in excellent condition.
Tokuda Yasokichi III (Masahiko, 1933-2009) was born the first son of Tokuda Yasokichi II who had been adopted as a teenager into the Tokuda family. Masahiko graduated from the Kanazawa school of arts, and took up apprenticeship under his grandfather and father Yasokichi I & II. Well versed in orthodox Kutani design, he broke with tradition developing his own unique style titled Saiyu in the 1970s. By broadening his spectrum with this new style of Kutani ware he garnered considerable attention. In 1986, he was named a Bearer of Important Intangible Cultural Assets by Ishikawa Prefecture (local version of Living National Treasure) and a decade later was designated Living National Treasure in 1997 for his supremacy in the use of Kutani glazes. Yasokichi III, His works are held by the Polk Museum, the Metropolitan Museum of Art New York, The British Museum, the Victoria & Albert Museum, the Smithsonian, the Indianapolis Museum of Art and Kanazawa Contemporary Museum of Art among many others.

A playful sculpture which challenges the viewers perception by Hayashi Yasuo enclosed in the original signed wooden box titled simply Sakuhin (work). It is 12.5 x 9 x 12.5 cm and in perfect condition. According to a description of a similar work in the collection of the Met: Hayashi’s series of black and gray coil-built trompe l’oeil “boxes,” a group that was inspired by his experience flying without lights at night as a kamikaze pilot... this work presents new ways of looking at three-dimensional forms. Hayashi trained in the Japanese style of painting prior to World War II. After the war he became fascinated by avant-garde Western artists, including Pablo Picasso, whose work influenced his early ceramics. He then developed the spare, abstract style that characterizes his mature art. The artist created this piece’s surface patterning by masking certain areas and using an atomizer of his own design to spray glaze onto the stoneware before firing.
Hayashi Yasuo was born in Kyoto in 1928, son of a potter. He began to study traditional painting in 1940, but his studies were interrupted by the Second World War. Folowing the conflict and discharge from the military, he began making pottery, helping to found the Shikokai ceramic society of avant-garde ceramicists in 1947. His artistic career is daunting, and much too long to put into this brief introduction including many awards both domestic and abroad (Italy, France, Portugal, Canada, Australia, New Zealand…). Also he has been the focus of solo exhibitions in some of the most important galleries throughout the Japanese archipelago as well as the United States, Australia and Germany. He is held in the collection of the Museum of Art & Design, New York, Everson Museum of Art, New Orleans Museum of Art, Minneapolis Institute of Art, National Gallery of Australia, National Ceramic Museum Sevres in France, Vallauris Ceramic Museum, Museum of Modern Art, Faenza International Ceramics Museum, Museum of Decorative Art, Prague, Victoria & Albert Museum in London, Seoul Metropolitan Museum in South Korea, National Museum of Modern Art, Tokyo, National Museum of Art, Osaka, National Museum of Modern Art, Kyoto, Kyoto Municipal Museum of Art, Hokkaido Museum of Modern Art and Museum of Contemporary Ceramics in Shigaraki among many others.

This is a seminal work by the most legendary figure in Shino today, Hayashi Shotaro, in his signature Manyosai glaze with incredible color patterns enclosed in the original singed wooden box complete with wrapping cloth and name card (Shiori and Shifuku). It is huge at 53.5 x 10 x 24.5 cm (21 x 4 x 9-3/4 inches) and in perfect condition. Very Heavy!
Due to size the cost of shipping will be accrued separately.
Hayashi Shotaro (b. 1947) is one of the biggest names in contemporary Mino ceramics. Although initially entering regular employment upon graduating high school, in 1967 he returned to Toki city to help his brother Kotaro. Very quickly within him was born the urge to create. He won the highest award at the Gifu Prefectural Art Exhibition in 1968, and from there his talent blossomed. He established his own kiln in 1974. Since then his list of exhibitions and awards has been amazing, including the Nihon Dento Kogei Ten (National Traditional Arts and Crafts Exhibition), Governors Prize and five times winner of Best of Show at the Asahi Togei Ten (Asahi Ceramics Exhibition), and Best of Show at Gifu Prefectural Exhibition. At the Mino Ceramics Exhibition, in addition to the highest award, the Mino Ceramics Award, he has received all three major awards, including the Shoroku Award and the Kobei Award.

A set of five exquisite bowls covered entirely in silver glaze enclosed in the original signed wooden box titled Ginsai Kobachi Zen. They have been created in a manner with raw clay outside, glazed within, causing the silver texture to be matt outside, with an earthy feel, while the inside is smooth and glossy. Each is roughly 10 cm (4 inches) diameter, 5 m (2 inches) tall and all are in excellent condition.
Yamada Akira was born in Kyoto, son of Sodeisha founding member Yamada Hikaru, in 1964 and finished initial training at the Kyoto Prefectural Ceramics Vocational Training School in 1983, graduating the following year from the Kyoto City Industrial Ceramic Research Institute. In 1986 he was selected to exhibit at the Asahi Modern Craft Exhibition, Japan Craft Exhibition and Asahi Ceramics Exhibition. He held his first solo show in 1993 has had a plethora of solo exhibitions in some of Japa’s top galleries since. In 1994 his work traveled to France and New Zealand and he was selected for exhibition in China in 2000, Seoul Korea in 2003 and Singapore in 2006. In 2009 he would take part in Utsuwa to Katachi (Vvessels and Shapes) Part 1 at the Shiga Prefectural Ceramic Art Museum. And in 2010 was a finalist for the Paramita Ceramics Taisho Award Exhibition at the Paramita Museum. In Mie, one of the most progressive exhibitions in Japan.

A ghostly white crackle-glazed chawan by Living National Treasure Shimizu Uichi enclosed in the original signed wooden box titled Hakuyu Chawan (White Glazed Tea Bowl). It is 12.5 cm (5 inches) diameter10 cm (4 inches) tall and in excellent condition. It comes wrapped in a silk crepe pouch and retains the original artists shiori.
Shimizu Uichi (1926-2004) was born in Kyoto the son of a ceramic dealer. Discarding the family business, he apprenticed in plastic arts under future Living National Treasure 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, Clark Center and the Freer Gallery among many others.

An exquisite vessel in white with elegant stripes of soft color by hard to find Niwa Ryochi enclosed in the original signed wooden box titled Senmon Tsubo. There is a palpable grace to the piece which seems to reflect the Japanese appreciation of silence and shadows. It is 27.5 cm (11 inches) diameter, 33 cm (13 inches) tall and in excellent condition. Hirashimizu-yaki started when the Lord Niwa Jizaemon, invited Tojihei Ono, a potter from Ibaraki, to make pottery using clay from Chitoseyama during the Bunka era of the late Edo period. There are four kilns in operation today. During the Bunsei era (1818-1829) Abe Kakuzaemon of the Soma clan visited here, built a kiln, and spread the techniques of Soma-yaki pottery, which contributed to Hirashimizu becoming a large pottery-producing area. During the middle of the Meiji period (late 19th century) when the area was enjoying its most prosperous time, over 30 kilns were in operation. Today only 4 exist. Niwa Ryochi was born in Yamagata in 1931. In 1946 he entered apprenticeship at the Ryusen kiln, and due to circumstance, became 4th head of the kiln in 1950. He has exhibited at the Kofu-Kai, and Nihon Dento Kogeiten National Traditional Crafts exhibition as well as at many of Japans top galleries.

a ghostly bowl in the shape of a curled leaf, a wash of thin black accentuating the folds in the hadn formed clay by Shigemori Yoko enclosed in a wooden box titled Happa-bachi (Leaf Bowl). It is slab formed, one of her favorite methods, covered in black then washed down revealing the clay under a thin fog of black, which has remained in the crevices. It measures 15 x 19 x 9.5 cm (6 x 7-1/2 x just under 4 inches) and is in excellent condition, directly from the artist’s family, the box signed inside by her brother Naoki.
Shigemori Yoko (1953-2021) was born in Kagoshima. Yoko came to Kyoto where she initially studied painting at the Kyoto Tankidai Art College, then moved to ceramics at the Kyoto Municipal Art University where she studied traditional pottery techniques under Kondo Yutaka before entering advanced courses under avant-garde Yagi Kazuo, graduating in 1979. Her first solo exhibitions were held while still a student at Gallery Iteza in Kyoto. She eschewed the world of competitive exhibitions in favor of the intimacy of private galleries, and her list of solo exhibitions is expansive. She received the Yagi Kazuo prize in 1986 and 1988 at the Nihon Gendai Togeiten National Modern Ceramics Exhibition. She was one of five artists featured in Toh, volume 76, the first issue dedicated to Kyoto potters. Toh was, at the time

A Tea Pot by Hattori Tatsuya enclosed in the original signed wooden box titled Ginsai Pot alongside a small doodle of the tea pot itself. It is 15 x 11 x 10 cm (6 x 4-1/4 x 4 inches) and in excellent condition, from the artist this past winter. He is a master of silver glazes, and his forms, especially his tea pots, are very popular and generally sell out quickly, we are lucky to be able to offer one.
Hattori Tatsuya was born in Tajimi, home of Shino and Oribe wares, in 1978 and was raised in the vibrant pottery scene of that region. However, he had no interest in pottery until after graduating with a degree in business from university. Taking a hiatus from studies and work, he stumbled onto the path of the potter by accident (or was it fate). He entered the Tajimi Ceramics Research Facility, graduating in 2004. His work was selected fr display at the Mashiko Ceramic Art Exhibition and Asahi Togeiten Ceramics Exhibition that year. He took a position as a ceramic designer at a local company, working nights and weekends on his own art and promoting himself in the off hours until he felt he could afford to devote himself completely to the wheel. At first he concentrated on making decorative works, but soon began moving steadily toward functional vessels, enjoying the dialog between the work and the user.

Vibrant colors and glistening gold decorate this leaf shaped sculpture by Matsuda Yuriko enclosed in the original signed wooden box titled HASU (Lotus Leaf). It is roughly 37 cm (15 inches) diameter and in excellent condition.
Matsuda Yuriko was born in Ashiya, Hyōgō Prefecture in 1943nd lives and works in Oshino, Yamanashi Prefecture. Yuriko is an avid exhibitor; it is a wonder she has time to do any work at all. Both within Japan (Nihon Togei Ten, Gendai Togei Ten etc.) and without she has an impressive list of exhibitions in a host of countries. She received the Yagi Kazuo prize in 1986 among many others. According to the book “Touch Fire”, Many of the women artists included in this exhibition are independent innovators who work outside the constraints of Japanese ceramic traditions. However, several of the artists, including Matsuda Yuriko, continue to use traditional techniques with skills that rival, if not exceed, those of their predecessors, and in doing so they create new and challenging contemporary ceramic art. They reinterpret the traditional decorative technique for porcelain vessels, called iro-e over-glaze enameling, and transposes its motifs onto nonfunctional objects. Her beautifully enameled iro-e porcelain sculptures are witty odes to two favorite subjects: the female body and Mount Fuji. For more information on this artist and examples of her work see the books Contemporary Japanese Ceramics, Fired with Passion by Beatrice Chang and Samuel Lurie. Also see Contemporary Clay, Japanese Ceramics for the New Century based on the Museum of Fine Arts Boston exhibition or Soaring Voices, Contemporary Japanese Women Ceramic Artists (2010). Her work is also currently on tour with the Radical Clay Exhibition at the Art Institute of Chicago.

A modern interpretation of the six sided shuki popular in ki-seto from the Momoyama period, this in white Raku by Hashimoto Tomonari enclosed in the original signed wooden box titled Shiro Raku Guinomi. The fire blackened (originally white) clay sets off the thick white glazze like winter snow receding from garden stones. It is 6 cm (2-3/8 inches) across, the same height and in excellent condition, directly from the artist this year.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. He is held in the collection of the V&A London and Los Angeles County Museum.

A crystal shaped sculpture of dark faceted sides upon which rust and charred colors cloud the surface by Hashimoto Tomonari enclosed in the original wooden box titled “Untitled”. It is 32 x 23.5 x 24 cm and is in excellent condition, directly from the artist.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. Work by him is held in the V&A in London, another piece has entered LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

An exquisite work of art like an opalized tear drop by Hashimoto Tomonari enclosed in the original signed wooden box. It is 54 cm (21-1/2 inches) tall, 26 cm (10 inches) diameter and in perfect condition.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

A galactic river flows across the top of this beautiful sculpture by Hashimoto Tomonari enclosed in the original signed wooden box titled simply: Untitled. It is 29.5 cm (just under 1 foot) in diameter, 21 cm (8 inches) tall and in excellent condition, directly from the artist.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. Work by him is held in the V&A in London, Los Angeles County Museum of Art, Houston and a large sculpture has recently been installed in his home prefecture of Wakayama.

Irridescent red and silver tinges rise up like some deep space cloud on the meteoric surface of this wan-gata (bowl shaped) Raku chawan by Hashimoto Tomonari enclosed in the original signed wooden box titled Raku Yaki Kohen Chawan. It is 13 cm (5 inches) diameter, 15 cm (4 inches) tall and in excellent condition, directly from the artist.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. Work by him is held in the V&A in London, another piece has entered LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama. Get pieces by him while you can!