Catalog (1084)

A white porcelain vessel by Sakurai Yasuko permeated with holes in a style typical of her work. It is 16 cm diameter, 8 cm tall and in excellent condition enclosed in a paper box. According to the Met: Sakurai Yasuko first studied ceramics in Kyoto, before becoming an artist in residence in Shigaraki, and then in Limoges, France. She makes perforated, unglazed, white porcelain forms that are studies in light and shadow. These forms are created around bundles of mold-cast porcelain tubes and then connected by clay and slip.
The artist is known for her challenge of light and dark, and this sculpture with its play through holes is a quintessential example of this, the light and dark accenting each other through the patterns cut into the body. Her work is held in the collections of the Metropolitan Museum of Art New York, the Boston Museum of Fine Arts, the Victoria & Albert Museum in London, the Shiga Prefectural Togei no Mori Museum, the International Ceramics Museum in Florence, the Paramita Museum, among many others. For more see Touch Fire, Contemporary Japanese Ceramics by Women Artists, 2009.

A large broad-footed bowl with precipitous sides covered in black matte glaze by Shigemori Yoko enclosed in a signed wooden box titled Kuro-yu Utsuwa (Black-glazed Vessel) The surface is richly textured, with a slight outward curve at the rim over a raw line scored into the surface. Windows of light like the moon fighting its way through the stormy autumn sky break through the darkness. It is 14 cm (5-3/4 inches) diameter, 10.5 cm (4-1/4 inches) tall and in excellent condition. The box is annotated 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

Ash simply blankets this vessel by Koyama Kiyoko enclosed in the original signed wooden box titled Shigaraki Shizen-yu Tetsuki Hanaire. It is 29 cm (just less than 12 inches) tall, roughly 5 inches diameter and in excellent condition.
Koyama Kiyoko was born in Sasebo, Nagasaki in 1936. Following the second world war the family moved to Shiga prefecture, eventually settling in the pottery village of Shigaraki. She took a job as a ceramic painter's assistant at a young age. In 1954 she began to work as a pottery decorator in Shigaraki under Nakashima Takamitsu. Later she moved to Kyoto to study Kenzan ware and Sometsuke under Yoshitake Eijiro. Aged 27 she began working in earnest in clay and studying clay technique under Misawa Kenzo. Enthralled by an ancient pot shard with natural blue ash glaze, she sought to recreate this effect in modern times, building her own kiln and repeatedly firing, searching for that magic point, but slowly pushing the family toward insolvency. Not only was she attempting to break barriers with the pots she created, but she was forced to break barriers in a male dominated world where women were prohibited from the wood fired kiln as unworthy. She did have her supporters of course, and with their help and persistence and ever longer firings she eventually succeeded in finding that blue. Kiyoko has a list of shows and prizes which would fill pages, including the Nihon Dento Kogei Ten Traditional Crafts Exhibition, Nihon Togei Ten Ceramic Exhibition, the Asahi Togei Ten Ceramics Exhibition as well as many international exhibitions. Her son Koyama Kenichi (1961-1992) worked to take over the family kiln, but succumbed to Leukemia after a long fight. Their story is the subject of the film Hi-Bi (2005) and the recent NHK television drama Scarlet. She is the preeminent pioneering female wood firing artist in Japan, and bore the brunt of centuries of discrimination against women. Through it all she persevered to become one of the most highly sought of Shigaraki potters. For more on her works see Modern Japanese Ceramics in American Collections, Japan Society New York, 1993. Unfortunately she passed away just two weeks before this show started.

An organic form of striated growth by Yamaguchi Mio enclosed in the original signed wooden box. It is created by forming hundreds of small petals and slowly building up the form, in the same way that nature would grow barnacles on a rock, one at a time, expanding slowly, over eons. Many of her works are quite large, this is manageable in size at 21 x 17 x 27 cm tall (8 x 7 x 10-3/4 inches) and is in excellent condition, from the artist this year.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at University, her works were selected for show at the Joryu Togei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11 International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in 2020. I feel that my fascination towards the natural world’s use of repetition, in beehives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.

Enigmatic script rises like fingerprints from the surface of this vertical black monolith by Shigemori Yoko dating from quite early in her career titled Autumn Field. The piece is slab-formed, the slabs pressed over a surface inscribed with mysterious scrawling and texts, one feels it possible to read, but it proves elusive. Like much of her work it is raw, Like garage band music. There is no other decoration, a powerful statement which staggers to one side. It is 14 x 17 x 40 cm (7 x 6 x 16 inches) and is in excellent condition.
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

Lightning splits the roiling clouds inside this silver glazed sake cup by Nakashima Katsuko enclosed in the original singed wooden box titled simply Hai. The inside is smooth porcelain decorated in blue and gold, while outside nubs lie under the silver, entertainment for the fingers while drinking. It is 6.5 cm (2-1/2 inches) diameter and in excellent condition, directly from the artist.
Nakashima Katsuko graduated the Osaka School of Art and Design and first garnered attention with a silver prize at the Nihon Tojiki Ceramics Design competition in 1984. Her works have been selected for display and awarded at the Asahi Gendai Kogeiten Contemporary Craft Exhibition (awarded 1997), Mino International Ceramics Festival (Bronze award 1998) , Gyeonggi-do International Ceramics Exhibition, Korea, Gold prize in 2003 and Grand Prize at the Kobe International Ceramics Competition among a host of others.

Everything she creates seems to be bubbling with joy, here a second bowl of joyful flowers in blue and gold by Nakashima Katsuko enclosed in the original signed wooden box titled Hana no wan. It is 15 cm (6 inches) diameter, 8.5 cm (3-1/4 inches) tall and in excellent condition, directly from the artist.
Nakashima Katsuko graduated the Osaka School of Art and Design and first garnered attention with a silver prize at the Nihon Tojiki Ceramics Design competition in 1984. Her works have been selected for display and awarded at the Asahi Gendai Kogeiten Contemporary Craft Exhibition (awarded 1997), Mino International Ceramics Festival (Bronze award 1998) , Gyeonggi-do International Ceramics Exhibition, Korea, Gold prize in 2003 and Grand Prize at the Kobe International Ceramics Competition among a host of others.

An elegant bowl swept in a Zen circle of ink by Shigemori Yoko, the vessel evidencing several dips in white slip, creating a captivating sensibility which contests the simplicity of the coloration. It is 14 cm diameter, 8 cm tall and in perfect condition, directly from the artist’ family and comes enclosed in a wooden box annotated by her nephew.
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

Clouds cling to the slopes of this large ceramic container in the shape of Mt. Fuji by Matsuda Yuriko enclosed in the original signed wooden box titled Fujisan. It is 41.5 x 15.5 x 41.5 cm (16-1/4 x 6 x 16-1/4 inches) and is 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.

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 deep wan-gata bowl swept with swirling Zen brush-strokes over earthen glaze by veteran female artist Shigemori Yoko enclosed ina wooden box titled O-Chawan (Big Tea Bowl). It is 13.5 cm (5-1/4 inches) diameter, 9.5 cm (just less than 4 inches) tall and in perfect condition, directly from the artist’ family and comes enclosed in a wooden box annotated by her nephew.
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 covered container made as an incense burner by Koyama Kiyoko slabbed and cored from Shigaraki clay and covered in glassy green motlen ash enclosed in the original signed wooden box. It is 13.5 cm (5-1/2 inches) diameter, roughly the same height and in excellent condition.
Koyama Kiyoko was born in Sasebo, Nagasaki in 1936. Following the second world war the family moved to Shiga prefecture, eventually settling in the pottery village of Shigaraki. She took a job as a ceramic painter's assistant at a young age. In 1954 she began to work as a pottery decorator in Shigaraki under Nakashima Takamitsu. Later she moved to Kyoto to study Kenzan ware and Sometsuke under Yoshitake Eijiro. Aged 27 she began working in earnest in clay and studying clay technique under Misawa Kenzo. Enthralled by an ancient pot shard with natural blue ash glaze, she sought to recreate this effect in modern times, building her own kiln and repeatedly firing, searching for that magic point, but slowly pushing the family toward insolvency. Not only was she attempting to break barriers with the pots she created, but she was forced to break barriers in a male dominated world where women were prohibited from the wood fired kiln as unworthy. She did have her supporters of course, and with their help and persistence and ever longer firings she eventually succeeded in finding that blue. Kiyoko has a list of shows and prizes which would fill pages, including the Nihon Dento Kogei Ten Traditional Crafts Exhibition, Nihon Togei Ten Ceramic Exhibition, the Asahi Togei Ten Ceramics Exhibition as well as many international exhibitions. Her son Koyama Kenichi (1961-1992) worked to take over the family kiln, but succumbed to Leukemia after a long fight. Their story is the subject of the film Hi-Bi (2005) and the recent NHK television drama Scarlet. She is the preeminent pioneering female wood firing artist in Japan, and bore the brunt of centuries of discrimination against women. Through it all she persevered to become one of the most highly sought of Shigaraki potters. For more on her works see Modern Japanese Ceramics in American Collections, Japan Society New York, 1993

A crumpled news print from the New York Times dated 82-5 by pioneering Ceramic Sculpture Icon Mishima Kimiyo enclosed in the original signed wooden box. It is 25 x 14 x 13.5 cm (10 x 5-1/2 x 5-1/2 inches) and is in excellent condition.
Mishima Kimiyo was born in Osaka in 1932, and began her artistic career as a painter in the early 1960s. She started making collages with newspapers, discarded waste papers from printing companies, and old movie posters. As the materials she used for her collages accumulated in her studio, she came upon the idea to make her iconic newspaper-shaped ceramics. She said, "I thought that if I changed the newspaper's paper into ceramics, it might express a sense of impending crisis or instability regarding 'information'." She was awarded the Ja@an Ceramics Society Gold Award in 2021, testament to her contributions and to the progressive nature of the JCS. The list of institutions holding her work is formidable and includes the National Museum of Modern Art in Kyoto, the Kyoto Municipal Museum of Art, the Metropolitan Museum of Art in Tokyo, Musee Cernoschi, Paris, the Museum of Faenza in Italy, the Ariana Museum in Geneve, the Keramion Museum for Contemporary Ceramic Art in Germany, the Art Institute of Chicago, the Minneapolis Institute of Arts, the Everson Museum of Art in New York, the Ohara Museum of Art, Okayama, the Shigaraki Ceramic Cultural Park, the Gifu Prefectural Contemporary Ceramic Museum of Art and Benesse Art Site on Naoshima among many others.

Enigmatic Blue Lines like the singsong lilt of twilit vespers jag rhythmically across the surface of this deep bowl by Shigemori Yoko enclosed in a wooden box titled simply Ao-sen Hachi (Bowl with blue lines). It is slightly misshapen, as she almost always purposely off-threw her work, giving it a sense of dynamism. The bowl is 17.5 cm (7 inches) diameter, 9 cm (3-1/2 inches) deep and in excellent condition, enclosed in a box annotated 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

An elongated bowl playfully decorated in vivid color by Matsuda Yuriko enclosed in the original signed wooden box titled Zukini Nagabachi. It is 49 x 16 x 7.5 cm (19-1/2 x 6 x 3 inches) and is in excellent condition.
Matsuda 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. 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).

A polished gypsum sculpture reminiscent of the matte works of Nigoshide ceramics from her home prefecture by Sugano Chi enclosed in a swooden box titled Akerakan and featured in the book Sugano Chii (published 1997). It is 16 x 14.5 x 16 cm (6-1/4 x 4-3/4 x 6 inches) and is in excellent condition.
Sugano Chii was born in Saga Prefecture in 1909, on the Southern Island of Kyushu, and graduated the prefectural Saga Prefectural Ogi Girls School in 1927 before being accepted in the Tokyo Women’s Art School (Mod. Womens Art University) Western Painting Department in 1931. The following year she began working for The Shochiku Movie Studios where she would remain throughout the war years. In 1944 she took a position as art director at the Sansui Schools (mod. Toho Gakuen). In 1949 her work was accepted into the Sculpture Division of the Nika-ten and would first be awarded there in 1955. In 1957 she would be one of 13 people chosen for the Bijutsu Hihyo Art Publication. That same year she held an exhibition in cohorts with photographer Takuya Tsukahara at the swank Ginza: Ichibankan Gallery. In 1969 she becomes a permanent member o the Nikakai. In 1986 "Acceptance III" exhibited at the Spring Nikakai Exhibition is permanently displayed at the National Productivity Bureau NPB Building in Singapore. In 1991 she began production of the “Love and Melancholy” series in the wake of the Gulf War. In 1994 she was awarded for the work “Memories of the Earth” exhibited at the Spring Nikakai.

A polished mixed-media sculpture by Sugano Chii enclosed in a wooden box titled Kaetekita Akerakan (Akerakan Returned) featured in the book Sugano Chii (published 1997). It is 21 x 17 x 21 cm (8-1/4 x 7 x 8-1/4 inches) and is in excellent condition.
Sugano Chii was born in Saga Prefecture in 1909, on the Southern Island of Kyushu, and graduated the prefectural Saga Prefectural Ogi Girls School in 1927 before being accepted in the Tokyo Women’s Art School (Mod. Womens Art University) Western Painting Department in 1931. The following year she began working for The Shochiku Movie Studios where she would remain throughout the war years. In 1944 she took a position as art director at the Sansui Schools (mod. Toho Gakuen). In 1949 her work was accepted into the Sculpture Division of the Nika-ten and would first be awarded there in 1955. In 1957 she would be one of 13 people chosen for the Bijutsu Hihyo Art Publication. That same year she held an exhibition in cohorts with photographer Takuya Tsukahara at the swank Ginza: Ichibankan Gallery. In 1969 she becomes a permanent member o the Nikakai. In 1986 "Acceptance III" exhibited at the Spring Nikakai Exhibition is permanently displayed at the National Productivity Bureau NPB Building in Singapore. In 1991 she began production of the “Love and Melancholy” series in the wake of the Gulf War. In 1994 she was awarded for the work “Memories of the Earth” exhibited at the Spring Nikakai.

Thick ash clings to the rough clay of this classical open flower vessel by Koyama Kiyoko enclosed in the original signed wooden box titled Shigaraki Shizen Yu Te-oke Hana-ire. It is 20 x 17.5 x 23.5 cm (8 x 7 x 9-1/4 inches) and in excellent condition.
Koyama Kiyoko was born in Sasebo, Nagasaki in 1936. Following the second world war the family moved to Shiga prefecture, eventually settling in the pottery village of Shigaraki. She took a job as a ceramic painter's assistant at a young age. In 1954 she began to work as a pottery decorator in Shigaraki under Nakashima Takamitsu. Later she moved to Kyoto to study Kenzan ware and Sometsuke under Yoshitake Eijiro. Aged 27 she began working in earnest in clay and studying clay technique under Misawa Kenzo. Enthralled by an ancient pot shard with natural blue ash glaze, she sought to recreate this effect in modern times, building her own kiln and repeatedly firing, searching for that magic point, but slowly pushing the family toward insolvency. Not only was she attempting to break barriers with the pots she created, but she was forced to break barriers in a male dominated world where women were prohibited from the wood fired kiln as unworthy. She did have her supporters of course, and with their help and persistence and ever longer firings she eventually succeeded in finding that blue. Kiyoko has a list of shows and prizes which would fill pages, including the Nihon Dento Kogei Ten Traditional Crafts Exhibition, Nihon Togei Ten Ceramic Exhibition, the Asahi Togei Ten Ceramics Exhibition as well as many international exhibitions. Her son Koyama Kenichi (1961-1992) worked to take over the family kiln, but succumbed to Leukemia after a long fight. Their story is the subject of the film Hi-Bi (2005) and the recent NHK television drama Scarlet. She is the preeminent pioneering female wood firing artist in Japan, and bore the brunt of centuries of discrimination against women. Through it all she persevered to become one of the most highly sought of Shigaraki potters. For more on her works see Modern Japanese Ceramics in American Collections, Japan Society New York, 1993

An ash glazed vase with elongated neck by Koyama Kiyoko enclosed in the original signed wooden box titled Shigaraki Shizen-yu Tsurukubi Hanaire. It is 22.5 cm (9 inche) tall, 18.5 cm (7-1/4 inches) diameter and in excellent condition.
Koyama Kiyoko was born in Sasebo, Nagasaki in 1936. Following the second world war the family moved to Shiga prefecture, eventually settling in the pottery village of Shigaraki. She took a job as a ceramic painter's assistant at a young age. In 1954 she began to work as a pottery decorator in Shigaraki under Nakashima Takamitsu. Later she moved to Kyoto to study Kenzan ware and Sometsuke under Yoshitake Eijiro. Aged 27 she began working in earnest in clay and studying clay technique under Misawa Kenzo. Enthralled by an ancient pot shard with natural blue ash glaze, she sought to recreate this effect in modern times, building her own kiln and repeatedly firing, searching for that magic point, but slowly pushing the family toward insolvency. Not only was she attempting to break barriers with the pots she created, but she was forced to break barriers in a male dominated world where women were prohibited from the wood fired kiln as unworthy. She did have her supporters of course, and with their help and persistence and ever longer firings she eventually succeeded in finding that blue. Kiyoko has a list of shows and prizes which would fill pages, including the Nihon Dento Kogei Ten Traditional Crafts Exhibition, Nihon Togei Ten Ceramic Exhibition, the Asahi Togei Ten Ceramics Exhibition as well as many international exhibitions. Her son Koyama Kenichi (1961-1992) worked to take over the family kiln, but succumbed to Leukemia after a long fight. Their story is the subject of the film Hi-Bi (2005) and the recent NHK television drama Scarlet. She is the preeminent pioneering female wood firing artist in Japan, and bore the brunt of centuries of discrimination against women. Through it all she persevered to become one of the most highly sought of Shigaraki potters. For more on her works see Modern Japanese Ceramics in American Collections, Japan Society New York, 1993. Unfortunately, she passed away just two weeks before this show began.

Burgeoning grapes in vivid gold decorate this pure white bowl by Ono Hakuko enclosed in the original signed wooden box titled Hakuji Kinrande Chawan. It is 13.3 cm (over 5 inches) diameter, 7.2 cm (3 inches) tall and in excellent condition.
From Aichi prefecture, Ono Hakuko was trained by her father initially in the ceramic arts. However, she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japans most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics by Women Artists (2009)

A huge porcelain vase in shattered gold by legendary porcelain artist Ono Hakuko enclosed in the original signed wooden box titled Yuri Kinsai Tsubo ‘Kagayaku’ (Shine). It is 37.5 cm (15 inches) tall 25 cm (10 inches) diameter and in excellent condition. From Aichi prefecture, Ono Hakuko was trained by her father initially in the ceramic arts. However, she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japans most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics by Women Artists (2009)

Playful imagery shines vibrant on this white porcelain tea bowl by female artist Takahashi Aki enclosed in the original signed wooden box titled Gold Sai Chawan. It is 12 cm (5 inches) diameter, 8 cm (3 inches) tall and in excellent condition.
Takahashi Aki was born in Kyoto in 1976 and graduated from Saga prefectural Arita College of Ceramics in 1999. In 2003 she was first awarded at the the 2nd Developing Young Artist Craft Competition, before going on to further study. In 2006 she completed training at the Kyoto prefectural Polytechnic School of Ceramics. She has since been selected for The Takaoka Craft Competition, then the Itami International Craft Competition as well as the Tanabe Contemporary Tea ceremony Exhibition. In 2012 her work was featured in the Kagayaki e no Shotai exhibition in Takashimaya Kyoto store, and the following year at the Japan-Korea Ceramic art Exchange (Gyeongsangbuk-do). Again in 2016 she was exhibited in the Gyeonggi Arts Center.

A striking wide dish in crystal clear colors by celebrated female artist Tokuda Yasokichi IV enclosed in the original signed wooden box titled Sekirei Akari (Red Light). Th inclusion of red is quite unusual for this artist. The dish is 27.5 cm (11 inches) diameter, 4.5 cm (just less than 2 inches) tall and in excellent condition.
Tokuda Junko (Yasokichi IV) was born the first child of future Living National Treasure Tokuda Masahiko in 1961. While on a trip to the United States in her mid-20s, the young Tokuda came across a pot from Jingdezhen, China and drew her back to the fold of the family tradition. She graduated from the Institute for Kutani in 1990 and embarked on her path as an artist. Succeeding the family name in 2010 upon the passing of her father, Junko is one of very few female heads of traditional potting family.

Brilliant colors are blended into the layeres of clay forming this fabulous vessel by Matsui Koyo enclosed in the original signed wooden box titled Ryohai-yu Neriage Saihamon Tsubo. It is roughly 29 cm (just less than 12 inches) diameter and in excellent condition.
Matsui Koyo was born in the pottery village of Kasama, son of future Living National Treasure Matsui Kosei, in 1962. He graduated in sculpture from the University of Tsukuba in 1985, then began potting under his father at his Gessouji Studio. Work by Koyo has been selected for show and or awarded at the Nihon Dento Kogeiten National Traditional Crafts Exhibition, Nihon Dento Shin Kogeiten National Traditional New Crafts Exhibition and Nihon Togeiten National Ceramics Exhibition.

A perfect example of the work of this influential artist, in a rare size which is perhaps a bit more accessible to most collectors than his usual monumental sculptures. In this case he has created it with a combination of blue and sliver dots decorating the bulbous protrusions. Signed on bottom, it is 36 x 19 x 23 cm (14 x 7-1/2 x 9 inches) and is in excellent condition, directly from the artist.
Nakashima Harumi was born in Gifu prefecture, home of a long ceramic tradition, in 1950. He studied at the Osaka University of Art and Design, graduating advanced studies there in 1973. Deeply influenced by the Avant garde Sodeisha group and specifically the work of his mentor Kumakura Junkichi, he set out not to create works that sell, but to create works which met some inner need. After several years in Shigaraki, he moved to Tajimi, near his hometown, in 1976, accepting a position at the Tajimi City Pottery Design and Technical Center where he would remain employed until becoming head of the ceramics department at the Aichi Prefectural University of Education in 2003 where he would mentor a great many young artists who are now stars in the contemporary pottery realm (Hattori Makiko, Tanaka Tomomi etc). He was recipient of the prestigious Japan Ceramics Society Award in 2010. From 2014 he has served as head of the Ishoken Ceramics Research facility. Work by him is held in the National Museum of Modern Art in Tokyo, 21st century Museum of Art in Kanazawa, Ibaragi Ceramic Art Museum, Aichi Prefectural Ceramic Museum, Museum of Modern Ceramic Art in Gifu, Victoria and Albert Museum in London, Everson Museum of Art New York, Museum of Art and Design New York, The International Museum of Ceramics in Faenza in Italy, Hetjens Museum in Germany, as well as the China Ceramic Art Center in Shangyu and Tsinghua University in Beijing, among many others.

Stratified layers fold over in a timeless rhythm on this covered box by Izumita Yukiya enclosed in the original signed wooden box titled Sekisoh Futamono. The laminated layers and uneven kiln texture folded over and over again, create a unique cadence on the baked earth which offers the viewer both urbanity and a view of the wilderness that resembles the strata of the earth. If one has ever walked the shoreline of Iwate where this artist lives, the influence is clear. The receptacle is 28 x 19 x 4 cm (11 x 7-1/2 x 1-3/4 inches) and is in excellent condition, directly from the artist. Izumita Yukiya was born in 1966 in Rikuzentakat, Iwate Prefecture, and studied potting technique at the Kokujiyaki Kilns under Shimotakke Gakuho. He opened his own kiln in 1995 in Noda Village. In 1998 he began firing in an Anagama hole kiln. He has an impressive list of exhibitions and awards including the grand prize twice at the Asahi Togeiten Ceramic Exhibition in 2000 and 2002. He has also exhibited at the Nihon Togeiten National Ceramics Exhibition, International Ceramics Festival in Mino, Asahi Modern Craft Exhibition as well as being awarded at the 20th Japan Ceramic Art Biennial Exhibition in 2009. He has displayed in both Europe and America and is held in the permanent collection of the Los Angeles County Museum of Art, Philadelphia Museum of Art, Yale University Art Gallery and Iwate Prefectural Museum and

A fabulous form in striking colors by Miwa Eizo enclosed in the original signed wooden box titled Hagi Hanaire. Raised from a square, the vase has been flattened, covered in Hagi glaze, then the shorter corners slabbed away revealing the raw clay. Thus fired, it is an engaging work of art, obviously buried slightly in the embers on one side, where it goes from smokey gray to mottled lavender and white into pink as it rises. It is 21 x 21 cm (8 x 8 inches) at the base, 30 cm (12 inches) tall and in excellent condition.
Miwa Eizo (1946-1999) was born the second son of Living National Treasure Miwa Kyusetsu XI. He graduated the Private Musashino Art University and was a member of Japanese Traditional Crafts Society, often displayed at their National Exhibition (Nihon Dento Togeiten). He was recipient of top prize at the Tanabe Museums prestigious Modern Tea Forms Exhibition (Gendai Cha no Yu Zokei Ten). ). Unfortunately, he died in 1999 at the early age of fifty two. His brother Ryosaku succeeded the family name as Miwa Kyusetsu XII. He is held in the collection of the British Museum and The National Museum of Modern Art in Tokyo among others. For more on this artist see the book: The Ceramic Works of Eizo Miwa (2001) published posthumously by the preeminent Kuroda Toen art gallery of Tokyo.

A earth-textured smoky black vase by Sato Kazuhiko enclosed in a superb signed wooden boxwith mori-buta (domed-lid) titled Kokuto Tsubo. It is 34.5 cm (13-1/2 inches) tall and in excellent condition. One of my personal favorites, Sato Kazuhiko was born in Kanagawa prefecture in 1947. He graduated the Tokyo University of Art Ceramic department advanced studies in 1972. Trained under Living National Treasures Tamura Koichi and Fujimoto Yoshimichi, his graduation work was awarded a prize. He held his first solo exhibition the next year, a difficult feat for a young artist. In 1979 his work was displayed in New York’s Bloomingdales Department store, and the following year he was selected for exhibition in Sidney and Melbourne, Australia. Three years later his works would travel to Washington DC and London. From there he blossomed, one can only wonder how he kept up with the demand or the number of exhibitions he was asked for each year. He is a widely displayed artist and author of many books on the ceramic arts. He also plays guitar and piano, self-taught! For more information on this artist see Modern Japanese Ceramics in American Collections (1993).

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 stunning large Vase by important Hagi artist Yamato Yasuo enclosed in the original signed wooden box titled Hagi Ensai Henko (Flattened Hagi Vase in Flame Color). The top is raw earth burnt red by the flame, Below dark iron turns to ocher then the soft earthen beige of hagi, which gives way to pink, then cream before turning dark gray. It is 36.5 x 13 x 35 cm (14-1/2 x 5 x 14 inches) and is in excellent condition.
It is likely no collector of Hagi will need an introduction to this innovative artist. Yamato Yasuo was born in 1933 to a long line of Hagi potters. He learned under his father Harunobu and grandfather Shoroku. One of the first to challenge many traditions associated with Hagi Yaki. He was displayed with Sodeisha, Kofukai, the Nitten, Nihon Dento Togei Ten, Nihon Togei Ten among many others. His list of prizes is most impressive and much too long to write here and his influence on the world of Hagi pottery will likely be the source of a thesis someday in the not too distant future! He has been named an important cultural asset of Yamaguchi Prefecture (ken Juyo Mukei Bunkazai) and is held in the collection of the British Museum among many others.

A spectacular heavy basin rendered from the earth covered in rich emerald glaze by Mizuno Sokaku enclosed in the original signed wooden box titled Oribe Kaki. Measuring 25 x 23 x 16 cm (10 x 9 x 6 inches) and literally hollowed out from a block of clay, it weighs 5.7 kg (12-1/2 pounds) and is in excellent condition.
Mizuno Sokaku (1922-1997) was heavily influenced by the multi-talented artist Fujii Tatsukichi, a central figure in Japan’s modern kōgei (arts and crafts) movement. Sokaku allowed himself to be unfettered in approach to the plastic arts, and his unconventional works still draw interest today. He exhibited with the Nihon Togeiten National Ceramics Exhibition, the Seto Togeiten and Asahi Togeiten where he was awarded, the Nihon Kogeiten National Crafts Exhibition, the Nitten where he was awarded, and his work was selected n juried exhibitions to travel to America and New Zealand. His work is held in the Achi Prefectural Museum of Art, Queensland Art Gallery,

A globular vase covered in the trademark sansai glazes of Ningenkokuho Tokuda Yasokichi III (Masahiko) enclosed in the original signed wooden box titled simply Tsubo. The vase is 6 inches (16 cm) diameter 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.

A pair of exquisite fluted porcelain bottles decorated in rich color by Tokuda Yasokichi II enclosed in the original signed wooden box. Flowers in various colors, red, yellow, purple blue and green rise up between patterned undulating bands of green and blue. Each is signed on the base in a yellow seal Kutani Yasokichi. They are 15 cm tall and in perfect condition.
The Tokuda family kiln was established by the first Yasokichi (1873-1956)、born into the house of a textile dying family. As one might expect, he initially studied painting under the tutelage of the famous Araki studio. Returning to his home he became employed decorating Kutani ware under his Brother in Law, Matsumoto Sahei, at the Shoun-Do. However after a sojourn in ceramic production under Asakura Isokichi he broke away and established his own kiln where he chafed at the cheap export ware being produced and began a lifelong search for the roots of Ko-Kutani. A search for which he was honored as a Living National Treasure in 1953. Just three years later the kiln was succeeded by his son, Yasokichi II (1907-1997). Yasokichi II was adopted into the Tokuda family in 1923, and studied initially at the Kyoto National Ceramics Research Facility alongside Hamada Shoji and Kanjiro Kawai. He learned under the tutelage of Living National Treasure Tomimoto Kenkichi before devoting himself fully to the family business. He was awarded at the Brussels World Exposition, Nitten, received the Hokuto-sho prize along with many others, and was displayed in Europe and America. He took many opportunities to continue his life quest by study sabbaticals throughout Asia, North and South America and Europe and was awarded the title Ken Juyo Mukei Bunkazai (Living Prefectural Treasure). He passed the name Yasokichi on to his son in 1988. Works are held in the Imperial Household Collection and Ishikawa Prefectural Museum among many others.

A pair of exquisite fluted porcelain bottles decorated in rich color by Living National Treasure Tokuda Yasokichi I enclosed in the original signed wooden box. Flowers in various color, red, yellow, purple and blue rise up between patterned undulating bands of green, the definition clear and precise. Each is signed on the base in a yellow seal Kutani Yasokichi. They are 15 cm tall and in perfect condition.
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).

A set of five Yunomi in pale glaze with green stripes by Koyama Fujio enclosed in the original wooden box titled Yunomi and signed Hananoki Gama. Each is 8 cm (3 inches) tall, 6 cm diameter and all are in excellent condition. The writing on the box is unmistakably that of Fujio.
Koyama Fujio was born in 1900 in Okayama Prefecture. From 1925 he studied under Mashimizu Zoroku and began making pottery in Kyoto. In 1941 he participated in a research trip to ancient kiln sites in China and discovered the old Ding Kiln site. His contribution to research in ancient potteries cannot be overestimated. He worked in the Tokyo Teishitsu Museum (current Tokyo National Museum), and then joined the Intangible Culture Division of Cultural Properties Protection Committee. In 1955 he helped to curate the Song porcelain masterpieces exhibition which was held to commemorate the 10th anniversary of the founding of the Japan Ceramic Association. In 1959 he was appointed Cultural Properties Investigator, Intangible Culture Division, Cultural Properties Protection Committee Secretariat. In 1961 he was named an honorary member of the British Oriental Ceramics Association. In 1967 he was appointed Chairman of the Japan Crafts Association. In 1971 he was awarded the Order of the Sacred Treasure, Third Class by the emperor. In 1972 he was awarded the Kanagawa Prefectural Award for Cultural Merit, then established the Hananoki Kiln in Toki City, Gifu Prefecture. He died three years later.

The Fundo stamp of Living National Treasure Kaneshige Toyo is impressed into the base of this classical Bizen Mizusashi by Toyo named Fuku no kami (God of Fortune) by 12th Grandmaster of the Omotesenke School of Tea Keio Sosa (Seisai), enclosed in a wooden box titled Bizen Mimitsuki Mizusashi, Na: Fuku no Kami and signed by Seisai., It retains the original ceramic lid as well as a lacquered lid also bearing an alternate signature of Seisai. It is 17.5 cm (7 inches) diameter, 15 cm (6 inches) tall and in excellent condition.
Seisai (1863-1937) was the 12th generation head of Omotesenke school of Tea. At a time when the tea ceremony was in decline after the Meiji Restoration, he worked to revive it and led to its prosperity during the Taisho period. He also endeavored to rebuild the headmaster's tea room, which was destroyed in a fire in 1906.
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”.