Catalog: Artists (945)

A large Hidasuki Bizen Table by Shibaoka Nobuyoshi enclosed in the original signed wooden box. Two large circles beyond the burnt-straw remains gives the effect of the moon reflecting off water viewed through a rush of bamboo. The table is 17-1/2 by 9-1/2 by 4 inches (44 x 24.5 x 10 cm) and is in excellent condition. Nobuyoshi was born in 1950, the son of Ikkai. He graduated the Bizen Industrial High School and went on to apprentice at the Bizen Ceramics Research Institute followed by training under his grandfather Kozan II as well as under the tutelage of his father. He has been often prized at the Okayama Prefectural Exhibition, and has displayed with the Issui-kai, Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), Nihon Togei Ten (National Ceramics Exhibition) as well as the Chunichi Kokusai Kogei Ten.

Rich rivulets of stunning green crystallize on the surface of this tokkuri sake-bottle by important Mino artist Hayashi Kotaro enclosed in the original signed wooden box. The bottle is roughly 6 inches (15.5 cm) tall and in excellent condition.
Kotaro was born in Gifu prefecture, and graduated the prefectural ceramic facility. He was displayed at the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), Asahi Togei Ten Ceramics Exhibition and Chunichi Kokusai Togeiten among others. He was called the hope of Mino ceramics, but that hope was shattered when he died at the young age of 41 when his genius was just　coming to fruition Great fortune for the rest of the world, he had passed on his knowledge to younger brother Hayashi Shotaro, before taking leave of this life.

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.

Pale Sunset colors show mottled through the grays of this fine vase by important Hagi artist Kaneta Masanao enclosed in the original signed wooden box. It is 10 x 7 x 8 inches (25 x 18 x 21 cm) and is in fine condition.
Masano likely needs no introduction, certainly one of Hagi is most well known names, he has been displayed both nationally and internationally innumerable times. His pieces are in the collection of the Tokyo National Museum of Modern Art, Yamaguchi Prefectural Museum and Museum of Modern Art Brooklyn. He has been displayed at the Nihon Dento Kogei Ten and Nihon Togei Ten among many many others.

Each uniquely carved row of frets on this large textured vase is a variegated shade of raw clay by Mihara Ken enclosed in the original signed wooden box. The vase is 10 inches (25.5 cm) tall, 8-1/2 by 5-1/2 inches (22 x 14.5 cm) and dates circa 1994. Ken was born in Shimane prefecture in 1958, and apprenticed under Funaki Kenji at the age of 23. He has been exhibited and or prized at the All Japan Ceramic Exhibition (Nihon Togei Ten), Asahi Ceramic Exhibition, the National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) as well as the Tanabe Museum Chanoyu no Zokei Ten (Modern tea forms Sculpture Exhibition). He has displayed in both Europe and America and is held in the permanent collection of the Tanabe Museum of Art and the New Orleans Museum of Art among others.

A sizeable seihakuji vase by celadon master Fukami Sueharu (b. 1947) enclosed in the original signed wooden box dating circa 1985. Graceful lines drape from 8 points evenly distributed about the rim, creating a sense of geometry on the simple orb. The vase is roughly 8-1/2 inches tall, 9-3/4 inches diameter and in excellent condition. The name of Kyotos Sueharu is synonymous with seihakuji celadon. He has been displayed numerous times at the prestigious Nitten, Nihon Togei Ten (National Japanese Ceramic Exhibition) and Nihon Gendai Kogei Ten (National Japanese Modern Crafts Exhibition) among others. He is held in the Yale University Museum among others. For more information on this artist a quick web-search, or a look at the article highlighting his life in the March 2005 edition of Orientations Magazine will be enlightening.

A large basin decorated with magnolias by Kondo Takahiro (b. 1958) enclosed in the original signed wooden box. A vibrant image perfectly executed from Takahiro who is a master of Tetsu-e. The bowl is 13-1/2 inches (34 cm) diameter, 4 inches (10 cm) tall and in perfect condition, dating circa 1995. Kondo Takahiro was born the grandson of Living National Treasure Kondo Yuzo. He has been displayed at the Kyoto Municipal Museum of Modern Art, The Nitten National Exhibition, as well as various exhibitions in Europe, America, Russia and New Zealand.

Ash is blasted around from the charred front of this amazing Tsubo by Harada Togetsu enclosed in the original signed wooden box. What an amazing looking piece, highlighting all the best in Bizen qualities. The first time I spotted this piece I could not halt my expressing something about the godlike nature of Feces (oddly?!) It is 10 inches (25 cm) tall, roughly the same diameter and in excellent condition.
Harada Togetsu (b. 1917) began potting in earnest late in life, in the early 60s, breaking out on his own in 1968. Potting more for personal pleasure than business, each piece is hand selected and meets some inner criteria. The kiln is now headed by the second generation.

Few foreign potters are able to embrace the Japanese aesthetic as well as Jeff Shapiro. Here is a piece from his second solo exhibition in Tokyo dated 1991. This piece is 9-1/2 inches (24 cm) tall, 9 inches (23 cm) diameter and in excellent condition.
Shapiro was born in New York in 1949. He studied ceramics in Japan from 1973 to 1980, returning to America to build an Anagama kiln in New York in 1981. Works by him are held in numerous American Museums, including Museum of Ceramic Art, The Brooklyn Museum of Art and the Fuller Museum. He has also been commissioned by the New York Metropolitan for its Japan Gallery. There is an abundance of published information on the artist including the 1998 “Ceramics and Beyond”, by Dai Ichi Arts and the 1995 “Yakimono Sanka – In Praise of Ceramics”, by Robert Yellen

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

A voluminous Tsubo by Yamato Yasuo enclosed in the original wooden box titled Hagi Bisai Kohiki-kake Tsubo and dating circa 1990. It is 14 inches (36 cm) diameter, 12 inches (31 cm) tall and in fine condition. Due to size this piece will require special shipping consideration.
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 list 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 property of Yamaguchi Prefecture (ken Juyo Mukei Bunkazai) and is held in the collection of the British Museum among many others.

A large sculpted image of the goddess of mercy Kannon cut from a solid slab of Iga clay by artist Kishimoto Kennin. The image is 12-1/2 inches (31.5 cm) tall and in perfect condition. The artists mark is engraved into the base of the back; there is no box. This artist has been working with clay since the 1950s, devouring styles along the way. Seto, Oribe, Iga and Celadon, all very different approaches which he masters one at a time, extending his unique view of the arts to new realms, and moving on to the next challenge when his appetite and personal genius has been satiated. He was exhibited and prized at the National Japanese Crafts Exhibition (Nihon Dento Kogei Ten), National Ceramics Exhibition (Nihon Togei Ten), Chunichi International Ceramics Exhibition (Chunichi Kokusai Togei Ten) and Asahi Togei Ten among others, and is held in several important international collections.

Copper greens splash this bold chawan by Kojima Kenji enclosed in the original signe wooden box. It is 5 inches (12.5 cm) diameter, 3-3/4 inches (9 cm) tall and in fine condition. Kojima Kenji was born in Aichi prefecture in 1953, and graduated the Tokoname Ceramics High School in 1971. He moved to Iga where he studied and was immediately accepted into the Asahi Togeiten Ceramics Exhibition. The following year he moved to Okayama, where he would remain 5 years studying Bizen and the complexities of that clay and it’s firing process. He returned to Iga in 1979, where he built his own kiln on the ruins of an ancient site. He has since been exhibited at the Asahi Togeiten, Chunichi Kokusai Togeiten Ceramics Exhibition, and Nihon Togeiten National Ceramics exhibition among many others. His work is held in the Danish National Museum.

Pastel earth tones color this spontaneous form by Kawamoto Taro enclosed in the original signed wooden box. It is 25 x 28 x 28 cm (10 x 11 x 11 inches) and is in excellent condition.
Kawamoto Taro (b 1955) graduated Aichi prefectural art university in 1977. He has been exhibited and awarded at many national and international events including the Chunichi Kokusai Togei-ten (Grand Prize twice), Florence International Ceramics Exhibition and the Asahi Togei-ten (Asahi Ceramics Prize). For more on this important modern artist see To, The best selections of contemporary ceramics in Japan, Vol. 74.

A stunning white hagi glaze tinted with lavender cools on the sculpted natural from of this most expressive chawan by representative Hagi artist Kaneta Masanao enclosed in the original signed wooden box. It is roughly 5 inches (13 cm) diameter, the same height and in perfect condition. Like Ryuichi, Masano likely needs no introduction, certainly one of Hagis most well known names, he has been displayed both nationally and internationally innumerable times. His pieces are in the collection of the Tokyo National Museum of Modern Art, Yamaguchi Prefectural Museum and Museum of Modern Art Brooklyn. He has been displayed at the Nihon Dento Kogei Ten and Nihon Togei Ten among many many others.

A massive sculptural vase by Kyotos Inoue Yoshihisa (b. 1947) in the form of a crowing cock. This piece was featured in the Nitten in 1973 and is visible in the catalog for that year. Yoshihisa studied ceramics under Kiyomizu Rokube VI, certainly one reason for his emphasis on sculptural concerns. His work has often been accepted to the Nitten National Exhibition, as well as the All Japan New Crafts Exhibition where he received the Members prize, and the Kofukai-ten. An excellent example of Formalism verses figuration, themes necessarily emphasized by modern ceramic artists in Kyoto.

An igneous Shigaraki hana-ire by the innovative young Mushin-Gama potter Kowari Tetsuya enclosed in the original signed wooden box. The vase is 6-1/2 inches (16.5 cm) tall, 4-3/4 inches (12 cm) diameter at the bottom. It is in perfect condition. Tetsuya was born in Fuji-city Shizuoka in 1970, and graduated the prestigious Meiji University. He has apprenticed under a number of teachers, taking a bit from each without allowing their direction to overpower his own personal style. He works in Shigaraki, Bizen and Shino wares. The artist has been displayed at the Nihon Togei Ten National Ceramics Exhibition, as well as the prestigious Nitten consistently.

Two ethereal herons stand against a wind blasted bank lost to evening on this E-zara by Yokoishi Gagyu (b. 1975) enclosed in the original signed wooden box. The deep dish is covered in a dark glaze shot through with pale fingers of white, the two creatures small against the other-worldly background. The backside is decorated with swirling lines of white, signed within the foot ring. It is 9-1/4 inches (23.5 cm) diameter, 2 inches (5 cm) tall and in perfect condition. His first exhibited piece at the age of 20 in 1955 took the governors prize at the Nagasaki Kenten Prefectural Art Exhibition. That was the beginning of a prestigious career prolific with awards culminating in being named an important cultural property for Nagasaki prefecture in 1975 (the state version of a living national treasure) he has also displayed with the Nihon Dento Kogeiten (National Traditional Crafts Exhibition) among many others, and has an impressive number of private exhibitions. He is credited with reviving the lost art of Utsutsukawa-yaki, and is a very important figure in modern Arita.

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

A spectacular Oni Karatsu Vase by Inoue Toya of the Kyozan Kiln enclosed in the original signed wooden box. It is 10 inches (25 cm) tall 6 inches (16 cm) diameter and in excellent condition.
Inoue Toya (1942-2013), graduated the prestigious Nihon Daigaku in 1966, having spent his student years excavating ancient Karatsu shards and researching their techniques. He apprenticed under the multifaceted potter Nushi Ensai. In 1969 he opened his own kiln. He served as head of the Karatsu Ceramic Cooperative from 1983-2010 while focusing on private exhibitions held at Department stores and galleries throughout Japan. In 2008 his lifetime achievements were recognized with a private exhibition in Los Angeles.

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

A dramatic basin brutalized by the elements by Shigaraki Master Tsujimura Shiro enclosed in the original signed wooden box. Representative of this artists work, the lip has split with heat, one edge blasted off, and the entire charred and buried in ash. The dish measures 7.5 cm (3 inches) deep, 29 cm (12 inches) diameter and is in excellent condition.
Tsujimura Shiro was born in Nara in 1947, and began his steps into the art world as an oil painter. While living at a Buddhist temple he experienced a profound connection with a Korean Tea Bowl, and began potting. He is highly acclaimed and somewhat reclusive, avoiding the public spectacles often needed to make one in Japan.

Charred ash deposits are baked into the side of this large Tsubo by Shigaraki Representative Otani Shiro enclosed in the original signed wooden box. Rivulets strike out from the heat blasted face, the coloring pleasing on all sides. The Tsubo is 10-1/2 inches (26 cm) diameter, 9 inches (23 cm) tall and in perfect condition.
Shiro (born 1936), of Shigaraki, was a student of Living National Treasure Shimizu Uichi and Kiyomizu Kyubei. He established his first kilns, a noborigama climbing kiln and Anagama in Shigaraki in 1973. He has since been displayed and prized at many National events, and has been guest lecturer at a number of universities in the United States.

Pure quiet and calm is embodied in this white Hagi crystal by important female artist Miwa Hanako enclosed in the original signed wooden box. It is 10-1/2 inches (27 cm) tall 5-1/2 inches (14 cm) diameter and in excellent condition.
Miwa Hanako was born the grand daughter of Living National Treasure Miwa Kyusetsu XI, daughter of Kyusetsu XII who has sought to incorporate sculpture into the realm of traditional Hagi ware. She was raised surrounded in the world of Hagi-ware. She graduated the Tama Art University in 1995, and has since had an impressive selection of shows throughout Japan and abroad. For more see Touch Fire; contemporary Japanese Ceramics by Women Artists (2009, Linda Muehlig).

Bidoro rain down like a glass bead curtain over the terracotta clay of this Shigaraki Tsubo by Takahashi Shunsai enclosed in the original signed wooden box. It is 8-1/4 inches (20.5 cm) tall and in fine condition.
Born in 1927, the second son of renowned potter Takahashi Rakusai III in Shigaraki, Takahashi Shunsai left home to study under Taniguchi Ryosai in Kyoto before returning to Shigaraki to pursue his studies of Shigaraki styles specifically under his father and spent the better part of two decades working from that studio. He established his own kiln in 1968. He has been displayed at the Nitten, Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), Nihon Togei ten (National Ceramics Exhibition), Asahi Ceramics Exhibition, as well as a long list of private exhibitions at Japan’s top galleries. He has been often prized as a master of Shigaraki, and has been designated a Shiga Prefectural Intangable Cultural Property (Treasure) in 1995.

A set of five E-Karatsu Mukozuke by Nakazato Tarouemon XIII enclosed in the original signed wooden box. Radically brushed birds rise up into the sky, framed by a vertical bars of iron; inside soft earthen white. Each is roughly 3 inches (8 cm) diameter, 2-1/2 inches (6.5 cm) tall and in excellent condition, bearing the Tarouemon three star mark on the base.
Nakazato Shigetoshi was born in 1930 the third son of Living National Treasure Tarouemon XII (Muan) of Karatsu fame. He was first exhibited at the Nitten National Exhibition in 1952, and received the Matsuzakaya prize at the Modern Ceramics Exhibit 4 years later, the first of a great many awards culminating in the Saga Prefectural Cultural Award in 1985 given not lightly for his lifetime endeavors. He can be found in the British Museum among others.

A proud striated egg shaped orb floats above the square block forming the base of this sculpture by Matsumoto Hideo covered with enigmatic graffito. The object is 12-1/2 inches (31.5 cm) tall, 4 x 7 inches (11 x 18 cm) at the base, and is in excellent condition. This piece was purchased from an exhibition held in October, 1993, and a copy of a Newspaper article introducing the exhibition is enclosed with the piece. Hideo has been widely represented in Museum exhibitions throughout Japan. He was born in the 1950s, when Sodeisha was leading the charge away from traditionalism and function to form, and this has had a lasting effect on his work, which is largely sculptural, often beyond recognition. This piece comes in a tag-board box.

A fine Tenmoku Glazed pot with Pine needle design by Kimura Moriyasu dating circa 1985 enclosed in the original signed wooden box. It is 8 inches (20 cm) tall and in fine condition. A vase with this same glaze is held in the National Palace Museum, Taiwan.
Kimura Moriyasu (b. 1935) studied pottery initially at the Kyoto Ceramics Research Facility (which turned out such masters as Hamada Shoji and Kawai Kanjiro) and then under his brother Kimura Morikazu. He is well known for his use of crawling and oil spot glazes. He exhibits with the Gendai Nihon Togeiten and Nihon Dento Kogeiten among others. He has been awarded the Kyoto Prefectural Order of Cultural Merit (2004). Work by him is held in the Britush Museum, Boston Museum, Dallas Museum and Ise Shrine among others.

White dots pattern the scalloped swirling form of this vase by Kitamura Junko enclosed in the original signed wooden box. The vase is 7-1/2 inches (19 cm) tall, 5-1/2 inches (14 cm) diameter and in excellent condition.
Kitamura Junko learned under the tutelage of Suzuki Osamu and Kondo Yutaka of the influential Sodeisha. Like Mashiko artist Shimaoka Tatsuzo, her work is influenced by Jomon pottery, however her approach is very different. After impressing patterns into the clay with bamboo and firing once with a dark slip, the impressions are painstakingly filled with white slip, defining the pattern, and fired again. Works by the artist are held in many public collections, including the National Museum of Modern Art, Tokyo; the Museum of Fine Arts, Boston; Houston Museum of Art and Brooklyn Museum of Art among many others. For more on this artist see Touch Fire: Contemporary Japanese Ceramics by Women Artists (2009) or Soaring Voices, Contemporary Japanese Women Ceramic Artists (2009)

A huge Yakishime vessel by modern ceramicist Mihara Ken (b. 1958) enclosed in the original signed wooden box. This piece has an almost haunting presence, the hada sandy and rough, you would think it could crumble in your hands, yet is fired so hot it rings like a bell when tapped. The dark grays and raw earth tones add to that sense of mystery, like something ancient discovered in a dark cave. The vase is 14-3/4 inches (37.5 cm) tall and 11-1/4 (28.5 cm) diameter and in perfect condition. Ken was born in Shimane prefecture in 1958, and apprenticed under Funaki Kenji at the age of 23. He has been exhibited and or prized at the All Japan Ceramic Exhibition (Nihon Togei Ten), Asahi Ceramic Exhibition, the National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) as well as the Tanabe Museum Chanoyu no Zokei Ten (Modern tea forms Sculpture Exhibition). He has displayed in both Europe and America and is held in the permanent collection of the Tanabe Museum of Art and the New Orleans Museum of Art among others.

A fine Nerikomi work by Living National Treasure Matsui Kosei (1927-2003) enclosed in the original signed and stamped wooden box. The surface has a soft sheen, like the effect of being carved from gray marble. It measures 17 x 12 x 3 inches (43 x 30.6 x 7 cm), in perfect condition. Matsui was born in 1927, beginning his ceramic studies in 1946. In 1957, he became a priest at the Getsusoji Temple, where in 1960 he built a kiln so he could research traditional Chinese, Japanese and Korean ceramics. Subsequently, he became famous for neriage (designs in colored clays mixed together), based on Tang Dynasty Chinese techniques. In 1993, he was declared a Living National Treasure for his efforts in Neriage.

A whimsical koro by Takauchi Shugo enclosed in the original signed wooden box titled oribe Koro. It appears to dance, two arms up in the air with the music, a slight jaunt in its three legged step. It is 11 inches (28 cm) tall and in excellent condition.
Takauchi Shugo was born in Tokyo in 1937. He opened his kiln in Mashiko at the age of 31. He has exhibited at the Nihon Dento Kogeiten National Traditional Crafts Exhibition, Nihon Togeiten National Ceramics Exhibition and as well as Gendai Nihon Togeiten National Modern Ceramics Exhibition in addition to innumerable public and private exhibitions. He is recipient of the Order of Cultural Merrit from Tochigi Prefecture, and his works have been selected for international exhibitions (Paris, London, Denmark and America) and work by him is held in the V&A, The Art Gallery of New South Wales. For more see the Book “Japanese Studio Crafts” (1995) by Rupert Faulkner of “Fired with Passion” (2006) by Beatrice Chang and Samuel J Lurie.

A traditional shape called Kinuta (fulling block) draped with ochre glaze over charred blacks by Tsukigata Nahiko wrapped in a brocade bag and enclosed in the original signed wooden box titled Oni Shino Kinuta Hana-Ike which is in turn enclosed in a black lacquered wooden double-wood storage box. A Kinuta (fulling block) is a small wooden mallet used to beat silk into a soft texture. It is a very traditional shape in Japanese pottery. This is 9 inches (23 cm) tall and in excellent condition. A superlative example of this artists work.
Tsukigata Nahiko (1923-2006) was not only an accomplished ceramic artist, but also a painter, calligrapher, sculptor and musician. Born in Niigata prefecture, he was at Waseda University in 1941 when he was summarily drafted into the Army. After the war he attended the Arts course of Nippon Daigaku University and was struck by the works of Living National Treasure Arakawa Toyozo, to whom he apprenticed in the arts of Shino and took his mentors work to a new level. Like all art, his was alive and always evolving. Starting with the replication and research of Momoyama techniques to the culmination of his efforts in Oni-shino, Nahiko has taken Shino beyond all others. It was not an easy road, for the first 15 years he worked for a ballet school, spent time as a recluse priest at Myoanji temple, and wandered the country playing the shakuhachi. It was a time of great change in Japan, starvation was rampant immediately after the war and supporting oneself through the little known art of Shino-yaki was difficult. However he persevered, along with Toyozo, Kato Juuemon, Kato Kohei and others, to bring Shino to the forefront of ceramic arts. Heavily prized domestically and abroad in his lifetime, his low output and unique quality make his work a must have for collectors. Ayukai Kogetsu was a female artist from Miyagi prefecture who became a student and follower of Tsukigata in 1979. She currently takes part in calligraphy and ceramic exhibitions throughout Japan.

A stellar display of Hidasuki covers the sides of this voluminous Bizen vase by Yamashita Joji enclosed in the original signed wooden box. It is 15 inches (38 cm) wide, 14 inches (37 cm) tall and in excellent condition, and retains the original exhibition label on bottom. Due to size the cost of shipping will be accrued separately. Yamashita Joji (b. Tokyo, 1947) lives in Okayama, but began his artistic career in the Vancouver Art School in Canada. Upon returning to Japan in 1971 he apprenticed under (to be) living national treasure Isezaki Jun. He was first awarded in 1972 at the 19th Traditional Crafts Exhibition, and In 1973 was exhibited at the 2nd Nihon Togeiten. This was the start of a stellar career, seeing him establish his own kiln in Inbe in 1978. He has since received too many awards to be listed here including the Nihon Togeiten and Top prize at the 14th Tanabe Art Museum Modern Tea Forms Exhibition (Chanoyu Zokei Ten), and served as mentor to a new age of potters including Wakimoto Hiroyuki.

An Oribe Dai-hachi footed basin by Koie Ryoji enclosed in the original signed wooden box. It is 11 x 7-1/2 x 3-1/2 inches (28 x 19 x 9 cm) and is in excellent condition. A few pre-firing chips are shown in the close-ups, glaze over-running theedges proof that they happened before the piece was fired.
Born in Tokoname, 1938, Koie Ryoji graduated the Tokoname industrial school and moved on to work at the City Ceramic Research Facility. In 1966 he established his own studio. Largely displayed and prized, he was most recently awarded the Japan Ceramic Society Gold Award in 2009, the most prestigious of pottery prizes in Japan

Air bubbles appear trapped in the glaze like a thin slab of ice. This is a fantastic Chozara by Inoue Yoshihisa enclosed in the original signed wooden box. It measures 30-1/2 x 9 x 1 inches (77 x 23 x 2.5 cm) and is in perfect condition. Due to size the cost of shipping will be accrued separately for this item.
Yoshihisa (b. 1947) studied ceramics under Kiyomizu Rokube VI, certainly one reason for his emphasis on sculptural concerns. His work has often been accepted to the Nitten National Exhibition, as well as the All Japan New Crafts Exhibition where he received the Members prize, and the Kofukai-ten.

Sitg White crystalline glaze clings to the purple pitted sides of this fantastic set of 3 Mentori Shu-hai sake cups made especially for an exhibition in 2004 by Kato Toyohisa enclosed in the original signed wooden box. Enclosed is the original exhibition invitation showing a similar set. 1 cup is 5 inches (12 cm) tall, 4-1/2 inches (11 cm) diameter; the others are roughly 3-1/2 inches (9 cm) tall, 4 inches (10 cm) diameter. Toyohisa was born in 1962. His work is both original and fresh and his challenging pursuit of Mino ceramics is evident in both his contemporary pieces and his traditional ones. He first exhibited at the Asahi Ceramics Exhibition in 1983, and was awarded the rising star award. That same year he was awarded at the Tajimi City (home to innumerable Mino potteries) Art Exhibition. He has also exhibited and or been prized at the Tokai Dento Kogei ten, Mino Togei Ten, Issui Kai Ten and Gendai Chato Ten (modern Tea Ceramics Exhibition). In addition is a long list of Private exhibitions both domestic and abroad.

A large footed Bizen slab by Isezaki Shin exhibited at the 13th Nihon Togei Ten in 1995 enclosed in the original signed wooden box and retaining the original exhibition labels. It is 52 x 51.5 x 8.5 cm (20 x 20-1/2 x 3-1/2 inches) and is in fine condition. This is the same year he was awarded at the 42nd National Traditional Crafts Exhibition. Shin Isezaki (b. 1965) is the second son of important Okayama Prefecture intangible cultural property Isezaki Mitsuru. Studied under his father from Junior High age, he was first recognized at the age of 24 when he was awarded at the 40th Okayama Ken-ten art exhibition in 1989. He has since exhibited with and or been prized at the Tanabe Art Museum Modern Forms in Tea Exhibition, Chugoku Dento Kogeiten Regional Art Exhibition, Nihon Togeiten National Ceramic Exhibition, Nihon Dento Kogeiten National Traditional Crafts Exhibition, and this all beforehe opened his own kiln in Inbe in 1999.

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

A very cool Ginsai covered dish by Banura Shiro enclosed in the original signed wooden box. Bright silver swirls to the center alternated by wrinkled lead colored glaze. It is 8 inches (20.5 cm) diameter and in excellent condition.
Shiro was born the fourth son of Living National Treasure for Lacquerware. His sensitivity to textures may stem from that exacting influence. Although his older brother succeeded the family tradition (another branching into paper arts), Shiro, after graduating the Kyoto University of Fine Art, apprenticed in the plastic arts under Kawamura Kitaro (1899-1966). He has an impressive list of exhibitions, including a private exhibition at the Umeda Kindai Bijutsu-Ten as well as the Niponbashi Mitsukoshi, Takashimaya, and Ikebukuro Tobu, the equivalent of being displayed on New Yorks Fifth Avenue or other cities most Trendy streets, as well as many international exhibitions. Like most Iga-area artists, his output is low, but quality and originality high, making his work very much in demand.

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

A ceramic box by Nishibata Daibi enclosed in the original signed wooden box titled Senmon Tobako and exhibited at the 53rd Nihon Dento Kogeiten National Traditional Crafts Exhibition. This piece was awarded at the prestigious event. It is 11 x 11 x 4-1/2 inches (28 x 28 x 11.5 cm) and is in fine condition. Nishibata Daibi was born in Tachikui Village, Hyogu in 1976. After graduating the Law Department of Kyoto University, one of the countries most formidable schools, in 1999, the promising young lawyer moved to complete a ceramics course at the prefectural vocational school, and then a stint at the Municipal Industrial Research Institute (Like many of the greats before him, Kawai Kanjiro, Hamada Shoji etc). His first solo exhibition was held at Kuroda Toen in Ginza, quite a feat for a young artist. In 2005 he first exhibited with the Nihon Dento Kogeiten National Traditional Crafts Exhibition. The following year, in addition to that venue, he was exhibited at the Chanoyu Zokei Ten a (Modern Forms in Tea). While his works were popular in private Department store exhibits, he continued with these two jurried fairs, but tragically died of heart failure at the very young age of 34 in 2010. The number of works by this artist are very few and difficult to find.

A ceramic koro incense burner, the stone-like body decorated with a portion of a red ring by Sato Kazuhiko enclosed in the original wooden box with all the exhibition paraphernalia. It is 8-1/2 x 4 x 8 inches (21.5 x 10 x 20 cm) and is in excellent condition. This piece was exhibited at Tokyo’s Nipponbashi Mitsukoshi in 1994 and was published in the December edition of the magazine Fujin Gaho that same year. A copy of the article on the artist is enclosed and the original Exhibition labels are attached.
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 wth 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).

An organic form by Ikegami Kazuo enclosed in the original signed wooden box titled Bitchu Obuje. It is 8-1/2 x 7-1/2 x 9 inches (21.5 x 19 x 23 cm) and is in fine condition.

Spectacular Hi-iro defines this sake set by Konishi Toko II enclosed in the original signed wooden box. Various shades of color scorch the undecorated flame licked raw earth. A pleasure to drink from in every aspect, every cup offering a new facet. The tokkuri is 5-1/2 inches (14 cm) tall, cups 2-1/4 inches (6 cm) diameter and all is in perfect condition. Toko, of course, learned from his father Toko I (1899-1954) and was succeeded by his own son Toko III.