Catalog: Artists (749)

An inverted cone in deep rust colors by Hashimoto Tomonari enclosed in the original signed wooden box titled, like all his work, “Untitled”. It is 26 cm (10-1/4 inches) diameter, 23 cm (9 inches) tall and in perfect condition, directly from the artist. After forming and sculpting the shapes, they are bisque fired, then glazed and fired again at a relatively low temperature (Between 1000 and 1100 degrees, like Raku ware). Then he builds a brick oven around each piece and brings the temperature up to 500 degrees, and adds millet or rice husk, which carbonizes the surface, creating incredible colors and random patterns leaving the viewer with a feeling like rusted or heated metal. 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.

An organic sake cup on stand in pastel yellow by Yamaguchi Michi enclosed in the orignalsl signed wooden box titled Shuhai. It is roughly 6 cm (2-1/2 inches) diameter and is in excellent condition, directly from the artist.
Yamaguchi Michie was born in Aichi prefecture in 1964, and came to pottery at the age of 35, opening her studio in Nagoya in 2003. She first exhibited with the Nitten National Art Exhibition in 2008. In 2009 she was accepted into the Nihon Togeiten National Ceramic exhibition, where she has been subsequently awarded. That same year she was recipient of the Shorei-sho prize at the Kobe Biennale, and she entered for the first time the Womans Association of Ceramic Artists (WACA) Exhibition, receiving the T-shi prize. In 2011 she would be awarded at the Kikuchi Biennale, the 45th Female Artist Exhibition, as well as the Nihon Shin Kogeiten National New Crafts Exhibition. She would also first enter the International Ceramics Festival in Mino. 2012 saw her work awarded at the Mino Togei Shorokusho Chawan Ten Tea Bowl exhibition as well as the Mino Togei Ceramic Exhibition. In 2014 she was prized at the Hagi Taisho-ten show. She was awarded again in 2017 at the 43rd Mino Togeiten, and Governors prize at the 54th WACA Exhibition in 2020. In 2021 she was awarded the 43rd Nihon Shin Kogeiten New Crafts Exhibition, as well as the Kasama Togei Taishou Ten and in 2022 at the Tobi Ceramic Art Society of Japan Exhibition. She has taken part in ceramic events in Europe and Korea, and her work is held in the Toshin Ceramic Museum.

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

A new series, experimenting with his recently developed glossy white glaze, a chawan with iron decoration by Murakoshi Takuma enclosed in the original signed wooden box titled Haku-yu Chawan. It is 12 x 13 x 8 cm (4-3/4 x 5 x 3-1/4 inches) and is in perfect condition, directly from the artist this Fall.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

An iconic bowl flaring out in pure celadon by Fukami Sueharu enclosed in the original signed wooden box titled simply Hachi (here he is using a play on sound, as he uses the Kanji character for eight pronounced Hachi in place of the character for bowl with the same reading). It is 22 cm (8-1/2 inches) diameter and in excellent condition.
Fukami 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. The list of museums holding his work is, in fact, much to long for this page, but includes the National Museums of Modern Art, Tokyo /Kyoto / and Osaka, the Metropolitan Museum of Art, NY, Brooklyn Museum, Museum of Fine Arts, Boston, Philadelphia St. Louis, Portland, Chicago, Minneapolis, Smithsonian, British Museum, Victoria & Albert Museum, Musée national de céramique, Sèvres, Musée des arts décoratifs, Paris, Hetjens Museum, Düsseldorf and the National Gallery of Australia among many others

Two lug handles leap from the sides of this traditional form by Karatsu Legend Nakagawa Jinenbo enclosed in the original signed wooden box titled Chossen Karatsu Mimitsuki Hanaire. Mottled glaze covers the rough clay darkened by flame with flashes of white and blue and crispy chunks of ash and debris clinging to the sides. It is a work which embodies the best of this highly sought artist. The vessel is 9 inches (23 cm) tall and in excellent condition.
Nakagawa Jinenbo (1953-2011) was always fascinated with Karatsu ware, and studied under the great Inoue Toya from the age of 24. Several years later he returned to his hometown to establish a climbing kiln of his own, which he put to great use. From there, not satisfied with his own skills, he went to Tanaka Sajiro for an additional apprenticeship. Afterwards, as many Chajin artists, he concentrated on private exhibitions as an outlet for his work, shunning the world of mass competition and retail. His life and career were cut short far too early, making his work both highly valued and hard to find.

A perfect example of the more refined side of Iga pottery by is represented by this large chawan by Tanimoto Yo enclosed in the original singed wooden box titled Iga Chawan. It is 14 cm (5-1/2 inches) diameter, 8.5 cm (3-1/2 inches) tall and in excellent condition.
Born in 1958 the son of Iga potter Tanimoto Kosei, Yo was raised among the kilns and has always had his hands in clay. He first began exhibiting in 1982, and in 1984 moved to Europe where he studied oil painting and sculpture (in Spain), and set up a pottery studio outside Paris. After returning to Japan he set up his own studio in 1988, working both in Japan and Spain. Since his works have been exhibited widely, both domestically and abroad in New York, London, Barcelona and Paris.

A large Mimitsuki Vase covered in deeply fissured celadon glaze by Suzuki Sansei (b. 1936) enclosed in the original signed wooden box. The translucent glaze is like that of an agate, shattered with heat, the crackling wide in the thick pale bluish green fog. The vase is 11 inches (28 cm) tall, 5-1/2 inches (13.5 cm) diameter and in perfect condition.
Mitsunari began with a six year apprenticeship under Kawamura Seizan and has received innumerable awards over his 40 year career. He has been displayed at most national juried exhibitions including The Nihon Dento Kogeiten (Traditional Crafts Exhibition) from 1968, The Kogei Shinsaku Ten (New Crafts Exhibition) since 1969, and Nihon Togei Ten (Japanese Ceramic Exhibition) where he received the Exhibition prize in 1981. His works have been purchased as gifts for foreign dignitaries by the Gaimusho. This piece dates circa 1995.

This raw form covered in scorched white has been slabbed off in the Shinogi style by Atarashi Manabu. The word Shinogi denotes the curve on a samurai Sword blade, and has come to be used in pottery to describe things which have been scored or sculpted with a knife. The sake vessel is 15.5 cm (6 inches) tall and in excellent condition and comes enclosed in the original signed wooden box titled Shino Shinogi Tokkuri.
Atarashi Manabu has been growing in popularity as one of the leaders in the Iga pottery tradition since the first time I saw his work nearly 20 years ago when visiting the family showroom in Iga village. Born in 1973 in Osaka son of the second generation artist and one of the leading revivalists of the Iga tradition in post war Japan, Atarashi Kanji. He graduated the literature department of Kansai University in 1995, moving to apprentice under his father a few years later. In 2002 he built his first anagama Kiln, and held his first of a multitude of solo exhibitions. Intensely fired multiple times to achieve the bidoro glass puddles and landscape effects which define his aesthetic, the geometric works add a contemporary sensibility to the traditional Iga style and transcend the realm of utilitarian crafts breaking into the sculptural domain. His work has proven innovative and challenging to the norm, taking his fathers tradition into the 21st century.

A striking Tenmoku Vase by maser of the genre Kamada Koji enclosed in the original signed wooden box titled Ginsho Tenmoku Hyo-gata Kabin. It is 15cm (6 inches) diameter, 31cm (12 inches) tall and in excellent condition. Kamada Koji (sometimes written Kamata) was born in Kyoto in 1948, and apprenticed under Shimizu Tadashi from the age of 19. In 1971 he graduated from the Kyoto Prefectural Ceramics Research facility and began teaching there while beginning his research into Tenmoku ware. The following year he was accepted into the Nihon Dento Kogeiten Traditional Crafts Exhibition, and in 1975 the bi-annual Japan Ceramics Exhibition (Nihon Togeiten). In 1977 he quit teaching in order to devote his full talents to exploring the possibilities of his medium. In 1988 he would enter under the wing of Living National Treasure Shimizu uichi, undeniably one of the leading experts in the field at that time. Since his work has ben exhibited widely both domestically and in Europe and the Americas. He is held in the collection of the New York Metropolitan Museum of Art, Asian Art Museum of San Francisco and Philadelphia Museum among others. For more see Japanese Ceramics for the Twenty-first Century, (Walters Art Museum, 2014) or Into the Fold: Contemporary Japanese Ceramics from the Horvitz Collection (Nagakura, 2015).

It is a privilege to introduce this incredible sculpture by the young female ceramicist Furui Akiko enclosed in the original signed wooden box titled Tsubomi (bud) dating from 2017. It is made up of hundreds of rolled sheafs of shaved clay covered in a white slip and fused together. The amount of work which goes into each sculpture is obvious, making her work great value.
Furui Akiko was born in Aichi prefecture in 1987. She graduated the Aichi University of Education in 2010, and had her first pieces exhibited both in and out of Japan that same year. She has since been featured in a number of events both domestic and abroad. A rising star in the Sculptural Ceramics World, she is, along with Shingu Sayaka and Tanaka Tomomi, an artist with a strong following and a distinct style all her own.

Lavender and pink tinge the thick glaze applied to this large open tsubo by Kimura Morinobu enclosed in the original signed wooden box titled Nasu-yu Shitomon Tsubo (Tsubo with Eggplant Glaze). This is a coloration for which Morinobu is well known and is unique to him. I remember meeting him one day at his house in Northern Kyoto and talking about this unusual glaze. He said an entire field of Nasu (eggplant) garners just a handful of this precious ash. The vessel is 29 cm diameter (just less than 12 inches) and stands 31.5 cm (12.5 inches) tall. It is in perfect condition.
Kimura Morinobu (b. 1932) was one of three born into a pottery family in Kyotos Higashiyama pottery district. He attended the Kyoto Municipal School of Art graduating from the sculpture division, and entered the Kyoto Ceramic Research Facility, the stomping grounds of so many of the brightest talents in modern Japanese Pottery. After apprenticing under both his brother, Morikazu, and Living National Treasure Shimizu Uichi, he established his own kiln in 1967. His list of exhibitions is much too long to put down here, he was named an intangible Cultural Property (Mukei Bunkazai) of Kyoto Prefecture in 1992. Works by the artist are held in the Kyoto National Museum among others.

A fabulous Seihakuji Koro by Fukami Sueharu enclosed in the original signed wooden box titled: Fly (Tobu). Two wings burst from the shoulders; the lid pierced with matching holes to allow the smoke to escape. It has the artists signature incised into the base. The work is 17.5 cm (7 inches) tall and in perfect condition.
Fukami 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. The list of museums holding his work is, in fact, much to long for this page, but includes the National Museums of Modern Art, Tokyo /Kyoto / and Osaka, the Metropolitan Museum of Art, NY, Brooklyn Museum, Museum of Fine Arts, Boston, Philadelphia St. Louis, Portland, Chicago, Minneapolis, Smithsonian, British Museum, Victoria & Albert Museum, Musée national de céramique, Sèvres, Musée des arts décoratifs, Paris, Hetjens Museum, Düsseldorf and the National Gallery of Australia among many others

A breathtaking white form of draped porcelain by Nagae Shigekazu enclosed in the original signed wooden box with the original Daimaru Department Store exhibition invitation. Light patterns are almost indiscernible on the surface, incredibly detailed and crisp when viewed close-up. What is surprising about this work is the weight, incredibly light. The piece measures 16 x 16 x 5 inches (41 x 41 x 12 cm) and is in excellent condition. Due to fragility this piece will require special shipping consideration.
Shigekazu (b. 1953) graduated the Seto Industrial School of Ceramics in 1974 Beginning to grab attention in the late 70s, he has striven to perfect porcelain casting techniques, creating one-off shapes and forms previously impossible. He is held in the collection of the V&A (London), LACMA (Los Angeles) and the National Gallery of Australia, Cincinnati and Cleveland Art Museums, Minneapolis Institute of Art, Japan Foundation and many many others. With very low output, this is a rare opportunity to join the worlds top museum collections by acquiring this artist.

A large white Tea Bowl by Kashima Aya enclosed in the original signed wooden box. The technique is deceptively complex. In fact, the initial form is created, then a thin layer of ceramic is made separately, dried, then cracked, and the individual pieces are applied like mosaic to the prepared form. The space in between the tiles is then abraded, the tiles glazed with color and the space n between glazed with iron. Each piece requires a great amount of painstaking dedication to complete. It is 13.5 cm (5-1/4 inches) diameter, 9.5 cm (just under 4 inches) tall and in excellent condition, directly from the artist. Kashima Aya was born in Kanagawa prefecture in 1987. She graduated the Tokyo Kasei Gakuin University, Department of Arts and Culture in 2010. She graduated the Tajimi City Ceramic Design Institute Design Course in 2020, with an additional two years in their advanced Ceramic Lab, graduating in 2022. During this time, she took part in many group exhibitions. She received Nyusen status at the 55th Women's Association of Ceramic Artists (WACA) Exhibition in 2021. In 2023 her work was selected for presentation at the “Ceramic Synergy Exhibition” held at the Kyoto Kyocera Museum of Art.

A Mizusashi in signature peach colored glaze by Yamaguchi Michie enclosed in the original signed wooden box titled Momo-yu Mizusashi. It comes with a shiny black lacquered lid, which contrasts wonderfully with the matte pink glaze. It is roughly 20 cm (8 inches) diameter, 18 cm (7-1/4 inches) tall and is in excellent condition, directly from the artist.
Yamaguchi Michie was born in Aichi prefecture in 1964, and came to pottery at the age of 35, opening her studio in Nagoya in 2003. She first exhibited with the Nitten National Art Exhibition in 2008. In 2009 she was accepted into the Nihon Togeiten National Ceramic exhibition, where she has been subsequently awarded. That same year she was recipient of the Shorei-sho prize at the Kobe Biennale, and she entered for the first time the Womans Association of Ceramic Artists (WACA) Exhibition, receiving the T-shi prize. In 2011 she would be awarded at the Kikuchi Biennale, the 45th Female Artist Exhibition, as well as the Nihon Shin Kogeiten National New Crafts Exhibition. She would also first enter the International Ceramics Festival in Mino. 2012 saw her work awarded at the Mino Togei Shorokusho Chawan Ten Tea Bowl exhibition as well as the Mino Togei Ceramic Exhibition. In 2014 she was prized at the Hagi Taisho-ten show. She was awarded again in 2017 at the 43rd Mino Togeiten, and Governors prize at the 54th WACA Exhibition in 2020. In 2021 she was awarded the 43rd Nihon Shin Kogeiten New Crafts Exhibition, as well as the Kasama Togei Taishou Ten and in 2022 at the Tobi Ceramic Art Society of Japan Exhibition. She has taken part in ceramic events in Europe and Korea, and her work is held in the Toshin Ceramic Museum.

Wow! Is what comes to mind the first time you see this daring silver glazed organic Kake Hana-ire by Okumura Hiromi. The clay folds about onto itself, forming a seed-like pod, with an opening in the top and wings extending out both sides. A wire loop is affixed to the back for wall hanging. A signed and stamped wooden plackard by the artist accompanies the piece. It is 11 x 14 x 5 inches (28 x 36 x 13 cm) and is in fine condition.
Okumura was born in Kyoto in 1953, and was thus from an early age inducted into the avant-garde world of pottery being created at that time by the founders of Sodeisha and their influence. He graduated the Kyoto Municipal University of Art Ceramic division in 1978. Throughout the 80s a slew of public and private exhibitions led him to an appointment as professor of Ceramics at Kyoto Seika University. He received Grand Prize at the Kyoten in 1990, and has since received other awards there. His work was selected for the traveling exhibition showcasing young Japanese talent “Japanese Pottery: The Rising Generation from Traditional Japanese Kilns”. He has been exhibited frequently in America as well.

Ash encrusts one side of this flattened Signature form by Shigaraki Legend Furutani Michio enclosed in the original signed wooden box. Opposite is rich red terracotta and in between rivers of molten green glass. It is 45 cm (17-1/2 inches) diameter, and weighs 14 kg (30 pounds) plus the thick Kiri-wood box. This belongs in a museum of contemporary Japanese pottery.
Furutani Michio is one of the Gods of Shigaraki, an artist who wrote the book on Anagama kilns, and one of the more influential artists of the second half of the 20th century. He was born in Shigaraki; graduating the Konan High School of industrial Arts, he moved to further his studies (like so many great artist before him, Kanjiro, Hamada…) at the Kyoto Institute of Industrial Arts in 1964. After breaking out on his own, he started by building an Anagama in Shigaraki in 1970, the first since the middle ages. He was a true pioneer, reviving the tradition and going on to build over thirty kilns over the next thirty years. No other artist has shown such singular dedication to a firing technique. He has been featured in the Nihon Dento Kogei Ten (Japanese Traditional Crafts Exhibition), Nihon Togei Ten (Japanese Ceramic Exhibition) and the Chunichi Kokusai Togei Ten among others. He passed away at the peak of his career. For more on this artists contributions see his book Anagama – Building Kilns and Firing.

A breathtaking swirling platter by important contemporary Shino artist Hayashi Shotaro enclosed in the original signed wooden box titled Manyosai Zuimaki Ita Shiho-zara (Four-sided Slab Dish with Myriad Leaves Color Tornado). This Manyosai glaze is the artists unique forte and one of many important additions he has made over the years to the world od Mino pottery. The thick slab is 40 x 32 cm (16 x 12-1/2 inches) and stands up to 10 cm (4 inches) tall; in excellent condition.
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.

Wow! This is quite a tsubo by revivalist Takahashi Shunsai enclosed in the original signed wooden box titled Shigaraki Kama Hana Tsubo. A wack of ash blasts the shoulder over raw shiseki studded terracotta clay scorched the color of bricks. Fired on its side, opposite is charred and covered in molten ash where it had been buried in the embers. This is truly a classic Shigaraki work down to the belt of cross hatches at the shoulder and two stage mouth. It is 26 cm (10 inches) tall, roughly the same diameter and in excellent 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 Intangible Cultural Property (Living Treasure) in 1995. This is possibly more important than the Living National Treasure designation, imbued as that selection is with rank and politic. The Prefectural version is truly representative of one’s merits as an artist and achievement.

A Tenmoku Hanging vase by the living master of that genre, Kimura Morikazu, enclosed in the original signed wooden box titled Tetsuyu Kohen Kake-hana-ike. The lozenge form features two lug handles in the shape of a traditional Waniguchi Japanese Shrine Gong. It is 7-1/2 x 6-1/2 x 2 inches (19 x 16.5 x 5.5 cm) nd in excellent condition, retaining the original shiori and wrapping cloth.
Kimura Morikazu was born to the house of a Kyo-yaki potter and studied under Ishiguro Munemaru, He established his first kiln in the Gojo Zaka area of Kyoto in 1947, moving to Fukui in 1976. He is held in the collection of both the Kyoto National Museum of Modern Art and the Imperial Household Agency. He has been displayed at innumerable private exhibitions in addition to major exhibitions such as the Nitten, Nihon Dento Kogeiten(National Traditional Crafts Exhibition) and Nihon Togei Ten (National Ceramics Exhibition) among others. Winner of the Japan Ceramics Society (JCS) award, purchased by the Ministry of Foreign affairs. Morikazu has been incredibly influential on the subsequent generation of potters.

The cloth textured surface seems to glow warm like the promise of warm days to come, cherries blossoming wide on this sake set by Ito Motohiko enclosed in the original signed wooden boxes. The Guinomi is 7.5cm (3 inches) diameter 3.5cm (1-1/2 inches) tall. The Tokkuri is 9.5cm (just less than 4 inches) diameter, 14.5cm (just less than 6 inches) tall and both are in excellent condition.
Ito Motohiko is a famous Kasama potter, best known for his nunome pattern and exceptional designs. Motohiko was born in Fukuoka prefecture, 1939, and graduated the Tokyo University of Art in 1964, then moved on to advanced courses there, finishing in 1966. While at University he studied under Kato Hajime and Fujimoto Yoshimichi. It was in 1967 his first piece was accepted into the 6th Modern National Crafts Exhibition, and the next year would be spent working under to-be-Living National Treasure Matsui Kosei. His list of prizes and exhibitions is much too long to reproduce, but since 1967, he has Exhibited with the Nihon Dento Kogeiten, Nihon Dento Kogei Shinsaku Ten, Dento Kogei Musashino Ten, Tanabe Museum Modern Tea Forms Exhibition, been the subject of an NHK Television documentary, and participated in a ridiculous number of private exhibits at many of Japans top venues, and has been purchased by the Heisei Emperor in person as well as receiving the Shijuho-sho prize from his majesty.

A black Porcelain vessel from the Divergence series which the artist says “can be used to serve sake or tea” titled Kuro Jiki Tsugiguchi (Black porcelain pourer). It is 9 x 15 x 6 cm (3-1/2 x 6 x 2-1/2 inches) and is in excellent condition, from the artist late last year. Matsumura Jun was born in Chiba Prefecture on the outskirts of Tokyo in 1986. He graduated from the University of South Alabama in 2010, and graduated the Tajimi Municipal Ceramics Research Facility in 2015, then went on to the Utatsuyama Research Facility in Kanazawa, leaving there in 2018. His transcendent, innovative forms have set the heart of the ceramic world racing and he has been awarded at the exhibition Tradition and Innovation-Japanese Ceramics Now as well as the 3rd Triennale of KOGEI in Kanazawa and have been presented at TEFAF in Maastricht, Art Fair Tokyo in 2018, Art Collect in London and Art Kyoto in 2019.

A rare large work blasted with natural ash glaze by Koyama Kiyoko enclosed in the original signed wooden box titled Shigaraki Shizen-yu Kama-shizuku O-Tsubo. The rim is crusty and shows Shinshoku (degradation from the flame) a testament to her infamously long firing times. The front is coated in a flow of green and olive ash, while on the raw earth of the back a single drip (shizuku) from the kiln roof has landed as a colorful accent. This rare teardrop of the fire god is highly prized among collectors. The vessel is 35 cm (14 inches) tall and in excellent condition.
Koyama Kiyoko was 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. Born in Sasebo, Nagasaki in 1938, she went to Shigaraki village, home of one of Japan’s Six Ancient Kilns. There she studied the traditional techniques, 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

Product of the pure spirit of Shigaraki tradition and the pure winds of the inferno and impurities of the clay is this fabulous chawan tea bowl by the inspiring Furutani Kazuya enclosed in the original signed wooden box titled Shigaraki Chawan. It has a rugged complexion with raw sunburnt clay dappled with spattered ash and a wide, solid, base. Enjoy the weight of it in your hands, then turn it over and marvel at the glistening jade gem clinging to the bottom. It is 12 cm (5 inches) diameter 8 cm (3 inches) tall and in excellent condition, directly from the artist.
Furutani Kazuya was born the son of Anagama legend Furutani Michio in 1976. He graduated the Yamaguchi College of Art in 1997, and spent a year at the ceramics research facility in Kyoto before returning to work under his father in Shigaraki. His Father’s sudden death in 2000 pushed Kazuya to the fore, and left him with big shoes to fill. That he has done! Building three Anagama in the following decade and displaying with the National Ceramics Exhibition and a number of private affairs in some of Japan’s top venues. He was just preparing for a solo exhibit at the prestigious Kuroda Toen Gallery when we met him late in the autumn.

A swollen sail shape in graduations of color by Miyashita Zenji enclosed in the original signed wooden box titled Kaze no Deban (Cue the Wind, or Wind in the Sails, if you like). It is 20 x 21 x 28 cm (8x 8-1/2 x 11 inches) and in excellent condition. It retains the original Shifuku and Shiori.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art under Kiyomizu Kyubei and Kusube Yaichi. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He began exhibiting in the annual Nitten exhibitions in 1964, eventually winning eighteen prizes. According to the Sackler, which holds 6 works by him, “ His mature work was a modern embodiment of a classic Kyoto mode associated with the Heian period (794–1185). He applied delicate layers of color—reminiscent of multilayered court robes or decorated papers made for inscribing poetry—using not over-glaze enamels or glazes but clay itself, dyed with mineral pigments”. He is held in the aforementioned Freer-Sackler, the British Museum, the Metropolitan Museum of Art New York, and the Brooklyn Museum the Minneapolis Institute of Arts, the Museum of Fine Arts Houston and of course the National Museums of Modern Art both in Kyoto and Tokyo among a host of others.

Gold nuggets gleam on the deep lavender and black surface of this natural-formation by Inayoshi Osamu enclosed in the original signed wooden box titled Kurinuki Kinsai Kaki. Kinsai is literally gold color, and here the artist has embedded gold into the surface, allowing it to expand and bubble out in the heat of the firing process. The effect of this on the dark matt surface is both striking and original. Kurinuki is the technique of digging a form out of a block of clay. It is 18-1/2 inches (47 cm) tall and in excellent condition.
Inayoshi Osamu was born in Aichi prefecture, the heart of Mino country, in 1976. He completed his initial training in the plastic arts at the Seto Pottery School in 2002, garnering an award that same year at the 56th Seto City Art Exhibition. In 2007 he established his own kiln in Toyohashi, and was awarded at the 19th Heart of Oribe Pottery exhibition (again the following year). In 2008 he began to focus on the Atsumi pottery of the Heian and Kamakura periods, building up a unique repertoire. After several more domestic shows and prizes, he had his overseas debut in 2010, and has since received a great deal of attention both at home and abroad.

Striking black flashes of oil-spot glaze surface on this Tetsu-yu Tessai Tsubo by Shimizu Yasutaka enclosed in the original signed wooden box. The speckeled Rust red-orange body is like looking on fire or smoldering coals from a distance. The pot is 14 inches (35 cm) tall, 12 inches (30 cm) diameter and in fine condition, purchased at the Mitsukoshi Department Store Gallery Exhibition in 2006. Yasutaka was born into the pottery household of future Living National Treasure Shimizu Uichi in 1947. Although always involved in pottery, he began his official apprenticeship in the plastic arts under his fathers tutelage after graduating Ryukoku University in 1971. One year later his first piece was accepted in National competition at the Japan Traditional Crafts Exhibition (Nihon Dento Kogeiten). The following year he was awarded the first of many awards at the second Kinki Area Nnihon Kogei Kai Exhibition. In 1975 he was accepted into theNihon Togei Ten (National Ceramics Exhibition). He has a constant following in the world of Private exhibitions, and his work is held by Kyoto Prefecture.

A sculptural vessel by Yamaguchi Michie enclosed in the original signed wooden box titled heel. This is a fabulous representative work by this artist, in her signature peach glaze, something a little bit zesty. Yamaguchi sensei will tell you she is captivated by the beauty of the female form, and she seeks to imbue her works with that feminie grace. It could serve as a vase or simply be displayed on its own as an obje't. This piece is 8 x 23.5 x 14 cm (3 x 9 x 5-1/2 inches) and is in excellent condition, directly from the artist.
Yamaguchi Michie was born in Aichi prefecture in 1964, and came to pottery at the age of 35, opening her studio in Nagoya in 2003. She first exhibited with the Nitten National Art Exhibition in 2008. In 2009 she was accepted into the Nihon Togeiten National Ceramic exhibition, where she has been subsequently awarded. That same year she was recipient of the Shorei-sho prize at the Kobe Biennale, and she entered for the first time the Womans Association of Ceramic Artists (WACA) Exhibition, receiving the T-shi prize. In 2011 she would be awarded at the Kikuchi Biennale, the 45th Female Artist Exhibition, as well as the Nihon Shin Kogeiten National New Crafts Exhibition. She would also first enter the International Ceramics Festival in Mino. 2012 saw her work awarded at the Mino Togei Shorokusho Chawan Ten Tea Bowl exhibition as well as the Mino Togei Ceramic Exhibition. In 2014 she was prized at the Hagi Taisho-ten show. She was awarded again in 2017 at the 43rd Mino Togeiten, and Governors prize at the 54th WACA Exhibition in 2020. In 2021 she was awarded the 43rd Nihon Shin Kogeiten New Crafts Exhibition, as well as the Kasama Togei Taishou Ten and in 2022 at the Tobi Ceramic Art Society of Japan Exhibition. She has taken part in ceramic events in Europe and Korea, and her work is held in the Toshin Ceramic Museum.

A dark charred Chosen Karatsu kamahen Mimitsuku Mizusashi by Nishioka Koju (b. 1918) enclosed in the original signed wooden box. All is deeply coated in thick burnt ash. Red shows through rivulets of dark olive burnt to the side of the body. The raw clay is visible through the thick ash drips on one side. It has a custom black lacquered wooden lid and is in fine condition but for the handle on the lid, which was broken and repaired. It is 6 inches (15.5 cm) tall, 7 inches (17.5 cm) diameter and in perfect condition. Koju was born in Saga prefecture, and after participating in kiln research began working in Karatsu style ceramics around 1950 in a kiln he built that was named by Koyama Fujio. To this kiln came Fujiwara Kei and Arakawa Toyozo, the latter from whom he received the name Koju. He always avoided the world of large scale exhibitions in favor of small personal spaces, always preferring the private exhibition. Despite this, his reputation was impeccable and he was rated as one of the most influential people in Japanese ceramics by Honoho Magazine. His work is contained in the Polk museum, the Cleveland Museum as well as many other important collections. He is one of the most highly valued of the Karatsu artists, and his recent passing will leave a hole hard to fill in the Japanese ceramic world.

Like a fossilized ammonite excavated from some dry desert pit, dry green glass leaves off to arid cracked earth on this swirling vessel by Atarashi Kanji enclosed in the original signed wooden box. It is a powerful work with sensational textures. 26 cm (10 inches) diameter, rising from 7 to 11 cm (3 to 4-1/2 inches) high at the shoulder. Due to the convoluted shape and extreme temperatures there are stress fractures born from the firing process.
Atarashi Kanji was born in Osaka in 1944, and graduated the Osaka College of Craft design. After 3 years in Kobe, and 4 in Kishiwada (Wakayama) he came to settle in Iga, where he was one of the driving forces behind the resurrection and preservation of the Iga tradition. Although displayed at the National Craft Fair, he prefers the intimacy of the private exhibition, of which he holds several every year. And if ones visit to japan is not timed right for an exhibition, he can otherwise be found at his kiln working along with his son and daughter.

Rivulets of ash dribble down the red earth sides of this vase by Nishiura Takeshi enclosed in the original signed wooden box titled Echizen Henko. Positioning in the kiln, with one shoulder angled toward the flame, ensure the lip and one rounded corner are charred in that distinct ocher inidicative of the region. Elsewhere the ash is molten green. A great example of this lesser known ancient kiln site. The vessel is 18 x 13 x 17.5 cm (7-1/2 x 5 x 7-1/2 inches) and is in excellent condition.
Nishiura Takeshi was born in Fukui prefecture in 1941, and graduated the Law Depratment of the prestigious Tokyo University in 1965. A decade later, he did an about face and began to follow the path of the potter establishing his first kiln in Echizen in 1975. Later he created a traditional Ana-gama kiln in 1982, where he works with his wife Nakazawa Yoko. He has concentrated on private exhibition, and is one of the few contemporary potters (and my personal favorite) making waves in the world of Echizen.

A drinking set covered in gold foil and Rimpa inspired florals by Kuroki Kuniaki enclosed in the original signed wooden box titled Tebuki Glass Shuki and named inside Kinasi Korin. There are two cups, a Tokkuri sake flask, and two chopstick holders, one saphire the other ruby. The Tokkuri pot is 5 inches (12.5 cm) tall and all is in excellent condition. Kuroki Kuniaki was born in Miyazaki prefecture in 1945. He began his career employed straight out of school by the Yamaya Glass Company in 1963. It would only be a decade later that he would venture out on his own, to begin creating unique works of glass art. Yet another ten years would pass before he went fully independent in 1984. He began with a project to revitalize Edo style Cut glass (Satsuma Kiriko), and established his workshop in 1989. He was awarded the National Order of Excellence for modern craft in 1991 and began to garner attention overseas. He was awarded in Paris in 1995, Rome in 1996 and Athens in 1997. Since he has been exhibited widely throughout Japan, as well as the US, Singapore, Throughout Europe, Taiwan, Australia among many others. His works have been collected by the Imperial Household Agency and the Royal Family. They are held in the collection of Philadelphia, Denmark Glass Museum, Peking Palace Museum and Kitazawa Museum among others.

An amazing, complex landscape covered in glossy copper glaze by Tsukamoto Haruhiko enclosed in the original signed wooden box titled Oribe Kaki (Oribe Flower Receptacle). This is very similar in design to the piece submitted to the 35th Asahi Ceramic Art Exhibition in 1997, the year after he took Grand Prize there. It is 19-1/2 inches (49 cm) long and in excellent condition.
Tsukamoto Haruhiko was born in Toki city, Gifu, in the heart of ceramic country in 1959, and raised among the kilns of the Mino region. He turned toward ceramics at a young age, studying conversely under Nonaka Shunsei (from 1977) and graduated from both the Aichi prefectural Seto Ceramics Research Facility (1978) and Gifu Prefectural Tajimi Research Facility (1980). The following year he moved to study under Asai Reiji. He established his own kiln in 1985, capturing the worlds attention with his Grand Prix winning piece at the Asahi Ceramics Exhibition in 1996. He has been exhibited at the National Traditional Crafts Exhibition (Dento Kogeiten) and Issui Kai Exhibition among many others. He was awarded silver prize at the Contemporary Tea Ceramics Exhibition (Gendai Chato Ten) as well as being awarded at the Mino Togeiten Ceramics Exhibition.

A massive Oribe Slab by Hayashi Shotaro enclosed in the original signed wooden box titled Oribe Cho-ho-Zara. It is 25-1/2 x 13 x 4-1/2 inches (65 x 35 x 11.5 cm) and in excellent condition. Due to size the cost of shipping will be accrued separately for this item.
Shotaro is one of Japans true genius potters, moving far beyond tradition, glaze research and firing technique, to a place of inception. He first began with a 7 year apprenticeship under his older brother Kotaro, ending when 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 among many others.

A Spectacular Bizen Tsubo dripping with ash glaze by Yukuyoshi Manabu enclosed in the original signed wooden box titled Bizen Yohen Tsubo (Kiln altered). The rim is covered in built up black ash, which grows more liquid as it enters the burning embers on the side, and is blasted around in rivulets to the back where it has created two shadows of raw earth where another pot was in close proximity. It is 23 cm (9 inches) diameter, 21.5 cm (8-1/2 inches) tall and in excellent condition.
Yukuyoshi Manabu was born in Kagatonishi near the heart of Bizen country in 1941. After working in Osaka as a young man, he returned to Bizen to assist the family building supply company. There he began to study clay under Mori Hozan and Ohira Seinosuke. After rebuilding an old kiln, he established his own. He ahs exhibited with the Issuikai Ten, the Chunichi Kokusai Togeiten, the National Ceramic Exhibition (Nihon Togeiten) among many others and has received a great many awards over his career.