Modern Japanese Ceramics
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Sold, Thank you!
Enigmatic natural forms seem fossilized on the white surface of this rare guinomi by female pottery star Hattori Makiko enclosed in a black lidded wooden box signed and dated inside Heisei 27 (2015) and titled simply Shuki. It is 7.5 cm (3 inches) diameter and in excellent condition. This was from way back when we could acquire works by her. Those days are long gone, and this is the last of its kind.
Hattori Makiko was born in Aichi prefecture in 1984. She graduated the Aichi Prefectural University of Education of in 2007, moving to advanced courses which she graduated in 2009. While still in University she participated in her first event, the 40th Female Artists Exhibition in 2006. In 2007 she was accepted into the 45th Asahi Togeiten (and the following year the 46th). In 2008 she was exhibited at the INAX gallery and Chunichikan (Chinese Korean and Japanese) International Art Exhibition. That same year her work was exhibited in Taiwan. 2009 found her in a group exhibition with several rising stars. Tanaka Tomomi, Nakashima Harumi and Hattori Makiko. Since then she has concentrated more on art fairs and festivals, rather than the large competitive exhibitions held nationally. Preferring the interaction with visitors which these smaller venues allow, and reliving the pressure to constantly produce volume so as to stay focused on quality and Uniqueness. Now a mother, there are even more demands on her time.
Hattori Makiko was born in Aichi prefecture in 1984. She graduated the Aichi Prefectural University of Education of in 2007, moving to advanced courses which she graduated in 2009. While still in University she participated in her first event, the 40th Female Artists Exhibition in 2006. In 2007 she was accepted into the 45th Asahi Togeiten (and the following year the 46th). In 2008 she was exhibited at the INAX gallery and Chunichikan (Chinese Korean and Japanese) International Art Exhibition. That same year her work was exhibited in Taiwan. 2009 found her in a group exhibition with several rising stars. Tanaka Tomomi, Nakashima Harumi and Hattori Makiko. Since then she has concentrated more on art fairs and festivals, rather than the large competitive exhibitions held nationally. Preferring the interaction with visitors which these smaller venues allow, and reliving the pressure to constantly produce volume so as to stay focused on quality and Uniqueness. Now a mother, there are even more demands on her time.
Modern Japanese Ceramics
sold, with thanks!
sold, with thanks!
A large deep bowl decorated in abstract underglaze blue imagery by Shibata Ryozo enclosed in the original signed wooden box titled Sometsuke Hachi and dating cica 1995. It is 28 cm (11 inches) diameter, 14 cm (5-1/2 inches) deep and in excellent condition.
Shibata Ryozo (b. 1952) completed advanced studies at the Kyoto Municipal University of Arts in 1978 (his work was purchased by the university the previous year for its permanent collection). In 1993 he first exhibited with the Nihon Dento Kogei Ten National Traditional Crafts Association, and in 94 was awarded at the Izushi Porcelain Trienial in Hyogo. After that he concentrated more on the Kansai area, and has been awarded at the Kyoto Bijutsu Kogeiten (97), Kyoto Kogei Bijutsu Sakka Kyokai Ten (98), Seto Sometsuke Exhibition (99) and Osaka Crafts Exhibition on multiple occasions. He has been a guest speaker at the University of Michigan in 2005, and artist in residence in Campbell Australia in 2006. Just this year his work was selected for exhibition in Boston at the Society of Arts and Crafts. In 2014 his work was collected by the Imperial household agency, and he is held in the collections of Kyoto City and Toyooka City Museums among others.
Shibata Ryozo (b. 1952) completed advanced studies at the Kyoto Municipal University of Arts in 1978 (his work was purchased by the university the previous year for its permanent collection). In 1993 he first exhibited with the Nihon Dento Kogei Ten National Traditional Crafts Association, and in 94 was awarded at the Izushi Porcelain Trienial in Hyogo. After that he concentrated more on the Kansai area, and has been awarded at the Kyoto Bijutsu Kogeiten (97), Kyoto Kogei Bijutsu Sakka Kyokai Ten (98), Seto Sometsuke Exhibition (99) and Osaka Crafts Exhibition on multiple occasions. He has been a guest speaker at the University of Michigan in 2005, and artist in residence in Campbell Australia in 2006. Just this year his work was selected for exhibition in Boston at the Society of Arts and Crafts. In 2014 his work was collected by the Imperial household agency, and he is held in the collections of Kyoto City and Toyooka City Museums among others.
Modern Japanese Ceramics
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Sold, Thank you
Gold bubbles out from the scraffito marked white surface of this kogo incense box with accompanying black and opaque glass incense burner by Kondo Takahiro enclosed in the original signed wooden box. The glass box is 9.5 x 11.3 x 10 cm. The pottery box is 6 x 5 x 4 cm and both are in excellent condition.
Takahiro (b. 1958) was born the grandson of Living National Treasure Kondo Yuzo. However he graduated Hosei University not with a degree in sculpture or crafts, but in Literature. From there he studied at the Kyoto Prefectural Technical Institute of Ceramics, followed by a year at the Kyoto Municipal Institute of Industrial Research. 15 years later he would spend a year in Edinburgh studying glass making, and with this combination of skills, was born the silver mist series for which he is so highly acclaimed. Work by him is held in Museums throughout the world, including the National Museum of Scotland, Brooklyn Museum of Art, Los Angeles County Museum of Art, Minneapolis Institute of Arts, Museum of Arts & Design, New York, Spencer Museum of Art, The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Houston, Art Gallery NSW, Sydney, Hamilton Art Gallery, Australia, Miho Museum. National Gallery of Victoria, Paramita Museum, The Museum of Contemporary Ceramic Art, Shigaraki, and The São Paulo Museum of Art, Brazil among others. Without a doubt one of the most important contemporary artists in Japan today. For more see Celestial Ceramics: the Art of Kondo Takahiro (2002)
Takahiro (b. 1958) was born the grandson of Living National Treasure Kondo Yuzo. However he graduated Hosei University not with a degree in sculpture or crafts, but in Literature. From there he studied at the Kyoto Prefectural Technical Institute of Ceramics, followed by a year at the Kyoto Municipal Institute of Industrial Research. 15 years later he would spend a year in Edinburgh studying glass making, and with this combination of skills, was born the silver mist series for which he is so highly acclaimed. Work by him is held in Museums throughout the world, including the National Museum of Scotland, Brooklyn Museum of Art, Los Angeles County Museum of Art, Minneapolis Institute of Arts, Museum of Arts & Design, New York, Spencer Museum of Art, The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Houston, Art Gallery NSW, Sydney, Hamilton Art Gallery, Australia, Miho Museum. National Gallery of Victoria, Paramita Museum, The Museum of Contemporary Ceramic Art, Shigaraki, and The São Paulo Museum of Art, Brazil among others. Without a doubt one of the most important contemporary artists in Japan today. For more see Celestial Ceramics: the Art of Kondo Takahiro (2002)
Modern Japanese Ceramics
sold, thank you
sold, thank you
A canonical misshapen Shigaraki Jar by legendary female artist Koyama Kiyoko enclosed in the original signed wooden box titled Shigaraki Shizen-yu Uzukumaru. The igneous coating of mottled natural ash glaze containing clusters of charring gives testament to the fluctuations in temperature during the firing which give the work of this pioneering female artist such a unique quality. Here the form is classic medieval Shigaraki with a cross-work pattern called Higaki engraved into the shoulder of the jar. It is 21 cm (8-1/2 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
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
Modern Japanese Ceramics
sold, thank you
sold, thank you
A rare blue gleams on the edges of this small cuboid by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Hen Hana-ire. The surface is heavily abraded as with a chisel, giving plenty of grip for the natural blown-ash glaze. It is 9 x 6.5 x 9 cm (3-1/2 x 2-1/2 x 3-1/2 inches) and is in excellent condition, directly from the artist.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churoku II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churoku II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.
Modern Japanese Ceramics
sold, thank you
sold, thank you
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.
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.
Modern Japanese Ceramics
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Sold, Thank you!
A Beautiful bowl in crackled white set into a lattice like structure of raw porcelain pierced with a plethora of various sized holes by Kato Yoshiyasu enclosed in the original signed wooden box titled Haku-yu no wan (White Glazed Bowl). A singular drip of fissured glass forms a bead from the bulging line between the thick glaze and raw clay where the two parts of the bowl have been joined. It is 12.5 cm (5 inches) diameter, 10 cm (4 inches) tall and in excellent condition, from the artist this year.
Kato Yoshiyasu was born in Aichi prefecture in 1985, and graduated the Kurashiki Kogei Crafts School design department in 2008. He then went on to study at the Tajimi Ceramics Research Facility, finishing there in 2014. He moved to Nshio city in 2018, where he set up a studio and works today while raising a cute little baby with his wife.
Kato Yoshiyasu was born in Aichi prefecture in 1985, and graduated the Kurashiki Kogei Crafts School design department in 2008. He then went on to study at the Tajimi Ceramics Research Facility, finishing there in 2014. He moved to Nshio city in 2018, where he set up a studio and works today while raising a cute little baby with his wife.
Modern Japanese Ceramics
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Sold, Thank you!
An unusual large bottle-shaped vase by Morino Taimei enclosed in the original signed wooden box. It is fawn-speckled blue on black-mottled tarnished silver, a striking combination. The shape of the mouth he has taken from traditional Korean forms. The vessel is 27 cm (11 inches) tall and in excellent condition.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by the governor’s prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo Natby ional Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by the governor’s prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo Natby ional Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A hakuji sake bottle with a slightly lobed seihakuji sake cup by Suzuki Osamu enclosed respectively in their original signed wooden boxes. The Tokkuri is faceted with a spiraling twist, creating a fun dialog between itself and the low, lobed cup, at the center of which is impressed the character, Flower. The cup is 9.5 cm (just less than 4 inches) diameter, the Tokkuri is 16.2 cm (6-1/2 inches) tall and in excellent condition.
Suzuki Osamu (1926-2001) was, along with Kumakura Junkichi, Hikaru Yamada and Yagi Kazuo, one of the founding members of Sodeisha. He studied pottery at the Daini Kogyo Gakko in Kyoto. In 1948 he helped to establish Sodeisha. He received the JCS award in 1959 (and was granted the rare gold award in 1983). In 1962 he was awarded at the Prague International Ceramics Expo, the first of many international awards. In 1987 he was granted the Order of Cultural Merit by Kyoto Prefecture, followed by the same award from Kyoto City in 1993 and 1994. He exhibited with Sodeisha, The National Ceramics Exhibition (Nihon Togeiten) among others. Works by him are in too many collections to note in this small add, including the Kyoto and Tokyo National Museums of Modern Art, Victoria Albert and New York Metropolitan Museum of Modern Art.
Suzuki Osamu (1926-2001) was, along with Kumakura Junkichi, Hikaru Yamada and Yagi Kazuo, one of the founding members of Sodeisha. He studied pottery at the Daini Kogyo Gakko in Kyoto. In 1948 he helped to establish Sodeisha. He received the JCS award in 1959 (and was granted the rare gold award in 1983). In 1962 he was awarded at the Prague International Ceramics Expo, the first of many international awards. In 1987 he was granted the Order of Cultural Merit by Kyoto Prefecture, followed by the same award from Kyoto City in 1993 and 1994. He exhibited with Sodeisha, The National Ceramics Exhibition (Nihon Togeiten) among others. Works by him are in too many collections to note in this small add, including the Kyoto and Tokyo National Museums of Modern Art, Victoria Albert and New York Metropolitan Museum of Modern Art.
Modern Japanese Ceramics
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Sold, Thank you!
A striking design of swirling dots decorates this wide low chawan by female porcelain legend Ono Hakuko enclosed in the original signed wooden box titled Yuri Haku-kin Sai Hira Chawan (White Gold Decorated Wide Tea Bowl). Blue and Green Dots swirl in a vortex from the center of the bowl. It is 16.2 cm (6-3/8 inches) diameter, 4.7 cm (2-7/8 inches) tall and in excellent condition retaining the original shiori.
From Aichi prefecture, 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)
From Aichi prefecture, 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)
Modern Japanese Ceramics
sold, thank you
sold, thank you
A masterpiece by Kato Shigetaka, this bowl is very powerful, and I am not one to wax too longingly on individual pieces. In short: he nailed it with this bowl which comes enclosed in the original signed wooden box titled Kuro Chawan. It is 13 cm (5 inches) diameter, 9 cm (3-1/2 inches) tall and in excellent condition.
Kato Shigetaka (1927-2013) was born the son of legendary revivalist Kato Tokuro, his older brother the legendary rebel Okabe Mineo. Shigetaka graduated the Seto Industrial School of Ceramics and studied under his father. From 1959-1971 submitted annually to the Nitten where he received the Hokutosho prize as well as the Modern Ceramics Prize among others, and later governors prize at the Asahi Togeiten Ceramic Exhibition. He also was recipient of the prestigious Japanese Ceramics Society Award. He accompanied his father on frequent trips to China and Central Asia for research into the roots of silk road pottery. He was extremely talented and worked the gamut of Mino and Seto styles.
Kato Shigetaka (1927-2013) was born the son of legendary revivalist Kato Tokuro, his older brother the legendary rebel Okabe Mineo. Shigetaka graduated the Seto Industrial School of Ceramics and studied under his father. From 1959-1971 submitted annually to the Nitten where he received the Hokutosho prize as well as the Modern Ceramics Prize among others, and later governors prize at the Asahi Togeiten Ceramic Exhibition. He also was recipient of the prestigious Japanese Ceramics Society Award. He accompanied his father on frequent trips to China and Central Asia for research into the roots of silk road pottery. He was extremely talented and worked the gamut of Mino and Seto styles.
Modern Japanese Ceramics
$650.00
$650.00
Be the only one on the block with a Murakoshi Takuma wash basin! Here is a sink made from his infamous rugged Shigaraki clay covered in Ash, iron and feldspar. This will undoubtedly become a conversation piece! It comes complete with stainless steel drain pipe fittings. The sink is 35 cm (14 inches) diameter, 12 cm 5 inches) deep and is in perfect condition.
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.
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.
Modern Japanese Ceramics
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Sold, Thank you!
Iridescent red and a burst of gaseous gold cloud like some fantastical deep space event unfolds on the dark surface of this wan-gata (bowl shaped) black Raku guinomi by Hashimoto Tomonari enclosed in the original signed wooden box titled Raku-yaki Yohen Guinomi (Kiln Altered Raku sake cup. This completes the phrase: The Universe in the palm of your hand. I have had several bowls by Tomonari, known for his colored effects and this is unparalleled. It is 11.5 cm (4-1/2 inches) diameter, 10.5 cm (4 inches) tall and in excellent condition directly from the artist this summer.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. Work by him is held in the V&A in London, another piece has entered LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. Work by him is held in the V&A in London, another piece has entered LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.
Modern Japanese Ceramics
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Sold, Thank you!
Silver streaks the thickly potted blue sides of this large vase by important artist Morino (Hiroaki) Taimei enclosed in the original signed wooden box. The patterns drape over the rim, and rise from the base like seaweed dancing in the current below a wavy line at the shoulder, the blue glaze filled with floating paler bubbles. The vessel is 28 cm (11 inches) tall and in excellent condition.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by the governor’s prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo Natby ional Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by the governor’s prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo Natby ional Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.
Modern Japanese Ceramics
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Sold, with thanks!
Like the charred remains of an open book deep fingerprints still visible from the opening hands within, this is a fine example of the work of Avante Garde Akiyama Yo enclosed in the original wooden box dating from 2013. It is 6-1/2 x 5 inches (16/5 x 13 cm) and is in excellent condition.
Akiyama Yo was born in Yamaguchi, home of Hagi pottery) in 1953, but went to Kyoto to study at the Kyoto Municipal University of Arts in 1976. He has an impressive list of exhibitions both domestic and abroad. He was recipient of the prestigious JCS (Japan Ceramics Society) award in 1996 as well as the coveted Tanabe Art Museum Contemporary Forms in Tea Prize in 2006 among many others. Work by him is held in the Victoria Albert Museum, Museum of Fine Arts in Boston, Minneapolis Institute of Art, National Museum of Modern Art and Municipal Museum of Modern Art in Kyoto, Portland Museum, Museum of Modern Art in Shiga, Houston Museum of Fine Arts and the Art Gallery of South Australia among many others..
Akiyama Yo was born in Yamaguchi, home of Hagi pottery) in 1953, but went to Kyoto to study at the Kyoto Municipal University of Arts in 1976. He has an impressive list of exhibitions both domestic and abroad. He was recipient of the prestigious JCS (Japan Ceramics Society) award in 1996 as well as the coveted Tanabe Art Museum Contemporary Forms in Tea Prize in 2006 among many others. Work by him is held in the Victoria Albert Museum, Museum of Fine Arts in Boston, Minneapolis Institute of Art, National Museum of Modern Art and Municipal Museum of Modern Art in Kyoto, Portland Museum, Museum of Modern Art in Shiga, Houston Museum of Fine Arts and the Art Gallery of South Australia among many others..
Modern Japanese Ceramics
sold, thank you
sold, thank you
A squat form quintessentially Kishi Eiko enclosed in the original signed wooden box dated 1997. Purchased from the artist, it is 21 x 14 x 19.5 cm (8-1/4 x 5-1/2 x 7-3/4 inches) and is in excellent condition.
Kishi Eiko was born in Nara in 1948, and largely trained in the Ceramic Institute of Tekisui Museum. She was first exhibited in 1981 at the Women’s Association of Ceramic Art and was awarded that year. She took the grand prize at the 1985 Asahi Ceramic Art Exhibition, and from then her list of exhibitions both within Japan and out is extensive, with works in any number of important public and private collections including the V&A and Museum of Fine Arts Boston. For more on this artist see Soaring Voices (2007) or Touch Fire (2009) or New Forms, New Voices (2017)
Kishi Eiko was born in Nara in 1948, and largely trained in the Ceramic Institute of Tekisui Museum. She was first exhibited in 1981 at the Women’s Association of Ceramic Art and was awarded that year. She took the grand prize at the 1985 Asahi Ceramic Art Exhibition, and from then her list of exhibitions both within Japan and out is extensive, with works in any number of important public and private collections including the V&A and Museum of Fine Arts Boston. For more on this artist see Soaring Voices (2007) or Touch Fire (2009) or New Forms, New Voices (2017)
Modern Japanese Ceramics
Sold, Thank you!
Sold, Thank you!
Hi-dasuki lines of red charring streak like the Nazca Lines across the surface of this large Tokkuri Vase by Isezaki Mitsuru enclosed in the original signed wooden box. The vase is 19 inches (48 cm) tall and in perfect condition. Due to size the cost of shipping made need to be accrued separately.
Isezaki Mitsuru (b. 1934) was born to a family of potters, his father Yozan and brother Jun both very important in Bizen pottery. In 1998 Mitsuru was named a Prefectural Intangible Cultural Property for Okayama (the prefectural version of a living National Treasure, likely more important as it is truly based on the artists contributions rather than heredity). He has innumerable exhibitions, including the Nihon Togei-Ten (National Ceramics Exhibition) Nihon Dento Kogei-Ten (National Traditional Crafts Exhibition) and Gendai Togei Ten (Modern Japanese Ceramics Exhibition). In fact his first piece exhibited with the First National Ceramic Exhibition was selected for display in a show which went around the globe. Recipient of the Kaneshige Toyo prize as well as purchased by the Japanese Foreign service as gift to foreign dignitaries.
Isezaki Mitsuru (b. 1934) was born to a family of potters, his father Yozan and brother Jun both very important in Bizen pottery. In 1998 Mitsuru was named a Prefectural Intangible Cultural Property for Okayama (the prefectural version of a living National Treasure, likely more important as it is truly based on the artists contributions rather than heredity). He has innumerable exhibitions, including the Nihon Togei-Ten (National Ceramics Exhibition) Nihon Dento Kogei-Ten (National Traditional Crafts Exhibition) and Gendai Togei Ten (Modern Japanese Ceramics Exhibition). In fact his first piece exhibited with the First National Ceramic Exhibition was selected for display in a show which went around the globe. Recipient of the Kaneshige Toyo prize as well as purchased by the Japanese Foreign service as gift to foreign dignitaries.
Modern Japanese Ceramics
sold, thank you
sold, thank you
As with much of the work of this veteran young potter, it would be hard to grow tired of this small sake cup by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Guinmi. Every facet reveals something fresh, a playground for the eyes and the fingers as one enjoys the sake. It is 5.7 cm (just over 2 inches) diameter, 4.7 cm (a hair under 2 inches) tall and in perfect condition, directly from the artist.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.