Catalog: Artists (700)

Enigmatic lines score the martian landscape of this large slab platter by innovative Japanese artist Teramoto Mamoru enclosed in the original signed wooden box. The slab measures 53.5 x 16.5 x 5 cm (21 x 6-1/2 x 2 inches) and is in perfect condition. The box itself is a testament toteh value placed on it by the artist, double the thickness of a usual box and of a fine grade of kiri. The moonscape style is haunting, and Mamoru is a must for any modern Japanese ceramic collection.
Mamoru (1949-present) born in Kanagawa prefecture, initially worked at the Kasama Kobayashi Research Facility after graduating the Tokyo Craft Design Institute. Later he apprenticed under the instruction of both Matsumoto Saichi of Kutani, and Miura Isamu. He established his own kiln in 1976 in Kasama. His works have been displayed and prized at the Nihon Dento Kogeiten (National Traditional Crafts Exhibtion), Nihon Togei Ten (National Ceramics Exhibition) as well as the Shinsaku Ten (New Crafts Exhibition). For more information on this artist see the Catalog from the Nancy Fitz-Gerald Collection.

Lines of burnt straw scar the surface of this voluminous work by Yamamoto Yuichi enclosed in the original signed wooden box. It is 17-1/2 inches (45 cm) tall, 9 x 10 inches (23 x 25.5 cm) at the base and in excellent condition.
Born the son of Living National Treasure Yamamoto Toshu, Yuichi was raised among the clay and kilns of Bizen, at a vital time when Bizen was devastated by the war economy, and the dramatic years of growth and research following. He began making pottery in 1959, at a time when artists were both working to revive old traditions and styles, and yet invoking new forms and sculptural techniques on their work. He travelled extensively, incorporating foreign influences into his body of work. He has exhibited with the Nihon Dento Kogei Ten Traditional Arts and Crafts Exhibition, Nihon Togei Ten National Pottery Exhibition, as well as a plethora of private and public galleries both domestic and abroad. He received the Kaneshige Toyo pottery award in 1976. He was also awarded Grand Prize at the Tanabe Museum Modern Forms in Tea Ceremony Exhibition in 1996. Works by the artist are held in the French National Ceramics Museum, and the collection of the Imperial Household among others

Flame shapes fan up on the sides of this trumpeting bottle by Funaki Kenji enclosed in the original signed wooden box. It is 6-1/2 x 7-1/2 x 9-1/2 inches (16.5 x 19 x 24 cm) and is in fine condition. Funaki Kenji (b. 1927) was born the son of potter Funaki Michitada (1900-1963) in Matsue, Shimane Prefecture. Michitada had been a follower of the Mingei movement closely associated with its founders Kanjiro, Shoji and Leach. Kenji trained under his father in both the traditional styles of Fujina and the slipware styles introduced by Leach and associates and also worked in the Mingei style under Hamada Shoji. Work by him is held in the Mingei-kan Japan Folk-craft Museum of Tokyo, Freer-Sackler of the Smithsonian, the Brooklyn Museum and the V&A in London among many others. For more see “The Ceramic Art of Japan” by H. Munsterberg.

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.

Try describing this incredible Mizusashi covered in glassy Oribe green glaze by important artist Hayashi Shotaro enclosed in the original signed wooden box. Spectacular is all that comes to mind. It is entirely sculptural, with a refinement of glaze only this artist can create. The piece is 7 inches (18 cm) tall, 9 inches (23 cm) diameter and in perfect condition. Shotaro (b. 1947) is one of the biggest names in contemporary Mino ceramics. 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 many others.

A book of Yagi Kazuo works (number 203 of 800) dated 1969 with the cover inlaid with a ceramic work signed and dated Feb. 1967. Dozens of photographs of his work dating from the height of his fame as an avante Garde sculptor fill this 100 page book titled Simply “Yagi Kazuo”. The book comes in the original cover which is held inside a cardboard sleeve. The ends of the cover not encased in cardboard have yellowed some with age, but this does not affect the book within.

This is a splendid example of work by one of Japans true ceramic masters, Kato Takuo (1917-2005), signed on the base and enclosed in the original signed and stamped wooden box titled Aoyu-kinsai Hanaike. The work surpasses the simplicity of the title, covered in rich blue glaze with silver clouding and gold highlights on the looping waves about the rim, the piece exemplifies the unusual forms favored by the artist in the late 80s and early 90s, leading up to his being given the most coveted title in Japan of living National Treasure. The simple bottle form decorated with convoluted loops reminds one of an ancient glass bottle pulled from 2000 years of sleep off the floor of the Aegean Sea. The vase stands 8-1/4 inches (21 cm) tall and is in perfect condition. Kato Takuo, I am sure, requires no introduction. He was trained in ceramics by both his father, Kato Kopei, and at the Kyoto School of ceramics. He was soon accepted and consistently displayed at any number of National and International Exhibitions, and was named an Intangible Cultural Asset in 1995. Sadly he passed away of pneumonia on January 12 of this year. This is a rare opportunity to acquire a piece by this highly sought Japanese Artist.

A superb Uzukumaru tsubo by Tsujimura Shiro enclosed in the original signed wooden box. Shell marks, kutsuki, ash blasting. The piece is 7-3/4 inches (19.5 cm) tall, 6 inches (15.5 cm) diameter and 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.

Enigmatic figures rise from concave discs on the front of this massive Tenmoku Vase by modern sculptural artist Ohi Toshiro enclosed in the original signed wooden box. The gourd shaped form is covered in a mottled red Kaki-yu spotted with flashes of black. The smooth evenly graduated sides contrast with the sharp rough edge of the opening, both surprising and pleasing. Signed clearly on the base, the vase is 14 inches (36 cm) tall, 9-1/2 inches (24 cm) diameter and in perfect condition. Toshiro was born in 1927, the first son of Ohi Chozaemon IX. He graduated the Tokyo University of Arts in 1949, and then returned for a short time to the family kiln. He has since been professor at a number of prestigious Japanese institutions. He has been a consistent exhibitor with the Nitten National Exhibition, and served as both judge and director there, as well as acting as judge for the Asahi Ceramics Exhibition. He was awarded the Japan Ceramics Society award in 1957. He was also granted the Art Academy Award of Japan, perhaps one of the most prestigious of all honors in this country in 1985. He has been actively exhibiting abroad since 1949, including North America, The former Soviet Union, most of Europe as well as in the Middle East. In 1983 a tea bowl made by Toshiro was given as a gift to the Emperor and it, as well as several subsequent pieces, are in the permanent collection of the Imperial Household Agency). He accepted the name of Ohi Chozaemon X in 1987. Since his reputation has only grown greater. There is a derth of information available on this artist.

Hi-dasuki lines of red charring streak across the surface of this large Tokkuri Vase by Isezaki Mitsuru (b. 1934) enclosed in the original signed wooden box. A smooth even profusion of bubbles welter about the clay, adding a tactile texture to the elongated body. The vase is over 20 inches (51.5 cm) tall and in perfect condition. Mitsuru 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.

Another Radical piece by Hayashi Shotaro, this dramatic tsubo is thinly veiled in a crystalline feldspathic glaze, the violent eruptions peeling away from the surface catching and pooling the glaze to spectacular effect. It comes enclosed in the original signed wooden box. The piece is 12-1/2 inches 831.5 cm) tall, 10-1/2 inches (27 cm) diameter and in excellent condition. Shotaro (b. 1947) is one of the biggest names in contemporary Mino ceramics. 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.

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 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.

Orange peel textured black Chawan by Samukawa Seiho I (Yoshikazu 1899-1975) enclosed in the original signed wooden box titled Kishu Yaki Nacchi-guro Chawan. It is 5-1/4 inches (13.5 cm) diameter, 3-1/2 inches (9 cm) tall and in excellent condition.
Born in Osaka in 1900 and raised in Kyoto, Samukawa Seiho I began his apprenticeship in tea ware under Sawada Muneyama in 1919. With a letter of introduction he entered the Aichi Prefectural Ceramics Research Facility in 1927. In 1935 he moved to the Buddhist enclave of Koyasan in Wakayama where he established his first kiln. He succeeded with the development of this Nacchi-guro glaze in 1956, and it became one of the signature features of his work. In 1962, his tea bowl was presented to the Emperor. Five years later he would move, re-establishing his kiln in Shirahama-cho. He was awarded the Bunka Rodosho Cultural Prize in 1970, and in 1972 the Wakayama Order of Cultural Merit.

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.

Ash runs in glassy rivulets down the sand textured sides of this large work by Tsuboshima Dohei enclosed in the original signed wooden box. The undulating rim calls to mind ancient firing traditions, the intense heat of the kiln warping the forms as they turn near molten. This exceptional piece is roughly 10 inches (24.5 cm) tall, 11 inches (28 cm) diameter and is in excellent condition. Born in Osaka, 1929, Dohei apprenticed under the eclectic Kawakita Handeishi immediately following World War II, becoming his top pupil, and eventually taking over the kiln in Tsu, Mie prefecture following the death of Handeishi in 1963. Handeishi was a unique bump on the Japanese ceramic landscape, a powerful businessman who took pottery as a hobby, much along the lines of earlier artist Nakamura Shuto, contemporary Kitaoji Rosanjin and Deguchi Wanisaburo. Dohei began large singular exhibitions of his own work in 1967, both in Osaka and Tokyo, and the following year in Yokohama. He continued these beyond his 30 year retrospective held in 1995, adding Nagoya to his list of sites in 2000. His philosophy has been to preserve the dignity of his teacher by both maintaining strong ties with other students of the master, and eschewing the world of large or mass exhibition. Works by the artist are held in the Mie Prefectural Art Museum among others.

Viscious ash and charring cling to the side of this spectacular Mizusashi by Konishi Heinai enclosed in the original signed wooden box. It is 7 inches (18 cm) tall, the same diameter and in fine condition.
Konishi Heinai (1899-1991) was born into a family of farmers in Ehime on the Island of Shikoku. In 1925 he fell head over heels in love with Raku-yaki and it was in the world of pottery he chose to leave his mark. Returning to Shikoku in 1928, he studied various techniques and went on to study under Kawakita Handeishi from 1931. It was at this time he began to build his first Noborigama climbing kiln. Gaining fame throughout the war years, 1949 saw his fame and genius explode into public notoriety. In 1968 he passed the reins to his adopted son. Heinai II was born into the Beppu family in Aichi (Seto area) in 1928. He apprenticed under his uncle Heinai, followed by a sojourn under Handeishi, and in 1958 became the adopted son of Heinai I. His works were widely collected and exhibited throughout Japan, and he is held in the collection of the Metropolitan New York among many others. The Taiko Gama is one of the most famous for Tea Ware in Japan outside Kyoto.

A stunning work by Shigaraki Legend Tsujimura Shiro enclosed in the original signed wooden box inside the lid of which is scrawled a nude figure and the epitaph NY 5/24/06. It is known that when in New York at an exhibition in 2006 the artist was entertained at a gentlemen’s club and was purported to have had a very good time. This is likely a reference to that event. The vessel is 14 inches (35 cm) tall, 12-1/2 inches (32 cm) diameter and 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.