Catalog: Artists: Ceramics: Pottery (841)

A mesh of copper draperies hang over the dark black of this unusually shaped Tsubo by Tenmoku specialist Kimura Moriyasu enclosed in the original signed wooden box titled Shoju Tenmoku Henko. Shoju Tenmoku, literally Pine-Needle-Tenmoku, is a glaze technique where the effect joins in a mesh like pine needles overlapping, very difficult to pull off, but here Moriyasu has done it masterfully. The vessel is 30.5 cm (12 inches) tall, 19 x 16 cm (7-1/2 x 6 inches) and is in excellent condition.
Born into the Kimura family in Kyoto in 1935 the youngest of four children, it was only natural for Moriyasu to move into ceramics, following and training under his brother Morikazu and learning decorating techniques from his father. It was in 1959 (at the age of 24) when Moriyasu gained National attention as he was selected as one of the participants at the Modern Ceramics of Japan exhibition at the National Museum of Art. Into the 60s he began exhibition with the Nihon Dento Kogeiten National Traditional Crafts Exhibition. It was when viewing a National Treasure Tsubo in the Atake collection that he was moved to express himself solely through the perfection of Tenmoku oil spot glazes. He is held in several important public collections, including the Boston Museum of Fine Arts, Dallas and Houston Museums, Peabody Essex Museum, National Palace Museum Taiwan, as well as the collection of Ise Shrine.

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.

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.

Stripes of vivid color define this very large pottery bowl by Watanabe Kunio enclosed in the original wooden box titled Iro-e Kin/Gin-Sai Sen Mon Hachi. It is 43 cm (17 inches) diameter and in excellent condition. Due to size the cost of shipping will be accrued separately.
The first time I saw this artists work I was blown away by the precision, skill and beauty inherent. Kunio was born in Yamanashi Prefecture in 1967, graduating the top Art school in Japan, The Tokyo University of Art Ceramics division in 1994. Very unusual for a young potter, his first private exhibition at the Urawa Isetan Department store the following year, while still attending advanced studies at his alma mater. In 1996 he was accepted into the Dento Kogei Shinsaku-Ten Exhibition as well as the Tokai Dento Togei-Ten and established himself in Seto city. 1997 saw his first acceptance into the National Traditional Crafts Exhibition. In 2000 he was awarded at the Tokai Dento Togei-Ten and has since received numerous awards.

Rivulets of color weep over the dark surface of this striking Fresh water Jar by important artist Tanaka Sajiro enclosed in the original signed wooden box titled Chosen Karatsu Hitoeguchi Mizusashi and named inside the box lid Keinoizumi (Auspicious Fountain). The meandering glaze is both inside and out, pooling in a stormy skyscape in the bottom. The vessel features the original oblong custom-made black-lacquered lid. It is 19.5 x 20.5 x 15 cm (roughly 8 inches diameter, 6 inches tall) and in excellent condition.
Born in Kita Kyūshū in 1937, Tanaka Sajiro inundated himself in the Karatsu tradition from an early age. After a brief career in speedboat racing, he entered the ceramic world, beginning at the roots of Japanese pottery with Jomon and Yayoi ware, and he participated in excavations throughout Japan for his research. All the while a keen interest in Buddhism and Zen saw him enter a Buddhist monestary in 1971, and he began studying Sado (the way of tea) Kado (flower arranging) Shodo (calligraphy) and other refined arts. He received his Zen name Zenai HOgetsu in 1975 then created his kiln in Karatsu that same year. His unadorned sensibilities and austere wabi-forms immediately captivated a large audience.

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.

A cone rises to a plateau in deep rust colors by Hashimoto Tomonari enclosed in the original signed wooden box titled, like all his work, “Untitled”. It is 25.5 cm (10 inches) tall, roughly the same diameter and in perfect condition, directly from the artist this winter. 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 iconic ash encrusted Iga Mizusashi by important artist Kanzaki Shiho enclosed in the original signed wooden box. Accented with soft blues and grays hidden among the heavy ash deposit. It comes with the original matching ceramic lid. The urn is 20 cm (8 inches) diameter, 19 cm 7-1/2 inches) tall and in excellent condition.
(Kanzaki Shiho (1942-2018) preferred firing his kiln for ten days, resulting in the rich textures and heavy ash deposits apparent on his work. He was born in Shigaraki, and was fast tracked into the Kansai University Law Department, but rather the life of a lawyer, after graduation he went with his heart to take up the precarious life of a potter, apprenticing under Mino artist Matsuyama Suketoshi. Later he returned to Shigaraki working there at the research center while developing his own style and methods with the Anagama. He consistently stayed with the personal world of private exhibitions, developing a large following both at home and abroad and his list of exhibitions is impressive. He has been the subject of several documentaries and Television interviews, and is widely published. For more information see, The Fire Artist, a documentary by Canadian Director Claude Gagnon. He unfortunately passed away last year and these may be the last pieces we have by him.

Ash clings to the deeply abraded clay slab walls of this fresh water jar by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Kaku Mizusashi. It is 16.5 x 16.5 x 23 cm (6-1/2 x 6-1/2 x 9 inches) and 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 (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.

Mastery of the Oribe genre is apparent in this Chawan by Yamada Kazu which comes enclosed in the original signed wooden box titled Kuro-Oribe Chawan. It is 13 cm (just over 5 inches) diameter, 9 cm (3-1/2 inches) tall and in excellent condition.
Yamada Kazu was born in Tokoname city in 1954, one of Japans ancient kiln areas, into a line of potters. He would have been influenced early on by his father, Yamada Kenkichi and uncle living National Treasure Yamada Jozan. He graduated the Osaka Art University before moving to Echizen to establish his first kiln. He was propelled to international fame after building an Anagama kiln in Germany in 1988. He has been displayed domestically at the Asahi Togeiten, Nihon Togeiten and Chunichi Kokusai Togeiten as well as a host of private exhibitions in prominent galleries and department stores , and his innovative forms and designs are in high demand.

Graffito scrawls through the silver lining of this fine Chawan by Morino Taimei enclosed in the original signed wooden box. A single dark spot, like a phpotograhic negative of the full moon reflected in water. Outside a wavering line about the foot. The bowl is 12.5 cm diameter, 7.5 cm tall and in perfect condition.
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 governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National 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 Fitz-gerald Collection.

A spectacular Shino Vase in deep Murasaki, and white by Tamaoki Yasuo enclosed in the original signed wooden box titled Shino Tsubo. It is 14-3/4 inches (39 cm) tall, roughly 26 cm (10-1/2 inches) diameter and in excellent condition.
Tamaoki Yasuo was born in Tajimi in 1941, one of the homes of Mino ware. He began his path to professional ceramicist at the Tajimi Industrial High School, and a stint at the Gifu Ceramics Research institute, where he followed the footsteps of a number of modern ceramic artists such as Hamada Shoji and Kawai Kanjiro, who also began their careers in the same manner. He then apprenticed under Kato Kohei before establishing his own kiln. Since, his list of exhibitions and awards is too long to print, but include the Nihon Dento Kogei Ten (National Traditional Arts and Crafts Exhibition), Best of Show twice at the Tokai Dento Kogei Ten (Tokai Traditional Arts and Crafts Exhibition), as well as being prized at the Asahi Togei Ten (Asahi Ceramics Exhibition), and receiving the prestigious Japan Ceramics Society Award. In 1991 he was named an intangible cultural asset of Tajimi city

A very unusual architectural shape by Takauchi Shugo covered in winnowing blue salt glaze enclosed in the original signed wooden box titled Shio-yu Mentori Tsubo. This artist does have a surprisingly wide range, and this piece certainly proves that. Adept at Shino, Oribe, Mashiko styles and others, he is a tough one to nail down and even more difficult to acquire, his pieces proving very popular at exhibition. This is a rare opportunity to acquire one of his masterpieces. It is 27 x 26 x 23.5 cm (10-1/2 x 10-1/4 x 9-1/4 inches) and in excellent condition.
Shugo was born in Tokyo in 1937, opening his kiln in Mashiko at the age of 31. He has exhibited at the Nihon Dento Kogeiten National Traditional Crafts Exhibition, Nihon Togeiten National Ceramics Exhibition and as well as Gendai Nihon Togeiten National Modern Ceramics Exhibition in addition to innumerable public and private exhibitions. He is recipient of the Order of Cultural Merrit from Tochigi Prefecture, and his works have been selected for international exhibitions (Paris, London, Denmark and America) and work by him is held in the V&A, The Art Gallery of New South Wales. For more see the Book “Japanese Studio Crafts” (1995) by Rupert Faulkner of “Fired with Passion” (2006) by Beatrice Chang and Samuel J Lurie.

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

Swirling white brush strokes decorated with dabs of iron like leaves blowing in wind on this square form by Living National Treasure Shimaoka Tatsuzo enclosed in the original signed wooden box titled Hakeme Take Moyo Hoko (Bamboo Pattern on Brush Stroke Square Bottle). It is 10-1/2 inches (27 cm ) tall and in excellent condition.
After serving in World War II, Tatsuzo apprenticed under world famous Mashiko Mingei potter Hamada Shoji, establishing his own kiln in 1954. Working with rope patterns, Tatsuzo set out to create a style unique to himself, resulting in the piece you see here, which is quintessential Tatsuzo. In 1996 he was designated a Living National Treasure (Juyo Mukei Bunkazai or Ningenkokuho).

Tarnished silver glows dully inside this raw clay bowl by female pottery pioneer Ogawa Machiko enclosed in the original signed wooden box titled simply Wan. It is 14 cm (5-1/2 inches) diameter, 7 cm (3 inches) tall and in excellent condition.
Ogawa Machiko was born in Sapporo on the Northern Island of Hokkaido in 1946. She studied under future Living National Treasures Fujimoto Yoshimichi, Tamura Koichi and Kato Hajime at the Tokyo University of Arts, graduating in 1969, then went on to further studies in France and Africa, returning to Japan in 1975. She began garnering attention in the mid eighties, and has since become one of the leading female figures in Japanese pottery. She was awarded the JCS prize in 2001, one of Japans most prestigious awards. Work by her is held in the Brooklyn Art Museum, LACMA, New York Metropolitan Museum of Art, Smith College, MIA, MOMAT and a host of others. For more see “Touch Fire, Contemporary Ceramics by Women Artists” (2009) or Toh, volume 67 (1993).

A Fabulous bowl by Living National Treasure Shimizu Uichi enclosed in the original signed wooden box titled Seiji Deisai Chawan. The small bowl is Tabi-chawan size, made to be transportable for a picnic or some event. It is 10 cm (4 inches) diameter, 7.5 cm (3 inches) tall and in excellent condition.
Shimizu Uichi (1926-2004) was born in Kyoto the son of a ceramic dealer. Discarding the family business, he apprenticed in plastic arts under future Living National Treasure Ishiguro Munemaro. His work retains some principal elements of his teachers style while incorporating an understated elegance and avant-garde spirit of challenge uncommon for his time. He was first exhibited at the Nitten in 1951, receiving numerous awards there since. He also took the gold medal at the Prague International Exhibition, and was at the Brussels World Exposition. He is in the collection of the Tokyo National Museum, Kyoto Museum of Modern art, Clark Center and the Freer Gallery among many others.

A seminal Karatsu fresh water container by master of that style Nakagawa Jinenbo enclosed in the original signed wooden box titled Chossen Karatsu Mizusashi. Raw earth is supplanted with rich iron into which flows curtains of black into which flows rivulets of blue. Two lug handles drape from the sides and it retains the original ceramic lid. It is 16.5 cm (6-1/2 inches) diameter, 17.5 cm 7 inches) 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.

Gold nuggets gleam on the deep lavender and black surface of this organic form by Inayoshi Osamu enclosed in the original signed wooden box titled Kurinuki Kinsai Mizusashi. 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, and once again here the artist has then textured the surface with stones. Inside is a striking liquid silver, quite something to see. It is 18cm (7-1/2 inches) diameter 19 cm (rouhly the same) height and in excellent condition, including the original shiori and Shifuku, directly from the artist this summer.
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.

A spectacular Shino Vase in deep murasaki and white by Tamaoki Yasuo enclosed in the original signed wooden box titled Shino Henko. It is 14-3/4 inches (39 cm) tall, roughly 7-1/4 inches (18.5 cm) diameter and in excellent condition.
Tamaoki Yasuo was born in Tajimi in 1941, one of the homes of Mino ware. He began his path to professional ceramicist at the Tajimi Industrial High School, and a stint at the Gifu Ceramics Research institute, where he followed the footsteps of a number of modern ceramic artists such as Hamada Shoji and Kawai Kanjiro, who also began their careers in the same manner. He then apprenticed under Kato Kohei before establishing his own kiln. Since, his list of exhibitions and awards is too long to print, but include the Nihon Dento Kogei Ten (National Traditional Arts and Crafts Exhibition), Best of Show twice at the Tokai Dento Kogei Ten (Tokai Traditional Arts and Crafts Exhibition), as well as being prized at the Asahi Togei Ten (Asahi Ceramics Exhibition), and receiving the prestigious Japan Ceramics Society Award. In 1991 he was named an intangible cultural asset of Tajimi city

Delicate white “Mountain Priest Flowers”, called Yamaboshi in Japanese (Kousa Dogwood) decorate this vase by Shimada Fumio enclosed in the original signed wooden box titled Saiji Yamaboshi-mon Hishigata Bin. It is 25 x 9.5 x 35 cm (10 x 4 x 14 inches) and is in excellent condition. br> Shimada Fumio is undoubtedly one of the greatest artists working in porcelain in Japan today. He was born in Tochigi prefecture in 1948, and his work was accepted into the 21st Nihon Dento Kogeiten National Crafts Exhibition the year before he graduated the Tokyo University of Arts Advanced Studies in 1975. That year his graduation project was purchased by the University Museum, and he was awarded at the 15th Dento Kogei Shinsaku Ten (New Traditional Crafts Exhibition). In 1983 his work was part of an exhibition at the Smithsonian and V&A. From 1985 e took a position at his alma matter. Among a plethora of awards and recognitions his work has been exhibited at the aforementioned plus the Nihon Togeiten National Ceramics Exhibition, among others, and has been seen overseas in the China-Japan-Korea International Ceramics Exhibition, Turkey, Germany, America and Mexico.

A tall squared vase inlayed with the silhouette of trees against the evening sky by Saeki Moriyoshi enclosed in the original signed wooden box titled Zogan Jumoku Moyo Kabin and dated 1991. This artists fascination with trees against the sky is inspiring. He has chosen to imbue his works with memories of the perfect sunset, with an autumn morning or late afternoon in winter. This piece is quite large, 18 inches (45.5 cm) tall and in excellent condition.
Saeki Moriyoshi was born into the household of sculptor Saeki Rusuo in Utsunomiya city in 1949 and attended the Musashino University of Art Design department before moving into the Tokyo University of Fine Art: Crafts Division. He was first exhibited and awarded at the 1974 Ibaraki Prefectural Art Festival, and his graduation project would receive the Salon de Plantain award the next year. As well he would be accepted in the 15th Traditional Crafts New Works Exhibition (Dento Kogei Shinsaku Ten) in 1975 where he would be consistently exhibited. He followed that up the next year with works accepted into the International Ceramics Exhibition and the 23rd National Traditional Crafts Exhibition (Nihon Dento Kogeiten, where he would be repeatedly exhibited). He continued at the University to advanced studies, and the University purchased his final project in 1977. After a stint as a potter in a professional kiln, he established his own kiln in Ibaraki prefecture in 1981. In 1983 one of his works were selected for the Kyo no Nihon Togei (Today in Japanese Pottery) exhibition which travelled to the Smithsonian and the V&A in London. From 1987-2001 he would be a guest professor at his alma-mater, the Tokyo University of Fine Art. As well from 1987 he would exhibit nearly every time at the Nihon Togeiten National Ceramics Exhibition. In ’89 he would be granted the Cultural Award from Ibaraki Prefecture. He would receive many prizes at various exhibitions over the years including the aforementioned as well as the Issuikai Ten exhibition, Mashiko Ceramics Exhibition, and Shinsaku Togeiten (New Ceramic Artworks) exhibition, and in 2002 the Imperial Household Agency would acquire one of his works. His works are held in the Shiga Prefectureal Togei No Mori Museum, Sano City Yoshizawa Museum, and Worcester Art Museum among others.

An incredible organic form, the delicate petals appearing to waft in some tide by Shingu Sayaka enclosed in the original signed wooden box. A closed bud on the side is lined with hundreds of tiny sharp needles in black. It is 8 x 5 x 4 inches (20 x 12 x 10 cm) and in excellent condition.
Shingu Sayaka was born in Osaka, the industrial and commercial heartland of central Japan, in 1979. She graduated the Osaka University of Arts in 2001, before being selected as an artist in residence at the The Shigaraki Ceramic Cultural Park. She exhibits her amazing sculptures at the Asahi Togeiten where she has garnered a number of awards, and has a list of exhibitions to back up her popularity.

An organic form like some wavering anemone built from tiny curls of rolled ceramic bound together with slip by female artist Furui Akiko enclosed in the original signed wooden box titled Sou Katachi (Following the shape) dating from 2017. It is built 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. It is 12-1/2 inches (32 cm) long and in new condition.
Furui Akiko is yet one of our youngest rising stars, she 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, get her work while you can!.

Five for silver… Six for gold… Seven for the secret….Suzuki Goro is counting crows surrounding the epitaph in the center of this Kuro-Shino Kataguchi bowl enclosed in the original signed wooden box. In the center we hear the words of Noguchi Ujo’s 1921 hit song “Karasu naze naku no? Karasu ha yama ni kawai nanatsu no ko ga aru kara yo…” (Why does the crow call? It calls for seven lovely children in the mountains…). As with everything there are many allusions in the lyrics, and much is either implied or left unsaid. ‘Seven children is a simple euphemism for many. The relaxed form is very much a product of this vivacious artist, whose lust for life is apparent in all he creates. The subject manner is yet quite unusual and striking for its audacity. The bowl is 13 inches (33 cm) diameter, 10 cm (4 inches) tall and in excellent condition.
Suzuki Goro has a list of shows and prizes too lengthy to go through, but the highlights are, Nitten National Art Exhibition, Nihon Shin Kogei Ten (New National Crafts Exhibition), Nihon Gendai Kogei Ten (National Modern Crafts Exhibition), Asahi Togei Ten-(First of Show and governors prize), as well as the Kofukai Ten among many others. He has a strong and devout following both domestic and international.

A matte-glazed sculptural stoneware form by contemporary female artist Tanaka Yu enclosed in the original signed wooden box titled Tsutusmi-mono 2020. The piece is made to look like a cloth sack. It is an unusual lavender color, quite pleasing and no one can resist touching it. The sculpture is 20 x 12 x 21 cm (Roughly 5 x 8 x 8 inches) and is in excellent condition.
Tanaka Yu was born in 1989, and graduated the Kyoto Saga University of Arts in 2013. Like many other of the younger generation of artists, she tends toward smaller venues than the large affiliated shows. She first garnered attention in Japan being awarded at the 49th Women's Association of Ceramic Art, Grand Prize (Kyoto Municipal Museum of Art) in 2015. This year she was one of six finalists featured at the prestigious Paramita Museum Grand Prize Ceramic Exhibition. Her work has been presented in galleries around the world.

A proud Shino bowl licked by flame by legendary artist Hori Ichiro enclosed in the original signed wooden box titled Shino Chawan. Red tendrils leap up the deeply fissured white glaze. The bowl is hefty yet comfortable to hold, perfectly formed with slightly tapering sides and a wavy rim. It is 14 cm (5-1/2 inches) diameter, 9 cm (3-1/2 inches) tall and in excellent condition.
Hori Ichiro (b. 1952) graduated the Tajimi School of Industrial Design and apprenticed under Kato Kozo. He has been awarded the Governors prize at the Asahi Ceramics Exhibition, and has been displayed at the Chunichi Kokusai Togei Ten as well as Nihon Dento Kogei Ten. He says, “I believe in making pottery which is born of nature…”

Ash fills the embedded patterns on this Kiln-altered Tsutsu-gata bowl by Living National Treasure Shimaoka Tatsuzo enclosed in the original signed wooden box titled Yohen Zogan Jomon Wan. Crisp black charring and the various depths of ash are a bit of a departure for this artist whose work is often sedate, relying on the texture and patterns of the Jomon rope design over dependence on colorful glazes. It is 11 cm (4-1/2 inches) diameter, 10 cm (4 inches) tall and in excellent condition.
Shimaoka Tatsuzo (1919-2007) was born in Tokyo and enrolled in the Tokyo Kogei Daigaku Ceramics division in 1939. The following year he would meet Mashiko Mingei potter Hamada Shoji, and the course of his life was thought set, graduating in 1941. However he was drafted in 1942, and sent to Burma where he would remain until repatriation after the cessation of hostilities. In 1946 Tatsuzo apprenticed under Hamada who encouraged him to find his own voice, which he did when in 1950 took part in research into ancient Jomon potteries with Shirasaki Shunji, which would have a profound influence on his style. Working with Jomon rope patterns, Tatsuzo set out to create a style unique to himself, establishing his own kiln in 1954. Widely exhibited, awarded and influential in his lifetime, he received the Japan Ceramic Society Gold award in 1994, one of the highest honors for a Japanese ceramic artist, and was designated a Living National Treasure (Juyo Mukei Bunkazai or Ningenkokuho) in 1996 culminating with receiving the Order of the Rising Sun in 1999.

Wow, this Iga Shinogi Mizusashi by Atarashi Manabu is as good as it gets. The torn and slabbed surface is rough, accentuating the particular grains of Iga clay, covered in a smattering of smokey charring and spattered ash. The vessel comes enclosed in the original signed wooden box titled Iga Shinogi Mizusashi. It is 17.5 cm (7 inches) diameter, 20 cm (8 inches) tall and in perfect condition, directly from the artist this summer. It compliments perfectly the Chawan from the same firing.
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 rare early form, the crawling Shino glaze covered in rich rust red with autumn grass in white silhouette by Mino pottery legend Suzuki Osamu (Kura) enclosed in the original wooden box signed on the side and titled Shino Hanaike on the lid. It is 26 cm (10-1/4 inches) tall and is in excellent condition.
Suzuki Osamu was born in Gifu prefecture in 1934, and graduated the Tajimi Technical School ceramics division in 1953. (not to be confused with avant garde potter Suzuki Osamu of Kyoto Sodeisha fame) That same year he was awarded at the 6th Dento Kogeiten Traditional Crafts Exhibition. One of the great researchers, he spent many years excavating old kiln sites in an effort to re-invent Shino ware. In 1962 he was exhibited in Prague. And the next year took a prize at the Asahi Ceramic Exhibition. Very much lauded at this time, it culminated in 1969 when he received the JCS Gold award (Japan Ceramic Society), one of the highest honors for a Japanese potter. He would receive the JCS award again in 1982, and by that point be nurturing or inspiring a number of young potters aspiring to the forgotten ways of Shino ware. He was named a Living National Treasure in 1994 for his life-work. Work by him is held in a multitude of public collections throughout the world. For more see “Japanese Studio Crafts, Tradition and the Avant-Garde” (1995) by R. Faulkner.

A seminal work by Shigaraki legend Otani Shiro enclosed in the original signed wooden box. Here you will find no overt extension of the self, no insertion of ego, no attempt at distraction, only the true mastery of this artist and his ability. Absolute perfection in form shows his mastery of throwing, blemish-less surface his time spent preparing and purifying the clay, and superlative flow of natural ash his skill at placement in the kiln and the firing process. It is 10 inches (25 cm) tall, 8-1/2 inches (22 cm) diameter and in excellent condition For an indepth look at this potter see the articl by Rob Barnard in Ceramics Monthly volume 39 (Summer 1991).
Otani Shiro was born in Shigaraki in 1936 and graduated the Prefectural School in the ceramics department in 1956, which he followed up with 4 years studying decorating techniques under Morioka Yutaro. He then moved to Kyoto where he studied at the Municipal Ceramics Research Facility, where he trained under Kiyomizu Kyubei, Shofu Eichi and Uchida Kunio before returning to Shigaraki to yet further his studies in design. He garnered his first award at the Shiga Prefectural Art Exhibition in 1962, as well as the Governor’s prize at the National Rodosha Bijutsu-Ten Exhibition. He took a position with an industrial kiln in Shigaraki in 1963, and began potting in his free time, exhibiting and being awarded at the Asahi Togeiten among others. In 1968, he left his position at the kiln, and in 1969 was first accepted into the National Traditional Crafts Exhibition (Nihon Dento Kogeiten). In 1973 he established his own kilns in Shigaraki, both an Anagama submerged kiln and a climbing kiln, and began learning from future Living National Treasure Shimizu Uichi. From there he participated in the Nihon Dento Kogei Ten (National crafts Exhibition) as well as innumerable private exhibitions both domestic and International, and was named an Intangible Cultural Asset of Shigaraki in 1990. His work is held in The Museum of Art in Atlanta, The Boston Museum of Fine Arts, the Brooklyn Museum of Art, the Fogg Art Gallery of Harvard as well as the Morikami Museum and Smithsonian among others.

A quintessential work by Sodeisha founding member Yamada Hikaru enclosed in the original signed wooden box titled Shirogesho Tetsu-e Tsubo (Tsubo with Iron Decoration on White Glaze). It is 214 cm (8 inches) tall and in excellent condition.
Yamada Hikaru (1924-2001), was born into the family of layman potter and priest Yamada Tetsu, and raised in Gifu after the family home was destroyed in the Great Kanto Earthquake. At the age of 20 he entered the Kyoto ceramics research facility, 15 years junior to those who had inspired the great Mingei movement at that same institution. Somehow escaping overseas service in the war, he met Yagi Kazuo in 1945, and the two formed an instant bond, founding a group for young potters the following year. Compounded by the austerity and poverty they faced as young artists in the immediate postwar, the group grew and along with Kumakura Junkichi, Suzuki Osamu and Yagi Kazuo formed the most influential post war ceramics organization, Sodeisha, as it was, in 1948. They eschewed public competition and espoused the ideas of art for arts sake, negating the ideas of the mingei movement, which stressed function over form. Together, members of the group worked tirelessly to promote modern Japanese pottery for the next several decades both within and outside of Japan. Held in innumerable public and private collections including the National Museum of Modern Art, both Tokyo and Kyoto, Museum of New South Wales and the Victoria Albert.

A large swelling bottle form vase covered in fissured celadon by Minegishi Seiko enclosed in the original signed wooden box. The glaze is amazing to behold, the layers shattered into thousands of transparent crystallized flakes stacked upon one another. It is roughly 12 inches (31 cm) tall and in excellent condition.
Born in 1952 in Saitama, Minegishi Seiko studied under various masters in Nagano, Tochigi and Ibaragi, going solo at the young age of 22. He worked in Kohiki ware initially, but moved to celadon, and is considered one of a select few true masters of that form in Japan today. He moved his kiln from Saitama to Nasu in Tochigi in 1993, and has since exhibited with the Nihon Dento Kogei Ten, Dento Kogei Shinsaku Ten and Nihon togeitenamong others. A piece by this artist sold at Christies (sale 5579, lot 349) for 1,750 pounds (2,970 dollars). For more see issue 21 of Daruma Magazine.

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.

Pine trees and Snow Flakes in silver and gold on red by Ono Hakuko enclosed in the original signed wooden box titled Kin Ginsai Ichirin Tate. It is 9-1/2 inches (24 cm) tall and in excellent condition.
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).

A stratified bloc of hollowed out Shigaraki clay by female pottery pioneer Koyama Kiyoko enclosed in the original signed wooden box titled Shigaraki Shizen Yu Kaku Hanaire. A thick coating of blown natural ash glaze has settled on the shoulders, while the layers of earth below show a dusting of color on top, but rich red in the shadows with plenty of small inclusions for the eye to play with. It is 22.5 cm (9 inches) tall, roughly 10 cm (4 inches) square 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