Catalog: Artists: Ceramics: Pottery (841)

Nothing I can say can convey the rugged beauty locked up in the capitulating form of this tall Shigaraki vase by Tsujimura Shiro enclosed in the original signed wooden box. The glaze runs down in tremulous glass drips over the charred and blackened surface scored and scarred. It is Zen! The vase is 10 inches (25 cm) tall, 5-1/2 inches (14 cm) 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.

A truly Massive chozara Oribe Platter by important potter Ando Hidetake (b. 1938) enclosed in the original signed wooden box. Relying entirely on sculptural presentation, the interior is devoid of any decoration, the heavily sculpted basin simply coated with glassy-green oribe glaze. Deep grooves have been cut from the slab of clay, the edges torn and ragged with dollops of green dripping from the base. On the underside in dark iron is the large character Hi (the first character in the artists name) inside an earthen cartouche. The dish is 33 x 15-1/2 x 2-3/4 inches (84 x 39 x 7 cm) and in excellent condition. It is very heavy, over 15 kilograms with the box, and will require special shipping considerations (cost of shipping is separate from item price). Hidetake was born third generation into a Mino pottery family in Gifu prefecture in 1938. He began an apprenticeship under Kato Tokuro in 1960. A testament to his skill, he was accepted for the first time four years later into the National Traditional Arts and Crafts Exhibition (Nihon Dento Kogei Ten), and followed that by taking governors prize at the Asahi Ceramics exhibition in 1970, and acceptance into the Japanese National Ceramics Exhibition (Nihon Togei Ten) in 1971; since he has displayed often with all of these important events. One of a small group of potters credited with the revival of Shino, he was named an Important Prefectural Cultural Property in 2003 (Gifu-Ken Juyo Mukei Bunkazai, the prefectural version of the Living National Treasure). Due to size the cost of shipping will be assessed separately from the list price.

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

White blossoms decorate a scattering of branches on the surface of this footed sweets dish by Kondo Yutaka enclosed in the original signed wooden box titled FunKa Daizara. It is 8 inches (21 cm) diameter, 3 inches (8 cm) tall and is in excellent condition. The deeply impressed white patterns are striking against black.
Kondo Yutaka (1932-1983) was born into a traditional pottery family in Kyoto. He studied under Living National Treasures Kondo Yuzo and Tomimoto Kenkichi at the Kyoto Municipal University of Art, graduating in 1957. That same year his work was accepted into the New Masters of Crafts Exhibition (Shin-takumi Kogeikai Ten). From 1962-63 he traveled in the US and lectured at Indiana University with Karl Martz. Returning to Japan he was granted a position at his Alma Matter, where he would continue to teach for the rest of his life, while making frequent research trips abroad to South and Central Asia, where he would master the T’zu Chou techniques expressed in these works. He twice received the Mayors prize at the Kyoten Exhibition, was awarded at the Asahi Togeiten, and is recipient of the coveted JCS award in 1967. The following year would see his work displayed at the New Generation of Ceramics Exhibition held at the Kyoto National Museum of Modern Art. In 1985 a posthumous exhibition was held honoring his life's work at the Kyoto Municipal Museum of Art. Work by the artist is held in the Metropolitan Museum of Art, NY, Musée Tomo, Tokyo and the Victoria & Albert Museum, London among others. For more on this important artist see the book Kondo Yutaka: The Transformation of a Traditional Kyoto Family (2010)

A large pulled, rolled and torn Oribe slab dish covered with translucent green by Ishii Takahiro enclosed in the original signed wooden box. It is 24 x 11 inches (61 x 28 cm) and in fine condition.
Ishii Takahiro was born in Gunma prefecture in 1980 and has taken Japan by storm after graduating the Kyoto Municipal University of Art and an apprenticeship under Kakurezaki Ryuichi. A true rising star in the Ceramics world

A pair of thick Oribe slab dishes heavily raked and splashed with green by Ishii Takahiro enclosed in the original signed wooden box. They are 8 inches (20 cm) square each and in fine condition.
Ishii Takahiro was born in Gunma prefecture in 1980 and has taken Japan by storm after graduating the Kyoto Municipal University of Art and an apprenticeship under Kakurezaki Ryuichi. A true rising star in the Ceramics world

Splendid Keshiki, it is difficult to describe this stunning square platter by Bizen master Kakurezaki Ryuichi (b. 1950) which comes enclosed in the original signed wooden box. The massive dish is torn and scraped from a single thick slab of clay. Spattered with natural ash glaze, it is a true masterpiece by this most sought after artist. The piece is 16-1/2 inches (42 cm) square and in excellent condition. It is likely that Ryuichi needs no introduction, one of the most well known of Bizen potters, he is interestingly originally not from Bizen but far off Nagasaki, which seems to have gifted him with the ability to see the clays potential beyond conventional form. He graduated the Osaka University of Fine Arts, then enjoyed a long apprenticeship under Bizen Living National Treasure Isezaki Jun before opening his own kiln in 1986. Combining traditional technique with modern architectural form, He was recipient of the Japan Ceramics Society Award, Grand Prize at the Fifth Contemporary Tea Ceremony Utensils Exhibition, Tanabe Museum and has a list of public and private exhibitions which go beyond this brief add, including a showing in New York this year. His works are held in the collection of the Victoria and Albert Museum of London, National Ceramic Museum of France and the Tanabe Museum among others. In preference to the wishes of this artist we are not listing the pice online.

A superb work by Japanese Living National Treasure Hara Kiyoshi enclosed in the original signed wooden box dating circa 1985. It is 14 inches (35 cm) diameter, roughly the same height and in fine condition. Due to size the cost of shipping will be accrued separately.
Hara Kiyoshi (b. 1936) was born in Shimane, and studied pottery under Living National Treasures Ishiguro Munemaru and Shimizu Uichi from 1954 before establishing his own kiln, first in Tokyo, then later in Saitama. He was first selected for exhibit at the National Traditional Crafts Exhibition in 1958. In 63 he first exhibited at the Asahi Togeiten Ceramics Exhibition. Since his work has received much attention,both within Japan and abroad in Europe, The Americas and Asia. He received the Japan Ceramic Society prize in 1975, and was named a Living National Treasure for Tetsu-yu in 2005 and is recipient of the Order of the Rising Sun.

An oblong Oribe dish with striated designs by Kato Shigetaka enclosed in the original signed wooden box. It is 10 x 11 inches (26 x 27.5 cm) diameter and in fine condition.
Shigetaka was born the second son of Kato Tokuro in 1927. He graduated the Seto Industrial School of Ceramics and studied under his father. From 1959-1971 submitted annually to the Nitten where he received the Hokusho prize as well as the Modern Ceramics Prize among others. He also received the Japanese Ceramics Society award and governors prize at the Asahi Togeiten. He later accompanied his father on frequent trips to China and Central Asia for research into the roots of silk road pottery. He is best known for Shino ware but worked the gamut of Mino and Seto styles.

Maple leaves swirl in a vortex on this large rectangular platter by Ando Hidetake enclosed in the original signed wooden box. Rich iron leaves seem to float on or just below the surface as if floating in a pond, the suction from a surfacing carp drawing down, pulling the leaves around it. Excellent for display or use, it is 17 x 10-1/2 inches (43 x 26 cm) and is in excellent condition. Hidetake was born third generation into a Mino pottery family in Gifu prefecture in 1938. He began an apprenticeship under Kato Tokuro in 1960. A testament to his skill, he was accepted for the first time four years later into the National Traditional Arts and Crafts Exhibition (Nihon Dento Kogei Ten), and followed that by taking governors prize at the Asahi Ceramics exhibition in 1970, and acceptance into the Japanese National Ceramics Exhibition (Nihon Togei Ten) in 1971; since he has displayed often with all of these important events. One of a small group of potters credited with the revival of Shino, he was named an Important Prefectural Cultural Property in 2003 (Gifu-Ken Juyo Mukei Bunkazai, the prefectural version of the Living National Treasure).

Haunting shapes are scraped into the raw clay like some ancient Nazcan riddle on this huge ball vase by Sato Kazuhiko. The vase is 15-1/2 inches (40 cm) tall, 17 inches (43 cm) diameter and in excellent condition. There is no box. Kazuhiko (b. 1947) is a widely displayed artist and author of many books on the ceramic arts. For more information on this artist see Modern Japanese Ceramics in American Collections (1993). Due to size this piece will require special shipping consideration.

Impressed rope designs under black swirls create a dynamic sense of movement on this huge charger by Ningenkokuho Shimaoka Tatsuzo enclosed in the original signed wooden box. The piece is 16 inches (40 cm) diameter and 3-1/2 inches (8.5 cm) tall; in perfect 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).

rta A bold work by 20th century potter Shimizu Jun enclosed in the original signed wooden box titled Red Rocet. The platter is 16 inches (40.5 cm) diameter, 2-1/2 inches (6 cm) tall and in perfect condition. Jun was born in Osaka in 1951, graduating the Osaka City Industrial Institute (Metalworking) in 1969, upon which time he moved to the Kyoto Ceramics Research Facility. Avoiding the political world of National competition, Jun concentrated on Local events as a forum for exposure, beginning with the Kyo-Ten (Kyoto Prefectural Art Exhibition) in 1971. Since 1979 works have been displayed at the Nihon Shin Kogei Ten (Japan New Crafts Exhibition). This piece dates circa that era.

The surface of this rough slab is like an eroded plain with rivulets of glass running to a clouded pool in the center, signed along the edge and enclosed in the original signed wooden box by Sugimoto Sadamitsu. It is roughly 20-1/2 x 8-1/2 x 3 inches (52 x 21.5 x 8 cm) and in perfect condition.
Sadamitsu was born in Tokyo in 1935. A strong adherent to the Zen tradition, Sadamitsu established his own kiln at 33, receiving the kiln name from his mentor Daitokuji priest Tachibana Oki. His Zen studies have refined the spiritual side of his work, and all of his wood fired ceramics have a quiet and confident power. He has spent his life in the research of kohiki, Shigaraki Iga and Raku wares, and is more than well known in tea circles for the discriminating soul of his works. For more information on this artist see the book Fired with passion : contemporary Japanese ceramics ISBN 1-891640-38-0.

A small dish from the 1960s by Fujihira Shin enclosed in the original signed wooden box. It is 8 inches (20 cm) diameter and in fine condition.
Fujihira Shin (b. 1922-2012) was born into the family of a ceramics dealer in Kyoto, raised among the pots, and attended the Art University, however, in his second year would lose four years of his life to battling illness. This life and death struggle would make him a strong character, coming forth from then on in his works. He would come to the National Scene first upon receiving the Hokutosho prize at the Nitten National Exhibition in 1958. This brought him to the forefront of the ceramics scene. He was awarded the JCS (Japan Ceramic Society) award in 1973. During his career works by him were often selected to represent Japan and it’s arts overseas, in Europe, and the Americas. He was awarded the order of cultural merit in 1991 by Kyoto prefecture. In 1993 the Mainichi Ceramics Prize. In 1996 Kyoto prefectural order of cultural merit and in 1998 received the Japan Ceramic Society Gold Prize, one of the highest honors for a Japanese potter. Held in the collections of the V&A, National Museum in Warsaw, The National Museum of Modern Art, Tokyo has more than a dozen pieces, only to be outdone by Kyoto which has more than 20 pieces. For more see “Japanese Ceramics Today Part 1” 2003.

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

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

Lavish charring on two sides contrasts with sliding Hai-yu glaze opposite on this thick and bold vase by Masamune Kengo enclosed in the original signed wooden box. The vase is 16 by 13 inches (40 by 33 cm) across, 11 inches (28 cm) tall and in excellent condition. The artist has been largely exhibited and prized, including the Chunichi Kokusai Togei Ten, Nihon Dento Kogei Ten, Nihon Togei ten, Issui Kai Ten, and Okayama Ken Ten.

A museum worthy masterpiece by important Tamba artist Ogami Noboru enclosed in the original signed wooden box. It is certainly eye-catching at 25 inches (63 cm) diameter and is in fine condition, dating from 1989, the same year he was awarded by Hyogo for his efforts to revive Tamba-yaki and protect its heritage. Due to size the cost of shipping will be accrued separately.
Ogami Noboru (1929-2002) graduated the Kansai Gakuin University in 1951, and began his career in the Okuma Seitosho Ceramic Studio. His work was first exhibited at the prestigious Nitten in 1966 (and purchased by the Department of Foreign Affairs). He established his own kiln in 1968. In 1969 he first exhibited with the Nihon Dento Kogei-ten Traditional Crafts Exhibition. In 1972 his work was purchased by the Takamatsunomiya branch of the Imperial family, and the following year he was first exhibited with the Nihon Togeiten National Ceramics Exhibition. In 1983 he was named a Nihon Dento Kogeishi Master Craftsman, and in 1999 his lifework was recognized with the Order of Cultural Merit from Hyogo prefecture. He has received numerous awards in local and National Exhibitions including the aforementioned Nitten and the Nihon Dento Kogei Ten National Exhibitions. His works have been purchased by the Office of foreign affairs as gifts to diplomats and to then president Jimmy carter (1977). For more on this artist see the article published in the 4th Daruma magazine (1994), pgs 31-38. He is held in the collection of the Brooklyn Museum and the Museum of Ceramic Art, Hyogo among others. He is succeeded by his son and grandson, Ogami Yutaka and Ogami Yuki.

A striking series of concise patterns underlie the deep purple and green glaze on this large ichirin-sashi vase by Living National Treasure Tokuda Yasokichi III enclosed in the original signed wooden box. The box is signed Masahiko, dating it pre 1993 when he succeeded the family name. The body of the vase has been brought up to a very narrow neck, just wide enough to receive one flower before it flares out at the top. The vase is 8-1/2 inches (21 cm) diameter, 9 inches (13 cm) tall and in excellent condition. Designated Living National Treasure in 1997 for his supremacy in the use of Kutani glazes, Yasokichi, born Masahiko, has gone a step further than many National Treasures by broadening his spectrum with a new style of Kutani ware. Masahiko graduated from the Kanazawa school of arts, and took up apprenticeship under his father Yasokichi II. His works are held by many private collections, as well as the Polk museum and Kanazawa Contemporary Museum of Art.

Red tinges the deeply fissured celadon on this massive basin by Living National Treasure Shimizu Uichi enclosed in the original signed wooden box titled Seiji Benisai Hachi (Celadon with red flamed Basin). Rising from a narrow foot, the piece seems to float in the air, gold and red shining through the cracks in the fissured glaze. It is 18 inches (46 cm) diameter, 4-1/2 inches (11.5 cm) tall and in fine condition. Due to size and weight this piece will require special shipping consideration.
Shimizu Uichi (1926-2004) was born in Kyoto the son of a ceramic dealer. Discarding the family business he apprenticed in plastic arts under 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 others.

A huge ice-cold blue tinged slab by Suzuki Kenji enclosed in the original signed wooden box perfect for an aray of Sashimi! It is 66 x 28 cm (26 x 11 inches) and is in fine condition. The four half-round feet were added after the firing.
Born into a long line of Kyoto potters, Suzuki Kenji studied initially (as did his brother Takuji) of course under his father Suzuki Kiyoshi. He graduated from the Kyoto University of Fine Arts in 1957 where he studied under Kondo Ryuzo, Tomimoto Kenkichi and Fujimoto Nodo and apprenticed with the Sixth Kiyomizu Rokubei. He was first accepted into the Nitten in 1958, and was exhibited and awarded there many times over the following years. In 1960 he was awarded the Mayors prize at the Kyoten. Throughout the 60s he submitted to international events in North and Central America, Australia, New Zealand and Europe. Also from 1965 to 1971 he worked as assistant professor to the 7th Kiyomizu Rokubei at his alma-matter. In 1967 he was awarded the Hokuto-sho prize at the Nitten for his work White Orb. In 1976 he established a new Kiln in Yamashina. He was awarded the order of Cultural Merit by Kyoto prefecture for his lifes work in 2005. Works by the artist are held in the collections of the Kyoto Prefectural Museum, Kyoto Municipal Museum and Kyoto University of Art among others. His research into metal glazes will have a long standing affect on contemporary pottery in Kyoto. Widely published, he wrote a book for the Tokyo National Museum of Modern Art titled Contemporary Ceramic Art : Canada, USA, Mexico and Japan (1971) as well as Sōsaku tōgei no tenkai / sekinin henshū (1984) among many others.

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

A huge museum quality pottery vase by Konishi Yohei (b.1941) enclosed in the original signed wooden box titled Tokoname Sen-Jomon Tsubo. The vase is 17-1/2 inches (45 cm) tall, roughly the same diameter and weighs 14 kg (30 lbs). It is in excellent condition, dating circa 1990. Yohei was born the son of Konishi Yusen in Tokoname city, graduating the Tokoname Ceramics institute in 1959. He was first accepted into the Modern Japan Ceramics Exhibition (Gendai Togeiten) in 1960 and has since racked up a tremendous list of exhibitions. Those include the Nitten, Nihon Dento Kogei Ten (National Traditional Crafts Exhibition) and Asahi Togei Ceramics Exhibition. Also the Nihon Mingei Ten, Sanki-Kai Ten(prized), Issui-Kai Ten and Chunichi Kokusai Togei Ten (prized). Barollis French International Exhibition (silver prize). Shipping will be considered separately due to size.

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

A large platter by Nakazato Yoshitaka enclosed in the original wooden box titled Ame-yu Kinsai Itazara. It is 20 x 10-1/2 x 2-1/2 inches (51 x 26.5 x 6 cm) and is in fine condition.
Yoshitaka was born the son of Nakazato Shigenori (Third so of Muan) in 1958. He apprenticed under his father initially after graduating the Saga Prefectural Arita Industrial Kiln in 1976. Four years later he moved to Kyoto to study under Miyagawa Kosai, who provides tea ceramics to the various tea schools in Kyoto. He has received many awards, and operates from a kiln in Saga since 1987.

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

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.

Spectacular keshiki resulting from the combination of multiple kiln affects and textures defines this large footed slab by Kanzaki Shiho enclosed in the original signed wooden box. It is 14 x 20 inches (36 x 51 cm) and in excellent condition.
Kanzaki (b. 1942) prefers firing his kiln for ten days, resulting in the rich textures and heavy ash deposits apparent on this Tsubo. He began life 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 has 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.

A very heavy unusual charger by modern avant-garde artist Suzuki Goro decorated with Oribe colored graffiti of traditional themes enclosed in the original signed wooden box. Combs, hairpins and bamboo and ceramic pipes in orange, green and black decorate the pale sand-textured surface of the massive charger. Typical of this artist is cut from a very thick slab with an irregular edge. On back a self portrait hunches over the clay forming a large vase, the caption beside reading Nanikuso! (I will not lose!) The dish is 17-1/2 inches (44 cm) diameter, weighing more than 7 kilograms (15 pounds) and is in perfect condition! 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.

A large Tsubo by important Hagi artist Yamato Yasuo enclosed in the original signed wooden box titled Oni Hagi Enpaku O-Tsubo. This large vessel is Similar to the works published in the first major anthology on Japanese contemporary pottery Gendai Nihon No Togei (volume 8, published 1984) and dates circa that era. It is 14 inches (35 cm) diameter 15 inches (38 cm) tall and in fine condition. Due to size the cost of shipping will be accrued separately.
It is likely no collector of Hagi will need an introduction to this innovative artist. Yamato Yasuo was born in 1933 to a long line of Hagi potters. He learned under his father Harunobu and grandfather Shoroku. One of the first to challenge many traditions associated with Hagi Yaki. He was displayed with Sodeisha, Kofukai, the Nitten, Nihon Dento Togei Ten, Nihon Togei Ten among many others. His list of prizes is most impressive and much too long to write here and his influence on the world of Hagi pottery will likely be the source of a thesis someday in the not too distant future! He has been named an important cultural asset of Yamaguchi Prefecture (ken Juyo Mukei Bunkazai) and is held in the collection of the British Museum among many others.

A massive Oribe Slab by Hayashi Shotaro enclosed in the original signed wooden box titled Oribe Cho-ho-Zara. It is 25-1/2 x 13 x 4-1/2 inches (65 x 35 x 11.5 cm) and in excellent condition. Due to size the cost of shipping will be accrued separately for this item.
Shotaro is one of Japans true genius potters, moving far beyond tradition, glaze research and firing technique, to a place of inception. He first began with a 7 year apprenticeship under his older brother Kotaro, ending when he established his own kiln in 1974. Since then his list of exhibitions and awards has been amazing, including the Nihon Dento Kogei Ten (National Traditional Arts and Crafts Exhibition), Governors Prize and five times winner of Best of Show at the Asahi Togei Ten (Asahi Ceramics Exhibition), and Best of Show at Gifu Prefectural Exhibition among many others.

A deep Choho-zara rectangular dish decorated with morning glories in dark rust and red over yellow with a black rim, a striking combination by Kyoto female artist Takagi Hoko enclosed in the original signed wooden box. Created from a heavy slab, the sides were raised and carved with wave patterns covered in white with a raw base chiseled out in long horizontal strokes. On the base is a worn piece of paper which gives the artists address and names the work, leading one to believe this was exhibited. The dish is roughly 15 x 10 inches (37.5 x 26 cm) and is in excellent condition.

An exquisite pottery form by Kawase Takeshi enclosed in the original signed wooden box titled Hakuji Hori Hanamoyo Sara. The fluted edge rises around a central garden filled with scrolling florals. It is 14 inches (35 cm) diameter and in fine condition.
Kawase Takeshi (1953-2007) was born the second son of Kawase Chikushun II in Kanagawa prefecture. He began in the family kiln, eventually breaking off to establish his own kiln in 1986. He was the subject of a television show in 1999, and was ascending to greatness when he died suddenly at the age of 54. He is remembered for Hakuji, Aka-e and Kinsai styles.

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

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.

Blasted and dripping with ash, a spectacular Shigaraki Mizusashi by Tanimoto Yo enclosed in the original signed wooden box. A shell juts from raw rippled wood lid like it was sticking up from the ripples of sand on a beach. It is 21.5 cm (8-1/2 inches) tall 18.5 cm (7 inches) diameter and in fine condition. Born in 1958 the son of Iga potter Tanimoto Kosei, Yo was raised among the kilns and has always had his hands in clay. He first began exhibiting in 1982, and in 1984 moved to Europe where he studied oil painting and sculpture (in Spain), and set up a pottery studio outside Paris. After returning to Japan he set uphis own studio in 1988, working both in Japan and and Spain. Since his works have been exhibited widely, both domestically and abroad in New York, London, Barcelona and Paris.
The box has been once broken and repaired, the mizusashi undamaged.

A wild work by Kishimoto Kennin enclosed in the original singed wooden box. The large work is of torn and scarred Iga clay, covered with a dusting of natural molten ash pooling as glass in the crevices. It is 11 inches (28 cm) diameter, 13-1/2 inches (34.5 cm) tall.and in fine condition.
Kennin has been working with clay since the 1950s, devouring styles along the way. Shino, Seto, Oribe, Iga and Celadon, all very different approaches which he masters one at a time, extending his unique view of the arts to new realms, and moving on to the next challenge when his appetite and personal genius has been satiated. He was exhibited and prized at the National Japanese Crafts Exhibition (Nihon Dento Kogei Ten), National Ceramics Exhibition (Nihon Togei Ten), Chunichi International Ceramics Exhibition (Chunichi Kokusai Togei Ten) and Asahi Togei Ten among others, and is held in several important international collections. His Iga work is particularly remembered.

A black lacquered lid covers the opening of this exquisite mizusashi by Tsukigata Nahiko enclosed in a wooden box titled Oni Shino Mizusashi and endorsed by his student Ayukai Kogetsu. It is 7-1/2 inches (19 cm) diameter, 6 inches (15.5 cm) tall and in excellent condition.
Tsukigata Nahiko (1923-2006) was not only an accomplished ceramic artist, but also a painter, calligrapher, sculptor and musician. Born in Niigata prefecture, he was at Waseda University in 1941 when he was summarily drafted into the Army. After the war he attended the Arts course of Nippon Daigaku University and was struck by the works of Living National Treasure Arakawa Toyozo, to whom he apprenticed in the arts of Shino and took his mentors work to a new level. Like all art, his was alive and always evolving. Starting with the replication and research of Momoyama techniques to the culmination of his efforts in Oni-shino, Nahiko has taken Shino beyond all others. It was not an easy road, for the first 15 years he worked for a ballet school, spent time as a recluse priest at Myoanji temple, and wandered the country playing the shakuhachi. It was a time of great change in Japan, starvation was rampant immediately after the war and supporting oneself through the little known art of Shino-yaki was difficult. However he persevered, along with Toyozo, Kato Juuemon, Kato Kohei and others, to bring Shino to the forefront of ceramic arts. Heavily prized domestically and abroad in his lifetime, his low output and unique quality make his work a must have for collectors. Ayukai Kogetsu was a female artist from Miyagi prefecture who became a student and follower of Tsukigata in 1979. She currently takes part in calligraphy and ceramic exhibitions throughout Japan.

A large mizusashi extolling thevirtues of True Momoyama Bizen by Abe Anjin enclosed in the original signed wooden box. The iron like quality of the work comes from the temperature at which Anjin fires, 200 degrees higher than most Bizen potters. Scars and interconnecting symbols harken back to the days of group firing and kiln marks. The piece is 7-1/2 inches (19 cm) diameter, 7 inches (18 cm) tall and in excellent condition. Very rare!
Born in Osaka in 1938, the mysterious recluse began his artistic carreer as an oil painter training under Miyamoto Saburo. Although best known for his Momoyama inspired Bizen works, he began delving into the pottery world with Raku, then moved into Shigaraki and Bizen, firing from a kiln in Ehime prefecture, then Okayama and has also fired Nanban ware. Works by the artist are held in the Metropolitan Museum of Art, New York, Asian Art Museum, San Francisco, National Museum of Modern Art, Kyoto as well as the Imperial Household Collection among many others.

A pointed tower in burnt gray clay by Mihara Ken enclosed in the original signed wooden box titled Kaki. Here the artist has joined three slabs into an unconventional horn, slotted on one side to accept a flower. A single camellia blossom in rich red, a few green leaves against the gray body in the dark corner of a Tea Room would be incredible. It is 11 inches tall and in fine condition.
Mihara Ken was born in Shimane prefecture in 1958, and apprenticed under Funaki Kenji at the age of 23. He has been exhibited and or prized at the All Japan Ceramic Exhibition (Nihon Togei Ten), Asahi Ceramic Exhibition, the National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) as well as the Tanabe Museum Chanoyu no Zokei Ten (Modern tea forms Sculpture Exhibition). He has displayed in both Europe and America and is held in the permanent collection of the Tanabe Museum of Art and the New Orleans Museum of Art among many others.

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

A large organic Kurinuki Mizusashi in deep rich lavender glaze with ash charring by Kaneta Masanao enclosed in the original signed wooden box. It is 10 x 9-1/2 x 8 inches (25 x 24 x 20 cm) and in fine condition, dating circa 1995. Kaneta Masanao (born 1953) likely needs no introduction, certainly one of Hagi’s most well known names, he has been displayed both nationally and internationally innumerable times including the Nihon Dento Kogei Ten National Traditional Crafts Exhibition, Nihon Togei Ten National Ceramics Exhibtion, Chunichi Kokusai Togeiten Ceramics Exhibition, . His pieces are in the collection of the Tokyo National Museum of Modern Art, Yamaguchi Prefectural Museum and Museum of Modern Art Brooklyn. Ise Shrine, home to the Japanese Gods, holds a Tea Bowl by him as well.

An intriguing form by Takeuchi Shingo titled Zogan Hento (An Inlaid Strange Vase) enclosed in the original signed wooden box. It measures 18 x 19 x 24.5 cm and is in fine condition, dating circa 2002.
Takeuchi Shingo(b.1955) hails from Seto city, one of the oldest ceramic production centers in Japan. He studied at the Aichi Prefectural Ceramics Research Facility until 1979, then under the great Kato Shuntei II before establishing his own kiln in 1982. Exhibited at the Asahi Togeiten Ceramics Exhibition, Chunichi Kokusai International Ceramics Exhibition, Nihon Togeiten Ceramics Exhibition, and in innumerable galleries both at home and abroad. He is held in many private and public collections including the Seto Musuem, The Korean International Ceramics Foundation, Yingge Ceramics Museum Taiwan and others.

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.

A powerful Mimitsuki Karatsu Mizusashi by Nakagawa Jinembo (Jinenbo b. 1953) enclosed in the original signed wooden box. Vicious white glaze, deeply fissured, supplants the fawn brown of the back, all over a very rough red clay filled with shiseki stones. The piece breathes energy, vivacious and playful it is a pleasure to view and use. The lid is similarly glazed, with hakeme brush marks inside. The piece is roughly 7 inches (18 cm) tall, the same diameter and in perfect condition.
Jinembo 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 work skills, he went to Tanaka Sajiro for an additional apprenticeship. Since he has, as many Chajin artists, concentrated on private exhibitions as an outlet for his work, shunning the world of mass competition and retail, making his work both highly valued and hard to find.

A superb Iga Mizusashi by Saji Kotaro enclosed in the original signed wooden box. It is 7 inches (18 cm) diameter, 7-1/2 inches (19 cm) tall and in excellent condition. Saji Kotaro was born in 1947, and relocated to Tajimi in 1977 where he opened a kiln in Yamabuki cho specializing in tea ceramics.

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

Encrusted in blue glass, this Iga Tokkuri by Furutani Kazuya is a pleasure to see and hold. It is 5 inches (12. Cm) tall, 3 inches (8.5 cm) diameter and in perfect condition, enclosed in the original signed wooden box.
Kazuya (b. 1976) is one of Japan’s most promising young stars. He graduated the Yamaguchi College of Art in 1997, and spent a year at the ceramics research facility in Kyoto before returning to work under his father, Furutani Michio, in Shigaraki. His Father’s sudden death in 2000 pushed Kazuya to the fore, and left him with big shoes to fill. That he has done! Building three Anagama in the following decade and displaying with the National Ceramics Exhibition and a number of private affairs in some of Japan’s top venues.

Gold invites the cool drink covered in a yellow glaze on this fine tokkuri by Ono Hakuko enclosed in the original signed wooden box. It is 5 inches (13 cm) tall, 3-1/2 inches (9 cm) diameter 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 Japan 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).

I have long wanted to offer a significant piece by this artist, and here is a spectacular Nezumi Shino pair of vases by Wakao Toshisada enclosed in the original signed wooden box. Red tinged white waves boil over the Nezumi-gray arc of the base, a white waxing moon floating above. They measure 9 x 3-1/2 x 12-1/2 and 8-1/2 x 3-1/2 x 10-1/2 inches (23 x 9 x 32 cm and 21.5 x 9 x 27 cm) respectively and are in perfect condition.
Toshisada was born in Tajimi, Gifu prefecture, home of Mino pottery, in 1933. He was first recognized at the New Crafts exhibition of 1960, the same year he was first exhibited at the Central Japan Art Exhibition. Three years laer he made his debut at the Asahi Ceramics Exhibition, following in 1965 with the National Traditional Crafts Exhibition. In 1971 he first exhibited with the Nihon Togeiten (All Japan Ceramics Exhibition) and was awarded the following year the New Mino Artists Prize, gathering acclaim as a leader in the field. After many domestic and International exhibits, he was awarded the Kato Kohei prize in 1986. and was recipient of the prestigious Japan Ceramics Society (JCS) Award in 1989. He was named an intangible cultural asset of Tajimi city in 1995, and of Gifu Prefecture in 2003, and works by the artist are held in the Museum of Modern Art Tokyo, V&A, Freer Gallery and Sackler among many others.

If you wanted a fine Bizen sake flask this is the one, by Living National Treasure Fujiwara Kei enclosed in the original signed wooden box. It seems to encompass all the great characteristics of Bizen all wrapped in one small package. The vessel is 13 cm (5 inches) tall and in excellent condition.
Born in Bizen City, Okayama in 1899, Kei did not enter the ceramic world until he was already 40 years old. In his youth he studied art and literature in Tokyo. Intent upon becoming a novelist, he spent nearly 20 years there before returning to his hometown, where, upon advice from art critic and novelist Atsuo Masamune, he began his hand at Bizen. He fell under the tutelage of friend Kaneshige Toyo, one of the most important figures in 20th century Bizen. Together they worked to revive ancient Bizen-yaki and contributed to its expansion and Both were eventually named Living National Treasures, Kei in 1970.

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

A Superb Shigaraki Chawan by Sugimoto Sadamitsu enclosed in the original wooden box signed beneath by the artist and endorsed by Tea Master Tachibana Daiki of Daitokuji Temple. It is 4 x 5 x 3-1/2 inches (10.5 x 13 x 9 cm) and is in fine condition.
Sugimoto Sadamitsu was born in Tokyo in 1935. A strong adherent to the Zen tradition, Sadamitsu established his own kiln at 33, receiving the kiln name from his mentor Daitokuji priest Tachibana Oki. His Zen studies have refined the spiritual side of his work, and all of his wood fired ceramics have a quiet and confident power. He has spent his life in the research of kohiki, Shigaraki Iga and Raku wares, and is more than well known in tea circles for the discriminating soul of his works. For more information on this artist see the book Fired with passion : contemporary Japanese ceramics ISBN 1-891640-38-0.
Tachibana Daiki (1898-2005) born in Osaka, entered the Buddhist orders at Nansoji. He later moved to Myoshinji in Kyoto where he received Inka. He would go on to serve as the 511th abbot of Daitokuji, and be given the reins of Nyoian in Tokusenji, a subtemple of Daitokuji. He would serve as head of Hanazono University and was a strong proponent of The Way of Tea.

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

A thick coating of green glass covers the burnt terracotta clay of this misshapen Teapot by Iga representative Atarashi Kanji enclosed in the original signed wooden box. The form is scraped and gashed and pushed and contorted, very pleasing to the touch and eye. It is 9-1/2 inches (24.5 cm) tall, roughly 6 inches (15.5 cm) diameter and in perfect condition, as is the wooden box. Kanji was born in Osaka in 1944, and graduated the Osaka College of Craft design. After 3 years in Kobe, and 4 in Kishiwada (Wakayama) he came to settle in Iga, where he was one of the driving forces behind the resurrection and preservation of the Iga tradition. Although displayed at the National Craft Exhibition, he prefers the intimacy of the private exhibition, of which he holds several every year. And if ones visit to japan is not timed right for an exhibition, he can otherwise be found at his kiln working along with his son and daughter.

A beautiful example of Oni Shino by world famous Tsukigata Nahiko enclosed in a wooden box signed by his student Ayukai Kogetsu. Wild glazing and a dark burn on the rim define the work, showing reason for this artists great demand. Signed on the base it is 4-1/2 inches (11.5 cm) diameter, 4 inches (10 cm) tall and in excellent condition.
Tsukigata Nahiko (1923-2006) was not only an accomplished ceramic artist, but also a painter, calligrapher, sculptor and musician. Born in Niigata prefecture, he was at Waseda University in 1941 when he was summarily drafted into the Army. After the war he attended the Arts course of Nippon Daigaku University and was struck by the works of Living National Treasure Arakawa Toyozo, to whom he apprenticed in the arts of Shino and took his mentors work to a new level. Like all art, his was alive and always evolving. Starting with the replication and research of Momoyama techniques to the culmination of his efforts in Oni-shino, Nahiko has taken Shino beyond all others. It was not an eas road, for the first 15 years he worked for a ballet school, spent time as a recluse priest at Myoanji temple, and wandered the country playing the shakuhachi. It was a time of great change in Japan, starvation was rampant immediately after the war and supporting oneself through the little known art of Shino-yaki was difficult. However he perservered, along with Toyozo, Kato Juuemon, Kato Kohei and others, to bring Shino to the forefront of ceramic arts. Heavily prized domestically and abroad in his lifetime, his low output and unique quality make his work a must have for collectors. Ayukai Kogetsu was a female artist from Miyagi prefecture who became a student and follower of Tsukigata in 1979. She currently takes part in calligraphy and ceramic exhibitons throughout Japan.

An unusual vase with rough, pebble textured pink glaze over scratched in cranes by one of Japans most important post-war artists, Shinkai Kanzan, enclosed in the original signed wooden box. The shape and the design are exactly what we would expect from Kanzan, the coloring going even a step beyond. The texture is like unpolished jewels, the inside of a geode; very pleasing to the hands. The vase is 20.5 cm (8 inches) tall, 18 cm (7inches) diameter and in prefect condition.
Shinkai Kanzan was born the grandson of Seifu Yohei III in 1912 and was raised from a baby in the confines of the Gojo-zaka ceramic district of Kyoto, inducted daily into the realm of pottery by his father and grandfather. He graduated the Kyoto Municipal School of Arts and Crafts, and moved on to study painting (after his fathers urging) before returning to ceramics under Kiyomizu Rokubei V and Vi. He was first accepted into the Teiten (later Nitten) National Exhibition in 1930, and was displayed there consistently thereafter as well as others, being prized at the 1939 San Francisco Exposition. Just as he was beginning to take off as an artist, he was drafted and sent to China, whereafter he spent three years in a Russian Gulag in Siberia. Upon his return to Japan, he branched out on his own; with a unique vision grounded in the roots of the training and instruction he had receved before the war, but with a new style and concept to differentiate himself from his peers. In 1951 he was recognized with the Gold Award at the Japanese Art Expo. Following many prizes, In 1974 he was granted the Governors prize at the Nitten, and in 1980 the Niohon Geijutsu-in Sho (Japanese Art Academy prize). In 1989 he was awarded the Kyoto Prefectural Cultural Order of Merit for his life-long endeavors. Works by him are held in the Kyoto National Museum of Modern Art among others.

A large Shinshoku Ware-tsubo eroded through natural processes during firing with a shattered rim attached to the body at the shoulder. This piece is a virtual textbook on Yohen firing effects. Tamadare, Shinshoku, koge and other effects are supplanted by a large white kutsuki on the front, all under the shadow of the shattered rim fused to the shoulder. It is roughly 10 inches (25 cm) tall, the same diameter enclosed in a fine kiri-wood box. To quote from Japanese Wood fired Ceramics, Ceramic pieces exposed to prolonged high temperatures and heavy ash deposit will begin to erode…as the erosion progresses, holes may appear in the ceramic pieces. This usually occurs just before major collapse. Here we see heavy erosion on the fire side of the piece, heavily coated in ash and deeply pitted. The Japanese aesthetic emphasizes asymmetry and an appreciation of the Natural forces. This aesthetic is best expressed with the respect shown towards accidents of firing, often highly appreciated for their unique qualities. Connoisseurs spend years searching for that one unpredictable piece, and it can become the focal point of a collection, most appropriate in the dark humble confines of a tea room.
Tsukigata Nahiko (1923-2006) was not only an accomplished ceramic artist, but also a painter, calligrapher, sculptor and musician. Born in Niigata prefecture, he was at Waseda University in 191 when he was summarily drafted into the Army. After the war he attended the Arts course of Nippon Daigaku University and was struck by the works of Living National Treasure Arakawa Toyozo, to whom he apprenticed in the arts of Shino and took his mentors work to a new level. Like all art, his was alive and always evolving. Starting with the replication and research of Momoyama techniques to the culmination of his efforts in Oni-shino, Nahiko has taken Shino beyond all others. It was not an eas road, for the first 15 years he worked for a ballet school, spent time as a recluse priest at Myoanji temple, and wandered the country playing the shakuhachi. It was a time of great change in Japan, starvation was rampant immediately after the war and supporting oneself through the little known art of Shino-yaki was difficult. However he perservered, along with Toyozo, Kato Juuemon, Kato Kohei and others, to bring Shino to the forefront of ceramic arts. Heavily prized domestically and abroad in his lifetime, his low output and unique quality make his work a must have for collectors.

A bold set of six contemporary White Bizen Beer Mugs, each entirely unique with slightly different hada by Kitano Katsuhiko enclosed in the original signed wooden box. Over the pale, sheer clay deposits of ash glaze, goma kasu and hi-iro scorching combine with smoky black staining for a very unique experience. Each cup is roughly 4-1/2 inches (11.5 cm) tall, 3 inches (7.5 cm) diameter and all are in perfect condition.
After graduating Nihon Daigaku (University of Japan) Katsuhiko worked (like many before him including Hamada Shoji and Kawai Kanjiro) at the Kyoto Ceramics Research Facility. After establishing his own atelier, the artist has been displayed at the Nihon Dento Togei Ten (National Traditional Ceramics Exhibition) Nihon Togei Ten (National Ceramics Exhibition) Chunichi Kokusai Togei Ten as well as the Nihon Bijutsu Kogei Ten where he received the Kogei Daisho prize.