Catalog: Artists: Ceramics: Pottery (618)

A stone formed bowl covered entirely in platinum by Inayoshi Osamu enclosed in the original signed wooden box accompanied by the shiori and Shifuku. The bowl is carved and torn from a block of clay, then textured with natural stones specially selected for their surface patterns, splashed with glaze and then covered in platinum, creating dry. Matte regions punctuated by glistening liqid spatters. It is 10 cm (4 inches) diameter, 7.5 cm (3 inches) tall and in excellent condition 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 jaw-dropping igneous chawan tea bowl by Inayoshi Osamu like a shimmering mineral deposit found deep inside some calcitic limestone cavern. When I asked him about the effects on the surface, he said that he could not wholly explain them, they were some mystery of the kiln, caused during the firing. The bowl is 13.8 x 13 x 9.5 cm (5-1/2 x 5 x 4 inches) and in excellent condition. It comes enclosed in the original signed wooden box with shiori and shifuku, hand-picked 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.

This past summer I had occasion to visit Richard Milgrim in his Mountain Studio and asked him to pair some sake cups and Tokkuri for us. It is a rare opportunity to have an artist personally select pieces which he feels work together. This set is making use of his signature Concord glaze (Konko-yu) from America, with clay from Japan, while the cup is also using a variant of that glaze Black Concord (Konko-guro). The Tokkuri is 9 cm (3-1/2 inches) diameter, 12 cm (5 inches) tall. The rim of the cup wavers between 6 and 6.5 cm diameter (roughly 2 inches) and both are new from the artist in perfect condition.
Richard Milgrim (b. 1955) of White Plains New York graduated Antioch College in 1979 following a year travelling in Japan and internship at the Fogg Museum of Harvard. That same year he began down a path, following a “way” as it is called in Japan, Sado or Chanoyu, the Japanese Tea Ceremony. That same year he returned to Japan, apprenticing initially under Iwabuchi Shigeya while studying at the Midorikai of Urasenke. His first solo exhibition was held in 1981, one of many, and he subsequently began to move about Japan, gobbling up styles under various masters such as Living National Treasure Fujiwara Yu, Kato Koemon and Tahara Tobei. He established his own kiln in Hiyoshi, North of Kyoto in 1984. He is probably the only foreign potter to be truly accepted into the brand conscious world of Japanese tea, and his shows frequently sell out early. From 2000 to 2014 he spit his time between Hiyoshi and a kiln he established in Concord Massachusetts, where he developed some innovative techniques and glazes now firmly a part of his repertoire in Japan. He is adept therefore with Shino, Oribe, Bizen, Seto, Karatsu and Yakishime styles. According to Richard “Since 1977 on my first arrival in Kyoto, I have been blessed with an unending flow of "deai" (encounters) that have almost been like stepping stones on the garden path, leading me into the innermost depths of the field of "Chatou" (tea ceramics).Undoubtedly the most significant "deai" was meeting Dr. Sen Genshitsu (the former 15th generation Grand Master of the Urasenke Tea Tradition), in 1979. With his guidance and endorsement over the years, including the naming of my 2 studios in both Japan-RICHADO-GAMA, and America- KONKO-GAMA, Dr. Sen has been the primary catalyst in the development of my career over the past 40 years.”

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

Glaze Bidoro sweep upwards toward one red eye on this amazing tsubo by Yukuyoshi Manabe enclosed in the original signed wooden box titled Bizen Yohen Tsubo. It is 11 inches (28 cm) diameter, 10-1/4 inches (26 cm) tall and in excellent condition.
Yukuyoshi Manabu was born in Kagatonishi near the heart of Bizen country in 1941. After working in Osaka as a young man, he returned to Bizen to assist the family building supply company. There he began to study clay under Mori Hozan and Ohira Seinosuke. After rebuilding an old kiln, he established his own. He ahs exhibited with the Issuikai Ten, the Chunichi Kokusai Togeiten, the National Ceramic Exhibition (Nihon Togeiten) among many others and has received a great many awards over his career.

A flagrant barrage of color gets in your face with this futuristic vessel by Yanagihara Mutsuo enclosed in the original signed wooden box titled Saimon Kabin (Colored Vase). Over the crackled sunshine yellow gleams platinum on lightning strikes of red, completely juxtaposed to the cool blue of the interior. Very much an iconic work by this eclectic artist. It is 17.5 cm (7 inches) diameter, 15 cm (6 inches) tall and in perfect condition.
Yanigahara Mutsuo (b.1934) was raised in Seto, and studied in Kyoto along with contemporary Morino Taimei with whom he maintained a lifelong friendship. His work is largely sculptural, and his choice of colors is his reflection on the decadence of Japanese society. A list of exhibitions and awards would be much too long but includes the Japan Ceramics Society Gold prize in 2002. Listed as one of the most influential potters of the 20th century in the Japanese ceramics magazine Honoho Geijutsu, he is held in the Museum of Modern Art, both Tokyo and Kyoto (MOMAT, MOMAK), The National Museum of Art, Osaka, V&A, Great Victoria Art Gallery, Portland and any number of other prominent public and private collections throughout the world. For more see Japanese Studio Crafts, Tradition and the Avant Garde by Rupert Faulkner. According to the V&A his “work is striking for its blend of dynamism, colour and wit. A leading figure among Kyoto artists, Yanagihara has taught at Osaka University of Arts since 1968. Yanagihara's application of brightly coloured abstract motifs to vessel forms with anatomical, sometime sexually explicit features - a combination with which he first experimented in the late 1960s and early 1970s - has been a characteristic of his work for the past fifteen years. As in the case of Morino Taimei, a close friend and exact contemporary at Kyoto City University of Arts in the late 1950s, Yanagihara has been considerably influenced by the experiences he gained during two periods of teaching in the United States in 1966-8 and 1972-4. His use of gold and silver - a wry comment, he has explained, on the decaying values of contemporary society and the corruption of Japan's political system - echoes the extravagant style of certain North American artists.”

Grasses grow on the sides of this Tokkuri and accompanying Guinomi by Karatsu legend Maruta Munehiko, each piece enclosed in the original signed wooden box. The E-Karatsu Tokkuri is 11 cm (4-1/4 inches) tall. The E-Karatsu Guinomi is 7 cm (2-3/4 inches) diameter, 6 cm (2-1/2 inches) tall. Both are in excellent condition.
Maruta Munehiko was born the second son of Maruta Masami in Saga prefecture in 1961. However he apprenticed under Hamada Atsuya (1931-1986), the son of Mashiko Living National Treasure Hamada Shoji, in 1980. Specializing in Karatsu ware, he opened his first kiln in 1987, and a Noborigama climbing kiln in 2000. He has exhibited at any number of important galleries like and juried exhibitions including the National Traditional Crafts Exhibition (Nihin Dento Kogeiten) and his 25th anniversary exhibition at the prestigious Kuroda Toen. He is held in the collection o the Minneapolis Institute of Art among other important public and private collections.

A rock textured Kurinuki tokkuri compliments this guinomi selected to match by Inayoshi Osamu enclosed in the original signed wooden box. The Tokkuri is 5 inches (12 cm) tall, the Guinomi 2-3/4 inches (7 cm) diameter and both are in perfect condition, enclosed in the original wooden box 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 swirling iron colored ceramic dish by Takatsu Mio enclosed in the original signed wooden box titled Uzumaki no Sara. It is 20 x 18 x 8.5 cm (8 x 7 x 3-1/2 inches) tall and in excellent condition, from the artist this summer. We use one of these at home for cheese and cold cuts, looks great with a wine glass and garners a lot of attention!
Takatsu Mio (b. 1976) was raised in Gifu prefecture among the scattered kilns of Mino. She graduated the Osaka University of Arts Sculpture Department in 1999, moving on to advanced studies which she completed in 2001. Her first exhibited works were in 1999, and then again in Tokyo in 2001. The following year she exhibited with the 6th International Ceramics Exhibition in Mino with several private exhibitions over the following years in some of Japans top venues. In 2005 she made her overseas debut. In 2009 her work was featured in Women Ceramic Artists in the 21st Century (Paramita Museum/Mie Japan) 2011 saw her work accepted into the Faenza International Ceramics Exhibition in Italy, as well as the Nihon Togeiten National Ceramics Exhibition.

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 showing the decorative aesthetic of Ichino Masahiko enclosed in the original signed wooden box titled Senmonki (Lined Vessel). The square opening, thin and delicate, reminds me of the architectural grace of Ando Tadao. This is exactly what he is known for, and if you were going to have just one piece by Ichino-san, this might be just the thing to suit the bill. It is 26 cm (10-1/4 inches) diameter and in excellent condition.
The youngest winner ever at the 13th National Ceramic Exhibition (Nihon Togeiten), Ichino Hiroyuki is a powerhouse in Tamba, bringing that long forgotten corner of Japan’s ceramic realm back into the limelight. He was born in Sasayama, heart of Tamba, in 1961, and studied in Kyoto under Imai Masayuki, and under his father Ichino Shinsui. He established his own kiln in 1988, and in 1995 caught the worlds attention with his work “Kai” at the 13th Nihon Togeiten. In 99 his work was selected for the Japanese Ceramic Exhibition Tour sponsored by the Japan Foundation, and that was the first of many overseas exhibits featuring his work. In 2006 he received the JCS award (Japan Ceramic Society prize), one of the most coveted in Japan, and in 2009 received the grand prize at the Tanabe Museum Modern forms in Tea Exhibition. He is held in the collection of the V&A, New Orleans Museum of Art, Brooklyn Museum, Tanabe Museum and Japan Foundation among many others.

My Australian friend nailed it when he looked at this Tsujimura Shiro tsubo and emphatically declared: Bro that is crusty as….
Shiro is known for his lopsided forms and ash encrustation, and this vessel does not disappoint. It is 18 cm (7 inches) diameter, roughly the same height and in excellent condition, enclosed in the original signed wooden box.
Tsujimura Shiro was born in Nara in 1947, and began his steps into the art world as an oil painter in 1965. While living at a Buddhist temple he experienced a profound connection with a Korean Tea Bowl, and began potting. He established his kiln and residence in 1970, with his first solo exhibition held in 1977. By the 1990s he had become an international star, with works exhibited in the US, UK, Germany, France and many other nations. He is highly acclaimed and somewhat reclusive, avoiding the public spectacles often needed to make one in Japan. A must have in any contemporary collection of Japanese ceramic art, work by him is held in museums throughout the globe, including The Metropolitan Museum of Art New York, The Museum of Fine Arts in Boston, The Cleveland Museum of Art, The Minneapolis Institute of Arts, The Brooklyn Museum of Art, The Freer Gallery of Art and Arthur M. Sackler Gallery at Smithsonian Institution, The Asian Art Museum of San Francisco, The Spencer Museum, Ackland Art Museum, The Art Institute of Chicago, The British Museum, Stockholm Museum of Art and the Miho Museum among many others

A little warmth on a cold winter day, lets have a look at cheerful works of Tokugawa Hiroshi. Here is a deep “Apple Shaped” tea bowl covered in lightly crackled Ki-Seto (Yellow Seto) glaze fired upside down so that the glaze coalesces at the rim into a thin bead of yellow glass. It is 12.5 cm (5 inches) diameter and comes enclosed in the original signed wooden box titled Ki-Seto Chawan with Shiori and Shifuku.
Tokugawa Hiroshi graduated the Gifu Prefetural Industrial High School in 2002, studying under Living National Treasure Kato Kozo. He moved to Kakegawa City in Shizuoka in 2008, opening a kiln there in 2010. He has exhibited with the Nihon Dento Kogeiten National Crafts Exhibition, Mino Togeiten regional Exhibition, Kikuchi Biennale, Gendai Chato-ten (Modern Tea Ware) Exhibition as well as several international exhibitions garnering a number of prizes along the way and in 2017 his work was collected by the Imperial family.

The purity and perfection of this takes your breath away. It is a gorgeous piece by Hattori Tatsuya and comes enclosed in the original signed wooden box titled Ginsai Wan. The bowl is 12 x 13.5 x 8 cm (4-1/2 x 5-1/4 x 3 inches) and is in perfect condition, from the artist late 2020. He is a master of silver/platinum/titanium glazes, and his forms, especially his tea pots, are very popular and generally sell out quickly.
Hattori Tatsuya was born in Tajimi, home of Shino and Oribe wares, in 1978 and was raised in the vibrant pottery scene of that region. However, he had no interest in pottery until after graduating with a degree in business from university. Taking a hiatus from studies and work, he stumbled onto the path of the potter by accident (or was it fate). He entered the Tajimi Ceramics Research Facility, graduating in 2004. His work was selected for display at the Mashiko Ceramic Art Exhibition and Asahi Togeiten Ceramics Exhibition that year. He took a position as a ceramic designer at a local company, working nights and weekends on his own art and promoting himself in the off hours until he felt he could afford to devote himself completely to the wheel. At first he concentrated on making decorative works, but soon began moving steadily toward functional vessels, enjoying the dialog between the work and the user.

Iron glaze with hakeme brushed slip design by Koie Ryoji enclosed in the original signed wooden box titled simply Chawan. There is something of a midcentury abstract expressionist painting to it, with minimal coloration, it stands out in its minimalism and simplicity with a quiet elegance. The brush stroke is consistent both inside and out, not allowing a boundary at the rim. It is 14 cm (5-1/2 inches) diameter, 8.5 cm (3-1/4 inches) tall and in excellent condition.
Koie Ryoji (1938-2020)) was born in Tokoname and graduated the Tokoname industrial school before moving on to work at a tile factory in 1957, where he would lose two fingers in an industrial accident. Faced with this handicap, he entered the City Ceramics Research Facility in 1962 where he furthered his studies and his unique style began to coagulate. In 1966 he established his own studio. By the early 70s his work was garnering attention overseas and he has since been largely displayed and prizedculminating in a lifetime with the Japan Ceramic Society Gold Award in 2008, the most prestigious of pottery prizes in Japan. Work by him is held in the collections of the National Museums of Modern Art in both Tokyo and Kyoto, Yamaguchi Prefectural Museum of Art, Hiroshima City Museum of Contemporary Art, Idemitsu Museum, The Museum of Fine Art in Gifu, Victoria & Albert Museum in London, Seoul Museum of Art in Korea, and the National Gallery of Victoria, Australia among many other public and private collections.

A humble crackled white bowl by Koie Ryoji enclosed in the original signed wooden box titled simply Chawan. Inside drops of spilled ink and a bit of blank canvas (raw earth) like a minimalist painting from the 1950s. It is 14.5 cm (5-5/8 inches) diameter, 8 cm (3-1/4 inches) tall and in excellent condition.
Koie Ryoji (1938-2020)) was born in Tokoname and graduated the Tokoname industrial school before moving on to work at a tile factory in 1957, where he would lose two fingers in an industrial accident. Faced with this handicap, he entered the City Ceramics Research Facility in 1962 where he furthered his studies and his unique style began to coagulate. In 1966 he established his own studio. By the early 70s his work was garnering attention overseas and he has since been largely displayed and prized culminating in a lifetime with the Japan Ceramic Society Gold Award in 2008, the most prestigious of pottery prizes in Japan. Work by him is held in the collections of the National Museums of Modern Art in both Tokyo and Kyoto, Yamaguchi Prefectural Museum of Art, Hiroshima City Museum of Contemporary Art, Idemitsu Museum, The Museum of Fine Art in Gifu, Victoria & Albert Museum in London, Seoul Museum of Art in Korea, and the National Gallery of Victoria, Australia among many other public and private collections.

Lantern Flowers (Hozuki) decorate this snow white porcelain vase by Yamada Yoshiaki enclosed in the original signed wooden box titled Henko. The imagery is expertly depicted over a form which has been allowed some freedom, more like the natural shape of a stone than a traditional vase. This is very much representative of this artists style, known for these asymmetrical shapes, natural corners and exquisite palette. It is 31 x 5 x 17.5 cm (12 x 2 x 7 inches) and is in excellent condition.
Yamada Yoshiaki was born in Ishikawa, home of Kutani wares, in 1948. He studied under Yamachika Tsuyoshi and Takegoshi Taizan whose influence is apparent. He began exhibiting in 1975 with the Souzou Bijutsu-kai Art Organization. Since his works have been exhibited and awarded in a plethora of venues, public exhibitions and private galleries. His work has been collected by the Imperial household and given as gifts to foreign dignitaries.

A very unusual domed box shaped vase by Morino Taimei decorated with green dots and purple numbers on a rich textured blue enclosed in the original signed wooden box titled Iro-e Tabimakura (Colorful Travel Pillow). It is 19 cm (7-1/2 inches) square, 14 cm (5-1/2 inches) tall excluding the handles, and is in excellent condition, as can be seen there is a water stain in the upper right corner of the box lid.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The 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 Fitzgerald Collection.

A complete set of the twelve animals of the zodiac by Miyashita Zenji, each enclosed in the original signed wooden box retaining the original Shifuku and Shiori. Sizes vary from 8 up to 16 cm (3 to 6 inches) and all are in excellent condition.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art under Kiyomizu Kyubei and Kusube Yaichi. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He began exhibiting in the annual Nitten exhibitions in 1964, eventually winning eighteen prizes. According to the Sackler, which holds 6 works by him, “ His mature work was a modern embodiment of a classic Kyoto mode associated with the Heian period (794–1185). He applied delicate layers of color—reminiscent of multilayered court robes or decorated papers made for inscribing poetry—using not over-glaze enamels or glazes but clay itself, dyed with mineral pigments”. He is held in the aforementioned Freer-Sackler, the British Museum, the Metropolitan Museum of Art New York, and the Brooklyn Museum the Minneapolis Institute of Arts, the Museum of Fine Arts Houston and of course the National Museums of Modern Art both in Kyoto and Tokyo among a host of others.

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

The most unique work I have ever seen from innovative artist Ito Motohiko enclosed in the original signed wooden box titled Nunome Tsubaki-mon Kabin (Cloth Textured Vase with Camellia Design). Sensual sans eroticism, it is a frank and appreciative look at the beauty of the feminine form. This is from my personal collection, and I am torn with the idea of parting with it. The vase is 9 x 6-1/2 x 14-1/2 inches (23 x 16.5 x 37 cm) and is in excellent condition, retaining the original wrapping cloth and Shiori.
Ito Motohiko is a famous Kasama potter, best known for his nunome pattern and exceptional designs. Motohiko was born in Fukuoka prefecture, 1939, and graduated the Tokyo University of Art in 1964, then moved on to advanced courses there, finishing in 1966. While at University he studied under Kato Hajime and Fujimoto Yoshimichi. It was in 1967 his first piece was accepted into the 6th Modern National Crafts Exhibition, and the next year would be spent working under to-be-Living National Treasure Matsui Kosei. His list of prizes and exhibitions is much too long to reproduce, but since 1967, he has Exhibited with the Nihon Dento Kogeiten, Nihon Dento Kogei Shinsaku Ten, Dento Kogei Musashino Ten, Tanabe Museum Modern Tea Forms Exhibition, been the subject of an NHK Television documentary, and participated in a ridiculous number of private exhibits at many of Japans top venues, and has been purchased by the Heisei Emperor in person as well as receiving the Shijuho-sho prize from his majesty.

Silver ray-skin texture covers this fabulous Katakuchi sake pot by Ichikawa Toru enclosed in the original signed wooden box. OMG a chilled Daiginjo served with this would have to taste like a million bucks! Like a footed softball, it is 12 cm (4-3/4 inches) diameter, ever so slightly shorter although it appears to be taller than it is wide.
One of my favorite artists, the innovative Ichikawa Toru was born in Tokyo in 1973. In 2015 he established his current studio in Bizen after 4 years of apprenticeship under another Bizen Outsider, Kakurezaki Ryuichi. He has since developed quite a following, with his shows selling out often within hours.

Tarnished beaded silver is draped in gold over which runs a deep forest green on this apple shaped chawan by innovative artist Ichikawa Toru enclosed in the original signed wooden box. A thick gold tinged bead dangles from one side, and bubbly dark glaze pools within. It is 11.5 cm (4-1/2 inches9 diameter and in excellent condition. He really takes things to the extreme, challenging and yet incorporating something of the idea of Wabi into his outlandish works.
Ichikawa Toru was born in Tokyo in 1973. In 2015 he established his current studio in Bizen after 4 years of apprenticeship under another Bizen Outsider, Kakurezaki Ryuichi. He has since developed quite a following, with his shows selling out often within hours.

An exquisite plate by legendary Okabe Mineo enclosed in a wooden box titled Benishino Hirabachi, annotated inside: Work of Mineo Sensei signed and sealed by Kuroda Totoan. There is something very intimate about this artist and his work, the glaze is thin, reealing the body of the work and you can feel the potters hands in the clay. It is 32.5 cm (13 inches) diameter and in excellent condition.
Okabe Mineo (1919-1990) was born the first son of important artist Kato Tokuro, however the relationship with his father was volatile. When he was 9 Tokuro moved the young family to Seto, where Mineo would graduate the Aichi Prefectural Ceramics School in 1937. After a year at the family kiln, he moved to Tokyo, then joined the army in 1940. He fought against the Americans and would spend several years as a prisoner of war in the Philippines, repatriated to Japan in 1947. He returned to Aichi prefecture, leaving enough distance between himself and his estranged family, and with his wife began producing pottery in Toyoda. In 1953 he met Koyama Fujio; that same year he was awarded the Hokuto prize at the Nitten, and his work was collected by the Ministry of Foreign Affairs. This was the true beginning of his career. In 1955 he received the JCS award, one of the highest honors for a Japanese potter. By the mid ‘60s. he moved to celadon ware. He changed his name from Kato to Okabe in 1978, to honor his wife who supported his efforts for so many years.

The organic shapes of Kakurezaki Ryuichi have always been fascinating, less formed by the potters hands and more as if they dripped from the kiln roof, solidifying in the conflagration. This vase, covered in flying ash, is a perfect example of that, it even now appears to be withering in the heat. It comes enclosed in the original signed wooden box titled Yohen Kaki or kiln altered vase and retains the original shifuku and shiori. The vessel is 17 x 21 x 23 cm (7 x 8 x 9 inches) and is 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.

Although I love Bizen pottery for myself, I rarely offer it on the website as the colors are so subtle and designs often so very Japanese. This Chawan by (certainly for her era) the rare female potter Konishi Toko II is a striking exception. It stands out in a room of Bizen as if ringing a bell. This bowl is slightly smaller than normal, with a feminine grace to be found in the gentle curves, 10.5 cm diameter, 8.5 cm (3-1/4 inches) tall and in excellent condition enclosed in the original signed wooden box titled simply Bizen Chawan. The Sangiri surface is exceptional and smooth, almost wet looking, and covered in meandering waves of hi-iro color. Toko I developed the technique, a way to incorporate different shades of white, blue or gray to high-fired red pottery through oxidation without glaze. Toko II continued and expanded the tradition.
Konishi Toko II (Mitsue, 1927-2018) was born the second daughter of Konishi Toko I (1899-1954) and of course, learned from her father upon completion of her schooling. She took over the family business after her father died in 1954, in a very difficult time for Japan, battling against the effects of modernization and the lingering effects of the war and poverty of the early post war era as well as the handicap of being female in a very male-centric tradition. She was a powerhouse, carrying the kiln through the tumultuous years and was succeeded by her own son Tozo (b. 1957) who heads the family kiln today.

Blue glaze fills in the embedded patterns in this Tokkuri by Living National Treasure Shimaoka Tatsuzo enclosed in the original signed wooden box titled Gosu Zogan Jomon Tokkuri. The vibrant blue is 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 15 cm (6 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.

A refined set of Tokkuri and Sake-cup by Banura Shiro enclosed in the original signed wooden box titled simply Shuki. Exquisite, the flask is more delicate than usual, with a long diaphanous spout and decidedly thin rim. This is made for a discerning drinker, entirely about quality not volume. The cup too is perfectly formed with a thin rim everted ever so slightly, a pleasure to drink from. This set is the perfect complement to a true kaiseki meal. The bottle is 12 cm (4-5/8 inches) tall, the cup 5.8 cm (2-1/4 inches) diameter and both are in perfect condition.
Banura Shiro (1941-2001) was born the fourth son of influential Lacquer Artist Banura Shogo. His sensitivity to textures may stem from that exacting influence. Although his older brother succeeded the family tradition (another branching into paper arts), Shiro, after graduating the Kyoto University of Fine Art, apprenticed in the plastic arts under Kawamura Kitaro (1899-1966) who was a student of Kitaoji Rosanjin. Rosanjin, a restaurateur, artist, and overall renaissance man believed the dish was there to support and bring out the beauty of food served. Shiro took this as his raison d’etre; his lifetime pursuit to create dishes which complimented the seasonality, texture, color and flavor. He had an impressive list of exhibitions, including a private exhibition at the Umeda Kindai Bijutsu-Ten as well as the Niponbashi Mitsukoshi, Takashimaya, and Ikebukuro Tobu, the equivalent of being displayed on New Yorks Fifth Avenue or other cities most Trendy streets, as well as many international exhibitions. Like most Iga-area artists, his output was low, but quality and originality high, making his work very much in demand.

Fissured white is dribbled with blue and showing flashes of red in the cracks on this large, low Ofukei and Lacquer Guinomi, by Kodai Ujiie enclosed in the original signed wooden box. This is a handful, great tactile qualities and entrancing to look at. It is 8-8.5 cm diameter, 7 cm tall and in excellent condition, directly from his recent firing.
Kodai Ujiie was born in Sendai, Miyagi Prefecture in 1990, and graduated advanced studies at the Tohoku University of Art and Design in 2015. Since 2014, he has been hosted at more than half a dozen solo exhibitions, proving the popularity of his work.

The best sake related piece I have ever seen by Koinuma Michio enclosed in the original signed wooden box titled very simply Tokkuri. The draping curves and weep of color is superb, and sets this above all others. Michio has long been inspired by archaic forms, and this is reminiscent of the roughly 5000-year-old Jomon Venus (a National Treasure) unearthed in Chino, Nagano prefecture. His coloration seems derived from ancient Sue-ki ware, and he goes to great lengths to erode the pots, allotting them an almost hallowed quality, as if they have been treasured for millennia. This Tokkuri is 14.5 m (5-3/4 inches) tall and in excellent condition.
Koinuma Michio is a compelling figure unique among contemporary artists. He seems to have no limit to his imagination and creativity, still dazzling us with new concepts after four decades. Born in the hectic war years in 1936, he is incredibly intelligent, graduating the economics department of Osaka University, then on to Waseda, one of the top three schools in Japan, for graduate studies in economics and politics. Relinquishing that life he opened a kiln in Mashiko in 1970. Since 1978 he has been consistently displayed at the best galleries in Japan, as well as overseas. For more see Contemporary Japanese Ceramics Fired with Passion (ISBN -10: 1-891640-38-0) or To volume 10, which is dedicated entirely to him.

A heavily encrusted glossy sake flask by Tanimoto Kei compliments a Guinomi displaying a rustic matte finish by his son Tanimoto Takeshi enclosed in the original signed wooden boxes titled Iga Tokkuri and Iga Guinomi respectively. Bīdoro glaze (a type of natural wood ash glaze formed by firing, named from vidro, the Portuguese word for glass) coalesces into a yellow crystal rivulet on one side of the Tokkuri, opposite is a shadow of gray ash. The Cup on the other hand, bears heavy scorch marks and a more prominent texture, perfect for handling, and yellow green glaze accentuates the various textures beneath. The Tokkuri is 14 cm (5-1/2 inches) tall, the guinomi 7 cm tall, roughly the same diameter. Both are in excellent condition.
Tanimoto Kei was born the son of Iga artist Tanimoto Kosei in 1948. In 1970 he apprenticed under Hineno Tatsuzo in Mino, and in his youth he experimented widely in many mediums, design, and even spent a few years in Paris learning the art of etching. He returned to Japan in 1977 to devote himself to the plastic arts.
Tanimoto Takashi was born in Mie the eldest son of Tanimoto Kei in 1978. After graduating the literature department of Doshisha university, he entered the Kyoto prefectural ceramic school, then apprenticed under Mori Tadashi. In 2004 he spent a year abroad in Italy, returning to Japan in 2006 to launch his solo career.

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.

A beautiful Caribbean blue bottle by Karatsu Legend Inoue Toya enclosed in the original signed wooden box. The color is quite unusual in his oeuvre, as is the paddled sloping shape. It is 24 cm (9-1/2 inches) tall, 12.5 cm (5 inches) diameter at the base and is 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.

An ash encrusted vase by Kanzaki Shio enclosed in the original signed wooden box titled Shigaraki Hanaire. Perfect for the tea room, it exudes that sense of quietude and degradation (Wabisabi) central to that aesthetic. It is 27 cm (10-1/2 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.

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

Red Hidasuki lines of straw on austere Bizen clay by the master of that genre Isezaki Mitsuru enclosed in the original signed wooden box. Perfectly turned bowl representing this important artists style. 13 cm (5 inches) diameter, 7 cm (2-3/4 inches) tall and in excellent condition.
Isezaki Mitsuru (1934-2010) was born to a family of potters, his father Yozan and younger brother Jun both very important in Bizen pottery. In 1998 Mitsuru was named a Prefectural Intangible Cultural Property for Okayama (the prefectural version of a living National Treasure, likely more important as it is truly based on the artists contributions rather than heredity). He has innumerable exhibitions, including the Nihon Togei-Ten (National Ceramics Exhibition) Nihon Dento Kogei-Ten (National Traditional Crafts Exhibition) and Gendai Togei Ten (Modern Japanese Ceramics Exhibition). In fact his first piece exhibited with the First National Ceramic Exhibition was selected for display in a show which went around the globe. Recipient of the Kaneshige Toyo prize as well as purchased by the Japanese Foreign service as gift to foreign dignitaries. His Hidasuki was considered to be of the highest grade since the Momoyama period.