Catalog: Artists: Ceramics: Pottery (836)

A spectacular square vase of undulating misty mountain forms in colored clay by important ceramic artist Miyashita Zenji enclosed in the original signed wooden box. The colors break from rich dark blue through the green spectrum to yellow and black. It is signed on bottom. The vase measures 29 x 22 x 28 cm tall (11-1/2 x 8-1/2 x 11 inches) and is in excellent condition. Included is the original box cover written by Zenji.
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 beautiful combination of grays and lavenders covers the natural sculpted form in sunset color Hagi clay by legendary artisan Kaneta Masanao enclosed in the original signed wooden box titled Hagi Kurinuki Hanaire dating circa 2000. It is 30 x 24 x 23 cm (12 x 10 x 9 inches) and is in excellent condition.
Kaneta Masanao likely needs no introduction, certainly one of Hagi is most well known names, he has been displayed both nationally and internationally innumerable times. His pieces are in the collection of the Tokyo National Museum of Modern Art, Yamaguchi Prefectural Museum and Museum of Modern Art Brooklyn. He has been displayed at the Nihon Dento Kogei Ten and Nihon Togei Ten among many many others.

A breathtaking work in perfect green porcelain glaze by Shimada Fumio enclosed in the original sined wooden box titled Seihakuji Budo-cho mon Tsubo (Celadon Tsubo Carved with Grape Designs). It was exhibited at the Shimada Fumio Sakuto 40 Shunen ten and Gendai Kogei Fujino Ten (2014). The vase is 20 cm (8 inches) diameter, the same height, and is in excellent condition.
Shimada Fumio is undoubtedly one of the greatest artists working in porcelain in Japan today. He was born in Tochigi prefecture in 1948, and his work was accepted into the 21st Nihon Dento Kogeiten National Crafts Exhibition the year before he graduated the Tokyo University of Arts Advanced Studies in 1975. That year his graduation project was purchased by the University Museum, and he was awarded at the 15th Dento Kogei Shinsaku Ten (New Traditional Crafts Exhibition). In 1983 his work was part of an exhibition at the Smithsonian and V&A. From 1985 e took a position at his alma matter. Among a plethora of awards and recognitions his work has been exhibited at the aforementioned plus the Nihon Togeiten National Ceramics Exhibition, among others , and has been seen overseas in the China-Japan-Korea International Ceramics Exhibition, Turkey, Germany, America and Mexico.

Everything you could want in firing effects decorate the various sides of this Iga Tsubo by Tanimoto Yo enclosed in the original signed wooden box. It is 23.5 cm (9 inches) diameter, 26.5 cm (10-1/2 inches) tall and in excellent 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.

A signature work decorated with finger twirls of poured glaze over the pale-colored sides of this bottle form by Hamada Shoji enclosed in the original signed wooden box titled Monda Kakubin dating from the 1960s. It is 4 inches (10 cm) square, 9-1/2 inches (24 cm) tall and in excellent condition. What appear in the photographs to be at first glance three chips in the edge are in fact crawling in the glaze, see the last close-up for details.
Hamada Shoji (1894-1978) was born in Tokyo, and enrolled in the Tokyo Technical University at the age of 19. In 1918 he met the important British potter Bernard Leach, and the history of ceramic arts was forever changed. One of the most influential and sought after of all Japanese Ceramic artists. There is no shortage of reading material for those who would like to learn more about this potter.

A vase with a carved-comb surface of white clay by Sakiyama Takayuki enclosed in the original signed wooden box titled dating circa 1998. It is 9 x 7 x 15 cm (3-1/2 x 3 x 6 inches) and is in excellent condition.
Sakiyama Takayuki (b. 1958) graduated the Osaka Art University in 1981. In 1984 he exhibited for the first time at the Nitten National Exhibition. He established his kiln in Shizuoka in 1987, and was accepted into and prized at the National Ceramics Exhibition (Nihon Togeiten) for the first time in 1991 as well as being prized at the Nihon Gendai Kogeiten (modern crafts exhibition). In 2005 he received Grand Prize at the Nihon Togeiten. Work by the artist is held in the collection of the Metropolitan Museum New York, Brooklyn Museum, Minneapolis, Boston, Philadelphia, New Orleans, LACMA, Musée national de Céramique- Sèvres, France, National Museum of Scotland as well as the Museum of Ceramic Art in Hyogo and the Sano Museum among many others.

Delicious kiln effects are displayed across the surface of this triangular slab by Sugimoto Sadamitsu enclosed in the original signed wooden box. The three sides measure 33 x 36 x 41 cm (13 x 14 x 16 inches) and it is in excellent original 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.

An exquisite black clay guinomi from Tokoname engraved with white lines by Shibata Yoshiaki enclosed in the original signed wooden box. It is 2-1/2 inches (7 cm) diameter and in excellent condition.
Yoshiaki is credited with having discovered the secret of this black clay, now in use by any number of atists in Tokoname. He was born in 1946, and apprenticed under Living National Treasure Yamada Jozan, becoming one of his top pupils. He established his own kiln in 1965 producing traditional tea ware as well as art objects. In 1972 he was recognized at the Vallauris International Ceramics Exhibition, and has had innumerable public and private exhibitions since.

An ever-folding band of gold flecked fabric patterned with colors and waves like an elaborate obi (sash) seems to bind the cloak of rough dark clay forming this vase by Nakamura Takuo (Baizan III) enclosed in the original signed wooden box. Atop a gilded Karasu-guchi finial, a tradtional shape called a Crows Mouth, provides the top and a spattering of ash sprays out a random pattern against the rigid form. It is 21 x 7.5 x 31 cm (8 x 3 x 12 inches) and is in excellent condition.
Nakamura Baizan (Takuo) was born in 1945, the second son of Baizan II. After working a regular job for a while, he returned to Kanazawa in 1978 to apprentice under his father, finding he could not get pottery out of his skin. His dark forms wrapped in iridescent colors like colorful obi on a subdued Kimono have received much acclaim, and his work is held in the Metropolitan Museum of Art New York, Chicago Museum of Art, and the Kanazawa 21st century Museum of Contemporary Art among others.

Molten glaze in volcanic plumes extending from a yellow blast wrap tendrils around this exquisite Bizen vessel by Baba Takashi enclosed in the original signed wooden box titled Bizen Yohen Tsubo. The kiln effects are spectacular, covering the blackened Bizen clay with yellows, charcoals and a myriad of natural tones. It is quite large at 15 x 13 x 9-1/2 inches (38 x 33 x 24 cm) and is in new condition. Depending upon destination, special shipping consideration may be required.
At 36, Baba is one of the younger potters in our Autumn show. He was born into a traditional potting family in Bizen in 1983, and his genius is recognized as a graduate of the sculpture department of the prestigious Tokyo University of Art in 2006. He followed up with a year at the Kyoto Industrial Ceramics Research Facility beore taking up residence again in Okayama. His work was immediately recognized at the Okayama Prefectural Art Exhibition, , and the Bizen Toshinkai Exhibition, where he has received several awards. His work has also been seen in the Nihon Dento Kogeiten (Traditional Crafts Exhibition, Chanoyu Zokeiten Eshibition (Modern Forms in Tea) and he has been featured with a show in Britain in 2015.

A very unusual work by the challenging artist Nakata Atsushi covered in red lacquer with modern designs enclosed in the original signed wooden box titled URUSHI TEA BOWL. It is 11.5 x 13.5 x 9.5 cm (4-1/2 x 5-1/4 x 3-3/4 inches) and is in New condition.
Nakata Atsushi was born in Toyama in 1968, and studied in the blossoming field of videography at Osaka University of Art however chose the path of potter after working at a friends kiln while at school. He graduated in 1992, then apprenticed under Imai Yasuhito famed for his tea ware. In 1996 Atsushi set out on his own in Ueno City, Mie prefecture (the center of Iga ware). He uses lacquer in most of his works, which requires typically three firings, and his work is characterized by its contemporary design and utilitarian forms.

A four sided vase in Aka-e design by important 20th century potter Kawamoto Goro enclosed in the original signed wooden box titled Aka-e Kamon Hanaike exhibited in 2001 and published in the book Kawamoto Rekitei, Goro, Taro, San-Dai-Ten (Three Generations of Kawamoto Family). It is 27.5 cm (11 inches) tall, 16 cm (6 inches) square and in excellent condition. The Book is included.
Kawamoto Goro (1919-1986) was born in Seto to a family of potters. He studied in Kyoto at the same institution as Kawai Kanjiro and Hamada Shoji. Returning to work at the family kiln, he was later adopted by Kawamoto Rekitei, a famous decorator of pottery. In 1953 he gained first recognition, accepted into the Nitten National Exhibition and garnering top prize at the Asahi Modern Ceramics Exhibition. In 1958 he would be awarded in Brussels, and in 1959 in California and at home was granted the 1959 JCS award, perhaps the most significant honor for a pottery in Japan. Much lauded in and after his lifetime, the list of awards is far too long for this article. Work by him is held in the Kyoto National Museum of Modern Art as well as the The National Museum of Modern Art, Tokyo among many others.

An exquisite vessel by Bizen legend Yamamoto Toshu enclosed in the original signed wooden box titled Bizen Meipin. The form is perfection, covered with a dusting of ash revealing a flame colored eye on one side, everything about the proportions timeless. This is a piece I could wax on for hours about, but will leave that up to the viewer. It is 8 inches (20.5 cm) tall and in perfect condition.
Yamamoto Toshu (1906-1994) began working in a pottery at the age of 15. 12 years later (1933) he went independent, but interestingly decided to train again later not under a Bizen master, but Kusube Yaichi, perhaps stimulating his unusual eye for Bizen. After much acclaim, it was in 1959 that he made his worldwide appearance, with a gold prize at the Brussels World Exposition, and was named an important cultural property of Okayama that same year. He was most in love with the wheel, and his forms are crisp and sharp. He was named a living national Treasure in 1987. Works by the artist are held in the National Museum of Modern Art Tokyo and National Museum of Modern Art Kyoto as well as the Victoria Albert Museum among many others.

Celadon is all about form, and here Yagi Akira has nailed it with this expertly executed elegant shape composed of 2 interlocking pieces covered in green celadon glaze and enclosed in the original signed wooden box titled Kakushaku (literally horn scoop). It is 4-3/4 inches (14.5 cm) tall and in excellent condition.
This name is a must have in any collection of modern Japanese Pottery. Akira was born in Kyoto in 1955, son of avant garde Yagi Kazuo (1918-1979) one of the founding members of Sodeisha. Akira was voted one of the 20 most important living artists by Honoho, Japans premier printed ceramic forum. Works by the artist are held in the British Museum, Victoria Albert Museum, Cleveland Art Museum, Sackler Gallery of the Smithsonian and Tokyo Muesum of Modern Art among many others. He was also the recipient of the Japan Ceramic Society (JCS) award in 1998, one in a long and prestigious list of awards.

A Pottery pouch covered in polka-dot silver glaze inspired by traditional textiles by pioneering female artist Tsuboi Asuka threaded with genuine silver couched chord and enclosed in the original signed wooden box. It is 11 cm (4-1/4 inches) tall and is in excellent condition.
Tsuboi Asuka was born in Osaka in 1932, but the family moved to Tokyo when she was 12. She graduated the prestigious and progressive Jiyu Gakkuen (A progressive girls School established in 1921) then moved to Kyoto in 1953, Kyoto, the city she has called home for half a century, where she would spend a year at the Sentsuji Yusai Kobo before enlisting under Living National Treasure Tomimoto Kenkichi. Her first works were exhibited that year at the Shinshokogeikai (where she would be awarded in 1955). She worked to establish the Joryu Togei Ten Ceramic Exhibition for female artists in 1957, to allow women a venue to exhibit works in what was then a very male dominated field. In 1961 she was accepted into the Asahi Togeiten Ceramic Exhibition, and in 1966 would be selected to represent contemporary Japanese ceramics in China, the following year saw he take a study trip to Korea, and in 1970 to Thailand while her work was exhibited at the Tokyo National Museum of Modern Art, which would purchase her work in ’71 . She would be awarded at the Canadian International Ceramic Exhibition in 1973, and since her work has been exhibited throughout the globe. Here work to promote the arts was recognized in 1988 with the Kyoto Prefectural Order of Arts and Culture Award, and in 1991 with the Kyoto city Order of Cultural Merit, and again in 1992 with the prefectural Order of Cultural Merit. All culminated in her receiving the Japan Ceramic Society Gold prize, perhaps the most important award allowed a potter, in 2004. Her work can be found in Museum collections including several works in both the Museums of Modern Art in Tokyo and Kyoto, Fukui and Wakayama Prefectural Museums of Art, Suntory Museum, Shiga Togei No Mori Museum, Ariana Museum, Yale University Museum and The International Ceramics Museum in Faenza. According to the book Touch Fire: Tsuboi Asuka's influence on the ceramic arts of Japan cannot be overstated. As one of the first women to aggressively challenge the male hierarchy, she forged a role for women ceramic artists that previously did not exist in Japan. Tsuboi was the charismatic leader of the influential Kyoto women's ceramic group Joryū Tōgei (Women's Association of Ceramic Art) when it was first formed in 1957. This group was pivotal not only in providing a platform for women to participate as artists in their own right, but in giving them the opportunity to present their challenging work to the public.

A breathtaking work by Miyake Yoji enclosed in the original signed wooden box titled Nuki-e Kinsai Sakura-mon Kaki. The unabashed use of gold on this piece is extraordinary. Quite large, it is 39 cm (15-1/2 inches) tall, 27 cm (11 inches) diameter and in excellent condition. This is a step beyond even for an artist known for his bold patterns and designs; this would make a powerful centerpiece for a collection of contemporary Japanese pottery.
Miyake Yoji was born in Shimane in 1950, He studied from 1974 under Ito Kosho, establishing himself as an independent artist three years later in Mashiko. In 1979 his work was accepted into the Dento Kogei Shinsaku Ten (New Exhibition of Traditional Crafts) and displayed there annually thereafter. In 1980 he was accepted into the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), and many times thereafter. Again the following year he was accepted into yet another major exhibition with the Nihon Togei Ten (All Japan Ceramic Exhibition), once again followed up with repeated acceptance there. Yet in the 90s he turned away from the competitive world and began to concentrate more on private exhibitions, of which he has been hosted many times in some of Japans most prestigious galleries. He was also the subject of an NHK Television Documentary in 1998 and appeared in another in 2000.

An image of a warriors helmet as if just excavated from a millennium underground by Koinuma Michio enclosed in the original signed wooden box. It is 17.5 cm (7 inches) diameter, roughly the same height. The image s based on Haniwa funerary objects. The Haniwa are terracotta clay figures of people, animals, and houses which were deposited at Japanese tombs during the Kofun period (3rd to 6th century) in Japan. Haniwa were created according to the wazumi technique, in which mounds of coiled clay were built up to shape the figure, layer by layer. Michio follows that style, then through a process of multiple firing and various techniques degrades the surface to create the feeling of antiquity. A strikingly similar image is published, figure 18, in the anthology Toh, volume 10. According to the encyclopedia of Ancient History many Haniwa are particularly detailed in their execution and thus provide a valuable insight into the culture of the period. Standing over one metre in height, the mysterious figures are a striking example of early Japanese sculpture.
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.

An organic form like some wavering anemone built from tiny curls of rolled ceramic bound together with slip by female artist Furui Akiko enclosed in the original signed wooden box titled Sou Katachi (Following the shape) dating from 2017. It is built of hundreds of rolled sheafs of shaved clay covered in a white slip and fused together. The amount of work which goes into each sculpture is obvious, making her work great value. It is 12-1/2 inches (32 cm) long and in new condition.
Furui Akiko is yet one of our youngest rising stars, she was born in Aichi prefecture in 1987. She graduated the Aichi University of Education in 2010, and had her first pieces exhibited both in and out of Japan that same year. She has since been featured in a number of events both domestic and abroad. A rising star in the Sculptural Ceramics World, get her work while you can!.

A Capricious sculpture like a colorful head towel removed yet retaining its shape by pioneering 20th century female artist Matsuda Yuriko signed on the base and enclosed in the original signed wooden box titled Kinrande Utsuwa. It is 9 x 7 x 5 1/2 Inches (22 x 17 x 14 cm) and in excellent condition.
Matsuda Yuriko was born in Ashiya, Hyōgō Prefecture in 1943nd lives and works in Oshino, Yamanashi Prefecture. Yuriko is an avid exhibitor; it is a wonder she has time to do any work at all. Both within Japan (Nihon Togei Ten, Gendai Togei Ten etc.) and without she has an impressive list of exhibitions in a host of countries. She received the Yagi Kazuo prize in 1986 among many others. According to the book “Touch Fire”, Many of the women artists included in this exhibition are independent innovators who work outside the constraints of Japanese ceramic traditions. However, several of the artists, including Matsuda Yuriko, continue to use traditional techniques with skills that rival, if not exceed, those of their predecessors, and in doing so they create new and challenging contemporary ceramic Sytg art. They reinterpret the traditional decorative technique for porcelain vessels, called iro-e over-glaze enameling, and transposes its motifs onto nonfunctional objects. Her beautifully enameled iro-e porcelain sculptures are witty odes to two favorite subjects: the female body and Mount Fuji. For more information on this artist and examples of her work see the books Contemporary Japanese Ceramics, Fired with Passion by Beatrice Chang and Samuel Lurie. Also see Contemporary Clay, Japanese Ceramics for the New Century based on the Museum of Fine Arts Boston exhibition or Soaring Voices, Contemporary Japanese Women Ceramic Artists (2010).

Ash forms enigmatic shapes on this exquisite cocoon shaped wall vase by Yamada Jozan IV enclosed in the original signed wooden box. It is 8 cm (3 inches) diameter, 6 inches(16 cm) tall and in excellent condition.
Yamada Jozan IV was born into the house of third generation Living National Treasure Yamada Minoru in 1954. He graduated the Tokoname High Ceramics Course in 1973, before entering Osaka University of art. Disappointed with the university scene he left to work under his father, creating a climbing kiln, whereupon he began working with various forms, not only the famous teapots forwhich his family was known, but also ash glazed ware such as this piece. He succeeded the family name of Jozan in 2006 upon the death of his father.

A charred sake flask turned on a wheel then paddled flat by Isezaki Jun enclosed in the original signed wooden box titled Bizen Tokkuri. It is 12 cm (5 inches) tall and in excellent condition.
Isezaki Jun was born the second son to the prominent Bizen family of Isezaki Yozan. With his older brother Mitsuru he studied the plastic arts under the fierce tutelage of his father. He has displayed consistently at the Nihon Dento Kogei Ten (National Japanese Crafts Exhibition) since 1961 and was recipient of the coveted Kaneshige Toyo prize. It was Jun who took up the work of Kaneshige Toyo upon his death, continuing to revitalize and innovate, combining functional forms and modern sculptural shapes. He was the teacher of a host of important artists including Kakurezaki Ryuichi, Wakimoto Hiroyuki and American artists Donna Gilliss among dozens of others. He was named a Living National Treasure (Juyo Mukei Bunkazai or Intangible cultural property) in 2004.

A Pottery box by pioneering female artist Tsuboi Asuka made as a flowing roll of golden brocade inspired by traditional textiles enclosed in the original signed wooden box. It is 19 x 15 x 17 cm (7-1/2 x 6 x 6-1/2 inches) and is in excellent condition.
Tsuboi Asuka was born in Osaka in 1932, but the family moved to Tokyo when she was 12. She graduated the prestigious and progressive Jiyu Gakkuen (A progressive girls School established in 1921) then moved to Kyoto in 1953, Kyoto, the city she has called home for half a century, where she would spend a year at the Sentsuji Yusai Kobo before enlisting under Living National Treasure Tomimoto Kenkichi. Her first works were exhibited that year at the Shinshokogeikai (where she would be awarded in 1955). She worked to establish the Joryu Togei Ten Ceramic Exhibition for female artists in 1957, to allow women a venue to exhibit works in what was then a very male dominated field. In 1961 she was accepted into the Asahi Togeiten Ceramic Exhibition, and in 1966 would be selected to represent contemporary Japanese ceramics in China, the following year saw he take a study trip to Korea, and in 1970 to Thailand while her work was exhibited at the Tokyo National Museum of Modern Art, which would purchase her work in ’71 . She would be awarded at the Canadian International Ceramic Exhibition in 1973, and since her work has been exhibited throughout the globe. Here work to promote the arts was recognized in 1988 with the Kyoto Prefectural Order of Arts and Culture Award, and in 1991 with the Kyoto city Order of Cultural Merit, and again in 1992 with the prefectural Order of Cultural Merit. All culminated in her receiving the Japan Ceramic Society Gold prize, perhaps the most important award allowed a potter, in 2004. Her work can be found in Museum collections including several works in both the Museums of Modern Art in Tokyo and Kyoto, Fukui and Wakayama Prefectural Museums of Art, Suntory Museum, Shiga Togei No Mori Museum, Ariana Museum, Yale University Museum and The International Ceramics Museum in Faenza. According to the book Touch Fire: Tsuboi Asuka's influence on the ceramic arts of Japan cannot be overstated. As one of the first women to aggressively challenge the male hierarchy, she forged a role for women ceramic artists that previously did not exist in Japan. Tsuboi was the charismatic leader of the influential Kyoto women's ceramic group Joryū Tōgei (Women's Association of Ceramic Art) when it was first formed in 1957. This group was pivotal not only in providing a platform for women to participate as artists in their own right, but in giving them the opportunity to present their challenging work to the public.

Two lug handles leap from the sides of this traditional form by Karatsu Legend Nakagawa Jinenbo enclosed in the original signed wooden box titled Chossen Karatsu Mimitsuki Hanaire. Mottled glaze covers the rough clay darkened by flame with flashes of white and blue and crispy chunks of ash and debris clinging to the sides. It is a work which embodies the best of this highly sought artist. The vessel is 9 inches (23 cm) tall and in excellent condition.
Nakagawa Jinenbo (1953-2011) was always fascinated with Karatsu ware, and studied under the great Inoue Toya from the age of 24. Several years later he returned to his hometown to establish a climbing kiln of his own, which he put to great use. From there, not satisfied with his own skills, he went to Tanaka Sajiro for an additional apprenticeship. Afterwards, as many Chajin artists, he concentrated on private exhibitions as an outlet for his work, shunning the world of mass competition and retail. His life and career were cut short far too early, making his work both highly valued and hard to find.

It is a privilege to introduce this incredible sculpture by the young female ceramicist Furui Akiko enclosed in the original signed wooden box titled Tsubomi (bud) dating from 2017. It is made up of hundreds of rolled sheafs of shaved clay covered in a white slip and fused together. The amount of work which goes into each sculpture is obvious, making her work great value.
Furui Akiko was born in Aichi prefecture in 1987. She graduated the Aichi University of Education in 2010, and had her first pieces exhibited both in and out of Japan that same year. She has since been featured in a number of events both domestic and abroad. A rising star in the Sculptural Ceramics World, she is, along with Shingu Sayaka and Tanaka Tomomi, an artist with a strong following and a distinct style all her own.

Like a fossilized ammonite excavated from some dry desert pit, dry green glass leaves off to arid cracked earth on this swirling vessel by Atarashi Kanji enclosed in the original signed wooden box. It is a powerful work with sensational textures. 26 cm (10 inches) diameter, rising from 7 to 11 cm (3 to 4-1/2 inches) high at the shoulder. Due to the convoluted shape and extreme temperatures there are stress fractures born from the firing process.
Atarashi 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 Fair, 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 selection of three sake cups by Tanoue Shinya encapsulating the various characters fo this artists work. Each comes enclosed in the original signed wooden box. 700 dollars for all three or:
a) White W2.5(7cm) H2(5cm) 250.00
b) Blue W3.5(9cm) H2(5cm) 300.00
c) White W3(8cm) H1.5(4cm) 250.00
Tanoue Shinya was born in Kyoto, the cultural heartland of Japan in 1976. He garnered a BA from Doshisha University in Theology, and after two years in a textile company, an Associate in Fine Arts from Saga Art College in 2003. He has a list of private and group exhibitions very impressive for his age, including the Mino Ceramic Park International Ceramic exhibition (awarded 2005), Asahi Modern Craft Exhibition, Design in Ceramic Vessel Exhibition in Aichi, Nihon Togeiten National Ceramic Exhibition, (Awarded 2007) and Asahi Ceramic Exhibition, (Awarded 2007). Gendai Togeiten National Modern Ceramics Exhibition. His work has been exhibited in the United States, France, Germany, Hong Kong Italy and many others. His work is held in the collections of The Museum of Kyoto, The Museum of Ceramic Art in Hyogo, INAX Tile Museum, Minneapolis Institute of Arts, Tweed Museum of Art and the Los Angeles County Museum of Art among others.

A Tenmoku Hanging vase by the living master of that genre, Kimura Morikazu, enclosed in the original signed wooden box titled Tetsuyu Kohen Kake-hana-ike. The lozenge form features two lug handles in the shape of a traditional Waniguchi Japanese Shrine Gong. It is 7-1/2 x 6-1/2 x 2 inches (19 x 16.5 x 5.5 cm) nd in excellent condition, retaining the original shiori and wrapping cloth.
Kimura Morikazu was born to the house of a Kyo-yaki potter and studied under Ishiguro Munemaru, He established his first kiln in the Gojo Zaka area of Kyoto in 1947, moving to Fukui in 1976. He is held in the collection of both the Kyoto National Museum of Modern Art and the Imperial Household Agency. He has been displayed at innumerable private exhibitions in addition to major exhibitions such as the Nitten, Nihon Dento Kogeiten(National Traditional Crafts Exhibition) and Nihon Togei Ten (National Ceramics Exhibition) among others. Winner of the Japan Ceramics Society (JCS) award, purchased by the Ministry of Foreign affairs. Morikazu has been incredibly influential on the subsequent generation of potters.

A signature work in gold Shino by Suzuki Tomio enclosed in the original signed wooden box titled Yohen Kin Shino Hachi (Shimmering Altered Gold Shino Bowl). It is 10-1/2 inches (27 cm) diameter, 5 inches (13 cm) tall and in excellent condition.
Suzuki Tomio was born in 1948 in Yawata, Kyoto, and has spent his life in the perfection of Shino glazing. He did not move for independence until establishing his own kiln at the age of 40. One of his most notable advances in Shino glazing is the development of Yohen-kin or transformed gold Shino. First introduced in 2003, this type of shino is an opulent, golden glaze and has come to serve as the predecessor for a number of lustrous glazes in the artist's growing body of shino work. In 2011, his work was acquired by the Philadelphia Museum of Art for display in their East Asian Art collection and in 2012 by the University of Durham's Oriental Museum in the United Kingdom. He holds regular exhibitions across Japan at major department store galleries, including Takashimaya, Hanshin, and Mitsukoshi.

An open basin in the shape of a tea bowl by female artist Okuda Tomoko enclosed in the original signed wooden box titled Raku Kohen Hanaire (Kiln altered Raku Vase). It has the feeling mas as if it has grown this way, out of some geologic process, than sculpted out of clay. Large and tactile it is 8 inches (20 cm) diameter, 5 inches (13 cm) tall and in excellent condition.
Okuda Tomoko studied under the great female avant-garde legend Tsuboi Asuka, and lived and worked in Tokoname for 20 years, before returning to her home of Nara in 2014. With a great number of private exhibitions, her works have been exhibited at the Asahi Togeiten Ceramic Exhibition, as well as in America, France and England. She has been awarded the Joryu Togeiten (Female Artist Ceramic Exhibition). Her philosophy is “pottery should be free and supple like a cat, imbued with warmth and grace, leave your heart to the soil and have fun”.

A shell shaped swirling form by young female artist Takatsu Mio enclosed in the original signed wooden box. It is 6-1/2 inches (16.5cm)wide, roughly 7 inches (18cm) tall and in excellent condition.
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 covered box in red tinged shino glaze by Hori Ichiro enclosed in the original signed wooden box titled Nezumishino Tobako. The pin-holed thick white glaze appears to be licked by the shadows of the flames, and on one side the artists finger prints are clearly visible as four molten points. The way the reds move like vapor across the surface it is as if it is still on fire. It is 10 inches (28cm) long and in excellent condition.
Hori Ichiro (b. 1952) graduated the Tajimi School of Industrial Design and apprenticed under Kato Kozo. He has been awarded the Governors prize at the Asahi Ceramics Exhibtion, and has been displayed at the Chunichi Kokusai Togei Ten as well as Nihon Dento Kogei Ten. He says, “I believe in making pottery which is born of nature…”

Wow! Is what comes to mind the first time you see this daring silver glazed organic Kake Hana-ire by Okumura Hiromi. The clay folds about onto itself, forming a seed-like pod, with an opening in the top and wings extending out both sides. A wire loop is affixed to the back for wall hanging. A signed and stamped wooden plackard by the artist accompanies the piece. It is 11 x 14 x 5 inches (28 x 36 x 13 cm) and is in fine condition.
Okumura was born in Kyoto in 1953, and was thus from an early age inducted into the avant-garde world of pottery being created at that time by the founders of Sodeisha and their influence. He graduated the Kyoto Municipal University of Art Ceramic division in 1978. Throughout the 80s a slew of public and private exhibitions led him to an appointment as professor of Ceramics at Kyoto Seika University. He received Grand Prize at the Kyoten in 1990, and has since received other awards there. His work was selected for the traveling exhibition showcasing young Japanese talent “Japanese Pottery: The Rising Generation from Traditional Japanese Kilns”. He has been exhibited frequently in America as well.

An amorphic vessel covered in organic green by Sodeisha member Kumakura Junkichi enclosed in the original signed wooden box dated the 20th day of April 1970. It is 10 inches (25 cm) tall and in excellent condition. A major retrospective of his life work was held this summer at the Shigaraki Togeinomori Museum. Kumakura Junkichi (1920-1985) began working in ceramics in the 1940s, his works submitted to innumerable National and International Exhibitions including the Japan Art Festival, New York and the international Arts and Crafts Exhibition in Florence Italy. He also submitted to the Brussels World Exposition and helped design murals for the World Exposition Osaka. At the International Ceramics Exhibition, Prague in 1962 he took a silver prize. He was also often exhibited and is in the permanent collection of the Japanese National Museum of Modern Art as well as the National Museum of Modern Art, Kyoto. Along with Suzuki Osamu, Hikaru Yamada and Yagi Kazuo, Junkichi was one of the founding members of the influential Sodeisha (Crawling Through Mud Association), a group of revolutionary post war ceramic artists whose influence remains strong today.

A rare work by Sodeisha founding member Yamada Hikaru of a torn vessel engraved with enigmatic characters. It is 18 cm (7 inches) diameter, 26 cm (10 inches) tall and in excellent condition.
Yamada Hikaru (1924-2001), was born into the family of layman potter and priest Yamada Tetsu, and raised in Gifu after the family home was destroyed in the Great Kanto Earthquake. At the age of 20 he entered the Kyoto ceramics research facility, 15 years junior to those who had inspired the great Mingei movement at that same institution. Somehow escaping overseas service in the war, he met Yagi Kazuo in 1945, and the two formed an instant bond, founding a group for young potters the following year. Compounded by the austerity and poverty they faced as young artists in the immediate postwar, the group grew and along with Kumakura Junkichi, Suzuki Osamu and Yagi Kazuo formed the most influential post war ceramics organization, Sodeisha, as it was, in 1948. They eschewed public competition and espoused the ideas of art for arts sake, negating the ideas of the mingei movement, which stressed function over form. Together, members of the group worked tirelessly to promote modern Japanese pottery for the next several decades both within and outside of Japan. Held in innumerable public and private collections including the National Museum of Modern Art, both Tokyo and Kyoto, Museum of New South Wales and the Victoria Albert.

A trio of sculptural forms by Takano Moto-o dating from the formative years of modern Japanese crafts at the height of Sodeisha influence in the 1960s. These are being offered as a group for one price. One is distorted, like an apparition, or the world seen through an old pane of glass. The second is like a flute licking back; both in pure white. The third is a square basin with handles decorated with a geometric pattern. The piece on the left in the group photograph is 10 inches (26 cm) tall and comes enclosed in the original signed wooden box All three are in excellent condition.
Takano Moto-o was born into a Kyoto pottery family in 1934, and although trained as a potter of tea ceramics, moved into the world of sculpture, entering Sodeisha in 1966, and would exhibit with the avant garde association until 1983 as well as the National Ceramic Exhibition (Nihon Togeiten). He was selected for the “Contemporary Ceramic Art” exhibition which toured Canada, U.S.A., Mexico and Japan in 1972. Since his work has been exhibited in North and South America, Australia, New Zealand, and various countries in Europe. He focuses on sculptural pursuits, filling the time between with tableware.

An exquisite lidded ginger jar wrapped with a writhing dragon by Ibata Katsue. The artist mark is placed in a raised cartouche, like an old wax seal, on the side, and the dragons seem to reach for it like it was the pearl of Buddhist wisdom. It is roughly 8 inches (19.5 cm) tall and in excellent condition. This piece is from a private collection of modern art and was purchased from the artist. There is no box.
Ibata Katsue was born in Hamamatsu, Shizuoka, in 1958. She graduated the Nara College of Fine Arts in 1977, and apart from a brief period of teaching in Canada, she has always lived and worked Japan. She began working in Tokoname in 1985, then moved to Shizuoka in 1990. In 1991 she held a solo exhibition at the important Kuroda Toen Gallery in Shibuya, Tokyo (again in 2017) and was one of the demonstrators at the International Ceramics Festival in Aberystwyth. She ‘performed’ her pottery demonstration dressed in a cat suit and dancing to reggae music as if to negate any association with traditional Japanese pottery which has been so influential among British potters.

A spectacular faceted work by Ueda Mitsuharu enclosed in the original signed wooden box titled Shigaraki Mentori Kabin. It is 9 x 11 x 11 inches (28 x 24 x 28 cm) and is in excellent condition.
Born in Fukuoka in 1957, and studied initially pottery in Tamba under Ogami Tsuyoshi before entering the Kyoto Prefectural Ceramic Research Facility, which he finished in 1983 followed by a year studying glazes in the Shiga Prefectural Kiln. That same year he entered the Koga Tea Culture Research place (Koga Sado Bunka Kenkyusho) and came under the influence of Koga Kenzo. In 1987 he came to study under Ueda Naokata, and has since taken over that kiln, becoming the 6th Naokata.

A Yuteki Tenmoku chawan in sumtous colors, dark blues within, midnight drizzling to sunrise pinks and sunset oranges on the side by Kimura Moriyasu enclosed in the original signed wooden box. It is 4-1/2 inches (11.5 cm) diameter and in excellent condition.
Kimura Moriyasu (b. 1935) studied pottery initially at the Kyoto Ceramics Research Facility (which turned out such masters as Hamada Shoji and Kawai Kanjiro) and then under his brother Kimura Morikazu. He is well known for his use of crawling and oil spot glazes. He exhibits with the Gendai Nihon Togeiten and Nihon Dento Kogeiten among others. He has been awarded the Kyoto Prefectural Order of Cultural Merit (2004). Work by him is held in the Britush Museum, Boston Museum, Dallas Museum and Ise Shrine among others.

A squat form quintessentially Kishi Eiko enclosed in the original signed wooden box dated 1997. Purchased from the artist, it is 21 x 14 x 19.5 cm (8-1/4 x 5-1/2 x 7-3/4 inches) and is in excellent condition.
Kishi Eiko was born in Nara in 1948, and largely trained in the Ceramic Institute of Tekisui Museum. She was first exhibited in 1981 at the Women’s Association of Ceramic Art and was awarded that year. She took the grand prize at the 1985 Asahi Ceramic Art Exhibition, and from then her list of exhibitions both within Japan and out is extensive, with works in any number of important public and private collections including the V&A and Museum of Fine Arts Boston. For more on this artist see Soaring Voices (2007) or Touch Fire (2009) or New Forms, New Voices (2017)

Enigmatic designs in free flowing black and rigid lines impinge on the yellow square of this raised plate by Kim Hono. It is 24 x 25 x 4 cm (9-1/2 x 10-1/2 x 1-1/2 inches), signed underneath. This piece is from a private collection of modern art and was purchased from the artist. There is no box but one could be had for an additional fee.
Kim Hono was born in Seto City Aichi Prefecture in 1958, and graduated the Prefectural Ceramics School in 1977, then taking up apprenticeship at a local kiln before establishing himself as an independent artist in 1982. He held his first solo exhibition in Nagoya in 1985. He has been exhibited at the Nihon Togeiten National Ceramics Exhibition Dento Kogeiten National Traditiaonal Crafts Exhibition, Asahi Togeiten Exhibition, Chunichi Kokusai Togeiten, and his works being shown in some of Japans top galleries including Kuroda Toen in Tokyo’s Ginza ward. Not to be defined, even by himself, famously when asked by Hohnoho Magazine to define his work he cryptically replied only Kaze wo Kanjiru Koto (Feeling the wind).

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

A spectacular large basin covered in fissured green with tinges of red by Living National Treasure Shimizu Uichi enclosed in the original signed wooden box titled Seiji O-zara. It is 16-1/4 inches (42 cm) diameter, 4 inches (10 cm) tall and in excellent condition.
Due to size the cost of shipping will be accrued separately
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 teacher’s 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 and the Freer Gallery among others. In 1985 he was named a Juyo Mukei Bunkazai (col. Living National Treasure) for his work in Tetsu-yu iron glaze. But this did not stop him continuing to research into uncommon ground, and he strove, like an artist as opposed to a craftsman, to constantly innovate and evolve to the day he died.

Bursting with life, this vessel by avant-garde Shinkai Kanzan was exhibited at the Nitten National Art Exhibition in 1982. Titled Kitsune to Minori no Monogatari, Kabin (Vase, The Tale of Fox and Fruition), the sly creature slinks through fruit laden vines in a path of dark through the light gray glaze covering the simple open form. It comes enclosed in the original signed wooden. It is quite large, measuring 30 cm (12 inches) diameter, roughly the same height and is in excellent 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, where after 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 received 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 Nihon 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.

Every shade between mustard and aubergine fades into the deepest blue on the sides of this ovoid form decorated with enigmatic relief-work by Shinkai Kanzan enclosed in the original signed wooden box titled Nishiki-ka Kabin. It is 14-1/2 inches (37 cm) tall and in excellent 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 father’s 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, where after 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 received 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 Nihon 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 deformed-vase by Kiyomizu Rokubei VIII (Masahiro) formed as a closed cylindar then cut to allow the clay to mis-shape during the firing process. It is covered in dark glaze with highlights of yellow. It is 10-1/4 inches (20 cm) diameter, 11-1/2 inches (24 cm) tall and in excellent condition. Although the first heads of the Kiyomizu family concentrated on traditional, popular objects and designs, Rokubei VII and VIII "took a radical turn" to produce abstract, geometric three-dimensional pieces which are either purely decorative, or combine function with distinctive, unexpected form. His works have been described as "futuristic-looking" and as having "a very Cubist sensibility.
This comes from the Kiyomizu Family estate, there is no box.
Kiyomizu Masahiro was born in Kyoto in 1954son of the sculptor and future 7th head of the Kiyomizu family Kyūbei (at that time known as Hiroshi). Masahiro graduated with a degree in Architecture from the prestigious Waseda University in 1979. Returning to Kyoto he would spend a year at the Kyoto Prefectural Ceramic Training Institute and another year at the Municipal Decorative Arts Institute in Kyoto before beginning at the family kiln where he would be handed the reins upon his father’s retirement in 2000. A technique he favors is joining together flat slabs of clay in extended forms, highlighting instead of hiding the process of their construction. He then makes cuts to weaken the structure, which results in distortions during firing. He has received numerous awards, including the Grand Prize at the Asahi Ceramics Exhibition in 1983 and 1986, Governors award at the Chunichi International Exhibition of Ceramic Arts (Chunichi Kokusai Togei ten), Kyoto Prefectural Culture Award in 1993 and 2009 and the JCS award in 2005. His work is held in the collections of the British Museum, National Art Museum of China, National Museum of Modern Art Tokyo, National Museum of Art in Osaka and Kyoto Municipal Museum of Art among others.

Overlapping forms create an urban sprawl on the surface of this cubist-gourd by Kiyomizu Rokubei VIII (Masahiro). It is 5-1/4 inches (13.5 cm) square, 8-1/2 inches (22 cm) tall and in excellent condition. Although the first heads of the Kiyomizu family concentrated on traditional, popular objects and designs, Rokubei VII and VIII "took a radical turn" to produce abstract, geometric three-dimensional pieces which are either purely decorative, or combine function with distinctive, unexpected form. His works have been described as "futuristic-looking" and as having "a very Cubist sensibility.
This comes from the Kiyomizu Family estate, there is no box.
Kiyomizu Masahiro was born in Kyoto in 1954 son of the sculptor and future 7th head of the Kiyomizu family Kyūbei (at that time known as Hiroshi). Masahiro graduated with a degree in Architecture from the prestigious Waseda University in 1979. Returning to Kyoto he would spend a year at the Kyoto Prefectural Ceramic Training Institute and another year at the Municipal Decorative Arts Institute in Kyoto before beginning at the family kiln where he would be handed the reins upon his father’s retirement in 2000. A technique he favors is joining together flat slabs of clay in extended forms, highlighting instead of hiding the process of their construction. He then makes cuts to weaken the structure, which results in distortions during firing. He has received numerous awards, including the Grand Prize at the Asahi Ceramics Exhibition in 1983 and 1986, Governors award at the Chunichi International Exhibition of Ceramic Arts (Chunichi Kokusai Togei ten), Kyoto Prefectural Culture Award in 1993 and 2009 and the JCS award in 2005. His work is held in the collections of the British Museum, National Art Museum of China, National Museum of Modern Art Tokyo, National Museum of Art in Osaka and Kyoto Municipal Museum of Art among others.

An urban landscape split by a drooping plane by Kiyomizu Masahiro (Rokubei VIII). It is 19-1/2 x 11-1/2 x 11 inches (49.5 x 29 x 28 cm). Firing flaws in the corners of the towers accent the work, the degradation of from a characteristic of the artists work, often purposefully introduced to create tension. Although the first heads of the Kiyomizu family concentrated on traditional, popular objects and designs, Rokubei VII and VIII "took a radical turn" to produce abstract, geometric three-dimensional pieces which are either purely decorative, or combine function with distinctive, unexpected form. His works have been described as "futuristic-looking" and as having "a very Cubist sensibility.
This comes from the Kiyomizu Family estate, there is no box.
Kiyomizu Masahiro was born in Kyoto in 1954son of the sculptor and future 7th head of the Kiyomizu family Kyūbei (at that time known as Hiroshi). Masahiro graduated with a degree in Architecture from the prestigious Waseda University in 1979. Returning to Kyoto he would spend a year at the Kyoto Prefectural Ceramic Training Institute and another year at the Municipal Decorative Arts Institute in Kyoto before beginning at the family kiln where he would be handed the reins upon his father’s retirement in 2000. A technique he favors is joining together flat slabs of clay in extended forms, highlighting instead of hiding the process of their construction. He then makes cuts to weaken the structure, which results in distortions during firing. He has received numerous awards, including the Grand Prize at the Asahi Ceramics Exhibition in 1983 and 1986, Governors award at the Chunichi International Exhibition of Ceramic Arts (Chunichi Kokusai Togei ten), Kyoto Prefectural Culture Award in 1993 and 2009 and the JCS award in 2005. His work is held in the collections of the British Museum, National Art Museum of China, National Museum of Modern Art Tokyo, National Museum of Art in Osaka and Kyoto Municipal Museum of Art among others.

A rare late 1950s to '60s sculptural work by Kitade Fujio, an artist credited with bringing Kutani into the modern age, enclosed in the original signed wooden box titled Hekimen Ni Seshite Okizaru Kaki (Vase left abandoned by the wall). The clay is quite pure, covered in blasts of black and beige. It is 9-1/4 x 5-1/2 x 11 inches (24 x 14 x 28 cm) and in excellent condition. Kitade Fujio was born in 1919 the first son of potter Kitade Tojiro. He graduated the Ceramics research facility in 1937, but coming of age during the war years was, of course, disruptive, and he did not complete his courses at the Kanazawa University of Art until 1950, the same year he was first accepted into the Nitten National Exhibition. In 1955 he received top prize at the Ishikawa prefectural Art Exhibition, and about this time would change his name from Fujio (two characters) to Fujio (three characters, as is the signature on this box). He would subsequently be accepted into and awarded at the National Modern Crafts Exhibition and Asahi Ceramics Exhibition; He would garner the Hokutosho prize at the Nitten in 1965 and would later serve as a judge there as well as at the Chunichi International Ceramics Exhibition, The Gendai Kogeiten Craft Exhibition and at the Asahi Ceramics exhibition. He was awarded consecutively at the 1st through 3rd Traditional Kutani Craft Exhibitions. In 1979 he would be granted a professorship at the Kanazawa University of Art. From that time he would divide his time between teaching and working with clay, garnering many more awards. In 1983 he would be commissioned by the Emperor to make a Tsubo, and the following year would be honored with the Kaga Cultural Award. 1990 he would become principal of the Art University. In 2010 he would receive special accolades from the Japan Ceramic Society for his life’s work. Work by him is held in the 21st Century Museum of Contemporary Art, Kanazawa and the Kutani Art Museum among others.

Geese take flight from autumn grasses on the dark clay surface of this flaring vase by Kiyomizu Rokubei VI dating circa 1960. It is 12-1/4 (31.5 cm) tall and in excellent condition. It is very similar in shape, style and theme to the piece held by the Nihon Geijutsu-in published on page 143 of the book Kiyomizu Rokubei Rekidaiten (2004). This came from the Rokubei family estate. There is no box.
The Kiyomizu family potters managed one of the most productive workshops in Kyoto’s Gojozaka district throughout the second half of the Edo period. From the Meiji they began producing tableware for export and special pieces for government-sponsored exhibitions under Rokubei IV. Rokubei V led the kiln into the 20th century, and his son, Rokubei VI (1901-1980), would assume lead in 1945, taking the kiln through the tumultuous years after the Second World War. He graduated the Kyoto Municipal School of Arts and Crafts, then the Kyoto Special School of Painting, before apprenticing under his father in 1925. He exhibited frequently and was often prized at the National Bunten, Teiten and Nitten Exhibits, where he later served as judge. He was also lauded abroad, in the USSR, France, Italy, Belgium and was appointed a member of the Japan Art Academy. In 1976 he was awarded the Order of Cultural Merit for his lifelong devotion to promoting Japanese pottery traditions. His works are held in numerous museums throughout the globe.

A rare set of Sake Service Vessels (Tokkuri) by important artist Yagi Kazuo stamped near the base the white slip and engraved with butterflies and a poem. Emblazoned is the verse
URAURANI
TERERU HARUBINI HIBARI AGARI
KOKORO KANASHIMO
HITORISHI OMOEBA
The lark takes flight on a spring day
Inadvertently I am taken with sadness
Left thinking alone…

A quintessential Mashiko work by important artist Hamada Shoji enclosed in a wooden box annotated by his son Shinsaku. It is 11-1/2 inches (29 cm) square. 7 cm (2-1/2 inches) tall and in excellent condition.
Hamada Shoji was born in Tokyo, and enrolled in the Tokyo Technical University at the age of 19. In 1918 he met the important British potter Bernard Leach, and the history of ceramic arts was forever changed. One of the most influential and sought after of all Japanese Ceramic artists. There is no shortage of reading material for those who would like to learn more about this potter.

A Yuteki Tenmoku Koro with wooden lid surmounted by a stone finial by Kimura Moriyasu enclosed in the original signed wooden box. It is 5 inches (12.5 cm) diameter and in excellent condition.
Kimura Moriyasu (b. 1935) studied pottery initially at the Kyoto Ceramics Research Facility (which turned out such masters as Hamada Shoji and Kawai Kanjiro) and then under his brother Kimura Morikazu. He is well known for his use of crawling and oil spot glazes. He exhibits with the Gendai Nihon Togeiten and Nihon Dento Kogeiten among others. He has been awarded the Kyoto Prefectural Order of Cultural Merit (2004). Work by him is held in the Britush Museum, Boston Museum, Dallas Museum and Ise Shrine among others.

An incredible organic form, the delicate petals appearing to waft in some tide by Shingu Sayaka enclosed in the original signed wooden box. A closed bud on the side is lined with hundreds of tiny sharp needles in black. It is 6 x 5 x 4 inches (15 x 13 x 10 cm) and in excellent condition.
Shingu Sayaka was born in Osaka, the industrial and commercial heartland of central Japan, in 1979. She graduated the Osaka University of Arts in 2001, before being selected as an artist in residence at the The Shigaraki Ceramic Cultural Park. She exhibits her amazing sculptures at the Asahi Togeiten where she has garnered a number of awards, and has a list of exhibitions to back up her popularity.

Silhouettes shadow the lower half of this rough hewn vessel by the important artist Hayashi Shotaro enclosed in the original signed wooden box titled Manyo Shino Renzan Tsubo. The sides have been torn away, leaving jagged edges, the top thick crackled white dusted with some coloring from the flames, the bottom a series of misty mountains much like the landscape in early morning surrounding the city of Toki, where the artist has been firing pottery for over 40 years. It is 12 inches (30 cm) tall, (36.5 x 29.5) round the center and in excellent condition. Included will be a catalog signed by the artist as well as a painting of a tea bowl by the artist.
Due to size the cost of shipping will be accrued separately.
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 spectacular work by Tsujimura Shiro enclosed in the original signed wooden box featuring a dark burn down one side, as if water has been pouring from the rim for centuries over the same place. The rough clay studded with inclusions and Shiseki is everything we have come to expect from this potter. The vase is 9 inches (23 cm) tall, 5 inches (12.5 cm) diameter and in excellent condition.
Tsujimura Shiro was born in Nara in 1947, and began his steps into the art world as an oil painter. While living at a Buddhist temple he experienced a profound connection with a Korean Tea Bowl, and began potting. He is highly acclaimed and somewhat reclusive, avoiding the public spectacles often needed to make one in Japan.

Two beer mugs by Morino Taimei enclosed in the original signed wooden boxes. They are 6-1/4 inches (16.7 cm) tall and 5-1/2 inches (14 cm) tall respectively, and both are in excellent condition. These are being offered for 300 dollars each, or 500 dollars for both.
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.

An elegant elongated form displaying in a rustic, manner the various affects of rough Iga clay by Tanimoto Kei enclosed in the original signed wooden box titled Iga Hanaire. A dark shadow climbs up the side where the piece had been buried in a cloud of ash during the firing. Where it was not so protected, yellow green glaze accentuates the various textures benath. It is 21.3 cm tall, 9 cm diameter and 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 Japn in 1977 to devote himself to the plastic arts.

Jagged bands of color like the climbing mountains surrounding Kyoto rise up the sides of this majestic work by Miyashita Zenji enclosed in the original signed wooden box exhibited at the 5th Kyoto Modern Ceramic Artists Exhibition in 1985. It is 14 x 17 x 37.5 cm (5-1/2 x 7 x 15 inches) and in excellent condition. It is a reasonably early work in this saidei oeuvre of the artist.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He is held in the British Museum, Metropolitan New York, and Brooklyn Museum among a host of others.

Precision cuts create bursting fireworks on the surface of this vase by Kitamura Junko enclosed in the orginal signed wooden box titled Hanaire. It is 8 inches (20 cm) tall and in excellent condition. Kitamura Junko learned under the tutelage of Suzuki Osamu and Kondo Yutaka of the influential Sodeisha. Like Mashiko artist Shimaoka Tatsuzo, her work is influenced by Jomon pottery, however her approach is very different. After impressing patterns into the clay with bamboo and firing once with a dark slip, the impressions are painstakingly filled with white slip, defining the pattern, and fired again. Works by the artist are held in many public collections, including the National Museum of Modern Art, Tokyo; the Museum of Fine Arts, Boston; Houston Museum of Art and Brooklyn Museum of Art among many others.

A large tsubo in gold and white slip by Miyashita Hideko enclosed in the original signed wooden box titled Haku-a Kaki Rin to Shite Yo. The title speaks of standing up alone, and the artist told me it was a piece she created when she came to terms with the grief of her husband passing away and had decided to make a fresh go of life. The form was influenced by ancient Chinese maternal sculptures, thus the forward, broad stance. An image of one of the sculptures can be seen on a ticket stub from the museum exhibition which will be included. This was exhibited in 2016 at the Kyoto Kogei Bijutsu Sakka Kyokai Ten (Kyoto Society of Artist and Craftsperson Exhibition) and published in the catalog for that event. It is 11 x 14 x 19 inches (28 x 35.5 x 48 cm) and is in perfect condition.
Miyashita Hideko was born in Tatsuno, Hyogo prefecture in 1944. She graduated the Kyoto Municipal University of Arts in 1967, her final project garnering the Tomimoto Prize, and that year she was accepted into the Kyoto Prefectural Art Exhibition as well as the Kyoten. In honorable Japanese fashion she put her career second to that of her husband, the famed Miyashita Zenji, but remained active in the ceramics world through crafts during her long marriage. In 1978 she was awarded at the WCC Craft Competition, and her subsequent list of awards and shows in impressive, with solo exhibitions at some of Japan’s top galleries and participation in the Asahi Modern Craft Exhibition, Asahi Togeiten Ceramics Exhibition and the National Ceramics Exhib9tion (Nihon Togeiten). After the passing of her husband in 2012 she has been reinvigorated to work, creating more large scale and sculptural works which are grabbing attention.