Modern Japanese Ceramics
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Five completely unique bowls by important contemporary artist Yamada Kazu showing five unique aspects of Mino-ware enclosed in the original signed wooden box titled Meshiwan, Shino, Hikidashi guro, Oribe, Kiseto, Kakuyu Oribe and dating circa 2000. Each is roughly 5 inches (12.5 cm) diameter and all are in excellent condition.
Kazu was born in Tokoname city, one of Japans ancient kiln areas, into a line of potters. He would have been influenced early on by his father, Yamada Kenkichi and uncle living National Treasure Yamada Jozan. He graduated the Osaka Art University before moving to Echizen to establish his first kiln. He was propelled to international fame after building an Anagama kiln in Germany in 1988. He has been displayed domestically at the Asahi Togeiten, Nipon Togeiten and Chunichi Kokusai Togeiten as well as a host of private exhibitions in prominent galleries and department stores.
Kazu was born in Tokoname city, one of Japans ancient kiln areas, into a line of potters. He would have been influenced early on by his father, Yamada Kenkichi and uncle living National Treasure Yamada Jozan. He graduated the Osaka Art University before moving to Echizen to establish his first kiln. He was propelled to international fame after building an Anagama kiln in Germany in 1988. He has been displayed domestically at the Asahi Togeiten, Nipon Togeiten and Chunichi Kokusai Togeiten as well as a host of private exhibitions in prominent galleries and department stores.
Modern Japanese Ceramics
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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.
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.
Modern Japanese Ceramics
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A boxed set of three bowls titled Sanyu-chawan (The Three Friends), each enclosed in their original signed wooden boxes wrapped in signed shifuku by Nakazato Shigetoshi (E-karatsu), Yamato Yasuo (Hagi) and Hayashi Kotaro (Shino). Each is a masterpiece by the brightest stars of their generation, Kotaro, the light of Shino, Shigetoshi, who worked tirelessly to revive ancient Karatsu traditions, and Yasuo, who almost single-handedly brought Hagi into the modern era.
The Karatsu bowl is 13cm (5 inches) diameter, 8 cm (3 inches) tall.
The Shino bowl is 13 cm (5 inches) diameter, 10 cm (4 inches) tall and comes, as mentioned above in the original signed cloth with a drawing of the bowl on the cloth by the artist as well.
TheHagi bowl is 13 cm (5 inches) diameter, 8.5 cm (3-1/2 inches) tall.
All are in perfect condition.
Nakazato Shigetoshi was born in 1930 the third son of Living National Treasure Tarouemon XII (Muan) of Karatsu fame. He was first exhibited at the Nitten National Exhibition in 1952, and received the Matsuzakaya prize at the Modern Ceramics Exhibit 4 years later, the first of a great many awards culminating in the Saga Prefectural Cultural Award in 1985 given not lightly for his lifetime endeavors. He can be found in the British Museum among others.
Hayashi Kotaro (1940-1981) was born in Gifu prefecture, and graduated the prefectural ceramic facility. He was displayed at the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), Asahi Togei Ten Ceramics Exhibition and Chunichi Kokusai Togeiten among others. He was called the hope of Mino ceramics, but that hope was shattered when he died at the young age of 41 when his genius was just coming to fruition. Great fortune for the rest of the world, he had passed on his knowledge to younger brother Hayashi Shotaro, before taking leave of this life.
It is likely no collector of Hagi will need an introduction to this innovative artist. Yamato Yasuo was born in 1933 to a long line of Hagi potters. He learned under his father Harunobu and grandfather Shoroku. One of the first to challenge many traditions associated with Hagi Yaki. He was displayed with Sodeisha, Kofukai, the Nitten, Nihon Dento Togei Ten, Nihon Togei Ten among many others. His list of prizes is most impressive and much too long to list and his influence on the world of Hagi pottery will likely be the source of a thesis someday in the not too distant future! He has been named an important cultural asset of Yamaguchi Prefecture (ken Juyo Mukei Bunkazai) and is held in the collection of the British Museum and Morikami among many others.
The Karatsu bowl is 13cm (5 inches) diameter, 8 cm (3 inches) tall.
The Shino bowl is 13 cm (5 inches) diameter, 10 cm (4 inches) tall and comes, as mentioned above in the original signed cloth with a drawing of the bowl on the cloth by the artist as well.
TheHagi bowl is 13 cm (5 inches) diameter, 8.5 cm (3-1/2 inches) tall.
All are in perfect condition.
Nakazato Shigetoshi was born in 1930 the third son of Living National Treasure Tarouemon XII (Muan) of Karatsu fame. He was first exhibited at the Nitten National Exhibition in 1952, and received the Matsuzakaya prize at the Modern Ceramics Exhibit 4 years later, the first of a great many awards culminating in the Saga Prefectural Cultural Award in 1985 given not lightly for his lifetime endeavors. He can be found in the British Museum among others.
Hayashi Kotaro (1940-1981) was born in Gifu prefecture, and graduated the prefectural ceramic facility. He was displayed at the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), Asahi Togei Ten Ceramics Exhibition and Chunichi Kokusai Togeiten among others. He was called the hope of Mino ceramics, but that hope was shattered when he died at the young age of 41 when his genius was just coming to fruition. Great fortune for the rest of the world, he had passed on his knowledge to younger brother Hayashi Shotaro, before taking leave of this life.
It is likely no collector of Hagi will need an introduction to this innovative artist. Yamato Yasuo was born in 1933 to a long line of Hagi potters. He learned under his father Harunobu and grandfather Shoroku. One of the first to challenge many traditions associated with Hagi Yaki. He was displayed with Sodeisha, Kofukai, the Nitten, Nihon Dento Togei Ten, Nihon Togei Ten among many others. His list of prizes is most impressive and much too long to list and his influence on the world of Hagi pottery will likely be the source of a thesis someday in the not too distant future! He has been named an important cultural asset of Yamaguchi Prefecture (ken Juyo Mukei Bunkazai) and is held in the collection of the British Museum and Morikami among many others.
Modern Japanese Ceramics
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A stunning white hagi glaze tinted with lavender cools on the sculpted natural from of this most expressive chawan by representative Hagi artist Kaneta Masanao enclosed in the original signed wooden box. It is roughly 5 inches (13 cm) diameter, the same height and in perfect condition. Like Ryuichi, Masano likely needs no introduction, certainly one of Hagis 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.
Modern Japanese Ceramics
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A joyful yellow light seems to shine like a jewel from within the fissures of this cool tea bowl by Kitagawa Kazuki enclosed in the original signed wooden box titled Kasane iro-me Chawan. It is 12 cm (4-3/4 inches) diameter, 8 cm (3 inches) tall and in excellent condition from the artist this autumn. This artist works by creating the body with subsequent applications of variously colored liquid clay, then scoring away the surface to create patterns by revealing the various layers.
Kitagawa Kazuki was born in Kyoto in 1991, and graduated Seika University Design department in 2014 before entering the Tajimi City Ceramics Research Facility, graduating there in 2016. He currently lives and works in Tajimi.
Kitagawa Kazuki was born in Kyoto in 1991, and graduated Seika University Design department in 2014 before entering the Tajimi City Ceramics Research Facility, graduating there in 2016. He currently lives and works in Tajimi.
Modern Japanese Ceramics
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A striking Bizen Chawan of mixed clay by young artist Yokoyama Naoki enclosed in the original signed wooden box. The mixed earth is pulled and twisted out of shape; one can sense the plasticity with your eyes. The stretched earth is burnt red where it has been licked by flame, yet remains pale from the shadows of the kiln. The bowl is just less than 5 inches (12 cm) diameter, 3-1/2 inches (8.5 cm) tall and in fine condition.
Naoki has been displayed at the Chanoyu Zokei Ten at the Tanabe Museum as well as the National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) and National Ceramics Exhibition (Nihon Togei Ten) among others.
Naoki has been displayed at the Chanoyu Zokei Ten at the Tanabe Museum as well as the National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) and National Ceramics Exhibition (Nihon Togei Ten) among others.
Modern Japanese Ceramics
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A striking large and deep basin by Yamamoto Noriyuki decorated with rich gold and iron designs enclosed in the original signed wooden box. The pattern is reminiscent of Ainu texties from the indigenous Northern Peoples of Japan. The dish is 13-1/2 x 10-1/2 x 3-1/2 inches (34 x 27 x 9 cm) and in fine condition.
Born in Tottori Northern Japan in 1948, Noriyuki came under the influence of Mingei adherent Yoshida Shoya (1898-1972) at the age of 16, and this formed the basic principles of his philosophy of ceramic art. That it is something used daily, and becomes so much a part of us we do not even think about it, yet it is so dear. After meeting Bernard leach in Tokyo in 1967, he apprenticed at the age of 18 in Tottori, establishing his own kiln in 1971. That first ten years he spent searching for himself through the ceramic medium, and according to himself it was 7 turns and 8 stumbles before his first major solo exhibition. His Kiln was once destroyed in the Typhoon of 1990, but he rebuilt and was able to hold an exhibition that same year. Overall he has eschewed the world of competitive exhibition in favor of the private confines of the one-man show.
Born in Tottori Northern Japan in 1948, Noriyuki came under the influence of Mingei adherent Yoshida Shoya (1898-1972) at the age of 16, and this formed the basic principles of his philosophy of ceramic art. That it is something used daily, and becomes so much a part of us we do not even think about it, yet it is so dear. After meeting Bernard leach in Tokyo in 1967, he apprenticed at the age of 18 in Tottori, establishing his own kiln in 1971. That first ten years he spent searching for himself through the ceramic medium, and according to himself it was 7 turns and 8 stumbles before his first major solo exhibition. His Kiln was once destroyed in the Typhoon of 1990, but he rebuilt and was able to hold an exhibition that same year. Overall he has eschewed the world of competitive exhibition in favor of the private confines of the one-man show.
Modern Japanese Ceramics
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Graffito scrawls through the silver lining of this fine Chawan by Morino Taimei enclosed in the original signed wooden box. The rackish wave on the outside saunters away from the dip of the silver inside the rim, creating a very playful complexion. The bowl is 12.5 cm diameter, 7.5 cm tall and in perfect condition. An article clipped from a catalog shows a very similar bowl priced at the time at 200,000 yen.
Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitz-gerald Collection.
Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitz-gerald Collection.
Modern Japanese Ceramics
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A very cool Ginsai covered dish by Banura Shiro enclosed in the original signed wooden box. Bright silver swirls to the center alternated by wrinkled lead colored glaze. It is 8 inches (20.5 cm) diameter and in excellent condition.
Shiro was born the fourth son of Living National Treasure for Lacquerware. His sensitivity to textures may stem from that exacting influence. Although his older brother succeeded the family tradition (another branching into paper arts), Shiro, after graduating the Kyoto University of Fine Art, apprenticed in the plastic arts under Kawamura Kitaro (1899-1966). He has an impressive list of exhibitions, including a private exhibition at the Umeda Kindai Bijutsu-Ten as well as the Niponbashi Mitsukoshi, Takashimaya, and Ikebukuro Tobu, the equivalent of being displayed on New Yorks Fifth Avenue or other cities most Trendy streets, as well as many international exhibitions. Like most Iga-area artists, his output is low, but quality and originality high, making his work very much in demand.
Shiro was born the fourth son of Living National Treasure for Lacquerware. His sensitivity to textures may stem from that exacting influence. Although his older brother succeeded the family tradition (another branching into paper arts), Shiro, after graduating the Kyoto University of Fine Art, apprenticed in the plastic arts under Kawamura Kitaro (1899-1966). He has an impressive list of exhibitions, including a private exhibition at the Umeda Kindai Bijutsu-Ten as well as the Niponbashi Mitsukoshi, Takashimaya, and Ikebukuro Tobu, the equivalent of being displayed on New Yorks Fifth Avenue or other cities most Trendy streets, as well as many international exhibitions. Like most Iga-area artists, his output is low, but quality and originality high, making his work very much in demand.
Modern Japanese Ceramics
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A dramatic basin brutalized by the elements by Shigaraki Master Tsujimura Shiro enclosed in the original signed wooden box. Representative of this artists work, the lip has split with heat, one edge blasted off, and the entire charred and buried in ash. The dish measures 7.5 cm (3 inches) deep, 29 cm (12 inches) diameter and is in excellent condition.
Tsujimura Shiro was born in Nara in 1947, and began his steps into the art world as an oil painter. While living at a Buddhist temple he experienced a profound connection with a Korean Tea Bowl, and began potting. He is highly acclaimed and somewhat reclusive, avoiding the public spectacles often needed to make one in Japan.
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.
Modern Japanese Ceramics
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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.
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.
Modern Japanese Ceramics
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Crackled green glass pools in the center of this humble tea bowl by Ezaki Issei enclosed in the original signed wooden box titled simply Chawan. The works of Issei personify the humble virtues of the tea ceremony. They are imbued with a sense of Musakui (Lack of intention), a bowl that has come to be, rather than a bowl that was created. It is 15.5 cm (6 inches) diameter, 5.5 cm (2-1/4 inches) tall and in excellent condition.
Ezaki Issei (also Esaki, 1918-1992) was born in Tokoname, but came to the road of the potter later in life, establishing himself as an artist in 1956. It was he who set the pattern for the research and revival of medieval techniques. His work was exhibited and awarded at the National Art Exhibition (Nitten), National Traditional Crafts Exhibition (Nihon Dento Kogeiten), Asahi Crafts Fair (Asahi Kogeiten) and the Modern Japanese Ceramics Exhibition (Gendai Nihon Togeiten) among others. He taught both Osako Mikio and Takeuchi Kimiaki, making him likely the most influential 20th century Tokoname artist. After ten years battling sickness and on the slate to be named a living national treasure, he succumbed to illness at the age of 74. Several works by him is held in both the National Museums of Modern Art in Tokyo and Kyoto.
Ezaki Issei (also Esaki, 1918-1992) was born in Tokoname, but came to the road of the potter later in life, establishing himself as an artist in 1956. It was he who set the pattern for the research and revival of medieval techniques. His work was exhibited and awarded at the National Art Exhibition (Nitten), National Traditional Crafts Exhibition (Nihon Dento Kogeiten), Asahi Crafts Fair (Asahi Kogeiten) and the Modern Japanese Ceramics Exhibition (Gendai Nihon Togeiten) among others. He taught both Osako Mikio and Takeuchi Kimiaki, making him likely the most influential 20th century Tokoname artist. After ten years battling sickness and on the slate to be named a living national treasure, he succumbed to illness at the age of 74. Several works by him is held in both the National Museums of Modern Art in Tokyo and Kyoto.
Modern Japanese Ceramics
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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.
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.
Modern Japanese Ceramics
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An eccentric crusty bowl, very different, by Hashimoto Tomonari enclosed in the original signed wooden box titled Raku Yaki Yohen Chawan. Unlike his normal burnished and color ridden surfaces, this bowl is ominous, matte, shot through with pin-hole-textures and rivulets streaming from the rim. It is like something from deep within the universe, an ancient traveler which has been charred and scarred on its way through the atmosphere. Not only that but it is slightly deeper than his normal bowls, 10.5 cm (4 inches) to the rim, and misshapen, 10.5 to 11.5 cm ((4-4-1/2 inches) diameter, making it fit better in the hand. On a recent visit to the artist, after viewing a number of his newest bowls, I had to ask: Which one is your favorite? Without hesitation he went straight to this one.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. He is held in the collection of the V&A London and Los Angeles County Museums.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. He is held in the collection of the V&A London and Los Angeles County Museums.
Modern Japanese Ceramics
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Irridescent red and silver tinges rise up like some deep space cloud on the meteoric surface of this wan-gata (bowl shaped) Raku chawan by Hashimoto Tomonari enclosed in the original signed wooden box titled Raku Yaki Kohen Chawan. It is 13 cm (5 inches) diameter, 15 cm (4 inches) tall and in excellent condition, directly from the artist.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. Work by him is held in the V&A in London, another piece has entered LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama. Get pieces by him while you can!
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. Work by him is held in the V&A in London, another piece has entered LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama. Get pieces by him while you can!
Modern Japanese Ceramics
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An incredible bowl of spotted ink supplanted by a midnight blue rim by Kimura Moriyasu enclosed in the original signed wooden box titled humbly Tenmoku-yu Chawan. It is 5 inches (12.5 cm) diameter, 3-1/2 inches (8.5 cm) tall with a perfectly formed foot and slightly in-curving bowl form perfect for winter tea. The colors are reminiscent of the Kujaku-yu developed by Matsuyama Gae, yet the application is very different.
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.
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.
Modern Japanese Ceramics
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sold, with thanks!
A slightly more austere work completing this tea set by Kanzaki Shiho enclosed in the original signed wooden box titled Shigaraki Chawan and named inside the lid Amidha-Do (Hall of Amitabha). Here the artist has refrained from over-decoration, allowing the natural color and texture of the terracotta clay to dominate. It is 5-1/4 inches (13.3 cm) diameter, 3-1/2 inches (9 cm) tall and in excellent condition, dating circa 1990.
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.
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.
Modern Japanese Ceramics
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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.
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.