Catalog: Artists: Ceramics: Pottery: Vases (274)

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

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

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

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

A stratified bloc of hollowed out Shigaraki clay by female pottery pioneer Koyama Kiyoko enclosed in the original signed wooden box titled Shigaraki Shizen Yu Kaku Hanaire. A thick coating of blown natural ash glaze has settled on the shoulders, while the layers of earth below show a dusting of color on top, but rich red in the shadows with plenty of small inclusions for the eye to play with. It is 22.5 cm (9 inches) tall, roughly 10 cm (4 inches) square and in excellent condition.
Koyama Kiyoko was the subject of the film Hi-Bi (2005) and the recent NHK television drama Scarlet. She is the preeminent pioneering female wood firing artist in Japan. Born in Sasebo, Nagasaki in 1938, she went to Shigaraki village, home of one of Japan’s Six Ancient Kilns. There she studied the traditional techniques, and bore the brunt of centuries of discrimination against women. Through it all she persevered to become one of the most highly sought of Shigaraki potters. For more on her works see Modern Japanese Ceramics in American Collections, Japan Society New York, 1993

Earth tones mix with rivulets of copper green emboldened with flashes of jet black on this vase by Shigemori Yoko enclosed in a signed wooden box titled Oribe Tetsuki Kabin (Oribe Vase with Handle). The green is almost liquid, and gives the impression if you look away it will change. The blacks are solid and brisk, obviously performed spur of the moment and to wondrous effect. The vase is 26 cm (10-1/4 inches) tall and in excellent condition. It comes in a box annotated by her brother.
Shigemori Yoko (1953-2021) was born in Kagoshima. Yoko came to Kyoto where she initially studied painting at the Kyoto Tankidai Art College, then moved to ceramics at the Kyoto Municipal Art University where she studied traditional pottery techniques under Kondo Yutaka before entering advanced courses under Yagi Kazuo, graduating in 1979. Her first solo exhibitions were held while still a student, at Gallery Iteza in Kyoto. She eschewed the world of competitive exhibitions in favor of the intimacy of private galleries, and her list of solo exhibitions is expansive. She received the Yagi Kazuo prize in 1986 and 1988 at the Nihon Gendai Togeiten. She was one of five artists featured in Toh, volume 76, The first issue dedicated to Kyoto Potters. Toh was at the time the most in depth survey of important contemporary potters published in 1993. Her work is held in the collection of the Victoria and Albert Museum in London.

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

Pine trees and Snow Flakes in silver and gold on red by Ono Hakuko enclosed in the original signed wooden box titled Kin Ginsai Ichirin Tate. It is 9-1/2 inches (24 cm) tall and in excellent condition.
From Aichi prefecture, Hakuko was trained by her father initially in the ceramic arts. However she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japans most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics by Women Artists (2009).

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

A 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.

Rainbow colored Shino glaze burnt to a crispy finish covers this bamboo shaped vase by Hayashi Shotaro enclosed in the original signed wooden box. This is a perfect example of the daring route this artist took, propelling the popularity of Shino wares to new heights and inspiring many followers. The colors are fabulous, soft blues, pinks and greens. The gather together in rivulets framing the dark earth of the foot in the center of which is the artists signature. It is 23 cm (9 inches) tall and is in excellent condition.
Hayashi Shotaro (b. 1947) is one of the biggest names in contemporary Mino ceramics. Although initially entering regular employment upon graduating high school, in 1967 he returned to Toki city to help his brother Kotaro. Very quickly within him was born the urge to create. He won the highest award at the Gifu Prefectural Art Exhibition in 1968, and from there his talent blossomed. 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. At the Mino Ceramics Exhibition, in addition to the highest award, the Mino Ceramics Award, he has received all three major awards, including the Shoroku Award and the Kobei Award.

A Shigaraki vase by Furutani Kazuya enclosed in the original signed wooden box titled Shigaraki Konsei Hanaire. The Konsei blended clay creates a unique texture. The coloration on thi piece makes it stand apart from its contemporaries. Very unusual and striking combination of raw clay, orange, black and a few crystaline beads of green glazz around two white eyes. It is 29 cm (11-1/2 inches) tall, 15 cm (6 inches) diameter and in excellent condition, directly from the artist.
Furutani Kazuya was born the son of Anagama legend Furutani Michio in 1976. He graduated the Yamaguchi College of Art in 1997, and spent a year at the ceramics research facility in Kyoto before returning to work under his father in Shigaraki. His Father’s sudden death in 2000 pushed Kazuya to the fore, and left him with big shoes to fill. That he has done! Building three Anagama in the following decade and displaying with the National Ceramics Exhibition and a number of private affairs in some of Japan’s top venues.

A striking large Tsubo in silvered Bizen ware by innovative Bizen artist Matsui Tomoyuki enclosed in the original signed wooden box titled Bizen Ginsai Tsubo and dating circa 1990. It exhibits all the features of great Bizen, the smooth clay struck with flashes of darker color. The sense is that of seeing a Bizen Tsubo in an old tintype photograph, a most unique approach. It is 10-1/2 inches (27 cm) diameter, 12 inches (30 cm) tall and in excellent condition.
Matsui Tomoyuki is one of the leading ceramic artist of Bizen and was designated an Okayama prefectural Intangible Cultural Asset in 1996 (the prefectural version of a living national treasure). Born an outsider to the Bizen community in 1931, he hails from Kumamoto prefecture, on the Southern Island of Kyushu. He graduated the National Kyoto Ceramics Research Institut in 1950, and then studied under Morino Kako. In 1960 he moved to Bizen to work in the Okayama prefectural Bizen Pottery Center. While there he was first selected for the Japan Traditional Arts & Crafts Exhibition (Nihon Dento Kogeiten) in 1966 and subsequently for the first National Ceramic Art Exhibition (Nihon Togei Ten) in 1971. He left the ceramics facility and established his own kiln in Bizen in 1973. Although it would not have been easy as an outsider, he was granted the Kaneshige Toyo Prize in 1980, one of the most important awards available to Bizen potters. That same year his “Bizen Ginsai O-zara Platter (in the same style as this piece) was taken in to the collection of Ise Jingu Shrine. The following year he would receive the Okayama prefectural culture service prize. The next decade would see many aards and an effort on private exhibitions as well as many public events culminating with him serving as Judge of the Okayama prefectural Art Exhibition. Throughout the 90s his contributions to the art world would gain recognition being designated a holder of Intangible Cultural Assets in 1996 and then named an Okayama Prefectural Intangible Cultural Asset in 1997. That same year his work was exhibited as part of a group exhibition at the French National Ceramics Art Musuem, He was granted the Okayama prefectural culture prize in 1998. With a new century he established a new Kiln, completing construction in 2001 and his carreer would continue garnering prizes and his influence on subsequent generations of Bizen potters would become apparent.

Wow! This is quite a tsubo by revivalist Takahashi Shunsai enclosed in the original signed wooden box titled Shigaraki Kama Hana Tsubo. A wack of ash blasts the shoulder over raw shiseki studded terracotta clay scorched the color of bricks. Fired on its side, opposite is charred and covered in molten ash where it had been buried in the embers. This is truly a classic Shigaraki work down to the belt of cross hatches at the shoulder and two stage mouth. It is 26 cm (10 inches) tall, roughly the same diameter and in excellent condition.
Born in 1927, the second son of renowned potter Takahashi Rakusai III in Shigaraki, Takahashi Shunsai left home to study under Taniguchi Ryosai in Kyoto before returning to Shigaraki to pursue his studies of Shigaraki styles specifically under his father and spent the better part of two decades working from that studio. He established his own kiln in 1968. He has been displayed at the Nitten, Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), Nihon Togei ten (National Ceramics Exhibition), Asahi Ceramics Exhibition, as well as a long list of private exhibitions at Japan’s top galleries. He has been often prized as a master of Shigaraki, and has been designated a Shiga Prefectural Intangible Cultural Property (Living Treasure) in 1995. This is possibly more important than the Living National Treasure designation, imbued as that selection is with rank and politic. The Prefectural version is truly representative of one’s merits as an artist and achievement.

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.

Exquisite kiln effects mark this Ujoyaki Tsubo by Imai Rikei from Aomori Prefecture enclosed in the original signed wooden box named Zuiha (Swirling wave). It is 33 cm tall, 29 cm diameter and in excellent condition. Imai Rikei was born in Aomori Prefecture in 1947, and fires in the Ujoykai traditional manner making use of the worlds longest climbing kiln (guiness book of world records, 103 meters long, you can see it on youtube). He has received a number of awards and exhibited with the Asahi Ceramics Exhibition (Asahi Togeiten) among others. He is the most important artist in this lesser known Northern tradition of Japanese pottery.

A very unusual domed box shaped vase by Morino Taimei decorated with green dots and purple numbers on a rich textured blue enclosed in the original signed wooden box titled Iro-e Tabimakura (Colorful Travel Pillow). It is 19 cm (7-1/2 inches) square, 14 cm (5-1/2 inches) tall excluding the handles, and is in excellent condition, as can be seen there is a water stain in the upper right corner of the box lid.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.

Mukoyama Fumiya enclosed in the original signed wooden box titled Zogan Yusai Fusha-mon Tsubo (Color Inlayed Wind Mill Pattern Tsubo). It is 25 cm (10 inches) diameter, 22 cm (8-1/2 inches) tall and in excellent condition. Mukoyama Fumiya was born in Tokyo in 1960, graduating the Kyoto Ceramic Research institute before apprenticing in Hagi under 15th generation Sakakura Shinbei in 1984. He spent time in Shiga before settling in Mashiko in 1990, establishing his own kiln in 1993. The following year his work was collected by the Imperial Household Agency. He has been exhibited and or awarded at the National Craft Exhibition, National Traditional New Craft Exhibition, and Mashiko Pottery Exhibition among others.