Modern Japanese Ceramics
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Thick iron and feldspar cover the Iga glaze of this small vase by Ayukai Kogetsu enclosed in the original signed wooden box titled Oni Iga Ko Tsubo. It is 13 cm (5 inches) tall, roughly 9 cm (3-3/4 inches) diameter and in excellent condition. I think it would also make a nice tokkuri.
Ayukai Kogetsu is a female artist from Miyagi prefecture. During a trip to Nara after graduating university, she was struck by a calligraphy exhibition, and became a student of calligraphy under Onodera Hosen in Kessennuma. From 1969-1979 she exhibited calligraphy in a number of venues including the Shodo Geijutsu Inten, and received a number of awards. In 1979 she became a student and follower of the ceramic artist of Oni Shino fame Tsukigata Nahiko, who was also known for his painting and sculpture, all of which she absorbed over a ten year apprenticeship. She opened her own kiln in Gifu prefecture in 1992. She currently takes part in calligraphy and ceramic exhibitions throughout Japan.
Ayukai Kogetsu is a female artist from Miyagi prefecture. During a trip to Nara after graduating university, she was struck by a calligraphy exhibition, and became a student of calligraphy under Onodera Hosen in Kessennuma. From 1969-1979 she exhibited calligraphy in a number of venues including the Shodo Geijutsu Inten, and received a number of awards. In 1979 she became a student and follower of the ceramic artist of Oni Shino fame Tsukigata Nahiko, who was also known for his painting and sculpture, all of which she absorbed over a ten year apprenticeship. She opened her own kiln in Gifu prefecture in 1992. She currently takes part in calligraphy and ceramic exhibitions throughout Japan.
Modern Japanese Ceramics
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An Amazing Shigaraki flattened form with offset neck covered in pools of liquid green crystal and dark encrustations of ash by Furutani Hirofumi, head of the Churoku-en. This piece truly shows the best of what Shigaraki has to offer, in the exposed raw terracotta clay, the molten ash glaze, the Hi-iro color of flame, and the build up of dark ash deposits. Every viewing angle is unique. This flattened form has been made by separating two slabs with a band of clay which has had feet and a wheel thrown neck added. Unlike others who have made similar shapes, Hirofumi offsets the neck in a refreshing way. The vessel is quite large at 36 x 13 x 41 cm tall (14 x 5 x 16 inches tall) and is in excellent condition, directly from the artist. It comes with a wooden placard signed by the artist and titled Shigaraki Shizen Yu Henko.
If you have never visited Shigaraki put it on the list. Downtown is pretty much Showa-Retro (a leftover from the Showa era) with rusting buildings stacked up with giant Tanuki sculptures and stacks of industrial grade ceramics. However, tucked in the middle is a small wood framed gallery, a real gem called the Churoku-en. The Churoku-en pottery was established by Furutani Churoku, and is now run by the second and third generation potters Furutani Hirofumi and his son Taketoshi. But they are rarely there, more often than not working at the family kiln which is out of the main business district. You will meet Hirofumis wife, a cherubic woman who will seem perhaps startled to see you but more than happy to show you around. The first time we met she seemed shocked to see visitors and I asked about that. She said: Most people do not come into our gallery.
I asked: Why is that?
She replied: There are no Tanukis out front, so it looks expensive!
We laughed about that and I remember it every time we meet. Her husband Hirofumi is the real deal, a Shigaraki potter trained under his father, recipient of generations of tradition and knowledge, who does not say much. Everyday you will find him in search of the natural phenomena which are born from his wood fired Anagama and Climbing kilns in the dialog between soil and flame and the elements. He does not compete or seek fame, just quietly makes pots in that very Japanese way, the path of the Unknown Craftsman.
If you have never visited Shigaraki put it on the list. Downtown is pretty much Showa-Retro (a leftover from the Showa era) with rusting buildings stacked up with giant Tanuki sculptures and stacks of industrial grade ceramics. However, tucked in the middle is a small wood framed gallery, a real gem called the Churoku-en. The Churoku-en pottery was established by Furutani Churoku, and is now run by the second and third generation potters Furutani Hirofumi and his son Taketoshi. But they are rarely there, more often than not working at the family kiln which is out of the main business district. You will meet Hirofumis wife, a cherubic woman who will seem perhaps startled to see you but more than happy to show you around. The first time we met she seemed shocked to see visitors and I asked about that. She said: Most people do not come into our gallery.
I asked: Why is that?
She replied: There are no Tanukis out front, so it looks expensive!
We laughed about that and I remember it every time we meet. Her husband Hirofumi is the real deal, a Shigaraki potter trained under his father, recipient of generations of tradition and knowledge, who does not say much. Everyday you will find him in search of the natural phenomena which are born from his wood fired Anagama and Climbing kilns in the dialog between soil and flame and the elements. He does not compete or seek fame, just quietly makes pots in that very Japanese way, the path of the Unknown Craftsman.
Modern Japanese Ceramics
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Sold, with thanks!
Wow I need that! is all I could say the first time I saw this piece by Furutani Taketoshi while visiting the Churokuen Kiln early this year. The tendrils of natural ash glaze wrap around the simplified form like the roots of some ancient Shinboku (God Tree). It is unpretentious, but stands out clearly as a masterpiece by this very talented young potter. It comes enclosed in the original signed wooden box titled Shigaraki Shizen Yu Yohen Hanaire (Shigaraki Natural Ash Glazed Kiln Altered Vase). The vessel is 16 cm (6-1/4 inches) diameter, 25.5 cm (10 inches) tall and in excellent condition.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility studying wheel technique, graduating the following year. He then did a year apprenticeship at a pottery before re-entering for a second course at the Research Facility, graduating in 1995. From that year he returned to the family kiln, receiving the family tradition from both his grandfather Furutani Churoku and father Furutani Hirofumi. Subverting the self, he makes simple, organic pots which have a timeless quality, very much rooted in the now, but paying homage to the traditions past down through the ages. He was named a Designated Traditional Craftsman (Dento Kogeishi) in 2013. He has exhibited with the Nihon Dento Kogeiten among others, and still works closely with his father at the family kiln.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility studying wheel technique, graduating the following year. He then did a year apprenticeship at a pottery before re-entering for a second course at the Research Facility, graduating in 1995. From that year he returned to the family kiln, receiving the family tradition from both his grandfather Furutani Churoku and father Furutani Hirofumi. Subverting the self, he makes simple, organic pots which have a timeless quality, very much rooted in the now, but paying homage to the traditions past down through the ages. He was named a Designated Traditional Craftsman (Dento Kogeishi) in 2013. He has exhibited with the Nihon Dento Kogeiten among others, and still works closely with his father at the family kiln.
Modern Japanese Ceramics
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Sold, Thank you!
Not to save the best for last, but this piece by Nagae Shigekazu is simply breathtaking. The pattern of light and dark squares which drives direct lines across the distended quadrilateral form hails images of the Ichimatsu-moyo pattern at the Katsura Rikyu imperial palace. The lyrical curves of the vessel itself are in sharp contrast to the extreme precision of the patterns, creating a unique dialog between viewer and viewed. It comes enclosed in the original signed wooden box titled Chokutai (Straightforward). The vessel is quite large at 47 cm (18-1/2 inches) tall, 31.5 x 23 cm (12-1/2 x 9 inches) and in excellent condition.
Nagae Shigekazu (b. 1953) graduated the Seto Industrial School of Ceramics in 1974 Beginning to grab attention in the late 70s, he has striven to perfect porcelain casting techniques, creating one-off shapes and forms previously impossible. He is held in the collection of the V&A (London), LACMA (Los Angeles) and the National Gallery of Australia, Cincinnati and Cleveland Art Museums, Minneapolis Institute of Art, Japan Foundation and many many others. With very low output, this is a rare opportunity to join the worlds top museum collections by acquiring this artist. According to Ceramics Now Magazine: Nagae Shigekazu (born in 1953), is one of the leading pioneers of porcelain casting and firing techniques in Japan. Casting is commonly associated with the mass production of porcelain, yet Nagae valiantly transcends this stereotype, ultimately elevating this technique to the avant-garde. Casting alone cannot achieve the natural movements found within Nagae’s forms. His popularity and recognition as an artist have skyrocketed, with acquisitions by the V&A in London, the Los Angeles County Museum of Art, and the National Gallery of Australia in just the past 3 years. Also collected by leading institutions such as the Musée National de Ceramique-Sèvres in Paris and the Musée Ariana in Geneva, among others, as well as receiving prestigious awards such as the Grand Prixs at the 1998 Triennale de la Porcelain in Nyon, the Mino Ceramic Festival and the Japan Ceramic Art Exhibition (both 1997), Nagae’s stature and respect in the world of porcelain has reached new heights.
Nagae Shigekazu (b. 1953) graduated the Seto Industrial School of Ceramics in 1974 Beginning to grab attention in the late 70s, he has striven to perfect porcelain casting techniques, creating one-off shapes and forms previously impossible. He is held in the collection of the V&A (London), LACMA (Los Angeles) and the National Gallery of Australia, Cincinnati and Cleveland Art Museums, Minneapolis Institute of Art, Japan Foundation and many many others. With very low output, this is a rare opportunity to join the worlds top museum collections by acquiring this artist. According to Ceramics Now Magazine: Nagae Shigekazu (born in 1953), is one of the leading pioneers of porcelain casting and firing techniques in Japan. Casting is commonly associated with the mass production of porcelain, yet Nagae valiantly transcends this stereotype, ultimately elevating this technique to the avant-garde. Casting alone cannot achieve the natural movements found within Nagae’s forms. His popularity and recognition as an artist have skyrocketed, with acquisitions by the V&A in London, the Los Angeles County Museum of Art, and the National Gallery of Australia in just the past 3 years. Also collected by leading institutions such as the Musée National de Ceramique-Sèvres in Paris and the Musée Ariana in Geneva, among others, as well as receiving prestigious awards such as the Grand Prixs at the 1998 Triennale de la Porcelain in Nyon, the Mino Ceramic Festival and the Japan Ceramic Art Exhibition (both 1997), Nagae’s stature and respect in the world of porcelain has reached new heights.
Modern Japanese Ceramics
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A striking work covered in granulated geometric patterns by Nagae Shigekazu enclosed in the original signed wooden box titled Shikakkei no Katachi (Quadrilateral Form). The form is elastic, warped as if it is stretching after a deep sleep. This contrasts with the concise lines of the decorating pattern, creating an interesting dialog between man’s strive for perfection and order verses the freedom of the natural world. As they say, there are no straight lines in nature. The vessel is 35 cm (13-1/2 inches) tall, 33 x 17 cm (13 x 6-1/2 inches) across the base and in excellent condition.
Nagae Shigekazu (b. 1953) graduated the Seto Industrial School of Ceramics in 1974 Beginning to grab attention in the late 70s, he has striven to perfect porcelain casting techniques, creating one-off shapes and forms previously impossible. He is held in the collection of the V&A (London), LACMA (Los Angeles) and the National Gallery of Australia, Cincinnati and Cleveland Art Museums, Minneapolis Institute of Art, Japan Foundation and many many others. With very low output, this is a rare opportunity to join the worlds top museum collections by acquiring this artist. According to Ceramics Now Magazine: Nagae Shigekazu (born in 1953), is one of the leading pioneers of porcelain casting and firing techniques in Japan. Casting is commonly associated with the mass production of porcelain, yet Nagae valiantly transcends this stereotype, ultimately elevating this technique to the avant-garde. Casting alone cannot achieve the natural movements found within Nagae’s forms. His popularity and recognition as an artist have skyrocketed, with acquisitions by the V&A in London, the Los Angeles County Museum of Art, and the National Gallery of Australia in just the past 3 years. Also collected by leading institutions such as the Musée National de Ceramique-Sèvres in Paris and the Musée Ariana in Geneva, among others, as well as receiving prestigious awards such as the Grand Prixs at the 1998 Triennale de la Porcelain in Nyon, the Mino Ceramic Festival and the Japan Ceramic Art Exhibition (both 1997), Nagae’s stature and respect in the world of porcelain has reached new heights.
Nagae Shigekazu (b. 1953) graduated the Seto Industrial School of Ceramics in 1974 Beginning to grab attention in the late 70s, he has striven to perfect porcelain casting techniques, creating one-off shapes and forms previously impossible. He is held in the collection of the V&A (London), LACMA (Los Angeles) and the National Gallery of Australia, Cincinnati and Cleveland Art Museums, Minneapolis Institute of Art, Japan Foundation and many many others. With very low output, this is a rare opportunity to join the worlds top museum collections by acquiring this artist. According to Ceramics Now Magazine: Nagae Shigekazu (born in 1953), is one of the leading pioneers of porcelain casting and firing techniques in Japan. Casting is commonly associated with the mass production of porcelain, yet Nagae valiantly transcends this stereotype, ultimately elevating this technique to the avant-garde. Casting alone cannot achieve the natural movements found within Nagae’s forms. His popularity and recognition as an artist have skyrocketed, with acquisitions by the V&A in London, the Los Angeles County Museum of Art, and the National Gallery of Australia in just the past 3 years. Also collected by leading institutions such as the Musée National de Ceramique-Sèvres in Paris and the Musée Ariana in Geneva, among others, as well as receiving prestigious awards such as the Grand Prixs at the 1998 Triennale de la Porcelain in Nyon, the Mino Ceramic Festival and the Japan Ceramic Art Exhibition (both 1997), Nagae’s stature and respect in the world of porcelain has reached new heights.
Modern Japanese Ceramics
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sold, with thanks!
A crusty black clay vase by Sakata Jinnai enclosed in the original signed wood box. Sculpted out into a crescent, it roughly forms a 24 cm (9-1/2 inch) diameter circle. Excellent condition.
Sakata Jinnai was born in Tokyo in 1943, and began as an apprentice under the legendary Kamoda Shoji in 1964, establishing his first kiln in 1966. His work was selected for display at the Nihon Dento Kogei Shinsaku Ten (National Traditional New Crafts Exhibition) in 1969, and the following year the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition). In 1971 his work could be seen at the first Nihon Togeiten National Ceramics Exhibition. This event would tour the United States and Canada as well. Two years later he would be seen there again, and this time the show would tour South America. In 1977 he would move away from the competitive world of mass exhibitions and focus more on private galleries. He was the first artist selected for display at the newly opened Takashimaya Gallery in New York in 1993. Work by him is held in the collection of the British Museum, Rockefeller Foundation, Sakuma Museum, Waseda Universty Museum, as well as some of Japans holiest sites such as Ise Shrine, Izumo Shrine, Takachiho Shrine, Yakushiji in Nara and both Kodaiji and Enryakuji Temples in Kyoto. Not limited to clay, he also works in painting, Washi hand made paper (from 1995), and glass (from 2000).
Sakata Jinnai was born in Tokyo in 1943, and began as an apprentice under the legendary Kamoda Shoji in 1964, establishing his first kiln in 1966. His work was selected for display at the Nihon Dento Kogei Shinsaku Ten (National Traditional New Crafts Exhibition) in 1969, and the following year the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition). In 1971 his work could be seen at the first Nihon Togeiten National Ceramics Exhibition. This event would tour the United States and Canada as well. Two years later he would be seen there again, and this time the show would tour South America. In 1977 he would move away from the competitive world of mass exhibitions and focus more on private galleries. He was the first artist selected for display at the newly opened Takashimaya Gallery in New York in 1993. Work by him is held in the collection of the British Museum, Rockefeller Foundation, Sakuma Museum, Waseda Universty Museum, as well as some of Japans holiest sites such as Ise Shrine, Izumo Shrine, Takachiho Shrine, Yakushiji in Nara and both Kodaiji and Enryakuji Temples in Kyoto. Not limited to clay, he also works in painting, Washi hand made paper (from 1995), and glass (from 2000).
Modern Japanese Ceramics
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Sold, Thank you!
A quintessential example of this artists most sought-after style, a ‘Scattered Blossoms’ vessel by Kondo Yutaka enclosed in the original signed wooden box titled Funka Bin (Scattered Flowers Bottle). The pattern of petals is impressed deeply into the surface, and filled with white slip, contrasting starkly against the textured black background. It is 23 cm (9 inches) tall, 17 cm (7 inches) diameter and in excellent condition. For a similar work see the collection of the Metropolitan Museum of Art New York. According to their description:
Among the more unexpected twentieth-century Japanese proponents of buncheong idioms was the potter Kondō Yutaka. The eldest son of Kondō Yūzō, a designated National Living Treasure for his work in porcelain with cobalt blue-painted designs, Yutaka eventually branched out in different directions, including an exploration of Korean buncheong ceramics, examples of which he first encountered in Western collections during his travels. He would later learn about buncheong ware in Korea. Yutaka developed a highly creative vocabulary of white-slip design, as exemplified by this stunning black-and-white vase, whose stamped and white slip-applied pattern both echoes and is utterly distinct from antique buncheong ware.
Kondo Yutaka (1932-1983) was born into a traditional pottery family in Kyoto. He studied under Living National Treasures Kondo Yuzo and Tomimoto Kenkichi at the Kyoto Municipal University of Art, graduating in 1957. That same year his work was accepted into the New Masters of Crafts Exhibition (Shin-takumi Kogeikai Ten). From 1962-63 he traveled in the US and lectured at Indiana Universtiy with Karl Martz. Returning to Japan he was granted a position at his Alma Matter, where he would continue to teach for the rest of his life, while making frequent research trips abroad to South and Central Asia, where he would master the T’zu Chou techniques expressed in these works. He twice received the Mayors prize at the Kyoten Exhibition, was awarded at the Asahi Togeiten, and is recipient of the coveted JCS award in 1967. The following year would see his work displayed at the New Generation of Ceramics Exhibition held at the Kyoto National Museum of Modern Art. In 1985 a posthumous exhibition was held honoring his lifes work at the Kyoto Municipal Museum of Art. Work by the artist is held in the Metropolitan Museum of Art, NY, Musée Tomo, Tokyo And the Victoria & Albert Museum, London among others. For more on this important artist see the book Kondo Yutaka: The Transformation of a Traditional Kyoto Family (2010)
Among the more unexpected twentieth-century Japanese proponents of buncheong idioms was the potter Kondō Yutaka. The eldest son of Kondō Yūzō, a designated National Living Treasure for his work in porcelain with cobalt blue-painted designs, Yutaka eventually branched out in different directions, including an exploration of Korean buncheong ceramics, examples of which he first encountered in Western collections during his travels. He would later learn about buncheong ware in Korea. Yutaka developed a highly creative vocabulary of white-slip design, as exemplified by this stunning black-and-white vase, whose stamped and white slip-applied pattern both echoes and is utterly distinct from antique buncheong ware.
Kondo Yutaka (1932-1983) was born into a traditional pottery family in Kyoto. He studied under Living National Treasures Kondo Yuzo and Tomimoto Kenkichi at the Kyoto Municipal University of Art, graduating in 1957. That same year his work was accepted into the New Masters of Crafts Exhibition (Shin-takumi Kogeikai Ten). From 1962-63 he traveled in the US and lectured at Indiana Universtiy with Karl Martz. Returning to Japan he was granted a position at his Alma Matter, where he would continue to teach for the rest of his life, while making frequent research trips abroad to South and Central Asia, where he would master the T’zu Chou techniques expressed in these works. He twice received the Mayors prize at the Kyoten Exhibition, was awarded at the Asahi Togeiten, and is recipient of the coveted JCS award in 1967. The following year would see his work displayed at the New Generation of Ceramics Exhibition held at the Kyoto National Museum of Modern Art. In 1985 a posthumous exhibition was held honoring his lifes work at the Kyoto Municipal Museum of Art. Work by the artist is held in the Metropolitan Museum of Art, NY, Musée Tomo, Tokyo And the Victoria & Albert Museum, London among others. For more on this important artist see the book Kondo Yutaka: The Transformation of a Traditional Kyoto Family (2010)
Modern Japanese Ceramics
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Mountains rise majestically over meandering inlets on this vase by Living National Treasure Kondo Yuzo enclosed in the original signed wooden box titled Yama Sometsuke Kabin (Vase with Mountain Design in Blue). It is 19 cm (7-3/4 inches) tall, 16.5 cm (6-1/2 inches) diameter and in perfect condition. It comes with the original custom made cloth pouch and shiori. For more on this important artist see the recent edition of Arts of Asia Magazine (Spring 2021), A Seeing Eye: Modern Ceramics in Japan During the First Half of the 20th Century by John Wright.
Kondo Yuzo (1902-1985) was born in the Gojozaka district of Kyoto and studied alongside Kawai Kanjiro and Hamada Shoji at the Kyoto Ceramics Reseaerch facility, where he studied kiln technique directly under Shoji. He then apprenticed under recently returned Tomimoto Kenkichi for three years before establishing himself as a unique artist in the Kiyomizu district of Kyoto in 1924. He served as a professor at the Kyoto University of Art where he helped shape generations of potters. After an illustrious career he was named a Living National Treasure for Sometsuke Porcelain in 1977. Works by the artist are held in the collection of the LACMA, Cleveland and Brooklyn Museums of Art, Kyoto Municipal and Tokyo National Museums of Modern Art among many others.
Kondo Yuzo (1902-1985) was born in the Gojozaka district of Kyoto and studied alongside Kawai Kanjiro and Hamada Shoji at the Kyoto Ceramics Reseaerch facility, where he studied kiln technique directly under Shoji. He then apprenticed under recently returned Tomimoto Kenkichi for three years before establishing himself as a unique artist in the Kiyomizu district of Kyoto in 1924. He served as a professor at the Kyoto University of Art where he helped shape generations of potters. After an illustrious career he was named a Living National Treasure for Sometsuke Porcelain in 1977. Works by the artist are held in the collection of the LACMA, Cleveland and Brooklyn Museums of Art, Kyoto Municipal and Tokyo National Museums of Modern Art among many others.
Modern Japanese Ceramics
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Sold, thank you!
Rivulets of ash dribble down the red earth sides of this vase by Nishiura Takeshi enclosed in the original signed wooden box titled Echizen Henko. Positioning in the kiln, with one shoulder angled toward the flame, ensure the lip and one rounded corner are charred in that distinct ocher inidicative of the region. Elsewhere the ash is molten green. A great example of this lesser known ancient kiln site. The vessel is 18 x 13 x 17.5 cm (7-1/2 x 5 x 7-1/2 inches) and is in excellent condition.
Nishiura Takeshi was born in Fukui prefecture in 1941, and graduated the Law Depratment of the prestigious Tokyo University in 1965. A decade later, he did an about face and began to follow the path of the potter establishing his first kiln in Echizen in 1975. Later he created a traditional Ana-gama kiln in 1982, where he works with his wife Nakazawa Yoko. He has concentrated on private exhibition, and is one of the few contemporary potters (and my personal favorite) making waves in the world of Echizen.
Nishiura Takeshi was born in Fukui prefecture in 1941, and graduated the Law Depratment of the prestigious Tokyo University in 1965. A decade later, he did an about face and began to follow the path of the potter establishing his first kiln in Echizen in 1975. Later he created a traditional Ana-gama kiln in 1982, where he works with his wife Nakazawa Yoko. He has concentrated on private exhibition, and is one of the few contemporary potters (and my personal favorite) making waves in the world of Echizen.
Modern Japanese Ceramics
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sold, with thanks!
An ash encrusted vase by Kanzaki Shio enclosed in the original signed wooden box titled Shigaraki Hanaire. Perfect for the tea room, it exudes that sense of quietude and degradation (Wabisabi) central to that aesthetic. It is 27 cm (10-1/2 inches) tall and in excellent condition.
Kanzaki Shiho (1942-2018) preferred firing his kiln for ten days, resulting in the rich textures and heavy ash deposits apparent on his work. He was born in Shigaraki, and was fast tracked into the Kansai University Law Department, but rather the life of a lawyer, after graduation he went with his heart to take up the precarious life of a potter, apprenticing under Mino artist Matsuyama Suketoshi. Later he returned to Shigaraki working there at the research center while developing his own style and methods with the Anagama. He consistently stayed with the personal world of private exhibitions, developing a large following both at home and abroad and his list of exhibitions is impressive. He has been the subject of several documentaries and Television interviews, and is widely published. For more information see, The Fire Artist, a documentary by Canadian Director Claude Gagnon. He unfortunately passed away last year and these may be the last pieces we have by him.
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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Sold, with thanks!
A beautiful Caribbean blue bottle by Karatsu Legend Inoue Toya enclosed in the original signed wooden box. The color is quite unusual in his oeuvre, as is the paddled sloping shape. It is 24 cm (9-1/2 inches) tall, 12.5 cm (5 inches) diameter at the base and is in excellent condition.
Inoue Toya (1942-2013), graduated the prestigious Nihon Daigaku in 1966, having spent his student years excavating ancient Karatsu shards and researching their techniques. He apprenticed under the multifaceted potter Nushi Ensai. In 1969 he opened his own kiln. He served as head of the Karatsu Ceramic Cooperative from 1983-2010 while focusing on private exhibitions held at Department stores and galleries throughout Japan. In 2008 his lifetime achievements were recognized with a private exhibition in Los Angeles.
Inoue Toya (1942-2013), graduated the prestigious Nihon Daigaku in 1966, having spent his student years excavating ancient Karatsu shards and researching their techniques. He apprenticed under the multifaceted potter Nushi Ensai. In 1969 he opened his own kiln. He served as head of the Karatsu Ceramic Cooperative from 1983-2010 while focusing on private exhibitions held at Department stores and galleries throughout Japan. In 2008 his lifetime achievements were recognized with a private exhibition in Los Angeles.
Modern Japanese Ceramics
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sold, with thanks!
The organic shapes of Kakurezaki Ryuichi have always been fascinating, less formed by the potters hands and more as if they dripped from the kiln roof, solidifying in the conflagration. This vase, covered in flying ash, is a perfect example of that, it even now appears to be withering in the heat. It comes enclosed in the original signed wooden box titled Yohen Kaki or kiln altered vase and retains the original shifuku and shiori. The vessel is 17 x 21 x 23 cm (7 x 8 x 9 inches) and is in excellent condition.
It is likely that Ryuichi needs no introduction, one of the most well known of Bizen potters, he is interestingly originally not from Bizen but far off Nagasaki, which seems to have gifted him with the ability to see the clays potential beyond conventional form. He graduated the Osaka University of Fine Arts, then enjoyed a long apprenticeship under Bizen Living National Treasure Isezaki Jun before opening his own kiln in 1986. Combining traditional technique with modern architectural form, He was recipient of the Japan Ceramics Society Award, Grand Prize at the Fifth Contemporary Tea Ceremony Utensils Exhibition, Tanabe Museum and has a list of public and private exhibitions which go beyond this brief add, including a showing in New York this year. His works are held in the collection of the Victoria and Albert Museum of London, National Ceramic Museum of France and the Tanabe Museum among others.
It is likely that Ryuichi needs no introduction, one of the most well known of Bizen potters, he is interestingly originally not from Bizen but far off Nagasaki, which seems to have gifted him with the ability to see the clays potential beyond conventional form. He graduated the Osaka University of Fine Arts, then enjoyed a long apprenticeship under Bizen Living National Treasure Isezaki Jun before opening his own kiln in 1986. Combining traditional technique with modern architectural form, He was recipient of the Japan Ceramics Society Award, Grand Prize at the Fifth Contemporary Tea Ceremony Utensils Exhibition, Tanabe Museum and has a list of public and private exhibitions which go beyond this brief add, including a showing in New York this year. His works are held in the collection of the Victoria and Albert Museum of London, National Ceramic Museum of France and the Tanabe Museum among others.
Modern Japanese Ceramics
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Sold, thank you!
The most unique work I have ever seen from innovative artist Ito Motohiko enclosed in the original signed wooden box titled Nunome Tsubaki-mon Kabin (Cloth Textured Vase with Camellia Design). Sensual sans eroticism, it is a frank and appreciative look at the beauty of the feminine form. This is from my personal collection, and I am torn with the idea of parting with it. The vase is 9 x 6-1/2 x 14-1/2 inches (23 x 16.5 x 37 cm) and is in excellent condition, retaining the original wrapping cloth and Shiori.
Ito Motohiko is a famous Kasama potter, best known for his nunome pattern and exceptional designs. Motohiko was born in Fukuoka prefecture, 1939, and graduated the Tokyo University of Art in 1964, then moved on to advanced courses there, finishing in 1966. While at University he studied under Kato Hajime and Fujimoto Yoshimichi. It was in 1967 his first piece was accepted into the 6th Modern National Crafts Exhibition, and the next year would be spent working under to-be-Living National Treasure Matsui Kosei. His list of prizes and exhibitions is much too long to reproduce, but since 1967, he has Exhibited with the Nihon Dento Kogeiten, Nihon Dento Kogei Shinsaku Ten, Dento Kogei Musashino Ten, Tanabe Museum Modern Tea Forms Exhibition, been the subject of an NHK Television documentary, and participated in a ridiculous number of private exhibits at many of Japans top venues, and has been purchased by the Heisei Emperor in person as well as receiving the Shijuho-sho prize from his majesty.
Ito Motohiko is a famous Kasama potter, best known for his nunome pattern and exceptional designs. Motohiko was born in Fukuoka prefecture, 1939, and graduated the Tokyo University of Art in 1964, then moved on to advanced courses there, finishing in 1966. While at University he studied under Kato Hajime and Fujimoto Yoshimichi. It was in 1967 his first piece was accepted into the 6th Modern National Crafts Exhibition, and the next year would be spent working under to-be-Living National Treasure Matsui Kosei. His list of prizes and exhibitions is much too long to reproduce, but since 1967, he has Exhibited with the Nihon Dento Kogeiten, Nihon Dento Kogei Shinsaku Ten, Dento Kogei Musashino Ten, Tanabe Museum Modern Tea Forms Exhibition, been the subject of an NHK Television documentary, and participated in a ridiculous number of private exhibits at many of Japans top venues, and has been purchased by the Heisei Emperor in person as well as receiving the Shijuho-sho prize from his majesty.
Modern Japanese Ceramics
Sold, Thank you!
Sold, Thank you!
A swollen sail shape in graduations of color by Miyashita Zenji enclosed in the original signed wooden box titled Kaze no Deban (Cue the Wind, or Wind in the Sails, if you like). It is 20 x 21 x 28 cm (8x 8-1/2 x 11 inches) and in excellent condition. It retains the original Shifuku and Shiori.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art under Kiyomizu Kyubei and Kusube Yaichi. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He began exhibiting in the annual Nitten exhibitions in 1964, eventually winning eighteen prizes. According to the Sackler, which holds 6 works by him, “ His mature work was a modern embodiment of a classic Kyoto mode associated with the Heian period (794–1185). He applied delicate layers of color—reminiscent of multilayered court robes or decorated papers made for inscribing poetry—using not over-glaze enamels or glazes but clay itself, dyed with mineral pigments”. He is held in the aforementioned Freer-Sackler, the British Museum, the Metropolitan Museum of Art New York, and the Brooklyn Museum the Minneapolis Institute of Arts, the Museum of Fine Arts Houston and of course the National Museums of Modern Art both in Kyoto and Tokyo among a host of others.
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.
Modern Japanese Ceramics
Sold, Thank you!
Sold, Thank you!
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.
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.
Modern Japanese Ceramics
sold, with thanks!
sold, with thanks!
Lantern Flowers (Hozuki) decorate this snow white porcelain vase by Yamada Yoshiaki enclosed in the original signed wooden box titled Henko. The imagery is expertly depicted over a form which has been allowed some freedom, more like the natural shape of a stone than a traditional vase. This is very much representative of this artists style, known for these asymmetrical shapes, natural corners and exquisite palette. It is 31 x 5 x 17.5 cm (12 x 2 x 7 inches) and is in excellent condition.
Yamada Yoshiaki was born in Ishikawa, home of Kutani wares, in 1948. He studied under Yamachika Tsuyoshi and Takegoshi Taizan whose influence is apparent. He began exhibiting in 1975 with the Souzou Bijutsu-kai Art Organization. Since his works have been exhibited and awarded in a plethora of venues, public exhibitions and private galleries. His work has been collected by the Imperial household and given as gifts to foreign dignitaries.
Yamada Yoshiaki was born in Ishikawa, home of Kutani wares, in 1948. He studied under Yamachika Tsuyoshi and Takegoshi Taizan whose influence is apparent. He began exhibiting in 1975 with the Souzou Bijutsu-kai Art Organization. Since his works have been exhibited and awarded in a plethora of venues, public exhibitions and private galleries. His work has been collected by the Imperial household and given as gifts to foreign dignitaries.
Modern Japanese Ceramics
Sold, with thanks!
Sold, with thanks!
My Australian friend nailed it when he looked at this Tsujimura Shiro tsubo and emphatically declared: Bro that is crusty as….
Shiro is known for his lopsided forms and ash encrustation, and this vessel does not disappoint. It is 18 cm (7 inches) diameter, roughly the same height and in excellent condition, enclosed in the original signed wooden box.
Tsujimura Shiro was born in Nara in 1947, and began his steps into the art world as an oil painter in 1965. While living at a Buddhist temple he experienced a profound connection with a Korean Tea Bowl, and began potting. He established his kiln and residence in 1970, with his first solo exhibition held in 1977. By the 1990s he had become an international star, with works exhibited in the US, UK, Germany, France and many other nations. He is highly acclaimed and somewhat reclusive, avoiding the public spectacles often needed to make one in Japan. A must have in any contemporary collection of Japanese ceramic art, work by him is held in museums throughout the globe, including The Metropolitan Museum of Art New York, The Museum of Fine Arts in Boston, The Cleveland Museum of Art, The Minneapolis Institute of Arts, The Brooklyn Museum of Art, The Freer Gallery of Art and Arthur M. Sackler Gallery at Smithsonian Institution, The Asian Art Museum of San Francisco, The Spencer Museum, Ackland Art Museum, The Art Institute of Chicago, The British Museum, Stockholm Museum of Art and the Miho Museum among many others
Shiro is known for his lopsided forms and ash encrustation, and this vessel does not disappoint. It is 18 cm (7 inches) diameter, roughly the same height and in excellent condition, enclosed in the original signed wooden box.
Tsujimura Shiro was born in Nara in 1947, and began his steps into the art world as an oil painter in 1965. While living at a Buddhist temple he experienced a profound connection with a Korean Tea Bowl, and began potting. He established his kiln and residence in 1970, with his first solo exhibition held in 1977. By the 1990s he had become an international star, with works exhibited in the US, UK, Germany, France and many other nations. He is highly acclaimed and somewhat reclusive, avoiding the public spectacles often needed to make one in Japan. A must have in any contemporary collection of Japanese ceramic art, work by him is held in museums throughout the globe, including The Metropolitan Museum of Art New York, The Museum of Fine Arts in Boston, The Cleveland Museum of Art, The Minneapolis Institute of Arts, The Brooklyn Museum of Art, The Freer Gallery of Art and Arthur M. Sackler Gallery at Smithsonian Institution, The Asian Art Museum of San Francisco, The Spencer Museum, Ackland Art Museum, The Art Institute of Chicago, The British Museum, Stockholm Museum of Art and the Miho Museum among many others
Modern Japanese Ceramics
sold, with thanks!
sold, with thanks!
A quintessential work showing the decorative aesthetic of Ichino Masahiko enclosed in the original signed wooden box titled Senmonki (Lined Vessel). The square opening, thin and delicate, reminds me of the architectural grace of Ando Tadao. This is exactly what he is known for, and if you were going to have just one piece by Ichino-san, this might be just the thing to suit the bill. It is 26 cm (10-1/4 inches) diameter and in excellent condition.
The youngest winner ever at the 13th National Ceramic Exhibition (Nihon Togeiten), Ichino Hiroyuki is a powerhouse in Tamba, bringing that long forgotten corner of Japan’s ceramic realm back into the limelight. He was born in Sasayama, heart of Tamba, in 1961, and studied in Kyoto under Imai Masayuki, and under his father Ichino Shinsui. He established his own kiln in 1988, and in 1995 caught the worlds attention with his work “Kai” at the 13th Nihon Togeiten. In 99 his work was selected for the Japanese Ceramic Exhibition Tour sponsored by the Japan Foundation, and that was the first of many overseas exhibits featuring his work. In 2006 he received the JCS award (Japan Ceramic Society prize), one of the most coveted in Japan, and in 2009 received the grand prize at the Tanabe Museum Modern forms in Tea Exhibition. He is held in the collection of the V&A, New Orleans Museum of Art, Brooklyn Museum, Tanabe Museum and Japan Foundation among many others.
The youngest winner ever at the 13th National Ceramic Exhibition (Nihon Togeiten), Ichino Hiroyuki is a powerhouse in Tamba, bringing that long forgotten corner of Japan’s ceramic realm back into the limelight. He was born in Sasayama, heart of Tamba, in 1961, and studied in Kyoto under Imai Masayuki, and under his father Ichino Shinsui. He established his own kiln in 1988, and in 1995 caught the worlds attention with his work “Kai” at the 13th Nihon Togeiten. In 99 his work was selected for the Japanese Ceramic Exhibition Tour sponsored by the Japan Foundation, and that was the first of many overseas exhibits featuring his work. In 2006 he received the JCS award (Japan Ceramic Society prize), one of the most coveted in Japan, and in 2009 received the grand prize at the Tanabe Museum Modern forms in Tea Exhibition. He is held in the collection of the V&A, New Orleans Museum of Art, Brooklyn Museum, Tanabe Museum and Japan Foundation among many others.