Modern Japanese Ceramics
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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.
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.
Modern Japanese Ceramics
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Mottled clay in lively matt colors blends on this square bottle by Living National Treasure Matsui Kosei enclosed in the original signed wooden box titled Fuhakuji Henko. It is 12 x 15 x 13 cm (4-3/4 x 6 x 5-1/4 inches) and in excellent condition.
Modern Japanese Ceramics
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A striking black and orange striped vase in simplified ovoid form by Mukunoki Eizo enclosed in the original signed wooden box titled Kokusai Tsubo. This was purchased at a Mitsukoshi Exhibition. It is 8 inches (20 cm) tall and in excellent condition.
Mukunoki Eizo Born in Shimane, and graduated the prefectural ceramics research facility before he apprenticed under Kawai Kanjiro in 1958. He would stay with Kanjiro until the masters death in 1966. To show respect and mourning for his sensei, Eizo quit potting for 1 year after this passing. He has since repeatedly exhibited at the Nihon Mingei Exhibition, Nihon Togeiten National Ceramics Exhibition, and the National Traditional Crafts Exhibition. In 1974 he established his kiln in Toyooka, Hyogo prefecture. He changed his name to Shunsui in 1996.
Mukunoki Eizo Born in Shimane, and graduated the prefectural ceramics research facility before he apprenticed under Kawai Kanjiro in 1958. He would stay with Kanjiro until the masters death in 1966. To show respect and mourning for his sensei, Eizo quit potting for 1 year after this passing. He has since repeatedly exhibited at the Nihon Mingei Exhibition, Nihon Togeiten National Ceramics Exhibition, and the National Traditional Crafts Exhibition. In 1974 he established his kiln in Toyooka, Hyogo prefecture. He changed his name to Shunsui in 1996.
Modern Japanese Ceramics
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The playful form of this pottery work by the ever lively Yangaihara Mutsuo seems to be overfull with joy, weeping out from the bottom to form a puddle below. It is enclosed in the original signed wooden box titled Kuro Oribe Choko and dated 1992. The vessel is 39 cm (16 inches) tall, 19 x 17 cm (7-1/2 x 7 inches) across the base and in excellent condition. This is a rare opportunity for one of the more greatly collected artists of recent years.
Yanigahara Mutsuo (b.1934) was raised in Seto, and studied in Kyoto along with contemporary Morino Taimei with whom he maintained a lifelong friendship. His work is largely sculptural, and his choice of colors is his reflection on the decadence of Japanese society. A list of exhibitions and awards would be much too long but includes the Japan Ceramics Society Gold prize in 2002. Listed as one of the most influential potters of the 20th century in the Japanese ceramics magazine Honoho Geijutsu, he is held in the Museum of Modern Art, both Tokyo and Kyoto (MOMAT, MOMAK), The National Museum of Art, Osaka, V&A, Great Victoria Art Gallery, Portland and any number of other prominent public and private collections throughout the world. For more see Japanese Studio Crafts, Tradition and the Avant Garde by Rupert Faulkner. According to the V&A his “work is striking for its blend of dynamism, colour and wit. A leading figure among Kyoto artists, Yanagihara has taught at Osaka University of Arts since 1968. Yanagihara's application of brightly coloured abstract motifs to vessel forms with anatomical, sometime sexually explicit features - a combination with which he first experimented in the late 1960s and early 1970s - has been a characteristic of his work for the past fifteen years. As in the case of Morino Taimei, a close friend and exact contemporary at Kyoto City University of Arts in the late 1950s, Yanagihara has been considerably influenced by the experiences he gained during two periods of teaching in the United States in 1966-8 and 1972-4. His use of gold and silver - a wry comment, he has explained, on the decaying values of contemporary society and the corruption of Japan's political system - echoes the extravagant style of certain North American artists.”
Yanigahara Mutsuo (b.1934) was raised in Seto, and studied in Kyoto along with contemporary Morino Taimei with whom he maintained a lifelong friendship. His work is largely sculptural, and his choice of colors is his reflection on the decadence of Japanese society. A list of exhibitions and awards would be much too long but includes the Japan Ceramics Society Gold prize in 2002. Listed as one of the most influential potters of the 20th century in the Japanese ceramics magazine Honoho Geijutsu, he is held in the Museum of Modern Art, both Tokyo and Kyoto (MOMAT, MOMAK), The National Museum of Art, Osaka, V&A, Great Victoria Art Gallery, Portland and any number of other prominent public and private collections throughout the world. For more see Japanese Studio Crafts, Tradition and the Avant Garde by Rupert Faulkner. According to the V&A his “work is striking for its blend of dynamism, colour and wit. A leading figure among Kyoto artists, Yanagihara has taught at Osaka University of Arts since 1968. Yanagihara's application of brightly coloured abstract motifs to vessel forms with anatomical, sometime sexually explicit features - a combination with which he first experimented in the late 1960s and early 1970s - has been a characteristic of his work for the past fifteen years. As in the case of Morino Taimei, a close friend and exact contemporary at Kyoto City University of Arts in the late 1950s, Yanagihara has been considerably influenced by the experiences he gained during two periods of teaching in the United States in 1966-8 and 1972-4. His use of gold and silver - a wry comment, he has explained, on the decaying values of contemporary society and the corruption of Japan's political system - echoes the extravagant style of certain North American artists.”
Modern Japanese Ceramics
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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.
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.
Modern Japanese Ceramics
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A pottery box decorated in over-glaze enamels and precious metals by Kato Reikichi enclosed in the original signed wooden box titled Sengiri Jikiro. It is a colorful and playful work a pleasure to look upon. It is 9-1/2 x 5-1/2 x 8 inches (24 x 14 x 20 cm) and is in excellent condition.
Kato Reikichi was born in 1953 the 22nd generation of an unbroken line of potters spanning back to the Keicho era in the Momoyama period. He graduated the art department of Tamagawa University and has since worked to expand his traditional repertoire with an emphasis on sculpture and experimentive glaze research. He has been exhibited and awarded at the Nitten on numerous occasions. He received several awards over the years at the Chunichi Kokusai Togeiten International Ceramic Exhibition, as well as the Asahi Togeiten, Nihon Shin Kogeiten National New Crafts Exhibition, and the Niko-kai Exhibition among many others. His work is held by the Seto City Museum, The Furukawa Museum The Nitten Kaikan and the Aichi Prefectural Ceramics Museum among others.
Kato Reikichi was born in 1953 the 22nd generation of an unbroken line of potters spanning back to the Keicho era in the Momoyama period. He graduated the art department of Tamagawa University and has since worked to expand his traditional repertoire with an emphasis on sculpture and experimentive glaze research. He has been exhibited and awarded at the Nitten on numerous occasions. He received several awards over the years at the Chunichi Kokusai Togeiten International Ceramic Exhibition, as well as the Asahi Togeiten, Nihon Shin Kogeiten National New Crafts Exhibition, and the Niko-kai Exhibition among many others. His work is held by the Seto City Museum, The Furukawa Museum The Nitten Kaikan and the Aichi Prefectural Ceramics Museum among others.
Modern Japanese Ceramics
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A large primitive robotic form by Morino Taimei in his iconic blue and gold dating from his experimental days in the early 1970 enclosed in the original signed wooden box titled Soji Shiho Kabin. It is 12 inches (30 cm) tall, 6 inches (15 cm) square and in excellent condition.
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.
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
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Sold, with thanks!
A soft pallet of blurred pastels blend between gold risers on this elegant form by Yoshita Yukio enclosed in the original signed wooden box titled Saishoku Kinsai Hanike and dating circa 2002. It is 11 inches (28 cm) tall and in excellent condition.
Yoshita Yukio is the fourth generation head of the Kinsan Kiln in Kutani, specializing in Kinsai and Yuri-Kinsai wares. Unlike standard Kutani wares, he uses a pallet of soft, earthy or pastels with accents in gold to create a new appeal. Born in Komatsu, Ishikawa in 1960, he first garnered public attention at the Asahi Togeiten in 1985, where his entry was awarded. He has since received many awards, on both local and national levels including the Issui-kai and the Nihon Dento Kogei Ten National Crafts Exhibition and Nihon Togeiten National Ceramic Exhibition. He is held in the collection of the Ishikawa Prefectural Museum, Indianapolis Museum of Art and Komatsu City Museum among others.
Yoshita Yukio is the fourth generation head of the Kinsan Kiln in Kutani, specializing in Kinsai and Yuri-Kinsai wares. Unlike standard Kutani wares, he uses a pallet of soft, earthy or pastels with accents in gold to create a new appeal. Born in Komatsu, Ishikawa in 1960, he first garnered public attention at the Asahi Togeiten in 1985, where his entry was awarded. He has since received many awards, on both local and national levels including the Issui-kai and the Nihon Dento Kogei Ten National Crafts Exhibition and Nihon Togeiten National Ceramic Exhibition. He is held in the collection of the Ishikawa Prefectural Museum, Indianapolis Museum of Art and Komatsu City Museum among others.
Modern Japanese Ceramics
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An iconic representation of this artists work, a large hidasuki Tsubo of red clay marked with burnt straw by Isezaki Mitsuru enclosed in the original signed wooden box titled Bizen Tsubo. It is 9-1/2 inches (24 cm) diameter, 10-1/2 inches (26.5 cm) tall and in excellent condition.
Isezaki Mitsuru (b. 1934) was born to a family of potters, his father Yozan and 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.
Isezaki Mitsuru (b. 1934) was born to a family of potters, his father Yozan and 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.
Modern Japanese Ceramics
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A red Sado Mumyoi-yaki Tokkuri (Shuchu) by Living National Treasure Ito Sekisui V enclosed in the original signed wooden box. It is 5 inches (13 cm) tall and in excellent condition.
Ito Sekisui V (Yoichi) is the 14th generation of the family to follow in the pottery tradition. His father, Ito Sekisui IV, died when Yoichi was only 19. Upon completion of studies at Kyoto University in 1966, he returned to his hometown of Sado to succeed the lineage. His work was displayed for the first time at the Nihon Dento Kogeiten (National Traditional d Crafts Exhibition) in 1972. The following year he won first prize at the Nihon Togeiten (Japan Ceramic Art Exhibition). In the 1980s, Sekisui V started to create neriage works as well as his family's traditional mumyoi-yaki pieces, and in 2003 he was appointed a Living National Treasure for his work in these fields.
Ito Sekisui V (Yoichi) is the 14th generation of the family to follow in the pottery tradition. His father, Ito Sekisui IV, died when Yoichi was only 19. Upon completion of studies at Kyoto University in 1966, he returned to his hometown of Sado to succeed the lineage. His work was displayed for the first time at the Nihon Dento Kogeiten (National Traditional d Crafts Exhibition) in 1972. The following year he won first prize at the Nihon Togeiten (Japan Ceramic Art Exhibition). In the 1980s, Sekisui V started to create neriage works as well as his family's traditional mumyoi-yaki pieces, and in 2003 he was appointed a Living National Treasure for his work in these fields.
Modern Japanese Ceramics
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sold, thank you
A massive Shigaraki Tsubo by Kanzaki Shiho enclosed in the original signed wooden box. Spectacular keshiki resulting from the combination of multiple kiln affects and textures. The Tsubo is 19-1/2 inches (50 cm) tall, 15 inches (38 cm) diameter and in perfect condition, dating circa 1990. Due to size the cost of shipping will be figured separately from the list price.
Kanzaki (b. 1942) prefers firing his kiln for ten days, resulting in the rich textures and heavy ash deposits apparent on this Tsubo. He began life 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 has 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.
Kanzaki (b. 1942) prefers firing his kiln for ten days, resulting in the rich textures and heavy ash deposits apparent on this Tsubo. He began life 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 has 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.
Modern Japanese Ceramics
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Sold, with thanks!
A large swirling form 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.
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.
Modern Japanese Ceramics
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Sold, With thanks!
A pointed tower in burnt gray clay by Mihara Ken enclosed in the original signed wooden box titled Kaki. Here the artist has joined three slabs into an unconventional horn, slotted on one side to accept a flower. A single camellia blossom in rich red, a few green leaves against the gray body in the dark corner of a Tea Room would be incredible. It is 11 inches tall and in fine condition.
Mihara Ken was born in Shimane prefecture in 1958, and apprenticed under Funaki Kenji at the age of 23. He has been exhibited and or prized at the All Japan Ceramic Exhibition (Nihon Togei Ten), Asahi Ceramic Exhibition, the National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) as well as the Tanabe Museum Chanoyu no Zokei Ten (Modern tea forms Sculpture Exhibition). He has displayed in both Europe and America and is held in the permanent collection of the Tanabe Museum of Art and the New Orleans Museum of Art among many others.
Mihara Ken was born in Shimane prefecture in 1958, and apprenticed under Funaki Kenji at the age of 23. He has been exhibited and or prized at the All Japan Ceramic Exhibition (Nihon Togei Ten), Asahi Ceramic Exhibition, the National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) as well as the Tanabe Museum Chanoyu no Zokei Ten (Modern tea forms Sculpture Exhibition). He has displayed in both Europe and America and is held in the permanent collection of the Tanabe Museum of Art and the New Orleans Museum of Art among many others.
Modern Japanese Ceramics
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A superb example of the work of this Living National Treasure, 8 inches (21 cm) diameter, 7-1/2 inches (19 cm) tall and in excellent condition.
Designated Living National Treasure in 1997 for his supremacy in the use of Kutani glazes, Yasokichi, born Masahiko, has gone a step further than many National Treasures by broadening his spectrum with a new style of Kutani ware. Masahiko graduated from the Kanazawa school of arts, and took up apprenticeship under his father Yasokichi II. His works are held by many private collections, as well as the Polk museum and Kanazawa Contemporary Museum of Art.
Designated Living National Treasure in 1997 for his supremacy in the use of Kutani glazes, Yasokichi, born Masahiko, has gone a step further than many National Treasures by broadening his spectrum with a new style of Kutani ware. Masahiko graduated from the Kanazawa school of arts, and took up apprenticeship under his father Yasokichi II. His works are held by many private collections, as well as the Polk museum and Kanazawa Contemporary Museum of Art.
Modern Japanese Ceramics
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A proud form of a fulling block inscribed with a wave pattern in the raw clay of the base and covered in ame-yu glaze by Inoue Toya enclosed in the original signed wooden box. It is 9-1/2 inches (24 cm) tall, 6 inches (15 cm) diameter and 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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A traditional shape called Kinuta (fulling block) draped with ochre glaze over charred blacks by Tsukigata Nahiko wrapped in a brocade bag and enclosed in the original signed wooden box titled Oni Shino Kinuta Hana-Ike which is in turn enclosed in a black lacquered wooden double-wood storage box. A Kinuta (fulling block) is a small wooden mallet used to beat silk into a soft texture. It is a very traditional shape in Japanese pottery. This is 9 inches (23 cm) tall and in excellent condition. A superlative example of this artists work.
Tsukigata Nahiko (1923-2006) was not only an accomplished ceramic artist, but also a painter, calligrapher, sculptor and musician. Born in Niigata prefecture, he was at Waseda University in 1941 when he was summarily drafted into the Army. After the war he attended the Arts course of Nippon Daigaku University and was struck by the works of Living National Treasure Arakawa Toyozo, to whom he apprenticed in the arts of Shino and took his mentors work to a new level. Like all art, his was alive and always evolving. Starting with the replication and research of Momoyama techniques to the culmination of his efforts in Oni-shino, Nahiko has taken Shino beyond all others. It was not an easy road, for the first 15 years he worked for a ballet school, spent time as a recluse priest at Myoanji temple, and wandered the country playing the shakuhachi. It was a time of great change in Japan, starvation was rampant immediately after the war and supporting oneself through the little known art of Shino-yaki was difficult. However he persevered, along with Toyozo, Kato Juuemon, Kato Kohei and others, to bring Shino to the forefront of ceramic arts. Heavily prized domestically and abroad in his lifetime, his low output and unique quality make his work a must have for collectors. Ayukai Kogetsu was a female artist from Miyagi prefecture who became a student and follower of Tsukigata in 1979. She currently takes part in calligraphy and ceramic exhibitions throughout Japan.
Tsukigata Nahiko (1923-2006) was not only an accomplished ceramic artist, but also a painter, calligrapher, sculptor and musician. Born in Niigata prefecture, he was at Waseda University in 1941 when he was summarily drafted into the Army. After the war he attended the Arts course of Nippon Daigaku University and was struck by the works of Living National Treasure Arakawa Toyozo, to whom he apprenticed in the arts of Shino and took his mentors work to a new level. Like all art, his was alive and always evolving. Starting with the replication and research of Momoyama techniques to the culmination of his efforts in Oni-shino, Nahiko has taken Shino beyond all others. It was not an easy road, for the first 15 years he worked for a ballet school, spent time as a recluse priest at Myoanji temple, and wandered the country playing the shakuhachi. It was a time of great change in Japan, starvation was rampant immediately after the war and supporting oneself through the little known art of Shino-yaki was difficult. However he persevered, along with Toyozo, Kato Juuemon, Kato Kohei and others, to bring Shino to the forefront of ceramic arts. Heavily prized domestically and abroad in his lifetime, his low output and unique quality make his work a must have for collectors. Ayukai Kogetsu was a female artist from Miyagi prefecture who became a student and follower of Tsukigata in 1979. She currently takes part in calligraphy and ceramic exhibitions throughout Japan.
Modern Japanese Ceramics
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Bidoro rain down like a glass bead curtain over the terracotta clay of this Shigaraki Tsubo by Takahashi Shunsai enclosed in the original signed wooden box. It is 8-1/4 inches (20.5 cm) tall and in fine 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 Intangable Cultural Property (Treasure) in 1995.
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 Intangable Cultural Property (Treasure) in 1995.
Modern Japanese Ceramics
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Camellia blossom on this flattened form by Ito Motohiko enclosed in the original signed wooden box titled Nunome Tsubaki Mon Kabin (Cloth Texture Vase with Camellia Design).
It is 10 inches (26 cm) tall and in excellent condition.
The artist 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 current Emperor in person as well as receiving the Shijuho-sho prize from his majesty.
The artist 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 current Emperor in person as well as receiving the Shijuho-sho prize from his majesty.