Catalog: Artists: Ceramics: Pottery (587)

This past summer I had occasion to visit Richard Milgrim in his Mountain Studio and asked him to pair some sake cups and Tokkuri for us. It is a rare opportunity to have an artist personally select pieces which he feels work together. This set is making use of his signature Concord glaze (Konko-yu) from America, with clay from Japan, while the cup is also using a variant of that glaze Black Concord (Konko-guro). The Tokkuri is 9 cm (3-1/2 inches) diameter, 12 cm (5 inches) tall. The rim of the cup wavers between 6 and 6.5 cm diameter (roughly 2 inches) and both are new from the artist in perfect condition.
Richard Milgrim (b. 1955) of White Plains New York graduated Antioch College in 1979 following a year travelling in Japan and internship at the Fogg Museum of Harvard. That same year he began down a path, following a “way” as it is called in Japan, Sado or Chanoyu, the Japanese Tea Ceremony. That same year he returned to Japan, apprenticing initially under Iwabuchi Shigeya while studying at the Midorikai of Urasenke. His first solo exhibition was held in 1981, one of many, and he subsequently began to move about Japan, gobbling up styles under various masters such as Living National Treasure Fujiwara Yu, Kato Koemon and Tahara Tobei. He established his own kiln in Hiyoshi, North of Kyoto in 1984. He is probably the only foreign potter to be truly accepted into the brand conscious world of Japanese tea, and his shows frequently sell out early. From 2000 to 2014 he spit his time between Hiyoshi and a kiln he established in Concord Massachusetts, where he developed some innovative techniques and glazes now firmly a part of his repertoire in Japan. He is adept therefore with Shino, Oribe, Bizen, Seto, Karatsu and Yakishime styles. According to Richard “Since 1977 on my first arrival in Kyoto, I have been blessed with an unending flow of "deai" (encounters) that have almost been like stepping stones on the garden path, leading me into the innermost depths of the field of "Chatou" (tea ceramics).Undoubtedly the most significant "deai" was meeting Dr. Sen Genshitsu (the former 15th generation Grand Master of the Urasenke Tea Tradition), in 1979. With his guidance and endorsement over the years, including the naming of my 2 studios in both Japan-RICHADO-GAMA, and America- KONKO-GAMA, Dr. Sen has been the primary catalyst in the development of my career over the past 40 years.”

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

A spectacular work by Maeda Masahiro enclosed in the original signed wooden box titled Iro-e Kin-gin-sai Mentori Hachi (Faceted Bowl with Gold, Silver and Colored Decoration). It is roughly 6-1/2 inches (16.5 cm) diameter, 5-1/4 inches (14 cm) tall and in excellent condition.
Maeda Masahiro (b. 1948) graduated the Tokyo National University of Fine Arts in 1975where he received instruction from Living National Treasure Fujimoto Yoshimichi and Tamura Koichi as well as Asano Akira. He has exhibited with the Nihon Dento Kogeiten (National Traditional Crafts Exhibition), The National Ceramics Exhibition (Nihon Togeiten), and taken part innumerable museum and traveling exhibitions both within Japan and abroad. Hi works have been collected by the Ibaraki Ceramic Art Museum, Musée Tomo, Tokyo, Minneapolis Institute of Art, and Asian Art Museum, San Francisco among many others.

Tarnished beaded silver is draped in gold over which runs a deep forest green on this apple shaped chawan by innovative artist Ichikawa Toru enclosed in the original signed wooden box. A thick gold tinged bead dangles from one side, and bubbly dark glaze pools within. It is 11.5 cm (4-1/2 inches9 diameter and in excellent condition. He really takes things to the extreme, challenging and yet incorporating something of the idea of Wabi into his outlandish works.
Ichikawa Toru was born in Tokyo in 1973. In 2015 he established his current studio in Bizen after 4 years of apprenticeship under another Bizen Outsider, Kakurezaki Ryuichi. He has since developed quite a following, with his shows selling out often within hours.

Widely fissured pale green glaze covers the elegant form of this fresh water jar for use in the Japanese Tea Ceremony by Uraguchi Masauyuki enclosed in the original signed wooden box titled simply Seiji Mizusashi. It is 12.5 cm (5 inches) tall, 16.5 cm (6-1/2 inches) diameter and in excellent condition. It comes complete with the original black lacquered wooden lid.
Uraguchi Masayuki (b. 1964) discovered pottery while attending the Tokyo National University of Fine Art and Music and his world turned when he was introduced to a Song Dynasty Seiji Vase" at the Tokyo National Museum designated a National Treasure during one of his art courses. After graduation he met (and studied under) living National Treasure for celadon Miura Koheiji at the Tokyo University of Art. Inspired by the Southern Song celadons as well as the work of Japanese master ceramists Itaya Hazan and Okabe Mineo, Uraguchi spent years personally researching his own celadon glazes and clay bodies types. He finished his post graduate program in 1989, claiming a prize that same year at the National Traditional Arts and Crafts New Works Exhibition (Nihon Dento Kogei Shinsakuten). The following year he would b awarded at the Nitten National Exhibition. In 1991 he established his kiln in Tochigi prefecture. He has since received innumerable awards, including the Asahi Ceramic Art Exhibition, Japan Ceramic Art Exhibition (Nihon Togeiten) among many others. In 1995 he travelled to China to study first-hand the Song guan and Longquan ceramics. In 2001 he moved his Kiln to Hachigocho, Ibaraki Prefecture

Glaze Bidoro sweep upwards toward one red eye on this amazing tsubo by Yukuyoshi Manabe enclosed in the original signed wooden box titled Bizen Yohen Tsubo. It is 11 inches (28 cm) diameter, 10-1/4 inches (26 cm) tall and in excellent condition.
Yukuyoshi Manabu was born in Kagatonishi near the heart of Bizen country in 1941. After working in Osaka as a young man, he returned to Bizen to assist the family building supply company. There he began to study clay under Mori Hozan and Ohira Seinosuke. After rebuilding an old kiln, he established his own. He ahs exhibited with the Issuikai Ten, the Chunichi Kokusai Togeiten, the National Ceramic Exhibition (Nihon Togeiten) among many others and has received a great many awards over his career.

Simple arcs of bent-grass in iron decorate this large bowl by living National Treasure Shimizu Uichi enclosed in the original signed wooden box titled Tetsu-e Chawan. It is 14.8 cm (6 inches) diameter, 8 cm (3 inches) tall and in excellent condition. It comes with a clipping from a newspaper announcing the naming of Uichi as Living National Treasure in 1985.
Shimizu Uichi (1926-2004) was born in Kyoto the son of a ceramic dealer. Discarding the family business he apprenticed in plastic arts under Ishiguro Munemaro. His work retains some principal elements of his teachers style while incorporating an understated elegance and avant-garde spirit of challenge uncommon for his time. He was first exhibited at the Nitten in 1951, receiving numerous awards there since. He also took the gold medal at the Prague International Exhibition, and was at the Brussels World Exposition. He is in the collection of the Tokyo National Museum, Kyoto Museum of Modern art, Clark Center and the Freer Gallery among others.

An eccentric crusty bowl, very different, by Hashimoto Tomonari enclosed in the original signed wooden box titled Raku Yaki Yohen Chawan. Unlike his normal burnished and color ridden surfaces, this bowl is ominous, matte, shot through with pin-hole-textures and rivulets streaming from the rim. It is like something from deep within the universe, an ancient traveler which has been charred and scarred on its way through the atmosphere. Not only that but it is slightly deeper than his normal bowls, 10.5 cm (4 inches) to the rim, and misshapen, 10.5 to 11.5 cm ((4-4-1/2 inches) diameter, making it fit better in the hand. On a recent visit to the artist, after viewing a number of his newest bowls, I had to ask: Which one is your favorite? Without hesitation he went straight to this one.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. He is held in the collection of the V&A London and Los Angeles County Museums.

A novel look at the Onioke idea of a handled vase, this one rising like Devils Tower to a narrow opening crossed by a handle by Nishihata Tadashi enclosed in the original signed wooden box titled Yohen Oke-gata Hanaire. It is 31.5 cm (12-1/2 inches) tall and in excellent condition.
Nishihata Tadashi was born in Sasayama in the mountains of Hyogo, and ancient castle town in 1948. He began potting in 1969, focusing on items for use. In 1986 he first entered the realm of public exhibitions with his entry into the Nihon Dento Kogeiten National Traditional Crafts Exhibition in 1986. He was awarded in 1988 at the Kinki Kogeiten regional Crafts fair. In 1989 he would see the first of many awards at the Nihon Dento Kogeiten National Traditional Crafts Exhibition as well as a first time entry into the Nihon Togeiten National Ceramics Exhibition. In 1990 he would continue garnering fame with the first of several awards at the Tanabe Art Museum Chanoyu no Zokei Ten (Modern Forms in Tea). After that his career has escalated, with many more recognitions at these Expositions. For more see the recently acquired piece by Tadashi at the Asia Pacific Art Museum in San Francisco

Vivid yellow streaked with glassy Oribe green glaze highlights the sculpted middle of this exquisite covered jar by important artist Hayashi Shotaro enclosed in the original signed wooden box titled Oribe Mizusashi. It is entirely sculptural, with a refinement of glaze only this artist can create. Spectacular is all that comes to mind when viewing this groundbreaking artists work. The piece is 7 inches (18 cm) diameter, 6 inches (16 cm) tall and in perfect 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.

An incredible bowl of spotted ink supplanted by a midnight blue rim by Kimura Moriyasu enclosed in the original signed wooden box titled humbly Tenmoku-yu Chawan. It is 5 inches (12.5 cm) diameter, 3-1/2 inches (8.5 cm) tall with a perfectly formed foot and slightly in-curving bowl form perfect for winter tea. The colors are reminiscent of the Kujaku-yu developed by Matsuyama Gae, yet the application is very different.
Kimura Moriyasu (b. 1935) studied pottery initially at the Kyoto Ceramics Research Facility (which turned out such masters as Hamada Shoji and Kawai Kanjiro) and then under his brother Kimura Morikazu. He is well known for his use of crawling and oil spot glazes. He exhibits with the Gendai Nihon Togeiten and Nihon Dento Kogeiten among others. He has been awarded the Kyoto Prefectural Order of Cultural Merit (2004). Work by him is held in the Britush Museum, Boston Museum, Dallas Museum and Ise Shrine among others.

As mentioned before, what I love about the work of Teramoto Mamoru is it is so vivacious and full of life, full of movement. This vase has all that life and movement on a perfect, elegant form. Here also is another dimension, with the pebble textured surface breaking up the reflection of light granting a tactile quality to the silver. It comes enclosed in the original signed wooden box titled Ginasi Hachi (Silver Glazed Bowl) complete with Shiroi and shifuku. The designs of various colors are applied in layers, each abstract from the overlying silver. Signed on the base Mamoru, the vase 32 cm (12-1/2 inches) tall, 17 x 11.5 cm (6-1/2 x 4-1/2 inches) and in excellent condition.
Teramoto Mamoru (1949-present) born in Kanagawa prefecture, initially worked at the Kasama Kobayashi Research Facility after graduating the Tokyo Craft Design Institute. Later he apprenticed under the instruction of both Matsumoto Saichi of Kutani, and Miura Isamu. He established his own kiln in 1976 in Kasama. His works have been displayed and prized at the Nihon Dento Kogeiten (National Traditional Crafts Exhibtion), Nihon Togei Ten (National Ceramics Exhibition) as well as the Shinsaku Ten (New Crafts Exhibition). For more information on this artist see the Catalog from the Nancy Fitz-Gerald Collection. Although Kasama has a long history as a pottery center, when Teramoto established himself there, not many old kilns existed. When asked why he chose the locale, “I thought that would free me from any fixed format and allow me to create freely.”

A black pipe reminiscent of both an ancient Japanese court cap and a industrial burner chimney by Shibata Shigeru dating circa 1978 enclosed in the original signed wooden box titled Kuro-yu Kaki, Okoru (Black Glazed Vase Titled Rise-up or Occurrence). This piece strongly shows the convention of the second generation Sodeisha members interest in form over decoration. It is quite large at 15 inches (38 cm) tall and in excellent condition.
Shibata Shigeru was born in Tokyo in 1950, graduating the Kyoto Municipal University of Art in 1973, upon which time he moved to his present location. In 1975 he became a member of the avant-garde Sodeisha group which stressed form over function. He held his first solo exhibition in 1980, and was selected for exhibition at the 6th Nihon Togeiten National Ceramic Exhibition in 1981. From there he has concentrated on the more intimate confines of private galleries. For more see Sodeisha Avant Garde Japanese Ceramics, (1979) or Toh vol. 58.

A small Hip-shaped vessel by Yamaguchi Michie enclosed in the original signed wooden box titled Momo-yu Kaki (peach colored Vase). This pink is her signature color, meant to intimate flesh, it is finely veined and matte, with a sense of moisture lik human skin. The vase is 20 x 21 x 17 cm and is in excellent condition, directly from the artist.
Yamaguchi Michie was born in Aichi prefecture in 1964, and came to pottery at the age of 35, opening her studio in Nagoya in 2003. She first exhibited with the Nitten National Art Exhibition in 2008. In 2009 she was accepted into the Nihon Togeiten National Ceramic exhibition, where she has been subsequently awarded. That same year she was recipient of the Shorei-sho prize at the Kobe Biennale, and she entered for the first time the Womans Association of Ceramic Artists (WACA) Exhibition, receiving the T-shi prize. In 2011 she would be awarded at the Kikuchi Biennale, the 45th Female Artist Exhibition, as well as the Nihon Shin Kogeiten National New Crafts Exhibition. She would also first enter the International Ceramics Festival in Mino. 2012 saw her work awarded at the Mino Togei Shorokusho Chawan Ten Tea Bowl exhibition as well as the Mino Togei Ceramic Exhibition. In 2014 she was prized at the Hagi Taisho-ten show. She was awarded again in 2017 at the 43rd Mino Togeiten, and Governors prize at the 54th WACA Exhibition in 2020. In 2021 she was awarded the 43rd Nihon Shin Kogeiten New Crafts Exhibition, as well as the Kasama Togei Taishou Ten and in 2022 at the Tobi Ceramic Art Society of Japan Exhibition. She has taken part in ceramic events in Europe and Korea, and her work is held in the Toshin Ceramic Museum.

There is a lot of drama and tension between the various facets of this ash encrusted Shigaraki outcrop by Furutani Kazuya enclosed in the original signed wooden box titled Shigaraki Mentori Hanaire. (Faceted Vase). Every angle offers a unique view, texture, glazing, form, a vase which you can never grow tired of. I see it with an angular branch of plum blossoms, or perhaps Nandina loaded with red berries. It is 33 cm (13 inches) tall 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.

Wow, a jaw-dropping bowl in igneous black like some volcanic expulsion by Kim Hono enclosed in the original signed wooden box. So impressed was even the artist with this piece that he has drawn an image of the bowl up the side of the box and over onto the lid. It is 11.5 x 13 x 10 cm 4-1/2 x 5 x 4 inches) and in excellent condition.
Kim Hono was born in Seto City Aichi Prefecture in 1958, and graduated the Prefectural Ceramics School in 1977, then taking up apprenticeship at a local kiln before establishing himself as an independent artist in 1982. He held his first solo exhibition in Nagoya in 1985. He has been exhibited at the Nihon Togeiten National Ceramics Exhibition Dento Kogeiten National Traditiaonal Crafts Exhibition, Asahi Togeiten Exhibition, Chunichi Kokusai Togeiten, and his works being shown in some of Japans top galleries including Kuroda Toen in Tokyo’s Ginza ward. Not to be defined, even by himself, famously when asked by Hohnoho Magazine to define his work he cryptically replied only: Kaze wo Kanjiru Koto (Feeling the wind).

An exquisite chawan tea bowl by Uraguchi Masayuki enclosed in the original signed wooden box titled Seiji Hyosai Chawan (Shattered Ice Celadon Tea Bowl). It is 13 cm (5 inches) diameter, 8.5 cm (3-1/2 inches) tall and in perfect condition.
Uraguchi Masayuki (b. 1964) discovered pottery while attending the Tokyo National University of Fine Art and Music and his world turned when he was introduced to a Song Dynasty Seiji Vase" at the Tokyo National Museum designated a National Treasure during one of his art courses. After graduation he met (and studied under) living National Treasure for celadon Miura Koheiji at the Tokyo University of Art. Inspired by the Southern Song celadons as well as the work of Japanese master ceramists Itaya Hazan and Okabe Mineo, Uraguchi spent years personally researching his own celadon glazes and clay bodies types. He finished his post graduate program in 1989, claiming a prize that same year at the National Traditional Arts and Crafts New Works Exhibition (Nihon Dento Kogei Shinsakuten). The following year he would b awarded at the Nitten National Exhibition. In 1991 he established his kiln in Tochigi prefecture. He has since received innumerable awards, including the Asahi Ceramic Art Exhibition, Japan Ceramic Art Exhibition (Nihon Togeiten) among many others. In 1995 he travelled to China to study first-hand the Song guan and Longquan ceramics. In 2001 he moved his Kiln to Hachigocho, Ibaraki Prefecture

A vibrant image of a gourd filled with colorful sages at play by Shigemori Yoko. The surrounding black ink is like a Zen painting, immediate and spontaneous; struck out in quick dramatic strokes. By comparison the dynamic figures contained within appear to be painted in light, leisurely strokes with daps of soft color. This is one of several ink and colored sketches we received from her estate and had mounted as scrolls. They play games, practice calligraphy, enjoy tea and conversation, one is even flying a kite! Ink with soft colors on paper, it has been freshly prepared in a blue cloth border terminating in celadon, rollers. The scroll is 46.3 x 196 cm and is in excellent condition.
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.