Catalog: Artists: Ceramics: Pottery (842)

A flamboyant vase by Kawai Toru enclosed in the original signed wooden box titled: Gosu Mentori Ashitsuki Tsubo. Outside the vase is covered in Gosu blue, inside contrasted with iron red. The shape is all Toru, an artist who took the work of Kanjiro and moved beyond, as represented in this large tri-legged tsubo. The vase is 14 inches (35 cm) tall, roughly 12 inches (30 cm) diameter and in perfect condition.
Toru was born in 1941, the son of Kawai Takeichi. He apprenticed jointly under his father and Grandfather in 1964, making him the last disciple of Kanjiro Kawai, and it is he who seems to have lived up to his mentors expectations, synthesizing the Kawai style and taking it to the next level.

A Superb Shigaraki Chawan by Sugimoto Sadamitsu enclosed in the original wooden box signed beneath by the artist and endorsed by Tea Master Tachibana Daiki of Daitokuji Temple. It is 4 x 5 x 3-1/2 inches (10.5 x 13 x 9 cm) and is in fine condition.
Sugimoto Sadamitsu was born in Tokyo in 1935. A strong adherent to the Zen tradition, Sadamitsu established his own kiln at 33, receiving the kiln name from his mentor Daitokuji priest Tachibana Oki. His Zen studies have refined the spiritual side of his work, and all of his wood fired ceramics have a quiet and confident power. He has spent his life in the research of kohiki, Shigaraki Iga and Raku wares, and is more than well known in tea circles for the discriminating soul of his works. For more information on this artist see the book Fired with passion : contemporary Japanese ceramics ISBN 1-891640-38-0.
Tachibana Daiki (1898-2005) born in Osaka, entered the Buddhist orders at Nansoji. He later moved to Myoshinji in Kyoto where he received Inka. He would go on to serve as the 511th abbot of Daitokuji, and be given the reins of Nyoian in Tokusenji, a subtemple of Daitokuji. He would serve as head of Hanazono University and was a strong proponent of The Way of Tea.

A thick coating of green glass covers the burnt terracotta clay of this misshapen Teapot by Iga representative Atarashi Kanji enclosed in the original signed wooden box. The form is scraped and gashed and pushed and contorted, very pleasing to the touch and eye. It is 9-1/2 inches (24.5 cm) tall, roughly 6 inches (15.5 cm) diameter and in perfect condition, as is the wooden box. Kanji was born in Osaka in 1944, and graduated the Osaka College of Craft design. After 3 years in Kobe, and 4 in Kishiwada (Wakayama) he came to settle in Iga, where he was one of the driving forces behind the resurrection and preservation of the Iga tradition. Although displayed at the National Craft Exhibition, he prefers the intimacy of the private exhibition, of which he holds several every year. And if ones visit to japan is not timed right for an exhibition, he can otherwise be found at his kiln working along with his son and daughter.

Hi-dasuki lines of red charring streak across the surface of this large Tokkuri Vase by Isezaki Mitsuru (b. 1934) enclosed in the original signed wooden box. A smooth even profusion of bubbles welter about the clay, adding a tactile texture to the elongated body. The vase is over 20 inches (51.5 cm) tall and in perfect condition. Mitsuru 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.

A beautiful example of Oni Shino by world famous Tsukigata Nahiko enclosed in a wooden box signed by his student Ayukai Kogetsu. Wild glazing and a dark burn on the rim define the work, showing reason for this artists great demand. Signed on the base it is 4-1/2 inches (11.5 cm) diameter, 4 inches (10 cm) tall and in excellent condition.
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 eas 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 perservered, 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 exhibitons throughout Japan.

A draping curtain of dark torn Bizen clay folds over the enigmatic form of this vase by Kaneshige Kosuke enclosed in the original signed wooden box. Texture varies from chattered extrusion to long, combed lines. Soft shades of color glow on the sides of the dark clay. The vase is 9 inches (23 cm) tall, 13 inches (33 cm) wide and in excellent condition, dating circa 1990.
Kaneshige Kosuke was born in 1943, third son of Bizen pillar Kaneshige Toyo. He studied from an early age with his father, then to Tokyo where he graduated the sculpture department of the Tokyo University of Art. Since he has been exhibited at the Nihon Kogeiten (Japan National Crafts Exhibition), Asahi Togei Ten (Asahi Ceramics Exhibition) and Tanabe Chanoyu Sculpture Exhibit. He has also been exhibited in the Tokyo National Museum of Modern Art, as well as internationally in New York, Paris, Seoul and Boston. He is held in the Tokyo National Museum of Modern Art, The Suntory Collection and the Okayama Museum of Modern Art among others.

Copper greens splash this bold chawan by Kojima Kenji enclosed in the original signe wooden box. It is 5 inches (12.5 cm) diameter, 3-3/4 inches (9 cm) tall and in fine condition. Kojima Kenji was born in Aichi prefecture in 1953, and graduated the Tokoname Ceramics High School in 1971. He moved to Iga where he studied and was immediately accepted into the Asahi Togeiten Ceramics Exhibition. The following year he moved to Okayama, where he would remain 5 years studying Bizen and the complexities of that clay and it’s firing process. He returned to Iga in 1979, where he built his own kiln on the ruins of an ancient site. He has since been exhibited at the Asahi Togeiten, Chunichi Kokusai Togeiten Ceramics Exhibition, and Nihon Togeiten National Ceramics exhibition among many others. His work is held in the Danish National Museum.

Ash encrusts one side of this flattened Signature form by Shigaraki Legend Furutani Michio enclosed in the original signed wooden box. Opposite is rich red terracotta and in between rivers of molten green glass. It is 45 cm (17-1/2 inches) diameter, and weighs 14 kg (30 pounds) plus the thick Kiri-wood box. This belongs in a museum of contemporary Japanese pottery.
Furutani Michio is one of the Gods of Shigaraki, an artist who wrote the book on Anagama kilns, and one of the more influential artists of the second half of the 20th century. He was born in Shigaraki; graduating the Konan High School of industrial Arts, he moved to further his studies (like so many great artist before him, Kanjiro, Hamada…) at the Kyoto Institute of Industrial Arts in 1964. After breaking out on his own, he started by building an Anagama in Shigaraki in 1970, the first since the middle ages. He was a true pioneer, reviving the tradition and going on to build over thirty kilns over the next thirty years. No other artist has shown such singular dedication to a firing technique. He has been featured in the Nihon Dento Kogei Ten (Japanese Traditional Crafts Exhibition), Nihon Togei Ten (Japanese Ceramic Exhibition) and the Chunichi Kokusai Togei Ten among others. He passed away at the peak of his career. For more on this artists contributions see his book Anagama – Building Kilns and Firing.

A set of five concentric back glazed sake-cups enclosed in the original signed wooden box by Yagi Akira. They vary in size from 2-1/2 inches to 4 inches diameter (6.5 to 10 cm) and in excellent condition. For a similar (admittedly larger) set see “Contemporary Clay, Japanese Ceramics for the New Century “(2005) by Joe Earle.
This name is a must have in any collection of modern Japanese Pottery. Akira was born in Kyoto in 1955, son of avant garde Yagi Kazuo (1918-1979) one of the founding members of Sodeisha. Akira was voted one of the 20 most important living artists by Honoho, Japans premier printed ceramic forum. Works by the artist are held in the British Museum, Victoria Albert Museum, Cleveland Art Museum, Sackler Gallery of the Smithsonian and Tokyo Museum of Modern Art among many others. He was also the recipient of the Japan Ceramic Society (JCS) award in 1998, one in a long and prestigious list of awards. For more see “Quiet Clarity, Rin” (1996) or the aforementioned “Contemporary Clay, Japanese Ceramics for the New Century “(2005) by Joe Earle.

Birds flit playfully in the rich foliage of a fiery maple on the front of this flattened ovoid vase by Nakamura Toshito enclosed in the original signed wooden box. The odd triangular opening is perfect for flower arrangement, offering place for larger branches to rest in the corners. The ovoid form appears to be hand formed, the clay raked and covered in white with hand-painted scenery in enamel over. The vase is roughly 8 inches (20 cm) tall and in perfect condition. Toshito was simultaneously accepted into both the 7th Traditional Kutani Exhibition and the 37th SoZo-Ten Creative Design Exhibition in 1984, and has consistently displayed with them since, prized the following year in the SoZo-Ten. That same year he also received the governor’s prize at the 40th Kutani Sangyo Design Concool, and in 1990 was awarded the Hokuka-Sho at the SoZo-Ten. HE stayed within the Kutani area until the mid 90s, concentrating on his teaching position at the Ishikawa prefectural Ceramic Research Facility and building a reputation through area exhibitions of great rapport. With that base firmly established he was accepted into the National Traditional Arts and Crafts Exhibition in 1997, and has consitently displayed with that prestigious show, while not neglecting the Traditional Kutani Exhibitions at which he has been often awarded. This piece is nearly contemporary, dating to within the last five years.

An eight sided Shino Yunomi Cup by Suzuki Osamu (Kura) enclosed in the original signed wooden box decorated with triangles in red. A striking work, it is 3 inches wide, the same height (7.5 cm) and is in excellent condition. Osamu was born in Gifu prefecture in 1934, and graduated the Tajimi Technical School ceramics division in 1953. That same year he was awarded at the 6th Dento Kogeiten Traditional Crafts Exhibition. One of the great researchers, he spent many years excavating old kiln sites in an effort to re-invent Shino ware. In 1962 he was exhibited in Prague. And the next year took a prize at the Asahi Ceramic Exhibition. Very much lauded at this time, it culminated in 1969 when he received the JCS Gold award (Japan Ceramic Society), one of the highest honors for a Japanese potter. He would receive the JCS award again in 1982, and by that point be nurturing or inspiring a number of young potters aspiring to the forgotten ways of Shino ware. He was named a Living National Treasure in 1994 for his life-work. Work by him is held in a multitude of public collections throughout the world. For more see “Japanese Studio Crafts, Tradition and the Avant-Garde” (1995) by R. Faulkner.

A set of five E-Karatsu Mukozuke by Nakazato Tarouemon XIII enclosed in the original signed wooden box. Radically brushed birds rise up into the sky, framed by a vertical bars of iron; inside soft earthen white. Each is roughly 3 inches (8 cm) diameter, 2-1/2 inches (6.5 cm) tall and in excellent condition, bearing the Tarouemon three star mark on the base.
Nakazato Shigetoshi was born in 1930 the third son of Living National Treasure Tarouemon XII (Muan) of Karatsu fame. He was first exhibited at the Nitten National Exhibition in 1952, and received the Matsuzakaya prize at the Modern Ceramics Exhibit 4 years later, the first of a great many awards culminating in the Saga Prefectural Cultural Award in 1985 given not lightly for his lifetime endeavors. He can be found in the British Museum among others.

A fine Iga-yaki Tsutsu Chawan by Tsujimura Kai enclosed in the original signed wooden box. It is 11 cm (4-1/2 inches) diameter, 9 cm (3-1/2 inches) tall and in excellent condition.
Kai was born in Nara, son of Tsujimura Shiro, in 1976, making him one of the younger artists we have offered. Although of course growing up surrounded in pottery, he began apprenticing in earnest under his father in 1995, establishing his own studio in 2000.

Pale clay baked red with a dusting of natural ash glaze and small streaming rivulets complimenting the undulating ribbons billowing pell-mell from the top of this odd shaped sculptural vase by Kiyomizu Rokubei VII (1922-2006) enclosed in the original signed wooden box. The piece is 9 inches (23.5 cm) tall, 7-1/2 inches (19 cm) wide and in excellent condition. The Kiyomizu family potters managed one of the most productive workshops in Kyoto’s Gojozaka district from the second half of the Edo period. From the Meiji they began producing tableware for export and special pieces for government-sponsored exhibitions under Rokubei V. The workshop declined after World War II but was revived by Kiyomizu Rokubei VII, an adopted artist from Aichi prefecture. A graduate of the Tokyo University of Fine Art, he was a trained sculptor specializing in, in addition to clay, media like metal, glass, wood, paper and photography. Rokubei studied in Italy from the 1969-1970, and was a common contributor to the Nitten (under the name Hiroshi) Receiving the Hokuto-sho prize there and later serving on the selection committee. He is also well known for sculptures. He succeeded the family name in 1987 and also used the name Kyubei. Kiyomizu Rokubei VIII, is now head of the kiln. For more on this important artist see Contemporry Clay, Japanese Ceramics for the New Century by Joe Earle, ISBN O-87846-696-7.

An exquisite white shape by Nagae Shigekazu enclosed in the original signed wooden box dating circa 1996. Inscribed light patterns like waving blades of grass are almost indiscernible on the surface, incredibly detailed and crisp when viewed close-up, a green splash of color like a Christmas ribbon circling the form in both directions. It measures 14 inches (35 cm) tall, 5 inches (13 cm) square at base, mouth 7-1/2 x 2 inches (18.5 x 5 cm), and is in perfect condition. Included is the original exhibition invitation.
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. For more on this important modern artist see To, The best selections of contemprorary ceramics in Japan, Vol. 74.

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.

A large vase by Living National Treasure Shimizu Uichi enclosed in the original signed wooden box titled Tenmoku-yu Kabin inside a black lacquered wooden niju-bako box. It is 14-1/2 inches (37 cm) tall, 8 inches (20 cm) diameter and in fine condition.
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.

Like some ancient Haniwa soldier, this odd form stands guard, wide shoulders and dominating stance catching the eye, a sculptural vase by Koinuma Michio enclosed in the original signed wooden box. The mottled salt glaze covers a dark body standing 11 x 5 x 3 inches (28 x 12.5 x 33 cm). It is in excellent condition.
Koinuma Michio is a compelling figure unique among contemporary artists. He seems to have no limit to his imagination and creativity, still dazzling us with new concepts after four decades. Born in the hectic war years in 1936, he is incredibly intelligent, graduating the economics department of Osaka University, then on to Waseda for graduate studies, one of the top three schools in Japan. Relinquishing that life he opened a kiln in Mashiko in 1970. Since 1978 he has been consistently displayed at the best galleries in Japan, as well as overseas. For more see Contemporary Japanese Ceramics Fired with Passion (ISBN -10: 1-891640-38-0) or To volume 10, which is dedicated entirely to him.