Modern Japanese Ceramics
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An absolute classic natural ash glazed sake bottle by the reclusive potter Oasako Mikio enclosed in the original signed wooden box titled Hai Yu Tokkuri (ash glazed flask). Much of the dark surface is raw clay, with coals charring the front and tremulous tears of liquified ash dripping down both inside and out. It is 12 cm tall and in excellent condition.
Osako Mikio (1940-1995), born in Usa Oita prefecture on the Island of Kyushu, arrived at ceramics late in life, starting to study with Ezaki Issei at the Tokonmane ceramic Research Center in 1968 and staying with his teacher until he built his first kiln in 1982.. He received Grand Prize at the International Biennial of Ceramics in Vallauris, France in 1972. Known for his yakishime and ash glazed pottery, His profound understanding of wood firing, post firing and pottery in general was exceptional and his forms and surfaces are mature beyond his years of experience. A fitting quote by Dr. Frederick Baekeland from the catalogue; Modern Japanese Ceramics in American Collections, sums up the true nature of the potter and his pots; “The strong, conventional potting and rich sobriety of Osako’s ceramics appeal to modern taste and accords well with the aesthetic canons of the tea ceremony.”
Osako Mikio (1940-1995), born in Usa Oita prefecture on the Island of Kyushu, arrived at ceramics late in life, starting to study with Ezaki Issei at the Tokonmane ceramic Research Center in 1968 and staying with his teacher until he built his first kiln in 1982.. He received Grand Prize at the International Biennial of Ceramics in Vallauris, France in 1972. Known for his yakishime and ash glazed pottery, His profound understanding of wood firing, post firing and pottery in general was exceptional and his forms and surfaces are mature beyond his years of experience. A fitting quote by Dr. Frederick Baekeland from the catalogue; Modern Japanese Ceramics in American Collections, sums up the true nature of the potter and his pots; “The strong, conventional potting and rich sobriety of Osako’s ceramics appeal to modern taste and accords well with the aesthetic canons of the tea ceremony.”
A quintessential work by Sodeisha founding member Yamada Hikaru enclosed in the original signed wooden box titled Shirogesho Tetsu-e Tsubo (Tsubo with Iron Decoration on White Glaze). It is 214 cm (8 inches) tall and in excellent condition.
Yamada Hikaru (1924-2001), was born into the family of layman potter and priest Yamada Tetsu, and raised in Gifu after the family home was destroyed in the Great Kanto Earthquake. At the age of 20 he entered the Kyoto ceramics research facility, 15 years junior to those who had inspired the great Mingei movement at that same institution. Somehow escaping overseas service in the war, he met Yagi Kazuo in 1945, and the two formed an instant bond, founding a group for young potters the following year. Compounded by the austerity and poverty they faced as young artists in the immediate postwar, the group grew and along with Kumakura Junkichi, Suzuki Osamu and Yagi Kazuo formed the most influential post war ceramics organization, Sodeisha, as it was, in 1948. They eschewed public competition and espoused the ideas of art for arts sake, negating the ideas of the mingei movement, which stressed function over form. Together, members of the group worked tirelessly to promote modern Japanese pottery for the next several decades both within and outside of Japan. Held in innumerable public and private collections including the National Museum of Modern Art, both Tokyo and Kyoto, Museum of New South Wales and the Victoria Albert.
Yamada Hikaru (1924-2001), was born into the family of layman potter and priest Yamada Tetsu, and raised in Gifu after the family home was destroyed in the Great Kanto Earthquake. At the age of 20 he entered the Kyoto ceramics research facility, 15 years junior to those who had inspired the great Mingei movement at that same institution. Somehow escaping overseas service in the war, he met Yagi Kazuo in 1945, and the two formed an instant bond, founding a group for young potters the following year. Compounded by the austerity and poverty they faced as young artists in the immediate postwar, the group grew and along with Kumakura Junkichi, Suzuki Osamu and Yagi Kazuo formed the most influential post war ceramics organization, Sodeisha, as it was, in 1948. They eschewed public competition and espoused the ideas of art for arts sake, negating the ideas of the mingei movement, which stressed function over form. Together, members of the group worked tirelessly to promote modern Japanese pottery for the next several decades both within and outside of Japan. Held in innumerable public and private collections including the National Museum of Modern Art, both Tokyo and Kyoto, Museum of New South Wales and the Victoria Albert.
Modern Japanese Ceramics
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sold, thank you
Bright green leaves on scratchy black branches decorate this deep vessel by Shigemori Yoko enclosed in a signed wooden box titled simply Utsuwa (Receptacle). This is a lovely piece, expressing the joy of spring colors. It is like all of her works, misshapen, nothing perfect in nature. It is 24 x 20 x 16.5 cm and in excellent condition enclosed in a wooden box annotated by her brother.
Shigemori Yoko (1953-2021) was born in Kagoshima. Yoko came to Kyoto where she initially studied painting at the Kyoto Tankidai Art College, then moved to ceramics at the Kyoto Municipal Art University where she studied traditional pottery techniques under Kondo Yutaka before entering advanced courses under Yagi Kazuo, graduating in 1979. Her first solo exhibitions were held while still a student, at Gallery Iteza in Kyoto. She eschewed the world of competitive exhibitions in favor of the intimacy of private galleries, and her list of solo exhibitions is expansive. She received the Yagi Kazuo prize in 1986 and 1988 at the Nihon Gendai Togeiten. She was one of five artists featured in Toh, volume 76, The first issue dedicated to Kyoto Potters. Toh was at the time the most in depth survey of important contemporary potters published in 1993. Her work is held in the collection of the Victoria and Albert Museum in London.
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.
Modern Japanese Ceramics
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sold, thank you
This bowl is just an ideal look at the many aspects for which Shigaraki is known. The entire is incredibly natural looking, as if erosion and growth have spent eons together creating the paternation. This of course, truly happens over about 5 days, the effects born from the natural combination of fire, ash, flow and placement within the kiln. It is 11 x (4-1/4 inches) diameter, 8 cm (3-1/4 inches) tall and in excellent condition, directly from the artist
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 where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.
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 where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.
Modern Japanese Ceramics
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A tower of geometric in silver and red by Kawano Eichi enclosed in the original signed wooden box. The pebble textured surface and straight lines of the side are juxtaposed by the irregular and angular patterns of silver, like the outline of stones leading to a temple cast in shadow across the sides. The vase is 13 inches (33.5 cm) tall, 4 inches (10 cm) square and in fine condition.
Eichi was born in Osaka, 1943, and was raised in the post-war era of huge change. He studied in the plastic arts under Kiyomizu Rokubei VI, and was certainly influenced by the movement towards modernism and sculpture in the 50s and 60s. This influence is evident here in this work, which lies between the modern world of sculpture and the traditional realm of function. From 1973 he began exhibiting with the Nitten National Exhibition, and was first exhibited at the National Modern Crafts Fair the following year. That same year (1974) he was awarded at the Kyoten Exhibition. He would be consistently awarded in years to come at the Kyoten and other Local and National exhibitions.
Eichi was born in Osaka, 1943, and was raised in the post-war era of huge change. He studied in the plastic arts under Kiyomizu Rokubei VI, and was certainly influenced by the movement towards modernism and sculpture in the 50s and 60s. This influence is evident here in this work, which lies between the modern world of sculpture and the traditional realm of function. From 1973 he began exhibiting with the Nitten National Exhibition, and was first exhibited at the National Modern Crafts Fair the following year. That same year (1974) he was awarded at the Kyoten Exhibition. He would be consistently awarded in years to come at the Kyoten and other Local and National exhibitions.
Modern Japanese Ceramics
$450.00
$450.00
An elongated Kutsugata Chawan, the sloughing ash glaze interrupted by swaths of running iron, which turn to rivulets on the roughly textured outside, while forming a black pool in the center of the bowl. Surprisingly comfortable, it has a definite drinking point at one narrow end, the rich dark lagoon revealed as one tips up to take the last sip. It is 16 x 12 x 8 cm (6-1/4 x 5 x 2-1/4 inches) and is in excellent condition, directly from the artist.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.
Modern Japanese Ceramics
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A striking Bizen Chawan of mixed clay by young artist Yokoyama Naoki enclosed in the original signed wooden box. The mixed earth is pulled and twisted out of shape; one can sense the plasticity with your eyes. The stretched earth is burnt red where it has been licked by flame, yet remains pale from the shadows of the kiln. The bowl is just less than 5 inches (12 cm) diameter, 3-1/2 inches (8.5 cm) tall and in fine condition.
Naoki has been displayed at the Chanoyu Zokei Ten at the Tanabe Museum as well as the National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) and National Ceramics Exhibition (Nihon Togei Ten) among others.
Naoki has been displayed at the Chanoyu Zokei Ten at the Tanabe Museum as well as the National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) and National Ceramics Exhibition (Nihon Togei Ten) among others.
Modern Japanese Ceramics
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A large Hidasuki Bizen Table by Shibaoka Nobuyoshi enclosed in the original signed wooden box. Two large circles beyond the burnt-straw remains gives the effect of the moon reflecting off water viewed through a rush of bamboo. The table is 17-1/2 by 9-1/2 by 4 inches (44 x 24.5 x 10 cm) and is in excellent condition. Nobuyoshi was born in 1950, the son of Ikkai. He graduated the Bizen Industrial High School and went on to apprentice at the Bizen Ceramics Research Institute followed by training under his grandfather Kozan II as well as under the tutelage of his father. He has been often prized at the Okayama Prefectural Exhibition, and has displayed with the Issui-kai, Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), Nihon Togei Ten (National Ceramics Exhibition) as well as the Chunichi Kokusai Kogei Ten.
Modern Japanese Ceramics
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The edges burn dark brown on this large Bizen vase by Kawabata Fumio enclosed in the original signed wooden box. Green ash clings to the upper surface, peeling away from the superheated corners, the bottom rich dark raw clay. The vase is (‘29 x 21 x 36 cm) tall and in excellent condition.
Fumio was born in Yokohama city in 1948, far from the traditional kilns of Bizen hundreds of kilometers to the west in Okayama. After studying graphic design he was captivated by the natural landscapes presented by Bizen wares, and in 1974 moved to study pottery at the Ibu-no Kamamoto. His talent was spotted quickly and he was taken in by Kaneshige Riuemon where he was schooled in the gamut of traditional forms and styles. By 1984 he was considered a master potter, and moved to establish his own kiln. Concentrating largely on the personal world of private exhibitions, in 1989 he was given top prize at the Tanabe Museum Cha no Yu Zokei Ten (Sculptural Forms in Tea exhibition), and again was awarded there in 1994 as well as receiving the Okayama Prefectural Governors prize and has been prized at the National Ceramics Biennnale.
Fumio was born in Yokohama city in 1948, far from the traditional kilns of Bizen hundreds of kilometers to the west in Okayama. After studying graphic design he was captivated by the natural landscapes presented by Bizen wares, and in 1974 moved to study pottery at the Ibu-no Kamamoto. His talent was spotted quickly and he was taken in by Kaneshige Riuemon where he was schooled in the gamut of traditional forms and styles. By 1984 he was considered a master potter, and moved to establish his own kiln. Concentrating largely on the personal world of private exhibitions, in 1989 he was given top prize at the Tanabe Museum Cha no Yu Zokei Ten (Sculptural Forms in Tea exhibition), and again was awarded there in 1994 as well as receiving the Okayama Prefectural Governors prize and has been prized at the National Ceramics Biennnale.
Modern Japanese Ceramics
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An unusual form by Mori Toshiaki enclosed in the original signed wooden box titled Bizen Te-bachi (handled basin). The basin has been paired off at the top, the ribbons of clay looping over each other to form the winding handle. A most unusual design. A blast of ash decorates the exposed upper surfaces, the basin itself rust colored raw clay. It is 20 cm (8 inches) diameter, 14.5 cm (5-3/4 inches) tall and in excellent condition, directly from the artist this summer.
Mori Toshiaki was born the first son of traditional Bizen potter Mori Yasushi in 1982. Growing up in the family kiln, he entered the Bizen ceramic center in 2005, and after a year of study there continued in the family tradition. He has exhibited with the Okayama Ken-Ten art exhibition, Nihon Dento Kogeiten Traditional Crafts Exhibition, Gendai Chato Ten Modern Tea Ceramics Exhibition and the Chanoyu Zokei Ten (New forms in Tea Exhibition in addition to being exhibited in New York, Taiwan, and London.
Mori Toshiaki was born the first son of traditional Bizen potter Mori Yasushi in 1982. Growing up in the family kiln, he entered the Bizen ceramic center in 2005, and after a year of study there continued in the family tradition. He has exhibited with the Okayama Ken-Ten art exhibition, Nihon Dento Kogeiten Traditional Crafts Exhibition, Gendai Chato Ten Modern Tea Ceramics Exhibition and the Chanoyu Zokei Ten (New forms in Tea Exhibition in addition to being exhibited in New York, Taiwan, and London.
Modern Japanese Ceramics
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Flying goma ash dusts the ribbon scalloped sides of this large Bizen vase by Matsumoto Katsuya enclosed in the original signed wooden box. The piece is 12 inches (31 cm) tall, 11 inches (28 cm) wide and in excellent condition.
Born in neighboring Hyogo prefecture in 1942, at the age of 29 Katsuya apprenticed under Fujiwara Yu. He opened his own kiln in 1976. In 1982 he debuted at the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition) and has consistently been exhibited there since, followed by both the Chunichi International Ceramics Exhibition and the Asahi Ceramics Exhibition, as well as the National Japanese Ceramics Exhibition.
Modern Japanese Ceramics
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An intriguing handled cylinder vase by Mori Toshiaki enclosed in the original signed wooden box titled Bizen Te-tsuki Hana-ire (Handled Vase). This small vase has been cut spirally down, the resulting ribbon wrapped over the top and affixed to the opposite side forming the handle. It is 18.5 cm (7-1/4 inches) tall and in excellent condition, directly from the artist this summer.
Mori Toshiaki was born the first son of traditional Bizen potter Mori Yasushi in 1982. Growing up in the family kiln, he entered the Bizen ceramic center in 2005, and after a year of study there continued in the family tradition. He has exhibited with the Okayama Ken-Ten art exhibition, Nihon Dento Kogeiten Traditional Crafts Exhibition, Gendai Chato Ten Modern Tea Ceramics Exhibition and the Chanoyu Zokei Ten (New forms in Tea Exhibition in addition to being exhibited in New York, Taiwan, and London.
Mori Toshiaki was born the first son of traditional Bizen potter Mori Yasushi in 1982. Growing up in the family kiln, he entered the Bizen ceramic center in 2005, and after a year of study there continued in the family tradition. He has exhibited with the Okayama Ken-Ten art exhibition, Nihon Dento Kogeiten Traditional Crafts Exhibition, Gendai Chato Ten Modern Tea Ceramics Exhibition and the Chanoyu Zokei Ten (New forms in Tea Exhibition in addition to being exhibited in New York, Taiwan, and London.
Modern Japanese Ceramics
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Charred glaze runs in rivulets, blasted around the sides of this Kamahen Bizen vase by
Yamamoto Izuru enclosed in the original signed wooden box. The vessel is 10 inches (25.5 cm) tall, roughly 5 inches (13 cm) diameter and in excellent condition.
Yamamoto Izuru was born into the family of famous potter Yamamoto Toshu in 1944. He graduated the sculpture division of Musashino University, then went on to Paris for another two years of sculpting before returning to Bizen to apprentice under his father in plastic arts in 1970. He set out on his own path in 1975, establishing his own kiln. In 1980 he was prized at the Nihon Dento Kogeiten National Traditional Crafts Exhibition. His recognition grew in the eighties, being prized at both the Chunichi Kokusai Ceramics Exhibition and having a piece displayed at the Smithsonian and V&A in 1983, then garnering the Kaneshige Toyo prize in 1985, and subsequently acquired by the Brooklyn Museum of Art in 1987. In 1995 he built a kiln in Bourgogne France, working with clays from both regions, and this piece is from that period, dating circa 2,000. He has also been the winner of the 19th grand prize at the Tanabe Museum Modern Tea Forms Exhibition and was given the Cultural Award by Okayama Prefecture in 1997. He was named an intangible cultural property of Okayama Prefecture in 2012.
Yamamoto Izuru was born into the family of famous potter Yamamoto Toshu in 1944. He graduated the sculpture division of Musashino University, then went on to Paris for another two years of sculpting before returning to Bizen to apprentice under his father in plastic arts in 1970. He set out on his own path in 1975, establishing his own kiln. In 1980 he was prized at the Nihon Dento Kogeiten National Traditional Crafts Exhibition. His recognition grew in the eighties, being prized at both the Chunichi Kokusai Ceramics Exhibition and having a piece displayed at the Smithsonian and V&A in 1983, then garnering the Kaneshige Toyo prize in 1985, and subsequently acquired by the Brooklyn Museum of Art in 1987. In 1995 he built a kiln in Bourgogne France, working with clays from both regions, and this piece is from that period, dating circa 2,000. He has also been the winner of the 19th grand prize at the Tanabe Museum Modern Tea Forms Exhibition and was given the Cultural Award by Okayama Prefecture in 1997. He was named an intangible cultural property of Okayama Prefecture in 2012.
Modern Japanese Ceramics
$5,700.00
$5,700.00
A large Kokuto scalloping sculpture on three adjoined pedestal feet by Yamaguchi Mio titled Taiji no Yume (Fetal Dream)dating from late 2023. Here the young artist has ventured into black clay, eschewing altogether glaze of any kind. What you have is simply the direct, dark clay and the earthen texture, with no frills or decoration. It is 40 x 43 x 60 cm (16 x 17 x 24 inches) and is in excellent condition, directly from the artist. It comes with a signed wooden placard.
Due to size and weight this will require special shipping consideration.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11th International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.
Due to size and weight this will require special shipping consideration.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11th International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.
Modern Japanese Ceramics
$700.00
$700.00
A large broad-footed bowl with precipitous sides covered in black matte glaze by Shigemori Yoko enclosed in a signed wooden box titled Kuro-yu Utsuwa (Black-glazed Vessel) The surface is richly textured, with a slight outward curve at the rim over a raw line scored into the surface. Windows of light like the moon fighting its way through the stormy autumn sky break through the darkness. It is 14 cm (5-3/4 inches) diameter, 10.5 cm (4-1/4 inches) tall and in excellent condition. The box is annotated by her brother Naoki.
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 avant-garde 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 National Modern Ceramics Exhibition. She was one of five artists featured in Toh, volume 76, the first issue dedicated to Kyoto potters. Toh was, at the time
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 avant-garde 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 National Modern Ceramics Exhibition. She was one of five artists featured in Toh, volume 76, the first issue dedicated to Kyoto potters. Toh was, at the time
Modern Japanese Ceramics
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Sold, Thank you!
I have long been searching for the right item by this artist to offer on the site, and here it is: blossoms and black decorate this fine cloth-textured pottery box by Ito Motohiko enclosed in the original signed wooden box. It is 10-1/2 x 10-1/2 x 4 inches (27 x 27 x 9.5 cm) and in excellent condition.
A similar workk by this artist was sold at Bonnhams in 209 for US$ 3,965 inc. premium
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.
A similar workk by this artist was sold at Bonnhams in 209 for US$ 3,965 inc. premium
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.
Modern Japanese Ceramics
sold, thank you
sold, thank you
Glass flows over the surface of this volcanic structure by Hashimoto Tomonari, a powerful ceramic sculpture accompanied by the original signed wooden placard. It is 25 cm (10 inches) diameter, 16 cm (6-1/4 inches) tall and in excellent condition, directly from the artist. One of only a few glass works he has released to the public.
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 making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.
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 making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.
Modern Japanese Ceramics
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Sold, Thank you!
A flagrant barrage of color gets in your face with this futuristic vessel by Yanagihara Mutsuo enclosed in the original signed wooden box titled Saimon Kabin (Colored Vase). Over the crackled sunshine yellow gleams platinum on lightning strikes of red, completely juxtaposed to the cool blue of the interior. Very much an iconic work by this eclectic artist. It is 17.5 cm (7 inches) diameter, 15 cm (6 inches) tall and in perfect condition.
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.”