Catalog: Artists (750)

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.”

Pale jade spots dot the incised surface of this unusual vase by Nagae Shigekazu enclosed in the original signed wooden box retaining the Shiori and Shifuku. The vase, if not for its distant, moon-like quality, has a very pop-art-presence, blending both the austerity of Japanese traditional aesthetics with contemporary art. Fun and moving; a haunting pleasure. It is 14 inches (35.5 cm) tall, 5 inches (13 cm) square at the base, 7 inches (19 cm) wide at the rim and in excellent condition.
Nagae Shigekazu (b. 1953) graduated the Seto Industrial School of Ceramics in 1974 Beginning to grab attention in the late 70s, he has striven to perfect porcelain casting techniques, creating one-off shapes and forms previously impossible. He is held in the collection of the V&A (London), LACMA (Los Angeles) and the National Gallery of Australia, Cincinnati and Cleveland Art Museums, Minneapolis Institute of Art, Japan Foundation and many many others. With very low output, this is a rare opportunity to join the worlds top museum collections by acquiring this artist.
According to Ceramics Now Magazine: Nagae Shigekazu (born in 1953), is one of the leading pioneers of porcelain casting and firing techniques in Japan. Casting is commonly associated with the mass production of porcelain, yet Nagae valiantly transcends this stereotype, ultimately elevating this technique to the avant-garde. Casting alone cannot achieve the natural movements found within Nagae’s forms. His popularity and recognition as an artist have skyrocketed, with acquisitions by the V&A in London, the Los Angeles County Museum of Art, and the National Gallery of Australia in just the past 3 years. Also collected by leading institutions such as the Musée National de Ceramique-Sèvres in Paris and the Musée Ariana in Geneva, among others, as well as receiving prestigious awards such as the Grand Prixs at the 1998 Triennale de la Porcelain in Nyon, the Mino Ceramic Festival and the Japan Ceramic Art Exhibition (both 1997), Nagae’s stature and respect in the world of porcelain has reached new heights.

An organic form by young female artist Tanaka Tomomi enclosed in the original signed wooden box titled Mimi-nari and dating from 2017. It is 6 x 6 x 5-1/2 inches (15 x 15 x 14 cm) and is in excellent condition.
Tanaka Tomomi was born in Hyogo prefecture, near Kobe, in 1983, and graduated advanced courses at the Aichi University of Education in 2008, however her work has been garnering attention in various exhibitions since 2005. She has received the Kyoto Mayor’s Award at the “39th Women’s Association of Ceramic Art” in 2005, and been prized at the 2006 and 2007 Asahi Togeiten Ceramic Art Exhibition. In 2014 she was given Silver at the 10th International Ceramics Competition Mino. Highly sought after, her work is held in the Ibaraki Ceramic Art Museum.

A fabulous textured faceted bottle shaped vase by Sakai Hiroshi enclosed in the original signed wooden box titled Ai-ji Shino Ichirin Sashi (Blue Shino Single Flower Vase). It is 16.5 cm (6-1/2 inches) tall, 11.5 cm (5 inches) diameter and in excellent condition.
Sakai Hiroshi was born in Toki City in central Mino country in 1960. He graduated the Nagoya Institute of Technology in 1983, after which he spent two years at the Tajimi City Ceramic Research Facility before apprenticing under future Living National Treasure Kato Kozo. He has been exhibited or awarded at the National Traditional Crafts Exhibition (Nihon Dento Kogeiten), National Ceramic Art Exhibition (Nihon Togeiten), Asahi Ceramic Exhibition, as well as being exhibited internationally in Taiwan, Korea, and Italy among others. Work by the artist is held in the Italian Faenze Ceramic Museum, The Gifu Prefectural Museum of Modern Ceramic Art and Mino Ceramic Art Museum, both inTajimi as well as the Ibaraki Ceramic Art Museum among others.

Two lug handles leap from the sides of this traditional form by Karatsu Legend Nakagawa Jinenbo enclosed in the original signed wooden box titled Chossen Karatsu Mimitsuki Hanaire. Mottled glaze covers the rough clay darkened by flame with flashes of white and blue and crispy chunks of ash and debris clinging to the sides. It is a work which embodies the best of this highly sought artist. The vessel is 9 inches (23 cm) tall and in excellent condition.
Nakagawa Jinenbo (1953-2011) was always fascinated with Karatsu ware, and studied under the great Inoue Toya from the age of 24. Several years later he returned to his hometown to establish a climbing kiln of his own, which he put to great use. From there, not satisfied with his own skills, he went to Tanaka Sajiro for an additional apprenticeship. Afterwards, as many Chajin artists, he concentrated on private exhibitions as an outlet for his work, shunning the world of mass competition and retail. His life and career were cut short far too early, making his work both highly valued and hard to find.

A playful sculpture which challenges the viewers perception by Hayashi Yasuo enclosed in the original signed wooden box titled simply Sakuhin (work). It is 12.5 x 9 x 12.5 cm and in perfect condition. According to a description of a similar work in the collection of the Met: Hayashi’s series of black and gray coil-built trompe l’oeil “boxes,” a group that was inspired by his experience flying without lights at night as a kamikaze pilot... this work presents new ways of looking at three-dimensional forms. Hayashi trained in the Japanese style of painting prior to World War II. After the war he became fascinated by avant-garde Western artists, including Pablo Picasso, whose work influenced his early ceramics. He then developed the spare, abstract style that characterizes his mature art. The artist created this piece’s surface patterning by masking certain areas and using an atomizer of his own design to spray glaze onto the stoneware before firing.
Hayashi Yasuo was born in Kyoto in 1928, son of a potter. He began to study traditional painting in 1940, but his studies were interrupted by the Second World War. Folowing the conflict and discharge from the military, he began making pottery, helping to found the Shikokai ceramic society of avant-garde ceramicists in 1947. His artistic career is daunting, and much too long to put into this brief introduction including many awards both domestic and abroad (Italy, France, Portugal, Canada, Australia, New Zealand…). Also he has been the focus of solo exhibitions in some of the most important galleries throughout the Japanese archipelago as well as the United States, Australia and Germany. He is held in the collection of the Museum of Art & Design, New York, Everson Museum of Art, New Orleans Museum of Art, Minneapolis Institute of Art, National Gallery of Australia, National Ceramic Museum Sevres in France, Vallauris Ceramic Museum, Museum of Modern Art, Faenza International Ceramics Museum, Museum of Decorative Art, Prague, Victoria & Albert Museum in London, Seoul Metropolitan Museum in South Korea, National Museum of Modern Art, Tokyo, National Museum of Art, Osaka, National Museum of Modern Art, Kyoto, Kyoto Municipal Museum of Art, Hokkaido Museum of Modern Art and Museum of Contemporary Ceramics in Shigaraki among many others.

Molten glaze in volcanic plumes extending from a yellow blast wrap tendrils around this exquisite Bizen vessel by Baba Takashi enclosed in the original signed wooden box titled Bizen Yohen Tsubo. The kiln effects are spectacular, covering the blackened Bizen clay with yellows, charcoals and a myriad of natural tones. It is quite large at 15 x 13 x 9-1/2 inches (38 x 33 x 24 cm) and is in new condition. Depending upon destination, special shipping consideration may be required.
At 36, Baba is one of the younger potters in our Autumn show. He was born into a traditional potting family in Bizen in 1983, and his genius is recognized as a graduate of the sculpture department of the prestigious Tokyo University of Art in 2006. He followed up with a year at the Kyoto Industrial Ceramics Research Facility beore taking up residence again in Okayama. His work was immediately recognized at the Okayama Prefectural Art Exhibition, , and the Bizen Toshinkai Exhibition, where he has received several awards. His work has also been seen in the Nihon Dento Kogeiten (Traditional Crafts Exhibition, Chanoyu Zokeiten Eshibition (Modern Forms in Tea) and he has been featured with a show in Britain in 2015.

A striking work of heavy glass by Suzuki Genta enclosed in the original signed wooden box titled Shizuku Kaki (Dripping Vase). Thick dollops of glass run like giant rain drops over the surface. It is 36 cm (14 inches) tall, and in excellent condition.
Suzuki Genta was born in Kyoto in 1971, graduating the prestigious Doshisha Universtiy in 1994. That same year he packed up and went off to Sweden where he studied at the Kosta Glass School, graduating in 1996. He then travelled Europe, learning under Philip Baldwin and Monica Guggisberg at the Verrerie de Nonfoux in Switzerland, then back to Sweden where he worked under Ulla Bostrom at the Aister Glass Studio, then Peter Kuchinke at the Lauscha Glass Factory in Germany. He studied for 8 months with Anders Wingard at the Baskemolla Glass Studio in Sweden in 1997, then went to New Zealand for six months under Ola Hoglund before 3 months under Simone Cenedese at Linera Vetro in Italy, returning to Japan in 1999. He established the Genta Glass Studio in Toyama prefecture in 2003 and has lived and worked there ever since.

A slightly more austere work completing this tea set by Kanzaki Shiho enclosed in the original signed wooden box titled Shigaraki Chawan and named inside the lid Amidha-Do (Hall of Amitabha). Here the artist has refrained from over-decoration, allowing the natural color and texture of the terracotta clay to dominate. It is 5-1/4 inches (13.3 cm) diameter, 3-1/2 inches (9 cm) tall and in excellent condition, dating circa 1990.
Kanzaki Shiho (1942-2018) preferred firing his kiln for ten days, resulting in the rich textures and heavy ash deposits apparent on his work. He was born in Shigaraki, and was fast tracked into the Kansai University Law Department, but rather the life of a lawyer, after graduation he went with his heart to take up the precarious life of a potter, apprenticing under Mino artist Matsuyama Suketoshi. Later he returned to Shigaraki working there at the research center while developing his own style and methods with the Anagama. He consistently stayed with the personal world of private exhibitions, developing a large following both at home and abroad and his list of exhibitions is impressive. He has been the subject of several documentaries and Television interviews, and is widely published. For more information see, The Fire Artist, a documentary by Canadian Director Claude Gagnon. He unfortunately passed away last year and these may be the last pieces we have by him.

Berries change color among the drying leaves clinging to the vine-wrapped vessel by Yamada Yoshiaki enclosed in the original signed wooden box titled simply Kabin. It is 31.5 cm tall, 16.5 cm diameter (12 x 6-1/2 x 6-1/2 inches) and is in excellent condition.
Yamada Yoshiaki was born in Ishikawa, home of Kutani wares, in 1948. He studied under Yamachika Tsuyoshi and Takegoshi Taizan whose influence is apparent. He began exhibiting in 1975 with the Souzou Bijutsu-kai Art Organization. Since his works have been exhibited and awarded in a plethora of venues, public exhibitions and private galleries. His work has been collected by the Imperial household and given as gifts to foreign dignitaries.

A cluster of succulent flowers blossom among the vibrant leaves of the loquat tree on this unusually shaped vessel by Sueoka Nobuhiko enclosed in the original signed wooden box. It is 28 cm wide, 36 cm tall and in excellent condition.
Sueoka Nobuhiko was born in Fukuoka on Japans Main Sothern Island in 1948, and apprenticed under future Living National Treasure Fujimoto Yoshimichi in 1973. He stayed working with Yoshimichi for 16 years, before establishing his own kiln in 1989, and moving to mountainous Nagano Prefecture in 1995. Although he has been displayed at the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition) the artist has mostly eschewed the world of National competitions in favor of private exhibition. With small output works by this artist are hard to find and very much in demand.

A complete set of the twelve animals of the zodiac by Miyashita Zenji, each enclosed in the original signed wooden box retaining the original Shifuku and Shiori. Sizes vary from 8 up to 16 cm (3 to 6 inches) and all are in excellent condition.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art under Kiyomizu Kyubei and Kusube Yaichi. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He began exhibiting in the annual Nitten exhibitions in 1964, eventually winning eighteen prizes. According to the Sackler, which holds 6 works by him, “ His mature work was a modern embodiment of a classic Kyoto mode associated with the Heian period (794–1185). He applied delicate layers of color—reminiscent of multilayered court robes or decorated papers made for inscribing poetry—using not over-glaze enamels or glazes but clay itself, dyed with mineral pigments”. He is held in the aforementioned Freer-Sackler, the British Museum, the Metropolitan Museum of Art New York, and the Brooklyn Museum the Minneapolis Institute of Arts, the Museum of Fine Arts Houston and of course the National Museums of Modern Art both in Kyoto and Tokyo among a host of others.

Every shade between mustard and aubergine fades into the deepest blue on the sides of this ovoid form decorated with enigmatic relief-work by Shinkai Kanzan enclosed in the original signed wooden box titled Nishiki-ka Kabin. It is 14-1/2 inches (37 cm) tall and in excellent condition.
Shinkai Kanzan was born the grandson of Seifu Yohei III in 1912 and was raised from a baby in the confines of the Gojo-zaka ceramic district of Kyoto, inducted daily into the realm of pottery by his father and grandfather. He graduated the Kyoto Municipal School of Arts and Crafts, and moved on to study painting (after his father’s urging) before returning to ceramics under Kiyomizu Rokubei V and Vi. He was first accepted into the Teiten (later Nitten) National Exhibition in 1930, and was displayed there consistently thereafter as well as others, being prized at the 1939 San Francisco Exposition. Just as he was beginning to take off as an artist, he was drafted and sent to China, where after he spent three years in a Russian Gulag in Siberia. Upon his return to Japan, he branched out on his own; with a unique vision grounded in the roots of the training and instruction he had received before the war, but with a new style and concept to differentiate himself from his peers. In 1951 he was recognized with the Gold Award at the Japanese Art Expo. Following many prizes, in 1974 he was granted the Governors prize at the Nitten, and in 1980 the Nihon Geijutsu-in Sho (Japanese Art Academy prize). In 1989 he was awarded the Kyoto Prefectural Cultural Order of Merit for his life-long endeavors. Works by him are held in the Kyoto National Museum of Modern Art among others.

An incredible organic form, the delicate petals appearing to waft in some tide by Shingu Sayaka enclosed in the original signed wooden box. A closed bud on the side is lined with hundreds of tiny sharp needles in black. It is 6 x 5 x 4 inches (15 x 13 x 10 cm) and in excellent condition.
Shingu Sayaka was born in Osaka, the industrial and commercial heartland of central Japan, in 1979. She graduated the Osaka University of Arts in 2001, before being selected as an artist in residence at the The Shigaraki Ceramic Cultural Park. She exhibits her amazing sculptures at the Asahi Togeiten where she has garnered a number of awards, and has a list of exhibitions to back up her popularity.

Exquisite kiln effects mark this Ujoyaki Tsubo by Imai Rikei from Aomori Prefecture enclosed in the original signed wooden box named Zuiha (Swirling wave). It is 33 cm tall, 29 cm diameter and in excellent condition. Imai Rikei was born in Aomori Prefecture in 1947, and fires in the Ujoykai traditional manner making use of the worlds longest climbing kiln (guiness book of world records, 103 meters long, you can see it on youtube). He has received a number of awards and exhibited with the Asahi Ceramics Exhibition (Asahi Togeiten) among others. He is the most important artist in this lesser known Northern tradition of Japanese pottery.

A delicate white Raku bowl of incredibly light weight, the tall walls like a Japanese castle in the riven clouds by Sugimoto Sadamitsu enclosed in the original signed wooden box titled simply Shiro Chawan. It is 12.5 x 13 x 10 cm (5 x 5-1/8 x 4 inches) and is in excellent 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 Daiki. 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.

A sculpture of assembled ceramic shards by Yorigami Munemi in mottled moon colors enclosed in the original signed wooden box titled Recreations, Futatsu no Hankyu Tai (Two hemispheres). It is 28 cm (11 inches) diameter, 10 cm (4 inches) tall and in fine condition.
Yorigami Munemi was born in Kyoto in 1944, but went to Tokyo to study gardening at the Tokyo University of Agriculture, graduating in 1967. Two years later he apprenticed in ceramics under Yagi Kazuo, founding member of the avant-garde Sodeisha group, which Yorigami then joined. He has also exhibited domestically at the Asahi Togeiten Ceramics and Asahi Craft Exhibition among many others. In 1991 he was awarded gold at the Faenza International Ceramics Exhibition, and the following year exhibited in Cairo Egypt and Melbourne Australia (awarded) as well as being awarded at the Modern Ceramics Grand Prix Exhibition held at the National Museum of History in Taipei, Taiwan. The next year he was accepted into the exhibition “Ceramics Today” held at the Aichi Prefectural Museum. In 2001 His work was part of the exhibition “Kyoto Crafts 1945-2000” which was held at the Tokyo and Kyoto National Museums of Modern Art.

A large bowl by important contemporary porcelain artist Yagi Akira enclosed in the original signed wooden box. The shape is very elegant, with stiffly rising sides leading to an abrupt undulating rim in soft celadon green. A striking silhouette, it is 22 cm (8-1/2 inches) diameter, 16.5 cm (6-1/2 inches) tall and in excellent condition.
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 Muesum 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.