Catalog: Artists (1023)

An Oribe Dai-hachi footed basin by Koie Ryoji enclosed in the original signed wooden box. It is 11 x 7-1/2 x 3-1/2 inches (28 x 19 x 9 cm) and is in excellent condition. A few pre-firing chips are shown in the close-ups, glaze over-running theedges proof that they happened before the piece was fired.
Born in Tokoname, 1938, Koie Ryoji graduated the Tokoname industrial school and moved on to work at the City Ceramic Research Facility. In 1966 he established his own studio. Largely displayed and prized, he was most recently awarded the Japan Ceramic Society Gold Award in 2009, the most prestigious of pottery prizes in Japan

A massive tsubo with fissured shoulder in earth tones by Sugitani Keizo accompanied by the artists signed placard. It is 45 cm diameter and in excellent condition. This is absolutely spectacular for large flower arrangements.
Sugitani Keizo was born in Osaka in 1959. In 1982 he graduated the Ceramic Art Institute of the Tekisui Museum of Art. He has selected for a number of group exhibitions including the International Ceramics Competition Mino and the Asahi Art exhibition, where he has been awarded. He has been exhibited at some of Japns top galleries as well as London, Art Miami, Maastricht, New York, Taipei and Shanghai among others.

A classic angular silhouette in vivid Oribe coloration pierced by a jagged handle by Takauchi Shugo enclosed in the original signed wooden box titled Oribe Te-oke. This artist does have a surprisingly wide range, and this piece certainly proves that. Adept at Shino, Oribe, Mashiko styles and others, he is a tough one to nail down and even more difficult to acquire, his pieces proving very popular at exhibition. This is a rare opportunity to acquire one of his masterpieces. It is 36 x 15 x 32.5 cm (14 x 6 x 13 inches) and in excellent condition. A bucket form vase with spiked handle like this is held in the collection of the V&A.
Takauchi Shugo was born in Tokyo in 1937, opening his kiln in Mashiko at the age of 31. He has exhibited at the Nihon Dento Kogeiten National Traditional Crafts Exhibition, Nihon Togeiten National Ceramics Exhibition and as well as Gendai Nihon Togeiten National Modern Ceramics Exhibition in addition to innumerable public and private exhibitions. He is recipient of the Order of Cultural Merrit from Tochigi Prefecture, and his works have been selected for international exhibitions (Paris, London, Denmark and America) and work by him is held in the V&A, The Art Gallery of New South Wales. For more see the Book “Japanese Studio Crafts” (1995) by Rupert Faulkner of “Fired with Passion” (2006) by Beatrice Chang and Samuel J Lurie.

A Yuteki Tenmoku Koro with wooden lid surmounted by a stone finial by Kimura Moriyasu enclosed in the original signed wooden box. It is 5 inches (12.5 cm) diameter and in excellent condition.
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.

A spiraling form rises to a small opening creating this temporal vase by Takatsu Mio enclosed in the original signed wooden box from the artist this year (in fact she is signing the box right now!). The mouth is at an angle, allowing the viewer a unique image depending upon viewpoint. It is 13 cm (5 inches) diameter, 21 cm (8 inches) and is in excellent condition.
Takatsu Mio (b. 1976) was raised in Gifu prefecture among the scattered kilns of Mino. She graduated the Osaka University of Arts Sculpture Department in 1999, moving on to advanced studies which she completed in 2001, putting her at the forefront of the current female revolution in Japanese ceramic arts. Her first exhibited works were in 1999, and then again in Tokyo in 2001. The following year she exhibited with the 6th International Ceramics Exhibition in Mino with several private exhibitions over the following years in many top venues. In 2005 she made her overseas debut. In 2009 her work was featured in Women Ceramic Artists in the 21st Century (Paramita Museum/Mie Japan) 2011 saw her work accepted into the Faenza International Ceramics Exhibition in Italy, as well as the Nihon Togeiten National Ceramics Exhibition. She had to take a break to concentrate on motherhood and raising a baby, but it back in the saddle again, creating new works and showing what a woman and a mother can do.

Ash forms enigmatic shapes on this exquisite cocoon shaped wall vase by Yamada Jozan IV enclosed in the original signed wooden box. It is 8 cm (3 inches) diameter, 6 inches(16 cm) tall and in excellent condition.
Yamada Jozan IV was born into the house of third generation Living National Treasure Yamada Minoru in 1954. He graduated the Tokoname High Ceramics Course in 1973, before entering Osaka University of art. Disappointed with the university scene he left to work under his father, creating a climbing kiln, whereupon he began working with various forms, not only the famous teapots forwhich his family was known, but also ash glazed ware such as this piece. He succeeded the family name of Jozan in 2006 upon the death of his father.

A crystal shaped sculpture of dark faceted sides upon which rust and charred colors cloud the surface by Hashimoto Tomonari enclosed in the original wooden box titled “Untitled”. It is 32 x 23.5 x 24 cm and is in excellent condition, directly from the artist.
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. Work by him is held in the V&A in London, another piece has entered LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

A Kanshitsu Jikiro (Dried Lacquer box) by Okada Yuji covered in dark lacquer decorated with Kanshitsu-ko (powdered dried lacquer) and gleaming strips of mother of pearl and polished suzu-ita metal over billowing clouds of mother of pearl enclosed in the original signed wooden box titled Seifu (Blue Wind). On top a ring of fine mother of pearl flakes studded with solid discs of hirame gold indicate the sun. The box is 40 x 22 x 30 cm (16 x 9 x 12 inches) and is in perfect condition, created in 2012, directly from the artist.
Okada Yuji was born in Kyoto in 1948 and graduated with honors from the Kyoto Hiyoshi-ga-oka High School Lacquer Course, Receiving top prize for his graduation project. In 1969 he apprenticed under Ito Hiroshi, and the following year was accepted into the Kyoten (Kyoto Prefectural Art Exhibition) as well as the Kyoto Kogei Bijutsu Sakka Kyokai exhibition (Kyoto Kogei Association of artists) where he would be awarded. This begins his solo career. In 1972 he establishes himself as an independent artist, and his work is accepted into the Nitten National Exhibition. In 1973 he is accepted into the Nihon Gendai Kogeiten (Modern Crafts Exhibition). He would subsequently exhibit regularly with the above mentioned Nitten, Nihon Gendai Kogeiten, Kyoten, Kyoto Kogei Bijutsu Sakka Kyokai and later at the Urushi no Bi-ten (Nihon Shikko Kyokai Japanese Lacquer Association) exhibitions as well as solo and group shows, receiving many awards over the years. Later serving as a judge at several of these events. Throughout the 70s and early 80s he would receive numerous awards. In 1985 he took a professorship at the Dohda Art School. 1996 he enters a new phase, having become well known for restoration of lacquer arts, he begins to actively promote restoration work in addition to creating his own artwork. He would go on to restore over 3500 works of lacquer art before 2022. In 1999 he exhibits three Dry-Lacquer works at the New York Art Festival. This is a turning point in his career, when he begins debuting his latest works overseas in Germany, England and America. He retires from the Kyoto City Dohda Art School in 2003 and establishes a lacquer research center in the Ninenzaka area of Eastern Kyoto. In 2006 he opens the Lacquer Studio Shiun to pass on skills to a younger generation and becomes a member of the International Council of Museums Committee for Conservation. Post 2008 he concentrated on sharing his knowledge and technique with students and on the promotion of lacquer art through symposiums and events around the globe while at the same time continued to research into the techniques and restoration of lacquer artworks. Work by the artist is held in the collections of: the Minneapolis Institute of Art, Denver Art Museum, Museum of Fine Arts, Boston, Metropolitan Museum of Fine Arts New York, New Orleans Museum of Fine Arts, Philadelphia Museum of Art, Kiyomizu Sannenzaka Museum and Shanghai Art Museum among many others.

A beautifully organic pouring vessel as if made of silvered leaves or barnacles by Shingu Sayaka enclosed in the original signed wooden box titled Gakuyo Mizutsugi. It is 13.5 x 21 x 18.5 cm (5-1/2 x 8-1/4 x 7-1/2 inches) and is in excellent condition, directly from the artist. 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.

Liquid Green ash seems to overflow the rim of this heavily potted Iga vase by Iga star Kojima Kenji enclosed in the original signed wooden box titled Iga Mimitsuki Hanaire. The term Mimi refers to ears, usually a pair of lug like handles opposing each other on a pot. Here the ears have been elongated, more like lobes of some ancient sage, and become one with the wide flange of the base. Otherwise the mouth is modulating, the body cut and whacked with random symbols and pallet scars. It is 29.5 cm (11-3/4 inches) tall and in excellent condition.
Kojima Kenji was born in Aichi Prefecture in 1953 and graduated from the Tokoname Ceramic Vocational High School in 1971. In 1973 he spent a year in Iga before moving to Bizen for a five year apprenticeship with Konishi Tozo. He returned to Iga in 1979 and built an anagama. He has exhibited with the Nihon Togeiten National Ceramic Exhibition, Asahi Togeiten Ceramic Art Exhibition and Chunichi International Ceramic Exhibition as well as an impressive list of solo exhibitions in some of Japan’s top galleries.

A beautiful vessel by Kitamura Junko exhibiting the best of her handiwork. It is 16 cm (6-1/4 inches) diameter, 13.5 cm (5-1/2 inches) tall and in excellent condition. There is no box.
Kitamura Junko learned under the tutelage of Suzuki Osamu and Kondo Yutaka of the influential Sodeisha. Like Mashiko artist Shimaoka Tatsuzo, her work is influenced by Jomon pottery, however her approach is very different. After impressing patterns into the clay with bamboo and firing once with a dark slip, the impressions are painstakingly filled with white slip, defining the pattern, and fired again. Works by the artist are held in many public collections, including the National Museum of Modern Art, Tokyo; the Museum of Fine Arts, Boston; Houston Museum of Art and Brooklyn Museum of Art among many others.

A set of five yunomi cups and five matching plates enclosed in the original signed wooden boxes, each uniquely decorated with cobalt designs and striking gold patterns. The cups are 4 inches (10 cm) tall, the plates 5-1/2 inches (14 cm) diameter and all are in excellent condition.
Ando Hidetake was born third generation into a Mino pottery family in Gifu prefecture in 1938. He began an apprenticeship under Kato Tokuro in 1960. A testament to his skill, he was accepted for the first time four years later into the National Traditional Arts and Crafts Exhibition (Nihon Dento Kogei Ten), and followed that by taking governors prize at the Asahi Ceramics exhibition in 1970, and acceptance into the Japanese National Ceramics Exhibition (Nihon Togei Ten) in 1971; since he has displayed often with all of these important events. One of a small group of potters credited with the revival of Shino, he was named an Important Prefectural Cultural Property in 2003 (Gifu-Ken Juyo Mukei Bunkazai, the prefectural version of the Living National Treasure).

A massive Blue Sculpture titled Sway by Yamaguchi Mio created as a reflection of the layered growth of organic forms such as shells and pine cones. Inspired by this natural growth, her work is likened to life in the depths of the ocean, along the seashore, of the layers of earth itself. She has made few works in blue, one of which is currently on display at the Chicago Art Institute for those in the area. This is a masterpiece. It is 74 cm (29 inches) tall, roughly 37 cm (15 inches) diameter and in excellent condition, accompanied by a signed wooden placard directly from the artist. We have a plethora of photos of this piece, for more please email.
Due to size 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 Joryu Togei 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.

Celadon is all about form, and here Yagi Akira has nailed it with this expertly executed elegant shape composed of 2 interlocking pieces covered in green celadon glaze and enclosed in the original signed wooden box titled Kakushaku (literally horn scoop). It is 4-3/4 inches (14.5 cm) 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.

A futuristic white Porcelain vessel from the Divergence series of Matsumura Jun which the artist says “can be used to serve sake or tea” It is 24 cm (9-1/2 inches) long and is in excellent condition, from the artist late 2020. Matsumura Jun was born in Chiba Prefecture on the outskirts of Tokyo in 1986. He graduated from the University of South Alabama in 2010, and graduated the Tajimi Municipal Ceramics Research Facility in 2015, then went on to the Utatsuyama Research Facility in Kanazawa, leaving there in 2018. His transcendent, innovative forms have set the heart of the ceramic world racing and he has been awarded at the exhibition Tradition and Innovation-Japanese Ceramics Now as well as the 3rd Triennale of KOGEI in Kanazawa and have been presented at TEFAF in Maastricht, Art Fair Tokyo in 2018, Art Collect in London and Art Kyoto in 2019.

Heat shattered gold foil decorates the amber glass of this sake set by Yoshida Katsumi enclosed in the original signed wooden box. The Cups are 6.3 cm (2-1/2 inches) diameter, 3 cm tall. The pot is 21 x 17 x 17 cm (8-1/4 x 7 x 7 inches) and all are in excellent condition.
Yoshida Katsumi is a master craftsman born in Fukuoka Prefecture in 1938. He is well known for his tea utensils, including water pourers and sencha bowls. After being selected for the prefectural exhibition, he received high acclaim for his outstanding skills and delicate sensibilities.

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.

A deep, perfectly formed bowl covered in plates of various colors, the signature style of Mukoyama Fumiya enclosed in the original signed wooden box titled Kyo-mon Chawan (Border Pattern Teabowl). One of three in stock, each with unique designs, it is 13 cm (5 inches) diameter, 7.5 cm (3 inches) tall and in excellent condition.
Mukoyama Fumiya was born in Tokyo in 1960, graduating the Kyoto Ceramic Research institute before apprenticing in Hagi under 15th generation Sakakura Shinbei in 1984. He spent time in Shiga before settling in Mashiko in 1990, establishing his own kiln in 1993. The following year his work was collected by the Imperial Household Agency. He has been exhibited and or awarded at the National Craft Exhibition, National Traditional New Craft Exhibition, and Mashiko Pottery Exhibition among others.