Catalog: Vintage Arts: Regional Art: Asian: Japanese (80)

A true work of art by the most sought after of all Japanese potters, Kawai Kanjiro (1890-1966), enclosed in the original signed and stamped wooden box dating from the 1940s. It is covered in an unusual green glaze with swirling deco design on the shoulder, spinning flowers in the center like an iron dragon. The depth of the soft swirls around the neck is phenomenal. That contrasted with the crisp clarity of the iron design on the unusual green field make this vase very desirable. It is expertly crafted from red clay, and measures 7-3/4 inches (19.5cm) tall, 6-1/2 by 5-3/4 inches (14.5 x 16.5 cm) across the body. It is in perfect condition. Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Refusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined

A stunning Globular Bizen vase like burnished bronze covered by a dusting of ash by living National Treasure Yamamoto Toshu enclosed in an artist signed wooden box. The style is called Sangiri, and Toshu has pulled it off to perfection here, the keen characteristic suiting this artists work. It is likely an older (pre-war) work boxed later. The vase is 7 inches (17 cm) diameter, roughly the same height. There is a mark on the base, roughly 2 inches long. Toshu, (1906-1994) began working in a pottery at the age of 15. 12 years ater (1933) he went independent, but interestingly decided to train again later not under a Bizen master, but Kusube Yaichi, perhaps stimulating his unusual eye for Bizen. After much acclaim, it was in 1959 that he made his worldwide appearance, with a gold prize at the Brussels World Exposition, and was named an important cultural property of Okayama that same year. He was most in love with the wheel, and his forms are crisp and sharp. He was named a living national Treasure in 1987. Works by the artist are held in the National Museum of Modern Art Tokyo and National Museum of Modern Art Kyoto as well as the Victoria Albert Museum among many others.

An unusual bit of Seto ware by important artist Kato Sho enclosed in the original signed wooden box. Enigmatic windows in the smooth black coating reveal icy-pale glaze and one streak of raw sandy earth baked red. The bowl is quite large, and very pleasing to hold, slightly tapered so as to concentrate the aroma rising from the freshly whipped tea. The piece is signed alongside the kodai Sho-saku. It is 4 inches (10 cm) tall, roughly 5 inches (13 cm) diameter and in perfect condition, dating circa 1970. Sho (1927-2001) was born into the house of a potter, and graduated the Tokyo University of Art before branching out on his own. He made his National Debut at the Nitten in 1961. He has been since displayed nationally and internationally in the United States, Mexico and New Zealand among others. He received the Nitten Hokuto Prize, and was honored as judge at that most prestigious event, the same at the Asahi Togei Ten (Awarded), Kofukai, and Nihon Shin Kogei Ten (National Japanese New Craft Exhibition). He was named an Intangible Cultural Property for Aichi prefecture (the state level version of Living National Treasure) in 2000, one year before his death.

A sizable rectangular platter covered in pale mottled earth-toned glaze by Shigeya Iwabuchi (1925-1993) enclosed in the original signed wooden box. A simple slab of clay, 1 inch (2.2 cm) thick, curled up in the corners. The simplicity is refreshing, the disparate surface natural and cool to the eye. It measures 16 by 11-1/2 inches (40 x 30 cm) and is in perfect condition. Shigeya was born in 1925 in Kyoto. He graduated the Kyoto Ceramics division of the Kyoto Industrial Research School, and then moved to the ceramics department of the Kyoto University of Art, finally studying under Living National Treasures Kondo Yuzo and Tomimoto Kenkichi. He has been displayed at The Kyoto Municipal Museum of Modern Art, Asahi Togei Ten and consistently at the Nihon Dento Kogei Ten among others. This piece dates circa 1970.

A deep, almost bulbous, Wan-gata Chawan by Ueda Tsuneji Titled Kikumon, or Chrysanthemum, enclosed in the original signed wooden box. The large bowl is covered in speckled green glaze turning blue on the lower edges, with a bodacious mum in blue and black. It measures 5-1/2 inches (14 cm) diameter, the slightly tapered rim just over 3 inches (8cm) tall. Ueda Tsuneji (1914-1987) was born the second son of a Kimono maker in Kyoto, the designs seen in his youth having a lasting impression on his work. He graduated from the Kyoto Industrial School of Ceramics and established his own kiln Kinozarayama in 1936. In 1955 he discipled for two years under Kawai Kanjiro; becoming a recognized master of Neriage technique. His work is in the permanent collection of the Japan Folk Craft Museum.

Red highlights the salt glazed body of this multifaceted tsubo by Seto Hiroshi enclosed in the original signed wooden box titled Enseki-yu Tamentori Tsubo. Like stepping stones stomach scales of a snake climb in concentric arcs about the body of the base, the white covering most with red highlighting the edges. It is 8 inches (20 cm) tall, roughly the same diameter and in excellent condition.
Seto Hiroshi (1941-1994) studied pottery under Living National Treasures Tomimoto Kenkichi and Kondo Yuzo in Kyoto before establishing himself in Mashiko, where he served to bring tradition into the modern age with his unique look at form and glaze. He was exhibited and awarded widely including the Nihon Togei-Ten National Ceramic Exhibition and is held in any number of important Domestic and International collections.

Rope and cloth patterns are impressed creating deeply textured shadows on this free form ceramic sculpture awarded the Kyoto Governors prize, and dated on bottom Heisei 10 (1998) by Yasuda Kayo. A pale ash glaze runs in sheets and rivulets over the lined and creased surface, with the top bursting open. This piece is 15 kilograms, 16 inches (40 cm) diameter, 18 inches (45 cm) tall and in fine condition. All the Yasuda family pieces are from the Matsui family collection of Fushimi, an extensive collection of art objects encompassing many aspects of crafts, including sculpture, Pottery and Metalwork. It would seem they had a personal connection with the Yasuda family, as they owned many pieces, including tea bowls, vases and these larger sculptural works which we happily acquired. Due to size and weight this will likely require shipping by private air freight, to be assessed separately.
Kayo was born in Kyoto in 1952 into the house of important Avant-garde artist Yasuda Zenko. A pioneering female artist in Japanese ceramics, she has worked tirelessly against a system which suppressed women in the field. She is currently a resident of Shiga prefecture and frequent exhibitor with the Nitten National Exhibition.

A beautifully shaped green vessel by Miyashita Zenju enclosed in the original signed wooden box. It stands 10 inches (25.5 cm) tall, 8-1/2 inches (22 cm) diameter and is in fine condition.
Zenju (1901-1968) studied pottery in Japan, Korea and China, and is held in the Kyoto Municipal Museum of Art as well as the Kyoto National Museum. Work by the artist was exhibited pre-war at the Bunten and Nitten National Exhibitions as well as the 1939 and 1940 World Exposition. Post war he put his energy into reviving Kyoto’s Ceramic tradition and was exhibited at the National Ceramics Exhibition among many others. He was a leading figure in Kyoto art circles, and he passed the torch on to his son, Miyashita Zenji.

This is a stunner; a piece exemplifying the style of this incredible artist! Radical black florals decorate the rich iron sides of the bowl, tapering ever so slightly closed toward the top to help trap the aroma of the green tea within. Imagine the color contrast of dark earth-tones with the foamy maccha inside! It comes enclosed in a fine kiri-wood box endorsed by Kawai Koha, current head of the Kawai Kanjiro Museum. The bowl is 4-3/4 inches (12 cm) in diameter, 3-1/2 inches (9 cm) tall and in perfect condition. Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Hamada Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Refusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined.

A large sculptural vase by Eiraku Zengoro XVI (Sokuzen, 1917-1998) enclosed in the original signed wooden box dating from the 1950s, an era when Japan was redefining its own views on art. This is an excellent example of work from that time. Born into traditional tea ware, Zengoro XVI was with the rest of his compatriots, experimenting with new ideas and new forms, unafraid of a dawning new era. This piece is 35.5 cm (14.5 inches) tall, 17 cm (7 inches) square and in fine condition. Born in Kyoto in 1917, into the house of the 15th generation Eiraku Zengoro. Losing his father at 15 he was immediately enrolled in the Kyoto School of Crafts and took over the family name in 1935. From 1937 to 1945 he fired from a kiln on the grounds of the Mitsui residence in Kanagawa prefecture as well as from Kyoto. Married at 25, his first son was born two years later, but he lost his wife in 1945, the same year he stopped working at the Mitsui kiln and Japan’s war effort collapsed, hurling the country into an era of uncertainty. As one of the 10 providers of tea ceramics to the main tea schools, he was able to get the family kiln moving again and prospering by 1949. During the 50s he exhibited both contemporary and traditional forms in the Top venues, Takashimaya and Mitsukoshi as well as at the Matsuzakaya. After a lifetime of production he was awarded the Order of Cultural Merit in 1986 from Kyoto. Work by the artist is held in the Kyoto National Museum among many others.

A striking large Han-zutsu Shino bowl by Kato Kageaki with cotton buffer and silk bag enclosed in the original signed wooden box. Linear forms lie shadowlike below the thick pitted shino glaze burnt red on the edges, the body torn and cut creating a vivacious landscape for the senses. The bowl is 5-1/2 inches (14 cm) diameter, 3-1/2 inches (9 cm) tall and in perfect condition. It comes wrapped in a custom fitted silk bag with a central cotton tuft, showing the high esteem and value lavished on the bowl. Kageaki (1899-1972) was the 12th generation head of the Kato clan, his ancestor Kagemitsu being the first of the Mino potters, establishing the family kiln in 1574. He was named a Prefectural Living Treasure (properly called Mukei Bunkazai or Intangible Cultural Property) in 1958. He was often displayed at and prized at the National Traditional Arts and Crafts Exhibition (Nihon Dento Kogeiten) and was a member of the Nihon Kogei Kai. His torch was passed to his son Kato Seizo and Mizuno Takuzo among others. The kiln is now headed by his grandson, the 14th generation head of the family Kato Yasukage.

Gorgeous blue clouded mottle lies over oribes vibrant green crackled glaze on this thick slab of clay by world famous artist Kato Shuntei (b. 1927-1995) enclosed in the original signed wooden box. The upturned edges create a border where none exists allowing the dish to blend with other table elements and yet setting it apart as an individual work (asif the size alone were not enough!). The piece is literally supported on beaded drips of glassy green glaze. Roughly 14 by 15 inches (35 x 37 cm); it is in perfect condition. Shuntei succeeded his fathers name in 1961, becoming one of the Seto area leaders in ceramics along with his brother Shunto, and in fact represented Aichi prefecture at the Worlds Fair Osaka, and served as a judge for the Prefectural Art Committee for many years. He was presented at such prestigious events as the Nihon Kogei Ten (National Crafts Exhibition), Dento Kogei Ten (National Traditional Crafts Exhibition) and the Asahi Togei Ten (Asahi Ceramics exhibition) among many others.

A heavily potted Ash-glaze vase by Seto potter Kato Shinya enclosed in the original signed wooden box. The geometric patterns collide and dance off each other, gray on white, a piece well representing the artistic endeavors of the era in which it was created. The vase is quite large, 13 inches tall, 8-1/4 inches diameter and in excellent condition. Shinya was born into the family of Seto potter Kato Sakusuke in 1940, and graduated the Tokyo University of Art sculpture division in 1964, following two years later with a Masters from the Tokyo Art University Ceramics Division. He later moved to study under both Living National Treasure Tamura Koichi and Fujimoto Yoshimichi. He has been displayed at the Nihon Dento Kogei Ten (National Japanese Traditional Crafts Exhibition) among others. This is a taller version of a design he submitted to that exhibition in 1989.

Here is an amazing vase by the most sought after of all Japanese potters, Kawai Kanjiro dating from the 1940s, enclosed in a fine kiri box endorsed by the Kawai Kanjiro Museum. The box is signed Kanjiro Saku, Gosu Hana-ire Hentsubo, Kawai Koha (Made by Kawai Kanjiro, a Gosu blue flower vase of altered urn shape, endorsed by Kawai Koha. Koha is Kanjiros daughter, and the current head of the Kawai Kanjiro Museum. The stately composure of its dramatic silhouette is surpassed only by the striking flashes of color dashed across the blue surface. Subtle yet seeming to speak of an excess of energy, the vase epitomizes work by this preeminent artist. The trapezoidal base rises to an elongated ovular center, from which extends a sharpened angular mouth. It is difficult to describe the power of this piece; one must hold it to truly appreciate the brilliance of its artistry. The vase is 8 inches (21 cm) tall, 5-1/2 by 4-1/2 inches (11 x 14 cm) across and is in perfect condition. Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Hamada Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Refusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined.

A perfect example of why Shigaraki is one of Japans most popular ceramic styles; a large tsubo urn covered in Hai-yu ash glaze by Yamamoto Ryuzan, enclosed in the original signed wooden box. Thick glaze covers the shoulder and runs in glassy rivulets down the charred front, while the back of the Tsubo, positioned away from the flame, remains pale white. Bidoro, flying ash all over with a dark kutsuki on front and brittle molten ash-charring at the base. On a small base, the piece leans slightly to one side, the natural presence entirely without pretense yet not lacking at all in impact. The tsubo is 14 inches (35 cm) tall, 12 inches (35 cm) diameter and in excellent condition.

A faceted bottle-form vase with ukibori designs by Kawai Takeichi enclosed in the original signed wooden box. It is 11 inches (27 cm)tall, 4 inches (10 cm) square and in excellent condition.
Kawai Takeichi (1908-1989) studied the art of pottery under his legendary uncle Kawai Kanjiro in Kyoto from the age of 19. He stayed with Kanjiro for many years, one of his most loyal supporters, and the two were very close. He founded his own kiln in 1953, and participated in many private and public exhibitions. Work by him can be found in The National Gallery of Victoria and the Art Gallery if New South Wales as well as the National gallery of Australia, the Los Angeles County Museum of Art, The Brooklyn Museum, New Zealand National Museum among many others including of course the Museum of Modern Art in Tokyo.

A charred Tsubo blasted with ash by Takahashi Rakusai enclosed in the original signed wooden box. It reflects the style of early Shigaraki, with an engraved crosshatch belt circling the flaring mouth. The piece is 8 inches (21 cm) tall, roughly the same diameter and in excellent condition but for one tiny nick in the base.
Born in Shigaraki in 1900, Rakusai was considered one of the true masters of Shigaraki and Iga-yaki, along with Naokata and later Michio. He worked toward the revival of Kamakura and Muromachi wares like this piece, and came to the world stage when he won international acclaim after being prized at the 1958 Brussels Exposition. He was later named a Shiga-ken Juyo Mukei Bunkazai and is credited as one of the artists that saved Japanese pottery from extinction in the post-war years. He eschewed the National Competitions and was a proponent of the world of private exhibition. He died in 1976.

A charming baluster form vase decorated with a ring of drying fish by Katsuo Seiryudo (1907-1984) in the original signed wooden box. The hirame (flat fish) are unglazed except for an iron like underglaze used to draw the details, and shiny black dots for eyes. The contrast between the unglazed fish and white ceramic is unexpected and pleasing, in that ordinarily it would be opposite. The vase measures roughly 8-1/2 inches (21.5 cm) in diameter and height, and bears the artists cartouche-like stamp inside the foot. Seiryudo, originally of Hiroshima, graduated the Tokyo school of Art, Western Style Painting Department, and moved to Kyoto in 1930 to begin working in ceramics. His works were hailed at both prefectural and National exhibitions including the prestigious Bunten and Nitten.