Catalog: Artists: Ceramics (803)

An iconic Shigaraki vase by Otani Shiro enclosed in the original signed wooden box titled Shigaraki Henko which epitomizes the artists philosophy of relying on the purity of clay, form, and natural colors born from the conflagration over overt decorative techniques. Here dark colors scorch the base where it was buried in the embers, while pale thin ash dusts the austere terracotta clay blasted over the shoulders with a rich coat of ocher ash. It is 22 cm (9 inches) diameter, 25.5 cm (10 inches) tall and in excellent condition.
Otani Shiro was born in Shigaraki in 1936 and graduated the Prefectural School in the ceramics department in 1956, which he followed up with 4 years studying decorating techniques under Morioka Yutaro. He then moved to Kyoto where he studied at the Municipal Ceramics Research Facility, where he trained under Kiyomizu Kyubei, Shofu Eichi and Uchida Kunio before returning to Shigaraki to yet further his studies in design. He garnered his first award at the Shiga Prefectural Art Exhibition in 1962, as well as the Governor’s prize at the National Rodosha Bijutsu-Ten Exhibition. He took a position with an industrial kiln in Shigaraki in 1963, and began potting in his free time, exhibiting and being awarded at the Asahi Togeiten among others. In 1968, he left his position at the kiln, and in 1969 was first accepted into the National Traditional Crafts Exhibition (Nihon Dento Kogeiten). In 1973 he established his own kilns in Shigaraki, both an Anagama submerged kiln and a climbing kiln, and began learning from future Living National Treasure Shimizu Uichi. From there he participated in the Nihon Dento Kogei Ten (National crafts Exhibition) as well as innumerable private exhibitions both domestic and International, and was named an Intangible Cultural Asset of Shigaraki in 1990. His work is held in The Museum of Art in Atlanta, The Boston Museum of Fine Arts, the Brooklyn Museum of Art, the Fogg Art Gallery of Harvard as well as the Morikami Museum and Smithsonian among others. For an in depth look at this potter see the article by Rob Barnard in Ceramics Monthly volume 39 (Summer 1991).

Grapes in gold lined ocher decorate this flaring cylinder the color of a cloudy sky by Miyake Yoji enclosed in the original signed wooden box titled Nuki-e Kinsai Budomon Tsutsu. It is 30 cm (12 inches) tall, 16.5 cm (6-1/2 inches) diameter and in excellent condition.
Miyake Yoji was born in Shimane in 1950, He studied from 1974 under Ito Kosho, establishing himself as an independent artist three years later in Mashiko. In 1979 his work was accepted into the Dento Kogei Shinsaku Ten (New Exhibition of Traditional Crafts) and displayed there annually thereafter. In 1980 he was accepted into the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition), and many times thereafter. Again the following year he was accepted into yet another major exhibition with the Nihon Togei Ten (All Japan Ceramic Exhibition), once again followed up with repeated acceptance there. Yet in the 90s he turned away from the competitive world and began to concentrate more on private exhibitions, of which he has been hosted many times in some of Japans most prestigious galleries. He was also the subject of an NHK Television Documentary in 1998 and appeared in another in 2000.

A playfully colored lidded container in the shape of a mellon by Matsuda Yuriko enclosed in the original signed wooden box. Every aspect of the sculpture has been colored, from the golden stem to the glittering seeds inside It is 31 cm (I foot) tall, 17 cm diameter and in excellent condition.
Matsuda Yuriko was born in Ashiya, Hyōgō Prefecture in 1943nd lives and works in Oshino, Yamanashi Prefecture. Yuriko is an avid exhibitor; it is a wonder she has time to do any work at all. Both within Japan (Nihon Togei Ten, Gendai Togei Ten etc.) and without she has an impressive list of exhibitions in a host of countries. She received the Yagi Kazuo prize in 1986 among many others. According to the book “Touch Fire”, Many of the women artists included in this exhibition are independent innovators who work outside the constraints of Japanese ceramic traditions. However, several of the artists, including Matsuda Yuriko, continue to use traditional techniques with skills that rival, if not exceed, those of their predecessors, and in doing so they create new and challenging contemporary ceramic Sytg art. They reinterpret the traditional decorative technique for porcelain vessels, called iro-e over-glaze enameling, and transposes its motifs onto nonfunctional objects. Her beautifully enameled iro-e porcelain sculptures are witty odes to two favorite subjects: the female body and Mount Fuji. For more information on this artist and examples of her work see the books Contemporary Japanese Ceramics, Fired with Passion by Beatrice Chang and Samuel Lurie. Also see Contemporary Clay, Japanese Ceramics for the New Century based on the Museum of Fine Arts Boston exhibition or Soaring Voices, Contemporary Japanese Women Ceramic Artists (2010).

A dramatic Shino Mizusashi covered in flowing glaze by Sakai Kobu enclosed in the original signed wooden box. It is 20 cm tall, 19cm diameter and in excellent condition.
“I follow no teacher. I take no disciples. Independent, I don't get along well with public exhibitions”. Kobu Sakai from Toki City, one of Japan’s ceramic heartlands, has mastered Shino through self-study. He succeeded a kiln mass producing generic pottery, but decided he wanted to make his own works. “I walked around the nearby mountains and fields. Any piece of pottery that I encountered in an old kiln became my teacher. His works have been shown in solo exhibitions at department stores, and in 2002, he was designated as an intangible cultural property of Toki City. The 85 year old is well known for developing in the 1990s a blue Shino glaze using Cobalt and Iron Oxides known as Heki-Shino which shocked traditional ideas.

A brilliantly colored bowl studded with shiseki and slashes of black by Banura Shiro enclosed in the original signed wooden box. It is 14 cm diameter, 7 cm tall and in excellent condition.
Banura Shiro (1941-2001) was born the fourth son of influential Lacquer Artist Banura Shogo. His sensitivity to textures may stem from that exacting influence. Although his older brother succeeded the family tradition (another branching into paper arts), Shiro, after graduating the Kyoto University of Fine Art, apprenticed in the plastic arts under Kawamura Kitaro (1899-1966) who was a student of Kitaoji Rosanjin. Rosanjin, a restaurateur, artist, and overall renaissance man believed the dish was there to support and bring out the beauty of food served. Shiro took this as his raison d’etre; his lifetime pursuit to create dishes which complimented the seasonality, texture, color and flavor. He had an impressive list of exhibitions, including a private exhibition at the Umeda Kindai Bijutsu-Ten as well as the Niponbashi Mitsukoshi, Takashimaya, and Ikebukuro Tobu, the equivalent of being displayed on New Yorks Fifth Avenue or other cities most Trendy streets, as well as many international exhibitions. Like most Iga-area artists, his output was low, but quality and originality high, making his work very much in demand.

Gold nuggets gleam on the deep lavender and black surface of this natural-formation by Inayoshi Osamu enclosed in the original signed wooden box titled Kurinuki Kinsai Kaki. Kinsai is literally gold color, and here the artist has embedded gold into the surface, allowing it to expand and bubble out in the heat of the firing process. The effect of this on the dark matt surface is both striking and original. Kurinuki is the technique of digging a form out of a block of clay. It is 18-1/2 inches (47 cm) tall and in excellent condition.
Inayoshi Osamu was born in Aichi prefecture, the heart of Mino country, in 1976. He completed his initial training in the plastic arts at the Seto Pottery School in 2002, garnering an award that same year at the 56th Seto City Art Exhibition. In 2007 he established his own kiln in Toyohashi, and was awarded at the 19th Heart of Oribe Pottery exhibition (again the following year). In 2008 he began to focus on the Atsumi pottery of the Heian and Kamakura periods, building up a unique repertoire. After several more domestic shows and prizes, he had his overseas debut in 2010, and has since received a great deal of attention both at home and abroad.

A natural ash glazed (Shizen-yu) vase by legendary artist Kumano Kurouemon enclosed in the original signed wooden box titled Echizen Hanaire. It is 26 cm (10-1/2 inches) tall, 17 cm (6-1/2 inches) diameter and in excellent condition.
A ceramic madman, oil painter and recluse, Kuroemon is as eccentric as his pottery predicts. Born in Fukui prefecture in 1955 Kuroemon was a painter from youth, he began his studies under Fujita Jurouemon in 1976, and moved to study also under Toda Soshiro. Invited to the Soviet Union he spent time there and in Sakhalin in the 80s, returning to Japan to build his own kiln in 1987. He was the feature of a major exhibition in Germany in 2004, but aside from a few small exhibitions held in Japan (which quickly sell out) he remains a humble artist holed up in his mountain hermitage and works by him are not easy to acquire.

Silver glistens inside the near matt core of this fabulous chawan by JCS Gold Award winner Ito Keiji enclosed in the original signed wooden box. It is 12 cm (5 inches) diameter, 9.5 cm (just less than 4 inches) tall and in excellent condition.
Ito Keiji was born in 1935, and has spent his life challenging the accepted concepts of traditional ceramics. He was awarded at the 1981 Faenza International Ceramics Exhibition. He was awarded the Gifu Prefectural Cultural Award in 2006, and again the Award for Culture and Arts in 2013, culminating in the prestigious Japan Ceramics Society (JCS) Gold Award in 2017. Work by him is held in a plethora of important institutions throughout the globe. Tokyo and Kyoto National Museums of Modern Art, Gifu Prefectural Museum and Gifu Prefectural Museum of Contemporary Ceramics, Shiga Togeinomori Museum of Ceramic Art, Paramita Museum and Aichi Prefectural Ceramic Museum among others in Japan as well as the Everson Museum, Honolulu Museum, Art Gallery of New South Wales, and Faenza among others.

A masterpiece by Kato Shigetaka, this bowl is very powerful, and I am not one to wax too longingly on individual pieces. In short: he nailed it with this bowl which comes enclosed in the original signed wooden box titled Kuro Chawan. It is 13 cm (5 inches) diameter, 9 cm (3-1/2 inches) tall and in excellent condition.
Kato Shigetaka (1927-2013) was born the son of legendary revivalist Kato Tokuro, his older brother the legendary rebel Okabe Mineo. Shigetaka graduated the Seto Industrial School of Ceramics and studied under his father. From 1959-1971 submitted annually to the Nitten where he received the Hokutosho prize as well as the Modern Ceramics Prize among others, and later governors prize at the Asahi Togeiten Ceramic Exhibition. He also was recipient of the prestigious Japanese Ceramics Society Award. He accompanied his father on frequent trips to China and Central Asia for research into the roots of silk road pottery. He was extremely talented and worked the gamut of Mino and Seto styles.

A breathtaking new look at Shigaraki Anagama ware by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Yohen Shinogi Tsubo (Natural Ash Glazed Blade Style Shigaraki Tsubo). The artist has coil formed the vessel, with thick walls, then incised a waving pattern leaving a saw-tooth surface dusted in ash with brilliant hi-iro and dark charring. It is 31 cm (12 inches) tall and in excellent condition. Directly from the artist this summer.
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 studying wheel technique, graduating the following year. He then did a year apprenticeship at a pottery before re-entering for a second course at the Research Facility, graduating in 1995. From that year he returned to the family kiln, receiving the family tradition from both his grandfather Furutani Churoku and father Furutani Hirofumi. Subverting the self, he makes simple, organic pots which have a timeless quality, very much rooted in the now, but paying homage to the traditions past down through the ages. He was named a Designated Traditional Craftsman (Dento Kogeishi) in 2013. He has exhibited with the Nihon Dento Kogeiten among others, and still works closely with his father at the family kiln.

Dragonflies alight on autumn grasses and bush clover forming the perfect seasonal connotation under an engorged white moon on this pair of mouse-colored (Nezumi) vases by Shino legend Wakao Toshisada enclosed in the original signed wooden box titled Nezumi Shino So-heki. Together they are 29 cm (11-1/2 inches) long, 18 cm (7 inches) tall and in excellent condition.
Wakao Toshisada was born in Tajimi, Gifu prefecture, home of Mino pottery, in 1933. He was first recognized at the New Crafts exhibition of 1960, the same year he was first exhibited at the Central Japan Art Exhibition. Three years later he made his debut at the Asahi Ceramics Exhibition, following in 1965 with the National Traditional Crafts Exhibition. In 1971 he first exhibited with the Nihon Togeiten (All Japan Ceramics Exhibition) and was awarded the following year the New Mino Artists Prize, gathering acclaim as a leader in the field. After many domestic and International exhibits, he was awarded the Kato Kohei prize in 1986. and was recipient of the prestigious Japan Ceramics Society (JCS) Award in 1989. He was named an intangible cultural asset of Tajimi city in 1995, and of Gifu Prefecture in 2003, and works by the artist are held in the Museum of Modern Art Tokyo, V&A, Freer Gallery and Sackler among many others.

A ghostly pale tsubo with jagged grooves cut into the shoulder by Kimura Morinobu enclosed in the original signed wooden box titled Kaede-yu O-Tsubo (Large Tsubo with Maple-Ash Glaze). It is 36 cm (14 inches) diameter, 42 cm (16-1/2 inches) tall and in excellent condition. Due to size the cost of shipping will be accrued separately.
Kimura Morinobu (b. 1932) was one of three born into a pottery family in Kyotos Higashiyama pottery district. He attended the Kyoto Municipal School of Art graduating from the sculpture division, and entered the Kyoto Ceramic Research Facility, the stomping grounds of so many of the brightest talents in modern Japanese Pottery. After apprenticing under both his brother, Morikazu, and Living National Treasure Shimizu Uichi, he established his own kiln in 1967. His list of exhibitions is much too long to put down here, he was named an intangible Cultural Property (Mukei Bunkazai) of Kyoto Prefecture in 1992. Works by the artist are held in the Kyoto National Museum among others.

Lavender and pink tinge the thick glaze applied to this large open tsubo by Kimura Morinobu enclosed in the original signed wooden box titled Nasu-yu Shitomon Tsubo (Tsubo with Eggplant Glaze). This is a coloration for which Morinobu is well known and is unique to him. I remember meeting him one day at his house in Northern Kyoto and talking about this unusual glaze. He said an entire field of Nasu (eggplant) garners just a handful of this precious ash. The vessel is 29 cm diameter (just less than 12 inches) and stands 31.5 cm (12.5 inches) tall. It is in perfect condition.
Kimura Morinobu (b. 1932) was one of three born into a pottery family in Kyotos Higashiyama pottery district. He attended the Kyoto Municipal School of Art graduating from the sculpture division, and entered the Kyoto Ceramic Research Facility, the stomping grounds of so many of the brightest talents in modern Japanese Pottery. After apprenticing under both his brother, Morikazu, and Living National Treasure Shimizu Uichi, he established his own kiln in 1967. His list of exhibitions is much too long to put down here, he was named an intangible Cultural Property (Mukei Bunkazai) of Kyoto Prefecture in 1992. Works by the artist are held in the Kyoto National Museum among others.

An earing clings to the “mimi” on this fabulous ash glazed vessel by one of our favorite hidden treasures, Tamura Roppo, enclosed in the original signed wooden box titled Koshu Iga Mimitsuki Hanaire. The traditional form is affixed with two “ears”, from one of which clings one tremulous drip of ash, seeming to slightly weigh down that side. Happenstance occurring at just the right place at just the right time during the firing process that it survived without falling or breaking off. It is this fostering of the accidental that is so definitive of the Japanese aesthetic. It is 27 cm (10-1/2 inches) tall and in excellent condition.
Tamura Roppo (b. 1960) claims his potting career began at the age of 20 when he took a lump of clay he had molded to the kiln of a nearby young potter begging for him to fire it. In 1982 he opened a kiln in Shinshu, then moved to Yamanashi in 1991. In 2001 he moved to his present location. He uses all local materials, and is well known for his Kosyu-Iga yakishime wares. Perhaps due to the hardships of his beginning, he allows young potters free use of his Anagama kiln, helping to cultivate the next generation.

An exquisite vessel in white with elegant stripes of soft color by hard to find Niwa Ryochi enclosed in the original signed wooden box titled Senmon Tsubo. There is a palpable grace to the piece which seems to reflect the Japanese appreciation of silence and shadows. It is 27.5 cm (11 inches) diameter, 33 cm (13 inches) tall and in excellent condition. Hirashimizu-yaki started when the Lord Niwa Jizaemon, invited Tojihei Ono, a potter from Ibaraki, to make pottery using clay from Chitoseyama during the Bunka era of the late Edo period. There are four kilns in operation today. During the Bunsei era (1818-1829) Abe Kakuzaemon of the Soma clan visited here, built a kiln, and spread the techniques of Soma-yaki pottery, which contributed to Hirashimizu becoming a large pottery-producing area. During the middle of the Meiji period (late 19th century) when the area was enjoying its most prosperous time, over 30 kilns were in operation. Today only 4 exist. Niwa Ryochi was born in Yamagata in 1931. In 1946 he entered apprenticeship at the Ryusen kiln, and due to circumstance, became 4th head of the kiln in 1950. He has exhibited at the Kofu-Kai, and Nihon Dento Kogeiten National Traditional Crafts exhibition as well as at many of Japans top galleries.

Graffito scrawls through the silver lining of this fine Chawan by Morino Taimei enclosed in the original signed wooden box. A single dark spot, like a phpotograhic negative of the full moon reflected in water. Outside a wavering line about the foot. The bowl is 12.5 cm diameter, 7.5 cm tall and in perfect condition.
Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitz-gerald Collection.

A fabulous Shigaraki Tsubo of austere form blasted with natural ash glaze by Otani Shiro enclosed in the original signed wooden box. A classic work it is 20 cm (8 inches) diameter and in excellent condition.
Otani Shiro was born in Shigaraki in 1936 and graduated the Prefectural School in the ceramics department in 1956, which he followed up with 4 years studying decorating techniques under Morioka Yutaro. He then moved to Kyoto where he studied at the Municipal Ceramics Research Facility, where he trained under Kiyomizu Kyubei, Shofu Eichi and Uchida Kunio before returning to Shigaraki to yet further his studies in design. He garnered his first award at the Shiga Prefectural Art Exhibition in 1962, as well as the Governor’s prize at the National Rodosha Bijutsu-Ten Exhibition. He took a position with an industrial kiln in Shigaraki in 1963, and began potting in his free time, exhibiting and being awarded at the Asahi Togeiten among others. In 1968, he left his position at the kiln, and in 1969 was first accepted into the National Traditional Crafts Exhibition (Nihon Dento Kogeiten). In 1973 he established his own kilns in Shigaraki, both an Anagama submerged kiln and a climbing kiln, and began learning from future Living National Treasure Shimizu Uichi. From there he participated in the Nihon Dento Kogei Ten (National crafts Exhibition) as well as innumerable private exhibitions both domestic and International, and was named an Intangible Cultural Asset of Shigaraki in 1990. His work is held in The Museum of Art in Atlanta, The Boston Museum of Fine Arts, the Brooklyn Museum of Art, the Fogg Art Gallery of Harvard as well as the Morikami Museum and Smithsonian among others. For an in depth look at this potter see the article by Rob Barnard in Ceramics Monthly volume 39 (Summer 1991).

Wow, a jaw-dropping bowl in igneous black like some volcanic expulsion by Kim Hono enclosed in the original signed wooden box. So impressed was even the artist with this piece that he has drawn an image of the bowl up the side of the box and over onto the lid. It is 11.5 x 13 x 10 cm 4-1/2 x 5 x 4 inches) and in excellent condition.
Kim Hono was born in Seto City Aichi Prefecture in 1958, and graduated the Prefectural Ceramics School in 1977, then taking up apprenticeship at a local kiln before establishing himself as an independent artist in 1982. He held his first solo exhibition in Nagoya in 1985. He has been exhibited at the Nihon Togeiten National Ceramics Exhibition Dento Kogeiten National Traditiaonal Crafts Exhibition, Asahi Togeiten Exhibition, Chunichi Kokusai Togeiten, and his works being shown in some of Japans top galleries including Kuroda Toen in Tokyo’s Ginza ward. Not to be defined, even by himself, famously when asked by Hohnoho Magazine to define his work he cryptically replied only: Kaze wo Kanjiru Koto (Feeling the wind).

A beautiful half orb in shimmering silver with matte Caribbean blue by Morino Taimei enclosed in the original signed wooden box titled Ginsai Hai. It is 6.5 cm (2-1/2 inches) diameter and in excellent condition.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by the governor’s prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo Natby ional Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.

An absolute classic natural ash glazed sake bottle by the reclusive potter Osako Mikio enclosed in the original signed wooden box titled Tokkuri. Most of the surface is covered in ash, tremulous tears of liquefied ash weeping over the charred clay. It is 14 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.”

A small bottle with ash draped from the shoulder like a traditional priest robe by Takeuchi Kimiaki enclosed in the original signed wooden box titled Ko-tsubo. It is 10.5 cm (4 inches) tall and in excellent condition.
Takeuchi Kimiaki (1948– 2011) was born in Tokoname and started learning wheel throwing when he was a middle school student. He met his mentor Ezaki Issei at the Tokoname Ceramic School when he was 16 years old. Along with Ezaki, he and Osako Mikio revitalized Tokoname ware following eh nearly lost ancient traditions using local mountain clay and ash glaze. He exhibited with and was awarded at the Asahi Togeiten, Chunichi International Ceramic Exhibition, Nihon Dento Kogeiten National Traditional Crafts Exhibition and Nihon Togeiten National Ceramic Art Exhibition among many others. He earned Grand Prize at the International Exhibition of Vallauris. While paying homage to tradition, he imbues his work with a chic contemporary ambiance. Work by him is held in the collections of the New York Metropolitan Museum of Art, The V&A in London, the Minneapolis Institute of Art and the Tokyo National Museum of Modern Art among others.

Earthen-toned glaze covers the fissured surface of this unusual small vase by Sugitani Keizo enclosed in the original signed wooden box. It is roughly 6 inches (15.5 cm) diameter and in excellent condition, directly from the artist this summer.
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 Japans top galleries as well as London, Art Miami, Maastricht, New York, Taipei and Shanghai among others.

A sculpted large blue chawan buy Sugitani Keizo enclosed in the original signed wooden box. It is 13.5 x 14 x 10 cm and in excellent condition, directly from the artist this summer.
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 flash of gold blazes on the raw earth side of this masterpiece tea bowl by Kato Kiyoyuki enclosed in the original signed wooden box titled Hai-yu Chawan. Green ash runs down opposite the iridescent flash of gold. Inside the ash sees to catch on the horizontal furrows left by the artists fingers. It is 12.7 cm (5 inches) diameter and in excellent condition.
Kato Kiyoyuki was born in 1931, the heir to a long-established tile-making business in Seto. He studied ceramics at high school however his main interest lay in painting and sculpture, and it was only when he was in his late twenties that he began to work in pottery. He made his first submission to the Nitten exhibition in 1958, and began producing well-designed utilitarian ceramics in keeping with the principles of the then newly established Japan Craft Design Association, but soon turned his hand to sculptural ceramics. Kato's development as a ceramic sculptor owed much to his friendship with Teshigahara Sofu (1900-79), the former head of the Sogetsu school of flower-arranging. Terashige's experimental interests encouraged Kato to explore his sculptural ambitions in vessel as well as non-vessel formats. According to Kiyoyuki, “When a shape that is completely free of unnaturalness emerges, the clay and I become one”. He won the Grand Prize at the Asahi Ceramic Art Exhibition in both 1964 and 1965. He is the recipient of the most prestigious Japan Ceramic Society Gold Prize. He has exhibited with the aforementioned Nitten National Fine Arts Exhibition and Asahi Ceramics Exhibition, Chunichi Kokusai Togeiten International Ceramics Exhibition as well as Faenze International Ceramics Exhibition, Nihon Togeiten National Ceramics Exhibition, Nihon Gendai Kogeiten National Modern Crafts Exhibition and Seto Togeiten among many many others, and his list of private exhibitions could not be covered on this page. Work by him is held in the V&A (London), Tokyo and Kyoto National Museums of Modern Art, Canterbury Museum (New Zealand) and the Sogetsu Museum in Aichi among others. For more see Toh Volume 8, which was dedicated entirely to him.

Gold shatters on the blue surface of this large vase by legendary female potter Ono Hakuko enclosed in the original signed wooden box titled Yuri Kinsai Hana Tsubo. It is 29 cm (11-1/2 inches) diameter, 31.5 cm (12-1/2 inches) tall and in excellent condition.
From Aichi prefecture, Ono Hakuko was trained by her father initially in the ceramic arts. However, she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japans most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics by Women Artists (2009)

A rare set of Tokkuri by important artist Okabe Mineo enclosed in the original signed wooden box titled Seto-te Tokkuri. The shapes are twins, one in E-shino style with iron decoration under white feldspar, the other in austere Oribe green glaze. The flaring mouths are both ulled slightly creating a perfect pouring spout. They are 13 cm (5-/4 inches) tall, 7 cm (2-3/4 inches) diameter and in excellent condition.
Okabe Mineo (1919-1990) was born the first son of important artist Kato Tokuro, however the relationship with his father was volatile. When he was 9 Tokuro moved the young family to Seto, where Mineo would graduate the Aichi Prefectural Ceramics School in 1937. After a year at the family kiln, he moved to Tokyo, then joined the army in 1940. He fought against the Americans and would spend several years as a prisoner of war in the Philippines, repatriated to Japan in 1947. He returned to Aichi prefecture, leaving enough distance between himself and his estranged family, and with his wife began producing pottery in Toyoda. In 1953 he met Koyama Fujio; that same year he was awarded the Hokuto prize at the Nitten, and his work was collected by the Ministry of Foreign Affairs. This was the true beginning of his career. In 1955 he received the JCS award, one of the highest honors for a Japanese potter. By the mid ‘60s. he moved to celadon ware. He changed his name from Kato to Okabe in 1978, to honor his wife who supported his efforts for so many years.

A masterpiece of dark grey covered in thick brushstrokes of slip by Shigemori Yoko enclosed in a signed wooden box titled CUBE. Through the slip and into the surface has been scratched windows of lace and fishnet designs. Inside is rolling waves or fish scales. One side difers, with no decoration on the white slip inside, the surface divided into 4 separate cubes outside. It is 22 cm (9 inches) on all sides, and in excellent condition, enclosed in a wooden box signed 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 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.

A vibrant image of a gourd filled with colorful sages at play by Shigemori Yoko. The surrounding black ink is like a Zen painting, immediate and spontaneous; struck out in quick dramatic strokes. By comparison the dynamic figures contained within appear to be painted in light, leisurely strokes with daps of soft color. This is one of several ink and colored sketches we received from her estate and had mounted as scrolls. They play games, practice calligraphy, enjoy tea and conversation, one is even flying a kite! Ink with soft colors on paper, it has been freshly prepared in a blue cloth border terminating in celadon, rollers. The scroll is 46.3 x 196 cm and is in excellent condition.
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.

Earth tones mix with rivulets of copper green emboldened with flashes of jet black on this vase by Shigemori Yoko enclosed in a signed wooden box titled Oribe Tetsuki Kabin (Oribe Vase with Handle). The green is almost liquid, and gives the impression if you look away it will change. The blacks are solid and brisk, obviously performed spur of the moment and to wondrous effect. The vase is 26 cm (10-1/4 inches) tall and in excellent condition. It comes in a 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.

A striking floral image decorates this odd shaped guinomi made to not be put down by Mizumoto Kayoko enclosed in the original signed wooden box titled Obana Guinomi. An Obana is a male flower, or a flower with only stamens and no pistils; lacking female reproductive function. The cup is 6.5 x 12 x 7 cm (2-1/2 x 4-1/2 x 3 inches) and is in excellent condition, dating from last year.
Mizumoto Kayoko was born in Ishikawa, home to the Kutani Ceramic Tradition, in 1971. She initially apprenticed in Yuzen Textile dying, where she worked for seven years, before teaching herself basic pottery techniques beginning in 1999. Having come to the traditiaonl Kutani world from outside, she was free to develop her own voice unfettered by traditional influences. In 2001 she entered a traditional kiln where she mastered the craft, and established her own kiln in 2010. Her work ahs been featured in prominent shows both in and out of Japan.

Marbled porcelain clay in lavender and black in wavelike scales form this sake set by Kusaba Yuji enclosed in the original signed wooden box titled Nerito Kuro Namimon Shuki Soroi (Matching Sake set of Marbled Black Clay). This is absolutely perfect for summer sake, the shape is open allowing quick pours and the high fired clay keeps cool, passing on the chill through your fingers as you pour. The cup is 7 cm diameter, 5.5 cm tall (just more htan 2 inches), the Katakuchi 8.7 cm diameter, 9.5 cm (just less than 4 inches) tall. Both are in excellent condition, new from the artist.
Kusaba Yuji was born in Arita, the heartland of Japanese porcelain, in 1955, and graduated the prestigious Nihon Daigaku in 1979. He returned to the family kiln in 1984, to apprentice under his father, diverging from ordinary porcelain production, he chose to attempt the unexplored techniques of Neriage colored clay in porcelain. His work was first exhibited in 1990 at the Nagasaki Togeiten, where he received the Governors prize. Since he has been accepted into or awarded at The Nihon Togeiten National Ceramics Exhibition, Dento Kogeiten Traditional Ceramics Exhibition Saga Kenten Prefectural Exhibition and Asahi Crafts Exhibition among others.

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.”

A gourd shaped black Bizen Tokkuri by Oiwa Tomoyuki enclosed in the original signed wooden box titled Kuro Tokkuri. A pleasure to view, the off-kilter form is blasted with powdery dry ash on one side which turns to molten rivulets on the edges crawling around to bead up on the opposite dark shiny clay. The Tokkuri 16.5 cm (6-1/2 inches) tall and in excellent condition. Acquired on our recent trip to Bizen in June.
Oiwa Tomoyuki was born in Hyogo prefecture in 1977, and graduated the Bizen Ceramic Center in 2004. The following year he came to study under the outsider Kakurezaki Ryuichi, where he would remain for 8 years, garnering a lifetime worth of knowledge from the master before going independent. In 2014 he built a half-submerged tunnel kiln (anagama), completing his first firing in 2015. He has since been featured widely and is known for sell out shows, especially for his sake vessels.

An elegant carved porcelain set of guinomi and Tokkuri, perfect for chilled sake on a hot summer night, by Masafumi Doi enclosed in the original signed wooden box titled Seiji Chomon-Hineri Shuki (Celadon Swirl-Carved Sake Set). Sheer perfection, the design drapes like earrings (or Christmas ornaments) from the top above a belt of raw clay below which swirl waves, all performed simply with one glaze utilizing shadow and depth. The cup is 5.5 cm diameter (2-1/4 inches), the same height. The Tokkuri is 11.5 cm (4-1/2 inches) tall and both are in excellent condition, acquired earlier this year when we visited the artist in Nara.
Doi Masafumi was born in Nara prefecture in 1972, and graduated the Aichi prefectural ceramic research facility in 2000. For the next seven years he would work at a kiln in Kyoto, absorbing the many styles and techniques associated with Kyo-yaki before establishing his won kiln back in Nara. He held is first solo exhibition in Kyoto in 2009, and in 2011 was awarded at the Nihon Togeiten National Ceramics Exhibition, where he has been featured many times.

An astounding work of singular design by renowned Shigaraki pioneering female artist Koyama Kiyoko enclosed in the original signed wooden box titled Shigaraki Shizen-yu Ryukoku Tsubo (Natural Ash Glazed Carved Flowing Tsubo). The voluminous work is like a seed pod, rising up in tapering lines to an undulating open mouth. The body is covered in rich green ash glaze, flowing down the wavering clefts to pour out and collect in thin crystalline pools. I have never seen another work like this by the artist. It is marked with her incised Ki signature on the base. The vessel is 33 cm tall and in excellent condition.
Koyama Kiyoko was the subject of the film Hi-Bi (2005) and the recent NHK television drama Scarlet. She is the preeminent pioneering female wood firing artist in Japan. Born in Sasebo, Nagasaki in 1938, she went to Shigaraki village, home of one of Japan’s Six Ancient Kilns. There she studied the traditional techniques, and bore the brunt of centuries of discrimination against women. Through it all she persevered to become one of the most highly sought of Shigaraki potters. For more on her works see Modern Japanese Ceramics in American Collections, Japan Society New York, 1993

A masterpiece by Otani Shiro enclosed in the original signed wooden box titled Shigaraki Hai-Kaburi Tsubo (Ash blanketed Jar). Breathtaking, it appears straight from the inferno. With so much going on, the thick textured embers almost purple in color, encrustations covering the surface with a blast of molten ocher glaze on one side rivulets of color dripping down. It would wow the crowds in any museum exhibition and is the best piece I have ever owned by this legendary potter. The vessel is 24 cm (9-3/4 inches) diameter and in excellent condition. It was originally made for his 40th anniversary exhibition held at Takashimaya Department Store and is published in the catalog; catalog included.
Otani Shiro was born in Shigaraki in 1936 and graduated the Prefectural School in the ceramics department in 1956, which he followed up with 4 years studying decorating techniques under Morioka Yutaro. He then moved to Kyoto where he studied at the Municipal Ceramics Research Facility, where he trained under Kiyomizu Kyubei, Shofu Eichi and Uchida Kunio before returning to Shigaraki to yet further his studies in design. He garnered his first award at the Shiga Prefectural Art Exhibition in 1962, as well as the Governor’s prize at the National Rodosha Bijutsu-Ten Exhibition. He took a position with an industrial kiln in Shigaraki in 1963, and began potting in his free time, exhibiting and being awarded at the Asahi Togeiten among others. In 1968, he left his position at the kiln, and in 1969 was first accepted into the National Traditional Crafts Exhibition (Nihon Dento Kogeiten). In 1973 he established his own kilns in Shigaraki, both an Anagama submerged kiln and a climbing kiln, and began learning from future Living National Treasure Shimizu Uichi. From there he participated in the Nihon Dento Kogei Ten (National crafts Exhibition) as well as innumerable private exhibitions both domestic and International, and was named an Intangible Cultural Asset of Shigaraki in 1990. His work is held in The Museum of Art in Atlanta, The Boston Museum of Fine Arts, the Brooklyn Museum of Art, the Fogg Art Gallery of Harvard as well as the Morikami Museum and Smithsonian among others. For an in depth look at this potter see the article by Rob Barnard in Ceramics Monthly volume 39 (Summer 1991).