Catalog: Artists: Ceramics (805)

A traditional wide basin decorated with staggering pine in iron by Nakazato Tarouemon XIV enclosed in the original signed wooden box titled E-Karatsu Hachi. It is 26 cm (10-1/4 inches) diameter 11 cm (4-1/4 inches) tall and in excellent condition. Nakazato Taouemon XIV wa born the eldest son of Nakazato Taouemon XIII in 1957. He completed graduate school at the Department of Sculpture at Musashino Art University in 1981. He returned ot the family studio in 1983 and began making pottery. In 1984 his work was selected for the first time at the Nitten National Art Exhibition. In 2002 he succeeded the family name.

A large bottle shape reminiscent of Funadokuri (Ships flasks) by Tokoname Legend Osako Mikio enclosed in the original signed wooden box titled Tokoname-gama Tsubo shown at the 1997 memorial exhibition held at the Tokoname Ceramics research facility and published on page 7 of the catalog (included). It is 30.5 cm (I foot) in diameter, 39.5 cm (just under 16 inches) tall and in perfect contition.
Due to size this may require special shipping consideration depending upon destination.
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.”

The surface of this deep bowl is like glossy rust, shot through with various shades and mottled colors, the base irredescent red. It is by rising star Hashimoto Tomonari and comes enclosed in the original signed wooden box titled: Untitled Utsuwa (vessel). It is 13 cm (5-1/2 inches) diameter, 10 cm (4 inches) tall and in excellent condition, directly from the artist. This series was sold only through our gallery, and this is the last remaining bowl.
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. Get pieces by him while you can!

A massive celadon container with finialed lid in Beishoku celadon by Haraguchi Takushi enclosed in the original signed wooden box titled Beishokuji Kazari Tsubo. It is 34 cm (13-1/1 inches) diameter and in excellent condtion.
Due to size shipping may be accrued separately.
Born in Kyoto in 1947. Graduated from Dokkyo University in 1971, then graduated from the Kyoto Ceramic Art School in 1976. He has won prizes at the Japan Traditional Craft Exhibition, the Kinki Branch Exhibition, the Kyoto Prefecture Exhibition among others. Regular solo exhibitions at Takashimaya and Mitsukoshi Department Stores. His work focuses on Southern Song Guan style celadon. A Mizusashi water jar by the artist is held in the British Museum.

A playful large bowl by Kim Hono decorated with geometric patterns in black on millet white glaze enclosed in the original signed wooden box titled Donburi. The artist has drawn an image of the bowl on the side of the box. The bowl is 14 cm 5-3/4 inches) diameter, 10 cm (4 inches) tall and in perfect 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 stone formed bowl covered entirely in platinum by Inayoshi Osamu enclosed in the original signed wooden box accompanied by the shiori and Shifuku. The bowl is carved and torn from a block of clay, then textured with natural stones specially selected for their surface patterns, splashed with glaze and then covered in platinum, creating dry matte regions punctuated by glistening liquid spatters. It is 10.5 cm (4 inches) diameter, 7.5 cm (3 inches) tall and in excellent condition directly from the artist.
Inayoshi Osamu was born in Toyohashi City in 1976, and graduated the Seto pottery school in 2002, the same year he was acknowledged for excellence at the 56th Seto Municipal Art Exhibition. He set up his own studio in 2007, garnering his first of many prizes at the the Oribe no Kokoro (heart of Oribe) Ceramic Exhibition. His unique textures and glaze techniques soon won him acclaim both in Japan and abroad , and he began exhibiting with vigor both domestically and abroad.

A stellar work by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu ware-Yohen Tsubo. Fired on its side, a heavy deposit of ash glaze from the 5 day firing blasts the clay, traveling in amber rivulets to gleaming beads around the fractured clay opposite. The mouth of the jar is classic Muromachi style, while the firing technique delves deep into the past while maintaining a proud modernity. It is 26.5 cm (10-1/2 inches) diameter, 32 cm (13 inches) tall and in excellent condition, directly from the artist.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility 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.

A spectacular vessel by Contemporary Bizen favorite Ishida Kazuya enclosed in the original signed wooden box titled Ra (Conch). The marbled clay ripples like sand, emodying the image of ocean life after which it is named. It is huge at 64 x 17 x 28 cm (25 x 6-1/2 x 11 inches) and is in excellent condition, directly from the artist last summer, and just emerging from our back room for the first time.
Ishida Kazuya was born in Bizen in 1986. After graduating from high school, studied under Living National Treasure Isezaki Jun. After that, he moved to England and learned traditional techniques, language and culture at a local pottery studio. Invited as a leading artist in the Oxford Anagama Project (Oxford University), which started in 2015, he has been a lecturer on kiln making, firing and production workshops in Europe, Australia and North America. His work makes use of the ideas of slipwear, a traditional British technique that uses colored clay to create patterns, and an original technique that makes use of the centrifugal force of a potter's wheel. Inspired by the beauty of forms created by nature such as shells, strata, glaciers, and stalactites. His shapes fuse the idea of form with the unique Bizen spirit of drawing out the characteristics of the materials and alterations and natural glaze that occur in the wood fired kiln.

An incredible work by Furutani Hirofumi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Hen Hanaire. A striking form covered in glistening green glass and gnarly clusters of black ash, this is an absolute must have by the artist. On the sides the earth is scorched and blackened, rivulets of olive running between. It is 25 x 8.5 x 19.5 cm (10 x 3-1/4 x 8 inches) and is in excellent condition, directly from the artist.
The Churoku-en pottery was established by Furutani Churoku, an artist instrumental in the post war era revival of Shigaraki Anagama and Climbing Kiln firing techniques. It is now run by the second and third generation potters Furutani Hirofumi and his son Taketoshi. Hirofumi (b. 1948) is the real deal, a Shigaraki potter trained under his father, recipient of generations of tradition and knowledge, who does not say much. He then returned to the family kiln where he headed up the preparation and firing, while, taking a second position in that very Japanese way to his long lived father, who strictly tortured clay. The Japanese title for such a person is: Ennoshita no chikara mochi (The true strength hidden under the eaves). Even today, a decade after the passing of Churoku, everyday you will find him in search of the natural phenomena which are born from his wood fired Anagama kiln in the dialog between soil and flame and the elements. He is in charge of kneading and coercing the clay, the kiln work, stacking and preparations, making and firing his own pieces while allowing his son to take the fore. He does not compete or seek fame, just quietly makes pots treading the path of the Unknown Craftsman.

A very unusual Shuchu sake server made in box-like form with an angular spout, brass handle and wooden lid accompanied by a cubic Guinomi sake cup by Bizen master potter Isezaki So enclosed in the original compartmentalized signed wooden box titled simply Bizen Kaku Shuki (Squared Sake Vessels). Both feature burnished raw red clay with a smattering of ocher colored ash and red veins of hidasuki. The cup is 5 x 5 x 5.5 cm (2 inches) tall. The Server 7.5 x 10 x 7.5 cm (3 x 4 x 3 inches) not including the handle and spout, and both are in excellent condition, directly from the artist.
Isezaki So was born the third son of important potter Isezaki Mitsuru in 1968, and was raised alongside the family kiln. At 18 he apprenticed under Bizen master Yamashita Joji, and was first exhibited the following year. After his 20th birthday he went to America for study, returning to Japan, where he would be awarded the first of many times at the Okayama Kenten (Prefectural Art Exhibition). Again, he would spend a year in America for study, and the influences of design are apparent is his non-traditional approach to this day. He has been exhibited and awarded at the Nihon Dento Kogei Ten (Traditional Crafts Exhibition), Tobiten of the Japan Ceramic Art Society and Tanabe Museum Modern Forms in Tea Exhibition, among others.

This guinomi by Watanabe Takuma would complement well the Future Fossil series Sake Server currently being offered. It too has a variegated surface like patched together mtal plates, with brilliant coloration. It comes enclosed in the original signed wooden box titled Bizen Sake-nomi. It is roughly 6 cm (2-1/2 inches) diameter and in excellent condition acquired this summer from the artist.
Watanabe Takuma was born in Hyogo prefecture in 1968, and after graduating Kansai Daigaku University in 1991, began studying Bizen ware under Yamauchi Atsushi. In 1996 he entered the Bixen Toen Kiln. Shortly thereafter he began exhibiting and has receied numerous awards at the Okayama Prefectural Exhibition (Okayama Ken Bijutsu ten), National Traditional Crafts Exhibition (Nihon Dento Kogeiten), Issui-kai-ten, as well as being selected for the influential Tanabe Museum Modern Forms in Tea Exhibition among others. He built his own kin in 2006.

A Future Fossil series Sake Server by Watanabe Takuma enclosed in the original signed wooden box titled Bizen Shuki. Like something out of a Miyazaki Hayao animation, one expects to see steam pumping as the vessel makes its way of its own accord toward the destined sake cup. Each piece in this series has a unique serial number, this number S151. It is roughly 16 cm (6 inches) long and in excellent condition acquired this summer from the artist.
Watanabe Takuma was born in Hyogo prefecture in 1968, and after graduating Kansai Daigaku University in 1991, began studying Bizen ware under Yamauchi Atsushi. In 1996 he entered the Bixen Toen Kiln. Shortly thereafter he began exhibiting and has receied numerous awards at the Okayama Prefectural Exhibition (Okayama Ken Bijutsu ten), National Traditional Crafts Exhibition (Nihon Dento Kogeiten), Issui-kai-ten, as well as being selected for the influential Tanabe Museum Modern Forms in Tea Exhibition among others. He built his own kin in 2006.

A smokey landscape billows like clouds on this fabulous raw form by Atarashi Kanji enclosed in the original signed wooden box titled Iga Guinomi. Coals cling to one side, opposite milky green and white while inside a blast of crackled green ice has formed on the wall among a haze of smoke. It is 7 cm (2-3/4 inches) diameter, 5.5 cm tall and in excellent condition, directly from the artist. I highly recommend this with the Tokkuri following.
Atarashi Kanji was born in Osaka in 1944, and graduated the Osaka College of Craft design. After 3 years in Kobe, and 4 in Kishiwada (Wakayama) he came to settle in Iga, where he was one of the driving forces behind the resurrection and preservation of the Iga tradition. Although displayed at the National Craft Fair, he prefers the intimacy of the private exhibition, of which he holds several every year. And if ones visit to Japan is not timed right for an exhibition, he can otherwise be found at his kiln working along with his son and daughter.

A wild vessel with torn and faceted sides covered in smoke and embers by important Tamba artist Nihsihata Tadashi enclosed in the original signed wooden box titled Yohen Hanaire (Kiln-altered Vase). It is 31 cm (over 12 inches) tall and in excellent condition.
Nishihata Tadashi was born in Sasayama in the mountains of Hyogo, and ancient castle town in 1948. He began potting in 1969, focusing on items for use. In 1986 he first entered the realm of public exhibitions with his entry into the Nihon Dento Kogeiten National Traditional Crafts Exhibition in 1986. He was awarded in 1988 at the Kinki Kogeiten regional Crafts fair. In 1989 he would see the first of many awards at the Nihon Dento Kogeiten National Traditional Crafts Exhibition as well as a first time entry into the Nihon Togeiten National Ceramics Exhibition. In 1990 he would continue garnering fame with the first of several awards at the Tanabe Art Museum Chanoyu no Zokei Ten (Modern Forms in Tea). After that his career has escalated, with many more recognitions at these Expositions.

One of my favorite potters, here is an exquisite yellow tinged vase like the dilapidated bamboo vase in the tea room by Sakata Keizo enclosed in the original signed wooden box titled Hagi Takegata Hanaire. The clay is thick and heavy, giving the ephemeral form strength and juxtaposed sense of permanence. It is 32.5 cm (13 inches) tall and in excellent condition.
Sakata Keizo (1949-2004) was born into the traditional Hagi pottery family of Sakata Deika. After graduating from university, he studied sculpture and spent some time overseas before beginning work at the family kiln. This exposure outside of the very traditional world of Hagi set him apat from many other local potters. In 1978, he was awarded at the First Exhibition of New Traditional Crafts (Dento Kogei Shinsaku Ten). In 1989, he became a member of the Japan Kogei Association and exhibited with that organization garnering a number of prizes as well as being awarded at the Japan Traditional Craft Exhibition (Dento Kogei Ten), and receiving Grand Prize of the Tanabe Museum Ceramics of Tea Exhibition. He was expected to make a great leap forward as the next Sakata Deika, but died in 2004 at the young age of 54. He was posthumously named the 15th generation Sakata Deika.

A fabulous cubist form with charred surfaces and natural ash which can be used both flat on a surface or with all sides rising by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen Yu Kaku Hanaire. The texture appears to have been chiseled away, leaving deep clefts in which the flowing ash and coals have hidden and cooled. It is 18 x 18.5 x 18 cm (7 x 7-1/4 x 7 inches) and in excellent condition, directly from the artist.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.

Elegant curves arc across the slightly flattened form of this Bizen Vase by veteran potter Isezaki So enclosed in the original signed wooden box titled Bizen Henko. It is 22 x 24 x 28 cm (9 x 10 x 11 inches) and is in excellent condition. This was acquired directly from the artist on our recent trip to Bizen this summer.
Isezaki So was born the third son of important potter Isezaki Mitsuru in 1968, and was raised alongside the family kiln. At 18 he apprenticed under Bizen master Yamashita Joji, and was first exhibited the following year. After his 20th birthday he went to America for study, returning to Japan, where he would be awarded the first of many times at the Okayama Kenten (Prefectural Art Exhibition). Again, he would spend a year in America for study, and the influences of design are apparent is his non-traditional approach to this day. He has been exhibited and awarded at the Nihon Dento Kogei Ten (Traditional Crafts Exhibition), Tobiten of the Japan Ceramic Art Society and Tanabe Museum Modern Forms in Tea Exhibition, among others.

An iconic faceted tea bowl by Atarashi Manabu enclosed in the original signed wooden box titled Iga Shinogi Chawan. The faceted body is shot through with color filled fissures, with a thick coating of green ash glaze on the fire side, raw flame colored clay opposite. The bowl is 12.5 cm (5 inches) diameter, 10.5 cm (4-1/4 inches) tall and in new condition, directly from the artist this summer. It compliments perfectly the Mizusashi from the same firing.
Atarashi Manabu has been growing in popularity as one of the leaders in the Iga pottery tradition since the first time I saw his work nearly 20 years ago when visiting the family showroom in Iga village. Born in 1973 in Osaka son of the second generation artist and one of the leading revivalists of the Iga tradition in post war Japan, Atarashi Kanji. He graduated the literature department of Kansai University in 1995, moving to apprentice under his father a few years later. In 2002 he built his first anagama Kiln, and held his first of a multitude of solo exhibitions. Intensely fired multiple times to achieve the bidoro glass puddles and landscape effects which define his aesthetic, the geometric works add a contemporary sensibility to the traditional Iga style and transcend the realm of utilitarian crafts breaking into the sculptural domain. His work has proven innovative and challenging to the norm, taking his fathers tradition into the 21st century.

An exquisite work of colored clay by Matsui Koyo enclosed in the original signed wooden box titled Mukuhai-yu Neriage Kensho-mon Tsubo. It is 30 cm (12 inches) diameter, 27 cm (11 inches) tall and in excellent condition.
Matsui Koyo was born in the pottery village of Kasama, son of future Living National Treasure Matsui Kosei, in 1962. He graduated in sculpture from the University of Tsukuba in 1985, then began potting under his father at his Gessouji Studio. Work by Koyo has been selected for show and or awarded at the Nihon Dento Kogeiten National Traditional Crafts Exhibition, Nihon Dento Shin Kogeiten National Traditional New Crafts Exhibition and Nihon Togeiten National Ceramics Exhibition.

This piece seems to intimate the cool of a Shibori-dyed summer Yukata, the light cloth billowing in the breeze, a stunning work by Matsui Koyo enclosed in the original signed wooden box titled Neriage Tsubo. It is 31.5 cm (12 inches) diameter, 27.5 cm (11 inches) tall and in excellent condition.
Matsui Koyo was born in the pottery village of Kasama, son of future Living National Treasure Matsui Kosei, in 1962. He graduated in sculpture from the University of Tsukuba in 1985, then began potting under his father at his Gessouji Studio. Work by Koyo has been selected for show and or awarded at the Nihon Dento Kogeiten National Traditional Crafts Exhibition, Nihon Dento Shin Kogeiten National Traditional New Crafts Exhibition and Nihon Togeiten National Ceramics Exhibition.

An early brutal vase by female pottery legend Tsuboi Asuka covered in running colors enclosed in the original signed wooden box titled Nagashi-yu Tsubo. It is 25 cm (10 inches) diameter 20cm (8 inches) tall and in excellent condition.
Tsuboi Asuka was born in Osaka in 1932, but the family moved to Tokyo when she was 12. She graduated the prestigious and progressive Jiyu Gakkuen (A progressive girls School established in 1921) then moved to Kyoto in 1953, Kyoto, the city she has called home for half a century, where she would spend a year at the Sentsuji Yusai Kobo before enlisting under Living National Treasure Tomimoto Kenkichi. Her first works were exhibited that year at the Shinshokogeikai (where she would be awarded in 1955). She worked to establish the Joryu Togei Ten Ceramic Exhibition for female artists in 1957, to allow women a venue to exhibit works in what was then a very male dominated field. In 1961 she was accepted into the Asahi Togeiten Ceramic Exhibition, and in 1966 would be selected to represent contemporary Japanese ceramics in China, the following year saw he take a study trip to Korea, and in 1970 to Thailand while her work was exhibited at the Tokyo National Museum of Modern Art, which would purchase her work in ’71 . She would be awarded at the Canadian International Ceramic Exhibition in 1973, and since her work has been exhibited throughout the globe. Here work to promote the arts was recognized in 1988 with the Kyoto Prefectural Order of Arts and Culture Award, and in 1991 with the Kyoto city Order of Cultural Merit, and again in 1992 with the prefectural Order of Cultural Merit. All culminated in her receiving the Japan Ceramic Society Gold prize, perhaps the most important award allowed a potter, in 2004. Her work can be found in Museum collections including several works in both the Museums of Modern Art in Tokyo and Kyoto, Fukui and Wakayama Prefectural Museums of Art, Suntory Museum, Shiga Togei No Mori Museum, Ariana Museum, Yale University Museum and The International Ceramics Museum in Faenza. According to the book Touch Fire: Tsuboi Asuka's influence on the ceramic arts of Japan cannot be overstated. As one of the first women to aggressively challenge the male hierarchy, she forged a role for women ceramic artists that previously did not exist in Japan. Tsuboi was the charismatic leader of the influential Kyoto women's ceramic group Joryū Tōgei (Women's Association of Ceramic Art) when it was first formed in 1957. This group was pivotal not only in providing a platform for women to participate as artists in their own right, but in giving them the opportunity to present their challenging work to the public.

A radical Iga wall vase by Atarashi Manabu enclosed in the original signed wooden box titled Iga Kakehana-ire. It is 36.5 cm (14 inches) long and in perfect condition, directly from the artist.
Atarashi Manabu has been growing in popularity as one of the leaders in the Iga pottery tradition since the first time I saw his work nearly 20 years ago when visiting the family showroom in Iga village. Born in 1973 in Osaka son of the second generation artist and one of the leading revivalists of the Iga tradition in post war Japan, Atarashi Kanji. He graduated the literature department of Kansai University in 1995, moving to apprentice under his father a few years later. In 2002 he built his first anagama Kiln, and held his first of a multitude of solo exhibitions. Intensely fired multiple times to achieve the bidoro glass puddles and landscape effects which define his aesthetic, the geometric works add a contemporary sensibility to the traditional Iga style and transcend the realm of utilitarian crafts breaking into the sculptural domain. His work has proven innovative and challenging to the norm, taking his fathers tradition into the 21st century.

A floral sweep of wheat is incised into the side of this blue tinged white porcelain incense burner by Japanese Living National Treasure Inoue Manji enclosed in the original signed wooden box titled Hakuji Some Mugi Chomon Koro (White Censer Incised with Blue Wheat). It is 12 cm (just less than 5 inches) to the top of the finial and is in excellent condition.
Inoue Manji was born in Saga Prefecture on the southern Island of Kyushu, home of Arita and the port of Imari, the first porcelain production center in Japan. He learned from the age of 16 under the 13th Sakaida Kakiemon and Okugawa Chuuemon, and was recognized as having a knack for Hakuji sheer porcelain. From 1958 he worked at the Saga Prefectural Ceramics Research Laboratory. He was awarded the Governors prize at the 1987 National Traditional Crafts Exhibition, and was named a living National Treasure in 1995. Two years later he received the Order of Cultural Merit with Purple Ribbon from his Imperial Majesty.

Love the work of this elegant artist, here is an exquisite beer cup by Doi Masafumi enclosed in the original signed wooden box titled Seiji Tensenmon Mugi-shu-Hai. It is 13 cm (5-1/4 inches) tall and in excellent condition, directly from the artist. This would make a stunning gift for someone born in summer.
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.

Wow! Here is a radical piece from deep in the embers of Sugimoto Sadamitsu enclosed in the original signed wooden box titled simply Iga Hanaire. It is utterly simplistic in form with dramatic and complex kiln effect born from placement and the inferno. The vase is 26.5 cm (10-1/2 inches) tall, 12.5 cm (5 inches) diameter and 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 Oki. 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 dragon writhes among the astounded population on this sometsuke blue and white vessel by Kawamoto Goro enclosed in the original signed wooden box titled Sometsuke Ryumon Utagaki Tsubo. It is 6 1/2 inches 16.5 cm square 8 inches 21 centimeters tall and in excellent condition dating circa 1980.
Kawamoto Goro (1919-1986) was born in Seto to a family of potters. He studied in Kyoto at the same institution as Kawai Kanjiro and Hamada Shoji. Returning to work at the family kiln, he was later adopted by Kawamoto Rekitei, a famous decorator of pottery. In 1953 he gained first recognition, accepted into the Nitten National Exhibition and garnering top prize at the Asahi Modern Ceramics Exhibition. In 1958 he would be awarded in Brussels, and in 1959 in California and at home was granted the 1959 JCS award winner. Much lauded the list is much too long for this article. Work by him is held in the Kyoto National Museum of Modern Art as well as the The National Museum of Modern Art, Tokyo among many others.

A stellar Black water jar by Yamaguchi Shozaemon XIII enclosed in the original signed wooden box titled Kamakura Nioi Mizusashi. Scraped cut and beat out of form with looping ribbons of clay for handles creating a bold, lively experience. Here is a Mizusashi which certainly does not let down. It is 21 cm (just over 8 inches) diameter at the base, 16.5 cm (6-1/2 inches) tall and in excellent condition.
Yamaguchi Shozaemon was born in 1913 in Seto city, the heartland of one of the oldest pottery traditions in Japan, the 13th generation potter in his family line. Concentrating on the preservation of the traditional techniques of the Seto kiln as well as the development of modern ceramic art, works by him are preserved in the collection of the Imperial Household and Nagoya Castle.

Black Bizen Guinimo and Tokkuri by Oiwa Tomoyuki enclosed respectively in their original signed wooden boxes. There is a wonderful dialog between the two pieces, the bottle blackened with dark dry ash buffeting the surface, while over the same darkness has been blasted molten ash on the cup, flowing around and beading on one side. The juxtaposition between the liquidity and dryness of the two, same colored, ash effects is delightful. The sake cup is 7 cm (2-3/4 inches) diameter, 5.5 cm tall, the Tokkuri 14 cm (5-1/2 inches) tall and both are in excellent condition. We picked these up during our summer 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.

A Beautiful bowl in crackled white set into a lattice like structure of raw porcelain pierced with a plethora of various sized holes by Kato Yoshiyasu enclosed in the original signed wooden box titled Haku-yu no wan (White Glazed Bowl). It is 12.5 cm (5 inches) diameter, 10 cm (4 inches) tall and in excellent condition, from the artist this year.
Kato Yoshiyasu was born in Aichi prefecture in 1985, and graduated the Kurashiki Kogei Crafts School design department in 2008. He then went on to study at the Tajimi Ceramics Research Facility, finishing there in 2014. He moved to Nshio city in 2018, where he set up a studio and works today while raising a cute little baby with his wife.

A solid brick of Shigaraki clay sculpted and torn covered in natural ash glaze by Fujimoto Hide enclosed in the original signed wooden box titled Katamari (Mass). It is 24 x 16.5 x 17.5 cm (9-1/2 x 6-1/2 x 6-3/4 inches) and is in excellent condition, directly from the artist.
Fujimoto is inspired by the natural world around him, and the return to nature of the discarded and redundant remains of our civilization. He told me this piece was influenced by pier blocks he had seen covered in moss half buried in the earth.
Fujimoto Hide was born in the heart of Shigaraki in 1954, and was fascinated with the medium from a very young age. He worked in several potteries and industrial positions for a decade from 1973, always furthering his understanding of firing technique and glazes, followed by a decade of firing and sculpting, culminating in establishing his own kiln in the forests of Shigaraki in 1995. His work has been picked up by many of Japan’s preeminent galleries including several private exhibitions with Kuroda Toen in Ginza, the Togei no Mori Museum in Shiga, and just recently an exhibition in Taiwan.

Decorated with only a single platinum thumbprint this Unmistakable Crimson bowl by Masatomo turns inward as it closes upon the mouth. It is 15 cm (6 inches) diameter, 8 cm (just more than 3 inches) tall and in perfect condition, enclosed in the original signed wooden box titled Red Chawan and comes directly from the artist.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He is currently midway through a year of study and experimentation abroad, and we expect great things in his future.

The first piece she has ever made in pure raw porcelain, here is a striking work by Yamaguchi Mio created in later 2023 titled Kamala. It is 52 cm tall, 36.5 x 33.5 cm (14-1/2 x 13 x 20-1/2 inches) and is in excellent condition, directly from the artist. It comes with a signed wooden placard.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11th International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.

A beautiful small wall hanging sculpture by Yamaguchi Mio, titled Umi no Futa (Oceanic Lid) with blue tinged petals enclosed in the original signed wooden box. It is 13.5 x 17 x 5.5 cm and is in excellent condition, directly from the artist.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11International 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.

A beautiful small wall hanging sculpture by Yamaguchi Mio, titled Kawa (Skin or bark) in rare lavender tinged glaze. It is 19 x 32 x 5.5 cm (8 x 12-1/2 x 2 inches) and is in excellent condition, directly from the artist.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11International 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.

A large vase in earthen colors by Kasama legend Wada Morihiro enclosed in the original signed wooden box titled Sounka-mon Utsuwa. It is 15.5 × 9 x 47cm (6 x 3-1/2 x 18-1/2 inches) and is in excellent condition.
Wada Morihiro (1944-2008) was born in Hyogo prefecture and apprenticed under Kyotos Tomimoto Kenkichi before moving to Kasama in 1976. He has been displayed at the Nihon Togei Ten (National Ceramics Exhibition), Nihon Dento Kogei Ten (National Traditional Crafts Exhibition) Gold medal at the Florence International Ceramics Exhibition in 1980 as well as being displayed at the Victoria Albert and Smithsonian as one representative of modern Japanese ceramics in 1983. He subsequently received the Japanese Ceramic Society Award in 1988, one of the highest honors for a Japanese potter.

An eye catching sculpture by Yaaguchi Mio titled Meta in soft brown terracotta clay spattered lightly with Namako glaze. It is 23 x 25 x 39.5 cm (9 x 10 x just less than 16 inches) and is in excellent condition, directly from the artist. It comes with a signed wooden placard.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11th International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.

Turquoise accumulates in the clefts like tourmaline water in the deep basin of this sculptural vessel by Yamaguchi Mio dating from 2021. It is 31 cm (12 inches) diameter, 28 cm (11 inches) tall and in excellent condition, directly from the artist.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11th International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.

A tall fluted ceramic sculpture by Yamaguchi Mio titled Memory dating from 2020. Green glaze covers the stalk and pools in the raw clay scallops. It is 61.5 cm (over 2 feet) tall and is in excellent condition, accompanied by a signed placard directly from the artist.
Due to size, the price does not include shipping cost.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11th International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.

A small lapping cluster like a flower bulb in sand-textured earthtones by Yamaguchi Mio, a rare very small piece which can easily fill a nook in a collection. It is 8.5 x 9.5 x 8.5 cm (roughly 3-1/2 inches diameter) and is in excellent condition, directly from the artist. It comes with a signed wooden box, which will be ordered upon sale.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11International 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.

A growth of calcified clay in sand-textured white by Yamaguchi Mio dating from 2023, a bridge between her earth-tones and new porcelain works. It is a great size at 22 x 15 x 20 cm (roughly 9 x 6 x 8 inches) and is in excellent condition, directly from the artist. It comes with a signed wooden box, which will be ordered upon sale.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11International 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.

A small ceramic bowl in terracotta raw clay by rising star Yamaguchi Mio enclosed in the original signed wooden box titled Cocoon. This style of built up layers of petals are her signature work, and are based on the progressive growth in layers or rings observable in the natural world. It is 14 cm diameter, 7.5 cm tall and in excellent condition, directly from the artist.
A box will be made for the piece upon sale.
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 11International 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.

A broken open Tsubo By Kim Hono enclosed in the original signed wooden box titled Chikyu no Tameiki (The Earth Sighs). It is for the most part, raw earthen colors, with a thick pool of tinted aquamarine glass inside. It is 40 x 34 x 41.5 (16 x 13-1/2 x 16-1/2 inches) and is in excellent condition. Upon the box is drawn an image of the Tsubo with a single dried lotus seed pod rising from within.
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 Traditional 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).

Bizen does not get much better than this ash blasted vase with lots of hi-iro coming through by leading artist Mori Tozan enclosed in the original signed wooden box titled simply Bizen Hanaire. It is 26 cm (over 10 inches) tall and in excellent condition.
Mori Tozan was born into one of the six main families of traditional Bizen in 1938. He trained under his illustrious father Mori Chikuzan. He has been awarded many prizes at the Japan Traditional Craft Exhibition, the Japan Ceramic Art Exhibition, and Chunichi International Ceramic Art Exhibition.

This Oh-My-God breathtaking delicacy is by Kawase Shinobu enclosed in the original signed wooden box which is prepared with silk lined buffers to protect it. One of the most impressive pieces I have seen by this very impressive artist. It is 21.5 cm (8-1/2 inches) tall and in perfect condition.
Kawase Shinobu　was born in Oiso, Kanagawa Prefecture in 1950, heir to a family tradition of potting. His grandfather and father were Kawase Chikushun I and II respectively, masters of Chinese based ceramic styles. He began working with his father, and first came to puclic attention with his acceptance into the 1969 Nihon Dentō Kōgei Shinsakuten (National Traditional Crafts Exhibition for New Works). This was followed by acceptance into the 1974 Nihon Dentō Kogeiten (National Traditional Crafts Exhibition), at both of which he exhibited frequently. In 1980 he was selected for the Japan Ceramics Society Exhibition and was awarded there the following year. In 1983 his work was selected for the Japanese Ceramics Today exhibition at the Smithsonian Institution, Washington D.C. and the Victoria & Albert Museum, London. From then his works have been exhibited throughout the globe and he is regarded as Japan’s most outstanding celadon artist working with the traditions of the Tang and Song dynasties. With his exquisite technique, organic forms and pristine glazes, he has developed a unique style that is both traditional and challenging and it is this fusion of contemporary and tradition which draws droves to his art. Work is held in the Victoria and Albert Museum (London), New York Metropolitan Museum of Art, San Francisco Asian Art Museum, Art Institute of Chicago, Minneapolis Institute of Arts, Cincinnati Art Museum, Denver Art Museum, Brooklyn, Birmingham Cleveland, New Orleans, Philadelphia and Saint Louis Museums of Art among others. There is a plethora of information available on this innovative artist, including: Japanese Ceramics Today: Masterworks from the Kikuchi Collection, (Tsuji, Tomo, Hayashiya, 1983), Modern Japanese Ceramics in American Collections (Frederick Baekeland and Robert Moes, 1993), Quiet Clarity “RIN” Beauty in Contemporary Ceramics (1996), Contemporary Clay: Japanese Ceramics for the New Century (Joe Earle, 2005), The Betsy and Robert Feinberg Collection: Japanese Ceramics for the Twenty first Century (Mintz, 2014), and or Into the Fold: Contemporary Japanese Ceramics from the Horvitz Collection (Harn Museum, 2015)

Rivulets of color weep over the dark surface of this striking Fresh water Jar by important artist Tanaka Sajiro enclosed in the original signed wooden box titled Chosen Karatsu Hitoeguchi Mizusashi and named inside the box lid Keinoizumi (Auspicious Fountain). The meandering glaze is both inside and out, pooling in a stormy skyscape in the bottom. The vessel features the original oblong custom-made black-lacquered lid. It is 19.5 x 20.5 x 15 cm (roughly 8 inches diameter, 6 inches tall) and in excellent condition.
Born in Kita Kyūshū in 1937, Tanaka Sajiro inundated himself in the Karatsu tradition from an early age. After a brief career in speedboat racing, he entered the ceramic world, beginning at the roots of Japanese pottery with Jomon and Yayoi ware, and he participated in excavations throughout Japan for his research. All the while a keen interest in Buddhism and Zen saw him enter a Buddhist monestary in 1971, and he began studying Sado (the way of tea) Kado (flower arranging) Shodo (calligraphy) and other refined arts. He received his Zen name Zenai HOgetsu in 1975 then created his kiln in Karatsu that same year. His unadorned sensibilities and austere wabi-forms immediately captivated a large audience.

An organic white form tinged with dusky pink by Kaneta Masanao enclosed in the original signed wooden box titled Hagi Haku-yu Yohen Kurinuki Hanaire. It is 23 x 24 x 25.5 cm (9 x 9-1/2 x 10 inches) and in excellent condition.
Kaneta Masanao likely needs no introduction, certainly one of Hagi’s most well-known and easily identifiable names. Although an eighth-generation potter inheriting an overtly conservative tradition, he has transcended limitations, and was one of the first to begin carrying Hagi into the 21st century. His work evokes a distinct tension between both function and form, and technique and tradition. he has been displayed both nationally and internationally innumerable times. His pieces are in the collection of the Tokyo National Museum of Modern Art, Yamaguchi Prefectural Museum and Museum of Modern Art Brooklyn. He has been displayed at the Nihon Dento Kogei Ten and Nihon Togei Ten among many many others.

Red glaze with tribal designs in black decorate this vase by Morino Taimei enclosed in the original signed wooden box titled Kokusen Kaki. It is 7.5 x 20 x 18.5 cm (3x 8 x 7-1/4 inches) 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 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 novel look at the Onioke idea of a handled vase, this one rising like Devils Tower to a narrow opening crossed by a handle by Nishihata Tadashi enclosed in the original signed wooden box titled Yohen Oke-gata Hanaire. It is 31.5 cm (12-1/2 inches) tall and in excellent condition.
Nishihata Tadashi was born in Sasayama in the mountains of Hyogo, and ancient castle town in 1948. He began potting in 1969, focusing on items for use. In 1986 he first entered the realm of public exhibitions with his entry into the Nihon Dento Kogeiten National Traditional Crafts Exhibition in 1986. He was awarded in 1988 at the Kinki Kogeiten regional Crafts fair. In 1989 he would see the first of many awards at the Nihon Dento Kogeiten National Traditional Crafts Exhibition as well as a first time entry into the Nihon Togeiten National Ceramics Exhibition. In 1990 he would continue garnering fame with the first of several awards at the Tanabe Art Museum Chanoyu no Zokei Ten (Modern Forms in Tea). After that his career has escalated, with many more recognitions at these Expositions. For more see the recently acquired piece by Tadashi at the Asia Pacific Art Museum in San Francisco

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 smokey swirling faceted vessel by master potter Nishihata Tadashi enclosed in the original signed wooden box titled Yohen Tokkuri. A circular blank of pale gray shadow surrounded by raw burnt red clay gives way to a blanket of hazy ash. It is 15.5 cm (6 inches) tall, 11 cm (just over 4 inches) diameter and in excellent condition.
Nishihata Tadashi was born in Sasayama in the mountains of Hyogo, and ancient castle town in 1948. He began potting in 1969, focusing on items for use. In 1986 he first entered the realm of public exhibitions with his entry into the Nihon Dento Kogeiten National Traditional Crafts Exhibition in 1986. He was awarded in 1988 at the Kinki Kogeiten regional Crafts fair. In 1989 he would see the first of many awards at the Nihon Dento Kogeiten National Traditional Crafts Exhibition as well as a first time entry into the Nihon Togeiten National Ceramics Exhibition. In 1990 he would continue garnering fame with the first of several awards at the Tanabe Art Museum Chanoyu no Zokei Ten (Modern Forms in Tea). After that his career has escalated, with many more recognitions at these Expositions. For more see the recently acquired piece by Tadashi at the Asia Pacific Art Museum in San Francisco

A striking ceramic box scrawled with abstract lines covered in silver on top with silver droplets of mist covering the blue sides by Kondo Takahiro enclosed in the original signed wooden box titled Jigen Jikiro. It is 14.5 x 8.5 x 7 cm (5-3/4 x 3-1/4 x 3 inches) and is in perfect condition.
Kondo Takahiro (b. 1958) was born the grandson of Living National Treasure Kondo Yuzo. However, he graduated Hosei University not with a degree in sculpture or crafts, but in Literature. From there he studied at the Kyoto Prefectural Technical Institute of Ceramics, followed by a year at the Kyoto Municipal Institute of Industrial Research. 15 years later he would spend a year in Edinburgh studying glass making, and with this combination of skills, was born the silver mist series for which he is so highly acclaimed. Work by him is held in Museums throughout the world, including the National Museum of Scotland, Brooklyn Museum of Art, Los Angeles County Museum of Art, Minneapolis Institute of Arts, Museum of Arts & Design, New York, Spencer Museum of Art, The Metropolitan Museum of Art, New York, The Museum of Fine Arts, Houston, Art Gallery NSW, Sydney, Hamilton Art Gallery, Australia, Miho Museum. National Gallery of Victoria, Paramita Museum, The Museum of Contemporary Ceramic Art, Shigaraki, and The São Paulo Museum of Art, Brazil among others. Without a doubt one of the most important contemporary artists in Japan today. For more see Celestial Ceramics: The Art of Kondo Takahiro (2002)

A splash of metalic glaze runs down opposite a splash of thick Kaki-colored glaze on the highly textured earth-colored surface of this bottle shaped vase by Living National Treasure Shimizu Uichi enclosed in the original signed wooden box. Titiled Tetsu-yu Nagashi Bin, this dates from early in his career, 1960-1965. It is 14.5 cm (5-3/4 inches) diameter, 22.5 cm (9 inches) tall and in excellent condition. Shimizu Uichi (1926-2004) was born in Kyoto the son of a ceramic dealer. Discarding the family business, he apprenticed in plastic arts under future Living National Treasure Ishiguro Munemaro. His work retains some principal elements of his teachers style while incorporating an understated elegance and avant-garde spirit of challenge uncommon for his time. He was first exhibited at the Nitten in 1951, receiving numerous awards there since. He also took the gold medal at the Prague International Exhibition, and was at the Brussels World Exposition. He is in the collection of the Tokyo National Museum, Kyoto Museum of Modern art, Clark Center and the Freer Gallery among many others.

A masterpiece by contemporary ceramic legend Morino (Hiroaki) Taimei enclosed in the original signed wooden box showing his famous Kujaku (Peacock) design. It is 15.5 x 31.5cm x 34cm (6 x 12 x 13-1/2 inches) and is 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 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.

An iconic large tea bowl by Mino legend Kawamoto Goro enclosed in the original signed wooden box titled Haiyu Chawan. It is 13 cm (5 inches) diameter, 9 cm tall and in excellent condition. Kawamoto Goro (1919-1986) was born in Seto to a family of potters. He studied in Kyoto at the same institution as Kawai Kanjiro and Hamada Shoji. Returning to work at the family kiln, he was later adopted by Kawamoto Rekitei, a famous decorator of pottery. In 1953 he gained first recognition, accepted into the Nitten National Exhibition and garnering top prize at the Asahi Modern Ceramics Exhibition. In 1958 he would be awarded in Brussels, and in 1959 in California and at home was granted the 1959 JCS award. Much lauded the list is much too long for this article. work by him is held in the Kyoto National Museum of Modern Art as well as the The National Museum of Modern Art, Tokyo among many others.

9 faceted sides rise up to the circular rim forming this deep bowl enveloping a jade pool by Yoshikawa Masamichi enclosed in the original signed wooden box titled simply Wan. The sides have been slabbed away forming 9 facets on 9 facets, resting on a seven sided foot. Defining each flattened surface are blue architectural lines. It is 13 cm (5 inches) diameter, 8 cm tall and in perfect condition.
Yoshikawa Masamichi was born in Kanagawa in 1946, and graduated the Japanese Design Academy in 1968. He first garnered attention in Japan being awarded at the 1971 Asahi Togeiten Ceramics Exhibition, and the following year received honorable mention at the 3rd International Biennale of Ceramic Art Vallorious France(Gold prize there in 2002). He has since received numerous prizes including Grand Prize at the Asahi Togeiten 1981, 1983 as well as the Aichi Prefectural Art and Cultur Award in 2005. Work is held in the Korea World Ceramic Center (Soul), American Craft Museum New York, Keramik Museum Germany, Brooklyn Musuem, Tokoname City Museum, V&A London among many others.

A pair of eight sided Shino Yunomi Cups by Suzuki Osamu (Kura) enclosed in the original signed wooden box titled Shino Yunomi. Each is decorated with triangles about the skirt, in red on white and in white on red. A striking combination, they are 7.5 cm (3 inches) tall, roughly the same diameter, and in excellent condition. A major retrospective will be held on the artist in Japan.
Suzuki Osamu was born in Gifu prefecture in 1934, and graduated the Tajimi Technical School ceramics division in 1953. (not to be confused with avant garde potter Suzuki Osamu of Kyoto Sodeisha fame) That same year he was awarded at the 6th Dento Kogeiten Traditional Crafts Exhibition. One of the great researchers, he spent many years excavating old kiln sites in an effort to re-invent Shino ware. In 1962 he was exhibited in Prague. And the next year took a prize at the Asahi Ceramic Exhibition. Very much lauded at this time, it culminated in 1969 when he received the JCS Gold award (Japan Ceramic Society), one of the highest honors for a Japanese potter. He would receive the JCS award again in 1982, and by that point be nurturing or inspiring a number of young potters aspiring to the forgotten ways of Shino ware. He was named a Living National Treasure in 1994 for his life-work. Work by him is held in a multitude of public collections throughout the world. For more see “Japanese Studio Crafts, Tradition and the Avant-Garde” (1995) by R. Faulkner.

A playful Oribe style basin for Bonsai trees by Sugitani Keizo refecting the shapes of his Silent Shadows Series in the design. It is 19 x 19 x 6.5 cm (just less than 8 inches square) and is in excellent condition, directly from the artist. A signed wooden box will be ordered from Keizo upon sale.
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.

The cloth textured surface seems to glow warm like the promise of warm days to come, cherries blossoming wide on this sake set by Ito Motohiko enclosed in the original signed wooden boxes. The Guinomi is 7.5cm (3 inches) diameter 3.5cm (1-1/2 inches) tall. The Tokkuri is 9.5cm (just less than 4 inches) diameter, 14.5cm (just less than 6 inches) tall and both are in excellent condition.
Ito Motohiko is a famous Kasama potter, best known for his nunome pattern and exceptional designs. Motohiko was born in Fukuoka prefecture, 1939, and graduated the Tokyo University of Art in 1964, then moved on to advanced courses there, finishing in 1966. While at University he studied under Kato Hajime and Fujimoto Yoshimichi. It was in 1967 his first piece was accepted into the 6th Modern National Crafts Exhibition, and the next year would be spent working under to-be-Living National Treasure Matsui Kosei. His list of prizes and exhibitions is much too long to reproduce, but since 1967, he has Exhibited with the Nihon Dento Kogeiten, Nihon Dento Kogei Shinsaku Ten, Dento Kogei Musashino Ten, Tanabe Museum Modern Tea Forms Exhibition, been the subject of an NHK Television documentary, and participated in a ridiculous number of private exhibits at many of Japans top venues, and has been purchased by the Heisei Emperor in person as well as receiving the Shijuho-sho prize from his majesty.

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.

Vibrant yellow overfills this deep plate by Living National Treasure Tokuda Masahiko (Yasokichi III) enclosed in the original signed wooden box. It is 21cm (Just over 8 inches) diameters, 6.5cm (2-1/2 inches) tall and in perfect condition.
Tokuda Yasokichi III (Masahiko, 1933-2009) was born the first son of Tokuda Yasokichi II who had been adopted as a teenager into the Tokuda family. Masahiko graduated from the Kanazawa school of arts, and took up apprenticeship under his grandfather and father Yasokichi I & II. Well versed in orthodox Kutani design, he broke with tradition developing his own unique style titled Saiyu in the 1970s. By broadening his spectrum with this new style of Kutani ware he garnered considerable attention. In 1986, he was named a Bearer of Important Intangible Cultural Assets by Ishikawa Prefecture (local version of Living National Treasure) and a decade later was designated Living National Treasure in 1997 for his supremacy in the use of Kutani glazes. Yasokichi III, His works are held by the Polk Museum, the Metropolitan Museum of Art New York, The British Museum, the Victoria & Albert Museum, the Smithsonian, the Indianapolis Museum of Art and Kanazawa Contemporary Museum of Art among many others.