Catalog (919)

A set of five sculpted bowls of exquisite celadon by master of the craft Yagi Akira enclosed in the original signed wooden box titled Seihakuji Wan. Each is 12.5 cm (5 inches) diameter, 6.5 cm (2-1/2 inches) tall and all are in perfect condition, directly from the artist.
Yagi Akira was born in Kyoto in 1955, son of avant garde Yagi Kazuo (1918-1979) one of the founding members of Sodeisha. Akira was voted one of the 20 most important living artists by Honoho, Japans premier printed ceramic forum. Works by the artist are held in the British Museum, Victoria Albert Museum, Cleveland Art Museum, Sackler Gallery of the Smithsonian and Tokyo Museum of Modern Art among many others. He was also the recipient of the Japan Ceramic Society (JCS) award in 1998, one in a long and prestigious list of awards. For more see “Quiet Clarity, Rin” (1996) or the aforementioned “Contemporary Clay, Japanese Ceramics for the New Century “(2005) by Joe Earle.

White glaze reveals olive-colored ridges on this organic deep form by Hagi Legend Kaneta Masano enclosed in the original signed wooden box titled Hagi Kurinuki Hachi. It is 10 cm (4 inches) tall, roughly the same diameter and in perfect 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.

A primitive design of overlapping squares in indigo blue on white porcelain by Kato Tsubusa enclosed in the original signed wooden box titled Sometsuke Kakuzara. It is 32.5 x 32.5 cm x 5 cm (13 x 13 x 2 inches) and is in perfect condition, directly from the artist this summer.
Kato Tsubusa was born in Tajimi city, the home of Shino, in 1962, graduating the municipal Pottery Design and Technical Center in 1979. From then to 1983 he worked as a decorator at the Otai Kiln moving out on his own in 1984. In 2007 he was selected for the Paramita Museum Ceramic Exhibition, and established his current ki;n in 2009. 2013 was an auspicious year, with him being awarded the 7th Enku Taishoten and the Japan Ceramic Society Award. He has been displayed at the Tokyo National Museum of Modern Art, The Chunichi Kokusai Togei Ten (Chunichi International Ceramics Exhibition) and The Asahi Togei Ten as well as private exhibitions overseas (New York among others). Work by him is held in the Aichi Ceramics Museum, The Art Institute of Chicago, The Asian Art Museum in San Francisco, The Brooklyn Museum, The Gifu Museum of Modern Ceramic Art, the Ibaraki Ceramic art Museum, the Musee Tomo in Tokyo, the Victoria & Albert Museum among others For more on this important artist see Toh, Volume 85 (1993), which is entirely dedicated to him. Also Quiet Clarity “RIN” (1996), or Fired with passion: Contemporary Ceramics of Japan (2007).

Splashes of Jackson Pollock in iron and ash festoon the flaring form of this sake-cup by Murakoshi Takuma enclosed in the original signed wooden box titled Sake-nomi. The base is thick, allowing the cup to be quite stable, while the narrow foot leads to a wide, flaring rim, which makes it both easy to hold, and perhaps far too easy to drink from. It I 9 x 8 x 5.5 cm (roughly 3-1/2 inches diameter, 2-1/4 inches tall) and in perfect condition, directly from the artist.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

A soft red crescent tinges the rim and forms a distant moon in the center of this dark guinomi bowl by Morino Taimei enclosed in the original signed wooden box. It is 7.5 cm (3 inches) diameter 4.3 cm (1-3/4 inches) tall 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.

A platinum glazed porcelain bowl by Yamamoto Ichiyo enclosed in the original signed wooden box titled Jun Purachina-sai Yudzuki (Evening moon). Autumn grasses, the full moon rising up behind an owl separated by exquisite patterns in pure platinum. It is 12 cm (5 inches) diameter, 8.5 cm (3-1/2 inches) tall and in excellent condition.
Yamamoto Ichiyo was born in Nagasaki in 1944. He began his career at an Arita Porcelain ceramic facility in 1969. In 1974 he would spend a year in Taiwan studying porcelain before returning to Japan, where he would establish his own kiln in Imari the following year. He would begin research into platinum glazing in the mid eighties, garnering awards in Paris three years running (1986, ’87, ’88) after which he would move to Takatsuki on the border between Osaka and Kyoto, where he would immerse himself in cultural studies. In 1993 he would move to Hyogo prefecture, then would begin a period where his fame would grow, while his roots in any one place did not, only returning to Imari nearly a decade later in 2001. Since his work has been exhibited throughout Japan and abroad in such places as Valencia, Los Angeles, New York and San Diego.

A miracle bowl in thick white glaze by Murakoshi Takuma enclosed in the original signed wooden box titled Shizuku Chawan. Shizuku is a natural, unplanned and unpredictable kiln event when built up ash, usually on the ceiling of the kiln or on a kil shelf, melts and falls onto a piece, creating a droplet or drip. Highly sought, this white bowl was struck perfectly on the rim by a flow of liquid green ash which has pooled in the center, and runs perfectly down both inside and out. It is slightly misshapen with an undulating “gozan” (5 mountain peak) rim and measures 12.5 x 13.5 x 8.5 cm (5 x 5-1/4 x 3-1/4 inches) and is in perfect condition, directly from the artist.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

A masterpiece Aka-Raku Koetsu style Chawan by Ohmae Satoru enclosed in the original signed wooden box titled Aka-Chawan, Kaga Koetsu. It is 12 x 13.5 x 10 cm (5 x 5-1/2 x 4 inches) and is in perfect condition, directly from the artist this summer.
Ohmae Satoru was born in Osaka in 1972. He began decorating Kenzan style pottery in Kobe in 1991 with his brother. It was in 1994 he began making Nanban style unglazed pottery. His first solo exhibition was held in Osaka in 1999, and he moved to Shigaraki in 2001 where he began working on Iga and Shigaraki style wood-fired pottery and at the same time began holding solo exhibitions nationwide. He built a fully underground anagama kiln in 2003 but became interested in glazed pottery in 2005 and began creating white porcelain and Karatsu ware. In 2007, he was attracted to Korean pottery from the Joseon Dynasty and started experimenting with Ido tea bowls and persimmon calyx tea bowls using anagama kiln firing techniques. After absorbing many styles, he reached a turning point in 2010, when he moved to Awaji Island and built a semi-underground anagama kiln and a raku kiln. He started making black raku ware. In 2016, he began using clay from Awaji Island to make white raku ware.

A beautiful and rare Chawan tea bowl by Morino Taimei enclosed in the original signed wooden box. It is 12.5 cm (5 inches) diameter, 7.5 cm (3 inches) tall and in perfect 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 more recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.

A voluminous Tea Bowl in the Korean style by Ohmae Satoru enclosed in the original signed wooden box titled Onigashima Chossen Karatsu Chawan. It is 12.5 cm (5 inches) diameter, 9 cm (3-1/2 inches) tall and in perfect condition, directly from the artist this summer.
Ohmae Satoru was born in Osaka in 1972. He began decorating Kenzan style pottery in Kobe in 1991 with his brother. It was in 1994 he began making Nanban style unglazed pottery. His first solo exhibition was held in Osaka in 1999, and he moved to Shigaraki in 2001 where he began working on Iga and Shigaraki style wood-fired pottery and at the same time began holding solo exhibitions nationwide. He built a fully underground anagama kiln in 2003 but became interested in glazed pottery in 2005 and began creating white porcelain and Karatsu ware. In 2007, he was attracted to Korean pottery from the Joseon Dynasty and started experimenting with Ido tea bowls and persimmon calyx tea bowls using anagama kiln firing techniques. After absorbing many styles, he reached a turning point in 2010, when he moved to Awaji Island and built a semi-underground anagama kiln and a raku kiln. He started making black raku ware. In 2016, he began using clay from Awaji Island to make white raku ware.

A stunning vase by Yamamoto Ichiyo in his signature Platinum glaze enclosed in the original signed wooden box titled Jun-purachina-sai Kawasemi no Ikoi (Song of the Kingfisher). It is 19.5 cm (roughly 8 inches) diameter, 21cm (8-1/2 inches) tall and in perfect condition.
Yamamoto Ichiyo was born in Nagasaki in 1944. He began his career at an Arita Porcelain ceramic facility in 1969. In 1974 he would spend a year in Taiwan studying porcelain before returning to Japan, where he would establish his own kiln in Imari the following year. He would begin research into platinum glazing in the mid eighties, garnering awards in Paris three years running (1986, ’87, ’88) after which he would move to Takatsuki on the border between Osaka and Kyoto, where he would immerse himself in cultural studies. In 1993 he would move to Hyogo prefecture, then would begin a period where his fame would grow, while his roots in any one place did not, only returning to Imari nearly a decade later in 2001. Since his work has been exhibited throughout Japan and abroad in such places as Valencia, Los Angeles, New York and San Diego.

A very unusual early work by important modern artist Morino Taimei enclosed in the original signed wooden box titled Rokusai Kurode Kakiotoshi Henko. It is published in the book Nihon No Toji Gendai Hen (1993). The vessel is 25 x 12.5 x 34 cm (10 x 5 x 13-1/2 inches) and is in perfect 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 more recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.

Plum birds soar overhead among the intricate platinum glazed designs covering this platter by the unobtainable artist Yamamoto Ichiyo enclosed in the original signed wooden box titled Jun Purachina Sai Fukura Suzume (Pure Platinum Glazed Plump Sparrow). Fukura Suzume describes the appearance of sparrows in winter, who puff up to trap heat in the pockets between their feathers. Because of its appearance, it is considered an auspicious symbol of wealth. Additionally, the sparrow itself has the meaning of ``preventing misfortune,'' and has been considered a symbol of family prosperity and family safety for eons. In fact so much so that many people cultivate places for sparrows to nest in their eaves. The plate is 31 cm (12-1/4 inches) diameter and in perfect condition.
Yamamoto Ichiyo was born in Nagasaki in 1944. He began his career at an Arita Porcelain ceramic facility in 1969. In 1974 he would spend a year in Taiwan studying porcelain before returning to Japan, where he would establish his own kiln in Imari the following year. He would begin research into platinum glazing in the mid eighties, garnering awards in Paris three years running (1986, ’87, ’88) after which he would move to Takatsuki on the border between Osaka and Kyoto, where he would immerse himself in cultural studies. In 1993 he would move to Hyogo prefecture, then would begin a period where his fame would grow, while his roots in any one place did not, only returning to Imari nearly a decade later in 2001. Since his work has been exhibited throughout Japan and abroad in such places as Valencia, Los Angeles, New York and San Diego.

An organic form covered in running pale glaze tinged pink and gray over crackled stone green by Kaneta Masanao enclosed in the original signed wooden box titled Hagi Kurinuki Chawan. This is a masterpiece, exemplifying both the power of nature ever present in Japanese art, and the sense of Wabi degradation which is so much a part of the culture. It is 13.5 x 12.5 x 9 cm (5-1/2 x 5 x 3-1/2 inches) and is in excellent condition.
Kaneta Masanao is certainly one of Hagi’s most well-known and easily identifiable names. Born the first son of Kaneta Sanzaemon, the 7th generation of a family of traditional Hagi potters in 1953, he graduated the Tokyo University of Education Sculptural Art department in 1977. For the following 3 years he exhibited sculptures with the Kokuga-ten Exhibition while attending advanced education at Tsukuba University before returning to work under his father in Hagi in 1979. Although an eighth-generation potter inheriting an overtly conservative tradition, he has transcended limitation, 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, technique and tradition. He began exhibition with the National Ceramics Exhibition (Nihon Togeiten) and National Traditional Crafts Exhibition (Nihon Dento Kogei ten) in 1981, and has been much awarded at both venues. His first international exhibition was held in New York in 1995. He was awarded the Yamaguchi Prefectural Order of Cultural Merit in 2004, and succeeded as head of the family kiln the following year. His pieces are in the collection of the Tokyo National Museum of Modern Art, the Museum of Modern Ceramics in Gifu, Yamaguchi Prefectural Museum and Museum of Modern Art, the Asian Art Museum in San Francisco, the Brooklyn Museum, the Metropolitan Museum in New York and the Museum of Art in Philadelphia among others.

Glaze pools in the center of this stellar large Ido-chawan of ash dusted and flame licked terracotta clay by Fujimoto Hide enclosed in the original signed wooden box titled Shigaraki Chawan. It is 15 cm (6 inches) diameter, 9 cm (3-12 inches) tall and in perfect condition, directly from the artist.
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.

A pale blue basin with wide rim by celadon legend Fukami Sueharu enclosed in the original signed wooden box titled Hakuji Utsuwa. It is 19 cm (7-1/2 inches) diameter, 7 cm (3 inches) tall and in perfect condition.
Fukami Sueharu is synonymous with seihakuji celadon. He has been displayed numerous times at the prestigious Nitten, Nihon Togei Ten (National Japanese Ceramic Exhibition) and Nihon Gendai Kogei Ten (National Japanese Modern Crafts Exhibition) among others. He is held in the Yale University Museum among others. For more information on this artist a quick web-search, or a look at the article highlighting his life in the March 2005 edition of Orientations Magazine will be enlightening. The list of museums holding his work is, in fact, much to long for this page, but includes the National Museums of Modern Art, Tokyo /Kyoto / and Osaka, the Metropolitan Museum of Art, NY, Brooklyn Museum, Museum of Fine Arts, Boston, Philadelphia St. Louis, Portland, Chicago, Minneapolis, Smithsonian, British Museum, Victoria & Albert Museum, Musée national de céramique, Sèvres, Musée des arts décoratifs, Paris, Hetjens Museum, Düsseldorf and the National Gallery of Australia among many others

A striking ceramic sculpture like bird in flight by Yorigami Munemi mounted on an iron base and enclosed in the original wooden crate signed and titled Re-Creations, Wing. It is 76 x 12 x 14.5 cm (excluding the base) and in fine condition. This was originally exhibited at the Isetan Department Store and was used as the cover for eth invitation letter (included) as well as being published in their February Newsletter in 1995, both included.
Yorigami Munemi was born in Kyoto in 1944, but went to Tokyo to study gardening at the Tokyo University of Agriculture, graduating in 1967. Two years later he apprenticed in ceramics under Yagi Kazuo, founding member of the avant-garde Sodeisha group, which Yorigami then joined. He has also exhibited domestically at the Asahi Togeiten Ceramics and Asahi Craft Exhibition among many others. In 1991 he was awarded gold at the Faenza International Ceramics Exhibition, and the following year exhibited in Cairo Egypt and Melbourne Australia (awarded) as well as being awarded at the Modern Ceramics Grand Prix Exhibition held at the National Museum of History in Taipei, Taiwan. The next year he was accepted into the exhibition “Ceramics Today” held at the Aichi Prefectural Museum. In 2001 His work was part of the exhibition “Kyoto Crafts 1945-2000” which was held at the Tokyo and Kyoto National Museums of Modern Art.
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An incredible crusy amorphic chawan tinged with lavenders, blues and pinks over olive by Kaneta Masanao enclosed in the original signed wood box titled Hagi Hai-yu Kurinuki Chawan which is in turn enclosed in a black lacquered outer wooden double box. It is 14 x 13 x 10 cm (5-1/2 x 5-1/4 x 4 inches) and is in excellent condition.
Kaneta Masanao is certainly one of Hagi’s most well-known and easily identifiable names. Born the first son of Kaneta Sanzaemon, the 7th generation of a family of traditional Hagi potters in 1953, he graduated the Tokyo University of Education Sculptural Art department in 1977. For the following 3 years he exhibited sculptures with the Kokuga-ten Exhibition while attending advanced education at Tsukuba University before returning to work under his father in Hagi in 1979. Although an eighth-generation potter inheriting an overtly conservative tradition, he has transcended limitation, 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, technique and tradition. He began exhibition with the National Ceramics Exhibition (Nihon Togeiten) and National Traditional Crafts Exhibition (Nihon Dento Kogei ten) in 1981, and has been much awarded at both venues. His first international exhibition was held in New York in 1995. He was awarded the Yamaguchi Prefectural Order of Cultural Merit in 2004, and succeeded as head of the family kiln the following year. His pieces are in the collection of the Tokyo National Museum of Modern Art, the Museum of Modern Ceramics in Gifu, Yamaguchi Prefectural Museum and Museum of Modern Art, the Asian Art Museum in San Francisco, the Brooklyn Museum, the Metropolitan Museum in New York and the Museum of Art in Philadelphia among others.

An organic shallow basin by the ever exciting Murakoshi Takuma perfect for the center of a table enclosed in the original signed wooden box titled "Shunju Shaku Asabachi".
The dish is splashed with iron over which has been applied green ash glaze and striped with feldspathic white. It is 30 cm (1 foot) diameter, 7.5 cm to the rim (3 inches) and is in excellent condition, directly from the artist this summer.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

A dramatic ash encrusted Tsubo vase by Fujimoto Hide enclosed in the original signed wooden box titled Shigaraki Uzukumaru. The traditional Higaki-mon pattern carved into the shoulder seems to dance like stick figures riding a dragon. Rivulets of yellow-green ash flow down the sides, and one side is charred and encrusted with thick embers. It is roughly 16.5 cm (6-1/2 inches) diameter, 18.5 cm (7-1/4 inches) tall and in perfect condition, directly from the artist.
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.

When sharing with friends sake does not need to be quaffed down in big guinomi, but is quite often better when shared with small cups, demanding that, in the Japanese tradition, the drinkers remain aware of their drinking partners cup and constantly re-fill it for each other. This si a beautiful small bowl by Ohmae Satoru enclosed in the original signed wooden box titled Onigashima Gosho-maru Hai. It is 6 cm (2-1/2 inches) diameter, 4 cm (1-1/2 inches) tall and is in perfect condition, directly from the artist this summer.
Ohmae Satoru was born in Osaka in 1972. He began decorating Kenzan style pottery in Kobe in 1991 with his brother. It was in 1994 he began making Nanban style unglazed pottery. His first solo exhibition was held in Osaka in 1999, and he moved to Shigaraki in 2001 where he began working on Iga and Shigaraki style wood-fired pottery and at the same time began holding solo exhibitions nationwide. He built a fully underground anagama kiln in 2003 but became interested in glazed pottery in 2005 and began creating white porcelain and Karatsu ware. In 2007, he was attracted to Korean pottery from the Joseon Dynasty and started experimenting with Ido tea bowls and persimmon calyx tea bowls using anagama kiln firing techniques. After absorbing many styles, he reached a turning point in 2010, when he moved to Awaji Island and built a semi-underground anagama kiln and a raku kiln. He started making black raku ware. In 2016, he began using clay from Awaji Island to make white raku ware.

Elegance knows no bounds with the artist Kawase Shinobu, and this shallow basin gives evidence to that statement, refined, simple and exquisitely crafted in the original signed wooden box titled Seiji Rinka Bachi. It is 24.5 cm (10 inches) diameter, 6.5 cm (2-1/2 inches) tall to the rim and in excellent 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 public 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)

A beautiful ice-colored set of drinking implements by Kato Tsubusa enclosed in the original signed wooden box consisting of a Katakuchi serving vessel and a guinomi cup. The Guinomi is 8 x 8.5 x 5.5 cm (roughly 3 inches diameter, 2 inches tall). The Katakuchi is roughly 6.5 cm (2-1/2 inches) diameter, 9.5 cm (4 inches) tall and both are in perfect condition, directly from the artist this summer.
Kato Tsubusa was born in Tajimi city, the home of Shino, in 1962, graduating the municipal Pottery Design and Technical Center in 1979. From then to 1983 he worked as a decorator at the Otai Kiln moving out on his own in 1984. In 2007 he was selected for the Paramita Museum Ceramic Exhibition, and established his current ki;n in 2009. 2013 was an auspicious year, with him being awarded the 7th Enku Taishoten and the Japan Ceramic Society Award. He has been displayed at the Tokyo National Museum of Modern Art, The Chunichi Kokusai Togei Ten (Chunichi International Ceramics Exhibition) and The Asahi Togei Ten as well as private exhibitions overseas (New York among others). Work by him is held in the Aichi Ceramics Museum, The Art Institute of Chicago, The Asian Art Museum in San Francisco, The Brooklyn Museum, The Gifu Museum of Modern Ceramic Art, the Ibaraki Ceramic art Museum, the Musee Tomo in Tokyo, the Victoria & Albert Museum among others For more on this important artist see Toh, Volume 85 (1993), which is entirely dedicated to him. Also Quiet Clarity “RIN” (1996), or Fired with passion: Contemporary Ceramics of Japan (2007).

A radical heavy slab of Terracotta clay blasted with ash by Fujimoto Hide enclosed in the orignials signed wooden box titled Shigaraki Toban. It is 33 x 26.5 x 3.5cm (13 x 10-3/4 x 1-1/2 inches) and is in excellent condition, directly from the artist.
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.

Copper green tinges the mustard surface of this striking elevated dish by Hayashi Shotaro enclosed in the original signed wooden box titled Ki-Seto Uzumaki-mon Shihozara (Swirling pattern Square Plate in Yellow Seto Glaze). It is 27 x 22 x 7.5 cm (10-3/4 x 9 x 3 inches) and is in excellent condition.
Hayashi Shotaro (b. 1947) is one of the biggest names in contemporary Mino ceramics. Although initially entering regular employment upon graduating high school, in 1967 he returned to Toki city to help his brother Kotaro. Very quickly within him was born the urge to create. He won the highest award at the Gifu Prefectural Art Exhibition in 1968, and from there his talent blossomed. He established his own kiln in 1974. Since then his list of exhibitions and awards has been amazing, including the Nihon Dento Kogei Ten (National Traditional Arts and Crafts Exhibition), Governors Prize and five times winner of Best of Show at the Asahi Togei Ten (Asahi Ceramics Exhibition), and Best of Show at Gifu Prefectural Exhibition. At the Mino Ceramics Exhibition, in addition to the highest award, the Mino Ceramics Award, he has received all three major awards, including the Shoroku Award and the Kobei Award.

The inside of this bowl has been glazed, the exterior left in raw clay before the entire was dipped in white gold, creating a stark contrast between inner and outer surfaces by Ogawa Machiko enclosed in the original signed wooden box titled Hakukinsai Hachi. It is 14.5cm (just under 6 inches) wide 8cm (3-1/4 inches) tall and in excellent condition.
Ogawa Machiko was born in Sapporo on the Northern Island of Hokkaido in 1946. She studied under future Living National Treasures Fujimoto Yoshimichi, Tamura Koichi and Kato Hajime at the Tokyo University of Arts, graduating in 1969, then went on to further studies in France and Africa, returning to Japan in 1975. She began garnering attention in the mid eighties, and has since become one of the leading female figures in Japanese pottery. She was awarded the JCS prize in 2001, one of Japans most prestigious awards. Work by her is held in the Brooklyn Art Museum, LACMA, New York Metropolitan Museum of Art, Smith College, MIA, MOMAT and a host of others. For more see “Touch Fire, Contemporary Ceramics by Women Artists” (2009) or Toh, volume 67 (1993). For more information see the current exhibition Radical Clay at the Chicago Art Institute.

A beautiful blue fluted bowl by Kawase Shinobu enclosed in the original signed wooden box titled Seiji Rinka Bachi. It is 19.5 cm (8 inches) diameter, 8 cm (3 inches) tall to the rim and in excellent 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 public 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)

A raw porcelain sake cup patterned with blended colored clay by Kusaba Eight enclosed in the original signed wooden box titled Neriage Yakishime Guinomi. It is 7.5 cm (3 inches) diameter, 4.5 cm (just less than 2 inches) tall and in perfect condition, directly from the artist.
Kusaba Eight was born in Arita in 1982, son of the prodigal Kusaba Yuji, who began working the family kiln the year Eight turned 3. Eight as a personality is quite intense, and quick to smile. He quit school and joined the Japanese Air Force. In 2000 he moved to New York, returning to Japan in 2006 where he worked in a music production company in design and videography. He moved back to Arita in 2015, taking up residence under his father at the family kiln.

A Sake cup created from two layers of mixed colored porcelain clay by Kusaba Eight enclosed in the original signed wooden box titled Neriawase Guinomi. It is 7.5 cm (3 inches) diameter, 5 cm (2 inches) tall and in excellent condition.
Kusaba Eight was born in Arita in 1982, son of the prodigal Kusaba Yuji, who bagan working the family kiln the year Eight turned 3. Eight as a personality is quite intense, and quick to smile. He quite school and joined the Japanese Air Force. In 2000 he moved to New York, returning to Japan in 2006 where he worked in a music production company in design and videography. He moved back to Arita in 2015, taking up residence under his father at the family kiln.

A spectacular bold statement in burnt straw and raw clay by Master of the genre Yamashita Joji enclosed in the original signed wooden box titled Bizen Hidasuki Hirokuchi Hanaire. Slightly elongated with four somewhat flattened sides, each is a unique perspective. It is roughly 35 cm (14 inches) diameter, 38 cm (15 inches) tall and weighs 8.2 Kg (18 pounds). It is in perfect condition.
Due to size the cost of shipping will be accrued separately.
Yamashita Joji (b. Tokyo, 1947) lives in Okayama, but began his artistic career in the Vancouver Art School in Canada. Upon returning to Japan in 1971 he apprenticed under (to be) living national treasure Isezaki Jun. He was first awarded in 1972 at the 19th Traditional Crafts Exhibition, and In 1973 was exhibited at the 2nd Nihon Togeiten. This was the start of a stellar career, seeing him establish his own kiln in Inbe in 1978. He has since received too many awards to be listed here including the Nihon Togeiten and Top prize at the 14th Tanabe Art Museum Modern Tea Forms Exhibition (Chanoyu Zokei Ten), and served as mentor to a new age of potters including Wakimoto Hiroyuki.

Plovers soar over strips of white and gray along the jagged edge of a green pool on this elongated Oribe slab platter on four raised feet by Kato Kuniya enclosed in the original signed wooden box titled Oribe O-zara. It displays much of the most notable aspects of Mino ware, from the rough white clay torn and scarred, the rich green of Oribe copper, and the snow-white and gray and of Shino and Nezumi Shino wares. It is 65 x 28.5 x 10 cm (25-1/2 x 11 x 4 inches) and is in perfect condition.
Kato Kuniya was born in Tajimi City, home of Oribe and Shino wares, in 1940. After initial studies at the municipal research facility, he apprenticed under Hineno Sakuzo. Following a stint as an instructor, he went to Kyoto to further his skills where he studied painting, decorating and sculpture, before returning to Toki to establish his kiln in 1970. He has since exhibited with the Nitten Nihon Gendai Togeiten National Modern Ceramics Exhibition, Asahi Togeiten, Chunichi Kokusai International Ceramics Exhibition, Nihon Dento Kogeiten National Traditional Crafts Exhibition among many others, and has received many others.

A playful sculpture by Nakashima Harumi, the bulbous white bubbles covered in blue and silver dots enclosed in a rare signed wooden box decorated with an image of the piece and titled Zawazawa Suru Katachi. It is 34 x 24 x 24 cm (13-1/2 x 10 x 10 inches) and is in excellent condition.
Nakashima Harumi was born in Gifu prefecture, home of a long ceramic tradition, in 1950. He stidied at the Osaka University of Art and Design, graduating advanced studies there in 1973. Deeply influenced by the Avant garde Sodeisha group and specifically the work of his mentor Kumakura Junkichi, he set out not to create works that sell, but to create works which met some inner need. After several years in Shigaraki, he moved to Tajimi, near his hometown, in 1976, accepting a position at the Tajimi City Pottery Design and Technical Center where he would remain employed until becoming head of the ceramics department at the Aichi Prefectural University of Education in 2003 where he would mentor a great many young artists who are now stars in the contemporary pottery realm (Hattori Makiko, Tanaka Tomomi etc). He was recipient of the prestigious Japan Ceramics Society Award in 2010. From 2014 he has served as head of the Ishoken Ceramics Research facility. Work by him is held in the National Museum of Modern Art in Tokyo, 21st century Museum of Art in Kanazawa, Ibaragi Ceramic Art Museum, Aichi Prefectural Ceramic Museum, Museum of Modern Ceramic Art in Gifu, Victoria and Albert Museum in London, Everson Museum of Art New York, Museum of Art and Design New York, The International Museum of Ceramics in Faenza in Italy, Hetjens Museum in Germany, as well as the China Ceramic Art Center in Shangyu and Tsinghua University in Beijing, among many others.

Ready to soar off the table, a magnificent basin by Minegishi Seiko enclosed in the original signed wooden box titled Suiseiji Utsuwa. The glaze is like layers of shattered ice, mirror smooth and emerald (actually Jade according to the title). It is 46 x 30 x 20 cm (18 x 12 x 8 inches) and in perfect condition.
Born in 1952 in Saitama, Minegishi Seiko studied under various masters in Nagano, Tochigi and Ibaragi, going solo at the young age of 22. He worked in Kohiko ware initially, but moved to celadon, and is considered one of a select few true masters of that form in Japan today. He moved his kiln from Saitama to Nasu in Tochigi in 1993, and has since exhibited with the Nihon Dento Kogei Ten, Dento Kogei Shinsaku Ten and Nihon Togeiten among others.

A set of Gohon glazed dishes decorated with Akebi mountain fruits by Komatsu Kin (Hitoshi) fired at the Fuki Kiln enclosed in the original signed and compartmentalized wooden box also decorated inside the lid with the same hanging fruit. Each dish is roughly 16 cm (6 inches) diameter and all are in perfect condition.
Komatsu Kin (Hitoshi, 1902-1989) was born as the son of Buddhist priest Komatsu Baiyu, Head of Enmeiji Temple in Yamagata prefecture. At the age of 16 he went to Kawasaki City, Kanagawa Prefecture as an apprentice at a clothing store, but soon returned to his hometown where he worked in a geta store making wooden shoes. In 1920, he returned to Tokyo with the intention of becoming a painter, and attended the Kawabata Gajuku while delivering newspapers. Following the devastation of the Great Kanto Earthquake he moved to Kyoto and studied under Tsuchida Bakusen. In1926, he won the National Painting Award with his wroks "Akibayashi" and "Evening Moon" at the 5th Teiten National Art Exhibition. While living a self-sufficient life in Ohara, a valley town on the outskirts of Kyoto, he created a unique painting world stylistically unique and easily identifiable; rustic yet bold. In 1946, he exhibited "Peony" at the 31st Inten Exhibition and was awarded the Japan Art Institute Award. In 1979, he won the Prime Minister's Prize for "Yuki no Mogami River," which was exhibited at the 64th Inten Exhibition. A year before his death a large traveling exhibition beginning at the Kyoto Municipal Museum of Art toured Yamagata Museum of Art, Kure City Museum of Art, Hirosaki City Museum, and Takaoka City Museum of Art. He passed away in 1989. In 1990, the Komatsu Hitoshi Museum opened in Kyoto.

A very unusual sake cup by Kusaba Eight enclosed in the original signed wooden box titled Neriage Yakishime Guinomi. In this case there is no glaze over the raw porcelain clay, allowing it to feel soft and textured to the touch. It is 7.5 cm (3 inches) diameter, 4.5 cm (just less than 2 inches) tall and in excellent condition, directly from the artist.
Kusaba Eight was born in Arita in 1982, son of the prodigal Kusaba Yuji, who bagan working the family kiln the year Eight turned 3. Eight as a personality is quite intense, and quick to smile. He quite school and joined the Japanese Air Force. In 2000 he moved to New York, returning to Japan in 2006 where he worked in a music production company in design and videography. He moved back to Arita in 2015, taking up residence under his father at the family kiln.

A very unusual sake cup by Kusaba Eight enclosed in the original signed wooden box titled Neriage Yakishime Guinomi. In this case there is no glaze over the raw porcelain clay, allowing it to feel soft and textured to the touch. It is 7.5 cm (3 inches) diameter, 5 cm (2 inches) tall and in excellent condition, directly from the artist.
Kusaba Eight was born in Arita in 1982, son of the prodigal Kusaba Yuji, who bagan working the family kiln the year Eight turned 3. Eight as a personality is quite intense, and quick to smile. He quite school and joined the Japanese Air Force. In 2000 he moved to New York, returning to Japan in 2006 where he worked in a music production company in design and videography. He moved back to Arita in 2015, taking up residence under his father at the family kiln.