Catalog (915)

Maple leaves swirl in a vortex on this large rectangular platter by Ando Hidetake enclosed in the original signed wooden box. Rich iron leaves seem to float on or just below the surface as if floating in a pond, the suction from a surfacing carp drawing down, pulling the leaves around it. Excellent for display or use, it is 17 x 10-1/2 inches (43 x 26 cm) and is in excellent condition. Hidetake was born third generation into a Mino pottery family in Gifu prefecture in 1938. He began an apprenticeship under Kato Tokuro in 1960. A testament to his skill, he was accepted for the first time four years later into the National Traditional Arts and Crafts Exhibition (Nihon Dento Kogei Ten), and followed that by taking governors prize at the Asahi Ceramics exhibition in 1970, and acceptance into the Japanese National Ceramics Exhibition (Nihon Togei Ten) in 1971; since he has displayed often with all of these important events. One of a small group of potters credited with the revival of Shino, he was named an Important Prefectural Cultural Property in 2003 (Gifu-Ken Juyo Mukei Bunkazai, the prefectural version of the Living National Treasure).

A proud striated egg shaped orb floats above the square block forming the base of this sculpture by Matsumoto Hideo covered with enigmatic graffito. The object is 12-1/2 inches (31.5 cm) tall, 4 x 7 inches (11 x 18 cm) at the base, and is in excellent condition. This piece was purchased from an exhibition held in October, 1993, and a copy of a Newspaper article introducing the exhibition is enclosed with the piece. Hideo has been widely represented in Museum exhibitions throughout Japan. He was born in the 1950s, when Sodeisha was leading the charge away from traditionalism and function to form, and this has had a lasting effect on his work, which is largely sculptural, often beyond recognition. This piece comes in a tag-board box.

Haunting shapes are scraped into the raw clay like some ancient Nazcan riddle on this huge ball vase by Sato Kazuhiko. The vase is 15-1/2 inches (40 cm) tall, 17 inches (43 cm) diameter and in excellent condition. There is no box. Kazuhiko (b. 1947) is a widely displayed artist and author of many books on the ceramic arts. For more information on this artist see Modern Japanese Ceramics in American Collections (1993). Due to size this piece will require special shipping consideration.

A large sculpted image of the goddess of mercy Kannon cut from a solid slab of Iga clay by artist Kishimoto Kennin. The image is 12-1/2 inches (31.5 cm) tall and in perfect condition. The artists mark is engraved into the base of the back; there is no box. This artist has been working with clay since the 1950s, devouring styles along the way. Seto, Oribe, Iga and Celadon, all very different approaches which he masters one at a time, extending his unique view of the arts to new realms, and moving on to the next challenge when his appetite and personal genius has been satiated. He was exhibited and prized at the National Japanese Crafts Exhibition (Nihon Dento Kogei Ten), National Ceramics Exhibition (Nihon Togei Ten), Chunichi International Ceramics Exhibition (Chunichi Kokusai Togei Ten) and Asahi Togei Ten among others, and is held in several important international collections.

Enigmatic green and red florals capped by ascending butterflies alternate with bird images in the cathedral-like windows on the side of this large vessel by Kyoto artist Yamazaki Koyo enclosed in the original signed wooden box. The vase is 13-1/2 inches (34 cm) tall and in fine condition, dating circa 1950. Koyo (1890-1979) studied under Kiyomizu Rokubei VI, and was displayed consistently in many National and Local Exhibitions. He has been awarded four times at the Nitten, twice at the Nihon Shin Kogei Ten (Japanese National New Craft Exhibition) as well as the Kofukai and is held in the collections of the Museum of Modern Art Boston and Bern Museum of Art Switzerland among others

Splashes of earthen color decorate the deep sides of this large open dish by Living National Treasure Tamura Koichi enclosed in the original signed wooden box. The bowl is 15-1/2 (39 cm) diameter, 4 inches (10.5 cm) tall. The box is worn but still sturdy, and the bowl is in perfect condition. Koichi graduated from the Tokyo University of Fine arts Where he later taught), and took up an apprenticeship under (later) Living National Treasure Tomimoto Kenkichi. With a very impressive career, Koichi too was designated a Living National Treasure for work with iron glaze the year before his death, 1986.

A truly Massive chozara Oribe Platter by important potter Ando Hidetake (b. 1938) enclosed in the original signed wooden box. Relying entirely on sculptural presentation, the interior is devoid of any decoration, the heavily sculpted basin simply coated with glassy-green oribe glaze. Deep grooves have been cut from the slab of clay, the edges torn and ragged with dollops of green dripping from the base. On the underside in dark iron is the large character Hi (the first character in the artists name) inside an earthen cartouche. The dish is 33 x 15-1/2 x 2-3/4 inches (84 x 39 x 7 cm) and in excellent condition. It is very heavy, over 15 kilograms with the box, and will require special shipping considerations (cost of shipping is separate from item price). Hidetake was born third generation into a Mino pottery family in Gifu prefecture in 1938. He began an apprenticeship under Kato Tokuro in 1960. A testament to his skill, he was accepted for the first time four years later into the National Traditional Arts and Crafts Exhibition (Nihon Dento Kogei Ten), and followed that by taking governors prize at the Asahi Ceramics exhibition in 1970, and acceptance into the Japanese National Ceramics Exhibition (Nihon Togei Ten) in 1971; since he has displayed often with all of these important events. One of a small group of potters credited with the revival of Shino, he was named an Important Prefectural Cultural Property in 2003 (Gifu-Ken Juyo Mukei Bunkazai, the prefectural version of the Living National Treasure). Due to size the cost of shipping will be assessed separately from the list price.

A huge museum quality pottery vase by Konishi Yohei (b.1941) enclosed in the original signed wooden box titled Tokoname Sen-Jomon Tsubo. The vase is 17-1/2 inches (45 cm) tall, roughly the same diameter and weighs 14 kg (30 lbs). It is in excellent condition, dating circa 1990. Yohei was born the son of Konishi Yusen in Tokoname city, graduating the Tokoname Ceramics institute in 1959. He was first accepted into the Modern Japan Ceramics Exhibition (Gendai Togeiten) in 1960 and has since racked up a tremendous list of exhibitions. Those include the Nitten, Nihon Dento Kogei Ten (National Traditional Crafts Exhibition) and Asahi Togei Ceramics Exhibition. Also the Nihon Mingei Ten, Sanki-Kai Ten(prized), Issui-Kai Ten and Chunichi Kokusai Togei Ten (prized). Barollis French International Exhibition (silver prize). Shipping will be considered separately due to size.

A heavily glazed early square pottery dish by Kimura Ichiro enclosed in the original signed wooden box. The sandy clay appears to have been twice fired, the first firing unglazed with a simple ash burn later a very thick feldspathick glaze wiped on and re-fired. It is roughly 11 by 11-1/2 x 2-1/2 inches (28 x 29 x 6 cm) and is in good condition, no chips or cracks but some color has soaked into the crackled white glaze. Originally from Mashiko, Kimura Ichiro (1915-1988) went to study ceramics at the Kyoto ceramic research institute, as had his forbearer Hamada Shoji, to whom he later apprenticed, establishing his own kiln in 1946 at the close of World War II. Along with Shoji and later Tatsuzo, He was one of the founders of modern Mashiko pottery and was displayed and awarded prolifically during his lifetime. Those include the Nihon Mingei ten, Gendai Tougei ten, National Tojiki ten, and National Traditional Arts and Crafts Exhibition among many others.

Hi-dasuki lines of red charring streak across the surface of this large Tokkuri Vase by Isezaki Mitsuru (b. 1934) enclosed in the original signed wooden box. A smooth even profusion of bubbles welter about the clay, adding a tactile texture to the elongated body. The vase is over 20 inches (51.5 cm) tall and in perfect condition. Mitsuru was born to a family of potters, his father Yozan and brother Jun both very important in Bizen pottery. In 1998 Mitsuru was named a Prefectural Intangible Cultural Property for Okayama (the prefectural version of a living National Treasure, likely more important as it is truly based on the artists contributions rather than heredity). He has innumerable exhibitions, including the Nihon Togei-Ten (National Ceramics Exhibition) Nihon Dento Kogei-Ten (National Traditional Crafts Exhibition) and Gendai Togei Ten (Modern Japanese Ceramics Exhibition). In fact his first piece exhibited with the First National Ceramic Exhibition was selected for display in a show which went around the globe. Recipient of the Kaneshige Toyo prize as well as purchased by the Japanese Foreign service as gift to foreign dignitaries.

A large and lovely platter by Koyama Kiyoko enclosed in the original signed wooden box.  The wavelike surface traps the thick crystalline ash glaze in deep green pools, the edges left raw and exposed.  The excessive amount of glaze is typical of this artists work, and she is known for firing her kiln for up to 14 days straight.  The dish is roughly 1 foot (30 cm) square and in excellent condition.  Kiyoko was the subject of the film Hi-Bi (2005) and is the pioneering female wood firing artist in Japan. Born in Sasebo, Nagasakin in 1938, she went to Shigaraki village, home of one of Japans Six Ancient Kilns (RokkoGama).  There she studied the traditional techniques,, and bore the brunt of centuries of discrimination against women.  Through it all she persevered to become one of the most highly sought of Shigaraki potters. It is a true pleasure to be able to offer this piece.

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

We have been long searching after a larger vessel by Morihiro, and at last we have found one to offer. This is a peculiarly shaped vessel decorated with swirling designs in a fractured circle layed over impressed clay and enclosed in the original signed wooden box. The form is quite unique, the split circle motif actually falling from the center around the mouth to form the opposite side. Not apparent when viewing from the side but easily distinguished from above. It is signed on the base and measures 11 inches (28 cm) tall, 9-1/2 by 5 inches (24 x 13 cm) and is in perfect condition. Wada was born in Hyogo prefecture and apprenticed under Kyotos Tomimoto Kenkichi before moving to his current location 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 dispayed at the Victoria Albert and Smithsonian as one representative of modern Japanese ceramics in 1983. He subsequently recieved the Japanese Ceramic Society Award in 1985, a very rare honor.

A massive sculptural vase by Kyotos Inoue Yoshihisa (b. 1947) in the form of a crowing cock. This piece was featured in the Nitten in 1973 and is visible in the catalog for that year. Yoshihisa studied ceramics under Kiyomizu Rokube VI, certainly one reason for his emphasis on sculptural concerns. His work has often been accepted to the Nitten National Exhibition, as well as the All Japan New Crafts Exhibition where he received the Members prize, and the Kofukai-ten. An excellent example of Formalism verses figuration, themes necessarily emphasized by modern ceramic artists in Kyoto.

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

Vibrant tusty red splashes across the black glazed surface of this sculpted vase by Kawai Kanjiro dating from the 1950s enclosed in a wooden box annotated by his daughter Koha, the head of the Kawai Kanjiro Kinenkan Museum. The vase is roughly 8 by 4 by 4-3/4 inches (20 cm x 12 x 10 cm) and is in perfect condition. Kanjiro was a true artist by nature, and together with Hamada Shoji, set a pattern of study for modern potters. After graduating the Tokyo School of Industrial Design, he came to study in Kyoto, eventually establishing his own kiln on the Gojo-no-Saka (It remains standing today and is a must see for anyone visiting Kyoto). Together with compatriots Shoji and Bernard Leach (with whom he traveled throughout Asia) established the modern Mingei movement in ceramics, the most influential ceramics movement in the 20th century. His research on glazes (of which he developed thousands over a lifetime of work) remains influential as well. Refusing to be limited to ceramics, Kanjiro also worked in bronze, wood and paint. An interesting final note on this unusual artist, when offered the title of Living National Treasure, an honor bestowed on very few, he declined

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

Enigmatic figures rise from concave discs on the front of this massive Tenmoku Vase by modern sculptural artist Ohi Toshiro enclosed in the original signed wooden box. The gourd shaped form is covered in a mottled red Kaki-yu spotted with flashes of black. The smooth evenly graduated sides contrast with the sharp rough edge of the opening, both surprising and pleasing. Signed clearly on the base, the vase is 14 inches (36 cm) tall, 9-1/2 inches (24 cm) diameter and in perfect condition. Toshiro was born in 1927, the first son of Ohi Chozaemon IX. He graduated the Tokyo University of Arts in 1949, and then returned for a short time to the family kiln. He has since been professor at a number of prestigious Japanese institutions. He has been a consistent exhibitor with the Nitten National Exhibition, and served as both judge and director there, as well as acting as judge for the Asahi Ceramics Exhibition. He was awarded the Japan Ceramics Society award in 1957. He was also granted the Art Academy Award of Japan, perhaps one of the most prestigious of all honors in this country in 1985. He has been actively exhibiting abroad since 1949, including North America, The former Soviet Union, most of Europe as well as in the Middle East. In 1983 a tea bowl made by Toshiro was given as a gift to the Emperor and it, as well as several subsequent pieces, are in the permanent collection of the Imperial Household Agency). He accepted the name of Ohi Chozaemon X in 1987. Since his reputation has only grown greater. There is a derth of information available on this artist.

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

This is a splendid example of work by one of Japans true ceramic masters, Kato Takuo (1917-2005), signed on the base and enclosed in the original signed and stamped wooden box titled Aoyu-kinsai Hanaike. The work surpasses the simplicity of the title, covered in rich blue glaze with silver clouding and gold highlights on the looping waves about the rim, the piece exemplifies the unusual forms favored by the artist in the late 80s and early 90s, leading up to his being given the most coveted title in Japan of living National Treasure. The simple bottle form decorated with convoluted loops reminds one of an ancient glass bottle pulled from 2000 years of sleep off the floor of the Aegean Sea. The vase stands 8-1/4 inches (21 cm) tall and is in perfect condition. Kato Takuo, I am sure, requires no introduction. He was trained in ceramics by both his father, Kato Kopei, and at the Kyoto School of ceramics. He was soon accepted and consistently displayed at any number of National and International Exhibitions, and was named an Intangible Cultural Asset in 1995. Sadly he passed away of pneumonia on January 12 of this year. This is a rare opportunity to acquire a piece by this highly sought Japanese Artist.

Black green and silver bands like a core sample of crustal layers from some fantastic planet decorate the brushed and impressed clay of this large piece by Kyoto Artist Morino Taimei enclosed in the original signed wooden box. The vase is 10-1/2 inches (26.5 cm) tall, 9-1/2 by 5 inches (24 x 12.5 cm) and is in perfect condition. The box as well is like new. 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. Last year 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, adding this to a collection honors the culmination of a life-times work.

Each uniquely carved row of frets on this large textured vase is a variegated shade of raw clay by Mihara Ken enclosed in the original signed wooden box. The vase is 10 inches (25.5 cm) tall, 8-1/2 by 5-1/2 inches (22 x 14.5 cm) and dates circa 1994. Ken was born in Shimane prefecture in 1958, and apprenticed under Funaki Kenji at the age of 23. He has been exhibited and or prized at the All Japan Ceramic Exhibition (Nihon Togei Ten), Asahi Ceramic Exhibition, the National Traditional Crafts Exhibition (Nihon Dento Kogei Ten) as well as the Tanabe Museum Chanoyu no Zokei Ten (Modern tea forms Sculpture Exhibition). He has displayed in both Europe and America and is held in the permanent collection of the Tanabe Museum of Art and the New Orleans Museum of Art among others.

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

A phoenix flairs majestically out in minute detail on this large sometsuke vase by Nakamoto Chikuzan enclosed in the original signed wooden box. Written with an exacting hand, the bird is made up of hundreds of tiny strokes of the masters brush. Ordinarily we do not work with sometsuke however this is a powerful piece deserving exception. The vase is 13 inches (33 cm) tall and in perfect condition. Nakamoto Chikuzan I (1911-2000) cultivated his roots at the Tobe Industrial School before embarking on a remarkable career of research, revival and development, an artist credited with almost single handedly saving Tobe-Yaki from extinction. He was awarded innumerable praise including by the Imperial Family. He was most known for sometsuke porcelain decorated with classical scenery, but also worked in impressed and carved forms, and overglaze enamels. He was granted the Kyoiku-cho award in 1990, and this piece commemorates that auspicious occasion (as noted inside the box lid). A mosaic by Chikuzan 3 by 10 meters (10 by 30 feet) decorates the Tobe City Municipal Office building.

Birds flit playfully in the rich foliage of a fiery maple on the front of this flattened ovoid vase by Nakamura Toshito enclosed in the original signed wooden box. The odd triangular opening is perfect for flower arrangement, offering place for larger branches to rest in the corners. The ovoid form appears to be hand formed, the clay raked and covered in white with hand-painted scenery in enamel over. The vase is roughly 8 inches (20 cm) tall and in perfect condition. Toshito was simultaneously accepted into both the 7th Traditional Kutani Exhibition and the 37th SoZo-Ten Creative Design Exhibition in 1984, and has consistently displayed with them since, prized the following year in the SoZo-Ten. That same year he also received the governor’s prize at the 40th Kutani Sangyo Design Concool, and in 1990 was awarded the Hokuka-Sho at the SoZo-Ten. HE stayed within the Kutani area until the mid 90s, concentrating on his teaching position at the Ishikawa prefectural Ceramic Research Facility and building a reputation through area exhibitions of great rapport. With that base firmly established he was accepted into the National Traditional Arts and Crafts Exhibition in 1997, and has consitently displayed with that prestigious show, while not neglecting the Traditional Kutani Exhibitions at which he has been often awarded. This piece is nearly contemporary, dating to within the last five years.

Lavish charring on two sides contrasts with sliding Hai-yu glaze opposite on this thick and bold vase by Masamune Kengo enclosed in the original signed wooden box. The vase is 16 by 13 inches (40 by 33 cm) across, 11 inches (28 cm) tall and in excellent condition. The artist has been largely exhibited and prized, including the Chunichi Kokusai Togei Ten, Nihon Dento Kogei Ten, Nihon Togei ten, Issui Kai Ten, and Okayama Ken Ten.

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

Pale clay baked red with a dusting of natural ash glaze and small streaming rivulets complimenting the undulating ribbons billowing pell-mell from the top of this odd shaped sculptural vase by Kiyomizu Rokubei VII (1922-2006) enclosed in the original signed wooden box. The piece is 9 inches (23.5 cm) tall, 7-1/2 inches (19 cm) wide and in excellent condition. The Kiyomizu family potters managed one of the most productive workshops in Kyoto’s Gojozaka district from the second half of the Edo period. From the Meiji they began producing tableware for export and special pieces for government-sponsored exhibitions under Rokubei V. The workshop declined after World War II but was revived by Kiyomizu Rokubei VII, an adopted artist from Aichi prefecture. A graduate of the Tokyo University of Fine Art, he was a trained sculptor specializing in, in addition to clay, media like metal, glass, wood, paper and photography. Rokubei studied in Italy from the 1969-1970, and was a common contributor to the Nitten (under the name Hiroshi) Receiving the Hokuto-sho prize there and later serving on the selection committee. He is also well known for sculptures. He succeeded the family name in 1987 and also used the name Kyubei. Kiyomizu Rokubei VIII, is now head of the kiln. For more on this important artist see Contemporry Clay, Japanese Ceramics for the New Century by Joe Earle, ISBN O-87846-696-7.

A tall stem-footed Hagi flower vessel enclosed in the original wooden box by Yamato Yasuo. It was created in that postwar age when once again expression was finding a voice in Japan, and the early avant-garde potters such as Yamato Yasuo and Kumakura Junkichi were reaching beyond tradition as a means of verbalizing their interpretation of Japan in a new age. Here enigmatic shapes rise from the slightly striated Hagi clay, the entire covered in pale blue tinged glaze with outlines of iron and splashes of color on the queer images. The foot is bare earth, inscribed with the name Yasuo and the year 1958. The work is a fine representative of the period and its movements. It is large at almost a foot (29 cm) tall, roughly 8 inches (20 cm) diameter at the widest and is in excellent condition. Yamato Yasuo was born in 1933 to a long line of Hagi potters. He learned under his father Harunobu and grandfather Shoroku who would have been head of the kiln at the time of this pieces creation. He is one of Hagi’s most well respected artist, and his works are often displayed at the Nitten and other National Exhibitions. He has been named an important cultural asset of Yamaguchi Prefecture (ken Juyo Mukei Bunkazai). A rare opportunity to acquire an early work by one of the most important Hagi potters.

A sizeable seihakuji vase by celadon master Fukami Sueharu (b. 1947) enclosed in the original signed wooden box dating circa 1985. Graceful lines drape from 8 points evenly distributed about the rim, creating a sense of geometry on the simple orb. The vase is roughly 8-1/2 inches tall, 9-3/4 inches diameter and in excellent condition. The name of Kyotos 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.

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

A fantastic Mimitsuki fresh water container with rolling, sculptural corners very much in the style of the highly sought Bizen master Kakurezaki Ruichi enclosed in the original signed wooden box. It is 7-1/2 inches (18.5 cm) tall, 9 inches (23 cm) wide and in excellent condition, dating circa 1998. It is likely that Ryuichi needs no introduction, one of the most well known of Bizen potters, he is interestingly originally not from Bizen but far off Nagasaki, which seems to have gifted him with the ability to see the clays potential beyond conventional form. He graduated the Osaka University of Fine Arts, then enjoyed a long apprenticeship under Bizen Living National Treasure Isezaki Jun before opening his own kiln in 1986. Combining traditional technique with modern architectural form, He was recipient of the Japan Ceramics Society Award, Grand Prize at the Fifth Contemporary Tea Ceremony Utensils Exhibition, Tanabe Museum and has a list of public and private exhibitions which go beyond this brief add, including a showing in New York this year. His works are held in the collection of the Victoria and Albert Museum of London, National Ceramic Museum of France and the Tanabe Museum among others.

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

A large color splashed charger by one of Kyotos more original artists Tsuboi Asuka enclosed in the original signed wooden box. The vessel has a narrow foot with steadily rising sides creating a light airy feel; sheet white clay covered in green glass interspersed with runs of opaque shadow. Perfect for a service of summer fruits, or as a shallow basin for an arrangement of summer flowers. It is just less than 16 inches (40 cm) diameter and in excellent condition. Asuka, originally of Osaka, learned under the careful tutelage of Tomimoto Kenkichi in Kyoto, the city she has called home for several decades. She is well known in the Japanese ceramic world for her unique sculpture.

A red earthen cylinder inlayed about the rim with dragonflies by JCS award winner Imai Masayuki enclosed in the original signed wooden box. The dragonflies (also called Katsumushi, or insect of victory) are inlayed into the red clay with white and buff clay, covered with resist, and a thin iron slip applied over the remainder of the vase. The slip color is so closely matched to the underlying brick-red clay one cannot see the difference. The vase is 9 inches (23 cm) tall, 4 inches (10 cm) diameter and in excellent condition. Imai was born in Osaka in 1930 and studied the plastic arts under Kusube Yaichi of Kyoto, the city he chose to make home. He has been a long standing and often exhibited member of the Nitten, receiving the Hokuto Award there. He also took the grand prize at the International Biennale of Contemporary Ceramics as well as the prestigious Japan Ceramic Society Award in 1965. He is mentor and teacher to a new generation of Japanese potters including Ichino Masahiko.

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