Catalog: Artists: Ceramics: Pottery (691)

Lavender tinges the fog-gray surface of this chilling torn form by Hagi legend Kaneta Masanao enclosed in the original signed wooden box titled Hagi Haku-yu Yohen Kurinuki Mizusashi. It appears to be torn and wrestled, or perhaps chiseled from the earth, the paple glaze running over the ragged surface, settling into the clefts and folds. It is 20.5 x 23 x 20.5 cm (8 x 9 x 8 cm) 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 elegant set of ice green porcelain shards perfect for serving some small hors d’ouerves or snacks to accom@pany Japanese Sake by Kato Tsubusa enclosed in the original signed wooden box titled Shizuku. The larger dish is 17 x 15.5 x 5.5 cm (roughly 7 x 6 x 2 inche) 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).

Glistening Copper Green covers the cleaved sides of this organic vessel by Hayashi Shotaro enclosed in the original signed wooden box titled Oribe Kaki. It is 23 cm (9 inches) tall, roughly 18 cm (7 inches) square and 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.

A slab plate of undulating waves by Fujimoto Hide enclosed in the original signed wooden box titled Shigaraki Totan-sara (Corrugated-metal Dish). It is 38 x 13.5 x 3 cm (15 x 5-1/2 x 1 inches) 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.

Fog descends to dark olives and shadows tinged with blue above a somber charred base on this exquisite Chawan by Ohmae Satoru enclosed in the original signed wooden box titled Shiro-kuro Chawan, Fujisan (Black & White Tea Bowl, Mt. Fuji). It is 11.5 cm (4-1/2 inches) diameter, 10 cm (4 inches) tall and in perfect condition, directly from the artist.
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.

An incredible O-buri (large) Tea bowl by Shino legend Hayashi Shotaro enclosed in the original signed wooden box titled Manyosai Chawan. The pinks in this bowl are unbelievable, divided by flowing olive colors. It is definitely top shelf, a museum quality piece. It is 13.5 cm (5-1/2 inches) diameter, 9 cm (3-1/2 inches tall and in perfect 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.

A long slab dish with a slot for a knife by Kato Tsubusa enclosed in the original signed wooden box titled Pochon Chozara. This dish was exhibited at his first solo exhibition in the early 1980s. It is 46 x 2 x 5.5 cm (18 x 8 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).

Su-ana pinholes dot the surface of this large Mizusashi fresh water Jar covered in red and quite glaze by Hayashi Shotaro enclosed in the original signed wooden box titled Shino Mizusashi. This is a perfect example of the style which propelled this artist to stardom. The heavy form is a classical representative of the aesthetic, and retains the original ceramic lid. It is 22.5 cm (9 inches) diameter, 18 cm (7 inches) tall and 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.

A rough architectural form like some faltering old concrete structure falling to degradation by Fujimoto Hide enclosed in the original signed wooden box titled Shigaraki Ko-ro Hanaike (Two Storied Structural Vase). It is 12.5 cm (5 inches) square, 22.5 cm (9 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 fabulous, slightly closed bowl perfect for winter tea in igneous black glaze by Ohmae Satoru enclosed in the original signed wooden box titled Kuro Chawan. It is 11,5 cm (4-1/2 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 dramatic deeply fissured Toban platter by Kato Tsubusa fired in an Anagama kiln enclosed in the original signed wooden box. It is 35 x 35.5 x 3.5 cm (14 x 14 x 2-1/2 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).

A massive stone-like sculptural vessel by Hagi legend Kaneta Masanao enclosed in the original signed wooden box titled Hagi Hai-yu Kuri-nuki Kaki. It is 49 x 22.5 x 31 cm (19-1/2 x 9 x 12 inches) and is in perfect condition weighing 14 kg (roughly 31 pounds) excluding the wooden box.
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.

Gray clouds over vivid flame red draped over thick white glaze on this igneous work by Hayashi Shotaro enclosed in the original signed wooden box titled Nezumi Shino Hana-ike. It is 27.5 cm (11 inches) tall and 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.

A tall cylinder with one flattened wing extending by Fukami Sueharu enclosed in the original signed wooden box titled Seihakuji To-tsutsu, Kaze. It is 32 cm (12-3/4 inches) tall and in excellent 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.

Sweeping arcs filled with liquified green ash cross this large flat platter by Murakoshi Takuma enclosed in the original signed wooden box titled Hai-yu Shinonome Sara. Shinonome is written East Cloud, and is a poetic term for Dawn, or clouds wavering in the early light of Dawn. Here he has brought the rim out to a razors edge, no easy feat for this rough clay. The vessel is 31 cm (over 12 inches) diameter and in perfect condition. We have the only two the artist ever made, and he said they were so difficult he will not make them again.
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

Embers clamber up the side of this organic vessel covered in molten pine ash by Fujimoto Hide enclosed in the original signed wooden box titled Shigaraki Hana-ike. It is 17.5 cm (7 inches) diameter, 24.5 cm (10 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.

An incredible vase covered in carbonized color by Hayashi Shotaro enclosed in the original signed wooden box titled Manyosai Henko. This was featured at a solo exhibition in 1997, and is published in the catalog, item number 46. It is roughly 30 cm (12 inches) diameter, 27.5 cm (11 inches) tall 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.

Iron strikes up in vicious strokes under the crawling white tinged feldspathic glaze covering this quintessential vessel by Hayashi Shotaro enclosed in the original signed wooden box titled Shino Te-Oke Hanaike (Handled Bucket-Shape Shino Vase). It is roughly 14 cm (5-1/2 inches) diameter, 31 cm (over 12 inches) tall and 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.

Maple leaf shapes are impressed into the viscous autumn tinged pale glaze covering in thick swaths the organic clay form of this veseel by legendary Hayashi Shotaro enclosed in the original signed wooden box titled Shino Koyo-mon Tsubo. It is 25 cm (10 inches) diameter, 38 cm (15 inches) tall and 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.

Not just for alcohol, this is perfect for winter tea, a beautifully formed deep cup covered in tri-colored glaze occasionally revealing the rough clay beneath by Murakoshi Takuma enclosed in the original signed wooden box titled Shunju Shochu-nomi. Literally translated Shunju is Spring and Fall, a phrase denoting all the colors of the seasons, and it is the term he has chosen to poetically describe the various colorations of his work. This cup is 12 x 9.5 x 9.5 cm (5 x 4 x 4 inches) and is in excellent 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.

One of two incredible Yunomi by Hayashi Shotaro fresh from his kiln this year covered in ridiculously thick Shino glaze enclosed in the original signed wooden box titled Rikyu Seishi Shino Gakugata Kodai Yunomi. It is 10 cm (4 inches) diameter, 14 cm (5-1/2 inches) tall and in perfect 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.

Ever elegant, a form harkening back to Song period Chinese celadons by legendary artist Kawase Shinobu enclosed in the original signed wooden box titled Seiji Hanaire. The jade glaze is widely fissured, likening to cracked green ice. It is 22 cm (9 inches) tall 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 Apple-shaped bowl by Kato Tsubusa with two crystalline drips clinging to the sheer porcelain foot enclosed in the original signed wooden box. It is 11.5 cm (4-3/4 inches) diameter, 10.5 cm (just over 4 inches) tall and in excellent 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).

Thick pitted pink-white glaze tinged with burnt orange covers the torm surface of this lovely vase by Shino Legend Hayashi Shotaro enclosed in the original signed wooden box titled simply Shino Tsubo. It is rouhgoy 25 cm (10 inches) diameter, 19 cm (7-1/2 inches) tall and 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.

Enjoy your afternoon tea in this fabulous deep cup covered in pitted Shino glaze by Hayashi Shotaro enclosed in the original signed wooden box titled E-Shino Yunomi. It is 9.5 cm (3-3/4 inches) tall and 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.

A vibrant set of five small plates covered in mustard yellow speckled with copper green and iron by Hayashi Shotaro enclosed in the original signed wooden box titled Ki-Seto Meme-sara. Each is roughly 16 cm (6-1/4 inches) diameter and all are 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.

A quashed bottle form vase by Murakasho Takuma enclosed in the original signed wooden box titeld Hai-yu Hana-ire. The unruly rough clay is heavily studded with shiseki stones and mottled with iron and rich green ash glaze. It is roughly 13 cm (5 inches) diameter, 14.5 cm (5-3/4 inches) tall 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 × is 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 randomly fluted celadon bowl by Kawase Shinobu enclosed in the original signed wooden box titled Seiji Rinka Bachi. It is 34.5 x 33.5 x 14 cm (13-3/4 x 13-1/4 x 5-1/2 inches) 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)

Sakura blossom on the foggy surface of this large vessel by Hayashi Shotaro enclosed in the original signed wooden box titled Manyo Nezumi Shino Sakura-mon Tsubo. It is (22.5 x 30 x 28 cm ( 9 x 12 x 11 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.

How much drama can be infused into one piece of pottery, lets try Murakoshi Takuma with this outstanding Tobe (Fly!) vase covered in his signature combination of Shunju glazes. It is 55 x 12.5 x 20 cm (21-1/2 x 5 x 8 inches) and is in excellent condition, directly from the artist this summer. It comes in the original signed wooden box.
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 mysterious carved cylinder of beautifully textured Shigaraki clay displaying HI-iro flame colors, light charring and a light dusting of flying pine ash by Fujimoto Hide enclosed in the original signed wooden box titled Shigaraki Tagui Enchu (Round Pilar). 13.5 cm (5-1/2 inches) diameter, 16 cm (6-1/4 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.

An organic vessel torn and hollowed from a block of clay in the Kurinuki style covered in lavender tinged white by Kaneta Masanao enclosed in the original signed wooden box titled Hagi Haku-yu Yohen Kurinuki Hanaire. It is 24.5 cm (just under 10 inches) tall, 18 x 15 cm (7-1/4 x 6 inches) across the base and is in excellent condition.
Kaneta Masanao (born 1953) likely needs no introduction, certainly one of Hagi’s most well known names, he has been displayed both nationally and internationally innumerable times including the Nihon Dento Kogei Ten National Traditional Crafts Exhibition, Nihon Togei Ten National Ceramics Exhibtion, Chunichi Kokusai Togeiten Ceramics Exhibition, . His pieces are in the collection of the Tokyo National Museum of Modern Art, Yamaguchi Prefectural Museum and Museum of Modern Art Brooklyn. Ise Shrine, home to the Japanese Gods, holds a Tea Bowl by him as well.

This vessel epitomizes the work of innovative artist Hayashi Shotaro, the misshapen vessel enclosed in the original signed wooden box titled Manyosai Mimitsuki Hanaike. It is 15 x 18 cm (6 x 7 inches) at the base, 24.5 cm (just under 10 inches) tall and 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.

A green pool fills the basin of this steep sided bowl, the walls dragged by the fingers by Murakoshi Takuma enclosed in the original signed wooden box titled Hai-yu Chawan. Large Shiseki bubbles of white feldspar crystals burst through the surface. It is 12 x 13 x 7.5 cm (4-3/4 x 5 x 3 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 beautiful small flat serving dish on raised turned foot by Murakoshi Takuma the pebble studded clay covered in emerald green ash glaze and enclosed in the original signed wooden box titled Hai-yu Hira-maru Ita-zara. It is 18 cm (7-1/4 inches) diameter, and stands 4.5 cm (just less than 2 inches) tall.  Perfect for cheeses fruits or other shared snacks.
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 dish made in the style of Totan or corrugated metal, a common building material in Japan. It is 42.5 x 18 x 3.5 cm (17 x 7 x 1-1/2 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.
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 silver colored bean shaped bowl by Ogawa Machiko enclosed in the original signed wooden box titled simply Utsuwa (vessel). It is 14 x 10 x 7.5 cm (5-1/2 x 4 x 3 inches) and is in perfe3ct 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.

An undulating porcelain form by Kawase Shinobu enclosed in the original signed wooden box titled Seiji Rinka O-bachi. It is 37 cm (15 inches) diameter, 8 cm (3 inches) tall 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 traditional Kinuta (fulling block) shaped vase by Kaneta Masanao enclosed in the original signed wooden box titled Hagi Hai-yu Kurinuki Hana-ire. It is 13.5 cm (5-1/2 inches) diameter, 22.5 cm (9 inches) tall and 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.

A unique, experimental work covered in thick pin-holed white glaze dripping with dark iron by Murakoshi Takuma enclosed in the original signed wooden box titled Tetsu-yu Chawan. This is the only bowl in this pattern he has ever made, entirely one of a kind. It is 13 cm (5-1/4 inches) diameter, 8 cm (3-1/4 inches) tall 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 steep sided tea bowl by Fujimoto Hide spattered with natural flying ash enclosed in the original signed wooden box titled Shigaraki Tsutsu Chawan. It is 11 cm (4-1/2 inches) diameter, just less than 10 cm (4 inches) tall 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. 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.

Absolutely WOW! This is a bowl which truly expresses the mastery of Ohmae Satoru enclosed in the original signed wooden box titled Kuro Chawan Shigure. Shigure is a late autumn to winter weather condition when light rain falls and lifts repeatedly over a period of time. The bowl 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.

Dramatic Rorschach blots of blue splash on the white porcelain surface of this large platter by Kato Tsubusa enclosed in the original signed wooden box. It is roughly 39 cm (15-1/2 inches) diameter, 7.5 cm (3 inches) tall 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).

Awash in color, here is a brilliant vessel of crispy glazed clay by Hayashi Shotaro enclosed in the original signed wooden box titled Manyosai Henko. It is 27 x 32 x 36.5 cm (11 x 13 x 14 inches) and 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.

A small shard slab decorated with indigo by Kato Tsubusa enclosed in the original signed wooden box. It is perfect for serving Wagashi Japanese sweets before tea. The dish measures 16 x 12 x 3cm (6 x 5 x 1 inches) and is in perfect condition, directly from the artist.
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).

Wow! A powerful large Tsubo by Murakoshi Takuma covered in his signature Shunju glaze combination of iron, feldspar an Kunugi-ash enclosed in the original signed wooden box titled Shunju Otsubo. It is 36.5 cm (14-1/2 inches) diameter, 40 cm (16 inches) tall and in perfect condition, directly from the artist for this show.
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 torn and elongated sculpture of sheer porcelain covered in crystalline glaze by Kato Tsubusa enclosed in the original signed wooden box titled Freeze Flame. It is 42.5 x 21 x 17 cm (17 x 8-1/2 x 7 inches) and in is perfect condition.
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 sculptural pair of exquisite celadon lidded bottles by Yagi Akira enclosed in the original signed wooden box titled Seihakuji Kaien Koro. The striated rings are mobile, and can be spun to change the appearance of the Koro. A nearly identical work is held in the collection of Yakushiji temple. It is 20 cm (8 inches) diameter, 21 cm (8-1/2 inches) tall and 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.
Yakushiji Emperor Tenmu to pray for the recovery of his consort (who would later become Empress Jito) from illness and is one of the seven great temples of Nara and head temple of the Hosso school, Japan’s oldest Buddhist order.

An incredible Chawan in absurdly thick glaze resting on a wari-kodai foot by Master o Shino Hayashi Shotaro named Ryoga (Surpassing) enclosed in the original signed double wood box titled Rikkyu Fuji-Murasaki Shino Wari Kodai Chawan (Rikkyu Purple Wysteria Shino Split Foot Tea Bowl). Inside the bowl is crazed purple tinged smooth glaze, while outside the pink tinged white glaze seems to be pealing away from the surface in thick daubs. It is 14 cm (5-1/2 inches) diameter, 11.5 cm (4-1/2 inches) tall and is in perfect condition. Thie inner box is top quality kiri-wood, the outer box coated in black lacquer.
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.

An inverted cone lined with gleaming silver rises from a base of raw white clay in this sculptural vessel capturing the essence of the artist Ogawa Machiko enclosed in the original signed wooden box titled simply Utsuwa (receptacle). It is 12.5 x 10cm x 17 cm (5 x 4 x 6-3/4 inches) and is in perfect 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.

When visiting Kato Tsubusa recently, we were caught by this small cup sitting on his work bench which had an unusual Tsubusa stamp in the bottom. Inquiring into the stamp Tsubusa said “Yes I used to be very serious, I made that when I was 19, just starting into Hakuji”. Well, we had to have that! It is 9 cm (3-1/2 inches) diameter, 8 cm (3-1/4 inches) tall and in perfect condition, directly from the artist.
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 sculptural pair of exquisite celadon lidded bottles by Yagi Akira enclosed in the original signed wooden box titled Seihakuji Mentori Futamono. Each is 31.5 cm (12-1/2 inches) tall and 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.

A spectacular crispy Tsubo by Hayashi Shotaro enclosed in the original signed wooden box titled Manyosai Mimitsuki Hanaike. This is the work that Shotaro may be best known, and is the only one able to acquire these colors. It is 25.5 cm (10 inches) tall, 17 x 14.5 cm (7 x 5-1/2 inches) across the base and in excellent condtion.
Hayashi Shotaro (b. 1947) is one of the biggest names in contemporary Mino ceramics. He first began with a 7 year apprenticeship under his older brother Kotaro, ending when 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.

A pointed tower in burnt gray clay by Mihara Ken enclosed in the original signed wooden box titled Seki Kaki. Three slabs curvaceously rise to an unconventional horn, slotted on one side to accept a flower. A single camellia blossom in rich red, a few green leaves pitted against the gray body in the dark corner of a Tea Room would be incredible. It is 36.5 cm (14-1/2 inches) tall and in fine condition.
Mihara 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 many others.

One of his most popular new forms, this starkly arching elevated dish is by Murakoshi Takuma is covered in white over shadows of iron with areas of thin green revealing the clay beneath, weeping giant droplets onto the swirling center. It is called a Geta-zara, named after the traditional elevated wooden sandals worn in Japan in previous eras. 29 x 13 x 11 cm (4-1/2 inches tall, 5 x just less than 12 inches long) in perfect condition, directly from the artist and enclosed in the original signed wooden box titled Geta-zara.
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 Silent Shadows series sculpture by Sugitani Keizo enclosed in the original signed wooden box with engraved date beneath 220202. It is 16 x 13 x 25 cm (6 x 5 x 10 inches) and in excellent condition, directly from the artist this summer.
Although imbued with the rustic sheen of metal, Sugitani’s works are in fact creations in Shigaraki clay that are hand-built into interlocking forms that are almost Escher-esque in their simple complexity. After blending a base white clay, the artist begins the rigorous process of hand-coiling his sculptures into the forms in his mind’s eye. After carving and smoothening the surfaces, the artist bisque-fires the work. Sugitani applies an original glaze that is rich in copper, and after a main firing in his gas-kiln, imbues his works with the distinctive patina of rusted metal. (Ceramics Now Magazine).
Sugitani Keizo was born in Osaka in 1959. In 1982 he graduated the Ceramic Art Institute of the Tekisui Museum of Art. He has selected for a number of group exhibitions including the International Ceramics Competition Mino and the Asahi Art exhibition, where he has been awarded. He has been exhibited at some of Japns top galleries as well as London, Art Miami, Maastricht, New York, Taipei and Shanghai among others.

A sculpture of assembled ceramic shards by Yorigami Munemi in mottled moon colors enclosed in the original signed wooden box titled RE:CRATIONS, Banki (Disc).  It is 52.5 x 31.5 x 8.5 cm (21 x 12-1/2 x 3 inches) and in fine condition.
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. 

A heavy Kurinuki Tsubo hollowed out from a block of clay by Kato Tsubusa enclosed in the original signed wooden box titled Hai-yu Tsubo. It is 21 cm (8-1/4 inches) diameter , 23.5 cm (9 inches) tall and in perfect condition.
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 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.