Catalog: Artists: Ceramics (702)

Stratified layers fold over in a timeless rhythm on this covered box by Izumita Yukiya enclosed in the original signed wooden box titled Sekisoh Futamono. The laminated layers and uneven kiln texture folded over and over again, create a unique cadence on the baked earth which offers the viewer both urbanity and a view of the wilderness that resembles the strata of the earth. If one has ever walked the shoreline of Iwate where this artist lives, the influence is clear. The receptacle is 28 x 19 x 4 cm (11 x 7-1/2 x 1-3/4 inches) and is in excellent condition, directly from the artist. Izumita Yukiya was born in 1966 in Rikuzentakat, Iwate Prefecture, and studied potting technique at the Kokujiyaki Kilns under Shimotakke Gakuho. He opened his own kiln in 1995 in Noda Village. In 1998 he began firing in an Anagama hole kiln. He has an impressive list of exhibitions and awards including the grand prize twice at the Asahi Togeiten Ceramic Exhibition in 2000 and 2002. He has also exhibited at the Nihon Togeiten National Ceramics Exhibition, International Ceramics Festival in Mino, Asahi Modern Craft Exhibition as well as being awarded at the 20th Japan Ceramic Art Biennial Exhibition in 2009. He has displayed in both Europe and America and is held in the permanent collection of the Los Angeles County Museum of Art, Philadelphia Museum of Art, Yale University Art Gallery and Iwate Prefectural Museum and

An exquisite chawan tea bowl by Uraguchi Masayuki enclosed in the original signed wooden box titled Seiji Hyosai Chawan (Shattered Ice Celadon Tea Bowl). It is 13 cm (5 inches) diameter, 8.5 cm (3-1/2 inches) tall and in perfect condition.
Uraguchi Masayuki (b. 1964) discovered pottery while attending the Tokyo National University of Fine Art and Music and his world turned when he was introduced to a Song Dynasty Seiji Vase" at the Tokyo National Museum designated a National Treasure during one of his art courses. After graduation he met (and studied under) living National Treasure for celadon Miura Koheiji at the Tokyo University of Art. Inspired by the Southern Song celadons as well as the work of Japanese master ceramists Itaya Hazan and Okabe Mineo, Uraguchi spent years personally researching his own celadon glazes and clay bodies types. He finished his post graduate program in 1989, claiming a prize that same year at the National Traditional Arts and Crafts New Works Exhibition (Nihon Dento Kogei Shinsakuten). The following year he would b awarded at the Nitten National Exhibition. In 1991 he established his kiln in Tochigi prefecture. He has since received innumerable awards, including the Asahi Ceramic Art Exhibition, Japan Ceramic Art Exhibition (Nihon Togeiten) among many others. In 1995 he travelled to China to study first-hand the Song guan and Longquan ceramics. In 2001 he moved his Kiln to Hachigocho, Ibaraki Prefecture

A Shigaraki vessel of by Furutani Kazuya enclosed in the original signed wooden box titled Shigaraki Konsei Hanaire. The Konsei blended clay creates a unique texture. The form, slightly off kilter, bursts open as if from within, a fabulous piece for a one of a kind flower display. It is 35 cm (14 inches) diameter and in excellent condition, from the artist this Autumn
Furutani Kazuya was born the son of Anagama legend Furutani Michio in 1976. He graduated the Yamaguchi College of Art in 1997, and spent a year at the ceramics research facility in Kyoto before returning to work under his father in Shigaraki. His Father’s sudden death in 2000 pushed Kazuya to the fore, and left him with big shoes to fill. That he has done! Building three Anagama in the following decade and displaying with the National Ceramics Exhibition and a number of private affairs in some of Japan’s top venues.

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

A dark charred Chosen Karatsu kamahen Mimitsuku Mizusashi by Nishioka Koju (b. 1918) enclosed in the original signed wooden box. All is deeply coated in thick burnt ash. Red shows through rivulets of dark olive burnt to the side of the body. The raw clay is visible through the thick ash drips on one side. It has a custom black lacquered wooden lid and is in fine condition but for the handle on the lid, which was broken and repaired. It is 6 inches (15.5 cm) tall, 7 inches (17.5 cm) diameter and in perfect condition. Koju was born in Saga prefecture, and after participating in kiln research began working in Karatsu style ceramics around 1950 in a kiln he built that was named by Koyama Fujio. To this kiln came Fujiwara Kei and Arakawa Toyozo, the latter from whom he received the name Koju. He always avoided the world of large scale exhibitions in favor of small personal spaces, always preferring the private exhibition. Despite this, his reputation was impeccable and he was rated as one of the most influential people in Japanese ceramics by Honoho Magazine. His work is contained in the Polk museum, the Cleveland Museum as well as many other important collections. He is one of the most highly valued of the Karatsu artists, and his recent passing will leave a hole hard to fill in the Japanese ceramic world.

A striking form covered coated in glistening green glass and gnarly clusterd of black ash by Furutani Hirofume enclosed in the original signed wooden box titled Shigaraki Shizen-yu Hen Hanaire. This is an absolute classic vessel by the artist. It is 31 x 10.5 x 34 cm (12 x 4 x 13-1/2 inches) and in excellent condition, directly from the artist.
Furutani Hirofumi (b. 1948) is the real deal, a Shigaraki potter trained under his father, recipient of tradition and knowledge who does not say much. After graduating school, he went to work in a large production kiln where he studied firing technique and clay preparation. He then returned to the family studio where he headed up the preparation and firing, while, taking a second position in that respectful Japanese way to his long-lived father, who strictly tortured clay, relying on his son to do all the “real work.” The Japanese title for such a person is: Ennoshita no chikara mochi (The true strength hidden under the eaves). A decade after the passing of Churoku, every day you will find him in search of the natural phenomena born from the dialog between soil and flame and the elements. He oversees kneading and preparing the clay, as well as the kiln work, stacking and preparations for firing, creating his own pieces while allowing his son to take the fore. He is not competing or seeking fame, just quietly making pots in that very Japanese way, treading the path of the Unknown Craftsman.

An incredibly elegant form by Ikegami Eichi enclosed in the original signed wooden box titled Seiji HIsago Kaki (Gourd Shaped vessel). It is 30.5 cm (12 inches) tall and in excellent condition.
Ikegami Eichi was born in Kanazawa City, home of Kutani porcelain, in 1931, and during his time at the Kanazawa University of Art he submitted sculptures and was awarded at the Hokuriku Art Exhibitoin and Ishikawa Modern Art Exhibitions, graduating university in 1953. From 1954 to 1965 he submitted pottery works and was awarded several times at the Ishikawa Prefectural Modern Art Exhibition as well as the Toyama Prefectural Art Exhibition, his work being purchased by Toyama prefecture. In 1958 he was accepted into the Kofukai Exhibition. From 1963-1968 he exhibited with the Asahi Togeiten, and in 1967 joined the Nippu-kai. In 1970 he established in kiln in Kosugi, home of the ancient but nearly forgotten Kosugi-yaki pottery tradition. The same year he was awarded at the Nippukai Exhibition. Since his list of exhibitions and awards is lengthy to say the least, and his work with Kosugi ware has been much lauded. In 1996 he received the Arts and Culture Merit Award from the Toyama Prefectural Board of Education, and in 2001 the Toyama Prefectural Award of Merit, and in 2005 was recognized for his life dedication with the Cultural Award from Toyama Shimbun. The second generation head of his kiln is his daughter Mieko.

A breathtaking sculpture by Hashimoto Tomonari enclosed in the original signed wooden box. The inverted cone is dark gray with rust red and blue patterns waving across the surface like gas clouds on some distant moon. It is 46 cm (18 inches) tall, 19 cm (7-1/2 inches) diameter and in excellent condition, directly from the artist this winter. The wooden box is titled: Untitled. In fact he does not title any of his work now, preferring to leave interpretation up to the viewer. After hand forming and sculpting the shapes, they are bisque fired, then glazed and fired again at a relatively low temperature (Between 1000 and 1100 degrees, like Raku ware). Then he builds a brick oven around each piece and brings the temperature up to 500 degrees, and adds millet or rice husk, which carbonizes the surface, creating incredible colors and random patterns leaving the viewer with a feeling like rusted or heated metal. Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

Incredibly thick white glaze envelops the base of this torn and twisted form by Kato Toyohisa enclosed in the original signed wooden box titled Shino Hanaire. The body is covered in pinholed white burnt red, with the remarkably white glaze below like fresh snow. It is 21.5 cm (8-1/2 inches) tall and in excellent condition.
Kato Toyohisa was born in 1962. His work is both original and fresh and his challenging pursuit of Mino ceramics is evident in both his contemporary pieces and his traditional ones. He first exhibited at the Asahi Ceramics Exhibition in 1983, and was awarded the rising star award. That same year he was awarded at the Tajimi City (home to innumerable Mino potteries) Art Exhibition. He has also exhibited and or been prized at the Tokai Dento Kogei ten, Mino Togei Ten, Issui Kai Ten and Gendai Chato Ten (modern Tea Ceramics Exhibition). In addition is a long list of Private exhibitions both domestic and abroad.

An unusual cubic work by Hashimoto Tomonari in which he has altered his normal process to allow a powerful crusted texture to form on the work. Oxidized in shades of blue and rusty orange. It is 30 x 34 x 33.5 cm (12 x 13-1/2 x 13-1/2 inches) and in excellent condition, directly from the artist accompanied by a signed wooden placard.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

A small lapping cluster like a flower bulb in sand-textured earthtones by Yamaguchi Mio, a rare very small piece which can easily fill a nook in a collection. It is 8.5 x 9.5 x 8.5 cm (roughly 3-1/2 inches diameter) and is in excellent condition, directly from the artist. It comes with a signed wooden box, which will be ordered upon sale.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at university, her works were selected for show at the JoryuTogei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.

A beautiful small Guinomi by Matsuo Takaaki enclosed in the original signed wooden box titled Shigaraki Shizen-yu Yohen Hai. It is 7 cm 2-3/4 inches) diameter, 5 cm (2 inches) tall and in excellent condition.
Matsuo Takaaki was born in Yokohama in 1938. He began studies under Tsuji Seimei at Renkoji in 1960 where he trained for over 15 years. He became independent in 1975 and built a climbing kiln in Tama. Since he has been exhibited with the Issuikai but mainly focuses on the intimacy of private exhibitions.

Two semi crushed cylinders, of raw earth by Niisato Akio enclosed in the original compartmentalized and signed wooden box. Each is roughly the size of a real can, the standing piece 13 cm (5 inches) tall, 10 cm (4 inches) diameter, the recumbent work 8 cm (3-1/4 inches) diameter and both are in prefect condition. These were made during his sojourn at the Shigaraki Togei No Mori Ceramics Research facility last year (2019) and are an interesting diversion from his more common white porcelain forms.
Niisato Akio was born in Chiba, North of Tokyo in 1977. After leaving the philosophy course of Waseda University (one of Japan’s premier universities), he graduated from the Tajimi City Pottery and Design Center in 2001. He received grand prize at the 3rd Paramita Museum Ceramic Competition in 2008. He has participated in a number of group exhibitions as well as solo exhibitions, including at Keiko Gallery in America and in Italy. He served as an Artist in Residence in the Harvard Ceramic Program from 2011-2012, receiving an MA there. Work is held in the collection of the Paramita Museum in Mie and the Faenza International Ceramics Museum in Italy among others.

A breathtaking sphere in oxidized blues like our gleaming blue planet with an artist performed kintsugi gold repair wrapping all the way around. It is 26 cm (10-1/4 inches) diameter and in excellent condition, directly from the artist.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is making international waves around the world. Work by him is held in the V&A in London, LACMA and a large sculpture has recently been installed in his home prefecture of Wakayama.

A massive Blue Sculpture titled Sway by Yamaguchi Mio created as a reflection of the layered growth of organic forms such as shells and pine cones. Inspired by this natural growth, her work is likened to life in the depths of the ocean, along the seashore, of the layers of earth itself. She has made few works in blue, one of which is currently on display at the Chicago Art Institute for those in the area. This is a masterpiece. It is 74 cm (29 inches) tall, roughly 37 cm (15 inches) diameter and in excellent condition, accompanied by a signed wooden placard directly from the artist. We have a plethora of photos of this piece, for more please email.
Due to size this will require special shipping consideration.
Yamaguchi Mio was born in Aichi prefecture in 1992, and graduated advanced studies at the Aichi University of Education in 2017. While still at University, her works were selected for show at the Joryu Togei Ten Female Ceramic Artist Association Exhibition (2014). In 2016 she was awarded at the 3rd Kogei in Kanazawa Competition, Grand Prize at the Ceramic Art in the Present Tense Exhibition at the Hagi Uragami Museum as well received the governors prize at the 5oth Female Ceramic Artist Association Exhibition. In 2017 she was selected for the 11th International Ceramics Competition in Mino. She took a job as a teacher, but could not fight the need to create, so enrolled in the Tajimi City Ceramics research facility, graduating in2020. Her work is currently on view in the Chicago Institute of Arts, and was featured on the cover of the catalog for that exhibition, Radical Clay.
According to Mio: I feel that my fascination towards the natural world’s use of repetition, in bee hives and on the surface of corals, appears in my work as I consume and absorb the world around me. I like to believe that these works are natural forms made by my own hands. When I mold clay, I have a sensation that my body and consciousness blends and binds with the material and the natural world. The process of building upon each coil and applying each fold one by one with my hands is a form of meditation. Through this repetitive process I want to be able to convey my thoughts at the time in the texture, such as my struggle of swaying between the desires to live freely and falling under the pressure from societal expectations. It calms me down to observe the fingerprints left in the surface and see the traces of my existence in the clay. These works are products of what I have absorbed around me.

Thick white feldspathic glaze tinged with flickers of color covers this sake flask by Kato Kozo enclosed in the original signed wooden box titled Shino Tokkuri. It is 13.3 cm (just over 5 inches) tall and in excellent condition.
Kato Kozo was born in 1935, and studied under the Mino Legend and Designated Living National Treasure Arakawa Toyozo. He has been widely exhibited both domestically and abroad and like his mentor Kozo was named a Living National Treasure in 2010, a tribute to a life spent reviving and defending the Mino traditions. Work by him is held in the National Museums of Modern Art, both Tokyo and Kyoto as well as the Victoria & Albert Museum among others

A sculptural form covered in iconic Iga Kiln effects by Toyosaki Nobuhiko of the Korin-kiln in Mie prefecture enclosed in the original signed wooden box. On the convex shoulder, green glass pools crystalline, while a smattering of goma (sesame) ash clings to the bulbous side, gray charring and plenty of flying ash to fill in the blanks. It is 25 cm (10 inches) tall and in excellent condition.
Born in 1955, he graduated Kyoto’s Ritsumeikan University department of Science and Engineering in 1980 before enrolling in the Seto Ceramic Research Facility. In 1982 he moved to Toki City where he apprenticed under the Iga master Kishimoto Kennin. In 1988 he returned to his hometown, establishing his own kiln that same year. He has remained focused on private venues and the intimacy of the private exhibition.

A masterpiece by Furutani Taketoshi enclosed in the original signed wooden box titled Shigaraki Shizen-yu Shinogi Tsubo. Shinogi is this method of cutting away portions of the surface, in this case in waving patterns. This both allows the natural ash glaze a foot hold as it blows through the kiln, and as it cools, allows the molten ash to flow and create striking patterns on the surface. This vessel is 25 x 16.5 x 30 cm (10 x 6-1/2 x 12 inches) and is in excellent condition, directly from the artist.
Furutani Taketoshi was born the son of master craftsman Furutani Hirofumi in 1974, graduating the Shigaraki Industrial High School Ceramics department in 1992 before entering the Shiga prefectural Ceramics Research Facility where he learned first Small Rokuro wheel technique, graduating the following year. In 1993 he would find himself under the tutelage of Suzuki Iwau before re-entering for a second course at the Research Facility, graduating in 1995. From then he returned to the family kiln where he learned in the time-honored tradition from both his grandfather Churoku I and father Hirofumi (Churokuk II). In 2013 he was named a Dento Kogeishi Traditional Craftsman. Since he has exhibited consistently at the Japan Traditional Crafts Exhibition. Subverting the self, he makes simple, organic pots which have a timeless quality. As well he dares new forms and challenges the clay with innovative techniques, coercing from the pliable earth challenging incarnations very much rooted in the now, yet still paying homage to the traditions passed down through the ages.