Catalog: Artists: Ceramics (817)

A ceramic coffer rendered from torn earth covered in thick pinholed white Shino glaze by Hayashi Shotaro enclosed in the originals signed wooden box titled Shino Tobako. It is 34 x 21.5 x 19 cm (13-1/2 x 8-1/2 x 7-1/2 inches) and is 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 15 piece set of concentric dishes in celadon with Negoro red and black lacquered upper surfaces in a celadon tower by Yagi Akira enclosed in the original signed wooden box titled Ireko. The container is 18 cm (over 7 inches) tall and is in perfect condition. The largest dish is 4.5 cm (just less than 2 inches) diameter, The smallest dish is 2 mm (1/16th of an inch) 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.

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 sculpture of assembled ceramic shards by Yorigami Munemi in mottled moon colors enclosed in the original signed wooden box titled Recreations, Maru-Toban (Disc). It is 46 cm (18 inches) diameter, 5.5 cm (2 inches) thick 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 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 wall of hope mounted on a wooden base by seihakuji legend Fukami Sueharu titled Renbo-no Kei in pure celadon green, a quintessential piece by this artist. The sculpture itself is 43.5 cm (17 inches excluding the base) long 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

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.

A perilous crag in matte gray by Sugitani Keizo reminiscent of a scholar stone enclosed. This was the first of a new series he has started in this style. It is 48 cm (19 inches) tall and in perfect condition, directly from the artist in May.The title, "240425Ⅱ," is written at the bottom of the work.
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 Japans top galleries as well as London, Art Miami, Maastricht, New York, Taipei and Shanghai among others.

Yamamoto Ichiyo enclosed in the original signed wooden box titled Jun Purachina Aai Kogo (Pure Platinum Glazed Kogo). It is 8 cm (3-1/4 inches) diameter and in perfect condition.
Yamamoto Ichiyo was born in Nagasaki in 1944. He began his career at an Arita Porcelain ceramic facility in 1969. In 1974 he would spend a year in Taiwan studying porcelain before returning to Japan, where he would establish his own kiln in Imari the following year. He would begin research into platinum glazing in the mid eighties, garnering awards in Paris three years running (1986, ’87, ’88) after which he would move to Takatsuki on the border between Osaka and Kyoto, where he would immerse himself in cultural studies. In 1993 he would move to Hyogo prefecture, then would begin a period where his fame would grow, while his roots in any one place did not, only returning to Imari nearly a decade later in 2001. Since his work has been exhibited throughout Japan and abroad in such places as Valencia, Los Angeles, New York and San Diego.

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.

Twenty-seven identical cubes, each placed in a different part of the kiln, each born with its own singular experience within the flames resulting in each being completely unique from the others with different colors, textures and scars akin to humans, who, despite having disparate backgrounds, differing races, creeds and genders, coexist together. The 27 pieces (individuals) harmoniously support each other, stack up, and together form a large but fragile world of 27 'Peaces' (peace). Perhaps this very interdependence is what peace truly is. Assembled as a cube it is collectively 6 x 6 x 6 cm (2-1/2 inches) and is in perfect 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 beautiful sculpture made up of variously colored pieces by Yorigami Munemi enclosed in the original signed wooden box titled Re-Creations, Tamago (Egg). It is 17.5 x 13 x 15 cm (7 x 5 x 6 inches) and in fine condition. A hand written letter by the artist is included.
Yorigami Munemi was born in Kyoto in 1944, but went to Tokyo to study gardening at the Tokyo University of Agriculture, graduating in 1967. Two years later he apprenticed in ceramics under Yagi Kazuo, founding member of the avant-garde Sodeisha group, which Yorigami then joined. He has also exhibited domestically at the Asahi Togeiten Ceramics and Asahi Craft Exhibition among many others. In 1991 he was awarded gold at the Faenza International Ceramics Exhibition, and the following year exhibited in Cairo Egypt and Melbourne Australia (awarded) as well as being awarded at the Modern Ceramics Grand Prix Exhibition held at the National Museum of History in Taipei, Taiwan. The next year he was accepted into the exhibition “Ceramics Today” held at the Aichi Prefectural Museum. In 2001 His work was part of the exhibition “Kyoto Crafts 1945-2000” which was held at the Tokyo and Kyoto National Museums of Modern Art.

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.

An unusual white glazed work of wavering parallel veins by Sugitani Keizo titled Flow.  It is 63 x 41.5 x 17.5 cm and in perfect condition, directly from the artist.
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 ceramic panel in white by Morino Taimei enclosed in the original signed wooden box titled WORK 88-6. It is 25.5 x 4.5cm depth 31.5cm tall (10 x 2 x 12-1/2 inches) including the wooden base and is in excellent condition.
Morino Taimei was born in Kyoto in 1934, and was first accepted into the Nitten National Exhibition at a relatively young age in 1957 (a year before graduating the Kyoto Municipal University of Fine Art!). In 1960 he received the prestigious Hokutosho prize at the same National Exhibition. In the early 60s he worked as a guest professor at the University of Chicago. Upon his return to Japan his career began to lift off with a second Hokutosho Prize at the Nitten, followed by The governors prize and others at the Gendai Kogei Ten (Modern National Crafts Exhibition). He was subsequently selected for display at the Kyoto and Tokyo National Museums in 1972 and was accepted into the first Nihon Togei Ten that same year. Since his list of exhibitions and prizes has continued to grow, with subsequent selections in the Tokyo and Kyoto museums of Art, as well as exhibitions in Paris, Italy, America, Canada, Denmark and others. In 2007 he received the Japan Art Academy Prize, an award to a work of art similar in weight to the bestowing of Living National Treasure to an artist. This puts the artist in a small club, rare and important. For more information on the artist see Contemporary Japanese Ceramics, Fired with Passion by (Lurie/Chan, 2006) or the more recent exhibition of works titled Generosity in Clay from the Natalie Fitzgerald Collection.

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 challenging elegant form capped with a pierced lid by Yagi Akira enclosed in the original signed wooden box titled Koro (Incense Burner). It is 13 cm (5-1/4 inches) diameter, 8.5 cm (3-1/4 inches) tall and enclosed in the original signed wooden box.
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.

This simple white form floats effortlessly like a gull on the wind over the white wood stand by Yagi Akira enclosed in the original signed wooden box titled Jiken, Clod 92-14. It is sheer porcelain supported by two metal rods on a straing grained wooden box. 47 cm (18-1/2 inches) long, roughly 4 cm diameter, and in perfect condition. With the base it is 25 cm (10 inches) tall.
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 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.