Modern Japanese Ceramics
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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.
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.
Modern Japanese Ceramics
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Ash flows through and fills the deeply crevassed surface of this closed bottle form by Furutani Hirofumi (Churoku II) enclosed in the original signed wooden box titled Shigaraki Shizen-yu Kuchi Jime Yohen Hanaire. All one must do is turn it a few degrees to get a new aspect or a new point of contemplation. Shinshoku, blasted green, olive fingering, and charcoal black all studded with the famous Shiseki of Shigaraki. It is 18.5 cm (7-1/2 inches) diameter 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.
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.
Modern Japanese Ceramics
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sold, thank you
Cosmic rays flow away in a burst of green over the twilight color of this vessel by Furutani Hiromu (Churoku I) enclosed in the original signed wooden box titled Shigaraki Shizen-yu Yohen Tsubo. The entire vase seems to be covered in ashen gray over which the vivid green glass has flown, forming rivulets leading to a single crystalline drop on the opposite side. It is 22 cm (9 inches) diameter and in excellent condition, directly from the artist.
Furutani Hiromu (Churoku I, 1922-2012) Fascinated by the aesthetics of "wabi" and "sabi" expressed in the “Koge” (Charing),“Hi-iro”(Flame Color) and other naturally born kiln effects of Shigaraki ware, Furutani Hiromu devoted himself to the recovery of pre-Edo firing techniques. He was on the forefront of research into ancient kiln construction and he recreated both an Anagama and then a climbing kiln which could produce wares to rival the ancients. In the manner of craftsmen of time immemorial, he produced both Tsubo and Tea Ware. He was the first artist named a Dento Kogeishi (Traditional Craftsman) in Shigaraki, accepting that honor in 1976. After that his works were exhibited throughout Japan, as well as internationally. Breaking from tradition however, he also worked to create carved and modeled pieces with animated creatures writhing across the surfaces or arching to form handles.
Furutani Hiromu (Churoku I, 1922-2012) Fascinated by the aesthetics of "wabi" and "sabi" expressed in the “Koge” (Charing),“Hi-iro”(Flame Color) and other naturally born kiln effects of Shigaraki ware, Furutani Hiromu devoted himself to the recovery of pre-Edo firing techniques. He was on the forefront of research into ancient kiln construction and he recreated both an Anagama and then a climbing kiln which could produce wares to rival the ancients. In the manner of craftsmen of time immemorial, he produced both Tsubo and Tea Ware. He was the first artist named a Dento Kogeishi (Traditional Craftsman) in Shigaraki, accepting that honor in 1976. After that his works were exhibited throughout Japan, as well as internationally. Breaking from tradition however, he also worked to create carved and modeled pieces with animated creatures writhing across the surfaces or arching to form handles.
Modern Japanese Ceramics
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Lavender tinged crawling pale glaze covers the soft porous clay of this classically inspired Mizusashi by Living National Treasure Miwa Kyusetsu XI enclosed in the original signed wooden box titled Shiro-hagi Mizusashi. It is 20 cm (8 inches) diameter, 18 cm (7-1/4 inches) tall. It comes complete with the original ceramic lid as well as a Kae-buta (alternate lacquered lid) in a separate compartment within the box The box is contained inside a second, black lacquered wooden box, and all is in excellent condition.
Miwa Kyusetsu XI (1910-2012) was born the third son of the ninth generation Miwa Kyusetsu (Setsudo) and studied under his father and older brother (Kyusetsu X: Kyuwa). He also studied under Kawakita Handeishi. He was first exhibited in 1955, and garnered his first acolades at the 4th Natioanl Traditional Craft Exhibition (Nihon Dento Kogei Ten) in 1957. Following the retirement of the 10th generation Kyusetsu, he succeeded the name in 1967. He received the Imperial Order with Purple Ribbon in 1976 and the Order of the Sacred Treasure in 1982. He was acknowledged as a Yamaguchi Prefectural Preserver of Intangible Cultural Properties in 1972 and Designated Living National Treasure in 1983. He officially retired, passing on the family name and mantle to Miwa Ryusaku, but continued making pottery under the name “Jusetsu”.
Miwa Kyusetsu XI (1910-2012) was born the third son of the ninth generation Miwa Kyusetsu (Setsudo) and studied under his father and older brother (Kyusetsu X: Kyuwa). He also studied under Kawakita Handeishi. He was first exhibited in 1955, and garnered his first acolades at the 4th Natioanl Traditional Craft Exhibition (Nihon Dento Kogei Ten) in 1957. Following the retirement of the 10th generation Kyusetsu, he succeeded the name in 1967. He received the Imperial Order with Purple Ribbon in 1976 and the Order of the Sacred Treasure in 1982. He was acknowledged as a Yamaguchi Prefectural Preserver of Intangible Cultural Properties in 1972 and Designated Living National Treasure in 1983. He officially retired, passing on the family name and mantle to Miwa Ryusaku, but continued making pottery under the name “Jusetsu”.
Modern Japanese Ceramics
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A superb example of Karatsu ware by Nakazato Tarouemon enclosed in the original wooden box titled Tataki Chossen Karatsu Mimitsuki Mizusashi signed Jusandai Tarouemon. The pale clay is covered in white with color fingering its way through in permeated drips from the rim. The vessel is 19 cm (7-1/2 inches) diameter, 16 cm (6 inches) tall and in excellent condition. It comes complete with the original ceramic lid as well as a Kae-buta (alternate lacquered lid) in a separate compartment within the box
Nakazato Tadao (1923-2009) was born the first son of the 12th generation of Nakazato Tarouemon in Karatsu City. He graduated from the Craft Design Course, Tokyo School of Crafts (mod. Chiba University). In 1943, and first exhibited with the Nitten in 1951. In 1956 he would receive the Hokutosho prize there, followed by another commendation in 1958, and the JCS award in 1961. He took over the family name upon his fathers retirement in 1969. He would go on to receive many awards throughout his career, including the Prime Minister's Award in 1981, and the Japan Art Academy Award in 1984, The Saga Prefectural Order of Cultural Merit in 1985, and the Order of Cultural Merit by Karatsu city in 1995. In 2002 he retired from the world, entering a Buddhist temple and taking the name Hoan. He would ultimately be awarded the Order of the Rising Sun for his lifes work and be appointed an adviser of the Japan Art Academy. He was succeeded by his son,
Nakazato Tadao (1923-2009) was born the first son of the 12th generation of Nakazato Tarouemon in Karatsu City. He graduated from the Craft Design Course, Tokyo School of Crafts (mod. Chiba University). In 1943, and first exhibited with the Nitten in 1951. In 1956 he would receive the Hokutosho prize there, followed by another commendation in 1958, and the JCS award in 1961. He took over the family name upon his fathers retirement in 1969. He would go on to receive many awards throughout his career, including the Prime Minister's Award in 1981, and the Japan Art Academy Award in 1984, The Saga Prefectural Order of Cultural Merit in 1985, and the Order of Cultural Merit by Karatsu city in 1995. In 2002 he retired from the world, entering a Buddhist temple and taking the name Hoan. He would ultimately be awarded the Order of the Rising Sun for his lifes work and be appointed an adviser of the Japan Art Academy. He was succeeded by his son,
Modern Japanese Ceramics
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A single strand of gold lightning streaks down the darkness of this deep chawan by Tsujimura Shiro enclosed in the original signed wooden box titled Kuro Oribe Chawan on the lid, and named Raimei (Thunder Clap) inside the lid. Dating circa 2015, it is 11 x 9.5 x 10.5 cm (4-1/2 x 4 x 4-1/4 inches) and in excellent condition. The gold repair is artist made.
Tsujimura Shiro was born in Nara in 1947, and began his steps into the art world as an oil painter in 1965. While living at a Buddhist temple he experienced a profound connection with a Korean Tea Bowl, and began potting. He established his kiln and residence in 1970, with his first solo exhibition held in 1977. By the 1990s he had become an international star, with works exhibited in the US, UK, Germany, France and many other nations. He is highly acclaimed and somewhat reclusive, avoiding the public spectacles often needed to make one in Japan. A must have in any contemporary collection of Japanese ceramic art, work by him is held in museums throughout the globe, including The Metropolitan Museum of Art New York, The Museum of Fine Arts in Boston, The Cleveland Museum of Art, The Minneapolis Institute of Arts, The Brooklyn Museum of Art, The Freer Gallery of Art and Arthur M. Sackler Gallery at Smithsonian Institution, The Asian Art Museum of San Francisco, The Spencer Museum, Ackland Art Museum, The Art Institute of Chicago, The British Museum, Stockholm Museum of Art and the Miho Museum among many others
Tsujimura Shiro was born in Nara in 1947, and began his steps into the art world as an oil painter in 1965. While living at a Buddhist temple he experienced a profound connection with a Korean Tea Bowl, and began potting. He established his kiln and residence in 1970, with his first solo exhibition held in 1977. By the 1990s he had become an international star, with works exhibited in the US, UK, Germany, France and many other nations. He is highly acclaimed and somewhat reclusive, avoiding the public spectacles often needed to make one in Japan. A must have in any contemporary collection of Japanese ceramic art, work by him is held in museums throughout the globe, including The Metropolitan Museum of Art New York, The Museum of Fine Arts in Boston, The Cleveland Museum of Art, The Minneapolis Institute of Arts, The Brooklyn Museum of Art, The Freer Gallery of Art and Arthur M. Sackler Gallery at Smithsonian Institution, The Asian Art Museum of San Francisco, The Spencer Museum, Ackland Art Museum, The Art Institute of Chicago, The British Museum, Stockholm Museum of Art and the Miho Museum among many others
Modern Japanese Ceramics
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A delicate white Raku bowl of incredibly light weight, the tall walls like a Japanese castle in the riven clouds by Sugimoto Sadamitsu enclosed in the original signed wooden box titled simply Shiro Chawan. It is 12.5 x 13 x 10 cm (5 x 5-1/8 x 4 inches) and is in excellent condition.
Sugimoto Sadamitsu was born in Tokyo in 1935. A strong adherent to the Zen tradition, Sadamitsu established his own kiln at 33, receiving the kiln name from his mentor Daitokuji priest Tachibana Daiki. His Zen studies have refined the spiritual side of his work, and all of his wood fired ceramics have a quiet and confident power. He has spent his life in the research of kohiki, Shigaraki Iga and Raku wares, and is more than well known in tea circles for the discriminating soul of his works. For more information on this artist see the book Fired with passion : contemporary Japanese ceramics ISBN 1-891640-38-0.
Sugimoto Sadamitsu was born in Tokyo in 1935. A strong adherent to the Zen tradition, Sadamitsu established his own kiln at 33, receiving the kiln name from his mentor Daitokuji priest Tachibana Daiki. His Zen studies have refined the spiritual side of his work, and all of his wood fired ceramics have a quiet and confident power. He has spent his life in the research of kohiki, Shigaraki Iga and Raku wares, and is more than well known in tea circles for the discriminating soul of his works. For more information on this artist see the book Fired with passion : contemporary Japanese ceramics ISBN 1-891640-38-0.
Modern Japanese Ceramics
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A small peach-colored pebble shaped vase by Yamaguchi Michie enclosed in the original signed wooden box. The opening undulates in an organic manner, accentuating the natural state of the form. It is 17 x 15 x 14 cm and is in excellent condition, directly from the artist.
Yamaguchi Michie was born in Ichinomiya, Aichi, between the Seto and Mino pottery centers in 1964. Her works have been seen at the Nitten National Art Exhibition, Nihon Togeiten National Ceramic Art Exhibition, As well as Korea, Hungary and Czechoslovakia. She established her own kiln and studio in Northern Nagoya in 2003. She has been awarded at the Nihon Shin-Kogeiten National New Crafts Exhibition, Kikuchi Biennale, Mino Togeiten, Kobe Biennale, as well as the aforementioned Nitten, Joryuten and Nihon Togeiten, among many others.
Yamaguchi Michie was born in Ichinomiya, Aichi, between the Seto and Mino pottery centers in 1964. Her works have been seen at the Nitten National Art Exhibition, Nihon Togeiten National Ceramic Art Exhibition, As well as Korea, Hungary and Czechoslovakia. She established her own kiln and studio in Northern Nagoya in 2003. She has been awarded at the Nihon Shin-Kogeiten National New Crafts Exhibition, Kikuchi Biennale, Mino Togeiten, Kobe Biennale, as well as the aforementioned Nitten, Joryuten and Nihon Togeiten, among many others.
Straight out of a Miyazaki Hayao fantasy is this Future Fossil Series Koro incense burner by Watanabe Takuma which comes enclosed in the original signed wooden box titled Bizen Koro Mirai Kaseki (future Fossil). It is 13 cm (5 inches diameter, 16.5 cm (6-1/2 inches) tall and in excellent condition, directly from the artist this summer.
Watanabe Takuma was born in Hyogo prefecture in 1968, and after graduating Kansai Daigaku University in 1991, began studying Bizen ware under Yamauchi Atsushi. In 1996 he entered the Bixen Toen Kiln. Shortly thereafter he began exhibiting and has receied numerous awards at the Okayama Prefectural Exhibition (Okayama Ken Bijutsu ten), National Traditional Crafts Exhibition (Nihon Dento Kogeiten), Issui-kai-ten, as well as being selected for the influential Tanabe Museum Modern Forms in Tea Exhibition among others. He built his own kin in 2006.
Watanabe Takuma was born in Hyogo prefecture in 1968, and after graduating Kansai Daigaku University in 1991, began studying Bizen ware under Yamauchi Atsushi. In 1996 he entered the Bixen Toen Kiln. Shortly thereafter he began exhibiting and has receied numerous awards at the Okayama Prefectural Exhibition (Okayama Ken Bijutsu ten), National Traditional Crafts Exhibition (Nihon Dento Kogeiten), Issui-kai-ten, as well as being selected for the influential Tanabe Museum Modern Forms in Tea Exhibition among others. He built his own kin in 2006.
Modern Japanese Ceramics
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A fabulous faceted Iga vessel by Atarashi Manabu enclosed in the original signed wooden box. The rough textured clay is colored by the flame, burnt red and charred gray to black, with a single bead of molten ash which crystalized into glass as it rolled around the shoulder out of the flames. This is a versatile vessel which offers differing scenes for every viewing angle. The vase is 23 cm (9 inches) tall, 16.5 x 13 cm (6-1/2 x 5 inches) and in excellent condition, directly from the artist this summer.
Atarashi Manabu has been growing in popularity as one of the leaders in the Iga pottery tradition since the first time I saw his work nearly 20 years ago when visiting the family showroom in Iga village. Born in 1973 in Osaka son of the second generation artist and one of the leading revivalists of the Iga tradition in post war Japan, Atarashi Kanji. He graduated the literature department of Kansai University in 1995, moving to apprentice under his father a few years later. In 2002 he built his first anagama Kiln, and held his first of a multitude of solo exhibitions. Intensely fired multiple times to achieve the bidoro glass puddles and landscape effects which define his aesthetic, the geometric works add a contemporary sensibility to the traditional Iga style and transcend the realm of utilitarian crafts breaking into the sculptural domain. His work has proven innovative and challenging to the norm, taking his fathers tradition into the 21st century.
Atarashi Manabu has been growing in popularity as one of the leaders in the Iga pottery tradition since the first time I saw his work nearly 20 years ago when visiting the family showroom in Iga village. Born in 1973 in Osaka son of the second generation artist and one of the leading revivalists of the Iga tradition in post war Japan, Atarashi Kanji. He graduated the literature department of Kansai University in 1995, moving to apprentice under his father a few years later. In 2002 he built his first anagama Kiln, and held his first of a multitude of solo exhibitions. Intensely fired multiple times to achieve the bidoro glass puddles and landscape effects which define his aesthetic, the geometric works add a contemporary sensibility to the traditional Iga style and transcend the realm of utilitarian crafts breaking into the sculptural domain. His work has proven innovative and challenging to the norm, taking his fathers tradition into the 21st century.
Modern Japanese Ceramics
sold, thank you
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There is a lot of drama and tension between the various facets of this ash encrusted Shigaraki outcrop by Furutani Kazuya enclosed in the original signed wooden box titled Shigaraki Mentori Hanaire. (Faceted Vase). Every angle offers a unique view, texture, glazing, form, a vase which you can never grow tired of. I see it with an angular branch of plum blossoms, or perhaps Nandina loaded with red berries. It is 33 cm (13 inches) tall and in excellent condition, directly from the artist.
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.
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.
Modern Japanese Ceramics
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sold, thank you
Vivid yellow streaked with glassy Oribe green glaze highlights the sculpted middle of this exquisite covered jar by important artist Hayashi Shotaro enclosed in the original signed wooden box titled Oribe Mizusashi. It is entirely sculptural, with a refinement of glaze only this artist can create. Spectacular is all that comes to mind when viewing this groundbreaking artists work. The piece is 7 inches (18 cm) diameter, 6 inches (16 cm) 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.
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.
Modern Japanese Ceramics
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Matte colors in olive and silver coat the fiddle head fronds sprouting from this clump of clay studded with mysterious orbs by Masatomo Toi from his germination series of ceramic sculptures. The treatment of the rising horns is unusual in this piece, ordinarily more direct and threatening, these appear to be shy. The sculpture is 39 cm (15-1/2 inches) tall, 16.5 cm (6-1/2 inches) diameter and in excellent condition.
(The price includes professional packaging and shipping by private air freight to Western Europe, North America and Oceania. For other regions please inquire.)
The germination series is a true window into this artists soul. They are his representation of the power of the life cycle paired with our human frailties and strengths. He begins by forming the thorns, orbs and sabers which stud the work. These are bisk fired, then glazed and fired again. They are then embedded into the clod, and bisk fired again after drying. Glazed, they are once again fired at high temperature. Despite efforts and calculations, weight and temperature and oxidation cause unexpected changes, the tendrils bend and move with the heat waves, the clay clod can crack or disintegrate. The survivors are cooled, and then aged. When he is ready, he applies the gold and silver and Platinum and other metals, and they are once again fired, and again some fall to the wayside, unable to withstand the temperatures. Sometimes unexpected alterations occur, and other pieces do not make it through or break. Some of these can be repaired and fired again. According to Toi the sculptures are like us humans: Like our lives, we get damaged, scarred, and sometimes we can be mended. We bend with time and weight, and my works are the same. And yet we survive, altered by the experiences. There is no shame in it.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future.
(The price includes professional packaging and shipping by private air freight to Western Europe, North America and Oceania. For other regions please inquire.)
The germination series is a true window into this artists soul. They are his representation of the power of the life cycle paired with our human frailties and strengths. He begins by forming the thorns, orbs and sabers which stud the work. These are bisk fired, then glazed and fired again. They are then embedded into the clod, and bisk fired again after drying. Glazed, they are once again fired at high temperature. Despite efforts and calculations, weight and temperature and oxidation cause unexpected changes, the tendrils bend and move with the heat waves, the clay clod can crack or disintegrate. The survivors are cooled, and then aged. When he is ready, he applies the gold and silver and Platinum and other metals, and they are once again fired, and again some fall to the wayside, unable to withstand the temperatures. Sometimes unexpected alterations occur, and other pieces do not make it through or break. Some of these can be repaired and fired again. According to Toi the sculptures are like us humans: Like our lives, we get damaged, scarred, and sometimes we can be mended. We bend with time and weight, and my works are the same. And yet we survive, altered by the experiences. There is no shame in it.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future.
Modern Japanese Ceramics
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sold, thank you
Two platinum spikes erupt from the black glazed surface of this Kurinuki vase hollowed out from a black of black clay by Masatomo Toi, the first Kurinuki vase he has created (we think he is on to something). It is 21 cm tall, 25 x 23 cm (10 x 9 inches including the spikes. It comes with a signed wooden placard, directly from the artist.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future
Modern Japanese Ceramics
sold, thank you
sold, thank you
Three gilded thorns shatter the matte white surface of this large vase by Masatomo Toi, a striking combination of ideas. It is from his Dilemma series, the only piece in matte finish. It is 20 cm (8 inches) diameter and in excellent condition.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series of “Thorny” vessels and objects. At the same time he has been studying the way of tea and other traditional arts such as flower arrangement, and his use of negative space is masterful. His works have been featured in a number of group and juried exhibitions. He will soon depart Japan for a year of study and experimentation abroad, and we expect great things in his future.
Modern Japanese Ceramics
sold, thank you
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Scrafitto dots surround a pool of crackled glass deeply impressed into the ovoid form of this ko-tsubo by Yagi Kazuo enclosed in a wooden box signed by his son Yagi Akira. White slip appears haphazardly slapped on the body as with a wide brush, creating a vigorous dynamic, combined with the pointilized circle and abstract form, there is a tension which draws one into the belly of the work, certainly reflecting the best this important artist had to offer. It is 16.5 x 13 x 15 cm (6-1/2 x 5 x 6 inches) and in excellent condition. For a nearly identical piece see New Forms, New Voices (2017) p. 85.
Yagi Kazuo (1918-1979) was one of the most influential Avant Garde potters of 20th century Japan. He was born into the family of potter Yagi Isso, a noted specialist in fine Chinese and traditional Japanese forms and glazes. Kazuo studied at the Kyoto Ceramics Research Facility, like many great potters before him including his father and the founders of the Mingei movement, Kawai Kanjiro and Hamada Shoji. While there immersed in traditional forms, he joined the Ceramic Sculpture Association of Japan, and in 1939 was exhibited with them. Drafted shortly thereafter, he wa sent to China, but quickly returned to Japan with illness, for which he was discharged, and went back to sculpture, very much influenced by Western Art movements of the time. The war years were difficult of course, but following Japan’s Surrender, Kazuo was accepted into the Nitten National Exhibition. Like many young artists who had been held in the yolk of Japan’s strict military regime, he was grasping for something new, and his work expressed a strong desire to throw off the weight of traditionalism and function. So it was in 1948 when Kazuo, along with a number of other potters including Suzuki Osamu, Yamada Hikaru and Kumakura Junkichi, founded the Iconic Sodeisha Group. The work of this group would change forever the perception of Japanese pottery, and he would go down as one of the most influential potters of the 20th century.
Yagi Kazuo (1918-1979) was one of the most influential Avant Garde potters of 20th century Japan. He was born into the family of potter Yagi Isso, a noted specialist in fine Chinese and traditional Japanese forms and glazes. Kazuo studied at the Kyoto Ceramics Research Facility, like many great potters before him including his father and the founders of the Mingei movement, Kawai Kanjiro and Hamada Shoji. While there immersed in traditional forms, he joined the Ceramic Sculpture Association of Japan, and in 1939 was exhibited with them. Drafted shortly thereafter, he wa sent to China, but quickly returned to Japan with illness, for which he was discharged, and went back to sculpture, very much influenced by Western Art movements of the time. The war years were difficult of course, but following Japan’s Surrender, Kazuo was accepted into the Nitten National Exhibition. Like many young artists who had been held in the yolk of Japan’s strict military regime, he was grasping for something new, and his work expressed a strong desire to throw off the weight of traditionalism and function. So it was in 1948 when Kazuo, along with a number of other potters including Suzuki Osamu, Yamada Hikaru and Kumakura Junkichi, founded the Iconic Sodeisha Group. The work of this group would change forever the perception of Japanese pottery, and he would go down as one of the most influential potters of the 20th century.
Modern Japanese Ceramics
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sold, thank you
A playful sculpture which challenges the viewers perception by Hayashi Yasuo enclosed in the original signed wooden box titled simply Sakuhin (work). It is 12.5 x 9 x 12.5 cm and in perfect condition. According to a description of a similar work in the collection of the Met: Hayashi’s series of black and gray coil-built trompe l’oeil “boxes,” a group that was inspired by his experience flying without lights at night as a kamikaze pilot... this work presents new ways of looking at three-dimensional forms. Hayashi trained in the Japanese style of painting prior to World War II. After the war he became fascinated by avant-garde Western artists, including Pablo Picasso, whose work influenced his early ceramics. He then developed the spare, abstract style that characterizes his mature art. The artist created this piece’s surface patterning by masking certain areas and using an atomizer of his own design to spray glaze onto the stoneware before firing.
Hayashi Yasuo was born in Kyoto in 1928, son of a potter. He began to study traditional painting in 1940, but his studies were interrupted by the Second World War. Folowing the conflict and discharge from the military, he began making pottery, helping to found the Shikokai ceramic society of avant-garde ceramicists in 1947. His artistic career is daunting, and much too long to put into this brief introduction including many awards both domestic and abroad (Italy, France, Portugal, Canada, Australia, New Zealand…). Also he has been the focus of solo exhibitions in some of the most important galleries throughout the Japanese archipelago as well as the United States, Australia and Germany. He is held in the collection of the Museum of Art & Design, New York, Everson Museum of Art, New Orleans Museum of Art, Minneapolis Institute of Art, National Gallery of Australia, National Ceramic Museum Sevres in France, Vallauris Ceramic Museum, Museum of Modern Art, Faenza International Ceramics Museum, Museum of Decorative Art, Prague, Victoria & Albert Museum in London, Seoul Metropolitan Museum in South Korea, National Museum of Modern Art, Tokyo, National Museum of Art, Osaka, National Museum of Modern Art, Kyoto, Kyoto Municipal Museum of Art, Hokkaido Museum of Modern Art and Museum of Contemporary Ceramics in Shigaraki among many others.
Hayashi Yasuo was born in Kyoto in 1928, son of a potter. He began to study traditional painting in 1940, but his studies were interrupted by the Second World War. Folowing the conflict and discharge from the military, he began making pottery, helping to found the Shikokai ceramic society of avant-garde ceramicists in 1947. His artistic career is daunting, and much too long to put into this brief introduction including many awards both domestic and abroad (Italy, France, Portugal, Canada, Australia, New Zealand…). Also he has been the focus of solo exhibitions in some of the most important galleries throughout the Japanese archipelago as well as the United States, Australia and Germany. He is held in the collection of the Museum of Art & Design, New York, Everson Museum of Art, New Orleans Museum of Art, Minneapolis Institute of Art, National Gallery of Australia, National Ceramic Museum Sevres in France, Vallauris Ceramic Museum, Museum of Modern Art, Faenza International Ceramics Museum, Museum of Decorative Art, Prague, Victoria & Albert Museum in London, Seoul Metropolitan Museum in South Korea, National Museum of Modern Art, Tokyo, National Museum of Art, Osaka, National Museum of Modern Art, Kyoto, Kyoto Municipal Museum of Art, Hokkaido Museum of Modern Art and Museum of Contemporary Ceramics in Shigaraki among many others.
Modern Japanese Ceramics
sold, thank you
sold, thank you
A lovely lavender-tinged gray vase swept with brush strokes like fleeting snow in the Utsutsukawa-yaki tradition by Yoshioka Gagyu enclosed in the original singed wooden box titled Shirasagi Hanaire (White Egret Vase). Two birds stand against the cold on a long barren branch tinged with silver. Truly exquisite. The vase is 19.5 cm (just less than 8 inches) tall and in excellent condition.
Gagyu’s first exhibited piece at the age of 20 in 1955 took the governors prize at the Nagasaki Kenten Prefectural Art Exhibition. That was the beginning of a prestigious career prolific with awards culminating in being named an important cultural property for Nagasaki prefecture in 1975 (the state version of a living national treasure) he has also displayed with the Nihon Dento Kogeiten (National Traditional Crafts Exhibition) among many others, and has an impressive number of private exhibitions. He is credited with reviving the lost art of Utsutsukawa-yaki, and is a very important figure in modern Arita.
Gagyu’s first exhibited piece at the age of 20 in 1955 took the governors prize at the Nagasaki Kenten Prefectural Art Exhibition. That was the beginning of a prestigious career prolific with awards culminating in being named an important cultural property for Nagasaki prefecture in 1975 (the state version of a living national treasure) he has also displayed with the Nihon Dento Kogeiten (National Traditional Crafts Exhibition) among many others, and has an impressive number of private exhibitions. He is credited with reviving the lost art of Utsutsukawa-yaki, and is a very important figure in modern Arita.