Modern Japanese Ceramics
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Sold, with thanks!
An organic form by young female artist Tanaka Tomomi enclosed in the original signed wooden box titled Mimi-nari and dating from 2017. It is 6 x 6 x 5-1/2 inches (15 x 15 x 14 cm) and is in excellent condition.
Tanaka Tomomi was born in Hyogo prefecture, near Kobe, in 1983, and graduated advanced courses at the Aichi University of Education in 2008, however her work has been garnering attention in various exhibitions since 2005. She has received the Kyoto Mayor’s Award at the “39th Women’s Association of Ceramic Art” in 2005, and been prized at the 2006 and 2007 Asahi Togeiten Ceramic Art Exhibition. In 2014 she was given Silver at the 10th International Ceramics Competition Mino. Highly sought after, her work is held in the Ibaraki Ceramic Art Museum.
Tanaka Tomomi was born in Hyogo prefecture, near Kobe, in 1983, and graduated advanced courses at the Aichi University of Education in 2008, however her work has been garnering attention in various exhibitions since 2005. She has received the Kyoto Mayor’s Award at the “39th Women’s Association of Ceramic Art” in 2005, and been prized at the 2006 and 2007 Asahi Togeiten Ceramic Art Exhibition. In 2014 she was given Silver at the 10th International Ceramics Competition Mino. Highly sought after, her work is held in the Ibaraki Ceramic Art Museum.
Modern Japanese Ceramics
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Sold, Thank you!
A striking design of swirling dots decorates this wide low chawan by female porcelain legend Ono Hakuko enclosed in the original signed wooden box titled Yuri Haku-kin Sai Hira Chawan (White Gold Decorated Wide Tea Bowl). Blue and Green Dots swirl in a vortex from the center of the bowl. It is 16.2 cm (6-3/8 inches) diameter, 4.7 cm (2-7/8 inches) tall and in excellent condition retaining the original shiori.
From Aichi prefecture, Hakuko was trained by her father initially in the ceramic arts. However she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japans most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics by Women Artists (2009)
From Aichi prefecture, Hakuko was trained by her father initially in the ceramic arts. However she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japans most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics by Women Artists (2009)
Modern Japanese Ceramics
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Sold, Thank you!
A white porcelain bowl with silver lining by the young female artist Itaya Narumi enclosed in the original signed wooden box titled Chawan (flower). Stylized floral motifs are raised off the raw white porcelain surface, richly textured, while the inside is sheer as gilded silk. About the delicate foot ring is glazed and sculpted with petals. The bowl is 12 cm (4-3/4 inches) diameter and in excellent condition, from the artist this year.
Itaya Narumi was born in Gifu in 1991. She graduated the Kanazawa University of Art in 2013 then graduated the Tajimi city Ceramics Research Facility in 2015. She has participated in several exhibitions since, with an emphasis on natural forms and tactile senses.
Itaya Narumi was born in Gifu in 1991. She graduated the Kanazawa University of Art in 2013 then graduated the Tajimi city Ceramics Research Facility in 2015. She has participated in several exhibitions since, with an emphasis on natural forms and tactile senses.
Modern Japanese Ceramics
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Thick iron and feldspar cover the Iga glaze of this small vase by Ayukai Kogetsu enclosed in the original signed wooden box titled Oni Iga Ko Tsubo. It is 13 cm (5 inches) tall, roughly 9 cm (3-3/4 inches) diameter and in excellent condition. I think it would also make a nice tokkuri.
Ayukai Kogetsu is a female artist from Miyagi prefecture. During a trip to Nara after graduating university, she was struck by a calligraphy exhibition, and became a student of calligraphy under Onodera Hosen in Kessennuma. From 1969-1979 she exhibited calligraphy in a number of venues including the Shodo Geijutsu Inten, and received a number of awards. In 1979 she became a student and follower of the ceramic artist of Oni Shino fame Tsukigata Nahiko, who was also known for his painting and sculpture, all of which she absorbed over a ten year apprenticeship. She opened her own kiln in Gifu prefecture in 1992. She currently takes part in calligraphy and ceramic exhibitions throughout Japan.
Ayukai Kogetsu is a female artist from Miyagi prefecture. During a trip to Nara after graduating university, she was struck by a calligraphy exhibition, and became a student of calligraphy under Onodera Hosen in Kessennuma. From 1969-1979 she exhibited calligraphy in a number of venues including the Shodo Geijutsu Inten, and received a number of awards. In 1979 she became a student and follower of the ceramic artist of Oni Shino fame Tsukigata Nahiko, who was also known for his painting and sculpture, all of which she absorbed over a ten year apprenticeship. She opened her own kiln in Gifu prefecture in 1992. She currently takes part in calligraphy and ceramic exhibitions throughout Japan.
Modern Japanese Ceramics
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Reminiscent of the Rolling Stones album cover, a wild sculpture by important contemporary sculptor Hayami Shiro. The bean shaped object is 15 cm (6 inches) diameter, 32 cm (12-1/2 inches) long and in excellent condition. It is signed on the base and appears to be dated 1999. Typical of this artist, it comes in a cardboard box
Hayami Shiro (b. 1927) was born in Kagawa Prefecture in 1927, and graduated the Tokushima Industrial University in 1949. His first exhibitions did not materialize until 1964, and from there he flourished. From the late 60s he began exhibiting in National Sculpture exhibitions, and has been often awarded; both domestic and international. He is best known for Tile works and stone sculpture. In 2000 he received the International Artistic Cultural Award (Kokusai Geijutsu Bunka Sho). A prominent work by this artist is on semi-permanent display in front of the Freer Gallery, adjacent to the Smithsonian Museum on loan from the Hirshhorn Collection. Other works are held by the Togei No Mori Museum of Shiga Prefecture, Tokyo City Hall and the Aichi Art Culture Center.
Hayami Shiro (b. 1927) was born in Kagawa Prefecture in 1927, and graduated the Tokushima Industrial University in 1949. His first exhibitions did not materialize until 1964, and from there he flourished. From the late 60s he began exhibiting in National Sculpture exhibitions, and has been often awarded; both domestic and international. He is best known for Tile works and stone sculpture. In 2000 he received the International Artistic Cultural Award (Kokusai Geijutsu Bunka Sho). A prominent work by this artist is on semi-permanent display in front of the Freer Gallery, adjacent to the Smithsonian Museum on loan from the Hirshhorn Collection. Other works are held by the Togei No Mori Museum of Shiga Prefecture, Tokyo City Hall and the Aichi Art Culture Center.
Modern Japanese Ceramics
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A Beautiful bowl in crackled white set into a lattice like structure of raw porcelain pierced with a plethora of various sized holes by Kato Yoshiyasu enclosed in the original signed wooden box titled Haku-yu no wan (White Glazed Bowl). A singular drip of fissured glass forms a bead from the bulging line between the thick glaze and raw clay where the two parts of the bowl have been joined. It is 12.5 cm (5 inches) diameter, 10 cm (4 inches) tall and in excellent condition, from the artist this year.
Kato Yoshiyasu was born in Aichi prefecture in 1985, and graduated the Kurashiki Kogei Crafts School design department in 2008. He then went on to study at the Tajimi Ceramics Research Facility, finishing there in 2014. He moved to Nshio city in 2018, where he set up a studio and works today while raising a cute little baby with his wife.
Kato Yoshiyasu was born in Aichi prefecture in 1985, and graduated the Kurashiki Kogei Crafts School design department in 2008. He then went on to study at the Tajimi Ceramics Research Facility, finishing there in 2014. He moved to Nshio city in 2018, where he set up a studio and works today while raising a cute little baby with his wife.
Modern Japanese Ceramics
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sold, with thanks!
The colors of the prism show through the thick crackled glaze blanketing this Guinomi, by Kodai Ujiie enclosed in the original signed wooden box. This is a handful, great tactile qualities and entrancing to look at. It is 9-10 cm diameter, 9 cm tall and in excellent condition, directly from a recent firing.
Kodai Ujiie was born in Sendai, Miyagi Prefecture in 1990, and graduated advanced studies at the Tohoku University of Art and Design in 2015. Since 2014, he has been hosted at more than half a dozen solo exhibitions, proving the popularity of his work.
Kodai Ujiie was born in Sendai, Miyagi Prefecture in 1990, and graduated advanced studies at the Tohoku University of Art and Design in 2015. Since 2014, he has been hosted at more than half a dozen solo exhibitions, proving the popularity of his work.
Modern Japanese Ceramics
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This young guy’s stuff is very chic; a sake set by Kato Yoshiyasu in purest white and darkest black, everything a dialog between shadow and form. Here the artist has used a combination of his repertoire. The cup is pure white dipped into black, the black then chiseled away in divots creating a beautiful pattern for the eyes and texture for fingers. The Ozabu (Pillow shaped Daiza saucer) is a flattened ball, dimpled to receive the cup, then pierced with various sized holes. Alongside standing sentry the bent silhouette of the Tokkuri, a dark belt between pierced white: an eggshell coming apart. The cup is petite, perfect for a summer sipping reishu cold sake, the rim folded in to trap the delicate aroma. The UFO shaped Daiza (saucer) is 9 cm (3-1/2 inches) diameter and the Tokkuri is 16.5 cm (6-1/2 inches) tall. All are in excellent condition, enclosed in their respective signed boxes, directly from the artist this summer.
Kato Yoshiyasu was born in Aichi prefecture in 1985, and graduated the Kurashiki Kogei Crafts School design department in 2008. He then went on to study at the Tajimi Ceramics Research Facility, finishing there in 2014. He moved to Nshio city in 2018, where he set up a studio and works today while raising a cute little baby with his wife.
Kato Yoshiyasu was born in Aichi prefecture in 1985, and graduated the Kurashiki Kogei Crafts School design department in 2008. He then went on to study at the Tajimi Ceramics Research Facility, finishing there in 2014. He moved to Nshio city in 2018, where he set up a studio and works today while raising a cute little baby with his wife.
Modern Japanese Ceramics
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Sold, Thank you!
A fabulous stone textured Guinomi by Inayoshi Osamu enclosed in the original signed wooden box featuring dark raw clay alternating with black and white glaze. Osamu is very low production, and very selective of what he allows out into the world, and I am proud to be able to offer this. It is 7.5 cm (3 inches) diameter, 5.5 cm (2 inches) tall and in excellent condition.
Inayoshi Osamu was born in Aichi prefecture in 1976, the heart of Mino country. He completed his initial training in the plastic arts at the Seto Pottery School in 2002, garnering an award that same year at the 56th Seto City Art Exhibition. In 2007 he established his own kiln in Toyohashi, and was awarded at the 19th Heart of Oribe Pottery exhibition (again the following year). In 2008 he began to focus on the Atsumi pottery of the Heian and Kamakura periods, building up a unique repertoire. After several more domestic shows and prizes, he had his overseas debut in 2010, and has since received a great deal of attention both at home and abroad. He has just moved into a new kiln and workshop this summer, and I am looking forward to what will come out of there this autumn.
Inayoshi Osamu was born in Aichi prefecture in 1976, the heart of Mino country. He completed his initial training in the plastic arts at the Seto Pottery School in 2002, garnering an award that same year at the 56th Seto City Art Exhibition. In 2007 he established his own kiln in Toyohashi, and was awarded at the 19th Heart of Oribe Pottery exhibition (again the following year). In 2008 he began to focus on the Atsumi pottery of the Heian and Kamakura periods, building up a unique repertoire. After several more domestic shows and prizes, he had his overseas debut in 2010, and has since received a great deal of attention both at home and abroad. He has just moved into a new kiln and workshop this summer, and I am looking forward to what will come out of there this autumn.
Modern Japanese Ceramics
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Sold, Thank you!
A breathtaking work by Hashimoto Tomonari, deep space covered in random clouds and explosions of color like some precious treasure, the origin of life, from another world. It is roughly 24 cm (9-1/2 inches) diameter, 34 cm (14 inches) tall and weighs 4.2 kilograms and comes enclosed in a signed wooden box from the artist this year.
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 already making international waves around Asia. He is held in the collection of the V&A London, Los Angeles County Museum and Kalamazoo Institute of Arts among others.
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 already making international waves around Asia. He is held in the collection of the V&A London, Los Angeles County Museum and Kalamazoo Institute of Arts among others.
Modern Japanese Ceramics
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sold, with thanks!
An Amazing Shigaraki flattened form with offset neck covered in pools of liquid green crystal and dark encrustations of ash by Furutani Hirofumi, head of the Churoku-en. This piece truly shows the best of what Shigaraki has to offer, in the exposed raw terracotta clay, the molten ash glaze, the Hi-iro color of flame, and the build up of dark ash deposits. Every viewing angle is unique. This flattened form has been made by separating two slabs with a band of clay which has had feet and a wheel thrown neck added. Unlike others who have made similar shapes, Hirofumi offsets the neck in a refreshing way. The vessel is quite large at 36 x 13 x 41 cm tall (14 x 5 x 16 inches tall) and is in excellent condition, directly from the artist. It comes with a wooden placard signed by the artist and titled Shigaraki Shizen Yu Henko.
If you have never visited Shigaraki put it on the list. Downtown is pretty much Showa-Retro (a leftover from the Showa era) with rusting buildings stacked up with giant Tanuki sculptures and stacks of industrial grade ceramics. However, tucked in the middle is a small wood framed gallery, a real gem called the Churoku-en. The Churoku-en pottery was established by Furutani Churoku, and is now run by the second and third generation potters Furutani Hirofumi and his son Taketoshi. But they are rarely there, more often than not working at the family kiln which is out of the main business district. You will meet Hirofumis wife, a cherubic woman who will seem perhaps startled to see you but more than happy to show you around. The first time we met she seemed shocked to see visitors and I asked about that. She said: Most people do not come into our gallery.
I asked: Why is that?
She replied: There are no Tanukis out front, so it looks expensive!
We laughed about that and I remember it every time we meet. Her husband Hirofumi is the real deal, a Shigaraki potter trained under his father, recipient of generations of tradition and knowledge, who does not say much. Everyday you will find him in search of the natural phenomena which are born from his wood fired Anagama and Climbing kilns in the dialog between soil and flame and the elements. He does not compete or seek fame, just quietly makes pots in that very Japanese way, the path of the Unknown Craftsman.
If you have never visited Shigaraki put it on the list. Downtown is pretty much Showa-Retro (a leftover from the Showa era) with rusting buildings stacked up with giant Tanuki sculptures and stacks of industrial grade ceramics. However, tucked in the middle is a small wood framed gallery, a real gem called the Churoku-en. The Churoku-en pottery was established by Furutani Churoku, and is now run by the second and third generation potters Furutani Hirofumi and his son Taketoshi. But they are rarely there, more often than not working at the family kiln which is out of the main business district. You will meet Hirofumis wife, a cherubic woman who will seem perhaps startled to see you but more than happy to show you around. The first time we met she seemed shocked to see visitors and I asked about that. She said: Most people do not come into our gallery.
I asked: Why is that?
She replied: There are no Tanukis out front, so it looks expensive!
We laughed about that and I remember it every time we meet. Her husband Hirofumi is the real deal, a Shigaraki potter trained under his father, recipient of generations of tradition and knowledge, who does not say much. Everyday you will find him in search of the natural phenomena which are born from his wood fired Anagama and Climbing kilns in the dialog between soil and flame and the elements. He does not compete or seek fame, just quietly makes pots in that very Japanese way, the path of the Unknown Craftsman.
Modern Japanese Ceramics
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Sold, with thanks!
Wow I need that! is all I could say the first time I saw this piece by Furutani Taketoshi while visiting the Churokuen Kiln early this year. The tendrils of natural ash glaze wrap around the simplified form like the roots of some ancient Shinboku (God Tree). It is unpretentious, but stands out clearly as a masterpiece by this very talented young potter. It comes enclosed in the original signed wooden box titled Shigaraki Shizen Yu Yohen Hanaire (Shigaraki Natural Ash Glazed Kiln Altered Vase). The vessel is 16 cm (6-1/4 inches) diameter, 25.5 cm (10 inches) tall and in excellent condition.
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 studying wheel technique, graduating the following year. He then did a year apprenticeship at a pottery before re-entering for a second course at the Research Facility, graduating in 1995. From that year he returned to the family kiln, receiving the family tradition from both his grandfather Furutani Churoku and father Furutani Hirofumi. Subverting the self, he makes simple, organic pots which have a timeless quality, very much rooted in the now, but paying homage to the traditions past down through the ages. He was named a Designated Traditional Craftsman (Dento Kogeishi) in 2013. He has exhibited with the Nihon Dento Kogeiten among others, and still works closely with his father at the family kiln.
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 studying wheel technique, graduating the following year. He then did a year apprenticeship at a pottery before re-entering for a second course at the Research Facility, graduating in 1995. From that year he returned to the family kiln, receiving the family tradition from both his grandfather Furutani Churoku and father Furutani Hirofumi. Subverting the self, he makes simple, organic pots which have a timeless quality, very much rooted in the now, but paying homage to the traditions past down through the ages. He was named a Designated Traditional Craftsman (Dento Kogeishi) in 2013. He has exhibited with the Nihon Dento Kogeiten among others, and still works closely with his father at the family kiln.
Modern Japanese Ceramics
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Sold, Thank you!
Large Leafed Vines are silhouetted against age darkened silver on this striking covered basin by Banura Shiro enclosed in the original signed wooden box. A segment of vine serves as a handle on the lid and it appears to float above the table on three ribbon feet. It is 25 cm (10 inches) diameter, 15 cm (6 inches) tall and in excellent condition.
Banura Shiro (1941-2001) was born the fourth son of influential Lacquer Artist Banura Shogo. His sensitivity to textures may stem from that exacting influence. Although his older brother succeeded the family tradition (another branching into paper arts), Shiro, after graduating the Kyoto University of Fine Art, apprenticed in the plastic arts under Kawamura Kitaro (1899-1966) who was a student of Kitaoji Rosanjin. Rosanjin, a restaurateur, artist, and overall renaissance man believed the dish was there to support and bring out the beauty of food served. Shiro took this as his raison d’etre; his lifetime pursuit to create dishes which complimented the seasonality, texture, color and flavor. He had an impressive list of exhibitions, including a private exhibition at the Umeda Kindai Bijutsu-Ten as well as the Niponbashi Mitsukoshi, Takashimaya, and Ikebukuro Tobu, the equivalent of being displayed on New Yorks Fifth Avenue or other cities most Trendy streets, as well as many international exhibitions. Like most Iga-area artists, his output was low, but quality and originality high, making his work very much in demand.
Banura Shiro (1941-2001) was born the fourth son of influential Lacquer Artist Banura Shogo. His sensitivity to textures may stem from that exacting influence. Although his older brother succeeded the family tradition (another branching into paper arts), Shiro, after graduating the Kyoto University of Fine Art, apprenticed in the plastic arts under Kawamura Kitaro (1899-1966) who was a student of Kitaoji Rosanjin. Rosanjin, a restaurateur, artist, and overall renaissance man believed the dish was there to support and bring out the beauty of food served. Shiro took this as his raison d’etre; his lifetime pursuit to create dishes which complimented the seasonality, texture, color and flavor. He had an impressive list of exhibitions, including a private exhibition at the Umeda Kindai Bijutsu-Ten as well as the Niponbashi Mitsukoshi, Takashimaya, and Ikebukuro Tobu, the equivalent of being displayed on New Yorks Fifth Avenue or other cities most Trendy streets, as well as many international exhibitions. Like most Iga-area artists, his output was low, but quality and originality high, making his work very much in demand.
Modern Japanese Ceramics
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sold, with thanks!
A blue whirlpool spirals in the bowl of this perfectly formed celadon cup by Yagi Akira enclosed in the original signed wooden box. It is 2-3/4 inches (7 cm) diameter and in excellent condition.
This name is a must have in any collection of modern Japanese Pottery. 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.
This name is a must have in any collection of modern Japanese Pottery. 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.
Modern Japanese Ceramics
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A stylish celadon funnel for filling Tokkuri or making cocktails by Yagi Akira enclosed in the original compartmentalized signed wooden box titled Seihakuji Roto (Celadon Funnel). It comes with the original artist made notched wood stand. Functional of course, it also makes for a beautiful object on the stand. It is 19 cm long (7-1/2 inches), 12.7 cm (5 inches) diameter and in excellent condition.
This name is a must have in any collection of modern Japanese Pottery. 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.
This name is a must have in any collection of modern Japanese Pottery. 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.
Modern Japanese Ceramics
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Sold, Thank you!
Not to save the best for last, but this piece by Nagae Shigekazu is simply breathtaking. The pattern of light and dark squares which drives direct lines across the distended quadrilateral form hails images of the Ichimatsu-moyo pattern at the Katsura Rikyu imperial palace. The lyrical curves of the vessel itself are in sharp contrast to the extreme precision of the patterns, creating a unique dialog between viewer and viewed. It comes enclosed in the original signed wooden box titled Chokutai (Straightforward). The vessel is quite large at 47 cm (18-1/2 inches) tall, 31.5 x 23 cm (12-1/2 x 9 inches) and in excellent condition.
Nagae Shigekazu (b. 1953) graduated the Seto Industrial School of Ceramics in 1974 Beginning to grab attention in the late 70s, he has striven to perfect porcelain casting techniques, creating one-off shapes and forms previously impossible. He is held in the collection of the V&A (London), LACMA (Los Angeles) and the National Gallery of Australia, Cincinnati and Cleveland Art Museums, Minneapolis Institute of Art, Japan Foundation and many many others. With very low output, this is a rare opportunity to join the worlds top museum collections by acquiring this artist. According to Ceramics Now Magazine: Nagae Shigekazu (born in 1953), is one of the leading pioneers of porcelain casting and firing techniques in Japan. Casting is commonly associated with the mass production of porcelain, yet Nagae valiantly transcends this stereotype, ultimately elevating this technique to the avant-garde. Casting alone cannot achieve the natural movements found within Nagae’s forms. His popularity and recognition as an artist have skyrocketed, with acquisitions by the V&A in London, the Los Angeles County Museum of Art, and the National Gallery of Australia in just the past 3 years. Also collected by leading institutions such as the Musée National de Ceramique-Sèvres in Paris and the Musée Ariana in Geneva, among others, as well as receiving prestigious awards such as the Grand Prixs at the 1998 Triennale de la Porcelain in Nyon, the Mino Ceramic Festival and the Japan Ceramic Art Exhibition (both 1997), Nagae’s stature and respect in the world of porcelain has reached new heights.
Nagae Shigekazu (b. 1953) graduated the Seto Industrial School of Ceramics in 1974 Beginning to grab attention in the late 70s, he has striven to perfect porcelain casting techniques, creating one-off shapes and forms previously impossible. He is held in the collection of the V&A (London), LACMA (Los Angeles) and the National Gallery of Australia, Cincinnati and Cleveland Art Museums, Minneapolis Institute of Art, Japan Foundation and many many others. With very low output, this is a rare opportunity to join the worlds top museum collections by acquiring this artist. According to Ceramics Now Magazine: Nagae Shigekazu (born in 1953), is one of the leading pioneers of porcelain casting and firing techniques in Japan. Casting is commonly associated with the mass production of porcelain, yet Nagae valiantly transcends this stereotype, ultimately elevating this technique to the avant-garde. Casting alone cannot achieve the natural movements found within Nagae’s forms. His popularity and recognition as an artist have skyrocketed, with acquisitions by the V&A in London, the Los Angeles County Museum of Art, and the National Gallery of Australia in just the past 3 years. Also collected by leading institutions such as the Musée National de Ceramique-Sèvres in Paris and the Musée Ariana in Geneva, among others, as well as receiving prestigious awards such as the Grand Prixs at the 1998 Triennale de la Porcelain in Nyon, the Mino Ceramic Festival and the Japan Ceramic Art Exhibition (both 1997), Nagae’s stature and respect in the world of porcelain has reached new heights.
Modern Japanese Ceramics
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sold, with thanks!
A tall covered box of coiled clay by Kyoto Legend Miyashita Zenji enclosed in the original signed wooden box titled Ransaihako. The box has been created with spaghetti like strands of pure white clay compressed together and splashed with a waterfall of blue glaze. A rare and interesting work by this artist, it is 12.5 x 12.5 x 27 cm (5 x 5 x 11 inches) and is in excellent condition.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art under Kiyomizu Kyubei and Kusube Yaichi. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He began exhibiting in the annual Nitten exhibitions in 1964, eventually winning eighteen prizes. According to the Sackler, which holds 6 works by him, “ His mature work was a modern embodiment of a classic Kyoto mode associated with the Heian period (794–1185). He applied delicate layers of color—reminiscent of multilayered court robes or decorated papers made for inscribing poetry—using not over-glaze enamels or glazes but clay itself, dyed with mineral pigments”. He is held in the aforementioned Freer-Sackler, the British Museum, the Metropolitan Museum of Art New York, and the Brooklyn Museum the Minneapolis Institute of Arts, the Museum of Fine Arts Houston and of course The National Museums of Modern Art both in Kyoto and Tokyo among a host of others.
Miyashita Zenji (1939-2012) was born into the family of potter Miyashita Zenju, and graduated the Kyoto Municipal University of Art under Kiyomizu Kyubei and Kusube Yaichi. Starting with the most difficult, he worked from Celadon, which relies on shape and extreme control of firing. He began exhibiting in the annual Nitten exhibitions in 1964, eventually winning eighteen prizes. According to the Sackler, which holds 6 works by him, “ His mature work was a modern embodiment of a classic Kyoto mode associated with the Heian period (794–1185). He applied delicate layers of color—reminiscent of multilayered court robes or decorated papers made for inscribing poetry—using not over-glaze enamels or glazes but clay itself, dyed with mineral pigments”. He is held in the aforementioned Freer-Sackler, the British Museum, the Metropolitan Museum of Art New York, and the Brooklyn Museum the Minneapolis Institute of Arts, the Museum of Fine Arts Houston and of course The National Museums of Modern Art both in Kyoto and Tokyo among a host of others.
Modern Japanese Ceramics
sold, with thanks!
sold, with thanks!
A crusty black clay vase by Sakata Jinnai enclosed in the original signed wood box. Sculpted out into a crescent, it roughly forms a 24 cm (9-1/2 inch) diameter circle. Excellent condition.
Sakata Jinnai was born in Tokyo in 1943, and began as an apprentice under the legendary Kamoda Shoji in 1964, establishing his first kiln in 1966. His work was selected for display at the Nihon Dento Kogei Shinsaku Ten (National Traditional New Crafts Exhibition) in 1969, and the following year the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition). In 1971 his work could be seen at the first Nihon Togeiten National Ceramics Exhibition. This event would tour the United States and Canada as well. Two years later he would be seen there again, and this time the show would tour South America. In 1977 he would move away from the competitive world of mass exhibitions and focus more on private galleries. He was the first artist selected for display at the newly opened Takashimaya Gallery in New York in 1993. Work by him is held in the collection of the British Museum, Rockefeller Foundation, Sakuma Museum, Waseda Universty Museum, as well as some of Japans holiest sites such as Ise Shrine, Izumo Shrine, Takachiho Shrine, Yakushiji in Nara and both Kodaiji and Enryakuji Temples in Kyoto. Not limited to clay, he also works in painting, Washi hand made paper (from 1995), and glass (from 2000).
Sakata Jinnai was born in Tokyo in 1943, and began as an apprentice under the legendary Kamoda Shoji in 1964, establishing his first kiln in 1966. His work was selected for display at the Nihon Dento Kogei Shinsaku Ten (National Traditional New Crafts Exhibition) in 1969, and the following year the Nihon Dento Kogei Ten (National Traditional Crafts Exhibition). In 1971 his work could be seen at the first Nihon Togeiten National Ceramics Exhibition. This event would tour the United States and Canada as well. Two years later he would be seen there again, and this time the show would tour South America. In 1977 he would move away from the competitive world of mass exhibitions and focus more on private galleries. He was the first artist selected for display at the newly opened Takashimaya Gallery in New York in 1993. Work by him is held in the collection of the British Museum, Rockefeller Foundation, Sakuma Museum, Waseda Universty Museum, as well as some of Japans holiest sites such as Ise Shrine, Izumo Shrine, Takachiho Shrine, Yakushiji in Nara and both Kodaiji and Enryakuji Temples in Kyoto. Not limited to clay, he also works in painting, Washi hand made paper (from 1995), and glass (from 2000).