This large Haku En-Yu, white salt fired, chawan is by Kyoto master potter; Iwabuchi Shigeya (1925-1993). This soft white chawan has very subtle undertones of a pink blush over its surface and is covered with a series of crazed and crackled salt glaze deposited on the white slipped surface of the bowl. The generous bowl shape is reminiscent of older Hagi and even Korean chawan and is terminated with an exceptional bamboo node formed foot...

Large wan-gata form teabowl with a combed wave pattern in slip under my Ao glaze

Porcelain, slip and glazes

5.75" x 4"

Functional, decorative and food safe

Broad Ido-gata suminagashi influenced neriage teabowl

Porcelain and glaze

5.75" x 4"

Functional, decorative and food safe

This subtle, yet impressive mizusashi is by modern Karatsu legend; Nakazato Takeshi (b. 1937). This rounded, bowl shaped mizusashi is coated in a velvety layer of green ash with several areas of flashed iron red hi-iro and a patch of glassy bidoro where the piece faced the assaulting fire from Takeshi’s Ryutagama wood kiln. This pot was created slightly out of round and has a wonderful custom made roiro black lacquer lid to finish of the piece...

Exhibition quality Aka-Shino chawan by master Mino potter; Hayashi Shotaro

Double boxed with handmade tea cloth

5.65" x 4"

Excellent unused condition, mint!

This large Zenga chawan is glazed in a rich Oribe with a panel of ash clear glaze on which Kasumi Bunsho brushed “Don’t Know” and his full signature, Myoshin Abbot Jishunken with various seals. The Mino tradition chawan was made by Hayashi Ryouji of the Souzan kiln to act as the platform for Bunsho’s idiosyncratic and spontaneous calligraphy...

Oburi, large and bold wood fired chawan by modern master potter; Suzuki Goro

14.5 x 10cm

In perfect condition with its signed box, cloth and biography

Yunomi, Tea Cup, by John Miller; Portland, OR. Shino glaze with iron spots. H.3.25"(8.25cm) x Dia.3.5"(9cm.) Volume 9oz(270cc.)This yunomi has a lustrous Shino glaze and playful iron spots decorating the outside of the cup that feels great to hold. John Salgir Miller was born in Elmira, NY, in 1974 and earned his BFA in ceramics and illiustration from the Massachusetts College of Art in Boston...

Yunomi, Tea Cup, by John Miller; Portland, OR. Shino glaze with 3 double bands of vertical iron stripes around exterior. H.3.125"(8cm) x Dia.3.75"(9.5cm.) Volume 10oz(300cc.) This cup fetures a warm white Shino glaze with 3 double bands of vertical stripes spaced around the exterior. The creamy white interior will show green tea very well. John Salgir Miller was born in Elmira, NY, in 1974 and earned his BFA in ceramics and illiustration from the Massachusetts College of Art in Boston...

Yunomi, Tea Cup, by John Miller; Portland, OR. Shino glaze with iron band around lip. H.3.25"(8.25cm) x Dia.3.625"(9.25cm.) Volume = 10oz(300cc.) John Salgir Miller was born in Elmira, NY, in 1974 and earned his BFA in ceramics and illiustration from the Massachusetts College of Art in Boston. He has been inspired the mingei aesthetic and by the work of Shoji Hamada since he began studying ceramics in high school...

Matcha Chawan, Tea Bowl, by John Miller of Portland, OR. Ido-gata (well-shaped) with light green glaze and "nagare" glaze runs decorating exterior and interior of bowl. H.3.375"(8.5cm) x Dia.5.875"(15cm.) Footring Dia. 2"(5cm.) John Salgir Miller was born in Elmira, NY, in 1974 and earned his BFA in ceramics and illiustration from the Massachusetts College of Art in Boston...

Large, waisted form terra cotta teabowl with Rimpa influenced "falling leaves" pattern

Terra cotta, slips and glaze

5.75" x 4.25"

Functional, decorative and food safe

Large covered jar with attached lugs and a ring style knob glazed in a rich temmoku and runny tetsu-yu glaze which accentuates the form.

Stoneware and glazes

13" x 8"

Functional, decorative and foodsafe

Large classical Oni-Shino chawan by Kajiura Soshu (b. 1916). Showing a wide array of surface variations including a thick Shino together with large areas of an iron red glaze with the face of the bowl being covered in deposited ash from an intense wood firing. The interior has wonderful luminescent iron together with areas of Shino cells and and also has a ground down clamshell where something was stood inside the chawan during the firing, a common occurrence in this style of pottery. ...

A large Mimitsuki Vase covered in deeply fissured celadon glaze by Suzuki Sansei (b. 1936) enclosed in the original signed wooden box. The translucent glaze is like that of an agate, shattered with heat, the crackling wide in the thick pale bluish green fog. The vase is 11 inches (28 cm) tall, 5-1/2 inches (13.5 cm) diameter and in perfect condition.
Mitsunari began with a six year apprenticeship under Kawamura Seizan and has received innumerable awards over his 40 year career...

Charred ash deposits are baked into the side of this large Tsubo by Shigaraki Representative Otani Shiro enclosed in the original signed wooden box. Rivulets strike out from the heat blasted face, the coloring pleasing on all sides. The Tsubo is 10-1/2 inches (26 cm) diameter, 9 inches (23 cm) tall and in perfect condition.
Shiro (born 1936), of Shigaraki, was a student of Living National Treasure Shimizu Uichi and Kiyomizu Kyubei...

A flamboyant vase by Kawai Toru enclosed in the original signed wooden box titled: Gosu Mentori Ashitsuki Tsubo. Outside the vase is covered in Gosu blue, inside contrasted with iron red. The shape is all Toru, an artist who took the work of Kanjiro and moved beyond, as represented in this large tri-legged tsubo. The vase is 14 inches (35 cm) tall, roughly 12 inches (30 cm) diameter and in perfect condition.
Toru was born in 1941, the son of Kawai Takeichi. He apprenticed jointly unde...

Black Raku Chawan, Tea Bowl, by George Gledhill; Payette, ID. Pinched & carved with notched foot. Individually gas-fired to 1900 - 1950 F (1038-1065 C.) H.2.5"(6.5cm) x Dia.4.375"(11cm.) There have been several influences to George Gledhill’s ceramic work. Buddhism has been a guiding force in his life for many years, and George even visits local prisons to teach the Dharma to inmates. Through pottery and Buddhism, he was exposed to Tea practitioners who complimented his work and enco...