A native of Nagoya, a bustling Japanese center for shipping and trade in Late Edo, Baiitsu was heavily influenced by works of Chinese art, especially the naturalistic landscapes that made their way into Japan through this port city. Over time he came to paint almost exclusively birds in various landscapes and gained a reputation for his brushwork, exceptional attention to detail, and as he termed it the “spirit” he imbued in a completed work. [Sold]

Yuzo Kondo is one of the more recognized names in the world of modern Japanese pottery of the 20th century. Though known mainly for his sometsuke creations (blue and white porcelain), he did not settle on this style until well into his potting career that lasted over seven decades. The piece shown here is from an earlier period and has been expertly repaired with gold joinery. One of the most striking kintsugi pieces I have personally come across, this exquisite decorative jar has the added distinction of being made by one of Japan’s top craftsmen.

In the world of Japanese ceramics, Tamamizu-ware has an almost mythical standing. A branch of the main Raku line, at one time the two kilns held equal prominence, both being endorsed by the major tea schools of Kyoto and both being favored by the Imperial household. The first in the line was an illegitimate son of Kichizaemon Ichinyu (Yahē) who studied under his father and then left to open his own kiln in the village of Tamamizu (known today as Ide-cho). Though he is the first potter of the Tamamizu branch, he is usually referred to as Tamamizu VI (denoting his descendance from the Raku line). After establishing the kiln, Yahē took the artist’s name “Ichigen” and proceeded to fashion extremely high-quality tea bowls and other implements in the style of the earliest Raku potters.

Raku-ware carries with it a very naturalistic aura; with its implements made of raw clay, its use of fire water and air to shape and harden these implements, and with its myriad processes that produce smooth glossy surfaces—like those often found in nature. In fact, if you look more deeply into Raku, you find that many of the shapes and motifs are also inspired by nature. For example, this masterfully crafted mizusashi (fresh water pot) takes its inspiration from the shape of one of the most important food crops in ancient Japan, the humble sato-imo (sweet potato). Though fashioned over 200 years ago, this piece still displays a beautiful patina and is one of the more striking pieces you will find by this artist—the 9th generation Raku potter known as Ryônyû (1756 – 1834). [Sold]