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 then would be from an earlier period and is evidence of his competency with varied styles and glazes—not just the one he is most well-known for.

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]

A book containing secret techniques used by the kiln has been handed down to each successive generation since the age of Dō’nyū (1599 – 1656). Unlike the main Raku line—that to a certain extent allows each generation of potter to follow their own aesthetic sense—Tamamizu potters have stayed true to the original forms set out by Chōjirō, Dō’nyū, and Kōetsu. The line of Tamamizu potters continued up to early Meiji with the death of Tamamizu 14. However, a recent attempt was made to revive the kiln by a descendent (later dubbed Tamamizu 15) who spent his life collecting Tamamizu-ware from earlier potters, researching the techniques used by studying old manuscripts, and training with main-line Raku potters. Despite these efforts, there remain many historical gaps in our collective knowledge of the kiln and of the individual potters themselves.

Signed by the 13th Iemoto (tea master) of Omotesenke, Sokuchusai (1901-1979) this exceptional tea bowl bears the poetic name Asahi or “Morning Sun.” Brilliant ochre and ash hues highlight molten swirls and dynamic features. This bowl has exceptional keshiki, or “ceramic landscape.“ [Sold]