Nakamura Takuo

Green Box

MORINO HIROAKI TAIMEI (b.1934) Two-handled Double-lipped Flower Vase, Aubergine with Gold and Green, 2004 Stoneware 9.75 x 8.5 x 7.25 inches With artist signed tomobako PROVENANCE ...

KONDO YUTAKA (1932-1983) Blue and White Bottle, c.1960 Stoneware, blue and white with gestural streak 11.875 x 4.25 inches With artist signed tomobako Ko...

KAZUO TAKIGUCHI (b.1953) Amoeboid Brown, 2003 Stoneware 7 x 17 x 22 inches With artist signed tomobako Provenance Artist's studio Eric Zetterquist, NYC Private collection, MA His sculptural process is both complicated and highly creative. Using pulleys...

KITAMURA JUNKO (b. 1956) Cone Vase, c. 1993 Stoneware, black slip, inlay, with signed tomobako 4.5 x 10 inches With artist signed tomobako Kitamura Ju...

TATSUZO SHIMAOKA (1919-2007) Jomon-Zogan Square Flask with Rope Imprint and Geometric Inlay Motif Stoneware 5 x 4 x 2.625 inches With artist signed tomobako Tatsuzō Shimaoka (島岡 達三, Shimaoka Tatsuzō...

WAKAO TOSHISADA (b. 1933) Tea Bowl with nezumi-shino glaze, 1998 With signed tomobako Stoneware 3.625 x 5 x 5 inches With artist signed tomobako Born in ...

A Large Minoan style vessel inspired by the views, constantly changing light and rugged beauty of the Atlantic Ocean and coastal moorland of Wes...

Eugene Uncle Cig' Head Jug, 2020

“Untitled” ceramic, is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This piece is signed on the bottom and can be found on page 129, plate #236 in “John Glick: A Legacy in Clay.” John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

“Untitled” ceramic, is an example of the kind of work by which John Glick became so famous. He was seduced by the effects of the reduction kiln, which decreased the levels of oxygen during firing, inducing the flame to pull oxygen out of the clay and glazes changing the colors of the glazes depending on their iron and copper content. In this way he achieved the rich gradients of ochre and umber and variations in stippling and opacity. This piece is signed on the bottom and can be found on page 92, plate #125 in “John Glick: A Legacy in Clay.” John was an American Abstract Expressionist ceramicist born in Detroit, MI. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. He has said that he is attracted to simplicity, as well as complexity: my work continually reflects my re-examination that these two poles can coexist… or not, in a given series. Glick also took influences from master potters of Japan, notably Shoji Hamada and Kanjrio Kawai, blending their gestural embellishments of simple forms with attitudes of Abstract Expressionism. He was particularly drown to the work of Helen Frankenthaler whose soak-stain style resonated with Glick’s multi-layered glaze surfaces, which juxtaposed veils of atmospheric color with gestural marks and pattern. He spent countless hours developing and making his own tools in order to achieve previously unseen results in his work with clay and glaze. Glick’s “Plum Tree Pottery...

ONE WEEK ONLY SALE The rich tones of the stoneware clay come through the soft creamy glaze that drips over the surface like melted vanilla ice cream over red devil cake. There are i...

Hand built stoneware vase with high fired decorating slips and transparent glaze detailing.