-Uno Ninmatsu -MEIJI Japanese Exposition Flower Vase, 1864-1937 -11.5” t x 7” w - Iron oxide dragon decoration
-Tatsuzo,Living National Treasure (Juyo Mukei Bunkazai or Ningenkokuho -Large Vase - 10.5” x 7.5” -Jomon rope impressions with white slip.
Iron based glaze
-Yamaguchi Masafumi -Oribe Yaki Tsubo Vase -7.5” -Vines hang from the trellis under green clouds c. 1965
-KUROKAW Motoharu -JAPANESE BIZEN VASE w/Box, - 9” -unglazed, decorated naturally with the scorching of the clay and melting of ash onto the surface
- Unknown - A Joyous Green Globular Jar With Cover - 10.5” x 8” - The jar with short, lipped mouth, the domed cover with flat rim and a stalk-like knop; stoneware. Cover with a crackled green lead glaze and the glaze that extends over the base of the jar.
Umehara Isamu - Iga Vase - 9” - green ash glaze traditional form, with wide base and narrow lip, and attached two squared lug handles up high, balancing the heavy weight of the base. A long drag with the finger down the sides to disturb the shape, and a number of large X marks cut into the side add that sense of Mingei so inherent to Iga ware.
• Unknown • Bellarmine Jar • 11” • Bellarmine Jars were originally made in sixteenth century Germany to contain wine or beer. The neck of the jars was decorated with a bearded face. Originally known as Bartmannkrüge (Bearded-man jugs), the jugs were renamed after the bearded Cardinal Robert Bellarmine, a fierce opponent of the reformed church. They were often used as witch bottles, which contained potions, which were supposed to defeat a witches curse. Ingredients in the potion often included iron pins or nails, human hair and urine. The bottle would then be hidden in the house, usually around the doorways or in the hearth.
- Unknown - Ningyo-Dokkuri - 9” tall - Old Bizen Ningyo-dokkuri (doll figure tokkuri flask) from the Edo Period (1603-1868). Almost organic, the tokkuri is a roundish triangular shape, with three main sides that are indented and pushed in. On one side is one of the Shichifukujin (seven lucky gods) called Hotei, who is snuggly carved into an indentation on the facade. This type of piece rarely comes out on the market, and is thus difficult to find. The form has a unique rhythm and movement, and this "tokkuri" (tokkuri were very large in the olden days) can be also used as a vase for flowers or simply for display.
Unknown -Koro -5” x 7’’ -This is an astounding conch shaped 19th century Koro incense burner enclosed in an old wooden box. The blue and white glaze slides down in thickened rivulets within the undulations of the shell. This then pools around the three shell shaped feet, hanging in bidoro-like drips from the body. The basketwork top is made of exquisitely shaped and woven silver signed on the rim Zoroku zo.
- Steve Irvine - Untitled jar.
- 27 cm - Wood fired As the flame travels through the kiln, it carries small bits of wood ash from the firebox. The wood ash is made up of minerals that interact chemically at high temperatures with the clay and glazes of the pottery. The ash lands on the shoulders of pots and if thick enough actually melts to form a glaze in its own right. On the sides of pots it causes blushes of color depending on the flame patterns. In the case of this piece, the lower part of the pot was glazed with a textured white glaze. The upper part had a trailed copper glaze that usually gives a turquoise color. In the wood firing however, variations in the thickness of the glaze and its orientation to the passing wood ash has dramatically transformed the glaze so that it shows dark blue, turquoise, light green, raspberry red and a rare copper orange.
• Steve Irvine • Disc Jar • 30cm • This jar is a combination of hand building and thrown parts. The lid, the curving tubes and the main body of the piece were thrown on the wheel. The disks and the squared base were hand built. The assemblage of this piece was like making a three dimensional collage. The disks and thrown tube were made ahead of time. Once the main body of the piece was made it became a design problem to assemble the various parts into a unified whole
• Steve Irvine • Large Jar • 31 cm • Two part press molded. The texture on the jar is in positive relief, picked up from the interior of the mould, and a post firing application of gold leaf has been used. The white glaze has a beaded texture.
• Unknown • Bellarmine Jar • 10.5” • Wide-mouthed "Bellarmine" or "Bartmannskrug" jug, late 17th - early 18th century. Salt-glazed stoneware, dipped overall in brown slip. Bellarmine jugs, though made in Europe (mainly Germany), were heavily imported into the colonies through the first half of the 18th century. This wide-mouthed Bellarmine is a particulary fine example, with 5 other applied medallions in addition to a distinctive face.