Wood-Fired Naturally Ash-Glazed Brown Bizen Flower Vase by Kimura Sojo

Meiji period (1868 - 1912) ceramic vase from Okayama Prefecture. Comes with collector's box. Signature reads Kinetsu.

Edo period Bizen vase, late Edo period (mid-19th century) ceramic vase from Bizen, one of the six ancient kilns in Japan. Unusual undulating rim, with tradi...

A bottle form vase by Japanese studio ceramic artist Jun Isezaki (Born in 1936). A modern Bizen yaki stoneware piece that is strongly rooted in history and ...

Outstanding hand-glazed contemporary decorative porcelain vase in stunning shape in an impressive deep red and black with a beautiful scalloped rim, a masterpiece by a highly acclaim...

Hand-glazed contemporary decorative porcelain vase in stunning shape in an impressive deep red and black with a beautiful scalloped rim, a masterpiece by a widely acclaimed award-win...

A tall vintage ceramic vase with handle from Japan (20th century) by Nanba Koyo. Made in the tradition of Bizen ware, the vase has a modern aesthetic with a...

A fine old or antique Japanese stoneware vase. In a squat vase form with ribbed decoration throughout. In the style of Bizen ware. ...

Extraordinary Japanese contemporary museum-quality exhibition piece hand-glazed decorative porcelain vase/centerpiece in blue and brown, an award-winning masterpiece by a master arti...

Unique Japanese contemporary matte hand-glazed signed decorative porcelain vase featuring the artist’s signature red, brown and cream colors. Matting of a hand-glazed porcelain is a ...

An exceptional example of the work of master Japanese potter, Shunichi Inoue. This vessel dates from his Australian residency and is signed and dated 1978. There is potency in this very simple form - it has a powerful Cynthian presence, stillness, composure, that is, it is reminiscent of the calm abiding presence of the moon. Shunichi Inoue studied ceramics at Kyoto City University of Arts 1969-75. He travelled to Australia to lecturer in ceramics at the Bendigo College of Advanced Education in Victoria, Australia where he stayed for three years. He returned to Australia in late 1984 as a visiting professor and again in 1993, when he made an extended stay. He was an active exhibitor and had an important influence on Australian pottery...