47. M5267

£15,500

品名

Japanese porcelain pale celadon lavender glazed pinched ‘lotus’ flower vase of slender beaker form, with double pinched foliate rim and flared base, covered overall on the base and interior in an even pale celadon lavender glaze, slightly thinning at the rim, the flat unglazed foot rim revealing the biscuit body.

14 3/8 inches, 36.5 cm high.

Kawase Shinobu, 2015.

Wood box, described as ‘celadon flower vase’, signed and with artist’s seal, Shinobu, on the interior of the cover and the orange cloth, with the seal, rimka-rimpa.

Provenance & Additional Information

  • From the collection at the artist’s home and described as an artist’s proof.
  • This vase is an artist’s proof for the 9th solo exhibition at Kochukyo, Tokyo, titled Rimka-Rimpa (Lotus Flower, Lotus Leaf), 2015. Five similar vases are illustrated in the catalogue.
  • A similar more flared example dated 2004 was included by the Musée Tomo, The Kanjitsu Kikuchi Memorial Tomo Museum of Art, Tokyo, in their retrospective exhibition of Beyond Tradition – Seeking His Serene Blue: Celadon Works by Kawase Shinobu, 2011, illustrated in the catalogue, no. 52, p. 33; another dated 2004, gift of Frederick R. McBrien III, 2008, is in the Philadelphia Museum of Art, accession number 2008-7-11.
  • A smaller example was included in the 1st solo exhibition at Kochukyo, Tokyo, 1985, illustrated in the catalogue, no. 32; another smaller example was included in the 14th solo exhibition at Kandori, The New Otani Hotel, Tokyo, titled Mimi-tama (Listen to the Precious), 2003, no. 13, and in the solo exhibition at Ginza Kurodatohen, titled Ginjo no Utuwa (Utensils on Precious Tray), 2009, illustrated in the hardback catalogue, no. 26; two others were included by Joan B Mirviss Ltd. in the Kawase Shinobu exhibition of The Blossoming of Celadon, Seiji no Kaika, 2014 and illustrated in the brochure; another dated 2014 was included by the Musée Tomo, The Kanjitsu Kikuchi Memorial Tomo Museum of Art, Tokyo, in Fifty Years in Making Celadon, The Special Retrospective Exhibition of Kawase Shinobu, 2018, illustrated in the catalogue, no. 52, p. 62.
  • This form is considered to be one of the most desirable forms in Kawase Shinobu’s pantheon of ceramic manufacture and is inspired by the lotus flower.
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