Nr. 99646480

Nicht mehr verfügbar
Polychrome Flower Vessel von Yasumasu Sugiura mit Originalbox, Standtuch und - Porzellan - Yasumasu Sugiura - Japan - Shōwa Zeit (1926-1989)
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Vor 2 Wochen

Polychrome Flower Vessel von Yasumasu Sugiura mit Originalbox, Standtuch und - Porzellan - Yasumasu Sugiura - Japan - Shōwa Zeit (1926-1989)

Rarely does color sing with such confidence. This polychrome flower vessel by Yasumasu Sugiura transforms glazed porcelain into a canvas of architectural abstraction, where geometric patterns in jade green, coral pink, and cobalt blue create rhythmic harmony across curving surfaces. The inclusion of tomobako (artist-signed box), tomobako-gire (protective cloth), and tatesatsu (wooden certificate plaque) signals serious collectibility—this complete authentication trinity appears only with works by recognized masters. Yasumasu Sugiura represents contemporary Japanese ceramic art's bridge between ancient Kyoto overglaze enamel traditions and modernist design sensibilities. His polychrome technique (sai-mon or colored decoration) applies multiple glazes in precise patterns that require exceptional kiln control—each color fires at different temperatures, demanding multiple firings and intimate knowledge of glaze chemistry. The geometric patterning visible here echoes both traditional Japanese textile designs and early 20th-century Bauhaus geometric abstraction, creating aesthetic hybridity that appeals equally to Eastern and Western collectors. The vessel form itself demonstrates classical proportions—a gently swelling body rising to a gracefully narrowed neck, echoing Chinese Ming Dynasty vase silhouettes that influenced Japanese porcelain production from the 17th century onward. Yet Sugiura's surface decoration breaks decisively from historical naturalism. Instead of painted peonies or landscapes, bold geometric fields divide the surface into architectural zones where colors interact dynamically. This fusion of classical form with modernist decoration represents a deliberate artistic statement about tradition's ongoing evolution. At auction, Sugiura's works command respect among Japanese collectors specializing in contemporary Kyoto ceramics, though he remains relatively unknown in Western markets—presenting opportunity for prescient collectors. His pieces appear occasionally in regional Japanese art museums and private collections focused on post-war ceramic innovation. The presence of complete documentation (box, cloth, certificate) significantly enhances both authenticity confidence and resale potential. In the Japanese art market, such provenance elements often matter as much as the object itself. This flower vessel would anchor contemporary interiors embracing color, pattern, and artisanal luxury. In European design contexts—particularly spaces influenced by Memphis Group postmodernism or maximalist eclecticism—Sugiura's bold palette and geometric patterning create dialogue with Western design movements while maintaining distinctly Japanese ceramic identity. Display as pure sculpture or use for minimalist floral arrangements that honor rather than compete with the vessel's decorative complexity. Condition is excellent—described as showing no conspicuous damage. The polychrome glazes display vibrant color saturation without fading, suggesting careful storage away from direct sunlight. Multiple-fired glazes can show subtle surface variations where colors overlap or where different glaze thicknesses created varied firing results—these natural variations confirm hand-application rather than industrial processes. The porcelain body appears pristine without chips or restoration. Original documentation remains intact and well-preserved. For collectors building narratives around contemporary Japanese ceramics, Sugiura's work offers compelling entry points: recognized within Japan, affordable compared to Living National Treasures, technically accomplished, and aesthetically bold enough to command attention in competitive display environments. As Western institutions increasingly collect post-war Asian ceramics, artists like Sugiura who synthesized traditional techniques with modernist vocabularies gain scholarly attention and market recognition. Shipping & Handling We ship worldwide via DHL or EMS with full insurance and tracking. Multi-fired polychrome pieces receive extra-cushioned packaging to protect delicate glaze surfaces. Combined shipping available for multiple wins. Local customs duties are the buyer's responsibility. Seller Guarantee We specialise in contemporary Japanese porcelain and guarantee this piece's authenticity. Questions welcome – we reply within 24 hours. 1110

Nr. 99646480

Nicht mehr verfügbar
Polychrome Flower Vessel von Yasumasu Sugiura mit Originalbox, Standtuch und - Porzellan - Yasumasu Sugiura - Japan - Shōwa Zeit (1926-1989)

Polychrome Flower Vessel von Yasumasu Sugiura mit Originalbox, Standtuch und - Porzellan - Yasumasu Sugiura - Japan - Shōwa Zeit (1926-1989)

Rarely does color sing with such confidence. This polychrome flower vessel by Yasumasu Sugiura transforms glazed porcelain into a canvas of architectural abstraction, where geometric patterns in jade green, coral pink, and cobalt blue create rhythmic harmony across curving surfaces. The inclusion of tomobako (artist-signed box), tomobako-gire (protective cloth), and tatesatsu (wooden certificate plaque) signals serious collectibility—this complete authentication trinity appears only with works by recognized masters.

Yasumasu Sugiura represents contemporary Japanese ceramic art's bridge between ancient Kyoto overglaze enamel traditions and modernist design sensibilities. His polychrome technique (sai-mon or colored decoration) applies multiple glazes in precise patterns that require exceptional kiln control—each color fires at different temperatures, demanding multiple firings and intimate knowledge of glaze chemistry. The geometric patterning visible here echoes both traditional Japanese textile designs and early 20th-century Bauhaus geometric abstraction, creating aesthetic hybridity that appeals equally to Eastern and Western collectors.

The vessel form itself demonstrates classical proportions—a gently swelling body rising to a gracefully narrowed neck, echoing Chinese Ming Dynasty vase silhouettes that influenced Japanese porcelain production from the 17th century onward. Yet Sugiura's surface decoration breaks decisively from historical naturalism. Instead of painted peonies or landscapes, bold geometric fields divide the surface into architectural zones where colors interact dynamically. This fusion of classical form with modernist decoration represents a deliberate artistic statement about tradition's ongoing evolution.

At auction, Sugiura's works command respect among Japanese collectors specializing in contemporary Kyoto ceramics, though he remains relatively unknown in Western markets—presenting opportunity for prescient collectors. His pieces appear occasionally in regional Japanese art museums and private collections focused on post-war ceramic innovation. The presence of complete documentation (box, cloth, certificate) significantly enhances both authenticity confidence and resale potential. In the Japanese art market, such provenance elements often matter as much as the object itself.

This flower vessel would anchor contemporary interiors embracing color, pattern, and artisanal luxury. In European design contexts—particularly spaces influenced by Memphis Group postmodernism or maximalist eclecticism—Sugiura's bold palette and geometric patterning create dialogue with Western design movements while maintaining distinctly Japanese ceramic identity. Display as pure sculpture or use for minimalist floral arrangements that honor rather than compete with the vessel's decorative complexity.

Condition is excellent—described as showing no conspicuous damage. The polychrome glazes display vibrant color saturation without fading, suggesting careful storage away from direct sunlight. Multiple-fired glazes can show subtle surface variations where colors overlap or where different glaze thicknesses created varied firing results—these natural variations confirm hand-application rather than industrial processes. The porcelain body appears pristine without chips or restoration. Original documentation remains intact and well-preserved.

For collectors building narratives around contemporary Japanese ceramics, Sugiura's work offers compelling entry points: recognized within Japan, affordable compared to Living National Treasures, technically accomplished, and aesthetically bold enough to command attention in competitive display environments. As Western institutions increasingly collect post-war Asian ceramics, artists like Sugiura who synthesized traditional techniques with modernist vocabularies gain scholarly attention and market recognition.

Shipping & Handling
We ship worldwide via DHL or EMS with full insurance and tracking. Multi-fired polychrome pieces receive extra-cushioned packaging to protect delicate glaze surfaces. Combined shipping available for multiple wins. Local customs duties are the buyer's responsibility.

Seller Guarantee
We specialise in contemporary Japanese porcelain and guarantee this piece's authenticity. Questions welcome – we reply within 24 hours.

1110

Auktion beendet
Surya Rutten
Experte
Schätzung  € 600 - € 800

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