Interview with a private dealer of Japanese, Canadian, and Korean ceramics

Nathan Tichenor is a great friend and private dealer, living in Vancouver, CA. He specializes in Japanese and Canadian ceramics, as well as Korean pottery. Our editor, James, had the pleasure of interviewing Nathan about how he got into this niche business.

<photo above> This beautiful piece by Higashida Shigemasa is titled “織部香器”, or Oribe Kōki or incense vessel, and is a great example of his signature Monochrome Oribe. It’s large for an incense vessel, measuring 8 1/2” to the top of the lid’s handle by 8 1/2” at its widest. *This description is from Nathan’s original post on Instagram. See the original description here.

1. Could you provide some background on your interest in ceramics beginning with your first job working in a pottery up to you becoming a private dealer?

When I was 14 years old, a studio near my school on Vancouver Island was looking for someone to glaze pots after their glazer left to go to art school. I worked part-time glazing wind chimes mostly, then pots and lamps, for a couple who’d been running their pottery for about 10 years. On weekends if I were alone in the studio I’d also have to serve any customers who stopped by the showroom.

During the summers and at Christmas I would also join the couple at craft fairs helping set up the booth and sell the pots.

Even though I was only glazing, working in a pottery familiarized me with the all the processes of pot making: wedging clay, rolling and cutting shapes on a bench, turning on a wheel, drying, bisque firing, glazing, and the final firing. Vancouver Island in the 1980’s was home to many potters up and down the island, many of whom would visit the studio.

Later, after our family moved to Vancouver, my interests morphed into art practice in high school and college and then eventually art history at the University of British Columbia where I got my art history degree with a specialty in Asian Art History.

Any travel would be oriented around shows at museums and contemporary art galleries. Which led slowly to collecting within the most affordable sector contemporary art market in the 1990’s, ie contemporary colour photography.

I bought some pieces over the years, keeping my eye on the primary market but also auction houses. As interests shifted over the years, I would find myself occasionally selling a piece to a dealer or at auction. And eventually I would come across pieces I could buy at auction for a very good price, feeling confident I could sell at a profit.

<photo above> “This small vase exemplifies Kawase's Introduction period. The elegant, classic shape and bold kanyu crazing show Kawase absorbing and mastering Song celadons before moving on to his later experimental forms and glazes.” *This description is from Nathan’s original post available via Instagram. See the original description here to learn more.

2. How have your collecting preferences shifted over the years? Did you mainly collect Canadian pottery in the beginning? What styles of Japanese pottery have you grown to prefer?

After delving into the contemporary photography market, I became disappointed at the inevitable impermanence and instability of colour emulsions. I even had a few faded photos re-printed by the artists. Paintings, especially oil and acrylic, began to interest me more - primarily because they didn’t fade!

I began to look closer at undervalued, older painters and paintings from my region. I could see potential for growth in works by mid-century British Columbia painters who had been once very respected but were no longer market favourites.

A region experiencing economic growth, like Vancouver in the 2000’s, I felt might begin to especially value its own past and seek its narrative through the art once produced there. While local collectors like the Audains were inspirations, I was playing at a much lower level. That said, there were quite beautiful pieces being sold at auction for less than $2,000.

At some point, when thinking about which artists and artworks best expressed the West Coast aesthetic and narrative, I began to reconsider ceramics. Growing up on Vancouver Island in the 1980’s we were surrounded by remnants of hippie culture. Much like California, British Columbia was a counter-culture hotbed in the 1960’s. Flower children, draft dodgers, anyone “anti-establishment” began to define the fabric of life, especially in rural areas.

This seemed to be an authentic outgrowth of this specific place: from the 60’s anti-war and anti-capitalist protests through to the no-nukes movement of the 1980’s. Nature-loving peaceniks became synonymous with West Coast culture. And pottery exemplified this back-to-the-land ethos.

I began to look at the pots made in BC from the 60’s onwards in a new light. Not only as cultural products of a time and place integral to our region’s DNA. But also as an opportunity to collect pieces currently undervalued by the market, which, because of their connection to a cultural zeitgeist, showed opportunities for growth.

Plus the work was beautiful.

These thoughts all came to a head when I became aware of the 2004 show at the University of British Columbia’s Belkin Gallery “Thrown: Influences and Intentions of West Coast Ceramics.” I finally found a coherent and intelligent mapping and discussion of BC’s potting history and aesthetics.

While I actually missed the show itself - I only heard about it after the fact - it was the comprehensive catalogue, finally published in 2009, that confirmed for me that BC ceramics were an area worth collecting. I began to scour second-hand stores and auction houses. When I bought a large lot of very good vintage pots at one auction, spending more than I’d hoped, I was able to sell a few pieces to other collectors at a decent profit. And as more pots came into my home, the idea of selling became not only viable but necessary (space is at a premium in Vancouver).

The catalogue for Thrown, subtitled “British Columbia’s Apprentices of Bernard Leach and their Contemporaries,” provided a history and lineage for BC’s 1960’s ceramics practice. As I explored these potters and their roots in the Bernard Leach / Shoji Hamada Mingei practice and aesthetic, my interest turned to Japan, which dove-tailed nicely with my grounding in Asian art history.

<photo above> “This teapot evokes the Mingei aesthetic - especially Shoji Hamada - and after Robson visited Japan in the 1970’s his practice was dedicated to the Leach-Hamada tradition. Robson potted for several decades on Salt Spring Island, and this pot’s double mark and Shino glaze point to an early 1980’s production date.” *This description is from Nathan’s original post on Instagram. See the original description here to learn more.

 The supply for these Mingei-inspired BC ceramics from the 60’s through the 80’s was, of course, limited to a few dealers, some auction houses, and random finds at thrift shops. However, the supply for top-tier Japanese studio ceramics seemed limitless. It is an industry unto itself.

I was able to buy online from Japanese dealers, auction houses, and directly from potters. Pieces were almost always packed perfectly and the cost to ship was reasonable. So I began to collect pieces made mostly from the 1960’s until now by award-winning and museum-collected potter-artists at the top of their game.

I started with potters working in the Mingei vein, pots that showed the maker’s hand, made from local materials. Browsing online could feel intimidating, but Instagram really provided an excellent conduit to dealers and auction houses and even potters themselves. Especially during COVID, when people were forced to stay home, I can’t stress enough the importance of Instagram in connecting and inspiring makers, dealers, and collectors.

There were so many opportunities to purchase excellent pots, made by the best craftsmen in the world, at very reasonable prices. I found that if I began to sell, I could buy more. While the market for BC pots is growing, it is somewhat limited to a region. However, the market for Japanese ceramics is truly international.

I started a separate Instagram account for not only posting my collection and my thoughts about ceramics but also as a way to network with other collectors to offer pots for sale.

<photo above> Kinichi Shigeno porcelain vase

<photo above> “One of my favorite pieces by John Reeve - a tall Oribe lidded and lugged urn measuring 9” tall. The clay is a grainy white stoneware that holds the green Oribe glaze beautifully. This pot is triple stamped with Reeve’s personal mark as well as two location marks - one for Abiqui, New Mexico and perhaps the other for the studio. This is a later piece likely done in the late 1990’s to early 2000’s.” *This description is from Nathan’s original Instagram post. See the original description here.

3. And now you are adding Korean ceramics to your repertoire?! Could you talk about what you appreciate about each tradition?

I’ve always said that if you start with studio pots from BC you are inevitably led to studio ceramics of England, and then to those of Japan, and eventually to Korea. The more I learn about Japanese pots the more I realize so much of Japanese ceramics traditions come from Korea, either via the import to and adoption by Japan of Korean potters and their wares centuries ago, or by the direct inspiration Korean wares still provide to Japanese potters working today.

The more “rustic” Korean ceramics like buncheong wares of the Joseon period interest me since the clay and glaze combinations are so earthy. The forms and decoration seem effortless. And the poetry inherent in much of Korean ceramics cannot be overstated. That mentality provided a kind of aesthetic antecedent to the Japanese wabi-sabi conception, which informs the best ceramics traditions and practices in Japan. The kinds of Japanese “mingei” ceramics I have grown to love best all have roots in Korean folk ceramic traditions.

But I then began to appreciate the finer, more delicate Korean wares such as Goryeo celadons and Joseon baekja white porcelains. These Korean ceramics seem to strike a difficult balance of refined elegance with the handmade. And learning about Korean celadons and porcelains has led me back to Japan where I find my interests expanding to the very delicate and precise seiji wares made by contemporary Japanese artists.

Looking at the progression of my interests, it is only a matter of time that the logical trajectory would point me in the direction of China. But the prospect of Chinese ceramics is daunting to say the least.

Perhaps it’s my ignorance of the Chinese market, but I do feel that Japanese and Korean practices and markets favour artist-makers rather than the wares themselves. I try to only buy pieces by identified potters made from the post-war era until now. As a collector, and dealer, authentication is important, and signatures, marks, and signed wood boxes make this pretty cut and dry. Older pieces rely on provenance which can often be shaky.

Each pot I buy, each pot that passes through my hands, becomes an opportunity to learn. Being able to communicate directly with potters, dealers and collectors, to ask questions about traditions and practices, have become an invaluable way to accumulate knowledge, and hopefully, expertise.

<photo above> “This lidded pot is by one of Korea’s equivalent of a Living National Treasure: Ji Sun-tak (1912 - 1993). It’s a beautiful example of buncheong ware and his dedication to reviving the classic Korean wares of the Goryeo and Joseon Dynasties. The fish are carved with incredibly strong lines.” *This description is from Nathan’s original post on his Instagram account. You can watch Nathan unbox this beauty here.

<photo above> “This tea bowl by Jiří Duchek is inspired by classic Chinese tenmoku and Korean and Japanese Ido tea bowl shapes. Duchek gathers at least a couple of different stoneware clays from his property which he then blends and refines to achieve a strong and warm clay body, which he is able to still throw quite delicately. ” *Visit this link to see the original post here.

4. Which traditions/regions and which Japanese potters do you feel most strongly about? Is there a piece of pottery that struck you above all others?

The kinds of Japanese pots and potters that interest me most change slowly over time, but I’d say I’m most attracted to Mino wares: Shinos and Oribes from the Gifu region especially. The earthiness of Iga, Karatsu, and Shigaraki also draw me in. But with time, I’ve felt a strong attraction to the more refined porcelains and celadons.

The Shino wares of Goto Hideki are perhaps the most intriguing work to come out of the Gifu region, his shell forms in particular. One of the first pieces of Japanese pottery I purchased was a very large Shino “Wadatsumi” or “Sea God” he made in 2022. It is a magical piece that captures the energy of the mountains and sea. Goto is an artist who remains true to the spirit of Shino but extends it to another level outside of ceramics. I think he’s an important artist.

<photo above> Shino “shell” Katakuchi pourer and sake cup by Goto Hideki, 2021.

<photo above> “One of my favorite pieces - an Oribe style lidded pot - by one of my favorite potters, John Reeve. Many elements here are classic Reeve: the jaunty, uneven lid, the roughly trimmed foot, the quick lugs, and the handle’s “smushed” edges. The almost unfinished character of Reeve’s work made his pots seem alive. They breathe.” *This description is from Nathan’s original post on his Instagram account. You can read more about John Reeve and this piece here.

 5. What advice to you have for new collectors?

It sounds cliche but it remains true: buy what you like. Pay attention to that initial attraction that you may not be able to identify or rationalize right away. I guess that’s what some collectors refer to when they say they buy with their gut.

But trusting your instincts makes sense. It covers many bases when it comes to collecting: it probably means the piece or artist will have the same attraction for some collectors in the future. And if it doesn’t, buying something that hits a chord with you personally guarantees you’ll enjoy the piece while it’s in your hands.

My father is also a collector and he feels a big benefit of art as investment is that you get to enjoy it while you have it. You can’t do that with stocks or mutual funds!

I’d also tell new collectors to do their research. There is so much information available online, it is easy to get a good picture of a potter’s history or market value very quickly.

If there is a gallery or dealer you are considering buying from, try to get an idea of their track record. Online reviews are a good resource. And sometimes you can judge by a dealer’s responsiveness to your questions just how well (or not) a transaction will transpire.

And if you plan to buy from auction houses, check out their reputation as well. If they have a piece that interests you, first get a condition report. Not all auction houses are that good about disclosing condition.

Make sure you are familiar with an auction house's terms and conditions in advance. The hammer fees at some auction houses are becoming exorbitant. Also check out their shipping policies. Any auction house that ships should be able to give you an accurate quote, and if they don’t ship, they will know packers and shippers they work with who can do the same.

<photo above> “Tsujimura Yui’s (1975 -) natural glaze jar “自然釉 瓶子” was made at his studio in Nara Prefecture. He specializes in a form of Sue ware which revives a type of high fired ceramic from Korea and Japan from as early as 400 AD. Tsujimura uses a very white stoneware clay body which looks rich in kaolin. The pieces are wood-fired unglazed, but Tsujimura blows ash into the kiln during firing which creates dramatic effects when it vitrifies on the surfaces of his pots.” *This description is from Nathan’s original post on his Instagram account. Click here to read more.

<photo above> “The box for this wood-fired vase by Mitsufuji Tasuku is titled "鉄絵線刻扁壺” (tetsu-e senkoku henko) which translates roughly to “iron-painted, line-carved flat bottle.” It measures just over 8 1/2” tall and is made of a nearly white porcelain and stoneware mixed clay body. The bottle or flask form is also inspired by Chinese vessels that themselves had precedent in the Near East. Add to all of this the running polychrome glazes and you get a pot that evokes the Tang Dynasty and Silk Road and the blend of cultures that flourished in ancient China.” *This description is from Nathan’s original post on his Instagram account. Click here to read more.

If it is a local auction house, definitely go to the viewing. Handle and inspect pieces carefully for any damage. And if it’s in a locked cabinet, ask to have the piece taken out for you to look at. The best part about auction house previews is being able to handle the pieces. Feel free to kick the tires.

Figure out the bottom line you are comfortable paying for a piece, then do the math: subtract the cost to ship and any import taxes upon delivery from that bottom line, then pull out the hammer fees to get a maximum bid you are comfortable with. I’m a strong believer in placing absentee bids, even for local auctions that I can attend in person. Sometimes live bidding can get you swept up in the excitement of bidding, and that’s when rash (and expensive) decisions can be made.

<photo above> “This lidded casserole by John Reeve likely dates from the 1990’s or early 2000’s, during one of John’s visits to his friend Warren MacKenzie’s Stillwater studio. During those visits, John and Warren would spend a month or so potting and firing together, after which the pots would be sold on Warren’s studio lawn.” *This description is from Nathan’s original post online. Click here to read more.

Check out Nathan’s account on Instagram @leftcoast_artefacts (Left Coast Artefacts) to see more gorgeous photos. Make sure to check out his thoughtful and educational videos and captions. #notsponsored #genuineadmiration

You can see what Nathan has in stock by visiting his Instagram account @leftcoast_stock (Left Coast Artefacts Stock).