Randall Moody on thu 19 jul 12
Mel, I guess you didn't see and hear what you saw and heard. [?] You should
know you can't trust first hand accounts especially when it is your own
hand.
Nothing is impossible to counterfeit.
http://www.freemanart.ca/greatest_art_forgers_fakers.htm
On Thu, Jul 19, 2012 at 10:59 PM, Lee wrote:
> At the link below, you can see Hamada's two signature brush designs.
> Nobody else did this brushwork at his workshop. Collectors prefer work
> with these designs and pay a premium for them because the brushwork IS a
> signature, that is impossible to counterfeit. Also in the image is a
> signed wooden box top with stamp. It has more provenance than most sign=
=3D
ed
> oil paintings.
>
>
> http://www.iainclaridge.co.uk/blog/wp-content/uploads/2011/10/shoji_hamad=
=3D
a3.jpg
>
>
>
> --
> Lee Love in Minneapolis
> http://mingeisota.blogspot.com/
>
> "Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97t=
hat is, =3D
"The land
> of eternal youth is behind the house, a beautiful land fluent within
> itself." -- John O'Donohue
>
--=3D20
Randall in Atlanta
http://wrandallmoody.com
Craig Edwards on thu 19 jul 12
Hamada Shoji was a National Living Treasure in Japan so it's easy to find
out who worked with him( there are even records on who was his gardener).
He had a core group of seven people including himself that worked in the
workshop (60's -70's). Shinsaku Hamada, Atsuya Hamada, Oka-san, Uma-san,
Masao-san, and Mitsuko. Masao-san and Mitsuko did press molding. The
Hamada sons and Oka-san, and Uma-san made pots on the wheel. For firing
other helpers were brought in to help.
People that have watched him work say that he decorated every piece that
went into the kiln, even though he didn't throw or press mold them. May
be there was a Korean woman that did all his brush work, but so far Mel is
the only one that has mentioned her...
He was a pretty high profile potter that loved to decorate. It would be
sad to find out that someone else did the decorating.
--
Make Good Pots
~Craig
New London MN
http://woodfiredpottery.blogspot.com/
Lee on thu 19 jul 12
At the link below, you can see Hamada's two signature brush designs.
Nobody else did this brushwork at his workshop. Collectors prefer work
with these designs and pay a premium for them because the brushwork IS a
signature, that is impossible to counterfeit. Also in the image is a
signed wooden box top with stamp. It has more provenance than most signed
oil paintings.
http://www.iainclaridge.co.uk/blog/wp-content/uploads/2011/10/shoji_hamada3=
=3D
.jpg
--
Lee Love in Minneapolis
http://mingeisota.blogspot.com/
"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97tha=
t is, "T=3D
he land
of eternal youth is behind the house, a beautiful land fluent within
itself." -- John O'Donohue
Vinod Chettur on fri 20 jul 12
On page 126 of Susan Peterson's book "The Craft and Art of Clay" is a pho=
=3D
to of=3D20
Hamada doing brushwork on a pot from 1970. She states that the brush was=3D=
20=3D
made from his Akita dog. On the sugarcane pattern he says, "It is my pain=
=3D
ting,=3D20
and I never grow tired of it even though I repeat it". I always think of =
=3D
that=3D20
brushwork as a distinctive thing like Hakuin's brushwork.
Ben Morrison on fri 20 jul 12
It's too bad that some of those famous fakers weren't celebrated artists, m=
=3D
any had real talent.=3D0A=3D0A=3D0A=3D0A________________________________=3D=
0A From: R=3D
andall Moody =3D0ATo: Clayart@LSV.CERAMICS.ORG =3D=
0ASe=3D
nt: Thursday, July 19, 2012 8:39 PM=3D0ASubject: Re: Hamada Shoji-- Those w=
ho=3D
worked with him=3D0A =3D0AMel, I guess you didn't see and hear what you sa=
w an=3D
d heard. [?] You should=3D0Aknow you can't trust first hand accounts especi=
al=3D
ly when it is your own=3D0Ahand.=3D0A=3D0ANothing is impossible to counterf=
eit.=3D
=3D0Ahttp://www.freemanart.ca/greatest_art_forgers_fakers.htm=3D0A=3D0AOn T=
hu, Ju=3D
l 19, 2012 at 10:59 PM, Lee wrote:=3D0A=3D0A> At t=
he l=3D
ink below, you can see Hamada's two signature brush designs.=3D0A> Nobody e=
ls=3D
e did this brushwork at his workshop.=3DC2=3DA0 Collectors prefer work=3D0=
A> wit=3D
h these designs and pay a premium for them because the brushwork IS a=3D0A>=
s=3D
ignature, that is impossible to counterfeit.=3DC2=3DA0 =3DC2=3DA0 Also in t=
he image=3D
is a=3D0A> signed wooden box top with stamp.=3DC2=3DA0 It has more proven=
ance t=3D
han most signed=3D0A> oil paintings.=3D0A>=3D0A>=3D0A> http://www.iainclari=
dge.co.u=3D
k/blog/wp-content/uploads/2011/10/shoji_hamada3.jpg=3D0A>=3D0A>=3D0A>=3D0A>=
--=3D0A>=3D
=3DC2=3DA0 Lee Love in Minneapolis=3D0A> http://mingeisota.blogspot.com/=3D=
0A>=3D0A>=3D
=3DC2=3DA0 "Ta tIr na n-=3DC3=3DB3g ar chul an tI=3DE2=3D80=3D94tIr dlainn =
trina ch=3DC3=3DA9=3D
ile"=3DE2=3D80=3D94that is, "The land=3D0A> of eternal youth is behind the =
house, a=3D
beautiful land fluent within=3D0A> itself." -- John O'Donohue=3D0A>=3D0A=
=3D0A=3D0A=3D
=3D0A-- =3D0ARandall in Atlanta=3D0Ahttp://wrandallmoody.com
Lee on fri 20 jul 12
On Fri, Jul 20, 2012 at 5:18 AM, Vinod Chettur wrote=
=3D
:
> I always think of that
> brushwork as a distinctive thing like Hakuin's brushwork.
>
Absolutely. Once you become familiar with Hamada's work, from handling
and using it, you get to know what was thrown by him and what was made by
others. But the brushwork on all is distinctively Hamada. People try
to counterfeit the brushwork, but these are found out as forgeries.
One of the interesting things I observed during my apprenticeship
is shopkeepers bringing in Hamada work for my teacher to evaluate. He
would always get the retired Foreman Fukuyan to come over & Shimaoka would
ask Fukuyan's opinion before stating his own. Fukuyan's father worked at
Hamada's workshop and Fukuyan started with Hamada when he was 14. Fukuyan
never failed to make the same assessment as Shimaoka. It would always
make Shimaoka smile and chuckle.
--
Lee Love in Minneapolis
http://mingeisota.blogspot.com/
"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97tha=
t is, "T=3D
he land
of eternal youth is behind the house, a beautiful land fluent within
itself." -- John O'Donohue
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