Future Forms: Avant-Garde Sculpture in Modern Japanese Ceramics

D A I I C H I A R T S LT D .

AVANT-GARDE SCULPTURE IN MODERN J A PA N E S E C E R A M I C S

ASIA WEEK NEW YORK 2022 SPRING CATALOGUE

FUTURE FORMS

FUTURE FORMS AVANT-GARDE SCULPTURE IN MODERN J A PA N E S E C E R A M I C S

COVER (FRONT )

CREDITS

AUTHORSHIP Writing and curatorial authorship by Beatrice Lei Chang, eds. Kristie Lui

C ATA LO G U E D E V E LO P M E N T Kristie Lui 呂 文諺 Miyazaki Haruka 宮崎 晴香

PRINT PRODUCTION Amax Printing Inc., 6417 Grand Avenue, Maspeth, New York, NY, 11378

Shigematsu Ayumi 重松あゆみ (b. 1958) Jomon Recollection, 2016 Stoneware (h) 17.7”x (w) 20.4” x (d) 14.3” (h) 45.0 x (w) 52 x (d) 36.5cm

COVER (BACK) Tashima Etsuko 田嶋悦子 (b. 1959) Cornucopia 14-VIII, 2006 Stoneware, glass (h) 10.6” x (w) 9.8” x (d) 3.9” (h) 27 x (w) 25 x (d) 10 cm

COVER (FRONT INSIDE) Shigematsu Ayumi 重松あゆみ (b. 1958) Yellow Jomon, 2018 Stoneware (h) 12.7” x (w) 11.0” x (d) 10.4” (h) 32.5 x (w) 28 x (d) 26.5cm

COVER (BACK INSIDE) All Japanese names in this catalogue are provided in Japanese sequence with family name first, and given name second. © 2022 by Dai Ichi Arts, LTD.

Suhama Tomoko 須浜智子 (b. 1965) Onion タマネギ, 2018 Stoneware (h) 11.8” x (d) 12.9” x (w) 12.9” (h) 30 x (d) 33 x (w) 33cm

CONTENTS INTRODUCTION

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CHAPTER 1: LIGHT AND SHADOW

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C H A P T E R 2 : S U R FA C E

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CHAPTER 3: ILLUSION

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CHAPTER 4: FORM

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1

INTRODUCTION

In the 20th century, the Japanese potters Yagi Kazuo (1918-1979), Yamada Hikaru (1924-2001), and Suzuki Osamu (1926-2001) innovatively applied the French concept of “Objet d’Art” (the Art Object) to the non-functional, non-vessel, ceramic piece in the Japanese pottery industry. The idea that the definition of an artwork encompases any perceptible body of fired clay permeated the Japanese pottery industry in the mid-twentieth century. Yagi had observed that pottery had evolved from something to be handled, touched and used in quotidian life, to a perceptible object to be seen. This isolation of the optical quality of ceramic objects was canonized in the 1950s with the genre, “Objet-Yaki” further affirmed in the 70s and 90s as a medium for Japanese aesthetic expression that had huge potential to investigate sculptural issues and its formal elements: Color, perception, affect, surface, interior (and exterior), light (and shadow).

The modern pottery world can be outlined via two poles: the ceramic vessel, and the ceramic object.

The former refers to the functional ceramic vessel; perhaps a textured clay platter coated in a traditional vibrant green Oribe glaze, or a wheel-thrown jar with an earthen-like character coated with an ash-glaze from a wood-burning kiln. Such vessels offer the utilitarian dimension of kiln-fired pottery.

Meanwhile, the latter category- frequently indexed in opposition to the vessel- the “Obuje-Yaki ​​オブジ ェ焼” (Objet-Yaki, or Kiln-fired Objects) are an exceedingly diverse class of object. As Dr Bert Winther-Tamaki succinctly observes in his 1999 article on the admission of the Non-functional object into the Japanese pottery world: “Some (kiln-fired objects) works suggest relationships to international trends in contemporary art, while other (pieces) evoke Japanese pottery history… they are all made of clay and all eschew even the potential to function as vessels.”

The contrast between the vessel and the nonfunctional object coexist as legitimate practices of ceramic art in Japan, despite their opposing sensibilities. Within this polarity, Yagi, Yamada, and Suzuki formed a movement that would take the nonfunctional object to new heights. Formed as a response and in opposition to Yanagi Soetsu’s Mingei 民芸 movement, which had an aesthetic proposition that elevated the status of the crafted vessel, the Sodeisha movement or “Crawling through Mud Association”, was formed by Yagi, Yamada, and Suzuki to elaborate upon the properties of “Obuje-yaki オブジェ焼” as practical and theoretical tenets in the then Mingei-dominated ceramic industry. Founded in 1948, the Sodeisha movement favored abstract sculpture and sought to be the antithesis to the functional “Kogei 工芸” vessel. Kogei, or craft, was part of Mingei’s theoretical and aesthetic formula that dominated the Japanese pottery industry in the early and mid-20th century. The Sodeisha group examined questions surrounding potters’ professional identities as craftsman or artist by discontinuing the practice of working from models.

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Within this context, and on the occasion of Asia Week New York 2022, Dai Ichi Arts is proud to present an exhibition, “Future Forms: Avant-Garde Sculpture in Modern Japanese Ceramics”, showcasing a group of post-war, avant-garde objects and sculptures that exemplify the creed of Yagi, Yamada, and Suzuki’s Objet-Yaki. As such, this group of work will showcase the instrumental work of Yamada Hikaru, Suzuki Osamu, Hayashi Yasuo, Yanagihara Mutsuo, as well as the more contemporary sculptures of Miwa Ryosaku. Additionally, this group spotlights the works of several distinguished contemporary women sculptors who are part of a vanguard generation of highly influential post-war artists in Japan. For example, the radical works of Tashima Etsuko, Kishi Eiko, and Sakurai Yasuko, who investigate the use of light and color in their clay. On the other hand, the works of Ayumi Shigematsu and Suhama Tomoko explore form and surface as influenced by Suzuki Osamu, and West Coast Minimalism. Meanwhile, Yuriko Matsuda, Shingu Sayaka, Kato Mami & others elaborate and explore surfacescape. The exhibition brings to light on how female voices have understood the sculptural visual vocabulary & modernisms of the radical Sodeisha Movement.

These artists defy conventional clay tenets. Their artworks are as radical as the stories they tell, propelling the clay medium into the future.

Beatrice Lei Chang, eds. Kristie Lui March, 2022

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LIGHT & SHADOW Like other sculptural forms, pottery must tackle the inherent problem of light and shadow because of the medium’s innate three dimensionality. This showcases artworks by sculptural and sculpturally inclined artists– Tashima Etsuko, Kishi Eiko, Sakurai Yasuko, and Yanagihara Mutsuo– who have enquired into how light (and shadow) may be manipulated through the clay medium in innovative ways.

Born in Osaka and graduated from Osaka University of Arts, Tashima Etsuko’s sculptures bring together two historical craft mediums: glass casting and ceramic sculpture with a yellow oribe underglaze to create forms that enquire into the relationship between light, shadow, and color; Light permeates through materials and is altered, and expresses color by reflecting off surfaces. She examines opacity and translucency through materiality. Having studied under Yanagihara Mutsuo (b. 1934), her yellow glazes follow the bold colors that stem from the influence of American expressionism in the 70s, as well as his famous yellow Oribe glaze.

Tashima’s sculptural forms are streamlined, such as this piece from her Cornucopia series. The glass is casted after the shape of insects’ wings, while the vivid yellow, opaque, bimorphic body has a slight upwards curvature. The name, cornucopia recalls concepts of natural abundance. One imagines looking through a magnifying glass to examine the body of a smaller creature when gazing upon her pieces. As the first tenured female faculty member of the Osaka Unviersity of Arts, Tashima is part of a vanguard generation of highly influential post-war female artists in Japan whose practices are inspired by concepts of female sexuality and representations of nature.

Etsuko’s vivid yellow glazes were inherited by her teacher, Yanagihara Mutsuo. Yanagihara, who was born in 1934 in Yamaguchi, taught art in the United States in the late 1960s and early 1970s. His time in the West instilled in him a great interest in and respect for American and European abstraction, one that would manifest in his later work. The geometric forms of this yellow Oribe flower shapes bears a resemblance to the surrealist works of Miro, Arp, and Picasso. Like these artists, Yanagihara’s work holds a latent eroticism that is accentuated by the extravagantly organic line. But, being part of the Japanese tradition, Yanagihara has translated this aesthetic into three dimensions. Even so, the piece seems to struggle between two- and three-dimensionality: the hook of the vase juts out from a very flat, almost two-dimensional surface. The darker, iron-glazed areas of his surfaces recall silhouettes and shadows cast on a plain smooth surface, while the colorful monochromatic glazes salutes a utilitarian ceramic tradition that has spanned several centuries.

Meanwhile, the striking work of Kishi Eiko is deeply concerned with shadow and how architectural forms interact with light to create elongated sculptural forms. Born in 1948 in Nara, she was awared the Kyoto Prefectural Education Ministry prize for her contribution for Arts and Culture, and has exhibited extensively throughout Japan and abroad. Her works feature forms echoing tilted pillars that showcase a mosaic-like surfacescape of opaque, glass-colored stoneware. The blue, whites, and greys work together to evoke the appearance of stained glass on her surfaces, or jewels embedded into stone. Her sculptural affinity has awarded her a pioneering position in the sculptural scene in the avant-garde art scene in Kyoto and beyond, as evidenced by acquisitions of her works in over 30 public collections including the the Museum of Fine Arts Boston & Houston, the Yale University Art Gallery, the Ashmolean Museum of Art, Oxford, and more.

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Tashima Etsuko 田嶋悦子 (b. 1959) Cornucopia 14-VIII, 2006 Stoneware, glass (h) 10.6” x (w) 9.8” x (d) 3.9” (h) 27 x (w) 25 x (d) 10 cm

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Tashima Etsuko 田嶋悦子 (b. 1959) Cornucopia 09-Y9, 2009 Stoneware, glass (h) 10.2” x (w) 19.6” x (d) 13.3” (h) 26 x (w) 50 x (d) 34cm

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Tashima Etsuko 田嶋悦子 (b. 1959) Cornucopia 09-Y12, 2009 Stoneware, glass (h) 8.6” x (w) 16.5” x (d) 14.1” (h) 22 x (w) 42 x (d) 36cm

> Kishi Eiko 岸 映子 (b. 1948) Shinsho o tsumu 心象を積む, 2019 Stoneware (h) 19.5” x (w) 19.4” x (d) 5.2” (h) 49.6 x (w) 49.5 x (d) 13.4 cm

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Sakurai Yasuko 櫻井靖子

(b. 1969) Oval Vertical 3, 2012 Porcelain (h) 9” x (d) 8.8” x (w) 14.5” (h) 22.8 x (d) 22.4 x (w) 37.2cm

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Yanagihara Mutsuo 柳原睦夫

(b. 1934) Vessel “Where the Soul Resides” 碧釉壷 “玉の所在”, 2014 Stoneware with polychrome glaze (h) 10.7” x (d) 5.2” x (w) 7.8”; (h) 27 x (d) 13.2 x (w) 19.8cm Signed Mutsu 睦 at the bottom With signed wood box

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S U R FA C E Within the issue of surface in ceramic objects, artists showcase range in interpreting how they treat surface. Decoration, Earthen textures, and detail are aspects that three artists Matsuda Yuriko, Mami Kato, and Shingu Sayaka have incorporated into their works.

The potter, artist, and sculptor Matsuda Yuriko turns towards whimsical depictions of everyday objects to create new perspectives. If Tsuji Kyo’s (1930-2008) essential Japanese character is rooted in her Shigaraki clay and wood fire, Matsuda connects with her Japanese roots through a unique take on the perennial and iconic Japanese theme of the view of Mount Fuji. Born in 1943, her whimsical and contemporary interpretation of the iconic mountain, Fuji, is shrouded in seasonal change. On one face, she paints a spring scene, with a river connecting between a grove of cherry blossoms and a lush, green, summer sequence. The mountain’s body is gilded in gold, accenting the symbolic shape of the mountain. With these works, she has brought painting into three-dimensions, creating hybrid ceramic paintings that are entirely unique. Like a traditional scroll, she generously accents her work with gold backgrounds, lending them an inherent inner glow. Her use of familiar subjects has a transformative effect: though we know that this is Mount Fuji, it is unlike any depiction of the scene we have ever experienced. This strange quality pulls the viewer into the piece, demanding further investigation. Matsuda has been named one of the best 150 artists working in Japan by a noted ceramic arts publishing company for her deeply original work that celebrates an essential zest for the landscape of everyday life.

On the other hand, the works of Shingu Sayaka turns to the texture of the clay surface, and meticulous detail to relay realism in her surfaces through stoneware. The pistils of her iconic stone flower forms reach out like the tendrils of a sea anemone. Shingu’s ability to relay organic natural forms communicates her concepts of ephemerality inherent to Japanese classical literature. The concept of Mujyo 無常, or mutability, is crystallized in her clay sculptures.

Finally, the work of Aichi-born artist Mami Kato (b. 1963) explores earthen textures through two functional vessels with cosmic concepts. In “Planet” and “Under the Moon”, Kato has used Tokoname clay and pine ash via reduction firing to create the robust craquelure that showcases the object’s cosmic affect. In her intricate vessels, she has mimicked the surface of an otherworldly meteorite. The form recalls the dynamic momentum of a comet in motion across our dark galaxy. Recalling such vast, extraterrestrial concepts, Kato explores the boundless capacities of human emotion.

< Yanagihara Mutsuo 柳原睦夫

(b. 1934) (Left) Yellow Oribe Flower Vase, キオリベ長筒花瓶, 1992 Stoneware with polychrome glaze (h) 14.5” x (w) 6.7” x (d) 5.6” ; (h) 36.8 x (w) 17.2 x (d) 14.2cm Signed Mutsu 睦 at the bottom With signed wood box (Right) Yellow Oribe Tea Bowl 黄織部茶碗, 1989 Stoneware with polychrome glaze (h) 3” x (w) 5” x (d) 5”; (h) 7.6 x (w) 12.8 x (d) 12.8cm With signed wood box

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Matsuda Yuriko 松田百合子

(b. 1943)

Mt. Fuji 不二さん, 1993 Porcelain, polychrome enamel (h) 16.5” x (w) 9.8” x (d) 5.9” (h) 42 x (w) 25 x (d) 15 cm Gold Ribbon: 17.7”; 45 cm With Signed Wood Box

>

Matsuda Yuriko 松田百合子

(b. 1943)

Mt. Fuji 不二さん, 2022 Enamel Glazed Porcelain (h) 16.9” x (w) 16.5” x (d) 6.2” (h) 43x (w) 42 x (d) 16cm With signed wood box

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Shingu Sayaka 新宮さやか

(b. 1979)

蝕花 No.4 Erosion, 2021 Mixed clay with glaze and slip (h) 9.8” x (w) 16.5” x (d) 15.7” (h) 25 x (w) 42 x (d) 40cm

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Shingu Sayaka 新宮さやか

(b. 1979)

Erosion ‘22 -2, 2022 Mixed clay with glaze and slip (h) 9.2” x (w) 14.9” x (d) 14.5” (h) 23.5 x (w) 38 x (d) 37cm

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Kato Mami 加藤真美

(b. 1963) Planet 惑星, 2021 Stoneware (h) 11.4” x (w) 14.1” x (d) 13.3”; (h) 29 x (w) 36 x (d) 34 cm Accepted at the 45th Mino Ceramic Exhibition

> Kato Mami 加藤真美

(b. 1963) Under the Moon 月下, 2022 Stoneware (h) 11.4” x (w) 20” x (d) 17.1” (h) 29 x (w) 51 x (d) 43.5 cm

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I L LU S I O N Trained in Kyoto, Yamada Hikaru was known for his pioneering and innovative sculptural work, moving beyond functional ceramic objects and focusing instead on abstracting traditional folk-craft forms. His work juxtaposes the organic with the inorganic, his geometric shapes contrasting the malleability of clay. This piece was inspired by findings, fossilized ceramic works from the Jomon period in Japan. He examines the idea that examination of archaeological materials looks at both the interior- the material integrity of the piece- as well as the exterior- the surface texture. The six square windows on this narrow sculpture mimic the silhouette of the interior curvature of a ceramic bowl, while the surface of this piece mimics paper textures. Alongside Suzuki Osamu and Yagi Kazuo, he was one of the founding members of the influential Sodeisha movement.

Born in 1928, Hayashi Yasuo began his artistic career in the 1950s, and is now considered one of the most important forerunners of abstraction in contemporary Japanese ceramics. As a founding member of the Shikokai association of potters, he played a role in the modernization of the medium from the very beginning; a precursor to the Sodeisha movement. The Shikokai group boldly explored new forms for ceramics, and took the medium in truly innovative sculptural directions. Not only was Hayashi the group’s youngest member, but also its most celebrated. His abstract ceramic sculpture far outshined that of his contemporaries. In 1950, Hayashi was included in the first exhibition of contemporary Japanese ceramics to be held in Europe. Set at the prestigious Cernuschi Museum in Paris, the show also included the celebrated Japanese-American sculptor Isamu Noguchi (1904-1988). His playful take on formalism recalls the ideas behind the Minimalist movement in America in its willingness to experiment with the boundaries between two- and three-dimensionality. His works are geometric and mathematical, and evoke the images of home and hearth.

In Work 96-1, he muses upon the shape of a cube with lines on an unconventional form. Conceptually, his works explore war-time personal stories, touching and devastating at the same time, he sensitively outlines his experiences and grounds his status as a pioneer and forerunner of avant-garde post-war sculptural art in Japan.

Haptic theory, which explores how touch can shape our (often visual) experiences, is a bit of a buzz word for art critics and theorists at the moment. Born in 1965, Suhama Tomoko’s oeuvre throws contemporary Japanese ceramics into these discussions, as ceramic sculptures are often made to be held and felt. While some artists revel in the textures resulting from the naturally-unpredictable ceramic process, Suhama’s sculptures show precision. Each sculpture is so smooth that it speaks of the execution of a machine. And yet, Suhama reminds us that nature produces some of the most flawless surfaces, like a sculpture mimicking the perfection of a cell under a microscope. It is no surprise that her work can be enjoyed in the Morikami Museum and Japanese Gardens, as well as the Museum of Ceramic Art in her hometown, Hyogo.

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Hayashi Yasuo 林康夫

(b. 1928) Truck III, 1978 White englobed, biscuit fired ceramic with Irabo-glaze (h) 4” x (w) 14” x (d) 14.2” (h) 10.1 x (w) 35.5 x (d) 36cm Signed, ‘78

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Hayashi Yasuo 林康夫

(b. 1928) Memory of a House #1, 2003 Stoneware (h) 9.1” x (w) 17” x (d) 6” (h) 23.1 x (w) 43.1 x (d) 15.2cm

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Hayashi Yasuo 林康夫

(b. 1928) Fable 伝説, 2008 Stoneware (h) 8.4” x (d) 6.8” x (w) 6.8” (h) 21.5 x (d) 17.5 x (w) 17.5cm With signed wood box

Hayashi Yasuo 林康夫

(b. 1928) Work 96-1, 1996 Stoneware (h) 11” x (w) 13.3”x (d) 15” (h) 27.9 x (w) 33.7 x (d) 38.1cm

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Suhama Tomoko 須浜智子

(b. 1965) Onion タマネギ, 2018 Stoneware (h) 11.8” x (d) 12.9” x (w) 12.9” (h) 30 x (d) 33 x (w) 33cm

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Yamada Hikaru 山田光

(1923-2001) No. 78 Fossilized Vase, 1976 Stoneware (h) 18.8” x (w) 12.2” x (d) 2.3” (h) 47.7 x (w) 30.9 x (d) 5.8cm

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FORM Like Etsuko Tashima, Ayumi Shigematsu (b. 1958) is part of the vanguard generation of highly influential post-war female artists in Japan whose practices are inspired by concepts of female sexuality. She studied with Suzuki Osamu (1926-2001) at the Kyoto University of Arts and as pioneer for women in a historically male-dominated pottery industry in Japan, she went on to work as one of few female professors teaching ceramic practice at her alma mater. Having studied with the pioneer of the Sodeisha ceramic movement, her propensity for sculptural rather than functional clay forms reflect key Sodeisha tenets. While Shigematsu’s sculptural forms and artistic process are informed by these core philosophies, she also draws influence from the 1970s, a period of consolidation of many art movements. For example, conceptual art that had evolved as a response to minimalist art in the West, the Mono-Ha art movement in Japan and Korea that enquired into the aesthetic relationships between materials such as stone, metal, and ceramics, and feminist art which spanned a global movement.

Shigematsu’s relationship with the clay medium is exceptionally organic: her artistic process follows the tenet that the ceramic form is “found” through its making; she uses weight and gravity of wet clay to guide her hand as she builds the form without any prior planning. Her process of making brings attention to the materiality of ceramics and highlights the tactile quality of ceramic production via a meditative, sculpting process involving clay coiling, hand-pinching, and other non-wheel thrown techniques. Her glazes are also intentional and unconventional. She uses a pale, pastel color palette in her sculptures, which goes against an aesthetic convention in Japanese pottery that works of art in clay should reflect the visual properties that clay provides. In other words, she rebels against the notion that “clay should only look like clay.” Shigematsu has indeed emerged as a radical artist who has established a unique and influential artistic practice.

As a co-founder of the avant-garde group Sodeisha in the 1940s, Suzuki Osamu was integral to the modernization of Japanese art after World War II. He and his peers were the first to create ceramic sculptures that functioned solely as aesthetic objects rather than functional items, and with this whimsical piece he takes his work fully into the realm of sculpture. Titled “Cap Of Cloud”, this piece has the unique, playful quality of Japanese animated cartoon and comic culture. One can imagine the artist arriving at this organic form after a day spent looking up at the sky and forming mental shapes from the clouds. Suzuki has realized this work in his signature Shigaraki clay, that he has overlaid with several layers of red englobe and then sprayed with ash to achieve the two distinct red and reddish-brown colors. Suzuki’s forms and colors are rooted in nature, both of the earth and of the sky. An awareness of the natural world and of the changing of the seasons lies deep within the very soul of Japan.

Born in 1940, the sculptor-artist Miwa Ryosaku, brings a very modern eye to the traditionally vessel-bound canon of Hagi-ware. The twelfth member of his family to hold the title “Kyusetsu 休雪,” the artist closely observed his father and uncle create Hagi pottery from a young age, quickly becoming familiar with the style’s distinctive materials and techniques. While Miwa uses the characteristic white tones of traditional Hagi glaze, which has been in use for twelve generations, he departs from tradition in both form and function. The artist renders spontaneous personal feeling in clay, exposing human passion and emotion not unlike the masters of Western modernity. Miwa studied Goya, Van Gogh, and Soutine as a student in Tokyo, and admired the powerful expressionism of Modernist painting.

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Shigematsu Ayumi 重松あゆみ

(b. 1958)

Jomon Spiral, 2015 Stoneware (h) 14.5” x (w) 12.5” x (d) 13.9” (h) 37 x (w) 32 x (d) 35.5cm

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Shigematsu Ayumi 重松あゆみ

(b. 1958)

Jomon Recollection, 2016 Stoneware (h) 17.7”x (w) 20.4” x (d) 14.3” (h) 45.0 x (w) 52 x (d) 36.5cm

>

Shigematsu Ayumi 重松あゆみ

(b. 1958)

Yellow Jomon, 2018 Stoneware (h) 12.7” x (w) 11.0” x (d) 10.4” (h) 32.5 x (w) 28 x (d) 26.5cm

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Shigematsu Ayumi 重松あゆみ

(b. 1958)

Jomon Remnant, 2020 Stoneware (h) 12.4” x (w) 11.2” x (d) 10.4” (h) 31.5 x (w) 28.5 x (d) 26.5cm

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Kumakura Junkichi 熊倉順吉

(1920-1985) Irabo Glazed Clay Statue 伊羅保釉 泥像, 1960s Stoneware (h) 7.5” x (w) 3.2”x (d) 2.4” (h) 19.0 x (w) 8.1 x (d) 6.0cm With Signed Wood Box

> Suzuki Osamu 鈴木治

(1926-2001) Cap of Cloud, 雲の帽子, 1984 Stoneware (h) 24.5” x (d) 10” x (w) 15.2” (h) 62.3 x (d) 25.8 x (w) 38.8cm Signed す ’84 at the bottom With Signed Wood Box

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< Miwa Ryosaku 三輪龍作

(b. 1940) (Left) Hagi White Glazed Sculpture “LOVE”, 1993 Stoneware (h) 13.7” x (w) 15” x (d) 7”; (h) 35 x (w) 38.2 x (d) 18cm Signed Ryo 龍 at the bottom With Signed Wood Box (Right) Hagi White Glazed Sculpture “LOVE” (Triangle), 1993 Stoneware (h) 8.7” x (w) 9.3” x (d) 5.4”; (h) 22.3 x (w) 23.8 x (d) 13.8cm Signed “R.MIWA” at the back With signed wood box

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