Local Artist: Mike Saul   1 comment

Today we had a small get together at Steve DaSilva’s place with a basics course on repotting, sifting soil and digging trees from Steve’s field.

Master Saul, showed us the finer points of repotting a small juniper. Mike is meticulous in his style of working on trees. Much of this is probably due to his work with Ryan Neil, who to, is very meticulous about not only his work but how he teaches. A lot of responsibility is shouldered by those willing to get up in front of people and teach this art. Nobody is ever going to complain because you taught and showed them the right way. That’s what Mike did today. If you were not there today, you missed a great opportunity for some bonsai comradery, repot instruction, use of the greatest soil sifter known to man and digging trees from a great field.

Mike started his talk with preparing the pot the tree will be placed into. This pot needed wire ties and screens affixed. Mike showed the proper way to bend the screen staples to hold the screen into the pot.

He also told the story of wasting wire by cutting it longer than necessary for affixing the tree into the pot. A neat tip: just wrap the wire around the circumference of the pot and allow that length for the tie wires. Easy peasy.

You can almost read Mikes mind here….”Yes, I was getting to that”

Mike now has his pot prepared and is ready to remove the tree from the pot and do the root trimming. Mike shows us how the tree should be placed in the pot making sure it is off center. In this case since it’s a slanted tree it needs to be very close to one side.

After a 15 minute wrestling match with the tree he was able to free it from the pot without breaking it. Mike is a gentle and patient guy, I would have taken a hammer to it.

Mike takes his time and reduces the root ball until it fits into the pot with about 3/4 inch all around for soil backfill.

Mike puts a scoop of soil in and checks the height. He says the height is important because if planted too high the force of watering will eject soil from the pot exposing roots.

Another half scoop of soil under the core and he places the tree and squishes it in. “Squishes it in” is a technical Japanese term used in Japan during repotting.

Sit back, relax, take it in, “Is this what I want?” Once its backfilled it’s done. Screw it up now and you have to wait another year to fix it.

Upon the obligatory rest period for reflection, Mike backfills the pot with the correct soil. This is a proprietary blend he has purchased pre mixed and sieved for size. He runs it thru the screens one more time to remove dust. Mike uses the chopstick for moving soil down to the bottom of the pot. Mike says it’s important to make sure there are no air pockets that could cause the roots to die.

These are not mere cheap chopsticks, these are traditional Japanese signature chopsticks from Sakura Chaya. Check the registry on the Ginza, they will be there.

Soil is tamped down and we see Mike holding the tree by the trunk assuring us that the tree is affixed properly in the pot…as long as a wire doesn’t break or a wire doesn’t shift in the hole we should be good for the season.

Mike compresses the soil and covers it with a fine layer of Goki Moss, (chopped orchid moss) to keep the soil from washing out of the pot until the moss helps establish roots at the soil surface.

Now….the look I have seen a hundred times!! It’s after the work is done and you take that last look at the tree and notice that you needed to bring the front of the tree a little more forward in the pot. It feels as though it tips backward, and it may not, but it’s a feeling the compositions will make you feel.

Next year Mike!

The tree is complete. Mike said he will water it in when he gets home and he allows the water to run for a couple minutes until it runs clear. This assures any dust in or on the soil will be rinsed from the pot. I personally wish to thank Mike for picking up the reins and doing this kind of stuff. This is invaluable information and every new person should see this again and again until it is retained to rote.

I been doing Bonsai myself for 36 years and I know I learned a couple things, Mike Saul, ladies and gentleman.

Posted January 18, 2020 by California Bonsai Art in Spotlight on Artists

Loropetalum “Snow Dance” 098   Leave a comment


Keeping with my theme of flowering plants for Bonsai, specifically Shohin, I found this gem at the nursery. The first thing that caught my eye was the size of the leaves. They were so small. The stems looked like that of manzanita, and so I asked. No, it was Loropetalum. I was familiar with the plants, as Ray Thieme now passed on, had several of the plants. Gene Nelson, now passed had the plants from Ray and they have been on loan to the GSBF collection, Clark collection at Shin Zen.

This is one of the plants that the Clark has, it is the white variety.

This one below is the pink variety.

The one I found is called “Snow Dance” and will have white flowers. This is why it is called the “Chinese Fringe Flower”.

The plants I found are just one gallon plants. I had never seen this plant in one gallon.  I have no idea what they look like yet, but will soon find out.

Look at these tiny leaves.

Posted January 16, 2020 by California Bonsai Art in Uncategorized

Flowering Bonsai, Shohin Bougainvillea   Leave a comment


Make no mistake about it, I love Shohin Bonsai. My love for the trees has spilled over into the flowering world. This year I have included Crape Myrtle, Pomegranate and now Bougainvillea into the mix. I had not considered flowering species in the past due to the heat here , but now with retirement I hope to cultivate more of the delicate species of tree for bonsai.  The cultivar I chose and it was no mistake was a evergreen species, that flowers all summer and has two colors on the same tree. It blossoms out dark orange and turns hot pink on the same flower, all the while having both colors on the tree at the same time.

This is a very fast grower and the picture shows the plant at just about full grown. It only grows about 18 inches tall and spreads a couple feet. Just about the size you see in the photo. It is evergreen but due to the climate it has lost most of it’s leaves. Some still reside out at the tips. This is in a five gallon can and has a 1.25 inch trunk. I have not seen any this size, so I bought it as soon as I saw it.

The flaky bark is falling off right now like most trees that will shed a layer of bark at the onset of Fall. These are just some views around the plant.

I started by pruning off what I absolutely did not need. I didn’t need those shoots with the thorns. They are hard and sharp and they mean business. One stuck me and I had to apply pressure for 15 minutes to get it to stop bleeding.

Now It is really cut back to the trunk.

So this is my final product. Just a nice little trunk to build a small canopy on. The foliage is fairly small, and I think if it blooms quickly I won’t spend a lot of time fussing on branch training. Just guide it to a pleasing shape and keep it pruned back. The nursery said it will bloom on 1 inch long wood. Can’t wait to see that.

I cut off a couple roots while the plant is undisturbed.

…and this one. Wiki tells me that they don’t like their roots messed with, but I will need to get the roots reduced to get it into a pot. My first move when the weather clears up, raining currently, will be to keep as much soil intact as possible, but get it into a small colander so the roots will crop themselves in the pot.

I kept these three cuttings. They are of good size and like most vines, bougs root from hardwood cuttings pretty easy. I dipped them into hormone and planted them out. Each one is capable of making a cool tree very quickly with what each has to offer.

Tripper Gets a makeover.   2 comments


This small California juniper got it’s name back in 2005 after I tripped over it coming down off the mountain collecting a larger juniper. It had a long branch that came out sideways and it caught my foot and I went down, shoval, pack and juniper in slow motion like a skateboarder wiping out on a crack in the sidewalk. The stub from that bastard branch is pointing right at us, and when I finally got my bearings and stood up, I looked at the stupid tree and kicked the shit out of it. The branch was badly cracked and I sort of grinned. Serves you right stupid tree. I grabbed a hold of it and shook it, and the action from the glorious tripping action, coupled with the well deserved kick had loosened the tree considerably. Hmm… if I cut that stupid branch off and dig a little I can take this scrawny tree home too. Fifteen minutes later…I was bringing two trees down the mountain. When I got home I was not prepared for an extra tree and so planted it out in this mop bucket. It really isn’t very big.

I have virtualized the roots off, but it literally had no roots just like this picture. I just sawed off the two large roots holding the tree in the ground. They could have been 50 feet or longer.


This was the photo I removed the roots off of to show how well these things can bounce back if they decide to play. This one did and I put it into a pot for the first time. The reason for putting it into a show pot so soon is just a matter of, the tree is only going to move so fast, and since it take many years to get something good foliage wise to work with, doing so in a bonsai pot is just as good as a large box. I’m not building trunk size nor large branches, and the tree will push mostly whips to style with anyway.


So by now I had a pretty good tree. It was taking shape really well and the tree was gaining strength every year. The tree was in a very nice Chinese pot. I still have this pot and I need something cool to put into it.


For some unexplained reason the entire left side of the tree died. Probably the roots on that side gave up, or it burnt up from sun exposure on that side, I’ll never know.


The tree had been growing along in the pot for the last five years gaining strength and getting ready for me to insult it yet again. I pulled the tree from the pot and found lots of roots…..all on the right side of the tree. In fact the roots were strong and one of them in five years grew to over 4.5 feet long, winding itself around in the pot three times. How they do this is a mystery.

Here is a photo of the roots coming from the right side of the tree. The left side is now dead.

The reason for this repot this year and feeling like this one could go another year without working on it, was that the tree was very loose in the pot. I suspect that as the left side died off the wire holding in the tree on that side did nothing and the tree just continued to loosen. I decided that it needed much more of a base to sit on. I screwed a piece of plywood to the bottom of the tree.

Upon setting the tree in the pot, it was much to low. I added a couple sticks to elevate it and tied it all in with wire.

This pot from the Seizan kiln and potter Katsushi Kataoka.

This pot has plenty of drainage holes.

The tree is now ready for work. It is very stable now after filling with soil and the tree does not rock any more. I was really afraid that the way it rocked I might break roots and kill the right side too. Now it is safe.

I begin the tedious task of wire on all these whips and shoots.

I was able to wire out all the branches , though I was not happy with the middle portion, being long on some branches. They would have to be repositioned or cut shorter as they went up the tree.  I’ll do that later but now I want to dress the soil.

I started by leaving the soil low about 1/4 inch below the rim of the pot. I began to add a layer of fine akadama to the coarser soil that the tree grows in. This is very small akadama. I don’t do this to my trees as a general rule, but I have an exhibition coming up in March and I may want to exhibit this tree and the soil will look better if it has had time to “age” before exhibiting.

The soil surface now is covered, and the pot rim is about an 1/8 inch from the akadama. I spray the surface with a spray bottle and let it sit for five minutes. I spray again and let set for five minutes. Now the surface is ready, the akadama has been drenched and now will allow the components to “glue” to the soil surface. This allows the edge of the moss to adhere and not dry out and curl up like I have seen sometimes, or dry out and crack.

I collected the moss in my usual private moss collecting site. This is the good stuff, very fine and no long hairs like the way sphagnum can look.

The moss I collect is growing on red clay. It is exactly what akadama looks like when it gets wet. I use a spray bottle and spray each piece and then take my knife and carve and scrape away the clay around all the edges. I do this at an angle and leave the original thickness in the middle. When I apply it to the soil surface, it creates a dome of moss as it drapes over that which I leave in the middle.

I begin planting all over the soil surface. I leave some spaces so that I can come back and put in different colored moss for a change of color and texture. As I work I spray the patches of moss with water and press them down hard into the soft akadama.

It is mostly filled in now and I came back and add some other details, like lichens and deer moss cut and teased out into smaller pieces.

After it is done I come back in and sift on fine akadama, lava particles. Only what sifts thru a window screen. This seals the spaces between the moss and keeps the whole thing from drying out, but still able to pass air and water thru the matt.

The tree is finished and the branches adjusted or pruned for shape. I took the final pictures, one on a grass matt and one on blue felt.

It dawns on me that the original pot has already been made better this year with the repot of this maple.

Cutting Back an Old Pyracantha   1 comment


This pyracantha was taken from the parking lot of a shopping center under demolition. I dug five and have two left. Two didn’t make it and one I traded for another piece of material. They were taken in the heat of summer and for a pyracantha that would be great for a repot on a tree with great roots, but these were basically ripped from the ground to stay ahead of the demo equipment. That two survived is a miracle. When I dug this tree I intended for it to be a shohin size tree. It seemed quite small, but 16 years ago my idea on how tall a Shohin tree should be was larger than 8 inches!

It began to bounce back and started pushing green things. This large tub, probably twenty gallon, has a lot of fluff over the top of the soil. Mostly dead leaves from the trees it is under.

Within two years I had put it into it’s first pot. It was during this time that I made the five walnut stands. The dark spot on the right side of the trunk is about the line that was shown above sticking out of the soil. The interesting part now showing was buried. The tree is about 12 inches tall.

In 2006 I repotted in another pot. This one was a tad too small. Branches are beginning to elongate.

In 2007 it went into a different pot. This one was deeper but still on the small side. At this point I was trying to develop layers in the branch structure. At this point I should have paid more attention to structure rather than outline.

In 2008 I purchased this pot from Kanemi Muranaka. I wish I had it back but it had a hairline crack in it and I sold it with a plant many years ago. That same stand finished.

This is typical two month growth. Lots of shoots that can be trained but cutting them back short needs to be done almost daily. A working man hardly has a chance. The thorns makes this like pruning a rattlesnake.

In 2011 I put it into this large shallow oval pot. Unglazed in a dark brown. I liked this pot and had it been finely glazed I would have kept it in this container.

In 2017 I potted into this Tanibanchi pot from Garrett Ryan.

In Spring of 2018 I entered it into the local Kazari exhibition. The year of the teal stand!


Its been 17 years since any major work has been done to this tree. Most of the branches have grown very large and that is mostly due to the growing nature of the material. Since pyracantha grow from any where on wood, new or old, they constantly send out shoots. The shoots they send out tend to be almost always on the upper part of the branch , straight up. It is very time consuming constantly pruning off this unwanted growth in favor of side shoots. The side shoots are sparse and seem to be sub dominate.

Pyracantha is an evergreen and never stops growing. It may slow down in winter, but it does grow. I started by removing all the leaves so I can evaluate all the options. At this point, the top portion with leaves is where I want the canopy to finish, at just the line between no leaves and leaves. I just feel the tree continues to get taller and I don’t like the long neck the tree is developing.

Looking at dead center upper middle we see this thin tall straight section.

This section right here. For me this is tremendously distracting and a part of the tree that always bothered me, but did not know how to correct it due to the nature of how the tree is made.

If I rotate the pot about 15 degrees to the right I can see how the top is put together. There are two distinct branches that make up this crown.

The part in red comes off low on the back of the trunk, and it has a little wiggle in there. The branch in blue, jut out just above the jin portion of the trunk since collection. It moves out right and becomes a primary branch. So all along it has never really been as simple as just cutting it down, because there is nothing to cut down to. One would actually remove everything and start over, which is something I never wanted to do. There is something in there I can show at least so that is a goal to work towards.

Pyracantha’s really never build a twiggy branch structure. They build foliage by shoots. They will shoot all over branches and for the most part straight up. This close up shows all the stubs sticking straight up.

These areas had become clogged with foliage and were not tidy. I will make it my job to fix these areas and build finer branch structure here.

At this point I have done some really invasive pruning. Taking out heavy growth that is doing noting other than elongating branches and adding nothing to the composition other than just increasing size. My wish is to force more lateral branching on the heavy branches I will keep in favor of the straight up type of growth. I am hoping that being retired will give me the time to keep this up, and after a season or two I may have three pyracantha for sale! In this view I have reduced the top and turned the tree to show that double area in the middle that gives a thicker impression rather than the straight bottle neck I had. It’s not perfect but I can’t go lower, so find a better view.

Here is the same view head on and the thin bottle neck. Just scroll back and fourth and see the difference.

Now I have really gotten crazy and reduced the top even further. I still wanted the tree shorter and I am whittling it down.

I needed to get this in a pot so I could see what I was working with on a new front. The pot was really full of roots after two years. The roots had pulled the screen right out of the holes and a full 1/2 inch of roots between the screens and pot bottom.

The tree is repotted and this is the new view. I like seeing the better transition between the trunk and the apex. It seems to have some shaped wood there rather than a 5 inch long straight section.

I just can’t stop. Each time I take a photo, I see places where I don’t wish to try and build on portions that are too long. I want finer branching in closer to the trunk and not so far out. I am getting closer.

This branch is really distracting. Covered with foliage it would barely be seen. I would know it’s there. I have taken off so much, I can’t leave it when I have the pruners in hand.

So I have covered all the aspects of the flaws I wished to work on this go around. I have changed the front to show the two branches that make up that straight area that wasn’t seen before. I have pruned back all the areas that were clogged with overly long foliage shoots and a multitude of straight up shoot stubs.

Keeping the right side shorter and the left side longer for slanting tree counter balance.

The obligatory drama shot.

So what ever happened to all those branches that I cut off?

I pushed them all into a colnader of soil and will hope they all take as cuttings. Some of the branches were over seven inches long and made ready made trees with wire and sub branches still on them. Then some of them were only a couple inches long, but if they root will make some little Shito trees for a collection of pots I have.

This is the collection of Shito Thumb pots I have. Some of those little trees may look pretty cool in one of these.

Pyracantha being a pretty masculine tree will look right at home in this Ken To “Man Sack” pot!

How can I make my bonsai look old?   Leave a comment

I have been asked this question many times. The easy answer is start with an old tree. This can be accomplished thru many ways. Start with old material from someone else. Start with collected material from nature. Maybe start with an older tree from a growing field. This material may not look old from the get go, but the trunk and branches may already have the older bark or patina of age such as rotted scars and dead stub of old branches. This gets us moving in the right direction.

So what is the image we wish to produce? For me, I think some of the native oaks in my foot hills moves me in the right direction. This image can be conveyed on many species of material.  Good for maple, pyracantha, elm, oak, and many fruit and nut trees.

What is it that these trees have in common? Sagging heavy branches. The sheer weight and the decades of age have weakened the branches and moved them downward from the sheer force of gravity. Just one of the large oak branches extending outward and 25 feet long could weigh as much as a 1000 pounds. The tree is just not equipped to handle that much weight extended out that far from the trunk.

The tree didn’t always look like this? As a tree sprouts fourth from the ground it grows straight up and fast. It need the sun to make food and so builds branches fast. This tree is young and the branches grow outward in an effort to see it’s own sun. They are young and do not weigh much at this point and the wood is strong and able to handle the load. Notice on the trees below that the branches are still upright and show youth in their feeling.

How might this process look thru the decades? It would look much like this below. One of the things to notice is that even though the older tree has sagging branches, notice that the attachment to the trunk will often show the angle of the branch when it was young. It will show the signs of growing upright, and then sagging from the weight often showing a bowing fashion.

Showing our branches bent in a downward fashion is a sure fire quick way to introduce age in a bonsai. Other than a broom shaped bonsai I can’t think of another reason to have all upright shaped branches. Sure some near the top being young could exhibit this phenomenon, but most of the lower half of the tree would exhibit bent down branches. Dan Robinson has used this technique to his advantage over the years by exaggerating the bent down gnarly branching he is known for. For me there are too many small branches in the top of the tree showing too much age, and it would not be very effective to have a large number of small branches in the top sagging? But the contrast of dead wood against the lush foliage is dramatic.

This elm makes good use of lower branches beginning to sag. While most of the tree looks young, there is just enough sag to convey the image of age. A very good use of aging technique.

Drop branches are a dramatic and interesting way to convey age. Of course the tree could not support the weight of the length and so sagged. Though still alive, it becomes part of the story.

Drop branches can also be jin. They don’t need to be alive to help tell the story. Many times I have wired a branch after I have stripped it of bark and bent it into a drop branch to help show age.

Here I have wired a branch after the jinning and have used it to move downwards to help convey age.

This pine has multiple techniques to help convey age. Not only are the branches sagging downward, we have the look and feel of the aged bark. Heavily plated bark on a pine is a great way to help assure the illusion of age. It does take many years to achieve that look and so it is a true indicator of it’s age.

Another indicator of age is a flat spreading nebari (root mass). These examples show the pancake nebari that some in Japan specialize in. These dinner plate roots take many decades of work to achieve and although the branches may not droop, they don’t have to because the roots and ramification in this case say all there is to say. I’m old!

Have fun guys and gals

Winter Shohin Displays   Leave a comment

I love the winter time and playing with trees like I played with my trains when I was a kid. I had the backdrop up from taking pictures of the pots and decided to take the opportunity to shoot some tree too. When displaying trees on a tiered rack or box stand some thought has to go into the pairing of the trees. I toyed with three displays. Let me explain my madness.

Lets look at an initial set up. Four trees and an accent. The trees seem prepared correctly. Groomed and pots cleaned. Due to the size of the stand and the height of the trees, peripheral stands are kept to a minimum. I only used a very thin stand at the top under the main tree. This is a slanting tree and since all the rest of the trees under it would talk to one and other, this top tree would set the direction of a stand alone accent if it had been used. In this case my table is rather short and just enough room for the rack, so the accent was placed in the space in the middle which is a bad position for a tree. The accent is on a small round Chinese stand. I like the interplay of the trees and the assortment of colors with in the display. Only the pine is in an unglazed container which is appropriate.

So, the eye is immediately drawn towards the red Saraku pot with the elm in it. Following the trunkline, the eye is taken right out of the display. Obviously it is pointed in the wrong direction. The trident in the turquoise Koyo pot according to the movement of the trunk upon exit of the soil is to the left. That should be correct for placement on the right side of the display rack. The problem is after that two thirds of the weight of the branch mass points to the right. Visually it moves right. I need to switch the two trees. My problem, I don’t want the shape of the trident to compete for placement with the pine. I want more visual separation between the pine and the maple.

So what I did was turn the rack around. I placed the trees in the same positions on the rack, but now they face the other way. I also removed the small stand from the accent and placed it on a small plinth. Now I like it.

Pots; Pine-Yamaaki, Elm-Saraku, Trident-Koyo, Twin trunk Trident-Barrett, accent-Sharon Muth

In this next display, we pay homage to Maple in Winter.

Once again I like the interplay between trees. Even though they are all the same, each one is different. There is variety in the pots with many different colors and visual textures. The playful stripes of the Satomi pot mingles well with the broken crackle glaze of the Keizan above. As I step back and look the small trident in the bottom is definitely pointed the wrong way. The tree above, another trident, the weight of the canopy pulls the eye right. The wrong position for this tree. Again I have no way to turn around the small tree.

After turning the stand around again, I can put the small maple back into the small space for that tree. I have only chosen to place the small maple on a stand this time and left out stands on all the others. 1. they carry enough visual weight. 2. they are pretty tall trees to be on a stand on a stand. Ecah tree becomes to vertical. After moving the trees around I decided to leave the two larger trees alone and put them where they were but at different levels. I allow the bottom of the trunks to dictate direction. The canopies are to subtle to make a difference in my mind. I am happy with this display.

Pots; Trident-April Grigsby, Rident-Banko, Trident-Keizan, Trident Satomi, Accent-Sharon Muth.

Mixed bag display.

This display contains many species of tree. Once again we see a stand under the small pine on top. Two of the pots are similar in color and the pot on the olive disappears on the dark background. I like the display but the Willowleaf is pointed the wrong direction.

I liked the configuration of the stand and trees and so to fix the problem, traded places with the olive and the willowleaf. Even though the small trunk leaving the large base on the olive exit right, the canopy is large enough, and well balanced to the eye to make much of a difference. Not enough to tear the whole thing apart. This display contains a pine on top, a slanted Japanese maple, a willowleaf fig, and the olive.

Pots; Pine-Bigei, Japanese Maple-Yamafusa, Willowleaf Fig-Emie, Olive-Yamafusa

The Japanese Maple above right was repotted today for this exercise. It was repotted into this Yamafusa pot.

Hint: Rotate the pot and find the side with the best pattern. Many times a person will repot into a pot that has a texture in the glaze only to find when done the best side now faces the back of the tree. Don’t be a Bo Bo, check both sides.

Uninteresting glaze on this side.

This side of the pot has much more interest in the glaze detail with a wave of texture in the glaze with the dark crystals. This is the side we will use for the front.

Close ups of the pots. These pots were not in the cleaning pots post. These are much more expensive pots.

April Grigsby, April is an exceptional potter. She pays a lot of attention to the form and function, and that is important for the health of the tree. This pot is exceptional because finding deeper Shohin pots is very hard. Mokko shape with transparent leaf green glaze. Rather masculine is stature but the rather feminine nipple feet soften the feel. $$$

Yamaaki Kiln, Second Generation Potter Kataoka Sadamitsu, Unglazed rectangle with high sides for plant health and cut corners. Ultra smooth finish and simple lines make this masculine pot a favorite for a pine.  $$$$

Koyo Kiln, potter Aiba Kouichirou. Traditional oval shape with sloping sides and rather deep walls for health. Famous for his oribi glaze with burst crystals. $$$$

Yamafusa kiln, Koie Takehiko. Rounded rectangle style with rather low sides. Gentle sloping sides, and no lip and enough volume to keep a maple happy. Oribi glaze with black crystals.  $$$$

James Barrett, a home potter that has been around since bonsai came to America. His pottery is known world wide and is all over the United States. He has won numerous awards with his pottery and this pot is no exception. The thick snow type glaze expands in the kiln breaking open and creating texture. Oval pot style, slip cast from his own molds.  $$

Yamafusa kiln, Koie Takehiko. This small oval pot has gentle sloping sides, no lip,  and has enough depth to keep a tree happy. This one is glazed dark Indigo Blue, almost black. It contrasts well with the olive inside it.  $$

Saraku, One of the more modern pot makers out there. Very contemporary styles with different feet and legs. This pot has flat out turned edge and the unique feet keep this one a center of attention. Outlandish glaze colors make this potter a favorite. $$$$

Satomi Terahata, A prolific potter in the shohin genre. His pots are typically painted and glazed. Typical lipless oval. Very small pots and barely usable for a maple.  $$$

Bigei Kiln, Atsumi Hirata. One of the best old potters from Japan. His pots are vy far the most worked and smoothest you will ever feel. His clay is burnished and fired leaving a pot with a feel of velvet. Mostly unglazed but I do have a glazed Bigei pot. This basket weave is most unusual, and no lip. He also likes to make pots with nail heads and rivets.  $$$$

Youzan, (Eimei) – Artist ; Shimizu Hideaki. Rounded rectangle in oribi glaze with no crystals. Out turned lip with good depth. Functional Shohin pot.   $$$

Banko Good solid oval pot with interesting double glaze effect. Out turned lip and smooth finish. Great depth , good for any Shohin size plant. I have this in rectangle also.  $$$

Keizan Kiln, potter Hisada Shizuo. This formal rectangle has sloping sides and out turned lip. The antique tan crackle glaze makes this a very sought after pot. I am lucky to have this. $$$$

Sharon Muth, this small hand made pinch pot is not unlike hundreds made over the years by many people wishing to make their first pot. The turquoise foamy glaze, intermingled with black,  is what makes this special.  $

$………15.00 to 30.00+

$$…….40.00 to 75.00+

$$$….100.00 to 175.00+

$$$$..180.00 to 400.00+

%d bloggers like this: