In the world of Japanese yakimono (ceramics), the signature is often more than a name—it is a map of heritage, technique, and artistic philosophy. Among the most coveted yet enigmatic marks in modern collecting circles is the inscription found on a specific series of works: Rikitake No.119 Shoko Esumi.68. For the uninitiated, this string of characters looks like a catalog code. For the seasoned collector, it represents a pivotal moment in post-war Japanese studio pottery.
The Rikitake collections are characterized by a focus on individual models, utilizing professional studio settings to highlight specific aesthetic themes. Volume No.119 follows this tradition, featuring Shoko Esumi in a series of curated photographic portraits. Availability and Archiving Rikitake No.119 Shoko Esumi.68
In the winter of 1968, at the Rikitake Geophysical Laboratory, Tokyo, a 28-year-old researcher named Shoko Esumi completed her 119th experiment on magnetic field fluctuations. The data were erratic – beautiful chaos – echoing the old Rikitake dynamo model. She labeled the final printout: “Rikitake No.119 Shoko Esumi.68”. She never published it. The lab closed in 1973. The papers went into a box, forgotten for 50 years. Now the label surfaces on an auction site, mistaken for an art object. Rikitake No
Rikitake: This likely refers to Yasushi Rikitake (or occasionally Takuya Rikitake), a well-known Japanese photographer celebrated for his extensive collections of photo books. Rarity: Because 1968 was a specific year, and model No