Joan B. Mirviss LTD

Joan B. Mirviss LTD Modern and Contemporary Japanese Ceramics and Fine Art Follow us on Instagram and Pinterest!

Specializing in Japanese fine art for over thirty-five years, Joan B Mirviss LTD features Japanese screens and scrolls, woodblock prints (ukiyo-e), and modern and contemporary Japanese ceramics in its Madison Avenue Gallery. Joan B Mirviss LTD will continue to bring audiences in New York, around the country and abroad the very best in Japanese fine art, featuring solo shows by important ceramists

and exhibitions of antique woodblock prints. As always, you will find us at the Winter Antiques Show, the preeminent art and antiques fair in the country where we have exhibited as the leading dealer of Japanese art for thirty years, as well as SOFA NY, one of the most important and popular art fairs to present the works of leading and emerging artists in contemporary decorative arts and design. https://instagram.com/joan_b_mirviss/
https://www.pinterest.com/joanbmirvissltd/

Another amazing museum collection Joan saw during her trip to Japan! This fantastic grouping of works at the Museum of M...
06/17/2026

Another amazing museum collection Joan saw during her trip to Japan!

This fantastic grouping of works at the Museum of Modern Art, Kyoto features avant-garde artists from three important post-war art movements — Gutai, Sōdeisha, and Nika-kai.

All three artists are powerhouses in their respective movements, whose work defined the landscape of post-war Japanese art.

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Yoshihara Jiro (1905–1972)
Work (White Circle on Black Ground), 1968
Oil on canvas

Yagi Kazuo (1918–1979)
Jar with Two Small Mouths, 1950
Stoneware

Yagi Kazuo (1918–1979)
Mr. Samsa's Walk, 1954
Stoneware

Yamaguchi Takeo (1902–1983)
Two Crisscrosses, 1958
Oil on plywood

A modern reference to Edo-period painter Nagasawa Rosetsu's (1754–1799) work, this painting by Nihonga painter Okutani S...
06/15/2026

A modern reference to Edo-period painter Nagasawa Rosetsu's (1754–1799) work, this painting by Nihonga painter Okutani Shūseki (1871–1936) captures his subjects in a moment of quiet tenderness.

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Okutani Shūseki (1871-1936)
Black and White Akita with Puppy, ca. 1910–20
Ink and gofun on paper; hanging scroll
42 x 14 1/4 in. (exclusive of mount), 72 x 20 1/2 in (inclusive of mount)

長澤蘆雪筆　雪中狗子図襖 Puppies in the Snow
Nagasawa Rosetsu 長澤蘆雪 (Japanese, 1754–1799), Edo period (1615–1868), 1792–99
Set of four sliding panels mounted as a pair of two-panel screens; ink and color on paper
Image: 66 7/16 × 72 1/16 in. (168.7 × 183 cm) / Overall with mounting: 68 × 74 5/8 in. (172.7 × 189.6 cm)
2015.300.203.1, .2, The Metropolitan Museum of Art

Dogs, ca. 1786
Inscription by Shikyō Eryō (1722–1787)
Hanging scroll; ink and light color on paper
139.4 x 53 cm
Signature: Heian Rosetsu
Seal: Gyo (ice-shaped relief)
Private collection, New York

06/13/2026

Korean immigrants from the 5th century played a huge role in the development of Japanese ceramics. See how the potter's wheel and the tunnel kiln allowed for the emergence of Mori Tōgaku's iconic Bizen style and changed the landscape of Japanese clay art forever...

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Potter making vase on wheel. Herbert Geddes, 1908–1918. University of Victoria Libraries / Flickr: The Commons

Katō Ryōtarō's tunnel kiln, 2026.

Large Storage Jar (Ōtsubo), Kofun period (ca. 300–710), 6th–7th century
Stoneware with natural ash glaze (Sue ware)
H. 19 5/8 in. (49.8 cm); Diam. 21 1/2 in. (54.6 cm); Diam. of rim 11 in. (27.9 cm)
1975.268.420, The Metropolitan Museum of Art

Storage Jar: Sueki Ware, 700s, Japan, Nara period (710-94)
Stoneware with incised and impressed decoration and natural ash glaze
Diameter of mouth: 23.8 cm (9 3/8 in); overall 49.2 x 50 cm (29 3/8 x 19 11/16 in.)
Cleveland Museum of Art

Storage Jar: Sueki Ware, 700s, Japan, Nara period (710-94)
Stoneware with incised and impressed decoration and natural ash glaze
Diameter of mouth: 23.8 cm (9 3/8 in); overall: 49.2 x 50 cm (19 3/8 x 19 11/16 in.)
Cleveland Museum of Art

弥生土器　台付鉢
Tall-Footed Bowl (Hachi), Yayoi period (300 BCE–CE 300), ca. 200–100 BCE
Earthenware with pigment
H. 9 5/8 in. (24.4 cm); Diam. 11 1/8 in. (28.3 cm)
The Metropolitan Museum of Art

Recumbent bottle (Yokobe), Kofun period (ca. 300–710), late 6th century
Stoneware with natural ash glaze (Sue ware)
H. 14 5/8 in. (37.1 cm); Diam. 17 3/8 in. (44.1 cm)
2015.300.259, The Metropolitan Museum of Art

Long-Necked Jar (Chōkeiko), Kofun period (ca. 300–710), 7th century
Stoneware with natural ash glaze (Sue ware)
H. 11 1/4 in. (28.6 cm); Diam. 7 1/4 in. (18.4 cm); Diam. of rim 4 7/8 in. (12.4 cm)
1975.268.419, The Metropolitan Museum of Art

Urn or Jar, Nara period (710–794), 8th century
Stoneware with natural ash glaze (Sue ware)
H. 9 in. (22.9 cm); Diam. 10 3/4 in. (27.3 cm); Diam. of rim 6 1/8 in. (15.6 cm); Diam. of foot 5 3/4 in. (14.6 cm)
1975.268.424, The Metropolitan Museum of Art

06/10/2026

Earlier this year, Joan moderated a panel discussion presented by Winter Show in collaboration with Week New York Association , and we are delighted to announce that a recording of the panel is now available!

"Shaping Taste: Asian Ceramics and the Making of American Art & Design" explores how Asian ceramics profoundly shaped American art and design, influencing not only domestic ceramics but also painting, silver, glass, textiles, and interiors. By tracing their impact on palette, form, and subject matter, our panelists examined how these objects transformed artistic expression and interior design.

Listen to expert in the field Glenn Adamson discuss how twentieth century artists influenced each other as they simultaneously deconstructed aesthetic tropes from eras before. To watch the whole panel, visit our website (https://www.mirviss.com/videos/) or our YouTube channel (https://www.youtube.com/watch?v=Ga9N5BC0Z28&t=282s).

Panelists:
Glenn Adamson, Independent Curator, Writer and Historian
David L. Barquist, H. Richard Dietrich, Jr., Curator of American Decorative Arts, Philadelphia Art Museum
Monika Bincsik, Diane and Arthur Abbey Curator for Japanese Decorative Arts, The Metropolitan Museum of Art
Ulysses Grant Dietz, Chief Curator, Emeritus The Newark Museum of Art
Elizabeth A. Williams, David and Peggy Rockefeller Curator of Decorative Arts and Design, RISD Museum

Happy World Ocean Day! Hello from one of our own sea creatures... —Fujihira Shin (1922-2012)Sculpture in the form of a f...
06/08/2026

Happy World Ocean Day! Hello from one of our own sea creatures...

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Fujihira Shin (1922-2012)
Sculpture in the form of a fish mounted on a rectangular base with blue-ish gray diagonal stripes, 1992
Glazed stoneware
Overall: 12 1/4 x 8 x 3 3/8 in.
Base: 4 1/4 x 7 x 3 3/8 in.

🍵 Exhibition Highlight — Kaneshige YūhōDuring Joan's recent trip to Japan, she visited the Mashiko Museum with former cu...
06/04/2026

🍵 Exhibition Highlight — Kaneshige Yūhō

During Joan's recent trip to Japan, she visited the Mashiko Museum with former curator Yokobori Satoshi and explored "The Power of Clay," a solo exhibition of ceramics by Bizen artist Kaneshige Yūhō (b. 1950). A descendent of the esteemed multi-generational Kaneshige family, his traditional Bizen-style work has transformed the world of wood-fired ceramics. Guided by his humble philosophy, Kaneshige's vessels evoke the beauty of everyday life. His work is left conspicuously unglazed in the Bizen style, emphasizing the natural features of the clay and reflecting a kind of quiet confidence.

Learn more at https://www.mashiko-museum.jp/en/exhibitions/ex260308/

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Exhibition Highlight — ReMUJI–Koi Continuum by Reiko Sudo & Adrien Gardère 🎏From now until June 7th, our dear friend and...
06/01/2026

Exhibition Highlight — ReMUJI–Koi Continuum by Reiko Sudo & Adrien Gardère 🎏

From now until June 7th, our dear friend and collaborator NUNO's installation at MUJI USA will be on view. If you're in the area, be sure to stop by and check out these uniquely sustainable pieces. Admission is free!

"ReMUJI draws on that wisdom, working to preserve the value of items through our recycling efforts. We collect, reuse and recycle items that have outlived their original purpose, and also offer products with minor imperfections that are still fully functional. Ideally, when an item leaves someone’s hands, it will become part of another person’s daily life. Our aim is to contribute to fulfilling lifestyles through a “just right” cycle, where nothing is lacking and nothing is wasted." —MUJI USA

See the installation at 475 5th Ave, New York, NY. Learn more at https://www.muji.us/pages/remuji-koi-continuum-exhibition?srsltid=AfmBOorDpsCCirCAkWoA5M6a2_beynXY_NUWjBZBdsLSb0jx_viJGq3u

05/30/2026

If Mori Tōgaku didn't apply glaze to these works before he fired them, who did?! Learn more about how he utilizes natural ash in the kiln to create these beautiful speckles and drips known as 胡麻 (goma) and 流れ胡麻 (nagare goma), or "sesame seed" kiln effects...

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All works shown are included in Architect of the Bizen Renaissance: Mori Tōgaku, unless noted below.

Tea Caddy (Chaire), Edo period (1615–1868)
Stoneware with natural ash glaze (Bizen ware)
H. 3 1/4 in. (8.3 cm); Diam. 2 1/2 in. (6.4 cm)
H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929
The Metropolitan Museum of Art, 29.100.664

備前牡丹餅平鉢
Serving Dish (Hirabachi) with Circular Patterns (Botan-mochi)
Momoyama period (1573–1615)
Stoneware with natural ash glaze (Bizen ware)
H. 2 1/4 in. (5.7 cm); Diam. 11 13/16 in. (30 cm)
Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015
The Metropolitan Museum of Art, 2015.300.264

備前焼徳利
Sake Bottle (Tokkuri)
Momoyama period (1573–1615)
Stoneware with natural ash glaze (Bizen ware)
H. 8 5/8 in. (21.9 cm)
Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015
The Metropolitan Museum of Art, 2015.300.263

常滑　大壺
Large Storage Jar (Ōtsubo)
Muromachi period (1392–1573)
Stoneware with natural ash glaze (Tokoname ware)
H. 21 1/2 in. (54.6 cm)
Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015
The Metropolitan Museum of Art, 2015.300.275

Artist portraits and kiln photography courtesy of the artist and Carol Horvitz.

Museum Highlight — Yayoi Kusama at Museum LudwigThis week, we're highlighting the Yayoi Kusama exhibition at Museum Ludw...
05/28/2026

Museum Highlight — Yayoi Kusama at Museum Ludwig

This week, we're highlighting the Yayoi Kusama exhibition at Museum Ludwig in Cologne, Germany! If you are in the area, be sure to stop in to see Kusama's iconic polka dot art.

"Kusama’s practice revolves around nature and its state of constant transformation, of becoming and decay, and the boundlessness of the universe, in which everything that exists eventually perishes. The polka dot pattern used by the artist to cover objects and people is as much an expression of this worldview as her Infinity Mirror Rooms.

Experiences from Kusama’s childhood, including hallucinations in which she perceived dots, flowers, and other repeating patterns that engulfed her entire body, run like a thread through the artist’s oeuvre. A sense of fragility and obliteration accompanied these experiences, along with the impression of becoming inseparable from and merging with a greater whole. For Kusama, art is an expression of her life, and the macrocosm’s intimate connection with the microcosm is revealed through her works’ engagement with the personal." —

Yayoi Kusama is on view at Museum Ludwig through August 2, 2026.

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Installation view, Yayoi Kusama, Museum Ludwig Cologne, 2026

Infinity Mirrored Room—The Hope of the Polka Dots Buried in Infinity Will Eternally Cover the Universe, 2025, detail
© YAYOI KUSAMA, Courtesy of Ota Fine Arts
Photo: Historisches Archiv der Stadt Köln mit Rheinischem Bildarchiv, Tobias Kreusler

Museum Highlight — Toda Kōji () at Mashiko Museum of Ceramic ArtOn her recent trip to Japan, Joan was able to catch Toda...
05/26/2026

Museum Highlight — Toda Kōji () at Mashiko Museum of Ceramic Art

On her recent trip to Japan, Joan was able to catch Toda Koji's solo exhibition at Mashiko Museum of Ceramic Art. Featuring eight of his graceful ewers, this exhibition highlights the quiet tension that exists between the walls of each perfectly elegant form.

Toda Kōji first began creating water vessels after visiting the gallery of Hōryūji Treasures at the Tokyo National Museum, where he was captivated by an ancient copper water vessel made over a thousand years ago. He puts a contemporary spin on the classical Chinese forms to which he looks for inspiration, continually reimagining traditional techniques and aesthetics.

To see one of his spectacular ewers, visit https://www.mirviss.com/artworks/12824-toda-koji-chinese-inspired-unglazed-faceted-black-ewer-2025/

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Wednesday 11am - 6pm
Thursday 11am - 6pm
Friday 11am - 6pm

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