Maki’s earliest works were done in the late 1950s and remained rather unknown until the late 1960s. He first started producing prints using red ink in 1965 and this is probably the first example. It is also what I call a Big Red. It is very abstract and it fills up the whole sheet. Maki wanted his prints to have balance. This has it: the red field is pierced by three blue squares: two on the left side of the orange meteor-like strokes, and one on the right side...

Village scene with green mountain, issued ca. 1950s, non-limited edition.

Pencil signed in the image beneath red artist’s seal, very good impression and color, untrimmed, full margins, light toning in margins, white tape residue on back of margins, printer’s seal on back of margin.

Overall size: 11 ¼ x 17 in., image size: 9 ¾ x 14 ¼ in.

This is a brilliant example of Haku Maki's Big Red prints, his frequent use of a large red character on a black background.

Haku Maki started making embossed prints circa 1965. These in the main featured embossing that came out from the back to the front. However, I suddenly discovered that a number of prints in the 1976 - 1977 period were done with the embossing going into not out of the front This style or process does not seem to have hurt any aspect of Maki’s work nor benefited it...

A Very/Large Woodblock Print by Tsuchiya Rakuzan (1896-1976): Japan, First Editon, 23 3/4” x 18” incl. margins, Title; a Pair of pigeons beneath hydrangeas in middle of Summer, Date; ca 1930s, Signature; impressed seal “Rakuzan Kyo” and Red seal “A”, Pubisher; Self-printed, Water mark; Rakuzan Kacho Gafu on the lower margin, Conditon; It is in very fine condition but a mat bed marks on the margins only. *** Reference: Please see www.Rackuzan.net website

A print by the Japanese print maker Haku Maki, 1924-2000. He began in a career as a kamikaze pilot during world war 2. The surrender by Japan saved his life. He became a teacher and learned print making. His prints are unusual as they start with a woodblock which is carved then pressed with cement. When the cement is dried, it is carved further. A wet paper is placed on the woodblock and left to dry. The resulting image has a wonderful texture and unique embossed finish...

Still life Woodblock print of Vase by Tomimoto Kenkichi (1886-1963.) Artist's Seal: "Tomi." Date: 1955. Publisher: Adachi Hanga. Medium: Woodblock Print. Impression: Very good, printed on long-fiber Japanese paper. Size: W. 32.5cm( 12.75") x H.42cm (16.5"). Tomimoto Kenkichi was best known as one of the most influential Japanese ceramic artists of the 20th Century...

A Very Rare/Fine Japanese Woodblock Print by Tadashi Nakayama (1927 -): Japan, dated 1961, with original frame. Ptinted with metallic embellishments, of red and silver squares with black top (?), signed in pencil T. Nakayama, edition numbered 16/50, on the bottom margin, with a professional/original frame. This is a very unusual print by this artist. It’s in very good condition with color and impression, without any noticeable defects but not examined its back...

Original limited edition hand colored etching titled "Haggling" featuring Korean women in a marketplace by German artist Willy Seiler (born 1903) from his Korean series. Signed in pencil on the lower margin. Reverse with limited Korean edition seal marked Plate #68A/110, stamped in red "original hand colored," and with Seiler's address in Japan (see enlargements). Willy Seiler's etchings captured the essence of life in rural Japan...

An Extra Large/Rare Kappa-ban by Yoshitoshi Mori(1898-1992): Japan, 27” x 19 3/4” or 68.5cm x 50.2cm...

Scene from a Noh play, published 1922-1926

Signed Kogyo on lower left with artist’s seal, fan-shaped publisher’s seal, fine impression and color, visible woodgrain, overall good condition

Oban tate-e: 10 x 14 ¾ in.

Bakufu Ono, oban tate-e, one of the ¡°Great Japanese Fish Picture Collection (Dai Nihon gyorui gashu)¡±, dated 1951, published by Kyoto, Hanga-in, slightly toned, fine impression and color.

Work 73-5 is a funny, lively snowman--or snow child. It is number 28 of an edition of 103 and measures 9.5in W x 17.5in H.

A Fine Japanese Woodbocl Print by Paul Jacoulet (1902-1960): Japan, Dai oban Yoko-e, 18 3/4” x 14” incl...

This Maki Big Red has the Kanji (Chinese character) for Flower as its theme. The Flower is red and strong; it is set off by a black Sun to the right. A blue tear balances the sun on the left. Maki’s seal in red ink paste, is below the tear, also at the left. Although Maki himself printed this image, the ink looks as if it was layered on by hand. This is 133/154; Print size is about 11” x 18”. We note: the paper in this print is smooth, it does not have the moon-surface effect...

In 1966 Haku Maki produced one of his many abstract series. He did Cell and he did Proportion Here I show Proportion 10 the white strokes appear against a beautiful yellow background . Above the strokes is a white Sun. Wow there are two Maki seals one at the top right and another at the lower left There is a red splash in the center .two images f Proportion 9 are added where are Proportion 1 through 8? 43/50

Dramatic kanji, sun and splash--this small print epitomizes the Maki style at its height. The kanji streaks across the print, now it is blue now it is black.There is a strong black sun and a sharp yellow plash--and the Maki seal. Yet it is not crowded. The Maki seal at the right is a roll, the Maki of his name.

In 1971 Haku Maki produced this large print, Poem 71-25. It was an edition of 100. This new arrival was produced in Tokyo and went ultimately to Florida in the US. It stayed there for a long time. In the course of its life there it was not treated nicely: It was folded in two places. The print had foxing, it had many ailments. Then it finally made it to my restorer. It had challenges there too: some liquid spilled on it, forcing a delay in the restoration process. It was painstakingly a...