This is one of three research notes that were numbered 23. This one is about Work 73-2, a Maki homage to a 19th-century Chinese writer. Dan Tretiak wrote: Enigma. The original eBay seller wrote this in his listing. He really got it right. Maki’s print has the four-character phrase as done by Deng in his writing in the 19th century We confirm Deng and Maki were in sync. The arrangement of Maki’s gold seal is more used in Chinese than Japanese. In any case ENJOY

This is a surprisingly good kanji It was done in 1972,slightly beyond Haku Maki's core period for such small kanji. It is the character for Mu or Nothing It is a very abstract depiction of the character, more so than most of Maki’s rendering of Nothing, which he did many times. This image is sharp and concise and it has drive. It has the Maki style and balance:a seal and the bottom margin. The seal at the right is balanced off by the splash at the left

This note discusses newly emerged prints (it was written in July 2014). Daniel Tretiak wrote: Please enjoy. I own A C W and Flower Song 5.

Complete 1967 portfolio of 25 soft ground etchings with aquatint by Jack Levine (American, Boston, born 1915). This work is complete--portfolio case plus all original material, including the 25 soft ground etchings individually pencil signed by the artist and numbered 37/100. Published in 1967 by Touchstone Publishers on handmade BFK Rives wove paper. This portfolio was inspired by the "Dreigroschen Oper" film by Pabst, after the play by Bertold Brecht (The Threepenny Opera)...

This is one of Maki's dramatic Big Red prints, a kanji on a black background.

Haku Maki Poem 71 92 - was done in 1971, one of the four years in which Maki did over 100 different prints. In 1971 he did about 5 Big prints – at least two sides are over 30 inches. In his total oeuvre he did 20+ big ones but only one Yellow This is it. It seems to be a single yellow stroke piercing the black; it is also the kanji for Mind in Maki’s mind...

In this note, one of three he numbered Note 23, Daniel Tretiak discusses a Big Blue print Poem 69-17 plus another black-and-white Poem 71-84--and how he acquired them.

This, like many of his research notes, was an addendum to his book, The Life and Works of Haku Maki, which he published in 2007. He wrote an Appendix to the book called Chasing Maki. It is his story of buying prints and collecting images of Maki prints. This research note, written 10 years later, is about one of his chases, a chase that failed. Dan wrote: Please enjoy.

In the mid-1960s, Haku Maki was firmly launching his career as an important Japanese print maker. He did a series of prints of which a long and key series was the Alphabet A – Z. In turn, the Alphabet was the first series of what came to be many series of prints, all of which Maki called the Poem series. Prints in the Poem series continued to be produced until 1972. He produced all of the Alphabet in 1966 or part of it in that year and part in the next...

This wonderful print was a gift to Daniel Tretiak and me on the occasion of our wedding in June 1964.

In 1976 Haku Maki did his eight-volume San Mon Ban--a total of 96 different embossed images. These included many items Maki had just used, would use soon and used later. I first show images of two prints like those in San Mon Ban but slightly larger. Then two images of insects in San Mon Ban and then 4 images of insects long hidden in my archives--even to me. These might all be called Maki Lite...

In 1970 the famous collector of Japanese art Felix Juda commissioned Haku Maki to produce at least 3 different sets of cards for greeting and thanks. Here we show three. The 4th image may have been one such card or a small print. I have owned it for many years and am still studying it. The ones done for Juda varied in attractiveness. The green one is vintage Maki: good design, good color, and good composition. It is only 5”x 5” but packs a wallop...

In The Life and Works of Haku Maki I refer fairly briefly to his Big Reds and other large prints of the late 1960s and early 1970s. In this Research Note I present a more thorough compendium of this type of image and commentary. If any readers know of an image which should be in this Note, please let me know. For now please enjoy these. Poem 70-63 (Me) was acquired in 2010. Poem 71-90 ed of 108 Dance 69-2 NOTE: This is the first part of a two-part note. The second part is Note 7 B.

These are 3 different “takes” of the kanji for Stone. Red is Work 74-58 (Stone) ; Green is 76-56 (Stone); Blue is 76-54 (Stone). The green one is larger than the other two. All have the striking black sun as one stroke of the kanji.

In 1968 Haku Maki produced this large Blue image of Child. The blue is vivid and the yellow face is in sharp contrast. To the far right is a small Green Child, the same theme, different key color. It appeared in 1969. The red image is a trial run for a Festive Wine print. It never made it. The translators of Festive Wine or Anne Brannen nixed it and used a different Child image, the fifth frame...

One of Maki’s favorite themes was the image shown here. Some outstanding ones are shown in the listing. I reckon Maki did about 25 different prints with the theme Child. Several little children can be seen swimming in the image in frame 9. The child in the right of this list panel is the image imprinted in the cover of Festive Wine, to which Maki contributed 21 images in 1969.

Original lithograph on wove paper by Hermann Max Pechstein (German,1881-1955), dated 1917, signed in the plate HMP and dated 1917, and signed in pencil and dated lower right. Image size: approximately 10cm by 16cm. An extremely rare original lithograph by a major artist. Cf: LACMA Collection. Provenance: the estate of a Holocaust survivor in Charlotte NC.

Original Japanese woodblock print by Utagawa Hiroshige (Hiroshige II), from his series "One Hundred Famous Views in the Various Provinces (Shokoku meisho hyakkei)", circa 1860. This vertical oban is signed Hiroshige ga. Published by Uoya Eikishi. Beautiful color and condition. Never framed. A rare print from a series partially based on Hiroshige I's series (Famous Views of the 60-odd Provinces). This particular view by his protege is not based on a Hiroshige I work.