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.

This Guest Research Note 1 is much ado about Nothing. The Maki print in question is 73-50A (Nothing). The essay is by David Bieling.

Daniel Tretiak, after publishing his book The Life and Works of Haku Maki in 2007, found that he had more to say about prints as they came into his life. And so he wrote Research Notes and published them on this site.

Please read the research note in frame 12 of the photos. There apparently was some misnumbering--there is no Note 13.

teaching example board wrapped in thin paper last 2 images seller claims this is from Oakland Museum seller claims it is signed by Maki the writing and the date are NOT Maki style Maki did the print but did he sign it? did he sign this "painting" friend doubts Oakland Museum and Maki would not have meshed

Around 1960 Haku Maki probably did the Ox as a woodblock print. He was then a young artist in Tokyo. He may have done some Ox images before James Michener did his now wellknown book, but probably not many: 510 were used in the book The Modern Japanese Print". The prints of Japanese artists included in the book are large-ish, it is not embossed...

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.

Work 73-56 L (fish). This is the second of Maki’s three huge prints that I have owned. This is Work 73-56 L (fish). Several aspects of this image are intriguing. My archive of Maki prints reveals that Maki produced over 100 different images in 1973. I have been able to account for many of them: 1 to 50 and 99 to 110. I had never known what went in the middle. Now I know at least one was work 73-56, the third huge print that Maki did. It is 3 x 6 feet...

Work 73-12A is a firm and strong dragon not fierce not wimpy. The central kanji is offset by a small yellow Maki sun at the top left and a red splash on the right. They counterbalance each other and give color and verve to the whole print.

Haku Maki was a major creative Japanese print maker of the second half of the 20th century. His major output from 1965 to 1990 consisted to several different themes of prints Kanji was the main theme for the first 15 years of that period. Then. Ceramics was second. But he also did a large number of prints with persimmon on theme. Most of the persimmon prints showed just one fruit. A few showed two Only two showed 3. These are shown here Both prints are serene no jarring colors or edges...

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.

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

Note 10 part II continues to discuss the evolution of Maki's prints.

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)...

In 1976 Haku Maki did three pairs of prints in which the black and white were reversed. One set is shown here. The cement blocks were used to print the white on black, then cleaned to do black on white. These were done in such themes as Mind Wind and Cloud. These are strong sweeping images in rather large prints. The two Wind images here are typical of the type. They are all about 15" x 20" and in editions of 150.

Another of Maki's all-white prints, this one is of a Chinese coin. wu wei zhi zu Frame 5 shows the Han dynasty coin which inspired this 1981 print.

This research note was edited by Lois Dougan Tretiak whose assistance is gratefully noted.

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.

This is an image of a original watercolor of one of the cove beaches on Marginal Way which starts at Ogunquit Beach Maine and ends at Perkins Cove Maine. This has been recently knife painted as a small oil...

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...

This is an image of the original W/C which was painted several years back some early summer. The scene is quite different than the one seen in the national news coverage of the Mother's Day flood 2006 extensive and serious flooding of this Methuen MA river dam. Today, the 140+ year old granite structure appears to be holding steady. A funny side note: 2 foot carp were found swimming in the then flooded playing field nearby! PS...

A diptych of Maki prints, one done in 1968 and the other in 1969. In the best of Maki's spartan austere style, they are Poem 68-40 and Poem 69-13.

Haku Maki did a wide range of works: prints of many sizes, book plates, greeting cards, and postcards. Here are four postcards that he did in 1999. They are lithographs, each signed and with a Maki seal. They also appeared as prints at the same time. Haku Maki or his family produced them in the last year or so of his life.

5.75 x 8.5 in. ai in Japanese The white background is punctuated by a yellow sun and a red splash --true Maki style. Frame 5 shows Sanae’s careful translation and explanation of this print – and her intuition as to what Maki-san may have meant when he created this image 41 years ago. Copyright 2012 Sanae Nakajima Chambers and Daniel Tretiak

Some time ago one Connie Elrod offered me a set of the Maki zodiac in a format never seen before or since. These are not pulled from cement blocks. Rather they seem to be printed lithographs...

The bottom margin states this is 39/777 but did Maki really do that many and if so where are they? This is a late-in-life Maki print. Where did this idea come from? A sunflower! I know van Gogh did quite a few famous paintings depicting many sunflowers, all realistic paintings. The Japanese printmaker Tadashi Nakayama did many different takes on Sunflowers. These were realistic depictions. Nakayama did fewer. Maki did this one and it was quite abstract It was the only Sunflower he di...

In 1970 quite suddenly Haku Maki started producing truly large prints. They were dramatic and somewhat unexpected, all at least 24in x 24in and extended in size to 35in x 35in. His huge print of a woman is 36in x 72in. All of these were created in 1970. Then no Big ones until Big Mu done in 1973. Then no more huge ones. What happened to Maki? What happened to the supply of paper? This Poem 70-10 is pretty large--17.5in W x 24.5in H--but it was succeeded by others even larger.

Haku Maki was undoubtedly Japan’s most prolific print maker of the second half of the 20th century. Many of his works were serious works of kanji and also ceramics. These three are perhaps a bit frivolous. They are actually pretty: each one has seeming globs of color The blue one on the left has kanji in the blue stone; the central one has a wonderful black kanji for Mountain in the center; and the one on the right four globs, each of a different color. And one splash.

This print contains Japanese hieroglyphics not real kanji. It shows "rain" "day" and maybe a bird. It is 19.3x12.6cm.

Haku Maki did many prints some with interesting backgrounds some not. This modest run of rather large pints had a special black background: it is the texture of old leather. . Maki created and used this technique only in 1981 prints and mainly in persimmons. The persimmons are plump and meaty the green leaves of the fruit are nicely proportioned. Maki did only a few twin persimmon prints and none after 1980 except this one. 81-10 is in frame 2. It is 12 x 18 inches 46 cm x 32 cm “The ste...

Haku Maki produced this “pair” of prints in 1968. The first image is Child. This is the first time Maki produced an image with Child as a theme. Poem 68-52. The second one is his kanji for Water. Poem 68-53. This image was used again in the set of 21 prints he produced for Festive Wine, which was issued in 1969. The colors in both are strikingly beautiful in these images – as they also are as prints. Maki signed each in white ink, something he rarely did. Both prints have had hard...

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 mine it Is h Heart The big yellow stroke is set off by a yellow splash and a blue tear and a shimmering black sun (these are...

This note looks at newly emerged prints (in 2015, that is) including Poem 72-110, Poem 70-10, and a work simply called 81-11.

(continued) the last two panels show the same kanji for Rising in two different designs. Maki seemed to have liked this theme. Big Red is Poem 71-50; it was preceded by Poem 70-48 a smaller print. These are shown below.

Poem 72-47 (road) 32 X 21.5 inches textured paper The sun is the inner part of the kanji for road. This is a very big and stunning Maki print It was done in 1972 at the height of his artistic powers. It depicts the kanji for Road or Way, e.g.the Way of Taoism (Daoism). As if done with a brush, the character whooshes across the well-textured paper. At the middle of the print, Maki has added a White Sun.

Dan Tretiak chose the following 10 words as the description for this listing: merry christmas to all and to all a good night.