Catalog (279)

Maki Emanation-73 xx

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

The striking kanji means Rising. Maki produced this image in 1970 as a modest black on white print. This print is Poem 70- 48 (rising): The kanji,which is the print's core theme, is reiterated in the title. When this print first came out, it must have in a winner: 59/151 . This print has a golden yellow sun and a light blue tear or splash to give it verve. This is the Maki style. A year later in 1971 Maki produced a Big Red, the same character shown here was done as a Red kanji in striking image. Poem 71-50.

Nearly a century old, this Noritake dessert set contains plates, cups and saucers, coffee pot, creamer, and sugar bowl (no cover). This set was purchased in the US between 1935 and 1937.

China old toggle Frog in a lotus leaf xx

Poem 70-72. This striking Maki Big Red has had a long history for being just 40 years old. It has seen the world and is now back in Asia, in Beijing. This is as near to Tokyo, where it was created by Maki, that it has been in many years. In this case, the big red letter is the hiragana "chi" ‚¿ or shiru, which means to know, find out, to learn, or have knowledge. This is a wonderful sweeping red stroke (actually two strokes) which whooshes across the black background like a meteor or comet streaking through the night. As knowledge cuts through ignorance perhaps. The cement was deeply incised to create the print. Maki normally used kanji in his prints; this is a rare case in which he used hiragana The red hiragana in the center is set off by a black Sun and a blue or purple splash to put a little color in the back sky. Size 24” x 17”. This print shows a rare use of hiragana by Maki. 41/106 Copyright by Daniel Tretiak

French early 20th century Limoges porcelain plate xx

These are three images of a very rarely seen Maki series,the Drop series.If any friend can send me images of Drop 1, 4, or 5, I would appreciate it.

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.

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.

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. One James Imai, a friend of Maki who lives in California, commissioned Maki to do a special zodiac set for the Lunar Year. Imai seems to have sent a card every year to friends. Imai sent them to his friend James Elrod seemingly one every year for 12 years. The designs are strong and dramatic and very creative. Only Elrod’s daughter ever released a set. Maki began the series in 1983 with the Year of the He did it for 12 years and then two more and then he died.

china old clay brushpot 1930s tangshan xx

China old wooden toggle immortal - Tie Guai Li xx

The kanji for Peach appears in the uppper right of the print. 17 of 24 Haku Maki was one of the grand masters of the Sosaku-hanga print movement. Maki Haku (1924-2000) is the artistic name of Maejima Tadaaki, who was born in Ibaraki Prefecture. He had no formal art training, but was guided by the s¨­saku hanga leading artist Onchi Ko­shiro 1891-1955). Maki Haku is best known for his abstract-calligrapic prints. He distorted and rearranged characters and strokes to produce striking and serene images. Maki passed away in 2000; as a result his prints are rapidly escalating in price and value as this talented artist will no longer be producing his unique work. ¨adapted from Robert Berg's listing

china silver ring early 20th

This is a quite large Maki Persimmon print This is Work 74-67 Haku Maki did prints with Persimmon as a main theme from the early 1970s for well over a decade. This is a fairly large image: it shows one persimmon growing out from the tree, with leaves coming off the branch. The leaves are very clear: they have been tipped with shellac so they look very shiny . This is 43/154, here Maki used ink the color of the persimmon when putting his seal on the print. To the best of my knowledge this is only the second copy of this print I have seen in more than ten years. It was not treated well at the beginning of its life: a framing company put tape on it man-years ago and the tape remnants cannot be removed. They are shown in the images of the back. Otherwise condition is very good, the persimmon is clean front and back and the front is clean. Tape remnants on the front

chinna amethyst necklacezz

Dan Tretiak wrote about a print he didn't own and simply described it here: sad stuff.