Catalog (284)

This sterling silver open wire pendant No. 210A dates back at least to 1985, which is when I bought it. I was actively buying in the 1980s so many of my pieces are out of production and virtually never seen on people or ads. This is a versatile piece through which a silk scarf or cord or a gold chain can be threaded. The photos show some of the possibilities. Only the pendant is for sale. On the back it says 210A, Georg Jensen in a circle of dots, 925S and Denmark. The wires are about 1.75in (2cm) wide and the pendant is roughly 3in (7cm) across, end to end. Photos show the dimensions. The pendant is in excellent condition, very rarely worn.

This pin is a simple design but an unusual one. It is a large 11cm semicircle—or it might be described as one-third of a full moon. This rarely seen pin was, according to the Georg Jensen company, designed by Gail Spence for Hans Hansen in the late 1980s. Hans Hansen became part of Georg Jensen in 1992. Since it has both hallmarks it was probably produced around that time. It is no longer in production.

This is another of Haku Maki’s depictions of the kanji天 for day, heaven, sky. It’s a fairly easy character to make stark and lovely. The next year, 1971, he did another black-and-white dramatic rendering of the same kanji (Poem 71-51, which is below at #1452042 (stock #1077). The print is 12in square and in excellent condition.

This grape design is sometimes called Moonlight Grapes. An early Georg Jensen design (1920s), it was updated slightly in 2010, including giving individual grapes more heft. There are three especially large ones at the top of the bunch. Designed by Harald Nielsen, it measures 1.5in wide x 2.75in long (4cm x 7cm). I bought it in 2000 and it’s in excellent condition, almost never worn.

These Georg Jensen “Grape” earrings are sterling silver with the Jensen imprint in a circle, 925S, and the year 1996 on the back. They are clip-ons and are 2.5cm long. They weigh 11.6g. These “earrings of the year” were bought in 2000 and were rarely worn, hence they are in excellent condition.

These 18K gold Heart-by-Heart earrings are clip-on earrings with a lacy all-over pattern of carved out hearts. The earrings are hollow. Together they weigh 10.32g. The diameter of each is 15mm. On the hinge is the number 750 and below it GJ. On the heart-shaped cushion that sits against the ear lobe, there are printed 1481 and ASCH. They were designed by Allan Scharff for Georg Jensen. They are in like-new condition though I bought them in 1999.

Dragons—or at least the kanji for them—featured often in Haku Maki’s work. Work 73-12A –black kanji on white—came out first in 1973 and was followed quickly by a black dragon on red (which follows this one on this site). It measures 11.5inW x 15.25inH, is 16 of an edition of 103, and is in good condition

Over the course of his print-making life, Haku Maki often depicted the kanji for Man, Woman, and Child. This is a “man” from 1979; it measures 9.5in W x 10.75in H and numbers 42 of a total edition of 204.

Poem 71-71 is a Maki depiction of 子 Child and is one of those large red kanji on a black background that Daniel Tretiak valled a Big Red. This one measures 12in W by 17.5in H and is no.13 of an edition of 153. It is in excellent condition.

An interesting and rather unusual part of the Emanation series that Haku Maki began to produce in the mid-1960s, Emanation 73 measures 8.3inW x 11.3inH and is the fourth of a small run of 50.

Haku Maki in 1968 did a group of prints depicting animals from Asia’s Zodiac, which has an animal for each year in a 12-year cycle. Maki called this series of prints Animal Song. This one is Animal Song 申, the character for the Year of the Monkey. The print is square, measuring 17 1/8 in W x 17 1/8in H, and is in excellent condition.

Poem 70-19 is one of the fairly small group of deep blue prints that Maki made. This one is 5.75 in W x 8.5in H and created in 1970. It is in good condition, with some toning due to its once having been framed.

What fun this print is—a swirl of kanji virtually unreadable but a delight to the eye. 79-9 was done in 1979 and measures 9.25in W x 10.75in H. The print is in excellent condition.

Collection 30 is one of the many striking prints of ceramics that fascinated Maki from the late 1970s to the early 1990s. Maki’s ceramic prints conveyed the “feel” of the bowls or cups or wine vessels—a sense of how it would feel if touched was imparted to the viewer through his ability to suggest texture in his prints. In this case, a black bowl has red places showing through the black, suggesting that the potter fired it first with a red glaze, then decided to cover it by coating it with black paint. Collection 30 is 9.5in W x 10.75in H. Created in 1979 (the date is in the Maki signature), the print is in great condition with only slight toning suggesting it was at some point framed.

J-10 is an exciting example not only of Haku Maki’s depiction of Chinese characters but also his use of a hard gold-edged board (instead of simple single or multiple sheets of paper). In the last year of Maki’s life, Daniel Tretiak tells us, he was ill but continued to work. He did lithographs on shikishi board, which was a hard board covered in white rice paper. The back was yellow with a small design in gold and the whole board is gold-edged. These words apply to J-10 as well. J-10 measures 7.25in W x 8.25in H. It is in excellent condition.

Poem 70-10 is the kanji for day 日. It is a striking, simply executed print. Created in 1970, it is now over a half-century old. The print is 17.5in W x 24.5in H, large (but not huge). As Daniel Tretiak has said: In 1970 quite suddenly Haku Maki started producing truly large prints. He tells us that this one was large but Maki was destined to do even larger ones, that year and in 1973.

This silkscreen offering is said by some to depict Kabuki make-up. It is 8sq inches and in excellent condition. See picture 4, the title, where Maki seems to have written Kuma 92/--his numeral 1 was usually a straightforward vertical 1.

This print Z-446B was one of a small number of creations that he put on hard, gold-edged board. Daniel Tretiak wrote that these prints “were printed first on very thin paper, which was then ‘wrapped’ around heavy shikishi board. They are lithographs not done from wood blocks. Done in 1999, this work measures 7.25in x 8.25in, is in excellent condition, and one of an edition of 77.