Catalog (284)

Big Green shows 4 moving figures.A similar image is in the US in the kas frane but it is 3 moving figures. I think these were not frequent uses for Maki Poem 71-84

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.

Japan Haku Maki 1965 or so Cell B This is a very early Maki print . He did it no later than 1966 it depicts many cells of a human all done very explicitly and clearly Cell was an early Maki theme He used it less than a dozen times the cells must have been busy re-creating themselves But here they seem calm and static Embossed z

JJapan Haku Maki Green Ox & Knife This is a beautiful rare green Maki print. It was done in 1971 the cream color calligraphy is as if added after the dark green ‘”flintstone” was prepared. The calligraphy is a light green there is a wonderful white stroke at the right It is one of the many ways Maki signed off on a print. It is balanced off by a soft yellow stroke at the left poem 71 - 61

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 note discusses print 76-26, which Daniel Tretiak called "Maki’s little green Leisure Time."

This note concerns Poem 70-38, a rarely seen Big Red. NOTE: Daniel Tretiak created the term Big Reds for Haku Maki's large works centered on large kanji in red, usually on a black background and often done in broad strokes. Large ones in blue or yellow or green came to be termed Big Blues, Big Yellows, Big Greens, and so forth.

Hong Kong gold zodiac coins xx

This short note looks at print 75-29, a beautifully painted kanji for wine.

This note shows two book plates depicting flowers. They were provided by Michael Minckler. The plates are signed Takako. Maejima Takako is the name of Maki's wife.

Maki Emanation-73 xx

This print--Haku Maki's Poem 71-9--is the kanji for woman.

Proportion 10 is an exciting Maki offering—white kanji on bright yellow. This use of yellow was fairly rare in Maki’s work. It is a square print—13.625 sq inches—in excellent condition. A ray of sunshine in any collection, on any wall.

This is a dramatic rendering of the Chinese character for stone 石 by the Japanese artist Haku Maki. It's a large print, a Big Green, in the words of Daniel Ttretiak, who called Maki's large red depictions of characters (kanji) Big Reds. Please contact ldtnbj@gmail.com

During the 1970s, Haku Maki liked occasionally to do haniwa, depictions of terracotta figures that were funerary objects used during the 3rd to 6th centuries in Japan. This one—71-2—is a face rather than a complete figure. Created in 1971, the print is 50 of an edition of 151. It measures 5.75in x 8.5in. The print is in very good condition, with faint tape residue on the two top corners of the back, with no impact on the face.

This horizontal print, created in 1973, is Work 73-14A, a dramatic depiction of the kanji for Dragon. It is 17 of 103 and measures 16.25inW x 11.5inH. Maki did perhaps a dozen dragons and this is one of the most striking.

Poem 71-76 is a yellow-gold print with a bit of a paisley influence. It is number 28 of an edition of 154. Created in 1971, it measures 13in wide x 19.5in high. It is in very good condition. There is tape residue on the back but the front is perfect. .

Through his career, Haku Maki did a wide array of Chinese characters used in the Japanese language as well (kanji). The large prints that Daniel Tretiak called Big Reds were such kanji. Among Maki’s depictions were black kanji on white backgrounds, some stark, some playful, some easily decipherable, others with which he took great liberties. The artistic possibilities that kanji offered were a fascination of his. This broad-brushed embossed print, Poem 72-55, was done in 1972. It measures 9 3/8in W x 10.5in H and is no. 4 of an edition of 202. The print is in good condition; there are tape remnants on the four corners of the back but they have no impact on the face.