Catalog (284)

Flower Song 3 In the Mid-60s Maki did a set of ten different images, entitled Flower Song This is Flower Song 3. It is a very abstract print: it is probably not kanji (Chinese characters); it is similar to prints entitled, say Dance. It could be the character for woman: at the left there may also be the kanji for woman (oona) with a single stroke perhaps penetrating the woman -- but is probably not. The Flower Song images are rare, and when available often either in poor condition or costly. This print is in good but sadly not in pristine condition. The front is fine, the back has a bit of foxing. Still striking image. One Dance images appears in my book, The Life and Works of Haku Maki "Dance 4", p. 37. It was Maki's style to punctuate a print with a splash or as in this case, with a Big Yellow Sun, at the top right. The swaths that make up the print look as if they were done by a big Japanese brush. Whooowh. I date this to having been done in the mid to late 1960s.

Japan New Discoveries of Haku Maki prints As found by robert craft we think that these are new additions to our Maki Catalogue Raisonne Dedicated with much love to my wife Lois Jeanne Dougan Tretiak copyright Feb 16 2018 PP aka Ph

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.

Here are catalogues from Yoseido, CWAJ (College Women’s Association of Japan) print shows and Red Lantern. Most were gifts from Ayame Flint (CWAJ) and Al Brandt (Red Lantern). These are not complete runs but a strong selection. Each catalogue has images of prints of Japanese artists of the day.

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

who dunnit? in the style of tanaka ryohei etching

[Note: Daniel Tretiak wrote this in 2012.] This work is now 5 years old. I set forth the main aspects of the works of Haku Maki, the main themes of his work, the main aspects of his style, and the broad range of his works. I think I did not realize in 2007 the range and versatility of his work, its drama and subtlety. Since this book was published I have written 9 research notes and many descriptions of key works. Amazon and Ren Brown Collection distribute this book. rbc4art@renbrown.com

signed and numbered very good condition.

Maki Emanation-73 xx

This research note was written by Bob Craft, who compiled the catalogue raisonné of Maki's works. See it at http://haku-maki.com/. This note discusses Maki's print-making technique.

This note about Maki's Work 626 was written by Michael Minckler.

This note was written by Robert Craft and discusses Maki's use of an archaic form of Chinese script called seal script.

This note discusses Haku Maki's Poem 70–14. Poem from the Manyoshu, and the sources of the kanji he used to create the print. The note was written in August 2019 by Robert Craft.

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.

This is Daniel Tretiak's note about Maki huge print Poem-Woman, which is a horizontal print that measures 3ft x 6ft. His note is in the photos that are a part of this entry. Here he described photos that he was presenting along with his note. He said: Frame 8 is the same image but done with a yellow sun and purple moon. It is 33/50. This suggests many of the first 33 and then some were done this way; then Maki did not use these colors. I do not own this print. The paper has the same wavy condition that Huge Woman had before restoring; in frame 9 I show the Huge Nothing.It is in the Portland Museum of Art. The last image is Work 73-54 (Fish) 54/54. NOTE: Dan Tretiak went on to acquire both Poem Woman and Work 73-54 Fish.

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

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

Daniel Tretiak chose to number this note 32, with no explanation of why there were no other notes between 28 and this one. In this note he focused on Poem J, a 1966 print that had just emerged (in 2019).