Catalog (284)

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 research note shows the blue print Poem 69-11.

This research note looks at rarely seen Maki prints including early ones like Work Mu 2, done in 1961, and Symbol 2 from 1957.

This, like many of his research notes, was an addendum to his book, The Life and Works of Haku Maki, which he published in 2007. He wrote an Appendix to the book called Chasing Maki. It is his story of buying prints and collecting images of Maki prints. This research note, written 10 years later, is about one of his chases, a chase that failed. Dan wrote: Please enjoy.

Daniel Tretiak wrote about prints that were new to him (in 2017) that included, in my (LDT)view, one of the strangest, hard-to-decipher prints that the artist ever did, Bai-1. It was an early one, created in 1958.

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.

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).

Daniel Tretiak did this note on Emanation 73, one of Haku Maki's works in his large Emanation series. The note was done in April 2019. Eleven months later Dan Tretiak died. I write this with such great and lasting pain.

In late 2011, I received several Maki prints of 1981. These all have leather-like surfaces. I thought this was a phenomenon of that year. I was wrong. Maki actually used this surface in 1971 for a few Persimmon prints and then not again until 1981. I show here copies from my Maki archives. When we filed those images a long time ago, they were not clear enough, are still not. But I think they are with that leather-like finish. Any views most gratefully received. My images are from catalogues. I do not own the actual prints. poem 71 -32 catalogue; poem 71-33 eBay; 71-43; poem 71-66

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 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 Guest Note was written by Bob Craft in December 2018. It discusses Haku Maki's use of ancient calligraphy in Poem 69-47.

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.