Emil Orlik


Woman Gathering Wood in a Forest
(Holzsammlerin im Walde)

mounted on brown cardstock inscribed on lower left corner, EMIL ORLIK, and to the right, DREIFARBIGER ORIGINALHOLZCHNITT (original three-color woodcut), included in the first issue of the monthly art periodical, Kunst und Kunstler (Art and Artist) published by Bruno Cassirer, Berlin, edition size unknown but scarce, 1903

print 5 7/8 by 4 7/8 in., 14.9 by 12.5 cm
backing 12 1/2 by 9 3/4 in., 31.8 cm by 24.9 cm

Emil Orlik was born in Prague in 1890, when it was still a province of the Austro-Hungarian Empire. As a student he moved to Germany in 1889 in order to enroll at the Academy of Fine Art in Munich, although he wasn't admitted until 1891. Orlik quickly gained recognition at the academy; however, in 1893 he left before graduating because he began to feel stifled by his professors who objected to his experimentations with etching and lithography. He was a prolific artist; in addition to his paintings and etchings, Orlik produced magazine and book illustrations, poster, stage and costume designs.

In 1896 he began to develop his own style of color woodcut. Together with a friend from the academy, Orlik made use of an article which had been recently published in English, Japanese Wood-Cutting and Wood-Cut Printing (Smithsonian, 1892), which was written by T. Tokuno, the head of the Japanese Bureau of Engraving and Printing. In 1898 Orlik went on a tour of Europe, including England, Scotland, Belgium, Holland, and his first visit to Paris, where he became more keenly aware of the French interpretation of Japanese art: Japonisme. This inspired Orlik to pursue the source: in March 1900 he traveled to Japan with the specific intention of learning as much as possible about Japanese woodblock printmaking. He was a determined student: he studied the language in advance, and within a few months he was conversant enough to explore Tokyo and the countryside on his own. While in Japan, Orlik met the young American artist Helen Hyde (1868-1919), who sought his help and advice on carving and printing (Mason & Mason). He stayed in Japan until November 1901, producing woodblock prints as well as lithographs and etchings, some of which were completed upon his return to Europe.

Julia Meech & Gabriel P. Weisberg, Japonisme Comes to America, 1990, pp. 114-115
Tim Mason & Lynn Mason, American Printmakers: Helen Hyde, 1991, p. 19
Yokohama Museum of Art, Eyes Towards Asia: Ukiyo-e Artists from Abroad, 1996, p. 29, no. 10 (titled 'Winter Mood')
Limited Edition Graphics, London, www.orlikprints.com, Post 1902, single/230

(inv. no. C-3041)

price: $1,200

Emil Orlik

as mounted on original cardstock


Scholten Japanese Art is open Monday - Friday, and some Saturdays by appointment only

Contact Katherine Martin at
(212) 585-0474 or email
to schedule a visit between 11am and 4pm preferably for no more than two individuals at a time.
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site last updated
September 28, 2022

Scholten Japanese Art
145 West 58th Street, suite 6D
New York, New York 10019
ph: (212) 585-0474
fx: (212) 585-0475