highlights international perspective

Edward Loxton Knight, (English, 1905-1993)

Zarauz (Near San Sebastian)

Color woodblock print. Signed in pencil on the bottom margin, Loxton Knight, and numbered 1/35. Very likely self-carved and self-printed; ca. 1930's.

26.3 by 31.7 cm

Robert O. Muller is well-known for his role in promoting 20th century Japanese prints in America. Most collectors became familiar with his name in 1993 upon the publication of the landmark book, The New Wave: Twentieth-Century Japanese Prints from the Robert O. Muller Collection. It represented a significant attempt to present the entirety of the development of 20th century woodblock printmaking in Japan, primarily focusing on Muller's preference, shin-hanga ('new prints'), but also touching on its shared origins with sôsaku hanga ('creative prints'), and Japonisme. In a scholarly chapter written by Julia Meech, Japonisme: Graphic Arts in the Early Twentieth Century, Meech outlines the development of Japanese-style color woodblock printmaking by Western artists, first by artists who went to Japan, and later by artists utilizing techniques derived from Japan. But Muller's love of woodblock prints was not limited to Japanese or Japonisme artists. It is perhaps less well known that he had a large collection of woodblock prints by American and European artists, many of them quite rare and obscure. Although Muller was first attracted to woodblock prints by Japanese artists, his passion for the medium was all encompassing, allowing for the discovery of works by less recognized artists such as this cityscape by Edward Knight. While it is frustrating for the researcher to be unable to attach a story to the work, it is intriguing to consider yet another artist whose woodblock prints achieved something notable and worthy that appealed to Muller's eye.

Robert O. Muller, Newton, Connecticut


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site last updated
September 28, 2020

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