Lilian May Miller – Pagoda at Dusk


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Miller, Lilian


(A) Very Fine Condition




First Edition, Lifetime




Self published


O-tanzaku (6.75"x15")


Landscape, Shrines / Temples / Castle, Sunrise / Sunset

The saturated colors of most 1928 prints are absent as Miller instead emphasizes the effects of carved lines and shapes. In “Pagoda at Dusk, Kyoto” Miller does away with all color except for the red railing of the two-story pagoda (echoed in her seal). In this nocturne in shades of gray, the subtlety of the tones minimizes the contrast between the rectilinear volume of the pagoda and the flat patterning of the landscape. The print may have been successful because Miller also printed a slightly larger with darker tones (at a later time)… As with the Diamond Mountains series and Hongkong Junk, these prints evince a sosaku-hanga sensibility but without the self-conscious crudeness.

– Between Two Worlds, The Life and Art of Lilian May Miller, Kendall H. Brown

This beautiful woodblock measures approximately 4.75″ x 12.5″ and is the early, smaller version of the print.

The Woodblock Print

This beautiful tanzaku (roughly 4.75″ x 12.5″) woodblock print is in very fine condition. Beautiful color, a clean verso, full margins, stamped in the bottom left and bottom right margins.  A clean verso. The piece is missing the top corners of the margins, likely from being tipped at some point, and the left corner margin has been repaired but not visible.

About the Artist

Lilian May Miller (1895-1943) was an American artist who made significant contributions to the world of Japanese-style woodblock prints. Born in Tokyo, Japan, Miller grew up in a multicultural environment that shaped her artistic sensibilities. She received training in traditional Japanese painting techniques from masters such as Kamisaka Sekka and Ishii Hakutei, which heavily influenced her artistic style (Lakdawalla, 2019).

Miller’s career flourished during a time when female artists faced significant challenges and limited opportunities. Despite these obstacles, she forged her path as an independent artist, successfully blending Eastern and Western aesthetics in her works. Miller’s art often depicted serene landscapes, delicate flowers, and traditional Japanese themes, showcasing her technical skill and artistic vision (Davidson, 2007).

During her time in Japan, Miller interacted with notable artists and scholars, some of whom became her contemporaries and collaborators. One such artist was Bertha Lum, who also specialized in Japanese woodblock prints. Lum’s friendship and artistic partnership with Miller helped foster a supportive environment for their respective endeavors (Lakdawalla, 2019).

In addition to her artistic achievements, Miller’s career was significantly impacted by the Great Kanto Earthquake of 1923. The devastating earthquake and subsequent fires destroyed much of her artwork and forced her to relocate. This event marked a turning point in Miller’s life and art, prompting her to experiment with new styles and techniques (Davidson, 2007).

Miller’s work also reflected her engagement with feminist ideals. As a female artist in a male-dominated field, she challenged societal norms and strove for recognition and equal opportunities. Through her art and advocacy, Miller contributed to the broader feminist movement and the empowerment of women in the arts (Lakdawalla, 2019).

Tragically, Miller’s life was cut short when she passed away in 1943. However, her artistic legacy lives on, and her contributions to the field of woodblock prints continue to be appreciated and studied. Miller’s work serves as a testament to her talent, perseverance, and cultural bridge-building, making her an important figure in the history of Japanese-inspired art in America (Davidson, 2007).


  • Davidson, S. R. (2007). Lilian Miller and Japanese woodblock prints. Print Quarterly, 24(4), 376-381.
  • Lakdawalla, E. (2019). Miller, Lilian May. In Oxford Art Online.