Framed Early Modernist Wu Hao Woodcut “Abstract Tiger” Edition 5/10

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An early and expressive woodblock print by Taiwanese modernist master Wu Hao (b. 1932), signed and dated 1963, and numbered … Read more An early and expressive woodblock print by Taiwanese modernist master Wu Hao (b. 1932), signed and dated 1963, and numbered 5/10 at lower right. Works from this period are among Wu’s most desirable, capturing his fusion of folk iconography with an increasingly abstract, curvilinear style.
Here, an abstracted tiger is articulated through looping contour lines and selectively hand-colored passages of yellow—a motif deeply rooted in Taiwanese folk symbolism yet filtered through a distinctly modern lens. The print retains its original visual energy, with the bold carving and rhythmic line work that defined Wu Hao’s contribution to Taiwan’s mid-century Print Movement. A compelling and scarce example from a very small edition, it is framed under glass and ready to bring graphic presence and cultural depth to your wall.

COLLECTOR'S NOTE
Wu Hao was a central figure in the Taiwan Modern Print Movement, a post-war generation that combined folkloric subjects with experimental carving techniques. His tigers—derived from temple imagery, protective symbolism, and indigenous myths—became recurring emblems of vitality and resilience.
This 1963 example shows Wu leaning into a freer, more abstract vocabulary: looping lines, stacked motifs, and stylized geometry echo traditional woodblock aesthetics while pushing boldly toward Modernism. Early impressions like this, produced in tiny editions, capture the moment when Taiwanese printmaking shifted from narrative illustration to an expressive, artist-driven art form.

THE PRINCIPAL'S PERSPECTIVE
Early works by Wu Hao from the late 1950s–1960s are increasingly recognized as foundational to Taiwan’s modern art identity, and prints from this period rarely appear with such strong provenance: signed, dated 1963, and numbered 5/10 from an exceptionally small edition. At this scale, each impression functions almost like an individual artwork rather than a typical print edition.
Collectors have been steadily reassessing mid-century Taiwanese modernism, and Wu’s work—already held in major museum collections—is now viewed as a key chapter in East Asian modern art. As scholarship expands and institutions continue elevating these artists, early-period works have shown meaningful upward movement in both auction performance and gallery pricing.
This particular impression, featuring one of Wu Hao’s most recognizable folk-modernist motifs, sits firmly in the tier of his oeuvre with the strongest long-term appreciation. Its rarity, date, motif, and museum-level relevance make it a strategically sound investment

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