Additional Material

 

An early monotype by Pierre Alechinsky

October 26th, 2017

After Atelier 17 became re-established in Paris in 1950, younger artists made their way to work there.  Among them was Belgian artist, Pierre Alechinsky (born 1927) who began living and working in Paris in 1951.  That same year Alechinsky organized the final CoBraA exhibition in Liegée Belgium.

The personal quality of hand-writing greatly appealed to CoBrA artists. ‘The important thing,’ Alechinsky wrote, ‘is to discover an inner script … with which we can explore ourselves organically.’ Alechinsky said that he painted as if he was a spinning-top, unable to control his own movements. This is evident in The Night (Le Nuit) in which twists and twirls of white on a black ground evoke luminous night forms. *Tate Gallery label, July 2008

Alechinsky’s approach would seem to grow out of Hayter’s interest in automatic drawing or engraving as a kind of automatism.   We have on offer a color trial proof, Le Nuit which was printed from a plate made at Atelier 17 in Paris in 1952 and annotated, monotype.  It was later published in 1968 as part of Alechinsky’s folio, Hayterophilies.  Our impression expresses a tenderness with soft-toned blue and yellow set against the activity and energy of the gestures

Pierre Alechinsky Le Nuit 1952 aquatint with color relief roll

Pierre Alechinsky Le Nuit 1952

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Stanley William Hayter’s plaster prints from Atelier 17

October 25th, 2017

Hayter’s fascination with the relief character of the printed burin line led him and other members of Atelier 17 to explore printing techniques that emphasized the sculptural nature of the engraved plate.  As early as 1931, experiments were made at Atelier 17 with “plaster prints,” or actual plaster casts of engraved copper plates.  Hayter learned about this technique of making a print in plaster of Paris from a Treatise on Etching by Maxine Francçois Antoine Lalanne
This technique had the advantage of demonstrating the relief of the lines more clearly than the lines of an inked print on paper.  The print (on paper) reveals more of the subtleties of engraving such as fine lines and tonal relationships, but the plaster cast emphasized the depth of the engraved lines.  * Thanks to Joanne Moser, Atelier 17 A 50th Anniversary Retrospective Exhibition, Elvehjem Art Center, University of Wisconsin, Madison 1977

We are proud to offer Hayter’s Myth of Creation 1940 (BM134), along with a state-proof impression from the same plate.  Plaster prints are hybrid works that both print making and sculpture.  Other examples can be found in major museum collections and it is a rare opportunity when a superb example like Myth of Creation comes becomes available for sale.

Stanley William Hayter Myth of Creation 1941

Hayter Myth of Creation 1941, carved plaster print

Hayter Myth of Creation 1941 State I 1940 engraving, proof, 1st state

Hayter Myth of Creation 1941 State I 1940 engraving, proof, 1st state

Rare early engravings by Louise Bourgeois

October 25th, 2017

We are proud to offer some early engravings by Louise Bourgeois (French-American, 1911-2010).

In 1946 Bourgeois finally found her way to Atelier 17, the intaglio workshop that Stanley William Hayter had moved from Paris to New York in 1940. The expertise of Hayter and the array of international artists who worked there made the Atelier a center of printmaking activity in the city. When asked about the Atelier Bourgeois noted the social setting, she stated, “There were a lot of interesting people there…” The Chilean artist Nemecio Antunez, who spoke French became a good friend, and she developed a close relationship with Joan Miró when he was at the workshop in 1947. Bourgeois undertook there her most important print project of the forties: the book/portfolio He Disappeared into Complete Silence.  *Thanks to Deborah Wye, from The Prints of Louise Bourgeois.

From this period with 1949 we have Hanging Weeds Wye #56. Ours is a strong, elegant proof after the third state. We also have a proof impression of Plate 3 from the folio, He Disappeared into Complete Silence 1947.  These rare works came to us from Hayter’s own print collection, as did Nemecio Antunez’s City Dwellers 1950.  Mr Antunez (Chilean, 1918–1993) later became a major figure in Chilean art.

Louise Bourgeois Hanging Weeds 1949 engraving, state proof

Louise Bourgeois Hanging Weeds 1949

Nemecio Antunez City Dwellers 1950 etching with surface roll applied color

Nemecio Antunez City Dwellers 1950

New etchings by John Walker

October 24th, 2017

We are pleased to present a new prints project by the distinguished Contemporary painter, John Walker (born 1939, Birmingham, England) .  They are titled Fenway I, II, III, IV and the group was produced while Walker was a visiting artist at the Massachusetts College of Art and Design.

Born in Birmingham, England, John Walker was awarded the Harkness and Guggenheim Fellowships. He was awarded artist-in-residence at Oxford University and Monash University, Australia. In 1972 he represented England at the Venice Biennale. He has taught at the Royal College of London, Yale University, and Boston University, and his work is included in the permanent collections of the Metropolitan Museum of Art, Guggenheim Museum, Whitney Museum, MOMA, MFA Boston, Cleveland Museum, Tate Gallery, British Museum

Fenway II is a sugar lift aquatint with hand coloring.   The rough-hewn patterns and soft-edged colors are draw upon memory and observation of the New England landscape and seascape.  These robust works are the latest in Walker’s long and distinguished career.

John Walker, Fenway II 2017 sugarlift etching with hand coloring, image/sheet  30 x 22"

John Walker, Fenway II 2017

 

 

A pair of rare works by Spanish Master Joan Miró

October 23rd, 2017

We are delighted to share a pair of proof impressions of Serie I from plates made by Joan Miró at Atelier 17 in New York in 1947.  Miró had come to the United States for work on a commission for the Plaza Hotel in Cincinnati, Ohio.   He had been working at Atelier 17 on and off since the early 1939s and visited Stanley William Hayter in New York in June, 1947.

“One of the artists who exploited the effects of open bite etching most successfully was Joan Miró. Previously Miró had limited his prints to fairly conventional etchings and drypoints”.  However, in New York in 1947, “the variety and unorthodoxy of the devices Miró employed…testify not only to the imaginative powers of an individual artist, but also to the uninhibited attitude toward experimentation that prevailed at Atelier 17 during the 1940s.  (Joanne Moser’s, Atelier 17 A 50th Anniversary Retrospective Exhibition, Elvehjem Art Center, university of Wisconsin, Madison 1977)

The plate for Mirós Serie I (Dupin 75-82) was printed and published by Maeght in Paris in 1952.  However our impressions were pulled when Miró made the plate in New York.  They are a superb demonstration of Miró exploring the possibilities of an etched plate:  one impression is printed in relief, with the ink rolled onto the surface where with the other impression he has inked and wiped the surface of the plate clean to push the figures forward, haloed by the deep-etched outline. They are a handsome pair and both are annotated, “pour Hayter New York 17/6/1947”.  The relief impression is also annotated on back, “Femme Enfants Etoilé,” while the intaglio impression is annotated, “Jeux d’Enfant”.

We are fortunate that this pair remained together in Hayter’s own collection and we could not be more pleased to offer them 70 years on.

Joan Miró, Serie I, 1947 printed relief

Joan Miró, Serie I, 1947 printed relief

Joan Miró, Serie I, 1947 open bite etching, printed intaglio

Joan Miró, Serie I, 1947 printed intaglio

A new lithograph and drawings by Victoria Burge

October 20th, 2017

Victoria Burge makes prints and drawings that use systems of mapping to generate abstracted cartographies of imagined terrains.  We are very pleased to present her newest large-scaled, six-color lithograph with lots of hand work, Vega, 2017.  We will show this extraordinary new work at the 2017 IFPDA Print Fair.  Please ask to see it along with an earlier lithograph of the night sky and 2 new and related drawings.

Victoria Burge’s prints are in the permanent collections of the Smithsonian American Art Museum, the British Museum, the Hunterian Museum and the Philadelphia Museum of Art.  She has been awarded Fellowships and grants in support of her work from the Independence Foundation, the Krasner-Pollock Foundation and will travel to Ireland in 2018 for a residency at the Ballinglen Arts Foundation.

Victoria Burge Vega 2017 six-color lithograph with hand coloring, edition 10

Victoria Burge’s Vega 2017

Krishna Reddy’s color viscosity intaligo prints

August 1st, 2017

We have a great selection of early and innovative prints selected from Krishna Reddy’s studio.  We are happy to send images and information.  Please contact us: info@dolanmaxwell.com

“I first met Krishna in the early fifties.  He was studying sculpture with Ossip Zakine in Paris.  Zadkine sent Krishna to me because he felt that this young Indian artist also possessed remarkable graphic talents that the atmosphere of the Atelier 17 might allow to develop fully.  Thus it was the sculptural aspect of printmaking that he commenced to develop: not as many other sculptors the repetition of the sculptural drawing nor the representation of sculptures realized or to be realized, but rather the plate as a sculpture in itself and its amplification by means of print.  Thus, whereas a sculptor can erect a framework in space, an object having the relations between internal and external space, in a print made from a sculptured surface it is entirely possible to invert the space of the structure and to exchange the internal with the external space.  This characteristic ambiguity, not in the sense of confusion, but rather in the sense of multiple linked expressions he elaborated not only in black and white but in a very curious and original use of the function of color as space. Others have used the simple consequences of color opposition to demonstrate space as cold color against warm color, tone against a complementary.  Krishna however employed extremely subtle variants of color carried the hollows of a plate going far beyond simple sculptural relief giving as a result a complex web in which light itself becomes the medium of sculpture”.

Stanley William Hayter
Introduction, Krishna Reddy: A Retrospective
Bronx Museum, 1982

Krishna Reddy, Butterfly, 1952 color trial proof

Butterfly, 1952 color trial proof

An important painting on paper by Norman Lewis

February 28th, 2017

Born in Harlem and working within New York City’s downtown art scene, Norman Wilfred Lewis (1909-1979) first began painting in a figural style grounded in social realism, focusing on bread lines, police brutality, and the struggles of black Americans. Lewis transitioned to a more abstract style of art during the 1940s and 1950s, continuing to focus on social inequalities but growing increasingly interested in personal expression rather than representation. Lewis’s shift to abstraction was driven in part by his realization that reproducing or mirroring social conditions did not adequately reflect his goals as an artist. At the same time the subjects of race and civil rights reclaimed Lewis’s work in a profound way in the 1960s.  Works like Untitled 1961 address political activism and humanitarian concerns through hazy visuals inspired by clandestine Ku Klux Klan gatherings and political marches and Labor Day parades.

The Pennsylvania Academy of Fine Art organized Procession, a major retrospective of Lewis’s works in 2016, which traveled to the Amon Carter Museum and the Chicago Cultural Center.  Curator and author Ruth Fine received a 2017 award of distinction from the College Art Association for the Norman Lewis exhibition catalogue.

UNTITLED 1961, oil on paper, signed and dated in recto

UNTITLED 1961, oil on paper, 19 x 26″

New etchings by Stan Whitney

January 7th, 2017

We are pleased to offer an important new group of eight etchings by Stanley Whitney (born 1946, Philadelphia, PA).  Whitney is a 2016 USA Jeanne & Michael Klein Fellow.  His 2015 exhibition at the Studio Museum in Harlem brought a new level of critical and market notice.  This brand new series of large etchings show Whitney continuing his exploration of abstract motifs—the layering and stacking of grid and gesture, line and shape.  Whitney was a Guggenheim Fellow in 1996.

Stan Whitney 8 Untitled etchings 2016, edition 18

From top left, numbers 1-8
edition 18, each image 19 1/2 x 24 3/8″ each sheet 29 1/8 x 32 1/2″

 

Anders Bergstom

October 31st, 2016

Anders Bergstrom’s  Brown Bag Test is emblematic of everyday commerce and discrimination. Each series of bags is unique.  The Metropolitan Museum of Art acquired a set, Brown Bag Test, December 21, 2014, Proof and Counterproof, and it is handsomely installed in the rotating prints gallery #690.  From their label, “The brown paper bag is both a quotidian and a designed object.  Bergstrom creates miniature replicas with details such as jagged edges, seams, and inked numbers that are imitative of a bar code but which actually corresponds to the artist’s zip code.  This work’s title references the discriminatory practice in which an individual’s complexion is judged against the color of a brown paper bag, yet Bergstrom does not privilege one bag over another, instead arranging them on a spectrum from light to dark.”

Anders has explored the everyday paper bag in it’s multiple states of use–replicating the grease-stained and the crumpled.   Anders’s printed works are included in the permanent collections at the Metropolitan Museum of Art, Yale’s Beinecke Library, Smith College Museum of Art and the New York Public Library.  The Met’s  Brown Bag Test, December 21, 2014, is on view thru early January 2017.

Brown Bag Test August 02, 2016

Brown Bag Test August 02, 2016

Brown Bag Test December 21, 2014, Proof and Counterproof installed @ the Met

Brown Bag Test December 21, 2014 installed @ the Met