The Influence of Atelier 17: Part One

Atelier 17 was founded in 1927 by Stanley William Hayter, a British chemist turned artist. By the end of his directorship, a position he undertook for nearly 5 decades, his studio had welcomed hundreds of artists, both well known and obscure.

The goal of Atelier 17 was simple: to present an environment where artists of all walks could go solely for the purpose of experimentation, and to push the boundaries of printmaking as an artistic medium. Though there were instructors and assistants, each artist and student was encouraged to work independently, at their own pace. The focus was on simultaneous color printmaking, and, by utilizing automatic line, to explore the possibilities of Surrealism and Abstract Expressionism as they played out on the plate. Monetary gain and popularity were secondary; in most cases it was totally inconsequential. As a result, much of the work that was produced in the Atelier was relatively unknown for many years. However, the impression made upon many of those artists remained throughout their careers.

The workshop had a few metamorphoses. Hayter first opened his studio in Paris following his attendance at Academie Julian, eventually moving the whole outfit to No. 17, Rue Campagne-Première in 1933. With the onset of World War II and the crippling of much of the European art world and persecution of so many of its artists, Hayter moved the studio to New York. There, he was able to expand the world of Abstract Expressionism in the American printmaking world, and Atelier 17 became one of the most sought-after experimental workshops in the world. Hayter remained until 1950, when reopened the studio in Paris once again. Upon Hayter’s death in 1988 the studio was renamed Atelier Contrepoint, and remains “A place of exchange and apprenticeship,” just as Hayter had striven for. In this two-part blog we aimed to illustrate the breadth of Atelier 17’s influence and that of Hayter himself.

For a larger view of the piece, click on the image. To get more information on the piece and for a biography of the artist, click on the link beneath the image to view it on our website. If you have any questions, please contact us.

The Influence of Atelier 17

Garo Antreasian: Untitled color lithograph, 1970. $750

Garo Antreasian (American: born 1922): Untitled abstract, 1970; color lithograph; pencil signed; artist’s proof; image size 24 x 23-13/16″; reference: Antreasian #177, CP-235.

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Milton Avery: “Head of a Man” 1935, drypoint. $3,500

Milton Avery (American: 1885 – 1965): “Head of a Man – A Portrait of Louis Weisenberg, the Artist” 1935, printed 1948; drypoint; pencil signed; from an edition of 100; platemark 9-1/8 x 4-11/16″; reference: Lunn 8.

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George Ball: “Clairiere dans le Foret” 1960; engraving. $600

George Ball (American: born 1929): “Clairiere dans la Foret” 1960; engraving; pencil signed; 10/50; platemark 21-1/2 x 13-5/8″.

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Martin Barooshian: “Love Scene From Faust” 1956; engraving, aquatint, and softground etching. $1,200

Martin Barooshian (American: born 1929): “Love Scene From Faust” 1956; engraving and aquatint with softground etching; pencil signed; one of 2 black and white proofs; platemark 12-1/8 x 15″.

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Fred Becker: “Kaleidoscopic Organism” 1946; etching, engraving, and softground etching. $4,500

Fred Becker (American: 1913 – 2004): “Kaleidoscopic Organism” 146; etching, engraving, and softground etching; pencil signed; 3/5; platemark 17-3/4 x 14-7/8″.

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Letterio Calapai: “Holocaust” 1956; etching and color aquatint. $500

Letterio Calapai (American: 1901 – 1993): “Holocaust” 1956; etching and color aquatint; pencil signed; artist’s proof; platemark 19-7/8 x 15-7/8; reference: Raisonnes.org LC-175.

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Angelica Caporaso: “La Manifestation” 1970; color viscosity etching. $500

Angelica Caporaso (Argentinian: born 1928): “La Manifestation” 1970; color viscosity etching; pencil signed; 20/30; platemark 16-1/4 x 20-3/4″.

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Joel Cazaux: “Parenthèse” 1968; simultaneous color intaglio. $350

Joel Cazaux (French: born 1940): “Parenthèse” 1968; simultaneous color intaglio; pencil signed; 7/15; platemark 13-7/8 x 11-7/8″.

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Marc Chagall: “The Heifer, the Goat, and the Sheep, in Company With the Lion – Plate 4 from ‘Les Fables de la Fontaine'” 1931; etching and aquatint. $3,000

Marc Chagall (Russian: 1887 – 1985): “The Heifer, the Goat, and the Sheep, in Company with the Lion – Plate 4 from ‘Les Fables de la Fontaine‘” 1931, published 1952; etching and aquatint; signed in unidentified hand; from an edition of 100 on Montval paper; platemark 11-1/2 x 9-7/8″; reference: Sorlier 100; the portfolio: Garvey 52, Sorlier 97 through 198, Chagall Books 22.

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Doris Meyer Chatham: “Suspension” 1953; color lithograph. $350

Doris Meyer Chatham (American: born 1923): “Suspension” 1953; color lithograph; pencil signed; 3/15; image size 13-1/8 x 18″.

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Lee R. Chesney: “Man” circa 1950; mixed technique color intaglio. $600

Lee Chesney (American: born 1920): “Man” circa 1950; mixed technique color intaglio; pencil signed; 4/15; platemark 14-7/8 x 11″.

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Bernard Childs: “Experimental Plate #3”, intaglio printed in colors. $3,000

Bernard Childs (American: 1910 – 1985): “Experimental Plate #3” 1955; intaglio printed in colors; pencil signed; proof from an unstated edition; platemark 14 x 8-1/4″.

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Margaret Cilento: “L’arbre sur neige” 1951; intaglio. $450

Margaret Cilento (Australian: 1923 – 2006): “L’arbre sur neige” 1951; intaglio; pencil signed; 7/10; platemark 7-1/2 x 5-3/4″.

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Minna Citron: “Men Seldom Make Passes…” 1946; color etching and engraving with gaffrauge.

Minna Citron (American: 1896 – 1991): “Men Seldom Make Passes…” 1946; color etching and engraving with gaffrauge; pencil signed; from an edition of 50; platemark 14-15/16 x 9-5/16″.

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Will Collier: Untitled multiple technique intaglio, 1960. $300

Will Collier (American: born 1929): Untitled abstraction, 1960; multiple technique intaglio; pencil signed; epreuve d’artiste; platemark 15-1/2 x 12″.

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Ruth Cyril: “Moonlit Pond” 1970; etching and aquatint printed in blue. $200

Ruth Cyril (American: 1920 – 1985): “Moonlit Pond” 1970; etching and aquatint printed in blue ink; 151/200; platemark 3-13/16 x 11-7/8″.

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Worden Day: “Now Flowing” 1957; color plaster relief print. $9,500

Worden Day (American: 1912 – 1986): “Now Flowing” 1957; color plaster relief print; inscribed “2nd impression” from an unstated edition; image size 26 x 71-5/8″.

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Jennifer Dickson: “L’Origine (In the Beginning) – Plate 1 from ‘La Gense’, a portfolio of 10 color etchings” 1965; color etching. $1,000

Jennifer Dickson (South African: born 1936): “L’Origine (In the Beginning)” Plate 1 from La Gense, a portfolio of 10 color etchings; 1965; color etching; 38/50; platemark 13-5/8 x 12-7/16; reference: Editions Alecto 338; Zwemmer catalogue 1; Birmingham Museum, accession # 1997P13.1.

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Werner Drewes: “Circular Motion” 1944/’77; engraving, drypoint, and softground etching. $1,000

Werner Drewes (American: 1899 – 1985): “Circular Motion” 1944/1977; engraving, drypoint, and softground etching; pencil signed; 5/XXV, 2nd edition; platemark 5-15/16 x 7-15/16″; reference: Rose 223.

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David Driesbach: “Visitation While Herod Searches” 1957; etching. $500

David Driesbach (American: born 1922): “Visitation While Herod Searches” 1957; etching; pencil signed; 27/30; platemark 17-3/4 x 23-3/4″.

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Thomas Brownell Eldred: Unittled, about 1940; mixed technique intaglio. $750

Thomas Eldred (American: 1903 – 1993): Untitled abstraction, circa 1940; mixed technique color intaglio; pencil signed; edition size not stated; platemark 13-5/8 x 7-7/8″.

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Claire Falkenstein: Untitled (Weave), 1964; two color collagraph. $900

Claire Faulkenstein (American: 1908 – 1997): Untitled (Weave), 1964; two color collagraph; pencil signed; 8/70; platemark 8 1/2 x 11 3/4″.

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Perle Fine: “Carousel” 1944; etching, engraving, and drypoint. $1,500.

Perle Fine (American: 1908 – 1988): “Carousel” 1944; etching, engraving and drypoint; pencil signed; 3/30; platemark 7-13/16 x 5-15/16″.

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Leonor Fini: “Two Portraits” circa 1970; color lithograph. $900

Leonor Fini (Argentinian: 1908 – 1996): “Two Portraits” circa 1970; color lithograph; pencil signed; 92/150; image size 22-3/8 x 14-7/8″.

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Sue Fuller: “Hen” 1945; softground etching and engraving. $2,000

Sue Fuller (American: 1914 – 2006): “Hen” 1945; softground etching and engraving; pencil signed; 46/50; platemark 14-11/16 x 11-5/8″; reference: Esposito, 1990, Hayter e l’Atelier 17 p. 234, illustrated p. 174; Teller 2002 catalogue 14; Mary Ryan Gallery 1986, Atelier 17 catalogue 23.

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Jeremy Gentilli: “Owl” 1954; mixed technique intaglio. $200

Jeremy Gentilli (British: born 1926): “Owl” 1954; mixed technique intaglio; pencil signed; 2/15; platemark 7-7/8 x 6″.

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Alberto Giacometti: “Objets Mobiles et Muets” 1937; lithograph. $8,500

Alberto Giacometti (Swiss: 1901 – 1966): “Objets Mobiles et Muets (Moving, Mute Objects)” 1931; lithograph; pencil signed; 17/30; image sizes 11 x 7-5/8 (left) and 10-3/8 x 7-5/8″ (right); reference: Lust 1.

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Patricia de Gogorza: Untitled abstraction, 1958; softground etching, aquatint, and engraving. $350

Patricia de Gogorza (American born 1936): Untitled abstraction, 1958; softground etching, aquatint, and engraving; pencil signed; proof, form an unstated edition; platemark 15-9/16 x 10-1/8″.

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Sergio Gonzalez-Tornero: “Chaja” 1960; color intaglio. $500

Sergio Gonzalez-Tornero (American born Chile 1927): “Chaja“, 1960; color intaglio; pencil signed; artist’s proof from an unnumbered edition (about 10 proofs); platemark 15-1/2 x 15-3/4”.

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Salvatore Grippi (American: born 1921): “Confrontation” 1955; liftground etching and engraving on cut-out plate. $1,250

Salvatore Grippi (American: born 1921): “Confrontation” 1955; liftground etching and engraving on cut-out plate; pencil signed; edition size not stated (presumed small); platemark 7-1/16 x 9-1/4″.

• • ◊ • •

Anthony Gross: “Summit (Spur with Valley)” 1957; etching and engraving. $700

Anthony Gross (British: 1905 – 1984): “Summit (Spur with Valley)” 1957; etching and engraving; pencil signed; 52/200; platemark 13-7/8 x 17-7/16″; reference: Herdman 5703; Reynolds 186.

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Jose Guerrero: Untitled abstraction, 1980; color aquatint. $2,000

Jose Guerrero (Spanish: 1914 – 1992): Untitled abstraction, 1980; color aquatint; pencil signed; 30/60; image size 19-1/2 x 15-1/2″; reference: 3rd Biennial of European Graphic Art, illustrated p. 272.

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Terry Haass: “Iles II” 1966; etching and aquatint. $350

Terry Haass (Czechoslovakian: born 1923): “Iles II” 1966; etching and aquatint; pencil signed; 18/20; platemark 4-7/8 x 7-13/16″; reference: Spielmann 130.

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Stanley William Hayter: “Perseides” 1958; color etching. $2,000

Stanley William Hayter (English: 1901 – 1988): “Perseides” 1958; color etching; pencil signed; 36/50; platemark 11-11/16 x 14-1/2″; reference: Black & Moorhead 247.

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Joseph Hecht: “Gazelle” 1929; copper engraving. $450

Joseph Hecht (British: 1891 – 1951): “Gazelle” 1929; copper engraving; pencil signed; from an edition of 100; platemark 7 x 8-1/2″; reference: Tonneau-Ryckelynck & Plumart 201.

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Jacques Herold: Abstract figure, 1951; etching, printed intaglio. $300

Jacques Herold (French: 1910 – 1987): Abstract figure, 1951; etching, printed intaglio; pencil signed; 11/100; platemark 6-3/8 x 4-5/8″; reference: Coron 8.

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Ian Hugo: “Toreador” 1945/’79; engraving. $250

Ian Hugo (American: 1898 – 1985): “Toreador” 1945/1979; from the portfolio 10 Engravings; engraving; pencil signed; published by Associated American Artists; 45/50; platemark 5-7/8 x 7-7/8″.

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Gladys Dallas Husband: Untitled, from the “Solidarité” portfolio, 1938. $500

Gladys Dallas Husband (Canadian: 1899 – 1943): Untitled, from the Solidarité portfolio, 1938; etching, aquatint, and engraving; pencil signed; 99/150; platemark 3-3/16 x 4-3/8″; reference: Dwyer 4, p. 55, illustrated p. 46.

• • ◊ • •

Claudio Juarez: Untitled abstract, 1982; color etching and collagraph. $350

Claudio Juarez (Peruvian: 1938 – 2001): Untitled abstract in red and yellow, 1982; color etching and collagraph; pencil signed; A/P; platemark 10-5/16 x 11-1/16″.

• • ◊ • •

Leo Katz: "Gemini - Cancer - Leo" 1950; surface-printed inaglio. $1,500Leo Katz (American: 1887 – 1982): “Gemini – Cancer – Leo” 1950; surface printed color intaglio; pencil signed; edition size not stated; image size 16 x 31-7/8″.

• • ◊ • •

Misch Kohn: “Mob” 1964; sugar-lift ground aquatint, printed relief. $2,000

Misch Kohn (American: 1916 – 2003): “Mob” 1964; sugar-lift ground aquatint, printed relief; pencil signed; artist’s impression; platemark 13 x 19-1/2″; reference: Hernandez 311.

• • ◊ • •

Mauricio Lasansky: “Pieta” 1948; color engraving and etching with softground, electric stippler, and scraping and burnishing, printed in color. $5,000

Mauricio Lasansky (American: 1914 – 2012): “Pieta” 1948; color engraving and etching with softground, electric stippler, and scraping and burnishing, printed in color; pencil signed; 23/35; platemark 19-1/4 x 28″; reference: Thein/Lasansky 83; Zigrosser 79, U of Iowa 1958, fig. 19.

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Jean Lodge: “Linear Spaces” 1968; engraving. $600

Jean Lodge (American: born 1941): “Linear Spaces” 1968; engraving; pencil signed; 13/30; platemark 16-1/8 x 12-7/16″.

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Go to Part Two

About Annex Galleries

The Annex Galleries holds one of the largest original fine print inventories on the West Coast. With over 9,000 works, we specialize in (but are not limited to) original prints of the WPA era, Arts & Crafts movement, and Abstract Expressionism through the 1960's, with a focus on American and Californian artists both known and unknown. We have everything from Durer to Baumann to Picasso.
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3 Responses to The Influence of Atelier 17: Part One

  1. I met and interviewed Stanley William Hayter in the early ’70’s when he had an exhibition of paintings at the Corcoran in Washington along with a print show at Harry Lunn’s gallery across the river. I have bought and sold a few of his prints over the years and number him as one of my favorite artists, or should I say printmakers.

  2. Great to see the depth of influence of Atelier 17 – don’t all contemporary printmakers of a certain age know someone who was taught by Hayter? Check out the work of Anthony(Tony) Currell, a UK student with Hayter in 1963-64,- painting, but no longer making prints, recently published a short memoir of his experience in Paris – published as a short run artist book by The Common Press Crich, UK.

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