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ATELIER 17, ABSTRACT EXPRESSIONISM

by Swann Auction Galleries

Platinum House

139 lots with images

October 27, 2011

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

139 Lots
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SALVADOR DALÍ Les Chants de Maldoror: Sewing Machine.

Lot 400: SALVADOR DALÍ Les Chants de Maldoror: Sewing Machine.

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Description: SALVADOR DALÍ Les Chants de Maldoror: Sewing Machine. Etching, 1934. 220x165 mm; 8 3/4x6 1/2 inches, full margins. Edition of 100. Published by Albert Skira, Paris. From the same-titled portfolio. A very good impression of this early print. Michler/Löpsinger 31; Field 34-2.

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JOAN MIRÓ Fraternity.

Lot 401: JOAN MIRÓ Fraternity.

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Description: JOAN MIRÓ Fraternity. Etching, 1939. 225x165 mm; 9x6 1/2 inches, full margins. Edition of 113. Signed in pencil, lower left. Printed at Atelier 17, Paris. From the same-titled portfolio. A superb, richly-inked impression of this very scarce, early print, with crisp, inky plate edges and warm plate tone. Dupin 43.

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KURT SELIGMANN Untitled.

Lot 403: KURT SELIGMANN Untitled.

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Description: KURT SELIGMANN Untitled. Etching, 1935. 247x197 mm; 9 3/4x7 3/4 inches, full margins. Signed, dated "1933" and numbered 37/50 in pencil, lower margin. From Album de 23 Gravures. A very good impression with strong cotnrasts and warm plate tone. Serger 44.

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KURT SELIGMANN Acteon.

Lot 404: KURT SELIGMANN Acteon.

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Description: KURT SELIGMANN Acteon. Etching, 1947. 295x221 mm; 11 5/8x8 3/4 inches, full margins. Edition of 70. Signed and dated in pencil, lower right. From Brunidor Portfolio, Number 1. A superb, richly-inked impression. Serger 110.

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ANDRÉ MASSON Improvisation.

Lot 405: ANDRÉ MASSON Improvisation.

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Description: ANDRÉ MASSON Improvisation. Aquatint and etching on cream wove paper, 1945. 197x148 mm; 7 3/4x6 inches, full margins. Signed and numbered 10/30 in pencil, lower margin. A very good, richly-inked impression of this scarce print. André Masson (1896-1987) was associated with Surrealism in Paris during the 1920s/1930s. From the mid-1920s his work became more experimental: he made paintings by throwing sand and glue on canvases, basing the compositions on the shapes they formed, and he created numerous "automatic" ink drawings by freely and spontaneously scribbling on sheets of paper. These highly expressive works were an important influence on the first generation of New York School, particularly Jackson Pollock. André Masson created an etching for the Atelier 17 printed Solidarité portfolio in 1938 and then made several additional prints at Atelier 17 in New York during the 1940s, when he had escaped World War II and Nazi occupied Paris and come to live in New Preston, Connecticut. Saphire 94.

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ANDRÉ MASSON Léda.

Lot 406: ANDRÉ MASSON Léda.

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Description: ANDRÉ MASSON Léda. Drypoint, 1947. 390x275 mm; 15 3/8x10 7/8 inches, full margins. Signed and numbered 2/30 in pencil, lower margin. A very good, richly-inked impression. Saphire 248.

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ANDRÉ MASSON Orphée.

Lot 407: ANDRÉ MASSON Orphée.

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Description: ANDRÉ MASSON Orphée. Etching, circa 1933. 295x235 mm; 11 5/8x9 1/4 inches, full margins. Signed and numbered 16/50 in pencil, lower margin. A very good impression with strong contrasts. Saphire 46

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JACQUES LIPCHITZ Couple et Enfant.

Lot 408: JACQUES LIPCHITZ Couple et Enfant.

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Description: JACQUES LIPCHITZ Couple et Enfant. Etching, engraving and aquatint, circa 1940. 300x222 mm; 12x8 7/8 inches, full margins. Signed and numbered 24/65 in pencil, lower margin. A superb, richly-inked impression of this very scarce print. From the 1910s to the 1930s, Jacques Lipchitz's (1891-1973) formal Cubist style gave way to more unconstrained, expressive creations in both sculpture--for which he is best known--and works on paper. Like André Masson, after fleeing Nazi occupied Paris in 1940, Jacques Lipchitz arrived in New York, eventually settling in Hastings-in-Hudson. He began to show at the Buchholz Gallery, later the Curt Valentin Gallery, in New York, which brought him into contact with Atelier 17 and Hayter, who printed several of Lipchitz's etchings.

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JACQUES LIPCHITZ Danseuse et Coq.

Lot 409: JACQUES LIPCHITZ Danseuse et Coq.

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Description: JACQUES LIPCHITZ Danseuse et Coq. Aquatint and engraving, 1947. 174x138 mm; 6 7/8x5 1/2 inches, full margins. Signed and numbered 39/50 in pencil, lower margin. Published by Éditions Jeanne Bucher, Paris. From Jacques Lipchitz. A superb, dark and richly-inked impression of this scarce print.

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JACQUES LIPCHITZ Thesée et le Minotaure.

Lot 410: JACQUES LIPCHITZ Thesée et le Minotaure.

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Description: JACQUES LIPCHITZ Thesée et le Minotaure. Etching, engraving, drypoint and aquatint, circa 1940. 226x173 mm; 9x6 7/8 inches, full margins. Signed and numbered 24/50 in pencil, lower margin. A superb, proof-like impression of this scarce print.

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JACQUES LIPCHITZ Thesée et le Minotaure.

Lot 411: JACQUES LIPCHITZ Thesée et le Minotaure.

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Description: JACQUES LIPCHITZ Thesée et le Minotaure. Etching, aquatint and drypoint, 1943-44. 350x285 mm; 13 7/8x11 1/4 inches, full margins. Signed and numbered 15/50 in pencil, lower margin. A superb impression of this large, scarce etching. According to Joann Moser, in the experimental environment at Atelier 17, New York, Lipchitz revived a 19th century technique known as liquid ground or spirit ground aquatint in this work. "Rather than using dry rosin dust to create an acid-resistant surface, either rosin or dammar crystals were suspended in alcohol and floated on the surface of the plate. When the alcohol evaporated, the residual resins could be warmed to adhere them to the plate and form an acid-resistant ground. This technique was very difficult to control, but it allowed the artist to achieve some very subtle wash-like effects in his prints" (Moser, Atelier 17, Madison, WI, 1977, p 29). This painterly approach to printmaking likely influenced the younger generation of artists working side-by-side with Lipchitz and the other old guard European modernists at Atelier 17 during the 1940s.

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MAX ERNST Le Sonneur/Carte de l'Océan.

Lot 412: MAX ERNST Le Sonneur/Carte de l'Océan.

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Description: MAX ERNST Le Sonneur/Carte de l'Océan. Color etching and embossing, 1950. 118x90 mm; 4 3/4x3 1/2 inches, full margins. Signed, numbered 17/20 and inscribed "ép. d'art" in pencil, lower margin. Printed by Georges Visat, Paris. Published by Aux Éditions Premières, Paris. From La Chasse au Snark. A superb impression of this extremely scarce print. The renowned Dada/Surrealist artist Max Ernst (1881-1976) moved to New York in 1941 to escape war-torn France. He created 2 etchings at Atelier 17 with Hayter in 1946-47 (Spies/Leppien 23 and 25). These intaglio prints, imbued with a Surrealist aesthetic, were a departure from his earlier Dada-inspired prints and foreshadow a shift in Ernst's future printmaking. Spies/Leppien 32 1 E and 32 2 B.

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GUSTAVE SINGIER Jeux d'eau.

Lot 413: GUSTAVE SINGIER Jeux d'eau.

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Description: GUSTAVE SINGIER Jeux d'eau. Engraving, 1945. 237x160 mm; 9 3/8x6 3/8 inches, full margins. Signed and numbered 1/20 in pencil, lower margin. A very good, dark impression. Gustave Singier (1909-1984) was a Belgian artist who worked in Paris, and was a member of the Salon de Mai group of French abstract artists who formed in 1941 in opposition to the Nazi occupation and their denouncment of degenerate art. Hayter used the same title as this work for his 1953 color engraving (see lot 461).

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STANLEY W. HAYTER Paysage anthropophage.

Lot 414: STANLEY W. HAYTER Paysage anthropophage.

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Description: STANLEY W. HAYTER Paysage anthropophage. Engraving and soft-ground etching, 1937. 184x351 mm; 7 1/4x14 inches, full margins. Fourth state (of 4). Signed, titled, dated and numbered 6/30 in pencil, lower margin. A very good impression of this extremely scarce print. In the same year of Hayter's visit to war-torn Spain in 1937, the publisher Ambroise Vollard commissioned 6 prints from Hayter to illustrate Cervantes' Numancia, accompanied by a French translation. Hayter completed 5 of the 6 prints for this project, before it was cut short by Vollard's death in 1939. This likely accounts for the scarcity of this print and the others in the series. (Black/Moorhead note that the highest edition number recorded to date for this engraving is 9/30.) Cervantes' 16th-century tragedy recounts the heroic defense of Numantia at the annihilating hands of the Romans in 133 BCE, a subject that echoed the throes of the Spanish Civil War, begun in 1936, and Hayter witnessed firsthand. The title Paysage anthropophage (Man-eating Landscape) specifically refers to Act IV, Scene 4, where the starving Numancians decide to eat their Roman prisoners; the barren landscape with few figures laid naked and supine evoke such devestation. Hayter's early figural subjects and narratives also coincide with the dark emotions often explored and associated with Surrealist art. >QL>In 1938 and 1939, Atelier 17 would produce 2 group portfolios, Solidarité and Fraternity, as tributes to the Spanish people, with proceeds from the sale donated to the Spanish Republican Children's Fund. Black/Moorhead 106.

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JOHN BUCKLAND-WRIGHT Nymphe Surprise I.

Lot 415: JOHN BUCKLAND-WRIGHT Nymphe Surprise I.

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Description: JOHN BUCKLAND-WRIGHT Nymphe Surprise I. Engraving, 1935. 155x115 mm; 6 1/8x4 5/8 inches, full margins. Signed, titled, dated and numbered 8/30 in pencil, lower margin. A very good impression. A New Zealand native, John Buckland-Wright (1897-1954) read history at Oxford and studied architecture at London University, where he graduated in 1920. He traveled throughout Europe following his studies in design, teaching himself engraving and producing engraved illustrations for private presses in Holland. He eventually met Hayter and became a trusted assistant at Atelier 17 by the mid-1930s, even running the workshop while Hayter was away. The nude came to dominate John Buckland-Wright's work, undergoing many variations throughout his career, including this figure that owes much to the continuous linear quality of Hayter's prints.

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STANLEY W. HAYTER Nostradam.

Lot 416: STANLEY W. HAYTER Nostradam.

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Description: STANLEY W. HAYTER Nostradam. Engraving on thin, cream laid paper, 1938. 149x109 mm; 5 7/8x4 1/4 inches, full margins. Third state (of 4). Artist's proof, aside from the edition of 20 (and the later edition of 100). Signed, dated "1933" and inscribed "epreuve d'essai" in pencil, lower margin. A superb impression of this scarce, early proof. Black/Moorhead 93.

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STANLEY W. HAYTER Mirror.

Lot 417: STANLEY W. HAYTER Mirror.

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Description: STANLEY W. HAYTER Mirror. Etching, scorper, soft-ground etching and engraving, 1941. 190x118 mm; 7x4 inches, full margins. Fourth state (of 4). Signed, titled, dated and numbered 27/30 in pencil, lower margin. Black/Moorhead 139.

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STANLEY W. HAYTER Burin Studies.

Lot 418: STANLEY W. HAYTER Burin Studies.

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Description: STANLEY W. HAYTER Burin Studies. Engraving, 1943. 150x271 mm; 6x10 3/4 inches, full margins. Second state (of 2). Signed, dated, titled "Croquis au burin" and numbered 3/30 in pencil, lower margin. A very good, richly-inked impression. Black/Moorhead 153.

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STANLEY W. HAYTER Sea Myth.

Lot 419: STANLEY W. HAYTER Sea Myth.

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Description: STANLEY W. HAYTER Sea Myth. Engraving, soft-ground etching and scorper, 1946-47. 278x376 mm; 11x14 7/8 inches, wide margins. Fourth state (of 4). Signed, titled, dated, inscribed "Paris--New York" and numbered 1/30 in pencil, lower margin. A very good impression of this extremely scarce print. The plate was begun in Paris in 1946 and finished in New York in 1947. Black/Moorhead 175.

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STANLEY W. HAYTER Cronos.

Lot 420: STANLEY W. HAYTER Cronos.

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Description: STANLEY W. HAYTER Cronos. Engraving, soft-ground etching and scorper, 1944. 397x505 mm; 15 3/4x20 inches, full margins. Sixth state (of 6). Signed, titled, dated and numbered 42/50 in pencil, lower margin. A superb, richly-inked impression of this large, scarce print. Among Hayter's most technically complex prints from the 1940s, made during several months (August through November) in 1944, when Jackson Pollock also worked at Atelier 17 creating 11 of his intaglio plates. Black/Moorhead 160.

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PORTFOLIO American Abstract Artists Group First Portfolio.

Lot 421: PORTFOLIO American Abstract Artists Group First Portfolio.

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Description: PORTFOLIO American Abstract Artists Group First Portfolio. Complete group of 30 lithographs, lithograph title page and lithograph table of contents, 1937. 233x305 mm; 9 1/8x12 inches (sheets), full margins, loose as issued. Edition of approximately 500. Issued by the American Abstract Artists Group, New York, to commemorate their innaugural exhibition at the Squibb Galleries, New York, 1937, this seminal exhibition spurred the growth of Abstract Expressionsim and the New York School through the 1940s and 1950s. Including prints by BOLOTOWSKY, BROWNE, DREWES, HOLTY, ROSENBORG, SCHANKER, VYTLACIL, ZOGBAUM and many others. According to Susan C. Larsen, " Five hundred copies were printed and sold for fifty cents at Squibb Gallery. Only a few are known to be extant; a complete portfolio is on file with the Archives of American Art," (The American Abstract Artists: A Documentary History 1936-1941, Archives of American Art Journal, volume 14, number 1, 1975, p. 3). In 1937, one year after the establishment of the American Abstract Artists (AAA) group, a General Prospectus was issued that called for the exposure and understanding of abstract and non-objective art through the exhibition of its artwork. That same year, on April 2nd, 39 of its members exhibited their work at the the very first AAA exhibition at Squibb Gallery. This was the largest and most attended American abstract art exhibition outside of a major museum in the 1930s. On occasion of this momentus exhibition, the AAA did not print an exhibition catalogue but produced a portfolio of original zinc plate lithographs, 30 of which are included in this lot. Among the AAA were forerunners of the abstract art movement in America, such luminaries as Josef Albers,Werner Drewes, Bryon Browne and Burgoyne Diller and others.

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JOSEF ALBERS Variants.

Lot 422: JOSEF ALBERS Variants.

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Description: JOSEF ALBERS Variants. Drypoint on cream wove paper, 1942. 153x225 mm; 6x8 7/8 inches, wide margins. Signed, titled, dated, dedicated and numbered 6/20 in pencil, lower margin. A superb, dark impression of this extremely scarce, early print. In 1920 Josef Albers (1888-1976) enrolled in the preliminary course, taught by Johannes Itten, at the Weimar Bauhaus before being asked by the founder and director Walter Gropius to stay on the following year to teach in the Department of Design. Before the dissolution of the Bauhaus by the Nazi government in 1933, Albers led the carpentry and glass painting workshops and taught the drawing and lettering classes, often moving freely between media and disciplines as he would in his own art. His fellow faculty members at the Bauhaus included the imporant Modernist artists Paul Klee, Wassily Kandinsky and Oskar Schlemmer. On leaving Nazi Germany in the early 1930s, Albers and his wife Anni, a superb textile desginer herself, relocated to North Carolina, where Albers was invited to join the faculty at the progressive art school Black Mountain College, near Asheville, North Carolina, at the recommendation of the architect-curator Philip Johnson of the Musem of Modern Art, New York. During his tenure through 1949 he taught Robert Rauschenberg and Cy Twombly and even attracted the likes of Willem De Kooning and Robert Motherwell. Not unlike Atelier 17, Black Mountain College attracted many aspiring artist-students who sought to learn and hone their craft, while retaining and developing their own individual style. Alber's first experiments with intaglio techniques, drypoints in particular, were those made in 1940 at the Art Academy in Mexico City, a place that brought great intrigue for Albers; as he wrote Wassily Kandinsky years before: "Mexico is truly the promised land of abstract art" (Danilowitz p.11). Most of these prints trace the shapes of organic and curvilinear forms, easily and freeily controlled through drypoint, not so unlike the "automatic" drawings and prints of André Masson and the Surrealists. But, more directly, the voluminous forms of Variants comes out of a class exercise in Albers's drawing classes that required students to create the overlapping, intersecting and foreshortening of elliptical forms while, at the same time, challenging the viewer's perception of space Danilowitz 93.

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WERNER DREWES Composition VIII -- The Two Fighters Fight.

Lot 423: WERNER DREWES Composition VIII -- The Two Fighters Fight.

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Description: WERNER DREWES Composition VIII -- The Two Fighters Fight. Woodcut on Japan paper, 1934. 318x236 mm; 12 1/2x9 1/4 inches, full margins. Edition of 20. Signed and dated in pencil, lower right. From 10 Blockprints by Drewes. A superb, evenly-printed impression. Werner Drewes (1899-1985) studied at the Weimar Bauhaus from 1921-22 with Paul Klee and Johannes Itten, and later painting with Wassily Kandinsky and the graphic arts with László Moholy-Nagy at the Dessau Staatliches Bauhaus from 1927-28. By 1930, as the pressures of pursuing abstract art intensified (seen as degenerate by the Nazis), Drewes emigrated to New York. At the Brooklyn Museum of Art under the Federal Art Programs, he became an instructor in drawing, eventually rising to the director of the large graphic arts section in New York City from 1940-41. Around this time, he worked at the newly re-established Atelier 17 under the direction of Hayter. This woodcut is one of 10 woodcuts (another is lot 424) that were originally part of the portfolio "It Can't Happen Here". Drewes made unequicoval reference through title and distorted swastika, which adorns the portfolio cover, to the nascent Nazism abroad and the hopes for his newly adopted country. However politically charged these woodcuts appeared in 1934, they were surpassed by their artistic ingenuity. As a summation of the artist's visual understanding of Bauhaus principles, these entirely abstract black and white compositions are among the first completely abstracted graphic works produced in the United States. Rose 94.

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WERNER DREWES Composition V-- Large and Small Circle.

Lot 424: WERNER DREWES Composition V-- Large and Small Circle.

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Description: WERNER DREWES Composition V-- Large and Small Circle. Woodcut on Japan paper, 1934. 340x283 mm; 13 3/8x11 1/8 inches, full margins. Edition of only approximately 20. Signed and dated "1935" in pencil, lower right. From 10 Blockprints by Drewes. A superb impression of this extremely scarce woodcut. Rose 91.

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WERNER DREWES Looking Into Space.

Lot 425: WERNER DREWES Looking Into Space.

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Description: WERNER DREWES Looking Into Space. Woodcut on thin, cream laid Japan paper, 1934. 281x206 mm; 11x8 1/8 inches, full margins. One of only several known impressions. Signed in pencil, lower right. A superb, richly-inked impression of this extremely scarce woodcut. Rose 101.

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WERNER DREWES Movement No. 3.

Lot 426: WERNER DREWES Movement No. 3.

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Description: WERNER DREWES Movement No. 3. Drypoint on cream wove paper, 1935. 181x257 mm; 7 1/8x10 1/8 inches, full margins. Edition of only approximately 20. Signed in pencil, lower right. A superb, richly-inked and proof-like impression of this very scarce drypoint. Rose 199.

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WERNER DREWES Small Forms on Crossing Bands.

Lot 427: WERNER DREWES Small Forms on Crossing Bands.

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Description: WERNER DREWES Small Forms on Crossing Bands. Drypoint and roulette on cream wove paper, 1935. 181x269 mm; 7 1/8x10 5/8 inches, full margins. Edition of approximately only 20. Signed in pencil, lower right. A superb impression of this extremely scarce drypoint. Rose 197.

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WERNER DREWES Lonely Figure.

Lot 428: WERNER DREWES Lonely Figure.

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Description: WERNER DREWES Lonely Figure. Color etching on Japan paper, inked in the manner of a monotype, 1940. 202x163 mm; 8x6 1/2 inches, full margins. Signed, dated and numbered 1-X in pencil, lower margin. A superb impression of this extremely scarce color etching. Drewes's first color intaglio print. He brushed the color inks on a single plate, resulting in considerable color variations for each impression. Rose 219.

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WERNER DREWES Monumental.

Lot 429: WERNER DREWES Monumental.

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Description: WERNER DREWES Monumental. Engraving and soft-ground etching, 1944. 354x174 mm; 13 7/8x6 7/8 inches, full margins. First edition (of 2). Signed, titled and numbered 10/xxxx in pencil, lower margin. Printed at Atelier 17, New York. A superb, dark impression with strong contrasts. One of 10 different intaglio prints Drewes made at Atelier 17 in 1944-45. Rose 229.

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WERNER DREWES On Different Planes.

Lot 430: WERNER DREWES On Different Planes.

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Description: WERNER DREWES On Different Planes. Engraving and soft-ground etching, 1944. 3 02x150 mm; 12x9 inches, full margins. First edition (of 2). Signed, dated and numbered 3/xxx in pencil, lower margin. Printed in Atelier 17, New York. A very good impression. Rose 228.

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MILTON AVERY My Wife Sally.

Lot 431: MILTON AVERY My Wife Sally.

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Description: MILTON AVERY My Wife Sally. Drypoint, 1934. 141x211 mm; 5 1/2x8 1/4 inches, full margins. Signed, dated and numbered 54/100 in pencil, lower margin. Printed at Atelier 17, New York. Published by Laurel Gallery, New York. From Laurels Number Two. A superb, evenly-printed impression. Milton Avery (1885-1965) was sometimes thought of as the American Matisse. His work never fully resembled that of his contemporaries, the Cubists or Surrealists, but his palette did. His distinct modernism that eschewed both abstraction and realism is rather more closely related to the Color Field Abstract Expressionists (Rothko, Gottlieb, Hoffman and Newman), whose development he likely influenced, through the use of boldly juxtaposed colors in a flat planar style. Many of the subjects within his work, and his prints in particular which first appear in 1933, are of close friends and family. The domesticity of the quiet home and its inhabitants, such as his wife Sally in the present print, very much appealed to Avery. Avery experimented with drypoint during the early 1930s, foregoing the use of color for which he is more commonly known, to explore the energy of the line through printmaking. His first drypoint scratches were on zinc and copper plates acquired from the refuse scraps of a photoengraver; this accounts for the irregularly-sized plates in his early prints. He proofed the plates roughly and sometimes set them aside until years later when they were printed in numbered editions. Hayter's Atelier 17 printed My Wife Sally> which was issued in a pair of 1947 portfolios published by the Laurel Gallery in New York (along with prints by Miró, Hayter, Peterdi, Ryan, Barnet and others). Lunn 5.

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GABOR PETERDI Hunter Hunted.

Lot 432: GABOR PETERDI Hunter Hunted.

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Description: GABOR PETERDI Hunter Hunted. Engraving, 1947. 375x350 mm; 14 3/4x13 3/4 inches, full margins. Signed, titled, dated and numbered 20/35 in pencil, lower margin. A superb, richly-inked impression. Like many artists in Paris during the 1930s, the Hungarian painter Gabor Peterdi (1915-2001) learned of Atelier 17 through colleagues, Szenes and Maria Helena Vierira da Silva at the Academie Julien and Academie Scandinavien, and by 1933 had joined the workshop. There, under the direction of Hayter, Peterdi became enchanted with the copperplate and burin, developing an intimacy with engraving and a fondness for its many techniques and qualities that he would not relinquish his entire career. (His Printmaking: Methods Old and New, published in 1959, remains a standard text for both printmaking students and professionals.) After immigrating to the United States in 1939 and serving 7 years in the army during World War II, Peterdi resumed his printmaking activity at Atelier 17 in New York. His prints produced shortly after his military service, including the present lot, reflect the spiritual devastation and suffering of war, in which even the horse and rider, a not uncommon subject in the Surrealist art of Dalí and Picasso, appear under attack by the very beasts that they hunt. Johnson 33.

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GABOR PETERDI Combat.

Lot 433: GABOR PETERDI Combat.

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Description: GABOR PETERDI Combat. Brush and black and gray ink and wash on cream wove paper, 1950. 635x495 mm; 25x19 1/2 inches. Signed and dated in black ink, lower right recto.

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GABOR PETERDI Still Life.

Lot 434: GABOR PETERDI Still Life.

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Description: GABOR PETERDI Still Life. Oil on canvas, 1953. 865x1020 mm; 34x40 inches. Signed and dated in oil, lower right recto, and counter signed, titled and dated in oil, verso. At the age of only 15, Peterdi exhibited his paintings at the Ernst Museum in Budapest. That same year he won the prestigious Prix de Rome for painting and continued his studies at the Academia delle Belle Arti before moving to Paris. Settling in the United States in 1939, his first American solo exhibition of paintings opened later that year at the Julien Levy Gallery in New York. While maintaining his activity in Atelier 17, in 1948 Peterdi began teaching at the Brooklyn Museum School of Art, organizing its graphic arts workshop. This position gave way to his post as associate professor of art at Hunter College (1952-60), his teaching career culminating with the art faculty at the Yale School of Art (1960-87). With exception to his foreboding war imagery, Peterdi's art often evokes themes of nature, landscape and elemental forces. Still Life exhilarates and captivates with its cool and warm colors, frequently seen in Hayter's palette, and his gestural and abstracted qualities, repeatedly associated with the Abstract Expressionists, that recall at once Peterdi's treatment of the painting imbued with his intalgio printing techniques.

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ANDRE RACZ Perseus Beheading Medusa IV.

Lot 435: ANDRE RACZ Perseus Beheading Medusa IV.

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Description: ANDRE RACZ Perseus Beheading Medusa IV. Engraving, aquatint, etching and embossing, 1945. 547x380 mm; 21 1/2x15 inches, full margins. Signed, titled, dated and numbered 21/25 in pencil, lower margin. A brilliant, richly-inked and proof-like impression. Born and raised in Romania, Andre Racz (1916-1994) moved to the United States as a member of the Romanian Art Commission in connection with New York's World Fair in 1939. In New York Racz studied with Hayter at Atelier 17 and produced many prints, including a number of portfolios throughout the 1940s and 1950s. In the mid 1940s his expressive and shocking imagery was not yet free from the influences of Picasso and Hayter; the slumped over and decapitated head of Medusa, at the feet of the fierce Perseus resonates with the savagery seen in Picasso's work from the previous decade.

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MAURICIO LASANSKY Sol y Luna.

Lot 436: MAURICIO LASANSKY Sol y Luna.

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Description: MAURICIO LASANSKY Sol y Luna. Engraving, etching, soft-ground etching, aquatint, scraping and burnishing, 1945. 403x530 mm; 15 7/8x20 7/8 inches, full margins. Artist's proof, aside from the edition of 35. Signed, titled and inscribed "AP" in pencil, lower margin. A brilliant impression of this very scarce print. At the age of 22, the precocious Mauricio Lasansky (born 1914) became director of the Free Fine Arts School in Cordoba, Argentina, his native country. Soon after, in 1943, Lasansky was offered the prestigious Guggenheim Fellowship, bringing him to the United States. His fellowship afforded him the opportunity to study the Metropolitan Museum of Art's extensive print collection, essentially learning the fundamentals of printmaking by seeing and then eventually doing. Lasansky would join the many other artists, and printmakers in particular, that descended upon New York in the employ of the Federal Art Project, WPA graphic arts workshop. Once the WPA projects were discontinued, Lasasnky joined Hayter's Atelier 17, then one of the only independent American workshops. He experimented extensively at the workshop, formulating new methods and creating new techniques for his subjects. The present print, while still indebted to Picasso's subjects and forms, as well as the dark emotions often explored in Surrealist circles, illustrate an eagerness to explore new ways of expanding the medium of printmaking; Lasansky employed nearly every intaglio printmaking technique: engraving, etching (soft-ground too), aquatint and even scraping and burnishing to the achieve the ideals tonal effects of his light and dark subjects. Many of the well-respected printmakers to come out of Atelier 17 were among the first to begin printmaking programs at universities around the country. Among the most important of these was Lasansky's at the University of Iowa School of Art and Art History that he formed by the late 1940s. University of Iowa 22.

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MALCOLM MYERS Agony.

Lot 437: MALCOLM MYERS Agony.

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Description: MALCOLM MYERS Agony. Engraving, aquatint, etching and soft-ground etching, 1946. 455x322 mm; 18x12 3/4 inches, full margins. Artist's proof, asidefrom the edition of 35. Signed, titled and inscribed "A/P" in pencil, lower margin. A superb, richly-inked impression. This print was made at the University of Iowa, Iowa City, where Malcolm Myers (1917-2002) was Mauricio Lasansky's teaching assistant. In 1950, Myers received a Guggenheim Fellowship and spent a year in Paris at Atelier 17.

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LEE CHESNEY Untitled.

Lot 438: LEE CHESNEY Untitled.

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Description: LEE CHESNEY Untitled. Engraving, 1952. 275x453 mm; 11x18 3/4 inches, full margins. Signed, dated, inscribed "Engraving" and numbered 19/25 in pencil, lower margin. A very good impression. Lee Chesney (born 1921) studied with Hayter at Atelier 17 in New York and continued his training under Mauricio Lasansky at the University of Iowa. On the technique of engraving, he remarked: 'This direct approach to the metal in contrast to the indirectness of acid techniques gives a special quality to intaglio prints and is the most precise and surgically exact linear drawing attack. In combination with etching techniques, engraving expands the expressive horizons while specifying particulars.'

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FRED BECKER Underwater.

Lot 439: FRED BECKER Underwater.

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Description: FRED BECKER Underwater. Engraving and embossing, 1948. 148x105 mm; 5 7/8x4 1/8 inches, full margins. Edition of only approximately 15. Signed, titled and dated in pencil, lower margin. A superb, proof-like impression. In 1940 Fred Becker (1913-2004) joined the inaugural class at Atelier 17 in New York. He showed earnest interest in abstraction resulting in a strong body of complex drawings and prints. In these, he explored spatial environments formed through strands and webs that are pulled and interwoven, which often evolved into Surrealist tendencies, yet strongly grounded in lessons at Atelier 17. The present work, produced when he returned from World War II and in his final year at Atelier 17, illustrates devastation and decay, namely the twisted, scattered forms throughout and skeletal object at the upper left.

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FRED BECKER Nautical Machine.

Lot 440: FRED BECKER Nautical Machine.

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Description: FRED BECKER Nautical Machine. Etching, soft-ground etching and engraving, 1947. 150x377 mm; 6x15 inches, full margins. Artist's proof, aside from the edition of 30. Signed, titled, dated and inscribed "artist's proof" in pencil, lower margin. A superb, richly-inked impression.

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FRED BECKER Untitled.

Lot 441: FRED BECKER Untitled.

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Description: FRED BECKER Untitled. Aquatint, soft-ground etching and etching printed in black and gray on cream wove paper, 1956. 402x497 mm; 16x19 1/2 inches, wide margins. Artist's proof. Signed, dated and inscribed "artist's proof 1 of 5 ed." in pencil, lower margin. A very good, richly-inked impression of this extremely scarce print.

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JAMES GOETZ The Primordials.

Lot 442: JAMES GOETZ The Primordials.

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Description: JAMES GOETZ The Primordials. Portfolio with complete text and 7 engravings, 1946. 457x335 mm; 18x13 1/4 inches (sheets), full margins, losse as issued. Edition of 30 on Murrillo paper. Each print signed in pencil, lower right. Printed at Atelier 17, New York. Original printed paste board portfolio folder. Very good impressions of these extremely scarce engravings. Hayter, according to the foreword from the portfolio, published following the death of James Goetz (1915-1946): 'James Goetz was young. He was an artist who became a soldier; I understand a good one… An officer in the 5th Armored Division, he was wounded in action at Alencon. We who worked beside him in the atelier feel that his absence must have been regretted by his men as deeply as it is by us. He returned after convalescence to his preoccupations of before the war. The engraving medium in which, as these prints show, he found an instrument of great power, served him to state the problem of existence…But for the senseless accident which put an end to his work in June 1946 he might perhaps have found a solution in life.'

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LETTERIO CALAPAI Elemental Figure.

Lot 443: LETTERIO CALAPAI Elemental Figure.

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Description: LETTERIO CALAPAI Elemental Figure. Etching and aquatint, 1946. 150x225 mm; 6x9 inches, full margins. Signed, titled, dated and numbered 11/30 in pencil, lower margin. A superb, richly-inked and proof-like impression.

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LETTERIO CALAPAI Dream of the Unforeseen.

Lot 444: LETTERIO CALAPAI Dream of the Unforeseen.

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Description: LETTERIO CALAPAI Dream of the Unforeseen. Etching and engraving, 1947. 300x447 mm; 11 7/8x17 5/8 inches, full margins. Signed, titled and numbered 11/50 in pencil, lower margin. A very good, well-inked impression. Born to Sicilain immigrants and raised in Boston, Letterio Calapai (1902-1993) was exposed to the arts at an early age. His father recited poetry, his mother played the piano and often Calapai visited the Museum of Fine Arts in Boston and Fogg Art Museum in Cambridge, where he studied the Old Masters, once declaring that 'their realism was my goal." Showing great promise in high school, particularly as a draftsman, his art history teacher bought him a set of paints and brushes for his graduation, which encouraged him to seriously pursue art. He received a two-year scholarship to the School of Fine Arts and Crafts in Boston and excelled in figure painting under the instruction of Charles Hopkinson. An unfortunate fire in the summer of 1928 destroyed nearly all of Calapai's work that he was to submit to a competition. His opportunity to study in Florence, Italy, was ruined as a result and in an effort to forget it all, he moved to New York. There, he began work in a lithographic office and took drawing and sculpting classes at the Art Students League and Beaux Arts Institute of Design before finally coming to Atelier 17, where he expanded his artistic repertoire to include printmaking. In 1946, Calapi began to explore abstract forms, even utilizing Hayter's theory of 'space visualized through lines in space of infinite dimensionality'. His interests would also span the work of the Social Realists, German Expressionists and Post-Expressionists, influencing his increasingly fantastical and imaginative approach, apparent in lots 443 and 44. While Calapai absorbed new ideas from established artists and movements, he simultaneously imparted his knowledge to promising young artists. In addition to working as a printmaker, Calapai dedicated himself to teaching art, founding the Graphic Arts Department at the Albright Art School in Buffalo (1949-55) then teaching at the New School for Social Research (1955-65). He also established the Intaglio Workshop for Advanced Printmaking in New York (1962-65).

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JAMES KLEEGE Moon--Dog (Parhelion).

Lot 445: JAMES KLEEGE Moon--Dog (Parhelion).

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Description: JAMES KLEEGE Moon--Dog (Parhelion). Engraving and etching, 1952. 600x905 mm; 23 3/4x35 3/4 inches, full margins. Edition of only 3 (from an intended edition of 10). Signed, titled, dated and numbered 2/3 in pencil, lower margin. A very good, proof-like impression of this monumental print. James Kleege (1921) began as a painter and printmaker and eventually gravitated towards sculpture in the 1950s. He received his BFA from Syracuse University in 1945 and went on to hold various teaching positions. In 1947 he accepted his first teaching position as an instructor at the University of British Columbia and later taught at Atelier 17 in New York. This print, clearly produced in response to Hayter's teachings on dimensionality and celestial bodies, takes the atmospheric phenomenon known as parhelion (sun dog) as its subject; sun dogs appear as rings or halos around or near the sun and have sometimes been mistaken as other planets or moons. Kleege also taught at Hunter College and retired from 20 years teaching at Stony Brook University (1966-86).

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JAMES KLEEGE Centers in Tension.

Lot 446: JAMES KLEEGE Centers in Tension.

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Description: JAMES KLEEGE Centers in Tension. Engraving and scorper, 1953. 400x247 mm; 15 3/4x9 3/4 inches, full margins. Signed, titled and numbered 5/20 in pencil, lower margin. A very good, well-inked impression.

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REUBEN KADISH Stanza II.

Lot 447: REUBEN KADISH Stanza II.

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Description: REUBEN KADISH Stanza II. Etching and aquatint, 1946-48 (printed in 1954). 372x195 mm; 14 5/8x7 5/8 inches, full margins. Signed and numbered 23/30 in pencil, lower margin. A very good impression of this scarce print. Reuben Kadish worked as a printer at Atelier 17 in New York producing prints, at twenty-five cents per impression, for André Masson, Joan Miró and other European Surrealists. Surrealism and Miró's influence is especially prevalent in the current print. In 1960, Reuben Kadish began his long association with the Cooper Union in Manhattan as a professor of art and art history. Throughout the 1950s and 1960s he moonlighted as part-owner of the White Horse Taven, an establishment frequented by many artists and writers. In 1962, his oldest son married Philip Guston's daughter. Kadish was lifelong friends with Guston, with whom he attended the Otis Art Institute in Los Angeles, and Jackson Pollock, whom he met in high school in Los Angeles.

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IAN HUGO Water Veiled.

Lot 448: IAN HUGO Water Veiled.

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Description: IAN HUGO Water Veiled. Soft-ground etching and engraving, 1947. 247x375 mm; 9 3/4x14 3/4 inches, full margins. Signed, titled, dedicated, dated and numbered 22/50 in pencil, lower margin. A very good, clearly-printed impression. While working at the National City Bank, in New York, Hugh Parker Guiler (1898-1985) met and married the French-Cuban writer Anaïs Nin. In 1924 they moved to Paris where Nin's diary flowered and Guiler's artistic aspirations developed. Fearing that his associates would not understand his interest in the arts, Guiler embarked on a second life as Ian Hugo. In 1940, while supporting Nin financially, for which she would be forever grateful, Hugo took up printmaking under Hayter at Atelier 17 in New York. As a result, he produced many Surrealist prints that explored other worlds: dreams, the unconscious, memories and even the sea, as in the present work; this imagery often accompanied Nin's books.

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KURT ROESCH The Sonnets to Orpheus by Rainer Maria Rilke.

Lot 449: KURT ROESCH The Sonnets to Orpheus by Rainer Maria Rilke.

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Description: KURT ROESCH The Sonnets to Orpheus by Rainer Maria Rilke. Portfolio with complete text and 9 engravings with etching, 1944. 400x250 mm; 15 3/4x10 inches (sheets), full margins. One of 35 numbered copies on Montval, from a total edition of 45. Signed and numbered "XXXV" in ink, on the justification page. Each of the prints signed in ink, lower right. Published by Wittenborn & Co., New York. Original blue paste board binding and slipcase. Very good impressions. Kurt Roesch (1905-1984) studied under the German Expressionist painter Karl Hofer in Berlin at the Academy of the Arts and moved to the United States in 1933, where he taught painting at Sarah Lawrence College from 1934-72. Aside from painting, he also provided illustrations for many books of poetry, including the present lot. These 9 prints are distinctly Surrealist, giving an overall effect of austerity and elegance that he learned during his time at Atelier 17 during the early 1940s. According to Garvey, "One of the first modern American livres de peintres." The Artist and the Book 263.

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JACKSON POLLOCK Untitled.

Lot 450: JACKSON POLLOCK Untitled.

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Description: JACKSON POLLOCK Untitled. Drypoint and engraving printed in black on white wove paper, circa 1944-45. 373x450 mm; 14 3/4x17 3/4 inches, full margins. Third state (of 3). A proof in this state, before steel-facing and before the edition of 50 prodcued for the MOMA, New York. Inscribed "Jackson Pollock printed by Gabor Peterdi" and "2nd proof 1967" in pencil, lower margin. Ex-collection the Estate of Gabor Peterdi, Rowayton, Connecticut. A superb, richly-inked impression of this extremely scarce proof. According to Peterdi, in an account of the printing of Pollock's etched plates that he wrote March 13, 1987: "Shortly after Pollock's death, during the time when the MOMA was organizing the Pollock retropspective, I received a call from William Lieberman. He told me, they had discovered in Pollock's estate four plates in rather neglected condition--corroded, dirty, etc.--and they wanted to find out if they could be salvaged. Lieberman asked me whether I were willing to undertake this job. As Lieberman and I had a longstanding professional association, and as I also felt strongly that Pollock's work should be saved if possible, I consented to try. The four plates were in terrible condition, full of corrosion, with most of the drypoint flattened out. Further, the four plates contained six images, as two of the plates had images on both sides. This would create additional problems with printing. I cleaned the plates and reworked the drypoint on all six images. As I knew Pollock personally and worked together with him at Hayter's Atelier 17, I knew very well his own way of working so the restoration was no problem. Then I printed up some proofs (before steelfacing) of all the images and gave one set to the MOMA. At this time, I advised the museum that, after steelfacing, four of the images were sound enough to be printed in editions. The other two were weak, underetched images with too much corrosion. So, you could say it was I who decided which images to print, based entirely on what was feasible. All this (cleaning, restoration, printing of proofs) was done by me in my studio in Rowayton, Connecticut. I also recommended [Emiliano] Sorini to do the printing of the editions. Sorini had printed some of my own plates for me and, at that time, was teaching under my supervision in the Yale University printmaking workshop. Sorini made the prints in his own studio. I do not know who did the steelfacing. I had nothing to do with the choice of paper". Pollock's New York apartment was located opposite of Atelier 17 and was frequented by other Abstract Expressionists such as William Baziotes and Robert Motherwell. It was here that Hayter instructed Pollock in the technique of drypoint and etching in the autumn of 1944. (Emmerling, Jackson Pollock:1912-1952, p. 60). Pollock tested his method of building up an image with interlocking lines and brushstrokes, for which he would become famous, through his experimentation with etching. He reworked many of his etchings with ink and gouache; and in many cases, such as the present lot, professionally printed impressions of his plates were not taken until after his death. This is one of only 2 proofs before steel-facing; the other impression is in the MOMA, New York. O'Connor/Thaw 1078.

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