Stanley William Hayter
Rue Dareau
Drypoint; 1927; reference: Black & Moorhead 24; pencil signed and titled; further annotated “Paris 1927;” editioned 6/20; printed by the artist on Montval paper; 7-3/4 x 9-1/4 inches platemark.
Inventory: GMC141
Berges du Canal, also known as Rue de la Villette
Engraving and drypoint; 1930; from the suite of six engravings, Paysages urbains; reference: Black & Moorhead 35; pencil signed, titled and editioned 37/50; printed by Paul Haasen; published by Editions des Quatre Chemins, Paris; on ivory wove Rives BFK watermarked paper; 8 x 10-1/2 inches platemark. Inventory: 24138
Metamorphosis of Love
Engraving and mezzotint; 1931-32; reference: Black & Moorhead 60; uninscribed and unrecorded proof between the ii and iii states; outside of edition and proofs totaling 137 impressions; printed on cream Edita Prioux laid paper; 5-7/8 x 4-1/4 inches platemark.
Inventory: 13848
Cirque
Engraving; 1933; reference: Black & Moorhead 78; state iii/iii; pencil signed, titled, dated and editioned 45/100; the first edition was limited to 30 impressions; this is from the second edition printed in 1973 by Hector Saunier and Rigmor Poenaru on Barcham Green handmade wove paper; published by Associated American Artists in 1974 in the portfolio Hayter — Nine Engravings; 4-5/8 x 3-1/2 inches platemark. Inventory: 23733
Cheiromancy
Engraving and scorper; 1935; reference: Black & Moorhead 89; state iii/iii; pencil signed, titled, dated and editioned 45/100; the first edition was limited to 35 impressions; this is from the second edition printed in 1973 by Hector Saunier and Rigmor Poenaru on Barcham Green handmade wove paper; published by Associated American Artists in 1974 in the portfolio Hayter — Nine Engravings; 4-5/8 x 3-1/2 inches platemark.
Inventory: 23734
Third Person, originally published as Nostradam Engraving and scorper; 1935; reference: Black & Moorhead 93; state iii/iii; pencil signed, titled, dated and editioned 45/100; the first edition was limited to 22 impressions; this is from the second edition printed in 1973 by Hector Saunier and Rigmor Poenaru on Barcham Green handmade wove paper; published by Associated American Artists in 1974 in the portfolio Hayter — Nine Engravings; 5-13/16 x 4-1/2 inches platemark. Inventory: 23736
Facile proie
Engraving; 1938; reference: Black & Moorhead 122; state ii/ii; pencil signed, titled, dated and editioned 45/100; the first printing was limited to 5 proofs; this is from the second edition printed in 1973 by Hector Saunier and Rigmor Poenaru on Barcham Green handmade wove paper; published by Associated American Artists in 1974 in the portfolio Hayter — Nine Engravings; 5-1/16 x 6-3/8 inches platemark. Inventory: 23735
Invocation
Engraving, scorper & soft-ground etching; 1939; reference: Black & Moorhead 129; stzte iii/iii; pencil signed, titled, dated and editioned 45/100; the first printing was limited to 35 impressions; this is from the second edition printed in 1973 by Hector Saunier and Rigmor Poenaru on Barcham Green handmade wove paper; published by Associated American Artists in 1974 in the portfolio Hayter — Nine Engravings; 6-3/16 x 4-7/16 inches platemark. Inventory: 23737
Untitled Abstraction
Felt-tip marker and watercolor study; 1945; signed and dated “13.4.45” in India ink in lower right corner; unique; on cream wove paper; 8-1/8 x 12-1/2 inches image.
Inventory: ANHA101
Unfolding
Engraving; 1945; reference: Black & Moorhead 166; state iii/iii; pencil signed, titled, dated and editioned 45/100; the first printing was limited to 30 impressions; this is from the second edition printed in 1973 by Hector Saunier and Rigmor Poenaru on Barcham Green handmade wove paper; published by Associated American Artists in 1974 in the portfolio Hayter — Nine Engravings; 5-7/16 x 6-7/8 inches platemark.
Inventory: 23739
Palimpsest
Sugar lift, soft-ground, and scoper with three silkscreens, printed in colors; 1946; reference: Black & Moorhead 170; state iii/iii; pencil signed, dated and editioned 14/30; printed by the artist at Atelier 17, New York, on laid Kochi paper; 9 x 7 image platemark.
Inventory: 23968
Night Moth
Sugar-lift, soft-ground and scorper with three silkscreens, printed in colors; 1946; reference: Black & Moorhead 171; state iii/iii; pencil signed and editioned 179/300; printed by the artist at Atelier 17 on Kochi laid paper; published in Laurels Number One, Laurel Gallery, New York , May 1947; 5-7/8 x 4-7/16 inches platemark. Inventory: 24358
La chas d’aiguille
Engraving; 1946; reference: Black & Moorhead 172; state ii/ii; pencil signed, titled, dated and editioned 45/100; the first printing was limited to 30 impressions; this is from the second edition printed in 1973 by Hector Saunier and Rigmor Poenaru on Barcham Green handmade wove paper; published by Associated American Artists in 1974 in the portfolio Hayter — Nine Engravings; 11-7/8 x 7-7/16 inches platemark.
Inventory: 23740
Greeting card for 1946-47
Engraving, soft-ground etching and scorper; 1946; reference: Black & Moorhead 176; unsigned proof annotated: 3rd State 3/3 in artist’s hand; regular edition of about 100 impressions; printed by the artist at Atelier 17 on off-white wove paper; 5-3/8 x 3-1/2 inches platemark.
Inventory: 11339
Greeting card for 1949-1950
Engraving and soft-ground etching; 1949; reference: Black & Moorhead 192; state iii/iii; pencil signed, dated and editioned 45/100; the first printing was limited to about 100 impressions, some printed in colors; this is from the second edition printed in 1973 by Hector Saunier and Rigmor Poenaru on Barcham Green handmade wove paper; published by Associated American Artists in 1974 in the portfolio Hayter — Nine Engravings; Hayter mistakenly dated this impression “1946” when he signed it in 1973; 4-5/8 x 3-1/2 inches platemark.
Inventory: 23741
Engraving, soft-ground etching and scorper printed in colors; 1951; reference: Black and Moorhead 197; state v/v; pencil signed and editioned III/LX; printing A, described in B&M as “colour variant numbered in Roman I-LX for distribution in England”; outside of the edition of 200 for Geneva; printed by the artist at Atelier 17 on ivory wove Arches paper with partial watermark; 15-12 x 9-3/8 inches platemark.
Inventory: 24993
Warriors a.k.a. Guerriers
Engraving, soft-ground etching and scorper, printed in colors; 1953; reference: Black & Moorhead 211; state iv/iv; pencil signed, titled and dated; unnumbered from an edition of 200; printed by Hayter and Atelier 17 on Johannot paper; published by George Braziller, New York; 18-3/4 x 13-1/16 inches platemark.
Inventory: 11240
Greeting card for 1956-57
Linocut, printed in colors; 1956; reference: Black & Moorhead 231; printed offset from three blocks; pencil signed and dated; edition thought to be about 100 impressions; printed on a cream wove paper; dedicated in the upper left margin: for Fred & Jean / All the best of 57 / Bill & Helen; from the collection of Fred Becker; 4-1/2 x 5-3/4 inches image size.
Inventory: FRBE314
Greeting card for New Year 1958
Woodcut, printed in colors; 1958; reference: Black & Moorhead 240; printed offset from three blocks; pencil signed and dated; edition thought to be about 100 impressions; printed on a cream wove paper; 3-3/4 x 5-1/2 inches image size.
Inventory: 12230
Ohio
Etching, printed in colors; 1960; reference: Black & Moorhead 259; state i/i; pencil signed, titled and dated; editioned 2/50; printed by Hayter and Atelier 17 on ivory BFK Rives wove paper; 7-7/16 x 14-15/16 inches platemark.
Inventory: 13344
Greeting card for 1960-61
Linocut, printed in colors; 1960; reference: Black & Moorhead 261; printed offset from three blocks; pencil signed and dated; total edition of about 100 impressions; printed on ivory wove paper; the verso is inscribed: All the best of ‘61 / Bill & Helen; from the collection of Fred Becker; 4-1/8 x 5-1/4 inches image size.
Inventory: FRBE316
Untitled
Etching and scorper; 1962; reference: Black & Moorhead 266; state i/i; pencil signed and editioned xxiv/xxv; the edition was limited to 60 impressions; published in The International Avant-Garde, No. 15, Schwarz, Milan, 1962; on ivory wove paper; 6 x 4-1/2 inches platemark.
Inventory: 23632
Vague du fond (Sea Changes)
Etching, soft-ground etching and scorper, printed in colors; 1965; reference: Black & Moorhead 292; state ii/ii; pencil signed, titled, dated and inscribed Essai; trial proof outside of the edition of 100; printed by Eugenio Tellez and Hector Saunier on Barcham Green wove paper with England 1954 watermark; 15-1/2 x 19-1/2 inches platemark.
Inventory: 6528
Crépuscule
Soft-ground etching, etching and scorper, printed in colors; 1966; reference: Black & Moorhead 302; state ii/ii; pencil signed, dated & editioned 52/100; printed by the artist on a textured, ivory wove paper; published by Editions Schwarz, Rome; 6-1/16 x 5-3/8 inches platemark.
Inventory: 23621
Diptych
Engraving and scorper, printed in colors from two copper plates; 1967; reference: Black & Moorhead 314; state iii/iii; pencil signed, titled, dated, and editioned 43/50; the edition was printed on B.F.K. Rives paper by Hector Saunier; nos. 9–18 printed in 1968, nos. 19–50 in 1969; each platemark measures 13-1/4 x 9-1/2 inches.
Inventory: 21254
Expansion
Soft-ground etching and etching, printed in colors; 1970; reference: Black & Moorhead 334; state ii/ii; pencil signed, titled, dated and editioned 64/100; printed by Hector Saunier on B.F.K. Rives wove paper; published by A. B. Lublin, New York; 17-1/8 x 19-1/2 inches platemark.
Inventory: 20628
Gemini
Engraving, etching, aquatint and soft-ground etching, printed in colors; 1979; reference: Black & Moorhead 343; state ii/ii; pencil signed, titled, dated and editioned 68/100; printed by Hector Saunier on B.F.K. Rives wove paper; published by A. B. Lublin, New York; 19-1/8 x 23-1/4 inches platemark. Inventory: 6466
Gemini
Engraving, etching, aquatint and soft-ground etching, printed in colors; 1979; reference: Black & Moorhead 343; state ii/ii; pencil signed, titled, dated and editioned 97/100; printed by Hector Saunier on B.F.K. Rives wove paper; published by A. B. Lublin, New York; 19-1/8 x 23-1/4 inches platemark. Inventory: 20625
Free Fall
Engraving and soft-ground etching, printed in colors; 1974; reference: Black & Moorhead 371; state iv/iv; pencil signed, titled, dated, and editioned 27/75; printed by Hector Saunier on B.F.K. Rives wove paper; 23-3/8 x 19-1/4 inches platemark.
Inventory: KIGA101
People
Etching, soft-ground etching and scorper, printed in colors; 1974; reference: Black & Moorhead 375; stated iii/iii; pencil signed, titled, dated, and editioned 27/76; printed by Hector Saunier on B.F.K. Rives wove paper; 23-5/8 x 19-3/8 inches platemark.
Inventory: KIGA102
Sea Serpent
Engraving, etching and soft-ground etching, printed in colors; 1976; reference: Black & Moorhead 386; state iii/iii; pencil signed, titled, dated, and editioned 43/75; printed by Hector Saunier on B.F.K. Rives wove paper; 16-3/16 x 21 inches platemark.
Inventory: KAAN101
Rideau
Engraving, etching and soft-ground etching, printed in colors; 1976-7; reference: Black & Moorhead 388; state iv/iv; pencil signed, titled and dated; annotated E 3/5; proof from the reduced plate outside of the edition of 75; printed by Hector Saunier on B.F.K. Rives wove paper; 25-1/4 x 17-3/16 inches platemark. Invenotry: 21229
Stanley William Hayter was born in Hackney, England on December 27, 1901. Though always interested in art, he began his adult life as a chemist and scientist. After working in the oil fields of Iran for three years, Hayter went to Paris in 1926 to study at the Académie Julian. There he met the engraver Joseph Hecht and began to merge his early training in chemistry with a new-found interest in printmaking.
Hayter spent most of his life in Paris where, in 1927, he founded an experimental workshop for the graphic arts, Atelier 17, that played a central role in the twentieth century revival of the print as an independent art form. The name Atelier 17 was adopted in 1933 when Hayter moved his establishment from its original home to 17 Rue Campagne Première. Through the late 1920s and into the 1930s he began a series of experiments using engraving, softground etching, gaffrauge, open-bite, scorper and other innovative, textural techniques, all loosely based on the Surrealist/Jungian concepts of subconscious image and automatic line. Artists from around the world gathered to work with him and ideas flowed freely. Hayter and most of the artists left Paris in late 1939 due to the war.
In 1940, Hayter moved to New York and opened Atelier 17 at the New School, moving to a studio on East 8 Street in 1945. The studio became a melting pot of artists arriving from Europe, American artists (many who had been part of the printmaking section of the WPA), and some young rebels who were interested in breaking with the past and experimenting with technique and ideas. The emphasis in New York focused on experimental color printing, including the use of viscosity printing and offset color using screenprint, stencil and woodcut.
Hayter returned to Paris in 1950 and re-established Atelier 17, attracting more international artists, many now coming from Asia. He continued to experiment with color printing, including the use of Flo-master pens, incongruous and fluorescent colors and flowing, interwoven patterns. With an unrivaled knowledge of the technicalities of printmaking, Hayter authored two major books, New Ways of Gravure (1949) and About Prints (1962).
Stanley William Hayter died in Paris on May 4, 1988.