S W Hayter Paintings

S. W.

PAINTINGS

Stanley William

(1901, London - 1988, Paris)

ACKNOWLEDGEMENTS This exhibition would not have been possible without the very kind assistance of Carla Esposito Hayter, Desirée Levy-Hayter, Pierre Francois Albert, Stephen Chambers of the Bryan Robertson Trust, June Davies, Sarah French at Farley's House and Gallery. Leila Audouy and Marine Sangis of the Agence Photographique de la Reunion Musée National and L’estate Brassai, Andrew Lambirth, the Estate of Robert M. Coates and Conde Nast publications. Finally, the invaluable contributions and support of Emma Eveleigh, Sally Kalman and Robin Light at Crane Kalman Gallery Andrew Kalman

An Exhibition of Paintings

9th May – 12th June 2018

CRANE KALMAN GALLERY LTD

178 Brompton Road, London SW3 1HQ Tel: +44 20 7584 7566 Fax: +44 20 7584 3843 www.cranekalman.com / info@cranekalman.com

Stanley William

(1901, London - 1988, Paris)

An Exhibition of Paintings

9th May – 12th June 2018

CRANE KALMAN GALLERY LTD

178 Brompton Road, London SW3 1HQ Tel: +44 20 7584 7566 Fax: +44 20 7584 3843 www.cranekalman.com / info@cranekalman.com

My approach to art is fundamentally experimental. I consider that art – painting, printmaking, sculpture, etc. – is a means of research or a pursuit of knowledge, rather than a method of producing objects for pleasure or entertainment. Together with disciplines such as physics or mathematics, as with music or poetry, art is an attempt to extend and deepen our knowledge of life and our relations with our world. Furthermore it is a way of seeking means to transmit and share such experience with others.

S. W. Hayter, 1973 Excerpt from the catalogue of the exhibition at the Tortue Gallery, Santa Monica, CA

Front Cover: Échanges, 1966 Oil on canvas 57½ x 44¾ inches / 146 x 114 cm Back Cover: Hayter in his studio, 1983. (photo: Mark Trivier) Right: Hayter at work in his Paris studio, c. 1970. (photo: John Pole)

My approach to art is fundamentally experimental. I consider that art – painting, printmaking, sculpture, etc. – is a means of research or a pursuit of knowledge, rather than a method of producing objects for pleasure or entertainment. Together with disciplines such as physics or mathematics, as with music or poetry, art is an attempt to extend and deepen our knowledge of life and our relations with our world. Furthermore it is a way of seeking means to transmit and share such experience with others.

S. W. Hayter, 1973 Excerpt from the catalogue of the exhibition at the Tortue Gallery, Santa Monica, CA

Front Cover: Échanges, 1966 Oil on canvas 57½ x 44¾ inches / 146 x 114 cm Back Cover: Hayter in his studio, 1983. (photo: Mark Trivier) Right: Hayter at work in his Paris studio, c. 1970. (photo: John Pole)

To commemorate the 30th anniversary of the his death, Crane Kalman Gallery is pleased to present an exhibition celebrating the paintings of Stanley William Hayter.

It is also sixty years since the artist’s landmark, mid-career retrospective sponsored by the Arts Council of Great Britain at the Whitechapel Art Gallery, organised by its renowned curator Bryan Robertson (1925-2002) – “the greatest Director the Tate Gallery never had”.

Robertson wrote in his obituary of Hayter in The Independent newspaper (May 7, 1988): A man of deep culture, wide-ranging knowledge and the liveliest intelligence, Bill Hayter’s strongly individual gifts have left their mark on the visual expression of the twentieth century in paintings and prints filled with surrealist imagery – and the poetic re-interpretation of nature, through abstraction.

Foregoing a career at the Anglo-Iranian Oil Company in London and the Persian Gulf, Hayter left for Paris in 1926, determined to become a painter. He was already well-entrenched within the Paris avant-garde, when, in 1933, he founded Atelier 17, named after his studio apartment at 17 rue Campagne Première. It was here that Hayter’s innovations transformed printmaking into an original creative process, attracting many of the great artists of the day – Picasso, Giacometti, Ernst, Tanguy, Miró, etc. . . . and where Hayter’s own painting evolved from representational into a colour-imbued, dynamic abstract surrealism.

He became a key figure on the committee headed by Roland Penrose, that organised the International Exhibition of Surrealism at the New Grafton Galleries in London in 1936. The following year, shocked and dismayed by the atrocities of the Spanish Civil War, he collaborated with Paul Eluard, Picasso and Miró to produce Solidarité, an anthology of poems and etchings which were sold in aid of the Republicans.

In 1940, Hayter fled Paris to New York, where he reconvened Atelier 17. Its reputation as an open-to-all workshop of artistic ingenuity preceded it and along with old friends from France, it attracted local artists – Rothko, de Kooning, Motherwell and Pollock among them. Here, Hayter’s own paintings evolved and flourished – the outbreak of war in Europe, rendered him from the fripperies of Surrealism; his work adopting a more expressionistic, vigorous tone.

As noted in 1948 by Robert M. Coates, art critic of The New Yorker magazine (1937-1967) and the writer who christened the term Abstract Expressionism; S. W. Hayter is a member of a small but increasingly important group of contemporary American painters that includes Motherwell, Pollock, Hofmann, Baziotes and Gorky.

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They are alike in that their method is rooted in the abstract and overlaid by Expressionist coloration, and since Hayter was in a sense, one of the founders of the movement, I think his work may fairly be considered typical . . . of Abstract-Expressionism.

In 1950, Hayter returned to Paris. He also began to frequent Alba, a small village in the Ardeche, through which the Escoutay river flows. It was in this environment that his work took on a freer, more naturalistic feel, eschewing the post-war existentialism of many of his European contemporaries. His paintings lost any real trace of representation; rainbow-coloured compositions featuring spirals, parabolas, arcs and arabesques inter-weaving and conflicting; intuitive and impressionistic.

As Roland Penrose wrote: Hayter’s exploration of air, water, earth and fire is of the same nature as thought. Each idea is thus exposed to the action of currents formed by feelings, emotions or recollections.

Because of these inextricably mixed influences the original idea can change and become either superficial or profound, luminous or obscure, joyful or painful . . . Hayter shows us an authentic picture of our conscious self. With delight, we enter his sparkling world of magnetic fields and hear him say with conviction “You see, it works”.

Excerpt from the catalogue of the exhibition Hayter at the Musée des Beaux Arts, Liege, 1962.

In this exhibition, Crane Kalman Gallery is fortunate to be able to present paintings consigned directly from the Paris apartment of the artist’s heirs that have never been viewed in the UK before. For although in his adopted France, Hayter received the Legion d’Honneur in 1951 and a major survey of his work at The Musée d’Art Moderne de la Ville de Paris in 1972, Museum retrospectives in Japan and commercial exhibitions in America, Italy and Germany, since his death, his art and achievements have been largely ignored in his native country.

I leave the final words to his friend and supporter Bryan Robertson, from the 1958 Whitechapel Exhibition catalogue: He is a man of great culture with exceptional physical and mental energy: widely and deeply read, and entirely independent in his processes of thought as well as in his work. He has accomplished a great deal for the prestige of English culture abroad and with Henry Moore and Ben Nicholson has helped other English artists to receive attention in foreign countries.

As an artist, his sympathies are broad and varied: As a highly articulate teacher he is held in great esteem and affection. His personality, intelligence and way of life are integrated with his work to an exceptional degree. Above all, he has thought constructively about the problems of an artist in this century and always with a sense of historical perspective.

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To commemorate the 30th anniversary of the his death, Crane Kalman Gallery is pleased to present an exhibition celebrating the paintings of Stanley William Hayter.

It is also sixty years since the artist’s landmark, mid-career retrospective sponsored by the Arts Council of Great Britain at the Whitechapel Art Gallery, organised by its renowned curator Bryan Robertson (1925-2002) – “the greatest Director the Tate Gallery never had”.

Robertson wrote in his obituary of Hayter in The Independent newspaper (May 7, 1988): A man of deep culture, wide-ranging knowledge and the liveliest intelligence, Bill Hayter’s strongly individual gifts have left their mark on the visual expression of the twentieth century in paintings and prints filled with surrealist imagery – and the poetic re-interpretation of nature, through abstraction.

Foregoing a career at the Anglo-Iranian Oil Company in London and the Persian Gulf, Hayter left for Paris in 1926, determined to become a painter. He was already well-entrenched within the Paris avant-garde, when, in 1933, he founded Atelier 17, named after his studio apartment at 17 rue Campagne Première. It was here that Hayter’s innovations transformed printmaking into an original creative process, attracting many of the great artists of the day – Picasso, Giacometti, Ernst, Tanguy, Miró, etc. . . . and where Hayter’s own painting evolved from representational into a colour-imbued, dynamic abstract surrealism.

He became a key figure on the committee headed by Roland Penrose, that organised the International Exhibition of Surrealism at the New Grafton Galleries in London in 1936. The following year, shocked and dismayed by the atrocities of the Spanish Civil War, he collaborated with Paul Eluard, Picasso and Miró to produce Solidarité, an anthology of poems and etchings which were sold in aid of the Republicans.

In 1940, Hayter fled Paris to New York, where he reconvened Atelier 17. Its reputation as an open-to-all workshop of artistic ingenuity preceded it and along with old friends from France, it attracted local artists – Rothko, de Kooning, Motherwell and Pollock among them. Here, Hayter’s own paintings evolved and flourished – the outbreak of war in Europe, rendered him from the fripperies of Surrealism; his work adopting a more expressionistic, vigorous tone.

As noted in 1948 by Robert M. Coates, art critic of The New Yorker magazine (1937-1967) and the writer who christened the term Abstract Expressionism; S. W. Hayter is a member of a small but increasingly important group of contemporary American painters that includes Motherwell, Pollock, Hofmann, Baziotes and Gorky.

6

They are alike in that their method is rooted in the abstract and overlaid by Expressionist coloration, and since Hayter was in a sense, one of the founders of the movement, I think his work may fairly be considered typical . . . of Abstract-Expressionism.

In 1950, Hayter returned to Paris. He also began to frequent Alba, a small village in the Ardeche, through which the Escoutay river flows. It was in this environment that his work took on a freer, more naturalistic feel, eschewing the post-war existentialism of many of his European contemporaries. His paintings lost any real trace of representation; rainbow-coloured compositions featuring spirals, parabolas, arcs and arabesques inter-weaving and conflicting; intuitive and impressionistic.

As Roland Penrose wrote: Hayter’s exploration of air, water, earth and fire is of the same nature as thought. Each idea is thus exposed to the action of currents formed by feelings, emotions or recollections.

Because of these inextricably mixed influences the original idea can change and become either superficial or profound, luminous or obscure, joyful or painful . . . Hayter shows us an authentic picture of our conscious self. With delight, we enter his sparkling world of magnetic fields and hear him say with conviction “You see, it works”.

Excerpt from the catalogue of the exhibition Hayter at the Musée des Beaux Arts, Liege, 1962.

In this exhibition, Crane Kalman Gallery is fortunate to be able to present paintings consigned directly from the Paris apartment of the artist’s heirs that have never been viewed in the UK before. For although in his adopted France, Hayter received the Legion d’Honneur in 1951 and a major survey of his work at The Musée d’Art Moderne de la Ville de Paris in 1972, Museum retrospectives in Japan and commercial exhibitions in America, Italy and Germany, since his death, his art and achievements have been largely ignored in his native country.

I leave the final words to his friend and supporter Bryan Robertson, from the 1958 Whitechapel Exhibition catalogue: He is a man of great culture with exceptional physical and mental energy: widely and deeply read, and entirely independent in his processes of thought as well as in his work. He has accomplished a great deal for the prestige of English culture abroad and with Henry Moore and Ben Nicholson has helped other English artists to receive attention in foreign countries.

As an artist, his sympathies are broad and varied: As a highly articulate teacher he is held in great esteem and affection. His personality, intelligence and way of life are integrated with his work to an exceptional degree. Above all, he has thought constructively about the problems of an artist in this century and always with a sense of historical perspective.

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1. Stabile with Figures, c.1930 Oil on paper mounted on canvas 18 x 21ž inches / 45.7 x 55.2 cm

Provenance: The Estate of the Artist and by descent

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1. Stabile with Figures, c.1930 Oil on paper mounted on canvas 18 x 21ž inches / 45.7 x 55.2 cm

Provenance: The Estate of the Artist and by descent

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OPPOSITE:

2. Composition, c.1936 (mis-dated 1926 by the artist) Oil on canvas 18¼ x 21½ inches / 46.3 x 54.6 cm Signed and dated lower right

Provenance: The Estate of the Artist and by descent

OVERLEAF:

3. Paysage Anthropophage, 1937 Oil on panel 39¼ x 78¾ inches / 100 x 200 cm Signed and dated lower right

Provenance: Private Collection, France Exhibited: Spain 1937, Recent Paintings by Hayter, Mayor Gallery, London, 1st - 15th February 1938 Stanley William Hayter, Paintings, Drawings and Prints 1928-1950, Corcoran Gallery of Art/Lunn Gallery/Graphics International Washington D.C., 12th May - 1st June 1973 Permanence du regard surréaliste, ELAC (Espace Lyonnais d’art contemporain), Lyon, France, 30th June - 22nd September 1981 Hommage à Stanley William Hayter, Artcurial - Paris, 15th November -17th December 1988 El surrealismo y la guerra civil española, Museo de Tervel, Tervel, Spain, 30th October - 13th December 1998 Conscience and Conflict: British Artists and the Spanish Civil War, Pallant House Gallery, 8th November 2014 - 15th February 2015 Stanley William Hayter, ou la Metamorphose des lignes, La Malmaison sur la Croisette, Cannes, France, 10th December 2016 - 20th April 2017 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.42-43

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OPPOSITE:

2. Composition, c.1936 (mis-dated 1926 by the artist) Oil on canvas 18¼ x 21½ inches / 46.3 x 54.6 cm Signed and dated lower right

Provenance: The Estate of the Artist and by descent

OVERLEAF:

3. Paysage Anthropophage, 1937 Oil on panel 39¼ x 78¾ inches / 100 x 200 cm Signed and dated lower right

Provenance: Private Collection, France Exhibited: Spain 1937, Recent Paintings by Hayter, Mayor Gallery, London, 1st - 15th February 1938 Stanley William Hayter, Paintings, Drawings and Prints 1928-1950, Corcoran Gallery of Art/Lunn Gallery/Graphics International Washington D.C., 12th May - 1st June 1973 Permanence du regard surréaliste, ELAC (Espace Lyonnais d’art contemporain), Lyon, France, 30th June - 22nd September 1981 Hommage à Stanley William Hayter, Artcurial - Paris, 15th November -17th December 1988 El surrealismo y la guerra civil española, Museo de Tervel, Tervel, Spain, 30th October - 13th December 1998 Conscience and Conflict: British Artists and the Spanish Civil War, Pallant House Gallery, 8th November 2014 - 15th February 2015 Stanley William Hayter, ou la Metamorphose des lignes, La Malmaison sur la Croisette, Cannes, France, 10th December 2016 - 20th April 2017 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.42-43

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OPPOSITE:

4. Daedalus, 1941 Oil on panel 36 x 30 inches / 91.5 x 76 cm Signed and dated lower right

Provenance: The Estate of the Artist and by descent Private Collection, Paris (acquired from the above) Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.68

OVERLEAF

5. Parturition*, 1939 Oil on canvas 62 x 102¾ inches / 158 x 261 cm Signed and dated lower right

Provenance: The Estate of the Artist and by descent Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.46-47 *Parturition - definition: The act of giving birth

Hayter, 1940, in his Paris studio with the painting ‘Parturition’ behind him on the wall. © Lee Miller Archives, England 2018.

All rights reserved. leemiller.co.uk

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OPPOSITE:

4. Daedalus, 1941 Oil on panel 36 x 30 inches / 91.5 x 76 cm Signed and dated lower right

Provenance: The Estate of the Artist and by descent Private Collection, Paris (acquired from the above) Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.68

OVERLEAF

5. Parturition*, 1939 Oil on canvas 62 x 102¾ inches / 158 x 261 cm Signed and dated lower right

Provenance: The Estate of the Artist and by descent Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.46-47 *Parturition - definition: The act of giving birth

Hayter, 1940, in his Paris studio with the painting ‘Parturition’ behind him on the wall. © Lee Miller Archives, England 2018.

All rights reserved. leemiller.co.uk

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Hayter, front row, left, in 1942 at Peggy Guggenheim’s apartment in New York, with fellow ‘Artist’s in Exile’.

Front row also includes Leonora Carrington, Frederick Kiesler, Kurt Sleigman.

The middle row, Max Ernst, Amédée Ozenfant, André Breton, Fernand Leger and Berenice Abbott Top row, from left, Jimmy Ernst, Peggy Guggenheim, John Ferren, Marcel Duchamp and Piet Mondrian.

6. Prometheus, 1942 Oil on board 14½ x 19¾ inches / 37 x 51 cm Signed and dated lower right

Provenance: Private Collection, France Exhibited: Stanley William Hayter in America, Paintings, Drawings and Prints, Francis Naumann Fine Art, New York, 8th January - 20th February 2009, ill in col Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.70 18

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Hayter, front row, left, in 1942 at Peggy Guggenheim’s apartment in New York, with fellow ‘Artist’s in Exile’.

Front row also includes Leonora Carrington, Frederick Kiesler, Kurt Sleigman.

The middle row, Max Ernst, Amédée Ozenfant, André Breton, Fernand Leger and Berenice Abbott Top row, from left, Jimmy Ernst, Peggy Guggenheim, John Ferren, Marcel Duchamp and Piet Mondrian.

6. Prometheus, 1942 Oil on board 14½ x 19¾ inches / 37 x 51 cm Signed and dated lower right

Provenance: Private Collection, France Exhibited: Stanley William Hayter in America, Paintings, Drawings and Prints, Francis Naumann Fine Art, New York, 8th January - 20th February 2009, ill in col Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.70 18

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7. Composition, 1943 Oil on board 35½ x 48 inches / 90.3 x 122 cm Signed and dated lower right and verso

Provenance: Private Collection, France Artcurial, Paris Exhibited: Paintings, Drawings and Prints by Stanley W. Hayter, Crane Kalman Gallery, London, April - May 1991, illustrated in colour no. 4 Consonances Peinture – Sculpture, choix pour une collectione, Artcurial, Paris, Feburary to March 1993 Jean-Clarence Lambert: Les mots et le visible – Arcturial, Paris, Jan - Feb 1995 Les Figures de la Liberté – Musée Rath, Geneva, October 1995 - January 1996, colour p.252 no.145 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.71

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7. Composition, 1943 Oil on board 35½ x 48 inches / 90.3 x 122 cm Signed and dated lower right and verso

Provenance: Private Collection, France Artcurial, Paris Exhibited: Paintings, Drawings and Prints by Stanley W. Hayter, Crane Kalman Gallery, London, April - May 1991, illustrated in colour no. 4 Consonances Peinture – Sculpture, choix pour une collectione, Artcurial, Paris, Feburary to March 1993 Jean-Clarence Lambert: Les mots et le visible – Arcturial, Paris, Jan - Feb 1995 Les Figures de la Liberté – Musée Rath, Geneva, October 1995 - January 1996, colour p.252 no.145 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.71

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8. Seated Figure, 1944 Oil on canvas 46½ x 35 inches / 117.5 x 89 cm Signed and dated lower right and verso

Provenance: The Estate of the Artist and by descent Exhibited: Hayter e l’Atelier 17, Instituto Nazionale, Rome and the British Council, 10th May - 1st July 1990, ill in cat. p.63 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.75

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8. Seated Figure, 1944 Oil on canvas 46½ x 35 inches / 117.5 x 89 cm Signed and dated lower right and verso

Provenance: The Estate of the Artist and by descent Exhibited: Hayter e l’Atelier 17, Instituto Nazionale, Rome and the British Council, 10th May - 1st July 1990, ill in cat. p.63 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.75

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9. Reclining Woman, 1944 Oil on canvas 32 x 45Âź inches / 81 x 115 cm Signed and dated lower right

Provenance: The Estate of the Artist and by descent Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.74

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9. Reclining Woman, 1944 Oil on canvas 32 x 45Âź inches / 81 x 115 cm Signed and dated lower right

Provenance: The Estate of the Artist and by descent Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.74

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10. Femme Instable, 1945 Oil on board 36 x 47ž inches / 91.5 x 121.3 cm Signed and dated lower right

Provenance: The Estate of the Artist and by descent Exhibited: S. W. Hayter, An exhibition of paintings, drawings and engravings from 1929 - 1957, The Arts Council, 1958, no. 7 (dated incorrectly) Stanley William Hayter, ou la Metamorphose des lignes, La Malmaison sur la Croisette, Cannes, France, 10th December 2016 -20th April 2017 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.78

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10. Femme Instable, 1945 Oil on board 36 x 47ž inches / 91.5 x 121.3 cm Signed and dated lower right

Provenance: The Estate of the Artist and by descent Exhibited: S. W. Hayter, An exhibition of paintings, drawings and engravings from 1929 - 1957, The Arts Council, 1958, no. 7 (dated incorrectly) Stanley William Hayter, ou la Metamorphose des lignes, La Malmaison sur la Croisette, Cannes, France, 10th December 2016 -20th April 2017 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.78

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If Bill was always, by all accounts, an energetically competitive tennis player, I feel that the mainspring of all his best work, which has so enriched our century, was forged by the equally competitive synthesis, if such a thing is possible, between joyful participation in the physical world and loving enjoyment of its nature, and sporadic dives into subconscious, into his own nature. We all know that Hayter helped to formulate the basic principles of abstract expressionism in the early 1940s, but not many artists have particularly interesting subconscious areas of experience to explore and what is always refreshing about Bill’s paintings and engravings is their consistent celebration of the physical world and the artist’s own buoyant and brilliant reflex actions in response to this world.

There is not much in 20th century art that can eclipse Hayter’s radiant sense of colour and nothing at all can touch his dazzling sense of speed.

Bryan Robertson Excerpt from the booklet for Stanley William Hayter on his 80th birthday Oxford Gallery, October 1981

11. Untitled, 1946 Oil on board 18 x 21⅝ inches / 46 x 55 cm Signed and dated lower right

Provenance: Dolan Maxwell, New York Hirsch and Adler, New York Private Collection, France 28

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11. Untitled, 1946 Oil on board 18 x 21â…? inches / 46 x 55 cm Signed and dated lower right

Provenance: Dolan Maxwell, New York Hirsch and Adler, New York Private Collection, France

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12. Pendulum, 1946 Oil on canvas 45½ x 34¾ inches / 115.5 x 88.5 cm Signed and dated lower right

Provenance: The Estate of the Artist and by descent Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.86

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12. Pendulum, 1946 Oil on canvas 45½ x 34¾ inches / 115.5 x 88.5 cm Signed and dated lower right

Provenance: The Estate of the Artist and by descent Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.86

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13. Bacchantes, 1947 Oil on canvas 49½ x 32 inches / 125 x 81.5 cm Signed and dated lower right

Provenance: The Estate of the Artist and by descent Exhibited: Stanley William Hayter, ou la Metamorphose des lignes, La Malmaison sur la Croisette, Cannes, France, 10th December 2016 -20th April 2017 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.88

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13. Bacchantes, 1947 Oil on canvas 49½ x 32 inches / 125 x 81.5 cm Signed and dated lower right

Provenance: The Estate of the Artist and by descent Exhibited: Stanley William Hayter, ou la Metamorphose des lignes, La Malmaison sur la Croisette, Cannes, France, 10th December 2016 -20th April 2017 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.88

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14. Untitled, 1948 Oil on board 20 x 23ž inches / 51 x 60 cm Signed and dated lower right

Provenance: Dolan Maxwell, New York Private Collection, France Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.90

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14. Untitled, 1948 Oil on board 20 x 23ž inches / 51 x 60 cm Signed and dated lower right

Provenance: Dolan Maxwell, New York Private Collection, France Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.90

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OPPOSITE:

15. Ceres, 1948 Oil on canvas 42 x 36 inches / 106.7 x 91.4 cm Signed and dated lower right

Provenance: Private Collection, USA Private Collection, France Exhibited: Kunsthaus Bern, no. 0339 Stanley William Hayter in America, Paintings, Drawings and Prints, Francis Naumann Fine Art, New York, 8th January - 20th February 2009, ill in col Stanley William Hayter, ou la Metamorphose des lignes, La Malmaison sur la Croisette, Cannes, France, 10th December 2016 - 20th April 2017 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.93

OVERLEAF:

16. Summer, 1959 Oil on canvas 78 x 111⅛ inches / 200 x 282.2 cm

Provenance: The Estate of the Artist and by descent Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.230-231

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OPPOSITE:

15. Ceres, 1948 Oil on canvas 42 x 36 inches / 106.7 x 91.4 cm Signed and dated lower right

Provenance: Private Collection, USA Private Collection, France Exhibited: Kunsthaus Bern, no. 0339 Stanley William Hayter in America, Paintings, Drawings and Prints, Francis Naumann Fine Art, New York, 8th January - 20th February 2009, ill in col Stanley William Hayter, ou la Metamorphose des lignes, La Malmaison sur la Croisette, Cannes, France, 10th December 2016 - 20th April 2017 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.93

OVERLEAF:

16. Summer, 1959 Oil on canvas 78 x 111⅛ inches / 200 x 282.2 cm

Provenance: The Estate of the Artist and by descent Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.230-231

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Hayter in 1954 in his Paris studio (photo: Brassai ©. Esate Brassai - RMN)

17. Pink/Blue Abstract Composition, 1959 Oil on canvas 48¾ x 48¾ inches / 123.9 x 123.9 cm Signed and dated lower right

Provenance: Private Collection, Paris Exhibited: Stanley William Hayter, La Dynamique du Trait, Espace Cultural des Tanneries, La Ferrière-sur-Risle, France, 17th June - 17th September 2017 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.64 40

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Hayter in 1954 in his Paris studio (photo: Brassai ©. Esate Brassai - RMN)

17. Pink/Blue Abstract Composition, 1959 Oil on canvas 48¾ x 48¾ inches / 123.9 x 123.9 cm Signed and dated lower right

Provenance: Private Collection, Paris Exhibited: Stanley William Hayter, La Dynamique du Trait, Espace Cultural des Tanneries, La Ferrière-sur-Risle, France, 17th June - 17th September 2017 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.64 40

41

18. Untitled, 1959 Oil on canvas 24 x 18 inches / 61 x 45.7 cm Signed and dated lower right

Provenance: Private Collection, London

42

43

18. Untitled, 1959 Oil on canvas 24 x 18 inches / 61 x 45.7 cm Signed and dated lower right

Provenance: Private Collection, London

42

43

I have always considered any principle concerning figurative or non-figurative art as total nonsense.

S. W. Hayter

19. Composition, 1961 Oil on canvas 39½ x 32 inches / 101 x 81 cm Signed and dated lower right

Provenance: Crane Kalman Gallery, London Private Collection, Germany Exhibited: Paintings, Drawings and Prints by Stanley W. Hayter Crane Kalman Gallery, London, April-May 1991, Front Cover 44

45

I have always considered any principle concerning figurative or non-figurative art as total nonsense.

S. W. Hayter

19. Composition, 1961 Oil on canvas 39½ x 32 inches / 101 x 81 cm Signed and dated lower right

Provenance: Crane Kalman Gallery, London Private Collection, Germany Exhibited: Paintings, Drawings and Prints by Stanley W. Hayter Crane Kalman Gallery, London, April-May 1991, Front Cover 44

45

Look carefully at the festival to which Hayter invites us. This festival of action and dream irresistibly lures us. Two disparate opposites draw us into the heart of the astutely orchestrated whirlwinds of this energetic and perspicacious artist.

The eye looking at this work is forced to become adroit and agile like a fish navigating the depths of the ocean, moving between the warm and cold currents of these teeming waters. The eye rapidly plunges into the limitless depths, then pauses to allow a moment of meditation before the continually shifting colours. It then continues to dance and swim through these underwater gardens.

Before creating the climacteric ocean, Hayter knew how to play with a single line.

Like the snake charmer, he throws it into the air creating arabesques with the authority of a whip lash. He has always understood that each line is a new adventure; it is the prow of a boat slicing through water or the trace of the burin, a tool he has so often used to explore the unknown space mirrored on the copper plate.

Each line has a link with a neighbour. Each retreats, then they all regroup and move in a wave formation over the canvas. The movements resemble a meteorological map indicating winds or invisible isobars in real time – the invisible face of our planet.

Continued overleaf

20. Pleine Mer, 1965 Oil on canvas 39⅜ x 39⅜ inches / 100 x 100 cm

Provenance: The Estate of the Artist and by descent Exhibited: Stanley William Hayter (1901 - 1988), De la Ligne à la Couleur Oeuvres de 1950 à 1965, 15th March - 5th April, 2012, Galerie Délire, Paris Hayter e l’Atelier 17, Instituto Nazionale, Rome and the British Council, 10th May - 1st July 1990, ill in cat. p.63 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.93

46

47

Look carefully at the festival to which Hayter invites us. This festival of action and dream irresistibly lures us. Two disparate opposites draw us into the heart of the astutely orchestrated whirlwinds of this energetic and perspicacious artist.

The eye looking at this work is forced to become adroit and agile like a fish navigating the depths of the ocean, moving between the warm and cold currents of these teeming waters. The eye rapidly plunges into the limitless depths, then pauses to allow a moment of meditation before the continually shifting colours. It then continues to dance and swim through these underwater gardens.

Before creating the climacteric ocean, Hayter knew how to play with a single line.

Like the snake charmer, he throws it into the air creating arabesques with the authority of a whip lash. He has always understood that each line is a new adventure; it is the prow of a boat slicing through water or the trace of the burin, a tool he has so often used to explore the unknown space mirrored on the copper plate.

Each line has a link with a neighbour. Each retreats, then they all regroup and move in a wave formation over the canvas. The movements resemble a meteorological map indicating winds or invisible isobars in real time – the invisible face of our planet.

Continued overleaf

20. Pleine Mer, 1965 Oil on canvas 39⅜ x 39⅜ inches / 100 x 100 cm

Provenance: The Estate of the Artist and by descent Exhibited: Stanley William Hayter (1901 - 1988), De la Ligne à la Couleur Oeuvres de 1950 à 1965, 15th March - 5th April, 2012, Galerie Délire, Paris Hayter e l’Atelier 17, Instituto Nazionale, Rome and the British Council, 10th May - 1st July 1990, ill in cat. p.63 Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.93

46

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These sinuous lines seem to disappear into other elements like colour and form. Each colour, possessor of its individual vibration, brings us gently into the heart of the canvas or else, due to a violent contrast, hurls us into the abyss. These forays into space are not the result of a conventional use of perspective, but arise out of the relation to the wave movements half hidden in the painting.

This exploration of air, water, earth and fire is of the same nature as thought. Each idea is thus exposed to the action of currents formed by feelings, emotions or recollections. Because of these inextricably mixed influences the original idea can change and become either superficial or profound, luminous or obscure, joyful or painful. Hayter understands these nuances and exploits the changes with the energy of a practical man. He shows us an authentic picture of our conscious self. With delight we enter his sparkling world of magnetic fields and hear him say with conviction, “You see, it works.”

Roland Penrose, 1962 Excerpt from the catalogue of the exhibition Hayter at the Musée des Beaux Arts in Liège (Belgium) in 1962 Translation of Roland Penrose’s French text

21. Échanges, 1966 Oil on canvas 57½ x 44¾ inches / 146 x 114 cm Signed, titled and dated

Provenance: Galerie Jean-Claude Riedel, Paris Private Collection, Paris (acquired from above in 1984) Exhibited: Chateau-Musée de Dieppe, Stanley William Hayter, 6 July - 15 Sept 1968 (illus. cat no.37) Gallery Santica, Kobe, Japan, S.W. Hayter, Symphonic Poem of Lines, 30 March - 14 April 1985 (illus cat. no. 39) Grosvenor Gallery, London, S.W. Hayter Paintings 1957-1967, 16 Feb - 11 March 1967 (illus. in colour) 48

49

These sinuous lines seem to disappear into other elements like colour and form. Each colour, possessor of its individual vibration, brings us gently into the heart of the canvas or else, due to a violent contrast, hurls us into the abyss. These forays into space are not the result of a conventional use of perspective, but arise out of the relation to the wave movements half hidden in the painting.

This exploration of air, water, earth and fire is of the same nature as thought. Each idea is thus exposed to the action of currents formed by feelings, emotions or recollections. Because of these inextricably mixed influences the original idea can change and become either superficial or profound, luminous or obscure, joyful or painful. Hayter understands these nuances and exploits the changes with the energy of a practical man. He shows us an authentic picture of our conscious self. With delight we enter his sparkling world of magnetic fields and hear him say with conviction, “You see, it works.”

Roland Penrose, 1962 Excerpt from the catalogue of the exhibition Hayter at the Musée des Beaux Arts in Liège (Belgium) in 1962 Translation of Roland Penrose’s French text

21. Échanges, 1966 Oil on canvas 57½ x 44¾ inches / 146 x 114 cm Signed, titled and dated

Provenance: Galerie Jean-Claude Riedel, Paris Private Collection, Paris (acquired from above in 1984) Exhibited: Chateau-Musée de Dieppe, Stanley William Hayter, 6 July - 15 Sept 1968 (illus. cat no.37) Gallery Santica, Kobe, Japan, S.W. Hayter, Symphonic Poem of Lines, 30 March - 14 April 1985 (illus cat. no. 39) Grosvenor Gallery, London, S.W. Hayter Paintings 1957-1967, 16 Feb - 11 March 1967 (illus. in colour) 48

49

22. Interference, 1966 Acrylic on canvas 22½ x 21½ inches / 56.4 x 54.7 cm

Provenance: Private Collection, UK

50

51

22. Interference, 1966 Acrylic on canvas 22½ x 21½ inches / 56.4 x 54.7 cm

Provenance: Private Collection, UK

50

51

Bill Hayter with his wife Desirée, in Paris, 1967

(photo Alice Springs. Courtesy of June Davies, © Alice Springs)

23. Coquilles, 1967 Oil on canvas 39½ x 32 inches / 100.3 x 81.3 cm Signed and dated lower left

Provenance: Collection Cavalero, Paris Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.156

52

53

Bill Hayter with his wife Desirée, in Paris, 1967

(photo Alice Springs. Courtesy of June Davies, © Alice Springs)

23. Coquilles, 1967 Oil on canvas 39½ x 32 inches / 100.3 x 81.3 cm Signed and dated lower left

Provenance: Collection Cavalero, Paris Literature: Hayter: Le Peinture – The Paintings by Pierre-Francois and Francois Albert, published by Gourcuff Gradenigo, Montreuil, 2011, ill in col. p.156

52

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S. W. HAYTER – SELECTED EXHIBITIONS 1926 Headquarters of the Anglo-Iranian Oil Co, London Salon d’Automne, Paris 1927 Galerie Sacre du Printemps, Paris 1929 Claridge Gallery, London Palais des Beaux-Arts, Bruxelles (Belgium) 1935 Salon des Surindépendants, Paris 1936 Galerie Charles Ratton, Objets surréalistes, Paris New Burlington Galleries, The International Surrealist Exhibition, London Museum of Modern Art, Fantastic Art Dada and Surrealism, New York 1937 Surrealist Exhibition, Tokyo (Japan) Grosvenor Square, Exposition de l’Association Internationale des Artistes, organised by “L’Unité des Artistes pour le Paix et le Dévelopment Culturel”, London Gradiva (André Breton’s Gallery), Paris 1938 The Mayor Gallery, London Walker Art Gallery, 64th Autumn Exhibition, Liverpool (England) Galerie des Beaux-Arts, Exposition Internationale de Surréalisme, Paris Travelling Exhibition, Surrealist Paintings and Objects, Paris and Amsterdam (Netherlands) 1940 Museum Of Fine Arts, San Francisco (California) Zwemmer Gallery, Surrealism Today, London 1941 Art Institute, Chicago (Illinois) Bignou Gallery, New York Marian Willard Gallery, New York 1947 Durand-Ruel Gallery, New York 1948 Museum of Fine Arts, Santa Barbara (California) 1949 Iola’s Gallery, S. W. Hayter Paintings, New York 1950 Perspectives Gallery, Hayter at Home in Oil, New York 1951 Otto Stangl Gallery, Münich Galerie Louis Carré, Paris Salon de Mai, Paris Abstract Art, British Section, New York 1952 Salon de Mai, Paris Galerie Suzanne Fegl, Basle, Switzerland 1954 Kunsthalle, Tendances actuelles de l’École de Paris (Hartung, Hayter, Mortensen, Palazuelo, Poliakoff, Soulages), Berne (Switzerland) 1955 Galerie Denise René, Hayter Peintures, Gravures, Paris Modern Gallery Otto Stangl Gallery, Münich 1956 Contemporary British Art, Oslo (Norway) and Copenhagen (Denmark) Réalités Nouvelles, Paris Palais Des Beaux-Arts, Peintures Contemporains (Dewasne, Deyrolle, Hayter, Herbin, Mortensen, Vasarely), Lille (France) 1957 Whitechapel Gallery, S. W. Hayter Retrospective (catalogue essay by Brian Robertson), London Salon de Mai, Paris 1958 XXIX Venice Biennale, British Section representing Great Britain with Kenneth Armitage and William Scott, Venezia (Italy) Wallraf-Richartz Museum, Venice Biennale Exhibition, Cologne (Germany) Palais des Beaux-Arts, Venice Biennale Exhibition, Bruxelles (Belgium) Kunst Museum, Venice Biennale Exhibition, Zürich (Switzerland) Musée National d’Art Moderne, Venice Biennale Exhibition, Paris The Arts Council, Retrospective, Tour through UK Museo de Arte Moderno, Hayter and Hepworth São Paulo (Brasil) Réalités Nouvelles, Paris 1959 V Bienal de São Paulo (V Biennale de São Paulo), São Paulo Brasil 1960 Museum of the City, San Francisco (California) City Art Museum, Saint Louis (Missouri) 1961 Dallas Museum of Art, Dallas 1962 Musée des Beaux-Arts, Hayter, Liège (Belgium) 1965 Howard Wise Gallery, New York Maison de la Culture, Caen (France) 1966 KK Gallery, Copenhagen (Denmark)

1967 Grosvenor Gallery, London Museum of Art, The University of Oregon at Eugene (Oregon) Blanton Museum Of Art, An Exhibition of Paintings by Stanley William Hayter, The University of Texas at Austin (Texas) Magdalene Sothmann Gallery, Amsterdam (Netherlands) 1968 Château-Musée de Dieppe, Dieppe (France) 1972 Musée d’Art Moderne de la Ville de Paris. Ondulations-Peintures 1968-1972, Paris 1973 Corcoran Gallery or Art, Washington DC, S. W. Hayter Paintings, Drawings and Prints 1928-1950, Washington, DC 19731974 La Tortue Gallery, Paintings 1967-1973, Santa Monica, California 1975 Landskrona Museum, Landskrona (Sweden) 1976 Galerie de Seine, S. W. Hayter – Peintures 1940-1975, Paris Städische Kunsthalle, Düsseldorf (Germany) 1977 Musée National d’Art Moderne - Centre Georges Pompidou, Paris/New York/Paris 1978 Galeries Nationales de Grand Palais, Paris 1979 Galerie Isy Brachot et Galerie de Seine Michel Lancelot – Le Musée Volé, Paris 1981 Espace Lyonnais d’Art Contemporain (ELAC), Permanence du Regard Surréaliste, Lyon (France) 1982 Galerie 1900-2000, la Peinture Surréaliste en Angleterre 1930-1960, Paris 1983 Taylor Gallery, Dublin (Ireland) Galerie Jean-Claude Riedel, Paris 1984 Goetze Gallery, Stuttgart (Germany) Artcurial, British Contrasts, Paris 1986 Galerie Jean-Claude Riedel, Paris, Recent works by Hayter, Paris Artcurial, L’Aventure Surréaliste autour d’André Breton, Paris 1987 Musée d’Art et d’Histoire, Regard sur Minotaure, Genève (Switzerland) 1988 Artcurial, Hommage à Hayter, Paris Galerie Jean-Claude Riedel, Hommage à Hayter, Paris Musée d’Art Moderne de la Ville de Paris, Regard sur Minotaure, Paris Dolan Maxwell, Memorial Exhibition 1989 Philadelphia (Pennsylvania) Travelling Exhibitions, Aspects de l’Art Abstrait des années 1950, France Centro Atlantico de Arte Moderno (CAAM), Le Surréalisme entre ancien et nouveau monde, Las Palmas de Gran Canaria (Spain) Artcurial, Hommage à Hayter, Paris Laguna Art Museum, Pursuit of the Marvelous Stanley William Hayter, Charles Howard, Gordon Onslow Ford, Laguna Beach, (California) Academia di San Luca, Rome (Italy) Palazio Reale, I Surrealisti, Milano (Italy) 1991 Crane Kalman Gallery, S. W. Hayter, London 1992 Agnew’s Gallery, Private Exhibition, London 1993 Artcurial, Consonnances, Peintures, Sculptures. Choix pour une collection, Paris 1995 Musée Rath, 145, Les Figures de la Liberté, Genève (Switzerland) Hirschl & Adler Galleries, Eccentric Orbits, Stanley William Hayter, Charles Howard, Knud Merrild, Kay Sage, New York 1998 Museo Provincial, El Surrealismo y la Guerra Civil Espagnola, Teruel (Spain) 1998- Cape Cod Museum of Art, Surrealism in America during the 2000 1930s and 1940s. Selection from the Penny and Elton Yasuna Collection, Dennis (Massachusets) The Dali Museum, Surrealism in America during the 1930s and 1940s. Selection from the Penny and Elton Yasuna Collection, St. Petersburg (Florida) 2002 Centre d’Art Contemporain, La Nouvelle École de Paris 1941-1965. Abbaye de Beaulieu, Ginals (France) 2007 Palais des Beaux-Arts, L’Atelier de la monnaie, Lille Artistique 1952-1972, Lille (France) 2009 Francis Naumann Fine Art, Stanley William Hayter in America Paintings, Drawings and Prints 1940-1950, New York National Gallery of Art, From Surrealism to Abstraction, Washington DC 2011 The Incomparable Gallerist, Martha Jackson, New York

S. W. HAYTER - BIOGRAPHY 1901 1913 1917

Born in Hackney, London 27th December Won a scholarship to Whitgift Middle School, Croydon.

Made first paintings Left school. Began work as assistant research chemist for the Mond Nickel Company, at the same time studying chemistry part time at King’s College, London

19181921 Full time student at Kings College, London studying Chemistry and Geology (Honours degree 1921).

First interest in printmaking 19221925 Work as a chemist and geologist for the Anglo-Iranian Oil company in Abadan.

Began to paint regularly. Made a series of portraits of colleagues working for AngloIranian.

19251926 Returned to England. Exhibited paintings at the Anglo-Iranian headquarters. Decided to become a painter and moved to Paris in March or April 1926. Obtained studio at 51 rue de Moulin Vert. Spent three months at Academie Julian. First prints, dry points, wood cuts and aquatint. Met Joseph Hecht, Polish engraver. Married Edith Fletcher.

1927 Established printing workshop in his studio but this was later moved to a larger space at the Villa Chauvelot.

19261929 Summers spent in South of France and Corsica 1929 First contact with artists from official surrealist groups. Birth of son David who died in 1945 1933 Moved to workshop 17 rue Campagne Premiere from which the name Atelier 17 was derived. Exhibited with Surrealist group in Paris.

1934 First exhibition of Atelier 17 artists in Paris and London 1936 Exhibited in and helped to organize, the International Surrealist exhibition at the New Burlington Galleries, London.

1937 Travelled in Spain at the Invitation of Republican Government, paintings afterwards exhibited at Mayor Gallery, London.

1938 Broke off from the official Surrealist group 1939 Left Paris for London. Some of Hayter’s work later shipped to United States by Peggy Guggenheim, some abandoned in workshop and lost. Worked in England on camouflage technique.

1940

1943 1944 1945 1946 1948 1949

1950

1951 1955 1958 1959 1960 1968 1972 1974 1978

1982 1983 1986 1988

Left London for the USA. Gave course at California School of Fine Arts. Settled in New York in autumn. Gave printmaking course (known as Atelier 17) at New School for Social Research, two days a week.

Married Sculptor Helen Phillip.

Directed course in printmaking at the Philadelphia Print Club.

Birth of his son Julian Established Atelier 17 as independent workshop at 41 East 8th Street Visited Paris Gave series of weekly lectures at California School of Fine Arts.

Gave course on printmaking at the Art Institute of Chicago. Professor of Fine Arts in Design Department of Brooklyn College, New York.

Returned permanently to Paris and reopened Atelier 17 at 278 rue de Vaugirard. The workshop moved again in 1954 to the Academie Ranson, rue Joseph Bara, then moved in 1961, to 77 rue Daguerre; in 1969 to 63 rue Daguerre, and in 1977 to 10 rue Didot where it continues today as Atelier Contrepoint.

Awarded Legion d’Honneur. Bought summer house in Alba in the Ardeche (France).

New York Atelier closed Represented Great Britain at Venice Biennale Awarded OBE Awarded International Grand Prize at the second Tokyo International Print Biennale.

Awarded CBE and made Chevalier de l’Ordre des Arts et Lettres.

Received Grand Prix des Arts de la Ville de Paris.

Married Desiree Moorhead Elected Foreign Member of the American Academy of Arts and Sciences. Honorary Doctorate Hamline University, Minnesota.

Elected Honorary member of Royal Academy Honorary Doctorate, New School for Social Research, New York Promoted to Commandeur des Arts et Lettres Purchase by British Museum of Hayter’s archive of his own prints.

Died 4th May, 1988

PRINTED AT THE RANELAGH PRESS, LONDON

S. W. HAYTER – SELECTED EXHIBITIONS 1926 Headquarters of the Anglo-Iranian Oil Co, London Salon d’Automne, Paris 1927 Galerie Sacre du Printemps, Paris 1929 Claridge Gallery, London Palais des Beaux-Arts, Bruxelles (Belgium) 1935 Salon des Surindépendants, Paris 1936 Galerie Charles Ratton, Objets surréalistes, Paris New Burlington Galleries, The International Surrealist Exhibition, London Museum of Modern Art, Fantastic Art Dada and Surrealism, New York 1937 Surrealist Exhibition, Tokyo (Japan) Grosvenor Square, Exposition de l’Association Internationale des Artistes, organised by “L’Unité des Artistes pour le Paix et le Dévelopment Culturel”, London Gradiva (André Breton’s Gallery), Paris 1938 The Mayor Gallery, London Walker Art Gallery, 64th Autumn Exhibition, Liverpool (England) Galerie des Beaux-Arts, Exposition Internationale de Surréalisme, Paris Travelling Exhibition, Surrealist Paintings and Objects, Paris and Amsterdam (Netherlands) 1940 Museum Of Fine Arts, San Francisco (California) Zwemmer Gallery, Surrealism Today, London 1941 Art Institute, Chicago (Illinois) Bignou Gallery, New York Marian Willard Gallery, New York 1947 Durand-Ruel Gallery, New York 1948 Museum of Fine Arts, Santa Barbara (California) 1949 Iola’s Gallery, S. W. Hayter Paintings, New York 1950 Perspectives Gallery, Hayter at Home in Oil, New York 1951 Otto Stangl Gallery, Münich Galerie Louis Carré, Paris Salon de Mai, Paris Abstract Art, British Section, New York 1952 Salon de Mai, Paris Galerie Suzanne Fegl, Basle, Switzerland 1954 Kunsthalle, Tendances actuelles de l’École de Paris (Hartung, Hayter, Mortensen, Palazuelo, Poliakoff, Soulages), Berne (Switzerland) 1955 Galerie Denise René, Hayter Peintures, Gravures, Paris Modern Gallery Otto Stangl Gallery, Münich 1956 Contemporary British Art, Oslo (Norway) and Copenhagen (Denmark) Réalités Nouvelles, Paris Palais Des Beaux-Arts, Peintures Contemporains (Dewasne, Deyrolle, Hayter, Herbin, Mortensen, Vasarely), Lille (France) 1957 Whitechapel Gallery, S. W. Hayter Retrospective (catalogue essay by Brian Robertson), London Salon de Mai, Paris 1958 XXIX Venice Biennale, British Section representing Great Britain with Kenneth Armitage and William Scott, Venezia (Italy) Wallraf-Richartz Museum, Venice Biennale Exhibition, Cologne (Germany) Palais des Beaux-Arts, Venice Biennale Exhibition, Bruxelles (Belgium) Kunst Museum, Venice Biennale Exhibition, Zürich (Switzerland) Musée National d’Art Moderne, Venice Biennale Exhibition, Paris The Arts Council, Retrospective, Tour through UK Museo de Arte Moderno, Hayter and Hepworth São Paulo (Brasil) Réalités Nouvelles, Paris 1959 V Bienal de São Paulo (V Biennale de São Paulo), São Paulo Brasil 1960 Museum of the City, San Francisco (California) City Art Museum, Saint Louis (Missouri) 1961 Dallas Museum of Art, Dallas 1962 Musée des Beaux-Arts, Hayter, Liège (Belgium) 1965 Howard Wise Gallery, New York Maison de la Culture, Caen (France) 1966 KK Gallery, Copenhagen (Denmark)

1967 Grosvenor Gallery, London Museum of Art, The University of Oregon at Eugene (Oregon) Blanton Museum Of Art, An Exhibition of Paintings by Stanley William Hayter, The University of Texas at Austin (Texas) Magdalene Sothmann Gallery, Amsterdam (Netherlands) 1968 Château-Musée de Dieppe, Dieppe (France) 1972 Musée d’Art Moderne de la Ville de Paris. Ondulations-Peintures 1968-1972, Paris 1973 Corcoran Gallery or Art, Washington DC, S. W. Hayter Paintings, Drawings and Prints 1928-1950, Washington, DC 19731974 La Tortue Gallery, Paintings 1967-1973, Santa Monica, California 1975 Landskrona Museum, Landskrona (Sweden) 1976 Galerie de Seine, S. W. Hayter – Peintures 1940-1975, Paris Städische Kunsthalle, Düsseldorf (Germany) 1977 Musée National d’Art Moderne - Centre Georges Pompidou, Paris/New York/Paris 1978 Galeries Nationales de Grand Palais, Paris 1979 Galerie Isy Brachot et Galerie de Seine Michel Lancelot – Le Musée Volé, Paris 1981 Espace Lyonnais d’Art Contemporain (ELAC), Permanence du Regard Surréaliste, Lyon (France) 1982 Galerie 1900-2000, la Peinture Surréaliste en Angleterre 1930-1960, Paris 1983 Taylor Gallery, Dublin (Ireland) Galerie Jean-Claude Riedel, Paris 1984 Goetze Gallery, Stuttgart (Germany) Artcurial, British Contrasts, Paris 1986 Galerie Jean-Claude Riedel, Paris, Recent works by Hayter, Paris Artcurial, L’Aventure Surréaliste autour d’André Breton, Paris 1987 Musée d’Art et d’Histoire, Regard sur Minotaure, Genève (Switzerland) 1988 Artcurial, Hommage à Hayter, Paris Galerie Jean-Claude Riedel, Hommage à Hayter, Paris Musée d’Art Moderne de la Ville de Paris, Regard sur Minotaure, Paris Dolan Maxwell, Memorial Exhibition 1989 Philadelphia (Pennsylvania) Travelling Exhibitions, Aspects de l’Art Abstrait des années 1950, France Centro Atlantico de Arte Moderno (CAAM), Le Surréalisme entre ancien et nouveau monde, Las Palmas de Gran Canaria (Spain) Artcurial, Hommage à Hayter, Paris Laguna Art Museum, Pursuit of the Marvelous Stanley William Hayter, Charles Howard, Gordon Onslow Ford, Laguna Beach, (California) Academia di San Luca, Rome (Italy) Palazio Reale, I Surrealisti, Milano (Italy) 1991 Crane Kalman Gallery, S. W. Hayter, London 1992 Agnew’s Gallery, Private Exhibition, London 1993 Artcurial, Consonnances, Peintures, Sculptures. Choix pour une collection, Paris 1995 Musée Rath, 145, Les Figures de la Liberté, Genève (Switzerland) Hirschl & Adler Galleries, Eccentric Orbits, Stanley William Hayter, Charles Howard, Knud Merrild, Kay Sage, New York 1998 Museo Provincial, El Surrealismo y la Guerra Civil Espagnola, Teruel (Spain) 1998- Cape Cod Museum of Art, Surrealism in America during the 2000 1930s and 1940s. Selection from the Penny and Elton Yasuna Collection, Dennis (Massachusets) The Dali Museum, Surrealism in America during the 1930s and 1940s. Selection from the Penny and Elton Yasuna Collection, St. Petersburg (Florida) 2002 Centre d’Art Contemporain, La Nouvelle École de Paris 1941-1965. Abbaye de Beaulieu, Ginals (France) 2007 Palais des Beaux-Arts, L’Atelier de la monnaie, Lille Artistique 1952-1972, Lille (France) 2009 Francis Naumann Fine Art, Stanley William Hayter in America Paintings, Drawings and Prints 1940-1950, New York National Gallery of Art, From Surrealism to Abstraction, Washington DC 2011 The Incomparable Gallerist, Martha Jackson, New York

S. W. HAYTER - BIOGRAPHY 1901 1913 1917

Born in Hackney, London 27th December Won a scholarship to Whitgift Middle School, Croydon.

Made first paintings Left school. Began work as assistant research chemist for the Mond Nickel Company, at the same time studying chemistry part time at King’s College, London

19181921 Full time student at Kings College, London studying Chemistry and Geology (Honours degree 1921).

First interest in printmaking 19221925 Work as a chemist and geologist for the Anglo-Iranian Oil company in Abadan.

Began to paint regularly. Made a series of portraits of colleagues working for AngloIranian.

19251926 Returned to England. Exhibited paintings at the Anglo-Iranian headquarters. Decided to become a painter and moved to Paris in March or April 1926. Obtained studio at 51 rue de Moulin Vert. Spent three months at Academie Julian. First prints, dry points, wood cuts and aquatint. Met Joseph Hecht, Polish engraver. Married Edith Fletcher.

1927 Established printing workshop in his studio but this was later moved to a larger space at the Villa Chauvelot.

19261929 Summers spent in South of France and Corsica 1929 First contact with artists from official surrealist groups. Birth of son David who died in 1945 1933 Moved to workshop 17 rue Campagne Premiere from which the name Atelier 17 was derived. Exhibited with Surrealist group in Paris.

1934 First exhibition of Atelier 17 artists in Paris and London 1936 Exhibited in and helped to organize, the International Surrealist exhibition at the New Burlington Galleries, London.

1937 Travelled in Spain at the Invitation of Republican Government, paintings afterwards exhibited at Mayor Gallery, London.

1938 Broke off from the official Surrealist group 1939 Left Paris for London. Some of Hayter’s work later shipped to United States by Peggy Guggenheim, some abandoned in workshop and lost. Worked in England on camouflage technique.

1940

1943 1944 1945 1946 1948 1949

1950

1951 1955 1958 1959 1960 1968 1972 1974 1978

1982 1983 1986 1988

Left London for the USA. Gave course at California School of Fine Arts. Settled in New York in autumn. Gave printmaking course (known as Atelier 17) at New School for Social Research, two days a week.

Married Sculptor Helen Phillip.

Directed course in printmaking at the Philadelphia Print Club.

Birth of his son Julian Established Atelier 17 as independent workshop at 41 East 8th Street Visited Paris Gave series of weekly lectures at California School of Fine Arts.

Gave course on printmaking at the Art Institute of Chicago. Professor of Fine Arts in Design Department of Brooklyn College, New York.

Returned permanently to Paris and reopened Atelier 17 at 278 rue de Vaugirard. The workshop moved again in 1954 to the Academie Ranson, rue Joseph Bara, then moved in 1961, to 77 rue Daguerre; in 1969 to 63 rue Daguerre, and in 1977 to 10 rue Didot where it continues today as Atelier Contrepoint.

Awarded Legion d’Honneur. Bought summer house in Alba in the Ardeche (France).

New York Atelier closed Represented Great Britain at Venice Biennale Awarded OBE Awarded International Grand Prize at the second Tokyo International Print Biennale.

Awarded CBE and made Chevalier de l’Ordre des Arts et Lettres.

Received Grand Prix des Arts de la Ville de Paris.

Married Desiree Moorhead Elected Foreign Member of the American Academy of Arts and Sciences. Honorary Doctorate Hamline University, Minnesota.

Elected Honorary member of Royal Academy Honorary Doctorate, New School for Social Research, New York Promoted to Commandeur des Arts et Lettres Purchase by British Museum of Hayter’s archive of his own prints.

Died 4th May, 1988

PRINTED AT THE RANELAGH PRESS, LONDON

S. W.

PAINTINGS