proposed exhibition:

Drawn from the collection of Tyrus Clutter, this exhibition is composed of artists who work(ed) in printmaking, influenced by the techniques of British painter and printmaker Stanley William Hayter.

Hayter began his printmaking career working with the engraved line. His technique was based in Surrealism and he was affiliated with the artists of that movement for a time. He became increasingly influential among European Modernists when he opened his renonwed workshop--Atelier 17--in Paris in 1933. The workshop moved to New York during the war, but again returned to Paris in 1950. Between Paris and New York, the workshop was filled with some of the greatest names of 20th century art: Miro, Calder, Lipchitz, Picasso, Stuart Davis, David Smith, Motherwell, Pollock, Rothko, and de Kooning.

Many of the works in this exhibition are produced with the Color Viscosity Intaglio printing process which was developed at Hayter's Atelier 17 in the late 1950s. Earlier attempts had been made to print color etchings from a single plate, using stencils, but this was the breakthrough development of the workshop. Nearly all of the artists included in this core segment of the collection worked at Atelier 17 with Hayter. Artists such as Krishna Reddy and Hector Saunier were also responsible for printing several of Hayter's intaglio editions.

The works reveal the importance of Hayter, as well as Mauricio Lasansky, in the development of printmaking in the middle of the 20th century. Evident are aspects of abstraction connected to the automatism of Surrealism, as well as some representational imagery with mythic and religious overtones---particularly in the work of Dick Swift.

Represented are artists from the U.S. and Europe, but also some originally from South America and Asia. This shows the open, international flavor of Atelier 17, as does the inclusion of eight female artists. The diversity of Atelier 17 was exceptional and predates the feminist movement in the U.S.

Additional pieces may be added to the final exhibition; it will be available to travel beginning late 2017 or 2018. The sizes included represent the sizes of the images, not framed sizes. Professor Clutter is currently seeking venues for the exhibition. Venues are responsible for shipping to the following venue and a rental fee. For more details contact tyrus@tyrusclutter.com .

Isolde Baumgart, Ember Days, Color Viscosity Intaglio, 9 3/4" x 7 5/8" (Lakeside Studio Proof)
David F. Driesbach, Smoke Rings, 1978, Color Viscosity Intaglio, 8 5/8" x 13 1/8"
Letterio Calapai, Untitled, Woodcut, 3 1/8" x 2 1/8"
Johnny Friedlaender, Three Poems, Color Intaglio, 7 3/4" x 6 1/8"
Johnny Friedlaender, Fleur V, Color Intaglio, 7 5/8" x 5 1/2"
Terry Hass, Two Triangles Red+Blue, Color Intaglio, 5 3/4" x 5 1/4"
Terry Hass, Three Triangles Orange, Color Intaglio, 6 3/8" x 6 3/8"
Shoichi Hasegawa, La Ciel en Fleurs, circa 1968, Color Viscosity Intaglio, 21" x 19 1/4"
Stanley William Hayter, Vortex, 1968, Soft Ground Etching and Scorper with Viscosity Printing, 19" x 16"
Stanley William Hayter, Free Fall, 1974, Color Engraving and Soft Ground Etching ,23 3/8" x 19 3/8"
Stanley William Hayter, La Lecon D'Anatomie (The Anatomy Lesson) 1954/55, Intaglio with Color Stencils, 15 1/2" x 11 1/2"
Clinton King, Hellas, 1974, Color Viscosity Intaglio, 17 1/2" x 21 1/2"
Stanley William Hayter, Night Forest (Feuilles Eparses), 1963, Color Viscosity Intaglio, 8 1/8" x 6 3/4"
Jim Monson Totem 1980, Color Viscosity Intaglio, 10" x 9 1/2" (Created at Lakeside Studio while his wife Isolde Baumgart was also there working on Ember Days)
Krishna Reddy, Forme Rombaute (Falling Figure), 1973, Color Viscosity Intaglio, 13 1/4" x 17 3/8"
Krishna Reddy, Floraison (Blossoming), 1965, Color Viscosity Intaglio, 17 3/8" x 13 1/2"
Krishna Reddy, Forme Roude (Dawn Worship), 1973, Color Viscosity Intaglio, 13 5/8" x 17 1/2"
Aki Roland, (Tanina) La Vollee, 1974, Color Viscosity Intaglio, 21 3/8" x 17 3/8"
Hector Saunier, Floating Island, 1970, Color Viscosity Intaglio, 5" x 4"
Gail Singer, Sentinels II, 1968, Color Viscosity Intaglio, 13 1/8" x 14 3/8" (from personal collection of David F. Driesbach)
Dick Swift, Before the Fall, 1972, Color Viscosity Intaglio, 35 3/8" x 17 1/4" (Artist Proof from Lakeside Studio)
Dick Swift, Veneration of the Ancestors, 1955, Color Intaglio printed from two plates, 17 7/8" x 22"
Dick Swift, The Disrobing of Christ: Station #10, 1957/58, Mixed Intaglio Processes, 17 3/4" x 14 1/2"
Dick Swift, Miracle II, 1958, Color Intaglio from two plates, 7 1/2 x 16 3/8"
Dick Swift, Scheherazade, Mixed Process Color Intaglio, 6" x 5"
Shirley Witebsky, Autumn, 1969, Color Viscosity Intaglio, 14" x 17 1/2" (wife of Krishna Reddy)
Shirley Witebsky, Metamorphose, 1969, Color Viscosity Intaglio, 14" x 17 1/2" (wife of Krishna Reddy)
Dick Swift, Oedipus, 1966, Color Viscosity Intaglio, 29 3/4" x 10"
Stanley William Hayter, L'Oeil (The Eye), 1971, Color Viscosity Intaglio, 15 3/8" diameter
Stanley William Hayter, Personnage a genoux (Kneeling Figure) 1949, Engraving and Soft-ground Etching, 9 7/8" x 5 7/8"
Doris Seidler, Blitzed Gothic,1957, Lucite Engraving, 21" x 12 1/4"
Fred Becker, Inferno, Mixed Intaglio with Rainbow Relief Roll, 7 1/2" x 6 1/4"
Shirley Witebsky, Fruit Tree, Color Viscosity Intaglio, 14" x 18" (wife of Krishna Reddy)
Dick Swift, The Masquerade, 19 , Mixed Intaglio Processes with Viscosity Printing, 12 1/4" x 7 3/4"
Hector Saunier, Jardin Suspendu, 1978, Engraving with two Relief Rolls, 15 3/8" x 17 1/4"
Martin Barooshian, My Asia Minor, Color Viscosity Intaglio, 23 3/4" x 18 1/2"
Doris Seidler, The Garden, 1966, Color Viscosity Intaglio, 9 7/8" x 7 7/8"
Ruth Cyril, La Montagne Enchante', 1960, Mixed Intaglio with Relief Roll, 17 1/2" x 30 7/8"
Leonard Edmondson, Untitled, Intaglio, 6" x 11 3/8"
Sergio Gonzalez-Tornero, Rose Field, 1965, Color Viscosity Intaglio, 17 3/4" x 13 1/8"
Dick Swift, The Temptation of Eve, 1965, Color Intaglio with Relief Roll, 25 5/8" x 14 7/8"
Stanley William Hayter, Death by Water, 1948/1976, Engraving and Scorper, 13 7/8" x 23 7/8"
Denji Noma, Essay, 1963, Color Viscosity Intaglio, 10" x 15 3/4"
Denji Noma, The Horizon, 1964, Color Viscosity Intaglio, 15 3/4" x 19 3/4"
Denji Noma, Murasaki (Violette), 1964, Color Viscosity Intaglio, 9 3/4" x 15 3/4"
Roger Platiel, Le Songe de Cortez, 1975, Color Viscosity Intaglio, 13 1/2" x 14 3/4"
Leonard Edmondson, Burial Ground, 1960, Color Intaglio, 11 1/2" x 17 3/4", published by International Graphic Arts Society
Ernest Freed, above: Untitled Christmas Print, 1963, Engraving, 5 7/8" x 5 7/8";

left: Untitled Christmas Print, 1967, Engraving with Color, 9 3/4" x 6"

Terry Hass, Nexus VI, 1968, Color Intaglio, 10 1/2" diameter
Eugenio Tellez, Untitled, 1961, Color Viscosity Intaglio, 19 1/4" x 15"
Stanley William Hayter, Rubis, 1968, Etching inked in Intaglio and Relief, 11" x 11", proof (marked essai) and upside down compared with illustration in Black & Moorehead Catalogue
Stanley William Hayter, Illustrations from Heinrich Von Kleist's Les Marionnettes, 1947, reproductions of drawings, pages each 6 1/2" x 4 1/4", #257 from a published number of 972 books
Ferdinand Springer, Shrinagar, 1956, Seven Plate Etching inked in Intaglio and Relief, 18" x 12 5/8", Lacouriere Blind Stamp
Sergio Gonzalez-Tornero, Los, 1961, Color Viscosity Etching with Scraper, 15 1/2" x 13 1/2"
Stanley William Hayter, Wind, 1974, Color Soft Ground Etching, 23 5/8" x 17 1/4"
Sheigla Hartman, Crown of Thorns, 1969, Color Viscosity Intaglio, 22 1/2" x 14 1/2"
Mauricio Lasansky, El Maestro, 1962, Mixed Color Intaglio Processes from three plates, 15" x 15"
Dick Swift, The Prophecy II, 1969, Color Viscosity Intaglio, 15" x 26"