proposed exhibition:

Drawn from the collection of Tyrus Clutter, Great than 17, 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, Nevelson, Pollock, Rothko, and de Kooning.

Many of the nearly over hundred 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, Scandinavia, Australia, and Asia. This shows the open, international flavor of Atelier 17, as does the inclusion of more than a dozen female artists. The diversity of Atelier 17 was exceptional and predates the feminist movement in the U.S.

Additional works will be included and are listed in an early draft of the proposed catalogue that can be viewed in this PDF. The sizes included represent the sizes of the images, not framed sizes. Professor Clutter is currently seeking venues for the exhibition. For more details contact tyrus@tyrusclutter.com .

PAGE 2 OF THE EXHIBITION WORKS.

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"
Patricia de Gogorza, Bird Mountain 1961, Color Intaglio, 9 3/4" x 13 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"
Stanley William Hayter, Night Forest (Feuilles Eparses), 1963, Color Viscosity Intaglio, 8 1/8" x 6 3/4"
Stanley William Hayter, L'Oeil (The Eye), 1971, Color Viscosity Intaglio, 15 3/8" diameter
Stanley William Hayter, Araignee, 1967, Color Viscosity Intaglio, 11 3/4" x 9 5/8"
Fred Becker, Inferno, Mixed Intaglio with Rainbow Relief Roll, 7 1/2" x 6 1/4"
Martin Barooshian, My Asia Minor, Color Viscosity Intaglio, 23 3/4" x 18 1/2"
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"
Leonard Edmondson, Burial Ground, 1960, Color Intaglio, 11 1/2" x 17 3/4", published by International Graphic Arts Society
Untitled Christmas Print, 1972, Shaped Linoleum with Embossing, 4 1/2" x 3 5/8"
Terry Haass, Nexus VI, 1968, Color Intaglio, 10 1/2" diameter
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
Sergio Gonzalez-Tornero, Cool World, 1966, Color Viscosity Intaglio, 16 3/4" x 14"
Stanley William Hayter, Wind, 1974, Color Soft Ground Etching, 23 5/8" x 17 1/4"
Isolde Baumgart, Atelier 17, Color Intaglio printed as a poster for 1971 Exhibition, 15" x 13 1/2"
Francoise Bricaut Tortillard, Color Viscosity Intaglio, 8" x 10 7/8"
Angelica Caporaso, L'echa Jaudape, Intaglio with Color Relief Roll, 16 3/4" x 21 1/2"
Johnny Friedlaender, Fleur V, Color Intaglio, 7 5/8" x 5 1/2"
Sergio Gonzalez-Tornero, Los, 1961, Color Viscosity Etching with Scraper, 15 1/2" x 13 1/2"
Sheigla Hartman, Crown of Thorns, 1969, Color Viscosity Intaglio, 22 1/2" x 14 1/2"
Terry Haass, Kaleiddoscope 3 (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"
Terry Haass, Kaleiddoscope 4 (Red), Color Intaglio, 5 3/4" x 5 1/4"
Sergio Gonzalez-Tornero, Rose Field, 1965, Color Viscosity Intaglio, 17 3/4" x 13 1/8"
Stanley William Hayter, Death by Water, 1948/1976, Engraving and Scorper, 13 7/8" x 23 7/8"
Stanley William Hayter, Fond de la Mer (Seabed), 1960, Etching inked in Intaglio and Relief, 11 3/4" x 19 3/8"
Stanley William Hayter, Personnage a genoux (Kneeling Figure) 1949, Engraving and Soft-ground Etching, 9 7/8" x 5 7/8"
Stanley William Hayter, Gulf Stream, 1959, Color Viscosity Intaglio, 20 1/8" x 19 1/2"
Stanley William Hayter, Hidden Figure, 1983, Color Intaglio with Relief Roll in Gradation, 20 1/2" x 16"
Stanley William Hayter, Night Moth, 1946, Intaglio with Silkscreen on Plate, 6" x 4 1/2"
Stanley William Hayter, Red Flow, 1963, Color Viscosity Intaglio, 15 1/2" x 11 5/8"
Stanley William Hayter and Helen Phillips, Untitled Holiday Print, 1955, Engraving with Linoleum offset on Plate and Relief Roll, 5 3/4" x 4 1/4"
Arun Bose, Sacred Horses, Color Viscosity Intaglio, 17 3/8" x 17 1/2"
Ernest Freed, Untitled Christmas Print, 1967, Engraving with Color, 9 3/4" x 6" (two color variations)
Minna Citron, L'Araignes (The Spider), 1962, Etching, Aquatint, and Gauffrauge with Color Relief Roll, 26" x 15"
Stanley William Hayter, Desiree, 1966, Scorper and Soft Ground Etching with Relief Roll, 15 1/2" x 19 1/8", from variant edition
Stanley William Hayter, Night (La nuit), 1960, Color Viscosity Intaglio with experimental plastic resist, 11 5/8" x 19 1/8"
Stanley William Hayter, Night Sea, 1962, Color Viscosity Intaglio, One of four color trial proofs, 11 1/2" x 15 1/2"
Ernest Freed, Circe, 1957, Multiplate Hard and Soft Ground Etching, Color Trial Proof, 6" x 8 3/4"
Ernest Freed, The Gates of Hell, 1969, Multiplate Hard Ground Color Etching, 9 1/2" x 15 1/2"
Red Rooster, 1949, Intaglio overprinted with Linoleum block, 23 7/8" x 16";

Ernest Freed, Untitled Christmas Print, 1967, Engraving with Color, 9 3/4" x 6" (two color variations)