The decision to embark on this thematic catalogue evolved from our interest in
Atelier 17 and its largely unrecognized connection to Abstract Expressionism, as
well as the beginnings and the development of contemporary print workshops in
the United States. Building upon our success last fall with Whistler and his
Influence, the current project was an exciting and challenging shift in focus and
our main characters could not have be more different. James A.M. Whistler, an
egomaniacal center of attention and artist who mostly shunned teaching, versus
the enthusiastic and magnanimous teacher and mentor Stanley W. Hayter and his
communal atmosphere within Atelier 17. A year’s worth of preparation proved to
be an enlightening adventure, and was no less fulfilling and enthralling.
Remarkably, whether academically, in museums, or in the art market, there has been
very little focus on either Atelier 17 in general or the studio’s extraordinary influence
on printmaking and the fine arts in both American and Europe from the mid-20
th
-
century onward. The last exhibition that exclusively explored the development of
Atelier 17 and it’s relation to Abstract Expressionism was Joann Moser’s Atelier 17
at the Elvehjem Art Center, University of Wisconsin—Madison, 1977, with a wonderful
accompanying catalogue that served as a fundamental reference for this
catalogue. That exhibition marked Atelier 17’s fiftieth anniversary; one can hope for
a 100
th
anniversary exhibition and catalogue. Another recent exhibition at the MOMA
in New York earlier this year, with two supplementary exhibitions to the blockbuster
Abstract Expressionist New York which were called Rock Paper Scissors and
Ideas Not Theories and focused on works on paper specifically by Atelier 17 and
New York School artists. Both demanded our attention and gave us the final motivation
to plan this auction.
Like many of the prints created at Atelier 17 and in the workshops that studio
precipitated, this has been a group project from the beginning. I would like to
thank our consignors for listening to our evolving ideas for this catalogue and trusting
us with the handling of their property. From the start, Erin Bennett has supported,
organized, and kept this undertaking afloat; without her ability to perform all these
tasks, this would have been impossible. Brittney Ingarra has helped ably with
research and organization and Bette Rothstein has offered expert advice on
the look of the catalogue. The entire Swann support staff, as always, and our
ever-professional photographers, printers and designers at Brilliant Graphics have
eased and made the production of this catalogue feasible. I am further indebted to
Conner Williams, who has co-written this catalogue and supplied the introductory
texts, he jumped into this project with great enthusiasm and the aplomb of a veteran.
Todd D. Weyman
Director, Works of Art on Paper
Vice President
Swann Galleries, Inc.