Wayne Thiebaud – Prints and works on paper

Exhibition: 15th September – 9th October 2015 Sims Reed Gallery The Economist Building 30 Bury Street London SW1Y 6AU T +44 (0)20 7930 5111 F +44 (0)20 7930 1555 E gallery@simsreed.com www.gallery.simsreed.com In collaboration with Allan Stone Projects, New York

Wayne Thiebaud Prints and works on paper

Foreword Lyndsey Ingram We are pleased to be presenting this wonderful group of works on paper by Wayne Thiebaud. This is our second exhibition devoted to the artist and the first that we will be exhibiting in our London gallery. Widely known and admired throughout America, Thiebaud is an artist who has had surprisingly little exposure in Europe. This show will hopefully help to change that.

Born in Arizona in 1920, Thiebaud moved to California as a child and continues to live and work there today. Sitting somewhere between Pop Art and Realism, his work defies easy categorisation. The diverse group of drawings and prints presented here have been chosen and assembled to highlight how Thiebaud is repeatedly drawn to the same objects. Using a variety of mediums, he frequently returns to these deceptively simple still life subjects to explore the specific, formal concerns that have occupied him throughout his career.

These sumptuous and delightful images are so appealing, it is easy to overlook Thiebaud’s incredibly skilled draughtsmanship and his relentless investigation of form, volume, and perspective. There is great purity at the core of Thiebaud’s work and his images are, in fact, composed of only a few, elemental forms – spheres, ellipses, triangles, and squares. The works included here are all easily distilled into these simple shapes - Billiard Balls is essentially spheres within a triangle, Banana Splits is four ellipses, Lipstick Row is simply triangles perched above rectangles, and so on.

While his subjects are often consistent and familiar, his techniques vary widely. By moving through mediums, Thiebaud is able to continue what he has described as a ‘critical interrogation’ of his subjects and their formal qualities. Transposing an ice cream cone from painting to drawing to print making, he puts the forms – a sphere and a triangle – through their paces and in each case achieves something wholly different.

From the beginning of his career and continuing to the present day, Thiebaud has always been a committed and sophisticated print maker, actively making prints in conjunction with painting and drawing. He uses several techniques including lithography, silkscreen, etching, woodcut, and monoprints - all of which are included here. Thiebaud also occasionally returns to proof impressions, extensively hand working them and creating unique, vibrant relations to the editioned prints.

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There is no hierarchy among mediums and he described each as having ‘it’s unique and very special beauty or effectiveness’. This show places, side-by side, single subjects done in various techniques, allowing us to consider the rich and varied outcome.

This show would not have been possible without the support and encouragement of several friends and colleagues, to whom we are extremely grateful. We also would like to thank Bo Joseph and Allen Stone Projects, who we are working closely with on this exhibition and who have shared their rich and wonderful archive of material with us.

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Working Plan for Four Cakes Collage, watercolour, and ink on paper, 1979.

Signed in pencil.

44.5 Ă— 62.2 cm

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Chocolate Cake Lithograph, 1971.

From ‘Seven Still Lifes and a Rabbit’.

Signed in pencil and numbered from the edition of 50.

Printed by Michael Knigin.

Published by Parasol Press Ltd, New York.

76.8 × 56.8 cm

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Half Cakes Screenprint, 1971.

From ‘Seven Still Lifes and a Rabbit’.

Signed in pencil and numbered from the edition of 50.

Printed by Kathan Brown, San Francisco.

Published by Parasol Press Ltd, New York.

75.6 × 40.6 cm

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Banana Splits Hardground etching, 1964.

From ‘Delights’.

Signed in pencil and numbered from the edition of 100.

Printed by Crown Point Press, San Francisco.

Published by Crown Point Press, San Francisco.

32.8 × 27.4 cm

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Untitled (Sundaes) Graphite and oil on paper, 1962.

Signed in pencil.

27.9 Ă— 21.3 cm

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Dark Cones Watercolour over etching, 1964/1985.

Signed in pencil and inscribed AP. 29.2 Ă— 27.9 cm

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Ice Cream Cone Black india ink and black wash over pencil, 1964.

Signed in pencil.

32 Ă— 35.5 cm

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Cones Aquatint, 1964.

Signed in pencil and numbered from the edition of 25.

37.5 Ă— 27.9 cm

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Lipstick Row Screenprint in colours, 1970.

Signed in pencil numbered from the edition of 50.

Published by Parasol Press Ltd, New York.

56.5 Ă— 76.2 cm

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Sandwich Linocut printed in colours, 1970.

From ‘Seven Still Lifes and a Rabbit’.

Signed in pencil and numbered from the edition of 50.

Printed by Arnera, France.

Published by Parasol Press Ltd, New York.

55.8 × 76.2 cm

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Barbeque Beefs Screenprint in colours, 1970.

From ‘Seven Still Lifes and a Silver Landscape’.

Signed in pencil and numbered from the edition of 50.

Printed by Kathan Brown, San Francisco.

Published by Parasol Press Ltd, New York.

57.1 × 76.2 cm

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Hamburger Graphite and ink on paper towel, 1962.

Signed in pencil.

24.8 Ă— 26.7 cm

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Triangle Thins Aquatint printed in colours, 1971.

Signed in pencil and numbered from the edition of 50.

Printed by Kathan Brown, San Francisco.

Published by Parasol Press Ltd, New York.

75.6 Ă— 45.1 cm

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Sucker Stand Aquatint, 1964.

From ‘Delights’.

Signed in pencil and inbscribed ‘AP’.

An artist’s proof aside from the edition of 100.

Printed by Crown Point Press, San Francisco.

Published by Crown Point Press, San Francisco.

37.5 × 27.9 cm

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Sucker Tree Woodcut, 1964.

Signed in pencil and numbered from the edition of 8.

Published by the artist and Allan Stone Gallery, New York.

30.4 Ă— 26.9 cm

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Candy Sticks Ink on paper, 1964.

Signed in pencil.

23.8 Ă— 23.2 cm

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Candy Apples (or Nine Candied Apples) Aquatint, 1964.

Signed in pencil and numbered from the edition of 25.

37.8 Ă— 27.9 cm

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Suckers State I Lithograph, 1968.

Signed in pencil and numbered from the edition of 150.

40.6 Ă— 55.9 cm

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Suckers State II Lithograph printed in colour, 1968.

Signed in pencil and inscribed ‘AP’.

An artist’s proof aside from the edition of 150.

40.6 × 55.9 cm

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Six Taffy Suckers Grease pencil on paper, 1967.

Signed in pencil.

48.3 Ă— 61 cm

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Fish Etching, 1964.

From 'Delights'.

Signed in pencil and inscribed ‘AP’.

An artist's proof aside from the edition of 100.

Printed by Crown Point Press, San Francisco.

Published by Crown Point Press, San Francisco.

32.4 × 26.7 cm

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Sardines Watercolour over etching and aquatint, 1966/1987.

29.8 Ă— 22.9 cm

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Dispensers Etching, 1964.

From ‘Delights’.

Signed in pencil and inscribed ‘AP’.

An artist’s proof aside from the edition of 100.

Printed by Crown Point Press, San Francisco.

Published by Crown Point Press, San Francisco.

28.6 × 27.9 cm

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Luncheonette Table Pencil on paper, c.1962.

Signed in pencil.

14.6 Ă— 19.7 cm

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Snack Counter Hardground etching and drypoint, 1966.

Signed in pencil and numbered from the edition of 10.

Published by the artist.

26 Ă— 27.9 cm

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Lunch Etching, 1964.

From 'Delights'.

Signed in pencil and inscribed ‘AP’.

An artist's proof aside from the edition of 100.

Printed by Crown Point Press, San Francisco.

Published by Crown Point Press, San Francisco.

37.5 × 27.9 cm

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Candy Counter Linocut, 1970.

From Seven Still Lifes and a Rabbit’.

Signed in pencil and inscribed ‘AP’.

An artist’s proof aside from the edition of 50.

Published by Parasol Press Ltd, New York.

56.5 × 76.2 cm

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Delicatessen Aquatint, 1964.

From ‘Delights’.

Signed in pencil and numbered from the edition of 100.

Printed by Crown Point Press, San Francisco.

Published by Crown Point Press, San Francisco.

32.8 × 27.4 cm

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Toy Counter Screenprint in colours, 1970.

From ‘Seven Still Lifes and a Rabbit’.

Signed in pencil and inscribed ‘AP’.

An artist’s proof aside from the edition of 50.

Published by Parasol Press, New York.

56.8 × 76.2 cm

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Pool Balls Etching, 1964.

Signed in pencil and inscribed ‘AP’.

An artist's proof aside from the edition of 15.

39.4 × 28.6 cm

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Billiard Balls #2 Pencil on paper, 1963.

Signed in pencil.

16.2 Ă— 16.5 cm

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Glasses Lithograph, 1971.

From 'Seven Still Lifes and a Rabbit'.

Signed in pencil and numbered from the edition of 50.

Published by Parasol Press Ltd, New York.

76.2 Ă— 55.8 cm

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Untitled (Eye Glasses) Pencil on paper, 1970.

Signed in pencil.

19.1 Ă— 15.6 cm

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Silver Landscape Screenprint, 1971.

From ‘Seven Still Lifes and a Silver Landscape’.

Signed in pencil and numbered from the edition of 50.

Printed by Kathan Brown, San Francisco.

Published by Parasol Press Ltd, New York.

76.2 × 55.9 cm

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Untitled Pencil on paper, 1970.

Signed in pencil.

47.6 Ă— 60.3 cm

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Untitled Ink on paper, recto and verso, 1996.

Signed in pencil.

28.3 Ă— 38.4 cm

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Untitled Ink on paper, recto and verso, 1996.

Signed in pencil.

27.3 Ă— 38.1 cm

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Selected Solo Exhibitions 2014 Wayne Thiebaud in Black and White, Allan Stone Projects, New York, NY. Wayne Thiebaud: Works on Paper, Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, CA. Wayne Thiebaud: American Memories, Laguna Art Museum, Laguna Beach, CA. 2010 Wayne Thiebaud: Homecoming, Crocker Art Museum, Sacramento, CA. 2009 Sweets & Treats: Wayne Thiebaud in the Collection of the Norton Simon Museum, Pasadena, CA. Wayne Thiebaud: 70 Years of Painting, Pasadena Art Museum, Pasadena, CA. 2007 Wayne Thiebaud: 70 Years of Painting, Laguna Art Museum, CA. (A traveling exhibition).

2003 Wayne Thiebaud: Fifty Years of Painting, Kempner Museum of Contemporary Art, Kansas City, MO. Wayne Thiebaud: Works from 1955 – 2003, Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, CA. Traveled to: California State University, Sacramento, CA. 2001 Four Decades with the Allan Stone Gallery, Allan Stone Gallery, New York, NY. The Icing on the Cake: Selected Prints by Wayne Thiebaud, Corcoran Gallery of Art, Washington, DC. 2000-1 A Painting Retrospective, organised by the de Young Fine Arts Museum of San Francisco, California Palace of the Legion of Honor, San Francisco, CA. (A traveling exhibition).

1996 Thiebaud Selects Thiebaud: A 40 Year Survey from Private Collection, Crocker Art Museum, Sacramento, CA. 1995 Facing Eden: 100 Years of Landscape Art in the Bay Area, de Young Museum, San Francisco, CA. 1994 Wayne Thiebaud: Celebrating 33 Years Together, Allan Stone Gallery, New York, NY. 1985-86 Wayne Thiebaud, San Francisco Museum of Modern Art, CA. 1983 Wayne Thiebaud: Landscapes & City Views, Crocker Art Museum, Sacramento, CA. 1981 Wayne Thiebaud: Painting, Walker Art Center, Minneapolis, MN. 1978 Wayne Thiebaud: Recent Work, San Francisco Museum of Modern Art, San Francisco, CA. 1976 Wayne Thiebaud: Survey 1947 – 1976, Phoenix Art Museum, AZ. 1971 Wayne Thiebaud Graphics: 1964-1971, Whitney Museum of American Art, New York, NY.

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1968 Wayne Thiebaud, Norton Simon Museum, CA. 1965 Prints, Drawings, and Paintings by Wayne Thiebaud, San Francisco Museum of Modern Art, CA. 1962 Wayne Thiebaud: Recent Paintings, Allan Stone Gallery, New York, NY. An Exhibition of Paintings by Wayne Thiebaud, M. H. de Young Fine Arts Museum of San Francisco, San Francisco, CA. 1951 Influences on a Young Painter, Crocker Art Museum, Sacramento, CA.

Selected Collections Cincinnati Art Museum, Cincinnati, OH. Library of Congress, Prints and Photography Division, Washington, DC. Menil Foundation, Houston, TX. Museum of Fine Arts, Boston, MA. Museum of Modern Art, New York, NY. Museum of Modern Art, Washington, DC. Philadelphia Museum of Art, Philadelphia, PA. Solomon R. Guggenheim Museum, New York, NY. St. Louis Art Museum, St. Louis, MO. The Art Institute of Chicago, Chicago, IL. Milwaukee Art Museum, Milwaukee, WI. Wadsworth Atheneum Museum of Art, Hartford, CT. Whitney Museum of American Art, New York, NY. Tate Britain, London, UK. Smithsonian American Art Museum, Washington, DC.

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I got to a point where I thought I could manipulate things with facility, Then one day I wondered if I would be able to get that thing on the plate to really sit down. It was a test I had never given myself. So I cleaned up the surface and took very simple shapes – the square, triangle, cube, and circle. I’d been looking at pies and had always been interested in gumball machines, window counters, restaurant counters, and so on, and so I thought I’d just take simple things – plates, pies – and try to see if I could get them placed and orchestrated. I did the objects from memory, so I could play around with them.

– Wayne Thiebaud, 2013.

Published by Sims Reed Gallery, 2015 on the occasion of the exhibition ‘Wayne Thiebaud – Prints and works on paper.’ In collaboaration with Allan Stone Projects, New York. © All rights reserved. No part of the contents of this catalogue may be reproduced in whole or in part, without the permission from the publisher.

Designed by Lucy Harbut.

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