Studio Prints: A Survey by Marlborough Fine Art

Studio Prints A Survey Frank Auerbach Lucian Freud Ken Kiff Leon Kossoff Celia Paul Paula Rego

Marlborough Fine Art 6 Albemarle Street, London W1S 4BY +44 (0)20 7629 5161 mfa@marlboroughfineart.com www.marlboroughlondon.com

30 November â&#x20AC;&#x201C; 21 December 2018

Studio Prints A Survey Frank Auerbach Lucian Freud Ken Kiff Leon Kossoff Celia Paul Paula Rego

Our mum would keep lots of inks in old yogurt pots on the shelves in the front room, which was all you could see above the frosting in the glass from outside. One day an old lady came to the door wanting to buy some yogurt, thinking it was still the Sainsburys.â&#x20AC;? Aram Balakjian

Dorothea Wight and Marc Balakjian outside Studio Prints, Camden, North London. Photo courtesy: Aram Balakjian

Studio Prints: A survey By Joe Balfour

tudio Prints was a distinctive and vital printmaking workshop which operated in London for over four decades. Established in 1968 by Dorothea Wight, the intentions were initially humble: Wight won a grant to buy a Kimber intaglio press to continue printing her own work after graduating from Slade School of Art. This coincided with a resurgence of interest in printmaking by contemporary artists during the 1960’s and 70’s and with relatively few established printmaking workshops, Studio Prints was soon in constant demand. From the outset, the studio experienced intense productivity with constant commissions from artists and their publishers. Crucial to fulfilling the demands of this operation was the addition of Marc Balakjian to the staff in 1974. As well as applying his formidable technical skills to the business, Marc and Dorothea also grew close and married three years later. Together they formed an unrivalled partnership which would establish Studio Prints as a legendary printmaking workshop, producing some of the most celebrated prints of the late 20th Century. At the core of their success was the leading principle established in a prospectus from 1969, which sought: ‘the full cooperation between artist and printers at all stages of proofing and printing an edition.’ It was this emphasis on combining the creative ambitions of the artist with the printer’s expert knowledge of intaglio techniques that attracted so many artists to work with Marc and Dorothea. In an interview with Richard Lloyd, International Head of Prints at Christies, in 2012, Marc Balakjian: ‘characterised the relationship [between artist and printmaker] as being akin to a taxi driver and passenger. The passenger sets the destination and the driver chooses the route’. This process ensured the resulting prints were uniquely the artist’s own, as well as being directly attributable to Studio Prints. From the prestigious list of over one hundred artists who have worked with Studio Prints, this exhibition focuses on the output of six artists who have a rich history with Marlborough: Frank Auerbach, Lucian Freud, Ken Kiff, Leon Kossoff, Celia Paul and Paula Rego. The exhibition is comprised of over sixty intaglio prints that span a period of more than twenty years, from the late 1980’s to late 2000’s. Printmaking can often focus and heighten an artist’s concerns and the works in this exhibition are a credit to the unique power and vision of the artists who created them. They have all been successful in establishing a body of work in print that is complimentary to his/her paintings. In addition to this, the exhibition is a testimony to the technical knowledge and supportive environment made by Dorothea Wight and Marc Balakjian at Studio Prints.

Choosing the bon à tirer proof of Lucian Freud’s After Constable’s Elm, 2003, © David Dawson / / Bridgeman Images

[My sister and I] remember the strong smells from the Studio: Ink in the press room, blotting in the drying room and matches in the back room. The beautiful pigments that lined the shelves and combined with the old SainsburysÂ tiles in the front room.â&#x20AC;? Aram Balakjian

Left: Marc Balakjian. Photo courtesy: Aram Balakjian Right: Dorothea Wight. Photo courtesy: Aram Balakjian

Frank Auerbach (b. 1931)

Marc Balakjian was a learned, sensitive and fastidious print maker, his methods were not very different from those of Mantegna and Canaletto. He was very patient with me. His marriage to Dorothea had a bit of magic about it. I found him enormously charming.â&#x20AC;? Frank Auerbach I.XI.18 1 Catherine, 1989 Etching, edition of 50 Plate: 18 x 15 cm, Paper: 26 x 21.5 cm Published by Marlborough Graphics, London

7 Ruth, 1994 Etching and aquatint, edition of 30 Plate: 25.3 x 20.4 cm, Paper: 38.1 x 32.1 cm Published by Marlborough Graphics, London

2 J.Y.M., 1989 Etching, edition of 50 Plate: 18 x 15 cm, Paper: 26 x 21.5 cm Published by Marlborough Graphics, London

3 Michael, 1990 Etching, edition of 50 Plate: 18 x 15 cm, Paper: 26 x 21.5 cm Published by Marlborough Graphics, London

9 Julia, 1998 Etching and aquatint, edition of 35 Plate: 25.8 x 20.3 cm, Paper: 38.4 x 32 cm Published by Marlborough Graphics, London

Ruth II, 1994 Etching and aquatint, edition of 30 Plate: 25.3 x 20.4 cm, Paper: 38.1 x 32.1 cm Published by Marlborough Graphics, London

4 Jake, 1990 Etching, edition of 50 Plate: 18 x 15 cm, Paper: 26 x 21.5 cm Published by Marlborough Graphics, London

Julia Asleep, 2001 Etching and aquatint, edition of 35 Plate: 20.1 x 25.1 cm, Paper: 33.9 x 37 cm Published by Marlborough Graphics, London

Ruth 2006, 2006 Etching and aquatint with engraving, edition of 40 Plate: 40.2 x 29.9 cm, Paper: 63 x 50 cm Published by Marlborough Graphics, London

David Landau, 2007 Etching, edition of 40 Plate: 40 x 30 cm, Paper: 63 x 50.5 cm Published by Marlborough Graphics, London

William Feaver, 2007 Etching, edition of 40 Plate: 40.2 x 29.7 cm, Paper: 63 x 50.5 cm Published by Marlborough Graphics, London

Jake 06, 2006 Etching and aquatint, edition of 40 Plate: 40.3 x 29.7 cm, Paper: 63 x 50 cm Published by Marlborough Graphics, London

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Lucian Freud (1922–2011)

Freud would always bring his dog, Pluto with him. The studio was tiled and so in winter it would get very cold underfoot, so Pluto would go and put his front paws in the rag box to keep them warm.” Aram Balakjian 1 Girl Sitting, 1987 Etching, edition of 50 Plate: 52 x 69.5 cm, Paper: 60.5 x 77.4 cm Published by James Kirkman, London and Brooke Alexander, New York

7 Lord Goodman in his Yellow Pyjamas, 1987 Etching, edition of 50 Plate: 31 x 39.5 cm, Paper: 48.5 x 55.7 cm Published by James Kirkman, London and Brooke Alexander, New York

2 Head of a Man, 1992 Etching, edition of 20 Plate: 22.2 x 20.3 cm, Paper: 40 x 41.9 cm Published by Matthew Marks Gallery, New York

3 Esther, 1991 Etching, edition of 25 Plate: 21.5 x 19.5 cm, Paper: 44 x 39.3 cm Published by James Kirkman, London and Brooke Alexander, New York

9 Conversation, 1998 Etching, edition of 30 Plate: 20 x 25 cm, Paper: 33.3 x 38 cm Published by Matthew Marks Gallery, New York

4 Naked Man on a Bed, 1987 Etching, edition of 10 Plate: 37.5 x 52 cm, Paper: 57.2 x 75.5 cm Published by James Kirkman, London and Brooke Alexander, New York 5

Large Head, 1995 Etching, edition of 40 Plate: 69.5 x 54.6 cm, Paper: 80 x 63.2 cm Published by Matthew Marks Gallery, New York

Painter’s Garden, 2003–4 Etching, edition of 46 Plate: 64.4 x 87.3 cm, Paper: 76.6 x 99.5 cm Published by Acquavella LLC, New York

After Constable’s Elm, 2003 Etching, edition of 46 Plate: 31 x 24 cm, Paper: 48 x 37.5 cm Published by Matthew Marks Gallery, New York

10 Donegal Man, 2007 Etching, edition of 46 Plate: 45 x 38 cm, Paper: 66.5 x 57 cm Published by Acquavella LLC, New York 11

Portrait Head, 2001 Etching, edition of 46 Plate: 59.5 x 46 cm, Paper: 76.2 x 57.1 cm Published by Matthew Marks Gallery, New York

12 The Painter’s Doctor, 2006 Etching, edition of 46 Plate: 59.5 x 45.5 cm, Paper: 77.7 x 61.8 cm Published by Acquavella LLC, New York

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Ken Kiff (1935â&#x20AC;&#x201C;2001)

Man Walking, 1991 Drypoint, edition of 50 Plate: 42.5 x 35.5 cm, Paper: 62.5 x 51.5 cm Published by Marlborough Graphics, London

Writing a Poem, Snake, Candle, 1999 Etching, edition of 35 Plate: 44.5 x 31 cm, Paper: 69.2 x 52.2 cm Published by Marlborough Graphics, London

2 Waterfall, 1991 Drypoint, edition of 50 Plate: 39.5 x 26.5 cm, Paper: 73 x 52 cm Published by Marlborough Graphics, London

Walking Past Rocks and Flowers, 1996 Drypoint and aquatint, edition of 35 Plate: 31 x 35 cm, Paper: 54.5 x 56.5 cm Published by Marlborough Graphics, London

The Large Tree, 1995 Drypoint and aquatint, edition of 35 Plate: 40.5 x 25.3 cm, Paper: 66.7 x 47.2 cm Published by Marlborough Graphics, London

Man Drawing at Entrance to a Cave, 1995 Etching and drypoint, edition of 35 Plate: 18.5 x 59.5 cm, Paper: 41 x 75.5 cm Published by Marlborough Graphics, London

Castle Rising from the Sea, 1993 Etching and aquatint, edition of 35 Plate: 46 x 32.5 cm, Paper: 72.5 x 54 cm Published by Marlborough Graphics, London

Rainbow II, 1999 Etching, edition of 25 Plate: 25.5 x 59.2 cm, Paper: 53.6 x 76 cm Published by Marlborough Graphics, London

After Rachel Ruysch, 1994 Aquatint and mezzotint, edition of 35 Plate: 29 x 24 cm, Paper: 53.5 x 44.5 cm Published by Marlborough Graphics, London

Woman and Landscape, 1998 Sugarlift aquatint, edition of 35 Plate: 33.5 x 46.5 cm, Paper: 54.7 x 67.2 cm Published by Marlborough Graphics, London

Quiet House Near Dark Rocks, 1998 Etching and aquatint, edition of 35 Plate: 13 x 31.5 cm, Paper: 32 x 49.5 cm Published by Marlborough Graphics, London

After Giovanni di Paolo, 1993 Drypoint, edition of 35 Plate: 26 x 32 cm, Paper: 48 x 52.5 cm Published by Marlborough Graphics, London

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Leon Kossoff (b. 1926)

Christ Church, Summer, 1989–92 Etching and aquatint, edition of 25 Plate: 59.2 x 40 cm, Paper: 77.3 x 59.6 cm Published by the Artist

Pilar and Jacinto (2), 1992 Etching and aquatint, edition of 10 Plate: 50.5 x 45.5, Paper: 78 x 59 cm Published by the Artist

Christ Church, Autumn, 1989–92 Etching and aquatint, edition of 25 Plate: 59.2 x 40 cm, Paper: 77.5 x 59 cm Published by the Artist

The Triumph of Pan No. 4 (after Poussin), 1998 Etching and aquatint, edition unknown Plate: 45.6 x 54.5 cm, Paper: 57 x 75.5 cm Publisher unknown

Going Home, 1984 Etching and aquatint, edition of 60 Plate: 40 x 51.2 cm, Paper: 57.4 x 66.2 cm Published by Bernard Jacobson Gallery, London

The Rape of the Sabines No.2 (after Poussin), 1998 Etching and aquatint, edition unknown Plate: 43 x 57.7 cm, Paper: 57 x 75.5 cm Publisher unknown

4 The Consecration of St. Nicholas No. 1 (after Veronese), 1998 Etching and aquatint, not editioned Plate: 56.5 x 40.6 cm, Paper: 75.5 x 57 cm

Bacchanal Before a Herm (after Poussin), 1998 Etching and aquatint, edition unknown Plate: 40.7 x 56.7 cm, Paper: 56.5 x 75.5 cm Publisher unknown

The Table by the Window, 1982 Etching and aquatint, edition of 40 Plate: 28 x 37.5, Paper: 52.5 x 64.5 cm Published by Bernard Jacobson Gallery, London

The Holy Family on the Steps (after Poussin), 1998 Etching and aquatint, edition unknown Plate: 40.2 x 59.5 cm, Paper: 57 x 75.5 cm Publisher unknown

Fidelma and Eoin (2), 1988–89 Etching, edition unknown Plate: 50.5 x 46.2 cm, Paper 77.5 x 59.5 cm Publisher unknown

The Booking Hall, 1982 Etching, edition of 100 Plate: 18.3 x 19 cm, Paper: 41.6 x 36.2 cm Published by Bernard Jacobson Gallery, London

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Celia Paul (b. 1959)

Pregnant Girl, 1991 Hardground Etching, edition of 35 Plate: 17.5 x 21.5 cm, Paper: 33 x 36.5 cm Published by Marlborough Graphics, London

Post Office Tower, 2004 Softground Etching, edition of 15 Plate: 8.7 x 7 cm, Paper: 29.2 x 24.5 cm Published by Marlborough Graphics, London

Mother Looking Out of the Window, 1991 Hardground Etching, edition of 25 Plate: 16.2 x 12.5 cm, Paper: 30 x 24.8 cm Published by Marlborough Graphics, London

Figure Approaching the British Museum, 2008 Softground Etching, edition of 15 Plate: 10 x 7 cm, Paper: 30.5 x 20 cm Published by Marlborough Graphics, London

Two Men, 1991 Hardground Etching, edition of 25 Plate: 16 x 13.3 cm, Paper: 25.3 x 21 cm Published by Marlborough Graphics, London

British Museum, 2006 Etching, edition of 15 Plate: 17.5 x 14 cm, Paper: 40 x 29.2 cm Published by Marlborough Graphics, London

Mother â&#x20AC;&#x201C; Back View, 1991 Hardground Etching, edition of 25 Plate: 16 x 12 cm, Paper: 25 x 21.2 cm Published by Marlborough Graphics, London

In the Studio, 2002 Softground Etching, edition of 15 Plate: 10.8 x 7.7 cm, Paper: 28.5 x 22 cm Published by Marlborough Graphics, London

Kate Pregnant, 1996 Softground Etching, edition of 25 Plate: 35.2 x 29.2 cm, Paper: 65.7 x 52.4 cm Published by Marlborough Graphics, London

Little Self Portrait 2, 2002 Softground Etching, edition of 15 Plate: 6.5 x 8.5 cm, Paper: 28 x 24.4 cm Published by Marlborough Graphics, London

6 Room, 2008 Softground Etching, edition of 15 Plate: 11.5 x 15 cm, Paper: 34.5 x 35.5 cm Published by Marlborough Graphics, London

Five Sisters, 2011 Softground Etching, edition of 15 Plate: 26.5 x 33.5 cm, Paper: 47 x 51.5 cm Published by Marlborough Graphics, London

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My long association with Marc Balakjian and Dorothea Wight at Studio Prints started in 1985 when I was at the Bernard Jacobson Gallery. I did a hardground etching of my friend Alison Owen pregnant (her daughter later became the singer Lily Allen). I was dissatisfied with the print but I held onto the plate. In 1989 I joined Marlborough Fine Art. I felt that I’d like to do more prints and I returned to Studio Prints in 1991 with my “Pregnant Girl” plate. I saw that, if the plate was cut down and focussed just on Alison and her dreamy reflection in the mirror, then the image might work. Marc intuitively understood what I wanted and cut the plate down to exactly the right focus. The print is dated 1991 because that was the date that it was editioned.

I feel that the softground etchings that I made with Dorothea are unlike any other prints: they have a haunting otherworldly feel.”

David Case, then head of Marlborough Graphics, was enthusiastic about my printmaking and I had my first exhibition of prints and works on paper at Marlborough Graphics’ Dover Street gallery in 1991. My first prints were all hardgrounds. I scratched freely onto the plate with the etching needle. Then I began to feel that I’d like to do prints that had an affinity with my pencil drawings where the line could be more softly nuanced. Marc showed me a book of prints which included some softground etchings by Whistler and I knew that’s what I wanted to try for.

Gradually, I began to work more with Dorothea. Her feeling for landscape and for light in her own mezzotints gave her an insight into how to interpret my softground prints. The process for softgrounds is more elaborate than for hardgrounds. First of all, a mixture of rosin, beeswax and tallow is spread onto the copper plate which is then covered with a thin piece of tissue paper onto which I draw with a “B” pencil. The pencil lines and shading is transferred onto the wax. The paper is then removed and the plate is left to bite in a mixture of nitric acid and water. The time it takes to bite can be up to four days. Dorothea painstakingly removed the plate every twenty minutes in order to observe how the plate was biting. If some areas were biting too fast and deep she would stop out the lines with stopping-out varnish using a tiny brush. The ink that Dorothea used was a mixture of black and viridian. Her real genius (for me) lay in her method of wiping the plate after the ink had been applied using a “squeegee strip”. First of all she wiped the plate with a hard muslin pad and then, using a soft muslin pad, she wiped with sweeping rotating movements. I often said that I wanted the image to have “more glow” and she would use tissue to make luminous highlights on the larger areas and cotton buds for the smaller areas. I feel that the softground etchings that I made with Dorothea are unlike any other prints: they have a haunting otherworldly feel. Celia Paul, 2018

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Paula Rego (b. 1935)

A few trial proofs of the following three prints were printed by Paul Coldwell at Culford Press, London, but the editions were finally proofed and editioned by Marc Balakjian at Studio Prints, London. 1

Children and their Stories, 1989 Etching and aquatint, edition of 75 Plate: 33.9 x 52.3 cm, Paper: 56.9 x 75.7 cm Published by ABCD IngĂŠnierie Culturelle, France

2 Secrets and Stories, 1989 Etching and aquatint, edition of 50 Plate: 33.3 x 51.6 cm, Paper: 56.5 x 76.5 cm Published by the Artist and Marlborough Graphics, London 3

The Encampment, 1989 Etching and aquatint, edition of 50 Plate: 33.2 x 51.8 cm, Paper: 56.2 x 76 cm Published by the Artist and Marlborough Graphics, London

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