David Hockney Steps with Shadow F (Paper Pool 2), 1978

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David Hockney's Paper Pools, a sustained series of works made from coloured and pressed paper pulp, were made between August and October 1978 during six weeks of feverish activity at Tyler Graphics Ltd, the studios near Mount Kisco, NY, run by the master printer Kenneth Tyler; the artist had previously worked with him on lithographs at his Gemini workshop in Los Angeles. During this brief period he produced 29 separate images, some in multiple versions, beginning with single-sheet images such as those presented here before eventually expanding to the 12 conjoined sheets of Le Plongeur (Paper Pool 18, in the collection of Cartwright Hall, Bradford) and A Large Diver (Paper Pool 27), each of which measures 183 x 434 cm overall.

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The entire group of pictures, in a medium recently devised by Tyler and used by Hockney only this one time in his life during an extraordinary burst of creative energy, came about spontaneously, almost by chance. Stopping off in New York City en route from London to Los Angeles, where he was about to resettle after years of absence, Hockney was persuaded to make a detour to visit his old friend and was soon seduced into trying his hand at a medium with which three American abstract painters admired by Hockney, Ellsworth Kelly, Kenneth Noland and Frank Stella, had already experimented. As on other occasions when he has stopped momentarily working in isolation in his painter's studio and engaged in a collaborative effort, as he has when visiting print workshops or designing for the opera, the conviviality of the working situation and the creative input and encouragement offered by others also proved decisive factors in drawing out the best from him.

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Kenneth Tyler, Lindsay Green and David Hockney hugging in front of 'Gregory in the pool I' paper pulp work from Hockney's 'Paper pools' series, Tyler Graphics Ltd., Bedford Village, New York, 1978. Photographer: Gregory Evans. National Gallery of Australia, Canberra. Gift of Kenneth Tyler, 2002.

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Having suffered from several years of creative block in the mid-1970s, when his dedication to a more naturalistic style appeared, to him, to be leading to a dead end, Hockney had begun to find a way forward to a more expansive vision through his stage designs for two opera productions at Glyndebourne in West Sussex – Stravinsky's The Rake's Progress in 1974-5 and Mozart's The Magic Flute in 1977-8 – that encouraged him to engage in a greater simplification and to work on a much larger scale that completely immersed the spectator. Those intense interludes in the theatre proved decisive in preparing him to paint with a new vigour.

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I love new mediums and this was something I had never seen or used before. I think mediums can turn you on, they can excite you: they always let you do something in a different way, even if you take the same subject…I like that.
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Hockney was immediately delighted by the possibilities offered by the unconventional paper pulp medium – not quite printmaking in a conventional sense, but also distinct from the tradition of oil painting – to return to a freer and much more spontaneous way of making images. (On the artist's official website, the Paper Pools are reproduced not in the graphic section but as paintings.) Working with vats of wet pulped rags immersed in different dyes, which were then ladled liberally or applied with a variety of other tools into galvanised sheet metal moulds (corresponding to the artist's full-scale outline drawings) onto still-wet surfaces of newly fabricated paper, he was encouraged to compose bold, simplified designs that released him from the constraints of a detailed fidelity to appearances.

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The moulds were removed and final adjustments made by hand before the resulting sheets, heavy with liquid pulp, were squeezed and flattened in hydraulic presses. The patterns or marks applied over the top of the base image, particularly in the swimming-pool pictures, subtly transform the different versions made with the same moulds into unique variations, each with its particular qualities of light, hue, surface and implied movement. The necessity for extreme simplification of form and economy of expression led to the most spirited group of pictures he had made in years. As with Matisse's late paper cut-outs, which he admired, the discovery of a new method of working resulted in a remarkable renewal of Hockney's art.

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David Hockney applies colour pulp with a turkey baster into cookie-cutter mould for 'Steps with Shadow' from his 'Paper Pools' series, Tyler Workshop Ltd. paper mill, Bedford Village, New York, 1978. Photographer: Lindsay Green. National Gallery of Australia, Canberra. Gift of Kenneth Tyler, 2002.

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Always excited by the exploration of an unfamiliar medium and by his understanding of how best to exploit its characteristics, Hockney immediately responded also to the lure of the intense colours, which did not just sit on the surface but were physically impregnated into it. His enthusiasm is straightforwardly conveyed in his text for the Paper Pools book published by Thames & Hudson in 1980: "I love new mediums and this was something I had never seen or used before. I think mediums can turn you on, they can excite you: they always let you do something in a different way, even if you take the same subject, if you draw it in a different way, or if you are forced to simplify it, to make it bold because it is too finicky. I like that."

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Left: Vincent van Gogh Sunflowers, 1888 (oil on canvas) / National Gallery, London, UK / Bridgeman Images. Right: David Hockney spoons colour pulp into a cookie-cutter mould for 'Sunflower 1', from the 'Paper Pools' series, Tyler Workshop Ltd. paper mill, Bedford Village, New York, 1978. Photographer: Larry Stanton. National Gallery of Australia, Canberra. Gift of Kenneth Tyler, 2002.

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Van Gogh was much on Hockney's mind at the time. A reproduction of a celebrated version of that artist's Sunflowers (painted in 1888) appears prominently in a painting of 1977, Looking at Pictures on a Screen, as one of four favourite images from the collection of the National Gallery in London being scrutinised by the American curator Henry Geldzahler. While at Mount Kisco Hockney made drawings of Tyler and others at work using sepia ink and the sort of reed pens used by Vincent nearly a century earlier, a technique he had begun to explore in early 1978 as part of the same urge to a greater looseness and energy of line and form. For his first paper pulp experiments he decided on the very motif so closely associated with that artist – a single sunflower in a vase – but to remake it decisively in his own voice. He was stunned to find that with just a few shapes he could convey the look of the plant, leaving out stems and other details so that the entire image could be achieved through suggestion alone.

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David Hockney Sunflower H (Paper Pool I), 1978

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Just over a decade earlier Hockney had produced a small number of acrylic paintings featuring Los Angeles swimming pools, such as Peter Getting out of Nick's Pool 1966 (National Museums on Merseyside) and A Bigger Splash, 1967 (Tate) which together not only crystallised his hedonistic vision of southern California but became synonymous with his name. He had made a conscious decision not to continue using that motif out of fear of repeating himself, making a rare return to it in 1972 for his painting Portrait of an Artist (Pool with Two Figures). Yet the daily sight of Tyler's pool proved irresistible, and it soon became the subject of Steps with Shadow, based in part on the visual evidence he had accumulated in photographs he had taken with a Polaroid SX-70 camera of the circular steps descending from the corner of Tyler's pool. These highly condensed studies, which suggest the passage of light through and across different depths of water, led in turn to larger and more elaborate multi-sheet compositions representing the swimming pool from different vantage points and at different times of day.

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Released from the mimetic constraints of naturalism, Hockney was particularly free to indulge his tendencies to abstraction, secure in the knowledge that the strength of the containing image left him many options of improvising within it: in these pictures one can find traces of post-painterly abstraction, of the 'staining' techniques of Morris Louis and Helen Frankenthaler, even of the belle peinture of the French tachiste painters of the 1950s and of the late Abstract Expressionsim of Sam Francis. The human figure, so central to his art, appears in some of these in single sheets that represent his then lover, Gregory Evans – perched on the edge of the pool, his flesh kneaded by hand out of pink pulp – and in multi-sheet compositions in the guise of an underwater swimmer.

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David Hockney Gregory in the Pool E (Paper Pool 4), 1978

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During his long and unremittingly productive career Hockney has periodically alighted on a new medium that has so engaged and re-energised him that he has compulsively produced a completely new and separate body of work in a confined period of time. This was later to prove the case with his Polaroid photocollages (see lot 26) and 35mm 'joiners' of 1982-6, with the 'home-made prints' produced on office-quality photocopiers of the mid-1980s, with the pencil portraits made with the aid of a camera lucida in 1999, with the prolonged series of large portraits from life in watercolour in 2002-3 and more recently with the images drawn either on a computer with a tablet pen and Wacom graphic tablet or (much frequently) with his thumb or a stylus on the screen of iPhones and iPads (many of these subsequently translated into editioned prints on paper, see lots 27 and 28). The Paper Pools, which mark an important watershed in Hockney's career, constitute the first such case, though his earlier forays into printmaking, particularly in etching and lithography, had also proved decisive in changing the course of his art, if in less obviously dramatic ways.

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The Paper Pools were not created as conventional editions of identical impressions. That would have been an impossibility, given that each one had to be improvised with the coloured pulp within the broad outlines of the moulds. Every single picture is thus a unique variant, one moreover that exploits to the full the delicious materiality of the medium. One of the great joys of this prolonged experiment, which was to have a permanent impact on Hockney's later exploitation of bold forms and intense colour, was the natural marriage with a subject that had preoccupied him in his first swimming pool paintings 14 years earlier: the refraction of light through gently moving water. The opportunity to depict water through a medium that was itself literally fluid led him to find new and often visually witty solutions to problems of depiction that had preoccupied him for so long, and through this joyous experience to reinvent his art as a life-affirming spectacle infused in a succulent, almost technicolour, brilliance.

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The Paper Pools, though produced in such a short period and in a medium to which he never returned, constitute a thrilling episode in Hockney's work. Each of these pictures is a testament to his quick-witted response to the stimulation of the visible world, conveyed through the sensory materiality of the physical incarnation of pure colour so deftly manipulated by his hands.

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Marco Livingstone is an art historian, writer and independent curator based in London.

\n","publishDate","2016-12-21T21:25:16.000000Z","authorCredit","Marco Livingstone",[],"coverPosX","coverPosY","articleUrl","https://www.phillips.com/article/8767103/david-hockney-paper-pools","auctionEditorialID","editorialID","flocklerID",8767103,{"_4623":4645,"_4625":282,"_4626":4646,"_131":4647,"_4629":4648,"_4631":4649,"_4633":103,"_425":4650,"_4636":1514,"_4637":413,"_4638":4651,"_405":198,"_4640":2371,"_4641":2458,"_4642":4652},"https://flockler.com/thumbs/sites/889/hockney-comp-5_s600x0.png","Inspired by his first trip to New York City, David Hockney's 'A Rake's Progress' was salvaged from a devastating fire at its studio home. We spoke to Editions Alecto's Joe Studholme about how these events unfolded in 1978.","David Hockney Under Fire: A Dramatic Rescue","

Detail from David Hockney A Rake's Progress: 14 plates, 1963

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Editions Alecto was at the forefront of publishing Contemporary Editions in Britain throughout the 1960s and '70s. Founded in Cambridge by undergraduate students, the company set up shop in London in 1962 and later moved into their studios at 27 Kelso Place by the mid-1960s.Their radical approach to the distribution of Editions helped launch the careers of many seminal British artists, including Patrick Caulfield, Richard Hamilton, Allen Jones, Gillian Ayres and Eduardo Paolozzi among many others.

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Joe Studholme in the etching studio at Kelso Place, 1972

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Editions Alecto's first major publication was a portfolio of etchings by the (then) little-known art student David Hockney: A Rake's Progress, 1963, of which we are proud to include a rare and unusual example in our upcoming Editions auction. The piece is rare because it is one of only two sets of prints pulled from the cancelled plates, and unusual because of the circumstances of its rescue from a devastating fire in 1978 that destroyed the Editions Alecto studio and much of its archive.

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Phillips' own Rebecca Tooby-Desmond sat down with Joe Studholme, founding member of Editions Alecto, to discover the unique story behind this important work.

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Rebecca Tooby-Desmond: Joe, perhaps you could start by telling me how you became involved with Editions Alecto in the first place?

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Joe Studholme: Well what really happened was that a great friend of mine called Paul Cornwall-Jones (he and I were called up for National Service on the same exact day, 2 September 1954, which formed a great bond) and Michael Deakin started Editions Alecto in Cambridge to commission artists to make lithographs and etchings of schools and colleges.

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It was a terrible trick: We wrote to all the old boys and said, "we've commissioned John Piper to make a pair of lithographs of the front of the old college — you'll remember it's 400 years old this year — and if you're very quick and pay eight guineas at once, you may be lucky enough to get one of only seventy-five impressions." And to our amazement, a lot of people did!

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Paul was studying architecture, so he stayed up longer than the rest of us — and actually was the moving spirit of it all, and when he came down finally to the real world of London, we found we'd invented a business. But we'd also become extremely interested in the whole idea of providing a channel of communication for visual artists to spread their original work around the world by publishing original prints. Not reproductions of watercolours and paintings, but working in a studio, on an etching plate or on a lithographic stone or screenprint — and that was why we formed a company. And because we had a lot of contacts among artists, we also had a certain amount of stock we hadn't sold. So we hired a pretty girl, who subsequently married Paul, and started Editions Alecto as a serious publishing house.

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David Hockney A Rake's Progress: 14 Plates, 1963

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RTD: And your first major publication was A Rake's Progress.

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JS: Yes, it came about because one of my original partners, Mark Glazebrook, who was then at art school, knew David Hockney and so we commissioned him to make the piece. It was considered very strange. He was still a student at the Royal College.

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RTD: And at the Royal College, Hockney had already experimented with etching but had not embarked on creating a portfolio or anything similar to this scale?

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JS: He'd made some etchings before, yes. Famously he always said he worked in the print-making department because all the material was provided for free! And of course he had this amazing skill.

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RTD: Rake's Progress was inspired by Hockney's first trip to New York. By the time Mark Glazebrook approached him, Hockney had already proofed plates for the portfolio, is that correct?

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JS: Yes, he proofed most of the plates whilst he was at the Royal College, but two of them, Disintegration and Cast Aside, were proofed in New York at the Pratt Graphic Workshop. And of course it was in New York that Hockney famously watched commercial television and saw a Clairol advertisement saying 'it's more fun to be blonde', which encouraged him to buy a bottle and dye his hair blonde.

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RTD: Ah, so that's why one of the plates is named 'door opening for blonde'?

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David Hockney The Start of the Spending Spree and the Door Opening for a Blonde (pl. 3), 1963

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JS: Exactly. And then the edition was actually printed by a marvellous man called C. H. Welch, who was a very old established printer in London of work mainly from historical 18th and 19th century plates. He was, I'm afraid, very out of sympathy with David's work, but anyway...

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We published the prints in an edition of fifty sets, which was considered very eccentric indeed to produce a portfolio of sixteen etchings by such a young and unknown artist and have the presumption to ask the huge sum of 250 guineas for each portfolio.

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RTD: Guineas and not pounds?

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JS: Yes, at that time we quoted prices in guineas because we thought it sounded grander! Because the auction houses always quoted in guineas and race horses were always sold in guineas. So 250 guineas it was.

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RTD: So what gave you the confidence to take a punt on this set, to charge so much for it and for Editions Alecto to pay a large sum for the rights to publish the edition, £5,000 I believe it was?

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JS: [Laughing] I tell you what, it was just great enthusiasm! David was an extraordinary personality. It was the time that he was outraging opinion at the Royal College because he refused to do any Art Historical essays and as a result was threatened with being expelled, although of course in the end he wasn't and in fact won the gold medal, famously going to collect it in a gold lamé jacket!

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David Hockney in gold lamé jacket, with shopping bag to match, on his way back from a shopping expedition in Paddington © Lord Snowden, 1962

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RTD: Do you think it helped that the works were based on the Hogarth paintings and engravings and therefore had a visual precedence in Art History?

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JS: Well, I think so yes. It's an early example of Hockney's wit actually, as well as historical interest.

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RTD: He didn't want to write the essays on Art History but he produced them visually instead. And clearly your punt worked!

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Hogarth & Hockney

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'A Rake's Progress' is a series of eight paintings by William Hogarth, produced between 1732-'33 and published as etchings in 1934. A moral satire, the paintings depict the decline and fall of the spendthrift Tom Rakewell who wastes his inheritance on alcohol, prostitutes and gambling, ending his days incarcerated in Bedlam Hospital.

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Hockney began his own version of Hogarth's tale after his first trip to America in 1961. Inspired by the New York lifestyle and social scene, Hockney re-interprets Hogarth's story of youth, influence and corruption. The story, loosely based on the titles of Hogarth's paintings, appears like pages from a graphic novel, with Hockney using a combination of text and imagery to explore themes of lost individuality, commercialism, sex and patriotism. He places himself at the centre of the narrative, a storyteller observing New York, yet was keen for the works not to be seen as solely autobiographical: "It is not really me. It's just that I use myself as a model because I'm always around."

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JS: Well we struggled at the start to find subscribers but of course it's long long long since been sold out. And really, the sad thing is that we never kept any copies except this one set of cancellation proofs.

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From the very first moment we started, we always had a policy when publishing copperplate engravings that when the edition was completed, the plates were cancelled. In the Rake’s Progress case, this was done by David just writing on the face of the copper 'David Hockney Cancelled' with an electric drill. And then we pulled two cancellation sets so that it was absolutely clear that no more could be published and the fifty sets therefore retain their uniqueness.

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Plate cancellation, detail from The Gospel Singing (Good People) [Madison Sq Garden] (pl. 2a)

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RTD: But these Hockney plates are quite special because often with cancelled plates they might be completely scored through or somehow defacing the original imagery, but it is lovely to have only the additional flourish of David's handwriting cancelling the plates.

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JS: Well it is, I mean it honestly is about as near as you can get to having a signed print. I think they're extremely special and very very rare, particularly given that the other set is with the Victoria and Albert Museum.

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RTD: So the V&A have the complete set of sixteen cancelled plates, but Phillips will be offering fourteen. Why is that?

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JS: Well the tragedy was that we had a disastrous fire on the night of the 5-6 December 1978. I had the whole set of cancellation proofs framed and hanging in my office, and when the fire was still raging, we had a wonderful team of people from the London Salvage Corps who took everything out of the building including the Rake's Progress framed prints. Unfortunately in the chaos, two of them were stamped on and destroyed beyond repair.

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RTD: So they were actually taking them out of the building whilst the fire was still going?

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JS: Yes. I would imagine you can still smell the smoke on them!

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RTD: Wow. It's incredible that you even have fourteen and actually, largely intact!

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JS: It's very lucky we did. What is even more lucky is that in all fourteen the actual printed areas are largely unscathed.

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David Hockney The Wallet Begins to Empty (pl. 6a), 1963

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RTD: Yes, it's mostly the margins that have some rather characterful tears and discolouration — evidence of the fire they survived. Perhaps, in an ideal world, the damage to each sheet would worsen as the narrative of the Rake's Progress continued?

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JS: Yes, that would be appropriate.

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RTD: But that must have been quite devastating to lose so much material.

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JS: Well of course, but thankfully no one died. It happened in our etching studio. When you make a plate you blacken the back of the copper by lighting a bit of cloth and running the smoke across the back. And also for etching — it's far too complicated actually! — you use lots of cloths to wipe the plate. We used to have these cloths (scrim as they're called), draped around the studio on string, like Christmas cards hung up. And what happened was that a spark must have gotten into one of the bits of cloth, and overnight it burst into flame. Of course the studio was filled with paper and ink and caught fire very quickly.

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Sugarlift Aquatint

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The etchings in A Rake's Progress are coloured in black and red using a technique called sugarlift aquatint: a process invented by master printer Roger Lacourière, which he taught to Pablo Picasso in 1930.

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Sugarlift aquatint involved Hockney using a sugar solution to paint, almost like watercolour, directly onto zinc plates. A hard-ground (waxy substance) was then applied over the whole plate, which was then submerged in boiling water, allowing the sugar solution to dissolve, or lift away and leave areas of the plate exposed. An aquatint (powdered resin) was then applied, which stuck to the areas of the plate left bare by the sugar solution. When submerged in acid, the aquatint areas were bitten away, but only around the particles of resin, creating a soft, grainy texture. The ink settled in these areas and created soft, painterly inked areas on the paper.

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This technique can be seen particularly in the red tree-top of plate 3a: 'The 7 Stone Weakling'.

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The studio at 27 Kelso Place was in a residential street, joined to the house next door. The little boy who lived next door in the top bedroom, top floor, saw flames leaping from our building and woke his parents who then raised the fire brigade.

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At the time I was living in Berkshire and the fire brigade rang me up in the middle of the night, two o'clock in the morning and said, "Do you own a property at 27 Kelso Place?" Yes I did. "Oh well it's on fire, you'd better come and look!" So I drove down the M4 at top speed — it was a very foggy night I remember — and I rushed along hoping somebody would stop me and say, "Okay chief, where's the fire?" and I could say I was actually going there!

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The fire brigade and the London Salvage Corps were marvellous and managed to save quite a lot, but we still lost a lot of archived ephemera: trial proofs and experimental works, and of course a large amount of stock.

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David Hockney The 7 Stone Weakling (pl. 3a), 1963

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RTD: But fortunately, Rake's Progress survived because it was framed in your office?

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JS: That's right.

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RTD: Why these prints, out of all the works Editions Alecto published?

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JS: Well, they were a seminal publication for Editions Alecto — our first big project. By the time of the fire in 1978, David was a wunderkind of Contemporary Art and I was proud that Editions Alecto had published the Rake's Progress and felt very proud to have them in my office.

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David Hockney's A Rake's Progress: 14 plates will be offered in our 19 January Editions Day Sale in London.

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