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Duayne Hatchett
Banner (abstract expressionist sculpture, Tulsa OK artist)
1958

$4,500

$8,00043% Off

£3,422.95

£6,085.2443% Off

€3,945.67

€7,014.5243% Off

CA$6,389.05

CA$11,358.3143% Off

A$6,856.89

A$12,190.0243% Off

CHF 3,675.56

CHF 6,534.3343% Off

MX$82,519.48

MX$146,701.3043% Off

NOK 46,343.39

NOK 82,388.2643% Off

SEK 42,258.75

SEK 75,126.6743% Off

DKK 29,474.13

DKK 52,398.4643% Off

About the Item

Duayne Hatchett ((1925-2015). Banner, 1958. Welded metal, sculpture measures 11 h. x 9 w. x 3.75 d. inches. Measuring a total of 17.5 inch high on base. Base measures 5.5 x 5.5 by 6 inches h. Signed, dated, titles on bottom of base. Excellent condition with no damage or conservation. Duayne Hatchett was a visual artist whose work included prints, paintings, sculpture, and found objects. He was born on May 12, 1925 in Shawnee, Oklahoma. He enlisted in the Air Force where he trained to become a fighter pilot. After leaving the military he studied design at the University of Oklahoma. His highly technical military training combined a mathematical intelligence with a love for physics and a daring embrace of new experience, all of which would soon be the tools for his evolution through art. Two major influences interacted on his early development at OU. Emelio Omero, a colleague and close friend of Diego Rivera, introduced him to the revolutionary art ideas of Mexico City, while teaching him a wide range of printing techniques that would culminate in a Masters Degree in Painting in 1952. During this time he met Bruce Goff, a renowned Wright disciple, who was teaching architecture at OU and befriended Hatchett, introducing him to the most avant-garde architecture of that time. He spent his summers while at OU designing for a small sign shop, which introduced him to new materials used for building neon, plastic, and metal signs. The use of new materials and a keen sense for design would soon become invaluable building blocks for future sculpture. During this time he met and married Mary Ellen Jeffries. They would spend their lives together and raise three children, David (me), my brother Dana, and my sister Jeffri. As children, they were immersed in art from childhood and benefited greatly from this loving art and domestic environment. Hatchett was always interested in the techniques of construction, often watching different tradesmen working, understanding how materials are put together to create the manmade environment that surrounded him. While teaching printmaking at Oklahoma City University from 1951 through ‘54, he began to build sculpture employing some of the materials and techniques that he saw workers using. He was beginning to draw the attention of architects and he became interested in their work-trade processes, moving from blue prints to construction. He accepted an invitation from Alexander Hogue to teach sculpture at Tulsa University in 1954. He moved his family to Tulsa where he would teach for the next ten years. While in Tulsa, he became well known as a teacher and a sculptor, often lecturing at various sculpture conferences around the country. He also began to obtain commissions for sculpture as his interaction with architecture continued to evolve. He began to meet and interact with some of the most influential New York artists, including David Smith, Louise Nevelson, Noguchi, and Chicago artist, Richard Hunt. The 'found object' became important subject matter for many artists including Hatchett and his frequent trips to junkyards yielded the materials for welded sculptures that explored abstract forms suggestive of the world around him. Sources of inspiration ranged from a dead cat smashed on the road to Sputnik orbiting the earth. Alan Stone Gallery in New York City, arranged to show two of these pieces at the Museum of Modern Art in 1963. He was offered a teaching job at Ohio State University in 1964, where he would teach sculpture for the next three years, and make a leap of imagination that would propel his art into the museums and galleries in New York City and beyond. He began by moving away from combining found objects to using found materials to fabricate objects that he called "Totems." Royal Marks Gallery in New York City began to represent Hatchett in 1964 and arranged for him to be included in the ‘Young American Sculpture East to West’ show representing the United States in the 1964 New York World’s Fair. He would then leave any hint of the found object or junk material behind (until the 90’s) and move into pure abstraction, what can only be described as 'Modern' Art. Taking his cue from modern architecture, he began to draw simplified volumes and planes, minimally rendered, so as to be easily grasped as a whole. Built with industrial materials, sheet metals and plastics, the images suggested the look of modern technology and architectural accuracy in the environment. These new works resulted in multiple one-person shows, including shows at Royal Marks Gallery in 1965, ’68, ’69, and ’70, and defined a major shift in his work that would be played out for the next two decades. He was featured on the cover of the Whitney Annual and the Whitney Museum acquired a large sculpture in 1967. He was included in the American Sculpture of the Sixties show at the Los Angeles County Museum and the Pittsburgh International, at the Carnegie Institute Museum of Art that same year. In 1968 he took a teaching position at the University of Buffalo where he would head the sculpture department for the next 24 years and he would move his art in multiple directions. He began a series of paintings to exploit the simple line drawings previously used to define the plate metal sculpture. These paintings explored the optical relativity of two and three-dimensional space depicted on a flat plane. He was also continuing to develop his geometric minimalist sculptures, landing several sculpture commissions around the country. In 1974, the Albright-Knox Art Gallery in Buffalo, NY presented, Duayne Hatchett: Recent Paintings and Sculpture. In the ensuing years his work would be shown in one person and group shows around the country. In the studio, the confluence of construction and the 'Found Object' re-entered his work in a completely unexpected way. Construction itself became the creative engine transforming his new art. New tools and working processes were adopted or invented to create new art. The trowel would replace the brush for building new paintings. Tools for rolling and burnishing metal would be invented and riveting would be adopted to build new sculptures. He was influenced by the characteristics of materials and objects such as corrugated sheet metals, the optical effects of plastics, metal grates, tin cans, seen in his man made environment, as well as crosscut tree logs and drift wood from his natural environment. He began to build sculptures, in the privacy of his studio, largely unseen by the public. In the late 90’s, the found object re-emerged in the form of new sculpture created from railroad spikes welded together to form organic conglomerations reminiscent of nature. He also began to build assemblages of found objects and materials that maintained a continuous flat surface, which were simultaneously sculptures as well as being blocks for prints. By utilizing a wide range of printing techniques that he invented, he made mono-prints that record the image of the assembled material constructions, greatly extending his previous uses of the found object, and greatly expanding the imagery in his printmaking. From printmaking and painting of the late 40’s, influenced by Mexican Art, through the junk metal used from found objects in the 50’s and early 60’s, through the minimalist sculpture and paintings influenced by modern architecture from the 60’s and 70’s, to the paintings, sculpture and printmaking of the last forty years, Duayne Hatchett has developed a personal expression that solicits a universal response. His unique visual language has been created through the invention of tools, the manipulation of various materials and objects, which he presents in a unified form. These expressions reflect our environment, specifically and generally, as objects once in use or patterns at play. Hatchett’s art works are interactive vessels that hold their content as potential energy, waiting to unlock our memories and our senses through the act of observation.

Creator:
Duayne Hatchett (1925 - 2015)
Creation Year:
1958
Dimensions:
Height: 17.5 in (44.45 cm)Width: 9 in (22.86 cm)Depth: 3.75 in (9.53 cm)
Medium:
Metal
Movement Style:
Abstract Expressionist
Period:
Mid-20th Century
Condition:
Gallery Location:
Wilton Manors, FL
Reference Number:
1stDibs: LU245214037752

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Klaus Ihlenfeld (b.1934) Untitled (Flower Form), sculpted phosphor bronze-coated copper sounding sculpture, early 1970s. Exhibited: Klaus Ihlenfeld - Recent Sculpture at Albright College - Campus Center Gallery from Feb. 18 - March 18, 1973.. Welded bronze. 15 h x 12.5 inches w. Signed with initial on base. Provenance: Albright College Museum collection. Excellent condition. Klaus Karl Otto Ihlenfeld. He was born in Berlin, Germany in 1934. He studied art at the Hochschule für Bildende Künste and completed graduate work with the metal sculptor Hans Uhlmann. He visited the US in 1957 for the first time living in Durham, NC, where he befriended Dr. W. R. Valentiner, the Rembrandt authority and Director of the Museum of Art, Raleigh, NC. Through this friendship in 1960 he met and worked with the metal sculptor Harry Bertoia in Barto, PA. He joined the Staempfli Gallery in NYC and entered in many group and one-man shows. 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Chronology: 1-30-1934 Born in Berlin, Germany. Father, Kurt Ihlenfeld, Lutheran pastor, novelist, critic and publisher was born in 1901 in Colmar, Alsace Lorain. Mother, Annie Stuhlmann, was born in 1905 in Breslau, Lower Silesia. 1940 - 1950 Public schools in Berlin; Löwen, Lower Silesia; Coswig, Radebeul, Glaubitz, Saxony. Königin Luise-Gymnasium in Dahlem, Berlin. First artworks, drawings and paintings; few sculptures. 1950 - 1956 Studied at the Hochschule für Bildende Künste in West Berlin, Germany. Graduate work with metal sculptor Hans Uhlmann. For 2 years maintained own studio at the Academy. Friendship with writer Günter Grass, and painter F. S. Sonnenstern. Met painters: Max Pechstein, Karl Schmidt-Rottluff, Carl Hofer, Max Kaus, and sculptors: Bernhard Heiliger, Renee Sintenis, and Richard Scheibe. Opened own gallery in the Kurfürstendam area of Berlin. 1954 Traveled to West Germany, France, Barcelona, Spain (Balearic Islands), and Menorca for 3 months. 1957 First visit to the United States in Durham, NC. Participated in a group show at the Museum of Art, Raleigh, NC. Friendship with Dr. W. R. Valentiner, the Rembrandt authority and Director of the Museum of Art, Raleigh, NC. Work with metal sculptor Harry Bertoia in Bally, PA. Started own metal sculptures in Bertoia Studio. Traveled to Mexico and throughout the US. Visited Monte Alban, and Mitla-Oaxaca. Started collecting works of pre-Columbian art. Also African and South Pacific works of art and the works of children. 1958 Returned to West Berlin, Germany to open own workshop and gallery. Cooperation with his brother Bertram Ihlenfeld and brother-in-law, violinist Heinz Ortleb. Precise metal sculptures in various medias. 1959: Motion picture of the development of sculptures: Spiel in Stahl (Play in Steel), filmed by Dr. Hans Cürlis shown at the Bergamo Film Festival in Italy, in West Germany, and German Embassies in South America. 1960 Second visit to the United States. Cooperation with sculptor Harry Bertoia in Bally, PA. Friendship with Brigitta Valentiner Bertoia. Worked on large commissions. Met painter Willem DeKoonig, gallerist Georg W. Staempfli in New York City, and furniture maker George Nakashima in New Hope, PA. First one-man show of sculptures at Kutztown State College, Kutztown, PA. One-man show of sculptures at the Allentown Museum of Art under Director Hirsch. 1961 Traveled and studied archeological sites in Mexico (Monte Alban, Mitla-Oaxaca; Colima, Nayarit, Sinaloa, Patzcuaro, etc.). Collected pre-Columbian art in Mexico and New York City. Second one-man show at the Allentown Museum of Art (sculptures) under Director Caldwell. 1962 One-man show at Staempfli Gallery in New York City. Participated in various group shows at the gallery: "Twenty Sculptors" and "Recent Acquisitions". Met artists Marcel Duchamp and Salvador Dali; sculptors Alexander Calder and Alexander Lieberman. Participated in a major exhibition at the Solomon R. Guggenheim Museum in New York City entitled "Modern Sculpture from the Joseph H. Hirshhorn Collection". 1963 Married Patricia A. Lambert of Springfield, PA. Harry Bertoia was their best man. 1964 One-man show at the Pennsylvania State University, University Park, PA and a group show "Stone, Wood and Metal" at Staemplfi Gallery in New York City. First child, Paul Vincent born. 1965 Entered group show at Staempfli Gallery "Stone and Crystal". One-man show of graphics at Kutztown State Teachers College in Kutztown, PA. One-man show at Wyomissing Art Alliance, Reading, PA. 1966 Commissioned for a fountain sculpture at Kutztown State Teachers College, Kutztown, PA. Birth of twins, Phillip Sydney and Naomi Andrea. 1967 Artist-in-Residence at the Bertha Eccles Art Center, Ogden, Utah (received a grant from the National Endowment of the Arts). Met sculptor Larry Elsner. One-man show at Mansfield State College, Mansfield, PA. Fourth child born, Douglas Robinson. 1968 - 1969 Commissioned to create a large relief sculpture for the Emigrant Savings Bank at 5 East 42nd Street in Manhattan, New York City entitled: Heavenly Bodies, 250 ft. X 32 ft. (weighing 8 tons). Moved to the estate "Iron Masters Mansion", Barto, PA. 1970 - 1971 Artist-in-Residence at the Huntington Museum of Art, Huntington, WV (received a grant from the National Endowment of the Arts). One-man show at the Huntington Museum of Art. A movie was made of the exhibition by the Huntington Television Station. Met A. Moretti, sculptor of glass figures. One-man show at the old Sears and Roebuck mansion in Haverford, PA. 1971 - 1972 Artist-in-Residence at the Pennsylvania State University, University Park, PA (received a grant from the National Endowment of the Arts). Classes for drawing and experimental sculpture. One-man show at the Chambers Building and the Hetzel Union Building. Also Artist-in-Residence at Shippensburg State College, Shippensburg, PA. Commissioned to execute a sculpture for the new Library at the Shippensburg State College. Death of father, Kurt Ihlenfeld. 1973 Invitation to lecture and work with sculpture classes at Colorado State University, Denver, Colorado. One-man show at Albright College, Reading, PA. 1974 - 1976 Years of increased studies and work. Acquisition of a farm in Barto, PA. Built a new workshop. Works and lives with his wife and four children at the Barto, PA farm. New sculptures in iron, bronze, brass and wood. Traveled to Belgium, West Germany and Switzerland. One-man show at Gallery Heimat 85, West Berlin, Germany. One-man show at the Ianuzzi Gallery, Scottsdale, Arizona. Friendship with sculptor Tom Althouse and paintress Jane Mitchell. 1977 - 1981 Traveled to West Berlin. Works exhibited at Gallery Heimat 85, West Berlin. Also exhibited at Gallery Ludwig Lange. New workshop opened at parent's house in West Berlin. Many sculptures in steel, iron and bronze, some are represented at the Gallery Herbert Remmert and Dr. Barth, Düsseldorf, West Germany. Visited the Island of Korfu in Greece. New graphics. First visit to Italy. A fire at the farm destroyed two buildings, also 38 sculptures (created from 1950 to 1979), reliefs, graphics, correspondences, and various art collections. 1981 - 1984 One-man show and group shows at the Jack Savitt Gallery, Macungie, PA. One-man show at Misericordia College, Dallas, PA. 1984 - 1985 Change of direction. Painting in watercolor dominates sculptural work. Also greater interest in collecting other artists' work. One-man show at the James A. Caplan estate in Villanova, PA. 1989 Represented in the June 1989 Colonial Homes magazine. The article and photographs described the artist's life and his collections. 1992 Traveled to Europe, mainly living and working in Germany and Belgium. One-man show in Liegé, Belgium. Sculptures, drawings and paintings shown at the Heinz Ortleb Gallery, Berlin. Death of mother, Annie Ihlenfeld, in Berlin. 1994 - 1996 Restored a large barn at the farm with his son Phillip for extensive art collections and completed sculptures. Created sculpture garden at farm. 1996 Created many new bronze and brass sculptures during the winter months. Participated in the Central Bucks Chamber of Commerce Sculpture Show. Study tour to Bermuda with his wife. The semi-tropical plants and landscapes inspired new works. 1997: Traveled, study-tour, to St. Lucia, near Martinique, in the West Indies with his wife. 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