"Ten Engravings" were created by Ian Hugo at Atelier 17 in New York in 1943, 1945 and 1946. Until this printing, only proofs existed. The printing of this edition was done by Madeleine-Claude Joback at her New York studio between 1977 and 1978.
The portfolio was published by Associated American Artists (AAA) in New York in 1979. The total number of impressions pulled were 61: The first 20 were numbered 1/50 to 20/50 and included in a portfolio, such as this; impressions numbered 21/50 through 50/50 were available individually; there are 10 artist's proof suites numbered I/X - X/X, plus 1 "printer's proof" suite.
The Foreword was written by the artist's wife, author Anais Nin:
"Ian Hugo learned the technique of line engraving on copper at Atelier 17, under William Hayter, but as an artist he is essentially self taught. These engravings began as unconscious 'doodling'; the doodling became an unpremeditated pressure on the engraving tool. Amazing and unexpected figures appeared. The lines have the purity and simplicity of cave drawings.
The sign of the true artist is one who creates a complete universe, invents new plants, new animals, new figures to transfer to us a new vision of the universe in which dream and reality fuse. Ian Hugo's plants have eyes, the birds have the delicacy of dragonflies, their feathers have the shape of fans. Humor is apparent in every gesture. He uses a fine spider web to give a feeling of flight, speed, lightness. The body of a woman reveals the structure of a leaf, a plant. Wings are moving in a world unified by mythological themes. This is an animated world, humorous and levitating, elusive and decorative, which by its unique forms and shapes gives us the sensation of a rebirth, a liberation from the usual, the familiar, a visit to a new planet.
The ten engravings are: 1. Early Marshes, 1943; 2. Lightly, 1943; 3. Toreador, 1945; 4. Forest Woman, 1945; and the rest from 1946; 5. It Ain't Necessarily So; 6. Mother of All; 7. Together; 8. Encircled; 9. Caravan and 10. On Stage.