Peter Schmidt, prior to 1951...

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"Lot's Wife"

Carved from a block of salt

1950

(Unknown provenance)

As described by Ernest Cross, an RAF comrade of Peter's.
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These works and the photo are from before 1951.

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Bear Lane Gallery exhibition...

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Bear Lane Gallery

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Invitation to Peter Schmidt's show at Bear Lane Gallery, 1969
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Untitled
Peter Schmidt
gouache
76 x 51 cm, 1967
(Unknown Provenance)
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"Daylight Through Hedge"
Peter Schmidt
acrylic on canvas
102 x 102 cm, 1967
(Unknown provenance)
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Curwen "Monoprint" from Australia...

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"Monoprint"

(Curwen)

Abstract Composition with circle, blue

Peter Schmidt

Lithograph on board, multiple screens with hand tinting

38.2 x 53.8 cm

1968

(Collection of and image supplied by the National Gallery of Australia, Canberra

Acquired as part of the Felix Man Collection, by special government grant, 1972)

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"Electronic Soupmixes"...

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"Electronic Soupmixes"

Peter Schmidt

Invitation to sound art performance

1969
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"A Painter's Use of Sound"...

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"A Painter's Use of Sound"

Peter Schmidt

Poster for a sound art exhibition

1967

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"The Thoughts...", August 20, 2010...

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"The Thoughts Behind the Thoughts"

Peter Schmidt

Web version, 2010

Originally created in 1970
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"Monoprint" from down under...

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"Monoprint"

(Curwen)

Abstract composition with circle in the middle, green
Peter Schmidt

Lithograph on board, printed from multiple screens
38.2 x 53.8 cm

1968

(Collection of and image supplied by National Gallery of Australia, Canberra

Acquired as part of the Felix Man Collection, Special Government Grant, 1972)

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Thanks to Nick Nicholson at NGA, and Rory Walsh for the lead.

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Note: I have determined, based on the "Summary of Work" portfolios and the emergence of this Monoprint and another like it, that there were three distinct Monoprint types:

1. "Lisson": autobiographical, collage, 1968(see January entries).

2. "Alecto": round, three screen, 1968(see May entries).

3. "Curwen": round, organic, Dieter Roth influenced, 1969(seen above).

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"...the gradiations..."

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"The Clear Light"

Peter Schmidt

Acrylic on canvas

127 x 127 cm

1973

(Provenance unknown)

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"The Red Hole"

Peter Schmidt

Acrylic on mounted paper

189 x 122 cm

1973

(Collection of Simon Hilton)

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In Autumn 1973, I became interested in working with gradiation again. In these paintings the gradiations began to overlap and cut in on themselves.

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Peter Schmidt from "Summary of Work II"

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Brian Eno, a pencil portrait, 1972...

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Brian Eno, pencil portrait
Peter Schmidt

Pencil drawing

1972

(Unknown provenance)

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"programme", revealed...

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From "Summary of Work", Volume I

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I read about "programme" on Peter's Wikipedia page several years ago. I have been familiar with this group of works, as "Droplet" and "For Esme" were created under it's guise, though I didn't know it was "programme". Several images of these works were donated by Hansjörg Mayer a few months back.
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Peter Schmidt - Summary of Work...

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"Self Portrait"

Peter Schmidt

Oil on canvas, 76 x 61 cm

1961

(Provenance unknown)

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Feast or famine.
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Having just about run out of materials to feed this personal beast, PeterSchmidtWeb, I have been stretching out "The Thoughts Behind the Thoughts" over the past couple of months. Recent eBay auctions, and some quotes I've been collecting have somewhat rounded things out. Very hungry, bordering on bored.
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I remembered when I first met Peter's family in Southwark in 2007, I was shown a couple of scrapbooks. At the time I was only aware of about 15 of his works. The books were certainly of interest, though my journey to London was to see paintings. I don't even think the website was more than an idea.
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Last week I spoke with Simon, and enquired about the scrapbooks. My recollections of the bits and pieces I could remember, told me there was a treasure trove of information, that would keep the beast at bay for some time. He offered to send them over to me in New York for digestion.
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The books arrived today. I relaxed, posted today's "...Thoughts", made a cup of coffee and opened the package. The two "Summary of Work" portfolios are indeed chock full of ephemera, which I, your humble curator, find truly elucidating. Assembled in 1975, and reaching back as far as the late 1940's. These books will help to fill in many of the blank spaces which have existed in Peter's oeuvre, for me, for some time. They are rich with details, and images of unseen works. It will take weeks to scan and months to post. These books will double the size of the collection. A feast for this beast.
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An "Untitled" abstract painting...

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"Untitled"

Peter Schmidt

Oil on canvas board, 46" x 27.5"

1960-65

(Private Collection)
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"The Thoughts...", August 13, 2010...

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"The Thoughts Behind the Thoughts"

Peter Schmidt

Web Version, 2010

Based on the original from 1970

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Loose translation : We must somehow come a little bit more

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"The Boat"...

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"The Boat"
Peter Schmidt
Oil on canvas board

1974
35.5" x 25.5"
(Private Collection)

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"The Ten Freedoms"...

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"The Ten Freedoms"

Peter Schmidt

Printed postcard, edition of 20

1970

(Collection of Alain D'hooghe)
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"The Thoughts...", August 6, 2010...

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"The Thoughts Behind the Thoughts"

Peter Schmidt

2010

Web Version

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"...ideas."

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Brian didn't really tell me much about what he was doing, we just talked about ideas. I think he used my ignorance of his more public activities to get away from them and keep his other interests alive".
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Peter Schmidt
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"...sense of daring..."

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Later in the evening we talk about the work of Die Brucke, the group of German painters active between 1905-25, who impressed us all so much in Berlin. I particularly liked Otto Mueller and Karl Schmidt-Rotluff.
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Peter posed the question: "What could one do now that would have the sense of daring which those works had?" I reply that I think the answer must lie in doing things that are very quiet, which make no assault, and perhaps do not obviously trade in novelty. Like watercolours. At a time when drama is at a premium, reticence and delicacy communicate best.
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Before I leave, we discuss the possibilities of marketing visual objects in the way that records are sold. We both agree that this would drastically alter the nature of contemporary painting, since it would once again put it in touch with demand on the level of a genuine response to the work itself, rather than to its "value" (be that financial or "cultural").
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Brian Eno, From Melody Maker, January 29, 1977
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"Everyday Third Eye Vision"...

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"Everyday Third Eye Vision"

Peter Schmidt

Printed Broadsheet

Published 1971

(Collection of David Mills)
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Thanks to David for providing an image of this elusive work.

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Untitled - Small Painting #2...

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Untitled - Small Painting #2

Peter Schmidt

Gouache on paper, 6" x 7.75"

1975

(Collection of Philip Aceto)
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"The Thoughts...", 30 July 2010...

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"The Thoughts Behind The Thoughts"

Peter Schmidt

Web Version

2010

(Trancribed by Alain D'hooghe)
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Untitled - Small Painting #1...

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Untitled - Small Painting #1
Peter Schmidt
Gouache on paper, 6" x 7-3/4"
1975
(Collection of John Emr)
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"The Thoughts...", July 9, 2010...

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"The Thoughts Behind the Thoughts"

Peter Schmidt

Web version

2010

Original version: Plywood, card stock,

prints, presstype letters, perspex lid

1970

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Prior to "Oblique Strategies", Peter created "The Thoughts..."

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A rough translation of the German above:

"I wait in each case on a word

if the word is said already

it is for me enough"

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I have been enjoying the beach for a few weeks,

and away from the computer...I'm back.

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Decay print...

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Unknown title

Peter Schmidt

edition of 99

block print

1966

Copies of this print was available at the "London Under Forty" exhibit at Galerie Milano, 1966

(Collection of Rory Walsh)

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As described by Galleria Milano: "The units lay loose on the bed of the press and the movement and distortion of the row was caused by the successive printings. The edition was printed in the Experimental Printing Workshop of the School of Art Watford College of Technology."

(This image of the print was sent by Rory Walsh)

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"recollections. i think it must have been an early part of peters career when i first met him. The context is quite important for me . id been much encouraged in my last 2 years at school(given the key to the art room and store) academically i was not a strong pupil but the encouragement of two teachers was an intellectual start for me . at Watford I gained a place on a graphic arts course not really knowing what it was. i enjoyed the unfolding adventure.i arrived wearing ice blue jeans whilst other students were still wearing shirts ties and girls in dresses . i addressed staff with christian names teachers at that time were normally called sir or mr.the culture was changing the art staff interested in who we were and what were we thought they promoted thinking.Watford art school was then based in the Watford college of technology building on the second floor it consisted of about 7 rooms only this with a corridor that all rooms opened to allowed for frequent interaction between staff and pupils. we worked with peter on a rotation system im not sure for 2 or all three years but the experience of his quiet contemplation sensitive inquiry and curiosity of difference or chance was to me observed digested stored and reflected upon. Peter noticed my interest and response suggested i transfer to a fine arts course (but was declined by the then head Sutherland) however he continued interest in my work and broadened my vision i think it is important to look at the surrounding influences coming into the college that were dynamic . Peter probably had a strong influence bringing them there .Watford gained a significant reputation as an Art school for its teaching and students. Mark Boyle(later to form the Boyle Family)Hansjorg Mayer, Gerald Woods, Gwyther Irwin, Raymond Moore(significant photographer), Anthony Froshaug, Nigel Stacy(a local watford hippe painter musician played a super 12 string guitar and did Great Chuck Berry stuff) the art schools reputation was all the more unusual for its size was small having only 7 full time staff . years later i ran a preliminary course within an art school with 3 full time and 12 part time staff. I for some time had gravitated to the print room where Froshaug had set up a letterpress facility with Alan Kitching as a student id played abstractly with the media i recall PS setting up type and not fixing it in a chase but allowing the roller to move the type as it inked , the paper then picking up the chance impression it recorded of the type moving.across.also etching project when a small zinc plate was more attacked than rendered with patients graphficy and care. Another painting event(shortly after the college had taken over additional premises)PS had organised for a number of indentical sized canvases arranged in a line staff were to make a live painting in a time(probably an hour)after which the gathered students disscussed the various approaches and outcomes perhaps the more significant outcome of remembering Peter and the art school is there was growing fertile environment at watford that peters influence developed to the furtherment of many students in their professional intellectual and cultural contribution . i typed this ages ago with intention to add to it hope it is of some interest to you .

kind regards david "

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Recollection by David Mills, student of Peter Schmidt at Watford School of Art, 1963-66

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"The Thoughts...", June 20, 2010...

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"The Thoughts Behind the Thoughts"
Peter Schmidt
Web Version
2010
(Transcribed by Alain D'hooghe)

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Before Peter Schmidt and Brian Eno's"Oblique Strategies"(1975),
there were Peter Schmidt's"The Thoughts Behind the Thoughts"(1970).
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