Newton Haydn Stubbing composed concrete poems according to his widow, Yvonne Hagen Stubbing [internet Tate Gallery] in the late forties and early fifties both in English and Spanish such as the example here but no other examples were found on the internet. He may have been influenced by Mathias Goeritz with whom he knew in the School of Altamira, Spain in 1949-1950. England & Co. internet: Newton Haydn (Tony) Stubbing was born in England (1921-1983) but spent much of his life abroad. Firstly, in the late 1940s and '50s in Spain and France, where he began to develop as an artist; then, in later life, he lived between London and America. His hand-print paintings of the 1950s and '60s were the first to earn him an international reputation "“ Sir Herbert Read chose one as the final image in his influential book A Concise History of Modern Painting, published in 1960. These atmospheric paintings, often on a large scale, were made with Stubbing's hands "saturated like a living palette'. His lyrical and rhythmic arrangements of palm prints foreshadowed the recent mud wall-paintings of Richard Long. In 1949, Stubbing had been inspired to paint with his hands after being profoundly affected by the prehistoric cave paintings he saw at Altamira in Spain. His own paintings came to have some of the feeling of ritual and mystery evoked by the art of early man. Stubbing also made sculpture, designed furniture and was an inventor and philosopher. Throughout his painting career he made small landscape sketches and when, in his later work, he returned to painting with brushes, he produced abstracted landscapes of luminous, subtly toned expanses of colour informed by his "nature note' sketches. Until recently, Stubbing was better known in Europe and the USA, but in the past few years the Tate has acquired two significant works, as have other British collections. In Paris in the 1950s, he showed at the avant-garde Galerie Iris Clert, as did his friend Yves Klein. In America, he exhibited with galleries such as Martha Jackson and Pierre Matisse and he is represented in many American public collections, including the Museum of Modern Art, New York. Other collections that own works by Stubbing include the Museum of Modern Art, Paris; the Museum of Modern Art, Madrid; the Arts Council of Great Britain and the British Museum. In 1949, he became a Charter member of 'School of Altamira'. Idea for the movement was proposed by Mathias Goeritz, painter, and named by Angel Ferrant, sculptor. The first meeting was held in the caves near Santillana del Mar. Altimira was a key event for Stubbing, bringing his belief in the importance of primal elements in art into focus. At Altimira he met Eduardo Westerdahl, the critic and museum director, who became his supporter. Under the tutelage of master-potter Laurenz Artigas (who produced the now famous series of vases and sculpture with Miró), Stubbing began a period of sculpture and ceramics. In 1950, he worked as a night-watchman at the British Embassy in Madrid from 1948 to 1953 to support himself as an artist, sharing the job so that he had three weeks working and three weeks off. He spent his free periods camping in the Sierra mountains where he would paint, sculpt (keeping his stones in the river like prehistoric man) and write poetry. He also was making delicate twig sculptures from materials he gathered in the mountains. About this time he was working on a series of collage poems (a method he returned to later in life). He married his first wife, a Madrid journalist's daughter, Rosa Marie Garcia Diaz and lived with her in a flat on the outskirts of Madrid. -- Source of annotation: Marvin or Ruth Sackner.