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'Lemmings' Twenty-One Plus ca Change State II, March 1968. by June Wayne

Lithograph printed by Serge Lozingot and published by Tamarind Lithography Workshop on Rives with Tamarind watermark

23 x 29 1/2 in., bleed; deckle and torn

Edition of 20; numbered, titled, signed and dated in pencil within image left of center, lower left, or lower right; embossed with the artist's, printer's, and publisher's chops.

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

Ablaze (State I), My Palomar 5, November 1983

Color lithograph printed by Edward Hamilton on Wayne's own Rives with Tamstone watermark

I: 18 1/3 x 16 in., bleed; deckle and torn

"The affirmation and joy of doing these prints carried me through the horror of my life outside the studio. I made a clean break with the realities on earth. I saved myself, really, but it would be selling the work short to suggest it was made as an escape. It wasn't. It was a positive thing that made it possible for me to survive what else was going on." ~ June Wayne

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

The Sanctified, December 1950. by June Wayne

Lithograph printed by Lynton R. Kistler on Strathmore Fiesta

I: 13 3/4 x 17 7/8 in.

S: 18 x 22 7/8 in., gray deckle and cut

Edition of 35; numbered and titled lower left, signed and dated lower right, all in pencil below image; initialed in tusche within image lower right; embossed with the artist's chop.

"The Sanctified is about hypocrisy, sacrilege versus belief, good or bad. The priestly figure is a riff on Rico Lebrun's crucifixion, although his hands are three-fingered, showing the sign of Kahane. The priest generates his own light. A phallus hangs where a cross could be. The figures in the tessellated floor make sensual signs. The angels in the sky are voyeurs." ~ June Wayne]

This lithograph is a highly developed example of the tonal range that Wayne could produce with a spray gun, crayon, pen, tusche, and razor scratch-back.

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

"I am seeking symbols and images, techniques and methods which will allow a picture to withstand the values and attrition of time. But always my intention is to move and illuminate" ~ June Wayne

The Curious, July 1953. by June Wayne

Lithograph printed by Lynton R. Kistler on Japanese kozo

I: 14 3/4 x 18 7/8 in. S: 20 1/4 x 24 3/4 in., deckle

Edition of 30; numbered and titled lower left, signed and dated lower right, all in pencil below image; initialed in litho crayon within image lower right; embossed with the artist's and printer's chops.

This is the first print in which Wayne made extensive use of sand particles as a stop-out under thin mists of liquid tusche. Her method resulted in an equal distribution of black dots in white areas and white dots in black areas.

"In a funny way, this work anticipates my involvement in astrophysical images. It's heavily influenced by science: the radiation of the brain, all this electrical stuff going on They are looking at lights they are holding, but are they made of the same light, as is the whole picture. In this light, even the positive/negative dots are relevant." ~ June Wayne

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

“One never has all the facts, yet a commitment must be made.” ~ June Wayne

Moving Symbols, Kafka Series, December 1948. by June Wayne

Oil on Canvas

36 3/8 x 30 in.

Signed and dated in paint lower rightL JC WAYNE DEC. 48.; signed and dated in crayon on the reverse: June/ Claire/ Wayne/ Dec 21/ 1948

"I have always been interested in sequential images, but also sequential ideas. From Kafka, I developed the idea of making references that mutated into one another along a visual path that would direct the viewer to follow. I few of these symbols are direct references to his texts, for example, the trumpet in the upper left-hand corner refers to the book Amerika. The castle on the right is a direct reference to the book of the same title. What somebody described as a menu sitting on a table, which is the second symbol down the green passage, is a reference to the short story about the prison colony." ~ June Wayne

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

The Tunnel I, June 1949. by June Wayne

Lithograph printed by Lynton R. Kistler on natural wove paper.

I: 13 7/8 x 17 1/4 in. S: 18 5/8 x 21 1/4 in., torn

Edition of 25; numbere3d and titled lower left, signed and dated lower right, all in pencil below image; monogram scratched within image lower left; embossed with the artist's and printer's chops.

Selected Collections: Achenbach Foundation Bibliotheque royale Cincinnati Art Museum Grunwald Center Library of Congress National Museum of American History

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

The Embrace, 1948. Painting by June Wayne

Oil on canvas

I: 24 x 20 in.

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

“What’s important, it seems to me, is doing what you do as best you can, living your life as decently as you can, being neither a cannibal nor a missionary.

I think that freedom is always at risk.

I think artists like everybody else need freedom.

I think if we have any obligation at all it is the obligation to keep freedom intact; to allow people to develop decently and express themselves well" ~ June Wayne

Nacelle, April 1996. by June Wayne

Lithograph printed by Judith Solodkin, assisted by Saba Daraee, and published by Solo Press on Wayne's own Rives with Tamstone watermark.

I: 22 3/8 x 29 3/4., bleed; deckle and torn

Edition of 15; Titled, signed, dated, and numbered in ink within image lower right; embossed with the artist's and publisher's chops

Selected Exhibitions: Zimmerli Art Musuem, 2003 Neuberger Museum of Art, 1997

Selected Collections: Brodsky Center Los Angeles County Museum of Art Victoria and Albert Museum Zimmerli Museum of Art

"Sometimes I return to something I meant to do and didn't get around to doing. I did that with Nacelle...For me, they're timeless. I don't feel as though I'm going back to something, I feel as though I'm just finishing something that had unused potential. The nacelle comes directly from the drawing I did in '43 [as a production illustrator in the aircraft industry]. I really love this print." ~ June Wayne

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

Whose White Knight Was He?, The Dorothy Series 16. by June Wayne

Color lithograph printed by Edward Hamilton on black Arches cover.

I: 17 1/4 x 21 5/8 in., bleed; deckle and torn

Edition of 20; numbered and signed in light blue pencil within image lower right; embossed with the artist's and printer's chops

Selected Exhibitions: Tama Art Univeristy Museum, 2006 Skirball Museum, 1998 Neuberger Museum of Art, 1997 Skirball Cultural Center, 1996 Western Association of Art Museums, 1981

Selected Collections: Arizona State University Art Museum Bibliotheque nationale de France Brodsky Center Jewish Museum National Gallery of Art National Museum of Women in the Arts Neuberger Museum of Art San Diego Museum of Art Zimmerli Museum of Art

Dorothy was to discover that her second marriage was bigamous and that her husband was an FBI agent who married her to spy on her brother Paul, an active member of the Communist Party at the time.

"You get a chance to really examine his Communist Party card and the stamp from the divorce, but I did not have his FBI card, which I had to mock up. Dorothy had discovered both cards, but I guess she didn't keep the FBI card (I couldn't find it.)...I don't think there is anything in the series where sexism isn't evident, either overtly or by implication. It is a thread that touches people who see the series." ~ June Wayne

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

Study for a Jury IV, November 1953. by June Wayne

Pencil and ink wash on paper

21 3/4 x 28 in.

Dated, titled, and signed in ink lower right

Selected Exhibitions: de Young Museum, 1956

"This is the territory of Kafka's Trial, but it's much more amorphous. Kafka is so specific, his words are like nuggets. Every word is as hard and precis as a diamond, and yet out of them he created an evocation of innocence and guilt, of indignation and injustice, and puzzlement. I was astouned by the way this guy wrote. I was reaching to do something comparably economical with my images." ~ June Wayne

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

Solar Flash, Solar Flares 1, January 1983. by June Wayne

Color lithograph printed by Edward Hamilton on Wayne's own Rives with Tamstone watermark.

I: 17 1/4 x 17in., bleed; deckle and torn

Edition of 15; numbered and titled lower left, signed lower right, all in pencil within image; embossed with the artist's and printer's chops

Selected Exhibitions: Norton Simon Museum, 2001 Pomona College, 1992 Print Club of Philadelpha, 1985

Selected Collections: Arizona State University Art Museum Bibliotheque nationale de France Brodsky Center National Gallery of Art

"Originally, when I started this quite, I was going to call it Sneaking Up on Yellow. This was another one of those situations where I was saying 'Look, ma, no hands!' How close could you come to falling off the page, given that yellow is such a desperate color to work with? It has no value. You can see yellow only to the degree that you have contaminated it. I had to put gray in to keep it from disappearing. So, in Solar Flare, I made afterimages of yellow." ~ June Wayne

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

Ascension, Kafka Series, November 1958. by June Wayne

Oil on canvas

72 X 30 1/2 in.; dated and titled on reverese, also titled on the stretcher crossbar

Selected Exhibitions: San Francisco Museum of Art, 1950 Santa Barbara Museum of Art, 1950

"Here I am using a group of symbolic figures, primordial creatures not specifically out of Kafka, to force the viewer to take an unusual eye path, starting lower left, spiraling upward, and going out top right. Could I make people look according to a predefined sequence, and could I cause that sequence to be interesting to them?" ~ June Wayne

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

Frozen Tidal Wave, February 1974. by June Wayne

Color lithograph printed by Edward Hamilton, assisted by Perry Tymeson, on Wayne's own Rives BFK with Tamstone watermark

I: 22 x 30 in., bleed; deckle

Edition of 20; numbered, titled, and signed in india ink within image lower left; embossed with the artist' and printer's chop.

Selected Exhibitions: Palm Springs Desert Museum, 1977 Van Doren Gallery, 1976 Artemesia Gallery, 1975 Muchenthaler Cultural Center, 1974

Selected Collections: Bibliotheque nationale de France British Museum Brodsky Center

The colors were inspired by a visit to Alaska, where Wayne researched an art center for the Ford Foundation's W. McNeil Lowry.

"Mac was considering a gran to improve creative conditions for Alaskan artists....I was there during the summer, when it was daylight all the time. I was greatly energized by the light. I stayed in a room at the Captain Cook Hotel that straddled the huge fissure of the great earthquake of the sixties. It was quite exhilarating." ~ June Wayne

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

The Anniversarie 1, John Donne Series, May 1957. by June Wayne

Color lithograph printed by Marcel Durassier on Rives BFK

I: 20 5/8 x 16 3/8 in. S: 26 x 19 7/8 in., deckle

Edition of 35; numbered and titled lower left, signed and dated lower right, all in pencil below the image; embossed with the artist's chop

Selected Exhibitions: University of Iowa Museum of Art, 1973 McNay Art Institute, 1959 Carnegie College of Fine Art; 1959 Santa Barbara Museum of Art; 1958 Achenbach Foundation, 1958 Cincinnati Art Museum, 1958

Selected Collections: Achenbach Foundation University of Iowa Museum of Art

From two zinc plates in sanguine and black inks. This images combines the field from "we'are Tapers Too" with a second plate on which the figures were drawn in wash and crayon.

If interested in exhibiting or purchasing, please contact the June Wayne Collection to check for availability.

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