#june wayne lithographer

[junewaynecollection]

'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.

[junewaynecollection]

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.

[junewaynecollection]

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.

[junewaynecollection]

"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

[junewaynecollection]

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.

[junewaynecollection]

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

[junewaynecollection]

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.

[junewaynecollection]

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.