Raymond Hains Art

Original “Wagon Lits” serigraph poster by the artist Valerio Adami. It was printed in France by GrafiCaza (Michel Caza), one of the finest serigraph companies on woven paper—in exce...

Michael Mazur "The Artist" Hand signed and editioned from the edition of 50 1967 Michael Burton Mazur (1935-August 18, 2009) was an American artist who was described by William Grimes of The New York Times as "a restlessly inventive printmaker, painter, and sculptor." Born and raised in New York City, Mazur attended the Horace Mann School. He received a bachelor's degree from Amherst College in 1958, then studied art at Yale. Mazur first gained notice for his series of lithographs and etchings of inmates in a mental asylum, which resulted in two publications, "Closed Ward" and "Locked Ward." Over the years, he worked in printmaking and painting. His series of large-scale prints for Dante's Inferno won critical acclaim, and were the subject of a traveling exhibition organized by the University of Iowa in 1994. Later he concentrated on creating large, lyrical paintings which make use of his free, gestural brushwork and a varied palette. Some of these paintings were seen in an exhibition of 2002 at Boston University, "Looking East: Brice Marden, Michael Mazur, and Pat Steir." (See also Susan Danly, "Branching: The Art of Michael Mazur," 1997). The Museum of Fine Arts, Boston, has acquired a definMichael Mazur received a B.A. from Amherst College in 1957, studying in his senior year at the Accademia di Belle Arti in Florence, Italy. He went on to earn both a B.F.A. and an M.F.A. from the Yale School of Art and Architecture in 1961. Mazur's first teaching job was at the Rhode Island School of Design from 1961 to 1964. He was awarded a Guggenheim Foundation fellowship for 1964–65. From 1965 to 1976, he taught at Brandeis University, and from 1976 to 1978 at Harvard University. As an artist, teacher, and writer, Mazur has been active in reviving the monotype process. He contributed an essay to the pioneering exhibition catalogue The Painterly Print, published by the Metropolitan Museum of Art in 1980. Mazur recently chaired the New Provincetown Print...

MORTON DIMONDSTEIN (NY 1920 - LA 2000) MARKET IN ERONGARICUARO 1954 Serigraph, silkscreen. Signed titled and dated in pencil. Image 10 ¼ x 25 ½ inches. Large full sheet 17 1/4 x 30...

Harry Shokler used serigraphy to great advantage in this landscape. It's colorful and detailed. It is signed in the image at the lower left. When printmakers began making serigraphs...

Leon Bibel, 'Archway', color serigraph, 1939, edition 25. Signed, dated, titled, and numbered ' /25' in pencil. A rich, painterly impression, with fresh colors, on buff wove paper; ...

screenprint printed in color ink on wove paper. New York City subway station interior. Anthony Velonis (1911 – 1997) was an American painter and designer born in New York City who helped introduce the public to silkscreen printing in the early 20th century. While employed under the federal Works Progress Administration, WPA during the Great Depression, Velonis brought the use of silkscreen printing as a fine art form, referred to as the "serigraph," into the mainstream. By his own request, he was not publicly credited for coining the term. He experimented and mastered techniques to print on a wide variety of materials, such as glass, plastics, and metal, thereby expanding the field. In the mid to late 20th century, the silkscreen technique became popular among other artists such as Robert Rauschenberg and Andy Warhol. Velonis was born into a relatively poor background of a Greek immigrant family and grew up in the tenements of New York City. Early on, he took creative inspiration from figures in his life such as his grandfather, an immigrant from the mountains in Greece, who was "an ecclesiastical painter, on Byzantine style." Velonis attended James Monroe High School in The Bronx, where he took on minor artistic roles such as the illustration of his high school yearbook. He eventually received a scholarship to the NYU College of Fine Arts, into which he was both surprised and ecstatic to have been admitted. Around this time he took to painting, watercolor, and sculpture, as well as various other art forms, hoping to find a niche that fit. He attended NYU until 1929, when the Great Depression started in the United States after the stock market crash. Around the year 1932, Velonis became interested in silk screen, together with fellow artist Fritz Brosius, and decided to investigate the practice. Working in his brother's sign shop, Velonis was able to master the silkscreen process. He reminisced in an interview three decades later that doing so was "plenty of fun," and that a lot of technology can be discovered through hard work, more so if it is worked on "little by little." Velonis was hired by Mayor LaGuardia in 1934 to promote the work of New York's city government via posters publicizing city projects. One such project required him to go on a commercial fishing trip to locations including New Bedford and Nantucket for a fortnight, where he primarily took photographs and notes, and made sketches. Afterward, for a period of roughly six months, he was occupied with creating paintings from these records. During this trip, Velonis developed true respect and affinity for the fishermen with whom he traveled, "the relatively uneducated person," in his words. Following this, Velonis began work with the Public Works of Art Project (PWAP), an offshoot of the Civil Works Administration (CWA), where he was assigned to serve the different city departments of New York. After the formation of the federal Works Progress Administration, which hired artists and sponsored projects in the arts, he also worked in theater. Velonis began working for the federal WPA in 1935. He kept this position until 1936 or 1938, at which point he began working in the graphic art division of the Federal Art Project, which he ultimately led. Under various elements of the WPA program, many young artists, writers and actors gained employment that helped them survive during the Depression, as well as contributing works that created an artistic legacy for the country. When interviewed in December 1994 by the Library of Congress about his time in the WPA, Velonis reflected that he had greatly enjoyed that period, saying that he liked the "excitement" and "meeting all the other artists with different points of view." He also said in a later interview that "the contact and the dialogue with all those artists and the work that took place was just invaluable." Among the young artists he hired was Edmond Casarella, who later developed an innovative technique using layered cardboard for woodcuts. Velonis introduced silkscreen printing to the Poster Division of the WPA. As he recalled in a 1965 interview: "I suggested that the Poster division would be a lot more productive and useful if they had an auxiliary screen printing project that worked along with them. And apparently this was very favorably received..." As a member of the Federal Art Project, a subdivision of the WPA, Velonis later approached the Public Use of Arts Committee (PUAC) for help in "propagandizing for art in the parks, in the subways, et cetera." Since the Federal Art Project could not be "self-promoting," an outside organization was required to advertise their art more extensively. During his employment with the Federal Art Project, Velonis created nine silkscreen posters for the federal government. Around 1937-1939 Velonis wrote a pamphlet titled "Technical Problems of the Artist: Technique of the Silkscreen Process," which was distributed to art centers run by the WPA around the country. It was considered very influential in encouraging artists to try this relatively inexpensive technique and stimulated printmaking across the country. In 1939, Velonis founded the Creative Printmakers Group, along with three others, including Hyman Warsager. They printed both their own works and those of other artists in their facility. This was considered the most important silkscreen shop of the period. The next year, Velonis founded the National Serigraph Society. It started out with relatively small commercial projects, such as "rather fancy" Christmas cards that were sold to many of the upscale Fifth Avenue shops...

'Indian with Bow in Fox Costume' is a vintage 1934 WPA era modernist color serigraph/silkscreen print by New Mexico artist, Hilaire Hiler (1898-1966) depicting a Native American figure with stylized feather headdress and Bow in black and red with white. Pencil signed by the artist in the lower right margin. Presented in a custom frame with all archival materials and UV protectant glass, outer dimensions measure 17 ½ x 15 x 1 ½ inches. Image size is 10 x 7 inches (sight). Expedited and International shipping is available - please contact us for a quote. About the Artist: Hilaire Hiler was born in St. Paul, Minnesota, and was raised in Providence, Rhode Island. Hiler took art classes as a child at the Rhode Island School of Design. When he was older, Hiler studied at the Pennsylvania Academy of the Fine Arts, the Pennsylvania School of Industrial Art, Wharton School of Finance and Commerce, and William Server's studio. He also studied at the University of Pennsylvania, the University of Denver, Golden State University, and National College in Ontario, Canada. He continued on to France, studying at the University of Paris in 1919. Hiler lived in Paris from 1919-1934, supporting himself as a jazz musician and a piano player for The Jockey Club. Hiler moved back to America in 1934, settling in San Francisco. He was commissioned by the Works Progress Administration (WPA) to paint murals in the Aquatic Park...

Artist: Will Barnet, American (1911 - 2012) Title: Interlude Year: 1982 Medium: Serigraph, signed and numbered in pencil Edition: AP Image Size: 20 x 38 inches Size: 25.5 x 42.5 in. (64.77 x 107.95 cm) Fig 179, pg 70 from Will Barnet: Prints 1931-2005, published by John Szoke...

The little that is know about the painter and printmaker Stewart Wheeler indicates that most of his career was spent in Philadelphia, Pennsylvania. And...

This artwork titled "Toast" c.1990, is an original color serigraph by American artist Rickey Jewell Hohimer, 1946-2021. It is hand signed, titled and numbered 98/300 in pencil by the artist. The image size is 23.75 x 9.5 inches, framed size is 30.25 x 16.25 inches. The artwork is in excellent condition, the frame is slightly damaged, and will be replaced by a new similar black frame when sold. This will bring the over all condition to excellent. About the artist: Although formally trained with a MFA in painting, Rickey Jewell Hohimer has used the styles of Van Gogh and Gaughin to reach for the spontaneity and simplicity of today's folk art. Hohimer creates figures which are not photos of reality; they are romantically stylized to encourage straightforward emotional responses both to the colorful images and to the situations in which they find themselves. Each of Hohimer's paintings lays out a basic story line to which viewers add their own details. "I want the viewer to become personally involved. My paintings offer a change from those which encourage extensive intellectualizing about what the artist is trying to convey. I want viewers to smile -- to enjoy the whimsical nature of what they are experiencing -- to feel it, not to analyze it. His jazz paintings are stories on canvas of inspired musicians spontaneously making music of the moment. Life in the jazz age is clubs and nightlife beckoning to musicians to produce jazz art...

This artwork titled "II Cup of Joe" c.1990, is an original color serigraph by American artist Rickey Jewell Hohimer, 1946-2021. It is hand signed, titled and numbered 250/300 in pencil by the artist. The image size is 19.5 x 23.5 inches, framed size is 26.75 x 30 inches. The artwork is in excellent condition, the frame is slightly damaged at the top, and will be replaced by a new similar black frame when sold. This will bring the over all condition to excellent. About the artist: Although formally trained with a MFA in painting, Rickey Jewell Hohimer has used the styles of Van Gogh and Gaughin to reach for the spontaneity and simplicity of today's folk art. Hohimer creates figures which are not photos of reality; they are romantically stylized to encourage straightforward emotional responses both to the colorful images and to the situations in which they find themselves. Each of Hohimer's paintings lays out a basic story line to which viewers add their own details. "I want the viewer to become personally involved. My paintings offer a change from those which encourage extensive intellectualizing about what the artist is trying to convey. I want viewers to smile -- to enjoy the whimsical nature of what they are experiencing -- to feel it, not to analyze it!. His jazz paintings are stories on canvas of inspired musicians spontaneously making music of the moment. Life in the jazz age is clubs and nightlife beckoning to musicians to produce jazz art...

Mary Van Blarcom, 'Crown of Roses', color serigraph, c. 1945, edition not stated but small. Signed in pencil beneath the image, lower left. Titled in pencil, bottom left sheet corner. A rich painterly impression, with fresh colors, on cream laid paper, with full margins (3/8 to 7/8 inch), in excellent condition. Image size 8 13/16 x 12 11/16 inches; sheet size 9 1/2 x 8 5/16 inches. Matted to museum standards, unframed. ABOUT THE ARTIST Painter, printmaker, and craftsperson, Mary Van Blarcom was born in Newark, New Jersey, and studied at Wellesley College. She was a member of the National Serigraph Society, where she served on the board of trustees from 1945 through 1952 and was 1st vice-president from 1949-51. She was also a member of the National Association of Women Artists, the Artists Equity Association, the American Color Print Society, the New Jersey Artists Association (Director), and Artists of Today. Van Blarcom exhibited actively throughout the 1940s at many prominent art organizations, including Montclair Art Museum, 1941-45 and 1947-51 (prize, 1948); Society of Independent Artists, 1942-44; Artists of Today, 1942-46; Elisabeth Ney Museum, 1943; Northwest Printmakers, 1944, 1946-49; Laguna Beach Art Association, 1945-47, 1949; National Association of Women Artists, 1945-50, (prize, 1946); Library of Congress, 1946-47; Museum of Modern Art Traveling Exhibition, 1945-47; Carnegie Institute, 1947; Serigraph Gallery, 1946, 1951 (solo); American Color Print Society, 1947-52; Newark Museum, 1947-48, 1951; California State Library, 1947, 1949; National Serigraph Society, 1949 (prize), 1950 (prize); University of Chile, 1950; New Jersey State Museum, 1950; Philadelphia Art Alliance, 1951; and the Main Gallery, NY, 1952. Van Blarcom’s work is in the collections of the Newark Public Library, U.S. Library of Congress; the American Association of University Women; New York Public Library; Tel-Aviv Museum, Alabama Polytechnic Institute, Princeton Print Club...