William H. Hays (1956 - )
A long-time resident of Brattleboro, Vermont, painter and printmaker William Hays studied at the Virginia Polytechnic Institute, the Virginia State University in Blacksburg, and the University of Alaska in Anchorage. He has worked in graphic arts and illustration as well as portraiture, landscape and marine painting. In recent years, he has gradually changed the focus of his work from paintings to remarkably intricate reduction linoleum prints in which each of as many as nine colors are carefully registered to one another and printed to produce the final image. Those of you who have visited Brier Hill Gallery recognize that our bias is for prints in black and white. William Hays' linoleum prints are one of few exceptions not merely because of their inherent beauty but also for the astonishing technical sophistication needed to bring these images to life.
Liverpool Ladies
Etching, 2008; edition of 25. Image size 5” x 6-7/8”; sheet size 7½” x 9-5/8”. Printed by the artist; titled, numbered 8/25, and signed in pencil in the lower margin. Liverpool, Nova Scotia was once a thriving fishing community on the Atlantic coast, but fell victim to the collapse of the fish population in recent years. This etching depicts the tangible result of the collapse of the Atlantic fisheries in this portrait of two mothballed fishing boats awaiting their fate. At least one of the two has already been sold by its owner for scrap value. Fine.
SOLD
Daybreak Snowfall
Linocut, 2011; edition of 6. Image size 12” x 9”; sheet size 14” x 11”. Printed by the artist; titled, numbered 3/6 and signed in pencil in the lower margin. Fine
SOLD
Brattleboro Winter
Etching, 2009; edition of 25. Image size 4-3/4” x 6-3/4”; sheet size 7½” x 9-3/4”. Printed by the artist; titled, numbered 6/25, and signed in pencil in the lower margin. Fine.
SOLD
Forest in Moonlight
Reduction linoleum cut in seven colors, 2012; edition of 46. Image size 12" x 9"; sheet size 14" x 11". Printed by the artist. Titled, numbered 13/46, and signed in pencil in the lower margin. The subtle use of use of tonal variations in the printing sequence creates a beguiling illusion of depth. Fine.
SOLD
Vermont River
Linocut, 2009; edition of 11. Image size 7” x 5”; sheet size 9½” x 7½”. Printed by the artist; titled, numbered 2/11, and signed in pencil in the lower margin. Fine.
SOLD
Herd
Monoprint, 2012. Image size 6-5/8” x 4”; sheet size 9¼” x 7-1/8”. Printed by the artist; titled and signed in pencil in the lower margin. Fine.
$75
Dutchman's Pipe
Etching, 2008; edition of 25. Image size 6-7/8” x 5”; sheet size 9½” x 7½”. Printed by the artist; titled, numbered 7/25, and signed in the lower margin. Fine.
$95
Jim's Farm II
Reduction linoleum cut in three colors, 2014; edition of two. Image size 12” x 9”; sheet size 14” x 11”. Printed by the artist; titled numbered 1/2, and signed in pencil in the lower margin. Fine.
SOLD
Snowy Roost - First State
Linoleum cut, 2007; edition of two. Image size 6-3/4” x 4-3/4”; sheet size 9” x 7”. Printed by the artist; titled, noted "1st state", and signed in pencil in the lower margin. Fine.
SOLD
Forest Watch
Linoleum cut, 2011; edition of two. Image size 12” x 9”; sheet size 14” x 11”. Printed by the artist; titled, numbered 1/2, and signed in pencil in the lower margin. Fine.
SOLD
Crowful Quiescence III
Linoleum cut, 2009; edition of 11. Image size 12” x 9”; sheet size 14” x 11”. Titled, numbered 2/11, and signed in pencil in the lower margin. Fine.
$125
Winter Birches
Linoleum cut in two colors, 2010; edition of two. Image size 12” x 9”; sheet size 14” x 11”. Printed by the artist; titled, numbered 2/2, and signed in pencil in the lower margin. Fine.
SOLD