Hyman J. Warsager

Velonis and Warsager operated Ceraglass and Ceragraphic until they sold the firms to VCA Corporation in 1969. Warsager stayed for several more years as Chief Executive Officer. Warsager held several U.S. patents on glassware designs. Velonis held patents on innovative processes involved in their manufacturing process; in addition to being an artist, he was technically skilled and developed many of the paints and techniques used in the production process.

Encouraged by the success of that side venture, Warsager and Velonis formed their own firm and later decorated containers for cosmetic manufacturers such as Elizabeth Arden, Dorothy Gray and Shulton. Eventually, Ceraglass turned to creating decoration for glassware. By 1962 they led a team of seven artists and designers and their team of skilled craftsmen. The company employed a hundred and fifty skilled and semiskilled employees, most of whom had been trained on-the-job.  By the mid-1960’s the company had moved out of its multiple loft sites in New York City to progressively larger spaces and by 1965 Ceraglass and its affiliated company Ceragraphic occupied 56,000 square feet of factory and design space in Hackensack, NJ.

The Dallas Museum of Art held several exhibits of the work of the National serigraph Society members in 1944, 1947, and 1951

Warsager served in the U.S. Army Air Forces Western Technical Training Command (AAFWTTC) in Denver, CO from 1942 to 1945, where he taught aerial photography in the U.S. Army Air Forces School.  Based on his art training and experience, Warsager was assigned to head a new Silk Screen Unit for the design and production of color posters on various subjects which the Command wished to publicize. The commanding general of the AAFWTTC, Major General John F. Curry, wrote in a November 1943 commendation: “I wish to commend the Silk Screen Unit of the Reproduction Division at Lowry Field for the intelligence, imagination and originality displayed in designing and executing the posters requested by this headquarters for distribution to the various stations of this command. . . . The (Silk Screen) unit. . .has successfully been engaged in producing posters which have been accorded high praise from many sources. I particularly desire to commend . . .. Staff Sergeant Hyman J. Warsager for setting up the unit and for executing and directing the production of the posters. . .”.

Warsager and Velonis were longtime friends, collaborators, and later business partners. In an essay written in 1941, Carl Zigrosser, then curator of prints, drawings, and rare books at the Philadelphia Museum of Art, wrote: "Warsager has long been associated with Velonis; indeed he has shared a studio with him for the last few years and has also engaged in business with him under the name of Creative Printmakers Group".

Warsager, Velonis, Joseph LeBoit, Max Arthur Cohn and several other artists founded the National Serigraph Society in 1940, which held exhibits, operated a gallery, and published a newsletter. The Society was called a "major force in the development of serigraphy as a fine art. . .(that) set standards of excellence and has sent hundreds of exhibitions of its members' work to countries all over the world" in Silk-Screen Printing for Artists & Craftsmen (1970) by Mathilda V. and James A. Schwalbach. The authors added that the exhibitions were responsible for a good deal of museum interest in the purchase of original prints as part of museum collections. The organization was described as "a source of inspiration, a clearing house, and temple of artist and print makers everywhere" in Silk Screen Techniques by J.I. Biegeleisen and Max Arthur Cohn, who noted that it was largely responsible for the effective promotion of serigraphy, raising it to the level of a museum art form. The Society's "active program of traveling exhibits, lectures, and portfolios of prints helped to sustain and broaden interest in the serigraph".

In 1940 Warsager and Velonis started a commercial company by building on their screen printing skills and experience. They called the company Ceraglass, with ‘cera’ referring to ceramic. The business had its beginnings in a chance encounter, its origin and development noted in various sources. Ceraglass evolved from their previous endeavor, Creative Printmakers Group, which they founded with several other artists. Along with the work of numerous artists, Creative Printmakers printed holiday cards for the Metropolitan Museum of Art. A cosmetics manufacturer spotted Warsager’s and Velonis' work and then visited them at the studio they shared, where he inquired whether the silk-screen process with which they were expert could be used on glass to produce an attractive bottle for a men’s shaving lotion. He persuaded them to decorate cosmetic containers.

In 1939, with Velonis and other artists, Warsager co-founded the Creative Printmakers Group in New York City. About this group, Sylvie Covey wrote in Modern Printmaking: A Guide to Traditional and Digital Techniques that "The group's shared screen-printing studio introduced the silkscreen process to many serious artists who went there to have editions printed. Vincent Longo worked as a colorist at Creative Printmakers Group, as did Jackson Pollock, and the print shop eventually became the most important silkscreen shop of the era. It was at about this time that the word serigraphy, which combines the Latin word seri ("silk") and the Greek word grapho ("to write"), first appeared. It was coined by Carl Zigrosser . . . . to distinguish fine-art from commercial silkscreen"".

Warsager was acquainted with the French-American artist Louise Bourgeois when they were both in their late twenties in New York City. In June of 1939, Bourgeois visited him at the studio of Creative Printmakers Group in Manhattan. Later that summer, during her trip to Paris, Bourgeois sent him a hand-written letter about organizing an exhibition with André Lurçat, the French architect, urban planner and painter, at Maison de la Culture in Paris, where he was also the manager. She wrote: “I have shown him [Lurçat] your three prints and some work by Ruth Chaney and some by Will Barnet. He likes them very much”.

Warsager was among the ‘radical illustrators’ who contributed anti-lynching and antifascism images to leftist political magazines in the 1930’s with the aim of increasing awareness of racial terrorism being committed across the country as well as the rise of fascism in Europe. His drawing The Law, which appeared in New Masses in 1934, "exemplified the joining of antiracist and antifascist references to critique. . social failures."

In the late 1930's, Warsager was a member of the WPA team in New York City that experimented with silkscreen techniques. The team was led and inspired by Anthony Velonis. Warsager later recalled that "the establishment of the Graphic division of the WPA/FAP in that memorable fall of 1935 injected new hope in the artists and a new life into the print".

Art historian Helen Manga wrote in Radical Art: Printmaking and the Left in 1930's New York: “The credibility that printmaking gained through the establishment of the Federal Art Projects’s Graphic Arts Division. . . increased interest in viewing and collecting modern fine art prints in the second half of the decade (1930’s). The Graphic Arts Division was part of the Federal Art Project. . .initiated in 1935 to promoted work relief for visual artists. . .  enabling them to maintain and improve their professional skills. . . .It represented a visionary attempt to combine economic relief for creative artists with the cultural enrichment of the nation”.

Hyman J. Warsager (1909–1974) was an American artist known for his printmaking.

Warsager was born in 1909 in New York City. He attended the Pratt Institute, the Grand Central School of Art, and the American Artists School. He worked for the Federal Art Project of the Works Progress Administration (WPA) creating prints. HIs work was included in the 1940 exhibition at the Museum of Modern Art entitled American Color Prints Under $10, which was aimed at bringing public attention to these “inexpensive but dynamic artworks”; the effort was reportedly successful. His work was also included in the 1944 Dallas Museum of Art exhibition of the National Serigraph Society. He died in 1974 in Buckinghamshire, England, United Kingdom.