William T. Wiley

Deneb

1996

El Ultimo viaje del buque fantasma, Plate I Color lithograph, 1976 Signed and numbered in pencil (see photos) Edition: 99 (6/99) From: Gabriel Garcia Marquez, El Ultimo viaie del buque Fantasma (The Last Voyage of the Ghost Ship (1868), 12 illustration by Wilfredo Lam This one of an edition of 99 from the delixe edition of the book of the same title There was an additional edition of 200 books, signed and numbered on the justification page Publisher: Poligrafa, Barcelona Printer: Poligrafa, Barcelona The Gabriel Garcia Marquez/Lam book is an illustrated version of the short story, a man recalls the night during his boyhood when an enormous passenger ship went aground in his small town on the shores of the Caribbean. It is considered a Latin American masterpiece of surrealism and transculturation. (See below analysis of the story) Reference: Lam-Tonneau-Ryckelnck CR 351 Condition: very good, slight scuffing on reverse from previous hinges About the author and the storyline of the book by Marquez: Gabriel García Márquez was born in 1927, he is a famous Colombian writer, novelist, short story writer, screenwriter and journalist. In 1982 he received the Novel Prize for Literature. He is an author sometimes inherently related to magical realism and his best-known work is the novel One Hundred Years of Solitude in which we find this literary genre. Summary of "The Last Voyage of the Ghost Ship" (1868): The novel by Gabriel García Márquez, The Last Voyage of the Ghost Ship, written in 1968, is written in a single great sentence, which tells the surprising and amazing adventure that has changed the existence of a child living in a coastal town with a small port sunny, almost forgotten by civilization. The days are peaceful, the nights are silent and illuminated only by the rotating beacon that, every fifteen seconds, transforms the town into a lunar camp with phosphorescent houses. During one night in March, the boy saw an immense afterlife ship that sails through the seas with all the dead crew and sometimes appears to the living, silently crossing the deserted sea, a huge and unexpected mass whose trajectory suddenly it seems to drift, and then runs aground on the reefs. This cataclysm is accomplished without disturbing the night's silence, and the next day the boy found no traces of the shipwreck and no one believed it, not even his mother. Time passes, and the same shipwreck occurs again, every year, on the same night in March; the adolescent...

El Ultimo viaje del buque fantasma, Plate IV Color lithograph, 1976 Signed and numbered in pencil (see photos) From: Gabriel Garcia Marquez, El Ultimo viaie del buque Fantasma (The Last Voyage of the Ghost Ship (1868), 12 illustration by Wilfredo Lam Edition: 99 (6/99) This one of an edition of 99 from the deluxe edition of the book of the same title There was an additional edition of 200 books, signed and numbered on the justification page Publisher: Poligrafa, Barcelona Printer: Poligrafa, Barcelona The Gabriel Garcia Marquez/Lam book is an illustrated version of the short story, a man recalls the night during his boyhood when an enormous passenger ship went aground in his small town on the shores of the Caribbean. It is considered a Latin American masterpiece of surrealism and transculturation. (See below analysis of the story) Condition: slight yellows (aging) of paper small paper scuffs verso from previous hinges Sheet size: 22 x 29 7/8 inches About the author and the storyline of the book by Marquez: Gabriel García Márquez was born in 1927, he is a famous Colombian writer, novelist, short story writer, screenwriter and journalist. In 1982 he received the Novel Prize for Literature. He is an author sometimes inherently related to magical realism and his best-known work is the novel One Hundred Years of Solitude in which we find this literary genre. Summary of "The Last Voyage of the Ghost Ship" (1868): The novel by Gabriel García Márquez, The Last Voyage of the Ghost Ship, written in 1968, is written in a single great sentence, which tells the surprising and amazing adventure that has changed the existence of a child living in a coastal town with a small port sunny, almost forgotten by civilization. The days are peaceful, the nights are silent and illuminated only by the rotating beacon that, every fifteen seconds, transforms the town into a lunar camp with phosphorescent houses. During one night in March, the boy saw an immense afterlife ship that sails through the seas with all the dead crew and sometimes appears to the living, silently crossing the deserted sea, a huge and unexpected mass whose trajectory suddenly it seems to drift, and then runs aground on the reefs. This cataclysm is accomplished without disturbing the night's silence, and the next day the boy found no traces of the shipwreck and no one believed it, not even his mother. Time passes, and the same shipwreck occurs again, every year, on the same night in March; the adolescent...

Derriere Le Miroir-Page 6-7 Color lithograph, 1973 Unsigned (as issued) From: Derriere Le Miroir, No. 201, January 1973 Publisher: Maeght Editeur, Paris Printer: L’Imprimerie Arte, Adrien Maeght Edition: Large (unspecified) There is also a deluxe edition of this issue of DLM, signed and numbered on the justification page, edition 150 Condition: Fresh colors a few spots of foxing near the centerfold, appropriate to it's age Sheet/Image size: 15 x 22 inches Derriere le Miroir (Behind the Mirror) The art...

Red Mountain Three color lithograph, 1986-7 Signed, titled and dated in pencil lower right Annotated "B.A.T." for Bon a Tire lower left corner This example is the printers guide for printing the editon of 40 Printed on BFK Rives paper Printed at Derriere L'Etoile Studios, New York Printer: Maurice Sanchez Condition: Excellent, never framed Image/Sheet size: 45 1/4 x 30 inches Louisa Chase came to prominence in the 1980's as one of the outstandingNeo-Expressionist painters. Her work then was characterized by bold colors and brush strokes, often incorporating natural elements and fragments of the figure. Louisa Chase's works have been featured in gallery and museum shows in Cologne, Nurnberg, Luzem, Switzerland, Toronto, and Tokyo, and various galleries and museums throughout the US. She has also been featured at the American Pavillion at the 1984 Venice Biennale. Also in 1984, the Institute of Contemporary Art in Boston organized as travelling exhibition of her work. In 1997, the Madison Art Center organized a retrospective of her prints, Louisa Chase: Prints, 1981-1996. She has been a featured artist at the University of Wisconsin's Tandem Press and at the Tamarind Press; ahe was also invited to do a print for Lincoln Center in New York City. The recipient of two grants from the National Endowment for the Arts, Chase's works are in the permanent collections of such museum as The Museum of Modern Art, the Metropolitan Museum of Art, The Whitney Museum of American Art (New York), The Brooklyn Museum of Arts, The Corcoran Gallery and The Library of Congress (Washington D.C.), The Walker Art Center (Minneapolis), the Mount Holyoke College Art Museum, the Denver Museum of Art, and the Chazin Museum of Art of the University of Wisconsin, Madsion and the Madison Museum of Contemporary Art (Madison WI). Bibliography: Elizabeth Armstrong, Painters who print (Minnapolis: Walker Art Center, 1984); Ruth S...

Skid Row-Self Portrait Color lithograph, 1973 Unsigned (as usual) From: XXe Siecle, Volume XXVV, December 1973 Published by G. di San Lazzaro for A. Maeght, P...

Nightfear Color lithograph, 1958 From: Rhapsodie de ma nuit, (seven plates) Signed, dated and numbered in pecnil lower left (see photos) Edition: E.A. edition of 25, (there were also 75 impressions numbered) Condition: Excellent, fresh colors and condition Thin spots on reverse from previous hinges Provenance: Martha Jackson Gallery David Anderson Gallery David Anderson granndchildren Trust References And Exhibitions: This portfolio is considered to be one of the greatest-and rarest-illustrated book of the Cobra movement. A copy of this livre d’artiste is in the collection of MOMA. This lithograph is one of four works in color in the portfolio. The book was authored by Emmanuel Looten and published by S.I. (Paris). VERY IMPORTANT EARLY COBRA WORK OF ART Karel Appel B. 1921, AMSTERDAM; D. 2006, ZURICH Karel Appel was born on April 25, 1921, in Amsterdam. From 1940 to 1943 he studied at the Rijksakademie van Beeldende Kunsten, Amsterdam. In 1946 his first solo show was held at Het Beerenhuis, Groningen, Netherlands, and he participated in Jonge Schilders (Young painters) at the Stedelijk Museum, Amsterdam. About this time, Appel was influenced first by Pablo Picasso and Henri Matisse, then by Jean Dubuffet. He was a member of the Nederlandse Experimentele Groep (Dutch Experimental Group, 1948) and established the Cobra group (1948–51) with Constant (Constant Nieuwenhuys), Corneille (Guillaume Cornelis Beverloo), and other painters from Copenhagen, Brussels, and Amsterdam. The style distinguished itself through bold, expressive compositions inspired by folk and children's art, as well as by the work of Paul Klee and Joan Miró. In 1949 Appel completed a fresco for the cafeteria of the city hall in Amsterdam, which created such controversy that it was covered for ten years. In 1950 the artist moved to Paris; there the writer Hugo Claus...

Lithograph, waxtype woodcut and screenprint on 638-g/m cold-pressed Saunders Waterford Paper. From the "Brushstroke Figures" series, 1989. Hand signed rf Lichtenstein, dated ('89) a...

Hand Signed. Edition of 119 pieces (99 Arabic Numbers and XX Roman Numbers).

Hand Signed. Edition of 90 pieces plus some artist's proofs. Excellent condition.

Anish Kapoor Tall Tree and the Eye at the Royal Academy (hand signed by Anish Kapoor), 2009 Off-set lithograph poster (hand signed by Anish Kapoor) Signed in black marker lower right...

Artist: Joe Goode Title: Terrible Twister (State II) Year: 1991 Medium: Lithograph on Japanese handmade Kozo natural paper (unbleached Uwazen and Kozo Misumi) Sheet: 11 1/4 × 9 1/2 i...

Poster for a Chillida exhibit at the Museum of Art Carnegie Institute in Pittsburgh, 1980.