Ephraim Wuensch

Purim

2013

This is one print – printed in full color on 15" x 20" heavy cream-colored paper. It is from a limited edition series of 175, the portfolio is hand numbered and hand signed by Chris Ware. the individual prints are not. The page with the hand signature is included here as a photo for reference only it is not included in this sale. Franklin Christenson "Chris" Ware (born December 28, 1967), is an American cartoonist known for his Acme Novelty Library series (begun 1994) and the graphic novel Jimmy Corrigan, the Smartest Kid on Earth (2000) and Building Stories (2012). His works explore themes of social isolation, emotional torment and depression. He tends to use a vivid color palette and realistic, meticulous detail. His lettering and images are often elaborate and sometimes evoke the ragtime era or another early 20th-century American design style. Ware often refers to himself in the publicity for his work in self-effacing, even withering tones. He is considered by some critics and fellow notable illustrators and writers, such as Dave Eggers, to be among the best currently working in the medium; Canadian graphic-novelist Seth has said, "Chris really changed the playing field. After him, a lot of [cartoonists] really started to scramble and go, 'Holy [expletive], I think I have to try harder.'" While still a sophomore at UT, Ware came to the attention of Art Spiegelman, who invited Ware to contribute to Raw, the influential anthology magazine Spiegelman was co-editing with Françoise Mouly. Ware has acknowledged that being included in Raw gave him confidence and inspired him to explore printing techniques and self-publishing. His Fantagraphics series Acme Novelty Library defied comics publishing conventions with every issue. Ware's art reflects early 20th-century American styles of cartooning and graphic design, shifting through formats from traditional comic panels to faux advertisements and cut-out toys. Stylistic influences include advertising graphics from that same era; newspaper strip cartoonists Winsor McCay (Little Nemo in Slumberland) and Frank King (Gasoline Alley); Charles Schulz's post-WWII strip Peanuts and the cover designs of ragtime-era sheet music. Ware has spoken about finding inspiration in the work of artist Joseph Cornell and cites Richard McGuire's strip Here as a major influence on his use of non-linear narratives. He is one of the great practitioners who have elevated the graphic novel style along with, Shepard Fairey, Ben Katchor and Robert Crumb. Quimby the Mouse was an early character for Ware and something of a breakthrough. Rendered in the style of an early animation character like Felix the Cat, Quimby the Mouse is perhaps Ware's most autobiographical character. Ware's Building Stories was serialized in a host of different venues. It first appeared as a monthly strip in Nest Magazine. Installments later appeared in a number of publications, including The New Yorker, Kramer's Ergot, and most notably, the Sunday New York Times Magazine. Building Stories appeared weekly in the New York Times Magazine from September 18, 2005 until April 16, 2006. A full chapter was published in Acme Novelty Library, number 18. Another installment was published under the title "Touch Sensitive" as a digital app released through McSweeneys. The entire narrative was published as a boxed set of books by Pantheon in October 2012. Ware was commissioned by Chip Kidd to design the inner machinations of the bird on the cover of Haruki Murakami's novel The Wind-Up Bird Chronicle. In 2011, Ware created the poster for the U.S. release of the 2010 Palme d'Or winning film Uncle Boonmee Who Can Recall His Past Lives by Thai director Apichatpong Weerasethakul. Awards and honors Over the years his work garnered several awards, including the 1999 National Cartoonists Society's Award for Best Comic Book for Acme Novelty Library and Award for Graphic Novel for Building Stories. Ware has won numerous Eisner Awards and multiple Harvey Awards. In 2002, Ware became the first comics artist to be invited to exhibit at Whitney Museum of American Art biennial exhibition. With Will Eisner, Jack Kirby, Harvey Kurtzman, Robert Crumb and Gary Panter, Ware was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from September 16, 2006 to January 28, 2007. His work was the subject of solo exhibitions at the Museum of Contemporary Art, Chicago in 2006 and at the University of Nebraska's Sheldon Museum of Art, in 2007. Many famous artists have done covers for the New Yorker Magazine including, Saul Steinberg, Maira Kalman, Art Spiegelman, Francoise Mouly, Charles Addams, Peter Arno, Roz Chast, Ed Koren...

This is one print – printed in full color on 15" x 20" heavy cream-colored paper. It is from a limited edition series of 175, the portfolio is hand numbered and hand signed by Chris Ware. the individual prints are not. The page with the hand signature is included here as a photo for reference only it is not included in this sale. Franklin Christenson "Chris" Ware (born December 28, 1967), is an American cartoonist known for his Acme Novelty Library series (begun 1994) and the graphic novel Jimmy Corrigan, the Smartest Kid on Earth (2000) and Building Stories (2012). His works explore themes of social isolation, emotional torment and depression. He tends to use a vivid color palette and realistic, meticulous detail. His lettering and images are often elaborate and sometimes evoke the ragtime era or another early 20th-century American design style. Ware often refers to himself in the publicity for his work in self-effacing, even withering tones. He is considered by some critics and fellow notable illustrators and writers, such as Dave Eggers, to be among the best currently working in the medium; Canadian graphic-novelist Seth has said, "Chris really changed the playing field. After him, a lot of [cartoonists] really started to scramble and go, 'Holy [expletive], I think I have to try harder.'" While still a sophomore at UT, Ware came to the attention of Art Spiegelman, who invited Ware to contribute to Raw, the influential anthology magazine Spiegelman was co-editing with Françoise Mouly. Ware has acknowledged that being included in Raw gave him confidence and inspired him to explore printing techniques and self-publishing. His Fantagraphics series Acme Novelty Library defied comics publishing conventions with every issue. Ware's art reflects early 20th-century American styles of cartooning and graphic design, shifting through formats from traditional comic panels to faux advertisements and cut-out toys. Stylistic influences include advertising graphics from that same era; newspaper strip cartoonists Winsor McCay (Little Nemo in Slumberland) and Frank King (Gasoline Alley); Charles Schulz's post-WWII strip Peanuts and the cover designs of ragtime-era sheet music. Ware has spoken about finding inspiration in the work of artist Joseph Cornell and cites Richard McGuire's strip Here as a major influence on his use of non-linear narratives. He is one of the great practitioners who have elevated the graphic novel style along with, Shepard Fairey, Ben Katchor and Robert Crumb. Quimby the Mouse was an early character for Ware and something of a breakthrough. Rendered in the style of an early animation character like Felix the Cat, Quimby the Mouse is perhaps Ware's most autobiographical character. Ware's Building Stories was serialized in a host of different venues. It first appeared as a monthly strip in Nest Magazine. Installments later appeared in a number of publications, including The New Yorker, Kramer's Ergot, and most notably, the Sunday New York Times Magazine. Building Stories appeared weekly in the New York Times Magazine from September 18, 2005 until April 16, 2006. A full chapter was published in Acme Novelty Library, number 18. Another installment was published under the title "Touch Sensitive" as a digital app released through McSweeneys. The entire narrative was published as a boxed set of books by Pantheon in October 2012. Ware was commissioned by Chip Kidd to design the inner machinations of the bird on the cover of Haruki Murakami's novel The Wind-Up Bird Chronicle. In 2011, Ware created the poster for the U.S. release of the 2010 Palme d'Or winning film Uncle Boonmee Who Can Recall His Past Lives by Thai director Apichatpong Weerasethakul. Awards and honors Over the years his work garnered several awards, including the 1999 National Cartoonists Society's Award for Best Comic Book for Acme Novelty Library and Award for Graphic Novel for Building Stories. Ware has won numerous Eisner Awards and multiple Harvey Awards. In 2002, Ware became the first comics artist to be invited to exhibit at Whitney Museum of American Art biennial exhibition. With Will Eisner, Jack Kirby, Harvey Kurtzman, Robert Crumb and Gary Panter, Ware was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from September 16, 2006 to January 28, 2007. His work was the subject of solo exhibitions at the Museum of Contemporary Art, Chicago in 2006 and at the University of Nebraska's Sheldon Museum of Art, in 2007. Many famous artists have done covers for the New Yorker Magazine including, Saul Steinberg, Maira Kalman, Art Spiegelman, Francoise Mouly, Charles Addams, Peter Arno, Roz Chast, Ed Koren...

Girl in Ballerina Dress, c. 1970 Color lithograph printed on wove paper, hand signed in pencil and numbered 22/75, with the inkstamp of the publisher, Landfall Press, Chicago (they have published an eclectic list of many important artists including Christo, Judy Chicago, David Levinthal and Jack tworkov to name a few.) Philip Pearlstein is an influential American painter best known for Modernist Realism nudes. Cited by critics as the preeminent figure painter of the 1960s to 2000s, he led a revival in realist art. He is a Distinguished Professor Emeritus with paintings in the collections of over 70 public art museums. Philip M. Pearlstein was born on May 24, 1924 in Pittsburgh, PA. He attended Saturday morning classes at Pittsburgh's Carnegie Museum of Art. In 1942, at the age of 18, two of his paintings won a national competition sponsored by Scholastic Magazine, and were reproduced in color in Life magazine. In 1942, he enrolled at Carnegie Institute of Technology's art school, in Pittsburgh, where he painted two portraits of his parents now held by the Carnegie Museum of Art, but after one year he was drafted by the US Army to serve during World War II. He was initially assigned to the Training Aids Unit at Camp Blanding, Florida, where he produced charts, weapon assembly diagrams and signs. In this role, he learned printmaking and the screenprinting process, and subsequently was stationed in Italy making road signs. While in Italy, he took in as much renaissance art as was accessible in Rome, Florence, Venice and Milan, and also produced numerous drawings depicting life in the Army. In 1946, sponsored by the GI Bill, he returned to Carnegie Institute, and first met Andy Warhol, who was attracted to Pearlstein because of his notoriety in the school, having been featured in Life magazine. During the summer of 1947, the three rented a barn as a summer studio. Immediately after graduating in June 1949 with a BFA, Pearlstein and Warhol moved to New York City, at first sharing an eighth-floor walkup tenement apartment on St. Mark's Place at Avenue A. He was eventually hired by Czech designer Ladislav Sutnar, mainly doing industrial catalog work, while Warhol immediately found work illustrating department store catalogs presaging Pop Art. In April 1950, they moved to 323 W. 21st Street, into an apartment rented by Franziska Marie Boas, who ran a dance class on the other side of the room. During this time, Pearlstein painted a portrait of Warhol, now held by the Whitney Museum of American Art. In 1950, Philip Pearlstein married Dorothy Cantor, with Andy Warhol in the wedding party...

Hand lithography on BFK Rives French hand moulded paper Style: German New Objectivity (Neue Sachlichkeit) According to the frontis these were produced by Hand Lithography. According...

Hand lithography on BFK Rives French hand moulded paper Style: German New Objectivity (Neue Sachlichkeit) According to the frontis these were produced by Hand Lithography. According...

Hand lithography on BFK Rives French hand moulded paper Style: German New Objectivity (Neue Sachlichkeit) According to the frontis these were produced by Hand Lithography. According...

10 15/16 x 8 7/16 (sheet 13 13/16 x 10 13/16). Subsequent to Dodgson. Edition 40 published by the Twenty-One Gallery for 7 guineas. Illustrated: Fine Prints of the Year, 1936. A rich...

An early 19th century print entitled "Bow Street Office", an illustration (Plate 11) from "The Microcosm of London", published in London in 1808 by R. Acker...

"Poulaho, King of the Friendly Islands, Drinking Kava" is an engraving created by William Sharp (1749-1824), from a drawing by John Webber (1752-1793), who was the artist on Captain James Cook's 3rd and final voyage of discovery. It was published in the atlas of "A Voyage to the Pacific Ocean Undertaken by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere", the official British Admirality sanctioned journal published upon completion of the voyage in London in 1784 by Strahan & Cadell. Captain Cook visited Tonga on his 3rd voyage, which he named The Friendly Islands because of the warm welcome he and his crew received, unlike some of the other more hostile Pacific islands. The engraving depicts Cook and his men observed a kava ceremony at the village of Mu’a on Tongatapu. King Paulaho sits in the centre foreground, his back to the spectator with a man kneeling before him. The ceremonial mat depicted behind Paulaho indicates that nobody was allowed to sit behind him. The figure in the centre holds a single cup, referring to the Tongan custom of offering the cup to the king first. Kava is native to the islands of the South Pacific and was first described for English readers in 1768 by Captain James Cook. The kava root has been used for centuries as a central feature of ceremonies and celebrations because it was able to bring about a calming and pleasant social atmosphere. The root was crushed and processed into coconut milk to become the focal ceremonial beverage, simply referred to as kava. This engraving is presented in a Koa wood frame and a white mat. Koa wood is legendary in Hawaii. There are occasional faint spots, but the print is otherwise in very good condition. This amazing Koa wood is native to Hawaii and it is known for the deep rich colors and varied grain pattern. Koa has an honored heritage in Hawaii and is highly revered and sacred. The word “koa” means “warrior” in Hawaiian. The warriors of King Kamehameha the Great, created canoes and weapons from a wood plentiful on the Big Island of Hawaii. This wood became synonymous with the warriors themselves, and it became known as koa. There are three other engravings listed from the official journal of Captain Cook's 3rd voyage available that are presented in identical Koa wood frames and mats (LU117324682422, LU117324684052, LU117324684032). They would make a wonderful grouping for a display of 2, 3 or 4 prints. A discount is available for a grouping depending on the number of items included. Captain Cook is remembered as one of the greatest explorers and navigators in history. His explorations included Australia, New Zealand and islands of the South Pacific and the northwest coast of North America. Hawaii was discovered by Captain Cook during this voyage. Hawaii was originally called The Sandwich Islands in honor of The Earl of Sandwich...

Adele, the 10 year-old girl who may be the daughter of Rochester and Celine in "Jane Eyre" is being scrutinized by three women. One is seated on an ornate sofa...

"Orient-Express" is a lithograph poster by Pierre Fix-Masseau. It depicts two people dining and being served drinks on a luxury train. The artist signed the artwork in the image lower right. There was a small tear on the margin that has been repaired. 38 5/8" x 24 1/4" art 40 1/2" x 26" frame French Poster...

Hand initialed and numbered by the artist. Etching and aquatint in colors, on handmade paper. Image size: 13.5 X 21.25 in. Sheet size: 22.5 x 31.25 in. Framed. Edition of 50. Artwor...