Founded in 2020, Philippe Labaune Gallery specializes in illustration, painting, comic strips and animation. From February 13th to March 8th, the gallery will host a retrospective of the legendary Will Eisner’s work from 1941 to 2002. Interviews Editor, Andrew Irvin, sits down with Philippe to discuss what went into planning this exhibition.
COMIC BOOK YETI: Greetings, Philippe, and welcome to the Yeti Cave! Your gallery has been, “devoted to presenting original 20th and 21st-century comic art and illustrations by emerging and established artists.” Will Eisner is about as established a name in the medium as possible. Unlike a publisher, where output is limited only by the effort of staff and the time and cost of print runs, galleries have a fixed space within which a show may be curated. What precipitated the decision to make this Eisner exhibition a priority for the gallery?
PHILIPPE LABAUNE: I’ve wanted to do an exhibition of Will Eisner’s work since we opened the gallery. He’s had such an immense influence on the comic world, not just in terms of artistic style but in how we think about storytelling in the medium. Eisner’s work transcends the typical boundaries of comics and really set the foundation for what we now know as the graphic novel. His unique approach to blending text and imagery has inspired generations of artists and writers. He didn’t just push the limits of comic art – he completely redefined what was possible in terms of narrative. Shining a light on his contributions was always something that was on my mind. So it’s been a long time coming, and we’re excited to finally bring this exhibition to life.
CBY: I’m glad you’ve finally been able to see a longstanding goal realized with this show. It’s my understanding you’ve partnered with Denis Kitchen (founder of the late 20th Century Kitchen Sink Press as well as the Comic Book Legal Defense Fund) and the Eisner Estate to make this retrospective a reality. Can you tell our readers a bit about how you and Denis met, and how the arrangements for this exhibit came about? What sort of conversations precipitated the show, and what sort of conditions came with the responsibility of putting pieces of Eisner’s legacy on display?
PL: This exhibition came together thanks to a wonderful collaboration with Denis Kitchen, who has been Will Eisner’s representative for the past 30 years. Denis is a well-respected figure in the comic art world, and I was fortunate enough to connect with him through a mutual friend. From there, it was a back-and-forth process – working closely with him and the Eisner estate to ensure we could secure the pieces that best represent Eisner’s groundbreaking work and his legacy. We are very grateful for Denis’s help, as his expertise was crucial in making this show a reality. It’s been an exciting process, and I’m thrilled to see this show become a reality.
From the start, I knew I wanted pieces from A Contract With God. All of Eisner’s work is significant, but that book, in particular, holds a special place for me – it’s a landmark in the medium, a book that changed the conversation around what comics could be. So when I started discussing the exhibition with Denis Kitchen, I made it clear: A Contract With God had to be part of it.
I knew the first story, A Contract With God, had been sold over 15 years ago, so my focus shifted to the three other stories in the book, The Super, The Street Singer, and Cookalein. Out of those, the last two are “light” in the sense that the subject matters and even the drawings are closer to Eisner’s regular sequential art. It feels like he wanted to breathe after the first story which is so close to his own experience of losing a child at a young age (Eisner lost his daughter to leukemia at the age of 16). The Super stood as the strongest and closest to the vein of the first story in both the atmosphere and drawing style. It is a powerful piece of storytelling that showcases Eisner’s mastery of blending text and imagery. I was thrilled when Denis told me the family of the late artist was willing to give us The Super. It is a story filled with the deep emotional weight that made A Contract With God so groundbreaking. The fact that we get to present it sequentially is something really special that we have never done before. It’s a first for our gallery.
CBY: I wish I could be there to see it in person (and hopefully some of our readers around NYC get to visit!) I was able to read a bit about your journey in Tyler Nessler’s interview with you for Interlocutor. You’ve had around 20 exhibitions since the nar·ra·tive show covered in that conversation. What surprises have popped up, and what have you learned about the comics art market and running a gallery in the last couple years of fervent activity?
PL: In the past couple of years, I’ve been surprised by how rapidly the comics art market has evolved. When I opened the gallery, my goal was to challenge the traditional boundaries between comics and fine art. Comics are now being recognized as serious, profound, and multilayered art forms, and the more we present them in galleries, the more the audience shifts to understand the depth of the medium.
One of the key lessons I’ve learned is the importance of fostering the unique relationship between comic art and storytelling. The comics art community thrives on narrative, and by highlighting that aspect, we can deepen the appreciation of the medium as a vehicle for both personal expression and cultural
dialogue. Another surprise has been the growing interest from a new generation of collectors and art lovers who are seeking to explore comics through the lens of fine art.
Younger collectors seem especially attuned to the versatility of comics—how they exist at the intersection of visual art, storytelling, and popular culture. This shift is incredibly energizing for the gallery, as it opens up new possibilities for exhibiting work and connecting with audiences who might not have initially thought of comics in the same way as traditional art forms.
Running a gallery has also deepened my appreciation for the balance between preserving the integrity of the comic art form while showcasing it in a professional, curated space. It’s not just about displaying pieces on a wall; it’s about creating an environment that respects and highlights the value of this unique storytelling medium.
CBY: The strength of narrative in imagery is an element of our culture that certainly demands a better understanding from the general public, and it is crucial to have spaces such as yours to reframe the dialogue around comics and their role in the art world. You’ve mentioned your experience with the bandes dessinées culture of French and Belgian comics, but can you share a bit about your exposure to Eisner’s work? The Spirit is a seminal superhero serial, and as you mentioned, A Contract With God represents a strong contender for the origin of the graphic novel canon. How did Eisner comics first find their way into your hands?
PL: Growing up, I was completely immersed in European comics, particularly the bandes dessinées tradition from France and Belgium. So, I didn’t actually discover Will Eisner’s work until I was in my 20s. The first Eisner book I came across was A Contract With God, and it made an immediate and lasting impression on me. The way Eisner used the medium to tell deeply human stories, while also pushing the boundaries of what comics could do, was amazing.
CBY: Prior to this Eisner exhibit, you’ve run shows featuring some living luminaries of the medium (e.g. – Mike Mignola, Frank Miller). In your unique experience, how does the market around original comic art change when dealing with a creator who is no longer creating, and their pool over available pieces is fixed and finite?
PL: When dealing with an artist who is no longer actively creating, the market around their original comic art shifts. The focus becomes much more about honoring their legacy and recognizing the foundational role they’ve played in shaping the medium. Collectors are drawn not just to the aesthetic qualities of the work but to the deeper context it represents—these are the artists whose visions helped define entire genres or periods in comics history.
What stands out in these situations is how the conversation around the artwork transitions from the artist’s current activity to a broader reflection on their contributions. It’s about acknowledging the influence they’ve had on both their peers and on newer generations of creators. There’s a certain level of significance that comes with showcasing work from artists who are no longer creating, and that shifts the energy of the gallery experience. It becomes a space for honoring the past and understanding how these artists’ works have influenced the growth of the medium.
CBY: I hope the visitors to your gallery are able to appreciate this opportunity for reflection on Eisner’s legacy. Having come from a career of finance, but recognizing your lifetime of enjoyment for the comics medium, what sort of cross-section of guests do you receive into your gallery? How does your curation respond to the variety of tastes and scale of spending you might expect out of visitors? Is there something for everyone, or at a show featuring work from the likes of the Eisner estate, are various pieces on-loan, or will certain work be offered for sale?
PL: Our gallery welcomes a diverse mix of visitors—some are lifelong comic fans, while others may walk in with little to no knowledge of comics. We embrace that variety and try to ensure there’s something for everyone. Fortunately, our price range makes it accessible for all types of collectors and art enthusiasts, from seasoned comic lovers to those simply drawn to the artwork.
All of the pieces in the exhibition are available for purchase, which is a great opportunity for collectors to acquire works from a legendary artist. We aim to strike a balance in our curation, offering pieces that appeal to different tastes, while also giving visitors the chance to own a significant piece of comic history if they wish.
Our goal is to create a space where both comic enthusiasts and newcomers can appreciate the art, making sure everyone has something to connect with.
CBY: When I think about the art market, more broadly, and the derision historically directed toward comics as “low art” I can’t help but reflect on Thomas Wolf’s take on the dissection of the form in The Painted Word. What sort of critical response have you received in opening a gallery focused on narrative/sequential art, and how has it deviated from the market response? Does cultural gatekeeping interfere with the mission you’ve set out upon, or does the money talk loudly enough to drown out the detractors?
PL: When I opened the gallery, I was deeply aware of how comics are often viewed as a “lower” form of art in the United States. That very perception is exactly why I felt compelled to open a gallery focused on narrative and sequential art. There’s a real opportunity here to change the way people think about comics and elevate them to a broader cultural recognition. The gallery’s mission has always been to bridge the gap between fine art and comics, to show that they are not separate worlds but rather intertwined forms of storytelling.
As for the critical response, it’s been really positive. People are hungry for this kind of art. It resonates with them in ways that are both personal and important. There’s something powerful about comics—they tell stories that are visual and text-based, capturing moments and emotions in ways that feel immediate and accessible. We’ve seen firsthand how this medium connects with audiences, and that’s been incredibly fulfilling.
Cultural gatekeeping certainly exists, but the market response has been encouraging. The people are showing up, engaging with the work, and supporting these artists that really matter. That has been a big motivator for us to keep going, and in a way, it’s been loud enough to drown out any detractors. We’re lucky to be in a position to help redefine how comics are viewed in the broader art world.
CBY: Well said, as I certainly feel grateful to be playing my own small role in shaping the discourse through conversations such as this. Philippe, it’s a pleasure to have you drop by the Yeti Cave today. With the details for the Eisner exhibit included above, if there are any other details you’d like to share about the show, or other creators unrelated to the Eisner exhibit you’d like our readers to know about, now is the time!
PL: Thank you! It’s great to be here at the Yeti Cave, and such a pleasure to talk about the Eisner exhibit. The show is really a celebration of the extraordinary impact that Eisner had on the medium, but I also want to highlight some other incredible creators who have left their mark on the world of comics.
Mike Mignola’s work continues to be a huge influence—his Hellboy series, with its incredible atmospheric storytelling and distinct style, has inspired countless artists and readers.
Then there’s Nicolas de Crécy, whose intricately detailed art has captivated readers for years. His blend of humor, surrealism, and sharp commentary on the human condition is a powerful reminder of how comics can do much more than entertain—they can provoke deep thought and reflection. Lorenzo Mattotti’s work is another one that stands out. His mastery of color, texture, and abstraction makes him one of the most innovative voices in contemporary comics. His Fires graphic novel, in particular, is a stunning example of how comics can bridge the gap between fine art and literature.
And of course, there’s Moebius. His influence on the visual language of comics, as well as science fiction and fantasy art in general, cannot be overstated. From The Incal to Arzach, Moebius redefined what comic art could be, with an imagination that knew no bounds. While the Eisner exhibit shines a light on one particular facet of the comic world, these creators, among others, have contributed so much to the rich, diverse world of comics, each in their own unique way.
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