HOLY GRAIL ART

Arthur Adams Historic Longshot #1 Cover Inspiration Illustration (First Rendering) Original Art (Marvel, 1983)

A rare find from the beginning of Arthur Adams career! Just starting at Marvel, Adams was given the chance to work on Longshot by writer Ann Nocenti. The six-issue series took two years to finish, releasing in 1985, and instantly put Adams on the map, cementing his place as an up-and-coming artist. After much research on the topic, Art originally drew 5-6 initial renderings of Longshot in 1983 as early concept art for the series, this being one of them and perhaps the most important and influential to the series. Longshot's look was influenced by singer Limahl, and his unique appearance was perfect for the character. When putting the story and first issue together, which fortunately Art was not given a deadline by Louise Simonson, he went back to this very image of Longshot (same pose as cover) with Magog by his side and expanded on it and used as the cover inspiration to Longshot #1! A true piece of Marvel Copper Age history! Graphite over blue pencil on 11" x 14" Bristol board. Slight toning, with light handling wear. Signed at the bottom by Adams at the time of the drawing in 1983 and again in 2001. In Excellent condition.

Jim Aparo “Knightfall Part 15” Batman #498 Enter Catwoman (Opening Scene Half Splash) Summoned by Bane & The Infamous Kiss! The Issue Following "The Broken Bat" Original Art (DC, 1993)

After DC’s enormous success of The Death of Superman in late 1992 and early 1993 with the follow up Funeral for a Friend, just months later a new story arc was written by Acclaimed writers Denny O’Neill and Doug Moench, this time it was for Batman and it was called “Knightfall”. The story arc featured a new genius villain named Bane and similarly to Death of Superman, it was a tremendous success. One could argue with the arrival of Bane as an all new villain, he’s remained greater and more popular than Doomsday, making this arc more memorable over the years. Either way, DC did something we haven’t seen from either of the “Big 2” publishers in creating back to back classic story arcs merely months apart that have become iconic 30 years later. This particular page came from Batman #498 written by Doug Moench. Now let’s get to the art…

This Half Splash page is Catwoman’s first introduction into Knightfall when summoned by Bane by his goons not only set up Catwomans run with Jim Balent by establishing the look and the plot for Catwoman #1 and beyond, but it's existence in the Knightfall storyline as influence in Christopher Nolan's Dark Knight Rises helps to propel this page into the history books! As seen on the cover, not by choice, Catwoman reluctantly agrees to team up with Bane. 

You can see a broken Bruce Wayne in a body cast in the last few panels, attended by Shondra Kinsolving, his Doctor who has an ongoing crush on him. The last 2 panels you can see Bruce not only suprised, but the final panel reveals her feelings for Bruce as she kisses him! Shondra will be Bruce's love interest during this arc and will go on to cure Bruce later in the story, where he becomes Batman once again. An incredibly important page to the Knightfall story arc introducing Catwoman for the first time and the romance begins for Bruce and Shondra. 

Rick Burchett Inks over legendary Batman artist Jim Aparo pencils on Bristol board with an image area of 10" x 15". Signed by Aparo in lower area. The page has production hole-punches in the side margins, otherwise in Excellent condition. 

Jim Aparo “Knightfall Part 15” Batman #498 Historic Page Azrael's Debut as Batman and Don's The Suit For The First Time! The Issue Following "The Broken Bat" Original Art (DC, 1993)

With our previous page from this story arc having Bruce make the decision for Jean Paul Valley to take over the Bat Mantle, here is the very first page in which he Don's the Bat suit! Of course later in issue #500 Azbats new suit is revealed, where he battles and defeats Bane! Here we have a historic page ending issue #498 with Commissioner Gordon waiting for Batman with the Bat signal over Gotham and JPV and Robin show up swinging as Robin says to “Stick to the shadows and use your horse grating voice Bruce uses.” I love Aparo’s Gotham cityscape with the Bat signal in the sky. The best line has to be the close up of the new Batman at the end panel letting Gordon and the reader know despite Bruce’s wishes, he’s going for Bane! “…Bane will have He’ll itself to pay.” 

Setting up the showdown of what’s to come! A fitting page to match our page from above from the issue following the Breaking of the Bat! A major event that defined Batman for the 90's. A journey from failure of being broken to eventual triumph! Rick Burchett Inks over legendary Batman artist Jim Aparo pencils on Bristol board with an image area of 10" x 15". In Excellent condition.

Mark Bagley Amazing Spider-Man #415 (Onslaught Arc) Splash Page 18 Depicting The Cover Scene From His Final Issue of His 5 Year Run! (Marvel, 1996)

Mark Bagley is undoubtedly one of the top Spider-Man artists of our time, drawing the character for over 30+ years regularly on different titles. This page and issue marks the last issue from his illustrious first run, where he was the regular artist from issue 351 to 415! Here is the cover scene to "The Sentinels Take Manhattan!" part of the Onslaught Arc during the Clone Saga. On this page Spidey encounters a Sentinel on this 1996 Mark Bagley page with Al Milgrom inks. It is one of the rare encounters between Spider-Man and these robotic X-men adversaries. I love the composition of this page, with the Sentinel gazing at Spidey near the top of a building as we see his Ben Reilly unique suit with the giant spider on the back! We also get a glimpse of J Jonah Jameson in the smaller panels freaking out that NYC has been taken over by Sentinels and where we're learning the mutant calls himself "Onslaught!" Just a great splash page depicting the cover scene from Bagley's last issue on the title! 

Ink over graphite and blue pencil on Marvel Bristol board with an image area of 10" x 15". In Excellent condition.

Steve Epting Pencils & Inks Captain America Vol. 5 #6 Splash Page Cap Parachuting Across Manhattan Skyline / 1st Winter Soldier Issue (Marvel, 2005)

Stunning splash page, one of the best in the entire issue, which says a lot being the most sought after issue in the classic run. This is all hand drawn page by Epting, hard to believe at first glance since this would’ve been far easier to use photo stat(s) to create the beautiful Manhattan skyline imagery. I can admire this page for minutes at a time looking at the incredible detail done by Epting. I constantly pick up on more finite details in the cityscape, down to the skyscraper windows to the parachute itself. It’s by far one of the most beautiful detailed pages I’ve come across in modern years. 

The page itself features America parachuting down unto the Manhattan skyline from 'Out of Time Part 6' the first arc of Ed Brubaker and Steve Epting's classic, and hugely influential tenure on the book. This is the issue that officially introduces Bucky Barnes as The Winter Soldier (3 pages later), one of modern comics most enduring characters, from comics to film to television. 

Steve Epting pencils and inks; page 15; 2005; image size 10.5" x 16". Art is in excellent condition. In a private collection since 2006.

Frank Frazetta- Conan, Pen & Ink Presentation Drawing Peak Period Original Art (c. 1979)

Drawn by the master of fantasy illustration, this is a dynamic pen-and-ink finished drawing of Conan, warrior-king of Cimmeria, both axe and shield up ready for battle! The quality of line for which Frank Frazetta is justly revered is in clear evidence in this piece, as is his impeccable sense of layout and design. Purchased directly from Frazetta’s former manager Rob Pistella, comes with COA. Rob adds, “This is a finished, inked drawing from Frazetta’s peak period in the 1970’s…I don’t know if it was published but I wouldn’t be surprised if it was…It’s a presentation drawing, just beautiful and elegant and refined.”  

The original work of Frank Frazetta is some of the most desirable for any discerning collector, and many pieces are valued at six or even seven figures. His illustrations are not only considered the best in the genre of fantasy art, but in the history of illustration as a whole. Frazetta oils are spectacular, commanding some of the highest prices in the medium, but there are something truly special about his pen and ink drawings, which we're showcasing here. Signed by the artist himself and dated 1979, this drawing is a highlight of any collection, an original Frazetta Conan! Nicely matted, the image area measures a substantial 7.25” tall on the 8” x 10.5” sheet, and the art shows minor handling and edge wear with some toning near the edges and a crease in the lower left corner. A highly coveted original Frank Frazetta drawing, this piece by the artist is in Very Good condition. Signed on the lower right, c. 1979 during Frazetta’s peak period. 

Kelley Jones Red Rain II (Bloodstorm) Diamond Preview Cover (Advance Comics #71) Original Art (DC/Diamond, 1994)

The second part in the vampire trilogy, this cover illustration begins where Batman: Red Rain ended. Batman has destroyed Dracula but at the price of his own humanity. Now the famed protector of Gotham is a vampire himself and must battle his own bloodlust as he attempts to be the savior of the innocent. Struggling with his newly acquired dark nature and desire to kill, Batman must choose between the preservation of his own soul and the survival of Gotham. 

When on the hunt for the right Kelley Jones Batman piece, as much as I  appreciated his Batman (main title) run, and was certainly the darkest period I can remember, I really felt his most memorable and noteworthy works were his Batman Eleworlds graphic novel trilogy. It was from this trilogy, specifically Red Rain where he received both a Harvey Award and Eisner Award for his work. So when this cover came up from this critically acclaimed series, without hesitation I  

There's so much we can say about this cover, but really, does it get any better than this for a Jones Batman cover? Batman is in an incredibly heroic pose ready to stab a vampire with a wooden stake, that happens to also have silver on the inside to ensure it does the trick. Then we focus on Joker in the background with little rain bubbles presumably representing blood, hence the "Bloodstorm". Catwoman aka Selina Kyle is seen fighting off vampires on the left, this is the first time we see her as a Were-Cat, birth page of sorts. All of the covers for these Batman Elseworld stories by Jones are not nearly as detailed and intricate in artistic design. All or most of the covers have Batman coming up from the ground, a detailed macabre Batman face, or Batman perched in the shadows, nothing so dynamic and detailed as this piece. 

What makes this cover even more special is this is the only Batman Elseworlds cover art that has surfaced, as there are no other covers from this sought after trilogy that have reached public auction or even posted on Comic Art Fans. We know this cover was done early as we see the title as "Red Rain II" and not "Bloodstorm" indicating the name for the graphic novel was not fleshed out yet when this scene was created. This dynamic illustration by Jones was used as the cover of Advance Comics #71 & presumably for Diamond Previews / Capital City catalogue cover at that same time. 

From the dream team of Kelley Jones pencils with John Beatty inks. The image area measures 10.25" x 15.5" and the art is in Excellent condition.

Dan Jurgens Justice League America #69 Doomsday's 1st Epic Battle Scene with The JLA! (Death of Superman Part 2 DC, 1992)

This page represents our earliest Death of Superman page and a more important one to the overall series. I remember this issue as a kid being my first introduction to Doomsday and just how destructible he was. Nothing against Man of Steel #18 as Doomsday’s first appearance but we don’t get to see any battle within that issue, instead he arrives on Earth and begins to cause havoc on a highway. We really get a better understanding of how powerful this Kryptonian being is once he encounters the heroes here in Justice League #69. Let’s start at the top, let the battle begin!…

In previous pages just as this one, Superman is being interviewed by Cat Grant and questions are being asked by the audience, none more important than this one. “If there anything out there that really frightens you? I’d get scared facin’ all that stuff if I was you.” Superman responds saying it’s a good question, he’s afraid of failure, hurting innocent people, and of his own death. We may not see his answer on this page, but we do see what is the driving question to the saga and a prelude of what’s to come. The flow of Jurgens story and art is really top notch, with Superman taking questions while the onslaught of the League is currently taking place below. 

The following lower panels take us back to Doomsday’s first battle scene overall, as the monster takes on the JLA, and they’re manhandled one by one with ease. Here’s a memorable scene in which Doomsday punches Bloodwynd (who’s really Martian Manhunter by the way) so hard he explodes the through the oil tanker and catches on fire. We get a strong visual of Doomsdays claws exposed from his containment suit, soon to be slowly ripping off as he gets closer to Metropolis. 

The lower panel showcases nearly all of the team members less of course Superman and Guy Gardner as he was pummeled by Doomsday just a couple pages earlier. Maxima adds “Did you see that punch?”…”Where could a being so powerful have come from?” We get a great front facing visual of Doomsday in a dark eerie like shadow, as Fire blasts him, he’s unphased and Bloodwynd remains on fire. Booster Gold & Blue Beetle look in awe from above and Beetle says “Can Bloodwynd survive something line that?“ We should add this is the only page in the entire issue to feature 5 of the JLA team members present battling Doomsday, along with the cover, which also had 5 of the team members! Most of the battle pages featured 1-2 members with Doomsday present, so this page from a presentation standpoint is a real treat.

For the first time as a reader, based on the visual art, and the dialogue, we’re presented a villain larger than life, almost indestructible. A truly remarkable early Doomsday battle page showcasing the depths of his destruction. 

Bob Kane Co-Creator of The Batman Concept Illustration Original Art From Bob Kane's Personal Collection to Acclaimed Artist/Writer Chip Kidd

Incredible original art sketch by Batman creator Bob Kane, showing his design process for the iconic comic character. Sheet includes sketch of Leonardo Da Vinci's bat-influenced flying machine design, labeled "Da Vinci's Orinthopter" in Kane's hand, along w/"Da Vinci Quote: 'Remember That Your Bird Should Have No Other Model Than The Bat!'" Below this are three different designs labeled "Bat Masks?" showing design progression of Batman's famous cowl. Right features great full body image of a prototypical "Bat-Man," which is rather close to the finished design, only w/different cowl/mask. Lower right signed "Robert Kane - 10/25/35". Sheet has moderate handling wear as mailed, w/creases and .5" T-shaped tear left of moon image. 1/8" age spot on Bat-Mask image. VG condition overall.    

This extremely rare and unique art was sent by Kane to contribute for Chip Kidd's 1996 book "Batman Collected". Comes w/original mailing envelope hand-addressed by Kane post marked January 1996. Envelope shows obvious wear and just comes along. Lot also includes one of Bob Kane's personal envelopes that he has labeled "Negative For DC 'Batman Collected'," going on to list subjects of negative slides. These include an image of Kane w/large Batman drawing, image of Batman, Robin and Batwoman (mislabeled "Batgirl" by Kane) as well as notable Bat-villains. Art represents Kane's artwork, some dating back to 1971, w/dates and handwritten notations on some. Negatives are in excellent condition.    

Comes w/handwritten note from Kidd, explaining the genesis of this lot. More specifically Chip contacted Kane via DC Comics to see if he wanted to contribute anything to the book and sent the Batman original concept art along with the art negatives. Ultimately, the art was not used in the book. Here is the note from Chip Kidd discussing the genesis of the lot:   “This is a wild one, been sitting a drawer for over 25 years. In 1995, when I was putting together ‘The Batman Collected’, I reached out to Bob Kane via DC Comics to see if he had anything to contribute. He sent this envelope. While I was thrilled to get it, I felt the drawing wasn’t usable for the project. Ditto the slides. So that was that. And now I’m finally letting it go. Let me know your thoughts. -Best, Chip”   

Unique lot, including original Batman concept art from his creator - Bob Kane! We’ve never come across anything of the sort of the Batman concept art in the hand of Kane, which is certainly museum worthy! From the collection of Chip Kidd, renowned author, graphic designer and pop culture enthusiast extraordinaire. Approx. 14x15" sheet of art paper in pencil.

Gil Kane Green Lantern #60 Story Page 11 1st Lamplighter (Green Lantern On All 4 Panels Battling Lamplighter!) Original Art (DC, 1968)

Gil Kane. The best of the best. He's to Green Lantern what infantino is to Flash is probably the best way to put it. As the co-creator of the Silver Age Green Lantern, Gil Kane’s contribution to the character spanned decades of books and generations of fans. Perfectly capturing the sense of adventure and fun that DC strived for in the late '50s, Kane almost singlehandedly created the Silver Age comic art that lasted well into the '70s. Every panel that Kane drew exploded off the page with energy (like our page!) and creativity that is rare in modern comics.

Designing classic villains like Sinestro, Hector Hammond, and the Lamplighter (as seen here), Kane was a vital part of the Green Lantern mythology and turned a character that no one had any faith in into a full-fledged comic book icon. His historic run on the Green Lantern title lasted from issue 1-61, went back from issue 68-75, before Neal Adams took over with the classic issue 76 adding Green Arrow to the title. 

Hal Jordan, the quintessential Green Lantern, turns the tables on the villainous Lamplighter in his first appearance. Greene's nuanced inks provide the ideal finish to Kane's power-packed pencils. The precipitous radial composition follows Green Lantern's path through a retail showroom, using the store's ceiling-mounted interior signage to track the progress of the struggle from a variety of angles. Lee "Lamplighter" Carver has one of the more intriguing character-arcs in DC's long history, having become the operator of the Metahuman Museum of Oddities and lamenting his criminal past. Kane adds a lot of little details in his movements that make his art great. For instance, look how GL's legs look when they are flying. Great 4 panel page featuring Green Lantern battling the villain!

Sid Greene Inks over Gil Kane pencils with fairly extensive white-paint retouching over graphite on Bristol board. Image area, 10" x 15". Light/moderate toning. Very Good condition.

Sam Kieth Marvel Comics Presents #121 Page 5 Wolverine & Venom Seek Nightmare Original Art (Marvel, 1993)

I have to say one of the hardest voids to fill is a Marvel Comics Presents Sam Kieth cover and or interior for that matter, they just don't come up and when they do they tend to have a huge price tag attached. Rightfully so, as Sam's Wolverine is so distinct and so nostalgic from this era. Sam's larger than life and musculature physique compliments Venom so well on this page.  

Sam Keith and Turner combine to create this extraordinary page, featuring Wolverine and Venom teaming up to navigate the realm of Nightmare, featuring a vision of Wolverine's former lover Mariko. Kieth's distinctive, unique style shines through with his unmistakable take on the characters, a beautiful page from one of the most collected artists of the era. 

What I found most interesting in Kieth’s second to last issue from his incredible MCP run is he only did 10 issues of interior art on the Wolverine stories, which were only 8 pages each. Interesting fact, if it were from a normal size comic book with 22 pages it would make up less than 4 issues of Kieth art, which is another reason why there’s so little of it on the market. Pen and ink. Art is in excellent condition. Sam Kieth breakdowns/Dwayne Turner finishes; page 5; 1993; image size 10" x 15" 

Jack Kirby Fantastic Four #3 Page 3 Earliest Superhero Marvel Age Original Art Known to Exist (Marvel, 1961)

From The Earliest Marvel Age Super Hero Art to Surface & earliest panel page known to exist from The Fantastic Four, featuring Marvel’s most enduring character... The Thing!

This Historic page hails from the earliest issue of original art of The Fantastic Four known to exist. With that said, this too means this is the earliest Marvel Age Super Hero Art known to exist in this very issue! Based on Marvel historians and countless research, this page is believed to be the first panel page original art for the Fantastic Four known to exist, and overall second page next to the title splash page 1. Jack Kirby pencils/Sol Brodsky inks; page 3; Produced in 1961, Published in 1962; Large art (twice up) image area 12.5" x 18".     

Read More About the "Beginnings of The Fantastic Four" & The Marvel Age as we know it! Featuring an in depth look a the earliest original art of Fantastic Four & The Marvel Age!

Jack Kirby The Incredible Hulk #3 -- (Earliest Hulk Art Known to Exist) Hulk -- Ringmaster -- Rick Jones Page 19 Original Art (Marvel, 1962)

Here is what represents the earliest art of The Incredible Hulk, as mentioned above it’s widely known the art from issues #1 and #2 do not exist. Art from the first series of 6 issues is exceedingly rare, especially issue #3 being the earliest art of the character, therefore being the most desirable amongst collectors. What makes it even more desirable is it’s been kept out of the public eye, never crossing the auction block, nor has it been featured in online galleries or articles until now. 

This particular page features the Hulk in the first panel in a perfect full length ideal image, almost Frankenstein like, which also happens to be the title page scene with Rick Jones pointing while controlling the monster. Outside of the amazing first panel of Hulk and Jones is what truly makes this page special with the great storytelling and overall page flow by Kirby. After Jones visits his aunt for food, he stumbles upon a seemingly innocent circus, only later to find out he’d be hypnotized by the antagonist of the story, The Ringmaster, as seen on the bottom tier panels! Those great bottom panels showcasing our story villain the Ringmaster and his circus of crime, set up the climactic scene to follow where Hulk goes to rescue Jones, only to be caught himself and made part of the circus act. Overall this great page features the main three characters of the story, not only Hulk and Rick Jones, but also the first appearance of the Ringmaster and his Circus of Crime! 

Jack Kirby Journey Into Mystery #84 Battle Page 10 Historic Thor Meets Jane (1st Jane Foster & 2nd Thor Issue) Original Art (Marvel, 1962)

Pages of this rarity, cultural importance, and graphic perfection almost defy description. Suffice it to say, only Jack "King" Kirby and his inker supreme, Dick Ayers, could create a page of such intensity and majesty -- and as a result, one would be hard pressed to find a better early battle page of Thor by King Kirby. Arguably this is the best of Thor’s first three battle page scenes, only earlier pages are of the stone men in the tail end of issue #83 and the plane attack a few pages earlier in issue #84, but this is the first time the Mighty Thor takes on an army! 

The final panel is actually Thor's first face to face encounter and first dialogue (as Thor and not Dr. Don Blake) with Jane Foster saying out loud, "They've captured Jane" and she replies "Don't listen to them, defeat them all!" The page is inked by Dick Ayers, one of Kirby's primary inking partners during the early years of the Marvel Silver Age. Twice-up large art, the art has an image area of approximately 12.5" X 18.5" and has some tape staining.

Adam Kubert Origin II Book 3 Cover "Logan The Savage" (Claws Out) Original Art (Marvel, 2014)

This has been a tough void to fill. I've had a few opportunities as of recent to acquire an Adam Kubert Wolverine page and or cover, but it either didn't speak to me enough as I was the underbidder on a couple of occasions, or I felt it wasn't quite the right example for me. Then the CAF Live sale was announced from Adam's personal collection and this cover was featured as the headline piece. I naturally speculated on price leading up, but being a cover from a known series and arguably the best cover of the 5, I thought I didn't stand a chance. To my surprise, within my price range and quick on the trigger, I won the cover! Adam rarely sells his art, so to get a fully detailed front and center claws out Logan example I was more than thrilled! 

The 5 covers to the limited series were all done in pencil in line with the original Origin series back in 2000. Adam felt his painterly style pencils would go best for the colorist. Needless to say the detail of Logan caged and chained in the wagon with bone claws out is breathtaking. What you'll also notice is the great detail and intricate design of the wagon itself. This is not only considered the best of the 5 covers from the series, but the only full image of claws out Logan! An extremely rare original art opportunity that did not  go to waste. The memorable cover and limited series was the follow up to Origin (2000) and continued Logan's early stories set in the early 1900s where he met who will later become Sabretooth. 

Adam Kubert full graphite with an image area of 10" x 15" on 11" x 17" Bristol board. Signed by Adam Kubert in black pen on lower right center. In Excellent condition.

Andy Kubert X-Men #47 “Big Trouble In Little Italy” (X-Babies, X-Men, Villains & Dazzler!) Splash Page 18 Original Art (Marvel, 1995)

Here’s a great 2/3 splash from Andy Kubert’s run on X-Men featuring all the X-Babies on the top left, X-Men members Jean Grey, Bishop, Gambit and Ice Man on the top right, plus villains Gog & Magog confronted by the Mojoworld Queen— Dazzler in the lower middle splash panel!

The bottom 2 panels show Dazzler once again in the shadows not happy with Gog and Magog when she learned they were planning to eat the X-Babies so she blinds them with a flash of light. On the bottom right, Ice Man and Jean Grey recognize right away who has arrived even being in the shadows. Everything works out in the end as Dazzler sends Gog and Magog back to the Mojoworld. The X-Babies also return to Mojoworld to live with Dazzler and Longshot. 

Jesse Delperdang Inks over Andy Kubert’s pencils on Marvel Bristol board with an image area of 10.25" x 15". Light handling wear and in Excellent condition.

Jim Lee and Scott Williams The Uncanny X-Men #275 "Zaladane's Citadel" Magneto Splash Page 23 (From Jim Lee's Personal Collection) Original Art (Marvel, 1991)

This has to be my modern grail. Like many other collectors in todays world, I grew up with Jim Lee’s version of X-Men, I still have this book and many others in a long box since the early 90’s off the shelf. I’ve been searching for the right Jim Lee X-Men page for quite some time now. I’ve had my chances, but most recently with the enormous rise in values, I’ve been on the sidelines or outbid to an ungodly number. When I saw Jim chose a few X-Men pages to be auctioned off from his personal collection I thought once again there was no chance, especially meaningful pages he’d been holding onto for 30+ years. Besides a Wolverine claws out or full team page by Lee, like many of my other modern story arcs in my collection I want the villain, so the obvious choice was a Magneto page. Side note: prior to the auction the month prior I almost came to a deal on Jim Lee X-Men page featuring Magneto, but the seller was reluctant and I couldn’t blame him. But instead, with patience and sheer luck, I was able to pick up this amazing 2/3 splash from the landmark giant sized anniversary issue #275 featuring none other than Master of Magnetism, Magneto! 

Page Breakdown-

Jim Lee provides a powerful 2/3 splash panel establishing the opening scene in Zaladane’s Citadel of villains, who is queen and high priestess of the Sun People, inhabitants of the Savage Land. Magneto has been placed on a glowing platform, and Zaladane stands on a similar device where she attempts to steal Magneto's powers with the help of Brainchild of the Savage Land Mutates. On the bottom panel, Brainchild explains to Semyanov (SHIELD Colonel) that the machine transfers every spark of magnetism inside Magneto into Zaladane. Magneto tries to resist, but can't stop the process.

This incredibly detailed page features futuristic tech facilitating the energy transfer from the Master of Magnetism to the empowered sorceress, as well as a mind-controlled Shanna the She-Devil and Nereel, powerlessly observing in the background. Though powerless, with Lee’s pencils and Williams strong inks you’re immediately drawn to the large Magneto image. It’s a gripping page featuring a rogue of villains with Zaladane at the helm. Ink over graphite and blue pencil on Marvel Bristol board with an image area of 10" x 15.25". Punched holes in the side margins. In Excellent condition.

Jim Lee Punisher War Journal #18 Page 3 Classic "Kahuna" Hawaii Issue (Punisher & Microchip) Original Art (Marvel, 1990)

The Punisher and Microchip are in Hawaii to save a little girl from drug dealers. I remember this issue as a kid and loved it, being the "Kahuna" Hawaii issue. I especially love the first panel with the Hawaii mountains in the background while Microchip sets up the scene. This page has it all, a Hawaii setting with Punisher and Microchip guns blazing taking fire from the bad guys! And though you can't see it in this angle of taking fire, The Punisher has his classic skull suit under his Hawaii shirt as shown on the cover! 

An early Jim Lee page that put him on the map as an all-star artist, soon to get the X-Men title! With Al Milgrom inks and Don Hudson background inks over graphite on Marvel Bristol board with an image area of 10" x 15.25". Slight toning, text paste-ups and residue staining from missing paste-ups, staple holes in the top left, whiteout corrections, and light handling wear. In Very Good condition.

Batman Hush is quite possibly the greatest story arc that’s come out of comics in the last 20 years. Launching in 2003 with Batman #608, for the first time Jim Lee teamed up with acclaimed writer Jeph Loeb, at the time most known for his Batman Long Halloween work with artist Tim Sale. The art collaboration between Jim Lee and Scott Williams along with the storytelling of Loeb was an instant success. Batman Hush ran for a 12 issue series from Batman 608-619 and a Wizard interlude recognized as 616A with record sales across the board and where the storyline has been reprinted numerous times as well as a hit animated movie and he most recent Batman movie in 2022 inspired by the Hush series.

For the first time in nearly 20 years since since Batman 619 released September 2003, 5 new pages have been released from the same creative team of Jeph Loeb writing with Jim Lee and Scott Williams art. The hype on these new story pages hit every major comic publication worldwide with articles coming out from everywhere from Bleeding Cool to Screen Rant and IGN to name a few. Similar to the interlude released in the Wizard #0, also referred as 616A, these new story pages immediately follow the end of issue 619, titled as “Prologue The Aftermath”. As IGN reported prior to the release of the book, the 5 added pages are part of the original story…

“DC's upcoming Batman: Hush 20th Anniversary Edition hardcover will feature the 12-part series written by Jeph Loeb and illustrated by Jim Lee, as well as tons of bonus material. And as revealed by IGN, that includes five new pages that have been added to the original story.” 

When the cover to the Hush 20th Anniversary was announced and the art was released, it was a frenzy from comic art collectors to pick up the cover. The bidding started north of $50k and 2 bidders quickly took it past $70k, ending at an incredible $90k! Our understanding is the bidding may have very well gone higher, but Jim was happy with $90k and ended it there. I told Albert Moy, Jim’s rep to please let me know when the Hush pages are released. Lucky for me when Albert was at The Baltimore Comic Con when Jim just passed over the 5 pages to him. When he described the pages over the phone my first thought as always, was to pick up an actual Hush (Tommy Elliott as the villain) page, seeing there are so few of them out in the flesh and command a premium. Once I saw page 4 the half splash of Hush getting out of the river I was immediately sold, but then I saw page 5, a cover quality splash of a rogue gallery of sorts featuring not only Hush but a classic pose of both Harley and Joker pointing a gun to Hush’s head. Albert and I work out a deal for both, but then looking at pages 1-3, which all feature Batman, I’m thinking the opening splash of Batman in the rain jumping in the river is such a classic moment. Once I decided to get 3 of the 5 pages, I decided to work out a deal to get all 5 pages to the story. Here they are in detail...

Jim Lee Pencils & Scott Williams Inks Batman Hush 20th Anniversary Splash Page 1 "Into The River" (DC, 2022)

We kick off the story directly following the events of Batman #619 Bruce goes back to the bridge every night to search for Tommy Elliott aka Hush… As mentioned above this is an incredible opening page of Batman diving into the river with the rain pounding at night reminiscent to the finale scene in Batman #619. I especially love the subtle homage on the bridge on the lower left to Infantino and Miller, though later for print Miller was replaced with the great Tim Sale after his passing in June 2022.

Jim Lee Pencils & Scott Williams Inks Batman Hush 20th Anniversary Page 2 "The Search for Hush" (DC, 2022)

Batman searches the river to come across a lead hull vessel and references in #619 where Clark checked the river with his x-ray vision with no trace of Hush. But the lead hull would block Clark’s scan of the river and Batman goes inside to check it out where he finds dead bodies. He also references this river to be a known mob drop spot for the dead. Then we see a dead Lex Corp employee, apparently stabbed in the eye. Someone once told me the real Jim Lee Batman collectors come out when you can see the lugs on the boots...Well check out panel 1, there you go! Also, check out panel 2 and 3, which is almost Dark Knight Milleresque in look and feel. Great detail and flow throughout this page…

Jim Lee Pencils & Scott Williams Inks Batman Hush 20th Anniversary Splash Page 4 "Hush Surfaces From The Gotham River!" (DC, 2022)

Bush is revealed in this half splash exit in the river after being shot, hiding in a sunken ship where he repaired himself. The top half splash not only has Hush getting out of the river for the first time, but showcases an extremely detailed rocky Gotham cityscape, something I’m always a sucker for by Lee and Williams. The bottom half splash has a great frontal view of Hush, dripping in water, bandaged up with a menacing look only to be greeted by…

Jim Lee Pencils & Scott Williams Inks Justice League #2 pg 18 Half Splash First Team Round Up (DC, 2012)

Fresh off the infamous Batman vs Superman battle earlier in the issue, this is the first time the Justice League members meet up to strategize. What’s the object? The Mother Box! We get great shots of Superman, Batman, Flash and Green Lantern. Jim Lee showcases the printing press warehouse round up with incredible detail. Check out the details on the conveyor belts and lighting throughout on this standout 1/2 splash page with the full team at the time before Wonder Woman comes on the scene.

Jim Lee Pencils & Scott Williams Inks Justice League #6 pg 6 Splash Cover Scene & Steppenwolf New 52 Birth Page -- “Hail Darkseid!” (DC, 2012)

Superman Cover scene splash on DC cover Bristol board. Was this full splash intended to be the cover to the finale issue to arc 1? Another incredibly detailed page featuring Darkseid’s General Steppenwolf and Dasaad draining the energy and life from Superman. This page happens to be Steppenwolf’s 1st appearance and birth page for the New 52 version, the version we know from the Justice League movie. This scene resembles closely similar to the opening scene of Zack Sunder’s Justice League movie with Superman’s energy being drained with similar electricity drawing from him in despair. A truly stunning splash page just before the mother boxes are released and Superman is free’d from the grips of Dasaad, and goes on to battle Darkseid in the first finale story arc. 

Ron Lim Silver Surfer #34 Page 21 Thanos Resurrection Issue and First Dialogue Original Art (Marvel, 1990)

Silver Surfer believes this was all a dream, and talks to himself about what dreams mean and his existence. He hears a voice suggesting that his dream was a premonition. The nightmare has just begun…  In this key page by Ron Lim with Surfer in every panel, and great dialogue by Starlin, he questions whether this was all a dream or something more? He begins to reflect on his life and existence as a human underneath the silver shell. “So The question still remains… What was that dream all about?” Surfer says. The last panel a voice says “Perhaps it was a Premonition.” Surfer responds “Who?” And looks to see who it is. The last panel of this page is the first dialogue of Thanos in physical form to Surfer, and this premonition would start his quest for the infinity stones and wiping out half the population of the universe.  

When looking for a Lim / Starlin Surfer page, there are so few pages from this key issue #34, so much so I’ve literally counted the number on my hand in CAF galleries and auction results. Lim’s page layout and surfer images are great, especially of him in the middle on his board. Not to mention Starlin’s dialogue and Surfer’s reflection of himself, and the bottom panel importance of Thanos’ first dialogue in physical form. A Truly historic grail page reintroducing Thanos and the start of the Infinity Gauntlet Starlin/Lim story arc! 

Ron Lim Thanos Quest #2 Page 11 The Origin of The Infinity Gems Revealed For The First Time Original Art (Marvel, 1990)

Ron Lim (pencils) and John Beatty (inks) collaborated on this incredibly important 'Twice-up' page from 1990s's Thanos Quest #2. Thanos has gone on a quest to obtain six Infinity Gems that together will give him the power to impress his beloved personification of Death by murdering 50% of all living beings in the universe. On this page, Thanos has used his technology to locate the Runner, an Elder who possesses the Space Gem and demands that he turn it over to the Mad Titan. The Runner demands to know why Thanos seeks the Infinity Gems, and Thanos reveals the origin of the gems for the first time...

Prior to this page, we saw but knew little about the origin of the gems and for the first time on this very page we learn about their origin. The gems were once part of an omniscient being who existed before all time and space. This being "was all that was and all that was, was it."  says Thanos. As Ron Lim notates on the right side, to fade "God" into space, which is why there is only a pencil outline of the sentient being (see bottom panel darkened to show from original lighter scan). This being, however, was lonely, and ended its own existence. Its limitless power was reincarnated in the six Infinity Gems. This being we later find out is Nemesis, but here is referred to as God. The published page has a painted space background over the middle and lower panel by Tom Vincent. 

When acquiring this page, the content and context of the page outweighed the art or lack thereof. From the art perspective, I should add you still get a great Thanos image, a great Runner image with the space gem, and the two of them floating in space on the larger middle panel. Not to mention the pencil outline of the sentient being referred to as "God", later recognized as Nemesis! Overall, An incredibly important page to the Infinity Gauntlet saga, as we learn for the first time of the gems origin! 

This large art has an image area of approximately 11.75" x 17.75", light smudges and artist notes along the border. 

Infinity Gauntlet #6 Page 37 (Iconic Scarecrow Splash Featured In Endgame Opening Scene)

In the first of these four pages we see the iconic scarecrow armor image, signifying Thanos’ retiring from his old Mad Titan life to being a simple farmer, which was always his end goal once he completed his task at hand. But in this case, different from the movie, he fails the task at hand to wipe out half of existence. The scarecrow image may also have other deeper meanings.  

From Jesse Schnedeen Blog Discussing Avengers 4 Thanos’ Scarecrow Image- The Thanos-crow Symbolism 

“The shot of Thanos' armor forming a bizarre scarecrow may well be the most striking image in the Avengers Endgame trailer. On the surface, this "Thanos-crow" symbolizes the fact that the Mad Titan has left his old life behind. He no longer wants to be the feared tyrant who traveled from world to world and murdered billions. He craves whatever sort of peace and contentment he can find after having sacrificed his own children for his cause. That said, it's interesting to think about what this Thanos-crow might symbolize on a deeper level. Scarecrows are tools used to ward off birds and prevent crops from being devoured. Basically, Thanos is cultivating life on his farm and doing what he can to protect it from predators. That's the exact opposite of what he was attempting to do in Infinity War. Is the Thanos-crow a sign that Thanos has a newfound respect for the preciousness and fragility of life? Is the scourge of the MCU evolving into a defender instead? 

Thanos the Hero- Few would attempt to describe the Thanos of the comics as a hero, but he has experienced some pretty dramatic moral shifts over the decades. Going back to Infinity Gauntlet, that story marked a major shift for the character as he stepped away from villainy and became a more benevolent force in the universe (for a while, anyway). Thanos even allied himself with Adam Warlock and the Infinity Watch, helping them safeguard the Infinity Stones and ensure that no one else could assemble the Infinity Gauntlet and wield unchecked power.”  

This opening “Farmer Thanos” half splash infamous “Scarecrow” page is not only an iconic image from Avengers Endgame opening scene in which Thor beheads Thanos, but also has much deeper meanings behind the image, which makes this original art page by Ron Lim extra special. 

Infinity Gauntlet #6 Page 39 (Thanos Reflection of Power)

Another magnificent page with Pip The Troll and Gamora questioning Warlock why they’re leaving the Mad Titan on this remote planet without being punished. Warlock explains essentially this is how the universe is to be “...Without Thanos, the picture is incomplete.” In the last panel, Thanos looks out to the sky seeing his visitors leave and reflects on his past follies... 

“Power. Such an ephemeral commodity, hard to gain, easy to lose. And I once thought I understood it. What vanity.” These are remarkable reflective words coming from the former Mad Titan, as he questions his life work, accomplishments and most notably his recent failures. 

Daredevil #222 David Mazzucchelli Page 18 Daredevil & Black Widow (Cover Scene) Original Art (Marvel, 1985)

Here's an interesting one, and one that rarely comes up, A "Mazz" Daredevil page and being the cover scene to a great issue!  So this one came to auction at Hake's in late 2022, I remember now's my chance as I missed out earlier in the year at auction for a Mazz DD page. With Clink & Heritage Signature that same week, I think Clink was the same night, the Hake's auction slipped by and I missed the page. Fast forward 6 months later and boom, Glen over at Panel Page listed this consignment on a Sunday morning and I didn't hesitate, taking no chances and securing the art that same day.

Original art for issue #222 page 18 featuring the crazed villain in the top panels, with Daredevil and Black Widow on the lower panels. The large lower panel recreates the cover image of the issue with Daredevil swinging upside down from a tree and saving the Black Widow from a swampy pit of slime. I love the pounding rain, and the detail of the trees in the swamp as our hero's struggle. Not to mention the top panels villain channels an almost Bernie Wrightson horror scene feel. 

Storyline "Fear In a Handfull of Dust" by Denny O'Neil. Pencil art by David Mazzucchelli and inked by Kim DeMulder. Issue/page numbers on top margin in pen. Lt. aging to ink in a few areas. Three corners trimmed for printing. Spot at top and bottom where tape was removed. On "11 x "17 Bristol Board, Overall clean and Excellent. Signed by both Mazzucchelli and DeMulder on the bottom in ink and pencil.

Todd Mcfarlane Pencils & Inks Amazing Spider-Man #323 Half Splash Spidey Message to MJ (Marvel, 1989)

An Incredible Super-stylized 1/2 Splash Spidey art by Todd McFarlane, with a lean-looking Spider-Man, and a cute "big hair" Mary Jane, in this key page from 1989. This tall vertical splash was a one page scene, the only page in the issue featuring MJ and Aunt May! This show-stopper page features Spidey giving an interview where he sends an encrypted message to MJ via a news conference. Once MJ figures out the message, she tells Nathan and Aunt May that Peter reached out earlier and “He’s okay”, and May sasses MJ. It was work like this that made McFarlane a comics industry superstar! 

When I think of Mcfarlane Spidey Art that revolutionized the look of the character, one generally thinks of the intricate webbing and contorting positions, but most notably it’s the elongated eyes, which take up most of his face. When looking for the right page, as much as I’d love a fully webbed contorting McSpidey page, the storytelling and overall flow of this page did it for me, featuring all three of the most beloved characters and the remarkable Spidey bust splash featuring those signature McSpidey eyes! Mcfarlane wisely did a vertical Spidey 1/2 splash to really showcase Spider-Man on the first half of the page. In contrast, if he would’ve done a traditional horizontal splash it would’ve been a wide view lens and Spider-Man would not have been the feature, instead the audience would be. 

The other half of the page layout really focuses on MJ in that middle panel, which Mcfarlane was also famous for. MJ Mcfarlane pages are extremely desirable in the marketplace and recent auction results have seen skyrocketing prices realized. Though many feel Romita drew the best and most memorable MJ, one could argue Mcfarlane’s MJ is a close second, changing her look for the first time form a slimmer 60’s gal to a more 80’s stylized bustier version. This issue was the tail end of Mcfarlane’s historic Amazing Spider-Man run, #324 and #327 interior was penciled by Larsen, #326 pencils by Doran, leaving only #325 and #328 for McSpidey art in which very few of these pages featured MJ, even less with both Spider-Man and MJ on them. Just a truly remarkable McSpidey show piece to have in our collection.   

The artwork is in ink over blue pencil on DC Comics Bristol board, with an image area of 10" x 15", and is in Excellent condition, with only a hint of handling wear in the outer borders. Signed by McFarlane and dated '89, with the most desirable McFarlane ink on Mcfarlane Pencil!

Mike Mignola A Year of Monsters Sketchbook Cover Original Art (Emerald City, 2013)

Here is one of Mignola’s most memorable and desirable sketchbook covers ever, which says a lot! The Year of Monsters in 2012 was a major event for Dark Horse and Mignola, which brought him back to doing a series of covers featuring characters created by Mignola pitted against a famous monster. These series of variant cover comics are now some of the most desirable of the era and command premium prices in the marketplace. To commemorate the year of monsters in January 2013, Mignola created this memorable cover and sketchbook showcasing all 12 variant covers in their original in colored art form. The sketchbook if you can find it, will run north of $500+, perhaps more depending on condition, making it one of Mignola’s most desirable Hellboy books in the marketplace. 

From Hellboy Wiki- 

“After Hellboy: The Fury concluded, it was announced that Mike Mignola would return as artist to the ongoing Hellboy stories in Hellboy in Hell. However, this workload would mean he would no longer be able to do as many covers as he had in the past. Aside from the covers for Hellboy in Hell or other Hellboy comics, Mike Mignola would no longer be doing any covers for singles. As a farewell to covers, the "Year of Monsters" cover variants were created, with one cover released for every month of the year 2012. These variants feature characters created by Mignola pitted against a famous monster of some sort. The covers have no relation to the story contained within the issue. The following year, 2013, Mignola's convention sketchbook, A Year of Monsters, highlighted his uncolored art from the series of variant covers.”

The cover art is spectacular, starting with the title, which is all drawn art, a rarity for a Mignola cover piece. A full figure Hellboy is front and center surrounded by some of Mignola’s most recognizable monsters, with Frankenstein, a Vampire and Death, and of course his trademark of bats surrounding! An incredible Mignola work of art showcasing his “Year of Monsters” in one memorable cover image. Rendered in pen and ink on 9x12 board in excellent condition, signed and dated by Mignola in the lower right center. Note- The scan was done with the mylar in place and shows a plastic line along the "M" and down the page, will attempt to get a better scan soon!

Mike Mignola Hellboy In Hell #4 Page 13 Key Page Masked Guide Reveal & Origin of Sir Edward Grey (Dark Horse, 2013)

From CBR- Mike Mignola uses "Hellboy in Hell" #4 to bring the first story arc of the new series to a close, but as Hellboy finds out who his mysterious guide is, the path back to the world of the living looks fainter by the second.

Speaking of "reveal" for the end of the first story arc, well here you have it, the mask guide for Hellboy is none other than the Witchfinder, Sir Edward Grey. This page features Sir Edward Grey's origin to the depths of hell, from the banks of Acheron (one of the four rivers in hell) with Grey as a shriveled up monster in the top image as only Mignola can do with his stark chiaroscuro style inks he's most known for. The lower panels show the monsters reconstructing Grey and stitching him back up, but it seems they don't know how to put a human back together. "Fortunately in those days there were creatures that lived in those rocks, I never learned what they were called, and they're gone now...But they gathered up my parts and stitched me together as best they could." And of course the last panel shows the masked guide reveal to be Sir Edward Grey himself. Here is a more detailed origin of Sir Edward Grey below...

From MultivercityComics “Hell Notes: Sir Edward Grey” by Mark Tweedale-

“There were creatures that lived in among the rocks on Acheron's banks at that time, and they gathered up the pieces of Sir Edward and sewed him back together again. The creatures cared for him and brought him to the Castle of the Warlock Angus Weir. In life, the Warlock had sold his soul, and in 1813 When a horde of demons came to collect, they snatched the castle from Scotland and brought it to the banks of Acheron. But Weir had been clever. He had drawn marks on the castle that barred any demon from entering. Weir did not survive the journey to Hell, but his castle became the home and haven of Sir Edward. What happened to Sir Edward during his time in the Abyss is unknown, but when he appeared on Earth again he was unrecognisable as his former self. The cloaked and masked Sir Edward has appeared several times throughout the Hellboy series, usually in very strange company for a man that once thought all magic was an evil.” 

A great origin page by Mignola featuring Hellboy and the masked guide, Sir Edward Grey, who saved him from the depths of hell! Pen & Ink on 11x17 Dark Horse strathmore board, signed Mignola in lower right, art is in excellent condition.