Original Art By Artist (A-Z)
Arthur Adams
Arthur Adams Carnage #2 Variant Spider-Man Cover & Marvel Issued Poster Original Art (Marvel, 2003)
Arthur Adams created this piece in 2003, which was then published as a Marvel issued poster and then in 2010 it was again published as the final variant cover for the Carnage series. Looking at this piece you can see why Adams is one of modern comics' most acclaimed and collectible artists. What a striking Spider-Man portrait from one of the modern masters, and classic Spidey fans will get a kick out of seeing the old-school webbing under the arms and the wide, youthful eyes on Spidey's Ditko-influenced early Silver Age face in this contemporary piece.
Artwork is 9" x 12" and in very good condition. The final published version for both the poster and the variant cover changed the webbing to the feet to the usual Spidey style shoes during editing.
Neal Adams
Neal Adams Pencils & Inks Brave & The Bold #85 PG 21 Original Art One of The Best Batman Pages From Landmark Issue! (DC, 1969)
It was Neal Adams' revitalization of Batman, taking the character from the fun loving, cheesy 60’s TV series to the Dark, gritty character we know today. It’s said that many of the scenes Haney would write would take place during the day, but Adams would change it to night. Without Adams darker portrayal, we may have never seen Miller or Lee’s Dark Knight versions play out. For Adams, it was Batman that made the artist a favorite among fans and, very quickly, and eventually a living legend. The effect that Neal Adams had on the comic industry as it transitioned from the Silver Age to the Bronze Age was enormous. Every character he touched, were reinvigorated, and this is without a doubt the one of the most memorable issues the great artist ever crafted of the late silver age with the First appearance of the new Green Arrow costume! This being one of the most "Key" of all late Silver Age books.
This key page is the finale scene, the last action page to the issue and arguably the best Batman page in the book with him swinging in the air! When reading this story again, this was by far the best Batman image in the entire issue, page 2 takes a close second with Batman leaping onto a truck. From this era to put it in perspective, an Adam’s Batman swinging in the center of the page would be the equivalent of a Mcfarlane Spider-Man swinging and jumping out of the page! Something only Neal Adams could do at this time, with his realism and movement that would practically jump out of the page. Panel 3 of Batman swinging goes into both panel 2 and panel 4 giving a sense of increased movement of the character. Perhaps best described by PencilInk.Blogspot about Adams art and this issue below…
Brave & The Bold #85-
“The artwork throughout is breathtaking, displaying a fresh realism rarely seen in comics. Adams also employs multiple angles and varying panels to increase movement and tension around the characters. Interestingly, a single loosely sketched panel on page 22 suggests a frozen moment in time, as Senators tally the final votes. This story was later reprinted in Best of Brave and the Bold #1.”
What makes this even more special is it’s 100% Neal Adams, providing his own inks to his pencils, an increasingly rare occurrence as demand for his skills increased. Batman pages from this early period in Adams' career are rarely pried out of private collections, so we were very lucky to have acquired this page. We’ve owned many Neal Adam’s original art pieces, but this one we’re pleased to have in our private collection. The art is in very good condition with some minimal liner notes along the top, a right top corner tear for printing purposes, whiteout corrections, and some scarce blue pencil markings. Overall page size is 10.5" x 16" with a 10" x 15" image area. A great page from one of the best issues in Neal's brief run on The Brave and The Bold in the late sixties.
Ross Andru
Ross Andru The Amazing Spider-Man #180 Iconic Splash Finale Green Goblin Arc Page 31 Original Art (Marvel, 1978)
From the historic last page of issue 180 the return of Green Goblin arc and the farewell to Len Wein's run on ASM! Reminiscent of the iconic Amazing Spider-Man #50 cover, this superb finale splash features a huge symbolic image of Spider-Man as Peter Parker walks thoughtfully away from the reader. This was published in Amazing Spider-Man #180 (1978) and is the work of the classic Bronze Age Spider-Man art team of Ross Andru (pencils) and Mike Esposito (inks). It really captures the duality of the heroic Spidey and the typically down-on-his-luck Peter.
It’s a nice little happy ending, and as a capstone to his 30-issue run as writer/editor, Len orchestrates things so that the final page of the issue is a splash of Peter Parker walking off into the night with the spectral image of Spider-Man reflected in the skies above him. This was Len’s swansong on AMAZING SPIDER-MAN–like Ross would shortly, he was switching over to DC, where he’d work as both a writer and an editor, helping to bring some much-needed flavor of Marvel to the DC assignments he handled.
Mike Esposito Ink over Ross Andru graphite on Bristol board with an image area of 10" x 15". Slight toning, tape residue staining on the top, toning, discolored text paste-ups with residue and oil staining; Good condition.
Jim Aparo
Jim Aparo “Knightfall Part 15” Batman #498 Enter Catwoman (Opening Scene) 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 Bane Splash “Gotham Is Mine!” & Azrael Is Chosen to Take Over The Bat Mantle! The Issue Following "The Broken Bat" Original Art (DC, 1993)
The top panels feature a crippled Bruce Wayne and Tim Drake (aka the third Robin) as they make a fateful decision, with Gotham in despair, and the new Bat mantle is decided on this page to be passed to Jean-Paul Valley better known as Azrael. Tim Drake felt Nightwing would be the obvious choice, as did many of the readers at this time, but Batman denied the request saying he wants him to be his own man. His only wish with Jean-Paul Valley stepping in is by no means to confront… Bane! The bottom splash features our story arc villain Bane, as he gloats over a city in chaos with the classic words to follow “They still call out for their hero and savior…But he is Broken…And GOTHAM IS MINE!” This is the issue we start to really see Bane take over Gotham and bring chaos to the streets and this page really embodies it all. Just an all out tremendous page from this classic story arc, perhaps one of the top pages to follow the breaking of the Bat!
It follows the issue in which Bane broke Batman's back, a story arc heavily influenced the 2012 film The Dark Knight Rises. This page is a memorable one to the movie with Gotham burning, the streets recently taken over by the genius Mercenary and his crew following the disappearance of The Dark Knight. A key, turning point page from this storyline doesn’t get any better than this with the decision of the new Batman, while featuring a crippled Bruce Wayne from his recent breaking of the bat, Tim Drake aka Robin and Bane in a prolific pose over a burning Gotham City! Rick Burchett Inks over legendary Batman artist Jim Aparo pencils on Bristol board with an image area of 10" x 15". 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.
Chris Bachalo
Chris Bachalo and Mark Buckingham Death: The High Cost of Living #3 Finale Issue Incredible Key Turning Point Page 14 Original Art (DC/Vertigo, 1993)
Neil Gaiman's Sandman is one of most important comic book series in the history of the medium as it was one of the first to demonstrate the literary merits of graphic storytelling. It generated a huge crossover audience of fantasy readers and has remained a best seller in its various collection formats to this day. In the historic Sandman #8, readers met the series' most popular supporting character, Death, the sister of Dream of the Endless AKA the Sandman. The personification of Death itself, the character broke new ground by being depicted as a young goth-like girl who spoke like a contemporary young woman who just happened to be the grim reaper. The character's popularity led Gaiman to develop a spin-off mini-series, Death:The High Cost of Living, which was Death's first ever solo series. It was an extremely popular series that still has a significant number of fans, so the chance to own an original page from it that features the lead character in multiple panels, not to mention one of the most key turning point pages leading up to the series end was a no brainier for me at the time, as these pages simply do not come up!
In Death: The High Cost of Living, Death of the Endless spends one day every century as a mortal named Didi. I love what Gaiman has done with her. Death is the end, but she is also something we will all have to accept with open arms. There’s no escaping her and perhaps that’s why she is so welcoming here. It is fate that we will one day meet her. And she’s so likable; she has a big smile and an even bigger heart. The people she meets cannot resist her charm and easy going manner. They like her. They want to be around her and one day they will be forevermore.
In the series a young boy wishes for her. He is a typical teenager, broody, moody and full of self-loathing. He hates his life and he wants it all to end. Death appears. Instead of taking him she makes him realise that life is, in fact, worth living. His attitude was wrong. He failed to see beyond his own situation and understand that others were far more unfortunate than him. Death taught him a lesson: she taught him that life must come first.
On this page, Death realizes she's finally gotten through to Sexton, the depressed lonely teenager who starts to show appreciation of life, and is now time for her to head to Central Park to go back to the afterlife. This marks the first time we see Sexton show interest in life and perhaps more future adventures, which marked a huge turning point in the finale Issue. I believe this is also why Didi aka Death of The Endless feels her time with the living is now done.
Panel 3-"If I was really Death, do you think I'd tell you?" (Death with a smirk). An incredible key page to the renowned mini-series created in ink over graphite on Bristol board with an image area of 10" x 15". Slight tear into panel 5 and light foxing, does not affect art. Signed by the artist in the lower margin. Overall, the page is in very good condition.
Mark Bagley
Mark Bagley and Randy Emberlin The Amazing Spider-Man #375 Page 19 Spidey vs. Venom: The Final Confrontation & Anne Weying 1st Appearance Original Art (Marvel, 1993)
Stunning page from the classic 30th anniversary issue, featuring a classic Spidey vs. Venom battle from the story 'The Bride of Venom'. This is an extraordinary page, featuring nonstop action, from the absolute height of Bagley's original ASM run. This page also features Anne Weying in her 1st appearance, Eddie Brock's ex-wife and more importantly and as seen on the MCU, later becomes She-Venom. This key issue is also the very last issue before Venom takes on a new hat as more of an anti-hero and is the lead-in to Venom Lethal Protector #1, his 1st solo issue.
These pages are held on to as if they were family treasures, and almost never come up for sale. Heritage has only offered 2 pages from this key anniversary issue ever, 1 recently sold and not as good with only 1 true venom battle panel, the rest as Eddie Brock, for $13k+ and one page as good if not better last year for $36K!
Ink and Zipatone over graphite and blue pencil on Marvel Bristol board with an image area of 10" x 15". Toned text paste-ups with some losing adherence and residue staining from a missing paste-up in Panel 1, staple holes in the top left corner, with light staining and handling wear. Signed by the art team in the bottom margin. In Very Good condition.
Mark Bagley & Sam De La Rosa Spider-Man Unlimited #2 Page 11 Maximum Carnage Story Arc Finale Issue Venom vs Carnage Epic Battle Scene with Peter Parker Original Art (Marvel, 1993)
An epic image of Venom and Carnage battling headline this page from the conclusion of the "Maximum Carnage" storyline. Peter has an important conversation with his father about "monsters", and the deadly symbiotes definitely fit the bill leading into the all out battle.
Mark Bagley, who has illustrated more Spider-Man stories than any other artist in the 60+ year history of the web-slinger, so we thought it was fitting to have more than one featured Spidey page by the revered artist. Bagley, the co-creator of Carnage, did a bang-up job illustrating this conflict. The panels leading up to the symbiote battle feature Peter Parker having a conversation with his "father" in which they discuss something Richard Parker had said about all men being devils. This was during a period when Peter's parents, who were long thought to be dead, returned to his life. It turned out that they were actually very lifelike robots created by Spidey's old foe the Chameleon, but that story is for another day.
Ink and Zipatone over graphite on Marvel Bristol board with an image area of 10" x 15". Text and balloon paste-ups, some residue staining, red key lines in Panel 2, and tape cover up in the top right margin, with light handling wear; otherwise, in Excellent condition. Signed by Bagley at the bottom.
C.C. Beck
C. C. Beck Whiz Comics #7 Historic
Earliest Captain Marvel Art Known To Exist Finale Page 11 Twice-Up Original Art (Fawcett, 1940)
Here is something you don't see every day, which hails as noted on the subject as historically significant being by all accounts the earliest existing art for Captain Marvel from Whiz Comics #7. Believe it or not Captain Marvel aka Shazam outsold Superman in the early days, selling millions of copies monthly in the 1940's. C. C. Beck has always been considered the consummate artist for Captain Marvel. His clean style was perfect for a hero that was almost like a big soft teddy bear who was, nevertheless, an intimidating force against evil. After re-reading the story, and being the pride of the era, Captain Marvel sure did have his moments of not being Mr. Nice guy and at times was actually quite brutal. "Panel 1- "Too bad, but you had it coming to you." In this case the story villain Rodney Stark crashes to a fiery explosive death.
We must remember the times and uncertainties in the world as this was during World War II, a little over a year before Pearl Harbor and when the US entered the war. Enough about a history lesson, the interesting thing in this 11 page story, only 6 pages actually have Captain Marvel in costume, page 1 being one of them which is only a stat of the character, which leaves 5 pages of art, this being one of them. Furthermore, this is one of 2 pages that feature Shazam (Captain Marvel at this time), transforming back into reporter Billy Batson, while sharing the good news of Earth's rescue! Just an incredible art page featuring Captain Marvel (Shazam) and Billy Batson by their creator C.C. Beck from their birth year in 1940.
This piece of glorious Golden Age history was Created in ink over graphite on illustration board in twice-up scale with an image area of 13" x 18". Billy Batson and shadow in Panel Four are composed entirely of a stat paste-up. This toned page has production marks and notes, whiteout, staining, and glue residue. "Whiz Comics" stat paste-up is loosely attached and multiple text/ad paste-ups in the final panel are missing. In otherwise Very Good condition.
Steve Bissette
Steve Bissette Arken Sword #17/18 Swamp Thing Cover Original Art (Atlas, 1986)
Published near the beginning of his time on Swamp Thing, this striking piece showcases Steve Bissette's legendary skills as a horror artist. Featuring Swamp Thing alongside original creations, this illustration graced the cover of UK fanzine Arken Sword #17/18 featuring articles on Swamp Thing, Halo Jones, Nexus, and more. Next to Bernie Wrightson, Bissette is probably next in line as far as both recognition and contribution to the Swamp Thing character.
Created in mixed media on Bristol board with an image area of 10.5" x 16". The skull face is composed of original art on top of a stat paste-up affixed to the board; the underlying image is copied from an illustration by Bissette known as "Dry Rot", with marker and inks on top of the stat paste-up. Toning and handling wear. Signed and personalized in the lower right and in Very Good condition..
Jon Bogdanove
Jon Bogdanove Punisher Annual #2 "Wolverine vs Punisher" Following The Iconic Punisher War Journal 1st Meeting Pin-Up DPS Pages 56 & 57 Original Art (Marvel, 1989)
Here is something that’s special from this era featuring the two greatest anti-heroes of our time. After doing much research the first meeting between the two was none other than Jim Lee’s classic depiction from Punisher War Journal #6/7 from just a couple months earlier dated June/July 1989. This marks their second meeting in a comic book with an all out battle scene by Jon Bogdanove, a certainly different take from their first meeting. Though the annual went undated, GCD marks the on sale date in May 1989, shortly after the release of Punisher War Journal 6 & 7, which makes you wonder if this was created around the same time as Lee’s story, but with the tremendous success of their first meetup, this was used in the annual.
The large scale fight between two of the crankiest Marvel heroes done in ink over graphite on Bristol board with a matted image area of 21" x 15", used as a Double Page Spread for pages 56 & 57. There is heavy edge and handling wear to the mat, the art is toned. Signed and in otherwise Excellent condition.
Jon Bogdanove: The Art of Marvel.
Jon Bogdanove and Dennis Janke Superman: The Man of Steel #54 Classic Spectre Cover Original Art (DC, 1996)
The one time Bogdanove illustrates Spectre on a cover! When offered Bogdanove on his own blog commented how much he loved this cover with The Spectre looming over Superman and Metropolis. A play on Aparo's classic Brave & The Bold #199 cover with a similar size Spectre looming over Batman.
On this memorable cover The Spectre towers over Superman -- and the Metropolis skyline -- on this fantastically atmospheric cover from deep in Bogdanove's run as influential Superman artist of the '90s.
Ink over graphite on DC Bristol board with an image area of 10" x 15". The trade dress elements are affixed to an acetate overlay. There is discolored production tape to all but the top edge; the acetate overlay has yellowed with age, but the board underneath is white with very light soiling at the edges. In Excellent condition.
Jon Bogdanove: The Art of The Man of Steel.
Brian Bolland
Brian Bolland 2000 AD Prog #77 Judge Dredd "Cursed Earth, Part 17” Title Splash Page 1 Original Art (Fleetway, 1978)
When I think Brian Bolland, I really think of two works, his work on 2000 AD with Judge Dredd & The Killing Joke. Unfortunately the latter of the two, would run well into the six figures for the right original art pages and I really love his Dredd art just a much, which I should add is not for the faint of heart cost wise either. So when this opportunity came up to get a very early Bolland Dredd Splash page, I through my hat in and was honored to take it home. And when I say early, in doing further research this was only Bolland's 10th Dredd story art on the weekly series, noted as first cover art and considered his first Dredd story arc, the previous stints prior to "Cursed Earth" were fill in's or stand alone issues.
"The Cursed Earth" was the first Judge Dredd yarn to run more than twenty episodes, and as an epic-length saga, the storyline revealed many key elements of the world of Mega-City One, and is ranked #91 for The 100 Greatest Graphic Novels Of All Time. “The Cursed Earth" series ran from programs (issues) #61-85 (May to October 1978). Brian Bolland's flawless line work spotlights Judge Dredd in a classic rendition -- big, bold, and in your face, especially in this case with The Jolly Green Giant. This infamous sequence was banned from reprints up until recently because of Bolland's satirical caricatures of The Jolly Green Giant, previously copyright infringement issues.
Page Details-
This rather surreal Brian Bolland Judge Dredd title page from 2000 AD #777 (1977) shows Dredd being captured by a famous advertising mascot, the Jolly Green Giant. At first the Giant is his lovable, smiling "Ho, Ho, Ho-ing" self, but then his expression changes to a scowl. The Giant picks Dredd up by the scruff of his neck like he's a small rodent, accusing him of trespassing on his farm. Anyone who watched television during the second half of the 20th century is very familiar with the Giant and the hundreds of commercials he appeared in promoting the Green Giant line of canned and frozen vegetables. This was part of the "Cursed Earth" saga where Dredd meets Dr. Gribbons, a mad scientist parody of KFC mascot Colonel Sanders. Gribbons creates an army of sentient corporate mascots through his experiments on human brain matter, including the Jolly Green Giant. Bolland is one of the most beloved artists of his generation and this early work showcases the distinctive style that has made him a fan-favorite for decades.
This mega-masterwork has an image area of 11" x 14". The word balloons and captions are paste-ons; top right corner has a 1" crease and bottom right has a 1/2" crease, otherwise, the art is in Excellent condition.
Norm Breyfogle
Norm Breyfogle Shadow of The Bat #66 Essential Batman Artist of The Era Showcasing His Signature Cape Style Original Art (DC, 1997)
Norm Breyfogle was considered by many as one of the top Batman artists of the 80's and 90's, most known for his unique take on Batman's flowing cape and dynamic movements as depicted here on this page. His cape really takes on a life of its own, literally, as its alive and at times, featured in its own panel instead of Batman, as seen on the last panel.
As an avid Dark Knight art collector, it was essential to have the right Breyfogle piece, and this one seemed to check all the boxes. His long pointy-eared Batman (seen on top panel) and similar to a Kelley Jones Batman of the same era investigates on the rooftop overlooking the Gotham City PD building only to find snipers looking to take him out. Not only do we get a great representation of Breyfogle's flowing cape but great images of the Bat signal and a well detailed Gotham PD Headquarters. But it's in the last panel that really made it for me as one of the sniper's shoots at the Dark Kight, we get the long flowing cape as he disappears from the rooftop. For me it's all in the cape and you get it here twice, more subtly at the top and featured on the bottom.
Signed by Breyfogle on the bottom left panel. This art has an image area of approximately 10.5" x 15.5" and is in excellent condition.
John Buscema
John Buscema Amazing Spider-Man #78 Half Splash First Hobie (The Prowler) Brown Birth Page Original Art (Marvel, 1969)
We’ll lead this description off by The Bleeding Cool News publication who covered this piece very well in which this page was the featured cover image for the article (click the link below to view the article)...
Bleeding Cool- “Highlights from Best Spider-Man Collection Ever Assembled Hit Auction…”
“From Amazing Spider-Man No. 78 come two remarkable pages, offered separately, from John Buscema and Jim Mooney. Page 10 of this issue, which debuted Hobie Brown's Prowler, Peter Parker wanders the streets of New York bemoaning the loss of Gwen Stacy to Flash Thompson, fends off a couple of hoods and even complains he didn't have time to study. This is vintage Stan Lee – less about the hero, more about the man beneath the mask wondering where it all went wrong.” From The Spider-Steve Collection.
This historic 1/2 splash page by the legendary John Buscema, which is one of his earliest Amazing Spider-man art issues! This page not only has Peter battling a couple of street thugs in first half of the page, but that window washer in the last panel is actually Hobie (The Prowler) Brown's first interior appearance in a comic book! The opening page splash page might have the “Night of The Prowler” title but doesn’t feature the character until this very page, which is also technically the next splash from the opening title page 1. The next splash, Prowler in costume reveal page 16, recently sold from Mike Burkey's private collection for $100,000! Silver Age “Amazing Spider-Man” art pages such as this are exceedingly rare, especially a Silver Age Pre-100 key first appearance issue.
John Buscema layouts, with Jim Mooney finishes. Produced in ink over graphite and blue pencil on Bristol board with an image area of 10" x 15". There are some production stains in and around Panel 2. The board has been affixed to a 11.75" x 16.5" black mat board. In Very Good condition. From the Spider-Steve Collection.
The Prowler is Hobie Brown, an anti-hero introduced here in Amazing Spider-Man #78 (1969). The character was created by Stan Lee and John Buscema following a suggestion from a 13-year old John Romita Jr. to his father John Sr.. John Romita Sr. notes that Lee came up with the “twist” of making the new character’s civilian identity a young window washer, apparently no older than Spider-Man himself, though he doesn’t mention whose idea it was to make the character African-American. Hobie Brown has appeared in various animations and video games. In the Ultimate Universe, career criminal Aaron Davis also took on the Prowler identity. Aaron Davis was portrayed by Donald Glover in the Marvel Cinematic Universe film Spider-Man: Homecoming (2017) and was voiced by Oscar winning actor Mahershala Ali (Cottonmouth from Luke Cage and the new Blade the Vampire Slayer in an upcoming MCU film) in the Oscar winning animated Spider-Man: Into the Spider-Verse (2018).
John Buscema Pencils & Inks Marvel Comics Presents #40 Finale Page 8 Wolverine as Patch Original Art (Marvel, 1989)
Heres' a beautiful poignant page of Logan as Patch in "Hong Kong Inferno" from MCP 40. The imagery is breathtaking to end the issue from Big John Buscema who did both pencils and inks, which is a rarity. Also a rarity is a Wolverine page where it's still and no anger or action going on. It's this case, it's just Patch and the lady staring off in the Hong Kong sunset.
Created in ink over graphite on Bristol board with an image area of 10" x 15.5". In Excellent condition.
Sal Buscema
Sal Buscema The Spectacular Spider-Man #205 Classic Tombstone Cover "Death By Tombstone Part 2" Original Art (Marvel, 1993)
Spider-Man prepares to take on the vicious albino gangster Tombstone in order to save the life of his one time bully and later long-time friend, Flash Thompson, on this memorable Sal Buscema cover to Spectacular Spider-Man #205 (1993). Will Spider-Man be able to reach him in time? Though Sal didn't create Tombstone, he's the villain I most associate with him as an artist, drawing him most menacing. I remember this cover as a kid, I was always drawn to it, maybe it was the potential death of Flash Thompson or the fear I had in Tombstone. Either way, I've always cherished Sal's run on Spec Spidey and have owned various panel pages, but now I can check a cover off the list, and a good memorable one at that!
Sal Buscema had a long association with #214. Spectacular Spider-Man. He drew the first 20 issues, except for #6 and #11. He returned to the title with #134 and stayed through #218, except for #214. Soon, we'll be adding one of Sal's earliest issues, #5 introducing The Hitman!
Sal Buscema creates a dramatic cover rendered in ink over graphite and blue pencil on Marvel cover stock Bristol board with an image area of 9.75" x 15". Slight toning, paper overlay taped at the top, stat logo, header, text, and UPC box paste-ups, staple and pinholes in the top margin, with light staining and handling wear. Signed by Buscema in the right side image area and in Excellent condition.
John Byrne
John Byrne Marvel Comics Presents #18 Galactus Splash Page (1st She-Hulk Breaking The 4th Wall & Byrne's Marvel Return Issue!) Original Art (Marvel, 1988)
One month before John Byrne began his memorable run on Sensational She-Hulk began, the legendary artist illustrated a preview story featuring this page that was published in the anthology Marvel Comics Presents #18 (released 12/1988) titled “Xmas Tease”. This 8 page story was a prologue to Sensational She-Hulk #1 by She-Hulk herself as “eight pages of hype for a new comic.”, but it will go down in history for something else. This 8 page story also marks the first time She-Hulk speaks to the reader or “Breaking the 4th Wall”, a practice that becomes commonplace throughout her series and today as witnessed in 2022’s Disney+ series. This also marks Byrne’s first story art after his return to Marvel after his two year stint at DC working on Superman. Upon Byrne’s return he found himself teaming up with inker Bob Wiacek, which I should add is arguably one of the best pairings of theh era. Now that we’ve discussed the importance of the issue, let’s now discuss the art itself..
On this dynamic 2/3 splash page She-Hulk witnesses none other than Galactus descending to Earth in his oversized rocket ship. Note the detailed cityscape background, down to the kitty cat in the lower left window and even the window blinds, just love it! She-Hulk's 'Holy Moebius' reaction is a nod to the two-issue Silver Surfer mini-series the master French artist illustrated working with Stan Lee as writer. Interestingly enough, the two-issue Silver Surfer mini-series came out just a couple months earlier, cover date #1 12/88 and #2 1/89, while the Byrne She-Hulk story issue hit newsstands the last week of ‘88 for Christmas. Byrne presumably drew this story 1-2 months earlier, while the Moebius series was first getting released and receiving artistic praise. One can only think the newly launched miniseries by the French legend was immediately well received in the US with Byrne acknowledging the legend in his work at the same time. Little did Byrne know at that time, both artists work on their respective series, most notably Moebius Silver Surfer mini-series would go down in history as one of the greatest artistic comic achievements of that era. A truly remarkable half splash of both Galactus and She-Hulk by the master artist John Byrne considered his peak period while nodding Moebius’ work of the same era, and also marking his return to Marvel, setting the bar for breaking the 4th wall in this very issue!
"Marvel Comics Presents" Blog Art Review-
“John Byrne handles art and pencils here with our first meta-fictional feature in MCP. She-Hulk bemoands holiday tedium only to recount a fantastical encounter with Doctor Doom, Magneto, and Galactus via phone to the Thing…It's Byrne-ian goofiness punctuated by a stirring Galactus rendition loving punctuated with Walters uttering "Holy Moebius." And, if you're still salty about the cover, Byrne does plug some nice work into this romp. The real narrative punchline here is the pointer towards She-Hulk's upcoming Byrne series that will dive deeper still into the meta-fictional line of comedic inquiry.” Apparently the reviewer wasn't a fan of the cover, but sure liked the story art, especially this page!
Art is 10x15, personalized and signed by Bob Wiacek at bottom left. Light smudges, whiteout corrections and right top edge cut for production printing. Overall art is in very good condition.
John Byrne and Klaus Janson Wolverine #20 Memorable Wolverine Vs Tigershark Claws Out One of The Best Battle Pages From Byrne's Run! Original Art (Marvel, 1990)
John Byrne's style is as identifiable as it is compelling, leaving its mark on every character he writes and draws. The famed X-Men artist produced only a handful of interior issues for this Wolverine title, one of the characters most closely associated with Byrne. In fact, the character was so associated with him that the stout little Canadian dominated Byrne's sketch list at conventions for years.
Featured on this page is one of Wolverine's most famous battle scenes of this era and perhaps one of the best story pages in the run as he goes toe to toe with Tiger Shark in his domain underwater for the Archie Goodwin story "Miracles". I especially love panel 3 when times get tough, claws out!
Ink over graphite on Bristol board with an image area of 10" x 15". Light toning, marginal pinholes and staple holes, corner bends and creasing, and small spots of marginal soiling. Signed in the lower left and in the bottom border. In Very Good condition.
Johh Byrne and Paul Ryan West Coast Avengers #57 Magneto vs Iron Man Incredible 4 Panel Page & Finale Byrne Issue On Title Original Art (Marvel, 1990)
Superstar artist John Byrne illustrated this 1990 page published in Avengers West Coast #57. Inks are by another fine artist, Paul Ryan. On this great page, we see Magneto with the now evil Scarlett Witch and brother Quicksilver, with Iron Man confronting him. Great composition throughout, especially in the portraits of both the hero and the villain in panels 3 and 4. And we get a Magneto mission statement "My purpose in life is the preservation of Mutantkind, not the destruction of humanity. But if you insist upon placing yourself in the status of the enemy..." Then Magneto sends a magnetic blast to Iron Man in panel 4! This issue marked the last time Byrne would illustrate not only the Avengers from this period, but perhaps more importantly his last published work with Magneto from this era until he returned to do X-Men The Hidden Years nearly a decade later.
This issue was Byrne's last on title, and he really went out with a bang! This was the first of a few different times in Marvel continuity that Wanda would lose her mind and do horrible things (see "Avengers Disassembled" and House of M). This situation came about because writer/artist John Byrne decided to undue the wonderful work by writer Steve Englehart in the 1970s and 1980s where over a period of many years the mutant Scarlet Witch and the android Vision fall in love, get married, move to the suburbs and have twin boys that Wanda creates using her reality-altering powers. When Byrne took over the West Coast Avengers title he first changed the name to Avengers West Coast. Then he had the Vision mind-wiped and revealed that he was not actually a rebuilt version of the Golden Age Human Torch (Byrne must have really disliked Englehart), returning the android Human Torch to life as shown on this page (if you look carefully). Byrne then reveals that the couples twin sons are actually just shards of a demon and Wanda loses the babies, causing her to lose her mind and team-up with her father Magneto. Years earlier Magneto had recruited Wanda and her brother Quicksilver to be in his Brotherhood of Evil Mutants, as shown in her first appearance in X-Men #4 (1964). This was before Wanda knew that Magneto was her biological father. The detail and pure power of this magnificent page shine through and Byrne's ability to bring excitement to every page is certainly evident here, especially depicting one of his most recognized illustrated X-Men villains he's most known for, Magneto!
The overall page size is 11" x 17" with a 10" x 15.25" image area. The art is extremely clean and bright,
J. Scott Campbell
J. Scott Campbell Vengeance of the Moon Knight #9 Classic Cover, Trade Paperback & Limited Edition Giclee Original Art (Marvel, 2010)
Spider-Man joins the Fist of Khonshu on this dynamic image by fan-favorite cover artist J. Scott Campbell. When searching for the right Campbell cover, I really wanted something memorable, ideally featuring Spider-Man. When doing the research, I saw this was the cover image reused to reprint the trade for the 12 issue series, "Vengeance of the Moon Knight" titled "Killed Not Dead", which Ranker pegs this in the top 20 Best storylines of Moon Knight at #17! This classic image was not only used for the trade paperback but was also used as a limited edition giclee that sold out! So after all the research for the right Campbell cover, I knew this was the one!
The action is in-your-face for this cover created in ink over graphite on Marvel Bristol board with an image area of 10.5" x 16". Signed by Campbell in the lower right image area. Low-res reproduction stat logo, header, and text paste-ups on an acetate overlay taped at the top; otherwise, in Excellent condition.
Greg Capullo
Greg Capullo Batman #46 "Superheavy Part 6" Title Splash Page 22 From The New 52 Acclaimed Run Original Art (DC, 2016)
Mr. Bloom goes on a murderous path in this issue and takes control of "Rookie", using the armored suit to manhandle Batman on this cliffhanger title splash page from Part Six of Scott Snyder's "Superheavy" storyline. The last line by Bloom is chilling as he instructs the Rookie to "Beak His Little Neck"! Since taking over Batman art duties with writer Scott Snyder for The New 52 relaunch, Greg Capullo has been one of the top artists most closely associated with Batman in the Modern Age.
Comicosity Review of Batman #46 from Aaron Long-
"Some of the chuckles came from Greg Capullo’s very clever artwork in that sequence. Capullo is a beast and his Batman issues are fantastic. This issue is penciled as well as any that have come before it with Capullo making me legit freaked by Bloom and doubting whether or not Gordon is going to make it out of this. Capullo’s work highlights the power and lengths Bloom is willing to go to in order to make a point and the opening pages of this issue are pretty horrifying. These pencils are great and the work by Miki and Plascencia is top drawer. Batman is one of the biggest books in comics and this art team is a big reason why.
Batman #46 features an inexperienced Bat going up against one of the most terrifying Batman villains yet. Snyder, Capullo and company are firing on all cylinders and I’m excited to see where this comic continues to go."
Danny Miki Inks and marker over Greg Capullo's graphite on DC Bristol board with an image area of 10.25" x 15.75". Light handling wear and signed by Capullo on the back. In Excellent condition.
Howard Chaykin
Howard Chaykin and Tom Palmer Star Wars #9 Page 16 Han Solo Series 1st New Story Arc "Eight For Aduba-3" Original Art (Marvel, 1978)
Incredible early Chaykin Star Wars page featuring Han Solo. Believe it or not, before there was a vaguely Jamaican six-foot-tall floppy-eared comic-relief lizard character named Jar-Jar Binks, there was a green, six-foot-tall floppy-eared comic-relief bunny character named Jaxxon! He was actually a tribute to Warner Brother's own Bugs Bunny. George Lucas was rumored to dislike the character, so he didn't appear again until recently.
Talk about an early Star Wars page, this was only the third new story after the movie adaptation "New Hope" from the first 6 issues, and technically the first new story arc starting with issue #7-10 called "Eight For Aduba-3". Heritage has only offered one earlier interior page from issue #8, and the cover to #5, which shows how much collectors value these pages!
Created in ink over graphite on Bristol board with an image area of 10" x 15". Lightly toned, with corner trims and glue residue in the margins. In Very Good condition.
From the David Mandel Collection.
Frank Cho
Frank Cho Pencils & Inks Dark Reign: The List Punisher #1 Cover Original Art (Marvel, 2009)
Fantastic image of Frank Castle guns blazing by Cho, after Mike Zeck used for the Dark Reign Punisher #1 variant cover. For some reason for print, the face was redrawn during editing, but the body is from this drawing. The redrawn face art or stat of the face is not present. There is also some question if this image may also have been used as toy packaging artwork.
Image size 12.5" x 11". Art is in excellent condition. Signed by Cho bottom right.
Frank Cho Ultimate Avengers vs. New Ultimates #3 "Death of Spider-Man" Variant Cover Twice-Up Original Art (Marvel, 2011)
From the landmark miniseries also billed as "Death of Spider-Man", Carol Danvers leads the Ultimate Avengers (including Captain America, Thor, Spider-Man, and more) against the New Ultimates, led by a deceitful Nick Fury. Frank Cho elegantly depicts the series' major players here, with the spectre of Captain America looming over a shadowy Nick Fury, with the alluring S.H.I.E.L.D. director Danvers and Spider-Man in the foreground. The end of this issue featured the death of Ultimate Spider-Man, shot by the Punisher while saving Captain America.
Ink over graphite on Bristol board with an oversized twice-up image area of 12.25" x 18.75". Signed in the lower right image area and in Excellent condition.
Dave Cockrum
Dave Cockrum X-Men #161 Story Page 10 Professor X & Magneto 1st Meeting Opening Scene & Gaby Haller 1st Appearance Original Art (Marvel, 1982)
From one of the all time great issues of The Uncanny X-Men #161 “Gold Rush”, Chris Claremont story and Dave Cockrum art. This flashback issue holds the first meeting between Charles Xavier and Magneto, then called “Magnus” for the first time as they both assist Holocaust survivors post WWII in Israel. This great page has it all, heavy emotions, a key first appearance that will have future repercussions, as well as a little Hydra operative secrecy at the end.
Now back to the first appearance, which is the young Gaby Haller in the first panel awake for the first time after a long catatonic state as Xavier enters her mind. In panel four, Daniel Shomron (also first appearance but much less significant) explains the previous page of Xavier entering her mind in detail and I must say it’s horrifying… "--During that session, Gaby expressed some remarkable verbal images. S.S. Guards as demons and ogres, the crematoriums as the gates of hell. But how do you account for the last one, her transformation into a golden statue?” Claremont and Cockrum delve right into the eyes of a Holocaust survivor and the horrific events she went through.
Xavier consoles her and later though he knows it’s wrong since it’s a patient, they have a relationship and a child together, who we’ll later know as Legion of the New Mutants. Again, this is the opening scene in which Xavier and Magneto are meeting for the first time! This issue shows us for the first time Magnus aka Magneto and Xavier were actually friends prior to their views and differences on mutants and mankind. So from a Marvel historical standpoint, this page and issue is an important one to the future of not only these characters but the X-Men and mutants overall. Dave Cockrum pencils and Bob Wiacek Inks, image area is 10x15, with text corrections, dialogue and corner cuts for printing purposes. Signed by Cockrum in the lower middle right and in excellent condition.
Gene Colan
Gene Colan and Syd Shores Daredevil #84 Cover Scene Splash Page 15 "For Daredevil Would Have Been Dead!" (Conclusion of Mister Kline Storyline Key) Original Art (Marvel, 1972)
Here's an incredible Colan Daredevil splash page depicting the cover scene for the conclusion of Mister Kline storyline. This early Bronze era Gene Colan splash from Daredevil #84 (1972) features a large image of Daredevil being struck by the robot MK-9 who has been sent from a distant future by a being known as Baal. Significantly, it's the scene that inspired the issue's cover and is the only full original art splash page in the book. Note, page 1 splash is of production stat paste-ups, so this being the only original art full splash from this key issue.
Colan's ability to depict fluid action scenes made him an ideal fit for Daredevil, which the legendary artist illustrated from 1966-1973, missing just a few issues along the way. Inks are by veteran artist Syd Shores, a fine artist best known for his work on Captain America Comics during the Golden Age.
A great splash page from a remarkable work of art by Colan, towards the end of his 81-issue run on the Man Without Fear! Created in ink over graphite and blue pencil on Bristol board with an image area of 10" x 15" Light smudges and oil stains, overall in excellent condition.
Darwyn Cooke
Darwyn Cooke DC: The New Frontier #6 Page 43 Flash vs The Centre Final Battle Scene Original Art (DC, 2004)
Cooke took DC's history and distilled it into a modern classic of the form, showing a new audience what made these characters so special in the first place. Cooke's New Frontier series is now regarded as an instant classic and modern masterpiece. Here is one of the most desirable pages from the final issue and battle scene featuring Flash, while Hal & Ace from the Challengers of the Unknown can only watch as The Flash puts their plan in motion to defeat the alien entity known as 'The Centre.' . Check out panel 2 with Flash in motion, while Hal Jordan and Ace comment "There He Goes! Don't Blink or You'll Miss It!" And a great close up Flash featured 3rd panel. Cooke's 3 panel design pages tell a fluid story in motion like no other.
Comic Book Herald Comments on Cooke's 3 panel grid from this story-
"Cooke follows a strict three widescreen panels per page structure throughout The New Frontier. It feels like a cross between the then and the now, between the three-panel structure reminiscent of classic newspaper strips, that offered a clear setup, beat, punchline all in one go, and the “widescreen comics” popularized by Bryan Hitch in the late 1990s / early 2000s with his work on The Authorityand The Ultimates.Take a look at the page below. Even without the context, you get a clear idea of what’s going on here. The first panel sets up not just the location, so you know where we are in the story’s world, but it also informs you of the sheer scale of the things at stake here. You see this grisly mixture of fire and water – of burning human and alien flesh falling into this great wave off the Atlantic...The second panel is the beat, that adds to the plot and gives you the additional details you might need to fully contextualize the scene here. Our hero has arrived and is faced with insurmountable odds. The third and the final panel is the punchline. Here, Flash needs to do what he does best: Run.
It looks deceivingly simple, but this is something that is incredibly hard to pull off right. It is a testament of Cooke’s mastery over his storytelling that he makes it look so easy. Almost every page in The New Frontier is either a standalone or stands on its own in the scene Cooke is trying to tell over multiple pages. Even when he breaks the three-panel structure, he follows the same structure within the panel he broke it for. At the same time, restricting yourself to a particular structure/layout throughout a book also means that when you do break the mould for a splash or a double spread, it hits the reader with twice the impact. Once you realize that you also start to understand why Cooke may have chosen to stick with that three widescreen panels per page structure so vehemently throughout The New Frontier."
"
A great page from a remarkable work of art. Darwyn Cooke pencils and inks, image size 9" x 14"Pen and ink. Art is in excellent condition.
Denys Cowan
Denys Cowan and Kent Williams Deathlok #1 Classic Punisher Cover Original Art (Marvel, 1991)
Denys Cowan's gritty style was perfect for the adventures of Deathlok in the early 1990s and this cover from Deathlok #7 (1991) is a memorable example from his time on the title. It was the second part of a crossover with the Punisher and features an intense image of the futuristic cyborg holding the Punisher's iconic skull shirt with two of his metallic fingers sticking through the top of the skull image. As a Punisher collector, and a Deathlok fan as a kid, this was undoubtedly the cover to grab when it became available again.
The art has an image area of approximately 11" x 16.5". Both Cowan & Williams initials appear over Deathlok's shoulder along with "91" date. Top right corner has been torn off. Top left and bottom right corner show wear. None of this impacts the art area and overall is in very good condition.
Johnny Craig
Johnny Craig Vault of Horror #26 "Two of a Kind" Finale Page Vault Keeper Host Page 8 Original Art (EC, 1952)
Hollywood couple Willow Dree and Brad Phillips flee to a remote cabin to escape the paparazzi, only to slide into horror on this shocking finale page as the ceiling collapsed and they were trapped noted on the 5th panel "Willow had drained her own blood... And Brad had eaten most of his own flesh..." from the freakish story "Two of a Kind". Then we get a great Vault Keeper image with a skull on panel 6. The Vault Keeper being Craig's most storied and connected EC host to the artist was a must when building out our EC Pre-Code Horror collection.
Ink over graphite on EC Bristol board with an image area of 13" x 18". In Very Good condition.
Robert Crumb
Robert Crumb Cover Inspiration Illustration "I Know Nothing" For Mystic Funnies #2 Original Art (Fantagraphics, 1997)
This incredibly detailed Robert Crumb illustration featuring "The Moron" stepping on heads titled “I know Nothing” dated 1997, was later the cover inspiration to Mystic Funnies #2 dated 1999 (both shown right), channeling an EC Golden Age cover. This drawing is nearly identical to the finished cover, even down to the word balloon content. It’s said that Crumb would look back from his sketchbooks and finished illustrations such as this for inspiration to flesh out new characters and stories for his upcoming material. In this case, he sourced this finished illustration from 1997 to create the 1999 Mystic Funnies #2 cover story - “Bad Karma” starring The hapless Moron (that's really his name) who can’t help but to do the wrong thing, even with the aid of his Fairy Godmother. The Moron, is a Snoid like character who continues to have bad Karma throughout the story till the end, only in Crumb fashion playing to his strengths.
Robert Crumb, king of the underground comix movement since the 1960’s, his original art now ranks among the most coveted in the history of the medium. Crumb is considered one of the most unique and talented voices to ever work in the industry. His works have shown in galleries and museums internationally and he has a reputation among the Fine Art community that many more "traditional" artists envy. Crumb covers for his classic comics have reached heights in the seven figure range, with even his more minor titles and interior spreads commonly approach and quite often exceed six figures. With this illustration later used as the benchmark for the cover to the acclaimed title Mystic Funnies #2, this certainly adds to the art's desirability. Any “Crumb” illustration is the centerpiece to any original art collection, let alone a piece with such meaning and importance.
Alan Davis
Alan Davis and Paul Neary Excalibur Special Edition #1 Page 7 1st Appearance of Excalibur Birth Page of The Warwolves Original Art (Marvel, 1987)
From the first appearance of the group Excalibur, this is the very page where the story arc's villains, the Warwolves are introduced for the first time (birth page). This one-shot issue was a hit, and #1 of the regular series came about half a year later, starting off a series that would run for a decade where the Warwolves would be the first story arc villains.
Excalibur's original creative team, writer Chris Claremont and artist/co-writer Alan Davis, incorporated elements of two Marvel hottest properties, the X-Men and Captain Britain. On this page we see great images Rachel Summers aka Pheonix chained up by the X-Men, then freed by Kitty Pride. Xavier then tells Kitty she's been a naughty girl where we see the X-Men transform into the Warwolves for the first time inching closer to Kitty. An absolute stunning page, a rare occasion from this era where Davis illustrates the X-Men team only to transform them into the monstrous Warwolves!
Huge and iconic, this page is in ink on Marvel Bristol board with a Twice-Up image area of 12" x 17". In Excellent condition.
Jack Davis
Jack Davis Haunt of Fear #21 From The Classic Story "Dig That Cat He's Real Gone" Complete 7 Page Story Crypt Keeper Host Original Art (EC, 1953)
This 7-page prime era EC Pre-code horror tale illustrated by the marvelous Jack Davis, one of the very best of the best of EC's all-star lineup of artists. One of EC's most known and classic Pre-Code Horror stories that later turned into one of the most popular episodes for HBO's hit series "Tales From The Crypt"...
"Dig That Cat...He's Real Gone!" tells the tale of an escape artist named Ulric the Undying. The story, narrated by the Crypt-Keeper, begins with Ulric getting into a sealed coffin which is then buried by grave diggers. We learn that a human in a sealed coffin can't live more than an hour, but Ulric plans to stay buried for three hours and expects to be pronounced dead. However, Ulric seemingly has the power to return from the dead, and this is his final opportunity to use such power. We then flashback to how it all began. Ulric was a wino living on skid row. An apparently wealthy man named Doctor Mansford approaches him and offers Ulric the chance to become richer than he could ever dream. Mansford claims to have discovered how to cheat death by tapping into the myth that cats have nine lives. A certain gland from a cat is placed into Ulric's body. Mansford proves his theory by killing Ulric with a bullet and then bringing him back to life. Ulric then uses up some of his lives with dangerous stunts in order to earn money. With Mansford as a passenger, he then decides to drive a car off a cliff so he no longer has to share the proceeds. Ulric then continues his dying stunts, working with a new assistant named Saxton. Soon Saxton gets greedy and tries to take Ulric's money, and they fight with Ulric losing another life after he takes a knife to the heart. The story then returns to Ulric in the buried coffin thinking he has one more life. He then realizes that the cat who gave up his gland died, so Ulric really only had eight lives to go, not nine. Ulric's death this time would be final!
The art has an image area of approximately 12" x 18". The chapter title and the image of the Crypt-Keeper on the first and last page are paste-ups. Art is in very good condition.
Jack Davis Haunt of Fear #28 From The Pre-Code Horror Final Issue & Last Story On Title "A Work of Art" Page 2 Original Art (EC, 1954)
This page, from Jack Davis's final New Trend horror story, "A Work of Art," concerns an elderly mortician who teaches his ham-handed son-in-law the family business. The old timer, appalled his son-in-law's inability to property embalm a cadaver, invents a do-it-yourself embalming machine and uses it to convert his own carcass into "a work of art."
"Davis's cartoony, brush-heavy style was a perfect match for Feldstein's gruesome but tongue-in-cheek horror tales.... Ultimately, Davis became one of EC's most popular and prolific artists.... his trademark frenetic style became ubiquitous in American popular media and burned itself into the American unconscious." — Home to Stay: The Complete Ray Bradbury EC Stories.
Ink over pencil on Bristol board, measuring 15 x 22" (image area 13 x 18"), with top margin lightly printed "Haunt of Fear #28" written in pencil in the bottom margin, and rubberstamps on the verso for William M. Gaines, overall in very good condition.
Dan DeCarlo
Dan DeCarlo Archie's Madhouse #1 Complete 1-Page Story "Last Laff" Original Art (Archie, 1959)
I thought it was only fitting to add an Archie piece to the collection and here's one from a memorable #1 issue, and a great gag featuring Jughead with Archie and Betty present as well. Based on the old advertisement which stated "they laughed when I sat down at the piano...", Jughead shows the other side of the jokes.
Ink and screentone over graphite on Bristol board with an image area of 12.25" x 17.5". Toning, stat logo paste-up, pinhole in the top right, marginal notes, small tears along the right side edge, spot staining, with creasing, smudging, and edge/handling wear. In Very Good condition.
Tony Dezuniga
Tony DeZuñiga Historic Marvel Preview #2 The Punisher First Solo Story & Origin Battle Page 3 Original Art (Marvel, 1975)
From the Punisher's first solo story and his first-ever origin story, Frank Castle interrogates a suspect after failing to assassinate him, who turns out to be a former military member. Pages from this key issue simply never come up as this is the only one that Heritage has offered in their 20+ year tenure and it's a good one at that, with Punisher all over the page in every panel. As a Punisher collector, to me, this issue is the biggest key after ASM #129 (Punisher's 1st Appearance), being the first solo and origin story.
Ink and wash over graphite on Bristol board with an image area of 10.5" x 15". Production stamp in the upper left, production notes/marks, whiteout, toning, and handling wear. In Very Good condition.
Steve Ditko
Steve Ditko Pencils & Inks The Incredible Hulk #6 (Final Issue) The Hulk, Rick Jones and The Metal Master in 3 Separate Scenes! Original Art (Marvel, 1962)
From the only Hulk issue where Ditko did both pencils and inks, and being the finale issue to the first series! This page of three tiers features three of the story's main characters, giving each their own scene. The top row features a trapped and frustrated Hulk ready to break through the wall, (great first panel detailed image), middle row a dejected and rejected Rick Jones with General Thunderbolt Ross, and the bottom row features the Metal Master on his World Domination Tour. Wonderful story flow and pacing from a master, Steve Ditko! Note the detail of the Hulk in the first panel, particularly as we discussed above around his eyes to give him a more menacing look.
Note the middle tier panel featuring Rick Jones and General Ross is an interesting one of the era, as Ross is more sensible to the young man suggesting him to stay in school! Ross seems to care for Jones as his own boy in this instance for the first time.
The page was created at twice-up scale in ink over graphite on Bristol board with an image area of 12.5" x 18.5". There are whiteout art and text corrections in a few panels. The board is lightly toned and in Excellent condition.
Mike Dringenberg
Mike Dringenberg and Malcolm Jones III Sandman #7 "Listen" Key Page 2 Morpheus Original Art (DC, 1989)
Mike Dringenberg's style vividly captures the ethereal and somber mood of writer Neil Gaiman's story, bringing depth and emotion to the characters. This issue is a pivotal point in the Sandman saga, where Dringenberg melds the surreal with the Gothic, enhancing the dream-like quality of the narrative. Morpheus' profile is seen in the last panel. But what's most striking about this page is the pain and anguish felt throughout the world as Morpheus tells us at the top and bottom of the page, "Listen". A great tie-in page to the issue titled "Sound and Fury" with the final page to the issue brings peace and happiness as Morpheus regains his Ruby and once again tells us to "Listen".
Ink over graphite on Bristol board with an image area of 10" x 15". The large, top right panel is a printed paste-up, all text are stat paste-ups, one is coming loose, there are blue production marks, small spots of soiling, corner bends, and edge wear. In Very Good condition.
Kevin Eastman
Teenage Mutant Ninja Turtles Michaelangelo Concept Drawing by Co-Creator Kevin Eastman (Birth Year) Published In Eastman's Artobiography (Mirage, 1984)
Here we have something truly special from the beginnings of The Teenage Mutant Ninja Turtles from their birth year in 1984. This is an alternative weapons/outfit concept drawing by Turtles co-creator Kevin Eastman. The drawing features Turtles favorite Michaelangelo, with possible costume changes for future issues.
This super early, published, one of a kind piece was drawn around the same time as issue #1! Just imagine how different the most popular turtle could have been with a cyborg hand, or helmet, or transforming nunchucks! What’s great is the standout lower image of Mike is as we know him, no huge modifications, as Eastman writes above the image- “Mike keeps standard outfit except for wraps.” The other possibilities though interesting and on full display here, were ultimately not used. As mentioned above, this piece was created by Kevin Eastman in 1984 when it all began, and was ultimately published in the 'Teenage Mutant Ninja Turtles Artobiography' book in 2002. In the book Kevin wrote: "At some point during or slightly after finishing the first issue, we were already thinking about changing the guys outfits for future adventures (if we ever had the chance to do another) and these were some of my concepts".
Kevin held onto this piece in his personal collection for over 30+ years before selling it to one of the largest Turtles collector’s Daniel Merced, who in turn sold it to a collector in Europe, before we purchased for our private collection. When searching for the earliest Turtles art it’s almost impossible these days, collectors are holding their art close to the chest and many of the early pieces are in black hole collections, or still with Eastman and Laird themselves. We’re very fortunate to have acquired this very early Turtles concept drawing from their birth year in 1984.
There is slight wear around the edges, but overall in excellent condition. Pencil and ink on 8x11 sketch paper signed by Eastman in lower center dated 1984. Very rare one of a kind published piece from the beginnings of the Turtles!
Will Eisner
Will Eisner The Spirit #29 Ellen Dolan Wedding Cover Original Art (Kitchen Sink Press, 1987)
Ellen Dolan is giving the squink-eye to the Spirit on this original classic wedding cover created for a reprint issue containing the story from the 4-11-48 newspaper Spirit section. The master draftsman signed his work in the lower right of the image area, dated 1986. The art for these Spirit Kitchen Sink covers are thought to be as good or better than Eisner's original work on the title from 40's and 50's.
Rendered in ink over graphite on Bristol board with an image area of 9" x 14". The main image area is lightly sunstruck from a previous framing. Replacement logo and header affixed directly to the art page. In Very Good condition.
Steve Epting
Steve Epting Pencils & Inks Captain America #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.
Bill Everett
Bill Everett Tales to Astonish #95 Sub-Mariner - Dorma - 1st Stingray Page 3 Twice-Up (Large Art) Original Art (Marvel, 1967)
Here was one of my bucket list pieces at the top of my list for quite a while now. Bill Everett is one of the top draftsmen of the Golden Age into the Silver Age (seen here) to his passing in the early Bronze Age (as seen below).
On this 'Twice-up' (large art) page from #95 (1967), Prince Namor and his great love, Lady Dorma, take lead in this peerless page from "The Power of the Plunderer," as they meet Walter Newell, an oceanographer who a couple of years later becomes the superhero Stingray. This is Newell's first appearance. The character has had a long presence in the Marvel Universe and even joined the Avengers at one point.
Cool action scene featuring superb images of Prince Namor, the Mighty Sub-Mariner and his Lady Dorma, who investigate a mysterious saucer-sub, piloted by Dr. Walter Newell - the designer of a Domed City near Namor's famed Atlantis. Great multiple full images of Namor and Lady Dorma swimming in their natural environment by the great Golden-Age creator of the Sub-Mariner. Everett first introduced the anti-hero Namor the Sub-Mariner 28 years prior to completing this work in the pages of the seminal Marvel Comics #1 (1939). Lady Dorma also appeared in the Sub-Mariner story in that historic first Marvel comic book published 84 years ago. She was killed in Sub-Mariner #37 (1971) and astonishingly has never been brought back to life during the past 52 years.
Bill Everett (pencils), and Vince Colletta (inks). This Twice-Up Large Art Marvel milestone has an image area approximately 13" x 18.5", tiny fold in left corner and plot notes throughout. Overall in excellent condition.
Bill Everett and Sam Kweskin Sub-Mariner #58 Subby Battles The Sea Creature Haab Page 9 From Last Full Issue of Everett Art & Story (Marvel, 1972)
Here was one of my bucket list pieces at the top of my list for quite a while now. Bill Everett is one of the top draftsmen of the Golden Age into the Silver Age to his passing in the early Bronze Age (as seen here with our subject art). Though his peak period is considered the Golden Age after creating Sub-Mariner, his Silver Age art is considered hit or miss for much of the 1960's. It wasn't until his final Sub-Mariner run from issue 50-61 in 1972, where he got his stride back, did story and art similar to his Golden Age work, and is now regarded as perhaps his best work in his illustrious career. From the acclaimed run from issues 50-61, he only did 8 of those issues with art and story before his untimely death making these pages extremely rare and desirable.
Issue #58 of the run is the final issue of Sub-Mariner that Everett is credited with penciling and inking (art and story). Issues 59-61 Everett is credited with plot, while he was only able to finish the first 4 pages of art in issue 61. Bill was becoming increasingly ill and slowing down at this point where Marvel had Sam Kweskin do layouts, which you can faintly see in blue pencil. While layouts may have been done by Keskin, you can see the art and incredible linework was pure Everett. I love the detail and added psychadelic underwater features throughout the page, including the detailed fish around Namor in panel two. Namor and the villain Haab are given more of a Golden Age look and feel, even the weapon seen here screams 1950's! And check out panel 4 where Namor is blown back by the blast with all the detailed brushwork. While the action is great on this page, I especially love the last panel of Namor's infamous profile, with a great use of light and shadow by the legend Everett.
Rendered in Ink over graphite and blue pencil on Bristol board with an image area of 10" x 15". Top and bottom edge production tape. Slight tanning. In Excellent condition. From the Bill Everett Family Collection.
Frank Frazetta
Frank Frazetta- Robert E. Howard Lone Star Fictioneer #4 Back Cover, (Spring 1976) Conan Pen & Ink Peak Period Original Art (c. 1970's)
The legendary Frank Frazetta illustrated this image of one of his signature characters, Robert E. Howard's Conan, with the world famous barbarian holding a shield in one hand and a battle axe in the other. This work is circa 1970's and was published as the Back Cover to Robert E. Howard's Lone Star Fictioneer #4, Spring 1976. Two years ago, Conan celebrated the 90th Anniversary of his first appearance in a 1932 issue of the Weird Tales pulp magazine. Along the way, he's been illustrated by a significant number of top artists, with the legendary master of fantasy art, Frank Frazetta leading the way. It was Frazetta's masterful Conan cover paintings created for the Lancer line of paperback books starting in 1966 that exposed a new generation of fans to Howard's long-lost pulp stories. Not only did Frazetta establish the design of Conan for the new era, but he created a new way of depicting the overall fantasy genre that inspired so many other great artists along the way. Frazetta's cover paintings captured the attention of Marvel's Roy Thomas, who became a big fan of Howard's stories and brought Conan to Marvel Comics as a licensed property starting in 1970. Conan has gone on to appear in over 1,000 comic books published over the past 50+ years, as well as in some high profile movies and video games.
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, this drawing is a highlight of any collection, an original Frazetta Conan! Previously held in the collection of Frazetta's manager for years, Rob Pistella! A highly coveted original Frank Frazetta drawing, this piece by the artist is in Very Good condition. Signed on the lower right, c. 1970's during Frazetta’s peak period. The art has an image area of approximately 8" x 8" in a 20.5" x 18.5" frame.
Ron Frenz
Ron Frenz and Kevin Dzuban Marvel Team-Up Annual #6 Page 21 First Spidey With New Mutants and Cloak & Dagger Meeting X-Men Flashback Original Art (Marvel, 1983)
As I'm currently putting together my top Spider-Man artists, it dawned on me that Ron Frenz was most known for not only his run on Spider-Man in the 1980s, but his long tenure on Thor into the mid 1990's, so you'll see with this piece and the piece below, we have an earlier example and a later one not just with Thor, but with Spidey!
Great image of Spidey crawling on a Church wall in panel 1 but I especially love panel 3 with Frenz channeling the original X-Men team and Spidey reminiscing of their first meeting. The bottom panels are exquisite with the New mutants and Cloak and Dagger throughout. From the issue that partnered Spidey with the New Mutants and Cloak & Dagger for the first time. This also marks a very early New Mutants and Cloak & Dagger story, with the team's first appearance less than 6 months prior to this issue.
Ink over graphite on Bristol board with an image area of 10" x 15" and aside from overall paper aging and clipped margin corners, its condition is Very Good.
Ron Frenz and Al Milgrom The Mighty Thor #448 Spider-Man & Thor Splash Page 8 Original Art (Marvel, 1992)
As I'm currently putting together my top Spider-Man artists, it dawned on me that Ron Frenz was most known for not only his run on Spider-Man in the mid 1980s, but his long tenure on Thor into the mid 1990's. So when this page came up, I thought here's my chance to get both characters Frenz is most known for and from his peak run on Thor, though more of a focus on spidey as he's literally jumping out at the reader!
This being one of the few known stories where both Spider-Man and Thor battle and then team-up against the villains. In this case, as seen at the top of the page, Titania and Absorbing Man battle one another, as Spider-Man sarcastically swings beside Thor in the bottom splash.
Ink over graphite on Bristol board with an image area of 10" x 15.25". Light toning and handling wear, punched holes, production notes, and tape. In Very Good condition.
Jose Luis Garcia-Lopez
Jose Luis Garcia-Lopez Pencils & Inks Superman: Kal Graphic Novel Splash Page 42 Kal (Superman) Original Art (DC, 1995)
The Elseworld graphic novel that shows young Kal-El after learning Luthor has ravaged and brutally murdered his love Lois, is on his way to his castle to confront and battle the evil King Luthor. The Elseworld graphic novel written by Dave Gibbons takes place in medieval England, where Kal is a peasant worker who has Superhuman strength, and Luthor is an evil King. This well detailed splash penciled and ink'd by the master Garcia-Lopez is arguably the best in the book.
This incredible splash page is rendered in ink over graphite on Bristol board with an image area of 10" x 15". Excellent condition.
Dave Gibbons
Dave Gibbons Wonder Woman 1982 Annual Front & Back Endpapers Painted Illustrations Original Art (Egmont UK, 1982)
Truth be told I wanted a Gibbons representative example, and Watchmen was never my thing, perhaps because it came later from my collecting comics as a kid. Though I still love his art, I do collect Wonder Woman and I absolutely loved how Gibbons painted this beautiful double-page spread showcasing Diana Prince transforming into Wonder Woman. The piece was used for the inside front and back endpapers for the hardcover annual.
Created in opaque watercolor and airbrush on illustration board with an image area of 17.5" x 12.5". Signed by Gibbons in the lower right margin. In Excellent condition.
Michael Golden
Michael Golden Punisher War Journal #40 Golden's Only Known Painted Punisher Cover Large Art Original Art (Marvel, 1992)
If you were a Punisher fan like me in the 90's then you were more than likely a fan of Micahel Golden's Punisher cover run and here's a memorable one....
It's a road trip... Punisher style! The Punisher adds a new meaning to the term "road kill" in this eighteen-wheel extravaganza painted by Michael Golden. After further research this is believed to be Golden's only painted Punisher cover from his run and it's super-sized! Not to mention it checks all the boxes you want in a Punisher Golden cover; Punisher blasting, protecting the girl, and even an ode to Optimus Prime (Transformers) with the shot up big rig in the background. Also note the possible Watchmen reference with the smiley face on the driver door!
A true Marvel Masterpiece! With this one, we now have 4 Punisher painted cover/portfolio plates including the Zeck / Zimelman Portfolio One plate 2, which later became a cover, the Jusko Painted cover to Punisher War Journal 31 (also massive in size), the Stroman wraparound cover to Punisher Classic #1 from 1989 and now this one to complete the set!
Mixed media on board, the twice-up large art art has an image area of 19" x 27". In Excellent condition.
Jackson Guice
Jackson “Butch” Guice Action Comics #684 PG 10 Half Splash Doomsday Vs. Superman Battle Page (The Death of Superman Part 5 DC, December 1992)
Here it is, one of the true Grail's from the Death of Superman, an actual battle page of Doomsday versus Superman as the monster inches closer to Metropolis. This issue marks the first time Superman goes toe to toe with Doomsday on his own with no help from the JLA as they’re all now bruised and battered. It’s only the previous page to this one in which the one on one battle begins as Superman flys straight at Doomsday busting through the Lex Mart store and where our page begins.
The incredibly detailed top panel half splash is perhaps what Guice is most known for in this series more than any other contributing artist. When you look at the details in the rubble, the rocks, the mangled Lex Mart truck and tire, it’s all quite remarkable. In this scene, Doomsday has struck back at Superman’s first solo attack by throwing a Lex Mart service truck through the wall at him while he laughs. We catch a glimpse of the monster now with his Calatonian burial/containment suit now half off striking Superman who is falling back. What’s most revealing may be in the content on this page, which may be as important as the battle page itself.
Superman thinks to himself “Ow! This is…Insane!…I’d swear…the harder I fight…the more Doomsday likes it!…He’s been fighting most of the day, but he still seems as eager—and as strong—as ever!… And this is the most revealing part of Superman’s thoughts in this scene… “If he has energy reserves as extensive as mine, I may be in trouble!” For the first time in the Doomsday arc, we hear Superman concerned for his life. We’re always used to Superman beating the bad guy, whoever it may be, but for the first time as a reader, you start to think this may be something more than just your average villain and may in fact die.
The second panel tied in with our previous page as Superman noticed the copters above, which is led by The Daily Planet with Lois and Jimmy Olsen. On this panel we get a great shot of Doomsday, showing his containment suit is ripping apart on his face with his claws out as he strikes Superman.
The third and final panel is another revealing piece to the saga. Though we saw some concern from Lois on our previous page, here we see for the first time the look of fear. This is the first time both Jimmy and Lois are seeing Doomsday and Jimmy’s reaction says it all, “That’s Doomsday? Wow, he’s a big one!” Lois thinks to herself “Very big. Be careful Clark.” The page ends with a fitting recording by Lois summing up the battle scene from above: “THE MIDVALE LEX-MART STOOD IN RUINS AS SUPERMAN STRUGGLED WITH THE MYSTERIOUS CREATURE. " END OF PARAGRAPH...
Russ Heath
Russ Heath Our Army at War #263 Sgt. Rock & Easy Company vs Nazi's Consecutive Battle Page 13 Original Art (DC, 1973)
I've been in the market for the right Russ Heath war piece for a while now, I've been the underbidder on a few recent pieces that I thought were quite nice, but somehow missed the mark. It's public knowledge, Joe Kubert & Russ Heath are the kings of war comic art, so I thought it was essential to find the right Heath piece for my collection. I found this page, which to me checked all the boxes, Sgt. Rock battling Nazi's in a dark moody setting, with all of Heath's trademark art showcased here with the thick black inks throughout. When I found the very next page where the action intensified even more with Rock battling the Nazi General, it was a must to acquire the consecutive pages. I'm glad Heath's war art is finally getting it's due, though I still feel he's somehow underappreciated amongst the greats.
"Sgt. Rock and the battle-weary warriors of Easy Co. face a deadly mission in this harrowing example of virile heroism in wartime. Bob Kanigher's script is a marvel of suspense-building intensity, and Heath matches the writing with some of the most gripping, panel-border-busting, war-comics imagery since the heyday of Harvey Kurtzman's Two-Fisted Tales." - Auction Description
Ink over graphite on Bristol board. Image area, 10" x 15".Art has light toning and marginal adhesive residue. In Very Good condition.
Russ Heath Our Army at War #263 Sgt. Rock & Easy Company vs Nazi's Consecutive Battle Page 14 Original Art (DC, 1973)
I've been in the market for the right Russ Heath war piece for a while now, I've been the underbidder on a few recent pieces that I thought were quite nice, but somehow missed the mark. It's public knowledge, Joe Kubert & Russ Heath are the kings of war comic art, so I thought it was essential to find the right Heath piece for my collection. I found this page, which to me checked all the boxes, Sgt. Rock battling Nazi's in a dark moody setting, with all of Heath's trademark art showcased here with the thick black inks throughout. When I found this very next page where the action intensified even more with Rock battling the Nazi General, it was a must to acquire both consecutive pages. When I look at both pages up close, I have a hard time deciding which one is better, but if you want more action throughout, and Rock manhandling a Nazi General, look no further!
"Sgt. Rock and the battle-weary warriors of Easy Co. face a deadly mission in this harrowing example of virile heroism in wartime. Bob Kanigher's script is a marvel of suspense-building intensity, and Heath matches the writing with some of the most gripping, panel-border-busting, war-comics imagery since the heyday of Harvey Kurtzman's Two-Fisted Tales. " - Auction Description
Ink over graphite on Bristol board. Image area, 10" x 15".Art has light toning and marginal adhesive residue. In Very Good condition.
Don Heck
Don Heck Tales of Suspense #42 Second Earliest Iron Man Original Art Story to Surface (Marvel, 1962)
Iron Man's second earliest original art to surface and one of his earliest battle pages known to exist! Originally intended for Tales of Suspense #41, Iron Man's 3rd overall appearance by Co-Creator Don Heck in only his second story after his origin story / first appearance!
Don Heck rendered in ink over graphite on twice-up scale (Large Art) Bristol board with an image area of 12.75" x 18.5". Lightly toned with whiteout text corrections in several places. Art is In Excellent condition. Check out our "Beginnings of Iron Man" story by clicking the link...
Gilbert Hernandez
Gilbert Hernandez Love and Rockets #25 Classic Commemorative Issue Cover Original Art (Fantagraphics, 1987)
This memorable commemorative 25th issue cover issue features an amazing 36 characters (including one monkey) from Beto's Los Palomar series. They include major and minor characters, such as Carmen and Heraclio, Casimira, Doralis, Guadalupe, Tipin' Tipin, Martin el Loco, and Theo. And if you are looking for Luba in all the wrong places... she's in the third box on the bottom row. Needless to say it's not only a memorable cover to the first run, but extremely difficult to find one of these available. The story goes Denis Kitchen years ago acquired this at a charity auction for kids donated by Beto himself and Denis fell in love with the cover. Years later, Denis sold off much of his art in a featured auction, showcasing this piece on Comic Art Live, and this being the only L&R piece he featured on the show. I not only wanted an L&R piece by both 'Los Bros', but a true one and done piece by Beto and without a doubt this is it! Just look at all the detail in each frame. If you truly think about it, this would take far more time to create than your average cover. A truly magnificent piece of art!
Created in ink over graphite on Bristol board with an image area of 10" x 11". Three images are original art paste-ups. Another image (Tipin' Tipin) is an original art correction in whiteout and ink. It is signed by Beto and dated 1987 in the last panel (Theo). The art is matted with the printed cover in a glass-front frame measuring 25.75" x 17.75". In Excellent condition. From the Kitchen Sink collection.
Jaime Hernandez
Jaime Hernandez Love and Rockets #9 Title Page 1 Original Art (Fantagraphics, 1984)
Planet-hopping Rocky Rhodes and her Radaron robot buddy, on this title page inspired by the science fiction that had a long-lasting influence on the Hernandez brothers. Dynamic art by the one and only Jaime Hernandez! This early title page "The Adventures of Rocky and Her Robot, Fumble." though only their 3rd appearances marks the first time Fumble is added to the story title. The previous 2 titles were from issue #4 "Out O' Space" & #5 "Retro Rocky", but it wasn't until this issue #9 they were given their own title together.
From the Great Comic Book Heroes Blogspot about this Page & Story-
Jaime's art is in full flower in this early strip from Love and Rockets #9, Nov. 1984. Though only black and white, it feels fully realized because of his skill with balancing the blacks and whites. He often employs a very dramatic chiaroscuro style, showing just the highlights silhouetted on a black background to great effect.
His characterization is really wonderful here, with the great dialog and interactions between Rocky and Fumble. He turns a simple scene like Fumble waking Rocky up into a great drama. "Then why didn't you let me twenty four more hours? Forty eight hours? Why did you wake me just now?" It's such a joy to read their beautiful interactions and beautifully expresses an age of confusion, doubts, longings and wonders.
The page has an image area of 10" x 13" and it is in Excellent condition.
Jaime Hernandez Penny Century #6 Cover Hopey and Maggie Original Art (Fantagraphics, 1999)
Above is an early sci-fi related L&R Xaime example, so I wanted a nice representation of his most popular Mechanics characters with both Maggie & Hopey on a cover. Fast forward to SDCC 2024 and sure enough Scot Eder had this lovely cover on his wall and I knew instantly this was the one!
Hopey, Maggie, and Rosie are cover featured for this issue. Maggie is even dressed for her appearance in this issue's super-surreal story "The Race". Created edge-to-edge in ink over graphite on 9" x 14" Bristol board. Lightly toned and in Excellent condition.
Adam Hughes
Adam Hughes Rare Interior Art for Man of Steel #5 Splash Page 15 Wonder Woman & The Justice League Original Art (DC, 2018)
Here's a beautiful rendered Semi-Splash page by none other than Adam Hughes as he rarely does interior artwork in recent years. To my knowledge, Adam did this one issue for the series and has not done any interior issues since then. Of course he did some interiors to Justice League early on In his career, but I think we can all agree his artistic style has changed from then. What drew me to this particular example was of course Adam Hughes drawing a large Wonder Woman semi-splash, not to mention nearly the entire Justice League team consisting of Batman, Green Lantern, Cyborg and Flash!We also get a glimpse of Kara Zor-El aka Supergirl on the lower panels with Wonder Woman before she flies off to another world to save Superman!
From DC.com Blog Art Review by Sydney Bucksbaum:
"It wasn’t until issue #5 that it really hit me how an artist can completely shape the writer's story with his or her choice of color palate, detail or lack thereof and light vs. darkness. Artist Adam Hughes really stands out this week with his brutalist approach to the artwork. The majority of the pages are a master class in raw simplicity with deep bloody reds and inky blacks splashing across the images. It feels like the artist is probably a huge fan of 300 because I see elements of that film in his work. You don't have to look farther than the third page to see the influence."
It wasn't long ago I was looking to buy a Hughes Catwoman cover, which also had Batman. I endeddup being the underbidder on that cover and was bummed, but magically this rare interior Hughessplash became available with my buddy Albert Moy and I jumped at the opportunity. It's maybe not a Hughes Catwoman or Wonder Woman cover, but it is a more heroic form of our heroes front and center (most importantly Wonder Woman) and certainly checks all the boxes!
Rendered at twice-up scale in ink over graphite on paper board 18" x 24" Signed by Hughes in the lower left margin and in Excellent condition.
Carmine Infantino
Carmine Infantino Flash #139 Page 3 Twice Up From the story, Menace of the Reverse-Flash Origin & First Appearance! (Birth Page of The Reverse Flash Suit!) (DC, 1963)
Both this page and the page below are near sequence pages as this is the first time the suit of the soon to be Reverse Flash is shown along with the other items headed to Professor Zoom in the 25th Century! Flash on page 4 is Barry Allen in a coffee shop watching the broadcast (shown on the lower panels) so the below page is the next page both the Professor and Flash appears again in uniform making these 2 pages sequence pages from a key issue!
The original Reverse-Flash, is inarguably one of the most distinct villains of DC's Silver Age. Though many heroes fought bizarro counterparts with mirrored powers, Eobard Thawne's unique backstory made him a genuine threat to the Scarlet Speedster and the man behind the mask, Barry Allen. Thawne pushed Barry to his limits, forcing the Flash to kill him in the heat of battle. Today, thanks in no small part to the popularity of the Flash TV series, the Reverse-Flash is rightly remembered as one of the Flash's fiercest foes, making his first appearance a must-have for fans and collectors alike. Twice up, image size of 13x18, ink over graphite, Carmine Infantino pencils and Joe Giella inks.
Carmine Infantino Flash #139 Page 5 Twice Up From the story, Menace of the Reverse-Flash Origin & First Appearance! (Atomic Bomb Discovery) (DC, 1963)
Both this page and the above page are near sequence pages as this page features Flash running in to check on what went wrong at the press conference with the Professor. Here we learn that something has gone incredibly wrong with the experiment, as the professor explains to Flash the atomic clock will turn into an atomic bomb in the time capsule! With this discovery, Flash must go to the 25th century, where he"ll soon meet the Reverse Flash for the first time. Great shots of Flash in 4 of 6 panels in these 2 sequence pages from a key issue!
The original Reverse-Flash, is inarguably one of the most distinct villains of DC's Silver Age. Though many heroes fought bizarro counterparts with mirrored powers, Eobard Thawne's unique backstory made him a genuine threat to the Scarlet Speedster and the man behind the mask, Barry Allen. Thawne pushed Barry to his limits, forcing the Flash to kill him in the heat of battle. Today, thanks in no small part to the popularity of the Flash TV series, the Reverse-Flash is rightly remembered as one of the Flash's fiercest foes, making his first appearance a must-have for fans and collectors alike. Twice up, image size of 13x18, ink over graphite, Carmine Infantino pencils and Joe Giella inks.
Graham Ingels
Graham Ingels Tales From The Crypt #35 Complete 7-Page Story "This Wraps It Up" Ingels Only Mummy Story Old Witch Host Original Art (EC, 1953)
The Old Witch is the featured host to end the issue with the Witch's Cauldron "This Wraps It Up", with a rare full image of the Old Witch on the splash panel. What makes this story even more rare is this is INgel's only Mummy Story while at EC! Furthermore according to an EC Pre-Code Horror blog, this is the very last EC story to feature a Mummy!
It's a great tale by both Bill Gaines and Al Feldstein with three archeologists, one with a bad heart (Munson), uncover the tomb of the 5th Pharaoh of Egypt with a large treasure. The two hatch a plot involving the Pharaoh's mummy in order to get Munson's heart to give out, because they know that he will insist on turning over the treasure to the museum. Munson does indeed drop dead from fright from the Pharaoh's mummy, but the schemer pulls out a pistol and shoots the mummy as he wishes to keep all the treasure for himself, but he can't understand why the mummy doesn't drop. It's because the Pharaoh has come back to life to kill the interlopers.A truly "Ghastly" story brought to you with the dark and sinister visuals as only Graham Ingels could provide.
Twice-up scale in ink and white paint over graphite on EC Bristol board with image areas of 13" x 18". Slight toning, stat "The Witch's Cauldron" paste-up and hand-drawn title and text paste-ups on the first page, signed "Ghastly" at the bottom of the opening panel, blue pencil editorial marks and whiteout corrections, with staining and smudging/handling wear. Overall in Very Good condition.
Kelley Jones
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.
Kelley Jones and John Beatty Batman #548 Page 5 Penguin Origin Retold Original Art (DC, 1997)
Visionary artist Kelley Jones provided pencils and fan-favorite John Beatty provided inks for this page from Batman #548 (1997) showing the Dark Knight investigating a mysterious new crime outfit in Gotham. This issue marked the return of Penguin in Batman comics after many years and this page features a rare flashback into the childhood of the villain. Jones' gothic take on Batman, which emphasized mood over realism with the character's flowing, pleated cape and extremely elongated ears, is perfectly captured on this page. Jones' Batman has been described as "otherworldly", which is an apt description.
Kelley Jones was a beacon of quality for comic book art during the 1990s, producing highly memorable work for various Batman projects as well as some of the highlights of the historic Neil Gaiman series, The Sandman. He worked with Gaiman on two well-regarded single issue stories for The Sandman, "Calliope" and "Dream of a Thousand Cats." From there, he was assigned to be the main artist on one of the best multi-part stories from the series, "Season of Mists". Following that, Jones was offered The Sandman as an on-going assignment, but turned it down to work on what became the best-selling graphic novel Batman/Dracula: Red Rain and the follow up sequel Batman: Bloodstorm. He later illustrated had a long memorable run on the monthly Batman series. Jones was the main artist on the on-going Batman title from 1995 to 1998. The artist used a style which emphasized mood over realism, exaggerating many features of Batman's costume such as making his ears incredibly long and giving him an enormous cape draped over his body as seen on panels 1 and 2 on this page.
Ink over blue pencil on DC Bristol board with an image area of 9.25" x 14.25". In Excellent condition.
Dan Jurgens
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.
Dan Jurgens and Rick Burchett Justice League America #70 1st Heroic Superman Image After Death Half Splash Page 21 Original Art (DC, 1993)
This page represents our earliest Funeral For A Friend storyline page that we've had the pleasure to own as Justice League 70 was the first issue just days after Superman's Death in Superman 75. On this remarkable half splash page we see Superman as an ice sculpture created by Ice in his most heroic form. Even as a sculpture, this is the first time Jurgens or any artist illustrates Superman in a heroic form after his historic death.. In the background we see all the members of the Justice League all reeling from the devastating Death of Superman. The bottom panels are touching as Guy Gardner who always had a tumultuous relationship with Supes comes around and grabs one of the infamous armbands to honor his fellow comrade.
"Doomsday caved my head in Blue, but you took him down, you won. Guess I can wear this for the service--outta respect for that." A poignant heartfelt page just pages after the Death of Superman.
Ink over graphite on Bristol board with an image area of 10" x 15". Slight toning, and light smudging/handling wear. In Very Good condition.
Joe Jusko
Joe Jusko The Punisher War Journal #31 "The Kamchatkan Konspiracy" Classic Ski Cover Original Art (Marvel, 1990)
Mixed media painting original art by renowned comic artist Joe Jusko, whose realistic painted fantasy, pin-up, and cover illustrations have graced countless comic book publications. Here we present you cover painting for "Punisher War Journal" Vol. 1 #31, published by Marvel in June 1991. Wonderfully detailed painting shows snowy scene with The Punisher flying through the air on skis, blasting attacker w/revolver as men fire upon him from pursuing snowmobile and other armed skiers give chase. It almost seems a play on a James Bond spy film scene and is even more remarkable in person.
With rich, vibrant colors and a smokey background, these characters come alive, thanks to Joe Jusko's awesome talent. This is truly a Marvel masterpiece, and we're honored to have in our collection. With this one, we now have 4 Punisher painted cover/portfolio plates including the Zeck / Zimelman Portfolio One plate 2, which later became a cover, the only Michael Golden Painted Punisher cover to Punisher War Journal 40 (also massive in size), the Stroman wraparound cover to Punisher Classic #1 from 1989 and now this one to complete the set!
Jusko has signed art at lower right and added "90" date. Back of board has had surface removed, but this does not affect art. Originally from the Jason Taulbee Collection. This massive piece has an image area of 18" x 25", and the art is in Excellent condition.
Michael Kaluta
Michael Kaluta Pencils and Inks The Witching Hour #7 "Trick or Treat" End Splash Page 2 Historic 1st Kaluta Professional / DC Artwork Original Art (DC, 1970)
Michael Kaluta has been one of the most revered artists in the worlds of comic books and fantasy for over 50 years. This is Kaluta's first professional work created in late 1969, published early 1970, also being his first horror related art, which is the genre he's most known for, along with The Shadow of course.
This end page splash features a superb image of The Prince of Darkness emerging from a wishing well after a con-man decides to pose as the Prince of Darkness to scare guests only to be tricked himself! From the 2 page story "Trick or Treat. Even though this was Kaluta's first professional work, it was already well received and "threaten to steal the entire show " as noted in this article below...
From The BareBonesez Blogspot- "The two pages of Mike Kaluta art that make up the piffle known as "Trick or Treat" threaten to steal the entire show this issue. Thankfully, we'll be seeing more of Kaluta's art along the way. Toss him in the shopping cart with Wrightson, Jones, Alcala, and Neal Adams as the true stars of the 1970s DC horror titles. .. GCD says this is one of Kaluta's very first professional credits, and it's a beauty! The story is a throwaway, as so often happens with the really good pieces of art in these mags."
Created in ink over graphite on 11" x 17" Bristol board with an image area of 10" x 9.75". 1/3 House of Mystery + Secrets House Ad noted below. The page is toned, white out corrections, oil stains, In Good condition.
GIl Kane
Gil Kane, Mike Esposito, Frank Giacoia, and Dave Hunt The Amazing Spider-Man #150 Anniversary Issue Spidey vs Kingpin Page 17 Original Art (Marvel, 1975)
It's Spidey versus Kingpin as the web-slinging hero thinks he's in the clear before he's wacked by Kingpin with a stick. We see incredible web slinging panels of Spidey throughout, the top panel has Spidey perplexed as Sandman has disappeared, while the bottom panels we get Kingpin entering the scene and "Wam" punching Spidey and saying "Since now you face... The Kingpin!" (on next page) What an exhilarating panel page, which features our webbed hero in every panel vs one of his greatest foes!
Not to mention this being an ultra rare Gil Kane Spidey vs Kingpin Page, believe it or not this is 1 of only 5 pages of Kingpin vs Spidey Kane drew on his tenure for ASM! And we've all seen what those earlier Romita pre-ASM 100 Kingpin pages have gone for exceeding well into the six figures in recent years, even as small art. It's what I call the Kingpin factor! Even though we do find out later on in the issue these are robot villain clones created by the mad inventor Professor Smythe, but from the art perspective all that matters is Kane is illustrating Kingpin.
Created in ink over graphite on Bristol board with an image area of 10" x 15". The page is toned, In Very Good condition.
Dale Keown
Dale Keown Incredible Hulk #367 Page 4 Hulk Battles The Leader (Keown First Hulk Artwork & Battle Page) Original Art (Marvel, 1990)
If you recall, Walt Simonson did the cover to issue 367, this being the first issue of Keown art on Incredible Hulk with only 3 earlier pages and his very first battle page! You can see his unique art style early on, undeniably Keown. With a shocking opening scene of a deteriorating gray goliath from the final chapter of the "Countdown" storyline part 4 by Peter David. Poison ravages his system with only an hour to live as the Leader looks to use him to take down Madman, his brother.
On this page Hulk is looking to hack the Leader's computer to locate Betty when the Leader and his cohorts return thinking Hulk is dead, only to be welcomed back with a Hulk "Thunder-Clap" getting blown back. The Leader returns fire with one of his "mind blasts", which Hulk is unphased by and we see in the large last panel Hulk slams Leader up against the wall ready and willing to snap his neck. A great early Keown example of Hulk battling the Leader with some great images of Hulk throughout the page.
Not to mention one of my favorite Peter David Hulk stories where Banner/Hulk nearly dies. It's a brilliant tale where Hulk can't penetrate his skin with the serum, so in the final seconds he turns back to Banner to save his life, then leaving the Madman to die. A cold move by the gray Hulk -- luckily he lives and we get to see Keown become the regular artist on the series a couple issues later.
Rendered in ink (Marie Severin) over graphite (Dale Keown) on Marvel Bristol. The art has an image area of 10" x 15", and it is in Excellent condition.
Sam Kieth
Sam Kieth and Dwayne Turner 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. Ink over graphite, Image size 10" x 15" on twice up large 13x19 Marvel board. Art is in excellent condition.
Sam Kieth Pencils & Inks X-Men Unlimited #9 Title Splash Page 1 Wolverine Claws Out Original Art (Marvel, 2005)
Here's an incredible well rendered page by the legendary Sam Kieth drawing one of his most recognizable characters associated with his work, Wolverine. The wonderfully surreal work of Sam Kieth has made a huge impact on comics. In addition to his work on his own creation The Maxx and his key role in kicking off Neil Gaiman's highly significant series The Sandman, Kieth made quite an impression on Marvel readers in the early 1990s with his work on Wolverine in the anthology Marvel Comics Presents as seen above. He returned to the character a couple of times in the early 21st century, first on the Wolverine/Hulk mini-series in 2002 and then on the story featuring this title page, X-Men Unlimited #9 (2005). The page features multiple vignettes with Wolverine including a 'claws-out' image taking on a dinosaur, plus samurai, wild horses and an outstanding final image of Logan on a motorcycle.
The art has an image area of approximately 10" x 15", signed by Kieth in the lower right. Art is in excellent condition.
Jack Kirby
Fantastic Four Annual #1 Historic 1st Meeting of Spider-Man & The Human Torch (Illustrated Pre-ASM #1) Kirby Pencils, Ditko Inks Original Art (Marvel, 1962)
One of the most significant pieces in our collection and what we've learned in recent years due to various articles and historians research, this small 6 page story hails as one of the earliest Spider-Man original art pieces in existence!
Marvel's founding fathers Kirby, Ditko & Lee collaborate on this significant first meeting of the Fantastic Four’s Human Torch and Spider-Man, truly historic original art! Not only do the 2 teenagers meet for the first time on this very page, but they square off and battle in both Spider-Man and Torch fashion, fireballs and climbing on walls! Also note panels 3 and 4 where Kirby uses a one off never seen before or later concept for Spider-Man's defense of a slithering web, almost symbiote like. Twice-Up (Large Art 12” x 18.5” signed by Jack Kirby on the lower right.
Check out our article "The Beginnings of Spider-Man" documenting this early Spider-Man art believed to have been drawn shortly after Amazing Fantasy #15 and before Amazing Spider-Man #1 in 1962, making it the earliest Spider-Man original art story next to Amazing Fantasy #15 interior art in the Library of Congress!
Jack Kirby Fantastic Four #3 Page 3 Historic Earliest Fantastic Four / The Thing Panel Page & 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 To The Rescue! Page 20 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. Not to mention it's one of the best Hulk action pages in the book...
This appeared in the story "The Ringmaster", which features the first appearance of the Ringmaster and his Circus of Crime, supervillains who pose as circus performers. The Ringmaster uses his hypnosis on the crowds that come to see their shows, allowing the other criminals to rob the attendees of their money and jewelry. Rick Jones, the teenage boy responsible for the creation of Hulk due to his carelessly driving his car onto a gamma-bomb test site, has taken a break from helping Bruce Banner with his new monster-changing problem. Rick is attending the circus to get some relaxation time in when the Ringmaster attempts to hypnotize the entire audience. Rick apparently has some telepathic abilities as he's able to resist the Ringmaster's hypnosis and send out a mental distress message to the Hulk asking for help. The monster quickly leaps to the location of the circus tent and makes an entrance. The Ringmaster instructs the Human Cannonball to stop the green goliath. The Cannonball carries a hammer that resembles Thor's enchanted Mjolnir but apparently lacks its powers. One of his cronies aims the Cannonball toward the Hulk, but it appears he bounces right off of him and the force rips through the roof of the tent sending the Cannonball flying. However, on the following page, a firehose turns out to have the ability to down the Hulk for some reason. The Ringmaster captures the Hulk and turns him into a circus clown.
Needless to say, original artwork from the Hulk's original early Silver Age run is rare on the open market. As all long-time Marvel collectors know, the Hulk initially appeared in just six issues of his own title, Incredible Hulk #1 thru #6, published in 1962 and 1963 during the early days of what came to be known as the Marvel Silver Age. Learn more about the Hulk's history and original art through the link below...
Jack Kirby Journey Into Mystery #84 Battle Page 10 Historic 1st Thor Meets Jane Panel (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.
Barry Kitson
Barry Kitson, Karl Kesel and More Adventures of Superman #518 "Dead Again" Incredibly Detailed Double Page Splash 2-3 Original Art (DC, 1994)
An incredibly detailed Double Page Splash during the infamous Traingle Era and memorable "Dead Again" story arc where Superman is searching for answers from the unexplainable body in his tomb shortly after his return from "The Reign of The Supermen" a year earlier. Superman (sporting his mid 90s mullet style hairdo) heads to Apokolips to confront Darkseid in this story, where he's first confronted by a nice selection of villains including Granny Goodness, Bloody Mary, Bernadeth, and many more including Darseid's own Parademons!
Kitson, Kesel and team give George Perez (who was known for splashes with details full of characters) a run for his money with this detailed DPS, truly one of the best we've encountered! I especially love the credits featuring "Jack Kirby - The Source" since he created this 4th world cosmic DC Universe where Superman is entering on this page.
Barry Kitson Pencils, with a collaborated effort of Ray McCarthy, Steve Montano and Karl Kesel all credited with inks on this dynamic DPS. Ink over graphite on two conjoined Bristol boards with a combined image area of 20"x 15". Taped together on the backside, text paste-up corrections in left page, stat paste-up correction in right side. Marginal notes, and production marks. In Excellent condition.
Adam Kubert Pencils & Inks Weapon X #4 Miniseries Finale Double Page Spread 21-22 Original Art (Marvel, 1995)
In a riveting scene setting up the finale of the Age of Apocalypse saga, though this is the 4 part miniseries end, this stunning vertical DPS shows Wolverine, with the help of Gateway, ready to take the fight straight to Apocalypse no matter the cost. Beautiful work from Kubert, handling pencils and inks on this piece, from one of the more memorable X-Men storylines of it's era. Not to mention this is the end of the shocking scene where we learn Logan's lost hand still has the ability to have his bone claws come out!
An electrifying double-page spread unfolds the high-stakes encounter skillfully rendered to page by Adam Kubert. Usually we saw Dan Green inks through much of the limited series, but all Adam over Adam is a thing of beauty!
Crafted in ink over graphite on conjoined Bristol boards with a combined image area of 15.75" x 20.5". On the back of each page is written, in Kubert's hand, 'Adam Kubert pencils and inks'. Art is in excellent condition.
Andy Kubert
Andy Kubert Pencils & Inks Wolverine: Rahne of Terra (Wolverine Annual #3) Graphic Novel Page 43 "I Am The Beast" Twice Up Original Art (Marvel, 1991)
Here's an extremely rare original art page from the memorable one shot, also recognized as Wolverine Annual #3, "Wolverine: Ragne of Terra" in the hand of 1990s X-Men revered artist Andy Kubert & story be acclaimed writer Peter David! What makes this even more special is this is pencil and inks by Andy in large art format. This was released in August of 1991, the same time Andy was guest penciling X-Men 279-280, which is considered the peak period for the artist. Though published in 1991, this issue takes place just prior to the New Mutants' adventure in Madripoor in New Mutants #93, while Wolverine appears between X-Men #268 and that issue.
Check out panel 1 with the monster ready to attack Logan and panel 2 where Wolverine is claws out slashing the monster. Panel 3 we get a great close up of Logan as he's "soaking up to elbows in gore..."
You'd think the knights in the castle would be shooting arrows at the monster calling it a "Beast", but as Logan points out in the final panel, he is "The Beast." An incredibly detailed and gory page, what we'd expect from Andy Kubert in the early 1990s . These pages simply never surface, there is only one other scan I can find, albeit on CAF & not one page has been auctioned to Heritage, Comiclink or ComicConnect.
Andy Kubert’s pencils and inks on Marvel Bristol board Twice-Up (Large Art) roughly 14" x 20". Signed by Andy Kubert in black pen on lower right. Light handling wear and in Excellent condition.
Andy Kubert and Mark Pennington X-Men Vol 2 #20 Story Page 14 Wolverine Claws Out Key Issue Original Art (Marvel, 1993)
Andy Kubert became a superstar in the early 1990s when he took over as the primary artist on X-Men after Jim Lee left Marvel to form Image Comics. His dynamic work kept the title in the #1 sales spot for years. This page from X-Men #20 (1993) features a great claws out Wolverine page as he slashes through a tree to take out his frustrations. Great dialogue between Logan and Jubilee discussing all the hardships they've recently endured including the loss of Mariko, Jean & Scott's baby and more. I especially love the lower middle panel where Logan's on to a scent, only to find it's Betsy in the shadows aka Psylocke, and "Snikr" (not snikt) his adamantium claws appear ready for battle! Speaking of Psylocke in her return issue, this infamous storyline from issues #20-23 tries to reveal that Psylocke has been with the team since Acts of Vengeance isn't the real Psylocke after we later discover she's switched bodies with an assassin code named named Revanche!
SuperMegaMonkey.net outlines our page and early reveal below-
"There's a couple of hints sprinkled throughout the issue that, in hindsight, foreshadow the Revanche revelation: first, while talking to Jubilee outside, Wolverine smells Psylocke, but Jubilee finds that hard to believe, given the cold and the dress Psylocke was wearing."
The art has an image area of approximately 10"x 15". Signed and inscribed by Andy on the lower margin. Art is 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.
Joe Kubert
Joe Kubert Pencils & Inks Rare Twice-Up Our Army At War #61 Page 5 (Pre-Sgt. Rock) Original Art (DC, 1957)
An early twice-up page by the great Joe Kubert is about iconic as it gets when it comes to War comics. In my search for the right Kurbert War page over the years ideally in twice-up form, it’s been a rare and difficult task and for some reason this page really drew me in. A page featuring an aerial dogfight and "skiing"? What’s not to love? We all know Kubert could draw anything, but his aviation art really stands out for me, and this being a great example of Kubert's early work on the title. And yes that’s staining on the bottom tier, but I can live with it as the art is still clearly visible. Side note- At first I thought the staining was part of the art in some way, perhaps smoke or a war gas affect, or the sun itself JK!
This early Our Army at War page, the sun takes center stage in "Battle Sun", as the suns role in war battles is the focus of this backup story. The War genre was very successful for DC in the 50s going into the 60s and Joe Kubert was the guiding visionary behind the line. Despite Kubert’s prolific output on “Our Army at War”, his early original art on the title remains quite scarce.
Joe Kubert is one of the most important comic book artists in the history of the medium. He began his career as a teenager in the Golden Age working on Hawkman in Flash Comics and worked steadily in the industry until his passing in 2012. He's best known for his extraordinary body of work on DC's war titles in the 1950s-1980s, including the creation of Sgt. Rock, who first appeared in 1959's Our Army at War #83 and ran all of the way until 1988. Kubert's also beloved among superhero fans for his 1961 revival of Hawkman in Brave and the Bold. In 1976, Kubert established the Joe Kubert School, a three-year technical school that teaches the principles of sequential art and the particular craft of the comics industry as well as commercial illustration. The Kubert School was and still is the only accredited school devoted entirely to cartooning where many of today's most important comic artists once attended.
Created in twice-up scale in ink over graphite on Bristol board with an image area of 13" x 19.25" (including the stat paste-up header). Mild toning, edge and corner wear, marginal notes, and heavy staining in the bottom tier. In Good condition.
Joe Kubert Sgt Rock #136 Classic "Make Me A Hero" Earliest Known Kubert War Cover Known To Exist Original Art (DC, 1963)
The legendary Joe Kubert spent decades illustrating the gritty adventures of Sgt. Rock and Easy Co., stories that took place in a seemingly endless World War II and published in the pages of DC's Our Army At War (which later changed its name to Sgt. Rock). This 'Twice-up' (large art) cover was published on Our Army At War #136 (1963). It features a full-figured image of Rock firing a machine gun at some enemy soldiers as he attempts to avoid falling through the ice on a frozen body of water. This was the third of four consecutive covers Kubert designed in which the design was divided into three columns, with only the middle column featuring the artwork (with a bit of spill over into the other columns). The two outside columns featured a solid color. Because there are only four covers in the long run that used this unique design, this one is well known to DC war collectors.
Now onto our research, since I thought to look to see if there are any other three column Kubert covers around, and there was nothing. So naturally I looked for earlier war covers by Kubert on all the auction sites, CAF, Google searches and also nothing. I then contacted Charlie Weiss who handles much of the Joe Kubert estate and he concurred he hasn't seen anything earlier as well. We should add DC twice-up covers much like Marvel covers pre-1965 are extremely rare already, this one being from 1963. To put it in perspective, Heritage's earliest Kubert war cover offered was from 1966, three years after this one! Maybe there's earlier Kubert war covers hiding in someone's attic, but for now this looks to be the earliest known example to exist!
The art has an image area of approximately 12.5" x 18.5". The title and Comic Code logo are stats. The center background stat is an art stat aka art over the stat, so the soldiers seen there are original art. Some minor glue staining in center image and paste-ups.The cover is signed by Joe Kubert and is in very good condition, especially considering it's age.
Joe Kubert Sgt Rock #326 Classic "Future Kill Two" Cover Original Art (DC, 1979)
A stunning cover by the man that most agree is the single best war comic artist ever... Mr. Joe Kubert!In searching for the right Kubert Rock cover, it's simply not an easy task, but this one checked all the boxes. First off, it's quite rare for Kubert to draw women on his war related covers, even more rare on a Sgt Rock cover where he's front and center saving the damsel in distress. Second, a full figure Sgt Rock front and center on the cover isn't very common either and the one's that are seem to be in high demand. Third, and perhaps most interesting to me is the science fiction feel for this futuristic robot inspired cover! There you have it, simply one of the best Kubert Rock covers of the era!
Created in ink over graphite on DC/Sparta cover stock Bristol board with an image area of 10" x 15". The masthead text and DC Bullet are stat paste-ups. signed in the lower right of the image area. In Excellent condition.
Harvey Kurtzman
Harvey Kurtzman Time Magazine "Cop and Radical" Published Illustration Original Art (Time/Life, 1972)
Kurtzman not only created MAD in 1950, but his work is noted for its satire and parody of popular culture, social critique, and attention to detail. He was also a huge demonstrator of pushing the envelope using his cartoon skills to put messages across in the political circuit. This piece was Kurtzman's only Time Life artwork, in which the radical who was loosely based off a known activist at the time. Despite a "Kill The Pigs" button on her chest, she gets chummy with the cop, though they share distinctive differences, they put them aside during a time to promote peace and love. A beautiful piece showcasing Kurtzman's political satire at that time.
Grey wash and ink illustration on Bristol, with an approximate image area of 3.25" x 5.25", in Excellent condition. Matted to an overall size of 8.75" x 11.25". Comes with a copy of the printed article illustration page. Formerly part of the Kitchen Sink Collection.
Greg LaRocque
Greg LaRocque and Mike Esposito Marvel Team-Up #141 Story Page 21 Historic 1st Black Suit Spider-Man (Ties with ASM #252) Finale Scene Original Art (Marvel, 1984).
Tied as the first appearances of the Black (symbiote) costume, this issue featured the return of Spider-Man from the Beyonder World. We should add this being a team-up issue with Daredevil & Black Widow, and with Spider-Man away in Secret Wars, Spider-Man in his new black suit doesn't appear until Page 13, so he's only present in the new black suit for 10 pages in the entire issue!
What's great about this page is you get all the team-up characters on one page, and more importantly Black Suit Spidey! The top half of the page features the finale scene with Natasha (Black Widow) catching the villain who gives up his gun and confesses to murder. The bottom 4 panels we get a glimpse of Spidey in action with his newblack suit stunned that Daredevil made a deal with the Kinpin, shoots his webs through New York and disappears off into the sunset!
The page was created in ink over graphite on Bristol board with an image area of 10" x 15". The top edge is irregularly trimmed. Overall in Excellent condition.
Erik Larsen
Erik Larsen and Mike Machlan The Amazing Spider-Man #331 Splash Page 19 & Cover Scene Punisher & Spider-Man Original Art (Marvel, 1990)
Here was one at the top of my list for a while now, an Erik Larsen ASM Spidey page and teaming up with the Punisher was a huge bonus! On this page we have Spidey swinging & The Punisher (Frank Castle) stands atop a pile of destroyed robot parts as he joins our favorite webhead in pursuit of the world's largest stash of drugs at a U.S. Military Academy. A great splash & cover scene image of the duo just before one of the robots gets a shot in on the Punisher on this action-packed page by Image co-founder Erik Larsen. A rare offering, as pre-1991 Larsen originals are hard to find since a house fire destroyed all of the art still in his possession.
Ink and screentone over graphite and blue pencil on Marvel Bristol board with an image area of 10" x 15.75". Signed by Larsen at the bottom right. Slight toning, pinholes in the margins, yellowing of the shading film, discolored page number paste-up and small spot stain at the bottom, with light smudging and handling wear; otherwise, in Excellent condition.
Erik Larsen and Rodney Ramos The Amazing Spider-Man #21 Semi Splash Page 11 Spotlight on Spider-Man Larsen Last Issue On ASM Title Original Art (Marvel, 2000)
Great example of his rare Spidey work on title with an ideal Splash image of Spidey coming right at you with a spotlight shining on him with his web spinning all over the page into the margins, making it slightly larger than your average panel page. Spidey is on every panel spinning his webs and contorting on the middle splash panel, making it an incredible Larsen presentation page. Larsen Spidey art rarely comes up and surprisingly enough, as legendary as he is considered for Spider-Man, on main ASM title Larsen only did issues #287, 324, 327, 329-344, 346-350, and Vol. 2 #19-21, this work being his last issue on title!
The story page was created in ink over graphite on Bristol board with an image area of 10.5" x 16". The page is signed by Larsen and Ramos on the lower right. In Excellent condition.
Jim Lee
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 & Art Thibert X-Men #7 Page 31 Wolverine Weapon X Story (Death of Dr. Cornelius) & Climactic Finale Page to Mutant Genesis Story Arc Original Art (Marvel, 1992)
Here is what I consider another Grail level page with the work of Jim Lee's X-Men Mutant Genesis saga, the shocking finale page as Dr. Abraham Cornelius from the Weapon X project attempts to kill Wolverine, but before he can Maverick saves the day and kills him first. Wolverine returns the favor, giving him the coveted C-Synthesizer before he disappears, the end. Jim packed in a lot of story on this 12 panel grid in the rain ending a memorable arc.
My overall goal with Jim Lee art of this era was to acquire a solid page from the Uncanny run, as well as his X-Men run. What better to have then a Wolverine mythos story page that ends the acclaimed Mutant Genesis arc. Please take note of Panel 2 with Wolvie claws out before we see "BLAM" with Maverick shooting the Weapon X doctor responsible for Wolvie's adamantium.
The 1991 relaunch of the X-Men title with a new #1 was an event of epic proportion with the first issue selling an estimated eight million copies, an all-time record for the industry and one that is likely to never be broken. This is an outstanding example of Lee's work on what was simply the most popular comic book run of all time, with each issue selling over one million copies. Lee left the title after #11 to start Image Comics and his Wildstorm Studio.
The art has an image area of 10" x 15" and it is in Excellent condition and signed by Jim on the bottom left.
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.
Jim Lee and Scott Williams Superman #214 Superman vs General Zod Classic Cover From The "For Tomorrow" Story Arc Original Art (DC, 2004)
After Jim Lee's incredibly successful Hush story Arc in 2003, he was brought in to do the art for the acclaimed Superman "For Tomorrow" storyline in 2004, showcasing some of his best art from this era. Here is a modern masterpiece featuring the Man of Steel in his most heroic form vs one of his greatest foes, General Zod in this breath-taking cover image. This has got to be one of the best Superman covers from the acclaimed run, with a powerful design by Jim Lee and crisp, clear inking by Scott Williams.
The striking cover image was created in ink over graphite on bright white DC Bristol board with an image area of 10.5" x 15.5". Signed by both artists in the lower portion of the image area. In Excellent condition.
Jim Lee and Scott Williams Iconic Action Comics #1 Cover From The New 52 Launch (From Jim Lee's Personal Collection) Original Art (DC, 2011)
When you think of Jim Lee’s incredible body of work now spanning over 35+ years, there’s quite a bit to look at, but one could argue his New 52 era was some of his greatest art. While some would say The New 52 overall failed lasting 5 years, others like myself would say it was a huge gamble and overall a success. I believe in years and decades to come we’ll look back at The New 52 as the most revolutionary era for DC since the beginning of Superman and Batman incarnation in 1938/39, similarly to Crisis on Earth in the 80’s and quite possibly as large as The Death of Superman saga in the early '90's.
We’re talking the first time since 1938 from Action Comics #1 to issue #904, to have a complete reset to an all new Action Comics #1, with an all new Superman look created by none other than Jim Lee! The art was cutting edge, with an all new Superman suit, and a younger look, Jim Lee took all his artistic queues and influences from years earlier and applied it to this art. You can see in the details of the art how important it was to Lee for this launch to be successful. We can’t put into words the importance of this title to the comic book community, and the all new Action Comics #1 Variant Cover by Jim Lee. There were a few different versions of Action Comics #1 for the New 52 by various artists, but this was the Jim Lee version, the most talked about and most sought after, and the only version to showcase Superman in his all new suit and overall look designed by Lee! Lee puts Superman in his classic stoic pose of strength and confidence, and plays homage to the Golden Age era with Max Fleischer’s Mechanical Robots from the 1941 cartoon in the background.
Many of Jim Lee’s covers become available for purchase shortly after they’re created, while other covers stay with him in his own personal collection, as was the case with this cover. After holding onto the Action #1 cover for over a decade, Jim decided to part with it and I was able to acquire the piece through private sale.
From the great Alex Sinclair (colorist) shed light on this cover on a blog back in 2011: “By now most of you have seen the progression of this cover. Jim went through a few sketches before ending on this composition. Somewhere along the line Robots were suggested and how much we all liked the Fleischer cartoons. Jim threw in his version of them in the background and I did my best to pay an homage to them by simplifying the rendering and going really heavy on atmosphere. Pretty happy with the results--hope you are too.”
Jim Lee Pencils, Scott Williams Inks on 11x17 DC Bristol Board.
Jim Lee Batman “Hush” 20th Anniversary Epilogue Complete 5 Page Story (#619A)
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 including the opening splash of Batman in the rain jumping in the Gotham river is such a classic moment. Once I decided to get 3 of the 5 pages, it only made sense 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 Hush Battle 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 Page 3 "Hush Where Are You?" (DC, 2022)
This has to be one of my top pages in the story. The art is second to none, again great storytelling and flow through the art. After Batman blows through the door he finds the room where Hush was hiding and repaired his gunshot wounds, as we see a first aid kit and bandages, and most important Batman finds his coat. “Hush where are you?” Interestingly, he does not refer to him as Tommy his old friend, still in disbelief that he is in fact Hush. Touching page as you can really feel the emotion of Batman in the last panel.
Jim Lee Pencils & Scott Williams Inks Batman Hush 20th Anniversary Semi Splash Page 4 "Hush Surfaces From The Gotham River" (DC, 2022)
Hush 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 a nicely detailed rocky Gotham cityscape 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 Batman Hush 20th Anniversary End Splash Page 5 "Revenge is a Dish Best Served Shot in the Head" (DC, 2022)
Here’s the finale splash page, which I might add is a cover quality splash page, a rogue gallery of sorts featuring none other than Hush himself (exiting the river), greeted by both Harley and Joker in classic Jim Lee poses. Once again an industrial Gotham backdrop off the river tops off the detail in the page. Joker holds a gun to Hush’s head, cracks a joke, which is not very funny saying “What’s the old saying? Revenge is a dish best served…Shot in the head! Haha HeHeee” What we do know is Hush ends up surviving as he’s seen in various stories proceeding the aftermath of Batman #619. But what’s most interesting is the bottom portion, which we don’t see on the art that says “To Be Continued…!” Will there be a sequel? It’s hard to say if and when that would happen and if it did, would it follow from this point or modern day Batman? Will it be Hush 25th Anniversary? I guess we’ll just have to wait and see…
Either way, Hush is an incredible classic modern storyline that continues to spark interest amongst young and old Batman fans. But I would argue what made Hush so successful 20 years ago and still today, is perhaps less the story itself but the art behind it, with Lee and Williams incredible artwork. It’s rare to see artists get better with age, but it’s safe to say these two artists are like a fine wine in relation to their artistic talents. What we’re witnessing is something quite rare for an artistic team of Lee and Williams who have been consistently putting out acclaimed artwork for 30+ years. In comparison, Miller arguably was in his prime in the 80’s and early 90’s, Mcfarlane in the late 80’s and early 90’s and the list goes on. Many would think X-Men Lee was his prime era in the early 90’s only to create Hush a decade later in the early 2000’s. Then another 10 years later Lee spearheads The New 52 Justice League and other titles in that era, to now still put out quality covers and in this case, which is extremely rare for Lee to do interior pages. Needless to say we’re extremely pleased to have these 5 new pages that have been added to the original story of Batman Hush by Jim Lee and Scott Williams in our personal collection.
Jim Lee Pencils & Scott Williams Inks Justice League #1 pg 9 Splash - “Welcome to Gotham City Green Lantern!” (DC, 2011)
While Action Comics #1 for the New 52 DC reboot was the flagship title for the last 70+ years, Lee reintroduced the Justice League making it an all new origin story and kicked off the New 52 relaunch with this book. The Justice League New 52 origin lasted 12 issues with Jim Lee as penciler broken up into 2 story arcs, the first being Darkseid (1-6) and Graves (7-12). These 12 issues with Lee at the helm the choice examples have become extremely desirable for collectors and is regarded as some of his greatest work to date. The Justice League movie in 2017 was largely based off Geoff John’s story and Jim Lee’s art. This artwork was chosen and showcased in IDW’s Jim Lee DC Legends Artifact Edition book…
Batman and Green Lantern are pursuing one of Darkseid’s Parademons across the rooftops of Gotham, while the police pursue and fire upon both of them from helicopters. The Gotham police continue firing on Batman, Green Lantern, and the Parademon, but their fire is blocked by Green Lantern's shield constructs. Batman and Green Lantern’s first conversation in the New 52 is on full display here being a great early splash page from the dawn of the New 52 era.
Jim Lee Pencils & Scott Williams Inks Justice League #6 Page 6 Splash Cover Scene & Steppenwolf New 52 Birth Page -- “Hail Darkseid!” (DC, 2012)
While Action Comics #1 for the New 52 DC reboot was the flagship title for the last 70+ years, Lee reintroduced the Justice League making it an all new origin story and kicked off the New 52 relaunch with this book. The Justice League New 52 origin lasted 12 issues with Jim Lee as penciler broken up into 2 story arcs, the first being Darkseid (1-6) and Graves (7-12). These 12 issues with Lee at the helm the choice examples have become extremely desirable for collectors and is regarded as some of his greatest work to date. The Justice League movie in 2017 was largely based off Geoff John’s story and Jim Lee’s art. This artwork was chosen and showcased in IDW’s Jim Lee DC Legends Artifact Edition book…
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.
Rob Liefeld
Rob Liefeld New Mutants Annual #5 1st New Mutants Artwork Half Splash Page 31 1st S.U.R.F. Original Art (Marvel, 1989)
From the Historic first published Rob Liefeld New Mutants story! This Half Splash page from the story “Atlantis Attacks" crossover event, Rictor, Boom Boom, and Cannonball are joined by Namorita & S.U.R.F. (The Last Defeners of Atlantis) Sharkskin, Eel & Undertow in their 1st appearance battling a creature destroying Atlantis. Check out the intricate underwater detailed art created by Liefeld early on in his storied career.
A prominent writer and artist in the 1990s, Liefeld is known for co-creating the character Cable with writer Louise Simonson and the character Deadpool with writer Fabian Nicieza. In the early 1990s, Liefeld gained popularity due to his work on Marvel Comics' The New Mutants and later X-Force.
Ink over graphite and blue pencil on Bristol board with an image area of 10" x 15.25". Slight toning, production trimmed top edge, tape on the top and bottom edges, taped page number paste-up at the bottom, with light smudging/handling wear. Signed by Liefeld at the top left and in Very Good condition.
Rob Liefeld and Lary Stucker Cable #71 Half Splash Page 15 Liefeld's Grand Return To Cable & First Pencils On Title Original Art (Marvel, 1999)
This issue marked Liefeld's grand return to Cable and his first pencils on Title! On this action-packed Rob Liefeld page from Cable #71, the popular creator of Cable and Domino (and Deadpool, of course) depicts his characters in an action-packed rescue scene. Ahab, the leader of the mutant-tracking Hounds from the grim "Days of Future Past" future, is holding Cannonball hostage. Cable, Domino and Warpath are part of a rescue team. In the large opening panel, we have a full-figure image of Domino in action taking on the Hounds, giving one a swift kick to the head. The second panel features Cable and Ahab. In the remaining panels, Cable notes the entrance of Domino and Warpath while Ahab comments that they have just made it easy for him by coming to his domicile. Then Domino shouts out orders when Warpath stops one of the Hounds from attacking her. Then Warpath appears to prepare to crush the head of one of the Hounds, telling her it is better for her than to live the life of a mutant tracker.
The art has an image area of approximately 10" x 15", and is signed by Rob Liefeld in the bottom margin. Very Small fold/tear in the upper right corner, overall in excellent condition.
Ron Lim
Ron Lim Silver Surfer #34 Page 21 Thanos Resurrection Issue (Thanos First Dialogue & First Silver Surfer Encounter Page) 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 #1 Battle Page 28 Thanos vs The Champion To Acquire The Power Gem (Thanos/Champion on all 5 Panels!) (Marvel, 1990)
Thanos Quest #1 Page 28 - Thanos battles the Champion with the intention of obtaining the Elder of the Universe's 'Soul Gem' known as the Power Gem on this 'Twice-up' (large art) illustrated by the team of Ron Lim (pencils) and John Beatty (inks). Beautiful 5 panel battle page with both Thanos & Champion visible on all 5 panels!
On this page from Thanos Quest #1, Thanos confronts the Champion, one of the ancient Elders of the Universe. The Champion was introduced in Marvel Two-in-One Annual #7 (1982). Following the Grandmaster's failed plan to kill Galactus, the Champion came into possession of the Power Gem. The Power Gem provides its owner with merely all of the power and energy that ever has or will exist! What's great is how Thanos finds the elders weakness, exploits it, in this case as shown on our page, he frustrates the Champion with a force field, where he ends up getting so enraged he blows up his own planet and eventually hands over the power gem to Thanos. Thanos knew he was no match for the Champion in an all out brawl, so he found another way to obtain the soul gem.
I think the best part of this page for me was the bottom left panel in which Thanos thinks- "In many ways I assume this is what it would be like battling the Terran behemoth, the Hulk... A conflict I've sought to avoid over the years." Interesting Thanos would make a comment saying he's avoided the Hulk. Well, what a great tie in since our first Infinity Gauntlet #4 page is in fact his first encounter and battle with the Hulk!
Note: The text blurbs on this page are paste-ups. However, the word balloons and text in the upper panel are inked directly on the board.
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 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 Infinity Gems origin!
This large art has an image area of approximately 11.75" x 17.75", light smudges and artist notes along the border.
Ron Lim Thanos Quest #2 Page 23 Thanos Matches Wits with The Grandmaster For The Final Gem, The Mind Gem! Original Art (Marvel, 1990)
Ron Lim (pencils) and John Beatty (inks) collaborated on this incredibly important 'Twice-up' page from Thanos Quest #2. I felt it was a must to have a Thanos / Grandmaster page, undoubtedly his most challenging and worthy opponent. This of course is the last of the elders in obtaining the 6th and final gem. On this page he visits the Elder of the Universe known as the Grandmaster, who is in possession of the last of the six gems. The Grandmaster isn't willing to just give it up, so he creates a complex series of challenges that Thanos must overcome in order to possess the prized gem.
The final gem, the mind gem giving one control over anyone’s thoughts, is in the hands of The Grandmaster. The Grandmaster unlike the others is fully aware of what the gem is, why Thanos wants it, and is fully prepared for him when he arrives. The Grandmaster is obsessed with games and puts forth a challenge to Thanos, beat him in a game of his choosing and he gets the gem, lose and he dies. Thanos agrees to this. They compete in the game going back in forth in their battle until Thanos appears to get the drop on the Grandmaster. The Grandmaster however cheats and coats Thanos in a lethal fungal coating that utterly destroys him. Unfortunately for the Grandmaster Thanos was also cheating, it wasn't him competing at all but a robot. Thanos destroys the device that creates the gamespace and destroys the Grandmasters mind with it. And with that Thanos has obtained all 6 gems and with them. Thanos has achieved his long sought after goal of godhood.
This large art has an image area of approximately 11.75" x 17.75", light smudges and artist notes along the border. Which then leads to the biggest, arguably most important saga of our time, The Infinity Gauntlet finale scene to the six issue series...
Farmer Thanos - Final Scene/Pages to The Infinity Gauntlet Series (Marvel, 1991)
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 38 ("Farewell Titan")
The second of the four “Farmer Thanos” pages is one of our favorites featuring great dialogue between Thanos and Warlock, while Gamora and Pip the Troll look on. We see great up close images of both Thanos and Warlock, but by far the best image and another famous one is Thanos at the top of the steps with his arms folded talking with Warlock about the importance of the gauntlet and where Warlock seeks advice from the former Mad Titan who says with conviction to either “endure or surrender the power”, from his experience with the gauntlet. Thanos goes on to mention his three failures with the gauntlet being enough for him and in the last panel he wisely says “A quiet life will allow me to digest and incorporate the lessons the past has forced upon me.” Warlock wishes the titan best of luck and farewell. Now onto the third page…
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.
Infinity Gauntlet #6 Page 40 (The Iconic Splash Page Ending To The Series)
The fourth and final Farmer Thanos page, is also the final page of the six issue saga and it’s one of the most recognizable images in the entire series. This is where Thanos, the former Mad Titan from the previous panel page reflecting on both his life’s accomplishments and failures expands on his thoughts and comparison to the new supreme being Adam Warlock. Thanos has some choice thoughts on Warlock and thinks to himself, “Adam Warlock, a being who wished nothing more than to spend the rest of his days within the peaceful environment of the soul gem…He now possesses the infinite power and all the responsibility that goes along with it.” In comparison, Thanos looks at his entire life goal in pursuit of power, but is now scraping soil as a farmer, with a dialogue box reading “Irony worthy of the drama.” In the final panel Thanos expands further on his thoughts thinking that even though his life was always in pursuit of power, through all this he does not envy Adam Warlock. “Somehow I feel that in the long run, Thanos of Titan came out ahead in this particular deal. THE END.”
5 Times Avengers “Infinity War” Brought Infinity Gauntlet Panels to Life- by Chris Tilly- This final image splash was featured as the main title image for the article as well as the end image, perhaps along with the “Snap” being one of the most prolific pages to the epic series. When bringing up this splash panel Tilly says… “The Fate of Thanos- At the end of the book, Thanos is defeated, and Adam Warlock sends him to an unnamed planet that’s filled with lush greenery. He scrapes out a living from the soil. The final panel featuring the big bad sitting on the steps of his house, surveying the scene, and thinking: “In the long run, Thanos of Titan came out ahead in this particular deal.” At the end of the film, Thanos appears on a lush green planet — which may or may not be inside the Soul Stone — and sits on the porch of a farmhouse. Having just wiped out half of humanity, the film’s final moment finds him surveying the scene. And smiling.”
This final panel is featured in many articles, not only for the epic six issue saga but also for the Infinity War movie as mentioned above. It is truly iconic in every sense. In the comics, his exile came from failing his mission. In the movie, he succeeds, but his exile is practically identical to the page, living a simple life as a farmer wishing to be left alone while he looks out to the sunrise.
Art Details-
Truly historic set of all 4 iconic "Farmer Thanos" pages, oversized 13x19, not to mention signed by all 3 artists/writers; Ron Lim, Jim Starlin and Joe Rubinstein
Joe Madureira
Joe Madureira and John Dell The Uncanny X-Men #336 Double Page Spread 5-6 Apocalypse Original Art (Marvel, 1996)
Here's a tough one to find , a Joe Mad X-Men page from his run in the mid- 90's! Apocalypse joins the Watcher in observing the chaos erupting in New York City during the coming of Onslaught! An epic double-pager from Phase 2 of the "Onslaught" event storyline, which led into "Heroes Reborn".
Ink over graphite on two conjoined Marvel Bristol boards with a combined image area of 20.25" x 15.75". Held together by tape on the back tape on the top edge, marginal notes, whiteout touch-ups, with light handling wear. Signed by Madureira in the bottom image area and in Excellent condition.
David Mazzucchelli
David Mazzucchelli and Kim DeMulder Daredevil #222 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
Todd Mcfarlane Pencils & Inks Amazing Spider-Man #323 Half Splash Spidey Message to MJ Key Page! (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!
Dave McKean
Dave McKean A1 #1 Mister X Story Title Page 1 Neil Gaiman Story Large Art (Atomeka Press, 1989)
Neil Gaiman and Dave McKean produced the story "Heartsprings & Watchstops", which featured Mister X (originally created by Dean Motter). Here is an incredible title page splash by Mckean to the short story done by Gaiman.
Produced in oil on Bristol board with an oversized image area of 16" x 25". The text is created with stats affixed to a clear acetate overlay. A Highbrow piece in our collection, in Excellent condition.
Property From the Collection of Darren Shan
Dave McKean "The Last Sandman Story" Splash Page 13 From Dust Covers: The Collected Sandman Covers Original Art (DC/Vertigo, 1997)
This is Dave McKean's depiction of Dream of the Endless from page 13 of "The Last Sandman Story", a work written by Neil Gaiman and published in 1997. Following the completion of the original 75-issue series The Sandman in 1996, DC/Vertigo published Dust Covers: The Collected Sandman Covers 1989-1997 which collected all of Dave McKean's incredible collage covers from the historic series written by Neil Gaiman including the core series #1-75 and the various specials and collected editions. However, Dust Covers not only collects all of McKean's Sandman covers from The Sandman, but the book also begins with "The Last Sandman Story," a new story written by Gaiman and drawn by McKean that is promoted on the book's cover. "The Last Sandman Story" is a prose story with illustrations by McKean. It's about Gaiman's relationship with The Sandman series and the character of Dream. Gaiman and McKean had agreed that this story should be "Something that had the kind of look that was of a piece with the covers." So, for the first time in the history of The Sandman, the artwork maintains the style of the cover art. They had also agreed the story should have "More prose than comics - one or two illustrations to a page."
"The Last Sandman Story" has been reprinted on a few occasions including Absolute Sandman Vol.5, The Sandman Deluxe Edition Book Five, and the 2022 Black Label Edition of The Sandman Book Four.
While in 1997, Gaiman may have intended this story to truly be the last Sandman story, in the 25+ years since it was published, Gaiman and other creators (with his blessing) have produced several additional stories featuring Dream and his unique family.
This original artwork is executed in black and blue ink on bristol board. The art has an image area of approximately 8" x 9". It is signed by Dave McKean. Note: Yellow tape stain in the bottom right corner.
Mike Mignola
Mike Mignola A Year of Monsters Sketchbook Cover Hellboy & Villains 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 $200+, 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 Iconic Hellboy: The First 20 Years Pin-up, Frontispiece, Afterword, Back Cover & Limited Edition Print Original Art (c. 2013)
I don’t think we have something in our collection that has been published as many times or as an artists featured art during a specific period as this one. This era marked a significant period for Mignola as the artist returned to drawing duties for the first time for Hellboy since 2006 when in 2012 he came back to do the acclaimed “Hellboy in Hell” 10 issue mini-series as well as his “Year of Monsters” covers (as mentioned with our previous art).
This art became the central Mignola Hellboy piece for that following year in 2013, seeing publication in multiple formats as follows; Hellboy The First 20 Years frontispiece (in color) and Afterword (in non-color original art form), Hellboy 20 Years limited edition print to 1000, Hellboy in Hell Three Gold Whips Back Cover, Hellboy 20 Years Promotional Sampler Comic Back Cover, and possibly as noted on the art itself intended for the Library Edition #6 Title page or Afterword (have not verified).
Thus, this memorable Hellboy image became one of the most iconic central pieces of art from Mignola of this era and we’re proud to house it in our collection. Rendered in pen and ink on 8 1/2 x 11 paper in excellent condition, signed by Mignola in the lower left with notations.
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.