HOLY GRAIL ART - PRIVATE COLLECTION

Arthur Adams X-Men: Blue #2 Magneto Twice-Up Memorable Cover (Launched Alongside #1 Cover Used For Main Promo) Original Art (Marvel, 2016) 

Art Adams completed this memorable Large Art cover as an homage to X-Men #43 from 1968 featuring our full team of Mutants going up against a giant Magneto around the same time as X-Men Blue #1, as this cover, was also a promotional poster to advertise the new series launch, essentially as the main promo piece. Interestingly enough, both issue #1 and #2 were launched the same month, only 2 weeks apart. It seems CBR and other promo sites took to this cover as much if not more than the #1 cover, with Magneto prominently featured for the first time in the series on this magnificent cover! Check out the CBR Article that featured this cover as the main promotional piece to launch the new series back in 2017!

Created in ink (...a lot of ink) over blue pencil and graphite on bright white oversized 14" x 21" Bristol board with an image area of 12" x 19". Signed and dated by Adams in the lower margin. In Excellent condition.

Neal Adams and Dick Giordano Batman #232 Ra's Al Ghul 1st Appearance Issue - Batman Mission Statement - Classic Calcutta Opening Scene Page 8 Original Art (DC, 1971)

It's a key moment from the very first Ra's Al-Ghul story, as our hero demonstrates that he is a detective first and foremost, searching for the capture of Robin, as we soon learn the issue's adventure was a wild goose chase set up by Ra's.  

On this page the stage is set in Calcutta India as Batman pretends to be a beggar, revealing himself to thieves and battling them to gain useful information. The top left panel is a continuation of the Neal Adams famed origin sequence to Batman and this panel gives us the Caped crusader's mission statement. Not to mention this page marks the opening battle sequence to this penultimate issue! This Denny O'Neill story is one of the most memorable Bat-stories of the 1970's and is a key piece to the Ra's Saga and the Batman mythos.

Ink over graphite on Bristol board with an image area of 10" x 15". There is mild toning, a stripped-in text correction in the bottom panel, trimmed borders, whiteout corrections and blue production marks. In Very Good condition.

Jim Aparo “Knightfall Part 15” Batman #498 Key Bane Semi-Splash “Gotham Is Mine!” and Azrael Takes Over The Bat Mantle From 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. 

Steve Ditko Strange Tales #117 Historic Earliest All Ditko Doctor Strange Story Art Known To Exist (Predates His 1st Cover Appearance) - Doctor Strange In Every Panel Trapped by The Infamous Foe Baron Mordo Original Art (Marvel, 1964)

In an early appearance, his 6th to be exact, and by all accounts the earliest pure Ditko (pencils and inks) of Doctor Strange original art story that is known to exist or at the very least has ever surfaced! Though we are aware of at least 1 of the 5 story pages from issue #114 existing, they are not pure Ditko as they have George Rousso's inks, which many collectors require a full pencil and inked Ditko Strange as seen here. This page is a classic Ditko 9 panel grid Featuring Doctor Strange in all of those 9 panels in astral form against one of his most infamous foes, Baron Mordo in only his 4th appearance. Here, Mordo has succeeded in trapping Doctor Strange... both in body and in spirit! We really love that sly-eye and knowing smirk in the last panel. It's like Stephen Strange knows something we don't. 

Even the most basic panel pages from the epic Steve Ditko Strange Tales run have become stuff of legend, but Strange in every Panel attempting to outsmart Mordo? There's so little Ditko Doctor Strange Art out there to begin with and the first few stories were only 5 pages, this is only the 30th all Ditko Doctor Strange page ever produced, which would be midway into issue #2 if it were a full feature title issue, similar to Spider-man! To put it in perspective, this page is so early just two issues earlier in #115, Strange's origin was told for the first time, the classic accident and visiting the Ancient One. Even further perspective, again, being so early at this point Doctor Strange had never been on a cover, as his first partial cover appearance isn't until the next issue in #118! Furthermore, A Ditko panel page featuring Doctor Strange in every panel on this particular piece, as well as the content of said Sorcerer Supreme plying the mystic arts with one of his earliest and most important adversaries, Baron Mordo, makes this piece extremely special.

Steve Ditko is one of the most respected, influential, and widely collected artists in the history of comics. He is one of the creators most closely associated with the "Marvel Age" of comics and his contribution to Marvel of Doctor Strange is second only to his contribution to Spider-Man. All Ditko art dating from the 1960s is desirable, but among true connoisseurs of the master's work, Doctor Strange pages are some of the most sought-after. 

Crafted twice-up scale in ink over graphite on Bristol board with an image area of 12.5" x 18.5". In Excellent condition.

Kevin Eastman Teenage Mutant Ninja Turtles Artobiography Michaelangelo Concept Illustration by Co-Creator From Origin Year Original Art (Mirage, 1984)

Here we have something truly special from the beginnings of The Teenage Mutant Ninja Turtles from their origin 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 proceeding after issue #1. 

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! 

Frank Frazetta and Roy Krenkel Back To The Stone Age Classic Paperback Cover Painting - Historic Earliest ERB/Ace Frazetta "In Book" Cover Credits Original Art (Ace, 1963)

Frank Frazetta and Roy Krenkel teamed up for this visually arresting cover illustration, produced for one of Edgar Rice Burroughs' timeless Pellucidar adventures. The pair often co-worked the linework, with Frazetta doing the paint, and both artists are credited in the book itself. Specifically, Krenkel noted in a 1964 Fanzine a year after this painting was completed, that he only did the rough layouts and Frazetta did brush work (with his famous ink brush) and the painting itself for this very cover, Back To The Stone Age from 1963. 

In fact, after further research, this painting is Frazetta's earliest credited "in book" Edgar Rice Burroughs work. The other two noted Frazetta / Krenkel collaborated paintings (A Fighting Man of Mars and Tarzan Triumphant), both noted by the Frazetta family did not have Frazetta credits in the book, making this cover painting truly historic and incredibly important to not only Frazetta's legacy, but the overall comic art medium!

Note: (See below under 'Roy Krenkel' art, you'll find an even earlier Frazetta/Krenkel cover painting collaboration, this time being the earliest Frazetta cover credits on board!)

The original work of Frank Frazetta is some of the most desirable for any discerning collector, and many pieces are valued at six, seven, and some even eight figures today. Frazetta paintings are spectacular, commanding some of the highest prices in the medium, one of which we're showcasing here. Created in graphite and watercolor on illustration board with an image area of 9.25" x 9.5" on 11" x 16" thick artist board. Light toning and handling wear. In Very Good condition. Comes with a copy of the novel.
From The Howard Lowery Collection.

Frank Frazetta Frazetta: Illustrations Arcanum (Frazetta's Largest Ever Published Pencil Illustrations Book) "Barbarian and The Beast” (Plate 15) Original Art (Verotik Publications, 1994)

In the nineties Frazetta created a superb series of pencil drawings based on beasts, monsters and Frazetta Girls. The primal energy pours out of this large finished piece that we’re informally titling “Barbarian and The Beast" published in Frazetta: Illustrations Arcanum (Plate 15). This large diagonal based plate brings out the movement in the art, the fear in the face of the barbarian, the muscle tones and definition with the proper shading all through pencils! The illustrations done for the Arcanum book are the largest pencil illustrations Frazetta ever prepared, making these plates extremely significant and desirable to Frazetta collectors. To add to the significance, this was the last collection of new 'finished' drawings from Frazetta and this piece among the 30 fantasy pencil-pieces in the book are simply breathtaking! 

Frazetta has said, “The pencil is a lost form, the artist's true vision, I can smudge, I can erase lines, I can make the pencil talk." Frazetta has always maintained that the pencil was his favorite media. He said that it’s the easiest to use, easiest to control, and wonderful effects can be obtained rather effortlessly. Anyone who has seen his finished pencil originals will attest to the breathtaking qualities that they possess.

Author-Historian J. David Spurlock provided commentary on Frazetta Arcanum: "This mini-masterpiece was created in that little golden window from '93-'95 when Frazetta's creative faculties were totally firing on all cylinders, after Frazetta's thyroid condition finally cleared up and before his debilitating stroke. Looking at these pencil paintings, Frank kept saying to me, 'It's just like the old days, just like the old days.' I said, 'One thing different Frank' He responded 'What?' I replied, 'In the old days, you never would have luxuriated so much on a pencil piece.' He paused for a moment and then... 'You know, you're absolutely right - but my ability is all there.' I said, 'Oh, absolutely! The King is back!'

This Fazetta penciled masterpiece was executed on oversized 14” x 20” board with the approximate large image area of 15.5" x 11", museum framed 26" x 29" (presented sideways). The art has soft handling wear, and is in otherwise Excellent condition.

Kelley Jones Red Rain II (Bloodstorm) Diamond Preview Cover and Advance Comics #71 - Classic Joker, Catwoman and Vampire Cover 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.

Gil Kane and Frank Giacoia The Amazing Spider-Man #101 Morbius 1st Appearance (Historic First Costume Page as The Living Vampire) Original Art (Marvel, 1971)

Not only is this page from Gil Kane's historic run on Amazing Spider-Man from 1971, this is also Morbius' First ever Page as the Living Vampire, as we see him transforming into his costume for the very first time on the iconic bottom panel. That last panel has also been used for numerous card art and next to the cover is the most recognizable image of Morbius from his first issue. We should also add Morbius is not on the opening splash page, making this his first true page as the Living Vampire in his first story!

Morbius' is seen throughout the page fleeing from the ship crew, as they've realized he's at fault for a dead crew member. What's even better on this page are Morbius' thoughts as he's realizing his strength, heightened senses and movements for the first time. He also flashes back from the night before, as a reader we're getting a better sense of his overwhelming guilt and confusion of what he's become... 

"Ah, but when it gets Dark...When it's night...A Night like last night...No! I must not think of that. The memories would drive me mad. It was just a dream. It had to be a bad dream. But-- It was not." - Morbius 3rd and 4th panel.

Then we see him get away, the crew make the fateful mistake of leaving him on board and staying the night on the ship. "Yes...One Last Sleep..." with the full moon upon us, the Living Vampire appears in costume for the first time!

Fun fact, from the first appearance side of things for Spidey's villains, and in this case more on the anti-hero side, there's really not too much that has surfaced. We know ASM #3, first Doc Ock exists, but until it surfaces we'll leave it out. But for now, what has surfacedI is ASM #6 (1st Lizard), ASM #9 (1st Electro), sorry no Green Goblin, or Kraven has surfaced.... So we skip all the way to ASM #41 (1st Rhino), then ASM #50 (1st Kingpin), then ASM #78 (1st Prowler, which we have the first birth Page of the character Hobie Brown from that issue), and then we jump to here, ASM #101 (our subject art), then always in comparison from this era would be ASM #129 (1st Punisher, which also exists). So really as far as key Spidey villain or anti-hero 1st appearances there's only 4 notable characters prior to this one that are known to exist, making it truly special.

Created in ink over graphite on Bristol board with an image area of 10" x 15". The page has editorial notes and light smudges, overall In Excellent condition.

Jack Kirby and Steve Ditko Fantastic Four Annual #1 Historic Marvel Moment 1st Meeting of Spider-Man & The Human Torch (Illustrated For Amazing Fantasy #17, Pre-Amazing Spider-Man #1 Theory) and Rare One-Off Web Concept Original Art (Marvel, 1963)

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, experts theorized to be illustrated for Amazing Fantasy #17 before the title was canceled, (pre-Amazing Spider-Man #1)!   

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!

New revelation in 2024 added research and what I'll call "the smoking gun", adding to the "new" concepts found in this story first! (See link below)...

Roy G. Krenkel and Frank Frazetta (Attributed) Tanar of Pellucidar Classic Paperback Large Art Cover Painting - Historic Frazetta's Earliest ERB/Ace "On Board" Cover Credit Work Original Art (Ace Books, 1962)

Tanar takes action against a deadly Mammoth, while Stellara seduces the beast in the prehistoric land of Pellucidar, a world hidden in the center of the Earth, on this Classic Krenkel cover created for the Ace Science Fiction Classics reprint of the story by Edgar Rice Burroughs. Krenkel and close friend Frank Frazetta worked very closely and occasionally collaboratively during this period, and it is noted on the verso of the board that Frazetta created the composition of this painting, from the figures to the mammoth, while Krenkel painted it. 

It's fascinating history makes this the earliest ERB/Ace painting to have Frazetta credits on the back of the board. Krenkel went on record to say his first few paintings he did on his own and if his memory served him correctly it wasn't until the 4th painting he asked his friend Frank Frazetta to assist. Well, by all accounts this is believed to be the 5th painting released, while it's the 7th Krenkel paperback based on the "F" designation on the back, which supports the time frame for Frazetta's involvement in this painting. With that said, we've seen the earlier verso boards with no Frazetta credits, as well as no "in book" credits like this one, making this painting the earliest known Frazetta credited ERB/Ace painting known to exist. 

Look closely at the composition, the position of Stellara, the movement of the Mammoth, Tanar and the other character in more in Frazetta fashion, still with Krenkel paints to tie in his style of the era. Frazetta was known to work on larger boards, and this is by far the largest of all the Krenkel ERB painted covers, the only twice-up painting that's surfaced. Speaking of the composition of the painting itself, when running this through an image search, a closely related Pellucidar cover art came up from 1964 titled "Land of Terror”, oddly enough labeled as one of Frazetta's first solo paintings for Ace. Also Interestingly "Land of Terror" was the sixth Pellucidar tale following the above painting (under Frazetta) "Back to The Stone Age" being the fifth tale. In comparison to these two paintings (Tanar of Pellucidar and Land of Terror), covers share very similar background elements, specifically the distinctive mammoth herd and upward reaching dark sky. These facts further support Frazetta's overall composition to this painting and revisiting similar elements for one of his first solo Ace covers being "Land of Terror" less than two years later.

It should also be noted this painting came from the Howard Lowery Collection, a collection that was purchased directly from Russ Cochran over 50+ years ago. Lowery had 7 Krenkel covers, as mentioned, this not only being the largest, but also was 1 of only 2 to have the publisher credits of newcomer Frank Frazetta on the verso of the board. The other cover painting with Frazetta credits on board was the one featured under Frazetta above "Back To The Stone Age", with identical font and markings, which noted above as the earliest in book cover credits. Coincidence? I think not. This painting has the marks of both Frazetta and Krenkel throughout, and is accompanied by a COA by Rob Pistella, Frazetta's manager for years who sanctioned this painting to be in the hand of both Krenkel and Frazetta. 

Gouache/watercolor on illustration board with an Unusually Large image area of 13.5" x 18". Slight toning, paper overlay taped on the back, with soiling/staining and handling wear. Signed RGK in the bottom left image area. In Very Good condition. Comes with a copy of the published book.
From the Howard Lowery Collection.

Joe Kubert Sgt. Rock #136 Classic "Make Me A Hero" Earliest Kubert War Cover To Surface Publicly 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. 

Jim Lee Marvel Age #67 Cover Historic 1st Jim Lee Punisher Cover and 1st Full Unassisted Wolverine X-Men Related Cover Original Art (Marvel, 1988)

Jim Lee's importance to Marvel Comics can't be overstated, especially considering how quickly he went from a young unknown artist in 1987 to the penciller on The Uncanny X-Men in 1989, leading up to his own X-Men series in 1991. This cover for Marvel Age features two characters Lee is associated with; Wolverine, drawn here after his run on Alpha Flight but before Lee made the move to The Uncanny X-Men (and co-create Gambit with Chris Claremont), also happens to be his first unassisted Wolverine / X-Men related cover (Alpha Flight #53, 12/87, is recognized as Lee's first Wolverine cover but was credited Carl Potts and Lee as pencilers with Terry Austin inks). Lee would go on to do a handful of other Alpha Flight covers in early 1988, mostly assisted, but none featuring Wolverine. Lee's first X-Men cover wasn't until September 1989 with X-Men #248, roughly a year after this cover was published. We should also mention the Wolverine image has all the elements of a Jim Lee piece, well defined and claws out ready to pounce!

Jim Lee is also most associated with the Punisher, where Lee first raised eyebrows finishing and inking Carl Potts on Punisher War Journal. This cover is also Lee's very first Punisher cover, with an outstanding image of Frank Castle approaching the reader guns blazing, which predates Punisher War Journal #1, making this piece truly historic. And as for the Sub-Mariner, Jim Lee never drew Subby in a comic book series, but we can all agree it would have been awesome. This Marvel Age cover is a great piece of Marvel Comics history and a smashing illustration from an artist at the beginning of his journey. 

Created in ink and gouache over graphite on Marvel Bristol board with an image area of 10" x 15". Board is lightly toned and shows light wear and handling in the margins. Production tape and production notes (including the wrong date!) in margins. The title, logo, and trade dress are all stats, partially detached. Signed by Jim Lee in the bottom margin. Overall, in Excellent condition.

Jim Lee & Art Thibert X-Men #7 Page 31 Wolverine Weapon X Story (Death of Dr. Cornelius) & Climactic End 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.

Ron Lim Silver Surfer #44 1st Appearance of The Infinity Gauntlet - Key Page Where Thanos Uses The Power of The Gauntlet For The First Time Against Drax & Silver Surfer Page 27 Original Art (Marvel, 1990)

This outstanding historic page is from the very first appearance of the Infinity Gauntlet from Silver Surfer #44, 1990. This is an incredibly key page where Thanos Uses the power of all the gems for the very first time after wielding the Gauntlet! The previous pages from this issue show Thanos with the Gauntlet and showcases the power of each gem. Then, the previous 2 pages before this one is where Thanos tells Surfer what all the soul gems together are the now all powerful Infinity Gauntlet! 

It features Thanos wearing the all-powerful cosmic weapon made up of the six Infinity Gems to take down two of the most powerful beings in the Marvel Universe, the Silver Surfer and Drax the Destroyer. Artwork is by Ron Lim (pencils) and Tom Christopher (inks). The page is split into three large panels. The first panel showcases a high-impact image of the Surfer and Drax charging right out of the lower panel border toward Thanos. The second panel shows the same scene from a different perspective, with Thanos wielding the power of the Infinity Gauntlet to stop the Surfer and Drax in their tracks. The final panel shows the two noble heroes falling to the ground at the foot of the Mad Titan. Again, any page from this key issue is important, but this is the first time Thanos uses the power of the entire Infinity Gauntlet, and no less on two worthy opponents, Drax and Surfer!

The events of this comic led to the Infinity Gauntlet six-issue series, long considered to be one of the greatest Marvel event sagas ever told. In it, Thanos uses the Infinity Gauntlet to instantly wipe out 50% of all living beings in the universe. This story was of course adapted for the Marvel Cinematic Universe in the epic two-part Avengers movies, Avengers: Infinity War and Avengers: End Game. These films are the most successful and beloved superhero films ever produced and set a high bar for quality and excitement that may never be matched.

Rendered in ink over graphite, with an image area of approximately 10" x 15", signed by Lim and in excellent condition.

Ron Lim and John Beatty 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 and John Beatty 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 and John Beatty 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...

Todd McFarlane Spider-Man #7 Key Cover Scene Semi-Splash Spider-Man, Ghost Rider and Hobgoblin Rare Twice-Up Page 11 Original Art (Marvel, 1991)

From one of my all time favorite McSpidey issues, Spider-Man #7, the classic Spider-Man and Ghost Rider team up issue as they battle a demon-possessed Hobgoblin (Jason Macendale) in a desperate attempt to prevent the madman from transforming a young boy, Adam Wright, into a demon as well. Check out this crazy detailed rendering by Mcfarlane with an ideal splash image of Spider-Man fully contorted, possessed Ghost Rider and a haunting Hob Goblin on the top panel., which also happens to be the cover scene (identical Spidey contorting pose, see comparison pic in our gallery collage at the top of the page).

This story page, from the first year of Todd McFarlane's celebrated run as writer and artist on his own Spidey title, is rendered in ink over graphite on Marvel Comics Bristol board with a rare McSpidey twice-up image area of 11.75" x 17.75". The artwork displays some smudging and corner/edge wear and includes a printed color proof. Signed by McFarlane in metallic bronze ink at the top right, and in Excellent condition.