Original Art by Artist Page 2 (Continued A-Z)...

Frank Miller Pencils and Inks Elektra Lives Again Graphic Novel Iconic Half Splash Battle Sequence Page 29 Original Art (Marvel/Epic, 1990) 

This is a stunning piece by Miller from his acclaimed Elektra graphic novel. This splash page is from the classic sequence depicting Elektra fighting a horde of ninjas in a cemetery. This epic scene, is one of 5 pages in which Elektra appears in the book for the first time rising from the grave, which also marks the first battle scene in the acclaimed graphic novel. The movement and energy on display is staggering, truly the work of a genius at the top of his game. This very page was actually used as promotional material as seen on the cover of “Entertainment This Month #15”, and quite possibly other publications of the era. This scene is so memorable, as the page before this one, closely similar, was used as the promotional poster for the novel.

Miller's artwork in this book is considered by many as the best of his career, which is saying something. This prime era Miller art was done in between his acclaimed Dark Knight saga and a year before his Sin City work. Many believe he began drawing and writing this novel shortly after he left the Daredevil Series from issue #191, and took years for him to perfect and finish the work. As mentioned above, many critics believe this is Miller's greatest work of all time!

“Frank Miller was at the top of his game with Elektra Lives Again. This may be the best single work that Miller has done for Marvel. Written and with all line art by Miller, and with exquisite colors by Lynn Varley, it takes us back to the damaged life of Matt Murdock/Daredevil, haunted now by the ghost of the woman he loves. Elegant panel work. Sharp story telling.”-- Bud's Art Review

Pen and ink by Miller on vellum. Art is in excellent condition, there is a light horizontal stain about halfway up the page, this is the result of the previous page having been torn in half by Miller and taped back together with carpet tape which bled through into several of the pages underneath. Large Art, image size 12" x 16".

Check out this CBR Article in which it not only discusses the time frame importance in which this story was created (right after his acclaimed Daredevil run and same time as Dark Knight Returns, but also this story being his Goodbye to both the character and Marvel overall. Plus as an added bonus our very page is featured!

Jean Giraud (Moebius) Blueberry Fort Navajo #1 Blueberry 1st Appearance Historic Opening Scene Battle Earliest Blueberry Page Known To Exist 1/2 Tier Page 3A Original Art (Pilote 211, 1963) 

This key page dates from the very first major creative endeavor that the artist Jean Giraud (1938-2012), later known to many readers as Moebius, took on as an artist in his own right, having recently emerged from an apprenticeship with the great Belgian creator Joseph "Jije" Gillain. Blueberry was foundational to Giraud's emergence as one of the most popular and esteemed artists of the Franco-Belgian bandes dessinees tradition and the collected stories are considered one of the great achievements in the world of international comics. This example comes from the very first story and opening scene featuring Blueberry (1st Appearance), known as Fort Navajo. It has Blueberry himself drawing a gun for the very 1st time and meeting Lt. Craig another key member in the story and series. It is an outstanding example from this key entry in the career of one of the most storied creators in the history of comics. 

Furthermore, according to the below page at time of auction, which was a later Pilote issue, though Collected from the same 1st story, this is the earliest Blueberry page from his 1st appearance known to exist! There's a lot of firsts on this half tier page- 1st battle scene, 1st page meeting the other Star of the series Lt. Craig and of course both of their 1st appearances from this European landmark series!

The only other page from this landmark issue that's been offered at auction was via Heritage in 2021 from a few pages later where it sold for $37,500! 

This Museum quality page is Ink on Bristol paper with an image area of 11.5" x 8", half tier. Traces of tape residues in the margins. Signed 'Gir'. In Very Good condition.

Jean Giraud (Moebius) - Cyborg Sci-Fi Illustration Original Art (c. 1993)

The creator of The Incal and The Airtight Garage produced this remarkable and intricate Cyborg science fiction piece for famed writer Harlan Ellison. This illustration is the original pencils and inks to the Ellison piece. A printed blueline copy of this original rendering was colored and used as the finished version and published in a German art book Moebius Zeichenwelt pages 290-291 in 2003. The colored version was auctioned and recently sold for $20,000 via art dealer Albert Moy!

Created in ink over graphite on paper with an image size of 10" x 13", much larger then the color copied version. Slight crease and handling. Comes with COA by Moebius' long time friend and colleague Jean-Marc Lofficier. In Very Good condition.

George Perez Infinity Gauntlet #4 Splash Page 9 (Final Perez Page From Series) First Thanos Battle Page From Saga! (Marvel, 1991)

For many of us proud owners of Infinity Gauntlet original art pages this speaks to the nostalgia of our childhood, perhaps our first moment of a saga or story arc that remains classic to this day. It simply doesn’t get much better than this.       

This is the George Perez finale page to Infinity Gauntlet saga, a 6-part event series that has gone down in comic book history as one of the greatest Marvel stories ever told. It served, of course, as the basis for two of the biggest movies ever, Avengers: Infinity War and Avengers: Endgame. Infinity Gauntlet was a sequel of sorts to the "Thanos Saga" of the 1970s, written and illustrated by the master of cosmic sagas, Jim Starlin. This time Starlin served as the writer with the incredible George Perez drawing the first three issues and part of issue four, as seen here this being his final art page. Perez, having drawn DC's Crisis on Infinite Earths five years earlier, was the go-to “Rockstar” artist for huge events featuring dozens of characters. This momentous key page, which not only marks the first attack on Thanos (first true battle page in the saga), as mentioned above served as Perez’s last page.       

It’s public knowledge Perez left the project due to time constraints on other projects with DC, and perhaps creative differences. Perez was also a storyteller, but we must remember this was Starlin and Lim’s show leading up to the saga. With that said, Marvel brought on Perez to be the lead, the rockstar artist if you will for such a grand project. With Perez’s departure midway through Issue 4, it makes us wonder why leave after this page? One can guess after a slower paced, content driven first 3 issues, issue 4 is the battle issue and he wanted to go out with a bang! It’s no coincidence this being the first Thanos battle page in the series and happens to be Perez’s last one, making this great page the only Perez Thanos battle page in the entire saga!     

The cover says it all, “Let The Games Begin”. The subsequent 2 prior pages to this page has the second snap, essentially unfreezing the heroes in time to follow through with their attack, and Thanos says the classic line “Let the Battle Begin”, which leads us to this epic battle page. The top half splash is the heroes very first strike atempt at Thanos, it’s a clash of titans! You have both Hulk and Drax the Destroyer sneaking up and knocking the mad titan Thanos down. “Love and Godhood truly have befuddled his reason.” This is the first time what seems to be a full on successful assault on Thanos. Though in the ensuing lower panels we see Thanos is simply playing with them, as he blasts Drax with one devastating look. “They are but bothersome fleas to Thanos”.       

Perez leaves his mark with a character-filled bottom panel with literally a dozen characters in total including Thanos, Hulk, Drax, Captain America, Iron Man, She-Hulk, Wolverine, Namor, Spider-Man, Nova, Quasar and even Mistress Death is there on the side watching on. One can only imagine after drawing this action filled battle page, he felt it was time to move on and pass the torch to Lim. Sure there are significant pages in the saga, but how about drawing the first Thanos battle page in the entire run and this being his final penciled page? If you want to see a Perez Gauntlet battle page with Thanos, well, look no further, as this is it! Not to mention Perez obviously loved the top splash panel so much he paid homage to the image again in 1993 for the acclaimed series Future Imperfect #2 double splash title page this time Hulk in Thanos' same pose being blasted by Maestro, his future self. Ink over graphite on Bristol board Large “Twice-Up” art 13x19, signed by both Perez & Rubinstein at bottom center. In Very Good condition. 

H.G. Peter Wonder Woman #31 (Wonder Woman Co-Creator) Rare Golden Age Complete Page (Originally Unpublished, Later Published) Original Art (DC, 1948) 

Illustrated by Wonder Woman's co-creator H.G. Peter (1880-1958). Very little H. G. Peter original art is known to exist, despite the fact that the artist and co-creator drew Wonder Woman for more than 15 years. This is a rare full page by H.G. Peter originally slated for Wonder Woman #31 (1948), though unpublished at the time it was published later in a 'Then & Now' backup story in Wonder Woman #196 in 1971. 

A completed Wonder Woman original art page is beyond exceedingly rare, as there are only a handful of full pages that are known to exist. This page is the second earliest story to surface, as one page from Wonder Woman #28 is known to exist. And I should add this full page is exquisite featuring the three entire tiers of Wonder Woman saving the day and Captain Trevor on the lower two panels. 

It appears likely that art is among the Golden Age original art that was saved from oblivion by DC interns during the 1960’s. Story goes, like many other unpublished stories, it lay in DC's storeroom for many years. Sometime in the 1960s, some DC interns were asked to cut up these old stories and put them in the trash. The dutiful comic-fan interns followed the letter if not the intent of the order. They cut each page between tiers and put it in a trash can, which they returned to later and cleaned out before the trash pick-up came around. That is all that rescued this and other examples of fantastic late Golden Age material. This page, along with a handful of others looked to be kept in tact or rescued prior to completely cutting apart and lost forever. 

Ink over graphite on Bristol board with a large image area of 13" x 17.75". Cut into three tiers that are taped together on the back. Typical handling wear. Very Good condition. From the Ethan Roberts Estate Collection.
 

Mike Ploog Frankenstein #6 Page 10 Exceedingly Rare Original Art (Marvel, 1973) 

 Mike Ploog illustrated Marvel's Frankenstein #1-6 in 1973 and his originals are extremely rare on the open market, Ploog's artwork is both bold and exquisitely detailed, and given that he produced relatively little artwork in the course of his short time in comics, this preservation of his original art  is an all-too-rare treasure. When acquired and to our knowledge, this was the first time time in over 15+ years an auction house offered a Ploog Frankenstein page. Just to give you an idea of the rarity factor, we are only aware of two other Ploog Frankenstein pages that have ever come up for public auction and those were in 2002 and 2008!

On this page, the Frankenstein Monster has traveled to Ingolstadt, the land of his creation, in search of members of the Frankenstein family that might still be alive. While visiting Castle Frankenstein, he's taken prisoner after the castle's owner orders his misshapen horde of mindless servants to subdue him. It's a very well executed page, with an outstanding final panel depicting the Frankenstein Monster.

The art has an image area of approximately 10" x 15" The artwork is signed by Mike Ploog and is in very good condition.

Joe Quesada and Jimmy Palmiotti Daredevil #6 Double Page Title Splash "Guardian Devil Part 6" (Night of Karen's Death) Original Art (Marvel, 1999) 

I’ve always wanted a page from Smith and Quesada’s “Guardian Devil Run”, these pages rarely come up let alone a double page title splash! This scene is quite memorable to the run as just a few pages earlier Matt's love, Karen is killed by Bullseye and now Daredevil must decide if he wants his life to continue. Literally the page earlier Matt has a gun to his head. The level of detail Quesada and Palmiotti are able to convey on this page is just incredible. Daredevil’s billy clubs are slammed into the shattered mirror and even stabbing the pillow of the bed they shared is alarming. We see Matt half in costume, arched over wrapped up in their sheets, while gripping the pillows and seemingly tearing them apart. Speaking of which, look at the extreme detail Quesada and Palmiotti put on the bed sheets— It’s all there— Everything is shattered— the window is shattered— the lamp is shattered— the computer is shattered— even the plant and pillows are torn to shreds and turned upside down, just as it is for Matt’s life with Karen gone. 

On the published page (shown for comparison to the black and white art) other than the “Guardian Devil Part 6” and art / writing contributions the only content to the story reads a flashback from Karen in this very bed they lay saying— “When are you going to stop?” The following page she continues “Don’t ever quit… Never stop Matt… No matter what!” Matt repeats this to himself enough to get the courage again to put the mask back on and avenge Karen’s death. Truly an incredible piece of art from an epic run showcasing in one DPS the grief and anguish Matt is going through.

Heritage description:

An epic double-page title splash giving an overview of the results of Matt's grief over Karen's death. A poignant scene from the acclaimed art team of Quesada/Palmiotti created in 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, with light smudging and handling wear. Signed at the bottom by Palmiotti and writer Kevin Smith. In Excellent condition.

Humberto Ramos Peter Parker Spider-Man #45 “A Death in the Family Part Two” (Spider-Man Implicated) Original Art (Marvel, 2002)

Here was a tough one to find… From the acclaimed Jenkins/Ramos run from “A Death in The Family” Spider-Man confronts Jonah Jameson in a rainstorm as he’s implicated for the murder of Gwen Stacy. At this time, Bagley was doing Ultimate, Romita Jr. was doing Amazing and Ramos was on Peter Parker. I felt Ramos at this time was breaking new walls with his fresh innovative styling of Spider-Man and I really wanted a prime example of his work. For some reason I really took to this page layout with great shots of Spidey hanging in the rain. 

In "Chasing Amazing" Top 10 Green Goblin Storylines, this issue and story arc is ranked #4, which says the following about the events leading up to and directly discussing the importance of this magnificent page...

"And that’s when this story kicks into high gear and really ratchets up the emotional torment. Peter Parker #45 opens with a video Osborn released to the news media about the night Gwen Stacy died. During his narration, Norman talks about how he kidnapped Gwen due to a “business dispute” with Spider-Man, and that she was knocked off the Brooklyn Bridge accidentally during the confrontation. Goblin claims he tried to course correct on her glider, but Spider-Man instead makes the stupid mistake of using his webbing and snapping her neck.

The infamous neck “snap” is one of the great points of debate for Spider-Man fans. Was Gwen already dead when she was thrown off the bridge, or did Spider-Man actually provided the fatal blow to his beloved, innocent girlfriend when he used his webbing? Jenkins’s script manages to violently grab this debate by the throat and make both Peter and readers realize their worst fears about it. Not only is Norman traumatizing Peter by making him relive this horrible moment, but he is forcing him to accept his role in Gwen’s death. Sure, Peter could just dismiss Norman as a madman trying to make trouble, but because of that iconic “snap,” we all know that beneath his insanity, Osborn has hit upon some semblance of truth with this video."

Ramos Pencils and Faucher inks. The art has an image area of approximately 10" X 15" and is in excellent condition.

Marshall Rogers Pencils, Bob Wiacek, and John Cebolerro Inks Batman: Legends of the Dark Knight #136 Batman Reveal Page 9 Original Art (DC Comics, 2000)

 Here is one of my favorite Batman artists, Marshall Rogers in the finale issue (Part 5) of "Siege" depicting The Dark Knight coming face to face with Colonel Brass in the depths of Wayne Manor, who knows more about the Wayne family secrets than Bruce. I especially love Batman's entry to the scene in panel 3 and the cape flowing full image in panel 4. Panel 5 Batman is face to face with the villain who now knows Bruce Wayne is Batman! As shown on the cover, this was the reveal of Thomas Wayne as an earlier Batman! St. Cloud explains the flashback from the 1930's shows Thomas Wayne also dressed as a Bat and infers Thomas Wayne as the original Batman. 

Created in ink and Zipatone over graphite on DC Comics Bristol board with an image area of 10.5" x 15.5" on a twice-up board. The page is slightly toned, all text is paste-up, with a few stat paste-up text corrections. The Zipatone is mildly discolored. There is light smudging and soft creasing. Signed and inscribed in the lower right by Rogers. In Very Good condition.

John Romita Sr. Amazing Spider-Man #59 Page 13 1st Mary Jane Cover & Feature Issue (MJ on all 5 Panels!) Original Art (Marvel, 1968)

From the very first appearance of Mary Jane on the cover and her first featured issue from Amazing Spiderman. Issue #59 is widely considered MJ’s breakthrough issue in look and style and this is one of the best pages in the entire book to feature her in all 5 panels by her co-creator John Romita Sr! And there’s only 1 other page in this MJ feature that has her on all panels, which is page 19, a 4 panel page. This issue ranks in CBR’s top 10 Best Spider-Man Comics Drawn By John Romita Sr., coming in at #9. Also take note, this is 1 of only 2 pages in this landmark issue to have Peter “Spider-Man” Parker, MJ, Gwen Stacy, Norman Osbourn along with Captain Stacy all featured on one page! — Face it, tigers, it's an art jackpot!

I confess that, when I re-read the old Lee/Romita Spidey stories, I generally skip over the Spidey fight scenes and focus on the drama in Peter's life that made his character so sympathetic and relatable to generations. In this case to see the ongoing love triangle between Peter, Gwen & MJ was more entertaining than Spidey battling the Brainwasher a few pages later. 

Page Breakdown- Mary Jane plays photographer during her debut at the Gloom Room A-Go-Go, acting as an unknowing accomplice of the Brainwasher, who we later find out is really Kingpin! All of MJ’s friends come out to support her including Peter “Spider-Man” Parker, Gwen Stacy, and Harry Osborn. Plus, the city councilman and Captain Stacy are in attendance and are zinged by MJ’s camera, feeling ill instantly. 

The trademark Romita style is on full display, with beautiful shots of Mary Jane and Gwen Stacy, coming through in the legendary artist's layouts for Don Heck, with finishes by Mike Esposito. Or as Marvel at the time put it; art by John Romita, enchantment by Don Heck and embellishment by Mickey Dimeo aka Mike Esposito. 

Ink over graphite and blue pencil on Bristol board with an image area of 10" x 15". Slight toning, trimmed right side edge, punched holes in the top and bottom margins, tape abrasion on the bottom left corner into Panel 4, marginal notes, whiteout corrections, taped paste-up at the bottom right, with spot staining and handling wear. In Very Good condition.

Alex Ross Super Friends Iconic Trade Paperback Cover, Poster & Print Original Art (DC, 2001)

Master comic art painter Alex Ross created this joyful cover painting with a Pop Art feel in Acrylic on board. It was published as the cover to the 2001 Super Friends Trade Paperback collection as an homage to the work of another legendary Alex--Alex Toth. It was also published as a poster in recent years as well as a print. Ross, who is well known for his love of superheroes of the 1970s, recreated Toth's cover to the 1976 Super Friends DC Treasury Edition, which was the first time the Super Friends versions of DC's most famous heroes appeared in a comic book. Soon after that the Super Friends received their own ongoing comic book series and it was several issues of that series that were reprinted in the trade paperback collection featuring Ross' tribute cover.

This is the earliest incarnation of the Super Friends featuring Superman, Batman, Robin, Wonder Woman and Aquaman, along with their mascots, Wendy, Marvin and Wonder Dog. This latter trio served as comedy relief in the series and were likely inspired by the success of the Scooby-Doo cartoon, which also featured teenagers and a semi-intelligent canine. When DC's human encyclopedia E. Nelson Bridwell wrote the ongoing Super Friends comic book he revealed that Wendy was the niece of Harvey Harris, the man who trained a young Bruce Wayne in how to become a master detective. Marvin, who always wore a cape and a shirt with a big 'M' on it, was revealed to be the son of Diana Prince White, the nurse whose name Wonder Woman took when she came to "Man's World", allowing the real Diana Prince to elope with her new husband. The trio was later replaced by the Wonder Twins, aliens Zan and Jayna who had actual super powers. ('Wonder Twins powers activate! Form of... an Alex Ross painting!').

The art has an image area of approximately 11" x 16" in an 18.5" x 22.5" frame. Inscribed "Alex After Alex", in excellent conditon.

P. Craig Russell The Sandman: The Dream Hunters #4 Alternate Title Splash Page 1 Original Art (DC/Vertigo, 2009)

P. Craig Russell illustrates a beautiful alternate title splash to issue #4 featuring Dream, of the Endless with a microscope upon some goolish creatures. We decided to use a side by side view the our alternate splash vs the published, as you can see they're nearly identical with slight variations to the art and details. Russell only sold a couple covers and splashes, while keeping the rest for himself, so even an alternate intended splash for the book from that era is truly special. 

The book itself was remarkable, a play on the classic fox spirit tale. Russell loved the story so much that he wanted to draw the comic but unfortunately at the time, the decision was made to have the tale told in an illustrated book form with art done by the legendary Yoshitaka Amano. Ten years passed and luckily for all of us, Craig asked to adapt it again and thus we managed to get Russell's vision of Dream Hunters! His work is a stunning adaptation of the illustrated book that came before it.

This magically alluring alternate splash was created in ink over graphite on DC Bristol board with an image area of 10.5" x 15.75". In Excellent condition.

Tim Sale Batman: Madness A Legends of the Dark Knight Halloween Special Splash Page 13 (Best Batman Full Splash In Book) Original Art (DC, 1994)

This story "Madness" takes place during Batman's early career, and focuses on the Mad Hatter's (Jervis Tetch) abduction of a young Barbara Gordon, taking her to a house filled with all of his bizarrely warped reenactments and interpretations of Lewis Carrol's Alice in Wonderland. Writer Jeph Loeb created an eerie environment for this story and his frequent collaborator and legendary artist, the late Tim Sale, provided the suspenseful scenery in his trademark chiaroscuro style. On this splash page, we find Batman fallen from the train tracks after he’s shot by Hatter, battered and bruised as he puts together the pieces of this maddening tale. This is arguably the best Batman splash pages in the book, the playing cards in the background are a wonderful addition by Sale. Shortly after this Halloween Special, Loeb and Sale teamed up again for The Long Halloween. 

An incredible piece from an award-winning comic book artist that created stunning imagery for every series he touched. Sale passed away suddenly on June 16th, 2022. Ink over graphite on Bristol board with an image area of 10.5" x 15.5". in Excellent condition.

Charles Schulz Snoopy Peanuts Historic "Flying Ace" Birth Year Specialty Drawing Original Art (United Feature Syndicate, 1965)

Schulz dedicated many self-contained drawings and Peanuts episodes to his cartoonist friend Bill Mauldin, whom Schulz called "the Greatest Cartoonist of World War II." Here, Snoopy the Beagle (in "Flying Ace" costume), raises a toast to "my ol' buddy, Bill." Pulitzer Medalist Mauldin was properly appreciative. 

We should add being a 1965 piece and the birth year of the famed "Flying Ace" persona first airing October 10th, 1965, makes this a truly historic piece of art from Schulz of Snoopy in his most famed and desirable persona! Seeing that the first strip aired so late in the year of 1965 (4th quarter), it begs to question how close it was done within the very first "Flying Ace Strip", also being a 1965 piece of the same era and certainly the earliest known outside of the Schulz Museum. To put the desirability in perspective for a "Flying Ace" Snoopy Schulz illustration, though larger, it was undated and sold for whopping $36,000 at auction in 2024!

Ink over graphite on Peanuts Sunday Bristol board measuring 12" x 8.25", with an image area of 6.5" x 8.5". Excellent condition.

Mike Sekowsky and Bernard Sachs Justice League of America #19 "Super Exiles of Earth" Flash and Wonder Woman page 4 Original Art (DC, 1963)

Here is another sensational piece of Silver Age DC art by none other than Mike Sekowsky, co-founder / artist of The Justice League. Sekowsky provides detailed portraits of both Flash & Wonder Woman as they're roughed up by their doppelgangers in this page from the classic story "Super Exiles of Earth", which was not only the earliest, but the one story chosen for this era for "The Greatest Stories Ever Told JLA". 

Page features five panels, w/Flash and Wonder Woman in battle against their evil dopplegangers. First two panels show Flash pulling his cowl off in an attempt to breathe as his doppleganger creates a vacuum around him, ultimately knocking the real Flash unconscious. Last three panels show Wonder Woman and her doppleganger in mid-air fight (great middle full figure panel), and the page ending w/the real Wonder Woman knocked to the ground and trapped in quicksand (which is noted in red pencil at bottom margin). 

Top margin has "Justice League Of America" title stat w/DC logos at left/right and inked month of publication as well as issue/page numbers. Back has Comics Code Authority ink-stamp. The Large Art Twice Up image area of this DC thriller is 13" x 18", and the art is in Excellent condition. 

Bill Sienkiewicz Elektra Assassin #2 Page 7 Elektra Origins Flashback Sensei Battle Page Original Art (Marvel/Epic, 1986)

Elektra first appeared during the famed Frank Miller run on Daredevil, and was later defined in the iconic Elektra: Assassin, a 1986 masterpiece limited series by artist Bill Sienkiewicz and his avant-garde approach to mixed media materials. 

This painted Bill Sienkiewicz page featuring Elektra in action comes from Elektra: Assassin #2, with breathtaking artwork by Sienkiewicz, and is one of the best-remembered accomplishments of its era. Stunning sequential art from Bill Sienkiewicz for the iconic eight-issue limited series taking place before her introduction in Daredevil #168, focusing on Elektra trying to recover her memory while at the same time being chased by S.H.I.E.L.D. This flashback battle shows her strength... and weakness. After her escape from a South American asylum, she experiences the beauty and harshness of the jungle, while trying to shut out the teachings of the Hand. The third panel (blankness) is when she lapses consciousness from being part or removed from her surroundings, with the following panels flashing back to a battle and training in become a ninja. The following page continues the battle and shows the man (presuming a Hand Sensei) losing and presenting her his sword in shame. A remarkable page from the limited series of Elektra in battle, and her origins in becoming the ninja as we all know her.   

Sienkiewicz is one of the most distinctive and acclaimed creators in Modern comic art and this series is an important example from the height of his career. Mixed Media crafted in ink and gouache over graphite on Bristol board with an image area of 10" x 15". Toned adhesive tape in the margins.. In Excellent condition.

Joe Shuster Historic Superman Character Study From The Beginnings of Superman (DC, c. 1937-1938) 

Superman figure study Original Art by Creator Joe Shuster. This piece was found in a hidden space behind a false wall in a newly purchased home. After much research we believe this incredible art piece is from the Beginnings of Superman, pre-Action #1 as a working study leading up to the book, the only such art known to exist from this period. 

Originally sold by Metropolis / ComicConnect, who is one of the leading Superman comic auction houses setting multiple record sales for both Action Comics #1 and Superman #1. Accompanied by a Metropolis/ComicConnect COA. Image on 10.75"x12" brown paper mounted on heavy black board. Signed by Shuster. See our link below as we go into detail on this piece as we break it down scientifically down to the characteristics of the suit and even to the paper to determine the era of this incredibly rare piece of art.

Joe Simon Historic Captain America / Sentinels of Liberty Ad Illustration Original Art (Marvel/Timely, c. 1939-41)

Here is a truly Historic piece of Captain America and Marvel history from the beginnings of Captain America c. 1939-40. Joe Simon has previously examined this piece and verified that it is his artwork and lettering, and said "It must have been done in 1939" in a direct email to Joe Mannarino (collector/dealer) in 2004, suggesting this was not only one of the very first ad renderings, but one of the earliest illustrations of Captain America. Simon stated that he did this same piece several times and different versions, one of which showed up in Captain America Comics #1, which hit newsstands in late 1940 and would also suggest he did these ads as early as mentioned above in 1939 into 1940 prior to Cap's first appearance in Captain America #1! This ad art is nearly identical to the ad that ran in All-Winners Comics #1, Captain America Comics #5, and USA Comics #1 all published in 1941.

Created in ink on Bristol board, personalized and signed by Joe Simon just below the 7.5" x 6" image area. After winning the item via Heritage Auctions, I decided to have it removed from the frame for a closer inspection. My Heritage rep who is an original art expert, went a step further, personally examined the piece and discovered it’s on thick artist board. He looked at the line work and the detail in the art to find it as mentioned above, nearly identical to the printed version, but with some slight variations. One big missing piece is the shield, but the straps are present. Prior to the co-creator Simon statement above we already thought this may be the preliminary ad piece or the art was more than likely an ad to be printed in another comic or magazine for USO propaganda purposes. The paper is consistent for the era as well as the blue editor pencil notation on the right corner. After his examination, my rep discovered a misplaced letter documenting the ownership of this piece as well as an original xerox copy of the art showing "4/18/43" post auction. The artist board is toned and soiled in spots, also consistent for the era. We believe the blue pencil "4/18/43" date in the right corner was from the date it was returned or filed / marked by the publisher, or was added later by an unknown hand.

This piece was not only was examined thoroughly by Heritage Auctions experts, but also has great provenance with the inscription from Joe Simon to "Vince", being Vince Oliva, one of the largest collectors in the medium who received this piece and letter from European collector Gerry Langley, who detailed the earlier ownership including the email correspondence with Joe & Nadia Mannarino of All-Star Auctions at the time verifying the piece with Co-Creator, Joe Simon himself. Vince later had Joe sign it and personalize it in 2004.

This early Captain America ad art is considered one of the earliest known period pieces intended to be published, "a working" piece of Captain America from the Golden Age. The only other known art of Cap this early are the Simon concept sketch from 1939 in the Library of Congress and Joe Mannarino's concept costume change from early 1941 after issue #1, both being concept pieces not intended to be published. Published or not, we would argue this is one of the most historically significant early Captain America pieces by his co-creator to exist in the comic art medium.

Walt Simonson Thor #271 Thor & Iron Man Battle Page 14 Original Art (Marvel, 1978)

Walt Simonson published Thor pages are extremely rare in the marketplace. Here we have a great battle page with some amazing images of Thor and Iron Man against the out-of-control orbital computer F.A.U.S.T.. Though early in his career, you can see Simonson's unique art style forming before his infamous second run on title. 

Ink over graphite on Bristol board with an image area of 10" x 15". Slight toning, Panel 2 is stripped-in, as well as text in Panel 1, held by tape on the back. Discolored tape on the bottom edge, blue pencil editorial marks and whiteout corrections, with oil staining and handling wear. Walt Simonson pencils (breakdowns, closer to finished art) and Tony DeZuniga (finished art, inks). In Very Good condition.

Frank Springer and Kim DeMulder Transformers #2 Historic Optimus Prime 1st Full Transformation Page 16 Original Art (Marvel, 1984)

Historic page as Optimus Prime transforms for the first time in the first three panels as he greets Buster and Sparky Witwicky (for the first time), just before Decepticons attack! This page is from the second issue story "Power Play!" from when the series was still just a bi-monthly 4-issue mini-series. The numbering was simply continued in the regular monthly series that followed. A great compliment to our Transformers #1 page above featuring the 1stappearances of both Bumblebee & Megatron, so a featured Optimus page was a must!

This page was created in ink over graphite on Bristol board with an image area of 10" x 15". The lightly toned page has corner trims and is in Very Good condition.
From the David Mandel Collection.

Jim Starlin and Dave Cockrum Captain Marvel #26 Page 10 (The Trap) "Thanos Saga Begins" (1st Death, 2nd Thanos Issue!) Original Art (Marvel, 1973)

Thanos Saga Begins Here!.... Thanos' plot to destroy Captain Mar-Vell and his counterpart, Rick Jones, begins with this scene from Captain Marvel #26. In this page Lou-Ann (RIck Jone's girlfriend) who's controlled by Thanos and the Skrull's with her every move, has now set the trap for Marv-vell/Rick to go to Thanos' hideout. As Rick Jone's smashes the door down, the last text panel adds "But Two Flights Upstairs--", and the very next panel shows Thanos in the shadows and the Skrulls watching him enter. A key page in the beginning of the 'Thanos Saga', as we'll soon find out who this mysterious being is! Keep in mind there is only 20 pages in this key book, and Thanos is weaving an intricate web of twists and turns to plot against Mar-vell, or so we thought, only to find out the one he really wants is RIck Jones who carries the answers to where the Cosmic Cube is! (Spoiler Alert!) 

This magical and magnificent Marvel masterpiece is also pencilled by Starlin and inked by Dave Cockrum, which is the only issue he inked during the run. The Captain Marvel vs. Thanos storyline proceeds until issue #34 and many consider it the greatest of Starlin's cosmic stories.  

The overall page size is 10.5" x 15.75" with an image area of 10" x 15". The art is tremendous, with Starlin's blue line pencilling showing through and zipatone used for panels 6 and 7 for the effect. With the exception of tape staining along all four edges, the work is impeccable. Signed by Jim Starlin at the bottom left in between numerous plot notes presumably by Starlin himself.

Dave Stevens Men of Mystery EC's Old Witch Halloween Cover Original Art (1976, Capa Alpha, 2003) 

Known for his glamorous girls, Dave Stevens tries his hand at the ghastly gal of EC Comics in this pencil piece from very early in his professional career. Originally created in 1976 for fanzine editor Jeff Gelb, this illustration was later repurposed as the front cover of the 2003 Halloween issue of Men of Mystery. To our knowledge this marks Dave's first and possibly his last EC stylized horror from his short, but memorable career in the comics medium.

Created in ink on comic backing board with an edge-to-edge image area of 7" x 9". Toned, light handling wear. Signed in the lower right and in Excellent condition. Also includes a black-and-white xeroxed copy of the fanzine cover and personal credits page.
From the Roger Hill Collection.

Curt Swan and Murphy Anderson Action Comics #403 Superman In Flight Prime Era Double Page Spread 2-3 Original Art (DC, 1971)

Curt Swan was DC's primary Superman artist for decades starting in the 1950s and continuing through the 1980s. He always did terrific work, but his pencils never shined as brightly as when Murphy Anderson inked them in the early 1970s, a blending of styles that came to be known by the affectionate nickname "Swanderson". This prime era page 2-3 Double Page title splash from the story "Attack of the Micro Murderer" by the Swan/Anderson duo was published in Action Comics #403 (1971). It features a strong splash image of Superman in flight as well as inset panels. Following an ominous page showing four executions throughout history, the story begins with a criminal smashing his getaway copter into a radio tower following a pursuit by the Man of Steel. Superman is with the thief as he mouths his final words, blaming Superman for causing his humiliating death and promising that he will return in another life and take on Superman once again. The final panel shows Superman using his telescopic vision to spot that a police plane is on the way.

The art has an image area of approximately 21" x 15" and art is in very good condition.

Curt Swan and Frank Giacoia Superman #279 Superman Transformation Page (Ideal Images) Original Art (DC, 1974)

Here we have quite possibly one of, if not thee best Swan Superman panel pages you'll ever lay your eyes on. Story synopsis has Clark Kent (Superman) teaming up w/Barbara Gordon (Batgirl) and going up against oil smugglers. This incredible page shows Clark Kent changing into Superman and rushing to save a skyscraper that is starting to collapse.  

The top 2 panels we see Clark and Barbara Gordon (Batgirl) on there way to the elevator to get to the heliport on the roof when Clark suddenly disappears to rip off his shirt to his classic pose (3rd panel) showcasing the "S" on the chest. The 4th middle panel, Clark now as Superman bursts through the WGBS building in another ideal pose, while he shoots across Metropolis to panel 6 where we here "Superman's Coming! We're Saved!". The last panel showcases Swan's great Superman portrait that he's most famous for. 

The composition and layout for this page is perfection, with the transformation to the incredible middle panel bursting through the building. After being on the hunt for month's if not year's, I believe I finally found my Swan Superman grail panel page as it just doesn't get any better than this! I should add Frank Giacoia's inks are superb over Swan's pencils. 

Ink over graphite on Bristol board with an image area of 10" x 15". Signed by Curt Swan inside 5th panel. Some blue pencil editorial notes/marks. Top margin has stamped title w/issue/page number in grease pencil. Aged strip of tape at bottom center margin. In Excellent condition. 

Mark Texeira Wolverine #61 Story Page 19 Wolverine Claws Out Weapon X Issue Tie In & Tex First Issue Of Epic Run Original Art (Marvel, 1992)

As I already mentioned above with my other Tex Ghost Rider page, growing up in comics in the early 90's, what I call the dark period of comics, my three top anti-heroes were of course Wolverine, Punisher and Ghost Rider! Just as Jim Lee did with X-Men/Punisher, and Mcfarlane did with Spidey in that same era, I would put Texeira in the same category with those three. The last couple of years I was on the hunt for the right Wolvie Tex page and I'm so glad I waited for this one as it's one of the nicest you'll find!

This is a key page and also Weapon X program tie in with Logan trying to learn more about his past. John Wraith, the teleporter approaches Wolverine in this issue to assemble the previous Weapon X team. This page he finds out that Sabretooth didn't kill Silver Fox and is actually in the next room chained up and is not happy about it! Tremendous 4 panel page with Wolvie claws out front and center in the 2 center panels over Wraith. This issue also marks Tex's start of his short but memorable run on the series to issue #68 before departing for the Sabretooth series. 

Produced in ink over graphite on Bristol board with an image area of 10" x 15". SIgned and inscribed by Texeira on the top right 1st panel, and great Wolverine head sketch on the back of the board, art is in excellent condition.  

Jill Thompson Death: At Death's Door Story Page 18 Original Art (DC/Vertigo, 2003)

Beloved Sandman artist Jill Thompson realizes a heartfelt gothic scene between Dream and Death amidst classical architecture. This original graphic novel offered an alternative viewpoint on the classic Sandman storyline "Seasons of Mists", realized in the style of manga. 

Ink over graphite on DC/Vertigo Bristol board with an image area of 7.5" x 11". Text paste-ups in the final panel. In Excellent condition.
From Jill Thompson's Personal Archives

Alex Toth and Mike Peppe Out of the Shadows #6 Pre-Code Horror Title Splash "The Phantom Ship" Page 1 Original Art (Pines/Standard, 1952)

Circe sets her trap on this Stunning Twice-Up Title Page From 'Out Of The Shadows' #6 for the classic story "The Phantom Ship". It is an exciting and chilling Toth example of the finely crafted horror tales of the 1950s era in which he really came into his own. This title splash has it all, the villain Circe, lost treasure, skulls, and DEATH! This famous splash and lead story from this issue has been reprinted many times including the more known Toth art books such as "Genius Isolated - The Life & Art of Alex Toth", and "Look There: Comic Stories with Art by Alex Toth".

Created at twice-up scale in ink over graphite on Bristol board with an image area of 12" x 18". Lightly toned, with handling wear. In Very Good condition.

Michael Turner and Joe Weems Witchblade / Tomb Raider #1 Key Page Finale Egyptian Goddess Transformation Scene (Top Cow, 1998)

This page by superstar artist Michael Turner comes from 1998's Witchblade / Tomb Raider #1, a crossover in which Witchblade's Sara Pezzini meets her fellow beauty, the iconic video game character Lara Croft. On this page they witness an end to their confrontation with Bastet, the Egyptian Goddess of Cats, as the finale scene key page shows the ancient being finds herself transformed into an actual kitty. Turner was legendary for his ability to depict beautiful women and this page features three of them, all illustrated in fine form.

Michael Turner was one of the most beloved artists of his generation. Not only could he draw better than just about any of his peers, but he put so much effort into every drawing Michael won the hearts of comic fans in the 1990s and early 2000s. His work on Witchblade, Fathom and Superman/Batman was some of the best-selling of the era. Unfortunately, Michael left us far too early when he passed away at the age of 37 in 2008. Because his work is relatively small in quantity and has very high demand, it has become difficult to acquire.

Art framed duo of Turner pencils and Weems inks. The art has an image area of approximately 10" x 15" and is in excellent condition.

Barry Windsor-Smith Marvel Comics Presents #76 2/3 End Splash Page Logan's Claws Pop Wolverine/Weapon X Story Original Art (Marvel, 1991)

Logan's claws pop unconsciously while sedated on this 2/3 Splash page. When Dr. Cornelius, Professor Thornton, and Carol Hines observe the viewscreen, they see the reason why! This iconic scene marks only the second scene in which Logan's claws pop from his origin story, the first time was at the end of issue #74 into #75. A truly historic page with every panel featuring a reaction to each claw popping out until we see the screen on the splash panel.

The shocking final page of "Weapon X: Chapter Four" from the storyline that defined Wolverine's mysterious origins and how he came to be one of the deadliest mutants. Barry Windsor-Smith's art is beloved by fans and peers alike, with his work always in high demand, especially the rarely offered pages featuring Weapon-X. 

Created in ink over graphite and blue pencil on Bristol board with an image area of 10" x 15". Signed by BWS in the bottom margin and on the back. Slight toning, marginal notes, tape on the back top edge, text paste-up in Panel 4, with light handling wear; otherwise, in Excellent condition.

Wally Wood Historic Daredevil Red Costume Re-Design (1st Panel from Daredevil #7) & Iconic Cane + Cable Original Concept Art (Marvel, c. 1964)

This is, quite frankly, an incredible piece of comics history. Originally acquired from the estate of Wallace Wood, Daredevil's most revered artist, this is Wally Wood's original concept art for Daredevil's Red costume re-design including his cane & cable! While you can see below, Heritage Auctions description of the art and while they got most of it right, they did fail to add a few extremely important pieces to the puzzle. You can't blame them as there is a lot going on in this page, but first and why we showed the art as a collage, it's nearly identical in the pose to the iconic issue #7's new suit reveal panel, and by all accounts and from our research this is the drawing that fleshes out the new re-designed costume before the model sheets. Let's start at the top right, "Black Suit", also identified by many as the "Red & Black" suit, interestingly enough that may be due to the fact that there is generally more black "noir" tones throughout this issue and future issues with Wood's art. Next, "Red Eyes", this is the first time in issue #7 that the red eyes are revealed, going more in line with the demonic nature of Daredevil and since the black surround s the cowl, the red becomes a much better contrast. Previous issues Daredevil had black eyes, also a demonic feature, but may be too associated with blindness, and thus the possibility of giving up Matt's true identity. The new redesigned suit is now a fitted formed costume playing to Matt's muscular build vs. the baggy "old" style yellow suit, which is associated with cowardice. Lastly, and perhaps the most important concept added here is the "Cane + Cable", which will become a staple and "mortar" (as mentioned) or weapon. Wood also incorporates that the cane + cable can be used as a "smoke screen", which he uses against Sub-Mariner in their iconic battle scene from issue #7. Note the cane + cable is positioned on the lower left hip of the sketch, roughly at the same point of the published first image suit reveal. This costume concept re-design we see here has stuck with Daredevil from this drawing to today, and regarded as one of the crowning achievements by Wood, along with the issue it's most associated with (Daredevil #7) one of the defining moments in comic history.

Note the left side notes are also concepts that do in fact come to fruition in future issues as mentioned below in Heritage's description. Adding to the arts provenance, it was confirmed prior to auction this historic concept art was originally from The Wallace Wood Estate. The most interesting may be the mention of "Matt vs Spider-Man" on the lower left from issue #16, but instead of Matt following Peter Parker and discovering his true identity as proposed, Lee and Romita reverse this plot concept and Parker follows Matt to his law office and thinks Foggy is Daredevil. Interestingly since Wood left Marvel after issue #11, and had no hand in issue #16, this is the only surviving sketch or mention of Spider-Man and Daredevil in his hand that we can find. All in all, a fascinating collection of material from one of comic's most important artists and talk about historic all on one page!

Heritage Description- Wally Wood - Daredevil Costume Re-Design Sketch Original Art (Marvel, c. 1964) A page of rough sketches and notes. The notes on the "Black Suit" put this design page at approximately the last quarter of 1964. Given production time, the elements of this page started showing up in Wood's second issue on the title. The "Masked Crook" looks very much like Mr. Fear from Issue #6, and the "Black" (Red) costume shows up in Issue #7. The 'whole gang in identical costumes' and the 'DD vs. Spider-Man' notes could well be references to Issues #14 and #16, which were after Wood had already abruptly left the title. This historic page was created in graphite on 8.5" x 11" paper. The page is toned, has a diagonal crease across it, and minor rips and creases in the bottom edge. In Very Good condition.

Bernie Wrightson Swamp Thing #5 "The Last of The Ravenwind Witches" Swamp Thing on Every Panel Flashback Page 3 Original Art (DC, 1973)

The muck-that-moves-like-a-man is in every single panel on this page, as illustrated by the man whose name is almost synonymous with "Swamp Thing art", the Master of the Macabre, Bernie Wrightson! Actually even though this is technically a 6 panel page, there are 7 images of Swamp thing including that beautiful top panel corner with him in the water. This is a flashback page to issue #4 on top, while the remaining panels set up the story to issue #5, making it such a great example!

Quick back story on this page as I really wanted a Wrightson Swamp Thing example in our collection, and saw Burkey aka Romitaman had a few for sale. This one jumped out to me than any others offered, so shortly after when I went to New York Comic Con 2024 I went for it and we worked out the deal. When I think of Wrightson and his incredible body of work, I put his Swamp Thing run as perhaps his most important and considered perhaps his greatest creation. Seeing that there are very few examples on the open market and command such a high premium for the monster present, this one to me was the quintessential early prime era Wrightson piece! 

This page is produced in ink and Zipatone (with a bit of white paint) over graphite on Bristol board with an image area of 10" x 15". There is production tape on the sides, and light tanning, otherwise in Excellent condition.

Bernie Wrightson Freak Show The Freakish Baby Key Reveal Splash Page 22 Twice-Up Original Art (Heavy Metal, circa 1982)

Bernie Wrightson's detailed inking on this chiller rivals the fine pen work of illustrator Franklin Booth as well as that of EC horror comics alumni Graham Ingels and Jack Davis. 

In the story, Freak Show, a humble man, lonely at heart, seeks out the rejected "special people" of the world, taking these misbegotten outcasts under his wing in a traveling show of oddities, performing from town to town. In his lonely journey, this man of compassion also seeks something else, a mate -- someone to love -- willing to return all the kindness he's shown his less fortunate troupe of oddities. When he finds that someone, his life is complete -- until her pregnancy. On this key splash page reveal, she gifts him with a "special" child of his own, which in turn is also a "Freak". His fury at God and the world for such a betrayal drives him to a state of revenge and hatred that reveals his true inner self -- a self his traveling carnival of "special people" wreaks its own twisted revenge upon. 

Wrightson poured all of his talent into this splash page and spared no effort to produce a show-stopping horror scene. Of course the horror is in the freakish baby, but something stands out to me with Franklin's hand and position of his own freakish thumb. I went through the entire 48 page book to find this is only 1 of 5 full splash pages, which includes the opening title page and the ending DPS.

This splash has an image area that measures 13" x 17.25", and the art is in Excellent condition. The page was inscribed and signed at the lower right.

Bernie Wrightson Frankenstein Alive, Alive! #3 Splash Page 13 "Mourning The Death of Dolly" Wrightson Last Published Work Original Art (IDW, 2014)

The master creates a masterpiece as it’s one of the best pages in the book. The Monster of Frankenstein has a touching scene over the deceased Dolly, Dr. Ingles wife. He thinks she’s dead from his doing, fainting earlier when she sees the sight of the monster. You can feel the empathy and compassion for him in this pivotal scene, while seeing he has feelings and a heart as he prays over her body. The dialogue to himself and to Dolly is striking from the printed page; “A wave of remorse and self loathing washed over me…”Forgive me”…This was my fault. I knew it had to be. The very sight of me had killed this woman, had shocked her into irreversible decline…I wanted to pray…But I did not know how, or to whom…I let my guilt and shame and remorse engulf me…I could do nothing but weep bitterly.” You feel the monster's grief from Wrightson’s art without even reading the dialogue, it’s simply breathtaking how he does it. It's a key scene in the story, as it leads to his understanding of exactly what Doctor Ingles is up to. He soon finds out the real monster is Ingles and he is more human than any of his counterparts in this story. The reviews of the book and art are already infamous and have been dubbed a modern masterpiece. This was Wrightson’s last published work before his passing in 2017 and is regarded as one of his best. Check out one of the many rave reviews seen below, which exemplifies Wrightson’s incredible work and the monster’s compassion and humanness, which is felt in every way from this very page.    

“The beauty of this series lies in more than just Wrightson’s stunning pencils. Niles has expertly crafted a tale that exposes the essence of who Frankenstein could, and should, be. Whereas a lot of the other attempts at Frankenstein are character assassination or modern interpretations, this story is a direct continuation that really drives home one basic point: Despite our Monster’s appearance and nature, his internal struggle with his continued existence, guilt and shame give us a character that at his core is more human than the human beings he’s surrounded by. Dr. Ingles has no issues with murder to revive the corpse of his wife, just as the patrons of the sideshow have no compunction about pelting him with rotten veggies solely based on his appearance. He possesses more soul and compassion than any of the human counterparts in this story, and all he truly wants is for his existence on this world to end. You really feel for the guy by the end of each issue.  And yes, there is beauty in Wrightson’s pencils. So much. Every page is a masterpiece. If you’ve ever been privileged enough to read the original Wrightson Frankenstein book, you know exactly what to expect. Breathtaking panels on every page, the level of detail so minute you can pick out the bubbles and gooey bits in every flask and beaker. I’m so glad this book is being published in the unadulterated pencils with no attempt to digitally ink or color it. This book is presented in the perfect format for a sequel to the original Shelley story. I think I’ve reread each issue three or four times just to soak it all in. I really like this series, and this issue in particular, for it’s insight into the heart of Frankenstein’s Monster and how he’s in constant battle with his nature. Also, it drives home the point of how man, in his arrogance, could create and belittle a creature that proves to have more integrity and compassion than we do. Good stuff indeed." -Frank Lanza (Nerds on the Rocks). 

The art is in ink and bluish grey hue wash on Bristol board, for an overall image size of 12" x 18". Excellent condition. Signed in the lower right.

Mike Zeck and Phil Zimelman Punisher Portfolio One Plate 2 Painting | Punisher #2 Variant Cover Original Art (Marvel, 1990)

Here's one of the famous six portfolio one paintings that quickly sold out in 1990. As a Punisher collector, it was always a goal to acquire a Zeck / Zimelman painted piece from this era. To make this portfolio, the images from a black and white limited edition published by Editions Deesse of France in 1986 were newly colored by the famed Punisher duo of Zeck and Zimelman. The usual and acclaimed Punisher art team teamed up to create an incredibly detailed painting of Frank's piercing eyes through the rifle scope. This image was later used as a variant cover to Punisher #2 in 2019 as well as an even rarer black and white variant cover.

Airbrush over blueline on board. Signed by Zeck at right. Image area 10.25" by 14.5". Excellent condition.