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Eric... great to see your name. And thanks for the comment. Al and Ken were ones of a kind. Nice guys. I also met them in San Diego in the late 1980s. I got this from Al, who was a pleasure to deal with.
You stay well!
Wally
These pages are classics!! I own the two pages before this, and they are spectacular. Well done, Guy.
Rosenberger was one of those very unsung artists of the 1960s. I love this stuff!
Mark... the truth is that Al did a Modesty Blaise Sunday on spec. That was the one that never was!
Me too, Lance. This is very different from some other Krenkel drawings with exaggerated anatomy. I think the work of Norman Lindsay inspired him here. Very flowing. Sadly, the reason it is in the flat file and not framed is that there is no bottom margin to work with and if it was "floated" emphasize miscut the paper was.
Good point, Jon. Crandall had a hard time finding work in the 60s and AL told Reed he could stay with him in PA. Al was a truly human human being. You might recall that Al recommended Reed to do Flash Gordon after he became committed to Secret Agent. I do believe that this was done while they were living together.
Thanks, Mitch. Always good to hear where things come from. I am guessing that this was done when Crandall lived with Williamson in the 60s.
How did I ever miss this?? It is a beauty, Frank, and truly a museum piece.
That is correct, Ruben. He plans to do a story answering the question, Whatever Happened to Somerset and include it in a collection of all six stories shot from original art... an Artists Edition. I can't wait!
Ruben... I am pretty certain I never said you owned this piece. Were you sure you were referring to me>
Actually, while the original owner is old, he is still alive. I asked the question about photocopies. He bought this story years ago for $15... that is basically $2 a page. He felt that he would have had to pay close to that much to have good, full-sized photocopies made when he did this. A poor excuse... but that is what he said.
I agree completely, Jeff. His work on Tarzan and Korak was far superior to the work on Star Wars!
Ruben... I agree completely. This book was well-written and engaging. It is also one of my favorites, as well.
I agree, Satya. I believe that Raymond intentionally tried new things several times a year including inks and panel design. Great classic stuff.
Rosenberger is another one of the lost and forgotten masters of comics... He worked at ACG doing mystery jobs, went to Archie to draw the Fly and Jaguar, and moved to DC to do primarily romance comics. He drew a beautiful Supergirl story (Brave and Bold 63 - does the art for that story exist??) then was assigned to draw Lois Lane and Wonder Woman until he died... far too early. To my mind, he mostly worked for off-brand titles on lesser features... but he always did great work. I remember this splash page distinctly. Great stuff, there.
Miki... as I understand it, Jordan's feature Jeff Hawke ran in the Daily Express until it was canceled on 18 April 1974 after almost 20 years. He continued to produce stories (Brian Bolland was an assistant) and then tried to revamp the character by publishing a similar strip called Lance McLane in the Scottish newspaper Daily Record. When this didn't catch on, Jordan came up with the idea that McLane somehow transformed himself into Hawke.
Really nice I love Mortimer Superman. You shouldn't have waited for 26 years to post this!
Obviously, we both have good taste... and bad judgment. Never let the true gems out of your hands.
The paper is in excellent condition. Pristine, compared to other Fiction House pages I own. In fact, I have two other pages from this story (one in this gallery) and the paper is nowhere near as nice. I will say that the Logo is a replacement.
It was, indeed, Ray. Made its way to Italy, if I recall, but my memory is a sieve anymore.
Well... he didn't give me a chance to make an offer; he just said it was not for sale. And since this transpired over a weekend, not sure he had (or was aware) of an unforeseen bill. Could be he saw something he wanted. Regardless, I didn't get a chance to buy it.
I have always liked the ones from 1956... one of his best periods.
Always nice to see a Comet... and Raven. These seem rarer and rarer on CAF.
Thanks Jason... I posted this to CAF in 2004, and in those 16 years, there were only 4 comments before the 4 posted today. I always thought that weird.
Thanks, Mark, but not all that early; this was done after Al left EC.
That is the stuff a 13-year-old's dreams are made of! (At least mine...) Very nice.
I think you (and Jeff) are correct when you note that Al was trying to stay in Lubber's style for at least the first story arc... and that may have been a King Features directive. When someone has drawn a strip for years, the syndicate probably did not want a radical change in style that scared away the readers. They tried to mimic the way it had gone before. Certainly, John Prentice tried to mimic Raymond when he took over Rip Kirby, and John Cullen Murphy stayed as close as he could to Foster when he took over Prince Valiant. Even Dan Barry mimiced Wilson McCoy's style on the Phantom before all of them slowly established their own styles.
You cannot do better than McWilliam's airplanes... well maybe George Evans. But this is outstanding action and detail
Actually.... more Eisner-inspired than Toth according to Mike way back when.
Perhaps... but it is quite content where it is. Thanks Malcolm!
When I read this story in the collection, I thought it had a lot of George Evans in it (inks) but saw no mention of him contributing. Corrigan's face looks a lot like Evans' work of later years.
Superman and his robots! Classic 1960's Boring Superman. Great stuff.
I rarely comment, but that is something special. Matania was a genius!
Thanks for the comment, Ashley. However, I am not sure ALL SFR covers are Wilson. For sure, Dan Spiegel redrew this cover as line art for the cover to issue 59 so that isn't his (although it is essentially Wilson's image). And I really don't think that many after issue 52 are truly by Wilson...maybe issue 55. A couple look like someone is trying to emulate his style, but 52-58 don't look like his work at all even though Wilson is credited for several of them on GCD. For example, the cover to issue 57 looks like someone tried to redo the cover to issue 17 but not as well as the original. Sorry for my ignorance, but who is Becatinni?
I think you mean "Tot Winter". She was the glamorous heiress in the strip who Buz spent time with... compared to the girl-next-door Christy Jameson that he married.
I thought Buz Sawyer's long-time fiance was named Christy Jameson - they married in the December 13, 1948 strip. Am I wrong there?
This speaks to what is "important" or "provocative" in the 1948. It is OK to show torture and whip marks, but not a low neckline. I have always though it was weird that movies with violence and explosions that kill people gets a PG-13 rating but one minute of a couple making love or a naked breast or buttock receives an R or M on TV. So, showing affection to someone is obviously more dangerous than trying to kill them. Sort of odd. But wait... it's the same today!
Personally, I think it is ALL Mortimer. The figure is definitely Mortimer and the inks are too lush and nice to be Colletta. Great splash!
You are probably right. Colletta inked most all the other Rosenberger Lois Lane stories. My point here was that they had Murphy come in and redo the Superman heads... as they had him do for Kirby's work too, amazingly enough, on Jimmy Olsen.
You are definitely correct on all fronts. The original is very large, and I had to piece the image together. Also the sequential flow of the scenes is nice and really true to the movie. I had two single images Wildey did but kept this one due to that... and the Wood/Williamson space ship in the third panel.
These 1950's Harvey romance stories are exceptionally nice and a fun documentary on life. This story, and the Draut you have, also show the influences of Caniff on many, many artists from that period.
Now, that is really special! I always enjoy seeing Mooney Supergirl.
This is a detailed blow-up of the top panel. The original is on standard 11 x 17" comic Bristol with image area of about 10 x 16. The panel, itself, is about 10 x 8"
