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Sienk drew Louise "Weezi" Simonson in the lower left corner. Does anyone know who the other ladies from the Marvel editorial/writing staff are?
When I saw this cover in the wall in the comic shop back in the 80s, it made me immediately want to pick up L&R. From this issue onward, I bought and read every issue of the first series (1982-1995) and never looked back. I had ready the Mechanics mini-series and a reprint of issue 1 that intrigued me, but the cover of issue 31 embedded Maggie and Hopy in my unconscious mind forever. I still think about this cove now and again. I've had dreams of walking up to the back of that Pinto and asking them if they knew of any good bars or local haunts in SoCal.
These years when he was working with Byron Preiss are an interesting transition period between the rough Chaykin artwork of the early to mid 1970s and the masterful era that begins with American Flag in 1983. In ten years he went from novice working for Gil Kane and Neal Adams to become a master of the comics medium.
That was the date the strip was supposed to be published in newspapers.
Yes! After Blondie and Dagwood got married in 1933, they spent the next few years having and rasing their two kids. By the late 1930s you could also see Chic Young's stylization crystalize.
Yes. It amazes me when artists can get both the perfect body gesture and perfect facial expression. By the late 1970s he'd become a draftman's draftman when it came to his human figure work.
Jeff, fingers crossed I might pick up one or teo more from 1939-1946.
Yeah. You get that small bit of insight reading the instructions for the color separation. It's like a small time capsule showing how they were dealig with advanced 3M coloring techniques back in 1985 using photography and xerography/slicks before computers, digital scanners, Quark, Photoshop, and Illustrator took over the coloring process in the 1990s.
Paul, thanks for the 411. I literally grabbed the desciption from the last auction and never disputed it.
Visually it's both dark and lush at the same time. It's also a very unnerving piece of visual storytelling. I remember reading this when it came out and it completely changed my view of Sienkiewicz as an artist. To me he was, and still is, bigger than Moon Knight, the New Mutants, or comics in general.
Francesco, per favore, perdona la mia brutta traduzione italiana. Questa copertina sarebbe un grande poster per i giovani arrabbiati di qualsiasi cultura - italiana o americana.
Killer Byrne/Austin art. I loved the Proteus story line.
I love the bottom panel showing the demon bear's claw opening the wall between the mystical battlefield in the Badlands and the operating room where Danielle Moonstar is fighting for her life. That just makes the page for me.
Von Eeden's artwork in this issue is rather Toth-like. He uses as few lines as possible to get the job done along with the blocks of heavy black ink.
This always feels like the true continuation of Raymond's legacy both in terms of the line art style and the Flash Gordon saga. It's a beautiful piece. Enjoy!
I loved the idea of the melding of the two characters back when Claremont and Sienkiewicz were doing NM. This illustration is a great homage to that relationship between the out-of-place living machine alien and the man whose brain could unlock everything.
This was my favorite Jim Lee cover from his Uncanny X-Men run. Congratulations on a fantastic acquisition.
This was the cover of the first issue I ever bought off the stands. I remember being unsure about what to expect from these two girls and got the happy surprise of finding out! It's a beautiful piece of Jaime's Locas saga.
The story in issue 26, "Hit It" was my favorite in the run. In the later Moon Knight issues starting with issue 22 that Sienkiewicz drew also show some of the stylization that we got to see when he went over to draw the New Mutants.
You have to love the dark humor of this cover. Sienkiewicz has a great talent for balancing violent imagery with a kind of madcap hilarity!!
Matt, this is a BEAUTIFUL cover. I'm green (no pun intended) with envy.
Prime Sienkiewicz! This is a perfect example of him throwing everything AND the kitchen sink at the canvas or board to create something wholly new and exciting.
Great team spread!! These are the kinds of pages you see every once in a while showing entire teams in full view. Congrats!
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This page marks what I consider to be the first page of one of the greatest penciller/inker combinations in comic history, not to mention one of the great all-around comic creation teams ever. If you ever want to part with this page, look me up.
This is a classic Colan/Palmer page! You couldn't ask for better from The Dean's old Daredevil run! Enjoy!
A beautiful piece of work. This cover really epitomizes the environmental paranoia of the series. A real grail page.
These old Graphix duoshade boards were an inker/embellishers dream.
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I saw the full color version of this on his website. He has a great style. It becomes even more punctuated in color. however, this original b&w illustration is beautiful on its own.
I was latte to the game in noticing Fabry's work in general, let alone the Neverwhere project. It is very evocative, especially the last panel with the Hunter's body in the foreground.
