Captain America Comics
1.San Francisco Pedigree (Timely, 1941) CGC NM 9.4 Off-white to white pages. Not just one of the most sought-after comics in the hobby, but one of the nicest copies ever seen of it, and from one of the most famous collections! That combination puts this among the most desirable comic books Heritage has auctioned to date.
The distributor markings combined with the "Tom Reilly" stamp in the middle of the back cover identify this as being from the storied San Francisco pedigree collection. Many a Golden Age collector ranks this pedigree near the top, with some putting it behind only the Edgar Church/Mile High hoard. And the story of the collection being brought into a show in Berkeley, California in 1973 has entered collecting lore. However, this Captain America #1 has not been seen by the hobby at large since that day, nor was it ever certified until now.
We have always loved Bob Overstreet's description of the significance of this book: "Simon & Kirby's most classic creation; a patriotic paragon that set the comics market reeling. A trend setter." And Jim Steranko summarized the impact: "the classic heroic figure -- the comics had found a reason to exist... Captain America was an unprecedented success. The first issue sold out. The super hero business became the comic publishers' Holy Grail."
A top seller it may have been, but that doesn't mean copies are readily available now. Heritage has at times gone an entire year without offering a single copy. And this ranks as the best one we've ever had by two grade increments.
Unfortunately you can't share the experience we had of enjoying this copy "raw" in just a mylar and a board, but by all means zoom in on our scan to your heart's content, and if your mission is to find a flaw you will have a very hard time doing so. And as you compare it to other Captain America #1s in our archives pay special attention to the back cover -- the backs of this issue always seem to have some sort of smudging or darkening but on this San Francisco copy the quality shines through.
And that's true even compared to other pedigree copies, of which we have offered a few in our day. It's particularly noteworthy that the Mile High copy is no competition for this specimen, being both a couple of grades lower and restored. The two copies that are even with or ahead of this one on CGC's census are also pedigrees: the 9.8 Allentown and 9.4 Denver copies.
Any comic fan knows the famous Adolf Hitler cover, one of the most famous comic book covers ever. Nor would any collector fail to know that this is the first appearance of the Red Skull as well as of course the first appearance of Captain America and Bucky, all by the immortal creative team of Joe Simon and Jack Kirby.
But you could argue that the last decade has taken Captain America to an even higher level of pop culture celebrity -- he has after all been the star of three solo movies since 2011 and appeared in multiple others, including some of the highest-grossing movies of all time such as this year's Avengers: Endgame.
As we have quizzed some of our top clients on their want lists in recent years, one of the most common requests has been for a high-grade, unrestored Cap 1. The problem has been, of course, that they almost never change hands these days. Well, this one definitely will change hands as it is being offered without a reserve, so do what you must to make sure you're the one taking possession!
Overstreet 2019 NM- 9.2 value = $500,000. CGC census 8/19: 2 in 9.4, 1 higher.
Sold For: $995,000.00
The Adventures of Tintin, Volume 1
Tintin in the Land of Soviets Cover
Chinese ink on paper
(With retouches to the gouache)
27 x 29.5 cm (paper)
21 x 26 cm (drawing)
Le Petit Twentieth (13-02-1930)
© Hergé-Moulinsart 2019
HERGÉ (1907-1983)
The Adventures of Tintin Vol. 1: Tintin in the Land of the Soviets
Original Art Cover
Ink on paper
(with gouache corrections)
27 x 29.5 cm (paper)
21 x 26 cm (drawing)
The Twentieth (13-02-1930)
© Hergé-Moulinsart 2019
1929-1930 - IT'S THE MYTH OF TINTIN THAT WILL GO ...
Hergé and Le Petit Vingtième
Hergé is considered the beacon of the European Comic Strip. His success is global. From his real name Georges Remi (hence the initials R and G leading to the pseudonym "Hergé"), he was born in Brussels on May 22, 1907. Tintin and Snowy, comic characters that made him famous in the world. worldwide, appeared for the first time in The Little Twentieth , the weekly supplement for children published every Thursday (half-day off schoolchildren at that time) in the major Belgian daily Le Vingtième Siècle.It was a simple illustration showing the reporter and his dog roaming the streets of Moscow, intended to announce the publication from the following week of an extraordinary "report" of this Tintin, special correspondent of the newspaper in the country Soviets. Hergé is at this time very influenced by his environment and his Catholic education. The newspaper which employs him, and especially the abbot Norbert Wallez who directs it, has very definite opinions on the communism which settled in Russia in October 1917. The caricature of the USSR which Hergé gives itself is therefore without nuances, even if it is meant above all else.
The Adventures of Tintin and Snowy
The account that Hergé begins on Thursday, January 10, 1929 will count 139 pages in all, made in a caricatural style all round. For the first time in his career, Hergé, who has already published illustrations and stories in pictures in different magazines and in Le Petit Vingtième, integrates the dialogues with his drawings instead of using a descriptive text under the boxes. This is a way of doing that he could observe in the American Geo McManus and, in France, at Alain Saint-Ogan. What strikes with this first story of Hergé in "comics" is that very quickly the stiffness of the beginning disappears, and the story develops dynamically. All this is completely improvised, rebound after rebound: Hergé can not imagine the success that awaits Tintin and Snowy, nor that they will make career in albums sold around the world. Of album, it is also not question at that moment: it is about a soap opera without pretension, but which carries in him the germs of which will make the glory of the author and his character.
Hergé, who had already shown through a wide variety of creations that he knew how to draw, has considerably simplified his line for the sake of readability. But he quickly testifies that he has a sense of movement, and leaves no doubt that his little hero will embody modernity. Tintin borrows popular means of transportation such as trains, motorcycles, cars and planes, and other less conventional ones such as motorboats, race cars, horses, and even machines of his own. manufacturing.
The story does not appear in color, which is why, in order to make up for this absence, the author adds to the game of white and black surfaces a whole system of structures (hatching, grids, dotted lines ...) to which he will quickly add the mechanical frames that allow him to bring gray.
A historic step
On January 23, 1930, with the success of Tintin's adventures, Le Petit Vingtième went from eight to sixteen pages and will now display an illustration on the cover. Thus appears on February 13, on the cover of the supplement, an out-of-text illustration of Tintin in the land of the Soviets .This is the first time that a magazine puts Tintin in its "a", so we can say that it is with this illustration that takes off (a symbol!) The media career of Tintin.
A drawing of exceptional quality
The scene chosen by Hergé refers to the fifty-seventh double page of the story, and shows the busy hero, under Snowy's gaze, cutting with a knife in a tree trunk a makeshift propeller for his plane. This composition is remarkable in more ways than one. First, because Hergé did not want to content himself with enlarging one of the boxes of his story, from which he would have suppressed the dialogues: he is here an illustrator, composing the image with care and carefully detailing each part. Then because, as a painter would have done, he makes sure to animate the whole surface, leaving practically no void: the sky is "furnished" by the wing of the plane, and the ground by chips of wood. Elegance is everywhere: in the shapes of chips, in the soft folds of the leather of the jacket, in that of the boots, in the appearance of a sheepskin on the collar and the gloves of the hero ... To the streaks of the strain on which Tintin sits answer the lines of the snowy bandage. On the grass that can be seen near the wheel of the plane meet the lean firs that appear on the horizon.
Hergé's humor also finds in this large-format composition (the rectangle measures some twenty-one centimeters by twenty-six) something to flourish: to the veins are added the knots of the wood, as well as young leaves that found the strength to grow back despite the severe size operated by Tintin.
Supreme decorative effect: the designer has chosen to exceed the frame, on both sides, the propeller cut by the ingenious pilot. He thus confers on his image a relief, a depth which he had not yet dared to indicate in the huts of his story. Luckily, this remarkable composition will benefit from a mechanical gurgling and a tone of support (the green) that will both
An exceptional object
Besides this signed drawing, is the first to have presented Tintin and Snowy on the cover of a magazine, this is one of the few cover illustrations signed Hergé belonging to a private collector. In any case the oldest. Most of the others are in fact the property of the Hergé Museum in Louvain-la-Neuve, near Brussels.
Philippe GODDIN
Biographer Hergé, author of
Hergé, Tintin and the Soviets - The birth of a work (Editions Moulinsart, 2016)
Hergé and Le Petit Twentieth
Hergé is considered the star of European comics. His success is global. His pseudonym 'Hergé' is derived from reversing the initials 'R' and 'G' of his real name, Georges Remi, born May 22, 1907 in Brussels. Tintin and Snowy, the comics characters, who appeared in the world fame, first appeared in The Twentieth, the weekly supplement for children published every Thursday The twentieth century. It is a simple illustration showing the reporter and his dog strolling through the streets of Moscow, designed to announce the publication of the following week of an extraordinary news report by Tintin, the paper's special envoy to the Land of the Soviets. Hergé at this stage is very influenced by his background and Catholic education.
The Adventures of Tintin and Snowy
The story which Hergé embarks on from Thursday January 10th, 1929, will run to 139 pages in total, drawn entirely in a rounded, caricatural style. Hergé has already had illustrations and pictures published in different magazines and in The Little Twentieth, but here for the first time in his career he incorporates the dialogues into his drawings instead of using the descriptive text beneath the panels. It's an approach which he appreciated in the works of the American George McManus and the Frenchman Alain Saint-Ogan. What is striking about Hergé's first story in comics? All of this is improvised, every twist and turn: Hergé could not have imagined the success awaiting Tintin and Snowy, nor that they would make a career in the world. The idea of compiling the episodes into an album is not even considered at this point: this is an unpretentious serial, which contains the germs of what will bring glory to its author and his character.
Hergé has already shown his drawing capacity through a wide range of creations and here simplifies his vision. But he quickly turns out that he has a sense of movement, and leaves no doubt that his little hero is thoroughly modern. Tintin borrows fashionable modes of transport, motorbike, automobile and plane, and other lesser than conventional ones, such as the motorboat, racing car, horse and even machines he has built himself.
The story does not appear in color, which explains why the author plays with the black and white surfaces to make up for this lack, using a system of feathering, cross-hatching, stippling, to which he quickly adds mechanical screen tones which allow him to introduce greys.
An historical step
On January 23rd, 1930, Tintin's The Little Twentieth is doubled from eight to sixteen pages and adds from then on a front-page illustration. This is how it appears on February 13th, a supplementary illustration to Tintin in the Land of the Soviets. Tintin 's media career truly' takes off 'It' s the first time that a magazine puts Tintin 's media career.
A drawing of exceptional quality
The scene which Hergé chooses refers to the 57th double-page of the story, and shows the hero carving a tree trunk into a make-shift propeller for his plane, watched by Snowy. This composition is remarkable in more ways than one. First because Hergé thing does not make up with enlarging one of the panels of his story and removing the speech balloons: an illustrator, composing the image with care and paying attention to detail in every part. Then, because, he would have to do it, he wants to bring it back to life, he leaves practically none of it blank: the sky is 'furnished' by the wing of the plane, the earth by wood-chips.
Elegance suffuses this piece: in the forms of the wood-chips, the supple folds of the leather jacket, and of the boots, the appearance of sheepskin on the hero's collar and ... The streaks of the tree stump which Tintin in sitting on the lines of Snowy's bandages. The grass we can make out the plane of the wheels on the horizon.
Hergé's humor also comes into bloom in this large-format composition (measuring 10.5 "x 11.5"): Tintin's concerted carving.
A supreme decorative effect is the artist's choice to allow the ingenious pilot's propeller to break out of the frame, on one side and the other. He gives his image relief and depth, which he had not yet seen in the panels of his story. By luck, this remarkable composition goes to a mechanical gray tone and a secondary color (green), both of which bring a multi-colored effect to this first appearance on a front cover.
An outstanding object
Tintin and Snowy on the cover of a magazine, it is also one of the rare cover illustrations signed by Hergé in private hands. And what is more, the very oldest. Most of the others are in the property of the Hergé Museum in Louvain-la-Neuve, near Brussels.
More Information: EDIT: Converted measurements to Inches.
1.San Francisco Pedigree (Timely, 1941) CGC NM 9.4 Off-white to white pages. Not just one of the most sought-after comics in the hobby, but one of the nicest copies ever seen of it, and from one of the most famous collections! That combination puts this among the most desirable comic books Heritage has auctioned to date.
The distributor markings combined with the "Tom Reilly" stamp in the middle of the back cover identify this as being from the storied San Francisco pedigree collection. Many a Golden Age collector ranks this pedigree near the top, with some putting it behind only the Edgar Church/Mile High hoard. And the story of the collection being brought into a show in Berkeley, California in 1973 has entered collecting lore. However, this Captain America #1 has not been seen by the hobby at large since that day, nor was it ever certified until now.
We have always loved Bob Overstreet's description of the significance of this book: "Simon & Kirby's most classic creation; a patriotic paragon that set the comics market reeling. A trend setter." And Jim Steranko summarized the impact: "the classic heroic figure -- the comics had found a reason to exist... Captain America was an unprecedented success. The first issue sold out. The super hero business became the comic publishers' Holy Grail."
A top seller it may have been, but that doesn't mean copies are readily available now. Heritage has at times gone an entire year without offering a single copy. And this ranks as the best one we've ever had by two grade increments.
Unfortunately you can't share the experience we had of enjoying this copy "raw" in just a mylar and a board, but by all means zoom in on our scan to your heart's content, and if your mission is to find a flaw you will have a very hard time doing so. And as you compare it to other Captain America #1s in our archives pay special attention to the back cover -- the backs of this issue always seem to have some sort of smudging or darkening but on this San Francisco copy the quality shines through.
And that's true even compared to other pedigree copies, of which we have offered a few in our day. It's particularly noteworthy that the Mile High copy is no competition for this specimen, being both a couple of grades lower and restored. The two copies that are even with or ahead of this one on CGC's census are also pedigrees: the 9.8 Allentown and 9.4 Denver copies.
Any comic fan knows the famous Adolf Hitler cover, one of the most famous comic book covers ever. Nor would any collector fail to know that this is the first appearance of the Red Skull as well as of course the first appearance of Captain America and Bucky, all by the immortal creative team of Joe Simon and Jack Kirby.
But you could argue that the last decade has taken Captain America to an even higher level of pop culture celebrity -- he has after all been the star of three solo movies since 2011 and appeared in multiple others, including some of the highest-grossing movies of all time such as this year's Avengers: Endgame.
As we have quizzed some of our top clients on their want lists in recent years, one of the most common requests has been for a high-grade, unrestored Cap 1. The problem has been, of course, that they almost never change hands these days. Well, this one definitely will change hands as it is being offered without a reserve, so do what you must to make sure you're the one taking possession!
Overstreet 2019 NM- 9.2 value = $500,000. CGC census 8/19: 2 in 9.4, 1 higher.
Sold For: $995,000.00
2.The Very First Tintin Cover - The Very First Published Tintin Cover.
HERGÉ (1907-1983)The Adventures of Tintin, Volume 1
Tintin in the Land of Soviets Cover
Chinese ink on paper
(With retouches to the gouache)
27 x 29.5 cm (paper)
21 x 26 cm (drawing)
Le Petit Twentieth (13-02-1930)
© Hergé-Moulinsart 2019
HERGÉ (1907-1983)
The Adventures of Tintin Vol. 1: Tintin in the Land of the Soviets
Original Art Cover
Ink on paper
(with gouache corrections)
27 x 29.5 cm (paper)
21 x 26 cm (drawing)
The Twentieth (13-02-1930)
© Hergé-Moulinsart 2019
1929-1930 - IT'S THE MYTH OF TINTIN THAT WILL GO ...
Hergé and Le Petit Vingtième
Hergé is considered the beacon of the European Comic Strip. His success is global. From his real name Georges Remi (hence the initials R and G leading to the pseudonym "Hergé"), he was born in Brussels on May 22, 1907. Tintin and Snowy, comic characters that made him famous in the world. worldwide, appeared for the first time in The Little Twentieth , the weekly supplement for children published every Thursday (half-day off schoolchildren at that time) in the major Belgian daily Le Vingtième Siècle.It was a simple illustration showing the reporter and his dog roaming the streets of Moscow, intended to announce the publication from the following week of an extraordinary "report" of this Tintin, special correspondent of the newspaper in the country Soviets. Hergé is at this time very influenced by his environment and his Catholic education. The newspaper which employs him, and especially the abbot Norbert Wallez who directs it, has very definite opinions on the communism which settled in Russia in October 1917. The caricature of the USSR which Hergé gives itself is therefore without nuances, even if it is meant above all else.
The Adventures of Tintin and Snowy
The account that Hergé begins on Thursday, January 10, 1929 will count 139 pages in all, made in a caricatural style all round. For the first time in his career, Hergé, who has already published illustrations and stories in pictures in different magazines and in Le Petit Vingtième, integrates the dialogues with his drawings instead of using a descriptive text under the boxes. This is a way of doing that he could observe in the American Geo McManus and, in France, at Alain Saint-Ogan. What strikes with this first story of Hergé in "comics" is that very quickly the stiffness of the beginning disappears, and the story develops dynamically. All this is completely improvised, rebound after rebound: Hergé can not imagine the success that awaits Tintin and Snowy, nor that they will make career in albums sold around the world. Of album, it is also not question at that moment: it is about a soap opera without pretension, but which carries in him the germs of which will make the glory of the author and his character.
Hergé, who had already shown through a wide variety of creations that he knew how to draw, has considerably simplified his line for the sake of readability. But he quickly testifies that he has a sense of movement, and leaves no doubt that his little hero will embody modernity. Tintin borrows popular means of transportation such as trains, motorcycles, cars and planes, and other less conventional ones such as motorboats, race cars, horses, and even machines of his own. manufacturing.
The story does not appear in color, which is why, in order to make up for this absence, the author adds to the game of white and black surfaces a whole system of structures (hatching, grids, dotted lines ...) to which he will quickly add the mechanical frames that allow him to bring gray.
A historic step
On January 23, 1930, with the success of Tintin's adventures, Le Petit Vingtième went from eight to sixteen pages and will now display an illustration on the cover. Thus appears on February 13, on the cover of the supplement, an out-of-text illustration of Tintin in the land of the Soviets .This is the first time that a magazine puts Tintin in its "a", so we can say that it is with this illustration that takes off (a symbol!) The media career of Tintin.
A drawing of exceptional quality
The scene chosen by Hergé refers to the fifty-seventh double page of the story, and shows the busy hero, under Snowy's gaze, cutting with a knife in a tree trunk a makeshift propeller for his plane. This composition is remarkable in more ways than one. First, because Hergé did not want to content himself with enlarging one of the boxes of his story, from which he would have suppressed the dialogues: he is here an illustrator, composing the image with care and carefully detailing each part. Then because, as a painter would have done, he makes sure to animate the whole surface, leaving practically no void: the sky is "furnished" by the wing of the plane, and the ground by chips of wood. Elegance is everywhere: in the shapes of chips, in the soft folds of the leather of the jacket, in that of the boots, in the appearance of a sheepskin on the collar and the gloves of the hero ... To the streaks of the strain on which Tintin sits answer the lines of the snowy bandage. On the grass that can be seen near the wheel of the plane meet the lean firs that appear on the horizon.
Hergé's humor also finds in this large-format composition (the rectangle measures some twenty-one centimeters by twenty-six) something to flourish: to the veins are added the knots of the wood, as well as young leaves that found the strength to grow back despite the severe size operated by Tintin.
Supreme decorative effect: the designer has chosen to exceed the frame, on both sides, the propeller cut by the ingenious pilot. He thus confers on his image a relief, a depth which he had not yet dared to indicate in the huts of his story. Luckily, this remarkable composition will benefit from a mechanical gurgling and a tone of support (the green) that will both
An exceptional object
Besides this signed drawing, is the first to have presented Tintin and Snowy on the cover of a magazine, this is one of the few cover illustrations signed Hergé belonging to a private collector. In any case the oldest. Most of the others are in fact the property of the Hergé Museum in Louvain-la-Neuve, near Brussels.
Philippe GODDIN
Biographer Hergé, author of
Hergé, Tintin and the Soviets - The birth of a work (Editions Moulinsart, 2016)
Hergé and Le Petit Twentieth
Hergé is considered the star of European comics. His success is global. His pseudonym 'Hergé' is derived from reversing the initials 'R' and 'G' of his real name, Georges Remi, born May 22, 1907 in Brussels. Tintin and Snowy, the comics characters, who appeared in the world fame, first appeared in The Twentieth, the weekly supplement for children published every Thursday The twentieth century. It is a simple illustration showing the reporter and his dog strolling through the streets of Moscow, designed to announce the publication of the following week of an extraordinary news report by Tintin, the paper's special envoy to the Land of the Soviets. Hergé at this stage is very influenced by his background and Catholic education.
The Adventures of Tintin and Snowy
The story which Hergé embarks on from Thursday January 10th, 1929, will run to 139 pages in total, drawn entirely in a rounded, caricatural style. Hergé has already had illustrations and pictures published in different magazines and in The Little Twentieth, but here for the first time in his career he incorporates the dialogues into his drawings instead of using the descriptive text beneath the panels. It's an approach which he appreciated in the works of the American George McManus and the Frenchman Alain Saint-Ogan. What is striking about Hergé's first story in comics? All of this is improvised, every twist and turn: Hergé could not have imagined the success awaiting Tintin and Snowy, nor that they would make a career in the world. The idea of compiling the episodes into an album is not even considered at this point: this is an unpretentious serial, which contains the germs of what will bring glory to its author and his character.
Hergé has already shown his drawing capacity through a wide range of creations and here simplifies his vision. But he quickly turns out that he has a sense of movement, and leaves no doubt that his little hero is thoroughly modern. Tintin borrows fashionable modes of transport, motorbike, automobile and plane, and other lesser than conventional ones, such as the motorboat, racing car, horse and even machines he has built himself.
The story does not appear in color, which explains why the author plays with the black and white surfaces to make up for this lack, using a system of feathering, cross-hatching, stippling, to which he quickly adds mechanical screen tones which allow him to introduce greys.
An historical step
On January 23rd, 1930, Tintin's The Little Twentieth is doubled from eight to sixteen pages and adds from then on a front-page illustration. This is how it appears on February 13th, a supplementary illustration to Tintin in the Land of the Soviets. Tintin 's media career truly' takes off 'It' s the first time that a magazine puts Tintin 's media career.
A drawing of exceptional quality
The scene which Hergé chooses refers to the 57th double-page of the story, and shows the hero carving a tree trunk into a make-shift propeller for his plane, watched by Snowy. This composition is remarkable in more ways than one. First because Hergé thing does not make up with enlarging one of the panels of his story and removing the speech balloons: an illustrator, composing the image with care and paying attention to detail in every part. Then, because, he would have to do it, he wants to bring it back to life, he leaves practically none of it blank: the sky is 'furnished' by the wing of the plane, the earth by wood-chips.
Elegance suffuses this piece: in the forms of the wood-chips, the supple folds of the leather jacket, and of the boots, the appearance of sheepskin on the hero's collar and ... The streaks of the tree stump which Tintin in sitting on the lines of Snowy's bandages. The grass we can make out the plane of the wheels on the horizon.
Hergé's humor also comes into bloom in this large-format composition (measuring 10.5 "x 11.5"): Tintin's concerted carving.
A supreme decorative effect is the artist's choice to allow the ingenious pilot's propeller to break out of the frame, on one side and the other. He gives his image relief and depth, which he had not yet seen in the panels of his story. By luck, this remarkable composition goes to a mechanical gray tone and a secondary color (green), both of which bring a multi-colored effect to this first appearance on a front cover.
An outstanding object
Tintin and Snowy on the cover of a magazine, it is also one of the rare cover illustrations signed by Hergé in private hands. And what is more, the very oldest. Most of the others are in the property of the Hergé Museum in Louvain-la-Neuve, near Brussels.
More Information: EDIT: Converted measurements to Inches.
Sold For $1,225,000.00
3. Frank Frazetta Egyptian Queen Painting Original Art (1969). For a man known for his exquisite paintings, this is quite possibly his single most famous piece... the artist's "Mona Lisa"... the enigmatic, beloved, and often imitated "Egyptian Queen" herself, a haunting image that legions of admirers have returned to time and time again.
Having taken the comic book and newspaper strip worlds by storm in the 1950s and early 1960s, Frank Frazetta had already had a more successful career than most artists could even dream of before turning his otherworldly talents to book and comic cover fantasy artwork in the mid-1960s. In short order, he reinvented and massively expanded the entire field of fantasy illustration, single-handedly selling hundreds of thousands of books and scores of wildly popular posters along the way.
Frazetta would produce some of his most incredible work during this period with each piece helping to hone his craft, leading up to this spectacular painting in 1969, the peak of the artist's creative powers. While Frazetta would continue to produce paintings for another 30 years, this unforgettable image captured the hearts of legions and remains burned into the minds of generations. The Egyptian Queen first appeared in print as the cover for Eerie magazine #23 in mid-1969, and as multiple prints and posters over subsequent decades.
The luster of the paint, especially on the marble column and the supple form of the Queen herself, created an amazingly realistic and almost hypnotizing effect... pulling the viewer into the world of Queen Nefera. Her lovely printed skirt, a veritable peacock's plume, drapes seductively down the steps in this incredibly powerful and lushly painted composition. Frank Frazetta had the absolutely unique ability to paint what he envisioned in his mind (the main reason his preliminaries for works were so seemingly simple and tiny), going directly to the canvas with no tracing, no finished drawing, to paint what he saw in his mind's eye. To say this is a rare gift is a huge understatement - no other artist has been able to convey this same immediacy. It is especially exemplified in the works where Frazetta was asked to paint whatever he pleased, with the publisher then commissioning a story written to reflect the painted image. The result was always a unique, dynamic image that above all else rivets attention and elicits a visceral reaction from the viewer.
Although Frazetta would revise many of his published works from this era even years after publication, in this instance he seemed to know that The Egyptian Queen was an unqualified masterpiece from the outset. Immediately upon receiving the piece back from publisher Warren in 1969, Frazetta made only very slight and subtle changes, softening the Queen's eyes to make them even more resonant, thus creating this definitive, strikingly wistful visage that has become indelibly fixed in all fans' minds from the scores of prints, posters, and publications of all sorts over many decades, including the painting's iconic 1977 publication as the cover of Creepy #92. This masterpiece has resided with the Frazetta family since its creation, so this is the first time it has ever been offered on the market.
Although Frazetta typically worked on solid surfaces such as canvas wrapped board or pressboard, this piece was masterfully crafted in oil on a 20" x 26" stretched canvas. It has been open front framed to 24" x 30", and it is signed and dated in the lower left of the 19.75" x 25.5" image area. There are some minor drips (it is unclear if they are stains or paint drips) that are all-but-invisible unless viewed with a UV light source, and there are a few tiny white specks in the image area, as well as minor surface wear commensurate with age. There exists minor inpainting, primarily near the margins, only visible under UV light and most likely by the artist's hand. The painting presents beautifully with incredible eye appeal and is in Very Good to Excellent condition.
More Information:
4.Frank Frazetta Famous Funnies #209 Cover Original Art (Eastern Color, 1953)
If you could have just one of his paintings, chances are you would think of one featuring the Death Dealer. The original just might be the most renowned fantasy painting of all, but there are five other paintings featuring the axe-wielding barbarian with the burning eyes, and we're pleased to offer one of them in this auction. This is Death Dealer 6, and in true barbarian fashion, features him fighting a giant serpent. It was used, appropriately enough, as the cover for Death Dealer #6 published by Image Comics in 2008.
The large and impressive work was fashioned in oil on masonite, signed and dated in the lower right of the 18" x 30" image area, open-front framed to 23.5" x 35.5". There are some minor abrasions in the lower edge of the image area, and a bit of the masonite is showing through on the bottom right corner. The top left corner seems to be slightly rounded. Overall in Very Good condition.
Sold For $1,892,500.00
Sold For $595,000.00
7. Frank Frazetta At The Earth's Core Paperback Cover Painting Original Art (1974). This boldly stunning (and massive) original Frank Frazetta piece was used for the cover of the first Pellucidar novel by the legendary writer, Edgar Rice Burroughs! It is one of the most popular Frazetta images from his peak period, and from the artist's association with one of the most important science-fiction and fantasy authors of all time. In short, this dramatic masterpiece is quite simply one of the most important paintings by this artist to ever come to auction, made all the more so by its impressive scale, measuring over 21" x 29" inches, significantly larger than virtually every painting we've ever auctioned by the artist (no doubt reflecting the importance Frazetta placed on the image).
Few artists have had as much impact on fandom as Frank Frazetta. Whether an individual first came across his work on a paperback book, a poster on a wall, or a rock album cover, the impact of that image could stick with that person for the rest of their life. Frazetta's work with pulp stories in the early 1960s would begin a second act for an already accomplished career as an illustrator. He had worked in the comic industry since 1944. However, his paintings on the cover of reprints of works by Edgar Rice Burroughs, Robert E. Howard, and many others, would set him on a different path, and redefine the look of sword and sorcerer paperback novel covers. His powerful paintings would appear on book covers every year from 1963 through 1996. Couple that talent with the cover for a book introducing the land of Pellucidar in the novel At The Earth's Core, and you have an enduring classic image! The story first appeared serialized in the pulp magazine All-Story Weekly in 1914, and wasn't collected into a novel until 1922. It was reprinted several times, with this breath-taking image used for the popular Burroughs editions in the 1970s. The painting is dated 1974, and appeared on the 1978 version.
As is the case with Frazetta's finest works, the image tells a rich and moving story in one image, and in this case it quite literally is weaving an essential part of the narrative. Frazetta of course excelled in masterfully dynamic compositions that lead the viewer's eye endlessly though a scene, resonating on multiple levels. Here, Dian is menaced by a Mahar in the subterranean caves. One of the most fantastic and often overlooked aspects of this incredible piece is the amount of detail in the background. When used as a book cover, the upper right portion was covered with text. When used as a print, the resolution was not high enough to fully represent the amazing detail properly. In that upper right area there are two more Mahars and one of their ape-like servants, a Sagoth. Their eyes, haunted and piecing, peer from the depths. Also in that upper portion is a giant snake body, and the left side has a wonderful reptile by the staircase.
The sensual character of Dian dominates this image, however, and with good reason. Frank Frazetta has long been known for his talent at drawing gorgeous, fascinating women. The fluid flip of her hair, and the supple roundness of her form show this as one of his finest female forms ever.
This painting hung in the Frazetta Museum for many years. It is produced in oil on canvas board and is handsomely open front framed in an ornate wooden frame that measures 29.75" x 38", with an image area of 21.5" x 29.5". It is in Excellent condition.
Sold For $1,175,500.00
8. Frank Frazetta Escape on Venus Painting Original Art (1972). Princess Duare (Carson Napier's love interest) is menaced by a tharban on this stunning work created in 1972. The painting was used as the cover for the 1974 re-issue of the Edgar Rice Burroughs novel Escape on Venus. The book, the third in the "Carson Napier of Venus" series, was reprinted several times with this cover image, and the image was also released as a print in the late 1970s. It is a stunning work! From the piercing eyes of the tiger, to the delicate jewelry on the female, to the soft lush vegetation, it is an iconic piece from an artist who produces nothing less than exemplary pieces.
"Frazetta was very proud of the work. Ever innovating, he worked to differentiate every piece in a unique way. While always conscious of his audience, he incessantly challenged himself. During this period, he expanded his palette with vivid hues, and boasted that he could make those colors work in a believable, sensuous way. No one can argue that he did not achieve his goal!Frazetta has a legion of fans, and a major reason is that he crossed over into several categories, each with its own exuberant fan base. They can be distinguished as the 4Bs -- Babes, Burroughs, Barbarians, and Beasts. When a Frazetta image contains more than one element, the demand rises exponentially. This painting certainly covers three of the four.
Frank often liked to discuss (or hear) what made his images so popular, not just after the fact, but also at the time of publication. It is well known how his covers would immediately stimulate the sale of a publication. Many would buy his covers without any interest in the actual book. His effect was so massive, that he was asked to create images before a publisher even lined up a writer for a still-to-be-written story to accompany the art! This is important as it breaks the barrier of 'illustrator' versus 'artist' -- a critical distinction. Frazetta created several key works for himself, without guidance or assignment, including the Death Dealer, probably his best-known painting. Publishers such as Jim Warren, realizing his images invariably boosted sales, bought the rights to his works and had stories written for them.
Obviously his vivacious women and his unbridled imagination were tantamount. His secret was to focus the viewer's attention on what he wanted them to see. He would accomplish this by keeping other areas of the painting vague, simply suggesting, not fully rendering. His focal point was supremely detailed. In this prime example, the woman and beast are totally rendered, tense yet natural. Some felt his paintings only showed strong men. He would vigorously argue otherwise; that his women were strong and in control.
Always a favorite of both the artist and his fans, this painting, at the time it was first sold, was considered to be one of, if not the finest Frazetta oil in private hands. Signed and dated in the lower left of the 15.75" x 20" oil on presswood board image. There is the lightest and faintest of edge wear. In otherwise Excellent condition."
Joe and Nadia Mannarino
Joe and Nadia were personal friends of the Frazettas for over 30 years, representing the artist for decades in the sale of his original art.
More Information: Edit: Paragraph added about Frazetta expanding his pallet with vivid hues during this period.
Sold For $760,000.00
Edit: Added info regarding Princess Duare and teh tharban.
Having taken the comic book and newspaper strip worlds by storm in the 1950s and early 1960s, Frank Frazetta had already had a more successful career than most artists could even dream of before turning his otherworldly talents to book and comic cover fantasy artwork in the mid-1960s. In short order, he reinvented and massively expanded the entire field of fantasy illustration, single-handedly selling hundreds of thousands of books and scores of wildly popular posters along the way.
Frazetta would produce some of his most incredible work during this period with each piece helping to hone his craft, leading up to this spectacular painting in 1969, the peak of the artist's creative powers. While Frazetta would continue to produce paintings for another 30 years, this unforgettable image captured the hearts of legions and remains burned into the minds of generations. The Egyptian Queen first appeared in print as the cover for Eerie magazine #23 in mid-1969, and as multiple prints and posters over subsequent decades.
The luster of the paint, especially on the marble column and the supple form of the Queen herself, created an amazingly realistic and almost hypnotizing effect... pulling the viewer into the world of Queen Nefera. Her lovely printed skirt, a veritable peacock's plume, drapes seductively down the steps in this incredibly powerful and lushly painted composition. Frank Frazetta had the absolutely unique ability to paint what he envisioned in his mind (the main reason his preliminaries for works were so seemingly simple and tiny), going directly to the canvas with no tracing, no finished drawing, to paint what he saw in his mind's eye. To say this is a rare gift is a huge understatement - no other artist has been able to convey this same immediacy. It is especially exemplified in the works where Frazetta was asked to paint whatever he pleased, with the publisher then commissioning a story written to reflect the painted image. The result was always a unique, dynamic image that above all else rivets attention and elicits a visceral reaction from the viewer.
Although Frazetta would revise many of his published works from this era even years after publication, in this instance he seemed to know that The Egyptian Queen was an unqualified masterpiece from the outset. Immediately upon receiving the piece back from publisher Warren in 1969, Frazetta made only very slight and subtle changes, softening the Queen's eyes to make them even more resonant, thus creating this definitive, strikingly wistful visage that has become indelibly fixed in all fans' minds from the scores of prints, posters, and publications of all sorts over many decades, including the painting's iconic 1977 publication as the cover of Creepy #92. This masterpiece has resided with the Frazetta family since its creation, so this is the first time it has ever been offered on the market.
Although Frazetta typically worked on solid surfaces such as canvas wrapped board or pressboard, this piece was masterfully crafted in oil on a 20" x 26" stretched canvas. It has been open front framed to 24" x 30", and it is signed and dated in the lower left of the 19.75" x 25.5" image area. There are some minor drips (it is unclear if they are stains or paint drips) that are all-but-invisible unless viewed with a UV light source, and there are a few tiny white specks in the image area, as well as minor surface wear commensurate with age. There exists minor inpainting, primarily near the margins, only visible under UV light and most likely by the artist's hand. The painting presents beautifully with incredible eye appeal and is in Very Good to Excellent condition.
More Information:
Edit May 12, 2019: The sentence in italics regarding inspection of the item was revised.
Sold For: $6,400,000.00
One of the most renowned Frank Frazetta comic covers ever! This was the first of eight issues of Famous Funnies that sported Frazetta covers (issues #209-216). A sudden flash of greatness, they stand out as an apex of artistic perfection of comic art in the minds of many collectors. It's undeniable that Frazetta viewed his pen-and-ink work from this period as his absolute pinnacle. This specific cover features Buck Rogers, but more importantly, Wilma Deering in one of the most jaw-droppingly beautiful and graceful full-figure images of a woman ever to grace a comic book cover. If there was any doubt in any viewer's mind, this image justified and cemented Frazetta's legendary status at delineating the female form. His iconic line work epitomizes the '50s "retro" style so beloved by many fans. Combine that linework with his lush and shadowy inks and you have a powerful cover composition and an enduring classic science fiction image.
This is the first example from that historic run that has come up for public auction in many years. The last previous example we offered was way back in 2003... 15 years ago! When you reflect on just how sought-after these covers are, and the propensity for collectors to lock them up in major collections for long periods of time... well you might not get another chance to own one of these stunning works of art.
Crafted in ink over graphite on Bristol board with an image area of 14" x 14.5". The board has been affixed to a larger illustration board with a recreation of the header/logo added to the top. Frazetta signed the piece in the bottom of the original art area with one of his iconic signatures. The original art is lightly toned and still in Excellent condition. A remarkable piece!
Sold For $652,000.00This is the first example from that historic run that has come up for public auction in many years. The last previous example we offered was way back in 2003... 15 years ago! When you reflect on just how sought-after these covers are, and the propensity for collectors to lock them up in major collections for long periods of time... well you might not get another chance to own one of these stunning works of art.
Crafted in ink over graphite on Bristol board with an image area of 14" x 14.5". The board has been affixed to a larger illustration board with a recreation of the header/logo added to the top. Frazetta signed the piece in the bottom of the original art area with one of his iconic signatures. The original art is lightly toned and still in Excellent condition. A remarkable piece!
5.Frank Frazetta Death Dealer 6 Painting Original Art (1990). Owning a Frazetta painting is a dream of many serious art collectors, not just the fans of the comics and fantasy art genres, although it's accurate to note that the latter were the first to appreciate Frazetta's genius. From his more humble beginnings, drawing illustrations for text stories in the middle of "funny animal" comic books in the 1940s, to more adult themes in comics, then to paintings used for paperback covers, and famously popular rock album covers, Frazetta was ultimately and deservedly recognized by the serious fine art community.
And make no mistake -- his is fine art! Twelve Frazetta paintings have realized more than $100,000 in our auctions -- one (At the Earth's Core) holding the record at $1,075,500. Of Heritage's twenty top-selling original art pieces in our Comics & Comic Art auction history, five are by Frazetta, far more than any other artist, with Todd McFarlane and Robert Crumb tied for second with two each.If you could have just one of his paintings, chances are you would think of one featuring the Death Dealer. The original just might be the most renowned fantasy painting of all, but there are five other paintings featuring the axe-wielding barbarian with the burning eyes, and we're pleased to offer one of them in this auction. This is Death Dealer 6, and in true barbarian fashion, features him fighting a giant serpent. It was used, appropriately enough, as the cover for Death Dealer #6 published by Image Comics in 2008.
The large and impressive work was fashioned in oil on masonite, signed and dated in the lower right of the 18" x 30" image area, open-front framed to 23.5" x 35.5". There are some minor abrasions in the lower edge of the image area, and a bit of the masonite is showing through on the bottom right corner. The top left corner seems to be slightly rounded. Overall in Very Good condition.
Sold For $1,892,500.00
6. Frank Frazetta (American, 1928-2010) Child of the Sun paperback cover, 1972 Oil on canvasboard 20 x 24 in. Signed lower left
Published as the paperback cover of Child of the Sun by Kyle Onstott and Lance Horner (Fawcett, 1972), this amazing peak-period masterpiece was purchased by the owner in the early 1970s near the time the book was published. It has resided in this same collection ever since and has never been offered on the market until now. The dramatic, multi-figure composition incorporates much more depth, fully realized painterly attention, and detail than many of Frazetta's book covers, featuring not only one of the artist's trademark beautiful women, but three main male figures, as well as a plethora of intricately rendered background elements. As a result, the beautifully flowing image can be appreciated equally in a fine art as well as an illustration context.
Condition Report*:There appears to be no major visible condition issues to note in raking or UV light. Framed to 23 x 27 inches.*Heritage Auctions strives to provide as much information as possible but encourages in-person inspection by bidders. Statements regarding the condition of objects are only for general guidance and should not be relied upon as complete statements of fact, and do not constitute a representation, warranty or assumption of liability by Heritage. Some condition issues may not be noted in the condition report but are apparent in the provided photos which are considered part of the condition report. Please note that we do not de-frame lots estimated at $1,000 or less and may not be able to provide additional details for lots valued under $500. All lots are sold "AS IS" under the Terms & Conditions of Auction.
Few artists have had as much impact on fandom as Frank Frazetta. Whether an individual first came across his work on a paperback book, a poster on a wall, or a rock album cover, the impact of that image could stick with that person for the rest of their life. Frazetta's work with pulp stories in the early 1960s would begin a second act for an already accomplished career as an illustrator. He had worked in the comic industry since 1944. However, his paintings on the cover of reprints of works by Edgar Rice Burroughs, Robert E. Howard, and many others, would set him on a different path, and redefine the look of sword and sorcerer paperback novel covers. His powerful paintings would appear on book covers every year from 1963 through 1996. Couple that talent with the cover for a book introducing the land of Pellucidar in the novel At The Earth's Core, and you have an enduring classic image! The story first appeared serialized in the pulp magazine All-Story Weekly in 1914, and wasn't collected into a novel until 1922. It was reprinted several times, with this breath-taking image used for the popular Burroughs editions in the 1970s. The painting is dated 1974, and appeared on the 1978 version.
As is the case with Frazetta's finest works, the image tells a rich and moving story in one image, and in this case it quite literally is weaving an essential part of the narrative. Frazetta of course excelled in masterfully dynamic compositions that lead the viewer's eye endlessly though a scene, resonating on multiple levels. Here, Dian is menaced by a Mahar in the subterranean caves. One of the most fantastic and often overlooked aspects of this incredible piece is the amount of detail in the background. When used as a book cover, the upper right portion was covered with text. When used as a print, the resolution was not high enough to fully represent the amazing detail properly. In that upper right area there are two more Mahars and one of their ape-like servants, a Sagoth. Their eyes, haunted and piecing, peer from the depths. Also in that upper portion is a giant snake body, and the left side has a wonderful reptile by the staircase.
The sensual character of Dian dominates this image, however, and with good reason. Frank Frazetta has long been known for his talent at drawing gorgeous, fascinating women. The fluid flip of her hair, and the supple roundness of her form show this as one of his finest female forms ever.
This painting hung in the Frazetta Museum for many years. It is produced in oil on canvas board and is handsomely open front framed in an ornate wooden frame that measures 29.75" x 38", with an image area of 21.5" x 29.5". It is in Excellent condition.
"Frazetta was very proud of the work. Ever innovating, he worked to differentiate every piece in a unique way. While always conscious of his audience, he incessantly challenged himself. During this period, he expanded his palette with vivid hues, and boasted that he could make those colors work in a believable, sensuous way. No one can argue that he did not achieve his goal!Frazetta has a legion of fans, and a major reason is that he crossed over into several categories, each with its own exuberant fan base. They can be distinguished as the 4Bs -- Babes, Burroughs, Barbarians, and Beasts. When a Frazetta image contains more than one element, the demand rises exponentially. This painting certainly covers three of the four.
Frank often liked to discuss (or hear) what made his images so popular, not just after the fact, but also at the time of publication. It is well known how his covers would immediately stimulate the sale of a publication. Many would buy his covers without any interest in the actual book. His effect was so massive, that he was asked to create images before a publisher even lined up a writer for a still-to-be-written story to accompany the art! This is important as it breaks the barrier of 'illustrator' versus 'artist' -- a critical distinction. Frazetta created several key works for himself, without guidance or assignment, including the Death Dealer, probably his best-known painting. Publishers such as Jim Warren, realizing his images invariably boosted sales, bought the rights to his works and had stories written for them.
Obviously his vivacious women and his unbridled imagination were tantamount. His secret was to focus the viewer's attention on what he wanted them to see. He would accomplish this by keeping other areas of the painting vague, simply suggesting, not fully rendering. His focal point was supremely detailed. In this prime example, the woman and beast are totally rendered, tense yet natural. Some felt his paintings only showed strong men. He would vigorously argue otherwise; that his women were strong and in control.
Always a favorite of both the artist and his fans, this painting, at the time it was first sold, was considered to be one of, if not the finest Frazetta oil in private hands. Signed and dated in the lower left of the 15.75" x 20" oil on presswood board image. There is the lightest and faintest of edge wear. In otherwise Excellent condition."
Joe and Nadia Mannarino
Joe and Nadia were personal friends of the Frazettas for over 30 years, representing the artist for decades in the sale of his original art.
More Information: Edit: Paragraph added about Frazetta expanding his pallet with vivid hues during this period.
Sold For $760,000.00
Edit: Added info regarding Princess Duare and teh tharban.
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