The Voord

I agree.

. . . or up to something!

All vegetables and no meat, lol!

This.

It does. I've seen it in person on my first trip to Florida from the UK. Ken Danker owned it at the time, and I'd made a side-trip to visit him along with my friend, Lloyd Braddy (who did the driving) . . . something like 20 years ago. Impressive piece of art though I seem to remember there being some noticeable glue stains along some of the edges.

Verily.

Heros the Spartan now finished.

I like both artists though if pushed for an answer lean more heavily towards Kirby. Kirby's work spanned something like five decades and, for me, he pretty much defined the look of Marvel in the 1960s and became the house-style for other artists to follow. Stan Lee knew he was on to a winner, which is why you see lots of Kirby covers for books he may not necessarily have produced any interior artwork for. For me, Jack's work leaned more towards cartooning, while Neal Adams was grounded in a realistic illustration style. Jack's artwork was an (imaginative) explosion of ideas likely dashed out very quickly while lingering in his mind . . . with Neal, the work seemed more controlled/planned and precise. As such, I'd consider Kirby's work to have the greater overall impact. I don't see any of this as a competition . . . I like lots of different artists for different reasons and rarely obsess over such things. In a similar way, this thread reminds me of two EC greats, Jack Davis and George Evans. Davis was a very fast spontaneous type of artist leaning towards cartooning, with Evans a more illustration type of guy. A Davis Horror story would often be quite grisly, but the cartoonist's style would often soften the Horror impact. When someone like Evans handled similar material, the illustrative style became more disturbing to look at. For example:

Blade Runner was an amazing movie adaptation for Marvel. Some of the location filming for the movie took place in downtown Los Angeles's historic Bradbury Building . . . same as (earlier) the 1964 OUTER LIMITS teleplay for 'Demon With a Glass Hand'. I've visited the Bradbury maybe half-a-dozen times from trips to LA from the UK. I think the Internal Affairs division of LAPD occupy most of the upper floors. Visitors are certainly allowed free access to the ground floor . . . where the following plaque is on display:

It's an interesting phenomenon. I have something like 80+ Movie Poster original paintings, and the most viewed is this one: It's a decent painting, but this and a few others (showing a bit of flesh) are the top hitters. Nekkid (or semi-clothed women) seem to hit that (ahem) sweet spot for some people. ;) Diffedrent strokes for different folks?* *Think I'll stop there before I 'milk' this further!

Pages from the MCG adaptation of Blade Runner seem to do pretty well. I own about 45% of the DC adaptation of Harlan Ellison's teleplay for The Outer Limits episode, 'Demon With a Glass Hand' and would welcome new additions! 2001 was an iconic movie . . . and Kirby an iconic artist . . . and he expanded beyond his movie adaptation with a series of books that morphed into Machine Man. How about Star Wars, which turned into a long-running book? Planet of the Apes magazine . . . which spawned new stories? You get the picture (no pun intended, lol!)? To be fair, MCG produced a lot of cr@p movie adaptations . . . but in-between the dreary stuff, some were pretty good.

Vampirella, and the way she influenced swimwear, has a lot to answer for . . .

Can't speak for others, wouldn't want to speak for others. Fourth World pages are unnecessary . . . for me.

Yeah, it's an impressive DPS, as a piece of art, but as I could never get into the 4th World books, I have no emotional attachment to the drawing. As a collector, and I imagine it would apply to others, I prefer the (successful) marriage of art and story complementing one another to hit my sweet spot. Seems to bother you more than it bothers me, Aaron? If you liked those books and collect the OA . . . hey, good on you. May the OA god look down favorably on you and magic more pages your way!

Hate? That's a strong word . . . that I didn't use. Don't hate it, no, just didn't care much for it . . . and I'm a Kirby fan

Ah, right, my bad, lol! If it had been the 2001 page vs a Fourth World DPD, I'd have gone for the former!

Kamandi DPS for me . . . though I do like the 2001 page. Kamandi and The Demon were the only two (DC) Kirby books I actually followed in the 1970s.

Glen Gold got the ball rolling on this one by posting one of the poster images. From Glen's clue, it was then easy to fit the pieces together and see the Ditko illustration for what it actually is/was.. Kudos to Glen. By the way, when I contacted Josh at C-Link, I sent him a detailed analysis of what it was he was actually auctioning off . . . plus a link to this thread (which is why you're now seeing those additional images on the auction listing).

I just e-mailed Josh at C-link to inform him of the good news and to suggest he alters the description to reflect what it is he's actually auctioning-off. He's just acknowledged my e-mail, so hopefully a more accurate description will follow.

Absolutely, and good to see someone else paying close attention to what should be oh-so-obvious! Once you've done your homework and come to the realization that Ditko's original drawing served as the basis (in altered format) for the single-figure poster and Marvel Super Heroes group shot . . . it's probably one of the most iconic images of Spidey ever seen. Published as originally illustrated, no. Published in altered format, yes Definitely of its era, how can anyone claim otherwise, lol!. Oh, and I don't see this as being some kind of rejected (alternative) art for the ASM #3 pin-up that Mandel owns. You just have to see the way Ditko inked Spidey's webbing in the early issues with thicker line-work in particular.. The webbing became more delicately-inked later on in the run.

Not comic art but might be of interest . . . Large pencil conceptual drawing for the 1964 William Castle movie, THE NIGHT WALKER (one of my favourites) Interestingly, for the Demon at centre, the resulting movie posters added a pair of underpants for him to wear (no self-respecting demon should be seen in public without them!) and all the surrounding monster-types got censored-out of the printed poster. The artwork actually forms the basis of the movie's introductory title sequence (see screen caps in additional images) . . .

Prisoner?

Currently in the process of sculpting Heros the Spartan from the famous Eagle magazine of the 1950s and 60s. Here's a work-in-progress update of where I'm up to on this project. Still lots of work to do on the head, and probably looks a bit peculiar as it now is, but you'll have to use your mind's eye to fill-in the missing areas . . . such as the plume, ears, side-flaps, visor bolts, visor detail and cloaked shoulder area! I've already got a (generic) base for this and the finished bust will be the head, on top of a (cloaked) shoulder area affixed to the base. The single face photo is of a resin cast I made for possible future re-use, should I need a ready-prepared generic face! I'll do a further w-i-p update as and when significant progress merits it . . .

Hey, Mike My question was a rhetorical one, asked for effect, and aimed at those wondering if a CCA stamp was on the back of the artwork. That is, if Lee decided (for whatever reason) not to publish the art in any of his books, why would it ever have been submitted to the CCA for censorship scrutiny/publication green-light? I get that you're curious if anything was on the back of the art (it's not uncommon to find thumbnail sketches and the like, or maybe notes). That's a different kind of interest.