IBIS THE INVINCIBLE #5
CGC VF-: 7.5
(Stock Image)
SOLD ON: Wednesday, 08/27/2014 4:38 PM
$366
Sold For
18
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PUBLISHER: Fawcett
COMMENTS: ow/white pgs
Mac Raboy racist bondage cvr, Basil Wolverton art
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Mac Raboy racist bondage cvr, Basil Wolverton art
DESCRIPTION
ow/white pgs
Mac Raboy racist bondage cvr, Basil Wolverton art
Artists Information
Emmanuel "Mac" Raboy was an American comics artist best known for his comic-book work on Fawcett Comics' Captain Marvel Jr. and as the Sunday comic-strip artist of Flash Gordon for more than 20 years. Cartoonist Drew Friedman has stated, "Raboy was an expert technician with pen and brush, and his lush covers are some of the most unusually beautiful ever to grace comic books". Raboy began his art career with the Works Progress Administration during the Great Depression. In the 1940s he began working with the Harry A. Chesler studio of comics artists. Raboy began drawing comic books and gained fame as the illustrator for Captain Marvel, Jr. and the Green Lama. Raboy was a great admirer of Alex Raymond, and "kept a portfolio of Alex Raymond's "Flash Gordon" comics by his side for inspiration and guidance as he worked". In the spring of 1946, King Features hired Raboy to continue the Sunday page adventures of Flash Gordon, which he continued to work on until his death.
Basil Wolverton is primarily recognized for his bizarre and grotesque caricatures that he made his name with in the second half of his career. Starting out as an independent artist, Wolverton worked in a relatively normal, but personal, style throughout the Golden Age, contributing sci-fi and GGA comedy pages to a variety of publishers, including a tenure at Timely. After winning a national contest to draw "Lena the Hyena" which was published in Al Capp's Li'l Abner strip, Basil switched over to his renown "spaghetti and meatballs" style, which consisted of highly detailed and disturbing malformed creatures. Working at Mad Magazine for a spell, Wolverton built up his distinct style and would continue to create shocking and unforgettable images for comics like Plop! through the Bronze Age until his passing in 1978. Since his death, recognition and fanfare for the artist's unique talents have grown in stature, leading his original pages to go for impressive numbers, as well as influencing underground and independent artists who came after him.
Mac Raboy racist bondage cvr, Basil Wolverton art
Artists Information
Emmanuel "Mac" Raboy was an American comics artist best known for his comic-book work on Fawcett Comics' Captain Marvel Jr. and as the Sunday comic-strip artist of Flash Gordon for more than 20 years. Cartoonist Drew Friedman has stated, "Raboy was an expert technician with pen and brush, and his lush covers are some of the most unusually beautiful ever to grace comic books". Raboy began his art career with the Works Progress Administration during the Great Depression. In the 1940s he began working with the Harry A. Chesler studio of comics artists. Raboy began drawing comic books and gained fame as the illustrator for Captain Marvel, Jr. and the Green Lama. Raboy was a great admirer of Alex Raymond, and "kept a portfolio of Alex Raymond's "Flash Gordon" comics by his side for inspiration and guidance as he worked". In the spring of 1946, King Features hired Raboy to continue the Sunday page adventures of Flash Gordon, which he continued to work on until his death.
Basil Wolverton is primarily recognized for his bizarre and grotesque caricatures that he made his name with in the second half of his career. Starting out as an independent artist, Wolverton worked in a relatively normal, but personal, style throughout the Golden Age, contributing sci-fi and GGA comedy pages to a variety of publishers, including a tenure at Timely. After winning a national contest to draw "Lena the Hyena" which was published in Al Capp's Li'l Abner strip, Basil switched over to his renown "spaghetti and meatballs" style, which consisted of highly detailed and disturbing malformed creatures. Working at Mad Magazine for a spell, Wolverton built up his distinct style and would continue to create shocking and unforgettable images for comics like Plop! through the Bronze Age until his passing in 1978. Since his death, recognition and fanfare for the artist's unique talents have grown in stature, leading his original pages to go for impressive numbers, as well as influencing underground and independent artists who came after him.