No buyer's premiums — What you bid is what you pay!
Event AuctionTALES TO ASTONISH (1959-68) Issue #88 Interior Page
View Larger Image

Placing offer…

This item has been sold.
Grade: VF: 8.0
Publisher: Marvel
Bid History: Sold For

20 Bids 

End Time: 9:25 PM EDT
Monday 3/19/2018
Comments: Pg. 8; Gil Kane pencils and inks; 13.5" x 20"
TALES TO ASTONISH (1959-68) Issue #88 Interior Page
VF: 8.0
After a brief and unsuccessful stint at MLJ as a production artist, Gil Kane began pencilling as a freelancer, and soon found himself in demand (even at MLJ) during the post-Superman comic book boom. Having befriended DC editor Julius Schwartz shortly after the war, he worked alongside Joe Kubert and Carmine Infantino to develop the bright, jazzy house style for DC's Silver Age hero lineup. Kane's clean, dynamic line, and dramatic composition helped define the Green Lantern, the Atom, and others for a generation. Eventually migrating to Marvel by the mid-1960s, Kane worked on a classic run of Spider-Man issues and became Marvel's go-to cover artist for much of the 70s.

This first outing for Kane on the Hulk strip in Tales to Astonish shows how much leeway he was given to buck the Kirby look that most Marvel artists worked under. While Kane's Dutch-angle framing and motion-oriented layouts were breezier than the stolid, earthy look preferred by Kirby and Ditko, his deft pen proved a perfect match for Marvel's adolescent power-fantasy character designs. Kane didn't work on the strip for long, but his tenure introduced the Abomination, and helped loosen up the title to become the gleeful monsteriffic stompfest it eventually turned into once the Hulk got his own solo title back.Excelsior!
Normal  |  Large  |  Max  |  Back to Top