CAPTAIN AMERICA COMICS #46
CGC G-: 1.8
(Stock Image)
SOLD ON: Tuesday, 09/10/2019 1:14 PM
$4,204
Sold For
25
Bids
PUBLISHER: Timely
COMMENTS: ow/white pgs, cvr dtchd, tp int cvr
classic Schomburg Holocaust cover (4/45)
Read Description ▼
classic Schomburg Holocaust cover (4/45)
DESCRIPTION
ow/white pgs, cvr dtchd, tp int cvr
classic Schomburg Holocaust cover (4/45)One of the toughest Caps to find, featuring one of the most graphic covers ever published, the jarring image on the front of this book depicts Nazis burning Jews alive in ovens. Many of the early comic creators were European Jews, and they knew what was happening to their families and friends overseas. They used the popular medium of comic books to spread the word about the Holocaust and make people aware of the atrocities that were taking place under Hitler’s regime during World War II.
Yet another striking Schomburg war-era bondage cover complete with shrieking Nazis and looming cultic figures. This well-loved copy retains a remarkable amount of color and spirit for a 1.8, including light pages and rather well preserved edges in spite of a detached cover.
Artists Information
Known for his dizzying, bustling war covers, bondage covers and airbrush Sci-Fi covers! Truly one of the most highly collected artists of the Golden Age. Alex Schomburg was born on May 10, 1905, in Aguadilla, Puerto Rico, Schomburg freelanced primarily for Timely Comics, the 1940s forerunner of Marvel, displaying his talent for action tableaux in covers featuring Captain America, the Sub-Mariner, the Human Torch, and other superheroes. He also provided covers for Pines Publications, for titles including Exciting Comics and America's Best Comics, featuring such superheroes as the Black Terror and the Fighting Yank, as well as for Harvey Comics. Stan Lee said the following about Schomburg "I've always felt that Alex Schomburg was to comic books what Norman Rockwell was to The Saturday Evening Post. He was totally unique, with an amazing distinctive style. You could never mistake a Schomburg cover for any other artist's. ... I remember hearing Timely Comics publisher Martin Goodman tell me time and again how great a cover illustrator Alex was, and how he wished we had more like him. Despite the quantity of work we gave him, despite the care and effort that went into every Schomburg cover, I cannot remember Alex ever being late with any illustration."
High School of Art & Design alum Carmine Infantino got his start in the industry working Timely, a precursor to Marvel Comics, where he would do spot work on anthology features, in his first work at DC he helped create Black Canary and began his long-running involvement with the Flash during his Golden Age era, as well as illustrating the original Green Lantern. After the post-war comic book slump Infantino collaborated with writer Robert Kanigher and editor Julius Schwartz to help bring back superheroes and launch the Silver Age by updating the Flash in the pages of Showcase, the reboot was a huge success and led to the superhero rebirth that has continued into the modern day, Infantino's ability to capture speed and movement on a page made his Flash believable and engaging. Carmine was promoted to Art Director and then Publisher at DC over the course of his illustrious career,
classic Schomburg Holocaust cover (4/45)One of the toughest Caps to find, featuring one of the most graphic covers ever published, the jarring image on the front of this book depicts Nazis burning Jews alive in ovens. Many of the early comic creators were European Jews, and they knew what was happening to their families and friends overseas. They used the popular medium of comic books to spread the word about the Holocaust and make people aware of the atrocities that were taking place under Hitler’s regime during World War II.
Yet another striking Schomburg war-era bondage cover complete with shrieking Nazis and looming cultic figures. This well-loved copy retains a remarkable amount of color and spirit for a 1.8, including light pages and rather well preserved edges in spite of a detached cover.
Artists Information
Known for his dizzying, bustling war covers, bondage covers and airbrush Sci-Fi covers! Truly one of the most highly collected artists of the Golden Age. Alex Schomburg was born on May 10, 1905, in Aguadilla, Puerto Rico, Schomburg freelanced primarily for Timely Comics, the 1940s forerunner of Marvel, displaying his talent for action tableaux in covers featuring Captain America, the Sub-Mariner, the Human Torch, and other superheroes. He also provided covers for Pines Publications, for titles including Exciting Comics and America's Best Comics, featuring such superheroes as the Black Terror and the Fighting Yank, as well as for Harvey Comics. Stan Lee said the following about Schomburg "I've always felt that Alex Schomburg was to comic books what Norman Rockwell was to The Saturday Evening Post. He was totally unique, with an amazing distinctive style. You could never mistake a Schomburg cover for any other artist's. ... I remember hearing Timely Comics publisher Martin Goodman tell me time and again how great a cover illustrator Alex was, and how he wished we had more like him. Despite the quantity of work we gave him, despite the care and effort that went into every Schomburg cover, I cannot remember Alex ever being late with any illustration."
High School of Art & Design alum Carmine Infantino got his start in the industry working Timely, a precursor to Marvel Comics, where he would do spot work on anthology features, in his first work at DC he helped create Black Canary and began his long-running involvement with the Flash during his Golden Age era, as well as illustrating the original Green Lantern. After the post-war comic book slump Infantino collaborated with writer Robert Kanigher and editor Julius Schwartz to help bring back superheroes and launch the Silver Age by updating the Flash in the pages of Showcase, the reboot was a huge success and led to the superhero rebirth that has continued into the modern day, Infantino's ability to capture speed and movement on a page made his Flash believable and engaging. Carmine was promoted to Art Director and then Publisher at DC over the course of his illustrious career,