Sienkiewicz, Bill - MOON KNIGHT (1980-84) #24 Half Splash
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SOLD ON: Monday, 06/06/2022 10:01 PM
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PUBLISHER: Marvel
COMMENTS: A 15% BUYER'S PREMIUM WILL BE ADDED TO THIS ITEM AT CONCLUSION OF THE AUCTION
Bill Sienkiewicz pencils and inks; Moon Knight #24 Three Panel Page Original Art (Marvel Comics, 1982); image size 10 1/2" x 15 3/4"
Original comic art of “Moon Knight” in New York City
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Bill Sienkiewicz pencils and inks; Moon Knight #24 Three Panel Page Original Art (Marvel Comics, 1982); image size 10 1/2" x 15 3/4"
Original comic art of “Moon Knight” in New York City
DESCRIPTION
A 15% BUYER'S PREMIUM WILL BE ADDED TO THIS ITEM AT CONCLUSION OF THE AUCTION
Bill Sienkiewicz pencils and inks; Moon Knight #24 Three Panel Page Original Art (Marvel Comics, 1982); image size 10 1/2" x 15 3/4"
Original comic art of “Moon Knight” in New York CityPublished June 29, 1982, Bill Sienkiewicz’s crème de la crème Moon Knight! This stunning page features Moon Knight in all 3 panels and showcases Sienkiewicz's masterful design and execution. The art is accomplished in mixed-media with ink over graphite and white paint for effect on 11" x 17" Bristol board. The image area measures approximately 10 1/2 x 15 3/4 inches and is in excellent condition. Extraordinary!
About Moon Knight:
The character debuted in Werewolf by Night #32 (August 1975), written by Doug Moench with art by Don Perlin and Al Milgrom, as a mercenary hired by the Committee to capture the title character. The creative team gave Moon Knight moon-related symbols and silver weapons (a metal poisonous to a werewolf) to mark him as a suitable antagonist for the werewolf hero. The two-part story continued into Werewolf by Night #33, when Moon Knight realizes Russell is a victim rather than a monster and decides to help him. A demonic vision of Moon Knight then appeared in Werewolf by Night #37 (March 1976).
Editors Marv Wolfman and Len Wein liked the character and decided to give him a solo story in Marvel Spotlight #28–29 (June/August 1976), again written by Doug Moench with art by Don Perlin. The story, along with Spectacular Spider-Man #22–23 (September/October 1978) written by Bill Mantlo, recast Moon Knight as a more heroic character. His association with the evil Committee during his first appearance was retconned to be an undercover mission he undertook to learn more about the villains. Moon Knight acted as a hero again in Marvel Two-in-One #52, written by Steven Grant with art by Jim Craig. In The Defenders #47–51, Moon Knight briefly joined the Defenders during their war against the Zodiac Cartel.
Moon Knight received his first ongoing series in 1980, with Doug Moench and Bill Sienkiewicz as its main creative team. The character received an expanded origin story in issue #1, including Spector’s “resurrection” in the tomb of Khonshu, suggested by editor Denny O’Neil, which also introduced several supporting characters as well as recurring enemy Bushman. Though many characters doubted the moon god Khonshu was real and believed Marc Spector only experienced a hallucination while near death, it was never explained why others, such as Spector’s lover Marlene, concluded this when there was no other explanation for Marc’s spontaneous recovery from his wounds and a death-like state.
The images of the published page and cover are for reference only.
Read More about this piece at earthshinestudios.com
Artist Information
Bill Sienkiewicz is an American artist, known for his work in comic books—particularly for Marvel Comics’ New Mutants, Moon Knight, and Elektra: Assassin. Sienkiewicz’s work in the 1980s was considered revolutionary in mainstream U.S. comics due to his highly stylized art that verged on abstraction and made use of oil painting, photorealism, collage, mimeograph, and other forms generally uncommon in comic books. Sienkiewicz was born May 3, 1958, in Blakely, Pennsylvania. When he was five years old, he moved with his family to the Hainesville, New Jersey section of Sandyston Township, New Jersey, where he attended elementary and secondary school. Sienkiewicz began drawing “when he was about four or five” and continued doing and learning about art throughout his childhood. His early comic book influences include artist Curt Swan Superman comics, and artist Jack Kirby’s Fantastic Four. Sienkiewicz received his classical art education at the Newark School of Fine and Industrial Arts in Newark, New Jersey. After art school, he showed a portfolio of his work to DC Comics’ art director Vince Colletta, which led to his entering the comics field at age 19. The artist recalled in 1985; “They didn’t have any work for me, but that didn’t bother me. I just figured that if comics didn’t work out I’d have done advertising or illustration. Vinnie called [renowned comics and advertising artist] Neal Adams, who put me in touch with [Marvel Comics editor-in-chief] Jim Shooter. Soon after that I was drawing Moon Knight, in The Hulk [black-and-white comics] magazine.” His early art style was heavily influenced by Neal Adams. Sienkiewicz continued as the artist of the Moon Knight color comics series, starting with the first issue (November 1980). His eclectic art style helped shed the early perception of Moon Knight as a mere Batman clone. Four years later, after a stint as artist on the Fantastic Four, he became the artist on Marvel’s X-Men spin-off New Mutants, beginning with issue No. 18 (August 1984), producing cover paintings and character designs. From this period on, Sienkiewicz’s art evolved into a much more expressionistic style, and he began experimenting with paint, collage and mixed media. He illustrated New Mutants from 1984 to 1985. Sienkiewicz produced covers for a range of Marvel titles, including Rom, Dazzler, The Mighty Thor, Return of the Jedi and The Transformers. He also created the comic adaptation of Dune. Sienkiewicz’s own first writing credit was for the painted story “Slow Dancer” in Epic Illustrated in 1986. Sienkiewicz both wrote and illustrated the 1988 miniseries Stray Toasters, an idiosyncratic work published by Epic Comics about a criminal psychologist investigating a series of murders. His first major interior work for DC Comics was contributing to Batman #400 (October 1986). He illustrated the 1986-87 eight-issue Elektra: Assassin limited series and the Daredevil: Love and War graphic novel which were both written by Frank Miller.
Bill Sienkiewicz pencils and inks; Moon Knight #24 Three Panel Page Original Art (Marvel Comics, 1982); image size 10 1/2" x 15 3/4"
Original comic art of “Moon Knight” in New York CityPublished June 29, 1982, Bill Sienkiewicz’s crème de la crème Moon Knight! This stunning page features Moon Knight in all 3 panels and showcases Sienkiewicz's masterful design and execution. The art is accomplished in mixed-media with ink over graphite and white paint for effect on 11" x 17" Bristol board. The image area measures approximately 10 1/2 x 15 3/4 inches and is in excellent condition. Extraordinary!
About Moon Knight:
The character debuted in Werewolf by Night #32 (August 1975), written by Doug Moench with art by Don Perlin and Al Milgrom, as a mercenary hired by the Committee to capture the title character. The creative team gave Moon Knight moon-related symbols and silver weapons (a metal poisonous to a werewolf) to mark him as a suitable antagonist for the werewolf hero. The two-part story continued into Werewolf by Night #33, when Moon Knight realizes Russell is a victim rather than a monster and decides to help him. A demonic vision of Moon Knight then appeared in Werewolf by Night #37 (March 1976).
Editors Marv Wolfman and Len Wein liked the character and decided to give him a solo story in Marvel Spotlight #28–29 (June/August 1976), again written by Doug Moench with art by Don Perlin. The story, along with Spectacular Spider-Man #22–23 (September/October 1978) written by Bill Mantlo, recast Moon Knight as a more heroic character. His association with the evil Committee during his first appearance was retconned to be an undercover mission he undertook to learn more about the villains. Moon Knight acted as a hero again in Marvel Two-in-One #52, written by Steven Grant with art by Jim Craig. In The Defenders #47–51, Moon Knight briefly joined the Defenders during their war against the Zodiac Cartel.
Moon Knight received his first ongoing series in 1980, with Doug Moench and Bill Sienkiewicz as its main creative team. The character received an expanded origin story in issue #1, including Spector’s “resurrection” in the tomb of Khonshu, suggested by editor Denny O’Neil, which also introduced several supporting characters as well as recurring enemy Bushman. Though many characters doubted the moon god Khonshu was real and believed Marc Spector only experienced a hallucination while near death, it was never explained why others, such as Spector’s lover Marlene, concluded this when there was no other explanation for Marc’s spontaneous recovery from his wounds and a death-like state.
The images of the published page and cover are for reference only.
Read More about this piece at earthshinestudios.com
Artist Information
Bill Sienkiewicz is an American artist, known for his work in comic books—particularly for Marvel Comics’ New Mutants, Moon Knight, and Elektra: Assassin. Sienkiewicz’s work in the 1980s was considered revolutionary in mainstream U.S. comics due to his highly stylized art that verged on abstraction and made use of oil painting, photorealism, collage, mimeograph, and other forms generally uncommon in comic books. Sienkiewicz was born May 3, 1958, in Blakely, Pennsylvania. When he was five years old, he moved with his family to the Hainesville, New Jersey section of Sandyston Township, New Jersey, where he attended elementary and secondary school. Sienkiewicz began drawing “when he was about four or five” and continued doing and learning about art throughout his childhood. His early comic book influences include artist Curt Swan Superman comics, and artist Jack Kirby’s Fantastic Four. Sienkiewicz received his classical art education at the Newark School of Fine and Industrial Arts in Newark, New Jersey. After art school, he showed a portfolio of his work to DC Comics’ art director Vince Colletta, which led to his entering the comics field at age 19. The artist recalled in 1985; “They didn’t have any work for me, but that didn’t bother me. I just figured that if comics didn’t work out I’d have done advertising or illustration. Vinnie called [renowned comics and advertising artist] Neal Adams, who put me in touch with [Marvel Comics editor-in-chief] Jim Shooter. Soon after that I was drawing Moon Knight, in The Hulk [black-and-white comics] magazine.” His early art style was heavily influenced by Neal Adams. Sienkiewicz continued as the artist of the Moon Knight color comics series, starting with the first issue (November 1980). His eclectic art style helped shed the early perception of Moon Knight as a mere Batman clone. Four years later, after a stint as artist on the Fantastic Four, he became the artist on Marvel’s X-Men spin-off New Mutants, beginning with issue No. 18 (August 1984), producing cover paintings and character designs. From this period on, Sienkiewicz’s art evolved into a much more expressionistic style, and he began experimenting with paint, collage and mixed media. He illustrated New Mutants from 1984 to 1985. Sienkiewicz produced covers for a range of Marvel titles, including Rom, Dazzler, The Mighty Thor, Return of the Jedi and The Transformers. He also created the comic adaptation of Dune. Sienkiewicz’s own first writing credit was for the painted story “Slow Dancer” in Epic Illustrated in 1986. Sienkiewicz both wrote and illustrated the 1988 miniseries Stray Toasters, an idiosyncratic work published by Epic Comics about a criminal psychologist investigating a series of murders. His first major interior work for DC Comics was contributing to Batman #400 (October 1986). He illustrated the 1986-87 eight-issue Elektra: Assassin limited series and the Daredevil: Love and War graphic novel which were both written by Frank Miller.