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#Reprint
tomoleary · 9 days
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Moebius' preliminary pencils for the cover of Marvel Tales #253 Source
The image works best without indicia. Morbius lurks hugely in front but we’re drawn to our hero, Spidey. He’s poised for action. Perfect composition. Loses something after inks by Sylvain Despretz, and then logo. Best to enjoy the master here, then later.
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Original cover inks printing key. Inks by Sylvain Despretz. Source
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Colorist unknown. Source
I keep going back to the pencils. They’re “preliminary” but something’s lost. The art of a European Bande dessinée artist lost to two headers, corner box, “special giant size issue” “50 years…” ad nauseam.
I’m thrilled that I can see these at all. I’ve seen Mona Lisa (from a distance), and Van Gogh (up close, much to the chagrin of the guard at Musée d'Orsay) but this is art in its inception. A few hours of sketch time and we’re talking about it decades later.
Moebius is special. His work rings bells in me like few others, like Bill Everett, Wally Wood. He can be vile, surreal, magical and often rude, but he’s distinctive. Rare honor for an artist at his level to guest on a reprint.
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vintageterror · 19 days
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batmanonthecover · 2 months
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Justice League of America #67 (G-53) - December 1968 (DC Comics - USA)
Cover Art: Neal Adams
80 Page Giant issue of reprints includes:
"Doom of the Star Diamond" originally published in Justice League of America #4 (April 1961)
"Menace of the Atom Bomb" originally published in Justice League of America #14 (September 1962)
"Riddle of the Runaway Room" originally published in Justice League of America #31 (November 1964)
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sprockyeahlegion · 2 months
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in CHAINS!
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chic-a-gigot · 1 year
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La Mode, Pl. 363, 22 mars 1834, Paris. Turban de gaze lamée et brodée. Robes de satin. Echarpe de mousseline cachemire. Digital Collections of the Los Angeles Public Library
This plate appeared two days earlier, in Journal des Dames et des Modes, 20 mars 1834, as plate 3161. The descriptive text is part of the plate. Dates, plate numbers, titles are different.
Interesting that the notes are similar: the La Mode plate displays “L'Administration est Rue du Helder, No. 25.“ while the earlier plate displays “Journal des Dames Rue du Helder / Chaussée d'Antin“.
The Rijksmuseum credits the print maker as Georges Jacques Gatine after a drawing by Louis Marie Lanté.
Unembellished, original prints are included for comparison in print quality and coloring.
The woman on the right is wearing a pink dress with white gigot sleeves, and a pink ceinture (sash) around her waist.  She is wearing white gloves, earrings, and white stole with floral print, and a white turban with floral print, and is holding a fan in her left hand.  The woman on the left is facing away from the viewer.  She is wearing a yellow dress of similar design, with a necklace, earrings, and blue turban.
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mintsdraws · 1 year
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Preorders for chibi Guzma and Plumeria stickers are now open on my ko-fi sticker store! Preorder runs from March 3 through March 10, 10pm AST
preorder here!
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dellcomics · 6 months
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Woody Woodpecker no.41 (1957) -- Hacke Hackspett no.8 (1970)
John Carey (ART)
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balu8 · 3 months
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The Death of a Friend: The Mummy Walks
Eerie #78
by Steve Skeates and Laime Brocal Remohi
Warren
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evilhorse · 2 months
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Oh no! It’s starting to snow!
(Usagi Yojimbo #7)
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prosperity-post · 8 months
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Gingerbrute returns to Standard!
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warriors-official-art · 11 months
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Title: Starlight
Arc: The New Prophecy
Type: Full cover art
Country: North America
Characters: Mistystar
Artist: Owen Richardson
Source: Official Website
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vintageterror · 3 months
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tomoleary · 1 month
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John Buscema and Frank Giacoia - Spider-Man #39 Cover Original Art (Marvel, 1972) Source
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sprockyeahlegion · 2 months
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“Not a rest home!”
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dweeeeeb · 10 months
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Planet Comics #1 (1987) (1940 Reprint)
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chic-a-gigot · 3 months
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Le Petit écho de la mode, no. 3, vol. 13, 18 janvier 1891, Paris. 13. Dentelle en guipure Renaissance. Ville de Paris / Bibliothèque Forney
I pulled this plate today, and totally by chance, found myself on a Bordeaux library's website and came across an earlier version of this same plate, from 1879, 12 years earlier:
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La mode française, no. 38, 20 septembre 1879, Paris. 3. — Dentelle en guipure Renaissance. Bibliothèque municipale de Bordeaux
They even have nearly identical descriptions:
Le Petit écho de la mode, 1891:
Dentelle en guipure Renaissance. — Le modèle de cette dentelle est des mieux réussi, et l’effet obtenu par son exécution des plus heureux.
Il faut comme toujours reproduire son dessin sur moleskine, ou sur percaline lustrée, puis coudre son lacet avec beaucoup de soin et comme s’il devait rester à demeure sur ladite moleskine; à certains endroits on peut se dispenser de couper son lacet, il faut bien consolider et le plus proprement possible, l’espèce de soudure si je puis m’exprimer ainsi, que l’on ne peut éviter dans la tulipe, à certaines feuilles où les brins sont trop rapprochés; on peut éviter ces coupures en repliant le lacet l’un sur l’autre, mais il faut que ce soit fait avec une grande précision, sous peine de nuire à la perfection du travail.
Dans les intervalles on fait des barrettes vénitiennes festonnées.
Renaissance guipure lace. — The model of this lace is most successful, and the effect obtained by its execution is most successful.
As always, you must reproduce your design on moleskin, or on glossy percaline, then sew your lace with great care and as if it were to remain permanently on said moleskin; in certain places we can dispense with cutting the lace, we must consolidate and as cleanly as possible, the kind of welding, if I may put it that way, which we cannot avoid in the tulip, on certain leaves where the strands are too close together; These cuts can be avoided by folding the lace one over the other, but this must be done with great precision, otherwise the perfection of the work will be compromised.
In the intervals we make scalloped Venetian barrettes.
La mode française, 1879:
Le modèle de cette dentelle est des mieux réussis, et l'effet obtenu par son exécution des plus heureux.
Il faut, comme toujours, reproduire son dessin sur moleskine, ou percaline lustrée, puis coudre son lacet avec beaucoup de soin; à certains endroits, on ne peut se dispenser de couper son lacet, il faut bien consolider, et le plus proprement possible, l'espèce de soudure, si je puis m'exprimer ainsi, que l'on ne peut éviter dans la tulipe, à certaines feuilles, où les brins sont trop rapprochés; on peut éviter ces coupures, en repliant le lacet l'un sur l'autre, mais il faut que ce soit fait avec une grande precision, sous peine de nuire ¡a la perfection de son travail.
L'intérieur du dessin est rempli par des jours variés.
The model of this lace is most successful, and the effect obtained by its execution is most successful.
You must, as always, reproduce your design on moleskin, or glossy percaline, then sew your lace with great care; in certain places, we cannot avoid cutting our laces, we must consolidate, and as cleanly as possible, the kind of welding, if I may put it that way, which we cannot avoid in the tulip, to certain leaves, where the strands are too close together; These cuts can be avoided by folding the lace one over the other, but this must be done with great precision, otherwise it will harm the perfection of the work.
The interior of the drawing is filled with varied days.
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