Nona arte 3 2016 by LucaBaldi Grafica & Comunicazione

Aprile2016

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S A CURA DI PAOLO RINALDI

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

EDITORIALE Devo essere sincero, ogni volta che mi accingo a scrivere un editoriale per la nostra rivista sono preso da mille dubbi, ho sempre la remora di non essere oggettivo e farmi trascinare troppo dalla passione. Ed è proprio questa passione che ci ha permesso di arrivare al terzo anno di vita, un traguardo assolutamente straordinario, merito in parte nostro, ma soprattutto vostro che avete avuto la pazienza (ed il coraggio) di sostenerci, di esserci vicino nelle nostre iniziative e di questo vi ringrazio, state dando un senso al concetto di associazione, insieme siamo più preparati, più forti e soprattutto più uniti. Questo terzo anno ci porterà molte novità, la prima, da me fortemente voluta, è il debutto delle Monografie d’autore, che “ruberanno” un numero della rivista, un numero interamente dedicato solo ad un autore, un vero e proprio Art Dossier che sarà un vero e proprio strumento per ogni collezionista di originali e per ogni appassionato della letteratura disegnata. Il debutto avrà come protagonista un grande del fumetto mondiale, John Buscema, il cui lavoro ha influenzato generazioni di artisti, contribuendo a realizzare un vero e proprio patrimonio artistico, che in un futuro sarà protagonista nei vari musei dedicati alla Nona Arte. Voglio pubblicamente ringraziare Asad Khan, Gabriele Pennacchioli e Michel Malliot, senza il loro contributo ed il loro aiuto non sarei riuscito a realizzare un dossier così completo, sia per le preziose immagini che per gli aneddoti inediti. Abbiamo pensato di inserire nel contesto della monografia i top ten delle aste tenute negli ultimi mesi, dati sempre più preziosi che ci permettono di tenere bene il polso delle quotazioni, che registrano una crescita inesorabile. Fatta questa doverosa premessa vi anticipo, non senza un pizzico di orgoglio, i principali progetti della Nona Arte per il 2016. Oltre ai due numeri della rivista, stiamo sviluppando un articolato progetto su un personaggio che è stato protagonista della mia “carriera” di lettore di fumetti, ovvero Dylan Dog, che quest’anno festeggia i suoi trenta anni, per questa occasione abbiamo chiesto a più di trenta artisti di sviluppare una illustrazione inedita, il tutto incorniciato da interventi editoriali di sceneggiatori del calibro di Barbato, Recchioni, Bilotta, Manfredi, Baraldi e di molti altri. Il contenitore di tante meraviglie sarà un volume commemorativo esclusivo per i nostri associati, immancabile nelle collezioni degli amanti del nostro Dylan e della letteratura disegnata. Infine a Lucca Comics & Games presenteremo un portfolio dedicato ad un autore che non abbisogna di presentazioni, Enrique Breccia, reduce dalle fatiche del suo favoloso Texone. Breccia sarà l’esclusivo protagonista del portfolio “Il Lovecraft di Enrique Breccia”, dove realizzerà una serie di illustrazioni rigorosamente in bianco e nero, ripercorrendo la carriera letteraria dello scrittore di Providence. Il risultato vi lascerà a bocca aperta, un vero e proprio gioiello della Nona Arte. Adesso non dovete far altro che seguirci, sarà un anno meraviglioso all’insegna della Nona Arte. Paolo Rinaldi Presidente Associazione La Nona Arte

INTRODUZIONE Il fumetto è arte. Presi coscienza di questa realtà molti

protagonista di un era, diventando l’autore simbolo di una

anni or sono, sfogliando un numero di Savage Sword of

delle più importanti e creative case editrici della storia

Conan, splendidamente illustrato da John Buscema e da

del Fumetto, la Marvel, che, tramite il vulcanico Stan Lee,

Alfredo Alcala. Ricordo ancora oggi, a distanza di oltre

lo elesse a simbolo della Case delle Idee. Il suo How

trent’anni, le emozioni che mi trasmisero quelle pagine,

To Draw Comics The Marvel Way ancora oggi, per gli

dense di azione, pathos, sensualità e dinamismo. Non

aspiranti disegnatori, è visto come un punto di riferimento

riuscivo a trovare delle macroscopiche differenze tra

imprescindibile.

quelle tavole ed le opere d’arte neoclassica che spesso

Questa monografia non ha la pretesa di essere un opera

rimiravo in alcuni musei. Entrambi, il fumetto e l’arte

completa sull’artista, ma sicuramente trasmette l’amore che

neoclassica, riuscivano a trasmettermi, in maniera diversa

ho per questo grande artista, descrivendo il suo viaggio

ma molto simile, delle emozioni intense, non totalmente

nel meraviglioso mondo del fumetto e sottolinenando che

distinguibili, non riuscivo a capire come mai l’arte del

il suo lavoro non può e non deve essere dimenticato. John

fumetto era ancora vista come un semplice intrattenimento

Buscema è riuscito, con l’umiltà tipica dei grandi artisti, a

per ragazzi.

portare l’arte nei comics e ad arricchire i suoi lettori non

Dunque fu proprio John Buscema, che continuava ad

solo di capolavori ma di emozioni che solo l’Arte, quella

incantarmi tavola dopo tavola, copertina dopo copertina,

con la A maiuscola riesce a trasmettere.

a convincermi che il fumetto era arte, che non aveva nulla da invidiare all’arte classica.

Ancora oggi, riuscire a

trasmettere il concetto che l’arte della letteratura disegnata non è seconda alle altre arti più blasonate come quella neoclassica, moderna o contemporanea non è cosa facile. Ho capito dunque la grande frustrazione di un artista come Buscema, il cui obiettivo era dedicarsi alla pittura, traguardo che non riuscì mai a raggiungere, realisticamente fu costretto a scendere a patti con i problemi della vita quotidiana, non era possibile mantenere una indipendenza economica facendo il pittore. Il passaggio come disegnatore per l’industria del fumetto fu dunque il compromesso più naturale per John, assecondando così la sua naturale propensione al disegno unito ad un compenso dignitoso. Buscema così in maniera istintiva portò letteralmente l’arte nei comics, traendo ispirazione sia dei maestri del fumetto dell’epoca come Raymond, Hogarth, Foster ma nello stesso tempo da artisti come Michelangelo, Rubens e Leonardo. Per Buscema disegnare non era solo un lavoro ma una necessità, un esigenza interiore che riusciva ad esorcizzare solo al tavolo da disegno, realizzando dei piccoli capolavori che in un giorno non lontano, secondo il mio punto di vista, saranno protagonisti nei musei, come le opere dei maestri della pittura classica. Con la sua arte Buscema ha creato un numero impressionante di tavole e copertine, dando vita a protagonisti della letteratura disegnata che ancora oggi sono oggetto delle nostre letture, si è reso

così

Paolo Rinaldi Presidente Associazione La Nona Arte

SOMMARIO 4 6

TOP ASTE: LITTLE NEMO

36° ASTA - 14 NOVEMBRE 2015

LE ORIGINI

-IL PRIMO APPROCCIO AL MONDO DEI COMICS: TIMELY COMICS/ATLAS COMICS

-NEL MONDO DELLA PUBBLICITÀ

14 TOP ASTE: LITTLE NEMO

37° ASTA - 12 DICEMBRE 2015

16 E VENNE LA MARVEL

-SILVER SURFER

-L’ERA BARBARICA

46 TOP ASTE COMIC LINK

48 WORKSHOP PRESIDENTE Dott. Paolo Rinaldi Vice PRESIDENTE Luca Baldi CONSIGLIO DIRETTIVO Vanni Varalda Marco Miccione CONTATTI: info@associazionelanonaarte.it Associazione “La Nona Arte” Attività con fini culturali e ricreativi Sede: Via Ottavio Caiazzo, 19 80129 Napoli (NA) Cod. Fisc. 95196820633

50 TARZAN

52 HOW TO DRAW COMICS THE MARVEL WAY

54 RITORNO AI SUPEREROI

66 GLI ULTIMI ANNI

72 IL METODO MARVEL

74 INTERVISTA A JOHN BUSCEMA

TRATTA DA JACK KIRBY COLLECTOR #18

92 TOP ASTE: HERITAGE - 20 FEBBRAIO 2016

94 THE INKER

108 TOP ASTE: URANIA - IV° ASTA 30 OTTOBRE 2015

110 TOP 10 JOHN BUSCEMA HERITAGE AUCTION

112 BIBLIOGRAFIA DI JOHN BUSCEMA

TOP 10 ASTE

WILL EISNER (1917-2005) Spirit euro 11.500,00

JACK KIRBY Superman euro 10.350,00

JOHN ROMITA Jr. (1956), AL MILGROM (1950) Spider-Man vs. Hobgoblin euro 10.350,00

HUGO PRATT Indigeni euro 10.120,00

36Â° ASTA LITTLE NEMO - 14 NOVEMBRE 2015 ILLUSTRATION AND COMIC ART MASTERS

LORENZO MATTOTTI Versace, Dolce & Gabbana euro 7.590,00

HUGO PRATT Capitan Cormorant euro 7.475,00

GUIDO CREPAX Valentina - Gli Ussari della Morte euro 7.475,00

GUIDO CREPAX (1933-2003) Valentina - Sindrome di Moore euro 5.290,00

JACK KIRBY (1917-1994) Machine Man - With a Nation Against Him! euro 3.450,00

JORDI BERNET Torpedo euro 3.565,00

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

LE ORIGINI

JOHN BUSCEMA L’A R T E N E I C O M I C S

John Buscema, al secolo Giovanni Natale Buscema, nacque a Brooklyn, New York, l’11dicembre del 1927, di chiare origini italiane: i genitori infatti erano nativi di Pozzallo, piccolo paesino siciliano in provincia di Ragusa. La passione giovanile di John era la boxe, che praticava in una palestra con il fratello Sal; dopo gli allenamenti, si divertiva a disegnare i boxeur mentre si esercitavano. Forse proprio in questi momenti comprese che l’arte e il disegno dovevano diventare parte integrante della sua vita; iniziò infatti a realizzare ritratti ad acquerello di campioni della boxe ,che riusciva puntualmente a vendere, rendendosi così conto che sarebbe stato possibile trarre guadagno da questa attività. Si decise a coltivare la sua passione tanto da iscriversi alla Manhattan la High School of Music and Art e dopo il liceo frequentò con successo il Pratt Institute, diplomandosi in disegno. Fin da giovane si appassionò alla lettura dei comics, ammirando gli immancabili Superman e Batman, per poi apprezzare “Prince Valian”t di Hal Foster, Flash Gordon di Alex Raymond e Tarzan, soprattutto quello illustrato da Burne Hogarth. Questi autori immancabilmente influenzarono lo stile di Buscema, ma non furono gli unici che forgiarono e ispirarono la sua arte. John, infatti, era stato da sempre appassionato di pittura, tanto da seguire un corso di disegno dal vero al Brooklyn Museum. Non gli bastò: studiò e si appassionò ai Maestri del Risorgimento italiano, primi tra tutti Michelangelo Buonarroti, Leonardo Da Vinci, Raffaello Sanzio, ma anche Pieter Paul Rubens. Allo stesso tempo seguì e apprezzò famosi illustratori a lui contemporanei, quali Norman Rockwell e Al Dorne (al cui stile Buscema si rifà in maniera esplicita). La sua ispirazione di dedicarsi alla pittura si infranse sulla scogliera della vita quotidiana: non avrebbe mai potuto sostenere se stesso e la sua famiglia facendo il pittore. Il passaggio al mondo dei comics fu quindi naturale; il suo primo lavoro professionale fu la realizzazione di gag comiche per il quotidiano Hobo News, pagate un dollaro l’una.

A CURA DI

PAOLO RINALDI

Hal Foster è stato uno dei maggiorni artisti che hanno in futuro ispirato Buscema.

IL PRIMO APPROCCIO AL MONDO DEI COMICS: TIMELY COMICS / ATLAS COMICS

Il Tarzan Di Hogarth

Hal Foster al tavolo

Nel 1948, all’età di ventuno anni, rispondendo a un annuncio sul New York Times, fu assunto dalla Timely Comics / Atlas Comics (la futura Marvel), dove incontrò per la prima volta un giovane Stan Lee. Da quel momento gli furono commissionate storie di generi che andavano dai Crime comics ai Western; divenne così parte del cosiddetto Bullpen, ovvero l’ufficio dove i migliori artisti della Marvel lavoravano spalla a spalla (per la cronaca il Bullpen era il locale dove si scaldavano i giocatori di baseball). Si trovò cosi a lavorare insieme ad artisti del calibro di Carl Burgos, il creatore della Torcia Umana, George Tuska, Gene Colan (appena arrivato come lui) e moltissimi altri. Nel 1950, dopo la fine del secondo conflitto mondiale, per decisione di Martin Goodman, il proprietario della Timely, tutti gli autori assunti diventarono freelance. Secondo alcune voci, infatti, Vince Fargo, caporedattore della Timely, durante il periodo della Seconda Guerra Mondiale aveva seguito la filosofia di Stan Lee, ovvero assegnava agli artisti più storie di quanto se ne potevano pubblicare, in modo da avere sempre la possibilità di editare qualcosa di nuovo, anche nel caso in cui qualche autore fosse stato in ritardo nella consegna, non rispettando i serrati ritmi di lavoro di quel periodo. In questo modo la Timely si ritrovò nel cassetto (in realtà si parla di un armadio bello grande, pieno zeppo di storie inedite) un impressionante numero di storie inedite (si vocifera di un valore di circa 100 mila dollari dell’epoca). Questo spinse Goodman a sfruttare la situazione, abolendo il posto fisso e facendo lavorare tutti con contratto da freelance. Tale situazione permise a Buscema di lavorare anche per altre case editrici. Fu così che gli fu possibile realizzare storie per la Orbit, Charlron, Hilllman, Quality, Ace, Dell, solo per citarne alcune. Come piccola curiosità bisogna sottolineare che queste case editrici non gli restituirono mai gli originali, cosa che invece avrebbe fatto in futuro la Marvel Comics. Per la Western Publishing disegnò il western “Roy Rogers” e diversi adattamenti di film nella collana “Four Color Comics” come “Spartacus”, “Hercules” e “The 7th voyage of Simbad”, che lo stesso Buscema considerò come uno dei suoi lavori meglio riusciti di quel periodo. In questo periodo iniziarono a delinearsi gli ingredienti che fecero di lui uno dei più apprezzati e talentuosi artisti del mondo dei comics, ovvero la sua capacità nel caratterizzare l’anatomia, sia umana che

Pratt Institute History photo

Raymond mentre disegna com modella. Lo stesso Buscema fece dei corsi di disegno con modelli dal vivo. Anche in seguitò utilizzo modelli per i suoi disegni, sopratutto nel periodo in cui lavorò nella pubblicità.

Norman Rockwell April fools with the shopkeeper. Rockwell ha inflenzato moltissimi artisti inclusa john Buscema

JOHN BUSCEMA L’A R T E N E I C O M I C S

animale, il dinamismo dei movimenti e le espressioni dei volti. Ogni sua vignetta racchiude queste caratteristiche, rendendo le sue tavole delle piccole opere d’arte, che sintetizzano un’esplosione di stile, dinamismo, mimica e cura dei particolari, che ovviamente si apprezzano al massimo livello nei lavori da lui stessi inchiostrati, anche se alcuni inchiostratori – come Giacoia, Sal Buscema, Alcala, Palmere Sinnott per citarne alcuni – hanno portato l’arte di Buscema a livelli altissimi. Il grande John amava l’arte e in particolar modo la pittura: questo amore si evidenzia prepotentemente nei suoi lavori. Lui stesso desiderava diventare un pittore ma, come abbiamo visto, le necessità della vita lo portarono a “fare fumetti”, permettendogli di avere una autonomia economica e di metter su famiglia. Fu proprio questo suo essere sceso a compromessi che paradossalmente gli faceva esclamare bonariamente “io odio i fumetti”, non perché realmente odiasse il suo lavoro e il mondo delle nuvole parlanti, ma perché tutto ciò l’aveva allontanato da quello che lui sentiva di essere, ovvero un artista a tutto tondo. Non dimentichiamoci che in quel periodo, molto più che oggi, il fumetto era visto come un bene di consumo molto distante dall’arte e dalla pittura, si può quindi capire la sua frustrazione per essere sceso a patti con la vita, dedicandosi a tutti gli effetti ad un medium ritenuto molto lontano, almeno per l’epoca, dal mondo dell’arte e della pittura in genere. Il talento di Buscema riuscì a trasportare l’arte, la pittura, l’essenza stessa del disegno artistico in ogni vignetta che realizzava, rendendo ogni sua tavola, illustrazione o copertina una vera e propria opera d’arte. Non a caso anni dopo fu battezzato, dal vulcanico Stan Lee, il Michelangelo dei comics. Agli inizi degli anni sessanta, e precisamente nel novembre del 1960, uscì il suo ultimo adattamento cinematografico per la Dell, “Spartacus”.

Raymond donna che danza

Buscema donna che danza i riferimenti a Raymond sono espliciti.

John Buscema, born Giovanni Natale Buscema in Brooklyn (NY) on the 11th of december 1927. Has italian origins, in fact his parents were born in Pozzallo, a small sicilian town near Ragusa. John’s biggest passion was boxing. He used to practice it with his brother Sal. Maybe in those very moments he realized art and drawing would became part of his life. He started drawing watercolor portraits of boxe’s champions which managed to sell, realizing that he could earn some money this way. He decided to improve this passion he had so decided to join the Hig School of Music and Art in Manhattan. After Hig School he got his degree at Pratt Institute. Since he was young he loved reading comics especially Superman and Batman, used to appreciate Hal Foster’s Prince Valiant, Alex Raymond’s Flash Gordon and Tarzan, the one illustrated by Burne Hogarth in particular. These artists inevitably conditioned Buscemi’s style but they weren’t the only ones who forged his art. John was always passioned about painting, so much to join a drawing class at the Brooklyn Museum. Wasn’t enough: he studied and loved the teachers of the italian unification, such as Michelangelo Buonarroti, Leonardo Da Vinci, Raffaello Sanzio and Pieter Paul Rubens. At the same time he followed and appreciated famous illustrator such as Norman Rockwell and Al Dorne (who’s style Buscema refers explicitly).

Conan anatomia - Di chiara isiprazione alle lezioni sull’anatomia di Burne Hogarth.

His dedication to painting failed: he have never could made a living for his family as a painter. So he decided to became a comic artist.His first job as a professional was making humoristic gags for Hobo News, he was paid for one dollar each. First approach to the comic world: Timely Comics / Atlas Comics Buscema - Paul Rubens

Michelangelo - Buscema

In 1948, at the age of twenty-one years old, he answered to an ad on New York Times, and he was hired at the Timely Comics / Atlas Comics (now Marvel), where he met for the first time a young Stan lee. Since that time he was commissioned for stories of every genre from Crime comics to Western, so he became part of the famous Bullpen, which is the studio where the best Marvel artists work at (for the record the Bullpen was a local club where baseball players used to warm up). He found himself working with important artists such as Carl Burgos, the father of the Human Torch, George Tuska, Gene Colan (new arrived) and many others. In 1950, after the end of World War II, by decision of Martin Goodman, owner of Timely, all authors assumed became freelance. According to rumors, in fact, Vince Fargo, Timely’s chief editor during World War II, followed Stan Lee’s philosophy, which was assigning to the artists more stories than they could publish, so they always had the possibility to edit something new, even if some authors would be late in delivery not respecting the time pressures of the period. In this way the Timely found himself in the drawer (actually talking about a nice big closet chock full of unpublished stories) an impressive number of unpublished stories (there are rumors of a value of about $ 100,000 at the time). This led Goodman to exploit the situation by doing all work with freelance contract. This situation allowed Buscema to work for other publishers. So he was able to create stories for Orbit, Charlron, Hilllman, Quality, Ace, Dell, to name a few. Just fo curiosity must be emphasized that these publishing houses never returned him the originals, which instead Marvel Comics would have done in the future. To the Western Publishing he designed the Western Roy Rogers and several adaptations of films in Four Color Comics necklace as Spartacus, Hercules and The 7th Voyage of Sinbad, that the same Buscema considered as one of his best works of that period. In this period began to take shape the ingredients that made him one of the most popular and talented artists in the world of comics, as his ability to characterize the anatomy, both human and animal, the dynamism of the movements and expressions of faces. Every vignette contains these features making his comics little pieces of art, which synthesize an explosion of style, dynamism, mimic and attention to details which of course you appreciate at the highest level works inked by himself, because some inkers as Giacoia, Sal Buscema, Alcala, Palmere Sinnott, to name a few, they have brought the art of Buscema at very high levels.

Prince Valiant Foster - I riferimenti in comune con i futuri lavori di Buscema, Conan e Tarzan su tutti, sono molto visibili, in particolar modo con Prince Valiant e il Tarzan di Foster.

The great John loved art and especially painting, and that love is evident overwhelmingly in his works, he wanted to become a painter but, as we have seen, the necessities of life led him to “do comics”, allowing him to have an economic autonomy and to raise a family. It was just that his being compromised which paradoxically made him say, “I hate comics”, not because he really hates his job and the world of speech bubbles, but everything had turned away from what he felt to be , which is a complete artist. Do not forget that at that time, much more than today, the comic was seen as a mean of consumption far from art and painting, you can understand his frustration at come to terms with life, dedicating himself to a medium considered far away, at least for the time, from the world of art and painting in general. Buscemi’s talent succeeded in art, painting, the very essence of the artistic design in every cartoon that he worked on, making each comic,cover or illustration a true work of art. Not by chance years later he was baptized by Stan Lee, as Michelangelo of comics. In the early sixties, namely in November 1960, he came out of his latest film adaptation for Dell, Spartacus.

Prince Valiant

JOHN BUSCEMA L’A R T E N E I C O M I C S

NEL MONDO DELLA PUBBLICITÀ Complice la crisi del mercato dei comics, grazie all’avvento del Comics Code, figlio di una mentalità retrograda e censoria, Big John si dedicò completamente alla pubblicità, affiancando Bob Peak, nel campo delle illustrazioni pubblicitarie per il gruppo ACG. Bob Paek era già famoso per le sue illustrazioni pubblicitarie, ma soprattutto per i suoi manifesti cinematografici: suoi sono i manifesti per “My Fair Lady”, “Star Trek”, “Superman”, “Apocalypse Now” e moltissimi altri. Il suo metodo di lavoro, per forza di cose, si dovette adattare al mondo della pubblicità; iniziò quindi a sviluppare illustrazioni che raffiguravano una sola immagine in cui si doveva spiegare il significato dell’offerta e nello stesso tempo colpire il pubblico. Ovviamente Buscema riuscì in questo nel migliore dei modi, affinando una tecnica che gli sarebbe servita negli anni a venire. In ogni caso questo non fu proprio un periodo felice, nonostante egli dividesse lo studio con personaggi di spicco del mondo della pubblicità e dell’illustrazione come Frank Mc Carthy, Bernie Fuchs e lo stesso Bob Peak; fu costretto alla vita del pendolare, sottoponendosi a lunghe trasferte giornaliere, infatti lo studio si trovava a Manhattan e lui abitava a Long Island, impiegando tre ore di viaggio sia all’andata che al ritorno. Questi orari non gli permisero di godersi la famiglia e soprattutto il piccolo John, che nacque nel 1964. Per mantenere i serrati ritmi lavorativi usciva prestissimo la mattina e si ritirava a tarda sera. In questo periodo, oltre ad aver realizzato moltissime illustrazioni pubblicitarie, gli furono commissionate anche numerose copertine di libri. Questo spinse John a documentarsi sempre di più: si rivolse quindi a modelle in carne ed ossa, che pagava di tasca propria, e utilizzò fotografie come ispirazione per le sue opere. Molte volte, infatti, ingaggiava dei fotografi professionisti per commissionare loro reportage fotografici che impiegava per i suoi lavori. Il garage della sua abitazione in pochi anni si riempì di libri, cataloghi e foto che utilizzava come riferimenti per i suoi disegni.

JB usava spesso foto di atleti che poi incorporava nei suoi disegni

Revere Copper and Brass 1945 Al Dorne

Bernie Fuchs - Sport Illustrated

Al Dorne - Past blue ribbon 1942

Bob Peak Modesty Blaise

Bob Peak My Fair Lady

Copertine di libri di Buscema per la Dell

In the world of Advertising Thanks to the crisis in the market of comics, thanks to the advent of the Comics Code, a retrograde mentality and censorship, Big John devoted himself completely to advertising alongside with Bob Peak, in the field of advertising illustrations for the ACG Group. Bob Paek was already famous both for his illustrations and advertising but especially for his film posters, which are the posters of My Fair Lady, Star Trek, Superman, Apocalypse Now and many others. His working method, inevitably, had to adapt to the world of advertising; then he began to develop illustrations representing one picture where you had to explain the meaning of the offert and at the same time to affect the audience. Obviously Buscema succeeded in this in the best way, improving a technique that would serve for years to come. In any case this wasnâ&#x20AC;&#x2122;t exactly an happy time, though he divided the study with prominent personalities from the world of advertising and illustration as Frank McCarthy, Bernie Fuchs and the same Bob Peak; he was forced to undergoing long day trips, in fact the study was

in Manhattan and he was living in Long Island, committing three hours on the outward and return journeys. These times did not allow him to enjoy the family and especially the little John who was born in 1964. To keep the fast working routine he used to go out early in the morning to came back late in the evening. In this period as well as realizing a lot of advertising illustrations, they were also commissioned many book covers. This prompted John to read up more and more: so he asked to models, he paid from his own pocket, and used photographs as references; many times, in fact, were engaged in professional photographers to commission their photographic reportage that he employed for his work. His house garage in a few years was filled with books, catalogs and photos which he used as references for his drawings.

TOP 10 ASTE Floyd Gottfredson euro 20.700 Topolino e la lampada di Aladino (Mickey Mouse the Miracle Master) Striscia giornaliera del 13 settembre 1939. Matita china e retino su cartoncino cm 66x17,5.

Paul Murry euro 2.760 Song of the South (Fratel coniglietto) Matita e china su cartoncino cm 69x14,5.

Paolo Mottura euro 2.645 Dedicato a Walt Disney Grande illustrazione acquerello su cartoncino cm 56x74. Firmata.

Massimo De Vita euro 2.645 Originale per la litografia distribuita alle convention Disney. Illustrazione tecnica mista su cartoncino cm 30x40.

37° ASTA LITTLE NEMO 12 DICEMBRE 2015 IL MAGICO MONDO DI WALT DISNEY Memorabilia 1930/2015

Giorgio Cavazzano Luciano Bottaro Lara Molinari euro 1.955 euro 1.840 euro 1.840 A Real Hero – Omaggio a Will Eisner Quinta tavola Il Corsaro Paperinero e i borsari dei Caraibi Paperinik in azione Grande illustrazione acrilico su per la storia breve realizzata in omaggio a Eisner, Tavola originale per la storia scritta da G. Martina cartone 70x100 cm. Firmata. pubblicata nel 2011 in Danimarca su “Anders And pubblicata su “Almanacco di Topolino” n°160, & Co.”, quindi in Brasile su “Tio Patinhas” n° 553. aprile 1970. China su cartoncino cm 25x35. China su cartoncino cm 35x48.

Pier Lorenzo De Vita euro 1.610 Paperodissea Settima tavola della storia cult scritta da Guido Martina e pubblicata su “Topolino” n° 269 del 22 gennaio 1961. Matita e china su cartoncino cm 21,8x34,3.

Giorgio Cavazzano Al Taliaferro euro 1.495 euro 1.380 Happy Birthday Donald. Copertina celebrativa Scrooge McDuck Striscia originale del 7 dicembre realizzata per la Finlandia. Accompagnata dal 1962. Presentata in cornice e passe-partout bozzetto a matita, entrambi su cartoncino cm illustrato e con dicitura dedicata a Carl Barks, 20x30. Firmati, in eccellente stato. creatore di Zio Paperone. La striscia è firmata in originale da Carl Barks. Matita china e retino su cartoncino cm 53x16, col passe-partout cm 74x36. Accompagnata da certificato d’autenticità Disney.

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

E VENNE LA

MARVEL

JOHN BUSCEMA L’A R T E N E I C O M I C S E VENNE LA MARVEL La reale svolta della carriera di Buscema si ebbe nel 1966, quando Stan Lee lo richiamò a lavorare nel mondo dei Comics per la neonata Marvel Comics. Inizialmente Big John, memore della instabilità dei comics degli anni ‘50, mostrò moltissime perplessità, che però furono fugate dalle parole del sorridente Stan. Il mondo dei comics era notevolmente cambiato: dagli anni ‘60 in poi furono creati da Stan Lee e da Jack Kirby testate del calibro di “Fantastic Four”, “Hulk”, “Thor”, “Spiderman”, “The Avengers”, “The X-Men”, che cambiarono in maniera radicale il panorama dei comics, facendo impennare le vendite e soprattutto rendendole stabili: con i super eroi erano nati i super problemi. Così dal 1966 si riunirono sotto il tetto della stessa casa editrice tre maestri del fumetto mondiale: John Romita, Gene Colan e John Buscema. La sua nuova avventura nella Casa delle Idee iniziò debuttando con Nick Fury, Agents of S.H.I.E.L.D in “Strange Tales” numero 150 (“Hydra Lives”, novembre 1966), andando a completare i layout di Jack Kirby. Da questo lavoro si fortificò la sua ispirazione per l’approccio narrativo di Jack Kirby. Infatti, pur mantenendo la propria individualità artistica, si rifece, per sua stessa ammissione, al Re per la realizzazione dei layout, l’impostazione della tavola, per le scene di azione e di massa. Buscema vedeva in Kirby un vero e proprio maestro dei comics, nato per disegnare fumetti. Vero è che, in un modo o nell’altro, tutti i disegnatori che approdavano alla Marvel si dovevano omologare, almeno inizialmente, al tratto kirbyano, che era diventato un vero e proprio modello per il Marvel style. Successivamente gli affidarono il personaggio “The Incredible Hulk” (“Tales to Astonish” # 85-87 novembre 1966- gennaio 1967). Subito dopo sostituì Don Heck ai disegni per “The Avengers”, partendo dal numero 41 del giugno ‘67. Venne affiancato da un giovanissimo Roy Thomas ai testi, che allora aveva soli 26 anni. Con Thomas nacque un sodalizio artistico che ebbe una delle massime espressioni nella creazione, o meglio, nella rivisitazione, di “Conan il Barbaro”. Buscema divenne il disegnatore principale per “The Avengers” (produsse episodi in coppia con Thomas fino al 1972). Su quelle pagine, e più precisamente nel numero 57 (ottobre ‘68), Buscema creò graficamente il personaggio di Visione. Nella sequenza di albi che vanno dal numero 41 al 62 Buscema dimostrò tutto il suo talento; i suoi disegni trasudavano forza, dinamismo, potere, dramma, pathos, e affiancati dai testi di Thomas costituirono uno dei lavori più rappresentativi di quel periodo e resero Buscema uno degli artisti più dotati nel mondo dei comics. In questo periodo si possono notare le influenze artistiche di Kubert, ma soprattutto di Raymond e di Foster. Ovviamente il lavoro dell’inchiostratore faceva la differenza: Buscema non amava attribuire ad altri questa fase delle sue opere, ma i tempi di produzione erano serratissimi e non era ipotizzabile realizzare in autonomia anche le inchiostrazioni dei propri lavori. In alcune interviste dell’epoca Big John definiva Joe Kubert uno dei più grandi artisti dell’epoca, anche perché non permetteva a terzi di chinare le proprie matite, ottenendo così il miglior risultato possibile. Quanto agli inchiostratori va detto che il grande John aveva le sue preferenze, ovvero Frank Giacoia, Tom Palmer e il fratello Sal, che lui stesso aveva introdotto nel mondo del fumetto.

Immagini di Supereori Marvel disegnate per Pro Magazine

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S Then it became Marvel The real turning point in Buscemaâ&#x20AC;&#x2122;s career came in 1966 when Stan Lee called him back to work in the world of Comics for the new born Marvel Comics. Initially Big John, mindful of the instability of comics of the 50s showed many doubts, but they were dispelled by the words of Stan. The world of comics was greatly changed, from the 60s onwards were created by Stan Lee and Jack Kirby big names like Fantastic Four, Hulk, Thor, Spiderman, The Avengers, The X-Men who changed radically the landscape of comics doing boosted sales and above all, making them stable: with super heroes were born super problems. So from 1966 they gathered under the roof of the same publishing house three of the best world comic masters: John Romita, Gene Colan and John Buscema.

Pro 1970 John Buscema bronze Hulk Spidey Marvel Superheroes 1

His new adventure began debuting with Nick Fury, Agents of S.H.I.E.L.D in Strange Tales number 150 (Hydra Lives, November 1966). From this work you can guess his inspiration for the narrative approach from Jack Kirby. In fact, while maintaining their own artistic individuality, was inspired, by his own admission to the King for the construction of layouts, the table setting, for action and crowd scenes. Buscema saw in Kirby a true master of comics, born to draw comics. It is true that, in one way or another, all the designers who landed at Marvel were to be approved, at least initially to

Immagini di Supereori Marvel disegnate per Pro Magazine

kirbyano tract, which had to become a real model for the Marvel style. Then they entrust him the character The Incredible Hulk (Tales to Astonish # 8587 November 1966- January 1967). Soon after he replaced Don Heck at the drawings for the Avengers, starting from number 41 on June 67. He was joined by a young Roy Thomas to the texts, who was then only 26 years old. With Thomas was born an artistic partnership that had one of the highest expressions in the creation, or better in the retelling, of Conan the Barbarian. Buscema became the chief designer for The Avengers (produced episodes along with Thomas until 1972). On the pages of The Avengers, more precisely in the number 57 (October 68), Buscema created the character Vision. In the sequence of albums ranging from the number 41-62 Buscema showed all his talent; his designs exuded strength, dynamism, power, drama, pathos, and freed from the texts of Thomas were one of the most representative works of the period and made Buscema one of the most talented artists in the world of comics. In this period you can see the artistic influences of Kubert, but mainly of Raymond and Foster. Obviously the inker work made the difference. Buscema did not like to be inked his work, but production times were tight and it wasnâ&#x20AC;&#x2122;t conceivable even realize autonomously inking of his own work. In some interviews Big John called Joe Kubert one of the greatest artists of that time, because he did not allow any third party to ink his works, obtaining the best result possible. As for the inkers it must be said that the great John had his preferences, Frank Giacoia, Tom Palmer and his brother Sal, that he introduced into the world of comics.

Silver Surfer #16 pg.14 - Collezione Antonio di Biasio 22

Silver Surfer #7 pg.38 Buscema/Sal Buscema - Collezione Ivan Rauseo

JOHN BUSCEMA L’A R T E N E I C O M I C S

SILVER SURFER Disegnava praticamente per tutti i personaggi Marvel, dai Fantastici Quattro a Thor, da Sub Mariner ad Amazing Spiderman (soggetto che per la cronaca non ha mai amato disegnare), ma il suo capolavoro indiscusso è stato senza dubbio Silver Surfer; nel 1968 fu infatti affidata a lui la prima serie dell’araldo argentato, preferendo le sue matite a quelle del suo creatore, ovvero Jack Kirby. Questa scelta fu, a quanto si mormora, uno dei motivi, oltre a quelli economici, a spingere il Re a lasciare la Marvel a favore della Dc Comics. Buscema si trovò subito a suo agio con il personaggio, anche perché non era il classico supereroe in calzamaglia: con questo personaggio rafforzava ulteriormente il suo stile, esplodendo in una forza grafica di estremo impatto, rafforzata da una perfezione anatomica che rispecchiava il suo amore per la pittura neoclassica. Della prima serie di Silver Surfer Buscema disegnò 17 di 18 albi, di cui i primi sette vennero stampati nel formato Giant Size. I primi tre numeri furono inchiostrati da Sinnott (nel terzo numero, per la cronaca, fu creato il personaggio di Mephisto). Dal quarto al settimo numero Sinnott fu sostituito dal fratello Sal. Sui primi tre numeri Buscema tenne fede ancora ancora al modello kirbyano, dal quarto numero in poi se ne allontanò per realizzare le matite seguendo il suo tratto e soprattutto il suo istinto, e così creò dei piccoli capolavori che sarebbero restati per sempre nella storia della Marvel e del fumetto mondiale. Il quarto numero di Silver Surfer, con il mitico scontro tra il surfista d’argento e il mitico Thor, è considerato in maniera unanime uno degli albi più belli mai prodotti dalla Marvel. Paradossalmente, proprio per il suo essersi distaccato dal modello kirbyano, il numero quattro di Silver Surfer non fu apprezzato (almeno a quei tempi) da Stan Lee, che lo bocciò tavola dopo tavola, ma fortunatamente l’episodio era già andato in stampa. Tra il 1969 e il 1970 oltre al genere supereroistico si dedicò ad ambiti su cui aveva già lavorato in passato, ovvero le “mistery stories”, con testate quali Chambers of Darkness e Tower of Shadow, e soprattutto ai romance comics, con My Love e Our Love Story. Queste ultime testate godettero, tra gli altri, dell’inchiostrazione del grande John Romita. L’incontro tra le matite di Buscema e le chine di Romita, su un genere come quello romantico, diede vita ad una produzione di tavole e copertine di rara bellezza, dove le perfette anatomie di Buscema si sposavano con la delicatezza del segno di Romita. Successivamente gli fu affidata una delle testate più iconiche della Casa delle Idee, i Fantastic Four. Buscema era diventato a tutti gli effetti l’erede, in casa Marvel, del grande Re Kirby a cui, consciamente o inconsciamente, continuava ad ispirarsi.

SILVER SURFER He drew practically all the Marvel characters to the Fantastic Four to Thor, by Sub Mariner at Amazing Spiderman (character for the record that he never loved to draw). But his undisputed masterpiece was undoubtedly Silver Surfer; in 1968 was entrusted to him the first series of the silver herald, preferring his pencils to those of its creator, Jack Kirby. This choice was, it is rumored, one of the reasons, in addition to economic ones, to push the King to leave Marvel in favor of DC Comics. Buscema found himself immediately at ease with the character, because it was not the classic superhero in tights. With this character he strengthened his style further, exploding in a graphic force of extreme impact strengthened by an anatomical perfection that reflected his love of neoclassical painting. Of Silver Surfer Buscema drew 17 of 18 books of which the first seven were printed in Giant Size format. The first three numbers were inked by Sinnott (in the third number, for the record, was created the character of Mephisto). Fourth to seventh number Sinnott was replaced by Buscema’s brother Sal. The first three numbers Buscema lived up yet again to kirbyano’s model, from the fourth number onwards he walked away to make pencils following his lineament and above all his instinct, so he created small masterpieces that would have remained forever in the history of Marvel and the comic world. The fourth number of Silver Surfer, with the legendary battle between the Silver Surfer and the legendary Thor is considered in unanimous way one of the most beautiful books ever produced by Marvel. Paradoxically, for his detachement from kirbyano’s model, the number four of the Silver Surfer was not appreciated (at least at that time) by Stan Lee, who rejected table after table, but fortunately the episode had already gone to press. Between 1969 and 1970 in addition to the genre super eroic he devoted himself to the genres in which he had already worked in the past, or the “mystery stories” with publications such as Chambers of Darkness and Tower of Shadow, and especially with My Love and romance comics Our Love Story. These names enjoyed the inking of the great John Romita. The meeting between Buscema’s pencils and inks by Romita, on a genre such as romantic, gave birth to a production of tables and covers of rare beauty, where the perfect anatomy of Buscema married the touch of Romita’s delicacy. After this he was entrusted with one of the most iconic titles of the House of Ideas, The Fantastic Four. Buscema had become in every aspect the successor, at Marvel, of the great King Kirby who, consciously or unconsciously, he continued to inspire on.

Silver Surfer #10 Buscema - Adkins. Art images provided by Asad Khan

Silver Surfer #16 pg 2 Buscema/Chic Stone

Silver Surfer Buscema/Sal Buscema inkart - images provided by Asad Khan 26

Silver Surfer #14 pg 6. Buscema/Adkins - Collezione Michel Maillot

In SS#11 e #12 Le faccie dei cattivi sono state completamente ridisegnate da John Romita Sr. Fonte: The Essenzial Silver Surfer

Silver surfer JD - Collezione Gabriele Pennacchioli

Silver Surfer #15 pg 21 Buscema Ayers - Collezione Bellisario

JOHN BUSCEMA L’A R T E N E I C O M I C S L’ERA BARBARICA

Flash Gordon

I tempi stavano lentamente cambiando: grazie al contributo di Roy Thomas vennero pubblicati personaggi che affrontavano temi e situazioni prima impensabili, i più rappresentativi sono sicuramente Conan il Barbaro e e Ka-Zar the Savage. Per il personaggio Ka-Zar Buscema realizzò le prime storie, ovvero The night of the Looter, su Savage Tales # 1 (maggio 1971), e Legend of the Lizard Man, su Astonishing Tales #9 (dicembre 1971). Questo personaggio ebbe un notevole successo, tanto da meritarsi una testata dedicata, impreziosita da storie dove Big Buscema realizzò sia le matite che le chine. Su tutte merita un’attenzione particolare un episodio del 1974, The Dream Temple of Kandu-Ra, dove le tavole, realizzate con una splendida mezzatinta, trasudano forza, sensualità, erotismo e una violenza non comune per una casa editrice come la Marvel. Le storie successive di Savage Tales furono impreziosite anche dalle chine di Neal Adams, confezionando delle opere dalla bellezza non comune per un fumetto seriale. È doveroso ricordare le prime impressionanti copertine di questa serie, realizzate per i primi due numeri dallo stesso Buscema, e le successive da Marcos, Adams, Valleio, Kaluta e Fabian. Le cover di Buscema e quelle di Adams (dal n. 4 al n. 6) restano impresse come delle vere e proprie opere d’arte. Questa evoluzione fu resa possibile anche dal fatto che Stan Lee divenne il presidente della Marvel e che fu sostituito nel suo ruolo di Editor in Chief da Thomas. E proprio a Roy Thomas si deve la nascita della trasposizione a fumetti di Conan il Barbaro. La storia della genesi fumettistica del barbaro è assolutamente singolare. Infatti, in quel periodo, alla redazione della Casa delle Idee arrivavano numerose lettere di appassionati che chiedevano a gran voce la trasposizione a fumetti di personaggi fantasy tratti da lavori letterari. Su consiglio di Stan Lee, Thomas chiese a Martin Goodman di realizzare un fumetto, Sword and Sorcery, basato su un eroe letterario. Goodman era un uomo pratico con un grosso intuito sia per le persone che per i personaggi e intercettò, dietro le parole di Roy, l’interesse dei lettori per il genere fantasy, ancora poco esplorato fino a quel periodo. Gli concesse, non avendo proiezioni di vendite, una cifra alquanto esigua, ovvero 150 dollari. Con un budget così limitato si pensò di comprare i diritti di Thongor di Lemuria di Lin Carter, ma il pensiero era fisso su Conan il Barbaro, creato da Robert E. Howard. Thomas non conosceva bene il personaggio, se non per le splendide copertine di Frazetta delle pubblicazioni della Lancer, ma era il protagonista più richiesto dai lettori e quello con il carisma maggiore. Thomas quindi contattò Glenn Lord, l’agente letterario di Howard, e gli offrì, sbilanciandosi di 50 dollari, la cifra di 200 dollari per ottenere i diritti di trasposizione di Conan. Incredibilmente Lord acconsentì e Goodman accettò l’aumento dell’offerta, ma pretese di risparmiare sulla produzione degli albi. Il pensiero di Thomas andò subito a John Buscema, ma il suo onorario

Kazar #6 Buscema\deZuniga

Savage Tales 2 Original Cover

Savage Tales Vol 1 1

Savage Tales Vol 1 2

Savage Tales #7p5. Buscema/Adams - Collezione Michel Maillotjpg

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

32 The Barbarian #136 Cover Conan

Morte di Belit - Tavola storica Buscema/Chan battuta da ComicLink per oltre Quindicimila dollari.

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

Conan the Barbarian #140 pg 30 by John Buscema - collezione Andrew Clark

JOHN BUSCEMA L’A R T E N E I C O M I C S

Conan the Barbarian 119 pg 16 chine

sarebbe stato troppo alto, e quindi si dovette “ripegare” su di un giovane Barry Windor Smith, che all’epoca era da poco arrivato dall’Inghilterra e, non avendo il permesso di lavoro, accettò senza remore. Inoltre con lo stesso Thomas, Barry Smith aveva creato una storia che aveva come protagonista un barbaro chiamato Starr the Slayer, apparso in Chamber of Darkness #4 nell’ episodio Sword and the Sorcerer. Per la cronaca, Roy Thomas in quel periodo era già super impegnato in serie come Avengers, Doctor Strange, Incredible Hulk e molte altre, e non aveva intenzione di cimentarsi nella realizzazione di una nuova serie, ma si sentiva responsabile della genesi di Conan. Scrisse quindi il numero 1 di Conan the Barbarian e continuò legando il suo nome al personaggio per altri 200 numeri (tra Conan il Barbaro e Savage Sword of Conan). Il primo ottobre del 1970 venne pubblicato il numero 1 di Conan the Barbarian. Alle genesi grafica del personaggio oltre al sopracitato Barry Windsor Smith partecipò anche Gil Kane, appassionato lettore di tutta la letteratura di Howard. Questa partecipazione si concretizzò nella creazione di storie e soprattutto di splendide copertine che hanno impreziosito i primi numeri della serie. Il successo di Conan fu indiscusso. Conan the Barbarian diventò proprio in quel periodo l’emblema dell’eroe negativo, privo di superpoteri e non interessato al bene degli altri, ma piuttosto al proprio tornaconto personale. Un uomo, non un super uomo. Queste particolarità contribuirono a renderlo un personaggio speciale e nuovo agli occhi dei lettori. Buscema iniziò così a disegnare Conan, il personaggio che più lo avrebbe rappresentato in futuro. Nel numero 25 di Conan the Barbarian Big John fece il suo debutto con la storia The Mirrors of Khoran Akkad, anche se per la cronaca disegnò come sua prima storia del barbaro The Blood Jewel of BelHisson, pubblicata però nel numero 27. Si concentrò così sul nuovo personaggio, infondendogli un carisma unico, esplodendo in una forza grafica di estremo impatto rafforzata da una perfezione anatomica che rispecchiava il suo amore per la pittura neoclassica. Il concentrarsi su Conan non impedì a Buscema di dedicarsi ad altri lavori. Infatti nel 1973, anno di realizzazione delle prime storie del barbaro, realizzò 12 pagine di Dracula Lives; 15 pagine per Frankenstein Monster; 3 illustrazioni per Haunt of Horror; 13 pagine per Monsters Unleasched e 24 pagine per Tales of Zombies. Diede anche il suo contributo per opere fantascientifiche e fantasy, ovvero realizzò 15 pagine per Astonishing Tales e 15 pagine per World Unknown. Non dimentichiamo le sue cover: una per gli Avengers; una per The Defenders; tre per Our Love Story; una per Savage Tales; una per Shanna the She Devil e soprattutto una per Warlok. Inoltre produsse 10 episodi di 20 pagine ognuno di Fantastic Four e 7 copertine; 11 episodi di 20 pagine ognuno di Thor e 2 copertine. Ovviamente senza considerare i 9 episodi, di 19 / 20 pagine ognuno di Conan the Barbarian e una cover. Sommando il suo lavoro per l’anno 1973 si evidenzia una produzione di circa 700 pagine, ovvero due pagine al giorno comprese le domeniche e le festività. (fonte: Big John Buscema Comics & Drawings. IDW Publishing). Una mole di lavoro impressionante, soprattutto considerando l’altissima qualità delle realizzazioni. Proprio su questo tema Buscema, in una sua intervista del 2002 pubblicata su Alter Ego Vol. 3 #15, disse: “Se vado in

Conan the Barbarian 119 pg 16 comic

Conan the Barbarian #72 page 1 by John Buscema and Ernie Chan - Collezione Andrew Clarke 36

Conan Portfolio Buscema art images provided by Asad Khan

JOHN BUSCEMA L’A R T E N E I C O M I C S

Conan the barbarian sketch del 1979

Conan the Barbarian #180 Cover

Conan the barbarian #171 Cover

vacanza, desiderando di farlo, per esempio stando fuori una settimana, quando torno a casa mi rendo conto che ho perso qualcosa. Sento l’esigenza di disegnare ogni giorno. Io disegno sette giorni su sette e se non riesco a disegnare mi sento infelice. Io ho più necessità di disegnare che di mangiare. Ecco, questo sono io.” Grazie al successo di Conan the Barbarian venne prodotta una seconda testata dedicata al barbaro Savage Sword of Conan (agosto 74) in un diverso formato, in b\n dove i disegni di Buscema venivano maggiormente esaltati. Per la incredibile mole di lavoro e per i tempi di consegna sempre più stretti Buscema era per la maggior parte delle volte costretto a ricorrere ad altri artisti per inchiostrare i suoi lavori. In questo periodo sono poche le storie del barbaro che riuscì a chinare da solo. Nel 1974 riuscì a produrre due splendidi episodi “The Warrior and the Were Woman” (nel numero 38 maggio 74) e “The Dragon from the Island Sea” (numero 39 giugno 74), ma queste sfortunatamente erano eccezioni e non la regola. Roy Thomas per consentire una regolarità di uscite per ben due testate dedicate a Conan fu costretto ad assoldare una squadra di artisti che inchiostrasse il lavoro di Big John, ovvero Alfredo Alcala, Ernie Chau (Chan), Tony de Zuniga e, per pochissime storie, Neal Adams e il suo studio. Per Buscema vedere inchiostrati suoi lavori non era piacevole, alcuni inchiostratori modificavano significativamente le sue matite, Alcala su tutti, che con i suoi minuziosi tratteggi trasformava il lavoro di Buscema personalizzandolo. Anche se il lavoro di Alcala disturbava John, l’accoppiata con le sue chine fu uno dei passaggi artistici più significativi di quel periodo. La perfetta anatomia di Buscema veniva esaltata dal minuzioso tratteggio di Alcala rendendo moltissime tavole un vero e proprio tributo a Dorè, i cui originali sono estremamente ricercati dai collezionisti di tutto il mondo. Stanco di vedere le proprie matite trasformate, e probabilmente per guadagnare tempo prezioso, a metà degli anni settanta Buscema prese la decisione di sviluppare, per molte storie, solo i layout delle tavole. Quindi matite non finite senza né ombre né dettagli. In ogni caso Conan è considerato, a giusta ragione, uno dei migliori lavori fatti da Buscema, con la creazione di tavole e copertine memorabili che hanno ispirato generazioni di artisti a venire. Il sodalizio tra Buscema e Conan durò per moltissimo tempo, regalando ai lettori una serie di storie magnifiche, scritte da un Roy Thomas in stato di grazia, incorniciate da disegni che molto frequentemente trascendevano dal medium fumetto imponendosi come vere e proprie opere d’arte. Su Conan the Barbarian non possiamo non citare la lunga saga con Belit, che eleva al suo massimo splendore la serie, fino all’inaspettata morte dell’amata piratessa. Questa saga di Belit durò circa tre anni, dal numero 58 di Conan the Barbarian The Queen of the Black Coast (Gennaio

Buscema/Wiacek Collezione Privata

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

Cover Conan #185 - Collezione Pennacchioli

JOHN BUSCEMA L’A R T E N E I C O M I C S

Portfolio CONAN 1980

76) fino al numero 100 Death on the Black Coast (Luglio 79). In tale occasione le matite di Buscema si avvalsero di Ernie Chan alle chine, che ne ammorbidiva il tratto, esaltandone le anatomie e il dinamismo. Le tavole e le copertine di questa saga, in special modo quelle dove appare Belit, sono ricercatissime, basti considerare che la tavola della sua morte è stata battuta all’incanto da ComiciLink (febbraio 2015) per oltre 15 mila dollari, cifra record per una tavola di Conan di Buscema\Chan. Nel 1980 Buscema, oltre che a dare il battesimo alla terza testata del barbaro, King Conan, produsse per la Sal Q. Production uno splendido portfolio dedicato a Conan, con una tiratura limitata a 2000 copie, con 6 splendide illustrazioni che testimoniano, semmai ve ne fosse stato bisogno, il forte legame che aveva con questo personaggio.

Conan the Barbarian #25 - Numero nel quale è stata pubblicata la prima storia di Conan di John Buscema.

Conan th Barbarian #144 Cover comic

The barbarian age The time were slowly changing, thanks to the contribution of Roy Thomas characters were published that addressed themes and situations previously unthinkable, the most representatives are definitely Conan the Barbarian and Ka-Zar the Savage. For the character Ka-Zar Buscema produced the first stories, “The night of the Looter” of Savage Tales # 1 (May 1971) and “Legend of the Lizard Man” of Astonishing Tales # 9 (December 1971). This character was a great success earning a dedicated newspaper, embellished with stories where Big Buscema fulfilled both pencils and chines. On all deserves a special attention an episode of 1974, “The Dream Temple of Kandu-Ra”, where the plates made from a beautiful halftone, exude strength, sensuality, eroticism and an uncommon violence to a publishing house like Marvel . Subsequent stories of Savage Tales were embellished also by Neal Adams who made beautiful works uncommon for a comic series. We Should remember the first impressive covers of this series, made for the first two numbers of the same Buscema and then Marcos, Adams, Valleio, Kaluta and Fabian. The cover of Buscema and Adams (4-6) remain impressed as real works of art. This development was also made possible by the fact that Stan Lee became the president of Marvel and was replaced in his role of Chief Editor by Thomas. Even Roy Thomas was responsible for the birth of comic transposition of Conan the Barbarian. The history of comics genesis of the barbarian is absolutely singular, in fact at that time at the House of Ideas came numerous letters from fans who clamored transposition comic fantasy characters drawn from literary works. On the advice of Stan Lee, Thomas

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

Splash 42 Alcala

JOHN BUSCEMA L’A R T E N E I C O M I C S

asked Martin Goodman to create a comic book Sword and Sorcery based on a literary hero; Goodman was a very practical man with a great intuition for both people and for the people, behind the words of Roy intercepted the interest of readers for the fantasy genre still little explored up to that time. He granted him, having no sales projections, a very small amount of money, 150 dollars. With a limited budget like this it was decided to buy the rights of Lemuria Thongor Lin Carter’s, but the thought was sticked to Conan the Barbarian created by Robert E. Howard. Thomas did not know well the character, if not for the wonderful covers of Frazetta publications of the Lancer, but it was the protagonist most requested by readers and the one with the greatest charisma.

John Buscema - Comics & Drawings. IDW Publishing): an impressive amount of work especially considering the high quality of its products.

Thomas then contacted Glenn Lord, Howard’s literary agent, and offered him, adding 50 dollars, 200 dollars to get the rights transposition of Conan. Incredibly Lord Goodman agreed and accepted, but claims to save on production of the books. The thought of Thomas immediately went to John Buscema, but his fee was too high, and then he had to “retreat” for a young Barry Windor Smith at that time had just arrived from England and, having no permissions to work, he accepted without hesitation. Also with the same Thomas, Barry Smith had created a story which starred a barbarian called Starr the Slayer appeared in Chamber of Darkness # 4 in ‘episode “Sword and the Sorcerer”.

For the incredible amount of work and for ever shorter delivery Buscema was for the most part of the time forced to get help from other artists for inking its work. In this period there are few stories of barbarian which inked alone. In 1974 he produced two wonderful episodes “The Warrior and the Woman Were” (in number 38 May 74) and “The Dragon from the Sea Island” (number 39 June 74), but unfortunately these were exceptions rather than the rule.

For the record Roy Thomas at that time was already super busy with series as Avengers, Doctor Strange, Incredible Hulk and many others, and did not intended to start a new series, but he felt responsible for the genesis of Conan; then he wrote the number 1 of Conan the Barbarian and continued tying him to the character’s name for 200 numbers (including Conan the Barbarian and Savage Sword of Conan). On October was published the number 1 of Conan the Barbarian. The graphic genesis of the character in addition to Barry Windsor Smith also attended by Gil Kane, passionate reader of all of Howard literature. This participation was realized in the creation of stories and especially beautiful covers that have adorned the first numbers of the series. The Conan’s success was indisputable. Conan the Barbarian became at that time the negative hero emblem, with no superpowers and not interested in the good of others but, rather, to their own personal gain. A man, not a super man. These peculiarities helped to make it a special character to reader’s eyes. Buscema so began to draw Conan, the character who represented him in the future. In 25 number of Conan the Barbarian Big John made his debut with the story “The Mirrors of Khoran Akkad”, although for the record he drew as his first story of the barbarian “The Blood Jewel of Bel-Hisson”, published in number 27.

Buscema on this issue, in an interview published in the 2002 Alter Ego Vol. 3 # 15, said: “If I go on holiday, wishing to do so, for example staying out a week, when I get home, I realize that I lost something. I feel the need to draw every day. I draw seven days a week, and if I can’t draw I feel unhappy. I have more need to draw then eat. This is me. “ Due to the success of Conan the Barbarian was produced a second magazine dedicated Savage Sword of Conan the Barbarian (August 74) in a different format, b \ n where Buscema’s drawings were all enhanced.

Roy Thomas to allow a regularity of outputs for two magazines devoted to Conan was forced to hire a team of artists who inked Big John’s work, they were Alfredo Alcala, Ernie Chau (Chan), Tony de Zuniga, and for very few stories, Neal Adams and his studio. To see Buscema inked his work was not pleasant, some inking significantly altered his pencils, Alcala above all, with his meticulous drawing style turned the job of Buscema customizing it. Although the bothered John Alcala work, coupled with its chine was one of the most significant artistic passages of that period. The perfect anatomy of Buscema was enhanced by the meticulous drawings of Alcala making many tables a real tribute to Doré, the originals of which were highly wanted by collectors around the world. Tired of seeing their pencils transforming and probably to gain valuable time, in mid-seventies Buscema took the decision to develop only the layout of the boards, then unfinished pencils with neither shadows nor details. Anyway Conan is considered, rightly, one of the best works made by Buscema, with the creation of tables and memorable covers that have inspired generations of artists to come. The partnership between Buscema’s Conan lasted for a long time giving readers a series of wonderful stories, written by Roy Thomas in state of grace, framed by designs that frequently transcended the comic book imposing itself as true works of art. Of Conan the Barbarian, we cannot fail to mention the long saga with Belit, leading to its heyday the series, until the unexpected death of his beloved pirate.

He focused himself on the new character giving a unique charisma, exploding in a graphic force of the extreme impact strengthened by an anatomical perfection that reflected his love of neoclassical painting.

This Belit saga lasted about three years, the number 58 Conan the Barbarian “The Queen of the Black Coast” (January 76) to the number 100 “Death on the Black Coast” (July 79).

Buscemi did not stopped working on other jobs despise focusing on Conan. In fact in 1973, year of the creation of the first stories of the barbaric, created 12 pages of Dracula Lives; 15 pages for Frankenstein’s Monster; 3 illustrations to Haunt of Horror; 13 pages and 24 pages for Monsters Unleasched for Tales of Zombies. He also gave his contribution to science fiction and fantasy and realized 15 pages to 15 pages per Astonishing Tales and Unknown World. Do not forget its cover: one for the Avengers; one for The Defenders; three per Our Love Story; one for Savage Tales; one for Shanna the She Devil and especially one for WARLOK. Also produced 10 episodes of 20 pages each of Fantastic Four and 7 covers; 11 episodes of 20 pages each of Thor and 2 covers. Obviously without considering the nine episodes of 19/20 pages each of Conan the Barbarian and a cover.

On that occasion Buscema’s pencils made use of Ernie Chan to chine, which softened the stretch, highlighting the anatomy and dynamism. The tables and the covers of this saga, especially those where it appears Belit, are sought after, just consider that the table of his death was sold at auction by ComiciLink (February 2015) for more than 15,000 dollars , a record for Conan’s Buscema \ Chan. Buscema in 1980 gave birth to the third magazine dedicated to the barbarian King Conan, produced for the Sal Q. Production beautiful portfolio dedicated to Conan the Barbarian, with a limited edition of 2000 copies, with 6 beautiful illustrations that testify, if anything, like it was needed, the strong relationship he had with this character.

Adding up its work for the year 1973 show a production of about 700 pages, or two pages a day including Sundays and holidays. (Source: Big

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

Conan the barbarian #171 Cover comic

Conan the barbarian #180 Cover comic

Conan the barbarian #100 Cover Buscema/Chan

Ka-Zar #1 Cover

45 Marvel Comics Super Special #2 frontispiece - Collezione Micheal Maillot

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Commodore Hotel mc New York - Sede del primo Workshop di Buscema

Illustrazione per il WorkShop, utilizzata anche come cover per Alter Ego #15 per questa illustrazione Buscema si Ă¨ ispirato a Bob Peak

JOHN BUSCEMA L’A R T E N E I C O M I C S

WORKSHOP A metà degli anni settanta si dedicò a un suo progetto per l’epoca assolutamente innovativo: creare una scuola per chi volesse cimentarsi nel mondo del fumetto. Questa idea andava ad anticipare l’iniziativa che sarebbe poi stata di Joe Kubert, la cui Joe Kubert School. Non avendo avuto la licenza per una vera e propria scuola, Buscema fu costretto a ridimensionare il progetto e a creare un WorkShop; con l’appoggio della Marvel pubblicò un avviso su molte delle testate della Casa delle Idee tra cui Cap America e Tomb of Dracula (che all’epoca godeva di una certa popolarità). Il successo fu immediato, arrivarono più di 2500 richieste. Il dado era tratto, un altro impegnativo progetto diventava protagonista della vita di John Buscema. Si trovò un luogo in cui svolgere le lezioni, il Commodore Hotel in New York, e si formò una classe di 28 studenti. Nel corpo insegnante furono coinvolti Don Heck, Marie Severin, Gil

Kane e John Romita Sr. Anche Roy Thomas e lo stesso Stan Lee svolsero alcune lezioni su come impostare una sceneggiatura; in particolare Lee descriveva le differenze di approccio grafico\ narrativo tra la Marvel e la DC. Buscema era instancabile, una vera e propria macchina da lavoro: fino alle 16 si dedicava al disegno, poi si recava a lezione e dalle 19 alle 22 insegnava a studenti sempre più entusiasti. A lungo andare, questi orari costrinsero Big John a limitare il tempo dedicato al disegno e proprio per questo motivo, suo malgrado, fu costretto a rinunciare alle docenze. Infatti, nel 1977, dopo due anni dalla creazione del Workshop, abbandonò la sua attività di insegnante. I suoi corsi furono frequentati da artisti del calibro di Bob Hall, Bruce Patterson, Dave Simmons e Tim Sale. L’esperienza del Workshop galvanizzò anche il sorridente Stan, ispirandolo probabilmente per la creazione di “How To Draw Comics The Marvel Way”.

In the mid-seventies he devoted himself to his design for the very new for that era, he wanted to create a school for those who wanted to try in the world of comics, an idea that was going to bring forward the initiative that would eventually be of Joe Kubert, whose Joe Kubert School, in fact, did not existed. Not having had the license for a real school Buscema was forced to step down the project and to create a WorkShop; with the support of Marvel published a notice on many of the heads of the House of Ideas including Cap America and Tomb of Dracula (who at the time had a certain popularity). The success was immediate, more than 2,500 requests arrived. The die was cast, another challenging project became the protagonist of John Buscema’s life. He found a place to conduct the classes, the Commodore Hotel in New York, and formed a class of 28 students; as a teacher Don Heck was involved, Marie Severin, Gil Kane and John Romita sr too.

Even Roy Thomas and the same Stan Lee played a few lessons on how to set a script, especially Lee described the graphical approach differences \ narrative between Marvel and DC. Buscema was tireless, a true workhorse: until 16.00 he was dedicated to the drawings, then went to class and from 19.00 to 22.00 taught to many enthusiastic students. But in the long run these times forced Big John to limit the time devoted to the drawings, and for this reason, in spite of himself, he was forced to give up teaching, in fact, in 1977, two years after the creation of the Workshop, he gave up his teaching activities. His courses were attended by artists of the caliber of Bob Hall, Bruce Patterson, Dave Simmons and Tim Sale. The experience of the Workshop also galvanized Stan, probably inspired him to create “How To Draw Comics The Marvel Way”

JOHN BUSCEMA L’A R T E N E I C O M I C S

TARZAN Anche se occupato con le sue lezioni Buscema non mancava di sfornare piccoli capolavori. Non si può non citare il numero 1 di Doc Savage (1975) inchiostrato da Tony DeZuniga e, soprattutto, un episodio di Howard the Duck, inchiostrato da Steve Leialoha, che gli valse l’Eagle Award for the Best Story. Nel 1977 la Marvel riuscì ad acquisire i diritti di Tarzan, il personaggio nato dalla penna di Burroughs. Ovviamente la testata fu affidata a Buscema, che accolse l’incarico con estremo entusiasmo, realizzando le matite e le chine dei primi due numeri e di una parte del terzo. In questi episodi, ancor più che in Conan e Ka-Zar, si ravvisano gli influssi di artisti come Hal Foster, Burne Hogart e Joe Kubert. Le chine dei successivi episodi furono affidati ad altri artisti, tra cui i filippini Klaus Janson e DeZuniga, e le differenze con i primi numeri, nonostante l’indiscutibile bravura dei due, sono macroscopiche. Le tavole del Tarzan di Buscema sono un concentrato di dinamismo, plasticità, armonia che rimandano ai grandi artisti del fumetto e dell’arte neoclassica, pur mantenendo una forte individualità artistica e una indiscussa personalità. Caratteristiche che si diluiscono con i lavori inchiostrati da Janson e DeZuniga, che restano pur sempre delle opere di una bellezza non comune. La serie di Tarzan durò ventinove numeri dal Giugno 1977 all’Ottobre 1979, con tre Annual. La serie fu disegnata non solo da John, ma anche dal fratello Sal. Tarzan #3 pg 6 Buscema - Collezione Pennacchioli

Tarzan Although busy with his lessons Buscema did not fail to create small masterpieces; one can not fail to mention the number 1 of Doc Savage (1975) inked by DeZuniga and, above all, an episode of Howard the Duck, inked by Steve Leialoha, which earned him the Eagle Award for the Best Story. In 1977, Marvel was able to acquire the rights for Tarzan, character born from Burrought’s pen. Obviously the head was given to Buscema that greeted the appointment with great enthusiasm, realizing pencils and inks of the first two numbers and a part of the third. In these episodes, even more than in Conan and Ka-Zar, can be recognized the influence of artists such as Foster, Hogarth and Kubert. The subsequent episodes chine were entrusted to other artists including Filipinos Klaus Janson and Tony DeZuniga and differences with the prime numbers, despite the undeniable skill of the two are impressive. The boards of Buscema’s Tarzan have a concentration of dynamism, plasticity, harmony that recall the great artists of comics and neoclassical art, while maintaining a strong artistic individuality and an undisputed personality. Features that are diluted with jobs inked by Janson and DeZuniga, which remain the subjects of the works of an uncommon beauty. The Tarzan series lasted twenty-nine numbers from June 1977 to October 1979 with three Annual. The series was designed not only by John but also by his brother Sal.

Tarzan #11 cover Buscema/Adams

Tarzan #30 p 30 Buscema. The New York Tribe (Neal Adams, Tony DeZuniga, Joe Rubinstein) - Collezione Occhicone

JOHN BUSCEMA

Chapter one bozzetto How to draw comics

L’A R T E N E I C O M I C S

HOW TO DRAW COMICS THE MARVEL WAY Possiamo ricordare il 1978 come l’anno in cui il nome di John Buscema fu legato indissolubilmente, più degli altri, alla Marvel. La sua notorietà era arrivata ai massimi livelli, complice anche la pubblicazione delle strip giornaliere di Conan the Barbarian, su testi dell’immancabile Thomas (4 settembre 1978) sui maggiori quotidiani dell’epoca. Nello stesso anno fu pubblicata la prima monografia che lo riguardava, a cura di Sal Quartuccio: “The Art of John Buscema”. Tutta questa notorietà, unita all’esperienza del WorkShop, spinse il sorridente Stan a commissionargli un libro che avrebbe dovuto evidenziare come venivano creati i personaggi della Marvel, mettendo in luce in tal modo il Metodo Marvel. Fu così che nacque “How To Draw Comics The Marvel Way”, che Buscema volle rendere una sorta di corso di disegno per aspiranti disegnatori, con tanto di making of delle tavole, dai layout alle chine, passando per la costruzione di un personaggio, splash page, scene dinamiche, etc. In poco tempo questo volume divenne un punto di riferimento imprescindibile per gli aspiranti autori che volevano affrontare la complicata carriera di disegnatore di fumetti. Il nome e il tratto di John Buscema costituivano ora un vero e proprio sinonimo della Marvel.

Sketch per il libro How to Draw Comics Marvel Way

How To Draw Comics The Marvel Way We can remember the 1978 as the year in which the name of John Buscema was inextricably linked, more than others, at Marvel. His fame had reached the highest level, also because of the publication of the daily strip of Conan the Barbarian, on texts (??? Here missing something ???) always present Thomas, (4 September 1978) in leading newspapers of the time . In the same year it was published the first monograph about him, edited by Sal Quartuccio: The Art of John Buscema. All this notoriety, combined with the experience of WorkShop, pushed Stan to commission a book that would show how the characters were created by Marvel, highlighting so the Marvel Method. So was born How To Draw Comics The Marvel Way which Buscema wanted to make as a school for aspiring designers, complete with a making of the boards, from the layout to the chine, the construction of a character, splash page, dynamic scenes etc . In a short time this book became a point of reference for aspiring designers who wanted to deal with the complicated career as a cartoonist. The name and the part of John Buscema now constituted a veritable synonym for Marvel.

Thor - How to draw comics

Spiderman How to draw comics

Mister Fantastic How to draw comics

Avengers #267 cover Buscema/Sinnott

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

RITORNO AI SUPEREROI

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

56Wolverine logo 1988 serie - Buscema/Janson

JOHN BUSCEMA L’A R T E N E I C O M I C S

RITORNO AI SUPEREROI

Mefisto

Silver Surfer JD Cover

Silver Surfer Grafic novel

Nel 1981 Roy Thomas firmò un contratto triennale per la DC Comics, abbandonando temporaneamente la Casa delle Idee e rompendo così un sodalizio decennale con Buscema. Forse, spinto anche da questo avvenimento, John decise di sospendere il suo lavoro per le tre testate di Conan (alle prime due si aggiunse anche King Conan, che sviluppava le sue avventure come re di Aquilonia). Il rapporto professionale tra Buscema e Thomas era molto saldo. Tra i due si era instaurata quasi un’empatia professionale, che nell’arco degli anni permise di produrre storie di grande spessore artistico, dove la qualità delle sceneggiatura era esaltata da un comparto grafico mozzafiato: praticamente un binomio perfetto. Abbandonato temporaneamente il personaggio di Conan, Buscema ritornò a disegnare supereroi. Gli fu affidata, dopo circa tredici anni di distacco, la testata di Avengers. Per questi episodi fu affiancato da Palmer, uno dei suoi inchiostratori preferiti. Insieme realizzarono una sequenza di storie memorabile, dove non si può non evidenziare la resurrezione di Jean Grey (Avengers #263), riportando in vita così uno dei personaggi più amati del mondo mutante. Oltre agli Avengers, John si occupò di disegnare nuovamente i Fantastic Four, realizzando graficamente anche il numero 300, inchiostrato dal fratello Sal. Riguardo all’inchiostrazione di questo albo commemorativo si dice che si fosse proposto anche Joe Sinnott, che per la cronaca si era occupato di inchiostrare anche il numero 100 e 200, ma il lavoro era già stato affidato e completato da Sal Buscema. In questo periodo realizzò una miniserie su Mefisto, personaggio da lui creato, ma il risultato finale non fu dei migliori, il suo lavoro mortificato dal team di inchiostratori (Bob Wiacek e Al Milgrom), che ne penalizzarono fortemente l’impatto grafico. È doveroso ricordare la realizzazione della Grafic Novel “Silver Surfer: Judgment Day” costituita per la maggior parte da pagine caratterizzate da un’unica splash, che esaltavano lo stile neoclassico di Buscema e la maestosità del personaggio. Del volume furono disegnate due cover. Una di queste, entrata nell’immaginario collettivo degli amanti del surfista d’argento, fu realizzata magistralmente da Joe Jusko sulle matite dell’ultima splash page, poi scartata, di John. Buscema iniziò a collaborare anche con Chris Claremont nella miniserie Magik (gennaio 84) e su Bizzarre Adventures #27. Il sodalizio andò a rafforzarsi con la realizzazione delle storie su Wolverine, su Marvel Comic Presents e sulla testata omonima dedicata al mutante. In questi casi Buscema fu affiancato, per la miniserie di 10 numeri, da Klaus Janson, su #1-10 Save The Tiger (settembre 1988-gennaio 89), e per i primi numeri della testata Wolverine (novembre 1986), da un altro grande del fumetto americano, Al Williamson. Il risultato finale fu indubbiamente entusiasmante, il lavoro grafico di Buscema fu esaltato sia dal contributo di Janson, che per la cronaca realizzò, sulle matite di Buscema, il personaggio per il logo della testata, ma soprattutto per il contributo di Williamson. Furono create atmosfere che andavano a richiamare sia topoi cinematografici come Casablanca, sia riferimenti ai classici del fumetto come Terry e i pirati di Milton Caniff. Il connubio delle matite di Buscema con le chine di Willianson portò alla realizzazione di tavole di grande impatto emozionale, soprattutto per l’accuratezza e la sensualità delle figure femminili. Entrambi gli autori erano maestri nel rappresentare la passionalità, l’ambiguità e l’aggressività insita nella figura femminile. Basti pensare i lavori che Al Williamson fece con Mark Schultz in particolar modo con il personaggio di Hanna. Inoltre John realizzò sia cover che storie occupandosi sia delle matite che delle chine, contribuendo così alla realizzazione di una run di storie molto apprezzate

57 Wolverine 7 splash Buscema - Collezione Pennacchioli

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

58John Buscema art images provided by Asad Khan

Conan The Barbarian #120 - Collezione Esposito

Avengers Under Siege cover Jusko

Avengers Under Siege cover matita Buscema

JOHN BUSCEMA L’A R T E N E I C O M I C S

Thor #278 cover matite di Buscema

Thor #278 cover inchiostrata e terminata da Bob McLeod’s

JOHN BUSCEMA L’A R T E N E I C O M I C S

dai lettori Marvel, ovvero MCP #38-47 Black Shadow White Shadow e Wolverine #7, 8 e 25. Tavole e copertine originali di queste storie sono molto ricercate dai collezionisti di originali, facendo aumentare le loro quotazioni anno per anno. Il personaggio di Wolverine colpì favorevolmente Buscema; era caratterizzato da molti punti in comune con quello di Conan: entrambi sprigionavano ferocia, inclini alla violenza e alla fisicità, ma con una solida morale che li nobilitava. Gli ultimi numeri di Wolverine, dal #10 al 16, furono disegnati da Buscema e inchiostrati da Bill Sienkiewicz, ma quest’ultimo apporto lo disturbò non poco. Infatti, il carattere forte di Sienkiewicz copriva e stravolgeva le matite, alterando il lavoro dell’artista, rendendolo poco riconoscibile. Probabilmente questa fu una delle ragioni che portò Buscema ad abbandonare il personaggio, ritornando poi a realizzare in seguito “Wolverine Blood Choices” disegnata interamente da lui, e a dedicarsi al Punisher. Sulla testata “Punisher War Zone” (1992), dal #23 al 30 realizzò delle splendide storie e dal #26 al 29 riuscì ad occuparsi sia delle matite che delle chine. Una menzione particolare bisogna farla per “Punisher meet Archie”, dove Buscema, inchiostrato da Palmer, lavorò a quattro mani, occupandosi del punitore e lasciando Archie a Stan Goldberg. Il risultato finale fu assolutamente inedito e sorprendentemente gradevole.

Back to superheroes In 1981 Roy Thomas signed a three-year contract for DC Comics, temporarily abandoning the House of Ideas, and doing so breaking a ten-year partnership with Buscema. Perhaps, also pushed by this event, John decided to suspend his work for the three warheads of Conan (the first two are also added King Conan, who developed his adventures as king of Aquilonia). The professional relationship between Buscema and Thomas was very balanced between the two had been established almost professional empathy, which over the years allowed him to produce great artistic stories, where the quality of the script was enhanced by amazing graphic industry : almost a perfect match. Temporarily abandoned the character of Conan, Buscema returned to draw superheroes, was gave it to him, after thirteen years of separation, the head of the Avengers. For these episodes was joined by Palmer, one of his favorite inkers. Together they held a series of memorable stories, where you can’t forget to mention the resurrection of Jean Grey (Avengers # 263), bringing back to life one of the most beloved characters of the mutant world. In addition to the Avengers, John took care to re-draw the Fantastic Four, creating graphically the number 300, inked by his brother Sal. About the inking of this board is said that he had also proposed Joe Sinnott, for the record that it was busy inking the number 100 and 200, but the work had already been took care and completed by Sal Buscema. During this period he realized a miniseries of Mephisto, character he created, but the ending result was not the best, his work was mortified by the inking team which strongly penalized the look and impact, especially Bob Wiacek and Al Milgrom. Should remember the realization of the Graphic Novel Silver Surfer: Judgment Day consisting mostly of pages featuring a unique splash which celebrate the neoclassical style of Buscema and the majesty of the character. Were drown two covers of this graphic novel, one of them, entered the collective imagination of lovers of the Silver Surfer, was beautifully produced by Joe Jusko on pencils last splash page, then rejected, by John. Buscema began to cooperate with Chris Claremont in the miniseries Magik (January 84) and Bizarre Adventures # 27. This duo became stronger with the implementation of Wolverine’s stories, of Marvel Comics Present and namesake magazine dedicated to the mutant. In these period of time Buscema was joined, for the miniseries of 10 numbers, by bKlaus Janson, of Marvel Comics Present # 1-10 “Save The Tiger” (September 1988-January 89), and for the

Nova #12 Cover Buscema Giacoia

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

Thor 256 Buscema Palmer - Collezione Giorgio Comolo

Thor#200 page 19 Buscema/Verpoorten - Da notare come Verpoorten controlla l’inchiostrazione senza alterare le matite di JB

Origini dei F4 pagine a confronto, la prima di Kirby, la seconda di Buscema

first few numbers of the head Wolverine (November 1986 ), by another great American comic artist, Al Williamson. The result was certainly exciting, Buscema’s graphic work was praised by the contribution of Janson, who realized for the record, on Buscema’s pencils, the character for the header logo and particularly the contribution of Williamson. There were created atmospheres that were going to recall topoi’s movies such as Casablanca, both references to classic cartoon like Terry and the Pirates by Milton Caniff. The combination of Buscema’s pencil and Williamson’s chine led to the creation of great emotional boards, especially for the accuracy and sensuality of the female figures. Both authors were experts in representing the sensuality, the ambiguity and the aggressiveness inherent in the female figure, just think of the work that Al Williamson did with Mark Schultz especially with the character of Hanna. John also made both the covers and the stories contributing to the realization to a run very appreciated by Marvel readers, like MCP # 38-47 “Black Shadow White Shadow” eWolverine # 7, 8 and 25; Obviously the original drawings and covers of these stories are wanted by collectors of original, increasing their prices year by year.

The character of Wolverine surprised Buscema; It was very similar to Conan: both emanated ferocity, prone to violence and physicality, but with a solid moral that ennobled them. The latest Wolverine numbers, from # 10 to 16, were designed by Buscema and inked by Bill Sienkiewcz, but the latter contribution disturbed him greatly, in fact, the strong character of Sienkiewcz overshadowed and twisted his pencils, altering the artist’s work , making it difficult to recognize. Probably this was one of the reasons that led Buscema to abandon the character, returning later to realize a Graphic Novel: Wolverine Blood Choices designed entirely by him, and to devote himself to the Punisher, creating wonderful stories on the head Punisher War Zone (1992), from # 23 to 30 where the # 26-29 was able to deal with both of the pencils and chine. A special mention must go for Punisher meet Archie, where Buscema, inked by Palmer, worked four hands by drawing him the character of the Punisher and Stan Goldberg Archie. the end result was absolutely new and surprisingly pleasant.

Mephisto Vs....#3 Cover

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

GLI ULTIMI

ANNI

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

68 the Dovurer #5 pg 1 splash Buscema Sienkiewicz Galactus

JOHN BUSCEMA L’A R T E N E I C O M I C S

GLI ULTIMI ANNI

Galactus The Devourer 006 (2000) bozzetto

Galactus The Devourer 006 (2000) tavola inchiostrata da Sienkiewtz

Amazing Spiderman annual99 p15 Collezione Michel Malliot

Dopo quasi cinquanta anni dedicati al mondo dei comics, a 68 anni, Buscema decise di ritirarsi, anche se proprio non riusciva a stare lontano del tavolo da disegno. In questi anni si dedicò alla realizzazione di commission richieste dai suoi fans e a sporadici progetti editoriali. Realizzò, sui testi di Roy Thomas, la sua ultima avventura di Conan “Death Covered in Gods” (settembre 99) e nell’ottobre 99 si occupò delle matite di cinque dei sei numeri della miniserie Galactus the Devourer, dove l’inchiostrazione fu affidata a Bill Sienkiewicz. Il risultato finale, come era prevedibile, visti i lavori precedenti sulle storie di Wolverine, non gli piacque appieno. Forse proprio per questo, memore dell’esperienza delle storie di Wolverine, le tavole di questa miniserie fatte da Buscema erano poco lavorate, poco più che dei layout. Nel 1999 incredibilmente accettò di realizzare interamente “The Amazing Spiderman Annual 99”, forse attirato dalle ambientazioni medievali e fantasy della trama. Come è noto Buscema non amava disegnare Spiderman, forse perché incarnava il prototipo del supereroe in calzamaglia, al contrario di personaggi come Thor o Silver Surfer che si prestavano a un disegno più epico e monumentale, in maggior sintonia con le preferenze dell’artista. Nel maggio 2000 realizzò, con la collaborazione di Tom Palmer alle chine, il suo ultimo lavoro per la Marvel, “Deathlock” #10 (maggio 2000), concludendo così una collaborazione con la Casa delle Idee che durava da oltre trent’anni. Nel 2000 inoltre, per la prima volta nella sua carriera, accettò di lavorare per la DC Comics, producendo una storia breve in bianco e nero, scritta da John Arcudi, per la quale si occupò sia delle matite che delle chine e che fu pubblicata in “Batman Gotham Knight” #7 (settembre 2000). Nel novembre 2001 sui testi di Stan Lee si dedicò ad una storia di 42 pagine “st Imagine Stan Lee with John Buscema Creating Superman” per la quale realizzò anche la copertina. Il risultato piacque ai vertici della DC Comics, tanto da affidargli un lavoro su Superman che il povero Gil Kane non riuscì a terminare “Superman: Blood of my Ancestors” (che fu poi pubblicato nel 2003). Infatti Gil Kane prima della sua morte riuscì a realizzare le prime 24 pagine; dalla 25 alla 64 se ne occupò Buscema. L’inchiostrazione e la creazione della copertina furono opera di Kevin Nowlan. Con l’inseparabile Roy Thomas, sempre per la DC, si dedicò al suo ultimo lavoro “Justice League of America: Barbarians”. Il 10 gennaio del 2002 John Buscema morì, portato via da un tumore allo stomaco. Lasciando un vuoto incolmabile nel mondo del fumetto, scomparve così un artista che, pur odiando i comics, era riuscito con il suo genio a portare l’arte, che tanto amava, all’interno del medium, e ad innalzare così i comics a una forma d’arte, non secondaria a quella classica, moderna o contemporanea. A lui si sono ispirati e continuano ad ispirarsi generazioni di artisti, che usano il suo segno, le sue prospettive, il suo metodo come guida. La produzione che ci ha lasciato John Buscema è immensa sia come quantità, ma soprattutto come qualità; i suoi personaggi, e i suoi disegni originali vivono di vita propria, sprigionando forza, dinamismo, sensualità, dramma, rendendo immortali lui e suoi lavori, segno di un genio che abbiamo avuto la fortuna di conoscere e amare tramite i suoi “odiati” comics.

JOHN BUSCEMA L’A R T E N E I C O M I C S

The latest years After nearly fifty years dedicated to the world of comics, at 68 years old, Buscema decided to retire, even if he just could not stay away from the drawing board. In these years he devoted himself to the creation of commission requests by his fans and sporadic published projects. He realized, on texts by Roy Thomas, his latest adventure of Conan Death Covered in Gods (September 99) and on October 99 took care of pencils of five of the six numbers in the miniseries Galactus the Devourer, where the inking was given to Bill Sienkiewicz. The end result, as expected, seen the previous work on Wolverine stories, wasn’t appreciated by him. The sign of Sienkiewicz was too incisive, reflecting a strong artistic personality that covered his pencils, making them difficult to recognize. In 1999, amazingly he agreed to fully realize The Amazing Spiderman Annual 99, perhaps attracted by the medieval fantasy setting and plot. As it is known Buscema did not loved to draw Spiderman, perhaps because he resembled the prototype of the superhero in tights, as opposed to characters like Thor and Silver Surfer that lent themselves to a more epic and monumental design in greater harmony with the artist’s preferences.

Justice League Pubblicata su Alter Ego Magazine #15

In May 2000, he realized, with the collaboration of Tom Palmer to chine, his last work for Marvel, Deathlock # 10 (May 2000), thus concluding a partnership with the House of Ideas that had lasted for over thirty years. In addition, in 2000, for the first time in his career, he agreed to work for DC Comics, producing a short story in black and white, written by John Arcudi, for which occupied both pencils and inks of which was published in Batman Gotham Knight # 7 (September 2000). In November 2001, on texts by Stan Lee he dedicated himself to a history of 42 pages Just Imagine Stan Lee and John Buscema Creating Superman for which he also designed the cover. The result pleased the leaders of DC Comics, so as to give him a job on Superman which Gil Kane was unable to finish: Blood of my Ancestors (which was later published in 2003). Gil Kane before his death managed to achieve the first 24 pages; from 25 to 64 taken care by Buscema. The inking and creation of the cover were made by Kevin Nowlan.

Superman Blood of my Ancestors pg 62 Buscema/Nowlan

With the inseparable Roy Thomas, always for DC, he devoted himself to his latest Justice League of America: Barbarians. January 10, 2002 John Buscema died by a stomach tumor. He disappeared as well, leaving a huge void in the world of comics, an artist who despite hating comics had succeeded with his genius to bring art, which he loved, in the cartoon medium, and to raise it in the comics as a form of art, not secondary to the classical, modern or contemporary. He has inspired and he continues inspiring generations of artists, who use its sign, its prospects, its method as a guide. The production that John Buscema left us is immense both in quantity but especially in quality; his characters, and his original drawings live on his own, releasing life force, dynamism, sensuality, drama, making immortal him and his work, a sign of a genius who had the good fortune to know and love through his â&#x20AC;&#x153;hatedâ&#x20AC;? comics.

Amazing Spiderman annual99 p16 Collezione Michel Malliot

Buscema Poster Art 98

Deathlock #10 pg 7 matite

Deathlock #10 pg 7 china

John Buscema matite.

John Buscema\Alex Ross litho

JOHN BUSCEMA L’A R T E N E I C O M I C S

IL METODO

MARVEL Il metodo Marvel, che appartiene alla storia più insigne del fumetto d’autore ed ha i suoi esordi intorno agli anni ‘50 ( ???), consisteva nel fornire al disegnatore una trama breve e solamente abbozzata secondo minime linee narrative, che molte volte veniva dettata per telefono ed attribuiva al responsabile della veste grafica del progetto un compito molto più articolato che in altri contesti creativi, in cui lo storyboard assume una valenza preponderante rispetto all’intero percorso di elaborazione progettuale. All’artista era infatti demandato il compito di visualizzare la storia e di scandirne il passo, delineandone le coordinate centrali ed assicurando all’articolazione del nucleo più strettamente connesso alla narrazione visiva i caratteri di incisività ed efficacia richiesti dall’ opera. A disegno ultimato, Stan Lee si sarebbe occupato dei dialoghi, trasformando la potenza delle immagini, già di per sé avvincente ed evocativa, di grande impatto emotivo, grazie ai tratti sapienti, ai colori brillanti ed omogenei, che caratterizzano l’intera produzione Marvel, in una narrazione coinvolgente e ben ritmata, tale da catturare un sempre più ampio numero di lettori, affascinati dalla perfetta corispondenza fra rappresentazione grafica ed ambito dialettico . In realtà il metodo permetteva a Lee di ottimizzare il tempo, così da potersi dedicare ai dialoghi di tutte le testate Marvel e al

rispetto della continuity narrativa. Joe Simon & Jack Kirby usavano questo sistema di lavoro fin dagli anni 40. “Stan recitava letteralmente la storia che aveva in mente, interpretando tutti i personaggi presenti e usando vocine per ognuno di loro. Saltava dal divano alla scrivania, correva per tutto l’ufficio, si scagliava addosso al muro e si strangolava da solo. Era un vero spettacolo”. Il metodo non era però applicabile a tutti i disegnatori. Molti volevano essere guidati da una sceneggiatura ricca di dettagli. Altri invece, come Jack Kirby, Steve Ditko, John Buscema, Alex Toth e lo stesso Romita, davano libero sfogo alla propria immaginazione, innalzando il fumetto a un vero medium visivo, in cui il disegno ha la precedenza sui testi, autentico esempio di un modello di comunicazione moderno ed efficace, in cui la suggestione evocativa delle immagini consente al singolo lettore di effettuare una lettura “ soggettiva” dell’elemento rappresentato, che viene quindi filtrato dalla sua specifica sensibilità ed assume connotazioni diverse a seconda del lettore che ne fruisce, in una varia ed interessante declinazione di significati paralleli e complementari, che aggiungono ulteriori valenze e notevole pregnanza semantica all’opera in sè. Giuseppe Guidi

Namor The Sub Mariner issue 1

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

INTERVISTA A

BIG JOHN

di Jon B. Cooke

Tr a t t a d a J a c k K i r b y C o l l e c t o r # 1 8

JOHN BUSCEMA L’A R T E N E I C O M I C S

John Buscema è entrato nell’Era Marvel dei Comics nel 1966, lavorando dapprima su Nick Fury e Hulk. Le sue eccezionali doti artistiche sono ricordate con affetto per le ripetute run dei Vendicatori, per Conan, per i primi numeri di Sub-Mariner e per i Fantastici Quattro. La sua serie di Silver Surfer è considerata da alcuni il miglior fumetto di supereroi mai pubblicato dalla Casa delle Idee. John è stato intervistato per telefono il 18 novembre 1997.)

THE JACK KIRBY COLLECTOR: Leggevi fumetti da giovane? JOHN BUSCEMA: Sì, penso di aver iniziato circa a 12 anni. Il primo fumetto che vidi mi fece letteralmente andare fuori di testa: si trattava di Superman. A 14 o 15 anni poi smisi di leggerli, si parla quindi del periodo attorno al 1939-41.

Silver Surfer # 12 unpublished pencils first part Collezione Michel Maillot

TJKC: Ricordi di aver visto dei lavori di Kirby quando eri ragazzo? BUSCEMA: No. Proabilmente è anche successo ma ho osservato del materiale di Kirby, solo una piccola parte, quando iniziai a lavorare per la Marvel (Timely) nel 1948. Ho visto una o due pagine a matita che aveva realizzato, lasciate da qualche parte nello studio. Quei disegni mi avevano colpito molto: uno stile molto spontaneo e diverso da quello che maturò successivamente. TJKC: Eri un avido lettore delle strisce a fumetti? BUSCEMA: Non sono mai stato realmente interessato alle storie, quanto ai disegni. I tre artisti che seguivo erano Hal Foster, Alex Raymond e Burne Hogarth. Ignoro quanti anni di tavole domenicali avevo conservato ma, nel 1957, buttai via tutto. (risata) Ero davvero arrabbiato, il mercato dei fumetti si trovava in una brutta situazione. Non riuscvo a trovare lavoro in quel periodo: avevo lavorato per la Marvel, per la Western Printing, non so per quanti altri editori. Avevano chiuso tutti, come per un effetto domino. Ero letteralmente furioso, così gettai tutte quelle strisce e qualunque cosa avesse a che fare coi fumetti. Quando ci penso, gli occhi mi si riempiono di lacrime. (risata)

King Conan 8 Cover

TJKC: Aspiravi a diventare un disegnatore di fumetti? BUSCEMA: No, in realtà non l’ho mai desiderato, volevo piuttosto essere un pittore. Ma chi potrebbe sopravvivere facendo il pittore? TJKC: Quindi come sei entrato nel mondo dei comics? BUSCEMA: E’ buffo, non riuscii mai a ottenere niente cercando in giro, fino a quando non lessi un annuncio sul New York Times: la Timely stava cercando dei disegnatori. E’ stata la prima occasione in cui incontrai Stan Lee. TJKC: Com’era? BUSCEMA: Più o meno come oggi, aveva solo qualche capello in più, credo (risata). Un tipo molto energico, assai piacevole. A quel tempo lo ritenevo davvero un genio, dato che io di fumetti non ne capivo proprio niente. Mi prese come interno, il mio primo lavoro nei fumetti. Lavoravo in una grande stanza con un gruppo di altri autori: c’erano Carl Burgos, Syd Shores, Danny DeCarlo e Gene Colan. Anche Bill Everett lavorava lì, ma non faceva parte

Bizarre Adventures 27 ink Janson

Silver Surfer cover 1 Buscema Sinnott art images provided by Asad Khan

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

SSOC 225 p 1 Buscema collezione Paolo Rinaldi

SSOF 33 p 22 Buscema/DeZuniga art images provided by Asad Khan

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

John Buscema art images provided by Asad Khan

JOHN BUSCEMA L’A R T E N E I C O M I C S

SS JD cover

dello staff. C’erano anche molte altre persone, ma non ricordo i loro nomi. Stavamo al 14esimo piano dell’Empire State Building. La Timely possedeva metà piano e c’erano un sacco di stanze. Iniziai nel 1948 con i crime comics, poi fui promosso ai western: passavamo da un genere all’altro a seconda di cosa era popolare in quel momento. Ho lavorato alla Timely per circa un anno e mezzo, e fu il periodo in cui tutti gli autori diventarono freelance. Mi hanno raccontato che un giorno Martin Goodman, aprendo un armadio, trovò centinaia di pagine impilate che non erano mai state pubblicate. Si trattava di storie di cui gli editor erano insoddisfatti, che erano state buttate lì dentro e poi dimenticate. Martin Goodman decise, “Basta con gli interni, solo freelance” e tutti noi passammo a quel tipo di contratto. Fui molto felice: potevo lavorare da casa, così iniziai a farlo anche per altri editori. Disegnavo per molti editori in contemporanea e avevo dei ragazzi che lavoravano per me. Io facevo le matite grezze, loro poi le completavano e si occupavano le chine. Penso di aver avuto da sempre l’idea fissa di allontanarmi dal mondo dei fumetti e ora, dopo 48 anni, ci sono riuscito. (risata) Non sono mai stato realmente felice: se fossi stato pagato abbastanza da poter realizzare una tavola ogni due o tre giorni, forse lo sarei stato. Invece ero sempre sotto pressione, spinto a disegnare quante più tavole potevo, ogni singolo giorno. Jack Kirby respirava letteralmente fumetti. Erano la sua vita. Tutto ciò che faceva era in qualche modo legato ai comics, pensava costantemente a trame e personaggi. Io invece non avevo nessun reale interesse: mi preoccupava piuttosto quanto potevo guadagnare e quanto tempo mi era necessario. Una volta tenevo la media di tre o quattro tavole al giorno; conoscevo autori che avevano di continuo problemi economici, cosa abbastanza comune in questo settore. Devi possedere la disciplina necessaria a farti alzare ogni mattino e riuscire a concludere almeno “X” tavole al giorno. . TJKC: Quando hai incontrato Jack per la prima volta? BUSCEMA: Nel 1965 o 1966 ricevetti una telefonata dalla Marvel: volevano che tornassi a lavorare per loro. Onestamente ero spaventato, ma si trattava di una cosa invitante dato che non avrei dovuto fare il pendolare: potevo infatti lavorare da casa. Fu davvero una decisione ardua da prendere, ma iniziai al lavorare per loro nel 1966 e incontrai Jack un giorno, nell’ufficio di Stan. Io e Stan stavamo lavorando su una trama e Jack entrò. Per quanto riguarda gli incontri con Jack, penso di poterli contare sulle dita di una mano, solo per brevi periodi. Ci trovammo alla convention di San Diego: ci scambiammo qualche frase, i soliti convenevoli, cose del genere. Una volta tornammo in macchina assieme: lui viveva a Long Island e Don Heck ci riportò a casa. Tutto qua, non ho avuto molti contatti con Jack. Nonostante questo non sarei riuscito a sopravvivere

Master of Kung Fu 27 p 23. Buscema/Springer - Collezione Antonelli Piero

JOHN BUSCEMA L’A R T E N E I C O M I C S

nel mondo dei fumetti se non fosse stato per Jack Kirby. Quando Stan mi richiamò nel 1966, è stato davvero duro tornare a disegnare. Puoi fare illustrazioni oppure anche realizzare dei layout, ma questo non significa che sai fare fumetti, è tutto un altro mondo. Stan mi incaricò di fare un albo, credo si trattasse di Hulk. Realizzai un lavoro davvero brutto – Stan pensò che avrei dovuto studiare i disegni e gli albi di Jack, così mi dette una pila di fumetti di Kirby. Be’, a tutti erano stati dati degli albi di Jack Kirby! (risata) E’ stata la prima volta in cui ho potuto osservare realmente il suo lavoro. Ho iniziato a disegnare usandoli come ispirazione, ed ecco perché mi ha salvato. TJKC: Che cosa hai imparato da quegli albi? BUSCEMA: I layout, dannazione! Li ho copiati! Ogni volta che avevo bisogno di una vignetta, guardavo una delle sue e cercavo giusto di modificarla un po’. Se dai un occhiata ad alcune delle prime cose che ho fatto – sai, no, quando Kirby fa quelle esplosioni con un mucchio di tizi che volano da tutte le parti? Ecco, le ho copiate pari pari! (risata) Stan era contento, gli editor erano contenti, così ero contento anch’io. TJKC: Hai ottenuto più denaro, quando sei tornato a lavorare nei fumetti? BUSCEMA: Un po’, ma non più di tanto. La cosa che mi dava più da pensare era: “per quanto tempo durerà tutto questo?” Ma Stan fu molto convincente. Mi disse: “John, oggi le cose sono diverse, c’è un grande ritorno. La situazione si sta riprendendo, stiamo facendo davvero passi da gigante.” TJKC: Andavi in ufficio ogni settimana? BUSCEMA: Solo per i primi albi che realizzai per loro. Dopo qualche mese, andavo solo quando lo desideravo. Ci furono periodi in cui mi recavo in Marvel solo tre o quattro volte all’anno. Usavamo la posta, mi spostavo raramente in città. TJKC: Hai mai perduto niente, a causa delle poste? BUSCEMA: No, ma era capitato a Don Heck. Una volta smarrirono un suo lavoro e, da quel momento in poi, decise di fotocopiare ogni cosa. TJKC: Eri amico di Don? BUSCEMA: Sì, viveva a un quarto d’ora da casa mia. Eravamo molto amici. Mi ero fatto un sacco di amici nel settore, ma alcuni sono morti e la maggior parte si sono ritirati e spostati altrove. TJKC: Che tipo di riunioni facevi con Stan, riguardo le storie? BUSCEMA: All’inizio andavo e discutevamo proprio la storia in quanto tale, proponendo e scartando idee. Quando Stan iniziò ad aver fiducia nella mia capacità di realizzare un albo capitava che mi chiamasse, oppure che lo chiamassi io, dicendo semplicemente: “Stan, sono pronto per una trama. Cos’hai in mente?” L’ultimo lavoro che ho fatto con Stan è stato Silver Surfer, dopo ho iniziato a collaborare con Roy Thomas. Ho lavorato con molti scrittori diversi.

Fantastic Four #130 pg.31 Buscema/Sinnnot Coll Ivan Rauseo

JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

John-Buscema/Williamson-Wolverine-7-Cover-1989 art images provided by Asad Khan

JOHN BUSCEMA L’A R T E N E I C O M I C S

Silver Surfer GN Splash Mefisto vs Galactus

TJKC: Per quanto ne so, c’era stato un problema col n. 4 di Silver Surfer. BUSCEMA: Sì, Stan e io avevamo parlato della trama. Ero davvero molto, molto emozionato all’idea di realizzare questo albo. Pensavo, “Ecco, questo è l’albo che mi permetterà di allontanarmi dai layout di Kirby. Voglio provare qualcosa di diverso,” e lo feci. Penso che avesse un aspetto diverso rispetto alle uscite precedenti che avevo disegnato. La gente si stava congratulando con me per questo numero in particolare, invece Stan lo fece a pezzi! Iniziò dalla prima pagina: “Be’, ok, non così male” e ancora e ancora. Distruggeva letteralmente ogni nuova pagina che vedeva. “No, così non va bene, dovrebbe essere fatta in questo modo…” Uscii da quel dannato ufficio, ero completamente demoralizzato e disorientato, non riuscivo più nemmeno a distinguere l’alto dal basso. Andai nella stanza di John Romita; John mi guardò e notò che ero davvero furioso. Gli dissi “John, ma come diavolo li fai tu, i fumetti?” Passarono circa sette od otto anni; una mattina ricevetti una telefonata da Stan. Come al solito ci siamo scambiati dei convenevoli – Stan disse qualcosa, credo mi abbia chiamato “fidiputt” o qualcosa di simile (risata) – e io replicai: “Che c’è, Stan? Cos’ho sbagliato?” Mi rispose: “John, ti ricordi quegli albi su cui abbiamo lavorato assieme, Silver Surfer, e Thor?” Me li ricordavo molto bene. “John, sono la cosa più grande che tu abbia mai fatto, il più bel fumetto mai disegnato, il lavoro più meraviglioso che io e te potremmo mai creare!” Be’, pensavo si stesse prendendo gioco di me, così non dissi una parola. Stan poi fece: “Johnny, sei sempre in linea?” Risposi, “Stan, ma mi stai prendendo in giro? Parli seriamente?” e Stan, “No John, davvero, sul serio.” Allora provai a rinfrescargli la memoria. “Non ricordo di aver mai detto una cosa simile. Non ricordo proprio di avertelo detto: l’albo è davvero meraviglioso, ma come avrei potuto…?” Be’, questa cosa la racconto a un sacco di persone. Quanti sono stati distrutti da un editor che, per puro caso, è sceso dal letto col piede sbagliato e si è comportato così con qualcuno che aveva dato tutto sé stesso nel proprio lavoro? So che è accaduto a Don Heck. Mi ricordo Don venire verso di me dicendomi: “John, dammi una mano. Non so più davvero cosa diavolo fare.” TJKC: Ma avevi dovuto disegnarlo di nuovo? BUSCEMA: No! L’albo era stato pubblicato. Ma per qualche ragione, a quel tempo, Silver Surfer semplicemente non aveva avuto un gran successo. Il numero uno aveva venduto bene, ma poi le vendite erano diminuite nelle uscite successive. Stava andando giù, e questa probabilmente era la ragione per cui Stan era preoccupato. Molti anni dopo, un giorno Stan mi disse a pranzo, “John, non sapevo proprio che diavolo fare con quella dannata cosa. Non capivo in che direzione stavamo andando.”

FF 124 pag 27 Splash Buscema/Sinnott Collezione Pennacchioli

JOHN BUSCEMA L’A R T E N E I C O M I C S

TJKC: Si dice che Jack fosse molto arrabbiato riguardo la serie di Surfer, poiché aveva una sua visione del personaggio. BUSCEMA: Sì, posso comprendere il risentimento di Jack. Era una cosa sua, la sua idea, una sua creazione – e gliel’avevano portata via, per affidarla a me. TJKC: Pensi che Jack sia stato trattato giustamente dalla Marvel? BUSCEMA: Conosci la storia meglio di me. Quelli che ricordo io sono tutti discorsi di seconda mano. Sappiamo tutti come è stato trattato Jack, avevano ridotto il suo compenso per tavola. Sai com’è andata?

Avengers #258 Cover Buscema Palmer

TJKC: No. BUSCEMA: Di nuovo è qualcosa che mi è stato raccontato, non ricordo da chi. Be’, Jack Kirby era molto veloce. A Martin Goodman non andava bene che Jack Kirby facesse così tanti soldi, dunque pensò: “Kirby sta producendo così tanto lavoro, allora riduciamogli il compenso.” E’ quando Jack lasciò la Marvel per andare alla DC. Questa è la storia, così come mi è stata raccontata. Non dimenticherò mai quando entrai nell’ufficio di Stan, sentendo che Jack se n’era andato. Ho pensato che avrebbero chiuso! (risata) Per quanto mi riguarda, Jack era la spina dorsale della Marvel. TJKC: Hai dovuto fare in fretta, per lavorare sulle serie che Jack aveva lasciato? BUSCEMA: Non potevo lavorare più veloce. Mi erano stati affidati i Fantastici Quattro. Una cosa davvero spaventosa, venire dopo il migliore! (risata) Ho lavorato su Thor e sui Fantastici Quattro. TJKC: Hai qualche inchiostratore preferito? BUSCEMA: Frank Giacoia. Mio fratello (Sal) fece un lavoro meraviglioso. Tom Palmer realizzò alcune cose davvero incredibili sui primi Vendicatori. Non sono mai stato particolarmente soddisfatto di George Klein; aveva una mano molto pesante.

Avengers #259 Cover Buscema Palmer

TJKC: Tu eri uno dei tuoi inchiostratori preferiti? BUSCEMA: Naturalmente! (risata) Sapevo esattamente quello che volevo. Mi sarebbe piaciuto ma non mi sono chinato molto spesso, solo occasionalmente. Se non lo fai con continuità, poi perdi la mano. Penso che Joe Kubert sia l’uomo più intelligente nel nostro ambiente: disegna le matite e si inchiostra per conto proprio, e nessuno può fare un lavoro migliore di Joe. TJKC: Come è stato realizzare il volume “How To Draw Comics The Marvel Way”? BUSCEMA: E’ venuto fuori da un laboratorio che stavo organizzando. Avevo invitato Roy Thomas, Gil Kane e Stan Lee a tenere una lezione. Avevo circa 30 studenti nella mia classe. Stan rimase molto impressionato e pensò che avremmo potuto realizzare un libro assieme. E l’abbiamo fatto.

Thor #182 Cover Buscema Sinnott Rosen

Avengers #294 Cover Buscema Palmer

JOHN BUSCEMA L’A R T E N E I C O M I C S

THE JACK KIRBY COLLECTOR: Did you read comics as a kid? JOHN BUSCEMA: Yes, I think I started around age 12. The first comic I ever saw blew my mind; it was Superman. By 14 or 15 I stopped reading comics. That was back around 1939-41. TJKC: Do you remember seeing Kirby’s work when you were a kid? BUSCEMA: No. I probably did, but I saw Kirby’s stuff, just a bit of it, when I started working for Marvel back in 1948. I saw one or two pages of pencils that he had done, that were laying around the studio there. I was very impressed with the drawing. It was a different style than he had later - very loose. TJKC: Were you an avid reader of comic strips? BUSCEMA: I was never really interested in the stories, but I was always interested in the drawings. The three artists I followed were Hal Foster, Alex Raymond, and Burne Hogarth. I don’t know how many years of Sunday comics pages I saved, but then in 1957, I threw everything away. (laughter) I was angry. Comics were in a bad situation. I couldn’t buy a job in those days. I’d worked for Marvel, I worked for Western Printing; I don’t know how many different outfits. They all folded; it was like a domino effect. I just got ticked off, and all those strips and anything comic related that I’d saved, I threw out. When I think about it, tears well up in my eyes. (laughter) TJKC: Did you have aspirations to be a comics artist? BUSCEMA: No, I never really wanted to. I wanted to be a painter. But who could make a living at that? TJKC: How’d you get into comics? BUSCEMA: Funny, I never got anything making the rounds, until I read a “wanted” ad in the New York Times. Timely was looking for cartoonists. That’s the first time I met Stan Lee. TJKC: What was he like? BUSCEMA: Like he is today, except he had a little more hair, I guess. (laughter) He was a very energetic guy, very personable guy. At the time I thought he was a genius, because I knew nothing about comics. He gave me a staff job, my first job in comics. I worked in a large room with a group of artists: Carl Burgos, Syd Shores, Danny DeCarlo, and Gene Colan were there. Bill Everett worked there too, but he wasn’t on staff. There were many others, but I can’t recall their names. We worked on the 14th floor of the Empire State Building. They had half the floor, and there were several rooms. I started in 1948 with crime comics, and I graduated into westerns. We bounced around to whatever was popular at the time. I worked for Timely for about a year and a half, and that’s when they put everybody on freelance. The story I heard is that one day, Martin Goodman opened up a closet and found hundreds of pages piled up that had never been published. These were stories that the editors were unhappy with, and they just tossed them into the closet. So Martin Goodman decided, “No more staff, only freelancers.” And we all were put on a freelance basis. I loved it; I was working at home, and I started working for other publishers. I was working for so many different publishers at one time, I had guys working for me. I was just roughing it in, and they were doing the tightening and inking. I always had in the back of my mind that I was going to get out of comics. And after 48 years, I got out. (laughter) I never really was happy with comics. I think if I were paid enough that I could turn out a page every two or three days, maybe I would’ve been happy. But I always pushed, turning out as many pages as I could in a day. Jack Kirby lived it. He breathed it, it was his life. Everything that he did was comics-related. He was constantly thinking of plots, of characters. I had no interest in comics. The only interest I had was how much I can earn, and how fast I can make it. At one time I averaged three to four pages a day. I knew artists who were always having a financial problem; it’s a common thing in this business. You’ve got to have that discipline to get up in the morning, and turn out ‘X’ amount of pages a day. TJKC: How did you first meet Jack? BUSCEMA: Back in 1965 or 1966, I got a call from Marvel. They wanted me to go back. I’ll be honest with you, I was afraid, but it was appealing to me because I wouldn’t have to commute. I could work at home. It was a tremendous effort for me to make that decision. But I started working for them in 1966, and I met Jack one day in Stan’s office. Stan and I were working on a plot and Jack walked in. As far as meeting Jack, I

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Thor #221 pg 20 Buscema Palmer

John Buscema art images provided by Asad Khan

JOHN BUSCEMA L’A R T E N E I C O M I C S

Avenngers #279 Cover Buscema Palmer

The Hulk Matite Buscema Chine Castellini

think I can count the times on one hand; just for short periods. I saw him at the convention out in San Diego; we exchanged a few words, pleasantries, whatever. We drove home together once; he lived on Long Island, and Don Heck drove us home. That’s about the extent of it; I didn’t have that much contact with Jack. Although I would not have been able to survive in comics if not for Jack Kirby. When Stan called me back in 1966, I had one hell of a time trying to get back in the groove. You can do illustration, you can do layouts, but that doesn’t mean you can do comics. It’s a whole different ball game. Stan gave me a book to do; I think it was the Hulk. I did a pretty bad job - Stan thought I should study Jack’s art and books so he gave me a pile of Kirby’s comics. Well, everybody was given Jack Kirby books! (laughter) It was the first time I’d seen his work. I started working from them, and that’s what saved me. TJKC: What did you learn from them? BUSCEMA: The layouts, for cryin’ out loud! I copied! Every time I needed a panel, I’d look up at one of his panels and just rearrange it. If you look at some of the early stuff I did - y’know, where Kirby had the explosions with a bunch of guys flying all over the place? I’d swipe them cold! (laughter) Stan was happy. The editors were happy, so I was happy. TJKC: Did you get a step up in pay when you went into comics? BUSCEMA: It went up, but not that much. What I was wary of was, how long was this going to last? But Stan was very convincing. He said, “John, things are different today. We’re making a big comeback. Things are picking up, we’re making tremendous strides.” TJKC: Did you go into the office every week? BUSCEMA: The first few books I brought in as I did them. After a few months, I’d go in whenever I felt like it. There were times I’d only go in three or four times a year. I mailed. I very rarely went into the city. TJKC: Did you ever lose anything in the mail? BUSCEMA: No, but Don Heck did. He lost a job once in the mail, and at that point he decided he would xerox everything. TJKC: Were you close to Don? BUSCEMA: Yes. He lived about fifteen minutes away from me. We were pretty close. I made a lot of friends in this business, but some have died and most have retired and moved away. TJKC: What kind of story conferences did you have with Stan? BUSCEMA: At the beginning I’d go in and discuss the story, and we would throw ideas back and forth. When Stan became more confident in my ability to do stories, he’d call me up, or I’d call him up and say, “Stan, I’m ready for a plot. What have you got in mind?” The last time I worked with Stan was on the Silver Surfer. After that I started working with Roy Thomas. I worked with a lot of different writers. TJKC: I understand there was a problem with Silver Surfer #4. BUSCEMA: Yes. We worked on the plot, Stan and I. I was very, very excited about doing the book. I thought, “This is one job I’m going to get away from the Kirby layouts. I’m going to try something different,” which I did. I think it had a different look about it from the previous stuff I’d been doing. People were congratulating me on this particular issue. Stan tore the book to pieces! He started with the first page: “Well, okay, not bad.” On and on and on. Every second page he ripped to shreds. “This is not good, this should be done this way...” I walked out of that damn office of his; I didn’t know which way was up or down. I was completely demoralized. I walked into John Romita’s office; John looked at me and saw that I was very upset. I said, “John, how the hell do you do comics?” Maybe seven or eight years had gone by; I get a call from Stan one morning. We usually exchanged pleasantries - Stan said something; I think he called me an SOB or something (laughter) - and I said, “What’s up, Stan? What’d I do wrong?” He said, “John, do you remember that book we worked on, the Silver Surfer and Thor book?” I remembered it very well. “John, 89

JOHN BUSCEMA L’A R T E N E I C O M I C S

that was the greatest thing you’ve ever done, the greatest comic ever done, the greatest thing you and I ever turned out!” Well, I thought he was pulling my leg, and I didn’t say a word. Stan says, “Johnny, you still there?” I said, “Stan, are you kidding? Are you serious?” He said, “No John, really, /seriously.” Well, I tried to refresh his memory. He said, “I don’t remember ever saying anything like that. I don’t remember ever telling you that; the book is beautiful, how could I /possibly...?” Well, I tell this to many, many people. How many guys have been destroyed by an editor - some editor who just /happened to get up on the wrong side of the bed, and does this to some guy who’s put everything into his job? I know it happened to Don Heck. I remember Don coming to me and saying, “John, help me. I don’t know what the hell to do /anymore.” TJKC: Did you have to redraw it? BUSCEMA: No! The book was published. But what happened was, in those days, for some reason the Silver Surfer just didn’t click. The number one issue sold well, but each succeeding issue lost sales. It just went down, which was probably what was bothering Stan. Many years later, Stan told me at lunch one day, “John, I just didn’t know what the hell to do with the damn thing. I didn’t know what direction we were going.” TJKC: It’s been said that Jack was upset about the Surfer series, because he had his own vision of the character. BUSCEMA: Yes, I could understand Jack’s resentment. This was his thing, his idea, his creation - and it’s being taken away from him and given to me. TJKC: Do you think Jack was treated fairly at Marvel? BUSCEMA: You know the story better than I do. What I know is secondhand. We all know how Jack was treated. They cut his page rate; you know the story? TJKC: No. BUSCEMA: This is again something told to me; I don’t remember by who. Well, Jack Kirby was very fast. Martin Goodman was upset that Jack Kirby was making so much money. He felt, “Kirby’s turning out so much work, let’s cut his rate.” That’s when Jack left Marvel and went over to DC. This is the story that was told to me. I’ll never forget when I walked into Stan’s office and heard that Jack left. I thought they were going to close up! (laughter) As far as I was concerned, Jack was the backbone of Marvel. TJKC: Did you have to hustle fast to work on books Jack left behind? BUSCEMA: I didn’t have to work any faster. I was given the Fantastic Four. That was very intimidating, following the best! (laughter) I worked on Thor and Fantastic Four. TJKC: Did you have any favorite inkers? BUSCEMA: Frank Giacoia. My brother (Sal) did a fabulous job. Tom Palmer did some absolutely unbelievable stuff on early Avengers. George Klein I was never happy with; he had a very heavy hand. TJKC: Were you one of your own favorite inkers? BUSCEMA: Naturally! (laughter) I know exactly what I want. But I never inked that much. I would ink occasionally. If you don’t keep doing it, you lose it. I think Joe Kubert is the smartest man in the business. He pencils and inks himself, and nobody can do a better job than Joe. TJKC: What was it like doing How To Draw Comics The Marvel Way? BUSCEMA: That came out of the workshop I had. I had invited Roy Thomas, Gil Kane, and Stan Lee to come up and give a talk. I had about 30 students in my class. Stan was very impressed, and thought that we should do a book together. And we did.

Thor 272 bozzetto

Thor 272 Cover

Buscema, John - Avengers 267 pg. 1 1986 - Splash Buscema/Palmer - Collezione VasĂ¨

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JOHN BUSCEMA Lâ&#x20AC;&#x2122;A R T E N E I C O M I C S

THE INKER

JOHN BUSCEMA L’A R T E N E I C O M I C S

Dan Adkins Come spesso accadde per molti autori, Dan non iniziò la sua carriera nel mondo dei comics. Iniziò, infatti, a lavorare a metà degli anni 50, come disegnatore per la Air force, lavorando soprattutto su cianografie, disegnando per progetti ingegneristici e riproducendo materiale elettrico. Successivamente diventò aviatore di seconda classe, ma non abbandonò il lavoro di illustratore, produsse poster per biblioteche, per rappresentazioni teatrali e copertine per riviste. Nel 1956 collaborò alla nascita di una fanzine chiamata Sata. In seguito collaborò anche per altre pubblicazioni amatoriali tra cui Amra, Vega e Xero. In quel periodo Dan, spostandosi a New York, lavorò come free lance per numerose riviste fantasy e come art director per la Hearst, curando riviste come American Drugist e New Medical Material. Successivamente iniziò la sua carriera nel mondo del fumetto collaborando con i Wally Wood Studio, come assistente dello stesso Wood producendo storie in bianco e nero per Creepy ed Eerie pubblicate dalla Warren. Sempre con la Wally Wood Studio produsse delle storie per Wally Wood’s T.H.U.N.D.E.R. Agents e disegnando storie per la Dynamo. Lavorò inoltre come assistente di Alex Raymond per delle storie di Rip Kirby. Nel 1961 sviluppò il suo primo lavoro per la Marvel Comics, inchiostrando le matite di Bill Everett in Tale to Astonish #91 (luglio 67), continuando ad inchiostrare sia per le storie che svariate copertine. Da quel momento inchiostrò moltissime storie della Silver Age tra cui Incredible Hulk, Doctor Strange e gli X-Men. Per la Marvel contribuì a creare 132 cover e inchiostrò oltre settanta artisti. Oltre alla Marvel, Dan colllaborò con moltissime case editrici come la Charlton Comics, DC Comics, Dell Comics\Western Publishing, Eclipse Comics, Harvey Comics e Pacific Comics.

John Buscema and Dan Adkins Sub-Mariner #8 Sub-Mariner vs. the Thing Cover Original Art (Marvel, 1968). Lot: 93109 | Nov 20, 2009 Sold For: $19,120.00

As often happened to many authors, Dan began his career in the world of comics. Began to work in the mid-50 ‘s, as a draftsman for the Air force, working especially on blueprints, drawing for engineering projects and reproducing the electrical equipment. Subsequently he became Airman second class, but he did not abandon the work of Illustrator, produced posters to libraries, for theatrical performances and covers for magazines. In 1956 he collaborated in the birth of a zine called Sata. Later he also worked for other amateur publications including Amra, Vega and Xero. At that time, Dan, moving to New York, he worked as a freelance for several magazines fantasy and as an art director for Hearst, taking care of magazines like American Drugist and New Medical Material. Then began his career in the world of comics by teaming up with Wally Wood Studio as an Assistant of the same Wood producing black and white stories for Creepy and Eerie published by Warren. Always with the Wally Wood Studio produced stories for Wally Wood’s T.H.U.N.D.E.R. Agents and drawing stories for the Dynamo. He also worked as an Assistant to Alex Raymond to stories of Rip Kirby. In 1961 developed its first work for Marvel Comics, inking the pencils of Bill Everett in Tale to Astonish # 91 (July 67), continuing to inking is for stories that several book covers. Since then inked many Silver Age stories including Incredible Hulk, Doctor Strange and the X-Men. For Marvel he helped create 132 cover and inked over seventy artists. In addition to Marvel, Dan joined with many publishers as Charlton Comics, DC Comics, Dell Comics\Western Publishing, Eclipse Comics, Harvey Comics and Pacific Comics.

John Buscema and Dan Adkins Silver Surfer #9 Page 5 Original Art (Marvel, 1969). Lot: 92040 | Aug 8, 2014 Sold For: $8,962.50

John Buscema and Dan Adkins Silver Surfer #13 page 14 Original Art (Marvel, 1970). Lot: 92046 | Aug 18, 2011 Sold For: $4,481.25

Frank Giacoia Frank Giacoia iniziò a lavorare nel mondo dei comics, insieme al suo compagno di classe Carmine Infantino, presentando alla Timely Comics, nel 1941, un lavoro chiamato “Jack Frost” dove sue erano le matite inchiostrate da Infantino, pubblicato poi nel 1942 in USA Comics #3. Negli anni a seguire, tra il 1940 e 1950, Frank collaborò con gli Iger Studio, Dell Comics, Harvey Comics, Eastern Color, Crestwood, Fawcett and Lev Gleason Publications. Lavorò anche per la DC Comics, dove collaborò alla produzione, tra le altre, di testate come Molly Adams, Flash e Batman. Nel 1964 iniziò a lavorare con la Marvel Comics disegnando le copertine di Marvel Tales Annual e Kid Colt. L’anno dopo fu affiancato a Jack Kirby per la rivisitazione delle origini di Capitan America, pubblicato in Tale of Suspence #63 (marzo 1965) con lo pseudonimo di Frank Ray. Continuò ad inchiostrare Kirby in Tales to Astonish disegnando Capitan America per circa 50 episodi. Successivamente inchiostrò le matite di Gene Colan su Daredevil, George Tuska su Iron Man e John Buscema su Sub-Mariner. Per la Marvel lavorò per quasi tutte le testate. George era conosciuto per il suo tratto deciso ma nello stesso tempo semplice. Era molto apprezzato dai suoi colleghi. Gil Kane disse:” è un inchiostratore di straordinaria potenza” mentre Gene Colan usava dire che: ”Frank fa apparire il mio lavoro ancora più bello”. Inoltre in molte interviste Buscema lo citava come uno degli inchiostratori che apprezzava di più. Inoltre Giacoia lavorò su alcune comic strip pubblicate sui quotidiani dell’epoca come The Amazing Spiderman (basato sull’omonimo fumetto) 1978-1981, Incredible Hulk, Flash Gordon, Johnny Reb and Billy Yank, Sherlock Holmes e Thorne McBride.

Frank Giacoia started working in the world of comics, along with his classmate Carmine Infantino, presenting at Timely Comics, in 1941, a work called “Jack Frost” where his pencils were inked by Infantino, released in 1942 in USA Comics # 3. In the following years, between 1940 and 1950, Frank joined the Iger Studio, Dell Comics, Harvey Comics, Eastern Color, Crestwood, Fawcett and Lev Gleason Publications. He also worked for DC Comics, where he worked at the production, among others, of warheads as Molly Adams, Flash and Batman. In 1964 he started working with Marvel Comics drawing the covers of Marvel Tales Annual and Kid Colt. A year later was joined by Jack Kirby for the retelling of the origins of Captain America, published in Tale of Suspense # 63 (March 1965) under the pseudonym Frank Ray. Continued to ink Kirby in Tales to Astonish drawing Captain America for about 50 episodes. Subsequently inked Gene Colan’s pencils on Daredevil, George Tuska on Iron Man and John Buscema on Sub-Mariner. For Marvel, he worked for almost all newspapers. George was known for his decisive but at the same time simple. It was much appreciated by his colleagues. Gil Kane said, “is an Inker of extraordinary power” while Gene Colan, used to say that: “Frank makes my job even better.” Also in many interviews he cited him as one of inking Buscema who appreciated more.

John Buscema and Frank Giacoia Fantastic Four #120 First Air-Walker Cover Original Art (Marvel, 1972). Lot: 92108 | May 17, 2013 Sold For: $28,680.00

John Buscema and Frank Giacoia Sub-Mariner #3 Cover Original Art and Production Cover Group of 2 (Marvel, 1968). Lot: 92033 | Aug 28, 2015 Sold For: $15,535.00

John Buscema and Frank Giacoia Fantastic Four #115 Cover Original Art (Marvel, 1971). Lot: 93110 | Nov 20, 2009 Sold For: $14,937.50

JOHN BUSCEMA L’A R T E N E I C O M I C S

To m P a l m e r Anche se Tom Palmer è conosciuto per il suo lavoro di inchiostratore. la sua prima pubblicazione fu Doctor Strange #171, albo completamente realizzato da lui e inchiostrato da Dan Adkins. In seguito gli fu dato un compito che avrebbe fatto tremare i polsi a qualsiasi artista, inchiostrare le matite di Gene Colan, il risultato fu assolutamente soddisfacente, tanto che gli furono affidati lavori di artisti del calibro di Neal Adams sugli X-Men e di John Buscema su The Avengers. In breve tempo venne considerato uno dei migliori inchiostrato dell’industria del fumetto. il suo stile moderno e pulito influenzò le successive generazioni di artisti, a lui si ispirarono disegnatori del calibro di Klaus Janson, Bob McLeod e Joe Rubistein. Continuò a lavorare insieme a Gene Colan occupandosi delle testate di Daredevil e di Tomb of Dracula, rendendo quest’ultima serie, chiusa nel 1979, una delle più amate tra le serie horror degli anni 70. Palmer continuò a lavorare per la Marvel per lungo tempo dedicandosi a delle lunghe sequenze di The Avengers, Star Wars Comic e soprattutto collaborando con John Byrne per tutta la saga X-Men: The Hidden Years. Nel corso della sua carriera vinse parecchi premi tra cui nel 1969 l’Alley Award come miglior inchiostratore. Il figlio di Tom Palmer, Tom Palmer Jr. divenne un editor della DC Comics.

Although Tom Palmer is known for his work as an Inker. his first publication was Doctor Strange # 171, albo completely realized by him and inked by Dan Adkins. Later he was given a task that would shake the wrists to any artist, inking the pencils of Gene Colan. the result was absolutely fine that was entrusted the work of artists like Neal Adams on The X-Men and John Buscema on The Avengers. In a short time he was considered one of the best comic industry inked. its clean modern style influenced later generations of artists, he inspired designers such as Klaus Janson, Bob McLeod and Joe Rubinstein. He continued to work with Gene Colan dealing with issues of Daredevil and Tomb of Dracula, making this last series, closed in 1979, one of the most popular among the horror series of the years 70. Palmer continued to work for Marvel for a long time, dedicating himself to the long sequences of The Avengers, Star Wars Comic and especially collaborating with John Byrne for the whole saga X-Men: The Hidden Years. During his career he won several awards including the 1969 Alley Award for Best Inker. The son of Tom Palmer, Tom Palmer, Jr., became an editor of DC Comics.

John Buscema and Tom Palmer The Avengers #81 Splash Page 1 Original Art (Marvel, 1970). Lot 92031 | May 16, 2014 Sold For: $53,775.00

John Buscema and Tom Palmer Avengers #78 Man-Ape Cover Original Art (Marvel, 1970). Lot: 92070 | Nov 16, 2011 Sold For: $23,302.50

John Buscema and Tom Palmer Avengers #94 “Part Two: 1971: A Space Odyssey” Page 7 Original Art (Marvel, 1971). Lot: 92108 | Nov 21, 2014 Sold For: $8,962.50

Joe Sinnot

Joe Sinnot, nasce 16 ottobre 1926 a Saugerties, N.Y. da Edward e Catherine McGraw Sinnott. Primo di 7 fratelli. Per 3 anni Joe lavorò in una fabbrica di cemento prima di entrare nel mondo dei comics, nel frattempo frequentò la Cartoonist and Illustrated School (chiamata più tardi School of Visual Art) fondata da Burne Hogart. Il suo istruttore Tom Gill, intuendo il suo talento, gli chiese di assisterlo su un fumetto Western per la Dell Comics. In seguito lavorò per la Timely/Atlas Comics, sotto la direzione di Stan Lee, realizzando sia le matite che le chine per uno notevole numero di storie, che spaziavano per tutte le produzioni della casa editrice, dai fumetti horror ai supereroi. Lavorò stabilmente con la Timely fino al 1957, poi, grazie anche ad un momento di crisi che coinvolgeva il mondo del fumetto, iniziò a lavorare come freelance, dedicandosi non solo ad altre case editrici come la Dell, la Charlton ma anche nella creazione di campagne pubblicitarie e alla produzione di cover per dischi. Il suo primo personaggio creato completamente da lui fu pubblicato dalla St. John Publication, in Mopsy #12 (1958). Qualche anno dopo, complice la ripresa del mercato fumettistico, ritornò a tempo pieno con la Atlas\Marvel (anche se per un po’ di tempo continuò a pubblicare storie d’amore per la Charlton) occupandosi principalmente delle inchiostrazioni. Iniziò ad inchiostrare Jack Kirby nel numero 5 di Fantastic Four, creando un sodalizio leggendario. Sinnot proprio sui Fantastic Four lavorò come inchiostratore, dal numero 44, per 23 anni consecutivamente, occupandosi delle matite dei più grandi artisti dell’epoca. Si occupo di moltissime testate della Marvel come The Avengers, The Defenders, The Mighty Thor. Ovviamente lavorò anche con John Buscema, anche se non si incontrarono quasi mai, dato che Buscema lavorava a casa propria e Sinnot negli studi della Marvel. Insieme a Buscema realizzarono i primi numeri di Silver Surfer, dando vita ad uno dei protagonisti più amati della Marvel. Joe è stato eletto nel Saugerties Sports Hall of Fame nel 1989 e premiato con il Grand Marshal nel 2011. Tra i tanti premi che ha ricevuto nella sua carriera si evidenziano, nel 1967 e 1968 l’Alley Award come miglior inchiostratore di fumetti, meritò l’Inkpot della Con di San Diego nel 1995, vinse 2 Inkwell Awards nel 2008. La Inkwells Hall Of Fame “Joe Sinnott Award” è stata chiamata così in suo onore. Nel 2013, Joe fu eletto nella Will Eisner Comic Hall of Fame. Nel 1992 si ritirò dal mondo del fumetto dedicandosi solo alle strisce domenicali di Spiderman in collaborazione con Alex Saviuk. Continua ancor oggi ad occuparsi di Spiderman festeggiando i 24 anni come inchiostratore dell’arrampicamuri. Joe Sinnot, was born October 16, 1926 in Saugerties, N.Y. by Edward and Catherine McGraw Sinnott. First of 7 sons. For 3 years, Joe worked in a cement factory before entering the world of comics, meanwhile attended the Cartoonist and Illustrated School (later called School of Visual Art) founded by Burne Hogarth. Her instructor Tom Gill, sensing his talent, asked him to assist him on a comic Western for Dell Comics. He later worked for Timely/Atlas Comics, under the leadership of Stan Lee, realizing a large number of stories, ranging for all productions of the Publisher, from horror comics to superheroes. He worked regularly with the Timely until 1957, then, thanks to a moment of crisis involving the world of comics, he began work as a freelance, dedicated not only to other publishers like Dell, Charlton but also in the creation of advertising campaigns and the production of covers for discs. His first character created entirely by him was published by St. John Publication, Mopsy # 12 (1958). A few years later, thanks to the comic book market recovery, he returned to full time with the Atlas\Marvel (although for some time continued to publish love stories for Charlton) dealing mainly with the ink. He began inking Jack Kirby in Fantastic Four number 5, creating a legendary partnership. Sinnott on the Fantastic Four worked as Inker, from number 44, for 23 years consecutively, dealing with pencils of the greatest artists of the time. He deal with a lot of Marvel’s comics like The Avengers, The Defenders, The Mighty Thor. Of course he also worked with John Buscema, though almost never met, given that Buscema worked at home and Sinnott in Marvel Studios offices. Along with the first numbers of the Silver Surfer, Buscema realized, creating one of the most beloved characters from Marvel. Joe was elected in Saugerties Sports Hall of Fame in 1989 and awarded the Grand Marshall in 2011. Among the many awards he received during his career highlight, in 1967 and 1968 Alley Award for Best Inker of comics, deserved the Inkpot of Con in San Diego in 1995, won 2 Inkwell Awards in 2008. The Inkwells Hall Of Fame Joe Sinnott Award was named in his honour. In 2013, Joe was elected to the Will Eisner Comics Hall of Fame. In 1992 he retired from the world of comics devoted only to Sunday strips of Spiderman in collaboration with Alex Saviuk. Continues today to deal with Spidey’s 24 years as Spiderman celebrating Inker.

John Buscema and Joe Sinnott - Original Cover Art for Silver Surfer #1 (Marvel, 1968). Lot: 5499 | Nov 24, 2001 Sold For: $40,250.00

John Buscema and Joe Sinnott Fantastic Four #127 Cover Original Art (Marvel, 1972). Lot: 41358 | Aug 7, 2008 Sold For: $13,145.00

John Buscema and Joe Sinnott Amazing Adventures #9 Cover Original Art (Marvel, 1971). Lot: 92041 | Aug 8, 2014 Sold For: $7,767.50

JOHN BUSCEMA L’A R T E N E I C O M I C S

Sal Buscema Silvio “Sal” Buscema è il fratello minore di John, insieme hanno frequentato la High School of Music and Art a New York. Sal si diplomò nel 1955. Iniziò la sua carriera come illustratore, insieme al fratello, presso il Chaite Studio e in seguito al Creative Art Studio a Washington DC. Alla fine degli anni 60, grazie all’appoggio del fratello, fece dei provini alla Marvel, disegnando una storia di sei pagine con protagonista Hulk, che impressionò positivamente Stan Lee, tanto da assumerlo come inchiostratore free lance. Iniziò la sua lunga carriera nel mondo dei comics inchiostrando le matite del fratello del numero 114 di Capitan America (giugno 1969) e successivamente Silver Surfer #4 (febbraio 69), albo considerato a tutti gli effetti, da moltissimi appassionati, il miglior numero della Silver Age mai editato. In seguito lavorò ad otto episodi degli Avengers. Dal 1990 in poi Sal si propose come autore completo, disegnando ed inchiostrando i suoi lavori. Diventò uno dei più prolifici autori della Casa delle Idee, conosciuto soprattutto per Capitan America (sui testi di Steve Englehart), Incredible Hulk, The Might Thor e varie testate di Spiderman. Agli esordi il tratto di Sal era molto simile a quello del fratello John, ma con il passar degli anni acquisii uno stile personalissimo, lontano da quello degli esordi. Dal 1998 realizzò altre cento numeri di The Amazing Spiderman creando sia le matite che l’inchiostrazione. Ancor più del fratello maggiore, Sal si conquistò la reputazione di disegnatore rapido e preciso, sia nel tratto che soprattutto nelle consegne, ragion per cui spesso gli affidarono la realizzazione di numerosi fill-in, vicariando i ritardi degli altri colleghi e permettendo quindi la regolarità delle uscite delle varie testate. A metà degli anni 90 ritornò ad inchiostrare le matite di altri artisti, tra cui anche quelle di suo fratello John e ricostituì la fortunata coppia con lo sceneggiatore Steve Englehart curando la testata Fantastic Four. Successivamente si ritirò parzialmente dalla scena fumettistica, per poi tornare a lavorare a tempo pieno nel nuovo millennio, producendo circa quaranta episodi di Spidergirl, scritti da Tom De Falco ed inchiostrati da Ron Frenz. La sua carriera proseguirà lavorando come inchiostratore per la serie Amazing Spider Girl.

Silvio “Sal” Buscema is the younger brother of John, together attended the High School of Music and Art in New York. Sal graduated in 1955. He began his career as an Illustrator, along with his brother, at the Chaite Studio and Creative Art Studio in Washington DC. At the end of 60 years, thanks to the support of his brother, made her audition at Marvel, drawing a six-page story starring the Hulk, which positively impressed Stan Lee, much to hire him as a freelance Inker. He began his long career in the world of comics inking the pencils of the brother of number 114 of Capitan America (June 1969) and subsequently Silver Surfer # 4 (February 69), albo considered in all respects, for many fans, the best number of the Silver Age ever edited. He later worked for eight episodes of the Avengers. From 1990 onwards Sal proposed as full author, drawing and inking his work. He became one of the most prolific authors of the House of ideas, best known for Capitan America (on texts by Steve Englehart), Incredible Hulk, Thor and various publications of Spiderman. At the beginning the stretch of Sal was very similar to that of his brother John, but over the years I gained a very personal style, far from that of the early years. From 1998 he made a dozen more issues of The Amazing Spiderman creating both pencils that inking. Even more of his older brother, Sal earned a reputation for fast and accurate draughtsman, whether in the part that especially in deliveries, which is why often entrusted the realization of a number of fill-in, helping for delays of other colleagues and thus allowing regularity of releases of various newspapers. In the mid 90 returned to inking the pencils of other artists, including his brother John and reconstituted the lucky couple with writer Steve Englehart curing head Fantastic Four. Subsequently withdrew partially from the comic scene, returning to work full-time in the new millennium, producing about forty Spidergirl episodes, written by Tom De Falco and inked by Ron Frenz. His career will continue working as an Inker for the series Amazing Spider Girl.

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John Buscema and Sal Buscema Silver Surfer #7 Page 7 Original Art (Marvel, 1969). Lot: 93143 | Nov 16, 2012 Sold For: $8,962.50

John Buscema and Sal Buscema Silver Surfer #7 Page 30 Original Art (Marvel, 1969). Lot: 92052 | Nov 22, 2013 Sold For: $7,767.50

John Buscema and Sal Buscema Silver Surfer #7 Page 22 Original Art (Marvel, 1969). Lot: 92051 | Nov 22, 2013 Sold For: $7,170.00

Alfredo Alcala Nacque il 23 agosto del 1925 a Talisay, nelle Filippine. Durante la seconda guerra mondiale Alfredo Alcala, durante l’occupazione giapponese, usò la sua arte grafica per disegnare mappe agli alleati che evidenziavano i nascondigli del nemico. Subito dopo la guerra iniziò a lavorare per la Butuin Komics, ma il suo talento gli permise in breve tempo di lavorare con le più grandi case editrici delle Filippine. Produsse lavori per Filipino Komics, Tagalog Klassiks, Espesial Komics, e Hiwaga Komics. Alcala si occupava di tutti gli aspetti del suo lavoro, produceva le matite, le chine ed addirittura il lettering. Era famoso per la sua velocità, che non andava mai a scapito della qualità finale del suo lavoro. In alcune interviste lo stesso Alcala sostenne che in nove ore di sessione di disegno riusciva a produrre dodici tavole, lettering compreso. La sua popolarità nelle Filippine crebbe notevolmente, tanto da meritarsi una testata tutta per lui, la Alcala Komics Magazine. Nel 1963 realizzò Voltar, personaggio ispirato a Conan il barbaro (che Alcala conobbe tramite le splendide copertine di Frazetta) che vinse moltissimi premi ed attirò su di lui le attenzioni delle case editrici di tutto il mondo. La Dc Comics gli commissionò degli episodi per le i suoi fumetti Horror e Fantasy, mentre per la Marvel si dedicò a personaggi come Rampaging Hulk e Ka-zar. Nel 1976 si trasferì a New York, contribuendo a rafforzare il gruppo di artisti filippini in America, insieme a Tony DeZuniga, Nestor Redondo, Ernie Chan e Alex Nino. prese contatti con la Warren Publishing e creando svariate storie per le loro testate, curando anche la ristampa della sua serie Voltar. Dopo questa parentesi alla Warren, Alcala si dedicò sia alla Marvel che alla DC inchiostrando tra l’altro Star Wars, Conan the Barbarian, Destroyer Duck, Swanp Thing e Hellblazer, inoltre gli affidarono le matite del Batman disegnato da Don Newton. Nel 1990 si dedicò all’animazione di film e alla realizzazione di illustrazioni per romanzi, incluso Daddy Cool scritto da Donald Goines. Ritornò al mondo dei comics lavorando a Swamp Thing per la DC. Morì di cancro nel 2000 nel sud della California.

Was born on 23 August 1925 in Talisay, Philippines. During World War II, Alfredo Alcala, during the Japanese occupation, he used his art graphics to draw maps to allies stressing the hideouts of the enemy. After the war he began working for the Butuin Komics, but her talent enabled him in a short time to work with larger publishing houses of the Philippines. He produced work for Filipino Komics, Tagalog Klassiks, Espesial Komics, e Hiwaga Komics. Alcala took care of all aspects of its work, producing pencils, chines, and even the lettering. Was famous for his speed, which he never went to the detriment of the quality of his work. In interviews the same Alcala argued that in nine hours of drawing session could produce twelve page, including lettering. His popularity in the Philippines grew, earning an all to himself, the Alcala Komics Magazine. In 1963 he produced Voltar, a character inspired by Conan the barbarian (whom he met through the beautiful covers of Frazetta) which won many prizes and drew upon him the attention of publishers around the world. Dc Comics commissioned episodes for his Horror and Fantasy comics, while Marvel is involved with characters like Rampaging Hulk and Ka-zar. In 1976 he moved to New York, helping to strengthen the Group of Filipino artists in America, together with Tony DeZuniga, Nestor Redondo, Ernie Chan and Alex Nino. Made contact with Warren Publishing and creating various stories for their publications, also dealing with the reissue of his series Voltar. After this interlude to Warren, Alcala devoted himself to both the Marvel that the DC inking among other things Star Wars, Conan the Barbarian, Destroyer Duck, Swanp Thing and Hellblazer, also entrusted the pencils of Batman designed by Don Newton. In 1990 he devoted himself to film animation and illustrations for novels including Daddy Cool written by Donald Goines. He returned to the world of comics working on Swamp Thing for DC. He died of cancer in 2000 in Southern California.

John Buscema and Alfredo Alcala The Savage Sword of Conan #20 Page 11 Original Art (Marvel, 1977). Lot: 93323 | Aug 3, 2013 Sold For: $4,780.00‡

John Buscema and Alfredo Alcala Savage Sword of Conan #15 page 28 Original Art (Marvel, 1976) Lot: 92049 | Aug 18, 2011 Sold For: $2,270.50

John Buscema and Alfredo Alcala The Savage Sword of Conan #36 page 43 Original Art (Marvel, 1978). Lot: 93670 | May 6, 2011 Sold For: $1,792.50

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To n y D E Z u n i g a Tony DeZuniga fin da adolescente lavorò nel mondo dei comics, a 16 anni curava il lettering per la testata Liwaywey, un fumetto a periodicità settimanale prodotto nelle Filippine, lavorando al fianco di Alfredo Alcala e Nestor Redondo, che in seguito divennero i suoi maestri. Alla fine degli anni 60 si trasferì a New York e fu assunto come illustratore da Scholastic Publication. Ben presto il suo talento fu notato dalla DC Comics che lo assunse affidandogli le chine per le matite di Rick Estrada per la testata Girl’s Love Stories. In seguito debuttò come artista completo con il numero 12 di Phantom Stringer, diventando così un disegnatore regolare per la DC creando graficamente su i testi di John Albano il personaggio di Jonah Hex e con Sheldon Mayers il primo Black Orchid. A cavallo tra il 1972 fu inviato, da Carmine infantino, per conto della DC, nelle filippine come talent scout, contribuendo notevolmente alla creazione del gruppo di disegnatori filippini che “invase” l’America negli anni settanta. Grazie a lui disegnatori del calibro di Alfredo Alcala, Alex Nino e Nestor Redondo approdarono in America al servizio della Marvel e della DC Comics. Nel 1977 DeZuniga fece ritorno a New York lavorando per la DC a testate come Batman, Superman e Supergirl e per la Marvel a Thor, X-Men, Punisher e Conan the Barbarian.

John Buscema and Tony DeZuniga Tarzan #6 La of Opar Splash Page 11 Original Art (Marvel, 1977). Lot: 93551 | Nov 23, 2013 Sold For: $4,481.25

Successivamente decise di cambiare ambito lavorativo impegnandosi nel campo della computer grafica per videogame, lavorando per la divisione giapponese della SEGA. Prestò i suoi servizi anche per la McGraw Hill e per la Scholastic Publication. Si dedicò alle illustrazioni dei libri del gioco di ruolo Dungeons & Dragons. In 1989, illustrò The DragonLance Saga Book Three, scritto da Roy Thomas. Tony DeZuniga morì l’11 maggio del 2012 per un infarto. Autori come Neil Gaiman e Neal Adams si adoperano per trovare fondi per pagare le sue spese sanitarie.

Tony DeZuniga as a teenager he worked in the world of comics, in 16 years took care of the lettering for the Liwaywey, a weekly comic produced in the Philippines, working alongside Alfredo Alcala and Nestor Redondo, who later became his teachers. At the end of the 60 went to New York City and was employed as an Illustrator by Scholastic Publication. Soon his talent was noticed by DC Comics who hired him with the chine for pencils by Rick Estrada for the comic Girl’s Love Stories. Later debuted as a complete artist with the number 12 of Phantom Stringer, becoming a regular Illustrator for DC creating graphically on the texts by John Albano the character of Jonah Hex and with Sheldon Mayers the first Black Orchid. Straddling the 1972 was sent, by Carmine infantino, on behalf of the DC in the Philippines as a scout, contributing greatly to the creation of the group of artists Filipinos who “invaded” America in the 1970s. Thanks to him the artists the likes of Alfredo Alcala, Alex Nino and Nestor Redondo landed in America in the service of Marvel and DC Comics. In 1977 DeZuniga returned to New York, working for DC to magazines like Batman, Superman and Supergirl and for Marvel Thor, X-Men, Punisher and Conan the Barbarian. He then decided to change the workplace by engaging in computer graphics for video games, working for the Japanese Division of SEGA. Lent his services even for McGraw Hill and Scholastic Publication. He devoted himself to book illustrations of Dungeons & Dragons. In 1989, he illustrated The DragonLance Saga Book Three, written by Roy Thomas. Tony DeZuniga died on 11 may 2012 for a heart attack. Authors such as Neil Gaiman and Neal Adams shall endeavour to find funds to pay for his medical expenses.

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John Buscema and Tony DeZuniga Savage Sword of Conan #5 Splash Page 5 Original Art (Marvel, 1975). Lot: 93113 | Nov 20, 2009 Sold For: $3,883.75

John Buscema and Tony DeZuniga Tarzan #3 “Altar of the Flaming God” Splash Page 1 Original Art (Marvel, 1977). Lot: 92036 | Aug 28, 2015 Sold For: $3,107.00

Ernie Chan Ernesto “Ernie” Chan (all’anagrafe Chua) originario delle Filippine, all’età di 20 anni entra ufficialmente nel mondo del fumetto. Nel 1970, all’età di 30 anni, grazie all’influsso dei disegnatori filippini nel mondo dei comics americani, si trasferisce a New York. Il suo primo lavoro in America gli fu commissionato dalla DC Comics, dove disegnò per testate Horror e Mistery. Successivamente passò alla Marvel disegnando Capitan Marvel, Daredevil, e Doc Savage. Questi primi lavori furono firmati con il suo vero nome all’anagrafe Ernie Chua, ma in seguito utilizzò il suo nome americanizzato, quello che tutti gli appassionati di comics conoscono ovvero Ernie Chan. Nel 1973 Roy Thomas gli affidò le matite di Buscema per Conan th Barbarian e Savage Sword of Conan; questo sodalizio durò circa una decina di anni. Chan in questo periodo non si dedicò esclusivamente al personaggio di Conan, infatti inchiostrò anche molti lavori di Sal Buscema per The Incredibile Hulk e Spectacular Spiderman. Nella metà degli anni settanta non lavoro esclusivamente alla Marvel ma offrì i suoi pennelli anche alla DC Comics, diventando uno dei copertinisti di punta per testate come Claw, Sandman, Swamp Thing e Jonah Hex, oltre che a realizzare delle splendide cover per Batman. La Marvel, nel corso degli anni, gli affidò moltissimi personaggi tra cui Dr. Strange, Daredevil, Doc Savage, The Fantastic Four, Hulk, Powerman e Iron Fist. Lavorò nel mondo dei comics fini hai primi anni novanta per poi cambiare completamente campo, si dedicò infatti alla computer grafic e all’animazione di cartoni animati sia per la Tv che per il cinema. Nel 2002 si ritirò dedicandosi a sviluppare commissions per i suoi fan, con l’eccezione di una Web Comic The Wat #1 creata da Andrew Zar nel 2009. Mori di cancro nel maggio 2012. Ernesto “Ernie” Chan (born Chua) native to the Philippines, at the age of 20 years officially enters the world of comics. In 1970, at the age of 30 years, thanks to the influence of Filipino cartoonists in the world of American comics, he moved to New York. His first job in America was commissioned by DC Comics, where he drew for Horror and Mystery. Later at Marvel drawing Captain Marvel, Daredevil, and Doc Savage. These early works were signed with his real name anagrafe Ernie Chua, but later used his americanized name, what all fans of comics know that Ernie Chan. In 1973 Roy Thomas gave him pencils of Buscema for Conan the Barbarian and Savage Sword of Conan; This association lasted about a decade. Chan in this period he devoted himself not exclusively to the Conan character, indeed inked Sal Buscema, too many jobs to The Incredible Hulk and Spectacular Spiderman. In the mid-1970s don’t work exclusively at Marvel but also offered his brushes to DC Comics, becoming one of the leading magazines like cover maker Claw, Sandman, Swamp Thing and Jonah Hex, as well as to achieve a wonderful cover for Batman. Marvel, over the years, entrusted him with many characters including Dr. Strange, Daredevil, Doc Savage, The Fantastic Four, Hulk, Powerman and Iron Fist. He worked in the world of comics for you first nineties then completely change field, he devoted himself to computer graphic and animation of cartoons for both Tv and film. In 2002 he retired to develop commissions for his fans, with the exception of a Web Comic The Wat # 1 created by Andrew Tsar in 2009. He died of cancer in may 2012.

John Buscema and Ernie Chan Conan the Barbarian #89 Splash Page 1 Original Art (Marvel, 1978). Lot: 92057 | Nov 22, 2013 Sold For: $11,352.50

John Buscema and Ernie Chan Conan the Barbarian #72 Splash Page 1 Original Art (Marvel, 1977). Lot: 92048 | May 11, 2012 Sold For: $9,261.25

John Buscema and Ernie Chan Conan the Barbarian #75 page 2 Original Art (Marvel, 1977). Lot: 13568 | Mar 27, 2011 Sold For: $2,270.50

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A l Wi l l i ams on Fin da piccolo mostrò un particolare interesse per il mondo del fumetto, in particolare modo era affascinato dal Flash Gordon di Alex Raymond, che in qualche modo contribuì alla sua formazione come disegnatore. Infatti Al Williamson iniziò da adolescente a frequentare la Cartoonist And Illustrators School co-fondata da Burne Hogarth. In questo periodo Al collaborò, proprio con Hogarth, ad alcune pagine domenicali di Tarzan. Era ufficialmente iniziata la sua carriera come disegnatore di fumetti. Il suo vero debutto professionale lo fece all’età di 17 anni con una storia western per la Eastern Color. Continuò a lavorare per l’America Comics Group (ACG), per la Avon Publication, per la Fawcett Comics e per la Standard Comics. Inoltre collaborò con Roy Kreneker e Frank Frazetta inchiostrando le loro matite di alcuni loro lavori. Su consiglio di Wally Wood iniziò a lavorare anche per la EC Comics realizzando storie Wierd Science, Wierd Fantasy, Wierd Science Fantasy e occasionalmente per alcune storie per le serie horror e crime. Realizzò un gran numero di storie, ma nonostante la notevole mole di materiale prodotto, la qualità del suo lavoro era sempre molto alta. Continuò a lavorare per la EC Comics fino al 1954, anno in cui grazie all’avvento della censura, che ebbe la sua massima espressione nel Comics Code, furono chiuse molte testate a fumetti costringendo la EC Comics (come molte altre case editrici) a licenziare moltissimi disegnatori. Questo fu uno dei periodi più bui per il fumetto americano. Al Williamson fu accolto dalla Atlas Comics e dalla Harvey Comics, e proprio in questo iniziò la sua collaborazione, come inchiostratore, con Jack “The King” Kirby. I primi lavori che videro la luce furono Race to the Moon #2 e 3 e Blast-Off #1 (ottobre 1965). Nello stesso periodo realizzò storie per la Dell Comics, per la Charlton Comics e per la ACG. Durante questo periodo di crisi per l’industria del fumetto Al iniziò a lavorare anche con John Prentice su Rip Kirby per circa tre anni. Nel 1966 disegnò alcuni numeri, per la King Features, di Flash Gordon, lavoro per cui in seguito fu premiato con il National Cartoonist Society Best Comic Book Art. Visti risultati ottenuti con Flash Gordon gli fu offerto di lavorare, sulle sceneggiature di Goodwin, su Secret Agent X-9. Si dedicò a questa testata fino al 1980. Nello stesso periodo collaborò sia con la Marvel Comics che con la Warren Pubblication. George Lucas, da sempre fan del lavoro di Williamson per la EC e soprattutto per Flash Gordon, gli propose, tramite la Lucasfilm, di realizzare l’adattamento a fumetti di The Empire Strikes Back. Come curiosità bisogna sapere che lo stesso Lucas, anni prima, gli chiese di realizzare anche Star Wars ma Al dovette rifiutare per mancanza di tempo. Tra le alte cose si occupò per la DC Comics delle matite di Curt Swan su alcune storie di Superman per poi passare alla Marvel occupandosi di testate come Daredevil, Spiderman, Spidergirl, inchiostrando autori come John Buscema, Gene Colan, Rick Leonardi, Mike Mignola, John Romita Jr per citarne alcuni. Vinse tra il 1988 e il 1997 ben nove premi come miglior inchiostratore. La Marvel inoltre produsse una miniserie di due numeri su Flash Gordon scritta da Mark Shultz, disegnata completamente da lui. I suoi ultimi lavori furono le pagine domenicali di Flash Gordon tra il 1999 e il 2000. Si ritirò dal lavoro nel 2000, vivendo i suoi ultimi anni di vita con la moglie in Pennsylvania. Morì il 12 giugno del 2010.

John Buscema and Al Williamson Wolverine #6 Cover Original Art (Marvel, 1989). Lot: 92040 | May 17, 2013 Sold For: $7,767.50‡

John Buscema and Al Williamson Wolverine #4 Cover Original Art (Marvel, 1989). Lot: 92005 | Jul 26, 2012 Sold For: $7,468.75

John Buscema and Al Williamson Wolverine #3 Cover Original Art (Marvel, 1989). Lot: 92049 | Feb 22, 2013 Sold For: $6,871.25

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From an early age showed a particular interest in the world of comics, in particular, was fascinated by Flash Gordon of Alex Raymond, which somehow contributed to his formation as a artist. In fact Al Williamson began as a teenager to attend the Cartoonist And Illustrators School co-founded by Burne Hogarth. In this period he collaborated with Hogarth, to some Tarzan Sunday pages. It was officially started his career as a comic artist. His real professional debut had him at the age of 17 years with a history western to Eastern Color. He continued to work for the American Comics Group (ACG), Avon Publication, for Fawcett Comics, and for Standard Comics. He also assisted with Roy Kreneker and Frank Frazetta inking their pencils of some of their work. On the advice of Wally Wood began working for EC Comics in Weird Science, Weird Fantasy, Weird Science Fantasy and occasionally for some stories for horror and crime. He produced a large number of stories, but despite the mass of material produced, the quality of his work was always very high. He continued to work for EC Comics until 1954, when thanks to the advent of censorship, which had its highest expression in the Comics Code, many comics were forcing the EC Comics (like many other publishers) to lay off a lot of designers. This was one of the darkest periods for american comics. Al Williamson was received from Atlas Comics and Harvey Comics, and in this he began his collaboration as inker with Jack “The King” Kirby. The first works that came to light were Race to the Moon # 2 and 3 and Blast-Off # 1 (October 1965).

During the same period he produced stories for Dell Comics, Charlton Comics and ACG. During this time of crisis for the comics industry to began working with John Prentice on Rip Kirby for about three years. In 1966 he designed some numbers, for King Features, Flash Gordon, work for which he was awarded the National Cartoonists Society Best Comic Book Art. Having regard to the results obtained with Flash Gordon he was offered to work on the screenplays of Goodwin, about Secret Agent X-9. He devoted himself to this comic until 1980. During the same period he worked with Marvel Comics which with Warren Publications. George Lucas has always been fan of the work of Williamson for the EC and especially for Flash Gordon, he proposed, by Lucasfilm to create the comic strip adaptation of The Empire Strikes Back. As a curiosity it is necessary to know that the same Lucas, years before, asked him to make Star Wars but had to decline due to lack of time. Between the high things he worked for DC Comics, Curt Swan’s pencils on some Superman stories before moving to Marvel, dealing with magazines like Daredevil, Spiderman, Spidergirl, inking authors like John Buscema, Gene Colan, Rick Leonardi, Mike Mignola, John Romita Jr. to name a few. Between 1988 and 1997 won nine awards for Best Inker. Marvel also produced a mini-series of two numbers on Flash Gordon written by Mark Shultz, designed completely by him. His last work was the Sunday pages of Flash Gordon between 1999 and 2000. He retired from the job in 2000, living the last years of his life with his wife in Pennsylvania. He died on 12 June of 2010

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Silver Surfer Splash page non utilizzata per la GN matite Buscema

Silver Surfer Splash page non utilizzata per la GN inchiostrata poi da Sinnott per un lito in tiratura limitata di 750 pezzi

Silver Surfer Splash page non utilizzata per la GN inchiostrata da Danny Bulandi

Silver Surfer Splash page non utilizzata per la GN inchiostrata da Pablo Marcos

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Silver Surfer Splash page non utilizzata per la GN inchiostrata da Ernie Chan

Silver Surfer Splash page non utilizzata per la GN inchiostrata da Rudy Nebres

Silver Surfer Splash page non utilizzata per la GN inchiostrata da Alex Nino

Silver Surfer Splash page non utilizzata per la GN inchiostrata Tony DeZuniga

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Vittorio Giardino 10.925 Julia 200 - L’immagine perduta, 2015 – china e acquerello su cartoncino, 50 x 33,5 Originale di copertina realizzato da Giardino in occasione del 200esimo numero di Julia, pubblicato dalla Bonelli in tiratura limitata nel maggio 2015. Un omaggio ed una rivisitazione al tempo stesso rendono quest’opera un vero e proprio capolavoro ad opera di uno dei più grandi maestri viventi della Nona Arte, celebre in tutto il mondo per i suoi lavori quali “Sam Pezzo”, “Max Friedman”, “Little Ego” e “Jonas Fink”. Firmato

Luis Royo 6.900 Noche en Rojo, 2006 – tecnica mista su cartoncino, 45,5 x 66 cm Originale di copertina realizzato da Royo in occasione del “VII Festival del cinema horror e fantasy” tenutosi nel 2006 a Estepona (Spagna). L’opera è stata utilizzata come copertina del volume “Penultimate blood” di Juan Manuel de Prada e inoltre come locandina ufficiale del Festival. Una delle più intense e affascinanti opere del maestro spagnolo, ritenuto dalla critica il più importante artista vivente dell’arte fantasy. Si allegano le due pubblicazioni cartacee. Firmato.

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TOP 10 ASTE Guido Crepax 7.130 Anita - Una storia possibile, 1974 – matita e china su cartone, 41 x 56 cm Tavola originale per “Anita - Una storia possibile” edita dalle Edizioni Morgan nel 1974, pag. 47. Pagina chiave del volume che segna l’esordio della dolce e bionda Anita (ispirata ad Anita Ekberg), protagonista di un’impressionante storia onirica in cui la dipendenza dalla televisione e dai suoi programmi portano la donna ad avere un vero e proprio rapporto sessuale con la TV, anticipando di dieci anni alcune scene del delirante film di culto “Videodrome” di Cronenberg. Firmata e datata.

Hugo Pratt 5.750 L’Ombra, 1964 – matita e china su cartoncino, 35,5 x 47,5 cm Tavola originale per “L’Ombra” edita a pag. 1 del sesto capitolo della saga “L’Ombra contro il Generale” sul Corriere dei Piccoli n.31 nel 1964. Bellissima pagina in cui Pratt, sui testi di Ongaro, spicca per la sua tecnica e innovazione grafica nell’uso dei neri e nella moderna scelta delle prospettive. Retro acquerellata, su due pannelli.

IV ASTA - 30 OTTOBRE 2015

Andrea Pazienza Mark Schulz Andrea Pazienza 4.830 4.600 4.040 Marlene Dietrich – matita, china e pennarelli su Aliens Apocalypse - The Destroying Angels, 1998 – Le straordinarie avventure di Pentothal, 1977 – matita, cartoncino, 34,5 x 50 cm matita e china su cartoncino, 28,5 x 41,5 cm china e pennarello su cartoncino, 29,5 x 41 cm Illustrazione originale realizzata da Pazienza e Originale di copertina per il secondo volume della Tavola originale realizzata da Pazienza per la sua raffigurante una Marlene Dietrich in versione Terzo miniserie “Aliens Apocalypse - The Destroying opera prima “Le straordinarie avventure di Pentothal” Reich. L’opera è stata utilizzata come copertina Angels”, edito dalla Dark Horse nel 1999. Firmato edita per la prima volta sulla rivista Alter Alter nel del catalogo della mostra “ Schifano Pazienza e datato. 1977. Datata “Bologna 19 ottobre”. Paladino”, edito da Allemandi nel 2011

Milo Manara 3.795 La dolce vita – carboncini colorati su cartoncino nero, 34,5 x 45 cm Illustrazione originale realizzata da Manara come omaggio a una delle sue maggiori fonti d’ispirazione, l’amico Federico Fellini. L’opera è stata pubblicata sul volume “Appuntamento fatale e altre storie brevi”, edito nella collana Manara maestro dell’eros n. 17, Panini, 2014. Firmata.

Riccardo Federici Benito Jacovitti 3.450 3.335 Saria - La porta dell’angelo, 2012 – tecnica mista Cipzagmapu, 1977 – tecnica mista su cartoncino, su cartoncino, 36 x 51 cm 50 x 65 cm Tavola originale per “Saria - La porta dell’angelo”, Tavola originale realizzata da Jacovitti per secondo volume della saga cominciata da Serpieri, “Cipzagmapu”, edita dal Club Anni ‘30 nel 1988. edita dalla Delcourt nel 2012, pag. 54. Firmata. Firmata e datata.

TOP 10 AUCTION

John Buscema and Jim Mooney Amazing Spider-Man #78

Splash Page 1 Original Art (Marvel, 1969)

Lot: 92039 | Aug 8, 2014 - Sold For: 65,725.00 includes Buyer’s Premium (BP)

John Buscema and George Roussos The Avengers #55 Masters of Evil Cover Original Art (Marvel, 1968). Lot: 92118 | Feb 22, 2013 Sold For: $35,850.00

John Buscema and Tom Palmer The Avengers #81 Splash Page 1 Original Art (Marvel, 1970) Lot: 92031 | May 16, 2014 - Sold For: $53,775.00 includes Buyer’s Premium (BP)

John Buscema - Avengers Annual #2 Cover Original Art (Marvel, 1968). Lot: 3100 | Feb 10, 2005 Sold For: $34,500.00

John Buscema and Frank Giacoia Fantastic Four #120 First Air-Walker Cover Original Art (Marvel, 1972). Lot: 92108 | May 17, 2013 Sold For: $28,680.00

JOHN BUSCEMA L’A R T E N E I C O M I C S

John Buscema and George Roussos (as George Bell) The Avengers #42 “The Plan and the Power” Cover Original Art (Marvel, 1967). Lot: 92037 | Feb 21, 2014 - Sold For: $44,812.50

John Buscema and Tom Palmer Avengers #78 Man-Ape Cover Original Art (Marvel, 1970). Lot: 92070 | Nov 16, 2011 Sold For: $23,302.50

John Buscema and Joe Sinnott - Original Cover Art for Silver Surfer #1 (Marvel, 1968). Lot: 5499 | Nov 24, 2001 - Sold For: $40,250.00

John Buscema and Vince Colletta Avengers #44 Cover Original Art (Marvel, 1967). Lot: 92026 | May 21, 2010 Sold For: $19,120.00

John Buscema and Dan Adkins Sub-Mariner #8 Sub-Mariner vs. the Thing Cover Original Art (Marvel, 1968). Lot: 93109 | Nov 20, 2009 Sold For: $19,120.00

BIBLIOGRAFIA MARVEL

Amazing Adventures (1970) #1 (Aug 1970) Black Widow, “Then came the Black Widow” (10 pgs) Written by Gary Friedrich, inks by John Verpoorten. #2 (Sep 1970) Cover, inks by John Verpoorten/ Black Widow, “The young Warriors” (10 pgs) Written by Gary Friedrich, inks by John Verpoorten. #3 (Nov 1970) Cover, inks by John Verpoorten. #4 (Jan 1971) Cover, inks by John Verpoorten. #5 (Mar 1971) Cover, inks by John Verpoorten. #9 (Sep 1971) Cover, inks by Joe Sinnott. Amazing Spiderman (1963) #72 (May 1969) “Rocked by the Shocker!” (20 pgs) Written by Stan Lee, Pencils with John Romita, inks by Jim Mooney. #73 (Jun 1969) “The Web Closes !” (20 pgs) Written by Stan Lee, Pencils with John Romita, inks by Jim Mooney. #76 (Sep 1969) “The Lizard Lives !” (20 pgs) Written by Stan Lee, inks by Jim Mooney. #77 (Oct 1969) “In the Blaze of Battle!” (20 pgs) Written by Stan Lee, inks by Jim Mooney. #78 (Nov 1969) “The Night of the Prowler!” (20 pgs) Written by Stan Lee, inks by Jim Mooney. #79 (Dec 1969) “To Prowl No More!” (20 pgs) Written by Stan Lee, inks by Jim Mooney. #80 (Jan 1970) “On The Trail of...the Chameleon!” (20 pgs) Written by Stan Lee, Pencils with John Romita, inks by Jim Mooney. #81 (Feb 1970) “The Coming of the Kangaroo!” (20 pgs) Written by Stan Lee, Pencils with John Romita, inks by Jim Mooney. #84 (May 1970) “The Kingpin Strikes Back!” (20 pgs) Written by Stan Lee, Pencils with John Romita, inks by Jim Mooney. #85 (Jun 1970) “The Secret of the Schemer!” (20 pgs) Written by Stan Lee, Pencils with John Romita, inks by Jim Mooney. Amazing Spiderman’99 annual (1999) #nn (Jun 1999) “World Enough & Time” (39 pgs) Written by Howard Mackie, Pencils and inks by John Buscema. Astonishing Tales (1970) #2 (Oct 1970) Cover, inks by John Verpoorten. #4 (Feb 1971) Cover, inks by Joe Sinnott. #5 (Apr 1971) Cover, inks by Frank Giacoia. #6 (Jun 1971) Cover, inks by Frank Giacoia. #9 (Dec 1971) Ka-Zar, “Legend of the Lizard men” (16 pgs) Written by Stan Lee, Pencils and inks by John Buscema reprinted later in his original B&W and uncensored form in Savage Tales#5 but initially done for Savage Tales #2 which was delayed. #12 (Jun 1972) Cover, inks by Joe Sinnott/ Ka-Zar, “Terror Stalks the Everglades” (14 pgs) Written by Roy Thomas, inks by Dan Adkins. #13 (Aug 1972) Ka-Zar, “The Mark of the Man-Thing” (14 pgs) Written by Roy Thomas, Pencils by Rich Buckler p:1-6 and John Buscema p:7-20, inks by Dan Adkins. #14 (Oct 1972) Ka-Zar, “Night of the Looter” (14 pgs) Written by Stan Lee, Pencils and inks by John Buscema censored reprint of Savage Tales#1. #16 (Feb 1973) Ka-Zar, “To Stalk a City!” (9 pgs) Written by Mike Friedrich, pgs 18-31, inks by Chic Stone. Avengers (1963) #41 (Jun 1967) Cover, inks by George Roussos/ “Let Sleeping Dragons Lie” (20 pgs) Written by Roy Thomas, inks by George Bell (Roussos). #42 (Jul 1967) Cover, inks by George Roussos/ “The Plan and the Power” (20 pgs) Written by Roy Thomas, inks by George Bell (Roussos). #43 (Aug 1967) Cover, inks by George Roussos/ “Color Him the Red Guardian” (20 pgs) Written by Roy Thomas, inks by George Bell (Roussos). #44 (Sep 1967) “The Valiant Also Die” (20 pgs) Written by Roy Thomas, inks by Vince Colletta. #45 (Oct 1967) Cover, inks by Vince Colletta. #46 (Nov 1967) Cover, pencils and inks by John Buscema/ “The Agony and the Anthill” (20 pgs) Written by Roy Thomas, inks by Vince Colletta. #47 (Dec 1967) “Magneto Walks the Earth” (20 pgs) Written by Roy Thomas, inks by George Tuska. #49 (Feb 1968) Cover, pencils and inks by John Buscema/ “Mine is the Power” (20 pgs) Written by Roy Thomas, Pencils and inks by John Buscema. #50 (Mar 1968) Cover, pencils and inks by John Buscema/ “To Tame a Titan” (20 pgs) Written by Roy Thomas, Pencils and inks by John Buscema. #51 (Apr 1968) Cover, inks by George Klein/ “In the Clutches of the Collector” (20 pgs) Written by Roy Thomas, inks by George Tuska. #52 (May 1968) Cover, pencils and inks by John Buscema/ “Death Calls for the Arch-Heroes” (20 pgs) Written by Roy Thomas, inks by Vince Colletta. #53 (Jun 1968) Cover, inks by George Tuska/ “In Battle Joined” (20 pgs) Written by Roy Thomas, inks by George Tuska. #54 (Jul 1968) Cover, inks by George Tuska/ “...And Deliver Us from - - the Masters of Evil!” (20 pgs) Written by Roy Thomas, inks by George Tuska. #55 (Aug 1968) Cover, inks by George Klein/ “Mayhem Over Manhattan” (20 pgs) Written by Roy Thomas, inks by George Klein. #56 (Sep 1968) Cover, inks by Frank Giacoia/ “Death Be Not Proud” (20 pgs) Written by Roy Thomas, inks by George Klein. #57 (Oct 1968) Cover, inks by George Klein/ “Behold, the Vision” (20 pgs) Written by Roy Thomas, Page 3, 2nd to last panel was redrawn by Marie Severin, inks by George Klein. #58 (Nov 1968) Cover, inks by George Klein/ “Even an Android Can Cry” (20 pgs) Written by Roy Thomas, inks by George Klein. #59 (Dec 1968) Cover, inks by George Klein/ “The Name is Yellowjacket” (20 pgs) Written by Roy Thomas, inks by George Klein. #60 (Jan 1969) Cover, inks by George Klein/ “Till Death Do Us Part” (20 pgs) Written by Roy Thomas, inks by Mickey Demeo. #61 (Feb 1969) Cover, inks by George Klein/ “Some Say the

World Will End in Fire, Some Say in Ice” (20 pgs) Written by Roy Thomas, inks by George Klein. #62 (Mar 1969) Cover, inks by George Klein/ “The Monarch and the Man-Ape” (20 pgs) Written by Roy Thomas, inks by George Klein. #66 (Jul 1969) Cover, inks by Sam Grainger. #74 (Mar 1970) Cover, inks by Tom Palmer/ “Pursue the Panther” (20 pgs) Written by Roy Thomas, inks by Tom Palmer. #75 (Apr 1970) Cover, inks by Tom Palmer/ “The Warlord and the Witch” (20 pgs) Written by Roy Thomas, inks by Tom Palmer. #76 (May 1970) Cover, inks by Tom Palmer/ “The Flames of Battle and the Flames of Love” (20 pgs) Written by Roy Thomas, inks by Tom Palmer. #77 (Jun 1970) Cover, inks by Tom Palmer/ “Heroes for Hire” (20 pgs) Written by Roy Thomas, inks by Tom Palmer. #78 (Jul 1970) Cover, inks by Tom Palmer. #79 (Aug 1970) Cover, pencils and inks by John Buscema/ “Lo, the Lethal Legion” (20 pgs) Written by Roy Thomas, inks by Tom Palmer. #80 (Sep 1970) Cover, inks by Tom Palmer/ “The Coming of Red Wolf” (20 pgs) Written by Roy Thomas, inks by Tom Palmer. #81 (Oct 1970) Cover, inks by Tom Palmer/ “When Dies a Legend”(20 pgs) Written by Roy Thomas, inks by Tom Palmer. #82 (Nov 1970) Cover, inks by Tom Palmer/ “Hostage” (20 pgs) Written by Roy Thomas, inks by Tom Palmer. #83 (Dec 1970) Cover, inks by Tom Palmer/ “Come On In, The Revolution’s Fine” (20 pgs) Written by Roy Thomas, inks by Tom Palmer. #84 (Jan 1971) Cover, inks by Sal Buscema/ “The Sword and the Sorceress” (20 pgs) Written by Roy Thomas, inks by Tom Palmer. #85 (Feb 1971) Cover, inks by Frank Giacoia/ “The World is Not for Burning” (20 pgs) Written by Roy Thomas, inks by Frank Giacoia. #86 (Mar 1971) Cover, inks by Jim Mooney. #87 (Apr 1971) Cover, inks by John Verpoorten. #94 (Dec 1971) “More Than Inhuman” Chapter ? (10 pgs) Written by Roy Thomas, inks by Tom Palmer. #95 (Jan 1972) Cover, inks by Tom Palmer. #97 (Mar 1972) “Godhood’s End” (21 pgs) Written by Roy Thomas, inks by Tom Palmer. #98 (Apr 1972) Cover, inks by Barry Smith. #99 (May 1972) Cover, inks by Barry Smith. #105 (Nov 1972) Cover, inks by Jim Mooney/ “In The Beginning Was The World Within” (20 pgs) Written by Steve Englehart, inks by Jim Mooney. #109 (Mar 1973) Cover, inks by John Verpoorten. #121 (Mar 1974) “Houses Divided Cannot Stand!” (19 pgs) Written by Steve Englehart, inks by Don Heck. #124 (Jun 1974) “Beware the Star-Stalker!” (18 pgs) Written by Steve Englehart, inks by Dave Cockrum. #125 (Jul 1974) “The Power of Babel!” (18 pgs) Written by Steve Englehart, inks by Dave Cockrum. #152 (Oct 1976) “Nightmare in New Orleans!” (18 pgs) Written by Steve Englehart, inks by Joe Sinnott. #153 (Nov 1976) “Home is the Hero!” (17 pgs) Written by Steve Englehart, inks by Joe Sinnott. #178 (Dec 1978) Cover, inks by John Buscema. #255 (May 1985) “The Legacy of Thanos” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #256 (Jun 1985) Cover, inks by Tom Palmer/ “This Power Unleashed” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #257 (Jul 1985) Cover, inks by Tom Palmer/ “Holocaust In the Hidden Land” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #258 (Aug 1985) Cover, inks by Tom Palmer/ “Pyrrhic Victory” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #259 (Sep 1985) Cover, inks by Tom Palmer/ “Duty Over All!” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #260 (Oct 1985) “Assault On Sanctuary II” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #261 (Nov 1985) Cover, inks by Tom Palmer/ “Earth and Beyond” (23 pgs) Written by Roger Stern, inks by Tom Palmer. #262 (Dec 1985) Cover, inks by Tom Palmer/ “Many Brave Hearts” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #263 (Jan 1986) Cover, inks by Tom Palmer/ “What Lurks Below?” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #264 (Feb 1986) Cover, inks by Tom Palmer/ “Stings and Arrows” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #265 (Mar 1986) Cover, inks by Tom Palmer/ “Eve of Destruction” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #266 (Apr 1986) Cover, inks by Tom Palmer/ “And the War’s Desolation” (30 pgs) Written by Roger Stern, inks by Tom Palmer. #267 (May 1986) Cover, inks by Tom Palmer/ “Time and Time Again” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #268 (Jun 1986) Cover, inks by Tom Palmer/ “The Kang Dynasty” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #269 (Jul 1986) Cover, inks by Tom Palmer/ “The Once and Future Kang” (23 pgs) Written by Roger Stern, inks by Tom Palmer. #270 (Aug 1986) Cover, inks by Tom Palmer/ “Wild In the Streets” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #271 (Sep 1986) Cover, inks by Tom Palmer/ “Breakaway” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #272 (Oct 1986) Cover, inks by Tom Palmer/ “Assault On Atlantis” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #273 (Nov 1986) Cover, inks by Tom Palmer/ “Rites of Conquest” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #274 (Dec 1986) Cover, inks by Tom Palmer/ “Divided--We Fall” (23 pgs) Written by Roger Stern, inks by Tom Palmer. #275 (Jan 1987) Cover, inks by Tom Palmer/ “Even a God Can Die” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #276 (Feb 1987) Cover, inks by Tom Palmer/ “Revenge” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #277 (Mar 1987) Cover, inks by Tom Palmer/ “The Price of Victory” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #278 (Apr 1987) Cover, inks by Tom Palmer/ “Pressure” (22 pgs) Written by Roger Stern, inks by Tom Palmer.

#279 (May 1987) Cover, inks by Tom Palmer/ “Command Decision” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #280 (Jun 1987) Cover, inks by by Tom Palmer. #281 (Jul 1987) Cover, inks by Tom Palmer/ “By Gods Betrayed” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #282 (Aug 1987) Cover, inks by Tom Palmer/ “Captive” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #283 (Sep 1987) Cover, inks by Tom Palmer/ “Whom the Gods Would Destroy” (23 pgs) Written by Roger Stern, inks by Tom Palmer. #284 (Oct 1987) Cover, inks by Tom Palmer/ “Battleground: Olympus” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #285 (Nov 1987) Cover, inks by Tom Palmer/ “Twilight of the Gods” (22 pgs) Written by Roger Stern, inks by Tom Palmer. #286 (Dec 1987) Cover, inks by Tom Palmer/ “The Fix Is On” (22 pgs) Written by Roger Stern and Ralph Macchio, inks by Tom Palmer. #287 (Jan 1988) Cover, inks by Tom Palmer/ “Invasion” (22 pgs) Written by Roger Stern and Ralph Macchio, inks by Tom Palmer. #288 (Feb 1988) Cover, inks by Tom Palmer/ “Heavy Metal” (22 pgs) Written by Roger Stern and Ralph Macchio, inks by Tom Palmer. #289 (Mar 1988) Cover, inks by Tom Palmer/ “The Cube Root” (22 pgs) Written by Ralph Macchio, inks by Tom Palmer. #290 (Apr 1988) Cover, inks by Tom Palmer/ “The World According To the Adaptoid” (23 pgs) Written by Mark Gruenwald and Ralph Macchio, inks by Tom Palmer. #291 (May 1988) Cover, inks by Tom Palmer/ “Shadows of the Future Past” (22 pgs) Written by Walt Simonson, inks by Tom Palmer. #292 (Jun 1988) Cover, inks by Tom Palmer/ “The Dragon in the Sea” (22 pgs) Written by Walt Simonson, inks by Tom Palmer. #293 (Jul 1988) Cover, inks by Tom Palmer/ “And Flights of Angels” (22 pgs) Written by Walt Simonson, inks by Tom Palmer. #294 (Aug 1988) Cover, inks by Tom Palmer/ “If Wishes Were Horses” (22 pgs) Written by Walt Simonson, inks by Tom Palmer. #295 (Sep 1988) Cover, inks by Tom Palmer/ “Beggars Would Ride” (22 pgs) Written by Walt Simonson, inks by Tom Palmer. #296 (Oct 1988) Cover, inks by Tom Palmer/ “Hearts of Oak and Heads to Match!” (22 pgs) Written by Walt Simonson, inks by Tom Palmer. #297 (Nov 1988) Cover, inks by Tom Palmer/ “Futures Imperfect” (22 pgs) Written by Walt Simonson, inks by Tom Palmer. #298 (Dec 1988) Cover, inks by Tom Palmer/ “Disaster !!!” (22 pgs) Written by Walt Simonson, inks by Tom Palmer. #299 (Jan 1989) Cover, inks by Tom Palmer/ “I (Love) NY” (22 pgs) Written by Walt Simonson, inks by Tom Palmer. #300 (Feb 1989) Cover, inks by Tom Palmer/ “Inferno(2)” (40 pgs) Written by Walt Simonson, inks by Tom Palmer. #303 (May 1990) Cover, inks by Tom Palmer. #385 (Apr 1995) “Evil in a Cold and Lonely Place” (18 pgs) breakdowns, Written by Bob Harras and Terry Kavanagh, inks by Tom Palmer. King size special #1 (Sep 1967) Cover, inks by George Roussos,some alterations by the Bullpen, Scarlet Witch left arm, Thor face. King size special #2 (Sep 1968) Cover, inks by Frank Giacoia/ “Hang Loose, Heroes!” (2 pgs) Pin up inks by Bill Everett who probably added the Hercules character not drawn by John, “Avenjerks Assemble” (5 pgs) Satire Written by Roy Thomas, inks by Frank Giacoia. Annual #3 (Sep 1969) Cover, inks by Frank Giacoia. Annual #23 (1994) Cover, pencils and inks by John Buscema/ “Strangers On An Astral Plane (Part 1: A Flame Extinguished)” (45 pgs) Written by Roy Thomas, Pencils and inks by John Buscema. Avengers Forever (1999) #4 (Mar 1999) Western Cover, inks by Tom Palmer. Avengers Ultron Unleashed (Squarebound August 1999) #1 (Aug 1999) Cover, inks by George Perez. Avengers Under Siege (Trade Paperback 1998) #1 (Nov 1998) Cover, painted by Joe Jusko. Bizarre Adventures (Magazine 1981) #27 (Jul 1981) Phoenix from X-Men “The Brides of Attuma” (18 pgs) Written by Chris Claremont, inks by Klaus Janson. #29 (Dec 1981) “Mirror mirror” (8 pgs) Written by Bruce Jones, inks by Bob Wiacek. #30 (Feb 1982) “Honor” (5 pgs) Written by Steve Skeates, inks by Bob McLeod. Black Panther (1977) #15 (May 1979) Cover, inks by Al Milgrom. Captain America (1968) #115 (Jul 1969) “Now Begins the Nightmare” (20 pgs) Written by Stan Lee, inks by Sal Buscema. #136 (Apr 1971) Cover, inks by John Verpoorten. #217 (Jan 1978) Cover, inks by Frank Giacoia/ “The Search For Steve Rogers!” (17 pgs) Written by Roy Thomas and Don Glut, inks by Pablos Marcos. #350 (Feb 1989) “Captain America’s partners !” (2 pgs) Pin up inks by Al Milgrom. Captain Britain (Marvel Uk 1976) #24 (Mar 23, 1977) “The Fall of the Fourth Reich ?” (7 pgs) Written by Gary Friedrich and Larry Lieber, inks by Tom Palmer. #25 (Mar 30, 1977) “Gathering of Gladiators” (7 pgs) Written by Gary Friedrich and Larry Lieber, inks by Fred Kida. #26 (Apr 6, 1977) “Hickory, Dickory, Death” (7 pgs) Written by Gary Friedrich and Larry Lieber, inks by Tom Palmer. #27 (Apr 13, 1977) “Will You Never Win?” (7 pgs) Written by Gary Friedrich and Larry Lieber, inks by Fred Kida. #28 (Apr 20, 1977) “Night of the Hawk” (7 pgs) Written by Gary Friedrich and Larry Lieber, inks by Tom Palmer. #29 (Apr 27, 1977) “Lonely Are the Hunted” (7 pgs) Written by Gary Friedrich and Larry Lieber, inks by Fred Kida. #30 (May 1977) “Panic In Picadilly” (7 pgs) Written by Gary Friedrich and Larry Lieber, inks by Tom Palmer. Captain Marvel (1968)

#18 (Nov 1969) “Vengeance Is Mine!” (9 pgs) Written by Roy Thomas, Pencils by Gil Kane and John Buscema page 12 to 20, inks by Dan Adkins. Chamber of Darkness (1969) #1 (Oct 1969) “It’s Only Magic” (7 pgs) Written by Stan Lee, inks by John Verpoorten. #3 (Feb 1970) Cover, inks by John Verpoorten/ “Something Lurks On Shadow Mountain” (7 pgs) Written by Roy Thomas, inks by John Verpoorten. Conan the Barbarian (1970) #25 (Apr 1973) “The Mirrors of Kharam Akkad” (20 pgs) Written by Roy Thomas, inks by Sal Buscema and John Severin. #26 (May 1973) Cover, inks by Ernie Chua/ “The Hour of the Griffin!” (20 pgs) Written by Roy Thomas, inks by Ernie Chua. #27 (Jun 1973) “The Blood Jewel of Bel-Hissar!” (20 pgs) Written by Roy Thomas, inks by Ernie Chua, First Conan pencils by John Buscema. #28 (Jul 1973) “Moon of Zembabwei!” (19 pgs) Written by Roy Thomas, inks by Ernie Chua. #29 (Aug 1973) “Two Against Turan!” (20 pgs) Written by Roy Thomas, inks by Ernie Chua. #30 (Sep 1973) “The Hand of Nergal!” (19 pgs) Written by Roy Thomas, inks by Ernie Chua. #31 (Oct 1973) “The Shadow in the Tomb!” (19 pgs) Written by Roy Thomas, inks by Ernie Chua. #32 (Nov 1973) “Flame Winds of Lost Khitai! (Flame Winds part 1)” (19 pgs) Written by Roy Thomas, inks by Ernie Chua. #33 (Dec 1973) “Death and 7 Wizards! (Flame Winds part 2)” (19 pgs) Written by Roy Thomas, inks by Ernie Chua. #34 (Jan 1974) “The Temptress in the Tower of Flame (Flame Winds part 3)” (19 pgs) Written by Roy Thomas, inks by Ernie Chua. #35 (Feb 1974) “The Hell-Spawn of Kara-Shehr” (19 pgs) Written by Roy Thomas, inks by Ernie Chua. #36 (Mar 1974) “Beware the Hyrkanians Bearing Gifts” (19 pgs) Written by Roy Thomas, inks by Ernie Chua. #38 (May 1974) “The Warrior and the Were-Woman” (19 pgs) Written by Roy Thomas, Pencils and inks by John Buscema. #39 (Jun 1974) “The Dragon from the Inland Sea!” (19 pgs) Written by Roy Thomas, Pencils and inks by John Buscema. #41 (Aug 1974) “The Garden of Death and Life!” (18 pgs) Written by Roy Thomas, inks by Ernie Chua. #42 (Sep 1974) “Night of the Gargoyle!” (18 pgs) Written by Roy Thomas, inks by Ernie Chua. #43 (Oct 1974) “Tower of Blood (Tower of Blood part 1)” (18 pgs) Written by Roy Thomas, inks by Ernie Chua. #44 (Nov 1974) Cover, pencils and inks by John Buscema/ “Of Flame and the Fiend! (Tower of Blood part 2)” (18 pgs) Written by Roy Thomas, inks by the Crusty Bunkers. #45 (Dec 1974) “The Last Ballad of Laza-Lanti” (18 pgs) Written by Roy Thomas, inks by the Crusty Bunkers. #46 (Jan 1975) Cover, pencils and inks by John Buscema after a Gil Kane rough plus John Romita touch up/ “The Curse of the Conjurer!” (18 pgs) Written by Roy Thomas, inks by Joe Sinnott. #47 (Feb 1975) “Goblins in the Moonlight!” (9 pgs) Written by Roy Thomas, inks by Dan Adkins. #48 (Mar 1975) “The Rats Dance at Ravengard!” (10 pgs) Written by Roy Thomas, inks by Dick Giordano (figures, pages 1, 5-10), Terry Austin (backgrounds, pages 1, 5-10), Dan Adkins (panel 2 of page 1, pages 2-4), Red Sonja “Episode!” (9 pgs) Written by Roy Thomas, inks by Dick Giordano and Terry Austin (backgrounds). #49 (Apr 1975) “Wolf-Woman!” (18 pgs) Written by Roy Thomas, inks by Dick Giordano and Terry Austin (backgrounds). #50 (May 1975) “The Dweller in the Pool!” (18 pgs) Written by Roy Thomas, inks by Dick Giordano and Terry Austin (backgrounds). #51 (Jun 1975) “Man Born of Demon!” (18 pgs) Written by Roy Thomas, inks by Dick Giordano and Terry Austin (backgrounds), Klaus Janson inked some characters too. #52 (Jul 1975) Cover with John Romita touch up on Conan face inks by Tom Palmer/ “The Altar and the Scorpion!” (18 pgs) Written by Roy Thomas, inks by Tom Palmer. #53 (Aug 1975) “Brothers of the Blade! ( Part 2 of 4)” (18 pgs) Written by Roy Thomas, inks by Franck Springer. #54 (Sep 1975) “The Oracle of Ophir! (Part 3 of 4)” (18 pgs) Written by Roy Thomas, inks by Tom Palmer. #55 (Oct 1975) “A Shadow on the Land! (Part 4 of 4)” (18 pgs) Written by Roy Thomas, inks by Tom Palmer. #56 (Nov 1975) Cover, inks by Al Milgrom/ “The Strange High Tower in the Mist!” (19 pgs) Written by Roy Thomas, inks by Pablos Marcos. #58 (Jan 1976) Cover, inks by John Romita/ “Queen of the Black Coast! (Part 2)” (19 pgs) Written by Roy Thomas, inks by Steve Gan. #59 (Feb 1976) Cover, inks by John Romita/ “The Ballad of Belit!” (17 pgs) Written by Roy Thomas, inks by Steve Gan. #60 (Mar 1976) “Riders of the River-Dragons! (Amra part 1)” (17 pgs) Written by Roy Thomas, inks by Steve Gan. #61 (Apr 1976) “On the Track of the She-Pirate! (Amra part 2)” (17 pgs) Written by Roy Thomas, inks by Steve Gan. #62 (May 1976) “Lord of the Lions! (Amra part 3)” (17 pgs) Written by Roy Thomas, inks by Steve Gan. #63 (Jun 1976) “Death among the Ruins (Amra part 4)” (18 pgs) Written by Roy Thomas, inks by Steve Gan. #64 (Jul 1976) Cover, inks by Mike Esposito. #65 (Aug 1976) “Fiends of the Feathered Serpent!” (18 pgs) Written by Roy Thomas, inks by The Tribe. #66 (Sep 1976) “Daggers and Death Gods!” (18 pgs) Written by Roy Thomas, inks by The Tribe. #67 (Oct 1976) “Talons of the Man-Tiger (Part 3)” (17 pgs) Written by Roy Thomas, inks by The Tribe. #68 (Nov 1976) “Of Once and Future Kings (Part 7/7)” (18 pgs) Written by Roy Thomas, Pencils and inks by John Buscema. #70 (Jan 1977) “The City in the Storm!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #71 (Feb 1977) “The Secret of Ashtoreth!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #72 (Mar 1977) “Vengeance in Asgalun” (17 pgs) Written by

JOHN BUSCEMA JOHN BUSCEMA L’A R T E N E I C O M I C S

L’A R T E N E I C O M I C S Roy Thomas, inks by Ernie Chan. #73 (Apr 1977) “He Who Waits--In The Well of Skelos!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #74 (May 1977) “The Battle at the Black Walls!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #75 (Jun 1977) “The Hawk-Riders of Harakht!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #76 (Jul 1977) “Swordless in Stygia” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #77 (Aug 1977) “When Giants Walk the Earth!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #78 (Sep 1977) Cover, pencils and inks by John Buscema/ “Curse of the Undead-Man” (17 pgs) (reprint from SSOC#1). #79 (Oct 1977) Cover, inks by Ernie Chan. #80 (Nov 1977) Cover, inks by Ernie Chan. #81 (Dec 1977) Cover, inks by Ernie Chan. #82 (Jan 1978) Cover, inks by Ernie Chan. #83 (Feb 1978) Cover, inks by Ernie Chan. #84 (Mar 1978) Cover, inks by Tony de Zuniga/ “Two against the Hawk-City” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #85 (Apr 1978) Cover, inks by Ernie Chan/ “Of Swordsmen and Sorcerers” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #86 (May 1978) Cover, pencils and inks by John Buscema/ “The Devourer of the Dead” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #87 (Jun 1978) Cover, inks by Ernie Chan. #88 (Jul 1978) Cover, inks by Ernie Chan/ “The Queen and the Corsairs” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #89 (Aug 1978) Cover, inks by Ernie Chan/ “The Sword and the Serpent” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #90 (Sep 1978) Cover, pencils and inks by John Buscema/ “The Diadem of the Giant-Kings!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #91 (Oct 1978) Cover, pencils and inks by John Buscema/ “Savage Doings in Shem!#[«](17 pgs) Written by Roy Thomas, inks by Ernie Chan. #93 (Dec 1978) Cover, inks by Ernie Chan/ “Of Rage and Revenge!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #94 (Jan 1979) Cover, pencils and inks by John Buscema/ “The Beast-King of Abombi! ( part 1/4)” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #95 (Feb 1979) Cover, pencils and inks by John Buscema/ “The Return of Amra (part 2/4 of The Beast-King of Abombi)” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #96 (Mar 1979) Cover, pencils and inks by John Buscema/ “The Long Night of Fang and Talon I (part 3/4 of The Beast-King of Abombi)” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #97 (Apr 1979) Cover, inks by Ernie Chan/ “The Long Night of Fang and Talon! (part 4/4 of The Beast-King of Abombi)” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #98 (May 1979) Cover, inks by Bob McLeod/ “Sea-woman” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #99 (Jun 1979) Cover, inks by Ernie Chan/ “Devil Crabs of the Dark Cliffs (adapted from R.E.H. story “The People of the Black Coast”” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #100 (Jul 1979) Cover, inks by Ernie Chan/ “Death on the Black Coast” (33 pgs) Written by Roy Thomas, inks by Ernie Chan, plus one page Weirdworld prevue pencils and inks, #101 (Aug 1979) Cover, inks by Bob McLeod/ “The Devil Has Many Legs!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #102 (Sep 1979) Cover, inks by Al Milgrom/ “The Men Who Drink Blood” (17 pgs) Written by Roy Thomas, inks by Ernie Chan, plus ¼ page Weirworld prevue pencils and inks, #103 (Oct 1979) Cover, inks by Bob McLeod/ “Bride of the Vampire” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #104 (Nov 1979) “The Vale of Lost Women” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #105 (Dec 1979) Cover, inks by Bob Wiacek/ “Whispering Shadows!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #106 (Jan 1980) Cover, inks by Bob Layton/ “Chaos in the Land Called Kush!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #107 (Feb 1980) Cover, inks by Terry Austin/ “Demon of the Night!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #108 (Mar 1980) Cover, inks by Bob Layton/ “The Moon-Eaters of Darfar!” (18 pgs) Written by Roy Thomas, inks by Ernie Chan. #109 (Apr 1980) Cover, inks by Jack Abel ?/ “Sons of the Bear God!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #110 (May 1980) Cover, inks by Al Milgrom/ “Beware the Bear of Heaven!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #111 (Jun 1980) Cover, inks by Al Milgrom/ “Cimmerian Against a City!!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #112 (Jul 1980) Cover, inks by Joe Rubinstein/ “Buryat Besieged!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #113 (Aug 1980) Cover, inks by Al Milgrom/ “A Devil in the Family!” (17 pgs) Written by Christy Marx and Roy Thomas, inks by Ernie Chan. #114 (Sep 1980) “The Shadow of the Beast!” (17 pgs) Written by Roy Thomas, inks by Ernie Chan. #115 (Oct 1980) Cover, inks by Ernie Chan/ “A War of Wizards!” (33 pgs) Written by Roy Thomas, inks by Ernie Chan. #116 (Nov 1980) Cover, inks by Neal Adams reprint first page Power Records#31 of Crawler in the Mists/ Story reprint Power Records#31 “Crawler in the Mists” (19 pgs) Written by Len Wein and J. M. Dematteis, inks by Neal Adams, (3 pgs) new pages pencils and inks by John Buscema, #117 (Dec 1980) Cover, pencils and inks by John Buscema/ “The Corridor of -- Mullah-Kajar” (22 pgs) Written by Larry Hama, inks by Ernie Chan. #118 (Jan 1981) Cover, pencils and inks by John Buscema/

“Valley of Forever Night” (22 pgs) Written by J. M. Dematteis, inks by Ernie Chan. #119 (Feb 1981) Cover, pencils and inks by John Buscema/ “The Voice of One Long Gone” (19 pgs) Written by J. M. Dematteis, inks by John Buscema p:1,3,6,11, The rest inks by Bob McLeod. #120 (Mar 1981) Cover, pencils and inks by John Buscema/ “The Hand of Erlik!” (17 pgs) Written by J. M. Dematteis, inks by Bob McLeod. #121 (Apr 1981) Cover, pencils and inks by John Buscema/ “The Price of Perfection” (17 pgs) Written by J. M. Dematteis, inks by Bob McLeod. #122 (May 1981) Cover, pencils and inks by John Buscema/ “The City Where Time Stood Still” (17 pgs) Written by J. M. Dematteis, inks by Bob McLeod. #123 (Jun 1981) Cover, pencils and inks by John Buscema/ “The Horror Beneath the Hills!” (17 pgs) Written by J. M. Dematteis, inks by Bob McLeod. #124 (Jul 1981) Cover, pencils and inks by John Buscema/ “The Eternity War!” (17 pgs) Written by J. M. Dematteis, inks by Bob McLeod. #125 (Aug 1981) Cover, inks by Terry Austin/ “The Witches of Nexxx” (17 pgs) Written by J. M. Dematteis, inks by Bob McLeod. #126 (Sep 1981) Cover, inks by Terry Austin/ “The Blood Red Eye of Truth!” (17 pgs) Written by J. M. Dematteis, inks by Bob McLeod. #136 (Jul 1982) Cover, pencils and inks by John Buscema/ “The River of Death” (22 pgs) Written by Bruce Jones, inks by Danny Bulanadi and Mel Candido. #137 (Aug 1982) Cover, pencils and inks by John Buscema. #138 (Sep 1982) Cover, pencils and inks by John Buscema. #139 (Oct 1982) Cover, pencils and inks by John Buscema. #140 (Nov 1982) Cover, pencils and inks by John Buscema/ “Spider Isle” (22 pgs) Written by Bruce Jones, Pencils and inks by John Buscema. #141 (Dec 1982) Cover, pencils and inks by John Buscema/ “The Web Tightens” (22 pgs) Written by Bruce Jones, inks by Brett Breeding. #142 (Jan 1983) Cover, pencils and inks by John Buscema/ “The Maze, the Man, the Monster” (22 pgs) Written by Bruce Jones, inks by inks by Ernie Chan. #143 (Feb 1983) Cover, pencils and inks by John Buscema/ “Life Among the Dead” (22 pgs) Written by Bruce Jones, inks by Ricardo Villamonte. #144 (Mar 1983) Cover, pencils and inks by John Buscema/ “The Blade and the Beast” (22 pgs) Written by Bruce Jones, inks by Ernie Chan. #145 (Apr 1983)Cover, pencils and inks by John Buscema. #146 (May 1983) Cover, pencils and inks by John Buscema/ “Night of the Three Sisters !” (22 pgs) Written by Mary Jo Duffy, inks by Bob Camp and Brett Breeding. #147 (Jun 1983) Cover, pencils and inks by John Buscema/ “Tower of Mitra !” (22 pgs) Written by Bruce Jones, inks by Ernie Chan. #148 (Jul 1983) Cover, pencils and inks by John Buscema/ “The Plague of Forlek” (22 pgs) Written by Bruce Jones, inks by Ernie Chan. #149 (Aug 1983) Cover, pencils and inks by John Buscema/ “Death Mark” (22 pgs) Written by Bruce Jones, inks by Ernie Chan. #150 (Sep 1983) Cover, pencils and inks by John Buscema/ “Tower of Flame” (22 pgs) Written by Michael Fleisher, inks by Ernie Chan. #151 (Oct 1983) Cover, pencils and inks by John Buscema/ “Vale of Death” (22 pgs) Written by Michael Fleisher, inks by Ernie Chan. #152 (Nov 1983) “The Dark Blade Of Jergal Zadh!” (22 pgs) Written by Michael Fleisher, inks by Ernie Chan. #153 (Dec 1983) “The Bird Men Of Akah Ma’at!” (22 pgs) Written by Michael Fleisher, inks by Ernie Chan. #155 (Feb 1984) “The Anger of Conan” (22 pgs) Written by John Buscema and Michael Fleisher, inks by Steve Leialoha. #156 (Mar 1984) Cover, pencils and inks by John Buscema/ “The Curse !” (22 pgs) Written by John Buscema and Michael Fleisher, inks by Ernie Chan. #157 (Apr 1984) Cover, pencils and inks by John Buscema/ “The Wizard” (22 pgs) Written by John Buscema and Michael Fleisher, inks by Ernie Chan. #158 (May 1984) Cover, pencils and inks by John Buscema/ “Night of the Wolf” (22 pgs) Written by John Buscema and Michael Fleisher, inks by Rudy Nebres. #159 (Jun 1984) Cover, pencils and inks by John Buscema/ “Cauldron of the Doom” (22 pgs) Written by John Buscema and Michael Fleisher, Pencils and inks by John Buscema. #161 (Aug 1984) Cover, pencils and inks by John Buscema/ “House of Skulls” (22 pgs) Written by Michael Fleisher, Pencils and inks by John Buscema. #162 (Sep 1984) Cover, pencils and inks by John Buscema/ “Destroyer in the Flame” (22 pgs) Written by Michael Fleisher, Pencils and inks by John Buscema. #163 (Oct 1984) “Cavern of the Vines of Doom!” (22 pgs) Written by Michael Fleisher, inks by Charles Vess. #165 (Dec 1984) “Temple of the Dragon” (22 pgs) Written by Michael Fleisher, inks by Armando Gil. #166 (Jan 1985) Cover, pencils and inks by John Buscema/ “Blood of the Titan!” (22 pgs) Written by Michael Fleisher, inks by Geof Isherwood. #167 (Feb 1985) “Creature from Time’s Dawn!” (22 pgs) Written by Michael Fleisher, inks by Dave Simons. #168 (Mar 1985) “The Bird-Woman and the Beast!” (22 pgs) Written by Michael Fleisher, inks by Ernie Chan (as confirmed in #172 letters page). #169 (Apr 1985) Cover, pencils and inks by John Buscema/ “Tomb of the Scarlet Mage!” (22 pgs) Written by Michael Fleisher, inks by Bob Camp. #170 (May 1985) “Dominion of the Dead!” (22 pgs) Written by Michael Fleisher, inks by Bob Camp. #171 (Jun 1985) Cover, pencils and inks by John Buscema/ “Barbarian Death Song” (22 pgs) Written by Michael Fleisher, inks by Armando Gil. #172 (Jul 1985) “Reavers in the Borderland” (22 pgs) Written

by James C. Owsley, inks by Bob Camp. #173 (Aug 1985) “Honor Among Thieves !” (22 pgs) Written by James C. Owsley, inks by Bob Camp. #174 (Sep 1985) Cover, pencils and inks by John Buscema/ “Children of the Night” (22 pgs) Written by James C. Owsley, inks by Bob Camp. #175 (Oct 1985) Cover, pencils and inks by John Buscema/ “The Scarlet Personage !” (22 pgs) Written by James C. Owsley, inks by Ernie Chan. #176 (Nov 1985) “Argos Rain” (22 pgs) Written by James C. Owsley, inks by Bob Camp. #177 (Dec 1985) “Well of Souls !” (22 pgs) Written by James C. Owsley, inks by Pablos Marcos. #178 (Jan 1986) Cover, pencils and inks by John Buscema/ “Death Hunt” (22 pgs) Written by James C. Owsley, inks by Ernie Chan. #179 (Feb 1986) Cover, pencils and inks by John Buscema/ “The End of All There is” (22 pgs) Written by James C. Owsley, inks by Bob Camp. #180 (Mar 1986) Cover, pencils and inks by John Buscema. #181 (Apr 1986) Cover, pencils and inks by John Buscema/ “Maddoc’s Reign” (22 pgs) Written by James C. Owsley, inks by Ernie Chan. #182 (May 1986) Cover, pencils and inks by John Buscema/ “Testament” (22 pgs) Written by James C. Owsley, inks by Ernie Chan. #183 (Jun 1986) Cover, pencils and inks by John Buscema/ “Blood Dawn” (22 pgs) Written by James C. Owsley, inks by Ernie Chan. #184 (Jul 1986) “Cover, pencils and inks by John Buscema/ Swords” (22 pgs) Written by James C. Owsley, inks by Ernie Chan. #185 (Aug 1986) Cover, pencils and inks by John Buscema/ “Monument” (22 pgs) Written by James C. Owsley, inks by Ernie Chan. #187 (Oct 1986) “Resurrection” (22 pgs) Written by James C. Owsley, inks by Ernie Chan. #188 (Nov 1986) Cover, pencils and inks by John Buscema/ “Killing Season” (22 pgs) Written by James C. Owsley, inks by Ernie Chan. #189 (Dec 1986) Cover, pencils and inks by John Buscema/ “Rites of Inquisition” (22 pgs) Written by James C. Owsley, inks by Ernie Chan. #190 (Jan 1987) “Exodus” (22 pgs) Written by James C. Owsley, Written by James C. Owsley, inks by Ernie Chan. annual #2 (1976) “The Phoenix on the Sword” (3 pgs) Written by Roy Thomas, Pencils by John Buscema page 1 to 3, inks by Yong Montano. annual #3 (1977) Cover, inks by Ernie Chan. annual #4 (1978) Cover, inks by Ernie Chan/ “The Return of the Conqueror” (34 pgs) Written by Roy Thomas, inks by Ernie Chan. annual #5 (1979) Cover, inks by John or Sal ?/ “Bride of the Conqueror” (33 pgs) Written by Roy Thomas, inks by Ernie Chan. annual #7 (1982) Cover, pencils and inks by John Buscema/ “Red Shadows and Black Kraken” (33 pgs) Written by Roy Thomas, inks by Danny Bulanadi, Ricardo Villamonte and Armando Gil. Conan: Conan of the Isles (Marvel Graphic Novel 1988) #42 (1988) “Red Shadows and Black Kraken!” (33pgs) Written by Roy Thomas, inks by Danny Bulanadi, Ricardo Villamonte and Armando Gil, reprint Conan annual#7, “Dragons from an Unknown Sea!” (??pgs) Written by Roy Thomas, inks by Dave Simons, “Gods of Light and Darkness!” (??pgs) Written by Roy Thomas, inks by Dave Simons. Conan: Conan the Rogue (Marvel Graphic Novel 1991) #nn (1991) “Conan the Rogue” (60 pgs) Story by John Buscema, Written by Roy Thomas, Pencils Inks and Colors by John Buscema. Conan: Death Covered in Gold (1999) #1 (Sep 1999) “Golden Shadows” (21 pgs) Written by Roy Thomas, Pencils and inks by John Buscema. #2 (Oct 1999) “Brothers of the Worm” (22 pgs) Written by Roy Thomas, Pencils and inks by John Buscema. #3 (Nov 1999) “Down Among the Dead” (22 pgs) Written by Roy Thomas, Pencils and inks by John Buscema. Conan Saga (Magazine 1987) #32 (Dec 1989) Conan the syndicated (4 pgs) plus Cover of Workshop showcase book. #35 (Feb 1990) Conan the syndicated (6 pgs). #37 (Apr 1990) Conan the syndicated (1 pg). #38 (May 1990) Conan#94&95 covers in b&w. #39 (Jun 1990) Conan#96&97covers in b&w. Conan the Barbarian Movie Special (1982) #1 (Oct 1982) Cover, pencils and inks by John Buscema/ “Conan the Barbarian” (24 pgs) Written by Roy Thomas, Pencils and inks by John Buscema. #2 (Nov 1982) Cover, pencils and inks by John Buscema/ “Conan the Barbarian” (24 pgs) Written by Roy Thomas, Pencils and inks by John Buscema. Conan the Savage (Magazine 1995) #10 (May 1996) “The Necromancer of Na’at” (43 pgs) Written by Roy Thomas, inks by Dianne Buscema, Last Conan by Big John, Additional info given by Dianne to Florentino Florez Fernandez (thanks to him): “Dianne told me that the issue of Conan she inked, was finished by her father, who added the pencil and the greys over her inks”. Cosmic Powers Unlimited (1995) #1 (May 1995) (1 pg) Pin up Silver Surfer and Galactus, Pencils and inks by John Buscema. #2 (Aug 1995) “Second Genesis” (22 pgs) Written by Gregory Wright, inks by Geof Isherwood. #3 (Nov 1995) “God Help the Mister -- That Comes Between Me and My Sister” (15 pgs) Written by Gregory Wright, inks by Geof Isherwood. Crazy (magazine 1973) #2 (Dec 1974) “Live and let spy” (8 pgs) inks by the Crusty Bunkers. #82 (Mar 1982) “Hulk VS Dr Doom” (1 pg) inks and tones

by Bob McLeod. Daredevil (1964) #86 (Apr 1972) Cover, inks by Frank Giacoia. #87 (May 1972) Cover, inks by Frank Giacoia. #136 (Aug 1976) Cover, inks by Frank Giacoia/ “A Hanging for a Hero !” (17 pgs) Written by Marv Wolfman, inks by Jim Mooney. #137 (Sep 1976) Cover, pencils and inks John Buscema/ “The Murder Maze Strikes Twice !” (17 pgs) Written by Marv Wolfman, inks by Jim Mooney. #142 (Feb 1977) Cover, inks by Frank Giacoia. #219 (Jun 1985) “Badlands” (22 pgs) Written by Frank Miller, inks by Gerry Talaoc. Deadly Hands of Kung Ku (Magazine 1974) Special album edition#1 or Kung Fu special#1 (Summer 1974) “The Master Plan of Fu Manchu” (1pg) Written by Tony Isabella, Pencils and inks by John Buscema, “Epilog” (1 pg) Written by Tony Isabella, Pencils and inks by John Buscema. Deathlok (1999) #10 (May 2000) “The Weight” (22 pgs) Written by Joe Casey, inks by Tom Palmer. Defenders (1972) #3 (Dec 1972) Cover, with Gil Kane, Silver Surfer character only. #4 (Feb 1973) Cover, inks by Frank Giacoia. #15 (Sep 1974) Cover, inks by Mike Esposito, John Romita touch up. #66 (Dec 1978) Cover inks by Bob McLeod. Doc Savage (1972) #1 (Oct 1972) Cover, pencils and inks by John Buscema. Doc Savage (Magazine 1975) #1 (Aug 1975) “The Doom and Thunder Isle” (53 pgs) Written by Doug Moench, inks by Tony de Zuniga. #3 (Jan 1976) “The Inferno Scheme” (46 pgs) Written by Doug Moench, Tony de Zuniga. Doom 2099 (1993) #39 (Mar 1996) Cover, inks by Jim Palmiotti/ “May the Circle be Unbroken” (18 pgs) Written by Warren Ellis, inks by Scott Koblish, (4 pgs) inks by Scott Koblish. #40 (Apr 1996) Cover, inks by Jim Palmiotti/ “Rage Against Time I: Visitation” (22 pgs) Written by Warren Ellis, inks by Scott Koblish. #42 (Jun 1996) Cover, inks by Jim Palmiotti. Dracula Lives ! (Magazine 1973) #3 (Oct 1973) Dracula “Lord of Death... Lord of Hell !” (12 pgs) Written by Marv Wolfman, inks by Syd Shores. #6 (May 1974) Dracula “Shadow Over Versailles” (11 pgs) Written by Tony Isabella, inks by Pablos Marcos. Epic Illustrated (Magazine 1980) #1 (Spring 1980) Silver Surfer “The Answer” (8 pgs) Written by Stan Lee, inks by Rudy Nebres. #9 (Dec 1981) Weirdworld “The Dragonmaster of Klarn: A Game the Gods Play” (19 pgs) Written by Doug Moench, inks by Marie Severin. #11 (Apr 1982) Weirdworld “The Dragonmaster Of Klarn: Journey to Skyhook Mountain (Part 2)” (15 pgs) Written by Doug Moench, inks by Marie Severin. #12 (Jun 1982) Weirdworld “The Dragonmaster Of Klarn: The Dark Stratagem (Part 3)” (15 pgs) Written by Doug Moench, inks by Marie Severin. #13 (Aug 1982) Weirdworld “The Dragonmaster Of Klarn: Conjurations of Crystal (Part 4)” (18 pgs) Written by Doug Moench, inks by Marie Severin. Essential Conan (Trade Paperback 2000) #1 (2000) Cover and back cover, Pencils and inks by John Buscema. Essential Silver Surfer (Trade Paperback 1998) #1 (2001) Cover and back cover, pencils and inks by John Buscema/ (1 pg) Rough pencils. Fantastic Four (1961) #107 (Feb 1971) Cover, inks by Joe Sinnott/ “And Now... the Thing !”(20 pgs) Written by Stan Lee, inks by Joe Sinnott. #108 (Mar 1971) Cover, inks by Joe Sinnott/ “The Monstrous Mystery of the Nega Man” (20 pgs) Written by Stan Lee, 6 pages pencils by John Buscema, rest of the book by Jack Kirby and John Romita, inks by Joe Sinnot. #109 (Apr 1971) Cover, inks by Joe Sinnott/ “Death in the Negative Zone” (20 pgs) Written by Stan Lee, inks by Joe Sinnott. #110 (May 1971) Cover, inks by Joe Sinnott/ “One From Four Leaves Three” (20 pgs) Written by Stan Lee, inks by Joe Sinnott. #111 (Jun 1971) Cover, inks by Joe Sinnott/ “The Thing Amok” (20 pgs) Written by Stan Lee, inks by Joe Sinnott. #112 (Jul 1971) Cover, inks by Joe Sinnott/ “Battle of the Behemoths” (20 pgs) Written by Stan Lee, inks by Joe Sinnott. #113 (Aug 1971) Cover, inks by Joe Sinnott/ “The Power of the Over-Mind” (20 pgs) Written by Stan Lee, inks by Joe Sinnott. #114 (Sep 1971) Cover, John Romita touch-up & inks by Frank Giacoia/ “But Who Shall Stop the Over-Mind ?” (19 pgs) Written by Stan Lee, inks by Frank Giacoia. #115 (Oct 1971) Cover, John Romita & John Buscema on the Thing inks by John Romita/ “The Secret of the Eternals” (19 pgs) Written by Stan Lee and Archie Goodwin, inks by Joe Sinnott. #116 (Nov 1971) Cover, inks by Joe Sinnott/ “The Alien, the Ally, and Armageddon” (34 pgs) Written by Stan Lee and Archie Goodwin, inks by Joe Sinnott. #117 (Dec 1971) Cover, inks by Joe Sinnott/ “The Flame and the Quest” (20 pgs) Written by Stan Lee and Archie Goodwin, inks by Joe Sinnott. #118 (Jan 1972) Cover, inks by Joe Sinnott/ “Thunder in the Ruins” (15pgs) Written by Stan Lee and Archie Goodwin, inks by Jim Mooney, “What Mad World” (6 pgs) Written by Stan Lee and Archie Goodwin, inks by Jim Mooney. #119 (Feb 1972) Cover, inks by Joe Sinnott/ “Three Stood Together” (21 pgs) Written by Stan Lee and Roy Thomas, inks by Joe Sinnott. #120 (Mar 1972) Cover, inks by Joe Sinnott/ “The Horror that Walks on Air” (21 pgs) Written by Stan Lee and Roy Thomas,

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BIBLIOGRAFIA JOHN BUSCEMA L’A R T E N E I C O M I C S

inks by Joe Sinnott. #121 (Apr 1972) Cover, inks by Joe Sinnott/ “The Mysterious Mind Blowing Secret of Gabriel” (21 pgs) Written by Stan Lee and Roy Thomas, inks by Joe Sinnott. #122 (May 1972) Cover, John Romita touch-up & inks by John Verpoorten/ “Galactus Unleashed” (21 pgs) Written by Stan Lee and Roy Thomas, inks by Joe Sinnott. #123 (Jun 1972) “This World Enslaved” (20 pgs) Written by Stan Lee and Roy Thomas, inks by Joe Sinnott. #124 (Jul 1972) Cover, inks by Joe Sinnott/ “The Return of the Monster” (20 pgs) Written by Stan Lee and Roy Thomas, inks by Joe Sinnott. #125 (Aug 1972) Cover, inks by Joe Sinnott/ “The Monster’s Secret” (20 pgs) Written by Stan Lee and Roy Thomas, inks by Joe Sinnott. #126 (Sep 1972) Cover, inks by Joe Sinnott/ “The Way it Began” (20 pgs) Written by Roy Thomas, inks by Joe Sinnott. #127 (Oct 1972) Cover, inks by Joe Sinnott/ “Where the Sun Dares Not Shine” (20 pgs) Written by Roy Thomas, inks by Joe Sinnott. #128 (Nov 1972) Cover, inks by Joe Sinnott/ “Death in a Dark and Lonely Place” (20 pgs) Written by Roy Thomas, inks by Joe Sinnott, (4 pgs) Insert Pin-ups, inks by Joe Sinnott. #129 (Dec 1972) Cover, inks by Joe Sinnott/ “The Frightful Four - Plus One” (20 pgs) Written by Roy Thomas, inks by Joe Sinnott. #130 (Jan 1973) “Battleground: the Baxter Building” (21 pgs) Written by Roy Thomas, inks by Joe Sinnott. #132 (Mar 1973) “Omega the Ultimate Enemy” (20 pgs) Written by Roy Thomas, inks by Joe Sinnott. #133 (Apr 1973) Cover, inks by Joe Sinnott. #134 (May 1973) Cover, inks by Joe Sinnott/ “A Dragon Stalks the Skies” (20 pgs) Written by Roy Thomas and Gerry Conway, inks by Joe Sinnott. #135 (Jun 1973) Cover, inks by Joe Sinnott/ “The Eternity Machine” (20 pgs) Written by Gerry Conway, inks by Joe Sinnott. #136 (Jul 1973) Cover, inks by Frang Giacoia/ “Rock Around the Cosmos” (19 pgs) Written by Roy Thomas and Gerry Conway, inks by Joe Sinnott. #137 (Aug 1973) Cover, inks by Joe Sinnott/ “Rumble of Planet 3” (19 pgs) Written by Roy Thomas and Gerry Conway, inks by Joe Sinnott. #138 (Sep 1973) Cover, inks by Joe Sinnott/ “Madness is the Miracle Man” (19 pgs) Written by Gerry Conway, inks by Joe Sinnott. #139 (Oct 1973) Cover, inks by Joe Sinnott/ “Target: Tomorrow” (19 pgs) Written by Gerry Conway, inks by Joe Sinnott. #140 (Nov 1973) “Annihilus Revealed” (19 pgs) Written by Gerry Conway, inks by Joe Sinnott. #141 (Dec 1973) “The End of the Fantastic Four” (21 pgs) Written by Roy Thomas, inks by Joe Sinnott. #160 (Jul 1975) “In One World--and Out the Other!” (18 pgs) Written by Roy Thomas, inks by Chic Stone, #173 (Aug 1976) “Counter-Earth Must Die--At the Hand of Galactus!” (17 pgs) Written by Roy Thomas, inks by Joe Sinnott. #174 (Sep 1976) “Starquest!” (17 pgs) Written by Roy Thomas, inks by Joe Sinnott. #175 (Oct 1976) “When Giants Walk the Sky!” (17 pgs) Written by Roy Thomas, Pencils and inks by John Buscema. #198 (Sep 1978) Cover, inks by Joe Sinnott. #202 (Jan 1979) Cover, inks by Joe Sinnott/ “There’s One Iron Man Too Many!” (17 pgs) Written by Marv Wolfman, inks by Joe Sinnott. #296 (Nov 1986) Back cover, inks by Joe Sinnott/ “Homecoming!” (10 pgs) Written by Jim Shooter and Stan Lee, Pencils by John Buscema p:31-40, inks by Steve Leialoha. #297 (Dec 1986) Cover, inks by Sal Buscema/ “Set the Controls for the Heart of the Sun!” (22 pgs) Written by Roger Stern, inks by Sal Buscema. #298 (Jan 1987) Cover, inks by Sal Buscema/ “Closer Than Brothers!” (22 pgs) Written by Roger Stern, inks by Sal Buscema. #299 (Feb 1987) Cover, pencils and inks by John Buscema/ “The Best Man” (22 pgs) Written by Roger Stern, inks by Sal Buscema. #300 (Mar 1987) Cover, inks by Sal Buscema/ “Dearly Beloved” (24 pgs) Written by Roger Stern and Tom DeFalco, inks by Sal Buscema. #301 (Apr 1987) Cover, inks by Sal Buscema/ “Dark Dreams” (22 pgs) Written by Roger Stern and Tom DeFalco, inks by Sal Buscema. #302 (May 1987) Cover, inks by Sal Buscema/ “And Who Shall Survive?!” (22 pgs) Written by Roger Stern, inks by Sal Buscema. #303 (Jun 1987) Cover, pencils and inks by John Buscema/ “Alternatives” (22 pgs) Written by Roy Thomas, inks by Romeo Tanghal. #304 (Jul 1987) Cover, pencils and inks by John Buscema/ “Pressure Drop” (22 pgs) Written by Steve Englehart, inks by Joe Sinnott. #305 (Aug 1987) “All in the Family!” (22 pgs) Written by Steve Englehart, inks by Joe Sinnott. #306 (Sep 1987) “The Marvel Rage!” (22 pgs) Written by Steve Englehart, inks by Joe Sinnott. #307 (Oct 1987) “Good-Bye!” (22 pgs) Written by Steve Englehart, inks by Joe Sinnott. #308 (Nov 1987) “Fasaud!” (22 pgs) Written by Steve Englehart, inks by Joe Sinnott. #309 (Dec 1987) “Danger on the Air!” (22 pgs) Written by Steve Englehart, inks by Joe Sinnott. #416 (Sep 1996) “Roads Not Taken!” (8 pgs) Written by Tom DeFalco, inks by Tom Palmer. annual #11 (Jun 1976) “And Then the Invaders!” (36 pgs) Written by Roy Thomas, inks by Sam Grainger. annual #12 (1977) Cover, inks by Joe Sinnott. Fantastic Four Roast (1982) #1 (May 1982) “When Titans Chuckle!” (2 pgs) Written by Jim Shooter and Fred Hembeck, Pencils by John Buscema p:21 and 25, inks by Bob McLeod p: 21, and Joe Sinnott p:25. Fantastic Four 2099 (1996) #2 (Feb 1996) “Frightful 4 2099!” (22 pgs) Written by Karl

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Kesel, inks by Al Williamson. Francis Brother of the Universe (1980) #1 (1980) Cover, double inks by Marie Severin/ “Francis, Brother of the Universe” (44 pgs) Written by Mary Jo Duffy, inks by Marie Severin. Frankenstein Monster (1973) #7 (Nov 1973) Cover, inks by Frank Giacoia/ “The Fury of a Fiend” (15 pgs) Written by Gary Friedrich, inks by John Verpoorten. #8 (Jan 1974) Cover, inks by John Verpoorten/ “My Name is... Dracula--” (15 pgs) Written by Gary Friedrich, inks by John Verpoorten. #9 (Mar 1974) Cover, inks by Tom Palmer/ “The Vampire Killers” (15 pgs) Written by Gary Friedrich, inks by John Verpoorten. #10 (May 1974) “The Last Frankenstein” (15 pgs) Written by Gary Friedrich, inks by Frank Giacoia and Mike Esposito. Galactus the Devourer (1999) #2 (Oct 1999) Cover, inks by Bill Sienkiewicz/ “Red Shift” (22 pgs) Written by Louise Simonson, inks by Bill Sienkiewicz. #3 (Nov 1999) Cover, inks by Bill Sienkiewicz/ “Denial” (22 pgs) Written by Louise Simonson, inks by Bill Sienkiewicz. #4 (Dec 1999) Cover, inks by Bill Sienkiewicz/ “Truth or Consequences” (22 pgs) Written by Louise Simonson, inks by Bill Sienkiewicz. #5 (Jan 2000) Cover, inks by Bill Sienkiewicz/ “Herald” (22 pgs) Written by Louise Simonson, inks by Bill Sienkiewicz. #6 (Mar 2000) Cover, inks by Bill Sienkiewicz/ “The Death of Galactus” (39 pgs) Written by Louise Simonson, inks by Bill Sienkiewicz. Giant Size Conan (1974) #2 (Dec 1974) Cover, with John Romita touch-up on girl’s face, pencils and inks by John Buscema. Giant Size Fantastic four (1974) #2 (Aug 1974) “Cataclysm!” (30 pgs) Written by Gerry Conway, inks by Chic Stone. #4 (Feb 1975) “Madrox the Multiple Man” (19 pgs) Written by Chris Claremont, inks by Chic Stone and Joe Sinnott. Giant Size Man Thing (1974) #2 (Nov 1974) Cover, pencils and inks by John Buscema/ “Of Monsters and Men!” (33 pgs) Written by Steve Gerber, inks by Klaus Janson. #5 (Aug 1975) “The Sins of the Fathers...” (10 pgs) Written by Len Wein, inks by Frank Springer. Giant Size Super Villain Team Up (1974) #1 (Mar 1975) “Sub-Mariner Rising!” (10 pgs) Written by Roy Thomas, inks by Joe Sinnott, (20 pgs) Reprint Sub-Mariner#20 “In The Darkness Dwells Doom !”. Gunslingers (2000) #1 (Feb 2000) Cover, pencils and inks by John Buscema. Haunt of Horror (Digest Magazine 1973) #2 (Aug 1973) “Devil’s night” (3 pgs illustrations) Written by Dennis O’Neil. Heroes for Hope X-Men (1985) #1 (Dec 1985) “Heroes for Hope” (2 pgs) Written by Stan Lee, Pencils by John Buscema p:3 and 4, inks by Klaus Janson. Howard the Duck (1975) #3 (May 1976) “Four Feathers of Death!” (17 pgs) Written by Steve Gerber, inks by Steve Leialoha. #16 (Sep 1977) “tell the people a story” (2 pgs) Written by Steve Gerber, Pencils and inks by John Buscema. Howard the Duck (Magazine 1979) #4 (Mar 1980) “The Dreadcliff Cuckoos!” (25 pgs) Written by Bill Mantlo, inks by Klaus Janson. Hulk ! (Rampaging 1-10 Magazine 1977) #1 (Jan 1977) Bloodstone “Trail of the Starstone!” (19 pgs) Written by John Warner, inks by Rudy Nebres. #23 (Oct 1980) “A Very Personal Hell” (35 pgs) Written by Jim Shooter, inks by Alfredo Alcala. #26 (Apr 1981) Cover, painted by Joe Jusko/ Frontispiece pencils of the cover by John Buscema. Incredible Hulk (1968) #202 (Aug 1976) Cover, inks by John Romita. Inhumans (1975) #1c (Oct 1975) Dianne Buscema colors, nothing by Big John. Iron man (1968) #89 (Aug 1976) Cover, inks by Frank Giacoia. #99 (Jun 1977) Cover, inks by Al Milgrom. Jungle Action (1972) #1 (Oct 1972) Cover, pencils and inks by John Buscema. #5 (Jul 1973) Reprint Avengers#62. #22 (Jul 1976) Cover, inks by Frank Giacoia. Kazar (1974) #1 (Jan 1974) Cover, pencils and inks by John Buscema. #6 (Nov 1974) Cover, pencils and inks by John Buscema/ “Waters of Darkness, River of Doom!” (18 pgs) Written by Gerry Conway, inks by Alfredo Alcala. #7 (Jan 1975) Cover, pencils and inks by John Buscema/ “Revenge of the River Gods!” (18 pgs) Written by Gerry Conway, inks by Bob McLeod. #8 (Mar 1975) “Down Into the Volcano!” (18 pgs) Written by Gerry Conway, inks by Alfredo Alcala. #9 (Jun 1975) “The Man Who Hunted Dinosaur!” (18 pgs) Written by Gerry Conway, inks by Sonny Trinidad. #10 (Aug 1975) “Beyond the Vale of Savage Time” (18 pgs) Written by Gerry Conway and Doug Moench, inks by Fred Kida. Kickers,Inc (1986) #7 (May 1987) Cover, pencils and inks by John Buscema. Kid Colt Outlaw (1948) #158 (Mar 1972) Cover, inks by Joe Sinnott ? #209 (Aug 1976) Cover, inks by Joe Sinnott ? #227 (Dec 1978) Cover, inks by Alan Weiss. King Conan (1980) #1 (Mar 1980) Cover, inks by Ernie Chan/ “The Witch of the Mists” (36 pgs) Written by Roy Thomas, inks by Ernie Chan. #2 (Jun 1980) Cover, inks by Ernie Chan/ “The Black Sphinx of Nebthu” (35 pgs) Written by Roy Thomas, inks by Ernie Chan. #3 (Sep 1980) Cover, inks by Danny Bulanadi/ “Red Moon of Zembabwei” (35 pgs) Written by Roy Thomas, inks by Danny Bulanadi.

#4 (Dec 1980) Cover, inks by Ernie Chan/ “Shadows In the Skull” (32 pgs) Written by Roy Thomas, inks by Danny Bulanadi, (1 pg) Pinup inks by Bob McLeod. #5 (Mar 1981) Cover, pencils and inks by John Buscema/ “The Ring of Rakhamon!” (33 pgs) Written by Roy Thomas, inks by Danny Bulanadi. #6 (Jun 1981) “Vengeance From the Desert!” (34 pgs) Written by Roy Thomas, inks by Ernie Chan. #7 (Sep 1981) Cover, pencils and inks by John Buscema/ “A Clash of Kings!” (33 pgs) Written by Roy Thomas, inks by Ernie Chan. #8 (Dec 1981) Cover, pencils and inks by John Buscema/ “A Queen Reclaimed!” (33 pgs) Written by Roy Thomas, inks by Ernie Chan. #9 (Mar 1982) Cover, pencils and inks by John Buscema/ “Bones of the Brown Man” (38 pgs) Written by Doug Moench, inks by Ernie Chan. #14 (Jan 1983) Cover, pencils and inks by John Buscema. #17 (Jul 1983) Cover, pencils and inks by John Buscema/ “A Tyrant In Amber” (37 pgs) Written by Alan Zelenetz, inks by Rudy Nebres. Kull (vol 2, 12/1982) #1 (Dec 1982) “The Power and the Kingdom” (48 pgs) Written by Alan Zelenetz, inks by Danny Bulanadi. Kull (vol 3, 05/1983) #1 (May 1983) “Eye of the Tigress” (48 pgs) Written by Bruce Jones & April Campbell, inks by Bob Wiacek and Dan Green. #2 (Jul 1983) “The Amulet of Ka” (37 pgs) Written by Alan Zelenetz, inks by Dan Green and Joe Chiodo, “” (11 pgs) inks by Bill Sienkiewicz. #3 (Dec 1983) “Dead Men of the Deep” (48 pgs) Written by Alan Zelenetz, inks by Klaus Janson., #5 (Aug 1984) “A Vision of Lost Love” (22 pgs) Written by Alan Zelenetz, inks by Klaus Janson. #6 (Oct 1984) “Goblin Moon” (22 pgs) Written by Alan Zelenetz, inks by Klaus Janson. #7 (Dec 1984) “Masquerade” (22 pgs) Written by Alan Zelenetz, inks by Marie Severin. #9 (Apr 1985) “The Sword Of Gonra!” (22 pgs) Written by Alan Zelenetz, inks by Mel Candido. #10 (Jun 1985) “While Valusia Sleeps” (22 pgs) Written by Alan Zelenetz, inks by Marie Severin. Labyrinth (1986) #1 (Nov 1986) Cover, inks by Romeo Tanghal/ (22 pgs) inks by Romeo Tanghal, reprint Marvel Super Special#40, #2 (Dec 1986) Cover, inks by Romeo Tanghal/ (22 pgs) inks by Romeo Tanghal, reprint Marvel Super Special#40, new first splash page , #3 (Jan 1987) Cover, painting by ?/ (22 pgs) inks by Romeo Tanghal, reprint Marvel Super Special#40, new first splash page. Magik (1983) #1 (Dec 1983) Cover, inks by Tom Palmer/ “Little Girl Lost” (23 pgs) Written by Chris Claremont, inks by Tom Palmer. #2 (Jan 1984) “Cold Iron Hot Blood!” (23 pgs) Written by Chris Claremont, inks by Tom Palmer. Male (Magazine Management 1950, Adult magazine) Annual #7 (1969) Pussycat “Newest Merry Misadventure Of Our Cuddly Little Cutie” (4 pgs) pencils and inks by John Buscema, reprinted in Cartoon Capers Vol 5 #1 (Feb 1970), Laugh Parade Vol 10 #5 (Sep 1970), Vol 11#4 (Aug 1971). Man from Atlantis (1978) #1 (Feb 1978) Cover, inks by Joe Sinnott. Man Thing (1974) #12 (Dec 1974) “Song-Cry...of the Living Dead Man!” (18 pgs) Written by Steve Gerber, inks by Klaus Janson. #13 (Jan 1975) “Red Sails at 40,000 Feet!” (18 pgs) Written by Steve Gerber, inks by Tom Sutton. #16 (Apr 1975) “Decay Meets the Mad Viking!” (18 pgs) Written by Steve Gerber, inks by Tom Palmer. Marvel Age (1983) #45 (Dec 1986) Cover, inks by Tom Palmer, Mephisto VS... cover. #135 (Apr 1994) Cover, pencils and inks by John Buscema, Punishers cover. annual#2 (1986) Iron Man, Captain America, Avengers, Fantastic Four (4 pgs) Written by Roger Stern, inks by Tom Palmer. annual#3 (1987) Avengers (1 pgs) Written by Roger Stern, inks by Tom Palmer, Fantastic Four (1 pgs) Written by Steve Englehart, inks by Joe Sinnott. annual#4 (1988) Wolverine, X-men, Excalibur, X-Factor, New Mutants, (5 pgs) inks by Klaus Janson. Marvel Calendar 1975 (APR) “Avengers reprint montage” John Romita pencils too, (AUG) “Villains” inks by John Romita. 1976 (MAY) “Thor and Franklin Roosevelt” inks by Frank Giacoia. 1977 (MAY) “Thor VS Loki” inks by Joe Sinnott, (NOV) “Conan and Red Sonja” inks by Craig Russell. 1978 (JUN) “Spiderman, Doc Ock and Kazar” inks by Joe Sinnott. 1979 (JUN) “Hulk VS Asgard” inks by Joe Rubinstein. 1981 (NOV) “Silver Surfer” inks by Sal Buscema. Marvel Classics Comics (1976) #17 (1977) Cover, inks by Ernie Chan. #19 (1977) Cover, inks by Ernie Chan. #26 (1977) Cover, inks by Ernie Chan. Marvel Comics Presents (1988) #1 (Sept 1988) Wolverine “Save The Tiger Part 1: The Good Guy” (8 pgs) Written by Chris Claremont, inks by Klaus Janson. #2 (Sept 1988) Wolverine “Save The Tiger Part 2: The Bad Guy” (8 pgs) Written by Chris Claremont, inks by Klaus Janson. #3 (Sept 1988) Wolverine “Save The Tiger Part 3: The Gals” (8 pgs) Written by Chris Claremont, inks by Klaus Janson. #4 (Oct 1988) Wolverine “Save The Tiger Part 4: The Ordeal” (8 pgs) Written by Chris Claremont, inks by Klaus Janson. #5 (Oct 1988) Wolverine “Save The Tiger Part 5: The Rescue” (8 pgs) Written by Chris Claremont, inks by Klaus Janson. #6 (Nov 1988) Cover, inks by Klaus Janson/ Wolverine “Save the Tiger Part 6: Things Get Bad” (8 pgs)Written by Chris Cla-

remont, inks by Klaus Janson. #7 (Nov 1988) Wolverine “Save The Tiger Part 7: Things Get Worse” (8 pgs) Written by Chris Claremont, inks by Klaus Janson. #8 (Dec 1988) Wolverine “Save The Tiger Part 8: The Fight” (8 pgs) Written by Chris Claremont, inks by Klaus Janson. #9 (Dec 1988) Wolverine “Save The Tiger Part 9: The Confrontation” (8 pgs) Written by Chris Claremont, inks by Klaus Janson. #10 (Jan 1989) Wolverine “Save The Tiger Part 10: The Resolution” (8 pgs) Written by Chris Claremont, inks by Klaus Janson. #38 (Dec 1989) Wolverine “Black Shadow White Shadow Part 1: The Killing Ground” (8 pgs) Written by Marv Wolfman, Pencils and inks by John Buscema. #39 (Dec 1989) Wolverine “Black Shadow White Shadow Part 2: The Shadows Strike!” (8 pgs) Written by Marv Wolfman, Pencils and inks by John Buscema. #40 (Dec 1989) Wolverine “Black Shadow White Shadow Part 3: Hong Kong Inferno” (8 pgs) Written by Marv Wolfman, Pencils and inks by John Buscema. #41 (Jan 1990) Wolverine “Black Shadow White Shadow Part 4: China Beach Head” (8 pgs) Written by Marv Wolfman, Pencils and inks by John Buscema. #42 (Jan 1990) Wolverine “Black Shadow White Shadow Part 5: Village of Blood” (8 pgs) Written by Marv Wolfman, Pencils and inks by John Buscema. #43 (Feb 1990) Wolverine “Black Shadow White Shadow Part 6: Haven” (8 pgs) Written by Marv Wolfman, Pencils and inks by John Buscema. #44 (Feb 1990) Wolverine “Black Shadow White Shadow Part 7: Blood Craze” (8 pgs) Written by Marv Wolfman, Pencils and inks by John Buscema. #45 (Mar 1990) Wolverine “Black Shadow White Shadow Part 8: Origins” (8 pgs) Written by Marv Wolfman, Pencils and inks by John Buscema. #46 (Mar 1990) Wolverine “Black Shadow White Shadow Part 9: Assault” (8 pgs) Written by Marv Wolfman, Pencils and inks by John Buscema. #47 (Apr 1990) Wolverine “Black Shadow White Shadow Part 10: Shadows In the Light” (8 pgs) Written by Marv Wolfman, Pencils and inks by John Buscema. Marvel Comics Super Special (Magazine 1977) #1 (1977) Kiss chapter II (5 pgs) Written by Steve Gerber, inks by Al Milgrom, Kiss chapter IV (5 pgs) Written by Steve Gerber, inks by Al Milgrom. #2 (1977) Conan (frontispiece) pencils and inks by John Buscema, Conan “Revenge of the Barbarian” Written by Roy Thomas, inks by Alfredo Alcala. #9 (1978) Cover, painting by John Buscema/ Conan (frontispiece) pencils and inks by John Buscema, Conan “The Trail of the Bloodstained God” (34 pgs) Written by Roy Thomas, inks by Tony de Zuniga, (2 illos) pencils and inks by John Buscema. #11 (Spring 1979) Cover, inks by Rudy Nebres, painting by Peter Ledger/ Weirdworld (frontispiece) inks by Rudy Nebres, “Part the First” (36 pgs) Written by Doug Moench, inks by Rudy Nebres, Painted by Peter Ledger, “John Buscema Scrapbook” (3 pgs) Pencils, Inks and Colors by John Buscema. #12 (Summer 1979) Cover, inks by Rudy Nebres, painting by Peter Ledger/ Weirdworld (frontispiece) , “Part the Second: The Darklens Gems” (29 pgs) Written by Doug Moench, inks by Rudy Nebres, Painted by Peter Ledger, “John Buscema Scrapbook” (2 pgs) Pencils, Inks and Colors by John Buscema, (Inside back cover) inks by Rudy Nebres. #13 (Fall 1979) Cover, inks by Rudy Nebres, painting by Peter Ledger/ Weirdworld (2 illos) Pencils and inks by John Buscema, “Part the Third: The Soul Shrine” (35 pgs) Written by Doug Moench, inks by Rudy Nebres, Painted by Peter Ledger, “John Buscema Scrapbook” (6 illos) Pencils and inks by John Buscema. #18 (1981) Raiders of the Lost Ark (frontispiece) inks by ?, “Raiders of the Lost Ark” (63 pgs) Written by Walt Simonson, inks by Klaus Janson. #21 (1982) Conan the movie adaptation “ Conan the Barbarian” (48 pgs) Written by Michael Fleisher, Pencils and inks by John Buscema. #35 (Dec 1984) Conan the destroyer movie adaptation “Part I” (24 pgs) Written by Michael Fleisher, Roy Thomas and Gerry Conway, Pencils and inks by John Buscema, “Part II” (23 pgs) Written by Michael Fleisher, Roy Thomas and Gerry Conway, Pencils by John Buscema, inks by Pat Redding, Bob Camp and Charles Vess. #40 (Oct 1986) Labyrinth movie adaptation “Labyrinth” (64 pgs) Written by Sid Jacobson, inks by Romeo Tanghal. Marvel Fanfare (1982) #24 (Jan 1986) Weirdworld (1 pg) Pin up inks by Rudy Nebres. #26 (May 1986) Weirdworld, (1 pg) Pin up inks by Rudy Nebres. #45 (Apr 1989) Loki and Thor (1 pg) Pin up inks by Brett Breeding. #51 (Jun 1990) Double Cover, pencils and inks by John Buscema/ Silver Surfer “The Great Terror” (39 pgs) Written by Steve Englehart, inks by Jack Abel. #53 (Oct 1990) Cover, pencils and inks by John Buscema/ Black Knight “Paradise Lost” (22pgs) p:1 Pencils and inks by John Buscema, p:2-22 Pencils by John Buscema, inks by Jose Marzan. Marvel Feature (1971) #2 (Mar 1972) Cover, with Romita alteration on Sub-Mariner’s face, inks by Frank Giacoia. Marvel Heroes and Legends (1996) #1 (1996) Cover, small parts of/ Avengers, Fantastic Four annual#3 retold “For Better and For Worse” (48 pgs) Written by Stan Lee and Fabian Nicieza, (8 pgs) Pencils by John Buscema, inks by Joe Sinnott. Marvel Illustrated the Swimsuit Issue (1991) #1 (1991) Submariner Illo inks by Tom Palmer. Marvel Preview (Magazine 1975)

JOHN BUSCEMA L’A R T E N E I C O M I C S #9 (Winter 1976) “Man-God!” (52 pgs) Written by Roy Thomas, uncredited layouts by John Buscema from page 7 to 54 of the book, finished pencils and inks by Tony de Zuniga, first three pages layouts by Rich Buckler inks by Tony de Zuniga, last page of the book, page 55 seems to be by someone else maybe Dan Adkins. #12 (Fall 1977) Dracula (double page, frontispiece and page1) inks by Ernie Chan, (1 page) Dracula pin-up pencils and inks by John Buscema page 40. #16 (Fall 1978) (frontispiece) Pencils and inks by John Buscema. #22 (Summer 1980) Merlin (frontispiece) inks by Frank Giacoia, “Quest Of The King!” (55 pgs) Written by Doug Moench, Plotted and pencils by John Buscema, inks by Tom Palmer and John Tartaglione. #23 (Fall 1980) Bizarre Adventures#2 “Shandra” (11 pgs) Written by Lynn Graeme, inks by Joe Jusko. Marvel Saga the Official History of the Marvel Universe (1985) #20 (Jul 1987) Cover, pencils and inks by John Buscema, Big John version of Jack Kirby Fantastic Four cover#39. Marvel’s Greatest Comics (1969) #35 (Jun 1972) Cover, inks by Joe Sinnott. Marvel Spotlight (1971) #30 (Oct 1976) Cover, Joe Sinnott inks/ Warriors Three “A Night on the Town” (17 pgs) Written by Len Wein, inks by Joe Sinnott, Take place between Thor#247 and 248. Marvel Tales (1964) #39 (Nov 1972) Cover, Probably more Sal Buscema pencils, inks by John Verpoorten. Marvel Treasury Edition (1974) #2 (Dec 1974) Fantastic Four centerspread, inks by Frank Giacoia. #3 (1974) Thor centerspread, Pencils and inks by John Buscema. #15 (1977) Cover, inks by Ernie Chan/ Back cover, pencils and inks by John Buscema/ Conan, reprint SSOC Black Colossus. #19 (1978) Cover, Inside and outside back cover, pencils and inks by John Buscema/ Conan, reprint SSOC#4. #23 (1979) Cover and Back cover, inks by Joe Sinnott/ Conan, reprint SSOC#5, Conan the syndicated “The Sword and the Sorcerer” (17 pgs) Written by Roy Thomas, Pencils and inks by John Buscema, first time in color with the cover of the Workshop showcase book also used for Alter ego#15 cover. #28 (1981) Cover, pencils by John Buscema, painted by ?/ Inside back cover pencils rough/ Back cover, inks by Joe Sinnott/ Superman and Spiderman “The Heroes and the Holocaust” (62 pgs) Written by Marv Wolfman and Jim Shooter, inks by Joe Sinnott, Terry Austin, Klaus Janson, Bob McLeod, Al Milgrom, Steve Leialoha, Walt Simonson, Bob Layton, Joe Rubinstein, Bob Wiacek. Marvel Treasury Special Giant Superhero Holiday Grab-Bag (1974) #nn (1974) Cover, pencils and inks by John Buscema, revision and partial inks by John Romita. Marvel Triple Action (1972) #1 (Feb 1972) Cover, inks by Joe Sinnott. #4 (Aug 1972) Cover, inks by Sal Buscema. #5 (Sep 1972) Cover, inks by Sal Buscema. Marvel Two in One (1974) #5 (Sep 1974) Cover, inks by Mike Esposito, Thing and Guardians of Galaxy. #30 (Aug 1977) Thing and Spider Woman “Battle Atop Big Ben!” (17 pgs) Written by Marv Wolfman, inks by Pablos Marcos. #44 (Oct 1978) Cover ?, inks by Bob Hall, Thing and Hercules. #45 (Nov 1978) Cover ?, inks by ?, Thing and Captain Marvel. Master of Kung Fu (1974) #22 (Nov 1974) Cover, inks by Joe Sinnott inks. #27 (Apr 1975) “Confrontation” (18 pgs) Written by Doug Moench, inks by Frank Springer. Men (Magazine Management 1952, Adult magazine) Vol 18 #10 (Oct 1969) Pussycat “The Gal Gets Her Goal” (4 pgs) pencils and inks by John Buscema. Vol 19 #4 (Apr 1970) Pussycat “Pandemonium At The Company Picnic” (4 pgs) pencils and inks by John Buscema. Mephisto VS ... (1987) #1 (Apr 1987) Fantastic Four “Give the Devil His Due” (23 pgs) Written by Al Milgrom, inks by Bob Wiacek. #2 (May 1987) Cover, pencils and inks by John Buscema/ X-Factor “Sympathy for the Devil” (23 pgs) Written by Al Milgrom, inks by Bob Wiacek. #3 (Jun 1987) Cover, pencils and inks by John Buscema/ X-Men “The Devil you Say” (23 pgs) Written by Al Milgrom, inks by Al Milgrom. #4 (Jul 1987) Cover, pencils and inks by John Buscema/ Avengers “His Satanic Majesty’s Request” (25 pgs) Written by Al Milgrom, inks by Bob Wiacek. MGM’s Marvelous Wizard of Oz (Tabloid 1975) #1 (1975) “Metro-Goldwyn Mayer’s The Wizard of Oz” (72 pgs) Written by Roy Thomas, inks by Tony de Zuniga and The Tribe, (1pg) Ad for the Upcoming Land of Oz book, Pencils and inks by John Buscema ?. Monsters Unleashed (Magazine 1973) #2 (Sep 1973) Frankenstein “Frankenstein 1973” (13 pgs) Written by Gary Friedrich, inks by Syd Shores. #4 (Feb 1974) Frankenstein “The Classic Monster” (10 pgs) Written by Gary Friedrich, inks by Syd Shores and Winslow Mortimer. #5 (Apr 1974) Frankenstein “Once a Monster” (10 pgs) Written by Gary Friedrich, inks by Winslow Mortimer. Ms Marvel (1977) #1 (Jan 1977) “This Woman, This Warrior!” (17 pgs) Written by Gerry and Carla Conway, inks by Joe Sinnott. #2 (Feb 1977) Cover, inks by Joe Sinnott/ “Enigma of Fear!” (17 pgs) Written by Gerry Conway, inks by Joe Sinnott. #3 (Mar 1977) Cover ? or Al Milgrom, inks by Joe Sinnott/ “The Lady’s Not For Killing!” (17 pgs) Written by Chris Claremont, inks by Joe Sinnott. #4 (Apr 1977) Cover ? or Ed Hannigan (an alternate pencilled cover by John exists), inks by John Romita or Mike Esposito.

#6 (Jun 1977) Cover ? alterations by Marie Severin, inks by Joe Sinnott or Frank Giacoia. #7 (Jul 1977) Cover ? or Rich Buckler, inks by Joe Sinnott. #10 (Oct 1977) Cover ? or Sal Buscema, inks by Tom Palmer. #11 (Nov 1977) Cover ? or Sal Buscema, inks by Joe Sinnott. #15 (Mar 1978) Cover, inks by Joe Sinnott. My Love (1969) #1 (Sep 1969) “Must I live without love” (7 pgs) Written by Stan Lee ?, inks by Sal Buscema. #2 (Nov 1969) “I do my thing..No matter whom it hurts !” (7 pgs) Written by Stan Lee ?, inks by John Romita. #3 (Jan 1970) “Love isn’t in the cards for me !” (7 pgs) Written by Stan Lee, inks by John Romita and Frank Giacoia, “The man I must not love” (7 pgs) Written by Stan Lee, inks by John Romita, “The Drop-out and the Debutante !” (7 pgs) Written by Stan Lee, inks by John Verpoorten. #4 (Mar 1970) “Only myself to blame” (7 pgs) Written by Stan Lee, inks by Sal Buscema. #5 (May 1970) “The day my world collapsed !” (6 pgs) Written by Stan Lee, inks by Frank Giacoia. #6 (Jul 1970) Cover, inks by John Romita/ “My song and my sorrow !” (6 pgs) Written by Stan Lee, inks by Dick Ayers, “And so we’ll be married” (7 pgs) Written by Stan Lee, inks by Dick Ayers. #7 (Sep 1970) Cover, inks by Joe Sinnott/ “Did I make the wrong choice ?” (6 pgs) Written by Stan Lee, inks by Dick Ayers. #8 (Nov 1970) Cover, inks by Joe Sinnott. #9 (Jan 1971) Cover, inks by John Romita. #10 (Mar 1971) Cover, inks by John Verpoorten/ “No man is my master” (6 pgs) inks by John Verpoorten. #13 (Sep 1971) Cover, inks by Frank Giacoia. #15 (Jan 1972) Cover, inks by Joe Sinnott. #16 (Mar 1972) Cover, inks by John Romita. #18 (Jul 1972) “Another kind of love !” (7 pgs) inks by Vince Colletta. #25 (Sep 1973) Cover, Reprint My Love#10 cover. #27 (Jan 1974) Cover, Reprint My Love#13 cover. #28 (May 1974) Cover, Reprint Our Love Story#16 cover. #29 (Jul 1974) Cover, Reprint 1st page of Our Love Story#16 story with some modifications. #34 (May 1975) Cover, Reprint My Love#16 cover, #36 (Sep 1975) Cover, inks by Frank Giacoia. #37 (Nov 1975) Cover, Reprint My Love#7 cover. Queen size special #1 (Dec 1971) Cover, inks by Frank Giacoia. Not Brand Echh ! (1969) #12 (Feb 1969) “The Revengers” (1pg) Written by Roy Thomas, Last page of the story showing the Avengers Pencils by John Buscema, inks by George Klein. Nova (1976) #1 (Sep 1976) Cover ? Rich Buckler ?, inks by Joe Sinnott/ “Nova” (17 pgs) Written by Marv Wolfman, inks by Joe Sinnott. #2 (Oct 1976) Cover, inks by Frank Giacoia/ “The First Night of...the Condor!” (18 pgs) Written by Marv Wolfman, inks by Joe Sinnott. #3 (Nov 1976) Cover, inks by Frank Giacoia. #8 (Apr 1977) Cover, inks by Joe Sinnott. #12 (Aug 1977) Cover, inks by Joe Sinnott. #15 (Nov 1977) Cover, inks by Joe Sinnott. #21 (Sep 1978) “The Shocking Secret of Nova” (17 pgs) Written by Marv Wolfman, inks by Bob McLeod and Joe Rubinstein. Official Handbook of the Conan Universe (1986) #1 (Jan 1986) (Frontipiece) pencils ?, (2 illos) pencils and inks by John Buscema. Official Handbook of the Marvel universe (V2 1985) #1 (Dec 1985) (3 illos) Andromeda, Aragorn, Arkon, inks by Joe Rubinstein. #5 (Apr 1986) (1 illo) Her, inks by Joe Rubinstein. #8 (Jul 1986) (2 illos) Mantis, Mephisto, inks by Joe Rubinstein. #9 (Aug 1986) (1 illo) Nebula, inks by Joe Rubinstein. #10 (Sep 1986) (1 illo) Red Wolf, inks by Joe Rubinstein. #13 (Dec 1986) (1 illo) Tiger Shark, inks by Joe Rubinstein. #14 (Jan 1987) (1 illo) Wasp, inks by Joe Rubinstein. #17 (Aug 1987) (1 illo) Lady Dorma, inks by Joe Rubinstein. Our Love Story (1969) #1 (Oct 1969) “..But oh, My lonely nights !” (7 pgs) Written by Stan Lee ?, inks by John Romita, “We dare not marry !” (7 pgs) Written by Stan Lee ?, inks by John Romita. #2 (Dec 1969) “I love him.. But he”s hers !” (7 pgs) Written by Stan Lee, inks by John Romita, “We ‘ll never meet again !” (7 pgs) Written by Stan Lee, inks by John Romita, “I can’t forget you” (7 pgs) Written by Stan Lee, inks by Frank Giacoia not John Romita. #3 (Feb 1970) Cover, inks by Frank Giacoia/ “Only one can win !” (7 pgs) Written by Stan Lee, inks by Don Heck. #5 (Jun 1970) “But he’s not the boy for me !” (6 pgs) Written by Stan Lee, inks by Frank Giacoia. #6 (Aug 1970) Cover, ? Signed by Romita but.../ “How ? How can he love me ?” (6 pgs) Written by Stan Lee, inks by Frank Giacoia. #7 (Oct 1970) Cover, alterations and inks by John Romita ?/ “Happy ending !” (6 pgs) Written by Stan Lee, inks by Dick Ayers. #8 (Dec 1970) Cover, inks by John Verpoorten. #9 (Feb 1971) Cover, inks by Frank Giacoia/ “I dreamed the impossible dream !” (6 pgs) Written by Stan Lee, inks by Dick Ayers. #11 (Jun 1971) Cover, inks by John Romita. #13 (Oct 1971) Cover, inks by Frank Giacoia. #14 (Dec 1971) Cover, by Sal Buscema. #15 (Feb 1972) Cover, inks by Joe Sinnott. #16 (Apr 1972) Cover, inks by Joe Sinnott/ “The boy who can’t be mine !” (7 pgs) Written by Stan Lee, inks by Joe Sinnott. #22 (Apr 1973) Cover, Reprint#6. #23(Jun 1973) Cover, Reprint#3. #24 (Aug 1973) Cover, Reprint#8. #27 (Feb 1974) Cover, Reprint M.L#15.

#28 (Jun 1974) Cover, Reprint #15. #35 (Aug 1975) Cover, inks by Frank Giacoia. #38 (Feb 1976) Cover, Reprint M.L.#9. Pizzaz (Magazine 1977) Young Tarzan in all #1 (Oct 1977) (1 pg) inks by Ernie Chan. #2 (Nov 1977) (1 pg) inks by Ernie Chan. #3 (Dec 1977) (1 pg) Pencils and inks by John Buscema. #4 (Jan 1978) (1 pg) Pencils and inks by John Buscema. #5 (Feb 1978) (1 pg) inks by Ernie Chan. #6 (Mar 1978) (1 pg) inks by Ernie Chan. #7 (Apr 1978) (1 pg) Pencils and inks by John Buscema. #8 (May 1978) (1 pg) Pencils and inks by John Buscema. Punisher a Man Named Frank (1994) #1 (Jun 1994) “A Man Named Frank” (45 pgs) Written by Chuck Dixon, Pencils and inks by John Buscema. Punisher Meets Archie (1994) #1 (1994) “When Worlds Collide” (45 pgs) Punisher art by John Buscema, inks by Tom Palmer. Punisher War Zone (1992) #23 (Jan 1994) “Bringing Down the House part 2” (29 pgs) Written by Larry Hama, inks by Val Mayerik, Art Nichols and Jimmy Palmiotti. #24 (Feb 1994) “Suicide Run Part 5: Shhh!” (20 pgs) Written by Larry Hama, inks by Val Mayerik and Art Nichols. #25 (Mar 1994) “Suicide Run Part 8: Last Dance in Laastekist” (29 pgs) Written by Larry Hama, inks by Val Mayerik and Art Nichols. #26 (Apr 1994) “Pirates” (22 pgs) Written by Chuck Dixon, Pencils and inks by John Buscema. #27 (May 1994) “Boss Sugar” (22 pgs) Written by Chuck Dixon, Pencils and inks by John Buscema. #28 (Jun 1994) “Sweet Revenge” (22 pgs) Written by Chuck Dixon, Pencils and inks by John Buscema. #29 (Jul 1994) “The Swine” (22 pgs) Written by Chuck Dixon, Pencils and inks by John Buscema. #30 (Aug 1994) “Ring of Fire” (22 pgs) Written by Chuck Dixon, inks by Tom Palmer, Klaus Janson and Art Nichols. annual #1 (Jul 1993) “Bulletproof” (30 pgs) Written by Chuck Dixon, Pencils and inks by John Buscema. Red Sonja (1977) #12 (Nov 1978) “Ashes and Emblems” (17 pgs) Written by Roy Thomas and Clara Noto, inks by Joe Rubinstein. #13 (Jan 1979) “Shall Skranos Fall ?” (17 pgs) Written by Roy Thomas and Clara Noto, inks by Al Milgrom. #15 (May 1979) “The Tomb of Three Dead Kings!” (17 pgs) Written by Roy Thomas and Clara Noto, inks by Tony de Zuniga. Red Sonja (1983) #1(Feb 1983) Cover, pencils and inks by John Buscema. Savage Fists of Kung Fu (Treasury 1975) #1 (1975) (2 pgs) Reprint Deadly Hands of Kung Fu Special#1. Savage She Hulk (1980) #1 (Feb 1980) Cover, pencils and inks by John Buscema/ “The She-Hulk Lives” (17 pgs) Written by Stan Lee, inks by Chic Stone. #2 (Mar1980) Cover, Joe Sinnott inks. Savage Sword of Conan (Magazine 1974) #1 (Aug 1974) “Curse Of The Undead-Man” (18 pgs) Written by Roy Thomas, inks by Pablos Marcos. Story was intended for Conan#42 but was published in this first issue. Page 14 and 15 were drawn one a single page as usually done in this era for a Marvel comic book. #2 (Oct 1974) “Black Colossus” (36 pgs) Written by Roy Thomas, inks by Alfredo Alcala, (1 illo) Pencils and inks by John Buscema, ad for next issue. #3 (Dec 1974) “At The Mountain Of The Moon-God” (23 pgs) Written by Roy Thomas, inks by Pablos Marcos. #4 (Feb 1975) “Iron Shadows In The Moon” (45 pgs) Written by Roy Thomas, inks by Alfredo Alcala. #5 (Apr 1975) Cover, layouts, painted by Boris Vallejo/ “A Witch Shall Be Born” (55 pgs) Written by Roy Thomas, inks by Tony de Zuniga, (1 illo) Pencils and inks by John Buscema used from the back of the MOKF#22 cover. #7 (Aug 1975) “The Citadel At The Center Of Time” (44 pgs) Written by Roy Thomas, inks by Alfredo Alcala, (1 illo) pencils by John Buscema, (1 illo) SSOC#5 cover pencils rough by John Buscema. #10 (Feb 1976) “Conan The Conqueror” (58 pgs) Written by Roy Thomas, inks by Tony de Zuniga, (1 illo) pencils by John Buscema. #11 (Apr 1976) “The Abode Of The Damned” (50 pgs) Written by Roy Thomas, inks by Yong Montano, (1 illo), #12 (Jun 1976) “The Haunters Of Castle Crimson” (48 pgs) Written by Roy Thomas, inks by Alfredo Alcala, #13 (Jul 1976) (2 illos) Pencils and inks by John Buscema, #15 (Oct 1976) “The Devil In Iron” (40 pgs) Written by Roy Thomas, inks by Alfredo Alcala, (1 illo) inks by Dan Adkins. #16 (Dec 1976) “The People Of The Black Circle” (25 pgs) Written by Roy Thomas, inks by Alfredo Alcala, (1 pinup) inks by Tim Conrad. #17 (Feb 1977) (Frontispiece) pencils and inks by John Buscema, “On To Yimsha” (25 pgs) Written by Roy Thomas, inks by Alfredo Alcala. #18 (Apr 1977) “The Battle Of The Towers” (34 pgs) Written by Roy Thomas, inks by Alfredo Alcala, (1 illo) Pencils and inks by John Buscema. #19 (Jun 1977) “Vengeance In Vendhya” (32 pgs) Written by Roy Thomas, inks by Alfredo Alcala, Subscription ad (1 pg) inks by Rick Hoberg, same illo with alterations and additions than another inked by Mike Gustovich, “Robert E. Howard portfolio” Conan, Kull, Red Sonja, Solomon Kane (4 pgs) Pencils and inks by John Buscema, One illo pencils, inks by ?. #20 (Jul 1977) “The Slithering Shadow” (46 pgs) Written by Roy Thomas, inks by Alfredo Alcala. #21 (Aug 1977) “The Horror From the Red Tower” (40 pgs) Written by Roy Thomas, inks by Sonny Trinidad, “Part III”, (11 pgs) Pencils and inks by John Buscema.

#22 (Sep 1977) “The Pool of the Black One” (28 pgs) Written by Roy Thomas, inks by Sonny Trinidad. #23 (Oct 1977) “Torrent of Doom” (19 pgs) Written by Roy Thomas, inks by Alfredo Alcala. #24 (Nov 1977) “The Tower of the Elephant” (40 pgs) Written by Roy Thomas, inks by Alfredo Alcala. #26 (Jan 1978) “Beyond the Black River” (36 pgs) Written by Roy Thomas, inks by Tony de Zuniga and Alfredo Alcala. #27 (Mar 1978) “The Children of Jhebbal Sag” (45 pgs) Written by Roy Thomas, inks by Tony de Zuniga, (Conan the syndicated preview 4 pgs). #28 (Apr 1978) “The Blood of the Gods” (60 pgs) Written by Roy Thomas, inks by Alfredo Alcala. #30 (Jun 1978) (3 illos) Pencils and inks by John Buscema. #31 (Jul 1978) “The Flame Knife” (50 pgs) Written by Roy Thomas, inks by Tony de Zuniga, (2 illos) Pencils and inks by John Buscema. #32 (Aug 1978) “The Ghouls of Yanaidar” (56 pgs) Written by Roy Thomas, inks by Tony de Zuniga. #33 (Sep 1978) (5 illos) Pencils and inks by John Buscema. #34 (Oct 1978) Conan the syndicated (3 pgs) Pencils and inks by John Buscema. #35 (Nov 1978) (5 illos) Pencils and inks by John Buscema. #36 (Dec 1978) “Hawks Over Shem” (50 pgs) Written by Roy Thomas, inks by Alfredo Alcala, (2 illos) Pencils and inks by John Buscema. #38 (Mar 1979) “The Road of the Eagles” (50 pgs) Written by Roy Thomas, inks by Tony de Zuniga), (1 illo) inks by Bill Wray. #39 (Apr 1979) (1 page subscription ad) Conan and Red Sonja pencils and inks by John Buscema, (1 illo) inks by Bill Wray. #40 (May 1979) Cover, painted by John Buscema/ “A Dream of Blood” (46 pgs) inks by Tony de Zuniga. #41 (Jun 1979) “The Quest For the Cobra Crown” (43 pgs) Written by Roy Thomas, inks by Tony de Zuniga, (3 pgs) illos including first Conan#100 cover version), #42 (Jul 1979) “The Devil-Tree of Gamburu” (33 pgs) Written by Roy Thomas, inks by Tony de Zuniga, (2 illos) pencils by John Buscema. #43 (Aug 1979) “King Thoth-Amon” (35 pgs) Written by Roy Thomas, inks by Tony de Zuniga. #45 (Oct 1979) “The Gem In the Tower” (30 pgs) Written by Roy Thomas, inks by Tony de Zuniga, (1 pg), inks by Kerry Gammill, Red Sonja “Master of Shadows” (17 pgs) inks by Tony de Zuniga. #47 (Dec 1979) “The Treasure of Tranicos” (20 pgs) Written by Roy Thomas, inks by Joe Rubinstein, (1 illo) Pencils and inks by John Buscema. #48 (Jan 1980) “A Wind Blows >From Stygia” (50 pgs) Written by Roy Thomas, inks by Klaus Janson. #49 (Feb 1980) “When Madness Wears the Crown” (42 pgs) Written by Roy Thomas, inks by Tony de Zuniga, (illos) Pencils and inks by John Buscema. #50 (Mar 1980) “Swords Across the Alimane” (49 pgs) Written by Roy Thomas, inks by Tony de Zuniga. #51 (Apr 1980) “Satyr’s Blood” (56 pgs) Written by Roy Thomas, inks by Tony de Zuniga. #52 (May 1980) “Conan the Liberator” (44 pgs) Written by Roy Thomas, inks by Tony de Zuniga. #53 (Jun 1980) “The Sorceror and the Soul” (42 pgs) Written by Roy Thomas, inks by Rudy Nebres. #54 (Jul 1980) “The Stalker Amid the Sands” (25 pgs) Written by Roy Thomas, inks by Ricardo Villamonte. #55 (Aug 1980) “Black Lotus and Yellow Death” (32 pgs) Written by Roy Thomas, inks by Ricardo Villamonte. #56 (Sep 1980) “The Sword of Skelos” (43 pgs) Written by Roy Thomas, inks by Tony de Zuniga, (4 illos) inks by Gene Day. #57 (Oct 1980) “The Eye of Erlik” (51 pgs) Written by Roy Thomas, inks by Tony de Zuniga. #58 (Nov 1980) (Frontispiece) pencils and inks by John Buscema, “For the Throne of Zamboula” (40 pgs) Written by Roy Thomas, inks by Tony de Zuniga. #60 (Jan 1981) “The Ivory Goddess” (31 pgs) Written by Roy Thomas, 1st page pencils and inks by John Buscema, Rest inks by Danny Bulanadi. #61 (Feb 1981) “The Wizard Fiend of Zingara” (49 pgs) Written by Michael Fleisher, Pencils and inks by John Buscema. #62 (Mar 1981) “The Temple of the Tiger” (47 pgs) Written by Michael Fleisher, inks by Ernie Chan. #63 (Apr 1981) “Moat of Blood” (34 pgs) Written by Michael Fleisher, inks by Ernie Chan , (6 pgs) inks by Tom Palmer, (6 pgs) inks by Bob McLeod. #64 (May 1981) “The Children of Rhan” (42 pgs) Written by Bruce Jones, inks by Ernie Chan. #65 (Jun 1981) Bront “Death of the Mind, Rebirth of the Soul” (12 pgs) Written by John Buscema, J. M. DeMatteis, Pencils and inks by John Buscema. #66 (Jul 1981) Bront “Bront: Part Two” (11 pgs) Written by John Buscema, J. M. DeMatteis, Pencils and inks by John Buscema. #67 (Aug 1981) “Plunder of Death Island” (36 pgs) Written by Fred Blosser and Roy Thomas, inks by Alfredo Alcala and Kerry Gammill. #70 (Nov 1981) “The Dweller In the Depths” (15 pgs) Written by Roy Thomas, Pencils and inks by John Buscema (35 pgs) inks by Steve Mitchell. #71 (Dec 1981) “The Lurker In the Labyrinth” (45 pgs) Written by Michael Fleisher, inks by Ernie Chan. #72 (Jan 1982) “The Colossus of Shem” (49 pgs) Written by Bruce Jones, inks by Ernie Chan, (1 illo) Pencils and inks by John Buscema. #73 (Feb 1982) “The Changeling Quest” (49 pgs) Written by Michael Fleisher, Pencils and inks by John Buscema, Valeria “Island of Pirates Doom” (10 pgs) Written by Roy Thomas, inks by Danny Bulanadi. #74 (Mar 1982) Valeria “Island of Pirates’ Doom: Part Two” (3 pgs) Written by Roy Thomas, inks by Danny Bulanadi. #76 (May 1982) “Dominion of the Bat” (43 pgs) Written by Michael Fleisher, inks by Alfredo Alcala, Ricardo Villamonte, Joe Chiodo, Valeria “Island of Pirates’ Doom: Part III” (4 pgs) Written by

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BIBLIOGRAFIA JOHN BUSCEMA L’A R T E N E I C O M I C S

Roy Thomas, inks by Danny Bulanadi. #77 (Jun 1982) “The Cave Dwellers!” (40 pgs) Written by Michael Fleisher, inks by Ernie Chan, Valeria “Wrath of the She-Pirate: Part IV” (3 pgs) Written by Roy Thomas, inks by Danny Bulanadi. #78 (Jul 1982) “Demons of the Firelight” (25 pgs) Written by Michael Fleisher, inks by Ernie Chan, Valeria “Island of Pirates’ Doom: Part V” (11 pgs) Written by Roy Thomas, inks by Danny Bulanadi. #79 (Aug 1982) “Demons of the Firelight!: Part II” (23 pgs) Written by Michael Fleisher, inks by Ernie Chan, Bront “In the Halls of Shilme” (10 pgs) Written by John Buscema and Bruce Jones, Pencils and inks by John Buscema. Valeria “Island of Pirates’ Doom: Part VI” (10 pgs) Written by Roy Thomas, inks by Danny Bulanadi. #80 (Sep 1982) Bront “The Pact” (9 pgs) Written by John Buscema and Bruce Jones, Pencils and inks by John Buscema. #81 (Oct 1982) “The Palace of Pleasure” (44 pgs) Written by Michael Fleisher, inks by Ernie Chan, Bront “Come Into My Parlor” (12 pgs) Written by John Buscema and Bruce Jones, Pencils and inks by John Buscema. #87 (Apr 1983) (Frontispiece) pencils and inks by John Buscema, “The Armor of Zulda Thaal” (50 pgs) Written by Michael Fleisher, inks by Ernie Chan. #88 (May 1983) “Isle of the Hunter” (50 pgs) Written by Michael Fleisher, inks by Rudy Nebres. #90 (Jul 1983) “Devourer of Souls!” (49 pgs) Written by Michael Fleisher, inks by Nestor Redondo. #91 (Aug 1983) “Forest of Fiends!” (40 pgs) Written by Michael Fleisher, inks by Pablos Marcos. #92 (Sep 1983) “The Jeweled Bird” (50 pgs) Written by Michael Fleisher, inks by Bob Camp, Dave Simons, Armando Gil. #93 (Oct 1983) “The World Beyond the Mists!” (50 pgs) Written by Michael Fleisher, inks by Rudy Nebres, Ernie Chan and Pablo Marcos?. #95 (Dec 1983) “Night of the Rat!” (50 pgs) Written by Michael Fleisher, inks by Ernie Chan. #96 (Jan 1984) “The Ape-Bat of Marmet Tarn” (50 pgs) Written by Michael Fleisher, inks by Rudy Nebres. #98 (Mar 1984) “The Blood Ruby of Death!” (50 pgs) Written by John Buscema and Michael Fleisher, inks by Rudy Nebres and Pablo Marcos. #99 (Apr 1984) “The Informer” (52 pgs) Written by John Buscema and Michael Fleisher, inks by Ernie Chan. #100 (May 1984) “When a God Lives!” (46 pgs) Written by John Buscema and Michael Fleisher, inks by Ernie Chan. #101 (Jun 1984) “Tthe Siren” (50 pgs) Written by John Buscema and Michael Fleisher, inks by Rudy Nebres. #190 (Oct 1991) “Skull on the Seas (part 1)” (45 pgs) Written by Roy and Dann Thomas, inks by Tony de Zuniga. #191 (Nov 1991) Cover, layouts, painted by Joe Jusko/ “Jade Coils In Black Khemi” (45 pgs) Written by Roy and Dann Thomas, inks by Tony de Zuniga, (8pgs), Ernie Chan(37 pgs). #192 (Dec 1991) “The Cape of Dark Dreams” (45 pgs) Written by Roy and Dann Thomas, inks by Ernie Chan. #193 (Jan 1992) “Death In a Land Unknown” (55 pgs) Written by Roy and Dann Thomas, inks by Ernie Chan. #194 (Feb 1992) “The Witch-Queen of Yamatai” (45 pgs) Written by Roy and Dann Thomas, inks by Ernie Chan. #195 (Mar 1992) “Thunder Beneath Yamatai” (45 pgs) Written by Roy and Dann Thomas, inks by Ernie Chan. #196 (Apr 1992) “Devourer of the Dead” (45 pgs) Written by Roy Thomas, inks by Ernie Chan. #197 (May 1992) “A Night in Messantia” (45 pgs) Written by Roy Thomas, inks by Ernie Chan. #198 (Jun 1992) “the Soul Eater” (45 pgs) Written by Roy Thomas, inks by Ernie Chan. #199 (Jul 1992) “Treachery on Tortage” (45 pgs) Written by Roy Thomas, inks by Ernie Chan. #200 (Aug 1992) “Barbarians of the Border” (55 pgs) Written by Roy Thomas, inks by Ernie Chan. #202 (Oct 1992) “the Sword and the Scythe (Conan in the City of Magicians, part 1)” (40 pgs) Written by Roy Thomas, Ernie Chan. #203 (Nov 1992) “Marauders in Meroe (Conan in the City of Magicians, part 2)” (45 pgs) Written by Roy Thomas, Ernie Chan. #204 (Dec 1992) “Drums and Death Out Of Tombalku (Conan in the City of Magicians, part 3)” (45 pgs) Written by Roy Thomas, Ernie Chan. #205 (Jan 1993) “Kheshatta!, Conan in the City of Magicians, part 4” (45 pgs) Written by Roy Thomas, inks by Ernie Chan. #206 (Feb 1993) “When Wizards Make War (Conan in the City of Magicians, part 5 - finale)” (58 pgs) Written by Roy Thomas, inks by Ernie Chan. #207 (Mar 1993) “Bugs, Brigands, and Blind Seers (Conan and the Spider God - part 1)” (45 pgs) Written by Roy Thomas, inks by E.R.Cruz. #208 (Apr 1993) “A Barbarian Returns to Yezud (Conan and the Spider God - part 2)” (42 pgs) Written by Roy Thomas, inks by E.R.Cruz. #209 (May 1993) “Death Stalks a Well-Tended Garden (Conan and the Spider God - part 3)” (45 pgs) Written by Roy Thomas, inks by E.R.Cruz. #210 (Jun 1993) “Children of Zath (Conan and the Spider God - part 4)” (45 pgs) Written by Roy Thomas, inks by E.R.Cruz. #222 (Jun 1994) “The coming of Conan” (19 pgs) Written by Roy Thomas, Pencils and inks by John Buscema, Big John version of Conan the Barbarian#1 !!!, #225 (Sep 1994) “Swords of Sukhmet” (35 pgs) Written by Roy Thomas, Pencils and inks by John Buscema. #234 (Jun 1995) “the Daughter of Raktavashi - part 1” (40 pgs) Written by Roy Thomas, Pencils and inks by John Buscema.. #235 (Jul 1995) “A Rage of Goblins (Daughter of Raktavashi - part 2)” (40 pgs) Written by Roy Thomas, Pencils and inks by John Buscema. Savage Tales (Magazine 1971) #1 (May 1971) Cover, painted by John Buscema/ Kazar “The Night of the Looter” (15 pgs) written by Stan Lee, pencils and inks by John Buscema. #2 (Oct 1973) Cover, painted by John Buscema.

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#4 (May 1974) (1 illo) inks by Ernie Chan. #5 (Jul 1974) Kazar “ The Legend of the Lizard men” (16 pgs) uncensored reprint of Astonishing Tales#9 but initially done for the delayed Savage Tales#2, Written by Stan Lee, Pencils and inks by John Buscema. #6 (Sep 1974) Kazar “The Damnation Plague” (16 pgs) Written by Gerry Conway, inks by Tony de Zuniga, Plus Reprint of Kazar “The Night of the Looter” from S.T.#1. #7 (Nov 1974) Kazar “Stalker In a Savage Land” (17pgs) Written by Gerry Conway, inks by Tony de Zuniga. Kazar “The Dream Temple of Kandu Ra” (16 pgs) Written by Gerry Conway, inks by the Crusty Bunkers. #8 (Jan 1975) Kazar “The Billion-Year War” (30 pgs) Written by Gerry Conway, inks by Tony de Zuniga. Savage Tales (Magazine 1985) #6 (Aug 1986) Western “The regulator” (10 pgs) Written by Chuck Dixon, Pencils and inks by John Buscema. Shadows and Light (1998) #3 (Jul 1998) Cover, inks by Claudio Castellini/ Hulk “Where Will All Come Home” (8 pgs) Written by Roger Stern, Pencils and inks by John Buscema. Shanna the She Devil (1972) #3 (Apr 1973) Cover, inks by Joe Sinnott. Silver Surfer (1968) #1 (Aug 1968) Cover, inks by Joe Sinnott and or Frank Giacoia/ “The Origin of the Silver Surfer” (40 pgs) Written by Stan Lee, inks by Joe Sinnott. #2 (Oct 1968) Cover, inks by Joe Sinnott/ “When Lands the Saucer!” (40 pgs) Written by Stan Lee, inks by Joe Sinnott. #3 (Dec 1968) Cover, inks by Joe Sinnott/ “The Power and the Prize” (40 pgs) Written by Stan Lee, inks by Joe Sinnott. #4 (Feb 1969) Cover, inks by Sal Buscema/ “The Good, the Bad, and the Uncanny” (39 pgs) Written by Stan Lee, inks by Sal Buscema. #5 (Apr 1969) “And Who Shall Mourn For Him?” (39 pgs) Written by Stan Lee, inks by Sal Buscema. #6 (Jun 1969) Cover, inks by Sal Buscema/ “Worlds Without End” (39 pgs) Written by Stan Lee, inks by Sal Buscema. #7 (Aug 1969) Cover, inks by Sal Buscema/ “The Heir of Frankenstein” (40 pgs) Written by Stan Lee, inks by Sal Buscema. #8 (Sep 1969) Cover, inks by Dan Adkins/ “Now Strikes the Ghost” (20 pgs) Written by Stan Lee, inks by Dan Adkins. #9 (Oct 1969) Cover, inks by Dan Adkins/ “...To Steal the Surfer’s Soul!” (21 pgs) Written by Stan Lee, inks by Dan Adkins. #10 (Nov 1969) Cover, inks by Dan Adkins/ “A World He Never Made” (20 pgs) Written by Stan Lee, inks by Dan Adkins. #11 (Dec 1969) Cover, inks by Dan Adkins/ “O, Bitter Victory!” (20 pgs) Written by Stan Lee, inks by Dan Adkins. #12 (Jan 1970) Cover, inks by Dan Adkins/ “Gather, Ye Witches!” (20 pgs) Written by Stan Lee, additional pencils John Romita redrawings, inks by Dan Adkins. #13 (Feb 1970) Cover, inks by Dan Adkins/ “The Dawn of the Doomsday Man” (20 pgs) Written by Stan Lee, inks by Dan Adkins. #14 (Mar 1970) Cover, with or John Romita pencils, inks by John Romita/ “The Surfer and the Spider” (20 pgs) Written by Stan Lee, inks by Dan Adkins. #15 (Apr 1970) “The Flame and the Fury!” (20 pgs) Written by Stan Lee, inks by Dan Adkins. #16 (May 1970) Cover, inks by Dan Adkins/ “In the Hands of... Mephisto!” (20 pgs) Written by Stan Lee, inks by Chic Stone. #17 (Jun 1970) “The Surfer Must Kill” (20 pgs) Written by Stan Lee, inks by Chic Stone. Silver Surfer (1987) #110 (Nov 1995) “The Trouble with Chix!” (22 pgs) Written by Mike Lackey, inks by Geof Isherwood . annual #5 (1992) (1 pg) pin up. Silver Surfer Judgement Day (Graphic Novel 1988) #1 (1988) Hardcover, Cover painted by Joe Jusko over a discarded last splash page by John/ “Judgement Day” (62 pgs) Written by John Buscema, Tom de Falco and Stan Lee, Pencils and inks by John Buscema with Vince Mielcarek assist(?), 2 illos. #1 (1990) Softcover reprint, Cover new drawing by John Buscema, painted by Joe Jusko. Silver Surfer Rune (1995) #1 (Apr 1995) Cover, inks by Bill Anderson/ “If I Should Die” (22 pgs) Written by Glenn Herdling, inks by Bill Anderson. Skull the Slayer (1975) #6 (Jul 1976) Cover, inks by Mike Esposito. Spectacular Spider-Man (1976) #121 (Dec 1986) “Eye Witness” (5 or 6 pgs) pencils of the restaurant scene, Written by Peter David, inks by ?. Spider-Man (1987) #One shot Produced in cooperation with the National Committee for Prevention of Child Abuse (1987) “Who cares” (12 pgs) Written by Louise Simonson, inks by Tony de Zuniga, “Nobody wins” (12 pgs) Written by Louise Simonson, inks by Tony de Zuniga. Squadron Supreme (1985) #7 (Mar 1986) Cover, inks by Bob Layton/ “Love and Death” (24 pgs) Written by Mark Gruenwald, inks by Jackson Guice. Star Wars Weekly ( Marvel UK Magazine 1978) #32 (Sep 1978) Cover, inks by Klaus Janson. #34 (Sep 1978) Cover, inks by Klaus Janson. #38 (Oct 1978) Cover, inks by Josef Rubinstein. #48 (Jan 1979) Cover, inks by Klaus Janson. Strange Tales (1961) #150 (Nov 1966) Shield “Hydra Lives!” (12 pgs) Written by Stan Lee, inks by Frank Giacoia . #174 (Jun 1974) Golem “There Walks the Golem” (15 pgs) Written by Len Wein, inks by Jim Mooney inks. Submariner (1968) #1 (May 1968) Cover, inks by Sol Brodsky/ “Years of Glory, Day of Doom” (20 pgs) Written by Roy Thomas, inks by Frank Giacoia. #2 (Jun 1968) Cover, inks by Frank Giacoia/ “Cry Triton” (20 pgs) Written by Roy Thomas, inks by Frank Giacoia. #3 (Jul 1968) Cover, inks by Frank Giacoia/ “On a Clear Day You Can See the Leviathan” (20 pgs) Written by Roy Thomas, inks by Frank Giacoia.

#4 (Aug 1968) Cover, inks by Frank Giacoia/ “Who Strikes For Atlantis?” (20 pgs) Written by Roy Thomas, inks by Frank Giacoia. #5 (Sep 1968) Cover, inks by Frank Giacoia/ “Watch Out For Tiger Shark” (20 pgs) Written by Roy Thomas, inks by Frank Giacoia. #6 (Oct 1968) Cover, inks by Dan Adkins/ “And To the Vanquished, Death” (20 pgs) Written by Roy Thomas, inks by Dan Adkins. #7 (Nov 1968) Cover, inks by Dan Adkins/ “For President: the Man Called Destiny” (20 pgs) Written by Roy Thomas, inks by Dan Adkins. #8 (Dec 1968) Cover, inks by Dan Adkins/ “In the Rage of Battle” (20 pgs) Written by Roy Thomas, inks by Dan Adkins. #20 (Dec 1969) Cover, inks by Johnny Craig/ “In the Darkness Dwells Doom” (20 pgs) Written by Roy Thomas, inks by Johnny Craig, #24 (Apr 1970) Cover, inks by Frank Giacoia/ “The Lady and the Tiger-Shark” (20 pgs) Written by Roy Thomas, inks by Jim Mooney, #25 (May 1970) “A World my Enemy!” (19 pgs) Written by Roy Thomas, Uncredited layouts and partial pencils by John Buscema for his brother Sal, inks by Jim Mooney and Joe (Mike Esposito) Gaudioso. Supervillain Team Up (1975) #1 (Aug 1975) Cover, ? or Rich Buckler or Ron Wilson. Tales of the Zombie (Magazine 1973) #1 (1973) Simon Garth “Altar of the Damned” (13 pgs) Written by Roy Thomas and Steve Gerber, inks by Tom Palmer, Simon Garth “Night of the Walking Dead” (11 pgs) Written by Steve Gerber, inks by Syd Shores. Tales to Astonish (1959) #85 (Nov 1966) Hulk “The Missile and the Monster!” (10 pgs) Written by Stan Lee, inks by John Tartaglione. #86 (Dec 1966) Hulk “The Birth...of the Hulk-Killer!” (10 pgs) Written by Stan Lee, inks by Mickey Demeo. #87 (Jan 1967) Hulk “The Humanoid and the Hero!” (10 pgs) Written by Stan Lee, inks by Mickey Demeo. Tarzan (1977) #1 (Jun 1977) Cover, pencils and inks by John Buscema/ “Tarzan and the Jewels of Opar” (15 pgs) Written by Roy Thomas, Pencils and inks by John Buscema, (1 pg) pin up. #2 (Jul 1977) Cover, pencils and inks by John Buscema/ “The Road to Opar” (16 pgs) Written by Roy Thomas, Pencils and inks by John Buscema, (1 pg) Language of the great apes#1 pencils and inks by John Buscema. #3 (Aug 1977) Cover, inks by Dave Cokrum ?/ “The Altar of the Flaming God” Written by Roy Thomas, (6pgs, 1-5, 13) pencils and inks by John Buscema, (10 pgs) inks by Tony de Zuniga, (1 pg) pin up. #4 (Sep 1977) Cover, pencils and inks by John Buscema/ “A Beast Again” (16 pgs) Written by Roy Thomas, inks by Tony de Zuniga. #5 (Oct 1977) Cover, inks by Pablos Marcos/ “La Seeks Vengeance” (16 pgs) Written by Roy Thomas, inks by Tony de Zuniga, (1 pg) Language of the great apes#3 pencils and inks by John Buscema. #6 (Nov 1977) Cover, pencils and inks by John Buscema/ “A Priestess...Yet a Woman” (16 pgs) Written by Roy Thomas, inks by Tony de Zuniga, (1 pg) Language of the great apes#4 inks by Tony de Zuniga. #7 (Dec 1977) Cover, pencils and inks by John Buscema/ “Tarzan Rescues the Moon” (17 pgs) Written by Roy Thomas, inks by Rudy Mesina, (1 pg) Language of the great apes#5 inks by ? #8 (Jan 1978) Cover, inks by Alfredo Alcala/ “The Man and the Mangani” (15 pgs) Written by Roy Thomas, inks by Rudy Mesina, (1 pg) Language of the great apes#6 inks by William Wray, (1 pg) pin up. #9 (Feb 1978) Cover, inks by Alfredo Alcala/ “The God of Tarzan” (15 pgs) Written by Roy Thomas, inks by Alfredo Alcala, (1 pg) Language of the great apes#7 inks by William Wray. #10 (Mar 1978) Cover, pencils and inks by John Buscema/ “The Deadly Peril of Jane Clayton” (15 pgs) Written by Roy Thomas, inks by Alfredo Alcala, (1 pg) pin up pencils, inks by Alfredo Alcala, (1 pg) Language of the great apes#8 inks by Alfredo Alcala ? #11 (Apr 1978) Cover, inks by Neal Adams/ “Tarzan Triumphs” (16 pgs) Written by Roy Thomas, inks by the New York tribe, (1 pg) Language of the great apes#9 inks by Alfredo Alcala ? #12 (May 1978) Cover, inks by Neal Adams/ “Fangs of Death” (16 pgs) Written by David A. Kraft, inks by Rudy Mesina, (1 pg) pencils, inks by Alfredo Alcala. #13 (Jun 1978) Cover, inks by Tony de Zuniga/ “The Changeling” (15 pgs) Written by Roy Thomas, inks by Rudy Mesina, (1 pg) Language of the great apes#10 inks by Tony de Zuniga, (1 pg) pin up pencils, inks by Bill Black. #14 (Jul 1978) Cover, inks by Ernie Chan/ “The Battle for the She-Ape!” (17 pgs) Written by Roy Thomas, inks by Klaus Janson, page 2 inks by John Buscema ? #15 (Aug 1978) Cover, inks by Joe Rubinstein/ “Slavers!” (17 pgs) Written by David A. Kraft, inks by Klaus Janson. #16 (Sep 1978) Cover, inks by Bob McLeod/ “Treachery!” (17 pgs) Written by David A. Kraft, inks by Klaus Janson. #17 (Oct 1978) Cover, inks by Klaus Janson/ “Passage to Pellucidar” (17 pgs) Written by David A. Kraft, inks by Klaus Janson. #18 (Nov 1978) Cover, inks by Bob McLeod/ “Survival!” (17 pgs) Written by David A. Kraft, inks by Klaus Janson. #19 (Dec 1978) Cover, inks by Joe Sinnott. #22 (Mar 1979) Cover, pencils and inks by John Buscema. #23 (Apr 1979) Cover, inks by Bob McLeod. #24 (May 1979) Cover, inks by Bob McLeod. #28 (Sep 1979) Cover, inks by Bob McLeod. annual#1 (1977) Cover, pencils and inks by John Buscema/ “Tarzan’s First Love” (18 pgs) Written by Roy Thomas, inks by Steve Gan, “The End of Bukawai” (18 pgs) Written by Roy Thomas, inks by Steve Gan.

annual#2 (1978) Cover, inks by Bob Hall. The Mighty World of Marvel (Marvel UK Magazine 1972) #1 (Oct 1972) Cover, inks by Frank Giacoia. #222 (Dec 1976) Cover, inks by Tom Palmer. #224 (Jan 1977) Cover, inks by ?. #226 (Jan 1977) Cover, inks by Tom Palmer. Thor (1966) #178 (Jul 1970) Cover, inks by John Verpoorten/ “Death is a Stranger!” (20 pgs) Written by Stan Lee, inks by Vince Colletta. #180 (Sep 1970) Cover, with Marie Severin, inks by Joe Sinnott. #181 (Oct 1970) Cover, Thor and Balder, backgrounds should be by Marie Severin, inks by John Buscema on the Thor and Balder character. #182 (Nov 1970) Cover, inks by Joe Sinnott/ “The Prisoner, the Power and Dr. Doom!” (20 pgs) Written by Stan Lee, inks by Joe Sinnott. #183 (Dec 1970) Cover, inks by John Verpoorten (signed)/ “Trapped in Doomsland!” (20 pgs) Written by Stan Lee, inks by Joe Sinnott. #184 (Jan 1971) Cover, inks by Joe Sinnott/ “The World Beyond!” (20 pgs) Written by Stan Lee, inks by Joe Sinnott. #185 (Feb 1971) Cover, inks by John Verpoorten/ “In the Grip of Infinity!” (20 pgs) Written by Stan Lee, inks by Sam Grainger. #186 (Mar 1971) Cover, inks by Joe Sinnott/ “Worlds at War!” (20 pgs) Written by Stan Lee, inks by Joe Sinnott. #187 (Apr 1971) Cover, inks by Joe Sinnott/ “The World is Lost!” (20 pgs) Written by Stan Lee, inks by Joe Sinnott. #188 (May 1971) Cover, inks by Joe Sinnott/ “The End of Infinity!” (20 pgs) Written by Stan Lee, inks by Jim Mooney. #189 (Jun 1971) Cover, inks by Frank Giacoia/ “The Icy Touch of Death!” (20 pgs) Written by Stan Lee, inks by Joe Sinnott. #190 (Jul 1971) Cover, inks by John Verpoorten/ “...And So To Die!” (20 pgs) Written by Stan Lee, inks by Joe Sinnott. #191 (Aug 1971) Cover, inks by Frank Giacoia/ “A Time of Evil!” (19 pgs) Written by Stan Lee, inks by Joe Sinnott. #192 (Sep 1971) Cover, inks by Frank Giacoia/ “Conflagration!” (19 pgs) Written by Stan Lee, inks by Sam Grainger. #193 (Nov 1971) Cover, part of the cover, Silver Surfer and Demolisher, Thor by Marie Severin and John Romita ?, Marie Severin inks ?, / “What Power Unleashed!” (34 pgs) Written by Gerry Conway, inks by Sal Buscema. #194 (Dec 1971) Cover, inks by Frank Giacoia/ “This Fatal Fury!” (15 pgs) Written by Gerry Conway, inks by Sal Buscema. #195 (Jan 1972) Cover, inks by Frank Giacoia/ “In the Shadow of Mangog!” (22 pgs) Written by Gerry Conway, inks by Vince Colletta. #196 (Feb 1972) Cover, inks by Frank Giacoia/ “Within the Realm of Kartag!” (21 pgs) Written by Gerry Conway, inks by Vince Colletta. #197 (Mar 1972) “The Well at the End of the World!” (21 pgs) Written by Gerry Conway, inks by Vince Colletta. #198 (Apr 1972) Cover, inks by Joe Sinnott/ “...And Odin Dies!” (21 pgs) Written by Gerry Conway, inks by Vince Colletta. #199 (May 1972) Cover, inks by Frank Giacoia/ “If This Be Death...!” (21 pgs) Written by Gerry Conway, inks by Vince Colletta. #200 (Jun 1972) Cover, pencils and inks by John Buscema/ “Beware! If This Be Ragnarok!” (21 pgs) Written by Gerry Conway and Stan Lee, inks by John Verpoorten. #201 (Jul 1972) “Resurrection!” (20 pgs) Written by Gerry Conway, inks by Jim Mooney. #202 (Aug 1972) Cover, inks by Marie Severin ?/ “And None Dare Stand ‘Gainst Ego-Prime!” (20 pgs) Written by Gerry Conway, inks by Vince Colletta. #203 (Sep 1972) Cover, pencils and inks by John Buscema/ “They Walk Like Gods!” (20 pgs) Written by Gerry Conway, inks by Vince Colletta. #204 (Oct 1972) Cover, with John Romita retouches, inks by Joe Sinnott/ “Exiled On Earth!” (20 pgs) Written by Gerry Conway, inks by Jim Mooney. #205 (Nov 1972) “A World Gone Mad!” (20 pgs) Written by Gerry Conway, inks by Vince Colletta. #206 (Dec 1972) Cover, pencils and inks by John Buscema/ “Rebirth!” (20 pgs) Written by Gerry Conway, inks by Vince Colletta. #207 (Jan 1973) “Firesword!” (20 pgs) Written by Gerry Conway, inks by Vince Colletta. #208 (Feb 1973) “The Fourth Dimensional Man!” (20 pgs) Written by Gerry Conway, inks by Vince Colletta. #209 (Mar 1973) “Warriors in the Night!” (20 pgs) Written by Gerry Conway, inks by Vince Colletta. #210 (Apr 1973) “The Hammer and the Hellfire!” (20 pgs) with Don Perlin, Written by Gerry Conway, inks by Vince Colletta. #211 (May 1973) Cover, inks by John Verpoorten/ “The End of the Battle!” (20 pgs) with Don Perlin, Written by Gerry Conway, inks by Vince Colletta. #212 (Jun 1973) “Journey to the Golden Star!” (20 pgs) with Don Perlin, Written by Gerry Conway, inks by Vince Colletta. #213 (Jul 1973) “The Demon Brigade!” (19 pgs) with Don Perlin, Written by Gerry Conway, inks by Vince Colletta. #215 (Sep 1973) Cover, inks by Joe Sinnott and Frank Giacoia/ “The God in the Jewel” (19 pgs) Written by Gerry Conway, inks by Jim Mooney. #216 (Oct 1973) “Where Chaos Rules!” (19 pgs) Written by Gerry Conway, inks by Jim Mooney. #217 (Nov 1973) “All Swords Against Them!” (19 pgs) Written by Gerry Conway, inks by Sal Buscema. #218 (Dec 1973) “Where Pass the Black Stars, There Also Passes Death” (19 pgs) Written by Gerry Conway, inks by Jim Mooney. #219 (Jan 1974) Cover, pencils and inks by John Buscema/ “A Galaxy Consumed!” (19 pgs) Written by Gerry Conway, inks by Mike Esposito. #220 (Feb 1974) “Behold! The Land of Doom!” (19 pgs) Written by Gerry Conway, inks by Mike Esposito. #221 (Mar 1974) Cover, inks by John Romita/ “Hercules

JOHN BUSCEMA L’A R T E N E I C O M I C S Enraged” (19 pgs) Written by Gerry Conway, inks by Mike Esposito. #222 (Apr 1974) “Before the Gates of Hell!” (19 pgs) Written by Gerry Conway, inks by Joe Sinnott. #223 (May 1974) “Hellfire Across the World!” (18 pgs) Written by Gerry Conway, inks by Mike Esposito. #224 (Jun 1974) “No One Can Stop...The Destroyer!” (18 pgs) Written by Gerry Conway, inks by Mike Esposito. #225 (Jul 1974) Cover, pencils and inks by John Buscema/ “The Coming of the Firelord!” (18 pgs) Written by Gerry Conway, inks by Joe Sinnott. #226 (Aug 1974) “The Battle Beyond” (18 pgs) Written by Gerry Conway, inks by Mike Esposito and Dave Hunt. #231 (Jan 1975) “A Spectre From the Past!” (18 pgs) Written by Gerry Conway, inks by Dick Giordano and Terry Austin. #232 (Feb 1975) “Lo, The Raging Battle!” (17 pgs) Written by Gerry Conway, inks by Dick Giordano and Terry Austin. #233 (Mar 1975) “Midgard Aflame!” (17 pgs) Written by Gerry Conway, inks by Chic Stone. #234 (Apr 1975) “O, Bitter Victory!” (17 pgs) Written by Gerry Conway, inks by Joe Sinnott. #235 (May 1975) “Who Lurks Beyond the Labyrinth!” (18 pgs) Written by Gerry Conway, inks by Joe Sinnott. #236 (Jun 1975) “One Life to Give!” (18 pgs) Written by Gerry Conway, inks by Joe Sinnott. #237 (Jul 1975) “Ulik Unchained” (18 pgs) Written by Gerry Conway, inks by Joe Sinnott. #238 (Aug 1975) “Night of the Troll!” (18 pgs) Written by Gerry Conway, inks by Joe Sinnott. #241 (Nov 1975) “The Death-ship Sails the Stars!” (18 pgs) Written by Bill Mantlo, inks by Joe Sinnott. #242 (Dec 1975) “When the Servitor Commands!” (18 pgs) Written by Len Wein, inks by Joe Sinnott. #243 (Jan 1976) “Turmoil in the Time Stream!” (18 pgs) Written by Len Wein, inks by Joe Sinnott. #244 (Feb 1976) “This is the Way the World Ends!” (18 pgs) Written by Len Wein, inks by Joe Sinnott. #245 (Mar 1976) “The Temple at the End of Time!” (18 pgs) Written by Len Wein, inks by Joe Sinnott. #246 (Apr 1976) “The Fury of Firelord!” (17 pgs) Written by Len Wein, inks by Joe Sinnott. #247 (May 1976) “The Flame and the Hammer!” (17 pgs) Written by Len Wein, inks by Joe Sinnott. #248 (Jun 1976) “There Shall Come...Revolution!” (17 pgs) Written by Len Wein, inks by Tony de Zuniga. #249 (Jul 1976) “The Throne and the Fury!” (17 pgs) Written by Len Wein, inks by Tony de Zuniga. #250 (Aug 1976) “If Asgard Should Perish...!” (17 pgs) Written by Len Wein, inks by Tony de Zuniga. #251 (Sep 1976) “To Hela and Back!” (17 pgs) Written by Len Wein, inks by Tony de Zuniga. #252 (Oct 1976) “A Dragon at the Gates!” (11 pgs) Written by Len Wein, inks by Tony de Zuniga. #253 (Nov 1976) “Chaos in the Kingdom of the Trolls” (13 pgs) Written by Len Wein, inks by Tony de Zuniga. #256 (Feb 1977) Cover, inks by Frank Giacoia/ “Lurker in the Dark!” (17 pgs) Written by Len Wein, inks by Tony de Zuniga. #257 (Mar 1977) “Death, Thou Shalt Die!” (17 pgs) Written by Len Wein, inks by Tony de Zuniga. #258 (Apr 1977) “If the Stars Be Made of Stone!” (18 pgs) Written by Len Wein, inks by Tony de Zuniga. #259 (May 1977) Cover, inks by Joe Sinnott/ “Escape into Oblivion!” (17 pgs) Written by Len Wein, inks by Tony de Zuniga. #261 (Jul 1977) Cover, inks by Frank Giacoia. #262 (Aug 1977) Cover, inks by Joe Sinnott. #263 (Sep 1977) Cover, inks by Joe Sinnott. #272 (Jun 1978) Cover, inks by ?/ “The Day the Thunder Failed!” (17 pgs) Written by Roy Thomas, inks by Tom Palmer. #273 (Jul 1978) Cover, inks by Tom Palmer/ “Over the Rainbow Bridge!” (17 pgs) Written by Roy Thomas, inks by Tom Palmer. #274 (Aug 1978) Cover, inks by Tom Palmer/ “The Eye -- and the Arrow!” (17 pgs) Written by Roy Thomas, inks by Tom Palmer. #275 (Sep 1978) Cover, pencils and inks by John Buscema/ “A Balance is Struck!” (17 pgs) Written by Roy Thomas, inks by Tom Palmer. #276 (Oct 1978) Cover, inks by Joe Sinnott/ “Mine...This Hammer!” (17 pgs) Written by Roy Thomas, inks by Tom Palmer. #277 (Nov 1978) Cover, inks by Bob McLeod/ “Time of the Trolls!” (17 pgs) Written by Roy Thomas, inks by Tom Palmer. #278 (Dec 1978) Cover, inks by Bob McLeod/ “At Long Last--Ragnarok?!” (17 pgs) Written by Roy Thomas, inks by Chic Stone. #283 (May 1979) Cover, pencils and inks by John Buscema/ “Suddenly--The Celestials!” (17 pgs) Written by Roy Thomas, inks by Chic Stone. #284 (Jun 1979) “The City of the Space Gods!” (17 pgs) Written by Roy Thomas, inks by Chic Stone. #285 (Jul 1979) “Deviants and Doormen!” (17 pgs) Written by Roy Thomas, inks by Chic Stone. #370 (Aug 1986) Cover, pencils and inks by John Buscema/ “Easy Money” (23 pgs) Written by James Owsley, inks by Craig Russell. #490 (Sep 1995) Cover, with Ron Frenz, inks by Al Milgrom/ “Against the Dying of the Light!” (22 pgs) Written by Tom de Falco and Ron Frenz, inks by Patrick Olliffe. annual #5 (1976) “The War of the Gods!” (42 pgs) Written by Steve Englehart, inks by Tony de Zuniga. annual #6 (1977) Cover inks by Joe Sinnott. annual #8 (1979) “Thunder Over Troy!” (34 pgs) Written by Roy Thomas, inks by Tony de Zuniga. annual #13 (1985) “And Evil Shall Inherit” (39 pgs) Written by Alan Zelenetz, Pencils and inks by John Buscema. Thor (1998) #9 (Mar 1999) (22 pgs) inks by Jerry Ordway. Tomb of Dracula (Magazine 1979) #4 (Apr 1980) Dracula, “Death vow” (20 pgs) Written by Roger McKenzie, inks by Klaus Janson. #5 (Jun 1980) Dracula, “Pavane For an Undead Princess” (20

pgs) Written by Peter Gillis, inks by Bob McLeod. Tower of Shadows (1969) #1 (Sep 1969) “A time to die” (7 pgs) Written by Stan Lee, inks by Don Heck. #2 (Nov 1969) “Look Out, Wyatt--Automation’s Gonna Get Your Job” (7 pgs) Written by Gary Friedrich, inks by John Verpoorten. Ultimate Silver Surfer (book 1995) #1 (1995) (1 illo). Unknown Worlds of SF (Magazine 1975) Annual #1 (1976) “Arena” (15 pgs) Reprint Worlds Unknown#4, Written by Gerry Conway, inks by Dick Giordano. Warlock (1972) #2 (Oct 1972) “Count-down for Counter-Earth” (20 pgs) Written by Roy Thomas and Gary Friedrich, inks by Tom Sutton. #8 (Oct 1973) Cover, inks by Frank Giacoia. What If (1977) #10 (Aug 1978) Jane Foster Thor, Cover, pencils and inks by John Buscema. #13 (Feb 1979) Conan, Cover, inks by Ernie Chan/ “What if Conan the Barbarian Walked the Earth Today ?” (35 pgs) Written by Roy Thomas, inks by Ernie Chan. #15 (Jul 1979) Nova, “What if...Someone Else Had Become Nova?” (3 pgs) pgs# 1, 2, 45, Written by Marv Wolfman, inks by Joe Sinnott. #23 (Oct 1980) Hulk, Cover, inks by Al Milgrom. Wolverine (1988) #1 (Nov 1988) Cover, inks by Al Williamson/ “Sword Quest” (22 pgs) Written by Chris Claremont, inks by Al Williamson. #2 (Dec 1988) Cover, inks by Klaus Janson/ “Possession Is The Law” (22 pgs) Written by Chris Claremont, inks by Klaus Janson. #3 (Jan 1989) Cover, inks by Al Williamson/ “The Black Blade” (22 pgs) Written by Chris Claremont, inks by Al Williamson. #4 (Feb 1989) Cover, inks by Al Williamson/ “Bloodsport” (22 pgs) Written by Chris Claremont, inks by Al Williamson. #5 (Mar 1989) Cover, inks by Al Williamson/ “Hunter’s Moon!” (22 pgs) Written by Chris Claremont, inks by Al Williamson. #6 (Apr 1989) Cover, inks by Al Williamson/ “Roughouse!” (22 pgs) Written by Chris Claremont, inks by Al Williamson. #7 (May 1989) Cover, pencils and inks by John Buscema/ “Mr. Fixit Comes To Town” (22 pgs) Written by Chris Claremont, Pencils and inks by John Buscema. #8 (Jun 1989) Cover, pencils and inks by John Buscema/ “If It Ain’t Broke--!” (22 pgs) Written by Chris Claremont, Pencils and inks by John Buscema. #10 (Aug 1989) “24 Hours” (23 pgs) Written by Chris Claremont, inks by Bill Sienkiewicz. #11 (Sep 1989) “Brother’s Keeper” (22 pgs) Written by Peter David, inks by Bill Sienkiewicz. #12 (Sep 1989) “Straits of San Francisco” (22 pgs) Written by Peter David, inks by Bill Sienkiewicz. #13 (Oct 1989) “Blood Ties” (22 pgs) Written by Peter David, inks by Bill Sienkiewicz. #14 (Oct 1989) “Flying Wolves” (22 pgs) Written by Peter David, inks by Bill Sienkiewicz. #15 (Nov 1989) “Homecoming” (22 pgs) Written by Peter David, inks by Bill Sienkiewicz. #16 (Nov 1989) “Electric Warriors” (24 pgs) Written by Peter David, inks by Bill Sienkiewicz. #25 (Jun 1990) “Heir Aid” (22 pgs) Written by Joe Duffy, Pencils and inks by John Buscema. #27 (Jul 1990) “The Lazarus Project Part 1: Predators and Prey!” (22 pgs) Written by Joe Duffy, inks by Dan Green. Wolverine Bloody Choices (Graphic Novel 1993) #1 (1993) (59 pgs) Written by Tom DeFalco, Pencils and inks by John Buscema. Worlds Unknown (1973) #4 (Nov 1973) “Arena” (15 pgs) Written by Gerry Conway, inks by Dick Giordano. X-Men (1963) #42 (Mar 1968) Cover, pencils and inks by John Buscema, Iceman head redrawn. #43 (Apr 1968) Cover, inks by George Tuska. #45 (Jun 1968) Cover, inks by George Tuska. #90 (Oct 1974) Cover, pencils and inks by John Buscema reprint#42 cover with original Iceman head by John. X-Men : In the Savage Land (Trade Paperback 1987) #1 (1987) Cover, pencils and inks by John Buscema.

DC Batman Gotham Knights (2000) #7 (Sep 2000) Batman backup story (8 pgs) Written by John Arcudi, Pencils and inks by John Buscema, in black and white. Batman No Man’s Land Gallery (2002) #1 (1 pg) Batman pin up, Sal Buscema inks. Just Imagine Stan lee and John Buscema Creating Superman (2001) #1 (Nov 2001) Cover, pencils and inks by John Buscema/ “The beginning...” (42 pgs) Written by Stan Lee, Pencils and inks by John Buscema. Just Imagine Stan lee’s Secret Files and Origins book (2002) #1 (Mar 2002) (1 pg) Superman pin up. Superman: Blood of my Ancestors (2003) #1 (Sep 2003) Cover, inks by Kevin Nowlan/ “Superman: Blood of My Ancestors” (40 pgs) pgs 25-64, 1-24 by Gil Kane, Written by Steven Grant, inks by Kevin Nowlan.

MISCELLANEOUS PUBLISHERS Big Jim’s Pack (Mattel & Marvel Comics Group 1976) #nn (1976) Cover, inks by Joe Sinnott, “Plaid Stallions” (16 pgs) Written by ?, inks by Joe Sinnott. Comic Reader (Street Enterprises)

#182 (1980) Cover, Conan#100 alternate cover pencils, inks by Dennis Jensen. Conan the Barbarian (The Register and Tribune Syndicate, Inc. Des Moines Iowa 1978 – Dallas Times Herald 1978) Strips (Sep 04-09, 1978) Written by Roy Thomas, Pencils and inks by John Buscema Sunday (Sep 10, 1978) Written by Roy Thomas, Pencils and inks by John Buscema Strips (Sep 11-16, 1978) Written by Roy Thomas, Pencils and inks by John Buscema Sunday (Sep 17, 1978) Written by Roy Thomas, Pencils and inks by John Buscema Strips (Sep 18-23, 1978) Written by Roy Thomas, Pencils and inks by John Buscema Sunday (Sep 24, 1978) Written by Roy Thomas, Pencils and inks by John Buscema Strips (Sep 25-30, 1978) Written by Roy Thomas, Pencils and inks by John Buscema Sunday (Oct 01, 1978) Written by Roy Thomas, Pencils and inks by John Buscema Strips (Oct 02-07, 1978) Written by Roy Thomas, Pencils and inks by John Buscema Sunday (Oct 08, 1978) Written by Roy Thomas, Pencils and inks by John Buscema Strips (Oct 09-14, 1978) Written by Roy Thomas, Pencils and inks by John Buscema Sunday (Oct 15, 1978) Written by Roy Thomas, Pencils and inks by John Buscema Strips (Oct 16-21, 1978) Written by Roy Thomas, Pencils and inks by John Buscema Sunday (Oct 22, 1978) Written by Roy Thomas, Pencils and inks by John Buscema Die Rächer (Marvel Germany 1974) #48 (Nov 1976) Cover, pencils and inks by John Buscema print unaltered Avengers#49 cover. #49 (Dec 1976) Cover, pencils and inks by John Buscema print unaltered Avengers#50 cover. Jack Kirby’s Heroes and Villain Black Magic edition (Pure Imagination 1994) #1i Kazar and Zabu inks over Jack Kirby’s pencils. Jack Kirby’s Teen Agents (Topps 1993) #4 M.U.S.H. (1 illo) inks by Tom Palmer. Marvel Novel Series (1979) #5 Cover, Fantastic Four, painting by Peter Ledger. Marvel Quarterly Report (1993) #3 (1993) Cover, 1960’s heroes and 2099’s heroes, inks by Greg Adams. Official Overstreet Comic Book Price Guide Companion (Overstreet 11/89) #nn (Nov 1989) Cover, Wolverine and Punisher, pencils and inks by John Buscema. Power Records (Peter Pan Records) #8146 (1974) Cover, Spider-Man, “The Amazing Spider-Man and Friends”. PR26 (1975) Star Trek, “Crier in emptiness” (20 pgs) inks by the Crusty Bunkers ? PR31 (1976) Conan, “Crawler in the mists” (20 pgs) inks by Neal Adams reprinted in Conan#116 with page one as cover. PR36 (1978) Holo Man, “The amazing adventures of Holo Man” (16 pgs) Uncredited pencils, inks by Joe Giella. BR513i (1976) Star Trek, “The Time Stealer” (9 pgs) inks by John Buscema and the Crusty Bunkers. Pro (National Football League 1970) #4 Cover pencils and inks by John Buscema/ Nine Marvel Super heroes illustrations related to 1970’s NFL Football players. [if !supportLineBreakNewLine] [endif] Rune and Silver Surfer (Malibu 1995) #1 (Apr 1995) “If I should die” (22 pgs) Written by Glenn Herdling, inks by Bill Anderson. Strange (Editions LUG 1970) #49 (Jan 1974) Silver Surfer#4 original cover with Thor Hammer effects, page 83 of the book. Swords of Valor #1 unverified Reprint of Forbidden Worlds#81 ?. The Virtue of Vera Valiant (Los Angeles Syndicate September 1976-September 1977) Strips & Sundays (Oct 11-24, 1976) Written by Stan Lee, Layouts/Breakdowns by John Buscema on at least first two weeks, finished art by Frank Springer. Visions of Arzach (Kitchen Sink 1993) #1 page same as the portfolio. Wiz (Marvel Italia 1994) #42 (Apr 1999) “Un Dio Tra I Mortali” (3 pgs) All new Silver Surfer story only published in Italia, Written by Brighel-Grassi-Lupoi-Scatasta, inks by Sal Velluto and Vincenzo Carfora.

1948-1965 PRE MARVEL ERA MISCELLANEOUS PUBLISHERS Adventures into the Unknown (ACG 1954) #104 (Jan 1959) “Pictures on the wall” (1 pg) Pencils and inks by John Buscema. #106 (Mar 1959) “The man who cried monster” (6 pgs) Pencils and inks by John Buscema. #108 (May 1959) “The little men” (8 pgs) Pencils and inks by John Buscema. #109 (Jul 1959) “The power of Gru-Gru !” (7 pgs) Pencils and inks by John Buscema. #110 (Aug 1959) “The pipes of Pan” (8 pgs) Pencils and inks by John Buscema. Adventures into Weird Worlds (Atlas 1952) #18 (May 1953) “Don’t loose your head” (5 pgs) Pencils and inks by John Buscema.. All True Crime Cases (Marvel 1948) #32 (Mar 1949) “Seven long years ?” (12 pgs). #33 (May 1949) Cover.

#34 (Jul 1949) Cover/ Bull Bartok “With fear in his heart“ (11 pgs), #35 (Sep 1949) “He dreamt of doom” (7 pgs), “Mockery of justice” (8 pgs) All Western Winners (Marvel 1949) #4 (Apr 1949) Cover. Amazing Detective Cases (Marvel 1950) #3 (Nov 1950) “Bonnie Parker” (7 pgs). Blaze Carson (Marvel 1949) #4 (Mar 1949) Cover. Cadet Gray of West Point (Dell 1958) #1 (Apr 1958) (12 pgs) “Cadet Gray chain of commands” p:415, Pencils and inks by John Buscema. Cisco Kid (Dell 1951) #39 (Apr-Jun 1958) Pedro “Easy Bucks” (4 pgs) Pencils and inks by John Buscema. #40 (Jul-Sept 1958) Pedro No title (4 pgs) Pencils and inks by John Buscema. #41 (Oct-Dec 1958) Pedro “The Money Machine” (4 pgs) Pencils and inks by John Buscema. Confessions of the Lovelorn (ACG 1954) #109 (Nov 1959) “Sentimental Safari” (8 pgs) Pencils and inks by John Buscema. Cowboy Romances (Marvel IPC 1949) #1 (Oct 1949) “Cowgirls don’t cry” (6 pgs), “The cowboy who dared” (8 pgs), #2 (Dec 1949) “He branded my soul... with fear !” (8 pgs), #3 (Mar 1950) “Sarah and the Saddle tramp” (9 pgs). Crime Cases Comics (Marvel 1950) #25 (Nov 1950) “The Lady Vanished” (8 pgs) possible pencils by John Buscema art. Crimefighters (Marvel CCC 1948) #4 (Nov 1948) “Kidnapping Abraham Lincoln” (9 pgs) first John Buscema art but not first published. #5 (Jan 1949) “The case of the glass girl” (7 pgs). #7 (May 1949) Cover/ “Nick Corvini” (6 pgs), #8 (Jul 1949) “Clarence Evans, The poor, weak coward who turned killer” (7 pgs), #10 (Nov 1949) “The strange death of Emmett Wright” (10 pgs). Crime Must Pay the Penalty (ACE) #46 (Jul. 1955) All reprints of Mister Risk. Faithful (Marvel 1949) #1 (Nov 1949) “The other woman” (8 pgs) Vince Alascia inks. #2 (Feb 1950) “Love Thief !” (7 pgs), “Glamour !” (6 pgs) possible pencils by John Buscema. Famous Stars (Ziff Davis 1950) #3 (1950) Alan Ladd “Hollywood’s Horatio Alger boy !” (8 pgs). Forbidden Worlds (ACG 1951) #74 (Jan 1959) (1 pg) Pencils and inks by John Buscema. #75 (Feb 1959) “Legend of the clock” (7 pgs) Pencils and inks by John Buscema. #79 (Jun 1959) “The man who couldn’t be stopped” (8 pgs) Pencils and inks by John Buscema. #81 (Aug 1959) “Hepzibah’s dream” (7 pgs) reprinted in Swords of valor#1(A-Plus comics 1990), Pencils and inks by John Buscema. #82 (Sep 1959) “The secret of the Sargasso” (7 pgs) Pencils and inks by John Buscema. #87 (May-Jun 1960) “The train that vanished” (9 pgs) Pencils and inks by John Buscema. Four Color Comics (Dell 1942) #684 (Mar 1956) “Helen of Troy” (34 pgs) Pencils and inks by John Buscema. #762 (Jan 1957) “The Sharkfighters” (34 pgs) Pencils and inks by John Buscema. #775 (Mar 1957) “Sir Lancelot and Brian” (34 pgs) Pencils and inks by John Buscema. #794 (Apr 1957) “The Count of Monte Cristo” (35 pgs) Pencils and inks by John Buscema. #910 (Jun 1958) “The Vikings” (34 pgs) Written by Leo Dorfman, Pencils and inks by John Buscema. #927 (Aug1958) “Luke Short’s Top Gun” (35 pgs) Pencils and inks by John Buscema. #944 (Sep 1958) “The 7th Voyage of Sinbad” (33 pgs) Written by Gaylord Du Bois, Pencils and inks by John Buscema. #1006 (Jul 1959) “Hercules” (34 pgs) Written by Paul S. Newman, Pencils and inks by John Buscema. #1077 (Feb-Apr 1960) “The Deputy” (34 pgs) Written by Paul S. Newman, Pencils and inks by John Buscema. #1130 (Sep-Nov 1960) “The Deputy” (35 pgs) Pencils and inks by John Buscema. #1139 (Nov 1960) “Spartacus” (32 pgs) Written by Gaylord Du Bois (10 pgs) Pencils and inks by John Buscema, (22 pgs) Pencils only, inks by Mike Peppe. Girl Comics (Marvel atlas 1949) #1 (Oct 1949) “No escape” (8 pgs) pencils. Hollywood Secrets (Quality 1949) #6 (Sep 1950) “Detour to desire” (6 pgs). Indian Chief (Dell 1951) #13 (Jan-Mar 1954) White Eagle “White Eagle and the Hostage” (16 pgs) Pencils and inks by John Buscema. #30 (Apr-Jun 1958) Red Wing “The New Land” first U-Lan story Red Wing from prehistoric America (10 pgs) Pencils and inks by John Buscema. #31 (Jul-Sep 1958) Red Wing “Sign of Courage” U-Lan become Red Wing (10 pgs) Pencils and inks by John Buscema. #32 (Oct-Dec 1958) Red Wing “Valley of Decision” U-Lan Red Wing (9 ½ pgs) Pencils and inks by John Buscema. #33 (Jan-Mar 1959) White Eagle “The Earth Trembles” (20 pgs) Pencils and inks by John Buscema, Red Wing “Fangs of Fury” U-Lan Red Wing (10 pgs) Pencils and inks by John Buscema. Justice Comics (Marvel atlas 1947) #8 (Feb 1949) “The stranger” (5 pgs) possible pencils. #9 (Apr 1949) Cover/ “Johnny ‘the gun’ Sanchico” (12 pgs). #11 (Jun 1949) “The case of the strange clue” (7 pgs). #13 (Sep 1949) “Ambush” (8 pgs). #15 (Feb 1950) “Smiley Jordan Mob !” (7 pgs) possible pencils by John Buscema. #16 (Jun 1950) “Doctor Anita Wynton, the mad woman who

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played with poison” (6 pgs), “Gun for hire !” (7 pgs) possible pencils by John Buscema, #18 (Nov 1950) “Jail Break !” (3 pgs) possible pencils by John Buscema. Kid Colt Outlaw (Marvel atlas 1947) #5 (May 1949) Cover possible inks on Syd Shores. Kid Cowboy (Ziff Davis 1950) #2 (??? 1950) “Capt. John Smith and Pocahontas” back cover inks by Robert Stuart (signed by both artists), #3 (??? 1950) “Western Desperadoes Jesse James” frontispiece inks by Robert Stuart (signed by both artists).. Lawbreakers always Lose ! (Marvel 1948) #3 (Aug 1948) “Till crime do your part” (4 pgs) First published work. #5 (Dec 1948) “How smart can you be ?” (10 pgs). #6 (Feb 1949) Cover. #8 (Jun 1949) Cover/ “The imperfect crime” (10 pgs) possibly pencils. #9 (Aug 1949) “On the prowl” (8 pgs). Life Stories of American Presidents (Dell 1957) #1 (Nov 1957) (99 pgs) Pencils and inks by John Buscema. Lorna the Jungle Queen (Atlas 1953) #1 (Jul 1953) “The magic of M’tuba” (5 pgs) Pencils and inks by John Buscema, written by Don Rico. Love Adventures (Atlas 1949) #1 (Oct 1949) “The mistake of Genevieve Harris” (7 pgs) inks by Vince Alascia, #3 (Feb 1951) “Flight to love” (8 pgs) Pencils and inks by John Buscema. #6 (Aug. 1951) “The return of the Rio kid” (9 pgs) Pencils and inks by John Buscema. Love Diary (Our Publishing 1949) #10 (Nov 1950) “Bachelor girl” (10 pgs) Pencils and inks by John Buscema. #12 (Jan 1951) “John’s other love” (10 pgs) Pencils and inks by John Buscema. #13 (Feb 1951) “Not meant for love” (8 pgs) Pencils and inks by John Buscema. #15 (Apr 1951) “Jilted” (9 pgs) Pencils and inks by John Buscema. #16 (May 1951) “Bewitched” (8 pgs) Pencils and inks by John Buscema. #20 (Sep 1951) “Ladies man” (9 pgs) Pencils and inks by John Buscema. #21 (Oct 1951) “The right man for me” (7 pgs) Pencils and inks by John Buscema. #31 (Oct 1952) Cover, pencils and inks by John Buscema/ “Open season for romance” (8 pgs) Pencils and inks by John Buscema. #32 (Dec 1952) Cover, pencils and inks by John Buscema/ “A heart like stone!” (7 pgs) Pencils and inks by John Buscema. #33 (Feb 1953) Cover, pencils and inks by John Buscema/ “Make way for love” (7 pgs) Pencils and inks by John Buscema, “Prescription for happiness” (2 pgs) Pencils and inks by John Buscema. #34 (Apr 1953) Cover, pencils and inks by John Buscema/ “The brute I loved” (8 pgs) Pencils and inks by John Buscema, “Prescription for happiness” (3 pgs) Pencils and inks by John Buscema, “All men are terrific” (5 pgs), #35 (Jun 1953) Cover, pencils and inks by John Buscema/ “The girl that I marry” (7 pgs) Pencils and inks by John Buscema. #36 (Sep 1953) “Not the right type” (6 pgs) Pencils and inks by John Buscema. #37 (Oct 1953) “Two loves have I !” (6 pgs) Pencils and inks by John Buscema, “My secret shame” (7 pgs) Pencils and inks by John Buscema. #38 (Dec 1953) Cover, pencils and inks by John Buscema/ “Prescription for happiness” (3 pgs) Pencils and inks by John Buscema, “Too innocent to know” (7 pgs) Pencils and inks by John Buscema. #39 (Jan 1954) Cover, pencils and inks by John Buscema/ “My hero !” (6 pgs) inks by ?. #45 (Jul 1954) Cover, pencils and inks by John Buscema/ “Lover don’t leave me !” (9 pgs) Pencils and inks by John Buscema. #46 (Sep 1954) Cover, pencils and inks by John Buscema/ “Prescription for happiness” (3 pgs) reprint Love Journal#14 “SOS for Love”, “Fightin’ Irish !” (6 pgs) reprint Love Journal#18 pencils and inks by John Buscema, #47 (Dec 1954) Cover, pencils and inks by John Buscema/ “Bewitched” (8 pgs) reprints from #16, “Love slave” (6 pgs) reprint from Love Journal#19. #48 (Sep-Oct 1955) Cover, pencils and inks by John Buscema/ “Bachelor girl” (10 pgs) reprint from #10, “Prescription for happiness” (3 pgs) reprint Love Journal#15 “SOS for Love”, “Second best love!” (5 pgs) reprint from Love Journal#15. Love Journal (Our Publishing 1951) #14 (Jun 1952) “SOS for love” (3 pgs) Pencils and inks by John Buscema. #15 (Aug 1952) Cover, pencils and inks by John Buscema/ “Second best love!” (5 pgs) Pencils and inks by John Buscema, “SOS for love” (3 pgs) Pencils and inks by John Buscema. #16 (Nov 1952) Cover, pencils and inks by John Buscema/ “SOS for love” (2 pgs) Pencils and inks by John Buscema. #17 (Jan-Feb 1953) Cover, pencils and inks by John Buscema/ “SOS for love” (2 pgs) Pencils and inks by John Buscema. #18 (Mar-Apr 1953) Cover, pencils and inks by John Buscema/ SOS for love” (3 pgs) Pencils and inks by John Buscema, “Fightin’ Irish !” (6 pgs) Pencils and inks by John Buscema. #19 (May-Jun 1953) Cover, pencils and inks by John Buscema/ “Song of my heart” (7 pgs) Pencils and inks by John Buscema, “SOS for love” (3 pgs) Pencils and inks by John Buscema. #20 (Aug-Sep 1953) Cover, pencils and inks by John Buscema/ “Love slave” (6 pgs) Pencils and inks by John Buscema, “Trapped” (7 pgs) Pencils and inks by John Buscema.

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#21 (Oct-Nov 1953) Cover, pencils and inks by John Buscema/ “My heart could not wait” (6 pgs) Pencils and inks by John Buscema. #22 (Jan 1954) Cover, pencils and inks by John Buscema/ “A lease on love!” (7 pgs) Pencils and inks by John Buscema, “SOS for love” (3 pgs) Pencils and inks by John Buscema. #25 (Jul 1954) Cover, pencils and inks by John Buscema. Lovers (Marvel 1949) #30 (Nov 1950) “Cinderella Can Also Cry!” (6 pgs) possible pencils by John Buscema. Love Romances (Marvel 1949) #11 (May 1950) “Gold Digger !” (10 pgs). Love Tales (Marvel 1949) #61 (Apr 1955) “Who was the other girl” (8 pgs) reprint from Faithful#1. Love Trails (Marvel 1949) #1 (Dec 1949) “I was a honky tonk queen” (9 pgs). Man Comics (Marvel 1949) #1 (Dec 1949) Cover, pencils and inks by John Buscema. #2 (Mar 1950) Cover, pencils and inks by John Buscema. #3 (Jun 1950) “Power” (18 pgs). #4 (Oct 1950) Cover, pencils and inks by John Buscema/ “The fallen hero” (13 pgs). March of Comics (Dell 1946) #121 (Dec 1954) RR: “Christmas at Tanner’s Ranch” (28 pgs) Written by Gaylord Du Bois, inks by Mario Acquaviva. #131 (Sep 1955) RR: “Roy Rogers King of the cowboys and the Secret of the Rocks” (28 pgs) Written by Gaylord Du Bois, inks by Mario Acquaviva, RR: games (4 pgs) Illos inks by Mario Acquaviva. #136 (Dec 1955) RR: “Roy Rogers King of the cowboys and the Other Christmas Tree” (28 pgs) Written by Gaylord Du Bois, inks by Mario Acquaviva, RR: games (2 pgs) Illos inks by Mario Acquaviva. #146 (Dec 1955) RR: “Roy Rogers and Yaqui Vengeance” (28 pgs) Written by Gaylord Du Bois, inks by Mario Acquaviva, RR: games (3 pgs) Illos inks by Mario Acquaviva. #151 (Jan 1956) RR: “Gunplay at Black Canyon” (28 pgs) Written by Gaylord Du Bois, inks by Mario Acquaviva, RR: games (4 pgs) Illos inks by Mario Acquaviva. Mr Risk (ACE 1950) #7 (Oct 1950) Cover, pencils and inks by John Buscema/ “Case of double identity” (8 pgs), “Case of the missing bride groom” (7 pgs), #2 (Dec 1950) “Case of the psychopathic lady” (7 pgs), “Case of the jinxed airline” (8 pgs). My Own Romance (Marvel 1949) #14 (Jan. 1951) “Peril from the past” (8 pgs). #67 (Jan. 1959) “Never let me go” (4 pgs). My Romantic Adventures (ACG) #97 (Jan 1959) “How to discourage a date” (3 pgs) Pencils and inks by John Buscema. #101 (May 1959) “Autobiography of a flirt” (12 pgs) Pencils and inks by John Buscema. #102 (Jun 1959) “She couldn’t stand her boss” (6 pgs) Pencils and inks by John Buscema. #103 (July 1959) “The Ugly Twin” (10 pgs) Pencils and inks by John Buscema. #105 (Sep 1959) “Riches and romance” (8 pgs) Pencils and inks by John Buscema. #106 (Oct 1959)Cover, pencils and inks by John Buscema/ “Female of the species” (10 pgs) Pencils and inks by John Buscema. #107 (Dec 1959) “You can’t love a liar” (8 pgs) Pencils and inks by John Buscema. Mystic (Atlas 1951) #21 (Jul 1953) “Zombies in the streets” (5 pgs) Pencils and inks by John Buscema. Nature Boy (Charlton 1956) #3 (Mar 1956) Cover, pencils and inks by John Buscema/ “The origin of Nature boy” (7 pgs) Pencils and inks by John Buscema, “Vs the dictator of Utopia” (7 pgs) Pencils and inks by John Buscema, “Nature man vs the terrible torrent” Pencils and inks by John Buscema. #5 (Feb 1957) “Vs the jiver from Jupiter” (7 pgs) Pencils and inks by John Buscema, (1 pg) Pencils and inks by John Buscema. Rangeland Love (Marvel 1949) #1 (Dec 1949) “When my love wore a coward’s brand”. Romances of the West (Marvel 1949) #1 (Nov 1949) “The cowboy or the playboy” (9 pgs), #2 (Mar 1950) “I rustled another gal’s man” (8 pgs). Roy Rogers Comics become Roy Rogers and Trigger with #92 (Dell 1948) #74 (Feb 1954) RR: “Roy Rides the Danger Trail” (14 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Tornado Weather” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Snow on the Warfield Trail” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #75 (Mar 1954) RR: “The Thundering Flood” (14 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Man Hunt” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Meets a Giant” (13 pgs) Backgrounds by Pete Alvarado, Written by Gaylord Du Bois, inks by Mario Aquaviva. #76 (Apr 1954) RR: “Boy Rides a Hunch” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and the Manhunt for Five” (14 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and the Wild Man” (10 pgs) Backgrounds by Hi (Hiram) Mankin, Written by Gaylord Du Bois, inks by Mario Aquaviva. #77 (May 1954) RR: “Roy Rogers King of the cowboys in Double Trouble” (14 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and the Claim Jumpers” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and the Silent Guar-

dians” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, Subscription page (1 pg?) Roy Rogers. #78 (Jun 1954) RR: “Roy Rogers King of the cowboys and the Red Whirlwind” (14 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and the Golden Calves” (10 pgs) Backgrounds by Hi (Hiram) Mankin, Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and the Challenge to Danger” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #79 (Jul 1954) RR: “Roy Rogers King of the cowboys and the Ghost Well Mystery” (13 pgs) Backgrounds by Hi (Hiram) Mankin, Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and the Cloaked Rider” (14 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and the Bald Lightning” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #80 (Aug 1954) RR: “Roy Rogers King of the cowboys and the Savage Portrait” (14 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rides the Rim” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and Hot Lead at Rocklin’s” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #81 (Sep 1954) RR: “Roy Rogers King of the cowboys and Gun Flames at Windy Gulch” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Trail of the Bushwhacker” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, Subscription page (1 pg) Roy Rogers and Trigger. #82 (Oct 1954) RR: “Roy Rogers King of the cowboys and the Vanished Ore” (14 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and the Missing Brother” (9 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #83 (Nov 1954) RR: “The Vengeance Trail” (14 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and the Land Grabber” (9 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #84 (Dec 1954) RR: “Roy Rogers King of the cowboys in the Cloudburst Gold” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and the Man Trap” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #85 (Jan 1955) RR: “Roy Rogers King of the cowboys in Gunman’s Trail” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Ropes a Tiger” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #86 (Feb 1955) RR: “Roy Rogers King of the cowboys and the Riders Hazard” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and the Lost Explorers” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #87 (Mar 1955) RR: “Roy Rogers King of the cowboys and the Ghost Town Payoff” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and the Cougar of the Lost Canyon” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #88 (Apr 1955) RR: “Roy Rogers King of the cowboys and the Search” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Red Ledge Gold” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #89 (May 1955) RR: “Roy Rogers King of the cowboys and the Cowbell Clue” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Trail the Pack” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #90 (Jun 1955) RR: “Roy Rogers King of the cowboys in Race with Doom” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Roy Rogers King of the cowboys and the lost Spinster” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #91 (Jul 1955) RR: “Gunfire at Drygulch” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR: “Plane Evidence” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #92 (Aug 1955) RR&T: “The Barranca Trail” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “The Wall of Water” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #93 (Sep 1955) RR&T: “Roy Rogers King of the cowboys and the Search” (11 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “Roy Rogers King of the cowboys and the Man from Long Ago” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #94 (Oct 1955) RR&T: “Roy Rogers King of the cowboys Flintlock Feud” (12 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “Roy Rogers King of the cowboys the Rogues of Roaring Canyon” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #95 (Nov 1955) RR&T: “Roy Rogers King of the cowboys the Two Strangers” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “Roy Rogers King of the cowboys the Horse Thieves Trail” (12 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #96 (Dec 1955) RR&T: “Roy Rogers King of the cowboys and the Ghost Town Treasure” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “Roy Rogers King of the cowboys a Thief and Santa”

(12 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #97 (Jan 1956) RR&T: “Roy Rogers King of the cowboys Two Angry Men” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “Roy Rogers King of the cowboys Shadows in the Canyon”(12 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #98 (Feb 1956) RR&T: “Roy Rogers and Trigger in Black Lightning” (13 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “Roy Rogers and Trigger A Circus Comes to Town” (11 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #99 (March 1956) RR&T: “Roy Rogers and Trigger in Bear Justice” (12 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “Roy Rogers and Trigger in Stolen Meat” (12 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #100 (April 1956) RR&T: “Strange Tracks” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “Roy Ropes a Partner” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, T: “Trigger Keeps His Head” (6 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #101 (May1956) RR&T: “The Fight at Bannerman’s Gulch” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, T: “Trigger Finds a Refuge” (6 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. RR&T: “The Outlaw sign” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. #102 (June1956) RR&T: “Trouble in Wolf’s Head Canyon” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, T: “The Camp Robbers” (6 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “The Man Hunter” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, #103 (July 1956) RR&T: “Trigger Follows Through” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, T: “Strange Companions” (6 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “The Charro Rider” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, #104 (Aug 1956) RR&T: “The Partner” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, T: “The Day of Danger” (6 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “The Beef Thieves” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, #105 (Sep 1956) RR&T: “Ghost Bullets” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, T: “The Twister” (6 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “Hostage” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, #106 (Oct 1956) RR&T: “The Gold Gulch Stampede” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, T: “The Trap” (6 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “The Barefoot Dogies” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, #107 (Nov 1956) RR&T: “The Pack Train Mystery” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, T: “The Little Wild Colt” (6 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “Leap for Life” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, #108 (Dec 1956) RR&T: “The Horseless Wagon” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, T: “The Pigmy Horses” (6 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva, RR&T: “Stolen Roundup” (10 pgs) Written by Gaylord Du Bois, inks by Mario Aquaviva. Sports Action (Atlas comics 1950) #7 (May 1951) “Sweat It Out” (1 pg text) possible Pencils and inks by John Buscema. Strange Tales (Atlas comics 1951) #22 (Sep 1953) “The corpse that wasn’t” (5 pgs) Pencils and inks by John Buscema. #68 (Apr 1959) “Trapped in tomorrow” (4 pgs) Pencils and inks by John Buscema. Strange Worlds (Marvel 1958) #3 (Apr 1959) “I was the man who lived twice” (5 pgs) Pencils and inks by John Buscema. #4 (Jun 1959) “Manhunt on Mars” (5 pgs) Pencils and inks by John Buscema. Suspense (Marvel 1949) #1 (Dec 1949) “Alone With Murder!” (7 pgs) Possible Pencils by John Buscema. #2 (Feb 1950) “Pursuit !” (9 pgs) Possible Pencils and inks by John Buscema. #4 (Aug 1950) “Two lives I had !” (9 pgs) Pencils and inks by John Buscema. Tales of Suspense (Atlas 1959) #1 (Jan 1959) “The day I left my body” (4 pgs) Pencils and inks by John Buscema. #3 (May 1959) Cover, pencils and inks by John Buscema. Tales to Astonish (Atlas 1959) #2 (Mar 1959) “I was a man in hiding” (4 pgs) Pencils and inks by John Buscema. Tex Morgan (Marvel 1949) #4 (Feb 1949) “Range war brings killer guns” (7 pgs), “Trapped in the outlaw’s den” (7 pgs). #5 (Apr 1949) Cover, pencils and inks by John Buscema/ “Valley of the missing cowboys” (6 pgs), “The mystery of desert sands !” (7 pgs). #6 (Jun 1949) “Murder south of the border” (6 pgs) pencils, Mike Becker inks, “Ride tenderfoot, ride” (7 pgs), “Menace on murder mountain” (6 pgs), #7 (Aug 1949) “Mystery on the warpath” (8 pgs) pencils, Vince Alascia inks, “The axe strikes” (8 pgs) Vince Alascia inks. #9 (Feb 1950) “ Death to Tex Morgan” (7 pgs) possible pencils and inks by John Buscema. The Hawk 3d (Saint John 1953)

JOHN BUSCEMA L’A R T E N E I C O M I C S #2 (Nov 1953) “Wheel of fortune” (6 pgs). True Adventures (Marvel 1950) #3 (May 1950) “Killer at large” (8 pgs). True Complete Mystery (Marvel 1949) #5 (Apr 1949) Cover, pencils and inks by John Buscema/ “Rico Mancini the deadly dude” (13 pgs), “Murder will out” (6 pgs), #6 (Jun 1949) “The frame up that failed” (7 pgs), “Triangle of terror” (6 pgs). True Life Tales (Marvel 1949) #8 (Oct 1949) “The heartbreak of Ellen Case” (8 pgs). True Secrets (Marvel 1950) #3 (Mar 1950) “I was a nobody” (8 pgs). Two Gun Kid (Marvel 1948) #7 (Apr 1949) Cover, possible pencils by John Buscema. Two Gun Western (Marvel 1950) #5 (Nov 1950) Cover, pencils and inks by John Buscema/ Apache kid “Massacre at fort Madison” (8 pgs), “The renegade” (5 pgs), “Dead Ending” (2 pgs text). Wanted Comics (Our Publishing/Toytown 1947) #31 (Nov 1950) “The dawn patrol gang” (8 pgs) Pencils and inks by John Buscema. #32 (Dec 1950) “Gang doctor” (8 pgs) Pencils and inks by John Buscema. #33 (Jan. 1951) “He’s the killer” (9 pgs) Pencils and inks by John Buscema. #34 (Feb 1951) “The green parrot murder case” (8 pgs) Pencils and inks by John Buscema. #38 (Jun. 1951) “Diamonds of death” (11 pgs) Pencils and inks by John Buscema. #39 (Jul 1951) “The mad magician of crime” (12 pgs) Pencils and inks by John Buscema, “Murder massacre” (4 pgs) Pencils and inks by John Buscema. #42 (Oct. 1951) “Wanted by a killer: one witness” (4 pgs) Pencils and inks by John Buscema. #45 (Feb 1952) “Hatchet man” (10 pgs) Pencils and inks by John Buscema. #48 (Jul 1952) “They all died” (7 pgs) Pencils and inks by John Buscema. #49 (Sep 1952) Cover, pencils and inks by John Buscema/ “Eyes of vengeance” (7 pgs) Pencils and inks by John Buscema. #50 (Oct 1952) Cover, pencils and inks by John Buscema/ “Make way for murder” (9 pgs) Pencils and inks by John Buscema, “The model murder” (1 pg) Pencils and inks by John Buscema. #51 (Dec 1952) Cover, pencils and inks by John Buscema/ “Unsolved mystery” (1 pg) Pencils and inks by John Buscema, “The butcher” (7 pgs) Pencils and inks by John Buscema. #52 (Feb 1953) Cover, pencils and inks by John Buscema/ “Murder for aunt Martha” (1 pg) Pencils and inks by John Buscema. #53 (Apr 1954) Cover, pencils and inks by John Buscema/ “Murderous cargo” (7 pgs) Pencils and inks by John Buscema, “Murder of misery” (1 pg) Pencils and inks by John Buscema. Westerner (Orbit 1948) #28 (Sep 1950) Nuggets Nugent, “Six gun spinster” (6 pgs), Wild Bill Pecos, “Golden city of fronteado” (8 ¼ pgs). #29 (Oct 1950) Nuggets Nugent, “Call me hero” (6 pgs) pencils. #31 (Dec. 1950) Wild Bill Pecos, “El conquistador” (8 pgs). #33 (Feb 1951) Wild Bill Pecos, “In the secret of Lulu Belle” (9 pgs). #34 (Mar 1951) Wild Bill Pecos, “The two gun grandpappies” (8 pgs). #35 (Apr 1951) Wild Bill Pecos, “The mystery bandit”(6 pgs). #36 (May 1951) Wild Bill Pecos, “Indian medicine man” (8 pgs), Wild Bill Pecos, “Tombstone bugle” (7 pgs). #37 (Jun.1951) Lobo, “Return of Lobo the wolf boy” (7 pgs). #40 (Oct 1951) Wild Bill Pecos, “The undertaker” (12 pgs). Western Outlaws and Sheriffs (Marvel 1949) #60 (Dec 1949) “Gun duel in powder valley” (8 pgs). #62 (Jun 1950) “El sombro, Mexico’s ghost of chapel hill !” (8 pgs). #70 (Dec 1951) “The Six-Shooter” (3 pgs) possible pencils and inks by John Buscema. Western Thrillers (Atlas 1954) #1 (Nov 1954) “Gun duel in powder valley” (8 pgs) Reprint Western Outlaws and Sheriffs#60. Western Winners (Marvel 1949) #5 (Jun 1949) Cover, pencils and inks by John Buscema/ The Black Rider, “The mystery of the polls of peril” (10 pgs). Wild Western (Atlas 1948) #5 (Jan 1949) “Two Guns Bark Along Terror Trail!” (8 pgs) possible pencils by John Buscema. #7 (May 1949) “The Disguise that Failed!” (7 pgs) possible pencils by John Buscema. #9 (Oct 1949) “The Incident at Choctaw Creek!” (8 pgs) possible pencils by John Buscema. #12 (Sep 1950) Cover, pencils and inks by John Buscema. Young Men (Marvel 1950) #4 (Jun 1950) “They called me Shorty” (8 pgs), “The champ” (8 pgs). #5 (Sep 1950) “My brother is a spy” (7 pgs), “Jaws of death” (8 pgs). ART BOOKS Art of John Buscema (Sal Quartuccio 1978) #1. How to Draw Comics the Marvel Way (Simon & Shuster 1978) #1. John Buscema Sketchbook (Vanguard 2001) #1. Workshop Showcase Book #nn Cover, pencils and inks by John Buscema/ Art from John Buscema’s school students. FANZINES AND CONVENTION BOOKS Alter Ego Vol 1 (1969) #10 (1 Black Knight illo). Alter Ego Best of (Trade Paperback hamster press 1997)

#1(1 Black Knight pencils illo reprinted from #10 but best printing). Burroughs Bulletin (2001) #46 (1 illo The end of Bukawai reprints 1 panel from Tarzan annual#1). Centaur (1969) #1 Cover, pencils and inks by John Buscema. Comic Art Convention 1977 Cover, pencils and inks by John Buscema, part of/ (1 page head illo), 1979 (4 pgs including John’s picture by Roy Thomas, a few illos from the art of John Buscema book). Comic Crusader (1972) #12 (1 Thor illo,Joe Sinnott inks). Foom (Magazine) #7 Avengers Cover., #12 Vision Cover, inks by Craig Russell. #14 Conan Cover, inks by Tom Palmer/ (2 pencils illos of Conan and Red Sonja), #17 (2 Tarzan pencils illos), #21 (1 small Tarzan pencils illo). I Mille Volti di Tex (Italian Book Comicon 2000) (1 pencil sketch, Tex head from 1996). Marvel Con ‘75 (1 page prevue OZ with first characters design). Marvel Con ‘76 (4 illos and Workshop add with John’s profile). Marvelmania Magazine (1970) #3 unpublished complete Captain America#115 panel, Sal Buscema inks, #5 “Toys for Tots” Avengers (4 panels). Mediascene (Supergraphics 1973) #27 (Sep-Oct 1977) Two pages preview of Conan strip, #35 (Jan-Feb 1979) Two pages and a half on Weirdworld with John’s awesome pencils !, #39 (Sep-Oct 1979) Unpublished Warriors of the Shadow Realm regular serie cover and a few words of Jim Shooter about a “John Buscema’s dream book”!!!. New Con ‘72 (1972) 1972 The New England Comic art convention, Thor illo pencils copyright 1970, Joe Sinnott inks. Nimbus (1977) #3 (Sep 1977) (2 barbarians illos). 1968 Phil Seuling International Convention of Comic Art Progress Report (1968) #2 (Avengers pencils version of the “Hang Loose, Heroes!” Pin up from Avengers King Size Annual # 2 without Hercules probably added by the inker Bill Everett). Realm (1970) #4 (1971) Ad supplement p:41, the Kingpin by John Buscema, Romero inks. San Diego Comic Con (1978) (One page of a fat John Carter with his gal ?!!), (1992) (One page dedicated to Jack Kirby as Captain America for his 75th anniversary). Scarce (French Fanzine 1995) I:#44(8 pgs translated in French). UK Comic Art Convention (1994)(One page Thor). Wonderful World of Comix ! (Zero Publication 1970) #4.5 (double issue). INTERVIEWS, ARTICLES Alter Ego Vol 2 (1999) #15 (June 2002) Cover reprints miscellaneous drawings by Big John/ Tribute issue. #13 (March 2002) Interview. Amazing Book (Spanish book 1999) #3 (2000). Atlantis (Fanzine 1970) #1 (1970) Interview. Avengers (april 2002) #51 dedicated to John with two pages tribute letters. Back-Up (French Fanzine 1998) #13 (10/2007) article on John Buscema #14 (06/2008) 1948-1960 John Buscema bibliography. Big John Buscema Comics and Drawings (IDW 2012) One shot 328 pgs, US edition of the Spanish book about the 2009 exhibition in Palma de Mallorca with biography and hundred of illos and original art pictures, text in Spanish and English, All the scans have been redone, and almost all the pictures have been changed, a new book and probably the best on Big John ! Big John Buscema Historietes i Dubuixos (Casal Solleric 2009) One shot 328 pgs Spanish book about the 2009 exhibition in Palma de Mallorca with biography and hundred of illos and original art pictures, text in Spanish, Catalan and English. Burroughs Bulletin (1993) #15 (Tarzan the marvel way, 7 pgs interview with a few illos mostly reprints). CFA-APA (2002) #57 “The awesome artistry of John Buscema” 20 pgs tribute with original art pages and article by Dave Newton). Comic Book Artist #21. Comic Book Creators (Hard cover ABDO 2006) John Buscema by Sue Hamilton, Big John biography with a lot of photos of the man and his family from the 50’s to the 2000’s. Comics Buyer’s Guide (CBG 1971) #1472 (Feb 1, 2002) (1 page article) John Buscema 19272002 by Brent Frankenhoff, #1473 (Feb 8, 2002) (3 pages article) Fans, pros remember John Buscema, letters pages, (2 pages) article by Andrew Smith, (2 pages article) by Mark Evanier, #1474 (Feb 15, 2002) (1 page article) Fans, pros remember John Buscema, letters pages, David Campiti text and Will Conrad art on John Buscema tribute poem, (1 page article) tribute by Vanguard with words by Neal Adams, Carmine Infantino, Jeffrey Jones, Jim Steranko and David Spurlock.

Comics Feature (NMP 1980) #31 (Sep 1984) 12 pgs Interview. #46 (Jul 1986). Comics Interview (1983) #62 (Dec 1988) 10 pgs Interview and a lot of Wolverine pencils before Al Williamson inks,. Comics Journal (Fantagraphics 1977) #48 (Super Summer special 1979) Interview, Weirdworld first unpublished pencils, inks and color version by John of the initial project, beautiful !!!. #226 (Sep 2000) Interview, John Buscema’s ‘Chalk Talk’. #241 (Feb 2002). #285 (Oct 2007) “From out of the mausoleum: John Buscema’s Wanted Stories” 1 pg article by Michael Dean about Big John work on Wanted Comics, reprint Wanted#49 cover, Wanted#50 cover, “They all died” (7 pgs) from Wanted#48 (Jul 1952), “Make way for murder” (9 pgs) from Wanted#50 (Oct 1952), “Eyes of vengeance” (7 pgs) from Wanted#49 (Sep 1952). Comics Scene (1982) #4 (3 pgs Interview on Wolverine plus two pgs on Silver Surfer judgment day). Comics World (UK 1995) #37 (Interview). Die Sprech Blasé (Germany 1992) #128 (4 pgs articles by Martin Hilland with a few illos). Flex (Italy 1995) #10 (2 pgs Interview + illos + photos from Roma comicon 1995). Fumetti d’Italia (Italy 1992) #2 (May 1992) (1 pg Interview + 1 photo). Glamour International (Italy 1992) #19 American Good Girl Art 1950s-1990s, English, French, Italian: very small biography of Giovanni Natale Buscema aka John N. Buscema with a very general bibliography (Adult material). Heavy Metal (Metal Mammoth Volume XXXV 2011) #7 (Nov 2011) Spotlight John Buscema The Lost Drawings by Horation Weisfeld 4 pgs, 2 pages article and Sketches on four pages. Jack Kirby Collector (Twomorrows 1998) #18 (3 pgs with two very similar versions of Silver Surfer#13 cover), #35 (transcript of a panel between John, Marie Severin, Gene Colan and John Romita at the San Diego 2001 Comicon). John Buscema a Life in Sketches (Pearl Press 2008) One shot 104 pgs book by Emilio Soltero with sketches illustrations. Los Buscema (Heroes en su Bruma Sins Entido 2007) #13 72 pgs spanish book by Eduardo De Salazar on John and Sal. Marvel (Harry N. Abrams 1991) Wonderful book by Les Daniels on Marvel with words about John Buscema here and there. Punisher Anniversary Issue (1994) #1(1 page article with John’ thoughts on his past work and on Punisher War Zone with some illos from the books here and there). PRATO’ 95 (Italy 1995) One shot, Cover, reprint Conan#96 cover drawing/ “The Savage Sword of John Buscema” 5 pages article by Francesco Manetti, 12 pages illos and original art pages. Marvel Vision (1996) #8 Interview #23 Interview. Savage Sword of Conan (Marvel 1976) #15 Interview. Scarce (French Fanzine 1995) #44 (8 pgs Interview translated in French). WIZ (Marvel Italia 1994) #7 (May 1996) “Riflettori su... John Buscema” 1 page Interview in Italian with Andrea Plazzi when in Napoli 1996. #32 (Jun 1998) “I Supereroi sono la cosa più stupida del mondo!” 2 pages translated in Italian from a Barry Dutter Interview, one penciled panel from Silver Surfer#14 before Dan Adkins inks with Spider-Man and Silver Surfer.

Faithful (Marvel 1949) #2 “Love thief” (7 pgs) NOT by John Buscema, “Glamor” (6 pgs) NOT by John Buscema. Four Color Comics (Dell 1942) #610 (Jan 1955) “Drumbeat” (34 pgs) NOT by John Buscema, Pencils and inks by Bob Correa. #688 (May 1956) “Alexander the Great” (34 pgs) NOT by John Buscema, Pencils and inks by Alberto Giliotti. #690 (1956) “The Conqueror” (34 pgs) NOT by John Buscema, Pencils by Mel Keefer and inks by Mel Keefer and John Celardo. #699 (1956) “Prince Valiant” (34 pgs) NOT by John Buscema, Pencils and inks by Bob Fujitani. #719 (1956) “Prince Valiant” (34 pgs) NOT by John Buscema, Pencils and inks by Bob Fujitani. #900 (May 1958) “Prince Valiant” (34 pgs) NOT by John Buscema, Pencils and inks by Bob Fujitani. #1089 (Apr-Jun 1960) “Restless Gun” (32 pgs) NOT by John Buscema, Pencils and inks by Nat Edson. Indian Chief (Dell 1951) #3 (Jul-Sep 1951) White Wolf “White Wolf Trails the Pack” (16 pgs) NOT by John Buscema, Pencils and inks by Alberto Giliotti. Marvel Boy (Marvel 1950) #1 (Dec 1950) “Panic” NOT by John Buscema. Marvelmania Catalog (1970) #2 (1970) Cover NOT by John Buscema, Sal Buscema pencils and inks. Ramar of the Jungle (Charlton 1955) #3 (Jan 1956) “Deep Treasure” (7 pgs) NOT by John Buscema, Pencils and inks by Mark Swayze. Tex Taylor (Marvel 1948) #1 (Sep 1948) “Desert Gold Brings Bushwhack Bullets!” (7 pgs) NOT by John Buscema, “The Trail of the Stalking Killer!” (7 pgs) NOT by John Buscema. Wanted Comics (Our Publishing/Toytown 1947) #41(Sep 1951) Cover NOT by John Buscema, Pencils and inks by Syd Shores. #42 (Oct 1951) Cover NOT by John Buscema, Pencils and inks by Harry Anderson. #43 (Nov 1951) Cover NOT by John Buscema, Pencils and inks by Syd Shores. #47 (Apr 1952) Cover NOT by John Buscema. Wild Western (Atlas 1948) #7 (May 1949) Tex Taylor “Trapped at Haddon Forks” (6 pgs) NOT by John Buscema, Pencils and inks by Pierce Rice. #8 (July 1949) Black Rider “The Phantom Strikes” (8 pgs) NOT by John Buscema, Pencils and inks by John Severin. #40 (Jan 1955) “Duel to the Death” (5 pgs) NOT by John Buscema Pencils and inks by Bob Brown.

Wonderful World of Comix ! (Zero Publication 1971) #6 (3 pgs Interview). Workshop Showcase Book #nn (2 pgs Interview).

*The New York Tribe: Tony DeZuniga; Neal Adams ; Joe Rubinstein

PORTFOLIOS

Many thanks to :

Conan Portfolio (S. Quartuccio 1980) 6 black and white plates, pencils and inks by John Buscema, Signed. Conan the Voyager Portfolio (S. Quartuccio 1992) 7 black and white plates, reprints Conan covers and Marvel Treasury, pencils and pencils & inks. Legends of Arzach Portfolio (Tundra 1992) #4 One plate by John Buscema. Marvel Artists Portfolio with Biography on the Back (Marvelmania 1970) One plate on and by John Buscema. Warriors of Shadow Realm Portfolio (Pacific Comics 1979) 6 colored plates from the magazine, Signed. WFCBA Portfolio (Editions Deesse 1983) One plate by John Buscema.

coupons from the first issues of the MWOM magazine, Joe Sinnott inks. MISCELLANEOUS Spider-Man and his Amazing Friends animated TV series (Marvel Productions 1981) John Buscema was called for rescue and flew to California for a few days to make a lot of illustrations to help the great guys in charge. John did at least drawings involving the following characters Spider-Man, The Blob, Hulk, Magneto, Mastermind, Mysterio, Red Skull, The Toad. NOT BY JOHN BUSCEMA CHECKLIST Cisco Kid (Dell 1951) #37 (oct-dec 1957) “Cass Rankin’s revenge” (17 pgs) NOT by John Buscema, Pencils and inks by Alberto Giliotti, “The Tell Tale Teeth” (10 pgs) NOT by John Buscema, Pencils and inks by Alberto Giliotti. Conan the Barbarian (1970) Annual 2 (1976) Cover NOT by John Buscema, probably Rich Buckler. Daredevil (1964) #89 (Jul 1972) Cover, pencils and inks by Sal Buscema with John Romita touch-up on DD left leg.

Above everyone Jim Vadeboncoeur Jr who gave me a lot of infos on the pre 1966 Marvel era back in 1996, 2002 and 2010 and even now. Nick Caputo for infos about the Marvel stuff covers. Didac Xifreu from Barcelona who confirmed that Dianne inked her father pencils on Conan the Savage#10 last Conan by Big John. Florentino Florez Fernandez from Palma who gave me the last infos from Dianne Buscema about the Conan the Savage#10 book. Joe Jusko who gave the infos for the Silver Surfer Judgment Day graphic novel cover and the Savage Sword of Conan#191 cover. Michael Feldman for infos on the Marvel Preview#9 and Sub-Mariner#25 books. All characters pictures are copyright of each company involved.

POSTERS Art of John Buscema Cover Poster (S. Quartuccio 1978) #1. Avengers Poster (Dynamic Forces 2002) #1 (Alex Ross painting). Mighty Marvel Comicon Poster (1975) #1 advertised in Conan#54 and 55 Joe Sinnott inks. Mighty World of Marvel Poster (1972) #1 offered to the UK readers collecting and sending 8 different

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The Buscema Barbarians portfolio

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