BEAUMONTS Posted April 29, 2005 Share Posted April 29, 2005 Those Brave and the Bolds are amazing Link to comment Share on other sites More sharing options...
burntboy Posted April 29, 2005 Share Posted April 29, 2005 Those Brave and the Bolds are amazing Ditto!!! i love the early B&B's......... and books from that era in 8.0 - 9.0 condition just RULE........... Link to comment Share on other sites More sharing options...
adamstrange Posted April 30, 2005 Share Posted April 30, 2005 (edited) Those Brave and the Bolds are amazing Ditto!!! i love the early B&B's......... and books from that era in 8.0 - 9.0 condition just RULE........... I agree entirely. I love the stories and art in all the pre-hero issues. My favorite Heath story is in #2, which previosly posted in the GA forum. Edited April 30, 2005 by adamstrange Link to comment Share on other sites More sharing options...
adamstrange Posted April 30, 2005 Share Posted April 30, 2005 (edited) Edited April 30, 2005 by adamstrange Link to comment Share on other sites More sharing options...
adamstrange Posted April 30, 2005 Share Posted April 30, 2005 (edited) I thought the back cover was out-of-the-ordinary so I went ahead and scanned it as well. Edited April 30, 2005 by adamstrange Link to comment Share on other sites More sharing options...
Scrooge Posted April 30, 2005 Share Posted April 30, 2005 Adam, I'm glad you decided to post the back cover as well on the Charlie Chan. How's the interior art on these. The GCD says art by Sid Greene. I am not familiar with him. What else has he worked I should know of? Also, you should be one to know: does the industry or major publishers see a progression in the art from the early fifties to the late fifties, from the pre-code to the post-code. With some publishers going the way of the dodo around the introduction of the code for whatever reason (code effect or not), I'd think top companies would have better pick at top artists. Any noticeable effect? Anyone? I know the early fifties art rather well by now but the late fifties are a mystery to me. Link to comment Share on other sites More sharing options...
Aman619 Posted April 30, 2005 Share Posted April 30, 2005 Sid inked Gil Kanes Green Lantern for awhile. And Infantino in Detective. He also did one of the recurring Strange Adventures strips (Space Museum??) that always looked tight and sharp and realistic in a stylized way Link to comment Share on other sites More sharing options...
adamstrange Posted April 30, 2005 Share Posted April 30, 2005 Adam, I'm glad you decided to post the back cover as well on the Charlie Chan. How's the interior art on these. The GCD says art by Sid Greene. I am not familiar with him. What else has he worked I should know of? Also, you should be one to know: does the industry or major publishers see a progression in the art from the early fifties to the late fifties, from the pre-code to the post-code. With some publishers going the way of the dodo around the introduction of the code for whatever reason (code effect or not), I'd think top companies would have better pick at top artists. Any noticeable effect? Anyone? I know the early fifties art rather well by now but the late fifties are a mystery to me. Sid inked Gil Kanes Green Lantern for awhile. And Infantino in Detective. He also did one of the recurring Strange Adventures strips (Space Museum??) that always looked tight and sharp and realistic in a stylized way It has not one, but two, count 'em two stories involving pyramids. One set in Mexico at Fiesta time near an "Aztec" pyramid and the other set in Egypt. The art by Sid is nothing more than serviceable to the engaging story. Sid was a big-time inker for Schwartz on the science fiction books in the 50s, in addition to the citations that Aman gave you. He also penciled and inked a variety of one-shot stories in Strange Adventures and Mystery in Space. However, it was Infantino (under the signature of "Cinfa") who both pencilled and inked Space Museum. Sid's regular sci-fi gig was a backup series in MIS during the Adam Strange years. It was a variation of Rashomon where the same events were explained differently by 3 space explorers and the trick was to figure out how all three could be correct. Sid's inking on those was much fussier and more personal than his work on Charlie Chan (which may be why GCD doesn't offer a definitive view of the inking on all of the Charlie Chan stories). The name of the series escaped me and I've got to scan a book for my 1000th post before I head off to the gym. (Check out the Marvel pre-hero thread in a few minutes, the book is one of my faves.) Link to comment Share on other sites More sharing options...
adamstrange Posted April 30, 2005 Share Posted April 30, 2005 (edited) Adam, Also, you should be one to know: does the industry or major publishers see a progression in the art from the early fifties to the late fifties, from the pre-code to the post-code. With some publishers going the way of the dodo around the introduction of the code for whatever reason (code effect or not), I'd think top companies would have better pick at top artists. Any noticeable effect? Anyone? I know the early fifties art rather well by now but the late fifties are a mystery to me. I'll answer briefly, but if there's a more specific question you'd like me to address then feel free to post a followup. You'd think that companies would pick up the best artists and let their existing artists go but that's not how it worked. There was, and still is today, a tendency to stick with people who are part of the existing successful team rather than firing some of them and bringing in the best available. What you find are a variety responses to the bust in the comics market. * Rates went down at most of the companies which was an encouragement for all of the artists to go into different fields (usually advertising). * The EC and artists specializing in horror were in many cases shunned by DC. Frazetta, who had done a number of pre-code stories at DC, was turned away when he tried to go back. It wasn't felt that his work would fit the squeaky clean image that DC was trying to project. * Others were given a few stories to work on so you have examples of Wood and Severin stories in DC War books or Lou Cameron in the DC Sci Fis. Or you have examples of Alex Toth or Matt Baker in Atlas. After the Atlas implosion, some of those artists did an occasional story for DC. * Bernard Bailey went back to DC but only after toning down his style so much so that I didn't even realize it was him until the mid 90s or so. The real change was in the development of some of the younger artists like Infantino and Kubert who would later be significant players in the Silver Age. One more thought: Some of the good artists did get work with some of the low-paying outfits like Charlton, Classics Ill, and Dell. Quite often that work was as inspired as their pay. Edited April 30, 2005 by adamstrange Link to comment Share on other sites More sharing options...
Zonker Posted May 1, 2005 Share Posted May 1, 2005 Sid's regular sci-fi gig was a backup series in MIS during the Adam Strange years. It was a variation of Rashomon where the same events were explained differently by 3 space explorers and the trick was to figure out how all three could be correct. Sid's inking on those was much fussier and more personal than his work on Charlie Chan (which may be why GCD doesn't offer a definitive view of the inking on all of the Charlie Chan stories). The name of the series escaped me The name of the MIS series was "Star Rovers." Sid Greene suddenly became the inker for almost all of Schwartz's super-hero titles along about 1966 or so, including JLA over Sekowsky (replacing Bernard Sachs), Flash over Infantino (replacing Giella), Green Lantern over Gil Kane (replacing Giella), Atom over Kane (replacing Murphy Anderson), and Batman in Detective over Infantino (replacing Giella again.) In the case of Anderson, it probably had to do with workload, since he was pencilling and inking Hawkman, plus helping out on a boatload of covers. In the case of Giella, it is a mystery, since Giella certainly did not retire, and was a mainstay at DC well in to the 1970s. In fact, on JLA, the progression was Sekowsky/Sachs to Sekowsky/Greene to Dillin/Greene to Dillin/Giella. Link to comment Share on other sites More sharing options...
Aman619 Posted May 1, 2005 Share Posted May 1, 2005 was Giella a victim of tghe DC insurance firings? Where certain artists and writers demanded coverage and DC responded by letting them go? Link to comment Share on other sites More sharing options...
Zonker Posted May 1, 2005 Share Posted May 1, 2005 was Giella a victim of tghe DC insurance firings? Where certain artists and writers demanded coverage and DC responded by letting them go? I don't think so, that was mainly a writers' purge affecting Gardner Fox, Arnold Drake, perhaps John Broome. And Giella certainly continued working for DC well in to the 1970s. Giella today is drawing one of the daily strips (Mary Worth?) Maybe he got a short-lived ghost-artist gig in the mid-1960s? Or maybe editor Schwartz just thought Greene was a better inker, and once Star Rovers was discontinued, Greene became available? Anyone know? Link to comment Share on other sites More sharing options...
BleekerBob Posted May 1, 2005 Share Posted May 1, 2005 A new addition of mine. [/img] Link to comment Share on other sites More sharing options...
RickHigh Posted May 1, 2005 Share Posted May 1, 2005 Here's a nice Detective I just picked up today. Actually, I picked up a few other issues of Tec, but this is the only 10- center. This book is from the Cleveland collection, and is beautiful, with white pages and great cover gloss. Link to comment Share on other sites More sharing options...
Scrooge Posted May 1, 2005 Share Posted May 1, 2005 Zonker, I had thought of that as a possibility as well and here's what the Comic Strip Project lists for Giella: Giella, Joe b. 1928 st. ASL cb art and ink-Batman, Flash, Green Lantern-1950's-1980's asst cs "Sherlock Holmes" art cs "Batman" 1966-67 asst cs "Flash Gordon" 1970-ink asst cs "the Phantom" 1972-88 art cs "Mary Worth" 1990-- So you guys would have to check the time periods but the reason Giella disappeared is because Joe went on to the 60's Batman strip, doing both pencils and inks. As for Greene replacing Murphy Anderson, this is around the time Murphy dropped Hawkman to go work for Will Eisner and this is also why Murphy didn't get to work on the regular series of The Spectre (First Spectre is Showcase # 60 in Feb. 1966) Murphy would have little time left to work on outside work, being able to work freelance only after being done for Eisner. (Murphy recounts that in his short interview in AE 44 which I was reading this week so it was fresh in memory). Oh and by the way I am starting to be proud of my innocent question. I am enjoying the ensuing discussion Link to comment Share on other sites More sharing options...
Zonker Posted May 2, 2005 Share Posted May 2, 2005 So you guys would have to check the time periods but the reason Giella disappeared is because Joe went on to the 60's Batman strip, doing both pencils and inks. As for Greene replacing Murphy Anderson, this is around the time Murphy dropped Hawkman to go work for Will Eisner and this is also why Murphy didn't get to work on the regular series of The Spectre (First Spectre is Showcase # 60 in Feb. 1966) Murphy would have little time left to work on outside work, being able to work freelance only after being done for Eisner. (Murphy recounts that in his short interview in AE 44 which I was reading this week so it was fresh in memory). Oh and by the way I am starting to be proud of my innocent question. I am enjoying the ensuing discussion Inspired, I did my own bit of research off of the GCD: The Atom transitioned from Anderson inks to Greene over a few issues (they split inking duties on the 2 stories in each. By #14 Greene inked them all) Issue 10 December-January 1964 Issue 11 February-March 1964 Issue 13 June-July 1964 Green Lantern flash-cut from Giella inks to Greene in the space of one issue Issue 28 April 1964 Issue 29 June 1964 Likewise, Flash made the move in a single issue's time Issue 166 December 1966 Issue 167 February 1967 JLA had a several issue transition between Bernard Sachs' last (43) and Greene's first (47) Issue 43 March 1966 Issue 44 May 1966 Issue 45 June 1966 Issue 46 August 1966 Detective Comics made the transition thusly Issue 357 November 1966 Infantino/Giella Issue 358 December 1966 Moldoff (ghosting for Bob Kane) / Giella Issue 359 January 1967 Infantino/Greene So, it looks like there were two distinct waves of Sid Greene taking over: First in 1964, when Julie Schwartz took over editing Batman, he put Joe Giella on both Detective Comics and Batman. For Batman, Giella inked pencils of "Bob Kane" really Moldoff, replacing long-time inker Charles Paris. On Detective, Infantino and Moldoff alternated issues, all inked by Giella at first. Greene was likely available to pick up the slack, as the last Star Rovers strip I've seen referenced is from 1964. (Makes sense, as Schwartz dropped editing the sf mags to make time for Batman) Then as Scrooge researched, in 1966 Giella picks up the comic strip gig, and hands the remaining books, Flash and Detective, over to Greene as well. Now the question is did Sid Greene work himself into an early grave taking on all that work? By my count in 1966 he is inking -Atom -GL -JLA -Detective ... and apparently it was only Gil Kane starting to ink his own pencils on GL that allowed Greene to pick up the Flash early in 1967. Fun Stuff! Link to comment Share on other sites More sharing options...
Aman619 Posted May 2, 2005 Share Posted May 2, 2005 A new addition of mine. [/img] Another score for Comiclink! Nice book. Congrats. Looks like youre back with a vengeance. Link to comment Share on other sites More sharing options...
Scrooge Posted May 2, 2005 Share Posted May 2, 2005 Now the question is did Sid Greene work himself into an early grave taking on all that work? By my count in 1966 he is inking -Atom -GL -JLA -Detective ... and apparently it was only Gil Kane starting to ink his own pencils on GL that allowed Greene to pick up the Flash early in 1967. Fun Stuff! Zonker, I agree so let me add to this madness. Checking those titles on the GCD for, I randomly picked, June 1967 (Thanks to Mike's Amazing World of DC to get the right issue numbers), here's how Greene tracks: Atom 31 - Greene inks on Kane for Good Man - Bad Man = 23 pgs JLA 54 - Greene inks on Sekowsky History-Making Costumes ... = 23 pgs GL 53 - Greene inks on Infantino Two Green Lanterns in the Family = 10 pgs Detective 364 - No Greene ink. Giella does the inks on Batman Flash 171 - Greene inks on Infantino Here lies the Flash = 23 pgs ---------------------------------------------------------------------------------------------------------------- Total (?) inked pages in print for the month = 79 or slightly less than 3 pages a day if he worked every day. Assume Sid takes one day a week off for a total of 26 days, this is 3 pages a day. I say Slacker. (of course, he might have inked some other work we missed) Link to comment Share on other sites More sharing options...
FlyingDonut Posted May 2, 2005 Share Posted May 2, 2005 This is pretty low grade, but go ahead and try to find another - Lois Lane 5: Link to comment Share on other sites More sharing options...
tth2 Posted May 2, 2005 Author Share Posted May 2, 2005 Nice pick up, Emilio! Link to comment Share on other sites More sharing options...
