Greg Goldstein's Comic Art Gallery

Author: Greg Goldstein

Greg Goldstein is a veteran publishing and media executive; most recently, he was the Chief Operating Officer, President and Publisher of IDW Publishing, managing all aspects of the company’s book and games business from 2008 to 2019. Throughout his career, Greg has developed creative and profitable publishing programs for dozens of the world’s best-known entertainment brands including Star Wars, Transformers, Star Trek, James Bond, TMNT, Spider-Man, Batman and Godzilla. In 2013, Greg led IDW’s acquisition of Top Shelf, an independent publisher best known for Congressman John Lewis’ March trilogy, which has become the most lauded non-fiction graphic novel series in the history of the medium. In 2011, Greg won an Eisner award for his editing on the first-ever collection of Bob Montana’s Archie newspaper comic strips. (Published under IDW’s Library of American Comics imprint.) Prior to joining IDW, Greg was VP of Entertainment and Gaming for Upper Deck, responsible for the company’s blockbuster slate of games, including Yu-Gi-Oh, World of Warcraft and The VS Superhero system. During his tenure, he created Marvel Ultimate Battles, the first-ever trading card game that focused exclusively on Marvel’s popular mass media characters. As VP of Brand Development for Activision from 2000-2002, Greg established strategic partnerships with the largest Hollywood studios, and worked closely with Marvel Entertainment to successfully develop Spider-man into one of the biggest blockbuster licensed videogame brands in interactive history. Greg’s career has also included a successful stint at Topps, where he helped launch and manage Topps Comics in the mid 1990s. Additionally, Greg serves as an adviser for to the Comic Book Legal Defense Fund (CBDLF). He is also a frequent guest lecturer at San Diego Sate University and has presented at dozens of panels and conferences throughout the US. He is also a well-known collector of original comic book art and rues the day he sold his collection the first time around in the late 1990s.

Wally Wood — Inking Unbound

Original Art and The Artists

Hercules Unbound #4, May 1976 (Pencils by Jose Luis Garcia-Lopez) 

Gerry Conway and Jose Luis Garcia-Lopez — an artist’s artist if there ever was one — launched Hercules Unbound in 1975. But the real news was that Wally Wood would be inking the book. 

Wally’s lush art had graced just a handful of DC superhero titles in the late ‘60s, when I had first started actively reading comics. My first exposure to his stellar inking was likely in 1968’s Captain Action. (He also penciled issue #1 of that short-lived series.)

By the time he returned to DC in the mid ‘70s, I was not only familiar with much of his oeuvre (EC, Marvel, Warren, Tower, etc.), I was pretty much obsessed with his art, as both penciller and inker. 

If his work at DC was going to be inking only, so be it, because typically it didn’t matter who was penciling — Wood’s dramatic and distinctive inks make everything look mostly like… Wood. That includes hall-of-fame stylists like Steve Ditko and Gil Kane.  And frankly, some of those artists’ styles were more fluid and dynamic than Wally’s to begin with.

This page is no exception, featuring dynamic action and storytelling by Garcia-Lopez, who had only recently broken into DC, and would rapidly become one of the industry’s most respected artists. At this point in the series, the art team was most definitely firing on all cylinders.

It did not matter that I wasn’t quite sure how Hercules fit into the greater DC universe, or even if he did. I was going to be saving a small piece of my comics’ budget for Hercules Unbound.

Like they say in the comics: To be continued…

Andrew Pepoy — Wally World II

Original Art and The Artists

Archie #646, September 2013

What if EC Comics merged with the Archie line back in the ’50s and survived through the present day? Andrew Pepoy gives us the short answer with Betty and Veronica as Wally Wood-styled space girls on this cool variant cover for Archie #646.

And, as bonus, Cosmo the Merry Martian brings along the whole Martian army. (Mars Attacks!)

  • Oversize Published Print
  • Published Cover
  • EC Inspiration – Original
  • EC Inspiration – Published
  • 1979 Original Wood Spacegirl Art With Variant Coloring
  • Printed Cover

Andrew Pepoy — Wally World

Original Art and The Artists

T.H.U.N.D.E.R. Agents 50th Anniversary Special (IDW), July 2015

No one today pulls off a tribute to the great Wally Wood quite like the very talented Andrew Pepoy. 

To celebrate the 50th Anniversary of the T.H.U.N.D.E.R Agents, IDW Publishing asked Andrew to illustrate a cover variant – an homage to the iconic Wood EC cover, Incredible Science Fiction #29. For our version, we substituted Wood’s astronaut with the sexy and villainous Iron Maiden, one of the main adversaries in Wood’s original T.H.U.N.D.E.R Agents.

The detail is terrific (especially noticeable in its original B&W form), and while no one can actually replicate Wally Wood, this might be as close as it gets. Home run!

  • Pepoy Published Version
  • Original Wood Published Character
  • Original by Wood
  • Published Version by Wood

George Wilson (Attributed) — Submitted For Your Approval

Original Art and The Artists

Twilight Zone #64, July 1975

Stay with me here:

I’ve always wanted to own an original cover painting by the amazing George Wilson, whose covers graced Magnus Robot Fighter, Turok, Doctor Solar and so many others, primarily for Gold Key and Classics Illustrated. In fact, the original art of my favorite painted cover — The Classics version of H.G. Wells Time Machine — appeared at auction just a few years ago. And rapidly escalated out of my price range.

Soon after, waves of other covers attributed to Wilson were also offered at auction. Many of these were selling at much more affordable prices. Vague provenance. Lesser titles. Later issues. Etc. 

I glanced at many of the covers for sale, appreciated them, but pretty much overlooked them.

Then this one caught my eye — a cover for Twilight Zone.  A subway scene creatively composed and nicely lit. Made me nostalgic for my New York City days. The “killer graffiti” concept seemed a bit out there, even by Twilight Zone standards, but, so what? Even if not actually “deadly,” graffiti was a giant problem during that period in New York… I remember it all too well.

I examined the painting closer. The train’s design is clearly based on an actual NYC subway car of that era, not a “generic” one. It’s the Number 7 train. Runs cross town Manhattan to Queens — a subway I had taken many times as a kid to comic book conventions at the landmark Commodore Hotel at Grand Central Station. The Commodore was the home of many historic fan conventions. Funny coincidence.

Date of the published comic book:  July 1975. 

July 1975? That was the final appearance of Phil Seuling’s New York Comic Art Convention at the financially struggling Commodore. It’s a convention I remember fondly. The Industry was still buzzing about Jack Kirby’s return to Marvel Comics, announced just a few months earlier, at Marvel’s own convention, also at the Commodore.

Ok, owning this painting was meant to be, whether Wilson actually painted it or not. The actual story in the issue mattered not at all, but this specific cover image, at this specific time and place, certainly did. Sold.

What ultimately became of the struggling Commodore Hotel you ask? Well… The young son of a very successful New York real-estate developer, looking for his first project he could call his own, persuaded NYC to give him a 40-year tax abatement if he renovated and re-opened the landmark hotel. Abatement in hand, he took the deal to the Hyatt corp., and convinced them to partner with him to make the deal a reality. 

His name? Donald Trump. 

And this is a story that could only happen…in the Twilight Zone.

  • My favorite painted cover back in the day…
  • …And the original is astonishing

Dan Parent — Battle Of The Century, Revisited

Original Art and The Artists

Betty vs. Veronica, Commission, 2015

Wrapping up our multi-part tribute to The Human Torch and Sub-Mariner, in honor of the late summer weather at the California coast.

From time to time, an offbeat Archie mash-up idea burrows its way into my consciousness, and Dan Parent always delivers.  In fact, this homage to the original battle scene by the legendary Bill Everett is one of my favorites among the many terrific ones Dan’s produced.

Dan is easily among the top tier of all-time Archie stand-out talents, joining a terrific group of cartoonists that includes Bob Montana, Dan DeCarlo and Harry Lucey, to name a few.

Incidentally, we matched the characters by overall appearance (Veronica/Namor, brunette and Betty/Torch, blonde) and, to some extent, personality. After all, Veronica is definitely the worse-tempered of the two, and Betty… does indeed carry a “torch” for Archie.

Ouch.

Mike Deodato — Regal Portrait

Original Art and The Artists

Sub-Mariner Commission, Unknown Date

Our weeklong tribute to The Human Torch and Sub-Mariner continues, in honor of the late summer weather at the California coast.

“Cover-quality” is an overused adjective in the comic art-retailing world.

Typically it appears when a reseller is trying to grab attention on an unpublished commission for sale: “Gee, look, isn’t this as good as a published cover?”

Why do this? The short answer of course is marketing. Hyperbole (theoretically) helps support a higher asking price. Also, it adds the word “cover” to the item description’s metadata, meaning it appears in any on-line search for that word. Clever.

Here, however, “cover-quality” is no exaggeration for this richly detailed Sub-Mariner commission by Mike Deodato — a moody portrait of Prince Namor with the only human he truly pines for, the lovely Sue (Invisible Woman) Storm. Hell, it’s better than many published covers.

Who hasn’t marveled (sorry) at the evolution of Deodato’s artistic style? When he broke in professionally about 25 years ago, Mike’s art approach was much more similar to the  “Image Comics” style of the day. Today, his storytelling blends similar dynamism with an often astonishing photo-realism into an accomplished, and enviable, form.

One previous owner of this piece did in fact describe it as an actual published cover, without evidence. But… so many retailer variants and limited exclusive covers have been published the last few years, anything is possible. I’m aware of multiple instances where a piece of art was indeed assigned — and executed — for a cover variant, but then cancelled last minute.

So… if anyone can provide evidence that this art was indeed professionally published. or solicited to be published, somewhere — anywhere — you will have my thanks, and a piece of original art as a finder’s fee.

I found a number of color versions online, adding a bit to more mystery to the provenance of the piece, but they appear to be samples by aspiring colorists.

John Byrne — Byrne, Baby,…

Original Art and The Artists

Fantastic Four #233, August 1981

Continuing our week-long tribute to The Human Torch and Sub-Mariner, in honor of the late summer weather at the California coast.

John Byrne’s 5-year run on Fantastic Four is rightfully considered an all-time classic, and it’s certainly on my short list of “desert island” omnibuses. (I have no idea how these books survive the shipwreck with me, but let’s stay on point.)

I always loved the Fantastic Four – and in fact, although I may be in the minority, I definitely enjoyed Hanna Barbera’s short-lived FF animated series from 1967 a bit more than Spider-Man, which aired in the same block.  With a few exceptions, the FF cartoon stories felt much more authentic to the comics than Spidey, although he definitely had the better theme song. FF only lasted 20 episodes, and has never been “officially” released in home video.  (So much for staying on point.)

The Human Torch, as the youngest member of the FF, was always the most relatable to me, and always a favorite. (He could fly… He could burn stuff… He could fly…)

Byrne. Fantastic Four. Human Torch. Cover scene. Most of the boxes are checked on this great action page, with Byrne on story, pencils and inks. He rebuilt the FF sandbox —and played in it expertly and creatively.

Flame on!

Review of John Byrne FF Artist’s Edition

Marie Severin — Fighting Fire…

Original Art and The Artists

Sub-Mariner #44, December 1971

Summer came very late to the Southern California Coast this year, so in honor of the warm weather and cool surf, we’ll stay with The Human Torch and The Sub-Mariner for a few more posts.

This great battle page, penciled by Marie Severin, and inked by Jim Mooney, features Sub-Mariner vs. the contemporary Human Torch, Johnny Storm.  This a feud that started in Fantastic Four #4 in 1962 (Torch is the one who discovers an amnesiac Namor living in NYC) and continued intermittently through the silver and bronze ages. 

Along for the fun this time is the giant sea-beast Krago, woken from his slumber by Subby’s enemies to wreak havoc among us, and to have Namor blamed. Krago is apparently NOT related to Giganto, another giant sea-beast Namor himself brought along in FF #4. How many species of giant sea creatures are there anyway? And to think I was worried about the occasional shark. 

What can you say about the late great Marie Severin, easily one of the most versatile talents to ever work in comics? Penciller, inker, colorist, occasional letterer, caricaturist, production artist, cover designer, satirist… and so on. Hands down, an amazing career, made even more so because she needed to make her bones — more than once — in a thoroughly male-dominated industry.

Marie passed away almost exactly a year ago, and many well-written tributes speak to the scope of her career: Marvel.com, The Comics Journal, and the New York Times all provide good starting points to this remarkable creator.

Ross Andru — Laughing Matter

Original Art and The Artists

Not Brand Echh # 1, August 1967

I had only recently started buying Marvel comics off the spinner racks when Not Brand Echh premiered in the summer 1967. I was immediately attracted to its zaniness. I knew Marvel didn’t take itself too seriously from reading its traditional comics — The “Bullpen Bulletins”, the “no-prize” gimmick, the Merry Marvel Marching Society, et al — but Not Brand Echh (NBE) was a new level of nutty.  (A bit later on I discovered it was in the spirit of the original EC Mad comics, but I didn’t know anything about that era yet.)

The actual golden age fight between the Human Torch and Sub-Mariner had just been reprinted a few months ago in Fantasy Masterpieces (# 8), and here was a send-up making fun of the whole thing? The Human Scorch?  The Sunk-Mariner? As my friends’ older siblings would say back then, far out.

Bill Everett is typically credited as one of the pencillers on this story — I’d like to believe that — but writer Roy Thomas says he remembers that Everett may have only worked on the title splash at most. Either way, Ross Andru was no stranger to superheroes or satire, and this page is a favorite.

1967 also saw the debut of Topps Wacky Packages and Roy’s earlier comic book satires, Krazy Little Comics, also from Topps. Summer of Love? Sure. But also —- Summer of Satire.

  • Fantasy Masterpieces # 8…
  • …Reprints the 25-year old battle
  • And NBE #1…
  • …Skewers it
  • Krazy Little Comics
  • MMS — Big News

Ian Churchill — Split Personality

Original Art and The Artists

Supergirl # 4 (2005 Series), February 2006

Two Supergirls — one “light”, one “dark.” Lex Luthor in his “war-suit.” Appearances by Superman and the Justice League. Covers by the late Michael Turner. Darkseid. Big splashy fight scenes. And did I mention Luthor in his “war-suit?”

This fun —albeit brief — arc of Supergirl comes to us courtesy of Jeph Loeb, writer, and is rendered dynamically by Ian Churchill, penciller and Norm Rapmund, inker. 

Black Kryptonite, making an early comic book appearance here (It was first introduced in the Smallville TV show) is responsible for Kara’s split personality, and her dark side has no problem taking the gloves off, quite literally. Here we see her get the upper hand on Luthor’s — (ahem)— upper hand, as she gleefully destroys the weapon of mass destruction built into his arm. Check out the amazing detail as it shatters into a million pieces. Also noteworthy is Luthor’s face, which expresses a rare combination of pain and shock.

It’s always fun to see Luthor in his super-suit post Crisis on Infinite Earths, and especially entertaining to see Supergirl shred it.

CBR has a fascinating look at the iconic suit’s history here.

The “B” cover of the issue is a Churchill homage to Curt Swan’s cover of Action # 346.