Amazing Spider-man – Greg Goldstein's Comic Art Gallery

Steve Ditko — Master Of Machines… & Mayhem

January 30, 2025 Greg Goldstein Original Art and The Artists

T.H.U.N.D.E.R Agents #18, September 1968

Classic Steve Ditko art (pencils and inks), from a story completed just two years after the iconic (and somewhat iconoclastic) artist left Spider-Man and Marvel for… reasons.

No “superheroes” here, just a supervillain who looks like he came from Spidey central casting. The energy and whimsy on this page are terrific, and Steve clearly is enjoying himself in his storytelling. (Ralph Reese is the credited writer, but my guess is that he gave Ditko a plot/treatment and told him to run with it.)

Despite a hefty price tag (even with a trade), this outstanding artwork definitely spoke to me. Of course, if it actually was a Spidey page, It would have been marked about 10-15 times higher, so there’s some consolation for my wallet.

Tony Daniel — Spider-Man’s Amazing Feat

February 1, 2022 Greg Goldstein Original Art and The Artists

Commission (Based On Steve Ditko, Amazing Spider-Man #33, November 1965), 2013

Amazing. Spectacular. Sensational.

It doesn’t matter what adjective you put in front of Spider-Man’s name, his actual popularity dwarfs them all.

And he celebrates his 60th anniversary later this year.

So why not celebrate the world’s most famous web-slinger with a whole month of Spider-Man art.

Why not indeed?

First up — Tony Daniel’s terrific tribute to Stan Lee and Steve Ditko’s most iconic issue of the original series, Amazing Spider-Man #33.

It’s not that Spider-Man wouldn’t be saved (Heck, even a little kid knows that.) But in that classic story, Ditko masterfully conveyed Spidey’s struggle and necessary force of will to find the strength to lift tons of machinery and save himself.

No Iron Man or Thor to the rescue. This is all about Spider-Man’s personal will to survive — so that he himself can rescue Aunt May.

It’s likely the most powerful three-page comic book sequence of the era.

Harris is not the first creator to pay tribute to the scene, but he does it masterfully, creating an image that exists somewhere seconds before page three of Ditko’s original sequence.

Additionally, Harris uses a muted color palate, perfect for the art. I don’t typically pursue color art, but this piece grabbed me the moment I saw it.

Amazing indeed.