Action Comics 419 Mechanical Cover Art Neal Adams Superman Unique Museum Piece For Sale
The Jack Adler Collection Of DC Cover Art!
This sale Includes:
ACTION COMICS #419 OriginalMechanical Cover Art, With Various Stats Affixed. THE ORIGINALSUPERMAN COVERWORKFROM 1972, NOT A MERE PRINT OR REPRODUCTION, THIS IS HOW DC CREATED THE UNUSUAL EFFECT OF A PARTIAL PHOTO COVER WITH LINE DRAWN COMIC-ART DEPICTION. THE VARIOUS DRAWN ELEMENTS ARE ALL COMBINED, AND THERE IS SOME WHITE PAINT AND INK ADDED, TO MAKE THE ITEMS COME TOGETHER IN A VISUALLY PLEASING MANNER IN THIS ONE-OF-A-KIND SHOWPIECE, AND THEN IT COULD BE FIRED ONTO A BIG SHEET OF CLEAR ACETATE, AND THEN LAID ON TOP OF THE PHOTOGRAPH OF A CITY SKYLINE, AND THE RESULTING IMAGE WOULD SHOULD THE MAN OF STEEL, DRAWN BY THE INIMITABLE NEAL ADAMS, FLYING OVER A SWEEPING CITY SCAPE THAT IS AN ACTUAL PHOTO! WHEN YOUADMIRE A COPY OF THE MASS PRODUCED COMIC THAT DC RELEASED IN 1972, WHICH IS BELOVED AND CONTAINS THE FIRST APPEARANCE OF THE HUMAN TARGET AND BOASTS A CLASSIC ADAMS COVER, YOU CAN BEGIN TO APPRECIATE JUST HOW IMPORTANT THISMUSEUM PIECE REALLY IS. THIS ONE HAS NEVER BEFORE BEEN SEEN IN THE MARKET, AND IT WILL SHIP OUT TO THE LUCKY NEW OWNER IN A COSTLY ARCHIVAL MYLAR SLEEVE.
You don't see covers of this caliber reach the market in a true no-reserve sale very often, so don't let this opportunity slip away.
This Is The Actual "Mechanical Cover Art", Where The Editors Carefully Positioned The Various Elements, This Is The Actual Piece Where The Logo, Price, Hero, And Text Were Each Added,On Comic Art Board With Clear Acetate Overlay, And Some Hand Drawn Elements Along With White Paint And Stats, No Way To Know If The Work Done On This Unique Piece Is By Adams Or Adler, But It Confirms WhatA Work-In-Progress This Epic Adams Image Was At This Point In The Artistic Process.This Was UsedTo Produce A Cult-Classic FrontCover, To The Archetypical Superhero Himself, By One Of The Greatest Artists To Ever Draw A Superman Cover, During His Peak Period...THIS ALSO HAS CRUCIAL ELEMENTS OFA GREAT COVER, INCLUDING AN EPIC DEPICTION OF SUPERMAN FLYING RIGHT AT YOU! . This stunner would be ideal to frame andhang on a wall, shelf, or desk; A conversation piece of the highest order.(You could pick up a copy of the bronze-age comic book, to display along with it!)The incredible attention to detail in this, the highest quality rendition of the cover-art, becomes apparent when it's viewed in person. Awesome attention to detail.Next to this museum piece, the published version look bland and flat, by comparison. Covers tothis cult-classic title from during this beloved eraare highly sought out.Definitely a masterful rendering by the man who did manysuperhero covers for the top publishers during his lengthy storied career, including X-Men, Batman, and Superman. This actual one-of-a-kind item was created by D.C. Comics in 1972 to produce the front cover to thepopularkey comic-book.It is substantial, with an overall size of 9" x 11.5". This gorgeousshowpiecelooks more awesome than the famous comic cover that it produced... It is quite striking without the drab grey picture of a city filling all the background! This would be a great addition to any collection of comic-art orSupes or Human Target ephemera or the DC Comic fan's collection... --'Nuff said! Many of you have read about this significant find in C.B.M. and/or C.B.G.
(Comic Book Marketplace #85 or Comics Buyer's Guide #'s 1399, 1402, 1414, etc.) We are secure packagers and prompt shippers so expect to be pleased. Jack Adler worked in the industry since the first big boom, even coloring the plates used to print Action #1 in 1938, introducing Superman to the hobby and kicking off the fabled Golden-Age of Comics. He was on-staff as DC Comics' premiere colorist from the early '50's through the mid '80's, and was head of the art department for much of his tenure. He graduated from high school at the age of fifteen, and quickly got a degree in fine art. He became proficient at sculpting, pencilling, inking, painting, and photography. He pioneered the washtone/graytone effect, which became so popular on the DC "Big 5" war titles! In addition, he inkedhundreds ofcovers overseveral decades as well; such as dozens of G.I. Combat covers and the entire run of Sea Devils, for but a couple examples... (You'll also see his name on the front cover of Plop #18, which he did with Basil Wolverton!) Moreover, he also developed the "3-D" process used on the Batman 3-D and Superman 3-D comics in 1953; --so we're talking about a major contributor to DC history. During thesummer of 2004, theliving legend himself, Jack Adler, (thought bysome to have passed away years before),at the urgings of his kind family, madehis very firstpublic appearance, at the San Diego Comic-Con. He was honored Thursdayafternoonat the popular convention withthe Inkpot AwardFor Excellence for Outstanding Achievement In Comic Art, and a rousing standing ovation from the many onlookers at the panel of Golden-Age and Silver-Age Greats, hosted by Mark Evanier (of course!) Besides just Mr. Adler, other noteworthy members on the entertaining and informative panel were Tom Gill (who passed away recently, RIP),Sid Jacobson, Gene Colan, Frank Springer, Harry Harrison, and Frank Bolle. On Friday at the Comic Con, there was a one-on-one panel, with just Mark Evanier and Jack Adler, titled "Spotlight On Jack Adler", and many questions were answered for the crowd of audience members, who were kept entertained by the charismatic and respected living legend. It is amazing how many great names were hired on or got theirstart in the industryby him. He also explainedhow he invented the 3-D image technology popularly used in Viewmasters, but was unable to get the deserved patent, as the film itself had been patented, (but not in a similar 3D format, so he got burned, as viewmaster was able to capitalize on his invention freely!) Plus, the method that made integrating photo cover and line-drawn cover art easily into a single cover image was also pioneered by this influential innovator. (The technologywas supposed to be kept a secret, but was leaked immediately by a DC exec!) Julius Shwartz had told him "don't tell me about it, just do it", and when it worked, it worked, and was immediately utilized, as the articulate and charming Adler related. As an accomplished photographer, he created covers using photographs he had taken of his own grandchildren, producing his own copies of Shazam #2 and #6, which were displayed on an overhead projector to the glee of many enthralled listeners! The picture of Captain Marvel, sitting reading to the innocent youths, was actually of Jack Adler reading to his grandkids. (These same grandkids were present at the panel, and turned out to be pleasant, gracious, and kind adults!) Moreover,he highly touted the art skills of good friends Neal Adams and Joe Kubert, (relating entertaining stories, of course!) He helped Kubertset up hisnow legendary SchoolOf Comic Book Art. Once the school was set up in 1976, he was supposed to headthe school, but had to backout, as he couldn't bring himself to move to New Jersey!For more information about Jack Adler, youwill want to get copies of CBM #85 (available in our other sale) and Alter Ego #56 (still available through TwoMorrows Publishing). You could write a book on the contributions Mr. Adler has made to the medium many of us know and love. Back in the "good ole days", DC normally burned ordiscarded such production art once the comic went to print. However, during the period of 1967 to 1974, (with some exceptions dating earlier/later), this award-winning artist pulled aside many prime examples of production art, representing each step of the comic-making process. Nevertheless, there's an extremely small amount of these that were saved, considering the volume that was produced in those days. It is estimated that out of 840,000 pieces created for the production process over that time period, only about 4,000 or so survived, thanks to Jack Adler; ~A miniscule percentage of less than one half of one percent. This is the actual Mechanical Cover Art for the fan-favorite comic; These are the original pasteovers, white paint, overlays, etc, nothing has been added or lost over the past few decades. This was done under contract for DC backin the early seventies by Neal Adams along with theVP of production,Mr. Adler. Only one such showpiece was created per cover, so it's a part of Superman lore and it's alsoan irreplaceable piece of comic-art. Mr. Adler and hisgrandson soldthe majority ofhis remarkable art collection in one fell swoop in Texasin the late eighties, which represented the DC Archives of Comic-Book Covers for that halcyon Silver & Bronze era. Then, years later, it changed hands again, with the vast bulk of the load still untouched... Eventually, after lengthy negotiations, a longtime friend and I were able to acquire the whole load (less the horror material)from the Southern California art collector who possessed this landmark find since 1997. I was able to obtain the horror genre after years of additional wrangling.Additional pieces can now be found by checking the other Key Comics sales. offer aggressively, as such items are truly one-of-a-kind, and bronze-age DC production pieces as a whole are notoriously rare. ACertificate Of Authenticity is included, forever guaranteeing the provenance of each piece from this major historic discovery. Such early seventies DC covers are exceedingly rare in the market (most of what you'll find on is repro junk, used to make modern rehashings such as Archives, Essentials, GN's, TPBs, etc.) and this one in particular is very impressive, as you can seethe littledetails and carefully applied paint or ink or hand-positioned stats,giving a real window into the production methodology. Because they were part of the original raw artistic process, they can include tack-holes, pasteovers, tape, indentations from a paper clip, staple-holes, white-out, and/or edge wear.But as you can see in the enlarged scan I included, this is a real beauty, whichmust be seen in person to be fully appreciated. For more information, please see the informative color feature article on this historic pedigree collection in the September issue of Comic Book Marketplace magazine from 2001; We have a copy of the mag in another listing now.Plus, articles in Alter-Ego #56 include more recent interviews with Jack Adler, as well as Howard Stern (his cousin), along with contemporaries Joe Kubert and Neal Adams; But I digress! I hope that the weak low-resolution images will convey that this is a great looking showpiece, which would be especially impressive on a wall or shelf. Regrettably, our sad scanner makes the colors look bland and the lines appear blurry, --when this museum piece is actually stellar! ~ offer accordingly. Fabulous eye-appeal: High-qualityglossy photographpaper was used. Bone-white whites and nice rich colors! This is a must-have piece for any fan of ultra-rare DCoriginal art, or for the pedigree comic & art collector, or the seriousSuperman memorabilia buff, or just theAdams Collector or Jack Adlerfan who enjoys owning true rarities ~ to keep himself satisfied visually, while keeping his portfolio diversified in a most dramatic fashion!
KEY COMICS is a power(gold)seller and CBM Market Report contributor and CGC Member Dealer that has specialized in Mail-Order Comics for well overtwenty years;
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International Customers Welcome.
Payment to be made within 10 days of sale close.
Orders not paid within ten days risk possible re-listing and non-payer alert; Please offer responsibly!
Please add $9.00 for Securely-Boxed Tracked Priority-Mail. (Contact usfor our affordable International Shipping Rates.) Win additional production art sale(s) and save: just add .50 for each extra item in the shipment; For additional Insurance, please add $1.00 for each additional $100 in total value.)
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('30's to '70's)
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For more samples from our diverse inventory, including original comic line-art and CGC-Graded Collector's Comics, plus more DC COVER ART from the historic Jack Adler Collection that we listed in assorted categories, please see our other sales:
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