Norman Pettingill is a true underground cartoonist, known and admired by a small coterie of cartooning connoisseurs, but completely unknown in the wider world.
Norman Pettingill was an avid trapper and fisherman from Northern Wisconsin, and a self-taught artist. In 1947, at the age of 51, he created hundreds of pen-and-ink drawings and marketed many of them as postcards, printing and distributing them himself. His cartoon drawings were relatively huge and his postcards, therefore, had to be uniquely over-sized at 7” x 10”. He combined a gift for the fine detail and verisimilitude of illustration with the visual exaggeration and outrageous wit of cartooning.
By merging his fascination with nature and backwoods culture with his wild sense of humor, he depicted an out-of-control hillbilly wonderland of talking grizzlies, dancing morons, nightclubs, giant mosquitoes, tumble-down shacks, pipe smoking grannies, flying skunk fur, google-eyed drunks, hilarious hunting mishaps and moonshine soaked fishermen! Pettingill’s world is reminiscent of Al Capp’s Li’l Abner comic strip, but Pettingill’s hillbilly heaven is made grittier and more tangible by his obsessive penwork and the attention he gives to each teetering outhouse, every overflowing spittoon and each wiry hair growing out of a mountain man’s warty face. He reveled in exposing the commercialization of outdoor activities, debunking the romance of a woodsman’s life, and demythologizing the expertise of the outdoors-man. His landscapes and drawings of wild animals could be breathtakingly wondrous, and even his most grotesque depictions of hillbillies were fused with a love and respect for the rituals of a primitive life in the boondocks.
This book is the first published retrospective of Pettingill’s work, containing over a hundred of the artist’s best and rarely seen drawings, printed in an oversized format under a unique cover printed on plywood.
It's a collection of the last 15 years' worth of Drew Friedman's illustrations, caricatures and portraits lampooning the rich, the famous, the infamous, and the never-will-be-famous.
And — promise! — no "Friends."
Too Soon? gathers Friedman's best, most strident and scathing work from some of the most popular publications including Time, Newsweek, The New Yorker, The New York Times, Rolling Stone, Entertainment Weekly, The New Republic, The Weekly Standard, Blab! and more — yes, even Field & Stream.
Too Soon? casts its net over the entirety of the forced-smiling-celebrity/politico congregation, political animals on one side of the aisle, showbiz beasts on the other... and the sad, innocent victims of their crimes that languish in the middle.
Too Soon? is naturally replete with liver spots, wrinkles, burst capillaries, blood, sweat and tears. No one is spared, no matter which side of the aisle he or she inhabits.
Too Soon? is Friedman's first book of artwork produced in HI-DEF, so be prepared. Drew Friedman's work is always brutally honest, WARTS & ALL.
Too Soon? is in fact not TOO SOON — it's about time.
Praise for Drew Friedman:
"I'm grateful to Drew Friedman for every new piece of his vast, riveting panorama of the jacked-up, hellbent American spectacle: comic and horrific, loving and appalled, obsessive and devil-may-care, brilliant and vulgar, familiar and uncanny. He's our William Hogarth and Thomas Rowlandson and George Grosz all wrapped into one." – Kurt Andersen, host of NPR's "Studio 360"
"I would like Drew Friedman to draw me, but I’m scared of what he’d uncover, what he’d reveal about my inner nature that I’d rather not see. Because that’s what he does—he’s not a mere caricaturist, he’s a ridiculously talented artist who’s practically an x-ray machine. One that makes you laugh your balls off.” – Chip Kidd, author of The Cheese Monkeys
"Friedman's liver-spots-'n'-wrinkles style of cartoon realism is completely mesmerizing..." – Entertainment Weekly
"The Thomas Nast of our time." – Slate
"Friedman distorts the images we've grown comfortable with, skewering the way we've let addicts and half-wits become our national idols..." – The Onion
"Friedman remains the finest, most excruciatingly mordant, somehow most humane caricaturist going". – Booklist
"Of low artistic quality." – Rush Limbaugh, big fat idiot.
2009's Prison Pit was an unadulterated smash hit upon its release at the 2009 Comic-Con International, and the balls-to-the-wall series returns with more action and mayhem like only Johnny Ryan can deliver — again starring CF, the shirtless outer space barbarian antihero who remains damned to the Prison Pit (a vast wasteland beneath the crust of a barren planet, populated by the worst of the worst, where violence is the only law and evil creatures roam free). In this second volume, CF tries to get revenge against the evil behemoth that took his arm, and then winds up playing an unwilling participant in an elaborate escape attempt from the Pit.
Prison Pit blends Ryan’s fascination with WWE wrestling, grindhouse cinema, first person action video games, Gary Panter’s “Jimbo” comics, and Kentaro Miura’s “Berserk” Manga into a brutal and often hilarious showcase of violence like no other comic book ever created.
As the 1970s wind down, the last two recurring Peanuts characters have fallen into place: Snoopy’s brother Spike and the youngest Van Pelt sibling, Rerun. But that doesn’t mean Schulz’s creativity has diminished; in fact, this volume features an amazing profusion of hilariously distinctive new one- (or two-) shot characters!
For instance, in an epic five-week sequence, when Charlie Brown is found guilty by the EPA of biting the Kite-Eating tree, he goes on the lam and ends up coaching the “Goose Eggs,” a group of diminutive baseball players, Austin, Ruby, Leland, and — did you know there was a second Black Peanuts character, aside from Franklin? — Milo.
Also: a tennis-playing Snoopy ends up reluctantly teamed with the extreme Type “A” athlete Molly Volley... who then reappears later in the book, now facing off against her nemesis, “Crybaby” Boobie. (Honest!) Add in Sally’s new camp friend Eudora, the thuggish “caddymaster” who shoots down Peppermint Patty and Marcie’s new vocation, an entire hockey team, and a surprise repeat appearance by Linus’s sweetheart “Truffles” (creating a love triangle with Sally), all in addition to the usual cast of beloved characters (including the talking schoolhouse and the doghouse-jigsawing cat, who gets hold of Linus’s blanket in this one), and you’ve got a veritable crowd of characters.
It’s another two years of the greatest comic strip of all time, full of laughs and surprises.
Download an EXCLUSIVE 15-page PDF excerpt (688 KB) containing all the strips from January, 1977!
A boxed set of the thirteenth and fourteenth volumes of The Complete Peanuts, designed by the award-winning graphic novelist, Seth. Shipping shrinkwrapped, with volumes 1975-1976 and 1977-1978 packed in a sturdy custom box designed especially for this set, it's the perfect gift book item. (For more information on the contents of each volume, see the individual product listings linked above.)
"The Complete Peanuts has framed Charles Schulz’s enduring masterpiece about as well any lifelong fan could’ve hoped." – "The Best Comics of the '00s: The Archives", The A.V. Club
This book is available with a signed bookplate as a FREE premium! The bookplate has been uniquely designed for this book, and each bookplate is printed on acid-free cardstock and hand-signed by the author. (Click here for more books available with signed bookplates.) Please select your preference above before adding the item to your shopping cart. Note: Signature plates are VERY limited in quantity and available only WHILE SUPPLIES LAST.
“I was fifteen in 1942, and I was five foot three, which is the tallest I ever was. I had jet black hair and a smile as big as day.”
Readers and moviegoers have read and seen many growing-up-in-the-bigcity- then-being-drafted-into-World-War-II tales, both real and fictional, but none with the visual pizzazz and feisty humor of Lucky in Love.
Co-created by George L. Chieffet (script) and veteran cartoonist and animator Stephen DeStefano (plot and art), Lucky in Love is almost the flipside to dramatic works on the same theme such as Alan’s War and You’ll Never Know. Elegantly drawn in a supremely confident, lively, cartoony black-and-white style that recalls Milt Gross as well as classic Disney animation and comics, Lucky in Love is a unique coming-of-age story that follows its lovable eponymous hero Lucky Testatuda from his rascally teen years in Hoboken, New Jersey’s Little Italy to his induction into the air force and subsequent wartime experiences.
Lucky in Love shows what happens when a feisty young man merges his erotic fantasies with 1940s film myths: Moving from the ’40s to present day (from which an aged, present-day Lucky looks back on his life), the book contrasts Lucky’s vivid fantasy life with the darker reality of World War II (including a masterful set-piece sequence that echoes Harvey Kurtzman’s classic EC war comics) as well as his first fumbling, cash-on-the-barrelhead sexual experiences. Ultimately the poignant discoveries Lucky makes on his way to adulthood bestow upon him a very different kind of heroism than that of which he had dreamed...
The second and concluding volume, Lucky in Love: Lucky for Life will be released in 2013.
“We’re all lucky when Stephen DeStefano draws comics. With scriptwriter George Chieffet, he’s produced his sharpest, most poignant work. DeStefano’s agile cartooning evokes the seeming simplicity of an earlier time, yet Lucky reads like the story that was really going on behind the heroism and glamour of the ‘golden age’ strips.” — David Mazzucchelli
Download an EXCLUSIVE 8-page PDF excerpt (414 KB) of the book's Prologue.
After Jaime’s two-part super-hero epic from Love and Rockets: New Stories #1 and #2, we return to the enthralling minutiae of the “Locas” cast’s lives for the first time in three years. In the main story "The Love Bunglers" (presented in two parts) Ray finally gets his date with Maggie: The couple goes to an art opening and to dinner, they discuss the crazy world of dreams, and Maggie asks Ray for a huge favor. Also in this volume, “Brown Town, Blue Sun,” a new installment in Jaime’s beloved “little kids” flashback series: A ten-year-old Maggie and her family move away from Hoppers to a desert ghost town…
And on the Gilbert side of the ledger, “Scarlet by Starlight” is a story of humans exploring alien terrain, one of whom gets caught up in the natives' mating season with a furry creature who bears a striking resemblance to Fritz (of High Soft Lisp fame). “Killer/Sad Girl/Star” picks up the “Sad Girl” character from LRNS #2, and how no one in her family takes her budding film career seriously.
All this, plus: a letters page!
Download an EXCLUSIVE 12-page PDF excerpt (930 MB) with glimpses of each story.
From Shadow to Light: The Life & Art of Mort Meskin is a coffee table art book, biography, and critique of one of the 20th century’s most influential and unjustly neglected Golden Age comic book artists.
Mort Meskin’s comics career spanned almost 30 years, from the 1940s to the 1960s. His drawing, chiaroscuro technique, and storytelling are considered by connoisseurs of the form to be among the most sophisticated of his time — on a par with peers such as Joe Kubert and Steve Ditko. His passion for his drawing was equaled by his skill, and the consistently high quality of his oeuvre in the disreputable comic book format blurs the distinction between high and low art. Yet he is known mostly among hard-core aficionados today, eclipsed in the history books by many of his peers, some of whom he profoundly influenced. Among Meskin’s fans and admirers are Jim Steranko, Alex Toth, Carmine Infantino, and Jack Kirby. From Shadow to Light: The Life and Art of Mort Meskin finally gives this neglected artist the recognition he’s due.
The first artist to draw Sheena of the Jungle, Meskin worked in such diverse genres as romance, crime, and Western comics. Following World War II, he formed a studio with Jerry Robinson. He later worked for Joe Simon and Jack Kirby, and later still with Stan lee at Atlas (Marvel). During the 1950s and ‘60s he helped DC Comics define their mystery and science fiction lines. From Shadow to Light compiles for the first time the best of Meskin’s art from his comic book career, his post-comics advertising career, and his fine art — including many pages reproduced from original art.
“Mort shifted gears/viewpoints/emphasis and methods throughout his career, each on another switch back, sidestep or leap ahead which brought just one more entertaining facet of his talent to the fore. Mort invented, questioned, assessed, discarded, tested, reached out... more than ten other cartoonist of his time — ever searching, finding, losing, winning... ah, but always learning. His restlessness kept him facile... as he learnt, tested, and applied... so did we, his observers and students.” — Alex Toth
“Mort Meskin was a consummate professional, dedicated to his work. A great talent.” — Jack Kirby
“Like so many others, Mort is one of comics’ unsung heroes, but time often has a way of resolving the situation.” — Jim Steranko
“The guy was terrific and had an influence, not only on me but on a hell of a lot of other guys that were in the industry. Carmine Infantino. Alex Toth. All they guys who came into the business at my time knew of Mort and knew of Mort’s stuff and loved it.” — Joe Kubert
“Mort Meskin was a genius.” — Jerry Robinson and Carmine Infantino
This book is available with a signed bookplate as a FREE premium! The bookplate has been uniquely designed for this book, and each bookplate is printed on acid-free cardstock and hand-signed by the author Blake Bell and Bill Everett's daughter, Wendy Everett! (Click here for more books available with signed bookplates.) Please select your preference above before adding the item to your shopping cart. Note: Signature plates are VERY limited in quantity and available only WHILE SUPPLIES LAST.
In 1939, decades before it would become the powerhouse behind such famous super-heroes as Spider-Man, The X-Men, and Iron Man, Marvel Comics launched its comics line with a four-color magazine starring a daring new antihero: The Sub-Mariner.
As created and rendered by the great Bill Everett, the Sub-Mariner was an angry half-breed (half-man, half sea-creature) who loathed and fought against all mankind — until he joined the Allied Forces to defeat the Nazis during World War II. Seventy years later, Everett’s aquatic creation remains one of the pinnacles of the Marvel super-hero universe (as attested to by the character’s recent option for a major motion picture).
The Sub-Mariner alone, and his status as the original Marvel (anti-)hero, would have insured any cartoonist’s place in comics history. But Everett was a master of many kinds of comics: romance, crime, humor, and the often brutal horror comics genre (before it was defanged by the Comics Code Authority in the 1950s), for which he produced work of such stylish and horrifi c beauty that he ranks with the artists who kept the legendary EC comics line awash in blood and guts.
Written by Blake Bell (the author of the best-selling critical biography of Steve Ditko, Strange and Stranger) and compiled with the aid and assistance of Everett’s family, friends, and cartoonist peers, Fire and Water: Bill Everett, the Sub-Mariner & the Birth of Marvel Comics is an intimate biography of a troubled man; an eye-popping collection of Everett’s comics, sketchbook drawings, and illustration art (including spectacular samples from his greatest published work as well as never-before-seen private drawings); and an in-depth look at his involvement in the birth of the company that would revolutionize pop culture forever: Marvel Comics!
We have four new issues of Ignatz Series series just arrived in our warehouse and ready to ship now, available individually or get all 4 for the price of 3 in our Ignatz Summer 2010 Super-Pack! One of them comes with a special exclusive bonus, and to help you catch up on the stories, all back issues of these 4 series are 20% off for a limited time! Read on for details.
In the concluding chapter of Sergio Ponchione’s dreamworld masterpiece, the mysteriously omnipotent O’Blique and the inquisitive Professor Hackensack wrap up all the loose ends, as we see what happened to the three protagonists of the first issue, and what Cryptic City is now like after the cataclysmic events of #2-3. Oh, and we also learn the meaning of life — all in Ponchione’s wildly inventive, super-detailed graphics.
In the climactic final issue, a tormented Angela finally finds her way into “The Forest” and final peace. We could tell you what happens to the other denizens of the apartment building whose lives we’ve been following throughout this 4 issue series, including a struggling couple, the kids, the Creature That Lives in the Basement and Feeds on Dreams, and his envoy the White Rabbit, but wouldn’t you rather find out for yourself?
Peculiar happenings in the Burnt Spruce Forest take the spotlight away from the rapidly-growing Dolly. Answering last issue’s question, “What are those crackling and rumbling sounds emanating from Wingman’s nest?,” a rock suddenly sprouts wings! A meeting is convened among the birds and the theory is advanced that it’s a fossilized egg suddenly sprung to life. Back at Cesare’s nest where Dolly lives, a monstrous intruder once again threatens to cut short her brief life...!
Our hero Sammy finally gets a chance to sit by himself — but for only three pages! There's more disembodied voices telling Sammy what to do which is followed by the anger, frustration, cursing and free-floating dread you've come to love from this gorgeous, surreal, FUNNY-animal series. Where the heck is Puppy Boy? What's that shovel for? Why all the terrified glassy-eyed staring off into nothingness? You may or may not find out in Sammy the Mouse #3!
While supplies last, get a FREE limited-edition print with this issue! These two-color prints were hand-pressed by Zak Sally and are signed and/or embossed with the La Mano Press seal.
The acclaimed anthology of contemporary comics steams toward its landmark 20th issue. This issue leads off with the cover story, the first part of the satiric psychedelic epic "The White Rhinoceros," drawn by Josh Simmons and written by The Partridge in the Pear Tree. It is our privilege to welcome the great Gilbert Hernandez to the pages of Mome with a brand-new story starring his beloved character Roy! Also debuting this issue, exciting newcomer D.J. Bryant, with what may be the most hard-boiled story to appear in Mome yet. And making return appearances: Olivier Schrauwen, Tim Lane, Conor O'Keefe, and Robert Goodin with new stories, and T. Edward Bak with the continuation of his epic "Wild Man" serial.
Download an EXCLUSIVE 9-page PDF excerpt (1.6 MB) with a page from every artist in the issue, plus the Table of Contents.