edited edward ferman (36 Ergebnisse)

Zustand: As New. First edition copy. . Very Good dust jacket. In protective mylar cover. From the library of science fiction and fantasy writer, editor, publisher and prolific book reviewer D. Douglas Fratz. (science fiction).

Zustand: Good. First edition copy. . Good dust jacket. Foxed. From the library of science fiction and fantasy writer, editor, publisher and prolific book reviewer D. Douglas Fratz. (science fiction).

Softcover. Zustand: Near Fine. Volume 44, No. 6. Small octavo. 210pp. Illustrated wrappers. Just a bit of wear, topedge with two small remainder marks, near fine. Includes the first appearance of The Pre-Persons by Philip K. Dick, along with first appearance of stories by Isaac Asimov, Poul Anderson, Judith Merril, Gordon R. Dickson, Jack Vance, and others.

Softcover. Zustand: Near Fine. Volume 44, No. 6. Cover art by Jack Gaughan. Small octavo. 162pp. Illustrated wrappers. Just a bit of wear, very near fine. Includes the first appearance of stories by Dennis Etchison, Tori Warner, and Doris Pitkin Buck, along with an article by Isaac Asimov.

Soft cover. Zustand: Near Fine. cartoons by Mark Bilgrey, Henry Martin et al (illustrator). 1st Edition. 175 pages by big names and obscure writers and artists. Clean bright shiny copy!The winning entries, and runners-up, to 57 SF-based competitions running from 1972 to 1993. Ranging from hilarious and very clever, to obscure and very clever. Puns on titles, 'worst opening/ending lines', Feghoots (stories leading up to dreadful puns), future cliches, misprint titles (whence the title of this collection), awful blurbs, future classified ads, title translation errors (He Has a Hole in His Head and His Teeth Glow in the Dark, by Roger Zelazny), limericks, imaginary collaborations (If All Men Were Androids Would You Let One Marry Your Electric Sheep?, by Sturgeon and Dick), alien lexicons, future bumper stickers, transposed titles (Mothers Nine Hundred Grand, by R. A. Lafferty.

Softcover. Zustand: Very Good. Magazines. 10 volumes, lacking January and August 1987. Digest size pictorial wrappers. Four volumes with light foxing on the spine and two with foxing on the rear wrap, mailing address labels or label remnants on the front wrap, overall very good. Includes February-July, and September-December. Contributions by: Ursula K. Le Guin, Harlan Ellison, Isaac Asimov, Kate Wilhelm, Avram Davidson, Mary Caraker, Terry Carr, George Zebrowski, Bob Leman, Marion Zimmer Bradley, and many more.

Softcover. Zustand: Very Good. Magazines. 11 volumes, lacking October 1988. Digest size pictorial wrappers. Spotting on the page edges of the December issue, six issues with mailing address labels on the front wrap, and light foxing on the covers of four issues, overall very good. Includes January - September, November and December. Contributions by: Orson Scott Card, Algis Budrys, Harlan Ellison, Isaac Asimov, Brian Lumley, Ray Bradbury, Marion Zimmer Bradley, Thomas M. Disch, and many more.

Original Wraps. Zustand: Very Good. Zustand des Schutzumschlags: No Jacket, as Issued. First Edition. Vol. 49, No. 1 - printed and published in the USA, but with a dual price of $1 / UK 45p on the front cover. This issue contains the first publication of an astronomical article by Isaac Asimov, plus novellas, stories and articles by Theodore R. Cogswell, Barry N. Malzberg, Edward Wellen, Algis Budrys, Ted Thomas. ***Very good in colour illustrated thin card covers. The covers have some light wear commensurate with age and handling, but are generally very clean. The edges of the covers are slightly rubbed and creased, mainly at the corners, and there is a small tear at the base of the spine. There is also a patch of scuffing to the back cover, possibly where a sticker has been removed (please see scans). No reading creases to the spine. No fading. Internally also very good with no inscriptions or annotations. No creases or tears. Paper stock lightly tanned as usual. Pages clean. Spine tight. ***194mm x 130mm. 159 pages plus a three-page publisher's advert at the back. ***A collection of Science Fiction stories, novellas and articles, including a scientific astronomical article "Titanic Surprise"' by Isaac Asimov about the constitution and atmospheres of the planets, their satellites and sub-planets, in the solar system. ***An original American issue of pulp magazine Fantasy and Science Fiction, published in July 1975, in very good condition for its age. ***For all our books, postage is charged at cost, allowing for packaging: any shipping rates indicated on ABE are an average only: we will reduce the P & P charge where appropriate - please contact us for postal rates for heavier books and sets etc.

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover, Print. Fine Except A Little Dampspotting To White Margin Along Right Edge. Ronald Walotsky (1943-2002) Was A Us Illustrator Who Began His Career In Sf Art With The Cover For The May 1967 Edition Of The Magazine Of Fantasy And Science Fiction, Illustrating Phyllis Gotlieb's Novelette "Planetoid Idiot". Walotsky Would Continue To Be Associated With F&Sf For The Rest Of His Life, Painting Some Sixty Covers For The Magazine. He Also Produced Many Book Covers And Brochure Paintings For The Science Fiction Book Club In Addition To Covers For Trade Publishers - The First Being Commissioned By Avon For Wyman Guin's Collection Living Way Out (1967) - Record Sleeves, Posters, Erotica And Much Else, Including Four Cards For The Magic: The Gathering Collectible Card Game. Walotsky Received His Formal Art Training At The School Of Visual Arts In New York City, And He Never Lost His Interest In Fine Art. He Often Expressed Frustration At The Way Some Gallery Owners Would Instantly Switch Off Their Interest In His Work On Hearing That He Also Created Sf Illustration. His Non-Commercial Paintings Tended To Be Curiously Surreal, Mixing Realistic And Abstract Elements In A Way That Could Be Quite Unsettling. Many Were Part Of His Long Children Series, In Which Fairly Realistic Depictions Of Children Were Given A Surrealistic Backdrop, Which Had The Effect Of Both Enhancing The Surreality And Creating An Odd Sense Of Unidentifiable Menace. Towards The End Of His Life He Began To Produce A Series Of 3D Pieces In Which He Painted Onto The Shells Of Horseshoe Crabs Found On The Beach Near His Florida Home. He Called This Series Of Pieces "Ancient Warriors Of Lost Civilizations" Because Of The Pieces' Resemblance To Face Armour. He Usually Worked In Acrylics, With Or Without Airbrush. Much Of His Work Retained The Hippy Sensibility, The Psychedelia, Of His Earliest Commercial Projects, Produced In The 1960S - It's No Coincidence That The Book Collecting His Work Was Called Inner Visions (2000) - But He Was Very Versatile And, When The Subject Matter Called For It, He Could Paint Hard Sf As Well As Anyone. He Was Nominated For A Dozen Chesley Awards, Including For Artistic Achievement In 2000, But Surprisingly Never Won One. He Did, However, Receive The Frank R Paul Award In 1987. [.

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover Print. Fine Except Tiny Dampstains At Right Edge.

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover, Print. Fine Except A Little Dampspotting To White Margin Along Right Edge. Ronald Walotsky (1943-2002) Was A Us Illustrator Who Began His Career In Sf Art With The Cover For The May 1967 Edition Of The Magazine Of Fantasy And Science Fiction, Illustrating Phyllis Gotlieb's Novelette "Planetoid Idiot". Walotsky Would Continue To Be Associated With F&Sf For The Rest Of His Life, Painting Some Sixty Covers For The Magazine. He Also Produced Many Book Covers And Brochure Paintings For The Science Fiction Book Club In Addition To Covers For Trade Publishers - The First Being Commissioned By Avon For Wyman Guin's Collection Living Way Out (1967) - Record Sleeves, Posters, Erotica And Much Else, Including Four Cards For The Magic: The Gathering Collectible Card Game. Walotsky Received His Formal Art Training At The School Of Visual Arts In New York City, And He Never Lost His Interest In Fine Art. He Often Expressed Frustration At The Way Some Gallery Owners Would Instantly Switch Off Their Interest In His Work On Hearing That He Also Created Sf Illustration. His Non-Commercial Paintings Tended To Be Curiously Surreal, Mixing Realistic And Abstract Elements In A Way That Could Be Quite Unsettling. Many Were Part Of His Long Children Series, In Which Fairly Realistic Depictions Of Children Were Given A Surrealistic Backdrop, Which Had The Effect Of Both Enhancing The Surreality And Creating An Odd Sense Of Unidentifiable Menace. Towards The End Of His Life He Began To Produce A Series Of 3D Pieces In Which He Painted Onto The Shells Of Horseshoe Crabs Found On The Beach Near His Florida Home. He Called This Series Of Pieces "Ancient Warriors Of Lost Civilizations" Because Of The Pieces' Resemblance To Face Armour. He Usually Worked In Acrylics, With Or Without Airbrush. Much Of His Work Retained The Hippy Sensibility, The Psychedelia, Of His Earliest Commercial Projects, Produced In The 1960S - It's No Coincidence That The Book Collecting His Work Was Called Inner Visions (2000) - But He Was Very Versatile And, When The Subject Matter Called For It, He Could Paint Hard Sf As Well As Anyone. He Was Nominated For A Dozen Chesley Awards, Including For Artistic Achievement In 2000, But Surprisingly Never Won One. He Did, However, Receive The Frank R Paul Award In 1987. [.

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover. Fine.

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover Print. Fine Except A Tiny Dampstains Along Right Edge, In White Border.

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover Print. Fine Except A Little Dampspotting To White Margin Along Right Edge. Ronald Walotsky (1943-2002) Was A Us Illustrator Who Began His Career In Sf Art With The Cover For The May 1967 Edition Of The Magazine Of Fantasy And Science Fiction, Illustrating Phyllis Gotlieb's Novelette "Planetoid Idiot". Walotsky Would Continue To Be Associated With F&Sf For The Rest Of His Life, Painting Some Sixty Covers For The Magazine. He Also Produced Many Book Covers And Brochure Paintings For The Science Fiction Book Club In Addition To Covers For Trade Publishers - The First Being Commissioned By Avon For Wyman Guin's Collection Living Way Out (1967) - Record Sleeves, Posters, Erotica And Much Else, Including Four Cards For The Magic: The Gathering Collectible Card Game. Walotsky Received His Formal Art Training At The School Of Visual Arts In New York City, And He Never Lost His Interest In Fine Art. He Often Expressed Frustration At The Way Some Gallery Owners Would Instantly Switch Off Their Interest In His Work On Hearing That He Also Created Sf Illustration. His Non-Commercial Paintings Tended To Be Curiously Surreal, Mixing Realistic And Abstract Elements In A Way That Could Be Quite Unsettling. Many Were Part Of His Long Children Series, In Which Fairly Realistic Depictions Of Children Were Given A Surrealistic Backdrop, Which Had The Effect Of Both Enhancing The Surreality And Creating An Odd Sense Of Unidentifiable Menace. Towards The End Of His Life He Began To Produce A Series Of 3D Pieces In Which He Painted Onto The Shells Of Horseshoe Crabs Found On The Beach Near His Florida Home. He Called This Series Of Pieces "Ancient Warriors Of Lost Civilizations" Because Of The Pieces' Resemblance To Face Armour. He Usually Worked In Acrylics, With Or Without Airbrush. Much Of His Work Retained The Hippy Sensibility, The Psychedelia, Of His Earliest Commercial Projects, Produced In The 1960S - It's No Coincidence That The Book Collecting His Work Was Called Inner Visions (2000) - But He Was Very Versatile And, When The Subject Matter Called For It, He Could Paint Hard Sf As Well As Anyone. He Was Nominated For A Dozen Chesley Awards, Including For Artistic Achievement In 2000, But Surprisingly Never Won One. He Did, However, Receive The Frank R Paul Award In 1987. [.

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover Print. Near Fine.

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover Print. Image Area About 5 7/8" X 8 1/8", Small White Margins. Fine Except A Little Damp-Spotting To White Margin Along Bottom Edge. Ronald Walotsky (1943-2002) Was A Us Illustrator Who Began His Career In Sf Art With The Cover For The May 1967 Edition Of The Magazine Of Fantasy And Science Fiction, Illustrating Phyllis Gotlieb's Novelette "Planetoid Idiot". Walotsky Would Continue To Be Associated With F&Sf For The Rest Of His Life, Painting Some Sixty Covers For The Magazine. He Also Produced Many Book Covers And Brochure Paintings For The Science Fiction Book Club In Addition To Covers For Trade Publishers - The First Being Commissioned By Avon For Wyman Guin's Collection Living Way Out (1967) - Record Sleeves, Posters, Erotica And Much Else, Including Four Cards For The Magic: The Gathering Collectible Card Game. Walotsky Received His Formal Art Training At The School Of Visual Arts In New York City, And He Never Lost His Interest In Fine Art. He Often Expressed Frustration At The Way Some Gallery Owners Would Instantly Switch Off Their Interest In His Work On Hearing That He Also Created Sf Illustration. His Non-Commercial Paintings Tended To Be Curiously Surreal, Mixing Realistic And Abstract Elements In A Way That Could Be Quite Unsettling. Many Were Part Of His Long Children Series, In Which Fairly Realistic Depictions Of Children Were Given A Surrealistic Backdrop, Which Had The Effect Of Both Enhancing The Surreality And Creating An Odd Sense Of Unidentifiable Menace. Towards The End Of His Life He Began To Produce A Series Of 3D Pieces In Which He Painted Onto The Shells Of Horseshoe Crabs Found On The Beach Near His Florida Home. He Called This Series Of Pieces "Ancient Warriors Of Lost Civilizations" Because Of The Pieces' Resemblance To Face Armour. He Usually Worked In Acrylics, With Or Without Airbrush. Much Of His Work Retained The Hippy Sensibility, The Psychedelia, Of His Earliest Commercial Projects, Produced In The 1960S - It's No Coincidence That The Book Collecting His Work Was Called Inner Visions (2000) - But He Was Very Versatile And, When The Subject Matter Called For It, He Could Paint Hard Sf As Well As Anyone. He Was Nominated For A Dozen Chesley Awards, Including For Artistic Achievement In 2000, But Surprisingly Never Won One. He Did, However, Receive The Frank R Paul Award In 1987. [.

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover, Wraparound. Fine Except A Tiny Dampstain At Lower Left Edge.

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover, Wraparound. Fine Except A Little Dampspotting To White Margin Along Bottom Edge. Ronald Walotsky (1943-2002) Was A Us Illustrator Who Began His Career In Sf Art With The Cover For The May 1967 Edition Of The Magazine Of Fantasy And Science Fiction, Illustrating Phyllis Gotlieb's Novelette "Planetoid Idiot". Walotsky Would Continue To Be Associated With F&Sf For The Rest Of His Life, Painting Some Sixty Covers For The Magazine. He Also Produced Many Book Covers And Brochure Paintings For The Science Fiction Book Club In Addition To Covers For Trade Publishers - The First Being Commissioned By Avon For Wyman Guin's Collection Living Way Out (1967) - Record Sleeves, Posters, Erotica And Much Else, Including Four Cards For The Magic: The Gathering Collectible Card Game. Walotsky Received His Formal Art Training At The School Of Visual Arts In New York City, And He Never Lost His Interest In Fine Art. He Often Expressed Frustration At The Way Some Gallery Owners Would Instantly Switch Off Their Interest In His Work On Hearing That He Also Created Sf Illustration. His Non-Commercial Paintings Tended To Be Curiously Surreal, Mixing Realistic And Abstract Elements In A Way That Could Be Quite Unsettling. Many Were Part Of His Long Children Series, In Which Fairly Realistic Depictions Of Children Were Given A Surrealistic Backdrop, Which Had The Effect Of Both Enhancing The Surreality And Creating An Odd Sense Of Unidentifiable Menace. Towards The End Of His Life He Began To Produce A Series Of 3D Pieces In Which He Painted Onto The Shells Of Horseshoe Crabs Found On The Beach Near His Florida Home. He Called This Series Of Pieces "Ancient Warriors Of Lost Civilizations" Because Of The Pieces' Resemblance To Face Armour. He Usually Worked In Acrylics, With Or Without Airbrush. Much Of His Work Retained The Hippy Sensibility, The Psychedelia, Of His Earliest Commercial Projects, Produced In The 1960S - It's No Coincidence That The Book Collecting His Work Was Called Inner Visions (2000) - But He Was Very Versatile And, When The Subject Matter Called For It, He Could Paint Hard Sf As Well As Anyone. He Was Nominated For A Dozen Chesley Awards, Including For Artistic Achievement In 2000, But Surprisingly Never Won One. He Did, However, Receive The Frank R Paul Award In 1987. [.

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover, Wraparound. Fine Except A Little Dampspotting To White Margin Along Bottom Edge.

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover Print. Fine Except Tiny Dampstains At Right Edge.

No Binding. Zustand: Very Good. Original Proof Illustration. Color Coverprint. Fine Except Tiny Dampstain At Lower Right White Margin. Milford "Mel" Joseph Hunter (1927 - 2004) Was A 20Th-Century American Illustrator. He Enjoyed A Successful Career As A Science Fiction Illustrator, Producing Illustrations For Famous Science Fiction Authors Such As Isaac Asimov And Robert A. Heinlein, As Well As A Technical And Scientific Illustrator For Clients Such As The Pentagon, Hayden Planetarium, And The Massachusetts Audubon Society.With A Growing Understanding Of The Fields Of Astronomy, Astronautics, And Aviation Hunter Set Out To Teach Himself Book And Magazine Illustration. He Moved To New York City During The Early 1950S, And By 1953 He Had Successfully Sold His First Color Cover To Galaxy Science Fiction Magazine And Talked Himself Into A Technical Illustrator At Northrop Aircraft Where He Painted Illustrations Of Advanced Aircraft And Simulated Combat Scenarios. During That Time, The Most Lucrative Outlet For Space Artists Was The Science-Fiction Genre. Along With A Fertile Imagination, Hunter Coupled His Art With Realism And Technical Accuracy. Hunter's Whimsical Science Fiction Robots Became His Signature To Thousands Of Science Fiction Fans; The Skeletal Steel Robots Graced The Covers Of The Magazine Of Fantasy And Science Fiction Well Into The 1970S. Hunter's Lonely Robots Were Often Depicted Walking Solo Through The Desolate Landscapes Of Nuclear Ruins Or Alien Planets. Hunter Was Nominated For The Hugo Award For Best Professional Artist For The Years 1960-1962.As Hunter's Science Fiction Career Blossomed, So Did His Technical And Scientific Illustrations. Hunter's Love Of Air And Space Took Him From California's Desert Runways To Florida's Seacoast Launchpads To Illustrate Every Variety Of Jet-Age Aircraft And Space-Age Rocket Imaginable?From X-15 To Saturn V. One Of Hunter's Best-Known Books Is "The Missilemen", A Photo Illustrated Work Published In 1960 By Doubleday. Hunter Visited U.S. Rocket And Missile Sites During The Late 1950S; He Took All Of The Book's Black-And-White Photographs. It Was A Rare Look Inside The World Of Rocket Scientists And Engineers Of The Early Space Age. Another Hunter Book, "Strategic Air Command", Received The Aviation Writers' Association Highest Honors In 1961. "Mel Launched A Career In Scientific Illustration After He Was An Established Science-Fiction Illustrator," Said Smith-Hunter. "He Was Very Technically Accurate And Was Commissioned To Complete 26 Paintings Of Celestial Objects For The Hayden Planetarium In New York City."After 17 Years Of Technical And Scientific Illustration, Hunter Moved From New York To Chester, Vermont In 1967. He Began Creating Lithographic Prints Depicting The Natural Scenes Which Surrounded Him. The Following Year, He Was Commissioned To Create A Series Of More Than 130 Watercolors Of "Birds Of The Northeast" By Abercrombie & Fitch Galleries And Massachusetts Audubon Society. By 1970, Hunter Signed A Contract With World Publishing Co. For A Series Of 13 Ecological Books For Children, Dealing With Topics Like The Beginning Of The Earth, Mankind, Plants, Birds, Mammals And Insects. In 1976, After Accidental Damage To His Limestone Lithographic Drawing, Hunter Began Using Mylar As A Medium For His Lithography, And Published A Controversial Photo-Illustrated Article In The American Artist Magazine Entitled "Revolution In Hand-Drawn Lithography". In 1984, Hunter Published His Seminal Hardcover Textbook, The New Lithography Which Details The "Mylar Method", Still In Wide Use Today.

No Binding. Zustand: Fine. Original Proof Illustration. Color Cover Print. Fine. Milford "Mel" Joseph Hunter (1927 - 2004) Was A 20Th-Century American Illustrator. He Enjoyed A Successful Career As A Science Fiction Illustrator, Producing Illustrations For Famous Science Fiction Authors Such As Isaac Asimov And Robert A. Heinlein, As Well As A Technical And Scientific Illustrator For Clients Such As The Pentagon, Hayden Planetarium, And The Massachusetts Audubon Society.With A Growing Understanding Of The Fields Of Astronomy, Astronautics, And Aviation Hunter Set Out To Teach Himself Book And Magazine Illustration. He Moved To New York City During The Early 1950S, And By 1953 He Had Successfully Sold His First Color Cover To Galaxy Science Fiction Magazine And Talked Himself Into A Technical Illustrator At Northrop Aircraft Where He Painted Illustrations Of Advanced Aircraft And Simulated Combat Scenarios. During That Time, The Most Lucrative Outlet For Space Artists Was The Science-Fiction Genre. Along With A Fertile Imagination, Hunter Coupled His Art With Realism And Technical Accuracy. Hunter's Whimsical Science Fiction Robots Became His Signature To Thousands Of Science Fiction Fans; The Skeletal Steel Robots Graced The Covers Of The Magazine Of Fantasy And Science Fiction Well Into The 1970S. Hunter's Lonely Robots Were Often Depicted Walking Solo Through The Desolate Landscapes Of Nuclear Ruins Or Alien Planets. Hunter Was Nominated For The Hugo Award For Best Professional Artist For The Years 1960-1962.As Hunter's Science Fiction Career Blossomed, So Did His Technical And Scientific Illustrations. Hunter's Love Of Air And Space Took Him From California's Desert Runways To Florida's Seacoast Launchpads To Illustrate Every Variety Of Jet-Age Aircraft And Space-Age Rocket Imaginable?From X-15 To Saturn V. One Of Hunter's Best-Known Books Is "The Missilemen", A Photo Illustrated Work Published In 1960 By Doubleday. Hunter Visited U.S. Rocket And Missile Sites During The Late 1950S; He Took All Of The Book's Black-And-White Photographs. It Was A Rare Look Inside The World Of Rocket Scientists And Engineers Of The Early Space Age. Another Hunter Book, "Strategic Air Command", Received The Aviation Writers' Association Highest Honors In 1961. "Mel Launched A Career In Scientific Illustration After He Was An Established Science-Fiction Illustrator," Said Smith-Hunter. "He Was Very Technically Accurate And Was Commissioned To Complete 26 Paintings Of Celestial Objects For The Hayden Planetarium In New York City."After 17 Years Of Technical And Scientific Illustration, Hunter Moved From New York To Chester, Vermont In 1967. He Began Creating Lithographic Prints Depicting The Natural Scenes Which Surrounded Him. The Following Year, He Was Commissioned To Create A Series Of More Than 130 Watercolors Of "Birds Of The Northeast" By Abercrombie & Fitch Galleries And Massachusetts Audubon Society. By 1970, Hunter Signed A Contract With World Publishing Co. For A Series Of 13 Ecological Books For Children, Dealing With Topics Like The Beginning Of The Earth, Mankind, Plants, Birds, Mammals And Insects. In 1976, After Accidental Damage To His Limestone Lithographic Drawing, Hunter Began Using Mylar As A Medium For His Lithography, And Published A Controversial Photo-Illustrated Article In The American Artist Magazine Entitled "Revolution In Hand-Drawn Lithography". In 1984, Hunter Published His Seminal Hardcover Textbook, The New Lithography Which Details The "Mylar Method", Still In Wide Use Today.

No Binding. Zustand: Near Fine. Original Proof Illustration. Proof, Color. Fine Excpt For A Few Tiny Dampspots In White Margin At Lower Right Corner. Edmund Alexander Emshwiller (1925 - 1990), Better Known As Ed Emshwiller, Was An American Visual Artist Notable For His Science Fiction Illustrations And His Pioneering Experimental Films. He Usually Signed His Illustrations As Emsh But Sometimes Used Ed Emsh, Ed Emsler, Willer And Others. From 1951 To 1979, While Living In Levittown, New York, Emshwiller Created Covers And Interior Illustrations For Dozens Of Science Fiction Paperbacks And Magazines, Notably Galaxy And The Magazine Of Fantasy & Science Fiction. He Debuted In The Pulp Magazines With About 50 Interior Illustrations And Four Cover Paintings For The May To December 1951 Issues Of Galaxy, A Monthly Edited By H. L. Gold. In That Year Or 1952 He Also Did His First Book Cover For The U.S. Paperback Edition Of Odd John (Galaxy Publishing Corp.) Because He Experimented With A Diversity Of Techniques, There Is No Typical Emsh Cover. His Painterly Treatment For The August 1951 Cover Of Galaxy Science Fiction Prefigures Later Work By Leo And Diane Dillon. Emshwiller Won One Of The Inaugural Hugo Awards In 1953, As The Previous Year's Best "Cover Artist" (A Tie With Hannes Bok). Cover Artists And Interior Illustrators Were Not Thereafter Distinguished By The Hugo Award For Best Artist Under Various Names; He Won Four More During The 1960S Under The Current "Professional Artist" Distinction.[8] On June 16, 2007, He Became The Third Artist Inducted By The Science Fiction Hall Of Fame. His Paintings Of Aliens Were Displayed In The Alien Encounters Exhibition Of The Science Fiction Museum, Which Houses The Hall Of Fame, At That Time (September 10, 2006 To October 30, 2007). In 1964, A Ford Foundation Grant Allowed Emshwiller To Pursue His Interest In Film. Active In The New American Cinema Movement Of The 1960S And Early 1970S, He Created Multimedia Performance Pieces And Did Cine-Dance And Experimental Films, Such As The 38-Minute Relativity (1966). He Also Was A Cinematographer On Documentaries, Such As Emile De Antonio's Painters Painting (1972), And Feature Films, Such As Time Of The Heathen (1964) And Adolfas Mekas' Hallelujah The Hills (1963). Emshwiller's Footage Of Bob Dylan Singing "Only A Pawn In Their Game" On July 6, 1963 At A Voters' Registration Rally In Greenwood, Mississippi, Was Shot For Jack Willis' 1963 Documentary The Streets Of Greenwood And Appears In D. A. Pennebaker's Dylan Documentary, Dont Look Back (1967). His Films Of The 1960S Were Mostly Shot In 16Mm Color, And Some Of These Included Double Exposures Created Simply By Rewinding The Cameras. He Was One Of The Earliest Video Artists. With Scape-Mates (1972), He Began His Experiments In Video, Combining Computer Animation With Live-Action. In 1979, He Produced Sunstone, A Groundbreaking Three-Minute 3-D Computer-Generated Video Made At The New York Institute Of Technology With Alvy Ray Smith.[4] Now In The Museum Of Modern Art's Video Collection, Sunstone Was Exhibited At Siggraph 79, The 1981 Mill Valley Film Festival And Other Festivals. In 1979, It Was Shown On Wnet's Video/Film Review, And A Single Sunstone Frame Was Used On The Front Cover Of Fundamentals Of Interactive Computer Graphics, Published In 1982 By Addison-Wesley. After A Period As Artist-In-Residence At The Television Laboratory Wnet/13 (New York), Where He Worked On The Effects For The Lathe Of Heaven Among Other Projects, He Moved To California Where He Was The Founder Of The Calarts Computer Animation Lab And Served As Dean Of The School Of Film/Video At The California Institute Of Arts From 1979 To 1990. He Also Served As Provost From 1981 Through 1986. In 1987, He Created His Electronic Video Opera, Hunger, For The 1987 Los Angeles Arts Festival, In Partnership With Composer Morton Subotnick. It Was His Last Completed Work, Also Presented In October 1989 At The Ars Electronica Festival In Linz, Austria. (Wikipedia).

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover, Print. Fine. Gahan Wilson (Born1930) Is An American Author, Cartoonist And Illustrator Known For His Cartoons Depicting Horror-Fantasy Situations.

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover Print. Fine Except Tiny Dampstains At Right Edge.

No Binding. Zustand: Very Good. Original Proof Illustration. Color Coverprint. Fine Except Tiny Dampstain At Upper Right White Margin. Milford "Mel" Joseph Hunter (1927 - 2004) Was A 20Th-Century American Illustrator. He Enjoyed A Successful Career As A Science Fiction Illustrator, Producing Illustrations For Famous Science Fiction Authors Such As Isaac Asimov And Robert A. Heinlein, As Well As A Technical And Scientific Illustrator For Clients Such As The Pentagon, Hayden Planetarium, And The Massachusetts Audubon Society.With A Growing Understanding Of The Fields Of Astronomy, Astronautics, And Aviation Hunter Set Out To Teach Himself Book And Magazine Illustration. He Moved To New York City During The Early 1950S, And By 1953 He Had Successfully Sold His First Color Cover To Galaxy Science Fiction Magazine And Talked Himself Into A Technical Illustrator At Northrop Aircraft Where He Painted Illustrations Of Advanced Aircraft And Simulated Combat Scenarios. During That Time, The Most Lucrative Outlet For Space Artists Was The Science-Fiction Genre. Along With A Fertile Imagination, Hunter Coupled His Art With Realism And Technical Accuracy. Hunter's Whimsical Science Fiction Robots Became His Signature To Thousands Of Science Fiction Fans; The Skeletal Steel Robots Graced The Covers Of The Magazine Of Fantasy And Science Fiction Well Into The 1970S. Hunter's Lonely Robots Were Often Depicted Walking Solo Through The Desolate Landscapes Of Nuclear Ruins Or Alien Planets. Hunter Was Nominated For The Hugo Award For Best Professional Artist For The Years 1960-1962.As Hunter's Science Fiction Career Blossomed, So Did His Technical And Scientific Illustrations. Hunter's Love Of Air And Space Took Him From California's Desert Runways To Florida's Seacoast Launchpads To Illustrate Every Variety Of Jet-Age Aircraft And Space-Age Rocket Imaginable?From X-15 To Saturn V. One Of Hunter's Best-Known Books Is "The Missilemen", A Photo Illustrated Work Published In 1960 By Doubleday. Hunter Visited U.S. Rocket And Missile Sites During The Late 1950S; He Took All Of The Book's Black-And-White Photographs. It Was A Rare Look Inside The World Of Rocket Scientists And Engineers Of The Early Space Age. Another Hunter Book, "Strategic Air Command", Received The Aviation Writers' Association Highest Honors In 1961. "Mel Launched A Career In Scientific Illustration After He Was An Established Science-Fiction Illustrator," Said Smith-Hunter. "He Was Very Technically Accurate And Was Commissioned To Complete 26 Paintings Of Celestial Objects For The Hayden Planetarium In New York City."After 17 Years Of Technical And Scientific Illustration, Hunter Moved From New York To Chester, Vermont In 1967. He Began Creating Lithographic Prints Depicting The Natural Scenes Which Surrounded Him. The Following Year, He Was Commissioned To Create A Series Of More Than 130 Watercolors Of "Birds Of The Northeast" By Abercrombie & Fitch Galleries And Massachusetts Audubon Society. By 1970, Hunter Signed A Contract With World Publishing Co. For A Series Of 13 Ecological Books For Children, Dealing With Topics Like The Beginning Of The Earth, Mankind, Plants, Birds, Mammals And Insects. In 1976, After Accidental Damage To His Limestone Lithographic Drawing, Hunter Began Using Mylar As A Medium For His Lithography, And Published A Controversial Photo-Illustrated Article In The American Artist Magazine Entitled "Revolution In Hand-Drawn Lithography". In 1984, Hunter Published His Seminal Hardcover Textbook, The New Lithography Which Details The "Mylar Method", Still In Wide Use Today.

No Binding. Zustand: Fine. Original Proof Illustration. Proof, Color. Fine. Frank Kelly Freas (1922 - 2005) Was An American Science Fiction And Fantasy Artist With A Career Spanning More Than 50 Years. He Was Known As The "Dean Of Science Fiction Artists" And He Was The Second Artist Inducted By The Science Fiction Hall Of Fame.Over The Next Five Decades, He Created Covers For Hundreds Of Books And Magazines (And Much More Interior Artwork), Notably Astounding Science Fiction, Both Before And After Its Title Change To Analog, From 1953 To 2003. He Started At Mad Magazine In February 1957 And By July 1958 Was The Magazine's New Cover Artist; He Painted Most Of Its Covers Until October 1962 (Featuring The Iconic Character, Alfred E. Neuman). He Also Created Cover Illustrations For Daw, Signet, Ballantine Books, Avon, All 58 Laser Books (Which Are Now Collectors' Items), And Over 90 Covers For Ace Books Alone. He Was Editor And Artist For The First Ten Starblaze Books. He Illustrated The Cover Of Jean Shepherd, Ian Ballantine, And Theodore Sturgeon's Literary Hoax, I, Libertine (Ballantine Books, 1956). That Same Year He Drew Cartoon Illustrations For Bernard Shir-Cliff's The Wild Reader. Freas Also Painted Insignia And Posters For Skylab I; Pinup Girls On Bombers While In The United States Army Air Forces; Comic Book Covers; The Covers Of The Gurps Worldbooks Lensman And Planet Krishna; And More Than 500 Saints' Portraits For The Franciscans Executed Simultaneously With His Portraits Of Alfred E. Neuman For Mad. He Was Very Active In Gaming And Medical Illustration. His Cover Of Queen's Album News Of The World (1977) Was A Pastiche Of His October 1953 Cover Illustration For Tom Godwin's "The Gulf Between" For Astounding Science Fiction Magazine. Freas Published Several Collections Of His Art, Frequently Gave Presentations, And His Work Appeared In Numerous Exhibitions. He Was Among Several Of The Inaugural Recipients Of The Hugo Award For Best Artist In 1955 And Was Recipient Under Different Names Of The Next Three Conferred In 1956, 1958, And 1959. With Six More Hugo Awards To His Name (1970 And 1972-76), He Became The First Person To Receive Ten Hugo Awards (He Was Nominated 20 Times). No Other Artist In Science Fiction Has Consistently Matched His Record.

No Binding. Zustand: Near Fine. Original Proof Illustration. Proof, Color. 8" X 5 1/2". Fine Except Minute Damp Spots Along Right Edge Of White Area At Far Right. Edmund Alexander Emshwiller (1925 - 1990), Better Known As Ed Emshwiller, Was An American Visual Artist Notable For His Science Fiction Illustrations And His Pioneering Experimental Films. He Usually Signed His Illustrations As Emsh But Sometimes Used Ed Emsh, Ed Emsler, Willer And Others. From 1951 To 1979, While Living In Levittown, New York, Emshwiller Created Covers And Interior Illustrations For Dozens Of Science Fiction Paperbacks And Magazines, Notably Galaxy And The Magazine Of Fantasy & Science Fiction. He Debuted In The Pulp Magazines With About 50 Interior Illustrations And Four Cover Paintings For The May To December 1951 Issues Of Galaxy, A Monthly Edited By H. L. Gold. In That Year Or 1952 He Also Did His First Book Cover For The U.S. Paperback Edition Of Odd John (Galaxy Publishing Corp.) Because He Experimented With A Diversity Of Techniques, There Is No Typical Emsh Cover. His Painterly Treatment For The August 1951 Cover Of Galaxy Science Fiction Prefigures Later Work By Leo And Diane Dillon. Emshwiller Won One Of The Inaugural Hugo Awards In 1953, As The Previous Year's Best "Cover Artist" (A Tie With Hannes Bok). Cover Artists And Interior Illustrators Were Not Thereafter Distinguished By The Hugo Award For Best Artist Under Various Names; He Won Four More During The 1960S Under The Current "Professional Artist" Distinction.[8] On June 16, 2007, He Became The Third Artist Inducted By The Science Fiction Hall Of Fame. His Paintings Of Aliens Were Displayed In The Alien Encounters Exhibition Of The Science Fiction Museum, Which Houses The Hall Of Fame, At That Time (September 10, 2006 To October 30, 2007). In 1964, A Ford Foundation Grant Allowed Emshwiller To Pursue His Interest In Film. Active In The New American Cinema Movement Of The 1960S And Early 1970S, He Created Multimedia Performance Pieces And Did Cine-Dance And Experimental Films, Such As The 38-Minute Relativity (1966). He Also Was A Cinematographer On Documentaries, Such As Emile De Antonio's Painters Painting (1972), And Feature Films, Such As Time Of The Heathen (1964) And Adolfas Mekas' Hallelujah The Hills (1963). Emshwiller's Footage Of Bob Dylan Singing "Only A Pawn In Their Game" On July 6, 1963 At A Voters' Registration Rally In Greenwood, Mississippi, Was Shot For Jack Willis' 1963 Documentary The Streets Of Greenwood And Appears In D. A. Pennebaker's Dylan Documentary, Dont Look Back (1967). His Films Of The 1960S Were Mostly Shot In 16Mm Color, And Some Of These Included Double Exposures Created Simply By Rewinding The Cameras. He Was One Of The Earliest Video Artists. With Scape-Mates (1972), He Began His Experiments In Video, Combining Computer Animation With Live-Action. In 1979, He Produced Sunstone, A Groundbreaking Three-Minute 3-D Computer-Generated Video Made At The New York Institute Of Technology With Alvy Ray Smith.[4] Now In The Museum Of Modern Art's Video Collection, Sunstone Was Exhibited At Siggraph 79, The 1981 Mill Valley Film Festival And Other Festivals. In 1979, It Was Shown On Wnet's Video/Film Review, And A Single Sunstone Frame Was Used On The Front Cover Of Fundamentals Of Interactive Computer Graphics, Published In 1982 By Addison-Wesley. After A Period As Artist-In-Residence At The Television Laboratory Wnet/13 (New York), Where He Worked On The Effects For The Lathe Of Heaven Among Other Projects, He Moved To California Where He Was The Founder Of The Calarts Computer Animation Lab And Served As Dean Of The School Of Film/Video At The California Institute Of Arts From 1979 To 1990. He Also Served As Provost From 1981 Through 1986. In 1987, He Created His Electronic Video Opera, Hunger, For The 1987 Los Angeles Arts Festival, In Partnership With Composer Morton Subotnick. It Was His Last Completed Work, Also Presented In October 1989 At The Ars Electronica Festival In Linz, Austria. (Wikipedia).

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover Print. Fine.

No Binding. Zustand: Near Fine. Original Proof Illustration. Color Cover Print. Fine.