HOLY GRAIL ISSUE OF FAMOUS MONSTERS SELLS AT AUCTION

The first run of the legendary FAMOUS MONSTERS OF FILMLAND ended decades ago but it's cult status has maintained a healthy sales record over the years. This is due in part to the seemingly endless supply of copies that were originally printed and made available from remainders and "warehouse finds" after its demise. However, there is one particular issue that stands out among the others as being unique and as a result has become quite rare.

The June 1960 issue of FM included a random "Lucky 7" sticker inside that, if the page was torn out and sent in the reader would receive a lifetime subscription. Accounts vary as to how many of these there were but 100 and 250 are usually cited. For years an intact copy has been considered the holy grail of FM issues and rightly so -- what kid wouldn't send it in for a lifetime sub?

There were also two variant covers to this number, both advertising Roland/Zacherley's WOR-TV show.

On 24 June 2024 a slabbed copy of FAMOUS MONSTERS OF FILMLAND #7 (June 1960) with a CBG rating of 2.0 (Good) was sold at Heritage Auctions for $8,400. I'm not a particularly huge fan of clam-shelled collectibles, especially for this when you'd have to break the seal to get a look at the sticker!

I believe it is also the first time since this issue was published that the actual page number (17) that the sticker was on is mentioned. Prior to this it was kept quiet for fear of counterfeiting.

FM #7, page 17 -- without the sticker, of course!

THE WORLD'S MOST VALUABLE COMIC BOOK

History was made last week when a near-mythical copy of ACTION COMICS #1 became the most valuable comic book on Earth (and probably Krypton, too). When the gavel dropped at Heritage Auctions in Dallas, TX on Thursday, April 4th, the CGC 8.5-graded clam-shell case containing the nearly-pristine comic sold for a head-bursting $6,000,000!! No, that is not a mistake, the extra zero is correct.

This is a big deal because it's much more than just a comic book -- Superman is a thread in the fabric of our culture. Created in the imaginations of writer Jerome "Jerry" Siegal and artist Joseph "Joe" Shuster, The Man of Steel represented the "champion of the oppressed" and vowed to be a tireless crime-fighter (man, couldn't we use somebody like that today?). Kal-el -- as he was known on his native planet -- resonated with American society like no other fictional character, so much that he might has well been real. This was a milestone event in not only the history of comic books but popular culture itself.

Below is the description of Lot #91002 from the Heritage Auctions catalog. Following that is another item from the same auction, a letter written in June 1934 from Jerry Siegel to artist Russell Keaton outlining a proposal for a Superman newspaper strip . . . four years before ACTION COMICS #1! Not surprising, the letter sold for $240,000. And as a special bonus, I've added Superman's first appearance from that same historic issue.

Excuse me now, while I catch my breath!

Action Comics #1 Kansas City Pedigree (DC, 1938) CGC VF+ 8.5 Off-white to white pages. It's been said many times, but it bears repeating that Action Comics #1 is the most important, impactful comic book ever published. Written by Jerry Siegel and drawn by Joe Shuster, both children of Jewish immigrants and in their early 20s at the time, it features the first appearance and origin of Superman: an alien child sent to Earth to escape catastrophe, who grew to become the world's mightiest defender -- a reflection of his creators' experiences as well as the American Dream. In addition to the first appearance of the Man of Steel, it featured the first appearances of perennial love interest Lois Lane and heroic magician Zatara. Shuster created the iconic cover, with Fred Guardineer and Bernard Baily contributing additional story art in this issue. In the process they launched the Golden Age of Comics, created the superhero genre, and crafted a comic that stands as the keystone of the medium and a major moment in the history of publishing, and ultimately film and television as well.

A rare comic book whose historical impact cannot be overstated, we've had the singular honor of auctioning dozens of copies of Action Comics #1 over the past 20-plus years -- and in some instances, loose individual pages that nevertheless sold for anywhere from a few hundred dollars to nearly $60,000 apiece -- and yet we've never had the privilege of offering one as breathtakingly beautiful as this.

The colors are stunningly rich, and the cover is almost pristine and largely unmarred. Some mild toning to the white areas, slight dulling of the staples, and a little wear along the top seem to have kept the grade at "only" 8.5. There is a single, tiny color break at mid-spine, and the corners are relatively sharp for an 85-year-old comic book.

You'll be hard-pressed to get your hands on a nicer copy. There are only four pedigreed copies of Action #1 -- the others being the Mile High, Lamont Larson, and Billy Wright copies, and this is the highest-graded among the three that have been certified to date (the Mile High copy has yet to be certified and, of course, may be the nicest copy of all). In 1989, Ernst Gerber's The Photo-Journal Guide to Comic Books rated it a "7" ( "scarce") on their Scarcity Index, estimating that no more than 50 copies were still in existence. The decades since Gerber's guide was published have proven that estimate to be low, but just barely: CGC has currently certified 78 copies of Action #1, of which 44 are unrestored Universal grade copies. Of those, only two have earned a higher grade than this one (both VF/NM 9.0); they have also registered two restored copies with higher grades: an Apparent VF/NM 9.0 and an Apparent NM 9.4. This is also the finest copy we've ever had the opportunity to offer at auction and the highest-graded unrestored copy we've seen, surpassing the FN 6.0 Rocket copy that sold for $3.18 million in January 2022. Rest assured it might be some time before a nicer copy shows up on the auction block. Naturally, this classic is ranked #1 on Overstreet's list of Top 100 Golden Age Comics. Overstreet 2023 VF 8.0 value = $2,429,000; VF/NM 9.0 value = $4,514,500. CGC census 4/24: 2 in 8.5, 2 higher.

Jerry Siegel 3-Page Letter to Russell Keaton - On the Origin of Superman (1934). Across these three historic pages, Jerry Siegel outlines the concept for Superman to comic strip artist Russell Keaton in June 1934, nearly four years before Superman's debut in Action Comics #1. Siegel's letter details an origin story both familiar and unfamiliar to long-time Superman fans. A miraculous canister lands on contemporary Earth containing a child of untold strength and ability, a fearful sight for others who will strive through adversity to become "a champion of the oppressed"; the young Clark Kent comes not from Krypton or any alien world, but the cataclysmic far future of Earth, one of the future's supremely evolved humans sent back in a "small time-machine."

In the proposed comic strip, Molly and Sam Kent discover the baby and drop him off at an orphanage before adopting him, with many following episodes detailing his childhood adventures long before becoming the adult "Superman". Siegel's summary and script echo Superman's later origins and retellings across Action Comics, Superman, and the Superman comic strip. While there are many differences, the core concept remains unchanged to this day.

From their earliest meetings in 1932, Siegel and Joe Shuster began workshopping the Superman concept before debuting the character in Action Comics #1 in 1938. This letter comes from the middle of that period, when both creators envisioned Superman as an ongoing comic strip, before the debut of the modern comic book format.

Siegel and Shuster were young unknowns, who had failed to sell the concept to multiple publishers including Consolidated Books and the Bell Syndicate, while Russell Keaton was an experienced artist, known for his work drawing Buck Rogers and Skyroads comic strips.

Siegel sought Keaton as an alternative partner for his budding creation, certain that an established artist would lead to greater cachet and a published strip. Keaton would go on to draw two weeks' worth of strips based on this letter, which were also rejected by newspaper syndicates, leading Siegel and Shuster to reunite and further refine the Superman concept. In June 1935, Siegel and Shuster would begin working for the budding comic publisher National Allied Publications, where the pair debuted Superman in 1938. While Siegel and Shuster were relative unknowns in the mid-1930s, today renown far exceeds that of Russell Keaton. This letter offers an incredible window into the history of comics, showcasing a major turning point in the development of both the superhero and modern pop culture.

The letter was typewritten on three separate pieces of paper, with the opening page hand signed in the lower margin. Creasing, minor holes, tears, and chips, toning, and handling wear. In Very Good condition. From the Denis Kitchen Collection.

BONUS! Superman's first appearance in ACTION COMICS #1:

RARE 1958 MONSTER MAG!

Famous Monsters of Filmland wasn't the only monster magazine published in 1958. While it was the first regularly published monster 'zine ever (first issue on sale date February 27, 1958), competitors were soon hot on Warren's and Forry's heels; MONSTER PARADE followed in September and WORLD FAMOUS CREATURES in October.

One 'zine that seems to have flown under the radar all these years was the 12-page FAMOUS HORRORS OF THE SCREEN. Published by Raymond R. Stuart, it appeared sometime in 1958. With the odd dimensions of 10.25" X 13.5" it was unlikely not a publication for the newsstand and was probably privately printed. Still, somebody else caught on to the burgeoning horror craze and emulated FM with their own version.

Subtitled, "A Pictorial Album", FHOTS contained no text and featured full-page stills from various FRANKENSTEIN movies. It seems to be rather rare as I've come across only one copy up for sale at an auction. An oddity, but it should be included in the history of monster movie magazines.

BRING ME THE HEAD OF HERMAN MUNSTER!

Herman, played by the late actor, Fred Gwynne, was the star of the monster comedy show, THE MUNSTERS, which ran from September 24, 1964 to May 12, 1966 when it got knocked out by Adam West's BATMAN.

Besides his towering size and lumbering gait, Herman was noted for his crazy Frankenstein Monster makeup, which included an exaggerated head piece.

Here's a chance to see an original prosthetic head that Mr. Gwynne wore on the show. Now at auction, the current bid for this piece of Munsters history is $1,500.00.

Lot Description:

Original Screen Worn Fred Gwynne "Herman Munster" Prosthetic Headpiece (CBS, 1964-1966). Vintage original cast foam latex rubber, prosthetic "Herman Munster" headpiece featuring interior etching transferred from mold, "F.G. 64" (for Fred Gwynne, 1964), expertly studio painted and with a 54" x 2" swatch of wig lace affixed to the back of the piece to be attached to the actor's neck to aid in holding the headpiece in place. Retaining studio paint. Exhibiting deteriorated blending edges and minor, subtle crazing to surface.

BONUS! More Herman Munster Head Props!

The current bid for this collection of Herman Munster head props is $1,000.00.

Lot Description:

Collection of (3) "Herman Munster" and "Frankenstein's Monster" Prosthetic Headpieces (1960s/Present). Vintage original and contemporary (3) Frankenstein Monster headpieces including (1) vintage cast latex flesh-colored rubber Don Post Studios "Frankenstein's Monster" headpiece, (1) cast latex rubber Frankenstein headpiece with interior stamp, "Forrest J Ackerman, 1987," from a makeup session with the horror legend, (1) "Herman Munster" cast foam latex rubber prosthetic headpiece with expert studio paint and lace wig, commissioned by Kevin Burns. Don Post headpiece exhibits age, splitting, and deterioration. All others remain in Very Good to Fine condition. COA from Heritage Auctions.

URSULA'S VERY EXPENSIVE BIKINI

As a youngster, I watched Ursula Andress come up out of the sea in something called a bikini. The movie was DR. NO, and I was transfixed. As I grew older, the Swiss beauty became something of a heartthrob of mine (along with Raquel Welch), when I again saw her as "She Who Must Be Obeyed" in Hammer's adaptation of H. Rider Haggard's SHE, and yet again as Kaetie von Klugermann in the excellent WWI air war film, THE BLUE MAX.

Now, PROFILES IN HISTORY is putting up for auction that same white bikini that she wore in the James Bond film. It is expected to sell for $500,000.

Here's the information from the auction site:

LOS ANGELES (Reuters) - James Bond fans may have to wait until next year for the next 007 adventure movie, but those with deep pockets next month can get their hands on some of the most famous items from the previous movies.

The ivory colored bikini worn by Ursula Andress in “Dr. No” - the first Bond movie - is up for auction in Los Angeles with an estimated price of up to $500,000, auctioneers Profiles in History said on Wednesday.

Andress, who played beachcomber Honey Ryder in the 1962 film and was the first Bond girl, was pictured emerging dripping from the ocean in the bikini, holding a seashell and with a scabbard belted to her hips.

“It is regarded as the most famous bikini in the world,” said Brian Chanes, head of acquisitions at Profiles in History.

“It’s one of the most memorable scenes in the entire Bond franchise,” he said. “It helped bikinis become more mainstream and it started the whole Bond girl phenomenon.”

Andress herself first sold the bikini at a London auction in 2001.

Other items include Roger Moore’s monogrammed pajama ensemble from “Live and Let Die” (estimated at $10,000 - $15,000); the gray signature jacket worn by villain Ernst Blofeld in “Diamonds are Forever” ($20,000 - $30,0000); and Jane Seymour’s emerald psychic cape and headdress from “Live and Let Die” ($60,000 - $80,000)

“Things from the Bond franchise are relatively rare especially the further you go back in time,” said Chanes, saying he expected bidders to come from around the world. “With Bond especially it’s very much an international crowd.”

The auction will take place online and in Los Angeles on Nov 12-13. The next Bond movie, “No Time to Die,” was last week pushed back from November to an April release in movie theaters.

Ursula Andress as SHE.

As Kaetie von Klugermann in THE BLUE MAX.

FIRE AND ICE CONCEPTUAL ART

Always imitated but never equaled, Frank Frazetta's amazing artwork still sits at the top of the heap of fantasy illustration. Here is a piece of conceptual art that Mr. Frazetta did for Ralph Bakshi's animated sword and sorcery film, FIRE AND ICE. It is rendered in charcoal, gouach and watercolor and is the same technique that he painted one of his most famous works, "Golden Girl", of which I am the proud owner of a signed print that I bought in the 1970's.

The concept art recently sold at auction for $78,000.

THE BEAUTY OF ORIGINAL PULP ART

For those that believe pulp art belongs in the same category of pulp fiction, I offer you this gallery of pictures. Mostly "shunned" by the "art community", pulp art is gaining more respectability as time goes on and there are less other subjects to mine to promote and profit from. In any event, some of the most beautifully rendered and evocative images have come from the pages of pulp and pulp paperbacks.

These images are currently up for auction. Estimates are the anticipated final selling price.

Margaret Brundage (American, 1900-1976)
The Slithering Shadow, Weird Tales pulp magazine cover, September 1933
Pastel on paper
24 x 18 inches (61.0 x 45.7 cm)
Signed lower right
Previously from the estate of John McLaughlin
Estimate: $20,000 - $25,000.

Virgil Finlay (American, 1914-1971)
The Thief of Forthe, Weird Tales magazine cover, July 1937
Oil on board
17-1/2 x 13-3/8 inches (44.5 x 34.0 cm) (sight)
Signed and dated lower left
Estimate: $20,000 - $30,000.

Lee Brown Coye (American, 1907-1981)
The Vampire, Weird Tales magazine cover, July 1947
Oil on canvasboard
24 x 15-3/4 inches (61.0 x 40.0 cm)
Signed lower center
PROVENANCE:
The artist;
Private collection, acquired from the above;
By descent to the present owner.
This illustration was listed on page 163 of Arts Unknown: The Life & Art of Lee Brown Coye by Luis Ortiz (NonStop, 2005). The July 1947 edition of Weird Tales magazine featured numerous famed science-fiction authors including Ray Bradbury.
Estimate: $8,000 - $12,000.

Lee Brown Coye (American, 1907-1981)
Seaton's Aunt, Sleep No More: Twenty Masterpieces of Horror for the Connoisseur interior illustration, 1944
Ink on board
8-1/2 x 5 inches (21.6 x 12.7 cm) (image)
Signed with artist's symbol lower left
PROVENANCE:
The artist;
Private collection, acquired from the above;
By descent to the present owner.
This illustration was listed on page 64 of Arts Unknown: The Life & Art of Lee Brown Coye by Luis Ortiz (NonStop, 2005).
Estimate: $3,000 - $5,000.

Lee Brown Coye (American, 1907-1981)
Legend of Sleepy Hollow, 1944
Ink on paper
10-1/2 x 5-1/4 inches (26.7 x 13.3 cm) (image)
Signed and dated lower center: Lee Brown Coye 1944
PROVENANCE:
The artist;
Private collection, acquired from the above;
By descent to the present owner.
This illustration was possibly an unpublished work for Sleep No More: Twenty Masterpieces of Horror for the Connoisseur (Farrar & Rinehart, 1944).
Estimate: $3,000 - $5,000.

Artist Unknown (20th Century, American)

Konga: A Monarch Movie Book paperback cover, 1960

Gouache on board

25-1/2 x 16-1/2 inches (64.8 x 41.9 cm) (sight)

Not signed

This illustration was published as the paperback of Konga: A Monarch Movie Book by Dean Owen (Monarch Books, 1960). A copy of the paperback accompanies this lot.

Estimate: $1,000 - $1,500.

Hannes Bok (American, 1914-1964)

Helen of Troy, 1960

Mixed media on paper

15-1/2 x 10-1/2 inches (39.4 x 26.7 cm) (sight)

Signed and dated lower right: Hannes Bok 1960

Estimate: $1,000 - $1,500.

Gray Morrow (American, 1934-2001)

The Bane of Kanthos paperback cover, 1969

Acrylic on canvasboard

30 x 24-3/4 inches (76.2 x 62.9 cm)

Not signed

This illustration was the paperback cover for The Bane of Kanthos by Alex Dain (Ace Double, 1969).

Estimate: $800 - $1,200.

Attributed to Gerald Powell (American, 20th Century)

Tentacles of Dawn paperback cover, 1978

Gouache on board

30-1/2 x 20 inches (77.5 x 50.8 cm)

Not signed

This illustration was the paperback cover for Tentacles of Dawn by Robert Wilson (Major Books, 1978). A copy of the paperback accompanies this lot.

Estimate: $700 - $900.

Hugh Joseph Ward (American, 1909-1945)
Desert Madness, Spicy Adventure Stories magazine cover, May 1935
Oil on canvas
20 x 14 inches (50.8 x 35.6 cm)
Signed lower right
Estimate: $30,000 - $50,000.