MATT MARRIOTT - ORIGINAL ART DAILY #11 - FIGHT SCENE -TONY WEARE ART

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MATT MARRIOTT - ORIGINAL ART DAILY #11 - FIGHT SCENE -TONY WEARE ART:
$151.00

MATT MARRIOTT-ORIGINAL ART DAILY #11--TONY WEARE ART.This long standing British comic, quite probably the best western strip ever created, is a true classic.....Unlike it\'s tame 10-gallon hat, \"awww, shucks ma\'am\" American cousins, theMatt Marriotttales were brutal and realistic. The stories were creative, compelling, cut close to the bone and served as a perfect backdrop for Weare\'s art. ...........Original Tony Weare art forMatt Marriottwas some of the most difficult art to find in comics. Well, I\'m offering some here.........................I generally sell special pieces in the post-Christmas sale, but why not offer a particularly nice one headed into July 4 as well. This is one I had intended to keep. It\'san early daily from the story\"Last of the Cattle Barons\",a tale of an aging titan and his 3 children. There are only a few dailies left from this story. The piece is a gem. The art features Matt and Powder forced into a bar room fight by title character Duke Lamont\'s 2 sons--Duane and Norrie.This is the last and very best daily of the fight scene.The stunning first panel is worth the price of admission alone--it explodes with swirling action (and great drawing)--and the final one has Powder crushing Norrie Lamont\'s nose. As stated, Matt Marriott could be quite a bit rougher than American comic strip fare. Three great panels from virtuoso those of you unfamiliar with either the strip or Weare\'s art, here\'s what David Lloyd wrote: \"The late Tony Weare drewMatt Marriottin theLondon Evening Newsfrom 1957 to1977. Written by Jim Edgar, it was the finest and most atmospheric newspaper strip about the American Wild West that has ever been produced.Tony, as one of just a very few strip artists here and in the US whose creative identities owed nothing to the heritage of stylization which influenced many other newspaper adventure strip creators - he was primarily an illustrator who just happened to love drawing strips. His style on Marriott was that of a sketch artist - a portrayer of the instant. It was naturalistic, raw, and unsophisticated - perfect for depicting the primitive quality of a realistic-looking Wild West. One of his major strengths as a strip artist lay in his consistently creative compositions. If we look through the three-frame strips that make up theMatt Marriottstories we see no evidence of the repeated formulas of picture design which some strip artists use. Because of the sheer weight of material most of these craftsmen have to produce , easy options in picture composition are often sought by them and repeated to ease the burden of emitting a constant stream of new layouts ; but when we look at Tony\'s work it\'s as if we\'re just watching people going about their business through a lens that he has cleverly positioned for us, not viewing figures which are overtly posed for appropriate effect. The way he rendered his drawings reflected this \'realistic\' approach to portraying the action, with almost lazily handled brush work and pen cross-hatching. He also had a superb command of light and shade, which promoted the impression that he was drawing something he could see in front of him, rather than something he\'d built up from his imagination.The only things Tony ever hated drawing were mechanical objects of any kind, though this antipathy is very difficult for any viewer to detect. As a lifelong nature lover he preferred to draw the organic. This passion for depicting living things above all else, is what gives Tony\'s work the energy which shines from almost everything he put his brush to. Like all the best artists, he sought to draw only what he loved to draw.\"...................Lloyd put his money where his mouth was, coaxing Weare out of retirement to work onV for Vendetta. The Weare art forMatt Marriottis powerful and brusque, his brush describing fully formed, complicated images in quick, direct brush strokesThere is some white out use in word balloons and borders and some glue residue from where the logo was (see scans). There are also some notes in the lower panel border and what may be a partial signature at the very top border. Weare almost never signed his work. Otherwise, both the art and the board are in excellent