MATT MARRIOTT - ORIGINAL ART DAILY #82 - HICKOK STAND OFF -TONY WEARE ART

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MATT MARRIOTT - ORIGINAL ART DAILY #82 - HICKOK STAND OFF -TONY WEARE ART:
$197.77

MATT MARRIOTT-ORIGINAL ART DAILY #82--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.........................Here we have something special for the holiday season. On occasion Matt Marriott would feature actual historical people as characters in a story. Here we have Wild Bill Hickock in all 3 panels, two of them in a stand off with Matt. This is a late story 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 and almost none of Hitchcock.. The art features Wild Bill Hickok, title character Duke Lamont, Matt, Powder, a saloon setting. That\'s some killer portraiture in the center panel, and how many layers do you see in the stand off in the opener? Three great panels--outstanding work 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 (see scans). Otherwise, both the art and the board are in excellent condition..........................