5. Eerie #7 (January 1967)- Sea Witch. Standing in the midst of a dramatic, tempestuous sea is a pale white figure, one arm lifting her garment and the other directing the action. The ocean is crashing around the rocks in white foam while creatures begin to surface around her. Frazetta masterfully composed this horizontally oriented cover around subtle shades of color but powerful action. According to J. David Spurlock, Frazetta’s official biographer, Warren told Frazetta he could do anything he wanted artistically because he was paying less than other publishers. Frazetta took the opportunity to give Warren a horizontal piece of art for a vertically oriented magazine. This was later used by Wolfmother for their album in 2006.
4. Creepy #11 (Oct 1966) – King Kong. If you take King Kong and the lovely blonde out of this painting it’s a placid sunset full of vibrant colors. Add them back into the scene and it’s a dramatic contrast, now it’s a life or death struggle. It’s not difficult to imagine the lady whipping her head around to see how close the beast is to her. King Kong is majestic and terrifying as he lunges toward her with vines or fabric hanging off his arms. In the Frazetta Sketchbook, there are three separate versions of this painting, all are incredible for different reasons.
3. Eerie #81 (February 1977) – Queen Kong. This cover features an interesting switch from King Kong holding a beautiful woman to the opposite, a giant woman holding a gorilla. It’s a captivating cover with a nude but conveniently covered woman fighting off brightly colored bi-planes. The city stretches off into the distance in gray and blue tones which gives the overall image depth. This cover also represents the first new cover for a Warren book by Frazetta since May 1971. J. David Spurlock explains in his book, The Frazetta Sketchbook.
“Frazetta hadn’t done new work for Warren since Vampirella in 1971 (the Luana cover by Frazetta on Vampirella #31, in 1974, was not done for Warren but was reused from the Frazetta movie poster).It was out of respect for his old friend and contemporary, EC legend Wallace Wood that Frazetta agreed to do new work to be published by Warren.The Frazetta piece was based on Wood’s concept: instead of King Kong on the Empire State Building holding a lovely blond, do a role reversal.”
2. Eerie #23 (Sept 1969)- Egyptian Queen. A Gorgeous Egyptian queen leaning up against a speckled marble column. She is clad in gold fineries with a luxurious fabric draped around her waist. Her bodyguard with a knife in hand stands in the shadows waiting for her command. A chained leopard snarls at the foot of the stairs. This beguiling princess is inaccessible but her eyes say otherwise. Incredible cover! This artwork was also used for Creepy #92 in October 1977 and Fantasy Illustrated #6 (May 1999).
JDS: The leopard has just broken his chain and both the princes and guard are very concerned for their lives as to their next move. There are subtle differences between the first printing and how Frazetta slightly updated it after receiving his original art back.
The #1 cover is…
Vampirella #5 (June 1970)- Cornered. How do you beat this cover? The caveman and cavewoman are about to do battle with this devious looking crouching dinosaur. They are clad in pieces of animal skin that aren’t neatly cut but scraps of leftover skin, which gives a sense of realism to the painting. The woman asserts herself with a hand on his rib cage. “This nasty boy is mine.” The backdrop is gorgeous in juxtapose to the imminent threat from the dinosaur.
This isn’t meant to be an exhaustive list of great Frank Frazetta covers, that would take multiple articles. His Conan work, art for paperback books, album covers, and Famous Funnies work is simply spectacular. For some great information on Frazetta and other great artists, please go to www.vanguardpublishing.com They publish the Frazetta Sketchbook that I mention in this article and a complete line of official Frazetta books.
To go back to the previous list – Top 10 Frank Frazetta Covers Part 1
by Captain Ron with J. David Spurlock commentary