« I was already doing a lot of splendid research reading all the books about ghosts I could get hold of, and particularly true ghost stories – so much so that it became necessary for me to read a chapter of Little Women every night before I turned out the light – and at the same time I was collecting pictures of houses, particularly odd houses, to see what I could find to make into a suitable haunted house. » — Shirley Jackson
This one’s from the department of historiated text. What text? “those fiction pieces that nobody read” in comic books, prose pages mandated by the United States Postal Service. The USPS insisted that comic books «… have at least two pages of text to be considered a magazine and qualify for the cheaper magazine postage rates. »
By the Sixties, most of these pages consisted of letters to the editor, but not every company followed this practice. After EC pioneered the letters page idea in the early 1950s, ACG, DC, Archie and Marvel followed suit. But not Dell/Gold Key, Harvey and Charlton.
For its mystery titles, Gold Key naturally opted for a ‘unusual history’ format, enlisting, to provide spot illustrations, veteran cartoonist Joe Certa, best-known for his co-creation of and long run (1955-1968!) on J’onn J’onzz, the Martian Manhunter and his stylish run on Gold Key’s Dark Shadows comic book series (1969-76). While Certa started out with a pretty mainstream approach, as the Sixties wore on, his style got increasingly angular, spare and expressive. Personally, I love it… but I know it’s not for all palates.
This one appeared in Boris Karloff Tales of Mystery no. 17 (Mar. 1967, Western); « It was more than two centuries ago when the monstrous creature known simply as ‘the Beast’ appeared in the province of Auvergne, in France. » Perhaps you’ve seen the action-packed, *slightly* fictionalised cinematic account of the events, 2001’s Le pacte des loups, aka Brotherhood of the Wolves.This one’s from Boris Karloff Tales of Mystery no. 28 (Dec. 1969, Western); « When Gustave Labahn appeared in Munich, Germany in 1890, he was indeed a man of mystery. Nothing was known of his except that he was tall, lithe and powerful, with strangely hypnotic eyes, and a possessor of unlimited wealth. »This one, from Boris Karloff Tales of Mystery no. 28 (Dec. 1969, Western) states: « He was a man of a hundred names and countless identities. No one knew his true origin. It was said he was descended from an evil medieval warlock. Others said he was a reincarnation of the Count de St-Germain… a man who claimed to be more than 2,000 years old. He called himself Raoul Plessy, but his followers he was known as La bête… The Beast. »Appearing in Boris Karloff Tales of Mystery no. 50 (Oct. 1973, Western), this one concerns the 1793 murder of French revolution leader Jean-Paul Marat by Charlotte Corday. Exceptionally, the art on this one is the work of John Celardo, a lovely, delicate composition.One from Grimm’s Ghost Stories no. 5 (Aug. 1972, Western). The cat’s name is Satan, we are told.From Ripley’s Believe It or Not! no. 8 (Feb. 1968, Western), this piece tells the story of a coffin that found its way home to one of my favourite places, Canada’s Prince Edward Island. Here’s a more sober account of the legend.From Ripley’s Believe It or Not! no. 15 (Feb. 1968, Western), this one concerns the purported haunting of Scotland’s Meggernie Castle.A cozy one from Ripley’s Believe It or Not! no. 21 (Aug. 1970, Western): « In the northeastern corner of Mississippi, near the town of Aberdeen, lies a stretch of deserted country road which has lately become known as one of the most haunted spots in the United States. »A great drawing from Ripley’s Believe It or Not! no. 41 (July 1973, Western); The text opens with « Ash Manor House in Sussex, England, was over six hundred years old when bought in 1934 by a man named Keel. Mr. Keel did not believe in ghosts. Neither did his attractive wife. »This hails from Ripley’s Believe It or Not! no. 42 (Aug. 1973, Western). The piece recounts anecdotes about such thespians as Burl Ives, Jackie Gleason, Rudolph Valentino and our beloved Vincent Price.And here are a couple of samples of full pieces to give you an idea of how they looked in print. This thoroughly seasonal one saw print in Grimm’s Ghost Stories no. 6 (Nov. 1972, Western).
One more? Here’s a favourite from The Twilight Zone no. 42 (Mar. 1972, Western):
I’ve always had a soft spot for Gold Key’s The Little Monsters, who dwell within a cleverly designed and unaccountably comforting, topsy-turvy world; we’ve featured them back in the third edition of this countdown. This entry, however, isn’t strictly a return visit: I’ll be focussing on the back pages of ‘Orrible Orvie and Awful Annie’s antics. Last year, I picked up an issue I’d been missing, and was delighted with a surprise section, which I’ll happily share with our readers.
This is The Little Monsters no. 5 (July, 1966, Gold Key). Cover artist unknown, sigh.
What do you say we take a peek at that Extra Bonus Book of Monster Jokes?
Another uncredited, unacknowledged and unknown artist. Why, thank you, Gold Key!
… and there you have it, and you didn’t even have to destroy a comic book (preferably someone else’s) to assemble it. The jokes are corny — what did you expect? — but I can’t help but find the whole thing quite adorable. Sometimes that’s precisely what one needs.
As a bonus, here I am holding the piece of Little Monsters original art (Page 2 from issue no. 12’s ‘Stormy Weather‘) I was fortunate enough to get my mitts on. Back in the day, comic book artists worked *large*!
« From the body of one guilty deed a thousand ghostly fears and haunting thoughts proceed. » — William Wordsworth
Today’s selection is an early, early favourite of mine. I first encountered it in French, in the pages of Capitaine America no. 8 (Aug. 1971, Les Éditions Héritage); back in those days, Québécois printer-packager Payette & Simms would reprint, in black and white, recent Marvel comics in their ‘Format Double’ package, a terrific deal at 25 cents: you got two issues’ worth, no ads, plus a bonus short story. P&S’ paper stock and printing were better than Marvel’s — but their lettering and translation work generally left much to be desired*.
In this case, despite the allure of the slickly sumptuous Gene Colan / Joe Sinnott artwork, the issue’s out-of-nowhere high point was (you guessed it!) a modest little story plucked from the predawn of the so-called ‘Marvel Age’, Mister Gregory and the Ghost!, from a pre-Thor issue of Journey Into Mystery (no. 75, Dec. 1961). Many may disagree with me on this one, but boy, those post-Kirby issues of Cap’n ‘merica just serve to demonstrate what happens without a perpetual motion plot engine like Jack Kirby to propel and guide the series: when you try to introduce new foils for the hero, you get bonehead non-ideas like biker gangs, a jealous scientist in the body of a gorilla, or in issue 123’s Suprema, the Deadliest of the Species!, a brother-and-sister hypnosis act who drive around a gadget-filled tanker truck that magnifies Suprema’s power by way of a *very* 70’s medallion her brother wears around his neck. Then Cap feels its vibrations (“Ping!”) through his shield, and … oh, I won’t spoil the thing’s idiotic charms any further for you: read it here.
This is Journey into Mystery no. 75 (Dec. 1961, Marvel); pencils by Jack Kirby, inks by Dick Ayers, colours by Stan Goldberg.
Ahem — back to Mister G and his Ghost. It’s not exactly a masterpiece of writing either (Larry Lieber?), but it presents Kirby at his moody, understated best. Upon seeing it in colour, I realised how providential my monochromatic encounter had been. While the story’s been reprinted a few times (in 1966, 1971, and in 2020 in a fancy and pricey hardcover omnibus), the printing’s always been pretty shoddy. As you’ll see.
But… it seems that most, if not all of the original art survives, so we’ll make the most of the situation and mix our sources as needed — hope the effect isn’t too jarring!
I find Kirby’s layout for this page to be especially ingenious and interesting.I’ve used the recoloured reprint from Fear no. 4 (July, 1971, Marvel), which was an improvement over JIM75’s, albeit a slight one.
-RG
*here’s an example of Éditions Héritage’s lovely calligraphy, from this very story:
« Someone at Dell Comics decided it’d be swell to turn famous monsters into superheroes — an idea whose time never came. And just to make sure there were bad, they hired Tony Tallarico to draw them. » — — James Schumeister, with the sort of brickbat typically lobbed at Mr. Tallarico.
Last week, we lost, at the venerable age of eighty-eight, the controversial, much-maligned Tony Tallarico (Sept. 20, 1933 – Jan. 7, 2022). The case of Mr. Tallarico’s reputation is typical of mainstream US cartoonists who generally eschewed the superhero genre. His mistake, I suppose, is that he drew a handful of them, and in his own distinctive fashion to boot, thus sealing his doom in Fanboy court.
Yet there’s far more depth and variety to Tallarico’s career, and that’s should be remembered. Besides, those superhero comics were just light-hearted, unpretentious fun. Obviously not what the continuity-addicted True Believers craved.
Let’s take a tour of some of the highlights!
A page from Crazy Quilt, one of three stories Tallarico illustrated for my personal candidate for greatest horror comic book of all time, the unlikely one-shot Tales From the Tomb (Oct. 1962, Dell). Script and storyboard by John Stanley. Read the rest (complete with, fittingly, its analysis) of Crazy Quilthere. Arguably, if Tallarico’s going to be remembered in comics and general history, it may be for this once-obscure but significant mid-60s creation. This is Lobo no. 1 (Dec. 1965, Dell Comics). Tallarico and writer D.J. Arneson hold different views as to the character’s genesis, as Canadian researcher Jamie Coville discovered in 2016. To his credit, Coville simply let the former collaborators present their respective side of the story. Read the resulting interviews here! And do check out the début issue itself, along with Tom Brevoort’s analysis… right here.
As reported in Alter Ego no. 106 (Dec. 2011, TwoMorrows): « On May 20, 2005, Tony Tallarico received the Pioneer Award, given for his co-creation of the first African-American comic book hero, Lobo, a post-Civil War cowboy who appeared in two issues of his own Dell/Western title. The honor was given at a ceremony held at Temple University in Philadelphia, Pennsylvania. »
A Tallarico ad from Eerie no. 20 (March 1969, Warren); Tony enjoyed keeping things in the family, and so young “Danny Smith” was actually Tony’s wife’s nephew, Danny Grosso. My thanks to Tony’s daughter Nina for graciously divulging this bit of inside info! Cryptozoologists take note! Creepy no. 26 (April 1969, Warren); script by editor Bill Parente. I just adore Uncle Creepy’s pose (great use of props!), not to mention the question mark mullet. Should be the hit of the next tonsorial season!Joe Gill and Tallarico took over the handlebars of one of Charlton’s established hot-rodders, Ken King. Following the direction blazed by their predecessor, Jack Keller, King had become “the Most Hated Man on Wheels!” (in Drag-Strip Hotrodders no. 13, Jan. 1967, Charlton) after being unjustly accused of wrecking his best friend, Jerry Gerard, aka “The Nicest Guy in Racing” during a meet. The series’ unremittingly bleak portrayal of the racing scene is fascinating, and Gill and Tallarico wisely kept the pace. This is World of Wheels no. 26 (June 1969, Charlton); cover by Tallarico.An in-house ad from Eerie no. 23 (September 1969, Warren), technically Vampirella’s first published appearance. Art by “Tony Williamsune”, the collective nom de plume adopted by frequent collaborators Tallarico and William ‘Bill’ Fraccio. According to Tallarico, their collaboration was quite fluid: both contributed to layout, pencils and inks, but Tony was the extroverted go-getter, while Bill was the quiet one. A “Williamsune” splash from Creepy no. 31 (February 1970, Warren). Tallarico on his association with Fraccio: « I would pencil some, he would ink some, visa versa y’know one of those things. I was really the guy that went out and got the work. Bill never liked to do that. It would depend. If he was working on something else I would start a project too and do pencils. It was a fun time. » [ source ]This is Abbott & Costello no. 14 (April 1970, Charlton), featuring the beloved veteran comedians’ crossover with the aforementioned Ken King. The look of the series is based upon Hanna-Barbera‘s 1967-68 The Abbott and Costello Cartoon Show rather than on the duo’s classic movies and routines. Besides, Lou Costello having passed away in 1959, his part was voiced by Stan Irwin (with Bud Abbott as… Abbott). Preceding the advent of Jonah Hex by some months* in the Weird Western stakes, Geronimo Jones was a truly oddball oater series, in the best sense of the term. Created by Tallarico (script and inks) and José Delbo (pencils), Geronimo’s adventures ran for 9 issues (plus one that remains unpublished), from September, 1971 to January, 1973. Geronimo himself was essentially a young pacifist seeking his quiet place in the Old West, in the finest tradition. However, strange encounters and occurrences keep thwarting his laudable goal. And none is more outlandish and shocking than what he comes up against in this issue, cover warning and all. This is Geronimo Jones no. 6 (June 1972, Charlton). The GCD credits the cover to Delbo alone, but the use of collage and halftone wash are telltale Tallarico trademarks… not to mention his distinctive lettering. My guess therefore is: pencils by Delbo, layout, inks and collage by Tallarico.Tallarico and Fraccio did only a handful of stories in this wild, swirly style, including four for Charlton: The Curse of the Vampire in The Many Ghosts of Dr. Graves no. 44 (Jan. 1974, Charlton); this one, Come See Our Ghost… in Haunted no. 16 (June 1974, Charlton); The Reuger Formula in Haunted no. 24 (Nov. 1975) and A Solemn Oath! in Ghostly Tales no. 118 (Nov. 1975). Let me assure you that the sort of bold inking on display here, while deceptively simple in appearance, takes unerring confidence and skill to achieve. Bravissimo!
By the mid-70s, with his main comics accounts defunct or dormant (Dell, Treasure Chest, Charlton), Tallarico, ever the astute and tireless businessman (another rare trait among cartoonists) simply stepped up and diversified his efforts, branching out and creating a market for himself. « In the 70s the whole business went kaput. Luckily I was able to transfer over into doing children’s books. I’ve been doing children’s books ever since. My wife went though a count several months ago. It was over a thousand titles. That’s a lot of children’s books. »
Here’s a lovely one: Things You’ve Always Wanted to Know About Monsters (1977, Grosset & Dunlap). From the author’s introduction: « My sincere thanks to the many motion picture studios who produced these great monster films. They have kept many a generation of fans ‘monsterized‘. My thanks to my parents, who did not forbid me to see these films when I was a boy. Instead, they brought out in me many of the questions that appear in this volume. They always stressed that monsters are another form of fictional entertainment. My thanks to my wife Elvira, and my daughter Nina**, who stood by while my son and I made a mess of the living room as we selected the many pictures that appear here. »
I should point out that I haven’t forgotten one of my favourite Tallarico projects, namely his charming work on the Bobby Sherman “Getting Together” comic book (7 issues, Feb.-Oct. 1972, Charlton)… it’s just that I’ve already addressed the topic: check out Let’s Hear It for Bobby Sherman!
I don’t know whether I’ll change anyone’s mind about Mr. Tallarico’s work, but I believe I can rest assured I gave it my best shot.
-RG
*Hex was introduced in All-Star Western no. 10 (Feb.-Mar. 1972, DC).
**My closest brush with the Tallaricos came in 2015 when I helped his daughter Nina identify and source some artwork she was selling on eBay for her dad. In my experience, a very nice lady. My sincere condolences to the bereaved family.
While he worked for just about every New York comics publisher under the sun (and certainly some under a rock), let’s note that he displayed and gleefully indulged his flair for the macabre at Harvey in the 1950s, and his versatility while Illustrating the Classics for Gilberton, tackling for instance Poe’sThe Cask of Amontillado, Cooper’s The Prairie and Dostoyevsky’s Crime and Punishment.
Palais kept a low profile during most of the Sixties, but turned up at Gold Key and Charlton around 1967. For the latter, he crafted his final work in comics. Between 1967 and 1974, he sporadically turned his hand to a handful of short tales in the western, war and mystery genres. As far as I can tell, his comics œuvre respectably concludes with the quite amusing Cry for Tomorrow, in Many Ghosts of Doctor Graves no. 46 and The Last Cruise of the Princess III in Ghostly Haunts no. 39 (both July 1974, Charlton), the latter also featuring some of Mike Vosburg‘s earliest pro work. As one door closes…
Beyond the Grave appeared in Ghostly Tales no. 61 (June 1967, Charlton). Script by Joe Gill, art by Rudy Palais. Mark Evanier called Palais’ Charlton work “very odd, impressionistic short stories“, and concludes, on a personal note: “I never met the man but I followed his work and you could tell that he really cared about doing good comic art.” I’m most inclined to agree.
« People that pick up hitchhikers I believe are basically good people that believe in other people and understand problems and don’t judge people. That’s always the kind of person I’m looking for. » — John Waters
Let’s take a nocturnal drive with George Evans (1920-2001) behind the wheel. Best known for his stellar contribution as a member of the elite EC Comics bullpen, Evans had earlier crafted some impressive comics for Fawcett (his own favourite period of his work) and Fiction House, and later, post-Code, for Gilberton, Dell and Gold Key, Warren and DC. He also worked extensively in newspaper strips, notably on Terry and the Pirates (under George Wunder) in the 1960s. He took over Secret Agent Corrigan from fellow EC alum Al Williamson, a nice long stint from 1980 to 1996, at which point the strip wrapped up and Evans (and Corrigan, presumably) retired.
While Evans’ chief forte was aerial warfare, this piece highlights his way with a mood, his quiet grace and flawless draftsmanship. This story is an excerpt from Gilberton’s The World Around Us series (36 issues, 1958-1961); this is no. 24 (August, 1960), The Illustrated Story of Ghosts, an oft-told tale (but never better) of the urban legend widely known as The Vanishing Hitchhiker (here entitled The Hitch-Hiker). Can’t you just feel that rain?
The renowned folklorist Jan Harold Brunvant wrote, in his epochal study, The Vanishing Hitchhiker: American Urban Legends and Their Meanings (1981, W. W. Norton):
« A prime example of the adaptability of older legends is ‘The Vanishing Hitchhiker’ — the classic automobile legend. This returning ghost tale was known by the turn of the century both in the United States and abroad. It acquired the newer automobile motif by the period of the Great Depression, and thereafter spawned a number of subtypes with greatly varied and oddly interlocking details, some of which themselves stemmed from earlier folk legends. »
As a bonus, here’s Evans’ lovely, light-hearted frontispiece for the issue. “Face to faceless” — clever!
« Ghost stories … tell us about things that lie hidden within all of us, and which lurk outside all around us. » — Susan Hill
We’ve once before turned our attention upon Dell’s Ghost Stories, an anthology title with such an incredible first issue (written and directed by John Stanley) that all the subsequent ones whither in the long shadow it casts. In recent years, I’ve somewhat softened my stance on these sequels, taking into account that nothing could measure up to Stanley’s work on numero uno — and accordingly judging them on their own merits.
As a kid, I didn’t think too highly of Frank Springer (1929-2009), being primarily familiar with his inks over Frank Robbins on The Invaders (too sloppy, and no substitute for Robbins inking himself, which never happened at Marvel anyhow). Down the line, I ran into some of his earlier work (Phoebe Zeit-Geist, The Secret Six, The National Lampoon, Dial H for Hero and sundry items for Dell) and grew to appreciate his strengths.
Now, Ghost stories was interesting as a ‘horror’ (in the very limited Silver Age/Comics Code in full force sense) anthology, in that the vast majority of the stories were, after that peerless first issue, the work of one single artist (Gerald McCann, after contributing a couple of page to number one, handled issues 2-5, with a couple of filler pages thereafter, then Springer took over for 6-20, the rest of the run consisting of reprints, with the unexpected exception of no. 35).
Here then is what’s likely my favourite Springer Ghost Story: A Room with a Dreadful Secret.
This is Ghost Stories no. 14 (June 1966, Dell). Cover by Springer.
« She’s a haunted house / and her windows are broken. » — Scott Walker, “Big Louise” (1969)
I’ve been wanting to share one of the all-time most beautiful art jobs Steve Ditko ever wittled, 1960’s The Ghost of Grismore Castle! (published in Strange Tales no. 79), but I don’t have that book. I do, however, own a 70’s reprint of it, in Vault of Evil no. 14 (October 1974), but the colouring and reproduction were so bland and washed-out that I knew that justice wouldn’t be done to this meritorious piece.
Then it hit me: I *had* seen a lovingly reconstructed presentation of the tale — has it nearly been… 30 years ago? Yikes!
It was reprinted with brio in the redoubtable Mort Todd‘s Curse of the Weird (no. 2, January 1994), a flawlessly-assembled anthology title he somehow conned Marvel into publishing in the early 90s.
So my gratitude goes out to Mr. Todd and, once more, my admiration to Mr. Ditko.
« We shot it from the original stats I dug out of the Marvel vault, rather than reprint VoE #14, and lovingly recolored it! Thanks for noticing! »
Oh, and as bonus, here’s the cover, one of those absurdly lush Kirby-Ditko collaborations. As usual with Marvel, all captions are de trop.
This is Strange Tales no. 79 (Dec. 1960, Marvel), pencils by Jack Kirby, inks by Steve Ditko. And duh, *obviously*, “The Thing” is here, Stan. Show, don’t tell.
The very 70’s update. This is Vault of Evil no. 14 (Oct. 1974, Marvel); cover pencils by Larry Lieber, inks by Frank Giacoia.
« … a radical series of crappy jokes & trashy art mopped out of the Bowery’s least washed lavatories. Fueled on bologna sandwiches, black coffee & cheap cigarettes, these are the ugly buttons that scream ‘America‘ to an America that has forgotten itself. » — a tasty bit of hype from Goblinko
Fabled pulp illustrator Norman Saunders (a definite favourite around these parts) is legitimately appreciated for his body of work, but I do believe he isn’t sufficiently lauded for his humorous work. After all, he could hold his own against the likes of Basil Wolverton and Wally Wood, and how many of his peers could lay claim to such a lofty achievement?
A passage from his son David’s definitive monograph, the simply and fittingly titled Norman Saunders:
Ugly Buttons came out in 1967 to exploit the popular trend of protest buttons with witty sayings. The macabre humor of Ugly Buttons reflects their Halloween release date as well as the morbid comedy of popular TV shows like The Addams Family and The Munsters. Norm Saunders created half [ eleven, actually ] of the twenty-four images in this set, while Wally Wood created the other half.
A sample of the original packaging…
I’m sorry… but that bat is just so adorable…
You can see why these are perfect Hallowe’en fodder!
Macabre, and with a tidy moral to boot! At a nickel apiece, an undeniably excellent value.
Well, perhaps not *strictly* altogether moral.
The final Saunders button, shot from the original art. This looker was entitled Peek-a-Boo.
One of the original boxes, which held 24 packs. Featured buttons Here’s Looking at You and I’m a Cool Ghoul were designed by Wally Wood.
Collectors find this set very difficult to complete. Although the series was a popular success in 1967, the buttons appear to have rarely survived. This is perhaps attributable to the design of the tin back pin, which was made in Japan with a hair-trigger clasp that instantly popped open and fell off.
Here’s one of the underperforming bad boys in question. To be fair, this one’s still holding together, which surely has earned it some kind of goodwill, a half-century hence. Those old enough (enough, enough!) will recall when ‘Made in Japan’ was an indicator of shoddy goods. All that’s been turned on its head since, interestingly. The Japanese people have admirably overcome much adversity, that’s evident.
By the way, I don’t know just how sanctioned these reissues are, but the cool cats at Goblinko have made these lovely buttons available once more, presumably sturdier and certainly at a perfectly reasonable price (forty times the original, I’ll grant you… but you do get to pick).
« Catholicism is not a soothing religion. It’s a painful religion. We’re all gluttons for punishment. » — Madonna Ciccone
Here’s a seasonal goodie from gag cartoonist Marvin Townsend (1915–1999) and his adorable “Ali” pantomime strip, which appeared, beginning in 1962 in, of all places, the Catholic comic book anthology Treasure Chest of Fun & Fact (Geo. A. Pflaum Publisher), distributed to parochial school students between 1946 and 1972.
Originally published in Treasure Chest vol. 21, no. 4 (Oct. 21, 1965). For more Townsend in a spooky vein, look no further than this post from our previous countdown.
Denominational and religious concerns aside, Treasure Chest of Fun and Fact, a publication generally avoided like any of the Ten Plagues of Egypt by your average comic book fan, was, wouldn’t you know it, chock full of excellent work by the likes of Bernard Baily, Fran Matera, Bob Powell, Reed Crandall, Joe Sinnott, Graham Ingels, Joe Orlando, Murphy Anderson, Jim Mooney, Paul Eismann… and these are some of the artists. The material was also engagingly written and often truly captivating. And they weren’t above paying a bit of lip service to that ol’ Pagan Holiday, Hallowe’en.
This was one in a highly-entertaining series of studies of classroom “types” by Frank Huffman. It appeared in Treasure Chest vol. 22, no. 12 (Feb. 9, 1967).
A piece by E. B. Wagner, this one saw print in Treasure Chest vol. 23, no. 4 (Oct. 19, 1967). Note the Leroy Lettering!
The back cover of Treasure Chest vol. 22, no. 4 (Oct. 20, 1966,Geo. A. Pflaum). Artist unknown, regrettably. Love that stylish auto-gyro witch!
Who's Out There? 