Lever Gallery

Lever Gallery Prints

Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% Cotton Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

Paper size 59.5 cm X 42 cm  

If you have any questions regarding this edition please email info@levergallery.com

Original painting, acrylic on board, 1965

David Walker wrote the bestselling adventure Where the High Winds Blow in 1960. It  was published by Fontana in 1965 with this cover by Fratini.  The ambitious protagonist, Husky Scafe, has made his fortune out of the frozen Canadian wastelands; represented in icy hues. However, Scafe’s wife, central to the narrative romance, is juxtaposed in hot pinks and gold. The original painting art board is approximately 40 cm wide x 55 cm tall. 

For the 1964 Fontana edition of Alistair MacLean’s 1959 novel Night without End, Fratini captures the conflict of two men trapped on the ice after a crash-landing. It appears to depict a fight to the death, the eventual victim painted in aggressive red and bearing a gun.

Lever Gallery Prints

Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% Cotton Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

Created from an original artwork on art board, 1964

Lever Gallery Print

Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% Cotton Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

Paper size 59.5 cm X 42 cm  

If you have any questions regarding this edition please email info@levergallery.com

Origin al work; acrylic on board, 1967

Dell’Orco’s pronounced marking and use of colour is fundamental to his work. In this piece, he highlights the foreground figure through a bright red coat set against the cooler mountains behind, defined by dark, vertical pencil markings. Many illustrators worked with paint alone; Dell’Orco delighted in mixed media, using charcoal and pencil along with paint.

Lever Gallery Print

Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% Cotton Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

Paper size 42 cm X 29.7 cm  

If you have any questions regarding this edition please email info@levergallery.com

Original artwork; c.1960s, acrylic and pencil and board

Above Suspicion, a 1941 novel by Helen MacInnes was made into a film in 1943, starring Joan Crawford.  This is an example of how De Gaspari often used blocks of colour to focus his cover illustrations and his distinctive experiments with texture: layering different types of paper and sometimes even scratching the surfaces or rubbing sand into images.

Lever Gallery Artist Signed Limited Edition Print

Edition 20 (+ 5 artist's proofs) numbered and signed by the artist
Size approx 51 cm X 68 cm  
Medium Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% Cotton Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

If you would like further information regarding prints or framing please contact us info@levergallery.com

The original artwork was an acrylic painting on art board, 1965. Our prints are made using a 5X4 transparency of the original work

Illustration of the filming of the Moon Pit scene.

Brian Sanders was commissioned by Stanley Kubrick to record the film being made and spent a year drawing and painting in Stage H at Shepperton Studios, Shepperton, England. 

2001: A Space Odyssey production designer Harry Lange had previously worked at NASA with Wernher von Braun and as a result the designs he created for the film required security clearance by NASA.  Designs similar to Lange's work would appear in actual NASA space missions over the following decades. The production design, the realistic light and dark of space and the slow movement of action in the film helped establish it as touchstone for most if not all 'space' films that were to follow over the coming decades. 

Lever Gallery lovingly restored and scanned 50 year old 5'X4' and 10'X8' transparencies of Brian's original work, the actual drawings and paintings having been lost in a fire at Kubrick's house several years ago. The reproductions are the first time the public has been able to see again how the film was made, the dedication of Kubrick and the crew plus the highly innovative techniques used to create such convincing scenes of weightlessness in space.

Artist Signed Limited Edition Print

Edition 20 (+ 5 artist's proofs) numbered and signed by the artist
Size approx 120 cm X 91 cm  
Medium Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

The original artwork was an acrylic painting on art board, 1965. Our prints are made using a 5X4 transparency of the original work

Brian Sanders was commissioned by Stanley Kubrick to record the film being made and spent a year drawing and painting in Stage H at Shepperton Studios, Shepperton, England. 

The drawing shows Stanley Kubrick with camera team and revolving set. Keir Dullea as astronaut David Bowman can be seen in tube passage behind. The rotation of the centrifuge set was designed to create the impression that the crew were walking around the space craft in zero gravity. 

2001: A Space Odyssey production designer Harry Lange had previously worked at NASA with Wernher von Braun and as a result the designs he created for the film required security clearance by NASA.  Designs similar to Lange's work would appear in actual NASA space missions over the following decades. The production design, the realistic light and dark of space and the slow movement of action in the film helped establish it as touchstone for most if not all 'space' films that were to follow over the coming decades. 

Lever Gallery meticulously restored and scanned 50 year old 5'X4' and 10'X8' transparencies of Brian's original work, the actual drawings and paintings having been lost in a fire at Kubrick's house several years ago. The reproductions are the first time the public has been able to see again how the film was made, the dedication of Kubrick and the crew plus the highly innovative techniques used to create such convincing scenes of weightlessness in space.

If you would like further information regarding prints or framing please contact us info@levergallery.com

Lever Gallery Artist Signed Limited Edition Print

Edition 20 (+ 5 artist's proofs) numbered and signed by the artist
Size approx 78 cm X 60 cm  
Medium Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100%  ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

If you would like further information regarding prints or framing please contact us info@levergallery.com

The original artwork was an acrylic painting on art board, 1965. Our prints are made using a 5X4 transparency of the original work

Brian Sanders was commissioned by Stanley Kubrick to record the film being made and spent a year drawing and painting in Stage H at Shepperton Studios, England. 

The drawing shows director Stanley Kubrick checking the framing of a shot. 

2001: A Space Odyssey production designer Harry Lange had previously worked at NASA with Wernher von Braun and as a result the designs he created for the film required security clearance by NASA.  Designs similar to Lange's work would appear in actual NASA space missions over the following decades. The production design, the realistic light and dark of space and the slow movement of action in the film helped establish it as touchstone for most if not all 'space' films that were to follow over the coming decades. 

Lever Gallery lovingly restored and scanned 50 year old 5'X4' and 10'X8' transparencies of Brian's original work, the actual drawings and paintings having been lost in a fire at Kubrick's house several years ago. The reproductions are the first time the public has been able to see again how the film was made, the dedication of Kubrick and the crew plus the highly innovative techniques used to create such convincing scenes of weightlessness in space.

Lever Gallery Artist Signed Limited Edition Print

Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

Framed Edition of 20 + 5 artist's proofs, each signed by the artist

The print is approximately 120cm wide x 120cm tall and is mounted on art board, float mounted on to conservation grade mountboard and presented in a white wooden box frame glazed with anti-reflective glass.

The original artwork was an acrylic and mixed media painting on canvas, 1965. Our prints are made using a 5X4 transparency of the original work

Illustration of the filming of the Moon Pit scene.

Brian Sanders was commissioned by Stanley Kubrick to record the film being made and spent a year drawing and painting in Stage H at Shepperton Studios, Shepperton, England. 

2001: A Space Odyssey production designer Harry Lange had previously worked at NASA with Wernher von Braun and as a result the designs he created for the film required security clearance by NASA.  Designs similar to Lange's work would appear in actual NASA space missions over the following decades. The production design, the realistic light and dark of space and the slow movement of action in the film helped establish it as touchstone for most if not all 'space' films that were to follow over the coming decades. 

Lever Gallery lovingly restored and scanned 50 year old 5'X4' and 10'X8' transparencies of Brian's original work, the actual drawings and paintings having been lost in a fire at Kubrick's house several years ago. The reproductions are the first time the public has been able to see again how the film was made, the dedication of Kubrick and the crew plus the highly innovative techniques used to create such convincing scenes of weightlessness in space.

Cover illustration commissioned by Corgi Crime for a Mickey Spillane novel published in 1967. 'Me, Hood!' was originally published in July 1959 as a complete novelette in Cavalier magazine.

The “pulpiest” of all pulp fiction writers, Spillane clearly hit on a formula that worked.  His books have sold more than 225 million copies worldwide and seven of his books feature in the 15 bestselling books of all time in America.  Eye-catching cover illustrations were critical to the sales strategy of moving large quantities of books off shelves quickly and, as a result, illustrators had extraordinary impact.

Fratini's illustrations used strong colour backgrounds to help focus in on a scene of the Spillane narrative. The stories were often violent, set in masculine and dark worlds on the edge 'normal' society where there was little respect for life. Women were often portrayed as innocent 'victims' or alternatively as working in prostitution or running illegal vice rings. 

Lever Gallery Print - paper size 42 cm X 59 cm

A high quality Giclée print on 100% Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

The print was created using a professional ultra high-resolution, colour adjusted scan of the original artwork. 

This print is available unframed or in an A2 wooden frame. The frames are available in 3 colours, black, white and plain oak.

Created from an original artwork; Renato Fratini, 1967, gouache on board

Cover illustration commissioned by Corgi Crime for the Mickey Spillane novel published in 1967. 'The Long Wait' was first published in 1951.

The “pulpiest” of all pulp fiction writers, Spillane clearly hit on a formula that worked.  His books have sold more than 225 million copies worldwide and seven of his books feature in the 15 bestselling books of all time in America.  Eye-catching cover illustrations were critical to the sales strategy of moving large quantities of books off shelves quickly and, as a result, illustrators had extraordinary impact.

The original art work was 38cm x 43cm on art board. 

Fratini's illustrations used strong colour backgrounds to help focus in on a scene of the Spillane narrative. The stories were often violent, set in masculine and dark worlds on the edge 'normal' society where there was little respect for life. Women were often portrayed as innocent 'victims' or alternatively as working in prostitution or running illegal vice rings. 

Lever Gallery Print - paper size 59.5 cm X 42 cm 

A high quality Giclée print on 100% Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

The print was created using a professional ultra high-resolution, colour adjusted scan of the original artwork. 

This print is available unframed or in an A2 wooden frame. The frames are available in 3 colours, black, white and plain oak.

Created from an original artwork; Renato Fratini, 1967, gouache on board

Cover illustration commissioned by Corgi Crime for the Mickey Spillane novel published in 1967. 'The Deep' was first published in 1961.

The “pulpiest” of all pulp fiction writers, Spillane clearly hit on a formula that worked.  His books have sold more than 225 million copies worldwide and seven of his books feature in the 15 bestselling books of all time in America.  Eye-catching cover illustrations were critical to the sales strategy of moving large quantities of books off shelves quickly and, as a result, illustrators had extraordinary impact.

Fratini's illustrations used strong colour backgrounds to help focus in on a scene of the Spillane narrative. The stories were often violent, set in masculine and dark worlds on the edge 'normal' society where there was little respect for life. Women were often portrayed as innocent 'victims' or alternatively as working in prostitution or running illegal vice rings. 

Lever Gallery Framed Print - paper size 59.5 cm X 42 cm 

A high quality Giclée print on 100% Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

The print was created using a professional ultra high-resolution, colour adjusted scan of the original artwork. 

This print is available unframed or in an A2 wooden frame. The frames are available in 3 colours, black, white and plain oak.

Information about the original work; Renato Fratini, 1967, gouache on board

The original art work was 38cm x 43cm on art board. 

Cover illustration commissioned by Corgi Crime for the Mickey Spillane novel published in 1967. 'Vengeance is Mine' was the third Spillane novel featuring private investigator Mike Hammer and was first published in 1950.

The “pulpiest” of all pulp fiction writers, Spillane clearly hit on a formula that worked.  His books have sold more than 225 million copies worldwide and seven of his books feature in the 15 bestselling books of all time in America.  Eye-catching cover illustrations were critical to the sales strategy of moving large quantities of books off shelves quickly and, as a result, illustrators had extraordinary impact.

Fratini's illustrations used strong colour backgrounds to help focus in on a scene of the Spillane narrative. The stories were often violent, set in masculine and dark worlds on the edge 'normal' society where there was little respect for life. Women were often portrayed as innocent 'victims' or alternatively as working in prostitution or running illegal vice rings. 

Lever Gallery Print - paper size 59.5 cm X 42 cm 

A high quality Giclée print on 100% Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

The print was created using a professional ultra high-resolution, colour adjusted scan of the original artwork. 

This print is available unframed or in an A2 wooden frame. The frames are available in 3 colours, black, white and plain oak.

Created from an original artwork; Renato Fratini, 1967, gouache on board

1963, Original artwork, acrylic on art board

Sanders drew the crowds at the entrance to the famous 24 hour race, before working up the piece later in his studio.

The original painting art board is approximately 76 cm wide x 50 cm tall. The artwork is float mounted on to conservation grade mountboard and presented in a white wooden box frame glazed with anti-reflective glass.

1961, casein tempera on board, 39cm x 64cm

One of Johnson’s most sensuous and stylish compositions, and the earliest surviving Johnson's work using casein tempera paint which we have come across. Casein tempera paint was used by illustrators before the invention and availability of acrylic paint. This painting is an exceptional and very rare example of Johnson's early work. 

The painting was used for the cover of "A Crowd of Voices" the first full length novel by Richard Lortz, a highly regarded writer of short stories, novels, plays, and TV shows. His 1972 Broadway play 'Voices' was made into a film starring David Hemmings, Gayle Hunnicutt and Lynn Farleigh the following year. 

"A Crowd of Voices" was published by Four Square Books in the year it was acquired by Times Mirror Company of Los Angeles and re-branded as the National English Library (NEL), now a cult imprint of  1960s and 70s paperback pulp fiction.  

c.1962/3, casein tempera on board, 33cm x 43cm

This illustration for a magazine story in Woman’s Realm, is an early surviving example of Johnson's work using casein tempera paint. Casein tempera paint was used by illustrators before the invention and availability of acrylic paint. This painting is an exceptional and rare example of Johnson's early work. 

Johnson used the designer, model and actress Suzy Kendall to model the girl in the striped dress.  Kendall’s films included such Sixties classics as Thunderball, To Sir With Love, Up the Junction and Fear is the Key.  She was briefly married to Dudley Moore, remaining lifelong friends after the marriage ended.

c.1969, acrylic on board    

Alongside painting, Johnson’s other passion is racing.  He had a driver’s contract with both Esso and Dunlop and drove Lotus cars competitively.  A huge admirer of John Surtees - still the only person to have won World Championships on both two and four wheels - Johnson depicts Surtees in the cockpit of Jim Hall’s 1969 Chaparral 2H.  Originally a Lola car designed by Eric Broadley but later used by Chaparral, it has the same chassis as the Ford GT40 noted for its Le Mans 24 Hours wins. Surtees raced this car during the 1969 Can-Am season.  Jim Hall (former race driver and part-owner of Chaparral) stands alongside the car beside a team mechanic.

The original painting is approximately 50 cm wide x 50 cm tall.The artwork is float mounted on to conservation grade mountboard and presented in a white wooden box frame glazed with anti-reflective glass.

Artist Signed Limited Edition Prints

Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% Cotton Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

Series One 2016    

Edition of 50 + 5 artist's proofs, each signed by the artist

Paper size 59.5 cm X 42 cm  

Series Two 2016    

Edition of 50 + 5 artist's proofs, each signed by the artist

Paper size 110 cm X 84 cm

If you have any questions regarding these editions please email info@levergallery.com

Original painting

c. 1965, acrylic on board

Like ‘White Leotard with Red Spot’, Johnson painted this to pitch to art directors at fashion magazines. They were some of the first images Johnson created with acrylic paint, which first became available in the 1960s. Before this, illustrators would use casein paint which dried very slowly. With acrylic, illustrators have to work quickly whilst it’s wet because it is waterproof when dry.

Lever Gallery Signed Limited Edition Prints

Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% Cotton Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

LG 1 2016    

Edition of 50 + 5 artist's proofs, each signed by the artist

Paper size 59.5 cm X 42 cm  

Original work: c.1965, acrylic on board

Commissioned to illustrate a story in Women's Mirror magazine - Johnson uses monochrome shades to capture the scene. 

If you have any questions regarding this edition please email info@levergallery.com

Lever Gallery Limited Edition Prints

Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% Cotton Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

Edition of Only 20 Prints, signed by Walter Wyles (1925-2017).

Paper size 42 cm X 29.7 cm  

If you have any questions regarding this edition please email info@levergallery.com

Original artwork; c.1969, watercolour on whatman paper

This is for a six-part serialization of Paul Gallico’s novel Mrs. 'Arris Goes to Paris for a popular women’s magazine.  Before the advent of full colour television in 1969 women’s magazines were enormously popular in the UK.   A magazine like Woman, would sell three and a half million copies a week.  Their influential art directors competed to hire the freshest illustration talent of the time to illustrate all manner of content including exceptional short stories and serialisations.

Lever Gallery Signed Limited Edition Prints

Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% Cotton Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.  

One of only 20 prints - each signed by the artist Gino D'Achille

Paper size 59.5 cm X 42 cm  

If you have any questions regarding this edition please email info@levergallery.com

Original artwork; c.1965, acrylic on board

Painted for Nova magazine. D’Achille captures the utopian ideals behind the building of new, modernist public housing in the sixties. The architecture is elegant, from its ordered façade to the splash of blue amongst plain and simple materials. Offset with a lush tree and even playful chalk drawings on the pavement. The piece is designed to be viewed with its partner, Life on a Council Estate 2.

Artist Signed Limited Edition Prints

Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% Cotton Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

Series One 2016    

Edition of 50 + 5 artist's proofs, each signed by the artist

Paper size 59.5 cm X 42 cm  

Series Two 2016    

Edition of 50 + 5 artist's proofs, each signed by the artist

Paper size 110 cm X 67 cm

If you have any questions regarding these editions please email info@levergallery.com

Original painiting - acrylic on board, c. 1965

Johnson painted this and ‘White and Black Dress’ to pitch to art directors at fashion magazines. He presented the piece to Willie Landels, influential art director of Harpers & Queen, who created magazine’s distinctive aesthetic. Landels judged this piece ‘too like a work of art’ for fashion illustration, however, he commissioned other work from Johnson. The two became lifelong friends. The original board size is approximately 52 cm tall by 45 cm wide.