Lever Gallery

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.

Original artwork; c.1960s, gouache and acrylic wash on board

‘Man and Woman in Bed’ is a beautiful example of Harry Zelinski’s illustration artwork and is now available as a high quality Lever Gallery Giclée print. The original illustration was created as a story illustration for a romantic story in woman’s magazine in the 1960s. At this time women’s magazines were booming and a magazine like ‘Woman’ sold around three and a half million copies each week.

Zelinski's preference for gouache and acrylic wash allowed him to create softer images, and the illusion of subtle, ambient lighting. By contrast to his contemporaries, these materials meant he could create his signature lustrous, muted tones.

The English actress Jacqueline Bisset is the model for the woman in this image. In the early to mid-Sixties Bisset often worked as a fashion and reference model to support her acting studies. Both Zelinski and Michael Johnson hired her as a model for illustrations.

Bisset made her film debut at the age of 22 in Roman Polanski's 1967 film Cul-de-Sac and came to prominence with roles in 'The Detective', 'Bullitt' and 'The Sweet Ride' for which she received a Golden Globe nomination as 'Most Promising Newcomer'. She has enjoyed a hugely successful films and TV and is still working today.

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.

Original work; Renato Fratini, 1965, gouache on art board

Renato Fratini’s evocative cover illustration commissioned by Consul Books for Howard Baker’s novel; Treason by Truth first published in 1964. Fratini beautifully captures the model and the light sheer fabric of the dress by using heavily textured gouache paint.  

A leading crime fiction writer, Howard Baker was best known for his 'Sexton Blake' novels, a character closely modelled on Sherlock Holmes.

Baker was also author of Unfriendly Persuasion using the pseudonym W.A. Ballinger. The cover for Unfriendly Persuasion was illustrated by Pino Dell Orco. The original Dell'Orco illustration artwork and giclée prints are available. 

The original art work was 40cm x 54cm on art board. 

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. 

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.

Background

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.

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.

The original painting art board is approximately 45 cm wide x 33 cm tall. 

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

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.

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.

Information about the original work; Michael Johnson, 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.  

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.

Information about the original work; Michael Johnson, c.1966, acrylic on board, 40cm x 59cm

Created as a concept illustration for the legendary Willie Landels, Art Director and then Editor at Queen (now Harpers Bazaar) magazine. Johnson’s signature abstract lines add dynamism and a sense of movement to the couple.  This sculptural, animated quality was liked by Landels. Nevertheless, he advised “more detail – more precision” if Johnson wanted to win more fashion illustration work.  Landels and Johnson developed a productive professional partnership

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.

Information about the original work; Michael Johnson, c.1961, casein tempera on board, 38cm x 51cm

A rare, early casein illustration for Woman’s Own – typical of the popular women’s romantic fiction of that time.

The male model used for this painting was Michael Johnson's friend and colleague, the hugely successful illustrator Renato Fratini. 

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.

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

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 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

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.

Information about the original work; 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. 

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

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.

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

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.1965, gouache on board 55cm x 40cm

Cover illustration for the novel by critically acclaimed author Erskine Caldwell.  Briefly married to the eminent photojournalist Margaret Bourke-White, Caldwell did not shy away from exposing the poverty, racism and other social ills endemic in the South of the US during the 20^th century

The original painting art board is approximately 40 cm wide x 55 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.

The artwork is sold with an original The Last Night of Summer paperback that features the Renato Fratini illustration.  

c.1960s, acrylic and pencil and board,  39 cm wide x 55 cm tall

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.

The artwork is sold with an original Above Suspicion paperback that features the De Gaspari illustration.  

The original painting is approximately 39 cm wide x 55 cm tall.