All works

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

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 mid-Sixties Bisset was often used as a reference model by both Zelinski and Michael Johnson. The actress made her official film debut at the age of 22 in Roman Polanski's 1967 film Cul-de-Sac.

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

Original painting; gouache on board, c.1965, 

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. 

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 artwork; c.1960 gouache and acrylic wash on board

In this piece, painted for a serialised story in a magazine, Zelinski’s unique technique allows his lighting to be subtle, as if in a half light.  He creates an intimate scene, with the couple wrapped in light as they are in their embrace.

Alistair MacLean’s 1961 thriller was republished by Fontana Books in 1967. Fratini depicted the ‘steel jungle’ oil-platform setting of the novel on a choppy ocean. The story of revenge is expressed in the struggle of the couple in the foreground.

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

Created from an original artwork; 1967, acrylic on board

Fontana Books published Gwyn Griffin’s novel, Freedom Observed, in 1965. Set in a fictional West African Republic about a United Nations observer who finds love amidst a gruelling conflict.  The gory narrative is represented in dark reds and browns, enlivened only by the pink blouse of the protagonist. The original painting art board is approximately 40 cm wide x 55 cm tall. 

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  

Created from an original painting; acrylic on board, 1965

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

Original painting; acrylic on board, 1965

Julius Horwitz’s novel, The Inhabitants, was written in 1960 and published by Four Square Books in 1965.  Fratini used a deep red to depict the struggle of a single mother fighting her way out of New York’s slums.  He sets the protagonist in a powerful pose against a group of figures left behind. The original painting art board is approximately 40 cm wide x 55 cm tall.

Kingsblood Royal, written by Sinclair Lewis in 1947, was published by Consul Books in 1964. Fratini’s cover illustration as used presents classic pulp-fiction conceits in muted colours with a couple embracing on a bed. Note the original has more black background, cropped out for the cover.

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

Created from an original painting; acrylic on board, 1964

This cover for Fontana Books’ 1969 version of Agnes Sligh Turnbull’s novel The Day Must Dawn features a Fratini image directly inspired by the movie Giant.  It would appear that James Dean and Elizabeth Taylor, in instantly recognisable poses, are transplanted from 1950s Texas oil fields to the grain fields of 1777 Pennsylvania. Only the background has changed, from a car to a period town. The original painting art board is approximately 40 cm wide x 55 cm tall. 

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

Original painting; acrylic on board, 1969

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

Original Painting, acrylic on board, 1960s 

The Fourth Postman was originally written by Craig Rice in 1948, though this image was never used as a cover for later editions of the book. Laid thick with reds, the clever use of a cool highlight on the gun brings it out of hiding. Note also the apparent smears on the gunmetal, picked up almost effortlessly in breaks in the highlighting colour.

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.

Dennis Wheatley’s apocalyptic novel sets a personal story against a worldwide, cataclysmic event. Distilling a meteor-strike to blood red scenes of panic behind the protagonists, Fratini’s illustration is a masterclass in minimalist energy. Even the brush-strokes work for the composition, leading the eye from the sky down.

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

Created from an original artwork c1967, gouache on board

This cover for Josephine Bell’s 1965 novel A Flat Tyre in Fulham shows layering unusual in Fratini’s work and its combined use of paint and pencil work is also a departure from his usual techniques. Englishness is captured in a staid, almost rectilinear composition and subdued colour, unlike the dramatic poses and bold colour usual in his other work. The original painting art board is approximately 40 cm wide x 54 cm tall. 

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

Created from an original artwork, acrylic on board, c.1965

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

Original painting; acrylic on board, c. 1965

Rex Stout’s Nero Wolfe novel, Too Many Women was published by Fontana c.1965. Fratini was a celebrated party goer and there is an impish humour to this cover with its candy pink background and feather boa draped around a woman clad in skin-tight black; a look that was moments away from being reinvented by Brian Jones and is now beloved by hen parties everywhere. 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.

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. 

Signed Limited Edition Print

Edition 20 (+ 5 artist's proofs) numbered and signed by the artist
Size approx 70 cm X 40 cm    
Medium Professional high-resolution scan, colour adjusted to closely represent original artwork. Giclée print on 100% Rag ‘Hahnemühle’ 308gsm Fine Art Paper, using archival pigmented inks.

Original art work : acrylic on board original, 1965

An iconic relationship which has made an indelible mark on popular culture. Sean Connery as Bond posed in front of the classic car. The car used for this drawing was in fact the DB3 model, which was Sanders own, rather than the DB5 first introduced to the Bond films in 1964 in Goldfinger.

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

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 42 cm X 29.7 cm  

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

Original artwork; c.1960, acrylic on board

This is a subdued illustration compared to Dell’Orco’s war-themed work. Comparatively muted colours combine with a soft gesture in the posing to create a piece that is more emotional than explosive.  Even so, the story’s dramatic conflict at its emotional heart is conferred by edgily scrubbed paint and quick, scratched lines.

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 42 cm X 29.7 cm  

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

Original artwork; 1964, acrylic on board

The cover illustration for Consul Books’ 1964 publication of W.A. Ballinger’s book ‘Unfriendly Persuasion’ features a pale blue-green scene crossed through in black with the bars of a prison cell. The harshly lit figure inside is a cold and lonely image. Perfect for the story of a man reduced to murder to protect his cache of stolen money.

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 42cm X 29.7cm  

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

1966, original artwork

Fratini's cover for Mickey Spillane's 'The Flier' published by Corgi Books in 1967 was later used for the cover of 'The Sour Lemon Score'.

Donald E. Westlake wrote 'The Sour Lemon Score', one of his ‘Parker’ series under the pseudonym of Richard Stark in 1969. Fratini's illustration was used on a Danish publication of the story in a raunchier style than those produced for English versions.

The painting is classic Fratini, provocative poses in a setting reduced to stylistic bare-bones.

The original painting art board is approximately 30 cm wide x 38 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.

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 42 cm X 29.7 cm  

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

Original artwork; 1964, acrylic on board

Fontana Books reprinted Alistair MacLean’s 1962 novel The Golden Rendezvous in 1964.  The macho hero raises a gun, he is dressed in white on a white background, so the red-clad woman he is protecting draws the eye. 

The original painting art board is approximately 45 cm wide x 34 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 cover for this Corgi Crime 1967 publication of Mickey Spillane’s novel, features quintessential Fratini.  A couple, a struggle, a gun; cheekily posed and skilfully painted with emphasis.  The groovy, colour-soaked fashion nods to the next decade.

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  

Created from an original artwork; 1967, acrylic on board

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.