EXTRACTS: Illustrators issue 30 © 2020 The Book Palace (96 PAGES in Full edition)

85 (Kleenex), and a handful of Windsor and Newton number 6 sable wa‐ tercolour brushes—hop in the subway, and ride over the East River to the Topps’ Brooklyn offices. He always brought his glasses and green plastic poker-dealer visor, his big Sherlock Holmes magnifying glass, his hip flask of gin and sometimes even me! I’d sit on a stool and try not to be a pest, watching him doctor a dozen cards an hour.” Going from a famous pulp-illustrator to an anonymous retoucher might have put a dent on any other artist, but Saunders took it as just “another job to be done”. Luckily for him, Topps would find a better use for him. In 1961 there was interest all over America in the centenary of the Civil War. The Civil Rights movement was in everyone’s mind, and a certain curiosity on the ‘War to Free the Slaves’ subject, so Topps de‐ cided to put out a card set commemorating the American Civil War. Comic book artist, Bob Powell (1916-1967), who was freelancing at that time, was hired by Topps to draw and compose each card concept following the dictates of their art director, Woody Gelman. These drawings would then be painted, to make the images look more ‘real‐ BELOW LEFT: Riddler on the Roof , gouache on board, 1966. Batman Trading Card Series Three: ‘Blue Bat’ set (Topps, 1966), card No. 37B. Painting based on a sketch by comics legend Bob Powell. BELOW RIGHT: The Penguin Prevails , gouache on board, 1966. Batman Trading Card Series Three: ‘Blue Bat’ set (Topps, 1966), card No. 2B. The set was based on the then popular TV series, which was a big hit during the mid-sixties, although with silly story-lines. All images © by The Topps Company Inc. and original art courtesy of Heritage Auctions