Monster Brains

Horacio Salinas Blanch - Cover Art for "Super Fiction Collection" 1976 – 1986

Horacio Salinas Blanch - "Downward to the Earth" by Robert Silverberg, 1981"Downward to the Earth" by Robert Silverberg, 1981

 Horacio Salinas Blanch - "The Orchid Cage" by Herbert W. Franke, 1978"The Orchid Cage" by Herbert W. Franke, 1978 

 Horacio Salinas Blanch - The Best of Stanley G. Weinbaum, 1977 The Best of Stanley G. Weinbaum, 1977 

Kit Pedler, 1976"Brainrack" by Gerry Davis/Kit Pedler, 1976 

Horacio Salinas Blanch - "Desert of Fog and Ashes" by Joan Trigo, 1978"Desert of Fog and Ashes" by Joan Trigo, 1978 

Horacio Salinas Blanch - The Best from Fantasy and Science Fiction,  25th Anniversary Anthology, 1976The Best from Fantasy and Science Fiction, 25th Anniversary Anthology, 1976

 Horacio Salinas Blanch - "The Green Brain" by Frank Herbert, 1978"The Green Brain" by Frank Herbert, 1978

 Horacio Salinas Blanch - "The I. Q. Merchant" by John Boyd, 1977"The I. Q. Merchant" by John Boyd, 1977 

Horacio Salinas Blanch - "Our Children's Children" by Clifford D. Simak, 1976"Our Children's Children" by Clifford D. Simak, 1976 

 Horacio Salinas Blanch - "Before the Golden Age" Isaac Asimov, 1976"Before the Golden Age" Isaac Asimov, 1976 


"In 1976, the year after the death of Spanish military dictator Francisco Franco, Barcelona publisher Ediciones Martínez Roca launched its Colección "Super Ficción series—an eclectic collection of science fiction novels—with Los Hijos de Nuestros Hijos, a Spanish translation of Clifford Simak’s Our Children’s Children. Los Hijos de Nuestros Hijos and the titles that initially followed it featured cover art created for UK publisher Penguin’s science fiction series. They were the work of David Pelham, who was then Penguin’s art director, as well as the artist behind many of the company’s most memorable covers (one of the best-known being Penguin’s 1972 re-release of Anthony Burgess’s A Clockwork Orange). ""While in the process of commissioning German surrealist "Konrad Klapheck to provide covers for 1974 reissues of several of J.G. Ballard’s early novels, Pelham took it upon himself, at Ballard’s urging, to realize some of the ideas himself, and it was these that Penguin ended up using. 

 For the cover of its edition of Jack Williamson’s The Legion of Space, the ninth release in the series, Ediciones Martínez Roca turned to artist Horacio Salinas Blanch. Over the following decade, Salinas Blanch would produce dozens of covers for Colección "Super Ficción". Although his illustration for La Legión del Espacio was relatively restrained, Salinas Blanch’s work—presumably under the instructions of the publishers—took as its template the airbrushed aesthetic of "Pelham’s Ballard covers, where odd juxtapositions of forms rendered with eerie smoothness hovered in isolation against brooding backgrounds. Salinas Blanch, though, approached the concept through his own otherworldly, idiosyncratic lens: pop culture reimagined as art, reimagined once again as pop culture, a circular transformation of which it seems reasonable to presume Ballard would have approved. Salinas Blanch’s" mixture of airbrushed unreality, pop-art surrealism, and lunatic dreamscapes reads like some crazed cocktail of Pelham and the other artists of the day who were working in a similar visual idiom—names like Peter Haars, Peter Tybus, Heinz Edelmann, Peter Lloyd, Bob Pepper, and Alan Aldridge. 

 No slouch at an inspired rip-off (see his take on Pelham’s cover for Fred Hoyle’s October the First Is Too Late, which Ediciones Martínez Rocahad already used for its cover of a collection of Robert Heinlein’s Lazarus Long stories), Salinas Blanch was not above directly cannibalizing his inspirations, as in this cover art for 1978’s Del Triunfo a la Derrota by Spanish anarchist journalist Jacinto Toryho, where he recycles "Pelham’s Big Boy from the cover of The Terminal Beach, adding a series of powerful details—the low light source, long shadows, and target on the ground. Salinas" Blanch’s other work included cover art for the Spanish translation of Mary Lee Dunn and John Maguire’s book on the Jonestown mass suicide, Hold Hands and Die!, where he offered up a compellingly dreamlike revisitation of an image as famous as it is awful. 

Cynical plagiarist, pragmatic jobbing scribbler, or a genuine visionary? It’s hard to say—practically no information about Horacio Salinas Blanch is to be found outside of his corpus of work: his covers, which inhabit the happy intersection of crowd-pleasing commercial interest and fine art inspiration passed through many hands as in a game of telephone, creating something at once known and strange, like some shared archetypal folk memory. 

It’s one of the great truisms and paradoxes that it’s occasionally imitation—especially imitation of the crassest, most commercially-driven type—that highlights the essence of what makes something engaging, either by contrasting it with an inferior copy or, as in the case of Horacio Salinas Blanch, by reiterating and mutating the source material until a perfect synthesis of what makes it strange and beautiful has been achieved—and until the imitation itself has become something strange and beautiful too." - quote taken from an excellent article on the artist with additional artworks at We Are The Mutants.

Robert Bloch - H.P Lovecraft Drawings, 1933

Robert Bloch - Untitled Lovecraft Artwork, 1933Untitled Lovecraft Artwork  Robert Bloch - Dine and Dance, 1933Dine and Dance  Robert Bloch - Saboth, 1933Saboth  Robert Bloch - Explorer, 1933Explorer  Robert Bloch - Untitled Lovecraft Artwork 2, 1933Untitled Lovecraft Artwork  Robert Bloch - Abdul Alhazred writing the Necronomicon, 1933Abdul Alhazred writing the Necronomicon  Robert Bloch - The Ghoul, 1933The Ghoul  Robert Bloch - The Lurking Fear, 1933The Lurking Fear  Robert Bloch - The Feast, 1933The Feast  Robert Bloch - The Whisperer in the Darkness, 1933The Whisperer in the Darkness  Robert Bloch - Yagath, 1933Yagath  Robert Bloch - Kadath, 1933Kadath  Robert Bloch - Dream-Thing, 1933Dream-Thing  Robert Bloch - IÄA. Shub-Niggurath Y'A, 1933IÄA. Shub-Niggurath Y'A 
"During the 1930s, Bloch was an avid reader of the pulp magazine Weird Tales. H. P. Lovecraft, a frequent contributor to that magazine, became one of his favorite writers. As a teenager, Bloch befriended and corresponded with Lovecraft, who gave the promising youngster advice on his own fiction-writing efforts.[1] Bloch's first professional sales, at the age of just seventeen, were to Weird Tales with the short stories "The Feast in the Abbey" and "The Secret in the Tomb". Bloch's early stories were strongly influenced by Lovecraft, and a number of his stories were set in, and extended, the world of Lovecraft's Cthulhu Mythos. It was Bloch who invented, for example, the oft-cited Mythos texts De Vermis Mysteriis and Cultes des Goules. The young Bloch even appears, thinly disguised, as the character "Robert Blake" in Lovecraft's story "The Haunter of the Dark", which is dedicated to Bloch. In this story, Lovecraft kills off the Bloch character, repaying a courtesy Bloch paid Lovecraft with his tale "The Shambler from the Stars", in which the Lovecraft-inspired figure dies; the story goes so far as to use Bloch's then-current street address in Milwaukee. (Bloch even had a signed certificate from Lovecraft [and some of his creations] giving Bloch permission to kill Lovecraft off in a story.) Bloch later wrote a third tale, "The Shadow From the Steeple", picking up where "The Haunter of the Dark" finished. After Lovecraft's death in 1937, Bloch continued writing for Weird Tales, where he became one of its most popular authors. He also began contributing to other pulps, such as the science fiction magazine Amazing Stories. He gradually evolved away from Lovecraftian imitations towards a unique style of his own. One of the first distinctly "Blochian" stories was "Yours Truly, Jack the Ripper", which was published in Weird Tales in 1943. The story was Bloch's take on the Jack the Ripper legend, and was filled out with more genuine factual details of the case than many other fictional treatments.[2] Bloch followed up this story with a number of others in a similar vein dealing with half-historic, half-legendary figures such as the Man in the Iron Mask ("Iron Mask", 1944), the Marquis de Sade ("The Skull of the Marquis de Sade", 1945) and Lizzie Borden ("Lizzie Borden Took an Axe...", 1946)." - quote source

Artworks found at the Brown University Library.
Another artwork from Robert Bloch was previously shared here.

Stanisław Ignacy Witkiewicz (1885 - 1939)

Stanisław Ignacy Witkiewicz - Azot, Fosfór i Arsen (z cyklu kompozycji chemicznych) (tech. mieszana), 1918Nitrogen, Phosphorus and Arsenic (from the cycle of chemical compositions) 

 Stanisław Ignacy Witkiewicz - Leo and Hercules, 1918Leo and Hercules, 1918 

Stanisław Ignacy Witkiewicz - Fantastic Composition (Vision with masks), 1920Fantastic Composition (Vision with masks), 1920 

Stanisław Ignacy Witkiewicz - Green Eye Composition, 1918Green Eye Composition, 1918

 Stanisław Ignacy Witkiewicz - Composition 1922Composition 1922

 Stanisław Ignacy Witkiewicz - The Gravedigger's MonologueThe Gravedigger's Monologue 

Stanisław Ignacy Witkiewicz - Fight, 1921-22Fight, 1921-22 

Stanisław Ignacy Witkiewicz - Creating the World, 1921-22Creating the World, 1921-22 

Stanisław Ignacy Witkiewicz - Satan, 1920Satan, 1920 

Stanisław Ignacy Witkiewicz - Marysia and Burek in Ceylon, 1920-21Marysia and Burek in Ceylon, 1920-21 

Stanisław Ignacy Witkiewicz - Story, 1922Story, 1922 

 Stanisław Ignacy Witkiewicz - Capricornus, 1918Capricornus, 1918 


 "A struggle between nonsensical and indescribable things. A row of chambers turned into an underground circus. Strange beasts appeared in the loges. The crowd was a mixed bag, an audience half-animal, half-human. The loges turned into bathtubs, connected to urinals in the Mexican or Aztec style. A sense at times of two layers of visibility: the images in the depths were chiefly black and white, while the background had putrid red and dirty lemon-yellow diagonal stripes. The majority of the visions had beasts of land and sea and horrible human faces. Giraffes whose necks and heads turned into snakes growing out of their bodies. A ram with a flamingo nose hung with pink guts. Indian cobras slithered out of the ram, then the whole thing crumbled into a mass of snakes." - quote excerpt from the artist describing tripping on peyote, read more here.


"Shortly after Poland was invaded by Germany in September 1939, Witkiewicz escaped with his young lover Czesława to the rural frontier town of Jeziory, in what was then eastern Poland. After hearing the news of the Soviet invasion of Poland on 17 September 1939, Witkacy committed suicide on 18 September by taking a drug overdose and trying to slit his wrists. He convinced Czesława to attempt suicide with him by consuming Luminal, but she survived. The film Mystification 2010, written and directed by Jacek Koprowicz proposed that Witkiewicz faked his own death and lived secretly in Poland until 1968."  - quote from biography on the artist found at Wikipedia.

Nika Goltz (1925–2012)

Nika Goltz - The Snow QueenIllustration from "The Snow Queen"  Nika Goltz - The Little WitchIllustration from "The Little Witch"  Nika Goltz - Alexander Sharov. Wizards come to the people. The book about fairy tales and storytellers.Illustration from Alexander Sharov's "Wizards Come to the People" The book about Fairy Tales and Storytellers.  Nika Goltz - The Little Water-SpriteIllustration from Otfried Preussler's "The Little Water-Sprite"  Nika Goltz - English Folk Tales, Illustration 03Nika Goltz - English Folk Tales, Illustration 02 Nika Goltz - English Folk Tales, Illustration 01Illustrations from "English Folk Tales"  Nika Goltz - The Little Mermaid, Illustration 01Nika Goltz - The Little Mermaid, Illustration 03 Nika Goltz - The Little Mermaid, Illustration 02Illustrations from Hans Christian Andersen's "The Little Mermaid"  Nika Goltz - Scottish Folk Tales and Legends , Illustration 03Nika Goltz - Scottish Folk Tales and Legends , Illustration 01 Nika Goltz - Scottish Folk Tales and Legends , Illustration 02Illustrations from "Scottish Folk Tales and Legends" 
Nika Goltz - The Little Ghost, Illustration 01Nika Goltz - The Little Ghost, Illustration 02 Nika Goltz - The Little Ghost, Illustration 03 Nika Goltz - The Little Ghost, Illustration 04 Nika Goltz - The Little Ghost, Illustration 05 Nika Goltz - The Little Ghost, Illustration 06Illustrations from  Otfried Preußler's "The Little Ghost"

Most artworks found at Book Graphics. 
 Artist previously shared here.

Ernst Emil Schlatter (1883 - 1954)

Ernst Emil Schlatter - The Great Horror, Nebelspalter, 1924The Great Horror - Nebelspalter, 1924 

Ernst Emil Schlatter - The New Teachings, Nebelspalter, 1922The New Teachings - Nebelspalter, 1922 

Ernst Emil Schlatter - Message From Far Away, Nebelspalter, 1922Message From Far Away - Nebelspalter, 1922 

 Ernst Emil Schlatter - Education, Nebelspalter, 1923Education - Nebelspalter, 1923 

Ernst Emil Schlatter - The Frightened, Nebelspalter, 1920'sThe Frightened - Nebelspalter, 1920's 

Ernst Emil Schlatter - Court Session, Nebelspalter, 1924Court Session - Nebelspalter, 1924 

Ernst Emil Schlatter - Admonition, Nebelspalter, 1923Admonition - Nebelspalter, 1923

 Ernst Emil Schlatter - Duel, Nebelspalter, 1920'sDuel - Nebelspalter, 1920's 

Ernst Emil Schlatter - Surprise, Nebelspalter, 1923Surprise - Nebelspalter, 1923 

Ernst Emil Schlatter - Teasing, Nebelspalter, 1924Teasing - Nebelspalter, 1924 

Ernst Emil Schlatter - Internalized Walk, Nebelspalter, 1920'sInternalized Walk - Nebelspalter, 1920's 

 Ernst Emil Schlatter - Pursuit, Nebelspalter, 1920'sPursuit - Nebelspalter, 1920's 

Ernst Emil Schlatter - Indoctrination, Nebelspalter, 1923Indoctrination - Nebelspalter, 1923

 Ernst Emil Schlatter - Admonition, Nebelspalter, 1924Admonition - Nebelspalter, 1924

 Ernst Emil Schlatter - Example, Nebelspalter, 1924Example - Nebelspalter, 1924 

 Ernst Emil Schlatter - Penitential Sermon, Nebelspalter, 1920's Penitential Sermon - Nebelspalter, 1920's

Artworks originally published in Swiss humor magazine "Nebelspalter" from the 1920's.

Richard Taylor (1902 - 70) - The Document

Richard Taylor - The Document

"Although Taylor is most known for his gag cartoons which poked fun at society, and humorous illustrations for a variety of books (Fractured French, My Husband Keeps Telling Me To Go To Hell, Half a Dollar Is Better Than None etc), it seems his private passion–and one he would pursue til late in life without seeking commercial benefit–was fantasy art. Taylor created a fantasy world called Frodokom, in which he based an entire series of watercolor, print and oil paintings that featured surrealistic creatures and landscapes. Maurice Horn’s Encyclopedia of Cartooning says of Taylor’s work “There is an individuality to his large-eyed, heavy lidded characters that makes one think of fairy tales and other worlds…” In the mid 1930s, he created 40 illustrations for Worm’s End, an adult fantasy book by Lionel Reed." - quote source. 
 Artwork found at Heritage Auctions. 
 A selection of Arkham House book covers by Taylor were previously shared here.

Jakub Erol (1941 - 2018) Polish Film Posters

Jakub Erol - Raiders of the Lost Ark, 1983Raiders of the Lost Ark, 1983 Jakub Erol - Alien, 1980Alien, 1980 Jakub Erol - I Like Bats, 1986I Like Bats, 1986 Jakub Erol - Romancing the Stone, 1984Romancing the Stone, 1984 Jakub Erol - Christine, 1983Christine, 1983 Jakub Erol - Women Doctors, 1984Women Doctors, 1984 Jakub Erol - Devils, 1984Devils, 1984 Jakub Erol - Magic Fires, 1983Magic Fires, 1983 Jakub Erol - Ultimatum, 1984Ultimatum, 1984 Jakub Erol - Amadeus, 1986Amadeus, 1986 Jakub Erol - Bermuda Triangle, 1987Bermuda Triangle, 1987 Jakob Erol - Pigs, 1972Pigs, 1972 Jakob Erol - Private Investigation, 1987Private Investigation, 1987 Jakub Erol - Runaway Train, 1988Runaway Train, 1988 Short Film About Killing, 1988Short Film About Killing, 1988

Bronisław Wojciech Linke (1906 - 1962)

Bronisław Wojciech Linke - The Painter and his Bus, 1961The Painter And His Bus, 1961 

Bronisław Wojciech Linke - Execution In The Ruins Of The Ghetto, 1946Execution In The Ruins Of The Ghetto, 1946 

Bronisław Wojciech Linke - Nurse, 1930Nurse, 1930 

Bronisław Wojciech Linke - "In the service of humanity" from the series "Atomium", 1958"In the service of humanity" from the series "Atomium", 1958 

Bronisław Wojciech Linke - Rainy Weather, from the series "Screaming Stones", 1946Rainy Weather, from the series "Screaming Stones", 1946 

 Bronisław Wojciech Linke - Miser, 1933Miser, 1933 

Bronisław Wojciech Linke - Santa Claus, 1957Santa Claus, 1957

 Bronisław Wojciech Linke - "Luftwaffe" from the series "Stones shout", 1948"Luftwaffe" from the series "Stones Shout", 1948 

Bronisław Wojciech Linke - Team, illustration for the book "Conversations With Silence" by Pola Gojawiczynska, Warszawa, 1936Team, illustration for the book "Conversations With Silence" by Pola Gojawiczynska, Warszawa, 1936 

Bronisław Wojciech Linke - The Child of Hiroshima, 1956The Child of Hiroshima, 1956 

Bronisław Wojciech Linke - Heart, from the Cyclus Silesia, 1937Heart, from the Cyclus Silesia, 1937 

Bronisław Wojciech Linke - Two Parties (Today), 1932Two Parties (Today), 1932 

Bronisław Wojciech Linke - "Zaciemnienie. Będzie wojna?", 1940,"Blackout, Will There Be War?", 1940 

Bronisław Wojciech Linke - El Mole Rachmim, from the seriesScreaming Stones, 1946El Mole Rachmim, from the series "Screaming Stones", 1946 

Bronisław Wojciech Linke - Back to the Country, 1946Back to the Country, 1946 

Bronisław Wojciech Linke - Resurrection of Nazism, 1951Resurrection of Nazism, 1951 

Bronisław Wojciech Linke - Sea Serpent or "European Army", 1954Sea Serpent or "European Army", 1954 

Bronisław Wojciech Linke - Radioactive dust, 1958Radioactive Dust, 1958 

Bronisław Wojciech Linke - "Wlewnice" from the series Black Silesia, 1937"Wlewnice" from the series "Black Silesia", 1937 

Bronisław Wojciech Linke - After the Storm, 1947After the Storm, 1947


A biography on the artist's life can be found here.

Russian Satirical Journals from the Revolutionary Upheaval of 1905-1907

Zarevo, Interior Art, 1906 pres2012-0707-332 Zhupel, Issue 2, Interior Art, 1905 pres2012-0720-39 Rus, Issue 11, interior art, 1907-11 Plamia, Issue 2, 1905 Plamia, Issue 4, 1905 Zabiiaka, Issue 3, 1905-06 Vampir, Issue 1, 1906 Anchar, Issue 1, 1906 pres2012-0731-3 pres2012-0711-21 Buria, Issue 4, Interior Art, 1906 Zhupel, Issue 3, Interior Art, 1906 pres2012-0005-2 Kosa, no. 1, February 10, 1906 Sekira, vol. 1, no. 8, February 10, 1906-1 Sekira, vol. 1, no. 10, 1906-1 Bureval, Issue 1, 1906 Leshii, Issue 1, Interior Art, 1906 pres2012-0707-1 Kosa, no. 2, 1906 pres2012-0005-9.2 Zarevo, Issue 3, 1906 Zhupel, Issue 1, 1905 Sekira, vol. 1, no. 12, 1906-8 Sekira, vol. 1, no. 6, January 27, 1906 Zhurnal, Issue 1, 1906 Burelom, Issue 3, 1906 Shershen', no. 10, March 10, 1906 Ovod, Issue 1, 1906 Zritel', vol. 2, no. 2, January 8, 1906-1 Skorpion, Issue 2, 1906 Buria, Issue 4, 1906 Gvozd, Issue 2, 1906 Zhupel, Issue 3, 1906 K svietu. Issue 1, 1906 Zhupel, Issue 3, Interior Art 2, 1906 Vampir, Issue 3, Interior Art, 1906 Bureval, Issue 1, Interior Art, 1906 Maski, Issue 5, Interior Art, 1906 pres2012-0700-26 pres2012-0754-3.2 Zhupel, Issue 3, Interior Art 4, 1906 Luvenal, Issue 1, 1906 pres2012-0754-2 Zhupel, Issue 3, Interior Art 3, 1906 Zabiiaka, Issue 3, Interior Art, 1905-06

"This collection documents some of the most important events of the period known as the first Russian Revolution of 1905-1907. It was during this unprecedented rise of national self-identity that the first Russian Constitution and Russian Parliament were initially created. The first Russian Revolution was a period of struggle for political, social and human rights, and the press, which had previously been subject to censorship, enjoyed a new freedom which had never before appeared in Russia.

Nevertheless, disillusionment with the political and social reforms was expressed through political satire and caricature, published in numerous journals all over the country. The pages of these journals served as an arena for political parties and the newly born social classes of Russia – both the bourgeois and the workers. The explicit satirical form of these publications and their subsequent immediate distribution to interested readers attracted many well-known writers and artists who were either contributors or, occasionally, editors of these journals. The journals in the collection present a unique and sparkling collaboration amongst famous Russian authors such as Konstantin Bal’mont, Ivan Bunin, Maxim Gorky, Aleksandr Kuprin, Valerii Brusov, etc., with the artistic talents of Ivan Bilibin, Boris Kustodiev, Léon Bakst, Valentin Serov, Alexandre Benois, and others.

As the Russian autocracy regained its power, the unprecedented freedom of the Russian press diminished and then vanished. While some journals were published continuously for months afterward, many others were either closed or suppressed, and their editors prosecuted, with the entire publishing run of some issues confiscated and destroyed by the authorities. " - quote source

Images mostly found at USC Libraries.