Editing Jack Kirby (section)

==Artistic style and achievements==
Brent Staples wrote in the ''New York Times'':
{{blockquote|He created a new grammar of storytelling and a cinematic style of motion. Once-wooden characters cascaded from one frame to another—or even from page to page—threatening to fall right out of the book into the reader's lap. The force of punches thrown was visibly and explosively evident. Even at rest, a Kirby character pulsed with tension and energy in a way that makes movie versions of the same characters seem static by comparison.<ref name=nyt2007>{{cite news|url= https://www.nytimes.com/2007/08/26/opinion/26sun3.html?_r=2&th&|title= Jack Kirby, a Comic Book Genius, Is Finally Remembered|first= Brent|last= Staples|date= August 26, 2007|newspaper= The New York Times|archive-url= https://web.archive.org/web/20140817032513/http://www.nytimes.com/2007/08/26/opinion/26sun3.html?_r=2&th&|archive-date=August 17, 2014 |url-status=live}}</ref>}}

Jack Kirby has been referred to as the "superhero of style", his artwork described by John Carlin in ''Masters of American Comics'' as "deliberately primitive and bombastic",{{sfn|Carlin|2005|page=101}} and elsewhere has been compared to [[Cubism|Cubist]],{{sfn|Hatfield|Saunders|2015|pages=119–123}} [[Futurism|Futurist]], [[Primitivism|Primitivist]] and [[outsider art]].{{sfn|Hatfield|Saunders|2015|page=11}} His contributions to the [[comic book]] form, including the many characters he created or co-created and the many [[genre]]s he worked on have led to him being referred to as the definitive comic book artist.{{sfn|Carlin|2005|page=261}} Given the number of places Kirby's artwork can now be found, the toys based on his designs, and the success of the [[List of Marvel Cinematic Universe films|movies]] based upon his work, [[Charles Hatfield]] and Ben Saunders said he was "one of the chief architects of the American imagination."{{sfn|Hatfield|Saunders|2015|page=9}} He was regarded as a hard working artist, and it has been calculated that he drew at least 20,318 pages of published art and a further 1,385 covers in his career. He published 1,158 pages in 1962 alone.<ref>{{cite web |title=1993: Jack Kirby: The Hardest Working Man in Comics by Steve Pastis |url=http://kirbymuseum.org/blogs/effect/ |website=The Jack Kirby Museum and Research Center |access-date=May 31, 2018 |date=April 28, 2018 |archive-date=May 30, 2018 |archive-url=https://web.archive.org/web/20180530161119/http://kirbymuseum.org/blogs/effect/ |url-status=live }}</ref> Kirby defined comics in two periods. His work in the early 1940s with [[Joe Simon]] on the [[Captain America]] strip, and then his superhero comics of the 1960s with [[Stan Lee]] at [[Marvel Comics]] and on his own at [[DC Comics]].<ref name=RC>{{cite journal | author=Harvey, R.C. |author-link=R.C. Harvey| title =What Jack Kirby Did | journal = The Comics Journal | issue =167 | date=April 1994 | issn=0194-7869 }} Reprinted in George 2002, p. 61-73</ref> Kirby also created stories in almost every genre of comics, from the autobiographical ''[[Street Code]]'' to the apocalyptic science fiction fantasy of [[Kamandi]].{{sfn|Hatfield|2012|pages=6–7}}

===Narrative approach to comics===
Like many of his contemporaries, Kirby was hugely indebted to [[Milton Caniff]], [[Hal Foster]], and [[Alex Raymond]] who codified many of the tropes of narrative art in adventure [[comic strip]]s. It has also been suggested that Kirby drew from [[Burne Hogarth]], whose dynamic figure work may have informed the way Kirby drew figures; "his ferocious bounding, and grotesquely articulated figures seem directly descended from Hogarth's dynamically contorted forms."{{sfn|Hatfield|2012|page=61}} His style drew on these influences, all major artists at the time Kirby was learning his craft, with Caniff, Foster and Raymond between them imparting to the sequential adventure comic strip a highly illustrative approach based on realizing the setting to a very high degree. Where Kirby diverged from these influences, and where his style impacted on the formation of comic book art, was in his move away from an illustrated approach to one that was more dynamic. Kirby's artistic style was one that captured energy and motion within the image, synergizing with the text and helping to serve the narrative. In contrast, successors to the illustrative approach, such as [[Gil Kane]], found their work eventually reach an impasse. The art would illustrate, but in lacking movement caused the reader to contemplate the art as much as the written word. Later artists such as [[Bryan Hitch]] and [[Alex Ross]] combined the Kirby and Kane approaches, using highly realistic backgrounds contrasted with dynamic characters to create what became known as a widescreen approach to comics.{{sfn|Hatfield|2012|pages=63–65}}

Kirby's dynamism and energy served to push the reader through the story where an illustrative, detailed approach would cause the eye to linger.{{sfn|Hatfield|2012|pages=65–67}} His reduction of the presentation of a given scene down to one that represents the semblance of movement has led Kirby to be described as cinematic in his style.<ref>{{cite book |last1=Hatfield |first1=Charles |title=Alternative comics : an emerging literature |date=2005 |publisher=University Press of Mississippi |location=Jackson, Miss. |isbn=1578067197 |page=54 |edition= 1st}}</ref> Kirby had worked at [[Fleischer Studios]] before coming to comics and had a grounding in animation techniques for producing motion. He also realized that comic books were not subject to the same constraints as the newspaper strip. While other comic book artists recreated the layouts that format used, Kirby swiftly utilized the space a whole comic book page created.<ref name=RC /> As Ron Goulart describes, "(h)e broke up the pages in new ways and introduced splash panels that stretched across two pages."<ref>{{cite book |last1=Goulart |first1=Ron |title=The great comic book artists |date=1986 |publisher=St. Martin's Press |location=New York |isbn=0312345577 |page=56 |edition= 1st}}</ref> Kirby himself described the creation of his dynamic style as a reaction both to the cinema and to the urge to create and compete: "I found myself competing with the movie camera. I had to compete with the camera. I felt like [[John Henry (folklore)|John Henry]]... I tore my characters out of the panels. I made them jump all over the page. I tried to make that cohesive so that it would be easier to read... I had to get my characters in extreme positions, and in doing so I created an extreme style which was recognizable by everybody."{{sfn|Eisner|2001|page=211}}

===Style===
[[File:Fantastic Four issue 51 page 14.jpg|thumb|left|''Fantastic Four'' #51 (June 1966) p. 14; collage and pencilled figure by Jack Kirby, inks by Joe Sinnott, letters by [[Artie Simek]], dialogue by Stan Lee, illustrating Kirby's use of collage]]

In the early 1940s Kirby at times disregarded [[Glossary of comics terminology#Panel|panel]] borders. A character was drawn in one panel, but their shoulder and arm would extend outside the border, into the [[Glossary of comics terminology#Gutter|gutter]] and sometimes on top of a nearby panel. A character may be punched out of one panel, feet being in the original panel and body in the next. Panels themselves would overlap, and Kirby found new ways to arrange panels on a comic book page. His figures were depicted as lithe and graceful, although Kirby would place them thrusting from the page towards the reader.{{sfn|Hatfield|2012|pages=24–25, 69–73}}{{sfn|Hatfield|Saunders|2015|page=11}}<ref name=RCH>{{cite book |last1=Harvey |first1=Robert C. |title=The art of the comic book : an aesthetic history |date=1996 |publisher=University Press of Mississippi |location=Jackson |isbn=0878057587 |page=[https://archive.org/details/artofcomicbookae0000harv/page/33 33] |url=https://archive.org/details/artofcomicbookae0000harv/page/33 }}</ref> In the late 1940s and 1950s Kirby moved away from superhero comics and with Joe Simon worked in a number of genres. Kirby and Simon created the [[romance comics]] genre, and working in this as well as the war, Western and crime genres saw Kirby's style change. He left behind the diverse panel framing and layouts. The nature of the genres enabled him to channel the energy into the posing and blocking of characters, forcing the drama into the constraints of the panel.{{sfn|Hatfield|Saunders|2015|page=11}}

When Kirby and [[Stan Lee]] came together at [[Marvel Comics]], his art developed again. His characters and representations became more abstract, less anatomically correct. He placed figures across three planes of a panel's depth to suggest three dimensions.<ref name=AC>Hatfield (2005), pp. 54–55</ref> His backgrounds were less detailed where he did not want the eye to be drawn.<ref>{{cite web |last1=Fischer |first1=Craig |title=Kirby: Attention Paid |url=http://www.tcj.com/kirby-attention-paid/ |website=The Comics Journal |publisher=Fantagraphics Press |access-date=May 31, 2018 |date=November 21, 2011 |archive-date=June 12, 2018 |archive-url=https://web.archive.org/web/20180612144100/http://www.tcj.com/kirby-attention-paid/ |url-status=live }}</ref> His figures moved actively along diagonals<ref name=AC /> and he utilized [[foreshortening]] to make a character appear to recede more deeply into the panel, so that they appeared to move towards the reader off the page.<ref name=RCH /><ref>{{cite book |last1=Feiffer |first1=Jules |title=The great comic book heroes |date=2003 |quote= Muscles stretched magically, foreshortened shockingly. | publisher=Fantagraphics Books |location=Seattle, Wash. |isbn=978-1-56097-501-4 |page=59 |edition= 1st Fantagraphics Books}}</ref><ref>{{Citation|title=Conversations With Jack Kirby|editor=Morrow, John|isbn=1893905020|magazine=The Collected Jack Kirby Collector|publisher=[[TwoMorrows Publishing]]|date=2004|volume=3|page=40}}</ref> During the 1960s Kirby also developed a talent for creating [[collage]]s, initially utilizing them within the pages of ''[[The Fantastic Four]]''. He introduced the [[Negative Zone]] as a place within the Marvel Universe that would only be illustrated via collage. However, the reproduction within the published comics of the collages, coupled with the low page rate he was being paid and the time they took to develop saw their use discarded.{{sfn|Evanier|2008|page=171}} Kirby would later return to the use of collage in his Fourth World work at [[DC Comics]]. Here he used them most often in the pages of ''[[Superman's Pal, Jimmy Olsen]]''.{{sfn|Hatfield|Saunders|2015|pages=89–99}}

Kirby's style in the late 1960s was regarded so highly by Stan Lee that he instituted it as Marvel's house style. Lee would instruct other artists to draw more like Jack, and would also assign them books to work on using Kirby's breakdowns of the story so that they could more closely hew to Kirby's style.{{sfn|Hatfield|2012|page=9}} Over time, Kirby's style has become so well known that imitations, homages and pastiche are referred to as Kirbyesque.<ref>{{cite journal | title =Generally Speaking | journal = The Comics Journal | issue =107 | page=37 | date=April 1986 | issn=0194-7869}}</ref><ref>{{cite book |last1=Sabin |first1=Roger |title=Comics, comix & graphic novels |date=2001 |publisher=Phaidon |location=London |isbn=978-0-71483-993-6 |pages=110, 134 & 150 |edition= Repr.}}</ref><ref>{{cite book |author1=[interviews] by [[Roy Thomas]] & Jim Amash; introduction by [[Stan Lee]] |title=John Romita --and all that jazz! |date=2007 |publisher=TwoMorrows Pub. |location=Raleigh, N.C. |isbn=978-1893905757 |page=155}}</ref><ref>{{cite news |title=The Rick Veitch Interview |url=http://www.tcj.com/the-rick-veitch-interview/ |newspaper=The Comics Journal |date=May 24, 2013 |publisher=Fantagraphics Press |access-date=May 31, 2018 |archive-date=August 25, 2013 |archive-url=https://web.archive.org/web/20130825201617/http://www.tcj.com/the-rick-veitch-interview/ |url-status=live }} Originally published in ''The Comics Journal'' #175 (March 1995)</ref>

[[Kirby Krackle]], also referred to as Kirby Dots,<ref name="Keith">{{cite encyclopedia | title=Kirby, Jack | encyclopedia=Encyclopedia of Comic Books and Graphic Novels | publisher=ABC-CLIO | author=Crowder, Craig | editor=Booker, M. Keith | year=2010 | location=Santa Barbara, CA | pages=353}}</ref> is Kirby's artistic convention of depicting the effect of energy. Within the drawing, a field of black, pseudo-[[fractal]] images is used to represent [[negative space]] around unspecified kinds of [[energy]].<ref name="Foley">{{cite magazine|last=Foley |first=Shane |url=http://www.twomorrows.com/kirby/articles/33krackle.html |title=Kracklin' Kirby: Tracing the advent of Kirby Krackle |magazine=Jack Kirby Collector |issue=33 |date=November 2001 |access-date=April 30, 2015 |archive-url=https://web.archive.org/web/20101130183009/http://twomorrows.com/kirby/articles/33krackle.html |archive-date=November 30, 2010 |url-status=live }}</ref><ref name="Mendryk">{{cite web |first=Harry |last=Mendryk |url=http://kirbymuseum.org/blogs/simonandkirby/archives/3997 |title=Evolution of Kirby Krackle |publisher=Jack Kirby Museum: "Simon and Kirby" |date=September 3, 2011 |access-date=April 30, 2015 | archive-url = https://archive.today/20120604171405/http://kirbymuseum.org/blogs/simonandkirby/archives/3997 | archive-date = June 4, 2012 | url-status=live}}</ref> Kirby Krackles are typically used in illustrations of [[explosion]]s, smoke, the blasts from [[Raygun|ray guns]], "cosmic" energy, and outer space phenomena.<ref name="Duncan-Smith">{{cite book | url=https://books.google.com/books?id=M_bRZ_et8BIC&pg=PA413 | title=Icons of the American Comic Book: From Captain America to Wonder Woman: From Captain America to Wonder Woman | publisher=ABC-CLIO | author=Duncan, Randy | year=2010 | location=Santa Barbara, CA | pages=353 | isbn=978-0-31335-747-3 | author2=Smith, Matthew J. | access-date=May 31, 2018 | archive-date=June 17, 2016 | archive-url=https://web.archive.org/web/20160617053344/https://books.google.com/books?id=M_bRZ_et8BIC&pg=PA413 | url-status=live }}</ref> The advanced technology Kirby drew, from the [[Afrofuturistic]] state of [[Wakanda]] through the [[Mother Box]]es of the [[New Gods]] to the spaceships and design of [[Celestial (comics)|the Celestials]] is gathered together under the collective term "Kirby Tech".<ref>{{cite book |first1=Adilifu |last1=Nama |title=Super Black: American Pop Culture and Black Superheroes |date=2011 |publisher=University of Texas Press |isbn=978-0-29274-252-9 |page=48}}</ref><ref>{{cite book |editor-last1=Duncan |editor-first1=Randy |editor-last2=Smith |editor-first2=Matthew J.|title=Icons of the American comic book : from Captain America to Wonder Woman |date=2013 |publisher=Greenwood |location=Santa Barbara, Calif. |isbn=978-0313399237 |page=368}}</ref> [[John Paul Leon]] has described it as "It's tech; it's mechanical even if it's alien, but it's drawn in such an organic way that you don't question it. It's just an extension of his world. I'm not sure who else you could say did that."<ref>{{cite book |editor-first1=John |editor-last1=Morrow|editor-first2=Jon B. |editor-last2=Cooke |title=Kirby100: 100 Top Creators Celebrate Jack Kirby's Greatest Work |date=2017 |publisher=[[TwoMorrows Publishing]] |isbn=978-1605490786 |page=184}}</ref> Kirby's depiction of technology is linked by Charles Hatfield to [[Leo Marx]]'s idea of the technological sublime, specifically utilizing [[Edmund Burke]]'s definition of the [[Sublime (philosophy)#Edmund Burke|Sublime]]. Using this definition, Kirby's view and depiction of technology is that of it as something to be feared.{{sfn|Hatfield|2012|pages=144–171}}

===Working method===
[[File:The_Demon_issue_1_splash.jpg|thumb|right|Jack Kirby's detailed pencils for the splash page to ''[[Etrigan the Demon|The Demon]]'' #1 [[DC Comics]] (September 1972)]]

Unlike many of his contemporaries, Kirby did not use preliminary sketches, rough work or layouts. He would instead start with the blank board and draw the story onto the page from top to bottom, start to finish. Many artists, including [[Carmine Infantino]], Gil Kane and [[Jim Steranko]] have remarked on the unusual nature of his method. Kirby would rarely erase while working; the art, and therefore the story, would flow from him almost fully formed.{{sfn|Hatfield|2012|page=58}} Kirby's pencils had a reputation for being detailed, to the point that they were difficult to ink.<ref>{{Citation|title=Walt Simonson Interviewed|editor=Morrow, John|isbn=1893905020|magazine=The Collected Jack Kirby Collector|publisher=[[TwoMorrows Publishing]]|date=2004|volume=3|page=112|quote= ... it's so powerful in pencil, it's really hard to ink it and really retain the full flavour of the pencils. I think a lot of really good inkers have not been able to do that}}</ref><ref>{{Citation|title=Chic Stone Speaks|editor=Morrow, John|isbn=1893905020|magazine=The Collected Jack Kirby Collector|publisher=[[TwoMorrows Publishing]]|date=2004|volume=3|page=90|quote=I was totally awestruck by the magnificent penciling ... no one inker could improve on Jack's penciling}}</ref> [[Will Eisner]] remembers even in the early years that Kirby's pencils were "tight".{{sfn|Eisner|2001|page=199}} Working for Eisner, Kirby initially inked with a pen, not confident enough in his ability to use the Japanese brushes Lou Fine and Eisner preferred.{{sfn|Eisner|2001|page=213}} By the time Kirby worked with [[Joe Simon]], Kirby had taught himself to use a brush, and would on occasion ink over inked work where he felt it was needed.{{sfn|Eisner|2001|page=209}}

Due to the amount of work Kirby produced, it was rare for him to ink his own work. Instead the pencilled pages were sent on to an inker; different inkers left their own stylistic stamp on the published version. As Kirby noted, individual inkers were suited to different genres.<ref name=ink>Interview, ''The Nostalgia Journal'' #30–1, November 1976 – December 1976, reprinted in George 2002, p. 10</ref> Harry Mendryk has suggested that for a period in the 1950s, Kirby inked himself due to other work drying up.<ref>{{cite web |last1=Mendryk |first1=Harry |title=Jack Kirby's Austere Inking, Chapter 1, Introduction |url=http://kirbymuseum.org/blogs/simonandkirby/archives/824 |website=Jack Kirby Museum & Research Center |access-date=May 30, 2018 |date=April 7, 2007 |archive-date=June 12, 2018 |archive-url=https://web.archive.org/web/20180612143015/http://kirbymuseum.org/blogs/simonandkirby/archives/824 |url-status=live }}</ref> By the late 1960s, Kirby preferred to pencil, feeling that "inking in itself is a separate kind of art."<ref name=ink /> [[Stan Lee]] recalls Kirby not really being too interested in who inked him: "I cared much more about who inked Kirby than Kirby did... Kirby never seemed to care who inked him... I think Kirby felt his style was so strong that it just didn't matter who inked him".<ref>{{cite journal |editor1-last=Thomas |editor1-first=Roy |editor1-link=Roy Thomas |title=The Retrospective Stan Lee |journal=Alter Ego |date=2017 |issue=150 |page=13 |publisher=TwoMorrows Publishing}}</ref> [[Chic Stone]], an inker of Kirby's during the 1960s at Marvel, recalled "(T)he two best [inkers] for Jack were [[Mike Royer]] and [[Steve Rude]]. Both truly maintained the integrity of Jack's pencils."<ref>Morrow, p. 90</ref>

The size of the [[Bristol board|art board]] made a difference to Kirby's style. During the late 1960s the industry shrunk the size of the art board artists used. Prior to 1967, art boards were around 14 x 21 inches, being reproduced at 7 x 10 inches. After 1967 the size of the board shrunk to 10 x 15.{{sfn|Hatfield|Saunders|2015|pages=36–37}} This affected the way Kirby drew. Gil Kane noted that "the amount of space around the figures became less and less... The figures became bigger and bigger, and they couldn't be contained by a single panel or even a single page".{{sfn|Hatfield|Saunders|2015|page=28}} Professor Craig Fischer asserts Kirby at first "hated" the new size.{{sfn|Hatfield|Saunders|2015|page=37}} Fischer argues that it took Kirby around 18 months to negotiate a way of working at the smaller size. Initially he retreated to a less detailed, close up style, as seen in ''[[Fantastic Four (comic book)|Fantastic Four]]'' #68. In adjusting to the new size, Kirby began utilizing depth to bring the pages to life, increasing his use of foreshortening.{{sfn|Hatfield|Saunders|2015|page=37}} By the time Kirby had moved to DC, he started to incorporate the use of two-page spreads into his art more. These spreads helped define the mood of the story, and came to define Kirby's late era work.{{sfn|Hatfield|Saunders|2015|pages=149–157}}

===Exhibitions and original art===
Kirby's art has been exhibited as part of the Masters of American Comics joint exhibition by the [[Hammer Museum]] and [[Museum of Contemporary Art, Los Angeles]] from November 2005 to March 2006.<ref>{{cite web|title=Masters of American Comics|date=November 20, 2005 |url=https://hammer.ucla.edu/exhibitions/2005/masters-of-american-comics/|publisher=[[The Hammer Museum]]|access-date=May 31, 2018|archive-date=June 9, 2018|archive-url=https://archive.today/20180609221650/https://hammer.ucla.edu/exhibitions/2005/masters-of-american-comics/|url-status=live}}</ref> In 2015 Charles Hatfield curated the "Comic Book Apocalypse" exhibition at the [[California State University, Northridge]] Art Galleries. The exhibition focused on Kirby's work from 1965 onward.<ref>{{cite web |title=Comic Book Apocalypse: The Graphic World of Jack Kirby |url=https://www.csun.edu/mike-curb-arts-media-communication/events/comic-book-apocalypse-graphic-world-jack-kirby |website=California State University, Northridge |access-date=May 31, 2018 |date=July 2015 |archive-date=March 30, 2017 |archive-url=https://web.archive.org/web/20170330104710/http://www.csun.edu/mike-curb-arts-media-communication/events/comic-book-apocalypse-graphic-world-jack-kirby |url-status=live }}</ref> In 2018 "A Jack Kirby Odyssey" was organized by Tom Kraft. The exhibition displayed photocopies of unpublished Kirby pencils for stories intended for publication in the ''[[2001: A Space Odyssey (comics)|2001: A Space Odyssey]]'' comic book adaptation series as well as reproductions of the published work.<ref>{{cite web |title=Take "A Jack Kirby Odyssey" in NYC May 11–13! |url=http://kirbymuseum.org/blog/2018/04/19/kirby-odyssey/ |website=Jack Kirby Museum & Research Center |access-date=May 31, 2018 |date=April 19, 2018 |archive-date=June 12, 2018 |archive-url=https://web.archive.org/web/20180612140021/http://kirbymuseum.org/blog/2018/04/19/kirby-odyssey/ |url-status=live }}</ref> In 1994 [[The Cartoon Museum|The Cartoon Art Trust]] organized an exhibition in
[[London]] of Kirby art, "Jack Kirby: The King of Comic Books", in the wake of Kirby's death.<ref>{{cite book |editor1-last=Morrow |editor1-first=John |title=Collected Jack Kirby Collector |date=February 19, 2004 |publisher=TwoMorrows Publishing |isbn=1893905004 |page=67}}</ref> In 2010 Dan Nadel and [[Paul Gravett]] curated "Jack Kirby: The House That Jack Built", a retrospective of Kirby's career from 1942 to 1985. The exhibition was part of the [[Fumetto International Comics Festival]] held in [[Lucerne, Switzerland]].<ref>{{cite web |title=Jack Kirby: The House That Jack Built |url=http://www.paulgravett.com/articles/article/jack_kirby2 |website=Paul Gravett |access-date=May 31, 2018 |archive-date=July 23, 2018 |archive-url=https://web.archive.org/web/20180723034358/http://www.paulgravett.com/articles/article/jack_kirby2 |url-status=live }}</ref>

Kirby's original art regularly sells at auction, with [[Heritage Auctions]] listing the cover of ''[[Tales of Suspense]]'' #84, inked by [[Frank Giacoia]] as realizing a price of $167,300 in a February 2014 auction.<ref>{{cite web |title=Jack Kirby |url=https://fineart.ha.com/artist-index/jack-kirby.s?id=500022980 |website=Heritage Auctions |access-date=May 31, 2018 |archive-date=June 12, 2018 |archive-url=https://web.archive.org/web/20180612141444/https://fineart.ha.com/artist-index/jack-kirby.s?id=500022980 |url-status=live }}</ref> A large portion of Kirby's art remains unaccounted for. Work created around [[World War II]] would have been reused or pulped due to paper shortages. [[DC Comics]] had a policy of destroying original art in the 1950s. [[Marvel Comics]] also destroyed art until 1960, when it stored artwork prior to a policy which had art returned to the artist. In Kirby's case, it is reported that about 2,100 pieces of the estimated 10,000 pages drawn were returned to him. The whereabouts of the missing pages are unknown, although some do turn up for sale, provenance unknown.<ref>{{citation | author = Gold, Glen | magazine = Jack Kirby Collector | issue = 19 | date = April 1998 | title = The Stolen Art | url = http://www.twomorrows.com/kirby/articles/19stolen.html | access-date = May 31, 2018 | archive-date = August 1, 2018 | archive-url = https://web.archive.org/web/20180801231454/http://www.twomorrows.com/kirby/articles/19stolen.html | url-status = live }}</ref>{{sfn|Hatfield|2012|page=79}}