Rainy Day, Queens, New York, 1931, by Martin Lewis.

Tall book case with 5 shelves. The books are all concerned with art in one form or another.

So we moved another book case this morning. The volumes still need sorting, and I can see a few that will - sigh - have to go. But there’s an awful lot of titles that demand rereading too. Which is a cheering thought.

David Bowie, by Mick Rock, c.1972.

Main Street, Saratoga Springs, New York, 1931, by Walker Evans.

Colour capitalism: an elderly woman in an apartment looks out of her window at a snowstorm and looks deeply concerned. A child behind her looks, by contrast, fascinated and excited.

Whether in colour or black and white, this cartoon by William Steig is quite wonderful.

I had the one with the badly edited Englehart/Rogers/Austin run in it long before I saw the original issues. And I really really loved it. Read it to death.

Main Street, Saratoga Springs, New York, 1931, by Walker Evans.

Abe Sapien, by Mike Mignola, from 1999’s “Hellboy: Odd Jobs”.

Colour capitalism: an elderly woman in an apartment looks out of her window at a snowstorm and looks deeply concerned. A child behind her looks, by contrast, fascinated and excited.

Whether in colour or black and white, this cartoon by William Steig is quite wonderful.

He wasn’t onboard for long.

Heavens above I must love hundreds of disco songs.

Then-new bassist Rik Kenton.

Single label for Charo & the Salsoul Orchestra’s You’re just the right size. Of course, the full-length version is the one to opt for.

Single sleeve from the Bee Gees’ You should be dancing. On a blue background float three circular portraits of the brothers Gibb singing.

Sleeve for the Cloud One Lp “Atmosphere Strut” with a blurred photo of a person - seen side-on from armpit to forehead - apparently in ecstasy.

Sleeve for Blondie’s Heart Of Glass single, with a photo of Debbie Harry, hands on hips, in a thin white dress that looks like it could be bedroom wear for a warm climate. What’s great is that her expression isn’t submissive but judgemental, challenging the viewer to reduce her to any version of herself that she doesn’t approve of.

“What disco song are you not embarrassed to admit you like?”

Why in the name of the Mothership itself would I be ashamed to love -not just “like”- disco? Why assume folks only feel strongly about one song? That’s absurd. Geez, tell you what: I’d be embarrassed to ask such a dumb rockist question.

Without doubt my fav Roxy photo.

The full Roxy line-up from the period of Virginia Plain’s release. Uncharacteristically, everyone is smiling, except Eno, who looks a little thoughtful as if he’s about to speak. Ferry positively glows with happiness. All are in their familiar period get-ups, brightly lit on a roof-top. The top floors and roofs of the buildings behind them are black with pollution.

Roxy Music, London, Sept 18th 1972, by Brian Cooke. So glam, such fun.

The page is split in half. To the right, Superman is flying towards Earth. To the right, Adam Strange is flying above a hi-rise in Metropolis and ray-gunning pink tentacled aliens on its roof.

The background is a Himalayan mountain range. Above them clouds which seem to be being reformed in the shape of a female humanoid head. In the foreground Deadman rages at said face and declaring he wants to resign his role serving Rama Kushna.

On the left, Superman flies across the sun to intercept “a sizzling beam of devastating energy”. To the right, the Metal Men fight the giant Chemo by transforming their robotic bodies into weapons such as huge hammers.

In the foreground, Superman flies towards the Joker who is falling towards the ground. Behind them, a helicopter bearing a huge Joker face has Perry White hanging on a cable from it while The Prankster, onboard the craft, threatens his life.

Just some of José Luis García-López’s gorgeous title pages for DC Comics Presents.

I think that’s why I’m fond of it. It wasn’t for me nearly as good as American Flagg. But collected editions were rare as the teeth of the hen back then. So it felt special.

It is.

The spinner rack, being prepared for its imminent move to its new home.

Description from The Met’s site - “Inspired by the modernity of London’s subway system, popularly known as the Tube, Power featured it in many of his signature linocuts. The disengaged passengers on this crowded subway—a scene familiar to many urban dwellers—prefer to read their newspapers rather than interact with one another. Alienation, a by-product of modern life, is a theme often present in Power’s images of the London Underground”.

The Tube Train, by Cyril E. Power, linocut, 1934.

Kirk trying to enter the radioactive chamber in which Spock lies dying. McCoy & Scotty hold him back.

A seated Khan on the bridge of the USS Reliant grabbing a younger member of his crew and laying down the law.

A quizzical Kirk stares at Spock, both in splendid red uniforms and standing before a bright portal.

In a dark structure, Khan raises Chekov, wearing a helmetless spacesuit, above his head. Looking on are several merciless-looking members of Khan’s crew and the rather baffled Captain Terrel.

Four fine lobby cards for 1982’s “Star Trek: The Wrath Of Khan”.

“It is very cold in space.”

Description from The Met’s site - “Inspired by the modernity of London’s subway system, popularly known as the Tube, Power featured it in many of his signature linocuts. The disengaged passengers on this crowded subway—a scene familiar to many urban dwellers—prefer to read their newspapers rather than interact with one another. Alienation, a by-product of modern life, is a theme often present in Power’s images of the London Underground”.

The Tube Train, by Cyril E. Power, linocut, 1934.

I’ll hunt them out! 👍

Yep, colours.

A low angle shot of the Late Victorian League on a quayside. In the background a submarine - Nemo’s Nautilus- looms into sight from the waters hidden by the quayside. Left to right, we’re shown Mr Hyde, Cpt Nemo, Mina Murray, Allan Quatermain, and Hawley Griffin the Invisible Man. They are clearly ready for trouble.

An absolutely splendid depiction by John McCrea & Gerhard of Alan Moore & Kevin O’Neill’s League Of Extraordinary Gentlemen. (Also, a top-notch sea-gull at stage-right.)

Colour cartoon poster advertising the BSG ride. In the centre a Cylon fires a ray gun. To the left tourists stare at the carnage. To the right a human BSG character fires off a bazooka-like weapon.

Crikey. Apparently the BSG ride lasted until 1992!

A black and white photo. A grey background. In the centre-foreground a single figure holding a sci-fi gun. The figure wears what looks like a black leather body suit. Over it have been placed silver chest armour, shoulder armour, gauntlets and the like. Topping it all off is a helmet without human features.

1981 Universal Studios promo photo featuring a terror-inducing Cylon Centurion from the original Battlestar Galactica. (The BSG theme park ride at Universal Studios lasted long after the cancellation of the show & its short-lived sequel.)

London in the darkness of the blackout, perhaps just as the first rays of morning appear. A narrow road runs from middle left to the bottom right, increasing in size as it progresses. Right where our sight of the road begins, placed at the very edge of the frame, is a cart, presumably horse drawn. Buildings in the shot are all silhouettes. A street light to the left is telling unlit.

A deserted street in Bloomsbury, London, 1942, during the World War II blackout, by the genius that was Bill Brandt.

Crikey, it’s the Incredible Hulk by Chester Brown, from 1991.

A view over a small harbour. In the foreground, a fisherman in his boots and cap leans on a railing which, to the left, a small girl in a white dress stares down at two floating sea birds. Rowing boats & sailing boats fill the view. On the harbour wall is a small tower for a warning light. Over the water beyond the harbour is a verdant land, all brown and green hills and, here & there, white buildings reflecting the sun.

“St. Ives, Cornwall, Carbis Bay & Lelant - Glorious Sands, Ideal Bathing”, by Herbert Truman, 1930s.