Robert Crumb Comix (7 results)

Soft cover. Condition: Very Good. Dust Jacket Condition: No Jacket (as issued). 1st edition. VG+. 8vo, [iv]+644pp, plain wrappers with printed dustwrapper. Massive issue on Literature in Revolution, includes Leo Marx on Susan Sontag (Poague & Parsons H29). Also a 45-page article on Underground Comix by Paul Buhle, with reproductions of work by Robert Crumb, Gilbert Shelton, Rick Griffin, and others). Unmarked copy, light wear to dustwrapper and a little typical toning of dustwrapper. Not Signed.

Trade Paperback. Condition: NF/F. Robert Crumb, Art Spiegelman, Gilbert Shelton, et. Al (illustrator). First Edition. Book/catalog appears almost as new and virtually unread. Includes obi type band warning potential readers that the catalog contains ADULT CONTENT. 128 full color pages of comix, original art, posters and other assorted ephemera from the amazing collection of Eric Sack featuring mostly one-of-a-kind masterpieces by the likes of Robert Crumb, Gilbert Shelton, Rick Griffin, Art Spiegelman and so many others. Includes an introductory profile of collector Sack by Underground Comix publisher Denis Kitchen.

Soft cover. Condition: Very Good. 1st Edition. tall illus trade wraps, no pagination, approx 150 pages of comic art from Zap, VG+ with just some light edgewear and small corner creases, clean and mark-free, 1st edition thus, 1 of 3000 copies dist to the European market, no date circa 1980? comics.

Ca. 180 unnummerierte Seiten, durchgehend bebildert. - Illustrierter gelber kartonierter Originalumschlag mit Deckel- und Rückentitel; kl.-4to.(ca. 24 x 17 cm). *** [FRÜHLINGSVERKAUF-Endspurt, noch bis Montag den 25.05.2026 / Ultimate SPRING-SALE, only until Monday May 25th 2026: um über 45% REDUZIERTER PREIS / PRICE-REDUCTION of over 45%; ehemaliger Preis / previously EUR 115,-] --- 1. DEUTSCHE AUFLAGE, BROSCHIERTE ORIGINALAUSGABE; ENTHÄLT CA. 25 STORIES ('Wonder Wart-Hog trifft den monströsen mörderischen maskierten Miesnik!'; 'WW und der Hyper-Hypnotiseur!'; 'WW und der Super-Patriot'; 'WW und der Mob!'; 'WW und Super-Scherzkeks.'; 'Die Abenteuer von Philbert Desanex, Wunderwarzenscheins alter Ego.'; 'WW und die Invasion der Schweine vom Uranus'[''Soul Brothers?'' / ''Nicht schiessen! Irgendwie ist das auch ein Schwein!'' / ''Fast hätten wir dich umgenietet, Schwager! Siehst ja fast wie ein Mensch aus!'']; etc. . .). - Umschlagkarton leicht berieben und rückseitig unten links mit leichter 'Eckbeugung'(kein Knick); GUTES EXEMPLAR.

First Edition. [Counterculture] [Robert Crumb] Motor City Comics. San Francisco: Rip Off Press, April 1969. First printing. Staplebound in original wrappers. A landmark in underground comix and countercultural publishing, Motor City Comics showcases iconic cartoonist Robert Crumb's anarchic satire and radical political voice. Featuring the debut of Lenore Goldberg and her Girl Commandos, this issue exemplifies the genre's revolutionary, anti-authoritarian spirit and explicit critique of gender roles, capitalism, and police violence during the height of the Vietnam War era and second-wave feminism. Crumb's cover art features a militant, buxom Lenore Goldberg punching a grotesquely exaggerated police officer while shouting, "Join the world-family revolution or DIE!"-a powerful symbol of female rebellion against patriarchal and state power. Within, stories like "The Desperate Character," "Deep Meaning Comics," and "Boingy Baxter" blend absurdist humor with sharp social commentary. Themes of class struggle, generational alienation, and existential despair saturate the panels, often punctuated by Crumb's signature grotesque figuration and text-heavy reflections. Especially notable is the comic's feminist satire, which-while controversial in its depiction-elevates Goldberg as a rare radical female figure in a male-dominated genre. On the back cover, Crumb's "Workers of the World Arise!" offers a proletarian call to arms, parodying Marxist propaganda while sincerely addressing labor exploitation and alienation in late-capitalist America. Light wear consistent with age, overall clean and well preserved. Overall very good condition. Motor City Comics remains an excellent example of the underground comix movement, 1960s political art, and gender in countercultural media.

[Counterculture Comix] [Robert Crumb] The Yellow Dog, the landmark underground comic newspaper that helped launch the comix movement of the late 1960s. Published in Berkeley, California by The Print Mint, May to July 1968. Four issues (Vol. 1, No. 1, 2, 3, 4, 5), 8 to 16 pages each, measuring 17" x 11". These early issues feature prominent contributions by Robert Crumb, Joel Beck, S. Clay Wilson, Rick Griffin, Gilbert Shelton, Victor Moscoso, and John Thompson. A foundational run of one of the most influential counterculture comic papers of the era, notable for its raw satire, sexual frankness, and political subversion. [1] Crumb, R. et al. Yellow Dog, Vol. 1, No. 1. Berkeley: The Print Mint, May 1968. The debut issue of Yellow Dog opens with Crumb's drawing of the namesake character and features a full-page comic titled "Mr. Natural's School of Wisdom." Crumb's comic skewers capitalist values, with Mr. Natural instructing: "What this country needs is a good five-cent hamburger." Other contributors include John Thompson and Joel Beck, offering grotesque and psychedelic visuals alongside stories of political cynicism. [2] Crumb, R. et al. Yellow Dog, Vol. 1, No. 2. Berkeley: The Print Mint, June 1968. Featuring an iconic Crumb cover of a beast devouring a cartoon man, the second issue includes work by Moscoso, Griffin, and Crumb. Crumb's strips reflect on alienation and absurdity, including his famed anthropomorphic creatures entangled in philosophical despair. A faux ad for "Popsicles" by Crumb mocks consumerism and sexploitation with his signature irreverence. [3] Crumb, R. et al. Yellow Dog, Vol. 1, No. 3. Berkeley: The Print Mint, June 1968. Cover parodies the Iwo Jima flag-raising with underground cartoonists raising a flag that reads "We Quit." Satirical strips criticize war, conformity, and generational divides. "The Great Generation Gap" by Andy Martin and "The Universal Increadable Generation Gap Story" by Joel Beck parody intergenerational political tensions, while Crumb's characters express neuroses through surrealist slapstick. [4] Crumb, R. et al. Yellow Dog, Vol. 1, No. 4. Berkeley: The Print Mint, July 1968. Cover by Crumb features Jesus wired to a control panel, a scathing image targeting organized religion and technocratic power. Interior pages include Crumb's "Snappy Bits and Krazy Kraks," in which talking animals debate sexual repression, drug use, and metaphysical confusion. John Thompson and S. Clay Wilson contribute densely packed psychedelic panels with a blend of grotesquerie and manic humor. [5] Crumb, R. et al. Yellow Dog, Vol. 1, No. 5. Berkeley: The Print Mint, July 1968. Features Crumb's "Little Girl" strip. Also includes his one-panel absurdist collage "Boxes and Boxes and Boxes," and the chaotic jam strip "Crumbs," where suburban surrealism meets satirical nihilism. Other contributions include Jim Osborne's hyper-detailed "Okay Mr. K," a densely rendered LSD freak-out sequence, and anti-authoritarian satire from S. Clay Wilson. An exceptionally provocative issue pushing the visual and moral boundaries of the comix form. Folded newspaper-style format. Light edge wear, some toning and minor creases at corners. Small closed tear to cover of issue #1. Overall very good condition. An essential primary source from the birth of underground comix, where countercultural satire met sexual revolution and anti-authoritarian dissent in visual form.

[Counterculture Comix] [Robert Crumb] Archive of Yellow Dog Underground Comic Newspaper, Vol. 1, Nos. 1, 2, 3, 5, and 6. Berkeley, CA: The Print Mint, 1968. Five issues (Vol. 1, No. 1, 2, 3, 5, 6), A substantial archive of five early issues from the first volume of Yellow Dog, one of the foundational publications of the underground comix movement. Published by the legendary Print Mint in Berkeley in 1968, Yellow Dog served as an anarchic forum for radical satire, drug-fueled surrealism, and sexual and political taboo-busting art. It was the first underground comix tabloid to combine the sensibilities of psychedelic poster art, post-Beat existentialism, and antiwar protest with the iconoclastic energy of newspaper comics. This lot includes contributions from key figures in the movement such as Robert Crumb, S. Clay Wilson, Joel Beck, Victor Moscoso, John Thompson, and Gilbert Shelton-many of whom would later contribute to Zap Comix and other landmarks of the genre. measuring 17" x 11" and 8 to 16 pages each. This archive includes: [1] Crumb, R. et al. Yellow Dog, Vol. 1, No. 1 (May 1968): The debut issue introduces the title's namesake mutt, drawn by Crumb, and includes his full-page satire "Mr. Natural's School of Wisdom." A historic piece of early comix featuring crude visual gags, anti-establishment mockery, and spiritual pastiche. Other contributions by John Thompson and Joel Beck feature dense, scratchy linework with themes of repression and absurdity. [2] Crumb, R. et al. Yellow Dog, Vol. 1, No. 2 (June 1968): Notable for Crumb's "Hey Kids, Eat Popsicles!" ad parody, which grotesquely mocks consumer culture and postwar suburban innocence. Also includes gags involving sexuality and violence, and early expressions of the era's "let it all hang out" visual aesthetic. Features a Maoist quotation panel, echoing the period's New Left fascination with global revolution. [3] Crumb, R. et al. Yellow Dog, Vol. 1, No. 3 (June 1968): Cover spoofing the Iwo Jima flag-raising with a satirical underground cartoonist flag. Highlights include Andy Martin's "The Great Generation Gap" and S. Clay Wilson's brutally raw cartoons of sexual and racial confrontation, including a Black child urging an elder hippie to assault a cop. Dark, chaotic, and explosively political. [4] Crumb, R. et al. Yellow Dog, Vol. 1, No. 5 (July 1968): Features Crumb's "Crumbs" strips and several surrealist tableaus. Includes a brutal parody of Nixon as a hairy grotesque, an elephant-riding caricature of conservative politics by Martin, and antiwar satire from Ron Cobb. Covers increasingly reflect anger at American imperialism and moral hypocrisy. [5] Crumb, R. et al. Yellow Dog, Vol. 1, No. 6 (July 1968): Front and back covers include contributions from Crumb and Martin; Crumb's strip "Crumbs" continues inside with scatological absurdities and hippie critique. Gilbert Shelton contributes theater-style spoof strips, while S. Clay Wilson's "The Hatchet Maniac" shows Benjamin Franklin as a serial killer, a vision of colonial madness echoing the Vietnam-era cultural breakdown. Light even toning throughout; a few issues with minor edgewear or corner folds, typical of newsprint of the era. Pages supple and complete. Very good overall. A rare early grouping of Yellow Dog from the moment when underground comix exploded into the national counterculture consciousness. These issues crystallize the aesthetic and political insurgency of 1968, combining drug-era grotesquerie, antiwar fury, racial confrontation, and sexual provocation in one of the movement's most historically significant and visually unrestrained formats.