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This famous depiction of Tolkien's Balrog by The Brothers Hildebrant originally appeared as the April illustration in the 1977 J.R.R. Tolkien Calendar for Ballantine Books. Millions of copies of this calendar were distributed world-wide.
The Brothers Hildebrandt, Greg and Tim Hildebrandt, began their careers in 1959. The Brothers gained international notoriety for their early depictions of J.R.R. Tolkien’s Lord of the Rings characters originally published in successive calendar illustrations from 1976-1978. They wrote and illustrated their own epic fantasy novel, Urshurak, and produced movie poster illustrations for Barbarella, Clash of the Titans, and Star Wars.
The Balrog from the April 1977 Tolkien Calendar illustrates the battle of Gandalf the White and a winged Balrog in the Chamber of Mazarbul at Moria. In the scene, Gandalf destroys the Bridge of Khazad-dum banishing the Balrog and Orc army. The illustration brilliantly captures the Balrog’s “furnace-fire eyes” and immense, winged figure right before its thonged whip grabs Gandalf from the bridge and pulls him to his apparent death.
Steve Korshak Accepts Sam Moskowitz Archive Award at MidAmericon II
Steve and Erle traveled to Kansas City, MO last month for MidAmericon II where Steve accepted the Sam Moskowitz award for the Korshak family's contribution to science fiction collecting.
Fantastical works by Brian Froud Grace European Collection
Two new watercolors from British fantasy illustrator, Brian Froud, The Voice of the River and Allison Gross (pictured left) have found their rightful place among the great European illustrators of the European Collection. Froud's enchanting depictions of fairies, druids and fantasy creatures of the forest inspire imaginative depictions of the natural world.
Froud's international best-selling book, Faeries with fantasy and Tolkien illustrator Alan Lee is considered a modern classic. His landmark work with Jim Henson as conceptual designer on feature films The Dark Crystal, Labyrinth and other Henson projects set new standards for design, puppeteering and animatronics in film and are considered landmarks in the evolution of modern day special effects.
The Froud works will be exhibited at the American Society of Illustration, New York, NY From June 6 to August 19 of next year.
New to American Collection: Crisis in Utopia!
Hubert Rogers’ work is known for its subdued quality and color palette with an emphasis on the dramatic posing of figures rather than scenes of action or violence. He often used symbolism to capture the content of the stories he illustrated. Rogers will be remembered as one of the most important and influential science fiction artists of the 1940s.
Canadian-born Rogers moved to New York in 1925 to begin his career in illustration working for the New York Herald Tribune, hardcover publishing houses and weekly pulp magazines including Adventure and Argosy. By 1939 he did his first cover for Astounding Science Fiction and would contribute fifty-eight more covers to this pulp magazine until 1952. This period was interrupted for five years by World War II in which Rogers stopped creating science fiction paintings to turn his attention to Canadian war posters. Later in life, Rogers established himself as a portrait painter and was commissioned to paint prominent Canadian political figures.
Welcome Elric VIII, 428th Emperor of Melniboné
A new piece by Michael Whelan takes its place among the American Collection this year with the recent acquisition of Michael Moorcock's character Elric of Melniboné. Whelan's illustration was featured on the iconic cover of Moorcock's novel The Weird of the White Wolf, the third book of the Elric Saga.
Executed in oil and acrylic on board, the painting's vibrancy is hardly captured in photo. A stunning visual marker of the American collection, the painting is sure to please at the upcoming exhibition at the American Society of Illustrator's gallery in New York, Summer 2017. For a chance to view the collection in its entirety make sure to keep up with the Society via their webpage: .
Collection expands with works by Scott Fischer, Paul Mak, Iain McCaig
The American Collection recently received it's newest addition The Medusa by Scott Fischer. Originally published as cover of Dragon Magazine, the work was digitally altered from the image pictured in the collection. In the published version, Medusa peers out at the viewer instead of Fischer's original three-quarter profile portrayal. A striking, alluring work that fits directly into the existing collection also stands boldly on it's own.
Works by European artists Iain McCaig and Paul Mak were also acquired this summer, two major additions to the exhibition. View them here.
Virgil Finlay named 2015 Hall of Fame Honoree
Since 1958, the Society of Illustrators has elected to its Hall of Fame artists recognized for their "distinguished achievement in the art of illustration." Artists are elected by former presidents of the Society and are chosen based on their body of work and the impact it has made on the field of illustration. This year's honorees include contemporary illustrators Bernard D'Andrea, Ted and Betsy Lewin, and Patrick Oliphant as well as posthumous honorees Walter Baumhofer, Will Eisner, Virgil Finlay, and Arthur Szyk.
Virgil Finlay understood that the mark of a great artist was that his work lived on for decades after him. A look at his work should convince any doubters that Finlay's art will remain relevant for many, many years to come. Virgil Finlay was, and is, one of the true "Masters of the Imagination." Finlay wasn't merely great. After refining his technique, drawing directly onto scratchboard using a 290 lithographic pen, Finaly's work appeared in Amazing Stories, Weird Tales, The American Weekly newspaper, Startling Stories, Thrilling Wonder, Captain Future, Strange Stories, and many more. He was the greatest. His heroines were the most beautiful, his heroes were the most heroic, and his monsters and villains were the most frightening.
Read the full article here.
Segrelles Paintings visit MuVIM, Valencia, Spain
Two paintings by Jose Segrelles from the collection are on loan as a part of the Museu Valencià de la Il-lustració i de la Modernitat’s (MuVIM) upcoming exhibit José Segrelles: The Labyrinth of Fantasy. The paintings “Chopin” (pictured left) and “War of the Worlds” will be displayed from March 26th - May 31 as part of the 260 original works by Segrelles on private loan to the museum. This will be the largest exhibition of Segrelles' work ever presented, highlighting the Spanish artist as one of most influential illustrators of his time.
For more information, visit the MuVIM website here.
Collection Acquires New Works
The Korshak Collection is pleased to announce the expansion of the collection. Four new pieces have been recently acquired by collector Stephen Korshak. These additions will expand both the American and European collections and will be added to their respective online pages and will be available for exhibit with the rest of the collection. Three of the pieces go to the European collection. These include a new work Sidney Sime, an artist currently featured in the exhibit, as well as two new artists. British artist Iain McCaig, the designer of Star Wars villain Darth Maul, joins the collection with Paul Mak, a Russan illustrator. Michael Whelan’s cover art for the John Carter of Mars novel “Swords of Mars” rounds out the new additions, developing the already impressive body of work in the American collection.
Illustrating the Works of Edgar Allan Poe
The Brandywine River Museum of Art in Chadds Ford, PA loaned Harry Clarke’s “The Pit and the Pendulum” for their exhibit of illustrations for the works of Poe. One of the most widely illustrated authors of all time, Edgar Allen Poe’s writing captured the imagination of numerous artists across the world. The exhibit, Picturing Poe: Illustrations for Edgar Allan Poe’s Stories and Poems, features more than 30 artists including Edouard Manet, Paul Gauguin, Aubrey Beardsley, Arthur Rackham, and Gustave Doré. Clarke’s illustration was featured in Edgar Allan Poe’s Tales of Mystery and Imagination published in 1919. It depicts the chilling moment in “The Pit and the Pendulum” where the prisoner lures the rats in his cell to chew through his binds so he can escape before the swinging blade on the pendulum slices through his heart. The dark, bold values of the pen and ink illustration perfectly capture the macabre tone of the story.