Frank Brunner’s legacy in comics is mainly that of a ’70s Marvel guy, illustrating Steve Englehart’s Dr. Strange and Steve Gerber’s Howard the Duck. Brunner seemed reluctant to go the superhero route (which is one reason we like him), preferring fantasy and horror to underoo’d crime-fighters. He’d been a contributor to Warren Publishing horror titles (Creepy, Eerie, Vampirella) before signing on with Marvel, and his credits at Stan Lee’s shop also included Tomb of Dracula, Chamber of Chills, Savage Tales, Red Sonja, and Savage Sword of Conan.
Heavy Metal published Brunner’s gorgeous adaptation of Michael Moorcock’s Elric (which had originally appeared in Star*Reach) in the September and November 1979 issues. Here’s a sample of what that looked like:
In 1977, Frank Brunner indulged his racy side with Alice In Wonderland, a portfolio of six two-tone prints (black and white drawings with blue highlights) depicting a more mature Alice in the usual scenarios, but in her birthday suit. Published by Golden Graphics, it’s got the March Hare, Cheshire Cat, Caterpillar tokin’ on a hookah… the usual, only sexy. He had drawn Alice and the Caterpillar in a similar scene for his first portfolio, Flesh and Fantasy, published in 1974.
Though the original Alice in Wonderland portfolio, of which 1000 were printed, was not terribly colorful, Brunner went back and hand-colored them for a very limited edition of just 25 portfolios. He also produced a sequel portfolio, based on Lewis Carroll’s sequel Through the Looking Glass, that was published in 1981 (also by Golden Graphics). You can see colored images from both portfolios in the gallery at frankbrunner.net, and you can find the actual articles on eBay or comics auction sites.
Frank Brunner got out of comics in the ’80s, and went on to work in TV and film, where his projects included Jonny Quest and the animated X-Men series.
Source of portfolio scans in this post: Fantasy Ink.