Brian Bolland / Terry Austin — Camelot 3000 #7, Page 1: “Betrayal!” (1983)

Artists: Brian Bolland (pencils), Terry Austin (inks)

Title: Camelot 3000 #7, Page 1 — “Betrayal!”

Year: 1983

Publisher: DC Comics

Medium: Ink on comic art board

Signed: Signed by Brian Bolland lower right; DC Comics stamp to verso

Original published title-page artwork from DC Comics' Camelot 3000 #7, “Betrayal!”, penciled by Brian Bolland and inked by Terry Austin.

Written by Mike W. Barr, Camelot 3000 reimagined the legend of King Arthur in a futuristic setting, with Arthur and the Knights of the Round Table returning in the year 3000 to defend Earth from an alien invasion. Published by DC between 1982 and 1985, the twelve-issue series was a landmark project for the publisher and is notable as DC's first maxiseries created specifically for the direct market. Bolland's extraordinarily meticulous artwork became one of the defining features of the series and helped establish his reputation with American audiences.

This is the opening page of issue #7, incorporating the story title “Betrayal!” and its original publication lettering and production elements. Bolland's precise pencils are complemented by inks from Terry Austin, one of the foremost inkers of his generation. The artwork is signed by Bolland at the lower right, with a DC Comics production stamp on the reverse.

Brian Bolland (British, b. 1951) is one of the most celebrated British comic artists of the modern era. After establishing his reputation through Judge Dredd and his definitive depiction of Judge Death for 2000 AD, his work on Camelot 3000 brought him considerable recognition in the United States. He subsequently created some of the most recognizable imagery in DC Comics history, most notably through his artwork for Alan Moore's Batman: The Killing Joke and his acclaimed runs of covers for Animal Man, The Invisibles and numerous Batman titles.

Terry Austin (American, b. 1952) is among the most highly regarded inkers in American comics, particularly celebrated for his influential collaboration with John Byrne on Uncanny X-Men. His exceptionally clean and controlled approach made him particularly well suited to Bolland's intricate draftsmanship.

An impressive first-page example from one of Bolland's most important early DC projects, combining the work of two artists renowned for exceptionally precise and refined linework.