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The Frazetta Art Museum The official page for the Frazetta Art Museum, opened by Frank and Ellie in 2001.
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31 Days of Spook'tober Day 19Dracula Artwork by Frank Frazetta circa 1989Frank Frazetta - Dracula Painting Original Art ...
10/19/2026

31 Days of Spook'tober
Day 19
Dracula
Artwork by Frank Frazetta circa 1989

Frank Frazetta - Dracula Painting Original Art (1989). In 1975, Frank Frazetta was commissioned to design the look for an animated adaptation of Bram Stoker's Dracula. The project never happened, but it obviously sparked something in Frazetta. This painting dated 14 years later bears the same design for the character! Could this be what lead to his Dracula Meets the Wolfman comic another 20 years after this painting was made? This piece perfectly captures the timeless character in oil on 12" x 17.5" paper.

The legendary Frank Frazetta created this oil painting in 1975 featuring fiction's most famous vampire, Count Dracula. Entitled "The Prince of Darkness", this 12" x 18" work features a moody portrait of Dracula based on the image of the character that had become predominant in popular culture by the early 1960s, complete with widow's peak, fangs and cape. As explained by Frazetta himself in the book Testament: The Life and Art of Frank Frazetta (the largest Frazetta art book ever done), the painting was originally created as a movie poster for a 1975 Dracula film he was working on with Orsario Productions. The film never came to fruition, but the painting was later used as a cover for a Dracula paperback novel published outside of the U.S. (see image below), a chase card and even a concert poster, and prints of the piece have also been produced. In 1989, 14 years after Frazetta painted the piece, he applied a "Copyright 1989" notation next to his signature in the upper right quadrant of the piece. Frazetta is known to have applied this type of after-the-fact copyright notation with his paintings to protect his ownership rights as the images of his works were being licensed out for various uses, such as those mentioned above. The artwork is the professionally framed and will look great on the wall!

About Dracula
The character of Count Dracula is one of the most famous in all fiction. He first appeared in Dracula, an 1897 Gothic horror novel by Irish author Bram Stoker. The character appeared in film as early as 1921 but it was the 1931 film Dracula starring Bela Lugosi as the title character that forever enshrined the character as a part of popular culture. Interestingly, the widow's peak hairstyle that has become synonymous with Dracula and appears in this painting was not a part of the character as portrayed by Bela Lugosi on screen and it was not used in any films featuring Dracula in the following three decades either. Lugosi did sport a widow's peak when playing other characters in two non-Dracula films, White Zombie (1932) and Mark of the Vampire (1935). By the early 1960s, the widow's peak worn by these other characters was conflated with Dracula and became a part of the character's look. Christopher Lee would become Dracula for a later generation, appearing in multiple films between 1958 and 1976.

About the Artist

Frank Frazetta's reputation, and his importance to illustration art in the 20th century and beyond is well known. Frazetta's influence on other illustration artists borders on immeasurable, and Frazetta originals are among the most sought after pieces in the field of comic art and fantasy illustration. Like many artists of his generation, Frazetta began his career working in comics during the 1940s and 50s. At the start of the 1960s he made his move into mainstream illustration, creating renowned oil paintings that were used as the covers for a series of Conan books published by Lancer Books which redefined the genre of sword and sorcery visually. This led to his work for Doubleday in in the early 1970s illustrating a repackaging of Edgar Rice Burroughs' John Carter novels. In 1973 Frazetta created the the popular fantasy painting Death Dealer I, which would be followed by other Death Dealer paintings and a book series. A number of recording artists have used Frazetta's paintings as cover art for their albums.

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31 Days of Spook'tober Day 18Ghoul Queen Artwork by Frank Frazetta circa 1973Featured on National Lampoon magazine This ...
10/18/2026

31 Days of Spook'tober
Day 18
Ghoul Queen
Artwork by Frank Frazetta circa 1973
Featured on National Lampoon magazine

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Frazetta Art Museum Pa


31 Days of Spook'tober Day 13The Monster MenBy Edgar Rice Burroughs Ace BooksArtwork by Frank Frazetta circa 1963www.fra...
10/13/2026

31 Days of Spook'tober
Day 13
The Monster Men
By Edgar Rice Burroughs Ace Books
Artwork by Frank Frazetta circa 1963

www.frazettamuseum.com

The Monster Men
MAN, MONSTER, OR JUNGLE GOD? They called him Number 13, the latest and best of Dr. Von Horn's attempts to make life from lifeless chemicals. He found himself an almost-human on Von Horn's hideaway jungle island off the coast of Borneo. He saw the monsters that preceded him, growing used to the dreadful travesties of humanity. Not until Number Thirteen met the American girl who was Von Horn's unwilling prisoner did he realize how different he was from the others. Because, monsters or not, he turned against his master and threw in his lot with the girl and his friends with their desperate effort to escape the island of terror. Everyone knew him, but to all he was something different. Even he himself did not know who he was -- or what he was. Professor Maxon knew him as the ultimate product of his experiments to create life - Experiment Number Thirteen. Von Horn knew him as the leader of the Monster Men - eleven ungodly horrors. Muda Saffir knew him as the stranger who defied every obstacle to pursue him with murderous intent. The Natives knew him as the invincible warrior, the fierce foe of the headhunters of Bulan! Virginia Maxon knew him as the only man who could save her from danger the The Monster Men man-being she loved.

31 Days of Spook'tober Day 12The Torture GardenArtwork by Frank Frazetta circa 1965By Octave Mirbeau 1965 Lancer Booksww...
10/12/2026

31 Days of Spook'tober
Day 12
The Torture Garden
Artwork by Frank Frazetta circa 1965
By Octave Mirbeau 1965 Lancer Books

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Plot
Following the twin trails of desire and depravity to a shocking, sadistic paradise - a garden in China where torture is practiced as an art form - a dissolute Frenchman discovers the true depths of degradation beyond his prior bourgeois imaginings. Entranced by a resolute Englishwoman whose capacity for debauchery knows no bounds, he capitulates to her every whim amid an ecstatic yet tormenting incursion of visions, scents, caresses, pleasures, horrors, and fantastic atrocities.

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31 Days of Spook'tober Day 11GravedancerArtwork by Frank Frazetta circa 1970'swww.frazettamuseum.com Frank Frazetta Grav...
10/11/2026

31 Days of Spook'tober
Day 11
Gravedancer
Artwork by Frank Frazetta circa 1970's

www.frazettamuseum.com

Frank Frazetta Gravedancer Painting Original Art (1970s). Frank Frazetta was a revolutionary artist, and in his May 10, 2010 obituary, The New York Times said, "Frazetta helped define comic book and fantasy heroes like Conan, Tarzan, and John Carter of Mars. His signature images were of strikingly fierce, hard-bodied heroes and bo**my, callipygian damsels." Frazetta took the s*x and violence of the pulp fiction of his youth and added even more action, fantasy, and potency, but he rendered his works with a panache seldom seen outside of Fine Art. Despite his sword-and-sorcery, science-fiction, and fantasy subject matter, the quality of the work has drawn comparisons to the most brilliant of illustrators -- Maxfield Parrish, Frederic Re*****on, Norman Rockwell, N. C. Wyeth, J. Allen St. John, and Joseph Clement Coll. This stunning fantasy painting, featuring a trademark Frazetta femme fatale and the beautiful, rich palette the artist was known for, was most likely begun as a cover for Warren but was never completely finished, according to the Frazetta experts we've spoken with. This large 17" x 20" oil on board masterwork by the fantasy art legend has been framed to an overall size of 26" x 23".
Heritage Auctions

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31 Days of Spook'tober Day 10Thor's FlightArtwork by Frank Frazetta circa 1968Frank Frazetta Thor's Flight Oil Painting ...
10/10/2026

31 Days of Spook'tober
Day 10
Thor's Flight
Artwork by Frank Frazetta circa 1968

Frank Frazetta Thor's Flight Oil Painting Original Art (1968). Frank Frazetta is recognized as one of the greatest fantasy artists of the last 100 years, and looking at this piece it's easy to see why. His work has become the standard against which all fantasy art is judged. From an incredibly fertile period of Frazetta's career, this piece was originally published as the cover to the Paperback Library edition of Thongor in the City of Magicians by Lin Carter. Later it was used as the cover for Night Music, and then again as the cover forTestament: The Life and Art of Frank Frazetta. In this image, Frazetta depicts Thor, the legendary Norse God, riding a winged beast over a lake of fire. Frazetta was always fearless when it came to the use of vivid colors. His primary focus was creativity, imagination and the ability to make what he drew riveting. In Thor's Flight, he wanted to use a high vantage point that showcased the size and intensity of the Planet's surface to heighten the sense of danger and drama. While already larger than his typical oil pieces, his inspired design, palette, color blending, and composition integrate to complement the effect and create a fantasy world full of life. This oil on canvas board piece is truly a wondrous work that measures an impressive 24" x 20".

31 Days of Spook'tober Day 9The Executioner Artwork by Frank Frazetta circa 1967Used for the cover of Creepy  #17www.fra...
10/09/2026

31 Days of Spook'tober
Day 9
The Executioner
Artwork by Frank Frazetta circa 1967
Used for the cover of Creepy #17

www.frazettamuseum.com

Frank Frazetta Creepy #17 Cover Painting Original Art (Warren, 1967). The Executioner stands ready to deliver "Haunted Fear and Sheer Terror Illustrated" tales, just as the cover blurb proclaimed. It is a striking cover by master painter Frank Frazetta. For a time, Frazetta had a deal with Warren Publications that he would produce cover art for them, and they would then write stories to go with the art. The story for this cover was "Heritage of Horror", written by Archie Goodwin. This painted piece was exhibited at the Museum of American Illustration in 2005. It was acquired by the current consignor from the Kirk Hammett Collection. Rendered in oil on canvas-wrapped board and signed in the lower right of the 15.5" x 19.25" image area. It has been open front framed to 20.25" x 24.25".

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Sideshow Collectibles fine art print....
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Zippo....
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Gallery Series Print Unframed...
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31 Days of Spook'tober Day 8Tree of DeathArt by Frank Frazetta circa 1970Cover art for Flashing Swords  #2 by Lin Carter...
10/08/2026

31 Days of Spook'tober
Day 8
Tree of Death
Art by Frank Frazetta circa 1970
Cover art for Flashing Swords #2 by Lin Carter

Frank Frazetta "Tree of Death" Painting Original Art (1970). As amazing in its layout as it is for the subject matter, this incredible painting by legendary master painter Frank Frazetta features a sinewy barbarian rescuing a wizard from a horrific tree hell-bent on having a magical lunch! Three years after it was painted, it was used as the cover for the paperback Flashing Swords #2 published by Nelson Doubleday. It was also used for a poster print in 1980 and later appeared in a Frazetta art book; yet, many hard-core Frazetta fans have never even seen this one before. The oil on board painting has an image area of 15.75" x 19.5" in the ornate 22.5" x 26.5" open-front wooden frame.

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Poster@
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31 Days of Spook'tober Day 6Werewolf script by Larry IvieArtwork Frank Frazetta circa 1964Creepy  #1 Warren Publishing 1...
10/06/2026

31 Days of Spook'tober
Day 6
Werewolf script by Larry Ivie
Artwork Frank Frazetta circa 1964
Creepy #1 Warren Publishing 1964

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OCT, 1993/ CREEPY discussion
(DW-Dave Winiewicz....FF-Frank Frazetta)

DW: Where are the originals from that CREEPY story, Frank? Were you happy with the story? I haven't seen those originals in several years. I hope you didn't sell them. Ellie had them in the closet upstairs the last time I saw them.

FF: Is that the WEREWOLF story that I did?

DW: Yes, that's the one. You did it in ink and wash tones, very moody. The style is somewhat different from the Canaveral press drawings you did at the same time. You used less line work and more wash toning. The originals were quite impressive.

FF: Yes, of course I remember it. We have it upstairs somewhere. We sold the oil for the cover a long time ago. Russ sold it. I wasn't happy with it. Jim wanted me to add a picture of uncle creepy and give it an EC feel. The cover wasn't so hot, but the story was pretty good. Frank yells: ELLIE! WHERE'S THAT WEREWOLF STORY? BRING IT DOWN!

ELLIE: Forget about it, I'm cooking. I'm not going to run upstairs and dig through the closets. Look at something else. You have art all over the place. I'm busy; I have work to do.

[Frank searches and finds an old European hardcover book that has the story reprinted. It's on the shelf in his den. He brings it in for us to look at. He starts thumbing through the story. He looks at each page carefully, with an intense concentration. The reproduction is pretty bad.]

FF: I better not find out that she sold these originals. I know we have the whole story. I want to keep it together. I haven't looked at it in years.

DW: Why didn't you add a girl to this story, Frank? You had one in UNTAMED LOVE.

FF: I'll tell you exactly why. I didn't want any distractions. I wanted this story to be all about the mood and atmosphere. The whole thing was supposed to take place at night under the moonlight. I wanted to capture that magical late twilight period where the light is strange and mysterious. I left some printing notes to make sure the white backgrounds were printed dark. They didn't do it. I was pi**ed when I first saw it. Can't they pay attention? Bastards.

I wanted all the emphasis to be on the wolf. I forget the story, but I remember trying to get the wolf shots just right. I wanted him dark and mysterious, a silhouette of death moving in the night. I remember drawing that big panel page. All I had in my mind was the howling and snarling and spitting of that wolf. I swear to you that I heard that howling in my ears the whole time I drew the wolf. Strange. I wanted to catch that savage intensity. I remember it now. I played out a little drama in my mind. I had music on, very soft and mysterious. It helped my mood. It was fun. I put a lot of effort into those pages. I probably should have added more background wash tones to the backgrounds. That's how I saw it, but I got a little time pressed. And I still had that damn cover to do. By the time I got to the cover I lost a lot of interest.

DW: Time pressed? You waited until the last minute again? You know what Ellie says.

FF: What? That I'm lazy? HaHa! Yeh, she tells me that every day. I'm sick of hearing it.

DW: Honestly, Frank, that statement is ridiculous. Look at all the work you've done. I have a different theory on your late starts. There's a story about the great Joseph Clement Coll. Before sitting down to actually draw, he would sit in the corner by himself with a hood over his head. He was blocking out all sights and sounds, preparing to create. You are actually doing the same thing... in your own fashion. By waiting you are subconsciously preparing to do the job. When the time is right, you sit down and knock it out. Your imagination's fires are being secretly stoked. What do you think?

FF: Hey, you might be right. When it comes time to draw or paint there is no hesitation. I just do it, no worrying, no second-guessing. Tell that to Ellie, will ya? This story didn't take me long...a few days at most. Once I got started, it went pretty fast.

DW: My favorite page is actually the third page where they are slogging through the swamp. What great animation, great action, great texture in the clothing and vegetation. That page had a wonderful flow to the action from beginning to end. The design is perfect. That opening face of the hunter is simply superb. It contains so much...strength, malice, vanity, confidence, brutality...so much there. I always thought that face was one of the greatest drawn faces in the medium of comics.

FF: Yeh, it is pretty good, isn't it. I had Ernest Borgnine in the back of my mind when I drew him. He doesn't look like him. I didn't want his likeness in the story. I just wanted to capture his way of playing that role. He was very hard and gruff and confident. If I had tossed in some girl, the story would have completely changed. I wanted to do a simple horror story with creepiness in there. Hell, the magazine was called "CREEPY" wasn't it? There's a lot of good stuff in this story. I like that demon transformation on the last page. Look at it. That came out well. I liked drawing the hunter. Look at that big bulk and raised hand on page two.
[Frank is showing me the images from the book as he talks.] That's good inking. It holds up.

DW: And, Frank, if I remember correctly, none of the pages have any coffee stains on them. That proves you were working hard.

FF: Frank laughs.

© Winiewicz/2011

Address

141 Museum Lane
East Stroudsburg, PA
18301

Opening Hours

Thursday 10am - 4pm
Friday 10am - 4pm
Saturday 10am - 4pm
Sunday 10am - 4pm

Telephone

+15702426180

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