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Felipe Massafera was commissioned to recreate Dave Cockrum’s iconic opening splash page from the X-Men, Vol. 1 # 107, Pg. 01.

I found these images on this http://www.comicartfans.com page.

Brett Booth, after Dave Cockrum.

more PinUps penciled by Alan Davis.

Uncanny X-Men, Vol. 1 # 354 had a 1-in-4 Variant Cover that was Penciled and Colored by Chris Bachalo, with Inks by Tim Townsend.

this variant cover was an Homage to a classic George Petty PinUp Girl.

Back Cover PinUps for Classic X-Men, Vol. 1 #s 01-10, illustrated by John Bolton.

early issues also had backup stories that John illustrated, with scripts by Claremont and others, published at the end of the reprint pages as bonus stories. the bonus stories are very well worth looking for (just an FYI).

Classic X-Men, Vol. 1 # 13 by Arthur Adams, with Inks by Al Williamson.

Explaining how good Al Williamson was to young people in a succinct, quick conversation is like explaining the Kardasshians to Aliens in 5 minutes.

Al Williamson was a premiere talent in the 1950s and 1960s. Frank Frazetta, the famed painter and fantasy artist, was Al Williamson’s understudy.

When the Star Wars movies premiered in 1977, George Lucas picked Al Williamson as the artist for newspaper comics they accompanied the movies. He hand picked Al Williamson.

I have flat out studied comic book artwork since I was 5, and I am 39 years old now. Other kids had baseball cards.

Me? I knew the stats on pencilers and inkers.

Al Williamson’s trademark as an inker was hashmarking, and above all, making the penciler look like a star. The best draftsman of the ‘50s and ‘60s trademark as an inker is that he made the young talent look good. Think about that.

Look up Al Williamson books where he was the inker. He improved without dominating or stealing credit. Across the board.