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sfcityduck

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Everything posted by sfcityduck

  1. Does she have any Rice or Gearhart or other California arts and crafts woodblocks hanging around waiting for buyers?
  2. Do you have any idea what will happen to her collection? I assume she had some sort of plan for the collection for when she died. It will be interesting to find out what it was.
  3. It was also the culture of early collectors. Bangzoom and Farrell are two known examples now. But my own LCS owner was always closed mouth about his collection when I was a kid.
  4. Here’s the Scoop article linked above. There is no doubt she was very savvy in her collecting. As a collector all she deserves from us is Search Exclusive: Collector Amasses Complete DC Collection A private collector in the northeastern United States has accomplished the astounding and unprecedented feat of assembling a complete collection of every comic book ever published by DC Comics. For those of you who have trouble visualizing the enormity of the task, that’s over 30,000 individual comic books! Amazingly, with the exception of a small handful of items toward the end of the quest, this collection was achieved the old-fashioned way with a lot of legwork and mileage, scouring comic shows and stores large and small from coast to coast. Almost no Internet usage was involved in assembling this amazing collection. The collector, who has chosen to remain anonymous at this time, started on the road to this accomplishment in 1970, when it was decided on whim, to accumulate all the back issues of all the DC superhero comics. Subsequently at the San Diego ComiCon (as it was then known) in 1987, with the superhero titles virtually completed, the collector had reached a crossroads. “What do I do once my primary collecting goal has been achieved?” was the basic gist of the discussion, a situation many collectors have faced. At the urging of the staff of the now-defunct Sparkle City Comics, the collector chose to expand the parameters of the collection to include all of the comic books ever published by DC. For 5 years, until its dissolution in 1992, Sparkle City served as the main conduit, funneling vintage DC Comics into the collector’s hands. With their heavy annual show schedule, the company was able to easily connect with other dealers and private collectors throughout the country in order acquire needed items. A dedicated band of fellow collectors and other supportive dealers also actively participated in the hunt over the years. It was common practice at the beginning of a major convention for the hunters to congregate at the Sparkle City table for copies of the latest want list update, before fanning out into the dealers room. In early 1992, Mike Wilbur of Diamond International Galleries and Alan Grobman (both then of Sparkle City) entered the ranks of the select few who have personally seen the collection. They spent three weeks that winter at the collector's house. Day after day, from morning until after midnight, they flipped through a seemingly endless succession of boxes, as they checked, verified and toke notes. Complete runs of Action, Adventure, All Star, Batman, Detective, More Fun, Sensation, Superman, and other titles both well-known and obscure passed through their hands as the weeks progressed. From early rarities like Big Book of Fun Comics and New Fun Comics up through the Golden and Silver Ages to then-current titles, the main core of the DC collection was there. All that remained at that point was to finish filling in the fringes with the rest of the war, western, romance, mystery, and humor titles. Ongoing new releases were covered through a long-standing arrangement with a local comic shop. “It was an almost surreal experience,” Wilbur said, “just box after box of books that most collectors can only dream of seeing.” Among the more esoteric items in the collection is the two-volume set of Cancelled Comics Cavalcade, published by DC in 1978. With a print run of only 35 copies, these books contain stories left over following the infamous “DC Implosion.” Printed for copyright purposes, these were distributed internally to creators whose work it featured. The collector’s copy was acquired from The Overstreet Comic Book Price Guide’s publisher Bob Overstreet. Included with the books is a cover letter to Overstreet from then-DC Editor Mike Gold, detailing the information for the Guide. “I remember [the collector] spent a lot of time visiting when we were still down in Tennessee,” recalled Overstreet, “I sold [the collector] an Action Comics #1 and a few other things.” The almost final book in the collection was the romance title Girls’ Love Stories #56, a nothing-in-particular issue of a nothing-special title that was simply frustratingly difficult to locate. Acquired in late 2002, this was thought to be the end of the long road, until the discovery of the obscure Golden Age DC comic, the Fat and Slat Joke Book. Once this additional piece became known, a copy was acquired within a couple of months, in early 2003. Since the assembly of the collection was primarily a labor of love and not a search for glory, the collector had chosen to avoid the limelight. However, in light of the historical importance of the achievement, the collector did acknowledge to Scoop that “The First Complete DC Collection” was a reality. The collector would like to extend personal thanks to Joe Vereneault of JHV Associates, Alan Grobman, Gene Carpenter of All-American Comics, fellow collector Mike D’Alessandro and Wilbur, with special mentions also going to Joe Mannarino, John Verzyl of Comic Heaven, Mike Goldman of Motor City Comics, Ron Pussell of Redbeard’s Book Den, Harley Yee, Richard Evans of Bedrock City Comics, Rob Ronin, Michelle Nolan, and Nostalgia Zone of Minnesota for their assistance, support, and encouragement.
  5. Ian's is labeled the "The DC Universe Collection." So "The Earth Prime Collection" would be a cool related name.
  6. My recollection is that back in the early 2000s her collection was reviewed by guys who also were active with GCD over the course of several days and they verified that her collection was a complete newsstand collection as of that date. However, I believe that Ian had several nits about how complete it really was - my recollection is that when he discovered the "How You Can Defend Your Home" publication that became a big talking point for him. I think we can safely assume that she had, as of that date, everything that most of us would consider DC newsstand publications. Two big differences between her and Ian: (1) She started collecting DC in the 1950s and (2) she bought better condition comics. She had her Action 1, D27, etc. no later than the early 1980s. They all looked nice.
  7. Here is a good article: https://m.sevendaysvt.com/arts-culture/origin-story-how-burlingtons-earth-prime-comics-helped-unite-vermonts-comics-lovers-35006000 The highlight to me: The value of those comics alone would be staggering, let alone the entire DC canon from 1938 to 1970. Surely Giordano didn't mean all of them? "All of them," Giordano said with a wry grin. If Farrell's collection is shrouded in mystery, that could be because she wants to avoid the fate of Brattleboro collector Jim Wheelock, whose massive collection of rare and vintage comics was stolen in 2015 and never recovered. Still, there is some documentation of her treasures. The acknowledgments in some DC Comics collections indicate that, on occasion, Farrell has let the publisher make copies of her comics for reprints and posterity. (Owned by Warner Bros. since 1969, DC famously kept poor records of its golden-age books.) In the mid-'90s, Farrell allowed author Ernst Gerber to photograph her vast collection of golden- and silver-age comics for The Photo-Journal Guide to Comic Books. The two-volume book is one of the most comprehensive studies of the art form available, documenting more than 20,000 comic covers. In a 1995 episode of a Mountain Lake PBS program called "People Near Here," host Muirden follows Farrell into her office, where she stored much of her collection at the time. The floor is covered in long white comic boxes, which also line the walls like alabaster library shelves. Original pencil-and-ink art of Superman from an issue of Action Comics is framed on the wall. "This is my childhood, or at least a significant portion of it," Farrell says, smiling nervously as Muirden picks through some of the comics. Clearly, she was unaccustomed to welcoming visitors into her sanctum sanctorum. Muirden finds a copy of Detective Comics from early 1939. "Batman started in No. 27," Farrell says with a note of pride. "That one is pre-Bat." Muirden pulls a copy of Flippity and Flop, an adaptation of animated shorts from the late '40s starring a cat and a canary, out of an old Arrow shirt box. Farrell shrugs almost sheepishly. "I buy them because I want to read them. I wanted them so I could look at them," she says. "But not for resale, not at all. I do not intend to sell the collection. That's not what I'm in it for." When Muirden asks how many comics she actually owns, Farrell laughs as if brushing off the question. "It's been a long, long time since I've counted," she says. "I lost count somewhere around 12,000. And I'm still at it. Can't give up; it's an addiction."
  8. The video works, but you need to give it a part of a minute to get going. She starts at 19:10. https://americanarchive.org/catalog/cpb-aacip-113-021c5fmk Her collection looks amazing. Really great shape. You see the Action 1 at 23:00 but it is ignored by the interviewer.
  9. Richard made an extraordinary offer to me once. He wanted to fly my wife and I over to New Orleans so I could drive to his house and hand deliver the highest graded FC 456 (US # 2), which was one of his favorite comics. He kindly offered to show me his collection and talk comics. It's an offer I couldn't accept due to my case schedule but I regret the lost opportunity. It must have been a fun experience to meet him. I envy you. We did correspond a bit. I had no idea he was that private. He seemed to love to tell stories and share his knowledge. I really enjoy seeing the gifts or cards he sent various board members. Obviously a generous guy.
  10. At least you got into the DC Silver Age. Luckily, however, Baily worked on Cracked 3, 4, & 5 in 1958! Examples:
  11. Here's a page of Bailey art from his time on Cracked (late 50s early 60s):
  12. Didn't he work for Cracked in the 60s? Don't know what it looked like but you might want to check it out.
  13. I'm sure there are more folks in fandom than just me who were given their father's childhood comic collection. In his case, given he's younger than our own soon to be 90 year old "Marty Mann", so his comics ran from the late 40s to the early-mid 50s. As for where were the stores? Comic book only stores was just a way for collecting to create identity for itself. But they weren't necessary for kids to collect comics. New comics were on sale pretty much everywhere until the emergence of the direct market. Vintage comics were sold all over the place also. And they had been for many many years. Collectors were seeking out comics almost as soon as they appeared. This is a classified ad from the Hastings Daily Tribune in April 1939: In the early 1960s, comic collecting was very much originally organized east of the Rockies, as that's where most of the major players in comic fandom were living and publishing fanzines and adzines. There were a lot of East Coast dealers selling by mail. Did they need brick and mortar? Apparently many did without. Longer than the guys in LA. Comic specialty shops apparently got more traction on the West Coast earlier than the East. It apparently didn't hurt east coasters dealing or their collections. By around 1970 or so comic stores really started popping up all over.
  14. So was he the guy selling all the Beacon Books cover paintings? I remember those offerings well.
  15. I completely agree. That cover is not just great art, as good as anything of that period, but also emblamatic of everything I think Alice Kirkpatrick was thinking as she drew that cover. Basically: "This beautiful woman does not want to be with that man. She's looking in a different direction entirely. At me (Alice)."
  16. That Alice Kirkpatrick cover is awesome! Her portrayal of beautiful women is top notch, and her dark lines are in the Caniff/Sickles tradition that some of the best art of that period (Toth etc.) followed. I picked up one of her covers a few months ago at one at the Berkeley Comic Shows that HouseofComics puts on. I was so blown away by the cover, I just paid the $40 ask and didn't even crack it out it to inspect it: I thought it was so cool, I went looking for other Alice Kirkpatrick covers. As I perused GCD, I began to sense a pattern. In most of her covers, like yours and mine, there's a bit of distance between the woman and the man. In your case, the arm between her and the man's face. In mine, the sort of distant open eyed look, closed mouth and the turning of her head away from the man. In a lot of covers she did, it just seemed that the lips were never going to meet and there was often that distance or turning away or the man seemingly restraining the woman: Then I went and read Alice Kirkpatrick's bio. It suddenly all made sense. No wonder she knew how to draw such beautiful women ... but distanced them from the men. Her covers are told from a Lesbian perspective. Now I think they are worth much more than I paid. Alice Kirkpatrick's bio: https://womenincomics.fandom.com/wiki/Alice_Kirkpatrick Kirkpatrick was born in September 1912 to bookkeeper John Maurice and Helen (Borton) Kirkpatrick in Huntsville, Alabama. She was their first and only child after 12 years of marriage. She graduated from Huntsville High School in June 1930, then may have attended college. In 1934, her live-in maternal grandmother, Carrie Borton, died at 79, and in July 1935, her father died at 68. She moved to New York City in 1936 and by 1937, she had started working for Ace Magazines as a pulp artist illustrating stories in the romance magazine, Love Fiction Monthly. She signed her work simply "Kirk." In 1938, she moved in with Jacqueline Franc, a model and Broadway actress, across the street from the Museum of Modern Art (opened 1939). Her first known comics work appeared in the January 1948 issue of Quality's Police Comics, likely published in November or December 1947. For Quality Comics, she did action features like 'Betty Bates', 'Hack O'Hara', 'Manhunter', 'Sally O'Neil' and 'Steve Wood'. In October 1948, her mother died at the age of 71. Her first identifiable romance comics work was the cover of Ace Magazine's Real Love #25, cover dated April 1949; in addition to further covers for Ace romance comics, her first identifiable interior romance work appeared in Quality's Heart Throbs #2, cover dated October 1949. From 1951 to 1955, she expanded to other publishers and drew romance comics for such publishers as Ziff-Davis (Cinderella Love, Romantic Marriage), Timely/Atlas (Girl Confessions, Love Romance, Lovers, My Own Romance), and Toby Press (Great Lover Romances). In 1955, she returned briefly to action comics, contributing covers to the first four issues of Navy Patrol, published by Stanley Morse. Also in 1951, Franc moved out of their apartment, and a legal secretary named Muriel Birckhead moved in with Kirkpatrick. By 1956, she had moved on from comics to dust jacket illustrations, which she evidently continued to do successfully until her retirement in 1977 at the age of 65. She had started spending her winters in Naples, Florida in the 1960s and moved there permanently upon her retirement. Though she moved around New York City several times in the 1950s and '60s, it is not clear when she and Muriel Birckhead parted ways, though it seems unlikely Birckhead moved to Florida, as she passed away in Teaneck, New Jersey in February 1984. Jacqueline Franc died in Allentown, Pennsylvania in July 1985. Kirkpatrick herself passed away in Florida in July 1997 at the age of 84. Neither Kirkpatrick nor either of her former roommates ever married or had children.
  17. I completely agree. I don't think comic collecting really matured to the point of "paying well for comics" until the 1960s, if you can even call early 1960s prices "paying well." But, I know from my research into the the Dave Wigransky story that kids were paying over face value for some comics early. The below article about Dave Wigransky's comic collecting in the Washington D.C. Evening Starr of July 19, 1946 reflects that he would "trade valuable items for the first two numbers of the Fawcett publications or the original oversize Master comics magazines he's heard about but never seen." Maybe the most shocking thing about that quote is not that he viewed the first two issues of Fawcett publications as something he'd "trade valuable items for" but that my best guess right now is that he was talking about the Flash and Thrill ashcans that he'd probably learned about from researching in the government archives - researching was something he enjoyed, was good at, and he was doing it to raise money from other comic collectors at the time to fund more acquisitions. Basil Wolverton's son very kindly provided me with a complete copy of the digital images of the archive of his father's stuff, which includes a lot of fan and business correspondence, for me to sift through for my research. I learned that a few years later, Dave was writing Wolverton that "I have a friend who is an executive at King Features Syndicate, who sent me a Prince Valiant original at Hal Foster's request, as he [Foster] lives in Connecticut and had none available, and later, after the death of Carl Anderson, sent me a Henry original, along with a Krazy Kat, which are valued among collectors at several hundred dollars apiece, impossible to get, and very rare." In that same time period, Wigransky was running ads in pulps seeking comics from a single title - Fantastic Comics. And was running ads all over the nation seeking original art and comics from 1938 to 1942 - which Wigransky called the "Golden Age" of comics in other correspondence with Wolverton. This kind of stuff paints a whole different world than most of us think comic collecting was like before the 1960s. One thing I think we all forget is that the comic pros back in those days liked their fans. They were, in fact, introducing their fans to each other. We've heard those stories about EC and DC creators like Gardner Fox and others. Well, it is obvious to me that Basil Wolverton did it too. Basil got regular correspondence from fans other than Wigransky, although it is obvious he took Wigransky more seriously than other fans and filed his correspondence in his business files not his fan letter files. One of those other fans was Ron Graham, who wrote Wolverton in 1948 trying to buy comics off of him and asking for his editor's address so he could try to buy back issues off of him too. Who is Ron Graham? He's one of those founders of modern comic fandom. He had a pretty remarkable letter in Alter Ego in 1961 (starts at bottom of first page below). In it, he talks about how Wolverton got him started collecting original art in 1948 and that by 1953 he had 150 pieces of OA and 5,000 comics. He said he gave the comics to Ted White in 1953 when Ron entered the Army because he knew Ted would take care of them and keep them intact! How'd Ron (of Indiana) know Ted of (Falls Church, VA)? Through SF fanzines for which Ted became an active contributor in 1951. Just like Lupof and Don & Maggie Thompson hooking up as comic collectors through the SF fan scene later. To me, that's comic collecting and that's a network of comic collectors. These were the guys who became the supposed founders of modern comic collecting in the early 1960s - but they were doing it before then. Ron Graham shared with the budding comic collecting community of 1961 a lot of key information about comic history and their creators. Including some information that shocked Richard Kyle who was writing the first serious article on comic history for Xero's All in Color for a Dime series. Stuff like the history of the birth of superheroes, the sequence of character appearances, the DC lawsuit against Fox/Wonderman and Fawcett etc. So Richard Kyle called up Graham and asked him "where'd you learn all that?" Graham referred Kyle to that kid who was charging 5 cents a question to research comic history back in 1945 - Dave Wigransky. Obviously Graham got introduced to Wigransky, and Wolverton knew them both back in the late 1940s, so its seems Wolverton was probably the guy who introduced two of his fans. Just like Schwartz introduced Roy Thomas to Jerry Bails in the 1960s, and other pros did for fans earlier. And Wigransky told Kyle what he wanted to know about the history and more which Kyle then incorporated into his article in Xero. So the guys active in the 1940s became the foundation for the info being published in the fanzines of the 1960s. Comic collecting did not begin in late 1950s or early 1960s. It was a thing really early on. Pretty amazing when you think about it. But just as important, maybe more so, is that what collecting is today is due to the huge boost that came with the guys of the 1960s organizing comic collecting into something much more serious than it was before. And those guys in SoCal were a huge part of that in the early 1960s. Its a fascinating history with a lot of credit to go around.
  18. The way Richard tells the story is that he was never a part of the store, having decided to head off to college. This is an article Richard sent me that he wrote, it's in full on page 2 of the thread.
  19. They did take your photo from the LOC under the flourescent lights of the Nightingale, because that sickly green is not color accurate to the book (your fix that). Not SOTIcollectors copy. Instead, the worst of the three known copies in private hand:
  20. I think there were more collectors buying and keeping comics in the 1950s then folks realize. More folks buying and keeping comics starting in the 1940s than people realize. A lot of the founders of modern comic fandom in the early 1960s fell into those categories. And stores were actively buying and selling back issue comics much earlier than people realize. Willits & Brown were on the cutting edge of modern fandom when they opened Collectors Showcase in 1964. And it became a top store as multiple guys here have attested. Richard once posted on this site about seeing 12 copies of Batman 1 for sale at one time at that store in the mid-60s. But, I've seen ads for stores buying and selling used comics that date back to the 1940s. Comic and original art collecting was a thing well before it got truly organized in the early 1960s. And by the late 50s, Willits and Olson were hunting down comics and selling them through the mail.
  21. I sold Richard this comic. It was apparently amongst his very favorites because he "made me an offer I couldn't refuse" when he learned of it, offered to fly me and my wife to New Orleans and put us up in a hotel so I could deliver it and visit him in person (which offer to my everlasting sadness I could not accept due to press of cases), and struck up a correspondence with me that I truly appreciate. As I just asked over on the Ducks thread, anyone know what's happening with his collection? I wouldn't mind trying to buy this one back.
  22. Back to duck. I was surprised to see this pop up on eBay for less than I sold it on Heritage. It is, to my knowledge tied with one of its brothers for the highest grade given to a subscription variant. Here is the brother: This run’s OO was in Oregon. But his books were dispersed by a dealer. You see them around. The WDC&S all have the OO name and address. There were also incredible Duck Four Colors - census topping. I sold an incredible US 2 to Richard Olson b/c he told me it was his favorite book. Anyone know what is happening to his collection?