sfcityduck

First, Pluto! Fantastic! And definitely Bark's first Disney comic work, but I've seen the claim that Barks' first comic work is in Coo Coo Magazine:

So your following in Gagne's footsteps? I remember him talking about his Kirby restoration project back in the day. Please don't give up and use scans. I have no need for the PS quality product. Your restoration looks great!

I do have two comments about this restoration. First, as someone who has the Nelvana, Johnny Canuck, and Brok Windsor books, this restoration appears really really good. Line work restoration is fantastic! So I know that the b&w portion of the book will be up to the highest standards. Second, I do think it is wise to emulate what works, and the Barks library books by Fantagraphics are the gold standard for color GA reprints. I'd suggest you mute down your color palette a tiny bit to make the colors look more like old newsprint comics as Fantagraphics has done. AND, PLEASE PRINT YOUR BOOK ON MATTE PAPER LIKE THE FANTAGRAPHICS BOOKS. Glossy paper does not suit GA reprints.

Fantagraphics' Barks Library and Prince Valiant are the gold standards. But, the Barks Library is basically the same process as being used above. Personally, I like having in registration color. DonovanY is doing a good job.

I've noticed the exact same thing about Hulk 181!

Marty, Is the Mark Marson from Warrior Comics?

Fantastic art!

That's the only reasons I'd buy one, because owning a single page would never check the box on my checklist for a title.

Doesn't Chuck Rozanski?

I think the mentality of Overstreet was a dealer's perspective and he knew it was dealers who would most benefit from a guide as they bought comics for their stores. He was using the guide also to drive and restrain prices. I have no problem with a digital platform, but I personally would prefer the oversize book. What I think is not necessary is to turn the guide into a tickertape of sales. For me, the pricing information is not as important as the wealth of other details in the guide.

I think Overstreet's objective vis a vis pricing was to (1) provide a GUIDE, used mainly by dealers in purchasing, not an up to the minute recitation of current amounts being paid because (2) he also saw himself as a market regulator and stabilizer. And he was.

Distinctive? The only artists that I can think of that weren't successfully imitated by others in the GA or part of a "school" or "shop" of similar artists are: 1. Wolverton (immensely talented, but had a style entirely of his own) 2. Krigstein (redesigned the comic book page and created a new style of telling stories that would not be emulated until the 60s and 70s) 3. Hanks (folk art that could have only existed at the dawn of the GA and wasn't worthy of imitation) 4. LB Cole (mostly for his cover color choices and strong graphic "poster" presentation) I am sure there are a few others, but most of the really great comic artists inspired imitators. Giunta/Frazetta/Williams etc. often cannot be told apart. Simon & Kirby emulated others and were emulated, including by their own shop colleagues. Barks' stories and storytelling really made him stand out, but his art can be mistaken for Kelly and others (a lot of classic Barks stories have classic covers by others). Fine stood out early, but his style, which to me is Raymondesque, was emulated by many. Schomburg was successfully imitated by some of his Timely colleagues, but not often because it probably took way too much effort, so maybe he deserves to be on my list. My point being, if the test is "distinctive" you have to look beyond the covers or interiors of the artists you like, and instead look at his associates and imitators to ascertain if the art really is distinctive. "Great" and "distinctive" are not the same thing.

That pretty much describes comic books.

My ocd makes me buy it every year I colllect.

For those needing a Classics Illustrated s rack (I don't), up on Hi-Bid right now (not mine or anyone I know) is this wall rack with a $20 bid price:

I completely agree. I buy it for for the substantive information, so I'm glad they have on occasion taken on board the substantive info I've offered them.

I have given them some substantive information about rare books that they have taken on board (e.g. number of known copies, etc.). But, they don't seem to believe the actual sales price info for books that rarely appear on the marketplace.

My Dad's comics date to late 1940s early 1950s. I started buying comics in the mid-70s. Initially from spinner racks at Safeway, 7-11, etc. By 1979-1980, I'd been introduced to my local comic book store.

"Original art" for house ad for Fiction House (which is not really "original art," but paste ups of which you are missing four).

Woolworths had a wide array of comic publishers in the time period of my Dad's collection, including DC, Fawcett, Fiction House, Z-D, etc.

Disney did a healthy subscription business, but I believe most of the copies you see for sale these days are the non-subscription copies. My grandfather managed a Woolworth's, and they had a lot of Dells and Disney comics in the later 1940s and early 1950s based on my Dad's collection. I suspect that the Walgreens, Woolworths, and other corner pharmacy/store outlets were probably a better distribution point for getting sales to kids than the newsstands.

I lot of folks focus on his covers, but DS did some great pages. Here's an early centerfold I like because it shows that even as a fan he had great taste and a lot of talent:

Another great book, but because of the contents not the cover. My copy:

To me this book encapsulates DD's personality. Willing to shoot his own nose to get revenge. I love this book. My copy:

Worth keeping in mind that only 11 books (publicly known) have sold for more than $900K. And that was NOT to 11 different buyers, some buyers bought more than one of those 11 books. And some of those buyers are out of the market (such purchasing on hold or dead), and at least for one of those books the buyers may regret the purchase (although I would not). So its a thin pool.