redrighthand

We are talking about a hobby that has, at best, loose definitions and, at worst, wrong definitions for almost so many art-related terms. Remarks (or more properly remarques) continues to mutate, but almost never seen it used for the actual definition. What people are selling as artist's proofs are not artist's proofs, and I don't know how many times I've seen a fully inked piece called a sketch just because it wasn't a cover or interior page. Coming to comics art after having studied fine art and its markets is confusing. This is just par for the course. All this is by way of saying "yeah!"

My 1.33 cents. The Liefeld price is spot on, if not low. it's his Mona Lisa. What do I mean by that? It's his most recognizable and well-known piece. People who don't know comics, know this. Nobody gave a rat's anything about the Mona Lisa for 400 years. It's not DaVinci's best work. Not really even close. Nobody outside of the serious art world cared about it until it was stolen in 1911. Now it gets mobbed on a daily basis by people who think it's the most amazing art thing ever - it's not even the top ten best things in Louvre. It's potential value and its interest is derived from it being a historical artifact more than being a piece of art (whether the layman realizes it or not) So there it is. It's the Mona Lisa.

Because I don't think he does. This gets carelessly thrown around a lot, but after looking up the legal details of Collector's Network Inc, his name appears nowhere. I believe he loaned some money once.

I know 13.5 people (including myself - mostly comic store employees, former comic store employees, or comic industry adjacent) who did go and see Ms. Marvel and every damn one of them (and I say .5 because one is a child and who cares what they think, they're spending power is weak) raved about it. The fun was back. And it was. It's a great movie, it's not a template for how to other characters, but this worked perfectly for these three and it made me genuinely excited to see what's next (which I haven't been for a while). Everyone who has something negative to say about this movie all seem to have the same thing in common. They didn't see it. I can understand why they don't see it - the track record isn't what it once was. I went because Ms. Marvel is a great character and Imani Vellani is fantastic in the role (and gods forbid a teen character not be a sex symbol - really?). I'd love to see more...sadly, I expect I won't. But some people are just stuck in the Bronze age in their thinking about female super heroes. Honestly, people need to stop treating movies like personal attacks. It's just a movie. It's not going to change your life.

There did used to be the "garage sale" rule, which was ill-defined but there's was wiggle room to go either way, but by lowering the reporting, it kinda de facto quashes that rule. So it's not a new tax while also being a new tax. Isn't the US tax code grand? Don't get me started on the tax prep lobby.

The rule hasn't fully taken effect yet. If you trigger a 1099-K (i think it's K). You wouldn't get one until this coming January (unless they suspend it again).

Correct me if I'm wrong (PLEASE) but I don't think the reporting is triggered by personal Zelle, Venmo or Papyal F&F (but is triggered by goods and services). In these instances it could easily be a person paying back another or gifting (the exclusion amount for which is 16k). Of course, I suppose if you have too many of those, you might trigger an audit. I am absolutely speaking out of my , so again - please correct me if I'm wrong.

I had said in another thread that I dislike framing the printed cover with the original, but this works nicely. Well done. And congrats.

Why own the art, then?

Not a fan of putting the published page next to the art. As mentioned, it draw the eye away from the art. Sometimes, the coloring did the art no favors. And in the newsprint era, the page just looks kinda dirty next to white Bristol. Also don't care for colored matte. Again, let the art be the art. The frame should be simple elegant and unobtrusive. I will say, I like frame jobs that let the notes, toplines, and blue-printed board instructions appear. Fortunately, there are no rules and you can do whatever suits you.

This doesn't address the quality risk of commissioning, but...my .001364 cents (adjusted for inflation). The one thing I never see in "getting out what I put into a commission" is the monetary value of possession and enjoyment. This has to be acknowledged when you go in on one. I spent 600 on one by a noted artist and his trademark creation. I know I'm not likely to get the full 600 out of it anytime soon (not that I intend to). But it's been on my wall for a year and a half and I know that I've paid for be able to do that and looking at it. If I sold it tomorrow for 400, I'd have to consider if I got 200 bucks of fun by having it (and as far as I'm concerned, I've gotten the full 600 from it). If the time a piece is with you isn't worth anything, then it's not art. It's just a commodity. Unless it's just a "meh" piece, in which case...bad luck or bad research. Part of why I just don't get collectors who just file their stuff away, but that's another thing.

Side note: Came across a figure recently that, of those surveyed 50% of vinyl collectors don't own a record player. Mostly ascribed to purchasing current vinyl as a mean of supporting a current band in the age of streaming or as collectible/art objects.

Assuming a new hire...Honestly, I don't think they'll actually move to this level. Regardless of what they say.

At this risk of offending the board hosts, why would I even trust CGC's authentication? There are many practices already that make me doubt their integrity as an objective judge. It feels to me like the only thing driving their comics grading is the price boost over any other grader. The accuracy of the grade is secondary.

Meanwhile, the works museums are trying to acquire, they can't because they can't match the bids these financial instruments artworks pull in.

Might I suggest pulling images of the published art from the internet...?

I don't see why this would be aeven a ripple when MegaCon is down the street a week later and is stuffed with IP violations on a grander scale (much like most other comic cons) that nobody cares about. And MegaCon has something like 150-200,000 attendees compared to Bill's cap of, what was it 1500 or something?

The Punisher is too big to be taken down either by fascist cops/sheriff's gangs (yes, some are just comics fans, but should be smart enough to know that the Punisher has no place on their uniform or car) or by backing off his story. At the same time, I get the concept that continuing to tell these Punisher story's is fueling a Frank Castle attitude in people who should know better and realize that ultimately he's not the good guy, but he's taken to much of a cultural foothold and those values aren't going anywhere, I don't think. Frank's a frakkin' urban legend now!

Without the lettering, this page wouldn't be much - but with it, it's a favorite. A complete thought in nine panels.

I think also, the difference between comic and fine art is that there's significant faction of collectors who are artifact collectors as much or more than they are art collectors. One wouldn't restore the Rosetta Stone, but you would (and have) restored The Last Supper. Once it's been shot or scanned, it's frozen in time, even if it leads to the loss of the artwork. Someday, those marker pieces will be absolutely gone, but not during the owner's lifetime.

I'm not against color guides, they're still a historical artifact of comics I love and would get one from the right book at the right price. They occupy a unique place in the art world and in comics, and as something that wasn't religiously saved and are no longer in use, they're value will only increase...as a historical artifact.

I wouldn't lump monos and color guides together as I wouldn't call a monoprint a production piece. it played no part in production. A color guide is at least a legit artifact from the production process. which is where it derives most of it's value. A monoprint could be made years after the comic has been printed (as seen with Mister Miracle for instance). An actual artist's proof would be closer to a production artifact (note that in this hobby, i think the term artist's proof is often used improperly).

I almost feel like monoprint collecting shouldn't even be discussed in original art circles. it's a completely different hobby, though adjacent. This isn't significantly different (to me) from what goes on in fine art circles. Prints are made, each run has it's characteristics, some go up some don't. Yeah, there's a run of color prints for cheap, but there's only one b/w (presumably using better materials - i don't care enough to find out). That's the uniqueness to hang the collectible on - might not be much, but hey, some people have managed to fetishize the barcodes on bronze age comics, so... In terms of scaling between fine art collecting and comic art collecting, the big problem is the pricing doesn't scale. Monoprints are frequently overpriced, and that's what will kill monoprint collecting while it's still young. My opinion is likely irrelevant, I'm too snooty for prints.

Top one is Mike Kunkel Bottom one is Terry Moore.

These put me in mind of the classic Target book covers. I wonder if anyone has any of those...?