-
When you click on links to various merchants on this site and make a purchase, this can result in this site earning a commission. Affiliate programs and affiliations include, but are not limited to, the eBay Partner Network.
stinkininkin
-
Posts
1,897 -
Joined
-
Last visited
Content Type
Forums
CGC Journals
Gallery
Events
Store
Posts posted by stinkininkin
-
-
9 hours ago, lobrac said:
Frank Robbins:
Frank Robbins was my first thought. But even though I think more highly of his body of work as a whole (his early strip art in particular), I still despise his 70's Marvel work.
No, my choice is Alex Nino. I had always thought his stuff was just...odd. I knew there was talent there, but it was all just very weird and barely tolerated. Now I think he's an absolute artistic genius. Totally unique, incredible craft (I've tried stealing some of his brush technique as I consider him a brush virtuoso) and an impeccable designer and story teller.
I need to add more of his stuff to my collection now that I think of it!
-
1 hour ago, Gatsby77 said:
This. I think going forward Miles will be a more significant comics character than either Deadpool or Harley Quinn.
He's *already* more significant than alternate characters like Tim Drake, Kyle Rayner, or X-23.
And for reference, I own New Mutants 98 and Batman Adventures 12. I don't own Ultimate Fall-Out 4.
Self interested tangent--Where does John Stewart (Green Lantern) fall into the "alternate characters" pantheon? Even more relevant to the Miles Morales equation, John Stewart as a minority alternative character?
As for reference, I DO own the cover of his first appearance (Green Lantern/Green Arrow), and always thought he was a much more interesting character than Hal Jordan! But yeah, I've got skin in the game.
-
- Popular Post
- Popular Post
1 hour ago, Peter G said:225k for a cover that imho, as a piece of art is sub-standard but is considered “important” because of the current fashion of diversity. Color me skeptical but I do not think this piece will maintain its value in the long run.
I don't think this is just about diversity. I have no affinity for this cover, the artist who drew it or the comic itself (never read it). However, when I saw the film 'Into The SpiderVerse' with Miles Morales, I thought it was an unbelievable breath of fresh air and the best Spiderman I'd experienced in years if not decades. I think he can continue to be an important and iconic character, so the price paid for a first appearance original is not as crazy as you make it out to be IMHO.
-
- Popular Post
- Popular Post
3 hours ago, delekkerste said:Mark Bagley's Miles Morales Spider-Man Cover Art Sells for $225,000
A year ago, I would have said this was ludicrous, but, given that currencies are being debased into oblivion worldwide, I'm getting used to seeing more and more absurd prices - across all markets - every day. At this point, $225K for this cover actually seems...normal to me.
Recently, a longtime collector reached out to me and said that the prices I was asking for my art on CAF were ridiculous. Well, two of the pieces that he cited as being absurd sold soon after and there have been serious inquiries about others. People have to adapt to the new realities of the market. Gravity simply does not exist in asset markets any more due to years of near-zero interest rates and $120 billion+ of fresh money being printed every month in the U.S. alone (on top of the trillions that have already been printed). Easy money is keeping everything related to markets and the economy going at this point, inflating asset prices everywhere, and giving people both the means and confidence to keep paying more.
There have been so many stocks, cryptos, collectibles, etc. that have multi-baggered, even 10 or 20-baggered, over the past year...why should we be surprised to see art up 30-100% over a year ago? Even at that gaudy clip, it's BADLY lagging behind the hotter stocks, cryptos and other collectibles out there. I doubt ANY art has appreciated more than a small fraction of the hottest sports cards over the past 12 months (your plain Jane 1986 Fleer Michael Jordan PSA 10 is literally up 20x during that time and many hot cards are up 3-5x literally in the past THREE WEEKS) and there's no shortage of financial assets that are up hundreds of percent over the past 12 months.
As bad as OA prices have become, the reality is that, for a decent chunk of the asset owning class, their buying power has actually increased over the past 12 months as their portfolios have soared. As perverse as that sounds in a pandemic where a good chunk of the population is struggling, it's the truth, and, as such, unless something happens to derail the current dynamics of the market, I think we can expect to see more and more OA sales that would have been deemed insane a year or more ago occur in 2021...
This trend kinda bums me out. As a slightly older collector who is pretty satisfied with his collection, my desire to add to it was already somewhat diminished, while the ever increasing prices make acquiring a new piece more and more difficult, even to fill in what few holes that might remain. And as a collector who has very little desire to sell any of my collection, I don't get to reap any financial rewards from the new pricing paradigm. I'm essentially locked out going in both directions! First world problems I know, but still...
- GotSuperPowers?, John E., Bronty and 7 others
-
10
-
8 hours ago, GreatEscape said:
MY "TOP 10" HOT TAKES:
1) Front Page Follies. It's usually a waste of time to offer FMV for a NFS piece in someone's "Featured" (front page) gallery...asking "What do you think it's worth?" is largely irrelevant as the owner prefers the art to FMV in cash.
2) FOMO. Despite more frequent auctions and dealer sales, our hobby will always be ruled by savage Darwinian outcomes....you either WIN a piece or LOSE knowing it's possible you won't get another shot for decades, if ever. The power of FOMO, the Fear of Missing Out.
3) Hearts and Hoorays. On CAF, it's highly unusual for pieces to have more 'Likes' than 'Comments' unless NSFW-- for which this is actually quite common.
4) Size Matters. Full-page interior or end splashes typically have more art than title splashes or covers-- which typically devote more space to stats, lettering and indicias
5) Lucky Sevens. Buyers are generally more receptive to flip/resell within the first 7 days after purchase or after 7 years of ownership....the best times to strike IMO.
6) DPS Difference. Double-page splash (DPS) refers to a single, unified image or scene on two pages whereas a double-page spread (also DPS) has two sequential pages that present a unified narrative.
7) Finders Keepers. Collector Richard Martinez (I think) said something like "It only takes 1-2 pieces a year over many years to build a great collection. " These days, most collectors are buying and selling in the face of escalating prices and accelerated deal flow (auctions, private sales) ... their biggest regrets are less the fish that got away than the fish they caught and released too soon. So, successful collectors need to be both finders and keepers.
8) Killer Panels. As prices escalate, there is increased zeal for pages with a single "killer" panel-- more affordable than an "A-level" page but can be equally nostalgia and/or aesthetics. Astute buyers already know this.
9) Scarcity. Artists known for retaining their art can artificially raise market value of their art due to perceived scarcity, but how is that any different than specific artists' works especially held tight by collectors or dealers? Scarcity is an illusion when what matters more is availability.
10) COVID Cash. Top 5 Comic Conventions draw about 800,000 people each year, add another 800,000 people for regional Cons and overseas...but no Cons during COVID. Assuming just 3% of attendees are art collectors / enthusiasts spending say $1,000 in tickets/airfare/hotels to attend a con, that's $48 Million in funds that can instead be spent buying art. No wonder auctions and dealers are enjoying record sales.
Excellent contribution!!!
-
7 hours ago, heartened said:
Are we talking Miller Elektra Lives Again? Just want to make sure people aren't talking about Miller Daredevil pages with Elektra.
I assumed that's what @artdealer was referencing, and what I was expanding upon. I actually have not been tracking those prices since I bought my example, so deferred to Mitch's expertise as the initial seller of this material. Has there been any secondary market examples to point to? Haven't looked for any myself, but the prices suggested are significantly less than Miller Electra pages from the Daredevil run.
-
1 hour ago, artdealer said:
Miller Elektra pages $8000-$16000.
This would be a now rare example of a segment of the OA market not keeping up with rising trends. I bought my Miller Electra page 7-8 years ago for 20k. Even more surprising that it's a popular artist and character!
-
- Popular Post
- Popular Post
-
I haven't even had time to read it yet, but if Forbes said it's so, it must be true!
Discuss...
-
18 hours ago, delekkerste said:
I'd keep the cards. Sadly, there's not much you can buy in the comic art world for $16K anymore that is cooler than autographed cards by Kobe (RIP) and Tiger. $16K buys what, maybe half an Erik Larsen Spidey page these days? Unless you happen to like niche stuff that hasn't gone totally nuts in price, I think you're better off keeping the cards than trying to roll that money into mainstream hero art.
This is madness. They are CARDS!
-
-
-
Glad the velocity on OA is much slower. I plan on living a lot longer and have zero interest in selling my art collection anytime soon, but if OA started hitting these numbers and beyond, I can't say I wouldn't be tempted.
- tth2 and delekkerste
-
2
-
- Popular Post
It's hard to defend the wonkiness of some of the drawing of this cover. So I won't try. That said, I still dig it. Not in a "I need to add this to my collection way". More like I have the big picture of the trajectory of BWS's career as a whole and this is in keeping with that trajectory and aesthetic, with a measure of nostalgia thrown in I'll admit. Flawed as it is, I get visceral pleasure from this piece, as I do from about 99% of the artist's work. No apologies. The heart loves what the heart loves, warts and all!
-
2 hours ago, jjonahjameson11 said:3 hours ago, heartened said:
Wow, great data points! Ok, will keep it where it is for now. But, we are getting quite close to the next tier for sure!
I disagree with this.
I would have a listing for Byrne MTU pages inked by Austin in the $10K+ level.
pages inked by others should be listed in the $5-$10K level
Paying extra because of the inker? Madness!
-
47 minutes ago, GreatEscape said:14 hours ago, heartened said:
Judging by the current bid on the Wrightson A level panel page on Heritage right now, I'm thinking we may need to bump Wrightson Swamp Thing into the 30K+ category. Let's see. Looking at the others in the 20-30K range, Wrightson Swamp Thing does look like the one ready to move to the next level. Although I suppose the current auction listing could qualify as an A+ page.
Agree with you Hari. Solid A example-- a page I owned until a few years ago but not the current consignor-- that I wouldn't be surprised seeing $50K+ with BP. Gorgeous page deserving of attention. Since 2015 (when several pages hit HA and PIH auctions), Heritage has offered just 6 panel pages from the Wrightson run with 3 of them not showing ST at all.
I agree that this Heritage page is a rock solid A page. I would happily make it a part of my collection and I lusted after it in another collectors possession for many years. I don't think I would call it an A+ page, but I would have a hard time arguing with someone who saw it as such. This is one of the limitations this price guide has, differentiating between A and A+ pages, as it can be pretty subjective. Not a perfect system, but we should not let the perfect be the enemy of the good. Anyway, you need multiple data points to determine what a piece is worth to you and how far you are willing to stretch, not just this price guide or a given sale at Heritage.
-
-
3 hours ago, Varanis said:
While not perfect for preservation, I feel CAF is a great step in the right direction. Not all the scans will be perfect, but it's an immense amount of documentation.
What tools would one recommend to get the best scans? I try to document my art well on CAF but would like to up my efforts eventually.
If you are asking me, CAF is great for a lot of reasons, but not as a historically usable and transferable library of images. All the art loaded onto CAF are jpegs and not sufficient as archives. You couldn't print out truly high quality images from those types of files for example.
As for best scans? Again, you get what you pay for and high end (expensive) scanners will give you the highest fidelity. I happen to have the same scanner that Scott Dunbier and IDW use for their Artist Editions (the Epson 10000, which I use for work as well as my art collection). Less expensive scanners can do a decent job as well, but the optics probably diminish a bit the cheaper you go. Again, I'm no expert, but hopefully I answered your general question.
-
- Popular Post
- Popular Post
2 hours ago, Taylor G said:That's great, but Dunbier, who has a lot of experience with this, asks for 1200 dpi scans, otherwise it's difficult to do image processing. And while presumably most people do their best, some of the scans in the artists editions are woeful.
If you look at the artists editions, the ones that have complete stories are typically where either someone has kept all the art together (EC is the best example) or has actually gone to the trouble of reassembling the stories. The Wrightson, Cockrum and Byrne artifact editions contain no complete stories, because Dunbier could only locate isolated pages. All those stories are gone. The example I know of where an AE was possible, because someone saved high-res scans, was Mazzucchelli's Born Again.
And then there are the people who don't want to share scans of their art, because fresh to market. I've even heard of people refusing to share scans just for comic restoration purposes, which was a surprise.
I'm not an expert, but a 1200dpi scan is completely unnecessary (unless you are making huge posters or wall murals). 600dpi RGB TIFFS are more than enough to have a high quality scan (assuming the scanner itself isn't total garbage) and even a 300dpi TIFF will work (especially if it's a good quality scanner). I'm just sharing this information for any of you archiving your own art, and I certainly hope you are!
By the way, I'm all in favor of preserving complete stories! I get the economic realities of breaking them up (whatever few still exist), but I think we'd all love it if the David Mazz Born Again stories and Simonson Thors were the norm rather than the exception. I still have the Wrightson Muck Monster story intact, and I intend to keep it that way. And I have scans too!
-
3 hours ago, vodou said:
So it's mud. But let's use it anyway?
Hari, your list. Do with it what you will. I have no issue with you, your approach, or the list you're maintaining. But I will always call them as I see them. This post and previous you quoted: exactly as I see them. Now others can read the minority report and find their own balance
Just curious. What do you think of this list, it's general accuracy or lack thereof and it's usefulness to collectors, at least in the short term? You don't have to answer...just wondering, and you might have your own intuitive price guide based on your own bias and experience and thus irrelevant (to you), but I'd be interested in feedback if you were so inclined.
-
- Popular Post
- Popular Post
12 hours ago, gumbydarnit said:With a grim 2020 behind us. I thought I would kick the new year off with the THREAD OF POSITIVITY!!!
Someone helped you on a deal, bought you a adult beverage at a con, or did a dealer hook you up with a sweet cornerstone piece... give em a shout out! I won’t take all the good ones, but I’ll get the ball rolling with my first positive nugget.
How cool is it that we have our own pro that is willing to sit in and add to our conversations about the greatest hobby in the world... collecting original art... SCOTT WILLIAMS THANK YOU! Your great tastes in original art is only rivaled by your mad inking skills. We appreciate you offering up insights and fun back in the day stories and creating great art to feed the hobby!
I hope everyone will join in with something good to say... even if it’s redundant. If you’re typing a post and it’s negative, this is not the thread for you ; )
Wow, I'm humbled to be mentioned at the start of this great thread in this way. Thank you. But I have to correct you when you applaud me for being 'willing to sit in and add to our conversation about the greatest hobby in the world'. Sounds like some great sacrifice that I comment about original art when in fact this IS my chosen hobby and has been for over 40 years. I am one of you!!! Anyone who reads my posts knows this! So thanks again for the shout out, and thanks for having me and listening to my dorky opinions.
- Twanj, alexgross.com, grapeape and 4 others
-
7
-
Does anyone have actual market data on Miller 300 pages at the over 40k range? I bought one 7 or 8 years ago when Mitch was making them available for 20-25k (can't remember exactly), but I don't really recall seeing any secondary market activity that would indicate that the demand is at that over 40k mark. They are beautiful and huge (basically double page spreads), but I'm looking to see if the 40k number is just one that 'feels' right, or if there's actual evidence?
-
- Popular Post
1 minute ago, The Voord said:Absolutely, and there's room for both. Could be that as this forum is an off-shoot of slabbed comics, it does lean towards values and 'A' level pages, etc . . . the same way desirable titles and their grades are of pivotal interest to the comic-book side here.
Totally agree. I actually find both the art and the business of the art ridiculously fascinating, but stimulate opposite sides of my brain (if you buy into left brain/right brain philosophy). I was the same way when I collected comics decades ago. Bought and collected the comics out of pure love and joy for the art-form, but picked up every issue of Overstreet just to see what was going on with that aspect of the hobby. I never considered interest or even passion for both to be mutually exclusive.
-
10 minutes ago, The Voord said:
For me, the thread is cold and clinical (not 'pretty solid'). I get why people want to obsess over values, and compartmentalize (A level, B level, etc), especially if you're actively buying and selling at high-end numbers and I'm not knocking it, but I enjoy looking at the art . . . and "I wonder how much this thing is worth?" is a lesser consideration.
I think that's totally fair. Honestly, I think this message board has always been a bit more numbers and trends oriented than a "but I enjoy looking at the art" type of message board. For that, i go to CAF or to the Original Art Facebook group. I've been posting art on both, and the Facebook group in particular the last few days, and it's just been about showing the art and appreciation. I love it, but certainly different than a lot of what goes on here, especially with this thread, which is more nuts and bolts analytics.
- The Voord, Twanj and skrilla1212
-
3
Mark Bagley's Miles Morales Spider-Man Cover Art Sells for $225,000
in Original Comic Art
Posted
No worries. Just talking comics and art. Not your thing? Cool. You do you.