AKA Rick

Question: Is the Preacher TV show doing well: a) general population (non-comic fan) popularity b) fanboy feedback on if it's living up to expectations c) critical review of if it's getting the ratings and if the network is happy with the series viewership AND Is now a good time to sell mid-level Preacher original art pages, off of the hype, or have we not yet seen it near pinnacle and holding onto 'em may be a smarter play for the long term? I have pages that only feature Tulip and Amy, and unfortunately or fortunately, it's a sequential series of pages that is a full scene spread across 4 pages, so in one breath I'd hate to sell only one, and in another breath, I don't want to sell them all either, nor if I did do a sale, I get a sense that whenever you lot a series of pages as opposed to break them apart with individual solicitations, the lots usually command lower price per pg averages and the single sale offerings do the best. I have Preacher #52 pages 12-15, and thought the valuation was about $1k per page +/-.

This is EXACTLY what I was inquiring about... THANKS! I saw that the 1st Page was offered in the ORIGINAL ART format, but not sure where it was used and published and if it "Pre-Dated" the release of the actual Deadly Class #1 Comic Book itself or not. So, it sounds like at minimum this is a preview if not 1st appearance in reference in terms of storytelling, but may not have seen physical print (unless subsequently published in a collected edition which would muddy up it's status, more so 1st story arc than 1st appearance, by definition of a publication's release date). If anyone has seen this preview actually printed, I'd love to know where it appeared to track it down. THANKS!

I read something about a Deadly Class "preview" comic book. Was that something issued before Deadly Class #1, maybe in an Image Comics preview book? I think it's all new or original material. I gathered that information and assumption based on it being an original art sale touting it's a Deadly Class "preview" - - which could very well be a subsequent release to the #1 issue. So, my question is, is "Deadly Class" #1 considered the 1st appearance comic book? What is this "preview" I hear about, in terms of what the comic book actually is and it's relevance to Deadly Class?

I thought that 183 was Miller art at it's prime, in that it was originally to be published as the "Child's Play" drug issue, teased as the next issue at the end of 166, but the CCA had issues, and it was shelved, only to reemerge and published as 183, at least in part if not maybe updated for the @ part story that concluded with 184.

If all folks care about is a census and population reports, they should consider graduating and moving into the JSC original published art market (not remark or sketch covers either)

Is there any word on the street about "Henchgirl" and either the Scout Comics #1 issue, the ashcan with a supposed limited print run of 150, or what has been referred to as the pre-Scout releases including what is being labeled as the "1st Appearance" issue? I know it's urged then got overshadowed and maybe forgotten by the next big thing, but I heard Dark Horse was releasing a collected edition, and chatter about interest in a speculative TV license. I see prices on eBay still holding up in offers to sell as well as completed sales sold.

Generally people who get sketches in books and also have them personalized/dedicated are the ones artists usually identify as fans who have bought their material and are less prone to be one of those "flippers" who are looking for adding value to something they plan to sell. So, if you're planning to sell a book, a sketch does add value. However, if you're looking to sell a sketch, having it in a book may be less desirable than having it on a standard clean piece of paper. I like sketches in books, but they're harder to reference and display since they are isolated and individual... but that's what CAF is for, to scan or take photos of the pieces and create a gallery to look at. I have one book where I had multiple artists draw on the inside pages or autograph the book with personalized inscriptions, so it becomes an epic masterpiece for me, all consolidated, to remember the various events the book has traveled with me to.

Thanks Alex! I don't bid often and am the type who usually puts in my general best offer bids way before an auction closes, and then maybe finds the time to check in on the status if I'm outbid as it closes. I'm sort of impulsive in that way and at the same time don't really bid and buy much, so never used sniping systems before, but will look into it out of curiosity on how it works. I do like, in a way, getting caught up in bidding wars, even when I'm on the losing end, it's sort of an adrenaline rush, with live auctions like on ComicLink and Heritage. I sometimes find equal pleasure in defeats, even when in that bridesmaid position as the runner up top bidder, since that psychologically frees up funds for the next purchase, almost feeling like a cost savings bonus.

I am looking for DC Comics "Birds of Prey" Issue #76 pages #10, #20 and #22 by Joe Prado and Ed Benes and Alex Lei, written by Gail Simone from January 2005 http://www.comicartfans.com/galleryroom.asp?gsub=100538 I know they were sold via eBay directly from Ed Benes art representative / dealer. I missed out on 'em because the auctions listed were in succession, closing within seconds of each other and I was at work and someone came in to discuss business while those were closing and I wasn't able to get my bids in... don't you hate it when work gets in the way of slacking off on the job! j/k...

Are MTG original art pieces now better speculative buys where folks are seeing or anticipating greater returns through higher prices in the future than with traditional published comic book art? I've seen some amazing paintings that are aesthetically beautiful, but don't play MTG nor Warcraft, Yu Gi Oh or anything, so know nothing about the fandom, only recognizing nice looking art. So, I have no context to the valuation nor future potential. A greater question would be I guess, do MTG game players only care about the game and not so much about the art. Much like how some or most jocks don't collect sports cards, and the majority of sports card collectors are the proverbial armchair quarterbacks with little sports ability,

DC silver age super hero books seem prime for an increase of greater proportions, so feel undervalued. The main charters like Batman, Superman, Wonder Woman, JLA, Flash, Green Lantern, and even Legion of Super Heroes, more so than Atom, Hawkman, Creeper, and other tier 2 characters. I think in a way EC, romance and humor, the non-hero golden and silver age in high grade could experience a boost, yet am not confident in those categories since unlike heroes and movies of today, there really nothing going on which makes those titles "top of mind" or relevant to create a surge in interest or demand.

That would be correct, however, just like how a Pimp and a Prostiture charge their clients, the prostitutes don't necessarily enjoy what they do and are often disgruntled by what they are paid as well as disturbed by how much the pimp makes off of them. A friend of mine once said, prostitutuion was defined by him not as a sex trade, but in a broader sense of "the act of doing something for compensation that you you'd otherwise not do for free" - selling your services.

Question... Do folks find that there are more buried treasure opportunities in rural areas than urban metropolitan areas? So, in New York, Los Angeles, Sam Francisco, Philadelphia, Chicago, etc it is more like finding needles in a haystack vs going to Fairfield, Iowa and the like to hunt the garage sales, swap meets, etc?

Part of me speculates that Stan Lee places the autograph on CGC signature series books in the worst spots as sort of his own quirky way of venting towards resellers, maybe. Just like how Postal employees have been known to handle packages marked "fragile" with added rough handling. I wouldn't be surprised if Stan is smiling inside at times signing for folks maybe he feels are just in it for the money. One can blame the placement now on his failing eyesight, but That is more recent of an obstacle and excuse. I guess that is why many people cut Windows on plastic bags to guide where signatures are places and to protect the condition of the book. He's always a gracious guy in person, nice to fans in public, so maybe it's a way of venting, since nobody can be on and happy all of the time.

The licensing show is an annual industry only trade show and exposition that is global, worldwide. Characters like Hello Kitty (Sanrio) and Others like Nintendo's Mario Bros, Saga's Sonic the Hedgehog, as well as trendy Ugly Dolls, Domo, Candy Crush, Angry Birds, etc attend to showcase their characters and brands. Marvel / Disney was in attendance and there was a huge a Wonder Woman (on the same level you would see at comic con) museum quality display from Warner Bros. It is the place where emerging brands are either built or existing established brands are supported. Aside from fictional characters, there are licenses for 2Pac, Led Zeppelin, and celebrities too. It is a show for all purposes, whether you want to license a character for use as a toy, to put an image on a mug, to build a board game, develop a movie, etc. So, to see Dark Horse wasn't a surprise, but to see Dark Horse champion the Lady Killer brand and put it out there to the non comic book folks as a license was very interesting to see. They were and are pitching it an the same retro cool vein as the AMC show "Mad Men" with a twist.

In the world of villains, the ones you love to hate, Alpha is mediocre. If Superman has Lex Luthor; Batman the Joker; Spider-Man, the Green Goblin; The Fantastic Four, Dr. Doom; then The Walking Dead has The Governor (and Negan)... Alpha is far as developed characters goes is not that compelling, more of a 2nd tier adversary. Not everyone can be #1 or "the best", so as a long term speculation, Alpha as a character will probably die, along with any hyped value, and be part of the folklore where fans move on and wait for the next evil entity to threaten the good guys.

I was at the 2016 Licensing Show in Las Vegas last week, and Dark Horse Comics was there exhibiting. They were soliciting their properties, including having a "one sheet" for LADY KILLER (in addition to of course Hellboy). So, it sounds like there's a push towards promoting LADY KILLER and making that property available for merchandising as well as film/television license. I know the 1st mini-series did well, critically, and sales were good enough to prompt a 2nd series (I hope it's not a limited series, and is going to be an on-going series). I'm not sure what the speculation on the comics are, especially since the original series has came and gone, as well as go through a minor speculation bump only to cool down a bit since it's "out of sight, out of mind" status. Usually fans speculate on #1's and 1st Appearances, so I'm not sure if the 2nd series coming out is going to have investor interest, unless they're banking on buying based on the introduction of new characters.

I think having a limited edition is fine, in fact it ups the profile of a book, which then resurrects the recent and relevant interest in Michael Turner, keeping his name, art and memories alive. If the book was produced in masses, ending up in dollar bins, it sort of in part tarnishes his legacy seeing his books in the bargain bins. By making the books elusive and desirable, it creates a buzz and reminds folks of how great his artwork is/was and how well respected (as many correlate a value to the name) he is in the hobby. Aspen did a good job servicing the fans by limiting the books, and I think a 1 per person policy is good, to avoid as best possible, the resellers who add that middle layer to the costs. It's an open market 'tho, with free trade alive and thriving. I think what Aspen can do, is make limited or open ended prints of the limited edition variant comic book covers, so those fans who may love the image, can still have it, and in fact display it in a larger size format, with less to complain about. As with anything visual like art, if you love the art, you need not own it to appreciate it, so simply right click your mouse to save the image and you can enjoy the aesthetics for free.

This is my favorite Magneto cover, from 2014 by Declan Shalvey http://marvel.wikia.com/wiki/Magneto_Vol_3_8

the 510 sketch is still the ultimate Campbell . I remember when the original artwork, one of a kind, 1 of 1, the ultimate Campbell for Uncanny X-Men #510 was on sale at Graphic Collectibles for around $5k I believe and remained unsold until there was a promotional website sale down to around $4k. I passed on it an encouraged someone else to buy it who did. So, if anyone is interested in that piece which probably now has an estimated value of $10k-15k, I might be able help broker a deal. Campbell Original Art is the way to go for super collectors of Campbell who have interest in crossing that bridge from mass produced (albeit sometimes limited print runs) comic books into the one of a kind original artwork, which are masterpieces and when compared to the graded comics, isn't that much overpriced at times when you really step back and think about what you're buying, getting and owning in original art vs comics.

I submitted Magazines at Wonder Con in March, so they hit their offices by the start of April, and received no updated info (no emails or status updates available) until the books showed up in mid-June... so, call that about a 12 week turnaround.

I love the 2 page art, mainly because you see the original pencils and you see the final inks. It's a better option than inks over blue lines only or inks over digital pencils. I sort of feel like I'm getting a 2 for 1 as well, and paired together with the published page with dialogue, framed up, they look great too. I like the full size 11 x 17 pages and the fact that Adlard doesn't have to ink the work and can pencil out the details with a bit less haste. I don't think I've seen much of the pages split up and sold anywhere, and it feels like they're exchanging hands as paired sets.

Smart move sticking with your instincts and business integrity. I'd say, unfortunately with some artists you almost have to treat it like gambling, earmark money assuming you'll lose it, and if you happen to get lucky and they deliver there could be a payout of something nice, something mediocre or something great. But once you hand over that money, assume you'll never see the artwork nor that money again and be able to acknowledge you assumed the risk and can't complain. I say that with only a handful of artists with reputations of being absent minded or over-committing. I'd say 80% of artists don't intend to be shamefully irresponsible, so are not crooked nor criminal by nature, but it just ends up that way. I know many collectors have gotten out of the whole commissions circuit due to the misbehavior of artists, having to beg and chase pieces for months if not years with lots of frustration. Nothing is worth it in my opinion. Especially from artists with reputations of either being gruff or irresponsible. The worst is when an artist owes you a piece, yet you see that artist at conventions churning out new commissions for fans, taking new requests while still keeping you on the back burner. You'd like to tell 'em to take care of their prior commitments first before creating new ones (and new problems... today's new commission customer can be tomorrow's squeaky wheel disgruntled customer)... Any artist with a poor reputation needs to do damage control and get rid of the CIA (cash in advance) terms to regain trust and confidence in the community. I believe Pat Broderick has done that, to his credit. It's the one aspect of the hobby that feels at times as black and white as feast or famine in terms of the outcome of an experience.

It's all subjective and a matter of opinion to what "A level" is, in the eye of the beholder. Typically A Level would be: 1) A Cover page 2) A Double Page Splash page 3) A Splash Page 4) Feature a 1st appearance of a recurring character 5) Feature one or more of the main characters 6) Be a part of an important storyline, be it a turning point, death, revelation, etc. ...and for others the "A-Level" might be influenced by price, if getting a piece at a bargain, or the less collected "dialogue" factor.

It is only rare if 270,000 buyers are seeking it and the demand exceeds the supply So, people who are fixated on population reports and manufactured scarcity need to acknowledge the "if a tree falls in the woods and nobody hears it crash, did it really fall" in that even if there's a low print run on something nobody cares about, does that make it valued? The whole debate of the true 1/1 one of a kind collectibles in Original Art would say that a page from a popular book should be valued the same as a page from an unpopular book because there is just 1 of 1 for each, but it's that supply/demand chain effect that makes one more valued than others and some rendered near worthless due to lack of hobby interest. So, if comic book collectors clamor and drool over these low print runs they'd probably get a heart attack over the joy of being the one and only one cornering the market on one of a kind collectibles if they ever transitioned into original published art (forget about sketch covers and commissions, they're not the same). Comic collectors be wary and observe what has happened and is happening with the sports card industry with their "parallel" inserts and crash numbering marketing, where there's a glut of manufactured collectibles, marketed better than comics in terms of accountability since all releases are individually numbered with their own serial number. The publishers always try to out-do themselves. Initially "variants" were reserved for special landmark issues, now they're a dime a dozen and monthly occurrences at publishers like Zenescope, IDW, Boom and even Marvel and DC, whether it's a short print or not, it's manufactured to get people to buy with a purposeful target of the investor/speculator or completest collector.