RabidFerret

He's on Facebook. https://www.facebook.com/dan.green.16940599

The Walking Dead page ended at $3400 during the outage. Do they honor it? Or is there a super happy buyer and a super unhappy seller?

Ahhhhhhh, that strangely makes sense.

$7900 for Jim Lee card art of Psylocke and Captain Britain seems insane to me. Especially with an Allstar Batman page going for only $2500.

Very insightful! Thanks much! And thanks to everyone else who's been posting! This has been an extremely helpful thread. I'm definitely going plexi now and I've pinged a few different framers to compare prices, even asking the Tru-Vue folks that make the nice plexi to send me a sample(free via their site). Might be a few weeks until I get it done as I now have to decide on a frame and matte and find the time, but I appreciate the community for chiming in on this!

Excellent!! This is the kinda insight I was after(the fail stories more than the success ones). I'm definitely concerned about anything that could damage the piece, and I never even considered violent arguments as a risk. And the fact that you go with plexi in the first place is good to know. I feel like it's an expensive, but potentially worthwhile, precaution. Thanks!

Howdy gang! I know there are a few threads buried on here about framing but none of them seemed to hit on my concerns, so I wanted to reach out. I got a new piece that is an absurd 30"x40" in size. It's painted with a bottom layer of gesso, layered with acrylic airbrush and colored pencil. It was a bit pricey so I want to frame it as best I can. The artist mentioned they always use museum plexiglass when they frame, in part because they live in California where they don't want things shattering after an earthquake. I'm not too concerned with earthquakes, but I am nervous that at that size glass itself is more likely to break from normal movement(or if a bad wall anchor gives unexpectedly since this will weigh a ton). The price difference is $250 for museum glass vs $750 for museum plexi. It seems like both types provide good protection for the art, but I'm curious about real world experience. Has anyone else framed something this big with either glass or plexi, and if so, were there problems over time? Has anyone used museum plexi and found it worth the 3x price? Thanks for any thoughts:) -j

For me it comes down to how much I want the piece and how important it is. And which auction house it's on. For the vast majority of art, I do exactly what Michael Douglas suggests, sometimes even throwing in my high bid on day 1 and letting it ride the whole auction. I've won quite a few auctions by being the first bidder and folks giving up early and moving on because they can't beat my day 1 max bid. But that's only for lesser stuff. The big stuff I want, the real targets, I'll wait. For Heritage I'll bid live and plan my day around it. For Comiclink, usually in the last hour I'll throw in a bid. On eBay I'll use a sniping service and set my high bid earlier in the week.

Long ago I got a gig as a Production Assistant on a movie shooting in Cleveland. Office work, errands, copying scripts, etc.The movie was about a comic I'd never heard of called "American Splendor", some indie thing from the 70s that was big in Cleveland. The writer got on Letterman. Crumb did some art for it. The movie was gonna star Pig Vomit from the Howard Stern movie.For a month of preproduction I did PA work, running errands, picking people up, and making photocopies. Mixed in, I doodled, constantly aping more of the Crumb art surrounding me. I drew office jokes. I added Crumbish Harvey art to dry erase boards and notices. It was like a theme office.We began to shoot but hadn't worked out the legal stuff with Crumb and his art, so they had to hire someone to do props. Because everyone knew me and saw my Crumblike scrawls everywhere, I got the gig.I ended up creating the sketchbook Crumb(James Urbaniak) draws in, the Big Yum Yum Book, and a bunch of Frank Stack's art too. If the actor is holding a sketchbook or drawing, it's my art you're looking at. Looking back it's not all that great, but for the brief moments of screen time I think it seems passable. It was a pretty darn cool experience for a young 20-something kid. My little scrawls ended up in the trailer, the movie, and I even got mentioned in the commentary.It was a cool moment in my life.Ever since that experience, I've wanted a Crumb original from American Splendor. Not only wanted, but almost needed. How many people can share this weird credit of doing fake Crumb art for an Oscar nominated film?So for 15 years I kept an eye out. There weren't a lot of solo pages emerging, stories mostly travelling in packs. In 2016/2017 a few old Crumb collections slipped out, and while some art set records, Splendor stayed "cheap" and within mortal reach.This is a page from "Standing Behind Old Jewish Ladies in Supermarket Lines", my single favorite Splendor story and featured prominently in the film. It's one of those great every day experiences about Harvey picking the right line at the supermarket. It was a short 5 page story, so finding any page is a miracle in itself.Given that Crumb is known for his weirder stuff, finding simple blue collar storytelling is a nice change. It's a Crumb you can hang on the wall without feeling too awkward about. It's also at a much more mature point in time, past the eye of the fame hurricane, when he could be a little more patient. I loved seeing a Crumb original too. A spiral bound page of bristol with the full title handwritten on the page. It's so quirky and cool and awesome, I can't even begin to explain:) Let's be palsy walsies! http://www.comicartfans.com/gallerypiece.asp?piece=1419636

As of last year McFarlane had that in his collection still.

And it's not the Bruce Banner Hulk either - it's the Rick Jones Hulk. He had a different design from the later Banner Hulk with a thinner body and long hair. It's been listed forever too, longer than 4 years. I recall this being up for a while before the Shamus auctions even.

I actually tried this last year on the theory that the movie would help the art. I was wrong. I had the opening DPS of NM98, a double page spread of Cable. It was one of the biggest Cable splashes Liefeld did in the series. Weak backgrounds and no huge guns and sadly no Deadpool, but still the only DPS in NM98. Lesser Cable pages were selling for $2-3k for a page, a terrible DPS from XF1 sold for $9k, a decent Cable page from XF1 $4k. I figured this piece being from NM98 would get a bump from the movie so I threw it into CL, timed to end after the movie opened. I figured this would go $4-10k+. CL agreed, even giving me an advance of $5k. The movie came out, set crazy records, turned out to be really good, and even included an end credits scene where they say Cable will be in the sequel. How could you get a better situation than that?? The page sputtered and sold for $4k. Total faceplant. I had to send money back to CL. Would a page with Deadpool on it have done better? Certainly. But given the timing and success of the movie, and the mention of Cable heading to the big screen, I would have thought a solid bump was likely. Oops.

I find it equally odd. There were 5 Batman episodes HQ appeared in over a 1 year period of time before the comic came out. So the comic is Harley's 6th appearance, a year after she first appeared. And to Michael Douglas' point, it was not drawn by the creator. On top of that, it appears Harley may have appeared in a variety of other print and merchandise before BA12, including the Batman Adventures Coloring Book, the Batman Adventures 3D Game, and Batman Almost Got ‘Im book: https://comicbookinvest.com/2015/07/16/harley-quinn-rarities/ It feels like the investment market wanted a first appearance to exist and forced one, even though the character was already well established.

Ok, I'm sorry but i have to argue against this "cornerstone" concept:) A cornerstone can only apply to art you already own. The entire meaning of the word is that its part of the core foundation of something that already exists. You don't say "here's my list of wanted cornerstones". Nobody builds a house and then goes cornerstone shopping!The word grail is often used to indicate something wanted as much as something owned. "That piece is my grail I want above all others. Bob has my grail. That's a grail-like piece. My grail is listed on Heritage." It sounds silly to say "That piece is my cornerstone I want above all others. Bob has my cornerstone. My cornerstone is listed on Heritage". The only one that could fly is "That's a cornerstone-like piece".

I'm firmly in the camp of there being "one true grail". The single piece I wanted above all others, more than every cover, pinup, complete book, and absurd piece of art on the planet. You could offer me the art for Action #1, AF15, FF1, or any other truly iconic piece and I'd pass. I would(and did) pay an obscene amount for it that didn't connect to any real market value. And by the same notion, it's something I will never sell no matter the price. It's a piece I will hold for life and have in my will to donate to a museum afterwards. That said, I've always thought there needs to be a term for the tier below that. The pieces I would still love to find, the crown jewels I covet above all the little diamonds and gold baubles of the world. Those pieces I'd pay far over market value for, but there is a limit to their value, and they could certainly be pulled away for truly obscene amounts of money. My grail is priceless.

Thank you!! Much appreciated:)

I have the Soethbys hardcover and love flipping through it on occasion. I was briefly tempted to buy this outright, but then realized it would likely just make me sad to see all the great art! The lot I was trying to find out about was #49, the Rob Liefeld X-Force piece:) They list the sale price but no picture. http://www.christies.com/lotfinder/lot/rob-liefeld-an-early-splash-page-depiction-2329367-details.aspx?from=searchresults&intObjectID=2329367&sid=17e9fb27-e036-4e34-bef7-0f565de8f330 There are a handful of great old Liefeld's I've never seen surface and am now curious if this is one of them:)

Anyone have a copy of the Oct 1992 Christie's Catalog? Does anyone have a copy of this catalog around? October 1992 Christie's. There was one lot I was curious about, but Christie's website only lists the title, not the image. Not worth buying the whole catalog on eBay for curiosity, haha. If anyone has this and could snap a photo for me, please PM me:) Thanks!

WTB Mark Bright Iron Man Covers Anyone out there seen these around or got any? He did like 25 covers and I never see any of them...

My larger concern isn't Todd's writing as much as how bad the original movie was:)

Based on my tracked lots, I'd say money. The most expensive stuff seems to be going first. The Fritz the Cat, the unused Byrne 137, the Frazettas, etc. The 5-6 figure pieces. Everything I'm tracking on the 20th seems like 4 figures at most.

I just realized that this art auction is split over 3 days! May 18, 19, and 20. I don't recall ever seeing that before? And with the Sunday Auction following, this means we have 4 straight days of art auctions closing on the same site. So convenient...

Exactly! Could not agree more. What I saw was Image starting the 90s with all this excitement and energy coming off great stories on X-Men and X-Force and Spider-Man, but the Image crew couldn't deliver consistently or with good stories, so the readers flailed. Marvel and DC were foolishly trying to mimic Image and used gimmicks to try to regain readers instead of good stories. So the industry simply lost those readers to other hobbies with better content. Also likely why things like Bone succeeded, because it was the rare good story put out consistently.

Oh cool! I forgot about Malibu! That's a great idea to dig into. That would be that first year too. Great idea, thanks!