Et-Es-Go

Thanks for filling in the details of the story, and an interesting story. Back in the day, the Comic Buyers Guide (CBG) was the conduit to everything that was publicly for sale. I got mine via regular mail and only the most esoteric of books were still available by the time I got my copy. But for me, fine. Cuz the stuff that folks did not grab right away were Chesler, Centaur, Holyoke, Fox, etc.... types of titles.

Can some one elaborate on what a Claire Moe copy is?

This was an unintentional purchase from Ebay a few years back, just cuz it was pretty cool. The back story was this was from an estate sale from a long time editor of a newspaper in Orange, CA. I have found pics of others out there in the world so they were produced for some reason. The base is obviously made to accommodate a plaque of some sort, and others I have seen have a glue stain there where something was attached. It is very akin to a very early Buck Rogers that I must assume it has something to do with. So that character and journalism for some type of award?

Just imagine that some where out there, tucked away in a box with some other pre-code horror books, the Mile High copy of this book is lurking. Much like the creature on the cover. So far this one is in first place in my book, hands down. This is a great thread subject.

Bump..... Somebody must need this and missed seeing it.

Seriously Lou, you have been the ultimate crapper on this thread. The last several post of yours have been about perceived value, how to recoup that value, who gets left holding the bag, etc... And now you call BS on a guy who asks a question about taxes? Neither subject (your own BS or taxes) was what this thread was about, it devolved (with your help) into a debate about what is something worth, how much money will it return to me, the guide is wrong, etc.... Try...... Please just try to look at the bright side of life. This was an epic auction for the hobby, people went after what they wanted and some came away happy, others not so much. This was not about "investing" for the vast majority of the sales. This was about collectors getting some very significant once in a lifetime opportunities at books that will be squirreled away into long time collections for the foreseeable future, and they paid what was comfortable to them. I can also concur with your position that people paid what I consider to be a lot of money for certain books, but I won't say the overpaid since this was an auction venue. I will use Amazing Man #22 here as an example. I would love to have that book, wanted it forever, and I only have 3/4 of one (missing the Green Nazi Gorillas of course). But I had no idea that other folks would pay so much money for it ( in my little world anyway), and congratulation to SushiX for bringing that book home (did the kitty really go to a sushi restaurant for that avatar picture?). It is really all relative to what you compare your experience to. There are many many many people out there, that for the life of them, cannot and will not understand why anyone would pay a significant amount of money for an old comic book. Enjoy stuff like this. Life is too short to fret that much. If you are a collector of golden age books your doing OK, its not a cheap hobby. Now, I gotta go dig up my copy of CBM #71 as one of the boardies here posted that Jon had a Larson article published in that issue with more details about how he found Lamont and what he found (a list?). Would that not be the coolest thing? So hey Lamont, is there anything in the shed out in the backyard?

I'm not sure that I am following the logic here. I think Vincent summarized pretty concisely the message he wanted to deliver on CNBC, even with Maria asking the questions. Comic books have become "commoditized"! This was the aim of 3rd party grading from day 1. It has brought money into the hobby and we have seen the result of escalating prices. For a long time it was really just the main stream DC and Marvel titles that saw the biggest influx of money. For some time now you have seen it spill over to the more esoteric titles. How many peeps ever heard of Amazing Man #22 until this auction shined a light on it? I don't like my books slabbed. I want to look at the pages inside and smell the stinky musty old paper. But, it is what it is. Personally I don't like the new slabs cuz it is harder to get the books out of.

Safe words if you are "investing" in the books. If it is just disposable income and a enjoyable hobby as it is for me, then Purple is sometimes my Huckleberry! I don't have anything against a nice un-restored golden age book, but I don't have a disdain for those that have had a make over either.

When it comes to esoteric books, even in moderate grade much less a high grade with a pedigree moniker to boot, why would the Overstreet Guide be of any value in terms of what the market is going to bring on books like that? If you are actively going after book like that, then you are paying what it is worth to you, and therefore anyone bidding against you. You are setting the new market price for the book. The Overstreet guide is in the rear view mirror only keeping up with what market conditions have dictated, and it will be dated information by the time you want to use it as a reference. Prices realized at recent auctions like this one and Heritage are a much better gauge of what people are willing to pay. The prices I paid for the few books I won are no where near the OSPG, but I thought they were a fair and reasonable price compared to what I saw similar graded books going for. I went a little above and beyond for one book, but by-god I was going to come away from this auction with a Larson/Berk book. The auction was unique in a way that no other can be. I always enjoyed Jon's comic articles that were always focused on the creativity and the history of what has become an iconic medium in American folklore. These craftsmen of their time were likely just making a living for themselves and their families, but it is obvious that some of them excelled at their craft and were doing what they loved to do. And that is what I think we all have a fond appreciation of today. The artwork and the art of story telling. Jon recognized that and his collection reflected that. He tried to have an example of every book, awesome or less than awesome. One very refreshing thing I have read from many people that this auction may have finally broken the stigma on restored books. For me, not great news. But for the hobby in general I think healthy. You see for me, I have never been a ardent collector of the grade as the books I was always interested in were just so hard to find. So when one came along that I had on my list I generally bought it. Consequently I have some beautiful books, and then some dog eared tattered and well loved specimens. I also have a short stack of books that, when I look at them I ask myself, why did I buy that? I'm sure all of you have a short stack like that as well.

Who took home the Red Raven Larson book? Also curious as to who scooped the Scoop #2. That one was a battle and went well beyond where I thought it would go. But I do see the allure, it is one of my favorite books.

I came away with two books from the auction. An Exciting Comics #5, which is an upgrade for the book in that run. I wanted at least one Larson book out of this and managed to procure Whirlwind #1. It is not of the high grade variety, and it is a bit dog eared. But, it is a Larson. If I recall Jon's account from the Comic Book Marketplace this was a favorite short run of his. But he also noted that he bought this book out of the marketplace. Recall, there were some Larson's that found their way into our hobby before Jon found Mr. Larson alive and well, and then a bunch more of his books. So I like the little piece of history this one has. It was one of several books that made Jon realize there was a Lamont Larson out there somewhere, I wonder if he still has any books in his collection. Who got the Larsen Red Raven because I think that was a bargain for a great book. The Mile High Rex Dexter a great buy for someone. Monumental auction, I need to get a catalogue since they did not deem me worthy to send one. Thanks Jon for making your books available to many collectors.

Well I really hope there is a catalog as this will be a monumental event to catalog such a significant collection. Money aside people, that is given. There (to my knowledge) is not anyone who was more interested in the entirety of the golden age of comics than Jon was. Additionally, he shared his investigations and discoveries into the peeps that crafted these stories and the magnificent artwork they created with all of us through a variety of media, these boards included (very much so). I very much appreciate that he is giving folks a unique opportunity to fill a spot in their collections that only a collection of this caliber can provide.

Sorry, meant to be a PM. Phil Barnhart

Yes it is the Green Turtle wrapped in the ugly Buccaneer cover. The two I have found are well loved. It looks like some pedigree collections had that issue in them so they are high grade legit copies from back then, but they are slabbed so just have to go by the description on the label. The scanned copy on the Digital Comic Museum is my copy. I noticed that it is the scans that the guy on Ebay used to make his reproduction copies.

Yes sir! Winner Winner Chicken Dinner!

The one in the Blazing Comics run to hunt down is the #5, and I do not mean the plethora of re-coverd remainders that are everywhere. They did actually produce a #5 that has a Green Turtle interior. I have found only two in my many years of collecting that title. There is also a #6, but I have no idea how that came to be as it has nothing to do with the Turtle, and you hardly ever see it show up. Very fun and cool esoteric title and one that won't cost $$$$$$$ to find copies of.

Very surprised at the census on the Blazing Comics #1. I really like that quirky run and happen to have two copies of #1. To the point of this thread however.... Terrific Comics #1: 8 copies in census Terrific Comics #2: 10 copies in census Terrific Comics #3: 6 copies in census The rest of the run jumps up to 14 or more per copy in the census. So Terrific #3 is rare as........

Here is one more thing that I personally found interesting. A fellow collector let me know about this many years ago, and I have been looking for it to surface at some point, but it still is out there (well I hope it is). This was an alternative cover for Suspense Comics #4, you cannot make it out in this rendering but it has JUNE in the same location as the copy in the previous post. I don't think you can read the text in the word balloon, but what it says is "A city threatened by an iron monster! Steel tentacles that would crush out the lives of humans, this was only one of the problems the Grey Mask had to face! This is an L.B. Cole cover by the way. This was done earlier in character development for the Suspense and Terrific comics series. Again, hard to make out I think but a man with a trench coat and wearing a fedora is standing between the two tall buildings where the narrative word balloon is shown. Much like the out of proportion guys on the cover of the Suspense #4. This character became Mr. Nobody and was a recurring element on the covers of #5, #6, #7, #8, #10, and #12. He also appeared in house adds and a few other filler pieces on the interiors of many of the issues. So there ya go, some worthless comic knowledge on an obscure title best known for its covers. That Octopus cover proof sold in a Wooley's auction back in 1983. I tried tracking down the owner through Wooley but as luck would have it all the auction records were destroyed so he no longer had the reference of whom bought it....... for $25. One thing I would really like to know about the Mile High Suspense #3 is if this book has the centerfold story that is found missing from other books. My theory has always been that some books went to the news stands with the story and without the story. This was due to the unusual practice of gluing a single page into a folio. Those books had 12 folios (48 pages), and then 4 additional "tipped" in pages glued to the interior or exterior of a folio adding 8 more pages, thus 56 page books. 32 pages before the centerfold and 24 pages after the centerfold. This practice was discontinued shortly after after Suspense #3 was printed as the next book in the Suspense/Terrific series was Terrific #3 printed in May 1944 and had a 48 page count. Suspense #1, #2, #3; and Terrific #1, and #2 are all 56 page books constructed this way. The Captain Aero and Catman titles around this same period in 1944 are done the same way. More weird stuff to share on these two titles.

Here are a couple things this thread may find interesting. A reasonably nice copy of Suspense #4 and the cover proof. I have not posted these in a long time. I bought these both back in 1995.

Still trying to get accustomed to the new board format so not sure how this post will appear to all of you. I think we are saying more or less the same thing, that to date no confirmation of some of these books being a Mile High copy have been determined. If some of these books were distributed to collectors early on they may have lost that provenance and may not have been as well cared for as they should have been, so you may have a Mile High copy that does not show up at the top of the census for that book. If they were submitted for a certified grade I would imagine that they would have been identified by the graders at that point in time. If the Mile High Suspense #3 just made an appearance after all these years, then it is reasonable to assume that a few others might still be out there. The alternate title of Terrific comic that published on alternating months is scarce as hens teeth as well. Publication months of Terrific #2 and #3 bracket Suspense #3. Terrific #3 is I believe is L.B. Cole's first comic book cover that was published, but not his first commercial work. Suspense #3 is a very unique book for it's cover art and composition. I don't understand why so many people are comparing it to Fantastic Comics #3, which is also an iconic golden age cover. But they can each stand on their own merits, why does one need to be more iconic/better than the other? Imagine what Lou Fine or Alex Schomburg could have created if they had the luxury of time on their side to create a work of their own imaginations rather than adhering to publication timelines. These people were superb artists that stood out amongst a field of some superior artists. And I believe they were just doing what they loved to do. Pretty cool that they left this legacy of ten cent comics behind for all of us to enjoy.

I know this will appear as a first post for all of you, but my older stage name (Et-Es-Go) has not been merged with the new (Holyoke). I have been collecting some of these esoteric titles since the early 90s'. For whatever reason the Et-Es-Go/Holyoke titles were a big focus of my collecting, and still are. It is the allure of rarity, the satisfaction of just finding any copy let alone grade that was the fun in the hunt. As you delved deeper into the history of how these books came to be it became even more interesting. These dog eared survivors of a then disposable medium that have survived to current day are now pursued and coveted by our collecting community, and that some specimens have survived to current day in nearly perfect condition is really miraculous. What I find interesting about the quote I have copied here is that the Mile High copies of Suspense #4, #8, and #10 are not in the current CGC census. There are examples of Mile High copies having "escaped" into the wild only later to be found. It is likely that these three books are out there, but folks just don't realize what they have? They may also grade well below the 7.5 CGC census (as noted in the quote) if they can be identified. I can tell you from years of personal experience that the Suspense #4 is the hardest book by far to find of anything that Et-Es-Go/Continental Comics ever published. This is one that still flies under the radar for most collectors. CGS census has only 12 copies registered against 32 copies for Suspense #3 for comparison. I will be interested to see if these lost Mile High books surface with the re-newed interest in the title this last year.

Here you go. I just knew he was no good for our Vicky. Thank goodness she is safe now.

Beautiful! OH for the love of god! I was hooked on the Purple Sage Story, but you just leave us hanging there when Vicky is profaning away about her sacred place that she and Jeff shared? OMG, we need to know how this ends. My money is on Jeff as Larsen looks a bit of a weenie city slicker to me. Is he sitting on that horse a little crooked?

There will be some sort of atonement for that statement. Warn your friends (if you have any) so they don't get taken out by the lightning bolt or what ever it is that hits you.

I have been drawn to the more esoteric titles since I started buying golden age. One title that I felt captured that golden age look and feel were the first six issues of Exciting Comics. Being a completist you are compelled to include issue #2, but blehhh for that cover. I'm going come right out there and say it, I like Sultan's work when he was at Chesler. Come on, Scoop #2? Maybe it's a swipe from Hit #5, but hey I have them both. Also a big fan of Ricca. Punch #12 is really a awesome composition, and Dynamic #8? Wow! There were lots of folks ripping on Kirby, but one of the covers of the golden age I think of as iconic is Red Raven. Go ahead, I can take the back lash for that opinion. Another shocker, but restored books do not bother me in the slightest. Leaf casting technology is just amazing in what it can from the recycle bin. In many cases this is my more affordable route to some of these books. Sometimes any copy of a book you want will have to do. Example, Wonder Comics #1 & #2, the Fox published title. A historic mile stone in the hobby, but books that are as rare as hens teeth.