Bookery

Exactly. And everyone is concentrating on the Hulk #1, which is where the scammer's ego perhaps crossed a bridge too far. I'm more interested in hearing more details about the GS X-Men and Hulk 181... I think it's probably easier to forge bronze-era books than key early silver-age with their various paper-quality issues. This scammer has taken things to a higher level than we've previously seen, but still flawed. The problems lying ahead we need to watch for are when the slabs themselves are re-created, as has been done in coins and baseball cards. Forgeries are never perfect, but they will become increasingly harder to detect.

The Four Color series is more complicated than that. Perhaps the Ducks books and TV series' issues are indeed a blurred line, but it doesn't make a lot of sense to say that Four Color 1085 ("The Time Machine") and 1100 ("Annette's Life Story") are part of the same series just because the publisher assigned a number to them. Kids buying these books paid no attention to the numbers... they were simply a device used by the publisher to track their books. This is the same thing paperback publishers of the era did... Gold Medal, Pocket Books, Pyramid... any of them. The books were presented in a number sequence, but that doesn't mean "The Grapes of Wrath" and "The Killer Inside Me" are part of a "series". They are indeed "one-shots".

I don't think Heritage will care if I post the grading section (sans photos) from the 2020 guide here, just in case it could be of use to new collectors... *** GRADING *** Many of you will acquire a guide such as this simply for the reference data incorporated, with little or no interest in pricing. But for those interested in evaluating their own collections (an important process for insurance purposes) or for determining a reasonable range for purchasing from dealers or bidding at auctions, knowing how to grade is essential. As mentioned previously, there are three grading columns, "good" (2.0), "very good" (4.0), and "very fine" (8.0). Many pulps will actually fall into grades even lower than the first column "good" valuation, a grade considered typical for most issues that occasionally still turn up in original-owner collections. Pulps in true "very good" collection are often the best grade one is likely to turn up, especially for scarcer titles. "Very Fine" is a grade obtainable for some saddle-stitched magazine formats, and for digests particularly from the 1960s, but it is quite rare for true pulp-format publications, and likely non-existent for many specific or especially early issues. Unless a collection is from a major (and usually well-documented) discovery or estate, large listings of pulps in "very fine" (or better!) condition may be dubious. For this edition we have added a numbering system to the grading definitions. This has not been historically standard for pulp grading, but such systems are now employed for most popular collectibles, and are listed here for the benefit of the collector. Some dealers will use them and others will not-- but the systems are interchangeable and equally valid. Both terms and numbers are listed below. The 9-point scale below is similar to that used for comics, and there are parallels between the two in terms of general eye-appeal. It is often claimed that pulp condition is not graded the same as comics, but this is not necessarily true. It is simply that pulps will rarely be found in the same high-grade conditions that comics will. Whereas a high-grade collector of comics may seek out 8.0 grades (or above) even for golden-age issues, the grade conscious pulp collector will generally accept a 6.0 (or sometimes lower) as a prized copy, especially for older or scarcer issues. Unlike with comics, however, it is the opinion of this author that the half-grades (or decimal grades) common with comics are not useful with the more fragile nature of pulps. POOR (0.5): An incomplete copy, coverless or missing pages, or brittle or otherwise damaged beyond reasonable readability. Coverless copies in otherwise decent condition are often desired as reading copies as long as they are inexpensive. But heavily damaged or abused issues have little or no collectible value. FAIR (1.0): Generally considered below collectible grade unless rare or in high demand. A "fair" copy may be missing a back cover or a title or advertising page, but all story pages must be intact. Outer pulp edges may be brittle in places, but the overall pages must be solid enough to turn without undue risk of tearing or breaking apart. Pages might be especially darkened, or exhibit damp-staining. An otherwise complete and even supple copy may be marred by numerous cover stress-lines and tears, excessive edge-trimming or chipping, etc. Value is generally about half or less of the "good" price. GOOD (2.0): Represented by the 1st pricing column in this guide, "good" is the typical used but not abused issue, and the grade most commonly encountered in non-specialist venues such as flea markets, garage sales, or standard estate auctions. A "good" issue often has a number of cover creases and/or reading stress-lines, but not so many as to make the book as unattractive as a "fair". Pages may be tanned, but should exhibit only minor flaking if any. Spine-lettering may be substantially flaked and chipped, but the spine should not be completely damaged or missing. A taped spine, or interior-taped tears are not uncommon, as long as the tape is unobtrusive and the glue has not seriously damaged the book. The cover-overhang may be heavily chipped or trimmed away altogether. GOOD to VERY GOOD (3.0): An item falling somewhere between the former and following grading levels. VERY GOOD (4.0): This grade is represented by the 2nd pricing column in this guide, and is the minimal standard sought by many serious collectors, and with some pulps is the highest obtainable grade. "Very good" is also a designation most often over-graded by book owners and some dealers. A "very good" is actually an above average copy in many cases. Covers should be reasonably bright without unusual fading. Pages may be lightly tanned, yellowed or off-white, but should be mostly supple with only a hint of edge-flaking here and there. Tape may be present only in small amounts, such as the spine corners, or a small interior tear. The cover may be slightly separated from the spine edges, but should not exceed an inch or two, and the overall book must be solid. Vertical reading stress lines near the spine are common, as are small corner creases. The overhang may be chipped or have multiple tears, but generally should still be present. However the 4.0 grade is the highest-grade generally given to a pulp that has been trimmed (after publication), if it is done neatly. The spine should be at least 50% intact. No pages can be missing. Although a "very good" book may have one or more of the above defects, this does not mean it should have an abundance of them, or should have such an accumulation of defects as to mar its general attractiveness. In particular, the main body of the cover should not be damaged so as to unduly detract from the art. VERY GOOD TO FINE (5.0): An item falling somewhere between the former and following grading levels. FINE (6.0): Whereas "fine" may be considered a mid-grade comic book, here it represents what is often the highest possible grade for many early pulp-format publications, though the general appearance will be about the same. The spine should be 75% or more intact, and generally clean. The book should not be overly dull, and the pulp overhang, if applicable to the issue, should be present with small chips and tears that would come from routine shelf-wear. A 6.0 book should not be artificially trimmed. Tape (or tape-stains) are generally not allowed, though a very small piece may be permissible on an otherwise beautiful copy. Pages may not be their original white, but should be creamy or lightly yellowed. If a pulp has an outstanding and near-flawless cover, but has significantly darkened or brittle interior pages, it is not a "fine". Some general cover scuffing and corner-creasing is allowed, but the book should appear like a 6.0 golden-age comic would... bright, tight, and attractive, with the look of having been carefully read once or twice, then decently stored. Early pulps are often scarce in this condition, but '40s and '50s pulps are not overly rare in 6.0, and stapled-magazine format publications and factory-trimmed digests can often be located in this grade, though a lot is dependent upon the quality of the paper stock. A 6.0 book will usually be priced about halfway between the "very good" and "very fine" columns. FINE TO VERY FINE (7.0): A highly-attractive issue that falls just short of the "very fine" classification. VERY FINE (8.0): This grade is represented by the 3rd pricing column in this guide. A "very fine" is fairly close to the same condition as the day it arrived at the newsstand, regardless of the issue's age. The book has only very small flaws. Pages should be white or at least off-white. The spine must be fully intact and unfaded. No trimming, tape, or glue repairs are permitted. Small tears may be in the over-hang, but no pieces are missing. Bedsheet and pulp issues should have straight, un-warped spines. Magazines will not exhibit rusting to the staples. With rare exceptions, this is as good as it gets for most pulp-format publications. VERY FINE TO NEAR MINT (9.0): This grade would rarely come into play, though there have been a few examples and collections over the years that would qualify. This is essentially a newsstand-fresh copy, with only the smallest loss of whiteness to the pages possibly allowed from the passage of time. What few flaws permitted in the 8.0 grade would generally be absent here. Pricing may or may not be substantially different from an 8.0, however. Less expensive or in-demand pulps such as many westerns, romances, or even later Argosy, Blue Books, etc., might be valued little differently than the "very fine" grade. Some magazines and later digests will turn up in this grade, and may bring the same or only slightly higher prices than an 8.0. But some art-intensive pulps, such as certain science-fiction titles, hero pulps, weird-menace, or "spicy" titles do rarely occur as newsstand fresh copies, and these often will bring significant premiums beyond those listed in this volume.

Heritage published the 2020 volume, so out of my hands as far as print-run is concerned. I was told they printed 500 copies... so the pulp guide is actually rarer than many pulps! Because pulp prices exploded even as the guide was being printed, I think they figured it was already out-of-date. But many potential buyers wanted it for the issue data more than just pricing (Heritage still quotes the prices in their auction listings, though the results are often multiples of the guide values). The 2005 guide, also out of print, had a larger print-run, and so turns up ate ABE and eBay from time-to-time. The 2020 guide is better-looking (Heritage did a great job with the layout) and has more data, but is all but impossible to obtain at this point.

Actually, pulps are pretty much graded the same as comics. It's just that with pulps, a vg (4.0) is a pretty decent grade. A collection in 6.0 should make its owner proud. The occasional 8.0 is great to have in a collection, but shooting for such a grade across the board is not very practical, unless you are only collecting limited titles or late-era pulps. As for repair, etc., yes... there are some different criteria. Trimming in comics in a huge defect. But in pulps (as long as it's just the cover being trimmed, not the entire book) is not as huge a deal... pulps with light cover-trim can still come in at 4.0. Tape repairs (esp. if old) may still be graded as comics (3.0, 4.0, depending upon degree, or less if extensive) but are often accepted as a fact-of-life with pulp collectors. I haven't seen a lot of color-touch over the years on pulps... but as interest spreads, I assume we will see more. I would think it would have the same effect as on comics... big impact on higher grades, less-so on books already in low grade. Glued spines generally not a big deal, since they were glued to begin with (unlike comics), if done carefully and with proper materials.

He comes across okay when he's just discussing comics or his collection, or is just doing a general tour at a convention. I think it comes down to the pitfalls of what happens when you set yourself up as a critic-at-large. I had the same problem in high school when for awhile I was the movie critic on a school newspaper. I would intentionally go to review movies I knew I wasn't going to like, because it was a lot more fun to write a snarky review than to praise a film. Of course, my reviews weren't going to matter to Hollywood, or affect their business in any way, so a bit different. But I get the tendency to go in that direction once you've decided to review something... whether it's a restaurant, entertainment, or a business. And nobody has a problem when one critiques, even harshly, a big corporation or a chain, because expectations are higher to begin with, and they can afford to do things right. I think the "cringe" comes when we see someone tear into specific individuals or small single-owner operations... those who don't have broad business backgrounds, or simply don't have the capital to make a place the way they themselves might prefer.

And not even in the parking lot if the lot is part of the rent or ownership of the shop. I pay $10k per year in property tax... you don't get to do business on my property for free. And, as I said before... you may see me turn down a given batch of books... but you have no idea if that's a one off, or whether I have an ongoing relationship with that seller. To insert yourself into the business of a customer you would have had no way of meeting if you weren't reaping the benefits of my physical location and all of the advertising and good-will it has built over decades is a big no. You want to be a wheeler-dealer... get your own shop, run it the way you want to, file all of your tax forms (110 of them per year in my case), and in general put in the work.

For me, the issue isn't that he criticized shops... certainly it wouldn't be my style with some of the way these business are run/look. Reviews, good or bad, are a centuries-old tradition. The real problem is the unannounced video-taping. Even then, if he came into my shop, asked permission, and I was the only one in the place, I would probably allow it. I don't have anything to hide. However, if customers were in the shop, I wouldn't allow it (unless he specifically got their approval as well). I do not agree with the nature of some of the criticisms, however. It's fine if you don't care for the clutter, or the prices, or a lack of organization, or even the attitude you received from staff. But I'm not sure it's germane to make fun of their appearance or taste in music or even social skills unless they are being overtly rude. Surprisingly, many of us shop owners haven't won any pageants nor moved into comics retailing after our stint as models. I mean, c'mon... making fun of us in that way is sort of like shooting fish in a barrel...

It may vary in what is legal from state to state, but I suspect this guy is nevertheless a civil suit waiting to happen. Businesses fall into a sort of vague semi-public arena... it's not the same as filming someone on a public sidewalk. The owner being put on youtube without permission aside, what about other customers walking about? Do they not have a right not to find themselves splashed across a nationally distributed video? Is your viedo-taping them going to make them hurry out of my shop? Children? Can you just waltz in and film them without permission? Can you go into a bar and film someone drunk and then put it on youtube? I actually don't know. Maybe you can't be arrested, but I bet you can still be sued.

It's still insulting. Over the decades I have invested hundreds of thousands of dollars in advertising, 40 years of building a reputation and clientele. Then someone walks off the street and takes advantage of all of that for free. This guy would not have ever met the seller if not for the shop's marketing and/or reputation. Not only that... but maybe the seller doesn't appreciate being approached by a stranger at their car (esp. one wearing a camera), which creates a negative reaction for having come to my store. A large percentage of my clientele are dealers and flippers, and there are times after I've turned down a collection, I've actually pointed the customer in their direction. But remember... just because this particular selection isn't something I can use, maybe the seller has other stuff to eventually bring in. If strangers use my business to get in the middle of that, it could have a severe impact. If you want to wheel and deal with bystanders, it's open game at a convention. But not in (or around) someone's place of business.

However, it's interesting to ponder what a super-hero universe drawn by an LB Cole or Matt Baker would look like.

It's an old thread, of course... but it always amused me as this is famous for being an over-the-top gore cover. But it's not really. If you read the story, the character on the cover is a robot. And even the cover hints at that, as there are nuts and bolts flying out of the face. (Though I'm sure when kids explained this to their appalled mothers, the comic was still confiscated).

For the most part, yes. I'm sure CGC will be using the same grading methodology as with comics, but frankly, a 1 to 9 grading scale would be sufficient. There are some stapled magazines that aren't really pulps that probably turn up in near mint... Wink, Twitter, etc. I'm sure there are some flawless digests from the 40s and 50s out there. A couple of years back, however, I did get in a group of Weird Tales from the 1930s, some of which I actually graded 9.0 (it is the first and only time in my 40 years of business that I have graded any pulps this high). This was followed a short time later by about 30 Spicys that averaged 7.0. High grade science-fiction pulps from the 40s and 50s are not that rare, and do turn up. But yes... for the rest... runs of 6.0 pulps would be an exceptional collection, and 8.0s would be outstanding. In terms of overall consistency of high grade, the Frank Robinson collection was probably the best, and may not be surpassed.

Yes... the KRK grading service.

I was using "tad" as an acronym... for "total add decimal".

If it was dealers buying it for re-sale (as sfcityduck has speculated), there would be no sales tax involved.

Based on the first round of this series of auctions, it appears prices have edged up a tad above published guide values...

Exactly. Pretty much all comics today are remakes. The Batman origin has been re-made many many times. Remakes, however, generally involve both fresh art and fresh dialogue or plotting. It's no different than movies. The only movie remake in history that I recall that did a shot-for-shot remake but with new actors (the equivalent, I think, of what the OP is suggesting) was the modern version of Psycho... and it was considered a disaster.

Good night Mrs. Calabash.

In my area, getting customers to consider any character who doesn't have a cape or fly through the air is a tough sell.

That's probably right. Both those years were decent for us, but 2020 took a hit because we were forced to close down for 7 weeks... couldn't sell, couldn't buy. 2021 was one of our better years, though as prices skyrocket, you also have to keep paying more for them. We also had a lot of stuff come through the doors in 2022. No one big collection that would make waves, but just week after week of solid material coming in. We purchased here in the shop (I don't do shows) an average of 3-4 collections per week (record high prices brought them out for sale). By contrast, in the first 3 weeks of this year, we've purchased almost nothing. It's January, so it might not mean much (folks don't like loading up the car with boxes when it's cold and nasty)... but also this year might be tougher... if you missed out on selling in 2022, unless you have to, you aren't going to like selling at current 2023 prices.

This past year was our best year, profit-wise, in our entire nearly 40-year history. Of course, each year is always a bit of a lottery in what quality of collections come in. But one has to be willing to adjust prices down according to the market. I've done this several times this past year, and we still had record profits. It doesn't matter if I paid $100 for a book that sunk to $50. It isn't going to sell at $100, so take the loss and move on. I'll just pay less for the next one that comes through. There is still very high demand for properly graded and valued books... but definitely the panic-level nosebleed-buying pandemic-era is over.

I did not realize until now that this is merely the first of 10 auctions. That would make this the finest pulp group to be publicly auctioned since the Frank Robinson collection a decade ago. However it also raises a question. Since this will obviously take over a year to bring all of these to sale, why was it decided not to wait a little longer and have them CGC-graded? Since it could be years for some of these issues to surface again, it would have seemed the perfect collection to officially introduce the coming pulp slabs. Just curious...

Not advised. Sleeping with one's comics and/or kicking them can often turn the above issue into this...

Ah yes... the famous photo that inspired Children of the Corn.