tth2

Issue 97 Dennis goes to the beach with his family and dog Ruff and wins the children’s division of the sandcastle contest.  

Same copy that sold back in 2002, must've retained the same certification number since it was re-holdered to the new label and casing.  Upon closer magnification comparing the newly certified copy to the 2002 one, it appears that the book has gone through cleaning to remove some of the foxing on the right and top edges.  Back cover also looks whiter.  Unfortunately after the cleaning, the colors now do not pop compared to how it was before and has slightly faded the deep oranges and blues it once had.
The 4.5 Tec 27 copy sold back in 2022. Would be interesting to see what it goes for now.

I think Mr. Wilson is an elderly retired neighbor rather than middle aged. 
 

So many 50s!

This is probably the biggest offering of Schulz artwork in a few years 
 

peds available for all of them.  as to the make-up of them, just so happen to have a li’l list on my phone…
also forgot that 3 of my silver annuals aren’t peds—total non-peds is 17.  

Here's my only slabbed pedigree book, and I love it!

The sadder fact is that there were just enough well-heeled SA collectors who wanted DC to block my progress.

I'd rather Walt keep it locked away himself rather, than some Rich Boy or Crypto Bro keeping locked away for themselves.

Issue 98 is one of the few I don’t have a copy. In 1969 they had two spin off #1’s.  Mr. Wilson the middle age neighbor man who gets annoyed by Dennis’s drama and pranks. Margaret is the older red haired neighborhood girl who has a crush on him but he primarily ignores her. 

A few covers and interior pages have been sold from the run. I don't remember if these were all inked by others or if any all-Simonson pieces were also let go. He has the complete #337.
It's been said that he intends to donate it all to his alma mater (Rhode Island School of Design). There is one issue from the run which has a lot of personal meaning to me - I inquired to Weezie about it when she and Walter were at a Society of Illustrators exhibition around 2018-ish and basically she said that she'd love to see Walter get the art out to his fans (she also considered it a fire hazard to have it all in one place!) but that, ultimately, it was his decision alone. 
She dropped some vague hints about how to best go about making an offer (not that he would accept, though) if I were to do so. I learned right around then that a friend was going to make an approach to Walter in-person about a different issue in the run and he offered to piggy-back my interest into this discussion, but, Walter made it very clear in their meeting that he wasn't selling anything and so nothing materialized. Since then the art has gotten so pricey that I'm not sure it would even matter if he had a change of heart about donating vs. selling.  

I look more like Kojak or Lex Luthor.


I've often wondered if Kojak was an alias for Lex.

Got my last pulp back from my 3/24 submission at WonderCon.
Am actually a little disapointed with this one. My favorite romance pulp and a top 10 favorite pulp in my collection. Apparently, I missed “very slight rust on staples”. Thought they were a bit harsh on overhang tears as well. The few tiny tears on this one look to be bindery flaws not due to handling. I had it pegged at 8.0.
Also notes on the label. I had asked for a Halloween cover mention but that seems to be important to me than most folks. Also, it is a writer file copy. Bought it from David T Alexander and had paperwork with it. Seems, they are being pretty tough on things like this.
A pleasant suprise though. It came in a thinner slab like a comic slab instead of the very thick one my first pulp came in. Much snugger and a perfect fit. Also takes up a lot less storage space. I mentioned it to Matt and he agreed and said they are still working things out.
Still looks nice and I am considering a few more before a lot of pulps surge more in price and up the submission costs. 
 

#99 is Fiesta time 

Did Lou_Fine hack your account?
Yeah, I just tend to think of prices in terms of how they relate to each other.
So if a 9.2 sells for $750k and a 3.0 sells for $156k, then in my mind at least one of the buyers should be upset, and maybe even both!   

... and just found this piece of paper!
The Uncanny X-Men and The New Teen Titans #1. 1982

I bought 5 mint copies of OMAC #1 ...it was Kirby, it HAD to be a winner. I did ,however, buy 3 copies of Thor 337 and 50 copies of ASM 361. GOD BLESS ...
-jimbo(a friend of jesus)

100th issue, this book is a paper doll cut out on the front and back covers.  1953-1969 to get to issue 100. 

Yup, it had been a reprint series for a while (which was fine for me back then as it introduced me to SA X-Men), and maybe even moved to bi-monthly status.  And then it went on hiatus for a few months, and I do not remember there being any announcement or ads for the reboot.  It was just pure luck that I happened to come across it at the airport newsstand.

In historical context, it's perfectly rational.  In 1980, Wrightson was already an established name and very popular for his horror work from the late 60s and early 1970s, and had broken through to do work in mainstream publications like National Lampoon. 
In contrast, at this stage DD was a 3rd-tier title that had been mired in 1970s mediocrity for years, and Frank Miller was an unknown artist whose first few issues were not particularly notable.  I can't remember when comics with his artwork started getting broken out in Overstreet, but it definitely hadn't happened by #163.  The summer of 1981 was the first time I remember someone telling me to check out Daredevil because it had gotten really good.  

In historical context, it's perfectly rational.  In 1980, Wrightson was already an established name and very popular for his horror work from the late 60s and early 1970s, and had broken through to do work in mainstream publications like National Lampoon. 
In contrast, at this stage DD was a 3rd-tier title that had been mired in 1970s mediocrity for years, and Frank Miller was an unknown artist whose first few issues were not particularly notable.  I can't remember when comics with his artwork started getting broken out in Overstreet, but it definitely hadn't happened by #163.  The summer of 1981 was the first time I remember someone telling me to check out Daredevil because it had gotten really good.  

In historical context, it's perfectly rational.  In 1980, Wrightson was already an established name and very popular for his horror work from the late 60s and early 1970s, and had broken through to do work in mainstream publications like National Lampoon. 
In contrast, at this stage DD was a 3rd-tier title that had been mired in 1970s mediocrity for years, and Frank Miller was an unknown artist whose first few issues were not particularly notable.  I can't remember when comics with his artwork started getting broken out in Overstreet, but it definitely hadn't happened by #163.  The summer of 1981 was the first time I remember someone telling me to check out Daredevil because it had gotten really good.  

I vividly remember buying X-Men 94 off the newsstand at the airport in San Diego while my family was on vacation.  I was surprised to see X-Men because it had been on hiatus for a while, after having been a reprint book for several years.  As I hadn't bought (or even heard of) GSX 1, I was confused by what was going on as well, but still found it to be interesting and continued to buy the new series. 
Plus, there were a few elements that pulled me in.  I knew Dave Cockrum from the Legion of Superheroes and liked how he was revamping the X-Men's costumes to look more like the Legion's costumes.  I remembered several of the new characters--Banshee because his original appearance had been relatively recently reprinted in the X-Men, Wolverine because I remembered his appearance in Hulk (although I didn't think he was a big deal) and Sunfire from a recent appearance in Sub-Mariner (although he didn't stay, of course).

There were more young adults buying comics in the early 1970s than you might imagine. Unlike 10 years earlier, certain comic titles had appeal to young adults both for their storytelling and the quality of the artwork.  I bought Hulk 181, Giant-Size X-Men 1 and X-Men 94 when I was in college.  There was a news agency right on campus that stocked all the new Marvels and DCs not on spinner racks, but tiered wooden shelves.  And I believe it was the young adults buying, reading, and storing books back at that time with great care (much more so than how pre-teens read and stored them) that accounts for the much, much larger number of copies surviving until today in near mint and better condition than is true for early and mid Silver Age books.
As for buying multiple copies of new issues for speculation purposes, I know lots of the older regular buyers did so, but the selected issues were usually number 1s of new titles, especially those with famous creators.  It's worth a good chuckle to remember the books I bought multiples of back then: #1s of OMAC, Sandman, Shadow, Invaders, PP Spectacular Spiderman, Man Thing, and Iron Fist.  Not exactly books to have gotten rich on.    Swamp Thing #1 would have been a good choice, but I was a predominant Marvel guy and frankly didn't know Berni Wrightson from a hole in the wall when that ish hit the stands.

In historical context, it's perfectly rational.  In 1980, Wrightson was already an established name and very popular for his horror work from the late 60s and early 1970s, and had broken through to do work in mainstream publications like National Lampoon. 
In contrast, at this stage DD was a 3rd-tier title that had been mired in 1970s mediocrity for years, and Frank Miller was an unknown artist whose first few issues were not particularly notable.  I can't remember when comics with his artwork started getting broken out in Overstreet, but it definitely hadn't happened by #163.  The summer of 1981 was the first time I remember someone telling me to check out Daredevil because it had gotten really good.