Carlo M

Justadude raises some interesting points. I think most people on this board appreciate contemporary art as well. I certainly do, most my 2022 acquisitions were art from the 2000s. There are several reasons why newer artists do not maybe resonate as much as older pieces or do not elicit the same level of passionate debate. Nostalgia (and you can'to do much about that) and the fact that a lot of new artists are digital only probably weigh more than relative artistic qualities. As a Marvel only guy, I would add the fact that Marvel is spreading its franchise characters over some many titles, minis, trade paperbacks, etc. that it is difficult to associate one artist with one character or memorable storyline. And some of the best talents today seem to prefer to focus on covers only (when was the last significant run penciled by Yu or McNiven?). But rest assured that from my end I would never say that people like Larraz, Andrade, Quitely and Bachalo (just to name a few) "all look the same".

I agree. It is a nice image, the Phoenix concept is quite sought after, even though this particular persona is probably not the most popular (I like the Rachael character allright, but I think the character was better handled later on in Excalibur). Artistically, JrJr was still transitioning from the "Marvel style" of his early work (IM and Spiderman) to his own distinctive style. I personally think he fully blossomed later in the DD run with Nocenti. The UXM stuff is nice but a big merit goes to Green, who was in my mind the unsung hero of the X-Men look of the '80s. Just my 2 cents. Anyway at that time UXM was hugely popular, was it already at 700k circulation? So I am sure this piece will have big demand and will do well (I would go after it myself had I not just bought a DD splash). Carlo

I would be interetested to trade one or both these Silvestri UXM pages for: - Quitely New X-Men - Pacheco Avengers Forever - Madureira Uncanny X-Men - Tuska Iron Man - Simonson X-Factor - Charest XM / Wildcats High end only. Depending on content, willing to add cash top up. Marc Silvestri - Uncanny X-Men 242 - Page 17 - Inferno - Jean Grey - Cyclops - Havok, in Carlo M's Marc Silvestri Comic Art Gallery Room (comicartfans.com) Marc Silvestri - Uncanny X-Men 247 - page 24, in Carlo M's Marc Silvestri Comic Art Gallery Room (comicartfans.com)

Probably it is just me, but I associate Sal paricularly with early Defenders and Cap America mid '50s (including Secret Empire). And let's not forget that many consider him a major Hulk artist. Surely we are not talking Byrne Austin UXM or Miller Janson DD, but still very competent super hero stories.

Thought so... as usual timely response. Thanks Scott! Carlo

I am starting this thread with a specific question. Is not UXM 286 Jim Lee layouts, Portacio pencilis and Williams inks? Maybe Scott can help on the proper attribution for this piece (I am not the consignor here...) Comic Link :: The Online Vintage Comic Book and Comic Art Auction and Exchange Carlo

I expected around 6-7k, but there are several good reasons for the strong performance: - Quitely is absolutely a top contemporary artist - Fully inked pages by him are rare - All-star Superman (pencils only) has gone around this level recently - While no action, this page has several key characters (including Wolverine). Quitely's version of Emma is possibly the definitive version, IMHO (Cassaday's being second) - Morrison's run on adjectiveless was possibly the last great run on mutant titles before the Hickman reboor (barring possibly Astonishing by Whedon Cassaday ) - Early 2000s is entering the "magic demographic area" My 2c

Bump....auction closes tonight, I believe Carlo

I have two auctions up on CLink: Page from Defenders 15, the team up with Prof X vs Magneto and the Brotherhood: Comic Link :: The Online Vintage Comic Book and Comic Art Auction and Exchange Page from Uncanny X-Men 246 (the Master Mold two -parter), featuring Dazzler, Colossus and Havok, from the outback era Comic Link :: The Online Vintage Comic Book and Comic Art Auction and Exchange Carlo M

Sam Kieth Wolverine All Sienkiewicz work after New Mutants Ditko ASM (I know I should not say this aloud please don’t kick me out of the chat board ) - but I love love love his work on Dr Strange McSpidey

Buscema - Gerber Defenders - group of misfits wanting to blend in... .....and Claremont Silvestri Green X-Men outback era...group of misfits deciding to keep away

There you go! I got my answer!

Thanks to everybody contributing. I can see that the technique was defintely used pre-super hero. Anybody aware of examples in early Marvel super hero comics? I don't recall the Kirbys, Adamses, Buscemas etc using this. So I guess Miller's point was he took inspiration from noir comics in doing super hero stuff.

This one seems to have been successful: Sold on Ha in april USD7200 DAREDEVIL YELLOW 5 PAGE 15 by Tim Sale (panelpageart.com) Sold on Panel Page (I am told for USD15k but I did not see it myself, so happy to stand corrected) DAREDEVIL YELLOW 5 PAGE 15 by Tim Sale (panelpageart.com)

The recent HA auction featured a DKR page with Superman depicted through a black silouhette: Frank Miller and Klaus Janson The Dark Knight Returns, Chapter | Lot #92031 | Heritage Auctions The auction did quite well and got me thinking who used this technique first? It is not just using a black figure, but using a black figure with some elements in white to add a dramatic touch. Obviously Miller perfected this technique with his mastery of negative space, but what are the earlier examples? I have a Giffen example (circa 1977) that comes close (blackened face + white eyes). Keith Giffen - Defenders 45 - page 22 - Valkyrie - Hellcat - Red Guardian, in Carlo M's Keith Giffen Comic Art Gallery Room (comicartfans.com) Any ideas as to who came first? Carlo

My experience with them is similar. Around 2018 they had something I really wanted. I enquired, got a quote (with a bit of year-end discount (!)) and I decided to hit it. I was pretty conscious who I was dealing with and that I was paying probably more than FV. At the same time, I was aware that there is very little other stuff around from that particular artist and specific issue so I went for it. In my judgment, tt was not 4x FV, more like 25%, but it is difficult to say because of the lack of comps. Again, I consider myself a (relatively) experienced collector and was perfectly aware of the situation. Other than that, the buying experience was very positive, communication was very good and I had no problem with the delivery. To this date I am very pleased with that particular acquisition and have no regrets whatsoever. In other instances I got quotes from them that I felt were too high and I simply moved on (and in one instance I deeply regret doing that, but we all know that is because prices have been consistently increasing over time). I realise people are turned off by the acetates and the item descriptions and the aggressive pricing etc., but my personal experience with them was not negative and I feel it is fair to report it.

I am not a Miller fan, I don’t do DC and I have always found DKR very hard to read , so I guess I am truly unbiased here . But from the point of view of sheer artistic quality and impact on the medium there is just no comparison , this one is hard to beat !

Agree on this 100%

Thanks , I will try that! Best Carlo

Hi , anybody has a suggestion as to how to contact A. Davis? I tried to reach out through his website and a "forum" as suggested on same site there but no luck... Carlo M

Thanks! I will give it some thoughts. I an not thinking about selling , it is more a matter of pride ….

BTW, here are the grading notes to the UXM 94: light bends to coverlight creasing to coverlight spine stress lines to cover

Hi, I hope this is the right forum. If not, please let me know where this should go. I sumbitted my first batch of comics to be graded. They came back more or less as expected, except for my copy of UXM 94. I really expected an 8.5 or 8.0 and came back as 7.0 instead. Now, at the same time I submitted for grading AND pressing also my copy of UXM 101, which I though was in worse condition than the 94, and it came back as 8.0. Now I am not an expert and this was my first experience with CGC. My takeaway is that CGC is a lot stricter on slight bends, while I have always given much more emphasis to colour breaking spine creases and dented corners. Anyway, my question is. Would it make sense to resubmit including pressing. It is a bronze age key and it might deserve investing a bit more to get 0.5 o3 1 notch up. And in that case, is it better to resubmit in the case or without the case, so to start the process afresh?

True, especially with Sinnott’s inks , that made John Buscema , Sal Buscema , Buckler, Wilson , Pollard, Perez and yes also Byrne look very very similar on FF. Still , I might be tricked between Buscema and Pollard (have a look at the Ms Marvel on Clinks …could be Sal or Big John all right ), but John Buscema and Wilson ….nahhh (and me loves some Wilson covers !)

Does not look like Buscema to me at all. Only the Torch’s face is vaguely reminiscent of his style . Definitely ‘70s Marvel style , but not sure it is Buscema