zhamlau

That’s from the power record comic. I sold that page years ago in HA. Always thought it should have done better even with so much of it stat.

This is a competitive field people wash out from, and finding someone’s art “just acceptable” or not liking face selections are emotional personal decisions. I argued based on measurable external metrics as my core, I stand by that.

Fair point, some don’t want to see it or can’t. Why argue at that point I guess. No need then to reply to my questions, we’re likely just never going to see eye to eye on this.

How many artists worked on main stream books for 45 years? If it was easy the list should be pretty big. If the list is small compared to all the artists who worked in similar material. I think the list should be like 1-2 guys and Sal is one of them. Because of that I don’t think your comparisons work.

I guess the test would be to see how many artists both companies hired for 45 years straight to pencil and ink major books, and compare it to the number of MLB players who played say 25 straight seasons in a row, and compare each groups relative stats? Then I guess compare those groups against say the standards for each league/company? I mean that should be a small list of elites in both sets and should give us the basis to compare from there.

I was surprised to learn he was 80. He had a lot of vitality and energy the last time I saw him before covid. I guess he was just one of those very engaged people. I’m sorry to hear to hear this.

That .235 hitter with 5 wouldn’t be allowed to stay in the bigs for 25 years is the issue. You only hold a spot that long if you were producing at a high level consistently.

Its quality work, superior to most art in comics these days, and he is producing it in his 80's. Nearly every other artist when they hit even close to this age is coasting on diminished skills and nostalgia. Again, some folks "don't get it" and can't see the value in 50+ year active streak where he worked at a high level loved by fans of multiple generations. He isn't flashy, I get it. He was just consistently very good and multi-talented for many many decades in a way no other artist really has ever been. You take any one year out as an example of course you can find someone you might like better, maybe a few guys even. So be it. The issue is when you add up that 50 year stream of constant mainstream fan supported work, the quality output and longevity really start to make an impact on the artist and his legacy. I think of baseball whenever I see this discussion. You hit .290 with 25 HR and 160 hits one year, hey that's pretty good. Not gonna be MVP most likely but you could make an all star game. You do that same stat line consistently for 25 years straight...you go into the hall first ballot and you are guaranteed in the discussion of "all time great players".

Robert Dennis is the best. I’ve heard Gordon Christian (not sure on last name) from San Diego is excellent also.

Ha....I don't check in on the boards for a bit and a little anarchy ensues. Well, it appears ARTSOC has failed in our noble effort to keep "The Average" in his place. Even party loyalists are coming out admitting his importance and value to the industry and among his peers...I never thought I would see the day... So, all cards on the table I guess. I like Sal (obviously) both as an artist but also as a historically significant comic book artist. My thoughts on this are pretty clear. 1. 7th all time on the pages pencilled list. That alone makes you one of the greats. You don't get that much work if you aren't that skilled. Inkers can something slide by with lesser efforts and still get paid, pencillers not so much. 2. . Worked consistently from 1968-2014 due to the caliber of his craft and not just nostalgia like most others on this list. He even worked on a story in 2020 for marvel, and the work was still good. To be consistent for so many decades and be able to work on so many varied stories for so many different publishers, I can't think of anyone else like him in that regard. 3. 34th all time most pages inked, that alone is impressive. Whats more though, I think the only guy on both lists with similar numbers is John Byrne (and he was mostly just inking himself). To be able to mesh with so many other artists as both a penciller and inker to the point you are HOF caliber in both over a 50+ year span, that is unique in comic book history. 4. The man is 86 years old, and he is still doing high quality commissions of varied and unique characters. I've seen work from him over the last 5 years that looked like something he could have done in the 1970's (my favorite era for his work). How many artists have ever been capable of that? So many later in life commissions by some of the greats are mere shadows of the work they produced while in their prime. The same can no be said for Sal's output. That shows a love and dedication to the craft. That means something, at least to me. 5. The man did almost 14k pages while only working on 675 stories. Think about that, most of these guys "padded" those numbers by doing tons of fill in pages on huge jam books with multiple artists. Sal's output is almost exclusively as a penciller on books he was the primary artist on. The books sank or swam with him as the artist because he was usually pencilling all the pages. And he was so good, so consistent, he was given decades and decades of first run titles to pencil and almost all from the varied main stream publishers. It wasn't all self published or single character runs for one company. He could and did work as the primary artist carrying the book on dozens and dozens of different runs. He could and did work on any almost any character for any publisher who needed quality work done in quick order. Anyway, those are my thoughts on the guy. Him being a good dude who is humble as heck and good to fans of course plays a part in this as well. But just on the quality, scope, and longevity of his work I say the man is a top 10 comic book artist of all time and a top 5 marvel artist specifically.

I went for the 10th straight time. It was as always a good show. I sold a few pieces. I bought a few pieces. I stayed at the hotel as I always do, but for the first time in 4 years my wife and kids came along as well. They loved seeing NYC on the horizon, but we never made it into the city. Pool was decent I'm told so that was their favorite part of the place lol. What's funny is that on Sunday I went to a sports card show out near Rutgers and I found one of the cards I need for a master set I've been making for 4 years, blew my mind. Guy wanted like 7500 so no deal on it, but at least I have his contact info. Nice little bonus. Overall it was a fun show, I just wish more collectors brought their trade/non vital portfolios. I always bring mine. Its a lot more fun to buy and sell collector to collector then with dealers.

I still absolutely love that DPS. Just stunning.

Won two lots, surprised. I’m pretty cheap so wins are rare in major publicized auctions.

If I had a nickel for everytime I’ve heard that…

"Hobby"

You know, looking at these two examples I don't agree they are better when it comes to pricing. The JB/EC style artwork is one of the most desired art combos for the character if not the most desired. Its from the right era, its the right villain, its a great image, and its an issue 1. Plus adding how "special" pricing is right now in this industry, I see this being well over 50k.

65-75k range I would assume.

I ran into him on Facebook years ago as Ardeth Bey (which i think is the Mummy from the Boris Karloff movie of the same name). He messaged me about a trade for art I had, and told me his real name. The deal was not pursued after that.

Technically I think this the German model.

“Hobby”

I was surprised they ran their auction to run at the same time as the Wednesday Heritage comic art auction, well mostly. Heritage should be about 1/2-2/3 done by the point they start but still its overlap.

When they were San Mateo art they used to set up at shows. They were overpriced even then but their tables if i remember back in the 90's were just cramed full. They would just stack it in hap hazard piles or beat up make shift binders. I see Rich at shows still, mostly stuff but still decent enough and he brings a lot (and of course all insanely overpriced). I would imagine they have a good 5 figures of random art in their boxes back home.

Nearly every card show I've been to in the last 12 months has had these 20-30 yr old guys with their black graded card briefcases full of low pop soccer, Prizm basketball PSA RC's, F1 Cards, and random ultra modern FB QB RC's. Its an entire group of people just buying and selling their stuff back and forth to each other, to eventually unload on Instagram or eBay. They have little to no idea who most of these guys are beyond what they glean from other card-bro's. If you want to see the trend in action go to YouTube and just type "card show" and you will get that last months content of just that. Most have been in the "Hobby" for about a year or two when you ask. It's completely unsustainable IMO. When it comes to PMG's, that seems to be a older more established group pushing those. Same for graded Marvel Metal cards and inserts. Sketches and autos seem to have fallen by the wayside for the love of the parallel. Even raw these cards move very well. I collect 4 players who mostly are immune from this hype whose cards aren't really down that much from last years highs, but they are starting to look like bargin's now....Anyway sorry to derail to card talk. If you guys ever want to see the sports card equivalent to CGC forum, https://www.blowoutforums.com/

I remember walking by this cover, in a cheap frame no less, sitting on a chair next to a dealers table at the 1987 Motor City Comic Con. One of the dealers had it for the princely sum of 500 bucks. I remember thinking wow who would pay that much for drawing done only a few years ago. My dad picked me up at the show as it was closing, it hadn't sold by then. One of my first real memories of comic art since i bought some pages at the show for 5 bucks.

Respeck Ali G I don’t know if you know this But dolphins ain’t fish