John E.

Paging @pestonaccio

I like this movie anyhow but I remember revisiting it after one or two years of collecting to check out this scene. No very realistic. This is how the film represents buying OA: Directly from a gallery. By appointment only. Must wear suit. Sassy gallery owner. This then-22 YO was like um no thank you.

As someone who sells and buys art from eBay I can go on and on about this. I don't know man--you're not going to like hearing this. Don't think of this as some anonymous punk behind a keyboard but rather as tough love. The fact that you don't know the Invincible market, that you were deceitful, and now suggesting eBay, tells me you really don't know what you're doing. I would suggest contacting ComicLink about what you have and letting the professionals get the most out of your art for you. If you do this yourself, via eBay or "classifieds" you're going to get taken advantage of.

I have two Manley Darkhawk pages and I’ve been waiting years for an example that checks off all the boxes with no success. Now I wish that I had picked up those 1-2 examples that ticked off 3 of the 4 boxes for what was dirt cheap even then.

Much ado about 90s art 😐

I never read the book so I couldn’t tell you what each page might be worth. I think it’s best to auction it. My first instinct is to go ComicLink; I feel like it would get drowned out in Heritage. Or maybe it will do really well on Heritage, only that you need to send them $5k worth of consignments. You might try auctioning just one to see how it performs. Chances are you’re going make more than you paid anyway even if it “doesn’t do well.”

I hope to one day add a Timm interior page to my collection. Until then all I have is this quickie con sketch. I’ve added a link which tells the story behind it.

Important yes, but not done in practice. If it’s one artist doing (digital) pencils and inks, the rep or secondary market sellers will bill it as “pencils and inks by...” Often times sellers on the secondary market don’t even know themselves that they are selling digital pencils under the inks (talking about one artist on both chores). Overall, if you’re collecting modern art from the last 5 years, expect the art to have digital-something.

I don’t follow this market so I can’t give you a price per se. Although I will say that pages from this issue don’t pop up often or at all and so there are no comps. My word of advice is buy it as long as you don’t have to sell your car to do it. As an experienced collector I can tell you that you’re going to regret not picking up a page from issue #1 when you had the opportunity WITHOUT the bidding competition OR someone with deeper pockets trying to swoop in on you.

As a recent former owner of a Skottie Young interior page, it’s my understanding that he did loose, digital thumbnails, printed that out, and finished the drawing with ink. On the page, I can clearly see what looked like blue pencil until I decided one day to try to erase a speck of it to be certain...and nothing. Turned out it was digital indeed.

As it has been mentioned, there has been fewer art being auctioned in Clink. With less art to spread the money around I wonder if this fuels an uptick in hammer prices? Too bad not a lot of 90s kids drop in the Boards, but $1900 for that Aparo Knightfall page has to be a new record. I thought it was going to end right under $900 but it was slightly over $900 right out the gate.

Bumping this. I’m also curious to know when the practice of a penciler scanning their page for an inker to ink on a separate board started? Related, when did going all-digital become a thing? For example, Alex Maleev on Daredevil in 2004. I don’t know much about this history, would like to know more

If I look at the last year, quarter sales were to friends and the other 3/4 during Comic Art Live. Actually, I did make a sale through CAF classifieds once in the last year.

First, I don’t think it’s any one thing. Personally, I haven’t purchased anything on auction in over a year (though there is something I like on auction now). There’s too much competition and auctions don’t fly under the radar anymore. Then there’s the bp, taxes, and shipping. Since November all my purchases have been private. Second, I haven’t sold any art on auction for a while. All my sales have been private. Comic Art Live was a success for me making me feel like I don’t need an auction house. An auction house has to prove to me that they will get a maximum price that exceeds my 10%+ cut. Thus far I have beat Comic Link’s hammer prices. Lastly, I feel like collectors are really hanging on to the stuff they do have because quality art is sparse. It doesn’t pop up as often as it used. And I can only speak for myself but if I let go of something I probably will never get back and certainly not for a reasonable price.

Why do I only see “page 19” but not “page 6” in his listings?

“None of these things include comic book art.” This is a reminder to me that my children and my children’s children are likely to have different interests than me. So when I buy OA, I buy for myself and with only me in mind. I don’t fool myself into thinking my comic art are heirlooms or something else they are not. And I certainly don’t use the idea of a family inheritance to justify the bigger purchases.

I don’t know what we both read Cloddie, but I was going to start this exact same topic, only you beat me to it. I mean I’m barely getting around to respond. The only difference is that I was going to name my thread, “Show Us Your Backsides.”

I think I have received spam from CAF before. Sounds familiar. Just ignore. Shouldn’t happen often.

Yeah but does he have Silver Surfer Black pages he’s willing to part with?

Funny thing—Steve no longer carries Frank’s art or even mentions Frank in his website. Not sure if the site is going through a makeover or what.

Just saw that and I came here to post. Thanks!

Yup. Now was it supposed to open at a different time than the con, or did it crash from the traffic?

What the heck is going on with this show? I clicked on the exhibitors room and first clicked on Panel Page art and all was good. Then every dealer link after that was dead. Then went back to Panel Page and it was dead too. Now the exhibitors hall is closed. Streaming seems to work fine. 🤷🏽 Anyone else experiencing issues? I’m using my phone.

Like Grapeape, I see the sides of the collector and the artist. I'm of split minds. I'm just exploring ideas, not necessarily saying I commit to them. This idea operates on the assumption that artists and illustrators (comic book artists) work the same revenue operations. Fine artists, in general, work on one piece for one or more months. Meanwhile in general, comic artists work monthly on page rate. Then they sell that physical art for extra income. Then in general, comic artists can produce relatively quick commissions and sketches for extra income (and charge $5 a signature per book, $10 if it's getting slabbed), while it's harder for fine artists to do that. Also, most comic artists are hired to draw a copyrighted character without paying a royalty to the copyright holder. And we as collectors often contribute to the livelihood of artists by purchasing sketches and commissions from them often times as a symbol of support, as opposed to us really needing it. Most of you here are not into sketches and commissions, but let me tell ya, the prices on those have shot way up in the last 2-3 years. Because no such "anti-flipping" agreements are in place in for the comic book artists, artists and their reps hedge against rise in values by selling today's art at tomorrow's prices. I think many here have said or agree that, for the most part, the primary market is what makes the most money on a piece, and after that you tend to lose money if you sell within 5 years. You might not see a return on "everyday art" for until about 10 years...and even then. When a comic artist gets hot and prices shoot up, that's good for their business right? That's how you build a market for them? I'm not on that side of the business so maybe I'm way wrong. I just think what is right for the fine art market, especially for Black and other artists of color, may not be "right" for today's comic artists. Whereas fine artists are protecting themselves with "anti-flipping" agreements, today's comic book artists are protecting themselves by raising their commission prices and their art prices. I rarely hear about royalties given to creators (artists, writers, colorists, letterers) for copies and trades sold, so perhaps the onerous should be on corporations to take care of their employees by paying out better royalties? (Fine artists don't have the "benefit" [I'm fully aware of the irony of that statement] to have a corporation with which to negotiate better term.) Lastly, if one has to agree to hold on to work for 5 years before selling and paying 15% of their margins, then one would have to think the price of the art should be lower. Also, what happens when after 5 years, the art loses value? Just ideas

Personally, I’m looking forward to the next Comic Art Live and the new changes that will be implemented.