Taylor G

Interesting comparison of Frazetta vs Vallejo:

I don't know, maybe they felt some responsibility to posterity to try to keep the stories together, not scatter them to the wind for a relatively small additional profit. As a reference point, the pages in the Cockrum X-Men Artifact Edition are gathered from 60-70 collectors. No complete stories were possible.

Yes. I've come to appreciate that this is a hobby that requires nerves of steel. I was advised to use USPS Priority Express (which sometimes provides overnight delivery), just don't drop it off at the end of the week. Insurance may give you better peace of mind, debatable if it provides anything more than that. Very funny.

Stuff like this:

Harvey Kurtzman over Wally Wood? Seriously?

$100M painting, purchased in an estate sale (30 years after it was stolen): There's hope you'll find that grail piece yet.....if it doesn't end up in recycling.....

Or butchery like this.

CLOSED

Ebay user mksjpypl-3 won an auction with a $400 snipe bid. Radio silence for a week, then finally asks for the auction to be cancelled after unpaid item case is filed. Thanks for wasting my time, dirtball.

The analogy I think of is with silent film. The nitrate film that they used back in the day was highly combustible, for this and other reasons most silent films are lost. "Dawson City: Frozen Time" is a very good documentary about a stash of films that was discovered in the Yukon (used as land fill for a swimming pool!). Many silent films only survive from this find, recognizable by their water damage. The other films that were part of the same movie theater inventory were deliberately burned or thrown in the river, people didn't want to store them any more. The analogy with OA is stories broken up and pages scattered. Buried in people's collections, who may not even know what they have. No doubt some of it stuck on shelves in garages or in attics, discarded when the owner passes away. Imagine if all we had left of classic EC art was the tired old original comics. Much survived because Gaines kept it together, but that will be scattered as well as the people who got it cheap in the eighties liquidate their holdings. I'd like to think the best stories will be preserved intact, but when I hear that the recent buyer of Master Race only heard of it a year ago, I am not optimistic.

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Hey, some of us never lost the love. A camp classic. Alex Raymond opening credits!

The sleeves for the itoyas are polypropylene. Those portfolios are intended for transport, not for long term archival storage. This is what E Gerber (a seller of mylar) says: Honestly, I'd say the environment is the most important factor for archival storage: low heat, low humidity, microchamber paper to absorb emanations.

Do you mean between the art and the backing board? See here for more information about MC paper. Conservation Resources are a good resource for archival boxes and MC paper, but you'll have to trim the paper down to size yourself.

I put the art in mylar sleeves with acid-free backing boards, stored in large portfolios. I put the microchamber paper behind the art, between it and the backing board. People do as much for comics, and art is much more valuable (as in, irreplaceable).

Polypropylene is not archival. Polyethylene is archival, and is more flexible than polyester (mylar), though not as clear. You can get mylar sheets that are large enough for an AE, and use those e.g. to isolate AEs from each other (so they don't stick together if laid on top of each other) and from a bookcase (which will emit damaging substances) Artists editions are printed on acid-free paper (at least those from IDW). FWIW you can get microchamber paper for your art (which otherwise will be outlived by your artists editions).

I'm selling a pristine unread Art of Ploog Planet of the Apes Original Art edition. There were only 42 of these, now OOP, this is #9/42, signed by Mike. This includes a slipcase and a page of POTA art in a folder (individually numbered to match the book): Mike Ploog's definitive work was on Planet of the Apes, and for issues #6 and #8, he worked only in pencil, returning to inks when Marvel's reproduction of the art could not do it justice. This is one of the best pages from that run, page 11 from POTA #8, with tight pencils and dynamic action. The dialogue is on a separate overlay sheet. The art measures 13" x 19.25". I'm including some extras that were exclusive to Kickstarter: A 8.5" x 11" 64-page storyboard sketchbook, with storyboards from several films that Mike worked on, including The Thing, Dark Crystal, etc. A signed and numbered print, homaging the cover of the first issue of Werewolf by Night. A set of five 8" x 10" prints (“The Balrog,” “The Mercenary,” “Night Howl,” “The Werewolf,” and “The Wraith.”) See my CAF page for more pictures and purchase details.

Stagecoach.

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An article on the Salvator Mundi, questioning the restoration:

Mitch Mehdy.