Will_K

I guess this is new ?? Didn't you just finish a man cave / comics reading room ?

Hmmm... it looks like the image is still reduced compared to my copy. Here's just the UNN. Maybe the marker will show better. Click on it for a little larger image.

Logo lettering at 100% Click on it to see it better.

Score !! I was able to recover a copy from my cache. This is at 33%

The HA listing is totally gone now. Hunting wabbits !!!

A lot of things in the drawing do not match up with the comic. A really good example is Bugs' teeth. Or you can just look at the line weights on Bugs' whiskers. As already mentioned, the logo and its placement is off. The U's in Bugs and Bunny is a much tighter curve than in the drawing. The art seems to be in ink (which you'd expect). The logo lettering seems to be in marker (kind of odd). The blacks in the background also seem to be in marker (i.e. not ink). That is very odd. I can't imagine that any artist in 1943 would use a marker to fill in blacks.

And still at 9 x 12 ?? I hope that piece comes with a checklist / guide / who's who.

... "guides"... Well, that definitely makes them different from blueline colors !!!

I'm not into the comic or the artist. But I think your interpretation/understanding is very close to what the artist was trying to portray. Drawing a slug-fest, lots of explosions or flying heroes aren't necessarily easier to draw. But non-action, "talking heads" or quiet scenes in super-hero comics MUST be visually interesting by default.

Make sure your mylar, Itoya, top loader or whatever is sized as close as possible to the art to avoid the piece moving around and smudging the pencils. To avoid pressure on the pencils, I try to keep my pencil pieces vertical as much as possible. I've had a pencil piece (my Batman/Green Arrow: The Poison Tomorrow cover prelim, http://cafurl.com?i=24661) with the a lot of pencil where some of the pencils did transfer to the acetate in an old portfolio. It was noticeable if I put a blank sheet of white paper in its place in the portfolio, I just wiped it off. But thankfully, it wasn't really noticeable when looking at the actual art. Pieces that I've sprayed with fixative seem to get a slight glossy finish and feel. You can compare it to the back of the paper. There can be a difference between the front and back even on non-sprayed paper. But on sprayed paper, the difference is even more noticeable. Depending on the cost vs value of art, if you frame it, make sure you get it with anti-static acrylic, this avoids static electricity from actually pulling the graphite off the paper. Also try putting wax paper (e.g from the supermarket ) over the art. If it's "just" a convention sketch, you don't have to go nuts. All of the above also applies to pastels. I have a large pastel that I'm looking to re-frame one day. Also a smaller pastel that's still in the top-loader from when I bought it. A couple weird pieces (maybe black pastel or a grease pencil/China marker ?), not sure what to do. I don't even want to put it on my scanner. Good luck.

Top: Stroman's Spidey presumably for @Subby1938 (5/6/2020) vs Bottom: Stroman's latest Spidey (5/9/2020)

... only in your dreams. And not that I know of.

Or a Moebius piece written by Alan Moore. WTF. "Confessions of a Newbie Collector" is going to another level.

Hey Ned, I hope you'll be mailing that art with the necessary... insurance.

You can consult comics.org and look up those specific issues. If a story has been reprinted, comics.org usually mentioned the appearances. As mentioned by @Drewsky , color guides were usually as simple as a xerox of the original line work and colored by the colorist. Those notations beginning with R, Y, B indicate the colors/color codes. As mentioned above, I've bought a couple of those acetate things but I don't put too much value on them. I've also bought color guides. They're interesting. Every once in a while, Trish Mulvihill lists a bunch of her own colors on ebay ( trishmvhl ). When comics started using digital colors, a lot of it sucked. It seemed like anyone that was half-way competent on a computer got to muck up comics with weird coloring. But I liked Trish's work.

It's not the same piece. It's a different piece. And maybe a different victim ??

I think I've bought from them before. Those are (pre-digital) color guides. Are they real ? Sure. But real what ?? It could be those are the color guides from when the comic was originally published. Or maybe when reprinted. So you might have to compare it to each time that issue was printed (or reprinted). You generally want to stay away from those pieces on acetate. Not all of them. Some people say they're just manufactured memorabilia, art that was scanned and then printed on acetate. Supposedly used to produce reprints or whatever. I've bought them on rare occasions. But I don't put a lot of value on them.

These are weird times. It's possible the winning bidder's financial situation had a big change soon after winning the auction. Who knows. In a non-charity situation, this would definitely raise some eyebrows. But the seller's motives are transparent so we should hope the piece will still do well.

@Subby1938 You mean this one ?? Larry Stroman's CAF https://www.comicartfans.com/GalleryPiece.asp?Piece=1630413&GSub=205190 Just walk away.

I think if there was a commercial purpose to those drawings, the lettering would be much more professional looking. Definitely not the work of Ira Schnapp or any of his contemporaries.

From left field... Bruce Jones. He's a pretty good artist and good storyteller. He has interesting twists in some of his more personal stories. Edit: Well, he was already mentioned. But I second his mention !!

You should actually put this on the wall. I'm serious.

You should check out Wally Wood's 22 Panels That Always Work https://cloudfour.com/thinks/22-panels-that-always-work-wally-woods-legendary-productivity-hack/ It's pretty much the gospel for that kind of thing.

Putting values on the separate pieces of art is still evolving and it's also a matter of personal taste. If you look further in this section, you'll see other threads related to digital pencils and physical inks. And even maybe even digital pencils and digital inks (although it'll be hard to put a value on those). However, you did 2 great things. You were able to locate the original pencils and you asked a question. Because, let's say you bought the inks and only later did you find out about the pencils...

Now you are aware of the existence of both pieces. This knowledge will be lost to time. But right now, you can decide which you prefer, how you want to value them and what you're willing to pay. Some like seeing the "pure pencils". Some like knowing that THIS was the linework that was used for publication.