Will_K

Signed art is good.  Some may argue about signing on the art vs bottom margin.  I think a discreet signature on the art is nice.

Some kind of handwritten note (with signature) on the back of the art would be nice as well.  If the art is colored by the artist, that should also be indicated. Sometimes another person may do the coloring work.  So for example, "this is a recreation of Silver Surfer #4 drawn and colored by XXX"  Who knows, some people may even want that on the front.

If I recall correctly, D ick Giordano's Flash cover was considered (by DC) to be their cover of the year.

1 hour ago, vodou said:

No.

Where did you get that idea from?

I just wanted a hint about that mysterious art segment.

26 minutes ago, vodou said:

I can think of an a more enthusiastic and liquid art segment, most often under four figures too, but for that reason I'm keeping it to myself - I do not need vulture competition.

Hint ??  Is the art usually smaller than 11 x 17 ??

Agree.  Whatever the cover, if it was being recreated, the odds are there is something special about it anyway (re: value).  The commissioner could be asking for a cover that has a personal meaning.  But otherwise, the cover would probably be popular.  

There's also a few people that are not the original artists but doing some nice recreations.  There seems to be a few factors.  The original is not thought to exist (or not be in collectible condition).  Or the original is not on the market or prohibitively expensive.  But why commission someone to redraw it ?  Maybe just scan the comic, drop the colors and clean up the line work.  Or is it just "fun" to have a cover X originally drawn by Y and recreated by Z ??  I've kind of thought about it but couldn't bring myself to do it.

The last major thread on Lichtenstein... noone's mind was changed in one way or the other.

2 hours ago, alxjhnsn said:

FWIW, there are four sales of a SS #4 recreation by John Buscema in Heritage's archive. 

It looks like there are 4 sales but "only" 3 different pieces.  One is signed on the back.  One is signed on the art in the bottom right.  Another is signed in the margin in the bottom right, it looks like that was auctioned twice.

I would get mine at an independent book store at the mall.  They sold new comics and had a bunch of portfolios.  They just sat there and you could open the envelopes.  I took me a while before I bit the bullet and got the Black Widow.  I'm not a Marvel guy and but really liked Gulacy's art.  My local comic shop carried a small selection.  Sal Q also did mail order.  I don't specifically remember but I guess you could also get them at conventions. 

I can't think of "significance/definition of published OA" being relevant to anyone but the "owner" of the OA. 

In a few other threads, we've debated the definition of "original art".  Original ink over original pencils.  Original ink over digital pencils.  Stat'ed originals modified for publication.  Digitally modified for publication.  All digital.  Etc.

And what will define whether art was "published" ??  It seems that publication is supposed to give the art some  "legitimacy".  In some instances you may be able to cite a person's tweets on the gold standard.  On the other hand,  can you really cite Wikipedia in your research paper on cold fusion?  If it was on Twitter, was it published ??

Whatever the situation, it'll be the prospective buyer(s) that determine the "significance/definition".

If an artist teases/posts (/publishes ?) an image for a new character that becomes "hot", was it first published online (by the artist) or in the official online comic ?

On 9/16/2019 at 3:05 PM, NelsonAI said:

There is a reason why most publishers look the other way when artists do commissions for profit on their copyrighted characters such as Batman.

1) The publishers can continue to pay the artists minimally as work for hire but allow them to make a living on the side to support themselves.  Even Disney, which was known to sue anyone and everyone for violating Disney copyrighted characters seem to look the other way for their Marvel roster.

2) maintain a good working relationship with artists.  Deadlines are tight and you never know when you need someone to fill in immediately.

3) it's good public relations to the general public who are ultimately, the consumers of the publisher's products.

As I mentioned in another thread, some artists may also have expressed permission from publishers to draw their characters.  The example I gave was Joe Staton.  I would assume Neal Adams has (or can certainly get) similar permissions.

You can get a LOT of them second-hand.  Not aware of the print runs... so not sure how popular.

I have Adams' Tarzan B, Mike Nasser's Starspawn, Berni Wrightson's Apparitions, Nestor Redondo's Men, Maiden and Myths

And a couple more.

My favorite... Paul Gulacy's Black Widow portfolio by Sal Quartuccio Productions.

Getting back to original art... where's the art to the cover/envelope ??

He might also have to authenticate it.

5 hours ago, zhamlau said:

7 hours ago, vodou said:

Sure does, ex-nostalgia.

When the Bronze  generation finishes passing through and out of paying record prices for their nostalgia, the hobby overall (via ongoing prices paid) will not look too kindly on his body of work.

Don’t see it that way. That he worked on so many hundreds of books across so many companies, his impact and importance I think is locked up. Just on volume and longevity alone his influence was great and widespread. 

Nothing against George Perez but "volume and longevity" is almost the same argument that has been recently made in favor of Sal Buscema.  And I also don't have anything against Sal Buscema.

If nostalgia has no relation to importance or impact then how should we define importance or impact ??

20 minutes ago, vodou said:

Hemlock Grove

OK... I looked that up as well.. What ??

7 hours ago, ESeffinga said:

ouroboros.

I'll admit that I looked up the word.

11 hours ago, Claudio said:

If I was the owner of the cover and Neal asked for 10$ to promote and encourage bidding,  I would consider it.  If I felt that Neal was trying to place doubt on its authenticity just so he could strong arm me into giving 10%+, I would tell him to pound sand.  

I think that's what bothers me th most.  He is casting doubt on its authenticity without any basis.  

This makes more sense than anything. 

4 hours ago, NicoV said:

Clicking on https://www.graphiccollectibles.com/ sends me to Antony Snyder's website

I wonder if @artdealer knows.

Does anyone know what Adams is "asking" for his authentication fee/percentage  ??

5 hours ago, batman_fan said:

11 hours ago, tth2 said:

Okay, so I was engaging in rhetorical hyperbole.  If someone gave me one, I would take it too.

 

 

In order to immediately sell it! 

But promptly sell? I probably would. 

And @tth2 would also take that $1,000 !!

Garfield annoyed me.

I nominate this thread for "Thread of the Year".

Also, all comic art will now be priced with Post-It's that say FMV.

Some years from now, could the art be used as a charity donation to offset capital gains ??

Way before there was such a thing as slabbing and paying for signtures, I would get my comics signed almost always on the first page.

A couple years ago, I was at a show and Simon Bisley was charging for $10 per signature.  It had been well over 10 years since I've gotten comics signed by someone other than "some guy" in Artist Alley..  And I had never paid for a signature but I really wanted him to sign my 4 issues of his Lobo mini-series. 

OK, fine.  So I paid my $40 and got my comics signed on the first page.  I had also paid him for a sketch so I was checking back every so often.  And I saw him signing lots books left and right but never charging for signatures.  I felt like a total schmuck.  And my sketch turned out horribly (for what it cost).  So, I'll never get anything from Bisley again.

An alternative to charging for signatures is signing for free (or reduced fee).  BUT only if it's on the inside of the book.  So even with a witness and being a SS, you can't see the signature.  I know part of the appeal is seeing the signature but if you wanted it signed, it's signed.

12 hours ago, Brian Peck said:

They go by a bunch of different names, character designs, style guides, licensing art.

Also, "turnarounds".

Not really a fan.  But I've personally seen about a dozen iterations by Buscema drawing the same damn thing.  I think it was... Conan holding an umbrella.  I recall the story was Busecma was doing a show in London, I think.  And that was supposed to be the convention book cover... something like that.  At the time I was flipping through them, I didn't think one version was particularly better or different than the other.  Obviously JB thought otherwise.  So the fact that there are multiple images of the same thing should not automatically mean it is "real" or "fake".

On 8/26/2019 at 1:53 PM, ESeffinga said:

but that "bike" is killing me. 

Tandem bike.  Problem solved.