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If it wasn't such a long haul, I'd seriously make the drive in a heartbeat.

Dig that 8-ply mat and slim profile frame together! A great look that lets the artwork be the star. And I have a nostalgic soft spot for TT.

I have different waves of nostalgia for all kinds of eras as I left and rediscovered comics over the decades, and they scatter pretty widely. So I'm just going to pick on pure nostalgic memory from a very specific time, when I first got into comics. This book meant everything to me. I was just about to turn 10. Published Sept 1983. This one was a close second. I read both relentlessly. I remember trying to trace parts of this one using my window as a lightbox. And then trying to re-draw the cover freehand. Published Dec 1982. As a kid, the pathos of Rom really connected with me. What can I say? And in fact, I don't think I entirely understood Wolverene's feelings at the time, but I understood the overall sentiment, and it's a very sad book as well. Even today. Not sure what that says about me as a kid, or now, but it was a really deep connection. Published July 1983.

Heritage bidding rules aside, I just wanted to say again I really enjoy listening to these, no matter what form they take. I think I've learned or heard something new or unexpected in just about every one, and they definitely leave me thinking about facets of the hobby I've never really given a lot of thought to. And it's fun to hear people speak that I've known only as screen names for decades, and not had the opportunity to speak to in the flesh, or just haven't spoken to in nearly 20 years. Thanks Felix.

That is a rad piece of work, no matter what it ends up at.

I was a latecomer to Matt Gordon's work. I stumbled across his illustrations thanks to artist/director Troy Nixey last July or August, and it immediately struck a chord with me. The piece I saw first was something Matt drew as a commission for Troy. It was a super dynamic fight captured in a deceptively simple drawing, and the characters in it looked fun and unique. But it was in doing a Google image search for Matt's art that afternoon when it hit me just how huge and incredible this guys imagination was. He has a whole world of characters he has been developing. Much of it drawn from his childhood, and a sort of fantasy world constructed out of it and the rest of his life experiences. The work he is currently exploring has been going on as an underlying thread for much of his life. It's only been in the last half-dozen years that it's really solidified into a distinct and recognizable world. It's still evolving, the character designs getting tighter and tighter. Matt is a whiz with creating "life" in a drawing. So much of what I love in a great drawing is seeing the spark behind the eyes. That breath of life that comes from really keen observation of the figure, of human nature, and of the world around us. But then there's also the infusion of imagination as well. It's the sort of thing that makes a Frazetta drawing so engaging. But Matt is not Frazetta. In a way, I see a combination of things in Matt's work. The life of a Frazetta piece, the whimsy of someone like Claire Wendling or Charles Vess. But something Matt's drawings do that I don't recall ever happening for me before, is that they remind me of a time and place that never was. It all at once tugs on my heartstrings with a nostalgic kick I usually only get from seeing things I personally experienced as a kid (comics, toys, movies), but he manages to bring in other things I remember from that time but never was a part of myself. And yet I see them and yearn, and my heart feels warm and fuzzy for them. It really is hard to quantify, but it's a very solid feeling of joy that ultimately comes when I see something new. Not everything hits me with the same level of yearning, but it all goes into this greater whole. This fantasy land that Matt's been creating, and I can't wait to see where he takes it all. Last year I immediately contacted Matt about buying something, and have picked up a few pieces, and a painted commission since then. The latest piece falls into the "Illustration" category, which is why I'm posting it here and haven't mentioned him on these boards before. He's not a comic artist (though he is working on what may yet become a comic or book in the background). He's done several private commissions for some well known folks. The last I heard about was Elton John. This particular piece was commissioned by the band Primus as one of their tour posters. It was finally announced publicly yesterday, so it's OK to show it now I think.

Yeah, that's not restoration IMO. That's fudged! And a shame too, cause it's a cool image.

Phil Hester is an underrated talent if ever there was one. I still am very fond of his creator owned book the Wretch from Caliber (and others) in the 90s. What a keen looking green guy. (I'm assuming he's green, anyway)

To me, the most convincing part of the drawing is the squiggle shadow under the figure. It was done without trying to be anything but what it is. A pen squiggle. It looks effortless and natural. Every other line seems to be worked on, with the strokes going over and over again. I'm totally with Bronty on this one. Sketches look like sketches. Quick fluid lines. They can be loose. They can be "sloppy" or wonky, but they don't look pressured or belabored. This mostly looks like both of those. The only way I see any angle of this being any kind of "pro" is if it was done by a very very old hand that has lost it's control and IS belabored to try and make the right strokes of the pen. The mind knows where they should go, but the hand can't make it happen. ...Think late retirement age comic artists doing the con circuit in their 80s & 90s. But I think that is a very long shot, and even if it was the case, the possibility of ID-ing the piece is next to none unless a previous owner was to surface and say they witnessed so and so doing it at a show for them, etc. And even THEN, there'd be no way to corroborate that story. And experts in said creator's art are not likely to make an ID simply because it doesn't look like that artist's known/published work.

That's one way to make an entrance, I suppose. How cool.

Dig it!

http://www.postermountain.com/about.html

All those circles made me think of the only Perez TT piece I have a nostalgic soft spot for... TT Annual #2 with the Vigilante. Now that's putting the circles to good use!

I've actually owned 3 published Usagi covers, and a few published endpaper pieces over the years. All were bought directly from Stan at various shows. Interiors you don't typically see for sale anywhere.

Heckofa piece of OA!

Just noticed this. Thanks for posting it here. I'm in!

I always love tuning in to these. Another really fun listen!

The pose is definitely of the Madman statue sculpted by Randy Bowen, but it's not the box art. I've got the statue and box in storage downstairs. The box art was a line art drawing that Laura Allred colored. Not a painting. Simon (gotsuperpowers) might know?

Dig the angle of that composition a lot.

Me as well, regarding the comment count. I'm also watching something like 90 galleries, and have 44 watching mine. I never paid attention to the Most Views or Most Comments links. Prefer to do my own digging/viewing. When people leave comments, I tend to go view their galleries. I've found many of the galleries I follow that way.

That is pretty keen.

Here's one that is maybe so underappreciated, even I don't really appreciate it much any more. I'm actually afraid to go back and try reading it again. It's been 20 years, and in truth, I'm not sure the rest of the book looks as good as this splash, or that the story will be as interesting to me all these years later. COVENTRY... http://www.comicartfans.com/gallerypiece.asp?piece=1405828 For those not aware, back in 1996, Bill Willingham conceived an idea for a comic book wherein fictitious characters exist in an alternative version of the real world. Some have likened it to a prototype for what would become Fables. All I know is that I really liked the book, and Bill stopped producing it at issue three. I've never seen Bill explain exactly why. Nevertheless, I was a fan, and in 1996-97 Bill came out to Small Press Expo to promote the latest release. I was already a big fan of the books out so far, and looking forward to many more issues. As it turned out I think we only got one more. I was also a very active OA collector by this time, so I immediately asked Bill if he had any art from the series. He'd only brought 2 pieces to show people, and had no intention of selling them. But after chatting for a while he said he supposed he would sell me whichever of the two I wanted, but that it would be the only piece of art he would sell (at least at the time) from the series. My choices were for the cover to issue #1 or the opening splash page, which you see at my CAF link above. I chose the interior splash because the book was published in b&w, so I felt like it better represented the series. Plus the cover had one frog and was mostly white. The splash was covered in frogs. What a dummy, as that cover is iconic for the series, and as a bit of marketing in my mind. Made at a time when everyone was holofoil triple-foldout covers, Bill released a cover that was mostly white, with just the series logo and 1 small frog painted on it. It practically leaped from the racks into my hands. Anyway, this piece has been mine ever since. I recently re-discovered it at my parent's house as they were preparing to move out, and told me to come and get my they'd been storing.

Aw man, that Langridge is hilarious (and beauutifully done), but shame on you for cropping out Fuseli's zombie horse!

Assuming the one is for Batman writer Alan Grant...

I would never use painters tape or anything like that, personally. Fine for temporary presentation, but adhesives like they use on tape become more aggressive the longer they are left on. if it was mine, I'd grab a Japanese hinge tape from the local hobby shop or order it online. Same stuff used to put pieces in frames archivally. It's inert, 100% reversible and does the job. Just apply it to the back to core the torn area to just PAST the norm area, to stabilize it and you should be good, unless you decide to Hulk Hogan it in the future. A product like this would be fine... https://www.amazon.com/Lineco-Hayaku-Japanese-Hinging-Tape/dp/B0007LS8BU