The Voord

Fourth of five new paintings, UN TIO MUY ESCPECIAL (A Very Special Guy, 1977) video sleeve painting by Macario 'Mac' Gomez. Link to my CAF, and a Movie Poster gallery of 79 paintings: Comic Art Gallery of Terry Doyle at ComicArtFans.com

Third of five new paintings, EL CRIMEN by Marario Gomez. Link to my CAF, and a Movie Poster gallery of 78 paintings: Comic Art Gallery of Terry Doyle at ComicArtFans.com

New in today, with thanks to my friend in Spain, Jimmy Willis, the second of five paintings he sent me . . . Spanish video sleeve painting for APOCALIPSIS 2024 (A Boy and His Dog) is a 1975 American black comedy science fiction film directed by actor L.Q. Jones, from a screenplay by Jones based on the 1969 novella of the same title by fantasy authour Harlan Ellison. The film stars Don Johnson, Susanne Benton, Alvy Moore and Jason Robards. It was independently produced and distributed by Jones' company LQ/Jaf Productions. The film's storyline concerns a teenage boy (Vic) and his telepathic dog (Blood), who work together as a team in order to survive in the dangerous post-apocalyptic wasteland of the Southwestern United States. Harlan Ellison, the author of the original novella A Boy and His Dog, started the screenplay but encountered writer's block, so director L. Q. Jones wrote the -script. Jones' own company, LQ/Jaf Productions (L. Q. Jones & Friends), independently produced the film. The film was shot at Pacific Ocean Park in Venice, California, and on location around Barstow, and Coyote Dry Lake in the Mojave Desert. In a later interview, Harlan Ellison said, “When he [Blood] calls Vic ‘Al’ or ‘Albert,’ he is referring to the Albert Payson Terhune dog stories, whereas a traditional boy and his dog relationship is turned upside down in this movie.” James Cagney's voice was considered as the voice of Blood, but was dropped because it would have been too recognizable and prove to be a distraction. Eventually, after going through approximately 600 auditions, they settled on Tim McIntire, a veteran voice actor who also did most of the music for the film. Ray Manzarek (misspelled in the film credits as "Manzarec"), formerly of The Doors, was among the musicians for the score. McIntire sang the main theme. Bolivian composer Jaime Mendoza-Nava provided the music for the Topeka underground segment.

Chaykin Stevens, ha, ha, love it! Are you posting from behind the green door?

New in today, with thanks to my friend in Spain, Jimmy Willis, the first of five paintings he sent me . . . Spanish video sleeve painting for LA DAMA DE PEKING (That Lady From Peking, 1975) by Macario 'Mac' Gomez. Macario Gomez was a Spanish film poster artist known as "Mac". His posters are characterized by creativity, nonconformity and harmony. In 2013 he was appointed honorary member of the Catalan Film Academy. "Max Foster (Carl Betz), an American newspaper reporter, is in Hong Kong to assist a defecting Russian diplomat. In return for arranging an escape, the diplomat must turn over to Foster a diary revealing the true events taking place in China. While making his escape, the defector is killed ant the diary vanishes. The reporter sets off on a search for it, from Hong Kong to Australia. The chase ends in an action-filled climax, with the journalist finally meeting up with "That Lady from Peking" (Nancy Kwan) - the diplomat's daughter. The cast also features Bobby Rydell ("Bye, Bye Birdie")."

You own the holy grail?!!!

Hey, thanks, though I got my total wrong, which should have read $34,656

I've recently turned 64, collecting artwork since 1982. I actually started selling off big chunks of my collection around 15 years ago. An American collector living in London at the time (he was the guy who in recent years sold the million dollar Frankenstein plate) contacted me with a view to buying and as he (seemingly) had deep-pockets, I ended up selling him quite a bit. The large amounts (for that time) proved very useful to make big lifestyle improvements as the sales paid off my first mortgage and allowed me to finally give my long-suffering partner the dream wedding she always wanted (amongst other things). I'd say that the life-changing nature of making big sales helped ease the sense of loss and my priorities in life shifted . . . in the sense that losing parts of my collection meant that my family could benefit overall in a positive way. Later on, I sold some more high-end items to move to a bigger more-expensive house in a nicer area (I wasn't in a bad area prior to that), nearer to my wife's family, which she always wanted. Again, I remained mortgage-free on the house move. The last big art sale allowed me to retire something like six years early. The company I worked for had lost its sole contract to a competitor and I was on notice of redundancy. I thought, "What the heck, I'll sell some more art to augment my redundancy pay and put my feet up." Jim Halperin bought a big chunk of art from me at the time, so I had an adequate early-retirement fund. I was, and still am, very happy. Sad to let go of the high points of my collection over the years, but best to have my family benefit as a whole. Funny thing was, out of the monthly retirement income I allocated myself, I started collecting movie poster original paintings, which can be a lot more reasonable in price (and I'd always loved movie art). I even started my own FB group that provides good opportunities to buy and sell movie art. Together with the more recently acquired movie paintings, I still have lots of comic-art to sell and augment my retirement fund and made some more money out of last night's Comic-Link auction. I think auctions are the way to go for me now. I used to make a lot of private sales but now firmly believe that collectors prefer the competitive thrill of bidding for their art (in many cases) As such, selling-off my collection is an ongoing thing - though I do plan to keep hold of a core group of cherished favourites until the end (e.g. my Ditko ASM splash), with instructions left to my family on who to contact when the day comes I fall off the bar stool and never get up . . .

He said, "Get your hands off my art, you dirty damned ape." * * Possibly one of the famous ape brothers?

I consigned two 1960s covers to last night's auction and the results pretty much met with my expectations ($34,656 total), so I'm happy with that and will probably consign a few other things later on.

Equals: "Don't contact the brothers Donnelly". . . . I think.

Gentle reminder . . . the Comic-Link auction featuring my two 1960s large art covers ends tomorrow. Thanks for looking!

I currently have two 1960s Large Art covers on consignment with Comic-Link ending on Tuesday: Steve Ditko CAPTAIN ATOM # 80 (1966): Current bid is $25,000 - reserve met And UNEARTHLY SPECTACULARS # 2 cover by Joe Simon currently at $750 no reserve:.

I'm in the UK so have to satisfy myself with breaking three or more of the Ten Commandments . . .

There's nothing illegal about two collectors agreeing not to bid against one another (one drops out of the running) and is more an act of friendship than a deliberate attempt to deprive the seller out of a higher result. For me, I could do without the emotional baggage as in any auction scenario I would always want a clear pathway in my bidding (at the end of the day, I'm pursuing an artwork I want). The one time I was asked by a so-called 'friend' (in the loosest of terms) not to bid against him on several artworks he was interested in competing for in an auction scenario I politely refused. The other collector was someone who was quick to ask favours but rarely if ever reciprocated (usually only contacting me when it suited him). There are a number of good guys I might listen to, but he wasn't one of them. I think the whole idea over-complicates things unnecessarily. If it's an auction, the guy willing to pay the most should win the prize and if I lose out by playing it straight, I'll take solace in the fact I gave it my best shot.

We had a thread on this in recent years. I didn't agree with the practice then and don't agree with it now. Collectors in favour of this type of collusion were adamant that the seller didn't lose out, which I also disagreed with.

Enki Bilal . . .

I know, I fed it to you!

Bob Kane Batman drawings are so old school. Where are the clowns? Send in the clowns!

Years ago, someone at Marvel asked me for a high-res scan of a Tales to Astonish cover I owned at the time for one of their reprint editions. I was clearly told that no complimentary copy would be forthcoming, but it didn't really pose much of a problem for me to scan the cover - so I did. On the other hand, I've contributed scans of Ditko cover art to Craig Yoe and was sent copies of the published books.

Seems to have now stabilized at 500 artworks, wow!

Welcome to the jungle We've got fun 'n' games We got everything you want Honey, we know the names We are the people that can find Whatever you may need If you got the money, honey We got your disease

Looks HOT to me!

Damn, I thought we was talking Hot CAKES!

A Spanish collector friend, Jimmy Willis (good Spanish name, !) has just joined CAF and currently has nearly 300 images uploaded, with a magnificent range on display. Jimmy is a valued member of my Movie Poster Artwork and Marketplace FB group. I met him in person in Hamburg, Germany, a few years ago when we had a summit meeting of movie art collectors. Nice bloke and we've done some good deals together over the past few years. Link to Jimmy's CAF Galleries: Comic Art Gallery of Jimmy Willis at ComicArtFans.com . . . and some sample paintings from his collection: