The Voord

Bronty's FB group is a real eye-opener. That Indiana Jones piece posted several comments back is really cool. I know most folks here are comic-book orientated, but anyone who appreciates good artwork ought to at least be widening their horizons, imho. You don't even have to own any of this type of art to enjoy what's surfacing. All good stuff.

Definitely steer clear of any 'Kane' sketches. Wishful thinking on the part of most would-be-buyers, trying to convince themselves these things are legit . . . but try re-selling at a later date and it's highly likely that you'll really struggle to recoup your losses outlay.

What was the Volkan Baga art? Have three of his paintings but don't really follow the market.

No, but my daughter nearly did. Back in the 1990s (when she was a toddler) I received an artwork package from a friend. After unwrapping the art, I left it on the desk in my upstairs man-cave whilst taking care of other pressing matters. A short while later, I went back upstairs to look at the artwork in detail . . . only to find that my daughter had sneaked upstairs and was in the process of adding some colour additions with her set of crayons. Thankfully, the unwanted new elements of artwork were later reversed.

I though Unca Ben's engraved custom plates added a touch of class to his presentations. I stopped displaying comic-book artwork on the walls of my house a long time ago. My wife thought it too 'Geeky' (as may well have been the case with some visitors to our home . . . not that they actually spelled it out or anything . . . I just sometimes got that feeling). Comic art was relegated to my man-cave. Sometimes compromises have to be made. The good news is that my wife is perfectly fine with me displaying Movie Poster paintings around the house, which she quite likes. Visitors are usually suitably impressed and intrigued once I tell them that they're the original artworks, not prints. No need for engraved custom plates or descriptive cards as the works speak for themselves. I don't cram my walls with paintings, as I'm not a fan of overkill, preferring to rotate artwork every few months to keep things fresh.

Whatever works for you. Okay, put another way . . . some dealers welcome trade material against the art they have for sale. If you can't pony-up the required cash amount (which can often be excessive . . . SD take a bow), then trade material can be another option to fall back onto as a bargaining chip (and if you possess the 'right' material can work in your favour). Keep all options open, I would respectfully suggest . . . 'Who Dares Wins'.

I certainly wouldn't advocate buying garden variety art as trade bait in the hope that somewhere down the line someone will jump at the pieces you buy. With me, on those handful of times I've bought-in trade bait material, I knew exactly who would eagerly be interested in such pieces (which were carefully selected). Okay, put it another way . . . if someone has art you covet that won't be swayed by cash offers . . . If you know what pushes their buttons and can come up with art they'd jump at, then you have leverage for getting the other guy to relinquish the stuff you want (that otherwise wouldn't be made available to you). As I suggest, a bit of inventiveness in how you go about acquiring the art you want, by way of tempting material (there is a distinction), goes a long way . . .

I have acquired artwork in the past specifically to be used as trade bait (it's a means to an end). Years ago I got in several Romita Snr ASM pages from a German collector friend which I then used in trade with Mike Burkey against a few high-end pieces he had available on his web-site. Worked very well to our mutual satisfaction. Not something I've made a habit of doing, but sometimes you've got to be imaginative in ways to acquire art..

This . . . which is an observation I've made myself in the past but one that needs mentioning again every time this topic re-surfaces.

I'd give him a week. Could be he's out travelling (it's happened to me a few times with buyers in the past). Best story I can recall is that someone once contacted me about a Frank Bellamy SHEPHERD KING (The story of David) episode I had for sale. The would-be-buyer told me that the artwork had a strong religious connection for him and would I be prepared to give a 50% discount on my listed price with this in mind? I just said it was against my own lack of religious beliefs to agree to hefty price reductions. Heard back from him a week later agreeing to my full asking price . . . by which time the artwork had sold to someone else. He then did a lot of (e-mail) moaning, talking about how he thought we had a deal (which we didn't)? So, yeah, you do sometimes get weird lines of enquiry through CAF offerings.

Maybe the service would be useful for some of Steve Donnelly's dodgy offerings?

I prefer to frame art . . .

Folks here might want to check out DITKO UNLEASHED!, published to complement the Palma exhibition, and choc full of quality OA images. When I attended the exhibition with my wife I was met by the book's author and treated to a day out that included a meal and visits to out-of-the-way places of interest following my tour of the exhibition (all because I'd loaned a couple of cover originals). A Ditko ASM Artist's Edition would be great (if Scott Dunbier can ever get the project off the ground) but this is probably the next best thing.

I spoke to Scott Dunbier (the man behind the Artist's Editions) at the Jack Kirby art exhibit in Los Angeles several years ago. Scott wanted to do a Ditko book but was faced with a sea of red tape that made the project unfeasible at that time. Have to (respectfully) disagree with Glen's contention. As some examples, Mike Burkey owns a couple of complete ASM book interiors . . . David Mandel owns the complete book of ASM # 26 (plus several covers and the ASM # 7 splash, maybe more) . . . plus the AF # 15 book held by LOC, so I don't really consider lack of available art to be a barrier. Scott has a canny knack of accessing art that's not widely considered available for public consumption. As such, there would be NO problem locating enough quality Ditko works to produce an Artist's Edition book. Heck, Paris Fred managed to stage a Ditko artwork exhibition in Palma, Spain, several years ago. Link to photos I took from that exhibition: http://www.comicartfans.com/galleryroom.asp?gsub=178300

Separated at birth?

Not something I would have disclosed while Mr Ditko was still with us but now I see no harm in telling folks about my 'Steve Ditko letter'. Link to the story: http://www.comicartfans.com/gallerypiece.asp?piece=1484045

It's the maturing period that worries me

At one time I owned a near complete collection of 1960s Marvels (amongst lots of other publishing outfits). Sold-off the bulk of my comics collection in the late 1980s to fund my OA habit. Don't really miss any of that stuff as nowadays I'm happy with the various reprint editions which are a lot more affordable and, more importantly, can actually be read (never liked the idea of slabbed comics, even if I understand how the idea works for condition-obsessed collectors).

As a self-confessed atheist, I totally agree with Ditko's observation on religion. Peaceful faiths, they ain't . . .

Sad times. One of my heroes, Harlan Ellison, passed away in recent weeks . . . now Steve Ditko. Link to an array of photographs I took of the Steve Ditko Artwork Exhibition in Palma, Spain, during 2016: http://www.comicartfans.com/galleryroom.asp?gsub=178300

Tough call as I own a number of originals that would qualify as favourites in my collection. An example favourite that I own would be George Wilson's cover painting to LOST IN SPACE # 25, while a personal grail that I'd love to own would be Ditko's cover art to AMAZING SPIDER-MAN # 18 (the image I'm posting here is a recreation I had Bruce McCorkindale do for me several years ago - and makes for a good approximation of what I'd expect Ditko's original to look like . . . should it still exist).

To end on a high-note, here's the fifth and final painting I recently won from Prop Store Auctions (UK). Tom Chantrell's finished artwork for the 1977 British movie, THE PEOPLE THAT TIME FORGOT. Full write-up at: http://www.comicartfans.com/gallerypiece.asp?piece=1483481

Here's the fourth of five paintings I recently won from Prop Store Auctions (UK). Vic Fair's prototype design for the 1971 British movie, GUMSHOE. Full write-up at: http://www.comicartfans.com/GalleryPiece.asp?Piece=1483377

Vaguely remember it NOT having a title.

Damned by their own hands (or handiwork, if you prefer).