Rick2you2

Frankly, I think he must have been racist, but the more pertinent question is how racist was he and how did he act because of it. That was the generation he was from, and racism was acceptable. But that doesn’t mean he was actively engaged in discriminatory behavior or harbored real ill will against blacks. Permit me to offer an example: my mother. My mother was an educated woman. She went to college and had all her credits for a Masters degree in pure math at Columbia. Our family had friends around the world due to my father’s work. She also believed that everyone should be treated equally, of course blacks should vote, and they were deserving of fair treatment. One day, in my early teens, I was discussing something with my mother about race relations, and she said all of those right things—but then she added a caveat. She wouldn’t want a black family living next door because the neighbors’ kids might be playing under the sprinkler or in a pool and she would see their black, naked bodies. My reaction was “huh”, and when I later mentioned it to my father he didn’t believe it. Let me add that I never saw her do anything discriminatory either. Racism, like anti-semitism has gradients. If you ever see the movie Gentleman’s Agreement with Gregory Peck, you will know what I mean. Kirby was of that generation. It was as surely a part of his DNA as it was in my mother. But that doesn’t mean he personally acted badly towards blacks. Or that he wouldn’t have supported their right to vote or stand up for themselves—like T’Challa. World War 2 was a real eye opener for soldiers—black people dying for their country just like whites. His racism would be the more passive variety, allowing him to draw Whitewash like that instead of, say, making Whitewash look like Bill Robinson. That’s what people wanted to buy in the comics, like the Blackhawk Chop-Chop. So, that’s what we have.

Not the right artist for that recreation. The styles aren’t comparable. The original is pretty busy; I think you would have been happier with an artist who does very detailed work.

I have one in particular that falls in that category. After a year after he did it, he fessed up and said he “never got” the character. Yeah, it showed. I keep it in an Itoya, knowing full well that the lost money on resale would add insult to injury. Instead, I just pretty much ignore it beyond the experience of meeting the artist. Now, I’m just pickier about who I ask.

Don’t forget the pop-eyes. Maybe the Spirit’s l’ll buddy took a side gig.

Tomorrow’s Hummels today.

True, but from an objective perspective, I remain unimpressed with a lot of Silver Age art. The illustration skills of the artists could be high, but the nature of panel page design wasn’t so hot. That didn’t start improving significantly, I think, until the Bronze Age. So, what you have been seeing on a lot of Silver Age art, IMO, is nostalgia-based pricing. Let me add that for cheaper art, at least some pages are down. Burkey had a page he sold on DD for $200 about a year ago after it had been sitting on his website for a few years. It just sold on Heritage for $192, including Buyer’s Premium. I didn’t even want it, and I can be pretty omnivorous when it comes to PS-related art.

Usually the artists provide the paper/Bristol board, and different sizes affect the price. If you go to a show, you can get them to draw on what you have.

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I lean towards egotism and ignorance. After all, what could possibly be more important than secondary figures on cancelled TV shows?

It really shouldn’t take that long. It’s one show, shared production costs, and friendly competitors. And there is no fighting between them that’s worth anything. Since it’s called Dueling Dealers, what I would watch is where a 4th person offers the piece to all three dealers, and the one who bids the highest wins. That should happen sometime after Hell freezes over.

Preferences for Caniff or Reed Crandall? Steve Canyon/Terry and the Pirates or the Blackhawks? I wouldn’t kick either one out of my collection.

Welcome aboard. New blood is always appreciated.

Hellboy is a fan favorite, and like many fan favorites, that dictates pricing. The thrust of my comment, however, is addressed to older pieces being worth more because they are vintage. Early non-Hellboy pieces are not nearly as costly. In his case, he hadn’t developed his style in the earlier pieces.

He’s just so easy. I could also go with Aparo and Green Arrow vs. Aparo and Aquaman, or next level, Spectre. Or Byrne and X-men//FF v. Byrne and Next Men…you get it.

Apart from Alex’s excellent general advice, don’t forget to consider how badly you want to sell it, whether it will have limited fan interest, and which way is the market headed. Most things go up, but not everything, and picking a price also requires recognition of how different artists and combinations on particular books make a big difference. Ross Andru on Spider-man will do a lot better than Ross Andru on the Phantom Stranger, so when doing comparisons, be careful.

My personal favorite is when someone on eBay says something is “rare”. Maybe it’s rare because no one wanted one?

It is a very nice wall, too nice if it pulls my attention from the central theme of the picture. But the question remains: what the heck is this about? Is she supposedly looking in the mirror and realizing her hair has the frizzies?

What makes it “stunning” as compared to well-detailed and weird? Is there a theme to the piece I am missing?

In that case, something must have changed by 1980 when he got to Marvel. I met John at a convention in NYC, along with Joe Rubenstein and others, and asked John to do a Phantom Stranger drawing for me. He said that he did not do his own inking, and asked me if it was okay if Joe did it (I said yes). He also said, incidentally, this was the first time he was ever asked for a drawing of the Phantom Stranger.

I think you may be right. The inker seems overenthusiastic, adding needless lines. Burn’s work was always pretty clean, and back then, he did not do his own inking.

Lots of younger people don’t have a lot of spare cash. So, instead of buying “things”, they buy experiences. My oldest likes to travel, and has made it pretty clear he has no interest in collectibles. No surprise about stamps. Most people use email for personal transactions. To save the future of this hobby, people must be encouraged to read comics. I confess surprise why movie theaters aren’t required to offer comics for sale when they show comic-related movies.

When it comes to Phantom Stranger stories, hell yeh. Besides, it was even written on the top, Phantom Stranger. Secret Origins no. 10. I have page 3. He has p. 4. Of the other 3 stories, one has recently shown up as individual pages (Colon), one exists as a whole story (Garcia-Lopez), and one is still missing (Aparo). So is the cover, by Aparo, a hot item.

At the show yesterday, I saw an Alan Moore page from one of the Phantom Stranger’s origin stories, without the lead character, with Orlando’s art. for $3,700. I bought one with the character a few years ago for around $600.

Come and gone. Same old same old. But, it’s always good to see old friendly faces.

This almost sounds like a philosophy question. If a forger forges a page so well that no one can tell if it’s original or not, then apart from the difference in value, does it qualitatively matter? Or, does it mean the authentication was not done well enough for the typical person to notice? In either case, it ought to raise caution flags about how we value art.