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Rick2you2
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Posts posted by Rick2you2
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21 hours ago, Junkdrawer said:
About a year ago I bid $999 on this Mandy illo by Dean Yeagle. I was a “little bummed” about getting sniped out of the win. I even asked the auction house to offer the winner a profit (a few hun) but that didn’t work. So last night I snagged it on HA for under $500.
Warning: contains nudity
This raises a question I have been wondering about over the past year. It looks like some prices, at least at the lower end, have been dropping. Anyone else notice this?
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On 11/16/2017 at 9:19 AM, kbmcvay said:
I have a DPS from Superman Unchained and it is probably my #1 piece in my collection, absolutely worth every penny. If you find one you really like with artwork that really pops I don't think you can go wrong.
Since you asked, I think the caliber of the illustration is excellent. You can really feel the water. Similarly, his use of variously sized small panels to convey time movement is very good, along with the unbalanced size of the panel overlay to the whole of the underlying image And, I am always a fan of of pop-outs, particularly clever ones like the last panel. If I were going to criticize, I would say that the inset panel border is dull. While some contrast with the splash is needed, it should blend a little more creatively with the splash.
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12 hours ago, alxjhnsn said:
She doesn't, but she's very easy to shop for. If it sparkles, she'll like it.
Congrats on the cell find! That's a great gift.
And on a different but related note, I had Amy Reeder sketch my GF, who was kind enough to join me at a convention. Amy didn't think she was good at real people, but she is excellent.
I'm regularly surprised at how many top notch artists don't seem to really appreciate their talents and skills. What they do is hard, and they deserve all the praise they get.
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17 hours ago, alxjhnsn said:
Why this one in particular? Because it had their mother on the cover. Yes, I'm married to Veronica.
I hope for your sake, she doesn't have Veronica's spending habits.
I have a similar story, but it didn't involve a commission. When my daughter was little, I taught her the words to the Chiquita Banana song (original version) because it's really a great little kids song. Cut to around 15 years later. When cruising on Heritage Auctions a while ago, I found some cells from a Chiquita Banana commercial. So I bought them, had them framed and gave them to my now-adult daughter as a present. She loves them.
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16 hours ago, BCarter27 said:
If the lack of captions is a bother, grab a piece of mylar and put your balloons on that.
No. I want to buy a package, not a project. I'd add a few bucks to the purchase price, however, if someone else did it for me.
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3 hours ago, vodou said:
Unfortunately this seems to be Chaykin 100% of the time now.
I spoke to Howard about it, actually (and I am waiting for a commission he did for me).
Basically, it gives him some extra flexibility and it's easier to fix a mistake. He did say, however, he misses doing the creative borders. So do I. Some of his border work on American Flagg, in particular, was astonishingly good.
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On 12/1/2017 at 7:44 PM, vodou said:
I'm not aware of anybody doing this before, but I'm sure it's been done. Probably by somebody that collects that also owns/works for a frame shop or otherwise has an 'in' to reduce the cost of all those 'cuts'. Anyway, I'd really recommend against this. You will end up with, and (you or your heirs will) eventually recycle back into the hobby, one very strangely aged panel page. Just think on that for a bit first...
I agree. Many years ago, I had a convention sketch framed. When I recently took it out of the frame, you can see where the yellowing occurred.
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To me, it doesn't matter too much because I just collect for the sake of hobby collecting and whether I like the total package. If I had the choice, I would prefer inks over original pencils. I would be equally happy, however, to have separate pages with original inks and original pencils as separate pieces so I can see both artists' separate works.
Finally, although not asked, I really miss the old pages with dialog on them. Comic art is supposed to help tell a story, and without the dialog, you can't really appreciate the story.
My least favorite is art which consists of scanned in panels that are re-assembled in Adobe Photoshop. You lose the chance for really interesting panel separation artwork that way because the artist doesn't do the creative borders that are one of my favorite bits in a panel page.
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16 hours ago, Caltex98 said:
What if DC had given The Black Canary her own comic book?
The story behind this commission by Bill Galvan (and additional images from the work in progress) here.
This one is scratching at my brain. Was this modelled after a story from her first appearance?
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5 hours ago, The Shoveler said:
Impressive. You nailed the actress (in a manner of speaking).
Louise Brooks?
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Have you ever asked an artist to do something a little different than fighting or f'king? As the buyer, you control the scene; why not get creative?
I recently went to a convention where Colleen Doran was a guest. Knowing a little of her background, and being a real Phantom Stranger fan, I asked her to draw her version of a female Phantom Stranger. The only requirements were the hat, the medallion, the cape, and her own creativity. It's posted here (and it came out really well, too). If you are wondering, she modelled the design after a famous 1920's film actress (note the bangs in the hair style).
So, if any of you out there have your own fun work, let's see it. And if there is a little story to go with it, feel free to add that, too.
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On 12/1/2017 at 9:19 AM, vodou said:
I don't think they are surviving, at least not on their flipping activity alone. And by that measure then, they are not professionals. This is especially true if they're not reporting their activity as a business to the IRS. That's a whole separate can of worms and I think a lot of people have much greater audit risk than they think. Coinbase users will soon be finding this out.
You are correct, not liquid at assumed FMV (comps). Nobody knows what long-term results a sustained fire-sale environment would produce. How much stock can a relatively small market absorb before running out of money, interest or both? IMO, that's where the rubber meets the road, where actual value is determined and proven. The rest is just puffery.
It would seem that way, but not necessarily. A lot of money has rotated out of other collectibles (high end comics and cards primarily) and into comic art. A lot of comic art has been sold to buy comic art too. But it's mostly not new (earned income) money, and because the original cost basis was quite low (and capital gains were never reported or taxed) there is an illusion (if one is the sort to allow themselves to be fooled by...themselves?) that the money they are spending is "found money". That sort of money spends easier, and having struck gold once encourages the speculator to keep speculating. So I'd argue that much of the non-moving stock you see out there may actually represent considerable present value (a moving target for sure) but not necessarily considerable cost basis to the owner. Both Heritage and ComicLink visibly offer advances against future consignments, and they encourage those advances to be spent in-House at current auction. When that happens, it perpetuates both the illusion of liquidity and propping current prices up (by creating more bidders with more bids to place today).
This year yes. Other years, not so much. And some years...whoooosh...is the sound of that gap when sellers (and shorts) overwhelm a dearth of buyers. Collectibles are seen as being (somewhat?) recession/depression-proof under the false assumption that they don't whoooosh down like a highly liquid and visible market does. Well...
...that's perception based on the fact that those assets aren't highly liquid or visibly trading.
I do know. I'm a pro. I sell art (but not comic art, that I only collect
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This pro manages his finances and especially liquidity very carefully. I always have the next twelve months of personal and business expenses including anticipated funds needed to acquire new inventory in the bank. In cash. As long as I've got that (bank balance) number where it needs to be I can roll my sales revenue back into more inventory or have some fun (buy comic art!) If that (bank balance) number is dropping, the next time I sell, I bring it back up again. Forever and always. And that's how I stay in business (and in my home) even when I'm not selling, without having to fire-sale, and still am flush with funds to opportunistically acquire new inventory and outbid others at estate sales and even clean-up at their own fire-sales
Other "pros"...oh who knows, but you can tell how well their plan really worked when they're suddenly here and then even more suddenly...are not. The guys that last, year in and year out, are probably doing exactly or some form of what I'm doing. Art (comic or otherwise) has no inherent value. It's all perception as reality.
I'm no pro, but I do have a degree in economics, and what you have described sounds exactly like the way a bubble develops in pricing. The best known example is the infamous Tulip Bulb mania of the 1630's. Basically, people who were interested in some of the newly introduced bulbs drove the price up. That attracted speculators, who bought and flipped them, recording more and more profit as prices went higher, which was reinvested in bulb purchases. The rising prices attracted outside money from people who didn't care about tulips, and they drove the price even higher. Then one day, at the market where they were bought and sold, no one wanted to buy. Crash. Fortunes were lost.
Those people ought to spend some time watching editions of Antiques Roadshow which revisit estimated prices from, like, 15 years earlier. By my very rough estimate, over a third of the prices were the same or lower. Prices for typical "Persian" rugs have dropped 30% since the 1980's. And who is still out there buying antique marbles or toy trains?
I had originally figured that CA, as an investment vehicle, would probably be okay for no more than 20 years. If this much money is just being re-circulated, maybe 5 or more years would be more accurate.
By the way, I do love this stuff as a hobby. And I expect keep buying it as a hobby. But if I were looking to make money on future collectibles, I'd probably go with mid-Century Modern furniture (the 60's and up) or pre-IBM PC's.
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17 hours ago, vodou said:
Nobody that's buying to flip immediately (not even a whiff of 'keep this for myself a bit') is in this for 10-15%. Not to be rude but they don't care what you think or would be willing to give...you ain't ever gonna be their customer. Ever. When you're ready to give 25%, they'll want 50%, etc. And as long as the market overall is moving up, or just has the appearance* doing so, they will eventually find their customer, a newbie or enough time will pass and that somebody just won't care what it sold for a year or two ago or whatever, that will be stale news.
10-15% ROI regularly as a professional flipper is just bad business in a low turnover environment. Not worth the trouble. And certainly not worth the risk**. You can pull that bs off in a high volume operation like a gas station, grocery store, WalMart, and the like where massive volume at low % roi still adds up to enough in your pocket that it beats going out and getting a job or putting in more hours at that same job!
*Perception is reality.
**You need big winners, 2x, 3x, 5x to provide big liquidity to cover the much deadwood and occasional loser.
You weren't being rude, and you are right, I'm not a likely customer. I actually study the market before I buy.
What escapes me is how "professional" flippers can actually survive. This stuff is not a liquid asset and there is a small market out there. So, logically, they must have an awful lot of money tied up in non-moving stock. And as for the passage of time, have you seen what the stock market has done this year?
So, if you know, how do some of the pro's manage their finances?
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5 hours ago, ComicArtPage.com1 said:Dear Purveyors of Comic Art — new originals have just been added to my website ! ! !Many vintage pieces of quality original artwork are available at all price points --something for every collector!Check them out here: http://www.comicartpage.com/NewGalleryRoom.aspAs many of you know time payments are not a problem and quality trade is also welcome...And always interested in quality consignments of original comic art --please email me if you have anything to consign..!Also next Saturday, December 9th, I’ll be walking around with a very abridged folio at ACE Comic Con in Long Island at the Nassau Coliseum (most likely you can find me at the Tri-State booth) —let me know if there’s something you’d like me to bring . . .As always, I appreciate your patronage ! ! !Best regards,Will Gabri-El---------------------------------------------------------------------------------------------------------------------------Actively seeking 1960's 1970's 1980's MARVEL & DC COVERS -- will pay or trade top dollar!Also still collecting, check out my CAF gallery: http://www.comicartfans.com/GalleryDetail.asp?GCat=1985Always interested in quality consignments of original comic art. Email me if you have anything to consign.
Will,
Could you please take down the ones that are sold? It's time-consuming to check things which have been posted but aren't available.
Rick
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15 hours ago, vodou said:
"real" = (much, much) > $430.21
I would generally be willing to give someone a 10-15% profit (plus shipping) if they bought a piece at auction recently because they did shell out their money and take a risk. So if they paid $30 for shipping and you add 10-15%, I could see spending, say, $520 ($430.21 + $30 for his shipping + 10% of $430, rounded up, plus shipping to me).
There are also some pieces that I love to watch languish. Call it schadenfreude. There was a Neal Adams Phantom Stranger cover that the prior owner couldn't move for about $9,000. It sold at auction for around $10,500. The Buyer has since marked it up to $15,000--where it continues to sit in all its mediocre glory.
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Just wondering when the CAF tracking will be posted again.
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18 hours ago, Chicago Boy said:
Thanks! Just realized I put this in the wrong section! Moved to Marketplace !
Where is art supposed to be sold on Marketplace? I don't see any specific listing for it.
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18 hours ago, Chicago Boy said:
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20 hours ago, Jay Olie Espy said:
Bidders don't pay for their items all the time, and it's not uncommon for sellers not to sell what they sold. If the OP wanted to, he could call up eBay and complain, eBay would then review eBay message exchanges, and from there they may decide to put a strike on the seller's account and suspend him *if he keeps doing it*. The problem is that if the OP happened to have violated eBay policy through the messaging, by say, offering to pay outside of eBay, then he would get a strike too. Either way, what frustrates a lot of users about eBay is that there are a lot of bad actors who operate with impunity.
It doesn't matter what eBay policy is. A contract is a contract. You can sue for breach of contract. Try filing suit and sending it to eBay. That ought to get their attention.
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8 hours ago, malvin said:
hmm.. I'm surprised you can't. Unless you accepted the cancellation. I don't think you have to accept the cancellation.
Malvin
I think that would be a breach of contract and you should contact eBay. You can probably sue him, although, the cost would be nuts.
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Chutzpah.
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First of all, I really like it. Whether as a parody of Miller's work or just a middle-aged Batguy, it brings a smile. Go one step farther, and you can see the quality of the detailing combined with the way the artist created a mood for an image which is absurd for the mood. It's a lot of fun.
So with art appreciation, I think the first question is whether it resonates with the viewer. If the answer is yes, it's good. If the answer is no, it can still be good but it might not be to the viewer's taste.
Regarding your comment about Pollack, you are introducing that second level of consideration: the audience. I'm a big fan of Piet Mondrian, and in his own way, you might consider his work to be junk as well. But there, you have to consider the audience. Mondrian's work is deliberately cool: it forces the viewer to focus on the elements he brings to the fore: the balance between lines and shapes, color and shade. So too, but in a different way, with Pollack. There, you are looking for the balance between abstract splashes of color and shape, and the patterns which seem to form from randomness. That's why Pollack is brilliant, and imitators are not--he knew where the balance was. But again, it's the audience.
With comic book art, I think you have to similarly look at it in the context of: (1) do you like it; and (2) will someone like it who knows what they are looking at. Moreover, it should be viewed in the context of what it is: something designed to illustrate a story. Artists who showboat are doing a disservice to their readers. They show off their technical skills to the detriment of the package.
When looking at comic art, I like to see whether the art is designed to "move" the story. So, I am particularly appreciative of creative panel work, particularly if the artist is stuck with a lot of text. For commissions, I'm more lenient--do I feel what the artist is conveying? If so, it's good. The more I want to see it again, the better it is.
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19 hours ago, PhilipB2k17 said:
My rule of thumb is this: If you advertise that your art is for sale, you should put it up for auction, or put a sales price on it. If it is not advertised for sale, then it is incumbent upon the potential buyer to inquire if it is. At that point, it is appropriate for the owner to say: "I'm not looking to sell, but make me an offer." At that point, you make an offer, or explain why you've changed your mind.
If you advertise that your OA is for sale, and you get inquiries on the price, it is not OK to say "make me an offer." I dislike that tactic. You want to sell it. You should be up front about how much it would take to part with the piece. If you want multiple bidders on it, then put it up for auction, don't play games. I also dislike the tactic of saying it is for sale, but not publishing the price and forcing people to make a specific inquiry about it. An unadvertised sale price just opens the process up to manipulation. You may give one buyer one price, and another a different one, knowing they are a "whale" or that they need the piece to finish a book, etc.
Gee, I wonder what dealer does that? [not really]
...that's perception based on the fact that those assets aren't highly liquid or visibly trading.
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The OFFICIAL "This week in your ORIGINAL ART collection?"
in Original Comic Art
Posted
I've also noticed a drop-off in bidding on "non-trophy" pieces. Also, some of the less interesting pieces seem to sit around on dealer's sites a lot longer, or they have run more "specials" to effectively lower their prices.