Rick2you2

Nice action page, but unpublished, and a lot of money for it. The Rude-ness of the piece doesn't impress me. If it were in my wheelhouse, I would only pay between $500-$1,000, even if that range is below market.

Of course we have TikToks. I just never heard it called that before. Sticking to girls makes a lot of sense if you have a TikTok (with some exceptions).

1 should be enough. Particularly if you have a published piece. It sounds almost like an addiction, not uncommon in this hobby, but not healthy to bank accounts and credit cards.

Why? Because he didn’t topple over on those ridiculous things? Or trip on something underfoot and get flattened?

Skip it unless it fills a special hole in your collection. Since someone else here likes my earlier comment, I quote, “Art is unique, desire isn’t.” I never spend more than I can comfortably afford. There have been occasions when I was sure I wanted something, and then had to skip something else later.

You have them posted in the order I like them. The pin-up is simple and self-contained. It doesn’t expected the viewer to know anything except what is on the page to like it. I don’t care for the panel page because I don’t like Colan’s design choice. The top 3 panels were seemingly designed to emphasize the “stilti-ness” of the villain, who I always thought was stupid, and creates a sense of disorientation. Colan then sets things right with a normal panel at the end for a simple Spider-Man thumping. I don’t like the disorientation, or the thin width of the panels. If I were reading the book and ran into this page, I would move past it quickly as a story interference. The first page splash is growing on me; I don’t mind the excess verbiage.

You do know that the show is fixed? Aside from items being "planted", I do not believe they could run a business paying 75% or more of list price, while driving around in that truck picking up a few pieces at each stop. I strongly suspect the agreed price is reached in advance.

Personally, I would not be too interested in whether there was original art under a stat or not. A lot of the value in this hobby, both financially and aesthetically, is based on a nostalgia factor. So, the original is what would matter most. The fact that there is, essentially, “rejected” art under a stat is a very small consolation prize. I would value it like an artist’s simple sketch, doodle, or a piece of a prelim. With that said, I go my own way in OA, and many may not agree.

I think he wants to know how if the auction is online. I haven’t faced the problem but I would just make an educated guess, at least if the past-up isn’t large. Or, ask the auction house.

Thanks. Don't forget to put me in for a share of the publishing royalties.

For those of you who enjoy schadenfreude, like me, an Aparo Phantom Stranger cover went for $7,200 including a $1,200 Buyer’s Premium. Several years ago, Albert Moy was trying to sell it for $8,000 without success. Then, about 2 years ago, the Brothers were trying to sell it for $11,000. God laughs at plans.

First, bear in mind that art is personal and unique. If you consider pricing it like buying a car, you may miss out. If I inquired about a piece, and if the price was affordable but not insane, I would lock it down immediately. Assuming we are not talking about $100,000 pieces here, a 10% swing won’t amount to much hard money over time. Recently, I walked away when the swing was 1/3 on what I considered a piece with a slow future. But otherwise, I would stretch. I would not buy a piece over time, except from a dealer, for reasons just mentioned. Confirm the deal in writing and PayPal over the $. Aside from the legal rights that gives you, few things motivate a seller more than the receipt of hard cash. And what about pieces you want but can’t afford to buy right now? Skip ‘em. Art is unique, but desire isn’t. There will be another beautiful blonde around the next corner who isn’t nearly as costly. And if was meant to be, you will meet up with the first one later.

Remind me to send you a picture of the Phantom Pherret I had done.

I question whether raw volume is a significant factor in this market, as compared to less popular books (where we basically agree). I have one of his pages, and he is good. I know I am showing my age here, but I did mean Richard Dillin. Similarly, when I think of Orlando, I think of Joe.

While a good portion of what I buy is Silver/Bronze age art, I have never had any great appreciation for Kirby. The raw energy often conveys a sense of disorganization, and I don’t care for things like anatomical errors or bizarre interrelationships of objects (if that makes sense). Kirby was capable of beautiful work; I saw it in Evanier’s biography, but at Marvel, in particular, I didn’t like it. I am, however, a fan of a lot of new work. Page layouts are more open now, and the drafting is often at a very high skill rate. In the old days, excellent artists, like Sparling or the old EC crowd, couldn’t really strut their stuff. On the other hand, it permitted tighter, short stories that went somewhere— not the latest crises to end the universe which goes on interminably to suck out extra money from the readers.

I think the former is more likely a product of eating the cheesecake. Or aren’t we allowed to say that anymore?

Note that the phrase "but remain stagnant" can be a synonym for more easily "negotiable downwards". Also, older journeymen artists fall into that category as well. How much demand is there for Bill Draut's work?

Don’t confuse great art with high prices. Pricing is more a function of popularity than quality. For the life of me, I still cannot understand how Dillion’s work has gotten as pricey as it is—except for the fact that he drew JLA and other popular books.

One of the peculiar aspects of this hobby is that the book for which the art is intended and the subject matter of the page are so important to pricing. Pricing can go down generally, but specific pages from “special books” can stay up. Other variations are possible, too. Also, price drops are often quiet. I have noticed the prices of John Bolton’s art from Books of Magic have dropped over the years, but not necessarily his other work. And, you have to dig to get there.

I have always liked the way she draws women, but I am not as thrilled with her work on male characters.

Congratulations!

I expect he absolutely will have a say in it, but it still wouldn't help the purchasers. Following up on Gene's comment, the funds would have to go directly to BINC to qualify, assuming there is any charitable portion over the value of his work. Curiously,Jim may be getting an indirect benefit on the theory that a rising tide lifts all boats (No, I do not think that was his intention). Since the competition for his work has resulted in huge dollars being realized, a seller can argue the value of his work has been reset to a higher level.

Hmm... there's also something to be said for buying Phantom Lady artwork. My collection is sorely lacking in adolescent cheesecake.

I would still like to know what they are doing. Divide the total by the number of shops? Give a special credit to dealers who sell DC comics? Set up a trust? Anyone knows?

I would be honored to have been so highly thought of. And if he did a "New 52" version of the costume, I wouldn't be that interested anyway.