Stefanomjr

Safe to say, if you participated last year, and have art in your Lowry, from last year, you need to remove the art to free up your 5 entry slots?

I've been wondering the same... historically, what happened in 2007-2008? Markets tanked, what happened to demand and supply for OA? I suspect demand dried up, and sellers opted to hold off putting anything worthwhile into the market? I have no way of knowing since i wasn't into buying then.... curious to know from those that were collecting back then, what was your experience.... or even how (if you were collecting then) what you felt about selling or buying in that environment. Of course the market isn't the economy, and this time around we are down (for now) for very different reasons. Global GDP being revised down for 2019 and a tariff war isn't the same as a credit default swaps contagion.... but you have to wonder if people are thinking twice before making a purchase, big or small.

Watched season 3 twice. They promised that they would outdo the hallway scene from season one and they delivered. Also, every single character, this season, had a complete story arch, loved it all.

I'd be on the lookout for: 1. Alex Toth art. A Torpedo page would be glorious, but highly unlikely. Otherwise, something published that he inked himself. 2. John Buscema Conan splash or cover 3. Kelley Jones Sandman page Ultimately, I'd like to maintain the quality of my collection and add top tier examples.

Im doing a Black Friday sale on this SGM premium cover piece. https://www.comicartfans.com/ClassifiedsByCat.asp?GCat=120792

Artists that have caught my eye: Sean Murphy Jerome Opena Matteo Scalera Tomm Coker Amy Reeder Cian Tormey Also, really looking forward to Phil Jimenez Black Label project

I went with white mat with black core. I like the look of your second option.

Was also in attendance. Should have taken similar pictures. Was my first time. Think I spent majority of time at the Moy tables... new found appreciation for Scott's talent.

This reminds me of my one employer, back in the early 90s, who was obsessed those porcelain Christmas villages... his wife would visit the office and they would argue about his obsessive buying. She looked at it like a hobby, he treated it as a serious investment. The UPS man never stopped dropping off new purchases. I later found out my former employer had to sell his practice and his home.... think his wife left him too. His investment idea didn't work out.

The best way to approach the hobby, I think.

No, not an analogy. What I'm saying is I dont feel comfortable buying art for investment purposes. Maybe some people on the boards (with more experience and knowledge) can manage to suss out the scalps and flips... not me. I buy art I like, valuations be damned. With that being said, I did manage to sell the majority of some prelim art by an artist to then acquire published art by the same artist. But that didn't happen by design. So while I'm familiar with the concept of owning smaller pieces to then afford larger (blue chip) works, it's not something I'd feel comfortable repeating. I'd rather park my money in the actual stock market and then use gains there to purchase the art I like. Your comment is still valid... I'd assume a well diversified inventory of art would better stand the test of time. Emphasis on the word "inventory".

I'd rather have the best examples of stories/ artists I appreciate. Seems the popular rationale for picking up smaller examples is use them to trade or flip the art for a profit and work your way up towards the blue chip stuff. However, when you buy smaller examples that you like and then attempt to sell (maybe unsuccessfully) don't you then run the risk of having that art turn into just "inventory"? Won't your perception of the piece change? That would be my concern. I'd just as soon invest in the stock market. Highly liquid, valuations readily available. Make money there, then buy your blue chip art... that's my plan. As far as downside protection... I'd assume, on a long enough time horizon, the smaller pieces are a safer bet.

Probably makes no difference but I think they made an error when they put that page up on the site. Should be a DPS but each page listed individually as $9k (in error?)

Digesting everyone's comments. So is it safe to say that first appearance of Wolverine is a D-artist C-book and C-page that just so happens to be worth what it's worth due to first appearance of a beloved character.

I read comics between 1984-1994 & only got back into it within the last 6 or so years. Admittedly, there are big gaps in my knowledge. That page isn't in my nostalgia scope. The art and sequential storytelling isn't for me. But for all I know it's some important moment in an important series that would command big bucks. Or a book the owner has fond memories reading. There is no universal A - just ask your spouses to grade your art

I read some of these threads and by the time I get to the 4th page I forget what the original comment/question was. I don't believe ALL ASM art is A art. That places too much importance on the character and not enough on the artist and period. I think you can see A art come out of a book like Marvel Team-Up. A quick CAF search and this came up - http://www.comicartfans.com/GalleryPiece.asp?Piece=1478312 With that being said, I think B and C level talent can command more money for their pages when they work on A-list characters like Batman. I think the line between A and B has to do with craft AND nostalgia - discussed in a separate thread (also a great read) my 2¢

Something recent, Capullo style

Interesting, thanks. Downloading now and looking forward to trying it out on my next purchase

Inconceivable

Zero percent of my budget is allocated to trade bait. There's an opportunity cost there that I think isn't worth the risk. Also, my (small) collection is comprised entirely of art I would never trade or sell.

Loved the spiral staircase in this Batman White Knight issue.Always drawn to OA you can get lost in and this does it for me, was very excited to claim it as my own. As far as grail pieces, this will never come my way but would be Alex Toth Torpedo.

Maybe you're right. Never invite comparisons to what collectors and readers almost unanimously revere (myself included). But I'd expect nothing less from the guy that gave us PRJ. Also, I'd rather have an artist swing for the fences and give me a triple (which I think SGM did) than look to get a double and only come up with a single. To follow through with the analogy, some would say he struck out. I'd disagree.

Interesting how this topic took a turn towards Sean Murphy, seems like all the negative feedback invariably mentions his hubris. In life and especially in business no one will be willing to give you what you're not willing to take. More artists should be like Sean, lest they end up like Bill Finger. As for the merits of his art. Capullo & Murphy are on my short list of artists I'll buy anything they work on. I gave up on the new Batman run, "I am Gotham", as I found the writing very lazy. So White Knight was refreshingly good, to me. Wasn't over the top like Metal or Super Heavy and art was glorious.

My second batch of art is currently at the shop being framed. I spoke with an art dealer, years back, who gave me tips on what to ask for what to look for and what to insist upon. Acid-free, archival, museum quality, UV protection. All of the above goes into my framing choices and my cost comes out to about $220 per piece (I'm on the east coast) More importantly I have built a relationship with my small local shop owner, who, coincidentally, grew up near, and would visit, Joe Kubert's house in NJ. All of my currently framed art has frame backing paper. I am toying with the idea of having the next batch of art framed using frame spring clips for the backing - that way i can swap out the art from the frame (running out of designated wall space). Anyone have thoughts on pros and cons of using the spring clips? Thanks!

Yep! The year was 1991 - don't remember if he was still working on wrapping up Faust at that point but I got him to do a commission for me at NYCC - I asked for Rogue...I got Rogue "skinny dipping" in the sky. http://www.comicartfans.com/GalleryPiece.asp?Piece=1445808&GSub=186361