jaykza

Calvin and Hobbes strip https://comics.ha.com/itm/original-comic-art/bill-watterson-calvin-and-hobbes-daily-comic-strip-original-art-dated-2-6-87-united-feature/p/7224-171003.s

My incredible commission luck continues... 14x20 Amazing recreation of the Swamp Thing Annual #2 Cover Cankor style, by the one and only Matthew Allison. I new this would be a perfect fit for his style and when we discussed, it was right up his alley as he was a big fan of the Moore/Bissette/Totleben Swamp Thing run.I love his space take on the Swamp Thing. Nailed this thing with all his exquisite detail. Obviously, he would be a fantastic artist to do a run on any of these characters. Thank you so much Matt!

Paid my invoice and contacted Andrew with Postal Annex. His response was like lightning and it was a breeze to set up the shipping.

Yes and curious if anyone here has done this before. Are the recommended shippers reliable and familiar with what they need to do?

I thought there were probably a couple 90's guys going nuts for their nostalgia on the cover to a very hyped book at the time.

Congrats!

Absurd you need to lay this out. Didn't realize the "rules" of art required the exact depiction of human visual perception. Instead of hating alll you need to say is "I can never afford it so I feel less of a human being." lmao

So are those listed prices that look like bad estimates basically reserves?

Really enjoying this discussion and feel @dichotomy made some great points. I've gotten 4 commissions thus far with 3 that I am currently waiting on. I try to be selective with who I commission coming from the perspective that I basically wouldn't mind anything from this artist because I like their work so much. Usually, a fair amount of thought goes into the subject and whether or not it would fit well with the artist's style. Finally, I try to make sure they are at home commissions and pay the maximum for characters/size/etc. and give them a general topic or phrase to work their magic. At this point, whatever I get is whatever I get and usually if I've made a good choice in artist and subject, I'm blown away. Obviously, the more pieces I commission, the higher the likelihood of a dud, but that's what commissions are. The only way to get what you expect is to see it before you buy, which means pre-made published/unpublished pieces. If your risk tolerance is low, you should probably stay away from commissions. If you're getting a lot of duds, you should probably be more selective in who you commission. I think it's bad form to bash or jack an artist because the work didn't meet your expectations. I also don't believe in directing too much, if at all. I'm commissioning them for their artistic skill and creativity. Might as well get my money's worth in that regard. A point to note is that all my commissions, save one I am awaiting, have been through @Nexus and his crew. He posts all the work and you get a pretty good idea of what you're going to get. Has yet to disappoint me in the slightest.

Stop hatin and enjoy your own "value" collections

23 x 30 Home Run. Ian has been on an incredible run of work with Little Bird this past year. I felt like Pan's Labyrinth would be the perfect subject for him to work his magic. The result is this giant masterpiece of the Faun. I love how Ian incorporated his tubes/tentacles to merge the Faun with the forest/Labyrinth. The eyes and classic Bertram hands add to the piercing feel of the piece. Once again, big thanks goes to Felix for another commission that exceeded expectations.

Beautiful. Thanks for sharing and great idea!

Was just thinking about the significance of art being published in a magazine/book in this day and age. With the prevalence of social media and the large following some artists have sometimes their personal work or commission work is viewed by an order of magnitude more individuals, publicly on their IG or Twitter. As a consequence, it feels to me like the preference for art being published or the premium that published art receives may be a bit irrational (for at least very modern art). What do people think on this subject? In the modern age, does it matter if it's published when thousands of eyes have viewed/liked/commented on a piece of art?

Recent write-up The Paradox of Peanuts Bruce Handy https://www.theatlantic.com/entertainment/archive/2019/08/charlie-brown-charles-schulz-peanuts-papers-excerpt/596878/?utm_source=Daily+AR&utm_campaign=40831e474b-RSS_EMAIL_CAMPAIGN&utm_medium=email&utm_term=0_c08a59015d-40831e474b-144116121

Amazing!

I can understand fakes or forgeries and how this may fool a subset of buyers. In this case, the seller is using legitimate images which would result in the buyer likely receiving a framed photocopy or just a photocopy. This would be immediately obvious and result in a cancelation of the transaction, no?

Just wondering, if anyone knows, why would anyone do this? Wouldn't the buyer just cancel the charge through their credit card if they received something nowhere close to advertised? How is something like this worth it?

This was bought by me a couple of weeks ago. The new post was different seller who used images from the prior listing as well as description replacing "original art" with "picture". This is why I requested the dimensions of the piece.

Just saw a fake Schultz Xenozoic listing on Ebay. I know because I have it. Messaged seller and his dimensions are way off. Refers to the piece as a "picture." Reported already but there are 5 ppl currently watching so just in case they're on the boards... https://www.ebay.com/itm/392404545183?ul_noapp=true

Another excuse to continue the demographics/future of hobby debate... I didn't partake in the recent Absolute Carnage art drop but I'll tell ya, looking at the action on Felix's recent drops, modern art buyers (whom I assume to skew much younger than the vaunted 50-60 yo vintage generation) seem to have some pretty decent buying power and without a doubt, some fraction will move on to older art. When I'm discussing buying power, I mean to say that current buyers are probably paying as much if not more for modern pieces in real terms relative to any past period. Just an observation...

I'm not a big nostalgia collector. Most of the art I collect is just in appreciation of the combination of art and story. However, when I first found out about comic art, this page went to the top of my list as far as pages I was after.This was my first comic. I was young and didn't really think of comic books as a collectible at all so I read the mess out of it. Very quickly, the cover fell off. All these years, I've kept that book with me without the cover. This page is the cover for me.When it popped up on French Ebay without a US shipping option, I was stunned. In all my search, I'd come across maybe 1 or 2 pages from this issue. Now, the one was in front of me. The fact that I have it now is almost unbelievable and I can see why the pull of nostalgia for collectors is so great. The page is signed by Ernie Chan, though the art is all Big John for this issue. I believe the original owner brought it to a convention with Ernie and just had him sign as Ernie had a major role on this book with Buscema. Unforgettable art day! Update: this issue was actually inked by Ernie Chan. Obvious once you think about it and see. Thanks to @delekkerste for crushing my childhood!

So freakin fantastic to hear. Congrats and happy to hear you got it!!!!!!

Bunch of dealer/rep sites down as well (albert, felix, romitaman, etc.).

yes

You have some of my favorite artists on your roster. If I made a prognostication as to who will have the most staying power come 20 years, in order: 1. Ian Bertram 2. Yuko Shimizu 3. Daniel Warren Johnson 4. Paul Pope I think social media like IG, Youtube, Twitch are gamechangers for artists and creatives. Moving forward, I believe the lines are going to start to blur between comic art, illustration, and possibly fine art and really elevate some artists to popular superstar status.