RBerman

Nice to see a Morlock award category.

I don't get them all, but I usually make some effort. For one thing, I often buy pages from stories I haven't read yet, and understanding the story increases my enjoyment of owning the art. Especially with modern art that lacks dialogue! Sometimes I read and/or purchase a digital copy of the story if a hard copy is not readily available.

I noticed that the "MARVEL COMICS GROUP" on the cover was originally black-on-white, but a white-on-black was pasted on to it for publication. Now only the initial "M" remains from the top stat., and a fragment of pure black under the CCA logo.

If USPS, UPS, and FedEx are all too lacksidaisical to be trusted with high-value art deliveries, is there a private courier service that has its act together?

I had not heard it put quite this way, but this is a fair point. In fact, some art collectors have bought booth space which which functions as a back door 'VIP' status to give them more direct access to earlier hours, artist contact in the green room, etc. I don't know any way around this with respect to either dealers or collectors, but it doesn't warm the heart to contemplate the possibility that the best pieces and best deals were already taken before the show officially opens. Regardless, I will be there to see the sights.

Artists have tables with their work so you can look through it up close, talk to them, and decide whether you want to buy anything. Dealers do the same; what they bring is up to them, though obviously a large dealer (or busy artist) has more art "back home" than they are going to bring to a convention. Most conventions (say, Comic-Con) have tons of stuff going on besides comic book art. At those conventions, most of the space is for booths selling costume supplies, Funko Pops, imported Japanese videos, T shirts, stuffed animals, etc. They have Hollywood actors there for photo ops and paid signature opportunities. A few conventions are more art-oriented. At Heroes Con this year, it took me three whole days of nonstop looking through portfolios on artists' tables, and I still didn't see it all. Lake Como put more of an emphasis on talking to the artists by, for instance, putting a chair on the outside of each booth, implying that it was OK to sit down and stay a while with each artist. Here is a video I took showing what that looks like, starting with an evening reception and then walking around the convention center the next two days. It's my understanding that OAX follows the Lake Como model rather than the Comic-Con model. Receptions where artists and collectors mingle. More artists per attendee, thus more time with each artist. More recognized and published artists, not just indie creators trying to break into the business. Also, collectors are bringing some of their collections to OAX so we can ooh and aah over each other's treasures and build relationships.

See you all there!

I wouldn't remove a previous dedication either. I have to say, though, that this piece has already seen a rough life, and the added texture of the removal is not the most noticeable damage to the paper. Whoever bought it on eBay got quite a bargain. I wonder how much they flipped it for.

That was a good page too.

I was looking over yesterday's European art auction results at Heritage. You can get some awfully nice 18th-19th century paintings for $10k-20k. But they don't have Wolverine (claws out!), and you didn't read them when you were eight years old. We buy B&W art because almost all the published pieces exist as B&W art, and likewise all the famous/nostalgic pieces. The production process does not generate many color originals. Even today, thousands of new B&W pages enter the market every month. When the occasional color piece manages to acquire historical significance (e.g. Lynn Varley's Dark Knight cover), it sells quite well.

Their spooky eyes and smiles are like, "Wellllcome, huuuumannn..... Soon you will be one of usssss...."

And now it's the final day of the auction, and the Wolverine one has changed to "Chris Bachalo," but the Death one still says, "Charlie Adlard."

I did so. They also had a Wolverine sketch by Bachalo mis-identified as Adlard.

I like it. Nicely rendered trees, cool lens flare for the sunlight, well detailed foreground swamp and figure. A commission of this quality would run substantially more than $380, regardless of the figure depicted.

I can understand its appeal. Ant-Man gained the ability to control spiders, which seems noteworthy.

There's one particular "screaming Psi-Xavier page" that I will definitely pursue if it's ever available. Glad to hear of others in the thread for whom his work had no appeal; less competition for the rest of us!

Indeed, Gardner Fox wouldn't write a JLA story in which there was any conflict among the team in the first place. That was what made Marvel entertaining. Its characters were designed to be impulsive and prone to arguments, just like contestants on MTV's The Real World. DC eventually adopted the idea, leading to 70s work like GL/GA, and Englehart's JLA.

Is this film based on a comic book story? Even Shang Chi kept the nugget of "fighting my dad the evil mastermind" from his comics origin. I didn't find Brie Larson a memorable presence in the first film. She's not charming, she's not resolute in an Ellen Ripley way, she's just sort of stiffly there, which was at odds with all the dialogue about how she needed to be less of a hothead. I did like Iman Vellani as Kamala Khan on TV, but she lacks the star presence to carry an action film. Looking down the cast list, I don't see a must-see name to draw hoi polloi.

You've seen Karl Moline's pencils already (see post above); now I have Manny Clark's pencils as well for the twelve page special "Iron Man: Sound Effects." A whole story told in twelve pages, imagine that! https://www.comicartfans.com/galleryroom.asp?gsub=239546

Got one piece directly from its artist. Liked some other things, but the prices were substantially higher than my interest, so I did not try to haggle. Just as well, since I got several things at ComicLink yesterday.

I got Joe Rubinstein to ink a DPS from Byrne's "Elsewhen" series, which Byrne did only in pencils and then posted online for free. X-Men vs M.O.D.O.K., not something we got to see in the 1980s!

Neither of your contemplated rules bothers me as a buyer. Sending a check is a nuisance, but a minor one, and it even saves a few bucks (for one of us) compared to PayPal fees.

Dean Juliette did Jabba's throne room for me. Details in link. https://www.comicartfans.com/gallerypiece.asp?piece=1959421

One caution is that the older the page, the more toned it will be. A "true white" matte will make the paper seem more brown. Your framer can match the tone of the paper with an appropriately off-white matte. And of course museum glass to prevent further browning from ambient light. Here's an example from my wall, with a slip of white paper in the bottom left corner as a color comparison. The vertical stripe of white along the right is just a reflection from a nearby window.

I find that whenever I see the published page next to the original art, the color takes my eye away from the OA. For a black and white piece, a black frame and black or grey matte seem safest. For color pieces, i use a white matte with an inner accent color the complements the piece.