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Heritage August Auction

Started by lb jefferies,

301 posts in this topic

Bronty

Bronty

Posted
Posted
For reference sake, IIRC Black Cat was Wrightson's first post-DC effort. The reason he left DC was, in part, that reproduction during the printing process was lousy & he didn't like seeing his hard work go for naught. When he drew Black Cat he went out of his way to showcase his skills in the new format & it really showed. That's why a splash from that story can fetch $25k.

 

I don't know about you but I discount stories like that even when (maybe especially when) they are straight from the artist. Ego, work relationships, all sorts of other things come into the mix. I trust my eyes and my eyes tell me that black cat page is nice and all but Ive also seen better DC pages and IMO the price probably has to do as much with the axe in the skull as anything else. 2c. That's my view from the peanut gallery anyway .

 

Respectfully, totally disagree. I'm not going to conjecture on why Wrightson went to Warren after DC. I remember reading the stories and interviews from the time and frankly just don't remember or care all that much. But from a COMIC ART standpoint, Wrightson's Warren work is widely considered his pinnacle. Key Swampthing art will understandable command more $$$$, and the Frankenstein stuff is considered the magnum opus, but the Warren years is an artist hitting full stride, experimenting (and succeeding wildly) with different drawing and inking techniques with each successive story and pinup. The fact that Wrightson was a master of black and white and that Warren allowed his work to be seen in all it's B&W glory didn't hurt either.

 

And yeah, the ax in the skull being a big splashy climax moment doesn't hurt at all.

 

2c

 

Scott

 

Maybe its just my personal preference, but when it comes to wrightson I've always enjoyed his earliest work best. You are far more qualified than me to speak to when his technique reached a zenith. But for me.... 70-72, even 69, is the time period I enjoy most for wrightson. Maybe my opinion is out of touch with the mainstream opinion or the technical opinion on his art, but that era of his work strikes the deepest chord with me personally.

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buttock

buttock

Posted
Posted
For reference sake, IIRC Black Cat was Wrightson's first post-DC effort. The reason he left DC was, in part, that reproduction during the printing process was lousy & he didn't like seeing his hard work go for naught. When he drew Black Cat he went out of his way to showcase his skills in the new format & it really showed. That's why a splash from that story can fetch $25k.

 

I don't know about you but I discount stories like that even when (maybe especially when) they are straight from the artist. Ego, work relationships, all sorts of other things come into the mix. I trust my eyes and my eyes tell me that black cat page is nice and all but Ive also seen better DC pages and IMO the price probably has to do as much with the axe in the skull as anything else. 2c. That's my view from the peanut gallery anyway .

 

Respectfully, totally disagree. I'm not going to conjecture on why Wrightson went to Warren after DC. I remember reading the stories and interviews from the time and frankly just don't remember or care all that much. But from a COMIC ART standpoint, Wrightson's Warren work is widely considered his pinnacle. Key Swampthing art will understandable command more $$$$, and the Frankenstein stuff is considered the magnum opus, but the Warren years is an artist hitting full stride, experimenting (and succeeding wildly) with different drawing and inking techniques with each successive story and pinup. The fact that Wrightson was a master of black and white and that Warren allowed his work to be seen in all it's B&W glory didn't hurt either.

 

And yeah, the ax in the skull being a big splashy climax moment doesn't hurt at all.

 

2c

 

Scott

 

Maybe its just my personal preference, but when it comes to wrightson I've always enjoyed his earliest work best. You are far more qualified than me to speak to when his technique reached a zenith. But for me.... 70-72, even 69, is the time period I enjoy most for wrightson. Maybe my opinion is out of touch with the mainstream opinion or the technical opinion on his art, but that era of his work strikes the deepest chord with me personally.

 

Different strokes for different folks, but there are gems from all eras. It is fun to see how he evolved pretty dramatically over the course of 12-14 years or so. I have pages from '70, '72, and '73 and I'd be hard pressed to choose one as artistically superior to another. My particular favorite era is the '72-73 HOM/HOS covers.

 

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stinkininkin

stinkininkin

Posted
Posted

All I can say is that if you are a Wrightson fan, regardless of era, I think you have good taste. Very few artists get my juices flowing more than Wrightson, and I like it all to one degree or another. We all look at this stuff through the prism of subjectivity and nostalgia, and I'm glad the Bernie has fans of his work that stretches though his whole career.

 

And I hope he is feeling better!

 

Scott

 

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tth2

tth2

Posted
Posted
Agree. I'll eat my shorts if this hammers under $15K.

 

:whatthe:

 

It's a very nice cover, and it certainly could hammer at $15K ($17,925 w/the BP) or greater, but I definitely wouldn't be confident enough to wager any shorts-eating on that. :sick:

I wanna know,

Have you ever seen the Gene?

Said I wanna know,

Have you ever seen the Gene,

falling down, on a sunny thread?

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delekkerste

delekkerste

Posted
Posted
Agree. I'll eat my shorts if this hammers under $15K.

 

:whatthe:

 

It's a very nice cover, and it certainly could hammer at $15K ($17,925 w/the BP) or greater, but I definitely wouldn't be confident enough to wager any shorts-eating on that. :sick:

I wanna know,

Have you ever seen the Gene?

Said I wanna know,

Have you ever seen the Gene,

falling down, on a sunny thread?

 

How is questioning whether the cover is a shorts-eating slam dunk at $17,925 (while even admitting that the price is possible) somehow more negative than all the posts predicting closer to half that price? (shrug)

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tth2

tth2

Posted
Posted
Agree. I'll eat my shorts if this hammers under $15K.

 

:whatthe:

 

It's a very nice cover, and it certainly could hammer at $15K ($17,925 w/the BP) or greater, but I definitely wouldn't be confident enough to wager any shorts-eating on that. :sick:

I wanna know,

Have you ever seen the Gene?

Said I wanna know,

Have you ever seen the Gene,

falling down, on a sunny thread?

 

How is questioning whether the cover is a shorts-eating slam dunk at $17,925 (while even admitting that the price is possible) somehow more negative than all the posts predicting closer to half that price? (shrug)

I just wnant to see a thread where someone's predicting a price and you're just like "No way, it's going to be $1 million, babyyyy!!!!! It's red hot!!!!!!"

 

Just copy and paste from a Drdonaldblake post and then I'll stop calling you Rain Man. :baiting:

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t3quila

t3quila

Posted
Posted
When is the live auction (for the vintage OA section) is it Thursday 7th, Friday 8th or Saturday 9th ?. I'll be traveling that weekend and really don't want to miss this one...and I can still maybe swing some stuff around so I'll be in a hotel with a PC when it goes live :wishluck:

 

It's Friday

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Cleangone

Cleangone

Posted
Posted

The Byrne FF/Phoenix cover is going to hammer where it was always going to hammer based on the 2 or 3 real bidders. Any thrill/punishment/screw-around-with-brian bid is meaningless, especially under $10K. In fact, you may now see this piece sit at this bid until the last day of internet bids.

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