The Official - Post Your 2016 SDCC OA Reports Here !!!!!

[JadeGiant]

110%

 

that's generous

 

Sometimes I think if a seller/dealer has something marked at $175,000 and it doesn't sell, and they bump it up to $250,000, part if it is a strategic effort to elicit a response from the potential buyers watching it at $175k, who then see it at $250k who may inquire with the dealer who would then retort "Oh, the market has gone up on similar material, but if you wanted this piece, I can discount it by $75k and offer it to you now for $175k, today" - - giving the perception of a discount.

 

I find the same goes on with eBay on a smaller price scale where a seller will have a piece for $300, that goes unsold, then they hike it up to $500 "or best offer" hoping to get a bite at $500, but willing to take $300 or less based on offers.

 

I agree and have noticed this strategy. For the life of me I can't figure out who falls for it. Baffling.

[JadeGiant]

110%

 

that's generous

 

 

. No doubt. From what I saw some pieces were closer to 610% of market....not an exaggeration.

 

Not surprising in the least. It's kind of funny how much art I see these days that I really like and would pay FMV (or even 110%) only to see it sit in inventory for months or years only to eventually vanish and appear in another dealer's inventory. I have to laugh. It's not like art is hard to find and someone else always gets my money instead.

[AKA Rick]

110%

 

that's generous

 

Sometimes I think if a seller/dealer has something marked at $175,000 and it doesn't sell, and they bump it up to $250,000, part if it is a strategic effort to elicit a response from the potential buyers watching it at $175k, who then see it at $250k who may inquire with the dealer who would then retort "Oh, the market has gone up on similar material, but if you wanted this piece, I can discount it by $75k and offer it to you now for $175k, today" - - giving the perception of a discount.

 

I find the same goes on with eBay on a smaller price scale where a seller will have a piece for $300, that goes unsold, then they hike it up to $500 "or best offer" hoping to get a bite at $500, but willing to take $300 or less based on offers.

 

I agree and have noticed this strategy. For the life of me I can't figure out who falls for it. Baffling.

 

As buyers, the ones with economic empowerment, we need to be less emotional (competitive, egotistical, impulsive, and passionate) and a little more logical (refrain from bidding wars, negotiate with your best offer only, be able to walk away with no regret, know you can't have everything you want, etc.).

 

We're not looking to crash the market or drive prices down to the cheap, but to not buy from over priced (subjective evaluation) price gougers and let them sit and choke on their unsold inventory to force them to be fair and realistic.

 

 

[tth2]

110%

 

that's generous

 

Sometimes I think if a seller/dealer has something marked at $175,000 and it doesn't sell, and they bump it up to $250,000, part if it is a strategic effort to elicit a response from the potential buyers watching it at $175k, who then see it at $250k who may inquire with the dealer who would then retort "Oh, the market has gone up on similar material, but if you wanted this piece, I can discount it by $75k and offer it to you now for $175k, today" - - giving the perception of a discount.

 

I find the same goes on with eBay on a smaller price scale where a seller will have a piece for $300, that goes unsold, then they hike it up to $500 "or best offer" hoping to get a bite at $500, but willing to take $300 or less based on offers.

 

I agree and have noticed this strategy. For the life of me I can't figure out who falls for it. Baffling.

All you need is one or two suckers impulse buyers per con who just can't resist pulling the trigger when seeing some coveted piece in person, and who will feel like they can't leave the con totally empty-handed, to make the strategy pay off handsomely.

[delekkerste]

Did you get the pics I emailed yesterday? Feel free to post them here; I am in transit now.

 

I didn't get any email.

 

:doh:

 

Just checked my phone - apparently, due to the patchiness of wireless reception at the SDCC, TWELVE of my e-mails failed to send during the show. Which means that there are many more e-mails that didn't go through during the show that I just assumed did. Anyway, I just re-sent all 12, so you should have just received the pics.

 

IF I go to the show next year, anyone who wants an update from me will have to sign up for a WhatsApp account. I was trying to provide updates to a ton of people this year who couldn't make the show, some who were contacting me using SMS, some using Facebook, some using e-mail, some using WhatsApp...next year I'm only using one platform, and I think WhatsApp is the best solution, requiring the fewest keystrokes, which is key on the busy Con floor.

[delekkerste]

As for my show thoughts, the biggest takeaway was the limited attendance among OA collectors. Unfortunately, it's so hard to get tickets and hotel rooms nowadays that I think many collectors were either shut out and/or just decided it wasn't worth the hassle. Or, at the very least, that they didn't feel like they had to go every year and took this year off. For me, commuting in from my parents' house, the parking situation on Wednesday was so bad (especially since I saw that one major outdoor lot had been turned into a exhibition area) that I ended up carpooling on the way down on Thursday and Saturday with a friend and then taking car service back home. The show really is a lot of work.

 

Anyway, I was talking about the situation with one of the biggest OA dealers on the floor, and he totally concurred with my assessment. He's going to lobby the con with a proposal to provide a way for people who spend real money to be able to secure tickets and rooms. I wish him luck with that. He also feels that the hobby/business would be better served if comics and comic art were put together. With the exception of Anthony and ComicConnect, all of the other OA dealers are at the completely opposite end of the enormous convention floor. I don't see that changing, though.

 

Neither The Brit (perhaps the most prolific buyer at SDCC in recent years) nor The Vacuum were in attendance this year. I heard one mega-BSD cancelled his plans to attend at the last minute; he might have salvaged some dealers' shows, but, alas...

 

I heard of one big Silver Age deal that got done, dealer to dealer (effectively). One big dealer I talked to said he made a number of lower and medium-end sales, but no really big sales that he was hoping for. Another big dealer said flat-out that he had a lousy show. Seems like Mitch made a number of sales early on, as I kept running into people who had bought stuff from him. Apparently there was a number of reasonably priced pieces that sold, presumably early on Wednesday as I arrived before the show started and didn't see any of these pieces (I ended up buying a small illustration piece from Mitch on Saturday, which was my only buy of the show).

[delekkerste]

Presented without comment/judgment:

 

The Dave Gibbons Amazing Heroes Watchmen cover that was shopped at $100K at last year's show was now priced at $250K at this year's show (on consignment at Heritage for direct sale).

 

Incidentally, the X-Men #113 cover in the below photo was also priced at $250K.

[delekkerste]

Sometimes I think if a seller/dealer has something marked at $175,000 and it doesn't sell, and they bump it up to $250,000, part if it is a strategic effort to elicit a response from the potential buyers watching it at $175k, who then see it at $250k who may inquire with the dealer who would then retort "Oh, the market has gone up on similar material, but if you wanted this piece, I can discount it by $75k and offer it to you now for $175k, today" - - giving the perception of a discount.

 

Yeah, you would think that, but, no. I inquired about one of these pieces that made the leap from $175K to $250K in the last year and the lowest he would come down to is $220K. :doh: It's no wonder that this piece remains unsold year after year at ever-increasing price levels. I guess people believe (or want us to believe) that the value just keeps going higher because the creme de la creme de la creme at the top keeps going from strength to strength. I think the reality is that the market for pieces that aren't GL #76 or the like isn't bounding ahead like that.

 

The big Silver Age deal that I mentioned ended up (I'm told by two people) getting done at a lower (but still very high, of course) price than I heard the piece was shopped at in the last year or two. That's how it should work - if no one bites at a moonshot price, lower it and get a deal done!

[AKA Rick]

As for my show thoughts, the biggest takeaway was the limited attendance among OA collectors.

 

I think a lot of OA collectors find that there's enough inventory that's posted online where it's like how many shop with Amazon rather than go to the brick and mortar retailers. I know the big companies like Anthony Snyder, Albert Moy, Graphic Collectibles, Scott Eder, Splash Page Art, More Great Art, Felix Comic Art and others who both attend Comic Con as well as have a website seem to maybe debut new art at the show sometimes, but generally it's just as easy to shop online from home with them and any discount you could have gotten through a face to face negotiation could be in part done online if you have a relationship or you'd save inherently through the lack of Comic Con overheat (travel, lodging, food, tickets, lost wages for taking PTO, etc.)

 

In fact, you can shop online faster (looking through inventory) and also more robustly (visiting other dealer and rep sits not attending Comic Con) than navigating the halls and working through the crowds at Comic Con.

 

The main draw or benefit to Comic Con as a hub for art collectors is the commissions, and getting them direct from artists. Most of the working top tier artists only do commissions at shows in the spirt of fandom, setting aside their schedule, and unable otherwise to do "at home" commissions which gets in the way of their scheduled obligations to publishers.

 

That in itself, and the opportunity to meet the very artists you collect their masterpieces of, is what makes Comic Con great more as an experience than a buying opportunity. I know Comic Con features lots of throwback veteran guests as well as current hot creators, with lots of new faces and tomorrows talent today. I remember meeting Jaime McKelvie, Josh Howard and Tara McPherson early on when they were in the small press area, then witness their growth in popularity.

 

I still see it more as a social and fun experience, not too intense nor serious just to TCOB (Takin' Care of Business) and buy buy buy. For those types, going to ComicLink and Heritage for their features and signature auctions (respectively) might be one of the better ways to find remarkable artwork at market value prices (assuming an auction dictates market value due to the incremental bidding system).

 

 

 

 

[delekkerste]

Oh, I would be remiss if I didn't applaud Profiles in History's superb, first-class display of much of the Frazetta, Wrightson, BWS, Kaluta, etc. art that's coming up for auction. Just a jaw-dropping, stunning set-up!

[Peter G]

As for my show thoughts, the biggest takeaway was the limited attendance among OA collectors.

 

I think a lot of OA collectors find that there's enough inventory that's posted online where it's like how many shop with Amazon rather than go to the brick and mortar retailers. I know the big companies like Anthony Snyder, Albert Moy, Graphic Collectibles, Scott Eder, Splash Page Art, More Great Art, Felix Comic Art and others who both attend Comic Con as well as have a website seem to maybe debut new art at the show sometimes, but generally it's just as easy to shop online from home with them and any discount you could have gotten through a face to face negotiation could be in part done online if you have a relationship or you'd save inherently through the lack of Comic Con overheat (travel, lodging, food, tickets, lost wages for taking PTO, etc.)

 

In fact, you can shop online faster (looking through inventory) and also more robustly (visiting other dealer and rep sits not attending Comic Con) than navigating the halls and working through the crowds at Comic Con.

 

The main draw or benefit to Comic Con as a hub for art collectors is the commissions, and getting them direct from artists. Most of the working top tier artists only do commissions at shows in the spirt of fandom, setting aside their schedule, and unable otherwise to do "at home" commissions which gets in the way of their scheduled obligations to publishers.

 

That in itself, and the opportunity to meet the very artists you collect their masterpieces of, is what makes Comic Con great more as an experience than a buying opportunity. I know Comic Con features lots of throwback veteran guests as well as current hot creators, with lots of new faces and tomorrows talent today. I remember meeting Jaime McKelvie, Josh Howard and Tara McPherson early on when they were in the small press area, then witness their growth in popularity.

 

I still see it more as a social and fun experience, not too intense nor serious just to TCOB (Takin' Care of Business) and buy buy buy. For those types, going to ComicLink and Heritage for their features and signature auctions (respectively) might be one of the better ways to find remarkable artwork at market value prices (assuming an auction dictates market value due to the incremental bidding system).

 

 

 

 

Agreed. I didn't see anything priced to sell. Wallet stayed in my pocket the whole time. Oh well.

 

 

[comix4fun]

Nice convention summary Felix.

[delekkerste]

Nice convention summary Felix.

 

[comix4fun]

[stinkininkin]

I'm short on time, but I will say that my art sales were rather spectacular. No exaggeration, this was perhaps the best art sales convention I've ever had. Most everything I sold with just a few exceptions were in the $500-1500 range, the most expensive just north of $2000. These types of sales probably don't move the needle much for big dealers with big overhead (my overhead is nil since I am local and just bring what I can carry), but it was awesome for me.

 

Unfortunately, as I told Gene at the show, I need to see more reports from you guys, public or private to know the big picture since I was stuck at my table and barely saw anything. Did look at the Heritage and Profiles offerings (which was spectacular), but little else. And did not spend a dime.

 

Anyway, keep the reports coming or DM me with anything of interest.

 

Scott

[comix4fun]

I'm short on time, but I will say that my art sales were rather spectacular. No exaggeration, this was perhaps the best art sales convention I've ever had. Most everything I sold with just a few exceptions were in the $500-1500 range, the most expensive just north of $2000. These types of sales probably don't move the needle much for big dealers with big overhead (my overhead is nil since I am local and just bring what I can carry), but it was awesome for me.

 

Unfortunately, as I told Gene at the show, I need to see more reports from you guys, public or private to know the big picture since I was stuck at my table and barely saw anything. Did look at the Heritage and Profiles offerings (which was spectacular), but little else. And did not spend a dime.

 

Anyway, keep the reports coming or DM me with anything of interest.

 

Scott

 

 

 

Hey Scott,

I have some pictures of dealer booths I have to load up and post here.

 

As for your success, I would wager it stems from your willingness to price reasonably from the get go and not reprice artwork 50%-100% more than the price it didn't sell for last year.

 

The two things I noticed that seemed to limit art sales in the dealer area (with some noticeable exceptions) were 1) prices drastically increased on "stale" stock that didn't sell at the previously overpriced amount and 2) a complete lack of willingness to be materially flexible to get a deal done.

 

High prices are one thing, high prices in the face of uniform resistance is another, but high prices (or drastically increased prices on existing unsold stock) combined with a utter refusal to truly negotiate, as I saw several times, is a recipe for poor convention sales performance.

 

 

[zhamlau]

On the plus side, I was able to win a lot of stuff online with very little competition these last few days so yay San Diego drawing eyes and wallets!!!

[delekkerste]

The Sandman #50 cover sold for $10K publicly at the show (the price tag and buyer's name remained on the piece throughout the show, so not inside info). It looked to be mostly silkscreen/collage, so not necessarily a ton of drawn or painted art, but it looked gorgeous. Even though I'm not a Sandman guy, I would certainly have snapped it up at that price had I seen it.

[Eric Seffinga]

Did Allen / Dave bring that one to the show, or was it elsewhere with an aftermarket dealer?

 

[delekkerste]

Did Allen / Dave bring that one to the show, or was it elsewhere with an aftermarket dealer?

 

Allen/Dave