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

[DeadpoolJr.]

He does have some nice stuff. Thanks for sharing the pics.

 

 

Very nice pieces. And I know some of the prices. Oddly, that's what kept me from asking about more prices.

Truth! He has a lot of great stuff, but never updates his website, so you really need to go to a convention he's at, and look through the portfolios he brings. The reasoning of it from what I heard him say is that he doesn't want to release everything at once, and if he updated his site often he would be selling more then he would be bringing in, running out of inventory which seems to be something that has effected many dealers as talked about in previous threads.

 

As for prices I remember the quote for the Wrightson House of Mystery cover being 35k, but that was around 3 years ago.

[Mmehdy]

oh wait you mean this one. All time classic congrats

 

 

+1 that's a great frazetta piece. Love the lighting effects on it.

.

 

A true classic....I agree

[Mephisto]

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.

 

Flipper!

[desertdogg2006]

thanks. I did not know wonder con had original dealers set up there. I guess I have to go in April.

 

larry

[Mmehdy]

thanks. I did not know wonder con had original dealers set up there. I guess I have to go in April.

 

larry

 

Wonder con is like SDCC in the 80's...which is a good thing

 

[Bill C]

was Spencer at SDCC?

[AKA Rick]

 

Wonder con is like SDCC in the 80's...which is a good thing

 

I'm not a huge fan of So Cal Wonder Con, but when it was in Nor Cal, it was a better show.

 

The Long Beach Comic Con and Comic Expo are pretty good.

 

Once upon a time when it first debuted in LA, Wizard World was good for 2-3 years then became... well... Wizard World... more of a pop culture event (similar to Comikazie).

 

It all depends on what you're looking for or interested in 'tho as far as how to rate the shows.

[MrBedrock]

oh wait you mean this one. All time classic congrats

 

 

 

 

Spider-killing-man, spider-killing-man, does whatever spider-killing can...

 

That must have cost a few shekels. Can't wait to see it Richard.

 

I assume you blew by what you paid for the Action 15?

Surprisingly no, thank goodness. I can't wait to get it framed.

[Claudio]

I didn't see that many art dealers there. It seemed like a food place for commissions though. I remember looking through about 4 booths for published art. Scott Eder was one but he had mostly independent stuff. The other 3 had a few portfolios but nothing that caught my attention. Donnelly's were there but I didn't stop by their booth.

[cloud cloddie]

I didn't see that many art dealers there. It seemed like a food place for commissions though. I remember looking through about 4 booths for published art. Scott Eder was one but he had mostly independent stuff. The other 3 had a few portfolios but nothing that caught my attention. Donnelly's were there but I didn't stop by their booth.

 

The Donnelly booth was pointless as usual. Stopped by and looked at a few pieces, most of which were not priced. Every time I asked about a price, Steve would look at his tablet and give me a ridiculous price, because of course every page I looked at was a 'special' page.

[tth2]

oh wait you mean this one. All time classic congrats

 

 

 

 

Spider-killing-man, spider-killing-man, does whatever spider-killing can...

 

That must have cost a few shekels. Can't wait to see it Richard.

 

I assume you blew by what you paid for the Action 15?

Surprisingly no, thank goodness. I can't wait to get it framed.

A Frazetta oil painting (and a relatively well known one at that) went for less than what you paid for the Action 15 OA?

 

[tth2]

I didn't see that many art dealers there. It seemed like a food place for commissions though. I remember looking through about 4 booths for published art. Scott Eder was one but he had mostly independent stuff. The other 3 had a few portfolios but nothing that caught my attention. Donnelly's were there but I didn't stop by their booth.

 

The Donnelly booth was pointless as usual. Stopped by and looked at a few pieces, most of which were not priced. Every time I asked about a price, Steve would look at his tablet and give me a ridiculous price, because of course every page I looked at was a 'special' page.

Okay, so I'm always hearing about insanely priced all the pieces owned by the Donnellys, Bechara etc. are, and that they never move and just increase in price anyways. And this from collectors who I know actively buy big pieces, and therefore they're not just some angry basement-dweller irrationally railing against the world.

 

So can someone explain to me, who doesn't know OA dealers, how these guys are able to make such a business model work? I know the comic dealing business fairly well, and know that most comic dealers are so thinly capitalized that they have to move their inventory and can't afford to sit on five-figure, let alone six-figure, books for years and years.

 

Even if these big art dealers got into a lot of their premium inventory at a relatively low price, they've got to eat, finance acquiring new inventory, etc., right? How can they afford to carry inventory for years? Yes, I can understand that they can acquire some new inventory through trade, but you can't eat art. At some point, some has to be converted to cash.

 

So seriously, is this just a lot of frustrated hyperbole, or are these guys independently wealthy (which is the case with several of the comic dealers who are able to sit on their inventory indefinitely), or have they secretly invented a new business model that somehow doesn't require cash or turnover?

[r100comics]

 

I'm guessing the market has moved so exponentially, and is so far removed from their original cost basis, it only takes a few sales to keep the larder stocked for another year. They're also aware there's likely no going back to those good old days so it's tough to re-stock when they do sell.

[rotembk]

I didn't see that many art dealers there. It seemed like a food place for commissions though. I remember looking through about 4 booths for published art. Scott Eder was one but he had mostly independent stuff. The other 3 had a few portfolios but nothing that caught my attention. Donnelly's were there but I didn't stop by their booth.

 

The Donnelly booth was pointless as usual. Stopped by and looked at a few pieces, most of which were not priced. Every time I asked about a price, Steve would look at his tablet and give me a ridiculous price, because of course every page I looked at was a 'special' page.

Okay, so I'm always hearing about insanely priced all the pieces owned by the Donnellys, Bechara etc. are, and that they never move and just increase in price anyways. And this from collectors who I know actively buy big pieces, and therefore they're not just some angry basement-dweller irrationally railing against the world.

 

So can someone explain to me, who doesn't know OA dealers, how these guys are able to make such a business model work? I know the comic dealing business fairly well, and know that most comic dealers are so thinly capitalized that they have to move their inventory and can't afford to sit on five-figure, let alone six-figure, books for years and years.

 

Even if these big art dealers got into a lot of their premium inventory at a relatively low price, they've got to eat, finance acquiring new inventory, etc., right? How can they afford to carry inventory for years? Yes, I can understand that they can acquire some new inventory through trade, but you can't eat art. At some point, some has to be converted to cash.

 

So seriously, is this just a lot of frustrated hyperbole, or are these guys independently wealthy (which is the case with several of the comic dealers who are able to sit on their inventory indefinitely), or have they secretly invented a new business model that somehow doesn't require cash or turnover?

 

As you suggested, it's not their main source of livelihood and in some cases their dealer hat is not even secondary hat but tertiary (after being collectors and whatever it is they actually do for a living).

[vodou]

I assume you blew by what you paid for the Action 15?

Surprisingly no, thank goodness. I can't wait to get it framed.

A Frazetta oil painting (and a relatively well known one at that) went for less than what you paid for the Action 15 OA?

 

He may just mean the cash component was less, if it was cash and trade.

[JadeGiant]

I didn't see that many art dealers there. It seemed like a food place for commissions though. I remember looking through about 4 booths for published art. Scott Eder was one but he had mostly independent stuff. The other 3 had a few portfolios but nothing that caught my attention. Donnelly's were there but I didn't stop by their booth.

 

The Donnelly booth was pointless as usual. Stopped by and looked at a few pieces, most of which were not priced. Every time I asked about a price, Steve would look at his tablet and give me a ridiculous price, because of course every page I looked at was a 'special' page.

Okay, so I'm always hearing about insanely priced all the pieces owned by the Donnellys, Bechara etc. are, and that they never move and just increase in price anyways. And this from collectors who I know actively buy big pieces, and therefore they're not just some angry basement-dweller irrationally railing against the world.

 

So can someone explain to me, who doesn't know OA dealers, how these guys are able to make such a business model work? I know the comic dealing business fairly well, and know that most comic dealers are so thinly capitalized that they have to move their inventory and can't afford to sit on five-figure, let alone six-figure, books for years and years.

 

Even if these big art dealers got into a lot of their premium inventory at a relatively low price, they've got to eat, finance acquiring new inventory, etc., right? How can they afford to carry inventory for years? Yes, I can understand that they can acquire some new inventory through trade, but you can't eat art. At some point, some has to be converted to cash.

 

So seriously, is this just a lot of frustrated hyperbole, or are these guys independently wealthy (which is the case with several of the comic dealers who are able to sit on their inventory indefinitely), or have they secretly invented a new business model that somehow doesn't require cash or turnover?

 

As you suggested, it's not their main source of livelihood and in some cases their dealer hat is not even secondary hat but tertiary (after being collectors and whatever it is they actually do for a living).

 

This. For most, this is not a business, it’s a hobby that is positioned as a business to lend credibility to their selling activities (and to build a huge collection). For many, the cost basis is the key for a lot of them as they simply acquired a lot of what they have for pennies on the dollar and have used that foundation build their “business.”

[delekkerste]

I assume you blew by what you paid for the Action 15?

Surprisingly no, thank goodness. I can't wait to get it framed.

A Frazetta oil painting (and a relatively well known one at that) went for less than what you paid for the Action 15 OA?

 

He may just mean the cash component was less, if it was cash and trade.

 

Nah, I'm sure that it cost less than the Action. Not all Frazettas are $300K-up. My friend bought a well-known, published '60s magazine cover Frazetta oil less than a year ago in the ~$100K range.

 

There are even sub-$100K Frazetta oils out there. Not great ones, of course, but they are out there.

[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.

 

Flipper!

 

I would have snapped it up at that price had I seen it...and displayed it on my wall for decades to come.

[comix4fun]

I assume you blew by what you paid for the Action 15?

Surprisingly no, thank goodness. I can't wait to get it framed.

A Frazetta oil painting (and a relatively well known one at that) went for less than what you paid for the Action 15 OA?

 

He may just mean the cash component was less, if it was cash and trade.

 

Nah, I'm sure that it cost less than the Action. Not all Frazettas are $300K-up. My friend bought a well-known, published '60s magazine cover Frazetta oil less than a year ago in the (low) $100Ks.

 

There are even sub-$100K Frazetta oils out there. Not great ones, of course, but they are out there.

 

 

I believe this one was offered for $100k or less a few years ago....

 

[tth2]

Nah, I'm sure that it cost less than the Action. Not all Frazettas are $300K-up. My friend bought a well-known, published '60s magazine cover Frazetta oil less than a year ago in the (low) $100Ks.

 

There are even sub-$100K Frazetta oils out there. Not great ones, of course, but they are out there.

Yeah, but even the really mediocre Frazetta paintings that Heritage has auctioned off in recent years went 6-figures. This was not one of his mediocre pieces. Unless it`s tiny, I`m pretty surprised.

 

Consider that some of his B&W drawings are going for solid 5-figures, and that`s not even getting to his FF covers or the WSF 29 cover.