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Examples Of Great Original Art Depreciation On Resale?

Started by jick,

45 posts in this topic

Dick O.

Dick O.

Posted
Posted
However, the more blue chip the name and the more concentrated the ownership, the more managed the market I think. If someone is heavily invested in Romita or what have you, they aren't going to let a public failure happen. Not to pick on anyone, just an example as that whole deal was public.

 

I think an argument can be made for decentralised ownership propping up prices. Spread amongst a larger pool, there's a higher chance that multiple invested parties protectively bid, instead of relying on one or two persons to maintain prices.

 

Of course, your scenario also works in that a starved market will bid more ravenously to procure the few pieces that do pop up.

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delekkerste

delekkerste

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Wow, 13K to 2.4K?!?! That's hard to believe.

Damaged Enrich painting on eBay, iirc. $13k was pre-damage, not sure if Gene got any money out of the insurer and whether that's included or not.

 

Nope, that's not the piece. On that piece, I paid $16K and netted $8K and change between the sale and partial insurance payment. Forgot to include that debacle in my list of losers...think I had blocked that one from memory until you just cruelly dredged it up. :cry::baiting:

 

No, it was another piece where I took the $13K to $2.4K (net to me) bath on resale. :tonofbricks:

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Weird Paper

Weird Paper

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Posted
Yeah, Preduction is Theo Holstein. He's an outlier both in terms of pricing and sanity. He's the guy who used to run the buying/selling ads that featured a picture of himself in a beefcake pose.
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comix4fun

comix4fun

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Yeah, Preduction is Theo Holstein. He's an outlier both in terms of pricing and sanity. He's the guy who used to run the buying/selling ads that featured a picture of himself in a beefcake pose.

 

 

 

TheoHolsteinsm.jpg

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vodou

vodou

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Forgot to include that debacle in my list of losers...think I had blocked that one from memory until you just cruelly dredged it up. :cry::baiting:

Ah sorry about that! Presumably you do know what you are doing and these are all examples of letting your winners run and cutting your losers early? If so, while not as good as always picking all winners (which is not realistic anyway), at least you are taking advantage of netting the losses out against your professional trading gains :)

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comix4fun

comix4fun

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No thread on this board has sufficiently covered a topic until the photo of Speedo Holstein has appeared. I pronounce this discussion complete!

 

 

So what you're saying then is, you've got your happy ending?

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delekkerste

delekkerste

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Ah sorry about that! Presumably you do know what you are doing and these are all examples of letting your winners run and cutting your losers early? If so, while not as good as always picking all winners (which is not realistic anyway), at least you are taking advantage of netting the losses out against your professional trading gains :)

 

Sadly, there's no financial rationale to be gained from my experience - just a case of buying what I liked (to be fair, many of these were purchases made early on) with the intention of holding on forever and then later having a change of heart and paying the price on the auction block. Granted, every one of these examples was of non-mainstream superhero art (i.e., more niche material); the more mainstream art I consigned did better on the auction block (though, sadly, I have never had any of my consignments of any sort go for really strong money).

 

Not that if you buy niche art you'll never get your money out - I've done quite well with reselling some of my non-mainstream art privately. But, I have had terrible luck at auction with it, which is why I will now only try to sell that kind of material privately rather than roll the dice on the auction block. 2c

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Bronty

Bronty

Posted
Posted
Ah sorry about that! Presumably you do know what you are doing and these are all examples of letting your winners run and cutting your losers early? If so, while not as good as always picking all winners (which is not realistic anyway), at least you are taking advantage of netting the losses out against your professional trading gains :)

 

Sadly, there's no financial rationale to be gained from my experience - just a case of buying what I liked (to be fair, many of these were purchases made early on) with the intention of holding on forever and then later having a change of heart and paying the price on the auction block. Granted, every one of these examples was of non-mainstream superhero art (i.e., more niche material); the more mainstream art I consigned did better on the auction block (though, sadly, I have never had any of my consignments of any sort go for really strong money).

 

Not that if you buy niche art you'll never get your money out - I've done quite well with reselling some of my non-mainstream art privately. But, I have had terrible luck at auction with it, which is why I will now only try to sell that kind of material privately rather than roll the dice on the auction block. 2c

 

well that's very true. The more you need the exact right buyer the more it should be sold privately where you can take the time to find that buyer.

 

 

 

 

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Mickey7

Mickey7

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Well, that one does feature the famous Mysto, so the astronomical price can be excused.

 

One thing I don't understand (well one of many things) is why he can't fit the entire piece of artwork into a photograph.

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Nexus

Nexus

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I've taken my share of lumps, just comes with the hobby. As far as notable recent public examples, ASM #317 comes to mind:

 

8/2012 $143.4K

https://comics.ha.com/itm/original-comic-art/todd-mcfarlane-amazing-spider-man-317-venom-cover-original-art-marvel-1989-/a/7063-92219.s

 

2/2015 $81K

https://www.comiclink.com/auctions/item.asp?id=1039804

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shockmatrix

shockmatrix

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In recent years I've had a trend of small losses come from "trying out" artists. If a new modern book catches my eye and I enjoy the story, I will try owning a simple panel page from the artist to see if it has staying power and brings me joy when framed. While I will choose an available panel page that contains some interesting elements, it's usually a fraction of the price of a splash page or cover from the same series.

 

A number of times I've resold these pages when I realized I didn't enjoy the art after a few months or it didn't fit with my other décor. Other times, I enjoyed the artist's work to the point where I upgraded to a cover or more desirable piece. In most of these instances, the panel page (usually $250-600) would lose ~20-35% of its value and I considered it a rental fee that allowed me to either cross off the artist from my list or evaluate his/her art in person and make a more educated decision about purchasing a stronger piece.

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Unca Ben

Unca Ben

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I've taken my share of lumps, just comes with the hobby. As far as notable recent public examples, ASM #317 comes to mind:

 

8/2012 $143.4K

https://comics.ha.com/itm/original-comic-art/todd-mcfarlane-amazing-spider-man-317-venom-cover-original-art-marvel-1989-/a/7063-92219.s

 

2/2015 $81K

https://www.comiclink.com/auctions/item.asp?id=1039804

 

Ouch.

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John E.

John E.

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Posted
In recent years I've had a trend of small losses come from "trying out" artists. If a new modern book catches my eye and I enjoy the story, I will try owning a simple panel page from the artist to see if it has staying power and brings me joy when framed. While I will choose an available panel page that contains some interesting elements, it's usually a fraction of the price of a splash page or cover from the same series.

 

A number of times I've resold these pages when I realized I didn't enjoy the art after a few months or it didn't fit with my other décor. Other times, I enjoyed the artist's work to the point where I upgraded to a cover or more desirable piece. In most of these instances, the panel page (usually $250-600) would lose ~20-35% of its value and I considered it a rental fee that allowed me to either cross off the artist from my list or evaluate his/her art in person and make a more educated decision about purchasing a stronger piece.

 

I agree with perspective 100%. I have started to sell off my "first" pieces and I've taken losses on all of them. Fortunately, they aren't expensive pages. I just sold a piece I bought for $135 for $80. Listening to the Felix Comic Art podcasts I've learned, and taken comfort in, that everyone takes a bath on comic art. I like what Felix calls it, "tuition." Now, when I consider a piece, I think about how much I'm going to lose right off the lot, instead of thinking, "Hmm...how much in value will it increase in X years." Based on my experience, losses can fall anywhere between 15%-85%. That 15% is eBay & PayPal fees assuming I sell the pieces for exactly what I paid for. My worst hit was an $85 piece that sold on auction for $22. Selling art, and at a loss is a good thing though. It teaches you when to when to holster and when to draw. Like it's been said, tuition.

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