Wednesday, March 7, 2012
Dear Comic Art Fan,
Two giants of the industry were lost last week with the passing of Shelly Moldoff and Ralph McQuarrie. Moldoff was a Golden Age artist who worked on some the first issues of Hawkman and Green Lantern. He later became the primary ghost artist for Bob Kane on Batman, co-creating characters including Bat-Girl, Bat-Mite, and Poison Ivy. His contributions to the Batman mythos went uncredited for decades till editor Julius Schwartz publicly acknowledged his work in 1991.
McQuarrie was a technical illustrator for Boeing till George Lucas hired him as a designer for the original Star Wars film. He created the look of the planets, ships, and many characters including Darth Vader, Chewbacca, R2-D2, and C-3PO. His groundbreaking work continues to influence artists and filmmakers to this day and many of his unused designs have been seen in the animated series The Clone Wars. Both of these men will be well-missed by their fans and colleagues.
See you next week.
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Heritage Auctions (HA.com) - Love and Rockets, Secret Agent Corrigan and Gotham Graphics Certificate of Authenticity in this Sunday's Weekly Internet Auction #121211
A Few Sample Lots:
Jaime Hernandez - Love and Rockets #13 Page 9 Original Art (Fantagraphics, 1986)
Al Williamson - Secret Agent Corrigan Daily Comic Strip Original Art dated 3-6-69 (King Features Syndicate, 1969)
Dick Sprang - Gotham Graphics Certificate of Authenticity Batman and Robin Illustration Original Art (DC, c. 1995)
Also check out our new HERITAGE COMIC ART MARKET here…
ComicLink’s Winter 2012 Original Art Auction Ends Tonight!
The original art lots in ComicLink’s Winter Featured Auction end tonight, Thursday March 8th from 9:15 PM ET to 11:30 PM ET. This is ComicLink’s first Featured Auction of 2012 and ComicLink President Josh Nathanson points out that it spotlights nothing but material specifically selected for its superior quality and desirability.
“This Original Art section of this auction features some very impressive items. Among the top highlights are an Avengers #3 page featuring the Hulk and Sub-Mariner trying to get Thor’s hammer away from the thunder god, a Neal Adams Brave and the Bold #76 cover which is only his 3rd Batman cover art, a special Steve Ditko Amazing Spider-Man #34 page featuring the best Kraven image we’ve seen, a striking Eternals #6 full team splash, a Fantastic Four #43 page featuring the FF and the Frightful Four, and a Thor #152 page featuring Thor battling the Destroyer all by Jack “King” Kirby. Other stand-outs include a wonderful Barry Windsor-Smith Conan #13 half-splash, a stunning Stephen Bissette and John Totleben Saga of the Swamp Thing #34 double page spread, a John Romita Daredevil #14 page from his first issue penciling the title and a Captain America #139 page featuring Cap and Bucky battling in WWII. There is also a Carmine Infantino Flash #119 page which includes a Flash transformation panel, a Frank Frazetta Li’l Abner daily and a White Indian page, a 1970 Bernie Wrightson Sci-Fi painting and much more.”
“There is just too much to list in a single article, so bidders should definitely check out the auction highlights page where they will find a more complete list of the top items in this auction.”
“ComicLink is now accepting consignments, and allocating generous cash advances for items placed to our May Featured Auction” notes Nathanson. “Some exceptional material has already been placed to the auction preview! As always, we look forward to hearing from you and promoting your items to the fullest!”
To reserve early auction placement, and maximize your preview exposure in upcoming ComicLink events, email firstname.lastname@example.org with your prospective auction list, or call (617) 517-0062, option 1, to speak with Douglas Gillock, Jason Crosby, Sean Goodrich, Nathanson, or other members of the ComicLink team.
|1. Please tell us a little about yourself.
I am a Baby Boomer, born in 1955. My father was an Arctic geologist/explorer and landscape painter, while my mother is a journalist and editor, so I grew up loving comics, books, and art – it’s always been in my blood. We lived in Anchorage, Alaska, starting in 1962, when I was six about to turn seven. This is when I began reading and collecting comics. Like many who read comics, I soon discovered I also wanted to create them. During my senior year in high school I had my own adventure comic strip, Al Kirby, Bush Pilot, published in a local weekly newspaper. I left Alaska in 1974 to study art at Southern Methodist University in Dallas, finishing there in 1981, with an MFA in painting.
2. Which piece in your gallery is your favorite?
That’s a tough call. I never have been one to narrow my aesthetic pleasure to the ultimate, one-best “holy grail.” I prefer to “consume mass quantities” of comic art, to paraphrase the Coneheads from Saturday Night Live. Let me now proclaim that Giorgio Comolo is a fantastic talent, so the answer is: his Fantastic Four #74 cover. I would like to publicly thank Enrico, Francesco, Jean-Paul, and the other Comic Art Fans members who have enabled me to build my collection.
3. How long have you been collecting comic art and what prompted you to start?
I started in 1991 when I bought an Alex Toth Standard romance story from Albert Moy at my first San Diego Comic Con. There’s just no substitute to seeing the marks made by the artists’ hands in person. When I compared my EC war art to the Russ Cochran EC Library, as excellent as the reproduction was, I was amazed at how much information was lost. I used to collect non-superhero art, specializing in complete DC and EC war stories. I am currently collecting Jack Kirby-inspired tributes/re-creations, and also the work of Joe Sinnott.
4. How do you display/store your collection at home?
I am an “in the raw,” or portfolio person. I keep the art in mylar sleeves, and store them flat on Scandia shelving, in the dark. I love to hold the actual art in my hands and see it “naked.” I’ve seen more art ruined by improper matting and framing than you can image. Plus, when you sell or trade a piece, most people have a different idea of how they want to present the piece. I prefer to save the framing money for buying more art. I’ve never restored any art for many of the same reasons, and just live with any “flaws.”
5. What are your top five most wanted original pages or commissions?
I’ve been very lucky with my job at Heritage Auctions, as I handle and describe much of the best comic art out there in person, if only for 10-15 minutes, over $50 million dollars worth so far. I’ve always bought “mid-range” and “low end” art for my own collection, priced well within my means. Comic art is some of the most reasonably priced original art available, and the more “liquid” it is, the better I like it. The early nineties was a fantastic market. As I’ve aged, I’ve become almost totally “catch and release” in all my collecting. As art prices have steadily risen in value, I have recently changed my collecting interests 180 degrees. I love heartfelt tribute pieces and expertly done re-creations. I will continue buying more Comolo Kirby masterpiece tributes. For me personally, I enjoy collecting as a fun hobby, certainly not a “win-at-any-cost” experience. I enjoy the Comic Art Fans website and all the devoted fans who share in their galleries. The site a real boon to the hobby, and kudos to Bill Cox and his team for doing it.
View Don Mangus's Gallery