furthur

Member
  • Content count

    90
  • Joined

  • Last visited

About furthur

  • Boards Title
    Collector

Personal Information

  • Location
    Atlanta GA

Display Name History

  1. I know some folks make copies and frame them-I know of at least one artist who gets giglee's made of art he has collected and keeps the originals in a safety deposit at a bank. I just cant get my arms around that as a collector. The whole point to me is that the work I am looking at is the original. I don't think I could go with copies.
  2. I have several frames made by "Frame it Again Sam" who used to make these quick change frames, but has apparently retired. The tops pop off and the art is behind plexi, but inside the frame there is a pocket with a mylite and an acid free backing board. Perfect for modern size pieces and allows me to swap things out regularly. I have this four frame set up in my office and change it out every couple of months so I can look at different things. Currently up are a Risso Batman/Joker commission, a Question cover by Cowan/Sienkewicz, a Sandman commission by P. Craig Russell and a Silver Surfer cover recreation by Buscema of a cover that I used to own the original of. These have been up for a few weeks so I will probably swap them out around the beginning of May.
  3. I don't have all my eggs in one basket, but quite by accident, I have pieces that became a far larger share of the value of my collection than anticipated. I recently did some analysis for insurance and was somewhat surprised to find that 50% of the value of my collection was in the top 10% of the pieces (by total number) that I own. Some of that is because I have concentrated on preliminary art, both because I enjoy it quite a bit and also because I can afford it in a time of rapidly rising prices. I am also consciously trying to move away from the middle-buying things that are at the higher end of my budget and the lower end, but not having quite so much in the middle.
  4. Love this! Its hard to know when to gussy something up with an elaborate frame-good choice here.
  5. After reading this topic for several years with varying degrees of personal interest, I have finally determined that what makes an A-level Preacher page is that it must be a page that I own and which contains the characters I like most doing something that makes me happy. Under that completely objective criteria, I now have an A-level Preacher page on the way.
  6. Like others I would have to break this down between comic book and comic strip artists-similar, but absolutely not the same skill set. I would also add that Frank Frazetta could make both lists, but his work in both fields is dwarfed by his work as an illustrator and that is where his talent shined brightest. Comic books: 1. Will Eisner-His Spirit work was a master class for a huge number of cartoonists-and then he came back and wowed again with his late period graphic novels. He was a triple threat-writer, artist and incredible booster for the entire field of cartooning and what it could be. 2. Jack Kirby. The master of superhero cartooning-but his war and western and romance work was great too and if its possible to underrate the King, I think its possible he was. 3. Jack Davis -he could do it all and do it better than so many others. His ability to work in every facet of cartooning at the highest level hasn't really been matched in my opinion. 4. Robert Crumb. He let his Id run wild on paper and had the chops to make it the gold standard for underground art- and then just Art with a capital A. Of course Zap is great-but so is Genesis and all points in between. Comic Strips: I have to say I just love the big three of classic adventure strips(Foster, Raymond, Caniff) so its hard to divorce that from what should be a Mt Rushmore of Comic Strip artists. The field is bigger than adventure strips though, and obviously, they haven't stood the test of time as well as humor anyway, so all three can't make it on the list-but dammit, they should add some room for them all!! 1. Winsor McCay. A certified genius of the comic strip in my opinion. He started when cartoonists were still making the whole field up right out their heads and created surrealist landscapes that boggle the mind a century later. 2. Hal Foster. Nobody did it better and with the unbelievable consistency of Foster. His work was superb in the 30's and really just as superb in the late 60's and early 70's as he hit retirement, though collectors want the vintage stuff more. 3. Charles Schulz. I wanted to put Raymond here. I honestly would much rather own a classic Flash Gordon than a classic Peanuts Sunday-but if you are talking Mt. Rushmore of Comic Strips and you leave off Schulz, you are just fooling yourself and nobody else in my opinion. 4. Bill Watterson. In my mind, he created the greatest kid strip that could ever be made. Over the 10 years of Calvin & Hobbes he just got better and better til he hit a height so sublime it still floors me. I go back and read one of those paperback collections at least once a year and I am still bowled over.
  7. If you are an Atlanta area (really the whole southeast) art collector, I hope you will reach out to me as I am having a collectors brunch on March 25, 2017. I've been doing this for many years and we always have an interesting mix of collectors and area artists. I have sent invitations out to folks whose addresses I already have, but I am certainly aware that there are a lot more collectors out there than I know. My wife cooks a great brunch and then its show and tell time with lots of great art to be seen from area collectors. Please email me at benno119@gmail.com if you would like to come! I look forward to meeting some new collectors this year. Benno Rothschild
  8. My general collecting goals are getting three or four nice pieces by artists that I know personally or have had a personal connection with if they are no longer around. I moved down that path this past year and it was particularly satisfying for me to get a couple of commissions along with a few published pages from artists that I have known for quite a while and several of whom also have known my daughter, who used to spend a fair bit of time coming to shows with me and has met a lot of different comic artists along the way. I find that the personal connection allows me to really enjoy my art on different levels than simple nostalgia or even aesthetics. That said, its also interesting to me to meet younger artists and since that often means pricing is a little easier on the wallet, that is a nice bonus. For instance, last year I bought a page and then a commission from Ian Bertram who I met at Heroes Convention. I was very happy with the page and even happier with the commission. I would be happy to have a similar experience with someone new to me this year. Lastly, I have some art interests outside of comics and I hope to find a few pieces that would be more in the illustration and "fine arts" world over the course of the year. As for selling, I talk about it all the time, but never seem to do a whole lot of it. Maybe this year will be different, but I doubt it.
  9. Of course it is interesting to see these catalogs and the prices of old, but from a collecting perspective, I find the most interesting part of this not that prices were really cheap compared to today, but to see the relative price difference for many things, especially the vast pricing difference between comic strip art and comic book art that was a staple of this hobby in the years that I first started collecting (essentially mid to late 70' and early 80's, though I didn't buy a whole lot) I am less "oh gee, why didn't I buy things when they were cheap" than, wow, you could have bought 4 or 5 Ditko spiderman pages and a 5 page Thor sequence by Kirby for the same price as a late Caniff Terry and the Pirates Sunday. Now one of those Ditko's could buy you several Terry Sundays-likely even from the more sought after late 30's or early 40's Sunday strips. That showed clearly that the monied collectors were the strip art guys at that point. Now that worm has turned, so looking forward, what is the next change in relative values going to be? Are we going to be saying, geez you could have bought 10 pages by X for the price of that page by Y and it would have been brilliant!
  10. Allison and Adam priced the Archie pages based on content-obviously those featuring Betty and Veronica went higher- and the low end was 300 but the higher end went higher than 700. A couple of those higher end pages didn't make it to SD or NYC because they stayed here in Atlanta.... I thought they were well priced. No, Archie isn't Marvel or DC, but I think the characters are pretty iconic and Adam is writing, pencilling, inking, lettering and coloring the whole book-so you don't get much more pure than that. The art is on thin paper and that is the only thing I was concerned about, but I can say that they frame up well and they are all on 13x19 paper rather than typical modern 11x17 for those who think size matters
  11. I think the answer may depend, in some ways, on where you are in your collecting cycle. if you are early on, you may want to get those smaller pieces to build your collection and also to have trade bait for future wants, provided the pieces are all "quality" pieces. If you blow it all on the big piece early on, then that piece is unlikely to be sold or moved unless you are hard up for money or are getting out of collecting altogether. That is fine, but if you continue to collect, you have to build up that war chest again to keep going. As for investment-the best pieces always seem to do better, so if that 10K piece is a desireable cover or signature piece by a well known artist, its likely to do better in value than a lot of smaller things. That said, you then have all your eggs in one basket and if that hot artist cools off, you have nothing else to offset it. Later in your collecting cycle, I think it starts making more sense to push for that top piece-you will know a lot more about collecting and what your ultimate goals are. That is rarely as apparent as it seems early on-at least that was my experience.
  12. Like many people in the hobby, I keep a spread sheet of what I pay for stuff plus various other pieces of information including the seller, condition, etc. I started it to just have the information handy and then figured it would be a good reference point if I got hit by a bus and my wife and kid were trying to figure out what things were and how much they might be worth. Of course the most interesting piece is the "current value" line. Often, when I buy something new by an artist I don't know well and almost always when I buy a commission piece I immediately knock 20% off what I have paid as a current value. I revisit values once or twice a year and try to be pretty conservative since I am not using it for insurance valuation, just for myself and potentially my heirs and I don't want to make things look rosier than they are. I am a cheap so I would guess the worst of it might be a loss in the 20-25% range, but that is going to be with pieces that all cost less than 5K. The winners, on the other hand, are almost always pieces I paid less than 1K for-mostly in the 80's and 90's and they should easily outweigh any losses on more recent buys. In fact I have a commission piece that the artist just told me was done yesterday. I am almost certain its worth less than I paid if I were to sell on the open market, but it will never make it to the market until I am gone unless I live too long and my wife has to sell to keep me in adult diapers and drool cups.
  13. Thank you for the shout out Phillip , and thank you to Hari Naidu for the ride down! I was only able to attend for a short while, but that was a good thing for my wallet as there was some very nice art to be seen and purchased. I did appreciate the opportunity to meet a few folks like Ben Bressel and Nathan Rose for the first time and say hello to some others like Phillip, Scott Eder, Albert Moy, Frank Giella and others I haven't seen in a while. Ultimately, while I love the art, a nice part of the experience is certainly meeting folks and being part of a larger community of people who enjoy this hobby. It is what makes the CFA-apa zine such an important part of my collecting and why I could really enjoy the comicart con though I didn't buy, sell or trade anything (but if I had been there another hour, I doubt that would have held true) Benno
  14. I will be attending for the first time. I happen to be in NYC this weekend for a work gig that starts on Sunday afternoon, so I am going to go down and see, but likely not stay as long as I want! I can't decide if its worth the effort to actually bring art with me though-I was thinking that for trade stuff I might try to take pix on my ipad and bring that to show folks-then if there is a deal to be made I can send stuff afterwards. I could bring a small folio of prelims and stuff, but not sure that is what people want to see. I do have a piece I wanted to show Robert Dennis to see about getting some stains fixed up though and its 11x17, so maybe I will bring a few bigger things that I might consider letting go. Benno
  15. Not final paintings, but I am working on an article for Hogan's Alley right now about Jack Davis and I think we will be using large (he did them at full one sheet size) finished preliminaries for two of his classic covers-Bad News Bears and The Long Goodbye. Look for it this Winter!!