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  1. I don't know the answer to your question, but my own impression is that Overstreet had at least some standard regarding requirements to documentation for books like these. For many years, I have tried to trace down the rarest Disney comics in existence. One particular book, the Florida Power version of "Donald Duck Tells About Kites", bothered me as it was the only one in Overstreet that I had neither seen for sale nor heard of anyone owning. In the early 2000s, Arnold Blumberg asked for feedback to improve the accuracy of the guide. He made changes based on some of my input, but the listing of the Florida copy of the kites giveaway stayed against my recommendation. Eventually, after the restructuring at Gemstone around 2009, a bunch of Overstreet's notes on esoteric material were listed for sale on eBay. Among them was a xerox of the front cover of the Florida version. Later on, I learned about the whereabouts of the known copies, which indeed do exist with 100% certainty. Anyway, based on the above, my best guess is that those books exist.
  2. I am relieved to report that the missing parcel arrived today, May 8, 4 1/2 month after it was originally mailed. Thanks to everyone who kept an eye out for the books.
  3. Jon is among the handful or so collectors that I admire the most. His eloquent thoughts on collecting have had a huge impact on my own approach to the hobby. It's not even the scope and quality of his collection that has impressed me most. The best example is his efforts towards reaching out to Golden Age artists and paying them to do recreations. I've never seen him talk much about this, but to me it is the single most beautiful, in the most literal sense of the word, collection I've ever seen anyone put together. Best of luck with the sale, Jon, and I hope that we'll hear from you from time to time.
  4. On December 21st last year, a registered and insured USPS package was mailed to my address in Las Vegas. The package is now officially lost and subject to an insurance claim. Two of the lost books are easily recognizable, even if they have been removed from the CGC holder: * Walt Disney's Comics and Stories 6, Recil Macon, name written prominently on front cover * Mickey Mouse Magazine Series 1 #4, 1933, exceptionally rare book in any grade that is close to unique in CGC 8.0 There were other CGC graded books in the package (including Mickey Mouse Magazine Series 2 #1, 1933, CGC 9.0), but these two are easiest to remember. My financial loss should be covered by insurance, but I would appreciate if other collectors could watch out for the books in case they were stolen. The USPS lost track of the package at my local post office where it was held while I was out the country. Thanks :).
  5. pooroldman, I have forwarded your message....unfortunately, he/she did not give me their name and they were speaking from memory from over 40 years ago. It appears he/she may not have been a Western employee for long before being bought by Mattel but was responsible to review current and past contracts for compliance. Looking at the timeline for Western's expansion, the Poughkeepsie facility was established in 1934. The deal to establish K.K. Publishing was in 1933 for the Disney related material. My theory is initial demand for MMM could be handled at a single facility. When demand increased, the other facility was necessary to meet production. The reporting requirements to ABC may have created the need to report circulation numbers, in aggregate, but the contract may have required the logo to be added to differentiate facilities. I would bet file copies would be sent from each facility to a central location, some with the logo, and some without. Thanks a lot for the information, rookster, this is news to me. To support pooroldman's observation, the earliest variant issue, I have seen, is also from late V1. What is known from reliable sources is that Hal Horne left after V1#5 despite Kay Kamen and Walt and Roy Disney trying hard to keep him. Further, Horne suffered heavy losses from his involvement in the magazine ($50,000 if I remember correctly?). From my own observations, the paper quality of the next few issues is dramatically lower, making these the most difficult of the entire run to find in collectible condition. What I have been guessing so far is that those issues reflect a period of flux as Kay Kamen may have been trying to salvage the title, eventually leading to some kind of change that resulted in 1. the variant edition and 2. significantly better production quality, from around V1#12. The input from your source would actually fit very nicely with that theory. To me, the most burning question is why Kamen (or perhaps even the Disneys?) chose to continue, and seemingly even invest(?), in a title that seemed doomed for failure with the resignation of Horne. V2 was an explosion of bold initiatives: first (and only) 100 page issue, first color Sunday reprints, several cover layout changes, first covers promoting/leveraging Silly Symphony characters, and so on. I wish more was known about who (Kamen and/or Disney?) and why all this effort was put into a failing magazine at a time when Kamen must have been overloaded and some Disney childrens' books already had reached circulations of several million copies. Clearly, these decisions turned out to be extremely smart and profitable, but they can't have been easy back in those critical months of the summer of 1936. Someone at Disney must have had the foresight to understand the potential of the comic book format.
  6. Thanks, chromium! I misunderstood the article. I have visited both the strip museum 3 times and the Hergé museum twice during my visits in Brussels. Once I figured out how to take the train to Louvain-la-Neuve, it was actually pretty easy and well worth the hour or so that it takes to get there from central Brussels. I very much enjoyed both museums for very different reasons.
  7. Definitely. I would very much welcome a Platinum forum, even if it gets very low traffic. My main motivation is that there is far too much talk about prices and values for my taste in the Gold forum: all those threads have less than zero interest for me and they are the reason I have largely stopped reading the CGC boards. On the other hand, I have a strong impression that platinum collectors generally are far more interested in history. Thus, such a forum would likely be a very convenient filter for the kind of posts that I find interesting. I don't think t it will happen, but at least I wanted to say that you are not alone.
  8. So glad to see my book ended up in a great home! This was one of the original 6 ashcans I purchased from Sol in 1986. That's such a great photo. I remember the ashcan cover from your ads in Overstreet. Great to see that it has found an equally perfect home in a completely reinvented context.
  9. Not to mention Disneyland's anthem. Every time I take my nephews and nieces to Disney World, they keep asking _lots_ of questions about why the movie was banned. They are from Denmark and it is always a great opportunity for a teachable moment about American history and culture.
  10. Amazing book, RHG! One you don't see every day for sure. A low-tech way of eliminating the aliasing is to smoothen/blur the original image before downsizing. That's basically what fancy image processing software does under the hood.
  11. Thank you so much for sharing this. The panel with the punishment of the cook left me somewhere in the range between speechless and sick to my stomach: it's certainly memorable and a real little historical gem.
  12. Through my conversations with Yellow Kid, whom I had the pleasure of visiting again last week, I've come to realize how important a year 1935 was for Disney publications. Hal Horne invested a lot of his own money in the third Mickey Mouse Magazine with the support of Walt and Roy Disney and Kay Kaymen. A very deliberate decision must have been made, most likely to the credit of Kamen, to put more emphasis on and improve the quality of the children's books and magazines. On that background, I've earned new respect for this particular book, the first devoted to a key character, as it coincides with the exact time of a very important new direction that proved to be hugely important for Disney. The 1936 "Donald Duck" is really a handsome volume, and I think the transition between these two books marks a very important historical event. I've never liked the term "key issue" when talking about the history of comics as I see that process mostly as a slow evolution of trial and error iterations. Even books like Action 1 and Detective 27 were far from brilliant strokes of genius that suddenly appeared out of nowhere. In terms of Disney books, however, I think that this book, as part of a sweeping change that is reflected in publications from a brief window of time starting around the summer of 1935, marks a change of an importance that I had not fully appreciated until recently. It's still an evolutionary change, but it is about as close to a revolutionary one as I can think of.
  13. No ads in V1#10 or V2#1 either. I happened to have raw copies of those two available. I can dig up a V1#3 if that ends up being the last one on their list.
  14. Today, I am more optimistic about the future of comic book collecting than I was 10 years ago. Somehow, the ideas that are embedded in the ink printed on that old paper seem to be transcending the gap to the digital generation far better than I had feared. In fact, I think it is fair to say that comic book characters play a more dominating role in popular culture today than literature does. Even more importantly, comic book characters are ideally suited for interactive/immersive digital media and, with the emergence of virtual reality in consumer electronics, we have only scratched the surface of an immense unexplored potential. This trend will continue to raise awareness of the original first appearances of popular characters, not only in the Western world, but across the world where computer games and immersive 3d movies will have a reach that comic books never could compete with. If vintage comic books had been printed on vellum or papyrus, my guess is that there would still continue to be a growing demand for those featuring well known characters. Not because of what they look like or how they were constructed, but because people will want to own rare and desirable items that represent the coolest, most brilliant ideas, anyone has come up with.
  15. That's an interesting contrast to comic books which, by the broader public in the mid 1950s, must have been considered just about the least educational medium available to children.