Michael Browning

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About Michael Browning

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  1. In the case of the Wrightson IDW edition, I submitted a Swamp Thing page and was credited in the book for it and received a comp copy, but strangely enough they used a far lesser page in place of mine (and mine was the key first appearance of M’Nagalah half-splash).
  2. I had the EXACT same problem with the MM IDW edition. EXACT. No credit and no comp copy. I refused to buy a copy and traded off the MM art.
  3. Every single topic on this forum should just be called “It’s All Because Of Shill Bidding” since that’s all every single thread turns into when Rick starts replying. I just get so tired of having this dead horse beaten in EVERY SINGLE ORIGINAL ART THREAD. EVERY. SINGLE. THREAD. We get it: Rick knows for a fact that shill bidding goes on in every auction and therefore none of us should buy any original art because the price is either driven up artificially or driven down artificially and nothing is ever real. Everything wrong in the world is all because someone, somewhere is shill bidding
  4. Scans have to be at least 600dpi color TIFFs, which are HUGE scans. The scans on CAF aren't even close enough to that resolution to use in a book.
  5. The truth of the matter is that many dealers are facing the hard fact that selling at auction has become more attractive because of higher prices realized than if they sell to a dealer at a percentage of the retail value - or consignment through which they also lose a considerable percentage and don’t get the buying audience of an auction. I’m seeing more and more dealers who used to NOT buy/sell anything past 1979 are bowing selling convention sketches, 1980s and 1990s art and modern-day art, which is very telling. One dealer told me he just never gets Bronze Age art anymore, so he prices up
  6. In Rick’s world, everything boils down to shilling. 🤦‍♂️
  7. Most comic art collectors I know help with these artist editions because they want to see them published, want to be of assistance, have an existing friendship with someone at the publishing house or to see their name in a published book. I don’t know a single contributor who ever wants payment for their scan (other than reimbursement for high-dollar scans) - as in getting a cut of the profits-type payday. Yes, these companies make money from these books. They’re expensive to produce, but they do make a lot of money, especially when they go into multiple printings and then get releas
  8. Marvel credited me in the Miracleman Book 3: Olympus hardcover reprint when I supplied art for the extras section. However, a few years ago, Steranko drew an amazing Captain America commission for me and when it came time for Cap's 75th anniversary, I reached out to Tom Brevoort and asked him if Marvel would be interested in using my Steranko commission as a variant cover. Tom said they would, but Steranko would have to give approval and he and Marvel weren't speaking at the time, but if I could get him to agree, they would publish it as a variant cover. I asked Jim and he was gracious an
  9. The artist editions aren't published by DC, so it's easier to get listed in the "Thank You" credits and much easier to get a comp copy for the work and expense. DC now has a policy that they don't credit anyone who supplies art scans, so I guess they are just depending on the goodwill of collectors.
  10. The Tony Salmons original art for basic character pages of Dakota North - without her on them - have sold for upwards of $500 each. That art is not considered bad at all and it’s in very high demand because the series is now a cult classic and there’s a rabid fan base for her original series (thankfully, I’m not part of that group). I’ve been shocked at how little comic art Salmons drew and it wasn’t like he drew long runs of anything like Miller drawing Daredevil or Simonson on Thor, but Salmon pages sell really high.
  11. I provided around 20 scans to DC for the Doom Patrol Bronze Age Omnibus, including the cover to #1 which cost me nearly $100 to have scanned, and the editor promised me that I'd get my name in the book and a copy of the book, plus $100 and reimbursement for my scans -- and I never received a thing. I did write to DC later and told the editor about the promises and another editor answered the email and said the guy who'd made the promises didn't work there anymore. He did end up sending me a comp copy of the book. They also were going to use a Frank Miller Dark Knight piece of art that I have f
  12. I have the only page from Slimer - and it’s from #1 - that I’ve ever found and I just got it recently. Art by Jorge Pacheco.
  13. As popular as Ghostbusters is and the growing interest in the comic, what is surprising to me is how little of the original art from the comic series there is to be found. There are a lot of cels and a few pages of original art that I know one collector has, and a couple of the painted covers from Real Ghostbusters and Slimer, but the art from this series and Slimer is either hidden away in a black hole collection or still with the artists. And, I rarely ever find The Real Ghostbusters issues in the wild. In all my years of buying comics, I think I've run upon one copy in a comic shop and
  14. I have never understood why the Xizor first comic appearance doesn't go for more, but all these speculation characters are selling high.
  15. Do you know for a fact that they pay Zahn a royalty fee? If so, please give us some links to where this information is. Here are the facts of the matter: They do not have to pay any licensing fee to anyone to use their own characters, though. They own their characters completely. They may pay him a royalty for any additional books they sell that he wrote, but I can almost guarantee they don’t have to ask his permission. All of those stories were written as work-for-hire like everything Lucasfilm and Disney do.