ATKokmen

FWIW, I have a Young All-Stars page that shows Tigress lurking around Yankee Stadium:

To nitpick, Camelot 3000's same-sex romance story was not between Lancelot/Guinevere but rather Sir Tristan, who had been reincarnated as a woman, and Isolde, who had also been reincarnated in the year 3000. Tristan's characterization and story arc resonate not only with same-sex-romance issues, but also transgender ones, which today's world may be more conscious of than back when Barr wrote it originally. Still, if Camelot 3000 was ever made into a movie today, I think there's a way to elegantly work with those themes. As I said, I'd be hugely impressed if Warner makes a movie of C3000, 'cuz I love the story so much.

I think you're right about that. And it was one of the first (if not the first) series DC sold only in the then-nascent comic-book-store direct market. And, in those pre-Vertigo days, it was one of the first series DC did that was explicitly not-for-children (though it's been said that C3000's kind of "mature readers" was less about sophisticated storytelling nuanced for adult audiences and more about typical comic book storytelling, but with nudity and violence.) Still, I love Camelot 3000 immensely, and even have an interior page in my own collection. If Warner Bros. ever really wanted to impress me, they'd find a way to make a movie about this Arthurian space opera instead of another run at Batman...

The top piece seems to be a page from Warp Special #1, published by First Comics in 1983, with Howard Chaykin pencils. The GCD notes the colorist as George Freeman, tho' the signature on your guide here suggests Bruce Patterson. The bottom piece seems to be from the first issue of the First Comics run of E-Man also in 1983, art by Joe Staton with colors by Bruce Patterson.

I'm not much of a comic strip collector, but I do have a 1955 Fritzi Ritz piece in the collection:

Another thing I'd note is that NYCC's convention center is generally further away from other venues hosting convention-related events than San Diego's. (The San Diego Convention Center is in the city's downtown; New York's Javits Center is in nigh-edge-of-nowhere-Western-Manhattan.) If you plan to take in an event outside Javits itself, factor in a a realistic amount of time to get to and fro.

If you're content with just seeing original art, even if purchasing isn't an option, the Society of Illustrators is currently running an exhibit of a lot of awesome Batman original artwork. Might be worth a look...and make you wish you could afford it even if were for sale...

That one caught my eye as well. On the one hand, yeah, there's not a whole lot of art on that art page. (From a certain point-of-view, that is...) On the other hand, it really is a wonderful moment in the story (one of my faves, at least.) If I had crazy money to spend, yeah, I can see going for this. And if a few people felt the same way, I can see how this one got bid up.

I'm a fan of Dillin's work--particularly his later JLA stuff--and have a few of his pieces in my collection. He may not be my all time favorite artist, but one I definitely appreciate. For me, part of it is admittedly the nostalgia factor--he was the artist of some of my favorite JLA stories of all time. If we all look at some work with rose-colored glasses, Dillin is definitely one of those for me. Another part is that I genuinely appreciate how he organized his panels and pages. Team books are a huge challenge that way--lots of characters to include, make identifiable, and make interesting--and I do think Dillin--especially his later work--managed those aspects well. He could crowd a dozen characters into a page or a panel and generally managed to make 'em interesting comics reading. Maybe not ground-breaking, but generally interesting. (I like Schaffenburger, too, but I think he has a different energy than Dillin did...) I understand why he's not everyone's cup of tea, but I do appreciate the skills he did bring to bear. I also remember reading in the JLA lettercolumn when I was a kid that he had died unexpectedly. It was a very specific moment in my young comics-reading where I became really, truly aware that there were actual people writing and drawing and creating these superhero fantasy stories, and that surely has something to do with my lasting admiration of his work. Not sure that I've noticed more Dillin pages coming to market, but I have noticed prices (asking prices, at least) creeping up on Dillin pages, so it seems more collectors are coming to his work of late...

"Defenders of Dynatron City" was a Nintendo game from the early 1990s. Marvel did six issues of a comic book adaptation of it, so I imagine the two pages marked with that name were from that series. I'm going to guess that the third page marked "Scarlet Witch Limited Series" is from the 1994 miniseries featuring that character. Seems to be from the third issue--Agatha Harkness, who's the main figure shown in your page, appeared in that series and issue. Wouldn't presume to make a guess as to value, except to say that as a media property Defenders of Dynatron City is pretty obscure (as an understatement.) Scarlet Witch is, obviously a more popular character, but your page doesn't feature the main character and this particular series, I think fair to say, doesn't mark the high point in Scarlet's history... One thing I notice is that according to the Grand Comic Database, it's Mark McKenna that's credited as the inker of these comics. Various bios and interviews out there talk about how Gray worked as an assistant or background assistant to McKenna at the time. So it's a bit interesting to have these pages signed by him, even if the inker "of record" was someone else, but, again, wouldn't presume to think how that might affect value.

New Yorker cover illustrations are the first thing that came to my mind. It's featured so many iconic cover images over the years, perhaps increasingly so since Françoise Mouly became the art editor in the early 1990s.