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  1. At first, I thought that was Arnold Schwarzenegger in disguise.
  2. John - I was one that woke up to a couple of sales this morning so I'm approaching 50% of the items I listed from day 1. Thanks to those that contributed to that. I think I calculated that ~12% of the items in previous CAF sale sold. I actually thought that was pretty good. If you go to a live convention, what % of the original art in the room actually sells? I'd doubt it's higher than 10% as many of the bigger dealers ship home the art they bring. I'd think the sell through % is because of the focus on presenting "fresh" art and because it's coming from both collectors and dealers.
  3. I sold 9 out of 24 pieces today which I thought a good %. I appreciate all the people checking out the booth and hearing from a lot of friends out there. I think part of the secret is pricing - you have to price below what dealers would be asking. It helps to challenge yourself and ask "would I buy this piece if I saw it at this price?" As I'd like to sell more items before the end of the show... I just lowered the prices on almost all of the remaining items from today. Take a look here: And, I'll have 24 more new "lower priced" items tomorrow.
  4. I'll be back for this event under "Chuck Costas' Cherry Blossom Explosion". While last time I was selling some pieces on behalf of Gerhard and Mike Vosburg, this time I'll be doing it solo and pulling 48 pieces out of my collection (a little fall cleaning). For the most part, I'll be selling pieces in the "affordable range" between ($50-$5k) and I'll be pricing the pieces under what I'd expect dealers to be selling them for. Look for some vintage G.I. Joe, Transformers, Punisher, Cerebus, Tick, Stig's Inferno, and Fish Police. I'll also have some cool pieces by Gibbons, Bolland, Trimpe, Romita Sr., John Buscema, and Zeck (of course). On the less expensive side, I'll have some animation drawings and cels - Simpsons, He-Man, and Crest vs. Cavity Creeps! Check out what I have Saturday and Sunday (I'll be swapping everything out from one day to the next)! And, I'm always open to talking if you don't like the price or need some time for time payments.
  5. It was similar to the Monster Manual, Deities & Demigods, and Field Folio books that TSR was publishing at the time. Maybe that's why I liked it at the time.
  6. Yep - That was pretty much how Zeck and Beatty spent the money from those covers. But, $50 was for the better covers! Some were only $40! When Jim Warden took over as his art rep, the price went up to $75 for most covers. That was around 1987-88.
  7. I agree with Mike's comments that it's likely the art was mounted on a new board. If you look at the position of the Punisher's boot, it's too close to the bottom margin of the board. Even with the printed comic, there was more space below it. To compare, you can see how the B&W art was presented in the Marvel Essentials book. That's the amount of space I'd expect to see with the original. Also, when I compare it to the Essentials book image, I notice more if the buildings can be seen in the Essentials book vs. the original art. Thad seems odd. My guess is that the stats are replacement as well - a very good job, but there are some slight differences when you look close. For comparison, I've also included a pic of Kane's original prelim for this cover (currently on display at the Marvel: Universe of Super Heroes exhibit in Michigan) - you can see that he had already worked out the final positioning of the Punisher before he penciled the final version, so theoretically this should all be on one board. It's possible Romita simply inked the Punisher figure on vellum or another piece of paper and that's what's been pasted down on the board on which the final Spidey image was drawn. Remember, the Punisher figure was used for ads and advertising so it could have made sense to draw it separately. If the art board was "newly created" then it's possible the restorer added the aging effect to blend the piece and make it look more vintage. I have seen that done before (unfortunately). Hopefully, all this will be disclosed when the high-res pics of the piece are released and the description is written up. Since Kane and Romita's signatures are both on the piece, any work to this likely piece was done prior to 2000 when Kane passed away. If there were restorer notes, that would be helpful as I know the key restorers from the 1980's/90's used to provide those back in the early days of comic book restoration. A great piece... wish it would get added to my Punisher collection, but unfortunately, not if it goes near the talked about price.
  8. Yes, I remember at this time that there were dealers asking $60-$200 for Albedo #2. At the time, 3rd printings of Albedo #0 were selling for $25-$35 soon after they were released at SDCC. I think many dealers knew that Albedo #2 would be hot when the B&W market took off, but years later, I still found a copy for $5 in a long box, so not everyone knew.
  9. Whatever your feelings on Dave, don't forget his partner till the end of the series, Gerhard. Anyone that's met Gerhard I think would agree 1) he's super talented and 2) he's one of the nicest creators out there to interact with. Humble and generous.
  10. Mike Zeck explained it to me this way... The Limited Series was always planned to be five issues. But, up until they did the Punisher Limited Series, Marvel had only published four issues in a Limited Series so whoever added the type to issue one labeled it as #1 of 4. Mike caught the mistake after the first issue and they corrected it with the 2nd issue (which is labeled a Five Issue Limited Series). But again with issue #3, someone in the offices made the same mistake as they did with the first issue. Mike decided not to say anything this time so the mistake was made again with issue #4. Luckily Marvel finally figured it out again with issue #5. One of the big goofs at Marvel in the 80's.
  11. Herb Trimpe - At first, I saw his style as a Kirby imitator, but over time, learned to appreciate him as one of the definitive artists on Hulk (similar to Romita on Spider-man) and G.I. Joe. Herb was also one of the few comic artists able to change his style as needed. His work on Savage Tales was super-detailed and gorgeous and contrasted the blocky style we were used to seeing from him. He even learned to draw in a "Liefeld" style toward the end of career at Marvel as that was the popular style of the time. Also, as I got to know Herb as a friend, I learned to love him as a person... a true great and humble person.
  12. My point was that there is a color variation that you'll notice on the #4's. Some are more blue and some are more purple. The "blue" ones are a little clearer and closer to the original artwork. In this day and age of "variants," I didn't know if people were starting to differentiate between the two. The "blue" ones are a bit rarer and you typically see those more with the newsstand versions vs. direct sales versions.
  13. Are you considering the blue vs. purple colors on Punisher #4 a variant?
  14. Phil Churchill or Rich Donnelly could likely give some insights here on which pages were worked on by Cockrum. I see it in Colossus' face on this splash. Perhaps on Nightcrawler as well. But, not so much on most of the pages from this issue. But, many times you see these pages listed as "Cockrum" pages. Not saying that Heritage is representing it that way here. It's true that he did assist with this issue, but it doesn't specifically say he worked on the page being sold. It leaves it to the buyer to assume.