Krigstein's 8-page "Master Race" OA at Heritage. How Much? 0

[ESeffinga]

6 hours ago, jjonahjameson11 said:

Me, I’d rather have a nice McSpidey cover for that kinda dough. ?

[jjonahjameson11]

27 minutes ago, ESeffinga said:

Yup.  McFarlane > Krigstein.  Always and forever!

[mtlevy1]

Nice thread - the provided links to the article are excellent reading and should help educate those willing to invest 15 minutes.

For those that are hopeful that the object of our obsession will be regarded as art - this is a litmus test for the very reasons that folks feel may keep the price down - this story has no recurring characters and by an artist that did not create any recurring characters (of which I am aware).  This story is about the art form.

The price is hard to predict, as always if 2 buyers want this the sky is the limit - this is a case where I don't think there is another piece that scratches the same itch.  If you want a 1960s Kirby FF cover with Silver Surfer and the FF there are a few - If you want a Frazetta Famous Funnies cover, there are a few...but there is only one Master Race.  I suppose Trimpe Hulk 180 page is one of a kind at $650k...but actually Hulk 181 cover would be nicer.

This story could sell for over $1M...although this would be a great opportunity for collusion as this story belongs in a museum.

So, as much as I want a page from this story, I'm rooting for this to kill, stay complete and go on display.

Mark

P.S. I do own two much less famous Krigsteins

[zhamlau]

I would imagine now that the Lucas Museum is now happening they will be serious players for this. For a man worth 2 billion dollars who loves illustration art especially EC who just HAPPENS to own a museum...this will be a no brainer acquisition.

[PhilipB2k17]

7 hours ago, zhamlau said:

I would imagine now that the Lucas Museum is now happening they will be serious players for this. For a man worth 2 billion dollars who loves illustration art especially EC who just HAPPENS to own a museum...this will be a no brainer acquisition.

Which may be exactly why the Donnellys decided now was the time to put this up for auction. 

Edited October 2, 2018 by PhilipB2k17

[The Voord]

56 minutes ago, PhilipB2k17 said:

Which may be exactly why the Donnellys decided now was the time to put this up for auction. 

Is this your latest conspiracy-theory?

[Timely]

What's the highest cash price a story has ever sold for?

[fenip]

Exhibit at Dossin Kazerne in Belgium

https://www.kazernedossin.eu/EN/

Cover of Impact 1 (Jack Davis) (collection James Halperin form Heritage)

[delekkerste]

2 hours ago, fenip said:

Exhibit at Dossin Kazerne in Belgium

https://www.kazernedossin.eu/EN/

Cover of Impact 1 (Jack Davis) (collection James Halperin from Heritage)

Halperin owns the cover?  Guess we know who will be either the winner or the underbidder, then.  

Let the punishment bidding commence!!  

Edited October 3, 2018 by delekkerste

[JadeGiant]

3 hours ago, delekkerste said:

 

19 hours ago, PhilipB2k17 said:

Which may be exactly why the Donnellys decided now was the time to put this up for auction. 

3 hours ago, delekkerste said:

 

Let the punishment bidding commence!!  

My thoughts exactly

[Bronty]

On 10/3/2018 at 8:04 AM, delekkerste said:

Halperin owns the cover?  Guess we know who will be either the winner or the underbidder, then.  

 

I was thinking the same thing

except for the part about being the underbidder!

[Timely]

5 hours ago, Bronty said:

I was thinking the same thing

except for the part about being the underbidder!

If Lucas REALLY  wants this for his museum, Helperin doesn't stand a chance. I'm sure Lucas earns more interest on his money in one day than most people make all year! 

[Bronty]

I don't know their connection, but presume with Jim being the head of the #1 seller of the kind of material Lucas likes... and Lucas being the #1 buyer... they must have a close enough relationship to say "hey, lay off this one?"   Just speculating.

[buyatari]

Born in the 70s I read mostly Marvel comics from the 80s and 90s. Never read or heard of this story before. 

Buying and selling a bit of comic art I couldn’t help but see an occasional piece of EC artwork time and again and I’d wonder about these stories.

Perhaps It is time to pick up a few graphic novels. 

 

 

 

[vodou]

2 hours ago, Bronty said:

I don't know their connection, but presume with Jim being the head of the #1 seller of the kind of material Lucas likes... and Lucas being the #1 buyer... they must have a close enough relationship to say "hey, lay off this one?"   Just speculating.

I'm sure Jim is well aware of how damaging anything of that sort would be to the reputation of his company, where is where he wins his daily bread. So...there's no way this thing doesn't get a proper number (plus/minus 10% of consensus fmv) and either Lucas, Jim, and/or both are top underbidder/s. It's always possible a third party could come out on top. But my strongest feeling is we see this hanging in the Lucas with a small tag identifying it as a long term loan from The Jim Collection That way everybody wins, including HA rep, and the consignor gets what they should too.

Edited October 5, 2018 by vodou
clarity

[The Voord]

1 hour ago, buyatari said:

Born in the 70s I read mostly Marvel comics from the 80s and 90s. Never read or heard of this story before. 

Buying and selling a bit of comic art I couldn’t help but see an occasional piece of EC artwork time and again and I’d wonder about these stories.

Perhaps It is time to pick up a few graphic novels. 

 

 

 

They're not graphic novels.  EC published anthology titles, the bulk of which contained four complete stories per book.  

[buyatari]

1 minute ago, The Voord said:

They're not graphic novels.  EC published anthology titles, the bulk of which contained four complete stories per book.  

Today if I purchase a collection of these stories is it not called a graphic novel?

Amazon has it listed as one.  This is what I am talking about. I’m not planning on tracking down the original comics. 

https://www.amazon.com/Master-Race-Other-Stories-Krigstein/dp/1683960947

[The Voord]

41 minutes ago, buyatari said:

Today if I purchase a collection of these stories is it not called a graphic novel?

Amazon has it listed as one.  This is what I am talking about. I’m not planning on tracking down the original comics. 

https://www.amazon.com/Master-Race-Other-Stories-Krigstein/dp/1683960947

The word "novel" normally refers to a long fictional work.  A novel is a relatively long work of narrative fiction, normally in prose, which is typically published as a book..I'd lean more toward classing the book provided in your link as being a collection of short (self-contained) stories.  Maybe the true definition has been relaxed . . . especially for Amazon?

[Panelfan1]

So I was redirected here via the Felix podcast  thread.  I read all 4 pages - no one has explained what is so important about this story.  Famous people like it. So what? If anyone truly understands WHY this is significant - I really want to know.  I read it and liked it - but don't feel much about it. As I said in the other thread. Feels a lot like an Eisner story. I like Eisner - but again - people are making a big deal about this one and I just don't get why.  The art is good but not much better than other art of it's time. The story discusses the horrors of ww2 - but is that the reason people think its important?

Feel free to explain if you know the reason.  

Edited October 25, 2018 by Panelfan1

[aokartman]

This...from Vulture.com...

It wasn’t the bold story that made “Master Race” so revolutionary — although the Holocaust was only ten years in the past and rarely spoken of. It was how Krigstein told the tale, using repeated panels, fractured images and expressionist anatomy to capture Reissman’s panic and dark deeds, and to break down time into fragmented, strobe-light-esque instants. Although today these devices are established comics vocabulary, they were utterly revolutionary in their time and inspired countless artists who came after to experiment with their own storytelling. Or as Spiegelman put it in the New Yorker, “Krigstein began to vibrate with the inner language of comics, to understand that its essence lay in the ‘breakdowns,’ the box-to-box exposition that breaks moments of time down into spatial units.” Krigstein never drew another story with the impact of this one, but he didn’t need to.