Original Art We've Never Seen And Never Will
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It makes sense that we may only view the top of the iceberg when it comes to Original Comic Art. 

I'm considering about the rare, historical, A-grade pieces out there that are deliberately hidden by their owners, or pieces which still exist somewhere unseen. 

Some pieces we will only ever have one glimpse at - Fresh to auction and then they dissapear forever. Prime example number one, is the famous page from Batman #1 sold at Guernsey's auction house in 1986. Hasn't been seen since. 

Even pieces we assume are long gone - We have little evidence to suggest they really have been destroyed. You could fit the entire original art to Action Comics #1 in a draw. The world's a big place - with a lot of draws. 

And the scariest thing about this, is we will never know if this stuff is out there somewhere. 


Does that scare anybody else?

What are your views?

Edited by Collectr
Added: What are your views?

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11 minutes ago, tth2 said:

Things that scare me:

1.  Something bad happens to a loved one

2.  Something bad happens to me

.

.

7,386,274.  Never knowing if some original art is out there

That's approximately where I fall as well ;)

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Perhaps I should rephrase this thread... Does anybody CARE that there could be all kinds of grail art that we may never see?

 

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1 hour ago, Collectr said:

Perhaps I should rephrase this thread... Does anybody CARE that there could be all kinds of grail art that we may never see?

 

Oh sure I care- it would be cool to see lots of pieces emerge. Like the other guys basically said, life goes on if it doesn't pop up. There have to be dozens of pages out there that I know exist- and will never own- and I'm totally fine with that.

But as far as stuff I would love to own that likely doesn't even exist- while there are countless pages from Cinfa's Flash #112-153 out there in the wild (basically the issues Schwartz sent to readers), there seems to be very little from #154-174. Think I've seen maybe a dozen or so pages from that 19 issue run (two of those 21 books were 80 page giants). Probably a lot of that was destroyed. There are a couple of key issues in there that I'd love a solid example from.

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I don’t care that much at this point of my collecting life, but as a Neal Adams collector, it bugged me that I never saw or heard of the availability of ANY pages from X-men #56 or Green Lantern/Green Arrow #86. It’s like they were all wiped off the face of the earth.

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Fantastic Four # 1 and # 2 - covers and interiors...I could go on...and on...and on...

Edited by pemart1966

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:idea:

You can always buy the Trade PaperBack and look at the art.

 

I'm still having trouble finding the time to see all the exhibits at the Metropolitan Museum of Art in NYC, let alone the art they have stashed away.

 

 

 

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Great thread!

Things that scare me . . .

1. Zanti Misfits.

2.  Guy 'Mad Dog' Verhofstadt.

3.  Pete Burns.

flat-zanti.jpg

guy_verhofstadt.jpg

peteburns2.jpg

Edited by The Voord

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23 minutes ago, The Voord said:

Great thread!

Things that scare me . . .

1. Zanti Misfits.

2.  Guy 'Mad Dog' Verhofstadt.

3.  Pete Burns.

 

 

 

After new research, I have to say I agree.

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The analogy I think of is with silent film.  The nitrate film that they used back in the day was highly combustible, for this and other reasons most silent films are lost.  "Dawson City: Frozen Time" is a very good documentary about a stash of films that was discovered in the Yukon (used as land fill for a swimming pool!).  Many silent films only survive from this find, recognizable by their water damage.  The other films that were part of the same movie theater inventory were deliberately burned or thrown in the river, people didn't want to store them any more.

The analogy with OA is stories broken up and pages scattered.  Buried in people's collections, who may not even know what they have.  No doubt some of it stuck on shelves in garages or in attics, discarded when the owner passes away.

Imagine if all we had left of classic EC art was the tired old original comics.  Much survived because Gaines kept it together, but that will be scattered as well as the people who got it cheap in the eighties liquidate their holdings.  I'd like to think the best stories will be preserved intact, but when I hear that the recent buyer of Master Race only heard of it a year ago, I am not optimistic.

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3 minutes ago, Taylor G said:

The analogy with OA is stories broken up and pages scattered.  Buried in people's collections, who may not even know what they have.  No doubt some of it stuck on shelves in garages or in attics, discarded when the owner passes away.

Imagine if all we had left of classic EC art was the tired old original comics.  Much survived because Gaines kept it together, but that will be scattered as well as the people who got it cheap in the eighties liquidate their holdings.  I'd like to think the best stories will be preserved intact, but when I hear that the recent buyer of Master Race only heard of it a year ago, I am not optimistic.

That's a fun analogy to play with, that aside I think disbursement may be better than concentration. Concentrated, whether in Walt Simonson's closet or the Louvre, means that one earthquake or other natural disaster can wipe out a major chunk of cultural artifacts. These days it's really popular for artists (and some collectors) to donate the stuff we love to the Billy Ireland. All good, as long as the good fortune of Columbus, OH isn't violated. As we all know it takes just one...and then it's a matter of what their budget for precautions is and how closely those are actually adhered to by staff.

Me, I'd rather see most major works/hoards broken up at least four ways (so a 22 page story exists in no less than 5 collections) and not all living in the same state or even country. At least that way, it's likely that time and other things maybe destroy one or two stashes but not all four, or whatever number you chose that's greater than 1 or even 2. Maybe the best thing in the world for Frank Miller fans is that because his work is so valuable his major 1980s works (DD, Wolverine LS, DKR, Ronin) are thus mightily scattered too.

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4 hours ago, Taylor G said:

The analogy I think of is with silent film.  The nitrate film that they used back in the day was highly combustible, for this and other reasons most silent films are lost.  "Dawson City: Frozen Time" is a very good documentary about a stash of films that was discovered in the Yukon (used as land fill for a swimming pool!).  Many silent films only survive from this find, recognizable by their water damage.  The other films that were part of the same movie theater inventory were deliberately burned or thrown in the river, people didn't want to store them any more.

The analogy with OA is stories broken up and pages scattered.  Buried in people's collections, who may not even know what they have.  No doubt some of it stuck on shelves in garages or in attics, discarded when the owner passes away.

Imagine if all we had left of classic EC art was the tired old original comics.  Much survived because Gaines kept it together, but that will be scattered as well as the people who got it cheap in the eighties liquidate their holdings.  I'd like to think the best stories will be preserved intact, but when I hear that the recent buyer of Master Race only heard of it a year ago, I am not optimistic.

Golden Age art was cut up (DC and others) thrown away or used as wall insulation (one story I have heard). It was considered production art

 

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The OA Cabal will only let you see what they want you to see !!!

:whatthe:

 

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all the art that was lost in the flooded basement of Robert Beerbohm's shop in the 80's : stack of art measured in feet- completely ruined and tossed away.

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58 minutes ago, MYNAMEISLEGION said:

all the art that was lost in the flooded basement of Robert Beerbohm's shop in the 80's : stack of art measured in feet- completely ruined and tossed away.

A lot of art has been lost to flood and fire, the worst of them like Beerbohm (I'm forgetting so many names, swiss-cheese memory) that EC collecting musician and Bill Pearon. And of course the massive loss to (again forgetting name) that CT publisher's stash of decades of art. Concentration/hoards = not good.

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