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Fantastic Four headline Jasper52 comic book sale Oct. 10-11

Jasper52 will present a pantheon of superheroes in a two-day online auction of rare comic books on Saturday and Sunday, Oct. 10-11. Fans of the Fantastic Four will have the opportunity to fill holes in their run of this landmark Marvel comic book on Day 2 as all 170 lots are devoted to “The World’s Greatest Comic Magazine” title.

Fantastic Four #3, the first time in costume, first appearance of Miracle Man, VG. Jasper52 image

View the auction here.

Learn more about the auction on Auction Central News.

#1 issues showcased in no-reserve comics auction Sept. 20

Among the scare titles entered in a no-reserve online comic book auction that will be conducted by Jasper52 on Sunday, Sept. 20, are a handful of #1 issues – the key to every collection. The prized #1 issue often has the highest value of any series. And, in a no-reserve auction, the highest bidder wins the item, no matter the price.

Ms. Marvel #1, VG-. Jasper52 image

View the auction here.

Learn more about the auction on Auction Central News.

Jasper52 presents classic comic book auction Aug. 9

Superheroes and arch-villains abound in a no-holds-barred comic book auction that will be conducted on Sunday, Aug. 9, by Jasper52. This no-reserve online auction of 273 vintage comic books features several #1 issues and a few first appearances by notable characters.

View the auction here.

Learn more about the auction on Auction Central News.

Underground comix, posters costar in online auction April 1

Some of the finest underground comix ever created by the likes of Robert Crumb, Rick Griffin, Spain Rodriguez, S. Clay Wilson, Gilbert Shelton and Victor Moscoso lead off a Jasper52 online auction on Wednesday, April 1. The rare comic books will be followed by a collection of psychedelic rock posters from the Fillmore, Avalon and other concert venues.

Underground comic book, ‘Air Pirates Funnies #1,’ dealer-punched at the top left. Estimate: $300-$1,000. Jasper52 image

View the auction here.

Learn more about the auction on Auction Central News.

Superheroes will prevail in online auction March 14

Jasper52 will sell more than 300 lots of superhero comic books – no Sad Sacks or Archies – in a no-reserve online auction on Sunday, March 14. Many of the titles are Silver Age comic books from the 1960s. Popular characters from both DC and Marvel are represented. Because this is a no-reserve auction, each lot will sell to the high bidder, no matter how low the winning bid may be.

Action Comics #335. Jasper52 image

View the auction here.

Learn more about the auction on Auction Central News.

Zap Comix subverts the comic genre

NEW YORK – Comic books have long fulfilled many needs from young children learning to read to adults seeking entertainment or escapism. Created for adult tastes, underground comics have all the appeal of their more straitlaced counterparts but set out to be revolutionary. With titillating covers and subversive topics, the most sought-after of these were Zap Comix, which proclaimed from its first issue that it was breaking new ground, printing on the cover “For Adult Intellectuals Only.”

Underground comics sprang from the youth counterculture movement in the late 1960s and while Zap Comix was not the first, it is well known. Its name (comix vs. comics) is not merely phonetic but spoke to the co-mixing of comics with raunchy art, dirty jokes and provocative storylines.

The first printing of ‘Zap Comix #1,’ 1968 (Charles Plymell edition, was written and illustrated entirely by Robert Crumb. It introduced characters like Mr. Natural. Photo courtesy of ThirdMindBooks.com

Alex Winter, president of Hakes’s Auctions in York, Pennsylvania, said the underground comics world embraced the counterculture movement of the time and reveled in all things subversive. “No topic was off limits from political views to drug culture to the sexual revolution and all points in-between,” he said. “While the comic book world was not without controversy over the years, what was printed in the pages of the underground comics was like nothing that had come before it. It set the stage for what would follow in the coming decades as far as taking content and subject matter to new limits and further shaking up the establishment.”

The second issue continues political incorrectness and provocation. That this is a first printing is evident in the use of heavy paper stock in the covers. Photo courtesy of ThirdMindBooks.com

Arthur S. Nusbaum, founder of Third Mind Books in Ann Arbor, Mich., said one must first consider the emergence of underground in the wake of their countercultural predecessors – the writers of the Beat Generation – and in the heady milieu of late 1960s San Francisco in which Zap Comix first appeared. “By the late 1950s, New York City was not the only countercultural hotbed for literary or artistic insurgency then flowered or blooming,” he said.

In 1963, poet-publisher-printer Charles Plymell was based in San Francisco with Neal Cassady, known to most as the muse or “hero” famously depicted in Jack Kerouac’s On the Road, according to Nusbaum. Plymell’s peer group comprised Beat Generation luminaries like

Allen Ginsberg, and being a printer/publisher afforded him unfettered access to a large group of like-minded poets, activists and intellectuals.

Shown here is original artwork by Victor Moscoso for the wraparound cover of ‘Zap Comix #4,’ which was published in late 1969, leading to drawn-out obscenity trial in New York City. Photo courtesy of Heritage Auctions and LiveAuctioneers

Arguably the most controversial – and most well-known – of all the underground comics artists was Robert Dennis Crumb, who shared his story in volume V of The Complete Zap Comix (Fantagrafics Books Inc., 2014), explaining he drew one issue in October 1967 and one in November. “Don Donahue, publisher of Apex Novelties, saw the original art for Zap and really liked it. Donahue knew Charles Plymell, an old hipster poet who had a small offset printing press,” Crumb was quoted as saying, adding that Donahue funded Zap’s first printing in early 1968 by trading his $300 tape recorder to Plymell. “Plymell was the printer of the early runs of the most-important issue of Zap Comix, Zap Comix No. 1, and Crumb did write and ‘draw’ the entire issue himself,” Nusbaum said.

Robert Crumb’s cover for ‘Zap Comics #8’ demonstrates Crumb’s talent for portraying himself as a comic character. In this original artwork, the art is drawn in ink on sketchbook paper. Photo courtesy of Heritage Auctions and LiveAuctioneers

What makes one issue more valuable than another? Just like other comics and printed matter, first and foremost are printings and condition. Most sought after are first printings in high grade of key issues, Winter explained. “Many Underground titles saw multiple printings and some are not so obvious but there is now a wealth of information on the subject, so it is key to make sure of the printing you have or are searching for,” he said. “Robert Crumb is certainly the most recognized name in underground comis, and the most collected, but there are so many legendary names that were a part of that movement and command just as much attention such as Gilbert Shelton, Robert Williams, S. Clay Wilson and Spain Rodriquez just to name a few.”

Nusbaum echoed his comments, saying, “Early issues of Zap don’t necessarily have value because they just contain Crumb ‘artwork’ and Crumb actually isn’t even the best artist of those that contributed to Zap as it went along. His contemporaries, including the great Robert Williams, were far better artists than Crumb ever was,” he said. “What Crumb did was combine the countercultural sentiments of the Psychedelic Revolution – namely a prescription to the psychological beneficence of psychedelic drugs on one’s worldview – the literary angle of the Beat Generation (as exemplified by this partnership with Plymell) – and the sexual revolution that went part-and-parcel with both of those.”

The complete boxed set of ‘Zap Comix’ in five volumes packed in the original cardboard shipping carton includes every issue, even a 17th unpublished issue. Photo courtesy of Hake’s Auctions.

The legacy of Zap Comix is widespread and echoes today. “Zap is fun, educational and historically important because it’s virtually the first time the counterculture began to laugh at itself in order to learn from itself. It’s the counterculture, commenting on the counterculture,” Nusbaum said.

A product of its time and place in the birthplace of counterculture, San Francisco, Zap Comix influenced artists worldwide, changed how comics are created (graphic novels might not otherwise exist today) and they continue to inspire nonconformists and enthrall collectors today.

Felix the Cat: A century of smiles in comics, toys

NEW YORK – Felix the Cat is not only a pop culture icon but he was television’s first star. Today, with thousands of toys and comic books bearing his likeness, often depicting his famous walk, he remains a hot collectible. Head down, lost in thought, walking with his hands behind his back, the plucky Felix stole the scene in hundreds of movies and comic strips.

Back in 1919, Felix got his start in a New York City animation studio with a Felix prototype named Master Tom, making his film debut in the short, Feline Follies. By his third movie released later that year, he took on a new name, Felix the Cat, which would soon become famous.

Among highly desirable and rare Felix the Cat toys is this large windup Frolic platform toy by J. Chein, one of four known, that achieved $35,000 + buyer’s premium in September 2017. Photo courtesy of Morphy Auctions and LiveAuctioneers

The name reportedly comes from the Latin word for happy (felix) and is similar to the cat term, feline. Both New Jersey cartoonist/animator Otto Messmer and Australian cartoonist/filmmaker Pat Sullivan (whose name appears in the credits for Feline Follies) have both claimed credit for Felix’s creation.

In 1928, Felix became a TV star when NBC/RCA was testing television transmissions and chose a Felix the Cat figure to use as it could sustain the heat of the TV lights and the contrast of its black and white coloring would reproduce well. By this time, Felix was already a household name as a Felix the Cat comic strip was syndicated, first in England and then in America, in 1923. He was so popular that his likeness appeared on U.S. Navy fighter planes during World War II, chosen as a mascot of sorts for his “never give up” attitude.

A Felix the Cat litho tin windup scooter in original box, made by J. Chein, earned $2,500 + buyer’s premium in May 2015. Photo courtesy of Bertoia Auctions and LiveAuctioneers

Felix’s look is striking in its simplistic elegance. His jet-black body stands in sharp contrast against the whitest whites of his eyes and his figure is basically composed of circles (from his eyes to his nose and head), which likely made it easy for different animators to draw him without much stylistic differences.

Felix was first syndicated as a comic strip in England and was beloved there, where many Felix collectibles and dolls were made. “In that country, a popular song was composed called Felix Kept On Walking,” according to this website surveying the Mel Birnkrant collection. On the cover of the sheet music, one can see Felix in his classic pensive walking pose and the song title served as a catchphrase for Felix.

This freestanding Steiff Felix the Cat toy, retaining its original Steiff ear button, went for $4,000 + buyer’s premium in March 2019. Photo courtesy of Morphy Auctions and LiveAuctioneers

A Felix the Cat fandom website notes the surrealism of the cartoon strips and the versatility of Felix’s tail. “Felix’s expressive tail, which could be a shovel one moment, an exclamation mark or pencil the next, serves to emphasize that anything can happen in his world,” it wrote. The comic strips were popular for a few decades and then gave way to TV cartoons, which ran for over 20 years.

Felix the Cat has appeared on thousands upon thousands of collectibles and items, including

animated clocks, flashlights, salt and pepper shakers, lamps, dishes, music boxes, cookie jars and much more. Toys, of course, are his predominant medium and range from dolls and wooden or stuffed figures to wooden pull toys, platform and balance toys, nodders and vehicle toys.

A Daven ‘Home Brew’ scanning disk television with a 13-inch-tall Felix the Cat composition doll sold for $3,000 + buyer’s premium in August 2018. Photo courtesy of Morphy Auctions and LiveAuctioneers

Companies such as Schoenhut, Steiff and J. Chein & Co. were among those licensed to produce toys and figures of Felix and other King Features Syndicate characters.

Among top-selling Felix the Cat collectibles and Felix-inspired items are a stencils and spray paint on canvas artwork by the artist known as Seen (b. 1961) painted in 2012 that realized $70,000 in February 2014 at Fine Art Auctions Miami and a large Felix the Cat Felix Frolic platform lithographed tin toy that achieved $35,000 in September 2017 at Morphy Auctions.

For the cartoon ‘Felix Brings Home the Bacon,’ released in July 1924, original four-fold lithograph poster on linen backing, 27 x 41 inches. Price realized: $2,600 + buyer’s premium. Photo courtesy of Soulis Auctions and LiveAuctioneers

This oversized toy measured nearly 14 inches and consequently, it broke easily and was probably in production for only one year because of this issue. Wooden flex dolls from the 1930s, having leather ears and marked Felix on the chest, standing around 4 inches or 8 inches tall, are quite collectible and affordable, selling for about $300 to $600. Steiff Felix dolls with the ear button are also desirable.

Armed with a memorable theme song and his bag of tricks, Felix has endeared himself to fans across the years, becoming a pop culture icon and sought-after collectable in the process.

How to protect and preserve comic books

In the early days of comic-book production, publishers probably never imagined their products would become valuable collectibles. Comic books were considered ephemeral – something to be discarded after they were read. Little thought was given to making them last beyond their intended usefulness. They were printed on cheap, acidic newsprint that quickly turned yellow and brittle.

A few wise collectors were successful in preserving their old comic books. We know this because of the small number of pristine, early copies that only infrequently come to market.

Action Comics #1, June 1938, CGC-certified 9.0 featuring first appearance of Superman, sold by Pristine Comics on Aug. 24, 2014 for $3.2 million. Image courtesy of Pristine Comics

Who thought to carefully preserve a copy of Action Comics #1 (Superman’s debut) when it published in June 1938? Those who did take pains to store their copies with future value in mind were visionaries, considering what this title is worth today. A CGC-certified 9.0 example of Action Comics #1 was sold by Pristine Comics via eBay for a record-setting $3,207,852 in 2014 – the highest price ever paid publicly for an American comic book. More than one copy of Action Comics #1 has sold for seven figures, and it’s the only title with multiple specimens confirmed to have sold at or above $1 million.

Want more mindboggling reasons to take care of your old comics? A CGC-certified 8.0 copy of Detective Comics #27 (May 1939), which features the first appearance of Batman, was sold by Heritage Auctions in 2010 for $1,075,500. It was the first comic to break the million-dollar mark in the open marketplace.

Cover of Detective Comics 27 (May 1939 DC Comics), art by Bob Kane. Copyright DC Comics. Fair use of low-resolution image to illustrate the issue in which the copyrighted Batman character first appeared

Even The Amazing Spider-Man #1, published in March 1963, has risen rapidly in value. A condition-9.6 example of this title sold for $262,900 at a 2016 Heritage auction. However, Amazing Fantasy #15, which introduced the enduring character Spider-Man before he was given his own dedicated comic book title, is worth far more. A CGC-certified 9.6 copy of Amazing Fantasy #15 sold for $1.1 million on ComicConnect.com in 2011.

Twenty years younger than Action Comics #1 or Detective Comics #27, Amazing Fantasy #15 is by far the most recent comic book production to top $1 million – a testament to Spidey’s enduring popularity. From a standpoint of market observation only, it’s interesting to note that five years later, in 2016, Heritage auctioned a CGC-certified 9.4 copy of Amazing Fantasy #15 for $454,100. This might suggest that the market thought the previous $1.1 million price came a little too soon for the title, but it nonetheless supports the long-established pattern of six-figure prices for this issue.

Marvel Comics’ Amazing Fantasy #15 marking the debut of Spider-Man, CGC-certified 9.4 condition, sold by Heritage Auctions on Feb. 18, 2016 for $454,100.

So now you know what some of the most coveted comic books can sell for. Here are steps recommended by the Overstreet Comic Book Price Guide to help preserve your paper collectibles:

Store comic books in a cool, dark place, while maintaining a low and stable relative humidity – around 50 percent. Fungus and mold thrive in hot, humid conditions. Never store comic books in a basement or anywhere where they might be exposed to flooding. And never store them in an attic, where hot, dry conditions will damage the paper.

Direct light will quickly damage comic books. Store them away from direct light, especially sunlight and fluorescent light, which contains high levels of ultraviolet radiation. Limit their exposure to other types of light sources as well.

It is important to protect comic books from atmospheric pollution. As extreme as this may sound, avoid exposing comic books to air. Sulfuric dioxide, emitted by automobile exhausts, will cause paper to turn yellow. For that reason, storing comic books in or close to a garage is not recommended. To minimize exposure to atmospheric pollution, comic books should be stored in Mylar sleeves. Polypropylene and polyethylene bags, while safe for temporary storage, should not be used long-term.

Comic books should be stored vertically in acid-free boxes to preserve flatness and spine tightness. Only acid-free backing boards should be used inside the Mylar sleeves.

Following these simple steps will ensure a comic book collection will last for at least the owner’s lifetime.

Our thanks to the experts at Hake’s Auctions for providing the record prices and other statistical information included in this article.

Legions of superheroes star in comic book auction Sept. 17

DC Comics, Marvel and more are offered in an online, no-reserve auction of classic comic books that will be held Tuesday, Sept. 17, by Jasper52. Titles range from the Silver Age of superheroes to contemporary comics, some of which are signed by the artists and writers.

‘Amazing Spider-Man #101,’ October 1971, first appearance of Morbius, CGC graded 5.0. Jasper52 image

View the auction here.

Learn more about the auction on Auction Central News.

How To Collect Comic Art Like a Pro

The reign of comics-infused and comics-generated forms of entertainment not only continues, it’s also growing. A visit to your local movie theater will confirm this fact. So far this year, the three top moneymakers at the boxoffice are: “Black Panther,” “Avengers: Infinity War,” and “Deadpool 2.” All are based on comic-book heroes.

Similar events are happening in the auction universe as well, as original comic art continues to create excitement with bidders around the world. One of the peripheral benefits is that fans are becoming more familiar with the artists and writers who’ve developed comic-book culture for more than seven decades. Of course, for those who’ve been enamored with comic books and comic art for a long time, there’s a bit of, “What took you so long,” and also, “We told you so.”

Thin artboard with pen-and-ink art by Jack “King” Kirby for the February 1970 issue of the Fantastic Four #95, which was published by Marvel Comics. Kirby and Joe Sinnott created the art for the issue and Stan Lee handled the writing. It measures 11⅜ in. x 17½ in. and it sold for $95,156 at auction in March 2013, after four decades of being off the market. Actual finished cover shown at right. Hake’s Americana & Collectibles image

To help gain a better understanding aspects of collecting original comic art we turned to Comic Art Specialist Sean Rutan with Hake’s Americana & Collectibles. In the discussion that follows, you’ll learn at least five things you should know about collecting comic art.

Tip 1: Become familiar with the work of various comic artists. Many of them produced vast volumes of work appearing in the evolution of comic books.

Who are a couple of artists from the Golden, Silver, and  Bronze eras that are most sought after by collectors today?

The big names in the early days of the collecting hobby were the comic-strip masters and/or the creators who bridged the gap from strips to comic format. (George) Herriman, (Hal) Foster, (Alex) Raymond, (Winsor) McKay, (Milton) Caniff, and (Walt) Kelly, among others, were the big names in early strip art. From there, the bridge moved into comics with the contributions of (Will) Eisner, (Mac) Raboy, (Jack) Cole, (Alex) Schomburg, (Dick) Sprang, and a slew of others. All of these names are giants in the medium, and their art (when you can find it) is valued accordingly. The unfortunate reality is that most of the Golden Age art seems to have been lost to history, with a large percentage of it destroyed by the publishing houses who valued the copy value but not the originals themselves.

In between the transition from the superhero-dominated Golden Age and the similarly-themed Silver Age, many of the great horror-comic artists (especially “Pre-Code”) made an impact that is still coveted by collectors to this day. So, too, did the crew over at Mad Magazine. The team at Mad included artists (Jack) Davis, (Reed) Crandall, and (Graham) Ingels, among others.

Mixed-media original Mad Magazine cover art for issue #121 (Sept. 1968) by Norman Mingo, featuring Mad’s Alfred E. Neuman as a spiritual guru perched above The Beatles, actress Mia Farrow and Maharishi Mahesh Yogi. Measures 25¾ in x 31¾ in. and sold at auction for $52,242 in March of 2017. Actual finished cover shown at right. Hake’s Americana & Collectibles image

Several artists who earned their stripes in the Golden Age continued their greatness into the Silver Age. Jack Kirby was the creative dynamo behind much of Marvel’s “House of Ideas” era, and his art from the ‘60s is definitely in the emerging “fine-art” level seen in today’s market. Carmine Infantino’s cover layout skills defined the look of DCs books for a decade as well, while Curt Swan was the artist who defined the face of Superman for a generation. Original artworks by both Steve Ditko and Wallace Wood are coveted for both their unique style and relative scarcity, especially in the superhero genre. The latter part of the era saw the emergence of John Romita Sr, John Buscema, Gene Colan, Neal Adams, and Jim Steranko. Their Silver Age art commands top dollar whenever it hits the market.

The Bronze Age market is arguably the current “hot era” in original art collecting, largely due to the fans of this era being at the perfect point in life where they’re still actively building their collections (versus the liquidation you see from older collectors) while also being right in their prime earning years. Big names from this era include Frank Miller, Bernie Wrightson, John Byrne, Jim Starlin, and many others who were in the forefront as the Bronze Age turned to the Copper Age and then into the Modern Era.

One of two examples of original comic cover art for Blazing Combat created by Frank Franzetta and featured in Hake’s Americana & Collectibles upcoming Auction #224. Hake’s Americana & Collectibles image

The reality is that there are so many great comic artists and creators from these past eras that it would require an entire book to give them the due they deserve. In my response alone I’ve missed two of the highest-priced recorded sales in the entire hobby with Frank Frazetta and Todd McFarlane, whose cover art has sold in the seven-digit and six-digit range respectively. There are too many greats to list and too many pieces of art that have sold for substantial dollar amounts.

Tip 2: Know why you collect and always be observant and willing to learn.

What are five essential tips you would give anyone buying original comic art?

1. Find a mentor who is already a successful collector and knows the game.

2. Know your “why.” Take some time to understand WHY you collect so you can identify the art that fits your real goals.

3. Observe and learn before leaping into the hobby, but also learn to recognize when to strike if a great deal presents itself.

4. Join the support structure that already exists, with things like ComicArtFans.com and the various Facebook groups and Internet forums.

5. Buy what you love.

Tip #3: Keep an eye on work by emerging artists as well. 

What are a couple of contemporary comic artists whose work appear to be poised for popularity in the collectible market?

This is the area of speculation that drives the modern wing of the hobby. I’m not personally great at this end of the spectrum, as I’m more of a “nostalgic” collector and similarly a bigger fan of history in general. That said, I really like the work of Chris Samnee, Jenny Frison, Rafael Albuquerque, Andrew Robinson, and many others.  I really enjoy Lee Bermejo’s work, too, though he already poised himself into popularity a few years ago

Framed pen-and-ink with inkwash recreation of the 1940 concept sketch of The Joker’s calling card by co-creator Jerry Robinson. It was initially designed with the classic playing-card image with Conrad Veidt’s depiction of the titular character in the 1928 silent film “The Man Who Laughs.” Drawing dates to 2006 and is inscribed “For Dan-” and contains Robinson’s signature. Measuring 15¾ x 18 x 2¼ in., it sold for $6,490 at auction in November of 2017. Hake’s Americana & Collectibles image.

Tip #4: Keep in mind that various factors drive value.

When looking at the difference in the value of cover and interior-page art, what factors impact that difference?

This is a very nuanced question with a bunch of layers, so it’ll be tough to give a great answer in a short format like this. Historically speaking, covers have generated the highest prices on the market. Value-wise, the covers are then followed by splash pages (often the title page but can also be full-page, single-panel drawings), and then the interior sequential art.

There are caveats to this, such as an instance where the title splash is weak or dull, or a story as a whole is so highly regarded and coveted that the supply-and-demand factor throws some of these “rules” out the window, etc. You can also expect to pay much more for an interior page by a legendary creator than you would for a lesser-known cover. And keep in mind that certain inkers or penciler/inker teams will always command a premium.

In other words, the factors involved are the type of art (cover, splash, interior, prelim, etc.), the importance of the story from a historical standpoint, the artist(s) involved, the availability of comparable art, and the quality or visual appeal of the art itself.

Framed and double-matted pencil, pen, ink and inkwash original art by Wayne Boring, features Silver Age image of Superman along with Boring’s ‘hands’ flanking the superhero. It includes handwritten instruction text “Friend Dan – Here is Your ‘Drawing Lesson….First Get a Piece of Paper!” Measures 7-¾ in. x 10-½ in. and sold for $6,089 at auction in March of 2018. Hake’s Americana & Collectibles image

    

Tip #5: The comic book auction market is creating a new level of interest and excitement. Which leads to opportunity.

How would you describe the auction market for comic books today?

In a word: aggressive. At literally every show or convention, I find myself having an “I can’t believe the prices. It can’t keep climbing. There has to be a top end!” conversation, and yet, the end hasn’t shown itself. I did get the feeling that the top end of the comic book market was possibly plateauing for a bit (Detective Comics #27 and Action Comics #1 sold for high-dollar amounts but were still below quite a few early estimates that I’d seen in collector groups, for example) but when we’re talking about funny books being sold for more than half-a-million dollars it starts to feel like splitting hairs. Many collectors have speculated that once a piece of comic art surpasses the million-dollar mark, we would see a whole new level of interest and an influx of new, serious buyers flood the market. I guess now we shall see!   

The aggressiveness of the current market is also one of the main reasons behind Hake’s approach to auctioning original comic art. We put a cap on the amount of art that we’ll list for each event so our consignors’ pieces stand out and don’t get buried in an avalanche of competing sellers. It is a somewhat slow and methodical approach, but our sellers appreciate it, as each and every piece gets maximum effort and marketing exposure. Beyond that, many of our bidders are aggressive collectors in OTHER genres and don’t normally follow comic art auctions, but they WILL bid on an interesting piece of comic art in our auctions if it somehow draws their interest. This cross-bidding is becoming more and more prevalent as comic art expands into higher levels of recognition. I’ve attached a few links to some pieces that I believe directly benefited from our unique approach.