Four weeks ago in Scoop, we began running market reports and observations from contributors to our new book, The Overstreet Guide To Collecting Comic & Animation Art. We started with Comic Art Con founder Joe Veteri. The we shared thoughts from Metropolis Collectibles and ComicConnect.com Chief Operating Officer Vincent Zurzolo and former Comics Buyer’s Guide editor Maggie Thompson, followed by veteran comic art dealer Anthony Snyder and longtime collector Art Cloos. Last week we featured, collector Nick Katradis, a recent addition to the ranks of the Overstreet Advisors.

This week we’re happy to turn the spotlight on Peter Bilelis, a veteran collector and Overstreet Advisor who wrote about artist Mac Raboy for The Overstreet Comic Book Price Guide #43 (below) and Alex Winter and Todd Sheffer of Hake’s Americana & Collectibles (in our Main Event section).

Editor’s note: The Overstreet Guide To Collecting Comic & Animation Art was offered on Pages 321-322 in the August 2013 issue of Previews from Diamond Comic Distributors. Retailers can still place orders for it. It’s due on sale in October.

Overstreet Advisor Questions for
The Overstreet Guide To Collecting Comic & Animation Art – #1

Scoop: What is the first thing that compels you about a piece of comic art?
Peter Bilelis (PB): The subject matter and composition.
 
Scoop: How do you define the eye appeal of a page?
PB: It has a definite point, is well-developed and well composed. And it “pops” (meaning the composition doesn’t need to rely on surrounding panels to tell its story or make its point and it (alone) attracts your attention). Two examples (from memory here): the cover to Justice League of America #21 vs. #22. Justice League of America #21 is a beautiful composition, prominently displays its subject, makes a complete statement, draws you into the scene and foreshadows something “big.” Justice League of America #22 does none of this in my opinion. It is incomplete, is an action scene caught somewhere in mid-stream (of whatever is going on) and requires you to know more to appreciate it. It also doesn’t prominently display anything in my opinion. Another example is the splash page v. the centerfold of Amazing Spider-Man #137. The centerfold with the Goblin flying across the room (with smoke trail that draws your eye across the havoc and to Peter) and Peter’s shocked expression is so well staged, complete and draws you in. The splash page does none of this.    
 
Scoop: Is that different than the eye appeal of a cover or is it the same?
PB: Same criteria for me.
 
Scoop: When purchasing a cover from the paste-up era, is it more desirable to have the logo in place or not?
PB: More desirable, but not necessary.
 
Scoop: Other than eye appeal, what are the ways you evaluate a piece?
PB: Subject matter, artist, character(s), era, importance to the character, title, publisher or pop-culture (e.g. World War II covers, etc.).
 
Scoop: What makes a page stand out from other pages of the same issue or same run?
PB: An entire page stands out when it features something important to the overall story and contains the title character or other “important” characters. And, the way the panels are arranged (e.g. some pages will have oddly shaped or larger panels, avoiding the “grid” look. Assuming the page has other things going for it, this is a plus.
 
Scoop: Splash pages are often touted. Including the obvious, what gives them their appeal?
PB: Similar to cover art, the large size, the “composition-to-advantage” quality and the “tells-a-story-by-itself” (or foreshadows the story) attraction.
 
Scoop: Given that any page of original art is inherently a one-of-a-kind item, what are the other ways that rarity or scarcity could enter into the equation?
PB: To me, the number of pages available from the artist and for the title/character. E.g. Frazetta is amazing, but it feels like there are enough Frazetta pieces available to create a daisy-chain to the moon. Similarly, Raboy Flash Gordon pieces are not common, but his Fawcett stuff is so much scarcer in the marketplace, so true Raboy fans put a much higher value on his Fawcett stuff. I think the same can be said of John Buscema’s Silver Surfer stuff. While not “rare” it rarely turns up, making it very desirable.
 
Scoop: When does a page of comic art transcend being a component of a bigger effort and become a piece of art unto itself?
PB: When it embodies the qualities I attempted to describe above (see #2) and when it sets a standard for the character, title, type of composition or artist. Although not exactly on-point, but to help illustrate: Action Comics #43 vs. Superman #23 (classic Superman WW II covers). To me, Action #43 doesn’t embody the qualities I described in #2 above, therefore, not “classic.” Superman #23, however, embodies all the qualities described in #2 above. Additionally, it is very well drawn, uses the right shading, light/dark. I also can’t imagine a better angle or viewpoint.
 
Scoop: Does action always trump “talking heads” material, and if not, when doesn’t it?
PB: If you mean action v. non-action, then I would say not necessarily. Non-action (calm before the storm) can be more attractive. [For example], Detective Comics #31, Master Comics #24 and 53, Justice League of America #21, etc.  
 
Scoop: And in terms of action, particularly in superhero titles, how important is it if the hero is triumphant or winning as opposed to being defeated in on the page in question?
PB: Not important. In fact hero losing can be more attractive.
 
Scoop: How does the flow of the story on the page or how a page reads contribute to its desirability?
PB: Somewhat (see #6 response).
 
Scoop: From the paste-up era, what is the impact of missing word balloons or caption boxes?
PB: Yes, negative, but not anywhere near a show-stopper if the piece is otherwise very desirable.
 
Scoop: How does the significance of the featured character affect the appeal of a piece?
PB: Very much (e.g. if a Batman page that is purely ordinary but features Batman is worth $100, the same page without Batman would be 25% as desirable unless it features a star villain like the Joker or Two-Face, in which case, it would be 25 – 75% as desirable).
 
Scoop: How important is it that the main character is in all (or many) of the panels?
PB: Somewhat, although the quality of the composition is more important. Assuming equal composition quality, with character well drawn and prominently featured – if 1/8 panels features main character, not as desirable as 4-6/8, but 8/8 not necessarily any more desirable.
 
Scoop: It seems that the market generally deems art from main or original titles, such as Amazing Spider-Man, more desirable than that of secondary titles, such as Spectacular Spider-Man. Only speaking in general, is that the case or is that reading too much into it?
PB: Agree it is more desirable generally. Probably because it feels like the Coca-Cola rather than Coke Zero or whatever.  
 
Scoop: How do first appearances, crossovers or other notable events affect the desirability of a page?
PB: First appearances, origins, cameos, a particular artist, etc. affect desirability greatly to me.
 
Scoop: How does the aging of the art board or paper affect your decision making?
PB: a little, but decision is primarily based on importance of the piece (everything described in #2 above). Obviously if other similar pieces are available in better shape, then condition matters much more.  
 
Scoop: How does restoration or clean-up impact a piece of comic art?
PB: My preference is virgin. Work makes piece less desirable (although this too weighted against factors discussed in #18).
 
Scoop: How do different penciler/inker teams affect the desirability of a piece (for instance, Jack Kirby inked by Joe Sinnott vs. Jack Kirby inked by Mike Royer)?
PB: Significant, especially when it comes to certain characters for which they are a well-known tram.
 
Scoop: How much affect does – or should – nostalgia have in such purchases?
PB: Asking the wrong guy – I buy what I like based on nostalgia, historical significance, etc. not based on perceived resale value.
 
Scoop: What – if anything – makes a piece an automatic “yes” for you?
PB: Artist/character/quality of composition (see #2 above) combination in conjunction with price commensurate with range of other similar sales.  
 
Scoop: In addition to such choices as collecting by creator, by series, or splash pages, what are the different ways to collecting comic book art?
PB: Those mentioned, entire stories, era, historical significance, genre.  
 
Scoop: How do you price your pieces?
PB: Comparable pieces, desire.
 
Scoop: Where do you see the market going over the next five years?
PB: Up and down. Believe blue chip characters drawn by known artists will do very well. Blue chip characters drawn by lesser artists not nearly as aggressive. More obscure artists or characters, more resistance