As we’ve been working on our next book, The Overstreet Guide To Collecting Comic & Animation Art, we’ve reached out to a number of our Overstreet Advisors. Over the next few weeks, we’ll be sharing samples of the feedback we’ve been getting. This week we’re hearing from Metropolis Collectibles and ComicConnect.com Chief Operating Officer Vincent Zurzolo.

Editor’s note: The Overstreet Guide To Collecting Comic & Animation Art can be found on Pages 321-322 in the August 2013 issue of Previews from Diamond Comic Distributors.

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?
Vincent Zurzolo (VZ): The connection I had with it at some point in my life. A favorite storyline or one of the first comics I ever read definitely affects how compelled I will be to buy a piece of art.

Scoop: How do you define the eye appeal of a page?
VZ: This is a very tough question to answer. It can be anything from the subtle way an inker accentuates the pencils to a great action scene. It can be the significance of the page as well. My favorite scene in the Watchmen series is when Dr. Manhattan puts the hydrogen symbol on his forehead. When I was offered that piece I knew I just had to have it. I paid full retail for it and couldn’t have been happier. It is the page for me.

Scoop: Is that different than the eye appeal of a cover or is it the same?
VZ: Same.

Scoop: When purchasing a cover from the paste-up era, is it more desirable to have the logo in place or not?
VZ: For me it doesn’t make a difference but many people don’t like missing stats, logos. I can understand both perspective but subscribe to the former.

Scoop: Other than eye appeal, what are the ways you evaluate a piece?
VZ: The artist, characters on page, significance of the page, time period and scarcity of the art.

Scoop: What makes a page stand out from other pages of the same issue or same run?
VZ: A lot of this can be personal. Some people will love a particular page of art for the same reason another person will hate it. I love collecting Gil Kane covers. I know there are collectors out there who really do not like his style. This is good news as it means more art for me.

Scoop: Splash pages are often touted. Including the obvious, what gives them their appeal?
VZ: Larger images of characters, a battle page, the set up for the story can be told on a splash page. Usually they are very dramatic as the writer and artist want to draw you into the story.

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.
VZ: Scarcity for the time period. There is hardly any Timely art from the 1940s so finding a page of Golden Age original art by Bill Everett on Marvel Mystery Comics is a coup.

Scoop: When does a page of comic art transcend being a component of a bigger effort and become a piece of art unto itself?
VZ: This occurs when something significant happens on a page. A new team member being picked to join a team, the death of a character, the first appearance of a character, an unbelievably dynamic rendering of a favorite hero or villain all play into the transcendence from a page to the page.

Scoop: Does action always trump “talking heads” material, and if not, when doesn’t it? 
VZ: When the conversation is of importance. Peter asking Mary Jane to marry him is a non-action page true Spidey fans would be willing to shell out some big bucks to own. The birth of Reed and Sue’s baby is another. There was a page from New Avengers by David Finch where he draws Spider Woman in a very provocative pose which made a lot of us nuts. I called the agent for the page, but he told me I was the fourth guy to call and he sold it to the first for probably half what it was worth. Just like in real life, action doesn’t always trump non-action.

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?
VZ: I think both options could be very valuable but I would imagine since we like seeing the good guy win…

Scoop: How does the flow of the story on the page or how a page reads contribute to its desirability?
VZ: It is very important. The storytelling ability of the artist through sequential art, which is what a comic book is, can make or break a comic. If everything is gigantic splash pages where there is very little storytelling this could lead to the demise of the comic and could kill off the value of the original art. Yes, we love splash pages, but we want a story, something to remember.

Scoop: From the paste-up era, what is the impact of missing word balloons or caption boxes?
VZ: I don’t think it matters much at all. You can make a Xerox of the world balloons. Art missing would be very detrimental.

Scoop: How does the significance of the featured character affect the appeal of a piece?
VZ: The more important a character the more people will be open to buying that piece. However, there is a cult following for certain characters and this can drive demand as well.

Scoop: How important is it that the main character is in all (or many) of the panels?
VZ: The more panels the better.

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?
VZ: It is the case, in general, however this does baffle me since you are buying the art, not the comic or title itself. Having an Amazing Spider-Man cover is usually better than a Web of Spider-Man, even from the same period.

Scoop: How do first appearances, crossovers or other notable events affect the desirability of a page?
VZ: This can be very significant for art reaching huge prices but there is a trend now where people are buying art because they just love the image.

Scoop: How does the aging of the art board or paper affect your decision making?
VZ: Unless there is serious damage to the art itself or the paper it really doesn’t bother me too much.

Scoop: How does restoration or clean-up impact a piece of comic art?
VZ: Restoration should be disclosed and there might be some small price adjustment but a one-of-a-kind is a one-of-a-kind. If there was a piece with a huge chunk of the art missing that was replaced and re-drawn or statted then a larger discount would be in order.

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)?
VZ: Some people like some artists when they are inked by inker A and other like inker B. You should buy what you like but do your research first and learn which teams are more respected. I’ve been involved in debates on who Kirby’s best inker was and people definitely have strong opinions. Next time you see me at a con ask me mine.

Scoop: How much effect does – or should – nostalgia have in such purchases?
VZ: Nostalgia is the lynchpin of the market. Yes, you can buy a piece of art strictly as an investment but usually you feel some type of connection with the art and that is what drives prices up. Remembering the first time you read or bought a comic has a tremendous affect on your willingness to pay for it. In the ‘90s I bought my first set of Frazetta Famous Funnies. I instantly fell in love with the covers. When I had an opportunity to purchase the cover to #215, I jumped on it. At the time it was the most expensive collectible I ever purchased for myself personally. I look back on it and I am so happy I bought it. Nostalgia drove me on that purchase.

Scoop: What – if anything – makes a piece an automatic “yes” for you?
VZ: If I remember the page or cover from when I was a kid I am usually going to make a big effort to buy it.

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?
VZ: Battle pages, first appearances, covers only, characters appearing on the page, death pages and the list goes on. I even know a collector who loves pieces with lamp posts on them. When I asked “Why?”, he replied, “I like lamp posts. Always have.” I get it.

Scoop: How do you price your pieces?
VZ: I do market research by looking at what current trends are, what comparable pieces have sold for, I look at cost and I ask are there any current storylines or movies happening that may increase interest in the piece.

Scoop: Where do you see the market going over the next five years?
VZ: I believe the art market is very hot right now but in comparison to the “fine art market” it is still in its infancy. To this date I paid the highest amount for a piece of American comic art when I bought the cover to Amazing Spider-Man #328 for $657,250.00 last May. An American piece of comic art hasn’t broken the million dollar mark yet. It will. And I predict that will happen in the next three to five years. Comic book properties are doing well in the theaters and people aren’t stupid. They realize there is value behind these characters who are now anywhere from 25-75 years old.