Since we started our survey of the comic art market seven weeks ago in Scoop, we’ve talked with Comic Art Con co-founder Joe Veteri, Metropolis Collectibles and ComicConnect.com Chief Operating Officer Vincent Zurzolo, former Comics Buyer’s Guide editor Maggie Thompson, comic art dealer Anthony Snyder, collector Art Cloos, collector Nick Katradis, collector Peter Bilelis, Alex Winter and Todd Sheffer of Hake’s Americana & Collectibles, collector-dealer Rob Hughes, and Comic Art Con co-founder Dan Gallo.

This time we talk with veteran comic art collector Tom Fish.

Editor’s note: The Overstreet Guide To Collecting Comic & Animation Art is due to go on sale October 9, 2013. Your comic shop can place a reorder now or you can order it directly from Gemstone Publishing.

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?
Tom Fish (TF): Overall eye appeal, content, and historical significance are the three things I look for when purchasing original comic art.

Scoop: How do you define the eye appeal of a page?
TF: It’s a matter of personal taste. Different pieces speak to me in different ways.

Scoop: Is that different than the eye appeal of a cover or is it the same?
TF: It’s about the same, although I expect more on a cover.

Scoop: When purchasing a cover from the paste-up era, is it more desirable to have the logo in place or not?
TF: Having the logo is more desirable and adds to appeal, but not having it isn’t a deal breaker.

Scoop: Other than eye appeal, what are the ways you evaluate a piece?
TF: Content is as important if not more so when I’m making buying decisions.

Scoop: What makes a page stand out from other pages of the same issue or same run?
TF: What’s on the page? Is the title hero on it? Are they battling a major villain? Is the page dialogue significant to the hero’s or villain’s history? Those questions can play a major part into valuing a piece.

Scoop: Splash pages are often touted. Including the obvious, what gives them their appeal?
TF: For me, a splash can be more significant and more valuable than the cover from the same book. I am particularly fond of splashes that tell the whole story on the page. For example I recently sold a treasured piece in my collection, the page 1 splash to Iron Man #128. I feel it was just as good as the cover. I feel the same about the Amazing Spider-Man #122 splash. I firmly believe splashes are undervalued as they relate to covers.

Scoop: When does a page of comic art transcend being a component of a bigger effort and become a piece of art unto itself?
TF: We are already there. Comic art as Americana is very undervalued and we have only begun to scratch the surface as it relates to art. The market is quickly becoming more recognized and it won’t be long before pieces regularly trade at $1,000,000+.

Scoop: Does action always trump “talking heads” material, and if not, when doesn’t it?
TF: Everyone loves action. I would say 99% it trumps talking heads.

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 on the page in question?
TF: I don’t think that is as important. I can site several examples of pages or sequences I would love to own where the villain is victorious (at least for that particular moment)… Bane breaking Batman’s back, Doomsday killing Superman.

Scoop: How does the flow of the story on the page or how a page reads contribute to its desirability?
TF: It definitely is a contributing factor.

Scoop: From the paste-up era, what is the impact of missing word balloons or caption boxes?
TF: Condition always plays a factor in overall eye appeal, thus missing balloons would affect value and desirability.

Scoop: How important is it that the main character is in all (or many) of the panels?
TF: The more the merrier. As a collector, I want to see the main character prominently displayed in as many panels as possible on panel pages and as large as possible on a splash or cover.

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?
TF: That is generally the case. Amazing Spider-Man is the most desired title in the Spider-Man [family of titles].

Scoop: How do first appearances, crossovers or other notable events affect the desirability of a page?
TF: First appearances and notable events are things that I pay particular interest to. I do feel that these areas are ones that should be more recognized.

Scoop: How does the aging of the art board or paper affect your decision making?
TF: Condition is always a factor when purchasing collectibles, and I pay close attention when making buying decisions.

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)?
TF: Art teams do play a major role in the demand side of the business. Kirby/Sinnott, Lee/Williams are very sought-after, and prices are reflected in the marketplace

Scoop: How much effect does – or should – nostalgia have in such purchases?
TF: Nostalgia does and should affect the market. Obviously the more popular a story is the more demand for the piece or pieces the higher the price. As comics become more popular though motion pictures, TV, etc., the more people will be interested in purchasing the original art or comic books related to those stories.

Scoop: What – if anything – makes a piece an automatic “yes” for you?
TF: If a piece has the content, the historical comic significance, and the eye appeal, it’s a yes for me.

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?
TF: By character, also some could just collect battle scenes.

Scoop: How do you price your pieces?
TF: I am constantly monitoring the market through retail websites, auction houses, eBay, comicartfans.com, and with other collectors.

Scoop: Where do you see the market going over the next five years?
TF: Up, up and away!