The World's Largest Collectibles
Internet Comics Auction Spotlight
June 7, 2015
Live Session at 6:00 PM CT
Highlights of our auction include:
||Venus #16 (Timely, 1951) Condition: VG+
Bill Everett story, cover, and art. Joe Maneely art. There is tape
on the inside front cover. Overstreet 2014 VG 4.0 value = $220.
From the Jim Vadeboncoeur, Jr. Collection.
||Detective Comics #40 (DC, 1940) CGC VG 4.0
Off-white to white pages
Featuring Batman and Robin. Includes the origin and first
appearance of Clayface, and the first Joker cover appearance (sans
white face and purple suit). The Joker story that was intended for
this issue was instead used in Batman #1, and the cover of this
issue is very similar to a splash page in that book. Artists
include Bob Kane, Jerry Robinson, and Fred Guardineer. CGC notes,
"Very minor amount of glue on spine of cover." Overstreet 2014 VG
4.0 value = $2,000. CGC census 5/15: 5 in 4.0, 23 higher.
||Daredevil #1 (Marvel, 1964) CGC VG+ 4.5
The origin and first appearance of Daredevil, and the first
appearances of Karen Page and Foggy Nelson. Jack Kirby and Bill
Everett cover, with Everett art. Overstreet 2014 VG 4.0 value =
$642. CGC census 5/15: 152 in 4.5, 1163 higher.
||Journey Into Mystery #83 (Marvel, 1962) CGC FN
6.0 Off-white to white pages
The origin and first appearance of Thor (Doctor Don Blake). Jack
Kirby cover and art. Steve Ditko art. Currently #6 on Overstreet's
list of Top 20 Silver Age Comics. Overstreet 2014 FN 6.0
value = $4,200. CGC census 5/15: 61 in 6.0, 169 higher.
||Batman #232 (DC, 1971) CGC NM+ 9.6 White
The first appearance of Ra's Al Ghul, has DC retelling the origin
of Batman and Robin. Talia, Ra's Al Ghul's daughter makes a cameo
appearance. Neal Adams cover and art. Overstreet 2014 NM- 9.2 value
= $500. CGC census 5/15: 79 in 9.6, 44 higher.
||Jack Kirby and D. Bruce Berry Silver Star #5
Page 7 Original Art (Pacific Comics, 1983)
One of Jack "King" Kirby's 1970's character creations, Silver Star
was originally a screenplay for a movie pitch. Norma Richmond and
the evil Darius Drumm are featured on this pulse-pounding page of
pure peril! Produced in ink over graphite on Bristol board with an
image area of 10" x 15". Slight tanning. In Excellent
||John Buscema and Klaus Janson Raiders of the
Lost Ark #2 Page 2 Indiana Jones Original Art (Marvel,
One of the classic scenes from the movie, the fight in Marion
Ravenwood's bar is featured on this page, with a great image of
Indy with whip and gun in hand! Produced in ink over graphite on
Bristol board with an image area of 10" x 15". Slight tanning with
one corner trimmed, otherwise in Excellent condition.
||Mike Grell and Bob Smith Warlord #45
Page 16 Original Art (DC, 1981)
Warlord, Aton, and Jennifer Morgan attempt a narrow escape from a
pair of Cyclopes on this page from "Nightmare in Vista-Vision". Ink
and graphite on DC Bristol board. This piece has an image area of
10" x 15" and is in Excellent condition with trimming to the top
||Incredible Hulk Production Cel signed by Stan
Lee (Marvel, c. 1980s)
This hand-painted production cel of the Hulk is just smashing! Ol'
Jade-Jaws stands 6.5" tall on this 12 field 3-peghole animation cel
that is signed by his co-creator, Stan Lee. In Fine condition.
||All Dogs Go to Heaven Anne-Marie and
Charlie Publicity Cel Signed by John Pomeroy (Amblin/Bluth,
Outstanding hand-painted 16 field publicity cel of Anne-Marie and
Charlie. A beautiful pose with nice images of 8" and 9". This
outstanding cel is signed by supervising animator John Pomeroy! Two
pieces of tape on top border; otherwise, in Fine condition.
Our MyHeritage: MyBids feature makes tracking your
favorite items easier than ever. Just a reminder... our Sunday
Internet Comics Auctions end with a Live Session at 6:00 PM CT
Browse the entire auction here.
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$6+ million Heritage US Comics &
Comic Art Auction evidences rising market
The original art from
Alex Raymond's March 21, 1939 Flash Gordon and Jungle Jim Sunday
comic strip (King Features Syndicate) brought $155,350 on
Friday, May 29, 2015 at Heritage Auctions — the third highest price
ever realized on a piece of original comic strip art at the company
— to pace the company's $6+ million Comics & Comic Art
Signature® Auction, May 28-30, 2015.
"Collector interest in original art continues to be strong," said
Ed Jaster, Senior Vice President at Heritage Auctions, "especially
as concerns the big names in early comic strips."
This was abundantly evident in not just the auction's top lot, but
also in the lots that occupy the numbers two and three on the final
auction tally sheet: Winsor McCay's surreal
original Little Nemo in Slumberland Sunday comic strip art dated
July 18, 1909 (New York Herald) was the subject of spirited
bidding before it finished the day at $131,450, a new world record
price for the artist, while Alex Raymond made
another appearance with his Flash Gordon Sunday comic strip
original art dated July 12, 1936 (King Features Syndicate),
which realized $89,625.
On the comic book side of the auction, the Dark Knight reigned
supreme, garnering an impressive $83,650 final price
realized for a CGC-graded 8.0 copy of Detective Comics #33 (DC,
1939), while a CGC-graded 4.5
copy of Batman #1 (DC, 1940), the #6 comic book on Overstreet's Top
100 Golden Age comics list, brought $77,675.
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The Origins of Jim Vadeboncoeur's
Complete Atlas Collection
The auction ending this Sunday is the first of many to feature
Jim Vadeboncoeur Jr.'s
complete Atlas collection.
If you missed the catalog for our May auction, here you can read
the whole story behind the collection:
The Origins of My Complete Atlas Collection
By Jim Vadeboncoeur Jr
I've never been a typical comic book collector.
I bought my first one, Spider-Man #33, when I was 19. And when my
mom threw it out the next day, I just bought it again and did a
better job of concealing it and its fellow Silver Age Marvel
brethren from her.
It was Steve Ditko's art that attracted me to that comic in the
first place, and it has always been the art in comics that has kept
me here. 1966 through 1969 were great years for comics, for comic
art, and for my collection. Within that span I completed my Marvel
collection and expanded my collecting focus to include ECs and any
comics with art by the Marvel or EC artists that I loved. Living
halfway between Gary Arlington's San Francisco Comic Book Company
and John Barrett and Bud Plant's Seven Sons Comic Book Shop, two of
the earliest manifestations of that phenomenon, made such goals and
A trait that separated me from my fellow collectors was the ease
with which I was able to discern the identities of the creators. A
good example was a serious collector friend who was a big Frazetta
fan. I had just finished creating a collage for him utilizing the
small pen drawing frontispieces from the Ace Tarzan books. I mean
he loved Frazetta. So when I showed him a copy of All-Star Western
#99 with Botalye — Immortal Indian Warrior, I was certain he'd be
thrilled. I learned just how differently we saw things when he
looked at it and said, "That's really cool! Who is it, Wally
As I completed my Marvel set, I was looking
ahead at what to focus on next. This was before Overstreet's Comic
Book Price Guide, but after von Bernewitz's Complete EC Checklist.
I'd been buying ECs at the ungodly price of $5 to $10 apiece, and I
could find some of the same artists in Atlas for a buck. Plus there
was so much to learn about Atlas. How many titles were there? What
were the first issue numbers, the final issue numbers? What other
artists worked there?
Rather than re-cover the EC collecting ground of others, I decided
to take up the challenge of defining Atlas. Overstreet was
soliciting information for the first guide. Jerry Bails was deep
into production of the first Who's Who. My research would
contribute to both over the next decade.
It's easy to put an "official" end point to Atlas: October 1957.
That's the last time an Atlas globe appeared on a comic book.
However, that leaves all the issues of all titles published between
then and Fantastic Four #1 in some sort of labeling limbo. Which is
exactly what they were: unbranded! I chose to include all the
"pre-super-hero" issues in my "Atlas Collection". So, even though
Tales of Suspense doesn't begin until 1958, a full year after Atlas
has imploded, it's part of MY Atlas Collection. I'm the
If it's possible, the beginning of Atlas is even grayer... Yes, we
can pin down the actual first appearance of the Atlas Globe, but
you have to go back to Comedy Comics #22 or Captain America #36 in
March 1944 – smack-dab in what everyone agrees is Timely! Atlas
becomes a permanent brand icon in November 1951, but on books that
are already well-established, like Two – Gun Kid and Justice –
making it seem rather arbitrary to begin a collection ignoring the
first ten issues of one title and the first 23 of another!
So I "decided" again: all the books that extended into the Atlas
era, were Atlas from their beginning. And similar books, e.g.
westerns or crime titles from those eras, that didn't last until
Atlas were Atlas, too! I mean, if a Two-Gun Kid issue from 1949 was
going to be deemed Atlas, how could I exclude an issue of Tex
Morgan from the same month? Complicated? Sure, but Martin Goodman
was famous for not making things easy.
So MY Atlas collection extends from the Timely Bullpen output of
Crime, Western and what would become Horror books of late 1947
through to issues just before the Silver Age super-hero titles of
the Sixties. A solid fifteen years' worth of output, minus only the
tail end of the Golden Age Timely super-hero titles and the
earliest manifestations of their Marvel reincarnations.
Of course, I didn't realize that scope at the beginning, just as I
had no real notion of the magnitude of the task I'd set for
myself... nor the glorious life I'd have accomplishing it!
All I knew was it was 1969, I was out of college, I had completed
my "Marvel set" (as we called them), I had a good job, and wasn't
living at home, so my mom couldn't throw my comics out any more!
There was a rock solid collector base in San Jose with Seven Sons
Comic Book Shop dealing only in back issues. Gary Arlington, as I
mentioned, Barry Bauman in Oakland, and the glimmers of the
convention circuit to come. New York, Oklahoma, Dallas, San Diego,
Hollywood, etc. – all had a major convention, if not their first,
between 1969-1972. I went to at least one in each city during that
But the biggest impact on my collection was a job that left me with
over $900 of discretionary income each month. Once a month or so,
I'd get in my car on a Friday afternoon after work and drive the
400 miles to Los Angeles. I'd spend the night in the car and after
breakfast the next morning I'd visit Cherokee Book Store,
Collectors' Books, and Bond Street Books. At each one, I'd stack up
a pile of comics, primarily Atlas, and negotiate a price, usually
in the neighborhood of a dollar a book! No plastic bags and no
Price Guide. YOU had to know what was in the books or recognize the
artists when you saw them. I had a distinct advantage over most.
Then I'd drive back Saturday afternoon/evening, occasionally
splurging for a Motel 6, when they really were $6 a night! When I
got home, I'd make an index card with the content and artists for
each book – tlas and all other companies, too.
In 1970, I began a lifelong process of sharing that information: I
wrote an article detailing the post-1954 work of all of the EC
artists, and a couple of non-EC favorites. It appeared in the
second issue of Promethean Enterprises, a fanzine I published with
Al Davoren and Bud Plant. In 1971, I compiled and released Al
Williamson: His Work. Both featured healthy doses of Atlas Comics
data. I was also submitting much of what I was learning to both Bob
Overstreet, for his newly realized Comic Book Price Guideand to
Jerry Bails for his and Hames Ware's soon to be released Who's Who
of American Comic Books.
In connecting with The Who's Who, I encountered a soul mate in
Hames Ware. We were to spend the next 40-plus years studying the
unsigned creators of comic books. Hames' knowledge and vast
experience drew me further backward in time and away from the
narrow confines of Atlas. Had I focused my energies and resources
solely on Atlas, as I had intended, I would have missed out on the
most productive and challenging years of my life. Instead of an
Atlas Collection, I developed a Comic Collection.
And, in the process, learned more about the creators of comics,
from Hames, from Jerry Bails, from the creators I met and talked
to: Pierce Rice, Manny Stallman, Alex Toth, John Buscema, John
Severin. How much more I'd learned became evident when I fulfilled
a promise I'd made to myself before turning the Atlas Collection
over to Heritage. I transcribed my note cards for every issue, the
artist/inker data for every Atlas story that I could figure out,
onto the public record – in this case the on-line database, Atlas
Tales. The extended detour through the 1940s (and the 1930s!) upon
which Hames had led me, paid rich dividends in data for the 1950s.
I was able to fill in a lot of 'blanks' I'd left on my cards of 45
years ago and correct myself with what I'd learned since then.
It's time to move on. A fifty year journey will end for the core of
my collection. I'll still have lots of comic books, but for someone
who 'defined' himself as "The Guy With a Complete Atlas
Collection", 50 years later, I guess I'll have to be someone else.
I'm pretty sure I'll enjoy whoever that is.
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As the fastest growing American-based
auction house, financially rock-solid Heritage Auctions continues
to grow and seek the best talent in the industry. If you are a
specialist or have strong general collectibles knowledge, we want
to hear from you. These specialists will, in some cases, head new
departments and in others will enhance existing department
expertise. We have positions open at our headquarters in Dallas as
well as at our new state-of-the-art galleries in prime locations in
both Midtown Manhattan and Beverly Hills.
Heritage is seeking to hire the world's best specialists in the
If you are interested and feel you have the qualifications we seek,
please email your resume and salary history to Experts@HA.com.
- Asian Art Specialist
- Photographs Specialist
- World Coins Director: (Hong Kong)
We are also seeking to fill the following corporate positions:
If you are interested in applying for one of these Corporate
- Building Operations/Maintenance
- Fine Jewelry Cataloger
- Fine Jewelry Specialist
- Marketing and Special Projects Assistant
- Shipping Associate
- World Coins Cataloger/Numismatist
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Indy car collectibles get the Green
Flag in June Auto Racing auction in Dallas
Memorabilia from the great names and great days of America's most
famous auto race, The Indy 500, will thrill race collectors and
fans alike on June 18, 2015, at Heritage Auctions as the company
presents its Auto Racing Sports Collectibles
Catalog Auction, featuring the Dr. Harlen Hunter
"Hunter's collection is the most extensive of its kind in the
world," said Chris Ivy, Director of Sports Auctions at Heritage.
"For years, Dr. Hunter had access to the greatest drivers and race
tracks in the world. In that time he amassed a deep and
far-reaching collection of important race-used material."
Chief among Hunter's treasures that race fans will have access to
is a program from the inaugural
Indy 500 in 1911 signed by the legendary Ray Harroun, the first
winner of America's greatest race. It is estimated at $2,000+. Indy
500 fans will also thrill at the inclusion of a set of "Gasoline Alley"
Garage Doors, used at the Indianapolis Speedway from the 1930s to
the 1960s, estimated at $3,000+.
"Little could be more evocative of the Indy 500 than these
historically significant, vintage Indianapolis Motor Speedway
doors," said Ivy. "These hung at Garage #2 in the original Gasoline
Alley area and have not been repainted since they were removed.
What gearhead would not want this as a prize?"
Hunter's collection also includes a complete set of signed
Daytona 500 winner's photographs, 1959-2009, including the
great Fireball Roberts, all of them pictured with the trophy. The
album, with a $2,000+ estimate, features all the legendary names of
racing, including Bob Welborn, John Beauchamp, Jeff Bodine, Bobby
Ellison, Bill Elliott Jr., Fireball Roberts, Dale Earnhardt Sr.,
Tiny Lund, Richard Petty, Lee Petty, Buddy Baker, Leroy Yarbrough,
and many more.
Not all of Hunter's collectibles relate exclusively to Indy, as
evidenced by Mario Andretti's 1969 Daytona
500 Race Worn Helmet, estimate $2,000+, with superb notation on
helmet from Andretti stating that he ended up "upside-down" in this
helmet. AJ Foyt's 1967 Trenton Speedway
200 Mile USAC National Championship Race Winner's Trophy,
estimated at $2,000+, is another important highlight from one of
the greatest names in the sport, while an extremely rare 1916 Harvest Auto Racing
Classic program, from the non-500 event held at the Speedway
between 1911-1994, should thrill collectors of racing esoterica and
ephemera, with an estimate of $1,500+.
More information about Sports auctions.
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Cover of the Week: Art Appreciation
|The cover of Captain America Comics #56
might be the only comic book cover ever set at the Metropolitan
Museum of Art!
We hadn't heard of the Met having price tags on the art
You can bid on Captain America Comics #56
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