Above left: “Egyptian Queen” (Eerie #23). Above right: “Jaguar God #2”, both by Frank Frazetta. Details from both are below,
People buy original art for any number of reasons; for some it’s simply decoration, for others it’s a personal connection (to an interest or time or person or place). Some are satisfied with a single work while others can seem like obsessed hoarders. Some buy art as an investment while others do it as an expression of ego or perceived status. For me—and I believe for many others—the reason to buy an original painting or drawing (or any art, really), is because it speaks to you, because you love it. After all, you’ll be living with it. The actual value ideally should be in the passion you feel when you look at it, not in what it might (emphasis on “might”) one day be worth in dollars, pounds, or yen.
Besides, as I’ve written before, art is a terrible investment…except, of course, when it isn’t. There are, with the rarest of exceptions, no sure things and the art market (and prices) fluctuates at the drop of a hat; it can be extremely difficult to predict when something that’s hot today will suddenly not be tomorrow. The game, for those that choose to play it, is to know which is which and what is what at any particular time and to realize that the “rules” (and there’s nothing carved in stone, in all honesty) are constantly changing, often on a whim. At a recent Heritage auction Frank Frazetta’s 1969 cover to Eerie magazine sold for a record-setting $5,400,000 (which included the buyer’s premium)—which I think gives Frank the spots of 1, 2, 3, and 4 for top prices paid for fantasy art. On the other hand, his 1995 cover for Jaguar God #2 failed to meet its reserve price of $500,000 (though it did sell for an undisclosed sum afterward)—which means, no, not everything Frazetta painted is now worth $5 million smackers. And truth be told, unless they go back on the block in the near future we’ll probably never know if these were savvy investments or frivolous purchases by the rich—but I hope whomever the buyers are will love the paintings as much as the Frazetta fans do.
Anyway, when I was young I never thought I’d own any original art except my own (and I’m not a big fan of me): paintings were for “wealthy people” and I definitely wasn’t one. But over the years, Cathy and I have purchased art when we’ve felt flush and, though it’s not a huge collection (especially when compared to the jaw-dropping holdings of Joe Siclari and Edie Stern, Doug and Deb Ellis, Greg and Amanda Spatz, or Robert K. Wiener), we love each and every piece.
So if we can afford something from time to time, it’s obvious that you don’t have to spend $5m to own an original and there are a multitude of ways and places to make purchases. Whether searching for a vintage “grail” piece that has special meaning or discovering something new and buying directly from the artists or from a gallery or dealer or at a convention or auction—and don’t forget Every Day Original—purchasing art is enjoyable and is relatively easy (most of the time). Finding something you love…now that’s the hard part. Today I’m going to show a few pieces (some that are or most likely will be pretty pricey) currently on the block or at various galleries, but I definitely encourage you to go out and hunt for something that will make your heart beat a little faster. The search is definitely part of the fun of collecting.
Profiles in History is holding a second auction of director Frank Darabont’s collection. Along with film props and memorabilia there’s a nice selection of originals, including a number of works by the late Bernie Wrightson. Their catalog is available as a PDF at their website.
Above: “Sometimes on the very brink of certainty, I failed…” one of Bernie Wrightson’s masterful 1980 illustrations for Frankenstein. Pencil & ink on board, 15″x20″.
Above:“Counsel to a Minion,” one of Wrightson’s mixed media paintings that were part of a poster series published by Christopher Enterprises in the mid-1970s.
Above:Alex Ross’ pencil & gouache cover painting for Justice #5.
Heritage Auctions is selling part of Glynn and Suzanne Crain’s extensive collection. The auction takes place August 13-14 in Dallas, but you can always bid online for anything that strikes your fancy.
Above:Paul Lehr’s acrylic painting that was used as the cover of Infinite Worlds by Vincent Di Fate.
Above:Ed Valigusky’s acrylic painting that was used as the cover for The Snows of Ganymede by Poul Anderson.
Above:Cover for the April, 1955 issue of Astounding Science Fiction by Frank Kelly Freas. Acrylic on board.
“Voices of Spring” is Annie Stegg Gerard’s new show at the Haven Gallery and, as you can always expect from Annie, it positively luminous. Everything will on display until July 21.
Annie’s art, left to right:“From Moonlit Rafters” (oil, 11″x14″), “Caliadne, the Naiad” (oil, 16″x20″), and “Legore” (oil, 11″x14″).
The “Visions of Graces” show at the Roq la Rue Gallery features a brace of moody and evocative paintings by Laurie Lee Brom, Kari-Lise Alexander, and Syd Bee. The show runs through July 7.
“Return.” Oil on linen, 16″x20″, by Laurie Lee Brom.
“The Seeker.” Oil on panel, 10″x20″, by Kari-Lise Alexander.
“The Sodden Hearts.” Oil on wood, 16″x20″, by Syd Bee.
This is just a taste, the tip of the proverbial iceberg, of some of the wonderful art available: there are any number of opportunities to find something you love to add to your wall waiting “out there.” All you have to do is look. Happy hunting!
Great post! It’s hard to keep up with everything sometimes so posts like this are little treasure troves. 🙂
So true, Howard: there are so many gallery shows or museum exhibits or auctions or conventions with art shows or artist exhibiters that it’s easy to miss something. Someone told me once—or maybe I read it someplace—that one of the things that keeps art “alive” and people interested is when it circulates, either through sales or through touring shows.
I’ve been reading Muddy Colors for years. It was a big part of why The Mrs and I made the trek out to the first year of SFA Live. That and the chance to catch up with a number of friends, and the amazing roster of artists that were there.
For an old time illustration/art collector like me, it was like being a kid in the world’s most original candy store. I can’t recommend venues like this any higher. SFA Live, San Diego Comicon, Illuxcon and other shows of its type. These places offer great opportunities to buy art, connect with artists, set up commissions and make arrangements toward future purchases.
And while it is very true, the internet has changed the size for f the world, what is available and accessible, and the way art deals can and are often handled, there is still something to be said for meeting and conversing with artists, learning a bit about them, and they you.
Along with giving us more options for access to art and artists, these more personal human connections can deepen our appreciation and understanding of the works, their creators, and if you are really lucky, make us some lovely and even lifelong friends.
And for collectors on a budget, there are original works out there for you, if you keep your eyes open.
Attend art openings. Follow your favorites on social media. Keep a finger on the pulse of their art, and if you can, buy something. Support them. Keep them working, and they’ll pay it back by continuing to keep us all inspired and moved.
Speaking of social media, there are a number of art collector groups on places like Facebook, and many that share art and discuss it regularly. Avail yourself of these resources.
There’s so much harshness and pain already on the internet. But art online, as it does in life, reminds us of the greatness of our humanity and achievements through creativity. For the folks who really connect, having a little bit of that at home can help balance out that other stuff in wonderful ways.
I agree absolutely, Eric! And thanks for making the trek to SFALive!
Oh, of course. Had to come, since Phil H. suggested we come out and visit as well, and we hadn’t seen each other for a bit. We of course saw you guys there (and again at the LeVine opening), but I tend to keep to myself most times.
That said, your post finally prompted me outing myself a bit here. I’ve almost responded to a number of threads over the years, but this one was super personal.
Events like SFA really make the hobby (lifestyle?) of art collecting so much more than just some images hanging on the wall. And for someone like me, gets my wife and I out and about mingling with like-minded persons. SOmething it’s harder to do on a day-to-day basis.
I mean, let’s be honest, it’d be a whole lot cheaper and fiscally wise to stay home, collect artist prints, and save the bulk of our money for those rainy days. But then, that’s not how art collectors are wired. Not in my experience anyway.
The collectors that stay interested are truly devoted to the medium, the process and have deep profound connections to the work. Otherwise, there’s so many better investments than art, fiscally speaking. But that 401k and that Apple stock isn’t quite the salve to the soul that the right drawing or painting can be. And how does anyone put a price on that?
I just wanted to jump in and encourage others. It seems like a daunting task, and it seems like such a luxury. And it IS. But it’s often less about the money, and more about the daily experience of living with work that touches you.
And that is not at all to knock prints, which can be a great alternative for those who can’t haven’t yet had the opportunity to collect originals. But my advice for any budding and would-be collectors is to be patient, mindful and watchful. A $25 print isn’t a big expenditure for most people. But factor in framing, and the rest, and it could easily sprout to $125-400 depending on how overboard you go on framing. That puts you firmly in OA territory. Everyday Original, and otherwise.
Heck, many people can’t survive the day without their morning coffee. But shaving a few off every once and again, over the course of a year can put us in OA territory, depending on the artist, and what strikes a chord.
The trick is to be choosy. It’s so easy to jump in and grab a little here and there, and before you know it, you’ve spent far more in a year than you’d have thought you would. And then assessing what work you could have bought for the same money spent… some people like lots of small pieces. Some like one or two big pieces. And art seems like such an insider sport. It really isn’t, if people just ask questions and reach out. Either to the artists, other collectors that have work they like, etc.
I think most collectors like to talk about their collections, and artists. Again, it gets back to that passion, respect and admiration. And really how often does the plumber come into a hours and want to talk about Tony DiTerlizzi, or Dave McKean, etc? Well, sometimes. But more often then not, collectors love these conversations.
I just want to encourage anyone reading Arnie’s thoughts to take them to heart. I was lucky and got hooked young. So I’ve been buying art since the early 90s. I’d wager Arnie and Kathy have been at it a tad longer.
Hell, if you guys hadn’t published some of the work I found in those early issues of Spectrum, via the local book store, I’m not 100% convinced my collection would be where it is today. So thank YOU both.
What you said, Eric. Heck, everything you said. You took the words from my mouth (which is a little unsanitary but you get my meaning). More and more these days I try to buy from living artists, even though some of my very favorites are no longer with us. And SFAL is indeed like the enchanted goblins’ market place for art collectors. I was able to comission a wonderful sculpt by Thomas Kuebler after meeting him there. As you (and Mssr. Fenner) say it’s the stuff that touches the heart that makes it. The Japanese have a saying that you never laugh when you’re by yourself, implying that you’re crazy if you do. But I have found myself just chuckling for joy while looking at a piece of fantasy or horror art that I was very lucky to score. Thanks again for your responses here. You put what I have thought better than I ever could have.