The art eventually stopped being discarded, and in the 1970s it generally became policy to return the covers and pages to the artists, many of whom began selling it to fans and collectors, who are hungry for it. Last month the cover of Weird Science No. 16, from 1952, drawn by Wally Wood, sold for $200,000. In February an inside black-and-white page from the 1963 X-Men No. 1, by the influential Jack Kirby, sold for $33,460. Late last year two color paintings by Alex Ross, used as covers for a recent Justice League story, were sold by his art dealer for $45,000 and $50,000. In 2005 an auction for the black-and-white cover of Batman No. 11, from 1942, by Fred Ray and Jerry Robinson, closed at $195,500.
§ Brian Heater interviews Ralph Bakshi
Yeah, Crumb—yes. That’s a very good question. When I did the Dr. Suess’s Butter Battle, I respected Suess—Ted Geisel. There wasn’t that material in Fritz—in other words, Fritz didn’t have that depth. It was cute, it was sweet, but there was nowhere to put it. That’s why Crumb hates the picture, because I slipped a couple of things in there that he despises, like the rabbis—the pure Jewish stuff. Fritz can’t hold that kind of commentary. Winston is “just a typical Jewish broad from Brooklyn.” There was nothing—it was cute and well-done, but there was nothing that had that much depth. With Traffic, Michael who had never gotten laid and was going out with a black girl, and his father’s an Italian racist, and his mother’s Jewish—we set up a situation that’s vibrating with undertones. Fritz didn’t have that. And they’re animals. They’re cut little animals. There wasn’t the depth to Fritz. I couldn’t get there if I wanted to.
§ Of all the panels at Heroes Con NOT to be recorded, it had to be the Jaime Hernandez/Jim Rugg/Frank Santoro discussion on craft in comics.
§ Preview: What will the studios present at Comic-con?
§ This analysis of summer box-office shows comic book movies pulling their weight.