A CGC 9.0 copy of Captain America No. 1 – a high point in the Merrimack Valley Collection, a recently discovered trove of Golden Age treasures – hit $716,750, leading Heritage Auctions’ September 24th – 26th Comic Books Signature Auction to a total of $8,425,785.
Combined with the September 25th – 27th Comic Art Signature Auction’s $9,748,344, the two auctions took in a combined total of $18,174,129 over four days.
Jerry Robinson’s original art for the cover for Detective Comics No. 68 from 1942, which featured Two-Face’s first cover appearance and second appearance overall, led the Comic Art auction, realising $475,000.
“The Merrimack Valley Collection is a wonderful discovery,” says Heritage Auctions Vice President Aaron White. “For an original-owner collection that spent the last 75 or 80 years in a cardboard box, the condition of the books was stunning. It was gratifying to see results prove that collectors appreciate top-condition examples of foundational Captain Americaand Batman issues.”
Original art from Frank Miller’s legendary run on Daredevil in the late 1970s and early ’80s prompted some fearless bidding. Elektra’s very first story appearance on Page 4 of No. 168 from 1981 was the second-highest priced lot of the Comic Art auction, landing $450,000; the title page of the same issue, hand-coloured by Steve Oliff shortly before his groundbreaking time on Akira, sold for $106,250. Page 35 of No. 181, depicting Daredevil’s rooftop showdown with Bullseye after the latter’s killing of Elektra, hit $325,000.
The first Daredevil appearance of Kingpin, aka Wilson Fisk, Matt Murdock’s definitive enemy, on Page 8 of No. 170 brought in $231,250.
Jim Lee’s cover of 1992’s X-Men No. 6 proved to be a modern era success, selling for $437,500. In addition to its action-packed depiction of popular characters Wolverine, Sabretooth and Lee’s signature Psylocke, it had been six years since Heritage last offered a Lee Uncanny X-Men cover and nearly 20 years since Heritage’s last fully rendered cover from Lee’s X-Men relaunch.
The cover art for Action Comics No. 22 from March 1940 by Superman co-creator Joe Shuster was an early Golden Age highlight of the Platinum Session, ultimately selling for $300,000.
Gene ColanandJohnny Craig’s Iron Man #1 Splash Page 1 Original Art (Marvel, 1968) sold for $187,500.00. This historic opening splash from the very first issue of Iron Man’s ongoing series pulls him out of one era and drops him straight into his own title. After nearly five years as the armored star of Tales of Suspense, beginning with Issue #39 in 1963, Ol’ Shellhead finally gets the solo spotlight, with Marvel’s bridge issue Iron Man and Sub-Mariner #1 leading directly into this debut.
Jack KirbyandJoe Sinnott’s Fantastic Four #56Klaw Cover Original Art (Marvel, 1966) realised $406,250.00, Klaw making his villainous return after first appearing in his civilian guise in FF #53, now showing his new, powerful persona for the first time.
Carl Barks’ 1974 oil painting Pick and Shovel Laborer, depicting Uncle Scrooge standing atop his fortune with the well-worn tools that earned it, made a small fortune of its own, picking up $275,000. Catalogued as Painting 21-74 and Barks’ 89th painting overall, the compact portrait appears on Page 311 of The Fine Art of Walt Disney’s Donald Duck. Its second life as a limited-edition lithograph and inspiration for an elaborate porcelain figurine makes it one of Barks’ most recognisable Scrooge portraits.
Peter Laird and Kevin Eastman’s wraparound cover original art for Teenage Mutant Ninja Turtles No. 50, “City at War,” a full-colour homage to the cover of TMNT No. 1, proved Turtle Power is as strong as ever with its $118,750 result. And in a terrific result for a final-session lot, Erik Larsen’s Page 3 story art for Spider-Man No. 20, featuring Deathlok, swung a $60,000 sale price.
Gary Larson’s art for the March 15, 1985, The Far Side panel showed socially insecure clowns can get results to rival those of just about any superhero. It realised $112,500, more than doubling the previous Heritage Auctions record of $51,600 for The Far Side art.
The Merrimack Valley Collection provided many of the highlights of the Comic Books auction. The second-finest known copy of Captain America No. 3, graded a 9.4, realized $268,400. Along with its classic Red Skull/bondage cover by Alex Schomburg, the issueincludes a text story by Stan Lee, his first work for Timely Comics. An 8.5 copy of Captain America No. 2 and a 9.0 copy of No. 5 both sold for $43,920.
Other significant treasures in the collection included the first nine issues of Batman. Its 2.5-graded copy of issue No. 1 realized $158,600, and its 9.0 copy of No. 9 – one of three copies at that grade with only three higher – went for $103,700.
Two other Batman issues from the collection rated a CGC 9.0: No. 7, which picked up $56,120, and No. 5, which sold for $39,040.
Outside of the Merrimack Valley Collection, four other lots achieved $100,000 or more. ACGC 8.5 issue of Wonder Woman No. 1, one of four at that grade with only two higher, realised $158,600. A CGC 2.5 copy of Fantastic Comics No. 3 and a CGC 9.8 copy of The Avengers No. 4, one of seven at that grade with none higher, each picked up $134,200.
Rounding out the six-figure club was a 7.0 copy of Amazing Fantasy No. 15, the 1962 issue that introduced Spider-Man to the world.
In an exciting sign for the hobby and a testament to Heritage Auctions’ position as the world’s leading Comics auctioneer, modern titles (1980 to the present) performed well in the auction.
One of just eight copies of The Amazing Spider-Man No. 252 to achieve a 9.9 from CGC, and just the fourth Heritage has been able to offer, realised $73,200. This 1984 issue was the first true introduction of Spidey’s black suit, which would take on a life of its own as Venom, and sports a Ron Frenz and Klaus Janson cover that pays homage to Amazing Fantasy No. 15.
A 9.9 copy of 2003’s The Walking Dead No. 1, which spawned one of the most popular entertainment franchises of all time, walked away with $56,120.
“It’s exciting to see these elite-condition examples of modern keys get such outstanding results,” says Heritage Auctions Vice President of Comics Rick Akers. “Serious collectors are eager to add modern titles to their collections along with Golden and Silver Age copies, which is a great sign of the hobby’s market strength.”
Results and images for all lots can be found at HA.com/7469 for the Comic Books auction and at HA.com/7470 for the Comic Book Art auction.
Heritage Auctions is the largest fine art and collectibles auction house founded in the United States, and the world’s largest collectibles auctioneer. Heritage maintains offices in New York, Dallas, Beverly Hills, Chicago, Palm Beach, London, Paris, Amsterdam, Brussels, Munich, Geneva, Hong Kong and Tokyo.
Heritage also enjoys the highest Online traffic and dollar volume of any auction house on earth . The Internet’s most popular auction-house website, HA.com, has more than 2,000,000 registered bidder-members and searchable free archives of more than 7,000,000 past auction records with prices realized, descriptions and enlargeable photos. Reproduction rights routinely granted to media for photo credit
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John is the founder of downthetubes, launched in 1998. He is a comics and magazine editor, writer, and Press Officer for the Lakes International Comic Art Festival. He also runs Crucible Comic Press.
Working in British comics publishing since the 1980s, his credits include editor of titles such as Doctor Who MagazineandOverkill for Marvel UK, Babylon 5 Magazine, Star Trek Magazine, and its successor, Star Trek Explorer, and more. He also edited the comics anthology STRIP Magazine and edited several audio comics for ROK Comics; and has edited several comic collections and graphic novels, including volumes of “Charley’s War” and “Dan Dare”, and Hancock: The Lad Himself, by Stephen Walsh and Keith Page.
He’s the writer of comics such as Pilgrim: Secrets and Lies for B7 Comics; “Crucible”, a creator-owned project with 2000AD artist Smuzz; and “Death Duty” and “Skow Dogs”, with Dave Hailwood.
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