NEW YORK – Comic books have long fulfilled many needs from young children learning to read to adults seeking entertainment or escapism. Created for adult tastes, underground comics have all the appeal of their more straitlaced counterparts but set out to be revolutionary. With titillating covers and subversive topics, the most sought-after of these were Zap Comix, which proclaimed from its first issue that it was breaking new ground, printing on the cover “For Adult Intellectuals Only.”

Underground comics sprang from the youth counterculture movement in the late 1960s and while Zap Comix was not the first, it is well known. Its name (comix vs. comics) is not merely phonetic but spoke to the co-mixing of comics with raunchy art, dirty jokes and provocative storylines.

Alex Winter, president of Hakes’s Auctions in York, Pennsylvania, said the underground comics world embraced the counterculture movement of the time and reveled in all things subversive. “No topic was off limits from political views to drug culture to the sexual revolution and all points in-between,” he said. “While the comic book world was not without controversy over the years, what was printed in the pages of the underground comics was like nothing that had come before it. It set the stage for what would follow in the coming decades as far as taking content and subject matter to new limits and further shaking up the establishment.”

Arthur S. Nusbaum, founder of Third Mind Books in Ann Arbor, Mich., said one must first consider the emergence of underground in the wake of their countercultural predecessors – the writers of the Beat Generation – and in the heady milieu of late 1960s San Francisco in which Zap Comix first appeared. “By the late 1950s, New York City was not the only countercultural hotbed for literary or artistic insurgency then flowered or blooming,” he said.

In 1963, poet-publisher-printer Charles Plymell was based in San Francisco with Neal Cassady, known to most as the muse or “hero” famously depicted in Jack Kerouac’s On the Road, according to Nusbaum. Plymell’s peer group comprised Beat Generation luminaries like

Allen Ginsberg, and being a printer/publisher afforded him unfettered access to a large group of like-minded poets, activists and intellectuals.

Arguably the most controversial – and most well-known – of all the underground comics artists was Robert Dennis Crumb, who shared his story in volume V of The Complete Zap Comix (Fantagrafics Books Inc., 2014), explaining he drew one issue in October 1967 and one in November. “Don Donahue, publisher of Apex Novelties, saw the original art for Zap and really liked it. Donahue knew Charles Plymell, an old hipster poet who had a small offset printing press,” Crumb was quoted as saying, adding that Donahue funded Zap’s first printing in early 1968 by trading his $300 tape recorder to Plymell. “Plymell was the printer of the early runs of the most-important issue of Zap Comix, Zap Comix No. 1, and Crumb did write and ‘draw’ the entire issue himself,” Nusbaum said.

What makes one issue more valuable than another? Just like other comics and printed matter, first and foremost are printings and condition. Most sought after are first printings in high grade of key issues, Winter explained. “Many Underground titles saw multiple printings and some are not so obvious but there is now a wealth of information on the subject, so it is key to make sure of the printing you have or are searching for,” he said. “Robert Crumb is certainly the most recognized name in underground comis, and the most collected, but there are so many legendary names that were a part of that movement and command just as much attention such as Gilbert Shelton, Robert Williams, S. Clay Wilson and Spain Rodriquez just to name a few.”

Nusbaum echoed his comments, saying, “Early issues of Zap don’t necessarily have value because they just contain Crumb ‘artwork’ and Crumb actually isn’t even the best artist of those that contributed to Zap as it went along. His contemporaries, including the great Robert Williams, were far better artists than Crumb ever was,” he said. “What Crumb did was combine the countercultural sentiments of the Psychedelic Revolution – namely a prescription to the psychological beneficence of psychedelic drugs on one’s worldview – the literary angle of the Beat Generation (as exemplified by this partnership with Plymell) – and the sexual revolution that went part-and-parcel with both of those.”

The legacy of Zap Comix is widespread and echoes today. “Zap is fun, educational and historically important because it’s virtually the first time the counterculture began to laugh at itself in order to learn from itself. It’s the counterculture, commenting on the counterculture,” Nusbaum said.

A product of its time and place in the birthplace of counterculture, San Francisco, Zap Comix influenced artists worldwide, changed how comics are created (graphic novels might not otherwise exist today) and they continue to inspire nonconformists and enthrall collectors today.

In the early days of comic-book production, publishers probably never imagined their products would become valuable collectibles. Comic books were considered ephemeral – something to be discarded after they were read. Little thought was given to making them last beyond their intended usefulness. They were printed on cheap, acidic newsprint that quickly turned yellow and brittle.

A few wise collectors were successful in preserving their old comic books. We know this because of the small number of pristine, early copies that only infrequently come to market.

Who thought to carefully preserve a copy of Action Comics #1 (Superman’s debut) when it published in June 1938? Those who did take pains to store their copies with future value in mind were visionaries, considering what this title is worth today. A CGC-certified 9.0 example of Action Comics #1 was sold by Pristine Comics via eBay for a record-setting $3,207,852 in 2014 – the highest price ever paid publicly for an American comic book. More than one copy of Action Comics #1 has sold for seven figures, and it’s the only title with multiple specimens confirmed to have sold at or above $1 million.

Want more mindboggling reasons to take care of your old comics? A CGC-certified 8.0 copy of Detective Comics #27 (May 1939), which features the first appearance of Batman, was sold by Heritage Auctions in 2010 for $1,075,500. It was the first comic to break the million-dollar mark in the open marketplace.

Even The Amazing Spider-Man #1, published in March 1963, has risen rapidly in value. A condition-9.6 example of this title sold for $262,900 at a 2016 Heritage auction. However, Amazing Fantasy #15, which introduced the enduring character Spider-Man before he was given his own dedicated comic book title, is worth far more. A CGC-certified 9.6 copy of Amazing Fantasy #15 sold for $1.1 million on ComicConnect.com in 2011.

Twenty years younger than Action Comics #1 or Detective Comics #27, Amazing Fantasy #15 is by far the most recent comic book production to top $1 million – a testament to Spidey’s enduring popularity. From a standpoint of market observation only, it’s interesting to note that five years later, in 2016, Heritage auctioned a CGC-certified 9.4 copy of Amazing Fantasy #15 for $454,100. This might suggest that the market thought the previous $1.1 million price came a little too soon for the title, but it nonetheless supports the long-established pattern of six-figure prices for this issue.

So now you know what some of the most coveted comic books can sell for. Here are steps recommended by the Overstreet Comic Book Price Guide to help preserve your paper collectibles:

Store comic books in a cool, dark place, while maintaining a low and stable relative humidity – around 50 percent. Fungus and mold thrive in hot, humid conditions. Never store comic books in a basement or anywhere where they might be exposed to flooding. And never store them in an attic, where hot, dry conditions will damage the paper.

Direct light will quickly damage comic books. Store them away from direct light, especially sunlight and fluorescent light, which contains high levels of ultraviolet radiation. Limit their exposure to other types of light sources as well.

It is important to protect comic books from atmospheric pollution. As extreme as this may sound, avoid exposing comic books to air. Sulfuric dioxide, emitted by automobile exhausts, will cause paper to turn yellow. For that reason, storing comic books in or close to a garage is not recommended. To minimize exposure to atmospheric pollution, comic books should be stored in Mylar sleeves. Polypropylene and polyethylene bags, while safe for temporary storage, should not be used long-term.

Comic books should be stored vertically in acid-free boxes to preserve flatness and spine tightness. Only acid-free backing boards should be used inside the Mylar sleeves.

Following these simple steps will ensure a comic book collection will last for at least the owner’s lifetime.

Our thanks to the experts at Hake’s Auctions for providing the record prices and other statistical information included in this article.

The reign of comics-infused and comics-generated forms of entertainment not only continues, it’s also growing. A visit to your local movie theater will confirm this fact. So far this year, the three top moneymakers at the boxoffice are: “Black Panther,” “Avengers: Infinity War,” and “Deadpool 2.” All are based on comic-book heroes.

Similar events are happening in the auction universe as well, as original comic art continues to create excitement with bidders around the world. One of the peripheral benefits is that fans are becoming more familiar with the artists and writers who’ve developed comic-book culture for more than seven decades. Of course, for those who’ve been enamored with comic books and comic art for a long time, there’s a bit of, “What took you so long,” and also, “We told you so.”

To help gain a better understanding aspects of collecting original comic art we turned to Comic Art Specialist Sean Rutan with Hake’s Americana & Collectibles. In the discussion that follows, you’ll learn at least five things you should know about collecting comic art.

Tip 1: Become familiar with the work of various comic artists. Many of them produced vast volumes of work appearing in the evolution of comic books.

Who are a couple of artists from the Golden, Silver, and  Bronze eras that are most sought after by collectors today?

The big names in the early days of the collecting hobby were the comic-strip masters and/or the creators who bridged the gap from strips to comic format. (George) Herriman, (Hal) Foster, (Alex) Raymond, (Winsor) McKay, (Milton) Caniff, and (Walt) Kelly, among others, were the big names in early strip art. From there, the bridge moved into comics with the contributions of (Will) Eisner, (Mac) Raboy, (Jack) Cole, (Alex) Schomburg, (Dick) Sprang, and a slew of others. All of these names are giants in the medium, and their art (when you can find it) is valued accordingly. The unfortunate reality is that most of the Golden Age art seems to have been lost to history, with a large percentage of it destroyed by the publishing houses who valued the copy value but not the originals themselves.

In between the transition from the superhero-dominated Golden Age and the similarly-themed Silver Age, many of the great horror-comic artists (especially “Pre-Code”) made an impact that is still coveted by collectors to this day. So, too, did the crew over at Mad Magazine. The team at Mad included artists (Jack) Davis, (Reed) Crandall, and (Graham) Ingels, among others.

Several artists who earned their stripes in the Golden Age continued their greatness into the Silver Age. Jack Kirby was the creative dynamo behind much of Marvel’s “House of Ideas” era, and his art from the ‘60s is definitely in the emerging “fine-art” level seen in today’s market. Carmine Infantino’s cover layout skills defined the look of DCs books for a decade as well, while Curt Swan was the artist who defined the face of Superman for a generation. Original artworks by both Steve Ditko and Wallace Wood are coveted for both their unique style and relative scarcity, especially in the superhero genre. The latter part of the era saw the emergence of John Romita Sr, John Buscema, Gene Colan, Neal Adams, and Jim Steranko. Their Silver Age art commands top dollar whenever it hits the market.

The Bronze Age market is arguably the current “hot era” in original art collecting, largely due to the fans of this era being at the perfect point in life where they’re still actively building their collections (versus the liquidation you see from older collectors) while also being right in their prime earning years. Big names from this era include Frank Miller, Bernie Wrightson, John Byrne, Jim Starlin, and many others who were in the forefront as the Bronze Age turned to the Copper Age and then into the Modern Era.

The reality is that there are so many great comic artists and creators from these past eras that it would require an entire book to give them the due they deserve. In my response alone I’ve missed two of the highest-priced recorded sales in the entire hobby with Frank Frazetta and Todd McFarlane, whose cover art has sold in the seven-digit and six-digit range respectively. There are too many greats to list and too many pieces of art that have sold for substantial dollar amounts.

Tip 2: Know why you collect and always be observant and willing to learn.

What are five essential tips you would give anyone buying original comic art?

1. Find a mentor who is already a successful collector and knows the game.

2. Know your “why.” Take some time to understand WHY you collect so you can identify the art that fits your real goals.

3. Observe and learn before leaping into the hobby, but also learn to recognize when to strike if a great deal presents itself.

4. Join the support structure that already exists, with things like ComicArtFans.com and the various Facebook groups and Internet forums.

5. Buy what you love.

Tip #3: Keep an eye on work by emerging artists as well. 

What are a couple of contemporary comic artists whose work appear to be poised for popularity in the collectible market?

This is the area of speculation that drives the modern wing of the hobby. I’m not personally great at this end of the spectrum, as I’m more of a “nostalgic” collector and similarly a bigger fan of history in general. That said, I really like the work of Chris Samnee, Jenny Frison, Rafael Albuquerque, Andrew Robinson, and many others.  I really enjoy Lee Bermejo’s work, too, though he already poised himself into popularity a few years ago

Tip #4: Keep in mind that various factors drive value.

When looking at the difference in the value of cover and interior-page art, what factors impact that difference?

This is a very nuanced question with a bunch of layers, so it’ll be tough to give a great answer in a short format like this. Historically speaking, covers have generated the highest prices on the market. Value-wise, the covers are then followed by splash pages (often the title page but can also be full-page, single-panel drawings), and then the interior sequential art.

There are caveats to this, such as an instance where the title splash is weak or dull, or a story as a whole is so highly regarded and coveted that the supply-and-demand factor throws some of these “rules” out the window, etc. You can also expect to pay much more for an interior page by a legendary creator than you would for a lesser-known cover. And keep in mind that certain inkers or penciler/inker teams will always command a premium.

In other words, the factors involved are the type of art (cover, splash, interior, prelim, etc.), the importance of the story from a historical standpoint, the artist(s) involved, the availability of comparable art, and the quality or visual appeal of the art itself.

    

Tip #5: The comic book auction market is creating a new level of interest and excitement. Which leads to opportunity.

How would you describe the auction market for comic books today?

In a word: aggressive. At literally every show or convention, I find myself having an “I can’t believe the prices. It can’t keep climbing. There has to be a top end!” conversation, and yet, the end hasn’t shown itself. I did get the feeling that the top end of the comic book market was possibly plateauing for a bit (Detective Comics #27 and Action Comics #1 sold for high-dollar amounts but were still below quite a few early estimates that I’d seen in collector groups, for example) but when we’re talking about funny books being sold for more than half-a-million dollars it starts to feel like splitting hairs. Many collectors have speculated that once a piece of comic art surpasses the million-dollar mark, we would see a whole new level of interest and an influx of new, serious buyers flood the market. I guess now we shall see!   

The aggressiveness of the current market is also one of the main reasons behind Hake’s approach to auctioning original comic art. We put a cap on the amount of art that we’ll list for each event so our consignors’ pieces stand out and don’t get buried in an avalanche of competing sellers. It is a somewhat slow and methodical approach, but our sellers appreciate it, as each and every piece gets maximum effort and marketing exposure. Beyond that, many of our bidders are aggressive collectors in OTHER genres and don’t normally follow comic art auctions, but they WILL bid on an interesting piece of comic art in our auctions if it somehow draws their interest. This cross-bidding is becoming more and more prevalent as comic art expands into higher levels of recognition. I’ve attached a few links to some pieces that I believe directly benefited from our unique approach.