Dave Gibbons Archives - Robot 6 @ Comic Book Resources
Events | The British Library is staging a “long overdue” exhibit on comics, called “Comics Unmasked: Art and Anarchy in the U.K.,” which will feature comics in a variety of genres from the 19th century to the present. Featured items include The Trials of Nasty Tales, which chronicles the 1972 obscenity trial of the editorial staff of Nasty Tales. “I went to a very traditional school where they would raid desks and take comics off to the orchard to burn them,” said Dave Gibbons, one of the contributors to The Trials of Nasty Tales. “Fast forward 40 years and they now invite me to the school to lecture on graphic novels.” The exhibition runs May 2-Aug. 14. [The Guardian]
Conventions | Registration begins Friday for the Small Press Expo 2014 Exhibitor Table Lottery, a new system designed to both bring the old process into the 21st century and address rapidly increasing demand. Online registration will continue through Feb. 14, with lottery winners announced on Feb. 21. There’s a good deal of information to absorb, but convention organizers have created a lottery FAQ. [SPX]
Publishing | Reports of the demise of Ape Entertainment turns out to have been premature. The company, which had one of the bestselling digital comics a few years ago with Pocket God, has been quiet of late and recently canceled a number of outstanding orders. However, COO Brett Erwin emerged Tuesday to say the publisher is simply going through a period of reorganization after the departure of CEO David Hedgecock, who now works for IDW. Ape will release a new Fruit Ninja comic at the end of the month. [The Beat]
Legal | Ecuadorean cartoonist Xavier Bonilla has received a court summons on unspecified charges that seem to relate to a cartoon that President Rafael Correa finds offensive. The case was brought by Ecuador’s new media regulator; Correa has stepped up attacks on the press in recent years, and the newspaper that runs Bonilla’s cartoons, El Universo, has been prosecuted in the past. [Business Standard]
Censorship | Michael Dooley looks at successful and unsuccessful attempts to remove comics from schools and libraries over the past 13 years; this short roundup is informative in its own right, and it’s apparently a sidebar to a longer article that’s not available for free. [Print Magazine]
Legal | As the dust begins to settle on the ruling last month by a federal judge that Arthur Conan Doyle’s first 50 Sherlock Holmes stories have lapsed into the public domain in the United States, out march the analyses pointing out the buts. Chief among them, of course, is the possibility of appeal by the Conan Doyle estate, which contends the characters were effectively incomplete until the author’s final story was published in the United States (the 10 stories published after Jan. 1, 1923, remain under copyright in this country until 2022).
However, Publishers Weekly notes that because U.S. District Judge Ruben Castillo didn’t rule directly on that “novel” argument, the estate may be satisfied with the ambiguity of the decision, given that uncertain creators still may seek to license the characters to steer clear of any trouble. Estate lawyer Benjamin Allison also insists that the Sherlock Holmes trademarks remain unaffected, an assertion that puzzles author and scholar Leslie Klinger, who brought the lawsuit. “There is a very good reason why the Estate did not assert trademark protection: The Estate does not own any trademarks,” he told PW. “They have applied for them, and there will be substantial opposition.” There’s more at NPR, The Independent and The Atlantic. [Publishers Weekly]
I’m very fond of the output of artist David Roach. The Welshman has been an on-off contributor to 2000AD since 1988, as well as regularly working as an inker on the strip features in Doctor Who Magazine. I don’t remember him working much recently in the United States, where he regularly turned up at DC and Dark Horse both as a penciler and inker. He comes from a family of academics, and has been developing a parallel career of late as something of a comic book and illustration historian.
Roach regularly uses his Facebook page as an art blog, showcasing artists of all stripes, just as likely to be a fine artist as a comic illustrator, as well as occasionally featuring art from his own collection. This week he has been displaying scans from what he calls “surely the rarest collectible in the comics history.”
Publishing | ICv2 has one of its periodic Big Interviews with DC Co-Publishers Dan DiDio and Jim Lee, this time covering how new readers are finding digital comics, how variant covers are working and graphic novel sales in bookstores, among other topics. Here’s Lee’s rather elliptical take on the flurry of recent changes in creative teams: “Without getting into the specifics, from the outside looking in, it might look like there’s a string of changes that point to one common theme, as you suggest. But from the inside looking out, you’ll see that each one has a different set of circumstances and conditions that ultimately led to the conflicts or the resignations or changes in creative personnel.” [ICv2]
Retailing | ICv2 also reports that Amazon and Overstock.com are having a price war on graphic novels, and readers are the beneficiaries. The website did a little shopping around and found a handful of graphic novels priced at up to 70 percent off full retail. [ICv2]
DC Comics is calling June “Superman Month,” but next week is Snyder Week. The first issue of Scott Snyder and Jim Lee’s Superman Unchained arrives next Wednesday, and the premiere of director Zack Snyder’s Man of Steel premieres in most places two days later.
Therefore, because there will be a lot of Superman talk coming down the pike, I thought I’d get mine out of the way early.
* * *
One thing that comics blogging has taught me is a healthy respect for the roles (including the rights) of creators. Creators’ rights aren’t unique to comics, of course, but you really can’t talk about the history of superhero comics, or the development of corporately handled superheroes, without at least acknowledging the people who first introduced the concepts. In this respect Superman is a special case, because he seems to have developed past his creators’ original idea (or, certainly, past the original parameters) into something Jerry Siegel and Joe Shuster might never have imagined — and people seem pretty cool with that, in a way that perhaps doesn’t apply to similarly long-lived characters.
You may have already heard about Orbital Comics’ Image Duplicator art show in London (probably via this piece at The Beat): This story is right in my wheelhouse, but I was resisting writing about it until there was a large enough stockpile of art from it to present here. The show is a reaction both to the recent Roy Lichtenstein exhibition at the city’s already-iconic Tate Modern gallery, and to the BBC’s coverage of the event (which I wrote about at the time elsewhere).
Dave Gibbons is a long-standing critic of Lichtenstein (you can find footage online of him complaining about what he calls Lichtenstein’s “dishonesty” from as far back as 1993). Gibbons appeared on the BBC’s documentary to put the case for the accusations of plagiarism that may always dog Lichtenstein’s reputation. The segment featuring Gibbons debating with presenter Alastair Sooke was filmed in front of the famous “Whaam!” canvas. Sooke was all too dismissive of Irv Novick, somewhat deriding his work in order to flatter Lichtenstein. It seems odd Sooke chose to criticize Novick’s compositional decisions and praise Lichtenstein’s, when every element of Roy’s piece was lifted from Irv’s. Anyway, these new perceived slights seem to have been enough to stir Rian Hughes, Jason Atomic, and the Orbital Gallery regulars into action.
Conventions | Small Press Expo organizers apologized to exhibitors for the problems they experienced trying to register for the show. Despite several server upgrades ahead of time, the site went down when the “tsunami” of applications hit on Sunday morning. They then opened up PayPal to take the table orders, but they were unable to shut it down when all the tables were sold. They are sorting it out now, and if the tables were oversold, refunds will be issued. Roger Langridge depicted his registration experience on his blog. [SPX Tumblr]
Publishing | After 13 years of publishing and promoting yuri manga, Erica Friedman is stepping down as Yuricon events chair and giving up on publishing: “I can’t afford print, you don’t want digital, the JP companies won’t talk to me and all the many differences between JP publishers and US fans are so huge and insurmountable. I don’t have the energy or clout or money to bridge the gap.” [Okazu]
– Dave Gibbons, responding with humor to the news that his original cover art for Watchmen #1 fetched $155,350 at auction on Friday, many times what he originally sold it for. (As the artist recently noted, the covers were included in an agreement for the original pages to all 12 issues of the landmark series.) “I thought I had a great deal. At the time,” he added in response to a tweet.
The original covers for the first three issues brought a total of $216,892.50 at the New York City auction. The covers for Watchmen #4-12 are expected to be put up for sale later this year.
Vintage comics and original comic art brought in $4.4 million over the weekend during a Heritage auction in New York City, Artinfo reports. Among the bigger sales were a CGC-graded 6.5 copy of Detective Comics #27, for $567,625, and John Romita Sr.’s original cover for The Amazing Spider-Man #121, which fetched $286,800.
As we noted on Friday, Dave Gibbons’ original cover art for Watchmen #1 sold for $155,350, with the first three covers going for a combined $216,892.50. John Higgins’ color guide for the first cover was bought for $7,767.50. The remaining covers for the 12-issue landmark series are expected to go up for auction later this year.
Wired.com delves into the history of the 12 covers, which were purchased at a Sotheby’s auction in 1993 by former Wizard Publisher Gareb Shamus for what’s been reported to be in the neighborhood of $26,000. The article doesn’t repeat that figure, but it does say what was paid was “a bargain price” (for instance, Higgins’ color guide for the cover of Watchmen #1 was picked up for $50, which was then five to 10 times the usual price).
Dave Gibbons’ original cover art for Watchmen #1-3 sold today at auction for a combined $216,892.50. The first cover, featuring the iconic blood-splattered smiley face, was responsible for the lion’s share of that total, bringing in $155,350 alone. They were joined by John Higgins’ color guide for the cover of Watchmen #1, which went for $7,767.50.
Part of the $1.4 million Shamus Modern Masterworks, accumulated in the 1980s and ’90s by retailer Martin Shamus, father of Wizard magazine founder Gareb Shamus, the Watchmen covers were included in Heritage’s Heritage’s Vintage Comics & Comic Art Signature Auction, held today and Saturday in New York City. Consigned last year to Heritage, the collection already has produced one remarkable sale: Todd McFarlane’s original cover art for The Amazing Spider-Man #328 fetched $657,250 in July, breaking the record for a single piece of American comics art set in 2011 by a splash page from The Dark Knight Returns #3 ($448,125).
Heritage’s Vintage Comics & Comic Art Signature Auction also includes John Romita Sr.’s original cover art for The Amazing Spider-Man #121, an original Calvin and Hobbes strip by Bill Watterson, and 10 pages from Dave Sim’s Cerebus: High Society.
Gibbons’ covers for Watchmen #4-12 reportedly will be put up for sale later this year.
Asked by A Moment of Cerebus whether the sale was part of the “Doomsday Scenario” he outlined last summer in Glamourpuss #26, Sim explained, “Well, in a sense, when you’re 57 years old in the comic-book field, everything is a Doomsday Scenario. I set this in motion by calling Lon and finding out if Heritage was interested, which they were. Very. So, that was very gratifying. But you have to start early. It’s a long process of negotiation and I knew that would be the case. I set that in motion and then John and I did the Kickstarter campaign which didn’t require AS early a start. It was successful but I guessed the money wouldn’t last much past the end of the year with all the overhead and that was what happened. Lon and I weren’t ready for the November auction which is what we originally planned. There was still some negotiating to do. But we were ready for the February auction. Lead time. Everything is lead time.”
Bidding continues online through Thursday, with the sale scheduled for Friday in New York City as part of Heritage Auctions’ Vintage Comics & Comic Art Signature Auction.
The iconic blood-splattered smiley face cover for Watchmen #1 is among a handful of original artwork from the seminal 1986 miniseries by Alan Moore and Dave Gibbons up for sale next month as part of a Heritage Auctions signature auction in New York City.
Described by the auction house as “historic” and a “DC masterwork,” the 10-inch by 15-inch image is joined by Gibbons’ covers for Watchmen #2 and #3, John Higgins’ color guide for the cover of Issue 1, a page from Issue 7, and a page and color guide from Issue 8.
The pieces are part of the $1.4 million Shamus Modern Masterworks, accumulated in the 1980s and ’90s by retailer Martin Shamus, father of Wizard magazine founder Gareb Shamus. Consigned last year to Heritage, the collection already has produced one remarkable sale: Todd McFarlane’s original cover art for The Amazing Spider-Man #328 fetched $657,250 in July, shattering the record for a single piece of American comics art set in 2011 by a splash page from The Dark Knight Returns #3 ($448,125).
Online bidding for the Watchmen art begins Feb. 2. The auction will be held Feb. 21-22 at the Ukrainian Institute of America at The Fletcher-Sinclair Mansion in New York City.
“It’s a more serious version of Superman. It’s not like a heart attack. We took the mythology seriously. We take him as a character seriously. I believe the movie would appeal to anyone. I think that you’re going to see a Superman you’ve never seen before. We approached it as though no other films had been made. He’s the king-daddy. Honestly that’s why I wanted to do it. I’m interested in Superman because he’s the father of all superheroes. He’s this amazing ambassador for all superheroes. What was it about him that cracked the code that made pop culture embrace this other mythology? What we‘ve made as a film not only examines that but is also an amazing adventure story. It’s been an honor to work on. As a comic book fan, Superman is like the Rosetta Stone of all superheroes. I wanted to be sure the movie treated it respectfully.”
– Man of Steel director Zack Snyder, discussing his upcoming reboot of Warner Bros.’ Superman franchise, as well as his 2009 adaptation of Watchmen