What you see: Original artwork for page 33 of the Volume 2, Number 14 issue of The Sandman, which was released in March 1990. Penciled by Mike Dringenberg and inked by Malcolm Jones III, Hake’s Americana & Collectibles estimates it at $5,000 to $10,000.
The expert: Alex Winter, President of Hake’s Americana & Collectibles.
How often do original pieces of art from the Sandman series of comic books come to auction? The Sandman is its own universe at this point. The basis of The Sandman is the 75 [issues] plus one special that ran between 1989 and 1996. [There are also two later series.] Upwards of 2,000 original pieces of art could come from that series. We don’t know how many have come on the market, but we’ve had two. It’s safe to say it’s a fraction of what was created for the comic book.
I see three images with the lot. Is that what the winning bidder gets, or are some of the images there solely for context? You just get the first piece [the piece on the left of the three shown with the lot]. The next image is a detail of the panel, and the next is the cover of the comic book it was published in.
The lot notes says there are seven panels in the original art, but I only see five. Where are the two that I missed? The middle panel of the bottom three panels, the Fun Land panels, has three different narrative scenes in it. [It looks like one panel, but it counts as three.]
The lot notes say the artwork contains a “splash panel.” What is a splash panel, and why might the artist have used one here? In the beginning stages, it meant a full page of art. As it evolved [it came to mean] a bigger than normal panel. A true splash is one full page, one scene, almost like a cover.
The illustration at the top, of Dream holding Rose Walker, is the splash panel? Yes.
Why might Dringenberg have used a splash panel here? That’s a question for the artist, but what’s interesting about The Sandman is the different artists he [Neil Gaiman] used, and their styles are all incorporated with the comic book. He worked closely with the artists and co-created with the artists. The Sandman series let them do different things no one had seen in comic books before. It was a groundbreaking series. Gaiman picked artists with very different styles for different story lines. There were no rules. Every artist was very distinct, and not every artist did a complete story line. The Doll’s House story line [depicted in this panel] ran from issues nine to 16.
The art comprises two boards that together measure 11 inches by 17 inches. Is that typical for art created for comic books? No, it’s never been a typical practice. Usually there’s one sheet and that’s that. It’s not like it’s never been done by anybody before, but it’s not the norm, no.
Why might Dringenberg have done that here? I guess it’s his artistic process. Maybe it was easier for him to do this and put it on the page. I would think the effect [of the splash page] is the reason why it was done the way it was done.
And Dringenberg did the watercolor effect we see behind Dream and Rose Walker? It’s all him. It’s not penciled in by anybody else. This is a guy who did many different things, unlike a comic book artist. Usually, comic book artists who paint just paint, and those who draw just draw. He mixed media together, which is why his art is well liked. It’s different and quite striking. What makes the page so nice is that top panel.
Could you explain why most comic books have a pencil artist and an ink artist? Many times an artist does pencil and another does ink. Sometimes one does it all. You look for a team that works together and makes a page look cohesive. Here, Dringenberger did the penciling and Malcolm Jones III came in over the top of the penciling [with ink] and made it more detailed.
What is happening on this particular page? What is happening in the story? The Sandman is a very tough series to describe. It’s very deep, very literate. It won awards that no comic book had won before. It’s on another level in many different ways. There might have been stand-alone issues, but most were multi-story arc issues, with three to four [storylines] in an issue. Some comic books can be summed up as “Batman beats Superman.” With The Sandman, you can’t say that.
The page shows three characters from The Sandman–Dream, Rose Walker, and Fun Land. Which one do collectors most want to see? Dream is the lead character of the series. His official name is Morpheus, but he’s also called Dream and The Sandman. Every time you have the Sandman, it’s desirable. The top splash panel makes it unique. As a collector, it’s what you look for.
Dream is depicted planting dreams in the other characters’ heads. Does that make the original artwork more interesting to collectors than panels or pages that show Dream doing other things? It’s something he was known to do, yes. It’s more interesting. As a Sandman fan, it’s an element that I like.
Did Neil Gaiman have veto power over the artwork that was created for The Sandman comic book? I don’t know his work process, but I think he would have been right there with the artist every step of the way. I think he picked artists who he knew would work well. It was a collaborative process.
Is there any indication that Gaiman asked for changes or edits to the artwork that we see in this panel? No, there’s no indication of it here.
Do collectors of original comic book art for The Sandman have a preference for a specific era within the series, or do they go after everything and anything because so little has come to auction? It’s a combination of it being so rare, and I don’t think you’ll find Sandman fans who don’t like the entire run. It had a definite story line. It didn’t go on and on. It was very much Neil Gaiman’s creation. People who love Neil Gaiman love everything he did. Some fans of Sandman go for one page from every artist associated with the series. Then it comes down to the fact that relatively few pages have come to market.
Where are the rest of the hundreds of pieces of art used to create the original 75-plus-one-special series of The Sandman? Are they with the artists who made them, or with DC Comics, which published the series, or with Neil Gaiman…? That’s a question probably everybody is asking, because there are so few pages that have come up. One of the other artists on the series, Jill Thompson, she had some Sandman art herself and sold it. It’s a combination of Neil Gaiman probably kept some art and the artists certainly kept some art. DC, I don’t know. It’s one of the great questions–where is it, who has it.
The owners have generally been closed-mouthed? Typically, if the artist has the art, it’s not a big secret. I don’t know if it’s a well-kept secret or if the question has never really been asked of the right people. There could be plenty in the hands of private collectors that we don’t know about, either.
How did this panel come to you? This and another killer piece, the Rob Liefeld Deadpool, came from the same person. He passed away, and the family liquidated. The story from the family is he bought it at a comic book convention in the early 90s. I don’t know if he bought it from a dealer or the artist. It’s been off the market since it was created. That makes it more desirable. It is, as they say, fresh to market.
The lot notes describe the panel as “clean.” What does “clean” mean here, when we’re talking about a functional piece of art that wasn’t created to be collected? It’s a term that lets you know it was well cared for. The art has no notable defects or blemishes.
What’s the current auction record for an original piece of comic book art for The Sandman? It’s a hard thing to track down because some auction houses don’t track results. Heritage Auctions sold the paperback cover art to Sandman: Preludes & Nocturnes for $26,290 in 2017, but it’s technically not from the original run. The next result Heritage had happens to be from page 30 of Number 14, the same issue we have. It sold for $13,145 in 2014. That was five years ago, and the market has changed dramatically. I’d love to say we’ll exceed what they got. The fact that it’s already at $6,000 bodes well, but it’s hard to predict where it will end up. [The Heritage example] didn’t have a splash, but it had Dream in every panel, and it’s very distinct.
Yes, let’s talk about how the lot is doing. We’re conducting this interview on February 26, 2019. The online bids are just above $6,000, with 15 days to go until the auction closes. Is that meaningful? To have a piece jump off to where it is already does bode well. I personally like to see an item take off early. Usually, it translates to more action in the later days, but not always. A lot of art guys are used to bidding feverishly in the final hours.
What is this piece like in person? You definitely get the impact of it. The splash takes it to a different dimension.
How does this panel from The Sandman compare to the other two sold at Hake’s? The other two we had were very nice. The Jill Thompson brought $7,000 in 2014, and the Sam Kieth featured a character, John Constantine, who existed [In the DC Comics world] previous to The Sandman. There was no Sandman character, but it still brought $3,500 in 2015.
Why will this piece stick in your memory? The splash art at the top makes it different from the run of the series. This one you look at and boom, you focus on the top panel. Even if you’re a fringe comic book person, if you see it hanging somewhere, you think, “Oh, that’s Sandman.” There was stunning art through the whole run. As much as The Sandman was about the writing, the artwork is spectacular. With comic books, sometimes the art is great but the story is just ok, or the art is just ok but the story is great. With this, all 75 issues plus the special are great. It never jumped the shark. I’m a lifelong comic book geek. If someone came in and asked me, “What should I read?” I’d hand them The Sandman.
Image is courtesy of Hake’s.
Alex Winter spoke to The Hot Bid previously about a record-setting 1978 Obi-Wan Kenobi action figure and a 1939 copy of Batman’s comic book debut, which ultimately sold for almost $570,000.
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