Harleen Frances Quinzel, best known as Harley Quinn, has terrorized DC Comics since making her debut in 1992’s “Batman: The Animated Series – Joker’s Favor.”
Since then, her devilishly evil ways have gained quite the following.
Particularly on hobbyDB, where she boasts more than 440 items and counting.
We got to wondering, of all the Harley Quinn figures, which ones would The Joker covet the most for their value? We present to you the Top-10 Most-Valuable Harley Quinn collectibles, according to the latest hobbyDB Estimated Values.
Remember, estimated values are always changing, especially as we add more and more price points to the database. Follow this link for the Top-10 Most-Valuable Harley Quinn collectibles currently found on Pop Price Guide.
We’re always excited to share news and new opportunities when it comes to furthering the collectible community and our good friends at Mythic Markets have a new offering that has us feeling rather “super.”
With Mythic Markets, fans receive an opportunity to own a piece of their grail or that rare item. For Mythic, they want you to have a chance to invest in things that you actually care about.
Think of it as owning stock in an item, rather than a company.
Mythic Markets’ latest investment opportunity arrives from the world of DC Comics in the form of All-Star Comics #8. Comic enthusiasts know this issue as the first appearance of Wonder Woman.
“The Kiss” is one of Bruckner’s finished pieces currently for sale.
A few weeks ago we introduced you to Tim Bruckner, who spent about 20 years sculpting action figures and statues for DC Direct (now known as DC Entertainment). As his career there evolved, he spent more and more time on statues instead of poseable characters. A lot goes into the decisions on how to represent a figure the best way.
“The artist or art director has decided on a pose and facial expressions before I start working,” Bruckner said. Illustrations of the basic concept, such as Superman about to kiss Wonder Womanmight be done specifically for the project, or they might come from actual comics panels. “Then all I have to do is recreate that in three dimensions.”
“Some of the artists like Alex Ross, with a more realistic style, require more reference,” he said. “But Ross always had so much material to work from for any character, so it was never a problem” In addition to the specific artist’s renderings, photos of people in action poses provide clues to getting muscles and angles just right. “We have to decide what ‘makes’ the character and brings it to life.”
There is no shortage of Alex Ross renderings for a sculptor to work from. This prototype is for sale by Tim Bruckner.
In a few cases, the design might not be based on any particular comic or live version of a character. “In the Superman and Lois Lane sculpture, he’s based loosely on the Christopher Reeves era of the character,” Bruckner said. “But it’s not an actual rendering of the actor, just a new way of designing him that looks familiar to collectors.”
At that early stage of the process, Bruckner would work in clay that could be bent or adjusted slightly if someone suggested a change. After those decisions are settled, the next stage is the perfectly detailed wax figure that will ultimately serve as the basis for the molding process. Several of these early prototypes are for sale in his hobbyDB Marketplace shop.
Bruckner’s sculptures have a feeling of motion, often from different directions. You can get this one directly from Bruckner on hobbyDB.
Unlike an action figure who will be posed by the customer, a sculpture needs to capture a moment in time but still look like it’s moving. “This pose has to stand for everything about the character,” he said. You want something that says ‘this is Green Lantern,’ and it has to be convincing. Fans will let you know.” Aside from a moment when a superhero is proudly standing in triumph, they are usually seen in action. Bruckner’s statues are well known for conveying motion, action, tension, and lightness.
That last criterion is one where Bruckner has always excelled. “You want to give the illusion of weightlessness. A character running might have just the tip of their foot touching the base of the statue. Or Superman might be just landing, with the tiniest contact point to the ground.” He is particularly fond of a statue of Green Lantern fighting Sinestro at the peak of a mountain. “Sinestro is the only one touching the ground, and he looks like he is falling, about to lose contact. Green Lantern is only supported by points where he is making contact with his foe.” Often the support comes from an unexpected direction like a cat tugging on Catwoman’s dress.
The ivy-covered gargoyle really puts Batman in context here.
Another trick for the weightlessness is that these figures are almost never mounted on a plain base. It will be something key to the environment of the scene, or an iconic prop. Such support pieces help remove the figures from being perceived as “static.”
Despite many of these characters being wildly proportioned, strange-looking, even non-human, Bruckner believes the human connection is what makes it work. “Each pose does represent a human experience,” he said. “If an artist has done that well, the collector can put himself in that experience by looking at this piece.” Bruckner insists that pop culture can be in danger of losing that human connection but doesn’t need to. “As an artist, it has to mean something to me, or it means nothing to everyone else.”
We’ll be taking one more look at Bruckner’s work in a few weeks, much of his work before and after his DC years.
A couple weeks ago we introduced you to Tim Bruckner, who spent about 20 years sculpting DC action figures and statues for DC Direct (now known as DC Entertainment) and other companies. We barely scratched the surface of his stories, so here’s a look at some of the design processes he went through in his career.
His sculpting roots go back to his childhood. “I used to take those wax bottles with the juice in them (Nik-L-Nips) and play around with the wax and create all kinds of sculptures,” Bruckner said. He showed them to a neighbor across the street who happened to own a jewelry store. “He was impressed enough that he hired me as an apprentice when I was a teenager,” he laughs. That lucky break led not only to honing his finer wax sculpting skills, but also an understanding of the molding and casting processes.
For those of you who collect model cars, the original sculpting is usually a subtractive process, where the artist starts with a block of some material like acetate and carves away the bits that don’t look like a car. “Figure design is an additive process,” said Bruckner. “It starts with a blob of wax, and I shape it into the character mostly by adding material.”
For those of you who collect figures, he’s now selling some of his rarer pieces on hobbyDB as the_Sculptor. These include production pieces as well as various stages of preproduction models. It’s a chance to own a bit of DC history as well as a one-of-a kind original piece for your collection.
Another difference between the two types of collectibles: Model cars are often sculpted with details such as the grill and windows in place. How those are divided into separate pieces is usually determined at the factory instead of by the artist. In addition to the original wax figure, Bruckner had to determine points of articulation, and how to separate the figure into multiple parts. “For poseable figures, I create a fully-functioning prototype with the joints worked out.” If that sounds complicated, yeah, it is. “After you’ve done several of them, that part gets a lot easier,” he said.
Much of the diecast world is headed towards 3-D modeling and prototyping, which has its advantages in speed and accuracy. “Since a statue of a character is organic in design, it’s still somewhat common for sculptors to make their molds the old way. “With the advent of 3-D design, that skill set is evaporating,” he said. “Hopefully digital sculpting and hand carving can coexist.” Even for static statues, he has to figure out what parts can be molded as one and what needs to be a separate part.
Many of his figures are interpretations of drawings, which may have varied thought put into how a particular feature would be rendered as a real-life object. Sometimes an item like a hand, which might be molded in a different color, becomes a separate piece.
After approval of the shapes, Bruckner was responsible for painting the master from which the production pieces would be colored. “These statues are hand-painted in the factory, believe it or not. My painted prototypes were usually pretty spot-on,” he said. “They have to rely on a perfect example to copy, so it needs to be very accurate.” A lot of color breaks, such as the logo on Batman’s chest, are rendered in relief or as grooves or ridges to make coloring easier. A close look at his Red Skull master shows how much intricate detail can be involved.
These three stages of the development of the Supergirl statue are for sale together.
In some cases, they are only part of the model, but otherwise, it’s really hard to tell them apart from the finished production piece. He has even listed a 3 stage set of Supergirl prototypes that really show how the process takes shape.
This Joker from the DC Dynamics line is from Bruckner’s private stash.
Those color breaks and separate molds can lead to some great opportunities for design. “My favorite statues are the DC Dynamics line,” he said. For those, a character such as the Joker is seen rising from a raging swirl of green slime. The shapes themselves are lively, but he was able to use translucent material for the goo, adding to the realism. “Being able to work with clear materials for water, smoke, or flames really helped make these even more realistic.”
Speaking of lively, dynamic shapes, there is a lot that goes into deciding every nuanced detail of a character’s pose and facial expression for these figures. We’ll take a look at some of the designs and decisions that go into the final product in an upcoming article.
Recently hobbyDB brought you the stories of some of the designers of Matchbox cars from the early 2000s. You all thought it was fascinating to learn of the people and processes behind some of our favorite toys and collectibles. In that spirit, we’d like to introduce you to Tim Bruckner, an incredible sculptor and designer who spent decades creating action figures and statues for various DC entities and other companies. We’ll be telling you about his long, fascinating career over the next few weeks. You can get a peek at his work at his hobbyDB Showcase, where there are a few rare pieces for sale (and more will be added soon!).
Bruckner started with DC Direct in 1999, and worked for them for most of the last two decades. “Every element of a sculpture says something,” Bruckner said. “The expressions, the pose, the way the clothes flow or bend… they all tell a story, and it’s my job to interpret it perfectly. An action figure will be posed by the collector, but a statue has to get it just right.”
Perhaps the most mind blowing aspect of his creations is his ability to interpret different artists’ visions of a single character into a 3-D model. “Look at Batman as rendered by Frank Miller versus the same character from Alex Ross,” Bruckner said. “My job is to make sure the character represents the look, but also the tone of their interpretation. The pose and even facial expressions are usually provided by an art director.”
To some, that might not sound like there’s a lot of room for creativity, but that’s part of the challenge. “I sculpt and show it to them, and keep doing that until the client is happy,” he said. Depending on the artist or the art director, there might be a couple of back and forths with minor revisions, or there might be several go-rounds with major changes. “The earlier we can make and agree on changes, the better,” he said.
A look at the sheer number of Superman or Joker sculpts he has done over the years is revealing. While there are several obvious differences between the live-action, comic book, and animated versions of characters, the different versions in each of those categories are astonishing.
He has a remarkable ability to create dynamic poses that make still figures look like and feel they are in motion. Another one of his talents includes making characters appear to “float,” by barely having them touch the ground, such as his Catwoman “Pinup” figure.
Bruckner has another take on serving the “client,” however. Several years ago, he attended the San Diego Comic-Con and watched as people looked over displays of his work, discussing the fine details, perhaps not even realizing who he was. “I watched a couple talk about which statues they wanted to spend their hard-earned money on. They were having a serious conversation about the merits of these things, and I realized in a way, DC wasn’t my client… these people are.”
Even Bruckner’s preproduction originals and hand-painted masters look finished.
The prototype processes are actually quite different from how it works in the world of diecast vehicles. In addition to the original wax figure, Bruckner had to determine points of articulation, how to separate the figure into multiple, moldable pieces, and even hand-painted the prototypes. “With the advent of 3-D design, that skill set is evaporating,” he said. “Hopefully digital sculpting and hand carving can coexist.”
As you might imagine, he has accumulated quite a few of these pieces over the years. Too many to properly display and curate, so he is selling some of his collection. His collection on hobbyDB has a few dozen items up for sale so far, and hundreds more will be added soon.
In addition to DC Direct/DC Entertainment, he has also worked for other toy companies including Kenner, Hasbro, and Toybiz. In a departure from his most famous 3-D work, he has done a lot of graphic design including album covers for Ringo Starr and others. He’s written books on his work and some pulp fiction as well.
He’s retired from working on this sort of thing professionally, but still spends hours every day in his studio creating. “It’s not all that different, except I’m not on deadline anymore,” he said. “It’s an odd adjustment, but a good one.”
In our next installment, Bruckner will show us some of his favorite figures from his DC days as well as a deeper look into the process of creating an action figure from wax to finish.