As the emerging force in the current fiery domestic art market, the printmaking is favored by the white-collar class for its low price and high artistic value. There are also many issues that need to be noted in the collection of prints. In addition to personal preferences, whether there is market value or the size of the appreciation space will affect the value of a print work. In order to allow Tibetans who are interested in the collection of prints not to blindly collect, I provide some basic knowledge of print collection for your reference.
First, the status and reputation of printmakers in the industry is an important part of the value of print collections. For example, famous painters or oil painters, famous print artists, members of the National Association of Fine Arts Members of the China Association of China, and the like, such as the famous print artist Wu Guanzhong's print work is currently the collection of high prices in the print. There are also such famous printmakers as Zhang Baibo, whose print works have been collected by various national art galleries on many occasions and have won awards in Japan, Europe and other places.
Second, the autograph of the artist is an important factor in the value of printmaking. The average painter will leave his own unique mark on his work, the most common being the painter’s signature. Printed signatures are mostly signed with pencils and usually have a fixed signature.
Third, the difference between originality and reproduction also largely determines the value of print collections. The reproducibility of prints is one of the important reasons why print collections are not favored in the Chinese market. Original lithographs are the prints that the artist composes and overprints, and the lithographs are limited edition prints commissioned by the artist or the owner of the original painting. In general, original collections and value-added value are higher than copying, but copying is cheaper than original prices. Printmaking is a limited copy, and fine prints can only replicate up to ten copies of the better effect. If there are more copies, there will be no artistic value.
Fourth, pay attention to the issue of the number of works. The reproducibility of the printmaking determines that it can be issued in quantities other than the uniqueness of the painting, and the print release is generally numbered in circulation. The international standard is a percentage of a few percent. If a certain print is the first of 10 copies, it must be marked with 1/10, indicating that it has printed 10 copies in total. This is the first of its kind. The smaller the numerator, the greater the value of the printmaking; the larger the denominator, the higher the value of printmaking and the higher quality of printmaking. At present, there is an unwritten rule in the collection of prints. Only those prints that have been selected for the National Art Exhibition or won the national award and have received critical acclaim from the art critics can be called high-quality prints. The value of collection is even better.
First, the status and reputation of printmakers in the industry is an important part of the value of print collections. For example, famous painters or oil painters, famous print artists, members of the National Association of Fine Arts Members of the China Association of China, and the like, such as the famous print artist Wu Guanzhong's print work is currently the collection of high prices in the print. There are also such famous printmakers as Zhang Baibo, whose print works have been collected by various national art galleries on many occasions and have won awards in Japan, Europe and other places.
Second, the autograph of the artist is an important factor in the value of printmaking. The average painter will leave his own unique mark on his work, the most common being the painter’s signature. Printed signatures are mostly signed with pencils and usually have a fixed signature.
Third, the difference between originality and reproduction also largely determines the value of print collections. The reproducibility of prints is one of the important reasons why print collections are not favored in the Chinese market. Original lithographs are the prints that the artist composes and overprints, and the lithographs are limited edition prints commissioned by the artist or the owner of the original painting. In general, original collections and value-added value are higher than copying, but copying is cheaper than original prices. Printmaking is a limited copy, and fine prints can only replicate up to ten copies of the better effect. If there are more copies, there will be no artistic value.
Fourth, pay attention to the issue of the number of works. The reproducibility of the printmaking determines that it can be issued in quantities other than the uniqueness of the painting, and the print release is generally numbered in circulation. The international standard is a percentage of a few percent. If a certain print is the first of 10 copies, it must be marked with 1/10, indicating that it has printed 10 copies in total. This is the first of its kind. The smaller the numerator, the greater the value of the printmaking; the larger the denominator, the higher the value of printmaking and the higher quality of printmaking. At present, there is an unwritten rule in the collection of prints. Only those prints that have been selected for the National Art Exhibition or won the national award and have received critical acclaim from the art critics can be called high-quality prints. The value of collection is even better.
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