Japanese Prints
 

Dear experts! Prompt please what are the prices for Japanese prints, the prints of Ando Hirosige chastnosti.Suschestvuyut a forgery, and how they raspoznat.Kakova investment attractiveness of the material?

Look sites about: Prints Ando Hirosige sale ... that's found a job for $ 1,100 at auction tokugawagallery.com

You can look at this site:

Peter, forgery does not happen, if we understand by that something malicious, and the other values that word we do not have.
And copies are printed usually in the same technique, but with the newly carved wooden blocks, because the old units had long worn out and came into disrepair. And similar to most dopechatok populyaonyh prints can be more than a dozen versions. They were made in the XIX century, and in XX, including the well-known publishers, and it is not clear by whom. It's a normal engraving, perfectly legal, but not from the original edition - are cheap. But the originals are very expensive, but there also has its subtleties. In the case of love, a layman is unlikely to distinguish late restrayk from the original, with this and museum professionals are confused at times.

Alas, there may have engravings. Not in the sense that the re-engrave, but usually result in a later state of mind earlier (which are valued above), removing added in later states of the elements.
No one will ever be able to manually make an absolutely identical copy.
Any - later or in vivo - a copy was in the middle of the XIX century is quite easy to distinguish from the original using a mirror stereoscope Helmholtz. Even the difference virtuosic Armand Durand copies from the originals by Rembrandt is in the full sense of the word "obvious." However, it needs to have a notorious original. But because the prints are not made in one copy, then the museum is not a problem. That's to distinguish late imprinted with the same original board of intravital is really easy, but here sometimes it helps to know watermarks and other attributes of paper used for printing with the artist's life. The same problem with late heliogravire, but prized reputation of the company necessarily indicate a print that - geliogravyurnaya copy.

Yes, but here it is a question of integrity and competence of the seller, not a fake in the usual sense of the word.

Yes, of course, and here the problem is that not having the original, it is very difficult to say how much it is identical.

There is another problem, distribution is not discrete. The artist drew a sketch, after which the right to publish the whole getting a publisher. He published several years engraving with the original boards, if the series was popular and the board will eventually wear out. And not all at once, and all worn parts were cut again, so that in later prints are seeing some kind of a mixture of original and later elements. And yet a major publisher sometimes sold completely worn boards in smaller print more cheap runs for quite a cheap paper.
By and large, expensive first hundred prints from the original blocks, while they were still new. And so it needs to calculate the expert ... Because the 2000th mark with these boards has no value.

Posted 12 minutes
As for the museums - not always and they have the opportunity to compare his copy with the original. And very often, and do not try to do it ...

That recalled one old man interviewed as he helped the Pushkin Museum to make their catalog of Japanese prints, now try to find the net.

 When it comes to prints, then the original are the ones that are made by the artist himself. This is because the process of creating prints is not limited to technical aspects that can really fulfill any typographical trained worker, but also includes such tasks as choice of colors and their intensity, contrast, paper (color, texture), or even selection of successful and unsuccessful cull sheets. All this greatly affects the final result and requires the direct participation of the artist. Therefore, in vivo prints made (and selected) by the artist himself, as an original and valued significantly more expensive.

Original engravings are those that are printed with the original boards. Prints can be supravital, and may be not.

Circulation, as correctly pointed out above, often can be distinguished on the paper.

For example, there is an engraving Cezanne, which was published after his death. And shalt artist does not make their own prints.

Let's look to the terms. For you there is a difference between the concepts of "author's impression" and "original print"? For you, this is the meaning the same thing or not? If not, then what's the difference?

Actually, if you do not think globally, and on topic, it must be remembered that no copyright imprints in Japan were up to the twentieth century. The role of the artist was limited to the implementation of the original sketch in ink, and marking coloring engraving proofs. Further work on the engraving other people, and copyright has been a publisher, an artist no control over the process was not.

Thank you all for the interesting informatsiyu.Predlagaetsya engraving Hirosige Ando (Japan ,20-s) a respected firm of the prints 20000 rubley.Eto normal price for today? Grow if the price of similar products? Or just for fun?

20-ies of the century? Apparently XX? Then, in my opinion expensive, resell more expensive would be virtually impossible, and not the fact that there will be invested back.

kr555, please follow the discussion. Wladzislaw, when he wrote your message (to which I replied) thought it was "global" as you put it. It is clear from the context of the debate, he responded to postAmateur and that no doubt, wrote about the prints at all. Yes, and the subsequent postWladzislaw and, convinces us that he talks about the European prints, but not about the Japanese. As an example, he refers to an engraving of Cezanne.
 
But even if, as you suggest, "thinking about topography and talk only of Japanese prints, the concept of" lifetime impressions "are not meaningless, though, and finds Japanese-specific. Without a doubt, not only an artist but engraver and printmaker Japanese prints played a significant role in its creation. This is especially true of printers, who, after the artist had been discussed all shades of color, making the required number of prints (two hundred), ensuring coherence and harmony of the overall color score. Other words, the Japanese woodcut had collective method it is created. This means that the engraving could not be established without the concerted action of each of the participants in this process. And you will agree that the role of the artist in this process still predominant? I repeat, engravings created in coordination with the artist (although it probably was not often), what is, is possible only with his life. For example, we know that the artist Katsushika Hakusan watched the process of creating prints. His engravings from the series "Thirty-six Views of Mount Fuji" was sold for a very considerable sum ($ 1.340.000), and influenced by the price, in this case, not so much the rarity of the print, but what was known creation date imprint: he was printed in a first half of the 30's. XIX century, that precisely when the artist created this series and could in some degree of control over the process of creating impressions. Other prints of the same image, but do not have precise chronology, had been sold much cheaper (about $ 150.000 - $ 500.000), despite the fact that sold five years after the sale of print, which has established a record price. This means that for the person who bought this print, it was essential it is that impression was created with the artist's life.


Sales date 11/27/2002
Hammer price EUR 1,350,000
EUR 1,350,000 - USD 1,341,360 - GBP 864,675
Estimate EUR 1,400,000 - 1,800,000
   
Category Print
Collection Huguette Berès
Medium Print, Woodcut in colors (oban yoko e) (36)
Location Paris (FR)
Auction house Sotheby's
Dated c.1830-1835
Lot number 107

No, I'm watching the debate, and just trying to get her back into a narrow specialized channel, otherwise we will all drown in it. Wladzislaw said here on this communication, which is just the first time it took to the side, because in Japan those days there were no prints made by the artist himself, he is in the best case could be allowed to monitor the process:
 
That's be honest, I do not know what it is guided by a man who paid entirely unreasonable money for this engraving. Intravital here a little, so please, exactly the same lifetime impression of 1830-1831 in excellent condition, sold at Christie's for $ 239.649, and this is his red price, and can be even cheaper to buy.
http://www.christies.com/LotFinder/l...0-21bf4862f9ad
I guess (on the photo is hard to understand) that he print, who left behind a million-plus, differed a unique preservation. Then it does not and can not be a firm price, such copies of the famous engravings in the state "like yesterday published" isolated and virtually priceless, but the price is determined only by fanaticism want to get it.

In general, the quality of prints is very much falls as overprint circulation. The first copies look awesome, the line thickness of hair, bright colors, perfect geometry. If the engraving was popular, it was printed for several years, and later during his lifetime impressions can not watch without tears ... All the same wood is soft, razdalbyvaetsya very quickly. So it is important that it was not just a lifetime, but the number of the very first printed.