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Сообщение от kr555
Actually, if you do not think globally, but on topic, we must bear in mind that no copyright imprints in Japan was not 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. Continue over the engraving work by other people, and copyrights are the publisher, the artist no control over the process was not.
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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