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Сообщение от kr555

 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" unique and virtually priceless, but the price is determined only by the fanaticism of his wish to acquire.

Engraving, which bring you, not dated, and engraving, which led me, dated (1830-1835 year).
 
Preservation, quality of prints and unusual color combinations - all this can play a role in the formation of prices. But in this case clearly established that the imprint of the first edition, and it is so significantly affected the price.

Added after 1 minute

Сообщение от kr555

Yes, and do not want to argue on who is first in the left side, it's not terrible, and no matter ...

Granted, it does not matter ...

Added after 5 minutes

Сообщение от kr555

In general, the quality of prints greatly decreases as the impression 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 tree is soft, razdalbyvaetsya very quickly. So it is important that it was not just a lifetime, but among the very first printed.

So because this question! First impressions are appreciated it is run. In the creation of which could participate artist (of course, not to the same extent as in Europe or in the subsequent years of prints), and the quality of which was better than subsequent runs. I wrote about this earlier, pointing to a collective method of creating prints, and the fact that the first edition was about the number of two hundred impressions. Incidentally, in the further development of the engravings that prints belong to the first edition, which is published by the artist himself (or under its supervision), reflected in a special term - "copyright prints - and the prices (these prints are on the order of cost). As for the series "36 Views of Mount Fuji", it is known that Katsushika Hakusan watched the process of creating prints of engravings. Hence, the price of the print, dated the first half of the 30-ies. This time, the creation of this series.

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Posted 10 minutes
Probably the case with Hakusan not typical for the Japanese prints of the time, but to reject it, we can not.

Posted 27 minutes

Сообщение от kr555

And about how Hokusai watched the process of printing - give here an example. Let them be the same Red Fuji, if nothing about it it came from the collection of the Boston MFA:
http://www.mfa.org/collections/searc...x=0&submit.y=0
They have a collection of six prints, and easy to see that among them there are no two identical (even if we discard the third, which is a side option, imprinted with the other blocks). The boundary between red and green dancing totally unpredictable way, never the author of such would not be allowed, if the process is actually controlled. But in reality it is only noted in black and white a print 2 colors, and an indication of a smooth transition from one to another. Next - art printer ...

I am in no way diminishes the role of the printing industry. In the Japanese prints that time he played a very significant role, I was just about this and write:

Сообщение от Tjutchev

  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.

Typically, the artist did not interfere in the process of creating impressions, but in the case of the Hakusan know that he watched their creation. I think that control was not total, but even if he was, as he was, as we know, this makes the prints in this series and this time more desirable for collectors.

Posted by 31 minutes
By the way it is known that Hakusan, before becoming an artist, he published engravings. This may have played a role in his desire to monitor the printing process prints.

Posted by 52 minutes

Сообщение от kr555

They have a collection of six prints, and easy to see that among them there are no two identical (even if we discard the third, which is a side option, imprinted with the other blocks). The boundary between red and green dancing totally unpredictable way, never the author of such would not be allowed, if the process is actually controlled. But in reality it is only noted in black and white a print 2 colors, and an indication of a smooth transition from one to another. Next - art printer ...

You see, the creation of prints - a process in which the printer for coherence and harmony of the overall color score, regardless of whether it occurred under the supervision of the artist or not. Even if the artist in control process, to achieve exactly the same impressions impossible. Nor was such a problem. It was the search for harmony! This is so in tune with the spirit of Japan and the spirit of creativity ...

By the way, just exactly what, as you say, "the boundary between red and green dancing", and valued in the author prints. Valued this particular search - "game" of the artist. When a business takes printing worker, prints are more smooth quality and called the lottery (they cost several times cheaper). But if we talk about Europe in general and about the later stages of the prints. This is so, by the way ...