Print climbing rock appreciation due to original work

With the "Xidi Village Series" printmaking, Ying Tianqi will open a painting exhibition. In the era of engraved print collectors, Ying Tianqi once again stood up.

For China's printmaking market, this is a signal. With the start of the 2011 Chinese printmaking year, Ying Tianqi just opened his head. But for collectors, this is indeed a pinch.

If these limited-edition imitations really can get out of the “ugly duckling” era, then as the value of the original works grows, it becomes not a dream to transform the “ugly duckling” into a “white swan”.

Million prints blossom everywhere

Judging from the auction items on the Bobao auction network, the screen-printing prices of modern and contemporary artists have exceeded 10,000 yuan.

Fang Lijun's 10 sets of prints sell for 336,000 yuan; Liu Ye's screenless prints entitled "untitled" are sold for 22,400 yuan; Zhang Xiaogang's "My Memory" sells for 44.800 yuan.

Some people may think that the price of these prints is too high, but it is not. In addition to Wu Guanzhong's printmaking works, there are also more than 100,000 yuan in prints. For example, Wang Huaiqing’s “Two Diagrams of the Qing Dynasty” was valued at RMB 120,000 to RMB 200,000, and it was still auctioned in Taiwan. Zhang Liang’s “wing” also captured more than RMB 130,000.

Younger artists, such as Yue Minjun’s early prints, ranged in size from 10,000 to 20,000 yuan, and are now at least between 70,000 and 100,000 yuan.

From the print auction works that have been sold in the past two years, the price of one thousand yuan has become the past. Most of the silk screen prints are between ten thousand yuan and several hundred thousand yuan, and less than ten thousand yuan in print works are extremely high. Rare. However, from 5 to 10 years ago, the result was exactly the opposite.

Looking at the international market again, printmaking became popular in Europe in the 1850s, and it entered Japan in large quantities in the 1970s and 1980s. Due to its strong decorativeness and low prices, the volume of transactions in the European and Japanese markets is higher than that of any painting species, and prices have also risen greatly in recent years.

As far as auction works are concerned, prices are many times higher than Chinese works. For example, the Japanese artist Kusama's "Hat" sold for $640,000 in the Sotheby's auction in Hong Kong last year; and his work "The Fruit" was valued at about 400,000 to 50 in the 2009 Poly Auction. Ten thousand yuan, its rising space is evident.

The current status of the Chinese printmaking market has a certain relationship with the vicious cycle: The advantage of printmaking is that it has a considerable number of prints and prices that most people can accept. Due to the limited number of sales, the printmaker raised the price of each painting in the hope that selling one would recover its own cost and labor. However, the higher prices have made print lovers frightened.

As a result, the previous Chinese print market was relatively deserted.

Nowadays, prints have already occupied a place in the Chinese painting and oil painting “monopoly” painting and calligraphy market. Not only do more and more prints appear in the auctions of modern and contemporary art, but also the first-tier markets such as the Beijing 798 franchise print gallery. More fortunately, the "2011 China Print Year" has already started.

The printmaking year consists of art exhibitions and events organized by the Chinese Artists Association. The exhibition ranged from Egypt to China. The themes mainly included "Plurality of Inviting Exhibitions", "International Print Biennial", "High School of Fine Arts Screen Printing Exhibition", "Bulgarian Contemporary Gravure Invitation Exhibition", "19th National There are 7 special forums such as Printmaking Exhibition, Yunnan International Printmaking Exhibition, and China Youth Print Exhibition, and an activity that runs through the whole year is "China's printmaking into 10,000 families."

As the director of the Shaanxi Printmaking Arts Committee and Professor Xi Xi of the Xi'an Academy of Fine Arts said at the National Fifth Fifth Edition: “The arrival of prints on the market is a trend that is irreversible. Let’s not worry that commercial awareness will reduce art and Academic standards: First of all, we must actively enter the market to find and create conditions for survival. There is the possibility of survival and development may be possible, compared to many painters abandoned painting and business, after all, this is the right way.”

Prints appreciate due to original work

Following the footsteps of foreign markets, the hot air of printmaking began to spread in China.

Apart from warming up, there is also a lack of splashing cold water. Lu Zhiping, director of the Print Art Committee of the Shanghai Artists Association, is one of the typical “singers”. He also knows that with the growing maturity of collectors, the “indifference” that prints have encountered in the Chinese art market has long been over. However, in spite of this, compared with traditional Chinese paintings and oil paintings, which are deeply concerned by collectors, the prints can only be regarded as "ugly ducklings." It still takes time for the "white swan" to become a collection market.

Lu Zhiping's conclusion is obviously compared with the West as the target. In Western markets, printmaking is almost the most preferred variety for all types of art investment products. Pablo, such as Spain? Paintings by masters such as Picasso and Germany’s Muller Huizhi are commonplace for millions or even millions of dollars.

In addition, these singers are also influenced by many Chinese collectors. After all, there are still many Tibetans who believe that the original works are unique, but their value is high, but their appreciation space is relatively large. Although the price of prints may not be as high as one-tenth that of the original. However, there is little room for more value.

Judging from the activity level of the printmaking market in recent years, there is still room for appreciation of the prints, but only for different appreciations of different prints.

“If the original price in the auction market continues to rise, then limited edition prints of such works are also good.” As the ancient Chinese ink painting gallery Gulian said, the second-line painters also have certain investment value, such as Zeng Fan. Zhi et al., and the price of these limited edition prints by these artists has reached 6 to 70,000 yuan.

Although the risks involved cannot be ignored, the elasticity of the rise is more imaginative and a bit like "original stocks." The price of print works by first-line painters such as Wu Guanzhong has been recognized by everyone. Even if the value is preserved, the elasticity of the increase is not a problem. It's hard to say.

As for the various groups of people on the print market, it should be based on their needs to determine whether to intervene in the print market. The Japanese contemporary artist Chen Guiping is relatively cautious about the printmaking market. He reminded those buyers who are simply waiting for the appreciation to sell. “Don’t put it into the printmaking market. Only collectors who live in art can enter the printmaking market and they will After a certain period of time, the print has received a quiet appreciation."