Today's postings
- [Baren 28714] Re: Oh Well (Jeanne Norman Chase)
- [Baren 28715] Re: schedule for tour (Mike Lyon)
- [Baren 28716] Re: schedule for tour ("Ellen Shipley")
- [Baren 28717] Baren Member blogs: Update Notification (Blog Manager)
- [Baren 28718] Re: schedule for tour (Barbara Mason)
- [Baren 28719] Welcome Home Dan (Jan Telfer)
- [Baren 28720] Re: schedule for tour ("Ellen Shipley")
- [Baren 28721] Print exhibition in North Carolina (until Nov 13) (baren_member # barenforum.org)
Message 1
From: Jeanne Norman Chase
Date: Sat, 10 Sep 2005 13:52:09 -0700 (PDT)
Subject: [Baren 28714] Re: Oh Well
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Dear Dan
Glad to hear that you recovered from the surgery. My husband had neck surgary a couple of years ago. Healed quickly, no problem. Anxious to see your woodcut of 100 color runs.LOL
Jeanne
Glad to hear that you recovered from the surgery. My husband had neck surgary a couple of years ago. Healed quickly, no problem. Anxious to see your woodcut of 100 color runs.LOL
Jeanne
Message 2
From: Mike Lyon
Date: Sat, 10 Sep 2005 16:52:09 -0500
Subject: [Baren 28715] Re: schedule for tour
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Ellen Shipley wrote:
>I checked out the Adachi site and it's really interesting. I have a
>question tho. I realize they are recreating the blocks and making the
>prints the same way as the originals, and that in itself sounds like a
>fascinating process. But what I'm wondering is how these prints would
>stack up in the general print market?
>I would love to have one of these prints on my wall, for its own beauty and
>for the process it represents. But does it have any value compared to the
>original? Surely its of poster quality.
Dear Ellen,
The value of '1st edition' prints in good condition of the very famous
designs Adachi recreates are generally much higher-priced than the Adachi
copies. All are "genuine woodblock prints", but the originals are a
collector item and there is a limited supply. I know of three fair-to-good
'1st edition' examples of Hokusai's 'Great Wave...' which were sold over
the past several years for prices ranging from $65,000 up to $130,000. The
Sharaku big-head portraits command prices ranging from about $200,000 and
up. The Utamaro big-heads are also very rare and if you are patient, maybe
you could buy one for $20 to $30,000 in reasonably good condition. Early
Hokusai 'Red Fuji' and 'Lightening Fuji' are usually very expensive, too --
$20,000 and up depending on state. The Hiroshige 100 Views of Edo vary --
all the prints I've mentioned were VERY popular right from the original
printings and have been copiously reproduced ever since -- especially the
Hiroshige's!
Obviously popular designs are still reproduced using traditional methods by
Adachi, David Bull (although he generally selects less popular designs not
widely reproduced elsewhere), Uchida http://www.e-loec.com/ , and many
others -- these contemporary reproductions sell for various prices,
generally from about $25 up to about $400 depending on size and
quality. Reproductions from 100 years ago generally sell for similar
(often even lower) prices.
Mike Lyon
Kansas City, Missouri
http://mlyon.com
>I checked out the Adachi site and it's really interesting. I have a
>question tho. I realize they are recreating the blocks and making the
>prints the same way as the originals, and that in itself sounds like a
>fascinating process. But what I'm wondering is how these prints would
>stack up in the general print market?
>I would love to have one of these prints on my wall, for its own beauty and
>for the process it represents. But does it have any value compared to the
>original? Surely its of poster quality.
Dear Ellen,
The value of '1st edition' prints in good condition of the very famous
designs Adachi recreates are generally much higher-priced than the Adachi
copies. All are "genuine woodblock prints", but the originals are a
collector item and there is a limited supply. I know of three fair-to-good
'1st edition' examples of Hokusai's 'Great Wave...' which were sold over
the past several years for prices ranging from $65,000 up to $130,000. The
Sharaku big-head portraits command prices ranging from about $200,000 and
up. The Utamaro big-heads are also very rare and if you are patient, maybe
you could buy one for $20 to $30,000 in reasonably good condition. Early
Hokusai 'Red Fuji' and 'Lightening Fuji' are usually very expensive, too --
$20,000 and up depending on state. The Hiroshige 100 Views of Edo vary --
all the prints I've mentioned were VERY popular right from the original
printings and have been copiously reproduced ever since -- especially the
Hiroshige's!
Obviously popular designs are still reproduced using traditional methods by
Adachi, David Bull (although he generally selects less popular designs not
widely reproduced elsewhere), Uchida http://www.e-loec.com/ , and many
others -- these contemporary reproductions sell for various prices,
generally from about $25 up to about $400 depending on size and
quality. Reproductions from 100 years ago generally sell for similar
(often even lower) prices.
Mike Lyon
Kansas City, Missouri
http://mlyon.com
Message 3
From: "Ellen Shipley"
Date: Sat, 10 Sep 2005 19:51:03 -0700
Subject: [Baren 28716] Re: schedule for tour
Send Message: To this poster
Thank you Mike,
That's very illuminating. I knew the originals would be way up there, but
it's good to have all the numbers. It's also helpful to know more about the
printing art and how to perceive it.
Ellen Shipley, CA
http://pressing-issues.blogspot.com/
http://pg.photos.yahoo.com/ph/philippaschuyler/my_photos
That's very illuminating. I knew the originals would be way up there, but
it's good to have all the numbers. It's also helpful to know more about the
printing art and how to perceive it.
Ellen Shipley, CA
http://pressing-issues.blogspot.com/
http://pg.photos.yahoo.com/ph/philippaschuyler/my_photos
Message 4
From: Blog Manager
Date: 11 Sep 2005 03:55:02 -0000
Subject: [Baren 28717] Baren Member blogs: Update Notification
Send Message: To this poster
This is an automatic update message being sent to [Baren] by the forum blog software.
The following new entries were found on the listed printmaker's websites during the past 24 hours. (8 sites checked, just before midnight Eastern time)
*****************
Site Name: BarenForum Group Weblog
Author: Daniel Dew
Item: Two Hand Reel
http://barenforum.org/blog/archives/2005/09/two_hand_reel_1.html
*****************
Site Name: Woodblock Dreams
Author: Annie B
Item: Finest Lines Yet
http://woodblockdreams.blogspot.com/2005/09/finest-lines-yet.html
*****************
[Baren] members: if you have a printmaking blog (or a website with a published ATOM feed), and wish it to be included in this daily checklist, please write to the Baren Blog Manager at:
http://barenforum.org/contact_baren.php
The following new entries were found on the listed printmaker's websites during the past 24 hours. (8 sites checked, just before midnight Eastern time)
*****************
Site Name: BarenForum Group Weblog
Author: Daniel Dew
Item: Two Hand Reel
http://barenforum.org/blog/archives/2005/09/two_hand_reel_1.html
*****************
Site Name: Woodblock Dreams
Author: Annie B
Item: Finest Lines Yet
http://woodblockdreams.blogspot.com/2005/09/finest-lines-yet.html
*****************
[Baren] members: if you have a printmaking blog (or a website with a published ATOM feed), and wish it to be included in this daily checklist, please write to the Baren Blog Manager at:
http://barenforum.org/contact_baren.php
Message 5
From: Barbara Mason
Date: Sat, 10 Sep 2005 21:48:39 -0700 (PDT)
Subject: [Baren 28718] Re: schedule for tour
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Ellen,
Good question. It is not old so has no historic value except for content. The skill level of the printing and carving should be comprable to the original...they still know how to do it very well in Japan.
I think it is like anything, it has the value you are willing to pay for it. Buying art for an investment has worked for very few people. I think if you love it and enjoy it, then buying a reproduction is fine, especially as the original artist is long deceased, and it is being sold as a reproduction. The problem seems to me that when these are not sold as reproductions but prints pulled from the "original" blocks....this is crazy as how many thousands can you pull from one set of blocks? I am sure even the "original blocks" were replaced as they wore out if the image was a popular one.
So for 1/10 of the price of an origianl, I think if I liked the image a lot, I would be tempted to get one also. I will let you know how they look after I see the demo on the 23rd.
Best to all,
Barbara
Good question. It is not old so has no historic value except for content. The skill level of the printing and carving should be comprable to the original...they still know how to do it very well in Japan.
I think it is like anything, it has the value you are willing to pay for it. Buying art for an investment has worked for very few people. I think if you love it and enjoy it, then buying a reproduction is fine, especially as the original artist is long deceased, and it is being sold as a reproduction. The problem seems to me that when these are not sold as reproductions but prints pulled from the "original" blocks....this is crazy as how many thousands can you pull from one set of blocks? I am sure even the "original blocks" were replaced as they wore out if the image was a popular one.
So for 1/10 of the price of an origianl, I think if I liked the image a lot, I would be tempted to get one also. I will let you know how they look after I see the demo on the 23rd.
Best to all,
Barbara
Message 6
From: Jan Telfer
Date: Sun, 11 Sep 2005 13:38:21 +0800
Subject: [Baren 28719] Welcome Home Dan
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Yes, I too welcome you home Dan..... I had my fingers crossed for your
quick return.......
I leave for Italy on Tuesday evening but everyone has been ringing me
to say they want to see me before I leave and I have said to a couple
of people...."Why do you want to see me before I leave, don't you think
I am coming home or something?" Strange feeling!!!!!!
Do I say, "Goodbye, everyone!!"
Jan
quick return.......
I leave for Italy on Tuesday evening but everyone has been ringing me
to say they want to see me before I leave and I have said to a couple
of people...."Why do you want to see me before I leave, don't you think
I am coming home or something?" Strange feeling!!!!!!
Do I say, "Goodbye, everyone!!"
Jan
Message 7
From: "Ellen Shipley"
Date: Sun, 11 Sep 2005 00:28:33 -0700
Subject: [Baren 28720] Re: schedule for tour
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Hi Barbara,
You're so right -- if you like it, it's worth it. I'll be interested to hear what the show looks like.
Ellen
http://pressing-issues.blogspot.com/
http://pg.photos.yahoo.com/ph/philippaschuyler/my_photos
You're so right -- if you like it, it's worth it. I'll be interested to hear what the show looks like.
Ellen
http://pressing-issues.blogspot.com/
http://pg.photos.yahoo.com/ph/philippaschuyler/my_photos
Message 8
From: baren_member # barenforum.org
Date: 11 Sep 2005 09:48:33 -0000
Subject: [Baren 28721] Print exhibition in North Carolina (until Nov 13)
Message posted from: baren_member@barenforum.org
Google news today turned up this item from North Carolina:
http://www.newsobserver.com/lifestyles/story/2793501p-9233577c.html
... introducing an exhibition of prints at the university at Chapel Hill there.
Here's the exhibition website:
http://www.ackland.org/art/exhibitions/3sides/index2.html
And here's a quote from the newspaper story:
"... three ideas for contemplation.
One is the implications of printing technology, which allowed visual material to be relatively cheaply replicated, making it accessible to many more people than privately commissioned works of art. It became naturally allied with the concept of communication.
Another category is representation -- both printmaking's attempt to replicate external reality with the abstract means of black marks on white paper and the later use of printmaking to mimic, or represent, other forms of art.
To illustrate this, "Three Sides" gives viewers two splendid examples of Durer's approach to printmaking, in engraving and woodcut. Durer's brilliant grasp of both media caused him to draw in a way that accentuated the strengths of each. Riggs points out that Durer's woodcut makes use of the way a line is physically cut into wood, much as a wooden sculpture of his era would have been carved. The engraved print, too, is dazzling, with an entirely different feeling allowed by the finer linear detail that also created a less durable plate.
Two prints by German expressionist Erich Heckel also deftly illustrate the issue and lead us into Riggs' third category: transformation. The bold, rough lines of Heckel's woodcut "Among the Dunes" differ greatly from the nubbly lines of the drypoint "Ostend" of 1916. The character of each medium changes the nature of the representation and influences the artist's approach.
The woodblock, with its black ground into which white lines could be cut, is used to great effect by Felix Vallotton, whose "Indolence (La Paresse)" carves negative spaces from the the inked block to release a languorous nude petting a cat on a lushly patterned tapestry.
Collaborations are common in printmaking. Often, an artist would turn his drawings over to a skilled cutter or engraver to be interpreted. Such practices have persisted into modern times as print workshops translate the work of modern masters ..."
Google news today turned up this item from North Carolina:
http://www.newsobserver.com/lifestyles/story/2793501p-9233577c.html
... introducing an exhibition of prints at the university at Chapel Hill there.
Here's the exhibition website:
http://www.ackland.org/art/exhibitions/3sides/index2.html
And here's a quote from the newspaper story:
"... three ideas for contemplation.
One is the implications of printing technology, which allowed visual material to be relatively cheaply replicated, making it accessible to many more people than privately commissioned works of art. It became naturally allied with the concept of communication.
Another category is representation -- both printmaking's attempt to replicate external reality with the abstract means of black marks on white paper and the later use of printmaking to mimic, or represent, other forms of art.
To illustrate this, "Three Sides" gives viewers two splendid examples of Durer's approach to printmaking, in engraving and woodcut. Durer's brilliant grasp of both media caused him to draw in a way that accentuated the strengths of each. Riggs points out that Durer's woodcut makes use of the way a line is physically cut into wood, much as a wooden sculpture of his era would have been carved. The engraved print, too, is dazzling, with an entirely different feeling allowed by the finer linear detail that also created a less durable plate.
Two prints by German expressionist Erich Heckel also deftly illustrate the issue and lead us into Riggs' third category: transformation. The bold, rough lines of Heckel's woodcut "Among the Dunes" differ greatly from the nubbly lines of the drypoint "Ostend" of 1916. The character of each medium changes the nature of the representation and influences the artist's approach.
The woodblock, with its black ground into which white lines could be cut, is used to great effect by Felix Vallotton, whose "Indolence (La Paresse)" carves negative spaces from the the inked block to release a languorous nude petting a cat on a lushly patterned tapestry.
Collaborations are common in printmaking. Often, an artist would turn his drawings over to a skilled cutter or engraver to be interpreted. Such practices have persisted into modern times as print workshops translate the work of modern masters ..."