An Analysis of the Creation and Marketing of Art Prints
The rise of lithography by Eloise Senegeldor in 1798 established the possibility to recreate art creations, requiring another one hundred decades of special technological progress before quality reproductions were produced.
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These improvements in lithography merged (and highly lucrative) new art markets using a developing consciousness by art dealers, while technically increasing the profit and exposure of both the artist and the dealer, keeping the fine artwork slightly up and down Can be sold above.
The inherent value of an art printing, also its subsequent appreciation in fiscal value, was an event phenomenon that came together with the almost immediate induction of limited edition prints: I'm sure merchants would be tickled to create endless runs of artwork. Initial in their ownership is based on each popular one, but technical constraints (aluminum and calcium printing plates slowly worn down) forced production limits, as ultimately the quality of each printing deteriorated.
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There is a field of people who will only buy an art print because they enjoy the expression of that specific piece and want to hang it on their wall for personal pleasure. The rest consider themselves small or serious art collectors and want them not only to have blind love but to have investment potential.
It is human nature not to try to do something that your neighbors do, and this can only be filled by giving your customers the item of uniqueness and scarcity: in this instance, completing the printing run at a particular stage and printing these numbered prints Short selling variations.
It should go without saying that the larger the version, the more valuable the show: less is more in this instance. It is up to the artist concerned to weigh the potential financial gain against the supply money and to select an appropriate and attractive total number of prints to launch in each edition.