The author collected "Pu Zuo Calligraphy Twelve Shadows of Golden Gate" that year.
"Don't move" means to collect calligraphy and painting steadily, but it doesn't mean "never move". Everyone knows the principle of collection, which is called "keeping Tibet by Tibet". There is a master of buying and selling calligraphy and painting. After buying a famous calligraphy and painting, he stored it for several years and then threw it on the market to make money. This is "low suction and high throw, waiting for the opportunity".
Twenty years ago, I collected an album "Twelve Shadows of Jinmen" with a page of *** 12, and collected the calligraphy works of Pu Zuo, Sun Qifeng, Gong Wang, Wang Songyu, Wang Xuezhong, Feng Xingbo and so on 12. I originally sold this album for less than 1000 yuan. Interestingly, this album appeared in many large-scale auctions in Tianjin, and the base price was gradually upgraded, starting from 2000 yuan and then reaching 3000 yuan. In June 2002, the album appeared in Tianjin national auction. The reserve price ranged from 3,000 yuan to 5,000 yuan, resulting in 6,000 yuan. In 2005 and 2007, it appeared in Guoyuan and Dingtian auction websites successively, and finally changed hands with 6.5438+0.2 million yuan.
I don't regret it. This is the embodiment of the law of the art market. Any high-grade works always have a broad market and value-added space. If you want to regret, then there are too many things to regret. Almost no calligraphy and painting investor has not encountered such "regret". Because mature collectors know in their hearts that there must be gains and losses in the collection, and it is impossible to be a winner forever.
Speaking of which, a non-landscape painting I collected in the past flashed before my eyes.
1987 In the summer, on a Sunday morning, Hu, a secondhand seller, took out a roll of film from a broken basket and sold it to me. This is a pale crimson landscape painting, 98.5 cm long and 33.5 cm wide. This is drawn in the traditional way. There is a poem on the upper left. After the poem, there is a passage "Ding Mao's non-factory brother is in Zhao", which has a taste of Kang Youwei's calligraphy and a rectangular "non-factory" Zhu. I don't think so on the surface, but I have decided that this is Mr. Fei's early work. After some bargaining, I bought it at 1000 yuan. Eight years later, I took this painting to Tianjin' 95 Spring Art Treasures Auction, which won 6.5438+0.3 million yuan. Now it seems that this price is really not high. But I bought some small and medium-sized works with this money, and now they have all appreciated. This fact shows that as a collector, even if you have more money, you can't buy something without leaving anything behind, but you must work hard to make something "live" before you can buy a new collection.
The strategy of "sucking low and throwing high, waiting for the opportunity to move" has another important reason, besides the consideration of "taking retreat as progress, cultivating Tibet by hiding", that is, the unpredictable art market and the cold reality that the prices of some works are unstable or even falling. In popular terms, not all calligraphy and painting are becoming more and more valuable. Some works are of high value when the author is alive, and the price will be reduced when the author is dead; Some prices were high at first, and then they kept falling. This requires buyers to look at the market trend, throw it away, throw it away. There are still some works that have been artificially hyped, and their value deviates from art. As collectors, we must not blindly follow suit. There is a saying called "great hope and great disappointment". Beer is frothy. I hope the collection you bought at a high price is real beer, not beer foam.
Mudan Zhang Zhaoxiang