I have a long history of collecting calligraphy and painting. Of course, the collection of Tibetan paintings must first look at the "title". The bigger the title, the greater the collection value of the work. It is not easy to join artists' associations above the provincial level, and no one can muddle through. Most people with this title have their own painting foundation, ability and skills. Generally, there are no officials who don't understand art. This is not blown out by the sedan chair. For some excellent works of provincial committee members, the collection value is great, and there is often room for improvement, because in time, he may have greater achievements.
Calligraphy works are highly valued by officials-to be honest, the calligraphy of administrative officials is above the level of leading cadres and major generals (the older the better, such as the founding generals in 55 years), and the collection value increases with the number of their works, whether the author has a good promotion prospect, and whether he is alive or dead. In the leadership of the book association, some people are now promoted by relationships. Once they lose their position in the book association (unsuccessful), the value of their works plummets. You should not pay attention to the size of "officials", especially the true level of their calligraphy.
Specifically, the three you mentioned are all old painters. The appreciation space mainly lies in the passage of time.