By Savitha Hira
Photographs: Courtesy Art Intaglio
|Artist: Paresh Maity|
While one very comfortably accepts the value of printing techniques on artefacts, is it really so complex for one to understand the value of printmaking as a fine work of fine art? Art print connoisseur Dilip Ghevaria gets candid about the perception of print making…
A fine art print is more like a poster to the uninformed. The layman’s perception of printmaking is way far behind and the price tussle always resurfaces – why is this print lesser in monetary value than the painting,when both are original works of art and both hold equal emotional worth.“Well, the simple and most logical answer to this is that because prints exist in multiples, given all things equal, the cost of a print is cheaper than that of a painting,” informs Dilip Ghevaria, Art Print Collector and now Print Publisher.
“Actually, limited edition, numbered and signed, original graphic prints or fine art prints are equally respected and equally valued as much as paintings,” he continues. “In fact, contrary to general belief, over a period of time, prints appreciate too!”
With almost 20 years devoted to assessing and collecting art prints, Dilip has brushed shoulders with various calibres in different genres of printmaking – woodcuts, lithographs, etchings, intaglio, serigraphs etc. In fact, one of the main reasons that he switched from collector to promoter, and decided to commercialize his hobby was because he went overboard with his collection. Taking good care of sustaining his collector’s eye, he decided to enter into serious commerce, whereby he could share with others the prints that he had enjoyed and cherished for long. From stalwarts like M. F. Husain, S.H. Raza, Manjit Bawa, and Jehangir Sabavala to whizzes like Sakti Burman, Paresh Maity, Jogen Chowdhury, and T. Vaikuntam, to name a few; to mid-career artists like Rahim Mirza, Ravi Kumar Kashi, etc., his company under the aegis of Art Intaglio promotes printmaking as the most democratic medium of aesthetic appreciation.
A step forward has been his decision to publish select portfolios –Prokash Karmakar, Achyut Palav, and Yogesh Rawal among others. His most recent activity that has received wide critical appreciation has been the publishing of a print portfolio of students of Sir J. J. School of Art, Mumbai.
Driven more by passion than profession, he cautions all collectors and urges them not to purchase for investment. “Treat appreciation as incidental,” he says. At the same time, he advises that one must insist on a formal invoice and an authenticity certificate for one’s purchase. Quoting M. F. Husain, “A print is for people with more taste than money”, Dilip reinstates that art buying is a matter of one’s eyes and heart – “So quit provoking the head”, he laughs, “And make sure that the work of art will find pride of place on your wall and not in your warehouse!”
|Artist: Jogen Chowdhury|