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13. Job buyer

Have you ever had to deal with fake pictures?

In 1951 I sold to George Schmidt of the Basel Museum of one of Matisse and Cezanne's Bathers. Both paintings are very large. Suddenly, in New York, I see these Bathers at Roschenberga. I asked the price. I answer, that the picture has been assigned to a museum. Okay, so be it. After a while I pass by a London gallery and vazhu the same picture. But it is kind of strange. I do not like. Maybe because I was not involved in this transaction? But no, the picture I really do not like it. I went to the gallery and asked to show it to me. It turned out that this is a copy made by a famous Florentine, Edzhisto Fabbri, an amateur painter, who amused himself by making a very strict style with a copy of his works owned by Cezanne. Only after his death these copies of the originals were taken by Cezanne.

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However, the expert, Ventura, announced the job real. So it was not just a fake picture, but the certificate of review ... In the end I managed to buy a New York real Bathers, which I then sold in the Basle Museum.
Marchand, who claims that he never poadalis fake, disingenuous soul. Nevertheless, I must say that I'm very lucky. Yes, I came across a fake, but very rarely. Of the large number of canvases that have passed through the gallery, very few people have been deceived. We always check the documents and background papers, sometimes we give them even more important than the opinion of the artist.
So, once I bought one of the two collector Vlaminck in 1912, in principle, I was only interested in the work of his Fauvist period (1905-1907), when he and Derain dominated by his contemporaries. Relationship with Van Gogh was obviously very stressed. I resold those of two Marchand, who worked together, and they immediately showed their Vlaminck. He looked at it and declared it a fake. One of the paintings depicted gladioli:! 'Flowers, which I hate more than anything else! "- He was indignant, scored on the red paint brush and wrote on the reverse side of each of the" fake ". My clients have taken offense at me. What to do? And then I remembered that prior to 1914 have Vlaminck was an exclusive agreement with Kanvaylerom. And that led to the strictness of the German perfect ochetnost. Both the canvas had been played in it with the inscription: "purchased from Vlaminck." This document is discredited artist. "Nelzyapozorit an old Vlaminck - said Konvayler - but you have to show that they guarantee the authenticity of the report documents the work one hundred percent. Duplicate them and sell. " Nothing else I had not.
The artists themselves may err.
Thus makes it possible for a gouache by Picasso created many problems. Shortly before Christmas, was held in Geneva auction. Jean Plank told me about it, and although I decided not to buy anything until the end of the year, but still went up for auction. There was a lot, consisting of beautiful canvases and gouaches a young Picasso, Woman in a toilet, a beautiful but not very convincing. I knew little about this period and gave up the gouaches. The seller insisted that either took the whole lot or do not take. He guaranteed the authenticity of my gouaches, which he got from a friend of Picasso. We had a deal, but soon became convinced that the gouache was a fake. The poster, which we then applied, and promised that in the very near future will provide us with proof of its authenticity. A year later he brought us a certificate signed by Picasso, so that we can settle down on it and resell gouache. However, I was convinced that it was fake. I brought it to Picasso. His reaction was bezapellatsionna: "This is a fake!". I was surprised: "So why do you have certified its authenticity?"
- So what could I do? The owner came to me with a photograph of a pretty secretary, and ... Well, I signed. " He wanted to immediately destroy this gouache. "Beware, this is the case a lot of money!" - I said.
Then he wrote that he saw the work itself, not the photo, he is able to assert that it is a fake. This document has led to a happy ending: the former owner was forced to withdraw gouache. Well, that Picasso was still alive: despite the fact they signed certificate of authenticity I could not sell the girl for the toilet or keep it.

These counterfeit and fake originals ...

Some artists are sometimes falsified the date of their creation. Mondrian and Léger "old" my pictures, so as not to look like Picasso's followers, who was a pioneer in all. Thus, Mondrian signed his Eucalyptus (1912), "P. M. 1910. " Nina Kandinskaya also showed a watercolor of her husband, marking the beginning of abstract art, signed and dated 1910 Based on the date that water could be considered the first abstract work. In fact, she was signed in 1936, and was written in 1914. Paris Pompidou Center has corrected the dating.

For the fakes are unscrupulous brokers ...

A good conscience is always a winner. More I have nothing to say. Nothing is going to tell you. Each of us in the memory of the history of dishonest people.

When you buy a large lot, you are always assured that the price is advantageous compared to the price of each work?

One day I was approached by a collector from St. Louis in the United States, Mr. Weil. At one time I sold him some work, and now makes it possible for his wife's illness, he wanted to sell a significant part of his collection. I bought it, inter alia, a Chagall and a Marriage, which I could not sell because they paid too much. I got carried away, because work was really good. But the owner left me good memories ... After the death of his wife, he decided to completely sell his collection.
He called me, then, and I promised him to come. I decided to combine this trip with the New York trading. Of course, he turned to other Marchand. Once again he called me and asked me what I can offer him a big Monet, two boys in a boat. I rated it at four million dollars. «I think we've a deal» («I think we'll get together") - he replied. This alarmed me, I suppose, I invited him to too high a price. In New York, I talked about this work with a colleague and rpedlozhil buy it together. When I came to him in St. Louis, Weill met me at the door. I knew that he had other buyers, but he did not sell before my arrival - I caught him by the bait with his insane proposal to Monet.
- We have time - he said - I have just returned from a walk, I want to eat, but other buyers have to come tomorrow. If you prefer, you can choose one or two of work in addition to Monet ...
- I am afraid that I was mistaken when praised Monet's four million.
- Oh no, we agreed!
I went into the house, looked at the pictures hanging on the walls and began to assess. Several times he came up to me and asked why I was doing the recording. "You have to pick and choose" - he kept repeating. I continued to work and told him:
- I buy it!
- No, no, I told you, I promised some of the work. Other buyers have to come.
- We have agreed on a price. Having bought everything, I deliver you from trouble. You're in a hurry to sell? So let's udapim on his hands.
- My lawyer in the next room. Go and talk to him.
The lawyer thought my offer coherent and acceptable. He too was in a hurry and was goloden.Kogda Weil joined us, the lawyer said:
- Beyeler wanted to take everything with you at an agreed price.
- Let's think about it over dinner.
- No, I decide now, - said the lawyer - I have a date.
- Well, well.
So I bought the entire collection, including Monet, at a discount.
We had lunch the three of us. With joy I drank too much. When I returned to New York City, my colleagues called me, they were furious: their plane tickets to St. Louis lost!

You came to Monet, which you overestimated, and left with a whole collection. How do you sell this Mona?

I sold it after a while for the four million dollars. Later he was put up for auction, but appreciated too expensive, and the buyer was not found on him, so he was removed from the auction.

then you have it overrated, but now you can not deny its value.

New York colleague, who claimed that he was not worth the money, in a sense he was right. In his diary, Rene Gimpel rasskazvaet about how he once visited a Monet. He saw this painting on the easel, and wanted to buy it. Monet said: "I need a day to finish it." "No way! - Gimpel said, - I take it! She's so ... fresh! ". And he took the picture, not allowing even the time of Monet to sign it. I did not have to regret buying the entire collection Weill.

What are the criteria for you when choosing a picture, what is her power?

First of all, it should excite me. It should fascinate my mind, my mind, my whole being. I have always trusted his instincts, which in time became more and more accurate - in fact I spent all my time looking at paintings: harmony, play of colors ... I'll leave comment on the possibility of scientists and art historians. I have no preconceived notions. Something happens inside of us. The picture finds its reflection in you, and you can enter into it. For me the fundamental two criteria: originality and freshness. A huge part of the artistic production of "aging badly", it becomes boring. If the product is developed with you, it will remain. Time - the best judge. The freshness goes out of fashion. It is oriented to the future.

you were hunting for "treasures of the commercial" is not the one you helped other people - for example, Jean Plank. How do you have to work?

Planck introduced me to Walter Shyupfer, Basle painter, who lived near Beymlyayngasse. Planck was Swiss, but he lived in Paris, and he had time to look for a picture. In general, Jean-Planck was an inventor, he started painting very - first of his paintings are interested in, and then the artists themselves. Life had been difficult, but it does not matter. We had such a peasant Planck vein, it would not let him break away from reality. Ironically, this self-taught was an unmistakable flair for good work. I offered him a 5%commission for every job he finds for the gallery. It seemed also that he will make a great salesman, as he always had wonderful arguments! But he was so talkative that either tired clients, or they begin to think that he is insincere.
When it approached the buying, he was seized with a kind of naive exaltation, and he became quite unpredictable. But he never oschibalsya in quality. It was a matter of honor for him, because he devoted himself fully in this work. It so happened that we bought too much work Zhyubyuffe. But what do you want? In Jean-Planck was a physical connection with the painting, almost epidermal. It is worthy of admiration and respect. Our collaboration lasted for about twenty years. We became friends, and friendship can not be explained. We talked for hours. He gave me a feeling of confidence which I lacked, he was absolutely committed to our cause. Yes, we have with him is something to remember!

What kind of work he had bought for the gallery?

Impressionist paintings, as well as Dufy and Miro, which he found in Paris, Picasso - in particular, a beautiful cubist painting in 1909, which is now in a museum in Stuttgart. He had a lot of talent to enter into friendly relations. Thus, he became friends with Marie Kuttoli, a collection which was exhibited at the gallery in 1970 and sold out. In this collection were collages of Picasso, Leger, Miro, Braque, Arp. With the consent of the artists she ordered collages of these tapestries of the highest quality. We are, incidentally, exhibited these tapestries and carpets in 1961 and Jean introduced me to Max Pelke, Picasso's agent, and then with Picasso himself, as well as Dubuffet, with whom he was very friendly. Planck understood painting and did not keep his mouth shut, and it cheered artists, and disposed them to him, he had the exact look and in addition to all the phenomenal enthusiasm. However, this enthusiasm is sometimes wound up too far, especially later when he wrote his memoirs. But no matter!

What happened to him?

He was killed in a traffic accident Aug. 27, 1998 He created a fund that now owns the paintings, collected by him during his lifetime. This is a wonderful collection - there is a Picasso, Dubuffet, Oberzhonua, Klee, Leger, Toby, and many others. Jean has been an eye.

And you, have you ever be too expensive due to an excess of enthusiasm?

Yes, of course. In Los Angeles, I kindled a passion for Monet's Cathedral, and paid him two million dollars, which was horrendously expensive at the time. For three years I could not find buyers at him, but in the meantime I have come to the conclusion that such a large cloth is best left in their collection. This decision was not so stupid, because many years later another council was sold for twenty-two million dollars. I managed to buy about thirty late Monet, including the large triptych pool with water lilies, which I also could not sell and decided to leave myself - I knew that would never be able to get a job. One day, Baron Thyssen went to the gallery on the occasion of a wedding trip with his fifth wife. His wife so admired this triptych that he decided to give it to her and asked me about the price. I replied that this work is not for sale. He rpodolzhal insisting: "Name your price!". I refused. Since then I've never seen it - but because from the beginning I warned him that the Monet is not for sale.

Is the right to override an obstacle to the purchase of a professional buyer, how are you?

In France, a pre-emptive right is really too much. Gradually they begin to use in Germany, Spain and the UK. In Italy, it has been around for a long time. It cuts the wings of the market, it undermines the market: a ban on the export of works means for Marchand's inability to export. He can only try to offer something in return or to achieve some other special arrangement. For example, in 1977 I bought in Italy Gardener Van Gogh. The ban on its export was based on a law passed under Mussolini, he was about to be canceled. When buying, I relied on the impending abolition of the law. However, it was delayed. So, I was the owner of the most valuable work that I could not bring himself to or in the gallery. This state of affairs lasted for about ten years. One day, dining with Messer, director of the New York Guggenheim, I talked about this situation and asked him to buy a Gardener for his museum in Venice for half the price - so he will be able to put this van Gogh in New York. Messer, a shy person by nature, hesitated. In the end, we agreed to meet in Venice to see the work. The Italians who are aware of the possible sale of paintings Guggenheim, afraid that she will slip away. Work confiscated by the police. I protested and sued. A total of five trials, four of which I lost. When I expressed surprise at his lone victory in one of the processes, I was told that the judge it was "professional" and not "political." In what court I had to turn to my right to property has been recognized? In the Strasbourg Court: seventeen judges, sixteen of which ruled in my favor. This is an example of protracted litigation arising from the excessive zeal of the state apparatus. I repeat: even if the preferential purchase right to have legal grounds when it is applied too frequently, then it undermines the dynamism of the market and prevents access to the works of art. Therefore, to avoid encroachments by the state, the Italian collectors keep their work in Swiss banks.

Do you think if the situation has changed compared to the beginning of your activity in the auction rooms?

At some auctions, I turned out to be the largest buyer. For contemporary art auctions are an important barometer. It is noticeable that the marketing of auction houses professionalized. Clients around attention, send them to directories ... Now auction houses specializing in art around the globe. Between the individual networks emerged synergy, sellers keep in touch with customers in the most remote corners of the earth. We have to recognize that these networks can be done, what is not in a position to make any Marchand, is that all come together and create Marshal antenna or even branches in major centers - Paris, London, New York, Tokyo, but it seems to me undesirable This ... would significantly increase its annual turnover, but it would lead to a loss of time - after all it would be necessary to control. I've always preferred to be himself and to maintain direct contact with artists, collectors, museums. I do not know how I would have done today if I had to start again. We have always paid attention primarily to preparing exhibitions and catalogs. We have always had a lot of work, but there were a year and a respite, allowing us to just think of the look.

What motivated collectors?

In many senses. Sometimes it is difficult to determine. A passion, speculation, intuition (we've already seen this when I spoke about the buyers of the Winterthur) Collectibles - this way there socially. None of these things should not be criticized. Marchand should determine what is guided by his client.

Have you had any difficult cases?

Rather vague. I remember a charming Englishwoman, Lady Hulton. Nick Hulton, of Russian origin, was the wife of a newspaper publisher. Sir Edward Halton, and lived in London. Her husband loved her very much and always gave her clothes and jewelry. But she was keen on art and refuse from all these gifts, to buy cloth or skklptury. She has assembled a remarkable collection of Picasso, Braque, Giacometti, Modigliani, Brankushi and others, and the fifty works of Klee. She asked me to evaluate the collection for your insurance company. She asked me about what to get rid of and what to leave. I advised her not yet sold anything, but asked her to warn me one of the first, when she decides to sell his collection. She later complained that Marshall did not give it a rest, saying that their endless supply tire and suppress it. Finally, she decided to sell their work. I proposed to her in all fifty Klee, and she accepted it. I was notified that she would come to the gallery at the beginning of January to conclude the contract. I started waiting for!

from the counselor in become a buyer. How to control himself so as not to seem overly intrusive?

The situation was delicate. From my point of view, the deal was done, and I went to rest in the Algerian desert. But despite the beauty of the scenery, I was not quite satisfied, and was afraid that Lady Hulton change his mind. I reproached myself that was not persistent, and at the same time understood that in such a case requires more restraint. Nights spent under the canopy in the desert fascinated me, I want to paint yourself. We went to see the cave paintings Hoggar, captivated me with its freshness. The lunar landscape that surrounded us, was so impressive that I decided to continue our journey south. We had a few provisions. Our guide riding on a donkey went for help, and we were left alone. He then returned and took us to a friend Tuaregs, who received us royally, and gave us tea ceremony. Because of all this I forgot that I needed to return to Basel, and their concerns about Klee.

You're late for a day ... I guess it sold another Klee Marchand?

No, no! Despite the fact that Lady Halton in a hurry to sell, and warned me that it was only one day. We made a deal with fifty Klee. Later, she sold the remnants of his collection of my competitors. I was not able to participate - it was their revenge. Later I met her, she was absolutely charming.

Added after 3 minutes
14. America: William Rubin, New York, Marshall, artists

among museum directors with whom you were closely related, we have already mentioned Georg Schmidt in Basel. Let's talk about William Rubin in New York.

William Rubin became the director of MoMA paintings, succeeding Alfred Barr. He bought me the work of Picasso in 1908, comes from the collection Frua de Angeli, and was hoping to get some more in the gallery of works. But his most urgent predstvlyalas buying sculpture by Picasso! But it was not so simple: attempt to Penrose, Malraux, Alfred Barr virus were unsuccessful. [SPOILER] Kanvayler himself could not get a single sculpture, even for the museum. I doubted that I could do it, despite my good relationship with Picasso. And then I got the idea (others did not think) and I told her about Ruby:
- If you are able to offer a Picasso, Van Gogh's work - this is his most cherished dream - maybe he will agree to give you a sculpture that you need.
- We do not have Van Gogov. But we have a small landscape by Cezanne, which should interest him less.
- I do not know if it will work, but let's try.
After some time I met Picasso, offered him such an exchange, and showed a slide with Cezanne. He carefully examined it. It seemed to me that the work he liked, but he said he can not decide on the slide and wants to see the original. I called Rubin, who came to the picture. He was accompanied by Walter Bareys - Rubin thought that his presence will avoid disagreements with the trustee, who could then appeal this exchange. We came to Picasso, and I was present at his first meeting with Rubin. At first, Picasso looked silently at the picture, then he asked me to help him bring the two works Cézanne, which he owned, Estak Bay and Mount Sainte-Victoire (Picasso's paintings are traded at the Vollard Suite of etchings at the Vollard), and we put them on both sides of small canvas from a lap neighborhood looked like a postcard, and caused a laugh. We remained silent, but each of us, it was clear. Picasso said that, and Georges Braque, and he is always very much appreciated this work: "We have swallowed every square inch of the canvas ... This was our father ..". It was moved by the fact that MoMA is ready to part with Cezanne canvas to buy one of his sculptures - they did not have any famous or reproduced. Then the conversation turned to art. Rubin asked him about cubism, the beginning of the movement, the creative ideas. The dialogue has turned out dense and rich, and happy Picasso suggested that we go into the basement. We entered a room cluttered with sculptures, like the child, lying on the floor where unharvested toys. We were amazed. Rubin asked Picasso why he never offered his sculptures. "I do not want them to stagnate in Marchand, they are too fragile." Carelessly at first sight, made in the basement, the work was extremely important to him, to them was known only to him the secret of creating kazhdots of them. Rubin looked at them, he was particularly interested in the Guitar (1911), the world's first "built, made" sculpture after centuries of creating sculptures from a single block. Picasso appreciated the depth of erudition Rubin and his almost instinctive ability to determine the place of art in its historical perspective.
- Well, - he said. - Today we have a Saturday, is not it?
- Think a little. We will return on Monday afternoon.
On Monday, we came to him, as was agreed, by 17 hours. Picasso was an empty table in a solemn pose, as if he had to announce something very important to us.
- I thought - he said - I give MoMA guitar, and you can pick your Cezanne.
In parting, we asked Jackie to take a picture of us all to perpetuate the gift. It was February 15, 1971
In the taxi, and Rubin Bareys happy as children, and thanked me excitedly. They wanted to give me a commission, but I refused, explaining that I just offered his friendly assistance, and did not act in his role as Marshal. I asked them to warn me, if they suddenly decide to sell his Cezanne, and that the sale took place with my participation. "Well, of course! It's the least we can do ... "
After a few weeks the situation has changed. A considerable amount of work by Picasso from the collection of Chrysler, Morgue, vybat offered for sale. This work was inspired by photographs of concentration camps, and seemed to me the completion of Guernica. It was necessary for me, but asked for it very much. I had only one competitor: William Rubin of MoMA. On hearing this, I called him. He said that the museum did not have the amount needed to purchase paintings. I thought that I have time to try to persuade the seller drop the price and to finance this purchase. We had to find some European museum, which would have bought the painting. I have started talks with Dusseldorf, but the museum's director, Werner Shmalenbah, underestimated the importance of the Morgue. Then I turned into a museum in Munich. And then a trustee of the Museum of Munich, who was also a trustee at MoMA - it was Bareys in person! - Rubin informed of my actions. Rubin bought Morgue, traded him to Kirchner and "my" Cezanne landscape! Now the picture is in the MoMA, it was worth it, but I lost in the story of two, who were, one might say, are reserved for me.

You've probably been on Rubin in the wild rage?

William Rubin has remained my friend until his death in 2006 sebedovali We have a lot to each other. He was one of the most informed and most profound of directors of the museum. He was an extrovert, had a business instinct, but do not compare in temperament Rubin and Thompson. One was a great scholar, the other - a great lover.

In the end, America was very important to you.

Need to be aware that New York in the fifties became what Paris was to this: the diversity of art, a large number of Marchand and artists who moved from Europe (Léger, Duchamp, Chagall, Dali, Mondrian, Beckmann ...) encouraged American artists in search of his own language.

What was the range of your communications in New York?

Sidney Janice, Pierre Matisse, Leo Castelli, Bill Akvavella and others. We saw in the opening days, although I no longer met the artists. It was a very lively, fun evening, they often ended up in Harlem.

Tell me about Leo Castelli?

Very lively, very intelligent Italian, a polyglot, a great ladies' man. He began with the Drouhin in Paris, on Place Vendome ploschali. Thanks to his first wife, Ileana Zonnabend, he managed to open the gallery and develop it, opening new artists: Jasper Johns, Rauschenberg, Serra, Oldenburg, Lichtenstein. Prior to that he worked with Sidney Janice. Castelli was very flexible and agile man, these qualities enabled him to strike up numerous contacts in Italy, Germany and, of course, in France.

A Sydney Janice?

He was passionately fond of art and his collection. Initially, he had a workshop on sewing shirts. Soon he became interested in art. His gallery is located next to the Betty Parsons Gallery, which was first put Rothko and Jackson Pollock. Janice was carried away by these artists and managed to persuade them to withdraw from the Betty Parsons and start working with him. Then he began to move to New York, Mondrian, Schwitters, Arp, Brankushi, De Kooning, Dadaists and Surrealists. This man was really fascinated by art. Incidentally, he wrote a very good book about Picasso, Picasso, The Recent Years. He died when he was ninety-three years, and according to his will his entire collection passed into the MoMA. He wanted to uvpimey artists kortoryh he valued, were exhibited in one of the most famous museums in the world, or at least participated in the major exchanges between museums.

guess I need to mention the Peggy Guggenheim ...

When she held her first gallery in New York, it advised Duchamp. Every first Saturday she exhibited the work of young artists and invited three experts - Barr, Sweeney, and Mondrian. If any work of Mondrian did not like, he exclaimed: "Oh, it's tragic!". He once said admiringly: "For the first time since I came to America, I see something extraordinary!". It was Pollock. Peggy Guggenheim was a very rich imagination. Her collection, fund, and a charming little museum in Venice, wonderful. Many times I met her in Venice, then she has moved away from the activity.

you belonged to Pierre Matisse, whom we mentioned, in speaking of Dubuffet, with great respect.

Pierre Matisse gave the impression of a dry and hard man - the same, and spoke about his father. For Henry this dryness and stiffness were the means of self-defense. He was selfish and fiercely defended their freedom and independence. He had two sons, Jean and Pierre, and a daughter who married the art historian Georges Dyutyui. Jean became a sculptor, and Pierre opened in New York City gallery. Of course, he had his father's paintings, but he managed to diversify their tastes. He was friends with Baltyusom, Chagall, Miro, Giacometti, Dubuffet later with which he opened. Some of the canvases Dubuffet, he showed his father, who believed that Dubuffet - one of the few major artists of the postwar period.

You said that in New York you met mostly with artists. What are the artists?

I was heavily influenced by Klee, Mondrian, Picasso, so it was hard to take them to an empty, flat event-free picture. After these large format Mondrian I have not been impressive. Maybe they were too big for me, a European. And I did not know to whom you could sell them: it is necessary that the ceilings were very high ... But pretty quickly I sensed in them the opening of the new world, saw an explosion of freedom. For years I've been busy with the history of Thompson and missed quite a few New York shows. However, I became acquainted with De Kooning and, more importantly, with Barnett Newman - we often dined together in a typical American seafood restaurant. Newman argued that this restaurant was the only "typical American" place in New York. He took me to boxing matches. We treat each other with sympathy. He had his own, deeply thought out views on European art, and he was sure that we live in an era of great American art. The dollar did not help us, I would even say that he was the most serious obstacle. Pay for any canvas for twenty-five thousand dollars - is equal to one hundred and twenty thousand francs, to resell it was virtually impossible. Rare Europeans, collecting American art, preferring to buy directly in the United States.

About what year did you say?

About 1959. At this time I met Rothko, Lichtenstein, Rauschenberg Robert Rauschenberg ... personified this thirst for freedom and space. The photographer, dancer, choreographer, painter, it was a versatile, fun, expansive artist, especially after a glass of whiskey. I remember how he came to Basel on the opening day on which a Marchand from Los Angeles always wanted, so I introduced them. Rauschenberg did not pay any attention to him. After some time, Marchand said, "But I - private dealer (private dealer)."
- Yes, yes, I understand - Rauschenberg said, - «but I will keep it very private! (But I'll keep it a secret) "- and turned away.
Until his death in 2008 he lived in Florida, Captiva, and worked all the time changing his technique - it would be very nice if it was not such a player for whom everything is - a joke, and so much less deep than his friend Jasper Johns.

How is the canvas, he is represented in the Fund?

Windward («lee"), a work of art for the U.S. remains a very significant and very modern, despite the fact that it was created in 1963! Rauschenberg allows it dilemma between figurative and abstract. He komponiruet images podcherpnutye from advertising, and creates explosive art, giving the impression of randomness, accident, and full of freshness, but that balance could be achieved only through glubokoih thought! Painting it dramatizes the effects of a collage.

This is Pop Art?

Pop Art brought into everyday life beautiful new vocabulary, new grammar and the new syntax. After Warhol and Oldenburg it is impossible to write in the old way. Rauschenberg I put a few circumlocutions, but not below, not at all! Roy Liechtenstein, with its brilliant series of paintings, mirrors, too, stands somewhat apart. The idea of ​​Pop Art - put on a level of Rembrandt and Mickey Mouse. Society and media are neutralized, and thus the artists could not afford it. Liechtenstein used the hackneyed image of society in which he lived. Then, in the seventies, he turned to the older generation, to the Surrealists (Dali, Ernst, Picasso), he reconsidered and quite brilliantly appropriiroval. A girl with a tear III with its transformation of hours, already transformed by Dalí, refers to this period. In my opinion, is a masterpiece, and I am glad that she is in the Fund.

But I think, among the artists with whom you met in New York, you most admired Rothko. You are going to attach to your Pavilion Fund, fully dedicated to this artist. How did you meet him?

I had a few paintings of Mark Rothko, I was fascinated by his work. One U.S. Marshal Glimhner called me to say that Rothko agreed to sell both of us lots of canvases. It was not that that Marchand would make me a gift, and misrepresented that Rothko wanted his work became better known in Europe. It should be remembered that Rothko in a sense, burned the public reaction to the canvas, ordered him to office Sigrema built in New York, Mies an der Rohe. Indeed, people believed that his painting purely decorative, while the artist sought to the effect of contemplation - he managed to do it in a chapel near the University of Houston (alas, these works have been hit hard from time to time).
I went to the Rothko in his New York studio. He received me kindly, and said that he likes the way I work, sometimes it gets my exhibitions catalogs, etc. I explained emuprintsipy their work and said that he was ready to buy what he wants to show me. "I can not, - he said. No, I would like to sell you a job, but I can not. " And he repeated it several times. I did not insist, and returned to his hotel. Two days later Glimher called me, "Mark Rothko wants to see you." I was surprised: "But why? He said he did not sell. " But Glimher insisted, so I again went to the Rothko. He opened the door for me. His face was tense. I again told him that I wanted to buy him anything he would agree to sell me. He invited me to enter. On the mezzanine sounds of Beethoven's Ninth Symphony. Rothko poured me a glass of schnapps. We sat in the kitchen. And then he wept and began to explain to me what he wanted to sell me his canvases, but it is not possible. I tried to comfort him: "Mr. Rothko, do not worry. We can not make a deal, well so what? "But he could not calm down. So I left him, crying, depressed.
The reasons for his behavior, I realized later. The fact that Rothko was associated with the Marlborough Gallery. This gallery ran Lloyd, who enlisted the collaboration of Bernard Reiss, friends with many artists] That Reiss worked all their problems, until the filling of tax returns - an unbearable burden for the artist and an incomparable storehouse of information on the sources of his income for the marshal. Lloyd was appointed vice president of Reiss Gallery, and thus put him in a dilemma: friendship with the artists or the interests of the gallery ... Rothko opened a Swiss bank account. Learning that Rothko talks with other Marchand, he made it clear that he puts himself in the uncomfortable position and goes to great risk, because if the information about Swiss bank accounts will be made public, break out a monstrous scandal. Subsequently, the Marlborough Gallery has used the same tactics and Bacon. Such a strategy poschvolyala them to keep artists on a leash, not signing contracts with them. Bacon did not care to blackmail, he was a British citizen. But for a Rothko, a Russian Jewish immigrant who took ten years to get U.S. citizenship, such a scandal was unthinkable. Thanks to America, he and his family were able to live peacefully and be realized. He wanted to be at odds with his country and sheltered from the federal government. These difficulties were imposed on his depression. He committed suicide.

What are you so attracted to his work?

The transformation of color in the light. This is the greatest challenge nonfigurativnogo art. Rothko - its top. His art needs no comment, it is impossible to convey in words. His works are asking the viewer and encourage him to meditation and contemplation: in search of forms, we roemsya in color and find the light. But of course, it requires effort! Rothko knew what he risked creating paintings that could be mistaken for decorative panels.

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15. Marshal

We talk a lot about the artists. What did you tell us about Marshania? What is your relationship with them?

I was not familiar with Ambroise Vollard, he died in Paris in 1939, but Marchand, whom I respect more than anyone else. With great respect I have belonged to Konvayleru, with all the others I have very good relations. We are bound by the market, our interests are often divergent, often slips envy - envy not the people, and things that each of us has, so it does not interfere with personal contacts.

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I was lucky: I lived in Basel, far from Paris or New York's gossip - these rumors are doing, or vice versa, destroy reputations, sometimes in the rush of love or in a fit of irritation - vdelake from the artists and their families. I once had dinner at Nina Kondinskots. We agreed that I will be the legacy of her husband. Befstroganovym excellent supper, and after drinking a few glasses of vodka, she made me a real examination of contemporary art. She wanted to know who in my opinion, was the greatest artist of the twentieth century. I replied, "Picasso."
- Picasso - the great Spanish painter, Franz Marc - German, etc. But Kandinsky - with all the greatest.
Over time, we treated each other with growing sympathy. She said that I - "the most grand marshal." I was rather amused when I thought of the greatest Marshania past - Ambroise Vollard, Henri Kanvaylere in Europe, Sidney Janice, Pierre Matisse and Leo Castelli in America, because from the very beginning, they have attracted great artists, Vollard - by Cézanne, Renoir, Gauguin and the young Picasso Cubist Kanvatsler gained recognition, Janice worked with Mondrian, Brankushi, Dadaists, even with the greatness of Rothko ... Marchant is determined by the greatness of artists with whom he works. I do not put myself on their level, because I was not a pioneer, a discoverer. It was important to gain recognition is not new, but the quality, so my range of artists was wider than in any other Marchand, from Impressionists to Warhol. A lot of artists with the same demanding quality, is the motto of my gallery and I hope that we realized.

Does attitude toward money be dangerous?

Money began to worry me when I realized that money gives me the opportunity to realize their projects. And the first of these projects - an exhibition, I dream about: to collect about a hundred works to create a great work of art of the highest quality. I'm sure to be a real Marchand, we must first organize exhibitions and publish high-quality directories that reflect the superiority of these exhibitions.

Have you never had remorse, related to money? Because the margin Marchand compared to the price he pays for the painting the artist is very significant.

Resell the painting, it means defending painting, the artist. A little exaggeration, we can say that the selling job, Marchand involved in its creation. As for me, I was not always possible to buy masterpieces, because I had insufficient funds. Deciding to stay in Basel, I had to pay for something I did not choose New York or Paris, where I could work with the richest art collectors and buyers. Now I have no regrets about his decision, as I managed to succeed because of my energy, and thanks to my wife and my staff.

you still get a hefty come! For example, you tell that the price of a particular fabric you double or triple. You do not think this is easy money?

You can triple the price of the fabric, provided that this painting is a rare, high quality and you held it long enough. And money is not easy, even if the sale is carried out quickly (if we ignore the time during which the work was frozen). For fabrics, the price of which reaches astronomical heights, rarely pay immediately. Often the money has to wait a few months. And during this time may have an opportunity to buy other works ...

How do you explain the rise in prices?

When I started in 1946, prices rose by 5%per year. After the war there were many large states. "German miracle" that is supported by the United States in the fifties and sixties because Germany has raised the economic level that some people just do not know what to invest their money. They pounced on contemporary art. In the seventies, American art flooded the art market, prices have been fantastic, and I had to pay in hard currency. On the market since the eighties, a large Japanese customer was the last straw - it has led to price increases by 100-150%. But do not think that the prices on the art of growing all the time. Events such as, for example, international tensions, war, terrorism may slow or even invert the trend. Over the years, prices have increased, giving us the opportunity to eliminate our old drains at incredibly high prices. This allowed us for the first time the existence of a gallery out of debt, create a fund, finally, to pay for the construction of the museum and to purchase significant works by Van Gogh, Monet, Cezanne and other artists to enrich the museum's collection.
Need to be aware that when selling a mediocre product is never short of expectations. Profitable to sell only high quality fabric. We recently sold a very good picture of Picasso's 1932 portrait of his girlfriend, Marie-Therese Yaalter because I realized that half of the face in the portrait depicted a profile of the Picasso, and therefore, it was, so to speak, disbud double portrait.

Do you have the feeling that you were an actor and this rise in prices for works of art?

How it all! Attended by all, first individuals, then the marshal, all prices are pulled from the ceiling, and all very well to make money. Note that the highest prices reached a product purchased by private collectors. Of course, prices have grown incredibly, but do not forget: the price is a work of art. I am always comforted his conscience that I sell high-quality work. You can be frank with the prices, but not with the quality - it speaks for itself. Buying a mediocre job, you are away at the possibility of future exchanges, enriching all senses of the word.

Have you always been a commercial vein?

Yes, but my interest waned trade. Now I no longer need to hunt for commercial paintings, which are easy to sell quickly. The gallery runs a few people, in particular, Pictures Couturier, who sails the world, as once the Planck toured the gallery. I try not to give up work, which has a place in my collection - a collection of the Foundation. Selling some of my work upset - I would prefer to leave them. But our life was in the pursuit of money. My wife and I are always glad when they could leave yourself some work, hang it at home, we lived with the pictures. But the debts piled up, because I could not refuse to purchase large canvases, when I offered them.

In his memoirs, "Marshal Arts" Vildenshtayn Daniel writes: "Every morning, wake up, I asked myself the question:" How much longer we hold out? "I'm not talking about himself. I'm talking about a profession that I love. " Do you also think that this profession is doomed?

Previously, it was easy. All believed in each other naslovo, and commercial relations are not complicated by all sorts of administrative tricks: faxes, letters, e-mail ... Everything was kept on parole. My deal with J. David Thompson, was made without coaxial whatever written form - I bought a large lot Klee, as well as did many other minor purchases. Of the six paintings, which I received from him, the contracts were signed only by half. In our profession, the word meant a lot. Let me give you an example: I once visited a friend in Ascona in an elderly German artist. We ate and drank, and then I said to him: "You probably have friends after all." He listed the names of my friends and I visited them. One of them was Bonnard, whom I could buy. And he was fovistsky Matisse, which he bought at major auction Fischer in Lucerne in 1939 I wanted to buy the canvas, but I did not have money, you had to wait three weeks. For him it was too long. One of my friends gave me the desired amount of loan, and I again went to the owner of Matisse. But he changed his mind to sell his painting, at least at the agreed price between us. Then I asked him to name the new price. After much persuasion - it was a shame - he told me the amount, almost twice as old. I agreed and returned to Basel, where I managed to take another missing money. All these transactions were carried out without written confirmation. Now, this Matisse hangs in the Basel Museum.
The fact that I sought at the time, now is not feasible, because the prices were simply unavailable. Fierce competition auction houses, their global marketing, the rivalry between artists and tax supervision over exposed for sale in the works - all this leads to the fact that the art market is dying. The whole administrative control kills aesthetic pleasure, and trade used to be fun.

But collectors will never run out. What will they do without Marchand?

Job Marchand does not disappear, it is necessary, because the world is always a supply and demand, or in other words a market in which the take-off periods will alternate with periods of decline. No need to be clairvoyant to say this, it is quite obvious.