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Сообщение от ranzher

My dear Sergius, your words seem somewhat ambiguous. It is not clear you want to have the conclusion of the artist or not. If you want I can send them a photo of your pictures (this time of the year until mid-January Oleg usually holds in his Burgundian estate), then this picture with his conclusion will post here on the forum.

Now about your question.
If we put aside such arguments in favor of the authenticity of the picture as TNT staff army bomb simulator and Drinking a creative yearning and port with Anatoly T. Zverev, it is your boundless faith in the concerns of Mr. Drobitsky authenticity of the paintings at one of the many exhibitions-yourself federation, no less faith in the that the 28-year-old artist Tselkov in 1962 was quite in demand, and probably in your logic has access to private distributors.

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By demand? Same as he Zaborova and Koshkurevichem at twenty who purchased freshly made pictures from an old friend? Zaborova had more, and hide his painting of the pope - respectable Soviet artist.
 
Who really was in demand from this circle of artists, so this Oscar Yakovlevich Rabin since 1965 and a few names of so-called "diparta. By O. Rabin for the painting was part and firm prices for all three formats, which he enjoyed.
Oleg Tselkov in this circle is not included.

Once a joke Oleg that he had not always been painting for money, for example, self-portraits or portraits of his wife, his wife, Tonya joke answered: "Not a single painting you did for free. Do not forget how many years I have fed you. "
Legends of its excess supply in Soviet times, vastly exaggerate the reality.

Information on how the artist lived and worked at that time, including what material is used, told them in countless published interviews. And Witness life around him confirmed.


What is due, dear Sergius, your idea of omniscience and crystal purity of Mr. Drobitsky? Maybe this is the magic sequence of these words - President of the International Federation of Artists? Why Drobitsky should be the case before it is fake or not? And why should he understand the work they despised the artist, who by that time almost 20 years living abroad?

Not want to give response to Mr. Drobitsky, but recall an episode from his biography. During the Perestroika he gathered the artists work for it had organized in the West, particularly in France, Russian auctions. Auctions were held, and many deliverer did not receive any money or work.


And the remark on Information formal ... smelled the Sov-barracks park. Soon 20 years as no country, and faith of its former citizens in the printed word, any institution is alive and well.
Why, Sergius, because you just can stitch these forecasts! It may be less coherent, may be more, but they both say "official" would be quite the same. Or do you think that the information published on this site - the ultimate truth? Then I sincerely white envy envy drafter forecasts.

By the way, just read this and saw that among other parsed lots appear forgery - landscape Baranova-Rossini. Yet credit is due predictors - he still felt something was wrong in this lot. A case, I must say, was not easy, especially on the image on the monitor.

ranzher,

sorry, but read and remembered the story Shukshina - "cut". I respect the pressure!

Thank you for the burgundy version. I want to have a conclusion, Oleg Nikolayevich about the authenticity of the picture and has been doing that. In that case, if I fail,
turn to you.

Do not hesitated to answer. He remembered how the same pressure I pressed
KGB investigator in the city of Surgut in 1980 for dissent and sedition.

Now, on the merits of the topic. Someone else's job to sell the first time. All situationally. Sorry if that ... Word against the word. Nothing to you personally.

Here in my hands catalog "February 1995. Exhibition of paintings on Gogol Boulevard.
20 years later.
19-28 February 1995.
The exhibition was dedicated to the 20 anniversary of the painting exhibition of avant-garde artists in the pavilion at VDNH beekeeping in 1975.
In this directory on the 16th page of etching O. Tsalkova. "Composition" 1980. 35 x 45.

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Artists exhibited:
P. Belenok, N. Vechtomov, E. Drobitskiy, A. Zverev, O. Kandaurov, D. Krasnopevtsev
V. Kropivnitskaya, L. Masterkova, V. Nemukhin, D. Plavinsky, Tselkov,
E. Steinberg, A. Yulikov, V. Yakovlev, V. Yankilevsky and others.
Results in the catalog of the 81-th of the author.
Excuse my immodesty, I was there by one ds works. This is to ensure that I know, not from the press, it is quite normal attitude Drobitsky to rubles. And the exhibition and catalog - his direct initiative and the issue.

Granted, the experience of the first export of works of the shovel behind the curtain - uneven.
From failure to return to work auctions and exhibitions in Paris, Madrid, Hamburg, I myself
suffered in those days, in part. But there were I think some technical reasons.
What comes back immediately, something with a delay of six months, something prpadalo. I, my fault on the other will not say I do not know. But Drobitsky, I assure you, nothing to do with. He does not plow in the measure and is always sought after, and secured - why? Believe me, I know. We then worked together every day for years.

International Federation of Artists is a legitimate organization that grew out of the Moscow of the Joint Committee of Graphic Artists,
(exhibition halls in the basements of the Little Georgian), identity cards, which saved us "unemployed" artists from the article for parasitism. Then, in 1990. registering
federation, we simply pulled out from the odious sovdepovskogo union of artists rights and opportunities - and he rested on the Bose. I write all this is likely to outsiders, you who hope in the course of those events?

As for the reduced forecast for the "Man with a lemon" - pay attention to the words in it that in 1962. Early Tselkov has not yet become "so rubles, but that he had an early interest and valuable. And I said extrinsic to the maestro, the writing of job on the front side. I would not categorically on contentious formal criteria to determine authenticity. Fakes works - not a rarity. Repeats too.
On steel discrepancies in our understanding of the issues, silent.

On the life of Oleg Nikolayevich Tsalkova know very little about the degree of demand
it while I admit, I had in mind that it still was, and it might well enough to get once a year, half a meter of cloth.
 And I, in my time of the eighties, had the same problem with the canvas and stretcher. I gave more than selling symbolically. And in special shops was not well received, but not always have to write on hardboard. Once, twice a year and canvas appeared.

While everyone got a scoop, but the patient always beat his. Artists, steeper than the artist, no one could eat. On okolotvorcheskih spices and say nothing.

For me cost - the asphalt is not rolled, but the grandmother with a scythe had seen more than once. The way on the pavement. If you recall, in May 1991 at the Manege in the first free exhibition of this magnitude so in such a place, moreover, garbage, she stated with such rampant name - "Manege - U.S. Congress," I built this in a multi-ton installation of asphalt debris, a bombed-simulated floor makes his way from under him live grass. (The exhibition was organized Drobitsky, and held her federation.). Artists Ivan abramgardisty broke from Georgia in the cellars of the Small Manege,
together with us for hundreds and hundreds of colleagues from throughout the empire. (Scoop still breathing steadily).

TNT, the port and creative urge is not all my sins, but the arguments in favor of the authenticity of the picture, to me they are not directly exposed.

Immeasurably distressed if "Portrait of a flower" 55,5 x 43,5 will not original, but be happy at the same time infinitely from what is not got involved in the problem. And believe me, for me, will not matter who among us could not see counterfeits (if such it be) - the late-day Drobitsky or I? It is important to not get stuck - do not sell fake.
What and lead the conversation. Do not you?
 
There is still no doubt the authenticity of the work, and you the sincerity of your interpretations.
Works Tsalkova adore. Here are devoted to his characters:
"Maestro srezhet masks with persons
the eyes between the buttocks,
yet fell down
before them the bird. "

His work is beyond our reasoning about them. Or not?
It is my firm conviction, creativity and everything connected with it, not only lives, but also the way of reconciliation with her.

Sincerely yours, Sergius.
Bring to your attention the work Drobitsky. (UFO) .1978 g. canvas. oil. 120 x 180.
Loading capacity in denying the attraction.