"When I was an art dealer"

[NATA NOVA]

Сообщение от LCR

Yes, I read your yesterday's version - a disgrace, of course, the mass of typos, but not only - there are errors in the case (you know, in the course of the translation change your design, and back to return, forget all correct) apologize. But to translate easily, quickly and fairly pleasant, and edit - a long and nasty, so do not judge us too severely, I will continue as renshe.

Dear Liana, thanks for the translation (and for altruism)! "Outrageous"-visible only to you, and all the same translation is hard work (not easy, I) ..

[LCR]

Vollar - continued

In 1905 Vollar bought the studio - that is, all existing works - Derain.
In 1906 he repeated the operation with Vlaminck.
After the war he continued to accumulate. Exhibitions interested him less and less. He has a new passion: in 1900 he discovered the charms of publishing.
I have already said that Vollar was an ardent admirer of Alfred Jarry, the permanent members "underground dinner". He issued a private second Almanac dad Yubyu . Inspired personadem Yubyu himself Vollar wrote a little farce, Yubyu in the hospital, which during the war played on the front. In the same vein were written by Reincarnation dad Yubyu , illustrated by Georges Rouault.

Читать дальше... 

Vollar liked to write. He recorded all his memories, all the comments about his profession and artists with whom he spoke - a book listened to Cezanne, Degas, Renoir and Memoirs Marchand's paintings , which were issued shortly before the Second World War. They said - and this was true - that his brother Lucien had given him great assistance in writing these books. Be that as it may, they are extremely useful to historians of art, as they unusually large number of indications "of first refusal" on the way to work and how they lived, these great artists, although Vollar not always been astute, particularly in relation to Cezanne which he described several superficial.

But a new hobby Vollara swallowed it all the more. He took up the publication of copyright books and asked the artists, vhzodivshih in his circle, to do the engraving. At that time it was quite a bold undertaking, because the artists were rarely familiar with the technique of engraving. Obviously, some of these hudzhnikov engraving liked, as Cezanne, Vuillard, Maurice Denis, Sisley, Toulouse-Lautrec and Munch (I'm sure many have forgotten) participated in this event. So there Albums artists engravers , issued every edition of one hundred copies. The first copy was sold for a hundred francs, the second - a hundred and thirty.
Bibliophiles and art lovers met these albums without much enthusiasm - the novelty is always alarming.

For twenty years, Vollara kept in stock pile of these albums.
Now they are a fortune.

It neobeskurazhenny, Vollar continued to engage in publishing activities - with the same passion, with the same vigor with which he would find new talent.

His new formula was as follows: he took the already published, well-known texts (with few exceptions) - from Virgil to Octave Mirbeau - and gave to illustrate their artists. As an exception to the book Degas, Dance, Painting , he asked Paul Valéry to write text to the already established works of Degas.

He used a very rare paper (Chinese and Japanese "Great Paper"), the most sophisticated fonts and turned to the best professionals, printers. But despite this attention to quality, most publications had no success.
First, he started having problems with the censors. In 1900, he issued parallel - Verlaine's poem, illustrated with lithographs of Bonnard. Risunkisanginoy framed texts on each page. In my opinion, this is the most successful book Vollara, both in terms of drawings, and the text and Technology recruitment.

Bonnard painted the first version of the cover, then, seeing an incredibly violent negative editor, which he called, made the second option. Nevertheless, the book deemed "immoral", the question was raised about it, even in Parliament. Because of this scandal, the book sold poorly - yes, then the morals were different - bibliophiles avert nose. Nowadays it is very rare and very welcome book, it is very expensive. Actually, almost all books published Vollarom, very expensive, to the extent that they often cripple - cut engravings illustrating them in order to sell them individually, for example, such a fate befell illustrations by Picasso.
In its editorial edyatelnosti Vollar often faced prejudice. Thus, in 1900, the national printing house refused to print Torture Garden Octave Mirbeau lithographs Rodin, on the pretext that it was pornographic ...
All this cost Vollaru very expensive, but he did not surrender.
I remember in 1929, in the midst of economic crisis, one day I saw a truck stopped at his mansion.
The stevedores were torn down and his paintings by Degas, Renoir, Gauguin ...
The truck was supposed to deliver the precious cargo to the Customs - Vollar sent him to the United States, he needed the money.

Many of her dreams of books have been carried out only after his death. For some it was too late, as, for example, Theogony Gessioda published by the Fund Meg in 1955 I, in turn, issued Madness Ronsard with illustrations by Maillol and finished publication Natural History Buffon, illustrated by Picasso.
With regard to the texts, illustrated by Chagall, they issued the artist himself.
On this occasion, I remember once present at the conversation between Vollarom, Edouard Erio and Anatole France.
They talked about us, and showed them Vollar Chagall gouache, which were to decorate Fables La Fontaine.
Both men were terrified.
- My dear friend, how you can instruct the Russian artist illyustrovat most famous of our poets!
It is clear that for them it was indecent.
Vollar somewhat taken aback by this reaction, delayed the publication of Basen, but at the same time, and Bible and Dead Souls , although everything was ready - and gouaches, and texts.

After the war, Chagall's daughter, returned from the United States, came to me - she knew that all the artistic heritage Vollara kept from me.
- My father would buy you all gouaches, which he did for the Basen, Bible and Dead Souls - she said.
- What he wants to do with them?
- He wants to publish the books himself.
I sold him the works - the artist must always remain the owner of their works.

Around 1922 Vollara shop on the street Lafite been threatened demolition (although those who know the speed with which public services operate, and understand that this danger is very remote). Vollar decided to emigrate.
He is not one made such a decision: the last time merchants began to arrive from the street, she went out of fashion. Some big marshal moved to the fashionable neighborhoods - st. Faubourg Saint-Honore Street. Matignon or Place des Vosges. Other preferred neighborhoods intellectuals and moved to the other bank of the Seine, near the Odeon, especially on the street of the Seine. There were those who decided osnovat sya in Montparnasse or Montmartre.
Vollaru wanted to increase its space. Its reserves of paintings were so great that no longer placed in the store.
 On the other hand, clients expect, sitting in his chair, he was not interested in organizing exhibitions - even less. Publisher mobilized all its forces, and he no longer discover new artists. He was quite famous, and his reputation was such that he could take clients in their nadomu.
For all these reasons, rather than to select the location for its new gallery, he decided to buy a mansion on a quiet street VII districts of Paris, near the Place des Invalides. Street is called Martinyak, house number 28.
It was a large three-story house. Apparently, this house fell to him to taste, since he lived there until his death.

On the ground floor, with some windows, sealed by iron shutters were orgomnoe building, which housed most of the wealth Vollara, and a large hall, transformed into a showroom: in vitrinaz were placed under glass and ceramic vases, signed Rouault, Vlaminck, Derain , Lyapradom, Jean Puy, Valt, Gauguin. After the death of Vollara most of these articles appeared in national muzeyayah.
In the depths of the hall was a staircase leading to the second floor. There was a large dining room, which Vollar usually takes its visitors.
When any client wanted to see the Renoir and Gauguin, Vollar took out of his pocket a bunch of keys, carefully chose one of them, open up your door and disappeared in a small room with no windows. A few minutes later he came out of her, holding several canvases. As Rouault, I do not know why, but his works were in another room.
Vollar was setting in front of his visitor, announced prices, and then calmly waited.
If the customer makes any comments or tried to bargain, Vollar only laughed. For example, if a client complained about the high price of canvases, Vollar feeling the fabric from which a tailored suit this client:

- See please, what a wonderful fabric! She's English? Very chic ...
Typically, this suggestion proved sufficient. In any case, Vollar never bargained. Why? It was Ambroise Vollar most znamenitytsy Marchand of all time. This greatly facilitates communication.
Nowadays, no Marshan can not claim to possess a tenth of what was stored on the street Martinyak. Thousands greatest canvases of contemporary artists were placed in different rooms - on the first floor in the attic, everywhere. By the end of life and samVollar not know exactly how many masterpieces were in his mansion. He rarely went into their store and threw a book bound in leather, in which waged by buying and selling his paintings.
Every time I had to insist that he took any customer or sold one of the paintings - it is no longer amused.
He fell out of love and fellowship with other Marchand. His door was closed dl them - and for George Vildenshtayna, and dl brothers Rosenberg. He met them now only on "Dinner Marchand, who had never been organized on the street Martinyak. Once he borrowed a picture of George Bernheim. He returned it to him cleaned, framed and varnished. Vollar fell into a terrible rage ...
- I hate that I can not - telling a he told me - first, never sell the work in the frames, because in this case, the buyer is always created the impression that he pays and the frame ...

I must say that while the pictures are usually put in a heavy, ornate frames, which were very expensive. Sometimes they were decorated with a picture, but more often the contrary, they killed her ...
After the death Vollara in his house found a room, jammed windows, which he took pictures.
He also did not like to clean the painting or covering them with lacquer.
- I prefer - he said to me - leave now somewhere in the corner, so it's a bit covered with dust. So I leave myself open to the buyer the pleasure of beauty priobrelennoy them things.
Vollar was fine psychologist.

Outside Martinyak situation was not as relaxed as once on the street Laffitte.
Former regulars "underground dinner" parted on different sides. Bonnard and Matisse lived in the south of France. Sometimes Vollar took artists who had once patronized. But everything was not so: the former are the poor artists have become famous, but with fame came and money. So now their claims have increased, and their relations with Vollarom changed.
Was present for the first time at a dinner with the artists at uditse Martinyak, I witnessed instructive scene. I often think about it with sadness.
At a dinner attended by Matisse, Derain, Vlaminck, Dufy, in short, the company was brilliant.
We talked, of course, about painting, and painting on the other, missing artists, and talked about it not in the most laudatory terms.
Suddenly, a major-domo, who said Vollaru his name to the phone.
Vollar left. In his absence, the guests continued to chat.
Oblivious to my presence, Derain turned to the other:
Split-old is not easy, but you need to do it!
I felt ashamed that I heard this.
Of course, Vollar not a model of generosity. But he pulled out all these artists from anonymity. Steels whether they would without his famous podderdzhki? It is not a fact ... Yes, indeed, wherever they were not "old man"?
In any case, I do not ever tell Vollaru about this story.

Frankly, I think it would it not particularly surprised.
One day, good-bye to me, he suddenly turned around and asked me:
- And what is your relationship with Degas?
I froze, not knowing what he says - because Degas had died long ago ... But suddenly realized:
- We have excellent relations, thank you.
He smiled and shook his head:
- Wonderful, Wonderful! Work with dead artists, communicate with them so enjoyable!
I followed his advice. Sometimes I regret it - but not always. In the end, he worked Vollar almost always with the living artists, and we can not say this to hurt him ...

[Pavel]

Сообщение от LCR

Vollar - continued

In 1905 Vollar bought the studio - that is, all existing works - Derain.
In 1906 he repeated the operation with Vlaminck.
After the war he continued to accumulate. Exhibitions interested him less and less. He has a new passion: in 1900 he discovered the charms of publishing.
I have already said that Vollar was an ardent admirer of Alfred Jarry, the permanent members "underground dinner". He issued a private second Almanac dad Yubyu . Inspired personadem Yubyu himself Vollar wrote a little farce, Yubyu in the hospital, which during the war played on the front. In the same vein were written by Reincarnation dad Yubyu , illustrated by Georges Rouault.

Читать дальше... 

Vollar liked to write. He recorded all his memories, all the comments about his profession and artists with whom he spoke - a book listened to Cezanne, Degas, Renoir and Memoirs Marchand's paintings , which were issued shortly before the Second World War. They said - and this was true - that his brother Lucien had given him great assistance in writing these books. Be that as it may, they are extremely useful to historians of art, as they unusually large number of indications "of first refusal" on the way to work and how they lived, these great artists, although Vollar not always been astute, particularly in relation to Cezanne which he described several superficial.

But a new hobby Vollara swallowed it all the more. He took up the publication of copyright books and asked the artists, vhzodivshih in his circle, to do the engraving. At that time it was quite a bold undertaking, because the artists were rarely familiar with the technique of engraving. Obviously, some of these hudzhnikov engraving liked, as Cezanne, Vuillard, Maurice Denis, Sisley, Toulouse-Lautrec and Munch (I'm sure many have forgotten) participated in this event. So there Albums artists engravers , issued every edition of one hundred copies. The first copy was sold for a hundred francs, the second - a hundred and thirty.
Bibliophiles and art lovers met these albums without much enthusiasm - the novelty is always alarming.

For twenty years, Vollara kept in stock pile of these albums.
Now they are a fortune.

It neobeskurazhenny, Vollar continued to engage in publishing activities - with the same passion, with the same vigor with which he would find new talent.

His new formula was as follows: he took the already published, well-known texts (with few exceptions) - from Virgil to Octave Mirbeau - and gave to illustrate their artists. As an exception to the book Degas, Dance, Painting , he asked Paul Valéry to write text to the already established works of Degas.

He used a very rare paper (Chinese and Japanese "Great Paper"), the most sophisticated fonts and turned to the best professionals, printers. But despite this attention to quality, most publications had no success.
First, he started having problems with the censors. In 1900, he issued parallel - Verlaine's poem, illustrated with lithographs of Bonnard. Risunkisanginoy framed texts on each page. In my opinion, this is the most successful book Vollara, both in terms of drawings, and the text and Technology recruitment.

Bonnard painted the first version of the cover, then, seeing an incredibly violent negative editor, which he called, made the second option. Nevertheless, the book deemed "immoral", the question was raised about it, even in Parliament. Because of this scandal, the book sold poorly - yes, then the morals were different - bibliophiles avert nose. Nowadays it is very rare and very welcome book, it is very expensive. Actually, almost all books published Vollarom, very expensive, to the extent that they often cripple - cut engravings illustrating them in order to sell them individually, for example, such a fate befell illustrations by Picasso.
In its editorial edyatelnosti Vollar often faced prejudice. Thus, in 1900, the national printing house refused to print Torture Garden Octave Mirbeau lithographs Rodin, on the pretext that it was pornographic ...
All this cost Vollaru very expensive, but he did not surrender.
I remember in 1929, in the midst of economic crisis, one day I saw a truck stopped at his mansion.
The stevedores were torn down and his paintings by Degas, Renoir, Gauguin ...
The truck was supposed to deliver the precious cargo to the Customs - Vollar sent him to the United States, he needed the money.

Many of her dreams of books have been carried out only after his death. For some it was too late, as, for example, Theogony Gessioda published by the Fund Meg in 1955 I, in turn, issued Madness Ronsard with illustrations by Maillol and finished publication Natural History Buffon, illustrated by Picasso.
With regard to the texts, illustrated by Chagall, they issued the artist himself.
On this occasion, I remember once present at the conversation between Vollarom, Edouard Erio and Anatole France.
They talked about us, and showed them Vollar Chagall gouache, which were to decorate Fables La Fontaine.
Both men were terrified.
- My dear friend, how you can instruct the Russian artist illyustrovat most famous of our poets!
It is clear that for them it was indecent.
Vollar somewhat taken aback by this reaction, delayed the publication of Basen, but at the same time, and Bible and Dead Souls , although everything was ready - and gouaches, and texts.

After the war, Chagall's daughter, returned from the United States, came to me - she knew that all the artistic heritage Vollara kept from me.
- My father would buy you all gouaches, which he did for the Basen, Bible and Dead Souls - she said.
- What he wants to do with them?
- He wants to publish the books himself.
I sold him the works - the artist must always remain the owner of their works.

Around 1922 Vollara shop on the street Lafite been threatened demolition (although those who know the speed with which public services operate, and understand that this danger is very remote). Vollar decided to emigrate.
He is not one made such a decision: the last time merchants began to arrive from the street, she went out of fashion. Some big marshal moved to the fashionable neighborhoods - st. Faubourg Saint-Honore Street. Matignon or Place des Vosges. Other preferred neighborhoods intellectuals and moved to the other bank of the Seine, near the Odeon, especially on the street of the Seine. There were those who decided osnovat sya in Montparnasse or Montmartre.
Vollaru wanted to increase its space. Its reserves of paintings were so great that no longer placed in the store.
 On the other hand, clients expect, sitting in his chair, he was not interested in organizing exhibitions - even less. Publisher mobilized all its forces, and he no longer discover new artists. He was quite famous, and his reputation was such that he could take clients in their nadomu.
For all these reasons, rather than to select the location for its new gallery, he decided to buy a mansion on a quiet street VII districts of Paris, near the Place des Invalides. Street is called Martinyak, house number 28.
It was a large three-story house. Apparently, this house fell to him to taste, since he lived there until his death.

On the ground floor, with some windows, sealed by iron shutters were orgomnoe building, which housed most of the wealth Vollara, and a large hall, transformed into a showroom: in vitrinaz were placed under glass and ceramic vases, signed Rouault, Vlaminck, Derain , Lyapradom, Jean Puy, Valt, Gauguin. After the death of Vollara most of these articles appeared in national muzeyayah.
In the depths of the hall was a staircase leading to the second floor. There was a large dining room, which Vollar usually takes its visitors.
When any client wanted to see the Renoir and Gauguin, Vollar took out of his pocket a bunch of keys, carefully chose one of them, open up your door and disappeared in a small room with no windows. A few minutes later he came out of her, holding several canvases. As Rouault, I do not know why, but his works were in another room.
Vollar was setting in front of his visitor, announced prices, and then calmly waited.
If the customer makes any comments or tried to bargain, Vollar only laughed. For example, if a client complained about the high price of canvases, Vollar feeling the fabric from which a tailored suit this client:

- See please, what a wonderful fabric! She's English? Very chic ...
Typically, this suggestion proved sufficient. In any case, Vollar never bargained. Why? It was Ambroise Vollar most znamenitytsy Marchand of all time. This greatly facilitates communication.
Nowadays, no Marshan can not claim to possess a tenth of what was stored on the street Martinyak. Thousands greatest canvases of contemporary artists were placed in different rooms - on the first floor in the attic, everywhere. By the end of life and samVollar not know exactly how many masterpieces were in his mansion. He rarely went into their store and threw a book bound in leather, in which waged by buying and selling his paintings.
Every time I had to insist that he took any customer or sold one of the paintings - it is no longer amused.
He fell out of love and fellowship with other Marchand. His door was closed dl them - and for George Vildenshtayna, and dl brothers Rosenberg. He met them now only on "Dinner Marchand, who had never been organized on the street Martinyak. Once he borrowed a picture of George Bernheim. He returned it to him cleaned, framed and varnished. Vollar fell into a terrible rage ...
- I hate that I can not - telling a he told me - first, never sell the work in the frames, because in this case, the buyer is always created the impression that he pays and the frame ...

I must say that while the pictures are usually put in a heavy, ornate frames, which were very expensive. Sometimes they were decorated with a picture, but more often the contrary, they killed her ...
After the death Vollara in his house found a room, jammed windows, which he took pictures.
He also did not like to clean the painting or covering them with lacquer.
- I prefer - he said to me - leave now somewhere in the corner, so it's a bit covered with dust. So I leave myself open to the buyer the pleasure of beauty priobrelennoy them things.
Vollar was fine psychologist.

Outside Martinyak situation was not as relaxed as once on the street Laffitte.
Former regulars "underground dinner" parted on different sides. Bonnard and Matisse lived in the south of France. Sometimes Vollar took artists who had once patronized. But everything was not so: the former are the poor artists have become famous, but with fame came and money. So now their claims have increased, and their relations with Vollarom changed.
Was present for the first time at a dinner with the artists at uditse Martinyak, I witnessed instructive scene. I often think about it with sadness.
At a dinner attended by Matisse, Derain, Vlaminck, Dufy, in short, the company was brilliant.
We talked, of course, about painting, and painting on the other, missing artists, and talked about it not in the most laudatory terms.
Suddenly, a major-domo, who said Vollaru his name to the phone.
Vollar left. In his absence, the guests continued to chat.
Oblivious to my presence, Derain turned to the other:
Split-old is not easy, but you need to do it!
I felt ashamed that I heard this.
Of course, Vollar not a model of generosity. But he pulled out all these artists from anonymity. Steels whether they would without his famous podderdzhki? It is not a fact ... Yes, indeed, wherever they were not "old man"?
In any case, I do not ever tell Vollaru about this story.

Frankly, I think it would it not particularly surprised.
One day, good-bye to me, he suddenly turned around and asked me:
- And what is your relationship with Degas?
I froze, not knowing what he says - because Degas had died long ago ... But suddenly realized:
- We have excellent relations, thank you.
He smiled and shook his head:
- Wonderful, Wonderful! Work with dead artists, communicate with them so enjoyable!
I followed his advice. Sometimes I regret it - but not always. In the end, he worked Vollar almost always with the living artists, and we can not say this to hurt him ...

Zamette Vollar bought workshops, when no one of these artists have not bought. Only in vogue Impressionists and strength were academicians, have renounced the brown color, but he wrote on the old academic rules. E-School was not Van Gogh and Cezanne, who lay at Vollara in rolls of butter, and Vollar already foresaw the success of these artists. Then he bought a Matisse of his student work. Foresight should guys have to think.

[Buscador]

Сообщение от Pavel

E School was not Van Gogh and Cezanne, who lay at Vollara

Paul! About the book you need to write. Unfortunately, no Zoshchenko ...

[dimi32]

Read more raz.Ochen uvlekatelno.LCR more!

[Сима]

Сообщение от LCR

Actually, almost all books published Vollarom, very expensive, to the extent that they often cripple - cut engravings illustrating them in order to sell them individually, for example, such a fate illustrate Picasso.

The day before yesterday was at the exhibition "Livre d'artiste" in the gallery Zurab on Tversky and just thought that maybe cut them shamelessly and sold pictures separately.
A wonderful exhibition and straight to the topic. I understand that exhibited some books in Russian collections. Admired by collectors: the subject of a special, requires a delicate taste.

[LCR]

Vollar - continuation and end

Over time, was created a certain image Vollara, and art historians cherish his "clean", without checking, but as far as it corresponds to the truth.
It is often said that he was "eskpluatatorom" (if he died in poverty, and it would probably be called a genius). This big wine Gauguin. He accused Vollara of greed, called it "pure Cayman", said that he vyzhymaet artists who exploits them. Biographers Gauguin happy to spread its version. The truth, as always, lies somewhere in between.
First of all, you need to know that all these unflattering remarks about Vollare were made during the period when Gauguin cursed all ... He is absolutely continuous, with an almost morbid persistence, wrote incriminating declaration ... It is clear that Vollar was one of the targets of anger Gauguin: who can be the best object of hatred than the rich Marchand (from whom you are away to)?
As for Gauguin, who allegedly lived in poverty, here too, must beware of too simple myths. Prices for paintings reach thousands of francs, present, and after his death revealed that his books appear large congregations of money. Whence came the money?

Читать дальше... 

I found a bill for the purchase of canvas, brushes, in general, materials that are purchased and sent Vollar Gauguin in Tahiti. Found and bank receipts showing that Vollar regularly recited Gauguin money, and by that time it was quite a decent amount.
Apollinaire, despite its generally good attitude to Vollaru, wrote about it quite disrespectful song:

I take what I suggest --
Leprad, Marquet, Manzan and
Their canvases are not glowing colors
I would prefer to sell Bonn and.
But I am taking - because I Marchand --
The love of money - this is my izyan!

and so on - my ability to translate poetry depleted

What was actually the owner of the mansion on the street Martinyak?
Few people could answer this question - Vollar was a very secretive.
He was taciturn, obyasnyals short sentences, which often begins: "Tell me" and usually led someone to utter bewilderment. Speak, he raised his head slightly, so that from under heavy lids were seen his cunning and mocking eyes.
Often, that he said, felt his contempt for the vanity of the world. He was not completely insensitive to the honors, but not fooled by them - I remember a story told to me to them: when he was awarded the Legion of Honor, he decided to go to his native island to see their relatives and to show off a red ribbon on his chest ...
Old black servant, who had so long served them in the family that has become almost a relative, jabbed his finger at this ribbon:
- What is it? - He said in Creole.
- Medal of Honor - answered Vollar not without pride.
- A-ah, well, go and drop this distinction in a pot and see if he does not become a figure ...

Life Vollara was lonely and measured. He got up pretty late. His bedroom was located on the top floor of the mansion, it was huge, on monastic sparsely furnished room. On the whitewashed walls - no paintings, no prints. Huge bed Vollara was decorated with carvings, its author was Derain. I was never able to find out whether it made Derain commissioned Vollara.
Dressed, Vollar read the press, then, before dinner, went down to discuss current issues with his secretary.
After dinner, he sometimes went to watch the exhibition, but mostly he had a business meeting. By the end of his life he worked exclusively for his books - went to the printers, engravers ...
He never talked about "women in her life - personally, I never had seen one.
One day, going on a visit to the sculptor Gargano, I saw a car Vollara - big black Talbot. The car stopped in front of a small hotel, Vollar out of it and entered it. Then his brother Lucien told me that his mistress - the last time - lived in this hotel. But but never invited her Dulcinea in his mansion!

This mocking, even cynical man had a secret wound - in his youth in his native island of Reunion, he met a girl, which fell passionately in love, but it was not a situation, no money, and they had to leave, he left the island. When they saw in Paris, she was married and bore the name de Galea.
Soon Vollar befriended a married couple, de Galea. He often invited them to his estate in Cabourg, became the godfather of their son, Christian, and, ultimately, made them his heirs.
Portrait of Madame de Galea, written by Renoir, hung in the dining-room mansion on the street Martinyak. It was a big canvas, the model was shown lying on the couch era Empire, against the background of a tapestry depicting a peacock.
I noticed that Vollar was superstitious. For example, when the street he met a hunchback, he did the "whiskers" index and middle fingers from the evil eye ...
Knowing this, one day, make fun of him, I told him that I'm surprised the presence of the peacock.
- You should know that this bird brings bad luck, anyway, so they say ...
He did not answer.
A few days later, entered the dining room, I saw the portrait of Mme de Galea removed. Instead, on the wall hung a huge Picasso's blue period.
Now the lady on the sofa, "belongs to the family of de Galea.

Trust and druzhyuoy Vollara I owe the fact that he did not like to engage in sales and generally hated svyakie complications. With me was simple: I came to the street Martinyak, took the canvas and sold them at his discretion. Then I returned to Vollaru with money.
I was a good salesman, I had a light hzarakter and amused him - what else to expect from your dealer?
Once he gave me a great honor, which honors a few Marshal, maybe she did not fell any - he allowed me to enter in a big Zapasnik on the first floor ...
One of my old friends, a nephew of the artist Felix Vallotton, introduced me to two British brothers, who wanted to buy Degas.
I agreed with Vollarom that they preidut the next day, in 14 hours.
At the appointed time, we are British brother yami came to the street Martinyak. In the hall, we heard a muffled grunt, then himself appeared Vollar - he descended the lestniue to meet us.
Clearly upset and hurry, he walked past us, leaving me to find:
- I am going to the dentist!
- Do you have a toothache?
He stopped, turned and began to approach me.
- What? A-ah, no, no, not at all ...
He reached into his pocket and vytazil huge bunch of keys - I have never seen such svzki, it was so heavy that it needed to keep both hands!
- To tell the truth - quickly said Vollar - tooth ache in one lady, my pritelnitsy, it must be wrested. But there should be close to her, it's molar!

He handed me the keys - I was staggered.
- Open Zapasnik and act! - And he disappeared in a taxi.
A few moments I stood motionless with the keys in the hands of a few stunned and not quite ready to take on sebyaya responsibility for this transaction.
But then we have with our clients engaged storerooms. It was a huge room, poorly lit hanging from the ceiling with their bare electric light bulbs, covered with dust. In tsetre located quite a strange object: a billiard table, sawn in half in length, sawn parts were over each other, but to the whole structure fell under him were substituted backup. The result had been a very long table, and on this table were piled Renoir, Cezanne, Degas ...
My British brothers even lost from such a spectacle of his British phlegm ...
In the end, they chose a two canvas and a Degas pastel. At one of the canvases depicted a landscape with a silver stream in the woods. Looking at her, one of the brothers said:
- It will soon turn silver into gold.
I gave them a price on those Degas, provided that Vollar will agree, in response, they simply prmolchali, and then we parted.
After lunch, I phoned Vollaru, and he told me that I can go to him that I did.
- Well, what you have done with their English? - He asked me.
I showed him the works selected by them, and gave me these prices.
He pulled out a pencil and wrote something on a piece of paper, quickly did the calculations, then lifted one of the century.
- Tell me ...
He smiled, amused by my anticipation of his reaction.
- You did a great job, dear friend. I would ask a third less. And third, I propose this to you as commission. In what form you hlotite that I paid you?
- One part of the money, the other pictures (I have had and needs, and ambitions).
A few days later a deal with the British was successfully concluded. Vollar handed me an envelope ... and the package.
In the package were four still lifes by Renoir, Renoir, four for one deal!
Blissful time, alas, long gone,,, No doubt, this was a golden age.

I still have a very interesting document - a letter Shode, one of the dealers Vollara, from 1911


Dear Mr. Vollar,

Answer to your kind letter. If you are offered for Gauguin 250 francs, give. As Coro - if I did not know how stupid fans, then I would be surprised that you did not already sold at that price. But what to do, try more. I insist on a price, which we originally agreed to - 500 francs. Dobbin have paid for his Corot 600 francs twenty years ago! But I see that your business is not bad: nine Gauguin for 1000 francs! A few days ago I received word from the owner of Manet and Cezanne - I told you about it. Now he agrees to sell them ... and so

Gauguin, Corot ... ... ... Cezanne Man! Modest dealer quietly buying and selling these names to their customers - and some of them still wry!
And now enough of hearing about the sale of a sketch by Cezanne, to marshal all the fuss in Paris. Yes, the golden days are long gone ...

I was not the only dealer, enjoyed the confidence of Vollara.
Worked for him and lard Binyu.
One fine day, somewhere in 1924, Sam lard appeared in Paris without a penny in his pocket, he arrived from his native Poland. This cute guy was drawing and writing. Very soon he realized that if he will promote the talent of others and not his own, only to increase the welfare of his ...
He was well received in the Parisian circles of Russian and Polish immigrants and became friends with Zborovsky, who introduced him to Kisling and Soutine. Then he tied up the acquaintance with Bonnard and Vuillard. One can say that our life paths were similar ...
Sam had everything to succeed: he loved art, it is his "feeling" gut and he had an extraordinary gift of communicating with people.
In order to become a good dealer, you must be a chameleon. You must be able to adapt to different environments, people belonging to different environments - with one hand, artists, and on the other - the buyers of painting. Dealer maneuvering between these groups, as tightrope walker ...
Sam, with surprising ease playing this game. His sense of humor and cheerful disposition helped him a lot.
It combines the quality of dragonflies and ants - from time to time, he traveled to the United States and prepared the ground there himself, perhaps in anticipation of a storm, which later broke out over Europe. He collected and his own collection: each time after the conclusion of a successful transaction, they bought a Degas, Picasso, Renoir. He soon developed a very simple but very effective method: every time he offered to buy some now, he evaluated all the other paintings in the collection are the seller, and then offered to buy all. He named the price is usually made a strong impression, and usually the owners paintings agree ... Then Sam sold every work pootdelnosti and secure manner a very comfortable income. So he used to "devastate" home collectors.
After the Second World War he moved to the United States, where he collaborated with the house of Durand-Ruelle, who worked in New York, a dominant position. He bought paintings, wrapped them in newspapers, he took under his arm - and was directed to Knedleru, who had a very impressive gallery (in our time it no longer exists) in order to sell them to him, that is to act without unnecessary gimmicks. Actually Sam never scared simplicity. Very soon he was walking down Fifth Avenue with a no-limit credit card Chase Manhattan Bank, personally signed by Rockefeller, one of the customers of Sam, in his pocket ...
We saw after the war.
He once said to me:
- You know, I would like to donate to the New York Museum of Modern Art any portrait. Picasso wrote to you six times, maybe you'll give me one of these portraits? They will not abandon Picasso ...
I agreed, and now generations of the New York art lovers can contemplate at the museum my face.

I still have another recollection of Sam, it is associated with a double bet.
Once I was in his office on the Champs Elysees. It was in June, was hot, and the office window was wide open. I saw that the car drove up to the entrance of Sam, and Sam came out of it. I turned to my nephew (he, too, Marshan paintings, and now he has a gallery in Paris):
- You see this picture Cross on the wall? Well, I bet that when Sam sees it, he immediately wants to buy it ...
My plemyayannik agreed.
Sam came in ... and immediately got on a rack before work Crosse.
- What a charming picture - he said, and then followed by a magic formula:
- How much?
- Before you call the price, I suggest you bet. A thousand francs (of course, old francs), okay?
- Okay. But a bet?
- Asked his wife to get up here, I saw that she was in the car. I bet that as soon as she sees a picture, she wants to buy it.
- OK!
He went to the window and called his wife.
Entering the room, she immediately rushed to the scene and exclaimed:
-OH! What a picture! Sam, You must buy it! (Sam, what a picture, you must buy it!)
He bought it.
So I won a double argument and received 1000 francs in addition to the price for now - 14 million francs (too old).


Third dealer who worked with Vollarom was Etienne Binyu. Vollar wrote about it in his memoirs: "In the morning he was in London in the evening he opened an exhibition in Paris the next day he goes to New York - on a ship or plane. By nature he did not like to travel, he gladly would have remained at home, lozhils to sleep at 9 o'clock, and if it all the time touring the world, it is because it should be everywhere where there's a picture, put up for sale. Pictures attract him like a magnet. "
Binyu was very clever dealer, and besides, he had to drink without getting drunk.
It was very important, it allowed him to establish friendly relations with the famous Dr. Barnes.

Barnes was an American physician who invented eye drops "Argyrol. These drops help from all the diseases - as soon as any child is born it immediately buried in the eyes Argyrol - just in case. Small streams Argyrol turns into a big river ... millions of droplets ... many bottles ... more and more dollars. And very soon, Barnes became a millionaire. But he does not like a cheap popular image of the rich.
It was very nice, casual man who knows the art and enjoys painting. He regularly traveled to Paris - in a sweater and green or red pants - while those pants impressed.
His behavior was to match the exterior.
Arriving in Paris, he immediately fell into the hands Vollara and Binyu. Together they drank whiskey and discussed the painting - with a glass in hand, Barnes was an excellent companion ...
In Soutine he purchased Renoir, Cezanne, Degas and Gauguin.
One day, as any millionaire, worthy of the name, he decided to leave something for future generations nibul and decided to create a fund to which he gave his collection to the public could see it.
Said - done, and not just done, and on maerikansy manner, that is, on a grand scale.
When the palace, for storing the collection, was built, Barnes wanted to open his Vollar, which was for him the supreme authority.
But there were complications. Vollar like Ms. Price per his pleasure and could not endure long journeys, and then across the Atlantic Ocean did not fly, as we now ...
Realizing that Vollar can not agree, Barnes decided he Zante travel organization to Vollaru absolutely had nothing to worry about.
One morning, the house number 28 on the street Martinyak drove luxury Spanish. Chauffeur in livery sat Vollara in a limousine and drove to vokzad Saint-Lazare, where he passed the major-domo. Mazhordom Vollara delivered in a specially reserved train compartment. Vollar was one - all the other places in the coupe was bought by Barnes.
The train moved, and Vollar dozed off. When he awoke the train was in Le Havre.
As soon as the train stopped, there is another employee of Barnes, he carried the precious cargo in the cabin, and not just any ship, and the transatlantic, and not just any cab, and the most luxurious. This was in the cockpit, Vollar immediately fell asleep.
When the ship sailed into New York, Vollara put in a Cadillac and brought to Dr. Barnes.
Opening stock was excellent.

Sam lard is now no longer works. Бинью, который сотрудничал с Жоржем Келлером, человеком, составившим все самые крупные американские коллекции, умер.
Барнс умер в 1930-х гг.
Но Фонд Барнса все еще существует и ведет бурную детельность: там организуются выставки, ретроспективы, ведется исследовательская работа, результаты которой с интересом ожидаются во всем мире.
Ах, меценаты былых времен!..

22-го июля 1939 г. Амбруаз Воллар сел на заднее сиденье свой роскошной черной Тальбо с откидным верхом, за рулем которой сидел его верный шофер Марсель. Он направлялся в деревню.
В это время у Воллара было два поместья, одно в Фонтенбло, второе – в Трамбле-сюр-Мольдр. Оба этих поместья были довольно странные, практически без мебели. Оборудованы были только кухня и одна большаяя комната. Часто в субботу утром, часов в 10, Воллар покидал улицу Мартиньяк и ехал в одной из этих поместий. Багажник Тальбо набивали всякой снедью. Приехав в поместье, эту еду разогревали, и Воллар обедал. Затем он дремал, а проснувшись, возвращался в Париж. Мне кажется, он не смог бы провести больше одного дн вне столицы.
В этот день машина быстро ехала по дороге к Трамбле, но вдруг что-то слодмалось, машина покинула шоссе и перевернулась. Шофер не пострадал, а Воллар был без сознанияя. Его перевезли на неотложке в больнице в Версале. В дороге он все время повторял: “Нотариуса… нотариуса…”
Это были его последние слова, он умер в тот же день.
Может быть, в последние часы своей жизни он понял, что после смерти возникнет масса юридических проблем, связанных с его наследством. И действительно, дело наследства Воллара обернулось трагикомическим спектаклем.

В одной из пьес Саша Гитри один персонаж написал завещание, в котором каждому из наследников предназначена крупная сумма, а потом воскликнул: “Где же найду все эти деньги?!”
Примерно так же поступил Воллар.
Он оформил свое завещание в 1911 г., когда каждый месяц судебный пристав приходил описывать его имущество, так как ему было нечем заплатить за квартиру.
Очевидно, это стесненное положение уже тогда казалось ему кратковременным, так как он завещал каждой из своих трех сестер пожизненную ренту в 100 франков, своему брату Люсьену – сумму в 100000 франков, а 50000 франков – изобретателям детских игрушек, которые получат главный приз на конкурсе Лепина. Почему Волларп воспылал такой любовью к изобретателям и детям? Это осталось тайной дл всех!
Не располагая и десятоцй частью сумм, которые он завещал, в завещании он оговаривал, чтобы принадлежащие ему картины продавались медленно. “Я пошу моих наследников продавать картины понемногу, десять продаж в течение не менее десяти лет”.
Что касается картин, то треть отходила семье Воллара, две трети – господам де Галеа.
После написания этого завещания рошло время…
Воллар разбогател, и нотариус предложил ему переоформить свое завещание.
- Да-да, конечно, - отвечал Воллар, - Вы правы, я подумаю об этом…
Но так никогда и не перешел к делу – может быть, по лени, но скорее всего от суеверности.
Соответственно, завещание 1911 г. осталось в силе.
Таким образом Воллар, юрист по образованию, составил этот шедевр осложнений, который поставил перед его душеприказчиками кучу проблем.

Первая из этих проблем – оценка картин, принадлежащих Воллару. Его брат Люсьен назначил меня экспертом от имени семьи. Де Галеа выбрали Бинью.
В один прекрасный день мы пришли в хранилище, чтобы составить инвентарь. Мы не знали точного числа картин, находящихся в его особняке. Конечно, в нашем распоряжении был толстый реестр в кожаном переплете, в котором отмечались поступления и продажи, но мы знали, что Воллар уже давно перестал вести его. Мы осмотрели весь особняк, насчитали уже более 2000 картин… Там нас мы сделали несколько открытий: в частности, я помню, что в маленькой комнатке, где жила старая горничная Воллара, мы нашли тайник в стене, в котором стояли покрытые толстым слоем пыли картины – в свое время Воллар распорядился замуровать ненужную дверь в чуланчик, не позаботившись проверить, нет ли в этом чуланчике картин. Среди этих “замурованных” картин были работы Иттурино, Гру, Вальта, большой холст Энгра и знаменитый “Вагон третьего класса” Домье…

В итоге дела сокровищница Воллара состояла из 4 тысяч работ, в число которых входили холсты Сезанна, Вламинка, Дерена, Форена и т.д. Не осталось ни одного Ван Гога.
Составив инвентарь, мы приступили к разделу.
Этот раздел занял много времени, так как мы с Бинью осматривали каждую картину и оценивали ее, потом составляли 3 равноценных лота, которые мы пронумеровали, а потом бросили жребий, чтобы определить, кому отойдет лот. Де Галеа получили 2 лота, семья – третий.
Но настоящие осложнения возникли после раздела. Начались процессы…
Воллар завещал городу Парижу свои портреты работы Сезанна и Ренуара, а также еще одну работу Сезанна, которую представители муниципалитета могли выбрать сами из имеющихся, за исключением самого большого. Эти произведения предназ=начались для Малого Дворца (Пети Пале). Но в завещании он приписал: “Суммы, вырученные от продажи картин, должны быть распределены между наследниками пропорционально их доляям”. Поэтому юристы Парижского муниципалитета, считая, что им досталось слишком мало – всего три работы – потребовали свою долю – они считали, что тоже являяются наследниками!
В 1950 г. состоялся поцесс, на котором претензии Парижского муниципалитета были признаны несостоятельными.
Тогда две сестры Воллара подали в суд на своего брата Люсена, очевидно, считая, что их обделили. Честно говоря, я не помню, чем заончился этот процесс, думаю, что стороны пришли к компромису.
Наконец, Руо также обратился в суд на наследников Воллара. После его смерти наследники продолжили его начинание. Мы еще вернемся к этой истории.
Следующий акт этой трагикомедии содержит тайну:
По ъоду первого судебного процесса, Мэтр Морис Гарсон объявил, что 4-го мая 1940 г. Обсьен Воллар подарил в Малый Дворец 18 картин и небольшую бронзовую скульптуру Майоля из коллекции своего брата.
6-го мая 1940 Рэмон Эшолье, хранитель Малого Дворца, перевез эти произведения в замок Жидоньер в регионе Сарт, чтобы уберечь их от хищения нацистами.
Все эти произведения исчезли.

В 1950 году Парижский муниципалитет решил завести дело о краже.
Внезапно бронза Майоля была найдена… в подвале Малого Дврца – ее просто затеряли, как запонку!. Она фигурировала в списках с пометкой: “Происхождение неизвестно”…
За бронзой последовал портрет Воллара работы Сезанна. Однако остальные работы казались потерянными навсегда.
В конце концов Парижский муниципалитет объснил ситуацию: переданные Люсьеном Волларом работы не были официально зарегистрированы Советом муниципалитета – причины для жтого имелись серьезные, это было во время стремительного наступления нацистской армии – а поскольку они не были заренистрированы, то их и не инвентаризировали, и идентифицировать их было очень сложно.
Стало быть, они и не принадлежали Парижскому муниципалитету, по крайней мере, с легальной точки зрения, несмотр на то, что были переданы ему в дар. Об этих работах было известно только то, что в замке Жидоньер их уложили в ящик, ящик хранился сначала в гараже, потом в конюшне, и внезапно в 1946 г. они бесследно пропали…

Можно предположить, что Воллару понравилсь бы эта история, достойная короля Юбю…

[Seriy]

LCR, Balzac rest!

In fact, nothing has changed-there are artists, who were again in a short time become very expensive, and there are people who did this and make the state. This is probably the hardest, most fascinating thing in artbiznese and it can only be done extraordinary personality, so interesting to read about them.

[Pavel]

Сообщение от Seriy

LCR, Balzac rest!

In fact, nothing has changed-there are artists, who were again in a short time become very expensive, and there are people who did this and make the state. This is probably the hardest, most fascinating thing in artbiznese and it can only be done extraordinary personality, so interesting to read about them.

Shchukin said that great artists have to buy a young man while it is cheap. Vollar did so, if need be stooped in front of the artists, but it Vollar!

[dimi32]

No more themes and nebylo more interesney.LCR thanks for trud.Snimayu hat.