Collectors

[Евгений]

Andrey Vasilyev (article in the Journal of 05.2005g)
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About Solomon Shuster, about a decade since the death of whom remembered the recent Moscow gallery "Our artists, to write is not easy. The image of his doubles, multiplies. From the first side of his life, film (kid jacket, a plaid cap and contraband Dunhill, zheltyaschy nicotine fingers and thin hands moving), everything is in order: a successful, moderately frondiruyuschy and socio-pointed director, the author is still popular Kinodrom like " Day reception on personal matters. The second hypostasis Shuster, of collection, is less clear, as if sags.

Soviet society is not aware of such studies, as a professional collector. Long before the birth of Shuster power, graft from any privacy, from the slightest whiff of private initiative, a little shy in her seemingly empty whim issues collectibles. Canonized image of the eccentric professor, deputy of the Baltic ", has admitted along with the Cadet beard some pictures on the wall and the trifles on the dresser, but any camera focus on a painting has already been the prerogative of the official art. This view could be changed only for a criminal plot. Ironically, here and there were more expressive, and life is regularly supplied material for artistic revelations. "The man with the double bottom", "Who are you really a citizen Shuster?" - These hypothetical headlines Soviet-sheet could easily go to work, bring power mad at the director and find fault with his "other life". But fortunately all evolved smoothly. Yuri Nagibin, leaving the pages of his diary of living space, even from close friends, about Shuster wrote a surprisingly simple and soft. The writer mentioned that Schuster, in order to get rid of the burdens of modernity, it is necessary only to emigrate to their "happy collector Arcadia.

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Ironically, Yuri Nagibin one sentence noted the features in the shape of Solomon Shuster, which was estimated by contemporaries as pizhonstvo or, at best, as dandyism Soviet bringeth. Here it should be noted that, differing from the others, Shuster in this still was not alone. The crowd at the premiere in Leningrad in the foyer of the House of Cinema has always been the association with extras Fellini and only then on certain features forced to recall the registration. But appearances Schuster and then was "too much" and had already pulled on dual spiritual citizenship.

Suede jacket, unhurried gait. Stoop and a clear hypertrophy of the chest made him look like a violinist with a picture of Yakovlev; tight starch expensive shirts, colored butterfly - not vulgar "Chaldean" STAR-kisom on an elastic band, and collected a complex and generous host, who has taught the art of tying Schuster old collector Bloch . Some unimaginable bostonovye suits and beaver coats, tweed jackets and lion that existed outside the Soviet ideas about fashion and therefore fall outside it, as some gimaty.

Alexander Benois once wrote on his business card - "servant of Apollo. There was less reason to do something similar and by Solomon Shuster is certainly the case for collecting very seriously. It is difficult to reconstruct the beginning of his collecting ways. What was on this road all the familiar counter parental values, inspires a sense of how much gain new, inaccessible to his father horizons. Undoubtedly, this problem - the hidden rivalries and at the same time continuing the family tradition - there. This also proves the sign for the pragmatic act of donation Shuster to the Hermitage of the best things of his father's congregation, and the constant controversy that sounded in his utterances and writings with respect to the classical models.

This coexistence with the classics became clear to anyone who crossed the threshold shusterovskoy apartment - suite of several rooms, once amputated from a large landowner and the emerging body of thirty-five years of municipal hell, and then to restore the illusion of sovereignty through a chain of unequal exchanges. By the way, once as a surcharge involved money received from the Russian Museum for a textbook, nearly three-meter, Mashkovskiy "Self-portrait with the portrait Konchalovsky. (Interestingly, some mansions could now raise the money from this picture?)

All interested parties in Moscow and Leningrad Solomon Shuster was known as a collector of Russian figurative painting of the twentieth century "to the left of the World of Art". But the first thing the visitor saw in his bedroom (which is reached directly from the hallway!), Was huge, prohibitive, even in the eyes of Madonna of the Bolognese school of colossal black carved frame. Surrounded by a host of angels, The Penitent Magdalene, Herodias and Judith with the severed head in his hands and serves painting marked the origin, the beginning shusterovskoy collection. That, and he was pushed off and what all to the end of his days retained baby respect. The same was said has always been a place of honor dress portrait of Ignatius Schuster brush Vladimir Makovsky. It was the only painting from the collection Ignatievitch Abraham, the father of Solomon, have been privileged to visit with the owner of the evacuation of the besieged city and return safely back.

This piety, this attention to the family, memorial, historical, or, if you will, the literary side of the focus is one of the most important features shusterovskoy collection. It existed in a vacuum, in contrast, was surrounded by not less important collections Okunev, Chudnovsky, Bloch, Paleeva, Loitsyansky, Ezrahi, Rybakova ... But attention to the history and existence of things, its correct attribution of the image the person - if it was a portrait -- by Shuster was exceptional. While in most cases the meeting - like the astonishing quality collection Chudnovsky - hung on the walls, then Shuster on display was visible, only one hundredth part of the iceberg. Everything else was kind of a creative laboratory, where stood the hypothesis to confirm or deny authorship, in search of references overturned mountains of literature. To some extent, collectors' professionalism Shuster manifested just in dealing with "incomprehensible" and rejected works. This is the meaning of his almost daily detours stores and little shops perestroika Leningrad, where regular social conflict was washed into the market quite a lot of interesting things. In the same and his amazing attention to an interested interlocutor (let even a youngster), in which Shuster always saw a colleague and comrade for "high disease" - collecting. Demonstration paintings of his collection is always accompanied by questions about what the audience thinks of as a painting on the model, the time of painting. Professionalism attributable to study the origin of his paintings, correspondence with museums and private individuals, shtudirovanie phone books and departmental handbooks, the endless view of multi-editions, anthologies and collections.

The commonplace view is always a collector or a misfit, ignoring the value of his time and knows that winning the Hamburg account, or a pragmatic businessman, investing in art. For Solomon Schuster These considerations obviously wrong. Certainly, the first thing he adopted - is the aesthetic criteria. Equally clearly, that these criteria, at least initially, were largely shestidesyatnicheskimi, a little superficial and naive, built on the exclusion of representations which are old nauseam about the "Russian realism."

Equally clearly, that since his "sensual aestheticism" came into conflict with his love of the true history and with the desire for an orderly systematic collection of objects, the search for roots. This attention to the masters of the second plan, to their biographies, not so much to acquisitions, many failures and losses. By the fate of a failed, forgotten names, trampled lives. Shuster could sit for hours in any room communal apartment in Leningrad, vysprashivaya a forgetful child long dead artist features biography of his ancestor, or rush to the village where the attic waiting for all the forgotten archives of Hope Lermontov.

In the same plane and is a keen interest Shuster to the artists of the Russian emigration. Not only to well-known name and stable reputation, but also to the almost unknown at that time figures. Even before any change in the political situation, he managed to find relatives in Moscow, St. Paul Chelishchev granted after the death of the painter of his legacy. As soon as an opportunity, he became one of the first Russian to actively buy things abroad. And not only at auctions and at dealers, but also directly in the offspring, in anticipation of "feats" of the new Russian gallerists.

There is no doubt that in addition to understanding the material, a prestigious and aesthetic status of the collection, he realized the general cultural value of their hobbies. That is why, as soon as an opportunity, he was involved in working at the Cultural Foundation in organizing exhibitions of private collections. This, perhaps, was determined and its relatively late arisen a need to record the history of their discoveries. Part he published them in a friendly mood to his magazine "Our Heritage", the rest is written in the table. What not fall on the paper, said by some to infinity grinding in an oral retelling, each time finding new details and more.

It is not alien to the joys of life, a lover of maps, good tobacco, wine, and comfort, Shuster seemed the embodiment of hedonism. His friends, communication, addiction, some special rootedness in the world of things, knowledge, even "znatochestvo" items, diluted it with metaphysics, did not appropriate any conversations with him on this subject. But he was gone, and much of his activity was suddenly take on volume, depth and significance. Some surface reflection and finds Schuster ten years have grown fanciful interpretations, evaluation and attribution for someone to have become almost standard, and the everyday life of the Leningrad-Moscow collector gradually turns the object of almost academic study. It becomes clear that he Shuster knew about all this, and if he did not know, then guess, trying to preserve for others something that could save it alone. When he died, one of the relatives expressed a bit paradoxical idea of his fate after death, suggesting that beyond the objective environment it is likely to be "infinitely boring". After ten years, would like to think that this is not so. Probably, "there," Solomon Abramovich Schuster, coming into contact with ideas of things "and the prototype of the pictures, finally acquired the knowledge of the past.
http://www.iskusstvo-info.ru/2005/5/06_66_73.htm
By topic: the book by S. Shuster "Profession collector" http://forum.artinvestment.ru/showpo...mp;postcount=2

[hanzen]

Eugene, given your high title of "Guru", with which I fully agree, I venture to ask, not whether you know the name of the collector A. Gordon. I am interested in the history of acquisition of his collection.

[Евгений]

While walking along the alleyways of the Old City ingenious Geneva did not immediately find the street Grange, she is somewhat on the sidelines - once had its stables and barns, which gave the name of the street.
And of course, profane never find a small but interesting museum is located. Meanwhile, it is worth it: Musée Fondation Zoubov - private collection of art objects, many of which are unique.
Russian man, of course, immediately interested to know - why teeth?

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The full name of the founder of the collection - Rosario Julia de Shiffner Lareha Zubov (1892-1984). Future Countess was born in Argentina (in her veins flowed the blood of the German and Argentine), the son of a wealthy businessman - his father, Emilio Shiffner, engaged in trade of grain, in addition to sugar cane plantations, owned the property.
One of the richest heiresses of Argentina, Rosario grew up traveling between Buenos Aires, Berlin, London and romandskoy Riviera - Colony.
The first wife of the future countess was the Italian Ambassador, with whom she lived in Tehran.
Widowed, she remarried - for the Count Sergei Zubov. The wedding took place in 1922 in Colony, as is known, most luxurious suburb of Geneva.
Graf Rakhmanov Sergei Zubov (1881-1964) was not just a graph, a descendant of the famous favorite of Catherine II of Plato Zubov, the same one that took a direct part in the conspiracy against Paul I. According to legend, Zubov said Paul I - "You are no longer the emperor," and in response to a reasonable clout, hit him with a snuff in the temple. What happened next, you know ...
Count Sergei Rakhmanov was born in Moscow but spent his childhood in St. Petersburg, the Zubovsky palace. Family Zubov, like many wealthy people of that time has spared no money to charity: at his own expense built a home for invalids in the First World War - a military hospital, and was engaged in the health unit trains.
Curious fate of his younger brother Sergei Platonovich - Valentina: frequenter of the famous poetry cafe "Stray Dog", he first taught art history at St. Petersburg University, and then, in the first years after the revolution, has collaborated with Lunacharsky: Gatchina was the director of the museum. After immigrating, he took an active part in the activities of the Russian diaspora, was an employee of Russian Thought.
Sergei Zubov spent much time abroad. He was engaged in writing fiction and poems and plays - one of them was brought to the stage of the Imperial Theater of St. Petersburg.
After the Revolution, having lost all their money and possessions, Zubov family emigrated to Western Europe.
Was tragic fate of the only daughter of Rosario and Sergei Zubov, Tatiana: she died young - in 1957, crashed in a car accident in Uruguay. Her remains were moved and buried in Geneva, at the cemetery of St. George.
In memory of the prematurely deceased daughter Countess Zubov and decided to donate his vast collection of the city. Numerous works of art, meet at one year, are open to the public.
Zubov wanted her apartment on Grange Street, 2 have become available to the public, as well as for organizing official events - for this purpose in 1973 was the fund is "In memory of Countess Tatiana's teeth."

What are the exhibits presented in this collection?

Numerous paintings, drawings, prints, Chinese enamel, glassware, objects of worship and, moreover, the very atmosphere of rooms in the spirit of 18 th century salons regularly draw visitors.
A separate interest are items related to Russia: many of them are "born" from the Stroganov Palace and Pavlovsk palaces of St. Petersburg.
For example, all the chandeliers and wall lights from rock crystal and bronze - it is there: they date from the 18 century.
Types of St. Petersburg, captured by French artist Laprensom, in addition to spectacular scenery, and give an idea about the daily life of citizens. After living several years in Russia, Laprens well learned and handed in his works interesting details of everyday life - he Diderot admired his paintings.
Portrait of Catherine II, Paul I, the Empress Maria Feodorovna brush Italian Lampi - a real jewel of the collection - after all, his works can boast of a few private collections!
The artist spent some time in Russia at the royal court, writing a few portraits of the royal family and courtiers.
But the highlight of the collection is the cabinet "Catherine II": furniture and porcelain crowns great 18 th century tapestry depicting the great empress.
Standing with a scepter in his hands in front of the bust of Peter the First, it seems to be recalled that became his successor. "What started accomplished" - reads the inscription above her head.
Tapestry interesting in the history of production.
In 1716 it was Peter I laid the foundation for Russia's production tapestried tissues - in St. Petersburg in an effort to beautify the yard in the European manner. Thanks to him, the best French masters opened their studio in St. Petersburg.
In the period of ruling of Catherine II, the boom died down somewhat. Finally, financial constraints have led to the fact that in 1859 the production of tapestries was discontinued.
Another jewel of the Cabinet - a portrait of Grand Duchess Alexandra Pavlovna, daughter of Paul I - the brush Borovikovsky.
In paying tribute to the taste of Catherine the Great, Diderot, its correspondent, wrote: "Among the total peace we sell our paintings and statues, while Catherine is buying them in the midst of war. Science, art, taste, wisdom back to the north, and the barbarity of his companions descended on south.
In addition to the collection of interest and the house itself and its history. A sample of the classical architecture of 18 century with elements of the Greco-Roman aesthetics, he has seen in his lifetime is not a celebrity, including Camillo de Cavour - one of the initiators of the unification of Italy (the house belonged to his mother).
For centuries, the house owned by the famous Geneva names - Sarazen, Sellon and others.
One of the most prominent owners was Genevan politician Jean-Jacques de Sellon, a humanist, an aristocrat and the original. For example, on the anniversary of the death of Calvin in 1814, he advocated the establishment of a huge statue of the great reformer ... right at the entrance to the Old Town!
But city officials rejected his initiative. Not long thinking, Sellon installs large tombstone in memory of Calvin on his terrace - the museum visitors will be able to see it in the courtyard.

Finally, with the inner terrace house offers a magnificent view of New Square, one of the most beautiful in the city - the Countess Zubovaya can not be denied in its taste.
Visiting the museum, you will touch the history of St. Petersburg and Geneva, and feel the connection between them, in the cozy atmosphere of a private collection.
     Museum http://www.nashagazeta.ch/моя-швейца...культур

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1 2.Zinaida Serebryakov. Portrait of Rosario-Zubov.

[qwerty]

Eugene, and you, this opportunity is not for sale Volkova (until 1935)?

[Евгений]

Сообщение от qwerty

Eugene, and you, this opportunity is not for sale Volkova (until 1935)?

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) there are no .. but if it is not fufel, 100%guarantee, I will always write.
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qwerty, problem with Volkov AN, many fakes are from Uzbekistan (the year I offer more than a dozen works, usually 99%of forgery.

[Евгений]

Sergey Krivosheev collector, the owner of a beautiful collection ...
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When the deed is done and you can breathe, that attracts business people? Snow-white yacht? Exotic hunting? Adventure? Few of the big businessmen allows strangers to look into this very personal, sphere of life, which in general is quite understandable. The chairman of the Board of Directors of OAO Pharmacy Chain 36.6 "Sergei Krivosheeva and his wife Maria Salina way of rest from the daily bustle and whirl of business was the gathering of personal art collection. The most valuable thing my baby collectors do not hide from interested eyes. Today, the conversation will follow this
http://www.liveinternet.ru/users/artss/post73101493/

[LCR]

This article published in the Swiss newspaper Le Temps in 2007 (I have no exact date). Frankly, the rights to this article, I did not buy, but should be, but still put it in the hope that the Swiss to this forum would get no, and if they would get, then in Russian will not understand.
As author of the article, I know him and is confident that he will only be glad that his precious Russian will be able to read his opus - in the case, will not fail to tell him about it.
It was written by Arri Belle, journalist, art critic and writer of detective novels, an employee of the newspaper "Le Monde". This article was written last year, but the events that have occurred since its writing, only confirm the rightness of his conclusion, therefore, it is not obsolete.

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Arri Bell - a frequent guest in Russia. The first time he came to Moscow for the 1st Biennale of Contemporary Art, at the beginning of 2005, the, and he was there like, firstly, because it drove through the circles of the Moscow intelligentsia, and some of its representatives, for example, poet Vsevolod Nekrasov (which I myself am very fond), fired at him so impressed that he introduced it in his latest book, "Black Square" (I must say, quite silly), under the transparent pseudonym beautiful. The second reason - is that our journalist is not a fool to drink (or, as the French say, he is "willing to raise his elbow"), while in Moscow, as you know better than I do with this case has been established.


New collectors are not scared of numbers

Output of the art market to the world level and his health has generated very strong actors nesuschestvovavlego hitherto type. What are the new buyers of art? What are their motivations? What explains the dizzying rise in prices and great fame of some artists? Attempt typological studies.

From such a situation is breathtaking - the major collectors of contemporary art, by definition, the French sociologist Raymond Moulin, creating tastes of our time in his own image and likeness: "They are cooperating with the dealers of art that deal with promotion of a artists. They are the first major buyers. Buy them early, at relatively low prices, a large number of works each artist representing the interests of their artistic direction.

Major collector also serves as a leader of public opinion. As soon as he gets a work of a painter, other collectors, to trust his judgments, and bought this artist, in turn, and this "first wave of imitators," snapping up all available from the author in the presence of very quickly after the purchase of their leader, thereby creating the appearance of lists of customers waiting for their turn, which immediately provides the artist an aura of glory. Everything happens as if the big collectors have in stock a large number of works of this artist, and they come with art dealers in the coalition, which has the ability to control the market.

Characters of these have nothing in common with that described by Balzac Cousin Pons. The collection has long been not just a collection of works. Some refer to it as an enterprise. Francois Pinault began his ascent to Belgium, realizing the archaic competitors - wholesalers of wood and clumsiness intermediaries. He got rid of the latter, and then swallowed (swallowed?) Competitors, thus giving the traditional trade, not beyond the region, international dimension. At a time when they possessed demon-gatherer, he began to act on the art market in the same way.

Sometimes that art lovers have invested in art galleries, but none of them have never been the owner of the world's largest auction house. Having bought in 1998 by Christies, Pino showed senbya this financial genius: 7 billion French francs at the time of the company, has announced a 12 billion francs of annual turnover in 1997, inferior in productivity to its competitor, the second largest auction house Sotheby's. Bid Pino explained the calculation of the flowering (already confirmed since then) at that time completely apathetic art market.

At the same time, this acquisition proved to be very effective in terms of communications and PR: the French - the master symbol of high society, the society «jet-set», which gave Wall Street the ground for thought!
 
However, the most important thing was that for the collector Christies is an indispensable source of information, especially when the collector subsequently acquires its own museum. And Pino did just that - he founded his own museum, although not in the suburbs of Paris, it was originally intended, as in Venice, where he acquired a majority share of the Palazzo Grassi and obtained a concession to the "Arrow Customs.
 
This concentration causes fear. The dossier of debates, published by the newspaper "Le Monde" (16/12/2000) A former gallery owner Stephen Korrear wrote (and it took some courage): "Between the auction houses, on the one hand, and private funds, the statute which allows them to sell products owned by them on the other, the difference will soon be in the thickness of the cigarette paper. /.../Given the fact that they are the main bodies, "legitimizing" this or that direction in the art, these funds should be based holy ascetics, to resist the temptation to take it poses such a situation. /.../In the day - and this day is very close - when the same people would control the most productive auction houses and the most prestigious and wealthy private museums, the most painful ethical issue for these people is: which of these two units must be invoiced? "

hundred-million threshold

And by increasing - Art Market never knew of such a flourishing. The reason for this situation - the emergence of new actors in this market who are not afraid of numbers. Incidentally, in vain: the transactions are now at 100 million! By setting a world record sale at public auction in May 2007, British artist, Daniel Hurst, who was born in 1965, has found buyers for his skull, covered with diamonds. It is the "buyers" in the plural, as, according to representatives of the artist, they constitute a group of investors. But what investors may hope for a quick profit when it comes to work, sold for 100 million dollars? Perhaps those who have already owns Hirst's works - including the artist himself, who is rumored to belong to this group of investors - and expects that under the influence of such a record (by the way, this record is impossible to verify because it is on private transaction), they will rise in price.

As the number of new active members of the art market are controlling speculative funds (hedge funds). Purchase of works of art designed to give some sightliness money earned by methods from which tremble at the heart of economists nervous. But at the same time, they are quite capable of use on the art market recipes, which allowed them to earn huge money at the Stock Exchange, without any hesitation was playing on the subjects of art, as if it were currency, or futures.

Sometimes they are losing in this poker: in November 2006, one of them, Adam Sender, decided to sell its just a collection at auction Phillips de Pury in New York. Despite several well-sold items, the auctions failed. This is explained by the fact that, unlike speculators, who wrote about Raymond Moulin buying works of art for a low price in the hope of provoking its growth, new customers pay for their "entry ticket" to the club of collectors are very expensive. This is evidenced by the history of Stephen Cohen. The weekly "Le Buan" wrote that the genius of Wall Street pays its traders depending on their results from the formula: "You eat what you kill!". Maybe that's why he bought the famous shark immersed Daniel Hurst in an aquarium with formalin killed? This aquarium cost him $ 8 million - but maybe he had the good sense to join the aforementioned group of investors?

Cash waterfalls

Steve Cohen - a secretive man. This fifty-year businessman does not allow to publish their photographs and prefers Manhattan his home in Greenwich (Connecticut), surrounded by - in the words "Le Buan" - a wall height of four meters. However, each of its acquisitions immediately become world famous. Superman Wall Street was purchased for $ 25 million, the same amount was given for the "Portrait of Seated Woman" by Picasso, and, finally, most importantly - the famous De Kooning, purchased in the past for the Tehran Museum of mullahs and bartered for rare Persian manuscripts: according to some sources, "Woman III» its previous buyer, David Geffen, lost to Cohen for 137.5 million dollars. In this regard, we note that, firstly, none of these prices can not be verified, as it comes to private transactions, and, secondly: what interest such a secretive man loudly declare their purchases?
Raise the price of all other items found in his collection - this is the most plausible answer to this question, the answer that immediately comes to mind hucksters. But maybe in this "cash waterfall" and should take into account the human factor. In this regard, useful to read a book by Georges Bernier, one of the best experts on the art market "Art and money» ( «L'Art et l'argent», Paris, Ramsay, 1990). There, he quotes the biographer of the art dealer Joseph Dyuvina (1869 - 1939) who writes about clients of the latter's famous "Baron-bandits" who have gathered significant collections in the early twentieth century America: "They were rich enough to go anywhere and do anything, but they did not know where to go and what to do, they do not even know how to do anything with elegance. He bought yachts, houses, horses, Americans exhausted their opportunities - they can not earn or inherit the title, would enable them to lead a life of European aristocrats. To live an idle life in America was difficult because of the established Puritan and democratic traditions of the country, according to which equated to the sin of idleness. " Georges Bernier draws the conclusion that "art dealers offer this multi world of luxury and the promise of adventure, which no one can condemn.

is not isolated in their comfort

Long past time? No, if you believe the words of one of the largest collectors of the world, developer These Brody: "I began to gather out of curiosity", - he said in an interview with journalist Jacqueline Lewis - "but gradually gathering has become a way for me to perfect, and I was terribly pleased to communicate with people from the art world, whoever they were - artists, Marchand or museum staff. This fellowship broadened my horizons, such dating is not resembled my regular contacts with business people ...». Explanations of another collector, François Pinault, close to Brodie said: "Artists do not allow you to stand apart in their comfort. They always make you ask yourself various questions /.../Their sensitivity and their ability to grasp the features of an era in which we live is stronger than other people. Study of their works can sometimes anticipate future changes. Maybe the rich collections gathered to fight the boredom of business life?

[qwerty]

Eugene,, please give some names of recognized authors, whose great work can be purchased for 2.10 per thousand dollars. A raised an interesting issue, it would be interesting to hear views on the formation of collections.

[fross]

How unfair. It turns out that the best collections can only be a very successful businessmen. Those who engage in it at first out of boredom and the desire to fill the spiritual emptiness, but then quickly susceptible familiar gamble hoarding. They are largely the same as to save money or pictures. While there, collecting works of art can improve the image and to reconcile public opinion with their wealth. Almost unlimited finances allow them to acquire the best products or announce as such the most expensive (this method most familiar to them on the main kind of activity). And then enjoy the fact that the inscribed his name in the history of art. But the creation of the collection is only possible with the help of people who really have the knowledge and ability, and their names usually remain unknown. Recently, I heard only about Sergei Yesayan (a collection of the Vishnevskaya-Rostropovich).

[uriart]

And where you see a good collection of works of art collected by the poor man?
I do not remember this. Same Vishnevskaya and Rostropovich were not poor people. In addition, and could afford to buy beautiful.
A poor man can only have a desire to buy (if I had money!).
I do not consider myself a rich man. A beautiful love!
Sometimes I can not afford to buy a picture or two. Only sometimes! A pity. So you want to have and the author's work and this, and finances do not allow.
And thanks to the rich people we can admire the art.
No one is in fact the coffin is not added a truck! And naked we came into this world, and naked leave.
Rich man (clever), because of their mind (and wealth), we are able to enjoy so many masterpieces.
Is an endless topic .............