Старый 05.09.2010, 16:43 Язык оригинала: Русский       #1
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first marriage (one of them had recently died) and his widow. The press regularly publishes new articles, and it seems that it smells like a major political and financial scandal, as they like in France - a question already raised in Parliament. But that's another story ...

Fully translated it, I certainly will not - a thick book. But I did sort of digest. There has been so far.


Text in blue - my. The text in black - translation from the book of Daniel Vildenshtayna. In the house № 57 on the streets of La Boesen located apartments and gallery Vildenshtaynov.

Nathan Vildenshtayn, osnovolozhnik dynasty, was born in 1851 in the Alsatian village Terkenrhaym (the Alsatian accent was famous). When in 1870 Germany annexed Alsace, he decided to stay in France and moved to Vitry-le-Francois, where he opened a trade fabrics. Art absolutely was not interested so long as one client did not ask him to sell the painting attributed to Van Dyck. Carried out an operation with a substantial profit, he suddenly realized, in essence, threw tissue and opened a shop rag. A year later he bought a painting by Boucher for two hundred francs, and resold for twenty thousand. This was followed by other fantastic discoveries, brilliant deal. All who knew him in one voice saying that he was the most gifted Marchand-century - his eyes was phenomenal: where others saw nothing but blackened varnish, he could see a masterpiece. [/COLOR]

When my grandfather began selling paintings, these names are worthless. As if they simply did not exist. Except for the brothers Goncourt whole life of these artists no one was interested. We can say that he opened them, pulled the light of day. He is one ... My grandfather was very far from the salon painting, which was in vogue during the second half of the XIX century. From all the rest, however, too - impressionism, in his opinion, was terrible rubbish. Nathan honored only paintings by old masters. At the beginning of the next century, he and his partner Gimpel opened a gallery in New York.
[/COLOR]

 No, in the U.S. liked mainly British art paintings depicting scenes of hunting, dogs and horses. Valued by Hogarth, Reynolds, Gainsborough, Lawrence ... for wealthy Americans that British culture was like a page of their own history - as opposed to, say, Fragonard. Honestly, Fragonard came to mind an American client in the last turn. My grandfather was attacked on its American customers, who lived in Paris, the heavy artillery.

In the end, the Americans gave up and started to buy Fragonard, etc. - Grandpa knew how to persuade people. With regard English painting, even my father believed him. Well, I? I do not sell English painting. I have never in my life has not sold a picture by the English artist. You may ask: and why?
Yes because I am a fool!
In England a lot of good artists, and English painting is charming.

Incidentally, when a cousin of Felix with his appearance dummy defined in the New York gallery, the local staff nearly revolted. But gradually he became a great seller. Not a word more. Time does not matter. He was not afraid to buy at a very high price when he thought that the work is worth it. Among his clients featured the most famous names: Rothschild, Veil-Picard, David-Weill, Gulbenkian, Bestegi ...
[/COLOR]
Some pictures from the life[/COLOR]

«Dieterle, Gerard and Dyubur

Already in the 1920-ies. father and grandfather started taking me with him to the renowned art dealers ... Those were the characters! And all completely different! Each had its own style, their tricks. It was they who created the art market, they're all invented. Without them, now, nothing would. I knew those who managed to survive the crisis of 1929, I must say, it was not easy to survive ...

On the Boulevard Malesherbes gallery located Dieterle, son of Marie Dieterle, artist and close friend of Corot. This Dieterle loved painting, his favorite artist was Corot. He was an expert on Corot and surprisingly well spoken about it. Play it could be hours. He could tell you all the big and little history of each painting by Corot. He could tell you about the pictures, signed Coro, but not written to them! .. His fellow artists, he did not deny anything. He knew that they lived in poverty. He also knew that his signature raised the price of paintings. So he signed them ... Corot was a wonderful person, very simple. Corot was simply the embodiment of kindness. Now I want to prepare a consolidated catalog of Corot - a joint project with the grandson Dieterle, and the choice of companion, as you know, not quite the case ...

In twenty-five meters from the shop Dieterle was named Gerard Marchand, Raphael Gerard. This gentleman at any time of the year wore striped trousers, a black frock coat and high stiff collar. His appearance was the most amiable and benevolent. The fact that this Gerard was a real robber. Bandit of the highway. Not that the pictures which he sold were counterfeit. No, they were real. He copied them - and irrevocably ruined! For example, a dancer by Degas: Degas painted them with charming monkey face. But by the decision of Mr Gerard restorer carved these faces from the pastels and replaced them with such puppet-head! Yes, sir. I will not explain what these works were irretrievably ruined.
Another feature of Mr. Gerard: he did not want to see in the pictures are no cows. The cows were in his presence of mortal danger! Look at the scenery painted cow! Immediately remove it to me! Cows can not sell it. Such work, we sometimes managed to save ... We were able to restore the cow. In my life I never had ever seen. M. Gerard was lucky that all artists - writers of his paintings have already died. Especially Degas. Can you imagine what would have happened if Degas saw the doll head on their work! The one and only doll's head. It would just kill this gentleman Gerard. He would have forced him to swallow his elegant high collar!

Seligman

Largest Marchand ... Magnificent mansion. We went together for a visit. Exchanged pleasantries. We talked about the weather. Never showed each other a single picture. Do not even shown frames. We had the same customers ...

Petrides

Grand Petrides ... This comic, this Petrides. It was the most professional liar of all Marchand. He lied as breathing - and his lungs were in good condition ... He lied on any subject! In a past life he was a tailor. Gradually, he formed a collection, and eventually learned to love painting. And then the war started. He took pictures from Fabiani other Marchand and sold them to the Germans. In those circumstances it was easy to make money. This went on for four years. Petrides amassed a vast fortune. After the Liberation, of course, the wind blew for him in another direction ...
Many years Petrides settled in our neighborhood. When we met on the street, he felt the lapels of my jacket. Joseph Dyuvin

I would say that Dyuvin stand above them all. Absolutely cynical Dyuvin, an Englishman of Dutch origin. Incidentally, he became Lord. To become a lord, have much to give, it's understandable, no? Well, Dyuvin given as needed - a lot of money to museums, a lot of pictures ...

Indeed, Nathan taught him everything here, and this very house.
In Dyuvina was one huge advantage over my grandfather and father: five months in the year he spent in New York. He had a mansion on 57 th Street and the most snobbish clientele America. He lived in London. He lived in Paris. This Joseph was omnipresent. And sell everything - furniture, paintings, tapestries, porcelain. He sold everything, with one exception - he never touched modern painting. This influence is my grandfather.

In Dyuvina who all his life dreamed of his son, was only daughter, so I replaced him a son, he was to me something of a godfather. What a pity! .. And I explained to him that you will first need to acquire the walls in the proper quantities. That is, first you need to buy a house. And then I take matters into their own hands, Daniel, I am building him a house. And indeed, he took matters into their own hands. He had a whole army of the best architects and a genius - Frank Lloyd Wright. Wright designed a house for Baker, Vanderbilt, Uaydenerov. This Dyuvin was also a genius in his way. Well, he was a goose! ..

My father and Dyuvin - watch their relationship was terribly curious. They worked together all their lives, bought a monstrous amount of things - often entire collections - chipped. And throughout their lives, they quarreled with each other. And how they managed to work together? And I'll tell you.

I was sixteen. One day my father asked me to go to London. I went to London. There I stayed at Hotel Claridge. When I came to him, his voice was no longer such a plaintive:

- What is it you come to London?
- I decided to enter next year in the University of London and came to know some details ...
- Ah, the university? Who did you tell? Tell me why you came, and Daniel? Do not want? Then I'll tell you: you came to buy Bush. Confess! Your father sent you to buy Bush!
- Bushe? What is Bush? What sale? What are you talking about? I want to go to university, Joseph ...
- Daniel - you are the same shit, like your father! You are not ashamed to behave with me?
- Yes, I do not know any Bush ...

Then he grabbed the phone and asked my father's room in Paris.
- George, your son is sitting next to me and powder my brains. He says he joined the University of London. Stop joking! He came to buy Bush, I know!
- No, Daniel will learn ...
- Well you and shit! So you've decided to bypass me, so what? Come on, laying out, do not deny it!
- Joseph, my son ...
- Wretch! Oh wait, you'll see what these will cost you Bush! I swear to you, little you will not find! I'll die, and not give up!
- Do what you want, I do not care! And I wish you will never find a buyer for them!

Such scenes were repeated constantly. A horrible scandals, just horror. But in the end both calmed down ... so it was this time:
- Can we settle? And, George?
- Okay, come on.
- So, buy chipped?
- Buy chipped.

Dyuvin and Berenson

Joseph was unable to estimate the picture. For he had an army of various experts. For the examination of the Italian primitives, he was an American Berenson, the famous Leonard Berenson ... It was a frail man with the habits of an aristocrat, somewhat tired, somewhat prim ... Dyuvin signed an exclusive contract with him and paid him a monthly salary. Berenson supplied Dyuvinu appearing all works of the great Italian masters, Dyuvin bought them and then reselling the American collectors. Before offering some picture Dyuvinu, he showed it to us. Therefore, we chose the first. If the work does not suit us, we could refuse. This agreement, as well as the related correspondence were to remain confidential. Top secret. No one show! Even after the death Dyuvina Berenson insisted that no one knew about our relationship, and I understand him - he demanded 50%of the profits from all transactions initiated by them!
/... /
Every year, I spent three weeks in Tuscany in his villa at I Tatti. There I looked at pictures for hours of pictures, they were thousands ... He taught me to recognize the Italian primitives. We went together to the exhibition of Italian art ...
It is now considered good taste to say that Berenson was not talent, and with particular zeal is claimed by those who never even saw. [/SPOILER]



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Старый 06.09.2010, 10:19 Язык оригинала: Русский       #2
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When other children collected toy soldiers, George began collecting medieval anlyuminyury. At eighteen he already knew that the history of art interested him most. His entire life was marked by erudition. It is published in the Gazette of Fine Arts, became its secretary, then bought and developed it. He was issued and union catalogs Manet, Chardin, Ingres, Lancret, Moreau, Fragonard, becoming the most competent and influential expert of his time ... [/COLOR]

It was Douglas Cooper. In the article there were a fair criticism and baseless accusations. Then his father suggested that Cooper to take part in the second edition, and he agreed. He died in 1984, after analyzing the entire painting Gauguin. But when we began to watch him work, it became clear that there is a problem. The fact that Cooper was a very quarrelsome and phenomenal quarrelsome. So, he could not admit that the picture belongs to one of his enemies, may be genuine. And the enemies he has had a lot, I swear. And on such grounds, he deleted from the catalog of work, the movement of which can be traced from the artist's studio to its current owner. We had to rehabilitate illegally repressed picture ....

Activities Gallery severely affected by the crisis in 1929: [/COLOR]

Three people have bought the Hermitage Museum a large number of masterpieces. Two of them are well known: the U.S. Treasury Secretary Andrew Mellon and Talleyrand oil Calouste Gulbenkian.
Who was the third? Of course, my father ... It was he who arranged the deal and led all the negotiations in Leningrad. Actually my father was a homebody, but when it came to such a deal, he agreed to go to Leningrad on foot - in fact it was a deal of the century! Theoretically, such transactions are not possible: you can not buy paintings from the Louvre! The idea was born in Gorky: sell the painting and to purchase tractors. In Paris my father asked Ilya Ehrenburg, writer and future minister. He had lived long in France, and even made a small collection. He represented the Soviet side. My father went to Leningrad. He never told the details of this transaction, but I know that he bought paintings at a phenomenal sum. And some masterpieces. And its weight in gold. Actually, our company has never been stingy when it was an opportunity to purchase a masterpiece. He bought the Italian comedians Watteau, portyasayuschih Rembrandt, Rubens great for Mellon, he took the Alba Madonna, for the Gulbenkian - a masterpiece of Houdon - Venus.

Ah, the Gulbenkian! Arriving in Deauville, Gulbenkian was going to look for me at Plage, where I built sand castles - I was five years old - to kiss me. He had very big feet. In general, he was incredibly, fantastically ugly and just as fantastically clever. He loved art and considered himself not a client of my father, and his partner. My father never did he not buy, on the contrary, it Gulbenkian bought my father bought a lot. But sometimes they bought chipped. If it appeared that promise good profits, without Gulbenkian not dispense ever. He wanted to know what we buy, from whom, for how much. He wanted to enlist a spy in the enemy camp. I just checked for you! As for the Andrew W. Mellon Foundation, it was a big banker. He decided to create the Washington National Gallery, funded it at 100%and left her his entire collection. A collection of his was wonderful! He bought all - at Dyuvina have Knedlera, we have ... It was he who instructed our New York gallery to buy him at the Hermitage all that interested him. He had all the lists. Actually, we have them, too, were. Hermitage picture, we knew by heart. Gulbenkian, of course, too. He mentioned to my father things that he wanted to get - he flatly refused to go to the USSR, he was sure there would kill him.
: any Courtieux showed an old lady from the provincial town of Gauguin's work. After much persuasion, the lady finally agreed to entrust it to him for sale. The old lady began to worry, Courtieux nervous - after all, if she should tell her Gauguin to someone else, goodbye, commissions! - And called Vildenshtaynu:

-I squatting Tahitian Gauguin, 100h81, the signature in the right corner ...
- I wonder ... How much?
- Pyatdesyat ...
- No, let's over forty.
- Okay.
- Well, bring her Gauguin.

This ability to assess a flash picture of George Vildenshtayn owed his love for the archives. Throughout his life, he replenished his library, which had a hundred thousand images, 300 thousand books, one hundred thousand directories - it allowed him immediately to determine the composition of some Austrian collections, or calculate the cost of zapasniikov gallery in Rio de Janeiro.

One day, shortly before the Second World War, in some shabby hotel in the Drouot auction, he saw a portrait of a monk. He then remembered seen once engraved, very similar to this paper - this engraving was part of the catalog charts Watteau, compiled Julien. George Vildenshtayn instructed my staff to buy fabric.
In the evening, when he returned to racing at Longchamp racecourse, the work was on his desktop.
- And how much? - He asked.
- Four hundred and twenty.
- Damn it, 420 thousand! Expensive, though!
- No, sir, 420 francs.

Send for Julien: George was not mistaken, it was the work of Watteau - now she is in a museum in the United States.

With his characteristic generosity, he published all found materials, which were poleznyvmi many of his colleagues.

The organizers of it were André Breton and Marcel Duchamp. [/COLOR]

Good thing my grandfather saw her, he would not survive such ... Although not really a fact. Most likely, he would have laughed heartily.
Dali was the favorite of my father. You know, Dali was not mad, oh no! He was still a wily - regularly played his role on the public. The role of the madman. To support him, Dad bought his work. In a sense, he was its artistic director. That he sent Daly to Julien Levy, a famous New York Marchand contemporary art, and in 1941 he organized a Dali exhibition in New York. While Dali barely managed to make ends meet. Following an invitation from Whitney, renowned collectors and incredible snobs, Daly said at a reception in his pajamas and a goat on a leash, first cast a stone at Tiffany's display window. Here's what he thought to be seen. one four-meter), three by Titian, Poussin 12, 80 Fragonard, Watteau, seven ... As art of modernists, which passes from hand to hand more often, the gallery always has at least twenty Renoir, Pissarro fifteen, ten of Cezanne, Van Gogov, Gauguin, Seurat and Corot and Courbet 25.

George Vildenshtayn became engaged and modern painting, but always follow their tastes and do not hesitate to get rid of jobs that did not please him: for example, said that before the war, he eliminated the 250 works by Picasso (Vildenshtayn-grandson denies this version). During the Second World War Vildenshtaynov family took refuge in the south of France. In June 1940 the Vichy government deprived them of their French nationality. A large part of their paintings had been confiscated. In January 1941, they were able to leave the United States. They appointed a temporary administrator, who created a company that has taken on lease Vildenshteynov gallery with all its contents.

Daniel Vildenshtayn and his sons Alec and Guy filed for Feliciano to court for what he has slandered their father and grandfather. In 2000, the Court of Appeal found itself incompetent, but found that Feliciano had some reason to interpret this way the role of Georges Vildenshtayna during the war.
[/COLOR]

The rest did not matter. All or almost all. My father was olerzhim mystyu death and incredibly, incredibly superstitious. He knew all the signs, everything! .. Do not put shoes on the bed, someone will die. Do not place under addl Letnica. Do not wear green. Do not open an umbrella in the house. But all this - still nothing. We had something more interesting. For example, my father never to step on the black plate. Accordingly, when he returned home - and in the hall floor was paved with black and white plates - he walked only on the white board. The gallery plates were white and red, there he was still on that step. But the black plate could not come - it was a hundred percent guarantee that the house would be dead! [/SPOILER]



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Старый 07.09.2010, 11:43 Язык оригинала: Русский       #3
Гуру
 
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Um ... no. Grandson.
[/B]
After his father's death in 1963 the gallery began to manage Daniel. He drew the Japanese and Middle Eastern clientele, and in 1977 opened in Houston Vildenshtayn Art Center, where all art is for sale - from the Greek antiquities to contemporary American artists. In the 1980's. Vildenshtayny purchased half of Pace Gallery, which is now called the Pace Vildenshtayn.
 
And then there have been a sad event: as a result of numerous grievances with the French bureaucracy, in particular, charges of tax evasion, etc., Daniel Vildenshtayn ceased operation in France and abolished the Paris gallery. Giving him the floor:
[/COLOR]

History is fantastic.

My father was very fond of Bonnard, and by the way, this love was mutual. Papa was so fond of him, that he has organized three exhibitions - one in 1934 and two after the war. Incidentally, Pierre Bonnard gave my father a self-portrait, which he wrote, looking at myself in the mirror. I met him here in our house. He looked like an accountant: a thin, bespectacled, shy, with a quiet voice he used very rarely. He seldom showed his emotions, was closed. Unlike Picasso, Vlaminck, or even he was not impressed, was not character. Nevertheless, he has always been my favorite artist. I think Monet and Bonnard among the major artists of the twentieth century. At the time of their period of Nabi Bonnard worked shoulder to shoulder with Vuillard. Which one was better? Sometimes one, sometimes another. And then found Bonnard color. He found it as a time to find a color of Fra Angelico. And suddenly there came into another dimension, leaving everyone far behind ... His color immaterialen. This is the color that you see in a dream, an imaginary color, woven from hundreds of nuances. This color is similar to most Bonnard - there is nothing threatening, it consists of only one of tenderness. This idyllic fireworks, a wonderful symphony, full of human warmth. And it really written. Such a color no one other artist this time. Look at the Fauves - the work they have bright and colorful, that's for sure, but they used pure colors, putting one next to another. Look at the marriage. Yes, and Picasso - you know how I loved it and the artist, and man - did not have a sense of color. However, Bonnard, unlike Picasso, was not a graphic artist. His paintings have little artistic value. Figure he wanted to organize ideas. In Bonnard's all a matter of color.

In short, I am madly in love Bonnard.

He died in 1947 his wife died before him, in 1924, official version of Bonnard's wife was that her name was Marta de Méligny, and she comes from an old and famous Italian family. Within thirty years of living together Bonnard did not suspect that in fact her name was Maria Boursin, and she was the daughter of a carpenter from Bourges. She swore to him that she was an orphan, and that except for him it was no one in the whole wide world. They married rather late, having issued a marriage in community of property regime. While Bonnard was a poor painter, and Martha was not rich - she became his model, as soon as he took up painting.

And in 1942, died in March, Bonnard, who lived at that time in Le Kanne, went to Cannes to his lawyer. It turned out that nothing like Marta de Méligny not left. And it was fraught with troubles. This meant that it would be powered by an administrative procedure that could have turned to Bonnard serious headache: you make tracing possible heirs of Martha - even if, in principle, none should have been - and during this investigation Bonnard workshop will be temporarily sealed. The fact is that while the artists had no moral rights, in particular the right to end of , a work that has been stored in their workshops. That is, he was not the owner of their works. All that was in his studio, should belong entirely to both spouses. Here I talk about this, and you probably think that all this nonsense, but because of this moral right Deren died of despair - the very day of his divorce, he is forbidden to enter his studio. After all, it was a mere formality - do not forget that have Martha had no relatives! ..

After the death of the artist himself, logically, his property was to be divided among his heirs in a straight line. In the studio he was left with about seven hundred canvases and several thousand drawings and watercolors. Counted eight successors: the children of his brother and sisters and their children, including Charles Terrace, Bonnard's nephew, with whom he was very close. In general, it seemed quite simple - but keep in mind this is only the beginning of my story. It was developed in a period of not less than fifteen years, so I tell it in a shortened version, otherwise it will Balzac novel.

So, according to the requirements of the law, after the death of Bonnard notary ordered genealogical research on the identity of his wife, Maria Boursin, at svomestitelstvu Marta de Melina. & GENEALOGY made a stunning discovery: it turned out that Martha had a sister! The sister was married to an Englishman by the name of Bowers. The couple had four daughters Bowers, however, soon to become three - one died. All three sisters were dancers Bowers. With access to the notarial documents, they found a forged letter Martha Bonnard composed after the death of his wife. Process. All legacy has been sealed, court administrator, responsible for business Bonnard, moved the contents of his studio in the safes of the bank Chase. Direct heirs Bonnard - Terrace and Bonnard - defending a prominent lawyer Maurice Garzon, who hired an army of additional lawyers. Sisters Bowers charged matter Moro Jaffery. Judgement handed down after years of trial, read: all inheritance goes to his sisters Bowers, as by law if one spouse has committed fraud, inheritance is fully transferred to heirs of the second spouse. Accordingly, a terrace and Bonnard remained empty-handed.

At this point, in mid-1950. From the audience and I became one of the actors of this play.

He gave me the million and I think it was very noble of him, because then it was a lot of money, today it is approximately $ 50 million.

Then I went to Charles Terrace, moral heir Bonnard (recall that the terrace known me since my birth and that he was a close associate of my father, with whom they remained friends). You know, I offered a million dollars for a lost cause in advance! Terraces and Bonnard consulted among themselves and agreed to my proposal. Then it took to obtain the consent of a court administrator, I went to see him. His name Viel, his office was on the Rue Jacob. Such an amazing little man. He sat in the middle of piles of documents which rose almost to the ceiling. This dossier Reno. I kept it after the occupation. It's me! I completely dismembered Reno! From him there were only crumbs! Ashes! Emptiness! After me - a flood! Always! When I do any thing from her is nothing left! He immediately gave his consent. So I took matters into their own hands. Officially, the appellate court addressed the heirs of the artist - Terrace and Bonnard; I worked behind the scenes.
I made contact with all eight lawyers - one for an heir - and hired an additional few stars board. Among them was even a future Minister of Justice in the government of General de Gaulle. This young minister was like a professor Nimbus, in court he had spoken in Latin. Yes, in Latin. Why? Had such a right. So I can not tell the content of his speech - I did not have subtitles. But the president of the court it very much, he kept laughing. Counsel British contenders, Moreau Jaffery, shook hall. Terrace and Bonnard, he put greedy executioners, torturers accidents crumbs. His defense was great. But at the same time and very risky.

And I won the appeal, and now I'll explain why.

We lawyers have decided to adhere to the next line of defense: Bonnarovskaya paper was not a forgery. Thus here! Bonnard did not falsified, and it is easy to prove: writing before a notary public that stupid note on behalf of his late wife, he dated her during the day, when it was composed, that is, nine months after the death of Martha. If he filled in a false date, then we could talk about the forgery. But here we are not dealing with fraud, and with Notary joke ! This document has no legal force. In Bonnard, and never meant to deceive anyone, he never even tried to imitate the signature of his wife - he just wanted to be able to continue to work quietly in his studio.

In short, the Court of Appeal overturned the decision of the Court of First Instance. Accordingly, I was the owner of half of works, which were kept in the workshop. You probably think I was jumping for joy? No, not so, and you know why? Yes, because for me it was not finished, far from being finished. I was going to again go to court and assert the moral right of the artist at work, are still present in his studio.

The writers had a moral right. The composer, too. In the case of divorce or death of a spouse unfinished manuscripts and scores were not included in the common property. Some artists were denied the right to complete their works. Consequently, it was necessary to create a jurisprudence precedent.

In general, what kind of moral right? It is believed that the artist can continue to work on any picture in the Workshop, if it never exhibited and reprodutsiirovali. It can burn it if it still pretty - like Monet. It can pierce it with his foot - as Degas. He can do with it whatever he wants, this work belongs to him alone.

That such argumentary we submitted to the court. And the court ruled in our favor.

So I won the case. I got all the works created after the death of his wife Bonnard, except 25 reproduced paintings, which departed sisters Bowers. But I'll give you 28%of the total number of works. I will do this primarily because you - cousin four Bonnard and have the right to inheritance. We signed an agreement with them and become excellent friends. The latter has recently died at the age of 104 years.

Of course, there could be no question that the terraces and Bonnard were left without pictures. I handed out pictures of all members of the family. First, an administrator appointed an expert to assess the work. Then, the list of works and their evaluation should be to make lots of equal value. Each lot was to be a symbolic picture, the same number of still lifes, landscapes, paintings nabistskogo period ... Believe me, it was hard work we have done it with my son, Alec. Of course, not all received the same amount of work. Most - about five hundred - has remained with me. /... /
I remember, brought his father to see Chase bank safes. Pre-numbered lots were distributed in the premises of the bank. Among those present was a five-year relative of British nurses, she threw a lot. I suggested to the heirs who wish, to share their work. Everything went without a hitch without a hitch. That's the end of history. From this adventure I had today left one hundred and eighty works Bonnard. The most wonderful. Most excellent. How much is it now Bonnar? Landmark work - from 5 to 7 million dollars, others - between 500,000 and 2 million. But these amounts do not matter to me. Do you know why this work is still with me, why I left myself the most beautiful? Because I love them. Because it is the work of the artist, whom I love, whom I love more than anything else. And the only reason I went to this incredible risk.
I would not have done what I did for Bonnard, for any other artist. I could buy myself workshops of other artists. He could have, but did not buy - I have never had such a desire. I could buy, for example, workshop Vlaminck. I knew him well. Never in my life I have not heard that Vlaminck talked about art, he was at it was, in general, do not care. Art for him was reduced to a simple principle: to write - to sell, to write - to sell. Prior to 1910, he was a great artist, then, until 1920 - a very good artist, later vanished, he wrote in flow systems. He systematically answered no. Once he was a man who showed him his early work. That I wrote this crap? kicked a picture, and ripped through it! The man silently took out a letter which he wrote Vlaminck at the time of sale. Vlaminck, he was so!

We bought earlier work Vlaminck, until 1920, for the gallery of the Elysee, which my father opened in about 1935, when the market righted after the depression. She was very well located, opposite the Hotel Bristol. We sold it Derain, Vuillard, Signac, Rouault. Director, there was Jean Mete, one of the smartest and funniest people in Paris. Big joker. Here it is, that's an auctioneer with a hammer! He rasprodast, lots, lots in a dozen! /.../

Industrialist Otto Krebs instructed us to sell his entire collection, it's been a wonderful work of the Impressionists. The money was supposed to convey to the fight against cancer. But the collection was to be sold only after the death of the Krebs, and he died in 1941 In 1945, all the paintings from the collection of the Krebs disappeared.

Second collector named Otto Gerstenberg. He, too, was a magnificent collection of Impressionist masterpieces. Gerstenberg were our close friends, they did not hide their anti-Nazi views. After the death of Gerstenberg in 1939, just before the outbreak of World War II, his daughter Margarethe Scharf sold us 50%of the best items from the collection of his father, including the absolutely stunning Degas Place de la Concorde. Transaction took our American company, Vildenshtayn Inc. We bought these paintings to resell them as it wished Mrs. Scharf. Pictures were stored in Berlin at a special warehouse near the place where later was built Hitler's bunker. It only remained to direct the picture forwarded to us in the U.S.. But this time the war began.
In 1946 I went to Berlin to see what is left of the warehouse. A handful of ashes - a warehouse destroyed by fire. All our work had been declared lost.

At the end of the war, Soviet and exported from Germany, all they could - still it was far less than what was stolen or destroyed on their territory - the Nazis were the real experts on the destruction of libraries, churches, looted museums ... It was not a well-organized theft , as in France, and wild prey.







/... /






/... /



[/SPOILER]




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Старый 07.09.2010, 12:55 Язык оригинала: Русский       #4
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Thank you, very interesting to read
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I translated the entire book. Looking at the pieces that I put here, I realized that uchilyvat will be hard, and decided to just put the whole text.

Nathan Vildenshtayn

In response to my questions about our roots my grandfather Nathan always answered: "Daniel, are important only two things - to love France, and walk to the Louvre." My grandfather was everything to me, and my head did not come to question his version.
[SPOILER] He was born November 8, 1851 in Fegerskhayme, in Alsace. He always told my grandmother that was the only one of the children in the family that his father, a Sephardic rabbi, died before his birth.
Finding old documents of civil status, I felt that it was wrong, began to dig further, and I must say that I still have not moved away from what I've dug up ... Sit back! .. Imagine, my grandfather had three brothers and three sisters. Their father died in 1879 and he was not a rabbi. Besides Vildenshtayny were Ashkenazi. A decent surprise, right?
And it's not all.
My grandfather had concealed from us his personal tragedy: in 1870, when he moved from Alsace, his father cursed him ...
Such a conglomeration of lies unbanal. My grandmother and died without ever knowing about it ... For me it was not just a surprise, it was an earthquake - it turns out, my grandfather, whom I adored, was a liar. He fooled us all - my father. Me. All. Why did he redrew his past? Why did he lie? To restore the picture, it was necessary to examine the facts.
His family lived in Fegerskhayme from 1709 - until then the archives have not survived. Father of my grandfather's name was Lazar. He traded postal horses and cattle, as well as all his ancestors since 1709. When my grandfather was 14 years old, he went on this thing. For trade in livestock need to know all the details of credit facilities, it was not an easy profession. It is no coincidence, Albert Kahn, who became the largest banker, was a native of Alsace, and last traded cattle. Buying and selling horses was much easier. Roughly speaking, this was a gangster craft: nag hunted for three days resulted in the presentation and then re-sold, so you bought is actually a dead horse ... of course, recognize the great horse-trader, and good horses. By the way, Nathan was able to do it. At auction in Deauville, seeing that my father hesitated, he said: "Do what you want. But I would buy this now. " And always pointed to the great mare, which gave almost nothing. While it seemed strange to me. Now I understand better what it was. And I know where the family appeared "horseness virus" ...
In 1808 by decree of Napoleon, a Nathan ben Lazar received the right to choose a name. It seems that he was inspired by an ancient castle in the upper reaches of the Rhine - Castle Vildenshtayn. What else can I say? This is almost everything. In the end, I was not at the same time ... about 1808 we were the only names - Jacques ben Nathan and Nathan Ben Jacques ... My grandfather loved the Abbe Gregoire. He created him, so to speak, posthumous idols. It is this abbot offered to give the Jews the opportunity to have a permanent family to a completely uneducated ... Nathan French Revolution has been the subject of passion: "We were nothing, - he chanted - and the French Revolution in 1789 has made of us real people." Participate in the election was for him a sacred duty, he was not joking with this. We can say that it was almost the only subject on which he never joked. He admired Clemenceau. And he hated the Germans.
In 1870 the family Vildenshtaynov there was a terrible tragedy. The Prussians occupied Alsace. My grandfather left Federskhayma, leaving the family. Perhaps it was not easy. Surely it was not without bloodshed ... In Alsace there was an old tradition that touches everyone - Catholics, Protestants, Jews. It can be stated as follows: the one who left Alsace and his family never came back. His name was crossed out from the annals, it no longer existed. His very name was forgotten. If he suddenly appeared, he was denied a piece of bread. He was cursed for life. In those days, if people wanted to get out of Alsace, they left all the family. My grandfather left alone. An aggravating circumstance: he was the eldest of seven children, therefore, he knew what awaited him, but still left. He refused to become a German, there lived a commitment to remain French. This is the key to understanding the fate of Nathan and, accordingly, our destiny. When I was young, he could not, of course, imagine what a nightmare he had experienced, but nevertheless saw the departure from Alsace was given to him is not easy. He carried a some secret shame, a severe wound. And I doubt that he was in Alsace, even after the Treaty of Versailles, even after 1919 do not think so. He often told me: "You know, Daniel, the Boches are still hosted with us." Terrible sentence ... His six brothers and sisters were ... Germans must know that when his father died, my grandfather bought a small house in Fegerskhayme - to be able to say: I have a family house there. But it was not a house of my ancestors.
Another puzzle: the tomb of Lazarus flirtatious in a Jewish cemetery Fegersayma. I'm pretty sure that he ordered her Nathan. But on the tomb is not mentioned nor his mother, Babette, nor his brothers and sisters - as if all onikuda something left. They are no longer any trace. What happened to them? What happened? Now do not know ... I, too, there was not.
In 1870, Nathan tried to go to Paris, but Paris was not available. The city was besieged. Then he went to Vitry-le-Francois. Why there? Not because the place was called Vitry, and because it was Francois Vitry - French. Yes, he, he loved France so much. Things have gone even further, it is very strange: Nathan opened a branch in New York in 1898, and he died in 1934, has never visited this same America. He was more than a couch potato. Of course, he traveled to the Netherlands - a Rembrandt, Rubens behind, and even Dutch painting had to buy it ... But my grandfather was very reluctant to leave their country, their French Republic. He sacrificed his family to remain French.
In 1871, Nathan served in the 48th regiment of infantry in Chalons-on-Marne. He then went to work for a tailor in Vitry-le-Francois. Where else could he go? A tailor's apprentice ... In the Jewish hierarchy stood just below the bum. Surely he had a difficult life. He sold the cloth - the man who sells American millionaire John D. Rockefeller, Portrait of Antoine Laurent Lavoisier and his wife of David ... He's always been a fantastic seller - one of the family. Neither my father nor myself, nor my children did not have that talent. And he was. It was in his blood. He intuitively recognize the tastes, desires and passions with great accuracy. Once one of his clients in Vitry asked him if he could sell a few paintings on which she wanted to get rid of. Paintings? Why not? Willingly. There was only one embarrassing fact: he knew nothing about the pictures. Quite a damn thing, he was a complete zero. As the cultural baggage from my grandfather was only the French language, learned in school - he went to school until the age of fourteen - and the Alsatian dialect, which he had no one to talk. But he did not give. He said yes and went to Paris.
In Paris, he got to the Louvre, he did not go there for ten days. Within ten days he looked. Observed. I tried to understand. Looked again and again. Raised his eyes. Daniel, two things are important - like France and walk to the Louvre. You should know up to the last breath, my grandfather sold the masterpieces of the largest museums in the world. In all - except for the Louvre. He could not. Sell ​​sheet in the Louvre - he could not even imagine this. He loved the Louvre and the people who worked at the Louvre. And his relationship with the Louvre were charmed visitor relations - of-zi these ten days ... I remember how he talked about the decade that changed his life. He spoke with fervor characteristic of people who possessed faith. As an atheist, who suddenly had a vision, and who became a monk. He told me: "I could not even imagine that there is." And he believed only that. He sold the picture of his client. Earned 1,000 francs. But it is not squandered them. No, he immediately invested in their canvases. He went round all the houses in Vitry, Bush bought a bed and Quentin de Latour, and immediately resold them to buy more fabric. That's how our story began.
Events began to develop at a faster rate after meeting his grandfather to Laura Levy, my future grandmother. Presumably, this poor man, without a stake and the court, almost vagabond, the only good that has been an incredible accent, fell into raptures by a brilliant and welcoming family Levi ...
Levi was born in Carcassonne Sephardim. Grandmother's sister was the mother of Darius Milhaud. Her brother married the daughter of a Provencal poet Valabrega, who more than once wrote Cézanne. Music. Poetry. Painting. These were educated people. They lived in Paris on the Boulevard Mazhanta - there February 11, 1856, my grandmother was born. I remember she told me about his childhood, it was so wonderful! .. Every day my father took her to watch as the balloon flies away, carrying mail - this balloon after landing in Paris, where necessary. He delivered the "Gazeta missing." "On the first page - told my grandmother - were published in the news, and the second page was left blank for people to write on her own." It showed me his father, indignant that "these Parisians eats animals from the zoo!". Samson Levi choked with indignation: "Shockingly, these people are willing to eat their dogs! Cannibals! ". This man thought a lot about the misery of civilization, published revolutionary tracts. He was from people who believe in the idea of ​​freedom. He believed that freedom - not a bad thing. I remember in the 1930s. - She died on February 6, 1937 - my grandmother told me: "Your great-grandfather was a communist!". And I answered her: "Nonsense ... Never in my life. Your father was a commune, it is quite another matter. Who invented communism? Marx. Engels. Rosa Luxemburg. All the Ashkenazim, Ashkenazi Jews alone. Of course, you realize that he would never trust them. " When you think about the continuation of the communist feuilleton known to know whether to laugh or cry ...
After the fall of the Commune Levy left Paris and settled in Vitry-le-Francois, where he opened a print shop. There's my grandmother got her Abitur - while this certificate meant something, you can even say that it means a lot. She wrote. I read everything that came under her arm. This is my father instilled a love of books. I am sure that she opened her eyes grandfather taught him to see beauty. My grandmother loved art all my life - until her last night.
Why did he lie to her? Perhaps there is some explanation ... I guess.
During their meeting there was a huge gap between Ashkenazim and Sephardim. From the perspective of Ashkenazi Sephardic were disgusting creatures prischedshimi from Spain, calling to Asia or Africa! To call a spade a spade, it was a dirt road ... For Sephardim Ashkenazi and were ignorant slut! .. At the time of the Sephardi girls not to marry Ashkenazim. No, never. Well, and vice versa. It was impossible to even imagine that her daughter will marry Ashkenazi Sephardic. Here in this context that my grandfather and grandmother uttered untruths: that his father was Ashkenazi rabbi, and in addition to all the deceased. The risk that someone-show from this German Alsace and expose him, was small - in fact they buried him in the shower. In a sense, Nathan repaid cursed him to his father in the same coin: he sent ahead of him in heavenly peace ... But how can you sleep Sephardic and Ashkenazi Jews to wake up? Grand ... I remember he even had molilnye book - Sephardic. Surely he bought them specially for the occasion ... and I hear him: "I do not eat this stuff in the armor! And I'm not kidding! When I was serving lobster, I do not eat anything except claw! ". Yes, in terms of religion, my grandfather was a great joker. Such an atheist in the Alsatian style.
But he never opened his grandmother, even late in life - I must confess that, I can not understand ... It's madness. How could he not admit to it? By the way, now, at eighty-two years, I suddenly realize that I probably have cousins ​​somewhere - and that's after for his entire life, I have argued, foaming at the mouth that most of the Vildenshtaynov, claimed the relationship with us, or lied, or eccentric ...
 Nathan and Laura were married in the house of Levi in ​​Paris March 31, 1881 April 4 in the synagogue of Nazareth was a religious marriage. Grandmother had a small dowry, which is very handy: it allowed them to settle in the Retiro, where they took a small and modest room.
They began modestly.

Syndrome hats

Grandpa would have done without the grandma of success? It's not a fact. I would say that it accounts for 50%. Maybe even a little bit more. Yes, it can be.
My grandmother was easy to lift. In the eyes of this woman, who loved the art of equally strong, and racetracks, shining mind. She taught me everything. I was born in 1917: in four years, she took me with him everywhere - on the racetrack Auteuil, Longchamp, Saint-Cloud. And I've played. I had to go up on tiptoe to the window to throw a coin into cash, and my grandmother was standing behind me and put on all the horses, so I won in all races ... I accompanied her on the shows and high fashion collections. "You see, Daniel is very funny." Indeed, it was very funny. So many pretty girls. For four years, I loved it ... My grandfather wanted my grandmother was elegant. He liked it when she was dressed in the latest fashion. We went to the sisters Callot. This was the era of feathers. The feathers in their hats. Boa. My grandfather called her Mrs. birds. "Well, Mrs. Feathered!". And I call her Ama, it meant "My Mom".
I baptized his grandfather Toto, and he liked it. Physically, he looked like Toto, apparently he was ugly, ugly but interesting. It is very thin. Very small. With a mustache - a tribute to the era. Hair beaver. And light blue eyes ... He was a cheerful, zhovialny, always an optimist. Among her he was willing to tell stories. Laughed at by his own unfunny jokes and puns depressing. Often, he suddenly burst into laughter for no reason. Oh, he loved to have fun ... I know it's not what you expect from a man who discovered Fragonard and Watteau, but it is.
Ama and Toto.
It was an impressive pair.
I remember in the 1920s. They took me to the movies, the movie was dumb. The protagonist was wearing a strange hat, all of them laughed, but by the end of the movie are wearing a hat the entire city. When we left the theater, his grandfather said, "You know, Daniel, our profession - is to find a hat and put it before all others."
He found his hat, it was the French art of the XVIII century.

Man of the XVIII century

Fragonard, Watteau, Boucher, Pater, Greuze, Lancret, Nattier, Chardin, Houdon. When my grandfather began to sell paintings, these names are worthless. As if they simply did not exist. These painters and sculptors, all this century was not interested in anyone but the brothers Goncourt. We can say that my grandfather opened them, pulled out into the daylight. He is a ...
In the last quarter of XIX century in the official art of the Barbizon school prevailed. Bouguereau, Cabanel, Carolus-Duran. How much trash. But sometimes the real artists. In any case, these were the tastes of the time. Great Bouguereau - not such a bad artist - sold for 10 million dollars and was taken to decorate the walls of the bar in Chicago. What can I say about Cabanel? Yes, it's better not to say anything. The best of them was Carolus-Duran, the most capable. He could become a great artist. His early still lifes great, even better than Manet. But he wanted to become a member of fashionable artists ...
My grandfather was very far from the salon painting, which was in vogue during the second half of XIX century. From all the rest, however, too - impressionism, in his opinion, was terrible rubbish, everything you want, but not painting. The Impressionists were oppressed grandfather. He began to have depression. When my father, still very young, began to revolve around these artists, his grandfather sighed heavily, I know. Surely it is hoped that with age, it is my father's will. Nathan honored only paintings of old masters. Everything else does not exist. He told me: "Remember, Daniel, you need only to work with dead artists. Living Artists - absolutely impossible people! ". He understood. Only one of the contemporary artists received his approval: "Yes, this can work. Come on! ". It was Van Gogh. So there is no rule ... We had heard that he was talking about Picasso, "Picasso - clever and adorable. But someone should tell him to stop spoiling canvas! ".
Each morning, Grandpa went to the auction. Then he went to the junk - while they all came from gothic delight, so he quietly bought its eighteenth century. He was a favorite theorem: "He who walks in the Drouot every day, always able to provide a living for themselves and, and to buy new things. And if I do not, so what? So, I'm a fool. " At Versailles, it was no longer king, but the staunch Republican and penniless discovered the paintings of the Old Regime, with its gold, wigs, women in magnificent costumes, the atmosphere of the quadrille, minuet, balls, that careless air of the monarchy. He loved her - and only her.
















No.
Yes.



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Старый 07.03.2012, 13:45 Язык оригинала: Русский       #6
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Цитата:
Сообщение от LCR; 2014061"
Paris, he got to the Louvre , he did not go there for ten days. Within ten days he looked. Observed . I tried to understand. Looked again and again. Raised his eyes .
Thank you! You are transferred to an unprecedented text. Going to the Louvre is amazing , it shows that this man was truly intelligent. This simple -looking philosophy - how to get acquainted with the subject matter that is going to do, not everyone comes to mind ...
Well, the Hermitage , of course ... more details ... Thank you!
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Foreign Clients

At the beginning of the century were big customers, very different. To begin with - the foreigners living in France. Argentines Bembergi. They supplied the meat across Europe. Colossal state. Enormous shopping. There were several brothers. Two of them bought the XVIII century until the 1920s., And then switched to the XIX century ... Another Argentine Client: Martinez de Hoz. He was engaged in raising livestock, wool, horses. His wife, a native of Brazil, has long been considered the most beautiful woman of France and Navarre.
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When I met her, she was already well over twenty, but it was still very beautiful. She was dressed in Pakena, Vonne, Poiret - and everyone was buying the entire collection! This woman never wore a dress, coat, hat in the second raz.Eti Latin American rich have always reminded me of the Brazilian Offenbaza of the "Paris of life." By the way, we have had and Brazilian customers - Ginle family - they can be called rich people, and even more than the rich ... They got rich on wood, gold, coffee, on the whole. They lived in the most luxurious mansions XVII arrondissement. They bought paintings, sculptures and tapestries. They bought the eighteenth century, and supplied it to them, of course, my grandfather.
Prior to World War wealthy Americans who settled in France, too, bought art, for example, bankers Uaydener who was Paris mansion, Woolworth, and others. They bought a French art. At that time, it was necessary to hang on the walls at Fragonard or Nattier, if you wanted to pass for "decent man" ... After the war, the Americans returned to her to America, taking the pictures, furniture and other knick-knacks. This was the beginning of the end times ... These people have to flock to Paris is only occasionally, and Paris was no longer the same ... But there, in New York, they continued to buy the eighteenth century. Everything we sell them, eventually ended up in the Metropolitan or other American museums. All these wonderful collectors handed over to the museum, and in fact at the time the generosity had nothing to do with taxation.
Our clients come from all over Europe, for example, Marksel de Nemes, a Hungarian baron. Especially there were many Austrians and Germans: Otto Krebs, Berlin's largest Marchand Paul Cassirer, Otto Gerstenberg, and, of course, the brothers Thiessen. These Thyssen bought in France before the war. After this they began to buy more. They had, than to pay - their war plants have not suffered from the bombing. However, we too - arms dealers were in excellent relations with each other ... However, Thyssen were not for our major customers. What they thought about my grandfather? The response was ruthless, but not surprising: "It is ... Boches."
Hans sat on their billions in Lugano, with time he became a great collector. But his brother Fritz was nicer. Initially he financed Hitler, but then came to his senses ... come to his senses too late, that's for sure, but better late than never. First, from Switzerland, and then, when he was kicked out of France, he gave to the struggle against Nazism, whatever it was - in Germany all his property was confiscated. After the war he was a frequent visitor here. He bought his favorite artist - Fragonard ... In 1940, Petain gave him the Gestapo - a great moment in history! It was included in the terms of the armistice. Thus, Fritz was taken back to Germany, and there he was sent to Dachau.
In 1960. I met with his only daughter, the Countess of Ziha (?). She lived in Argentina. A wonderful woman. We became friends. Thyssen failed to return the property, but she did not want to go back to Germany. Germany was repugnant to her. Memories of her father ... She said: "Our house is still standing, Daniel. Go there, be there at home. " I went, I visited the home of Fritz in the south-east of Germany, on the border with Austria. Luxurious, fantastic place with forests and waterfalls. I thought that I found myself in the scenery for the opera of Wagner. I found the picture, which he bought from my grandfather and father, a few Fragonard ... And again I saw the face of Fritz Thyssen.
It was a brave man.

Great Maurice

We should not forget the French customers. Arthur Veil-Picard, the king of pastis, the Order of the Legion of Honor on the shabby dress - a remarkable collector.
Mr. David-Weill, the banker. Amazing people, life has generously darivshy museums. It was one of our largest customers. He began buying the eighteenth century in the late nineteenth. Paintings, sculptures, tapestries, he always bought ... And then, in late 1930., He suddenly fell in love with the nineteenth, in the broadest sense: from Corot to Cezanne ... in his mansion in Neuilly all the walls were already hung. Not a single square centimeter of the free. So you know what he did? He passed his eighteenth century collection of my father, so he sold it in the United States. He released his wall, and again started to collect!
Rothschilds. Our major customers. The largest. True lovers of art, they are always looking for the best. Unique. They began to walk to his grandfather as soon as it opened. Baron James, Baron Edmond, Baron Edouard. But is particularly great ... Maurice Morris. The most enlightened art lover. Incredible expert. If he had been Marchand, he would be the best ...
Baron Maurice was a friend of our family. He came here to the half-past six, sat down in the cabin and said goodbye to eight hours. Every day something attracted his eye, he intrigued and excited. Sometimes he would bring the two Boucher, Watteau and came away with. He bought as many here, he had the right and return the painting. He often changed scenes, and his collection from that always won. He also acted and sellers of antique furniture.
He was like a Louis XIV, is incredibly arrogant. I must say that it was not bored. Went to Paris a story: one day he met an Englishman, the owner of a huge belly. "You wait for a girl or a boy?" - Said Maurice. The Englishman kept his head: "If a boy, I'll call him George, in honor of the king. If a girl, I'll call it Victoria in honor of the queen. But if born shit, I'll call him Maurice - in your honor! ".
Most people simply hated. I remember the ball in his mansion, I've seen people put out his cigar on the picture. Redeem a masterpiece of a cigar, what a shame ...
My grandfather and my father loved Maurice. And Maurice, too, loved them.

Vildenshtayn and Gimpel

In 1889, my grandfather found a partner - the Alsatians Gimpel. His son, Rene Gimpel, has left us a wonderful collector's Diary. In January 1945 he died of starvation in the concentration camp Neuengamme. Their collaboration lasted until the departure of Gimpel in the United States at the outbreak of World War II. Grandpa turn over a letter from the fear of mad Gimpel from the United States, where he wrote that the Germans probably will ... in Paris, Rene Gimpel was always very friendly, cordial relationship with our family. I was not acquainted with him. His children - the beautiful Marshall, that's all I can say.
Gimpel speak English very well. The purpose of a partnership with home Vildenshtaynov was working in the Anglo-Saxon countries. At Martin's in London Kolnagi Gimpel and grandfather sold the British what they wanted, for example, Guardi ... and bought on the cheap French painting of the Old Regime. There was a lot of it. It appeared there during the French Revolution - our forefathers have devastated many castles. Within two years they have performed with great maestros in Versailles and Paris public auction - with experts, explanatory notes, certificates, and reserve price. If the picture did not reach the reserve price, it was removed from the auction, and then exposed to the following. These people were professionals, it is clear. The British bought a lot at these auctions. One hundred years later, bought the picture lost its appeal. Accordingly, my grandfather was able to buy them - to sell, of course.


The Conquest of America

In the early twentieth century, Americans are not admired by the French art of the XVIII century. No, the most prized in the U.S. and British art "sports" Painting: a pack of dogs, the red coats jockeys, hunting horns. Appreciated by Hogarth, Reynolds, Gainsborough, Lawrence ... For wealthy Americans, this English culture was a kind of important page of their own history - as opposed to, say, Fragonard. Honestly, Fragonard came to mind an American client in the least, he did not know who Fragonard ... What kind of strategy worked grandfather? He attacked their American clients, who lived in Paris, the heavy artillery.
He behaved just like Hitler, his arguments do not have any relation to the truth, or in other words, he lied as a trooper - and all for one story ... "The only true art in the world - a French art, and those who buy British Art - just idiots. " When my grandpa was a rage, it can not be stopped: "Yes, it's just a picture! In England, never had any standing in the artist, mediocre photographers - here they are! "- And added:" The English - zero without a stick! ". In our New York gallery he echoed the chorus and the beat: "Photographers!." Generally, in this New York gallery of art with clients Gimpel said, but the specific pattern with a distant cousin of mine was discussing Felix. Elegant, lean, very sophisticated look. Originally, this was not one of Felix Fegerskhayma, and from the vicinity of Mulhouse. Did he know about the past Nathan. Comply with a law of silence? I can not say. He never said a word to me about the drama ... Nathan knew his father, who in 1892 moved to America to sell fabric. Grandpa thought. Then he wrote to his father, Felix, "Your fool-Felix is ​​already in place, let the will of all. Still, he's from Vildenshtaynov. And people need Vildenshtaynov. " That's it. That is, both in Paris and New York all the "Galaxy Vildenshtaynov" from morning till night defied the British art. In the end, the Americans gave up and started to buy Fragonard, and everything else - my grandfather was able to convince people. As for English painting, even my father believed him. Well, I? I do not sell English painting. I have never in my life did not sell a picture of English artist. You ask, and why not?
Yes, because I am a nerd!
In England, a lot of good artists, and English painting is charming.

New York

First cousin of Felix with the appearance of first dummy dragged picture. But gradually he became a salesman. A great seller. The Pope said: "How can he make a mistake, because it is silent, like a fish!". What kind of picture may be in question, Felix is ​​always uttered the same phrase: "It's a beautiful picture" - and silent. Not a word more. He silently waited for the question: "How much?". It was a system of Felix, it functioned quite perfectly ... In private life, Felix behaved quite differently, he was more talkative. He began work about 1900 and died in 1957, It was he, Felix, was telling me about the heroic years - the beginning of our work in America, about our clients.
Gee. P, Morgan, the banker. He is one of the first crossed the threshold of our galleries. They say it was a welcoming and friendly people. He came to the gallery with his daughter and his mistress. They took part in the selection of pictures. He asked for their opinion. Felix said: "He never came with his wife - well, he can not stand it." After the crisis of 1929 Morgan's collection was exhibited at public auction. I think I still have a few pictures, purchased at these auctions ...
Julius Bach, the Emperor of Wall Street. German Jew, stock broker, the largest broker of America. Phenomenal state. He told Felix: "On Wall Street, I most respected, most revered man. But if I were to return home on 60th street like no one even says hello to me. " The same people who are licked at noon it boots, the evening turned away. Like everywhere else in America was a little anti-Semitism ... Felix is ​​often seen him, Bach bought from him, especially he was hungry for the great Flemish, Dutch and Spanish masters - the magnificent work of Goya, Rembrandt. So it was a first-class, a wonderful collection. Not very big - about forty paintings - but what paintings! .. Now you can see them in the Underground, they hang out there. He gave everything. He became a trustee Underground, a member of the Board of Administration. They could not appoint him. Felix said: "With this collection I now hand fed. Even in the upper town, Felix. Even in the upper town. But if it were not for the collection ... ".
Randolph Hearst, owner of the New York Journal. In a sense they were like my grandfather. He brainwash people of his newspaper empire, like my grandfather-eighteenth century. Maybe, Hearst was the largest customer of our gallery in New York. To quote Felix: "He was very tall, very moody, spoke in falsetto. Forget Orson Welles in Citizen Kane ... ". At Hearst was a huge fortune, and often accompanies his illness: consuming fever. It was a real, serious pathology. He bought elsewhere, he bought everything - from medieval to renaissance kluatrov fountains. On his instructions, they dismantled the stones and then gathered at his estate at San Simeon with something like a medieval fortified castle, utterly false. There he kept his treasures, among which were beautiful things. He bought the old days only. Bronze, lead, marble statues, and in general, anything. We sold him the art of the eighteenth century - the French sculpture. Beginning in 1930, he began buying and painting - Watteau, Greuze, Fragonard. But not for himself but for his mistress, Marion Davies charming. When she died, all these things have been sold in New York at a public auction.
Felix loved to go to Hearst in San Simeon. He claimed that the game worth the candle, "his desk he placed in the hallway, which was little more than the station hall. There was a huge and dark body. The servants were invisible. He did not want anyone to see. All of this was terribly sad ... ". They were talking, walking in the park. Sometimes heard a faint sound. Hearst apologized and hid behind a tree. For every tree was a telephone. Felix did not believe his eyes: "Every tree had its own phone! And all this in the forest. "
In the early 1950s. I happened to be in New York for an incredible event. After the death of Randolph Hearst left more than twenty thousand items, and about five hundred pictures. This collection is not sold at public auction, it is not handed over to some Marchand, so he sold it. It eliminated the large stores Gimpel. It is as if Rembrandt was sold in Galeries Lafayette. A collection of isolated whole floor of the store and the army Gimpel sellers. In each subject, each painting was labeled with a price. You could buy something for $ 2,000 or a million dollars. It was an unforgettable spectacle. I bought a lot there. All rushed to the marshal. As soon as any object left in his place there and then put the other.
Sale of this collection lasted for almost two years.


Nathan and George Vildenshtayn

Living Library

In 1882 my grandfather and grandmother had a daughter, Elizabeth, ugly, stupid, and monkey. Three of these qualities in a girl - this is too much. It can be said is unforgivable. After Elizabeth's three children did not survive, and, finally, in 1892 my father was born George Vildenshtayn.
I must confess that my father never let me not particularly admired. Perhaps, even probably, I was wrong. My father was a bad father. Accordingly, I became a bad son.
My father loved my mother, read it immensely. When my grandfather went somewhere else, my grandmother asked my father to watch him. She confessed to me. I must say, my grandfather had a weakness for the female sex. In the morning he explained to his grandmother that he must go to Toulouse to buy paintings, and after dinner, she accidentally bumps into him on a street corner. Poor woman, she had him hard. But to send her son to follow his father - I confess I do not understand ...
Between my father and my grandfather was a large, impassable gulf. It was a gap in taste, style, cultural abyss. To begin with, as they relate to the clothes. Appearance was important for Nathan, perhaps because he started from scratch. I remember him always elegant - perfect sitting suits, waistcoats of brocade with woven flowers, socks, hat, cane. His father, however, wore black suits light and dark blue tie on a white shirt - so he wore winter and summer. He believed, and can not say that he was quite wrong, that his grandfather "overboard." The father said: "Dad - a simple man. It should not be flaunting in this form. It is necessary to shine speeches, thought, and not tweed. " My dad was a very brilliant man. The character he had a hard, stern, strict - he was neither an optimist nor merry, although he loved to laugh. He had a keen sense of the phrase. He willingly joked, he wanted to admiration ...
In short, my father was living library. In six years, he began collecting postcards and reproductions of paintings, as well as read. Read everything - literature, and art books. He read the book in an hour and remembered it all his life - and it's not an exaggeration, it's true. My father could show in a circus, I'd never seen before.



Could be.









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All.
All things are possible.



[/B]














That's it.


Everything. Everything.





[/B]




Who? He is one.







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Старый 08.03.2012, 11:32 Язык оригинала: Русский       #8
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Dear Liana!


Thank you very much for your work.

God Bless You for years to come!

And then you can still delight us quite amazing things.



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Старый 08.03.2012, 12:43 Язык оригинала: Русский       #9
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Thank you, Liana ! A wonderful translation!

Цитата:
Сообщение от LCR; 2014061"
It can be stated as follows: the one who left Alsace and his family never came back .
Цитата:
Сообщение от LCR; 2014061"
He refused to become a German who lived in it determination to remain French.
Alsatians in general a peculiar people , as many times as the area was then ruled by the French , the Germans. Now there's even been suggested to highlight the " elzatsev " as a separate nationality.

P.S. Happy Holidays!
__________________
Фотокамера - это инструмент, который учит людей, как надо видеть мир без фотокамеры.



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Старый 08.03.2012, 16:58 Язык оригинала: Русский       #10
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Famous Marshal

Dieterle, Gerard and Dyubur

Already in the 1920s. father and grandfather started taking me with him to the famous, heroic Marchand ... Those were the characters! And all completely different! Each had his own rhetoric, its own style. It was they who created the art market, it is they came up with. Without them, nothing now would not exist. I am well aware of those who managed to survive the crisis of 1929, I must say it was not easy to survive ...

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On the Boulevard Malesherbes gallery located Dieterle, the son of Marie Dieterle, artist and close friend of Corot. This Dieterle loved painting, his favorite artist was Corot. He was an expert on Corot and surprisingly well-spoken about it. Play it could be hours. He could tell you all the big and little history of each painting of Corot. He could tell you about the paintings signed by Corot, but not written to them! .. Dieterle said: "Kindness and friendliness of the Kingdom were striking. His fellow artists, he never refused anything. He knew that they lived in poverty. He also knew that his signature raised the price of paintings. So he signed them and ... Corot was a wonderful person, very simple. Corot was simply the embodiment of goodness. " Now I want to make a union catalog of Corot - a joint project with the grandson Dieterle, and the choice of companion, as you know, it is not by chance ...
 In twenty-five meters from the Dieterle was a store named Gerard Marchand, Raphael Gerard. This gentleman, at any time of the year wore striped trousers, black Jacket and dog-collar. His appearance was the most amiable and benevolent. When we came to him, my father said, "Look, Mr. Gerard, show us the pictures, but only those that you have not embellished. You know what I mean? ". The fact that this Gerard was a real robber. Robber of the highway. Not that the pictures he was selling were counterfeit. No, they were real. But he gave them to his restorer "to improve". He rewrote them - and irrevocably ruined! For example, a dancer by Degas: Degas painted them with charming monkey face. But by the decision of Mr. Gerard restorer carved faces of those pastels and replaced them as puppet head! Yes, sir. Degas Dancers - a doll head ... He said: "So what? Clients are more like the head, "and added:" These monkey faces, no, Sir George, this is not possible, nobody will! ". I'm not going to explain that these works were irretrievably ruined.
Another feature of Mr. Gerard: He did not want to see in the pictures are no cows. Cows were in his presence of mortal danger! He shouted to his restorer, "What a mess! Look at this landscape painted cow! Now remove it to me! Cows no one takes! ". Such work, we sometimes managed to save ... We managed to restore a cow. In my life I never saw such. Mister Gerard lucky that all artists - writers of his paintings have already died. Especially Degas. Can you imagine what would have happened if Degas saw a doll head on my work! The one and only doll's head. He'd just killed the lord Gerard. He would have made him swallow his elegant high collar!
Two steps from the gallery Dyubura Gerard was ... He had a charming picture. Dyubur selling artists from Corot to Cubism. This Dyubur was inimitable, he was such a ... little fat man, dressed impeccably. He was always kind of a perfect fool, who knows nothing and does not understand ... He played this role boob role brilliantly, knowing perfectly well what he does. Wonderful trader, he fascinated me just ...

Seligman

Other major Marshall - Seligman ... magnificent mansion. We went to each other with courtesy visits. Exchanged pleasantries. We talked about the weather. Do not show each other a single picture. Did not show even frames. We had the same customers ...

Durand-Ruel

It was a very large gallery, Paul Durand-Ruel was a pioneer. I still have memories of him as a small moustached little man with eyes that see everything. He died in 1922 I knew more of his grandsons, Charles and Pierre, they were both very elegant: the real experts, and great friends of our family. I am very fond of Charles, and I think that this love was mutual. I was very hurt when Charles told me: "In 1874 we supported the first exhibition of the Impressionists. In 1974 the gallery will be no more. I'm close, Daniel ... A century - this is enough. " He's really in 1974, closed his gallery, situated on the Avenue Friedland. I am very grieved. I do not believe that this The outstanding gallery, which we all must cease to exist. Why not?
But now, after so many years, I think I better understand the decision of Charles. I think that it became unbearable to part with his paintings. He could not see them leave. He decided to stay, it was too hard - as if he was bleeding ... After the death of his son Charles, Jacques worked for ten years with me. And, to my joy, now I have worked his granddaughter Claire. This is a wonderful girl. She works with the works of Pissarro, she had a rare sight! Eye of Durand-Ruel. And she's so beautiful ...

Vollard

I am very well aware of Ambroise Vollard, he was one of my favorites.
It was a massive man with a small beard, he said, baritone, and always appeared in the fabric hood that hides his bald head. He was terribly afraid of catching cold. A cap he wore all year round and shot him only when posed Renoir and Bonnard. Rather, he understood that it looks ridiculous. He told my father: "Do not you think that I'm with that thing on her head like a Jew?". The father replied: "No, not at all, you are like myself, the child of the islands ...". He was a native of the island's Assembly. In 1880. He came to France with empty pockets. I had a hard time. He started from the bottom, served with Marchand, the whole economy and buy artists that he liked: Renoir and Cezanne - these were the only artists that he could buy, because they were very inexpensive. When I met him, he had millions. Scoop it was pathologically free of charge, he would not tell you what time it is. In all his money, he bought the painting. And the book.
He loved a beautiful publication and general publications. On this they agreed with my father. They deliberated what to choose printing, what font, case, who ordered the book ...
Scary if it was necessary to test and try to craft ten ten fonts, he did it. Then he did not spare the money. With people who worked on his books, he was very generous and very kind ... In the last years of his life Vollard came to see us on Sundays, it has become a ritual. He came after dinner and went to eleven o'clock. They spend hours with my father led the scientists talk about some form of capital letters.
We went to him once or twice a week, try to buy a painting ... It always has been laid out on the floor shtebelyami. There are no frames. He was very fond of their stocks. The more they grew, the more he was happy, this is reflected in his face. Vollard was very irritable. If you would like to buy Cezanne, Renoir had to ask. In any case, not Cezanne ... Yes, for example, Renoir ... If you're lucky, he got you to Cezanne, called the price, and it was better not to bargain. Because otherwise you have to wait at least two weeks, that he forgave the insult to you, you struck him. When he sulked, he said: "I have nothing!". A fantastic work shtebelya stood in front of your eyes. He was harsh and often unpleasant to strangers, and terribly afraid that his obvoruyut. But generally it was a sensitive, simple and very funny man ...
Once when we were with him, my father asked, "Tell me, why can not I see Bonnard. Do you not? ".
Vollard nearly gasped: "What? I do not have Bonnard? Even as it is, I have a full Bonnard! ".
The father continued: "Then maybe you could show them to us?".
Indeed, he brought us a whole pile of Bonnard. Amazing pictures. The period of Nabi. My father looked at them and said: "Great. But what is strange, but a job is not signed. "
There Vollard launched into a long explanation: "Wait, you'll see ... I went to Bonnard in the studio and told him:" Oh, what a great job! Oh yeah, great! I really like it. And this, too, I really like. And these, too ... Oh, I can not decide ... you do not allow to take them home, and there I will make a decision? ". I took them home, waited a bit, and then he went to see him to know the price. And it turned out that he had forgotten about these works. He sold it to me very cheap. But now I'm afraid to ask him to come here to sign them because he sees them, and assign very different prices. Do you understand? ".
The method of "Vollard". Invented it. Patented. Perhaps, on the island of Concord as buying and selling bananas, but here it was not a banana, and a Bonnard! .. It is amazing. I heard this once in a lifetime.
This man was the eyes. At home I have a unique document, his inventory of 1923, three thousand works, with annotations made by his hand. I have several of his books. All the works selected. When he died, some grinning, said that he was often wrong. What nonsense! For example, the fact that he bought Jacks, it's not a bug. If the artist does not cost much money, it does not mean that he is not a great artist. Louis Jacks - a great artist, it just starting to open ... I recall in passing that Watteau, Boucher and Fragonard had to wait more than a century, until my grandfather is not pulled them out of nothing ...
Ambroise Vollard signed a contract with Georges Rouault, who was on his salary. I remember that Rouault was yelling in my ear: "Vollard, what a bastard! He made a copy of my keys! He once stole my work! ". Rouault Vollard treated with a certain mixture of respect and rabid hatred. With respect - because Vollard published his engravings to reincarnation Papa Yubyu, Circus Flying Star and many other wonderful works, and Rouault was proud of them ... with hatred - because he does not want anyone to touch his work as he does not sign them. But the fact that he never finished his work. He believed that none of his work is not finished. Accordingly, he did not want to give them Vollard. Vollard, who paid a monthly salary of Rouault actually ordered a copy of the keys to his studio and as soon as Rouault went somewhere, he did pick up the work. Incidentally, later Rouault's daughter refused to recognize the unsigned work. She was very offended by Vollard, believed that her father because he was unhappy. Rouault was talented, but what a horrible character! My father was very fond of him. My father always loved mad.
We recently spoke with the grandson of Rouault, he said: "I had a great grandfather, he always sang us a regimental verses!". Rouault, who I knew was always in a bad mood, angry, like the plague. Scolded all the other artists on which the light is. Be praised at least one - but no! Listen to him, so they were all solid insignificance. Play it was finally tiring. One day, to annoy him even more, I asked, "What do you think of Gustave Moreau?". He jumped straight into the air, "Gustave Moro1 It's a horrible disgusting! And actually, why do you talk to me about Gustave Moreau? ". And I said, "Yes, because Gustave Moreau was your teacher. I thought he taught you something, no? ". He became quiet, "A-ah, yes, indeed. Yes, if it were not for him I would, could, and did not become an artist ... ". But here again manifested his warlike character, and he added: "... but I became an artist, and I surpassed, and in general, the Moro - nobody! Yes, a complete jerk! ". Again, twenty-five. As he just was not used to call. As he just did not used to call them all. He killed them with fifty different ways. Frankly, I think he was crazy.
Mystical madman. Actually, he did not hide it. On his breast hung a large cross. He constantly talked about the Last Judgment. He had a vision. The Lord said to him: "Come draw this thing!". The Lord took him brush. It is, of course, obeyed. And angry at the Vollard, the savage and the heathen, for whom there was nothing sacred. Indeed, rather like Vollard vuduista - but I fantasize. Whatever it was, he endured from Rouault, and forgave all the talented artists. Genius bathed their shortcomings. Vollard was convinced that a normal, balanced people do not represent any interest. He apologized to artists for their weakness. He understood them, he felt. He loved them. And he spoke so well about them - everything becomes clear. He lost his temper only when Rouault curse of other artists with whom he worked ...
One day we dined at the Kathryn Mothers, on the Montmartre hill. At the table sat Rouault, Vlaminck, Dunoyer de Segonzak, someone else ... Of course, Vollard was there, too. This dinner organized by Jean Mette, son Andre, a remarkable ceramist. Oh, I never did laugh! It was deadly. Rouault wings Vollard for what he brought to the dinner, he called him all the names and Vollard assented, and then shrugged, "Well you go you nafig-ka." Rouault was choking with rage, he could not swallow any pieces. All the others were crying with laughter, and poured oil on the fire, incite Rouault, the situation was like in the School of Fine Arts.
We came to Vollard in the morning, at nine o'clock, and remained until half past eleven. He took us into their dining room, where there were stacks of pictures. The paintings were in other places, they were everywhere, and I was the only one who was allowed to roam around the home. And I had no idea to touch any picture. I have great respect for this man - he was always in solidarity with their artists. That's why he hated art critics. He despised them. And it's true: when you read what they wrote about Cezanne, it is easy to imagine what he thought about them.
He was very talkative. Gorgeous chatterbox. When he talked to my father, or with Paul Valéry, in any case, it was impossible to interrupt it. For him to come to the most important American clients in the world, he never distracted. "Yes, they went to fuck! ..". He always had something to show - but no picture. Paintings he did not show ever. This could be a letter, cover, a page from the book ... He told me "" Well, listen, "and began to read a passage from Zola's Lourdes. "Tell them this is not the doctrine of the Communists?". But no, it was not the doctrine of the Communists. This book is now in my library. In the fields of - entries made by Vollard.
After his death, a young man who worked for him by the broker, went to Yugoslavia with a box of pictures. The box width of 60 cm - this would be enough to open a museum ... However, he gave them to the museum. He said that Vollard gave them to him. To Vollard gave something to someone? I'm still laughing ... parses

Petrides

Grand Petrides ... This clown, the Petrides. It was the most professional liar of all Marchand. He lied as breathing - and lungs had been in excellent condition ... He lied on any subject! My father said: "I prefer to deal with it, because I know he's lying. He knows that I know, so to me it speaks the truth ... ". In a previous life he was a tailor. Gradually he made his collection and eventually learned to love painting. And then the war began. He took pictures with Fabiani, other Marchand and began selling them to the Germans. In those circumstances, it is easy to make money. This went on for four years. Petrides has amassed a huge fortune. After the Liberation, of course, the wind blew for him in another direction ...
Many years later, Petrides lived next door to us. When we met on the street, he felt his lapels of my jacket. He fingered them in a professional and told me: "Excellent cloth. Excellent quality "- tailor it obviously is not dead ...

Odermat

Some remind me of the U.S. Marshal furriers, who have been designing silent films on the white sheet, in the end of this Hollywood was born. In saying this, I think about Odermate. This polukitaets, the son of Alsatian shlagbaumschitsy, barely able to read. In Paris, he opened a shop women's shoes, great shop, things were going well for him. But he threw the shoes for art's sake - as Petrides at the time brought the art of sacrifice in the pants. To suit every need shoes, I suppose, so Odermat Marchand began his career at Petridesa. There he learned how to describe the picture, he was a very educated man. Then he went to America. He first worked as a mediator, and then opened his own gallery and made millions, but not limited to them. He did more: he married the daughter of a Canadian, owner of the Canard Line. Such an extraordinary fate, for it can make movies.

Joseph Dyuvin

I would say that Dyuvin stood above them all. Absolutely cynical Dyuvin, an Englishman of Dutch descent. By the way, he became a lord. To become a lord, have much to give, this is understandable, no? Well, Dyuvin given as needed - a lot of money to museums, lots of pictures ...
He often told me: "If I had not met your grandfather, I would not be who I am." Indeed, Nathan taught him everything here, but this very house.






Confess!










































In the 1920's.





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wildenstein, Daniel vildenshtayn, George vildenshtayn, Nathan vildenshtayn, art dealer

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