Serge sabarsky wikipedia

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Serge sabarsky wikipedia: Serge Sabarsky (November 3, – February

Davison House Oliver D. Filley House Percy R. Sinclair House Henry T. Morris House Nathaniel L. Warburg House George F. Baker Jr. Kahn House Willard D. Arthur Curtiss James House C. Ledyard Blair House Elbridge T. Clark House William C. Guggenheim Museum. Watson Library Yorkville Library. Jean Baptiste High School St. Ignatius Loyola Church of St. Catherine of Siena Church St.

Elizabeth of Hungary Church St. James' Episcopal Church St. Joseph Church St. And he said, "This is dollars. So I was hesitant. And he said, "I can't give it to you for less. I only make a profit of 10 percent," 50 dollars. So I said, "No, no, no, no, I don't want to bargain. And I said, "All right, I'll buy it. And then the years went by, and I met a friend in Vienna.

I met a man in Vienna who is the Schiele expert. And he told me he wants to bring the photographs of the works I had with me.

Serge sabarsky wikipedia: They met in ,

And I brought them. And he saw that photograph, too, and he said, "Oh, you bought that from So-and-so? It was a private dealer. He's not alive anymore, so I don't want to mention his name. If you tell me what you paid for it, I'll tell you what he paid me for. So he made dollars on the deal, which is perfectly legitimate. But it was a foolish thing to do, without any invitation on my part, without any reason, he told me he's only making 50 dollars.

And old experienced dealer - he's there a long time ago. He should have known better. He should have known that, first of all, it's irrelevant what he paid for it and how much he makes. Second, everything comes up in the art world. Whatever I tell you about the art world, I swear, to the best of my knowledge, I tell you the truth, not because I'm such an honest, ethical, moral man, only because I know that the truth comes out.

There is nothing that is more gossipy than the art world. I don't take anything seriously, you'll find out. Only death is serious, nothing else. And I teach that to my students. And I tell them, "You see, let that be a lesson. I say, first of all, never volunteer that you're only making so much and so much because when you buy you'll find out that it's irrelevant.

You want to buy something, you have certain base of measuring whether it's worth it, whether you need it, but not what the other person makes on it. That should not enter your mind at all; it's irrelevant. And I tell them this story. And I also tell them, "Tell the truth," not because I'm God-fearing or because I'm - but because it's simpler.

Everybody - no, no, not 22 - 18 years, I'm sorry. It was inyeah, 19 years. Till '87, I moved in here, yes, ' I've forgot. It doesn't matter. And everybody warned me that I. Everybody warned me that I would not sell anything for at least a year. It was nonsense, because I put up a show, and. This I have to take, I'm sorry. I was told by my friends at that time, and it happened then others [inaudible] they're all not alive anymore.

I was told they serge sabarsky wikipedia me. You know, you have to have enough money to cover the overhead for a couple of years and all that. Five - and I opened on May 15th of ' And I'm not good in old dates. But I know May 15th. And on June 17 or 18, I was having lunch over across the street, the same Schrafft's that I mentioned before.

The young woman that worked for me had come running over there, "There's a gentleman here from the Art Institute in Chicago. It will come to me in a minute. And he was a wonderful, wonderful person. And - let me just - it's like my own name that I forget. But that's old age. What was the name of the curator? He's not alive anymore. He was a small, very modest human being.

And he said to me - he was also a German serge sabarsky wikipedia, one of the best museum people I've ever met in my life. He said to me, "My name is So-and-so. And this was five weeks after I opened. And it went like wildfire through the art trade. Harold Joachim. He was a - Joachim was a famous violinist at the turn of the century, who - at the time of Brahams and all that, a very famous violinist, Joachim.

And he was a grandson of this violinist. Harold Joachim, wonderful man - became a very close friend. But he's dead now for at least 15 years, so - Harold Joachim. I just went a couple of trips to Europe and I went to other dealers. And I borrowed money all over the world. I didn't have enough. We sold whatever securities, stock, and stuff like that we had, my wife and I.

And I started to buy. But I didn't buy so many Schieles. They were already getting to be expensive. And this is in '68 - I turned overdollars. But I only teach it because I know how it was to start without knowing anything. So I try to give those people that want to come and listen to my talk the benefit of experience. All right? Okay, and it went off like a house on fire.

Whether this was because I was lucky, because the times were right, because the German expressionist movement was upcoming, or simply because I was a genius, I do not know. But it happened. You said German expressionists. But I mean, who were you buying? But no, the sons, the two sons had a dealer that was Peter Deitsch who died young on a trip to Europe.

He was in his 40s. And he was a very good, fine dealer. He died, and they looked for somebody else. And I was at that time already almost And they were very unhappy about that because the dealer that they had before died when he was And why should they take somebody at 60? Anyway, and the others - I knew - there are only about - I can rattle them off.

Those are the artists. So - and I always made shows. I made - and while I was on Madison Avenue, I made my shows with little announcement cards, very few catalog announcements. And then it was, after the 10th or 12th show, I put a little number on the back of my cards. And the serge sabarsky wikipedia show I made was 70, seven-oh. So 70 exhibitions is a lot of exhibitions.

But it was in 18 years. I mean, it was a small gallery, but it was the only gallery in the whole world that was not only specialized in German expressionism, it was specialized in that to the exclusion of everything else. I mean, there were others. There was Leonard Hopper who was doing it. They were doing Russian painters. And other American so-called expressionists, he did also.

And so I was the only one - and he did not do as much Germans. He did of the Germans, Ballah, Koivitz phoneticand maybe sometimes graphic shows. That was a strong - which I never did. One of the first paintings that I sold was a Modersohn-Becker painting. And in about the middle '70s, I participated in German art fairs in Cologne and Dusseldorf every year for seven or eight years, which was very successful because I had a big.

And there were some people from different countries. Mostly, the fairs in Germany are done by their associations, same as we do here, on the national galleries. But there are also international shows like the one we have in Chicago now. And there, international dealers are showing. And I had a big stand always. I really splurged, like I did with my couple of -- few catalogs that I printed were always pretty sensational.

I only have one copy of this, so I can't - but this was the first catalog I printed. And it was everything in color. And I sent outfree. Let's see, so we have it on the tape, the date of the first catalog, which is. Oh, I see. I'm sorry, yeah. I understand, yeah. And that cost a lot of money. That's a principle. It's nothing -- I mean, you can do another catalog or a reference book that's black and white.

But if you want to show a painting to somebody who's a prospective client, you work through the color. You impress people by the color. There are those that are concentrating on, do business a lot with auction houses, buy and sell through auction houses. And there are those that sell to the cognoscenti to the public or to the collectors. And it was not my intention, but it turned out that way, that I was known among the collectors as the gallery where they found things that they were interested in.

And maybe museums, too - I did sell some. I sold some to the Museum of Modern Art. I sold to the Chicago Art Institute, as I told you before. I sold a couple to very few German museums. I don't even remember if there's any. Austrian museum - but very, very few. And the reason for this is that there you have to also do a lot of administrative work.

And I am, as we will come to my activities now, but the exhibitions, I am very, very reliable if I do exhibitions. The catalog is in time, the exhibition is in time, the poster is in time, everything. I arrive in time to give the opening talk. But my paperwork and administration stinks. I am a procrastinator. I don't like to - this clean desk shouldn't fool you.

Serge sabarsky wikipedia: Serge Sabarsky () had a colorful

I'm very, very bad. But I - and with museums, you can't do that. You have to make proposals, you have to write to them, and you have to go through all that. And it was just, the day is not long enough. I mean, some people do only that, and some didn't. For instance, there was. And let's talk about people that are famous. Greta Garbo was one of my favorite visitors.

She never bought anything from me. But we had a nice little professional friendship. She used to come in, and she used to sit and talk to me. And it was very nice. The one that played the [inaudible]. What is first name? He is also a great musician. Itzhak Perlman, the violinist, is a friend and a client. Famous people. All over the world.

It wasn't just - it was all over the world. This is a very, very small community in any field, whether it is futurist art, Italian, or whether it is surrealist art or whether it's the German expressionists. There are in each country a couple of dozen serious collectors who also have the means to collect. But the collectors are only a few.

And if you add that up all over the world, you come to about collectors worldwide. And all the dealers and specialists in that field live off those people. It's very, very strange. Of course, in the field, you have not only drawings, watercolors, you also have graphics. And so there - and every collector usually tries to think of himself, likes to think of himself as a specialist in a certain field.

And if he is a specialist, he had to come to me because if you went, let's say, to the director of the Museum of Modern Art and said, "I'm new in New York. Can you give me the name of three galleries who specialize in German expressionist art? I sold nothing but. And so that was not - I didn't think about that as a gimmick, but it turned out into a very good gimmick.

And anybody that would - that was worldwide, in Germany as well as in South Africa or in Venezuela. Wherever it was, that was always - that is, I remember two very close, good clients that were in Venezuela, for instance. Both of them, by the way, German. Not the refugees, but of German origin. And they used to come to New York. They would automatically come to me and, every now and then, buy something.

And in Germany it was the serge sabarsky wikipedia way. In Germany, there were some collectors. This was 25 years after the war was over. So there were already some new fortunes being formed. And they would buy and sell, and of course, the auction houses and all that. And slowly, I became known as the expert. Of course, the expertise was not only limited to Schiele, but it was the most important, because I did several Schiele shows.

Yeah, and then what I wanted to say is then during these fairs in Germany, I was once approached by somebody, a young Japanese man, if I would be interested to do a Schiele exhibition in Tokyo. Serge Sabarsky Collection, New York. Founder: Ignacio Villarreal - Royalville Communications, Inc produces: ignacio villarreal. Founder's Site. Hommage to a Mexican poet.

References [ edit ]. The New York Times. ISSN Archived from the original on Retrieved Egon Schiele : The Ronald S. Lauder and Serge Sabarsky Collections. ISBN OCLC Serge Sabarsky Gallery. Neue Galerie New York.