April 23 at the Pushkin Museum. A. S. Pushkin opened the exhibition “Art as a Profession. Collection of Maya and Anatoly Bekkerman" - a large-scale exhibition from a private American collection, shown in the largest museum Moscow. About a hundred works by Burliuk, Falk, Altman, Korovin, Anisfeld, Grigoriev and other artists were brought from the New York ABA Gallery, founded by Beckerman about 30 years ago. Some of these items have been exhibited in Russia, but this is the first time that the Bekkerman collection is exhibited here as an independent project. On the eve of the opening day, a correspondent for Lechaim magazine visited the ABA Gallery and learned the details of the creation of the collection first-hand.
Irina Kordonskaya I noticed Tyshler’s sculptures here - I didn’t even know about their existence. Will they be at the exhibition in Moscow?
Anatoly Bekkerman No. But there is a lot of Tyshler in our gallery, and several years ago we held a large exhibition of him.
IR Recently at the Pushkin Museum. A. S. Pushkin, the Department of Personal Collections hosted an exhibition from the collection of Mikhail Baryshnikov. Do I understand correctly that it was organized by you?
AB With my participation: first it was held in New York, in my gallery.
IR In Moscow it was a huge success. In general, in Russian museums, as far as I know, there are quite a few things that you obtained.
AB And we are showing some of them at the current exhibition: in room 21 there are works that have passed through my gallery. Several things were given by the Russian Museum - among other things, a portrait of Burliuk by Feshin, something - by the Moscow Museum contemporary art. Collectors from Russia provided items they had once purchased from me.
For example, “Summer Evening” by Borisov-Musatov. The history of this work is curious: one day an art dealer called me and offered me a large canvas by Borisov-Musatov. I don’t mind, but this is very rare - when have you seen a meter-long Borisov-Musatov? There was a watercolor recently, it went for one and a half million, but an oil, and even this size... I called a friend in Moscow and told him - he starts laughing. But they send me a photograph of this painting and a catalog of a 1904 exhibition in St. Louis, where there were four works by Borisov-Musatov, and this is one of them. A certain family bought it and hung it on the wall. And I bought from them.
IR Do you deal only with Russian avant-garde?
AB Of course not. They come to me different people, which sometimes amaze me, but also make me happy - someone wants Repin, someone wants Goncharova, someone wants Bulatova and Kabakov... Here's a story about the great Aivazovsky - this was in 1995. I receive an antique newspaper, I see a black and white photograph, on it there is the sea, a man on the shore. Signed by the American artist Hansen - he was like that, specialized in marine theme. I tell my friend: what a Hansen, this is Aivazovsky. I arrive: a canvas 2x3 m, signed by Hansen, and under it - Aivazovsky. People didn’t know the name, wanted to sell it, and stuck the signature of an American artist on top. The estimate was 5-7 thousand dollars. I offered 50 thousand. The owner says: “I would love to, Hansen is not worth it, but we must sell according to the law, through an auction.” I was ready to pay 250 thousand, but the bidding stopped at seven.
IR When you hear stories of such finds from a dealer or collector, you easily believe them. But reading the same thing in the annotation for the auction lot, you begin to doubt.
AB And yet... Look, we have a still life on display here by Robert Falk, 1914, known from the “Jack of Diamonds” exhibition. In Dmitry Sarabyanov’s book dedicated to Falk, it is said about this work: “location unknown.” And I found it at an American auction - it is known that the painting was purchased from Angelina Shchekin-Krotova, Falk’s widow, by a certain government structure and someone took him to the USA. Or Bakst’s work: in New York, next to Carnegie Hall, around the corner, there once was a “Russian Tea-room”, where all the celebrities went - dancers, singers, White Guard generals. The owners had Russian roots. And this is how it happens: the establishment is long gone, and Bakst, who hung there, is in my gallery.
IR You specialize in Russian art - is there a lot of it in the States, and in the West in general?
AB Russian weeks at auctions take place twice a year. There are super things, but by definition there cannot be many of them; each artist has no more than 5–7% of masterpieces.
IR But treasures are found less often than 20 years ago?
AB No, they just hunt for them more actively. People from Russia live all over the world, and they want to create their own collections. This is one of the reasons why I think this market is promising. Moreover, it is not only collectors with Russian roots who buy. Americans have a wonderful quality: they are willing to listen and learn. Some of them are simply investing money because this is a virgin market - a growing market, like China or Brazil, but some are getting a taste for it.
IR You said a growing market. Are our artists getting more expensive?
AB Russian painting, despite the records that we have seen since the early 1990s, is far from real prices. Look at American artists: a painting by Norman Rockwell was recently sold for 46 million, Edward Hopper - for 40 million. Russian art has never dreamed of these prices, if you don’t take Kandinsky, Malevich and Chagall. The most expensive Korovin at auction was sold for $3 million. And Korovin, together with Serov, are the main Russian impressionists; American artists of the same level and period are 10 times more expensive. So it’s not over yet - there is room to grow.
IR By selling things to private collections, you earn money. But selling in Russian museums…
AB Of course, often these sales occur with financial losses, because the Russian Museum could never pay market value canvases. But I just want to return some iconic things to Russia. It is important to me that these works hang here and are publicly available. Tsereteli bought Larionov, Ekster, Goncharova, Burliuk for the Moscow Museum of Modern Art, and these things are actually on permanent display, they are given for exhibitions. Here, by the way, we are showing Burliuk’s striking work - “Japanese Woman Sowing Rice” - one of the main futurist masterpieces, on the level of the works of the famous Italian futurist Balla. But his paintings are worth millions. And this painting by Burliuk, by the way, belonged to Mayakovsky.
IR In your collection, I noticed a very unusual Falk - a bouquet that is inexplicably bright for his palette as we know it.
AB In fact, nothing unusual, it’s just 1927 - we know Falk better from another time. You understand, this business is interesting to me precisely because of the possibility of discoveries. In the fifth grade, I dreamed of becoming an archaeologist, and apparently my passion for finding rarities, for blowing the dust off rarities, remained. I just bought several paintings by Shterenberg and Labas at auction. Shterenberg, apart from the fakes that end up at auctions, is very rare artist, his works are few. And here a whole collection was on sale: it turned out that a certain Italian journalist had worked in Russia at one time and bought paintings. And he took it away - now the heirs are selling it. And at the exhibition at the Pushkin Museum there is a Shterenberg - bought in New York, in private collection. The painting was purchased directly from the artist in Paris in the 1920s.
IR Your exhibition evokes involuntary associations with the recent exhibition from the collection of Vyacheslav Kantor, who, as is known, collects only Jewish artists. You have a lot of them too.
AB Vyacheslav Kantor has a magnificent collection. But I did not set myself the task of collecting Jewish artists. It’s just that there are indeed many Jews among the masters of the Russian avant-garde. And many of them ended up abroad. The same Boris Anisfeld settled in New York in 1918, and his exhibition was held at the Brooklyn Museum - about 200 works created in Russia. Alexandra Exter died in Europe. I wanted to buy her work and knew that she was very friendly with the artist Simon Lissim, who emigrated to the USA - provenance from him is considered a guarantee of genuine Exter. I found Lissim's nephew. Or Boris Grigoriev - I bought a lot of him in Latin America, because he lived there and taught. They repeatedly tried to buy his “Man with a Bull” from me; they offered money that was several times higher than the market price. I thought about it. And the wife says: no way. If any of us is a collector, it’s probably her. Someone once said that an art dealer lives from what he sells and gets rich from what he keeps. This is true.
The famous New York gallery “ABA” presents two exhibitions at the “New Manege”: “ Russian art: finds and discoveries” and “Mikhail Baryshnikov, from the “Dance” cycle. In 2014, the founders of the gallery Maya and Anatoly Bekkerman presented at the Pushkin Museum. A.S. Pushkin's things from his personal collection, and last year the Moscow public could get acquainted with rare works - from Borovikovsky to Kabakov. On the eve of the current opening day, “Culture” met with Anatoly Bekkerman and talked about the search for masterpieces, exposing fakes using blockchain, and cultural exchange between Russia and the United States.
culture: What discoveries will viewers see this time?
Beckerman: For example, a landscape by Alexei Savrasov, painted in 1852. Job early period- There are literally only a few such things in Russian museums. Moreover, the picture interesting story. It belonged to the family of a Swedish entrepreneur who came to Russian Empire and founded the first electrical textile processing factory in Moscow. He made it one of the largest in Europe, and received the title of baron from Alexander II for his services. In 1917, his descendants left Russia, taking with them the collection, including Savrasov’s work.
We show two works by David Burliuk dating back to the Japanese period. Also very rare: the artist spent time in the Country rising sun almost two years. Eat interesting thing Konstantin Korovin - image of Gurzuf, dating back to 1912. In 1940, the painting was donated to the university in Stockholm, which after some time decided to sell it. They also brought a landscape by Abram Arkhipov and a portrait painted by Nikolai Feshin, a favorite not only of the Russian but also of the American public. He lived in the States for a significant period of his life.
culture: You also show photographs taken by Mikhail Baryshnikov. In 2008, his photographs were already shown at Winzavod. What will surprise you about the current exhibition?
Beckerman: This will be a premiere, as far as I know, we will repeat only one shot. Mikhail Nikolaevich is not only a legendary artist and an outstanding dancer. His view as a photographer is interesting. The shooting method is based on long exposure: blurry, moving shapes in the best possible way convey the feeling, energy, rhythm of the dance. In addition, we will introduce the public to 24 photographs of Ilse Bing from his collection. The works of the Frankfurt native are in all museums around the world, but they have never been shown in Russia. She was friends with Mikhail Baryshnikov and gave him these works.
culture: How do you find masterpieces? There is an opinion that first-class things have long settled in museums and private collections.
Beckerman: Indeed, there is little worth, but discoveries are still possible. IN late XIX- at the beginning of the 20th century, large exhibitions took place in America - in particular, Aivazovsky, many works remained in the New World. We have a whole staff of people engaged in searches. There are phenomenal pictures in Latin America, where emigrants from Russia lived. The same Boris Grigoriev regularly visited Chile for several years. However, do not think that we discover a masterpiece every day; sometimes the search takes years. Even when you know where the painting is, you spend a lot of time trying to persuade the owner to “release” it into the world.
culture: You not only form your own collection and gallery collection, but also act as an expert. What do you do if you see an unknown thing from a famous master, which also differs in style and manner? At your last exhibition, a number of works by Natalia Goncharova raised questions among critics precisely because of their atypicality.
Beckerman: I have been working with this artist for many years. I approach the selection of paintings with great responsibility. Some periods are not well known to Russian specialists, especially when it comes to works created far from the homeland. For example, Goncharova has non-objective compositions from the “Cosmos” series, written in the 1950s. Several samples are kept in the Tretyakov Gallery, they are well studied there. And yet, something may escape the attention of experts. We always carry out serious research, we find out the provenance: whether the work was exhibited, where, when, whether similar things exist.
culture: At one time, the Russian art market was flooded with fakes. Has the situation changed?
Beckerman: I think these rumors are greatly exaggerated. Paintings by American, Italian, and German authors are counterfeited no less often. A few years ago, the 165-year-old Knoedler & Company gallery in New York City closed. They were selling fake works by Mark Rothko. Or the scandal with the forger Wolfgang Beltracchi, who successfully copied avant-garde representatives like Max Ernst and Kees van Dongen. He made a mistake when he was too lazy to make old paint and bought ready-made titanium white, which was not found at the beginning of the 20th century. The level of knowledge and research methods are advancing, so there are fewer and fewer fakes.
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And yet, sometimes collectors come and add to their collections using Ebay. Their expenses often amount to millions of dollars. They buy online to Goncharov for 500 or 1000 dollars and are happy with a good deal, because dealers or auctions sell similar things huge money. We have to disappoint them.
culture: Nowadays, many are talking about blockchain technology, which will help make the art market more transparent...
Beckerman: I welcome all positive changes. However, this method is not omnipotent. Not long ago we acquired a painting by Goncharova. It was not signed. It was kept in the collection of people who ran a paint store. The artist made purchases from them, donated her works, and sometimes exchanged them for materials. Sometimes works do not appear anywhere at all, they are never exhibited. IN similar cases expertise required.
culture: Is interest in Russian art increasing?
Beckerman: It is still undervalued, but there is momentum, and, in my opinion, it will increase in price. The time will come when the cost of domestic paintings will be equal to the samples of the best Western schools. Exhibitions of our artists still attract the attention of foreign viewers. For example, “Russia!” at the Guggenheim Museum in 2005 broke the attendance record. The American public is very receptive to Russian art. Unfortunately, in recent years Nothing is brought to the States from Russian museums. We are modestly trying to fill this void: we organize exhibitions in the USA and bring projects to Russia. I hope that through cultural exchange, relations between countries will gradually improve.
culture: What do you plan to offer to domestic viewers?
Beckerman: We want to organize an exhibition of Burliuk with the Russian Museum and then show it in Moscow. We are also going to present Korovin’s French items there. I don’t have sponsors: I finance such projects myself. I perceive them as a way to popularize and promote Russian art: I consider it a duty, a kind of mission.
“Anatoly, how do you assess the investment potential of Russian art?
Very positive. There is a serious struggle for the best examples of Russian art. There are few top items on the market. After all, Russian museums over the last hundred years have accumulated in their funds huge collections, and unlike Western ones, they never sell works from collections. Secondly, in the 20th century, a lot was destroyed and lost. And in the character of a Russian collector lies the desire to collect only the best.
The investment potential of Russian art, unlike European and American art, has not yet reached its ceiling. Prices for Europeans and Americans are consistently high; they do not have the same growth dynamics as Russian authors. There is no effect of uniqueness or rarity.
For example, Konstantin Korovin was the leading Russian impressionist from 1900 to 1927-1928. If we take an equivalent figure in the history of American national art, such as Childe Hassam, George Bellows or John Sargent, their best works cost $30-50-60 million. The highest price for a painting by Konstantin Korovin is $3 million.
The history of collecting Russian art in the 20th century is very young: it essentially began in the early 1990s. In the West, wealthy patrons of opera and ballet collected sketches by Bakst, Anisfeld, Chelishchev, Benois, and Exter. That is, theater artists. Therefore, Russian things, even in the late 1980s and early 1990s, were not very expensive. And those who understood this and bought the best samples received gigantic interest on their investments. For example, Konstantin Korovin was sold for $25-30,000 in the early 1990s.
That is, the Russian art market was created by collectors from former USSR after the fall of the iron curtain?
Yes, they started buying Russian art, and the world saw that there was an unfilled space with colossal potential. There is such an expression as “the potential of developing countries”, emerging markets, these include China, Brazil, India and, of course, Russia. Prices for art from these countries are currently underestimated.
And at some point Korovin, like Sargens, will be worth $30 million?
Over time, yes.
Look, fantastically happy Korovin, “Gurzuf” from 1912. This painting was presented to Stockholm University in the 1940s. And when the university decided to sell it, we great joy bought. The film has enormous potential. Here rural landscape Korovin, 1919.
And this is a very beautiful French period - night Paris. I know a man in Paris, he is already very old, his father was friends with Korovin. And he remembers: as soon as it started to rain, Korovin got into a taxi and drove around the city, sketching how the wet pavement glared, how the light was reflected.
Are these your Paris finds?
No, I bought this work in America. Although I go to Paris often. The gallery is 35 years old, we have our own network of dealers who look for the best things for us. In addition, now a lot of interesting things can be found online. The main thing is that it was really Korovin, and not Tyutkin.
Korovin is famous for his fakes, isn't he? He signed his son Alexey’s work with his name and completed the writing for Alexey.
Nothing of the kind. A good expert immediately sees where the hand of his father, Konstantin Korovin, is; his son did not have such a stroke. The right painting purchased with the right expert is a wonderful investment. In such cases, I give the example of a pharmacy. Having a cold, people run to the pharmacy and buy beautiful boxes there.
But before you go for medications, it would be a good idea to go to the doctor for a consultation. Self-medication is life-threatening. It's the same in art. Sometimes people come to me who have compiled collections on ebay and bought Korovin, Goncharova, Larionov, Grigoriev, Ekster there for $3-5,000. These people understand that a painting by such an artist should cost at least $1 million, but they hope to make a discovery. There are collectors who have spent millions of dollars on collections that are worth nothing at all.
Now the Russian Museum and I are planning the exhibition “French Korovin”. We want to hang, for example, Pissaro next to our artist, so that the world can see that Korovin is no worse than the French, and costs 25 times less.
Why does it make sense to look for Russian art of the early 20th century in America?
At the beginning of the 20th century, exhibition life in Russia was very active, exhibitions toured extensively throughout Europe and America. In 1905, for example, a huge Aivazovsky exhibition was held in St. Louis. In 1924 there was big exhibition Russian art in New York at the Grand Central Art Galleries. The works settled in America. They pop up periodically.
Lev Bakst sent his works to the exhibition in 1924. The artist himself came with a large exhibition in 1922-1923. You have a theatrical sketch by Bakst at your exhibition - is this also an American trace?
Yes, this is from the American Bakst archives. In 1982, this work was purchased at Sotheby's auction. A smaller version of it is kept in the collection British Museum Victoria and Albert. I saw this Bakst on the wall of the New York restaurant “Russian Tea Room”. When the owners of the restaurant grew old, the collection and all the interior items were sold at auction right on the premises of the Tea Room. I knew the owner and bought the work from her.
We find something in Europe. And for David Burliuk you need to go to Japan. For example, this Japanese still life from 1921. We have a black and white photograph of a gallery display in Japan where the public is viewing this work.
Absolutely not! There are no fewer people wanting to buy Shishkin or Aivazovsky.
Everything has the right to exist. I have works from the 18th century, and portraits from the 19th century, and paintings from the early 20th century, and from the 1960s. The main thing is that I like it and meet my expectations. Here is Rabin of the Lianozov period, two “Game Tables” by Nemukhin, here are the works of my brother Edward Bekkerman, here early works Tselkova.
There is no decline in prices for good things. As a gallery owner, I judge by the requests we receive.
The appearance of a recession creates a fantastic climate for investment and purchases for those who understand art. It is best to invest against the crowd, that is when it gives the best results. We specifically measure price records over several years. Look, investments in art are more profitable than oil and diamonds: Yuri Annenkov in 2001 - $2,274, in 2008 - $121,000, record - $4,500,000; Alexander Yakovlev in 2004 - $249,555, in 2008 - $1,067,739, record - $5,300,000; Konstantin Makovsky in 1994 - $74,000, in 2007 - $4,167,178.
Do Americans collect Russian art?
Of course, they are very receptive to any different national schools. That's why America houses, for example, the world's best collection of Chinese porcelain or African sculpture or Indian bronze. They are not focused only on American art. In recent years, American, German, and Italian collectors have appreciated the investment attractiveness of Russian art.
They have their own analysts who monitor trends. We have now started selling works to Japan and China. A small number of masterpieces, top items stimulates competition, collectors fight.
The optimal period for art as an investment is 7-10 years. Banks and foundations periodically approach me with a proposal to create a Russian art fund. But they demand exclusivity, so that I only consult on their project. This doesn’t suit me; freedom is the most valuable thing.”
April 22 at the Pushkin Museum. The next exhibition from the series “Collections and Collectors” opens at A.S. Pushkin. The exhibition includes Grigoriev, Arkhipov, Anisfeld, Burliuk, Korovin, Goncharova, Feshin and others.
Pushkin Museum im. A. S. Pushkina,
April 22 - June 1, 2014
Moscow, st. Volkhonka, 12
In the year of the twentieth anniversary of the opening of the Museum of Personal Collections, one of the departments of the Pushkin Museum. A.S. Pushkin, the museum continues to introduce the Russian audience to the most famous collectors and their collections. On April 22, 2014, in the “Collections and Collectors” series, the exhibition “Art as a Profession. Collection of Maya and Anatoly Bekkerman." The exhibition includes works emigrant period Russian artists first half of the 20th century.
Anatoly Bekkerman, collector and art dealer, owner of the AVA gallery, which has existed for more than 30 years in New York. Works from this collection were exhibited at many important art exhibitions, presented in our country: “Russian Futurism and David Burliuk” (2000) and “Russian Paris” (2001) at the State Russian Museum; " American artists from the Russian Empire" (2008/2009) in the State Russian Museum and State Tretyakov Gallery; "Time to Collect" (2012) in State Museum-Reserve“Tsaritsyno” and the State Russian Museum, and in 2013, works from the Bekkerman collection were presented at exhibitions that aroused great interest among the domestic audience: “Philip Malyavin” at the State Russian Museum and “Natalia Goncharova” at the State Tretyakov Gallery.
A. Bekkerman was one of the organizers of the exhibition “The Art With Which I Live” from the collection of Mikhail Baryshnikov, which was successfully held in October 2013 - January 2014 at the Museum of Personal Collections of the Pushkin Museum. A. S. Pushkin.
For the first time in Russia, the collection of Maya and Anatoly Bekkerman will be exhibited as an independent project. In the White Hall and on the colonnade of the Main Building of the Pushkin Museum. A. S. Pushkin will feature works by those artists whose work is presented monographically in the collection - “Woman with a Bouquet of Lilacs” (1922) by Konstantin Korovin, “Capri I” (1910–1911) by Boris Anisfeld, “Spanish Dancer” (1916) Natalia Goncharova, “Fisherman with a Crab” (1922–1923) by Boris Grigoriev, “Wind” (1916) by David Burliuk and other works.
A special part of the exhibition (room No. 20) will consist of works that were once part of the New York collection of M. and A. Bekkerman, and are now in museums and private collections in Moscow and St. Petersburg. These are works such as “Portrait of S. I. Mollo” (1917) by Boris Grigoriev, “Petersburg” (1912) by Mstislav Dobuzhinsky, “ Palm Sunday on Red Square" (1917) by Boris Kustodiev, "Portrait of David Burliuk" (1923) by Nikolai Feshin from the collection of the State Russian Museum and "Embankment of the Seine. Screen" (1930s) by Natalia Goncharova from the collection of the Moscow Museum of Modern Art and others.
The exhibition of works from the collection of Maya and Anatoly Bekkerman will be a real discovery for the Russian public and will complement the understanding of both the work of individual masters and the history of art in general.
Sources: press announcement of the Pushkin Museum im. A. S. Pushkin, ABA gallery (New York)
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