Well then, the newspaper stand and “collections” are well-known to the autochthonous press reader. You go to the newspaper stand on Friday morning to buy newspaper “L”, and a large and colorful cardboard poster catches your eye, advertising a low price and a promise in bold letters: talismans, coins, films, bugs in resin, opera music disks, watches, maquettes and soon, why not, plastic lighters, quills, fox plumes (ha, ha, ha), pocket whistles, etc.

It’s all about being relatively small, relatively pretty, relatively shiny, relatively informed, relatively cheap, and when all is said and done, RELATIVELY. In other words, not collectible. And in any case, meant to provoke subliminally our melancholy.

I define the collectible object here according to my "personal" dictionary: the object that, belonging to a series of objects that are similar or have a common denominator, constitutes together with these a series of objects valuable in and of themselves and also as a collection, a value augmentable with the passage of time. Excuse me, it’s a collector’s way of talking.

I don’t want you to misunderstand me. All these “collections” at anyone’s disposal can be bought; however, they will never possess a transactional value. And we can buy them for the pleasure of spending our money in this manner. It is one of the classical applications of marketing campaigns aimed at the feelings of the target population – the buyer with a small to medium income, aged between 30 and 50, of both sexes. Who might this population be? The Romanian who in his childhood ran around unsupervised with the house key around his neck, had a herbarium, an insectarium, and stamps, who played Țomapan (a geography game) or Battleship during class, and (excuse me) spit-hide-and-seek during recess. Target acquired. Target hit.

Until next time,

T.C. & E.

For those of you who would like to know how a water pitcher, found in a mysterious attic, scared us, we have the evidence of its flaking existence! It lives among the fabulously colored maples of the same welcoming garden.

Until next time,
T.C. & E.

There is a myth that a woman’s taste surpasses that of a man, that her sensitive soul perceives light, color, naturalness, aesthetics according to different parameters. Or, as the saying goes, “I don’t know, my wife is good at this.”

But what are you going to do when not only is she clueless, but she wastes the entire family budget on her personal collection of dolls with porcelain heads?

Effectively influenced by well-targeted marketing campaigns, the contemporary woman, often too little educated, easily frustrated in her daily existence, feeling melancholic for her youth and especially her lost childhood, when she had nothing… but life was so good… and so on and so forth, falls into the trap of buying useless objects, of doubtful quality, ugly and expensive.

An example comes to me: I was advising a friend about an acquisition, and the man felt the need to climb a few notches in my (critical) eyes and to show me, in great secret, his wife’s collection of careful! precious and semi-precious stones. The story that gave meaning to the “passion” began with a wonder of a ring and earrings, with settings from early XXth century, a family inheritance. And my friend was saying, listen… ever since precious and semi-precious stones have become available in our country at specialized trade fairs (?!) my wife always goes, she has her own “purveyors,” people who bring stones only from Germany!

First point: the ring and earrings were not a family inheritance but had contemporary settings with an old design, possibly zirconium instead of diamond;

Second point: we do not have, if we do not have, why should I say we have specialized trade fairs?;

Third point: these purveyors know their business very well… and especially their clients… What was from West Germany was also bought back in the day (electronics, cosmetics, clothes).

I suggested discretely, people are extremely proud when it comes to their wife’s intelligence, that my friend have a few stones evaluated. Just as a control measure for the “purveyor.” Perhaps he did it, I don’t know anymore.

Thus do not depend on anybody’s good taste, and especially not on a woman’s sensitivity, married or not. She is for the most part the favorite target of marketing campaigns for certain types of products. I develop my passion alone, I alone make my own collection, I research my sources alone. Above all, the collection is mine!

And about mimesis when collecting, we will talk another time.

Until next time,

T.C. & E.

The One-Eyed Turk

At a recent painting auction at Artmark, among the works was also the One-Eyed Turk by Camil Ressu, at a price estimated between 12,500 and 18,000 euros, sold to the first bidder for 12,500 euros. On the other hand, another work, Country Road, by the same painter, was sold for 1,000 euros over the maximum price estimate.

Without claiming to be a connoisseur, I can only say that, in my opinion, the One-Eyed Turk is by far underestimated (kudos to its happy owner) and the Country Road just barely justifies the price for which it was acquired, and this only because it is a work of Camil Ressu. The discussion I want to start here is whether indeed the bid at the minimum price, of 12,500 euros, was randomly made by someone, or was it a knowledgeable move? Why sold to the first bidder? Why was there not more bidding?

If we study the painting closely, it makes a shocking impression. With an eye closed, sick, blind, in the other the Turkish man focuses his entire personality. The shabby caftan, brown and cold like the coffee grounds heated on the sand in traditional Turkish fashion, the subject’s folded hands and crossed legs, the empty table at which he sits, but especially, I return to the stern look with which the Turk welcomes you, all these have nothing beautiful, nothing attractive. And yet you want to talk to him, to be seated by him at the table, on the unoccupied chair. The open terrace in front of which you will sit gets lost in the undulating landscape of hills, with the mosque, the olive trees and the houses of the village.    

Could such a work be purchased by chance? The answer is certainly not; such a painting can only have its place in the collection of a connoisseur.

The collector born into wealth will choose simple works, visually harmonious, banal, "easy." He bid for the Country Road because: 1) it is Ressu; 2) it is classic and chromatically correct – a road with a vanishing point, lights and shadows applied “by the book”; 3) it has majestic trees and a familiar landscape, with red-tiled roofs. Easy thus from an aesthetic point of view, such a work does not pose existential questions.

Where a collector born into wealth goes wrong (since she does not have the flair of a traditional collector, which would allow her to see the cycle of a minimum of 50-60 years of an object) is first of all the choice of objects for which she bids – she enters the painting market without understanding its subtleties; then she allows herself to be carried away by the adrenalin-pumped competition of “bidding” – in other words, she does not know when to stop; anyway, she has a minimal understanding of the investment itself – she wishes security for her capital, but she obtains the opposite effect and will slowly and surely waste her wealth in at most 10 years (after that, she begins to understand).

How much need, however, does the market have of such collectors? They are, without doubt, a reality and are among the most courted individuals. The art seller desires new treasures in her investment portfolio, betting on the fact that these future collectors, although initially totally uninstructed, buying on inspiration or with poor advice, will manage in a reasonable time interval (10, 15 years) to enter the market as buyers who are, if not professional, at least more careful about transactions. And more careful about transactions means choosing works that are atypical, uncomfortable, that make you turn again and again your eyes towards them to discover another nuance. These will attract large capital investments.

Here are the answers to the questions above. The connoisseurs are few, reason for which the painting by Ressu, titled by the auction house “The Faithful Client” (“The One-Eyed Turk” or even his proper name I believe are more likely titles that the painter would have chosen) was sold practically without bidding.

And you and I, when we meet the Turk, will have a long discussion (until then, possibly, we can look deeply into the landscape beyond our own window).

In the second episode of this story (2), I will choose an unsold painting, found still in the portfolio of the Grimberg Auction House, a work listed at an extremely reasonable price. A painting for smaller budgets, through the analysis of which I want to demonstrate the same thesis: the lack of instruction of those individuals new to the art market, the collectors born into wealth. And possibly, to influence some of their choices.

Until next time,

T.C. & E.

The first step towards browsing antique markets begins in our own families (this should have probably been the first article of the series). The bigger and wider spread our family is, the more chances you will have to find something in the attics, basements, caves, storerooms or houses of your cousins, uncles or brothers-in-law.

I remember the fascination created in my mind by a beautiful bluish, ceramic water pitcher, flaking, with an ugly male frog on its handle, ready to jump on you; the dusty goblet was lying thrown among other cast offs in the huge attic of my cousin’s house. When I grew up, I started asking her for it. Only then did the goblet, which came from the house of our grandparents, having practically no other value than a sentimental one, return to life. I think even now it decorates the garden of the same house… our paths have diverged and led each of us to a different place, and I have not seen for a long time either the attic, or the goblet…

However, it is certain my cousin did not give it to me, because she herself has been infected with the mania of collecting, and she worships our grandparents. As far as other objects of hers are concerned, even now we tease each other. And the passion continues a generation later.

Others, on the other hand, looked at me a little strangely when I poked my nose in the trunks, but they gave me, here and there, a little something. Sometimes even a lot, not knowing, for the most part, what to do with such objects.

The funniest story related to this was that of the gas lamps. Without being a collector of this type of objects, I was in the situation of buying gas lamps for the completion of a rustic décor. I found them, in contemporary ceramic, manually painted, in Cyprus. An obscure potter on the side of the road was still manufacturing such objects. The lamps were big, beautiful, delicately decorated, and they fulfilled the purpose for which I was acquiring them. But it turned out, once I arrived home, that they were insufficient. And so it was that, finding myself wandering among relatives, I began to ask… Little by little I collected gas lamps from all the houses through which I passed (less so from my mother’s who admitted that she had thrown them all out). And today I still meet a distant relative who tells me, as soon as she sees me: are you still looking for gas lamps? I had acquired a reputation…

In general, traditional objects are still well preserved in the attics and caves of country homes. And they are free! I remind you here that the great collectors had, in addition to valuable paintings, as a must, folk art: hand weaved rugs, goblets, bowls, furniture. A type of collection in fact accessible for anyone, and which can be started even today, is through small acquisitions of Horezu or Corund (Korond) ceramic. About this type of collections, however, on another occasion.

Until next time,

T.C. (The Collector) & E. (Escuteo)