Word: collector
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Dates: during 1960-1969
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...Israelis have strict rules forbidding amateur archaeologists from poking around the digs and carting off whatever strikes their fancy. But who's to say no when the amateur happens to be Defense Minister Moshe Dayan, 52, hero of all Israel and avid collector of artifacts for his private backyard museum. So there he was again last week, burrowing into an ancient tomb at Azor, near Tel Aviv, and this dig almost ended in tragedy. Dayan was six feet down in a pit when the soft clay walls suddenly gave way, burying the general under their weight. Bystanders...
Chicago probably has more collectors per capita than any other city in the U.S. And in Chicago, when a collector develops a taste for art, he is,likely to treat himself to gargantuan helpings. Walls full of it. Rooms full of it. When the rooms fill up, he will glass in the porch or build an annex. When these are full to the rafters, he simply buys another house...
Champagne Evenings. The competition for the title of most venturesome art collector in Chicago is indeed formidable.*In the 1950s, it would undoubtedly have been awarded to an enthusiast of abstract expressionism, Muriel Neuman, who picked up her first major De Kooning for $2,000 in 1950, long before most New York collectors were taking the movement seriously. More recently, the nod would have gone to Arnold Maremont, 63, president of Maremont Corp., maker of mufflers and other auto parts. The muffler man's 300-piece collection, valued at $2,000,000, shines throughout his manor house in Winnetka...
Secret Success. Widest-ranging among the Chicago collectors is Morton Neumann, 69, owner of a small mail-order cosmetics house, and none of the collectors mystifies his rivals more. Not that they fault his taste. The living room of Neumann's town house is festooned with Picassos, the dining room with Miros, and the former state dining room with a history of postwar U.S. art. The mystery is how Neumann goes about making his selections. Even among art dealers, he is known for the hard bargains he drives rather than for esthetic likes or dislikes. Despite Neumann...
...nitrate and must be treated or transferred, the essential fact remains that when the rights to post-1934 films lapse into public domain, they will be available for library use and study. But the Library is not the same as the AFI: when Kahlenberg succeeds in inducing a collector to have a copy placed in the Library, it is still one long step away from having been placed in the much-desired national archive of the American Film Institute. Consequently, Kahlenberg must attempt with equal vigor to secure prints of post-1934 features for the archive itself, with permission from...