Killer Tower Kills Art Dealer

Towers are people – too! Donald Trump commissioned Andy Warhol to do a portrait of Trump Tower, and got stiffed. Donald claimed his fake Renoir, is real. The President owns another Renoir reproduction ‘La Loge’ that hung in Melania’ s office. The Human that died in The Tower of Doom was an art dealer, and son of Jules Brassner, who was arrested for recieving stolen art. Warhol did Todd Brassner’s portrait. Wow! Will someone please drain the Art Swamp!

I will be contacting the FBI in regards to the two Renoirs. Perhaps both are the real deal, and, Trump came by them in some secret, fake, deal. The FBI just raided Trump’s attorney’s office. Uh-oh! Get on the Art-money Trail, where I have been since 1994. I smell art tax right-offs and money laundering.

Because President Trump was blessed by Evangelicals, whose attorneys declared Hobby Lobby, a person, I am launching a crusade to have Trump Tower declared a Human Being, so, I can place this tower – under arrest for murder! What killed Todd, was Art Fraud and Bad Taste. Trump called Todd a “Crazy Jew”. I am going to make a docu-drama and movie – as well as a Broadway Musical, titled

The Phantom of Killer Tower

The Picture of Dorian Grey will be thrown in, and a Cultural Showdown will take place. Here is the alternative title;

The Phantom Meets Dorian Grey


The Handsome Bon Vivant, Rodney Brassnerwitz a.k.a. as ‘The Crazy Jew’ due to his womanizing and flamboyant lifestyle, meets Don Von John de Trumpmeister at a New York fashion show. Eager to gather the crème de la crème of society in his newly built Tower of Power apartments, Don Von tricks Rodney into signing a lease hat never can be broken. Finding himself a Bird in a Gilded Cage, Rodney befriends the strange Parisian artist across the hall, and together they form an alliance. Leif Tharaldsen, who can trace his ancestors to Viking that rowed their longboats to Paris, did paintings of New York skyscrapers believing they had a life of their own.

“They are haunted by muses from another dimension!” said Leif. “For this reason I dare not do your, are any human beings, portrait. You can not handle the energy.”

“Oh please. I will pay any price in order to own the power to get out of here! I will even sell my soul to the Devil.”

“O.K. But, I must warn you about the Boiler-room Draugrs. They are base creatures who will drag you down into the muck and mire, if you are not on guard! There is also a Thrain if you dig deep enough. It seems Don Von built this tower on an old Viking graveyard.”


From out of the steaming and greasy pipes in the basement gather the BoHo Boiler Gouls, wearing oily rags, and clanging big wrenches together. They start banging on the pipes.

Jon Presco

Copyright 2018

Todd Brassner, identified as the victim of yesterday’s Trump Tower fire, was an art dealer who is said to have lived off his family’s fortune. He was mentioned in passing a few times in the Warhol Diaries.

He was the son of the art dealer Jules Brassner, who died in 2015 at the age of 99. Jules Brassner, according to a New York Times story in 1971, was arrested that year for receiving stolen art at his own art gallery on Madison Avenue.

According to the Times report, the elder Brassner, an FBI agent spotted a stolen Monet in Brassner’s gallery. Upon further inspection, $70,000 worth of stolen art was found in Brassner’s gallery and Westchester home. The art had been stolen from Parker Bernet gallery. It was part of a scheme that involved a government lawsuit over stolen Treasury bills that Mr. Brassner was involved in but not named as a defendant or co-conspirator.

Robert F. Metzdorf, vice president and Parke‐Bernet’s rare‐book manuscript expert, resigned and the attitude of sev­eral outsiders to foreign domi­nation of the galleries was far from congratulatory. One of Parke‐Bernet’s regular clients called the sale “a horrible de­feat for us in America.”

After his first meeting with Warhol, Trump visited the artist’s studio. He asked Warhol to do a portrait of Trump Tower that would hang over the entrance to the building’s residential quarters, as Warhol recalls in diaries, which were published posthumously. Warhol made a series of eight images, but Trump was “very upset that [the series] wasn’t color-coordinated,” the artist writes. The deal fell through

Donald Trump called the man who died in a fire at the Trump Tower on Fifth Avenue in New York a “crazy Jew” over two decades ago, the New York Daily News reported.

Todd Brassner, an art dealer, was a longtime resident of Trump Tower — but he couldn’t wait to get out. He had filed for bankruptcy in 2015, and was trying to sell is $2.5 million apartment on the 50th floor.

“He hated living at Trump Tower. He talked about not living there almost nonstop,” a friend of Brassner’s told the Daily News.

According to Patrick Goldsmith, another friend of Brassner’s, Donald Trump once called Brassner a “crazy Jew.” Trump asked the doorman who Goldsmith was after he saw Goldsmith staring at Trump’s famously small hands. Goldsmith told Trump he was visiting Brassner. “Oh, that crazy Jew?” Trump reportedly responded.

Brassner was the only victim of a fire that broke out at Trump Tower Saturday evening. Fire fighters were able to contain the fire to one apartment. Fire apartment officials said it was an electrical fire that had originated in the building’s heating system.

Trump tweeted about the fire as it was happening, but made no mention of Brassner’s death after it was announced.

Read more:

The police and agents of the Federal Bureau of Investigation yesterday arrested the owner of a Madison Avenue art gallery and charged him with receiving nearly $70,000 worth of paint ings stolen last November from the warehouse of the Parke Bernet galleries.

Detectives said the case was broken recently when an F.B.I. agent who specializes in the re covery of stolen art objects walked into the gallery of Jules Brassner at 1043 Madison Ave nue, near 81st Street, and spotted a copy of a Monet that allegedly was one of more than 70 paintings stolen from Parke Bernet.

A further examination of the gallery turned up 20 more paintings in the same collection and two more were found in Mr. Brassner’s home in Harri son, N. Y., the police said. He was charged with receiving stolen goods.

Last night, Detectives Ray mond Drago and Donald Hoos of the East 67th Street station accompanied Mr. Brassner to a warehouse at 111 North 11th street in Brooklyn to recover 49 more paintings that were part of the robbery.

The detectives rode up in an elevator to the fourth floor with two other men who, as they emerged from the elevator, asked the warehouse owner why they had not yet been paid for carrying off the Parke Bernet robbery.

The two detectives then ar rested the two men for robbery and the warehouse owner for receiving stolen property. The two suspects were not identi fied immediately.

It was a good break,” said Lieut. Michael J. Ward, com mander of the 19th Detective Squad. “They had broken the case, but it might have taken a while to grab the two robbers if this hadn’t happened.”

The art allegedly had been stolen from the Parke‐Bernet warehouse at 75th Street and York Avenue by two men driv ing a panel truck.

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O’Brien asked Trump about the painting: “Was it an original?” Trump said it was. O’Brien disagreed, and Trump protested: Yes, it was an original. 

“Donald, it’s not,” O’Brien said. “I grew up in Chicago, that Renoir is called Two Sisters on the Terrace and it’s hanging on a wall at the Art Institute of Chicago. That’s not an original.”

Trump apparently did not agree but O’Brien dropped the subject and continued the interview, thinking it would not be discussed again. 

However, boarding the jet again to return to New York City, O’Brien says Trump pointed to the painting again.

As though the previous conversation had never happened, he reportedly said: “You know, that’s original Renoir.” O’Brien chose not to respond. 

Years later, when Trump became President of the United States of America, O’Brien says he spotted it hanging in the background during one of his first interviews as president-elect. 

In another interview with First Lady Melania Trump, the painting can again be seen in the background. paint

While he brags about their eight-figure valuations, “friends” of Republican presidential frontrunner Donald J. Trump are whispering about the French Impressionist paintings he sports in his home and on his plane may be fake.

Which is funny, because Trump himself told a friend that he “finds the New York arts crowd phony and elitist,” according to the New York Post, which has blown the whistle on the Donald’s supposedly invaluable collection.

The media has had a field day fact-checking Trump’s wild claims, on subjects ranging from his personal worth to whether over a quarter of Muslims worldwide want to go to war with America. And now the lust for accuracy has come to the real estate developer’s art holdings.

The Post indicates that a version of Pierre-Auguste Renoir’s La Loge adorns Melania Trump’s Trump Tower office. But—sad trombone!—someone close to Trump says that while Trump “can appreciate fine art,” he “prefers higher-return investments,” so it may be a copy.


While showing Vanity Fair’s Mark Bowden around his Boeing 727, Trump bragged that a “Renoir” hanging on its wall was “worth $10 million,” pointing to the signature. A Huffington Post blogger also claimed to spot Renoirs, in this case at Trump’s Manhattan home. The current auction record for a Renoir canvas is $78 million, set by Au Moulin de la Galette (1876) at Sotheby’s New York in 1990; the painter’s 1894 oil on canvas Au Théâtre, la loge, sold at Christie’s New York for $6 million in 2008, while that same year, La Loge or L’Avant-Scene sold at Sotheby’s London for £7.4 million (approximately $10 million) to an unidentified buyer.

Other reports, meanwhile, indicate that paintings by jazz singer Tony Bennett hang at Trump’s Mar-a-Lago home, in Florida. According to the artnet Auction Price Database, the top price paid at auction for a Bennett canvas is $1,000. The princely sum was paid not at a high-profile auction house like Sotheby’s or Christie’s, but rather at Quinn & Farmer in central Virginia.

The Metropolitan Museum will sell 12 paintings from its collections on Oct. 25, it was announced Wednesday by Sotheby Parke Bernet, the auc tion gallery that will handle the sale. Thomas P. F. Roving, di rector of the museum, said yes terday that the paintings, 11 from the impressionist collec tion and one by Odilon Redon, are the first of 135 paintings slated for sale in the near fu ture. Arrangements for the dis posal of the remaining 123 have not been completed.

The impressionists in the first group, regarded as the cream of the list, are Degas, Eva Gon zales, Guillaumin, Monet, Mori sot, Sisley, Lautrec, Boudin and Renoir, the last two being rep resented by two works each. Sotheby Parke Bernet estimates that the group will bring be tween $330,000 and $450,000, with Monet’s “Cliffs at Pour ville,” painted in 1896, expectH ed to bring the highest price, $70,000 to $90,000.

The other paintings range in date from the 15th century, with Italian renaissance works attributed to Neri di Bicci and in the manner of Fra Angelico, to the 20th century, repre sented by Ernst Fuchs, the German artist. Other old master paintings are by “a scholar of Tintoretto,” “at tributed to Titian.” and from “the workshop of Velasquez.”

Asked about the quality of the list, Mr. Roving said, “There are some pretty good pictures, but they aren’t im portant for the Metropolitan.” No estimate has been made of probable prices for the remain ing works.

The Metropolitan is in the midst of what Mr. Hoving describes as “the most severe financial crisis in its history,” with an operating deficit of more than $1.5‐million for fiscal 1971 acknowledged in its annual report of last October. Recently, the museum an nounced a series of staff lay offs that are expected to cut its $13.5‐million budget by $1.4‐million. And its mammoth building plan, with the contro versial extension of the Leh man pavilion into 14,000 feet of space in Central Park be yond the museum’s fence line, has made staggering demands on the Metropolitan’s financial .

Mr. Hoving insists, however. that revenue from sales of paintings will be used only for the acquisition of more impor tant works. Asked what guar antee there was that funds from the sale would not go into the museum’s building pro gram, or into its operating budget, he said that where the paintings were acquired by be quests there was frequently “language that locks you into using funds for repurchase” and that even in other cases of gifts, the interpretation in courts of law is that funds from sales should be used for “something of like nature.”

Continue reading the main story

Mr. Hoving came under attack last February when The New York Times disclosed that a selected list of dealers had been invited to submit sealed bids on a grouup of paintings of top quality including Picasso’s “Woman in White,” a Cézanne, a Gauguin, two Manets, and a Renoir. After it raised fire from collectors, patrons, and donors. who questioned both the ethical and financial aspects of the proposed transaction, the proj ect was canceled.

In a response printed in The New York Times of Sunday, March 5, Mr. Hoving defended the principle of selling from collections on the ground of refining them, Subsequently, the museum reached a decision to put its coin collection, valued at about $2‐million, on the market. It will be dispersed in three sales in Switzerland be ginning in November.

Sotheby & Co. of London, largest of the world’s art auc­tion houses, gained a controlling interest yesterday in the Parke­Bernet Galleries, the nation’s leading auction gallery.

The decision to give majority control to Sotheby’s, which was under consideration for some time, was made yesterday at a Parke ‐ Bernet stockholders’ meeting. The Sotheby share of Parke‐Bernet was said to be slightly more than 75 per cent, purchased for about $15 million.

According to an agreement reached yesterday, Sotheby’s will retain the organization of Parke‐Bernet, which has 115 employes, and will keep the name of the gallery at 980

continued on page 32, Column 1

Eleven stockholders re­linquished their shares to the British house. Only one Ameri­can stockholder remains ­Richard Gimbel, a rare‐book collector and curator of aero­auttical1 literature at the Yale University Library. Mr. Gim­bel, a grandson of the found­er of the New York depart­ment store that bears the tami­ly name, was active in the man­agement of the store until 1935. ‐ Louis J. Marion, president of Parke‐Bernet, has been with the gallery and its predecessor companies for about 40 years. He will retain his post. Miss Vandergrift, executive vice president, and also long associated with the gallery, will retain her office.

Sotheby’s handed out hand­some bonuses to the top person­nel at Parke‐Bernet, but there is little jubilation there.

Jules Brassner was a controversial figure in the 60s and 70s New York art world. He paid Andy Warhol’s Factory to make a couple of portraits of him. He was also involved in a 1968 lawsuit over a severely under priced painting by Raphael.  And of course, he was photographed with Donald Trump.

About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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1 Response to Killer Tower Kills Art Dealer

  1. Reblogged this on Rosamond Press and commented:

    The Cal Barrel Company Tower was already famous before Associate Capital bought it. Visionaires are real people with real power. Want to see?

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