Treasure of billions of ‘secret’ value in Tehran

One of the world’s rarest treasury troves has doubled, but several people outside the country know their information about it.

For decades, Prince Picasso, Vincent Van Gogh, Andy Warhol and Jackhol and Jechol Pollocku, in the basement of the Iranian capital in Tehran, was detained in a shroud.

According to the estimates of 2018, the collection is worth Up to $ 3 billion.

Since the Iranian Revolution, 1979, only a small part of the case was exhibited, but in recent years, Tehran has demonstrated the most attractive parts of the Museum of Modern Art.

In October 2024, Tehran was extended twice due to the eye exhibition at the Museum of Modern Art, and the state demand lasted until January 2025.

The screen was widely accepted as one of the most important exhibitions in the history of the museum, and it was also visited.

The showcase first introduced more than 15 works by Jean Dubuffet, including a sculpture – to celebrate the first appearance in the Iranian exhibition.

Abstract serves as a collection in the museum, as a collection of museums, as a capsule of the museum.

Among the works of art, Warhol’s Farah has a portrait of Farah – the last queen of Iran – a rare piece that confuses Pop art with Iranian cultural history.

In another place, Francis shows two naked men that lie in a two-digit bed called two digits, which extended in bed with Baco’s employees.

The opposite wall in the museum’s basement is a portrait of the founder of the Islamic Republic of Iran Ayatollah Ruhollah Khomeini, is shown in a pitrait.

The museum was built in 1977 under the auspices of the exiled widest of Iran’s last half-of-fear of the revolution.

Pahlavi, a passionate artist and his cousin, the son of Architect Kamran, prepared the museum.

It was established to introduce modern art to Iran and further expansion of Iran, near the international art stage.

Soon the museum soon became a surprising number of workers, including the leading modernists of Iranian modernists, and established himself as a cultural exchange and a yeast of artistic ambition.

But then the 1979 revolution came. Iran, Monarchy overthrown and the clergy became the Islamic Republic for receiving political control under Ayatollah Khomeini.

Many artwork was not suitable for the public screen due to nudity, religious sensitivity or political influence.

Pierre-Auguste, Open Blouse and Renoir’s Gabrielle was considered very scandalous. And the portrait of the Iranian queen of warhol was very political. In fact, Pahlavi’s portrait was broken down and torn with a knife during a revolutionary confusion.

After the revolution, most of the art works were locked and locked in the basement, which is the legend of the art world.

This was not only the museum in the late 1990s during the reformist presidency of Muhammad Khatami.

Suddenly the world remembered the missing. The art lovers could not believe their eyes. Van gogh, dali, even monet – all in Tehran.

Some parts were lend to major exhibitions in Europe and the United States, briefly re-combined the collection with a global art world.

An art historian in London, Hamid Keshmirshekan, explored the collection and called “one of the most modern art treasure troves from the West.”

Henry’s Ruore’s Recli’nin Reclikting Facies series is an example of Jackson Pollock’s, a live example of American painting techniques with the Energy and Emotion.

Picasson’s artist and his model – the largest canvas in 1927, as well as the largest canvas, as well as a strong example of abstract work, cubic meters of cubic meters.

And there is Van Gogh at the door of eternity – the first Princating campaign prepared by six lithers in November 1882 is very rarely survival.

However, the collection for art lovers in the UK is unavailable. The British Ministry of Foreign Affairs recommends Iran against all travels and has a risk of arrest, survey or arrest of British and British-Iranian citizens, investigation or arrest.

An English passport or connection to the UK can be enough to be arrested by the Iranian authorities.

The challenges remain for a museum working under a tight budget. It means to change political priorities, often operating as a cultural center than a traditional museum.

Again, it continues to be a remarkable body – a guardian that is not possible in the heart of Tehran.