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Friday, June 14, 2013

Coromo In New York, parts 1707 - 1710





1707. Aldo of Corelli Contemporary knew as he read the article that for the next ten days to two weeks galleries would be black with collectors searching the lesser known galleries looking for the works of unknown outsiders to invest in, so he put the only thing he had out in his window on Tuesday morning, and raised the price to seven thousand rather than four hundred. Besides, his rent was due. His rent was ten thousand dollars a month, and he was short again that month by seven thousand.


1708. He had been short on his rent now for three consecutive months and had been forced to sell stock to cover his expenses but that had been June, July and August, the slowest months of the year when anyone with any money was not in the city.  Now it was September and he started the new season with twenty thousand in the bank, thanks to some Koromo, a person he knew nothing about.


1709. Still in storage were the three other Coromo’s and he wanted to raise their prices to ten thousand but there was no point because the Times article was forgotten, and now collectors were looking for “Seminal Abstractions of the Forties,” works from before the advent of the New York School. 





1710. How did those Coromo paintings find there way to Aldo Corelli’s gallery? That is a long convoluted story but here are the essential points. Those six paintings were purchased for ten dollars, you recall, by Tallulah, who then subsequently sent Coromo the UPS crate full of art supplies so that he could do more paintings for her. She did not follow up on her plans however, and never returned to Coromo’s resort.


Richard Britell

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