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Monday, June 17, 2013

Coromo In New York, parts 1719 - 1722

1719. Some day perhaps they will realize their mistake, cover it over with burnt umber and ultramarine blue, rub it down with turpentine and return it to its rightfully aged dignity.

1720. The framer cut the edges from the canvas and glued then down to some thick cardboard being careful to use cardboard from very old boxes. After that he put them on the floor of his shop leaning against a wall, put out like cheese for mice, where his usual framing clients might come across them by accident and discover them.

1721. Aldo was one of the framer’s clients, along with a great many other small galleries who engaged in the framing trade to their great consternation, out of necessity. The small galleries that engaged in the framing trade tried to keep it as hidden as possible, only going so far as to put up a few very expensive frame samples on the wall near the desk, as if by accident, and keeping all the other necessary materials hidden until they were needed.

1722. Aldo, and the other galleries that engaged in framing longed for the day when they could dispense with the framing traffic and devote their time and energies simply to the selling of art, but somehow that day never arrived.

Richard Britell

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