Showing posts with label Cowboy Down. Show all posts
Showing posts with label Cowboy Down. Show all posts

Friday, October 17, 2014

Cowboy Down - A Conversation Between Two Professional Thrift Shoppers - Part Fifteen - "No Delusion No Confusion"


(This photograph shows a sign in front of a thrift store
The sign means “bag sale today”
A bag sale is a thrift shop sale practice of allowing the filling of a
Whole bag for a flat dollar price
Of, like,
Two bucks
Many thrift shop shoppers cannot read English
Hence the ‘brown bag’ sign as the sale symbol.)



Cowboy Down

A Conversation Between Two Professional Thrift Shoppers

Part Fifteen

"No Delusion No Confusion"



            “I...”
            “Or is it eye?”
            “Oh shut-up.”
            “What?”
            “We’ve given them enough.  It’s time to go.”
            “Given them what?  A confusion?  A delusion?”
            “Yes; those.  Almost a ‘follow us to your death’.  They can’t do this (buy antiques and art at thrift stores... for a living).  Tell them that and leave.”
            “Lunch?”
            “Not on me today, Sonny”.
            “Yes... but... it IS your feeding hour.  Are you getting testy from hunger?”
            “Look:  We’ve been more than generous here and by the time they get done the cognation of a design of an object and crisscrossing that with the design of other related objects... then have tossed in the true amount of their cash expended to, shall I say, ‘get there’ AND then turn toward the unexplained black hole of the antiquarian universe of SELLING their... well... thrift store found THING... it’s not happening.”
            “We knew that before we started.”
            “So we’ve reached the end.  Push them out of the plane and tell ‘em to send us a postcard if their parachute opens... in their BANK ACCOUNT.”
            “You want to go to lunch?”
            “That’s fair.  I suppose.”




            “Ok.  So.... they’re (the reader is) not going to be doing this.  We proved the why and we remind that WE will be doing this so... we are competition.”
            “At the least.  I think we’re actually stomping on their fingers whenever they hold on to something (an object found and thoughts of it being good are turned upon it by the finder).  Also... I don’t feel they easily understand how fast the process is for us.  Its very fast and its perpetual.  There is no hesitation.  We know and take the risks.   This is done very fast over a very broad field of design heritage.  We are not confused or have any delusion.  No confusion.  No delusion.






            “Now just to try to harness that for us to ride to the exit door, let’s just look at you and your lean and mean standards.”
            “What do you mean by that?”
            “You know; no ‘bag sales’.”
            “Oh.  Ok... more ‘shopper tips”.  But... you know... a lot of good they’ll do you if you don’t know what your looking at.”
            “So what.  They want to know.”
            “Ok... so.... no ‘bag sales’.”
            “Right.  That means we do NOT participate in ALL of the ALL SORTS OF... stupid... thrift store gimmick stuff that they do to, well... increase sales of the... well... thrift store crud.  We don’t stuff bag sale bags full of rack rot clothes and then stuff those bags into the rear of our hatchback.”
            “At the least.  That stuff includes tent sales, color of the day sales, stupid sales, closing for the season sales (spring, summer, fall, winter ‘stock’ changes), men’s sales, woman’s sneaker sales, back up your car we’re gonna stuff it full sales.  Hey:  Just say no.”
            “And we’re buying, like, ONE thing way over there that no one noticed.”
            “Yeah like an old Dutch Delft charger they thought was a WHO CARES WHAT THEY THOUGHT IT WAS; they screwed up on that one ha, ha.”
            “Right.  As we just said (part fourteen); it’s a dainty touch.  NOT FORCED.”
            “And that’s devastating.  Remember:  We LEAVE (do not buy) ‘real antiques’ all the time... because they are not good enough.  And they are GONE when we come back.  Someone else bought them.  Ha, ha and I mean that.”
            “Yeah sometimes I see ‘em later in some shop or at a show.  But sometime they’re ‘keepers’ (Part Thirteen).  Do we say ‘YIKES’?”
            “Sorry that sucked your money up.”
            “Yeah, so... ah... your little thrift store book.  Tell us about that.”




            “What’s to tell.  It’s my little black book of thrift stores.”
            “It lists thrift stores you go to.”
            “Right.  A lot of them have folded (gone out of business).
            “But... that’s, like... what... over thirty years.”
            “Oh yeah.”
            “And, like, at least seven states.”
            “I don’t look on it as states.  It’s ROUTES.  You know; Albany (NY) area.  Central Connecticut, the Bronx.  You know; hardball.”
            “The Bronx is hardball?”
            “No.  I never see anyone (she sees no dealers from New England) in the Bronx.  The ROUTE LISTS are hardball”.
            “Yeah.  Ok.  They ARE really cool.  Ah... they’re little slips of paper that have, well, a day of the week at the top and the list of the thrift stores on that route that are open that day.  So like... you can spot a whole days route where ever you are, in seconds.  And the shops are listed in order; driving order.  Right?”
“Right.  They’re my magic cards.”









“So we better say right here that the DRIVING is pretty skillful.  I mean... your not on the highway doing exit seven.  I mean... when your out in the North Bronx or lower Mount Vernon (Westchester County, NY)... I mean... your not using geo-locater crap.”
            “No, no.  It’s the big picture.  I know where I am, where I’m going, the neighborhoods, the parking, the no zones.  The real stuff.  Your not gonna do this driving on the highway.  The thrift stores are usually in odd, neglected and cheap locations.  They come and go too.  Except for church basements and the box store thrifts.  I don’t like those anyway (box store thrifts).  The churches I love.  It’s, like, always a MAZE of old goofy cement wall rooms they call a basement.  They usually have bathrooms to.  You know; clean ones.”
            “They get extra points for that.”
            “Especially on the clean.  Like:  They care.”
            “So you pick a card everyday depending on where you are.”
            “Right”.
            “What’s the biggest thing about any card?”
            “No one’s there.  There is no one else doing this.  They’re not there.  I mean maybe some NYC woman selling handbags on ebay or something.  But.  You know:  No Dutch Delft charger stuff.  Forget it”.




            “So most of the time your already over the bridge and AT grandmother’s house.”
            “Right.  Some places its all Spanish.  Black.  Whatever.  No Whites.  Like... Lawrence (Mass.) is all Porto Rican.  It’s really interesting.  Then an hour later it’s only the neatest, tidiest, most carefully folded church basement thrift I’ve ever been in.”
            “And no one bothers you.”
            Never:  No one ever.  They think I’m some old white lady.  I mean; I don’t speak Spanish.  I don’t need to.  And I’m gone in fifteen minutes.  So, like, you know; below radar.  Whatever.”
            “And lunch”
            “And a real hotel at night.”
            “And the girls with you?”
            “Most of the time.  And they say stuff like ‘we should video this’.  I’m like ‘shut-up and don’t take your damn camera out I’ll smash it’.”
            “Welcome to the other world America.”
            “New England.  This is mostly the Northeast.  They (these thrift stores) get old stuff”.
            “What’s better:  The art or the thrift stores where you find the art.”





            “Oh please.  The thrift stores are way better.  They just soaking and dripping humanity.   It’s American humanity too.  I mean:  You want to see the melting pot for real.  GO THERE.  And I mean the REAL... THERE thrift stores.  The whole damn AREA doesn’t speak English and your parked down the street.  It beautiful really.  But don’t take a picture of it and be an asshole.  REMEMBER IT; what happens, what you see, what you hear; the BIG picture.  This is where I’m a ‘not-ever’ except for me going to these thrift stores.  And then ok; I buy something great for a buck too.  They don’t care.  No one has any interest in me or what I buy.  To them, this is a world and I’m not there.  But me, myself; I’m REALLY there.  I don’t miss anything.  I want to see it all; feel it all.  That’s what this is about for me.  The most.  No one else is gonna be there. You know; competition.  You have to know too much.  This one (the thrift stores)... they can’t spoil it.  They can’t even find it.”
            “Who's they?”
            “You know who ‘they’ is.”

The End











Tuesday, October 14, 2014

Cowboy Down - A Conversation Between Two Professional Thrift Shoppers - Part Fourteen - "How Cheap It Is"


Cowboy Down

A Conversation Between Two Professional Thrift Shoppers

Part Fourteen

"How Cheap It Is"



            “It’s time now... for you to go back to the plates; the pie plate and... well... what do I call it... its surrounding plates?  Is that it?”
            “Well...the OTHER plates, at least.  The OTHER plates that relate to that pie plate that could as well have been sitting TOO... right next to the Rouen Delft charger (Part 12 [B])... in the thrift store china isle.  Ha, ha.  This... is it a feature of antiques (and art)... for an object to spin away from a single object’s design merit by bringing the design of other related objects into play?”
            “It’s a feature.  One object relating to other objects... by design... and those objects having merit too.  Some having more merit.  Some having less.  Identification and perception of design heritage must be applied and that’s with the understanding that we (she speaking and I), for the most part, automatically apply design relations to one object with other objects right when we find the object.  You (referring the conversation recorder I) just didn’t mention it.”
            “I said I was going to bring in more plates (Part 12 [C]).”
“Yeah but then you went off on the risk tangent (Parts Twelve [A-D]).  I know that’s important to this too.  Funny how cash valuation is affected by the reach of design beyond a single object; by its, sort of, ‘fellow travelers’.”
            “Well... this does affect an object’s value and, too, its marketplace status.”
            “What’s that.”
            “It means, beyond cash value, how an object fits into the antiques or art marketplace.  It’s place beyond cash:  The who sells it to who for how much and why.  That includes an object... not being able to be... sold at all.  That; this last, is very prevalent in the marketplace but very few follow it.  We have to.”






            “Absolutely have to.  We have to know exactly where and how one object’s design relates to it’s ...related... object’s design.  And how that affects it in the marketplace.”
            “It’s nasty.  But for most people, they never notice the influence.  That’s because either they don’t have the object or ...they don’t understand (the design relation of an object they have to) the other objects, related by their design, to their object.  And how it affects their object in the marketplace including the cash value and even as to if that object can be sold at all.”
            “This all takes place for us in seconds and we don’t even dwell on it.  Right?”
            “Right.  It’s the biggest qualifier of the ‘getting top dollar’.  Your not going to get it.  We’re not going to get it.  We don’t even try.  Why?  Well... we just told everyone that what WE find in thrift stores, although ‘good’ and ‘valuable’, is not actually that GOOD (Part 12 [D]).  So... it will not sell for ‘a real lot’.  NOW we’re coming back to qualify that by saying that PAST our initial design identification of the object, we also surround that object with design considerations from other related design objects.  That is... we are applying a THIRD factor to our single thrift shop find here being the Rouen Delft charger that was used as a pie plate.  First we apply design identification, then we apply the marketplace understanding that it (any object we find in a thrift store) ISN’T that good and NOW we are applying design again.  This time it’s the design of the other objects related to our find by THEIR design.  Once we do that, we have a further marketplace (cash) valuation... and that we have... mentioned... may include that object... being unable to be sold for ANY cash value in the market place.”
            “WHAT?  Ha, ha.  NOW you find out that after doing all this hunting for antiques and art in thrift shops that after you do all that and find something you think (feel) is ‘good’ and can prove it... you cannot sell it?  Yeah:  That’s it.”





            “That’s it alright.  I’m gonna notice some companion plates to the design of this find (the Rouen charger)... and it’s marketplace value.  Starting with the Rouen French Delft charger that was used as a pie plate, I first, in my mind’s design-I-know eye... compare that to old 18th century ‘Delft’:  English, Dutch, other (Belgian), French, Southern European... Mediterranean, Spanish... and... I know that English is best (by design standards and market value) with the others following in order.  The Rouen charger is ‘way down’ on the ‘good design’ scale.  I’m not going to explain that.



(Dutch)


            “You know what:  I AM gonna take a dig here.  English is better than Dutch. The market supports that. Why?  Because English Delft decoration is... I choose this word... ‘dainty’ compared to Dutch.  Dutch Delft decoration tends to ...feel... ‘forced’.  My word again.  It is, when first observed, very subtle.  The design eye, educated, turns this ‘subtle’ into ‘severe’ once... studied.  What is the dig?  This same dainty – forced ratio is found... in old New England... home... interiors.  Dainty is old New England.  Forced is when ‘they’ ‘try’ to ...old New England... their interior.  The educated eye... cannot miss this... faux pas of New England home decoration.  Decoration of the home in old New England must have a VERY dainty hand... following the same dainty school of English Delft decoration versus the ‘forced’ ‘Dutch’.  And... this is noticed ‘beneath the clutter’.  This last is a signiture... upon... the dainty interiors.  This is not learned overnight but when it is learned... it is severe... to the eye... when discerned.  What’s the marketplace (cash value) on THIS?  Old New England is not... and cannot be... bought at a store.  Decorating an old New England home is... ‘I can’t buy it’.  One 'collects' it.  A lot of people try... to do this (buy it)... and it ‘looks wrong’ because it is ‘forced’.  This may not seem like much of a dig... but it’s a real stinger,  As I said relative to the third issue of the thrift store finds... it, too, is ‘very few follow it’ and ‘nasty’.”





            “Ok enough of that.  Back to the plates, Toto.  They don’t want to hear about how much their home décor sucks.  But that’s easy to avoid:  Never let an art professional in your home.  That way the card will never be turned over and no one will ever know. Ha, ha.”





            “Ok:  Plates.  Next, after Delft, we have the old New England true slip decorated and clear lead glazed ‘redware’ ‘pie plate’.  This is the classic New England pie plate.  ‘Late,’ it first appeared as a design form after 1760 although apple pie was a table staple by then.  Most New England pie plates were made in Connecticut.  While that was taking place, Delft as table china was ‘disappearing’ due to English Staffordshire type earthenware (design) innovation.  Unable to adopt those innovations, the French ‘improved’ the decoration of their ‘Delft’ by, simply, taking more time to decorate ‘more carefully’.  The Rouen basket of flowers logo continues but is on a ‘prettier’ plate.  This does not compete well and ...slowly... disappears as a design form as the French ‘copy’ the English earthenware - transferware.  But... the French ‘Rouen’ flower basket design becomes an iconic design classic... still found in thrift shop china isles as ‘new’ plates to this day.  That is... it (this design logo) is on... NEW china.  Too.  Meanwhile, the ‘Pie Plate’ as a design form becomes imbedded in New England and... can be found in... very... many design traditions... most commonly understood as ‘old’ ‘pie’ (cooking) ‘tin’.
            “Yikes.  What’s the dollar value on those?”
            “An old tin pie plate?  Well... they do sell.  And:  People still use them (old pie tins).
            “Do you sell them?”
            “Of course.”
            “Do you buy them?”
            “No.  Those I ‘get’.  And I know the difference between ‘buy’ and ‘get’.”
            “So do I.  THAT is a marketplace just by itself.”





            “So what does all this mean to the ...old French Delft charger... in the junk china isle of the local thrift store?  Huh?  What?  Well... it means that in terms of the ...antiquarian marketplace dollar-to-spend...  that old charger has competition ‘in the market’.  OTHER design, including ‘signiture’ or near ‘logo’ design types DIRECTLY compete for the same... ‘turn that thrift store find into cash’ dollar.  Dollars... interest, decorative values... the ‘I like it’ factor... often headed off by the ‘I DON’T like it’ factor on to ‘stupid’, ‘ignorant’, ‘don’t know’ on to... on to... on to the privileged echelon of ‘I know but who cares?” continuing to the THRONE seat of ‘NO ONE CARES!’... with their wallet about... my ‘God damn stupid old busted 18th century charger-pie plate even if it is pictured TWICE by historic Deerfield'... AND has ‘fragments’ dug up in an old outhouse.”
            “That means what?  They (a buyer) would rather have a ‘new one’?”











            “No... it means that the actual cash value I can ‘get’ ‘now’ for a thrift shop find, of any sort, IS affected by this second realm of design criteria combining with the ‘not that good’ feature to... slow... the ACTIVE buyers down by including the ‘depends on how cheap the price is’.  I ...and you too (She)... constantly sell ‘below market’ on virtually all of our finds simply to ...actually sell it.”
            “Constantly.  The only price I give.  It has to be ‘cheap’... unless it is ‘actually good’.”
            “What’s an actually good?”
            “Here... it would be a true English polychrome (color) charger... ‘perfect’.  That’s the only thing these days that I can push (put a high dollar price).  Even great Dutch polychrome Delft ‘falls back’ in the market.  I can’t push it.  They (the collector)... for their dollar will ‘wait’ for ‘English’.  EVEN IF THEY WILL NEVER FIND IT they ‘will wait’.  It’s as simple as that.  But... if you show the books around on that Rouen charger and... AND... give a ‘Huh... that’s not so bad’ price... it sells.  Right?”
            “Right.  Are we cheap (antiquarian) whores.”
            “I think so.  But... WE get to FIND the stuff... and that’s a gas.”









Friday, October 10, 2014

Cowboy Down - A Conversation Between Two Professional Thrift Shoppers - Part Thirteen - "Tiffany"


Cowboy  Down

A Conversation Between Two Professional Thrift Shoppers

Part Thirteen

"Tiffany"




            “They (the reader) don’t want the truth.  I’ll say that.  Prove me wrong.  What they want is what we actually do;  make the big hit; buy it CHEAP and get it out of there.  When we do this we know what it (the object) is... in more ways than one.  Then we sell it.  We get the money (profit).  THEN we’re back there (at the thrift stores) doing it again.  In fact, on that, we already told them (Part Nine) we’re back SECONDS after finding that big hit looking for the next one.  That’s what they think this is; hit after hit.  WELL... you know what:  THAT IS what it is.  PUT THAT in your pipe and smoke it.  Ha, ha.  But... BEHIND THAT is the logistics of doing this.  We told you a lot of that (Part Twelve [A-D]).  But... I’m your competition and I’m in there (the thrift stores) going for gold.  Your not gonna beat me and what I know.”
            “So your the little old lady they don’t, like, notice.  Or know about.  So they leave you alone.”
            “Exactly.  Who’s ‘they’?”
            “The ones with the blindfolds on swinging at the piñata (Part Twelve [D]).”
            “Exactly.  Your ‘go figure’.  And they never do.  So what happens to you next?  And what happens with them.”
            “Well... they, ah... well... come around sort of.  You know:  It takes a while.  But they ‘go figure’; you know... the way THEY figure this... so figure... after a while...  I might be someone.  You know:  They find out I’m not there for Halloween:  ‘TRICK OR TREAT!’  Right?  It’s funny.”




            “And so all the while your just going along pulling the good stuff (best antique and art discoveries) right in front of them.”
            “Yeah.  That’s the starting point.  You know... I’m getting PAID to watch them do this (shop at thrift stores).  I mean... I figure my time and costs and one of those is WATCHING THEM.  Screw up.  I mean really.  That’s part of what I do.  I HAVE to do it really.  Just to stay on top of it (the thrift store marketplace).  You know:  Maybe Mr. Genius is gonna show up some morning.  I mean YOU did.  It was like ‘HOLY SHIT’.  After I saw you like... two times.  You know what I mean.”
            “Oh yeah.  But most of it’s like... not that.”
            “Right.”
            “So what’s a normal one.”
            “Well, like Tiffany.”
            “Oh... ok so like... I’ll explain.  Even that (the ‘explain’) is ‘over the top’.  For them (the reader).  But ah...:  It is real (a real scenario).  Soooo... her ‘Tiffany’ is a name she made up for this guy; what is he?”
            “Like an electrician or something.”
            “So... he’s MALE and has a real job and, well... goes to the thrift stores and, well he BUYS what he collects and anything else his, ah... DEEP design background (read: what ‘art’ he sees on ebay and his cell phone), well... ‘speaks to him’.  But, you know, it’s MOSTLY old pottery; STONEWARE, redware.  MAINE (made antique) stoneware, redware.  He keeps that (‘collects’).  All of it.  FOR YEARS.  Like... we’re talking twenty-five years here.  He’s been around.”
            “In my face.”
            “In your face.”
            “Your face too.”




            “Yep.... Soooo... the routine is he finds something HE thinks is good and since that is POTTERY; antique New England ceramics, that’s a... like... what YOU (her and I) are looking for too... but, ah... NOT the full spread... just the HIS spread (the antique New England ceramics he (1) likes, (2) ‘knows about’ and (3) likes... again).  So, like, that means that back there with the Rouen pie plate and the Delft table salt (Parts Twelve [A&B])... he ain’t around.”
            “Never know it; wouldn’t have a clue.”
            “So his in your face is regular old New England pottery no brainers.”
            “Right.  Pretty much all ‘HOPE IT’S NOT A GOOD ONE’.”
            “What’s that mean; explain it to ‘em”.
            “It means that he finds stuff but... when he shows it to me... I... before seeing it... ‘HOPE IT’S NOT A GOOD ONE’; a true good or great specimen of old New England ceramics.”
            “And he wouldn’t know.... a good one.”
            “Well... he’d know a good one.  I guess.  He wouldn’t know a GREAT one.  That’s it really.  I just hope he hasn’t found a total knock out.  He never has.  That I’ve seen.  I think I’d have seen it too.  You know; he’s that confident about whacking on me.”
            “You love him.”
            “I love him.  That’s it.”




            “So... what we are actually talking about is that he IS out there and IS finding stuff that... he shows you to, well, ‘pick you brain’.
            “Yeah.  First he tells me about it.  Like how he bought this whatever for like four bucks.  Then he tries to say what it is but can’t describe it.  So, like, I start to hallucinate that he’s found a great thing and, well, then he shows it to me and then I’m ‘it sucks thank you Jesus’.
            “And that’s been going on for a quarter of a century.”
            “Right.”
            “He’s never sold you anything.  Never offered to sell you anything.”
            “Right.”
            “And he’s never pulled a brass ring on you (showed her a fabulous specimen that he found).”
            “No.”
            “No pee in the pants.”
            “No.  He’s come close.  But.  It always falls back (doesn’t make it to being ‘GREAT’ ‘ART’).
            “That’s a relief.”
            “That’s a relief.”
            “But he’s there; always around.”
            “Right.”
            “So.... and I know where you want me to go with this but before that... in another way... you just trashed him.”
            “He trashed himself.”
            “Well... you cooked him.”
            “Right.”
            “So... what happened is one day he showed up and actually hunted you down and what?”




            “He reaches to his pocket and pulls out, like, eighty photographs of all of his stuff (his collection of early New England pottery).  He tells me he wants to sell this stuff and hands the photographs to me.  And they’re (the photographs) pictures of, like, everything he’s found and shown me for the twenty-five years.  And I’m like WHAT.  But I don’t move.  And I, like, just flip through the photos REAL quick.  And hand ‘em back.  Real quick.  And then HE’S like ‘WHAT’.  And then he says ‘Do you want to buy any of that (the pottery in the photographs).  And I go ‘No.”.  And that was it.  Like... for twenty-five years and I just put his cigarette out.  He smokes you know.”
            “Must have blown his mind.”
            “It took a long time.  But I got him.”
            “What do think he’s gonna do (with his pottery collection)?”
            “Try to sell it.”
            “Do you know how?”
            “He doesn’t know what he’s doing.”
            “Doing?”
            “With that (selling).  I mean.  He just thinks that we BUY IT.  Ha, ha.  Huh?”
            “That’ll be the end of him?”
            “Oh I think he’ll still poke around but, ah... well... he’s confused now.”




            “So... you call him Tiffany.  That’s, like, a dig.  But ah... not like people would think you mean.  I’ll explain it.  To YOU (the reader).  To us... Tiffany (the jewelry firm and name) is NOT top shelf.  But to many price buyers... and that’s what we’re talking about here; a price buyer is someone who only buys antiques and art if it’s, to them, CHEAP and... THEY think it’s “GOOD”... so, like, ‘Tiffany’ is ‘GOOD’.   But WE know... Tiffany is actually low rent; ‘mall gold’ (mass marketed consumer marketed name branded trashy jewelry).  If they (‘customer’) buy gold.  Usually it’s (they buy) BUY SILVER.  Anyway; it (this expression usage of the word ‘Tiffany’) becomes a whole I-know-what’s-good thing;  a plateau of understanding art for, like... guys (and women too) like this:  Buy it cheap and tell yourself it’s GOOD.  That’s not what it’s about.  It’s not what were talking about here.  It’s not what ‘Tiffany’ is about IN BOTH MEANINGS here.  What does that mean?  It means that’s why we SELL all the stuff we find in thrift stores.  Right away.  The stuff isn’t that good.”
            “Is that a surprise ending?”
            “I don’t think we’re done yet.”
            “Yeah but you just told them that even the good stuff is crap.”
            “I did, didn’t I.”
            “Is it?”




            “IS IT?  Of course it is.  IT’S COMES FROM A THRIFT SHOP.  We’re not on Madison Avenue (NYC ‘upper Madison’ antiques and art galleries).”
            “Right; we don’t find great art and antiques in thrift stores.  GREAT art and antiques are actually RARE... in addition to being great art or antiques.  So, logically, we don’t find them, in thrift stores.  One COULD find something sometime that is maybe an almost there towards a that of be a ‘great’ but, ah... don’t bet on it.  And what we just said is that our competition IS believers that, especially what THEY find, is ‘great’.  Even though it’s a ‘price buy’...only.  And WE sell that stuff; get the profit in hand.”
            “Does that touch some nerves?”
            “Most of the time no one knows what we are talking about.  They are just like ‘Tiffany’ in... again... BOTH meanings.”
            “We are all get in (buy) and get out (sell).  That’s what (antiques and art) ‘pickers’ DO.  The thrift store is just... ‘A’ ... setting.  Now... you’ve got to go back to the (Rouen) pie plate.  And show them.  Just because you bought that and ‘prove’ that it’s ‘good’ doesn’t mean we KEEP IT.  And, in fact, there’s MORE to that plate that makes it SURE that we won’t keep it.  And what is that?  WE JUST TOLD YOU:  The plate is not that good.  AND there are better plates and worse plates... for Tiffany to KEEP.  Forever.  Because he bought it cheap.”
            “It’s stupid”.
            “But it’s very real.  This is what we see the most of from our competition; ‘KEEPERS’ that they think are ‘GREAT’.
            “Then twenty-five years later they suddenly want to sell it (a ‘KEEPER’).
            “They’re very shrewd and understand the (antiques and art) market very well.”