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INTERVIEW WITH LEO COSTELLI 5-5-5

out that a parttime person could not cope with the job. So it was Christine and David, and David didn't know where to turn,and would spend hours and hours here in the evening trying to catch up.And why we have so much work there. First of all, there is the registering, and then we are watching for the works that are all over the place. Not only paintings, but also prints and that's a fantastic amount of work. Things that come in, and keeping cards, keeping cards where they go, watching them etcetra. That's one thing. Then there's all the shipping problem. All the problems of the museums all over the world who organize shows, most of the time the whole burden of organizing those shows falls on our shoulders. For instance, take a big exhibition of Lichtenstein say, or Rauschenberg that occurred recently in the Amsterdam, [[strikethrough]] started in the state [[\strikethrough]]. You can't imagine what work that means. Because after all, Mr. DeWilde [[strikethrough]] r [[\strikethrough]] who is a very efficient and marvelous director there, [[strikethrough]] he, you  [[\strikethrough]] people don't know a lot about the fantastic work he does there in Europe, [[strikethrough]] he's [[\strikethrough]] His is the best museum in Europe, by the way. You probably know about him. It requires something like fif [[strikethrough]] e [[\strikethrough]] ty, sixty works of Rauschenberg or Lichtenstein. And meanwhile there is a lot of work, we have to furnish him with the names of the lenders and so on. If you think that the thing is then finished, you are vastly mistaken. Most of the people who [[strikethrough]] make [[\strikethrough]] get the requests, naturally phone us. It is sent our of hand, and then I try to convince them of the importance of the show. So that when we get the first reaction, which means that we have to phone ten, twenty people and tell them it is of great importance, and very good. [[strikethrough]] And then [[\strikethrough]] As a last resort, [[strikethrough]] we tell them [[\strikethrough]] Bob will write that he will be very angry, very sad if the paintings are not represented. And most of the time we get all of them. But what [[strikethrough]] that [[\strikethrough]] comes later with people who are hesitating, who do not even write to [[strikethrough]] the dealer [[\strikethrough]] DeWilde, or who want to ask questions, or ask should we do it, how long will it be away, or say we will do it only for Amsterdam, we don't want to do it for Cologne. Then we have to make all the decisions, write to DeWilde [[strikethrough]] r [[\strikethrough]], here is the situation, they don't want to go on to Cologne. Here is the situation, worry about it, see what can be done more, see if we must insist more, see if it can be made to go at least one place more, etcetera. Then the question [[strikethrough]] of [[\strikethrough]] we have to decide about the insurance rates. We get calls from all these people how much we have to insure for, even those that agree they automatically are called to ask about the insureance regulations. So putting on 
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