:21:00
Yes. Wait here just one moment.
:21:09
Dubuffet.
:21:11
de Kooning.
:21:13
Calder.
:21:14
How about that?
:21:17
Mr. Logan?
:21:22
Thanks for calling. I have a busy schedule.
:21:25
We'll be brief. This is Miss Kelly.
:21:26
- Pleasure.
- Magnificent gallery.
:21:29
Do you have any Picassos around here
at this present time?
:21:33
Yes. You're standing right in front of one.
:21:37
Right.
:21:38
Right. That's expensive?
:21:43
Value is a relative thing, is it not?
:21:46
Come. Let me show you around.
:21:55
Picasso is one of the true masters
of this century.
:21:58
Yet you traded a Picasso...
:21:59
for a Deardon,
which couldn't possibly be worth as much.
:22:02
That particular Deardon
was one of his last.
:22:04
A work of total confidence and maturity.
:22:09
Deardon was my discovery,
so I feel proprietary about his work.
:22:13
I pestered Forrester
to part with it for years.
:22:15
Frankly, I was thrilled
when he finally agreed.
:22:22
Let's set it on the stand.
:22:26
It's a Bertolini. Startling, isn't it?
:22:29
lt was his model for a larger version.
:22:32
I bet the price's equally startling.
:22:34
It's not for sale.
lt was given to me personally by the artist.
:22:37
lt has great sentimental value.
:22:38
If you don't mind me asking, what's
your relationship with Chelsea Deardon?
:22:42
Her father and I were very close.
I watched little Chelsea grow up.
:22:47
Mr. Logan, you're leaning.
:22:50
Sorry.
:22:52
Recently, Chelsea and I have lost touch.
:22:55
Her sensibility in art doesn't interest me.
:22:58
She's a performance artist.