I’m sort of a sensitive person (attention: understatement). I cherish the evanescence of beauty – the fragility of a wildflower or the shimmering high note of an aria. I cry easily at happy things and sad things and beautiful things and memorable things. There have been very few moments in my life, however, which have combined all of these things. This post is about one of those moments.
One of my very favorite (living) artists is Royo, the master Spanish Impressionist. I had collected several of his serigraphs, but was longing to own an original. One day the owner of the gallery where I worked came in with two sketches under his arm, then set them against the far wall. I identified them immediately as Royo original sketches (despite the fact that we carried 40 artists and I was ten feet away) and actually -vaulted- over the massive wooden desk and snatched it up in my hot little hands.
“What is this??” I asked. Actually, I’m pretty sure I screeched.
“New sketches from Royo. They just sent them over from Spain,” he said, “Nice, aren’t they?”
|Al Aire (In the Air), Royo, Original Colored Pencil on Paper|
“Nice”, dear reader, did not even begin to describe the sketch in my hands. I was devastatingly heels-over-head besotted with this gorgeously nuanced sketch done in colored pencils. Only Royo could do such a magnificent scribbling on brown paper and make it look half-Da Vinci. My throat was mostly closed-up at this point, but I managed to croak, “How much?” He named the price and I ruefully hooked the sketch on the wall and stepped away.
I spent the rest of the day casting furtive glances at “my sketch”, as I now considered it. Cleverly, I had positioned it behind a door, so almost none of the foot traffic coming into the gallery could see it, unless the door was closed. When someone did pause to look at it, I hurriedly called their attention elsewhere – to a landscape, a floral, anything to prevent them from glomming on to “my sketch” and realizing they could acquire a Royo original for less than $2,000. Royo’s oils started at $9,750, to give you a sense of the futility of my task.
I made it through the better part of the day and even managed to leave the gallery for a few minutes and head to one of our other locations. When I stepped back in the door, my gallery director said, “Oh, your sketch sold.” My heart plummeted through my pancreas and I stopped dead. It turned out that it was the -other- sketch that sold, but that was all it took.
I practically tackled the owner when he re-entered the building: “I’m buying that sketch.”
He laughed, until he realized I wasn’t joking, “You can’t.” He then explained that new works had a 30 day hold on them before they were available for employee purchase. This was a bogus rule, as I knew I was the first employee threatening to buy an original off the floor.
I didn’t have 30 days. In fact, I knew I likely didn’t have 30 hours. All of my coworkers were merrily emailing the new bargain originals off to their client list. Royo sketches are both rare and in demand, due to their affordability.
So I stormed, I cried, I threatened and charmed and, in the end, I think I just wore him down. I ended up paying wall price, of course, but it felt like the best money I’d spent. Al Aire was mine. The title means In the Air and that’s pretty much where I existed. My little heels weren’t touching the ground, my head was sky-high and I floated about, probably annoying everyone in my vicinity.
Fast forward to the Royo show.
Royo was coming to our gallery. I was going to see him and meet him and maybe, if I was lucky, speak to him. I was in the throes of a giant art-history nerd crush. I felt like I was meeting John William Waterhouse or W.A. Bouguereau.
When Royo entered, he was the personification of the charming, small-boned Spanish gentleman. His charisma was unmistakable. His voice was soft, but everyone hushed when he spoke. He kissed my hand when he met me and I’m pretty sure I tilted.
I wasn’t able to approach him about my sketch until the next day. I was deeply nervous and had over-prepared. I had typed my request in Spanish, because I didn’t trust my nerves or pronunciation. It read like this:
Estimado Señor, estaría muy honrado si podría firmar mi esbozo “Al Aire”. Ella es muy hermosa y me gustaría saber nada que me puede decir acerca de ella. Esta es mi primera original y la quiero mucho. Sinceramente, Anna
Which means, roughly:
Dear sir, I would be very honored if you would sign my sketch, “Al Aire”. She is very beautiful and I would like to know anything you can tell me about her. This is my first original and I love her very much. Sincerely, Anna
I’m fairly certain that the sheet of paper was damp with palm sweat by the time I was able to hand it to him. He read it and smiled a half-pleased smile. He picked up the sketch and looked at her, made a small noise of recognition, almost an “Ah”. He spoke rapidly in Spanish to his translator, “He remembers this, he says. It is Maria, you know.” Maria is Royo’s daughter’s best friend and one of his favorite subjects, “It was effortless, he says, she is very free.” We then posed for this picture.
|Royo, Anna, and Al Aire|
He dedicated the back to me with several florid strokes of the marker. When he handed it to me, I was somewhere between bliss and dismay that I was tearing up. A lot. He smiled at me again and gave me a hug. Royo hugged me; that’s something to tell the grandkids, like “Oh, yeah, I bumped elbows with Monet.”
I walked back to the front desk and set the sketch against the wall, working to regain a modicum of composure. My friend and coworker Leslie had the camera in her hands. She impulsively lifted it and snapped off a candid shot. I demurred, “Oh, don’t take a picture; I look a mess.”
She lowered the camera and told me earnestly, “You want a picture of this. You only feel this way a very few moments in life.”
And she was right.
|A “Very Few” Moment|