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Updated: June 18, 2025
Small over to see Potash & Perlmutter's line first. But now it was too late, Morris reflected, for Mr. Small had visited Klinger & Klein's establishment and had no doubt given the order. "Say, my friends," Frank Walsh cried, poking his head in the door, "far from me to be buttin' in, but whenever you're ready for lunch just let me know." Mr. Small jumped to his feet.
Why don't we invest in a crackerjack, A-number-one salesman?" "I ain't stopping you, Abe," Morris replied. "Why don't we? Klinger & Klein has a good boy, Alec Goldwasser. He done a big trade for 'em, Abe, and they don't pay him much, neither." "Alec Goldwasser!" Abe cried. "I'm surprised to hear you, Mawruss, you should talk that way. We paid Alec Goldwasser enough already, Mawruss.
Klinger commented, employing the vernacular equivalent for the English word "bride." "In a way," Gurin said evasively; "aber the Khosan I don't know at all." Thus did Gurin imply that he was not acquainted with the future bridegroom, and Klinger volunteered the information that Asimof ran a dry-goods store in Dotyville, Pennsylvania.
Five minutes later he visited the business premises of Kleiman & Elenbogen, impelled thereto by a process of reasoning which involved the following points: Klinger & Klein manufactured a medium-price line and so did Kleiman & Elenbogen.
I seen Sol Klinger in the subway this morning, and he says that last Saturday morning already James Burke was in their place and picked out enough goods to stock the biggest suit department in the country. Sol says Burke went to Philadelphia yesterday to meet Sidney Small, the president of the concern, and they're coming over to Klinger & Klein's this morning and close the deal."
"I hear it from Sol Klinger that before Rashkin busted up in the waist business he used to make up a garment called the Royal Piccadilly." "Is that so?" Morris commented. "I never heard he busted up in the waist business, Abe. Why couldn't he make a go of it, Abe?" "Well, Mawruss, it was the same trouble with him like with some other people, I know," Abe replied significantly.
Simultaneously, a young man in the back of the room exclaimed aloud in woeful profanity. "What's the matter with him?" Abe asked. "They play 'em both ways a-hem!" Fiedler corrected himself in time. "Occasionally we have a customer who sells short of the market, and then, of course, if the market goes up he gets stung er he sustains a loss." Here the door opened and Sol Klinger entered.
That feller done a tremendous business last spring, Mawruss, and this season everybody is falling over themselves to sell him goods." "Looky here, Abe," Morris broke in, "you think the feller ain't a crook, and you're entitled to think all you want to, Abe, but I seen it Sol Klinger yesterday, and what d'ye think he told me?"
The sculptor is a formidable bore, the antique raisonneur of French drama, preaching at every pore every chance he has. The actor who played him, Hans Marr, made up as a mixture of Lenbach the painter when he was about forty-five and the painter, etcher, and sculptor, Max Klinger. The violinist was Lina Lossen, and excellent in the part.
Between 1770 and 1780, Lenz and Maler Müller composed, the former his "Hoellenrichter," the latter his dramatized Life of Dr. Faustus. Schreiber, Soden, Klinger, Schink, followed them, the last-named with several productions referring to the subject.
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