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And then came every-day reality. School was over, Tony became an academic sculptor, registered in the list of official artists, and had to look for a job. Unlike the other citizens of former socialist Czechoslovakia, who all had to have a job and be employed by someone, official artists had to look for their own jobs. This was the toll for having a stamp in the identity card and not being considered spongers; on the other hand, they got nothing for free - they got no money from the state and had to earn their own living under “market” conditions. The objects that Tony created as his pieces of art were rather large and, at first, were quite difficult to sell. Indeed, Tony describes himself with some exaggeration: “I’m like the character from Jára Cimrman plays, the Count von Zeppelin, who admits with a sigh that 'products coming out of his workshop are somewhat large … :-) '". Nonetheless, at that time Antonín Kašpar utilised everything that he had formerly learned – he began making large forged gates – they can be found in the passage next to the Rubín theatre in Prague’s Little Town and in the Museum of National History in Litoměřice. There he was mainly employed making gates and grates for excavated Celtic sites, which he says were intentionally hidden by the Communist regime from the public, because Slavs were the right nation to be at that time and that was where we had to find our origins. In short, Celts were not the right kettle of fish and similar finds were hidden under lock and key.
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