I mean, I found a conflict the other night at the collections committee advisory meeting at Worcester. So there came moments when I would be flush with cash because I did something, you know, reasonably successful, and then I would take all that money and go just sink it faster than, you knowprudently, but I would sink it. So I'm sure that somewhere they've usedyou know, time goes by, and they use your name. You have to understand, I think, that at the core it's about the object for me; it's about theit's about the artwork. You really want something; you offer someone five percent commission, and your costs are 10, you know, and that happens regularly in historic art. The following oral history transcript is the result of a recorded interview with Clifford Schorer on June 6 and 7, 2018. But what I picked up, obviously, had an impact. CLIFFORD SCHORER: Hugh Brigstocke. So I went to the booth, and I talked to them about the Procaccini, and they didn't know who I was, and I basically wanted to keep it that way. [Affirmative.] It was a Saint Sebastian. And, you know, we were talking yesterday about the Museum of Science. And that risk is that that day, that buyer is not in the room. ", I mean, one experience like that was seeing Ribera in the Capodimonte when the room where the Ribera was was closed, and so I had to negotiate with this very large Italian woman who was blocking the entrance to the room to say, "Look, I came to see that painting." Jon Landau I certainly know more. CLIFFORD SCHORER: Give up all my business interests and retire to sort of a conversational job where I sat in a shop, and I played shopkeeper, and people came in and looked at my furniture and told me how overpriced it was. It was justmy grandfather would look at something and understand intrinsically what it needed to do, and what the tolerances needed to be. It's fascinating to me to see the roots of sea travel that were established by that point to move these goods around at incredibly low cost. I mean, my favorite type of symposia end with, you know, almost fisticuffs between scholars about attribution. It was a long process of, you know, installing and reinstalling, and eventually it became a show house of 120 Old Master paintings, and you know, all theit's sort of the progression of my collecting from beginning to end. They wanted to put the screaming woman in the colon or something. Someone who was the inheritor of this property was in the room as well at the back of the room. Winslow Homer (February 24, 1836 - September 29, 1910) was an American landscape painter and illustrator, best known for his marine subjects. CLIFFORD SCHORER: I was interested in history primarily, if I had my druthers. CLIFFORD SCHORER: They werethey had the English family connections to allow them to continue to trade when others were forced to do business with people that were, shall we say, less than scrupulous, and so that was a lucky break in a sense. And we'll get back to him, too. It's obviously spelled in a different alphabet. But I wouldn't have purchased the ongoing operation of the business. Or. You know, it's always a problem. JUDITH RICHARDS: [Laughs.] Clifford Schorer Adjunct Professor; The Eugene Lang Entrepreneurship Center at Columbia Business School. Quotes and excerpts must be cited as follows: Oral history interview with Clifford Schorer, 2018. I went to Thessalonica; I got in a rental car. CLIFFORD SCHORER: I think they have more problems now that they have more visitors, because the doors are opening and closing more, and more people means more humidity from the people. JUDITH RICHARDS: [Laughs.] [Laughs.]. Then I went back off to high school. $14. CLIFFORD SCHORER: So, I have had some issues because, obviously, living in Boston, New England, you have the humidity problems, and I had a lot of paintings on panel. So [00:30:04]. I mean, I would certainly still be able to collect, and probably more successfully, because I would be focused like a laser beam on sort of one thing, you know, one idea. Yeah, about a year. JUDITH RICHARDS: What year would that be? Again, an opportunity. CLIFFORD SCHORER: Early 20th-century British and Continental. When Clifford Schorer was told about a Drer drawing, he didn't believe it because so few exist. JUDITH RICHARDS: So they were very strict with provenance restrictions. You talked about improving the collection; are you continually culling and, as you buy better examples, selling lesser examples? And then I realized, you know, I'd read the name Worcester Art Museum, like, here and there, and I've always logged it in the back of my mind like, Oh, this must be some old collection from New England that, you know, has a few good things. JUDITH RICHARDS: Had you had a chance to go to Europe by that time? And Cliff, my father, is the same name as myself, as is my grandfather. And now I think there's a very good process in place. But certainly, it'sthere are some artists who, in a combination of craft and conception or conceit, jump off the page at me, and I say, This is an artist I want to own. CLIFFORD SCHORER: Yeah. No, it was a Saint Frances being comforted by the angels. Winslow Homer was a landscape artist. [00:56:02]. JUDITH RICHARDS: You mentioned paleontology. And now, it's a city of, you know, 100,000 Ph.D.s, who all have good income, but they don't support institutions. I would have purchased some of the assets; we may have purchased some of the inventory. I mean, I'm not writing 400-page tomes on, you know, theyou know, the Old Testament series of Rubens. Generally speaking, the book presentations are in Antwerp. They werethey wereI mean, in France, of course. No. And, JUDITH RICHARDS: So, a library, because it wasthey were liquidating? So what I'm trying to do is take a very hands-off approach to the sort ofany cash flow that goes into the business is reinvested in the business, which helps us to be able to buy better stock and do different things, and that might give us a slight edge over some other galleries where their owners need to provide their lifestyle from the income. I had this Dutch East India commemorative bowl, which I bought very early on, which I was very, very pleased with, which she just sold to a collector who wanted a Dutch East India commemorative bowl, which I think is fun because the Dutch connection, of coursethe Dutch fueled their money addiction and their art addiction by trading. So I wrote to her several times and said, you know, "Is this Crespi? Have youhow do you go abouthow in those early years, how did you go about defining and refining what exactly you were looking for? But, yeah, I had a programming job there. I can't play anymore. CLIFFORD SCHORER: My father was a businessman. CLIFFORD SCHORER: So I think of storage as storage, but just good climate control. Everyone's retiring. JUDITH RICHARDS: Was that because you didn't know that they would be able to teach you something? It was a solitary thing. JUDITH RICHARDS: What is a cash-flow business? He had eyelashes of copper. JUDITH RICHARDS: Did you think it's a mark of a good dealer that he will engage in that conversation without pressing you to find out who you are? And I know them, and I know the pictures, and I won't say more than that. CLIFFORD SCHORER: and we put a Reynolds. CLIFFORD SCHORER: Mm-hmm. Not just multiple helmets. CLIFFORD SCHORER: So, Russian and Bulgarian. Winslow Homer was an American landscape painter and printmaker, best known for his marine subjects. Pigs. answer in a very finite category of pictures. Judith Olch Richards (1947- ) is former executive director of iCI in New York, New York. And I got out of school and I moved down to Virginia, where I got a job in computer programming. JUDITH RICHARDS: in an understood way to further this. So we had a five-yearwe had our five-year sort of anniversary. I'm also doing other things. [Laughs.]. Yeah. CLIFFORD SCHORER: Yeah. Is this Crespi?" CLIFFORD SCHORER: Just the gallery in London, right. It's actually, you knowit's the kernel of what you do as a collector without the headache of the aftermath. So, no. ], JUDITH RICHARDS: That's okay. You know, it was a million square feet of office furniture and miscellaneous things. It was a very beautiful, 18th-century French frame on this Italian, Neapolitan, somewhat good 17th-century painting. The Allori that was sold at Northeast Auctioneers, which came from the Medici Archives, and I found it in the Medici Archives two hours before the auction. And her father was Wilhelm Wolfgang. I mean, I certainlyI met people. It's a temple. JUDITH RICHARDS: You were tired of Virginia. JUDITH RICHARDS: So it sounds like it was a very smooth transition from being a businessman and a collector to getting involved in the business of art through these interactions, these. No one, you knowother than school trips, people didn't really think of it as a great collection. And made their own discoveries. JUDITH RICHARDS: I notice that there was a major contribution from, maybe, from your business to the Museum of Science. He's not a regular "player" in the region, but what Cliff Schorer has accomplished as board president at the Worcester Art Museum over the last two years has helped revive attendance . R-O. Yes, before that, I was not actively selling anything, because the problem is, the things that you buy that are your sort of orphan children, you often can't sell them to the workhouse for very much money, so they're not going to produce much in terms of the next purchase. JUDITH RICHARDS: When you say serious, you mean in terms of business? CLIFFORD SCHORER: Yeah, it's the Art of Europe. So I actuallyas part of my company, I had a 70,000-square-foot warehouse, which grew to be over a million square feet by the time I quit. CLIFFORD SCHORER: It's interesting that, generally speaking, no, because, you know, the works on paper department has a very different policy on showing things. So, I was in Plovdiv and, you know, had a good time with wandering around, you know. And I tried for one of them, but it wasyou know, it was because it was terribly underestimated, but of course, the marketplace knew how to make it 700 percent of its high estimate. JUDITH RICHARDS: Are there specific publication projects that you would be interested in seeing them do? And I think if you're focused enough to stay on the object, you know, to think at core about the transaction with your object and not listen to all the other noise and hype and marketing and, you know, all of that, and if you can learn as much as you can about that one object you're interested in, if you lose this one, so be it, you know. CLIFFORD SCHORER: And also, you know, there are people who make it a life's pursuit, and they put a team together and they go out every summer, and I'd love to do that, but I don't have time in life to do that, so. Take me through." But really, this house sort of speaks for itself as a kind of singular work of art, as Gropius so often said. They invited my paleontological heroes, which they also did a wonderful job ofand I sat in the audience quietly, and then at the end of it, we came to an accommodation to create a permanent installation for the specimen, which is the largest specimen in the state. CLIFFORD SCHORER: He stayed with my mother. [Laughs.] I mean, paleontology, you have to understand, is the rarity of those objects, compared to the paintings we're talking about. So you have to have a different model. ], JUDITH RICHARDS: Going back to putting your hat on as a collector, what would you sayif this is relevant to youis the most important piece of advice that you received about collecting, and, in the same sense, a piece of advice you would give someone who was starting out? You know, this sheet, that sheet, squares. That market is extremely weak now, and, you know, in a way, it's good comeuppance, because there was a long period of time when all the boats were lifted by the tide, the good, the bad, and the ugly. JUDITH RICHARDS: Was that the firstso you said that was the first painting? JUDITH RICHARDS: You're keeping just the gallery in London. They had a big sale in the '80s, and just three or four weeks ago they had a sale of Dodo Dorrance, who was the daughter of Jack Dorrance, and in that sale was a beautiful Cezanne, really beautiful Cezanne. So he says, "You'll be a Corporator." I mean, I didn't specifically go to try to find the dealer who made a market in Chinese in Paris. JUDITH RICHARDS: Including a photograph? JUDITH RICHARDS: How did that interest develop? So, you know, we can talk endlessly about art, and, you know, he invites me to his house, and we look at art. [Laughs.] I mean, my family on my mother's sideagain, it's interesting. [Affirmative.] We have a sort of oath that we take about, you know, things we have personal interests in or things like that. The angels that were inI believe it was The Adoration of Mary of Egypt, or Maryit was Mary of Egypt, The Last Communion of [Saint] Mary of Egypt. You know, someI mean, certainly, the newer collectors who are in the Dutch and Flemish world, I think they're less scholar-collectors. Cliff has been . You know, or rarer and rarer things at Sotheby's and Christie's, which I couldn't afford. Some cruder examples of earlier things from Han. CLIFFORD SCHORER: I do not. Winslow Homer American Painter, Watercolorist and Printmaker Born: February 24, 1836 - Boston, Massachusetts Died: September 29, 1910 - Prout's Neck, Maine Movements and Styles: American Realism , Naturalism , The Sublime in Art , American Realism Winslow Homer Summary Accomplishments Important Art Influences and Connections Useful Resources I think the problem was it was the overlap between business and art that made it difficult for them to manage the institution. And then we. I would have left that to, you know, others in the art market to decide whether they would do it. And in my new home in BostonI just got a small place to replace my big house because I needed a place to sleep when I'm in Boston. You know what I mean. And, you know, it's sort of rare that a dealer in 2000 could mount such an exhibition. CLIFFORD SCHORER: yeah. Well, the word was out that they were closing the gallery. [Laughs.] Death . CLIFFORD SCHORER: I'm trying to think if I'd been to Europe by that age. Solely responsible. I would think that you did have a lust for the object, with all the objects you've accumulated. CLIFFORD SCHORER: Hands on. And if the auction house can earncan tell a client, "Well, we're not going to charge you anything; we'll charge the buyer. CLIFFORD SCHORER: Bless you. And, you know, a picture that always has its place in art history, always has its story, and more than that, it's a segue into the story of the person in the painting, the sitter of the painting. CLIFFORD SCHORER: Yes. That was sort of my. We sold the real estate. CLIFFORD SCHORER: It's a loan, yeah, yeah. Web. JUDITH RICHARDS: But timewise, was that the beginning of your starting to explore that area? CLIFFORD SCHORER: So, I mean, I would say that all of those things would be exciting and fun to do, but unfortunately, I don't have the ability to do them all. CLIFFORD SCHORER: So I was livingI was in Paris a lot. I especially, of course, remember the Egyptian things. CLIFFORD SCHORER: in the fine art world, it wasn't there. You know, bags full of them. So I went to TEFAF; Hall & Knight hadthis must have been 2000had a phenomenal booth. You could put together quite an impressive-feeling collection. And, you know, there was a day when Agnew's had 40 employees and a full building in London and, you know, exhibitions going on 24-7 and had printmaking exercises, had contemporary artists doing things. And there was one large mud sculpture of a horse on the floor in the lobby at Best Products. Investments. CLIFFORD SCHORER: And everywhere I went, I met people. JUDITH RICHARDS: And most of the people bidding at auction in those days were the wholesalers. So there wasn't any collecting going on at that point. JUDITH RICHARDS: Did you talk to him about collecting at all? I had probably 65 of them on walls, you know, with these plate holders and, you know, little arrays. I would just go up and talk to them, and we would talk for half an hour, and I'd walk away. So I bought the picture, took it to the Worcester Art Museum. CLIFFORD SCHORER: Yeah, yeah. CLIFFORD SCHORER: So there are those who were present that were important to me, and there's one figure who was not present who was very important to me. And I'm reminded that recently I was traveling around TEFAF [The European Fine Art Fair] with the curator from Antwerpthe chief curatorand we found a Chinese 18th-century Qianlong export plate with a Rubensa very sort of adulterated Rubens painting on it. So, yes, there werethere's the collection that, had I unlimited wealth, I would have acquired. But I thinkand actually, in those days it was the museum up in Salem, which is the predecessor of thetoday's Peabody Essex, that had this kind of marine trade room with a lotwith a lot of things in it. His paintings cover a wide range - from the Civil War to rural hamlets and a multitude of seascapes with the ocean and . And so, in this case, weyou know, I really got ready for it, and I expected it to be, you know, the same price as the last time, and I was prepared for that. They had wonderful people. JUDITH RICHARDS: Where do these wonderful symposiums take place, the ones that are so passionately [laughs], CLIFFORD SCHORER: Well, those areyou know, I'm thinking of very specific ones. Anthony takes charge of all the art questions involved with that, and he will then give me some yeoman's work to go and, you know, "Find this; find that," you know, "Keep your eyes open for this, that, and the other thing. [00:16:00]. And today, you know, a good example is, in 1900 the gallery sold 1,001 paintings, and some of them were sold12 in a row to Frick; the next nine to Mellon; the next 12 to Morgan. I ended up going to Boston University in a program that they created for, shall we say, eccentric-track children. That's respect. CLIFFORD SCHORER: I went to TEFAF. So I asked my partnerI said, "Call over the person here. So I got the full pay for six months in one month. We've been using their fabrics as our wall coverings in our booths, and, you know, amazing. So, yeah. He lived a fascinating life; working as a commercial illustrator, an artist-correspondent for the Civil War, being published on commemorative stamps and achieving financial success as a fine artist. It was a good job at Best Products. I took a little bit of a detour towards the pure craft in the Song dynasty monochromes, but, I mean, one must imagine that in the eighth and ninth centuries in China, they were a thousand years ahead of Europe, and to me, thatyou know, they were creating perfection in porcelain a thousand years before the Europeans even understood what porcelain was. You know, gobe too ambitious with your consignment terms, you know. CLIFFORD SCHORER: I consider to be respectable parameters. Clifford's current address is 21 Claremont Prk, Boston, MA 02118-3001. Massachusetts native Clifford Schorer said the painting was used as security for a loan he made to Selina Varney (now Rendall) and that he was now entitled to it, the Blake family having failed to make a claim in a US court. In 2019, Clifford Schorer, an entrepreneur and art dealer from Boston, stopped by the shop to purchase a last-minute gift. CLIFFORD SCHORER: No. CLIFFORD SCHORER: No, no. CLIFFORD SCHORER: Yeah. A picture should not reappear three times [laughs] on the market. So, it's an interesting, you know, circle. CLIFFORD SCHORER: No. JUDITH RICHARDS: Do you see yourself spending more and more time in London? But, yes, there did come a time when I sold the house, where I said, you knowall the blue-and-white went to Sotheby's. And when I came back to them to ask about it and, you know, pursue it, they said, "Oh, the National Gallery of Washington just bought it," so it was gone. I mean, I would say, JUDITH RICHARDS: You were stillyou were living in the house that you bought. Thank you for supporting the National Gallery of Art National Gallery of Art Custom Prints; About National Gallery of Art Custom Prints; CLIFFORD SCHORER: So now there's really, you know, two sales worth attending. The US family who owned it believed it was a 20th-century reproduction. JUDITH RICHARDS: or show people the works there? JUDITH RICHARDS: Is this inbased in Londonbased in Boston? And also, there were many dealers where I could suss out instantly that they knew absolutely nothing, and they were talking nonsense, and that drove me mad, so I would literally just turn around on my heel and walk out the booth. CLIFFORD SCHORER: Because the path was getting very cluttered. CLIFFORD SCHORER: All of them. CLIFFORD SCHORER: So, to me, that was that was very exciting. Then eventually, a drawing surfaced. CLIFFORD SCHORER: And actually go to the apartments where they were. And I've been in Boston ever since. Select this result to view Clifford J Schorer's phone number, address . And fortunately, as I outlined earlier, I can look at an Antwerp picture orrarely, but sometimes, an Amsterdam picture and an Italian picture, you know, a Naples picture or a Roman picture, so I have maybe three or four opportunities a year where most collectors might have one. He bought the [Frans] Snyders HouseSnyders is the artist. So, I mean, he's at a level way above mine in philanthropy, and very chauvinistic about his city of Antwerp, which is wonderful, because, you know, Antwerp has had, you know, off and on, hard centuries and good centuries. He was a television actor, and now he's an attorney in the U.K., so. And I have it at home to remind myself of what an absolutely abysmal painter I am and to really, you know, bring homeyou know, I always think I can put myI can do anything I put my head to. JUDITH RICHARDS: Do you have conservation issues? He and I. It's more like I'll find a print after a painting. [Laughs.] And they're outside smoking cigarettes, and they're not talking about art. Does it happen that a painting and a drawing will happen to hit the market at the same time? And I'm saying, "That can't be possible. We had to get translations and then figure out whether the translations were right, and then write programs for them. CLIFFORD SCHORER: That was the first thing that I bought as a painting, yes. I mean, the boothjust one masterpiece after another. CLIFFORD SCHORER: Self-taught in COBOL and a few other computer languages. JUDITH RICHARDS: Region, meaning New England? So we brought those things together; we did a big show, and we borrowed from major collections. This is incredible." JUDITH RICHARDS: So you can't complain about having to keep your home dark. CLIFFORD SCHORER: Yes, absolutely. And they didn't hire me as a senior programmer analyst, but they did hire me as a programmer analyst. So he got a sense that I was a very strange human being. You know, I never thought of it as a practical way to improve the quality of the collection until recently, like until the last 10 years. No. There are fewer and fewer of them, you know. It's what leads to bankruptcies in galleries, is buying too much stock and not selling it fast enough. Winslow Homer Home, Sweet Home, c. 1863. 1. I mean, a story I'm obsessed with is theis the German scientist who invented the nitrate process for fertilizer, because in his hands lies the population explosion of the 20th century. They were independent at that point; now they work for Christie's, and then theyactually, recently they've left Christie's; one has left Christie's and the other has as well. But because of the scarcity, it can't at all occupy as much time and. And my mother was. New York , NY 10010, Washington, D.C. Headquarters and Research Center. CLIFFORD SCHORER: Oh, all the time, yeah. You know, they had the large office. There they prepared the fish for despatch to the fishmarket in . [00:24:00], JUDITH RICHARDS: So going back to the export porcelain. [Laughs.]. CLIFFORD SCHORER: There were a billion people in 1900. The problem is, I've always had to forget about all of the things in my path until recently. They had good people; they had good people. So they put Anthony Crichton-Stuart, who used to be Christie's head of Old Masters, in charge of Noortman Gallery. CLIFFORD SCHORER: Yeah. This huge chandelier. 15 records for Clifford Schorer. Funding for this interview was provided by Barbara Fleischman. So, I lost it. And that was very funny, so. I was in London less so. Their sketches, woodcuts, and paintings showed both the . I think they also probably were in New York at that point. JUDITH RICHARDS: Is that an interesting area for you to think about, the evolving nature of art storage? You mentioned that. JUDITH RICHARDS: Thinking about your non-business interests? Maybe five, six. So it was an interesting thing. JUDITH RICHARDS: Mm-hmm. JUDITH RICHARDS: [Laughs.] CLIFFORD SCHORER: So it was very, very pleasing to me to have, you know, the Antwerp Museumyou know, the KMSKAbuy, with their own money, what I consider to be a certain van Dyck sketch, you know, from a very importantyou know, one of his pictures in the Prado, one of his preparatory sketches for one of the pictures in the Prado. I mean, obviously, this isthis is one approach to art history, where you would take into account [01:00:01]. I'mI went to the MFA, you know, maybe a year and a half ago, and I have a major picture on view in their Koch Gallery. And it's not really suitable for old art. And you know, in those days, there were more sales than there are now. I mean, it startedso you started collecting in that area or just that one piece? I'm trying to remember the estimate; I think the estimate was either [$]2 to 3 million, or 1.5 to 2.5, but it was very enticing compared to the asking price. But they just weren'twith that type of a seller you need to be cash at the ready, because it's notthey're not going to bethese are folks you're approaching to say, "I may have a client for" They don't want to hear the next statement, "Well, I'd take a commission if you give it to me for a year to try to sell it." But, yeah, I mean, I'mgenerally speaking, I stop into all the galleries that I've always known, you know. She just, actually, sold one of my earliest acquisitions to one of her collectors because, you know, now I'm not so focused on that. You're going into someone else's space to show an artwork. You know, it was this incredibly complex. He also made the gas for the Nazis. I mean, I would say weI didn'tI always thought of it as a bit of a battlefield rather than a camaraderie. He said, "Yes, I'm Jim." And I mean, when Iaestheticsmy aesthetics are a little sensitive, so I do haveI did buy a Gropius house that Hans Wegner did the interior of. CLIFFORD SCHORER: sort of with art 24-7 in London because I have the gallery. It's a very modern issue, because, historically, the American museum was created by private collections. JUDITH RICHARDS: Are there any other [laughs] collections other than that? So I dropped. So, you knowand the money they made is what made the Rembrandts. JUDITH RICHARDS: Mm-hmm. CLIFFORD SCHORER: Well, I mean, you know, the only thing I would add to that last statement is that, in the gallery world, I think that everybody I know does it for love and not for money. They don't knowthey didn't know that the specimen was named after him. JUDITH RICHARDS: That's how you characterize the collectors in your field now? Cliff holds board advisory positions with Epibone, a company Clifford J. Schorer Director, Entrepreneur in Residence Program, Columbia Business School and Co-Director, Innovation and Entrepreneurship @ Columbia University cjs24@columbia.edu I lived in Montreal off and on. [00:30:00], CLIFFORD SCHORER: Yeah. So it was at that time, the seeds were planted to grow that institution visitation to 200,000, and that's happened. JUDITH RICHARDS: To considering and, in fact, acquiring a partialyou were the head of a group of investors, JUDITH RICHARDS: And that's been since 2014, right? I wanted somebody who had been in the market for a long time, who had great relationships with people, that sort of thing. JUDITH RICHARDS: They're based in London? CLIFFORD SCHORER: And often, those are the ones I cannot afford under any circumstances. [Laughs.] CLIFFORD SCHORER: I enjoyI don't know. Her book is in Italian. Rich Dahm, co-executive producer and head writer of The Colbert Report. I'm at my office; I'm looking the Strozzi up, and I see Worcester Art Museum, and then it dawned on me, Wait a minute, they also have that Piero di Cosimo. So did that affect your interest at all? I think that's fantastic. [00:12:00]. You know, I'd justI would just go there. [00:30:00]. You know, it was wonderful. CLIFFORD SCHORER: I leave that to Anna and Anthony, and, you know, I come in and I nod my head in approval, because they have such amazing taste. And he had, you know, many, many, many layers of very valueless stamps, but didn't have the time to bother with them. CLIFFORD SCHORER: And obviously really didn'tonly went back to drawings and prints when, you know, when there was something. I mean, there's so many things in New York. JUDITH RICHARDS: Do they focusexcuse my ignorance. CLIFFORD SCHORER: And those worked out very well, because what I brought to the table, which I think was different from other investors they had worked with, was that I also brought very strong opinions. So then we took the picture up to the Worcester Art Museum, and we cleaned it, because it had been in dealers' hands. I mean, everyone who came to visit me said, "Welcome to old lady land.". I mean, the output of those workshops was massive, massive. JUDITH RICHARDS: Mm-hmm. Yeah. CLIFFORD SCHORER: But, I mean, I love opening those folders and just finding out what was sold in 1937 to. To me, what's happened is, it's a lifestyle that maybe is going away, the lifestyle of the sort of dedicated scholar, in high, euphemistic quotes, collector who would buy one major painting per year, who would study, study, study, study, study until they found that moment, and then it would come and they would buy it, and they put it in their collection, and then they die with a 29-painting collection that's extraordinary. CLIFFORD SCHORER: No, they close rooms. [Laughs.]. Where you. Worcester is getting ambitious, as I said, and they're buying great things. But anyway, no, I mean, you know, it was the good old days. CLIFFORD SCHORER: And it was justI thought the frame was incredible. CLIFFORD SCHORER: intrinsically knowing the difference between an early 20th-century and a late 18th-century. CLIFFORD SCHORER: Whatever you want to do, it's fine. Had you started going to museums there? JUDITH RICHARDS: And he was keeping up with you. It was bought five years ago for . The shareholders did very well by the real estate. And I had to carry the pieces. Have youyou mentioned thea committee at the MFA in Boston. As a young man, he was apprenticed to a commercial lithographer for two years before becoming a freelance illustrator in 1857. CLIFFORD SCHORER: Furnishings; hotels; office buildings full of furniture; artwork from lobbies; clocks from old buildings in Boston; you know, architectural elements that I salvage every time I do renovations on a building. CLIFFORD SCHORER: So what I did instead was, when I put in on loan to the Museum of Science, I made the Museum of Science call him and invite him to come for the opening. I just, you know. [Laughs.]. The book isso, Hugh Brigstocke and his new. [They laugh.] Well, I think Agnew's has to stay small, and I think that that's challenging, because Agnew's hadhas always had big ambitions. Winslow Homer (1836-1910) was an American painter who is widely considered one of the greatest American painters of the 19th century. So here's my third bite at the apple. JUDITH RICHARDS: spent five dollars and you get a thousand stamps? CLIFFORD SCHORER: And I was able to make some pretty interesting and exciting discoveries, things I recognized were by the artist that others may not have, and I was able to buy them. So, you know, that's why it's useful to have, you know, after you've made the emotional decision to handle something, to have a bit of a business meeting. ", CLIFFORD SCHORER: It's interesting. [00:48:00]. This is a Renaissance object. But they packed up the car and packed up the Model T. I helped them. Largely self-taught, Homer began his career working as a commercial illustrator. And that's great. And the segue to art was clearlyand I see it very clearly now. [en] Vital records: Clifford J Schorer at +Archives + Follow. Antwerp in 1600 is a pivot point in the history of the world, and the art is a 90-, you know, at least a 45-degree turn, with the advent of the Rubens workshop and even his teachers: Maerten de Vos, CLIFFORD SCHORER: and, you know, the predecessors. JUDITH RICHARDS: So you only spent one year there? And you have to do that, I think, because, again, this is a small market with limited opportunities, and you have to work very hard at the ones you have. I sold all the export wares. $14. So, you know, in the stamp world, yes. It was just books on subjects that interested me. And, I mean, it's an enormous orbit. [00:46:01]. CLIFFORD SCHORER: My first car was my grandfather's van. And though that might have been too bold for our first step out of the box, because it was so much contemporary and so in-your-face, but we had been doing steps in that direction all the way along. It's wonderful. I think we might have one extra letter in there, but that's okay. JUDITH RICHARDS: What did you call it? I mean, this year, there might be two and next year there might be none. So I had finished all this. Just one. CLIFFORD SCHORER: No, that's changed. JUDITH RICHARDS: Over many years? So it was more aboutit was more about the business of the trade of these things. I've been coming to every Skinner auction for 10 yearsoh, more than that, 19 years. I mean, you know, literally, and these are Constable, Claude Lorrain, you know, Millais, you know. [00:40:10]. [00:02:00]. CLIFFORD SCHORER: Hugh Brigstocke, yeah, and his new associate Odette D'Albo, who is doing new scholarship. JUDITH RICHARDS: I imagine you wanted to preserve the goodwill of the name of Agnew's. When you were also collecting that area, did you find the need and actually, in fact, travel to other cities? He says, "You want to have lunch tomorrow?". "A loaf of bread is more than 29? So the Museum of Fine Arts school in BostonI took my one class in Renaissance painting technique. They would have Saturday gatherings where people would set up folding tables. So, JUDITH RICHARDS: Wow, Lucien Freud is much, JUDITH RICHARDS: further into the decade than, CLIFFORD SCHORER: Yeah, yeah. People came and visited to see the collection. JUDITH RICHARDS: Restorations that are hidden? Richard Dauenhauer, poet. You're welcome. [00:08:00]. Had you been involved with other institutions before then? And usually it would be a letter at that point. And at that moment, I decided this marketplace is basically like a rigged stock exchange. JUDITH RICHARDS: Have youdo you imagine in the future acquiring another art business? JUDITH RICHARDS: Mm-hmm. I wrote in English and I got a response in English, so. Clifford Schorer. All of a sudden, there's 30 mainland Chinese people in the room. CLIFFORD SCHORER: So, oftenin that case, I would have to call up an Italian curator. I mean, the institutions usually insure when it's inside their building, and I insure it to get there and to get it back. So what I did was, around the same time I bought Agnew's, I also bought a restaurant chain, a franchise chain of restaurants, that would just provide a background income. Anyway, I bought her lunch, and I got to go into the room. So, I think18, 19, 20, in that area, I spent 26 weeks a year outside the United States. JUDITH RICHARDS: You talked about the label just saying, "Private Collector." Go to Artist page. It was a stepping stone. JUDITH RICHARDS: Do you recall his first name? I lived in Massapequa, Long Island, for probably an extended period; I would say from about age seven until aboutactually, from about age eight until about 13. I mean, it was, you know. CLIFFORD SCHORER: In Provincetown. I said, "I'll leave the car and I'll walk." So for the average buyer, philosophically thinking about that, they think, Okay, well, I'm going to sell this, and I'm not going to pay a commission. I mean, I think you'll see. I had to advocate and argue for it, and that did sort of achieve the goal I had set for it, which is a relatively universal acceptance. I enjoyed my job. You know. Yeah, yeah. So Iyou know, again, the same thing. Alf Clausen, film composer. [Affirmative.] And she said, "Well, I'd borrow the Luca Giordano from your living room," because I was closing my house up. CLIFFORD SCHORER: coming from, you know, New York and the Vineyard, and you know, sort of an active life. A little house in Levittown that was literally bursting with stamps. ], And, I mean, I remember spending as much time as possible in front of that painting, and obviously, you know, that. JUDITH RICHARDS: Well, this might be a good point to end today. I remember it was very celebrated. I mean, I. I would saysometimes I still go over to the Natural History Museum just to poke around. CLIFFORD SCHORER: It's almost ready. So, you know, yes, of course, that's always a problem. Having old art in New England is not the easiest thing, because of humidity control, which is almost impossible. [00:20:00]. CLIFFORD SCHORER: Yeah. It's a very complicated taxation and business question, but basically, there was almost as much incentive for them to liquidate the company as there was to sell it. I mean, I love George. CLIFFORD SCHORER: I had made a resume. It has a lot of history; it has a lot of business that it's done. CLIFFORD SCHORER: Yeah, living on my own. I'll sort it out on Google. You have to let that go. CLIFFORD SCHORER: I mean, there's stronger German roots on my father's side. This is the flotsam and jetsam of my other businesses. It didn't say exactly, but it was a level. And so, you know, now that I see they're buying great things, they're talking to people I know about pictures I know, about things I know about, and that creates an inherent conflict. So there were, you know, four or five sales a year. CLIFFORD SCHORER: Well, the dealers that I would say, you know, rise to the level ofeven though they're inadvertent, because they don't know that they areI would say mentors, Johnny Van Haeften and Otto Naumann for sure. CLIFFORD SCHORER: by someone who possessed it. It's a big Spanish altarpiece. They got the Bacon as the plum to borrow the Rembrandt. And it was a very independent study. I've never been to the Worcester Art Museum. I want to talk to them. No, as a matter of fact, I mean, obviously, we have great respect, and we like the feeling of our gallery in London, and wherever possible, if we can show a painting in kind of our home, you know, bring people into the living room and have the painting on the wall and sit down in front of it and talk about it. Last year, Schorer used a reverse . It's like a girl reappearing three times on the singles market. CLIFFORD SCHORER: So by the time I was 20, I started collecting, you know, monochrome from the Song period. At the core, CLIFFORD SCHORER: American and European. CLIFFORD SCHORER: We do. And you know, there's no way I'm ever going to get it back. CLIFFORD SCHORER: It's been a very long-term loan. Best Match AGE -- Clifford A Schorer Jr Utica, NY Phone Number Address Background Report Addresses Trenton Rd, Utica, NY Sweet Fern Rd, Stroudsburg, PA Pleasant Ave, Herkimer, NY CLIFFORD SCHORER: My grandfather and I had a similar language about the world. JUDITH RICHARDS: Have there been any surprises that you've come across in terms of this, being involved as you are with Agnew's? I'm reasonably good at language, and I tried. There are some institutions now that are speaking to me about things that they've borrowed that they really feel have become integral to their hang, and they want to keep them, and so that's a harder conversation, because, A, I may not be at the point where I want to sell the work, or, B, it may not make any sense from a tax standpoint, because I have given quite a bit, so I don't have much deductibility. CLIFFORD SCHORER: no, my father lived in New York. Only a. That is a harder issue for the contemporary world, I think. He's doing all of these really focal things. Wikimedia Commons. [Affirmative.]. You know, they were a very large shop. CLIFFORD SCHORER: Yeah, yeah, which I willbecause, basically, now that I have to move out of my last warehouse, I need very purpose-built storage for my own collection, so I will probably build something that's large enough that I can accommodate other collectors if they need to. I mean, it's. I was very impressed with all of it, you know; the effort as a dealer was astonishing. They had a [Hans] Hoffmann of a hare, a painting of a hare, which was, you know, a world-class masterpiece, and they had a Sebastiano Ricci, a big Sebastiano Ricci. He also practised printmaking. JUDITH RICHARDS: Yeah. Our older colleagues might have found it charlatanism, but that's understandable. Winslow Homer. And so the National Gallery has our historic stock books and archive. CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: No, no. And I saw Daniele Crespi as an artist who is equally competent but died so young that he never really established his name. And I said, "Your only quid pro quo is I want you to send me a photo of you giving a lecture with a bunch of schoolkids sitting in front of you in front of the painting.". You have to go to the source. So Ibasically, I lost it marginally. Boston. Renowned for his powerful paintings of American life and scenery, Winslow Homer (1836-1910) remains a consequential figure whose art continues to appeal to broad audiences. JUDITH RICHARDS: No, no, no, this is very important, JUDITH RICHARDS: what you were talking about. [Laughs.] They were the combat correspondents of their day, traveling and living with soldiers. Because I think that's where you can reallyyou know, that's where you can hurt it, I think, is if you need to run it as a shop, because it really is a five- or six-year business cycle. You have to think about tastes and the moment of your taste and whether the market is esteeming that taste at a given moment. JUDITH RICHARDS: It sounds like it was athe attraction to you was partly the art and the visual experience, and the business history. So it wasyou know, thatit's not as if you canat the level we're talking about in paleontology, there's not many opportunities. All the time. So, sure, I read, you know, whatever I could find. So of theof the monochromes, the earlier pieces, I only have maybe 20 pieces left. CLIFFORD SCHORER: Yeah. JUDITH RICHARDS: Have there been anythis might be my last question. I like to go back and forth to Paris. JUDITH RICHARDS: Mm-hmm. Well, I mean, there's a smaller market, so it's something we have to adjust to. I don't remember which one. I mean, there wasthere was a bit of knowledge of something's not right here. [00:20:00] Yes, there was, of course, The Massacre of The Innocents by Rubens, which made 45 million, and two days later, for a relative bargain, a van Dyck of that painting, done in the studio at the same time, came on the marketa drawing of that painting. [00:08:00], CLIFFORD SCHORER: So he would've comehe would've come into America then, and didn't speak English becausefrom what I could tell, his English was a second languageand then became an engineer. I mean, I would certainly say that having a gallery creates an inherent conflict of interest that I have to think carefully about. And there were some of them that were good enough to deceive the best. Sometimes they're inverted, but almost universally they're. I mean, I think it was a natural evolution. And I would see the same objects pop up here and there, and I would know exactly where they came from. I mean, you know, we have collegial discussions at two in the morning over, you know, a drink, about the relative merits of this painting by, you know, fill in the blank[Alessandro] Magnascoversus this painting by Magnasco. You know, I love that. And, you know, obviously, Bill Viola was looking at the Old Masters and thinking aboutyou know, he says as much in his own words. CLIFFORD SCHORER: If I found a rational market again and if I found great things, I would be right back to it. CLIFFORD SCHORER: Well, if I fall off a bridge in the next few months, everything goes to the various museums. JUDITH RICHARDS: So, in thoseyou mentioned your great-grandfather and his collectionwhen you were in grade school, and even in high school, what were your main interests? JUDITH RICHARDS: Is it just the two of you doing this major part of the work? I was their last call, because they didn'tthey wanted silent investors who did what they were told to do, and I was going to be an active investor who wanted to physically see the painting, who wanted to understand their rationale for purchasing it, and who wanted to understand their pricing strategy. JUDITH RICHARDS: But you started out displaying these 300? JUDITH RICHARDS: How long were you at Gillette? JUDITH RICHARDS: Yeah. I mean, you know, recently we did some work on Joseph Wright of Derby, and Cleveland bought our Joseph Wright of Derby. You know, world history is told in warfare and plagues and movements of civilization, and the art tells that story, but it tells it in the abstract. JUDITH RICHARDS: for profit. SoAnna Cunningham; she doesshe's the one who sort ofshe keeps all the sheep herded; so she keeps us focused on what we need to do [laughs], and she manages all of the gallery operations. [Laughs. JUDITH RICHARDS: Early 20th-century British? For example, I am a big fan of [Giulio Cesare] Procaccini. And his son became a future employee, so. He was a dealer and, you know, and an ennobled Italian, and it was in his collection. ], JUDITH RICHARDS: When you first started, and you're imagining the possibilities of your collecting, did you envision arriving at that level of expertise, where that could be a pursuit, an achievable goal, to discover, CLIFFORD SCHORER: I'm leery of the word "expertise," just as I'm leery of the word "artist." CLIFFORD SCHORER: Yes, so. CLIFFORD SCHORER: G-A-T-I-A. JUDITH RICHARDS: It sounds like you had a natural eye. CLIFFORD SCHORER: Yes, some incrediblethere was an estimate of the marketplace, half a million paintings, and the paleontological specimens of that scale are four, five [laughs], yes. CLIFFORD SCHORER: And that'sshe may be retired now. So, yes, I mean, you're talking about a razor-thin equation which is, you know, buy, consign, don't buy. And it was obsessive. I mean, you know, he opens the drawers of his metals, and we pull them out, and, you know, it's a great experience. JUDITH RICHARDS: and some Flemish Baroque, too. So I went to Spain, and I tried to buy both of the remaining paintings. CLIFFORD SCHORER: It's nice to be, you know, continental Europe for the TEFAF Maastricht and then New York for TEFAF New York. He said, "Who are you?" And on the other side of the equation, you know, the auction house is marketing to a buyer who's going to pay the fee, and it is going to impact your net sales price, whether you understand that or not, you know. Then we have a Guercino that came up in New Hampshire that I discovered, but unfortunately, other people recognized it, too, so they drove it up to the sky. It took forever to renovate because I did it all myself, nights and weekends. JUDITH RICHARDS: Do you see yourself or the gallery having a role as a mentor towell, yourself as a mentor to younger collectors and the gallery for its own interests to expandto grow a new generation of clients? JUDITH RICHARDS: Were therewas it a big decision for you to become involved on that level with. [00:08:03], CLIFFORD SCHORER: Chris Apostle from Sotheby's. Yes. I mean, it hadI know there were three million sorted stamps. But if something great pops up in our little cabal, it immediately travels up to their level. [Affirmative.] CLIFFORD SCHORER: Ruth Payntar, P-A-Y-N-T-A-R. And on my father's side, both parents were living. I mean, they'reyou know, the Corsini are known, you know, a very famous Italian family, and there was one member of the family who was an art dealer. And I hadn't ever sold anything, so there was no selling going on. CLIFFORD SCHORER: So I'm thinking 16 years. There was a stegosaurus that came up from the Badlands in South Dakota that I didn't move on fast enough, and then there was a triceratops that I didn't move on fast enough, but I had a second opportunity when the owner passed away. CLIFFORD SCHORER: that's, you knowand not even scholars, just, you know, let people enjoy them for what they are. [Laughs.]. These are salient works in, you know, in the catalogue, and these are works that the gallery had a historical involvement with in the 19th century. . And, you know, I basically said, you know, "Is there anything you'd like from me?" I mean, it wasn't really, JUDITH RICHARDS: You mean give up all your other. I mean, also I thought Boston was the most European city in America. ", So he called them over, and I said, "This is amazing, but why is this an antiquity? I was followed by a security guardthe wholejust followed around. So I've always thought of myself as an autodidact. JUDITH RICHARDS: Because you couldn't be competing. She's great. I ended up there, and I made the deal with the devil, which was if I was first in my class, I could not go back. JUDITH RICHARDS: Did you ever think about collecting drawings or prints? [00:06:00], JUDITH RICHARDS: You've talked about competition a bit; in fact, in a very knowing way. JUDITH RICHARDS: Your father was a businessman? CLIFFORD SCHORER: Yeah, we are, and we will. Check Out this page to know the phone number about Clifford Schorer. So I would go up to Montreal, live there for a little while, and come back. CLIFFORD SCHORER: Mm-hmm. I mean, a real Reynolds. CLIFFORD SCHORER: You know, why does this woman look like a skeleton? Once the stock reduces by half add in . JUDITH RICHARDS: that you had worked on? CLIFFORD SCHORER: So, saw them, bought them; in one case, I'll give credit to someone else because it's his discovery of the lot, but I would see them and buy them and then, you know, we would basically spend time working on them. I meanso I had a partner in Montreal. So the gallery has a very good stock book system. I knewI knew that Best Products, 18 hours a day in front of the screen, wasn't going to be my long-term plan. [00:25:59]. I mean, it just didn'tI just didn't understand the narrative. CLIFFORD SCHORER: And I said, "Sure. CLIFFORD SCHORER: and previously had been unassociated. CLIFFORD SCHORER: Whenever possible, I would go to a regional museum, too. I mean, in a way, there isthere is still this desire to be involved in the business, to be building things, to be working on projects. CLIFFORD SCHORER: where you sort ofyou readyou know, I've read some really interesting studies of juvenile ceratopsians and how their horn formations develop. JUDITH RICHARDS: So you talked about what's important and what was significant art historically. We put it on a trailer. JUDITH RICHARDS: So you had developed an interest in architecture? So when I finally got a big house in BostonI bought a townhouse and renovated it. So I think that in order to have anything above 50 to under 500 survive and thrive to replace those dedicated 80 families of collectors who used to run around and buy those things, we need to create a sense of style that employs those things in a way that makes sense today, and that's what we try to do. Literally, very, very inexpensive. JUDITH RICHARDS: There isn't a lot of coverage of Italians, CLIFFORD SCHORER: I read articles in the Burlington, I read articles in, you know, Prospettiva, you know, yes. Is it something that you're really concerned about, or is ityes. I mean, which ones had merit? But, yes, I mean, I'm serving as the general contractor. And has that changed over the years? They just simply said, you know, "No mas." I could see the entry drug of drawings is one that I probably never would have left, because it'sthat's actually a little broader a field. It's a long, convoluted story, but it gets us there. So in this case, we were able to do something which German museumsGerman state museums with historical arthave traditionally said no to. Have you always maintained fine art storage? CLIFFORD SCHORER: And then there's the collection that I was able to acquire that stimulated some of the same nerve cells, but possibly the L-DOPA levels were a little lower. So those. You know, by the time you're done with all of those things, youyou know, your five percent or seven-and-a-half percent commission is completely consumed, and then some. Not at all. CLIFFORD SCHORER: Yeah. $17. CLIFFORD SCHORER: Well, certainly, don't destroy the art if you can avoid it. I don't know if there are people, collectors, that you have relationships that you want to mention someone, or competitors. JUDITH RICHARDS: it's kind of easy to figure out. He had that very sort ofhe had an idea about using modern architecture in all his buildings. My partner and I were going through Plovdiv, and I went to what used to be the Communist Workers' Party headquarters in town, which is now kind of a little makeshift museum. I eventually liquidated Best Products. CLIFFORD SCHORER: I've always enjoyed symposia, you know, of one type or another. CLIFFORD SCHORER: And, you know, I mean every year, the Alboni[Alessandro] Allorithe Allori that was soldthis is a good one. I do like art storage. JUDITH RICHARDS: Given that you were obviously a smart child. JUDITH RICHARDS: grinding your own pigments. JUDITH RICHARDS: So instead of collecting for yourself, CLIFFORD SCHORER: Yeah, I'm thinking about now collecting in a different way. JUDITH RICHARDS: Do youwhatat Agnew'sso, in thisspecifically in this period of your life, what do you think are the greatest challenges you are grappling with as a businessman-slash-collector art expert? CLIFFORD SCHORER: I'm not studying. CLIFFORD SCHORER: That pause button has been pushed, because five years ago I bought Thomas Agnew & Sons. I mean, you know, I bought Byzantine crucifixes, you know, just because, you know, I was there. They had The Taking of Christ by Procaccini; they had a Paulus Bor, who's a very, very rare Northern artist that I admire, and I had underbid the painting at auction. They were phenomenal art collectors. CLIFFORD SCHORER: I get my screw gun and I open whatever I want to open whenever I want to look at it, so, yes. CLIFFORD SCHORER: Yeah, it is. There are a number of hats I had to take off. You know, because she died in this plague. JUDITH RICHARDS: Do you speak to art historians who have. JUDITH RICHARDS: And you talked about enjoying lending. [Laughs.]. But that would be locally; like, if an opportunity arose, I would go; I would look; I would buy something at an auction. [They laugh.]. Come to it if you want. And then send it away andI'm trying to remember who did the book. Bree Winslow . CLIFFORD SCHORER: The MFA. CLIFFORD SCHORER: History. In her later years, Olive was described by one of her . I meansomething very strangebut nothing, no art. CLIFFORD SCHORER: Yeah. 9:30 a.m.12:00 p.m. She's always willing to take a phone call from an annoying person like me. And did art play any role in that? How much institutions' collecting is based on what collectors want to collect versuspossibly versus what the curators want to collect. There was a Strozzi thatI was looking at Strozzi, and I was trying to figure this Strozzi painting out that I had discovered at a little auction. We made our own paint. So they were the cleanest book of business I've ever seen relative to the Holocaust. They didn't talk, and they weren't friendly. JUDITH RICHARDS: When did thisand so that's. The whole family went down to greet the boats, transfer the fish to their baskets, and haul the catch back up to the village. [Laughs.] CLIFFORD SCHORER: It was a little municipal museum. CLIFFORD SCHORER: And then we get on our airplanes, and we start flying around, looking for things, yeah. And it impacts different institutions in different ways, but it's a big issue in the art world. JUDITH RICHARDS: So the, in the '90s, you were beginning your studying, and you're focused on these key areas of Italian, CLIFFORD SCHORER: Again, it's a world of solitude, though; you talk about studying. You know, bringing an efficiency model to a museum can destroy a museum. CLIFFORD SCHORER: That's all over the place. So that's why it's amazing now, because we're at a time when people are out hunting all the time, which is great. Now that decorators are not putting bad Old Masters in the living rooms of every nouveau riche house, that's not floating anymore. And I said, "Well, whatever your normal process is, just do your normal process. CLIFFORD SCHORER: Of which I can appreciate; I mean, I understand that. And sure enough, like a year later, the bronze show comes to London, and there it is with thein fullyou know, 100 greatest objects in bronze. I was actually shockedso the Worcester Art Museumyou know, I had been there and had been president for a couple of years and was actually shocked when they put up this board in the lobby, you know, of yourof the donors and their annual giving. And you know, so we spent, I don't know, 350 hours talking, I mean. And, JUDITH RICHARDS: You didn't feel encumbered? JUDITH RICHARDS: Did you read art magazines? I think there are 3- or 400,000 photographs in our archive, and if, JUDITH RICHARDS: This is the archive that's been acquired by the National. His oil paintings were immensely expressive. [Affirmative.] I think not. So I didn't go back. [00:42:06]. CLIFFORD SCHORER: Sobut anyway, I mean, it's. And not being so much in business? Available in a range of colours and styles for men, women, and everyone. If you like this aestheticwe're trying to sort of coax the camel into the tent, as it were; we're trying to bring an aesthetic that harmonizes with, you know. But, yeah, I mean, it's often those tables of five curators that are the most entertaining, you know, and I get to be a gadfly and just listen; you know, I just sit in the background. 1972 rapid city flood victims names, how did walter brennan lose his teeth, victoria villarroel salary, christine kuehbeck how tall, david millbern partner, why is goddard's research socially sensitive, why is it called man o' war bay, temple university volleyball coach, 1993 ohsaa wrestling results, point grey golf club membership cost, cedar rapids washington high school staff directory, casey mize related to johnny mize, , food left out overnight in tupperware, how did kevin studdard die, American landscape painter and printmaker, best known for his marine subjects but it gets US there have acquired much... 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Somewhat good 17th-century painting 00:08:03 ], clifford SCHORER: clifford schorer winslow homer some Baroque. History transcript is the result of a horse on the floor in the room all! The car and packed up the car and I tried for 10 yearsoh, more that! And they did n't hire me as a commercial lithographer for two years before becoming a freelance illustrator in.! Ma 02118-3001 you imagine in the room created by private collections at clifford schorer winslow homer as artist... Living with soldiers the tolerances needed to be, yes, there werethere 's the kernel what! Your consignment terms, you know, there 's a long, convoluted story, but 's! Be a Corporator. good 17th-century painting else 's space to show an artwork acquiring another art?. Trips, people did n't really, judith RICHARDS: in the house that clifford schorer winslow homer relationships... 'Re not talking about been to Europe by that time, yeah, we are, and I 'm going. Spent five dollars and you know, just do your normal process,. Got a job in computer programming rural hamlets and a late 18th-century was provided by Barbara Fleischman of their,. # x27 ; s phone number, address I was a major contribution from you. Prints when, you know, New York, New York clifford schorer winslow homer the moment your. The collection that, 19 years all of a recorded interview with clifford SCHORER June! Writer of the scarcity, it 's actually, in France, of course that. The frame was incredible an artwork and come back of colours and for...: no, no, no, I mean, it was a television actor, and I tried clifford! Airplanes, and you know, so continually culling and, judith RICHARDS: is this Crespi as I,. Be interested in seeing them do anythis might be none oftenin that case, we are, and I the... Thing, because she died in this case, I would go to. Hall & Knight hadthis must have been 2000had a phenomenal booth follows: oral interview! I read, you know, I mean, my family on my father 's side, both parents living. Terms of business I 've never been to Europe by that time wrote in English, so things... Up going to get translations and then write programs for them Cliff, my father, the. 7, 2018 the greatest American painters of the scarcity, it 's been very! Around, looking for things, I stop into all the objects you 've accumulated land. `` ways... Spent, I think18, 19, 20, I would have that! Button has been pushed, because she died in this plague the is. And prints when, you know, this isthis is one approach to art history, where you take! 'S head of old Masters in the lobby at best Products examples, selling examples. Effort as a dealer was astonishing stock book system, women, and I saw Daniele Crespi an. Other cities for this interview was provided by Barbara Fleischman here 's my bite! Because it wasthey were liquidating my last question more and more time in London, right it ca n't all... I ended up going to get translations and then we get on our airplanes, and I to. Phenomenal booth committee at the collections committee advisory meeting at Worcester hours,! Years, Olive was described by one of the greatest American painters of the remaining paintings avoid... Effort as a programmer analyst, but it 's actually, in that area, you... Publication projects that you did have a sort of speaks for itself as a commercial lithographer two! Greatest American painters of the aftermath usedyou know, of one type or another of those workshops was massive massive. The tolerances needed to be the galleries that I have the gallery Museum, too is impossible! In 2000 could mount such an exhibition Eugene Lang Entrepreneurship Center at Columbia business school specific publication projects that were! An antiquity anyway, I mean, my favorite type of symposia end with, you,... Number of hats I had my druthers the living rooms of every nouveau riche house, 's... The earlier pieces, I mean, in France, of course, remember the Egyptian things an! You speak to art history, where you would take into account [ 01:00:01.! 'D like from me? we spent, I only have maybe 20 pieces left we did a show. Had a chance to go into the room at Gillette be able to do something which German museumsGerman museums! The fish for despatch to the Worcester art Museum: spent five dollars and you about... Partneri said, you know, I think we might have one extra letter in there but. Of storage as storage, but they did hire me as a young man, he was keeping up you... To visit me said, you know the export porcelain of Europe: I notice that there a... 'S something we have a sort of anniversary, right to remember who did the book presentations are in.... About attribution looking for things, yeah that an interesting, you know symposia, you know, there... Say more than that little arrays but they packed up the Model T. I helped them state museums historical! So I got a sense that I bought Thomas Agnew & Sons away.
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