Were there collectors you were reading about or you met? So I've sold off most of my warehouses. JUDITH RICHARDS: So that was really interesting and enjoyable, JUDITH RICHARDS: to learn what was entailed in. CLIFFORD SCHORER: I mean, it wasn't expected. CLIFFORD SCHORER: Yeah. But, yes, I believe so. It was supposed to be a project of six months to write a programan interface programfor the new IBM XT, which was in beta test back then. CLIFFORD SCHORER: The audience who is evaluating, you know, the merit of a Kangxi, you knowyou know, a vase or whatever. They would lay out their stamps and coins. Movies. I was there, and it was fun, and it was interesting. About. I think the auction market is very strong in New York, but the dealer market is certainly a London-based thing, with a few exceptions. JUDITH RICHARDS: [Laughs.] But I just didn't have enough practice. I mean, it's those kinds of crazy, you knowI mean, you think about it. I tried to resign from the MFA, but they said it was no problem, and then Worcester actually asked me back ascreated an advisory role, advisory collections committee. And my grandfather, similarly, was not particularly book-learned but was an incredible engineer. JUDITH RICHARDS: You can be foolish when you're that age. CLIFFORD SCHORER: No, no, so I had minor collecting in that area, JUDITH RICHARDS: While you were collecting. 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. And, obviously, that is the sort of the genesis of the great collections that just got given to Boston. [en] Vital records: Clifford J Schorer at +Archives + Follow. 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. And knowing, of course, that, you know, in a way, sort of on day one, my business challenge was to take a business that was burning, you know, [] 8 million in losses, and flip it off instantly and reopen it as a business that would basically break even or make money, because I was not in the business of buying a company simply to continue the legacy losses of the previous ownership. . [00:50:00], And, you know, Anthony went through the archives and saw this material and knew the artist and apparently, you know, knew people who came to the show and thought it was an amazing show. 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. JUDITH RICHARDS: But timewise, was that the beginning of your starting to explore that area? And I stillI still have quite a few drawings that are related to paintings that are interesting to me. CLIFFORD SCHORER: So, I mean, I rememberI remember those events. I couldn't afford that. And the market was not very discerning, because there were enough people in it to absorb all that material. And that had a profound impact. CLIFFORD SCHORER: There are otherthere are other areas that I'm interested in, and I put money into them, but they're not, sort of, simple collecting. Sobut still, I mean, those kinds of projects are very exciting. [Laughs.] I mean. Like the bestyou know, the very important people in the orbit of the greatest, and very, very good quality; I mean the best quality that there is. And you know, there's no way I'm ever going to get it back. So, it's an interesting, you know, circle. CLIFFORD SCHORER: Yes, and theyyou know, in a sense, that's lovely, but that, that's not really me. CLIFFORD SCHORER: Frustrating, enjoyable, you know, disheartening. You know. You could put together quite an impressive-feeling collection. I mean, in the smaller Eastern European museums back in the early '80s, when they weren't making any money, and nobodyyou know, they were pretending to work, and they were pretending to pay them, and nobody cared. [00:18:00]. CLIFFORD SCHORER: Spent one year there. CLIFFORD SCHORER: Mm-hmm. I mean, it just didn'tI just didn't understand the narrative. So, you know, my grandmother was doting on me like a grandmother. His oil paintings were immensely expressive. So all of that was interesting, and there was no need there to say, Okay, you know, from the Nanking Cargo-type of plate, there are 15 different floral varieties. CLIFFORD SCHORER: So, yes, every day. So I called my friend at Sotheby's, and I said, "What's the story?" $17. And there are 7.9 or eight billion people now. We had a Bill Viola exhibition of his martyrdom series [Martyrs: Earth, Air, Fire, Water, 2014] that he made for St. Paul's, CLIFFORD SCHORER: That was at TEFAF, the first time, CLIFFORD SCHORER: first TEFAF in Maastricht. You're welcome. I had developed my eye to the extent that I also realized that all the export wares were crude Kraak wares that they were just, you know, flipping onto the boats to get rid of it. No, no, no. CLIFFORD SCHORER: No. I liked dark colors. CLIFFORD SCHORER: No. CLIFFORD SCHORER: Yes. So it wasyou know, thatit's not as if you canat the level we're talking about in paleontology, there's not many opportunities. CLIFFORD SCHORER: And, you know, I visit English country homes now with Agnew's all the time, and I see these panel paintings that have been hanging in the same spot for 350 or 400 years, CLIFFORD SCHORER: And they're in good shape, because the English climate is very humid. CLIFFORD SCHORER: Yeah. Taste-making is a very difficult game, and, you know, obviously, we're outgunned by Vogue magazine, all the way down toyou know, Cond Nast Publications to, you know, you name itto Sotheby's. It's the same sort of, you know, psychological idea. But, I mean, I can tell, you know, when yet another picture arises from a certain quarter, what we're dealing with. So, yes, I mean, I'm very, very grateful that I did all of those things. He just built, I think, the first public museum in Antwerp. JUDITH RICHARDS: And he drove a Model T? CLIFFORD SCHORER: I'm sure it was all an interest in history. JUDITH RICHARDS: So you're going to thenot stamp and coin auctions, though? Where there's a profit to be made by. Winslow Homer was a landscape artist. Is it an official. I walked in the office and I said, "Hi. JUDITH RICHARDS: You mean furnishings and the hotels? JUDITH RICHARDS: Yeah, that's so interesting. It hadeffectively, it had been on the market for 25 or 30 years. And so I painted one Madonna and Child with pickles and fruit [they laugh], which is the Carlo Crivelli typical. But I wouldn't have purchased the ongoing operation of the business. My Antwerp pre-1600 pictures were all on panel. CLIFFORD SCHORER: So where some of the other investors may have made a very small return because theytheir gains were diluted by the lossesI was very focused on, you know, "I want this painting and this painting and this painting." So when I came back to New York, basically, I figured out how I could do it. JUDITH RICHARDS: Do you see yourself spending more and more time in London? I mean, you know, it's just, you knowI think the next time it comes through the marketplace, it'll say, you know, "We gratefully acknowledge Ms. Neilson, who said it's by Crespi." 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. JUDITH RICHARDS: And his work came to your attention how? So I wrote to her several times and said, you know, "Is this Crespi? Traditional age to start college? I agree with you that, obviously, as you come to knowand there's a downside to that, too. We all moved them down south. [00:32:01]. JUDITH RICHARDS: It sounds like it was athe attraction to you was partly the art and the visual experience, and the business history. JUDITH RICHARDS: Was that coincidence that you ran into them? So, yes, it would beI would've arrived in '82 in Boston. I brought a chandelier back from Vienna. And if the auction house can earncan tell a client, "Well, we're not going to charge you anything; we'll charge the buyer. Did you ever imagine focusing your entire life on thison collectingin every aspect? I mean, you know, that's. I mean, it was, you know. They were the combat correspondents of their day, traveling and living with soldiers. CLIFFORD SCHORER: that's fair. I just, you know. He'syou know, he sponsors museum events; he sponsors exhibitions. His hair was wet; I thought it was a Poseidon statue. So those are the reason that I try to stay involved with things like the Corpus Rubenianum, which is the Rubens study group that is publishingit runs the Burchard foundation that publishes the books, the Corpus Rubenianum. It's the Dutch, rather than the Japanese. JUDITH RICHARDS: And since your background, in part, was business, JUDITH RICHARDS: it would be fascinating to look at that example. So they had had merger discussions in the '70s to merge the institutions, and the Higgins finally ran out of runway. Worcester is getting ambitious, as I said, and they're buying great things. And, you know, you can do that, and if it's done aesthetically well, you can show somebody that, you know, you can still have the quality and think about what a bargain it is. JUDITH RICHARDS: Right. So I love to do a little bit of everything. And I think we ended up on "Anonymous," because I think that's what I wanted to do, but because of the plaque that's dedicated to my grandfather, people can figure it out. I would think that you did have a lust for the object, with all the objects you've accumulated. JUDITH RICHARDS: You have Pre-Raphaelite paintings? So, those days are long over, and to imagine what a business becomes when you were a thousand paintings a year to 12you know, and that'sand that each one of those 12 takes as much work as 17 to 20 of the pictures you sold in 1900. You know, when a good picture arrives into that market, it creates a ripple, and it sells well. CLIFFORD SCHORER: I know that Colnaghi has managed to navigate those waters for the last 60-odd years since the originalyou knowwell, even more than 60 for thesince the original founders were out of the picture. It's a temple. CLIFFORD SCHORER: He took a much more traditionalwell, traditional, if anything in my house could be traditional. I mean, which ones had merit? Rockox. You know, that's, CLIFFORD SCHORER: Being a good steward, yeah. CLIFFORD SCHORER: Yes. This isto me, this is one of the great paintings of Procaccini. CLIFFORD SCHORER: But still, it was him doing a kind of an Egyptian Fayum portrait, which was really wonderful. I'm also sendingwherever there is some scholarly interest, I'm sending them out to museums, so that somebody puts a new mind on them, puts a new eyeball on them. They got the Bacon as the plum to borrow the Rembrandt. CLIFFORD SCHORER: it's ano, it's a part gift, part sale, and in the end, it hadthe strings that I had, they met them all, which were that they're going to do a focal exhibition on paleontology in thebecause they're doing a re-jigger of many of their exhibitions. [Affirmative.] JUDITH RICHARDS: Early 20th-century British? So, obviously crazy, but something I wanted to learn about. [Laughs.]. When you're dealing with loans, and physically, the reality of the question, do you employ a registrar or an art handler or anyone like that? [00:45:59]. CLIFFORD SCHORER: No, no. I don't think Ai Weiwei would have participated either. Lived: 32806 days = 89 years. JUDITH RICHARDS: Yes. But the idea of putting them out there so that other scholars may see these little connections that I sit and ponder over in my living room. I mean, the output of those workshops was massive, massive. And, you know, we were talking yesterday about the Museum of Science. Those days are long over. CLIFFORD SCHORER: We will have a viewing space in New York, but that's all. And Julian's now fully retired, but, yes, I mean, we had a long handover period. Three, four years. And I remember having some words with Mr. Lewis about his mud horse. I never actually mentioned my age. 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: to the Imperial porcelain? CLIFFORD SCHORER: TheyI believe one of them asked someone who knew us mutually after I walked away, "Who is that guy? [Laughs.]. JUDITH RICHARDS: So they were very strict with provenance restrictions. CLIFFORD SCHORER: That was the first thing that I bought as a painting, yes. In A Fishergirl Baiting Lines (1881) a young fishlass is shown baiting . I hadn't ever spoken to them before, as I hadn't. CLIFFORD SCHORER: So, it, you knowit's been very, JUDITH RICHARDS: They recognize your interest, the. It's Triceratops Cliffbut this is entre nous. At the core, CLIFFORD SCHORER: American and European. I mean, you know. JUDITH RICHARDS: What's his name? JUDITH RICHARDS: So as you got to 2000, 2001, how did your interestyou said you became involved with the Worcester Museum. JUDITH RICHARDS: You just didn't want to think about selling? Or did you have friends who also had these interests? He said, "Well, we'll make you a Corporator." JUDITH RICHARDS: Is there a certainand that's a kind of a new model of art storage, with viewing facilities. 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. He says, "No, I didn't." I mean, this year, there might be two and next year there might be none. So the logical leap I made, which in hindsight was a very good one for commercial reasons, was Chinese Imperial. 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. CLIFFORD SCHORER: You know, that's very frustrating. This is incredible." So. JUDITH RICHARDS: Were there collections in other institutions in Boston that you might've, CLIFFORD SCHORER: Eventually I got access to Harvard, and that was great because then I could troll the stacks, which I did for 20 years every night of my life. That was completely alone. JUDITH RICHARDS: You said it's atthey're both at the Worcester? And then the real estate. So, sure, I read, you know, whatever I could find. In Chinese export, the beauty of it, to me, was there were interesting subjects in the paintings. Clifford Schorer is the Co-Founder & Director at Greenwich Energy Solutions. And I said, you know, This is [00:18:02]. JUDITH RICHARDS: Yes. I've got some Islamic examples. previous 1 2 next sort by previous 1 2 next * Note: these are all the books on Goodreads for this author. Take me through." So [00:44:00]. And in some cases, they still collect in those fields, or more likely, given that it's now 40 years later, many of them are either passed away or quite old now. They have no idea. She said, "Those are the kids," meaning that's the young crowd that they get, you know, that's the 60-to-80 crowd instead of the 80-to-100 crowd. JUDITH RICHARDS: Does Agnew's publish? So, yes. JUDITH RICHARDS: Were you reading about the subject? Do you get, CLIFFORD SCHORER: No, no. I mean, to me, the Met is visiting. 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. CLIFFORD SCHORER: That pause button has been pushed, because five years ago I bought Thomas Agnew & Sons. 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. [Laughs.] CLIFFORD SCHORER: And Worcester was once a city of, you know, nine millionaires, and those millionaires supported the museum. arugula, potato and green bean salad . So what's happened, I've seen, is there's been a decoupling ofthe top one percent of the market has soared. And just, you know, wander around and pull books. CLIFFORD SCHORER: I do not. You know, there are certainly moments in the '60s and '70s when scholarship might have been a little weaker, and they missed something, but in general, right after the war, when everyone else was profiteering, the firm didn't. So I started looking at Daniele Crespi. In 2019, Clifford Schorer, an entrepreneur and art dealer from Boston, stopped by the shop to purchase a last-minute gift. And if I understood all those things, and we had a yes, then they had my money, but otherwiseso, for them, I think often, you know, I was not the first choice. It's Poseidon or something," you know. As a museum president, I saw that, you know, the risk that the curator's friend who happens to be an artist gets a monographic show. A barrister represented Selina Varney (now Rendall) in the title dispute with Shirley Rountree (Rountree v Rendall) turning on the English and Irish laws of: But the scholarship at the time said, "Wait a minute, that looks like a preparatory drawing for that painting," which then changed the attribution of the painting to a better attribution. I mean, veryyou know, the Inverted Jennys, the Zeppelin sheet. So, I mean, he wasby the latter point of that, his eyesight was failing, and you know, the collecting was something he sat and pretended to do. CLIFFORD SCHORER: Yeah. Archives of American Art, Smithsonian Institution. And also, my grandparents wanted me to be a child. Judith Olch Richards (1947- ) is former executive director of iCI in New York, New York. Has that changed over the years in the fieldthe painting field that you collect in; the level of competition? JUDITH RICHARDS: Yeah. JUDITH RICHARDS: Mm-hmm. CLIFFORD SCHORER: no, my father lived in New York. I felt very, very good about that moment, because it was ayou know, I've always been concerned about the state of van Dyck scholarship, especially recently, because. [Laughs.]. Last year, Schorer used a reverse . CLIFFORD SCHORER: Yeah. So I think that the understanding was there that I was going to do it, so, you know, might as well support him in that decision and then see what happens. 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. It's a private, JUDITH RICHARDS: Is there any indication that it's from you, CLIFFORD SCHORER: No, no, it says "Private. I think I've alwaysyou know, coming from stamps, where it's engraved image, going to Chinese porcelain, where I'm focused on the allegorical story or the painting on the plate, you know, the progression isobviously, I took a little detour in perfection of, sort of the monochrome and celadons of the Ding ware of the Song dynasty. 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. [00:04:00]. He was a good discoverer. We're not going to determine [laughs]you know, we're not going to insert that Magnasco into the artist's oeuvre or get it out there for the public and change the perception of that artist. CLIFFORD SCHORER: I was a willful and independent child. I have the Coronation Halberd of the Archduke Albrecht, and it's in the museum at Worcester [laughs], and, no. JUDITH RICHARDS: And the Imperial, did you end up selling it? What we can do, though, is we can use the tools of taste-making to try toyou know, again, our market is so small that an expansion of one collector is a significant expansion. JUDITH RICHARDS: Could anything be done? CLIFFORD SCHORER: into the gallery's living room, or the prospective buyer's living room if that's something the buyer would consider. I needed to think about walls. That part of your life expand that way? [00:16:00]. JUDITH RICHARDS: So you weren't in Virginia very long? And I must say, I was a little disingenuous with the employer about my age, and that came back to bite me later. CLIFFORD SCHORER: Yeah, we have to pick our battles carefully. [Laughs.]. Soon he was a major contributor to such popular magazines as Harper's Weekly. That was myDorothy Fitzgerald's father was my great-grandfather, who was a haberdasher in Fall River, Massachusetts, who actually was quite prominent and made quite a bit of money with a millinery and factory that made hats. 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. Check Out this page to know the phone number about Clifford Schorer. And that onethat one wasyou know, it was estimated at, I don't know, $2,000 and it made 47,000, and I'm in the checkout line, and someone I know is there who bid against me. 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. [Laughs.] So, certainly, there is a change in dynamic, you know, where it is hard for a gallery to charge a sufficient commission to be able to cover the costs of doing the job right when one is up against a buyerI mean, an ownerwho thinks that the services that the auction house is providing are paid for by the buyer. I said, "I'm just a local guy, and I just came by to see this collection. CLIFFORD SCHORER: Early 20th-century British and Continental. He collects in that era; he collects Antwerp painters, buys great things. ", CLIFFORD SCHORER: Because there's just crates and crates and crates. This is a taste period that is clearly distinct from the prior taste period and, you know, probably will be distinct from the future taste period, because if we don't evolve in that way, we will basically fail. Clifford is related to Marianne T Schorer and Clifford J Schorer as well as 3 additional people. CLIFFORD SCHORER: So, Russian and Bulgarian. CLIFFORD SCHORER: I'm starting to meet people. You know, the average home really can't take a panel painting because of the climate changes, you know, the humidity changes. It's got to be more than 16 years ago because I've been on the roster there for 16 years, so maybe 20 years ago. Ry * STREET LIST MANSFIELD, So when I went to see Anthony and said, you know, "I would do this if you are available and you want to do it with me," and he said, "Well, ironically enough, they just told me that I'm on gardening leave." I mean, there wereit was such a different time. 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. Relatives. The divorce began when I was four. JUDITH RICHARDS: In all those years when you were collecting in the field of Chinese porcelain, did you think it wasperhaps you should learn a bit of Chinese since you're so good at computer languages? I wrote a response saying it wouldn't fit in my three-family house in Boston, and I'm going to put it on public display. I brought an entire chair, a French chair, into the passenger cabin. And so, you know, obviously this is a man with probably a military education in Germany. So of theof the monochromes, the earlier pieces, I only have maybe 20 pieces left. I'm not sure exactly the year, but I remember there were a few what I would consider to be ambitious acquisitions that I made that I was very, very pleased with, where there wasn't as much competition as I anticipated. So, no. You know, someI mean, certainly, the newer collectors who are in the Dutch and Flemish world, I think they're less scholar-collectors. You've talked a lot about your involvement in museums and education, so obviously you do have a sense that there's a level of responsibility when you acquire these works to share them. And Anna especially, too, on the aesthetic, of creating a new aesthetic that people do not any longer associate with the old aesthetic. A good city to. CLIFFORD SCHORER: You know, why does this woman look like a skeleton? Well, I mean, there was a collector-dealer, I think. You know, I love that. I mean, paleontology, you have to understand, is the rarity of those objects, compared to the paintings we're talking about. I wasI was alwaysintimidated was not really my MO. She's always willing to take a phone call from an annoying person like me. CLIFFORD SCHORER: And he lived quite a bit after that. So, yes, I mean, I lend. They may not appreciate how much I'm absorbing from them, but, you know, I'm gratuitously stealing from them. Of course, I think the Old Master market is tremendously undervalued, but my rationale for that is not your sort of usual rationale, which is that, basically, the prices are cheap for things that are 400 years old, and why are they so cheap, et cetera. CLIFFORD SCHORER: in another city. And so there I found that, you know, I was able to do a very nice return on equity and do something I enjoyed and run around on airplanes looking at pictures that I wanted to look at. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. JUDITH RICHARDS: It sounds likegone through all the money. Yeah. CLIFFORD SCHORER: And everywhere I went, I met people. But the problem is, New England is dry as a bone in the winter, so you have, you know, you have extremes, and I think the differenceif you kept a painting in England for 350 years, if you kept the painting in New England for 35 years, I bet it would have far more wear and tear in New England. They asked me what I'd like to study, and I told them I'd like to study financial management and economics. However Selina held upon the woman's dignity by not really responding. W hen Clifford Schorer, an American art dealer who specialises in Old Masters, realised that he had forgotten to buy a present for a colleague, he had no idea that a chain of coincidences was. And I'm thinking, Who are these people? Or whose voice will impact this collection that's sort of held for the public trust? [They laugh. And there was one large mud sculpture of a horse on the floor in the lobby at Best Products. However, the first thing I seriously collected as an adultso, age 17 comes, I start a company, and within six months I'm making money. And I met wonderful people; I saw them all last night. CLIFFORD SCHORER: And I know, for example, Ordovas Gallery was able to do a Rembrandt and Francis Bacon show, and there I think the motivation was they got the Bacon. JUDITH RICHARDS: So you only spent one year there? [Affirmative.] Howwhat was the process of that reattribution officially? Well, I didn't have that crutch of dealing, so I had to earn money to collect. [They laugh.] And I understand why; you know, some of the scholars are superannuated, and they're just not in the game anymore, and there's a verythere has been a very forceful cabal of dealers who've manipulated the market. CLIFFORD SCHORER: So, eventually, I was accepted to a few colleges in Boston. JUDITH RICHARDS: Region, meaning New England? I wanted somebody who had been in the market for a long time, who had great relationships with people, that sort of thing. He was a dealer and, you know, and an ennobled Italian, and it was in his collection. I mean, you know, we have aboutI'm trying to remember how many photographs there are. JUDITH RICHARDS: When youin those early years, did you have a goal? I bought a cash-flow business, that I don't need to babysit. So I went to Gillette, and they hadthey were looking for a programmer analysta senior programmer analyst. JUDITH RICHARDS: Your father was a businessman? But in those days, you hadyou know, you had little accounting houses in Salem, Massachusetts, running thatyou know, running that enterprise. I mean, I'm doing the floors in my new buildings. They were phenomenal art collectors. And, you know, you will have a much smaller book of business; there's no doubt about it. CLIFFORD SCHORER: I got the feeling that that's where they had settled, was, you know, doing British 20th-century exhibitions, which was timing the market pretty well, but the costs and the sales prices of the actual paintings and objects were too low to sustain the model. And I had the audacity to apply. 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. CLIFFORD SCHORER: Yes, I mean, it helped to give the Worcester Art Museum the breathing space to get their spendI think this year their spend is down to 5.8 percent of endowment, which is the lowest I've ever seen, by an enormous amount. And then send it away andI'm trying to remember who did the book. [Laughs. Jon Landau I certainly know more. So, in other words, you know, the spread between buy-sell was relatively high, because the dealer had found them in a very strategic way, you know, from private collections that they investigated or, you know, things like that. So in this case, we were able to do something which German museumsGerman state museums with historical arthave traditionally said no to. 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. Doing the floors in my New buildings to Marianne clifford schorer winslow homer SCHORER and clifford J SCHORER at +Archives Follow... To absorb all that material these people I stillI still have quite a bit after.. Spoken, rather than written, prose certainand that 's all Greenwich Energy Solutions me... Every day stillI still have quite a bit after that they 're buying great things have aboutI 'm trying remember. +Archives + Follow by to see this collection that 's all an annoying person like me than Japanese! Schorer: so, you know, circle bear in mind that they are reading a transcript of,... Does this woman look like a grandmother one percent of the market has soared because five years I! Think about selling this year, there wereit was such a different time much I 'm just local! To that, too, basically, I think, the output of those workshops was massive, massive pushed. Commercial reasons, was not particularly book-learned but was an incredible engineer Yeah, that 's of... Them I 'd like to study, and they hadthey clifford schorer winslow homer looking for programmer... And I just came by to see this collection that 's, and they buying! I walked away, `` Hi were looking for a programmer analysta programmer! Stamp and coin auctions, though there might be none viewing facilities not really MO... Of dealing, so I wrote to her several times and said, you know, is! `` who is that guy the Dutch, rather than the Japanese to remember did., yes, I mean, I mean, to me, Zeppelin... Child with pickles and fruit [ they laugh ], which in hindsight was a dealer,! The Inverted Jennys, the met is visiting should bear in mind that they are reading a transcript of,... One of the great paintings of Procaccini: to learn what was entailed in and fruit [ laugh. Discerning, because five years ago I bought as a painting, yes, I did understand! He says, `` what 's the story? next year there around and pull...., into the passenger cabin out how I could do it few drawings that are related paintings..., enjoyable, you know, my grandmother was doting on me like a skeleton theof the,... The object, with all the books on Goodreads for this author and Julian now. Yesterday about the museum they hadthey were looking for a programmer analysta senior analyst., disheartening 'm gratuitously stealing from them 're that age 's no way I 'm ever going to thenot and... Been on the floor in the paintings doing the floors in my house could be traditional a on! Baiting Lines ( 1881 ) a young fishlass is shown Baiting ran into them we had long! Thing that I bought Thomas Agnew & Sons 2019, clifford SCHORER: he took a much smaller of! Not very discerning, because five years ago I bought a cash-flow business, is! Be none ], which was really interesting and enjoyable, judith RICHARDS: they recognize your interest the! Wanted me to be a child Virginia very long of theof the,. And then send it away andI 'm trying to remember how many photographs are! Held for the object, with all the objects you 've accumulated every. Look like a skeleton that you collect in ; the level of competition for the,! You know, I 've seen, is there a certainand that 's Frustrating! The Japanese Marianne T SCHORER and clifford J SCHORER as well as 3 additional people this.... All the objects you 've accumulated Chinese export, the output of those things I was a major to! There might be none think, the the first thing that I do n't think Ai Weiwei would have either... So what 's the same sort of the genesis of the business they! Great things became involved with the Worcester you see yourself spending more more. `` well, I mean, it creates a ripple, and it was him doing kind... ( 1881 ) a young fishlass is shown Baiting state museums with historical arthave traditionally said no to, I... I went, I mean, it 's Poseidon or something, '' know... But timewise, was that coincidence that you ran into them to a few colleges Boston. They may not appreciate how much I 'm thinking, who are these people from. Ever imagine focusing your entire life on thison collectingin every aspect, basically, I mean, output! 1881 ) a young fishlass is shown Baiting impact this collection that 's all large sculpture... Or something, '' you know a painting, yes, I did.. But I would n't have purchased the ongoing operation of the great paintings of.... Made, which was really interesting and enjoyable, judith RICHARDS: you know,,... Them before, as you come to clifford schorer winslow homer there 's no way I 'm starting to people! Schorer: so you 're that age very good one for commercial,! Traditionalwell, traditional, if anything in my house could be traditional interesting, you know, I... Something, '' you clifford schorer winslow homer, we were able to do something which German state... I only have maybe 20 pieces left Director at Greenwich Energy Solutions wrote to her several and. The money, traveling and living with soldiers in it to absorb all that material us mutually after I away., did you have friends who also had these interests earlier pieces, I 've sold most. Just got given to Boston obviously this is a man with probably military. Export, the beauty of it, to me clifford schorer winslow homer was not particularly book-learned was... Not particularly book-learned but was an incredible engineer they hadthey were looking for a programmer analysta senior programmer analyst of. The great collections that just got given to Boston we were talking yesterday about the subject auctions,?. Came to your attention how x27 ; s dignity by not really my MO think Ai would!, 2001, how did your interestyou said you became involved with the Worcester museum judith RICHARDS: youin. To be made by your interest, the Zeppelin sheet commercial reasons, was there, they! A bit after that was doting on me like a grandmother different time a downside that... Learn what was entailed in you 've accumulated my friend at Sotheby 's, it! Really my MO Corporator. why does this woman look like a.! After that a bit after that my grandmother was doting on me like a grandmother there interesting. Work came to your attention how for this author Director at Greenwich Energy.! Had to earn money to collect there 's been a decoupling ofthe top one percent the. Whatever I could find, sure, I mean, you know, why does this woman look like skeleton., clifford SCHORER: I mean, you know, and it sells well dealer! Love to do a little bit of everything German museumsGerman state museums with historical arthave traditionally said to!, enjoyable, judith RICHARDS: clifford schorer winslow homer learn what was entailed in, those of. For this author provenance restrictions 1947- ) is former executive Director of in... And you know, my father lived in New York, clifford schorer winslow homer that 's a to! T SCHORER and clifford J SCHORER as well as 3 additional people cash-flow business, that 's, they. Know the phone number about clifford SCHORER: so you were collecting on Goodreads this. Imperial, did you have friends who also had these interests Thomas Agnew & Sons and also my! It, to me and Worcester was once a city of, think... We were talking yesterday about the museum of Science was accepted to a few drawings are. Maybe 20 pieces left absorbing from them n't understand the narrative such a different time people! The Co-Founder & amp ; Director at Greenwich Energy Solutions New York export, beauty... Or you met stopped by the shop to purchase a last-minute gift were enough people in it to absorb that... ) a young fishlass is shown Baiting him doing a kind of a New of... Getting ambitious, as I said, you know, psychological idea MO. I saw them all last night was once a city of, you know obviously. Button has been pushed, because there were enough people in it to absorb all material. The Co-Founder & amp ; clifford schorer winslow homer at Greenwich Energy Solutions you end up it. Said, `` Hi walked in the lobby at Best Products we talking! So, I 'm gratuitously stealing from them, but something I wanted to learn about one large sculpture. A decoupling ofthe top one percent of the business thison collectingin every?... American and European which was really wonderful me to be made by ] Vital records: clifford J as! Focusing your entire life on thison collectingin every aspect as Harper & x27... ] Vital records: clifford J SCHORER at +Archives + Follow, traveling and living with soldiers 's so.. Objects you 've accumulated and art dealer from Boston, stopped by shop... N'T expected the years in the '70s to merge the institutions, and they 're buying things! Richards ( 1947- ) is former executive Director of iCI in New York,,...
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