[Laughs. And I found it; it was an ambassadorial gift to the Spanish ambassador, and found the exact painting and everything. JUDITH RICHARDS: Yeah, that's so interesting. CLIFFORD SCHORER: which I will acquire. 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. JUDITH RICHARDS: So you're collecting Italianroughly Italian Baroque; that's around 1600 to 17how do you define it? And I think I needed more of a therapist than a decorator. The door is closed; we buzz you in. JUDITH RICHARDS: and at the Worcester Art Museum. [Affirmative.] CLIFFORD SCHORER: As it is by irresponsible, you know, people. No, I neverI mean, I alwaysI mean, the problem is I'm a jack-of-all-trades and a master of absolutely nothing. That was completely alone. I've been coming to every Skinner auction for 10 yearsoh, more than that, 19 years. JUDITH RICHARDS: Mm-hmm. JUDITH RICHARDS: involve yourself in your conversation about this. 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. CLIFFORD SCHORER: That was based on opportunism, because some of the greatestsix of the greatest Pre-Raphaelite paintings ever made were available to us at that moment. Had you been thinking about it? We're German people. All of that is gone. 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. JUDITH RICHARDS: it's kind of easy to figure out. So, yes, there werethere's the collection that, had I unlimited wealth, I would have acquired. They had good people; they had good people. When I was 13, we restored a Model T Ford from thefrom the, you know, bolts up. The van that he then gave me. CLIFFORD SCHORER: My grandfather and I had a similar language about the world. JUDITH RICHARDS: Did your other business interests then also take a step back? CLIFFORD SCHORER: And again, we got plenty of press about it. So he came for the opening. CLIFFORD SCHORER: You know that these regional areas in Bulgaria were the places where they found the Thracian gold hoards, and then, of course, the national government took it all away from them. 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. Skinner had a published catalogue that had, you know, a paragraph of text on the better objects. So the short answer is that they may like to have it. I ended up going to Boston University in a program that they created for, shall we say, eccentric-track children. He also practised printmaking. I think that's a big story for Plovdiv. And I was just, you know, I was a rebel. Rita Albertson at the Worcester Art Museum did a phenomenal restoration. So if I want to pursue an area of collecting, it almost would be easier, as the curators do with their oaths, to collect outside of your area. 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. And then I promised myself, I'm going to get out of high school and I'm going to go down to Virginia. And I remember saying, you know, These are the best Chinese export objects that you can buy, you know, in America, because these were very much American market pieces. But we have some legacy of where certain pieces went, and I was able to track some pieces down later in life. ], JUDITH RICHARDS: At what pointat what point did you think about putting aside, possibly in storage, or selling that first Chinese porcelain collection? Clifford lived on month day 1984, at address, North Carolina. I mean, I think that right nowso what we did in the interim is, we did this portraiture show which brought in, CLIFFORD SCHORER: It brought in Kehinde Wiley, Lucien Freud, and, CLIFFORD SCHORER: you know, otheryou know, Kehinde Wiley's. JUDITH RICHARDS: Wow. But, of course, the ones who did press me in a different wayand I can names, but I won'tthe ones who kind of tried to sort of turn that conversation into a purchasing experience or get lost, they were out of my book before the 15 minutes was by, because I knew they were charlatans. You want toyou want to sort ofyou know, you want to have a completely catalogued collection, with every example of, you know, canceled, non-cancelled. Just one huge vertebrae specimen, yeah. I don't want to do anything fancy." And we'll get back to him, too. I spoke to others who came to buy for their trade. You can have that kind of one really good Dutch picture, and you can still have your Abstract Expressionism, and you can still have a modern space, a livable space. So we're changingone by one, we're changing the buildings. But the languages that I really learned and loved were French and the Slavic languages. [Laughs.] So it really was a question of lobbying to say, "Look, I'll make this better for you over a period of years," than doing it this way. CLIFFORD SCHORER: the Lewis family. [00:16:00], You know, she was waving me away. And I wasI was really kind of bringing it all to conclusion. Washington, DC 20001, 300 Park Avenue South Suite 300 CLIFFORD SCHORER: And, you know, there you have, you know, five occasions a year for some sort of a symposia where people are presenting their latest book, their latest article, their latest theory, and, you know, I love that world, because that world is filled with incredibly passionate people with very diverse opinions. Someone mentioned the name Mark Fisch to meJon Landau. JUDITH RICHARDS: Having that photograph at hand to show you gives me the sense that they already knew that it would be mistaken. Just because there was more material in the market. Just one. CLIFFORD SCHORER: Because the people I knew [laughs] when I was 17 were 60. We can still do a very large volume in dollars, but a very small volume in picturesyou know, dollars or poundsbut a very small volume in pictures. [Laughs.] And it was a very independent study. It's wonderful. The reality was, it was cheap. CLIFFORD SCHORER: Only well after that. I mean. [00:16:00]. JUDITH RICHARDS: You were 18? But I went away, you know, tail between my legs, because it was absolutely unattainable for me. JUDITH RICHARDS: And he was keeping up with you. We should close the museum tomorrow and give everybody that walks by on the sidewalk $400 and just call it a day, because that's what the budget is. CLIFFORD SCHORER: So they depict the crucifixion scene as a maypole party. Those days are long over. So, I have these big buildings filled with storage, and a few years ago it got out of hand, you know, when it topped over a million square feet of storage. JUDITH RICHARDS: They're based in London? JUDITH RICHARDS: The competitors are in equal situations? Chinese Imperial you didn't often see, you know, in a Paris shop. Well, I didn't have that crutch of dealing, so I had to earn money to collect. And of course, my fear about doing this as just a simple risk-taking exercisemy fear has proven to be well-founded but measured, so it's something I could wrap my arms around. [en] Vital records: Clifford J Schorer at +Archives + Follow. CLIFFORD SCHORER: commentarywe had a Reynolds and a Kehinde Wiley together, and we showed that, you know, basically, this portraitureyou know, the portraiture is not only of its time, but it also can be timeless. So, yes, there's a plaque to my grandfather. JUDITH RICHARDS: And you wanted to live in the middle of nowhere? My aesthetic was decided very early. CLIFFORD SCHORER: Yeah. JUDITH RICHARDS: So that was really interesting and enjoyable, JUDITH RICHARDS: to learn what was entailed in. And she's likeshe justI slipped her a little money; she shifted her chair over, and I went in. There were definitelyit would definitelyI mean, there are still major goals that are unachieved thatyou know, there's a whole list, yes, and there are some with highlighting, some without, some that are possible, some that are not. JUDITH RICHARDS: Early 20th-century British? His realist works present scenes from the Civil War, fishing expeditions, and moments of everyday life in the United States, all genres that helped work to establish a . JUDITH RICHARDS: So I'm thinking of 20th century. No, no. How did that interest. So, JUDITH RICHARDS: [Laughs.] And he started me on collecting, actually. I mean, my desire to not live there. [00:26:00]. Right and Left Painting. And you know, the American catastrophe. It was justmy grandfather would look at something and understand intrinsically what it needed to do, and what the tolerances needed to be. JUDITH RICHARDS: Yeah. ONE SIZE ONE SIZE 16.0cm10.8cm5.3cm ! . JUDITH RICHARDS: But you started out displaying these 300? 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. And that was another thing, too. Are there light issues with the materials that you collect, and has that beenor had an impact on your home? And the advance guard, I remember the night the advance guard came to the first Skinner auction. So I went to Gillette, and they hadthey were looking for a programmer analysta senior programmer analyst. The shareholders did very well by the real estate. And so, yeah, I mean, there were a number of things, a number of hats that I had to shed to sort of, I think, stay within what. I lasted six months. They just would not be the most prominent? He says, "No, I didn't." I mean, you know. CLIFFORD SCHORER: That would've been a little bit early. Local fishing used both lines and nets, and the women were responsible for maintaining and preparing them for the men. Summary: An interview with Clifford Schorer conducted 2018 June 6-7, by Judith Olch Richards, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at the offices of the Archives of American Art in New York, New York. So I was going to the library at Harvard and at other places and reading the catalogues for all the Drouot sales and, you know. JUDITH RICHARDS: When you say serious, you mean in terms of business? So, you know, I think that's why I say it's a hobby you can take to your tomb. I mean, veryyou know, the Inverted Jennys, the Zeppelin sheet. JUDITH RICHARDS: That would mean three or four years? But that would be locally; like, if an opportunity arose, I would go; I would look; I would buy something at an auction. This is my private photography archive of the gallery that's in theit's in the gallery. CLIFFORD SCHORER: Oh, boy, that's a tough one. CLIFFORD SCHORER: Well, the big London galleries. I mean, it was basically, you know, not anyou know, it was like you're trying to pass the day away; you're walking around the city; and there's this building that's 40 feet wide, 60 feet deep [laughs], you know, and you go in, because it's open, and, you know, they charge nothing to go in. CLIFFORD SCHORER: But still, it was him doing a kind of an Egyptian Fayum portrait, which was really wonderful. I mean, yes, of course. And I've been in Boston ever since. But I think that if there's any way you can filter out the noise of the marketplacebecause the noise of the marketplace is just a cacophony now compared to when Iyou know, when I was first starting. 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. 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. [Laughs. Or you know, just maybe the one-tenth of one percent could suss it out. Was it something you had been looking for as an opportunity? But I bought it for the frame. ", CLIFFORD SCHORER: You know, I mean, "A Molenaer is more than $20,000?" Select this result to view Clifford J Schorer's phone number, address . It wasit was basically an operation with an advance guard. Christopher Kingzett is still working independently in British Modern, and that's his field, is British 20th century, and Julian was more in the Old Masters and 19th century. ", So he called them over, and I said, "This is amazing, but why is this an antiquity? New York? [00:02:03]. He is considered one of the foremost painters in 19th century America and a preeminent figure in American art. I wasn'tI didn't have anything approximating a cultural youth. ], 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." But really, this house sort of speaks for itself as a kind of singular work of art, as Gropius so often said. So. The book isso, Hugh Brigstocke and his new. It has a lot of history; it has a lot of business that it's done. It was amazing. JUDITH RICHARDS: Yeah, of course. CLIFFORD SCHORER: intrinsically knowing the difference between an early 20th-century and a late 18th-century. ", You know, these might not beor they might be; I don't want to opine on that. CLIFFORD SCHORER: Well, we didn't get that far because they were literally setting it up when I arrived. JUDITH RICHARDS: Have you been involved with other arts institutions besides Worcester? CLIFFORD SCHORER: Yeah. And then I'm going through a book on Strozzi, and it says Worcester Art Museum. So, yes. He was largely self-taught. CLIFFORD SCHORER: that's fair. I mean, obviously, this isthis is one approach to art history, where you would take into account [01:00:01]. Release Calendar Top 250 Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Movie News India Movie Spotlight. Are there any people there who sort of are the continuation? CLIFFORD SCHORER: No, there were, you know, metalwares; there were Art Nouveau objects; there were lock boxes. CLIFFORD SCHORER: so, there weren't purpose-specific stamp and coin auctions in Boston, really. CLIFFORD SCHORER: Eggoh, it was worse than that. 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. You know, along with Ai Weiwei as the eyeballs or something, you know. All the regional houses, not the big city houses. I said, "I'm just a local guy, and I just came by to see this collection. CLIFFORD SCHORER: when I bought the company that year. JUDITH RICHARDS: So you do all the paperwork yourself? Because there's only one. I love computer languages. CLIFFORD SCHORER: So, you know, there's still an auction wholesale-to-retail spread more because the presentation is slipshod and fast, and, you know, you're in a group of merchandise that goes across the counter on the same day. So, yeah. And theyand the span of time goes from, you know, 1720 all the way to 1920. CLIFFORD SCHORER: Sure. And then I would see the object resurface with a new price tag on it. I mean, there wereit was such a different time. He focuses on businesses with unique ideas or technologies that are in need of guidance during their . CLIFFORD SCHORER: Well, it's paramount for the museum world. JUDITH RICHARDS: Was that coincidence that you ran into them? CLIFFORD SCHORER: I would say most of that traveling was on my own. I couldn't afford that. JUDITH RICHARDS: You talked about "everything." I remember that. So I didn't go back. 1-20 out of 147 LOAD MORE. 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. I don't know if there are people, collectors, that you have relationships that you want to mention someone, or competitors. So, sure, I read, you know, whatever I could find. I collect Dutch still lifes; I collect," you know, fill in the blank. I want to talk to them. In their day, they weren't particularly valuable, which is why they're strewn all over Boston. JUDITH RICHARDS: This must've been extremely difficult for your family as well as you. [Affirmative.] Her book was from '88 or something, or '90. "The auction is coming up." They started chatting about art, and then Mr. Phillipson mentioned. She wrote the Crespi book. My grandfather, who was a very technical manvery poorly educated, but a very technical manhe could take apart any machine and put it back together. Their collection was just chock-a-block with things that had nothing to do with museum collections. So, yes, it would beI would've arrived in '82 in Boston. JUDITH RICHARDS: Is there anything else you want to talk about in terms of future aspirations? CLIFFORD SCHORER: Total coincidence. You know, you name it. There can beyou know, that's much more of a contemporary problem. JUDITH RICHARDS: And did thosewere those thingsdid you consider acquiring those things as well to accompany the painting? JUDITH RICHARDS: Were therein that fieldbecause I don't know the field very wellis it difficult tois itare there issues of fakes? It's the big gallery at the MFA. And recently, what I do is I actuallyI get involved with the construction projects for them, so I'm building their new buildings, which I love. And it was an area I didn't know, and you know. JUDITH RICHARDS: ancestry. And pretty much after 13, I never went back home again. I don't think Ai Weiwei would have participated either. 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. So we did something, you know, I thought rather radical, which was, you know, Anthony's idea, a very good idea, which was to showBill Viola was focused on martyrdom by the four elements, and we constructed this entire idea about martyrdom to build an exhibition around. No, I was 15 and a half. CLIFFORD SCHORER: Think about selling? 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. It hadit was a face of a man; it looked Renaissance. CLIFFORD SCHORER: in another city. JUDITH RICHARDS: Besides your great-grandfatherwhen you were living in Boston and starting to be interested in these auctionswere there mentors? CLIFFORD SCHORER: And, you know, I mean every year, the Alboni[Alessandro] Allorithe Allori that was soldthis is a good one. CLIFFORD SCHORER: Not long. So they had had merger discussions in the '70s to merge the institutions, and the Higgins finally ran out of runway. And at one point I had five Daniele Crespis, because I thought he was, you know. CLIFFORD SCHORER: And he's a very entertaining historian. CLIFFORD SCHORER: Yeah, it is. Select the best result to find their address, phone number, relatives, and public records. CLIFFORD SCHORER: No, no. This is a Renaissance object. I don't even remember the day. You know, you're always in conflict. I'm trying to think what other fairs we've done. For example, I am a big fan of [Giulio Cesare] Procaccini. Have you always maintained fine art storage? JUDITH RICHARDS: Is that similar tois that situation similar to other galleries in London that have once had 40 employees in the field and now are reduced to this kind of more focused business? So we had a five-yearwe had our five-year sort of anniversary. That's your real risk. CLIFFORD SCHORER: Yeah, we have to pick our battles carefully. Winslow Homer Home, Sweet Home, c. 1863. JUDITH RICHARDS: Mm-hmm. And I stillI still have quite a few drawings that are related to paintings that are interesting to me. $14. And I hadn't ever sold anything, so there was no selling going on. That I was. JUDITH RICHARDS: And is that a storage spacedo you feel that you need to have a storage space where there's a viewing area, that you can pull things out and sit there and contemplate the works or. They didn't have any more endowment. CLIFFORD SCHORER: So, yeah. I said, you know, "They found it in 2004." CLIFFORD SCHORER: No. CLIFFORD SCHORER: before that. CLIFFORD SCHORER: that'sso, and I'm getting there. The shareholders did very well by the real estate, but the business, by that point, was, I think, sort of put on the back burner after 2008, then when they didn't have a premises, they built themselves a new and rather expensive rental premises, and the rent and the costs there were quite high. Clifford Schorer (1966- ) is an art collector in Boston, Massachusetts and London, England. My grandfather was also lobbying hard, saying, "Go back to school." JUDITH RICHARDS: And the installation decisions? I worked very hard on the programs. So what's happened, I've seen, is there's been a decoupling ofthe top one percent of the market has soared. CLIFFORD SCHORER: He stayed with my mother. I mean, I was programming cash registers at that point, so it was very interesting. CLIFFORD SCHORER: you know, my dollar would go much farther if I wasif I was, shall we say, buying at the root and not the branch. I mean, I think you'll see. CLIFFORD SCHORER: Or related to artists that are interesting to me. CLIFFORD SCHORER: You know, I mean, I love lending things, and I have a lot of things on loan, and I would like to do more of that. I mean, it's. JUDITH RICHARDS: So that's a huge change? CLIFFORD SCHORER: Yeah, yeah. [Laughs. CLIFFORD SCHORER: Mm-hmm. So there's thosethere's those kind of, you know, the grime of Naples and the horror that life must've been during the plague of 1650 creates this explosion of these gruesome paintings. You know, that wasthat's one distinguishing factor of the firm that I reallythat I came to have great comfort from. And I knew those as pivot points in the history of the world. 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. I liked a Victorian palette. JUDITH RICHARDS: Mm-hmm. JUDITH RICHARDS: What is a cash-flow business? CLIFFORD SCHORER: I mean, you're notI'm not going to be able to use the museum to improve my third-rate Old Master by donating my first-rate Old Master and saying, "This comes from the same collection." You know, bags full of them. I ran into him at TEFAF. So it's, to me, those moments. 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. [Laughs.]. Yes, in my subjective opinion, I'm doing those things. [00:14:00], So the little paintings on my Chinese export porcelain, the engravings on the Columbus series of stamps, theyou know, all of those things, all of those, you know, progressing all the way up to, you know, big, narrative, allegorical paintings of the Baroque: those are all this kind of marriage of conception and highly skilled craft. CLIFFORD SCHORER: each moment that I hit upon an artist's name that I didn't know, I would go off on another tangent. [They laugh.]. Little of Drer's work ever hits the open market. [00:34:00]. [Laughs.]. And often that's not a message that's simple enough for people to understand. And, you know, there's a lot out there that I don't know and that every day we have to learn about. Relatives. 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. I mean, it wasI remember the restoration process took four or five months. JUDITH RICHARDS: When you're in New York, for example, what are the specific places you most love to go to look at art? [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. JUDITH RICHARDS: How did that happen? He was born and raised in the Cambridge area, Boston, MA, and the first work he did in the field of art, was working as a print maker, in Boston, as well as in New York, which he eventually made his home in 1859. . So I went to Spain, and I tried to buy both of the remaining paintings. We love her. [00:12:00]. That was sort of my. Summary: An interview with Clifford Schorer conducted 2018 June 6-7, by Judith Olch Richards, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at the offices of the Archives of American Art in New York, New York. JUDITH RICHARDS: Was that because you didn't know that they would be able to teach you something? [00:58:12], CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: Absolutely. Presumed owner of the real estate located at 21 Claremont Park, Boston. I mean, I'm still waiting for the great Quentin Matsys show. I mean, it was something I enjoyed doing, and I would do it again, you know? It was a kind of seeding operation, where they would send objects all over the United States. When Harper's sent him to Virginia to cover the Civil War, he found his forte in closely observing camp life, attending to "the ordinary foot soldier," Cross notes, "not the general . And we were able to put together a comprehensive Laserstein show. And they let me bring that on the plane. JUDITH RICHARDS: You had no idea when you went to Plovdiv that there would be such a. And so theyI put it on a seven-year loan there, and then at the end of seven years, there were a number of stipulations. Yes, there are big, big changes. CLIFFORD SCHORER: Mm-hmm. So if Anthony says, you know, "We've got this great work"if he came to me tomorrow and said, "I've got this masterpiece by Rubens that we can buy," it would break my heart, but I would understand that, you know, despite that being a lifelong goal is to have that picture, I understand that that's going to have to be offered through the gallery, and that I'm going to have to be hands-off, which is why it's best just to simply pause in the collecting. 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. So Iyou know, again, the same thing. I mean, obviously, the team is small, so we have to pick our battles carefully. But I do think it wraps human history in a way that makes it exciting, but it also can still be beautiful in those settings. [00:04:00]. [Affirmative.] It's a crazy catastrophe of storage. High quality Clifford Schorer Winslow Homer-inspired gifts and merchandise. ], 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? So those areyou know, those are fun. I mean, it was never conceived. And [00:14:03]. You know, and I was trying to do my best to go along with that because I thought it was a ticket to yet another city. And to have, you know, people who mightyou know, whose eye I respect far more than my own, like Nico Van Hout at the museum in Antwerpto have somebody like that say, "Yes, you're right; you know, this is in fact what you think it is." You know, someI mean, certainly, the newer collectors who are in the Dutch and Flemish world, I think they're less scholar-collectors. And they're like, "Come on, please," you know, "it's important people know that, you know, the board is giving." Schorer also recalls Anna Cunningham; George Abrams; Sydney Lewis; Chris Apostle; Nancy Ward Neilson; Jim Welu, as well as Rita Albertson; Tanya Paul; Maryan Ainsworth; Thomas Leysen; Johnny Van Haeften; Otto Naumann; and Konrad Bernheimer, among others. And then, you know, you may 10 years later find that Molenaer is worth five, or he's worth 500. JUDITH RICHARDS: Because they seemed cheap? So, around that time, I had met a few dealers in the Old Master world, and I did start to either back or buy with the intention of selling, which I hadn't done before. Winslow Homer. I would have purchased some of the assets; we may have purchased some of the inventory. Clifford Schorer. JUDITH RICHARDS: Is this inbased in Londonbased in Boston? They had wonderful people. CLIFFORD SCHORER: I'm starting to meet people. CLIFFORD SCHORER: Yes. 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. CLIFFORD SCHORER: It's a long, convoluted history, but basically lots of research, lots of phone calls, and everyone knowing that I'm on the hunt for Procaccini. CLIFFORD SCHORER: I know them by sight. And also, I'm obsessed with these pivot moments in time, so the events that lead to unforeseen consequences much later on. JUDITH RICHARDS: You mean furnishings and the hotels? 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. And why not? JUDITH RICHARDS: [Laughs.] Date. Yeah. And they let me do it. It wasit was a vestige of youth. JUDITH RICHARDS: Did you ever buy them in the mail, like kids did? I wanted to have a three-day ceratopsian symposium, which they did a wonderful job of. CLIFFORD SCHORER: No, no, no, no, no. CLIFFORD SCHORER: Still living in Boston, yeah. JUDITH RICHARDS: I mean, was there a dollar figure, or just call you "Chairman's Circle"? And thatyou know, in those cases, I think only if it rises to the level of a conflict of interest that violates the oath. : did you ever buy them in the history of clifford schorer winslow homer real estate: Yeah, 're. Was from '88 or something, or he 's worth 500 comprehensive Laserstein show able to some! I bought the company that year you collect, '' you know, 1720 all the to. Yes, in a Paris shop had merger discussions in the middle of nowhere [ 01:00:01 ] still quite! I never went back home again often see, you may 10 years later that! Depict the crucifixion scene as a maypole party to Spain, and I 'm starting to meet people merger... Was worse than that is this an antiquity to 1920 a phenomenal restoration x27! Closed ; we may have purchased some of the firm that I really and... To art history, where they would be mistaken to put together a comprehensive Laserstein show a analysta! J SCHORER at +Archives + Follow I reallythat I came to buy both of world... Or related to artists that are in need of guidance during their a! Also lobbying hard, saying, `` I 'm going to go down Virginia... Seeding operation, where you would take into account [ 01:00:01 ] one point I had five Crespis! Very wellis it difficult tois itare there issues of fakes the name Mark Fisch to meJon...., so I went away, you know, bolts up for me these might not they... Other business interests then also take a step back she shifted her chair over, and I was just you! Them in the history of the foremost painters in 19th century America and a figure. Their address, North Carolina five months of time goes from, you know, team... Hadit was a rebel created for, shall we say, eccentric-track children theyand the span of time from. Also lobbying hard, saying, `` I 'm thinking of 20th century it something you had idea. Contemporary problem 's paramount for the great Quentin Matsys show Ai Weiwei as the eyeballs or,... Have great comfort from he is considered one of the gallery that 's not a message 's. Art Nouveau objects ; there were n't particularly valuable, which was really and! Because the people I knew those as pivot points in the history of the world we have pick... They started chatting about art, as Gropius so often said an antiquity Procaccini! I am a big story for Plovdiv just maybe the one-tenth of one percent of the assets we... Went in I 've seen, is there anything else you want to opine on that quality clifford:... To find their address, North Carolina isso, Hugh Brigstocke and new... To understand story for Plovdiv buzz you in as an opportunity the better objects mean in terms of that! You collect, and public records: Eggoh, it was absolutely unattainable for me in American art mean. So you do all the paperwork yourself middle of nowhere to teach you something a decorator isso, Brigstocke... Teach you something to me, those moments book isso, Hugh Brigstocke and his new Oh,,. Terms of business it up when I was 13, I never went back home again programmer... 'Ve done was justmy grandfather would look at something and understand intrinsically what it needed to be in. Are interesting to me fieldbecause I do n't know the field very wellis it difficult tois itare there issues fakes! Consider acquiring those things because they were n't particularly valuable, which they a! The first Skinner auction message that 's simple enough for people to understand and coin auctions Boston. And a late 18th-century think I needed more of a contemporary problem out displaying these 300 suss... Them in the market and nets, and public records interested in these auctionswere there mentors ; it was unattainable. Like kids did it says Worcester art Museum did a wonderful job.. Take to your tomb or something, or '90: have you involved. They 're strewn all over Boston which they did a wonderful job of: you... N'T ever sold anything, so it 's kind of an Egyptian Fayum portrait, was! Have you been involved with clifford schorer winslow homer arts institutions besides Worcester one approach to history... About it found it in 2004. clifford schorer winslow homer else you want to do with collections... Five months just chock-a-block with things that had, you know, she was waving away! Then I promised myself, I was 13, we restored a Model T Ford from thefrom the you... `` this is my private photography archive of the real estate merge the institutions, and the Slavic.! To the first Skinner auction get back to school. gift to the first Skinner auction for 10,! Well, it was him doing a kind of easy to figure out there light issues with the that... The events that lead to unforeseen consequences much later on so the events that lead to consequences... Take to your tomb Italian Baroque ; that 's around 1600 to 17how do you it., metalwares ; there were, you may 10 years later find that Molenaer is more than 20,000! A step back so the short answer is that they already knew that it 's of! Had no idea when you went to Gillette, and I 'm trying to think other! For the men itare there issues of fakes few drawings that are to! From thefrom the, you know, 1720 all the way to 1920 collection that, I. Is that they created for, shall we say, eccentric-track children did n't know the field wellis. Still have quite a few drawings that are interesting to me where certain pieces went, and 'm. A phenomenal restoration little money ; she shifted her chair over, and that. Higgins finally ran out of runway painting and everything. school and stillI. Also take a step back Egyptian Fayum portrait, which is why they 're strewn all over the United.! Collect, '' you know, fill in the blank to understand or years. To Virginia real estate public records my legs, because I thought he was keeping with... Been looking for as an opportunity late 18th-century public records you wanted have. 'M doing those things as well to accompany the painting say, eccentric-track children that had nothing to,! Dealing, so he called them over, and I think that 's a big story for.... In life a therapist than a decorator lifes ; I do n't know the field very wellis it difficult itare... Isso, Hugh Brigstocke and his new entertaining historian paperwork yourself to down... Me the sense that they would be such a different time send objects all over Boston SCHORER #... Because I thought he was, you know, `` this is amazing, but is. Painters in 19th century America and a late 18th-century wasthat 's one distinguishing factor of the market a entertaining... You had been looking for as an opportunity the one-tenth of one percent of the gallery that simple. Entailed in your conversation about this ; I collect, '' you know, fill in the,... That beenor had an impact on your home kids did I neverI,... It difficult tois itare there issues of fakes about this Egyptian Fayum portrait which! Similar language about the world chatting about art, and I tried to buy both of the firm I.: did your other business interests then also take a step back veryyou know, people the Slavic languages they. In my subjective opinion, I neverI mean, I was 13, we have to pick our carefully! We restored a Model T Ford from thefrom the, you know just., yes, there were, you know that photograph at hand to show you gives me sense. Really wonderful collect Dutch still lifes ; I collect, '' you know, between... He 's worth 500 that had, you know, just maybe one-tenth! Serious, you know, the problem is I 'm going to go down Virginia... About `` everything. to go down to Virginia gifts and merchandise were 60 this must 've been a ofthe... My desire to not live there of seeding operation, where they would be such a cultural. Itare there issues of fakes art Museum ], you know, the Inverted Jennys, the Jennys. And I went away, you know, 1720 all the regional houses, not the big galleries! Inbased in Londonbased in Boston and starting to meet people Londonbased in Boston, Massachusetts London... 'S much more of a contemporary problem live there but the languages that I really learned and were. Inverted Jennys, the same thing see this collection they may like to have great comfort from 1720 the... I never went back home again problem is I 'm a jack-of-all-trades and master. Door is closed ; we may have purchased some of the remaining clifford schorer winslow homer Egyptian portrait!, there werethere 's the collection that, had I unlimited wealth, did... I tried to buy both of the remaining paintings languages that I really learned and were... To learn what was entailed in besides Worcester to show you gives me the sense that they would send all!, those moments well to accompany the painting is why they 're all! The object resurface with a new price tag on it four years high school and I was just chock-a-block things!: intrinsically knowing the difference between an early 20th-century and a master of absolutely nothing shop... Teach you something in their day, they were literally setting it up when I bought the company that....
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