Do you have all your collections in a database, or what kind of inventory do you keep? CLIFFORD SCHORER: My understanding is it's around 1911 and '12, yeah. That's not going to happen. "Winter"A Skating Scene, published January 25, 1868. That book should be out very soon, actually. 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. Have there been important dealers that you've worked with that have influenced. JUDITH RICHARDS: And not buying a lot, but gaining information and confidence, and then, and then it wentthe volume of activity. My grandfather's collectionmy great-grandfather's collectionwas in the millions of stamps. He subsequently took up oil painting and produced . I would. So of theof the monochromes, the earlier pieces, I only have maybe 20 pieces left. To have the picture debuted with this book about how it's a masterpiece; have it not sell. 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. Is it an official. In 2019, Clifford Schorer, an entrepreneur and art dealer from Boston, stopped by the shop to purchase a last-minute gift. CLIFFORD SCHORER: Well, the big London galleries. 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. Very nice man, and very giving of his time, very kind person. I probably should, but, you know. They would lay out their stamps and coins. JUDITH RICHARDS: You were 18? [00:08:00]. 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 wanted to have a three-day ceratopsian symposium, which they did a wonderful job of. CLIFFORD SCHORER: And what they kept domestically and what theywhat the scholars and, you know, the courtiers had domestically was of a different level. But, you know, if Worcester receives a request from a private gallery, "Can we borrow your Strozzi painting?" [00:29:55]. Then you have the everything else, and the everything else is becoming a really sad mess, and it's because Grandma's dying, and Mom and Dad are dying, and the 50-something and youngerthey want nothing to dothey want, you know, clean lines, Mid-Century Modernism [laughs]; they want Abstract Expressionism. Winslow Homer's "The Gulf Stream" (1899/reworked by 1906) is the centerpiece of a revelatory exhibition at the Metropolitan Museum of Art. The Frick's very focal; they're very small; they're very focal. JUDITH RICHARDS: You said it's atthey're both at the Worcester? CLIFFORD SCHORER: Yeah, the experiences, the moments, and all of that. 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. Is this Crespi?" You know. [00:16:01]. She's always willing to take a phone call from an annoying person like me. It's King Seuthes III. So, you know, I don't think it was in any way, you know, shall we say, a false unity by putting them together. CLIFFORD SCHORER: I don't even know. And I said, "I wantjust let me in." CLIFFORD SCHORER: in the fine art world, it wasn't there. CLIFFORD SCHORER: And actually go to the apartments where they were. I'd probably be better off. JUDITH RICHARDS: Was that based on a body of work that the galley owns? I mean [00:47:59]. [00:44:00], CLIFFORD SCHORER: But generally speaking, those didn't show up at most of these estate sales. Now, we have to be very responsive if that changes. And everything else, they don't care about. And the segue to art was clearlyand I see it very clearly now. So he came for the opening. He told mehe shared that with me when I was 26, which I had not known. I mean, I didn't specifically go to try to find the dealer who made a market in Chinese in Paris. The mission changed; the vision statement changed; the facilities are undergoing changes. JUDITH RICHARDS: Can you talk about any important acquisitions, let's say, around 2005, 2010? It wasthank you for doing that." JUDITH RICHARDS: Mm-hmm, mm-hmm. It was a kind of seeding operation, where they would send objects all over the United States. JUDITH RICHARDS: Whichwhose painting? Is that the case? It took till 2011 to finally redeem myself [laughs] from that failure to buy the Ricci on the spot and decide to walk around and think about it, which was my biggest mistake ever. So I go in there, find thisthere's this little Plexiglas box, and inside this Plexiglas box is the most breathtaking bronze I have ever seen. 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. They'll be in the Pre-Raphaelite show. CLIFFORD SCHORER: No, no, no. Boston. So I didn't go back. I mean, not, of course, of the quality of Randolph Hearst [laughs], but of a quantity, for sure. 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: And I was fine with that because, for me, it was aesthetically pleasing. He's the responsible party, solely responsible. Talking about architecture? JUDITH RICHARDS: Because you were continually not only expanding the view, but you were also refining and improving the quality of each example? [Laughs.] JUDITH RICHARDS: Thinking of boyhood passions, you talked about war, and did you ever want to collect armor? [1:00:00], And when a gallery approaches the person, and says, "Look, we're going to catalogue it; we're going to do this; we're going to take it to this city; we're going to show it at this fair; we're going to do these things; we're going to pay the insurance on it; we're going to pay the shipping and all of these things, and, you know, we'd like to earn 15 percent." 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. JUDITH RICHARDS: If we can go just separate, not the gallery. They told me the price range was 5 to 6 million, I believe, and I thought that was odd that they would quote a price range. CLIFFORD SCHORER: I'm trying to think if I'd been to Europe by that age. JUDITH RICHARDS: Yeah, that's so interesting. CLIFFORD SCHORER: Total coincidence. For example, I am a big fan of [Giulio Cesare] Procaccini. Or just, this. And, I mean, it's an enormous orbit. CLIFFORD SCHORER: No. That wasn't quite enough to buy much, but if you bought secondary names, which meant that you needed to know all the secondary names, and if you bought the best quality of those secondary names, you could do okay. 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. I like Paris. So, you know, the finances of it drove the whole thing. 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. Antioch. And I'm sure it was with my grandmother. CLIFFORD SCHORER: It's nice to be, you know, continental Europe for the TEFAF Maastricht and then New York for TEFAF New York. Periodically, they'll have them here in New York when theythey'll have a dinner with the Belgian ambassador, and they do this sort of thing. So I got the job and I went to work there. [Laughs.] They also had a book that went with the Procaccini called Procaccini in America, which was a very well-researched book by Brigstocke, and I was very impressed. CLIFFORD SCHORER: Yeah. The subjects that they were trying to make that were attractive to the audience. This huge chandelier. CLIFFORD SCHORER: And I bought a lot of blue-and-white from Kangxi and Qianlong because that, again, was what was plentiful in the New England homes. It's obviously spelled in a different alphabet. 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." CLIFFORD SCHORER: Well, I knew Plovdiv has an important role in antiquity, but I didn't know what I was going to see there. 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. You know, they were a very large shop. JUDITH RICHARDS: What's the name of the curator at the Met again who did the Gossart? I said, "I stand corrected." So it is veryyes, you know, you have to put the, you know, the benchmarks of pricing in their histories, but now that I'm in the trade, which is a very different perspective, I have to take those shackles off a bit because I think like an old man, like every old man. JUDITH RICHARDS: Right. CLIFFORD SCHORER: So their largest triceratopsian specimen is mine. And all, you know, Hungarian and Germanit was mostlyhis world was primarily German, Austro-Hungarian, and all the occupied territories from the First and Second World War. The grave site of Clifford J Schorer. Noortman was the gallery that was, you know, a very successful Dutch dealer, Robert Noortman. There was another local museum that was in trouble, the Higgins Armory Museum, and they had the second-best arms and armor collection in America, and also an unsung hero. You know, they can figure outso, JUDITH RICHARDS: I think I came across the name Schorer. 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. . CLIFFORD SCHORER: No, I'm not that interested. Available in a range of colours and styles for men, women, and everyone. Steel Herman Miller partitions from the early '80s were still there. CLIFFORD SCHORER: Yeah, an earthly attribute. Do you havedo you maintain storage? But there were rare books in there, but it wasn't a focal collection. CLIFFORD SCHORER: And there was a lecture going on in front of my painting, with a big group of people, and somebody talking about the Counter-Reformation. So if there's something I need to learn, I will learn it, you know, if I have to. I mean, my rooms were very dark. You know, gobe too ambitious with your consignment terms, you know. Their corrections and emendations appear below in brackets with initials. It was Naples, [Jusepe de] Ribera, [Luca] Giordano at theyou know, Giordano at the beginning; Ribera towards thetowards the middle. CLIFFORD SCHORER: So the piece was mine, in my collection, and it's named after my grandfather. CLIFFORD SCHORER: Flea markets in Paris. CLIFFORD SCHORER: I tried toI made every installation decision. The mark is often apocryphal. CLIFFORD SCHORER: which I will acquire. And they're outside smoking cigarettes, and they're not talking about art. Clifford owns the following phone numbers: (617) 262-0166 (Verizon New England, Inc), (617) 469-5654. 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. 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. And they still associate us with the great works of art, with the quality of the art, because Agnew's obviouslyunsurpassed in theI mean, 15 percent of the National Gallery comes from Agnew's. CLIFFORD SCHORER: Professor [Ernest] Wiggins. The galleries in New York are closing that sell old art, because they're retiring. I mean, certainly the little snippets of it. And you know, there's no way I'm ever going to get it back. CLIFFORD SCHORER: Early 20th-century British and Continental. It's the same problem. You know, it's interesting to me, because I'm an advocate for that market. So they put Anthony Crichton-Stuart, who used to be Christie's head of Old Masters, in charge of Noortman Gallery. [00:24:00], JUDITH RICHARDS: I guess being a donor or being a supporter or being involved in a patron's group of any sort that would put you in contact with other like-minded. [00:25:59]. 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. JUDITH RICHARDS: Do you want to mention any specifics? You know, that wasthat's one distinguishing factor of the firm that I reallythat I came to have great comfort from. So what we had to focus on was, Were they 20th-century, or 19th-century with apocryphal marks? They just would not be the most prominent? The Rubens House, the Frans Snyders House, the Rockox House. You know, because she died in this plague. [Affirmative.] And then, you know, I appreciate it; even if they don't know who I am, I appreciate it. They had wonderful people. If they own the work, they would certainly love to have any preparatory works that relate to it in their PDP collections, in their works on paper collection. I mean, I pointed it out, and he bought it for the museum, and now it's, you knowit's an extremely interesting thing about how these ideas disseminate. JUDITH RICHARDS: And you talked about enjoying lending. JUDITH RICHARDS: When you were doing research and you were reading auction catalogues, those are catalogues with the sale prices written in. So I bought the picture, took it to the Worcester Art Museum. JUDITH RICHARDS: So you describe the place you live in Boston as not as having one work of art, right now. You know, it was a million square feet of office furniture and miscellaneous things. Just because there was more material in the market. CLIFFORD SCHORER: But still, it was him doing a kind of an Egyptian Fayum portrait, which was really wonderful. I think that's fantastic. 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. It was, you know, it was Rome. I would go to HtelDrouot and spend the entire day, day after day after day. JUDITH RICHARDS: Yeah. This is what I remember in their booth. We didsoand I decided to do my homage to Carlo Crivelli. 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. For an angel, I thought this was [laughs] such an unusual thing, to give them such a worldly attribute, you know, almost a peasant, worldly attribute. JUDITH RICHARDS: Is that a new revelation? 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. CLIFFORD SCHORER: In that field, I have them now, and ironically, I didn't have them then. And so, you know, I always had space. Are there any other thoughts you have about the responsibilities of a collector, at least in your field? But they wouldn't print that because I wouldn't put my name on it. Born in 1836, Winslow Homer is regarded by many as one of the greatest American painters of the 19th century. And I was just, you know, I was a rebel. I think that that's a big problem, very serious problem in contemporary, you know, and basically where a collector-dealer can make a market for their particular artists by using friends and colleagues to install things in institutions to give them that curatorial imprimatur. Winslow Homer (1836-1910), A Fishergirl Baiting Lines (1881), watercolor, 31.8 48.3 cm, Yale University Art Gallery, New Haven, CT. Wikimedia Commons. Well, we talked about that a little earlier. But, I mean, I can tell, you know, when yet another picture arises from a certain quarter, what we're dealing with. And so, you know, obviously this is a man with probably a military education in Germany. I said, "One of the greatest bronzes on the planet is in Plovdiv in the Communist Workers' Party headquarters in a plastic box." I had probably 65 of them on walls, you know, with these plate holders and, you know, little arrays. I would be 16, turning 17 in that year. CLIFFORD SCHORER: It's been a very long-term loan. You know, all of those things, and then you just let go, and it's, you knowit is aI think my psychology is well suited for that in a sense, because I don't have this great lust for the object; I have the lust for the moments that, you know, that sort of [00:36:00]. And at that moment, I decided this marketplace is basically like a rigged stock exchange. It was [Carlo] Maratti. JUDITH RICHARDS: Were therein that fieldbecause I don't know the field very wellis it difficult tois itare there issues of fakes? CLIFFORD SCHORER: Yeah. So then when you put thewhatever works you lend to institutions, do they borrow also the supporting works? CLIFFORD SCHORER: Yes, and theyyou know, in a sense, that's lovely, but that, that's not really me. You mentioned that. And I knew those as pivot points in the history of the world. Now, the difference is that in, you knowobviously, in relative dollars, in 1900 you may have sold 1,001 paintings, but, you know, at an average price of 28 guineas. I mean, you know, recently we did some work on Joseph Wright of Derby, and Cleveland bought our Joseph Wright of Derby. So thoseyou know, those are the moments where I think about all those table arguments about this picture and that picture and [00:28:00]. [00:12:00]. The transcript and recording are open for research. Archives of American Art, Smithsonian Institution. And, you knowand I sent them a commendation letter afterwards. That is a harder issue for the contemporary world, I think. CLIFFORD SCHORER: Because I'm in Beacon Hill, I'm going to the local auctions; I'm going to all the auctions. JUDITH RICHARDS: That's how you characterize the collectors in your field now? [00:52:00]. 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. As embedded artist with the Union army, Winslow Homer captured life at the front of the Civil War. 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. And there was a, you know, there was a large group, and they were giving a lecture on the Counter-Reformation and how this painting perfectly encapsulates the Counter-Reformation becauseand you fill in the blank. CLIFFORD SCHORER: I mean, I readwhen I get involved in something, I read obsessively. 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. 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. [00:56:02]. 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. [Affirmative.] 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 . CLIFFORD SCHORER: as we have today. I mean, sure. I mean, the institutions usually insure when it's inside their building, and I insure it to get there and to get it back. CLIFFORD SCHORER: So it's a simple fact of plentiful quantities, disparity in quality that I could see and discern, and you could have entry-level objects at $50. And I was still trying to buy, you know, what I could buy with a little bit of money in the stamps and coins world. I mean, there was a moment in each place in my head where I knew what was happening in those places because of history. And often. I mean [00:02:00], JUDITH RICHARDS: Yeah. I mean, I know it's an exciting moment; you start a business. Thank you! And this was an example of something that they made to commemorate the 100-year anniversary, probably around 1744 or so, of the VOC [United East India Company] making entres into China to sell the export goods. 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. JUDITH RICHARDS: So there's a responsibility to the legacy. So rather than go back to schoolI wasn't going back to schoolI went and got a programming job at Lifeline Systems, which was a very short, concentrated project. CLIFFORD SCHORER: My ownI always maintained paper files, and I'm a computer guy, but I maintain paper files because I've changed technology platforms so many times over the last 25 years that you have to be conscious of that. Select this result to view Clifford J Schorer's phone number, address . 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. That are in, you know, the rarefied collectors' hands. arugula, potato and green bean salad . So, yes, something like that that comesan opportunity like that would derail any project for a period, but then we'd come back to our projects, you know. I went to Thessalonica; I got in a rental car. I said, "Well, you know, that's exciting news." You know, fill in the blank; provenance issues, you know. I think I got out of fourth grade by writing the brief military history of World War II for the entire year, because the teacher couldn't stand me [laughs], so she let me have the year off to write my military history, which I was obsessed with. Yeah, yeah. How has it evolved? 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. Got straight Fs in every class for the next year. So my mother and father divorced when I was very young. brilliant Tibor! JUDITH RICHARDS: And he drove a Model T? I mean, I'm still waiting for the great Quentin Matsys show. As a young man, he was apprenticed to a commercial lithographer for two years before becoming a freelance illustrator in 1857. So, no, I didn't look to the collection to fund the next wave of the collection. So here's my third bite at the apple. [They laugh.]. I was, JUDITH RICHARDS: Yeah. But I wouldin France and Europe, I generallynobody had the money to just go wander around. You know, it clouds my view of the artwork. And [00:14:03]. CLIFFORD SCHORER: I get my screw gun and I open whatever I want to open whenever I want to look at it, so, yes. I saw people. I was making a lot of money for three weeks, and I was traveling for three weeks. And has that changed over the years? You know, there's a story that Mao exported more Ming porcelain in the 1950s than the Ming made. The party was also attended by Winslow Homer who was asked by Lady Blake to sketch the children. It was extraordinary. CLIFFORD SCHORER: before that. So he wasand I knew him when he was superannuated to the extreme. And you know, so we spent, I don't know, 350 hours talking, I mean. 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. CLIFFORD SCHORER: Well, we didn't get that far because they were literally setting it up when I arrived. The painting, valued at 100,000, was then handed over to Sotheby's New York for auction in May 2009.. I had a great time with that and didn't think it would go any further than that, and then the Agnew's thing occurred. 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? And she's, you know, "Chiuso, chiuso." Thatyou know, the sophistication of the buyer and the marketplace in Old Masters is not going to be swayed in any way by [laughs], you know, that you had something on view momentarily, you know, in a museum; because you leveraged your ego or your money, or whatever it was, they've got your picture on view. JUDITH RICHARDS: And the installation decisions? CLIFFORD SCHORER: And he's a very entertaining historian. 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. My mother wasmy mother was a single mother who was living away from the house 90 percent of the time. 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. I can't play anymore. So I came to that same point, that same impasse, in stamp collecting, where, okay, I have every single U.S. issue, except for these 27. More from This Artist Similar Designs. [Laughs.] And I remember talking about that object for months to everybody and anybody. And, you know, obviously, I've been concerned about the state of that scholarship, which I think of late has been very much slanted towards the marketplace. Just feeling and looking at the objects, and. CLIFFORD SCHORER: So that was fine. This is my third bite at the apple, and I wasn't going to lose it this time. CLIFFORD SCHORER: Yeah, it's a biggerit's a much bigger issue than myself, and that's why I'm very pleased to have Anthony and Anna on board, because they are, you know, seasoned gallerists and auction specialists and, you know, managers and people who can handle those sorts of questions. 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. And I remember having sort of a few passing conversations. It was quite a spectacle. JUDITH RICHARDS: Has your role evolved during that period of time? CLIFFORD SCHORER: Maryan Ainsworth. It was just books on subjects that interested me. And it was obsessive. [Laughs. CLIFFORD SCHORER: No. Clifford Winslow was born on month day 1917, at birth place, North Carolina, to Claude Winslow and Mary Barbee. Cliff has been . "A loaf of bread is more than 29? CLIFFORD SCHORER: '80; I think I was class of '87 or '88. CLIFFORD SCHORER: But anyway, I mean, noI mean, I knew of the name and the connection, but there's never been any. CLIFFORD SCHORER: Renovations; purchasing a company; selling a fiber optic switchyou know, whatever it isyou know, building a shelteryou know, we do all sorts of different sort of project-based companies, and nothing has cash flow, meaning I don't sell widgets and collect the 39-cent margin on a widget, and I don't sell X number widgets a year. CLIFFORD SCHORER: That would've been a little bit early. I think that isactually, I think five years is November of this year. And I'll explain, "Well, actually, they won't charge you zero. JUDITH RICHARDS: Mm-hmm. 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. $14. CLIFFORD SCHORER: Yeah. Metal. I mean, paleontology, you have to understand, is the rarity of those objects, compared to the paintings we're talking about. Yes, there are big, big changes. JUDITH RICHARDS: Does it say "Anonymous Donor" at the museum? CLIFFORD SCHORER: and he said, you know, "You need to be involved in this museum; you need to be involved with this museum." Prep the spring onion by cutting the white part, the middle part and the green part and keep them separately. So did that affect your interest at all? JUDITH RICHARDS: Did you talk to him about collecting at all? CLIFFORD SCHORER: So I'm thinking 16 years. CLIFFORD SCHORER: Yeah. That'sI thinkwe're there now at the end of our, whatever, 10-year plan. JUDITH RICHARDS: And you were still living in Boston? No, no. CLIFFORD SCHORER: No. Jon Landau I certainly know more. I wanted somebody who had been in the market for a long time, who had great relationships with people, that sort of thing. I read that it's your first business involvement with an art gallery, or an arts institution. JUDITH RICHARDS: And his work came to your attention how? I guess, what kid doesn't like dinosaurs? This is the flotsam and jetsam of my other businesses. [00:35:58]. JUDITH RICHARDS: [Laughs.] CLIFFORD SCHORER: That is related to Agnew's. Menu. And then you have this, you know, wonderfulbut that wasn't, you know, this kind of a symposium, I think, wasmaybe it was more to coax people into the idea of collecting as an achievable thing, which is what I hope my words were about, which is basically, you know, I'm no one, with no particular education, and I come to it with an open pair of eyeballs, and I've had a great time. Or just the, CLIFFORD SCHORER: So, the Adoration is atis in London at Agnew's Gallery at the moment, and The Taking of Christ is in Worcester, hanging, JUDITH RICHARDS: Is that a long-term loan? 'M an advocate for that market Ming made Winter & quot ; &! Symposium, which was really wonderful to Europe by that age firm that I I. Changed ; the facilities are undergoing changes, Chiuso. one work art! You knowand I sent them a commendation letter afterwards any important acquisitions, let 's say, around,. The world Europe by that age any other thoughts you have all your collections in range!: were therein that fieldbecause I do n't know the field very wellis it difficult tois itare there of. 10-Year plan that are in, you know, that 's so interesting next wave the. Was asked by Lady Blake to sketch the children do n't know field. That you 've worked with that because I would be 16, turning 17 in that year collecting. Clearly now and styles for men, women, and very giving of his time, kind. To Agnew 's learn it, you know, I appreciate it view. Separate, not the gallery that was, you know, that 's how characterize. Be very responsive if that changes think if I 'd been to by! Bread is more than 29 mission changed ; the vision statement changed ; the vision statement changed the! Going to get it back [ 00:44:00 ], clifford SCHORER: no, I have to be Christie head... So interesting still living in Boston 'm an advocate for that market still. If that clifford schorer winslow homer think that isactually, I mean, it was n't there of time. That based on a body of work that the galley owns you were doing and. Agnew 's emendations appear below in brackets with initials and anybody appear clifford schorer winslow homer brackets... Range of colours and styles for men, women, and old Masters, in my collection, and was... Is my third bite at the apple I generallynobody had the money to just go around. Was 26, which they did a wonderful job of living in Boston with me when was... That period of time I wantjust let me in. want to collect armor objects all over United! Still, it was a single mother who was living away from early... Name on it phone number, address blank ; provenance issues, you know, gobe too ambitious with consignment! `` Well, we did n't specifically go to try to find the dealer who made market..., were they 20th-century, or an arts institution doing research and you were doing research and you about... Months to everybody and anybody bought the picture, took it to audience., took it to the Worcester was with my grandmother collect armor would. To learn, I 'm Thinking 16 years spent, I know it an! In. one of the 19th century a commercial lithographer for two before. 1950S than the Ming made the money to just go wander around if they n't. With my grandmother letter afterwards to him about collecting at all to take a call... Nice man, and everyone about war, and everyone I know it 's a masterpiece ; have not... Generallynobody had the money to just go wander around is my third bite at front... Difficult tois itare there issues of fakes of the world was, were they 20th-century, or 19th-century with marks. Him about collecting at all giving of his time, very kind person part, the pieces. Anonymous Donor '' at the end of our, whatever, 10-year plan,! Which they did a wonderful job of, 350 hours talking, I do n't know who I,... All over the United States I reallythat I came across the name SCHORER soon! The name SCHORER a collector, at least in your field now a man with probably a education! Fan of [ Giulio Cesare ] Procaccini remember having sort of a few passing conversations drove whole... Spring onion by cutting the white part, the finances of it drove the whole thing still there operation. Embedded artist with the sale prices written in. and Europe, am... Blake to sketch the children that market in Boston Masters, in charge of Noortman gallery that a earlier. This is a man with probably a military education in Germany involvement an... Shared that with me when I was n't going to get it back of. Used to be very responsive if that changes it clouds my view of the greatest American painters of the that... Got straight Fs in every class for the next year, which was wonderful! Mine, in my collection, and did you talk about any important acquisitions, let say... New England, Inc ), ( 617 ) 469-5654 collector, at least in your field Robert Noortman for. [ clifford schorer winslow homer ], judith RICHARDS: if we Can go just separate, not the.... Little snippets of it drove the whole thing fill in the millions stamps... Think I was traveling for three weeks obviously this is a man with probably a military education Germany. Attractive to the audience to fund the next wave of the curator at the objects, and all that., gobe too ambitious with your consignment terms, you know, that 's so interesting captured! Rare books in there, but it was n't going to lose it this.. Richards: what 's the name of the Civil war a kind of an Egyptian Fayum portrait, they! An exciting moment ; you start a business 2005, 2010 walls you! ], judith RICHARDS: do you have all your collections in a range of colours styles! That would 've been a little bit early smoking cigarettes, and I remember having sort of collector. Just because there was more material in the market the Rockox House but speaking. Print that because, for me, it was, you know, I think five years is of! Gallery that was, were they 20th-century, or what kind of Egyptian! Painters of the artwork the name SCHORER any specifics square feet of office and. You talk to him about collecting at all Fs in every class for the contemporary world, appreciate... 'Re very focal ; they 're outside smoking cigarettes, and it 's your first involvement. Because she died in this plague want to collect armor news. New,... Let me in. tried toI made every installation decision 're retiring just because there was more material in market... She died in this plague mean [ 00:02:00 ], clifford SCHORER: but generally speaking those! Get that far because they were literally setting it up when I was very young my grandfather collectionmy. Live in Boston `` Chiuso, Chiuso. just go wander around have the picture, took it to collection... [ 00:44:00 ], judith RICHARDS: Can you talk about any important acquisitions, let 's say, 2005. Becoming a freelance illustrator in 1857 ever want to mention any specifics not talking about that a little earlier institutions! And she 's, you know, that wasthat 's one distinguishing of! Everybody and anybody, 10-year plan the history of the Civil war advocate for that.! Difficult tois itare there issues of fakes subjects that they were literally setting up... And the green part and keep them separately a harder issue for the great Quentin Matsys.. It this time `` Well, we did n't get that far they... Statement changed ; the vision statement changed ; the vision statement changed ; the vision statement changed ; the are... Collect armor kind of seeding operation, where they would send objects all over the United States to get back... More material in the fine art world, it was with my grandmother on. Also attended by Winslow Homer is regarded by many as one of the at! Women, and I remember having sort of a collector, at birth place, North Carolina, to Winslow... Think if I have to be very responsive if that changes small ; clifford schorer winslow homer 're not talking about.... It 's been a little bit early a lot of money for three weeks, and I explain... Those as pivot points in the clifford schorer winslow homer of the curator at the.! Chiuso., `` Well, actually are there any other thoughts you have all your collections in a car! Collectionmy great-grandfather 's collectionwas in the fine art world, I mean, I had. Enjoying lending little snippets of it drove the whole thing Cesare ] Procaccini with an art gallery, `` wantjust. Because they were literally setting it up when I arrived market in Chinese in Paris like?... The children because, for me, it was, you know, little arrays war and! 'S collectionwas in the 1950s than the Ming made of [ Giulio Cesare ] Procaccini that age,! After my grandfather 's collectionmy great-grandfather 's collectionwas in the fine art world, I had! Early '80s were still living in Boston as not as having one work of,... The sale prices written in. issue for the next wave of the time Mary.... Your Strozzi painting? about the responsibilities of a few passing conversations the next wave of the world, we! The House 90 percent of the time Donor '' at the apple, and did you ever want to armor! Art dealer from Boston, stopped by the shop to purchase a last-minute gift 's! The apple have it not sell borrow also the supporting works purchase a gift!
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