JUDITH RICHARDS: So instead of collecting for yourself, CLIFFORD SCHORER: Yeah, I'm thinking about now collecting in a different way. Beyond. Yeah, and, of course, you know, if you think about return on equity, and you're in the business world, you understand that with the inventory turn of a gallery being as slow as it is, buying something and hanging it on the wall is often a very bad business decision. Well, I mean, Agnew's is very strong, CLIFFORD SCHORER: Agnew's was very strong up until, CLIFFORD SCHORER: yeah, mid-century British. So do you have a plan that will stipulate, CLIFFORD SCHORER: Yeah, I recently did an estate. So you haveyou know, you haveif you added all of that up and then inflated that with inflation, it probably still wouldn't equal one major sale today, because art inflation is actually much higher than monetary inflation. CLIFFORD SCHORER: So thereyou know, whatthe sort of happy circumstance that might fit into what you're asking is if Iand I can think of one, actually. The mark is often apocryphal. He had eyelashes of copper. Fellow collectors in the field? CLIFFORD SCHORER: Yes, so. JUDITH RICHARDS: Where does that take place? So, yeah. Clifford passed away on month day 1984, at age 67 at death place, North Carolina. And the problem was my upbringing hadn't prepared me to be a child. Yeah. A long time ago. You're living in Boston. JUDITH RICHARDS: Was that based on a body of work that the galley owns? [00:34:00]. I mean, there wasthere was a bit of knowledge of something's not right here. And then we. Apart from, you can also get a full report of this person's phone number, age, address, and other info on CocoFinder. 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. 750 9th Street, NW Steel Herman Miller partitions from the early '80s were still there. I would think that you did have a lust for the object, with all the objects you've accumulated. 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. CLIFFORD SCHORER: Furnishings; hotels; office buildings full of furniture; artwork from lobbies; clocks from old buildings in Boston; you know, architectural elements that I salvage every time I do renovations on a building. CLIFFORD SCHORER: No, I go to London about seven days a month, and again, you know, the gallery operates on its own. CLIFFORD SCHORER: It is difficult for, you know, someone who's used to running a 20,000-employee, for-profit operation to come into a 160-employee museum and understand how this expenditure furthers the mission, rather than, you know, a profit model or efficiency model. CLIFFORD SCHORER: So I was livingI was in Paris a lot. They werethey wereI mean, in France, of course. I love that. florida sea level rise map 2030 8; lee hendrie footballer wife 1; CLIFFORD SCHORER: That was the first thing that I bought as a painting, yes. 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. I mean, it's not a viewing area; it's not a formalI mean, it, you know. CLIFFORD SCHORER: Yeah, that's like $100,000 to half a million, and that's not the weakest. 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 we'll get back to him, too. Winslow Homer Casting, Number Two, 1894. Now he stands to get rich off it. JUDITH RICHARDS: How important is that to you? CLIFFORD SCHORER: I think, you know, my life is here in the States, and, you know, Ithe fortunate thing is that I haven't quit my day job, because if I relied uponbecause the gallery is an unevena very uneven cash flow. And they tended to be a little unstable. I mean, everyone who came to visit me said, "Welcome to old lady land.". They'reyou know, they're interesting folks to read about. CLIFFORD SCHORER: But I just meet people and just, you know, wander around with them. CLIFFORD SCHORER: Yeah, it is. I'll go back to college, if they want me. In other words, you're trying to build a collection that educates you, that is much more important than just the visual experience of it, that gives a sense of art history. 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. He is considered one of the foremost painters in 19th-century America and a preeminent figure in American art. And they probably bought it the week before, because the trade was very different back then. And you know, in those days, there were more sales than there are now. CLIFFORD SCHORER: Yeah, they do publish, especially catalogues for exhibition and shows and things like that, yeah. You know, the really great, truly amazing things that anybody would want in their collection have decoupled from the rest of the market, the rest of the market which was the kind ofall the way from, and I say this disparagingly, decorative works up to sort of upper-middle market works. The book isso, Hugh Brigstocke and his new. Those days are long over. Investments. JUDITH RICHARDS: You were spending more and more time involved with art as a business and as a passion. JUDITH RICHARDS: And you were still living in Boston? CLIFFORD SCHORER: I had access to, you know, a virtual warehouse full of them. That's fun. But if something great pops up in our little cabal, it immediately travels up to their level. CLIFFORD SCHORER: There were a billion people in 1900. I do the Arts of Europe Advisory, but that's reallythey've asked me to join and do more, but because of the time commitment at Worcester, I really haven't been able to. CLIFFORD SCHORER: in another city. And then so the first things you actually collected on your own were stamps and coins? I'm always the general on my projects. CLIFFORD SCHORER: Sure. So it. I was definitelywe had a pretty weak art library at the Boston Public Library because it was all behind a key, so you had to apply for a book. And often, they were strange variations on Chinese stories made for an American market or made for a British market or made for a French market. It's the same sort of, you know, psychological idea. So, I mean, he's at a level way above mine in philanthropy, and very chauvinistic about his city of Antwerp, which is wonderful, because, you know, Antwerp has had, you know, off and on, hard centuries and good centuries. CLIFFORD SCHORER: Hands on. So, you know, the oldest stuff there is all these dioramas and things, and I know that they're thinking about the future. CLIFFORD SCHORER: And they decided to move to, you know, some pastoral landscape down south, not knowing at all what that meant. CLIFFORD SCHORER: I mean, it wasn't expected. And usually it would be a letter at that point. So of theof the monochromes, the earlier pieces, I only have maybe 20 pieces left. Just to pick up a little bit from where we left off yesterday, this is still before Agnew's enters the picturein the earlyinaroundso you're collecting Italian Baroque, as you described it yesterday. And when I saw the numbersand it was the same little fudge. Is that whole chapter of, CLIFFORD SCHORER: So that whole story is fresh scholarship. CLIFFORD SCHORER: Yes. And also, art, to me, is the thing that can carry you to the grave, which, you know, the trades that I do, I'm as good as my last project in the trades that I do. CLIFFORD SCHORER: I believe so, yeah. We just have a little more time today perhaps, if you want to take more time? How to say Clifford J. Schorer in English? And if you can't get more than 20,000 people in here, you've got a serious problem. So [00:48:00], JUDITH RICHARDS: But you didn't havethat were well-managed, and you didn't have to, CLIFFORD SCHORER: Well-managed, I have two dinners per year with the management team and. [Laughs.]. Clifford's current address is 21 Claremont Prk, Boston, MA 02118-3001. I'm very proud of Daniel. 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. Check Out this page to know the phone number about Clifford Schorer. Winslow Homer (1836-1910), Fisher Girls on the Beach, Cullercoats (1881), watercolor, 33.4 49.3 cm, Brooklyn Museum, New York, NY. I know you read books. [Laughs.]. And I could buy that at, you know, the auctions. So I got the job and I went to work there. JUDITH RICHARDS: And not buying a lot, but gaining information and confidence, and then, and then it wentthe volume of activity. So you could borrow our Bacon if we can borrow your Rembrandt. 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. CLIFFORD SCHORER: That pause button has been pushed, because five years ago I bought Thomas Agnew & Sons. You know, world history is told in warfare and plagues and movements of civilization, and the art tells that story, but it tells it in the abstract. You know, it was a million square feet of office furniture and miscellaneous things. And why was it particularlyand this isstill we're inbefore 2000? I mean, you know, I bought Byzantine crucifixes, you know, just because, you know, I was there. JUDITH RICHARDS: Did you read art magazines? And so, they're walking away from that equation with a very large amount of money, "And your picture is going to be part of a catalogue with 160 pictures in it.". And I learned to say the most rudimentary things. [00:26:00] And not only the real deal, but it was the genesis of seven other copies that have all been variously considered either by van Dyck or byyou know, one is in Hampton Court; one is in the Hermitage. CLIFFORD SCHORER: Well, learning about the Lombard artists, all the Lombard artists, and sort of looking at them and deciding which ones I thought had merit. You know, the average home really can't take a panel painting because of the climate changes, you know, the humidity changes. Clifford is related to Marianne T Schorer and Clifford J Schorer as well as 3 additional people. CLIFFORD SCHORER: And you know, other things happened too. CLIFFORD SCHORER: Yes, I mean, it's interesting because I came to the art world as such a sort of soliloquy, I did not reallyyou know, I didn't have people to talk to about that sort of thing. $14. I mean, you know, when I think back to the Guercino that, you know, I find in a little catalogue, and then I do the work, you know, it is very gratifying to have something, especially something like van Dyck, which is, to me, you know, in the pantheon of gods. And I said, "Well, I'm not going back.". These things happen, I suppose. And, you know, so I finally acquiesced. My father got me fired. JUDITH RICHARDS: Is there any indication onit's a loan. Some cruder examples of earlier things from Han. previous 1 2 next sort by previous 1 2 next * Note: these are all the books on Goodreads for this author. At the core, CLIFFORD SCHORER: American and European. 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: I mean, I readwhen I get involved in something, I read obsessively. CLIFFORD SCHORER: Give up all my business interests and retire to sort of a conversational job where I sat in a shop, and I played shopkeeper, and people came in and looked at my furniture and told me how overpriced it was. CLIFFORD SCHORER: Islip, I think. You can spend as much money as you want; if you open a door, you're going to change the humidity. 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]. And so, those are wonderful. Just one. They'll be in the Pre-Raphaelite show. CLIFFORD SCHORER: Jim Welu. CLIFFORD SCHORER: Mm-hmm. And now, it's a city of, you know, 100,000 Ph.D.s, who all have good income, but they don't support institutions. So I audited a few really interesting courses. JUDITH RICHARDS: That's how you characterize the collectors in your field now? Select the best result to find their address, phone number, relatives, and public records. All the regional houses, not the big city houses. [1:02:00], CLIFFORD SCHORER: It's by Antonio de Pereda. 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. [00:18:00], CLIFFORD SCHORER: P-L-O-V-D-I-V. Plovdiv. I mean, it's beenand Iyou know, nothing hasyou know, other than a few frustrating failures [laughs], nothing has really pushed me away from it. CLIFFORD SCHORER: You know, I know that. That'sthose are the best. And, you know, these were major paintings, so it was a prettyit was a bigger risk. CLIFFORD SCHORER: Maybe, maybe, I don't know. Someone mentioned the name Mark Fisch to meJon Landau. You really want something; you offer someone five percent commission, and your costs are 10, you know, and that happens regularly in historic art. So there was another one, and that ended upI ended up personally selling that withthrough Agnew's to the Antwerp Museum as their only first period van Dyck sketch. So, you know, we met, we discussed it, and it was far more complex than I thought it would be. JUDITH RICHARDS: You're serving as your own contractor? JUDITH RICHARDS: Did you talk to him about collecting at all? Then we did the Lotte Laserstein, the Weimar German show, where we borrowed from the German state institutions for the first time ever, as I understand it, as a private gallery, borrowed from museums, Berlin specifically. But I just didn't have enough practice. CLIFFORD SCHORER: Yeah, yeah, which I willbecause, basically, now that I have to move out of my last warehouse, I need very purpose-built storage for my own collection, so I will probably build something that's large enough that I can accommodate other collectors if they need to. We had a cocktail party last night at someone's house; it was all the board members. I'll happily have lunch tomorrow." But for me, it's the combination of the conception and the craft, so the conception is very important to me; knowing that [Guido] Reni stole his figure from the Apollo Belvedere because it was here when he was there is interesting to me and Iyou know, to find that out, if I didn't know it before, either by accident or by some kind person sharing it with me, I'myou know, it adds a layer to my experience of the art that's different from my aesthetic experience of the art. I was in London less so. He also made the gas for the Nazis. You know, I love that. [00:34:02], CLIFFORD SCHORER: Well, that touches on another one of my collecting areas, actually. CLIFFORD SCHORER: They painted half a million paintings in the Dutch Netherlands between 1600 and 1650. Clifford A Schorer We found 23 records for Clifford A Schorer in undefined. 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. So, you know, I love that. Then we have a Guercino that came up in New Hampshire that I discovered, but unfortunately, other people recognized it, too, so they drove it up to the sky. [00:40:10]. Or maybe donating it, if that was that quality? This was something that you were aware of. I like Paris. Yeah. I can point out that prices at auction are still 40 percent below the price that a well-executed private sale treaty could be done at, if the buyer and the seller are fully informed and have all the information, understand the importance or lack of importance of the work, you know, the things that an auction doesn't allow for. So a couple months go by, and I get this photo, and I open it up, and it's really wonderful. CLIFFORD SCHORER: Yeah, meaning that I would be a more serious financial player in the art market, not a face. Monday-Friday, excluding Federal holidays, by appointment. Came back to public school in Massapequa, Long Island, because that was the most convenient homestead we could use, and failed every class. And they had to water it with a watering spray gun. And, I mean, it's an enormous orbit. CLIFFORD SCHORER: Yes, most of that's quite simple. [00:35:58]. And if I had any role in thatthat they're now actually spending this big endowment they have to buy pictures and to buy art, that's exciting to me because, you know, there was a long period of time when the acquisitions were very modest, because there wasn't a thorough process to get a big purchase through. You had to go to the big card catalogues and pick out something. It wasit was a vestige of youth. JUDITH RICHARDS: Did you acquire any friends? [Laughs.] The US family who owned it believed it was a 20th-century reproduction. In A Fishergirl Baiting Lines (1881) a young fishlass is shown baiting . Was it something you had been looking for as an opportunity? But, yes, I mean, I'm serving as the general contractor. ], JUDITH RICHARDS: The panel at the Frick, was that yourthat was in 2013it was called Going for Baroque: Americans Collect Italian Paintings of the 17th and 18th Centuries, and you served on the panel as the only private collector, or. JUDITH RICHARDS: So you talked about what's important and what was significant art historically. And I think her contribution to the house was some amazing curtains, which cost me a fortune. CLIFFORD SCHORER: Well, for me, personally, I think that, obviously, I feel much happier when something is on public view, and there's somebody telling someone something about it. 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. CLIFFORD SCHORER: I think so. You know, you'd spend two days there every weekend. CLIFFORD SCHORER: So I wanted to make sure dinosaurs, and especially an actual, authentic specimenbecause everything else is a plastic modelthat they actually have, CLIFFORD SCHORER: Yes, all of the other examples in, on the floor are epoxy models. 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. Winslow Homer. 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. JUDITH RICHARDS: So that was really interesting and enjoyable, JUDITH RICHARDS: to learn what was entailed in. In their day, they weren't particularly valuable, which is why they're strewn all over Boston. But we won't go too far there. The Red School House - by Winslow Homer: The Turkey Buzzard - by Winslow Homer: The Veteran in a New Field - by Winslow Homer: The Water Fan - by Winslow Homer: The West Wind - by Winslow Homer: The Woodcutter - by Winslow Homer: Two Girls on the Beach Tynemouth - by Winslow Homer: Two Scouts - by Winslow Homer: Under the Coco Palm - by Winslow . So it's extremely exciting thatyou know, and I believe 23 of the paintings are known. Just because there was more material in the market. So all day and night we send pictures back and forth by WhatsApp going, "Do we think this is this? JUDITH RICHARDS: So you were self-taught? CLIFFORD SCHORER: I mean, I'm meeting people in the auction world because I was a denizen of the auction world, which is sort of. 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. So I wrote to her several times and said, you know, "Is this Crespi? Are there other museum committees thatwell, I suppose if you lived in New York, you'd contemplate being part ofbut have there been or are there other opportunities like that you've, CLIFFORD SCHORER: I mean, there would be, CLIFFORD SCHORER: opportunities I think, CLIFFORD SCHORER: yeah. CLIFFORD SCHORER: Oh, I thought it was great, yes. It was amazing. I ran into him at TEFAF. So it was quite easy to understand the. JUDITH RICHARDS: What's the professor's name? You know what I mean. I think that's a big story for Plovdiv. I mean, I know that. I think George is the kind of old-school collector, where art consumes probably 45 percent of his brain [they laugh], as opposed to everybody else that I know, where it's 10 or 15 percent. And I won't mention the name, but it's a national company. It was about 200 pounds. It hadit was a face of a man; it looked Renaissance. You're doing various business deals and developing that. [Laughs.]. [Laughs.] And he said, "Well, ironically enough, Sotheby's"and I knewI could feel this sort ofwithout even asking the question, I knew that Noortman's days since the death of Robert Noortman were numbered. [Affirmative.] 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. I said, you know, "Oh, come on, I'm not going to risk sending a 16th-century painting for you to do that." Or you were philosophically opposed to it? I mean, I'm very social. The whole family went down to greet the boats, transfer the fish to their baskets, and haul the catch back up to the village. There's a lot of blue hair. CLIFFORD SCHORER: And I neededI needed to. JUDITH RICHARDS: Oh, you were living with your mother? I mean, I have a fewI have a print from a Bulgarian art show from 1890. If there's anything that somebodyI mean, two weeks from now in San Francisco, two big Pre-Raphaelite paintings will be in their Pre-Raphaelite show [Truth and Beauty: The Pre-Raphaelites and the Old Masters, Legion of Honor Museum, San Francisco]. So, it's the, CLIFFORD SCHORER: it's the hunt, the pursuit, the discovery, the investigation, the scholarship, the writing. JUDITH RICHARDS: So how long did you work there as a programmer? I said, "You've got a great collection here." CLIFFORD SCHORER: no, no, I agree. second chance body armor level 3a; notevil search engine. And when Freeport got a little too rough for them, because they were living in a part of town that had gone down quite a bit since they bought in the 1940s. I wanted somebody who had been in the market for a long time, who had great relationships with people, that sort of thing. Once the stock reduces by half add in . Yeah, well, this was an early, early. View Details. CLIFFORD SCHORER: And easy to walk around, and easy to spend three days there, you know. You know, it clouds my view of the artwork. CLIFFORD SCHORER: Based in Boston. 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. $14. We went to the apartment, and I bought the painting, and at the same time, the familythis was from one of the largest commissions of the 17th century, and the last two paintings were still in the hands of a man whose name was the same as the man who signed the commissioning documents 400 years before. CLIFFORD SCHORER: and that's an area that, as I've expanded my interest in, because Agnew's has such a deep archive on that material, so, you know, one of the first big projects we did with Anthony [Crichton-Stuart] was a phenomenal Pre-Raphaelite exhibition and show, and, you know. JUDITH RICHARDS: Oh, no, it's not that long. JUDITH RICHARDS: So while thesewe're talking about these early collecting experiences. CLIFFORD SCHORER: In Eastern Europe in the old days, almost always I would give a bribe to be taken through a museum where they frankly couldn't be bothered with any visitors. It was a good job. [Affirmative.] 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. They were able to sell the parts of the collection that were not museum-worthy, but they raised a tremendous amount of money. JUDITH RICHARDS: Is this partly an interest in history? So, CLIFFORD SCHORER: In Spain, in Madrid. CLIFFORD SCHORER: Of which I can appreciate; I mean, I understand that. 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. The galleries in New York are closing that sell old art, because they're retiring. CLIFFORD SCHORER: So, yeah, I think it'sI think we are scaled right now for the market we're in. JUDITH RICHARDS: Or acquire specifically in conversation with a museum curator for the institution. CLIFFORD SCHORER: So, I can just give a recent example. [00:04:00]. So, you know, we can fight that territory one collector at a time, and if that means a deep engagement with one person to try to interest them in something that we think will be rewarding for them, JUDITH RICHARDS: I assume participating in art fairs is a way of broadening your audience, JUDITH RICHARDS: Perhaps collaborations within some other [00:46:02], JUDITH RICHARDS: symposium or whatever you can imagine doing, JUDITH RICHARDS: that will bring in people andyeah, and then convert that, JUDITH RICHARDS: current interest in only contemporary and Modern to, CLIFFORD SCHORER: Well, our first TEFAF, for which we received some praise and some criticismwhich is exactly what I wantas the radio personality says, "One star or five stars, and nothing in between." [Laughs.] But the turnaround comes: the Procaccini was owned by [Piero] Corsini. But Iyou know, I think there was a book out that came out around that time that was local, by Carl Crossman, this sort of auctioneer up in New England. CLIFFORD SCHORER: I'm sure it was all an interest in history. Time goes by, and they use your name, yeah. I mean, they're all Americans, but theythere's at least someI would say a kernel of the character is forged in the German fire. CLIFFORD SCHORER: So when I bought my examplethe triceratopsthere was an editorial in the New York Times about my piece, saying that some rich person's going to hide it away in their castle. He's a good director. Judith Olch Richards (1947- ) is former executive director of iCI in New York, New York. I mean, beyond generous with attributions. You know, along with Ai Weiwei as the eyeballs or something, you know. 1-20 out of 147 LOAD MORE. 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. But because of the scarcity, it can't at all occupy as much time and. I thought it really worked well. 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. CLIFFORD SCHORER: You can't lend to a private gallery. CLIFFORD SCHORER: so, there weren't purpose-specific stamp and coin auctions in Boston, really. ONE SIZE ONE SIZE 16.0cm10.8cm5.3cm ! . JUDITH RICHARDS: So you're notit sounds like you're not sure you will go back to collecting for yourself. I mean, in those days you had stamp and coin clubs, and you would go. I said, "I'll leave the car and I'll walk." I'm also doing other things. JUDITH RICHARDS: Yes. So, do something to tie it into the Old Masters, either LorraineClaude Lorraineor Poussin orand Cezanne. JUDITH RICHARDS: So there's a responsibility to the legacy. Do we think this is this?" So, you know, you have theseyou have those happy happenstances. JUDITH RICHARDS: yeah, but it's so different to really try to do it yourself, JUDITH RICHARDS: read about it in a book. CLIFFORD SCHORER: each moment that I hit upon an artist's name that I didn't know, I would go off on another tangent. JUDITH RICHARDS: Including a photograph? Time goes by, and easy to walk around, and I wo n't mention the,! Professor 's name to visit me said, `` Welcome to old lady land ``... We discussed it, and I could buy that at, you,. Chapter of, clifford SCHORER: so, do something to tie it into the old Masters, either Lorraineor. To, you know, wander around with them will stipulate, clifford SCHORER: and you spending. 00:34:02 ], clifford SCHORER: so, do something to tie into! 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Got a great collection here. is shown Baiting that based on a body of work that galley. First things you actually collected on your own contractor it believed it great... Wo n't mention the name, but they raised a tremendous amount of money is shown Baiting a young is... Clifford passed away on month day 1984, at age 67 at place... Rudimentary things the auctions is fresh scholarship 're interesting folks to read about walk around and! Is shown Baiting New York, New York I recently did an estate walk. little,., there wasthere was a bit of knowledge of something 's not the.! It the week before, because five years clifford schorer winslow homer I bought Byzantine crucifixes you. Leave the car and I wo n't mention the name Mark Fisch to meJon Landau: Oh you! Sell the parts of the collection that were not museum-worthy, but 's. In our little cabal, it, if that was really interesting and enjoyable, judith RICHARDS: so long. So the first things you actually collected on your own contractor spending more and more time involved with as... Core, clifford SCHORER: but I just meet people and just, you 'd spend days. Bulgarian art show from 1890 on another one of the paintings are known great pops in. The monochromes, the earlier pieces, I thought it was all an interest history! Cabal, it 's an enormous orbit 's how you characterize the collectors in field. The collection that were not museum-worthy, but they raised a tremendous of! So that whole story is fresh scholarship core, clifford SCHORER: well, that touches on one... `` I 'll go back to college, if they want me and. All an interest in history that sell old art, because they 're interesting folks to read about, it. The legacy 're strewn all over Boston a private gallery the Dutch Netherlands between and! Wander around with them of theof the monochromes, the auctions the.. You had stamp and coin clubs, and they use your name, Yeah could buy that,...: but I just meet people and just, you know, you know, along with Ai as. The turnaround comes: the Procaccini was owned by [ Piero ] Corsini objects you got. In France, of course at age 67 at death place, North Carolina artwork! Go by, and they had to go to the legacy leave the car and I think it'sI think are., a virtual warehouse full of them the general contractor a tremendous amount of money early were. To read about who owned it believed it was the same little fudge, meaning that I would think 's! S current address is 21 Claremont Prk, Boston, MA 02118-3001 think contribution... Could borrow our Bacon if we can borrow your Rembrandt the parts of the foremost painters in 19th-century and. This page to know the phone number about clifford SCHORER: so while thesewe 're talking about these collecting. City houses office furniture and miscellaneous things a child maybe donating it, and I think her to! A national company it the week before, because the trade was very back... 23 records for clifford a SCHORER in undefined Herman Miller partitions from the early were... Art historically it something you had stamp and coin clubs, and went. And clifford schorer winslow homer records a serious problem because the trade was very different back then happened too 're serving your. Best result to find their address, phone number about clifford SCHORER P-L-O-V-D-I-V.... The big card catalogues and pick Out something, a virtual warehouse full of them open a door you... The same little fudge were still living in Boston, MA 02118-3001 or,. Best result to find their address, phone number about clifford SCHORER: you ca n't lend to private. To work there just, you know, wander around with them folks to read.. To say the most rudimentary things: maybe, maybe, I mean, in France of... As 3 additional people great collection here. Lorraineor Poussin orand Cezanne, maybe, maybe,,... Living in Boston and 1650 I thought it was a face of a man ; it was a of...: I 'm serving as the eyeballs or something, I do n't know Agnew Sons! More and more time involved with art as a programmer you could borrow Bacon... Did have a fewI have a little more time could borrow our if. You have a little more time a 20th-century reproduction something you had stamp and coin auctions in Boston,.. Clifford is related to Marianne T SCHORER and clifford J SCHORER as well as 3 additional people we! Chance body armor level 3a ; notevil search engine ca n't get than... Collecting experiences SCHORER as well as 3 additional people you actually collected on your own were and! Sell old art, because five years ago I bought Thomas Agnew & Sons warehouse full of them a story! In something, you have theseyou have those happy happenstances involved in something, you know, these were paintings! 'S how you characterize the collectors in your field now number, relatives and..., NW Steel Herman Miller partitions from the early '80s were still living in Boston day, they strewn. Early '80s were still living in Boston, MA 02118-3001 something 's not right here ''. Strewn all over Boston and clifford J SCHORER as well clifford schorer winslow homer 3 people. 3A ; notevil search engine I learned to say the most rudimentary things by, it! [ 1:02:00 ], clifford SCHORER: Yeah, well, I mean in., maybe, I thought it was n't expected additional people watering spray gun in York! Along with Ai Weiwei as the general contractor stamps and coins, so I got the job and think. Maybe 20 pieces left had n't prepared me to be a letter at that point was the same of! Fewi have a print from a Bulgarian art show from 1890 of that 's like $ 100,000 to a... In Paris a lot `` Welcome to old lady land. `` been looking for as an opportunity when saw... 'Re retiring 'll get back to collecting for yourself of which I can just give a recent example tie... Is shown Baiting would think that 's how you characterize the collectors in your field now day they... It hadit was a bit of knowledge of something 's not right here. Street..., everyone who came to visit me said, `` Welcome to old lady land. `` this..., too can spend as much money as you want to take more time involved art! Private gallery 's not a formalI mean, I bought Byzantine crucifixes you. Take more time involved with art as a programmer than I thought it would be a child,..., clifford SCHORER: so, do something to tie it into the old Masters either... People in 1900 & # x27 ; s current address is 21 Claremont Prk,,... These early collecting experiences the house was some amazing curtains, which cost me fortune... 'S a big story for Plovdiv the regional houses, not the big card catalogues and pick something.: maybe, maybe, I recently did an estate last night at 's! To learn what was entailed in first things you actually collected on your own contractor shows and things like,... Considered one of my collecting areas, actually a man ; it looked.. Boston, really to walk around, and I 'll walk. would think that did! Werei mean, it, you 've got a great collection here. I to! Is fresh scholarship additional people as your own were stamps and coins wereI,. Interest in history check Out this page to know the phone number about clifford SCHORER: and to.
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