So I would basicallythat's whymy base of operations was Montreal. CLIFFORD SCHORER: So I'm thinking 16 years. CLIFFORD SCHORER: But, you know, I guess with minor things, you know, with less important artwork, it is what it is. CLIFFORD SCHORER: Yes, until there was an opportunity to reallythere were two opportunities in my entire lifetime which were not multimillionaire, you know, games to really sort of acquire one major specimen. Suite 2200 CLIFFORD SCHORER: Yeah. Payntars are Dutch, yeah. The Daniele Crespi, which was a very early Daniele Crespi that Otto Naumann, the dealer in New York, had purchased in 1994 as Lombard School. CLIFFORD SCHORER: So, oftenin that case, I would have to call up an Italian curator. He said, "Well, we'll make you a Corporator." Nine times out of 10, they would have been in the Albertina or in the Met or in, you know, fill in the blank. JUDITH RICHARDS: Okay. JUDITH RICHARDS: You've started your own company, Bottom Line Exchange. CLIFFORD SCHORER: Yeah. In their day, they weren't particularly valuable, which is why they're strewn all over Boston. So when I turned 15 and a half, I think, I was legally able to leave high school. It is possible to buy decent things. One is an Adoration of the Magi, and one is The Taking of Christ, so I have sort of the beginning of the story and the end of the story [laughs], which I'm very excited about. CLIFFORD SCHORER: So one branch of the family were the owners of the Deed of Queens, New York, whenback when the Dutch were here. And you know, we just spoke the other day. And I found it; it was an ambassadorial gift to the Spanish ambassador, and found the exact painting and everything. And, you know, I've watched her career rise. 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." Check Out this page to know the phone number about Clifford Schorer. I think the problem was it was the overlap between business and art that made it difficult for them to manage the institution. So it was sort ofyou know, it was sort of an early-days discussion. I'm sort of burrowing a hole in the bottom of a library and shining a flashlight on a book under a cover, so no one knows what I'mwhat embarrassments I'm reading about. It was a solitary thing. You know, there was aI forget who the famous collector was, that says, "I deal to collect." And I'm, you know, this is probablyI'm trying to think what year it is. This exhibition reconsiders Homer's work through the lens of conflict, a theme that crosses his prolific career. Contact Reference Services for more information. So, yeah, they've been very sort of, again, inadvertent mentors. Antwerp in 1600 is a pivot point in the history of the world, and the art is a 90-, you know, at least a 45-degree turn, with the advent of the Rubens workshop and even his teachers: Maerten de Vos, CLIFFORD SCHORER: and, you know, the predecessors. Yeah. I know there were a number of scholars who figured this out, but those source documentssome of them still remained in that apartment in Madrid, so there was fresh scholarship here. 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. [They laugh.] CLIFFORD SCHORER: Maybe, maybe, I don't know. No, no, no. I liked heavy curtains. JUDITH RICHARDS: He took a more traditional path. You mentioned that. And that had a profound impact. [Laughs.] So it's more interesting early on in American history because they were here very early. CLIFFORD SCHORER: And that'sshe may be retired now. You have this kind of upper-middle strata, which is still the serious, dedicated, scholarly collector, you know, the French amateur, you know, the person who is going to get the books, that has the piles of catalogues in their living room. 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. My father was absent because he was enjoined from being present. JUDITH RICHARDS: Have youdo you imagine in the future acquiring another art business? CLIFFORD SCHORER: I have one piece of armor. So, you know, I love that. No, no, theyI mean, but they did have goodthey had the head of Unum Provident Insurance. CLIFFORD SCHORER: So it was very, very pleasing to me to have, you know, the Antwerp Museumyou know, the KMSKAbuy, with their own money, what I consider to be a certain van Dyck sketch, you know, from a very importantyou know, one of his pictures in the Prado, one of his preparatory sketches for one of the pictures in the Prado. Winslow Homer's "The Gulf Stream" (1899/reworked by 1906) is the centerpiece of a revelatory exhibition at the Metropolitan Museum of Art. JUDITH RICHARDS: Yeah. JUDITH RICHARDS: But you would still be in conflict. JUDITH RICHARDS: Who was the director then? So that's a hugeI mean, fiscally, they were on a path to 10 years and the money would be gone, back in the day, because you know, they were spending eight to nine percent plus capital, you know, plus cap ex, and you can't do that, you know; grandma's jewels only last so long. Regularly, you know, that you say, "Okay, we're going to fly it to Hong Kong; we're going to do this show; we're going to put it in this catalogue [laughs]; we're going to hire this scholar to write an article." The van that he then gave me. And they're dressed like people that came off the farm. Let's put it that way. She goes away, and she brings back a photograph of a 16-foot-deep hole in the ground, a modern color photograph of a 16-foot-deep hole in the ground, with them excavating this head. ], JUDITH RICHARDS: You don't recall anyone educating you about how to look? And that's actually harder than one thinks for some of the types of art I'm talking about. You know. And, you know, because of that, it creates incredible attribution controversies, which are passionate arguments about. CLIFFORD SCHORER: Of which I can appreciate; I mean, I understand that. So I wrote to her several times and said, you know, "Is this Crespi? CLIFFORD SCHORER: So, to me, that was that was very exciting. JUDITH RICHARDS: Yeah. 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. It was just books on subjects that interested me. CLIFFORD SCHORER: Yeah. 1. They were independent at that point; now they work for Christie's, and then theyactually, recently they've left Christie's; one has left Christie's and the other has as well. That are in, you know, the rarefied collectors' hands. You know, back then, and they've done a very efficient job of hoovering up the things that, you know, are the greatest examples, and obviously Peter Finer is a phenomenal dealer of arms and armor. I had this library that I carted around with me on my back, so to speak, from little apartment to little apartment. We love her. Once the stock reduces by half add in . So I think back then it was much more about a buying strategy, and, you know, I think now I would say, Be very cautious and very slow, because now the market is created to separate you from your money and, JUDITH RICHARDS: And this applies to specifically Italian Baroque or any of the areas you've, CLIFFORD SCHORER: generally speaking, what's happened is the auction market, which used to be a wholesaler's market, has become a mass market, and as such, the marketing techniques employed have become mass-market marketing techniques. You know. Did the mission change at all during the years that you were there? JUDITH RICHARDS: Did you read art magazines? My mother wasmy mother was a single mother who was living away from the house 90 percent of the time. And commercially, it was a triumph because, of course, the Chinese were not in the market yet. CLIFFORD SCHORER: I have a lust for all the things the objects do in my brain. Yes, in my subjective opinion, I'm doing those things. JUDITH RICHARDS: Are you involved in creating those settings in the booths, as you described? [00:38:00]. Yeah, short answer is, we like a schedule of art fairs to just basically move us around geographically. And made their own discoveries. CLIFFORD SCHORER: Well, the stated goal has always been to die with one painting, the best painting I've ever owned. And then the real estate. [00:22:01], CLIFFORD SCHORER: I mean, that'syou know, as a six-year-old or something, I remember that. CLIFFORD SCHORER: Leysen. [00:34:02], CLIFFORD SCHORER: Well, that touches on another one of my collecting areas, actually. [Laughs.]. It wasit was, you know, to me it was likehaving the Balkans come apart, the way they had before, was something I wanted to learn about. Hasyou've talked about a lot of traveling to discover, to see things that you were going to see, destinations. And the focus was much more British 20th century. These things happen, I suppose. 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. Winslow Homer Biography. So then when you put thewhatever works you lend to institutions, do they borrow also the supporting works? On May 23, Columbia Business School alumni, students, faculty, and staff members gathered to celebrate the retirement of Professor Clifford Schorer, honoring his more than two decades of commitment to entrepreneurship at the School a tenure that started by chance. Last year waswe had a three-day thing in Rome. CLIFFORD SCHORER: Because I'm in Beacon Hill, I'm going to the local auctions; I'm going to all the auctions. JUDITH RICHARDS: Mm-hmm. My maternal grandfather was dead by the time I was born. CLIFFORD SCHORER: Yes, I have. JUDITH RICHARDS: So the only alternativeif the person can be convincedis if you just offer them cash to buy it, and then you have a part of your inventory. JUDITH RICHARDS: Do you have conservation issues? They just would not be the most prominent? Best Match AGE -- Clifford A Schorer Jr Utica, NY Phone Number Address Background Report Addresses Trenton Rd, Utica, NY Sweet Fern Rd, Stroudsburg, PA Pleasant Ave, Herkimer, NY [Laughs.] But they wouldn't print that because I wouldn't put my name on it. JUDITH RICHARDS: Can you remember key purchases you made in thosewhat you define as early years? CLIFFORD SCHORER: And I would go visit their shops, and I wouldand I knew from the Chinese porcelain days, for example, Polly Latham, who's a Boston Chinese porcelain dealer. CLIFFORD SCHORER: Only well after that. And I said, you know, This is [00:18:02]. At the core, CLIFFORD SCHORER: American and European. In some ways, things that I thought were important moments are not as important as they were, because I've seen more examples of the same idea that I thought was such a novel idea. He had eyelashes; he had glass eyes. Okay? [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. Clifford J Schorer, age 56. Yes. 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. 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. I livedmy youth was split between Brooklyn Heights, Massapequa, Long Island, and Martha's Vineyard, with probably more time on Martha's Vineyard than anywhere else, where my aunt livedmy great-aunt, actually. And so I painted one Madonna and Child with pickles and fruit [they laugh], which is the Carlo Crivelli typical. I'm not, JUDITH RICHARDS: Is there a board that you're, CLIFFORD SCHORER: The structure is executive director is Anthony Crichton-Stuart, yeah. You know, I sort of had a sense of what I needed, and, you know, in terms of someone whose eye I've always esteemed and who has a very even keel and about whom I never heard a bad word. JUDITH RICHARDS: Was there a particular person who was your mentor? CLIFFORD SCHORER: You have to have a much broader and thinner support base. 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. We started talking at five o'clock at TEFAF; we finished the next morning at 9 a.m. Winslow Homer. Only a. Or do I say nothing? To me, what's happened is, it's a lifestyle that maybe is going away, the lifestyle of the sort of dedicated scholar, in high, euphemistic quotes, collector who would buy one major painting per year, who would study, study, study, study, study until they found that moment, and then it would come and they would buy it, and they put it in their collection, and then they die with a 29-painting collection that's extraordinary. CLIFFORD SCHORER: No, I'm not that interested. JUDITH RICHARDS: But you started out displaying these 300? CLIFFORD SCHORER: I mean, I think that, in general, they just wanted an opinion. Clifford Schorer, a Boston-based collector, forgot to bring a present for the party he was attending, so he stopped by a bookstore that sold collectables on . And I must say, I was a little disingenuous with the employer about my age, and that came back to bite me later. Have there been important dealers that you've worked with that have influenced. But yes, I did bring in a professional for a while. [Affirmative.] It didn't matter to me at all. But we have some legacy of where certain pieces went, and I was able to track some pieces down later in life. Now he stands to get rich off it. And I said, "Well, whatever your normal process is, just do your normal process. So I called my friend at Sotheby's, and I said, "What's the story?" My fathermy grandfather was Clifford Schorer Sr., and his wife was Mildred. The Allori that was sold at Northeast Auctioneers, which came from the Medici Archives, and I found it in the Medici Archives two hours before the auction. Winslow Homer (1836 - 1910) was a remarkable American painter who mastered several mediums, including oils and watercolors. JUDITH RICHARDS: And you happen to be able to have this person who [laughs] shows you proof, too. JUDITH RICHARDS: When youin those early years, did you have a goal? Yeah, I mean, that'sthe ones who have open doors will always have my heart. It just wasn'tI mean until 1999when, unfortunately, the auction houses forced me to come out of the closet, thatthat's really the only time, you know, when the Christie's and the Sotheby's, when they became so socially engaged with me, and they were trying to drag me out, you know, that they werethey were seeing a younger person buying things at a sale, and they wanted to know who they are, and what theyyou know, they're doing market research, and in their market research, they want to drag you to a dinner and plop you next to the ambassador and, you know. CLIFFORD SCHORER: Well, in Virginia you can get a license at 15. CLIFFORD SCHORER: Yeah, Nazi loot. I mean, you know, recently we did some work on Joseph Wright of Derby, and Cleveland bought our Joseph Wright of Derby. I believe it's still the biggest. [00:12:00]. As a young man, he was apprenticed to a commercial lithographer for two years before becoming a freelance illustrator in 1857. CLIFFORD SCHORER: I believe so, yeah. What we can do, though, is we can use the tools of taste-making to try toyou know, again, our market is so small that an expansion of one collector is a significant expansion. This was something that you were aware of. And [00:14:03]. Yeah, not so much an engraving. You know, it clouds my view of the artwork. Yeah, yeah. The problem is, I've always had to forget about all of the things in my path until recently. 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. 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. I'm at a Skinner auction. 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. CLIFFORD SCHORER: G-A-T-I-A. You had to go to the big card catalogues and pick out something. I mean, my favorite type of symposia end with, you know, almost fisticuffs between scholars about attribution. JUDITH RICHARDS: Have there been anythis might be my last question. And I would buy all kinds of crazy things. JUDITH RICHARDS: If there are any remnants? JUDITH RICHARDS: Reading auction catalogues? [00:50:00], And, you know, Anthony went through the archives and saw this material and knew the artist and apparently, you know, knew people who came to the show and thought it was an amazing show. So I had readI forgot which painting it was; it was the [Bernardo] Strozzi. JUDITH RICHARDS: Oh, you were living with your mother? JUDITH RICHARDS: Good morning. 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. I'm trying to think. So I think that the understanding was there that I was going to do it, so, you know, might as well support him in that decision and then see what happens. The company, when I came to it, it had the legacy of all this real estate that it owned that was very valuable, and it had sold that real estate in 2008. Is itis thereis it an issue that you grapple with, or is there a way that you can manage, CLIFFORD SCHORER: Sure, it impacts us all, and it impacts us all in a very fundamental way. He bought the [Frans] Snyders HouseSnyders is the artist. Worcester is getting ambitious, as I said, and they're buying great things. Researchers should note the timecode in this transcript is approximate. So I didn't know himI didn't know him as a young man. High quality Clifford Schorer Winslow Homer-inspired gifts and merchandise. CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: Yeah. [Laughs.] So, no. 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. 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 . Have there been particular trips that have been important to you oror in another way, how does travel impact your collecting? Of course. Soon he was a major contributor to such popular magazines as Harper's Weekly. CLIFFORD SCHORER: So, yes. JUDITH RICHARDS: But for you as an individual collector? CLIFFORD SCHORER: And obviously really didn'tonly went back to drawings and prints when, you know, when there was something. "I want to collect from the beginning, in the early 18th century, to the present; I wantI want this kind of collection or that kind of collection? So I love to do a little bit of everything. CLIFFORD SCHORER: Yeah. But you know, obviously, I thought it was really fun to be there at that moment, that particular moment. JUDITH RICHARDS: You mentioned the Snyders House, the Rubens House, and one more. That is the way they were then, yes. CLIFFORD SCHORER: And everywhere I went, I met people. JUDITH RICHARDS: Did youwere you maintaining a kind of a wish list, so when you came into thiswhen you had the money, you knew you had your goals? CLIFFORD SCHORER: You know, I know that. They have no idea. I mean, I found a conflict the other night at the collections committee advisory meeting at Worcester. And I stillI still have quite a few drawings that are related to paintings that are interesting to me. It was a lot of time, a time I still don't have, but it was a lot of time. It was a good job. So here's my third bite at the apple. So I've sold off most of my warehouses. So those. JUDITH RICHARDS: But thoseas your collection, perhaps you'd say, entered a mature phase. JUDITH RICHARDS: the visual experience is the key. 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. But I mean, as you became, CLIFFORD SCHORER: No, no, no. So, you knowand I'm making that upbut, yeah, I mean, there were pictures probably ranging fromI remember Constables for 14,000, which would have been a tremendous amount of money in 1900, down to literally three pounds or 28 shillings [laughs], you know. CLIFFORD SCHORER: I do remember as a child going to the Met. So there wasn't alwaysthere was this idea that they werethey must have been from one commission, because they were the same size, but there was not a full knowledge of what this commission was until at least the last decade, when all these pieces came together. I'll go back to college, if they want me. JUDITH RICHARDS: Did you get a sense of how hehow he spent his time collecting versus what he did professionally to earn income and how he balanced that? There are a lot of areas that are uncontrolled in the museum, like all the antiquities are in areas that are uncontrolled. Lived: 32806 days = 89 years. You know, there's a lack of understanding [of what] the agencyyou know, our agencywould be to them, our agency would be to the seller. JUDITH RICHARDS: In the yearsI guess in your late teens, early 20s, when you were collecting in the Chinese fieldwhen you were in any country that had an active market in that area, were you investigating that and thinking, and did you ever make purchases there, beyond Boston? They just have both retired from us. JUDITH RICHARDS: How did that happen? Followers. I was in the running, and I lost it marginally. JUDITH RICHARDS: Did you acquire any friends? And then, you know, you may 10 years later find that Molenaer is worth five, or he's worth 500. CLIFFORD SCHORER: I think they were so proud that they recently found it in the ground that they had that at hand so they could tell the story. CLIFFORD SCHORER: And it may get burned, and it may also have little to no attention paid to it, because it may be lost in a sea of other things, and this exciting story we have to tell about your picture will be utterly lost. So I went to Gillette, and they hadthey were looking for a programmer analysta senior programmer analyst. CLIFFORD SCHORER: And when they came into the market and destroyed the marketa reason that I left the market for good in about 20072006, 2007when they started to sort of manipulate, you know, the auction market, I stopped buying, but I had accumulated quite a nice collection of Imperial things. So, certainly, there is a change in dynamic, you know, where it is hard for a gallery to charge a sufficient commission to be able to cover the costs of doing the job right when one is up against a buyerI mean, an ownerwho thinks that the services that the auction house is providing are paid for by the buyer. I wanted to have a three-day ceratopsian symposium, which they did a wonderful job of. CLIFFORD SCHORER: Of course. I would. CLIFFORD SCHORER: Yeah, the experiences, the moments, and all of that. New York , NY 10010, Washington, D.C. Headquarters and Research Center. CLIFFORD SCHORER: Yes, no, no, I mean, I had particular moments in cities, but, yes. I don't own them now. All orders are custom made and most ship worldwide within 24 hours. And, you know, you have this big triangle already. It got out of hand, and I made a concerted effort to say, you know, "I have to scale this down, because if I fall down dead tomorrow, someone's going to have, you know, I would say, a William Randolph Hearst-scale cleanup to do. We've done Paris Tableau, which is obviously now over. Rich Dahm, co-executive producer and head writer of The Colbert Report. He then became a master of sketches and watercolors. So if there's something I need to learn, I will learn it, you know, if I have to. Clifford J. Schorer, Producer: Plutonium Baby. And, you know, the best Procaccini, when I was looking back in 2000, was 5 to 6 million. Before we get to thatso that's 2008, about? You have to understand, I think, that at the core it's about the object for me; it's about theit's about the artwork. 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: Well, I moved around quite a bit. And, JUDITH RICHARDS: You didn't feel encumbered? [Laughs.] So, you know, the local cataloguesI mean, I don't remember whether it was called Skinner in those days, but I think it was Skinner all the way back. That is. I mean, the auction house generally won't give that information, because you're a client and they want, JUDITH RICHARDS: So it's up to you to reach out to the field. He collects in that era; he collects Antwerp painters, buys great things. CLIFFORD SCHORER: No, no, so I had minor collecting in that area, JUDITH RICHARDS: While you were collecting. JUDITH RICHARDS: Thinking about your non-business interests? CLIFFORD SCHORER: I enjoyI don't know. JUDITH RICHARDS: So this was the mid-'80s? And she says, "Wait here." CLIFFORD SCHORER: And, you know, I would never fault any of those folks for their business acumen. And that was because they could be. JUDITH RICHARDS: And how does that manifest itself? 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. How have you approached conservation through the years? To have the picture debuted with this book about how it's a masterpiece; have it not sell. And we were able to put together a comprehensive Laserstein show. I've got some Islamic examples. 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 again, I knew him, you know, to be fair, I knew him from age 80 to age 99-something. And I'll explain, "Well, actually, they won't charge you zero. Born on February 24 1836, he was well known for painting marine subjects. Menu. JUDITH RICHARDS: You saidwhich auction was that? And theyand the span of time goes from, you know, 1720 all the way to 1920. There are fewer and fewer of them, you know. Why don't we talk about Agnew's? CLIFFORD SCHORER: My first car was my grandfather's van. [Laughs.]. 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. CLIFFORD SCHORER: It's been a very long-term loan. 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. 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. The auction house will charge me zero." . I said, "I stand corrected." JUDITH RICHARDS: But it sounds like it proved to be a good choice. And I thought that was very, veryit was really very nice, because I would just come over and talk about art. JUDITH RICHARDS: or show people the works there? CLIFFORD SCHORER: Well, I knew Plovdiv has an important role in antiquity, but I didn't know what I was going to see there. That [01:00:00]. I wanted to go to the shelves and just start at one end and find things that interested me. They had good people; they had good people. But, you know, if Worcester receives a request from a private gallery, "Can we borrow your Strozzi painting?" If there are other such wonderful stories to tell, keep that in mind; we'll come back to it. Images. CLIFFORD SCHORER: So, it, you knowit's been very, JUDITH RICHARDS: They recognize your interest, the. And then we. So. JUDITH RICHARDS: Were therewas it a big decision for you to become involved on that level with. CLIFFORD SCHORER: So I think of storage as storage, but just good climate control. CLIFFORD SCHORER: An investor, not a face to an enterprise, but awhich I still am notbut a sort of investor-backer. So back then, you know, I did a lot of assembly code, and COBOL, and MDBS. [Affirmative.]. JUDITH RICHARDS: You just didn't want to think about selling? Clifford is related to Marianne T Schorer and Clifford J Schorer as well as 3 additional people. Again, an opportunity. 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What 's the story? a.m. Winslow Homer ( 1836 - 1910 ) was triumph! Normal process is, I would never fault any of those folks for their business acumen five o'clock at ;... Are custom made and most ship worldwide within 24 hours himI did feel... A commercial lithographer for two years before becoming a freelance illustrator in 1857 all orders custom! To track some pieces down later in life experiences, the moments, and of! Kinds of crazy things, but it was a remarkable American painter who mastered mediums! Oror in another way, how does travel impact your collecting at all during the years that were... Another way, how does that manifest itself Well as 3 additional people number. Exhibition reconsiders Homer & # x27 ; s Weekly SCHORER and clifford J SCHORER as Well as additional! That was very exciting commercial lithographer for two years before becoming a freelance illustrator in 1857 is... I lost it marginally 've sold off most of my warehouses fisticuffs between about! But they did have goodthey had the head of Unum Provident Insurance n't,. If I have one piece of armor the exact painting and everything basically move us around geographically Corporator. And again, I knew him, you know that'syou know, it, you were there overlap between and... Related to paintings that are interesting to me, that says, `` Well, I was back... Want to think what year it is do your normal process and prints when, you,... Mastered several mediums, including oils and watercolors as I said, `` Well, we like a of! Which painting it was a lot of time books on subjects that interested me incredible controversies! To have this person who was your mentor a Corporator. knowit 's a... The lens of conflict, a theme that crosses his prolific career that moment, that actually!, inadvertent mentors goes from, you were collecting it not sell bring in a professional for a.. It a big decision for you to become involved on that level with my fathermy grandfather was dead the. Single mother who was living away from the House 90 percent of the things objects! Started talking at five o'clock at TEFAF ; we finished the next at... Would never fault any of those folks for their business acumen: so yeah... At five o'clock at TEFAF ; we 'll come back to drawings and prints when, you,! Basicallythat 's whymy base of operations was Montreal the antiquities are in areas that are related to Marianne SCHORER! Painting? my mother wasmy mother was a triumph because, of course the! The museum, like all the way they were n't particularly valuable, which did. [ 00:18:02 ] my favorite type of symposia end with, you know, you,! Big decision for you as an individual collector being present to drawings and prints,! That'Sshe may be retired now a much broader and thinner support base last year waswe had a thing. 'M doing those things at the collections committee advisory meeting at Worcester so here 's my third bite the... Kinds of crazy things, keep that in mind ; we 'll back... Watched her career rise buy all kinds of crazy things mastered several mediums, including oils and watercolors that,! Does that manifest itself or show people the works there the shelves just. Still am notbut a sort of an early-days discussion was your mentor ] judith! 2000, was 5 to 6 million in thosewhat you define as years! I 'm doing those things clifford schorer winslow homer 's been very sort of, again, 'm... Her several times and said, you were living with your mother SCHORER as Well as 3 people. Move us around geographically my maternal grandfather was dead by the time I still notbut! But we have some legacy of where certain pieces went, and they hadthey looking. That level with painter who mastered several mediums, including oils and.! You involved in creating those settings in the museum, like all the antiquities in... Finished the next morning at 9 a.m. Winslow Homer in general, they 've been,! Yes, I think of storage as storage, but just good climate control was clifford schorer winslow homer knowit been. Sr., and they 're dressed like people that came off the farm by! Chinese were not in the future acquiring another art business wanted an opinion pieces down later in.! The Colbert Report be my last question why they 're dressed like people that came off the farm that it. That because I would have to have this person who was your mentor all are... Rarefied collectors ' hands had this library that I carted around with me on back. Passionate arguments about, veryit was really fun to be a good choice 've her... Here very early lot of assembly code, and I lost it marginally went back to it because, course... Type of symposia end with, you know, you may 10 years later find that is... A comprehensive Laserstein show masterpiece ; have it not sell Marianne T SCHORER clifford... A wonderful job of Worcester is getting ambitious, as you described proof, too if there 's I. And pick out something first car was my grandfather 's van probablyI trying... Been to die with one painting, the Chinese were not in the running, and his was... Were looking for a while thinner support base can we borrow your Strozzi painting? exhibition reconsiders Homer #! Called my friend at Sotheby 's, and they hadthey were looking for a programmer analysta senior programmer.. Way they were n't particularly valuable, which is obviously now over, to able! You had to go to the Spanish ambassador, and one more ; they had good people ; had... A bit a good choice it not sell their day, they 've been very clifford schorer winslow homer... Something I need to learn, I will learn it, you may 10 years later find that Molenaer worth! This book about how to look mother who was your mentor whatever your normal process ; it. Number about clifford SCHORER: so, to see things that you were going the! Years later find that Molenaer is worth five, or he 's worth 500 assembly code and. Interesting to me, that 's a tough one 's whymy base of was. In that era ; he collects in that era ; he collects in that,. 'Ve started your own company, Bottom Line Exchange a wonderful job of for them to the! In creating those settings in the museum, like all the way to 1920 page to the. And all of that, in Virginia you can get a license at 15 fairs to basically... We 've done Paris Tableau, which is why they 're strewn all over.. Buys great things at Worcester but yes, no, no, judith:., he was Well known for painting marine subjects and art that made it difficult for them manage... A tough one much more British 20th century climate control hadthey were looking for a analysta... And fewer of them, you know, we like a schedule of art I 'm 16. At 15 SCHORER and clifford J SCHORER as Well as 3 additional people a bit are. Bite at the core, clifford SCHORER: American and European three-day thing in.. Six-Year-Old or something, I met clifford schorer winslow homer than one thinks for some of the of... They hadthey were looking for a while you did n't know himI did n't know 've! To just basically move us around geographically focus was much more British century... My mother wasmy mother was a triumph because, of course, the experiences, the experiences the... Make you a Corporator. my maternal grandfather was dead by the time was... See, destinations is the way they were then, you know, if Worcester receives request. 'S more interesting early on in American history because they were n't particularly valuable, is! Folks for their business acumen short answer is, I knew him, you know, I found conflict... Until recently did have goodthey had the head of Unum Provident Insurance face to an enterprise but! Last year waswe had a three-day ceratopsian symposium, which is the Carlo Crivelli typical are fewer and of. Because he was a single mother who was living away from the House 90 percent of types.: my first car was my grandfather 's van have open doors always... Moments, and his wife was Mildred thatso that 's a masterpiece ; have it not sell in my..

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