They had a large piece of real estate. CLIFFORD SCHORER: No, no. CLIFFORD SCHORER: Oh, all the time, yeah. I tried to hire someone who came in, and we had some battle royales over everything. You know, sure, there is an accumulation of thinking, but the goalmy goal sort of long-termhas always been to find better and better and better things. Or whose voice will impact this collection that's sort of held for the public trust? Richard Davis, jazz-bassist, recording artist, professor/educator at University of Wisconsin-Madison. And that's generallyyou know, you build upon the scholars of the past, and the next scholar may say no. I started my new company. Very nice man, and very giving of his time, very kind person. So several years later he passed away, and apparently they hadn't yet sold the Procaccini. Thank you for supporting the National Gallery of Art National Gallery of Art Custom Prints; About National Gallery of Art Custom Prints; I mean, as a matter of fact, CLIFFORD SCHORER: There was a day when I all of sudden said, you know, I can collect paintings. Those days are long over. He was also a collector of some very important merit, but not in the fine art world. It's obviously spelled in a different alphabet. CLIFFORD SCHORER: Of course, I saw their objects. [Affirmative.] I mean, but I didn't, you know, I wasn't trying to make myself a gadfly in the market, or even a gadfly in the curatorial world. All the time. So it's extremely exciting thatyou know, and I believe 23 of the paintings are known. CLIFFORD SCHORER: I do not. [00:34:00]. I sold it all. And why not? And I said, "Your only quid pro quo is I want you to send me a photo of you giving a lecture with a bunch of schoolkids sitting in front of you in front of the painting.". I wrote in English and I got a response in English, so. Winslow Homer. I mean, I think if youwell, I guess, in scale, Colnaghi and Agnew's were the two large players that had the large back of house. CLIFFORD SCHORER: O-C-K-X, I believe. I've got some Islamic examples. It was sort of the bookends of the exhibition. Then it was scientifically designed fakes made to deceive. They had good people; they had good people. And that's reallythat was more of, you know, expanding the things that I could do. JUDITH RICHARDS: So that really transformed the Worcester Art Museum. [1:02:00]. JUDITH RICHARDS: So this is a field where you're not cultivating auction catalogues and, CLIFFORD SCHORER: No, I mean, that's the field. CLIFFORD SCHORER: No, there were, you know, metalwares; there were Art Nouveau objects; there were lock boxes. CLIFFORD SCHORER: And Worcester was once a city of, you know, nine millionaires, and those millionaires supported the museum. CLIFFORD SCHORER: But still, it was him doing a kind of an Egyptian Fayum portrait, which was really wonderful. And only 10 years later did I find out that my father was so furious that I had left school that he had me fired from Gillette by telling them how old I actually was. JUDITH RICHARDS: Good morning. Schorer also recalls Anna Cunningham; George Abrams; Sydney Lewis; Chris Apostle; Nancy Ward Neilson; Jim Welu, as well as Rita Albertson; Tanya Paul; Maryan Ainsworth; Thomas Leysen; Johnny Van Haeften; Otto Naumann; and Konrad Bernheimer, among others. Well, we still have some aspects of those things, but certainly not at the scale. JUDITH RICHARDS: Were you doing all this traveling on your own? Clifford J. Schorer, Producer: Plutonium Baby. Schorer. CLIFFORD SCHORER: I spentat Boston University? JUDITH RICHARDS: You're keeping just the gallery in London. It had been in dealer hands so long, and it had been sort of, shall we say, gussied up so many times by restorersanother layer of varnish, another layer of feeble retouching, another layer of varnish. ], JUDITH RICHARDS: At what pointat what point did you think about putting aside, possibly in storage, or selling that first Chinese porcelain collection? And it was obsessive. This huge chandelier. She just, actually, sold one of my earliest acquisitions to one of her collectors because, you know, now I'm not so focused on that. So of theof the monochromes, the earlier pieces, I only have maybe 20 pieces left. I said, "Well, you know, that's exciting news." View Details. He said, "Well, we'll make you a Corporator." I'm trying to think what other fairs we've done. So you wouldyou would certainly read all of those. But really, this house sort of speaks for itself as a kind of singular work of art, as Gropius so often said. You could buy things in Europe and sort of do your best to get them home. They had a [Hans] Hoffmann of a hare, a painting of a hare, which was, you know, a world-class masterpiece, and they had a Sebastiano Ricci, a big Sebastiano Ricci. His hair was wet; I thought it was a Poseidon statue. JUDITH RICHARDS: But thoseas your collection, perhaps you'd say, entered a mature phase. And he bought it for the museum. CLIFFORD SCHORER: Oh, I thought it was great, yes. Just a sense of [laughs], CLIFFORD SCHORER: Oh, in a way. But I didn't buy it with much of a focus on the painting itself. ], I mean, I remember I got it back to Boston, and it was hangingit's hanging in the photos. It wasit was basically an operation with an advance guard. We're German people. And his son, Caleb, is also deceased. His paintings cover a wide range - from the Civil War to rural hamlets and a multitude of seascapes with the ocean and . I guess, what kid doesn't like dinosaurs? The first thing I start collecting is Chinese export porcelain, of all things. I had two, and I had to sell both. I mean, my rooms were very dark. ], And in the Chinese export world, it wasn't quite that. You know, sure, I mean, I could go down a list of 200 people that I've wandered in on and started spouting nonsense, and they tolerate my nonsense, and then they actually engage in a conversation with me. But I did bring in a decorator. And, you know, for example, Anthony decided he wanted to do a Lotte Laserstein show. JUDITH RICHARDS: This must've been extremely difficult for your family as well as you. We'll get into that in a few minutes. $17. 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. CLIFFORD SCHORER: It has a whale vertebrae, a really good example. And also, I'm obsessed with these pivot moments in time, so the events that lead to unforeseen consequences much later on. 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. I'm not opposed to the popularizers of history. You know, fill in the blank; provenance issues, you know. 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. You know, that wasthat's one distinguishing factor of the firm that I reallythat I came to have great comfort from. I mean, thatand also, you know, when you getwhen you go to the Old Master market, if you really want to focus on something, you really can't go to any tertiary auction houses. That market is extremely weak now, and, you know, in a way, it's good comeuppance, because there was a long period of time when all the boats were lifted by the tide, the good, the bad, and the ugly. It was about [00:52:00]. And now the painting hangs at the Worcester Art Museum so it can be seen, and basically, you know, after all of that gunk was stripped off, the painting that emerged is extraordinary, so we're very excited. JUDITH RICHARDS: When you had this 300-and-some-piece collection, were you displaying it in your apartment? So I know, for example, in Sofia that they have wonderful, you know, Mithraic panels from tombs and things, you know, from altars, because Mithraism was very big during the Roman Empire. Yeah, I haven't doneI didn'tI hadn't done that at that point. Clifford Schorer. JUDITH RICHARDS: to the Imperial porcelain? CLIFFORD SCHORER: Collection," I think. What kind of high school experience did you have? Because, you know, there was the idea that 550 objects could just be chucked into auction; you know, you could have a publicized sale and get rid of the company, and, you know, the library could go to the nation, and the archive could go to the National Gallery, and, you know, wash your hands with it. CLIFFORD SCHORER: and we put a Reynolds. 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. So, I lost it. CLIFFORD SCHORER: Yes, 2004 or '05, yes. JUDITH RICHARDS: And is there official paperwork that goes along with that? And, you know, so I finally acquiesced. JUDITH RICHARDS: So that's a huge change? Fortunately, I had a business that owned a big warehouse. So we just talked all night in the lounge at the hotel, the whole night, just, you know, blah, blah, blah, blah, about this painting and that painting, where it came from andyou know. [00:08:00]. But they don'tthey certainly don't show them together except in a rare circumstance, where they might have a focal exhibition where showing the preparatory things adds something to the didactic, not theit's not done simply to put the painting on the wall next to a print, you know, next to an engraving. CLIFFORD SCHORER: I wouldn'tI would probably never acquire another gallery, because that wouldI mean, I think I would probably be more of a financial investor in other art businesses, potentially service businesses. They said, "If you take the car, you'll be murdered." He is considered one of the foremost painters in 19th-century America and a preeminent figure in American art. It was a much smaller circle. But, you know, that, to me, is all very rewarding. ", CLIFFORD SCHORER: "We know he dropped out after two and a half years, but you want this guy." And the museum is making ambitious purchases. CLIFFORD SCHORER: Well, the Met, number one, of course. I lived in Massapequa, Long Island, for probably an extended period; I would say from about age seven until aboutactually, from about age eight until about 13. I said, you know, "They found it in 2004." CLIFFORD SCHORER: So, I mean, I would say that all of those things would be exciting and fun to do, but unfortunately, I don't have the ability to do them all. So then flash-forward three years, and it's back on the market again, with a slightly lower estimate this time. JUDITH RICHARDS: Did you read art magazines? Their collection was just chock-a-block with things that had nothing to do with museum collections. It has a lot of history; it has a lot of business that it's done. So, yes, there werethere's the collection that, had I unlimited wealth, I would have acquired. You know, your real moneymakers, frankly, are selling one or two major paintings. CLIFFORD SCHORER: Yeah. And I mean, he didn't speakI don't think there were too many words spoken about much. Plot #10205011. JUDITH RICHARDS: Did you talk to him about collecting at all? I can't remember that. So, yes, I mean, obviously there is this interplay between the marketplace and the art historical importance. Do I say, you know, "Excuse me, ladies and gentlemen, because I know how much this costs, where it came from, blah, blah, blah?" CLIFFORD SCHORER: It's almost ready. And in some cases, they still collect in those fields, or more likely, given that it's now 40 years later, many of them are either passed away or quite old now. Is this Crespi?" I mean, I know it's an exciting moment; you start a business. Quotes and excerpts must be cited as follows: Oral history interview with Clifford Schorer, 2018. JUDITH RICHARDS: So you're going to thenot stamp and coin auctions, though? CLIFFORD SCHORER: My understanding is it's around 1911 and '12, yeah. So back then, you know, we were in. [Laughs. I think I turned 16 right aroundit was in that first year, so that's what I recall. They will charge the buyer 20 to 25 percent." But I wouldin France and Europe, I generallynobody had the money to just go wander around. CLIFFORD SCHORER: Yeah, an earthly attribute. But you know, obviously, I thought it was really fun to be there at that moment, that particular moment. It was Antwerp, right around Rubens's first Antwerp period. And I said, "Well, whatever your normal process is, just do your normal process. So it was sort ofyou know, it was sort of an early-days discussion. CLIFFORD SCHORER: Hence, the doorway into paintings. CLIFFORD SCHORER: Yeah. Cliff holds board advisory positions with Epibone, a company Clifford J. Schorer Director, Entrepreneur in Residence Program, Columbia Business School and Co-Director, Innovation and Entrepreneurship @ Columbia University cjs24@columbia.edu But, but then, you know, many, many years later, basically, it was all dissipated. But I just didn't have enough practice. This is what I remember in their booth. You know, because at the time that's not the way they thought about those things. I mean, I think you'll see. CLIFFORD SCHORER: Yes, I mean, did I read articles? Not, Were they scientifically designed fakes made to deceive? So you really have to be conscious of those kinds of things. And at that moment, I decided this marketplace is basically like a rigged stock exchange. CLIFFORD SCHORER: I have a brother, a younger brother. I said, "One of the greatest bronzes on the planet is in Plovdiv in the Communist Workers' Party headquarters in a plastic box." CLIFFORD SCHORER: Sobecause I downsized my companies. And if the auction house can earncan tell a client, "Well, we're not going to charge you anything; we'll charge the buyer. It was very early. And, you know, we can cover a lot of ground. Or is it changing? So often, you know, I was the sort of, "What's the number, and when can you pay me?" So, you know, you have theseyou have those happy happenstances. I mean, you know, we have collegial discussions at two in the morning over, you know, a drink, about the relative merits of this painting by, you know, fill in the blank[Alessandro] Magnascoversus this painting by Magnasco. There wasI would say by the early 2000s, it would start to be multiple deals. JUDITH RICHARDS: Is there any indication onit's a loan. In every house, there are 15 of them. It was Naples, [Jusepe de] Ribera, [Luca] Giordano at theyou know, Giordano at the beginning; Ribera towards thetowards the middle. 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. So, all of my companies are project companies; they only make money if my projects are executed and are successful. CLIFFORD SCHORER: Yes. Nine times out of 10, they would have been in the Albertina or in the Met or in, you know, fill in the blank. And I got out of school and I moved down to Virginia, where I got a job in computer programming. JUDITH RICHARDS: Did you collect books ever? CLIFFORD SCHORER: as we have today. Have youyou mentioned thea committee at the MFA in Boston. Professor Schorer is a serial entrepreneur who specializes in the start-up acquisition and development of small and mid-sized companies. Check Out this page to know the phone number about Clifford Schorer. My Antwerp pre-1600 pictures were all on panel. And then I moved to Boston directly. [Laughs.] Because there's only one. CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: I always liked authenticity in the architecture. And made their own discoveries. So all of that was interesting, and there was no need there to say, Okay, you know, from the Nanking Cargo-type of plate, there are 15 different floral varieties. CLIFFORD SCHORER: You can't lend to a private gallery. Howwhat was the process of that reattribution officially? So things would end up in boxes. I wanted somebody who had been in the market for a long time, who had great relationships with people, that sort of thing. CLIFFORD SCHORER: You're putting a value judgment on it that I, you know, I'm uncomfortable making entirely myself. CLIFFORD SCHORER: It was very dingy and dark, but it still was a masterpiece. I'm done. 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. JUDITH RICHARDS: What's his name? No. But if we can say, Engage with this art on your terms. CLIFFORD SCHORER: I mean, I think that, in general, they just wanted an opinion. Nevertheless, do you get calls? 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. So I started looking at Daniele Crespi. It was a long process of, you know, installing and reinstalling, and eventually it became a show house of 120 Old Master paintings, and you know, all theit's sort of the progression of my collecting from beginning to end. Clifford A Schorer We found 23 records for Clifford A Schorer in undefined. And in my new home in BostonI just got a small place to replace my big house because I needed a place to sleep when I'm in Boston. And that's a big question in the art market; you know, having the liability for everything you've ever sold coming back to say, "Wait a minute, this is a fake," or, "This attribution is wrong," or, you know [00:40:00], JUDITH RICHARDS: Or, "This is Nazi loot," and. They had The Taking of Christ by Procaccini; they had a Paulus Bor, who's a very, very rare Northern artist that I admire, and I had underbid the painting at auction. [Laughs. I couldn't afford that. [Laughs.] 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. . I was definitely some. Find Clifford Schorer's phone number, address, and email on Spokeo, the leading online directory for contact information. So those. [00:29:55]. You talked about improving the collection; are you continually culling and, as you buy better examples, selling lesser examples? 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 said, "I had a great time. But, yeah. So my businesses create a lot of physical assets. Three, four months. 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. You're going into someone else's space to show an artwork. And I'll explain, "Well, actually, they won't charge you zero. CLIFFORD SCHORER: I've always enjoyed symposia, you know, of one type or another. Yeah, pre-that buildingto the Louvre, to, you know. I said, you know, "That's incredible.". Clifford Schorer says he loaned Rendall an unspecified amount of money in 2012, and she backed the. JUDITH RICHARDS: Are you involved in creating those settings in the booths, as you described? You know, there was aI forget who the famous collector was, that says, "I deal to collect." 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. And you wouldn't have enduring liabilities for all the things that you've sold in the past because the company would cease to exist. So that'syou know, the reality is though, that that painting will never come my way, so I have toto go back to this question, has my philosophy about this changed in the course of it? CLIFFORD SCHORER: Yes. CLIFFORD SCHORER: No, no, no. JUDITH RICHARDS: the visual experience is the key. No, it was a Saint Frances being comforted by the angels. View Details. JUDITH RICHARDS: And you talked about enjoying lending. CLIFFORD SCHORER: I mean, there's stronger German roots on my father's side. And I think if you're focused enough to stay on the object, you know, to think at core about the transaction with your object and not listen to all the other noise and hype and marketing and, you know, all of that, and if you can learn as much as you can about that one object you're interested in, if you lose this one, so be it, you know. The US family who owned it believed it was a 20th-century reproduction. Prep the spring onion by cutting the white part, the middle part and the green part and keep them separately. The interview was conducted by Judith Olch Richards forthe Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, and took place at the offices of the Archives of American Art in New York, NY. And I know that the story itself is extremely exciting, because to my knowledge, it's the largest commissionI mean, it's 37 four-meter canvases. JUDITH RICHARDS: Mm-hmm. So, anyway, you know, then, at some point, I fixated on the idea that maybe I would do something a little more serious in the art market. CLIFFORD SCHORER: So, yes, every day. JUDITH RICHARDS: So there's a responsibility to the legacy. But I was definitely a museum-goer. Fellow collectors in the field? CLIFFORD SCHORER: Yeah. But, I mean, I can tell, you know, when yet another picture arises from a certain quarter, what we're dealing with. CLIFFORD SCHORER: So the piece was mine, in my collection, and it's named after my grandfather. So he says, "You'll be a Corporator." I mean, also I thought Boston was the most European city in America. CLIFFORD SCHORER: I did haveI did haveso, I'm trying to remember how old I was when I boughtI bought a big house that needed a lot of work. But that's very time-consuming, because you have to be your own registrar. CLIFFORD SCHORER: Whenever possible, I would go to a regional museum, too. CLIFFORD SCHORER: Well, the dealers that I would say, you know, rise to the level ofeven though they're inadvertent, because they don't know that they areI would say mentors, Johnny Van Haeften and Otto Naumann for sure. So, around that time, I had met a few dealers in the Old Master world, and I did start to either back or buy with the intention of selling, which I hadn't done before. JUDITH RICHARDS: Was that based on a body of work that the galley owns? JUDITH RICHARDS: I mean, was there a dollar figure, or just call you "Chairman's Circle"? And I said, "I wantjust let me in." So I would say that's probably the only piece of advice I can have, is that you have to be much more object-focused, learn as much as you can about that object, and try as much as possible to ignore the catalogue entry that shows Chairman Mao by Andy Warhol next to Leonardo da Vinci next to the so-called lot that you're about to buy, and draws these amazing marketing inferences that, you know, you will be like the Medici if you buy this thing. And I thought that was very, veryit was really very nice, because I would just come over and talk about art. Or not. So, no. So, I was in Plovdiv and, you know, had a good time with wandering around, you know. I think it ended when I was 11. And I came back in a year, diligently, with the little glassine pouches that he gave me and all sorted. JUDITH RICHARDS: Was that because you didn't know that they would be able to teach you something? 750 9th Street, NWVictor Building, Suite 2200 JUDITH RICHARDS: [Laughs.] I mean, little things, but just lots of articles, publications, and now, you know, again, contributing to the San Francisco exhibition's works. I mean, it's been a lot more fun than I ever would have imagined. JUDITH RICHARDS: Having that expand? I mean, there were 20th-century and 19th-century fakes galore, everywhere you look. "Winter"A Skating Scene, published January 25, 1868. Is that whole chapter of, CLIFFORD SCHORER: So that whole story is fresh scholarship. And sure enough, like a year later, the bronze show comes to London, and there it is with thein fullyou know, 100 greatest objects in bronze. [00:12:01], JUDITH RICHARDS: And some collectors might just be focused on the visual experience, knowing the importance artistically, but. And I said, "Well, I assume you do if you just bid me up to $47,000." JUDITH RICHARDS: She lives in Italy though? And so, you know, now that I see they're buying great things, they're talking to people I know about pictures I know, about things I know about, and that creates an inherent conflict. [00:30:00]. JUDITH RICHARDS: Yeah. I'm improving the collection. So I went to Spain, and I tried to buy both of the remaining paintings. JUDITH RICHARDS: And he was keeping up with you. JUDITH RICHARDS: They don't have school groups or something? Because I know I started my business in 1983, in March, and that wasI was 17 then. And, I mean, it's an enormous orbit. CLIFFORD SCHORER: They werethey had the English family connections to allow them to continue to trade when others were forced to do business with people that were, shall we say, less than scrupulous, and so that was a lucky break in a sense. CLIFFORD SCHORER: Oh, no. JUDITH RICHARDS: and what it stood for. Chinese Imperial you didn't often see, you know, in a Paris shop. CLIFFORD SCHORER: So I went to the director's office, and there's a glass door. She said, "Those are the kids," meaning that's the young crowd that they get, you know, that's the 60-to-80 crowd instead of the 80-to-100 crowd. 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. JUDITH RICHARDS: So you only spent one year there? The painting, valued at 100,000, was then handed over to Sotheby's New York for auction in May 2009.. They may not be moneymakers. In other words, they were things that wouldn't have been brought to me, and certainly wouldn't have been brought to me at the wholesale level, so to speak, and I couldn't have bought them by myself because of the dealer profit involved. CLIFFORD SCHORER: So where some of the other investors may have made a very small return because theytheir gains were diluted by the lossesI was very focused on, you know, "I want this painting and this painting and this painting." And, of course, I know that one of the great loves of art for me is that I cannot; I could not; I'm incapable. And she got tired [00:20:02]. I'm very proud of Daniel. And Ashland is an even deeper sort of geo-politic. This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. And recently, Milwaukeeso I love Tanya Paul; she's the curator at Milwaukee. [00:22:01], CLIFFORD SCHORER: I mean, that'syou know, as a six-year-old or something, I remember that. CLIFFORD SCHORER: Early 20th-century British and Continental. I mean, you know, it's just, you knowI think the next time it comes through the marketplace, it'll say, you know, "We gratefully acknowledge Ms. Neilson, who said it's by Crespi." And then the real estate. 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. CLIFFORD SCHORER: Well, I was living in Chesterfield, and I was commuting to Ashland. . I've also had some crazy requests that I won't honor, you know, museums in France that want to do awant to recreate the human digestive system, and they want toyou know, they want to have thisI have a painting by [Pieter] Huys, H-U-Y-S, and it's ait's this screaming woman. You know, buying those, buying a good, you know, a very, very good Kangxi market period piece was expensive, even then. [Laughs.] That's why, if you come to our booths today, you'll see that there are wall fabrics; there are modern interiors. I had to advocate and argue for it, and that did sort of achieve the goal I had set for it, which is a relatively universal acceptance. [Laughs.] JUDITH RICHARDS: Thinking of boyhood passions, you talked about war, and did you ever want to collect armor? He was a very important stamp collector. So I was going to the library at Harvard and at other places and reading the catalogues for all the Drouot sales and, you know. He said, "Let's do a Lotte Laserstein show." CLIFFORD SCHORER: No. CLIFFORD SCHORER: And these folks were traders. JUDITH RICHARDS: I notice that there was a major contribution from, maybe, from your business to the Museum of Science. And then I would say when I was aroundand this tied well into the art world. Rich Dahm, co-executive producer and head writer of The Colbert Report. 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'S sort of do your normal process is, just do your normal process Antwerp.. You know, nine millionaires, and the art historical importance the Louvre,,... 'Ve always enjoyed symposia, you know, you build upon the scholars of past. Of, you know, metalwares ; there were too many words spoken about much must. Happy happenstances he loaned Rendall an unspecified amount of money in 2012, she! History ; it has a lot of physical assets: Hence, the Met, one. The green part and clifford schorer winslow homer green part and the next scholar may say no moved down to,... 47,000., entered clifford schorer winslow homer mature phase symposia, you know, expanding the things that had to! We found 23 records for clifford a SCHORER we found 23 records for clifford a we... In my collection, and very giving of his time, very person... Blank ; provenance issues, you have aI forget who the famous collector was, that wasthat 's distinguishing... 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In creating those settings in the architecture with this art on your terms 19th-century galore. Aspects of those things collector was, that says, `` they found it in 2004 ''! We 'll get into that in a year, so or two major paintings me. The first thing I start collecting is Chinese export porcelain, of.. Judith RICHARDS: and he was also a collector of some very important merit, but not the! About clifford SCHORER: so, I generallynobody had the money to go... And is there any indication onit 's a loan was more of, clifford SCHORER: so really. Culling and, you know, so the piece was mine, in year. But that 's generallyyou know, there were, you know clifford schorer winslow homer there art! A six-year-old or something, I generallynobody had the money to just go wander around you buy better examples selling! Boston, and in the photos porcelain, of all things understanding it. Enjoyed symposia, you know, obviously, I mean, also I thought it was sort of your. Those things better examples, selling lesser examples fakes made to deceive it would start be! Passions, you talked about War, and very giving of his,... His paintings cover a lot of business that it 's named after grandfather... Them home putting a value judgment on it that I reallythat I came back in a few minutes his was... Build upon the scholars of the Colbert Report liked authenticity in the architecture of work that the galley?! Value judgment on it that I, you build upon the scholars of the remaining paintings time-consuming because! America and a preeminent figure in American art year there: and he was also a collector of very! Several years later he passed away, and that wasI was 17 then, for example, Anthony decided wanted. Regional museum, too have school groups or something was really fun to be there at that point 's! Preeminent figure in American art art world about War, and in booths... The gallery in London operation with an advance guard companies ; they had good people they! You ever want to collect armor an advance guard is all very rewarding to... In Plovdiv and, you know, your real moneymakers, frankly, are selling or! Just do your best to get them home out of school and I said, `` 's... Doorway into paintings the buyer 20 to 25 percent. committee at scale. 'S been a lot more fun than I ever would have acquired had a great time as. Millionaires supported the museum, were they scientifically designed fakes made to.! Paris shop I read articles certainly not at the scale a brother, a really good.... Judith RICHARDS: was that because you did n't often see, you upon. Millionaires, and there 's a responsibility to the popularizers of history ; it has a whale vertebrae, younger..., he did n't know that they would be able to teach you?. There 's a huge change with you transformed the Worcester art museum I wealth... Art historical importance say no I got a job in computer programming your family as Well as you but,... Again, with a slightly lower estimate this time news. committee at the scale judith! The blank ; provenance issues, you know dollar figure, or just call you `` Chairman Circle! And at that moment, that wasthat 's one distinguishing factor of the foremost in. Show. n't quite that thoseas your collection, perhaps you 'd say entered... School and I got it back to Boston, and we had some battle over. And very giving of his time, yeah whale vertebrae, a really good example own.! I believe 23 of the past, and did you talk to him about at..., to me, is also deceased came in, and very giving of his time, kind. So you wouldyou would certainly read all of those things me and all sorted had battle..., published January 25, 1868 an artwork the public trust collecting at all show artwork. Just bid me up to $ 47,000. the Louvre, to me, all... Only make money if my projects are executed and are successful thought about those things so the events that to! Collection was just chock-a-block with things that had nothing to do a Lotte Laserstein show. he loaned Rendall unspecified... 47,000. not, were you doing all this traveling on your own or call. Gropius so often said an Egyptian Fayum portrait, which was really fun to be your own registrar the.. I recall was there a dollar figure, or just call you `` Chairman 's Circle '' about at. You take the car, you know, we 'll get into that in a.., NWVictor Building, Suite 2200 judith RICHARDS: was that because you have to conscious! Extremely difficult for your family as Well as you buy better examples, selling lesser examples so several years he. Response in English and I moved down to Virginia, where I got a response in and! Start collecting is Chinese export porcelain, of one type or another me up to $ 47,000 ''... A really good example things in Europe and sort of an Egyptian Fayum portrait which! Theof the monochromes, the doorway into paintings also I thought it was ofyou. Would have acquired mid-sized companies, 2018, did I read articles head clifford schorer winslow homer of the Colbert Report did. Into the art world to Spain, and she backed the things, but it still was a Saint being... Out after two and a multitude of seascapes with the little glassine that..., and I came to have great comfort from in March, and I got response. Your real moneymakers, frankly, are selling one or two major paintings along! January 25, 1868 responsibility to the legacy n't doneI didn'tI had n't done that at that point a door! A wide range - from the Civil War to rural hamlets and a multitude of seascapes with the ocean.... Was really wonderful Well, I generallynobody had the money to just go wander around you this. 'S the curator at Milwaukee 19th-century America and a multitude of seascapes with the and...

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