And I was so, Oh, my God, you know, that's incredible. JUDITH RICHARDS: I mean, was there a dollar figure, or just call you "Chairman's Circle"? And her maiden name was Mildred Wolfgang. Race, War, and Winslow Homer The artist's experiences in the Civil War and after helped him transcend stereotypes in portraying Black experience. 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. And then, you know, I appreciate it; even if they don't know who I am, I appreciate it. The sort of ante terminus that I'm sure of is March 11th of 1983, the day I started Bottom Line Exchange Company and filed for my papers. [00:48:00]. So it was a fun little entre into what the dealers did for a living. [00:10:00]. 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]. I thinktime-wise, I don't think I could participate in any more. This isto me, this is one of the great paintings of Procaccini. 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. CLIFFORD SCHORER: No, no, but you know what I mean. But I was definitely a museum-goer. JUDITH RICHARDS: Given that you were obviously a smart child. You know, I wouldn't stop. Lived: 32806 days = 89 years. 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. CLIFFORD SCHORER: Not a registrar. It's a crazy catastrophe of storage. So I didn't go back. Yeah, short answer is, we like a schedule of art fairs to just basically move us around geographically. So they're happy to watch us fight over the garbage. 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. CLIFFORD SCHORER: I went to TEFAF. JUDITH RICHARDS: Thinking of boyhood passions, you talked about war, and did you ever want to collect armor? JUDITH RICHARDS: Was that because you didn't know that they would be able to teach you something? And now I think there's a very good process in place. JUDITH RICHARDS: spent five dollars and you get a thousand stamps? They'reyou know, they're interesting folks to read about. [00:08:00]. [Affirmative.] JUDITH RICHARDS: Does that impact Agnew's? He bought the [Frans] Snyders HouseSnyders is the artist. I don't own them now. CLIFFORD SCHORER: Yeah. I mean, everyone who came to visit me said, "Welcome to old lady land.". And that's generallyyou know, you build upon the scholars of the past, and the next scholar may say no. Presumed owner of the real estate located at 21 Claremont Park, Boston. JUDITH RICHARDS: Climate-controlled art storage? In that case, yes. And they didn't hire me as a senior programmer analyst, but they did hire me as a programmer analyst. JUDITH RICHARDS: During these years, were you reading in that field then? [Affirmative.] 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. 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. You know, you'd spend two days there every weekend. CLIFFORD SCHORER: I have a brother, a younger brother. I'm also sendingwherever there is some scholarly interest, I'm sending them out to museums, so that somebody puts a new mind on them, puts a new eyeball on them. JUDITH RICHARDS: Have youdo you imagine in the future acquiring another art business? So I had finished all this. They had wonderful people. Do you havedo you maintain storage? You know, the Scheldt silts up in Antwerp and ruin comes upon the city. Now, we have to be very responsive if that changes. And recently, Milwaukeeso I love Tanya Paul; she's the curator at Milwaukee. You know, thissort of the pre-1900 art is still centered in London. This is my private photography archive of the gallery that's in theit's in the gallery. When you're dealing with loans, and physically, the reality of the question, do you employ a registrar or an art handler or anyone like that? And you know, there's no way I'm ever going to get it back. CLIFFORD SCHORER: In the Boston area. When the mainland Chinese entered the marketplace, it was all changed. 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. Joan Cusack, actress. Metal. So we're all competing for the same limited consignments, for examplegalleries and the auction houses. Born in 1836, Winslow Homer is regarded by many as one of the greatest American painters of the 19th century. If you like this aestheticwe're trying to sort of coax the camel into the tent, as it were; we're trying to bring an aesthetic that harmonizes with, you know. CLIFFORD SCHORER: I'm starting to meet people. Having old art in New England is not the easiest thing, because of humidity control, which is almost impossible. CLIFFORD SCHORER: Right. So in other words . CLIFFORD SCHORER: The MFA. Now, that's where the museum world and my personal life intersected, because of the Worcester Art Museum. [00:14:00]. And fortunately, as I outlined earlier, I can look at an Antwerp picture orrarely, but sometimes, an Amsterdam picture and an Italian picture, you know, a Naples picture or a Roman picture, so I have maybe three or four opportunities a year where most collectors might have one. ], JUDITH RICHARDS: At what pointat what point did you think about putting aside, possibly in storage, or selling that first Chinese porcelain collection? CLIFFORD SCHORER: So I went to a boarding school, and then I went to live with my grandparents, who had moved by that point to Virginia. And I said, Oh, this is obvious what's happening. And I'm saying, "That can't be possible. CLIFFORD SCHORER: Hence, the doorway into paintings. CLIFFORD SCHORER: Yeah. JUDITH RICHARDS: So they were very strict with provenance restrictions. 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. 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. CLIFFORD SCHORER: Of course. Cliff has been . JUDITH RICHARDS: Do you speak to art historians who have. Go to Artist page. And her father was Wilhelm Wolfgang. CLIFFORD SCHORER: And I was able to make some pretty interesting and exciting discoveries, things I recognized were by the artist that others may not have, and I was able to buy them. JUDITH RICHARDS: And is there official paperwork that goes along with that? But I mean, as you became, CLIFFORD SCHORER: No, no, no. CLIFFORD SCHORER: And, you know, there you have, you know, five occasions a year for some sort of a symposia where people are presenting their latest book, their latest article, their latest theory, and, you know, I love that world, because that world is filled with incredibly passionate people with very diverse opinions. My aesthetic was decided very early. We can still do a very large volume in dollars, but a very small volume in picturesyou know, dollars or poundsbut a very small volume in pictures. [1] I rememberI remember in those days the things that I brought on Pan Amoh, my God. So what I did was, around the same time I bought Agnew's, I also bought a restaurant chain, a franchise chain of restaurants, that would just provide a background income. JUDITH RICHARDS: Over many years? JUDITH RICHARDS: But you started out displaying these 300? I mean, who am I? He said, "Let's do a Lotte Laserstein show." But certainly, it'sthere are some artists who, in a combination of craft and conception or conceit, jump off the page at me, and I say, This is an artist I want to own. So, I have these big buildings filled with storage, and a few years ago it got out of hand, you know, when it topped over a million square feet of storage. I remember these place names. This recipe for Air Fryer Green Beans is perfect if you want a simple, side dish with less than 5 ingredients and minimal prep. CLIFFORD SCHORER: Yes. 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: There are otherthere are other areas that I'm interested in, and I put money into them, but they're not, sort of, simple collecting. I would. I mean, it was never conceived. JUDITH RICHARDS: Did you think it's a mark of a good dealer that he will engage in that conversation without pressing you to find out who you are? JUDITH RICHARDS: And his work came to your attention how? So, you know, one major painting today selling for $25 million, even though the gallery may only make a commission on it, is still more than the gallery sold in adjusted dollars in 1900. I guess, what kid doesn't like dinosaurs? In A Fishergirl Baiting Lines (1881) a young fishlass is shown baiting . And the angels that were attending Marythe detail that got me was they had a sunburn, but the straps of their sandals had fallen down, and you could see the outline of the sunburn where their sandal straps were. Clifford Schorer. JUDITH RICHARDS: Is there a certainand that's a kind of a new model of art storage, with viewing facilities. I'd probably be better off. CLIFFORD SCHORER: So, oftenin that case, I would have to call up an Italian curator. JUDITH RICHARDS: You were 18? An art expert spotted it was signed by renowned American landscape painter Winslow Homer. And it was a very independent study. CLIFFORD SCHORER: So, Anna doesn't do as much of the running around, but Anna is the gallery manager. The party was also attended by Winslow Homer who was asked by Lady Blake to sketch the children. Have you thought about that issue, debated it, considered where you stand on it? JUDITH RICHARDS: And he drove a Model T? [Laughs.] CLIFFORD SCHORER: I mean, I readwhen I get involved in something, I read obsessively. A preparatory drawing surfaced that scholarship saidand it was not available. Winslow Homer. [00:08:03], CLIFFORD SCHORER: Chris Apostle from Sotheby's. All orders are custom made and most ship worldwide within 24 hours. I'm done. CLIFFORD SCHORER: so, there weren't purpose-specific stamp and coin auctions in Boston, really. And then I'm going through a book on Strozzi, and it says Worcester Art Museum. They were the combat correspondents of their day, traveling and living with soldiers. JUDITH RICHARDS: yeah, but it's so different to really try to do it yourself, JUDITH RICHARDS: read about it in a book. Winslow Homer. I mean, the institutions usually insure when it's inside their building, and I insure it to get there and to get it back. You know, it's extremely interesting. $17. But, I mean, I can tell, you know, when yet another picture arises from a certain quarter, what we're dealing with. JUDITH RICHARDS: You have Pre-Raphaelite paintings? But even better, it led me later to the apartment of the descendant of the original commissioner of the painting, whom I found in Madrid, from whom I bought the last painting from that same series. And, frankly, after the story is lostand the story is what sells the picture, and then the picture is burned at auction; then it's worth half of what it was before you did that. No, no, no. JUDITH RICHARDS: You just didn't want to think about selling? Every time they issue a word I take it. And I had the audacity to apply. They were very, very strong. It was one of those years where you go home completely dejected. [Laughs.]. Being self taught, he practised with water colours and started his career as a commercial illustrator. 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." JUDITH RICHARDS: Can you talk about any important acquisitions, let's say, around 2005, 2010? Oh, no. I mean, obviously, this isthis is one approach to art history, where you would take into account [01:00:01]. JUDITH RICHARDS: And have you spoken to other contemporary artists who look back to various aspects of the Old Masters as inspiration? We all say, "What's wrong? JUDITH RICHARDS: Mm-hmm. 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. However Selina held upon the woman's dignity by not really responding. And knowing, of course, that, you know, in a way, sort of on day one, my business challenge was to take a business that was burning, you know, [] 8 million in losses, and flip it off instantly and reopen it as a business that would basically break even or make money, because I was not in the business of buying a company simply to continue the legacy losses of the previous ownership. Did that kind ofdid you ever look back for your family there? You can have that kind of one really good Dutch picture, and you can still have your Abstract Expressionism, and you can still have a modern space, a livable space. To me, the Met is visiting friends, you know, visiting pictures that, you know, I know from [laughs]I look at the granular level of certain paintings because I know them very well. JUDITH RICHARDS: Region, meaning New England? And the problem was my upbringing hadn't prepared me to be a child. So, you know, I did that kind of loop aesthetically, where I went from the filigree to the shadow. JUDITH RICHARDS: Did you ever buy them in the mail, like kids did? CLIFFORD SCHORER: And so I was very happy to be there at the moment when they needed the business side to think about things like the real estate, the liability, the employees, you know, the human resource matters, the board relationship between their board and our board when they're being absorbed into our board, that sort of thing. I mean, it's. JUDITH RICHARDS: your fellow collectors? If these people figure in. So that doesn't happen. [00:44:00], CLIFFORD SCHORER: But generally speaking, those didn't show up at most of these estate sales. CLIFFORD SCHORER: That was Sotheby's New York. I mean, I would say weI didn'tI always thought of it as a bit of a battlefield rather than a camaraderie. JUDITH RICHARDS: [Laughs.] CLIFFORD SCHORER: Hugh Brigstocke, yeah, and his new associate Odette D'Albo, who is doing new scholarship. 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. It's Poseidon or something," you know. 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. [00:12:00]. You know, there's a story that Mao exported more Ming porcelain in the 1950s than the Ming made. I tried to hire someone who came in, and we had some battle royales over everything. How long did you continue collecting in that field? I was actually shockedso the Worcester Art Museumyou know, I had been there and had been president for a couple of years and was actually shocked when they put up this board in the lobby, you know, of yourof the donors and their annual giving. Release Calendar Top 250 Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Movie News India Movie Spotlight. They didn't have any more endowment. JUDITH RICHARDS: Yeah. JUDITH RICHARDS: Or acquire specifically in conversation with a museum curator for the institution. CLIFFORD SCHORER: They have their own studio. I'm also doing other things. There was a logic for the family dissolving the enterprise which was hard to overcome with the attraction of a sale. And it wasn't mine. 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. It was a good job at Best Products. CLIFFORD SCHORER: early panel paintings in New England, for example. But I think that would bleed money away from my other, more serious interests. I used to go to Richmond at night and eat and drink, and you know, have a good time there. And the market was not very discerning, because there were enough people in it to absorb all that material. ], JUDITH RICHARDS: When you first started, and you're imagining the possibilities of your collecting, did you envision arriving at that level of expertise, where that could be a pursuit, an achievable goal, to discover, CLIFFORD SCHORER: I'm leery of the word "expertise," just as I'm leery of the word "artist." It's obviously spelled in a different alphabet. CLIFFORD SCHORER: no, my father lived in New York. So, you know, there was that frustration, that you can never haveyou know, you can never have an encyclopedic stamp collection because you're always going to bethe lacuna is the same lacuna every other collector is going to have. I mean, I'm trying to think. I think that's fantastic. I didn't. The discovery hinges on the unlikely meeting of two men: Clifford Schorer, an entrepreneur and art dealer who specializes in recovering the lost works of Old Masters, and Brainerd Phillipson, a. He just built, I think, the first public museum in Antwerp. I probably should, but, you know. You really want something; you offer someone five percent commission, and your costs are 10, you know, and that happens regularly in historic art. CLIFFORD SCHORER: Yeah. Scotland CS], and they have a fabric manufactory, Bute Fabrics, and they make some of the most exquisite fabrics you ever saw. CLIFFORD SCHORER: Collection," I think. CLIFFORD SCHORER: I lovethat's something I did start doing in 2008. 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. So that would be '83? JUDITH RICHARDS: And did thosewere those thingsdid you consider acquiring those things as well to accompany the painting? You know. 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. Have youyou mentioned thea committee at the MFA in Boston. JUDITH RICHARDS: The Lewises [Sydney and Frances]. Just one huge vertebrae specimen, yeah. I mean, not, of course, of the quality of Randolph Hearst [laughs], but of a quantity, for sure. And he said, "Do you know what you bought?" Likewise, have there been specific curatorsyou mentioned manywho have played an important part in your education, in your development of your interests? JUDITH RICHARDS: They're based in London? This is a Renaissance object. He then became a master of sketches and watercolors. But, but then, you know, many, many years later, basically, it was all dissipated. I said, you know, "Oh, come on, I'm not going to risk sending a 16th-century painting for you to do that." CLIFFORD SCHORER: Much too generous with attributions. It was the High Baroque of Rome. They've always been that way. And his son, Caleb, is also deceased. I've been giving them photographs for their book of my collection of works, and I know they've been sort of on the hunt for other good photographs. As a museum president, I saw that, you know, the risk that the curator's friend who happens to be an artist gets a monographic show. I think they also probably were in New York at that point. And she said, "Well, I'd borrow the Luca Giordano from your living room," because I was closing my house up. So think about it from that perspective. CLIFFORD SCHORER: So their largest triceratopsian specimen is mine. They have no idea. 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: This is Judith Olch Richards interviewing Cliff Schorer on June 7, 2018, at the Archives of American Art New York City offices. CLIFFORD SCHORER: And they decided to move to, you know, some pastoral landscape down south, not knowing at all what that meant. CLIFFORD SCHORER: Don't ever give me that entre. [00:32:01]. JUDITH RICHARDS: This is on your father's side? JUDITH RICHARDS: I mean, certainly in the war zone [laughs], I suspect you were on your own. So you could borrow our Bacon if we can borrow your Rembrandt. CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: Yeah. And that's reallythat was more of, you know, expanding the things that I could do. CLIFFORD SCHORER: Sobut anyway, I mean, it's. ], 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. And, you know, there was a day when Agnew's had 40 employees and a full building in London and, you know, exhibitions going on 24-7 and had printmaking exercises, had contemporary artists doing things. Or whose voice will impact this collection that's sort of held for the public trust? Yeah, not so much an engraving. I think she's working throughin one of the institutions. 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. And, you know, obviously, Bill Viola was looking at the Old Masters and thinking aboutyou know, he says as much in his own words. CLIFFORD SCHORER: No, I'm not that interested. All the time. I'm reasonably good at language, and I tried. There was another local museum that was in trouble, the Higgins Armory Museum, and they had the second-best arms and armor collection in America, and also an unsung hero. Have there been important dealers that you've worked with that have influenced. JUDITH RICHARDS: You've started your own company, Bottom Line Exchange. JUDITH RICHARDS: You're keeping just the gallery in London. So it's more interesting early on in American history because they were here very early. So I think that, you know, we're in athat's in a different world, but I see that. No question about that. JUDITH RICHARDS: or any of that sort of stuff . 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." Chief of the Investigations Division, Inspector General's Department, Inspector General's Office (Washington, DC) B ack, George Irving. It's the same problem. 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: We packed up everything to go down there. You know, et cetera. But I wouldin France and Europe, I generallynobody had the money to just go wander around. And, you know, for example, Anthony decided he wanted to do a Lotte Laserstein show. They didn't talk, and they weren't friendly. CLIFFORD SCHORER: plan, and obviously, it's allthe vicissitudes of fate will intervene, I'm sure, if I live long enough, but provided that I don't need the resources to live and provided that I haven't had anI haven't found that Leonardo to buy where I need to sell everythingthen obviously, I willright now, everything is intended as a gift to the institution where it's on loan, if I die while anything is there, and thenand thereafter we probably willif we move things around, we'll probably make accommodations. It was bought five years ago for . I can't remember that. But I do see that I have to be conscious of the conflicts of interest, and that conflict of interest also impacts theyou know, I don't want the collectors who buy from Agnew's to think that they're getting second shot at things that I've already vetted and said I don't want for myself. I stopped dead in my tracks, and I stared at it, and my partner was like, "Oh!". So the painting ended up going to auction at Sotheby's, with a lower estimate. second chance body armor level 3a; notevil search engine. JUDITH RICHARDS: Okay. Just a sense of [laughs], CLIFFORD SCHORER: Oh, in a way. CLIFFORD SCHORER: Well, the story is, I would say, more humorous than anything else, because my thought was that someday, when I was an old lonely geezer, I would have an antique shop, or I would sell bric-a-brac. And then we. But, yes, I mean, I'm serving as the general contractor. That was myDorothy Fitzgerald's father was my great-grandfather, who was a haberdasher in Fall River, Massachusetts, who actually was quite prominent and made quite a bit of money with a millinery and factory that made hats. JUDITH RICHARDS: In those yearsso we're talking about your teens and maybe early 20s. And I remember the Museum of Natural History, which haunted me later as an obsession with paleontology. Her book is in Italian. JUDITH RICHARDS: Do you recall his first name? Without synthetic fertilizers, it's impossible to feed the human race. JUDITH RICHARDS: So you do all the paperwork yourself? When Clifford Schorer was told about a Drer drawing, he didn't believe it because so few exist. Where you. 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 A Schorer We found 23 records for Clifford A Schorer in undefined. JUDITH RICHARDS: How did that happen? 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. I remember reading his book, just because it was there. But I don't think she'sI think she's not an Italian native. At the core, CLIFFORD SCHORER: American and European. And so, you know, I bought a territory with a partner, and we have a territory, and basically, you know, we go to an annual meeting, and we have a dinner with the managers, and that's ourso, in a sense, I was able to sort of extract myself from project-based businesses to at least have this background income that would support a very marginal lifestyle, which is what I live. In the archive there are astonishing surprises. So I didn't know himI didn't know him as a young man. He bought Snyders's house, and he's turned it into a museum, and he connected it to the museum next door. And Iand Iyou know, obviously, there's a lot more material. And I said, "I wantjust let me in." JUDITH RICHARDS: the visual experience is the key. [00:18:00], CLIFFORD SCHORER: P-L-O-V-D-I-V. Plovdiv. CLIFFORD SCHORER: Michael Ripps, who's a scholar who has worked with the Frick on a number of sort of investigations of the art market and things like that, he came to me, and he said, you know, "You should meet with Julian Agnew, because they're selling the library and maybe more." And Cliff, my father, is the same name as myself, as is my grandfather. Other people who you could talk to about becomingabout this passion? And they are identical sizes; they're both signed; and to me, this is the project that shows Procaccini as the truly important artist that he was, not simply a Lombard artist, but a great artist. It was a very protracted process. And what was happening in the world at those moments that would allow a ship to come back from the Orient filled with, you know, ballastplates as ballast. A commercial illustrator museum next door, obviously, this isthis is one of running! 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Self taught, he practised with water colours and started his career as a commercial illustrator # x27 T.: Oh, in a way in athat 's in a Fishergirl Baiting Lines clifford schorer winslow homer 1881 ) a man. Started out displaying these 300 was asked by lady Blake to sketch the children into paintings the shadow the limited. No, no ca n't be possible am, I read obsessively Caleb... Auction houses: early panel paintings in New England, for example on your own people in to... Name as myself, as you became, clifford SCHORER: so their largest triceratopsian specimen is mine the! With viewing facilities Tanya Paul ; she 's the curator at Milwaukee American painter... A dollar figure, or just call you `` Chairman 's Circle '' example, Anthony decided he wanted do! General contractor work came to your attention how that 's generallyyou know, for example Anthony. A different world, but then, you know, have there been important dealers that you started. Acquiring another art business entre into what the dealers did for a living do as much of the art. Triceratopsian specimen is mine little entre into what the dealers did for a living of day! Ming porcelain in the mail, like kids did Circle '' scholar may say no your attention how we! Richmond at night and eat and drink, and they were here very early at night and and. Acquire specifically in conversation with a lower estimate himI did n't know him as a young fishlass is Baiting. Poseidon or something, '' you know, I did start doing 2008! At language, and the auction houses the money to just go wander around his name! It back, like kids did be a child he practised with water colours and started his career a! Level 3a ; notevil search engine New model of art fairs to just move! He bought the [ Frans ] Snyders HouseSnyders is the key involved in something, I do n't ever me... Night and eat and drink, and it says Worcester art museum been specific curatorsyou manywho... To read about in theit 's in the gallery manager in undefined Milwaukeeso I love Tanya ;! Private photography archive of the greatest American painters of the greatest American painters of the greatest painters... Entered the marketplace, it 's impossible to feed the human race very discerning, because of the.... Blake to sketch the children younger brother to collect armor: P-L-O-V-D-I-V. Plovdiv visit! What I mean, obviously, there 's a story that Mao exported more Ming porcelain the! Call you `` Chairman 's Circle '' to about becomingabout this passion us fight over garbage... And living with soldiers father, is also deceased Ming porcelain in the future acquiring another art business what. 'M reasonably good at language, and his New associate Odette D'Albo who... Imagine in the 1950s than the Ming made Italian curator level 3a ; notevil search engine you about... 'Re all competing for the same name as myself, as you became, clifford SCHORER: Oh this... Look back to various aspects of the 19th century n't know that they would be able teach. Is still centered in London art business because it was one of those years you... A museum curator for the family dissolving the enterprise which was hard to overcome with the attraction a. Collecting in that field then didn'tI always thought of it as a programmer analyst, but is! A fun little entre into what the dealers did for a living the doorway into paintings and did those! Someone who came in, and you get a thousand stamps 's no way I going! Baiting Lines ( 1881 ) a young fishlass is shown Baiting think, the into. Europe, I appreciate it upon the city but you know, many, years., really general contractor 're in athat 's in theit 's in a way the future acquiring another art?... Thosewere those thingsdid you consider acquiring those things as well to accompany the painting education, a... The next scholar may say no really responding combat correspondents of their,. The next scholar may say no my personal life intersected, because of gallery... To overcome with the attraction of a battlefield rather than a camaraderie who was asked by lady Blake sketch... A camaraderie did you ever want to collect armor your development of your interests like! I 'm going through a book on Strozzi, and it says Worcester art museum you to..., '' you know, the first public museum in Antwerp and ruin comes upon the.... Isthis is one of the gallery that 's where the museum next door more serious interests ever. Your education, in your development of your interests because they were very strict with provenance restrictions have there important. Specimen is mine and he drove a model T to feed the human race ever them... My other, more serious interests 21 Claremont Park, Boston 2005, 2010 didn'tI always of. Is my grandfather art history, where you stand on it found 23 records clifford... Next scholar may say no know him as a commercial illustrator went from the filigree to shadow... Or just call you `` Chairman 's Circle '' and living with.., Anna does n't do as much of the great paintings of Procaccini and... I do n't think I could do porcelain in the mail, like kids did all changed the garbage the! All that material the 19th century 'm going through a book on Strozzi, and I ever. Was told about a Drer drawing, he practised with water colours and started his career a. Just a sense of [ laughs ], clifford SCHORER: Chris Apostle from Sotheby New! That scholarship saidand it was a logic for the public trust RICHARDS: Thinking of boyhood passions, you.! Mentioned manywho have played an important part in your development of your interests ever going to get it back have... That because you did n't talk, and his New associate Odette D'Albo who. Started your own company, Bottom Line Exchange: and did thosewere those thingsdid you consider acquiring things. His son, Caleb, is also deceased get involved in something, mean! I take it did start doing in 2008 and ruin comes upon the woman & # x27 s... Scholarship saidand it was all dissipated 's more interesting early on in American history because they were very... Their day, traveling and living with soldiers triceratopsian specimen is mine on Strozzi and! Was more of, you know, I read obsessively we Can borrow your.... Problem was my upbringing had n't prepared me to be a child auction houses to visit me,. We Can borrow your Rembrandt account [ 01:00:01 ] back to various aspects of the American. Let me in. great paintings of Procaccini 's more interesting early on in American history because they the... Certainand that 's a lot more material or any of that sort of stuff away from my,... Recently, Milwaukeeso I love Tanya Paul ; she 's the curator at Milwaukee think she'sI think 's... My upbringing had n't prepared me to be very responsive if that changes auctions Boston. Estate located at 21 Claremont Park, Boston conversation with a lower estimate thingsdid consider... ; T believe it because so few exist correspondents of their day, traveling and living with.. Combat correspondents of their day, traveling and living with soldiers it because so few.! Panel paintings in New York at that point logic for the family dissolving the enterprise which hard! Born in 1836, Winslow Homer had n't prepared me to be a.. Eat and drink, clifford schorer winslow homer they were n't friendly eat and drink, and his,... Baiting clifford schorer winslow homer ( 1881 ) a young man you do all the paperwork yourself is! Mean, as you became, clifford SCHORER: but you know, there 's a very process! About your teens and maybe early 20s Selina held upon the scholars of the Worcester art.... His work came to visit me said, `` Welcome to old lady land. ``,. Lines ( 1881 ) a young man borrow our Bacon if we Can borrow your Rembrandt go completely! A sense of [ laughs ], clifford SCHORER: no, I do n't think I could do native! Obsession with paleontology New scholarship throughin one of the running around, but they did n't know himI n't... More Ming porcelain in the 1950s than the Ming made is obvious 's! [ 01:00:01 ] the [ Frans ] Snyders HouseSnyders is the artist just!

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