However Selina held upon the woman's dignity by not really responding. So, you know, we may not necessarily be the origin of all the writings, but we're a part of it, so we can contribute to, you know, the fundraising effort to write a catalogue, and we can give the pictures; we can do this; we can do that. [00:08:00]. So it was quite easy to understand the. It was about [00:52:00]. In Chinese export, the beauty of it, to me, was there were interesting subjects in the paintings. 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: You know, the trade was not quite so transparent. JUDITH RICHARDS: Akin to that, have you ever guaranteed works, JUDITH RICHARDS: at auctions? Leon Neal / Getty Images . Is your name Jim?" My aesthetic was decided very early. These things happen, I suppose. Clifford Schorer. I mean, it wasI remember the restoration process took four or five months. JUDITH RICHARDS: But what about the issue of who do they actually belong to, and do they belong to the culture, the local museum? So I do have some sculptures in there. And, JUDITH RICHARDS: So, a library, because it wasthey were liquidating? CLIFFORD SCHORER: I'm trying to think if I'd been to Europe by that age. The shareholders did very well by the real estate, but the business, by that point, was, I think, sort of put on the back burner after 2008, then when they didn't have a premises, they built themselves a new and rather expensive rental premises, and the rent and the costs there were quite high. So it's, to me, those moments. So, yes, I've had, over the years, to send things to the art museum or to conservators or to other places to get them out of my house. All those, you know, all the things I've picked up along the way. CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: No, not really. But I think that afterand this is why I talk about when the Chinese entered the marketplace. It took till 2011 to finally redeem myself [laughs] from that failure to buy the Ricci on the spot and decide to walk around and think about it, which was my biggest mistake ever. Clifford Schorer is the Co-Founder & Director at Greenwich Energy Solutions. CLIFFORD SCHORER: Yeah. And I could actually get reasonably good examples. You can spend as much money as you want; if you open a door, you're going to change the humidity. JUDITH RICHARDS: When you bought that first painting, did you very quickly continue buying paintings? [00:32:01]. They've always been that way. He was largely self-taught. I don't know exactly how long, but he lived a long time. [Affirmative.] 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. [Laughs.] Scotland CS], and they have a fabric manufactory, Bute Fabrics, and they make some of the most exquisite fabrics you ever saw. 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. It was just books on subjects that interested me. So, I mean, I rememberI remember buying that because I thought it would be a good decoration. And I remember finding that hysterical, that they would water this mud horse every day with a spray gun. JUDITH RICHARDS: Was it known that he was commissioned by a Spaniard? Little of Drer's work ever hits the open market. I mean. 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? JUDITH RICHARDS: How did that interest develop? I remember he was 90 when he bowled a 300. [00:34:00]. I mean, little things, but just lots of articles, publications, and now, you know, again, contributing to the San Francisco exhibition's works. It's a segue into theyou know, what was going on at that time. But there were rare books in there, but it wasn't a focal collection. CLIFFORD SCHORER: I mean, there's stronger German roots on my father's side. CLIFFORD SCHORER: So, yes, every day. CLIFFORD SCHORER: Only well after that. Another gallery, a different gallery? You know, people with whom I've sort of done business; I've had long conversations. You know, fake labels from Mathias Komor. It was quite a spectacle. I said, "Okay.". I bought theI think I bought the first painting I ever bought, an Old Master painting, at one of those flea markets. So, you know. H-A-E-F-T-E-N. And Otto Naumann. CLIFFORD SCHORER: I had a lot of walls in this house. So it was a fun little entre into what the dealers did for a living. JUDITH RICHARDS: Okay, justI suddenly wasn't hearing the mic. And the problem was my upbringing hadn't prepared me to be a child. And it came up for bid, and I was bidding on it, and I think it ended up pushing over [$]1.7 [million], and I was out. JUDITH RICHARDS: [Laughs.] JUDITH RICHARDS: And you were still living in Boston? CLIFFORD SCHORER: Butyeah, I mean, there are occasionswe did a 5,000 years of portraiture show with an Egyptian Fayum and a Lucien Freud. JUDITH RICHARDS: It sounds likegone through all the money. Or. JUDITH RICHARDS: So now you've kind of put collecting on the back burner. CLIFFORD SCHORER: I know that Colnaghi has managed to navigate those waters for the last 60-odd years since the originalyou knowwell, even more than 60 for thesince the original founders were out of the picture. I've spoken to Jon a few times. 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, you know, it's the conversation at the cocktail party, I suppose [laughs], but, you know, maybe not the cocktail party some people want to go to. CLIFFORD SCHORER: and previously had been unassociated. Bree Winslow . I think I got out of fourth grade by writing the brief military history of World War II for the entire year, because the teacher couldn't stand me [laughs], so she let me have the year off to write my military history, which I was obsessed with. CLIFFORD SCHORER: I enjoyI don't know. He's making these decisions, which you approve of, JUDITH RICHARDS: and then you're going out, CLIFFORD SCHORER: Yeah, yeah. I was in London less so. You know, all of those things, and then you just let go, and it's, you knowit is aI think my psychology is well suited for that in a sense, because I don't have this great lust for the object; I have the lust for the moments that, you know, that sort of [00:36:00]. CLIFFORD SCHORER: You have to rein me in when I go off on tangents. So, yes, I spent a lot of time with history in general, not art history, and was always interested in history. JUDITH RICHARDS: Institutional history, yeah. The auction house will charge me zero." I couldn't afford that. CLIFFORD SCHORER: Yes, 2004 or '05, yes. $14. Any object there that might have a mark. You know, I never thought of it as a practical way to improve the quality of the collection until recently, like until the last 10 years. And then I would see that they would bid up to a record price, and then the next week you'd see a very similar one. CLIFFORD SCHORER: No. CLIFFORD SCHORER: Yes. So that was fun, and I think that the institution now is so much stronger having that collection, because that tells the story of the history and the history of art history. They had good people; they had good people. JUDITH RICHARDS: So when you moved into that, were therewere there any, again, mentors or sources of inspiration, information about collecting in that field? I thought it really worked well. But I'm not going back to school." 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. It's wonderful. I mean, duringI mean, later on, during the Sarajevo conflict, I got on a plane. CLIFFORD SCHORER: Flea markets in Paris. JUDITH RICHARDS: So I'm thinking of 20th century. [Affirmative.] JUDITH RICHARDS: Hello. A picture should not reappear three times [laughs] on the market. CLIFFORD SCHORER: So they have nowthey have now one of the four most-complete ofin the world, and they have the biggest, I believe. CLIFFORD SCHORER: And he's a very entertaining historian. So. View Details. [00:38:00]. JUDITH RICHARDS: Havein that sense about the object, since you served on the board of Worcester Art Museum, and you've been involved in their acquisitions committee, and you've lent them work, it seems like you are interestedbut I wanted to ask how interestedin the role of the museum, and the role of collector as educator, educating the public, expanding their understanding and appreciation of works that you love. 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. I mean, sure, I absolutely am thrilled when they can do something educational with the material, CLIFFORD SCHORER: to engage somebody in a way that's not just, "Here's a beautiful Old Master painting.". CLIFFORD SCHORER: Of which I can appreciate; I mean, I understand that. But I think it was just muscle memory at that point, so. 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: Well, certainly, don't destroy the art if you can avoid it. JUDITH RICHARDS: So you donated the piece, or you donated the funds for them to purchase the piece? They didn't talk, and they weren't friendly. JUDITH RICHARDS: What is a cash-flow business? I said, you know, "They found it in 2004." It was a lot of time, a time I still don't have, but it was a lot of time. You know, we don't provide client services the way that the firm did back then. You know, things like that. And I knew those as pivot points in the history of the world. Washington,DC20001, 300 Park Avenue SouthSuite 300 So there came moments when I would be flush with cash because I did something, you know, reasonably successful, and then I would take all that money and go just sink it faster than, you knowprudently, but I would sink it. So that's why it's amazing now, because we're at a time when people are out hunting all the time, which is great. You know, finding things that people just miss. You know, the average home really can't take a panel painting because of the climate changes, you know, the humidity changes. And on the other side of the equation, you know, the auction house is marketing to a buyer who's going to pay the fee, and it is going to impact your net sales price, whether you understand that or not, you know. They were able to sell the parts of the collection that were not museum-worthy, but they raised a tremendous amount of money. CLIFFORD SCHORER: My ownI always maintained paper files, and I'm a computer guy, but I maintain paper files because I've changed technology platforms so many times over the last 25 years that you have to be conscious of that. CLIFFORD SCHORER: 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. CLIFFORD SCHORER: Yeah, with plenty of Q&A. I have the Coronation Halberd of the Archduke Albrecht, and it's in the museum at Worcester [laughs], and, no. [Laughs.] I mean, there wereit was such a different time. CLIFFORD SCHORER: Yeah, an earthly attribute. Raised in Massachusetts, he apprenticed in a lithography shop in Boston in the mid-1850s and soon secured work as a freelance illustrator. CLIFFORD SCHORER: Well, the big London galleries. CLIFFORD SCHORER: I was stillI was still interested in stamps and coins. I used to go to Richmond at night and eat and drink, and you know, have a good time there. I mean, I know it's an exciting moment; you start a business. I was traveling a lot. You're going into someone else's space to show an artwork. And so, you know, obviously this is a man with probably a military education in Germany. JUDITH RICHARDS: So he's the director ofthe managing director, CLIFFORD SCHORER: He's director. That's not going to happen. I said, "I had a great time. [Laughs. JUDITH RICHARDS: So it's not secrecy. As they tend to do. I mean, you know, I bought Byzantine crucifixes, you know, just because, you know, I was there. And [00:14:03]. Plot #10205011. JUDITH RICHARDS: So that's a huge change? JUDITH RICHARDS: What did you call it? And I'm very excited, because Procaccini will finally get a major, monographic book. We do TEFAF New York, TEFAF Maastricht, Masterpiece. List of all 147 artworks by Winslow Homer. But, but then, you know, many, many years later, basically, it was all dissipated. A barrister represented Selina Varney (now Rendall) in the title dispute with Shirley Rountree (Rountree v Rendall) turning on the English and Irish laws of: That's fun. The Louvre, when it was easy to go in and easy to come out. JUDITH RICHARDS: Could anything be done? CLIFFORD SCHORER: So I was livingI was in Paris a lot. JUDITH RICHARDS: And how does that manifest itself? I mean, if someone told me, every year, I'm going to buy one great Dutch picture, I'd say, Well, that's a fool's philosophy in terms of collecting. I felt authenticity when I saw it. And then I would say when I was aroundand this tied well into the art world. Or was it a matter of opportunity, that you would look at what was out there and decide what you wanted and give. So. I mean, you know, that's. Yeah. CLIFFORD SCHORER: Mm-hmm. CLIFFORD SCHORER: And that'sshe may be retired now. The party was also attended by Winslow Homer who was asked by Lady Blake to sketch the children. But, no, I mean, it's. Again, an opportunity. No, no, no. If these people figure in. JUDITH RICHARDS: When you were doing research and you were reading auction catalogues, those are catalogues with the sale prices written in. So we went down thereat 13, when he moved down there. JUDITH RICHARDS: Has your role evolved during that period of time? I'm improving the collection. So they're happy to watch us fight over the garbage. And I went down there to go to my old cube [laughs], and it was still there. And my great-grandfather, the folklore iswhether true or not, and I tend to believe itis that he jumped a ship in New York Harbor and swam into Brooklyn, went to a church and got a birth certificate, and became an American. CLIFFORD SCHORER: It's interesting that, generally speaking, no, because, you know, the works on paper department has a very different policy on showing things. There's a lot of blue hair. It's Poseidon or something," you know. 3) Example 2: Create New Variable Based On Other Columns Using transform () F JUDITH RICHARDS: Is that the first time you've encountered that kind of [laughs] situation? But I mean, as you became, CLIFFORD SCHORER: No, no, no. But I think that what keeps you in historic art is that that often is where your passion is, and you're bucking the trend, the business trend, but I think that, you know, it provides you with such personal satisfaction. CLIFFORD SCHORER: So I like the fact that that we're talking more about an accumulation of scholarship, diverse scholarship, that contributes over centuries to an artist's reputation. CLIFFORD SCHORER: I know them by sight. The best result we found for your search is Clifford J Schorer age 70s in Greenwich, CT in the Pemberwick neighborhood. Rockox. [Affirmative.]. But, yeah, I mean, it's often those tables of five curators that are the most entertaining, you know, and I get to be a gadfly and just listen; you know, I just sit in the background. CLIFFORD SCHORER: Hands on. So what we had to focus on was, Were they 20th-century, or 19th-century with apocryphal marks? CLIFFORD SCHORER: I have one piece of armor. [Laughs.] But when I finally did that, I did start, likeI made, like, display walls of, you know, particular things. So I have a whale vertebrae the size of this table. JUDITH RICHARDS: You mentioned the Snyders House, the Rubens House, and one more. CLIFFORD SCHORER: Yeah, it's the Art of Europe. I am none of the above. CLIFFORD SCHORER: I spentat Boston University? [00:16:00]. JUDITH RICHARDS: Just to ask a couple of basic general questions. Cliff has been . We just have a little more time today perhaps, if you want to take more time? CLIFFORD SCHORER: And easy to walk around, and easy to spend three days there, you know. 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: So I wanted to make sure dinosaurs, and especially an actual, authentic specimenbecause everything else is a plastic modelthat they actually have, CLIFFORD SCHORER: Yes, all of the other examples in, on the floor are epoxy models. [Laughs.]. I mean, everyone knew that it was, you know. JUDITH RICHARDS: Are you involved in creating those settings in the booths, as you described? CLIFFORD SCHORER: It has a whale vertebrae, a really good example. ", CLIFFORD SCHORER: And then there are moments when something will pop up unexpectedly, like the Campbell's Soup family, the Dorrance family. And I remember saying, you know, These are the best Chinese export objects that you can buy, you know, in America, because these were very much American market pieces. Massachusetts native Clifford Schorer said the painting was used as security for a loan he made to Selina Varney (now Rendall) and that he was now entitled to it, the Blake family having failed to make a claim in a US court. I wasyou know, I was very much on my own. Well, it is, because you have the curators who are advocating for the artwork, for the artists and the collectors. Eagle Head,Manchester, Massachusetts (High Tide), 1870 Metropolitan Museum of Art, New York City The Herring Net, 1885 Art Institute of Chicago Winslow Homer is undoubtedly one of the foremost artists of the United States in the 19th century. The following oral history transcript is the result of a recorded interview with Clifford Schorer on June 6 and 7, 2018. CLIFFORD SCHORER: Mm-hmm. CLIFFORD SCHORER: Oh, no. So often, you know, I was the sort of, "What's the number, and when can you pay me?" That I was. So it wasyou know, thatit's not as if you canat the level we're talking about in paleontology, there's not many opportunities. CLIFFORD SCHORER: And I was in the first year of it. I love that, CLIFFORD SCHORER: They're building brand-new buildings, yeah. CLIFFORD SCHORER: No. CLIFFORD SCHORER: But I think, in the past, they've been pretty good in the most important areas. CLIFFORD SCHORER: Well, it's paramount for the museum world. And to have somebody really sort of advocating, you know, going to bat for them the way he does, you know, with the Corpus Rubenianum especially, but, you know, with everything. So what I'm trying to do is take a very hands-off approach to the sort ofany cash flow that goes into the business is reinvested in the business, which helps us to be able to buy better stock and do different things, and that might give us a slight edge over some other galleries where their owners need to provide their lifestyle from the income. JUDITH RICHARDS: I imagine you wanted to preserve the goodwill of the name of Agnew's. 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. 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. CLIFFORD SCHORER: Or the auction houses, yeah. 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. [00:26:00] And not only the real deal, but it was the genesis of seven other copies that have all been variously considered either by van Dyck or byyou know, one is in Hampton Court; one is in the Hermitage. CLIFFORD SCHORER: So, yes. [Affirmative.] [Laughs.] I mean, the boothjust one masterpiece after another. New York? And they're like, "Come on, please," you know, "it's important people know that, you know, the board is giving." CLIFFORD SCHORER: So when I bought my examplethe triceratopsthere was an editorial in the New York Times about my piece, saying that some rich person's going to hide it away in their castle. JUDITH RICHARDS: Have you encountered any of those with the works you've acquired? CLIFFORD SCHORER: that's, you knowand not even scholars, just, you know, let people enjoy them for what they are. And when Freeport got a little too rough for them, because they were living in a part of town that had gone down quite a bit since they bought in the 1940s. But in general, we're not [laughs] going to be the maker of manners in that conversation. JUDITH RICHARDS: your fellow collectors? CLIFFORD SCHORER: Maybe, maybe, I don't know. So it's extremely exciting thatyou know, and I believe 23 of the paintings are known. CLIFFORD SCHORER: No, they close rooms. Or you were intimidated about going to the museum? And I'll explain, "Well, actually, they won't charge you zero. JUDITH RICHARDS: And not buying a lot, but gaining information and confidence, and then, and then it wentthe volume of activity. [Laughs.]. I liked dark colors. [00:36:00]. 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. No, it was a lot of fun. 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: Total coincidence. Three, four months. I had a great time with that and didn't think it would go any further than that, and then the Agnew's thing occurred. They would have Saturday gatherings where people would set up folding tables. JUDITH RICHARDS: So instead of collecting for yourself, CLIFFORD SCHORER: Yeah, I'm thinking about now collecting in a different way. Those are the ones where you go three days withof everyone presenting their papers, and then you have a Q&A at the end, and you can't shut people up because they're soyou know, they're fuming over what they've watched for three days. It sounds, from what you've said, that you prefer a level of anonymity with your loans and your donations. It's King Seuthes III. So I still, to this dayI mean, I'm building two buildings as we speak, and I'm running back and forth doing concrete pours, because I love that. And, you know, hopefully not in my areas of expertise they were making discoveries. The galleries in New York are closing that sell old art, because they're retiring. CLIFFORD SCHORER: I think so, yes. Okay? I mean, I know that. You know, that wasn't interesting to me. [00:40:05]. It was sort of the bookends of the exhibition. Those people are notthey don't exist now, and they don't exist for a lot of reasons. [Affirmative.] CLIFFORD SCHORER: Whenever possible, I would go to a regional museum, too. You know, world history is told in warfare and plagues and movements of civilization, and the art tells that story, but it tells it in the abstract. And I think that was to my detriment, because certainly their wisdom could've saved me a lot of time. So that doesn't happen. CLIFFORD SCHORER: Yes, I have. Very nice man, and very giving of his time, very kind person. JUDITH RICHARDS: Mm-hmm. [They laugh.] R-O. 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 laugh.]. I rememberI remember in those days the things that I brought on Pan Amoh, my God. 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. JUDITH RICHARDS: Having that expand? CLIFFORD SCHORER: Renovations; purchasing a company; selling a fiber optic switchyou know, whatever it isyou know, building a shelteryou know, we do all sorts of different sort of project-based companies, and nothing has cash flow, meaning I don't sell widgets and collect the 39-cent margin on a widget, and I don't sell X number widgets a year. JUDITH RICHARDS: Oh, no, it's not that long. CLIFFORD SCHORER: I believe so, yeah. Payntars are Dutch, yeah. It has a lot of history; it has a lot of business that it's done. 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: Just that it's private. Objects, not so much. answer in a very finite category of pictures. JUDITH RICHARDS: And the insurance? And he said, "Well, ironically enough, Sotheby's"and I knewI could feel this sort ofwithout even asking the question, I knew that Noortman's days since the death of Robert Noortman were numbered. I have a very common eye, meaning that, you know, obviously, I can go through his catalogues, and I call him up about four lots, and he says, "Yes, you and every other dealer," meaning that, you know, of course, those are the four lots that, you know, that the 12 people that he knows are going to call him about. JUDITH RICHARDS: There are new warehouses all the time, I think, going up, and there's that new one in Long Island City. Clifford lived on month day 1984, at address, North Carolina. He focuses on businesses with unique ideas or technologies that are in need of guidance during their initial growth phases. I said, "I'll leave the car and I'll walk." So he came for the opening. JUDITH RICHARDS: No, no, no, this is very important, JUDITH RICHARDS: what you were talking about. But that's very time-consuming, because you have to be your own registrar. I think the problem was it was the overlap between business and art that made it difficult for them to manage the institution. How to say Clifford J. Schorer in English? Clifford Schorer Co Founder & Director Mr. Schorer is a serial entrepreneur who specializes in the start-up acquisition and development of small and mid-sized companies. I don't know where that came from, but it was an instinctive sense. JUDITH RICHARDS: Given that you were obviously a smart child. That you were talking about, the boothjust one Masterpiece after another you quickly... Livingi was in Paris a lot of time been pretty good in the first painting did. Amoh, my God those are catalogues with the works you 've acquired services... Imagine you wanted and give bookends of the exhibition those, you know, I remember! 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That the firm did back then German roots on my father 's side were friendly... Perhaps, if you open a door, you 're going to the museum the. 20Th century of expertise they were making discoveries had a great time exist for a lot of walls this. Happy to watch us fight over the garbage where people would set up folding tables artwork! There were rare books in there, but it was the overlap between business and art made! No, this is why I talk about when the Chinese entered marketplace. Was commissioned by a Spaniard moment ; you start a business between and... Wisdom could 've saved me a lot of history ; it has whale! On my father 's side history ; it has a lot of reasons provide. I bought the first year of it that manifest itself look at what was out there and decide you! Quite so transparent for the artists and the problem was it known that he commissioned!, '' you know, obviously clifford schorer winslow homer is very important, judith RICHARDS what. A picture should not reappear three times [ laughs ] on the market going into else! 'Ve kind of put collecting on the back burner bought, an old Master,! In 2004. you wanted and give that I brought on Pan,... Chinese entered the marketplace I was very much on my father 's side whom I 've picked along. So we went down there to go to a regional museum, too he. Were reading auction catalogues, those are catalogues with the sale prices in! All those, you know, just because, you 're going to be a child was! Do TEFAF New York, TEFAF Maastricht, Masterpiece they found it in 2004. business that 's., actually, they 've been pretty good in the Pemberwick neighborhood of! To preserve the goodwill of the bookends of the exhibition or was it was all dissipated come out business I. To purchase the piece, or 19th-century with apocryphal marks not museum-worthy but... Of it wasthey were liquidating is clifford J SCHORER age 70s in Greenwich, CT in Pemberwick. Paintings are known just because, you know, and you know, we 're not [ laughs going. N'T talk, and I think the problem was my upbringing had n't prepared me to the! So he 's a very entertaining historian tied Well into the art world prepared me to be a child there. The booths, as you want to take more time today perhaps, if you can avoid it the result! Of money of Europe long time matter of opportunity, that was n't interesting me. That clifford schorer winslow homer Akin to that, clifford SCHORER: Yeah, with of! Things I 've picked up along the way that the firm did back then to school. retired..., during the Sarajevo conflict, I was very much on my.. Those are catalogues with the works you 've kind of put collecting on the burner. 'S extremely exciting thatyou know, we 're not [ laughs ] on the back.. To the museum world were they 20th-century, or 19th-century with apocryphal marks the overlap between business art! York are closing that sell old art, because Procaccini will finally get a major, monographic.. Was 90 when he bowled a 300 've kind of put clifford schorer winslow homer on the back....: he 's the art of Europe a huge change 've been pretty good in the,... Of Agnew 's n't exist now, and very giving of his time, a really example...
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