I mean, I'm doing the floors in my new buildings. CLIFFORD SCHORER: Yes, absolutely. You're welcome. He'syou know, he sponsors museum events; he sponsors exhibitions. JUDITH RICHARDS: people educating you in some way about the field? So they wouldn't let me do thethey wouldn't let me look at the stacks. So it wasn't that I had a great knowledge; it's just that I thought Boston was very beautiful. And they didn't hire me as a senior programmer analyst, but they did hire me as a programmer analyst. CLIFFORD SCHORER: Hence, the doorway into paintings. A Massachussetts man filed suit against Sotheby's on Monday, saying he's the rightful owner. It's like a girl reappearing three times on the singles market. And the. The Louvre, when it was easy to go in and easy to come out. I've got some French examples. You know, I love that. Web. 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. They had good people; they had good people. I think not. R-O. CLIFFORD SCHORER: Still living in Boston, yeah. Washington, DC 20001, 300 Park Avenue South Suite 300 So, you know, I think that's why I say it's a hobby you can take to your tomb. They didn't understand what the crucifixion scene was on some of these plates. So, you know, I did that kind of loop aesthetically, where I went from the filigree to the shadow. [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. JUDITH RICHARDS: You mean it's unusual for galleries in London to borrow from museums? So those are the reason that I try to stay involved with things like the Corpus Rubenianum, which is the Rubens study group that is publishingit runs the Burchard foundation that publishes the books, the Corpus Rubenianum. CLIFFORD SCHORER: So I still spent a lot of my timeregional auction houses, and I had expanded by then to go to the library and look at all the French auction houses. Yes. You know, what our task is, I think, at Agnew's is to showand, you know, we sound like a broken record, because every dealer says the same thingbut is to show that you can have that one great Old Master in your kitchen, you know, in your dining area, you know, the food still life. What kind of high school experience did you have? I think there are two different pieces of advice, of course. JUDITH RICHARDS: But thoseas your collection, perhaps you'd say, entered a mature phase. We made our own paint. JUDITH RICHARDS: Let's say the deluxe model. Or was it a matter of opportunity, that you would look at what was out there and decide what you wanted and give. You know, bringing an efficiency model to a museum can destroy a museum. CLIFFORD SCHORER: Oh, all the time, yeah. I packed it up in the overhead. And I have it at home to remind myself of what an absolutely abysmal painter I am and to really, you know, bring homeyou know, I always think I can put myI can do anything I put my head to. They said, "If you take the car, you'll be murdered." CLIFFORD SCHORER: Yeah, in one case they were actually in the same apartment where the family had sold them from years before. And, you know, I basically said, you know, "Is there anything you'd like from me?" I mean, a real Reynolds. 1. I'll go back to college, if they want me. CLIFFORD SCHORER: You know, the trade was not quite so transparent. CLIFFORD SCHORER: in another city. I've got some Islamic examples. Fortunately, Anthony Crichton-Stuart, who was running Noortman at the timeI went to see him, and I said, you know, "I won't do this unless I know that, you know, you will be available to me.". 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. I mean, my rooms were very dark. I mean, it was something I enjoyed doing, and I would do it again, you know? So it would have been a matter of, "If you're not available to me, that's fine; I won't do the project." And, you know, so I finally acquiesced. 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. 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: I mean. And a very helpful dealer in Spain finally made the last connection to find the actual apartment. CLIFFORD SCHORER: They have their own studio. JUDITH RICHARDS: You have Pre-Raphaelite paintings? CLIFFORD SCHORER: it's ano, it's a part gift, part sale, and in the end, it hadthe strings that I had, they met them all, which were that they're going to do a focal exhibition on paleontology in thebecause they're doing a re-jigger of many of their exhibitions. I think the problem was it was the overlap between business and art that made it difficult for them to manage the institution. When you were also collecting that area, did you find the need and actually, in fact, travel to other cities? I mean, the boothjust one masterpiece after another. [00:14:00], So the little paintings on my Chinese export porcelain, the engravings on the Columbus series of stamps, theyou know, all of those things, all of those, you know, progressing all the way up to, you know, big, narrative, allegorical paintings of the Baroque: those are all this kind of marriage of conception and highly skilled craft. 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. CLIFFORD SCHORER: D'Albo, D, apostrophe, A-L-B-O. So I had actuallyI was doing something which, in hindsight, was very foolish. But I do think it wraps human history in a way that makes it exciting, but it also can still be beautiful in those settings. And the advance guard, I remember the night the advance guard came to the first Skinner auction. Winslow Homer was an American painter whose works in the domain of realism, especially those on the sea, are considered some of the most influential paintings of the late 19th century. 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. JUDITH RICHARDS: This sort of opens the whole question of the relationship between collectors and institutions and their collections and how much of a collectionit happens more in contemporary art, but issues arise. CLIFFORD SCHORER: Now, again, that's a collecting area that was most popular between 1890 and 1910, 1915. CLIFFORD SCHORER: I mean, I bought aand that's when I started buying paintings. So I guess there were 300 Corporators, and I forget, but it wasI had one term as Corporator, and then I was on the board, and then I was president. 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. It was a much smaller circle. But the turnaround comes: the Procaccini was owned by [Piero] Corsini. And, CLIFFORD SCHORER: Probably about 10 years ago, where I just said, you know, maybe. It was never conceived as sort of being able to carry, you know, a 19th-century or earlier painting. I was traveling a lot. JUDITH RICHARDS: Mm-hmm. And then I would see the object resurface with a new price tag on it. And, JUDITH RICHARDS: This little shop, was it going to be in New England, in London, CLIFFORD SCHORER: I had no idea. CLIFFORD SCHORER: I leave that to Anna and Anthony, and, you know, I come in and I nod my head in approval, because they have such amazing taste. So those were always fun and, again, because a Crespi comes top of mind, there were three Crespis that came up that I was able to buy and reattribute to Crespi, and now they're accepted. This is my third bite at the apple, and I wasn't going to lose it this time. 1-20 out of 147 LOAD MORE. I mean, it's not a viewing area; it's not a formalI mean, it, you know. So I was independent; I mean, I was independent from a very young age. 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. And when I saw the numbersand it was the same little fudge. New York? And he's deceased now. Scotland CS], and they have a fabric manufactory, Bute Fabrics, and they make some of the most exquisite fabrics you ever saw. 750 9th Street, NW So, yeah. 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. CLIFFORD SCHORER: You're putting a value judgment on it that I, you know, I'm uncomfortable making entirely myself. Another gallery, a different gallery? JUDITH RICHARDS: You're keeping just the gallery in London. I mean, I think it was a natural evolution. It's fascinating to me to see the roots of sea travel that were established by that point to move these goods around at incredibly low cost. These things happen, I suppose. [00:40:10]. They were able to sell the parts of the collection that were not museum-worthy, but they raised a tremendous amount of money. So thoseyou know, those are the moments where I think about all those table arguments about this picture and that picture and [00:28:00]. But I didn't buy it with much of a focus on the painting itself. And so, yes, there are those amazing, you know, random fate intersections, but they're notthey're certainly not something that happen often enough to warrant, you know, CLIFFORD SCHORER: Five years later, I might find a, you know, Salvator Rosa figure, or a print. CLIFFORD SCHORER: I always liked authenticity in the architecture. Winslow Homer. JUDITH RICHARDS: But for you as an individual collector? How can they possibly have a Piero di Cosimo in Worcester? As embedded artist with the Union army, Winslow Homer captured life at the front of the Civil War. They were very, very strong. JUDITH RICHARDS: Has your role evolved during that period of time? CLIFFORD SCHORER: it all goes back to the, you know, I remember these places. JUDITH RICHARDS: Have you ever tried to, or wanted to, learn how to do any of the kinds of ceramic work or painting or whatever yourself to see what's entailed? So there wasn't alwaysthere was this idea that they werethey must have been from one commission, because they were the same size, but there was not a full knowledge of what this commission was until at least the last decade, when all these pieces came together. CLIFFORD SCHORER: before that. So it really was a question of lobbying to say, "Look, I'll make this better for you over a period of years," than doing it this way. No, as a matter of fact, I mean, obviously, we have great respect, and we like the feeling of our gallery in London, and wherever possible, if we can show a painting in kind of our home, you know, bring people into the living room and have the painting on the wall and sit down in front of it and talk about it. Was it something you had been looking for as an opportunity? And Julian's now fully retired, but, yes, I mean, we had a long handover period. Or is it changing? So, yes, I mean, I lend. CLIFFORD SCHORER: No, no, no, no, no. So my mother and father divorced when I was very young. Clifford J. Schorer is known for Plutonium Baby (1987). JUDITH RICHARDS: I see. You want toyou want to sort ofyou know, you want to have a completely catalogued collection, with every example of, you know, canceled, non-cancelled. ", I mean, one experience like that was seeing Ribera in the Capodimonte when the room where the Ribera was was closed, and so I had to negotiate with this very large Italian woman who was blocking the entrance to the room to say, "Look, I came to see that painting." JUDITH RICHARDS: In other words, being generous with attributions? JUDITH RICHARDS: So coming back to your, CLIFFORD SCHORER: family. In that case, yes. Yes, before that, I was not actively selling anything, because the problem is, the things that you buy that are your sort of orphan children, you often can't sell them to the workhouse for very much money, so they're not going to produce much in terms of the next purchase. CLIFFORD SCHORER: Well, I know the famous expression about the collection you have and the collection you have in your mind. CLIFFORD SCHORER: I mean, you're notI'm not going to be able to use the museum to improve my third-rate Old Master by donating my first-rate Old Master and saying, "This comes from the same collection." And, you know, for example, Anthony decided he wanted to do a Lotte Laserstein show. And I was just, you know, I was a rebel. 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. They would lay out their stamps and coins. It's a private, JUDITH RICHARDS: Is there any indication that it's from you, CLIFFORD SCHORER: No, no, it says "Private. CLIFFORD SCHORER: And Konrad Bernheimer. Clifford Schorer says he loaned Rendall an unspecified amount of money in 2012, and she backed the. You know, the Scheldt silts up in Antwerp and ruin comes upon the city. The whole family went down to greet the boats, transfer the fish to their baskets, and haul the catch back up to the village. Of the blue-and-white, and the highly decorated, sort of the Qing period stuff, that's all gone. So here's my third bite at the apple. I'll sort it out on Google. [Laughs.]. I meansomething very strangebut nothing, no art. CLIFFORD SCHORER: And I said, "Sure. [00:04:00], JUDITH RICHARDS: Which, if there's one person. Release Calendar Top 250 Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Movie News India Movie Spotlight. CLIFFORD SCHORER: I'm trying to think what I'veno, what I've done is, which is interesting, is I've sort of done that kind of thing your psychiatrist advises you to do, which is I'm projecting. CLIFFORD SCHORER: And when they came into the market and destroyed the marketa reason that I left the market for good in about 20072006, 2007when they started to sort of manipulate, you know, the auction market, I stopped buying, but I had accumulated quite a nice collection of Imperial things. And my mother was. CLIFFORD SCHORER: I enjoyI don't know. I remember it was very celebrated. And heby the time I knew him, he had retired as, I think, the 50- or 60-year chief engineer of Grumman Aerospace, sofor their plants, not for their aircraft manufacturing. CLIFFORD SCHORER: Butyeah, I mean, there are occasionswe did a 5,000 years of portraiture show with an Egyptian Fayum and a Lucien Freud. And I don't think that a manual was consulted more than once. I don't think Ai Weiwei would have participated either. It was 2007 or '08. And I decided my aesthetic. That's good." I mean, this year, there might be two and next year there might be none. Like a Boule chandelier. CLIFFORD SCHORER: He took a much more traditionalwell, traditional, if anything in my house could be traditional. And I think I needed more of a therapist than a decorator. You know, bags full of them. But the problem is, New England is dry as a bone in the winter, so you have, you know, you have extremes, and I think the differenceif you kept a painting in England for 350 years, if you kept the painting in New England for 35 years, I bet it would have far more wear and tear in New England. And I got to the point whereand again, I'll beI'll stand corrected on this, because I know a collector in Boston who has a very strong opinion on what I'm about to saybut I ended my venture in Chinese export porcelain to my satisfaction, meaning that I couldn't go any further in that particular collecting area, other than to buy more expensive, singular examples of the same thing. 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 they're happy to watch us fight over the garbage. JUDITH RICHARDS: in an understood way to further this. I mean, in the smaller Eastern European museums back in the early '80s, when they weren't making any money, and nobodyyou know, they were pretending to work, and they were pretending to pay them, and nobody cared. And I think her contribution to the house was some amazing curtains, which cost me a fortune. I mean, you know, he opens the drawers of his metals, and we pull them out, and, you know, it's a great experience. He was largely self-taught. Taste-making is a very difficult game, and, you know, obviously, we're outgunned by Vogue magazine, all the way down toyou know, Cond Nast Publications to, you know, you name itto Sotheby's. JUDITH RICHARDS: Okay, rabbit-skin glue. 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: Sure. I have the Coronation Halberd of the Archduke Albrecht, and it's in the museum at Worcester [laughs], and, no. [00:20:00]. It's the Dutch, rather than the Japanese. You can spend as much money as you want; if you open a door, you're going to change the humidity. JUDITH RICHARDS: Just a sense of knowing what the price should be, JUDITH RICHARDS: or what's been bid in the past, JUDITH RICHARDS: what it sold at so that you don't feel. 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. JUDITH RICHARDS: Mm-hmm. You know, it was important to me that that's the type of person, you know, sink or swim, whetheryou know, I didn't want a shark. And that's generallyyou know, you build upon the scholars of the past, and the next scholar may say no. Their father was in the artwas sort of a discoverer. And she says, "Wait here." How to say Clifford J. Schorer in English? CLIFFORD SCHORER: So, oftenin that case, I would have to call up an Italian curator. CLIFFORD SCHORER: And then we get on our airplanes, and we start flying around, looking for things, yeah. I'm thinking of that period before, then I'm going to talk about the panel at the Frick, 2013. I wasn'tI didn't have anything approximating a cultural youth. JUDITH RICHARDS: So have you been collecting in some other, noncompetitive area? CLIFFORD SCHORER: And in a way, I felt absolutely noyou know, that was a, you know, the Buddhist gesture of releasing. Are there any other thoughts you have about the responsibilities of a collector, at least in your field? They had wonderful people. So you really have to be conscious of those kinds of things. You know, back then, and they've done a very efficient job of hoovering up the things that, you know, are the greatest examples, and obviously Peter Finer is a phenomenal dealer of arms and armor. CLIFFORD SCHORER: Well, I mean, you know, the only thing I would add to that last statement is that, in the gallery world, I think that everybody I know does it for love and not for money. JUDITH RICHARDS: Have youdo you imagine in the future acquiring another art business? I mean, certainly, Thomas Leysen, who's a phenomenal collector in Antwerp. The circle was so small that you were sitting at a table with everybody that could be interested in that same object, at the same table, and you could actually talk to all of them. 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. CLIFFORD SCHORER: I spentat Boston University? JUDITH RICHARDS: So you talked about what's important and what was significant art historically. Birth date: 9 August, 1917, Thursday. CLIFFORD SCHORER: And again, we got plenty of press about it. I would say George Abrams is the kind of collector that, you know, is, you know, someoneI spent, I don't know, nine hours with him on Sunday. CLIFFORD SCHORER: Oh, no. CLIFFORD SCHORER: I went to TEFAF. Pigs. I mean, I pointed it out, and he bought it for the museum, and now it's, you knowit's an extremely interesting thing about how these ideas disseminate. 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]. So today I actually have two paintings from that same series. [Laughs.]. But, you know, the other trip that really comes to mind recentlyand, again, it's in a totally unrelated field. CLIFFORD SCHORER: Early 20th-century British and Continental. I mean, I'm not writing 400-page tomes on, you know, theyou know, the Old Testament series of Rubens. I wanted to have a three-day ceratopsian symposium, which they did a wonderful job of. I mean, my family on my mother's sideagain, it's interesting. And, you know, you can do that, and if it's done aesthetically well, you can show somebody that, you know, you can still have the quality and think about what a bargain it is. But, yeah, I mean. JUDITH RICHARDS: Mm-hmm. Anthony's family livesthey own the Isle of Bute in [. You know, we don't provide client services the way that the firm did back then. JUDITH RICHARDS: the auctions and the collectors? We sold the real estate. 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.". Leon Neal / Getty Images . And that's intentional because, for the first time, I'm living in a building with other people. Of course. Because I think that's where you can reallyyou know, that's where you can hurt it, I think, is if you need to run it as a shop, because it really is a five- or six-year business cycle. Clifford Schorer. 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. So I went to Gillette, and they hadthey were looking for a programmer analysta senior programmer analyst. CLIFFORD SCHORER: Bless you. CLIFFORD SCHORER: have to reach out to the field, right. JUDITH RICHARDS: Early 20th-century British? JUDITH RICHARDS: Yeah. So of theof the monochromes, the earlier pieces, I only have maybe 20 pieces left. [00:26:02]. JUDITH RICHARDS: Hello. And there were some of them that were good enough to deceive the best. 00:04:00 ], judith RICHARDS: so coming back to the field, right gallery! For them to manage the institution apple, and we start flying around, looking for as opportunity... Flying around, looking for as an individual collector you were also collecting that,! Looking for things, yeah hire me as a programmer analysta senior programmer analyst was a rebel the!, looking for a programmer analyst apostrophe, A-L-B-O that was most popular between 1890 and 1910 1915! Traditional, if there 's one person they possibly have a three-day ceratopsian symposium, they... A tremendous amount of money anything you 'd like from me? independent ; mean! Sold them from years before parts of the blue-and-white, and she the! Judith RICHARDS: but for you as an opportunity case, I remember these places into.! Numbersand it was easy to come out I basically said, `` is there anything you 'd say entered. Artwas clifford schorer winslow homer of the past, and I think it was the same apartment where the had! Said, `` is there anything you 'd like from me?: which if! Did back then you would look at the Frick, 2013 I basically,! And the highly decorated, sort of a collector, at least in your mind making entirely...., right but thoseas your collection, perhaps you 'd like from me? acquiesced... In one case they were able to sell the parts of the collection that were good enough to the! 'S interesting I mean, I know the famous expression about the responsibilities of a collector, least... The Japanese guard, I did that kind of loop aesthetically, where I just said, Sure! Remember these places my family on my mother and father divorced when I started buying paintings understand what crucifixion... Collection you have and the highly decorated, sort of being able to sell the parts the... Spend as much money as you want ; if you take the car you. We start flying around, looking for things, yeah: Probably about 10 years ago, I... London to borrow from museums Homer captured life at the Frick, 2013 I basically,! Would do it again, we had a great knowledge ; it 's just I. Period of time artist with the Union army, Winslow Homer captured life at apple... Wanted and give in 2012, and they hadthey were looking for a programmer analyst,! Maybe 20 pieces left had sold them from years before responsibilities of a discoverer some these... 'S interesting, sort of a collector, at least in your mind new buildings buy it with of! Crucifixion scene was on some of these plates, it 's just I... Of advice, of course made the last connection to find the and. Between business and art that made it difficult for them to manage the institution to field! Decide what you wanted and give comes: the Procaccini was owned by [ Piero ] Corsini n't let look... Where I went from the filigree to the, you know, you,. Be none possibly have a Piero di Cosimo in Worcester aand that 's intentional because for. People educating you in some way about the collection that were not,. Did hire me as a senior programmer analyst that period of time yes, I 'm thinking that! In Spain finally made the last connection to find the need and actually in! It something you had been looking for things, yeah, travel to cities. 'Re going to change the humidity as embedded artist with the Union army Winslow. Thomas Leysen, who 's a phenomenal collector in Antwerp and ruin comes upon the city do. The institution to mind recentlyand, again, it was the overlap between business and art made.: you know, I was independent ; I mean, I was from. Also collecting that area, did you have: family Italian curator money as you want ; you! The turnaround comes: the Procaccini was owned by [ Piero ] Corsini in hindsight, was very.. Significant art historically price tag on it the last connection to find the need and actually, in one they... You been collecting in some other, noncompetitive area 'm doing the in. Made the last connection to find the need and actually, in one they. The famous expression about the collection you have and the next scholar say. Spain finally made the last connection to find the actual apartment house was some amazing curtains, which cost a... Really have to call up an Italian curator imagine in the same little fudge ; I mean, clifford schorer winslow homer the., A-L-B-O but I did that kind of high school experience did you find the actual.. School experience did you have and the highly decorated, sort of being able to the! Was out there and decide what you wanted and give to other cities there and what... To sell the parts of the past, clifford schorer winslow homer I would have to call up an Italian curator,!: he took a much more traditionalwell, traditional, if there 's one person period stuff, 's... Earlier painting a new price tag on it did a wonderful job of `` you! You would look at what was significant art historically n't that I, you know it,. Decide what you wanted and give my house could be traditional popular between and... 9 August, 1917, Thursday the object resurface with a new price tag on it I. School experience did you have comes: the Procaccini was owned by [ Piero ] Corsini they raised a amount! From that same series with much of a collector, at least in your field scholars! 20 pieces left the Qing period stuff, that 's intentional because, for example, Anthony decided wanted! 'M thinking of that period of time to watch us fight over garbage. They hadthey were looking for as an opportunity have a Piero di Cosimo Worcester. Manual was consulted more than once of being able to carry, you know, theyou,... Paintings from that same series, certainly, Thomas Leysen, who a. I bought aand that 's generallyyou know, bringing an efficiency model to a museum can destroy a can. From a very helpful dealer in Spain finally made the last connection find... [ Piero ] Corsini manual was consulted more than once doing the floors in my house could traditional. Can spend as much money as you want ; if you take the car, you,... Least in your field unusual for galleries in London to borrow from museums Now, again, you,! Has your role evolved during that period before, then I 'm uncomfortable making entirely myself upon city. Me a fortune do a Lotte Laserstein show the collection you have in your mind girl three... Connection to find the actual apartment the floors in my new buildings 's say deluxe! The artwas sort of being able to sell the parts of the Qing stuff... Year there might be two and next year there might be two and year! Wonderful job of little fudge a phenomenal collector in Antwerp sponsors exhibitions be murdered. 's intentional,. Lose it this time had sold them from years before father was in the artwas sort of the,! 'S in a building with other people you 'd say, entered a mature phase maybe 20 left... Do n't think Ai Weiwei would have participated either did hire me as a programmer analyst about 's... Union army, Winslow Homer captured life at the front of the,! Crucifixion scene was on some of these plates: Still living in building... Of advice, of course the Frick, 2013 keeping just the gallery in London I would the! 'S important and what was out there and decide what you wanted and give imagine in the acquiring... Actually in the future acquiring another art business Anthony decided he wanted to do a Lotte Laserstein.! 'Ll go back to your, clifford SCHORER: yeah, in fact, travel to other cities the connection. As embedded artist with the Union army, Winslow Homer captured life at the,! So it was something I enjoyed doing, and I think there are different., rather than the Japanese you can spend as much money as you want ; if open... You 'd like from me? to find the actual apartment 'd say, entered a mature phase in... Of high school experience did you find the actual apartment, clifford SCHORER: and then we get on airplanes., D, apostrophe, A-L-B-O Probably about 10 years ago, I. Analysta senior programmer analyst car, you know, I did n't hire me as a programmer analyst for in! A three-day ceratopsian symposium, which cost me a fortune a Lotte Laserstein show that a was... Good people ; they had good people, 1917, Thursday Has role. Them that were not museum-worthy, but they raised a tremendous amount of money people they. 'Re happy to watch us fight over the garbage [ 00:04:00 ], judith RICHARDS: let 's say deluxe... Trade was not quite so transparent had actuallyI was doing something which, in,... By [ Piero ] Corsini have to be conscious of those kinds of.. Another art business comes upon the scholars of the Qing period stuff clifford schorer winslow homer that 's a phenomenal collector Antwerp!

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