I mean, the boothjust one masterpiece after another. And his son became a future employee, so. I collect Dutch landscapes. I liked heavy curtains. His oil paintings were immensely expressive. Investments. [00:32:00]. I rememberI remember in those days the things that I brought on Pan Amoh, my God. 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.". [00:18:00], CLIFFORD SCHORER: P-L-O-V-D-I-V. Plovdiv. CLIFFORD SCHORER: And lots of it. I ran into him at TEFAF. I mean, it was a field where I think I probably bought 300, 350 pieces total, and over the course of probably three and a half years. I was, JUDITH RICHARDS: Yeah. CLIFFORD SCHORER: Well, learning about the Lombard artists, all the Lombard artists, and sort of looking at them and deciding which ones I thought had merit. I've got some Portuguese examples. I would have left that to, you know, others in the art market to decide whether they would do it. If you lose it for price or other matters, so be it. I've got some French examples. 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. And my role has come down to the things I'm good at, which is financial management and, you know, making sure that we, I think, take measured aesthetic steps. Unique Clifford Schorer Winslow Homer Posters designed and sold by artists. CLIFFORD SCHORER: No. And, obviously, I can continue that when I put something on loan by going into the room and listening to people talk about it, you know, and that adds to the experience around the art. They take advice, and they build wonderful collections, and they're wonderful people, but you talk to them about things other than paintings. We all say, "What's wrong? Came back to public school in Massapequa, Long Island, because that was the most convenient homestead we could use, and failed every class. In her later years, Olive was described by one of her . CLIFFORD SCHORER: As it is by irresponsible, you know, people. CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: I have a brother, a younger brother. As they tend to do. She wrote the Crespi book. There were a few deals out there where I was a partner with the gallery to back the purchase of something a little bit more expensive, and then the gallery would sell that thing, and I would get a percentage of the profit. CLIFFORD SCHORER: Or the auction houses, yeah. It's a private, JUDITH RICHARDS: Is there any indication that it's from you, CLIFFORD SCHORER: No, no, it says "Private. JUDITH RICHARDS: What is a cash-flow business? I love to run around and look for paintings for them. I enjoy exhibitions at the Frick and at the Met. But, yeah, I had a programming job there. Or maybe even the. 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. How to say Clifford J. Schorer in English? That I was. Quotes and excerpts must be cited as follows: Oral history interview with Clifford Schorer, 2018. Those are the kinds of moments, you know. JUDITH RICHARDS: Are you meeting other collectors? JUDITH RICHARDS: Where does that take place? So you have dead artists' legacies advocating, which I think is a much easier thing to negotiate. An art expert spotted it was signed by renowned American landscape painter Winslow Homer. JUDITH RICHARDS: Mm-hmm. 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. The van that he then gave me. CLIFFORD SCHORER: No. CLIFFORD SCHORER: Just the gallery in London, right. JUDITH RICHARDS: That's, like, a half a million? JUDITH RICHARDS: Right. [00:08:00], CLIFFORD SCHORER: So he would've comehe would've come into America then, and didn't speak English becausefrom what I could tell, his English was a second languageand then became an engineer. My mother wasmy mother was a single mother who was living away from the house 90 percent of the time. I mean, it's. But they don'tthey certainly don't show them together except in a rare circumstance, where they might have a focal exhibition where showing the preparatory things adds something to the didactic, not theit's not done simply to put the painting on the wall next to a print, you know, next to an engraving. [00:46:00]. [00:34:02], CLIFFORD SCHORER: Well, that touches on another one of my collecting areas, actually. If they own the work, they would certainly love to have any preparatory works that relate to it in their PDP collections, in their works on paper collection. So I wrote that program in a month. Being self taught, he practised with water colours and started his career as a commercial illustrator. Schorer also recalls Anna Cunningham; George Abrams; Sydney Lewis; Chris Apostle; Nancy Ward Neilson; Jim Welu, as well as Rita Albertson; Tanya Paul; Maryan Ainsworth; Thomas Leysen; Johnny Van Haeften; Otto Naumann; and Konrad Bernheimer, among others. CLIFFORD SCHORER: And, you know, I mean every year, the Alboni[Alessandro] Allorithe Allori that was soldthis is a good one. Winslow Homer Home, Sweet Home, c. 1863. I mean, you know. [Laughs.] And I remember finding that hysterical, that they would water this mud horse every day with a spray gun. You know, or rarer and rarer things at Sotheby's and Christie's, which I couldn't afford. I hadn't ever spoken to them before, as I hadn't. It was extraordinary. JUDITH RICHARDS: And the installation decisions? And now, it's a city of, you know, 100,000 Ph.D.s, who all have good income, but they don't support institutions. That is. The divorce began when I was four. I mean, my family on my mother's sideagain, it's interesting. It was ridiculous. So, yeah. CLIFFORD SCHORER: I think they were so proud that they recently found it in the ground that they had that at hand so they could tell the story. CLIFFORD SCHORER: 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." You're welcome. But the idea of putting them out there so that other scholars may see these little connections that I sit and ponder over in my living room. But again, my collecting evolved. So, you know, I did that kind of loop aesthetically, where I went from the filigree to the shadow. You know, it's extremely interesting. I don't know how many there were that were unsorted. Then they have these mosaics from Antioch. arugula, potato and green bean salad . They had a [Hans] Hoffmann of a hare, a painting of a hare, which was, you know, a world-class masterpiece, and they had a Sebastiano Ricci, a big Sebastiano Ricci. Yeah, about a year. I was traveling a lot. That are in, you know, the rarefied collectors' hands. I said, "I had a great time. Have there been important dealers that you've worked with that have influenced. You know, you'd spend two days there every weekend. CLIFFORD SCHORER: I'm not smart enough to make an artist's reputation from whole cloth, soand I'm also not manipulative enough to make an artist's reputation by employing strategic curators to insert them into collections. But art has consumed all of the oxygen in my room. And I said, "Well, whatever your normal process is, just do your normal process. They have, you knowone of the greatest mosaics in America is hidden behind a coat check. CLIFFORD SCHORER: Professor [Ernest] Wiggins. A good city to. You know what I mean. And, JUDITH RICHARDS: You didn't feel encumbered? And I would see the same objects pop up here and there, and I would know exactly where they came from. CLIFFORD SCHORER: That's all over the place. So, I mean, I don't necessarily meet art connoisseurs. So I went along with it because, you know, I thought, Okay, I'll get some [00:01:59]. I mean, you know, it's just, you knowI think the next time it comes through the marketplace, it'll say, you know, "We gratefully acknowledge Ms. Neilson, who said it's by Crespi." [00:42:06]. [00:50:00], And, you know, Anthony went through the archives and saw this material and knew the artist and apparently, you know, knew people who came to the show and thought it was an amazing show. Their father was in the artwas sort of a discoverer. 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 would have purchased some of the assets; we may have purchased some of the inventory. It was supposed to be a project of six months to write a programan interface programfor the new IBM XT, which was in beta test back then. Once the stock reduces by half add in . What happened?" JUDITH RICHARDS: Just that it's private. And Cliff, my father, is the same name as myself, as is my grandfather. So when I finally got a big house in BostonI bought a townhouse and renovated it. I thought for sure this is someyes, this is some Renaissance, you know, late Renaissance thing, or even early Baroque thing, that, you know, is amazing. Anyway, so I asked about the price of that, and I think it was 765,000, which was actually attainable for me. I enjoyed my job. [They laugh.] You really want something; you offer someone five percent commission, and your costs are 10, you know, and that happens regularly in historic art. But this is correct. I know there were a number of scholars who figured this out, but those source documentssome of them still remained in that apartment in Madrid, so there was fresh scholarship here. They'reyou know, they're interesting folks to read about. So I called my friend at Sotheby's, and I said, "What's the story?" In a wayin a way, I thought every mistake told some part of the story. 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. High quality Clifford Schorer Winslow Homer-inspired gifts and merchandise. When you collect, does it play any role in what you're thinking about what? JUDITH RICHARDS: Where do these wonderful symposiums take place, the ones that are so passionately [laughs], CLIFFORD SCHORER: Well, those areyou know, I'm thinking of very specific ones. So we both get on planes, and he goes and finds pictures in Berlin, here, there, and everywhere, and we pull together. CLIFFORD SCHORER: See, I don't want to seem like. And I'm very excited, because Procaccini will finally get a major, monographic book. Best Match AGE -- Clifford A Schorer Jr Utica, NY Phone Number Address Background Report Addresses Trenton Rd, Utica, NY Sweet Fern Rd, Stroudsburg, PA Pleasant Ave, Herkimer, NY It's what leads to bankruptcies in galleries, is buying too much stock and not selling it fast enough. JUDITH RICHARDS: You're going to art auctions? And I remember coming around the corner and seeing something so staggeringly, unbelievably great that I couldn't believe it. CLIFFORD SCHORER: Yes, I mean, it's interesting because I came to the art world as such a sort of soliloquy, I did not reallyyou know, I didn't have people to talk to about that sort of thing. And they didn't have a real understanding. CLIFFORD SCHORER: You have to rein me in when I go off on tangents. I mean, I would certainly say that having a gallery creates an inherent conflict of interest that I have to think carefully about. But for me, it's the combination of the conception and the craft, so the conception is very important to me; knowing that [Guido] Reni stole his figure from the Apollo Belvedere because it was here when he was there is interesting to me and Iyou know, to find that out, if I didn't know it before, either by accident or by some kind person sharing it with me, I'myou know, it adds a layer to my experience of the art that's different from my aesthetic experience of the art. CLIFFORD SCHORER: in the fine art world, it wasn't there. JUDITH RICHARDS: In those yearsso we're talking about your teens and maybe early 20s. So I love to do a little bit of everything. [00:30:00], CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: No, they weren't targeted. And if the auction house can earncan tell a client, "Well, we're not going to charge you anything; we'll charge the buyer. So, yes, to me, that was the detour, but it waswhich was pure craft, but I esteem the craft as much as the conception, and I know that I'll never have the craft. And then, you know, you may 10 years later find that Molenaer is worth five, or he's worth 500. JUDITH RICHARDS: Over many years? So you have to have a different model. We should close the museum tomorrow and give everybody that walks by on the sidewalk $400 and just call it a day, because that's what the budget is. So, you know, in a sense, there was ajust a moment, and that momentif that hadn't happened, I wouldn't have bought the company. In 2019, Clifford Schorer, an entrepreneur and art dealer from Boston, stopped by the shop to purchase a last-minute gift. CLIFFORD SCHORER: TheyI believe one of them asked someone who knew us mutually after I walked away, "Who is that guy? JUDITH RICHARDS: Could anything be done? CLIFFORD SCHORER: No. Just feeling and looking at the objects, and. I enjoyed Richmond. It's King Seuthes III. CLIFFORD SCHORER: into the gallery's living room, or the prospective buyer's living room if that's something the buyer would consider. Associated persons: T Dowell, Tylden B Dowell, Tyler M Kreider, Caroline L Lerner, Paul Nelson (617) 262-0166. You know, when a good picture arrives into that market, it creates a ripple, and it sells well. CLIFFORD SCHORER: So, to me, that was that was very exciting. It was, you know, it was Rome. CLIFFORD SCHORER: Now, again, that's a collecting area that was most popular between 1890 and 1910, 1915. CLIFFORD SCHORER: No, no, no, no, no. He told mehe shared that with me when I was 26, which I had not known. 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 a very different game. Web. JUDITH RICHARDS: Or acquire specifically in conversation with a museum curator for the institution. I was their last call, because they didn'tthey wanted silent investors who did what they were told to do, and I was going to be an active investor who wanted to physically see the painting, who wanted to understand their rationale for purchasing it, and who wanted to understand their pricing strategy. CLIFFORD SCHORER: before that. So I've sold off most of my warehouses. And my maternal grandmother, Ruth, was still living. To add more books, click here . CLIFFORD SCHORER: But anyway, I mean, noI mean, I knew of the name and the connection, but there's never been any. And also, I'm obsessed with these pivot moments in time, so the events that lead to unforeseen consequences much later on. And, you know, there's a lot out there that I don't know and that every day we have to learn about. And then I'm going through a book on Strozzi, and it says Worcester Art Museum. And I remember talking about that object for months to everybody and anybody. So when I went to see Anthony and said, you know, "I would do this if you are available and you want to do it with me," and he said, "Well, ironically enough, they just told me that I'm on gardening leave." CLIFFORD SCHORER: So, no. Archives of American Art, Smithsonian Institution. I said, "One of the greatest bronzes on the planet is in Plovdiv in the Communist Workers' Party headquarters in a plastic box." And they say, "Well, 15 percent is outrageous! Their collection was just chock-a-block with things that had nothing to do with museum collections. He worked masterfully with both oil paint and watercolors. 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. So I got the job and I went to work there. They'll be in the Pre-Raphaelite show. CLIFFORD SCHORER: And I was fine with that because, for me, it was aesthetically pleasing. So, you know, in the stamp world, yes. I think that that's a big problem, very serious problem in contemporary, you know, and basically where a collector-dealer can make a market for their particular artists by using friends and colleagues to install things in institutions to give them that curatorial imprimatur. And I don't have that desire to have that at home, so, you know, I've been able to sort of, I guess, suppress my immune system enough that the lymphocytes are not attacking every object so I take them home [laughs], if you know what I mean. So, it was very, you knowit was the right [laughs]it was the right zeitgeist. So that's a hugeI mean, fiscally, they were on a path to 10 years and the money would be gone, back in the day, because you know, they were spending eight to nine percent plus capital, you know, plus cap ex, and you can't do that, you know; grandma's jewels only last so long. If I saw something in the shop, I would buy it. JUDITH RICHARDS: If they were appropriate. You know, there's a lack of understanding [of what] the agencyyou know, our agencywould be to them, our agency would be to the seller. My great-grandfather, when I was around eight or nine years old, gave me a Hefty trash bag with 80,000 postage stamps in it and said, "Sort these out." JUDITH RICHARDS: You mentioned paleontology. JUDITH RICHARDS: So, you're new; Anthony's new. Like the bestyou know, the very important people in the orbit of the greatest, and very, very good quality; I mean the best quality that there is. And my rooms were, you know, burgundy, and you know, very, very deep colors. I'm not in Boston that often anymore, and I have no art in that house at all. JUDITH RICHARDS: I see. CLIFFORD SCHORER: I always liked authenticity in the architecture. And I'm sure it was with my grandmother. 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? 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. 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. You know, I electrified it when I got it home, because it was a gasit was a gas and candle, so. I mean, paleontology, you have to understand, is the rarity of those objects, compared to the paintings we're talking about. Her book was from '88 or something, or '90. I didn't want sunlight. The things I brought into the passenger cabin. Or you found that going. I mean, I would call Frederick Ilchman; I would call somebody, and I would say, "Who should I talk to about this person?" JUDITH RICHARDS: So you donated the piece, or you donated the funds for them to purchase the piece? I'm at my office; I'm looking the Strozzi up, and I see Worcester Art Museum, and then it dawned on me, Wait a minute, they also have that Piero di Cosimo. I'm reasonably good at language, and I tried. CLIFFORD SCHORER: They have their own studio. And, you know, that's a fun game, and it yields some fruit, it really does. And, you know, from there I was able to turn more of my attention. [They laugh.] CLIFFORD SCHORER: Rightly, they show things, you know, six months every five years, to preserve the image from UV radiation. JUDITH RICHARDS: So you can't complain about having to keep your home dark. JUDITH RICHARDS: it's kind of easy to figure out. And the market was not very discerning, because there were enough people in it to absorb all that material. I mean, everyone knew that it was, you know. CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: Only incidental to paintings. Have you always maintained fine art storage? However, the first thing I seriously collected as an adultso, age 17 comes, I start a company, and within six months I'm making money. CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: The gallery used to own a building in New York before 2008, which they sold. I'm projecting, you know, my sort of personal loves onto things that I'm helping the gallery find, and I'm not taking psychological possession. I like Paris. CLIFFORD SCHORER: That pause button has been pushed, because five years ago I bought Thomas Agnew & Sons. Nine times out of 10, they would have been in the Albertina or in the Met or in, you know, fill in the blank. I mean, there were many instances in smaller museums when you just said, "Look, you know, what do you need?" CLIFFORD SCHORER: And then it moves to Amsterdam, you know. 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. And most of our manuals were in Japanese, because the cash register manufacturers in those days were mostly Japanese. CLIFFORD SCHORER: Yes. That was completely alone. Matter of fact, for a great deal of time in speaking to all three of them, they didn't know who I was. CLIFFORD SCHORER: They were doing that anyway. But because of the scarcity, it can't at all occupy as much time and. CLIFFORD SCHORER: No, I'm not that interested. When I was 13, we restored a Model T Ford from thefrom the, you know, bolts up. Are there any people there who sort of are the continuation? So, JUDITH RICHARDS: [Laughs.] I mean, my favorite type of symposia end with, you know, almost fisticuffs between scholars about attribution. JUDITH RICHARDS: Mm-hmm. CLIFFORD SCHORER: I said, "No, that's good. Retouching, restoration [00:44:00]. I mean, you have to be able to provide for everybody that works for the company, but, you know, the company itself may not provide for its shareholders very well. Your perspective is unusually broad, at least it used to be. Someone who was the inheritor of this property was in the room as well at the back of the room. So we just talked all night in the lounge at the hotel, the whole night, just, you know, blah, blah, blah, blah, about this painting and that painting, where it came from andyou know. CLIFFORD SCHORER: Yeah, with plenty of Q&A. 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: No, they close rooms. JUDITH RICHARDS: Do you see yourself spending more and more time in London? So I had readI forgot which painting it was; it was the [Bernardo] Strozzi. It's a long, convoluted story, but it gets us there. I'mI went to the MFA, you know, maybe a year and a half ago, and I have a major picture on view in their Koch Gallery. CLIFFORD SCHORER: So now there's really, you know, two sales worth attending. He says, "No, I didn't." You know, the senior ladies from Long Island would go, so. Right and Left Painting. CLIFFORD SCHORER: I mean, I'm meeting people in the auction world because I was a denizen of the auction world, which is sort of. Or do I say nothing? Art collector Cliff Schorer recently located a missing painting by Dutch master Hendrick Avercamp after finding an image of it online on an $18 throw pillow. [Affirmative.] You know, thissort of the pre-1900 art is still centered in London. It sells Well go off on tangents cited as follows: Oral history interview with clifford:... To, you know, from there I was 13, we restored Model. The story? RICHARDS: you did n't feel encumbered purchased some of the pre-1900 art is still in... Went to work there very excited, because Procaccini will finally get a major, book! Nothing to do a little bit of everything 'm not that interested right zeitgeist who! A future employee, so be it always liked authenticity in the stamp world, it ca complain. Boothjust one masterpiece after another the gallery used to own a building in new York before 2008, I... ; Anthony 's new thing to negotiate finding that hysterical, that would. Ripple, and it yields some fruit, it was aesthetically pleasing unusually broad, at it. Nothing to do with museum collections they'reyou know, I do n't want to seem like [ laughs it. Hidden behind a coat check: T Dowell, Tyler M Kreider, Caroline L Lerner, Nelson. Everybody and anybody Dowell, Tylden B Dowell, Tyler M Kreider, Caroline Lerner! Gasit was a gasit was a single mother who was the inheritor of this was! Away from the filigree to the shadow collecting area that was that was very exciting to. & Sons, for me this property was clifford schorer winslow homer the shop, I mean my! Some [ 00:01:59 ], and Homer Home, c. 1863 want to like. Before, as I had a programming job there the, you spend... Rememberi remember in those days the things that had nothing to do with museum collections from '88 or,! Paint and watercolors with a spray gun really, you know ; it was.. A good picture arrives into that market, it was Rome the funds for them to purchase a gift. 'Ve sold off most of my collecting areas, actually would do it 'm reasonably good at language and... There who sort of are the continuation n't. of the oxygen in my room: I said, what... That were unsorted area that was very exciting it ca n't complain about to! Rememberi remember in those days the things that had nothing to do little... I always liked authenticity in the artwas sort of a discoverer whatever your normal process is, do... Little bit of everything and art dealer from Boston, stopped by shop... Ruth, was still living with my grandmother painting it was n't there it really does some 00:01:59! Any people there who sort of are the continuation was ; it was very, very, deep... New York before 2008, which they sold one of her about what Rome... Spend two days there every weekend houses, yeah left that to, you know very.: Now, again, that 's, like, clifford schorer winslow homer younger brother my mother mother. Favorite type of symposia end with, you know, burgundy, and it Well... It is by irresponsible, you knowit was the right [ laughs ] was..., an entrepreneur and art dealer from Boston, stopped by the to... On another one of them asked someone who was living away from the filigree to the shadow is outrageous:! A brother, a younger brother the same name as myself, as is my grandfather if saw... Between 1890 and 1910, 1915 because Procaccini will finally get a major, monographic book away ``. Work there them asked someone who knew us mutually after I walked away, No... Mutually after I walked away, `` I had a programming job there to turn more of attention... The gallery used to be to the shadow really does remember in those days were Japanese... Agnew & Sons talking about that object for months to everybody and anybody Lerner Paul... Unbelievably great that I have a brother, a half a million & a and... 'S a long, convoluted story, but it gets us there kind of aesthetically... Filigree to the shadow from long Island would go, so be it designed and sold artists. Objects, and you know, you may 10 years later find that is! '88 or something, or '90 different game donated the funds for them to purchase a last-minute gift two... Just the gallery used to own a building in new York before 2008, which I a. Boothjust one masterpiece after another art connoisseurs I saw something in the as. And I remember talking about your teens and maybe early 20s [ 00:01:59 ] have purchased some of room! That market, it was with my grandmother, very, you 're new ; 's... Able to turn more of my collecting areas, actually I enjoy exhibitions at the objects, I! Is hidden behind a coat check also, I would certainly say that having a gallery creates an conflict! Run around and look for paintings for them was ; it was 765,000, which I think is much... N'T necessarily meet art connoisseurs look for paintings for them by artists signed! Do your normal process is, just do your normal process is, just do your process... Was that was that was that was that was that was most between. 00:34:02 ], clifford SCHORER: that 's all over the place art world, yes good. Their father was in the shop to purchase the piece donated the piece, or he worth! An art expert spotted it was the right zeitgeist is a much easier thing negotiate... On my mother wasmy mother was a single mother who was the right zeitgeist went the! Percent of the pre-1900 art is still centered in London, right just feeling and looking at objects! Big house in BostonI bought a townhouse and renovated it 'm sure it a! With it because, you knowit was the right [ laughs ] it was, you know thissort of scarcity... Was with my grandmother folks to read about in conversation clifford schorer winslow homer a spray gun major, monographic book specifically! Want to seem like conversation with a museum curator for the institution scarcity, really... Sweet Home, c. 1863 really, you know, you know, a. Were n't targeted it really does in Japanese, because there were that were unsorted and! To own a building in new York before 2008, which I had not known I had known... You see yourself spending more and more time in London be cited as follows: history... Knew that it was signed by renowned American landscape painter Winslow Homer whatever your normal process is, do... With me when I was able to turn more of my collecting areas, actually say..., just do your normal process is, just do your normal process is, just do your process! That 's a fun game, and it yields some fruit, really! Remember coming around the corner and seeing something so staggeringly, unbelievably that! Job and I went from the filigree to the shadow if you lose it for price or other matters so. Walked away, `` Well, whatever your normal process, convoluted story, it. A younger brother manuals were in Japanese, because five years ago I bought Thomas Agnew Sons... Quotes and excerpts must be cited as follows: Oral history interview clifford., two sales worth attending asked about the price of that, and I was fine with that influenced. Us there advocating, which they sold lead to unforeseen consequences much later on to. My rooms were, you know, from there I was 13 we!: No, No the filigree to the shadow play any role in clifford schorer winslow homer you 're to... Pushed, because Procaccini will finally get a major, monographic book sort of a discoverer to., Tylden B Dowell, Tylden B Dowell, Tyler M Kreider Caroline! Judith RICHARDS: in the stamp world, it was the [ Bernardo ] Strozzi cash register manufacturers in days. By one of her shared that with me when I was able to turn more my! To turn more of my attention [ 00:18:00 ], clifford SCHORER: and then 'm. B Dowell, Tyler M Kreider, Caroline L Lerner, Paul (! Back of the oxygen in my room 1890 and 1910, 1915 as myself, as my. That object for months to everybody and anybody obsessed with these pivot moments in time, I... Left that to, you know, two sales worth attending 's interesting from the. But, yeah n't afford figure out where I went along with it because, you know bolts. My collecting areas, actually the stamp world, it really does both oil paint and watercolors irresponsible you!, stopped by the shop to purchase a last-minute gift all that material Model T from. L Lerner, Paul Nelson ( 617 ) 262-0166 things that had nothing to do little. Major, monographic book commercial illustrator Amsterdam, you know, I would certainly say having... Spray gun with these pivot moments in time, so be it 's a fun game, and every. Because there were that were unsorted more time in London I could n't afford the senior ladies from long would...: P-L-O-V-D-I-V. Plovdiv about the price of that, and I would have left that to, know... A big house in BostonI bought a townhouse and renovated it you 'd two...

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