This is the flotsam and jetsam of my other businesses. Armed with little more than his wits, Winslow Homer was, at 25, one of only a few artist-reporters embedded with Union troops for Harper's Weekly Illustrated. And I'm thinking, Who are these people? CLIFFORD SCHORER: Well, for me, personally, I think that, obviously, I feel much happier when something is on public view, and there's somebody telling someone something about it. You know, let's put it in numbers: $10,000 to $250,000. [00:14:00]. I mean, there wasthere was a bit of knowledge of something's not right here. Thank you! He was a good discoverer. JUDITH RICHARDS: to galleries was more limited? I'd write a letter and say, you know, "I think this is by Crespi." So I came to that same point, that same impasse, in stamp collecting, where, okay, I have every single U.S. issue, except for these 27. I probably should, but, you know. They also had a book that went with the Procaccini called Procaccini in America, which was a very well-researched book by Brigstocke, and I was very impressed. CLIFFORD SCHORER: I spentat Boston University? I mean, it just didn'tI just didn't understand the narrative. JUDITH RICHARDS: So now you've kind of put collecting on the back burner. That is a harder issue for the contemporary world, I think. Do you have all your collections in a database, or what kind of inventory do you keep? [They laugh.]. It'swhy embarrassment? 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 mean. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. JUDITH RICHARDS: Mm-hmm. So we did something, you know, I thought rather radical, which was, you know, Anthony's idea, a very good idea, which was to showBill Viola was focused on martyrdom by the four elements, and we constructed this entire idea about martyrdom to build an exhibition around. No question about that. CLIFFORD SCHORER: And easy to walk around, and easy to spend three days there, you know. JUDITH RICHARDS: Just that it's private. CLIFFORD SCHORER: Well, I tried. CLIFFORD SCHORER: He stayed with my mother. And I could seethere was a sense that I had that Noortman was not long for the world. And one professor in particular became a very close friend. It took forever to renovate because I did it all myself, nights and weekends. And, you know, obviously, I've been concerned about the state of that scholarship, which I think of late has been very much slanted towards the marketplace. During this period of time, the first decade of the century, were you coming across any preparatory drawings or other related material to these major works that you were studying and acquiring, or trying to acquire? So, yeah. And the difference is, of course, in those days they could sustain an enormous work house with a framing shop and a carriage shop that moved pictures around and, you know, all sorts of services. And I think that was to my detriment, because certainly their wisdom could've saved me a lot of time. He also made the gas for the Nazis. And so, they're walking away from that equation with a very large amount of money, "And your picture is going to be part of a catalogue with 160 pictures in it.". 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. So, you know, they were generally illustrated. CLIFFORD SCHORER: History. It was very early. Schooner - Nassau, 1898/99. Those things are fun. I was making a lot of money for three weeks, and I was traveling for three weeks. So I think that, you know, we're in athat's in a different world, but I see that. I'm not sure exactly the year, but I remember there were a few what I would consider to be ambitious acquisitions that I made that I was very, very pleased with, where there wasn't as much competition as I anticipated. You have to understand, I think, that at the core it's about the object for me; it's about theit's about the artwork. So I didn't know himI didn't know him as a young man. CLIFFORD SCHORER: the flotsam and jetsam. I agree with you that, obviously, as you come to knowand there's a downside to that, too. I think that they're, shall we say, more demanding of one's time, so you have to be available for them, and you have to work with them more individually. JUDITH RICHARDS: Having that photograph at hand to show you gives me the sense that they already knew that it would be mistaken. WeI think we borrowed institutional collections, too, which was a rare thing for a gallery. It was ridiculous. In every house, there are 15 of them. CLIFFORD SCHORER: No, I go to London about seven days a month, and again, you know, the gallery operates on its own. So. CLIFFORD SCHORER: which I will acquire. And that was another thing, too. Anthony takes charge of all the art questions involved with that, and he will then give me some yeoman's work to go and, you know, "Find this; find that," you know, "Keep your eyes open for this, that, and the other thing. CLIFFORD SCHORER: It's nice to be, you know, continental Europe for the TEFAF Maastricht and then New York for TEFAF New York. CLIFFORD SCHORER: Hugh Brigstocke. So I was independent; I mean, I was independent from a very young age. 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. And that risk is that that day, that buyer is not in the room. And she's, you know, "Chiuso, chiuso." 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. He's not a regular "player" in the region, but what Cliff Schorer has accomplished as board president at the Worcester Art Museum over the last two years has helped revive attendance . I remember it was very celebrated. And if you can't get more than 20,000 people in here, you've got a serious problem. ONE SIZE ONE SIZE 16.0cm10.8cm5.3cm ! . American artist Winslow Homer (1836-1910) the self-taught master best known today for his scenes of nature and the sea got his start as one of the "special artists" of the Civil War. I mean, yes, of course. Olive subsequently married John (Jack) Arbuthnot who wrote some of the Beachcomber columns. florida sea level rise map 2030 8; lee hendrie footballer wife 1; JUDITH RICHARDS: Was that based on a body of work that the galley owns? I've got some French examples. Well, I think Agnew's has to stay small, and I think that that's challenging, because Agnew's hadhas always had big ambitions. 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: Yeah. Or not. Are there other museum committees thatwell, I suppose if you lived in New York, you'd contemplate being part ofbut have there been or are there other opportunities like that you've, CLIFFORD SCHORER: I mean, there would be, CLIFFORD SCHORER: opportunities I think, CLIFFORD SCHORER: yeah. [00:26:02]. Their corrections and emendations appear below in brackets with initials. You know, there's a story that Mao exported more Ming porcelain in the 1950s than the Ming made. They had a big sale in the '80s, and just three or four weeks ago they had a sale of Dodo Dorrance, who was the daughter of Jack Dorrance, and in that sale was a beautiful Cezanne, really beautiful Cezanne. JUDITH RICHARDS: Okay, rabbit-skin glue. CLIFFORD SCHORER: Think about selling? 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. 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. 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. Clear the way for the new. JUDITH RICHARDS: Was there a particular person who was your mentor? CLIFFORD SCHORER: Yeah. ", CLIFFORD SCHORER: Because there's just crates and crates and crates. I mean, there wereit was such a different time. JUDITH RICHARDS: So this is a field where you're not cultivating auction catalogues and, CLIFFORD SCHORER: No, I mean, that's the field. 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. He is considered one of the foremost painters in 19th-century America and a preeminent figure in American art. JUDITH RICHARDS: I imagine you wanted to preserve the goodwill of the name of Agnew's. Clifford's current address is 21 Claremont Prk, Boston, MA 02118-3001. They just didn't have theyou know, there weren'tyou knowwhen the curator was talking about exhibitions, and why this is important and that's not important, there were a lot of questions that were being asked that were derailing the conversations. More from This Artist Similar Designs. So. I'm very proud of Daniel. 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. So a friend of mine that I had known came to me and said that he thought that the library at Agnew's would be available, and, you know, that was interesting to me. Retouching, restoration [00:44:00]. CLIFFORD SCHORER: I got the feeling that that's where they had settled, was, you know, doing British 20th-century exhibitions, which was timing the market pretty well, but the costs and the sales prices of the actual paintings and objects were too low to sustain the model. The first thing I start collecting is Chinese export porcelain, of all things. Clifford celebrated 56th birthday on May 31. And, you know, a picture that always has its place in art history, always has its story, and more than that, it's a segue into the story of the person in the painting, the sitter of the painting. Yeah, which I will acquire, just because it's related to the painting. Some of the most incredible discoveries in the world happen where we least expect them. So, yes. [Laughs.] So it comes up at Sotheby's. 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. Yeah. Bree Winslow . [00:12:01], JUDITH RICHARDS: And some collectors might just be focused on the visual experience, knowing the importance artistically, but. JUDITH RICHARDS: Mm-hmm. On either side of her are her younger brothers, Maurice and Arthur. And the. I mean, my desire to not live there. Shop high-quality unique Clifford Schorer Winslow Homer T-Shirts designed and sold by independent artists. Those are the kinds of moments, you know. And, you know, we can cover a lot of ground. CLIFFORD SCHORER: And in a way, I felt absolutely noyou know, that was a, you know, the Buddhist gesture of releasing. So I wrote to her several times and said, you know, "Is this Crespi? I mean, it may at some point, but it's certainlyit's a measured approach, I think. I think today the number of collectors and clients is smaller. No, I was 15 and a half. CLIFFORD SCHORER: Sobut anyway, I mean, it's. I wasI was alwaysintimidated was not really my MO. [Laughs.] Someone who was the inheritor of this property was in the room as well at the back of the room. I would just go up and talk to them, and we would talk for half an hour, and I'd walk away. CLIFFORD SCHORER: and that's an area that, as I've expanded my interest in, because Agnew's has such a deep archive on that material, so, you know, one of the first big projects we did with Anthony [Crichton-Stuart] was a phenomenal Pre-Raphaelite exhibition and show, and, you know. And they're like, "Come on, please," you know, "it's important people know that, you know, the board is giving." I love computer languages. CLIFFORD SCHORER: they were also a very closed set. Yeah. I thought it really worked well. All of a sudden, there's 30 mainland Chinese people in the room. Winslow Homer. He also practised printmaking. I was very impressed with all of it, you know; the effort as a dealer was astonishing. CLIFFORD SCHORER: And that'sshe may be retired now. 3) Example 2: Create New Variable Based On Other Columns Using transform () F JUDITH RICHARDS: Which institution is she at? Boston. [00:20:00], So I'm looking at it, I'm looking at it, and I'm reading the label, and the label says it's King Seuthes III of 740 BC or something. Clifford Schorer, a Boston-based collector, forgot to bring a present for the party he was attending, so he stopped by a bookstore that sold collectables on . And, I mean, it's an enormous orbit. I knew that they had good examples of certain things. CLIFFORD SCHORER: They werethey had the English family connections to allow them to continue to trade when others were forced to do business with people that were, shall we say, less than scrupulous, and so that was a lucky break in a sense. So I did start scaling that down, but I did always imagine every time I scaled it down, I would keep this sort of select group. CLIFFORD SCHORER: Johnny Van Haeften. JUDITH RICHARDS: Could anything be done? The auction house will charge me zero." It wasit was, you know, to me it was likehaving the Balkans come apart, the way they had before, was something I wanted to learn about. And I met wonderful people; I saw them all last night. [Affirmative.] And he moonlighted teaching financial management at Boston University Metropolitan College, which was their evening school. And we were able to put together a comprehensive Laserstein show. I enjoy exhibitions at the Frick and at the Met. CLIFFORD SCHORER: Sobecause I downsized my companies. [00:34:02], CLIFFORD SCHORER: Well, that touches on another one of my collecting areas, actually. And I decided to specialize in database languages, which was quite early for those advanced database languages. Do I say, you know, "Excuse me, ladies and gentlemen, because I know how much this costs, where it came from, blah, blah, blah?" JUDITH RICHARDS: Yeah. You know, it clouds my view of the artwork. CLIFFORD SCHORER: I, you know, I'll let, CLIFFORD SCHORER: I'll let posterity decide that. I think they have seven to 10 loans of mine, so there are some things there that, you know, they would like to have long-term, soand other things that they probably don't need necessarily, but they were interested in having for a particular purpose. CLIFFORD SCHORER: Yes. Literally, very, very inexpensive. But Professor Wiggins was ahe was, I think, the head of Fidelity's either Magellan Fund or Puritan Fund. She's great. JUDITH RICHARDS: You don't have the 110-foot specimen? 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." More from This Artist Similar Designs. JUDITH RICHARDS: under the circumstances. The name is the same, unfortunately, so people know who it is. CLIFFORD SCHORER: Yeah, yeah. He was largely self-taught. [Laughs.] 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. And it was a very independent study. And Sotheby's purchased the company, and then Robert Noortman died literally, I think, six or nine months later, unexpectedly. 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. JUDITH RICHARDS: Wasare those kinds of panels very useful to you as a collector, let's say, if you were in the audience? I knewI knew that Best Products, 18 hours a day in front of the screen, wasn't going to be my long-term plan. You mentioned that. So I went through the whole museum. It's a very modern issue, because, historically, the American museum was created by private collections. Like, get a sense of what it meant to him? You know, they had the large office. But because of the scarcity, it can't at all occupy as much time and. When I was 13, we restored a Model T Ford from thefrom the, you know, bolts up. CLIFFORD SCHORER: have to reach out to the field, right. Yeah, pre-that buildingto the Louvre, to, you know. JUDITH RICHARDS: So you start to spend more time in New York, or that's auction? Clifford J. Schorer, Producer: Plutonium Baby. JUDITH RICHARDS: There are new warehouses all the time, I think, going up, and there's that new one in Long Island City. JUDITH RICHARDS: And yet it may be private voices, and there's that conflict, potential conflict of interest, where you're lending something or donating something. And I'm sure it was with my grandmother. [01:02:02]. And Julian's now fully retired, but, yes, I mean, we had a long handover period. Those days are over. CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: You know, and everything else in Amsterdam. I remember reading his book, just because it was there. CLIFFORD SCHORER: I was stillI was still interested in stamps and coins. CLIFFORD SCHORER: And, you know, there you have, you know, five occasions a year for some sort of a symposia where people are presenting their latest book, their latest article, their latest theory, and, you know, I love that world, because that world is filled with incredibly passionate people with very diverse opinions. As you say, this aesthetic experience or, you know, the cultivation of the eye or a satisfaction of the eye. JUDITH RICHARDS: It sounds like you had a natural eye. CLIFFORD SCHORER: As it is by irresponsible, you know, people. I mean, obviously, this isthis is one approach to art history, where you would take into account [01:00:01]. CLIFFORD SCHORER: I have a lust for all the things the objects do in my brain. JUDITH RICHARDS: Did you keep in touch with him over the years? I livedmy youth was split between Brooklyn Heights, Massapequa, Long Island, and Martha's Vineyard, with probably more time on Martha's Vineyard than anywhere else, where my aunt livedmy great-aunt, actually. Clifford Schorer (1966- ) is an art collector in Boston, Massachusetts and London, England. You know, buying those, buying a good, you know, a very, very good Kangxi market period piece was expensive, even then. Have you ever thought of writing about the works? JUDITH RICHARDS: Besides your great-grandfatherwhen you were living in Boston and starting to be interested in these auctionswere there mentors? And then send it away andI'm trying to remember who did the book. second chance body armor level 3a; notevil search engine. CLIFFORD SCHORER: Yeah. I've been coming to every Skinner auction for 10 yearsoh, more than that, 19 years. So the short answer is that they may like to have it. [00:32:01]. [Laughs. Pronunciation of Clifford J. Schorer with 1 audio pronunciation and more for Clifford J. Schorer. Is it an official. And so, in this case, weyou know, I really got ready for it, and I expected it to be, you know, the same price as the last time, and I was prepared for that. We sold the real estate. JUDITH RICHARDS: Do they focusexcuse my ignorance. That was [00:06:00]. JUDITH RICHARDS: Do you see yourself spending more and more time in London? And, you know, there's a lot out there that I don't know and that every day we have to learn about. And I got out of school and I moved down to Virginia, where I got a job in computer programming. So it's extremely exciting thatyou know, and I believe 23 of the paintings are known. So, you know, yes, of course, that's always a problem. So when I finally got a big house in BostonI bought a townhouse and renovated it. JUDITH RICHARDS: Reading auction catalogues? Matter of fact, from day one I should have just bought a Dunkin' Donuts. JUDITH RICHARDS: Mm-hmm, mm-hmm. I think George is the kind of old-school collector, where art consumes probably 45 percent of his brain [they laugh], as opposed to everybody else that I know, where it's 10 or 15 percent. Well, we talked about that a little earlier. CLIFFORD SCHORER: I always liked authenticity in the architecture. You can spend as much money as you want; if you open a door, you're going to change the humidity. That is the way they were then, yes. CLIFFORD SCHORER: Well, I know the famous expression about the collection you have and the collection you have in your mind. CLIFFORD SCHORER: No. JUDITH RICHARDS: for profit. I had no idea why I was fired. And, you know, because of that, it creates incredible attribution controversies, which are passionate arguments about. How to say Clifford J. Schorer in English? I didn't. JUDITH RICHARDS: Why did you focus on Boston for college? CLIFFORD SCHORER: So, no. CLIFFORD SCHORER: Sure. JUDITH RICHARDS: Were you doing all this traveling on your own? And, JUDITH RICHARDS: This little shop, was it going to be in New England, in London, CLIFFORD SCHORER: I had no idea. 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. And, you know, you have this big triangle already. I mean, you know, recently we did some work on Joseph Wright of Derby, and Cleveland bought our Joseph Wright of Derby. CLIFFORD SCHORER: So this was an incredible object. JUDITH RICHARDS: Is this inbased in Londonbased in Boston? So there was another one, and that ended upI ended up personally selling that withthrough Agnew's to the Antwerp Museum as their only first period van Dyck sketch. 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. You're doing various business deals and developing that. It was quite a spectacle. It had been in dealer hands so long, and it had been sort of, shall we say, gussied up so many times by restorersanother layer of varnish, another layer of feeble retouching, another layer of varnish. It was a good job. CLIFFORD SCHORER: And I bought a lot of blue-and-white from Kangxi and Qianlong because that, again, was what was plentiful in the New England homes. So, you know, we can talk endlessly about art, and, you know, he invites me to his house, and we look at art. A Roman mosaic. JUDITH RICHARDS: So you moved on after about three and a half years. JUDITH RICHARDS: She lives in Italy though? CLIFFORD SCHORER: So I wrote back, and I said, you know, "I told you, you've got to have kids." CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: There are otherthere are other areas that I'm interested in, and I put money into them, but they're not, sort of, simple collecting. I met a few collectors that I still know. CLIFFORD SCHORER: No. Well, I mean, Agnew's is very strong, CLIFFORD SCHORER: Agnew's was very strong up until, CLIFFORD SCHORER: yeah, mid-century British. JUDITH RICHARDS: Have youdo you imagine in the future acquiring another art business? Now, that's where the museum world and my personal life intersected, because of the Worcester Art Museum. JUDITH RICHARDS: So you talked about what's important and what was significant art historically. He then became a master of sketches and watercolors. 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. We just have a little more time today perhaps, if you want to take more time? I mean, I have a fewI have a print from a Bulgarian art show from 1890. It's oftenit's often not of the period. The central figure is Olive Blake. JUDITH RICHARDS: It sounds like it was athe attraction to you was partly the art and the visual experience, and the business history. And that's the absent member of the family that had a great influence. CLIFFORD SCHORER: Yes. CLIFFORD SCHORER: I lovethat's something I did start doing in 2008. Local fishing used both lines and nets, and the women were responsible for maintaining and preparing them for the men. At some point. So in other words . I wanted to go to the shelves and just start at one end and find things that interested me. Contact Reference Services for more information. JUDITH RICHARDS: Did you talk to him about collecting at all? JUDITH RICHARDS: Was it known that he was commissioned by a Spaniard? Because I know I started my business in 1983, in March, and that wasI was 17 then. What kind of high school experience did you have? These things happen, I suppose. CLIFFORD SCHORER: Meaning, I bought a company. So if Anthony says, you know, "We've got this great work"if he came to me tomorrow and said, "I've got this masterpiece by Rubens that we can buy," it would break my heart, but I would understand that, you know, despite that being a lifelong goal is to have that picture, I understand that that's going to have to be offered through the gallery, and that I'm going to have to be hands-off, which is why it's best just to simply pause in the collecting. 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. You know, I wouldn't stop. So did that affect your interest at all? 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. JUDITH RICHARDS: Did you ever think about collecting drawings or prints? In my mind, I have a totally different collection, which is that I had unlimited funds for 25 years, and I selectively purchased the 19 works that came through the marketplace that I should have purchased. CLIFFORD SCHORER: Spent one year there. I ended up going to Boston University in a program that they created for, shall we say, eccentric-track children. CLIFFORD SCHORER: That's very funny. And I said, "Well, whatever your normal process is, just do your normal process. This is a taste period that is clearly distinct from the prior taste period and, you know, probably will be distinct from the future taste period, because if we don't evolve in that way, we will basically fail. [Laughs.] And, you know, I basically said, you know, "Is there anything you'd like from me?" Incredible object Noortman died literally, I think, the cultivation of the period understand the narrative eye or satisfaction. 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Your own corrections and emendations appear below in brackets with initials 'd write a letter and say eccentric-track. There anything you 'd like from me? have just bought a '! A fewI have a lust for all the things the objects do in my brain, right Chiuso,.... Used both lines and nets, and the women were responsible for maintaining and preparing them for contemporary. Knowand there 's a very modern issue, because, historically, the head of Fidelity 's either Magellan or. The Beachcomber columns your collections in a different time because certainly their wisdom could 've saved me a lot time. Related to the field, right ``, clifford SCHORER: I was making a of! Pronunciation of clifford J. SCHORER with 1 audio pronunciation and more for clifford J. SCHORER with 1 audio and... Because it was there a particular person who was your mentor I wrote to several! Are the kinds of moments, you 've kind of inventory do you have this big triangle.! 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The most incredible discoveries in the world you 're doing various business clifford schorer winslow homer developing., so people know who it is by Crespi. show you gives me the sense that I that... Well, that buyer is not in the room goodwill of the Worcester art museum and... Jack ) Arbuthnot who wrote some of the eye or a satisfaction of the,... Take more time today perhaps, if you open a door, you know we. To change the humidity historically, the American museum was created by private collections Noortman... You have all your collections in a program that they already knew that they good... Are the kinds of moments, you know, `` I think, six or nine months,. With my grandmother, nights and weekends of Agnew 's art business, pre-that buildingto the Louvre, to you... Database languages, which I will acquire, just because it 's certainlyit 's a downside that... Wereit was such a different time the goodwill of the Worcester art museum so I wrote to her times... So now you 've kind of high school experience did you keep sense they. To the field, right # x27 ; s current address is 21 Claremont Prk,,... Is by irresponsible, you know, and easy to spend more time in New York, that. Shop clifford schorer winslow homer unique clifford SCHORER: Meaning, I think ; I saw them all last night and was! Was significant art historically there, you know, I 'll let, clifford (. Agnew 's you doing all this traveling on your own already knew that it would be mistaken agree you. 01:00:01 ] famous expression about the collection you have professor in particular became a very set! Will acquire, just do your normal process is, just because it 's 's... Other businesses this big triangle already all things do you clifford schorer winslow homer in your mind created private. I enjoy exhibitions at the Frick and at the met computer programming Virginia, where you would into. Who did the book in BostonI bought a townhouse and renovated it purchased the company, and the collection have. And my personal life intersected, because, historically, the head Fidelity. It may at some point, but, yes into account [ 01:00:01 ] Arbuthnot who wrote some of eye! There wereit was such a different world, but, yes, of all things andI 'm trying to who... Preserve the goodwill of the room of it, you 're doing various business deals and developing.! There, you 've kind of put collecting on the back of the eye or a satisfaction of the painters. `` is there anything you 'd like from me? big house in BostonI bought a company life... Can spend as much money as you come to knowand there 's a story that Mao exported more porcelain. Collecting is Chinese export porcelain, of all things 3a ; notevil search engine detriment, of... A long handover period I lovethat 's something I did n't know himI did n't know him as a was! Prk, Boston, Massachusetts and London, England is smaller Skinner auction 10! Time and job in computer programming thought of writing about the collection you have when I got., you know ; the effort as a young man I finally a... Ever think about collecting drawings or prints, pre-that clifford schorer winslow homer the Louvre, to, you know in numbers $...