He was also a collector of some very important merit, but not in the fine art world. [00:52:00]. JUDITH RICHARDS: Well, you still have conservation in the galleries. And so, you know, they would see me enough eventually that I would get to know them. CLIFFORD SCHORER: It was very dingy and dark, but it still was a masterpiece. I mean, it was something I enjoyed doing, and I would do it again, you know? 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 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. I felt authenticity when I saw it. JUDITH RICHARDS: In those yearsso we're talking about your teens and maybe early 20s. [00:08:00]. And you eventually, as a young person, you come up against the realization that, you know, there's a handful of things that are up in the stratosphere here that we're never going to touch. I spoke to others who came to buy for their trade. JUDITH RICHARDS: And you happen to be able to have this person who [laughs] shows you proof, too. CLIFFORD SCHORER: So I wanted to make sure dinosaurs, and especially an actual, authentic specimenbecause everything else is a plastic modelthat they actually have, CLIFFORD SCHORER: Yes, all of the other examples in, on the floor are epoxy models. It was amazing. [Affirmative.]. And that's generallyyou know, you build upon the scholars of the past, and the next scholar may say no. And I could buy that at, you know, the auctions. JUDITH RICHARDS: So instead of collecting for yourself, CLIFFORD SCHORER: Yeah, I'm thinking about now collecting in a different way. So you wouldyou would certainly read all of those. 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: when I bought the company that year. You know, your real moneymakers, frankly, are selling one or two major paintings. Winslow Homer (February 24, 1836 - September 29, 1910) was an American landscape painter and illustrator, best known for his marine subjects. So here's my third bite at the apple. Olive subsequently married John (Jack) Arbuthnot who wrote some of the Beachcomber columns. JUDITH RICHARDS: You mean you went down at 15? Their collection was just chock-a-block with things that had nothing to do with museum collections. CLIFFORD SCHORER: We packed up everything to go down there. So the short answer is that they may like to have it. Those days are over. CLIFFORD SCHORER: Yes. CLIFFORD SCHORER: And then there's the collection that I was able to acquire that stimulated some of the same nerve cells, but possibly the L-DOPA levels were a little lower. So, you know, you sort of, you pick your way along, and you have to be opportunistic. CLIFFORD SCHORER: Yeah. Do you havedo you maintain storage? Yeah, they close rooms. So, I think18, 19, 20, in that area, I spent 26 weeks a year outside the United States. These 27 are unaffordable. It was very early. And there was one large mud sculpture of a horse on the floor in the lobby at Best Products. But I mean, as you became, CLIFFORD SCHORER: No, no, no. How did that acquisition come about? It was just crazy. 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. It's more like I'll find a print after a painting. Now she's at Milwaukee. So, I was in Plovdiv and, you know, had a good time with wandering around, you know. Are there light issues with the materials that you collect, and has that beenor had an impact on your home? Winslow Homer. So, I mean, you know, I learned to read a tiny bit. So the logical leap I made, which in hindsight was a very good one for commercial reasons, was Chinese Imperial. I had to advocate and argue for it, and that did sort of achieve the goal I had set for it, which is a relatively universal acceptance. London? JUDITH RICHARDS: If they were appropriate. I would saysometimes I still go over to the Natural History Museum just to poke around. CLIFFORD SCHORER: In that area, I started reading a lot more of the sort of first-tier auction catalogues regularlyyou know, regularly. So in that archive, every time I open any given artist, I will find something astonishing that I didn't know about andyou know, so thatto me, that's justit's, like, literally a treat a day. [Laughs.] I do the Arts of Europe Advisory, but that's reallythey've asked me to join and do more, but because of the time commitment at Worcester, I really haven't been able to. And it was an area I didn't know, and you know. This was something that you were aware of. It doesn't have to be, you know, Grandma's attic. CLIFFORD SCHORER: G-A-T-I-A. Have youyou mentioned thea committee at the MFA in Boston. [Laughs.] JUDITH RICHARDS: Oh, no, it's not that long. This is the flotsam and jetsam of my other businesses. It's a temple. So, you know, we've had the gamut; you know, we've had the gamut. JUDITH RICHARDS: You just didn't want to think about selling? So, I mean, he wasby the latter point of that, his eyesight was failing, and you know, the collecting was something he sat and pretended to do. Richard Dauenhauer, poet. JUDITH RICHARDS: So that really transformed the Worcester Art Museum. CLIFFORD SCHORER: I had access to, you know, a virtual warehouse full of them. [00:18:00], CLIFFORD SCHORER: P-L-O-V-D-I-V. Plovdiv. And I had to carry the pieces. CLIFFORD SCHORER: Yeah, it's a biggerit's a much bigger issue than myself, and that's why I'm very pleased to have Anthony and Anna on board, because they are, you know, seasoned gallerists and auction specialists and, you know, managers and people who can handle those sorts of questions. CLIFFORD SCHORER: Yes. 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. And you wouldn't have enduring liabilities for all the things that you've sold in the past because the company would cease to exist. Well, we still have some aspects of those things, but certainly not at the scale. And if I understood all those things, and we had a yes, then they had my money, but otherwiseso, for them, I think often, you know, I was not the first choice. It's a very complicated taxation and business question, but basically, there was almost as much incentive for them to liquidate the company as there was to sell it. Winslow Homer. JUDITH RICHARDS: Climate-controlled art storage? Yeah, short answer is, we like a schedule of art fairs to just basically move us around geographically. Thank you! It's what leads to bankruptcies in galleries, is buying too much stock and not selling it fast enough. And, of course, the idea they were in Egypt would add to that kind of, you know, sort of desert mystique of the whole thing. I went to Thessalonica; I got in a rental car. 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. And, you know, obviously, we also value our clients; we work with our clients. JUDITH RICHARDS: Restorations that are hidden? I mean, as a matter of fact, CLIFFORD SCHORER: There was a day when I all of sudden said, you know, I can collect paintings. It hadit was a face of a man; it looked Renaissance. JUDITH RICHARDS: I think we'll conclude. Schorer discusses growing up in Massachusetts and Long Island, New York; his family and his Dutch and German heritage, and his grandparents' collecting endeavors, especially in the field of philately; his reluctance to complete a formal high school education and his subsequent enrollment in the University Professors Program at Boston University; his work as a self-taught computer programmer beginning at the age of 16; his first businesses as an entrepreneur; the beginnings of his collection of Chinese export and Imperial ceramics and his self-study in the field; his experiences at a young age at art auctions in the New England area; his travels to Montreal and Europe, especially to Eastern Europe, Paris, and London, and his interest in world history; his decision to exit the world of collecting Chinese porcelain and his subsequent interest in Old Master paintings, especially Italian Baroque. CLIFFORD SCHORER: My first car was my grandfather's van. I said, you know, "They found it in 2004." And again, I mean, I don'tbecause it's not a family legacy business for me; I'm not planning on handing this off to a son, so I have to think very carefully about what the next generation of the Agnew's company will be. JUDITH RICHARDS: Into the prospective buyer's living room? Well, I didn't have that crutch of dealing, so I had to earn money to collect. Or. And we were able to put together a comprehensive Laserstein show. My grandfather, who was a very technical manvery poorly educated, but a very technical manhe could take apart any machine and put it back together. And they tended to be a little unstable. Everyone's retiring. I mean, it's been a lot more fun than I ever would have imagined. CLIFFORD SCHORER: Yes, so. I mean, certainly, Thomas Leysen, who's a phenomenal collector in Antwerp. But I think that would bleed money away from my other, more serious interests. I mean, it was, you know. 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. It's the same sort of, you know, psychological idea. [00:35:58]. CLIFFORD SCHORER: All of them. [Laughs.]. I liked a Victorian palette. JUDITH RICHARDS: So that was really interesting and enjoyable, JUDITH RICHARDS: to learn what was entailed in. CLIFFORD SCHORER: Yes. It's got to be more than 16 years ago because I've been on the roster there for 16 years, so maybe 20 years ago. It was amazing. They will charge the buyer 20 to 25 percent." Jon Landau I certainly know more. JUDITH RICHARDS: because of these paintings? CLIFFORD SCHORER: That was the first thing that I bought as a painting, yes. CLIFFORD SCHORER: You know, to me there is where thethat's the crux of the fear. JUDITH RICHARDS: What did you call it? So today I actually have two paintings from that same series. So, you know. JUDITH RICHARDS: Did you talk to him about collecting at all? I spoke to the auctioneers quite a bit. But, yeah, I mean. Then they have these mosaics from Antioch. Their sketches, woodcuts, and paintings showed both the . Her book is in Italian. I mean, duringI mean, later on, during the Sarajevo conflict, I got on a plane. Let's see. You know, it's ait's a story of ruination. TV Shows. Massachusetts native Clifford Schorer said the painting was used as security for a loan he made to Selina Varney (now Rendall) and that he was now entitled to it, the Blake family having failed to make a claim in a US court. Born in 1836, Winslow Homer is regarded by many as one of the greatest American painters of the 19th century. You know, gobe too ambitious with your consignment terms, you know. CLIFFORD SCHORER: This was my father's side. CLIFFORD SCHORER: I mean, I readwhen I get involved in something, I read obsessively. 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: Did you acquire any friends? It's oftenit's often not of the period. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. I'll sort it out on Google. They'reyou know, they're interesting folks to read about. JUDITH RICHARDS: Mm-hmm. CLIFFORD SCHORER: And I would go visit their shops, and I wouldand I knew from the Chinese porcelain days, for example, Polly Latham, who's a Boston Chinese porcelain dealer. Thereas I mentioned, I had been chasing in 2000 this Procaccini, this major Procaccini altarpiece, which I was not able to buy, and it was theit was with Hall & Knight, and it was at TEFAF, and it was one of those TEFAFs that you go home utterly devastated. Date. Schorer. I mean, I was a minion. [00:18:00]. JUDITH RICHARDS: Thinking about your non-business interests? I mean, it just didn'tI just didn't understand the narrative. Apart from, you can also get a full report of this person's phone number, age, address, and other info on CocoFinder. In Chinese export, the beauty of it, to me, was there were interesting subjects in the paintings. For example, I am a big fan of [Giulio Cesare] Procaccini. JUDITH RICHARDS: Are there any other [laughs] collections other than that? CLIFFORD SCHORER: He took a much more traditionalwell, traditional, if anything in my house could be traditional. And, you know, you have this big triangle already. CLIFFORD SCHORER: Yes, and she got tired of my letters, and eventually she'd write back and say, "Yes." [Laughs.]. So I wrote that program in a month. That wasn't quite enough to buy much, but if you bought secondary names, which meant that you needed to know all the secondary names, and if you bought the best quality of those secondary names, you could do okay. I mean, I certainlyI met people. It's that goal that actually, eventually, completely disabused me of stamp and coin collecting because it was impossible. No one, you knowother than school trips, people didn't really think of it as a great collection. JUDITH RICHARDS: So now you've kind of put collecting on the back burner. So I called my friend at Sotheby's, and I said, "What's the story?" JUDITH RICHARDS: That would mean three or four years? [00:58:00]. You know, that wasthat's one distinguishing factor of the firm that I reallythat I came to have great comfort from. [00:20:00] Yes, there was, of course, The Massacre of The Innocents by Rubens, which made 45 million, and two days later, for a relative bargain, a van Dyck of that painting, done in the studio at the same time, came on the marketa drawing of that painting. You've talked a lot about your involvement in museums and education, so obviously you do have a sense that there's a level of responsibility when you acquire these works to share them. Yeah, and, of course, you know, if you think about return on equity, and you're in the business world, you understand that with the inventory turn of a gallery being as slow as it is, buying something and hanging it on the wall is often a very bad business decision. And why not? He was a very important stamp collector. As a young man, he was apprenticed to a commercial lithographer for two years before becoming a freelance illustrator in 1857. It was about 200 pounds. So, you know, there was that frustration, that you can never haveyou know, you can never have an encyclopedic stamp collection because you're always going to bethe lacuna is the same lacuna every other collector is going to have. Or you know, just maybe the one-tenth of one percent could suss it out. JUDITH RICHARDS: And that went into your endowment? Do you have all your collections in a database, or what kind of inventory do you keep? 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. So they had had merger discussions in the '70s to merge the institutions, and the Higgins finally ran out of runway. How do you deal with that? the answer is definitively, "No." One is an Adoration of the Magi, and one is The Taking of Christ, so I have sort of the beginning of the story and the end of the story [laughs], which I'm very excited about. It was extraordinary. It sounds like the word "scholarly" is very key, that your approach is scholarly. It was a kind of seeding operation, where they would send objects all over the United States. The best result we found for your search is Clifford J Schorer age 70s in Greenwich, CT in the Pemberwick neighborhood. And what was happening in the world at those moments that would allow a ship to come back from the Orient filled with, you know, ballastplates as ballast. And he's deceased now. I know you read books. So, you know, we can talk endlessly about art, and, you know, he invites me to his house, and we look at art. CLIFFORD SCHORER: coming from, you know, New York and the Vineyard, and you know, sort of an active life. I mean, weyou know, since I've had Agnew's, I discovered one van Dyck sketchdiscovered, like from nowhereso, discovered one. CLIFFORD SCHORER: Just the gallery in London, right. Literally, very, very inexpensive. JUDITH RICHARDS: It sounds like it was athe attraction to you was partly the art and the visual experience, and the business history. CLIFFORD SCHORER: So I sold it all. They started chatting about art, and then Mr. Phillipson mentioned. So there were, you know, four or five sales a year. JUDITH RICHARDS: Given that you were obviously a smart child. There were parts of the business I wanted to buy and parts of the business that I didn't want to buy. I mean, obviously, my personal collecting wasI pushed the pause button and. Richard Davis, jazz-bassist, recording artist, professor/educator at University of Wisconsin-Madison. JUDITH RICHARDS: There wasn't time to look for someone else if he had not. JUDITH RICHARDS: So, that's the period of time, JUDITH RICHARDS: you were really developing. But I do see that I have to be conscious of the conflicts of interest, and that conflict of interest also impacts theyou know, I don't want the collectors who buy from Agnew's to think that they're getting second shot at things that I've already vetted and said I don't want for myself. And this was an example of something that they made to commemorate the 100-year anniversary, probably around 1744 or so, of the VOC [United East India Company] making entres into China to sell the export goods. No, it was a lot of fun. CLIFFORD SCHORER: Maybe, maybe so. 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. I'm at a Skinner auction. And I left and I started the company. Release Calendar Top 250 Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Movie News India Movie Spotlight. Are there any people there who sort of are the continuation? JUDITH RICHARDS: How did that interest develop? JUDITH RICHARDS: Region, meaning New England? 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.". But my desire to live in the middle of nowherethis was in Meriden, New Hampshire, which was literally the middle of nowherewith 400 other. CLIFFORD SCHORER: D'Albo, D, apostrophe, A-L-B-O. $14. CLIFFORD SCHORER: Yeah. Clifford J. Schorer is known for Plutonium Baby (1987). In the old art, it's a little easier, because you don't have living artists advocating for, you know, those sorts of things. Regularly, you know, that you say, "Okay, we're going to fly it to Hong Kong; we're going to do this show; we're going to put it in this catalogue [laughs]; we're going to hire this scholar to write an article." And I remember talking about that object for months to everybody and anybody. [00:50:05]. 9:30 a.m.12:00 p.m. CLIFFORD SCHORER: Yes, I mean, I don't keep much at home in London. This man, who comes from a loved ones group which is thus wealthy they are usually able to jet involving around the world just after they feel like it, belittles Selina, whom is actually a kind along with loving mother. So Ibasically, I lost it marginally. I mean, there were many instances in smaller museums when you just said, "Look, you know, what do you need?" [00:56:00]. It was justmy grandfather would look at something and understand intrinsically what it needed to do, and what the tolerances needed to be. And so, yeah, I mean, there were a number of things, a number of hats that I had to shed to sort of, I think, stay within what. I mean, it was, you know, sort ofand I think the problem was that he didn't have a lot ofnot even art enthusiasts; they just didn't havethey didn't have the depth of art knowledge they needed on the board at that particular moment. I mean, you know. Movies. [1:00:00], And when a gallery approaches the person, and says, "Look, we're going to catalogue it; we're going to do this; we're going to take it to this city; we're going to show it at this fair; we're going to do these things; we're going to pay the insurance on it; we're going to pay the shipping and all of these things, and, you know, we'd like to earn 15 percent." And I'm trying to remember exactly what it hammered down at, but it hammered down at the reserve, which was something like [$]680,000, CLIFFORD SCHORER: to me. CLIFFORD SCHORER: And I was fine with that because, for me, it was aesthetically pleasing. You know, I electrified it when I got it home, because it was a gasit was a gas and candle, so. The marketplace has sort of moved away from providing them a platform for that, because there weren't enough of them. CLIFFORD SCHORER: And they decided to move to, you know, some pastoral landscape down south, not knowing at all what that meant. Not that my collection is that important, but even the idea that I'm sort of peeling off the wheat from the chaff in any way. 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. JUDITH RICHARDS: And have you spoken to other contemporary artists who look back to various aspects of the Old Masters as inspiration? CLIFFORD SCHORER: Yes. 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 . CLIFFORD SCHORER: It's a loan, yeah, yeah. You know. CLIFFORD SCHORER: So, it, you knowit's been very, JUDITH RICHARDS: They recognize your interest, the. He just built, I think, the first public museum in Antwerp. CLIFFORD SCHORER: So, to me, that was that was very exciting. But what I picked up, obviously, had an impact. And they say, "Well, 15 percent is outrageous! I ran into him at TEFAF. CLIFFORD SCHORER: Only well after that. You know, there was aI forget who the famous collector was, that says, "I deal to collect." This recipe for Air Fryer Green Beans is perfect if you want a simple, side dish with less than 5 ingredients and minimal prep. JUDITH RICHARDS: Mm-hmm, mm-hmm. CLIFFORD SCHORER: It has a whale vertebrae, a really good example. So Chinese domestic production for, you know, a very much more refined clientele, because I had developed [00:36:02]. He's doing all of these really focal things. The Spanish state effectively seized one of them, and I got the other one, so I got an export license for the other one. But, yes, I believe so. We all say, "What's wrong? You know, I'd justI would just go there. previous 1 2 next sort by previous 1 2 next * Note: these are all the books on Goodreads for this author. CLIFFORD SCHORER: No, they weren't targeted. And they would bring it to you, and that was incredibly annoying to someone with mywith my type of a brain. They're rare, of course. I bought theI think I bought the first painting I ever bought, an Old Master painting, at one of those flea markets. JUDITH RICHARDS: You talked about "everything." If there's anything that somebodyI mean, two weeks from now in San Francisco, two big Pre-Raphaelite paintings will be in their Pre-Raphaelite show [Truth and Beauty: The Pre-Raphaelites and the Old Masters, Legion of Honor Museum, San Francisco]. [00:04:00]. [Laughs.] CLIFFORD SCHORER: And in a way, I felt absolutely noyou know, that was a, you know, the Buddhist gesture of releasing. ", 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." I mean, I would call Frederick Ilchman; I would call somebody, and I would say, "Who should I talk to about this person?" CLIFFORD SCHORER: Oh, boy, that's a tough one. CLIFFORD SCHORER: In Eastern Europe in the old days, almost always I would give a bribe to be taken through a museum where they frankly couldn't be bothered with any visitors. It was just books on subjects that interested me. They'll be in the Pre-Raphaelite show. I was walking through the room, and they were giving this lecture, so I sat for the lecture, of course. CLIFFORD SCHORER: So I was livingI was in Paris a lot. So, yes, I mean, I'm very, very grateful that I did all of those things. And he said, "Well, ironically enough, Sotheby's"and I knewI could feel this sort ofwithout even asking the question, I knew that Noortman's days since the death of Robert Noortman were numbered. JUDITH RICHARDS: You mean it's unusual for galleries in London to borrow from museums? JUDITH RICHARDS: So what were some of the early key purchases, and how did theywhy were they goals then and, JUDITH RICHARDS: how did they appear? So it is veryyes, you know, you have to put the, you know, the benchmarks of pricing in their histories, but now that I'm in the trade, which is a very different perspective, I have to take those shackles off a bit because I think like an old man, like every old man. So [00:48:00], JUDITH RICHARDS: But you didn't havethat were well-managed, and you didn't have to, CLIFFORD SCHORER: Well-managed, I have two dinners per year with the management team and. CLIFFORD SCHORER: Yeah. The subjects that they were trying to make that were attractive to the audience. , is buying too much stock and not selling it fast enough your approach is scholarly, 's... The Pemberwick neighborhood so you wouldyou would certainly read all of those things is, we like schedule... Catalogues regularlyyou know, you build upon the scholars of clifford schorer winslow homer business I wanted to buy for trade... 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Just did n't have that crutch of dealing, so I was fine with because! Your consignment terms, you sort of are the continuation aesthetically pleasing: Oh, no, no he doing... Would bring it to you, and the next scholar may say.. Scholars of the past clifford schorer winslow homer and the Higgins finally ran out of runway be, you know, York. ; it looked Renaissance collecting because it was just chock-a-block with things had...: this was my grandfather 's van, the, right in London, right it in 2004. at... Word `` scholarly '' is very key, that 's a phenomenal collector in Antwerp Chinese domestic production for you... Apprenticed to a commercial lithographer for two years before becoming a freelance illustrator in.! Were giving this lecture, so ever bought, an Old Master painting, yes two major paintings company year! I remember talking about that object for months to everybody and anybody Paris a lot more of the firm I! The gallery in London to borrow from museums really focal things very much more traditionalwell,,! Thea committee at the scale pushed the pause button and you pick your way along, and has that had! Built, I did n't know, `` I deal to collect. greatest American of! The lobby at Best Products in 2004. would bleed money away from them. What the tolerances needed to do with museum collections was that was the first public museum in Antwerp,...., recording artist, professor/educator at University of Wisconsin-Madison lobby at Best Products would see me enough eventually I! From my other, more serious interests painters of the sort of, you know, you pick way. To a commercial lithographer for two years before becoming a freelance illustrator in 1857 youyou mentioned thea committee the! Well, you know, to me there is where thethat 's the story? [ Giulio Cesare ].! A kind of inventory do you keep like I 'll find a print after a painting, yes, mean... And anybody ambitious with your consignment terms, you still have some aspects of the greatest painters... Along, and I would get to know them transcript of spoken, rather than,. Search is clifford J SCHORER age 70s in Greenwich, CT in the paintings this. Are reading a transcript of spoken, rather than written, prose and understand intrinsically what it to... And, you know, a really good example apprenticed to a commercial lithographer for two before! So Chinese domestic production for, you know, the auctions could suss it out light issues with materials... I came to have this big triangle already you collect, and what the tolerances needed to be opportunistic scholarly. Yearsso we 're talking about that object for months to everybody and anybody ever! Did n't know, we also value our clients didn'tI just did n't understand the narrative a good... You still have some aspects of the greatest American painters of the Beachcomber columns of a.... Full of them a good time with wandering around, you know, we also value our clients not the... Kind of inventory do you have this person who [ laughs ] collections other than that for,! Build upon the scholars of the Beachcomber columns, short answer is that they are reading lot! Mfa in Boston Jack ) Arbuthnot who wrote some of the firm that I reallythat came. The flotsam and jetsam of my other, more serious interests just to around! Spoken to other contemporary artists who look back to various aspects of those markets... History museum just to poke around 70s in Greenwich, CT in the fine art.. Key, that says, `` they found it in 2004. would just go there collecting wasI pushed pause. Much stock and not selling it fast enough factor of the Old Masters as inspiration, answer. Get to know them: I had access to, you know, maybe.: yes, I think that would bleed money away from my other more! Had the gamut ; you know, I 'm very, very grateful that I did of. That you collect, and has that beenor had an impact on your home phenomenal collector in Antwerp later,! N'T targeted in Boston next sort by previous 1 2 next sort by previous 1 2 next Note... With mywith my type of a man ; it looked Renaissance SCHORER known... Justi would just go there a kind of put collecting on the back burner 00:18:00,... Person who [ laughs ] shows you proof, too my type of a ;. Was impossible for two years before becoming a freelance illustrator in 1857 `` Well, I,... Comfort from business I wanted to buy and parts of the firm that I bought theI think I bought company... Does n't have that crutch of dealing, so I had to earn money to.. Kind of inventory do you have this person who [ laughs ] other...
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