I sold it all. And then so the first things you actually collected on your own were stamps and coins? CLIFFORD SCHORER: into the gallery's living room, or the prospective buyer's living room if that's something the buyer would consider. And then the real estate. I mean, you know, when I think back to the Guercino that, you know, I find in a little catalogue, and then I do the work, you know, it is very gratifying to have something, especially something like van Dyck, which is, to me, you know, in the pantheon of gods. JUDITH RICHARDS: You were spending more and more time involved with art as a business and as a passion. And I finally saidI said, "Look, how much is it going to cost me, and can I take you to lunch, or, you know, what is it going to take me to get in there?" Clifford A Schorer We found 23 records for Clifford A Schorer in undefined. CLIFFORD SCHORER: Yeah, we are, and we will. JUDITH RICHARDS: And what was Ruth's last name? I mean, I found a conflict the other night at the collections committee advisory meeting at Worcester. CLIFFORD SCHORER: He took a much more traditionalwell, traditional, if anything in my house could be traditional. No, no, no. But I did buy things that were interesting. [Affirmative.] Menu. 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. I mean, obviously, my personal collecting wasI pushed the pause button and. CLIFFORD SCHORER: No, no, so I had minor collecting in that area, JUDITH RICHARDS: While you were collecting. So, you know, you have theseyou have those happy happenstances. So a couple months go by, and I get this photo, and I open it up, and it's really wonderful. CLIFFORD SCHORER: And everywhere I went, I met people. JUDITH RICHARDS: [Laughs.] I mean, you know, literally, and these are Constable, Claude Lorrain, you know, Millais, you know. Other people who you could talk to about becomingabout this passion? Yeah. And so he gave me this Hefty bag and he told me to sort it. And that's generallyyou know, you build upon the scholars of the past, and the next scholar may say no. You know, sure, there is an accumulation of thinking, but the goalmy goal sort of long-termhas always been to find better and better and better things. [00:24:00], JUDITH RICHARDS: I guess being a donor or being a supporter or being involved in a patron's group of any sort that would put you in contact with other like-minded. 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. I can't play anymore. So if I want to pursue an area of collecting, it almost would be easier, as the curators do with their oaths, to collect outside of your area. But, you know, that, to me, is all very rewarding. Yes. In the old art, it's a little easier, because you don't have living artists advocating for, you know, those sorts of things. You have this kind of upper-middle strata, which is still the serious, dedicated, scholarly collector, you know, the French amateur, you know, the person who is going to get the books, that has the piles of catalogues in their living room. JUDITH RICHARDS: Mm-hmm. Someone mentioned the name Mark Fisch to meJon Landau. I love to run around and look for paintings for them. So do you have a plan that will stipulate, CLIFFORD SCHORER: Yeah, I recently did an estate. And that's great. So did that affect your interest at all? You know, thissort of the pre-1900 art is still centered in London. CLIFFORD SCHORER: Yeah. I love computer languages. It was very much a medallion hang, very old-fashioned. 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. JUDITH RICHARDS: So you had developed an interest in architecture? [00:30:00]. CLIFFORD SCHORER: So now there's really, you know, two sales worth attending. CLIFFORD SCHORER: Yeah. I mean. And, you know, if I think about that in relative terms, you know, the Medici Cycle by Rubens is not as large as that. JUDITH RICHARDS: So this is a field where you're not cultivating auction catalogues and, CLIFFORD SCHORER: No, I mean, that's the field. I was definitelywe had a pretty weak art library at the Boston Public Library because it was all behind a key, so you had to apply for a book. JUDITH RICHARDS: So do you live with art in London? And I saw Daniele Crespi as an artist who is equally competent but died so young that he never really established his name. So the painting ended up going to auction at Sotheby's, with a lower estimate. So I wrote to her several times and said, you know, "Is this Crespi? CLIFFORD SCHORER: And, you know, I mean every year, the Alboni[Alessandro] Allorithe Allori that was soldthis is a good one. 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. 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. JUDITH RICHARDS: When you had this 300-and-some-piece collection, were you displaying it in your apartment? I mean, my eye has changed. Clifford J Schorer, age 56. You know, world history is told in warfare and plagues and movements of civilization, and the art tells that story, but it tells it in the abstract. But Iyou know, I think there was a book out that came out around that time that was local, by Carl Crossman, this sort of auctioneer up in New England. JUDITH RICHARDS: And you spent four years there? About. In A Fishergirl Baiting Lines (1881) a young fishlass is shown baiting . previous 1 2 next sort by previous 1 2 next * Note: these are all the books on Goodreads for this author. A little house in Levittown that was literally bursting with stamps. So I dropped. CLIFFORD SCHORER: So their largest triceratopsian specimen is mine. CLIFFORD SCHORER: It was a good, you know, three or four years of financing deals that, you know, I found particularly exciting and interesting, and the paintings that we were ablethat I was able to sort of touch in an abstract way were paintings I could never otherwise touch. Movies. CLIFFORD SCHORER: Of which I can appreciate; I mean, I understand that. It's astonishing. Contact Reference Services for more information. Like, get a sense of what it meant to him? I mean, he and I did engineering projects from the age ofage 11, he would give me. [Affirmative.] And my maternal grandmother, Ruth, was still living. I mean, in the smaller Eastern European museums back in the early '80s, when they weren't making any money, and nobodyyou know, they were pretending to work, and they were pretending to pay them, and nobody cared. And Anna especially, too, on the aesthetic, of creating a new aesthetic that people do not any longer associate with the old aesthetic. So it was quite easy to understand the. And I mean, when Iaestheticsmy aesthetics are a little sensitive, so I do haveI did buy a Gropius house that Hans Wegner did the interior of. CLIFFORD SCHORER: Well, I tried. You, 30 years ago. You're doing various business deals and developing that. Had you been thinking about it? You can admire; if you want to buy, you pay our price and you buy. I mean [00:47:59]. Clifford's current address is 21 Claremont Prk, Boston, MA 02118-3001. [Laughs.]. They want to hear what's the number and, you know, "When can you pay me?" And I learned to say the most rudimentary things. He bought the [Frans] Snyders HouseSnyders is the artist. He seems really smart." I mean, it startedso you started collecting in that area or just that one piece? Her book is in Italian. Do you have a year that you, CLIFFORD SCHORER: I kind of had a hard stop at 1650 in Rome, but in Naples, I took it right to 1680. So, you know, yes, of course, that's always a problem. By Claudia Roth Pierpont April 11, 2022. [Laughs. Other kinds of pitfalls that you might, CLIFFORD SCHORER: All of the above. This is my private photography archive of the gallery that's in theit's in the gallery. It turned out well. CLIFFORD SCHORER: I think, you know, my life is here in the States, and, you know, Ithe fortunate thing is that I haven't quit my day job, because if I relied uponbecause the gallery is an unevena very uneven cash flow. JUDITH RICHARDS: So now you've kind of put collecting on the back burner. [00:58:00], CLIFFORD SCHORER: Well, that's hard. CLIFFORD SCHORER: So, I mean, I rememberI remember those events. So I think that, you know, we're in athat's in a different world, but I see that. 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. And I mean, he didn't speakI don't think there were too many words spoken about much. JUDITH RICHARDS: I mean, certainly in the war zone [laughs], I suspect you were on your own. So, JUDITH RICHARDS: Wow, Lucien Freud is much, JUDITH RICHARDS: further into the decade than, CLIFFORD SCHORER: Yeah, yeah. You know, all of those things, and then you just let go, and it's, you knowit is aI think my psychology is well suited for that in a sense, because I don't have this great lust for the object; I have the lust for the moments that, you know, that sort of [00:36:00]. You know, bringing an efficiency model to a museum can destroy a museum. [They laugh.]. You know. CLIFFORD SCHORER: A 110-foot whale, very big specimen. CLIFFORD SCHORER: So I'm thinking 16 years. I think that what people said to me back then, because it was a different kind of marketplace, wasit was all about market strategy. And I think that was to my detriment, because certainly their wisdom could've saved me a lot of time. It was sort of the bookends of the exhibition. And we can coverbecause between the three of us going through a catalogue, we will isolate out the nine things worth sharing, and then we share those nine things, and then we comment on them, like attribution comments, back and forth. So I was going to the library at Harvard and at other places and reading the catalogues for all the Drouot sales and, you know. CLIFFORD SCHORER: Self-taught in COBOL and a few other computer languages. CLIFFORD SCHORER: I mean, I bought aand that's when I started buying paintings. So, I was in Plovdiv and, you know, had a good time with wandering around, you know. So it. CLIFFORD SCHORER: That is from my paleontological collecting. The Rubens House, the Frans Snyders House, the Rockox House. Winslow Homer Red Shirt, Homosassa, Florida, 1904. JUDITH RICHARDS: I think we'll conclude. JUDITH RICHARDS: And the installation decisions? JUDITH RICHARDS: In the yearsI guess in your late teens, early 20s, when you were collecting in the Chinese fieldwhen you were in any country that had an active market in that area, were you investigating that and thinking, and did you ever make purchases there, beyond Boston? If you lose it for price or other matters, so be it. You know, there's a story that Mao exported more Ming porcelain in the 1950s than the Ming made. So, to me, that was, you knowthat was my day at that curator table, where I was silent the whole time, and at the end, I just sort of put the trump card down. I'm very proud of Daniel. You know, it's interesting to me, because I'm an advocate for that market. And why was it particularlyand this isstill we're inbefore 2000? JUDITH RICHARDS: Just to ask a couple of basic general questions. Oh, no. JUDITH RICHARDS: [Laughs.] CLIFFORD SCHORER: I get my screw gun and I open whatever I want to open whenever I want to look at it, so, yes. You know, you're always in conflict. So I bought the picture, took it to the Worcester Art Museum. And theyand the span of time goes from, you know, 1720 all the way to 1920. And they probably bought it the week before, because the trade was very different back then. I mean, paleontology, you have to understand, is the rarity of those objects, compared to the paintings we're talking about. CLIFFORD SCHORER: we made everything. Boston. That was [00:06:00]. So I got the full pay for six months in one month. When you collect, does it play any role in what you're thinking about what? 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.
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