CLIFFORD SCHORER: Don't ever give me that entre. So, yes, I mean, you're talking about a razor-thin equation which is, you know, buy, consign, don't buy. I mean, yes, of course. He would give me projects to do. It wasn't expected. [Laughs.] It's wonderful. And, you know, when the euro was new. CLIFFORD SCHORER: I'm sure it was all an interest in history. CLIFFORD SCHORER: The family, yeah. But today we run it with computers. CLIFFORD SCHORER: You know, we were in the marketplace. And I know that the story itself is extremely exciting, because to my knowledge, it's the largest commissionI mean, it's 37 four-meter canvases. So, certainly, there is a change in dynamic, you know, where it is hard for a gallery to charge a sufficient commission to be able to cover the costs of doing the job right when one is up against a buyerI mean, an ownerwho thinks that the services that the auction house is providing are paid for by the buyer. CLIFFORD SCHORER: You know, that's very frustrating. And I came back in a year, diligently, with the little glassine pouches that he gave me and all sorted. So I went to TEFAF; Hall & Knight hadthis must have been 2000had a phenomenal booth. There's one area I meant to touch on, and that is the competition, the relatively recent change, as you talked about the auction houses becoming retail and directly competing with galleries, even though galleries offer this tremendous educational service. Clifford Schorer and Judith Olch Richards have reviewed this transcript. You know, we saywe say that probably a little tongue in cheek because we know, of course, they would've loved to sell them as archaic objects, even when they weren't. There's a plaque to my grandfather, dedicated to my grandfather, but it doesn't say anything about me. CLIFFORD SCHORER: I'm trying to think if I'd been to Europe by that age. No, no, no, I will. I mean, I don't obsess over, you know, things that I consider decor in a way. I think the problem was it was the overlap between business and art that made it difficult for them to manage the institution. [Laughs.]. He then became a master of sketches and watercolors. JUDITH RICHARDS: Yes. But I wouldin France and Europe, I generallynobody had the money to just go wander around. Yeah, pre-that buildingto the Louvre, to, you know. So, CLIFFORD SCHORER: In Spain, in Madrid. And I became first in my class so I could not go back. So it. And I said, you know, "Thanks for that." CLIFFORD SCHORER: In that area, I started reading a lot more of the sort of first-tier auction catalogues regularlyyou know, regularly. So what's happened, I've seen, is there's been a decoupling ofthe top one percent of the market has soared. CLIFFORD SCHORER: But I think, in the past, they've been pretty good in the most important areas. Then I went away to boarding schools. Would I go to the library and spend time studying Chinese export porcelain? CLIFFORD SCHORER: But you know, Chesterfield is a certain type of geo-politic. However, the Sebastiano Ricci that they had was also a masterpiece, and, you know, I spent a lot of time staring at it, and I remember the detail that made me think, All right, I'll ask about that as well. So there wasn't any collecting going on at that point. This is my third bite at the apple, and I wasn't going to lose it this time. Objects, not so much. And often, they were strange variations on Chinese stories made for an American market or made for a British market or made for a French market. [1] Antwerp in 1600 is a pivot point in the history of the world, and the art is a 90-, you know, at least a 45-degree turn, with the advent of the Rubens workshop and even his teachers: Maerten de Vos, CLIFFORD SCHORER: and, you know, the predecessors. CLIFFORD SCHORER: into the gallery's living room, or the prospective buyer's living room if that's something the buyer would consider. 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. But when I finally did that, I did start, likeI made, like, display walls of, you know, particular things. So my grandparents, whom I adoredmy grandfather and grandmotherthey lived on Long Island, CLIFFORD SCHORER: They lived on Long Island in a town called Freeport. So, yes, I've had, over the years, to send things to the art museum or to conservators or to other places to get them out of my house. CLIFFORD SCHORER: And obviously really didn'tonly went back to drawings and prints when, you know, when there was something. CLIFFORD SCHORER: It's a big change, yes. He seems really smart." And, you know, that's a fun game, and it yields some fruit, it really does. I lived in Montreal off and on. JUDITH RICHARDS: Whichwhose painting? CLIFFORD SCHORER: So, yeah, I think it'sI think we are scaled right now for the market we're in. New York , NY 10010, Washington, D.C. Headquarters and Research Center. My grandfather was also lobbying hard, saying, "Go back to school." I mean, beyond generous with attributions. CLIFFORD SCHORER: So, I mean, I would say that all of those things would be exciting and fun to do, but unfortunately, I don't have the ability to do them all. You know, and I was trying to do my best to go along with that because I thought it was a ticket to yet another city. I mean, it's been a lot more fun than I ever would have imagined. So Chinese domestic production for, you know, a very much more refined clientele, because I had developed [00:36:02]. Likewise, have there been specific curatorsyou mentioned manywho have played an important part in your education, in your development of your interests? I mean, in those days you had stamp and coin clubs, and you would go. JUDITH RICHARDS: I mean, certainly in the war zone [laughs], I suspect you were on your own. I collect Dutch landscapes. the answer is definitively, "No." Plot #10205011. Listing of the Day Location: Provincetown, MassachusettsPrice: $3.399 million This starkly modern and dramatic home was built in 2013 as a guesthouse to an adjacent flat-roofed, glass . I collect Dutch still lifes; I collect," you know, fill in the blank. Relatives. So thoseyou know, those are the moments where I think about all those table arguments about this picture and that picture and [00:28:00]. You know, there are sort of monographic shows of sort of the unsung heroes of art history that I'm very excited, you knowwhen Maryan Ainsworth did the [Jan] Gossart show at the Met, you know, those kinds ofthe Pieter Coecke van Aelst tapestry show with a few paintingsthose kinds of shows are always extraordinary for me, you know, the things that not everybody is going to go see, but that, you know, obviously, it tells a story about an unsung name who may have been either the teacher of someone who went on to achieve, you know, sort of, international fame, or the originator of ideas that became part of our [00:24:14]. [Laughs. And Agnew's was one of the firms that simply refused to deal in what they called "refugee art." You know, there are certainly moments in the '60s and '70s when scholarship might have been a little weaker, and they missed something, but in general, right after the war, when everyone else was profiteering, the firm didn't. I think it ended when I was 11. CLIFFORD SCHORER: the flotsam and jetsam. Do you get, CLIFFORD SCHORER: No, no. CLIFFORD SCHORER: I have a brother, a younger brother. And I think we ended up on "Anonymous," because I think that's what I wanted to do, but because of the plaque that's dedicated to my grandfather, people can figure it out. CLIFFORD SCHORER: No. I mean, there was a moment in each place in my head where I knew what was happening in those places because of history. But my desire to live in the middle of nowherethis was in Meriden, New Hampshire, which was literally the middle of nowherewith 400 other. As embedded artist with the Union army, Winslow Homer captured life at the front of the Civil War. And I learned to say the most rudimentary things. H-A-E-F-T-E-N. And Otto Naumann. [Laughs.] So they wouldn't let me do thethey wouldn't let me look at the stacks. 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. I bought a cash-flow business, that I don't need to babysit. CLIFFORD SCHORER: Hugh Brigstocke. Whatever you have to do to get into the museum, because they, CLIFFORD SCHORER: they didn't actually want you in there. And I had to carry the pieces. CLIFFORD SCHORER: Yes, I mean, it helped to give the Worcester Art Museum the breathing space to get their spendI think this year their spend is down to 5.8 percent of endowment, which is the lowest I've ever seen, by an enormous amount. JUDITH RICHARDS: which will then improve the value of your own collection if you still hold it. Thank you! 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: And there was a lecture going on in front of my painting, with a big group of people, and somebody talking about the Counter-Reformation. CLIFFORD SCHORER: Yeah, living on my own. CLIFFORD SCHORER: Sobecause I downsized my companies. W hen Clifford Schorer, an American art dealer who specialises in Old Masters, realised that he had forgotten to buy a present for a colleague, he had no idea that a chain of coincidences was. CLIFFORD SCHORER: I wentI had a pretty bad high school experience. JUDITH RICHARDS: the visual experience is the key. It was bought five years ago for . 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 you're collecting Italianroughly Italian Baroque; that's around 1600 to 17how do you define it? And I could buy that at, you know, the auctions. 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 said, "Let's do a Lotte Laserstein show." CLIFFORD SCHORER: I mean, I think that, in general, they just wanted an opinion. Yeah, I haven't doneI didn'tI hadn't done that at that point. JUDITH RICHARDS: How did that happen? In the archive there are astonishing surprises. CLIFFORD SCHORER: And again, we got plenty of press about it. JUDITH RICHARDS: You mean it's unusual for galleries in London to borrow from museums? [Laughs.]. That's your real risk. I mean [00:02:00], JUDITH RICHARDS: Yeah. I walked in the office and I said, "Hi. And they would bring it to you, and that was incredibly annoying to someone with mywith my type of a brain. I was there, and it was fun, and it was interesting. JUDITH RICHARDS: You talked about "everything." For an angel, I thought this was [laughs] such an unusual thing, to give them such a worldly attribute, you know, almost a peasant, worldly attribute. Winslow Homer. So, I mean, signature works: Saint Cecilia by Waterhouse, Rossetti's Proserpine, The Heart of the Rose by Burne-Jones. There were parts of the business I wanted to buy and parts of the business that I didn't want to buy. So. CLIFFORD SCHORER: I enjoyI don't know. CLIFFORD SCHORER: Yeah, absolutely. CLIFFORD SCHORER: So, yes. [Laughs. JUDITH RICHARDS: Did youdo you spend most of your timedo you reside mostly in London now? So he says, "You'll be a Corporator." Rich Dahm, co-executive producer and head writer of The Colbert Report. And then my junior year, after, I think, the second or third day, I quit high school. The things I brought into the passenger cabin. Someone who was the inheritor of this property was in the room as well at the back of the room. JUDITH RICHARDS: to galleries was more limited? CLIFFORD SCHORER: I mean, it wasn't expected. It's what leads to bankruptcies in galleries, is buying too much stock and not selling it fast enough. So back then, you know, I did a lot of assembly code, and COBOL, and MDBS. CLIFFORD SCHORER: Yes. JUDITH RICHARDS: That's how you characterize the collectors in your field now? Yeah. JUDITH RICHARDS: Yeah, that's so interesting. You know, I wouldn't stop. CLIFFORD SCHORER: Yes. So, I mean, he's at a level way above mine in philanthropy, and very chauvinistic about his city of Antwerp, which is wonderful, because, you know, Antwerp has had, you know, off and on, hard centuries and good centuries. I mean, you know, we have aboutI'm trying to remember how many photographs there are. I mean, the boothjust one masterpiece after another. 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. 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. It's like a girl reappearing three times on the singles market. I said, you know, "That's incredible.". 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: Yeah, yeah. JUDITH RICHARDS: Do you recall his first name? My father was absent because he was enjoined from being present. He's making these decisions, which you approve of, JUDITH RICHARDS: and then you're going out, CLIFFORD SCHORER: Yeah, yeah. I mean, I was a minion. I think I turned 16 right aroundit was in that first year, so that's what I recall. JUDITH RICHARDS: Mm-hmm. We made our own paint. [00:32:05]. JUDITH RICHARDS: So have you been collecting in some other, noncompetitive area? [Laughs.] Clifford owns the following phone numbers: (617) 262-0166 (Verizon New England, Inc), (617) 469-5654. JUDITH RICHARDS: So do you live with art in London? 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. And because he has such an enormous collectionhe has one of the great Dutch drawings collections in America, and Dutch metals and bronzes andyou know, we havehe's a cabinet collector, so we can get down and focus on little objects, and we can go one by one by one by one. 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. CLIFFORD SCHORER: Absolutely. [00:10:00]. The name is the same, unfortunately, so people know who it is. CLIFFORD SCHORER: where you sort ofyou readyou know, I've read some really interesting studies of juvenile ceratopsians and how their horn formations develop. This transcript has been lightly edited for readability by the Archives of American Art. We have a sort of oath that we take about, you know, things we have personal interests in or things like that. Winslow Homer's "The Gulf Stream" (1899/reworked by 1906) is the centerpiece of a revelatory exhibition at the Metropolitan Museum of Art. We just put our heads down into the envelopes, and start looking at them and sorting them out. I think we're right-sized for the moment for the market. It was Antwerp, right around Rubens's first Antwerp period. So I'm sure that somewhere they've usedyou know, time goes by, and they use your name. CLIFFORD SCHORER: Maybe, maybe so. 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.". It's a crazy catastrophe of storage. And I left and I started the company. Winslow Homer (February 24, 1836 - September 29, 1910) was an American landscape painter and illustrator, best known for his marine subjects. 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.". CLIFFORD SCHORER: And that'sshe may be retired now. CLIFFORD SCHORER: Just the gallery in London, right. Well, I think Agnew's has to stay small, and I think that that's challenging, because Agnew's hadhas always had big ambitions. Or do I say nothing? Does it happen that a painting and a drawing will happen to hit the market at the same time? JUDITH RICHARDS: What year would that be? So, those days are long over, and to imagine what a business becomes when you were a thousand paintings a year to 12you know, and that'sand that each one of those 12 takes as much work as 17 to 20 of the pictures you sold in 1900. JUDITH RICHARDS: Because you couldn't be competing. 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. CLIFFORD SCHORER: And again, it's very subjective. They'll be in the Pre-Raphaelite show. I tried to resign from the MFA, but they said it was no problem, and then Worcester actually asked me back ascreated an advisory role, advisory collections committee. CLIFFORD SCHORER: An investor, not a face to an enterprise, but awhich I still am notbut a sort of investor-backer. And Julian's now fully retired, but, yes, I mean, we had a long handover period. That'sI thinkwe're there now at the end of our, whatever, 10-year plan. JUDITH RICHARDS: There isn't a lot of coverage of Italians, CLIFFORD SCHORER: I read articles in the Burlington, I read articles in, you know, Prospettiva, you know, yes. CLIFFORD SCHORER: Of course. And then it would've been'87 would've been the class that I was coming in. CLIFFORD SCHORER: I lovethat's something I did start doing in 2008. CLIFFORD SCHORER: Well, certainly, don't destroy the art if you can avoid it. They didn't talk, and they weren't friendly. Why is this not Renaissance?" But, yeah, I mean. You know, the Scheldt silts up in Antwerp and ruin comes upon the city. And then send it away andI'm trying to remember who did the book. So you have dead artists' legacies advocating, which I think is a much easier thing to negotiate. CLIFFORD SCHORER: The MFA. But that's very time-consuming, because you have to be your own registrar. [Laughs.]. You know, obviously, I feel that way about some of the greatest Renaissance masters, but that's just not going to happen. [Laughs.] JUDITH RICHARDS: How long were you at Gillette? And my mother was. CLIFFORD SCHORER: Corsini. He says, "You want to have lunch tomorrow?". Shop affordable wall art to hang in dorms, bedrooms, offices, or anywhere blank walls aren't welcome. View Details. But it was still enough of the addiction dose to make you continue on and on, and on, and on. CLIFFORD SCHORER: as we have today. He'syou know, he sponsors museum events; he sponsors exhibitions. [00:08:03], CLIFFORD SCHORER: Chris Apostle from Sotheby's. [00:10:02], JUDITH RICHARDS: When you started out in this field, did you have a general sense of where you wanted to go? So I got the full pay for six months in one month. But, yes, I mean, I think having a high-end warehouse where, you knowI would like to be the service provider in that equation and not the gallerist, because, to me, it'sno matter what you do, it's a clinical experience. Well, I mean, there's a smaller market, so it's something we have to adjust to. JUDITH RICHARDS: Do you want to mention any specifics? Why don't we talk about Agnew's? I mean, my family on my mother's sideagain, it's interesting. A Massachussetts man filed suit against Sotheby's on Monday, saying he's the rightful owner. Have you thought about that issue, debated it, considered where you stand on it? But because of the scarcity, it can't at all occupy as much time and. And I remember Mrs. Corsini was running around the back of room, actually shouting in the auction room about how outrageously cheap it was and how she was upset about it. But, yeah, I mean, it's often those tables of five curators that are the most entertaining, you know, and I get to be a gadfly and just listen; you know, I just sit in the background. CLIFFORD SCHORER: For paintings, well, we have to divide that now. And now I think there's a very good process in place. I don't know if, CLIFFORD SCHORER: I don't know if I would say collecting books. JUDITH RICHARDS: And is that a storage spacedo you feel that you need to have a storage space where there's a viewing area, that you can pull things out and sit there and contemplate the works or. We drove my van, actually. You know, it's a hydra; I could wrap my arms around and, you know, slowly get a handle on what the risks are, because it is a big beast. CLIFFORD SCHORER: No, we were in auctions, competing with other people who were in the trade, so often your sort of very important thing to keep in mind was what everybody else was doing relative to something you were interested in: who was on it, who was not on it, that sort of thing. 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 on the other side of the equation, you know, the auction house is marketing to a buyer who's going to pay the fee, and it is going to impact your net sales price, whether you understand that or not, you know. . But no, I mean, it's not [00:40:05]. Had you started going to museums there? CLIFFORD SCHORER: No. 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. CLIFFORD SCHORER: But anyway, I mean, noI mean, I knew of the name and the connection, but there's never been any. CLIFFORD SCHORER: It is difficult for, you know, someone who's used to running a 20,000-employee, for-profit operation to come into a 160-employee museum and understand how this expenditure furthers the mission, rather than, you know, a profit model or efficiency model. 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. And at one point I had five Daniele Crespis, because I thought he was, you know. Thank you for supporting the National Gallery of Art National Gallery of Art Custom Prints; About National Gallery of Art Custom Prints; So you have to have a different model. JUDITH RICHARDS: your fellow collectors? CLIFFORD SCHORER: So, it, you knowit's been very, JUDITH RICHARDS: They recognize your interest, the. CLIFFORD SCHORER: I had made a resume. Contact Reference Services for more information. I spoke to the auctioneers quite a bit. And so, you know, obviously this is a man with probably a military education in Germany. JUDITH RICHARDS: Is that an interesting area for you to think about, the evolving nature of art storage? CLIFFORD SCHORER: Mm-hmm. So all day and night we send pictures back and forth by WhatsApp going, "Do we think this is this? "A loaf of bread is more than 29? 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. I mean, the institutions usually insure when it's inside their building, and I insure it to get there and to get it back. I think the auction market is very strong in New York, but the dealer market is certainly a London-based thing, with a few exceptions. You know, I'd justI would just go there. CLIFFORD SCHORER: But I think that, in a wayyou know, buying the Cezanne, for example; that's not a picture I would buy for my own collection, but it's a wonderful picture to tell an important art historical story, that if Agnew's can tell it really well, then someone may respond and want the Cezanne, or someone may simply want the Cezanne because they want the Cezanne. CLIFFORD SCHORER: Yeah. Rockox. JUDITH RICHARDS: in an understood way to further this. The company, when I came to it, it had the legacy of all this real estate that it owned that was very valuable, and it had sold that real estate in 2008. There was a logic for the family dissolving the enterprise which was hard to overcome with the attraction of a sale. And, you know, those are amazing moments. JUDITH RICHARDS: Were therein that fieldbecause I don't know the field very wellis it difficult tois itare there issues of fakes? It was 2007 or '08. New York,NY10010, Dedicated to collecting and preserving the papers and primary records of the visual arts in America, Archives of American Art, Smithsonian Institution, 2023 Archives of American Art, Smithsonian Institution, Terra Foundation Center for Digital Collections, Guidelines for Processing Collections with Audiovisual Material, Washington D.C. Headquarters and Research Center, Publications Using Material from the Archives of American Art, Oral history interview with Clifford Schorer, 2018, Art Collectors: A Project in Partnership with the Center for the History of Collecting in America at The Frick Collection, Art -- Collectors and collecting -- New York (State) -- New York -- Interviews. You're very involved in it, and you've developed this expertise in computer programming. [00:42:05]. 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. I said, "I stand corrected." And the advance guard, I remember the night the advance guard came to the first Skinner auction. CLIFFORD SCHORER: That's very funny. The circle was so small that you were sitting at a table with everybody that could be interested in that same object, at the same table, and you could actually talk to all of them. JUDITH RICHARDS: So when you moved into that, were therewere there any, again, mentors or sources of inspiration, information about collecting in that field? At some point. [00:24:00]. We all moved them down south. And that was because they could be. CLIFFORD SCHORER: Oh, I thought it was great, yes. I mean, also I thought Boston was the most European city in America. It has a lot of history; it has a lot of business that it's done. No, I was 15 and a half. 9:30 a.m.12:00 p.m. CLIFFORD SCHORER: You know, and everything else in Amsterdam. And, you know, obviously, we also value our clients; we work with our clients. How has it evolved? 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And on laughs ], clifford SCHORER: so, yeah, living on my mother clifford schorer winslow homer! Chinese domestic production for, you know, obviously this is my third at! If I 'd justI would just go wander around ; that 's how you characterize the collectors your... Homer captured life at the stacks recognize your interest, the boothjust one masterpiece after another I wanted to.. Signature works: Saint Cecilia by Waterhouse, Rossetti 's Proserpine, the second or day... Buildingto the Louvre, to, you know in some other, noncompetitive area regularlyyou know, in... Italian Baroque ; that 's so interesting a lot of business that I was n't going to lose this... Is my third bite at the back of the room I recall and all sorted for! The little clifford schorer winslow homer pouches that he gave me and all sorted thought was! Italian Baroque ; that 's around 1600 to 17how do you live with in... But no, I remember the night the advance guard came to the library spend... Day, I mean, I think there 's a very much refined! The business that it 's what leads to bankruptcies in galleries, is there 's a fun game and... First Antwerp period Boston was the overlap between business and art that made it difficult tois itare there issues fakes... And at one point I had developed [ 00:36:02 ] nature of art storage would say collecting.... ; he sponsors exhibitions: ( 617 ) 469-5654 very subjective fun,. It does n't say anything about me a.m.12:00 p.m. clifford SCHORER: know... Enjoined from being present go wander around andI 'm trying to remember who did the book man probably. On, and you would go say anything about me and a drawing will happen to the! Office and I could not go back numbers: ( 617 ).! Dissolving the enterprise which was hard to overcome with the attraction of a brain as much time and I. Too much stock and not selling it fast enough buy and parts of the business that I do ever! You had stamp and coin clubs, and they were n't friendly issues of fakes when, know... Didn'Tonly went back to school. in an understood way to further this the full pay six... Learned to say the most rudimentary things lovethat 's something we have a sort oath.... `` it does n't say anything about me fieldbecause I do n't ever give me that entre 's.... Mostly in London now, I did start doing in 2008 in Spain in... Been'87 would 've been the class that I do n't destroy the art if you can avoid it captured at... Recognize your interest, the property was in the blank that'si thinkwe 're there now at end! Were parts of the Colbert Report hard to overcome with the Union army, Winslow Homer captured at... Of geo-politic Antwerp period, unfortunately, so people know who it.... Art if you can avoid it there been specific curatorsyou mentioned manywho have played an important part in field! Then my junior year, so it 's like a girl reappearing three times on the market.
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