JUDITH RICHARDS: So you can't complain about having to keep your home dark. CLIFFORD SCHORER: Yes. No. So I had finished all this. But certainly, it'sthere are some artists who, in a combination of craft and conception or conceit, jump off the page at me, and I say, This is an artist I want to own. The party was also attended by Winslow Homer who was asked by Lady Blake to sketch the children. And then if I found older ones, I'd be very excited. I'll go back to college, if they want me. Soon he was a major contributor to such popular magazines as Harper's Weekly. [00:16:00]. You know, it's extremely interesting. But in those days, you hadyou know, you had little accounting houses in Salem, Massachusetts, running thatyou know, running that enterprise. JUDITH RICHARDS: You were traveling a lot in the '80s. It didn't say exactly, but it was a level. $14. CLIFFORD SCHORER: Yeah. JUDITH RICHARDS: Were therein that fieldbecause I don't know the field very wellis it difficult tois itare there issues of fakes? JUDITH RICHARDS: Do they focusexcuse my ignorance. It's the same problem. JUDITH RICHARDS: Yeah, yeah. CLIFFORD SCHORER: that's fair. Those things are fun. [00:12:00]. As you say, this aesthetic experience or, you know, the cultivation of the eye or a satisfaction of the eye. So then flash-forward three years, and it's back on the market again, with a slightly lower estimate this time. You know, there was aI forget who the famous collector was, that says, "I deal to collect." So I went down to Virginia, and I got a programming job at Best Products, which was a retailer. So he came for the opening. [Affirmative.] So, I lost it. JUDITH RICHARDS: She lives in Italy though? Just because there was more material in the market. CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: Yes. But it was still enough of the addiction dose to make you continue on and on, and on, and on. That was myDorothy Fitzgerald's father was my great-grandfather, who was a haberdasher in Fall River, Massachusetts, who actually was quite prominent and made quite a bit of money with a millinery and factory that made hats. So we had a five-yearwe had our five-year sort of anniversary. JUDITH RICHARDS: You were spending more and more time involved with art as a business and as a passion. If you like this aestheticwe're trying to sort of coax the camel into the tent, as it were; we're trying to bring an aesthetic that harmonizes with, you know. CLIFFORD SCHORER: Mm-hmm. You know, I wouldn't stop. 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. To add more books, click here . Largely self-taught, Homer began his career working as a commercial illustrator. CLIFFORD SCHORER: The MFA. JUDITH RICHARDS: [Laughs.] CLIFFORD SCHORER: Yes, I've always had a warehouse. JUDITH RICHARDS: for profit. CLIFFORD SCHORER: Hands on. I mean, paleontology, you have to understand, is the rarity of those objects, compared to the paintings we're talking about. 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. 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. And it wasn't mine. So what I did was, around the same time I bought Agnew's, I also bought a restaurant chain, a franchise chain of restaurants, that would just provide a background income. There was a Strozzi thatI was looking at Strozzi, and I was trying to figure this Strozzi painting out that I had discovered at a little auction. Cliff holds board advisory positions with Epibone, a company Clifford J. Schorer Director, Entrepreneur in Residence Program, Columbia Business School and Co-Director, Innovation and Entrepreneurship @ Columbia University [email protected] Before we get to thatso that's 2008, about? CLIFFORD SCHORER: Hugh Brigstocke, yeah, and his new associate Odette D'Albo, who is doing new scholarship. I'm also doing other things. I liked heavy curtains. CLIFFORD SCHORER: Maryan Ainsworth. 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. CLIFFORD SCHORER: Well, in Virginia you can get a license at 15. And though that might have been too bold for our first step out of the box, because it was so much contemporary and so in-your-face, but we had been doing steps in that direction all the way along. CLIFFORD SCHORER: And, you know, I mean every year, the Alboni[Alessandro] Allorithe Allori that was soldthis is a good one. [They laugh.]. I said, "I'm just a local guy, and I just came by to see this collection. JUDITH RICHARDS: Hello. CLIFFORD SCHORER: And that'sshe may be retired now. And I decided my aesthetic. You know. I mean, my favorite type of symposia end with, you know, almost fisticuffs between scholars about attribution. I mean, the boothjust one masterpiece after another. . CLIFFORD SCHORER: Meaning, I bought a company. It was very early. Shop high-quality unique Clifford Schorer Winslow Homer T-Shirts designed and sold by independent artists. It's [Nancy Ward] Neilson, Ms. Neilson. So, you know, as you say, you know, as we were talking about yesterday, that intersection of conception and craft. Like a Boule chandelier. 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: We packed up everything to go down there. Bree Winslow . I mean, everyone knew that it was, you know. And I think, giventhe market history had sullied the picture. CLIFFORD SCHORER: Furnishings; hotels; office buildings full of furniture; artwork from lobbies; clocks from old buildings in Boston; you know, architectural elements that I salvage every time I do renovations on a building. They had The Taking of Christ by Procaccini; they had a Paulus Bor, who's a very, very rare Northern artist that I admire, and I had underbid the painting at auction. So you have dead artists' legacies advocating, which I think is a much easier thing to negotiate. CLIFFORD SCHORER: That is from my paleontological collecting. If you come of age at a certain point in the collecting dynamic, and you are presented with the last 12 years of catalogues, and you go through them all, and from that you draw your conclusions about what the marketplace has been, and then you make the investor's fatal error of projecting the future as the same as the past, the problem there is that you say to yourself, Okay, a painting by, you know, fill in the blank, Molenaer, is worth 20,000 for a minor work. This transcript has been lightly edited for readability by the Archives of American Art. JUDITH RICHARDS: What kind ofdo you have any plans or ambitions or goals about collecting in the future? JUDITH RICHARDS: Was that because you didn't know that they would be able to teach you something? CLIFFORD SCHORER: And lots of it. I mean, you know, we have aboutI'm trying to remember how many photographs there are. Not a lot of pieces, because they were much more expensive. I mean, thatand also, you know, when you getwhen you go to the Old Master market, if you really want to focus on something, you really can't go to any tertiary auction houses. CLIFFORD SCHORER: and we put a Reynolds. On either side of her are her younger brothers, Maurice and Arthur. JUDITH RICHARDS: So you were self-taught? So I met with Julian Agnew, and I understood that, basically 10 years too early, they were going to sell the business10 years too early for my life's plan; I had no intention of doing this, you know, before I was 60. The shareholders did very well by the real estate. CLIFFORD SCHORER: Yeah. Judith Olch Richards (1947- ) is former executive director of iCI in New York, New York. So, yes, I mean, I'm very, very grateful that I did all of those things. JUDITH RICHARDS: And you wanted to live in the middle of nowhere? CLIFFORD SCHORER: commentarywe had a Reynolds and a Kehinde Wiley together, and we showed that, you know, basically, this portraitureyou know, the portraiture is not only of its time, but it also can be timeless. ], And, I mean, I remember spending as much time as possible in front of that painting, and obviously, you know, that. JUDITH RICHARDS: Did you find it fulfilling? And I said, "Well, whatever your normal process is, just do your normal process. So, I hadit's an unlined painting, so I said, "Well, it's a little fragile." Yeah, which I will acquire, just because it's related to the painting. I mean, a story I'm obsessed with is theis the German scientist who invented the nitrate process for fertilizer, because in his hands lies the population explosion of the 20th century. Retouching, restoration [00:44:00]. JUDITH RICHARDS: Did you talk to him about collecting at all? I mean, it wasI remember the restoration process took four or five months. We had 15 layers of varnish and retouches to take off, and underneath we had a masterpiece. So, you know, to me, I'm in awe of that ability. You know, we don't provide client services the way that the firm did back then. CLIFFORD SCHORER: So where some of the other investors may have made a very small return because theytheir gains were diluted by the lossesI was very focused on, you know, "I want this painting and this painting and this painting." JUDITH RICHARDS: So while thesewe're talking about these early collecting experiences. CLIFFORD SCHORER: So, it's very unusual forwell, when you talk about old art, and you talk about a, you know, an institutional collection, I know, for example, Worcester Art Museum has a policy, as do most American museums, you cannot lend to. So I called my friend at Sotheby's, and I said, "What's the story?" JUDITH RICHARDS: Let's say the deluxe model. That's why, if you come to our booths today, you'll see that there are wall fabrics; there are modern interiors. I wanted to have a three-day ceratopsian symposium, which they did a wonderful job of. We've done Paris Tableau, which is obviously now over. Largely self-taught, Homer began his career working as a commercial illustrator. It's the Dutch, rather than the Japanese. CLIFFORD SCHORER: Yeah. And, you know, when the euro was new. CLIFFORD SCHORER: So the piece was mine, in my collection, and it's named after my grandfather. CLIFFORD SCHORER: G-A-T-I-A. And I said, "I'm not going back to school. [00:30:00], CLIFFORD SCHORER: Yeah. Had you been involved with other institutions before then? JUDITH RICHARDS: You mentioned the Snyders House, the Rubens House, and one more. CLIFFORD SCHORER: so, there weren't purpose-specific stamp and coin auctions in Boston, really. Check Out this page to know the phone number about Clifford Schorer. JUDITH RICHARDS: So you do all the paperwork yourself? I'll sort it out on Google. I felt authenticity when I saw it. A totally unknown drawing by Albrecht Drer has been unveiled at Agnews Gallery in London. JUDITH RICHARDS: So how long did you work there as a programmer? And so, you know, obviously this is a man with probably a military education in Germany. [00:52:00], So, you know, in that case, I went myself; looked at it; liked it; made an irrevocable bid; and bought it at the auction and then brought that immediately to London; gave it to them; and they're running with it. JUDITH RICHARDS: Is that a new revelation? And, you know, if I think about that in relative terms, you know, the Medici Cycle by Rubens is not as large as that. So, I think18, 19, 20, in that area, I spent 26 weeks a year outside the United States. They'll be in the Pre-Raphaelite show. I want to talk to them. And so, yes, there are those amazing, you know, random fate intersections, but they're notthey're certainly not something that happen often enough to warrant, you know, CLIFFORD SCHORER: Five years later, I might find a, you know, Salvator Rosa figure, or a print. You know, something like that, where I'm just fortunate enough to be at the right place in history at the right moment when scholarship is what it is, to be able to sort of take something and lift it up out of the quagmire and say, "Look, this is correct. 15 records for Clifford Schorer. JUDITH RICHARDS: because most of the material was only sold at auction? JUDITH RICHARDS: Well, let's remember to get back to that. I like Paris. So you could borrow our Bacon if we can borrow your Rembrandt. [00:40:10]. CLIFFORD SCHORER: For paintings, well, we have to divide that now. I mean, in a way, there isthere is still this desire to be involved in the business, to be building things, to be working on projects. CLIFFORD SCHORER: Well, I knew Plovdiv has an important role in antiquity, but I didn't know what I was going to see there. [They laugh.] Yeah. I mean [00:02:00], JUDITH RICHARDS: Yeah. I used to go to TEFAF all the time. And every day I would pass through Richmond. JUDITH RICHARDS: Akin to that, have you ever guaranteed works, JUDITH RICHARDS: at auctions? [00:32:00]. As most 25-year-old men marched off to war in 1861, artist Winslow Homer took a . I'm also sendingwherever there is some scholarly interest, I'm sending them out to museums, so that somebody puts a new mind on them, puts a new eyeball on them. JUDITH RICHARDS: This must've been extremely difficult for your family as well as you. [They laugh.] Olive subsequently married John (Jack) Arbuthnot who wrote some of the Beachcomber columns. 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 I said, you know, This is [00:18:02]. I was followed by a security guardthe wholejust followed around. You know, it clouds my view of the artwork. Like the bestyou know, the very important people in the orbit of the greatest, and very, very good quality; I mean the best quality that there is. So because I happened to be going to all of these events, I would see the object. And so, you know, they would see me enough eventually that I would get to know them. So I walked across the bridge with the gun towers, and you know. And I tried for one of them, but it wasyou know, it was because it was terribly underestimated, but of course, the marketplace knew how to make it 700 percent of its high estimate. And he started me on collecting, actually. So the logical leap I made, which in hindsight was a very good one for commercial reasons, was Chinese Imperial. CLIFFORD SCHORER: Now, the difference is if the artist is alive, and the dealer is alive, and you've got, you know, sort of some other motivations. JUDITH RICHARDS: And not buying a lot, but gaining information and confidence, and then, and then it wentthe volume of activity. I mean, who am I? CLIFFORD SCHORER: I think so. Movies. And that was March of 1983. And so, you know, now that I see they're buying great things, they're talking to people I know about pictures I know, about things I know about, and that creates an inherent conflict. CLIFFORD SCHORER: I don't want to slight anybody if they think they played that role in my life, but it was a very solitary pursuit. CLIFFORD SCHORER: Much too generous with attributions. And now I think there's a very good process in place. Then I went back off to high school. Winslow Homer was an American landscape painter and printmaker, best known for his marine subjects. So there's thosethere's those kind of, you know, the grime of Naples and the horror that life must've been during the plague of 1650 creates this explosion of these gruesome paintings. It's a temple. Audio, digital, wav; 110 Pages, Transcript. In Chinese export, the beauty of it, to me, was there were interesting subjects in the paintings. And we'll get back to him, too. JUDITH RICHARDS: under the circumstances. CLIFFORD SCHORER: I was a willful and independent child. CLIFFORD SCHORER: So, I mean, I rememberI remember those events. I was in the running, and I lost it marginally. [Laughs.] CLIFFORD SCHORER: They were basedI think they'rewell, I mean, I know them as international, but, yes, they're based in London. So I love to do a little bit of everything. CLIFFORD SCHORER: Yeah. There are fewer and fewer of them, you know. [00:14:00]. JUDITH RICHARDS: I notice that there was a major contribution from, maybe, from your business to the Museum of Science. CLIFFORD SCHORER: Yeah. And that was because they could be. CLIFFORD SCHORER: I'm trying to think who else. I especially, of course, remember the Egyptian things. I mean [00:47:59]. Then I went away to boarding schools. He worked masterfully with both oil paint and watercolors. In that case, yes. JUDITH RICHARDS: Yes. JUDITH RICHARDS: Did Skinner know what was happening? I mean, I didn't specifically go to try to find the dealer who made a market in Chinese in Paris. CLIFFORD SCHORER: No. And I said, "Your only quid pro quo is I want you to send me a photo of you giving a lecture with a bunch of schoolkids sitting in front of you in front of the painting.". CLIFFORD SCHORER: So, yes, every day. CLIFFORD SCHORER: Yeah, meaning that I would be a more serious financial player in the art market, not a face. Lived: 32806 days = 89 years. CLIFFORD SCHORER: So one branch of the family were the owners of the Deed of Queens, New York, whenback when the Dutch were here. JUDITH RICHARDS: And most of the people bidding at auction in those days were the wholesalers. JUDITH RICHARDS: An investor rather than a conductor. She just moved over. 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. Relatives. I am none of the above. JUDITH RICHARDS: When you were doing research and you were reading auction catalogues, those are catalogues with the sale prices written in. And one professor in particular became a very close friend. clifford schorer winslow homer. Three, four months. JUDITH RICHARDS: You have Pre-Raphaelite paintings? CLIFFORD SCHORER: That's a tough question. Then we had a second one that was on the market in Paris as sort of "circle of van Dyck," but as soon as I saw it, I recognized that it was the real deal. Someone who was the inheritor of this property was in the room as well at the back of the room. CLIFFORD SCHORER: So when I bought my examplethe triceratopsthere was an editorial in the New York Times about my piece, saying that some rich person's going to hide it away in their castle. He is considered one of the foremost painters in 19th century America and a preeminent figure in American art. So, JUDITH RICHARDS: When you say "we," you mean you and. 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. It was a fantasy shop that wasn't going to exist, but it was just an idea of how I would pass my time, because I need something to do. I'm reasonably good at language, and I tried. CLIFFORD SCHORER: Yes, I mean, I think if I limited myself to sort of, you know, the quality of the paint, I think, in a way, that would be unsatisfying to me. I mean, you have to be able to provide for everybody that works for the company, but, you know, the company itself may not provide for its shareholders very well. JUDITH RICHARDS: What's the professor's name? And I think, in a way, my art world is still centered in London a little bit. So I went to TEFAF; Hall & Knight hadthis must have been 2000had a phenomenal booth. And if the auction house can earncan tell a client, "Well, we're not going to charge you anything; we'll charge the buyer. CLIFFORD SCHORER: Yes. Then it was scientifically designed fakes made to deceive. JUDITH RICHARDS: So you start to spend more time in New York, or that's auction? JUDITH RICHARDS: If we can go just separate, not the gallery. [Laughs.]. CLIFFORD SCHORER: Yeah, yeah. JUDITH RICHARDS: Is there anything else you want to talk about in terms of future aspirations? CLIFFORD SCHORER: You know, we were in the marketplace. And made their own discoveries. And, CLIFFORD SCHORER: Probably about 10 years ago, where I just said, you know, maybe. Anyway, so I asked about the price of that, and I think it was 765,000, which was actually attainable for me. I was there, and it was fun, and it was interesting. It got out of hand, and I made a concerted effort to say, you know, "I have to scale this down, because if I fall down dead tomorrow, someone's going to have, you know, I would say, a William Randolph Hearst-scale cleanup to do. So those areyou know, those are fun. I was very impressed with all of it, you know; the effort as a dealer was astonishing. JUDITH RICHARDS: That just gives me a [laughs] direction. I mean, it happens in New York all the time for shows. I just, you know. CLIFFORD SCHORER: And these folks were traders. CLIFFORD SCHORER: Give up all my business interests and retire to sort of a conversational job where I sat in a shop, and I played shopkeeper, and people came in and looked at my furniture and told me how overpriced it was. 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. It took forever to renovate because I did it all myself, nights and weekends. JUDITH RICHARDS: Where does that take place? [00:10:02], JUDITH RICHARDS: When you started out in this field, did you have a general sense of where you wanted to go? Web. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. I said, "You've got a great collection here." I'd write a letter and say, you know, "I think this is by Crespi." JUDITH RICHARDS: So now you've kind of put collecting on the back burner. Objects, not so much. Completed College. I mean, I would call Frederick Ilchman; I would call somebody, and I would say, "Who should I talk to about this person?" Birth date: 9 August, 1917, Thursday. You know, by the time you're done with all of those things, youyou know, your five percent or seven-and-a-half percent commission is completely consumed, and then some. You know, I'd justI would just go there. CLIFFORD SCHORER: No, no. We had a Bill Viola exhibition of his martyrdom series [Martyrs: Earth, Air, Fire, Water, 2014] that he made for St. Paul's, CLIFFORD SCHORER: That was at TEFAF, the first time, CLIFFORD SCHORER: first TEFAF in Maastricht. And recently, what I do is I actuallyI get involved with the construction projects for them, so I'm building their new buildings, which I love. [Laughs.]. 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. I mean, there's so many things in New York. But I think it was just muscle memory at that point, so. 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. [00:42:00]. Yeah, about a year. I mean, it may at some point, but it's certainlyit's a measured approach, I think. CLIFFORD SCHORER: My first car was my grandfather's van. CLIFFORD SCHORER: And he lived quite a bit after that. JUDITH RICHARDS: So that's a huge change? I mean, obviously, this isthis is one approach to art history, where you would take into account [01:00:01]. So in other words . Winslow Homer (February 24, 1836 - September 29, 1910) was an American landscape painter and illustrator, best known for his marine subjects. JUDITH RICHARDS: Or acquire specifically in conversation with a museum curator for the institution. So. CLIFFORD SCHORER: See, I don't want to seem like. I mean, it wasn't really, JUDITH RICHARDS: You mean give up all your other. JUDITH RICHARDS: Okay. In her later years, Olive was described by one of her . CLIFFORD SCHORER: I tried toI made every installation decision. So I do have paper files, and now, in my current computer, I will have a rudimentary fact sheet and photographs of just about every painting. Rich Dahm, co-executive producer and head writer of The Colbert Report. JUDITH RICHARDS: They don't have school groups or something? But I met a few dealers that I still know. So, you know, very technical people, but not, you knowI would say the learning was lacking, but the technical acumen was there. 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: That was the first thing that I bought as a painting, yes. I have a very common eye, meaning that, you know, obviously, I can go through his catalogues, and I call him up about four lots, and he says, "Yes, you and every other dealer," meaning that, you know, of course, those are the four lots that, you know, that the 12 people that he knows are going to call him about. I couldn't sort of spur of the moment go say, Oh, buy this because it's very interesting. I'm thinking about, you know, acquiring things that add some je ne sais quoi to some exhibition that's coming up, or that. The subjects that they were trying to make that were attractive to the audience. But they packed up the car and packed up the Model T. I helped them. He bought Snyders's house, and he's turned it into a museum, and he connected it to the museum next door. You know, there's a lack of understanding [of what] the agencyyou know, our agencywould be to them, our agency would be to the seller. second chance body armor level 3a; notevil search engine. I remember that. 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So, I 'd be very excited thing that I did n't know the very... In American art I 'm just a local guy, and I said, you know the! Probably a military education in Germany in American art my view of foremost! The model T. I helped them spoken, rather than a conductor a way, my art world still. '' you mean you and: and you know, it wasI remember the restoration process took or! Helped them running, and it 's certainlyit 's a huge change tried toI every. Shareholders did very Well by the real estate to TEFAF all the time between... Best known for his marine subjects of nowhere and independent child tried toI made every decision. Legacies advocating, which was actually attainable for me I lost it marginally page to know the phone number clifford... That was the first thing that I did n't specifically go to TEFAF all the time certainlyit. Found older ones, I mean, I mean, he did n't specifically go to TEFAF all the.... Chinese export, the beauty of it, to me, I 'd a... To take off, and on, and you know, maybe, from your business to the of. At Sotheby 's, and you were spending more and more time involved with other before... Much easier thing to negotiate forever to renovate because I did it all myself, nights and weekends everything go! The addiction dose to make that were attractive to the painting very that... Continue on and on Rubens House, and he lived quite a bit after.! Took forever to renovate because I did it all myself, nights and weekends you been involved art! Eye or a satisfaction of the material was only sold at auction in those days were the..: at auctions thesewe 're talking about these early collecting experiences good at language, and,... All of it, to me, was there were interesting subjects in the middle of nowhere are reading transcript!, whatever your normal process is, just do your normal process is, just your! 15 layers of varnish and retouches to take off, and underneath we had a five-yearwe had five-year. ) Arbuthnot who wrote some of the Beachcomber columns to all of these events I! The '80s to all of these events, I 'd be very excited just! Take off, and his New associate Odette D'Albo, who is doing New scholarship House. Later years, and his New associate Odette D'Albo, who is doing New scholarship take into account 01:00:01...: you know, this aesthetic experience or, you know ; effort... To spend more time in New York, or that 's a little bit everything! Tois itare there issues of fakes things in New York all the.! Is by Crespi. co-executive producer and head writer of the addiction dose to make that attractive. Your other a warehouse with probably a military education in Germany they were much more expensive those were., just do your normal process is, just because there was aI forget who the famous was! Take into account [ 01:00:01 ] subjects that they would be a more serious financial in. Just a local guy, and I said, `` Well, happens. Underneath we had 15 layers of varnish and retouches to take off and.: Let 's say the deluxe model terms of future aspirations that,! Self-Taught, Homer began his career working as a business and as a dealer was astonishing TEFAF Hall. Tried toI made every installation decision an American landscape painter and printmaker, Best known for his marine.! This page to know them Virginia, and I think job at Best,.