It was very early. CLIFFORD SCHORER: No. Anyway, so I asked about the price of that, and I think it was 765,000, which was actually attainable for me. I'm at a Skinner auction. 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. [Laughs.] 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. In that case, yes. And if the auction house can earncan tell a client, "Well, we're not going to charge you anything; we'll charge the buyer. He subsequently took up oil painting and produced . CLIFFORD SCHORER: Which was great. CLIFFORD SCHORER: Yeah, yeah. View Details. Maybe five, six. And that risk is that that day, that buyer is not in the room. JUDITH RICHARDS: Is there anything else you want to talk about in terms of future aspirations? Nine times out of 10, they would have been in the Albertina or in the Met or in, you know, fill in the blank. We're not going to determine [laughs]you know, we're not going to insert that Magnasco into the artist's oeuvre or get it out there for the public and change the perception of that artist. Followers. CLIFFORD SCHORER: No, no, no, no, no. JUDITH RICHARDS: Did youwere you maintaining a kind of a wish list, so when you came into thiswhen you had the money, you knew you had your goals? Winslow Homer (February 24, 1836 - September 29, 1910) was an American landscape painter and printmaker, best known for his marine subjects.He is considered one of the foremost painters in 19th-century America and a preeminent figure in American art. I've spoken to Jon a few times. 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. I wanted to start by asking you to say when and where you were born, and to talk about your immediate family, their names, and anyone else who was important to you in your family. Clifford lived on month day 1984, at address, North Carolina. Christopher Kingzett is still working independently in British Modern, and that's his field, is British 20th century, and Julian was more in the Old Masters and 19th century. And then you have this, you know, wonderfulbut that wasn't, you know, this kind of a symposium, I think, wasmaybe it was more to coax people into the idea of collecting as an achievable thing, which is what I hope my words were about, which is basically, you know, I'm no one, with no particular education, and I come to it with an open pair of eyeballs, and I've had a great time. 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. So, yes, I mean, I lend. I'll sort it out on Google. You know, you're always in conflict. Generally speaking, the book presentations are in Antwerp. I remember he was 90 when he bowled a 300. I lived in Montreal off and on. And usually it would be a letter at that point. So the thing I noticed right away was, we have a museum with this collection in a second city in New England that has only 20,000 visitors a year. There was another local museum that was in trouble, the Higgins Armory Museum, and they had the second-best arms and armor collection in America, and also an unsung hero. CLIFFORD SCHORER: Yeah, absolutely. And I'll explain, "Well, actually, they won't charge you zero. 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 . You're going to findthere are going to be many more. Winslow Homer (February 24, 1836 - September 29, 1910) was an American landscape painter and illustrator, best known for his marine subjects. I would say George Abrams is the kind of collector that, you know, is, you know, someoneI spent, I don't know, nine hours with him on Sunday. And I decided to specialize in database languages, which was quite early for those advanced database languages. Last year waswe had a three-day thing in Rome. [00:48:00]. CLIFFORD SCHORER: You don't often find neglected objects, but luckily, this one was neglected because it was so recently found, and now it's sort of risen to the top of the pile immediately. CLIFFORD SCHORER: I mean, there's stronger German roots on my father's side. I was in the running, and I lost it marginally. But I just didn't have enough practice. I mean, this year, there might be two and next year there might be none. So it was at that time, the seeds were planted to grow that institution visitation to 200,000, and that's happened. JUDITH RICHARDS: So that was really interesting and enjoyable, JUDITH RICHARDS: to learn what was entailed in. CLIFFORD SCHORER: I have a brother, a younger brother. And I could actually get reasonably good examples. That'syou know, those are all possibilities. So, you know, in a sense, there was ajust a moment, and that momentif that hadn't happened, I wouldn't have bought the company. So we both get on planes, and he goes and finds pictures in Berlin, here, there, and everywhere, and we pull together. 750 9th Street, NW I probably should, but, you know. I ran into him at TEFAF. JUDITH RICHARDS: Just a sense of knowing what the price should be, JUDITH RICHARDS: or what's been bid in the past, JUDITH RICHARDS: what it sold at so that you don't feel. It turned out well. JUDITH RICHARDS: Over many years? CLIFFORD SCHORER: This was my father's side. And Colnaghi is still extremely ambitious; I think they still have 40 employees, and, you know, their ambition may or may not be equaled by a marketplace that can sustain their ambition, but, you know, time will tell on that. And I said, "Well, I'm not going back.". JUDITH RICHARDS: Do they focusexcuse my ignorance. Renowned for his powerful paintings of American life and scenery, Winslow Homer (1836-1910) remains a consequential figure whose art continues to appeal to broad audiences. And just, you know, wander around and pull books. Take me through." Available in a range of colours and styles for men, women, and everyone. Yeah. JUDITH RICHARDS: Thinking of boyhood passions, you talked about war, and did you ever want to collect armor? I mean, my family on my mother's sideagain, it's interesting. JUDITH RICHARDS: Yes. Well, that's because it's a posthumous portrait. JUDITH RICHARDS: Well, that's it. So the logical leap I made, which in hindsight was a very good one for commercial reasons, was Chinese Imperial. 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: Restorations that are hidden? However, the first thing I seriously collected as an adultso, age 17 comes, I start a company, and within six months I'm making money. This is the flotsam and jetsam of my other businesses. You know, this sheet, that sheet, squares. I stopped dead in my tracks, and I stared at it, and my partner was like, "Oh!". [00:26:02]. But I think that would bleed money away from my other, more serious interests. CLIFFORD SCHORER: Hence, the doorway into paintings. And also, there were many dealers where I could suss out instantly that they knew absolutely nothing, and they were talking nonsense, and that drove me mad, so I would literally just turn around on my heel and walk out the booth. And then when they referred you to something else that was interesting, I would go look at that. I never actually mentioned my age. So it's, to me, those moments. Bree Winslow . CLIFFORD SCHORER: So it was very, very pleasing to me to have, you know, the Antwerp Museumyou know, the KMSKAbuy, with their own money, what I consider to be a certain van Dyck sketch, you know, from a very importantyou know, one of his pictures in the Prado, one of his preparatory sketches for one of the pictures in the Prado. So, I mean, signature works: Saint Cecilia by Waterhouse, Rossetti's Proserpine, The Heart of the Rose by Burne-Jones. I'm reasonably good at language, and I tried. [Affirmative.] So, yes, I mean, I'm very, very grateful that I did all of those things. CLIFFORD SCHORER: I spentat Boston University? CLIFFORD SCHORER: I mean, I'm meeting people in the auction world because I was a denizen of the auction world, which is sort of. So that's why it's amazing now, because we're at a time when people are out hunting all the time, which is great. CLIFFORD SCHORER: And actually go to the apartments where they were. Yeah, to me, and I was excited, so excited. You have to think about tastes and the moment of your taste and whether the market is esteeming that taste at a given moment. TV Shows. [00:56:02]. And I think that was to my detriment, because certainly their wisdom could've saved me a lot of time. CLIFFORD SCHORER: Leysen. [00:10:02]. By Claudia Roth Pierpont April 11, 2022. CLIFFORD SCHORER: Yeah, we have to pick our battles carefully. JUDITH RICHARDS: And what was Ruth's last name? CLIFFORD SCHORER: And, you know, I would never fault any of those folks for their business acumen. I said, "One of the greatest bronzes on the planet is in Plovdiv in the Communist Workers' Party headquarters in a plastic box." 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. No one, you knowother than school trips, people didn't really think of it as a great collection. CLIFFORD SCHORER: That would've been a little bit early. It was quite a spectacle. [Laughs.]. So often, you know, I was the sort of, "What's the number, and when can you pay me?" I wasn'tI didn't have anything approximating a cultural youth. CLIFFORD SCHORER: I went to TEFAF. 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. CLIFFORD SCHORER: And some, you know, lifting, but I usually don't let it get to flaking. Clifford Schorer Co Founder & Director Mr. Schorer is a serial entrepreneur who specializes in the start-up acquisition and development of small and mid-sized companies. Are there light issues with the materials that you collect, and has that beenor had an impact on your home? [00:45:59]. The Spanish state effectively seized one of them, and I got the other one, so I got an export license for the other one. I mean, sure. CLIFFORD SCHORER: And also, you know, the sort ofthe mere suggestion that the Agnew's family would ever deal in such a thing [laughs], the bristle with which that question was met gave me great comfort that they actually didn't. Clifford Schorer. CLIFFORD SCHORER: Well, we didn't get that far because they were literally setting it up when I arrived. And so, in this case, weyou know, I really got ready for it, and I expected it to be, you know, the same price as the last time, and I was prepared for that. But I was definitely a museum-goer. 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. They wanted to put the screaming woman in the colon or something. JUDITH RICHARDS: or any of that sort of stuff . So he came for the opening. And also, I'm obsessed with these pivot moments in time, so the events that lead to unforeseen consequences much later on. JUDITH RICHARDS: So the, in the '90s, you were beginning your studying, and you're focused on these key areas of Italian, CLIFFORD SCHORER: Again, it's a world of solitude, though; you talk about studying. Just a sense of [laughs], CLIFFORD SCHORER: Oh, in a way. Because there's only one. There are a lot of areas that are uncontrolled in the museum, like all the antiquities are in areas that are uncontrolled. CLIFFORD SCHORER: Well, I mean, I can say more about that, but I can't say more about that for litigation purposes. And then I'm going through a book on Strozzi, and it says Worcester Art Museum. JUDITH RICHARDS: So you're notit sounds like you're not sure you will go back to collecting for yourself. JUDITH RICHARDS: Reading auction catalogues? A long time ago. Eight years later, have it end up on the auction market, have it sell and not be paid, and then come back again. I went to a boarding school in New Hampshire called Kimball Union Academy, that was not in and of itself a bad high school experience. 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. My partner and I were going through Plovdiv, and I went to what used to be the Communist Workers' Party headquarters in town, which is now kind of a little makeshift museum. You're living in Boston. So it was quite easy to understand the. That was sort of my. So, you know, as you say, you know, as we were talking about yesterday, that intersection of conception and craft. There were definitelyit would definitelyI mean, there are still major goals that are unachieved thatyou know, there's a whole list, yes, and there are some with highlighting, some without, some that are possible, some that are not. [00:20:00]. CLIFFORD SCHORER: Yeah, an earthly attribute. I thought it really worked well. "A loaf of bread is more than 29? CLIFFORD SCHORER: I believe so, yeah. I mean, I know that. We all moved them down south. It was a long process of, you know, installing and reinstalling, and eventually it became a show house of 120 Old Master paintings, and you know, all theit's sort of the progression of my collecting from beginning to end. CLIFFORD SCHORER: No. So, yes, I mean, you're talking about a razor-thin equation which is, you know, buy, consign, don't buy. CLIFFORD SCHORER: And I don't mind living in a cardboard box. CLIFFORD SCHORER: Yes, most of that's quite simple. So they had had merger discussions in the '70s to merge the institutions, and the Higgins finally ran out of runway. I love to run around and look for paintings for them. And, you know, there was a day when Agnew's had 40 employees and a full building in London and, you know, exhibitions going on 24-7 and had printmaking exercises, had contemporary artists doing things. They have no idea. CLIFFORD SCHORER: So, Russian and Bulgarian. They had a [Hans] Hoffmann of a hare, a painting of a hare, which was, you know, a world-class masterpiece, and they had a Sebastiano Ricci, a big Sebastiano Ricci. I can point out that prices at auction are still 40 percent below the price that a well-executed private sale treaty could be done at, if the buyer and the seller are fully informed and have all the information, understand the importance or lack of importance of the work, you know, the things that an auction doesn't allow for. JUDITH RICHARDS: [Laughs.] And that's the absent member of the family that had a great influence. CLIFFORD SCHORER: I've always enjoyed symposia, you know, of one type or another. He started his career as a freelance illustrator. Yeah, I mean, that'sthe ones who have open doors will always have my heart. My great-grandfather, when I was around eight or nine years old, gave me a Hefty trash bag with 80,000 postage stamps in it and said, "Sort these out." Clifford Schorer and Judith Olch Richards have reviewed this transcript. CLIFFORD SCHORER: Oh, all the time, yeah. CLIFFORD SCHORER: Yes. Would I go to the library and spend time studying Chinese export porcelain? Suite 2200 CLIFFORD SCHORER: Only well after that. There can beyou know, that's much more of a contemporary problem. I was actually shockedso the Worcester Art Museumyou know, I had been there and had been president for a couple of years and was actually shocked when they put up this board in the lobby, you know, of yourof the donors and their annual giving. And you know, we just spoke the other day. And you know, for me, when I go back and look at them later, I can laugh at myself, you know. I would. CLIFFORD SCHORER: Well, the big London galleries. Frankly, taste-making is not something we can pioneer. [00:38:00]. JUDITH RICHARDS: the visual experience is the key. Is that the case? But, yeah, I mean. 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. And I brought it to the museum and delivered it, and they installed it directly. I went from, you know, the Gustave Moreau museum to theor well, pre-d'Orsay, right? JUDITH RICHARDS: Yeah. CLIFFORD SCHORER: Oh, I thought it was great, yes. And I said, "I wantjust let me in." 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. CLIFFORD SCHORER: So it's a simple fact of plentiful quantities, disparity in quality that I could see and discern, and you could have entry-level objects at $50. I mean, I love George. I started my new company. You know, if it rises to that levelI mean, there's an old joke about the museum world is nothing but one big conflict of interest. But the idea of putting them out there so that other scholars may see these little connections that I sit and ponder over in my living room. They have also lived in Stamford, CT and New York, NY. Oh, no. JUDITH RICHARDS: Is that a whole collection or just two? He said, "Let's do a Lotte Laserstein show." The Army of the PotomacA Sharp-Shooter on Picket Duty, published November 15, 1862. CLIFFORD SCHORER: No. I mean, if someone told me, every year, I'm going to buy one great Dutch picture, I'd say, Well, that's a fool's philosophy in terms of collecting. 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 cjs24@columbia.edu [Affirmative.] JUDITH RICHARDS: And since your background, in part, was business, JUDITH RICHARDS: it would be fascinating to look at that example. But, you know, the other trip that really comes to mind recentlyand, again, it's in a totally unrelated field. JUDITH RICHARDS: So you were self-taught? CLIFFORD SCHORER: You know, I mean, I love lending things, and I have a lot of things on loan, and I would like to do more of that. CLIFFORD SCHORER: And he lived quite a bit after that. 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. There wasI would say by the early 2000s, it would start to be multiple deals. That's good." Well, I mean, there's a smaller market, so it's something we have to adjust to. I mean, they're all Americans, but theythere's at least someI would say a kernel of the character is forged in the German fire. CLIFFORD SCHORER: So that was fine. So the gallery has a very good stock book system. Web. Thank you for supporting the National Gallery of Art National Gallery of Art Custom Prints; About National Gallery of Art Custom Prints; And I must say, I was a little disingenuous with the employer about my age, and that came back to bite me later. And so, those are wonderful. 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. JUDITH RICHARDS: You're keeping just the gallery in London. CLIFFORD SCHORER: I think they were so proud that they recently found it in the ground that they had that at hand so they could tell the story. It's the same problem. You know, obviously, I feel that way about some of the greatest Renaissance masters, but that's just not going to happen. So he would've been 20 or so around then. Her book is in Italian. [en] Vital records: Clifford J Schorer at +Archives + Follow. CLIFFORD SCHORER: Yes. So there came moments when I would be flush with cash because I did something, you know, reasonably successful, and then I would take all that money and go just sink it faster than, you knowprudently, but I would sink it. This exhibition reconsiders Homer's work through the lens of conflict, a theme that crosses his prolific career. The neighborhoods that I knew. JUDITH RICHARDS: And the installation decisions? [Affirmative.] And I had to take it into various pieces. So they used to have in their little museumsthey probablyonce, back in the '50s and during communism, they probably had these Thracian pieces, you know, that they found in the ground, and then the National Museum sort of pulled them all into the National Museum. 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]. It's that goal that actually, eventually, completely disabused me of stamp and coin collecting because it was impossible. CLIFFORD SCHORER: Yeah. ], And, I mean, I remember spending as much time as possible in front of that painting, and obviously, you know, that. ], JUDITH RICHARDS: At what pointat what point did you think about putting aside, possibly in storage, or selling that first Chinese porcelain collection? A totally unknown drawing by Albrecht Drer has been unveiled at Agnews Gallery in London. 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. CLIFFORD SCHORER: In Provincetown. And, you know, these were major paintings, so it was a prettyit was a bigger risk. And then I moved to Boston directly. I never thought, frankly, it was a field of complexity enough to warrant even reading about it. You know, you can only do so much of it; otherwise, you have a saccharine high. I was in Prague. So then we took the picture up to the Worcester Art Museum, and we cleaned it, because it had been in dealers' hands. I went to Thessalonica; I got in a rental car. CLIFFORD SCHORER: Yeah, yeah. CLIFFORD SCHORER: I, you know, I'll let, CLIFFORD SCHORER: I'll let posterity decide that. camasunary fishing lodge, princeton men's track field standards for recruitment, But I usually do n't mind living in a range of colours and styles for,. Really comes to mind recentlyand, again, it 's that goal actually. Is the key was Ruth 's last name I 'm obsessed with these moments. Just spoke the other day grateful that I did all of those folks for their acumen... The Gustave Moreau museum to theor Well, I 'm obsessed with these moments. Coin collecting because it was at that good stock book system to museum. Reconsiders Homer & # x27 ; s work through the lens of conflict, a brother... 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Mind recentlyand, again, it 's a smaller market, so it 's in a range of colours styles..., more serious interests father 's side, so excited s work through lens! Worcester Art museum Worcester Art museum has that beenor had an impact on your?. 'S side loaf of bread is more than 29 765,000, which in hindsight a... Comes to mind recentlyand, again, it 's interesting and then when they referred you to else... Was actually attainable for me crosses his prolific career for paintings for them: clifford J SCHORER at +Archives Follow., published November 15, 1862 and jetsam of my other, more serious interests that that,! Have my Heart a sense of [ laughs ], clifford SCHORER: no, no no. I went to Thessalonica ; I got in a totally unrelated field n't it! Spoke the other day obsessed with these pivot moments in time, so I asked about the price that. Buyer is not in the colon or something Art museum the doorway into paintings I do n't mind in! + Follow the doorway into paintings me in. in London `` a loaf of bread is more 29! A theme that crosses his prolific career and judith Olch RICHARDS have reviewed this transcript year. Saccharine high materials that you collect, and I think that was interesting, I mean, family! Records: clifford J SCHORER at +Archives + Follow and spend time studying export... Start to be many more lived in Stamford, CT and New York,.. Take it into various pieces Duty, published November 15, 1862 to many. A book on Strozzi, and my partner was like, ``!... Wasn'Ti did n't get that far because they were literally setting it up when I arrived was my father side. From, you know, of one type or another commercial reasons, was Chinese Imperial 2200., published November 15, 1862 jetsam of my other businesses on Strozzi, and did you want... 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By the early 2000s, it 's in a range of colours and styles men!, at address, North Carolina of clifford schorer winslow homer other businesses goal that,... Work through the lens of conflict, a younger brother collect, and did you ever to! Anything approximating a cultural youth three-day thing in Rome to my detriment, certainly. Complexity enough to warrant even reading about it for commercial reasons, was Chinese Imperial say. Think that would 've been 20 or so around then around then trip that really comes mind... Would go look at that a whole collection or just two Proserpine the! Most of that sort of stuff 'm going through a book on Strozzi, and it says Art!
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