clifford schorer winslow homer
And I could buy that at, you know, the auctions. His oil paintings were immensely expressive. JUDITH RICHARDS: How did that interest develop? CLIFFORD SCHORER: And again, we got plenty of press about it. Web. Is itis thereis it an issue that you grapple with, or is there a way that you can manage, CLIFFORD SCHORER: Sure, it impacts us all, and it impacts us all in a very fundamental way. brilliant Tibor! JUDITH RICHARDS: So you're relying on people in the field, aren't you? Eagle Head,Manchester, Massachusetts (High Tide), 1870 Metropolitan Museum of Art, New York City The Herring Net, 1885 Art Institute of Chicago Winslow Homer is undoubtedly one of the foremost artists of the United States in the 19th century. Clear the way for the new. JUDITH RICHARDS: You're keeping just the gallery in London. It's actually, you knowit's the kernel of what you do as a collector without the headache of the aftermath. You talk to them about business; you talk to them about family. CLIFFORD SCHORER: Michael Ripps, who's a scholar who has worked with the Frick on a number of sort of investigations of the art market and things like that, he came to me, and he said, you know, "You should meet with Julian Agnew, because they're selling the library and maybe more." CLIFFORD SCHORER: No, they close rooms. 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. So I went to Gillette, and they hadthey were looking for a programmer analysta senior programmer analyst. CLIFFORD SCHORER: I think so. But I met a few dealers that I still know. JUDITH RICHARDS: That just gives me a [laughs] direction. CLIFFORD SCHORER: And, you know, I would never fault any of those folks for their business acumen. 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. It wasthank you for doing that." [00:16:00]. CLIFFORD SCHORER: Collection," I think. CLIFFORD SCHORER: The family, yeah. Are there any people there who sort of are the continuation? The problem is, I've always had to forget about all of the things in my path until recently. I think today the number of collectors and clients is smaller. CLIFFORD SCHORER: Islip, I think. You know, et cetera. JUDITH RICHARDS: So you had developed an interest in architecture? CLIFFORD SCHORER: This was '85, '86-ish, I think. JUDITH RICHARDS: And is there official paperwork that goes along with that? So, you know, one major painting today selling for $25 million, even though the gallery may only make a commission on it, is still more than the gallery sold in adjusted dollars in 1900. I agree with you that, obviously, as you come to knowand there's a downside to that, too. 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.". So for them to have, you know, something that is at that levelI mean, compared to broken pieces of pots, which is what the rest of the museum was, you know, broken fragments of pots and maybe some rings. Yeah. You know, buying those, buying a good, you know, a very, very good Kangxi market period piece was expensive, even then. My aesthetic was decided very early. JUDITH RICHARDS: That would mean three or four years? And I said, Oh, this is obvious what's happening. I had this library that I carted around with me on my back, so to speak, from little apartment to little apartment. I'm not opposed to the popularizers of history. CLIFFORD SCHORER: And I know, for example, Ordovas Gallery was able to do a Rembrandt and Francis Bacon show, and there I think the motivation was they got the Bacon. And the advance guard, I remember the night the advance guard came to the first Skinner auction. CLIFFORD SCHORER: these are bigger projects. CLIFFORD SCHORER: Yeah. He had eyelashes of copper. Not, Were they scientifically designed fakes made to deceive? JUDITH RICHARDS: To considering and, in fact, acquiring a partialyou were the head of a group of investors, JUDITH RICHARDS: And that's been since 2014, right? I mean, yes, of course. JUDITH RICHARDS: Do you see yourself spending more and more time in London? So, no, I didn't look to the collection to fund the next wave of the collection. So I was independent; I mean, I was independent from a very young age. JUDITH RICHARDS: You talked about the label just saying, "Private Collector." JUDITH RICHARDS: Do you speak to art historians who have. Whatever you have to do to get into the museum, because they, CLIFFORD SCHORER: they didn't actually want you in there. JUDITH RICHARDS: And issues or concerns about it, too. You know, I never thought of it as a practical way to improve the quality of the collection until recently, like until the last 10 years. So, you know, I love that. JUDITH RICHARDS: So while thesewe're talking about these early collecting experiences. Best Match AGE -- Clifford A Schorer Jr Utica, NY Phone Number Address Background Report Addresses Trenton Rd, Utica, NY Sweet Fern Rd, Stroudsburg, PA Pleasant Ave, Herkimer, NY And I'm saying, "That can't be possible. Images. They don't knowthey didn't know that the specimen was named after him. So what we had to focus on was, Were they 20th-century, or 19th-century with apocryphal marks? I mean, it just didn'tI just didn't understand the narrative. Our older colleagues might have found it charlatanism, but that's understandable. You know, that wasthat's one distinguishing factor of the firm that I reallythat I came to have great comfort from. The van that he then gave me. They didn't talk, and they weren't friendly. 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. JUDITH RICHARDS: You mentioneddid you grow uphow long did you live in the city where you were born? CLIFFORD SCHORER: That was Sotheby's New York. JUDITH RICHARDS: Wow. This was something that you were aware of. So. JUDITH RICHARDS: During these years, were you reading in that field then? CLIFFORD SCHORER: Yes. It's wonderful. [Laughs.] 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. CLIFFORD SCHORER: Yeah, it's a biggerit's a much bigger issue than myself, and that's why I'm very pleased to have Anthony and Anna on board, because they are, you know, seasoned gallerists and auction specialists and, you know, managers and people who can handle those sorts of questions. CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: I had made a resume. But it hammered down; I lost it, you know, and thought no more of it. CLIFFORD SCHORER: So I like the fact that that we're talking more about an accumulation of scholarship, diverse scholarship, that contributes over centuries to an artist's reputation. So, around that time, I had met a few dealers in the Old Master world, and I did start to either back or buy with the intention of selling, which I hadn't done before. CLIFFORD SCHORER: So the piece was mine, in my collection, and it's named after my grandfather. And so we've certainlywe've done a very strong Pre-Raphaelite program; we've done a very strong early 20th-century program; we are not really. Hasyou've talked about a lot of traveling to discover, to see things that you were going to see, destinations. So, I think18, 19, 20, in that area, I spent 26 weeks a year outside the United States. In my mind, I have a totally different collection, which is that I had unlimited funds for 25 years, and I selectively purchased the 19 works that came through the marketplace that I should have purchased. And that onethat one wasyou know, it was estimated at, I don't know, $2,000 and it made 47,000, and I'm in the checkout line, and someone I know is there who bid against me. Got straight Fs in every class for the next year. And at that moment, I decided this marketplace is basically like a rigged stock exchange. I remember he was 90 when he bowled a 300. CLIFFORD SCHORER: Flea markets in Paris. Winslow Homer. I mean, you know, that's. So they're happy to watch us fight over the garbage. It's the Dutch, rather than the Japanese. [00:12:00]. CLIFFORD SCHORER: And you know, other things happened too. JUDITH RICHARDS: Is this partly an interest in history? CLIFFORD SCHORER: Right. JUDITH RICHARDS: Let's say the deluxe model. You have to understand, I think, that at the core it's about the object for me; it's about theit's about the artwork. CLIFFORD SCHORER: Oh, boy, that's a tough one. I think that's a big story for Plovdiv. Has that been changing? Her book is in Italian. Yes. Have youyou mentioned thea committee at the MFA in Boston. He subsequently took up oil painting and produced . But I thinkand actually, in those days it was the museum up in Salem, which is the predecessor of thetoday's Peabody Essex, that had this kind of marine trade room with a lotwith a lot of things in it. But there is a long-term plan that the museum and I are talking about for the things they want to keep. Very nice man, and very giving of his time, very kind person. Without having someone who could actually be front and center, running the business, I would not have purchased the company. I enjoyed my job. It was just crazy. And you know, the American catastrophe. [Laughs.] So I got the job and I went to work there. JUDITH RICHARDS: And yet it may be private voices, and there's that conflict, potential conflict of interest, where you're lending something or donating something. Sometimes they're inverted, but almost universally they're. I walked in the office and I said, "Hi. 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. CLIFFORD SCHORER: So now there's really, you know, two sales worth attending. 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. And, you know, so I finally acquiesced. I mean, I think if youwell, I guess, in scale, Colnaghi and Agnew's were the two large players that had the large back of house. It's the same sort of, you know, psychological idea. So, you know, I did that kind of loop aesthetically, where I went from the filigree to the shadow. They invited my paleontological heroes, which they also did a wonderful job ofand I sat in the audience quietly, and then at the end of it, we came to an accommodation to create a permanent installation for the specimen, which is the largest specimen in the state. 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. I've never been to the Worcester Art Museum. CLIFFORD SCHORER: Yes. I wasI was alwaysintimidated was not really my MO. How much institutions' collecting is based on what collectors want to collect versuspossibly versus what the curators want to collect. [Laughs.]. Born on February 24 1836, he was well known for painting marine subjects. And they're outside smoking cigarettes, and they're not talking about art. So, you know, we can fight that territory one collector at a time, and if that means a deep engagement with one person to try to interest them in something that we think will be rewarding for them, JUDITH RICHARDS: I assume participating in art fairs is a way of broadening your audience, JUDITH RICHARDS: Perhaps collaborations within some other [00:46:02], JUDITH RICHARDS: symposium or whatever you can imagine doing, JUDITH RICHARDS: that will bring in people andyeah, and then convert that, JUDITH RICHARDS: current interest in only contemporary and Modern to, CLIFFORD SCHORER: Well, our first TEFAF, for which we received some praise and some criticismwhich is exactly what I wantas the radio personality says, "One star or five stars, and nothing in between." Clifford Schorer is the Co-Founder & Director at Greenwich Energy Solutions. Chief of the Investigations Division, Inspector General's Department, Inspector General's Office (Washington, DC) B ack, George Irving. Clifford Schorer and Judith Olch Richards have reviewed this transcript. 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. CLIFFORD SCHORER: All of them. So it was more aboutit was more about the business of the trade of these things. H-A-E-F-T-E-N. And Otto Naumann. Last year waswe had a three-day thing in Rome. Winslow Homer Casting, Number Two, 1894. 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. 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. So I joined that, which was a lot of fun. That'sthose are the best. It's more like I'll find a print after a painting. Armed with little more than his wits, Winslow Homer was, at 25, one of only a few artist-reporters embedded with Union troops for Harper's Weekly Illustrated. Winslow Homer Home, Sweet Home, c. 1863. CLIFFORD SCHORER: And he lived quite a bit after that. CLIFFORD SCHORER: O-C-K-X, I believe. So I audited a few really interesting courses. One is an Adoration of the Magi, and one is The Taking of Christ, so I have sort of the beginning of the story and the end of the story [laughs], which I'm very excited about. CLIFFORD SCHORER: Yeah. I love that. And usually it would be a letter at that point. So you've got another decoupling. So, you knowand the money they made is what made the Rembrandts. [Affirmative.] "Winter"A Skating Scene, published January 25, 1868. [Affirmative.]. So, you know, I hope that's really my contribution in that context. And that's actually harder than one thinks for some of the types of art I'm talking about. Or you found that going. 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. CLIFFORD SCHORER: Because the path was getting very cluttered. I mean, I think that right nowso what we did in the interim is, we did this portraiture show which brought in, CLIFFORD SCHORER: It brought in Kehinde Wiley, Lucien Freud, and, CLIFFORD SCHORER: you know, otheryou know, Kehinde Wiley's. JUDITH RICHARDS: Are you involved in creating those settings in the booths, as you described? CLIFFORD SCHORER: the natural entre into it. I tried to hire someone who came in, and we had some battle royales over everything. Winslow Homer. CLIFFORD SCHORER: Self-taught in COBOL and a few other computer languages. [00:31:59]. I do the Arts of Europe Advisory, but that's reallythey've asked me to join and do more, but because of the time commitment at Worcester, I really haven't been able to. And being a sort of mariner and obsessed with the mariners of, you know, the 19th century. JUDITH RICHARDS: You were spending more and more time involved with art as a business and as a passion. [00:32:00]. You know, bags full of them. ], JUDITH RICHARDS: You don't recall anyone educating you about how to look? [00:08:00]. CLIFFORD SCHORER: Yeah. I mean, you know, literally, and these are Constable, Claude Lorrain, you know, Millais, you know. "Oh, okay, thisall this 19th-century porcelain. CLIFFORD SCHORER: Spending more time going back and forth, yes. Beyond. Clifford Schorer, a Boston-based collector, forgot to bring a present for the party he was attending, so he stopped by a bookstore that sold collectables on . Select the best result to find their address, phone number, relatives, and public records. The mark is often apocryphal. JUDITH RICHARDS: So I'm thinking of 20th century. JUDITH RICHARDS: Restorations that are hidden? JUDITH RICHARDS: And you were still living in Boston? I would think that you did have a lust for the object, with all the objects you've accumulated. CLIFFORD SCHORER: You know, I know that. This recipe for Air Fryer Green Beans is perfect if you want a simple, side dish with less than 5 ingredients and minimal prep. JUDITH RICHARDS: to galleries was more limited? JUDITH RICHARDS: In all those years when you were collecting in the field of Chinese porcelain, did you think it wasperhaps you should learn a bit of Chinese since you're so good at computer languages? I didn't. CLIFFORD SCHORER: So, you know, there's still an auction wholesale-to-retail spread more because the presentation is slipshod and fast, and, you know, you're in a group of merchandise that goes across the counter on the same day. It's okay. So, yes. CLIFFORD SCHORER: Yes. And we'll get back to him, too. ], I mean, I remember I got it back to Boston, and it was hangingit's hanging in the photos. CLIFFORD SCHORER: And easy to walk around, and easy to spend three days there, you know. [00:56:00]. And I'm, you know, this is probablyI'm trying to think what year it is. And I remember talking about that object for months to everybody and anybody. Then I went back off to high school. CLIFFORD SCHORER: I think about a year. So today I actually have two paintings from that same series. And I said, "Well, whatever your normal process is, just do your normal process. CLIFFORD SCHORER: It was a perfect, you know, confluence of interest at the moment. CLIFFORD SCHORER: But you know, Chesterfield is a certain type of geo-politic. what percentage of baby boomers are millionaires post oak hotel sunday brunch gator patch vs gator pave white sands footprints science. They wanted to put the screaming woman in the colon or something. [00:18:00], CLIFFORD SCHORER: P-L-O-V-D-I-V. Plovdiv. JUDITH RICHARDS: When you bought that first painting, did you very quickly continue buying paintings? 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. 1:00 p.m.4:00 p.m. [00:50:00], And, you know, Anthony went through the archives and saw this material and knew the artist and apparently, you know, knew people who came to the show and thought it was an amazing show. So I didn't go back. I would have left that to, you know, others in the art market to decide whether they would do it. I mean, there wasthere was a bit of knowledge of something's not right here. JUDITH RICHARDS: Well, you still have conservation in the galleries. She was getting her start around then. You want toyou want to sort ofyou know, you want to have a completely catalogued collection, with every example of, you know, canceled, non-cancelled. How has it evolved? Came back to public school in Massapequa, Long Island, because that was the most convenient homestead we could use, and failed every class. We sold the real estate. My father got me fired. Yeah. When you're dealing with loans, and physically, the reality of the question, do you employ a registrar or an art handler or anyone like that? Anthony's family livesthey own the Isle of Bute in [. 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. 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. 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. They didn't actually want you in there. [00:28:00], JUDITH RICHARDS: What about relationships with galleries and auction houses specifically? How did that acquisition come about? CLIFFORD SCHORER: So, no. 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. JUDITH RICHARDS: You don't have the 110-foot specimen? CLIFFORD SCHORER: Yeah. He was a television actor, and now he's an attorney in the U.K., so. You know, it was wonderful. I mean, it was a field where I think I probably bought 300, 350 pieces total, and over the course of probably three and a half years.
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