clifford schorer winslow homer

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. I mean, sure. CLIFFORD SCHORER: So I went to a boarding school, and then I went to live with my grandparents, who had moved by that point to Virginia. It's actually, you knowit's the kernel of what you do as a collector without the headache of the aftermath. And I found it; it was an ambassadorial gift to the Spanish ambassador, and found the exact painting and everything. View Details. 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. He had that very sort ofhe had an idea about using modern architecture in all his buildings. And I mean, he didn't speakI don't think there were too many words spoken about much. And I knew those as pivot points in the history of the world. My maternal grandfather was dead by the time I was born. JUDITH RICHARDS: Wow. And I went down there to go to my old cube [laughs], and it was still there. CLIFFORD SCHORER: No, I'm not that interested. ", So he called them over, and I said, "This is amazing, but why is this an antiquity? Metal. And then, you know, I appreciate it; even if they don't know who I am, I appreciate it. And all, you know, Hungarian and Germanit was mostlyhis world was primarily German, Austro-Hungarian, and all the occupied territories from the First and Second World War. It'swhy embarrassment? And, you know, hopefully not in my areas of expertise they were making discoveries. JUDITH RICHARDS: because of these paintings? I would say by theI would go to the library and I would read all the Sotheby's and Christie's catalogues, because they had a wealth of information. Yes, before that, I was not actively selling anything, because the problem is, the things that you buy that are your sort of orphan children, you often can't sell them to the workhouse for very much money, so they're not going to produce much in terms of the next purchase. You know, we don't provide client services the way that the firm did back then. And, you know, obviously, I've been concerned about the state of that scholarship, which I think of late has been very much slanted towards the marketplace. CLIFFORD SCHORER: Whenever possible, I would go to a regional museum, too. But the languages that I really learned and loved were French and the Slavic languages. Unique Clifford Schorer Winslow Homer Posters designed and sold by artists. CLIFFORD SCHORER: Jim Welu. CLIFFORD SCHORER: I had made a resume. It took till 2011 to finally redeem myself [laughs] from that failure to buy the Ricci on the spot and decide to walk around and think about it, which was my biggest mistake ever. And they didn't hire me as a senior programmer analyst, but they did hire me as a programmer analyst. So I went to the booth, and I talked to them about the Procaccini, and they didn't know who I was, and I basically wanted to keep it that way. October 16, 2020; Beef And Broccoli. So there wasn't any collecting going on at that point. And we'll get back to him, too. So they're happy to watch us fight over the garbage. And that had a profound impact. And made their own discoveries. 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. I mean, there's so many things in New York. At some point. So if Anthony says, you know, "We've got this great work"if he came to me tomorrow and said, "I've got this masterpiece by Rubens that we can buy," it would break my heart, but I would understand that, you know, despite that being a lifelong goal is to have that picture, I understand that that's going to have to be offered through the gallery, and that I'm going to have to be hands-off, which is why it's best just to simply pause in the collecting. CLIFFORD SCHORER: each moment that I hit upon an artist's name that I didn't know, I would go off on another tangent. No, I neverI mean, I alwaysI mean, the problem is I'm a jack-of-all-trades and a master of absolutely nothing. American artist Winslow Homer (1836-1910) the self-taught master best known today for his scenes of nature and the sea got his start as one of the "special artists" of the Civil War. The galleries in New York are closing that sell old art, because they're retiring. But no, I mean, I can'tI didn't think it was a subjectI understood that it wasthese were products made for the export market. 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. I mean, a real Reynolds. JUDITH RICHARDS: So they were very strict with provenance restrictions. 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. CLIFFORD SCHORER: So, yeah. So. I like to go back and forth to Paris. 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. And if you can't get more than 20,000 people in here, you've got a serious problem. Ry * STREET LIST MANSFIELD, But you know, obviously, I thought it was really fun to be there at that moment, that particular moment. That are in, you know, the rarefied collectors' hands. You know, it's extremely interesting. JUDITH RICHARDS: How long were you at Gillette? [00:14:00], So the little paintings on my Chinese export porcelain, the engravings on the Columbus series of stamps, theyou know, all of those things, all of those, you know, progressing all the way up to, you know, big, narrative, allegorical paintings of the Baroque: those are all this kind of marriage of conception and highly skilled craft. Again, knowing that that is a skill set that I will never possess, and that as close as I can ever get is to collect something. On either side of her are her younger brothers, Maurice and Arthur. 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. But yes, I did bring in a professional for a while. As a young man, he was apprenticed to a commercial lithographer for two years before becoming a freelance illustrator in 1857. CLIFFORD SCHORER: Yes. I wanted somebody who had been in the market for a long time, who had great relationships with people, that sort of thing. CLIFFORD SCHORER: too much of a philistine, but obviously economics play a role in my thinking when Ilet me rephrase it, so that I seem less a charlatan. [00:02:00]. Yeah, to me, and I was excited, so excited. CLIFFORD SCHORER: You know, selling a 50,000 work when you have 800,000 in overheadif you're on a commission basis, you have to sell a lot of 50,000 works. And I was just, you know, I was a rebel. I mean, he and I did engineering projects from the age ofage 11, he would give me. JUDITH RICHARDS: Is it just the two of you doing this major part of the work? I've got some French examples. So what I'm trying to do is take a very hands-off approach to the sort ofany cash flow that goes into the business is reinvested in the business, which helps us to be able to buy better stock and do different things, and that might give us a slight edge over some other galleries where their owners need to provide their lifestyle from the income. And, you know, we were talking yesterday about the Museum of Science. It has a lot of history; it has a lot of business that it's done. [Laughs.] I mean, you know, he opens the drawers of his metals, and we pull them out, and, you know, it's a great experience. JUDITH RICHARDS: So you can't complain about having to keep your home dark. And then I realized, you know, I'd read the name Worcester Art Museum, like, here and there, and I've always logged it in the back of my mind like, Oh, this must be some old collection from New England that, you know, has a few good things. 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]. JUDITH RICHARDS: [Laughs.] There were interesting stories in those paintings. Once the stock reduces by half add in . Yeah, short answer is, we like a schedule of art fairs to just basically move us around geographically. CLIFFORD SCHORER: Early 20th-century British and Continental. You know, sure, there is an accumulation of thinking, but the goalmy goal sort of long-termhas always been to find better and better and better things. CLIFFORD SCHORER: Mm-hmm. I mean, you know, recently we did some work on Joseph Wright of Derby, and Cleveland bought our Joseph Wright of Derby. Not at all. I can't remember that. CLIFFORD SCHORER: No, they close rooms. 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. 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: Yes, some incrediblethere was an estimate of the marketplace, half a million paintings, and the paleontological specimens of that scale are four, five [laughs], yes. And, you knowand I sent them a commendation letter afterwards. I've been invited to a few other things, but it's really a question of, you knowmy geography is such that I'm not usually in the neighborhood at the right moment. JUDITH RICHARDS: Thinking about your non-business interests? But I think that I'm not willing to roll that roulette wheel. I mean, I don't obsess over, you know, things that I consider decor in a way. Remove the beans from the wok. I was in the running, and I lost it marginally. I've never been to the Worcester Art Museum. They were very, very strong. Periodically, they'll have them here in New York when theythey'll have a dinner with the Belgian ambassador, and they do this sort of thing. [Affirmative.] They didn't have any more endowment. 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: I mean, I think that, in general, they just wanted an opinion. The shareholders did very well by the real estate, but the business, by that point, was, I think, sort of put on the back burner after 2008, then when they didn't have a premises, they built themselves a new and rather expensive rental premises, and the rent and the costs there were quite high. CLIFFORD SCHORER: that's fair. I started my new company. Having old art in New England is not the easiest thing, because of humidity control, which is almost impossible. Nine times out of 10, they would have been in the Albertina or in the Met or in, you know, fill in the blank. JUDITH RICHARDS: An investor rather than a conductor. The US family who owned it believed it was a 20th-century reproduction. CLIFFORD SCHORER: Whatever you want to do, it's fine. So back then, you know, we were in. 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. Yes. 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. CLIFFORD SCHORER: I mean, you're notI'm not going to be able to use the museum to improve my third-rate Old Master by donating my first-rate Old Master and saying, "This comes from the same collection." And I'm thinking, Who are these people? You know. That's all. CLIFFORD SCHORER: It's been a very long-term loan. JUDITH RICHARDS: But what about the issue of who do they actually belong to, and do they belong to the culture, the local museum? CLIFFORD SCHORER: That is from my paleontological collecting. Your perspective is unusually broad, at least it used to be. Our older colleagues might have found it charlatanism, but that's understandable. 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. And I said, you know, This is [00:18:02]. Take me through." So it would have been a matter of, "If you're not available to me, that's fine; I won't do the project." I mean, I'm still waiting for the great Quentin Matsys show. It was sort of the bookends of the exhibition. CLIFFORD SCHORER: Yeah. I mean, you know, that's. JUDITH RICHARDS: Do they focusexcuse my ignorance. 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. And I remember talking about that object for months to everybody and anybody. I think that's a big story for Plovdiv. JUDITH RICHARDS: And most of the people bidding at auction in those days were the wholesalers. [Affirmative.] Yeah. I'm trying to think where else Iand I traveled all over Eastern Europe during the communist period, so I spent a lot of time in Eastern Europe. [00:34:00]. So, you know, we met, we discussed it, and it was far more complex than I thought it would be. I mean, I. [Laughs. CLIFFORD SCHORER: No. JUDITH RICHARDS: Can you remember key purchases you made in thosewhat you define as early years? [Laughs.] CLIFFORD SCHORER: Yeah. So he got a sense that I was a very strange human being. JUDITH RICHARDS: That just gives me a [laughs] direction. [00:38:00]. Being self taught, he practised with water colours and started his career as a commercial illustrator. I mean, I love George. CLIFFORD SCHORER: I was interested in history primarily, if I had my druthers. [00:22:00], CLIFFORD SCHORER: You'll never be done. [Laughs.]. CLIFFORD SCHORER: No, there was a dollar figure, a level. 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. The whole family went down to greet the boats, transfer the fish to their baskets, and haul the catch back up to the village. ", CLIFFORD SCHORER: You know, I mean, "A Molenaer is more than $20,000?" I don't know that I ever, CLIFFORD SCHORER: Yes, no, no, other than going there and looking at things. CLIFFORD SCHORER: it's ano, it's a part gift, part sale, and in the end, it hadthe strings that I had, they met them all, which were that they're going to do a focal exhibition on paleontology in thebecause they're doing a re-jigger of many of their exhibitions. CLIFFORD SCHORER: I had a lot of books. Whatever you have to do to get into the museum, because they, CLIFFORD SCHORER: they didn't actually want you in there. He also practised printmaking. But it hammered down; I lost it, you know, and thought no more of it. So I went down to Virginia, and I got a programming job at Best Products, which was a retailer. But I do think it wraps human history in a way that makes it exciting, but it also can still be beautiful in those settings. I mean, I have a fewI have a print from a Bulgarian art show from 1890. And then when they referred you to something else that was interesting, I would go look at that. It was Antwerp, right around Rubens's first Antwerp period. I mean, the output of those workshops was massive, massive. [00:04:06], CLIFFORD SCHORER: So the entry point at that time was sort of the 10 to $25,000 per picture, and. 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. JUDITH RICHARDS: Region, meaning New England? No, it was a Saint Frances being comforted by the angels. But, I mean, I can tell, you know, when yet another picture arises from a certain quarter, what we're dealing with. 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 . And, you know, obviously, we also value our clients; we work with our clients. Her book is in Italian. 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]. And, JUDITH RICHARDS: This little shop, was it going to be in New England, in London, CLIFFORD SCHORER: I had no idea. 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. So, you know, those are very exciting moments. 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. I would just go up and talk to them, and we would talk for half an hour, and I'd walk away. But, but then, you know, many, many years later, basically, it was all dissipated. And, you know, there's a lot out there that I don't know and that every day we have to learn about. It's the Dutch, rather than the Japanese. You had to reallythey had to see you a lot before they would talk to you. Plot #10205011. Have youyou mentioned thea committee at the MFA in Boston. [00:16:00], You know, she was waving me away. And just, you know, wander around and pull books. previous 1 2 next sort by previous 1 2 next * Note: these are all the books on Goodreads for this author. CLIFFORD SCHORER: Yeah. I think there are two different pieces of advice, of course. JUDITH RICHARDS: Yeah. I'm at my office; I'm looking the Strozzi up, and I see Worcester Art Museum, and then it dawned on me, Wait a minute, they also have that Piero di Cosimo. So, no. Clifford Schorer says the painting was used as security for a loan and that he is now entitled to it, the Blake family having failed to make a claim in a US court. And then, you know, you may 10 years later find that Molenaer is worth five, or he's worth 500. In A Fishergirl Baiting Lines (1881) a young fishlass is shown baiting . CLIFFORD SCHORER: Well, I know the famous expression about the collection you have and the collection you have in your mind. Shop affordable wall art to hang in dorms, bedrooms, offices, or anywhere blank walls aren't welcome. I don't even know. CLIFFORD SCHORER: And what they kept domestically and what theywhat the scholars and, you know, the courtiers had domestically was of a different level. CLIFFORD SCHORER: Don't ever give me that entre. JUDITH RICHARDS: Yeah. 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. Suite 2200 And you have to do that, I think, because, again, this is a small market with limited opportunities, and you have to work very hard at the ones you have. Winslow Homer was an American landscape painter and printmaker, best known for his marine subjects. And now I think there's a very good process in place. 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. So I went to TEFAF; Hall & Knight hadthis must have been 2000had a phenomenal booth. I mean, obviously, this isthis is one approach to art history, where you would take into account [01:00:01]. CLIFFORD SCHORER: And I did start to back some. So, yes, I mean, obviously there is this interplay between the marketplace and the art historical importance. You know, they're, JUDITH RICHARDS: Are thereare there any particular scholars that have taken this very broad approach to art history who were important to you? I can't play anymore. JUDITH RICHARDS: They don't have school groups or something? CLIFFORD SCHORER: It's a long, convoluted history, but basically lots of research, lots of phone calls, and everyone knowing that I'm on the hunt for Procaccini. And then the real estate. But has there been an increase in some competition, or the alternative?

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