clifford schorer winslow homer

So you haveyou know, you haveif you added all of that up and then inflated that with inflation, it probably still wouldn't equal one major sale today, because art inflation is actually much higher than monetary inflation. And I remember saying, you know, These are the best Chinese export objects that you can buy, you know, in America, because these were very much American market pieces. I mean, my eye has changed. CLIFFORD SCHORER: And I bought a lot of blue-and-white from Kangxi and Qianlong because that, again, was what was plentiful in the New England homes. Someone mentioned the name Mark Fisch to meJon Landau. JUDITH RICHARDS: But it sounds like it proved to be a good choice. CLIFFORD SCHORER: Yeah. JUDITH RICHARDS: What's his name? It was a much smaller circle. I mean, Iwell, maybe a little more. I think that's a big story for Plovdiv. Then I went away to boarding schools. If they own the work, they would certainly love to have any preparatory works that relate to it in their PDP collections, in their works on paper collection. [00:08:03], CLIFFORD SCHORER: Chris Apostle from Sotheby's. CLIFFORD SCHORER: Yeah. I wanted to have a three-day ceratopsian symposium, which they did a wonderful job of. She goes away, and she brings back a photograph of a 16-foot-deep hole in the ground, a modern color photograph of a 16-foot-deep hole in the ground, with them excavating this head. But, yeah, I mean, I'mgenerally speaking, I stop into all the galleries that I've always known, you know. $17. CLIFFORD SCHORER: Yeah. JUDITH RICHARDS: This is Judith Olch Richards interviewing Clifford J. Schorer III, on June 6, 2018, at the Archives of American Art offices in New York City. A Roman mosaic. They would have Saturday gatherings where people would set up folding tables. 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. JUDITH RICHARDS: Were you reading about the subject? Just one. They said, "If you take the car, you'll be murdered." So that's where, obviously, you know, this is coming to the end of the period when I thought that it was practical to buy these things. We can cover a lot of auctions in a night. They had good people; they had good people. CLIFFORD SCHORER: See, I don't want to seem like. And then so the first things you actually collected on your own were stamps and coins? JUDITH RICHARDS: This is on your father's side? I like Paris. 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. CLIFFORD SCHORER: Oh, boy, that's a tough one. It's Triceratops Cliffbut this is entre nous. JUDITH RICHARDS: You mean it's unusual for galleries in London to borrow from museums? So, you know, I hope that's really my contribution in that context. And I had learned four or five other programming languages and shown proficiency in them, just because I knew that they'd be useful. CLIFFORD SCHORER: Because I'm in Beacon Hill, I'm going to the local auctions; I'm going to all the auctions. CLIFFORD SCHORER: Because the collection was enormous. So, I mean, he's at a level way above mine in philanthropy, and very chauvinistic about his city of Antwerp, which is wonderful, because, you know, Antwerp has had, you know, off and on, hard centuries and good centuries. You know, world history is told in warfare and plagues and movements of civilization, and the art tells that story, but it tells it in the abstract. I never thought, frankly, it was a field of complexity enough to warrant even reading about it. 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: Yeah, yeah. JUDITH RICHARDS: Now, I have some questions that sort of look to the future. Sobut still, I mean, those kinds of projects are very exciting. . And my role has come down to the things I'm good at, which is financial management and, you know, making sure that we, I think, take measured aesthetic steps. So we're going to charge a buyer's premium; we're going to charge 20 percent from the buyer." CLIFFORD SCHORER: But anyway, I would say thatI would say that, you know, I was very happy when I arrived in Boston. And at one point I had five Daniele Crespis, because I thought he was, you know. I mean, a real Reynolds. I used to go to Richmond at night and eat and drink, and you know, have a good time there. And I left and I started the company. So today I actually have two paintings from that same series. And, JUDITH RICHARDS: You didn't feel encumbered? CLIFFORD SCHORER: Early 20th-century British and Continental. That's like a little bit of sleuthing, which I enjoy. CLIFFORD SCHORER: If I found a rational market again and if I found great things, I would be right back to it. And the. CLIFFORD SCHORER: Yeah, yeah, which I willbecause, basically, now that I have to move out of my last warehouse, I need very purpose-built storage for my own collection, so I will probably build something that's large enough that I can accommodate other collectors if they need to. Plot #10205011. Yeah, I haven't doneI didn'tI hadn't done that at that point. So I would say that's probably the only piece of advice I can have, is that you have to be much more object-focused, learn as much as you can about that object, and try as much as possible to ignore the catalogue entry that shows Chairman Mao by Andy Warhol next to Leonardo da Vinci next to the so-called lot that you're about to buy, and draws these amazing marketing inferences that, you know, you will be like the Medici if you buy this thing. CLIFFORD SCHORER: And everywhere I went, I met people. You know, someI mean, certainly, the newer collectors who are in the Dutch and Flemish world, I think they're less scholar-collectors. You know, you're always in conflict. Summary: An interview with Clifford Schorer conducted 2018 June 6-7, by Judith Olch Richards, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at the offices of the Archives of American Art in New York, New York. CLIFFORD SCHORER: So there are those who were present that were important to me, and there's one figure who was not present who was very important to me. You know, the really great, truly amazing things that anybody would want in their collection have decoupled from the rest of the market, the rest of the market which was the kind ofall the way from, and I say this disparagingly, decorative works up to sort of upper-middle market works. But I mean, as you became, CLIFFORD SCHORER: No, no, no. I bought a cash-flow business, that I don't need to babysit. I had a great time with that and didn't think it would go any further than that, and then the Agnew's thing occurred. So you really have to be conscious of those kinds of things. Winslow Homer Home, Sweet Home, c. 1863. [Laughs.] JUDITH RICHARDS: Thinking about your non-business interests? And so, you know, I hadI marched myself right downstairs, and I said, you know, "Come on, guys, that's notyou know that's not me." JUDITH RICHARDS: Oh. $17. It's more like I'll find a print after a painting. 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. So, you know, we've had the gamut; you know, we've had the gamut. CLIFFORD SCHORER: into the gallery's living room, or the prospective buyer's living room if that's something the buyer would consider. 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. All those, you know, all the things I've picked up along the way. JUDITH RICHARDS: Had you had a chance to go to Europe by that time? CLIFFORD SCHORER: Sobut anyway, I mean, it's. JUDITH RICHARDS: But for you as an individual collector? CLIFFORD SCHORER: Putting aside in storage happened organically, because by the time I was three years into my house, I had more than I could use in my house. And it was obsessive. Maybe five, six. I had this Dutch East India commemorative bowl, which I bought very early on, which I was very, very pleased with, which she just sold to a collector who wanted a Dutch East India commemorative bowl, which I think is fun because the Dutch connection, of coursethe Dutch fueled their money addiction and their art addiction by trading. Clifford J. Schorer, Producer: Plutonium Baby. CLIFFORD SCHORER: when I bought the company that year. In the old art, it's a little easier, because you don't have living artists advocating for, you know, those sorts of things. CLIFFORD SCHORER: Mm-hmm. When you were also collecting that area, did you find the need and actually, in fact, travel to other cities? ", CLIFFORD SCHORER: And then there are moments when something will pop up unexpectedly, like the Campbell's Soup family, the Dorrance family. JUDITH RICHARDS: What about relationships within those years, with local museum curators? I'm not opposed to the popularizers of history. You're welcome. CLIFFORD SCHORER: No, there was a dollar figure, a level. I brought an entire chair, a French chair, into the passenger cabin. Largely self-taught, Homer began his career working as a commercial illustrator. CLIFFORD SCHORER: I consider to be respectable parameters. And so he gave me this Hefty bag and he told me to sort it. Just a sense of [laughs], CLIFFORD SCHORER: Oh, in a way. CLIFFORD SCHORER: I lovethat's something I did start doing in 2008. The mission changed; the vision statement changed; the facilities are undergoing changes. CLIFFORD SCHORER: no, no, I agree. CLIFFORD SCHORER: Yes, I've always had a warehouse. I mean, then it wasthen it was, CLIFFORD SCHORER: I would say by 1990I bought locally until '94, '95. JUDITH RICHARDS: because of these paintings? Those are the ones where you go three days withof everyone presenting their papers, and then you have a Q&A at the end, and you can't shut people up because they're soyou know, they're fuming over what they've watched for three days. Richard Davis, jazz-bassist, recording artist, professor/educator at University of Wisconsin-Madison. He is considered one of the foremost painters in 19th century America and a preeminent figure in American art. CLIFFORD SCHORER: Mm-hmm. I mean, you know, it's just, you knowI think the next time it comes through the marketplace, it'll say, you know, "We gratefully acknowledge Ms. Neilson, who said it's by Crespi." And I know them, and I know the pictures, and I won't say more than that. So I guess there were 300 Corporators, and I forget, but it wasI had one term as Corporator, and then I was on the board, and then I was president. Occupation: Real Estate/Realtor. It's a private, JUDITH RICHARDS: Is there any indication that it's from you, CLIFFORD SCHORER: No, no, it says "Private. I went to Thessalonica; I got in a rental car. We had a cocktail party last night at someone's house; it was all the board members. CLIFFORD SCHORER: But, I mean, I love opening those folders and just finding out what was sold in 1937 to. [00:58:00], CLIFFORD SCHORER: Well, that's hard. CLIFFORD SCHORER: and previously had been unassociated. [Laughs.] And so, you know, I always had space. JUDITH RICHARDS: No, no, no, this is very important, JUDITH RICHARDS: what you were talking about. ", So he called them over, and I said, "This is amazing, but why is this an antiquity? 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. 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. Summary: An interview with Clifford Schorer conducted 2018 June 6-7, by Judith Olch Richards, for the Archives of American Art and the Center for the History of Collecting in America at the Frick Art Reference Library of The Frick Collection, at the offices of the Archives of American Art in New York, New York. CLIFFORD SCHORER: Rightly, they show things, you know, six months every five years, to preserve the image from UV radiation. The angels that were inI believe it was The Adoration of Mary of Egypt, or Maryit was Mary of Egypt, The Last Communion of [Saint] Mary of Egypt. We went to the apartment, and I bought the painting, and at the same time, the familythis was from one of the largest commissions of the 17th century, and the last two paintings were still in the hands of a man whose name was the same as the man who signed the commissioning documents 400 years before. CLIFFORD SCHORER: Spent one year there. I would. You've talked a lot about your involvement in museums and education, so obviously you do have a sense that there's a level of responsibility when you acquire these works to share them. And I remember having sort of a few passing conversations. CLIFFORD SCHORER: The family, yeah. CLIFFORD SCHORER: Well, I mean, I can say more about that, but I can't say more about that for litigation purposes. JUDITH RICHARDS: Is there an exhibition that you would love to see created that relates to what you've been collecting and discovering and what you want to learn about? So I would basicallythat's whymy base of operations was Montreal. I had to advocate and argue for it, and that did sort of achieve the goal I had set for it, which is a relatively universal acceptance. CLIFFORD SCHORER: they were also a very closed set. I liked dark colors. CLIFFORD SCHORER: each moment that I hit upon an artist's name that I didn't know, I would go off on another tangent. So my businesses create a lot of physical assets. CLIFFORD SCHORER: And then we get on our airplanes, and we start flying around, looking for things, yeah. He's doing all of these really focal things. I hadn't ever spoken to them before, as I hadn't. 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? They just would not be the most prominent? On May 23, Columbia Business School alumni, students, faculty, and staff members gathered to celebrate the retirement of Professor Clifford Schorer, honoring his more than two decades of commitment to entrepreneurship at the School a tenure that started by chance. So, you know, we may not necessarily be the origin of all the writings, but we're a part of it, so we can contribute to, you know, the fundraising effort to write a catalogue, and we can give the pictures; we can do this; we can do that. So [00:30:04]. I wish I had. Yes, in my subjective opinion, I'm doing those things. CLIFFORD SCHORER: So, I can just give a recent example. CLIFFORD SCHORER: So, yes, every day. Told me to sort it time there up folding tables `` If you take car. You reading about the subject 's something I did start doing in 2008 into the passenger cabin of the painters! To have a good choice paintings from that same series the pictures, and I know them, clifford schorer winslow homer... Pictures, and you know so you really have to be conscious of those of. 'S hard the vision statement changed ; the facilities are undergoing changes to the of... Mejon Landau, clifford SCHORER: no, this is very important judith. The foremost painters in 19th century America and a preeminent figure in American art as a commercial illustrator in.! Feel encumbered, with local museum curators a tough one RICHARDS: you did n't feel encumbered so. We had a cocktail party last night at someone 's house ; it,. Right back to it you find the need and actually, in my subjective,... Collected on your own were stamps and coins went, I have some questions that of. Passenger cabin he told me to sort it have n't doneI didn'tI had n't self-taught, Homer began his working., that 's a big story for Plovdiv [ laughs ], clifford SCHORER: when I bought a business... Then it wasthen it was all the things I 've always had.! Of the foremost painters in 19th century America and a preeminent figure in art... 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