clifford schorer winslow homer

I said, "I'll leave the car and I'll walk." Just one huge vertebrae specimen, yeah. CLIFFORD SCHORER: It's been a very long-term loan. Three, four months. So, you know, that was a good start and I enjoyed that. I know you read books. I'll go back to college, if they want me. A Roman mosaic. You know, from the slaves of West Africa, to the sugar, to the rum, to the plates, to the spices. I mean, I would say, JUDITH RICHARDS: You were stillyou were living in the house that you bought. You know, it was this incredibly complex. 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. CLIFFORD SCHORER: Yes, no, no, I mean, I had particular moments in cities, but, yes. So I went along with it because, you know, I thought, Okay, I'll get some [00:01:59]. 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. That are in, you know, the rarefied collectors' hands. JUDITH RICHARDS: Does Agnew's publish? 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. I took a little bit of a detour towards the pure craft in the Song dynasty monochromes, but, I mean, one must imagine that in the eighth and ninth centuries in China, they were a thousand years ahead of Europe, and to me, thatyou know, they were creating perfection in porcelain a thousand years before the Europeans even understood what porcelain was. 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. Web. And they had to water it with a watering spray gun. And it wasn't mine. It's [Nancy Ward] Neilson, Ms. Neilson. But, I mean, I can tell, you know, when yet another picture arises from a certain quarter, what we're dealing with. I've also had some crazy requests that I won't honor, you know, museums in France that want to do awant to recreate the human digestive system, and they want toyou know, they want to have thisI have a painting by [Pieter] Huys, H-U-Y-S, and it's ait's this screaming woman. JUDITH RICHARDS: I see. I collect Dutch landscapes. CLIFFORD SCHORER: sort of with art 24-7 in London because I have the gallery. ", CLIFFORD SCHORER: Because there's just crates and crates and crates. JUDITH RICHARDS: During these years, were you reading in that field then? 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. That was one thing. They have also lived in Stamford, CT and New York, NY. But Iyou know, I think there was a book out that came out around that time that was local, by Carl Crossman, this sort of auctioneer up in New England. Go to Artist page. CLIFFORD SCHORER: So by the time I was 20, I started collecting, you know, monochrome from the Song period. I'll look it up afterwards. It's fascinating to me to see the roots of sea travel that were established by that point to move these goods around at incredibly low cost. I'm very proud of Daniel. You have to let that go. He started his career as a freelance illustrator. [00:28:03], JUDITH RICHARDS: Was your business background also important to them? That [01:00:00]. Then I went back off to high school. I think not. CLIFFORD SCHORER: I'm trying to think what I'veno, what I've done is, which is interesting, is I've sort of done that kind of thing your psychiatrist advises you to do, which is I'm projecting. I hadn't ever spoken to them before, as I hadn't. 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. CLIFFORD SCHORER: Leysen. JUDITH RICHARDS: Yes. But the languages that I really learned and loved were French and the Slavic languages. There were a few deals out there where I was a partner with the gallery to back the purchase of something a little bit more expensive, and then the gallery would sell that thing, and I would get a percentage of the profit. Yeah, I haven't doneI didn'tI hadn't done that at that point. And I could actually get reasonably good examples. So, yeah, I mean, there are some instances, but those kinds of thingsso we're doing that, and obviously, we're open and exploring ideas of what the next show will be. CLIFFORD SCHORER: No, no. And Anna especially, too, on the aesthetic, of creating a new aesthetic that people do not any longer associate with the old aesthetic. [Laughs.] You know, I love that. JUDITH RICHARDS: How did that happen? CLIFFORD SCHORER: Collection," I think. CLIFFORD SCHORER: That was Sotheby's New York. It was quite a spectacle. That'syou know, those are all possibilities. Death . Directory of Profiled Business People: Clifford Schorer Schochler, Christopher - Schroeer, Jordan > Schoppers, Lynn - Schorer, Deborah > Schorer, Brittany - Schorer, Clifford > Schorer, Clifford 1 Contacts CLIFFORD SCHORER: Yes. And they probably bought it the week before, because the trade was very different back then. 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. And that had a profound impact. And now the painting hangs at the Worcester Art Museum so it can be seen, and basically, you know, after all of that gunk was stripped off, the painting that emerged is extraordinary, so we're very excited. CLIFFORD SCHORER: I consider to be respectable parameters. 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: Sobut anyway, I mean, it's. And one professor in particular became a very close friend. CLIFFORD SCHORER: And these folks were traders. Richard Dauenhauer, poet. CLIFFORD SCHORER: Yeah. ", So he called them over, and I said, "This is amazing, but why is this an antiquity? Chinese Imperial you didn't often see, you know, in a Paris shop. CLIFFORD SCHORER: I mean, it wasn't expected. It was a good job at Best Products. I liked heavy curtains. And the focus was much more British 20th century. No, I was 15 and a half. I hadyeah. CLIFFORD SCHORER: And lots of it. I mean, it wasn't really, JUDITH RICHARDS: You mean give up all your other. CLIFFORD SCHORER: yeah. But I just didn't have enough practice. So, anyway, you know, then, at some point, I fixated on the idea that maybe I would do something a little more serious in the art market. He and I. JUDITH RICHARDS: So I'm thinking of 20th century. JUDITH RICHARDS: [Laughs.] 750 9th Street, NW It was ridiculous. And so, you know, I bought a territory with a partner, and we have a territory, and basically, you know, we go to an annual meeting, and we have a dinner with the managers, and that's ourso, in a sense, I was able to sort of extract myself from project-based businesses to at least have this background income that would support a very marginal lifestyle, which is what I live. [00:25:59]. But, you know, the other trip that really comes to mind recentlyand, again, it's in a totally unrelated field. CLIFFORD SCHORER: Renovations; purchasing a company; selling a fiber optic switchyou know, whatever it isyou know, building a shelteryou know, we do all sorts of different sort of project-based companies, and nothing has cash flow, meaning I don't sell widgets and collect the 39-cent margin on a widget, and I don't sell X number widgets a year. If you lose it for price or other matters, so be it. 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. CLIFFORD SCHORER: So now there's really, you know, two sales worth attending. So that was my 2000 [TEFAF] Maastricht, where I went away dejected but finally redeemed myself. [Laughs. Art collector Cliff Schorer recently located a missing painting by Dutch master Hendrick Avercamp after finding an image of it online on an $18 throw pillow. And they basically said, "Well then, audit any course you want." I think there are two different pieces of advice, of course. JUDITH RICHARDS: It sounds like it was athe attraction to you was partly the art and the visual experience, and the business history. He had eyelashes; he had glass eyes. [00:42:06]. And that was March of 1983. Channel Bass, 1904 Painting. It sounds, from what you've said, that you prefer a level of anonymity with your loans and your donations. And I could buy that at, you know, the auctions. L-E-Y-S-E-N. And he's also involved with the Corpus Rubenianum; he's a great charitable giver. So, it's an interesting, you know, circle. I would just go up and talk to them, and we would talk for half an hour, and I'd walk away. And not being so much in business? This is my third bite at the apple, and I wasn't going to lose it this time. JUDITH RICHARDS: And when did youbut you didn't really start buying, CLIFFORD SCHORER: No, I didn't start doing that until I was inuntil I wasI had. CLIFFORD SCHORER: Because the people I knew [laughs] when I was 17 were 60. CLIFFORD SCHORER: It was a good, you know, three or four years of financing deals that, you know, I found particularly exciting and interesting, and the paintings that we were ablethat I was able to sort of touch in an abstract way were paintings I could never otherwise touch. JUDITH RICHARDS: We can talk about that. And he was an art collector. No, no, no. CLIFFORD SCHORER: No. I'd probably be better off. And then we. He soon turned his talent to oil painting. So, to me, that was, you knowthat was my day at that curator table, where I was silent the whole time, and at the end, I just sort of put the trump card down. JUDITH RICHARDS: Mm-hmm. They just have both retired from us. CLIFFORD SCHORER: There weren'tthere weren't. JUDITH RICHARDS: Does Agnew's participate in art fairs? They may not appreciate how much I'm absorbing from them, but, you know, I'm gratuitously stealing from them. He'syou know, he sponsors museum events; he sponsors exhibitions. 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. 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. And I wasI was really kind of bringing it all to conclusion. [00:44:00], CLIFFORD SCHORER: But generally speaking, those didn't show up at most of these estate sales. And he's deceased now. And I think I needed more of a therapist than a decorator. You know, that wasthat's one distinguishing factor of the firm that I reallythat I came to have great comfort from. I'm just finding those morsels left on the trail and trying to follow them, and then that'sto me, yes, that's exciting. CLIFFORD SCHORER: So there's no more property in New York. I mean, there were many instances in smaller museums when you just said, "Look, you know, what do you need?" CLIFFORD SCHORER: So, yes. JUDITH RICHARDS: Are there any other [laughs] collections other than that? JUDITH RICHARDS: Did you buy a seat for it? CLIFFORD SCHORER: So, yeah, I think it'sI think we are scaled right now for the market we're in. Some cruder examples of earlier things from Han. JUDITH RICHARDS: You saidwhich auction was that? JUDITH RICHARDS: which will then improve the value of your own collection if you still hold it. And they're like, "Come on, please," you know, "it's important people know that, you know, the board is giving." CLIFFORD SCHORER: Hugh Brigstocke. So. 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. Maastricht, where I went along with it because, you know, you. Moments in cities, but, you know, he sponsors exhibitions involved with the Corpus ;. 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