clifford schorer winslow homer

CLIFFORD SCHORER: I enjoyI don't know. That's why, if you come to our booths today, you'll see that there are wall fabrics; there are modern interiors. CLIFFORD SCHORER: Jim Welu. I would not have looked for anyone else. We made our own paint. Schorer also describes his discovery of the Worcester Art Museum and his subsequent work there on the Museum's board and as president; his interest in paleontology and his current house by Walter Gropius in Provincetown, MA; his involvement with the purchase and support of Agnew's Gallery based in London, UK, and his work with its director, Anthony Crichton-Stuart; his thoughts on marketing at art shows and adapting Agnew's to the changing market for the collecting of Old Masters; the differences between galleries and auction houses in the art market today; and his expectations for his collection in the future. And one professor in particular became a very close friend. I wanted to have a three-day ceratopsian symposium, which they did a wonderful job of. I mean, my favorite type of symposia end with, you know, almost fisticuffs between scholars about attribution. 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? CLIFFORD SCHORER: So, oftenin that case, I would have to call up an Italian curator. Clifford Schorer is the Co-Founder & Director at Greenwich Energy Solutions. JUDITH RICHARDS: Mm-hmm. And that's a big question in the art market; you know, having the liability for everything you've ever sold coming back to say, "Wait a minute, this is a fake," or, "This attribution is wrong," or, you know [00:40:00], JUDITH RICHARDS: Or, "This is Nazi loot," and. JUDITH RICHARDS: When you had this 300-and-some-piece collection, were you displaying it in your apartment? CLIFFORD SCHORER: And then it moves to Amsterdam, you know. [00:56:02]. Without synthetic fertilizers, it's impossible to feed the human race. That was myDorothy Fitzgerald's father was my great-grandfather, who was a haberdasher in Fall River, Massachusetts, who actually was quite prominent and made quite a bit of money with a millinery and factory that made hats. And he had, you know, many, many, many layers of very valueless stamps, but didn't have the time to bother with them. We love her. I'm always the general on my projects. And the. CLIFFORD SCHORER: You know, why does this woman look like a skeleton? Hunter Cole, artist. CLIFFORD SCHORER: That is from my paleontological collecting. I mean, in those days you had stamp and coin clubs, and you would go. CLIFFORD SCHORER: which I will acquire. CLIFFORD SCHORER: Right. So I mean, you know, it's fun. Mr. Schorer is a serial entrepreneur who specializes in the start-up acquisition and development of small and mid-sized companies. The grave site of Clifford J Schorer. The reality was, it was cheap. JUDITH RICHARDS: Is that the first time you've encountered that kind of [laughs] situation? JUDITH RICHARDS: And you were still living in Boston? I wasn'tI didn't have anything approximating a cultural youth. I'm thinking that we want Agnew's to be scaled for the marketplace, and I don't think that being that large is the correct scale today. I don't know if, CLIFFORD SCHORER: I don't know if I would say collecting books. So it's extremely exciting thatyou know, and I believe 23 of the paintings are known. 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. CLIFFORD SCHORER: Yeah, they do publish, especially catalogues for exhibition and shows and things like that, yeah. And it came up for bid, and I was bidding on it, and I think it ended up pushing over [$]1.7 [million], and I was out. It was a very protracted process. But, yes, I mean, I think having a high-end warehouse where, you knowI would like to be the service provider in that equation and not the gallerist, because, to me, it'sno matter what you do, it's a clinical experience. CLIFFORD SCHORER: It is difficult for, you know, someone who's used to running a 20,000-employee, for-profit operation to come into a 160-employee museum and understand how this expenditure furthers the mission, rather than, you know, a profit model or efficiency model. I would be 16, turning 17 in that year. The Red School House - by Winslow Homer: The Turkey Buzzard - by Winslow Homer: The Veteran in a New Field - by Winslow Homer: The Water Fan - by Winslow Homer: The West Wind - by Winslow Homer: The Woodcutter - by Winslow Homer: Two Girls on the Beach Tynemouth - by Winslow Homer: Two Scouts - by Winslow Homer: Under the Coco Palm - by Winslow . JUDITH RICHARDS: Yeah, of course. I bought theI think I bought the first painting I ever bought, an Old Master painting, at one of those flea markets. Bree Winslow . I mean, who am I? [Laughs.]. 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. I mean, they'reyou know, the Corsini are known, you know, a very famous Italian family, and there was one member of the family who was an art dealer. I'm reasonably good at language, and I tried. So there wasn't alwaysthere was this idea that they werethey must have been from one commission, because they were the same size, but there was not a full knowledge of what this commission was until at least the last decade, when all these pieces came together. And then when they referred you to something else that was interesting, I would go look at that. [Laughs.]. [Laughs.] 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. And they had to water it with a watering spray gun. I remember it was very celebrated. CLIFFORD SCHORER: before that. The auction house will charge me zero." They started chatting about art, and then Mr. Phillipson mentioned. Having old art in New England is not the easiest thing, because of humidity control, which is almost impossible. I was there, and it was fun, and it was interesting. So then flash-forward three years, and it's back on the market again, with a slightly lower estimate this time. JUDITH RICHARDS: Wasare those kinds of panels very useful to you as a collector, let's say, if you were in the audience? And, you know, we can cover a lot of ground. I knewI knew that Best Products, 18 hours a day in front of the screen, wasn't going to be my long-term plan. It was called the Professors ProgramUniversity Professors Program. CLIFFORD SCHORER: Sure. CLIFFORD SCHORER: You know, there wereI would say. JUDITH RICHARDS: So they were very strict with provenance restrictions. 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. So back then, you know, we were in. And they basically said, "Well then, audit any course you want." Right now I'm down to one 40,000-square-foot building. The Rubens House, the Frans Snyders House, the Rockox House. And there's no further I can go. CLIFFORD SCHORER: No. So I came to that same point, that same impasse, in stamp collecting, where, okay, I have every single U.S. issue, except for these 27. Those days are over. So that kind of closed that circle, but. [Affirmative.]. I ended up going to Boston University in a program that they created for, shall we say, eccentric-track children. Now he stands to get rich off it. JUDITH RICHARDS: You mean you went down at 15? It was justmy grandfather would look at something and understand intrinsically what it needed to do, and what the tolerances needed to be. Now, we have to be very responsive if that changes. [00:22:00], CLIFFORD SCHORER: You'll never be done. So, you know, I hope that's really my contribution in that context. So, I mean, I rememberI remember buying that because I thought it would be a good decoration. [00:04:06], CLIFFORD SCHORER: So the entry point at that time was sort of the 10 to $25,000 per picture, and. I lasted six months. [Laughs. But in general, we're not [laughs] going to be the maker of manners in that conversation. But I think that would bleed money away from my other, more serious interests. I've spoken to Jon a few times. [00:06:00], JUDITH RICHARDS: You've talked about competition a bit; in fact, in a very knowing way. And we would oftenyou know, we would find that in even a five-word conversation we understood what each of our aesthetics was and, you know, how we felt about different things that we were potentially going to bid against each other on. [Laughs.]. CLIFFORD SCHORER: I had made a resume. JUDITH RICHARDS: Could anything be done? JUDITH RICHARDS: What about relationships within those years, with local museum curators? Then they have these mosaics from Antioch. CLIFFORD SCHORER: That would've been a little bit early. They had good people; they had good people. You know, they were a very large shop. 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. And the problem was my upbringing hadn't prepared me to be a child. CLIFFORD SCHORER: and previously had been unassociated. So that made it, you know [00:06:00]. I don't know how many there were that were unsorted. So [00:30:04]. The Spanish state effectively seized one of them, and I got the other one, so I got an export license for the other one. At some point. That'sI thinkwe're there now at the end of our, whatever, 10-year plan. JUDITH RICHARDS: Is there anything else you want to talk about in terms of future aspirations? And, obviously, I can continue that when I put something on loan by going into the room and listening to people talk about it, you know, and that adds to the experience around the art. Do you have all your collections in a database, or what kind of inventory do you keep? [Laughs.] You know? For example, I am a big fan of [Giulio Cesare] Procaccini. Winslow Homer Biography. So he came for the opening. [Laughs.]. [00:26:00] And not only the real deal, but it was the genesis of seven other copies that have all been variously considered either by van Dyck or byyou know, one is in Hampton Court; one is in the Hermitage. It got out of hand, and I made a concerted effort to say, you know, "I have to scale this down, because if I fall down dead tomorrow, someone's going to have, you know, I would say, a William Randolph Hearst-scale cleanup to do. So things would end up in boxes. So, JUDITH RICHARDS: [Laughs.] JUDITH RICHARDS: So I'm thinking of 20th century. Available in a range of colours and styles for men, women, and everyone. I remember these place names. The whole family went down to greet the boats, transfer the fish to their baskets, and haul the catch back up to the village. JUDITH RICHARDS: Okay, justI suddenly wasn't hearing the mic. I mean, thatand also, you know, when you getwhen you go to the Old Master market, if you really want to focus on something, you really can't go to any tertiary auction houses. JUDITH RICHARDS: Do you speak to art historians who have. And you know, we just spoke the other day. I knew that they had good examples of certain things. [00:25:59]. And to have somebody really sort of advocating, you know, going to bat for them the way he does, you know, with the Corpus Rubenianum especially, but, you know, with everything. Antwerp in 1600 is a pivot point in the history of the world, and the art is a 90-, you know, at least a 45-degree turn, with the advent of the Rubens workshop and even his teachers: Maerten de Vos, CLIFFORD SCHORER: and, you know, the predecessors. 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. [00:12:00]. So, you know, it's the conversation at the cocktail party, I suppose [laughs], but, you know, maybe not the cocktail party some people want to go to. And that risk is that that day, that buyer is not in the room. [Laughs.] CLIFFORD SCHORER: Oh, I've alwaysI don't know. So, I hadit's an unlined painting, so I said, "Well, it's a little fragile." 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 think that was to my detriment, because certainly their wisdom could've saved me a lot of time. My father got me fired. CLIFFORD SCHORER: Well, I like darkness, so that's easy. JUDITH RICHARDS: Is that similar tois that situation similar to other galleries in London that have once had 40 employees in the field and now are reduced to this kind of more focused business? Clifford Schorer and Judith Olch Richards have reviewed this transcript. You know, from the slaves of West Africa, to the sugar, to the rum, to the plates, to the spices. And that's reallythat was more of, you know, expanding the things that I could do. How have you approached conservation through the years? So that would be '83? 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? So for the average buyer, philosophically thinking about that, they think, Okay, well, I'm going to sell this, and I'm not going to pay a commission. 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. And there was one large mud sculpture of a horse on the floor in the lobby at Best Products. Just a sense of [laughs], CLIFFORD SCHORER: Oh, in a way. JUDITH RICHARDS: Were therewas it a big decision for you to become involved on that level with. [00:45:59]. JUDITH RICHARDS: Can you talk about any important acquisitions, let's say, around 2005, 2010? So my businesses create a lot of physical assets. And I left and I started the company. I said, "Well, you know, that's exciting news." JUDITH RICHARDS: Mm-hmm. CLIFFORD SCHORER: yeah. You know what I mean. You know, et cetera. ], JUDITH RICHARDS: Going back to putting your hat on as a collector, what would you sayif this is relevant to youis the most important piece of advice that you received about collecting, and, in the same sense, a piece of advice you would give someone who was starting out? 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. It was sort of the bookends of the exhibition. So. JUDITH RICHARDS: Just that it's private. So, yes. JUDITH RICHARDS: So that was really interesting and enjoyable, JUDITH RICHARDS: to learn what was entailed in. It didn't matter to me at all. 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. JUDITH RICHARDS: Have you encountered any of those with the works you've acquired? This is incredible." So you have dead artists' legacies advocating, which I think is a much easier thing to negotiate. JUDITH RICHARDS: When you say "secondary names," those are still artists who would be in museum collections? And on the other side of the equation, you know, the auction house is marketing to a buyer who's going to pay the fee, and it is going to impact your net sales price, whether you understand that or not, you know. Yeah, not so much an engraving. They had a big sale in the '80s, and just three or four weeks ago they had a sale of Dodo Dorrance, who was the daughter of Jack Dorrance, and in that sale was a beautiful Cezanne, really beautiful Cezanne. And recently, what I do is I actuallyI get involved with the construction projects for them, so I'm building their new buildings, which I love. "Oh, okay, thisall this 19th-century porcelain. I would. And I could seethere was a sense that I had that Noortman was not long for the world. I meanso I had a partner in Montreal. 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. JUDITH RICHARDS: They're based in London? Carrie Coon, actress. Schorer. CLIFFORD SCHORER: you know, my dollar would go much farther if I wasif I was, shall we say, buying at the root and not the branch. I mean, it went from, you know, plastic box in Plovdiv to now, you know, altar throne in the Sofia National Museum via the London, you know, RA show on the greatest bronzes. I don't think Ai Weiwei would have participated either. Or just the, CLIFFORD SCHORER: So, the Adoration is atis in London at Agnew's Gallery at the moment, and The Taking of Christ is in Worcester, hanging, JUDITH RICHARDS: Is that a long-term loan? JUDITH RICHARDS: You mean it's unusual for galleries in London to borrow from museums? JUDITH RICHARDS: We can talk about that. JUDITH RICHARDS: But for you as an individual collector? His paintings cover a wide range - from the Civil War to rural hamlets and a multitude of seascapes with the ocean and . And they tended to be a little unstable. JUDITH RICHARDS: [Laughs.] You know, the average home really can't take a panel painting because of the climate changes, you know, the humidity changes. But the languages that I really learned and loved were French and the Slavic languages. 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. Winslow Homer (1836-1910), A Fishergirl Baiting Lines (1881), watercolor, 31.8 48.3 cm, Yale University Art Gallery, New Haven, CT. Wikimedia Commons. CLIFFORD SCHORER: It's nice to be, you know, continental Europe for the TEFAF Maastricht and then New York for TEFAF New York. 1-20 out of 147 LOAD MORE. JUDITH RICHARDS: Did you find it fulfilling? I was traveling a lot. [Affirmative.] 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. CLIFFORD SCHORER: Or the auction houses, yeah. I think that's a big story for Plovdiv. To me, what's happened is, it's a lifestyle that maybe is going away, the lifestyle of the sort of dedicated scholar, in high, euphemistic quotes, collector who would buy one major painting per year, who would study, study, study, study, study until they found that moment, and then it would come and they would buy it, and they put it in their collection, and then they die with a 29-painting collection that's extraordinary. So. JUDITH RICHARDS: your fellow collectors? Associated persons: T Dowell, Tylden B Dowell, Tyler M Kreider, Caroline L Lerner, Paul Nelson (617) 262-0166. CLIFFORD SCHORER: But, I mean, I love opening those folders and just finding out what was sold in 1937 to. And Sotheby's purchased the company, and then Robert Noortman died literally, I think, six or nine months later, unexpectedly. CLIFFORD SCHORER: Yeah. We did a Baroque-style porcelain fireplace by a Japanese artist named [Katsuyo] Aoki, this amazingly modern, white porcelain, beautiful fireplace. So, you know, it was quite ait was quite a big disparity in age. JUDITH RICHARDS: So you moved on after about three and a half years. The transcript and recording are open for research. [They laugh.]. 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. In Chinese export, the beauty of it, to me, was there were interesting subjects in the paintings. And I said, "I wantjust let me in." So we brought those things together; we did a big show, and we borrowed from major collections. Winslow Homer Casting, Number Two, 1894. JUDITH RICHARDS: Oh, no, it's not that long. JUDITH RICHARDS: If there are any remnants? And there were some of them that were good enough to deceive the best. It's King Seuthes III. CLIFFORD SCHORER: I spentat Boston University? CLIFFORD SCHORER: Sure. CLIFFORD SCHORER: And there was a lecture going on in front of my painting, with a big group of people, and somebody talking about the Counter-Reformation. A Roman mosaic. And you know, for me, when I go back and look at them later, I can laugh at myself, you know. I was very impressed with all of it, you know; the effort as a dealer was astonishing. CLIFFORD SCHORER: And Worcester was once a city of, you know, nine millionaires, and those millionaires supported the museum. In New England is not in the start-up acquisition and development of and... ] situation purchased the company, and those millionaires supported the museum and Sotheby purchased. News., Tylden B Dowell, Tyler M Kreider, Caroline L Lerner, Paul Nelson 617... Caroline L Lerner, Paul Nelson ( 617 ) 262-0166 and everyone the works you 've talked about a... Cesare ] Procaccini could do export, the Frans Snyders House, the Rockox House I am a big,! 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