We sold the real estate. 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. I've been giving them photographs for their book of my collection of works, and I know they've been sort of on the hunt for other good photographs. 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. CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: Who had the photographs, because I would never have believed that was an antiquity. 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 that was my 2000 [TEFAF] Maastricht, where I went away dejected but finally redeemed myself. I was likethis is incredible. 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. World War II. CLIFFORD SCHORER: They were doing that anyway. JUDITH RICHARDS: Well, you still have conservation in the galleries. JUDITH RICHARDS: Restorations that are hidden? JUDITH RICHARDS: It sounds like you had a natural eye. And so I painted one Madonna and Child with pickles and fruit [they laugh], which is the Carlo Crivelli typical. CLIFFORD SCHORER: the natural entre into it. JUDITH RICHARDS: Hello. I went to Harvard, I said, "I've got to get the microfilm for the Medici Archive." Ry * STREET LIST MANSFIELD, JUDITH RICHARDS: So you talked about what's important and what was significant art historically. You know, it was a million square feet of office furniture and miscellaneous things. CLIFFORD SCHORER: Dorothy Fitzgerald. Winslow Homer. ", I mean, one experience like that was seeing Ribera in the Capodimonte when the room where the Ribera was was closed, and so I had to negotiate with this very large Italian woman who was blocking the entrance to the room to say, "Look, I came to see that painting." And being a sort of mariner and obsessed with the mariners of, you know, the 19th century. JUDITH RICHARDS: Whichwhose painting? They were independent at that point; now they work for Christie's, and then theyactually, recently they've left Christie's; one has left Christie's and the other has as well. In every house, there are 15 of them. You have to think about tastes and the moment of your taste and whether the market is esteeming that taste at a given moment. So we both get on planes, and he goes and finds pictures in Berlin, here, there, and everywhere, and we pull together. JUDITH RICHARDS: Well, that's it. I like Paris. I'm not opposed to the popularizers of history. The circle was so small that you were sitting at a table with everybody that could be interested in that same object, at the same table, and you could actually talk to all of them. So, I hadit's an unlined painting, so I said, "Well, it's a little fragile." I've spoken to Jon a few times. 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. Yeah. I wanted to have a three-day ceratopsian symposium, which they did a wonderful job of. And you know, in those days, there were more sales than there are now. Relocating to New York, he undertook assignments for Harper's Weekly, among other journals, and enrolled in drawing classes at the National Academy of Design. 9:30 a.m.12:00 p.m. CLIFFORD SCHORER: I was interested in history primarily, if I had my druthers. Professor Schorer is a serial entrepreneur who specializes in the start-up acquisition and development of small and mid-sized companies. Winslow Homer's "The Gulf Stream" (1899/reworked by 1906) is the centerpiece of a revelatory exhibition at the Metropolitan Museum of Art. Largely self-taught, Homer began his career working as a commercial illustrator. The painting, valued at 100,000, was then handed over to Sotheby's New York for auction in May 2009.. 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. And they had to water it with a watering spray gun. CLIFFORD SCHORER: So I sold it all. And then when they referred you to something else that was interesting, I would go look at that. It's [Nancy Ward] Neilson, Ms. Neilson. Monday-Friday, excluding Federal holidays, by appointment. CLIFFORD SCHORER: Yeah. She said, "Those are the kids," meaning that's the young crowd that they get, you know, that's the 60-to-80 crowd instead of the 80-to-100 crowd. CLIFFORD SCHORER: So their largest triceratopsian specimen is mine. I know you read books. CLIFFORD SCHORER: I'm relying on smart people to tell me about things and, you know, say, Oh, this is interesting, or, This is not. And they didn't have a real understanding. JUDITH RICHARDS: An investor rather than a conductor. And they probably bought it the week before, because the trade was very different back then. So the painting ended up going to auction at Sotheby's, with a lower estimate. I mean, you read the stock books; you just are in awe that, you know, on every page of the stock book is a painting that we now know from a collection, a public collection. JUDITH RICHARDS: But for you as an individual collector? CLIFFORD SCHORER: We do. They had a large piece of real estate. My aesthetic was decided very early. ", CLIFFORD SCHORER: "We know he dropped out after two and a half years, but you want this guy." CLIFFORD SCHORER: And also, you know, there are people who make it a life's pursuit, and they put a team together and they go out every summer, and I'd love to do that, but I don't have time in life to do that, so. So I bought the picture, took it to the Worcester Art Museum. CLIFFORD SCHORER: No. JUDITH RICHARDS: When you say serious, you mean in terms of business? CLIFFORD SCHORER: But I think that, in a wayyou know, buying the Cezanne, for example; that's not a picture I would buy for my own collection, but it's a wonderful picture to tell an important art historical story, that if Agnew's can tell it really well, then someone may respond and want the Cezanne, or someone may simply want the Cezanne because they want the Cezanne. You know, by the time you're done with all of those things, youyou know, your five percent or seven-and-a-half percent commission is completely consumed, and then some. [Affirmative.] The transcript and recording are open for research. 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: Where do these wonderful symposiums take place, the ones that are so passionately [laughs], CLIFFORD SCHORER: Well, those areyou know, I'm thinking of very specific ones. Their corrections and emendations appear below in brackets with initials. CLIFFORD SCHORER: And, you know, I mean every year, the Alboni[Alessandro] Allorithe Allori that was soldthis is a good one. The art questions were Anthony's bailiwick. CLIFFORD SCHORER: Bless you. 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. But, yeah, I mean. JUDITH RICHARDS: There are new warehouses all the time, I think, going up, and there's that new one in Long Island City. [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. That I was. And, you know, from there I was able to turn more of my attention. CLIFFORD SCHORER: sort of with art 24-7 in London because I have the gallery. JUDITH RICHARDS: So you describe the place you live in Boston as not as having one work of art, right now. JUDITH RICHARDS: Just to ask a couple of basic general questions. I sold it all. I thinktime-wise, I don't think I could participate in any more. [00:56:00]. [1:02:00]. JUDITH RICHARDS: or show people the works there? It was a very protracted process. View Details. JUDITH RICHARDS: Are you meeting other collectors? CLIFFORD SCHORER: each moment that I hit upon an artist's name that I didn't know, I would go off on another tangent. CLIFFORD SCHORER: I know them by sight. I was their last call, because they didn'tthey wanted silent investors who did what they were told to do, and I was going to be an active investor who wanted to physically see the painting, who wanted to understand their rationale for purchasing it, and who wanted to understand their pricing strategy. They didn't actually want you in there. Winslow Homer. CLIFFORD SCHORER: I believe so, yeah. Then it was scientifically designed fakes made to deceive. No, no, no. I'm thinking of that period before, then I'm going to talk about the panel at the Frick, 2013. JUDITH RICHARDS: Wow. CLIFFORD SCHORER: But, I mean, I love opening those folders and just finding out what was sold in 1937 to. CLIFFORD SCHORER: that's, you knowand not even scholars, just, you know, let people enjoy them for what they are. And that onethat one wasyou know, it was estimated at, I don't know, $2,000 and it made 47,000, and I'm in the checkout line, and someone I know is there who bid against me. CLIFFORD SCHORER: Oh, boy, that's a tough one. Local fishing used both lines and nets, and the women were responsible for maintaining and preparing them for the men. CLIFFORD SCHORER: Jim Welu. This was something that you were aware of. I mean, little things, but just lots of articles, publications, and now, you know, again, contributing to the San Francisco exhibition's works. And I became first in my class so I could not go back. CLIFFORD SCHORER: Yes, andbut more than that: the artists that interest me and the types of subjects that engage me, they are broader than, I think, most collectors, because most collectors say, "I want one great Dutch or Flemish picture per year. "You want a bottle of mineral water? You know, if it rises to that levelI mean, there's an old joke about the museum world is nothing but one big conflict of interest. But that would be locally; like, if an opportunity arose, I would go; I would look; I would buy something at an auction. I'm trying to remember the estimate; I think the estimate was either [$]2 to 3 million, or 1.5 to 2.5, but it was very enticing compared to the asking price. There they prepared the fish for despatch to the fishmarket in . And I said, Oh, this is obvious what's happening. He then became a master of sketches and watercolors. I don't know if, CLIFFORD SCHORER: I don't know if I would say collecting books. Is that something that you are thinking about? So he says, "You'll be a Corporator." I had never even heard of the Worcester Art Museum. 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. florida sea level rise map 2030 8; lee hendrie footballer wife 1; 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. And that was really my main goal. [00:26:00]. CLIFFORD SCHORER: The family, yeah. I was in Prague. Because you know, thenand you understand what happens there. CLIFFORD SCHORER: I had a lot of books. So they were the cleanest book of business I've ever seen relative to the Holocaust. JUDITH RICHARDS: You don't have the 110-foot specimen? And the focus was much more British 20th century. I eventually liquidated Best Products. And I remember talking about that object for months to everybody and anybody. And I said, "Well, whatever your normal process is, just do your normal process. [Affirmative.] Largely self-taught, Homer began his career working as a commercial illustrator. I mean, which ones had merit? JUDITH RICHARDS: Were therewas it a big decision for you to become involved on that level with. But, I mean, those areof course, I'd lend for any lecture series that made sense, you know. So, JUDITH RICHARDS: [Laughs.] CLIFFORD SCHORER: So, Russian and Bulgarian. JUDITH RICHARDS: Mm-hmm. It's fascinating. CLIFFORD SCHORER: '80; I think I was class of '87 or '88. 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 I think that was to my detriment, because certainly their wisdom could've saved me a lot of time. Winslow Homer. So they're happy to watch us fight over the garbage. Quotes and excerpts must be cited as follows: Oral history interview with Clifford Schorer, 2018. JUDITH RICHARDS: Mm-hmm. I mean, certainly the little snippets of it. CLIFFORD SCHORER: Yeah, Nazi loot. And I think I needed more of a therapist than a decorator. This huge chandelier. JUDITH RICHARDS: Climate-controlled art storage? [They laugh.]. CLIFFORD SCHORER: And those worked out very well, because what I brought to the table, which I think was different from other investors they had worked with, was that I also brought very strong opinions. JUDITH RICHARDS: Do you speak to art historians who have. We had a Bill Viola exhibition of his martyrdom series [Martyrs: Earth, Air, Fire, Water, 2014] that he made for St. Paul's, CLIFFORD SCHORER: That was at TEFAF, the first time, CLIFFORD SCHORER: first TEFAF in Maastricht. JUDITH RICHARDS: Had you had a chance to go to Europe by that time? And again, I knew him, you know, to be fair, I knew him from age 80 to age 99-something. And then I would see that they would bid up to a record price, and then the next week you'd see a very similar one. JUDITH RICHARDS: You've started your own company, Bottom Line Exchange. And I thought, you know, We should buy that Cezanne, because it's one of his most Old Master-y Cezannes, and try to tie it in with [Nicolas] Poussin. Matter of fact, for a great deal of time in speaking to all three of them, they didn't know who I was. It's a photo of her, and unfortunately, there's a lot of blue hair; there's no kids. JUDITH RICHARDS: Where does that take place? Or you were philosophically opposed to it? He focuses on businesses with unique ideas or technologies that are in need of guidance during their initial growth phases. JUDITH RICHARDS: When did thisand so that's. You know. JUDITH RICHARDS: And what was Ruth's last name? He soon turned his talent to oil painting. And they would bring it to you, and that was incredibly annoying to someone with mywith my type of a brain. But I do see that I have to be conscious of the conflicts of interest, and that conflict of interest also impacts theyou know, I don't want the collectors who buy from Agnew's to think that they're getting second shot at things that I've already vetted and said I don't want for myself. CLIFFORD SCHORER: Well, the big London galleries. JUDITH RICHARDS: Mm-hmm. So because I happened to be going to all of these events, I would see the object. So [00:44:00]. 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. JUDITH RICHARDS: Is it an intended gift or. So several years later he passed away, and apparently they hadn't yet sold the Procaccini. brilliant Tibor! 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. So my mother and father divorced when I was very young. CLIFFORD SCHORER: So there's no more property in New York. Thatyou know, the sophistication of the buyer and the marketplace in Old Masters is not going to be swayed in any way by [laughs], you know, that you had something on view momentarily, you know, in a museum; because you leveraged your ego or your money, or whatever it was, they've got your picture on view. The Louvre, when it was easy to go in and easy to come out. JUDITH RICHARDS: Is this something that youthat the Worcester Art Museum had to deal with, or have they always had good-quality climate control? It's a very complicated taxation and business question, but basically, there was almost as much incentive for them to liquidate the company as there was to sell it. [00:20:00], So I'm looking at it, I'm looking at it, and I'm reading the label, and the label says it's King Seuthes III of 740 BC or something. Schorer discusses growing up in Massachusetts and Long Island, New York; his family and his Dutch and German heritage, and his grandparents' collecting endeavors, especially in the field of philately; his reluctance to complete a formal high school education and his subsequent enrollment in the University Professors Program at Boston University; his work as a self-taught computer programmer beginning at the age of 16; his first businesses as an entrepreneur; the beginnings of his collection of Chinese export and Imperial ceramics and his self-study in the field; his experiences at a young age at art auctions in the New England area; his travels to Montreal and Europe, especially to Eastern Europe, Paris, and London, and his interest in world history; his decision to exit the world of collecting Chinese porcelain and his subsequent interest in Old Master paintings, especially Italian Baroque. And then he had a very complete American collection. 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