clifford schorer winslow homer

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: You know that these regional areas in Bulgaria were the places where they found the Thracian gold hoards, and then, of course, the national government took it all away from them. So, yes, something like that that comesan opportunity like that would derail any project for a period, but then we'd come back to our projects, you know. In the archive there are astonishing surprises. You know, what our task is, I think, at Agnew's is to showand, you know, we sound like a broken record, because every dealer says the same thingbut is to show that you can have that one great Old Master in your kitchen, you know, in your dining area, you know, the food still life. And if I had any role in thatthat they're now actually spending this big endowment they have to buy pictures and to buy art, that's exciting to me because, you know, there was a long period of time when the acquisitions were very modest, because there wasn't a thorough process to get a big purchase through. JUDITH RICHARDS: You said it's atthey're both at the Worcester? He is considered one of the foremost painters in 19th century America and a preeminent figure in American art. In my mind, I have a totally different collection, which is that I had unlimited funds for 25 years, and I selectively purchased the 19 works that came through the marketplace that I should have purchased. Anthony's family livesthey own the Isle of Bute in [. They said, "If you take the car, you'll be murdered." CLIFFORD SCHORER: where you sort ofyou readyou know, I've read some really interesting studies of juvenile ceratopsians and how their horn formations develop. [00:16:00]. JUDITH RICHARDS: Had you had a chance to go to Europe by that time? JUDITH RICHARDS: Which institution is she at? JUDITH RICHARDS: Mm-hmm. 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. And, JUDITH RICHARDS: You didn't feel encumbered? And Colnaghi is still extremely ambitious; I think they still have 40 employees, and, you know, their ambition may or may not be equaled by a marketplace that can sustain their ambition, but, you know, time will tell on that. So, you know. And I said, "Well, I'm not going back.". CLIFFORD SCHORER: Yeah. But certainly, it'sthere are some artists who, in a combination of craft and conception or conceit, jump off the page at me, and I say, This is an artist I want to own. So I went to Gillette, and they hadthey were looking for a programmer analysta senior programmer analyst. Winslow Homer's "The Gulf Stream" (1899/reworked by 1906) is the centerpiece of a revelatory exhibition at the Metropolitan Museum of Art. You know, obviously, I feel that way about some of the greatest Renaissance masters, but that's just not going to happen. 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 . I mean, certainly the little snippets of it. Clifford Winslow was born on month day 1917, at birth place, North Carolina, to Claude Winslow and Mary Barbee. You know, you'd spend two days there every weekend. JUDITH RICHARDS: grinding your own pigments. 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. I've spoken to Jon a few times. Yeah. Winslow Homer was a landscape artist. When you collect, does it play any role in what you're thinking about what? 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: Bless you. CLIFFORD SCHORER: I mean, I bought aand that's when I started buying paintings. You mentioned that. CLIFFORD SCHORER: If I found a rational market again and if I found great things, I would be right back to it. [Laughs.] The reality was, it was cheap. And, I mean, it's an enormous orbit. And made their own discoveries. It's a segue into theyou know, what was going on at that time. CLIFFORD SCHORER: So, yes, every day. And one professor in particular became a very close friend. CLIFFORD SCHORER: I think they have more problems now that they have more visitors, because the doors are opening and closing more, and more people means more humidity from the people. 750 9th Street, NW It was, you know, it was Rome. And I think if you're focused enough to stay on the object, you know, to think at core about the transaction with your object and not listen to all the other noise and hype and marketing and, you know, all of that, and if you can learn as much as you can about that one object you're interested in, if you lose this one, so be it, you know. And, you know, there's a lot out there that I don't know and that every day we have to learn about. I mean, it was basically, you know, not anyou know, it was like you're trying to pass the day away; you're walking around the city; and there's this building that's 40 feet wide, 60 feet deep [laughs], you know, and you go in, because it's open, and, you know, they charge nothing to go in. Was it something you had been looking for as an opportunity? I was followed by a security guardthe wholejust followed around. It wasit was a vestige of youth. And Cliff, my father, is the same name as myself, as is my grandfather. Then it was scientifically designed fakes made to deceive. 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. This exhibition reconsiders Homer's work through the lens of conflict, a theme that crosses his prolific career. I can't play anymore. Or was it a matter of opportunity, that you would look at what was out there and decide what you wanted and give. I'm not, JUDITH RICHARDS: Is there a board that you're, CLIFFORD SCHORER: The structure is executive director is Anthony Crichton-Stuart, yeah. Winslow Homer (1836 - 1910) was a remarkable American painter who mastered several mediums, including oils and watercolors. I'm also doing other things. CLIFFORD SCHORER: And I neededI needed to. And she says, "Wait here." CLIFFORD SCHORER: So their largest triceratopsian specimen is mine. CLIFFORD SCHORER: I know them by sight. October 16, 2020; Beef And Broccoli. 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. CLIFFORD SCHORER: Hands on. So I think that the understanding was there that I was going to do it, so, you know, might as well support him in that decision and then see what happens. They wanted to put the screaming woman in the colon or something. He collects in that era; he collects Antwerp painters, buys great things. So you wouldyou would certainly read all of those. But, I mean, those areof course, I'd lend for any lecture series that made sense, you know. There can beyou know, that's much more of a contemporary problem. Richard Dauenhauer, poet. JUDITH RICHARDS: When those things happen, are youbuyers at auction aren't identified. CLIFFORD SCHORER: You know, it was the right moment. JUDITH RICHARDS: in an understood way to further this. Yeah, I mean, that'sthe ones who have open doors will always have my heart. 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. Yeah. An art expert spotted it was signed by renowned American landscape painter Winslow Homer. And I was so, Oh, my God, you know, that's incredible. But there is a long-term plan that the museum and I are talking about for the things they want to keep. ", CLIFFORD SCHORER: Because there's just crates and crates and crates. Their sketches, woodcuts, and paintings showed both the . [00:50:00], And, you know, Anthony went through the archives and saw this material and knew the artist and apparently, you know, knew people who came to the show and thought it was an amazing show. So, no. But if we can say, Engage with this art on your terms. CLIFFORD SCHORER: You know, we were in the marketplace. Well, I mean, there was a collector-dealer, I think. They got the Bacon as the plum to borrow the Rembrandt. Not that my collection is that important, but even the idea that I'm sort of peeling off the wheat from the chaff in any way. I'm certain it was with Mildred, because she was very involved in all of those things. I wasn'tI didn't have anything approximating a cultural youth. JUDITH RICHARDS: What about relationships within those years, with local museum curators? CLIFFORD SCHORER: It was a little municipal museum. Let's keep that." ], JUDITH RICHARDS: The panel at the Frick, was that yourthat was in 2013it was called Going for Baroque: Americans Collect Italian Paintings of the 17th and 18th Centuries, and you served on the panel as the only private collector, or. I mean, it wasI remember the restoration process took four or five months. CLIFFORD SCHORER: Well, I like darkness, so that's easy. So we went down thereat 13, when he moved down there. List of all 147 artworks by Winslow Homer. JUDITH RICHARDS: That's how you characterize the collectors in your field now? So I would basicallythat's whymy base of operations was Montreal. You know, it's extremely interesting. So, you know, to me, I'm in awe of that ability. It'swhy embarrassment? I mean, I think that right nowso what we did in the interim is, we did this portraiture show which brought in, CLIFFORD SCHORER: It brought in Kehinde Wiley, Lucien Freud, and, CLIFFORD SCHORER: you know, otheryou know, Kehinde Wiley's. CLIFFORD SCHORER: Not long. CLIFFORD SCHORER: Yeah. I had businesses I was running to make money. However, the first thing I seriously collected as an adultso, age 17 comes, I start a company, and within six months I'm making money. But, no, I mean, it's. It was a very beautiful, 18th-century French frame on this Italian, Neapolitan, somewhat good 17th-century painting. JUDITH RICHARDS: Have you encountered any of those with the works you've acquired? [Affirmative.] He seems really smart." It was called the Professors ProgramUniversity Professors Program. JUDITH RICHARDS: Mm-hmm. I think that they're, shall we say, more demanding of one's time, so you have to be available for them, and you have to work with them more individually. [00:40:05]. But no, I mean, it's not [00:40:05]. You can have that kind of one really good Dutch picture, and you can still have your Abstract Expressionism, and you can still have a modern space, a livable space. Just feeling and looking at the objects, and. CLIFFORD SCHORER: So I still spent a lot of my timeregional auction houses, and I had expanded by then to go to the library and look at all the French auction houses. CLIFFORD SCHORER: I enjoyI don't know. I mean, I think you'll see. And I was still trying to buy, you know, what I could buy with a little bit of money in the stamps and coins world. I remember reading his book, just because it was there. [00:24:00]. And so there I found that, you know, I was able to do a very nice return on equity and do something I enjoyed and run around on airplanes looking at pictures that I wanted to look at. And the Best family, the family that owned Best Products. Well, we still have some aspects of those things, but certainly not at the scale. And I said, "I wantjust let me in." And, you know, obviously, we also value our clients; we work with our clients. CLIFFORD SCHORER: these are bigger projects. In Chinese export, the beauty of it, to me, was there were interesting subjects in the paintings. Judith Olch Richards (1947- ) is former executive director of iCI in New York, New York. So in other words . It was never conceived as sort of being able to carry, you know, a 19th-century or earlier painting. They take advice, and they build wonderful collections, and they're wonderful people, but you talk to them about things other than paintings. And there was a, you know, there was a large group, and they were giving a lecture on the Counter-Reformation and how this painting perfectly encapsulates the Counter-Reformation becauseand you fill in the blank. 9:30 a.m.12:00 p.m. It was the High Baroque of Rome. Now that decorators are not putting bad Old Masters in the living rooms of every nouveau riche house, that's not floating anymore. I said, "I stand corrected." CLIFFORD SCHORER: No, no. My father was absent because he was enjoined from being present. CLIFFORD SCHORER: One hopes. Yeah, pre-that buildingto the Louvre, to, you know. They were very, very strong. Relatives. Just one. ONE SIZE ONE SIZE 16.0cm10.8cm5.3cm ! . CLIFFORD SCHORER: and previously had been unassociated. What kind of high school experience did you have? And then if I found older ones, I'd be very excited. CLIFFORD SCHORER: Yes, absolutely. JUDITH RICHARDS: And you spent four years there? Clifford J Schorer, age 56. CLIFFORD SCHORER: And these folks were traders. You talked about improving the collection; are you continually culling and, as you buy better examples, selling lesser examples? By Claudia Roth Pierpont April 11, 2022. Select this result to view Clifford J Schorer's phone number, address . Someone mentioned the name Mark Fisch to meJon Landau. But I think that would bleed money away from my other, more serious interests. So, sure, I read, you know, whatever I could find. CLIFFORD SCHORER: Dorothy Fitzgerald. CLIFFORD SCHORER: And I don't mind living in a cardboard box. I don't want to say thatI don't want to take anything away from the scholars who do serious scholarship, because what I'm doing is really applying an acuity of eye to a question, and that's a very, very tiny aspect. So I actuallyas part of my company, I had a 70,000-square-foot warehouse, which grew to be over a million square feet by the time I quit. JUDITH RICHARDS: level of your interest. CLIFFORD SCHORER: And Konrad Bernheimer. JUDITH RICHARDS: Were you doing all this traveling on your own? CLIFFORD SCHORER: We brought back together some pictures that hadn't been together since the 1870s. I could see the entry drug of drawings is one that I probably never would have left, because it'sthat's actually a little broader a field. But I was definitely a museum-goer. [00:24:00], JUDITH RICHARDS: I guess being a donor or being a supporter or being involved in a patron's group of any sort that would put you in contact with other like-minded. I was very impressed with all of it, you know; the effort as a dealer was astonishing. So I would go up to Montreal, live there for a little while, and come back. JUDITH RICHARDS: What year would that be? So I had actuallyI was doing something which, in hindsight, was very foolish. I'm thinking about, you know, acquiring things that add some je ne sais quoi to some exhibition that's coming up, or that. CLIFFORD SCHORER: And easy to walk around, and easy to spend three days there, you know. So, you know, yes, of course, that's always a problem. CLIFFORD SCHORER: It's a loan, yeah, yeah. But you know, obviously, I thought it was really fun to be there at that moment, that particular moment. [00:42:00]. You have to go to the source. I think we're right-sized for the moment for the market. CLIFFORD SCHORER: Yeah. As you say, this aesthetic experience or, you know, the cultivation of the eye or a satisfaction of the eye. It's oftenit's often not of the period. You know, the Scheldt silts up in Antwerp and ruin comes upon the city. CLIFFORD SCHORER: Oh, I've alwaysI don't know. The marketplace has sort of moved away from providing them a platform for that, because there weren't enough of them. CLIFFORD SCHORER: You know, I mean, I love lending things, and I have a lot of things on loan, and I would like to do more of that. CLIFFORD SCHORER: So I don't want to really have things that can be damaged by other people's negligence, so it's just better not to do it. JUDITH RICHARDS: or any of that sort of stuff . So my father was encouraged by that, and sort of dragged me on a little field trip to Boston and took me around to the colleges. And at that moment, I decided this marketplace is basically like a rigged stock exchange. My partner and I were going through Plovdiv, and I went to what used to be the Communist Workers' Party headquarters in town, which is now kind of a little makeshift museum. 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