JUDITH RICHARDS: Has your role evolved during that period of time? I would just go up and talk to them, and we would talk for half an hour, and I'd walk away. They didn't talk, and they weren't friendly. Winslow Homer (1836 - 1910) was a remarkable American painter who mastered several mediums, including oils and watercolors. JUDITH RICHARDS: When youin those early years, did you have a goal? CLIFFORD SCHORER: by the time I was 19, my business was very successful. And then we put that with a 1930s painting by [Tulio] Crali, you know, this sort of aeropittura of Modernism. CLIFFORD SCHORER: An investor, not a face to an enterprise, but awhich I still am notbut a sort of investor-backer. JUDITH RICHARDS: But you would still be in conflict. JUDITH RICHARDS: Well, you still have conservation in the galleries. 1-20 out of 147 LOAD MORE. I mean, I think if youwell, I guess, in scale, Colnaghi and Agnew's were the two large players that had the large back of house. And I don't think that a manual was consulted more than once. You know, buying those, buying a good, you know, a very, very good Kangxi market period piece was expensive, even then. You know, I electrified it when I got it home, because it was a gasit was a gas and candle, so. 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. [Laughs.]. Or you were philosophically opposed to it? So, JUDITH RICHARDS: [Laughs.] But, yeah, I mean, I'mgenerally speaking, I stop into all the galleries that I've always known, you know. [00:38:00]. I'm actually building a building in Massachusetts for that, which. CLIFFORD SCHORER: You know, why does this woman look like a skeleton? 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. I went from, you know, the Gustave Moreau museum to theor well, pre-d'Orsay, right? And I mean, when Iaestheticsmy aesthetics are a little sensitive, so I do haveI did buy a Gropius house that Hans Wegner did the interior of. And, you know, I basically said, you know, "Is there anything you'd like from me?" I mean, it happens in New York all the time for shows. 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. I mean, my family on my mother's sideagain, it's interesting. The transcript and recording are open for research. [Laughs.] You know. Is that something that you are thinking about? So, you know, as you say, you know, as we were talking about yesterday, that intersection of conception and craft. He focuses on businesses with unique ideas or technologies that are in need of guidance during their initial growth phases. I was very impressed with all of it, you know; the effort as a dealer was astonishing. JUDITH RICHARDS: Mm-hmm. previous 1 2 next sort by previous 1 2 next * Note: these are all the books on Goodreads for this author. I mean, not because it wasit was cheap. But I wouldn't have purchased the ongoing operation of the business. And she says, "Wait here." CLIFFORD SCHORER: Or related to artists that are interesting to me. They said, "If you take the car, you'll be murdered." ", CLIFFORD SCHORER: Because there's just crates and crates and crates. CLIFFORD SCHORER: Yes. CLIFFORD SCHORER: A 110-foot whale, very big specimen. I'm at a Skinner auction. CLIFFORD SCHORER: I was stillI was still interested in stamps and coins. And she said, "Well, I'd borrow the Luca Giordano from your living room," because I was closing my house up. CLIFFORD SCHORER: Yeah. This recipe for Air Fryer Green Beans is perfect if you want a simple, side dish with less than 5 ingredients and minimal prep. It's the same problem. ", CLIFFORD SCHORER: You know, I mean, "A Molenaer is more than $20,000?" 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. I mean, the number of those issues I've dealt with in only five years is astonishing. They were contemporary dealers. Clifford Schorer (1966- ) is an art collector in Boston, Massachusetts and London, England. Another gallery, a different gallery? He was born and raised in the Cambridge area, Boston, MA, and the first work he did in the field of art, was working as a print maker, in Boston, as well as in New York, which he eventually made his home in 1859. . So, you know, I love that. Those days are long over. CLIFFORD SCHORER: In the Boston area. 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. They take advice, and they build wonderful collections, and they're wonderful people, but you talk to them about things other than paintings. JUDITH RICHARDS: You had no idea when you went to Plovdiv that there would be such a. CLIFFORD SCHORER: Yeah, we have to pick our battles carefully. CLIFFORD SCHORER: Bless you. CLIFFORD SCHORER: Yeah. It just wasn'tI mean until 1999when, unfortunately, the auction houses forced me to come out of the closet, thatthat's really the only time, you know, when the Christie's and the Sotheby's, when they became so socially engaged with me, and they were trying to drag me out, you know, that they werethey were seeing a younger person buying things at a sale, and they wanted to know who they are, and what theyyou know, they're doing market research, and in their market research, they want to drag you to a dinner and plop you next to the ambassador and, you know. CLIFFORD SCHORER: Mm-hmm. That's the [laughs] sort of Latinate spelling. No, no, theyI mean, but they did have goodthey had the head of Unum Provident Insurance. [They laugh.] JUDITH RICHARDS: Or acquire specifically in conversation with a museum curator for the institution. [00:32:05]. CLIFFORD SCHORER: In Provincetown. He and I. [00:31:59]. It's Triceratops Cliffbut this is entre nous. [00:02:00]. And of course, my fear about doing this as just a simple risk-taking exercisemy fear has proven to be well-founded but measured, so it's something I could wrap my arms around. CLIFFORD SCHORER: Whatever you want to do, it's fine. CLIFFORD SCHORER: That started 14 years ago, or 10, 12 years ago. Suite 2200 Hurricane, Bahamas, 1898 Painting. The name is the same, unfortunately, so people know who it is. I'm also sendingwherever there is some scholarly interest, I'm sending them out to museums, so that somebody puts a new mind on them, puts a new eyeball on them. I mean, everyone knew that it was, you know. He started his career as a freelance illustrator. Or you were intimidated about going to the museum? My great-grandfather, when I was around eight or nine years old, gave me a Hefty trash bag with 80,000 postage stamps in it and said, "Sort these out." Ry * STREET LIST MANSFIELD, So. JUDITH RICHARDS: Is this partly an interest in history? You know, there are sort of monographic shows of sort of the unsung heroes of art history that I'm very excited, you knowwhen Maryan Ainsworth did the [Jan] Gossart show at the Met, you know, those kinds ofthe Pieter Coecke van Aelst tapestry show with a few paintingsthose kinds of shows are always extraordinary for me, you know, the things that not everybody is going to go see, but that, you know, obviously, it tells a story about an unsung name who may have been either the teacher of someone who went on to achieve, you know, sort of, international fame, or the originator of ideas that became part of our [00:24:14]. We should close the museum tomorrow and give everybody that walks by on the sidewalk $400 and just call it a day, because that's what the budget is. I used to go to TEFAF all the time. JUDITH RICHARDS: You talked about the label just saying, "Private Collector." So, you know, we met, we discussed it, and it was far more complex than I thought it would be. So it was sort ofyou know, it was sort of an early-days discussion. 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. And we've obviously done a lot of work on our Pre-Raphaelite exhibition, which was kind of a protractedwe did, basically, a two-year Pre-Raphaelite fiesta, with lots of publications. I mean, I wasyou know, I had negative $8,000 to my name. [00:08:00], CLIFFORD SCHORER: So he would've comehe would've come into America then, and didn't speak English becausefrom what I could tell, his English was a second languageand then became an engineer. We maintain the photographic backup to all of that so that we can research individual paintings in the photographic archive. It was very much a medallion hang, very old-fashioned. CLIFFORD SCHORER: So, Russian and Bulgarian. I think I was a substitute hitter that day, sobecause I think they had somebody else lined up who couldn't make it. 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. JUDITH RICHARDS: Was that because you didn't know that they would be able to teach you something? JUDITH RICHARDS: In those yearsso we're talking about your teens and maybe early 20s. JUDITH RICHARDS: What kind ofdo you have any plans or ambitions or goals about collecting in the future? JUDITH RICHARDS: Climate-controlled art storage? And if I understood all those things, and we had a yes, then they had my money, but otherwiseso, for them, I think often, you know, I was not the first choice. CLIFFORD SCHORER: I wouldn'tI would probably never acquire another gallery, because that wouldI mean, I think I would probably be more of a financial investor in other art businesses, potentially service businesses. JUDITH RICHARDS: So they were very strict with provenance restrictions. So, yeah. JUDITH RICHARDS: When you say serious, you mean in terms of business? [Laughs.] No, as a matter of fact, I mean, obviously, we have great respect, and we like the feeling of our gallery in London, and wherever possible, if we can show a painting in kind of our home, you know, bring people into the living room and have the painting on the wall and sit down in front of it and talk about it. I wasyou know, I was very much on my own. So, you know, they were generally illustrated. CLIFFORD SCHORER: No, no. You know, bags full of them. Select this result to view Clifford J Schorer's phone number, address . But anyway, no, I mean, you know, it was the good old days. 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. Walk away number of those issues I 've always known, you know we... 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