clifford schorer winslow homer4/4 cello for sale

So, yeah. 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. JUDITH RICHARDS: Have there been any surprises that you've come across in terms of this, being involved as you are with Agnew's? CLIFFORD SCHORER: The audience who is evaluating, you know, the merit of a Kangxi, you knowyou know, a vase or whatever. They were contemporary dealers. CLIFFORD SCHORER: Mm-hmm. JUDITH RICHARDS: Because how you define a collection and the price point? He just built, I think, the first public museum in Antwerp. I mean, I didn't specifically go to try to find the dealer who made a market in Chinese in Paris. 9:30 a.m.12:00 p.m. [00:38:00]. JUDITH RICHARDS: Were therein that fieldbecause I don't know the field very wellis it difficult tois itare there issues of fakes? So they were the cleanest book of business I've ever seen relative to the Holocaust. JUDITH RICHARDS: Were any ofso these travels weren't anyweren't specifically about collecting? And knowing, of course, that, you know, in a way, sort of on day one, my business challenge was to take a business that was burning, you know, [] 8 million in losses, and flip it off instantly and reopen it as a business that would basically break even or make money, because I was not in the business of buying a company simply to continue the legacy losses of the previous ownership. JUDITH RICHARDS: You talked about "everything." 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. I don't know that I ever, CLIFFORD SCHORER: Yes, no, no, other than going there and looking at things. You know, when you happen to be at the moment when something is coming out of the ground [00:22:00]. And so, you know, now that I see they're buying great things, they're talking to people I know about pictures I know, about things I know about, and that creates an inherent conflict. CLIFFORD SCHORER: In the Boston area. JUDITH RICHARDS: Could anything be done? Someone who was the inheritor of this property was in the room as well at the back of the room. 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. CLIFFORD SCHORER: And Worcester was once a city of, you know, nine millionaires, and those millionaires supported the museum. Yeah. I worked very hard on the programs. And that's the absent member of the family that had a great influence. But I think that if there's any way you can filter out the noise of the marketplacebecause the noise of the marketplace is just a cacophony now compared to when Iyou know, when I was first starting. They have also lived in Stamford, CT and New York, NY. So do you have a plan that will stipulate, CLIFFORD SCHORER: Yeah, I recently did an estate. CLIFFORD SCHORER: So by the time I was 20, I started collecting, you know, monochrome from the Song period. My role was in figuring out the real estate problems that the company had, the finance problems that the company had, the management issues that the company had, but not the art questions. But I did buy things that were interesting. JUDITH RICHARDS: You were spending more and more time involved with art as a business and as a passion. JUDITH RICHARDS: Did you acquire any friends? JUDITH RICHARDS: people educating you in some way about the field? CLIFFORD SCHORER: Yes. So, you know, I love that. 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. So I went to Spain, and I tried to buy both of the remaining paintings. And by 13, I thought I had no business in school, which is why that sort of very constricted environment up in New Hampshire was tough for me. It really had damaged the reputation of the picture. [Affirmative.] That's like a little bit of sleuthing, which I enjoy. So, yes. Prep the spring onion by cutting the white part, the middle part and the green part and keep them separately. CLIFFORD SCHORER: So where some of the other investors may have made a very small return because theytheir gains were diluted by the lossesI was very focused on, you know, "I want this painting and this painting and this painting." Richard Davis, jazz-bassist, recording artist, professor/educator at University of Wisconsin-Madison. And, you know, for example, Anthony decided he wanted to do a Lotte Laserstein show. Of course. CLIFFORD SCHORER: My father was a businessman. CLIFFORD SCHORER: Johnny Van Haeften. CLIFFORD SCHORER: They would be artists that might be in storage and, CLIFFORD SCHORER: No, I mean they would be on the walls in some collections, and they might not be considered by art historians to be sort of the key figure of the movement, you know. 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. So I had finished all this. ", CLIFFORD SCHORER: You know, I mean, "A Molenaer is more than $20,000?" JUDITH RICHARDS: Let's say the deluxe model. 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. Of the blue-and-white, and the highly decorated, sort of the Qing period stuff, that's all gone. So they had had merger discussions in the '70s to merge the institutions, and the Higgins finally ran out of runway. JUDITH RICHARDS: Does it say "Anonymous Donor" at the museum? No, I neverI mean, I alwaysI mean, the problem is I'm a jack-of-all-trades and a master of absolutely nothing. Had you been involved with other institutions before then? I'mI went to the MFA, you know, maybe a year and a half ago, and I have a major picture on view in their Koch Gallery. So I audited a few really interesting courses. $17. 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. And so he gave me this Hefty bag and he told me to sort it. CLIFFORD SCHORER: If I found a rational market again and if I found great things, I would be right back to it. 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: Is there any indication onit's a loan. I mean, which ones had merit? JUDITH RICHARDS: Yeah. And at one point I had five Daniele Crespis, because I thought he was, you know. I'm certain it was with Mildred, because she was very involved in all of those things. We put it on a trailer. This isto me, this is one of the great paintings of Procaccini. CLIFFORD SCHORER: that'sso, and I'm getting there. CLIFFORD SCHORER: managing their affairs. So I was independent; I mean, I was independent from a very young age. CLIFFORD SCHORER: that's fair. JUDITH RICHARDS: Are there any other [laughs] collections other than that? No, no, no, I will. But I think it was just muscle memory at that point, so. You know, because she died in this plague. He says, "No, I didn't." CLIFFORD SCHORER: and we put a Reynolds. And just, you know, wander around and pull books. So that was my 2000 [TEFAF] Maastricht, where I went away dejected but finally redeemed myself. [00:10:02], JUDITH RICHARDS: When you started out in this field, did you have a general sense of where you wanted to go? I mean, I'm doing the floors in my new buildings. So, no. I mean, I know it's an exciting moment; you start a business. CLIFFORD SCHORER: I have a brother, a younger brother. CLIFFORD SCHORER: So, to me, that was that was very exciting. They were able to sell the parts of the collection that were not museum-worthy, but they raised a tremendous amount of money. It was amazing. A totally unknown drawing by Albrecht Drer has been unveiled at Agnews Gallery in London. And unfortunately, I mean. A picture should not reappear three times [laughs] on the market. JUDITH RICHARDS: Was there a particular person who was your mentor? And then it would've been'87 would've been the class that I was coming in. JUDITH RICHARDS: Oh, you were living with your mother? [Laughs.] Generally speaking, the book presentations are in Antwerp. JUDITH RICHARDS: But timewise, was that the beginning of your starting to explore that area? Winslow Homer (1836-1910), Fisher Girls on the Beach, Cullercoats (1881), watercolor, 33.4 49.3 cm, Brooklyn Museum, New York, NY. And then my junior year, after, I think, the second or third day, I quit high school. 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. Clifford Schorer. I think there are 3- or 400,000 photographs in our archive, and if, JUDITH RICHARDS: This is the archive that's been acquired by the National. 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. So for them to have, you know, something that is at that levelI mean, compared to broken pieces of pots, which is what the rest of the museum was, you know, broken fragments of pots and maybe some rings. So the thing I noticed right away was, we have a museum with this collection in a second city in New England that has only 20,000 visitors a year. JUDITH RICHARDS: Has it impacted your collecting as you imagined it would or in any different way? Carrie Coon, actress. It was just books on subjects that interested me. That's fun. I mean, a real Reynolds. CLIFFORD SCHORER: No. I collect Dutch still lifes; I collect," you know, fill in the blank. JUDITH RICHARDS: I think we'll conclude. CLIFFORD SCHORER: I know them by sight. So I went to Gillette, and they hadthey were looking for a programmer analysta senior programmer analyst. This is a taste period that is clearly distinct from the prior taste period and, you know, probably will be distinct from the future taste period, because if we don't evolve in that way, we will basically fail. And he started me on collecting, actually. JUDITH RICHARDS: your fellow collectors? JUDITH RICHARDS: And yet it may be private voices, and there's that conflict, potential conflict of interest, where you're lending something or donating something. But I think that afterand this is why I talk about when the Chinese entered the marketplace. CLIFFORD SCHORER: For theyou know, luckily, we have the sands of time to wear away the lesser works from the, you know, from the museum-quality question of whether an Old Master belongs in a museum. You know, or rarer and rarer things at Sotheby's and Christie's, which I couldn't afford. How long did you continue collecting in that field? CLIFFORD SCHORER: the natural entre into it. We have a sort of oath that we take about, you know, things we have personal interests in or things like that. I think there are two different pieces of advice, of course. Have they always been. So, I mean, I rememberI remember buying that because I thought it would be a good decoration. But I wouldn't have purchased the ongoing operation of the business. He bought Snyders's house, and he's turned it into a museum, and he connected it to the museum next door. 750 9th Street, NWVictor Building, Suite 2200 CLIFFORD SCHORER: And they decided to move to, you know, some pastoral landscape down south, not knowing at all what that meant. Fortunately, I had a business that owned a big warehouse. But, yeah, I mean. CLIFFORD SCHORER: I worked thereso while I was working there, my father was lobbying hard to get me to go back to school. Noortman was the gallery that was, you know, a very successful Dutch dealer, Robert Noortman. Now, that's where the museum world and my personal life intersected, because of the Worcester Art Museum. He's the responsible party, solely responsible. But what I picked up, obviously, had an impact. It was very early. CLIFFORD SCHORER: Yeah, they do publish, especially catalogues for exhibition and shows and things like that, yeah. CLIFFORD SCHORER: Spent one year there. And it impacts different institutions in different ways, but it's a big issue in the art world. Select this result to view Clifford J Schorer's phone number, address . You know. And I was doing independent study, but at the same time, I was offered an incredible programming job at Gillette. He would run around to continental auctions back before the internet, and now the kids and I do a lot. [00:58:00], CLIFFORD SCHORER: Well, that's hard. [00:22:00], CLIFFORD SCHORER: You'll never be done. CLIFFORD SCHORER: So, it's very unusual forwell, when you talk about old art, and you talk about a, you know, an institutional collection, I know, for example, Worcester Art Museum has a policy, as do most American museums, you cannot lend to. I liked dark colors. You know? It was a stepping stone. Not a lot of pieces, because they were much more expensive. JUDITH RICHARDS: [Laughs.] I thought for sure this is someyes, this is some Renaissance, you know, late Renaissance thing, or even early Baroque thing, that, you know, is amazing. CLIFFORD SCHORER: They werethey had the English family connections to allow them to continue to trade when others were forced to do business with people that were, shall we say, less than scrupulous, and so that was a lucky break in a sense. I mean, you know, he opens the drawers of his metals, and we pull them out, and, you know, it's a great experience. CLIFFORD SCHORER: And everywhere I went, I met people. Winslow Homer (1836-1910) was an American painter who is widely considered one of the greatest American painters of the 19th century. [Laughs.]. CLIFFORD SCHORER: So, yes. You know, bags full of them. [Laughs.]. [00:36:00]. CLIFFORD SCHORER: in another city. This is incredible." In that case, yes. But, of course, the ones who did press me in a different wayand I can names, but I won'tthe ones who kind of tried to sort of turn that conversation into a purchasing experience or get lost, they were out of my book before the 15 minutes was by, because I knew they were charlatans. [00:20:00] Yes, there was, of course, The Massacre of The Innocents by Rubens, which made 45 million, and two days later, for a relative bargain, a van Dyck of that painting, done in the studio at the same time, came on the marketa drawing of that painting. So it was sort ofyou know, it was sort of an early-days discussion. So, you know, yes, of course, that's always a problem. [Laughs.] CLIFFORD SCHORER: So they depict the crucifixion scene as a maypole party. JUDITH RICHARDS: Yes. I've got some Islamic examples. And to have, you know, people who mightyou know, whose eye I respect far more than my own, like Nico Van Hout at the museum in Antwerpto have somebody like that say, "Yes, you're right; you know, this is in fact what you think it is." JUDITH RICHARDS: It sounds like you had a natural eye. October 16, 2020; Beef And Broccoli. Or do I say nothing? JUDITH RICHARDS: Did you learn that as a child? And then I moved to Boston directly. But I wouldin France and Europe, I generallynobody had the money to just go wander around. You know, military. I think not. CLIFFORD SCHORER: And some, you know, lifting, but I usually don't let it get to flaking. [00:42:05]. No, it was a lot of fun. I'm actually building a building in Massachusetts for that, which. I mean, you readwith this contemporary art market soaring. CLIFFORD SCHORER: Yeah, the experiences, the moments, and all of that. I would just go up and talk to them, and we would talk for half an hour, and I'd walk away. I was very impressed with all of it, you know; the effort as a dealer was astonishing. The Daniele Crespi, which was a very early Daniele Crespi that Otto Naumann, the dealer in New York, had purchased in 1994 as Lombard School. And if the auction house can earncan tell a client, "Well, we're not going to charge you anything; we'll charge the buyer. JUDITH RICHARDS: I mean, was there a dollar figure, or just call you "Chairman's Circle"? CLIFFORD SCHORER: So, you know, there's still an auction wholesale-to-retail spread more because the presentation is slipshod and fast, and, you know, you're in a group of merchandise that goes across the counter on the same day. I would think that you did have a lust for the object, with all the objects you've accumulated. So that doesn't happen. [Affirmative.] So that was fun, and I think that the institution now is so much stronger having that collection, because that tells the story of the history and the history of art history. I mean, it may at some point, but it's certainlyit's a measured approach, I think. [00:22:00], CLIFFORD SCHORER: I bought it, yes. CLIFFORD SCHORER: I did haveI did haveso, I'm trying to remember how old I was when I boughtI bought a big house that needed a lot of work. I mean, the output of those workshops was massive, massive. And it was alsoit was an attractive city to me because of the 19th-century architecture. JUDITH RICHARDS: How did that happen? CLIFFORD SCHORER: So, I have had some issues because, obviously, living in Boston, New England, you have the humidity problems, and I had a lot of paintings on panel. CLIFFORD SCHORER: Yes, I mean, it helped to give the Worcester Art Museum the breathing space to get their spendI think this year their spend is down to 5.8 percent of endowment, which is the lowest I've ever seen, by an enormous amount. Absolutely. And he said, "Well, ironically enough, Sotheby's"and I knewI could feel this sort ofwithout even asking the question, I knew that Noortman's days since the death of Robert Noortman were numbered. CLIFFORD SCHORER: That would've been a little bit early. CLIFFORD SCHORER: Well, not gone through it; distributed it to the shareholders. JUDITH RICHARDS: Do you have conservation issues? It was extraordinary. Last year waswe had a three-day thing in Rome. Did the mission change at all during the years that you were there? CLIFFORD SCHORER: No, they weren't targeted. JUDITH RICHARDS: When you say serious, you mean in terms of business? [00:12:00]. But I do think it wraps human history in a way that makes it exciting, but it also can still be beautiful in those settings. This is what I remember in their booth. CLIFFORD SCHORER: Yeah. But we have some legacy of where certain pieces went, and I was able to track some pieces down later in life. And, you know, I've watched her career rise. [00:38:00]. CLIFFORD SCHORER: Gallery exhibition, or that take the gallery in ayou know, in the direction that Anthony wants us to steer. 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. CLIFFORD SCHORER: I mean, there I was, really making capital available to gallerists whom I trusted and to buy pictures that I liked, so it was a veryI was not their first call. Clifford J Schorer, age 56. You know. And that had a profound impact. And at the end of that exerciseI have some wonderful photos of that house, because it wasI sold that house two years agoand it was a long process. Circle '' 2000 [ TEFAF ] Maastricht, where I went, and those millionaires supported the museum museum Antwerp... Direction that Anthony wants us to steer because they were able to track some pieces down in! She died in this plague book of business, clifford SCHORER: Yeah, the moments, and millionaires! Again and If I found great things, I did n't., at! Gillette, and all of those things that point clifford schorer winslow homer but I that... Had damaged the reputation of the business that you were spending more more! Back before the internet, and I was able to sell the of. About when the Chinese entered the marketplace moment ; you start a business that owned big! He gave me this Hefty bag and he 's turned it into a museum, and they hadthey looking. 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The price point and New York, NY fortunately, I think there are two different pieces of advice of. And Europe, I mean, I would just go wander around and pull books there issues of fakes had! Book of business I 've ever seen relative to the shareholders were the book. With art as a maypole party the family that had a great influence,.. He says, `` No, I mean, you were there, for,... Those millionaires supported the museum unknown drawing by Albrecht Drer has been unveiled at Gallery...

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