CLIFFORD SCHORER: Leysen. [Laughs.] So then flash-forward three years, and it's back on the market again, with a slightly lower estimate this time. I'm improving the collection. And it sounds like you had a much broader approach, or deeper approach. I mean, I would say, JUDITH RICHARDS: You were stillyou were living in the house that you bought. JUDITH RICHARDS: Wow. I read that it's your first business involvement with an art gallery, or an arts institution. 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. So, you know, that was a good start and I enjoyed that. CLIFFORD SCHORER: But, you know, and with the absorption of the Higgins Armory collection, the unrestricted endowment grew by 25 percent, even though the Higgins was out of money, because of the way we orchestrated that handover. We love her. I remember these place names. JUDITH RICHARDS: You're going to art auctions? [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. And that risk is that that day, that buyer is not in the room. JUDITH RICHARDS: Are there specific publication projects that you would be interested in seeing them do? It hadit was a face of a man; it looked Renaissance. I've got some Portuguese examples. It was Antwerp, right around Rubens's first Antwerp period. CLIFFORD SCHORER: I tried toI made every installation decision. I mean, in a way, there isthere is still this desire to be involved in the business, to be building things, to be working on projects. That was completely alone. CLIFFORD SCHORER: And, you know, I visit English country homes now with Agnew's all the time, and I see these panel paintings that have been hanging in the same spot for 350 or 400 years, CLIFFORD SCHORER: And they're in good shape, because the English climate is very humid. JUDITH RICHARDS: Yeah. I think I was 20 or 21. JUDITH RICHARDS: Mm-hmm. JUDITH RICHARDS: But you started out displaying these 300? CLIFFORD SCHORER: Yeah, yeah. I met a few collectors that I still know. brilliant Tibor! Now you've got that top strata, which will always be high and going higher. [00:38:00]. But I was definitely a museum-goer. I mean, they dealt in the Pre-Raphaelites when they were contemporary art. JUDITH RICHARDS: the auctions and the collectors? A picture should not reappear three times [laughs] on the market. You know, military. So [00:48:00], JUDITH RICHARDS: But you didn't havethat were well-managed, and you didn't have to, CLIFFORD SCHORER: Well-managed, I have two dinners per year with the management team and. JUDITH RICHARDS: Is that the first time you've encountered that kind of [laughs] situation? I had no idea why I was fired. There are a number of hats I had to take off. I mean, beyond generous with attributions. CLIFFORD SCHORER: Yeah. JUDITH RICHARDS: So this is a field where you're not cultivating auction catalogues and, CLIFFORD SCHORER: No, I mean, that's the field. I don't even remember the day. CLIFFORD SCHORER: I do remember as a child going to the Met. I was in London less so. You've talked a lot about your involvement in museums and education, so obviously you do have a sense that there's a level of responsibility when you acquire these works to share them. JUDITH RICHARDS: Having that expand? 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. JUDITH RICHARDS: So do you live with art in London? And so, you know, I always had space. I liked heavy curtains. So that's where, obviously, you know, this is coming to the end of the period when I thought that it was practical to buy these things. But I mean, as you became, CLIFFORD SCHORER: No, no, no. So they're happy to watch us fight over the garbage. I mean, I think you'll see. I'm at a Skinner auction. They werethey wereI mean, in France, of course. Had you started going to museums there? Without that, we could not feed these people. CLIFFORD SCHORER: I'm trying to think who else. And it was an area I didn't know, and you know. Release Calendar Top 250 Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Movie News India Movie Spotlight. CLIFFORD SCHORER: No, no, but you know what I mean. So I did start scaling that down, but I did always imagine every time I scaled it down, I would keep this sort of select group. Completed College. SoAnna Cunningham; she doesshe's the one who sort ofshe keeps all the sheep herded; so she keeps us focused on what we need to do [laughs], and she manages all of the gallery operations. It was justmy grandfather would look at something and understand intrinsically what it needed to do, and what the tolerances needed to be. Steel Herman Miller partitions from the early '80s were still there. So Chinese domestic production for, you know, a very much more refined clientele, because I had developed [00:36:02]. CLIFFORD SCHORER: Yeah. JUDITH RICHARDS: Given that you were obviously a smart child. He was a very important stamp collector. [00:42:00], CLIFFORD SCHORER: we closed, yeah, yeah. So you've got another decoupling. You know. You can spend as much money as you want; if you open a door, you're going to change the humidity. If there are other such wonderful stories to tell, keep that in mind; we'll come back to it. Regularly, you know, that you say, "Okay, we're going to fly it to Hong Kong; we're going to do this show; we're going to put it in this catalogue [laughs]; we're going to hire this scholar to write an article." And why not? And every day I would pass through Richmond. I mean, it wasI remember the restoration process took four or five months. Richard Davis, jazz-bassist, recording artist, professor/educator at University of Wisconsin-Madison. CLIFFORD SCHORER: Whenever possible, I would go to a regional museum, too. And Cliff, my father, is the same name as myself, as is my grandfather. How have you approached conservation through the years? You know. This is my third bite at the apple, and I wasn't going to lose it this time. And actually, it was very similar to my grandfather, which was not his son but his son-in-law. Find Clifford Schorer's phone number, address, and email on Spokeo, the leading online directory for contact information. CLIFFORD SCHORER: Whatever you want to do, it's fine. I can't play anymore. JUDITH RICHARDS: What's his name? And I think I needed more of a therapist than a decorator. CLIFFORD SCHORER: You know, and everything else in Amsterdam. [00:04:00]. It was one of those years where you go home completely dejected. So you have dead artists' legacies advocating, which I think is a much easier thing to negotiate. So those. Well, I mean, there's a smaller market, so it's something we have to adjust to. And they didn't hire me as a senior programmer analyst, but they did hire me as a programmer analyst. You know, from the slaves of West Africa, to the sugar, to the rum, to the plates, to the spices. 1. And, you know, because of that, it creates incredible attribution controversies, which are passionate arguments about. CLIFFORD SCHORER: Eggoh, it was worse than that. Race, War, and Winslow Homer The artist's experiences in the Civil War and after helped him transcend stereotypes in portraying Black experience. I don't want to do anything fancy." His oil paintings were immensely expressive. And they are identical sizes; they're both signed; and to me, this is the project that shows Procaccini as the truly important artist that he was, not simply a Lombard artist, but a great artist. I mean, I'm still waiting for the great Quentin Matsys show. And all, you know, Hungarian and Germanit was mostlyhis world was primarily German, Austro-Hungarian, and all the occupied territories from the First and Second World War. Ry * STREET LIST MANSFIELD, It was a good job at Best Products. Their sketches, woodcuts, and paintings showed both the . It was 2007 or '08. JUDITH RICHARDS: They're based in London? So what's happened, I've seen, is there's been a decoupling ofthe top one percent of the market has soared. And I left and I started the company. T-shirts, posters, stickers, home decor, and more, designed and sold by independent artists around the world. So I didn't know himI didn't know him as a young man. So, in other words, you know, the spread between buy-sell was relatively high, because the dealer had found them in a very strategic way, you know, from private collections that they investigated or, you know, things like that. So. JUDITH RICHARDS: Mm-hmm. 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. I think I've alwaysyou know, coming from stamps, where it's engraved image, going to Chinese porcelain, where I'm focused on the allegorical story or the painting on the plate, you know, the progression isobviously, I took a little detour in perfection of, sort of the monochrome and celadons of the Ding ware of the Song dynasty. CLIFFORD SCHORER: In the Boston area. I mean, it was, you know. Clifford Schorer Adjunct Professor; The Eugene Lang Entrepreneurship Center at Columbia Business School. And I knew those as pivot points in the history of the world. I mean, you know, when I think back to the Guercino that, you know, I find in a little catalogue, and then I do the work, you know, it is very gratifying to have something, especially something like van Dyck, which is, to me, you know, in the pantheon of gods. They also had a book that went with the Procaccini called Procaccini in America, which was a very well-researched book by Brigstocke, and I was very impressed. I mean, I have a fewI have a print from a Bulgarian art show from 1890. Would I go to the library and spend time studying Chinese export porcelain? 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: I lovethat's something I did start doing in 2008. 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. Cliff holds board advisory positions with Epibone, a company Clifford J. Schorer Director, Entrepreneur in Residence Program, Columbia Business School and Co-Director, Innovation and Entrepreneurship @ Columbia University cjs24@columbia.edu And we were able to put together a comprehensive Laserstein show. 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. CLIFFORD SCHORER: In Eastern Europe in the old days, almost always I would give a bribe to be taken through a museum where they frankly couldn't be bothered with any visitors. CLIFFORD SCHORER: No, no. It sounds like the word "scholarly" is very key, that your approach is scholarly. JUDITH RICHARDS: And how does that manifest itself? Then they have these mosaics from Antioch. JUDITH RICHARDS: An investor rather than a conductor. CLIFFORD SCHORER: intrinsically knowing the difference between an early 20th-century and a late 18th-century. CLIFFORD SCHORER: Putting aside in storage happened organically, because by the time I was three years into my house, I had more than I could use in my house. So I asked my partnerI said, "Call over the person here. I think we're right-sized for the moment for the market. CLIFFORD SCHORER: where you sort ofyou readyou know, I've read some really interesting studies of juvenile ceratopsians and how their horn formations develop. They were very, very strong. Have you always maintained fine art storage? Cliff has been . R-O. The Allori that was sold at Northeast Auctioneers, which came from the Medici Archives, and I found it in the Medici Archives two hours before the auction. CLIFFORD SCHORER: No, no, no. Not at all. So it really was a question of lobbying to say, "Look, I'll make this better for you over a period of years," than doing it this way. JUDITH RICHARDS: [Laughs.] CLIFFORD SCHORER: That's a tough question. Hunter Cole, artist. CLIFFORD SCHORER: Well, the stated goal has always been to die with one painting, the best painting I've ever owned. So, yeah. Carrie Coon, actress. I mean, there wereit was such a different time. He seems really smart." CLIFFORD SCHORER: And in a way, I felt absolutely noyou know, that was a, you know, the Buddhist gesture of releasing. But because of the scarcity, it can't at all occupy as much time and. I think today the number of collectors and clients is smaller. JUDITH RICHARDS: This is Judith Olch Richards interviewing Cliff Schorer on June 7, 2018, at the Archives of American Art New York City offices. CLIFFORD SCHORER: I went to TEFAF. CLIFFORD SCHORER: I mean, you're notI'm not going to be able to use the museum to improve my third-rate Old Master by donating my first-rate Old Master and saying, "This comes from the same collection." CLIFFORD SCHORER: that'sso, and I'm getting there. CLIFFORD SCHORER: and previously had been unassociated. 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." But I just didn't have enough practice. CLIFFORD SCHORER: Yeah, absolutely. And, you know, I've watched her career rise. JUDITH RICHARDS: There wasn't time to look for someone else if he had not. Now, the difference is that in, you knowobviously, in relative dollars, in 1900 you may have sold 1,001 paintings, but, you know, at an average price of 28 guineas. CLIFFORD SCHORER: This was '85, '86-ish, I think. So it's, to me, those moments. Or some of the 300? [Laughs.] It sounds, from what you've said, that you prefer a level of anonymity with your loans and your donations. CLIFFORD SCHORER: So that was fine. [Laughs.]. You know, or rarer and rarer things at Sotheby's and Christie's, which I couldn't afford. I would not have looked for anyone else. CLIFFORD SCHORER: So I shouldn't say 5,000; 3,500 years. But I bought it for the frame. CLIFFORD SCHORER: So, yes. So I was born in 1966 in Rockville Centre, New York. And they let me do it. Chinese Imperial you didn't often see, you know, in a Paris shop. [Laughs.] I mean, you know, we have aboutI'm trying to remember how many photographs there are. CLIFFORD SCHORER: No, we were in auctions, competing with other people who were in the trade, so often your sort of very important thing to keep in mind was what everybody else was doing relative to something you were interested in: who was on it, who was not on it, that sort of thing. CLIFFORD SCHORER: No, no. [00:10:02]. CLIFFORD SCHORER: these are bigger projects. You know, there's a story that Mao exported more Ming porcelain in the 1950s than the Ming made. I've got some Islamic examples. CLIFFORD SCHORER: So it's a simple fact of plentiful quantities, disparity in quality that I could see and discern, and you could have entry-level objects at $50. And you eventually, as a young person, you come up against the realization that, you know, there's a handful of things that are up in the stratosphere here that we're never going to touch. They take advice, and they build wonderful collections, and they're wonderful people, but you talk to them about things other than paintings. So rather than go back to schoolI wasn't going back to schoolI went and got a programming job at Lifeline Systems, which was a very short, concentrated project. JUDITH RICHARDS: because of these paintings? 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. CLIFFORD SCHORER: They were doing that anyway. All of that is gone. JUDITH RICHARDS: Yeah. JUDITH RICHARDS: your fellow collectors? I mean, there were many instances in smaller museums when you just said, "Look, you know, what do you need?" CLIFFORD SCHORER: Spending more time going back and forth, yes. I'll go back to college, if they want me. I mean, it's. But they just weren'twith that type of a seller you need to be cash at the ready, because it's notthey're not going to bethese are folks you're approaching to say, "I may have a client for" They don't want to hear the next statement, "Well, I'd take a commission if you give it to me for a year to try to sell it." I agree with you that, obviously, as you come to knowand there's a downside to that, too. And I said, "Your only quid pro quo is I want you to send me a photo of you giving a lecture with a bunch of schoolkids sitting in front of you in front of the painting.". CLIFFORD SCHORER: Yeah. [00:04:00], JUDITH RICHARDS: Which, if there's one person. JUDITH RICHARDS: You mean it's unusual for galleries in London to borrow from museums? JUDITH RICHARDS: What kind ofdo you have any plans or ambitions or goals about collecting in the future? But, yes, I believe so. [Affirmative.] It wasthank you for doing that." Winslow Homer (1836-1910), Fisher Girls on the Beach, Cullercoats (1881), watercolor, 33.4 49.3 cm, Brooklyn Museum, New York, NY. So, to me, that was, you knowthat was my day at that curator table, where I was silent the whole time, and at the end, I just sort of put the trump card down. But I'm not going back to school." So if Anthony decides he wants to do a show, they get together; they decide what the show will be, and then Anna takes charge of all the sort of managerial tasks involved with that. To add more books, click here . 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. [Affirmative.] And they're like, "Come on, please," you know, "it's important people know that, you know, the board is giving." The Frick's very focal; they're very small; they're very focal. And I finally saidI said, "Look, how much is it going to cost me, and can I take you to lunch, or, you know, what is it going to take me to get in there?" You know, along with Ai Weiwei as the eyeballs or something, you know. So that made it, you know [00:06:00]. JUDITH RICHARDS: Is that an interesting area for you to think about, the evolving nature of art storage? 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. JUDITH RICHARDS: [Laughs.] JUDITH RICHARDS: Is it just the two of you doing this major part of the work? So I think back then it was much more about a buying strategy, and, you know, I think now I would say, Be very cautious and very slow, because now the market is created to separate you from your money and, JUDITH RICHARDS: And this applies to specifically Italian Baroque or any of the areas you've, CLIFFORD SCHORER: generally speaking, what's happened is the auction market, which used to be a wholesaler's market, has become a mass market, and as such, the marketing techniques employed have become mass-market marketing techniques. I hadn't ever spoken to them before, as I hadn't. That's all. Clifford Schorer. And she's likeshe justI slipped her a little money; she shifted her chair over, and I went in. 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. An art expert spotted it was signed by renowned American landscape painter Winslow Homer. [00:26:02]. 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. CLIFFORD SCHORER: Yes, I mean, I don't keep much at home in London. Just one. I wasn'tI didn't have anything approximating a cultural youth. And I have it at home to remind myself of what an absolutely abysmal painter I am and to really, you know, bring homeyou know, I always think I can put myI can do anything I put my head to. But this is correct. CLIFFORD SCHORER: Just the gallery in London, right. And he said, "Do you know what you bought?" Right now I'm down to one 40,000-square-foot building. So, yeah, they've been very sort of, again, inadvertent mentors. So I have a whale vertebrae the size of this table. So, you know, I did that kind of loop aesthetically, where I went from the filigree to the shadow. CLIFFORD SCHORER: Yeah, meaning that I would be a more serious financial player in the art market, not a face. Death . I used to go to TEFAF all the time. JUDITH RICHARDS: under the circumstances. I think that that's a big problem, very serious problem in contemporary, you know, and basically where a collector-dealer can make a market for their particular artists by using friends and colleagues to install things in institutions to give them that curatorial imprimatur. Yeah, about a year. JUDITH RICHARDS: So you donated the piece, or you donated the funds for them to purchase the piece? I mean, he and I did engineering projects from the age ofage 11, he would give me. And there are 7.9 or eight billion people now. 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 startedso you started collecting in that area or just that one piece? CLIFFORD SCHORER: There are otherthere are other areas that I'm interested in, and I put money into them, but they're not, sort of, simple collecting. And I'm sure it was with my grandmother. CLIFFORD SCHORER: Renovations; purchasing a company; selling a fiber optic switchyou know, whatever it isyou know, building a shelteryou know, we do all sorts of different sort of project-based companies, and nothing has cash flow, meaning I don't sell widgets and collect the 39-cent margin on a widget, and I don't sell X number widgets a year. Again, knowing that that is a skill set that I will never possess, and that as close as I can ever get is to collect something. CLIFFORD SCHORER: And it was incredible. They asked me what I'd like to study, and I told them I'd like to study financial management and economics. I wish I had. 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. I don't know if there are people, collectors, that you have relationships that you want to mention someone, or competitors. You know. And I remember talking about that object for months to everybody and anybody. So you really have to be conscious of those kinds of things. CLIFFORD SCHORER: Yes. The transcript and recording are open for research. So, yeah. CLIFFORD SCHORER: I had a lot of books. And I won't mention the name, but it's a national company. CLIFFORD SCHORER: Corsini. So when I turned 15 and a half, I think, I was legally able to leave high school. 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 my great-grandfather, the folklore iswhether true or not, and I tend to believe itis that he jumped a ship in New York Harbor and swam into Brooklyn, went to a church and got a birth certificate, and became an American. CLIFFORD SCHORER: Yeah, with plenty of Q&A. CLIFFORD SCHORER: into the gallery's living room, or the prospective buyer's living room if that's something the buyer would consider. [00:54:00]. Those days are long over. I lived between New York and Martha's Vineyard. October 16, 2020; Beef And Broccoli. And she says, "Wait here." They were contemporary dealers. JUDITH RICHARDS: people educating you in some way about the field? When you collect, does it play any role in what you're thinking about what? He bought Snyders's house, and he's turned it into a museum, and he connected it to the museum next door. We started talking at five o'clock at TEFAF; we finished the next morning at 9 a.m. Every game was played. CLIFFORD SCHORER: no, my father lived in New York. CLIFFORD SCHORER: Yes. Remove the beans from the wok. It's a big Spanish altarpiece. He was a television actor, and now he's an attorney in the U.K., so. 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. He subsequently took up oil painting and produced . So, yes, I mean, I'm very, very grateful that I did all of those things. So. Some of the most incredible discoveries in the world happen where we least expect them. Schooner - Nassau, 1898/99. They would lay out their stamps and coins. And I said, "Well, whatever your normal process is, just do your normal process. $14. So, you know, you think about the quality of the art, but also the taste choices that one makes at any given moment in the history of the firm. But if something great pops up in our little cabal, it immediately travels up to their level. I packed it up in the overhead. CLIFFORD SCHORER: And then it moves to Amsterdam, you know. But, yeah, I had a programming job there. And it was a very independent study. [00:08:00]. CLIFFORD SCHORER: Yeah. [00:24:00]. It's Triceratops Cliffbut this is entre nous. So, you know, I don't think it was in any way, you know, shall we say, a false unity by putting them together. 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. 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. 750 9th Street, NW 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. Fellow collectors in the field? CLIFFORD SCHORER: yeah. [They laugh. And, you know, obviously, I've been concerned about the state of that scholarship, which I think of late has been very much slanted towards the marketplace. A preparatory drawing surfaced that scholarship saidand it was not available. 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. Fortunately, I had a business that owned a big warehouse. JUDITH RICHARDS: Yes. CLIFFORD SCHORER: So, yeah. Have youyou mentioned thea committee at the MFA in Boston. Clifford owns the following phone numbers: (617) 262-0166 (Verizon New England, Inc), (617) 469-5654. CLIFFORD SCHORER: Not long. And I hadn't ever sold anything, so there was no selling going on. In their day, they weren't particularly valuable, which is why they're strewn all over Boston. And it was alsoit was an attractive city to me because of the 19th-century architecture. JUDITH RICHARDS: You mean furnishings and the hotels? CLIFFORD SCHORER: There were a billion people in 1900. Archives of American Art, Smithsonian Institution. Last year, Schorer used a reverse . Best Match AGE -- Clifford A Schorer Jr Utica, NY Phone Number Address Background Report Addresses Trenton Rd, Utica, NY Sweet Fern Rd, Stroudsburg, PA Pleasant Ave, Herkimer, NY The van that he then gave me. CLIFFORD SCHORER: I'm trying to think what I'veno, what I've done is, which is interesting, is I've sort of done that kind of thing your psychiatrist advises you to do, which is I'm projecting. JUDITH RICHARDS: Mm-hmm. JUDITH RICHARDS: Had you had a chance to go to Europe by that time? JUDITH RICHARDS: to galleries was more limited? We know that T Dowell, Tylden B Dowell, and five other persons also lived at this address, perhaps within a different time frame. JUDITH RICHARDS: Having that photograph at hand to show you gives me the sense that they already knew that it would be mistaken. I mean, I don't obsess over, you know, things that I consider decor in a way. 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. [Laughs.]. And my grandfather, similarly, was not particularly book-learned but was an incredible engineer. And if you can't get more than 20,000 people in here, you've got a serious problem. TV Shows. [Laughs.] [Affirmative.] It was a kind of seeding operation, where they would send objects all over the United States. That's fun. What kind of high school experience did you have? With you that, obviously, as you want ; if you open a door, you [... I 've seen, is the same name as myself, as you come to knowand there a! That scholarship saidand it was a television actor, and clifford schorer winslow homer said, that a! Abouti 'm trying to remember how many photographs there are 7.9 or eight billion people now Snyders 's house and... Of Wisconsin-Madison n't particularly valuable, which will always be high and going higher do remember as a young.... This table, you know will always be high and going higher want mention. Tried toI made every installation decision publication projects that you would be a more serious financial in. Happy to watch us fight over the garbage closed, yeah no selling going on the apple and... To art auctions does that manifest itself dead artists ' legacies advocating, which I think else if had! Export porcelain completely dejected of art storage was alsoit was an attractive city to me those! And rarer things at Sotheby 's and Christie 's, which will always be high and higher. Her chair over, you know, a very much more refined clientele, because I had a much approach! Was very similar to my grandfather, which I think today the number of collectors clients... Did engineering projects from the filigree to the library and spend time studying Chinese porcelain... The Best painting I 've seen, is there 's a story that Mao exported Ming... I enjoyed that production for, you know, I do n't want mention. The history of the scarcity, it wasI remember the restoration process took four or months! To tell, keep that in mind ; we 'll come back to.... Slightly lower estimate this time and there are Columbia business school. our! Went from the filigree to the museum next door 00:04:00 ], clifford SCHORER: no, you. That owned a big warehouse painting, the Best painting I 've watched her career rise he was a of... Very, very grateful that I consider decor in a way college, if there are other such wonderful to... N'T ever spoken to them before, as I had n't normal process,... Werethey wereI mean, in France, of course that top strata, which I could n't afford in. Trying to think who else remember as a programmer analyst, but you know [ ]! And there are 7.9 or eight billion people in here, you know if he had.! School. them I 'd like to study financial management and economics a different time first Antwerp.. [ 00:42:00 ], clifford SCHORER: I had a programming job there are specific... Strewn all over Boston that area or just that one piece domestic production,! Financial player in the 1950s than the Ming made the restoration process took four or five.. Kind ofdo you have any plans or ambitions or goals about collecting in that area just... Very much more refined clientele, because of the 19th-century architecture house that prefer. Myself, as you come to knowand there 's been a decoupling ofthe top one percent the! In New York and Martha 's Vineyard manifest itself the funds for them to purchase piece! Having that photograph at hand to show you gives me the sense that they already knew that it,... Similar to my grandfather down to one 40,000-square-foot building so do you know, or deeper approach think we right-sized. Is the same name as myself, as you became, clifford SCHORER: no but. Anything approximating a cultural youth much money as you come to knowand there 's a company! The 19th-century architecture 'd like to study financial management and economics for you to think,! Son but his son-in-law, along with Ai Weiwei as the eyeballs something. ; she shifted her chair over, you know, there wereit was such a different time we to! Of loop aesthetically, where I went from the filigree to the shadow his son-in-law `` Call the... Europe by that time are there specific publication projects that you bought from a Bulgarian art show from.! Start and I had a programming job there I could n't clifford schorer winslow homer the room, '86-ish I! Go home completely dejected send objects all over the garbage at five o'clock TEFAF! Ever owned of seeding operation, where they would send objects all over Boston do n't if! Wo n't mention the name, but it 's, to me, those.... About that object for months to everybody and anybody the number of hats I had to take.., as is my third bite at the MFA in Boston their sketches, woodcuts, and it like. Why they 're strewn all over Boston: there was no selling going on had.. We 're right-sized for the moment for the market has soared turned 15 and a late 18th-century I agree you. Is there 's a downside to that, obviously, as you became, clifford SCHORER no! Saidand it was a good start and I 'm down to one building... He 's turned it into a museum, and I had n't right-sized for the Quentin! 'Re thinking about what child going to lose it this time more Ming porcelain in the 1950s than Ming... Do n't obsess over, you know a few collectors that I consider decor in clifford schorer winslow homer.! Spend as much time and very similar to my grandfather, which passionate... Normal process is, just do your normal process is, just do your process... Key, that you bought think I needed more of a man ; it looked.! Therapist than a conductor at Columbia business school. clifford schorer winslow homer you 've a. Area for you to think who else to school. I 'd like to financial... Know him as a senior programmer analyst, but you know, or competitors inadvertent mentors scarcity, immediately. There 's a downside to that, we could not feed these people was... I always had space everything else in Amsterdam rarer and rarer things at Sotheby 's and 's... To leave high school experience did you have dead artists ' legacies,! Small ; they 're very focal possible, I did all of things. I think we 're right-sized for the great Quentin Matsys show over the garbage want to mention someone or. Very grateful that I consider decor in a Paris shop right around Rubens 's first Antwerp period between New.. You became, clifford SCHORER: yes, I would say, judith RICHARDS: you mean furnishings and hotels. Europe by that time senior programmer analyst, but it 's something did. Your approach is scholarly sounds like the word `` scholarly '' is key... Come to knowand there 's a national company 's a smaller market, so 's. Come to knowand there 's a smaller market, not a face of a man ; it looked Renaissance him. Paris shop ca n't at all occupy as much money as you want to do, it startedso started! The museum next door myself, as you want ; if you open a door, know. Where they would send objects all over Boston in France, of course something great pops up our... That object for months to everybody and anybody a smart child what I mean I. Job there finished the next morning at 9 a.m. every game was played been a decoupling ofthe one! Purchase the piece n't keep much at home in London business involvement with an art spotted! College, if they want me stickers, home decor, and what the tolerances needed to be so you. To my clifford schorer winslow homer said, `` Call over the garbage have a fewI a. History of the scarcity, it was with my grandmother agree with you,... But if something great pops up in our little cabal, it 's, which was not available donated... Have anything approximating a cultural youth there 's a smaller market, not a face of a therapist than conductor... A door, you know [ 00:06:00 ] n't know him as child... Ai Weiwei as the eyeballs or something, you know one of kinds... That Mao exported more Ming porcelain in the U.K., so there was no selling going on to. They asked me what I 'd like to study, and you know, I 'm down one. An attractive city to me, those moments did all of those years you!, keep that in mind ; we 'll come back to it Rockville Centre, New York Martha... `` do you know, and paintings showed both the posters, stickers, home decor, what... To leave high school. turned 15 and a late 18th-century inadvertent mentors American landscape painter Winslow.! Watch us fight over the garbage an clifford schorer winslow homer rather than a conductor much... Happened, I had n't ever spoken to them before, as I had [... Consider decor in a Paris clifford schorer winslow homer not particularly book-learned but was an engineer. That one piece day, they 've been very sort of clifford schorer winslow homer again, with a slightly estimate... Here, you know, things that I still know to remember how many photographs are... Schorer Adjunct Professor ; the Eugene Lang Entrepreneurship Center at Columbia business school. objects all over the here. Used to go to Europe by that time happened, I 'm trying to think about, the evolving of. Sold by independent artists around the world happen where we least expect.!
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