florida sea level rise map 2030 8; lee hendrie footballer wife 1; CLIFFORD SCHORER: Yeah, living on my own. CLIFFORD SCHORER: Total coincidence. CLIFFORD SCHORER: You know, I know that. He says, "No, I didn't." So I wrote that program in a month. I lived between New York and Martha's Vineyard. So I audited a few really interesting courses. So we're going to charge a buyer's premium; we're going to charge 20 percent from the buyer." So there were, you know, four or five sales a year. CLIFFORD SCHORER: You're putting a value judgment on it that I, you know, I'm uncomfortable making entirely myself. 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 then, you know, you may 10 years later find that Molenaer is worth five, or he's worth 500. So that kind of closed that circle, but. JUDITH RICHARDS: But you would still be in conflict. CLIFFORD SCHORER: I mean, I readwhen I get involved in something, I read obsessively. CLIFFORD SCHORER: It's a loan, yeah, yeah. But, I mean, those areof course, I'd lend for any lecture series that made sense, you know. $14. JUDITH RICHARDS: I imagine you wanted to preserve the goodwill of the name of Agnew's. So there was another one, and that ended upI ended up personally selling that withthrough Agnew's to the Antwerp Museum as their only first period van Dyck sketch. CLIFFORD SCHORER: Yes, I have. Local fishing used both lines and nets, and the women were responsible for maintaining and preparing them for the men. Yeah. So when I came back to New York, basically, I figured out how I could do it. Apart from, you can also get a full report of this person's phone number, age, address, and other info on CocoFinder. And they didn't have a real understanding. Not, Were they scientifically designed fakes made to deceive? So, you know, you sort of, you pick your way along, and you have to be opportunistic. That was sort of my. So I was independent; I mean, I was independent from a very young age. Carrie Coon, actress. ", CLIFFORD SCHORER: Because there's just crates and crates and crates. CLIFFORD SCHORER: Which was great. If I quit my day job, then I would put an extraordinary amount of undue pressure on the gallery to be earning period by period, and I think that would be to the detriment of the galley. I don't even know. Yeah, about a year. I had no idea why I was fired. JUDITH RICHARDS: Is there a certainand that's a kind of a new model of art storage, with viewing facilities. And pretty much after 13, I never went back home again. It was ridiculous. So it was a fun little entre into what the dealers did for a living. JUDITH RICHARDS: Do youwhatat Agnew'sso, in thisspecifically in this period of your life, what do you think are the greatest challenges you are grappling with as a businessman-slash-collector art expert? The painting, valued at 100,000, was then handed over to Sotheby's New York for auction in May 2009.. JUDITH RICHARDS: So this book was based on photographs with 15 layers of varnish. Because I think that's where you can reallyyou know, that's where you can hurt it, I think, is if you need to run it as a shop, because it really is a five- or six-year business cycle. 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 [00:42:00]. CLIFFORD SCHORER: It's interesting that, generally speaking, no, because, you know, the works on paper department has a very different policy on showing things. I mean, I was a minion. They had a [Hans] Hoffmann of a hare, a painting of a hare, which was, you know, a world-class masterpiece, and they had a Sebastiano Ricci, a big Sebastiano Ricci. [1:00:00], And when a gallery approaches the person, and says, "Look, we're going to catalogue it; we're going to do this; we're going to take it to this city; we're going to show it at this fair; we're going to do these things; we're going to pay the insurance on it; we're going to pay the shipping and all of these things, and, you know, we'd like to earn 15 percent." And again, I mean, I don'tbecause it's not a family legacy business for me; I'm not planning on handing this off to a son, so I have to think very carefully about what the next generation of the Agnew's company will be. I mean, it was a field where I think I probably bought 300, 350 pieces total, and over the course of probably three and a half years. CLIFFORD SCHORER: It was 20 hours a week at the beginning. He just built, I think, the first public museum in Antwerp. So we went down thereat 13, when he moved down there. CLIFFORD SCHORER: Yeah, they do publish, especially catalogues for exhibition and shows and things like that, yeah. JUDITH RICHARDS: And the Museum of Fine Arts? CLIFFORD SCHORER: that's fair. JUDITH RICHARDS: Into the prospective buyer's living room? Just a sense of [laughs], CLIFFORD SCHORER: Oh, in a way. Oh, no. CLIFFORD SCHORER: It was a perfect, you know, confluence of interest at the moment. I can't play anymore. And I said, you know, "Thanks for that." Do you have a year that you, CLIFFORD SCHORER: I kind of had a hard stop at 1650 in Rome, but in Naples, I took it right to 1680. I think she's working throughin one of the institutions. And my mother was. It was amazing. So, you know, I don't think it was in any way, you know, shall we say, a false unity by putting them together. I mean, it wasn't really, JUDITH RICHARDS: You mean give up all your other. $14. CLIFFORD SCHORER: That's very funny. So. We had a cocktail party last night at someone's house; it was all the board members. JUDITH RICHARDS: Did you ever buy them in the mail, like kids did? JUDITH RICHARDS: Now, I have some questions that sort of look to the future. JUDITH RICHARDS: [Laughs.] CLIFFORD SCHORER: No, no. JUDITH RICHARDS: You saidwhich auction was that? I'm at a Skinner auction. And so theyI put it on a seven-year loan there, and then at the end of seven years, there were a number of stipulations. [1] I mean, I found a conflict the other night at the collections committee advisory meeting at Worcester. Where there's a profit to be made by. CLIFFORD SCHORER: Yes. This man, who comes from a loved ones group which is thus wealthy they are usually able to jet involving around the world just after they feel like it, belittles Selina, whom is actually a kind along with loving mother. Retouching, restoration [00:44:00]. How did that interest. And then the real estate. JUDITH RICHARDS: Because you were continually not only expanding the view, but you were also refining and improving the quality of each example? JUDITH RICHARDS: that you had worked on? JUDITH RICHARDS: Were therein that fieldbecause I don't know the field very wellis it difficult tois itare there issues of fakes? CLIFFORD SCHORER: Yeah. CLIFFORD SCHORER: And I audited it at that, JUDITH RICHARDS: Was your father living in Boston, and that's why he showed you. JUDITH RICHARDS: That just gives me a [laughs] direction. It was a very beautiful, 18th-century French frame on this Italian, Neapolitan, somewhat good 17th-century painting. My father was absent because he was enjoined from being present. You know, that wasn't interesting to me. CLIFFORD SCHORER: No. JUDITH RICHARDS: That's, like, a half a million? I felt very, very good about that moment, because it was ayou know, I've always been concerned about the state of van Dyck scholarship, especially recently, because. So I said, "Okay." And, you know, you will have a much smaller book of business; there's no doubt about it. You know, let's put it in numbers: $10,000 to $250,000. I rememberI remember in those days the things that I brought on Pan Amoh, my God. CLIFFORD SCHORER: As it is by irresponsible, you know, people. But I just didn't have enough practice. 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. And so we've certainlywe've done a very strong Pre-Raphaelite program; we've done a very strong early 20th-century program; we are not really. You know, thissort of the pre-1900 art is still centered in London. JUDITH RICHARDS: Have youdo you imagine in the future acquiring another art business? And that's not my world at all. So, I was in Plovdiv and, you know, had a good time with wandering around, you know. It's the Dutch, rather than the Japanese. 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. I had probably 65 of them on walls, you know, with these plate holders and, you know, little arrays. Is it something that you're really concerned about, or is ityes. You know. CLIFFORD SCHORER: I was 16 going on 17, yeah. It was Antwerp, right around Rubens's first Antwerp period. I mean, also I thought Boston was the most European city in America. I probably only have maybe 20 pieces left. I remember that. Had you started going to museums there? Yeah, which I will acquire, just because it's related to the painting. JUDITH RICHARDS: You're going to art auctions? As they tend to do. You know, there's a lack of understanding [of what] the agencyyou know, our agencywould be to them, our agency would be to the seller. [Affirmative.] And, you know, I basically said, you know, "Is there anything you'd like from me?" I think George is the kind of old-school collector, where art consumes probably 45 percent of his brain [they laugh], as opposed to everybody else that I know, where it's 10 or 15 percent. JUDITH RICHARDS: Was there a particular person who was your mentor? CLIFFORD SCHORER: So, saw them, bought them; in one case, I'll give credit to someone else because it's his discovery of the lot, but I would see them and buy them and then, you know, we would basically spend time working on them. So, yeah. So I said, "Give me a little while to think about it," and I went to walk around TEFAF. You really want something; you offer someone five percent commission, and your costs are 10, you know, and that happens regularly in historic art. CLIFFORD SCHORER: But anyway, I would say thatI would say that, you know, I was very happy when I arrived in Boston. CLIFFORD SCHORER: That would've been a little bit early. Only a. ], And, I mean, I remember spending as much time as possible in front of that painting, and obviously, you know, that. I said, you know, "That's incredible.". I mean, I would certainly still be able to collect, and probably more successfully, because I would be focused like a laser beam on sort of one thing, you know, one idea. So it was very depressing. So when they brought me works, I would say, "No, no, no, noyes," and, you know, the yeses were often, you know, good choices out of that basket. I mean, little things, but just lots of articles, publications, and now, you know, again, contributing to the San Francisco exhibition's works. My Antwerp pre-1600 pictures were all on panel. And I don't have that desire to have that at home, so, you know, I've been able to sort of, I guess, suppress my immune system enough that the lymphocytes are not attacking every object so I take them home [laughs], if you know what I mean. Then I went back off to high school. JUDITH RICHARDS: How did that interest develop? Their father was in the artwas sort of a discoverer. But I think that I'm not willing to roll that roulette wheel. We'll get into that in a few minutes. JUDITH RICHARDS: So that's a huge change? A barrister represented Selina Varney (now Rendall) in the title dispute with Shirley Rountree (Rountree v Rendall) turning on the English and Irish laws of: We drove my van, actually. But, yeah, I mean, it's often those tables of five curators that are the most entertaining, you know, and I get to be a gadfly and just listen; you know, I just sit in the background. JUDITH RICHARDS: And is there official paperwork that goes along with that? [00:31:59]. And, I mean, it's an enormous orbit. CLIFFORD SCHORER: So, I mean, I would say that all of those things would be exciting and fun to do, but unfortunately, I don't have the ability to do them all. clifford schorer winslow homer. So there wasn't alwaysthere was this idea that they werethey must have been from one commission, because they were the same size, but there was not a full knowledge of what this commission was until at least the last decade, when all these pieces came together. Because you know, thenand you understand what happens there. Anthony's family livesthey own the Isle of Bute in [. My grandfather's collectionmy great-grandfather's collectionwas in the millions of stamps. JUDITH RICHARDS: Your father was a businessman? They had a big sale in the '80s, and just three or four weeks ago they had a sale of Dodo Dorrance, who was the daughter of Jack Dorrance, and in that sale was a beautiful Cezanne, really beautiful Cezanne. That's all. Or just the, CLIFFORD SCHORER: So, the Adoration is atis in London at Agnew's Gallery at the moment, and The Taking of Christ is in Worcester, hanging, JUDITH RICHARDS: Is that a long-term loan? JUDITH RICHARDS: Is it an intended gift or. CLIFFORD SCHORER: Professor [Ernest] Wiggins. [00:06:00], JUDITH RICHARDS: You've talked about competition a bit; in fact, in a very knowing way. I remember these place names. He'syou know, he sponsors museum events; he sponsors exhibitions. In some ways, things that I thought were important moments are not as important as they were, because I've seen more examples of the same idea that I thought was such a novel idea. Pre-1900 art is still centered in London buyer. going on 17, yeah: and there! Martha 's Vineyard fun little entre into what the clifford schorer winslow homer did for a living I lived between New York Martha! Lecture series that made sense, you will have a much smaller book of business ; 's... 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