CollectorIQ
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01/05/2026
$200 million. 50 works. No guarantee.
Joe Lewis is sending his collection to Sotheby’s London this June. It’s expected to become the most valuable single-owner sale in the city’s history.
Klimt. Modigliani. Freud. Caillebotte. Schiele. Soutine. Picasso. Bacon.
Two details matter more than the headline number.
No third-party guarantee. The Lewises are letting the market decide. That’s the opposite of how trophy collections have been sold for the past three years. Walking away from a guarantee is a statement.
And London, not New York. The summer London sales have been quietly written off since Brexit. Routing a $200M collection there is a calculated bet that the city is being underestimated.
The fresh-to-market depth backs the bet. The Lucian Freud pictured here, “Woman in the Grey Sweater,” has been lent to museums for decades but has never come to auction. Estimate: £3M to £4M.
Previews open at Sotheby’s New York May 2 to 18. The hammer falls in London in June.
We’ll be watching closely.
How does a serious collection fit into your broader wealth picture? We’re open to the conversation. Link in bio.
A visit to The Jewish Museum to see *“In the Flesh”* offers an intimate and powerful encounter with the work of Joan Semmel.
A pioneering feminist artist since the 1960s and 70s, Semmel is known for painting the body from her own perspective. Rather than presenting the female form as an object, she reclaims it as subject. Her work often depicts her own body as she sees it, cropped, foreshortened, aging, and completely unidealized.
On view through May, *“In the Flesh”* brings together large-scale paintings and works on paper that span decades of this exploration. The canvases feel immediate and physical. Bodies fill the frame, brushstrokes remain visible, and skin shifts in tone and texture. You are not just looking at the work, you are pulled into its point of view.
What stands out most is her commitment to painting the aging body. Semmel resists invisibility and challenges traditional ideas of beauty, insisting on presence, time, and lived experience.
Seeing these works in person makes all the difference. The scale, texture, and perspective create a direct and almost confrontational viewing experience. It becomes not just about the body on the canvas, but about how we look and who gets to be seen.
*“In the Flesh”* is both deeply personal and quietly radical.
Check it out.
09/02/2026
Art is moving into asset allocation conversations, but most advisors don’t have market visibility.
Pricing. Liquidity. Transparency.
That’s where CollectorIQ comes in.
See how RIAs use art market data to support smarter client conversations.
🔗 collectoriq.com
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