Following the recent announcement of the prestigious collection of beauty tycoon Sydell Miller coming to auction, Sotheby’s has unveiled a trio of masterpieces from the collection of Harry Frank Guggenheim headed for the block. This move could inject some excitement and sustained interest in the upcoming marquee November evening sales in New York, despite a cooling market. The November auctions will also mark Sotheby’s move to their new New York headquarters inside the former Whitney/Met Breuer building on the Upper East Side. Although the auction house is reportedly having some cash problems, with delayed payments to shippers and conservators, the funds recently invested by the Abu Dhabi-based sovereign wealth fund ADQ should provide some relief, and the high-impact pieces in next month’s sales—a lineup that includes works by Monet, Kandinsky, Gauguin and Giacometti, among others—will likely help make this season more successful.
This particular Guggenheim was an influential American businessman, philanthropist, diplomat and cultural figure who played a crucial role in founding the Solomon R. Guggenheim Museum in New York. He not only brought significant acquisitions to the institution but also facilitated the first U.S. presentations of several major European Modernists, including Giacometti. It’s fitting, then, that one highlight of Sotheby’s Modern Evening Auction will be a bust by Alberto Giacometti titled Buste (Tête trenchant) (Diego), which Guggenheim acquired soon after its casting. Guggenheim also played a pivotal role in organizing Giacometti’s first U.S. exhibition in 1955, marking the museum’s initial foray into sculpture and introducing the artist’s work to North America.
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Conceived in 1953 and cast in 1954, the piece represents Giacometti’s brother Diego and showcases the artist’s characteristic blend of psychological intensity and physical form through rough, expressive surfaces. Estimated at $10-15 million, this bust is considered one of the finest examples of Giacometti’s sculptural output during that period and a seminal work that underscores the early relationship between the artist and the Guggenheim family.
Another major highlight from this prestigious collection coming to auction is Franz Marc’s vibrant Das Lange Gelbe Pferd (The Long Yellow Horse) from 1913. The painting is a quintessential example of Marc’s signature subject, the horse, which was central to the Der Blaue Reiter (The Blue Rider) movement, which he co-founded with Wassily Kandinsky. Marc’s depiction of horses drew inspiration from Théodore Géricault, who often painted them alongside heroic cavalry officers as symbols of courage and nationalism. However, Marc’s approach diverges by emphasizing the spiritual essence and intrinsic energy of the animal, reflecting his belief in the superiority of animal purity over human nature. In line with Der Blaue Reiter’s spiritual philosophy, Marc sought to capture the inner spirit of the horse rather than its mere physicality. As he wrote in 1915, “People with their lack of piety, especially men, never touched my true feelings. But animals, with their virginal sense of life, awakened all that was good in me.” This work is expected to fetch between $8-12 million in November.
Sotheby’s will also offer a significant ceramic sculpture by Paul Gauguin titled La Femme Noire (1889), one of the most important surviving sculptures by the artist. With a high estimate of $1,000,000, the work exemplifies Gauguin’s stylistic evolution in Martinique and Brittany, freely blending Western and pre-colonial motifs. The piece, made of glazed stoneware, features a Martiniquais woman holding a male head in her lap—a symbolic fusion of references to Venus and biblical narratives such as the beheading of John the Baptist. This sculpture marks a notable departure from Gauguin’s earlier Judeo-Christian themes, showcasing his unique and increasingly personal symbolism.
Known for his passionate engagement with philanthropic ventures, Harry F. Guggenheim was a complex figure and a true Renaissance man. As an avid collector, he played a key role in redefining the Guggenheim family as stewards of a global art institution. Serving as a trustee of the Guggenheim Foundation, Harry was deeply involved in shaping the museum’s direction. After the death of his uncle, Solomon R. Guggenheim, he took on a leadership role, becoming a crucial mediator between the formidable architect Frank Lloyd Wright, who was designing the museum, and the museum’s director, James Sweeney. Wright once remarked, “Harry doesn’t like controversy. Harry likes to win.”
Guggenheim’s contributions were both practical and strategic. He helped secure funding for the project and ensured that the building adhered to Wright’s now-iconic design. Leveraging his art knowledge and extensive network, he facilitated major acquisitions for the museum, collaborated with leadership to develop a programming strategy and conceived the Guggenheim International—a global award celebrating pioneering talent.
