Abu Dhabi’s ambition to establish itself as a cultural and luxury hub began over a decade ago with the $27 billion Saadiyat Island project, which aimed to make the UAE a cultural tourism destination. The Louvre Abu Dhabi, completed in 2017 for $650 million, was a major milestone of this development, branding itself as the “world’s first universal museum” for its expansive, global art perspective. In 2026, the Louvre will be joined by the Guggenheim Abu Dhabi, a Frank Gehry-designed museum that plans to juxtapose Western contemporary artists with influential voices from the Middle East and Asia.

These cultural efforts are rooted in the UAE’s 2005 strategy to diversify its economy and establish itself as a major destination for art and tourism. Part of this initiative was Abu Dhabi Art, an annual fair that began in 2007 and rebranded in 2009 under the Abu Dhabi Tourism Development & Investment Company (TDIC). Despite its ambitions to foster transnational cultural exchange, the fair has struggled to compete with Dubai’s booming commercial art scene, which hosts the majority of galleries and auction house headquarters in the region. Ben Floyd, CEO of Art Dubai, observes that while Dubai has attracted a strong commercial art market, Abu Dhabi has prioritized institutional development, positioning itself as a quieter, more traditional “older brother” to Dubai’s dynamic, commercial scene.

However, Abu Dhabi Art’s position might soon change. Rumors have circulated about a potential deal for Art Basel to take over management of the fair, with sources indicating a $20 million investment as part of the arrangement. Although neither Art Basel nor TDIC have confirmed the speculations, the move could signify a strategic shift for Abu Dhabi Art under the guidance of Art Basel, which has found success with recent projects in Paris. Art Basel’s parent company, MCH Group, has faced financial difficulties with a reported 41% net income decline, fueling the need for profitable expansions.

The UAE’s booming status as a haven for high-net-worth individuals has fueled interest from global luxury brands and investors. Over recent years, a significant number of Western billionaires have relocated to the UAE, attracted by its tax benefits, as well as residents from the Middle East who view the UAE as a politically stable base. This influx has made the UAE an attractive prospect for art fairs, which must adapt to where high-spending collectors are likely to congregate.

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Since its launch, Comedian has stirred ongoing debates on what constitutes art, sparking both fascination and critique across the art world. Its stop in Dubai forms part of a global tour ahead of its auction, where it’s expected to draw a high bid from collectors.

As Comedian continues to tour, art fans and skeptics alike have the chance to experience the infamous piece, whose exhibitions have included performances like a spontaneous “eating” of the banana itself. Cattelan’s work has become a cultural phenomenon, testing boundaries and igniting discussions on the value of simplicity in modern art.

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Aidan Meller emphasized Ai-Da’s role in discussing the societal impact of AI advancements, saying, “Art is a way of discussing the incredible changes in society that are happening because of technology.”

Michael Bouhanna, Sotheby’s digital art head, commented on the high demand, stating that collectors’ enthusiasm has influenced the valuation. Previously exhibited at the UN’s AI for Good Global Summit, Ai-Da’s work symbolizes a pivotal moment in AI art’s evolution.

Additional digital artists, including Refik Anadol and PAK, will be part of the auction’s offerings.

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Among the standout pieces in the collection is Nymphéas (1914-17) by Claude Monet, poised to sell for around $60 million. Another significant work is Pablo Picasso’s La Statuaire (1925), a captivating portrait of a woman sitting opposite a life-sized bust. The painting is expected to fetch approximately $30 million. The collection also includes pieces by art luminaries such as Wassily Kandinsky, Henry Moore, and Yves Klein.

A Collection Reflecting a Passion for Art and Beauty

“Sydell Miller was a great 20th-century collector, and the roll call of great artists and designers in her collection speaks to both the breadth of her vision and the depth of her connoisseurship,” said Charles Stewart, Sotheby’s CEO. “What stands out is the thread that runs through every painting, sculpture, and object—that of Miller’s eye for beauty as she innately understood it.”

Ahead of the auction, Sotheby’s will host exhibitions of Miller’s collection in major cities such as London, Paris, and Hong Kong, including at their newly opened space in Hong Kong’s Landmark Chater area.

From Beauty Industry Pioneer to Art Patron

Miller’s journey to becoming a significant art collector began after a successful career in the beauty industry. She co-founded Ardel and Matrix Essentials with her husband, Arnold Miller, transforming the company into a leading salon product manufacturer. In 1994, two years after her husband’s passing, she sold the company to Bristol Myers Squibb for $400 million, turning her focus toward philanthropy and art.

Her collection will be featured in both day and evening sales, alongside three dedicated online auctions showcasing her diverse interests, including fashion and decorative arts. A portion of the proceeds will support charitable causes close to Miller’s heart, including the Cleveland Clinic Women’s Comprehensive Health and Research Center, the Cleveland Museum of Art, and the Cleveland Metroparks Zoo.

A Legacy of Philanthropy and Art Collecting

Miller’s influence extends beyond the art world, with her philanthropic efforts continuing to impact major institutions. The Sydell & Arnold Miller Family Pavilion at the Cleveland Clinic stands as a testament to her contributions to healthcare and community development.

The upcoming auction at Sotheby’s will not only highlight Miller’s impeccable taste in art but also her commitment to giving back through her legacy of charitable work.

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Among the exhibitions, “Khamseen” stands out as the most expansive, according to Alexandra Roy, Sotheby’s Head of Sale, Modern and Contemporary Middle East. This showcase, created in collaboration with Jeddah’s Hafez Gallery and its founder, Qaswra Hafez, presents a diverse array of works spanning from the 1960s to the present, including paintings, sculptures, photographs, prints, and installations. “We’ve known Qaswra Hafez for a long time, and this has been a project that he’s been thinking about doing for a while,” Roy shared. “It’s very much overdue.

There have been some amazing shows in London on Saudi visual culture, and of course, a lot is happening in the Kingdom right now. It’s an amazing moment to be part of that.”

The exhibition is part of Sotheby’s ongoing involvement with Saudi Arabia’s art scene, having previously participated in the Kingdom’s two art biennales. “We have 60 artists represented, and it’s the first time some of these works have ever been seen. We go back to circa 1965, and it’s been difficult to source works from as early as that, but we really wanted to show work from the pioneers,” Roy explained. She emphasized that “Khamseen” is just an introductory exhibition, expressing hope that it will lead to deeper explorations in the future.

Another highlight of “Hafla” is the collaboration with UK luxury brand Asprey and Saudi jewelry house Nuun, founded by Princess Nourah Alfaisal. This partnership has produced a capsule collection of handbags inspired by Saudi Arabia’s five major regions. “We’ve been in touch with Princess Nourah for a number of years. She’s such an interesting personality who has a wide variety of personal projects,” said Sophie Stevens, Director and Jewelry Specialist MENA for Sotheby’s. “She’s a very, very prominent figure in the Saudi cultural scene. She was enormously excited when she heard about this exhibition because it’s a great platform to speak about those initiatives.”

The luxury segment of “Hafla” also includes a collaboration with A2Z, founded by Abdulrahman Al-Zayani, recognized as the Gulf’s leading jewelry and art advisor.

“We’re taking over the Sotheby’s salon space on New Bond Street, and we’re going to be exhibiting about 140 pieces that are inspired by Eastern design or have some kind of connection,” Stevens explained.

The final component of “Hafla” is the display of 28 Qur’anic and calligraphic works from the Bashir Mohamed Family Collection. These pieces, ranging from the 9th century to the contemporary era, showcase the evolution of Islamic script and regional identity. Frankie Keyworth, an Islamic and Indian art specialist, highlighted a bifolio from the Blue Qur’an and an illuminated firman from the reign of Suleyman the Magnificent as particularly noteworthy. Keyworth said, “We’ve seen individual leaves from the (Blue Qur’an) come to auction or appear in exhibitions, but having a bifolio is really exciting because it truly shows its scale and just how impressive it was.”

The timing of “Hafla” is significant, as it comes during a period of civil unrest in the UK, driven largely by right-wing groups promoting Islamophobia. Although planned well in advance, the event offers a timely opportunity for cultural exchange and understanding by celebrating Middle Eastern culture. “I think it’s hugely important and a very impactful way to open up greater exchanges and cultural understanding,” Stevens remarked, emphasizing the value of the educational initiatives that accompany the exhibitions.

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The investment deal, valued at approximately $1 billion, will see Patrick Drahi, who acquired Sotheby’s in 2019, co-investing alongside ADQ. Drahi will continue as Sotheby’s majority owner, reinforcing his long-term commitment to the auction house. This capital influx will support Sotheby’s ambitious growth agenda by enabling the company to expand into new markets and strengthen its presence, particularly in the Middle East. The investment aligns with Abu Dhabi’s broader strategy to diversify its economy and enhance its cultural and artistic offerings.

He also affirmed ADQ’s commitment to exploring compelling investment opportunities that drive value for Abu Dhabi. Our investment underscores our firm belief in the enduring value of Sotheby’s brand, market-leading platform, and the ability of its management to execute on their growth agenda. We look forward to creating new collaboration opportunities with Sotheby’s and being a part of its journey.”

Charles F. Stewart, CEO of Sotheby’s, also welcomed the new partnership and noted, “We are delighted to welcome ADQ as a shareholder in Sotheby’s.”

We embrace their long-term vision for our business, and this investment reflects both our achievements and significant potential for future growth. The additional capital and investment expertise will enable us to accelerate our strategic initiatives, expand our commitment to excellence in the art and luxury markets, and continue to innovate to better serve our clients worldwide.”

The acquisition by ADQ represents a significant boost to Sotheby’s capabilities and aligns with the ongoing efforts to position Abu Dhabi as a leading cultural and economic hub. This investment will enhance Sotheby’s ability to innovate and deliver exceptional services to its global clientele, while also contributing to Abu Dhabi’s economic diversification.

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At the forefront of the auction stands Cy Twombly’s illustrious 1962 canvas, “Death of Giuliano de Medici,” poised to command attention with an estimated value in the realm of $1 million. This masterpiece serves as a testament to Yagi’s discerning eye for artistry and his penchant for curating pieces of exceptional calibre.

The collection encompasses a diverse range of artistic expressions, including three prints by Twombly, 28 design lots by renowned French midcentury luminaries such as Jean Prouvé and Charlotte Perriand, and eight pieces of contemporary art featuring works by Richard Long, On Kawara, and George Rickey. Each piece encapsulates Yagi’s distinct vision and his unwavering commitment to pushing the boundaries of art and design.

Yagi’s illustrious career trajectory took flight in 1984 when he was personally recruited by Esprit co-founder Douglas Tompkins. At Esprit, Yagi played a pivotal role in crafting the brand’s iconic “graphic look” of the mid-1980s, solidifying its reputation as a trailblazer in the world of fashion. His creative genius extended beyond the realm of apparel, as he forged a close friendship with Apple founder Steve Jobs, collaborating on design projects that would leave an indelible mark on the global stage.

In 2000, Yagi’s collaboration with Jobs culminated in the conceptualization of the design aesthetic that would come to define Apple’s revolutionary retail stores worldwide, underscoring his unparalleled knack for seamlessly blending art and technology.

Yagi’s extraordinary contributions to the realms of graphic and industrial design have garnered widespread acclaim, with his works finding a permanent place in prestigious institutions such as SFMOMA. Recently, a portion of his collection was showcased at the Museum of Contemporary Art Tokyo in 2022, further cementing his status as a luminary in the world of art and design.

Currently serving as the Art Director for the World Expo 2025 in Osaka, Japan, Yagi continues to push the boundaries of creativity and innovation, leaving an indelible legacy that resonates across continents.

The upcoming auction at Sotheby’s promises to be a celebration of Yagi’s unparalleled legacy, offering collectors and enthusiasts alike a rare opportunity to acquire pieces that embody his visionary spirit and profound artistic sensibilities. As the world eagerly awaits this momentous event, the auction stands as a testament to Yagi’s enduring impact on the worlds of art, design, and beyond.

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The four paintings, including two by Pierre-Auguste Renoir, one by Paul Cézanne, and one by Paul Gauguin, will be sold with the proceeds split among Vollard’s legal heirs. The Gauguin, Still Life with a Mandolin (1885), is estimated to sell for between $10 million and $15 million, while the remaining three works are valued between $250,000 and $1.5 million.

The legal dispute over Vollard’s estate began after evidence emerged that some works in his 6,000-item collection had been improperly distributed by his relatives. Vollard’s brother, Lucien Vollard, who was appointed as the estate’s executor, sold works from the estate collection alongside Étienne Bignou and Martin Fabiani, who sold works to German museums, dealers, and Nazi officers. Bignou and Fabiani were later implicated in financial fraud.

Vollard’s heirs argued that Lucien’s business ties to Nazi officials make the sales of these artworks null and void, regardless of whether or not the dealings were made under duress. The heirs filed a lawsuit against the Musée d’Orsay in 2013, seeking the return of three paintings once owned by Vollard that still reside in the museum.

The sale of these four paintings is a common outcome for art restitution settlements, where the funds raised from public sales of artworks are split among legal heirs who share ownership. This case highlights the ongoing debate surrounding the restitution of artworks that were lost or stolen during WWII and raises important questions about the ethical considerations that must be taken into account when selling such pieces.

The return of these four Impressionist paintings to Vollard’s heirs marks an important victory in the ongoing struggle for art restitution. While the legal dispute may have taken over a decade to resolve, the sale of these paintings will allow Vollard’s heirs to finally benefit from their rightful ownership of the artworks. This case also serves as a reminder of the importance of ethical considerations when it comes to the sale and ownership of works of art.

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Sold together as a single lot during a Sotheby’s Old Masters sale in London, the two portraits had remained in private hands since 1976, when they were sold at auction for £38,000.

The sum paid for the pendant portraits wasn’t quite as much as the £8.3 million ($13.5 million) paid for a van Dyck self portrait made around 1640, just a year before it his death, but it was a solid result, given that they were estimated at £4 million ($5.3 million). The winning bid went to a buyer on the phone with Sotheby’s London-based Old Masters specialist George Gordon.

A 29-year-old van Dyck painted the pendant portraits of in 1628, four years before he was appointed chief court painter to Charles I. The works were shown in a van Dyck exhibition held in 1899 to mark the tricentenary of his birth. The pendants’ provenance record prior to that showcase remains unknown.

Until their appearance as part of a 1958 Royal Academy of Arts exhibition, the identities of the two sitters were recorded only by the last name de Witte. German art historian Ludwig Burchard ultimately confirmed the sitters’ identity based on a monument in Antwerp Cathedral that referenced Jacobus Anthonius de Witte and his relatives. Having worked for the Chamber of Orphans in Antwerp during his lifetime, de Witte likely married Maria Nutius, the woman pictured in the accompanying portrait, who was orphaned at age 7.

The diptych surpassed the result brought for another of the artist’s long-unseen and most-valuable paintings in 2018, when a wedding portrait of the nine-year old Princess Mary Henrietta Stuart, daughter of King Charles I, sold to Budapest’s Museum of Fine Arts at Christie’s for $7.5 million—a purchase funded entirely by the Hungarian government.

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The sale of the $92 million work, a portrait title Young man holding a roundel is credited with providing a jolt to the masterpiece market. Sotheby’s sale of Man of sorrows similarly looks to breathe new life into a category that had been considered sleepy by many.

According to Christopher Apostle, head of Sotheby’s Old Master Paintings department in New York, there are only three known late-period portraits by Botticelli, making this one a rare work within the Renaissance artist’s oeuvre. “During the final decade of his life, Botticelli’s output was markedly different from his earlier career, which is often characterized as the epitome of Renaissance ideals of humanism and beauty,” Apostle said in a statement. The specialist described the work as a “remarkably realistic portrayal of Christ symbolizing his suffering and death.”

The painting is expected to fetch the second-highest price achieved for the artist at auction. It could outpace The Rockefeller Maddonna (c. 16th century), which doubled its estimate when it sold for $10.4 million at Christie’s in 2013.

“To bring to auction a work by Botticelli of this quality is a major event in the world of Old Masters,” George Wachter, Sotheby’s chairman and co-worldwide head of Old Masters, said a statement.

The work comes to sale from an American collection. It has not changed hands since it appeared at auction in 1963, when it sold for £10,000. According to Sotheby’s, historian Federico Zeri identified the painting as an autograph work by Botticelli when it was sold nearly half a century ago. It has been exhibited publicly only once in recent memory, in 2009, at a special exhibition at the Städel Museum in Frankfurt.

The Botticelli will be unveiled to the public at Sotheby’s Hong Kong outpost, and then will go on tour to the auction house’s locations in Los Angeles, London, and Dubai before its sale in New York.

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