{"id":346970,"date":"2026-05-28T11:42:29","date_gmt":"2026-05-28T15:42:29","guid":{"rendered":"https:\/\/blog.sothebysrealty.com\/?p=346970"},"modified":"2026-05-28T11:42:29","modified_gmt":"2026-05-28T15:42:29","slug":"why-peggy-guggenheim-is-still-a-collectors-inspiration","status":"publish","type":"post","link":"https:\/\/www.sothebysrealty.com\/extraordinary-living-blog\/why-peggy-guggenheim-is-still-a-collectors-inspiration\/","title":{"rendered":"Why Peggy Guggenheim Is Still a Collector\u2019s Inspiration"},"content":{"rendered":"\n

The larger-than-life gallery founder combined razor-sharp instinct and a passion for the new, writes Florence Hallett<\/h2>\n\n\n\n
\"person<\/figure>\n\n\n\n

Vasily Kandinsky\u2019s painting \u201cDominant Curve (Courbe dominante)\u201d (1936) in \u201cPeggy Guggenheim in London: The Making of a Collector.\u201d Photograph: \u00a9 Peggy Guggenheim Collection \/ Matteo De Fina<\/em><\/p>\n\n\n\n

\u201cLittle did I dream of the thousands of dollars I was about to sink into art,\u201d wrote Peggy Guggenheim in 1946, reflecting on her first forays into collecting. <\/p>\n\n\n\n

Today, the American-born heiress and socialite (1898-1979) is celebrated as an art-world powerhouse whose pursuit of contemporary talent took her from New York, via Paris and London, to Venice, where her landmark collection is installed in the palazzo on the Grand Canal that was her home for the last 30 years of her life.<\/p>\n\n\n\n

But Guggenheim\u2019s collecting journey began on a more modest scale. Her earliest acquisitions were bought for Yew Tree Cottage, the historic timber-framed home deep in the English countryside on the Hampshire-Sussex borders where she lived between 1934 and 1939. <\/p>\n\n\n\n

These formative years culminated in the opening of her first gallery, Guggenheim Jeune, in London\u2019s Mayfair in 1938, a spark plug for the rather staid British art scene of the time. The bold but short-lived venture is now the focus of a new exhibition at the Peggy Guggenheim Collection, Venice, which will travel to London\u2019s Royal Academy of Arts this fall and on to the Guggenheim New York in 2027.<\/p>\n\n\n\n

\"black<\/figure>\n\n\n\n

Peggy Guggenheim at Hayford Hall, Devon, England in 1934. Photograph: Private collection<\/em><\/p>\n\n\n\n

For today\u2019s art collector, new or established, Guggenheim offers not only joyous inspiration, but clear-sighted wisdom as valid now as it was almost a century ago. But the self-proclaimed \u201cart addict\u201d might never have been: heartbroken after a series of personal traumas, Guggenheim first turned to collecting as a distraction. <\/p>\n\n\n\n

It was a friend, the French artist Marcel Duchamp, who introduced her to the art world. The pair met n the 1920s in Paris, where a young Guggenheim had moved to embrace a more bohemian existence than her life in New York.<\/strong> \u201cAt that time, I couldn\u2019t distinguish one thing in art from another,\u201d she wrote. \u201cMarcel tried to educate me. I don\u2019t know what I would have done without him.\u201d<\/p>\n\n\n\n

Guggenheim\u2019s willingness to take advice was among her key strengths as a collector, but it was matched by a supreme confidence in her own judgment, says Gra\u017eina Subelyt\u0117, co-curator of the current Venice show, \u201cPeggy Guggenheim in London: The Making of a Collector.\u201d<\/p>\n\n\n\n

\u201cShe valued originality and experimentation above fashion or convention,\u201d says Subelyt\u0117. \u201cShe also surrounded herself with a remarkable circle of advisors, including Duchamp, Mary Reynolds, Herbert Read, Nelly van Doesburg, Samuel Beckett and others, reflecting her wisdom and openness to different perspectives and her willingness to trust informed judgment while still following her own instinct.\u201d<\/p>\n\n\n\n

\"person<\/figure>\n\n\n\n

\u201cPeggy Guggenheim in London: The Making of a Collector.\u201d. Photograph: \u00a9 Peggy Guggenheim Collection \/ Matteo De Fina<\/em><\/p>\n\n\n\n

The force of this personal response to art is recorded in her autobiography, where she describes her encounter with the Jean Arp sculpture \u201cHead and Shell\u201d (circa 1933) that would be her first personal acquisition. \u201cI fell so in love with it that I asked to have it in my hands. The instant I felt it I wanted to own it,\u201d she recalls.<\/p>\n\n\n\n

Guggenheim\u2014her name synonymous with the boundless wealth of a family who originally made their money in mining\u2014once pledged to \u201cbuy a picture a day.\u201d But her resources were not unlimited. \u201cShe was not among the wealthiest members of the Guggenheim family, and her collecting was often shaped by careful choices, instinct and timing rather than unlimited means,\u201d explains Subelyt\u0117. <\/p>\n\n\n\n

\u201cDuring the London and Hampshire years, as World War II approached, uncertainty and limited space inevitably impacted her choices,\u201d Subelyt\u0117 says. \u201cGuggenheim\u2019s interest in smaller, portable works\u2014such as the [Arp sculpture] or Henry Moore\u2019s \u2018Reclining Figure\u2019 (1938)\u2014reflected not only practical realities, but also her instinct for recognizing artists of lasting significance before they were widely celebrated.\u201d<\/p>\n\n\n\n

\"a<\/figure>\n\n\n\n

\u201cPeggy Guggenheim in London: The Making of a Collector.\u201d Photograph: \u00a9 Peggy Guggenheim Collection \/ Matteo De Fina<\/em><\/p>\n\n\n\n

In fact, Guggenheim claimed a degree of credit for encouraging Moore\u2019s small-scale productions, having written to explain that she admired his work and \u201chow sorry I was that I had no room in my house for any of it.\u201d True or not, it reflects both the value she placed on her relationships with artists, whose studios she regularly visited, and her growing influence, which was extended with the opening of Guggenheim Jeune.<\/p>\n\n\n\n

\u201cWhile it lasted less than two years\u2014and lost money\u2014the gallery shook up fuddy-duddy London art institutions,\u201d says Georgina Adam, art market editor-at-large at The Art Newspaper. It also introduced surrealist and abstract works\u2014particularly those of Russian artist Vasily Kandinsky\u2014to the British public, Adam notes. Guggenheim gave Kandinsky his first London exhibition, from which her sister Hazel bought his \u201cCossacks\u201d <\/em>(1910-11), presenting it to the Tate Gallery in 1938. <\/p>\n\n\n\n

\u201cAs well as taking the time to get to know artists and their work, [Peggy] was often very supportive of their careers,\u201d says Simon Grant, the Venice exhibition\u2019s co-curator. A notable example: the financial help she gave to the German artist Otto Freundlich when he was being persecuted by the Nazis.<\/p>\n\n\n\n

\"photo<\/figure>\n\n\n\n

Vasily Kandinsky\u2019s \u201cCossacks (Cosaques)\u201d (<\/em>1910\u201311). Photograph: Tate, London, Presented by Mrs Hazel McKinley, 1938<\/em><\/p>\n\n\n\n

In addition, Grant says, \u201cshe played an important and little-known role as an art patron by donating numerous artworks by both British and international artists to several regional galleries at a time when such action was rare.\u201d Her knack for spotting talent extended to a 15-year-old Lucian Freud whose work was shown at Guggenheim Jeune and to plans\u2014never realized\u2014for Frida Kahlo\u2019s debut UK show at a time when the Mexican artist was known principally as Diego Rivera\u2019s wife. <\/p>\n\n\n\n

Trusting your own tastes, immersing yourself in contemporary culture, and seeking out talented, emerging artists whose work is still relatively affordable all remain astute tactics for collecting today\u2014best approached the Peggy Guggenheim way, through a genuine love of art and the individuals who make it.<\/p>\n\n\n\n

Visiting Venice? Explore the city\u2019s historic palazzi, reimagined for modern living<\/a><\/em><\/em><\/em><\/em><\/em><\/em><\/p>\n\n\n\n

\u201cPeggy Guggenheim in London: The Making of a Collector\u201d<\/a> is at Peggy Guggenheim Collection, Venice, until October 19, 2026; then Royal Academy of Arts, London, November 21, 2026\u2013March 14, 2027; and Guggenheim New York, April 16\u2013September 12, 2027<\/em><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

The larger-than-life gallery founder combined razor-sharp instinct and a passion for the new, writes Florence Hallett Vasily Kandinsky\u2019s painting \u201cDominant Curve (Courbe dominante)\u201d (1936) in \u201cPeggy Guggenheim in London: The Making of a Collector.\u201d Photograph: \u00a9 Peggy Guggenheim Collection \/ Matteo De Fina \u201cLittle did I dream of the thousands of dollars I was about […]<\/p>\n","protected":false},"author":232770377,"featured_media":346992,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1393,1398],"tags":[1541,1472,1551],"class_list":["post-346970","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-and-culture","category-featured","tag-london","tag-new-york","tag-venice"],"jetpack_featured_media_url":"https:\/\/www.sothebysrealty.com\/extraordinary-living-blog\/wp-content\/uploads\/2026\/05\/Kandinsky_Dominant-Curve-1.jpg","jetpack_likes_enabled":false,"jetpack_shortlink":"https:\/\/wp.me\/pf4gbL-1sgi","jetpack-related-posts":[{"id":345282,"url":"https:\/\/www.sothebysrealty.com\/extraordinary-living-blog\/inside-five-masterpieces-by-world-renowned-architects\/","url_meta":{"origin":346970,"position":0},"title":"Inside Five Masterpieces by World-Renowned Architects","author":"Kate Marburger","date":"November 7, 2025","format":false,"excerpt":"From Miami to Carmel, these five homes are architectural masterpieces that blend vision, craft, and artistry. 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Miami, Florida | ONE Sotheby's International Realty Set in One Thousand Museum, Zaha Hadid\u2019s sculptural Miami landmark, this penthouse embodies the architect\u2019s\u2026","rel":"","context":"In "Home and Design"","block_context":{"text":"Home and Design","link":"https:\/\/www.sothebysrealty.com\/extraordinary-living-blog\/category\/home-and-design\/"},"img":{"alt_text":"Greenwich, Connecticut Home","src":"https:\/\/i0.wp.com\/www.sothebysrealty.com\/extraordinary-living-blog\/wp-content\/uploads\/2025\/11\/header-1.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.sothebysrealty.com\/extraordinary-living-blog\/wp-content\/uploads\/2025\/11\/header-1.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.sothebysrealty.com\/extraordinary-living-blog\/wp-content\/uploads\/2025\/11\/header-1.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.sothebysrealty.com\/extraordinary-living-blog\/wp-content\/uploads\/2025\/11\/header-1.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.sothebysrealty.com\/extraordinary-living-blog\/wp-content\/uploads\/2025\/11\/header-1.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/www.sothebysrealty.com\/extraordinary-living-blog\/wp-content\/uploads\/2025\/11\/header-1.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":345286,"url":"https:\/\/www.sothebysrealty.com\/extraordinary-living-blog\/spotlight-on-abu-dhabi-an-art-world-destination-with-poise\/","url_meta":{"origin":346970,"position":1},"title":"Spotlight on Abu Dhabi: An Art World Destination with Poise","author":"Natalie Davis","date":"November 6, 2025","format":false,"excerpt":"Abu Dhabi\u2019s vibrant cultural scene is matched by a luxury property landscape marked by innovation and artistry, finds Nick Rice The Zahed National Museum, Abu Dhabi, designed by Foster + Partners, opening December 3. 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