# How to Build an Art Collection With a Point of View: What This Season's Great Private Collections Teach

> Source: LLB Auction (https://www.llb-auction.com/insights/the-market-in-motion/reading-the-market/how-to-build-an-art-collection-with-a-point-of-view)
> Author: LLB Auction
> Published: September 26, 2026

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Anyone asking how to build an art collection this autumn has an unusually good set of case studies in front of them. Within a few weeks in September 2026, Christie's announced the Herbert Lust collection for New York in November, opened the Monsoon: The Peter Simon Collection exhibition in London, and Artcurial framed its Paris calendar as "A Season of Collections". Each house is selling the works, and each is also selling the story of how a private collection acquired a point of view. That story is the useful part for a collector who already buys well. The durable answer to how to build an art collection, once the first purchases are behind you, comes down to three disciplines these dispersals make visible: a thesis you can state, depth in the artists you commit to, and a record of what you declined.

> **Key takeaways:**
> - Christie's expects about $50 million from the Herbert Lust collection in New York in November 2026, with nine lots in the 20th century evening sale and some 50 works in a dedicated day sale (Artnet News, 22 September 2026).
> - Monsoon: The Peter Simon Collection brings nearly 200 works estimated at £86.5 million to £126.7 million, the highest value single-owner collection Christie's London has offered in one marquee week (PA Media, September 2026).
> - Lust assembled the largest body of Hans Bellmer's work in the world on the reasoning that "you could get 50 great Bellmers for one great Magritte"; his Bellmer lot carries a $1.5 million to $2.5 million estimate against an artist record of $942,000.
> - The Association of Art Museum Directors states that museum acquisitions and deaccessions must be guided by "well-defined written collecting goals" (policy amended October 2015), a standard a private collector can borrow directly.

## Why this season's single-owner sales are lessons in building an art collection

**Single-owner sales** (auctions devoted to the holdings of one collector, sold under that collector's name) have become the main way the auction market tells stories about taste in 2026. Christie's won the consignment of the Herbert Lust estate after a contest with Sotheby's, according to Richard Whiddington's report for [Artnet News on 22 September 2026](https://news.artnet.com/market/herbert-lust-christies-giacometti-2814456). Lust died in May 2026 at the age of 99. The house will offer nine key lots in its 20th century evening sale, by artists including Frank Stella, Alexander Calder and Hans Bellmer, followed by a further 50 or so works in a dedicated day sale, for an expected total of around $50 million.

In London, Christie's opened the Peter Simon exhibition on 26 September 2026, ahead of an online sale running from 1 to 20 October with an evening sale on 14 October and a day sale on 15 October. PA Media reported that the nearly 200 works carry a combined estimate of £86.5 million to £126.7 million. In Paris, Artcurial's "A Season of Collections", published on 4 September 2026, presented its autumn calendar as a sequence of private ensembles "shaped by patience, discernment and intuition". Its first result came on 22 September 2026, when the collection Le goût Rothschild en héritage sold 100 percent of its lots for nearly €4.4 million.

The market context explains why houses lean so hard on narrative right now. The Art Basel and UBS Global Art Market Report 2026, written by Dr Clare McAndrew of Arts Economics, puts global sales at $59.6 billion in 2025, up 4 percent, with public auction sales up 9 percent to $20.7 billion and private sales down 5 percent to $4.2 billion. The report's trend summary adds that Modern art dealers grew 11 percent while contemporary dealers stagnated. Margaret Carrigan, news editor at Artnet News, described the autumn mood on 24 September 2026 as "the oppressive weight of a top-heavy market". In a market like that, a coherent collection with a documented history is the most persuasive thing a house can put in a catalogue.

For a collector the lesson runs the other way. The coherence that auction specialists now describe so fluently was built decades earlier, one decision at a time, long before anyone thought about a sale. Read as working methods, these three collections give an established buyer a practical answer to how to build an art collection that will still make sense in thirty years. A related reading of the format itself, from the buyer's side of the room, sits in our analysis of [single-owner collection sales and what a collector is really paying for](/insights/the-market-in-motion/reading-the-market/single-owner-collection-sales-what-a-collector-is-really-paying-for).

## From purchases to a collection: what a point of view means

Anyone working out how to build an art collection eventually meets the same idea. A **point of view** in collecting is a stated reason that connects the works, strong enough that a stranger walking through the rooms could name it. Artcurial's September 2026 text puts it in one sentence: "To build a collection is to refine a vision and give lasting form to a passion." The operative verb is refine. A group of good purchases becomes a collection when each new work is judged against the ones already on the walls, and when some otherwise attractive works are turned away because they do not belong.

The distinction matters for collectors in the audience this page is written for. The Art Basel and UBS Survey of Global Collecting 2025, which polled 3,100 high net worth collectors across 10 markets, found that respondents spent an average of $438,990 across 14 works in the survey year. Fourteen acquisitions a year, sustained over a decade, produces well over a hundred objects. Without a governing idea, that volume turns into inventory: works bought at fairs, online and through dealers, each defensible alone, that do not speak to each other on a wall or in a catalogue.

Three tests separate a collection from an accumulation, and each answers part of the question of how to build an art collection from holdings you already own.

1. **A thesis you can write down.** One or two sentences that explain why these works belong together: a period, a medium, a circle of artists, a question about place or material. If the sentence changes every time you describe the collection, the thesis has not settled yet.
2. **Depth in the artists you commit to.** Several works by the same artist, ideally across different moments of a career, show judgement in a way a single example cannot.
3. **A record of what you declined.** A list of works you considered and passed on, with a line on why, shows that the collection is the product of choices.

Museums formalise the same logic, and their rules are a useful template for how to build an art collection privately. The Association of Art Museum Directors, whose [Policy on Deaccessioning](https://cms.aamd.org/sites/default/files/document/AAMD%20Policy%20on%20Deaccessioning%20website_0.pdf) dates from June 2010 and was amended in October 2015, states that acquisitions and deaccessions "must be guided by well-defined written collecting goals". A private collector has no board of trustees to answer to, which is exactly why writing the goals down is useful: it replaces the external check a museum has with an internal one.

## How to build an art collection in depth: the Herbert Lust model

Herbert Lust built his collection through proximity to artists and through scholarship, a combination Christie's summarises in its September 2026 story "Collector, scholar, friend: Herbert Lust's life in art" as a collection "built through scholarship and connoisseurship, as well as deep friendships with many artists". The facts reported by Artnet News make the method concrete. Lust met Alberto Giacometti in the late 1940s while studying comparative literature at the Sorbonne in Paris, and used part of his Fulbright funds to buy works by the artist, including Chaise Jaune dans l'Atelier (1946), now estimated at $400,000 to $600,000. He went on to pursue scholarship on Giacometti's work, and much of his Giacometti holding was donated to the Tel Aviv Museum of Art in the early 2000s.

### How to build an art collection around one artist

The clearest demonstration of Lust's approach is Hans Bellmer, the German Surrealist known for his articulated doll sculptures and photographs. Lust explained his reasoning to Tablet Magazine in 2017, in words Artnet News quoted in September 2026: "I wanted a really great Magritte painting. But you could get 50 great Bellmers for one great Magritte." He went on to assemble the largest collection of Bellmer's work in the world. The flagship Bellmer in the November sale, Jointure de boules (La Poupée) of 1934 to 1936, was the artist's only contribution to the Surrealist exhibition of objects organised by André Breton in 1936, and carries an estimate of $1.5 million to $2.5 million against an auction record for the artist of $942,000, according to the Artnet Price Database.

The point for a collector is the structure of the decision. Lust compared the cost of one trophy example by a consensus name with the cost of building a body of work by a less contested artist he understood deeply, and chose depth. That choice produced a holding that scholars, curators and now an auction house read as a single argument about Surrealism. Vanessa Fusco, head of Impressionist and Modern art at Christie's, told Artnet News that Lust "had a personal connection to many artists and a scholarly connection to many artists", and that the combination is "just what we love presenting to the market".

### Relationships with artists and their limits

Lust also collected his friends. Artnet News lists Alexander Calder's Pomegranate Pods (1946), estimated at $500,000 to $700,000, and Robert Indiana's Love Wall (1968), estimated at $800,000 to $1.2 million; Lust and Indiana shared a friendship of several decades, although Lust described the artist as "the most difficult human being in history". Relationships gave Lust access to works and to context that no catalogue supplies. They also carry a risk every collector who buys from friends recognises: loyalty can override judgement, and a collection built only on friendship records a social life more than a thesis.

Lust's own summary was blunt. "And art collecting is no different than buying a property. It's shopping," he told Tablet Magazine. The remark is useful as a corrective to romantic accounts of collecting, and it sits alongside a record of scholarship and deliberate concentration. The Giacometti bronze Figure, Demie Grandeur (1949), the only known cast of that sculpture by the Alexis Rudier foundry, carries the sale's highest estimate at $20 million to $30 million. For anyone studying how to build an art collection, the Bellmer holding is the more instructive group, because it records a sustained decision.

## A thesis that evolves: the Peter Simon model

Peter Simon's collection shows the second route to a point of view: a thesis that begins narrow and widens deliberately. Simon founded the fashion retailer Monsoon in 1973, and he traces his eye to that work. "In the early days at Monsoon I would sit with fashion and textile designers sifting portfolio after portfolio to select works on paper which we would convert onto fabric for clothing collections," he said in remarks reported by PA Media in September 2026. The discipline of choosing prints for colour and composition, week after week, trained the same judgement he later applied to paintings.

The collection began with the British artists who first attracted him and then moved outward. Simon described his approach in the same statement: "I focused on the British artists who first attracted me, as well as more contemporary artists then emerging on the scene, always aiming to build links and foster dialogue across different worlds." Joseph Braka, post war and contemporary art specialist at Christie's, called the result "one of the finest and boldest ever assembled in the United Kingdom", adding that "whilst deeply rooted in the masters of 20th century British painting, the collection was one of the first in the country to evolve and encompass art from across the globe".

The sale list shows how the thesis holds together across very different works. It includes two paintings by Francis Bacon from distinct stages of his career, Figure in Movement (1978), estimated at £14 million to £18 million, and Study for a Figure (circa 1945), estimated at £4 million to £6 million. It includes British modernists Ben Nicholson and Barbara Hepworth, School of London painters Frank Auerbach and Leon Kossoff, and international works by Piet Mondrian, Joan Miró, Alighiero Boetti and Hurvin Anderson, whose Last House (2013) appeared in his 2017 Turner Prize exhibition and his 2026 Tate retrospective and is estimated at up to £3 million. Braka's summary of the collection's lesson is that "one does not have to be cornered into one genre, one period, one movement, one place".

Evolution is a discipline in its own right. A collection that widens without a governing question becomes a survey; one that widens around a question, in Simon's case links between British painting and art made elsewhere, keeps its coherence while its geography changes. Simon's closing remark about the sale also bears reading closely: he said the dispersal would free "my mind and my walls to start in a new direction". Ending one chapter of a collection is part of the method.

![Collector's desk with provenance files, condition reports and a work on paper set aside](https://renderings.laboetie.io/media/KrkHYdykEq44Y9U9HzvSR/w2560)

## Collecting against consensus without mistaking contrarianism for judgement

For a collector thinking about how to build an art collection with its own voice, buying against consensus is the hardest skill. Buying against consensus means acquiring serious work by artists, periods or media the market currently underweights, on the strength of your own reading rather than on current auction demand. Both of this season's headline collections contain an element of it. Lust bought Bellmer in depth when the price gap with Magritte was, in his own words, fifty to one. Simon, by Joseph Braka's account, took his collection beyond British painting to art from across the globe earlier than most collections in the country, and his holding includes Hurvin Anderson, whose standing was confirmed by a 2017 Turner Prize exhibition and a 2026 Tate retrospective.

The Art Basel and UBS reports supply the structural reason contrarian collecting keeps paying off in terms of access, as distinct from price. Women now account for 45 percent of gallery artists, up from 35 percent in 2018, according to the 2026 report's trend summary, and the 2025 collector survey found that 49 percent of the works in women's collections were by female artists, against 40 percent for men. Collectors who followed that reassessment early, as described in our reading of the [women Surrealists market](/insights/the-market-in-motion/reading-the-market/collecting-women-surrealists-a-revalued-canon), were able to buy primary examples that are now scarce on the secondary market.

Contrarianism becomes a mistake when it replaces judgement. Three checks keep it honest.

- **Quality within the artist's own output.** The best work by an overlooked artist is a stronger acquisition than a weak work by the same artist bought because the name is cheap.
- **Documentation.** An artist with a thin scholarly literature needs more provenance work per purchase, since fewer catalogues and records exist to confirm ownership history.
- **A reason you can write down.** If the only argument for a purchase is that it costs less than the consensus alternative, the purchase does not yet belong in the collection.

One recurring dilemma deserves a direct answer: should you buy the second-best work of a first-rank artist, or the best work of an overlooked one? The answer depends on the thesis. If the collection's argument concerns a movement where the first-rank artist is central, a secondary example still carries the argument. If the argument concerns a circle, a region or a medium where that artist is peripheral, the best work by the overlooked figure contributes more. The decision follows from what you have written down, which is one more reason to write it.

## Editing: how to curate a private art collection by saying no

Editing is the least visible part of how to build an art collection and the one that shapes its reputation most. It has two moments: the refusal at the point of purchase, and the deaccession of works already owned. Museums treat the second as normal practice. The Association of Art Museum Directors states that "deaccessioning is a legitimate part of the formation and care of collections", and asks that any recommendation to deaccession include "thorough research on prior ownership history", a "current scholarly evaluation" and an assessment of "relevance to the existing collection and future collecting goals".

A private collector deciding how to build an art collection through subtraction can adopt that procedure almost word for word. Before selling a work, write three short notes: what is known of its ownership history, how current scholarship regards it, and how it relates to the thesis. Works that fail the third test are candidates to leave, even when the first two are strong. Peter Simon's remark about freeing his walls "to start in a new direction" is a description of the same process at the scale of an entire collection.

### The rejection discipline, from intake desk to living room

Refusal at the point of purchase is harder to practise because it is invisible. Nobody sees the works you did not buy. The habit that makes it visible is a declined list: a simple file in which you record each work you seriously considered, where you saw it, the price, and the reason you passed. After two or three years, that list tells you more about your taste than your purchases do, because it shows the boundary of the thesis in practice.

Auction intake follows the same logic at a different scale. LLB Auction declines roughly 40 percent of the works submitted to it for sale, so that the lots that reach a catalogue have cleared a stated threshold. The mechanism is the one a collector applies at home: a written standard, applied work by work, with the refusals kept on record. A collection edited this way reads as a set of decisions, which is what specialists, curators and eventually heirs look for.

Editing also covers the question of scale. The 2025 collector survey found that 83 percent of high net worth collectors bought from galleries or dealers, 58 percent made purchases linked to art fairs, and 51 percent bought through Instagram. Each channel produces offers every week. A written thesis and a declined list are the practical tools for deciding which offers deserve a viewing at all, and for keeping the number of acquisitions proportionate to the attention you can give each one.

## Documenting a collection so it can be read later

In any serious answer to how to build an art collection, documentation comes last in sequence and first in consequence. Documentation is what allows a collection to be understood once the collector is no longer in the room to explain it. Artcurial's description of the Rothschild sale makes the connection explicit: "The accumulation of distinguished provenances lends the collection its exceptional character." The same house described the Thierry Dehaeck car collection, to be sold in Paris in February 2027 with an estimate of €15 million to €25 million, as "one of the most coherent, thoroughly documented and discerning ever assembled". Coherence and documentation appear side by side in both texts, because a buyer, a curator or an heir can only verify coherence through records.

A working collection file for each work should contain the following elements.

1. **Invoice and transfer of title.** The purchase invoice, the name of the seller, the date and the price paid, including the buyer's premium where the work was bought at auction.
2. **Provenance chain.** Every known previous owner, with the documents that support each link: earlier invoices, exhibition catalogues, gallery labels, letters.
3. **Certificates and catalogue raisonné status.** Any certificate of authenticity, the issuing body, and whether the work appears in the artist's catalogue raisonné (the scholarly inventory of an artist's known works).
4. **Condition history.** Condition reports at purchase, conservation treatments with the conservator's name and date, and photographs.
5. **Exhibition and literature history.** Every loan and every publication that reproduces or discusses the work.
6. **Thesis note.** A short paragraph on why the work entered the collection and how it relates to the rest, written at the time of purchase.

The last item is the one most collectors omit and the one that matters most for coherence. Herbert Lust's scholarship on Giacometti served as this kind of record for his holding. A thesis note of a hundred words per work, kept alongside the provenance file, does the same job for a private collection and makes the eventual reading, by a museum or by a sale room, far more accurate. For the financial and family side of that eventual transition, our guide to [the great wealth transfer and what inherited art means for collectors](/insights/the-market-in-motion/reading-the-market/the-great-wealth-transfer-and-what-inherited-art-means-for-collectors) covers the handover in detail.

## Art collecting strategy in practice: a worked scenario

The following scenario is illustrative, built for this article to show the method with realistic figures; it describes no real collector. Consider a collector based in Luxembourg with 60 works acquired over fifteen years and an annual budget of €150,000, within the €50,000 to €500,000 range typical of the readers of this page. The holdings include post war European abstraction, a group of Pop prints, several works by younger painters bought at fairs, and photographs acquired on travels.

| Step | What the collector does | Result after twelve months |
| --- | --- | --- |
| Thesis | Writes two sentences: post war European abstraction and its descendants in contemporary painting, with works on paper as the main medium | 38 of 60 works fit the thesis; 22 do not |
| Depth | Identifies four artists already represented by two or more works and sets a goal of a third work by each | Two acquisitions made, €62,000 in total |
| Declined list | Records every work seriously considered and not bought | 31 works declined, each with a one-line reason |
| Deaccession | Researches provenance, current scholarship and thesis fit for the 22 outlying works | 9 works consigned for sale, 13 kept for personal reasons and noted as such |
| Documentation | Builds a file for every work, including a thesis note | 60 files complete; 7 provenance gaps identified for research |

The table shows how to build an art collection by proportion as much as by purchase. The collector spends less than half of the annual budget on new works, because depth and editing take priority over volume. The consigned works leave with full files, which helps the next owner, and the works kept for personal reasons are named honestly as outside the thesis instead of being retrofitted into it. The collection after twelve months is smaller by a few works and considerably easier to describe.

This is the practical meaning of a collecting thesis in art, and the core of how to build an art collection at any budget: a short written statement that governs purchases, sales and records. It does not require the resources of a Lust or a Simon. It requires the habit of writing down reasons and consulting them before each decision.

## Risks and open questions for a collector refining a collection now

The current market carries specific pressures for anyone deciding how to build an art collection in 2026. Auction houses raised buyer's premiums across 2026, with Christie's moving to 28 percent on hammer prices up to $2 million from 1 September 2026, according to Artnet News on 24 September 2026. In the same piece, Carrigan reported advisor Todd Levin's view that plenty of auction houses would probably rather not sell anything under $1 million. For collectors deaccessioning works in the lower and middle price bands, those conditions affect net proceeds and argue for choosing a sale channel with published, fixed fees.

A second risk is narrative inflation. When houses describe every consignment as the product of a singular vision, the word collection loses meaning, and buyers can pay for a story more than for the work. A single-owner label is worth checking against the documentation: whether the provenance files exist, whether the thesis is visible in the list of works, and whether the collector's reasoning is recorded anywhere outside the catalogue essay.

A third question remains open: how the market will treat concentrated holdings once they reach the saleroom. The Bellmer lot in the Lust sale is estimated well above the artist's record, and Vanessa Fusco of Christie's told Artnet News the house expects the work to "completely redefine" Bellmer's market. Whether a deep holding sells well depends on bidders the collector cannot control. None of this changes the case for depth and editing in how to build an art collection with a point of view; it simply means the eventual sale price is an outcome to observe, and never the purpose of the thesis. Our analysis of [reading the art market without mistaking price for value](/insights/the-market-in-motion/reading-the-market) sets out that distinction at greater length.

## FAQ: how to build an art collection

### How to build an art collection when you already own many works?

Start by writing a thesis of one or two sentences and testing every existing work against it. The Association of Art Museum Directors asks museums to guide acquisitions by written collecting goals, and the same exercise works privately. Works that fit become the core; works that do not become candidates for deaccession or are kept and labelled as personal choices. The first year is usually spent on documentation and editing more than on buying.

### How many works does an art collection need to have a point of view?

No fixed number exists, but depth matters more than count. The Art Basel and UBS Survey of Global Collecting 2025 found that high net worth collectors bought 14 works on average in a year, a pace that builds volume quickly. Three or more works by each artist you commit to, across different moments of a career, usually give a thesis visible weight. Herbert Lust's Bellmer holding shows how far depth in one artist can carry a collection's identity.

### Should a collector buy the best work of an overlooked artist or a lesser work of a famous one?

Let the written thesis decide. If the famous artist is central to the argument the collection makes, a secondary example still carries it. If the argument concerns a circle, medium or region where that artist is peripheral, the strongest work by the overlooked artist adds more. Herbert Lust's comparison of fifty Bellmers against one Magritte is the reasoning in its clearest form. Price difference alone is never a sufficient reason.

### Is it a mistake to sell works from a collection?

Museums treat deaccessioning as normal practice: the Association of Art Museum Directors calls it "a legitimate part of the formation and care of collections". Selling works that no longer fit the thesis sharpens what remains. Before selling, research the provenance, check current scholarly opinion, and record why the work leaves. Peter Simon described his 2026 sale at Christie's as freeing his mind and walls "to start in a new direction".

### What documents should a collector keep for each work?

Keep the purchase invoice, the full provenance chain with supporting documents, any certificate of authenticity and catalogue raisonné status, condition reports and conservation records, exhibition and literature history, and a short note on why the work entered the collection. Artcurial described a collection it will sell in February 2027 as "coherent, thoroughly documented and discerning". Buyers and institutions can only verify coherence through records.

## How LLB Auction serves collectors refining a collection

LLB Auction is an independent online auction house for modern and contemporary art, running timed sales of 7 to 14 days on its own platform at llb-auction.com, with sales also listed on Artsy. The house was built around the same discipline this guide to how to build an art collection describes: a written threshold, applied to each work, with refusals on record.

**Intake and refusal.** The house declines roughly 40 percent of submissions, so that each lot in a catalogue has cleared a stated standard. Four sales are committed for 2026 and two for 2027; the Contemporary Art Spring 2026 sale on 26 May 2026 offered 25 lots, of which 23 sold.

**Due diligence per lot.** Each work receives certificate verification, a review of ownership history and conservation records, and a three-page professional condition report published with the lot. Typical lots range from €800 to €50,000, with occasional works above €100,000.

**Transparent terms for buying and deaccessioning.** The buyer's premium is 20 percent and the seller's commission 10 percent, both disclosed upfront. Collectors editing a collection can consign works with full files, and buyers extending one can read every document before bidding.

Register at llb-auction.com to receive each sale catalogue as it opens, with condition reports attached. Ask your questions; we have answers.

## Conclusion

This autumn's single-owner sales at Christie's and Artcurial show the finished result of decisions taken over decades: Herbert Lust's concentration on Bellmer and his scholarship on Giacometti, Peter Simon's move from British painting towards art from across the globe, and the Rothschild family's accumulation of documented provenances. The houses are presenting those collections as stories because the stories were built into the objects and the files long before any sale.

For a collector who already buys with confidence, the next step is procedural. Write the thesis, commit to depth in the artists who carry it, keep a declined list, deaccession with the same care museums apply, and document every work with a note on why it belongs. That is how to build an art collection with a point of view, and it is a method any serious collector can begin this season with the works already on the walls.

**Also worth reading:**

- [Single-owner collection sales: what a collector is really paying for](/insights/the-market-in-motion/reading-the-market/single-owner-collection-sales-what-a-collector-is-really-paying-for)
- [The women Surrealists market and the revaluation of a written-out generation](/insights/the-market-in-motion/reading-the-market/collecting-women-surrealists-a-revalued-canon)
- [The great wealth transfer and what inherited art means for collectors](/insights/the-market-in-motion/reading-the-market/the-great-wealth-transfer-and-what-inherited-art-means-for-collectors)
- [Buying art under $50,000 in the accessible online segment](/insights/the-market-in-motion/reading-the-market/buying-art-under-50000-the-accessible-online-segment)
- [Reading the art market without mistaking price for value](/insights/the-market-in-motion/reading-the-market)

**Sources:**

- [Herbert Lust's Prized Collection Lands at Christie's, Led by $30M Giacometti](https://news.artnet.com/market/herbert-lust-christies-giacometti-2814456): Artnet News, 2026
- [What Can Buyer's Fees Tell Us About the Market's Weirdness Right Now?](https://news.artnet.com/market/buyers-premiums-rise-2815556): Artnet News, 2026
- [Christie's Stories: Collector, scholar, friend, Herbert Lust's life in art](https://www.christies.com/en/stories): Christie's, 2026
- [Christie's record-breaking collection set to sell for up to £126.7m](https://www.alloaadvertiser.com/news/national/26536883.christies-record-breaking-collection-set-sell-gbp126-7m/): PA Media, 2026
- [Monsoon: The Peter Simon Collection at Christie's London](https://www.greatbritishlife.co.uk/magazines/national/26537087.monsoon-peter-simon-collection-christies-london/): Great British Life, 2026
- [A Season of Collections and autumn news](https://www.artcurial.com/en/news): Artcurial, 2026
- [The Art Basel and UBS Global Art Market Report 2026](https://www.artbasel.com/stories/the-art-basel-and-ubs-global-art-market-report-2026?lang=en): Art Basel and Arts Economics, 2026
- [7 trends shaping the global art market's recalibration](https://www.artbasel.com/stories/art-basel-and-ubs-global-art-market-report-2026-art-market-trends): Art Basel, 2026
- [The Art Basel and UBS Survey of Global Collecting 2025](https://www.artbasel.com/stories/the-art-basel-and-ubs-survey-of-global-collecting-2025): Art Basel and Arts Economics, 2025
- [AAMD Policy on Deaccessioning](https://cms.aamd.org/sites/default/files/document/AAMD%20Policy%20on%20Deaccessioning%20website_0.pdf): Association of Art Museum Directors, 2015