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® Montblanc® A tribute to GRACE and ELEGANCE Montblanc, partner of the Princess Grace Foundation, honours and supports the extraordinary legacy of Princess Grace of Monaco with a new collection of precious timepieces, writing instruments and ladies’ jewellery. www.montblanc-tribute-to-grace.com
IMAGE©ERIKBULATOVCOURTESYOFPHILLIPSDEPURY&COMPANYWWWPHILLIPSDEPURYCOM COLLECTOR: SIMON DE PURY First piece: Ne Prislonyatsa – Do Not Lean by Erik Bulatov, 1987 wiss-born auctioneer Simon de Pury began his career at Kornfeld & Klipstein in Bern before joining Sotheby’s in London. After a fi ve-year spell as curator of the Th yssen-Bornemisza Collection in Switzerland, he returned to Sotheby’s as its principal auctioneer and presided over some of the most high-profi le art sales of the 1990s, including the $29m sale of Picasso’s Portrait of Angel Fernández de Soto. He was appointed chairman of Sotheby’s Europe but left to found Phillips de Pury & Company, an international auction house that specialises in contemporary art, design and photography. He is both its chairman and chief auctioneer. Until I was in my mid-thirties, I didn’t feel the need to own any pieces. It was my privilege to work with outstanding art and to be surrounded by it on a daily basis – and I think perhaps I felt that whatever I’d be interested in buying was out of my reach. Th en, in the early 1980s, I became fascinated by a group of highly talented artists producing work in Russia. Th ey were ‘unoffi cial’ artists, who didn’t work in the style that was encouraged by the communist system, and as a result had trouble getting studios or even materials. In 1988, I organised the fi rst international art auction in Moscow for Sotheby’s. It was the early days of glasnost and a time of huge change; after the auction those artists began to be allowed to show their works publicly and to travel. One of the artists was Erik Bulatov, and I attended an exhibition of his works in Zurich. It included a Sixty-Seven piece called Do Not Lean, which showed a beautiful Russian landscape with those words written across the canvas. I was so struck by it, I bought it. At the time I was an employee at Sotheby’s and had a very modest salary, so it was quite a fi nancial sacrifi ce to acquire it. I’ve seen it with my clients, and it’s always the same. Once you’ve taken the fi rst step, the second follows automatically. My focus is mostly contemporary art and design, but I buy what appeals to me, from skateboards and Godzilla fi gures to ceramic mugs shaped like cartoon characters and superheroes… When you have a whole group of them they’re quite funny together. To collect is not an issue of money. I’ve seen great collectors who have put together remarkable collections with very limited means. And vice versa as well, of course. Collecting is a kind of artistic process in itself. After a while, the works that you have bought show your handwriting; a collection becomes the self-portrait of the person that put it together.
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