More than thirty years ago, when I was a graduate student, a college classmate and her husband took me to meet a friend of theirs. I remember almost nothing about the evening except entering the apartment and being stunned by the sight of two walls double-hung with first-rate Egon Schiele drawings. Who was our host? Serge Sabarsky, a name that would be attached, within a few years, to a Madison Avenue gallery dedicated to Austrian and German Expressionism. There it was soon evident that the man with all the amazing Schiele drawings was as rigorous in selecting the art he offered for sale as in choosing the works he lived with. The gallery’s reputation quickly grew.

Then, in the 1970s when I was a fledgling curator at a small museum, eager to do shows more ambitious than our limited resources permitted, I found that the Sabarsky Gallery would occasionally lend works more significant than I had any right to hope for,...

Introduce yourself to The New Criterion for the lowest price ever—and a receive an extra issue as thanks.
Popular Right Now