A Collector’s Starter Pack: The Collection of Sidney Rothberg
Over the course of over six decades, Sidney Rothberg curated a remarkable collection blending blue-chip artists with emerging talents, many of whom he discovered through auctions around the globe. The result is an eclectic, innovative collection that reflects his distinctive eye and fearless taste.
Collector Sidney Rothberg on his Birthday
As we look ahead to Parts III and IV of this expansive collection, going to auction on June 24 and 25 and featuring over 300 lots, it becomes clear that Rothberg’s approach offers more than just inspiration—it provides a roadmap. His collection stands as a masterclass for new and aspiring collectors, offering valuable insights into how to build a collection that’s both accessible and meaningful.
Below are 6 key takeaways from the Rothberg Collection—each one a potential step for those looking to start, or refine their own collecting journey.
1) Favor Works on Paper
Sidney Rothberg collected across media, yet he had a deep appreciation for works on paper—a broad and dynamic category that encompasses everything from drawings and watercolors to collages, photographs, etchings, and prints.
Lot 281 | Willem de Kooning (American/Dutch, 1904-1997) Portrait of a Woman | Estimate: $6,000 - 10,000
Generally more accessibly priced than paintings or sculptures, they make an ideal entry point for emerging collectors. In the contemporary art world specifically, works on paper serve as a gateway to owning pieces by established artists whose larger works (and oils) may already command premium prices.
Lot 15 | Pierre-Auguste Renoir (French, 1841-1919) Après le Bain, circa 1910 | Estimate: $12,000 - 18,000
Works on paper can also reveal more about an artist’s thought-process. For Rothberg, collecting in this medium wasn’t just about access—it was about insight. He often used works on paper to deepen his connection with specific artists, exploring their stylistic development and creative journey. Many of the pieces in his collection are preparatory studies or sketches for major works, offering a behind-the-scenes look at an artist’s creative and technical process. This approach offers a thoughtful and secure path to collecting, as such works often hold academic significance. They can attract the interest of future curatorial projects by revealing moments of experimentation, refinement, and raw inspiration, shedding light on how ideas evolve across different media.
2) Blue-chip artists with a Twist
Rothberg’s collection includes works by a remarkable range of reknowned artists such as Renoir, Vuillard, Rodin, Scharf, Boudin, Calder, and Parsons, to name just a few.
What set his approach apart was his deliberate decision to seek out unusual or lesser-known pieces by these artists, rather than pursuing the most obvious works. This strategy not only made collecting more accessible, but also resulted in a more personal and distinctive collection.
Left: Lot 121 | Léonard Tsuguharu Foujita(French/Japanese, 1886-1968) Chat Assis (À mon Ami Ninot), 1958 | Estimate: $3,000 - 5,000
Right: Lot 142 | Léonard Tsuguharu Foujita (French/Japanese, 1886-1968) Portrait of Goethe (After Tischbein) | Estimate: $8,000 - 12,000
For new collectors, Rothberg’s method offers a valuable lesson: choose a handful of artists whose work genuinely resonates with you, then seek out pieces that reflect a unique moment in their career or reveal a more intimate side of their practice.
One standout example from Rothberg’s holdings is a ballpoint pen drawing by Léonard Tsuguharu Foujita. Though it features his signature subject—a cat—it’s rendered informally on paper, originally created as a personal note for a friend in Paris. This spontaneous, heartfelt sketch contrasts beautifully with another Foujita work in Rothberg’s collection: an oil painting after Tischbein’s portrait of Goethe. More than just a copy, the painting reveals Foujita’s deep admiration for the Old Masters and underscores his intellectual curiosity and reverence for art history. Adding to its significance, the piece once belonged to one of Foujita’s key patrons, enhancing both its narrative and its aura.
3) Smaller Works
One of the most common phrases specialists hear from collectors is, “I don’t have any more wall space.” It’s a real—and surprisingly frequent—problem. Rothberg often solved this issue by making creative use of his wall space, opting for a "Salon-style" hang, displaying paintings from floor to ceiling, often resulting in unexpected and thought-provoking pairings.
Another smart and practical solution? Collect small works. Not only are they often more affordable, but their modest scale allows collectors to expand their holdings without overwhelming their space.
Lot 269 | Jean Hugo (French, 1894-1984) Lauretta, Marie et Caroline | Estimate: $800 - 1,200
But don’t mistake small for insignificant. In many cases, smaller works are where an artist’s vision becomes most focused and intimate. Some artists, like Jean Hugo, even specialized in the small format. The Rothberg Collection includes ten exquisite examples of his gouaches, oils, and watercolors. For Hugo, working small was a deliberate homage to the medieval miniatures he so deeply admired—rich in fantastical creatures and intricate detail. On a reduced scale, every leaf, every brushstroke is rendered with the precision of an embroidery stitch, making the viewing experience all the more rewarding.
Smaller works can also offer a more personal glimpse into the artist’s world. These might include preparatory studies for larger composition, informal sketches created for a friend or family member—works never meant for public eyes— or even small, totemic sculptures which a collector can relish privately. When the artist is especially renowned, even a simple signed sheet can carry significant value, both emotionally and monetarily.
Lot 222 | Marcel Duchamp (French, 1887-1968) Bouche-Évier (Sink Stopper) also known as Medallic Sculpture, 1964 | Estimate: $2,000 - 3,000
4) Retrace the Provenance
Whether you’re drawn to oils or watercolors, intimate studies or bold statement pieces, one principle should always guide your acquisition: ensure the work comes with solid, verifiable provenance. Provenance is essential in establishing a work’s authenticity, history, and value. It is also, and most importantly, a keystone of responsible collecting. Rothberg took a deep dive into the painting he collected, studying the history behind it, but also analyzing the relationships and/or influences the artist could have the time.
Lot 26 | Charles Demuth (American, 1883-1935) Three Cabaret Dancers | Estimate: $5,000 - 8,000
The Rothberg Collection offers a blueprint for how this can be done thoughtfully and thoroughly. When evaluating a work, consider the following key points:
Where was the work acquired?
· Was it purchased directly from the artist?
· Did it come from a reputable gallery known to have a direct relationship with the artist?
· Was it sourced through a respected international auction house or charity auction—often a great way to support emerging artists while acquiring quality work?
Is there a certificate of authenticity?
· If so, make sure it’s issued by the most up-to-date and widely recognized expert or foundation associated with the artist. As scholarly opinions evolve over time, having a recent and reliable certificate ensures the work is both legitimate and traceable.
· If not, that doesn’t necessarily mean the work is inauthentic. It may still be documented or illustrated in various publications, including the artist’s catalogue raisonné—which serves as tangible proof that the work is recognized, studied, and considered authentic within the academic and market spheres.
Lot 118 | Henri Hayden (French/Polish, 1883-1970) Les Échecs Verts, 1961 | Estimate: $4,000 - 6,000
Ultimately, collecting is as much about inquiry as it is about instinct. Sidney Rothberg was famous for challenging curators, dealers, and experts with a deceptively simple question: “What do you see?” His legacy reminds us that asking questions—and trusting your own eye—can lead to a deeper connection with the work and a more meaningful collection.
5) Mix and Match
Starting a collection with smaller or more affordable works doesn't mean you're limited to that path forever. Over time, your collection can grow in both scale and ambition. In fact, you can explore both ends of the spectrum simultaneously. Sidney Rothberg did exactly that—acquiring works by both blue-chip artists and emerging voices—not out of strategy, but from a deep instinct and a desire to draw meaningful connections between the pieces he loved.
Interior shot of Sidney Rothberg’s Penthouse in Philadelphia
For Rothberg, collecting wasn’t about price tags. It was about resonance. He might pair a $25,000 Daumier oil with a modest Gritchenko drawing, not because they matched in era or medium, but because they spoke to each other. Both artists were admired by Dr. Albert Barnes, who famously displayed works by masters and unknowns side by side in his foundation, granting them equal respect. Rothberg embraced that philosophy. To him, the value of a work wasn’t dictated by its cost, but by what it added to the story he was building, to what it taught him about color and light, and what it pushed him to study about one's brushstroke, or their personal background etc.
Left: Lot 9 | Honoré Daumier (French, 1809-1879) Le Buveur Chantant, circa 1856 | Estimate: $25,000 - 40,000;
Right: Lot 21 | Alexis Gritchenko (Ukrainian, 1883-1977) Two Men at a Table, circa 1960-65 | Estimate: $1,000 - 1,500
The least expensive piece in a collection doesn’t diminish the most expensive—it complements it. Each work offers its own perspective, its own voice. The Barnes approach of mixing artists, periods, and even forms of art is a powerful reminder that collecting should reflect the full spectrum of human curiosity. It’s a generous, inclusive vision of art: a vision that Rothberg embodied with every acquisition
6) Buy What you Like
By following the guiding principles shared above—and staying true to your personal vision—you can build a collection that remains meaningful and relevant over time. But above all, one rule should always take precedence: buy what you love. Art is deeply personal. It’s meant to live with you, to reflect your tastes, your journey, and your values. If a piece doesn’t move you or loses its appeal, then its presence—no matter how prestigious—loses its purpose. As in the case of Rothberg, if a piece has, on the contrary, provided all of this joyful experience for you, then maybe consider selling at auction, so the story continues with another, younger generation.
Cover of the printed catalogue of What Do You See? The Collection of Sidney Rothberg, Part III and Part IV, June 24-25, 2025
Sidney Rothberg understood this intuitively. Some of the works he purchased in his twenties remained with him throughout his life—pieces he continued to live with, contemplate, and cherish into his eighties. That enduring connection is a testament to the power of collecting based on passion, not just price.
While art can be a viable investment, treating it purely as such often narrows your field to the safest, most conventional options. In Rothberg’s case, that mindset might have excluded artists like Betty Parsons, Romare Bearden, or Kiki Smith—visionaries whose work may have once been overlooked by the market, but whose creative voices he recognized and championed.
Left: Lot 234 | Betty Parsons (American, 1900-1982) Seated Cat, 1974 | Estimate: $1,500 - 2,500
Right: Lot 277 | Kiki Smith (American, b. 1954) Bird and Egg, 1996 | Estimate: $1,000 - 1,500
Believing in an artist before the world catches up, trusting your eye and your instincts is, in many ways, the most meaningful and lasting investment a collector can make. It’s not just about acquiring objects; it’s about building a legacy of taste, curiosity, and conviction. As Saranne Rothberg says: "You are never too young to start collecting: Rothberg taught me and my own daughter when we were toddlers, and handed us paddles to take action in the bidding room. Don't be intimidated: it's now your turn to start an amazing collection such as my dad's."