Specialist Spotlight: Sotheby’s George Wachter on Old Masters and the Exceptional Saunders Collection
Francesco Guardi, Venice, A View of the Church of the Redentore (detail), Venice 1712 - 1793 Cannaregio
This May, APAA sponsor Sotheby's presents the Collection of Jordan and Thomas A. Saunders III, one of the most significant Old Master collections to come to auction in recent memory. APAA spoke with George Wachter, Chairman of Sotheby's North America and South America and Co-Chairman of Old Master Paintings Worldwide, who played a pivotal role in building this remarkable collection spanning from 1520’s Germany to 1820’s England.
You've risen to the position of Chairman and Co-Worldwide Head of Old Masters at Sotheby's. Could you walk us through your professional journey and what first drew you to specialize in Old Masters?
I studied art history in college and grew up with paintings around me as there were collectors in my family. After graduation, my grandfather sent me to a dealer who connected me with Peter Wilson, who was the guru of the auction world at that time. He placed me in a Sotheby's training course, and I won over the course director with a paper that I wrote.
What distinguished me was my understanding of the physical nature of paintings—that a painting is a flat surface and how the paint is applied to it is what creates the magic. When a job opened in Old Masters, I was recommended for it. I stayed in that department for four years in London, working with top scholars like Philip Pouncey and Neil MacLaren, before returning to New York.
I was appointed Director in 1982 and led the department for approximately 25 years, after which Christopher Apostle succeeded me in the role. Along the way, I became head of the painting division in 1995 for seven years, and later was made Vice Chairman. Today I am Chairman of Sotheby’s North America and South America and Co-Chairman of Old Master Paintings Worldwide.
Over your years at Sotheby's, what changes have you observed in how the auction house approaches Old Masters sales and presentations?
I've been at Sotheby’s since 1973, overseeing consistent approaches to Old Masters. We made significant initiatives along the way—notably expanding catalog notes to help clients understand these artists and the stories behind their paintings. We used to provide minimal information, but the comprehensive notes you see in catalogs today started with our efforts to explain what makes each object fascinating.
Everything's now in color, and many sales are online, but we maintain physical catalogs for major sales. Clients continue to value tangible materials.
Sir Peter Paul Rubens
Siegen 1577 - 1640 Antwerp
Abduction of Dejanira by Nessus
Francesco Guardi
Venice 1712 - 1793 Cannaregio
Venice, A View of the Punta della Dogana and the Church of Santa Maria della Salute;
Venice, A View of the Churches of San Giorgio Maggiore and Santa Maria della Salute
The digital component is growing. How does that impact presenting Old Masters?
While many clients are comfortable viewing works online, others prefer traditional formats. Old Master collectors expect comprehensive documentation. For the Saunders collection, we're creating an oversized catalog to showcase these exceptional works.
How do you stay current with Old Masters scholarship and research?
At Sotheby's, we leverage our team's diverse strengths. My particular talent lies in recognizing exceptional works. The Saunders collection, which I helped curate, demonstrates this discernment.
Our department in New York houses six experts, each with complementary specializations. We collaborate effectively, knowing when to consult colleagues on particular questions. This team approach ensures comprehensive expertise across all periods and regions.
The Saunders Collection spans from 1520’s Germany to 1820’s England. From your perspective at Sotheby's, what makes this collection particularly significant in today's market?
The collection's distinction lies in its exceptional breadth and uncompromising quality. It encompasses Dutch 17th century, French 18th century, and English 19th century masterworks—a remarkable cross-section of periods and styles.
What truly sets it apart is that each piece represents the pinnacle of its category. The Guardi, the Lawrence, the Gerrit Dou, the Ruysdael—these are museum-quality examples, representing their creators at their finest. While some collections might feature three or four standout works, the Saunders Collection boasts around twenty true masterpieces.
The global tour includes stops in London, Amsterdam, Brussels, Los Angeles, and Hong Kong. What insights has Sotheby's gained about regional interest in Old Masters through exhibitions like this?
Our London exhibition attracted diverse international collectors, particularly because we presented it alongside works from our Modern and Contemporary auctions.
Amsterdam proved strategic for two reasons: the Dutch pictures naturally resonated with local audiences, and the works were in front of collectors and museum professionals en route to Maastricht. Brussels focused on specific works of regional interest, including the Rubens sketch.
Los Angeles was selected to engage collectors and institutions. Hong Kong represents our commitment to Asian collectors, who have demonstrated serious interest in Old Masters. Our recent Botticelli sales, which achieved $92 million and $45 million respectively, both saw competitive bidding from collectors in Asia.
Interestingly, certain works generate universal excitement across all regions, while others appeal to specific collectors. The Meléndez, the Post, and the Coorte consistently captivate viewers worldwide.
Looking back at this collection's journey and ahead to the May auction, what aspects of these works do you hope new audiences will discover and appreciate?
These masterpieces speak for themselves. The Lawrence portrait of Robert Peel's daughter captivates with its immediacy—an eight-year-old girl with her dog against a beautifully rendered landscape.
The Guardi Venetian views showcase perfect technique and immaculate condition. These works don't require explanation—their exceptional quality is immediately apparent. We encourage everyone to experience them firsthand during our May 17–20 exhibition.
Sir Thomas Lawrence, P.R.A.
Bristol 1769 - 1830 London
Portrait of Miss Julia Beatrice Peel (1821-1893), Daughter of Prime Minister Sir Robert Peel, with a Spaniel
What role do art advisors play in a collection like this?
Art advisors provide essential value in today's market. While collectors traditionally consulted auction specialists, museums or restorers directly, skilled advisors consolidate these relationships and expertise. A knowledgeable advisor offers comprehensive guidance and streamlines the collecting process for their clients.
About Elegance & Wonder: Masterpieces from the Collection of Jordan and Thomas A. Saunders III
Comprising fifty-six works, many of which have been exhibited at leading institutions around the world, the collection is remarkable both in its geographical scope and in its chronological sweep, ranging from 1520s Germany, by way of Dutch and Flemish, Italian, Spanish and French art of the 16th-19th centuries, and ending with an exceptional 1820s portrait by Sir Thomas Lawrence. The collection includes masterpieces by Francesco Guardi, Jan Davidsz. De Heem, Frans Hals, Luis Meléndez, Gerrit Dou, Sir Thomas Lawrence, Jan van Kessel, and Sir Peter Paul Rubens—many of them among the best works by the artists to ever appear at auction.
About George Wachter
George Wachter is Chairman of Sotheby's North America and South America and Co-Chairman of Old Master Paintings Worldwide, with more than forty years of experience in his field. A graduate of Brandeis University, he joined Sotheby's London in 1973 and has been instrumental in the sale of the most important Old Master collections ever to come to auction, including works from the New-York Historical Society, the Estate of Peter Jay Sharp, and the Collection of Jaime Ortiz Patiño. Mr. Wachter has facilitated landmark transactions such as Andrea Mantegna's Descent into Limbo for $28,568,000, Rembrandt's Saint James the Greater for $25,800,000, and Turner's Rome (from Mount Aventine) for $48 million. He served on the board of the Frick Art Museum, on the Rose Art Museum at Brandeis University Board of Overseers and on the Getty Conservation Council.
