“This is a case about a broken promise, a family disagreement, and an art masterpiece that, if this Court does not step in now to save it, will be lost to the people who love it, and to New York, forever.”
This is not the opening voice-over for a Netflix drama. It is, rather, the first sentence in a lawsuit filed on Thursday in State Supreme Court in Manhattan against the auction giant Sotheby’s by Hubert Neumann, a New York art collector whose family famously owns, and closely guards, one of the most staggering private collections of 20th-century art in the United States.
The art masterpiece in question — “Flesh and Spirit,” a 12-by-12-foot painting by Jean-Michel Basquiat — is just days away from the auction block. It is a prized asset of the estate of Mr. Neumann’s wife, Dolores Ormandy Neumann, who died in September 2016, and its potential sale shines a spotlight on what appears to be a nasty family dispute.
Shortly before her death, Ms. Neumann executed a will that fully disinherited her husband of 62 years and gave their middle child, Belinda, the vast majority of Ms. Neumann’s property while appointing her the preliminary executor of her mother’s estate, according to Mr. Neumann’s lawsuit. The couple’s other daughters, Melissa and Kristina, were left with only modest shares, the suit states.
The will, which is being disputed in court, was executed while Dolores was receiving serious medical treatment, was the product of undue influence and is therefore invalid, according to Mr. Neumann’s lawsuit.
But that’s not Sotheby’s problem. What is its problem is Mr. Neumann’s charge that Sotheby’s “botched” the marketing of the Basquiat, which is to be auctioned on May 16, violating an agreement he said he made with the auction house that is in effect through April 2019.
In the agreement, according to the lawsuit, Sotheby’s promised Mr. Neumann, 86, that it would seek his approval on “all matters relating to cataloging, placement, and exhibiting each and every work consigned.” He said the promise was broken “in spectacular fashion, and with lasting consequences.”
Instead, according to the lawsuit, Sotheby’s was “shamelessly willing to capitalize on a difficult family situation” and entered into an agreement with Belinda to sell the painting.
Mr. Neumann’s other two daughters, Melissa and Kristina Neumann, signed affidavits supporting their father’s lawsuit.
Attempts to reach Belinda Neumann on Thursday by phone and email were unsuccessful.
Mr. Neumann is also claiming that the $30 million estimate that the auction house put on the painting is “far too low,” given that almost exactly a year ago, Sotheby’s sold “Skull” by Basquiat for over $110 million. That sale set the record for a work by any American artist, for a work by an African-American artist and as the first work created since 1980 to make over $100 million.
“Flesh and Spirit,” which receives a several-page spread in the Sotheby’s catalog and is on its cover, is lot 24, the same as last year’s Basquiat.
Among other complaints, Mr. Neumann said that the auction house failed to highlight or mention the work’s many unique characteristics, like its “hinged construction,” “multi-panel composition” and “deep art-historical significance.”
In an emailed statement, Sotheby’s called the lawsuit an “eleventh-hour claim and entirely without merit.” Sotheby’s announced at the end of March that the piece would be for sale. “We are confident that the court will find in our favor and the auction will proceed as scheduled,” Sotheby’s said.
In his suit, Mr. Neumann is not claiming that he owns the work of art but that “New York law forbids the disinheriting of a surviving spouse” and that he has a “statutory right to one-third of his wife’s estate.”
Among other demands, Mr. Neumann is asking for a “temporary restraining order and/or preliminary injunction against the impending auction and sale of ‘Flesh and Spirit’ by Sotheby’s.”
In the past, Mr. Neumann has made clear that many parties covet the pieces in his family’s collection, which includes works by Pablo Picasso, Andy Warhol and Roy Lichtenstein.
A 1997 profile of Mr. Neumann in The New York Times referred to him as “a hunted and haunted man” who believes that “every museum director in the United States is awaiting the day when he is comfortably ensconced not at their dinner tables but in a coffin, and his prized art collection is finally passed on to someone new, preferably them.”
“Museum people are always looking at me as if I’m already dead,” Mr. Neumann said at the time. “They just can’t wait for me to die. How’s your health? they want to know.”