![]() In 2016, he snapped up two masterpieces from David Geffen- Willem de Kooning’s Interchange (1955) and Pollock’s Number 17A (1948)- to the tune of $500 million. The founder of the hedge fund Citadel has in the past few years become the king of the nine-figure buy. The purchase brandishes Griffin’s well-earned reputation as one of the biggest whales in the collecting game. Robert Murray, Jonathan Holstein, and Newman in front of Uriel (1955) at the Front Street studio. Reliable sources confirm that Meyer and Wirth teamed up to put together a top-secret once-in-a-generation deal that landed the great Barnett Newman masterpiece Uriel (1955) in the collection of billionaire Ken Griffin. Now, Wet Paint can reveal one such mega-watt deal that was organized by Meyer, alongside a very special mega-dealer partner: Iwan Wirth. ![]() Instead of any public appearances, there have just been whispers that Meyer, who once ruled the perch of the biggest evening sales on earth, has been quietly arranging nine-figure mega-deals from his cushy office on the 25th floor of the Seagram Building. The collection brought in $216.3 million at Christie’s, and the $91 million Jeff Koons sculpture Rabbit made Koons the most expensive artist alive. Newhouse, the former Condé Nast chief who died in 2017, leaving behind one of Gotham’s primo stashes of contemporary art. Whatever happened to Tobias Meyer? It’s been four years since the hall-of-fame rainmaker-dubbed “The Seller of the Century” in the English rags-made his last public appearance as advisor to the family of S.I. THE WHALE, THE MEGA-DEALER, AND THE RAINMAKER Every week, Artnet News Pro brings you Wet Paint, a gossip column of original scoops reported and written by Nate Freeman.
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