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    Money for Monet

    DFW philanthropist Anne H. Bass' $250 million art collection goes on auction through Christie's

    John Egan
    Mar 31, 2022 | 3:30 pm
    Anne H. Bass art collection
    Interior of Anne H. Bass's New York City home. From left to right: Mark Rothko, Untitled (Shades of Red); Claude Monet, Le Parlement, soleil couchant; Rothko, No. 1.
    Photo courtesy of Christie's

    A collection of 12 artworks owned by late Fort Worth philanthropist Anne Hendricks Bass is hitting the auction block in May in a sale that’s expected to fetch more than $250 million.

    The dozen artworks come from Bass’ Fifth Avenue apartment in New York City. She was the ex-wife of Sid Bass, the Fort Worth investor and oil heir whose net worth is estimated at $3.4 billion.

    Anne H. Bass died of ovarian cancer in April 2020 at the age of 78. A longtime resident of the Dallas-Fort Worth area, she was an avid supporter of local nonprofits and arts organizations, including Jewel Charity Ball, Junior League, Texas Ballet Theater, the Cliburn, Fort Worth Symphony Orchestra, and the Modern Art Museum.

    “These 12 works form a singularly compelling narrative that speaks to both the power of connoisseurship, and the enduring relevance and radicality that characterize the greatest works of art,” says Christie’s, the famed auction house that’s selling "The Collection of Anne H. Bass."

    The auction will take place in May during Christie’s annual week of 20th and 21st century art sales in New York.

    Christie’s describes the collection as an assembly of “masterpieces that was profoundly rigorous yet deeply personal, shaped by her remarkably informed eye and female perspective in a world dominated by male collectors.”

    “Guided by extensive knowledge and insight, Mrs. Bass acquired works and presented them in her home in a manner that established provocative dialogues across artistic periods — a poetic call and response spanning two centuries,” Christie’s adds.

    Among the artworks being sold are:

    • Four paintings by Claude Monet collectively valued at $105 million to $165 million.
    • Two paintings by American artist Mark Rothko collectively valued at $105 million to $145 million.
    • A bronze sculpture by French artist Edgar Degas valued at $20 million to $30 million.
    • A painting by French artist Balthus valued at $4 million to $6 million.

    The Anne Bass collection “represents everything that today’s buyers are seeking: masterpiece quality, rarity, incredible freshness to the market, and most of all, a reflection of a sophisticated collector who knew perfection when she saw it,” Bonnie Brennan, president of Christie’s Americas, says in a news release.

    Ahead of the auction, selected pieces from the collection will be exhibited April 5-8 in London and April 20-21 in Hong Kong before being returned to New York.

    “As a collector, Anne Bass was timeless,” says Alex Rotter, Christie’s chairman of 20th and 21st century art. “Truly passionate about art in all of its forms, she not only appreciated beautiful objects, but she lived with them. These paintings and sculptures were more than just possessions to Mrs. Bass; they were part of her home and her day-to-day life.”

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    Dance Off

    Texas ballet company turns Timothée Chalamet dig into genius promotion

    Brianna Caleri
    Mar 13, 2026 | 1:12 pm
    Timothée Chalamet
    Courtesy
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    It was a shot fired from Austin that rang out around the art world: In a recent CNN/Variety Town Hall featuring actors Timothée Chalamet and Matthew McConaughey, Chalamet offered an assessment of ballet and opera that immediately went viral.

    During the onstage conversation at the University of Texas at Austin, Chalamet said, "I don't want to be working in ballet or opera, or you know, things where it's like, 'hey, keep this thing alive, even though like no one cares about this anymore.' All respect to the ballet and opera people out there. I just lost 14 cents in viewership."

    Chalamet immediately seemed to experience a twinge of regret, awkwardly adding, "But um...damn, I just took shots for no reason." He also sang a note and hid his face behind the cards he was holding.

    Stars of the art forms, from Andrea Bocelli to Misty Copeland, immediately began to leap (jeté, if you will) to the the defense of opera and ballet.

    In a genius marketing move, Austin's hometown ballet company is taking the unique opportunity to turn a hot topic into a promotion for its next production: Ballet Austin is inviting anyone named Timothée, Timothee, or Timothy to claim a free ticket to its upcoming world premiere of Marie Antoinette: Vampire Queen of Versailles, running March 27-29 at the Long Center for the Performing Arts.

    "Timothée… you were in Austin? We were literally down the street," a Ballet Austin post says. "Austin has brisket. Austin has music. Austin also has ballet."

    All Timothées and folks with similar names will have to do to claim a ticket is send a message to Ballet Austin on social media and show identification. Everyone else who wants to see the supernatural show where "the line between victim and villain blurs" will have to purchase a ticket ($25-$125) at balletaustin.org.

    Ballet Austin Marie Antoinette: Vampire Queen of Versailles Ballet Austin isn't afraid to add some edge to classic stories. Photo courtesy of Ballet Austin

    Even if Chalamet's words were dismissive, he's obviously not wrong about the relative distribution of public interest between the classical arts and major films like Marty Supreme, the late 2025 film he stars in and is busy promoting. The film's commercially successful release set a record for A24, an already renowned studio.

    Chalamet brought up ballet and opera in service of a larger point about pacing in movies. He said he exists in a middle ground as a consumer between wanting to be drawn in early and being more patient as a film progresses. Ultimately, he juxtaposed Barbie and Oppenheimer with the classical arts, pointing out that if the masses want to go see a film, they will "be loud and proud about it" organically, without needing performers to advocate for the seriousness of the art form.

    Coincidentally, there couldn't be a better counterpoint to this argument than Marie Antoinette: Vampire Queen of Versailles.

    As the title suggests, the story follows historical figure Marie Antoinette as she chooses to become a vampire, seeking "power, immortality, and vengeance," according to a press release. It takes a somewhat silly premise and gives it dramatic gravitas, with an original score by Austin composer Graham Reynolds, who is known outside of classical circles and sometimes composes for movie soundtracks.

    "For Ballet Austin, the moment is an opportunity to remind audiences that ballet isn’t fading away," says a release about the new promotion. "It’s evolving, drawing new audiences and continuing to thrive in creative cities like Austin."

    If Chalamet really does fall in the middle of instant and delayed artistic gratification, this sounds like the perfect production to draw him in.

    And perhaps Ballet Austin should add people named Matthew to their promotion, since McConaughey threw the younger star a bone after his momentary walk-back, saying, "That's not a shot — I hear what you're saying."

    ---

    Stephanie Allmon Merry contributed to this story.

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