Anita and Poju Zabludowicz: Redefining Art Collecting
By Darren Smith, Arts Reporter
May 31, 2026
In the rarefied world of contemporary art, few names evoke the blend of passion, philanthropy, and strategic vision quite like Anita and Poju Zabludowicz. For over three decades, this power couple has stood as pillars of the international art scene, amassing one of the most significant private collections while championing emerging artists and opening their holdings to the public. Now, as they prepare to consign works valued at approximately £15 million ($20.1 million) to Christie’s in London, the move signals not a farewell but a thoughtful recalibration — one that passes stewardship to the next generation while inviting new collectors and institutions into the fold.
Born in Newcastle upon Tyne, Anita Zabludowicz studied fine art before immersing herself in the mechanics of the market at Christie’s. Her husband, Finnish-British-Israeli businessman Poju Zabludowicz, chairs the Tamares Group, a private equity firm with global reach. Together, they began collecting seriously in 1994, drawn initially to the vibrant Young British Artists scene. Works by Michael Landy, Keith Tyson, and Gillian Wearing formed early cornerstones, but their tastes quickly expanded to encompass photography, sculpture, video, and digital practices from Europe and North America.
Today, the Zabludowicz Collection spans more than 5,000 works by over 500 artists, with particular strength in pieces from the 1990s onward. What distinguishes it is not merely scale but philosophy. From the outset, the couple viewed collecting as an active dialogue with living artists. They commission new works, support residencies, and have organized hundreds of free exhibitions and events. In 2007, they transformed a former Methodist chapel at 176 Prince of Wales Road in Chalk Farm, north London, into the dynamic project space known as 176. There, risk-taking shows by artists at pivotal career moments — often women, queer, and underrepresented voices — drew young, engaged crowds rarely seen at more traditional venues.
Anita Zabludowicz has long emphasized art’s role beyond the marketplace. “Art has no beginning and no ending — it is a story that continuously evolves,” she stated. This ethos guided their public programs, which included ambitious commissions and international loans. The collection maintained outposts in New York and on the Finnish island of Sarvisalo, where artists found serene residencies amid nature. Anita’s contributions earned her an OBE in 2015 for services to art and philanthropy. She has served on boards including Tate Modern’s International Council and Camden Arts Centre, while both have supported institutions like Kiasma in Helsinki.
Yet their journey has not been without challenges. In recent years, the couple faced protests and boycotts linked to Poju’s business interests and perceived ties to Israel. Artists “deauthorized” works in 2021, and Finnish artists boycotted Kiasma over funding. In response, the Zabludowiczes issued a public statement supporting a two-state solution and affirming their commitment to peace. They closed the London space in late 2023 to focus on loans and the Sarvisalo site, describing the shift as preparation for the future.
The upcoming Christie’s sale on June 25 (with an accompanying online sale) marks the first time any portion of their collection enters public auction. The 106 lots highlight blue-chip names alongside vital contemporary voices. Leading the charge is Philip Guston’s Mirror Head (1977), estimated at £3.5–5.5 million. Other highlights include pieces by Beatriz Milhazes, Rose Wylie, Damien Hirst, Richard Prince, Takashi Murakami, Henry Taylor, and Charline von Heyl. Proceeds will fuel continued acquisitions and projects, ensuring the collection’s evolution rather than contraction.
This transition reflects deeper currents in the art world. As major collectors age and institutions grapple with funding, strategic deaccessions allow collections to refresh while circulating masterpieces to new homes. For the Zabludowiczes, it underscores a family legacy now influenced by their daughter Tiffany, who brings fresh perspectives. Their story illustrates how private passion can fuel public good — supporting artists when markets lag, fostering dialogue across borders, and proving that true patronage endures beyond any single exhibition or sale.
Throughout their collecting journey, Anita and Poju have championed the idea that art connects people and ideas. From supporting Tate Modern as founder benefactors to nurturing residencies that launch careers, their impact ripples far beyond their holdings. As younger collectors emerge in an era of digital fragmentation and global uncertainty, the Zabludowicz model — bold yet thoughtful, private yet generously open — offers a compelling blueprint.
The art market watches closely. With summer sales heating up, this consignment arrives at a moment of reflection across the sector. Will other long-term collectors follow suit? How might proceeds reinvigorate support for emerging talent? For Anita and Poju, the answers lie in the works’ next chapters. “Then, Now, Next,” as Anita aptly frames it — a continuum where each transaction sustains creativity’s forward momentum.
Their collection has never been static; it has grown through curiosity, adapted through dialogue, and given back through accessibility. In an age when private wealth increasingly intersects with cultural stewardship, the Zabludowiczes exemplify commitment that transcends headlines and controversies. As these works find new walls, the couple’s influence will persist — not diminished, but multiplied across museums, homes, and future generations.
Discover the full Zabludowicz Collection and its rich history at zabludowiczcollection.com. Follow the landmark June sale and view the lots at Christie’s. Read more about the consignment in this Financial Times feature. For deeper insight into Anita’s career, visit her profile on Tate.
Support living artists and public programs that keep contemporary art vibrant in your own community — attend exhibitions, visit project spaces, or consider collecting emerging talent. What role do you see collectors playing in the future of art? Share your thoughts below.
Cover image has been Ai generated
