Legacy
Duveen greatly increased the trade in bringing great works of art from Europe to America. He eventually became "the art dealer", through shrewd planning and his insight into human behaviour. If a great painting came onto the market, he always outbid the opposition and eventually acquired the finest collections. He went to great lengths to purchase great works of art and his network went well beyond American millionaires, English royalty, and art critics. He also relied heavily on valets, maids and butlers of his own household and those of his clients. Because he was capable of making potentially generous payments to top-flight servants, he was often rewarded with information to which other art dealers never had access.
One incident from S. N. Behrman's biography, Duveen, illustrates this. When Duveen was still a young man in his father's employment, a well-to-do couple came into the store to buy tapestries. As the lady was choosing and picking up pieces generously, Duveen's father discreetly asked him to find out who these people were. Duveen went outside to the horseman and was told that the couple were Mr and Mrs. Guinness. Duveen wrote their names and slipped it on a piece of paper to his father, when the lady was almost finished she innocently asked "We are buying so many tapestries, you must be wondering why?" Duveen's father immediately beamed and said "Of course not, Lady Guinness, you have so many beautiful homes, you will need more than one tapestry to decorate them!" The Guinnesses were subsequently ennobled in the 1890s; Duveen had successfully flattered Mrs Guinness by addressing her as "Lady Guinness".
Duveen played a large part in forming many of the collections that are now in North American museums, for example the Frick Collection in New York, the Frank P. Wood collection at the Art Gallery of Ontario, the Huntington Library, and the Mellon and Kress collections now in the National Gallery of Art in Washington and elsewhere. Duveen exploited his American clients' wish for immortality through buying great works of art, an ambition in which they were successful: today only economic historians can name the rich partners of Frick, Mellon or Morgan. One of his later clients was J. Paul Getty, who, though he was less interested in paintings, bought from Duveen the second Ardabil Carpet. Duveen had always kept a number of grand French furniture and tapestries in stock.
Duveen's portrait was painted by many artists, but his best painter-friend was the Swiss-born American artist Adolfo Müller-Ury (1862–1947), who painted him three times, in 1923, 1929 and 1938. The 1923 portrait was reproduced on the cover of Meryle Secrest's 2004 biography, and later sold at TEFAF Maastricht in 2006 for $95,000. Müller-Ury also painted a full-length standing portrait of his daughter Dorothy as a girl in 1914, and in 1924, at the time of her engagement, a bust-length portrait, which was exhibited the following year at Müller-Ury's exhibition at Duveen Brothers as 'Miss X'. Dorothy Elaine Vicaji also painted Dorothy.
Lord Duveen died in May 1939 aged 69 and is buried in Willesden Jewish Cemetery in London. The baronetcy and barony became extinct upon his death.
In February 2026, as part of the magazine's one-hundreth-year celebration, The New Yorker featured the online presentation of one of its "classic" articles--the first and last installments of S.N. Behrman's original six-part profile of Duveen that had been published from Sept.-Oct., 1951.
