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. History is all about who you sit next to at lunch. Or, in the case of Michel Strauss, who your mother sits next to. Back in 1960, Strauss was a Courtauld Institute grad student writing reviews for Burlington Magazine in his spare time (the degree shows of a pair of artists named Peter Blake and David Hockney are among those that caught his eye). At the fateful luncheon, his mother was seated next to Sotheby's chairman Peter C. Wilson, who suggested in no time that her talented son might want to join the firm as a cataloguer. Strauss took the job in 1961 at age 25, at a salary of £850 per annum, eventually rising to become head of Sotheby's Impressionist and modern department in London, a post he held until his retirement in 2000. Of course, who you sit next to depends a lot on where you come from. Strauss' charmingly rambling memoir, Pictures, Passions and Eye: A Life at Sotheby's (Halban Publishers, 2011), provides evidence in its casual way that social position -- who you know -- has an important if often hidden part in shaping the art market. Strauss comes from one of those cosmopolitan Jewish families that played such an important role in 19th- and early-20th-century Europe. His paternal grandfather was Jules Strauss, an art collector who lived on the Avenue Foch in Paris, buying Old Masters as well as Monet, Degas and Cezanne, and who is said to have found the perfect 16th-century Florentine frame for Leonardo's Virgin of the Rocks and donated it to the Louvre. On his mother's side, his grandfather was a Russian baron whose fortune was launched when he won a rare concession from the Tsar to sell vodka to the Russian army during the Crimean war. His mother herself was a champion French skier in the 1930s, who managed to escape France with her young son in 1941, eventually ending up in an apartment at the Carlyle Hotel.
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