Stupendous prices were paid in a historic sale of 19th- and 20th-century avant-garde paintings collected over a lifetime by John Hay Whitney and his wife, Betsy Cushing Whitney, Picasso's 'Garcon à la Pipe' (Boy With a Pipe), painted in 1905, shot up to $104.1 million at Sotheby's during a protracted bidding match over the telephone. That is nearly twice the previous record for the artist: the $55 million paid for 'La Femme aux Bras Croisés' at Christie's New York in November 2000. The huge figure reflects the double iconic value that the portrait derived from its mastery and from the aura of its owners, the very patrician Whitneys. The portrait is perhaps the artist's ultimate achievement. Constantly hailed as the giant of modem art, Picasso was probably at his greatest when working under the spell of Old Masters. The rigorous composition, the color balance and the profound psychological probe of the young sitter place the likeness in a category that begins with Italian Renaissance portraitists and continues tight through the 19th century with Corot and Degas. Bought by Whitney in 1950, the painting was seen at distant intervals in major exhibitions dealing with the artist, from the 1967 Grand Palais retrospective in Paris to the 1996 portrait show at the Museum of Modern Art in New York. The portrait was thus both famous in art history and forgotten. This maximized its impact. Not least, 'Garcon à la Pipe' epitomized the taste of connoisseurs of the old school who bought on the strength of their convictions, not on advice. They collected for the sake of the art, neither for investment—they were already rich—nor to achieve social status, which they had by birth. In short, the Whitney sale marked the end of an era when the old cultivated elite of the Western world dominated the art market. Buyers sensed the unique character of the occasion. They responded to pictures that played each other up, linked by affinities that went beyond style. or school. Edouard Manet's 'Les Courses au Bois de Boulogne' (Races in the Bois de Boulogne) is as important regarding the Impressionist's painting as 'Garcon' is within Picasso's oeuvre. The complex composition worthy of 17th-century masters is combined with a sketchiness in much of the detail that already heralds the march toward Abstractionism. The forward thrust of the horses in the foreground and the tense postures of their riders give the picture a vigor and an authority it shares with the Picasso. And like Picasso's portrait, it owes a soothing harmony to its color balance. The Manet brought $26.3 million—a figure deemed disappointing by some only because market prices are at an all-time high. The same combination of boldness in composition and harmony in the color scheme can again be detected in Claude Monet's 'Bateaux Sur le Galet' (Boats on the Strand), painted in 1004. Here too the work is unusual. The thrust of the Brush strokes that define the boats and the close-up view of hulls that seem to burst out of the space in which they are lodged create an Expressionist effect. At $4.46 million, the rare masterpiece was worth every peony of it. With remarkable consistency, Whitney sought and found similar characteristics in the work of artists that seemed least likely to display them. Odilon Redon's admirable still life of flowers in a vase seems compressed in a space too small to contain it. Painted in oil rather than drawn in pastel, the still life has a brilliance in its color harmony that is quite unusual. Curiously, 'Fleurs Dans un Vase Vert' cost a comparatively moderate $1.68 million. It was not obvious enough in the context of that evening's sale. The collector's versatility where style, school and period were concerned was exceptional. He apparently bought with equal relish some paintings as extraordinarily advanced for their time as others seem rooted in timeless classicism. 'Nature Mo