From Virgin Executive to Art Maestro: The Remarkable Journey of Robert Devereux's World-Class Collection of Contemporary African Art

In 2005, a pivotal shift occurred in Robert Devereux's approach to art collecting. Formerly a dedicated buyer of contemporary art, this former Virgin executive redirected his focus to support artists from East Africa, particularly after being captivated by the Hayward Gallery exhibition "Africa Remix," curated by Simon Njami. His deep connection to East Africa, dating back to 1996, when he purchased a house on the island of Lamu, culminates in the upcoming auction, "A Place With No Name: Works from the Sina Jina Collection," scheduled during Frieze Week at Christie’s in London on October 13. Devereux's extensive collection, one of the largest of contemporary African art, spans rising stars and established figures, with a recent emphasis on artists from East Africa. His unique, instinctive approach to collecting revolves around supporting artists in the early stages of their careers, with a commitment to building relationships with the creators of the works he acquires.

Devereux's collection, which includes artists like El Anatsui, Lynette Yiadom-Boakye, and Elias Sime, reflects a discerning eye for talent, and he emphasizes the importance of standing in the presence of art to truly understand and appreciate it. While acknowledging the surge in demand and remarkable prices for African contemporary art globally, Devereux advocates for the development of strong domestic markets, pointing to South Africa and Nigeria as leaders in the field. He is actively involved in promoting art in Kenya and supports the idea that passion, rather than investment, should drive art acquisition. As a former board member of 1:54 in London and the inaugural chair of the Tate Africa Acquisitions Committee, Devereux continues to champion African artists, particularly those with a political message. He remains engaged in supporting emerging talents from Nairobi, such as Beatrice Wanjiku, known for her evocative figurative paintings, and Peterson Kamwathi, whose subtle and sophisticated approach addresses the political situation in Kenya. With a commitment to lending works from his collection for well-curated exhibitions, Devereux underscores the imperative of introducing audiences to new and impactful voices from Africa.