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Roy Neuberger

Roy Rothschild Neuberger (July 21, 1903 – December 24, 2010) was an American financier, philanthropist, and art collector renowned for co-founding the investment firm Neuberger Berman in 1939 and building one of the most significant private collections of modern American art, which he generously shared with public institutions across the United States.^[1]^[2] Born in Bridgeport, Connecticut, Neuberger moved to Manhattan with his family in 1909 and attended DeWitt Clinton High School before briefly studying at New York University.^[1] At age 20, he traveled to Paris for four years to study art informally, an experience that ignited his lifelong passion for collecting.^[2] Returning to the United States in 1929 amid the stock market crash, he began his Wall Street career as a stockbroker at Halle & Stieglitz in 1930, eventually partnering with Robert B. Berman to establish Neuberger Berman, a firm that grew into a major player in asset management and weathered multiple market crises over the decades.^[1] Neuberger's art collecting began in the late 1930s, focusing on emerging American artists whose works he acquired with the disciplined eye of a trader; he amassed over 100 paintings by Milton Avery alone, including 46 purchased in 1948, as well as pieces by Jackson Pollock and Willem de Kooning.^[1] He pioneered the integration of art into corporate culture by displaying works in Neuberger Berman's offices and authored memoirs detailing his dual pursuits, including So Far, So Good: The First 94 Years (1997) and The Passionate Collector: Eighty Years in the World of Art (2003).^[2] His philanthropy extended his influence profoundly: starting in the 1940s, Neuberger donated thousands of artworks to more than 70 museums in 24 states, including the Whitney Museum of American Art, the Metropolitan Museum of Art, and the Museum of Modern Art.^[1] In 1969, he gifted over 900 pieces to establish the Neuberger Museum of Art at Purchase College, SUNY, which opened in 1974 and now houses more than 6,000 works; he further supported it with a $1.3 million donation in 1984 and founded the Friends of the Neuberger Museum of Art in 1972 to fund over 60% of its annual expenses.^[2] Neuberger served on numerous museum boards, was president of the American Federation of the Arts from 1958 to 1968, and received the National Medal of Arts in 2007 from President George W. Bush.^[2] Married to Marie Salant from 1932 until her death in 1997, he lived to 107, passing away in his Manhattan home.^[1]

Early Life

Childhood and Family Background

Roy Rothschild Neuberger was born on July 21, 1903, in Bridgeport, Connecticut, to a wealthy Jewish family of German ancestry.^[3]^[4]^[5] He was the third child in the family, with his father a businessman and his mother a musician, whose professions instilled in him early inclinations toward finance and the arts.^[4]^[6] The family relocated to New York City in 1909.^[1] Following the deaths of his parents around 1915, Neuberger was orphaned at the age of 12 and subsequently raised by his older sister there.^[4]^[7] This placed him in the privileged cultural milieu of Manhattan, surrounded by affluence and artistic influences that nurtured his lifelong passions.^[1] Despite the loss of his parents, he inherited a modest sum from his father, providing some financial stability during his youth.^[7]

Education and Early Career Influences

Orphaned at the age of 12 and raised by his older sister, Roy Neuberger developed a strong sense of independence early in life.^[3] Neuberger attended DeWitt Clinton High School in New York City before briefly attending New York University after high school, but departed after just one year without earning a degree, believing he could gain more practical knowledge through direct business experience.^[1] In 1924, using an inheritance from his father that provided an annual income of about $2,000, he sailed to Europe seeking adventure and broader horizons, settling primarily in Paris on the Left Bank.^[1] There, he immersed himself in the cultural scene, traveling to cities like Berlin, Vienna, and Cannes, where he played tennis and observed the vibrant European lifestyle.^[1] During this period, Neuberger worked for a decorating firm in Paris, which exposed him to international commerce and honed his business acumen through hands-on dealings in a foreign market.^[3] While abroad in the 1920s, Neuberger's passion for art was ignited by his exposure to European markets and galleries, particularly after reading a biography of Vincent van Gogh that inspired him to support emerging artists.^[3] He began studying art informally in Paris, frequenting exhibitions and developing an appreciation for modern works, though his limited funds prevented significant purchases at the time.^[8] This sojourn not only broadened his worldview but also planted the seeds for his lifelong commitment to collecting and promoting contemporary American art.^[1] In February 1929, amid growing economic uncertainty, Neuberger returned to the United States, arriving in New York just months before the stock market crash.^[9] Motivated by the era's financial opportunities and his ambition to amass wealth to fund his artistic pursuits, he resolved to enter the world of finance on Wall Street, despite having no prior experience in the field.^[9] This decision marked the transition from his formative European adventures to a professional career in investment.^[3]

Financial Career

Entry into Wall Street

Neuberger returned to the United States from five years of European travels in early 1929, transitioning from his experiences abroad focused on art studies to the American securities market. These formative experiences, centered on art studies and personal explorations, equipped him with a broad perspective before entering finance.^[1] In the spring of 1929, amid the roaring bull market, Neuberger joined the small brokerage firm Halle & Stieglitz as a runner, earning $15 per week in a junior role that involved executing trades and errands on the trading floor. Seven months before Black Tuesday, he made a bold personal investment by short-selling 100 shares of Radio Corporation of America (RCA) stock at $500 per share, anticipating an impending downturn. This decision, rooted in his skepticism of the market's euphoria, positioned him advantageously as the October 1929 crash unfolded.^[1]^[10] The Wall Street Crash of 1929 triggered the Great Depression, devastating investors and the broader economy, yet Neuberger navigated the turmoil with relative success; RCA shares collapsed to single digits, validating his short position and limiting his personal losses to just 15% while countless others faced ruin. Promoted to stockbroker at Halle & Stieglitz in 1930, he honed his resilience through hands-on experience in the prolonged bear market, managing trades amid widespread pessimism and economic contraction.^[1]^[10] Throughout the 1930s, as the Depression persisted with erratic recovery attempts, Neuberger embraced value investing principles, meticulously analyzing companies to identify undervalued stocks trading at discounts to their intrinsic worth and committing to modest positions. This disciplined approach, emphasizing thorough research over speculation, allowed him to capitalize on overlooked opportunities in depressed sectors, fostering the analytical rigor that defined his early career.^[1]^[11]

Founding Neuberger Berman

In 1939, Roy Neuberger co-founded the investment advisory firm Neuberger & Berman with Robert Berman, a former colleague from Halle & Stieglitz, and Howard Lipman, establishing it as a partnership dedicated to professional money management.^[10]^[5] Neuberger's prior experience on Wall Street provided the expertise to launch the firm amid the lingering effects of the Great Depression.^[1] From its inception, Neuberger & Berman concentrated on managing investment portfolios for high-net-worth individuals, applying a conservative value investing approach that prioritized undervalued securities with strong fundamentals over speculative trades.^[10] This strategy appealed to clients seeking stability and long-term growth, distinguishing the firm in a competitive financial landscape.^[12] The firm expanded steadily during World War II and the ensuing post-war economic boom, capitalizing on recovering markets and increasing demand for personalized advisory services to amass significant assets under management by the 1950s.^[13] In 1950, Neuberger & Berman introduced the Guardian Fund, one of the earliest no-load mutual funds in the United States, which allowed investors direct access without sales commissions and further broadened the firm's reach.^[2] Roy Neuberger personally oversaw the fund's management until 1978, underscoring his hands-on commitment to its value-oriented principles.^[10]

Investment Philosophy and Key Achievements

Roy Neuberger was a proponent of value investing, emphasizing the purchase of undervalued stocks with robust fundamentals such as strong management and asset quality, which he believed could be held for the long term to realize intrinsic value.^[14]^[13] He stressed the importance of thorough analysis of a company's leadership track record and goals, while warning against overpaying for high price-to-earnings ratios or following market fads, advocating instead for flexibility in response to economic and technological shifts.^[15]^[16] This approach, pioneered through his firm Neuberger Berman founded in 1939, influenced the firm's emphasis on long-term investment results for clients.^[12] Neuberger navigated three major Wall Street market crashes—the 1929 Crash, the 1987 Black Monday, and the 2008 financial crisis—while maintaining an active role in investing until the age of 101.^[1] During the 1929 downturn, he achieved a notable early success by shorting Radio Corporation of America stock just before the collapse, limiting his personal losses to only 15 percent when many others suffered far greater declines.^[17] His experiences across these crises underscored his philosophy of disciplined risk management and resilience, allowing him to continue professional investing for over seven decades without catastrophic losses.^[15] A key achievement was his broader influence on modern asset management through innovations like one of the first no-load mutual funds in the United States, which democratized access to professional investing for individual clients.^[14] Under his guidance, Neuberger Berman grew from managing modest initial assets to approximately $50 billion in assets under management by the late 1990s, delivering strong returns for clients through value-oriented strategies that outperformed during volatile periods, such as post-1987 recovery.^[18]^[19] This expansion reflected his success in building client trust, with the firm's mutual funds like Neuberger Guardian attracting broad participation and contributing to sustained wealth creation for investors.^[1]

Art Patronage

Personal Collection Development

Roy Neuberger began acquiring art in the late 1930s, with his collecting efforts intensifying in the 1940s as he focused on modern American works, starting notably with paintings by Milton Avery, whose subtle color palettes and simplified forms captured his attention.^[2]^[20] Influenced by earlier exposure to European art during his time in Paris in the 1920s, Neuberger shifted his emphasis to American artists whose innovative styles he believed were undervalued at the time.^[21] Over the decades, Neuberger amassed a personal collection exceeding 1,000 works, including significant pieces by Jackson Pollock, such as his drip painting Number 8, 1949; Willem de Kooning's expressive abstractions; and Georgia O'Keeffe's iconic landscapes and floral studies.^[1]^[22] His purchasing criteria mirrored his value-oriented investment philosophy, prioritizing emerging talents and works from lesser-known artists that showed strong potential for artistic and cultural impact, often acquiring them at modest prices before their recognition grew.^[20]^[2] He approached collecting with a disciplined strategy, buying more pieces each year without selling any, treating art as a long-term commitment akin to his stock holdings.^[1] Neuberger derived deep personal enjoyment from his collection, displaying many pieces in his Manhattan apartment and country home, where they integrated into his daily life and reflected his aesthetic preferences.^[23] In the early years, he lent select works to galleries and exhibitions, allowing broader public access while retaining them for his private spaces.^[24] This hands-on engagement underscored his view of art as both a personal passion and a strategic pursuit, paralleling the foresight he applied to finance.^[25]

Support for Modern American Artists

Roy Neuberger played a pivotal role in supporting modern American artists during the mid-20th century by purchasing their works directly, often when they faced financial hardship, thereby providing essential income. Beginning in the late 1930s and continuing through the 1960s, he committed to acquiring pieces from living creators, inspired by the unappreciated struggles of artists like Vincent van Gogh, to ensure their immediate livelihood rather than posthumous recognition.^[26] For instance, in 1950, he bought Jackson Pollock's Number 8 (1949) for $800 at a time when the Abstract Expressionist was grappling with personal and professional challenges, a purchase that underscored Neuberger's willingness to invest in innovative but undervalued talent.^[27] Neuberger amassed an extensive holdings of Milton Avery's paintings, acquiring over 100 works over decades, frequently buying multiple pieces at once to bolster the artist's finances during periods of limited market success.^[27] This approach extended to other modernists, including Willem de Kooning and Stuart Davis, whose creations he obtained shortly after completion, prioritizing direct support over speculation.^[8] His personal collection served as the foundation for these targeted acquisitions, reflecting a deliberate strategy to sustain American modernism at its grassroots level.^[2] As an advocate for Abstract Expressionism and broader American modernism, Neuberger actively recommended emerging artists to dealers and institutions, leveraging his connections in New York’s art scene to promote their visibility.^[21] He patronized key galleries from the 1940s to 1960s, fostering opportunities for artists like Pollock and de Kooning by encouraging acquisitions that aligned with his vision of contemporary innovation.^[2] This advocacy helped elevate the movement from fringe status to cultural prominence, as his endorsements influenced curatorial decisions and market perceptions during a formative era.^[21] Neuberger cultivated close personal relationships with many artists, befriending them through gallerists and integrating their works into his daily life, which deepened his commitment to their success.^[8] His friendship with Milton Avery, for example, exemplified this bond, as Neuberger not only collected extensively but also engaged personally to understand and champion the artist's poetic style.^[26] These ties extended his support beyond transactions, creating a network that facilitated ongoing dialogue and mutual encouragement in the art community.^[21] Through these efforts, Neuberger significantly impacted artists' careers by offering financial stability and heightened exposure, enabling figures like Avery and Pollock to persist amid adversity and gain broader recognition.^[2] His purchases and recommendations provided critical early validation, paving the way for their enduring legacies in American art without relying on later institutional frameworks.^[8]

Corporate and Institutional Contributions

In the 1950s, Roy Neuberger pioneered the integration of contemporary art into the corporate environment at Neuberger Berman, one of the earliest such collections on Wall Street, by displaying works from his personal acquisitions in the firm's offices to support living artists and enhance the workplace.^[28] This initiative reflected his belief in art's role in fostering creativity and cultural engagement within business settings, with pieces adorning hallways, reception areas, and meeting rooms.^[28] Neuberger's personal relationships with artists influenced these selections, ensuring the collection highlighted emerging modern American talents.^[2] Starting in the mid-20th century and continuing through the 1960s, Neuberger loaned numerous pieces from his collection to major museums, including a significant exhibition of modern American painting and sculpture at the Whitney Museum of American Art in 1954.^[29] He also provided works to the Museum of Modern Art, contributing to its displays and programs during this period.^[30] These loans, such as Edward Hopper's Barber Shop acquired in 1954, were frequently requested for exhibitions, broadening public access to contemporary art.^[24] Neuberger served as an honorary trustee for life at the Metropolitan Museum of Art beginning in 1968, advising on acquisitions and exhibitions while promoting institutional support for modern works.^[31] Throughout his career, he advocated for corporate art patronage as both a strategic business practice that inspired employees and clients and a vital cultural endeavor, encouraging other firms to build similar collections and resulting in widespread adoptions across industries.^[2]

Philanthropy

Donations to Arts and Education

Neuberger's most significant contribution to arts education was his donation of nearly 950 artworks from his personal collection to the State University of New York at Purchase, forming the core of the Neuberger Museum of Art, which opened in 1974. This gift, initially promised in 1969 as over 300 works to be delivered over a decade, included masterpieces by American modernists such as Jackson Pollock, Willem de Kooning, and Mark Rothko, enabling the museum to serve as a vital educational resource for students and the public. The collection's emphasis on 20th-century American art supported academic programs in visual arts and cultural studies at Purchase College.^[32]^[33]^[34] In addition to the artworks, Neuberger provided substantial financial support to sustain the museum's operations and educational initiatives. He endowed funds for acquisitions, exhibitions, and programming, including support for displays of American modernist works that highlighted emerging artists. A notable $1.3 million gift in 1984 to SUNY Purchase further bolstered the institution's resources for art education. These endowments ensured ongoing access to high-quality exhibitions and curricula, fostering deeper engagement with modern art among university students and broader audiences.^[1]^[35]^[2] Neuberger extended his philanthropy to other universities and museums through donations of artworks and funding for art programs, reaching over 70 institutions across 24 states. His gifts to places like the Museum of Modern Art, the Metropolitan Museum of Art, and the Whitney Museum of American Art included financial contributions that supported educational exhibitions and outreach focused on 20th-century American artists. These efforts prioritized accessibility, integrating art into academic settings to promote cultural education.^[1]^[2] Through the Roy R. and Marie S. Neuberger Foundation, he directed resources toward Jewish educational institutions and arts scholarships, aligning with his commitment to cultural preservation and youth development in the arts. The foundation provided grants for programs in arts education at Jewish agencies and temples, supporting scholarships that enabled aspiring artists from diverse backgrounds, including Jewish communities, to pursue studies in visual arts. This work complemented his broader vision of using philanthropy to nurture artistic talent and Jewish cultural heritage.^[36]

Other Charitable Endeavors

Beyond his prominent support for the arts, Roy Neuberger extended his philanthropy to Jewish organizations through the Roy R. and Marie S. Neuberger Foundation, which he established in 1954 with his wife to fund community causes. The foundation provided grants to entities such as UJA-Federation of New York ($50,000 in 2009), Hineni ($20,000 in 2009), and Torah Umesorah ($25,000 in 2009), focusing on Jewish community services, outreach, and education. These contributions reflected a commitment to sustaining Jewish institutions, including agencies and temples, as outlined in the foundation's giving priorities.^[36]^[37] Neuberger's foundation also directed resources toward health initiatives in New York, supporting medical research and hospital care. Notable grants included $10,000 to New York Presbyterian Hospital and $3,850 to the Damon Runyon Cancer Research Fund in 2009, aiding advancements in oncology and general healthcare services. Additionally, a $5,000 contribution to the Neuro-Ophthalmic Research Fund underscored efforts to address specialized medical needs. These donations helped bolster local health infrastructure and research endeavors.^[37] In alignment with broader social justice efforts, Neuberger supported programs related to civil rights and education access via targeted foundation grants. The Innocence Project received $500 in 2009 to assist in exonerating wrongfully convicted individuals, contributing to criminal justice reform. For education, grants went to institutions like Bank Street College of Education ($2,000 in 2009) and Fordham University ($10,000 in 2009), promoting accessible learning opportunities. Such mid-20th-century and ongoing involvements emphasized equitable access to education and rights advocacy.^[37] Post-retirement, Neuberger ensured sustained charitable impact by channeling resources through the foundation, which continued disbursing over $844,000 in grants in 2009 alone across social, health, and educational domains. This structure allowed for enduring support of community initiatives, perpetuating his philanthropic vision long after he stepped back from active business roles in 1999.^[37]^[3]

Personal Life and Legacy

Marriage and Family

Roy R. Neuberger married Marie Salant, an economist and Bryn Mawr College graduate who worked in the research department of a Wall Street firm, on June 29, 1932. Their marriage lasted nearly 65 years until Marie's death on May 11, 1997, at age 88. Marie shared Neuberger's commitment to philanthropy in the arts and education. The couple had three children: Ann Neuberger Aceves, Roy S. Neuberger, and James A. Neuberger. Ann, who resides in Santa Fe, New Mexico, has continued her parents' legacy in art patronage, donating works from the family collection to institutions like the Neuberger Museum of Art and supporting art philanthropy initiatives. Roy S., based in Lawrence, New York, initially pursued a career in finance before becoming an author focused on Jewish outreach and spiritual topics. James A., of New York, along with his wife Helen Stambler Neuberger, has supported the preservation and promotion of his father's art collection and museum legacy through ongoing contributions. The Neuberger family was deeply intertwined with both the business and art worlds, with art from Roy's collection prominently displayed in their shared residences and offices to foster an appreciation for modern American artists among family members. This integration reflected the couple's belief that art enhanced daily life and professional environments, as evidenced by the extensive displays in Neuberger Berman's spaces. Despite being orphaned in childhood, Neuberger built a stable family life as a devoted patriarch, balancing his demanding Wall Street career—where he remained active until age 101—with nurturing his children's interests and involving them in his passions for finance and art.

Later Years, Death, and Enduring Impact

In his later years, Roy Neuberger remained actively involved with Neuberger Berman, the investment firm he co-founded in 1939, continuing to report to his office daily until 2004 at the age of 101.^[20] The firm was acquired by Lehman Brothers in 2003, but following Lehman's bankruptcy in 2008, a group of Neuberger Berman executives repurchased a majority stake, regaining independence in a $922 million deal completed in early 2009.^[12]^[19] Neuberger authored two memoirs reflecting on his life in finance and art: So Far, So Good: The First 94 Years in 1997 and The Passionate Collector: Eighty Years in the World of Art in 2003.^[6]^[38] He died of natural causes on December 24, 2010, at his home in New York City at the age of 107.^[3]^[4] Following his death, Neuberger's legacy endured through the growth of institutions he supported, including the Neuberger Museum of Art at Purchase College, whose collection expanded from his initial donation of over 300 works to more than 7,000 artworks encompassing modern, contemporary, African, European, and American art by 2024.^[34]^[39] Neuberger Berman also thrived independently, managing $558 billion in assets as of September 30, 2025, solidifying his foundational influence on employee-owned investment management.^[12]

References

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