Paul Anka wins sole custody of son from ex-wife Anna Aberg
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In it, a fresh-faced, glamorous blondein a crisp button-down shirt leansagainst the hood of a Mercedes-Benz parked outside thepristine white fence of the Pebble Beach EquestrianCenter, while young girls in riding caps and their ponies gather around her. The lovely blonde is, of course, Anka, the girls are her daughters, and the photograph suggeststhe pure, patrician pleasures that, under different circumstances, might have circumscribed her life. But onthe living room mantel, just a few feet away, a double-headed bronze dildo by the artist Lynda Benglis tells asomewhat different story. For the better part of 50 years, Anka, an Egyptian-born model and the ex-wife of the Rat Pack—era crooner Paul Anka, has been quietly building—then dismantling andbuilding again—an astonishing collection of contemporary art. One day, she was walking through Central Park when she met the art dealer Paula Cooper, who had children around the same age. The two women became friends, and Anka started buying pieces by some of the minimalist and conceptualist artists that Cooper, the very firstgallerist in SoHo, was famously championing. Large canvases by canonized painters and Albert Oehlen anchor her collection. Her grandfather, who had been educated in France and knighted by the king of Italy, had inherited vast swaths of land in Alexandria, which was where the de Zoghebs were living when revolution wracked Egypt in 1952. The family moved to England, and Anne was placed in a convent school. By the time she graduated, there was no money left for university. Within a couple of weeks, Anne had booked the cover of French Elle. They agreed, on the condition that Ford take her in. I was serious, I think,because my family had lost everything. My father had tried to do the stock market a bit, but he was in his 50s when we came to Europe. In 1960, while in Puerto Rico for a shoot, she met Paul Anka, who was amazed to learn that the golden-haired creature who had caused such a sensation on the beach was of Lebanese extraction, just like he was. There they moved in the exalted orbit of Frank Sinatra, Dean Martin, and Sammy Davis Jr. By then, she could count on Presley to lean down from the stage and give her a peck on the cheek at the start of a show. Anne had a museum-quality that was incredibly fragile, and her pleasure in it had given way to worry. The two started going to galleries, and Anka fell hard for the new generation of abstract painters. Her taste for large-scale, vividly colored, often dense and frenetic canvases surprised Schiff for its boldness. Anka knew instantly whether she would buy something or not. But Anne has an edge. I remember going to the house and seeing the double-headed dildo by Lynda Benglis, and I thought, Okay, this woman is cool. With the exception of a painting, nothing is overly polite. It almost goes without saying that much has changed since Anka made her first forays into the art market. Now collectors of her caliber are offered hundreds of works each day. Anka is both friend and muse to Elliott Hundley and has appeared in several of his works. A piece in which Anka plays the role of Agave was recently acquired by the San Francisco Museum of Modern Art. Together, they offer a lesson on the evolution of abstraction. An abstract canvas with which she is particularly pleased leans against a pair of French doors in the dining room, in the shadow of works by Garth Weiser, WaleadBeshty, and Edward Ruscha. W Magazine may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.