Nissim de Camondo Collection

Moïse de Camondo (1860−1935) was one of the greatest collectors of 18^th-century decorative arts. He followed in the footsteps of the leading figures of the financial and cultural aristocracy of the late 19^th and early 20^th centuries, such as the Rothschilds. However, he distinguished himself by his precise taste and the subtle display of his collection.

Established in Istanbul in the 19^th century, the Camondos were prosperous bankers and philanthropists. As their fortunes grew in the 1860s, they turned their attention to France. In 1869, they moved to Paris and settled in the Plaine Monceau. The family sought to integrate into the financial and industrial high society that was particularly fond of the area. Abraham-Béhors de Camondo (1829−1889) and his brother Nissim (1830−1889) commissioned the fashionable architect Denis-Louis Destors (1816−1882) to build or refurbish grand private mansions at numbers 61 and 63 rue de Monceau. Here, they hosted grand soirées attended by the Tout-Paris. In their interiors, the two brothers mixed furniture, paintings and objets d’art, whose eclectic taste was matched only by their quality.

Nissim’s son Moïse was raised in a cultured Parisian environment. Uninterested in business, he turned away from the family bank and devoted himself to the arts, particularly 18^th-century art. His entourage probably contributed to this choice: his parents-in-law, the Cahens d’Anvers, were devoting themselves to the restoration of the Château de Champs-sur-Marne, and his first cousin, Isaac (1851−1911), was himself an erudite collector. His first major purchase came in 1892, with a Transition chest of drawers by Mathieu-Guillaume Cramer (1733−1794) (Musée Nissim de Camondo, inv. CAM 636). He gradually built up his collection, refining his eye thanks to the art dealers who advised him. He befriended the Seligmann brothers, who sold him his most important pieces. Moïse was also very close to the museum world. His neighbor and friend Carle Dreyfus was a curator in the Objets d’Art department of the Louvre, while his cousin Isaac was a founding member of the Société des Amis du Louvre. Over the years, he brought many curators and collectors into his circle, hosting them at his famous “Louvre” and “Marsan” luncheons.

In 1899, after separating from his wife, Moïse moved with his two children Béatrice and Nissim to 19 rue Hamelin in the 16^th arrondissement. The hotel he rented was not quite finished at the time, allowing him to design the interior decor and perfectly integrate his growing collection. He was particularly devoted to the Transition and Louis XVI periods, although an exceptional pair of Japanese lacquer corner cupboards by Bernard II Van Riesenburgh (1700−1760) (Musée Nissim de Camondo, inv. CAM 36), dating from the mid-18^th century, won him over. The pieces in his collection all stand out for their exceptional quality, often coupled with an important provenance. A very rare pair of petrified wood vases from the Queen’s Bath at Versailles was acquired from the Seligmanns. He particularly appreciated original and rare pieces, such as the two steel and gilt bronze consoles made after the locksmith Pierre Deumier (Musée Nissim de Camondo, inv. CAM 190), or the table by Roger Vandercruse (1728−1799) veneered with Sèvres porcelain and adorned with a matching Martin varnish.

After his mother died in 1910, Moïse moved to 63 rue de Monceau. He had his father’s Napoleon III mansion demolished, and asked architect René Sergent (1865−1927) to build an 18^th-century house worthy of hosting his masterpieces. Built between courtyard and garden on a model inspired by the Petit Trianon, the house took shape around his collection. The wood panelling, most of which was purchased in 1911, dictated the height of the windows, and niches were specially designed for certain pieces of furniture. Describing himself more as the creator of an aristocratic residence than as a collector, Moïse paid particular attention to the distribution of furniture and objets d’art. He sought symmetry and harmony in his compositions, while preserving a certain liveliness: the Count and his children occupied all the rooms and lived with the collection. In this way, he created a total work of art, a formidable tribute to the arts of the 18^th century.
Moïse imagined bequeathing his collection to his son Nissim, but the latter died tragically during the First World War. He then decided to donate his work to the Union des Arts décoratifs, of which he was vice-president at the end of his life. The museum, named after his late son, opened its doors in 1936, revealing its treasures to the curious, amateurs, and connoisseurs alike.

For the first time since its opening, the Musée Nissim de Camondo is lending some of its works for an exceptional exhibition at FAB Paris 2025, where it is the guest of honor. On this occasion, the public will be able to appreciate some of its most important pieces, while the museum remains closed for renovation until 2027. Once again participating in FAB this year, Galerie Léage will be delighted to showcase its collections alongside those of Moïse de Camondo under the glass roof of the Grand Palais.

We are looking forward to welcome you on our stand C4, from September 20 to 24.

Bibliography
Marie-Noël de Gary (dir.), Musée Nissim de Camondo. La demeure d’un collectionneur, Les Arts Décoratifs, 2007
Nadine Gasc, Gérard Mabille, Le Musée Nissim de Camondo, Albin Michel, 1991