{"id":4964,"date":"2025-07-16T12:23:00","date_gmt":"2025-07-16T10:23:00","guid":{"rendered":"https:\/\/galerieleage.com\/?post_type=newsletter&p=4964"},"modified":"2026-04-07T15:41:33","modified_gmt":"2026-04-07T13:41:33","slug":"nissim-de-camondo-collection","status":"publish","type":"newsletter","link":"https:\/\/galerieleage.com\/en\/newsletter\/nissim-de-camondo-collection\/","title":{"rendered":"Nissim de Camondo Collection"},"content":{"rendered":"\n
<\/td><\/tr>
Mus\u00e9e Nissim de Camondo \u2014 Entrance Hall<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Mo\u00efse de Camondo (1860\u22121935) was one of the greatest collectors of 18th<\/sup>-century decorative arts. He followed in the footsteps of the leading figures of the financial and cultural aristocracy of the late 19th<\/sup> and early 20th<\/sup> centuries, such as the Rothschilds. However, he distinguished himself by his precise taste and the subtle display of his collection.<\/p>\n\n\n\n

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Roger Vandercruse (cabinetmaking), Manufacture de S\u00e8vres (porcelain), Circular table<\/em>, circa 1760, Paris, Mus\u00e9e Nissim de Camondo (inv. CAM 194)
\u00a9 Les Arts D\u00e9coratifs \/ Jean Tholance<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Established in Istanbul in the 19th<\/sup> 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-B\u00e9hors de Camondo (1829\u22121889) and his brother Nissim (1830\u22121889) commissioned the fashionable architect Denis-Louis Destors (1816\u22121882) to build or refurbish grand private mansions at numbers 61 and 63 rue de Monceau. Here, they hosted grand soir\u00e9es attended by the Tout-Paris. In their interiors, the two brothers mixed furniture, paintings and objets d\u2019art, whose eclectic taste was matched only by their quality.<\/p>\n\n\n\n

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Jean-Baptiste Claude Sen\u00e9, \u00c0 la reine armchair<\/em>, circa 1770<\/sup>\u20441780<\/sub>, Paris, Mus\u00e9e Nissim de Camondo (inv. CAM 198)
\u00a9 Les Arts D\u00e9coratifs \/ Jean Tholance

Nicolas-Denis Delaisement, \u00c0 la reine armchair<\/em>, circa 1770<\/sup>\u20441780<\/sub>, Galerie L\u00e9age<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Nissim\u2019s son Mo\u00efse was raised in a cultured Parisian environment. Uninterested in business, he turned away from the family bank and devoted himself to the arts, particularly 18th<\/sup>-century art. His entourage probably contributed to this choice: his parents-in-law, the Cahens d\u2019Anvers, were devoting themselves to the restoration of the Ch\u00e2teau de Champs-sur-Marne, and his first cousin, Isaac (1851\u22121911), was himself an erudite collector. His first major purchase came in 1892, with a Transition chest of drawers by Mathieu-Guillaume Cramer (1733\u22121794) (Mus\u00e9e 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. Mo\u00efse was also very close to the museum world. His neighbor and friend Carle Dreyfus was a curator in the Objets d\u2019Art department of the Louvre, while his cousin Isaac was a founding member of the Soci\u00e9t\u00e9 des Amis du Louvre. Over the years, he brought many curators and collectors into his circle, hosting them at his famous \u201cLouvre\u201d and \u201cMarsan\u201d luncheons.<\/p>\n\n\n\n

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Fran\u00e7ois R\u00e9mond (bronzes attributed to), Pair of petrified wood mounted vases, from Queen Marie-Antoinette\u2019s collection<\/em>, circa 1784, Paris, Mus\u00e9e Nissim de Camondo (inv. CAM 153)
\u00a9 Les Arts D\u00e9coratifs \/ Jean Tholance<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

In 1899, after separating from his wife, Mo\u00efse moved with his two children B\u00e9atrice and Nissim to 19 rue Hamelin in the 16th<\/sup> 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\u22121760) (Mus\u00e9e Nissim de Camondo, inv. CAM 36), dating from the mid-18th<\/sup> 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\u2019s 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 (Mus\u00e9e Nissim de Camondo, inv. CAM 190), or the table by Roger Vandercruse (1728\u22121799) veneered with S\u00e8vres porcelain and adorned with a matching Martin varnish.<\/p>\n\n\n\n

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Mus\u00e9e Nissim de Camondo \u2014 The Grand Salon\u00a9 Les Arts D\u00e9coratifs \/ Jean Tholance<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

After his mother died in 1910, Mo\u00efse moved to 63 rue de Monceau. He had his father\u2019s Napoleon III mansion demolished, and asked architect Ren\u00e9 Sergent (1865\u22121927) to build an 18th<\/sup>-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, Mo\u00efse paid particular attention to the distribution of furniture and objets d\u2019art. 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 18th<\/sup> century.
Mo\u00efse 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 d\u00e9coratifs, 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.<\/p>\n\n\n\n

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Roger Vandercruse, Chiffonni\u00e8re table<\/em>, circa 1760, Paris, Mus\u00e9e Nissim de Camondo (inv. CAM 62)
\u00a9 Les Arts D\u00e9coratifs \/ Jean Tholance<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

For the first time since its opening, the Mus\u00e9e 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 L\u00e9age will be delighted to showcase its collections alongside those of Mo\u00efse de Camondo under the glass roof of the Grand Palais.<\/p>\n\n\n\n

We are looking forward to welcome you on our stand C4, from September 20 to 24.<\/strong><\/p>\n\n\n\n

Bibliography<\/strong>
Marie-No\u00ebl de Gary (dir.), Mus\u00e9e Nissim de Camondo. La demeure d\u2019un collectionneur<\/em>, Les Arts D\u00e9coratifs, 2007
Nadine Gasc, G\u00e9rard Mabille, Le Mus\u00e9e Nissim de Camondo<\/em>, Albin Michel, 1991<\/p>\n\n\n\n

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Mo\u00efse de Camondo (1860\u22121935) was one of the greatest collectors of 18th<\/sup>-century decorative arts. He followed in the footsteps of the leading figures of the financial and cultural aristocracy of the late 19th<\/sup> and early 20th<\/sup> centuries, such as the Rothschilds. However, he distinguished himself by his precise taste and the subtle display of his collection.<\/p>\n","protected":false},"author":3,"featured_media":4961,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","format":"standard","meta":{"_acf_changed":false,"_editorskit_title_hidden":false,"_editorskit_reading_time":0,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","inline_featured_image":false,"wp_typography_post_enhancements_disabled":false,"footnotes":""},"categories":[],"tags":[],"class_list":["post-4964","newsletter","type-newsletter","status-publish","format-standard","has-post-thumbnail","hentry"],"acf":{"url_news1":{"simple_value_formatted":"","value_formatted":"","value":"","field":{"ID":438,"key":"field_64c00914a1189","label":"URL","name":"url_news1","aria-label":"","prefix":"acf","type":"url","value":null,"menu_order":0,"instructions":"","required":0,"id":"","class":"","conditional_logic":0,"parent":437,"wrapper":{"width":"","class":"","id":""},"only_front":0,"frontend_admin_display_mode":"edit","no_values_message":"","wp-typography":"none","default_value":"","placeholder":"","wpml_cf_preferences":1,"_name":"url_news1","_valid":1}}},"mcc_id":null,"mcc_type":null,"mcc_status":null,"mcc_create_time":null,"mcc_send_time":null,"mcc_emails_sent":null,"mcc_delivery_status":null,"mcc_content_type":null,"mcc_archive_url":null,"mcc_long_archive_url":null,"mcc_plain_text":null,"mcc_content_html":null,"mcc_recipients":null,"mcc_list_id":null,"mcc_list_name":null,"mcc_segment_text":null,"mcc_recipient_count":null,"mcc_settings":null,"mcc_tracking":null,"mcc_social_card":null,"mcc_report_summary":null,"mcc___links":null,"mcc__edit_lock":null,"mcc__edit_last":null,"_links":{"self":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter\/4964","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter"}],"about":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/types\/newsletter"}],"author":[{"embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/comments?post=4964"}],"version-history":[{"count":2,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter\/4964\/revisions"}],"predecessor-version":[{"id":5956,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/newsletter\/4964\/revisions\/5956"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/media\/4961"}],"wp:attachment":[{"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/media?parent=4964"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/categories?post=4964"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/galerieleage.com\/en\/wp-json\/wp\/v2\/tags?post=4964"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}