Konstfacks bibliotek

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*084  $aLz Camondo, Moïse de$2kssb/8
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*24510$aLetters to Camondo /$cEdmund de Waal.
*264 1$aLondon :$bChatto & Windus,$c2021
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*520  $aA series of letters to a man who lived in the early twentieth century, whose archives Edmund has recently been exploring. Count Moise de Camondo was a Jewish collector and philanthropist who lived on the famous rue de Monceau at the same time as the Ephrussi, Edmund's forebears, who famously appear in The Hare with Amber Eyes. Like the Ephrussi, Count Camondo and his family were part of Belle poque Parisian high society. They were also targets of anti-semitism. Moise de Camondo created a spectacular house, modelled on the Petit Trianon, and filled it with the greatest private collection of French eighteenth century art for his son Nissim to inherit. But when Nissim was killed in the First World War, it became a memorial and was bequeathed by Moise on his death in 1935 to the French state. In 1942, France betrayed the family- Moise's daughter Beatrice, son-in-law Leon Reinach and grandchildren Bertrand and Fanny were deported to Auschwitz and murdered.The Musee Nissim de Camondo has not been altered since 1936. Over the last year, Edmund has been given the run of the house - its objects and its archives - he spent time there reflecting on the story, and turning up extraordinary documents and images. He is writing here about the nature of memory - in Edmund's charming autobiographical style.
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^

'*A GUARDIAN BOOK OF THE YEAR 2021*

'Consistently illuminating ... considered, compassionate and appreciative ... This book is a wonderful tribute to a family and to an idea' Guardian

63 rue de Monceau, Paris
Dear friend,
As you may have guessed by now, I am not in your house by accident. I know your street rather well.

Count Moise de Camondo lived a few doors away from Edmund de Waal's forebears, the Ephrussi, first encountered in his bestselling memoir The Hare with Amber Eyes . Like the Ephrussi, the Camondos were part of belle epoque high society. They were also targets of anti-semitism.

Camondo created a spectacular house and filled it with the greatest private collection of French eighteenth-century art for his son to inherit. But when Nissim was killed in the First World War, it became a memorial and, on the Count's death, was bequeathed to France.

The Musee Nissim de Camondo has remained unchanged since 1936. Edmund de Waal explores the lavish rooms and detailed archives and uncovers new layers to the family story. In a haunting series of letters addressed to the Count, he tells us what happened next.


'Letters to Camondo immerses you in another age ... de Waal creates a dazzling picture of what it means to live graciously' Financial Times