When he tolerates the anecdote of an American collector of the west medium who bought impressionist paintings because he found them “beautiful”, the reaction of David Nahmad, usual an affable man, was immediate: “When he paved,” Standset, Condition, “Thinget” are not Meean.
His knowledge is encyclopedic. This is not only because, his family, his two brothers, Joseph (known as “Joe”) and Ezra, now deceased, collected with him, inherited several thousand works of art by teachers, both older and minors, or the 19Th And 20Th ages. But also because he knows everything about them: the circumstances under which the artist painted them; Its origin; Its purchase prices (not only the price it paid, but also those of previous sales); And, in the case of a public sale, often it was the suballer.
A former Backgammon world champion, at 78, still has a phenomenal memory, an essential asset in this game. I could remember the title of the first in -depth article dedicated to the brothers, in 1995, for the months Beaux-art magazine. He revealed to the general public the consumer passion of a trio of collectors and distributors who remained very discreet until then: “take control of the art market.” In fact, duration is one of the worst crises that the art world has known, between 1990 and 1996, the only buyers were practical in the main auctions, acquiring significant work at relatively moderation prices.
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