O f Form and Color: Art and Design from the Emmanuel de Bayser Collection brings together a refined ensemble of historic design and contemporary art from Emmanuel de Bayser's residences in Paris and Berlin. The collection reflects a singular vision shaped between two capitals over decades of considered living with art and design.

Installed in his Paris apartment near the Parc Monceau and his residence in Berlin, the collection embodies a distinctive balance between style and comfort that has guided de Bayser's approach to his spaces throughout his life. The two apartments are distinct in character. Paris is meditative and rooted, conceived within the fluid proportions of a Haussmannian interior where high ceilings and interconnected rooms open onto one another like a loft, with no corridors and no wasted space. Berlin is more experimental, a calm refuge from what de Bayser has described as the city's hectic, permanent intensity, where carefully composed vignettes connect rooms and balance objects, textures and color. In both, restrained tones establish a quiet atmosphere, animated by precisely placed moments of form and color that reward sustained, unhurried attention.

Emmanuel de Bayser's connection to Paris is deep and personal. During his late teens, his parents lived in a ground-floor apartment on the other side of the courtyard from what would eventually become his own home, overlooking the neighboring Parc Monceau. That attachment to the area has never left him. When he encountered his current apartment, he committed to it in under two minutes, drawn immediately to its loft-like openness, its absence of corridors and the way light moves through the interconnected rooms.

Born into a family long associated with the arts, including the Galerie de Bayser in Paris, founded by his grandfather and specializing in Old Master drawings, and the legacy of his maternal great-grandfather, the Symbolist painter Georges Desvallières, de Bayser developed a discerning eye attuned to the dialogue between works across periods and disciplines. His professional life has run in parallel. In 2006, he opened the concept store, The Corner, on the Gendarmenmarkt in Berlin, a square he has described as love at first sight, bringing together established fashion houses and emerging designers with the same curatorial instinct he applies to his own interiors.

His engagement with ceramics began, characteristically, with necessity rather than intention. With no room left for more furniture, he turned his attention to the objects he already owned, and a passiondeepened from there. Today, that passion has yielded one of the most exceptional private holdings of Georges Jouve's work assembled in recent decades, comprising approximately one hundred works spanning vases, lamps, sculptures and functional objects spread across both residences. The collection also features masterpieces and unique works by ceramicists Andre Borderie, Suzanne Ramie and Denise Gatard.

De Bayser's collecting instincts, rooted in midcentury French design, extend naturally into the contemporary. His eye finds common cause with a generation of creators working in that same spirit today, among them sculptor Philippe Anthonioz, designer Francesco Balzano, architect and designer Joseph Dirand, and Rick Owens, whose furniture practice mirrors his fashion work's commitment to elemental form.

Throughout, de Bayser has resisted the label of collector, preferring to describe himself simply as someone who buys items he needs and wants to enjoy every day. He has long maintained that he sees no point in acquiring objects only to put them in storage. What he loves, he has said, is above all the form, the color, the freshness, the timelessness, and the dialogue between objects and furniture. The works in his apartments were not acquired for display but for use, for the pleasure of daily encounter and for the quietrelationships they form with one another over time. Of Form and Color: Art and Design from the Emmanuel de Bayser Collection reflects a life fully lived among beautiful things, in spaces conceived not as stage sets but as environments for looking, thinking and simply being.