As Paris prepares for another electric art season, the city’s collectors continue to shape and expand its cultural pulse. From visionary architects and designers to tastemakers and philanthropists, these Paris-based collectors reveal how personal passion fuels the art ecosystem. Their collections trace diverse paths—from the poetic and political to the minimalist and modern—reflecting the layered sensibilities that define the capital today. Whether drawn to the emotional pull of a painting, the innovation of architecture, or the dialogue between heritage and contemporary creation, each collector offers a window into how art lives and breathes in the city of light. Together, they embody a collecting culture that is intimate, international, and deeply attuned to the evolving conversation of contemporary art.
Aline Asmar d’Amman
Architect, Interior Designer, and Founder of Culture in Architecture
Courtesy of Aline Asmar D’Amman.
Who: Born in Lebanon, Aline Asmar d’Amman is the architect, interior designer, and founder of Culture in Architecture, a design studio based in Paris and Beirut.
Collection Focus: A balance of old soul and creative nowness, heritage and modernity.
Location: Paris and Beirut.
Began Collecting: I’ve been a collector for as long as I can remember,
First piece: My first art piece is a tiny antique sculpture, a stone face of a Phoenician goddess, small enough to fit in the palm of a hand.
Most recent: Wave, 2022, by Abdul Rahman Katanani.
WHITEWALL: Can you share a recent acquisition you’re excited about?
ALINE ASMAR D’AMMAN: I’m drawn to pieces that balance raw textures and poetic presence with a timeless authority. One of my recent acquisitions is the site-specific Wave (2022) in barbed metal wire from artist Abdul Rahman Katanani and Gallery Magda Danyzs. It takes center stage in my Parisian living room.
WW: What is your advice for aspiring collectors, just getting started?
AADA: Stay curious and hungry for artful discoveries. Embrace art with purpose, try not to miss a show, from galleries to museums to fairs and artists workshops. Intuition and emotional connection are a precious compass that never fail, yet the eye needs to be nurtured, and the horizon stretched to fuel imagination and sharpen desire.
WW: What are you looking forward to most at Art Basel?
AADA: The fair has an astonishing impact everywhere you go, art permeates the streets, hotels, museums, and cultural institutions with intention. I’m looking forward to collaborating with Docent for a bold artistic intervention at Hôtel de Crillon, A Rosewood Hotel, where leading voices shaping the contemporary art scene will enchant key spaces.
WW: What are the exhibitions in Paris you won’t miss?
AADA: The institutional exhibitions around the fair period are incredibly rich and inspiring. I can’t wait to experience Gerard Richter at Fondation Vuitton and “Minimal” at Pinault Collection. I always look forward to visiting Palais de Tokyo, Galleria, and the Louvre Museum.
Amélie Huynh
CEO of D’Orsay Parfums and Statement Jewellery
Amélie Huynh, photo by Alexandra Utzmann.
Who: Amélie Huynh is a French entrepreneur who founded Statement Paris and leads Parfums D’Orsay.
Collection Focus: My contemporary collection, from various artists, mostly dating from after 1980, features abstract and sober pieces, with a focus on minimalism.
Location: Paris.
Began Collecting: In 2012
First Piece: By Mohamed Bourouissa, and the next one was a watercolor from Lee Ufan.
Most Recent: By Dhewadi Hadjab.
WHITEWALL: Can you share a recent acquisition you’re excited about?
AMÉLIE HUYNH: I first discovered the work of Dhewadi Hadjab a couple of years ago at Galerie Mennour in Paris, and recently, I finally added one of his paintings to my collection. His work grips you instantly. He captures people in raw moments of tension and vulnerability, transforming them into sculptural visions.
WW: What is your advice for aspiring collectors, just getting started?
AH: Go out and see as much art as you can to train your eye and find what truly moves you. Build a collection that reflects you, mixing mediums and scales, and watch how it evolves over time. For emerging artists, I look at which major foundations or museums have acquired their work—it’s often a good sign of potential, but above all, I need to feel a personal connection to the piece.
WW: What are you looking forward to most at Art Basel Paris?
AH: I always start by visiting the major galleries I know well to see if they are showing historic works by celebrated artists. I love observing their evolution. Whether I’m buying or not, it’s food for my soul and a constant source of inspiration for my work with D’Orsay fragrances and Statement jewellery.
WW: What are the exhibitions in Paris you won’t miss?
AH: Wolfgang Tillmans at the Centre Pompidou is definitely a must—I’ve already been once, but it’s the kind of show I could happily see again. I also won’t miss Lygia Pape at the Bourse de Commerce—I’m always drawn to work that plays with space, light, and geometry, and I’m curious to see how her installation will transform the galleries.
WW: Who is the artist you’re most excited about right now?
AH: I’m very excited about Petrit Halilaj, a young but already highly successful artist who will open a major exhibition at the Hamburger Bahnhof in Berlin this September.
Cathia Lawson-Hall and Philip Hall
Collectors and Advocates for Contemporary Art
Cathia Lawson-Hall Philip Hall, photo by Stephane Feugere.
Who: Cathia Lawson-Hall and Philip Hall are Paris-based collectors whose contemporary art collection began in Africa.
Collection Focus: Contemporary, beginning with African and Afro-descendant artists -still at its heart- but now embraces an international perspective across Europe, Asia, and Latin America.
Location: Paris.
Began Collecting: 25 years ago.
Most recent piece: Thalita Hamaoui, whose vibrant, lush landscapes open a window onto an enchanting parallel world.
WHITEWALL: What was the first piece in the collection?
CATHIA LAWSON-HALL & PHILIP HALL: Our collection began with a powerful piece by Paul Ahyi, a remarkable Togolese artist known for his vibrant paintings and sculptures. It’s particularly meaningful to us that his work is prominently featured in the “Paris Noir” exhibition at the Centre Pompidou. This major exhibition benefited immensely from the mobilization of the Centre Pompidou’s “Africa” acquisition committee since its inception – a committee that we were proud to co-found.
WW: How did your collection grow from there?
CLH & PH: From that initial acquisition, our collection has blossomed into a decidedly international endeavor, with a strong, yet not exclusive, focus on contemporary art. While it’s true that African and Afro-descendant artists feature prominently, reflecting our deep connections to the continent, we’ve also embraced extraordinary European and Asian artists we greatly admire.
Like many collectors, we believe that collecting is, at its core, an emotional journey. Our acquisition decisions are fundamentally driven by an instinctive pull towards a wor—a profound connection that transcends mere aesthetics. It’s about finding pieces that resonate deeply with us, sparking a feeling, a thought, or a sense of wonder.
WW: Would you say you’re attracted to a particular medium, theme, movement, or generation of artists?
CLH & PH: Intellectually, we are fascinated by the breadth and diversity of artistic expression across all mediums and movements. However, if we were to pinpoint a more emotional inclination, our hearts truly lean towards painting and sculpture. Thematically, we’re deeply moved by art that dares to explore profound questions of our time, but also by art for art’s sake, for its pure aesthetic beauty.
Charles Zana
Architect & Interior Designer
Charles Zana, photo by Luna Conte, courtesy of Charles Zana.
Who: For over thirty years, Charles Zana has brought finesse and expertise to the world’s most beautiful interiors. A true Parisian, he studied architecture at the Beaux-Arts.
Collection Focus: Contemporary, eclectic, and refined, withr works by Carlo Mollino, Ettore Sottsass, David Salle, Andrea Branzi, and more.
Location: Paris
Began Collecting: Since childhood, with his father.
First Piece: A Danish vase bought from François Laffanour.
Most Recent: Painting by 19th-century artist Eugène Carrière.
WHITEWALL: Can you share a recent acquisition you’re excited about?
CHARLES ZANA: A painting by Eugène Carrière, a 19th-century painter whom I recently rediscovered. Or a canvas by Nathanaëlle Herbelin, whose work I have long admired and follow very closely.
WW: What is your advice for aspiring collectors, just getting started?
CZ: Always buy the most powerful works, the ones that stand out for their intensity and the uniqueness of their language. Don’t give in to ease or to trends, but learn to listen to your own emotional response to a work.
WW: What are you looking forward to most at Art Basel?
CZ: I love the particular vibrancy of this week: the city becomes a real crossroads, where collectors, artists and curators from all over the world come together, driven by a shared, almost electric energy. I particularly enjoy exploring more intimate offerings, such as monographic exhibitions that offer a closer connection and more personal encounter with the work.
WW: What are the exhibitions in Paris you won’t miss?
CZ: “Soulages, une autre lumière” at the Musée du Luxembourg, John Singer Sargent at the Musée d’Orsay, “Paul Poiret, la mode est une fête” at the Musée des Arts Décoratifs, “Exposition Générale” at the new Fondation Cartier, and Gerhard Richter at the Fondation Vuitton.
WW: Who is the artist you’re most excited about right now?
CZ: I adore the work of Martha Jungwirth. Her painting is far removed from any figurative representation: she does not seek to describe reality but rather to convey its most intimate essence.
Maxence Hulin
Connoisseur
Maxence Hulin, Portrait by Tanguy Beurdeley.
Who: After studying law and art history, Maxence Hulin eventually found himself devoting more and more time to the family collection.
Location: Paris and Tuscany.
Began Collecting: At 18.
First Piece: An oil painting by Félix Ziem.
Most Recent: A large work by Raynaud.
WHITEWALL: What was the first piece in the collection?
MAXENCE HULIN: I believe it was a print by Soulages from the 1960s, in a very small edition, a gift from my mother when I was a teenager.
WW: How did your collection grow from there?
MH: I wouldn’t dare call it a collection, more a series of multiple and repeated acquisitions. Over time, perhaps all these works together will give the impression of being a collection. As I also help care for the family collection, I make sure to keep the two separate, the latter being far more prestigious and historic compared to my own acquisitions.
WW: Would you say you’re attracted to a particular medium, theme, movement, or generation of artists?
MH: To be lazy about it, I quite like works whose medium is easy to hang and doesn’t bring too much anxiety in terms of conservation. Beyond that, I find the group of the Nouveaux Réalistes hides works of true invention which, after their moment of glory at the end of the 20th century, are today somewhat overlooked—even though they are a real pleasure to acquire and live with.
WW: Has it been important for you to connect with the artists whose work you collect?
MH: It’s a double-edged sword. After meeting an artist, visiting a studio, or sharing a lunch, one can feel the urge to acquire their works and develop an immediate passion. On the other hand, it has happened that I acquired works by an artist I didn’t know personally, then met them later. Even if I continued to objectively recognize the qualities of their work, I couldn’t help but, not regret, but like the work less because of the person (without naming names). That’s the advantage of dead artists—this sort of situation can no longer happen.
Patrick Seguin
Gallerist and Collector
Courtesy of Galerie Patrick Seguin.
Who: Patrick Seguin is a French gallerist and collector specialising in French mid-20th century modernist furniture and architecture.
Collection Focus: Mid-20th century design, contemporary art, and architecture.
Location: Paris.
Began Collecting: In the late 1980s.
First piece: Jean Prouvé, Compas Table and Métropole Chair No. 305, ca. 1950.
Most recent: Will Sheldon, Fruit Bringer, 2025, and Rudolf Stingel, Untitled, 2007.
WHITEWALL: Can you share a recent acquisition you’re excited about?
PATRICK SEGUIN: One of the special features of my gallery is that it specializes in Jean Prouvé’s demountable architecture. One of my most recent and exciting acquisitions is this building that Prouvé designed for the Croismare glassmaking school.
WW: What is your advice for aspiring collectors, just getting started?
PS: I would recommend asking yourself why you want to collect in order to decide on the direction your collection should take. Always prioritize quality. It is better to have two well-chosen pieces than many less meaningful ones.
WW: What are you looking forward to most at Art Basel Paris?
PS: As a contemporary art collector myself, I always look forward to discovering the quality of a major fair and the reception it receives from the public. This is even more true this year as my daughter Pauline is participating with her Berlin gallery Heidi.
WW: What are the exhibitions in Paris you won’t miss during Art Basel Paris?
PS: I can’t wait to discover the new Fondation Cartier, a magnificent feat among the many projects completed by my friend, architect Jean Nouvel. I won’t miss the Gerhard Richter exhibition at the Fondation Louis Vuitton. I will definitely visit Lafayette Anticipations, whose program for young artists I really appreciate.
WW: Who is the artist you’re most excited about right now?
PS: I remain a loyal admirer of Richard Prince, who has always stayed true to himself.
Robert Ramsauer
Finance Executive and Co-Founder of POAN
Robert Ramsauer, photo by Cecy Young.
Who: Built a career in finance and spent most of it at Blackstone. I also co-founded the London based label POAN (Peoples of All Nations).
Collection Focus: You will find all sorts in my collection—the good, the bad and the ugly—but they are all works I love and of importance to me.
Location: Paris
Began Collecting: 25 years ago.
First Piece: Banksy caught my eye on the streets of London.
Most Recent: A couple of works by Philipp Timischl, an Austrian based in Paris.
WHITEWALL: Can you share a recent acquisition you’re excited about?
ROBERT RAMSAUER: Not long ago, I bought a painting by Mike Kelley, which is itself part of an important group of works he created in the 80s. It’s a great moment to acquire major secondary market works.
WW: What is your advice for aspiring collectors, just getting started?
RR: Listen to your gut, buy what you like (it does not have to be expensive!). Over the years I trusted my artist friends’ insights who often pointed me in unexpected and exhilarating directions. Find ways to support creative people in the art ecosystem. When I look at the works I live with now, they remind me of a certain moment in time in my life—I value that.
WW: What are you looking forward to most at Art Basel?
RR: Meeting many friends in one go, discussing life and art.
WW: What are the exhibitions in Paris you won’t miss?
RR: Parallel Vienna’s first outing in Paris (Barbes).
WW: Who is the artist you’re most excited about right now?
RR: Florentina Holzinger, she will represent Austria at the 2026 Venice Biennale—watch this space! I also love what Jamian Juliano-Villani is up to—whether it’s galvanizing the art scene or creating great paintings. And of course there is Michel Majerus.
