While millions around the world admired Alain Delon for his charismatic on-screen presence, fewer knew that Delon was also a dedicated art collector, whose dedication to art rivalled his commitment to film. I can attest to his insatiable appetite for collecting, which revealed a man driven by passion rather than investment.
Delon’s collection ranged from Dürer to Braque
My first encounter with Delon in the late 1980s, while I was working at Sotheby’s, introduced me to his “serious case of collectoritis”. His Geneva property was brimming with art, reflecting his deep love for collecting. Unlike many celebrities who might retreat from the public eye, Delon embraced his two other passions: art and horse racing, often alternating between film premieres and appearances at auction houses.
Delon’s journey as an art collector began in July 1969 with the acquisition of one of the last available drawings by Albrecht Dürer for 700,000 francs. This purchase marked the start of a collection at first focused on drawings, before expanding to include works by 19th-century French artists such as Jean-François Millet and Théodore Géricault. Later, his interests shifted to Fauvism and modern animal sculptors, in particular Rembrandt Bugatti.
Delon “bought out of passion, never for investment”
What distinguished Delon as a collector was his impulsive nature and deep-seated passion for art. “I bought out of passion, never for investment,” he once told me, and this philosophy led to an eclectic collection spanning centuries and styles.
In 1990, I assisted him in organising a retrospective of his collection at the Galerie Didier Imbert, in Paris. Two years later, I convinced him to lend his Fauvist Braque for an exhibition at the Musée Gianadda in Switzerland, where the artwork was even featured on a wine bottle label — an inspired idea by Leonard Gianadda. Delon was immensely proud to see his works displayed in a museum setting, a moment that highlighted the depth and quality of his acquisitions.
Delon’s knowledge of art was as impressive as his collection. Between film shoots, he would visit museums, constantly expanding his understanding and refining his taste. Our conversations about art were always engaging and insightful, revealing a man as devoted to learning about art as he was to acquiring it. “When I fall in love with an artist or a period, I dive into it, read everything, and can talk about it,” he once shared with me. This intellectual curiosity set him apart from many other collectors.
When Delon played an art collector on screen
Delon’s approach to collecting mirrored his approach to life — passionate, diverse, and uncompromising. This parallel was particularly evident in the 1977 film L’Homme Pressé (A Man in a Hurry), directed by Édouard Molinaro. Although not autobiographical, the story of Pierre Nioxe, a collector living at a frenetic pace, resonated with the realities of those immersed in the art world, including Delon himself.
The film, based on the 1941 novel by Paul Morand, features dialogue written by Maurice Rheims, a French auctioneer who influenced my decision to pursue a career in the art market. This connection to the art world lent the film an authenticity that reflected Delon’s own experiences. As someone who knew both Delon and his co-star Mireille Darc, I could see how closely the story was tied to their lives.
Delon’s collection of Rembrandt Bugatti’s sculptures
Alain Delon’s collection was remarkable not only for its breadth but also for its depth. He assembled what was probably the finest collection of works by Rembrandt Bugatti, an underrated animal sculptor.
As I reflect on my last interaction with Delon — the sale of a Rembrandt drawing to a prominent New York collector — I am struck by the legacy he leaves behind. He dispersed most of his collection during his lifetime, not wanting to burden his children with the responsibility of managing it.
Alain Delon’s legacy extends far beyond his contributions to cinema. He was a man who lived with the same intensity he brought to his roles, and his collection — ranging from Old Masters to 20th-century abstracts — reflected the evolution of his tastes and his willingness to explore new artistic territories. His approach to collecting was fearless and without limits, and he often outbid established collectors and institutions.
Delon’s story reminds us that true collecting is not just about acquiring art but about pursuing knowledge, beauty, and self-expression. His decision to sell much of his collection in the 1990s and again in 2007 was characteristic of his approach to life — he preferred to oversee the dispersal of his beloved artworks himself, rather than leave it to others after his passing.
Alain Fabien Maurice Marcel Delon; born Sceaux, Paris, 8 November 1935; partner 1958-64 of Romy Schneider; married 1964 of Nathalie Barthélémy (one son, marriage dissolved 1969); partner 1968–83 of Mireille Darc (died 2017); partner 1987–2001 of Rosalie van Breemen (one son, one daughter); died Douchy, Val de Loire, 18 August 2024
