The genesis of my activity as a collector goes back to 1959. I acquired my first picture from the Kornfeld gallery in Bern – it was the "White Horse" by Toulouse-Lautrec. Many years later, Mr Kornfeld wished to know whether this picture was still in my possession, for he was interested in a deal. I most certainly declined.

A few years later, a client from Paris invited me to a déjeuner. After this feast with an excellent wine tasting, I went back to my hotel on foot, crossing on my way the Faubourg Saint-Honoré. There, I saw a Diego bust by Alberto Giacometti on display. I bargained with the gallery owner for half an hour, for my idea on the price differed for a third with Alex Maguy’s. I obstinately left the gallery, and Alex Maguy went after me, finally declaring his consensus: he had been convinced not only by my perseverance, but also by my appreciation of art. I am still the proud possessor of this Diego bust by Alberto Giacometti.

I equally appreciate very much the acquaintance of the gallery owner Dr. h.c. Ernst Beyeler in Basel. Thanks to him I own my most precious paintings, for instance by Matisse, Cézanne, Modigliani, Claude Monet, Picasso and many others. It was Beyeler who conveyed me the true pleasure, and, in the first place, a deeper understanding of art.

The acquaintance and the friendly bonds with Mrs Krystyna Gmurzynska introduced me to the literature and the art of the Russian avant-garde. Thanks to her I purchased precious pictures of Russian artists from 1910 to 1930. Therefore, I am also linked to the strength of expression of this artist before and after the revolution of 1917.

Many more things could be told about my purchases at auctions at Christie’s and Sotheby’s. I just want to make it clear that my criterion was never based on the fame or the authority of the artist, rather than my own eye. I have always been interested only in works that — after thorough contemplation — pleased my eye. Sometimes I bought paintings from artists whom I did not know and I only dealt with after the purchase.

It is also my conviction that every artist one is concerned with offers a kind of “intellectual nourishment”. It is this kind of pabulum that shows positive effects on all spheres of life, thus counterbalancing the one-sided progressive thinking, and which enhances in the first place the quality of life. I am living with these pictures; I talk to them, at home or in my office. They also convey joy, for I am grateful to be in their immediate proximity. I am convinced that it is one of the foremost tasks of life to strive for equilibrium between material and spiritual values.

The exhibits speak for themselves. The "collector’s eye" makes it possible for itself and for all of you to participate in the abundance and the beauty of life.