Buyers are focussed on art now; there’s no longer much interest in period furniture, silver, et cetera, Amin Jaffer tells Kishore Singh
The elegant — there really is no other way to describe him — Amin Jaffer was part of the crack team from Christie’s in New Delhi recently to show a selection of modern and contemporary South Asian art that will be auctioned in New York on September 16.
Expectations from the sale are high, estimated in excess of $12 million. Dr Jaffer, who joined Christie’s only last year as international director, Asian art, describes his varied interests — he’s worked with V&A, and has interests ranging from 18th and 19th century furniture to jewellery, costumes and decorative objects — as an “art mongrel”.
His last book, Made for Maharajas has proved extremely popular, and he’s now working on a book of portraiture between 1857 and 1947 that allows him to “explore many of my interests — jewellery, costumes…”.
The book will be released as part of a travelling exhibition on princely India being mounted by V&A. At Christie’s, he says, his role isn’t that of a specialist, but skewed towards strategy and client development.
What kind of consultancy do young collectors seek?
I might have clients who buy modern and contemporary Indian paintings looking for advice on collecting and selecting. Many new collectors are not focussed on only one area.
That’s where I come in with my broad, generalist background. I can arrange meetings or conference calls with specialists. When we set up an interface with clients, we also get to source new works for consignment.
How about classical Indian art — why don’t we hear as much about it?
There is a buoyant market outside India for pre-’71 objects and art, and sometimes Indians are buying them to bring them back to India. My belief is that with the growing wealth of India, it will become a magnet for works of Indian art.
But why is there less frenzy around the prices of classical Indian art?
Oh, high prices are being achieved there, but you don’t have the same level of involvement as in the case of contemporary art, which is a part of your lifestyle. For contemporary art, you can visit art fairs, or workshops, you share knowledge — and pleasure.
In the case of classical art, there are fewer works, less scholarship. Besides, the art market is cyclical. There is no more the post-war momentum of interest in 18th and 19th century furniture, the connoisseurship in silver, chandelier et cetera. Today we are in a cycle of collecting modern and contemporary art.
Does that make sourcing easier?
Certainly, documentation is easier. There are auction catalogues, many of the artists are still alive, we’re lucky to have the memory with us of key players.
Therefore we are able to put together sales of sufficiently high calibre that are varied and interesting. Whether the best works are with a collector or an institution, we’re able to draw out significant pieces.
Whether (S H ) Raza, Tyeb (Mehta) or (F N) Souza, their most significant works are coming out with our specialists working with consigners for maximum advantage.
