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AMIN JAFFER
CHRISTIE’S INTERNATIONAL DIRECTOR OF ASIAN
ART DISCUSSES HIS PROMINENT ROLE AT THE
AUCTION HOUSE AND GIVES TIPS ON GOOD
INVESTMENTS
Dr Amin Jaffer is a study in suave sophistication. An impressive raconteur, he is
the opposite of what one might expect of a serious art historian and advisor. His
career has straddled the worlds of academia and commerce, but one of his
admirable qualities is how effortless he makes it all seem. PRIYANKA GILL meets him.
While he regards himself as Indian in terms of ethnicity, his birthplace is actually Kigali,
Rwanda. The youngest of three children, Amin spent his formative years in Rwanda,
Kenya, Belgium, England, Canada and the USA. His first exposure to art was at the
age of six when his mother took him to the Louvre and to Versailles. He still has
a photograph he took at the time, of the Raft of the Medusa by Géricault. From that
early age, Amin knew that art was his calling, a passion that carried over to his
university education.
Christie’s is like an ever-changing museum
“When I couldn’t stomach the economics classes I had to endure in my first year,
I opted instead to take courses on the history of opera and the development of
French Renaissance architecture. I didn’t realize that art could be a career option
until I met professors at the Art History Department of the University of Toronto, and
curators at the Royal Ontario Museum. They opened the door and suggested further
studies in London, at the Victoria and Albert Museum and the Royal College of Art.”
After completing his Masters and a PhD from the Royal College of Art, Amin entered
the world of academia. “Coming from a business family, I somehow felt that there
was more to life than simply generating profits. Public art, scholarship and books
were my inspiration in those years. I wanted very much to be part of a team that
helped to interpret and display works of art for the public.”
Taj Mahal Diamond
His first job was a temporary contract fellowship funded by the British Academy and
the Leverhulme Trust, cataloguing Indo-European furniture in the collection of the
Victoria and Albert museum. “The museum stores were in Battersea and freezing cold
in the winter. I used to work with a hot water bottle on my lap,” he laughs.
Dr Amin Jaffer, 2012
Tyeb Mehta (1925-2009), Untitled (Figure on Rickshaw), Oil on canvas, 1984
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Spinel Necklace, Geneva 2011
This tolerance for temperature coupled with very hard work paid
off, as he was eventually offered a permanent position at the V&A.
“Extensive primary research in archives and on objects, an active
lecturing schedule, multiple publications and exhibitions, plus doubling as a fundraiser for major V&A projects, all gave me credibility
in the workplace.” He went on to publish extensively. All of his books
are inspired by cultural encounters and exchanges; one particular
fascination is the production of works of art in one culture for
consumption in another.
After Furniture from British India and Ceylon (2001) and Luxury
Goods From India (2002) came the book and exhibition that
secured Amin’s reputation as one of the foremost experts on Asian
art. Made For Maharajas: A Design Diary of Princely India was published in 2006. This was the basis for the V&A’s exhibition Maharaja:
the Splendour of India’s Royal Courts. Beautiful and detailed, it
provides a glimpse into the lives of Indian royalty through objects
they used, inspired and in some instances, designed.
“With any exhibition, one starts with a wish-list of loans. We were
very lucky to be able to borrow so many treasures from around
the world, especially from private collections. The show has since
travelled to Munich, Toronto and San Francisco and will go on to
Richmond, Virginia, and Beijing.”
The exhibition’s success made Amin a headhunter’s dream, and major
auction houses came calling. Leaving the public arena of the V&A for the
art business was daunting, but promised new global opportunities. Christie’s
was his first choice; they created a post especially for him, and he regrets
that he didn’t make the move sooner. Amin joined the auction house midway
into his career, bringing to the house strong relationships with institutions
and collectors. His brief is across a variety of disciplines. “Today, I would say
that my work is largely – but not exclusively – focused on India and the Indian
diaspora. However, some of my most rewarding projects still involve museums and books and working with clients who collect in categories from
jewellery to post-war and contemporary art.”
Buy the best that you can afford within your budget
His clients range from first-time buyers to seasoned collectors. It is a sign of
Amin’s affability and professionalism that everyone is treated equally. “I enjoy
the variety of experiences above all,” he says. “Christie’s is like an everchanging museum; almost weekly our salerooms are hung with great works
of art that present further opportunities to extend my knowledge and
develop my tastes. The learning opportunities are matched by the pleasure
of working in new marketplaces and dealing with a wide range of consignors
and collectors.”
Manjit Bawa (1941-2008), Untitled (Winged Figure)
Syed Haider Raza (b. 1922), Saurashtra, Acrylic on canvas, 1983
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Travel is part of the job description. “Luckily, I like flying and find
long-haul flights the place to read, sleep or watch films. Whether
Hong Kong, New York, Delhi or Doha, I look forward to my travels
with anticipation. There are always fascinating people to meet
and great art to see.”
In India, Amin recommends the art-lover’s travel trail. “Visit the
great historic and archaeological sites. Whether Vijayanagar,
Fatehpur Sikri or Mehrangarh Fort, India is uniquely endowed with
a rich and varied architectural tradition spanning thousands of
years.” Closer to home, his favourite cities are Rome and Istanbul.
“Both have an imperial architectural legacy, a romantic landscape,
plus endless opportunities to explore. And great restaurants,”
he smiles.
Challenges are part of his job, but he claims his biggest challenge
is learning to put down his Blackberry, as art is never far from his
mind. “The greatest experiences are handling superlative works of
art, such as the necklace of Imperial spinels sold by Christie’s in
Geneva last year, to handling works that have passed through
history. These lend meaning and value to my work and career.”
Indian art continues to be seen and
appreciated by new international collectors
Philanthropy is also important. “Museums and the preservation of
historic buildings really mean a lot to me. Recently, I have become
involved with Soham for Kids, a school for underprivileged children
in Hyderabad, India. Although I am a very small supporter, I find
great fulfilment in this project. On my first visit to Soham, the
students made me a painting of a tree, using their fingerprints.
I love this work of art and have hung it in my bedroom.”
Indian art of the more practised variety remains a touchstone in Amin’s
professional life. At Christie’s, he interacts with its pool of investors and is a key
advisor to some of its major collectors. His advice to potential buyers? View with
passion and acquire works that speak to you. But combine this with the advice
of experts, as well as conducting personal research into specific artists and their
oeuvre. It is here that the expertise of Amin and his colleagues play an important
role. “In any category, try to buy the best that you can afford within your budget.
In the long run, it is better to have a few great works than a large number of
average ones.”
Amin sees a strong case for Indian art becoming an internationally appreciated
collectible. “Art can benefit from globalization and the increased exposure of an
artist to an ever-increasing international audience. Indian art continues to be
seen and appreciated by new international collectors entering the market, and
this can result in a rise in value and significance.” The future looks promising, then,
but market growth will depend on many factors, including government support
for museums, biennales and art fairs in India, and the presence of Indian art in
museums around the world.
Amin also recommends a longer perspective for collectors who are looking at
art as an asset class, as it is difficult to speak of a five-or-ten year horizon. He
stresses that the very best works – those that represent originality and are high
points in an artist’s career – are the ones that will gain the most in value.
He himself is a collector of Chinese porcelain made for the Islamic market, and
also of emerging art. His latest acquisition is a folded steel work by Rana Begum,
who is based in London but was born in Bangladesh. He is influenced by the art
and architecture of Mughal India but finds beauty in the art of many periods
and places. He has a special fondness for just about everything Italian. “I love
travelling, especially in Italy.”
Artists whose work he dreams of owning include Francis Bacon, Gerhard Richter,
Tyeb Mehta, Rashid Rana and Raqib Shaw. An eclectic wish-list, as might be
expected from the suave Dr Amin Jaffer
.