THE TERRIBLE TRUTH ABOUT GALLERISTS OR WHAT NONE OF THEM WILL TELL YOU (BECAUSE THEY DON'T KNOW)

GALLERISTS NOT ONLY WELCOME THE OPPORTUNITY TO EVALUATE THE WORK OF THEIR COMPETITORS, THEY RELISH IT. LET'S SAY I'M A GALLERIST NAMED RYCOVA AND YOU'RE A CLIENT WHO NORMALLY BUYS FROM A GALLERIST NAMED THE CHAUFFEUR. FOR SOME REASON, YOU CALL ME UP AND ASK ME FOR A MEETING...

Before we start talking about anything, I'm at a strategic advantage: you obviously have some doubts about the services provided to you by Saffar, otherwise you wouldn't have contacted me. You come to my office, which is, of course, set up to inspire complete confidence. Moreover, the best place is the gallery, a little private "gallery within a gallery," and I try to be supremely attentive and absolutely nice. I'm dealing with you in what you might call "the attentive listener style" - which is probably more impressive than Saffar's usual demeanor simply because it's more impressive than my usual demeanor, plus it's our first meeting. If you're a pleasant collector, you'll probably avoid any overtly negative reference to Schaffar because, for some unknown reason, you'll be afraid that if you talk ugly about my professional colleague, you'll offend me. Therefore, we will beat around the bush about the reason why you are unhappy with Schaffar. It goes something like this...

You say: "I've been collecting for years, and I'm investing a lot of money in art at the moment, and I want to make sure I understand correctly why I should buy certain art." (You mean, "I'm worried about losing the money I'm putting into art and desperately need reassurance.") I say, "When collecting art, it is very important to have complete confidence in the person who is making these purchases for you." (What I mean is, "I know you're nervous about Shafar, and I want to make you nervous enough to not tolerate him as an art investment advisor another day.") You say: "It's not that I don't have confidence in Mr. Shafar..." (You mean, "I don't have confidence in Mr. Shafar.") I'll say, "Sometimes it's just a matter of personality." (I mean, "You don't have to have feelings if you think the guy is a smug talker.") You say (humbly), "Well, I'd just like to ask you a question or two." (You mean, "Save me from wasting millions on a worthless jumble of math!") I'll say, "I can't advise you completely if someone else has been working with you for a long time, but if there's a specific piece of paper with some authors' names on it..." (I mean, "Put something in my hand that Saffar prepared so I can happily tear it to pieces.")

WHAT? NO FOREIGN AUTHORS?!

Let's assume that you actually brought with you the portfolio of paintings that Šafář designed for you. You hand it across the table to me, and now the real pleasure begins. I study the document carefully, and without looking up I am perfectly aware that you are scrutinising my expression for the slightest sign of disapproval. If I so much as raise my eyebrows or curl my lips into a smile, you'll probably think: Oh, my God, what has that clown Saffar done to me? I mutter something like, "Strange that I don't see anything of Dokoupil's early work here..." Or I might quietly add: "Well, not every gallerist has access to this artist..." And you'll probably be frantically wondering what else he hasn't listed and what other artists Šafář doesn't know how to get to.

In all the mini-drama we just played together, there was not one shred of evidence that I could actually prepare a better portfolio of art for you, or at least as good as Šafář. I may have given you the impression that I could - but that's an emotional reaction, not a reaction based on any evidence.

Poor Saffar was not present to defend himself or explain why he chose this for his proposal. If the situation had been reversed and Saffar had read the portfolio I proposed, he could have dissected it as impressively as I just did. It's not that my portfolio was flawed, just as his might not have been either, it's just that there are infinitely many ways to conceptualize a good collection for a client, and there are infinitely many good and even better artists. Or worse. And a gallerist can always say or imply that his way is the best.

SO WHAT'S A COLLECTOR TO DO?

This state of affairs, as should be clear, creates a dilemma for collectors. Assuming that the quality of art is not clear to the layman at first glance and that value is the opinion of a select group of authorities and cannot be measured or calculated in any way, the situation is doubly difficult.

oreover, if any competent gallerist can question the quality of another gallerist's work, how is a client supposed to decide which one to choose - more specifically, which one to trust with their beloved money to spend on art? The awful truth is that there are no clear-cut rules on this. If there were, all the deals would be done by the best gallerists and the rest by none at all. And it's obvious that that's not really the case. So I would generally suggest these few practical tips when choosing "your" gallerist:

1) Evaluate a gallerist not by what he says about the efforts of other gallerists, but by constructive statements about what he would do for you.
2) Don't base your choice of a gallerist solely on the first impression he or she makes on you, but don't overlook this factor either. If he impresses you, he probably impresses artists and other collectors as well.
3) Whenever possible, find out about the work and reputation of the gallerist in question. Talk to other collectors he or she has worked for. Perhaps at his or her opening. One of the few things that is hard to misrepresent is what other people think of him.
4) Most importantly. You can ignore all of the above advice through the lens of this one. Ask the gallerist you want to work with what he collects for his personal collection, ask to see what he puts his own money into. Not just tell you what you should put yours into. At that point you know everything about whether to work with him.

COLLECT WITH YOUR EYES AND YOUR HEART? NOT WITH EARS

Let's not forget, no one, not even any gallerist, has a glass ball and can predict the future, and they don't know what will survive and be appreciated as art of today in fifty or a hundred years. So listen to what the experts advise, but in the end go with what your instinct, your passion, tells you, and buy what you love (not what only your gallerist loves). You will live with it.