The Curator’s Eye recently had a conversation with Beryl Cavallini of Galerie Golconda, based in Saint-Paul de Vence, France, about the current state of the international art market and how it is migrating online. The talk also covered the results and experience delivered to her business by The Curator’s Eye (http://www.CuratorsEye.com/).

Economical Situation: Easily Paid For

After ten months on The Curator’s Eye, Cavallini reports, “my experience of sales has been, curiously, of twins. Every time a customer bought a piece, they then asked for another one in less than two months,” which she attributes to the quality of the pieces delivered. Indeed, she declares, “the economical situation is worth the investment as I easily paid for my costs on The Curator’s Eye with these sales.”

Importance of Global Reach: Show to the Whole World

The picturesque village location of Cavallini’s gallery attracts well-heeled shoppers and vacationers, and she uses the physical space to help customers see “the product in an environment where there is an atmosphere which helps him understand how the piece can be located” and displayed. Ultimately, though, she says she exports “more than 90% of my sales. I am used to dealing on an international market,” and feels, “The Curator’s Eye supports my efforts” to place beautiful artifacts in homes that will appreciate the history of the objects. Cavallini emphasizes, “the possibility to show your artifacts to the whole world, without delay.”

Increased Competitive Edge

This global reach helps Cavallini compete more fully with, according to her, “the auction houses who work in a manner that is very unfair” to private dealers. She notes, “they have only consignments which cost nothing, and they can send back all the unsold objects to their owners in a very short time. They make money asking a percentage from both the seller and buyer and this I cannot do.” As a result, Cavallini says “I need to enlarge my capacities of communication. This is what The Curator’s Eye is for.”

Changing with the Times

As a long-time dealer, Cavallini certainly has the authority to note changes in the art and artifact markets. “In old times we used to make a geographical selection, as it was the easiest way to operate. A dealer would set up a nice shop in New York or in a good area of Paris and he would sell to the people he knew, or to the people who lived nearby. This is partly out. I personally work with people coming from all over the world and we export in countries most people could not even place properly on a map!”

Overall Quality: Rarity and Beauty

Cavallini describes The Curator’s Eye as a place “where wealthy customers and collectors can go from time to time to see if there is something nice to buy, or simply dream about the pieces of art they might buy one day.” In her view, “the objects are well presented, the site design is rather clear, and I feel comfortable with the global selection of the objects from my competitors as they all look beautiful and are of a very good quality.”

Viewer Habits and Sales Tendencies

During Cavallini’s time on The Curator’s Eye, she has been able to adjust her strategy based on viewer details. Interestingly, she notes, “the objects that are most looked at are not the ones people ask for more information about. Probably people look more readily at products they believe to be strange or different. But then they buy what they know or what they understand, and they go for classic pieces.” As a result, she recommends, “it is necessary to be present with a good number of objects in order to cast a large net, presenting collectors with a wide variety of options that appeal to different collecting interests and considerations.”

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