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The structure of the venture is notably unconventional, quite unlike a traditional gallery or advisory and instead modeled after top-tier management consultancies like BCG. The partners function as a senior network, each retaining their independent businesses while collaborating in a shared framework. “I’d describe us as the McKinsey of art market consultants,” says Hoffman, who began his career at KPMG. “We sit down with the next generation and those facing major wealth transfers and say, ‘Before you rush into any decisions, take a moment. Think about the history of art. Think about what it means to inherit a $100 million collection and what kind of legacy you want to leave.’”
“We aim to act like a management consultancy coming in to assess a project,” confirms Gorvy. “They dissect the issues, identify both the challenges and opportunities, and ultimately deliver the best possible advice.”
The partners’ individual specializations and their combined global reach when it comes to sourcing works and placing them on the most strategic platforms offer a clear competitive edge. “We could pick up the phone to probably 1,000 or 2,000 of the world’s top clients,” Hoffman says, only half-joking. “We’ve got warehouses and operations in every country.”
Ed and Alex Dolman bring decades of experience and deep ties in the Middle Eastern market. Patti Wong offers extensive expertise in Asia. Brett Gorvy anchors the group’s strength in contemporary and modern art, especially in the U.S., while Hoffman, through The Fine Art Group, provides the operational engine, supporting services that span from investment and lending to legacy planning and the logistics of collecting.
Still, each partner emphasizes separately that what truly sets the project apart is the group’s commitment to neutrality and transparency. Their counsel is fully independent—not only from each other’s ventures but also from any of the commercial pressures that typically drive the trade. “The auction houses just want you to sell or buy. It’s about trade volume,” Hoffman says. “Galleries are the same. What’s missing is an advisory that understands the market in every territory.”
That independence is enabled by a structural lightness. “We don’t carry the same overhead, but we do have access to everyone who matters. That means we can offer clear, impartial advice without the pressure to push a sale or direct clients toward a particular deal,” Hoffman adds, underscoring the ethical dimension at the heart of their approach.
Gorvy reinforces the importance of confidentiality and discretion—qualities he sees as essential in contrast to the visibility and machinery of the auction world. “The very nature of an auction house involves immense scale, high expense and a lack of confidentiality—factors that stand in stark contrast to what we offer,” he says. “Each of us comes from established companies, and we’ve put strict protocols in place to ensure we handle client information with the utmost discretion.” All the partners agree that at this level, the art business is built on trust.
Market power plus proven expertise
New Perspectives Art Partners has a clear target: top-tier collectors and leading institutions, with a focus on the highest-quality blue-chip art. Still, Hoffman and Gorvy are quick to clarify that the mission doesn’t exclude newer entrants who are ready to engage seriously with the market. Whether it’s the entrepreneur who’s just sold a company and wants to begin actively acquiring art, a museum in the process of formation or a member of the next generation who has inherited a collection and doesn’t know what to do with it, the group is ready to offer tailored guidance. Their model also extends to fiduciaries—lawyers, trust officers, private bankers and estate executors who find themselves responsible for artworks and might otherwise assume their only option is to call Sotheby’s or Christie’s.
According to Gorvy, the value of New Perspectives Art Partners lies not only in the partners’ proven track record of selling masterpieces but also in their having been present when some of the most important artworks and collections were first brought to market—and in knowing exactly where those works are now.
The work, they insist, is rooted in long-term thinking: assisting clients with foundations, institutional donations and broader strategies for stewardship. Advisory, in their view, extends far beyond transactions. Every engagement is customized, with thoughtful roundtables grounded in listening, collaborative reasoning and plans that align with each client’s priorities. “What we’re really talking about is how to maximize the value of a collection, whether you’re selling it or preserving it for the future. It’s about making the most of all the possibilities and opportunities the market offers, with a global perspective,” explains Gorvy.
While the model may echo certain aspects of auction house operations—bringing together expertise across categories and regions—the distinction lies in how that knowledge is deployed. “It’s really about how you provide the best possible service to a client and the tools or strengths you have in your arsenal that allow you not just to deliver that service, but to operate at the highest level,” he says. “While you can’t exactly replicate that kind of dynamic, you can multiply it by bringing in people with equivalent levels of expertise and deep experience, each offering a different perspective, a distinct area of knowledge or a unique role at the table.”
Confronting generational and global shifts
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