The 2025 edition of AMART, the Milan antiques show that has long been confirmed as being at the top in terms of the quality of the proposal and the relevance of the gallerists who participate, opened today.This year, the appointment is from November 5 to 9, as always at the Museo della Permanente. This year’s edition sees the participation of 61 galleries from all over Italy that cover centuries of history to offer customers a proposal of high quality antiques and that is aimed both at experts and, in some cases, also at those who intend to start their own collection. Organized by the Associazione Antiquari Milanesi with Promo.Ter, the exhibition is chaired by Michele Subert, owner of the gallery of the same name, and the quality of the works on display is guaranteed by a scientific committee that assists the chairman to make the event a point of reference for collectors, enthusiasts, and scholars of ancient art. “Thanks to the collaboration of all the actors involved, whom I sincerely thank, AMART is confirmed as an unmissable event on the Italian cultural calendar,” Subert says. “People come here not only to admire works of art of the highest quality, but to dialogue and understand the position that antiques occupy in the contemporary era, thus charting the new course of collecting.”
Despite its young age (AMART is in fact in its seventh edition), the Milan fair has quickly carved out a respectable space for itself in the panorama of antiques events precisely by virtue of its quality, with many first-rate works, arranged in stands that make the works on display breathe, with carefully curated layouts, and with the aim of reconciling the commercial and cultural dimensions. Several unseen and new features in this year’s edition.
The itinerary, here in order of how the stands are presented in the exhibition itinerary, can begin with Carlo Orsi who brings to the exhibition two unpublished, newly rediscovered temperas on panel by Zanetto Bugatto (Milan, 1440 - 1476): they are among the most interesting works to be found in this edition of AMART, a St. Paul and a St. Peter on a punched gold ground, fragments of a polyptych by the painter (asking between 200 and 250,000 euros). A short distance away, Capozzi Antichità offers one of the paintings from the Pio Albergo Trivulzio cycle by Angelo Morbelli (Alessandria, 1853 - Milan, 1919), Mi ricordo quand’ero fanciulla - Ultime ore serene: for this work the price is 130 thousand euros. Moving on, one encounters the Mainetti Milano 1955 stand, which brings to the Museo della Permanente a painting by Anselmo Bucci from the Parisian period, an unusual view of Boulevard Haussman (one of the city’s main boulevards, where the Musée Jacquemart-André is located), on sale for between 50 and 80 thousand euros. We then move on to Milani Antichità’s booth: here, the painting of greatest interest is a work by Domenico Pellegrini (Galliera Veneta, 1759 - Rome, 1840), Amore e Venere che si specchiano (Love and Venus looking in the mirror ) from 1792, a key painting in the neoclassical artist’s catalog and an important and direct testimony to his relationship with Canova (priced at 150 thousand euros).
Masoero’s Turin gallery Secol-Art has unearthed a forgotten masterpiece of the Italian 19th century in recent weeks: it is an Episode of Casamicciola. The Aurora of July 29, 1883, which we have talked about abundantly on these pages, for sale at 75,000 euros. And, a few steps away, the Fineart by Di Mano in Mano booth brings to AMART several pieces of furniture including a beautiful pair of Chinese artisan wallpapers from the first quarter of the 19th century: the asking price is 12 thousand euros.
Going downstairs, one immediately comes across the booth of the Roman gallery W. Apolloni, which is offering a full-scale exhibition on Francesco Hayez (Venice, 1791 - Milan, 1882), set up in conjunction with the London gallery Laocoon Gallery: among the most interesting works here is a Head cut off of the Count of Carmagnola from 1834, a work of extraordinary dramatic power (wearing the count’s clothes is actually a decapitated brigand, painted from life by Hayez: it sells for 120,000 euros) and The Education of Achilles, an early work from 1813, with forms reminiscent of Canova’s sculpture and the nymph at the bottom anticipating the bathers the Venetian artist would paint later in his career (asking 400,000 euros). Very curious, at Paolo Antonacci’s booth, are the kittens by Eugène Delacroix (Charenton-Saint-Maurice, 1798 - Paris, 1863): his Studies of Cats, in pen and ink on paper, with stamp of the artist’s atelier, are for sale at 12 thousand euros. Lorenza Salamon includes in her proposal some burins by Albrecht Dürer (Nuremberg, 1471 - 1528), one of which was printed when the German artist was still alive: it is Virgin on the grassy shore, from 1503, sold at 24 thousand euros. On the other side of the aisle, the Altomani & Sons booth is among the few that have prices displayed: one thus wanders between a beautiful Madonna and Child on crescent moon by Sassoferrato (Giovanni Battista Salvi; Sassoferrato, 1609 - Rome, 1685), 150 thousand euros, a scenic oil on alabaster depicting theAdoration of the Shepherds, by Antonio Tempesta (Florence, 1555 - Rome, 1630), proposed at 120,000 euros, and two important preparatory sketches by Bernardino Nocchi (Lucca, 1741 - Rome, 1812), two Sibyls for the frescoes in the Sala dei Fasti Prenestini in Palazzo Stoppani Vidoni in Rome, whose drawings are also known and which were recently exhibited at the exhibition on Neoclassicism in Lucca curated by Vittorio Sgarbi (requested 45,000 euros). Prices also displayed at the stands of Romiglioni from Leghorn and Alice Fine Art from Romagna, which neighbor: at Romigioli’s to catch the eye are especially a Capriccio by Francesco Guardi (Venice, 1712 - 1793), oil on paper applied to canvas, offered at 70 thousand euros, and a San Girolamo penitente by Pedro Machuca (Toledo, c. 1488 - Granada, 1550), with a study by Liliana Campos, selling for 110 thousand euros. At Alice Fine Art, a fine ivory high-relief by Dominikus Stainhart (Weilheim, 1655 - Munich, 1712), depicting St. Agnes at the stake, a work from about 1676-1682, listed by Adriano Amendola and Cristiano Giometti, selling for 70 thousand euros, and some interesting panels by anonymous but high-quality artists with prices ranging from 2,600 to 7 thousand euros, are looked at with some insistence.
The young Genovese gallery Goldfinch Fine Arts is making its debut at Amart and is immediately presented with a rarity: a Portrait of a Gentleman by Europa Anguissola, sister of the more famous Sofonisba (a curiosity: on the canvas, Europa signs herself precisely as “sister of Sofonisba,” evidently well aware of her fame), cleaned and restored for the occasion and restored to its original painting. The asking price is 90,000 euros.
Singular, at the Piva & C. stand, is the decorated telescope, in polychrome lacquer on a red background, depicting landscapes and figures within yellow frames: an example of mid-18th-century Venetian artistic craftsmanship, it sells for 14 thousand euros. Not to be missed, also at the Milan gallery’s booth, is a beautiful Madonna and Child by Benvenuto Tisi known as the Garofalo (Ferrara, 1481 - 1559), which was also included in the itinerary of the recent exhibition Il Cinquecento a Ferrara - Mazzolino, Ortolano, Garofalo, Dosso, curated by Vittorio Sgarbi and Michele Danieli (the asking price, given the work’s importance, is 100 thousand euros). Amid so much antiquity there is also a glimpse of the contemporary: is the Giampaolo Abbondio Gallery, which brings some pieces of art from the present: of particular note are the photographs by John Randolph Pepper, including an almost abstract image of the Dasht-e Lut desert in Iran (from 2017, price 5 thousand euros i.e.), and a large oil on canvas, two by two meters, by Maurizio Cannavacciuolo (Naples, 1954), an important work by the Neapolitan painter selling for 16 thousand euros. The special feature? At Abbondio’s booth all the works are in black and white, including Cannavaccuolo’s large canvas.
Moving toward the conclusion of the itinerary, Hartford Fine Art - Lampronti Gallery brings on display a large Canaletto, the most expensive work at the fair (we are in the range of several million euros), which was also present at last year’s edition: The Arrival of French Ambassador Jacques-Vincent Languet, Count of Gergy, at the Doge’s Palace on November 5, 1726 is one of Canaletto’s largest works (six feet high by more than two and a half feet wide). Lower prices, on the other hand, for a St. Francis at Prayer by the late Guido Reni (Bologna, 1575 - 1642), requested 400,000 euros, and for a view by Giovanni Battista Cimaroli (Salò, 1687 - Venice, 1771), depicting the Cannaregio from the Grand Canal (250,000 euros). On the opposite aisle, the Venetian gallery Antichità La Pieve uncovers an unpublished Benedetto Gennari (Cento, 1633 - Bologna, 1715), a Susanna and the Old Men just studied by Massimo Pulini, a great expert on seventeenth-century art: five-figure price to take it home. There is also seventeenth-century art at the booth of the Venetian Santa Tecla srl with a fine Roman Lucrezia by Luca Ferrari known as Luca da Reggio (Reggio Emilia, 1605 - Padua, 1654), reminiscent of the best Guido Reni, and selling for 100,000 euros.
The Society of Fine Arts of Viareggio offers, among several late 19th-early 20th-century paintings, a Gwendolen reading with red shawl, a 1931 work by Llewellyn Lloyd (Livorno, 1879 - 1949), painted when the Welsh-born Tuscan artist was at the height of his career (and he lavishes himself here in a work that blends portrait, in this case of his daughter, and still life: 45 thousand euros is the ask) and a painting of Bambine al mare, a typical theme of the mature Plinio Nomellini , priced at 20 thousand euros. The Turin-based Giamblanco Gallery offers, as usual, a lot of seventeenth-century art: here then is a St. Joseph with Baby Jesus by Giovanni Antonio Galli known as lo Spadarino (Rome, 1585 - 1652), oil on canvas, for sale at 45 thousand euros, and a Memento mori by Salvator Rosa (Naples, 1615 - Rome, 1673), at 40 thousand euros, among other proposals. Closing again for art from the 19th and early 20th centuries with the Livorno-based 800/900 Artstudio , which is offering a thick exhibition all dedicated to Thayaht (Florence, 1893 - Pietrasanta, 1959): already sold one of the most singular pieces, a demonstration of Pythagoras’ theorem, but many of these works ranging between symbolism and futurism are still waiting for a buyer and prices are between 2 and 14 thousand euros. Higher inquiries, on the other hand, for two masterpieces, one by Benvenuto Benvenuti (Livorno, 1881 - 1959), Suese, from 1903, a work that has some exhibition history and represents a pure distillation of the Labronian artist’s textural and luminous pointillism (22 thousand euros), and one by Lorenzo Viani (Viareggio, 1882 - Lido di Ostia, 1936).
AMART 2025 confirms itself, also in this edition, as one of the leading exhibitions on the Italian antiquarian scene, capable of combining rigor, research and an exhibition proposal of the highest level. Along the path of the Permanente, one can perceive the solidity of an event that, although young, has been able to build a recognizable identity and a reference role for collectors, scholars and simple enthusiasts.
The quality of the works, the variety of languages and the presence of historical galleries alongside emerging realities testify to the vitality of a sector that, far from being relegated to the past, finds its driving force in the dialogue between different eras and sensibilities. The fair thus confirms its vocation to be not only an essential appointment in Milan’s cultural calendar, but also a symbol of how tradition can renew itself through quality, expertise and passion.
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