The results achieved by the auction of 19th-century paintings held by Finarte in Venice were not totally satisfying. The sales totalled 530,286 euros (including auction rights), but of the 200 lots presented only 62 were acquired during the evening.
The top lot was the painting by Edoardo Dal Bono, which exceeded every expectation and sold for 96,720 euros (estimate 75,000 – 30,000 euros). One of most relevant hammer prices was achieved by “La Chambre à Coucher” by Federico Zandomeneghi, sold for 43,400 euros (estimate 40,000 – 45,000 euros). But in particular, positive surprises for Vincenzo Irolli: “Tra le Braccia della Mamma” achieved 53,320 euros (estimate 25,000 – 30,000 euros)  and “La Popolana” sold for 42,160 euros (estimate 35,000 – 40,000 euros). A good price was realized also by Angelo Dall’Oca Bianca with the work “Anime assolte”, sold for 32,860 euros (estimate 10,000 – 14,000 euros).
Therefore, important results were achieved but the fact that some of the most significant pieces auctioned were not sold should make us reflect.
“Venezia, Punta della Dogana” by Giovanni Boldini, with an estimate of 150,000 – 180,000 euros, was the work presented at auction with the highest valuation, but it was not sold. On the other hand, for the artist some important results have been achieved in Europe in the last months, such as the sale at the Dorotheum in Vienna of “Ritratto dell’attrice Alice Regnault” sold for 398,300 euros. But his works are sought after even across the ocean. Indeed, last October Sotheby’s New York sold “Confidences” for about 297,000 euros. With regard to Italy, his “Ritratto di Lady Michelham” even doubled its estimates last December in Milan for 222,000 euros. Even in this case it was not an Italian auction house to realize the sale but Sotheby’s again, which always attracts the most important Italian and foreign collectors.
Of the important pieces that did not find a buyer, two by Inganni particularly stand out. Despite the success met by his other two works, “Danza Indiana” (estimate 35,000 – 40,000 euros) and “In Giardino” (80,000 – 90,000 euros) were left in the saleroom. Not less relevant was the missed sale of “Dama con Tamburello” by Cesare Augusto Detti, estimated at 80,000 – 90,000 euros, or  “Pastorella” by Pietro Barucci, which was written down in the catalogue for 30,000 – 40,000 euros.
The situation does not improve if we look at medium-category works: of the canvases with a valuation included between 10,000 and 20,000 euros, eight were not sold.
The average price of the items bought was 8,553 euros.
Therefore, should we think that the Italian market is not aware of the most valuable pieces? If even the works presented at auction by one of the most important Italian houses have difficulty in finding buyers, perhaps our market is lacking in qualified buyers.
Of course, it is true that we are experiencing a period of generalized financial difficulties and that often the sectors to suffer first are the ones that deal with less necessary goods, as certainly the art sector does. On the other hand,  it is also true that the crisis has affected particularly the medium class, which does not buy works of relevant value but rather small objects worth a few thousand euros.
Then which could be the explanation of such disheartening performances?
Our auction system certainly has to find the strength to renew itself and become more dynamic. For instance, the comparison with our French neighbours sees the presence of a lot more auction houses than us, but mainly of aggregation bodies, with very important functions for both operators and clients. On the one hand, there is the informative advantage of being able to refer to a single operator to obtain information (with a proportional increase in the possibilities of taking part in the auction) and on the other hand, there is the advantage of a body with strong institutional value that acts as a mediator with institutions.
A problem that is not irrelevant for a country like ours that has not been able to adapt regulations to market evolution, creating a great disadvantage for the sector. Perhaps also for this reason Italy is struggling to confront the international market, losing many chances to propose efficiently the most important works. And also risking missing out on many commissions if it is true that in the circle of big numbers, Christie’s and Sotheby’s prefer to sell the most important Italian pieces in London or New York. 

(translated by Giorgina Arcuri)