Italian auctions in the first half of 2026: brisk but selective trading

This resurgence of the antique mirrors the slowdown in the design sector. Capitolium Art has acknowledged that the decline in turnover has been entirely concentrated in this sector, which is suffering from a natural period of adjustment following years of speculative excesses that have led to a decline in the quality of the products on offer. Although Wannenes still regards design as a ‘driving force’ (with a turnover of over 3.5 million), and Cambi lists it amongst the growth drivers, the general trend is towards rigorous selection, with auctions offering fewer lots but of a higher average quality. According to Bertolami, the antique furniture market is struggling, but courtly pieces and those of noble provenance still manage to generate interesting bidding wars.

As far as jewellery and watches are concerned, the trend is positive at almost all auction houses. Il Ponte achieved a combined turnover of over €5.6 million across these two sectors, whilst Bertolami, Farsettiarte and Colasanti are recording steady growth, with Bertolami emphasising that the sector is “still growing despite the fall in the price of precious metals”. Meeting Art, whilst acknowledging the bursting of the speculative bubble in the watch market, speaks of a “new phase for the market, one that is somewhat more stable and rational”.

Among the emerging sectors, the world of video games and pop culture is taking its first steps. Meeting Art made its debut with auction no. 3089, the first in Europe dedicated exclusively to video games, which saw 100 per cent of lots sold. Bertolami is also set to explore this world, with the launch of a new department dedicated to ‘Collectable Games’ (video games, Lego, Pokémon). Added to these is the Luxury Vintage department, which for Wannenes was the real ‘standout success’ of the half-year, with turnover almost doubling (+98%) to exceed 300,000 euros, and the Memorabilia and Militaria categories, which Bertolami intends to develop under the leadership of its new managers, Leandro Vanni and Danilo D’Alfonso.

As regards artists and movements, the past six months have confirmed the continued interest in the great, historically established masters. In Futurism, Balla, Severini and Depero stand out, along with, as a new development, the ‘second Futurist’ Nicolaj Diulgheroff, whose world record at Capitolium Art (€75,600, triple the estimate) marks an unexpected turnaround for artists active after the First World War. Amongst early 20th-century artists, de Chirico, Morandi (top lot at Farsetti for 1.7 million), Carrà, De Pisis and the eclectic Ligabue are performing strongly. For the post-World War II period, Studio d’Arte Martini reports growing demand for Carla Accardi, Mario Schifano, Franco Angeli, Giulio Turcato, Giuseppe Capogrossi and Mario Ceroli, whilst Meeting Art adds Valerio Adami, Enrico Baj, Piero Dorazio and Alberto Biasi. Among international artists, Albers (Il Ponte’s top lot at 384,000 euros), Hartung and Andy Warhol stand out. For the 19th century, Il Ponte celebrated record prices for Giuseppe Biasi da Teulada and Giovanni Battista Galizzi, whilst in the Old Masters section the most sought-after names are the Caravaggisti (Bernardo Cavallino, Battistello Caracciolo, Mattia Preti, Ribera) and early female painters such as Rosalba Carriera, whose work was fiercely contested at record prices by Bertolami. Wannenes, on the other hand, reports a sharp decline in ultra-contemporary art and ‘trendy’ artists, considered too risky, whilst Pananti records a downturn in 19th- and early 20th-century art, bucking the trend observed by Il Ponte.

The outlook for the second half of 2026 is generally positive, but characterised by a degree of caution that reflects the uncertainties of the international geopolitical and economic landscape. Most auction houses are looking ahead with confidence, convinced that the market will continue to reward quality, solid provenance and consistent estimates. “Our aim will be to further consolidate our international presence and continue to highlight the importance of Italian art in the global collecting dialogue,” said Claudia Dwek of Sotheby’s. Cambi and Pandolfini aim to build on their results, with Pandolfini announcing that the star of its autumn auctions will be a major work by Lucio Fontana – a white watercolour on canvas featuring four slashes – which is returning to the market after forty years.

Farsettiarte and Colasanti speak of a stable market, focused on quality and curation, whilst Blindarte anticipates growth for established artists and stabilisation for emerging ones, with a particular focus on Italian artists, who are increasingly valued abroad. Meeting Art is gearing up for a major event: its 1,000th auction in October, featuring masterpieces of modern and contemporary art – including previously unseen works – which has already generated international buzz and requests for organised tours. Wannenes, for its part, aims to exceed its 2025 turnover by focusing on Luxury Vintage, with the goal of achieving an annual turnover of 1–1.5 million euros.

Il Ponte aims to consolidate its position through its integration into the Millon Auction Group, which achieved an aggregate turnover of 96.3 million in the first six months of the year (+36.4 per cent). Rossella Novarini, managing director, emphasised the importance of synergy between Italian and French experts and investment in infrastructure and services to expand the range of services on offer and enhance the quality of expertise. Bertolami is also expanding internationally, with the official launch of wine and spirits auctions in a joint venture with G&R Wine Auction Hong Kong, and has announced the opening of new departments such as Modern Collectables and Collectable Games.

There is no shortage of words of caution. Studio d’Arte Martini points out that geopolitical tensions, changes in monetary policy and volatility in the financial markets could influence investor behaviour, but confirms the strength of the market for high-quality artworks. Some auction houses, such as Pananti, are announcing a decisive strategy to boost online sales and communication in order to expand their international presence, whilst Wannenes aims to emphasise the human element, attract new talent and strengthen its relationship with a younger clientele. Against this backdrop, internationalisation and digitalisation remain the key strategic drivers for growth in a market which, as summarised by Capitolium Art, is emerging from the crisis by selecting only those works best suited to meeting the needs of a global, cultured and increasingly well-informed collecting community.