The sales new‑season for the Old Masters market in London, hosted by Christie’s and Sotheby’s in the early days of July 2025, confirm a vital and rapidly expanding sector.
A younger—and often international—pool of collectors shows growing interest towards the Old Masters, buying with passion and ease across different artistic categories.
Christie’s Evening Sale: investment channel and powerful performance
At the Christie’s Old Masters Evening Sale, held on July 1, 2025, the event totaled approximately £60.8 million, surpassing the catalog estimates (a not insignificant £40 million). Two records were noteworthy:
- Sell-through rate by value: extraordinary 99%, the highest in the history of the auction house for this category
- Sold by lot: 87%, the best since 2012
The painting by Canaletto, Venice, The Return of the Bucintoro on Ascension Day (circa 1732), estimated at over £20 million and guaranteed, stood out by achieving £31.9 million, surpassing the previous record of £18.6 million (2005). This masterpiece alone represented more than half of the auction total, demonstrating the power of small investments in excellent pieces.
Among the other noteworthy results, the market for still lifes also stood out:
- The painting by Jan Davidsz. de Heem reached £3.7 million
- A portrait attributed to Tiziano has exceeded £3.4 million
Sotheby’s Evening Auction: rediscoveries and new faces on the rise
On July 2, 2025, Sotheby’s concluded the Old Master and 19th Century Paintings Evening Auction, generating a total of £14.5 million, remaining within the estimates (between £11.5 and £17.8 million).
The most significant work was a youthful painting by J.M.W. Turner, titled The Rising Squall, Hot Wells, from St Vincent’s Rock, Bristol (1792). After a battle between four bidders, the work was sold for £1.9 million—well seven times over the estimate and much more than the few hundred pounds previously paid.
New records for baroque artists: Diana de Rosa in the spotlight
Sotheby’s has recorded significant performances even in the segment of female artists, with 81% sold. Three works have set new auction records:
- Saint Quirinus of Neuss, Lorenzo di Credi – £2.7 million.
- Portrait of a merchant, Corneille de Lyon – £863,600.
- Salomè with the head of St. John the Baptist, by Diana de Rosa – £317,500
For Diana de Rosa (Napoli, 1602‑1643)—also known as Annella di Massimo—this lot marks the new record. Up to today, there are about 28 works attributed to her, and this sale strengthens her visibility in the international market.
On the occasion of the same auction, a work by Artemisia Gentileschi, David with the Head of Goliath (circa 1638), reached £2 million, confirming the interest in baroque female painters
Market trend: strategy, new generations, and emerging segments
The auction houses have long been targeting a wide pool of buyers: younger and cross-category collectors, with a special focus on Asia and America. This multi-generational and trans-regional approach is reinvigorating the Old Masters market.
The key factors:
- Rare and guaranteed works – to reduce the perceived risk.
- Engaging stories – the stories behind the paintings catalyze further offers.
- Discovery of overlooked names, especially female ones, like Diana de Rosa, which expand the repertoire and shift media and collector interest.
- Stricter European regulations, especially to protect cultural assets, but without stopping the flow of sales
The Old Masters market is very stable
In summary, the London auctions of July 2025 characterized by:
- Significant totals: £60.8M (Christie’s) and £14.5M (Sotheby’s).
- Number one: Canaletto with £31.9M.
- Growing interest in artiste barocche, driven by records such as £317,500 for de Rosa.
It is not just a matter of economic values, but of redefining the taste of collecting: opening up to new eras, stories, and female figures. Looking ahead, it is evident that the Old Masters market will continue to benefit from strategies of democratization, standards of authenticity and guarantees, and a growing desire for diversification, interculturality, and breaking traditional artistic categories. It will be interesting to see how collectors will behave in the fall, especially in light of the upcoming EU regulations and the continuous expansion of the Asian market.
As expert in digital marketing, Amelia began working in the fintech sector in 2014 after writing her thesis on Bitcoin technology. Previously author for several international crypto-related magazines and CMO at Eidoo. She is now the co-founder and editor-in-chief of The Cryptonomist and Econique.
She is also a marketing teacher at Digital Coach in Milan and she published a book about NFTs for the Italian publishing house Mondadori, while she is also helping artists and company to entering in the sector. As advisor, Amelia is also involved in metaverse-related project such as The Nemesis and OVER.
