Sgarbi and the €5.5M Painting: Export Dispute & Authenticity Claims

Rome, Italy – A complex legal and art world dispute is unfolding in Italy concerning a painting attributed to Valentin de Boulogne, a French Caravaggist. The artwork, titled Concerto con bevitore (Concert with a drinker), is potentially worth €5.5 million, but its provenance and export have come under scrutiny by Italian authorities.

Vittorio Sgarbi, a former Undersecretary of Culture and current candidate for the European Parliament with the Brothers of Italy party, dismissed the concerns as “pathetic,” claiming he is the target of a long-running campaign of harassment. He asserted that the painting’s canvas being from the 17th century does not guarantee the authenticity of the artwork itself, noting that many paintings are created on recycled canvases. Sgarbi maintains he is being unfairly targeted and that the current investigation will ultimately prove fruitless.

According to reports from Il Fatto Quotidiano and Report, the Imperia prosecutor’s office alleges that the painting was illicitly exported to the Principality of Monaco in 2020. Those implicated in the alleged illegal export include Sgarbi himself, considered the true owner of the painting according to the investigation, his girlfriend Sabrina Colle, and art dealer Gianni Filippini. Colle reportedly confided in a WhatsApp message that “we hope to sell the painting, otherwise we are ruined.”

The investigation has now concluded, and a key piece of evidence is a radiograph included in a technical report from the Central Institute for Restoration. This radiograph reportedly suggests the painting dates back to the 17th century and could potentially be the long-lost original. Sgarbi, however, downplayed the significance of the radiograph, arguing that This proves insufficient proof of authenticity and comparing it unfavorably to expert art evaluation.

Sgarbi claims he did not purchase the painting directly, stating that a long-time friend acquired it for €10,000. He further explained that illegal export regulations in Italy apply only to artworks valued above €13,500. He alleges he was asked to provide an expert appraisal but only submitted a technical note through his secretariat, and that the painting was ultimately not sold, questioning the basis of the investigation. He similarly pointed to a similar painting sold at auction by Wannenes for €3,500, suggesting the artwork in question is a copy.

The case highlights the challenges of verifying the authenticity and provenance of artworks, particularly those from the Baroque period. The involvement of a prominent political figure like Sgarbi adds another layer of complexity to the situation, raising questions about potential conflicts of interest and the handling of cultural heritage. The outcome of this investigation could have significant implications for the art market and the protection of Italy’s artistic legacy.

The investigation centers on whether proper procedures were followed regarding the export of a potentially significant artwork. Italian law regulates the export of culturally important items to prevent the loss of national heritage. The prosecutor’s office will likely focus on establishing whether the painting was correctly declared and whether all necessary permissions were obtained before its attempted removal from Italy.

The radiograph’s findings, if confirmed by further expert analysis, could be crucial in determining the painting’s authenticity and value. However, as Sgarbi points out, technical analysis alone is often insufficient. A comprehensive assessment would require the input of art historians specializing in Valentin de Boulogne and his contemporaries.

The case also underscores the risks associated with the international art trade, where illicit trafficking and fraudulent activities are common. The involvement of multiple individuals, including an art dealer and a politician’s girlfriend, suggests a potentially coordinated effort to circumvent Italian export regulations.