His gallery, in via Bagutta, inherited from his father and which he has personally managed since 1986, is a sort of enchanted treasure chest that opens as soon as you cross the threshold. The first thing that strikes you is the patina of an old floor that makes us think of that of an Austrian castle. Few works exhibited in a soft half-light but all important, portraits of noble characters and still lifes with flowers like fragments of time that belong to everyday life. But it is the sense of admiration for his father Alessandro, which introduces us to this world of antiques. Carlo remembers his father's qualities with emotion, the care of the things he did, but above all he remembers the taste and style that surrounded him. That "feeling" that not only still survives in this magical place, but continues in the elegant grace of the son.
I travel a lot, but always. Society has changed radically, people, lifestyle and tastes; the information that reaches us is different and we need to know how to make a synthesis, steal the information and present ourselves to the customer in an exclusive way. New York is also a showcase where one can understand in which direction this company is going.
In addition to travelling, besides Milan, you also have a gallery in London, a personal choice or a need?
Once it was the customer who called you and asked for "news" but it's been years since I've heard a person address this way. In Italy everything has become very difficult, starting with all those bureaucratic obstacles that prevent, almost surreal, from carrying out this type of activity. Too much rigidity – I would say almost anachronistic – on the issue of protecting or exporting works of art; correct for many things but it cannot be applied as a principle to every type of company. Too often we find ourselves faced with an impasse without understanding why. We have to think that the market is worldwide and London is the destination of many lovers of antiques and art in general, a city that is even more popular for fairs or special events, that's why you have to be there.
It has been talked about for some time that antiques no longer fall within the taste of this society, but then what is today's clientele?
Definitely "Senior" and "niche", but we are beginning to register a certain curiosity also on the part of young people, perhaps still in a veiled form, but the interest is there. I see the sector growing and I interpret this in a positive way. Then we must not forget that we have more and more new collectors outside Italy, I am referring to Europeans, Americans and Chinese who are looking for exclusive works capable of arousing emotions, and ancient works are particularly steeped in charm and history. However, the new generations have a different approach but do not exclude antique objects, rather they are looking for very recognizable works: this does not mean that they must be exclusively rare, but unique in their kind in the production of an artist. A piece capable of living alone in any space.
So how has the work of the antiquarian changed?
Work today requires much more attention than in the past, but constant deepening is important... and then you have to raise awareness of what you have, carefully research the works to offer, but above all present them and offer them in an exclusive way. In this way you raise awareness, but above all you help the customer not to make mistakes among the many things that are offered to him; in short, he will then know how to choose with greater conviction.
What is the best memory of your activity?
It was during a trip to Argentina that, on my way to Buenos Aires, I found an extraordinarily refined wooden inlay painting in the house of a Pole who had fled the war. I discovered that it was a gift from Ferdinand of Austria to Prince Poniatowski, on the occasion of a visit to his picture gallery in Warsaw. The work, given the meaning it was supposed to represent, had been commissioned to the well-known Lombard cabinetmaker and inlayer Giuseppe Maggiolini; la what struck me a lot because I had just bought a similar object and more than a coincidence it seemed to me a sign of destiny.
Finally, given that nothing is created, nothing is destroyed, everything is transformed, what is your advice to young people who want to approach the world of antiques?
See as many works as possible, investigate with great care and once you have acquired a good knowledge of what you want, get advice from a professional.
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