ABU DHABI, United Arab Emirates — The
Louvre Abu Dhabi might seem to have all you could ask for in a world-class
museum. Its acclaimed design shades its galleries under a vast dome that
appears to hover over the waters of the Persian Gulf. Inside are works by
Rembrandt and Vermeer, Monet and van Gogh, Mondrian and Basquiat.
Yet the work that
the Louvre Abu Dhabi once promised would anchor its collection is conspicuously
absent: “Salvator Mundi,” a painting of Jesus Christ attributed to
Leonardo da Vinci.
Few works have
evoked as much intrigue, either in the world of art or among the courts of
Persian Gulf royals. First, its authenticity as the product of Leonardo’s own
hand was the subject of intense debate. Then, in November 2017, it became the
most expensive work ever sold at auction, fetching $450.3
million from an anonymous bidder who turned out to be a close ally
and possible stand-in for the ruler of Saudi Arabia, Crown Prince Mohammed bin
Salman.
Now, the painting
is shrouded in a new mystery: Where in the world is “Salvator Mundi”?
Although the Abu Dhabi culture department announced about a
month after the auction that it had somehow acquired “Salvator
Mundi” for display in the local Louvre, a scheduled unveiling of the painting
last September was canceled without explanation. The culture department is
refusing to answer questions. Staff of the Louvre Abu Dhabi say privately that
they have no knowledge of the painting’s whereabouts.
The Louvre
in Paris, which licenses its name to the Abu Dhabi museum, has not been able to
locate “Salvator Mundi,” either, according to an official familiar with the
museum’s discussions with Abu Dhabi, who declined to be named because of the
confidentiality of the talks.
Officials in the French government,
which owns the Louvre in Paris, are eager to include “Salvator Mundi” in a landmark exhibition this fall to mark the 500th anniversary
of Leonardo’s death and say they are still holding out hope that the painting
might resurface in time. (A representative of the Louvre declined to comment.)
But some Leonardo experts say
they are alarmed by the uncertainty about the painting’s whereabouts and
future, especially after the announcement from Abu Dhabi that the painting
would go on display to the public.
“It is tragic,” said Dianne
Modestini, a professor at New York University’s Institute of Fine Arts and a
conservator who has worked on “Salvator Mundi.” “To deprive the art lovers and
many others who were moved by this picture — a masterpiece of such rarity — is
deeply unfair.”
Martin Kemp, an Oxford art historian who
has studied the painting, described it as “a kind of religious version of the
‘Mona Lisa’” and Leonardo’s “strongest statement of the elusiveness of the
divine.”
“I don’t know
where it is, either,” he added.
Noting that it
was never clear how Abu Dhabi might have acquired the painting from the Saudis
in the first place — whether by a gift, loan or private sale — some have
speculated that Crown Prince Mohammed might simply have decided to keep it. The
Saudi embassy in Washington declined to comment.
The 33-year-old crown prince may not be the painting’s first
royal owner. Believed to have been painted around 1500, “Salvator Mundi” was
one of two similar works listed in an inventory of the collection of King
Charles I of England after his execution in 1649, Professor Kemp said. But the
painting disappeared from the historical record in the late 18th century.
The painting sold at the record auction
later turned up in the collection of a 19th-century British industrialist. It
had been so heavily painted over that “it looked like a drug-crazed hippie,”
Professor Kemp said, and it was attributed at the time to one of Leonardo’s
followers. In 1958, it was sold out of that collection for the equivalent of
$1,350 in today’s dollars.
The claim that the painting was the work of Leonardo himself
originated after a pair of dealers spotted it at an auction in New Orleans in
2005 and brought it to Professor Modestini of N.Y.U.
She stripped away overpainting, repaired
damage made by a split in the wood panel, and restored details. Among other
things, one of Jesus’s hands appeared to have two thumbs, possibly because the
artist changed his mind about where the thumb should be and painted over the
original thumb. It had been exposed by scraping later on, and Professor
Modestini covered the thumb she believed Leonardo did not want.
Its new attribution to
Leonardo won the painting a spot in a retrospective of his work at the National
Gallery in London in 2011. Two years later, a Russian billionaire, Dmitry E.
Rybolovlev, bought it for $127.5 million — less than a third of what he sold it
for in 2017, when it was auctioned in New York by Christie’s.
Now the Louvre Abu Dhabi’s
failure to exhibit “Salvator Mundi” as promised has revived doubts about whether it is Leonardo’s at all,
with skeptics speculating that the new owner may fear public scrutiny.
An expert on Leonardo’s
paintings, Jacques Franck, sent letters to the office of the French president,
Emmanuel Macron, raising doubts about the attribution. Mr. Macron’s chief of
staff, François-Xavier Lauch, wrote back that the president “was very attentive
to the preoccupations.” Others have argued that the painting was so
extensively restored by Professor Modestini that it is as much her work as
Leonardo’s.
“Nonsense,” she said in an interview,
calling these “ridiculous claims.”
Auction house
contracts typically include a five-year authenticity warranty. But the
extensive public documentation and debate before the 2017 sale would make it
difficult for the buyer to recover the payment by challenging the attribution
to Leonardo.
The anonymous
buyer at the auction in New York, Prince Bader bin Abdullah bin Mohammed bin
Farhan al-Saud, was a little known member of a distant branch of the Saudi
royal family with no publicly known source of great wealth or history as a
major art collector. But he was a close friend and confidant of Crown Prince
Mohammed. A few months after the auction, the royal court named Prince Bader as
the kingdom’s first-ever minister of culture.
Christie’s
initially sought to guard Prince Bader’s identity so closely during the bidding
that it created a special account number for him that was known only to a handful
of the house’s executives. But contracts and correspondence obtained by The New
York Times showed Prince Bader to be the anonymous buyer.
American
officials familiar with the arrangement later said that Prince Bader was in
fact acting as a surrogate for Crown Prince Mohammed
himself, the true purchaser of “Salvator Mundi.”
Prince Mohammed’s aggression and impulsiveness have recently
come under new scrutiny in the West after American intelligence agencies
concluded that he ordered the killing last fall of the dissident Jamal
Khashoggi, a Washington Post columnist who was ambushed and dismembered by
Saudi agents in a consulate in Istanbul. But by the time of auction, the prince
had already shown a taste for pricey trophies, paying
$500 million for a yacht and $300 million for a
chateau in France.