Dallas Museum contemplates spending $200 Million for Leonardo da Vinci painting – UPDATE: No Deal!
UPDATE: December 18: No Deal! According to ArtFix Daily, the consortium of arts dealers who own a newly discovered painting by Leonardo da Vinci have turned down an offer from the Dallas Museum of Art following weeks of negotiation.
ORIGINAL POST: Art in America reports the Dallas Museum of Art is closely examining a painting recently attributed to Leonardo da Vinci with an eye towards acquiring the work – for $200 million! As mentioned in an earlier post, this newly authenticated painting appeared in the National Gallery exhibition Leonardo da Vinci – Painter at the Court of Milan in London. From AiA‘s report:
A painting recently re-attributed to Leonardo da Vinci that once brought £45 at auction and now said to be priced around $200 million may soon find a new home at the Dallas Museum of Art.
The painting on wood panel, Christ as Salvator Mundi, circa 1499, was included in the wildly popular 2011 exhibition “Leonardo da Vinci: Painter at the Court of Milan” at London’s National Gallery. It is now in the hands of a group of unidentified dealers.
Jill Bernstein, the museum’s chief communications officer, confirmed to A.i.A., “We have brought Leonardo da Vinci’s recently re-discovered masterpiece Salvator Mundi (Savior of the World) to the DMA. We are actively exploring the possibility of acquiring it.” Measuring about 26 by 18 inches, the painting shows Christ holding a glass orb in his left hand, with his right hand raised in benediction.
In dollar amounts, the acquisition would far outstrip recent high-profile museum purchases of old masters, including the 2009 purchase by the Kimbell Art Museum, in Fort Worth, of Michelangelo’s painting The Torment of Saint Anthony (ca. 1487-88). Contested but thought to be among the master’s earliest works, it is said to have been purchased for over $6 million, according to the New York Times.
“Those acquisitions are quite different, though,” New York old master dealer Richard Feigen told A.i.A. “The Duccio was in fine condition and probably the last remaining work by the artist in private hands. I had no problem with [the Met] paying that much for that picture. They had to buy it.
For his part, Feigen, who saw Leonardo’s Salvator Mundi in London, does not find it to be as commanding a work, and observes that it would be a lonely old master in a European paintings department in Dallas with strengths in the 18th through the 20th centuries.
“To me it is not a gripping masterpiece,” he says. “For me Dallas would make a more serious splash by going after several lesser priced paintings in very fine condition. It would be cause for chatter in the museum world if Dallas bought eight or 10 really serious old master paintings, a field where they had not previously ventured.”
Salvator Mundi has been “very considerably overpainted,” according to the catalogue from the National Gallery’s exhibition, and subsequently “aggressively over-cleaned,” in addition to, at some point, suffering a split in the wood panel, resulting in some paint losses.
These condition issues, along with the high price, may be the reason the sellers have found no takers after offering the painting to other museums, which three sources who spoke to A.i.A. said it had been. The price and condition are also said to have led to considerable debate among those connected to the Dallas Museum.
Christ as Salvator Mundi has had a long, tough road. By the 17th century, the work was in the collection of Charles I of England. The Duke of Buckingham took possession of the painting in 1688; his descendants sold it in 1763, after which its whereabouts are unknown until 1900, when it was purchased by collector Sir Francis Cook and attributed to Bernardino Luini. The picture was sold at Sotheby’s in 1958 for £45 (about $90 today) to a buyer named Kuntz. It then passed from him to an American family, who sold it in 2005 to its current owners.