Leonardo Salvator Mundi and The Collecting of Leonardo in the Stuart Courts 1st Edition by Martin Kemp, Robert Simon, Margaret Dalivalle ISBN 9780192543295 0192543296

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ISBN 10: 0192543296

ISBN 13: 9780192543295

Author: Martin Kemp, Robert B. Simon, Margaret Dalivalle

The Salvator Mundi is the first Leonardo painting to be discovered for over a century. Following its re-emergence, it played a leading role in the landmark Leonardo exhibition at the National Gallery in London in 2011, after which it was purchased by a Russian oligarch. In 2017 it was auctioned by Christie’s in New York, fetching the world record price of $450m, and now forms part of the collection of Louvre Abu Dhabi. The Salvator Mundi may be seen as the devotional counterpart to the Mona Lisa, having an extraordinary, communicative presence. The artist has reformed the very traditional subject matter in a number of ways. The elusiveness of Christ’s expression suggests his spiritual origins beyond the world of the senses. The traditional sphere of the earth has been transformed into a rock-crystal orb and signifies a crystalline sphere of the heavens. In addition to its spiritual dimension, the image exploits Leonardo’s optical knowledge and his growing sense of the illusiveness of seeing. Only the blessing hand is in reasonably sharp focus, with his features softly veiled. The scintillating curls of his hair are characterised in line with his theory that the physics of the curling of hair is analogous to vortex motion in water. This book looks at evidence of Leonardo’s Salvator Mundi in the collections of Charles I and Charles II. It explores the appraisal of works by Leonardo at the Stuart courts, and proposes that how works attributed to Leonardo were first encountered and understood in seventeenth-century Britain would shape the wider evolution of Leonardo as a cultural icon. This volume gives a dramatic first-hand account of the modern-day discovery of the painting, from its purchase in a minor New Orleans auction house, to the cleaning of the picture that would disclose it as Leonardo’s startling original, and the research processes that would uncover illustrious and obscure former owners. The book presents the definitive study of the new masterpiece.

 

Leonardo’s Salvator Mundi and The Collecting of Leonardo in the Stuart Courts 1st Edition Table of contents: 

Introduction

Part I: Robert B. Simon

1. The Discovery of a Masterpiece

First Sighting

Acquisition

Visiting A Dear Friend

Treatment in Earnest

Twentieth Century History

The Game’s Afoot

E Pluribus Unum

Sharing the News

Museum Visits

The Phoney War

Revelation

Part II: Martin Kemp

2. The Calm Centre: Leonardo And The Ineffable

3. ‘Christ in the Manner of God the Father’: The Subject Matter

4. Drawings and Dates

5. Visual Magic

Yokes and Knots

Crystals and Optics

Depth of Field?

Motions of the Soul

6. Patronage, Some Copies, and Other Versions

Copies

Part III: Collecting Leonardo At the Stuart Courts: Margaret Dalivalle

7. ‘A Peece of Christ done by Leonardo’ and ‘A lords figure. in halfe.’: Plotting the Paper Trail

A World of Rare Paintings

Plotting the Paper Trail

Backdrop

Prime Mover

The ‘Stone Painting’ and the ‘Bass Painting’

8. Inventing Leonardo

#universalgenius

Passing the Baton

Persons of Interest

Englishing Lomazzo

‘The Skillful pen of George Vasarie’

Translations and Transmission

‘Ex collectione Arundelliana’

‘Things elaborated’

9. Experiencing Leonardo

The Prince of Wales and Juan de Espina

‘Labella Jucunda’: The Duke of Buckingham’s Mona Lisa

‘Piacquero straordinariamente alla Regina quello del Vinci’: Henrietta Maria and ‘Ginevra de’ Benci’

Eleven Paintings

Van der Doort and Leonardo

A Parisian Network

The Liancourt Collection

‘Said to be of Leonard de Vincia: or out of his Scoule’

‘A Mantua peece done by Lowino’

10. Appraising Leonardo

Eleven Paintings: A Roll Call

The Queen’s Closet

The ‘closet ajoyning’

Analogous Display? Greenwich Palace and Ham House

Accession

‘Christ à demy corps’: A Salvator Mundi by Leonardo in the French Royal Collection?

Mirrored Collections: London and Paris

Hamilton’s Salvator

11. ‘A Pitiable Sight’

Invisible Things

Preserved from Puritans, 1641–9

A World of Rare Paintings

Perruchot and the King’s Leonardos

12. After the Original: Hollar and Leonardo’s Salvator

Consonances and Dissonances

Ganay

Condition and Congruence

Proximity

Hollar: Dealer at the Commonwealth Sale?

Weighing the Evidence

13. ‘Capitanus Stone’

The Rifled Crown

John Stone

14. ‘Nothing is hidden under the sun’

Repo Man

Paintings by Leonardo, Luini, and the School in Chiffinch c. 1660–2 and Chiffinch c. 1662–6.

Restoration Man

The Invisible College and the King’s Cabinet

15. The Picture Vanishes

Third Party, Fire, or Theft?

Buckingham House: A Mortgage, an Auction, and the Salvator Mundi.

Epilogue: Martin Kemp

Appendix: Inventory of goods disbursed to John Stone and the Sixth Dividend of Crown Creditors, 1651–3

Disbursed on 23 October 1651

Disbursed on 2 August 1653

Notes

Introduction

Epilogue

Appendix

Bibliography

Index

Picture Credits

Plates

 

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