Da Vinci’s Salvator Mundi to be Auctioned at Christie’s

“What is known for certain is that it belonged to King Charles I (1600-1649), where it is recorded in the inventory of the royal collection drawn up a year after his execution.”

Considered the most-important art-find of the last century, Salvator Mundi, will be auctioned at Christie’s this November.  It is only one of twenty to be attributed to the hand of the great master himself.  This is cooler than the Da Vinci Code.

4 thoughts on “Da Vinci’s Salvator Mundi to be Auctioned at Christie’s”

    1. It is our pleasure. Thank you for joining us in our wonderment! Conservators have remarked how above the right eye of Christ you can see the imprint of the ball of Da Vinci’s hand where he used it to soften the paint. Still, the fact that it exists at all is, possibly, miraculous. When it was rediscovered in 2005, it was split into two pieces, had been painted over many times, and attempts to repair it had been made with plaster and duct tape and even through all of that they immediately knew that it was genuine. They called it the devotional Mona Lisa, and unfortunately, it ended up in the private collection of a Russian oligarch for the tidy sum of $127 million dollars and there it stayed. It is he who is selling it so we can all hope that whoever ends up as the highest-bidder will share it for the betterment of all mankind. Maybe we can get a GoFundMe started!

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      1. I must say your knowledge is more than impressive, I suppose the price will go up to $ 200 million and I am sure that the owner will be private as in such cases they almost never reveal the real name of the owner (it could be the Chinease AC Milan owner family for example or it could reach Leonardo Di Caprio hands who is known for his large collection of world’s masterpieces) – I agree with you, most important is that it will reach ‘good and caring hands’ as there will never be a second Da Vinci born on this planet who will posess such genious to create the breathtaking artworks of such incrdible artistic acumen. Talking about VERY intriguing facts from the world of Art – have you heard of ‘The Next Rembrandt’? Since I am a lover of “Golden Age” which I devoted my studies to – this is absolutely thrilling http://www.npr.org/sections/alltechconsidered/2016/04/06/473265273/a-new-rembrandt-from-the-frontiers-of-ai-and-not-the-artists-atelier, have a great day ahead, Anna

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        1. Thank you, but our knowledge of art history could fill a thimble compared to scholars such as yourself. It will be interesting to track the destiny of ‘Mundi’. Whether footballers, Emirates or luxe casino owners, we must admit that there is a certain appeal to the prospect of it landing in the hands of Mr. Di Caprio! Maybe he will become a substantial benefactor the likes of a Getty or a Rockefeller as opposed to just the handsome fella that played Gilbert Grape and the Wolf of Wall Street. While far from experts in your subject matter, speaking as a technical professional, we can immediately spot the importance contained in the link you graciously shared to the NPR piece on the ‘The Next Rembrandt’. It may also highlight one of many dangers inherent to the promise of AI and it brings us to a question for you and the art world at large to consider. Would resources working in the application of next-generation technologies to the world of fine art not be better allocated towards the identification and preservation of existing works, or possibly the recreation of pieces the world has lost such as those in the infamous Gardner Heist, then they are towards the production of renderings which in the wrong hands could be used to fool or otherwise mislead an unwitting public? Predictive modeling and neural network technologies are data-driven by nature and even Mr. Korsten himself appears ill-prepared for the ethical implications of his research in stating that while the painting isn’t currently good enough to ‘fool’ art experts but ‘every extra month would have (made) a better painting’. It is said that 95% of the world’s data was gathered in the last two years, so isn’t what Mr. Korsten saying that given enough time to compile data that describes existing works of art, with the associated advancements in computing technology, his work would be capable of producing a painting that would be good enough to pass as one from the hand of the master himself? Could it not be licensed to create a work of art that so captures the essences and technique that it could, in fact, be ‘more Rembrandt than Rembrandt’? It would be naive to doubt that it could be used for forgery so it leaves us wondering if Mr. Korsten became so enamored in whether or not his technology ‘could’ give birth to an ersatz masterwork that perhaps not enough time was spent on considering ‘why’ he was doing it at all. We are glad that we have time to ask ourselves questions of this nature now and thank you for providing such nutritious food for thought. Mr. Korsten’s work is undoubtedly a great leap forward and such debate over AI and the responsibilities that accompany creation, although stretching back as far as Descartes, Shakespeare, the Bible and so on, is likely still only at its beginning! … Maybe we can set him to work on sorting out that heist up in Boston!

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