The Last Leonardo: The Secret Lives of the World's Most Expensive Painting

by Ben Lewis

An epic quest exposes hidden truths about Leonardo da Vinci's Salvator Mundi, the recently discovered masterpiece that sold for $450 million—and might not be the real thing.

For two centuries, art dealers and historians searched in vain for the Holy Grail of art history: a portrait of Christ as the Salvator Mundi ("Savior of the World") by Leonardo da Vinci. At last, in 2005 a compelling candidate was discovered by a small-time Old Masters dealer at a second-rate auction house in New Orleans. After a six-year restoration, an exhibition at the National Gallery in London, and the help of canny Swiss art dealer Yves Bouvier, the painting was sold to the news-making Russian oligarch Dmitry Rybolovlev. After the very-public fallout between Rybolovlev and Bouvier, the painting went on to make headlines again in 2017 as the most expensive painting ever sold when a proxy of Saudi Crown Prince Mohammed bin Salman won the masterwork at a Christie's auction for $450 million.

But controversy still surrounds the artwork: Did the auction house—and the art dealers, curators, and art historians behind this find—actually have the right painting, or is there another? Did Leonardo even paint a Salvator Mundi? Some scholars argue he was only occasionally painting at the time the work is dated. Was the painting restored to such an extent that it became a Leonardo, though it was in fact the work of his apprentices? In short: Is it the genuine artifact, the result of a frenzied marketing genius—or perhaps a little of both?

In a thriller-like pursuit of the truth, Ben Lewis examines the five-hundred-year Cinderella-story of this painting and, astonishingly, turns up the smoking guns, including the burnt initials of ownership by an English king on a different Salvator Mundi and the identity of the American family who owned the painting for some of its missing decades. Through this journey, we come to see how the global art market evolved to what it is today, and we are left to ask ourselves what art means to humanity, both past and present.

Genres: Nonfiction, Art, History, Art History, Audiobook, Historical, Mystery

384 pages, Hardcover

First published June 25, 2019

Reviews

[Sue · Rating 4 out of 5]

The Last Leonardo is an exhaustive look at one painting, Salvator Mundi, thought to be a previously unacknowledged original by Leonardo da Vinci. In this detailed “life of” the painting, Lewis presents a useful biography of Leonardo along with background on his painting techniques over time and his “school,” the artists who learned from and worked with him. Lewis also follows Leonardo’s travels from city to city as he moves from the favor of one leader to another.

All of the above information is important in the attempts that were made in the years between ca 2005 and 2012 to create a provenance for the Salvator Mundi that would eventually be auctioned at an incredible price. But the question was...did Leonardo paint this particular Salvator Mundi out of the many that are held in various collections around the world.

To answer that question, Lewis defines exactly what a provenance is and then takes the reader on a long journey through the world of Leonardo, the world of the Masters, how Leonardo’s school functioned, how art was collected between the 16th and 21st centuries. There is so much here of art itself, history, culture, philosophy. When we reach the late 20th century, we encounter a new world of collecting art as investment and tax dodge. (There are names mentioned I didn’t expect to see in this particular book.)

Ah! I see I have neglected the field of restoration. That too has a lot to say about this painting. I must admit I had no idea the varying degrees of restoration that exist on well known masterpieces (not that specifics are given, but hints tell so much.)

So what happened to Salvator Mundi? You can google the auction to find what it sold for. Is it a Leonardo? You really should read this book to learn the intricate answer.

If you are interested in art, art history, cultural history, I believe you will enjoy and appreciate this book.

A copy of this book was provided by the publisher through NetGalley in return for an honest review.

[Erin · Rating 1 out of 5]

Goodreads Giveaway Win!

I wanted to love this book. I really did. It's about a very interesting subject a painting called Salvator Mundi that may or may not have been painted by Leonardo da Vinci.

This sounded super interesting but this book was SOOO BORING. If I was smart I would have dnf'd it but I'm a dummy so I finished it. It took months and I dreaded it everytime I had to pick it up.

Such a disappointment.

[Lorna · Rating 4 out of 5]

The Last Leonardo: The Secret Lives of the World's Most Expensive Painting was a most engaging and meticulously researched book describing the search for what the author, Ben Lewis, describes as "the Holy Grail of art history." The focus is on a portrait of Christ, the Salvator Mundi, the Savior of the World, thought to be a masterpiece by Leonardo da Vinci. What follows is the gripping tale of how this painting was found in a small art gallery in New Orleans and the unusual provenance that ultimately comes to light regarding this painting that sold for four-hundred fifty million dollars. Controversy still surrounds this painting but the book provides much to think about.

The other thrust of the book is the question of art restoration and the controversy between many art dealers, art historians and art museum curators regarding how restoration should be approached to preserve the work of the masters. On a personal note, when we were in Milan in 1999, we visited the Convent of Santa Maria delle Grazie to view Leonardo's masterpiece, The Last Supper. It was undergoing a complete restoration at the time. Although scaffolding was erected throughout, we were able to get quite close and see the team at work restoring the painting in anticipation for the Great Jubilee in 2000 in Italy. It was a unique experience that we still treasure today.

"Whatever the day was when the first brushstrokes were applied to the 'Salvator Mundi,' Leonardo had by then become one of the most celebrated living artists of the Italian Renaissance, alongside Boticelli, Piero della Francesca, Raphael, Michelangelo, Giovanni Bellini, Andrea Mantegna, and a dozen others."

"The story of the 'Salvator Mundi' is not just a tale about who bought and treasured this painting. It is also a tale of who mistreated it. Art in seventeenth-century England could be loved, or it could be reviled."

"In the recent restoration of 'The Last Supper,' no attempt was made to repair the damage caused by time, the elements, wars, and above all, previous restorations. Instead, all the over-painting, the work of previous restorations was removed and, where there was nothing underneath, neutral watercolor tones were used."

"In the recent restoration of the Sistine Chapel, the accumulated grime and all the layers of varnish were removed, highly controversially, back down to the fresco surface, while the Louvre curators resist removing the darkened varnish on the 'Mona Lisa,' even if it would make the painting more colorful."

[Jill H. · Rating 4 out of 5]

In 2017 a new high in the worth of a piece of art (a solitary painting) was set when the Salvator Mundi (Savior of the World) by Leonardo da Vinci was sold for $450 million dollars. It was the most anticipated auction in years since this was the "Holy Grail" of the art world and hadn't been seen for hundreds of years......but that was not the only reason that it attracted attention. Not all art appraisers, art historians, et al were convinced that it was actually painted by Leonardo. And thus the story begins for the search for the truth.

In 1968, an art dealer was attracted to a painting on panel that was for sale at a small local gallery in New Orleans. It was in horrible condition but something about it intrigued the dealer and he bought it for under $2,000. It was a representation of the Salvator Mundi,many of which had been painted by a variety of Leonardo's students and hang in several large galleries around the world. But the original by Leonardo had never been found and this dealer had a strong belief that this was it.

The book leads us through the years of intense research. Art historians were scoffing at the idea that this was the original painting but the dealer was convinced. He had the painting taken to one of the world's greatest restorers who cleaned it since it had much overpainting and damage. The restorer agreed with the dealer and restoration began. What resulted was magnificent. Then the question arose that even if it was the original, the majority of the picture was now painted by the restorer.......was it now a da Vinci?

This is a fascinating book about the underbelly of the art world which isn't very pretty and the wheeling and dealing of auction houses which sometime border on illegality. The originality of the painting is still being questioned and even the author is somewhat dubious. Read this amazing history and decide for yourself.

[Joy D · Rating 4 out of 5]

Ben Lewis takes a look at a recently discovered artwork, entitled Salvator Mundi, that may have been painted by Leonardo da Vinci around the year 1500. He traces the provenance, restoration, attribution, and controversies. It was hanging in a stairwell in a suburban house in New Orleans. It barely escaped Hurricane Katrina, was sold by an estate for $1175 in 2005, and eventually sold at auction in 2017, after restoration, for $450 million. Was this the work of da Vinci or a “studio effort?”

Lewis takes the reader on a journey into the art world, shedding light on financial interests, reputations, and motivations of those involved. He traces the painting’s provenance back to Renaissance Italy, and the courts of Charles I and Louis XII. He outlines restoration techniques and how they have changed over the years. He takes a stand and makes his case. Along the way, we learn about da Vinci’s life and artistic methods. This book is detailed, thoroughly researched, and well-written. It will appeal to those interested in art history, the life of Leonardo da Vinci, or the inner workings of art collecting.

[Ellen Cutler · Rating 3 out of 5]

This was not nearly as good a book as it should have been. Ben Lewis qualifications are admirable and his ideas about the story are there, but the structure just doesn't work.

The book is subtitled "The Secret Lives of the World's Most Expensive Painting." Well that's just not what the book is about and if Ben Lewis had slowed down a bit and really work-shopped the book with some critical readers and a couple of good copyeditors, it would have been much much better.

What do we have here. Okay, there's that painting supposedly by Leonardo da Vinci, the "Salvator Mundi." It seemed to appear out of nowhere. For those of us in the art biz in one way or another, we knew about it and it's arc into the exhibition at the National Gallery in London and then it's earth-shattering sale for $400 million at Christies in New York City in 2017. In trying to create a persuasive path from Leonardo's studio (or the studio of one of the "Little Leonardos," his followers) to the hands of Alex Parish and Robert Simon who acquired it from an auction in New Orleans LA, and subsequently set it on its journey to fame/infamy, Lewis takes a number of digressions.

Lewis sets himself a nearly impossible task. He has to trace the provenance of the work. He has to provide some summary and analysis of why it might be by Leonardo's hand or why it should be attributed to one of his followers. He also delves into the complexities of the art market at various points from the 17th century to the 21st, pokes around in Russian history and the dark world of oligarchs, explores Donald Trump's real estate acquisitions and the political ties he develops with Saudi Arabia, particularly through his son-in-law Jared Kushner.

I mean, this is really, really, really a lot of stuff. The book is only 318 pages long.

If you go by the title and the jacket blurb, you would be led astray.

If Lewis had used the "Salvator Mundi" as a case study in how one authenticates an Old Master, establishes its provenance, and the clash of scholars, dealers, museums, auction houses and collectors that litter the road, he'd have been better off. There's a lot of circling back and duplicated material because he didn't figure out an organization that really worked. Moreover, he really wanted a chance to lay out his own theories and own the high ground of authority in the final matter of whether this is an autograph work by Leonardo and how one should understand it in the end.

Lewis blithely throws off mentions of any number of works, by Leonardo or other artists, but fails to provide any illustrations, even black-and-white thumbnails. A few more pictures would have gone a long way to helping the reader keep organized. He makes stupid mistakes too. The artist Vija Celmins is misidentified as Vilma Celmins. His summary of 19th century Orientalism is very far off the mark. The movement did not "[seep] European art and literature" in the late 19th century--it was well established in the Napoleonic era far far earlier. Moreover It is NOT true that its "adherents viewed the Middle east as an arcadia, uncorrupted by industrialization and uninhibited by Christian morality." The dark, exotic, sexualized Orient, much of what we generally regard as the Middle East, was seen in sharp contrast to white Christian West. It was not a place innocent of the corrupting influences of industrialization but a place that was wild and primitive and backward if also compelling.

Some of Lewis best, most interesting and most completely argued passages are when he follows the money. How much was paid at each step of ownership; how much of that money was recognizable as cash and how much of it was bartered, scammed, imaginary; how many lies and how much deceit was part of each transaction. This stuff was good and frankly informative. The discussion of tax-free zones and the warehouses which house so much art today as part of an international game of high-stakes finance is also good.

As an aside, it was huge fun to learn a lot about Dmitri Rybolovlev, who was the seller in 2017. Rybolovlev is better known to many these days as the buyer of the Florida mansion, the Maison de l'Amitie (House of Friendship), which was the prize in a battle royal between Donald Trump and the sexual predator Jeffrey Epstein. Trump got the house and flipped it for an enormous profit to Rybolovlev. Yeah, and now we need to talk about Trump and his relationship with Russia and the possibility of conspiracy in the 2016 election. But we can't. Lewis does, however, at least remind us of that digression. And the story is indeed relevant to the financing shenanigans that are about so much more than who owns a painting.

The over-long finale winds through the purchase of the painting by someone, who ultimately turns out to be Mohammed bin Salman (MbS), Trump's good buddy and the man that ordered the murder of journalist Jamal Khashoggi. The conclusion is Lewis's long exposition on his sense of the paintings authenticity and his ruminations about whether it will reappear from wherever it is hiding and show up at the big Leonard show this coming fall at the Louvre. Some of it is interesting. Most of it is just a lot of speculation.

I'd like to rate the book higher but it just isn't good enough to get more than three stars. If you want to read about Leonardo, read Walter Isaacson's exhaustive biography. It's a shame that the rush to print invariable turns a good idea into a so-so book.

[Michael Huang · Rating 4 out of 5]

Fascinating story of a painting (Salvator Mundi) that sold for $400M (plus $50M in fees) in 2017 to Saudi’s crown prince. It was bought by a pair of art dealers for about $1000 merely 12 years prior. 8 years later, it was acquired by a Russian billionaire for $120M. IIRC, the author claims that nothing had appreciated faster in recorded history. That’s because it was attributed to Leonardo da Vinci. It turns out, many things about the painting are controversial: the attribution process, the way dealers marked up the price, the auction house’s role in the transactions, and what the Saudi did to the painting after acquiring it. Just to give you an idea how the experts attributed the painting to the master: because there are many copies of the painting there must have been a masterpiece (that the painting is highly likely to have been produced by Leonardo’s workshop is widely accepted), but why is this one deemed the master copy when it was damaged so much and significantly restored? Well, quite a few would not agree that it is and some who said yes might have financial incentives.

Other than Leonardo, there are full of forgettable characters, perhaps. Thoroughly entertaining nevertheless.

[Mary · Rating 4 out of 5]

Who could resist reading a book about the most expensive painting ever sold at auction ? And very possibly a work by Leonardo DaVinci.

A rags to riches story. The painting, in very poor condition, was up for sale when it was spotted by art dealers Alexander Parrish and Robert Simon who jointly purchased it for $10,000 in 2005.

The book details the search for a provenance for the painting. In layman’s terms, where it has been through time, who were its owners, and the likelihood it was painted by Leonardo.

Readers will also learn about how damaged the painting was by the passage of time, exposure to the elements, and previous restoration attempts. One must be very skilled to clean and restore a painting as damaged as this one was.

The heart of the book is the discussion of whether, based on painting techniques and skill demonstrated in the painting, it is truly is a Leonardo. There is discussion of the painting of the orb, the realism of the blessing hand, the folds and colors of Christ’s robe, and the fineness of his hair and beard. A true Leonardo? A work by a member or members of his school?

No discussion of such an expensive work of art would be complete without the background of Art World Politics. This book is filled with these ins and outs.

Finally, the speculation as to the identity of the buyer of this painting, the details of the auction, and bidding process are fascinating reading.

Great reading.

[Jquick99 · Rating 3 out of 5]

I would have liked this so much more if it was edited down about half. I’m very interested in the topic, but really thought it dragged down in telling the back story. There’s also repeating of information which didn’t help.

I also don’t like it when the author involves himself into the story, and wish this was edited out.

And, maybe I missed this, but I had to look up what Salvator Mundi meant, since it seems there’s a bunch of pictures with this name (Latin for 'Savior of the World'). With all the minutiae in the book, why isn’t this explained/defined?

[Bob · Rating 4 out of 5]

Summary: The story of the Salavator Mundi, purportedly the last painting of da Vinci, sold in 2017 for $450 million.

Is it a genuine Leonardo...or not? That is the question running through this book, which traces the history of a painting that sold for the highest price of any work of art to date, $450 million in 2017. It is a painting of a blue-robed Christ with right hand raised in blessing while the left hand holds a crystal orb. It is titled Salvator Mundi (Latin for "Savior of the World").

In 2005 Robert Simon, a distinguished New York art dealer, acquired the work from a Louisiana gallery for $1175. Painted on a poorly selected panel of wood that was falling apart, and overpainted during its history, it nevertheless caught Simon's attention. At first he thought it could have originated in da Vinci's workshop. He spent tens of thousands of dollars having the painting meticulously restored by Dianne Modestini, for whom the work represented part of her recovery from the grief of a lost husband. Art scholar Martin Kemp was brought in to authenticate the painting as was art historian Margaret Dalivalle--Kemp a believer, and Dalivalle increasingly uncertain.

Ben Lewis traces all the elements that go into the authentication of a painting. There are comparisons with established paintings of Leonardo, of which there are less than 20 extant. Things like the rendering of the hair, the fine details of anatomy, the folds of the robe argued for the authenticity. Yet for one who studied optics, the one dimensional character of the orb and the lack of distortion is problematic. Whereas Kemp saw the "zing" of a genuine Leonardo, many other gallery curators, including Sotheby's back in 2005, failed to recognize it as anything more than a derivative work.

Much of the book attempts to establish the provenance of the painting from Leonardo's workshop to the present. We are left with gaps that, despite Simon's description, leave the provenance of the painting up for question. There is also the question of the restoration, including how substantial Modestini's restoration went. In truth, even if the painting was Leonardo's, what was left was only a fraction of his work.

We also see the tireless and shrewd efforts of Simon, and his later partner Alex Parrish, to promote the painting including arranging a National Gallery exhibition of the painting in 2011 and the maneuverings that finally led to the painting's sale to Saudi prince Mohammed bin Salman in 2017 for the highest price ever paid for a work of art, only for it to remain in storage in a Swiss vault, hidden away from the world, and the possibility of the painting either being accepted or disproven as an authentic Leonardo, the last Leonardo.

Ben Lewis takes us on a fascinating journey into the rare art world and all the difficulties of condition, style, and provenance of Old Masters. We also see one of the greatest gambles made by an art dealer, and the tremendous return it eventually yielded. Lewis also introduces us to the new reality of art as investment--objects to be stored until they appreciate and not to be displayed. At the end, we are still left wondering, did bin Salman spend the most ever spent on a genuine Leonardo, a product of his workshop, or another talented imitation. It may be that neither he nor we will ever know.

________________________________

Disclosure of Material Connection: I received a complimentary review copy of this book from the publisher via LibraryThing. The opinions I have expressed are my own.

[Castles · Rating 5 out of 5]

An artist works in his studio. He thinks and thinks, then approach to make another brush stroke. Maybe he runs his finger around a shape to make the famous sfumato effect, maybe he steps back and sees how the painting looks from afar. Then he walks around his studio, giving tips to his students, correcting their paintings and have a laugh with the studio manager. All this is a common scene of the somewhat solitary life of an artist, maybe of Leonardo.
 
And then it all explodes like a universe. This book tries to follow the traces of the painting 'Salvator Mundi', which is nowadays attributed to Leonardo da Vinci.
 
It’s amazing how one painting holds the history of so many people and points to so many crossroads and directions in ancient and modern history. frustrated scholars trying to make it to a doctor, art students who didn’t succeed to penetrate the right milieu and turned out to be art dealers. Lots of experts, kings, beheaded kings, queens and princesses, opposite beliefs of Christianity, Catholics and Protestant, nations and courts, Italy, England, France, United States, Russia, Saudi Arabia. Surviving nazis bombing and nazis chasing paintings, escaping hurricane Catarina on time. leonardo’s students, painting restorers, painting destroyers, the inquisition, dealers hunting for antiques through jpegs on the web, chemists trying to date the wood it was painted on, old and inaccessible archives and primitive art catalogs, and even a love story between two restorers. and the list just goes on and on. All of those, this painting is holding their untold story. untold until now. I’m fascinated by the mere fact of how can just one mysterious painting explode to such a vast journey in time...
 
But is the painting really by Leonardo? Personally, after reading this book, I realize it switches so many hands through times when cataloging wasn’t established yet, and even when it did, it lacks so much information, that no, I don’t believe you can answer that question. Even if it is a Leonardo, it was so damaged and heavily restored that you must consider where Leonardo ends and the restoration begins. From here, it’s only speculation and sentiment. But speculation and sentiment sell, so much so that so far this is the most expensive painting in the history of the world, and the only thing in the universe to multiply its worth from some 1000 dollars to 450 million dollars in just a couple of years.
 
 
This book cleared to me some points which I already knew but didn’t quite put together -
 
While there are some strong hints that suggest it’s an original Leonardo, I think there are more reasons why it may not be one:
 
* Vasari says that one of the reasons Leonardo didn’t finish the last supper is because of his unwillingness to paint Jesus from a living model, having no human to be compared to his holiness. 
 
* the figure is not in a contrapposto position, which is very unlikely having Leonardo writing in his notes that a figure must always turn against the direction of its chest. 
 
* The optics on the orb are not quite right, very unlikely for an artist-scientist who dealt with optics. 
 
* Why would a master choose such a bad wood to paint on?
 
* The painting wasn’t mentioned anywhere in historical documents or works on da Vinci. 
 
But then you read about an expert restorer who compared the lips of the 'Mona Lisa' to the 'Salvator Mundi' and was convinced she was working on a Leonardo. And then you think maybe 'Salvator Mundi' was such a theme of its own that Leonardo didn’t apply his contrapposto law as an exception. And you also see that this painting does have a special quality in it which you can’t explain, and it's far more different than anything done at that time, or even since. 
 
For the research and the detective investigation that the author has done in this book, I say Bravo! It’s definitely one of the best reads I’ve had this year. 
 
 
 
‪ ‬

[megan · Rating 2 out of 5]

Not sure who the intended audience was for this book, which would have benefitted from more rigorous editing. It explains basic art world concepts so is clearly not intended for specialists, yet gets into minutia relevant to only select art historians, so doesn't seem like a piece for general readers, either. I finished reading because it was in my possession but didn't enjoy it, and say that as an art historian who typically devours art-related trade books with enthusiasm.

[Ali · Rating 5 out of 5]

5 stars.
Captivating narrative provided by a wonderful skill of Peter Noble, who reads out this treasure chest of a book written by Ben Lewis.
It is so vividly written, I felt like I was watching a movie!
The only point of criticism that I would like to make is that at times the information overload makes it too hard to follow the developments.

[Marks54 · Rating 4 out of 5]

There are lots of ways to become interested in reading “The Last Leonardo” by Ben Lewis (TLL). At one level, the motivation for the book is clear - the painting featured in the book experienced the most rapid price increase ever in the history of art (from a few dozen pounds in 1958 to $1175 in 2005 to $400 million in 2017. Yes, that is correct. If you knew where to look just prior to Hurricane Katrina, you too could have acquired what is now the world’s most expensive painting for a song. Of course if you had done so, the subsequent history would have been changed as well, but that is another story.

Then there is the question — $400 million for a painting??? Does that make the Salvator Mundi the greatest painting in the world? I am sure there is a relationship between price paid and the perceived quality of the painting, but it cannot be a very strong or well understood relationship with artistic quality (whatever that means). Mr. Lewis devotes considerable effort to demonstrating all of the ways in which the new Da Vinci painting was a very flawed masterpiece and yet it is now the most expensive painting. The value issue is especially perplexing because it is made clear that a nontrivial influence on the value of a given painting is “provenance” - who has owned the painting since its creation - the importance of the painting is a function of the people who have owned the painting — more important owners - a more important painting. The actual “artistic” quality of a painting depends on who wants the painting and how badly they want it. So for any new work to fit in, it has to be aligned with the current common appreciations of art and value. How does a new work break into the social structure? This is nothing more than the question of what processes go into how a culture changes to accommodate new perspectives and new paintings.

But think about this and substitute “books” for paintings. I certainly do follow particular authors, both for fiction and nonfiction. I can see the case for a personal judgment/reputation view of authors being helpful in picking books to read. But what about popularity or market demand? Does selling the most books - or just a large number of books - or selling books to wealthier audiences indicate that an author is great and/or valuable? Perhaps, but it certainly depends on what one means by great, doesn’t it? Would I buy a book because Bill Gates or Oprah or Reese have recommended it? (I have not, but they are doing it.) I know, it is not the same as billionaires and various despots spending lots of excess cash on the masterpiece du jour (which also brings in financial, tax, and showoff issues).

TLL is also an interesting detective story and a dive into the world of art scholars, restorers, and dealers. To start with, the book reveals a bit of a paradox in the work of art experts. While so much energy has been spent in denigrating “art history” as the prototypical junk major in universities, it turns out that to be good in this business requires lots of knowledge about art, but also lots of technical knowledge about how to evaluate paintings from different periods, how artistic techniques and technologies have evolved, and how to go about appreciating the work of restoration. ... and yes, computer technology is here as well. So there is considerable craft and skill to work in the art markets and to be successful. This work regarding the star painting in TLL is one of the strongest parts of the book. The trouble is that all this craft and skill still fails to make much progress on the question of quality. One can reach conclusions about whether a work is well crafted, well preserved, and well restored, but it still seems to be a shot in the dark about whether the painting is great art.

But TLL is also clear that to make it in the art business, one needs to know quite a bit about business as well. Scholars and consultants in the art world like to live well, just like the rest of us, and their work requires that they hang with a monied clientele. This raises agency and ethical issues about how to represent the interests of a client, and conversely examples of how not to represent clients. The opportunities for corruption and fraud appear to be large. They have to, given the importance of a small number of really rich individuals driving the business. At places in TLL, Lewis comes close to wondering if there is anything else.He pulls back from such a judgment but he frequently notes the fine line that even the best intentioned must toe between the defensible and the indefensible.

Lewis himself toes this line in articulating his position on the case. Is the Salvatore Mundi the real thing? We may never know - and you will not find out by reading the book.

But you should read the book if you are interested.

[Susie Stangland · Rating 5 out of 5]

I am often drawn to reading about the world of art history, both fiction and non fiction. The Last Leonardo is a pinnacle book in this subject matter. Ben Lewis is a master oarsman in navigating the twists and turns of the art world. I may never see in person the places he takes the readers via the pages to but I feel as if I have. This particular book revealed the dark side of the art history world and I felt disillusioned with the fact so many have few scruples when gripped by the desire for owning great works. If you are a Da Vinci fan, this is a read not to be missed. If you want to learn a great deal about a facet of global culture you might know next to nothing about— this is not to be missed.

[Tawney · Rating 4 out of 5]

I received this book compliments of Random House through the Goodreads giveaway program.

There is an old painting in poor condition. Maybe it's a Leonardo. Who decides? How do they decide? What is the process? What are the criteria? What's this stuff about connoisseurship, provenance and the role of 'restoration'? Ben Lewis explores all this and more in his tale of the Salvator Mundi which was bought in 2005 by a pair of dealers for $1175, sold and in 2017 auctioned for $400 million plus fees. It's quite a story encompassing both history and modern practices. There is Leonardo, his style, the artists of his workshop and their paintings. Why is it possible to believe Leonardo even made a painting on the subject? Tracing who may have owned the painting certainly isn't airtight and Lewis explains why and how the attributions are made. Another point of dispute is how much of the painting is actually by Leonardo's hand. Did he paint it all or add some here, some there and have others do most of it? On top of that large areas had been overpainted when it was bought in 2005 and there is controversy about the restoration done after that. Throw in some shady dealings and lawsuits as illustrative sidebars to the world of hype and fashion that is art collecting and you've got a good read. The Afterword is thought provoking.

[Fred Hughes · Rating 4 out of 5]

A fascinating look into the creation of demand for a painting that was originally purchased for just over $1,000 and sold 12 years later for $450 Million.

This details the background investigation and politicking to get the painting to auction. And then discusses the political and national egos that drove the price to that amazing figure.

Very well written and researched

[Mary Rose · Rating 5 out of 5]

The Last Leonardo is a refreshing look at one of the most curious works of art that has surfaced in the art market lately. This was not my first encounter with the Salvator Mundi, as I worked as an art dealer and followed the case closely when it was being shopped around. Later, in 2017 when it broke the record for the most expensive painting ever sold, I had some serious doubts.
The book is divided into roughly three intertwining sections. One is a biography of Leonardo Da Vinci. This is a fairly general biography that doesn't add much new but does give the uninitiated a better idea of who Leonardo Da Vinci was and why he has become almost an archetypal artistic genius. Another follows the art dealer Robert Simon in the early 2000s as he attempts to research, restore (with the help of Dianne Modestini) and sell the Salvator Mundi. The last section follows the Salvator Mundi's provenance over the course of the nearly five hundred years from the time it was produced until now.
Of these three sections, I think many people would find this third section the most tedious. Lewis is very thorough in explaining how old masters were "restored" (or overpainted), cropped, destroyed, re-attributed, and lost over the course of centuries. However, I thought it was absolutely necessary to support the most interesting part of the book: Ben Lewis poking holes in the sketchy attribution and even sketchier provenance of the Salvator Mundi.
This book would be my recommendation for anyone who is interested in learning more about the Salvator Mundi as this book gives the most detailed history of the painting and the mystery surrounding it that I have read. Further, I think Ben Lewis has a great sense of humor and a great sense of drama, which makes parts of this novel read like a gripping true crime tale. It was a joy to read.

[Art · Rating 4 out of 5]

A very interesting tale of a recently discovered da Vinci (maybe!) bought for $1,175 and two owners later acquired for $400 million by MbS. Great insight into the world of billionaire collectors (oligarchs, entrepreneurs and such with off-shore bank accounts looking to hide assets) art experts (most will disagree with each other "just to be dicks"), restoration experts (at what point does a work become a collaboration between the original artist and the restorer?), provenance researchers (reputations are made based upon major attributions...so is there a conflict?) and a labyrinth of shady middlemen (liars, thieves and cutthroats) all looking to part fools from their money. Reminiscent of The Billionaire's Vinegar.I found the first third of the book to be a bit tedious at times but overall a good read.

[Michael Lynes · Rating 4 out of 5]

Fascinating insight into the history of art dealing through the frame of the story of the Salvator Mundi. Full of interesting historical events and commentary on the corrupt relationships between dealers, museums and owners. Extraordinary.

[Taylor's♡Shelf · Rating 4 out of 5]

This is a great casual history, not just about the (in)famous Salvator Mundi, but of the grey areas of art history and art criticism.

Anyone who's ever felt like they have a hot-and-cold relationship with art history will truly be able to appreciate what Lewis has to discuss here. For example, if several art historians are mulling over whether they wish to attribute a work to Da Vinci, why have they chosen what they've chosen? Is it in their particular interest to agree that it is a Da Vinci? In some instances in the Salvator Mundi's history, yes.

However, I think the most interesting discussion in this piece is about the oxymoronic action of artifact restoration. In the case of the Salvator Mundi, which has been overwashed, repainted, and "restored" so many times, can it even still be thought of as a Da Vinci work, if it ever was to begin with? If eighty percent of the strokes in the painting can be attributed to someone else, does the painting still hold the same meaning as it originally did? Does Da Vinci's "presence" (God, I hate that term) still reside in it?

This is honestly a wonderful read for anyone who is vaguely familiar with most of Da Vinci's works (many of them are mentioned by name, so an initial understanding would heighten your comprehension of the topics).

Here's hoping that the Salvator Mundi will be brought to the public again and further discussion about art and its 'authorship' can continue.

[Marshall · Rating 5 out of 5]

One has to feel sorry for this painting. Unrestored it resembles something that has been kept in a cow shed and it is at the very least the product of Leonardo’s workshop with expert touches of the master himself.

The question of attribution takes up a great deal of space in this book. The great Martin Kemp, the leading scholar of Leonardo, has even come out in favor of it being a work by the master. I remain skeptical. Even though it suffered from at least two inept restorations that obscured its potential origins as a Leonardo, so much of it is missing. There is enough to indicate the hand of Leonardo, but not enough to conclusively prove it is by Leonardo.

For a painting on such a elevated subject, Christ as Savior, it has had, as far as is possible to know, a checkered series of owners, particularly in the 21st century, people with associations with the current squatters in a certain large white (would they have it any other way?) house in Washington. It is sad when a painting that is credibly by Leonardo is forced to dwell in such low company.

This book is a great overview of the career of Leonardo. It also provides a good look at the art world, both now and in earlier times. One thing I came away from wanting to know more about was the members of Leonardo’s workshop. When reading any book on Leonardo, there is always more to learn, here is another topic that is under addressed.

[Smaranda Acatrinei · Rating 5 out of 5]

Exceptional. Ca un roman polițist, scris pentru cunoscători în arta renascentista, și nu numai. Dacă v-ați întrebat vreodată cum au ajuns acele tablouri fabuloase, precum Mona Lisa sau Nașterea lui Venus, în locurile în care se afla ele astăzi, supraviețuind secolelor, războaielor, dinastiilor și uitării, trebuie neapărat sa citiți aceasta carte. Dacă v-ați întrebat vreodată ce e în spatele licitațiilor de arta cu sume fabuloase, și cine stabilește preturile sau autenticitatea panzelor, trebuie neapărat, cu răbdare, sa citiți aceasta carte. Nu este ușoară. Ea povestește despre cei 500 de ani prin care a trecut cea mai controversata pictura a marelui maestru al Renasterii și, mai ales, despre ultimii sai ani turbulenti, trecând prin culisele masinatiunilor din spatele expozițiilor și licitațiilor de arta. Cine sunt colecționarii de arta de astăzi? Cât de diferita este lumea cumpărătorilor de arta de cea din trecut? Dacă sunteți pasionați de arta și de toate aceste detalii, pregatiti-va: aceasta este o carte excepțională.

[Anders · Rating 3 out of 5]

This book was a bit wobbly in terms of what it was trying to do. But mostly it's just a chill book that gets into the story of this Salvator Mundi, its provenance, and the controversy of its more recent sale and attribution. More interesting (for me), it also goes over some art history around Leonardo and the general custom of art collecting. I was less impressed by the intrigue of various ultra-rich buyers and the art wheelers and dealers. An easy read if you are interested in the painting or Da Vinci more generally!

I'm pretty convinced its a workshop painting but as the book relates: even if it is, it has come to represent more than that. Ah the power of art!

[Br. Thanasi (Thomas) Stama · Rating 5 out of 5]

I loved this non fiction work about the most recent art sensation the Salvator Mundi. Its discovery, restoration and documentation were most revealing. The controversies that are a part of it reflect the world. I love that the author chose to grapple with the world culture and economic disparities influencing the art market in the last chapter. He could have swept it all under the carpet. May things improve for the vast majority of people and the top 1% leave us with enough scraps for a better life until the Eternal takes us all home.

[Lotte Jellema · Rating 5 out of 5]

Wat een fantastisch boek was dit om te lezen!! Goed geschreven en enorm interessant. Het schilderij Salvator Mundi van Leonardo Da Vinci (of Leonardo en werkplaats? of helemaal niet van Leonardo??) wordt in dit boek onder de loep genomen.

Ben Lewis probeert de geschiedenis van de Salvator Mundi te achterhalen. Wie heeft het doek allemaal in handen gehad en van welke collecties is het schilderij een deel geweest? Zo hoopt Lewis te weten te komen of het doek een echte Leonardo is of niet.

Lewis gebruikt het schilderij ook om grotere thema's te bespreken, zoals de geschiedenis van de kunstmarkt, hoe dit vandaag de dag werkt en de historie rondom Da Vinci en zijn werkplaats. De Salvator Mundi is een enorm interessant voorbeeld om te gebruiken hiervoor.

Aanrader!!!

[eileen · Rating 4 out of 5]

Great pairing with "the Bouvier Affair: a True Story" which delves into art dealers, the Salvator Mundi, oligarchs and dictators purchasing "culture" and what it signifies in today's society. Obsessed as I am with freeports, hidden treasures and money laundering this book details what is involved in determining an original work of art.

If you are into the intricacies of art and provenance, you will enjoy this book.

[Katy Koivastik · Rating 5 out of 5]

Thoroughly researched and brilliantly written and organized. Author Ben Lewis provides readers with well-reasoned arguments on both sides of the Salvator Mundi debate, i.e. is it painted by Leonardo Da Vinci’s hand alone, or simply a product of Leonardo’s studio with finishing touches by the master? Ben Lewis himself is healthily sceptical and offers an appropriately gimlet-eyed view of the modern art market.

Wonderfully narrated by Peter Noble.

[SibylM · Rating 4 out of 5]

3.5 stars.

[Vitalia · Rating 4 out of 5]

3.5 stars. This was interesting as I had not known the story of the Salvator Mundi or anything about the art world so I feel like it was quite enlightening.