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Christie’s marketing campaign was perhaps unprecedented in the art world; it was the first time the auction house went so far as to enlist an outside agency to advertise the work. Christie’s also released a video that included top executives pitching the painting to Hong Kong clients as “the holy grail of our business” and likening it to “the discovery of a new planet.” Christie’s called the work “the Last da Vinci,” the only known painting by the Renaissance master still in a private collection (some 15 others are in museums).
“It’s been a brilliant marketing campaign,”
That is the kind of name-brand appeal that Christie’s was presumably banking on by placing the painting in its high-profile contemporary art sale, rather than in its less sexy annual old master auction, where it technically belongs.
But many art experts argue that Christie’s used marketing window dressing to mask the baggage that comes with the Leonardo, from its compromised condition to its complicated buying history and said that the auction house put the artwork in a contemporary sale to circumvent the scrutiny of old masters experts, many of whom have questioned the painting’s authenticity and condition.
Christie’s maintains that it was upfront about the much-restored, damaged condition of the oil-on-panel, which shows Christ with his right hand raised in blessing and his left holding a crystal orb.
But Christie’s was also slow to release an official condition report and its authenticity warranty on the Leonardo runs out in five years, as it does on all lots bought at its auctions, according to the small print in the back of its sale catalog.