Salvator Mundis’ Evolving Timeline

As Long As Something Is Uncertain or Unknown, The Concept of it Always Changes

“Time stays long enough for anyone who will use it” – Leonardo da Vinci

The Most Valuable Painting in the World has an extensive history filled with royalty, fame, mystery, intrigue, scandal, encryption, and controversy. Of course, this is all to get your attention. However, this was not orchestrated by any one person or group of people, but by Providence itself.

Below you will find a compilation of various timelines put together through extensive research. Recognizing the contributions of many along the way. It is in no way completed yet as we refuse to complete without exhaustive research, so this history content will change. Please check back often for updates.

1478-83

Leonardo may have seen Bartolomeo della Gatta’s Salvator Mundi in Urbino, or a copy, which appears to be the prototype for his Salvator Mundi design.

1496-98

Leonardo supposedly paints a Christ the Redeemer lunette (much like a Salvator Mundi format) for the Santa Maria delle Grazie tribune in Milan, part of a project that began in 1492. It was destroyed during renovations around 1603. Source: The Art Newspaper

~1506

Da Vinci began work on the painting following a commission by King Louis XII of France. (1462-1515) and his wife, Anne of Brittany (1477-1514), following the conquest of Milan and Genoa. He completed the work seven years later. Source: The Art Newspaper

The image of Christ giving his blessing to the world was a popular subject in French and Flemish art and the half-length pose is typical of the Renaissance era.

Around 1508

Two red chalk drawings are produced by Leonardo in preparation for a Salvator Mundi. (They are now in the Royal Collection).   Source: The Art Newspaper 

1508-1520s

Associates of Leonardo’s studio, including Giovanni Antonio Boltraffio, Bernardino Luini, Francesco Melzi, and Gian Giacomo Caprotti, paint Salvator Mundi compositions based on Leonardo’s initial sketches.

Two or three of these sketches, of which—the Cook, Ganay and Naples are versions—potentially with Leonardo’s input. Approximately 20-27 early copies of Leonardo’s design exist.

Source: The Art Newspaper

1625

Potentially brought to England by Princess Henrietta Maria when she married King Charles I in 1625.

What is known for certain is that it belonged to King Charles I (1600-1649), who was the greatest art collector of his age. It has been recorded in the inventory of the royal collection and appears to have hung in the Queen’s private chambers at her palace in Greenwich, until she fled England in 1644. Charles I was beheaded in 1649.

Source: OberoiHotels.com

Source: Luke Syson -English museum curator and art historian.
Source: ArtLawandMore.com

Luke Syson, in the catalogue to the exhibition, ‘Leonardo da Vinci: Painter at the Court of Milan’, has speculated that the artist may have made the painting for the French royal family and that it was brought to England by then Princess Henriette soon to be Queen Henrietta Maria when she married King Charles I in 1625.

Source: OberoiHotels.com

Luke Syson is an English museum curator and art historian. Since 2019, he has been the director of the Fitzwilliam Museum at the University of Cambridge, prior to which he held positions at the British Museum (1991–2002), the Victoria and Albert Museum (2002–2003), the National Gallery (2003–2012) and the Metropolitan Museum of Art (2015–2019). In 2011 he curated the acclaimed Leonardo da Vinci exhibition at the National Gallery: Leonardo da Vinci: Painter at the Court of Milan, which included his pivotal role in the controversial authentication by the National Gallery of da Vinci’s Salvator Mundi.[1]

1638-41

A “Christ with a globe in his hand done by Leonardus Vinsett” is recorded in the London home of James III Marquess (later 1st Duke) of Hamilton. This could have been one of 20-27 Salvator Mundi copies.

1650

The celebrated Czech etcher Václav Hollar known as Wenceslaus Hollar in England, was one of the most prolific artists of his time, known for his drawings and etchings and reproduced decorative works by other artists.  Wenceslaus Hollar, then living in exile in Antwerp, makes an etching of a Salvator Mundi which is inscribed and dated “Leonardus da Vinci pinxit” (in Latin): “Leonardo da Vinci painted it”. Hollar etched it “from the original” in 1650.

Wenceslaus Hollar, Etching of the Salvator Mundi

Wenceslaus Hollar, Etching of the Salvator Mundi

The Thomas Fisher Rare Book Library, University of Toronto

As mentioned above, two preparatory red-chalk drawings by Da Vinci for Christ’s robes (in the English Royal Collection at Windsor) have many times been associated with the composition. Hollar then published a print based on a drawing he made of the Salvator Mundi painting with the inscription, ‘Leonardus da Vinci pinxit’. The print itself was recorded in the Royal Collection inventory as ‘A Peece of Christ’ done by Leonardo.

Interesting note, although often compared with the Saudi Salvator Mundi, it has a full beard and a mustache. Hollar frequently took license with compositions of paintings it is known he had access to when reproducing them as etchings, as, for example, with his etching of Van Dyck’s double portrait of Lucas and Cornelius de Wael. Source: https://salvatormundirevisited.com/Copies

Source: Theartnewspaper.com: Thomas Fisher Rare Book Library: Toronto.

Source: Theartnewspaper.com

Source: Christies.com

Source: The Image and The Hammer – By Alexndra Kindermann

Source: https://en.wikipedia.org/wiki/Wenceslaus_Hollar

Source: https://www.britannica.com/biography/Wenceslaus-Hollar

1651

“A Peece of Christ” by Leonardo, from King Charles I’s and his wife Queen Henrietta’s collection is recorded in the Commonwealth sale of 1651, when Captain John Stone purchased it. (Inventory records that the painting was sold at the Commonwealth Sale on 23, October 1651, as part of the Sixth Dividend to Captain John Stone, a mason, representing a group of creditors who received it along with other paintings as repayment of debts.) Source: Christies.com

1660

Nine years later, when Charles II (1660-1685) of England was restored to the throne and his late father’s possessions were recalled by an act of Parliament, Captain John Stone returned the painting to the royal household. It is listed in a 1666 inventory of the collection of King Charles II at Whitehall.

“Leonard de Vince. O[u]r Savio[u]r w[i]th a globe in one hand & holding up ye other” is recorded in an inventory of King Charles II’s ‘Closet’. Christie’s and others seemed to think this was the Cook version restored by Stone to the King.

Source: Theartnewspaper.com

1685

It is speculated that the canvas (It was painted on a walnut panel and not canvas) remained at Whitehall during the reign of Charles II’s successor, his brother James II, (1633-1701) passing by descent until the late 18th century.

Source: The Image and The Hammer – By Alexndra Kindermann 

Source: Britannica.com

1683-1717

From which probably removed by Catherine Sedley, Countess of Dorchester (1657-1717), or her future son-in-law, John Sheffield, 1st Duke of Buckingham and Normanby (1648-1721),  Source: Christies.com

1753

and probably by descent to his illegitimate son Sir Charles Herbert Sheffield, 1st Bt. (c. 1706-1774); John Prestage, London, 24 February 1763, lot 53, as ‘L. Da. Vinci A head of our Saviour’ (£2.10). Source: Christies.com

1763

King George III purchases Buckingham House (now Buckingham Palace) and paintings that included a “Head of Our Saviour” by “L. DA. VINCI” (lot 53). This was the third king to possibly own the Cook Salvator Mundi, according to Christie’s and others in 2017.

Source: Theartnewspaper.com

Initial timeline research ends here. Please check back for updates and continuation.  Thank you!

Traditional History

From its creation in the early 1500s, likely commissioned by French royalty, to its disappearance and miraculous rediscovery in the 20th century, “Salvator Mundi” encapsulates the blend of artistic genius and mystery that defines Leonardo’s legacy.

Esoteric History

“Salvator Mundi,” is shrouded in mystery and controversy and has fascinated art enthusiasts, historians, and scholars alike for centuries. Beyond its disputed attribution and record-breaking auction sale, this enigmatic artwork harbors a depth of symbolic and esoteric meanings that merit exploration.

High Quality Replica

Our high-quality replicas are a high-res digital image of the Leonardo “Salvador Mundi” printed and mounted, as is the original. The surface is enhanced with impasto created by our artists to mimic the original brushwork of the painting with a clear acrylic gel, varnished for protection and to create a more realistic presentation.