達(dá)芬奇畫(huà)作《救世主》的神秘買(mǎi)家引發(fā)猜測(cè)

The staggering price paid for the last Leonardo da Vinci painting in private hands has sparked a fevered hunt for the buyer — but so far the new owner’s identity remains as inscrutable as the smile on one of the artist’s other canvases.

最后一件私人收藏的萊昂納多•達(dá)芬奇(Leonardo da Vinci)畫(huà)作以驚人價(jià)格成交，引發(fā)了外界對(duì)買(mǎi)家身份的狂熱探尋，但到目前為止新主人的身份仍像這位藝術(shù)家另一幅作品中的微笑一樣神秘。

Christie’s, the auction house that sold “Salvator Mundi” in New York on Wednesday, has remained silent about who paid $450m for the 500-year-old work — a price that set a world auction record.

佳士得(Christie’s)周三在紐約拍賣(mài)了《救世主》(Salvator Mundi)，但一直沒(méi)有透露是誰(shuí)花了4.5億美元買(mǎi)下這件500年前的作品，該價(jià)格創(chuàng)下了世界拍賣(mài)紀(jì)錄。

With the pool of possible buyers limited to billionaires and a very few institutions, some in the art world are trying to narrow it down to a region or nationality.

由于潛在買(mǎi)家群體僅限于億萬(wàn)富翁和極少數(shù)機(jī)構(gòu)，藝術(shù)界的一些人正試圖將目標(biāo)縮小到一個(gè)地區(qū)或一個(gè)國(guó)家。

Thomas Seydoux, an art adviser and former head of Impressionist and Modern art at Christie’s, suspects they were from Asia. Because the bidding went up in “wild increments” — at one stage leaping from $370m to $400m — he suggests the buyer was “quite new to the field and quite aggressive”, perhaps indicating new Chinese wealth. “They’re a tremendous force in the market and they’re prepared to spend that sort of money,” Mr Seydoux said.

前佳士得印象派和現(xiàn)代藝術(shù)負(fù)責(zé)人、藝術(shù)顧問(wèn)托馬斯•塞杜(Thomas Seydoux)懷疑買(mǎi)家來(lái)自亞洲，理由是競(jìng)價(jià)一路向上“狂飆猛漲”，一下從3.7億美元跳到4億美元。他認(rèn)為買(mǎi)家“在該領(lǐng)域還是新手，但非常積極”，或許是中國(guó)的財(cái)富新貴。塞杜說(shuō)：“他們是該市場(chǎng)的一股巨大力量，而且他們也準(zhǔn)備要大筆投入。”

Asia has produced some prodigious purchasers of art lately. Yusaku Maezawa, a Japanese entrepreneur, paid $110m for a painting by Jean-Michel Basquiat in May. Liu Yiqian, a Chinese property and pharmaceuticals billionaire, spent $170m on a nude by Modigliani in November 2015 — but has denied buying “Salvator Mundi”.

近來(lái)亞洲已產(chǎn)生了一些藝術(shù)品超級(jí)買(mǎi)家。今年5月日本企業(yè)家前澤友作(Yusaku Maezawa)斥資1.1億美元購(gòu)買(mǎi)了讓•米切爾•巴斯奎特(Jean-Michel Basquiat)的一幅畫(huà)作。2015年11月，中國(guó)房地產(chǎn)和制藥億萬(wàn)富豪劉益謙以1.7億美元買(mǎi)下莫迪利亞尼(Modigliani)的一幅裸女圖，但他否認(rèn)購(gòu)買(mǎi)了《救世主》。

Others have suggested a Gulf royal or billionaire — perhaps from Qatar, which has lavishly collected art, or Abu Dhabi, which has just opened a branch of the Louvre museum. The Abu Dhabi branch has a Leonardo, “La belle ferronnière”, on loan from the Louvre in Paris but lacks its own.

還有人猜測(cè)買(mǎi)家是海灣地區(qū)的一名王室成員或億萬(wàn)富翁，或許來(lái)自對(duì)藝術(shù)品收藏毫不吝嗇的卡塔爾，又或者來(lái)自剛開(kāi)設(shè)了盧浮宮(Louvre)博物館分館的阿布扎比。阿布扎比分館有一幅從巴黎盧浮宮借展的達(dá)芬奇畫(huà)作《費(fèi)隆妮葉夫人》(La belle ferronnière)，但本身沒(méi)有這位大師的畫(huà)作。

Mr Seydoux pointed out that the Qataris had mainly bought late-19th and 20th-century art, reportedly including a Cézanne for $250m.

塞杜指出卡塔爾人此前主要投資十九世紀(jì)末和二十世紀(jì)的藝術(shù)品，據(jù)報(bào)道其中包括一幅以2.5億美元成交的塞尚(Cézanne)畫(huà)作。

One route to deducing the buyer is the “1-4 per cent rule”, according to art-market journalist Georgina Adam, which suggests that wealthy people should not spend more than that on any “investment of passion”. By this logic, only those with a net worth of more than $11bn would be likely buyers.

藝術(shù)市場(chǎng)記者喬治娜•亞當(dāng)(Georgina Adam)表示推斷買(mǎi)家的思路之一是“1%-4%規(guī)則”，即富人不應(yīng)對(duì)任何“激情投資”投入其凈資產(chǎn)4%以上。按照這一邏輯，只有凈資產(chǎn)超過(guò)110億美元的富豪才是可能的買(mǎi)家。

Few institutions could have afforded the picture. One that could is the Getty Museum in California, which has a $6.5bn endowment: in July it is estimated to have paid more than $100m for Old Master drawings. However a spokesman said it was not the purchaser of “Salvator Mundi”.

能買(mǎi)得起《救世主》的機(jī)構(gòu)也非常少，其中一家便是位于加利福尼亞州的蓋蒂博物館(Getty Museum)，該博物館擁有65億美元的捐贈(zèng)基金。今年7月該博物館為早期繪畫(huà)大師作品支出了估計(jì)逾1億美元。但一位發(fā)言人表示蓋蒂博物館不是《救世主》的買(mǎi)家。

The painting has a troubled history. It was sold for £45 at Sotheby’s in London in 1958, when it was thought to be a copy, but by 2011 had been accepted as a work entirely by Leonardo, when it was included in an exhibition at the National Gallery in London. It was then reportedly bought for $75m-$80m by art adviser Yves Bouvier, who sold it to Russian collector Dmitry Rybolovlev for $127.5m.

這幅畫(huà)經(jīng)歷頗為坎坷。1958年它在倫敦蘇富比(Sotheby’s)以45英鎊被售出，當(dāng)時(shí)它被認(rèn)為是復(fù)制品，但到了2011年當(dāng)它在倫敦國(guó)家美術(shù)館(National Gallery)展出時(shí)已被承認(rèn)完全由達(dá)芬奇繪制。后來(lái)?yè)?jù)報(bào)道，藝術(shù)顧問(wèn)伊夫•布維耶(Yves Bouvier)以7500萬(wàn)美元至8000萬(wàn)美元的價(jià)格買(mǎi)下了這幅畫(huà)，隨后他以1.275億美元賣(mài)給了俄羅斯收藏家德米特里•雷波諾列夫(Dmitry Rybolovlev) 。

Mr Rybolovlev, who is suing Mr Bouvier over this and other paintings he bought from him, alleging he was overcharged, said: “Thanks to the professionalism and expertise of Christie’s, the record-breaking sale of Da Vinci’s ‘Salvator Mundi’ has helped restore some of the value of the collection.”

雷波諾列夫正就這幅畫(huà)作以及從布維耶處購(gòu)買(mǎi)的其他作品對(duì)后者進(jìn)行起訴，理由是自己被敲了竹杠。雷波諾列夫說(shuō)：“感謝佳士得的專(zhuān)業(yè)精神和專(zhuān)業(yè)知識(shí)，達(dá)芬奇《救世主》破紀(jì)錄的拍賣(mài)幫助收回了這幅藏品的一些價(jià)值。”

The final bid, before fees were applied, was $400m, meaning that Christie’s stands to earn $50m on the sale. However, this sum will be eroded by the various expenses of the marketing campaign waged before the sale, including transporting the artwork from London to Hong Kong, San Francisco and New York. More than 30,000 people viewed the work, according to Christie’s.

不含傭金的最終拍出價(jià)為4億美元，這意味著佳士得在這筆交易上將賺取5000萬(wàn)美元。不過(guò)這筆錢(qián)將因拍賣(mài)前的各種營(yíng)銷(xiāo)費(fèi)用而縮水，包括將這幅畫(huà)作從倫敦運(yùn)送到香港、舊金山和紐約的費(fèi)用。佳士得表示逾3萬(wàn)人觀看了該作品。

Christie’s had also secured a third party to guarantee the picture’s sale for $100m in case bids did not get that high. This system generally works by offering the guarantor a percentage of any proceeds over the guaranteed amount as a reward — so any significant percentage of that $300m could eat into Christie’s margin.

佳士得此前已獲得第三方對(duì)該畫(huà)以1億美元售出的擔(dān)保，以防拍賣(mài)低于這一售價(jià)。擔(dān)保的一般運(yùn)作方式是，向擔(dān)保人支付拍賣(mài)價(jià)格高出擔(dān)保金額的一個(gè)百分比作為獎(jiǎng)勵(lì)，因此這超出的3億美元的任何較大百分比都將侵蝕佳士得的利潤(rùn)。

Additional research by Lauren Leatherby in New York

勞倫•萊瑟比(Lauren Leatherby)紐約補(bǔ)充調(diào)查