Revealed The $1bn Abramovich art collection
Guardian 23/9/2023
At first glance, the red-brick facade near a line of railway arches resembles an ordinary south London warehouse. A more careful observer may notice spiked railings, a steel door and imposing metal gates.
On a cold February day in 2014, a precious cargo left this small fortress: a spectacular nude by the painter Lucian Freud. Benefits Supervisor Sleeping, a study of one of his bestknown models asleep on a well-worn sofa, the folds of her flesh filling the canvas, is recognised as a modern masterpiece.
Bought at a New York auction in 2008 by the oil and gas oligarch Roman Abramovich for $33.6m, it was emerging from storage, to be displayed in his mansion at Kensington Palace Gardens, a few miles away.
Most art lovers could only dream of owning such a painting. But for Abramovich, it was a mere fragment of a collection that the billionaire former owner of Chelsea football club could order up for private enjoyment.
The Guardian can reveal that during an extraordinary spending spree spanning nearly a decade, Abramovich and his then wife, the US-based collector Dasha Zhukova, acquired what experts believe is one of the most significant private collections of modern art ever assembled, a trove of more than 300 works whose worth was estimated by the oligarch’s own assessors at nearly $1bn.
“You could fill a museum with it; this is a stupendous collection,” said Andrew Renton, professor of curating at Goldsmiths, University of London. “It shows very good taste. If you have enough money, you can buy a piece of history.”
The details have come to light thanks to the Oligarch files, a leak from the Cyprus-based offshore financial services provider MeritServus, analysed in collaboration with international media partners. MeritServus was placed under sanctions by the UK government in April after the Guardian reported on its work for oligarchs.
The art world has long known Abramovich and Zhukova as big spenders. But until now, public awareness of what they collected was limited.
The files reveal a collection that catalogues the history of modern art, featuring pieces by Monet, Mondrian, Matisse and Picasso, and Russian modernists such as Natalia Goncharova and Vera Rockline.
Striking contemporary possessions include paintings by Freud, Francis Bacon, Paula Rego, Frank Auerbach and David Hockney.
In the days before Russia invaded Ukraine, the files appear to show, Abramovich’s interest in the trust that ultimately owned the pieces was reduced, leaving Zhukova as the majority beneficiary, courtesy of a deed signed by the trustees.
The deed did not require Zhukova’s knowledge or consent and is understood to have derived from the terms of her separation from Abramovich in 2016. It took effect in February 2022, just days after the UK government warned Kremlin-friendly oligarchs that their assets could be seized.
For years many of the pieces were housed near the banks of the Thames in Vauxhall. Now, with Putin’s war entering its 20th month and Abramovich under sanctions in the UK and the EU, a jewel of the modern world’s cultural heritage remains in limbo.
In autumn 1930, the avant-garde artist Kazimir Malevich was arrested
and threatened with execution. Born in Kyiv when it was still part of the Russian empire, Malevich was a pioneer of abstract art, the figurehead of the Suprematist movement. Under Stalin, Malevich fell victim to a vicious campaign against modernist art, condemned as bourgeois. After his death, the fate of his works played out, first hidden from the Nazis, then transported around the world. Heirs of the painter fought battles for the return of his canvases.
One piece, Suprematist Composition (circa 1919-20) was put up for auction in 2000, after the Museum of Modern Art in New York was forced to hand it back. The buyer was never disclosed. But by 2013 this emblem of Russian art and political history was in the hands of Abramovich.
The work’s more recent travels are revealed by invoices for transportation to and from the warehouses of a British art storage specialist called Martinspeed, which has since been renamed Crozier Fine Art. “Crozier is a long-established company with global operations. It is our policy and practice to comply with the laws in the countries where we do business,” a spokesperson said.
Like Freud’s canvas, the Malevich crisscrossed the Thames to and from the oligarch’s home, and in 2014, was lent to Tate Modern for a retrospective. The label next to the canvas, an arrangement of rectangles that for Malevich symbolised the building of a new reality, simply stated “private collection”, a common practice when lenders wish to remain anonymous.
Abramovich could enjoy his collection not just in London but on his yacht and at his 1920s mansion on the Côte d’Azur, once a retreat for Edward VIII and Wallis Simpson.
Documents reviewed by the Guardian suggest that, as of 2018, Abramovich had amassed 367 pieces, valued at $963m.
The staggering collection could only have helped elevate Abramovich and Zhukova to the pinnacle of the international art scene. In June 2008, the couple hosted the official launch of the Garage Centre for Contemporary Culture in Moscow. The artist Jeff Koons was among the guests of honour, while Amy Winehouse gave a private concert.
The daughter of a Moscow oil trader, Zhukova’s parents separated when she was a child and she grew up in the US. Today she is also a trustee of the Los Angeles County Museum of Art and the Metropolitan Museum of Art. Unlike her former husband, from whom she separated in 2016, Zhukova – who has now remarried – is a US citizen and is not subject to sanctions. She has also condemned Russia’s “acts of war” in Ukraine. Her two children with Abramovich were born in America, and she is raising her family there. She also retains ties to her ex-husband through the collection, documents suggest.
The files, which run until March 2022, show that a company called Seline-Invest, originally incorporated in the British Virgin Islands and redomiciled in 2017 to Jersey, owned the pieces. It acquired them in 2017 and 2018 from the Harmony Trust, of which Abramovich was the sole beneficiary. Seline-Invest was in turn controlled by a Cyprus-based trust, the Ermis Trust Settlement, initially set up in 2010 for the sole benefit of Abramovich. In January 2021, according to the documents, the trustees and protectors of the trust – a mixture of Abramovich’s employees and directors of MeritServus – made Zhukova an “additional” beneficiary, with their children becoming beneficiaries upon his death.
At that point, the former couple each held a 50% beneficial interest. But on 4 February 2022, three weeks before the invasion of Ukraine, the documents indicate trustees and protectors made a change, one that experts believe may have been prompted by the looming threat of sanctions.
Via a “deed of amendment” Zhukova became “irrevocably entitled to 51%” of the trust’s distributions, the documents state. Abramovich was relegated to a minority beneficiary with 49%. A subsequent deed, from late February, barred Abramovich from increasing his interest.
On 10 March, Abramovich was hit with sanctions by the UK, leading to the freezing of his assets, including Chelsea football club. The EU placed him under sanctions soon after. He is appealing against the decision, with his lawyers saying he was targeted for his prominence, not because he met the criteria. He has not been under US sanctions.
Under EU, UK and US rules, any asset more than 50% owned by an individual under sanctions can be frozen. “The 50% rule works slightly differently in different jurisdictions,” said Tom Keatinge, the director of the Centre for Financial Crime and Security Studies. “But under any version of the rules, it would have been attractive to reduce the interest of a trust beneficiary who was likely to be sanctioned. A lot of this was happening in the run-up to the war.” Abramovich declined to comment. There is no suggestion that Zhukova has ever taken any steps designed to undermine sanctions, including in connection with the collection. The art was owned by the trust, rather than by her, and she could not make decisions on its behalf. The Guardian understands that no pieces from the collection have been sold or disposed of since the change of beneficial interest in February last year. She declined to comment on the record.
When Leonardo da Vinci’s Salvator Mundi was sold at auction in 2017 for $450m, a new world record, at the centre of the deal was the renowned art expert Sanford Heller, who had advised the seller, another Russian multibillionaire named Dmitry Rybolovlev.
Heller is one of the art world’s great fixers, arranging loans to exhibitions and guiding the wealthiest collectors towards pieces that will burnish their connoisseur credentials.
In 2011, the documents show, Heller’s firm was hired by Abramovich’s Cyprus-based Harmony Trust on a $500,000-a-year retainer, starting a relationship that would endure for six years.
A contract between the trust and Heller Group, found in the files, states the firm would provide “recommendations for the purchase and sale of art” and even had the right to act for the trust at auction.
Even before Heller came on board, Abramovich – with Zhukova by his side – was willing to spend big, splashing more than $100m in a single weekend in 2008.
The day after acquiring Benefits Supervisor Sleeping, they bought Bacon’s Triptych at Sotheby’s for $86m, a record for a postwar work. And with Heller’s expertise on call, the spending continued. At least 10 pieces were either bought for, or valued at, more than $25m.
Now that war has returned to Europe, a question mark hangs over the collection. The last public loan appears to have been in 2021, when two Paula Regos were shown at her Tate Britain retrospective.
In October 2022, when the National Gallery opened the first major Lucian Freud exhibition in 10 years, pieces from the Abramovich-Zhukova collection were absent. The collection is not subject to an asset freezing order, meaning in theory works could be bought, sold and lent. But Abramovich’s sanctions meant a loan agreement with the Ermis Trust could not go ahead, the Guardian understands.
“It is regrettable that the trust that holds these works seems unable to lend them,” said the author and art market expert Georgina Adam. “These sanctions were imposed for good reason. Now, the consequence of Mr Abramovich’s investment in art is that the public are deprived of the opportunity to enjoy some of the greatest modern and contemporary works.”
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