From borrower to lender: How Louvre Abu Dhabi is sharing its masterpieces with the world

More than five centuries ago, skilled artisans in Mamluk Cairo crafted a luxurious wool carpet adorned with three medallions. This exquisite piece became highly sought-after across the Mediterranean, adorning the homes of Europe's affluent and influential elite, including popes, who exchanged it as diplomatic gifts. The rare carpet now forms part of Louvre Abu Dhabi's permanent collection, having recently traveled to Europe to be displayed at the Louvre in Paris as part of a major exhibition exploring the Mamluk dynasty and its artistic heritage.

This loan, seemingly a standard exchange between museums, underscores how far Louvre Abu Dhabi has progressed since its opening in 2017. Initially, the museum relied heavily on borrowing artworks from international institutions and collectors. However, over time, it has evolved into a lending institution as well, with many of its masterpieces now displayed abroad.

Guilhem Andre, who joined the Louvre Abu Dhabi project in 2012 and played a crucial role in building its collection, now serves as the museum's director of scientific, curatorial, and collections management. Andre is the editor of Birth of a Collection, a coffee table book that chronicles much of the work he has overseen, featuring contributions from 42 scholars, curators, and historians who examine 240 objects, ranging from ancient artifacts to modern and contemporary artworks.

While the artworks showcased at Louvre Abu Dhabi narrate part of the museum's story, Andre emphasizes that the museum's collection encompasses much more. Since its opening, Louvre Abu Dhabi has lent 42 works to exhibitions in the UAE, the Gulf, and internationally, including prestigious venues such as the Metropolitan Museum of Art in New York, Musee d'Orsay in Paris, and the Galleria Borghese in Rome.

Outgoing loans have more than tripled since 2021. Notably, the museum's own collection has also seen significant growth. When it first opened, around 30% of the artworks in its permanent galleries were owned by the museum, but by 2021, this percentage had surpassed 50%, reaching 56.8% in 2025. The collection has expanded from approximately 600 works at opening to over 6,000 today, including items stored or preserved rather than on display.

The acquisition of masterpieces has been a continuous process, addressing gaps in the collection. Andre notes that private collectors face similar challenges, and the museum's focus on featuring masterpieces sets it apart. The book highlights the importance of addressing these gaps, particularly in acquiring Asian, African, and Oceanian art, which were previously underrepresented.

Among the recent acquisitions is an ornate ivory casket from the Kingdom of Kotte in present-day Sri Lanka, dating back to around 1543. Decorated with gold, rubies, and sapphires, the casket belonged to a select group of objects sent by Kotte's rulers as diplomatic gifts to the Portuguese royal court. This acquisition exemplifies the museum's commitment to telling compelling stories through its collection, showcasing the connections between diverse civilisations across time.

Andre envisions a future where the permanent galleries could be populated entirely with the museum's own collection, allowing it to achieve full autonomy and lending more masterpieces to international institutions.