Dali Picasso by Galerie Michael

G A L E R I E

M I C H A E L

Spanish Masters: A Collaborative View

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PICASSO, PABLO Avant la Pique I (Before the Pike I), 1959 DE TAIL This page-

DALI, SALVADOR Câ&#x20AC;&#x2122;erano Come Dei Lenzuoli Bianchi Che Coprivano Qualcosa (There Were Like White Sheets That Covered Something ), 1964 DE TAIL

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DALI, SALVADOR Tauromachie V (Bullfight 5), 1968 DE TAIL

A Selection of Works on Paper Introduction by Frank Hunter

On E xhibition March 28 â&#x20AC;&#x201C; May 1, 2015 F or full e xhibition, visit galeriemichael.com G A L E R I E

M I C H A E L

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Salvador Dali– The man, the work and his legacy“Le More Confusion, le better.” - Salvador Dali

Confusion, ambiguity, strange juxtapositioning and impeccable draftsmanship – some of the things one finds in a work by the Catalan master, Salvador Domingo Felipe Jacinto Dalí i Domènech, better known as Salvador Dali (1904-1989). Beginning at age six, young Salvador discovered his own innate artistic talent, at first creating small postcard size landscapes; later moving to record members of his immediate family - his father, mother and sister. Many of these works survive today in both museums and private collections. My first encounter with a work by Dali, one now considered his earliest extant work (“Landscape”, c. 1910), was while visiting a family friend, George Albert Field (1916-2003). Field, who became enamored by Dali’s work when he attended a Dali exhibition at New York’s Museum of Modern Art, acquired the painting just after the Second World War, on his first trip to Europe. It now resides at the Dali Museum in St. Petersburg, Florida. At first, I wasn’t impressed with “Landscape” until I was told it was painted by a 6-year-old. Lucky for me at the time, Field also owned a portrait done some twenty years later, of Dali’s wife, Gala (“First Portrait of Gala”, 1931). This painting, done in exquisite detail, struck me as a miniature masterpiece and hooked me on Dali. By the early 1920s and continuing for more than sixty years, Dali created a multitude of unforgettable images, unique to his philosophical view of life, art and personal relationships. Many of Dali’s images represent fetishesobjects of unreasonable excessive attention - such as crutches, and creatures like ants, grasshoppers and butterflies appear in many of his works. Many times I am asked, “What’s the meaning of the crutches?” or, “What’s the meaning of the ants?” And my response is, “No one, other than Dali, knows for certain”. Their ultimate meaning, of course, will always remain speculative. It is now known that Dali’s graphic output accounts for more than 1,600 individual works – etchings, engravings, lithographs, woodcuts and mixed media works. The majority of which constitute sets of prints usually contained in a portfolio or case and often accompanied by text. The earliest example of a Dali print set, and one of the most sought after works is Dali’s illustrations for Comte de Lautréamont’s (aka, Isadore-Lucien Ducasse) (1846-1870) “Les Chants de Maldoror.” This set of 42 illustrations, 30 full-page, and 12 vignettes, is highly collectable and a fine example from Dali’s Surrealist Period. Another example of prints from sets is titled “Dali Illustre Casanova.” Published in 1967 by du Livre Precieux (Paris), it is a good example of Dali interpreting the written word graphically, with illustrations based on several short stories of the infamous womanizer. Dali’s graphic works, or prints, were issued by a number of publishers, in the U.S. and in Europe. The most important of the European publishers were Pierre Argillet (Paris), and Jean Schnieder (Basel, Switzerland). A very fine example from one of Argillet’s print sets is the original drypoint (engraving), titled “Portrait de Marguerite” from the set titled “Faust.” Here Dali attempts to illustrate one of the main characters in von Goethe’s (1749-1832) tragic play, “Faust”. Two examples from Schneider’s editions, the original lithograph, “Beatrice” and the etching in color titled “Gala, mon Seul Désir”, are exhibited here. In 1955, with the participation of Salvador Dali, Albert Field established the Salvador Dali Archives; the purpose of which was to collect and catalog all books, articles, videos, etc. relating to Dali and his works. These materials, together with a large print collection, and his first-hand knowledge of publishers, printers and collectors, enabled him to publish the “Official Catalog of the Graphic Works of Salvador Dali” (1996, Salvador Dali Archives, Astoria, NY). This work illustrates most of the 1,600 Dali prints in full color and provides much needed information for collectors. Today, the Dali Archives continues the work Field started 60 years ago - establishing and maintaining databases for Dali’s art works, owners, and exhibition venues; as well as providing authentications for prints, sculptures and other works by Dali.

Botti, Giancarlo, 1931 – Photograph of artist Salvador Dali, Paris, 1969 Silver gelatin print photograph 913309

Dali’s prints, while appealing to our sense of wonder, mirror the unparalleled imagination of one of the great artistic minds of the 20th century, offering us a cornucopia of images - memorable as well as identifiable, as a work by the great Catalan eccentric genius, Salvador Dali.

Frank Hunter, Director

SALVADOR DALI ARCHIVES LTD. Averill Park, New York 2 March, 2015

DALI, SALVADOR , 1904-1989 Carmen: Awaiting the Fray, 1970 Color lithograph on Japon paper Signed and inscribed in pencil, EA This piece is from the suite ‘Carmen’, published by Shorewood Press and printed by Wolfensberger. Salvador Dali interprets Bizet’s famous opera and his work returns to all things Spanish and reveals his fascination with the colorful psychedelic explosion of those mind-bending times. As Sixties’ political rebellion gives way to Seventies’ decadence, we find the Spanish master undertaking his famous Carmen series of colored lithographs, published in 1970. The brigands, gypsies and smugglers, who form the cast of this most beloved of operas, are the perfect counterpoint to Dalí’s increasingly distracting wealth and fame. Dalí would depict the bullfight numerous times throughout his career and Bizet’s opera, set in Seville and featuring the toreador Escamillo in a primary role, provides Dalí with an ideal context in which to explore this most Spanish pastime. Field 70-1 U, Michler & Löpsinger 1323 21 ³/₁₀ x 16 ⁹/₁₀ in. 913301

Two Spanish Masters: Creative Tensions

Pablo Picasso at work on a series of copper plates

Galerie Michael is proud to present “Salvador Dali and Pablo Picasso - Spanish Masters: A Collaborative View”– an exhibition showcasing two of the most significant artists of the 20th century. Both were incredibly diversified, never defined by one media in particular, working in painting, prints, sculpture, design and photography. However, the creative tension between these two artists can be recognized throughout their professional lives, as their relationship shifted between rivals, friends and compatriots. Barbed with competition and mutual respect, influences of one artist can be seen in the other’s artwork. Born in 1881 and 1904 respectively, Pablo Picasso and Salvador Dali were greatly influenced by the cultural heritage of Spain, interchanging artistic themes of solemn and dramatic with luminous and bright. Picasso had an eclectic attitude to style, and although his work was usually characterized by a single dominant approach, he often moved interchangeably between different styles - sometimes even in the same artwork. As a defining figure in the Surrealist movement, Dali’s work is characterized by his imaginative and eccentric compositions. He believed that one should cultivate genuine delusion while remaining residually aware that the control of reason and will has been deliberately suspended. Archaeological excavations in Greece in the 1930s captured public interest and introduced Picasso to the Minotaur, the mythical creature with the head of a bull and body of a man. The artist immediately adopted the Minotaur as an alter ego,

portraying it in more than sixty works in the following decades. Fifteen prints from the Vollard Suite, one hundred etchings completed by Picasso in 1937, show the Minotaur as a symbol of energy, passion, and violent subconscious desires. Additional selections explore the connection between the aggressive beast and the bloody tradition of Spanish bullfighting, while others present Picasso as a contemplative classical sculptor. Salvador Dali also included mythological themes throughout his artwork, looking to myths of the past in order to understand fundamental principles of the human psyche. By alluding to mythical figures such as Oedipus and Narcissus, these myths allowed Dali to make the personal appear universal. They also provided opportunities for powerful analogies in his art. Despite the extraordinarily rich and diverse iconographic idiom that Dali developed, he made no attempt to hide his unabashed admiration for Picasso’s works. One of the great comparisons of the two artist’s works in our exhibition is the “Tauromaquia” (bullfighting). Inspiring many Spanish artists, the bull has a special place and meaning in art – symbolically representing the struggle against oppressive power. Pablo Picasso and Salvador Dali showed a shared fascination for the running of the bulls and they developed consistent and relevant works around this theme. Picasso first executed his “Tauromaquia” as illustrations in 1926 but the publishing process was halted in 1930. In 1956, Picasso revisited the project and the book was finally published in 1959. Salvador Dali converted Picasso’s famous “Tauromaquia Suite” in 1966/67 into his own vision. This reworking could not have happened without Picasso’s consent since it is believed that Picasso loaned Dali the plates to rework. As an artistic and competitive exercise between the two great artists, Picasso was seeing if Dali could do any better with the suite. Excellent examples of this suite by both artists are represented in our exhibition. It is widely acknowledged that Picasso’s lovers had an enormous influence on both his life and his art. For the most part, they did not pose for him in the traditional sense. Their physical characteristics were so familiar that on canvas, paper and in sculpture, they became symbolic rather than literal subjects. Dali’s wife, Gala, had a significant influence on his artwork as well. Gala was the personification of all his fantasies, and yet his fear and loathing of intimacy made it impossible for him to initially approach her- though he fell in love with her at first sight. Undoubtedly, Picasso and Dali are considered two of the most influential artists of the 20th century, both with very different but similar interpretations of the world around them. In the end, however close or competitive their visions may have been, what’s important to understand is that each of these artists had his own uniqueness, aesthetic and talent. After all, this is what matters most. - Galerie Michael’s Curatorial Department Sara Mokhtari Renee Rosso Susan Allen March 2015

The “King of Uranium,” Joseph H. Hirshhorn, offers everything he has, including his wife, Olga, for a work of art. He has already given Picasso his jacket, and now ties a bowtie around the neck of the astonished artist.

PICASSO, PABLO, 1881-1973 Head of a Satyr, 1960 Crayon drawing on paper Signed lower right and dated lower left. Fauns and satyrs began to appear with considerable frequency in Picasso’s work of the mid to late 1940s, when the artist was spending more time away from Paris, on the Côte d’Azur. The locale of southern France, so steeped in ancient history, provoked an outpouring of such imagery. Picasso commented ‘It is strange, in Paris I never draw fauns, centaurs, or mythical heroes... they always seem to live in these parts’. Provenance: Joseph H. Hirshhorn (acquired from the artist); by descent to Amy Hirshhorn; acquired by Barry Weinstein; acquired by Daniel Saidenberg with Hirschl & Adler Galleries, New York; acquired by the present owner in 1989 (Private Collection, Los Angeles). 13 x 9 ⅞ in. 913084

DALI, SALVADOR , 1904-1989

The Mythology: Icarus, 1963/5

The Mythology: Leda et le Cynge (Leda and the Swan), 1964

Etching and drypoint on Arches paper

Etching with aquatint printed in colors on Arches paper

Signed lower right and numbered lower left in pencil, 73/150. From a suite of 16 mixed media prints incorporating heliogravure and drypoint etching, some hand colored. Printed by Manuel Robbe. Published by Pierre Argillet, Paris. Dali’s delirious vision led to a long and fruitful collaboration with the collector and publisher Pierre Argillet. They produced nearly 200 etchings together. To name a few: le Christ, la Mythologie, SainteAnne, and l’Incantation. Field 63-3, Michler & Löpsinger 121 (a) 30 x 22 in. 913218

Signed, dated and numbered in pencil. Dali had a lifelong fascination with Greek mythology, and the story of Leda and the Swan always struck a chord with him. Told in various, slightly different versions, the myth tells the story of Leda, wife of the king of Sparta. She was loved by the god Jupiter, who transformed himself into a swan and came to lie with her. As a consequence of their union she bore the twins Castor and Pollux, who were hatched from eggs. This piece shows Dali’s interpretation of the myth. Field 63-3M, Michler & Löpsinger 126 20 x 15 ¾ in. 913081 .

DALI, SALVADOR , 1904-1989 Boceto Para el Cartel de Don Juan Tenorio (Design for the Poster of Don Juan Tenorio), 1949 Gouache, watercolor and pen and ink on card Signed and inscribed ‘Zorilla Escobar Tenorio Dali’ upper center and signed Dali 6 times in various places Dali created this poster design for the play Don Juan Tenorio, written in 1844 by José Zorilla and directed by Luis Escobar. Dali was commissioned to design backdrops and costumes for the play at the Maria Guerrero National Theater Company. He designed giant papier-mâché figures, animals and insects for the play, which fused effortlessly with Zorilla’s dreamlike and nonsensical writing style. The play is a re-telling of the story of Don Juan, the legendary fictional character who is portrayed as a wealthy, seductive libertine. He devotes his life to seducing women, taking great pride in his ability to captivate women of all ages and stages of life. His story is also intersperced with violence and gambling, and

in Zorilla’s play, he is spared eternal damnation after asking for divine pardon for his sins. Exhibition History: “Luis Escobar y la Vanguardia,” Sala Plaza de España, Madrid, 1991. “Tres Mitos Españoles - La Celestina - Don Quijote - Don Juan,” Centro Cultural Conde Duque, Madrid, 2004. “Visiones de Don Juan,” Sala de Exposiciones Santa Ines, Seville, 2009-10, no. 242, illustrated in color in the catalogue. “A Rebours,” May 9 - June 30, 2012 “Venus Over Manhattan,” New York, New York. Nicolas Descharnes has reviewed this piece and confirmed authenticity. Literature:Centro Dramático Nacional, Teatro María Guerrero, “Don Juan Tenorio de José Zorilla sobre escenografía y figurines de Salvador Dalí,” Madrid, 2003, illustrated pp. 14-15. 11 x 14 in. 912963

DALI, SALVADOR , 1904-1989 Vénus aux fourrures: La Botte violette (The Violet Boot), 1969 Drypoint with roulette work in sanguine ink on heavy cream wove paper Signed in ink lower left and dedicated ‘A Jean-Pierre Aucler.’ A unique dedicated proof apart from the signed edition of 145. Displaying an excellent tonal impression with rich drypoint. The remaining plates are owned by the publisher. This specific piece was printed at the studio of Graphik Europa Anstalt and issued by them in 1969. Drawn for the series ‘La Venus aux Fourrures’, with 20 original engravings (by both ruby and diamond burins, Etienne-Denis Briaillard, Geneve, 16 hors textes, 4 vignettes). Although the justification states there are 16 hors textes, the published book had 17. The text by Leopold von Sacher-Masoch is in French. Field 68-6 L, Michler-Löpsinger 359 12 ½ x 9 ⅜ in. 912372 .

PICASSO, PABLO, 1881-1973

Le Viol VII (Suite Vollard, plate 32), 1933 Aquatint with drypoint on paper Signed in pencil lower right From the Vollard Suite theme ‘Battle of Love.’ The Museum of Modern Art in New York City discusses Picasso’s Variations and Themes by commenting that ‘Sexuality is a recurring motif in Picasso’s art, depicted in various ways. In the 1930s he began making scenes of sexual aggression, to which scholars have since assigned titles ranging from the benign Embrace to Struggle, Battle of Love and Rape. At the time Picasso was influenced by Surrealism, which encouraged the exploration of unconscious thoughts and desires.’ Bloch 202 7 ¾ x 10 ¾ in. 913019

PICASSO, PABLO, 1881-1973

Homme dévoilant une Femme (Man Revealing a Woman), 1931

Bacchus et Femme Nue Entendue (Bacchus and Reclining Female Nude), 1934

Drypoint on vérge de Montval paper with Montgolfier watermark

Engraving and drypoint on Montval laid paper with Vollard watermark

Pencil signed lower right. Plate 5 from the Vollard Suite. From the edition of 50 on larger paper. Total tirage of 260 plus proofs. Printed by Lacourière after steelfacing in 1939. Bloch 138, Baer 203.II.B.c, S.V. 5 14 ¼ x 11 ½ in. 912089

From the edition of 55 printed by Lacouriere in 1942 without steelfacing. Total tirage of 55 plus proofs. Third and final state. Published by Vollard, Paris. Brigitte Baer identifies the woman as Marie-Therese, and titles this “Bacchus et Marie-Thérèse “(en Ariane?).” Bacchus, also known as Dionysus, was the ancient Greek god of wine and festivity. A major, popular figure of Greek mythology and religion, he is often depicted with satyrs (representing lust) and maenads (dancing girls or nymphs). His likeness has been executed by countless artists over the centuries, inlcuding Picasso. The bull, serpent, ivy, and wine are often woven into these depictions as well. Bacchus had two extreme natures to his personality. For instance, he could shift from bringing bliss and relaxation, which then often transitioned into bitterness and fury. Bacchus personified the nature of wine. When used reasonably it can be pleasant, however, if misused it can provoke negative effects. Bloch 284, Baer 432.III.c. 11 ¼ x 8 ¾ in. 911652

PICASSO, PABLO, 1881-1973 Le Viol sous la Fenêtre (Rape Beneath the Window), April 1933 Aquatint, etching and drypoint on Montval laid paper Signed lower right. Eleventh and final state, with Vollard watermark, signed in pencil, from the edition of 260 (there were also 50 with wider margins). Published/ printed by Ambroise Vollard in 1939/Roger Lacourière, Paris, with full margins. The Vollard Suite was named for its publisher, the famous Parisian art dealer and critic, Ambroise Vollard. Vollard gave Picasso his first show and served as his art dealer early on. In later years, he published two of Picasso’s illustrated books, and, emboldened by the success of those projects, commissioned Picasso in 1930 to create The Vollard Suite, a group of 100 prints which became Picasso’s most celebrated series. Picasso began creating these prints in 1933 and completed the series in 1937. Picasso turned the completed copper plates over to his master printer Roger Lacourière, who printed them in 1939. Vollard met an untimely death in a car accident that same year, and the print dealer Henri Petiet purchased the edition from Vollard’s estate. Bloch 183, Baer 342 XIV Bd 17 ½ x 13 ½ in. 912394

DALI, SALVADOR , 1904-1989

Tauromachie I (Bullfight 1), 1968

Tauromachie II (Bullfight 2), 1968

Color lithograph on Japon nacré paper

Signed and numbered in pencil, Dali ‘XVIII/L’. After an embossed gouache, with an additional edition of 150 on Rives paper. Rich, bold colors. With full margins. The bullfight, the exciting Spanish spectacle, has always fascinated artists around the world. The bull has always had a particular place and meaning in their artworks, and artists have used Tauromaquia as an instrument of struggle against the power oppressing men. Field 68-12-1, Michler & Löpsinger 1220 (b) 21 ½ x 17 ¾ in. 913241

Signed and numbered in pencil, Dali ‘XVIII/L’ After an embossed gouache, with an additional edition of 150 on Rives paper. Rich, bold colors. With full margins. Field 68-12-2, Michler & Löpsinger 1221 (b) 21 ½ x 17 ¾ in. 913242

DALI, SALVADOR , 1904-1989

Tauromachie III (Bullfight 3), 1968

Tauromachie IV (Bullfight 4), 1968

Tauromachie V (Bullfight 5), 1968

Color lithograph on Japon nacré paper

Signed and numbered in pencil, Dali ‘XVIII/L’ After an embossed gouache, with an additional edition of 150 on Rives paper. Rich, bold colors. With full margins. Field 68-12-3, Michler & Löpsinger 1222 (b) 21 ½ x 17 ¾ in. 913243

Signed and numbered in pencil, Dali ‘XVIII/L’. After an embossed gouache, with an additional edition of 150 on Rives paper. Rich, bold colors. With full margins. Field 68-12-4, Michler & Löpsinger 1223 (b) 21 ½ x 17 ¾ in. 913244

Signed and numbered in pencil, Dali ‘XVIII/L’ After an embossed gouache, with an additional edition of 150 on Rives paper. Rich, bold colors. With full margins. Field 68-12-5, Michler & Löpsinger 1224 (b) 21 ½ x 17 ¾ in. 913245

PICASSO, PABLO, 1881-1973 Farol (Bluff), 1959 Color linocut on ‘offset-fort’ paper ‘Epreuve d’essai’ of the definitive from before the edition of 50, apart from the one dedicated impression noted by Baer. A rare final proof. Ink stamp verso, ‘Imprimerie Arnéra Archives/ Non Signé’. Bloch 945, Baer 1223 (II.A) 6 ½ x 8 ⅞ in. 911192

PICASSO, PABLO, 1881-1973 Avant la Pique I (Before the Pike I), 1959 Color linocut on ‘offset-fort’ paper

Inscribed ‘2’ in pencil by the printer, lower margin. A trial proof of the second state before the edition of 50 for Galerie Louise Leiris, 1960. Baer mentions one such proof dedicated to Arnéra, while this impression is simply inscribed ‘2’ by Arnéra, indicating at least one other proof. Stamped verso ‘Imprimerie Arnéra/Non Signé/ Archives’. A working proof, it has some ink in the margins as well as an inky fingerprint. Bloch 946, Baer 1220.II.A 6 ½ x 8 ⅞ in. 911371 .

PICASSO, PABLO, 1881-1973 Pique I (Pike I), 1959 Color linocut on ‘offset-fort’ paper First state of two. Ink stamp verso, ‘Imprimerie Arnéra Archive/Non Signé’. A working proof printed in dark brown over a light brown background. Possibly unique working proof apart from the four impressions of this state. Bloch 944, Baer 1219 6 ½ x 8 ⅞ in. 911190

PICASSO, PABLO, 1881-1973 Pique I (Pike I), 1959 Color linocut on ‘offset-fort’ paper A working proof in black and brown over a light brown background, from before the edition of 50 for Galerie Louise Leiris, 1960. Baer records two or three such impressions. Printed by Arnéra. Bloch 944, Baer 1219.II.A 6 ½ x 8 ⅞ inches. 911372

DALI, SALVADOR , 1904-1989 Tauromachie surréaliste: Les perroquets (Surrealistic Bullfight: The Parrots), 1966/67 Heliogravure, reworked in drypoint, handcolored with stencil on Japon paper Signed lower right, inscribed XXI/C lower left in pencil 20 x 25 ¾ in. 913304

These heliogravures, with original remarque, were executed after designs based on Picasso’s La Tauromachie, 1957. Also bear stamped signature. Published by Pierre Argillet, Paris. Printed by Maeght. Michler & Löpsinger 159, Field 70-11

Upper right-

Tauromachie surréaliste: Le piano sous la neige (Surrealistic Bullfight: Piano under Snow), 1966/67

Heliogravure, reworked in drypoint, handcolored with stencil on Japon paper Signed lower right, inscribed XXI/C lower left in pencil 20 x 25 ¾ in. 913307 Center right-

Tauromachie surréaliste: La statue (Surrealistic Bullfight: The Statue), 1966/67

Heliogravure, reworked in drypoint, handcolored with stencil on Japon paper Signed lower right, inscribed XXI/C lower left in pencil 20 x 25 ¾ in. 913306

Lower right-

Tauromachie surréaliste: La télévision (Surrealistic Bullfight: Television), 1966/67

Heliogravure, reworked in drypoint, handcolored with stencil on Japon paper Signed lower right, inscribed XXI/C lower left in pencil 20 x 25 ¾ in. 913305

Upper left-

Tauromachie surréaliste: Tauromachie au tiroir (Surrealistic Bullfight: Bullfight in a Drawer), 1966/67

Heliogravure, reworked in drypoint, handcolored with stencil on Japon paper Signed lower right, inscribed XXI/C lower left in pencil 20 x 25 ¾ in. 913303

Lower left-

Tauromachie surréaliste: Les moulins (Surrealistic Bullfight: The Windmills), 1966/67

Heliogravure, reworked in drypoint, handcolored with stencil on Japon paper Signed lower right, inscribed XXI/C lower left in pencil 20 x 25 ¾ in. 913308

DALI, SALVADOR , 1904-1989 Tauromachie surréaliste:n La girafe en feu (Surrealistic Bullfight: Giraffe on Fire), 1966/67 Heliogravure, reworked in drypoint, handcolored with stencil on Japon paper Signed lower right, inscribed XXI/C lower left in pencil 20 x 25 ¾ in. 913302

DALI, SALVADOR , 1904-1989 Les Chants de Maldoror: L’Homme au Fleur (The Man with the Flower), 1934 Heliogravure and drypoint on wove paper From the illustrated book ‘Les Chants de Maldoror’ by Comte de Lautréamont and published by Albert Skira in Paris. This specific print is from the first edition of 60 copies of the book on Arches paper, aside from the edition of 40 suites on Japon paper. In 1930 Dali was invited to illustrate Les Chants de Maldoror, an 1869 text rediscovered by the Surrealists in the 1930s that told a nightmarish tale of an unrepentantly evil protagonist. The book was filled with scenes of violence, perversion, and blasphemy. Dali, who worked in a method he called ‘paranoiac-critical’, used a stream-of-consciousness process to access hallucinations and delusions. These personal visions, rather than scenes described in the prose poem, became the subjects of his illustrations. Michler & Löpsinger 38, Field 34-2 8 ¾ x 6 ¾ in. 913144

DALI, SALVADOR , 1904-1989 C’erano Come Dei Lenzuoli Bianchi Che Coprivano Qualcosa (There Were Like White Sheets That Covered Something ), 1964 Rare pen and ink with Décalcomanie, ball-point pen and aerography on paper Signed and dated in pen lower right. Décalcomanie is a decorative technique by which engravings and prints may be transferred onto other materials. This technique was commonly used among surrealist artists by using gouache spread thinly on a sheet of paper, which is then pressed onto another surface such as a canvas. Aerography is another surrealist method in which a stencil used in spraypainting is replaced by a three-dimensional object- this technique is most recognizable as a blended and photorealistic style. These techniques illustrate the DADA influence - art by chance and not by choice. The result is an extraordinary richness evoking the absolute qualities of a dream. Exhibited: Turin, Palazzo Bricherasio, Salvador Dalí, la vita è sogno, November 1996 - March 1997. Bruges, Stichting Sint-Jan, Salvador Dalí. Doeken & Aquarellen, July – November 1997. Augsburg, Römisches Museum, Dalí, Mara e Beppe, Bilder einer Freundschaft, September- November 2000. Literature: M. de Cervantes, Don Chisciotte della Mancia, ed. Aldo Palazzi, Milan, 1965, p. 385 (illustrated). Provenance: Acquired directly from the artist and thence by descent to the previous owner who is a private collector in Europe. 13 ⅞ x 11 in. 913296

PICASSO, PABLO, 1881-1973 Picador, 1959 Color linocut on watermarked Arches paper

Inscribed by the printer ‘le 7-10-59 à tirer/1ère épreuve/5-10-59’ A proof before the edition of 50 published by Galerie Louise Leiris, 1960. Printed by Arnéra. An inscription by Hidalgo Arnéra indicated this was the first impression taken from the plate. Baer records 3 such impressions in brown over a light brown background. Ink stamp verso, “Imprimerie Arnéra Archives/Non Signé”. All impressions recorded by Baer have a stamp mentioning “7 Sept. 59” on the bottom margin on the left. Our

impression has a written inscription rather than a stamp. Bloch 909, Baer 1226.I. The imagery of a bull’s head is arguably one of the most recognizable themes in Picasso’s work. His fascination captured the public’s attention notably with Tête de taureau (Bull’s Head), a found object artwork, created in 1942 from seat and handlebars of a bicycle. It is described as Picasso’s most famous discovery, a simple yet ‘astonishingly complete’ metamorphosis. Picasso described the artwork saying: ‘Guess how I made the bull’s head? One day, in a pile of objects all jumbled up together, I found an old bicycle seat right next to a rusty set of handlebars. In a flash, they joined together in my head. The idea of the Bull’s Head came to me before I had a chance to think.’- Brassai, George (1999). Conversations with Picasso. University of Chicago, pp. 61. 20 ⅞ x 25 ¼ in. 912094

PICASSO, PABLO, 1881-1973

Tête de taureau, tourné à droite (Bull’s Head, Turned to the Right ), November 1948

Tête de taureau, tourné à gauche (Bull’s Head, Turned to the Left), November 1948

Lithograph on watermarked Arches paper

Inscribed ‘123’, ‘M 123’ and initialed by the printer Fernand Mourlot ‘6/6 FM’ in pencil verso. Mourlot’s only state. Mourlot calls for five proofs and a signed and numbered edition of 50. Full sheet with deckled edges. Printed by Imprimerie Mourlot, Paris. Published by Daniel-Henry Kahnweiler, Galerie Louise Leiris, Paris. This lithograph continues his fascination with bulls, creating again a simplified, abstract bull’s head, turned to the right in a 3/4 view. Mourlot 123, Bloch 574 25 ½ x 19 in. 912569

Inscribed ‘124’, ‘M 124’ and initialed by the printer Fernand Mourlot ‘6/6 F Mourlot’ in pencil verso Mourlot’s only state. Mourlot calls for five proofs and a signed and numbered edition of 50. Full sheet with deckled edges. Printed by Imprimerie Mourlot, Paris. Published by Daniel-Henry Kahnweiler, Galerie Louise Leiris, Paris. Mourlot 124, Bloch 575 25 ½ x 19 in. 912562

PICASSO, PABLO, 1881-1973 Portrait de Jacqueline accoudée (Portrait of Jacqueline Leaning), 1963-64 Linocut rincé in white and India ink on Arches wove paper Signed in red crayon lower right. One of only five recorded impressions. Together with Jacqueline Rocque, Picasso left Paris in 1958 and moved permanently to the South of France, dividing his time between La Californie at Cannes, and the newly acquired Château de Vauvenargues, near Aix-en-Provence. Up to this point, Picasso’s involvement with linocuts had been rather casual. He had produced a series of simple posters for the village of Vallauris above Cannes, starting with La Chèvre (Bloch 1257) in 1952. Six years later however, he embraced the medium eagerly, working with a young printer from Vallauris, Hidalgo Arnéra. Never shy of a challenge, Picasso began his new engagement with the technique by interpreting a highly complex old master painting, Lucas Cranach the Younger’s Portrait of a Young Girl. The result was astonishing, given Picasso’s relative inexperience, but he found the exercise exasperating, because of difficulties in registering six different blocks precisely, one on top of the other. As a result of this frustration Picasso simply re-invented the technique: rather than use separate blocks, he printed from just one; the so-called ‘reduction’ method. Before Picasso abandoned the linocut process again in 1964, he produced a group of prints which has come to be known as épreuves rincées (rinsed proofs). They were made by printing the linoblock in creamy white ink, then brushing the image with encre de Chine. Once this had dried he would rinse the print with water. Where the ink sat on top of the printed surface it would be washed away, whereas in the blank spaces the ink had been absorbed into the paper, and would therefore remain. As we can observe in the present portrait of Jacqueline, the result of this puzzling technique is a delicate and light brushstroke image. Every impression is unique as the process of brushing and rinsing the ink with water varies and creates different effects to the image. Baer records the existence of only five impressions of this beautiful portrait, of which two are dedicated to Jacqueline herself, and one to Georges Bloch. Two others, presumably including the present one, are in private collections. Bloch. 922, Baer 1240C 29 1/2 x 24 3/10 in. 912867

DALI, SALVADOR , 1904-1989 Beatrice, 1964 Zinc lithograph on buff BFK Rives wove paper Signed and inscribed in blue crayon, ‘Epreuve d’Artiste.’ A unique artist’s proof aside from the edition of 125 on Rives paper, the edition of 25 on Japon nacré paper, the edition I-X on Auvergne and the few proofs on red paper. Printed by Desjobert, published by Jean Schneider, Basel. This work portrays Beatrice, the love interest of Dante Alighieri in the literary masterpiece, The Divine Comedy. The poem recounts the tale of the author’s journey through Hell, Purgatory, and Heaven, guided by Virgil. After repenting, he is joined by Beatrice for the rest of his journey through Paradise to receive a glimpse of God. Dalí often equated Gala, his wife and inspiration, with Dante’s Beatrice. Michler & Löpsinger 1142, Field 64-1 23 ¼ x 20 in. 913024

PICASSO, PABLO, 1881-1973

Tête de Jeune Garcon, 1945

Góngora - Illustration. Femme aux Cheveux Bouclés (Head of a Woman with Curly Hair), 1947

Lithograph on Arches watermarked wove paper Dated in the plate lower right. One of only 18 artist’s proofs of the first state of three of this motif which Picasso worked out during the same day. Provenance: Picasso Estate to Marina Picasso (bearing her collection stamp verso: 46.297; Private collection Frankfurt, Germany. Bloch 378 11 ½ x 9 in. 912510

Original aquatint on Marais paper with the Gongora watermark designed by the artist From the edition of 250. Book edition “209/250”. Bloch 501, Baer 763, Cramer no. 51/26 15 x 11 in. 904264 .

PICASSO, PABLO, 1881-1973 Góngora- Illustration. Femme aux Cheveux Bouclés (Head of a Woman with Curly Hair), 1947 Original engraved copper plate Original copper plate made by the artist to illustrate the book “Vingt Poèmes de Góngora”. This copper plate is the one used to print the page “Illustration. Femme aux Cheveux Bouclés,” with the date 27.2.47 XI Góngora. The copper plate was cancelled by Jacques Frelaut on April 15, 1983. Interest in the work of Luis de Góngora y Argote revived at the beginning of the 20th century. Known as the ‘father of modern poetry’, his style was considered difficult because of Latin syntax, a charged & decorative style, and a deliberate choice of illogical metaphors. Picasso shared this interest in Góngora’s poetry, illustrating 20 sonnets, decorating them richly with full-page etchings. Bloch 501, Baer 763, Cramer no. 51/26 16 ⅛ x 12 ⅛ in. 904263 Sold as a set of four (with accompanied poem copper plate and poem print)

DALI, SALVADOR , 1904-1989

L’Alchemiste (The Alchemist), 1972

Le Bureaucrate, 1969

Original drypoint, some sanguine ink and hand coloring on pale cream wove Arches paper

Etching on Arches paper

Signed in ink lower left margin ‘Essuyé l’Orteil’ (Clean the Toe), ‘bon à tirer’ and ‘Dali’. A unique proof for an unissued edition of this drypoint. Although contracts exist for an edition of this drypoint it appears that the editions were never printed or issued. It seems that the few proofs that were pullled (this and two others) were abandoned. Rich proof impression with tone in sanguine ink. Very rare and highly collectable ‘bon a tirer’ impression. Published by Euka. Michler & Löpsinger 581 51 x 44 in. 912415

Signed lower right, numbered 27/120 lower left. Authenticated verso by Frank Hunter of the Salvador Dali Archives LTD., 26 January 2010. Published by A. F. Petit, printed by Visat. The image of the bureaucrat first appears in Dali’s work in 1930 in a series of paintings. It is a depiction of his father, Don Salvador Dalí y Cusi, with whom he had a strained relationship. The convoluted nature of Dali’s relationship with his disciplinarian father is illustrated in this print, specifically in the way the likeness of his father dominates the subject matter. A middle-class lawyer and notary, Don Salvador Dalí y Cusi strongly disapproved of his son’s romance with Gala, and saw his connection to the Surrealists as a bad influence on his morals. Dali’s creativity and defiant attitude distanced him from his father, but it would also become the cornerstone of his wildly imaginative artistic feats. Fields 69-2, Michler & Löpsinger 343 (a) 22 x 15 ⅛ in. 910477 .

DALI, SALVADOR , 1904-1989

DETAIL

Nu Gris (Nude in Grey), 1967 Lithograph on Japon nacré paper Signed in the margin with hand drawing. From the set of four lithographs ‘Hommage à Meissonier’. For an exhibition and tribute to Meissonier at Hotel Meurice. Printed by Desjobert, published by Jean Schneider, Basel. Total tirage of 300, this piece is from the edition of 150. At the time of their appearance, the works from this series did not reach the expected popularity as they showed the classical side of Dali rather than his more surrealistic side. In these works Dali starts from simple compositions, attracting all the attention to the subject and the actual draftsmanship rather than symbols and surrealistic images. The nude study is reminiscent of the 19th century compositions of Degas and Lautrec, a stolen glance from an intimate moment. These moments of drawing are more personal than posing models and are mostly void of background. Their focus is on honoring the model and the moment, like a study or sketch. This piece shows a side of Dali that is lesser known - the draftsman with a powerful pen putting a series of emotions into a single stolen moment. Michler & Löpsinger 1176, Field 67-2 A 25 ¹/₅ x 19 ⅛ in. 913165

DALI, SALVADOR , 1904-1989 Symphony Bicyclette, 1970 Color lithograph on BFK Rives paper

Symphony Bicyclette is a print of the highest level of surrealism. It is a work that takes on epic proportions. The lithography shows a coordinated everlasting system of men riding bicycles while balancing a stone on their head. Painted almost entirely in black and white, Symphony Bicyclette resembles the cartoonish look of an old comic strip. The few colors that exist come from the towers of orange and red flames and the apocalyptic sunset at the end of the landscape. Dali accomplishes his goal in trying to convey the grandness of symphony through pictures. Symphony Bicyclette urges us to celebrate our dreams, because through them we can imagine the triumph of humanity. Field 70-4 30 x 22 in. 913318. .

DALI, SALVADOR , 1904-1989 Moi, aussi, j’ai connu l’empereur (I, Too, Knew the Emperor), 1970 Drypoint etching on ochre Richard de Bas paper Signed lower right, inscribed ‘E.A.’ lower left in pencil This portrait of Picasso as the emperor Napoleon demonstrates the parameters of Dali’s unique style. The integration of unrelated objects such as the small portrait head at the lower right and the leaf forms near Picasso’s temple make this highly detailed portrait of the Spanish artist quite suitable for inclusion in the Surrealistic oeuvre of Dali’s late career. In this portrait, Dali qualified Picasso as a genius- he saw him as an emperor and would present him crowned with a laurel wreath. The symbolism in this piece refers to values such as intellectualism and sentimentalism- a fellow artist for whom Dali felt great admiration. Field 70-7 b/b, Michler & Löpsinger 448 (c). 15 ½ x 11 7/10 in. 913023

I N D E X A R T I S T, T I T L E

PA G E

DALI, SALVADOR

PA G E

DALI, SALVADOR

Carmen: Awaiting the Fray

Le Bureaucrate

The Mythology: Icarus

Nu Gris (Nude in Grey)

The Mythology: Leda et le Cynge (Leda and the Swan)

Symphony Bicyclette

Boceto Para el Cartel de Don Juan Tenorio (Design for the Poster of Don Juan Tenorio)

Moi, aussi, j’ai connu l’empereur (I, Too, Knew the Emperor)

Vénus aux fourrures: La Botte violette (The Violet Boot)

PICASSO, PABLO Head of a Satyr

Tauromachie I (Bullfight 1)

Tauromachie II (Bullfight 2)

Tauromachie III (Bullfight 3)

Tauromachie IV (Bullfight 4)

Tauromachie V (Bullfight 5)

Tauromachie surréaliste: Les perroquets (Surrealistic Bullfight: The Parrots),

Tauromachie surréaliste: Le piano sous la neige (Surrealistic Bullfight: Piano under Snow)

Tauromachie surréaliste: La statue (Surrealistic Bullfight: The Statue)

Tauromachie surréaliste: La télévision (Surrealistic Bullfight: Television)

Picador

Tauromachie surréaliste: Tauromachie au tiroir (Surrealistic Bullfight: Bullfight in a Drawer)

Tête de taureau, tourné à droite (Bull’s Head, Turned to the Right)

Tête de taureau, tourné à gauche (Bull’s Head, Turned to the Left)

Tauromachie surréaliste: Les moulins (Surrealistic Bullfight: The Windmills)

Portrait de Jacqueline accoudée (Portrait of Jacqueline Leaning)

Tauromachie surréaliste:n La girafe en feu (Surrealistic Bullfight: Giraffe on Fire)

Le Viol VII (Suite Vollard, plate 32)

Homme dévoilant une Femme (Man Revealing a Woman)

Bacchus et Femme Nue Entendue (Bacchus and Reclining Female Nude)

Le Viol sous la Fenêtre (Rape Beneath the Window)

Farol (Bluff)

Avant la Pique I (Before the Pike I)

Pique I (Pike I)

Tête de Jeune Garcon

Les Chants de Maldoror: L’Homme au Fleur (The Man with the Flower)

Góngora- Illustration. Femme aux Cheveux Bouclés (Head of a Woman with Curly Hair)

C’erano Come Dei Lenzuoli Bianchi Che Coprivano Qualcosa (There Were Like White Sheets That Covered Something)

Góngora- Illustration. Femme aux Cheveux Bouclés (Head of a Woman with Curly Hair)- copper plate

Beatrice 24 L’Alchemiste (The Alchemist)

A R T I S T, T I T L E

BOTTI, GIANCARLO

Photograph of artist Salvador Dali, Paris

This page-

PICASSO, PABLO,

Le Viol VII (Suite Vollard, plate 32), 1968 DE TAIL

Back cover

DALI, SALVADOR Tauromachie V (Bullfight 5), 1968 DE TAIL

G A L E R I E

M I C H A E L

Building Museum Qualit y Collect ions One Work at a Time

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