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Salvador Dali (spanisch, 1904 - 1989), Lithographie, Kohle morgen, 1977, Erschienen für den Gesamtverband Deutscher Steinkohlebergbau, sign. und dat. unten links, Maße gerahmt: ca. 80,5 x 97,5 cm.

Salvador Dali (spanisch, 1904 - 1989), Multiple, sign. und. nummeriert, Die Versuchung des heiligen Antonius, sign. im Blatt, Maße gerahmt: ca. 74 x 83 cm.

Surrealismus - - Salvador Dalí. (1904 - 1989 Figueras). Les Caprices de Goya de Dalí. 1977. Sammlung von 25 Blatt. Kaltnadelradierungen über Heliogravüren mit Pochoir auf Rives-Bütten. Plattenmaß je ca. 23 x 17 cm, Blattmaße je 44,5 x 31 cm. Je signiert und nummeriert (ausgenommen das Titelblatt Nr.1). Je in der Platte bezeichnet "Goya" u. "Dali". - Teils an den Kanten leicht gebräunt und verso mit Papierrückständen alter Montierung. 1 Bl. im linken unteren Eck etwas angeschmutz, 1 Bl. am linken Rand etwas knickspurig u. mit kl. Fehlstelle. Bl. Nr. 1 unter Passepartout montiert, am unteren Rand knickspurig sowie mit kurzem Einriss. Insgesamt sauberes Set. Je eins von 200 Exemplaren. - Michler/Löpsinger, 848-851 u. 853-873. - Enthält Blatt 1-4 und 6-26, in denen sich die falsche Erziehung, Emporkömmlinge und die geistlose Theologie darstellen. - Das Titelblatt (Plattenmaße 39 x 31 cm, Blattmaß 44,5 x 31 cm) ein Spécimen (als solches im unteren weißen Rand gestempelt). - Druck und Pochoir bei Ateliers Rigal. Die Serie entstand nach Goyas Caprichos. Die übernommenen Darstellungen sind in Heligravüren gedruckt, Dalis Interventionen in Kaltnadel radiert. Das Titelblatt weist den größten Anteil von Dali auf, lediglich das Bildnis Goyas erscheint als Heliogravure. Collection of 25 sheets. Drypoint etchings over heliogravures with pochoir on Rives laid paper. Each signed and numbered (except title page no.1). Each inscribed in the plate "Goya" and "Dali". - Partly slightly browned at the edges and with paper residues of former mounting on verso. 1 sheet in the lower left corner somewhat soiled, 1 sheet in the left margin somewhat creased and with small missing part. Sheet no. 1 mounted under passepartout, at lower margin creased and with short tear. Overall clean set. - Each one of 200 copies. - Contains sheets 1-4 and 6-26. - The title page is a spécimen (stamped as such in the lower white margin). - Printed and pochoir by Ateliers Rigal.

André Villers. (1930 Beaucourt - 2016 le Luc). Set aus 2 Photographien. 1955/1960. Je Vintage Silbergelantine auf Photopapier. 1 Bl. ein Negativabzug. Blattmaße von 24 x 18 cm bis 30,4 x 24,5 cm. Je mit Photographenstempel und verso mit Bezeichnung. 1 Bl. verso datiert und in Graphit bezeichnet. - 1 Bl. mit leicht bestoßenen Ecken. Jeweils verso mit Spuren der vorherigen Montierung. 1 Bl. unauffällige kurze Knickspuren. Enthalten sind: Ders. - Pablo Picasso und Jean Cocteau. La Californie, Cannes. Die Ziege hat viele Zeichnungen von Picasso gefressen. Sie ist deshalb angeleint. 1960. - Salvador Dali. 1955.

Surrealismus - - Salvador Dalí. (1904 - 1989 Figueras). Les Caprices de Goya de Dalí. 1977. Sammlung von 21 Blatt. Kaltnadelradierungen über Heliogravuren mit Pochoir auf Rives-Bütten. Plattenmaß je ca. 23 x 17 cm, Blattmaße je 44,5 x 31 cm. Je signiert und nummeriert. Je in der Platte bezeichnet "Goya" u. "Dali". - Vereinzelt an den Kanten leicht gebräunt und verso mit Papierrückständen alter Montierung. Insgesamt sauberes Set. Je eines von 200 Exemplaren. - Michler/Löpsinger, 907-927. - Enthält Blatt 60-80, mit den Darstellungen von perversem Klerus, Geschlechter-Beziehungen und Hexen. - Druck und Pochoir bei Ateliers Rigal. Die Serie entstand nach Goyas Caprichos. Die übernommenen Darstellungen sind in Heligravüren gedruckt, Dalis Interventionen in Kaltnadel radiert. Collection of 21 sheets. Drypoint etchings over heliogravures with pochoir on Rives laid paper. Each signed and numbered. Each inscribed in the plate "Goya" and "Dali". - Partly slightly browned at the edges. Overall clean set. - Each one of 200 copies. - Printed and pochoir by Ateliers Rigal.

A large framed poster of Barcelona featuring many artists in the crowds including Picasso & Dali

Salvador Dali 1904 - 1989 - A German Leather Bound Ltd Edition Set of ( 40 ) Biblia Sacra Prints by Salvador - Dali. Including a Publication Document Certificate, Numbered x ( 10 ) of 112, And a Hand Signed Photo of Dali, By The Artist. Each Print Is Signed Within The Plate and Enclosed Within a Card Frame, With Signature Stamped In Gold. Dimensions - Height 43 cms, Width 32 cms & Depth 6 cms. All Aspects of Condition Mint.

Salvador Dali (Spanish, 1904-1989), Butterfly and Bullfighter, lithograph on paper, signed in pencil lower right, E.A. (artist proof) in pencil lower left, blind stamp, H.70.5cm W.51.5cm, full sheet H.76cm W.54cm

Salvador Dalí (1904-1989), nach, ''Apparatus and hand'', Giclee-Print auf Bütten nach dem frühen Gemälde von 1927, u. re. im Druck sign., u. li. handnum. ''MCXCIIII/MM'', in der unteren li. Ecke Prägestempel ''Dali mit Krone'', 45 x 34 cm, Blattmaße 65 x 50 cm

Salvador Dali (1904-1989), nach, ''Tienta en Espana'' (Arenakampf mit Pferden), Granolithographie nach dem Aquarell, u. mittig in der Vorlage sign. u. dat. 1960, 63 x 84 cm, hinter Glas u. Pp. ger. 88 x 109 cm

Salvador Dali (1904-1989), ''La Danse'', Farblithographie, 1963, publiziert von Les Heures Claires, war das Blatt ursprünglich für den 100-teiligen Zyklus zur Göttlichen Komödie bestimmt. Da es dort jedoch als 101. Motiv unberücksichtigt blieb, wurde es separat publiziert, u. re. handsign., u. li. num. CXX/CL, gleichmäßig gebräunt, Blattmaße 66 x 50 cm

SALVADOR DALI (1904-1989) – a circa 1975 limited edition (7 of 20) drypoint etching, 'La Quéte du Saint Graal-Viviane et Lancelot du lac'. Signed in pencil lower right. Glazed gilt frame. Sotheby's sticker to glass lower left and Lyver & Boydell Galleries paper label verso

Keramik-Fliese des SALVADOR DALI von 1954. Ca. 19 x 19 cm. Limitierte Auflage 297/387. Entwurf für DGM (Präsent Edition). Signiert: Salvador Dali in Gold. Im Passepartout gerahmt, Rahmen beigegeben, max. Außenmaß ca. 42 x 40 cm.

It comes from the book Dali illustre Casanova published in 1967 by Cercle du Livre Precieux. Plate signed. Provenance: Collection of Andre Hubert (who was an illustrator for Les Editions de l'Ibis, Paris) Image Size: 14.5 x 10.5 in. Overall Framed Size: 24 x 19 in. Framed behind glass.

Salvador Dali, 1976. 1904 - 1989. No. 407/500. female figure. Some moisture stains. Lithograph on paper. Dimensions: H 78 x W 60 cm. In reasonable condition.

Salvador Dali (1904-1989) Surrealist print entitled The Persistence of Memory.(Melting Clocks) published circa 1990's. Frame size approx 21 ¼ x 17 inches (Glazed) Collect only.  

A Rococo style gilt gesso picture frame, bears Salvador Dali label and Museum of Modern Art New York loan label to reverse, aperture 22 by 44cms.

Salvador Dali, an illustration from Alice in Wonderland, 'The Rabbit Sends in Little Bill', mixed technique printing, 16" x 11".

Salvador Dali, an illustration from Alice in Wonderland, 'The Queen Croquet', mixed technique printing, 16" x 11".

Salvador Dali, an illustration from Alice in Wonderland, 'The Lobster Quadrille',  mixed technique printing, 16" x 11".

"Salvador Dali. "Venus de Milo with drawers". Bonze. Signed "Salvador Dali" on the front. Marked EA on the back (artists proof). Airaindor stamp on the back. Annotated "BN" on the back (Natural Bronze). Dedicated on the left side "For Eva" with a heart. Dimensions: 21 x 5.5 x 6 cm. Referenced in, "Dali, Le Dur et le Mou, sculptures et objets", Editions Eccart, 2004, by Robert and Nicolas Descharnes, n ° 68 p. 37." - Sizes: H=200mm L=55mm - Weight (K): 0,659kg - Condition: at first glance - good condition - no restoration - no repair - Author / artist: Salvador DALI

"Salvador Dali Very beautiful hand signature of "Dali". Lead pencil on arches paper. Carried out on April 28, 1978 during the dedication of the BABAOUO books. Dimensions of the signature: 21 x 13 cm" - Sizes: H 220mm L 350mm - Weight (K): 0,865kg - Condition: at first glance - good condition - no restoration - no repair - Author / artist: Salvador DALI

"Salvador Dali. “Girafe en feu†Color engraving on arches paper. Signed "Dali" lower right in pencil. Annotated EA lower left in pencil. Dimensions: 35 x 25 cm" - Sizes: H: 415 mm L: 320 mm Hors cadre: 335 mm L: 240 mm - Weight (K): 1,2kg - Condition: at first glance - good condition - no restoration - no repair - Author / artist: Salvador DALI

"Salvador Dali. “Chapelle†Color engraving on arches paper. Signed "Dali" lower right in pencil. Annotated EA lower left in pencil. Dimensions: 35 x 25 cm " - Sizes: H: 420 mm L: 320 mm Hors Cadre: H:335 mm L: 235 mm - Weight (K): 1,2kg - Condition: at first glance - good condition - no restoration - no repair - Author / artist: Salvador DALI

"Salvador Dali. "Greed and Prodigality". La Divine Comedie - Le purgatoire - Chant 20. 1963. Woodcut in colors on Rives vellum. Signed "Dali" in purple pencil. Numbered 12/150 in purple pencil. Publisher: Les Heures Claires, Paris. Dimensions: 33 x 26.3 cm. Referenced: “The Official Catalog of the Graphic Works of Salvador Dali†by Albert Field. Pages 197 and pages 195 â€." - Sizes: H: 350 mm L: 285 mm Hors Cadre: H:320 mm L: 225 mm - Weight (K): 0,425kg - Condition: at first glance - good condition - no restoration - no repair - Author / artist: Salvador DALI

"Salvador Dali. “Preparation of the final prayerâ€. La Divine Comedie - Le paradis - Chant 32. 1963. Woodcut in color on Rives vellum. Signed "Dali" in blue pencil. Numbered 33/150 in blue pencil. Publisher: Les Heures Claires, Paris. Dimensions: 33 x 26.3 cm. Referenced: “The Official Catalog of the Graphic Works of Salvador Dali†by Albert Field. Pages 197 and pages 199 â€. " - Sizes: H: 350 mm L: 285 mm Hors Cadre: H:320 mm L: 225 mm - Weight (K): 0,425kg - Condition: at first glance - good condition - no restoration - no repair - Author / artist: Salvador DALI

"Salvador Dali. 1954. The Game - The kiss of fire n ° 1. Hand painted ceramic and enamel. Signed "Dali" on the front. Marked on the back Made in Spain as well as the stamp "ALL RIGHTS RESERVE TILES BY DALI 1954". Dimensions: 20 x 20 cm. Carrying the label on the back "Galerios Museo Objetos Para La Decoracion." - Sizes: H=200mm L=200mm - Weight (K): 0,7kg - Condition: at first glance - good condition - no restoration - no repair - Author / artist: Salvador DALI

"Salvador Dali. 1954. The Game - The Vegetable Sun n ° 3. Hand painted ceramic and enamel. Signed "Dali" on the front. Marked on the back Made in Spain as well as the stamp "ALL RIGHTS RESERVE TILES BY DALI 1954". Dimensions: 20 x 20 cm. Carrying the label on the back "Galerios Museo Objetos Para La Decoracion. " - Sizes: H=200mm L=200mm - Weight (K): 0,75kg - Condition: at first glance - good condition - no restoration - no repair - Author / artist: Salvador DALI

"Salvador Dali. Circa 60. Soft watch. Sterling silver ring representing a soft watch. This ring is a prototype, for the Joid’art edition which has never been produced. Signed "Dali" on the back of the watch. Signed "Dali" on the back of the ring. Publisher’s mark on the back of the watch. Editor Joid’art. Size: 65. Dimensions: 23 x 23 x 12 mm" - Sizes: Dia: 20 mm - Weight (K): 0,005kg - Condition: at first glance - good condition - no restoration - no repair - Author / artist: Salvador DALI

"Salvador Dali 1971 "The Mathematician" Color screenprint on silver plate Signed "Dali" lower right Numbered 215/1500 in the middle Includes 3 punches Dimensions of the plate: 30 x 20 cm Editor Tobo Arte The original work was created by Salvador Dali in 1970-1971 in the form of eleven gouache watercolor paintings. This limited edition silkscreen print from the original paintings printed on silver was subsequently commissioned by Tobo Arte of Milan, Italy. " - Sizes: Cadre H=360mm L=255mm Gravure H=300mm L=200mm - Weight (K): 0,55kg - Condition: at first glance - good condition - no restoration - no repair - Author / artist: Salvador DALI

SALVADOR DALI & PUIFORCAT 1967 1st edition Complete card game created by Salvador Dalí for the French goldsmith Puiforcat. In its original imitation leather case and compartments, signed Salvador Dalí and Puiforcat. Dimensions of playing cards: 59 x 90 mm. Case dimensions: 13 x 10 x 3.5 cm. Printing: Draeger, France.

A Royal Crown Derby bone china teapot designed by Salvador Dali, circa 1939, the body painted in enamels with a design depicting pink gloved hands and trailing foliage against a dark blue ground, with gilt highlights, the cover with oval finial, printed factory marks, 'ROYAL CROWN DERBY' and 'MADE IN ENGLAND', date code 'II' for 1939.Notes: the original teapot from which this is copied is held in the V&A Collections; it was part of a unique tea service commissioned from Royal Crown Derby by the poet, artist and patron of Surrealism, Edward James, for his extraordinary Surrealist house Monkton. In 1936 Salvador Dali stayed with Edward James at his London home, where they developed a number of ideas for surrealist objects and furniture. In a previously unknown correspondence between Edward James and the decorating firm, Green and Abbott from 1938, the 'pink glove tea set' is mentioned in the same context as the famous torso chest of drawers, the lobster telephone and the Mae West Lips sofa, all of which are known to have been conceived by Dali. It is highly likely that Green & Abbott also adapted an original motif by Dali and supplied it to the manufactory for use on a standard porcelain service. [credit to collections.vam.ac.uk]

Salvador Dali, colour etching, La Femme Adultere, from the Decameron Suite, 1972, signed in pencil, from an edition of 150, plate size 18cm x 12cm, framed, provenance: Goldmark GalleryVery good condition

ROLF HARRIS (born 1930); a signed limited edition coloured print, 'The Persistence of Dreams (after Dali)', no 276/695, with certificate of authenticity, 28.5 x 35.5cm, mounted but unframed. (D) Additional InformationOverall in good condition. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Salvador Dali (Spanish, 1904-1989) 'The Divine Comedy' Wood Engravings (2) prints, c.1960, including 'Paradise Canto 9' and 'Paradise Canto 26', each having printed signature lower center, each depicting a scene from Dante's poem, both matted and in gilt wood frames under glass Property from: a Carol Stream, Illinois collector Height: 9 1/2 inches, Width: 7 3/8 inches (each image)Frame Size: 26 1/8 inches by 21 5/8 inches Condition: Very Good, toning to Canto 9; buckling to Canto 9 along upper edge; chips and wear to frames Disclaimers: not examined out of the frames Category: Fine Art > Prints Estimated Sale Time: 1:43 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5

Salvador Dali 1904 Figueres - 1989 ebenda Doppelte Nike von Samothrake. Bronze auf schwarzer Marmorsäule, best. Auf Plinthe bezeichnet: ''Dali''. Anbei Zerifikat:''...Exemplar No. 118...von 1400...Arsmundi''. H. 31 cm.

Salvador Dali (1904-1989)Royal Palacesigned and numbered in pencil (in the margin)lithograph57 x 36cm.

Roy MasonChateau De Vauvenargues, Mt Ste Victoire, Aix en ProvenceWatercolourSignedTogether with a poster print, floral prints and three landscape prints and two prints after Salvadore Dali

A BRONZE SCULPTURE OF TWO SALVADOR DALI FIGURES ON A MARBLE BASE H:35CM

‡Salvador Dalí (Spanish 1904-1989) Don Quixote Signed and inscribed H.C./Dali (in pencil to margin) Drypoint etching 39.8 x 29.7cm (plate) Provenance: Galleria Tornabuoni, Florence; Oliver Swann Galleries, London

§ Salvador Dali (1904-1989) The Dalinean Prophecydrypoint etchingsigned in pencil and numbered 11/LXXV, (M&L 832c), publ 1975/76 by Merrill Chase Publishing Associationoverall 50 x 66cm

DISNEY & SALVADOR DALI LIMITED EDITION SERIGRAPH - FRAMED & GLAZED - "FIFTY"

WALT DISNEY & SALVADOR DALI LIMITED EDITION SERIGRAPH - FRAMED & GLAZED - "SEVENTY-FIVE"

Salvador Dalí (1904 Figueres/Spanien - 1989 ebenda) (F)'Elephant de l'espace', 1980, Bronze, dunkel patiniert, auf Marmorsockel, mit Acrylobelisk, lose aufgestellt, Maße (mit Obelisk) 90 cm x 22 cm x 43,5 cm, signiert, Gießerstempel, 1981 datiert, 116/350 nummeriert, Herausgeberstempel, partiell mit Kleberesten, Spitze des Obelisken abgebrochen anbei, leicht bestoßen, Echtheitszertifikat anbei, anbei: Poster zur Ausstellung "Salvador Dalí - Lithografien. Radierungen. Skulpturen.", Galerie am Rathaus in Bottrop, 18.11. - 16.12.1989Provenienz: Kunsthandel Wissing, Bottrop, Privatsammlung"Mein ganzer Ehrgeiz auf dem Gebiet der Malerei besteht darin, die Vorstellungsbilder der konkreten Irrationalität mit der herrschsüchtigsten Genauigkeit sinnfällig zu machen." (Salvador Dalí)Der Maler, Bildhauer, Grafiker, Schriftsteller und Bühnenbildner, Salvador Dalí, wurde am 11. Mai 1904 als Salvador Felipe Jacinto Dalí i Domènech in Figueres, Katalonien geboren. Der exzentrische Maler gilt als ein Hauptvertreter des Surrealismus und einer der bedeutendsten Künstler des 20. Jahrhunderts.1922 begann Dalí ein Studium an der Akademie von San Fernando in Madrid. Auf Grund ungebührlichen Betragens wurde er auf königlichen Erlass verwiesen. 1927 lernte Dalí während einer Parisreise Pablo Picasso kennen und trat 1929 der Gruppe der Surrealisten bei. In Paris macht er Bekanntschaft mit dem Dichter Éluard und dessen Frau Gala, welche fortan seine Lebensgefährtin, größte Inspiration und Muse wird. Im umfangreichen Oeuvre Dalís finden sich immer wiederkehrende Elemente wie das Unterbewusste, Verschlüsselte und Mystische wieder. Dalí konnte sowohl im europäischen Ausland, als auch in den USA Erfolge feiern. So war er unter anderem 1978, 1984 und 2015 auf der Biennale von Venedig und 2012 auf der documenta in Kassel vertreten.Inspiriert durch Giovanni Lorenzo Berninis Elefanten mit Obelisken auf dem Rücken in Rom, finden sich in Dalís gemaltem Oeuvre mehrfach Elefanten mit Obelisken. Gestaltet nach seiner surrealistischen paranoisch-kritischen Methode zeichnen sie sich durch extrem verlängerte, grazile Beine aus, die die übliche Vorstellung des schweren behäbigen Tiers ad absurdum führen. Die Bronzearbeit stellt die erste plastische Ausformung dieses Gedankens dar, der Dali über einen langen Zeitraum beschäftigte. Ein augenloser Zirkus-Elefant mit skelettartigen Beinen balanciert mit einem schimmernden Obelisken auf dem Rücken. Von der Art, in der das schwere Tier sich auf seinen dürren Beinen hervortastet, bis zu der Brechung des Lichts in der kristallenen Struktur der Pyramide, wirkt alles an der Figur prekär und verletzlich, gefangen in einem Zustand zwischen schweben und fallen. Dalís Werke spielen immer wieder mit abstrus erscheinenden Gegensätzen und Kontrasten, um das Gefühl einer traum-ähnlichen Irrealität zu erzeugen. Salvador Dalí (1904 Figueres/Spain - 1989 ibid)'Elephant de l'espace', 1980, bronze, dark brown patina, acrylic obelisk on brass stand, marble plinth, H with obelisk 90 cm x 22 cm x 43.5 cm, signed, foundry stamp of Venturi Arte, editior's stamp of Camblest Ltd. (dated 1981), numbered 116/350, with certificate of authenticity, tip of the obelisk broken and reattached, the left tusk with some remnants of glue, includes: Exhibition poster 'Salvador Dalí - Lithografien. Radierungen. Skulpturen.' in the Galerie am Rathaus in Bottrop, 18.11. - 16.12.1989, with a photograph of the elephant''My whole ambition in the field of painting is to make the imaginary images of concrete irrationality manifest with the most imperious precision.'' (Salvador Dalí)Painter, sculptor, graphic artist, writer and stage designer, Salvador Dalí was born Salvador Felipe Jacinto Dalí i Domènech on 11th May 1904 in Figueres, Catalonia. The eccentric painter is considered a main representative of Surrealism and one of the most important artists of the 20th century.In 1922 Dalí began studying at the Academy of San Fernando in Madrid. However, he was later expelled by royal decree due to improper behaviour. In 1927, Dalí met Pablo Picasso during a trip to Paris and joined the Surrealist group in 1929. In Paris he made the acquaintance of the poet Éluard and his wife Gala, who from then on became his companion, greatest inspiration and muse. In Dalí's extensive oeuvre, recurring elements such as the subconscious, the coded and the mystical can be found. Dalí became successful in both Europe and the USA. Among many other exhibitions, he was represented at the Venice Biennale in 1978, 1984 and 2015 and at the documenta in Kassel in 2012.Inspired by Giovanni Lorenzo Bernini's elephants with obelisks on their backs in Rome, Dalí included several such elephants in his painted works. Designed according to his surrealist paranoiac-critical method, they are characterized by extremely elongated, graceful legs, which reduce the idea of the heavy, ponderous animal to absurdity. The bronze work represents the first sculptural expression of this idea, which preoccupied Dali over a long period of time. The eyeless circus elephant with skeletal legs balances with a shimmering obelisk on its back. From the way in which the heavy animal struggles to rise on its scrawny legs to the refraction of light in the pyramid's crystalline structure, everything about the figure seems precarious and vulnerable, caught in a state between floating and falling. Dalí's works repeatedly play with seemingly abstruse concepts and contrasts to create a sense of dream-like unreality.

A quantity of books to include Antique Price Guides, Railways of The British Isles, Dali, Wild West etc.

DALI (SALVADOR)[Bible] Biblia sacra vulgatae editionis. Sixti V pont. max. iussu recognita et Clementis VIII auctoritate edita, imaginibus Salvatoris Dali exornata, 5 vol., NUMBER 48 OF 1499 'LUXUS' COPIES ON HAND-MADE PAPER, 105 offset lithographs in colour, with printed Japon tissue-guards, 4-page gilt-lettered parchment limitation note loosely inserted, untrimmed in publisher's dark tan calf, gilt panelled spines, cream watered-silk endpapers, t.e.g., others uncut, abrasion to some spine bands, original matching cream watered-silk slipcases with calf edges, some abrasions and wear [Michler & Löpsinger 1600], folio (487 x 360mm.), Milan, Rizzoli, 1967-1969Footnotes:'Dali spent six years (1963-69) creating the original gouaches for the book. This lengthy project was an artistic, as well as intensely spiritual exercise, to explore and return to the Catholic faith; the vibrant lithographs, infused with imagination and devotion, are the result of this pilgrimage' ('Salvator Dali rare books', blog post by The Bookworm, 10 May 2012, rarebooksdigest.com).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

BALLARD (J.G.)Series of sixteen letters, fifteen typed, one autograph, variously signed ('J.G. Ballard', 'James', 'Jim Ballard', 'Jim') to Francisco Porrúa ('Mr Porrua', 'Francisco', 'Paco'), his Spanish-language translator, publisher and friend, a wide-ranging correspondence touching on the English literary scene ('...In England, of course, the social novel still commands the greatest attention, though Burroughs to a certain extent may change this, but in general the climate here is hostile to the more imaginative types of fiction, and in particular to anything associated with symbolism, the French variety especially...'), surrealism ('...apart from Max Ernst... the whole movement is written off as a bad joke... and is pretty well identified with Dali and his worst efforts... If you accept Freud's view that symbols are unconsciously associated with censored images one needs to look no further for an explanation...'), agreeing that the climate is beginning to change ('...Burroughs himself of course has had a galvanic effect on the sluggish nervous system of British letters...'), giving updates and notes on his own work such as The Terminal Beach (Playa Terminale) ('...I would only draw attention perhaps to the sacrificial role of the dead Japanese, a symbol of unbetrayable mankind, like Bartok's Miraculous Mandarin... not in any sense anti-H-Bomb propaganda – far from it, of course... the bomb as a symbol of total possibility, as a force which as completely quantified the universe, both the outer world of reality and the inner world of the psyche, in so far as these have separate identities... what a marvellous title by the way...'), delighted with the Spanish publication of The Drowned World (El Mundo Summergido) and looking forward to reading English translations of Borges and Cortazar, mentioning the publication of Crash ('...surprised everyone by selling out its first edition within three months...'), stories such as The Assassination Weapon ('...I have invented a completely new technique that dispenses altogether with the exhausted conventions of sequential narrative and instead presents a fragmentary and cubist flux of related but quantified events that are more like the lives we actually experience... the Katherine Mansfield short story is at last on the decline... I regard each of these stories as a 'condensed novel'...'), other authors ('...my view of things is much closer to Melville and shares almost nothing in common with Conrad, who it seems to me is often guilty of the pathetic fallacy... Melville on the other hand, stresses the direct equivalence of inner and outer reality... Melville's whale is a clear example...'), sympathising with the difficulties of publishing in Argentina ('...perhaps a volatile political atmosphere and runaway inflation create a panic demand for books and newspapers...'), and an unexpected burst of inspiration ('...some kind of surge forward of the middle-aged imagination...Perhaps it ties in with Freud's notion that a man is only truly free when his father dies – after my own died a few years ago I was waiting hourly for something remarkable to happen...'), throughout speaking fondly of their relationship ('...I feel I have the happiest relationship with Minotauro and yourself and I greatly appreciate the immense amount of care and thought which you have given to my writing...'), 18 pages, dust-staining, spotting and creasing, 4to (255 x 205mm.), Charlton Road, Shepperton, 10 February 1966 to 22 May 1989Footnotes:'YOUR CONTINUING INTEREST AND CONFIDENCE IN ME AS A WRITER HAS BEEN HEARTENING FOR TWENTY YEARS. LONG MAY IT PERSIST!'Written over a period of twenty-two years, the correspondence reveals the close and respectful relationship between author and publisher and is full of Ballard's appreciation for Porrúa's work in bringing his works to a Spanish audience ('...my oldest and longest publisher... I have the highest estimate of your abilities and literary sensibility...'). The series begins in 1966, just two years after the death of Ballard's young wife of pneumonia during a holiday in Spain, a dark time for the author personally but also a time of great creativity. He had already published several collections of short stories by this time and was at the forefront of the so-called 'new wave' of science fiction writers. As our letters show '...He also, on numerous occasions, berated the English literary world in the 1950s as both profoundly parochial and hopelessly resistant to modernism and all forms of innovation. Whether or not this was the case the ascription 'science fiction writer' was certainly one he bridled under as the years went by... Ballard seldom spoke about any literary influences, preferring to cite the surrealists—in particular Paul Delvaux and Dalí—as influencing his creative consciousness...' (Will Self, ODNB). Francisco Porrúa (1922-2014), literary translator and publisher, also known as Paco, founded Ediciones Minotauro in Buenos Aires in 1955, and was one of the leading publishers of science fiction and fantasy in the Spanish language, instrumental for bringing the likes of Ballard, Bradbury and Tolkien to a wider audience. Porrúa moved the business to Spain in 1977, prompting Ballard to write in our letters '...Your white house by the sea in Sitges sounds like a small piece of paradise... it must be an exciting time to be a publisher in Spain... an absolute deluge of politics, economics, social topics and so on banned under Franco...'. His obituary in the Buenos Aires Herald noted 'his undeniable gift as a translator and his keen eye for extraordinary, even if unknown or too daring, literary gems', and whilst at publisher Editorial Sudamericana, he is credited with discovering Gabriel Garcia Marquez's One Hundred Years of Solitude. See also lots in the present sale.Provenance: Francisco Porrúa; thence by descent to his son.For further information on this lot please visit Bonhams.com

DALI SALVADOR: (1904-1989) Spanish Surrealist Painter. A very good vintage signature with drawing by Dali. Attractively and flamboyantly signed 'Dali´, with his typically large signature, to a 7.5 x 9.5 (19,5 x 24,7 cm) page removed from an autograph album. Dali has boldly drawn in blue ink a shooting star to the heading and a large sketch of an ant beneath. Dated to the bottom right corner, 1959, in his hand. To the verso the autograph album page bears few unidentified signatures. Small overall minor age toning, with one stain, not affecting the signature or drawing. G     Provenance: The present page originates from the restaurant visitor's book of Jean Cassini, a renowned French restaurateur in Avignon, both at the Hotel d'Europe and his own establishment, Restaurant Cassini. The visitor's book was in use from 1957-82.

DALI SALVADOR: (1904-1989) Spanish Surrealist Painter. An excellent vintage signed 7 x 5 photograph of Dali in a head and shoulders pose. Photograph by Philippe Halsman. Signed ('Dali') by Dali in blue ink with his surname only to a clear area of the background. A couple of very light, extremely minor surface creases, otherwise VG     Philippe Halsman (1906-1979) American portrait photographer. The present image of Dali was captured by Halsman in 1964 and appears on the front cover of the dustjacket to the American first edition of Dali's Diary of a Genius (1965).

BEARD PETER: (1938-2020) American Artist, Photographer and Writer. Beard lived in Kenya, his photographs of Africa, and of animals together with his journals have been widely shown and published. He collaborated with artists such as Francis Bacon, Andy Warhol, Truman Capote and Salvador Dali. An excellent and unique customized exhibition poster, 20 x 28 (50cm x 72 cm), being for The End of the Game, which is also the title of his first book (1965), held at the Greenberg Gallery at St Louis, 1988. The artist has worked on the original poster exhibition, adding collages, writings and drawings, using many different elements such as inks, blood, dried snake skins, birds feathers, paper, finger prints, etc…. Signed and inscribed `For “L.L.” With all the best wishes & heartfelt Salaams from Hog Ranch (Karen-Langata), St. Louis, mzuri and pointa beyond, on your birthday XXX Most sincerely, Peter Beard´, to a clear area of the poster. Beard also adds above `Many happy returns of the day´ and beneath draws an amusing and attractive sketch being about thirty very small persons in different poses. Framed in wood to an overall size of 22.5 x 31 (57,5 cm x 79 cm). The poster has been affixed to a cardboard. VG    

MOLNAR FERENC: (1878-1952) Hungarian-born author, stage director, dramatist & poet. An entertaining A.L.S., Ferenc Molnar, two pages, 4to, n.p. (New York), 29th May 1950, to Mr. Raeburn. Molnar sends his correspondent a story (no longer present) entitled Question Period for the book Adventure in Paris, remarking 'Its stilted, pompous language is the result of the mutual efforts of Mr. Mussey and myself. We wanted to create a slightly ridiculous, professorial, pseudo-scientific mood for this satirical piece' and further explaining that he will send 'the positively last' story this week, also commenting on a design for the dust jacket, 'In my modest opinion this design is only good if you print it without any changes, i.e. without polishing, prettifying, correcting the half-crazy, semi-idiotic, primitive, not to say pre-Raphaelitic, would-be-Chagall-Dali-Picasso-imitating surrealistic madhouse quality of it'. Molnar proceeds to write of a mutual friend ('the Actor') who he believes is still in Florida, and whom he misses for two reasons, '1. For having to do without his kind personality, his erudition, his good taste, his flawless English and mainly his good judgement unfortunately very often influenced by his good heart. 2. For not being able to meet you either telephonically or in person, both opportunities being seemingly dependent on the Actors presence in town', concluding 'Please forgive me for my English but I learned it from two Russian-born Broadway producers and from native Brooklyn waiters of some Sixth Avenue Delicatessen, not yet famed for their proficiency nay command of the King's modern American English'. In a postscript Molnar declares 'Just before licking the glue on the envelope the telephone rings and who phones but the Actor, and from New York! So please disregard the first sentence of paragraph 4 of the present letter, and be informed that the Actor just promised me to read and correct said manuscript with me today, Monday, 29 May, at Macario's, at noon sharp, while eating spaghetti without meat sauce'. The letter is written on brittle paper with age toning and some tears and small areas of paper loss at the edges. At one time the letter has also been split in two at the central horizontal fold and since re-joined to a good standard, the repairs only very slightly affecting the text. About G  Ben Raeburn (1911-1997) American publisher who owned Horizon Press from 1953-84. Raeburn was known for both his editing skills and his fine eye for design. June Barrows Mussey (1910-1985) American journalist and translator who wrote under the pen name Henry Hay. 

A group of Salvador Dali and Picasso prints, comprising Athena Productions blue woman, after Salvador Dali Museum collection Muchacha Frente A La Ventana print, Pablo Picasso Spanish 1881 The Blue Guitar, Georges Seurat bathing at Asnieres, and a portait De Madamme Z Picasso print. (5)

AFTER SALVADOR DALI (XX). A modernist study of a man on horseback in a wooded landscape. Bears signature middle to lower right, mixed media on paper, unframed, 29 x 21 cm

Salvador Dali La Luna poster Salvador Dali La Luna posterA T. G. Solar printed D'Art Surrealista copy after Salvador Dali 'Universal Tarot - Arcanum XVIII The Moon' 88.5 cm x 50.5 cm, framed & glazed

FOLIO SOCIETY (publisher). - Salvador DALI (illustrator). Tales from the One Thousand and One Nights. London: The Folio Society, 2016. Limited edition, this being number 441 of 750 copies, folio (454 x 348mm.) 50 colour plates by Salvador Dali, text volume with translation by Malcolm C. Lyons. Original quarter black calf over Tsarina Crush cloth-covered boards, blue cloth-covered salamander box.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.

SELTENE FIGUR DES ACUOYE-GUANYIN.China, Yunnan, Königreich Dali, 12. Jh. H 33 cm (ohne Sockel).Bronze mit Spuren von Rotlack und Gold. Die schmale Figur mit hoher Frisur und reich geschmücktem, unbekleidetem Oberkörper hält die Rechte in vitarkamudra, die Linke in varadamudra. Ein gefältelter Dhoti fällt bis auf die Knöchel herab, der Gürtel ist vorne zu einer Schleife gebunden. Ergänzter Sockel.Provenienz: Aus der Sammlung von Marie Pierre Isle de Beauchaine (Orléans 1881–1934 Hanoi). Dieser reiste noch als Jugendlicher zu einem Verwandten nach Tonkin (Vietnam), wurde dort Zollbeamter und reiste viel, u.a. in archäologischer Mission nach Nord-Laos. Er war befreundet mit dem zweitletzten vietnamesischen Kaiser Khai Dinh. Seither in Familienbesitz. Vergleiche: In Grösse und Stil am vergleichbarsten ist eine Figur im British Museum London. Weitere Figuren diesen Typs sind u.a. im Metropolitan Museum New York, im Musée Guimet in Paris und natürlich im Yunnan Provincial Museum in Kunming zu sehen.Weiterführende Literatur: Albert Lutz, Der Tempel der Drei Pagoden von Dali, Zürich 1991, S. 117-127.

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)École de danse signé et daté 'Ghika/ 65' (en base à droite)huile sur toile65 x 91.5cm (25 9/16 x 36in).Peint en 1965.signed and dated (lower right)oil on canvasFootnotes:ProvenanceD. Pierides collection, Athens. Private collection, Athens. ExposéAthens, Benaki Museum, N. Hadjikyriakos-Ghika, the Apollonian - the Dionysian, November 22, 2006 - January 15, 2007, no. 272 (illustrated in the exhibition catalogue, p. 164).LittératureDemetris Z. Pierides Collection of Contemporary Greek Painting and Engraving, Athens 1982, no. 63 (listed and illustrated).Tachydromos magazine, no. 1501, February 17, 1983, p. 48 (illustrated).K.C. Valkana, Nikos Hadjikyriakos-Ghika, his Painting Oeuvre, Benaki Museum, Athens 2011, p. 209 (discussed and illustrated).In one of the most insightful essays ever written on Ghika, poet Kimon Friar elaborated on the idea of the artist as composer, discussing his paintings in terms of music and rhythm: 'The works of Ghika are composed: that is, they contain the elements of both composition and composure. They are a designer's compositions in line, colour and space; they are the work of a musical composer; and their final resolution is a composure which the classical artist imposes on the recalcitrant materials of life to create a cosmos for which we all long and dream but which only the artist may invoke.'1 These perceptive remarks written in 1946 perfectly apply to École de danse, a pictorially complex exploration of youthful energy painted almost twenty years later. Indeed, rhythm, musical effect, composure, sense of space and proportion, Dionysian movement and Apollonian order all come together in a well thought out, tightly designed and dynamically balanced composition, where spirit is transformed into rhythm and vice versa. As noted by D. Iliopoulou-Rogan who curated the artist's 2006 major retrospective in the Benaki Museum, Athens, 'this spirit-rhythm duality is not disassociated from flesh and bodily pleasures, as his works call upon both the senses and the intellect.'2 This is indicated by the presence of marble sculpture alluding to lofty humanistic aims, and by the choice of subject for the easel painting in the centre which refers to more mundane interests. 'The whole point is to find the balance,' Ghika once told the art critic Dora Vallier. For him proportion was the fundamental condition for a work of art.3 Reflecting the artist's long involvement with the design of sets and costumes for Rallou Manou's legendary 'Hellenic Choreodrama' dance group4 and echoing many of Degas's complex multi-figure paintings of ballerinas set in rehearsal studios practicing their steps, Ghika's young dancers inhabit the large space haphazardly, creating casual patterns of movement and gesture that would never be seen on stage (compare E. Degas, Ballet dancers, c. 1890-1900, National Gallery, London).Moreover, demonstrating Ghika's extremely broad and varied range of artistic concerns, this exquisite canvas features a host of references to the history of art ranging from Hellenistic and Byzantine conventions to cubist experimentations and surrealism's poetic metaphors and subversively irrational visions. The sculptural figure on the right echoes André Masson's famous Gradiva, while the enigmatic dancer on the left, captured simultaneously as stone and flesh, alludes to mythical Galatea, the statue that came to life and became a surrealist muse (compare Salvador Dali, Galatea of the Spheres, 1952). This compelling duality reflects Ghika's two-sided nature: 'the one, the methodical man restrained by reason, the other, the man whom the senses restore to the centre of human life. We would be wrong to imagine that either one is struggling to dominate the other. Rather, they unite his strengths in a spirit of collaboration, not rivalry, to achieve a victory that belongs equally to both of them.'5 1 K. Friar, 'Ghika as Composer,' in Paintings by Hadjikyriakos-Ghika, exhibition catalogue, British Council, Athens 1946. 2 D. Iliopoulou-Rogan, N. Hadjikyriakos-Ghika, the Apollonian-the Dionysian, exhibition catalogue, Benaki Museum, Athens 2006, p. 60.3 D. Vallier, 'Portrait of the artist', Art News and Review, no. 157, February 1955.4 See Iliopoulou-Rogan, Parallels, N. Hadjikyriakos-Ghika [in Greek], Polyplano editions, Athens 1980, p. 41.5 C. Zervos, article from Cahiers d'Art, December 1952.Dans l'un des essais les plus pénétrants jamais écrits sur Ghika, le poète Kimon Friar développe l'idée que l'artiste est un compositeur, et décrit ses peintures en termes de musique et de rythme : « Les œuvres de Ghika sont composées ; autrement dit, elles contiennent les éléments à la fois de la composition et de la maîtrise. Ce sont des compositions dans leur ligne, leurs couleurs et leur espace ; elles sont l'œuvre d'un compositeur de musique ; et leur réalisation finale témoigne de la maîtrise que l'artiste classique impose aux matériaux récalcitrants de la vie, afin de créer un cosmos dont nous rêvons tous depuis longtemps mais que seul l'artiste peut invoquer. Ces remarques très pertinentes, écrites en 1946, s'appliquent parfaitement à l'École de danse, qui est une exploration picturale complexe de l'énergie juvénile, peintes près de vingt ans plus tard. En effet, le rythme, l'effet musical, la composition, le sens de l'espace et de la proportion, le mouvement dionysiaque et l'ordre apollonien, tout concourt à une œuvre très bien pensée, dessinée d'un trait ferme et équilibrée sur le plan dynamique, où l'esprit est transformé en rythme et vice versa. Comme l'a noté D. Iliopoulou-Rogan, curateur de la grande rétrospective consacrée à l'artiste en 2006 au Musée Benaki à Athènes, cette dualité esprit-rythme n'est pas dissociée des plaisirs de la chair et du corps, étant donné que ses œuvres font appel à la fois aux sens et à l'intellect. Il suffit, pour s'en convaincre, de citer la présence de la sculpture de marbre qui évoque des aspirations humanistes élevées, ainsi que le choix du sujet sur le chevalet qui figure au centre, qui évoque des intérêts plus banals. Le tout est de trouver l'équilibre, comme Ghika l'a dit un jour à la critique d'art Dora Vallier. Pour lui, la proportion était la condition fondamentale de toute œuvre d'art. L'artiste a longtemps créé des décors et des costumes pour le groupe de danse légendaire de Rallou Manou 'Hellenic Choreodrama' ; cette expérience se retrouve dans l'École de danse, qui fait également écho à beaucoup d'œuvres de Degas, qui représentent des ballerines s'exerçant dans des studios de répétition. Les jeunes danseurs de Ghika habitent le vaste espace au hasard, créant des chorégraphies aléatoires et des gestes que l'on ne verrait jamais sur scène (comparer avec E. Degas, Danseuses de ballet, vers 1890-1900, National Gallery, Londres).En outre, cette toile exquise atteste de l'éventail extrêmement large et varié des préoccupations artistiques de Ghika, et fait de nombreuses références à l'histoire de l'art, depuis les conventions hellénistiques et byzantines jusqu'aux expérimentations cubistes, aux métaphores poétiques surréalistes et aux visions irrationnelles subversives. La figure sculpturale sur la droite fait écho à la célèbre Gradiva d'André Masson, tandis que le da... For further information on this lot please visit Bonhams.com

*Salvador Dali (Spanish, 1904-1989) 'Monument to the Ideal Doctor', 1973 lithograph in colours, signed in pencil l.r. and numbered '258/300' in pencil l.l., signed 'Salvador Dali' in plate 72.5 x 52.5cm *Artist's Resale Right may apply to this lot.Condition report: Areas of foxing emerging, paper has come loose from the mount, slight wave to the sheet. Wear to the frame.

Salvador DALI (1904-1989). Dix recettes d'immortalitŽ. Numbered 24 / 210A book containing 11 engravings, enclosed in a specially designed plexiglass box.References:Sotheby's Paris, 30 June 2020 - 12.500,00 euro ex Buyers PremiumChristie's Live Auction 19122, 27 May 2020 - 9.375,00 euro ex. Buyers Premium. (11 x 65 x 58 cm)

Salvador DALI (1904-1989) A colored Lithograph 'Naked male' 143/285. (52 x 73 cm)