DALI, SalvadorBiblio.com
2.106 resultados
1963ref. 150996Paris: Jean-Jacques Pauvert 1963. Inscribed by Dali First edition inscribed by the artist across the title page "Pour Christine Vaclasmy Dali 1963" with a loose sketch of a figure possibly a girl skipping a common motif in Dalí's work. The Angelus by Jean-Francois Millet is an oil painting completed between 1857 and 1859. It depicts two figures in a field heads bowed over a basket of potatoes in their recitation of the Catholic devotional prayer. It had a significant impact on Dali who saw a print of the painting early in life and insisted that it did not depict a prayer but a funeral scene. The Louvre at his request had the painting examined by x-ray and showed that there was originally a small coffin-shaped object painted in place of the basket. This discovery is included in the prologue and much of the text depends upon Dalí's interpretation of The Angelus as a tragic image of American folklore. Dalí created several paintings inspired by the titular work: The Architectural Angelus of Millet and Gala 1933 and Gala and the Angelus of Millet Preceding the Imminent Arrival of the Conical Anamorphoses 1933. These were followed two years later by a similar pair of paintings which included a partial reproduction of Millet's Angelus called The Angelus of Gala and Archaeological Reminiscence of Millet's Angelus. Quarto. Illustrated throughout by Salvador Dali 33 plates tipped in. Original beige cloth with woven strap and buckle titles to front cover on octagonal plate in red and black black and white illustration of The Angelus to front cover on rectangular plate. Housed in a custom box illustrated with photographs of this copy. Lightly foxed with a few marks and one small scratch to covers a little shelfwear a few slight bumps to head of front board a touch of foxing to end matter and occasionally toned box a little rubbed and tips lightly bumped else bright and clean. A very good copy indeed square and firm. hardcover
ref. SONG0734399421Used: Good unknown
ref. 143123Paris & New York: Jean Lavigne Levine & Levine Graphics 1974. Edition of 195. Signed in pencil lower right by Dalí numbered in roman numerals lower left. One of 12 prints from the La Conquête du Cosmos portfolio printed by Atelier Lithographique Paris. Although these were made in 1974 they were offered as two portfolios of six in 1974 and 1977. Drypoint etching over chromolithograph with embossing on BFK Rives watermarked paper. Sheet size: 100 x 70 cm. Framed size: 111.6 x 78 cm. Light creasing to the margins hidden by the mount image extremely bright. Presented in a white gold leaf frame with conservation acrylic glazing. Field 74-12D; Michler & Lopsinger 647. unknown
1978ref. C31949Paris 1978. First Edition Thus. Wraps. Very good plus. 8vo. pp 176. Original publisher's illustrated black covers lettered yellow. Text in French. Reprint of 1963 edition. Nouvelle ed. augmentee. Illustrated in colour and b/w throughout. ISBN: 2720201189 paperback
2011ref. __3639376757Vdm Verlag Dr. Müller 2011. Paperback. New. 256 pages. 8.66x5.91x0.58 inches. Vdm Verlag Dr. Müller paperback
1933ref. ZB1126795Paris: Pierre Colle ca. 1933. Price HAS BEEN REDUCED by 10% until Monday Oct. 26 weekend SALE item 8 pp. one plate Dali letter to Andre Breton dated June 19 1933 as preface; original printed purple paper wrappers spine rubbed else very good. - If you are reading this this item is actually physically in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties taxes or fees required by recipient's country. Photos available upon request. Paris: Pierre Colle unknown
1942ref. DALISALV001703Dial Press New York. 1942. First U.S. edition. Translated by Haakon Chevalier. Quarto. 400 pages. Black and white illustrations by the author. Buckram covers with pictorial labels on front and spine.From the library of publisher Peter Owen flamboyantly inscribed to him in blue ink on the half-title page by the author: ''Pour Peter OWEN Hommage de Dali 1972''. A line from the inscription carries over to the facing page where Dali has drawn a stylised Don Quixote in a desert landscape. The prelims of the book are mocked up by use of printed slips and Tippex for Peter Owen's edition of the book which appeared under his family's Vision Press imprint in 1948 this copy was evidently also used for the second and third editions. The inscription and drawing are most likely to have been made when Owen made one of his three visits to Dali in Spain to discuss copyright of the revised English edition of Dali's novel Hidden Faces which Owen published in 1973.Good only - has received some rough handling see above. No dustwrapper. Dial Press, New York. hardcover
1970ref. DALISALV001705Harry N. Abrams. New York. 1970. First U.S. edition. Translated by Eleanor R. Morse. Octavo. pp viii 157. Copiously illustrated. Full linen cloth.Inscribed extravagantly by Dali in pencil on the copyright page: ''OWEN - Dali 1973''. The recipient is the publisher Peter Owen who published the revised U.K. edition of Dali's novel Hidden Faces in 1973. Owen made three visits to Dali in Spain to discuss the novel's copyright and this copy was no doubt signed during one of these visits.Fine in very good dustwrapper rubbed and nicked at the top edge. Harry N. Abrams. New York. hardcover
1968ref. DALISALV001704Vision Press London. 1968. Third edition. Translated by Haakon Chevalier. Quarto. pp x 423. Black and white illustrations by the author.Publisher's copy: inscribed in pencil by Dali in typically flamboyant style with shooting star across the front endsheet ''Peter OWEN - Dali 1973''. Vision Press was Peter Owen's family firm founded by his father. He continued using the name often alongside the imprint Peter Owen Books. This copy was no doubt inscribed when Owen paid one of his three visits to Dali in Spain to discuss copyright of the revised English edition of the novel Hidden Faces which Owen published in 1973.Very good in very good dustwrapper rubbed and nicked at the edges. Vision Press, London. unknown
ref. 123471Paris: Jean Lavigne 1974. One of 25 artist's proofs aside from the edition of 195. Signed in pencil lower right by Dalí inscribed EA lower left. One of 12 prints from the La Conquête du Cosmos portfolio. Printed by Atelier Lithographique Paris. Although these were made in 1974 they were offered in two portfolios of six in 1974 and 1977. Drypoint etching over chromolithograph with embossing on Arches paper. Sheet size: 100 x 70 cm. Small vertical crease to top centre of image. Presented in a hand made white gold leaf frame with conservation acrylic glazing. Field 74-12K. Michler & Lopsinger 650. unknown
1963ref. 71472Paris: Jean-Jacques Pauvert 1963. First edition first printing. Quarto. Illustrated throughout by Salvadore Dali with many tipped in plates. Original beige cloth with woven strap and buckle titles to front cover on octagonal plate in red and black black and white illustration to front cover on rectangular plate. A fine copy. hardcover
1959ref. P-24904Fresno CA: Academy Library Guild 1959. Hardcover. Fine/First Edition. Octavo. A poem inspired by Salvador Dali's The Madonna of Port Lligat which appears as the frontispiece Printed and bound by the Filmer Brothers Press of San Francisco. Stated first printing in the original blue gilt cloth. A fine clean copy. Academy Library Guild hardcover
1974ref. P-23562New York: William Morrow 1974. Hardcover. Fine/First Edition. Octavo. With the '1' in a number line. Dali's only published novel which he illustrated in his Surrealist style. A clean unmarked and unclipped copy in a Mylar jacket cover. William Morrow hardcover
ref. 1099713-6Taylor & Francis Group. Used - Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. Taylor & Francis Group unknown
1973ref. 1274243559Felicie Inc. 1973. Hardcover. Good. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More Spend Less.Dust jacket in good condition. Shelf and handling wear to cover and binding with general signs of previous use. Minor wear to cover boards and spine. Binding is sound. Secure packaging for safe delivery.Dust jacket quality is not guaranteed. Felicie Inc. hardcover
1963ref. 171640Paris: Galerie André François Petit 1963. Vintage catalog for the landmark 1963 exhibition. Illustrated in black-and-white and color. Very Good plus in saddle-stapled wrappers with light foxing to the first pages and wrapper versos. Galerie André François Petit unknown
1974ref. P-28081New York: William Morrow 1974. Hardcover. Fine/First Edition. Octavo. With the '1' in a number line. Dali's only published novel which he illustrated in his Surrealist style. A clean unmarked and unclipped copy in a Mylar jacket cover. William Morrow hardcover
ref. 120918New York Transworld Art 1974. . Etching with hand-colouring 1974 on BFK Rives paper signed inscribed 'F' and numbered from the French edition of 195 there was also an edition of 195 on Arches with text in English inscribed 'A' published by Transworld Art New York 655 x 508 mm. 25¾ x 20 in. Field 74-8 E. New York, Transworld Art, 1974. unknown
ref. 120922New York Transworld Art 1974. . Etching with hand-colouring 1974 on BFK Rives paper signed inscribed 'F' and numbered from the French edition of 195 there was also an edition of 195 on Arches with text in English inscribed 'A' published by Transworld Art New York 655 x 508 mm. 25¾ x 20 in. Field 74-8 I. New York, Transworld Art, 1974. unknown
1941ref. 172170New York: The Museum of Modern Art MOMA 1941. First Edition. Hardcover. First Edition. Illustrated in black-and-white with four color plates. Bottom board edges rubbed bump to the top right corner of the front board overall Very Good plus in a Very Good dust jacket. Jacket moderately rubbed with light toning and wear to the spine and a short closed tear to the bottom right corner of the front panel. The Museum of Modern Art [MOMA] unknown
1958ref. 172162New Brunswick: Wallace Laboratories 1958. Vintage brochure featuring four watercolor illustrations by Salvador Dali produced by pharmaceutical company Wallace Laboratories to promote their then-new tranquilizer drug Miltown meprobamate. Produced in conjunction with a 1958 American Medical Association meeting in Philadelphia. 9.5 x 7.5 inches. Very Good plus in saddle-stapled wrappers. Wallace Laboratories unknown
1966ref. 91822Paris: Jean Petithory 1966. Fine. Man Ray shoots Surrealist Mannequins Jean Petithory Paris 1966 26.5 x 30.2 cm Relié sous étui First edition one of 37 numbered copies ours one of a few hors commerce copies for collaborators and friends signed by Man Ray on the justification. 15 photographs on watermarked vélin Montgolfier mounted on guards each bearing Man Rays printed studio stamp Épreuve originale atelier Man Ray Paris. The copy exceptionally contains the original subscription prospectus and an invitation to the book launch exhibition opening night organised by Simone Loliée. Publishers binding by the renowned bookbinder Mercher bearing his signature in the negative of the photographic paper on each endpaper and pastedown flat black shagreen spine title author and date stamped in gilt lengthwise photographic boards with gilt background after an original composition by Man Ray specially designed for this work original wrappers preserved black paper slipcase. Illustrated with 15 original photographic prints of the mannequins photographed by Man Ray at the 1938 International Exhibition of Surrealism. The mannequins had been transformed by Man Ray himself Salvador Dalí Oscar Dominguez Marcel Duchamp Max Ernst Espinoza Maurice Henry Marcel Jean Léo Malet André Masson Sonia Mossé Joan Miró Wolfgang Paalen Kurt Seligmann and Yves Tanguy. They were presented within a Surrealist staging by Marcel Duchamp and lighting designed by Man Ray himself. During the 1930s the European Surrealists had a fetishistic interest in simulated woman-female mannequins that they transformed into playful sculptural works of art. In 1938 Man Ray photographed a series of their work at the Exposition Internationale du Surréalisme presented in the unsettling half-light of the Galerie des Beaux-Arts on the rue du Faubourg Saint-Honoré. Visitors walking down a corridor on the Rue Surréaliste saw a series of dressmakers mannequins inhabitants of a dreamlike Paris scantily clad or adorned with a jumble of incongruous objects and flanked by street signs bearing highly symbolic names: some real such as the Rue des Vieilles Lanternes where Gérard de Nerval took his own life or the Rue Vivienne where Lautréamont once lived alongside invented ones such as the Rue aux Lèvres the Rue de Tous-les-Diables and the Rue de la Transfusion-de-Sang. The installations of this first international Parisian Surrealist exhibition organised by André Breton and Éluard marked a decisive moment in the history of the movement. For the first time the event dispensed with a straightforward retrospective of individual artists in favour of a series of phantasmagorical stagings live performances and ephemeral artworks prefiguring the modern concepts of installation and happening. Nearly 3000 visitors are said to have thronged to this 1938 Paris exhibition by the light of electric torches: One has the feeling of leaning over certain exhumed walls and of being the first to decipher their signs. Jean Fraysse Le Figaro littéraire 29 January 1938. From Hausmanns sculpture and de Chiricos paintings to the works of Hans Bellmer the mannequin had long occupied a central place in the Dada and Surrealist artistic vocabulary and was cited in Bretons 1924 Manifeste. These woman-objects staged in the spirit of the Musée Grévin offered infinite possibilities for the transformation of the body and the exploration of the unconscious. Some have remained enduringly celebrated such as Le Bâillon vert à bouche de pensée André Massons mannequin enclosed in a birdcage or Duchamps considered the only three-dimensional version of his alter ego Rrose Sélavy taking the form of a man cross-dressed as a woman in the style of Claude Cahun. The mannequin of lesbian artist Sonia Mossé friend of Artaud and photographed by Man Ray with Nusch is her only known artwork and the sole mannequin in the installation created by a woman artist. Man Ray had incorporated Jean Petithory hardcover
ref. 41720531-nnew. unknown
ref. 1179281977 . Drypoint and etching on heliogravures in colours on Rives paper 1977 signed in pencil and numbered from the edition of 200 there were also 20 artist's proofs printed by Ateliers Rigal Paris published by Berggreuen Editions Paris sheet: 44.5 x 31 cm. 17½ x 12¼ in. This work is from the suite of 80 etchings by Salvador Dali based on Francisco Goya's 18th century series Los Caprichos. Goya's series served as a satirical commentary on Spanish society at the end of the 18th century particularly targeting the nobility and clergy as well as superstitions and irrationality prevalent at the time. In 1977 Dali reproduced the series as heliogravures subsequently reworking each of the plates with Surrealist drypoint additions and stencil colouring. 'Goya was preoccupied with dreams dreamlike states and nightmares - the varying states of consciousness that allowed him to explore allusive subjects.The Caprichos provide the earliest concentrated evidence of Goya's interest in dreams."Truth to life" is the essence of what Goya achieved through his graphic work. His prints and drawings quietly observe confront dissect and reflect the many facets of what it means to be human. This truth to life has fueled the works' relevance over the course of two centuries as they continue to provoke audiences to engage with Goya's profound insights'. Mark McDonald 'Goya's Graphic Imagination' The Metropolitan Museum of Art 2021. Michler and Löpsinger 866; Field 77-3 62 1977 unknown
ref. 1179331977 . Drypoint and etching on heliogravures in colours on Rives paper 1977 signed in pencil and numbered from the edition of 200 there were also 20 artist's proofs printed by Ateliers Rigal Paris published by Berggreuen Editions Paris sheet: 44.5 x 31 cm. 17½ x 12¼ in. This work is from the suite of 80 etchings by Salvador Dali based on Francisco Goya's 18th century series Los Caprichos. Goya's series served as a satirical commentary on Spanish society at the end of the 18th century particularly targeting the nobility and clergy as well as superstitions and irrationality prevalent at the time. In 1977 Dali reproduced the series as heliogravures subsequently reworking each of the plates with Surrealist drypoint additions and stencil colouring. 'Goya was preoccupied with dreams dreamlike states and nightmares - the varying states of consciousness that allowed him to explore allusive subjects.The Caprichos provide the earliest concentrated evidence of Goya's interest in dreams."Truth to life" is the essence of what Goya achieved through his graphic work. His prints and drawings quietly observe confront dissect and reflect the many facets of what it means to be human. This truth to life has fueled the works' relevance over the course of two centuries as they continue to provoke audiences to engage with Goya's profound insights'. Mark McDonald 'Goya's Graphic Imagination' The Metropolitan Museum of Art 2021. Michler and Löpsinger 923; Field 77-3 5 1977 unknown
