Salvador DaliBiblio.com
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1969réf. 74785Salvador Dali The Death of Clorinda from Marquis de Sade Suite 1969 Lithograph Edition XXVI / XC Hand-signed lower right Image size: 52.5 X 42.5 cm Frame size: 77 x 64.5 x 3.5 cm Published by Shorewood Publishers New York It is framed with a purple-golden aluminum frame an acid-free mat and an acid-free back and UV-protected acrylic glass
1969réf. 74787Salvador Dali The Prison from Marquis de Sade Suite 1969 Lithograph Edition XXVI / XC Hand-signed lower right Image size: 52.5 X 42.5 cm Frame size: 75.5 x 62.5 cm Published by Shorewood Publishers New York It is framed with the wood style aluminum frame the acid-free mat and the acid-free back and UV-protected acrylic glass
réf. 74808Salvador Dali James the Greater from The Twelve Apostles 1977 Lithographs in colors with embossment on Arches paper Hand signed lower right Edition EA lower left Sheet size 64.5 x 47.5 cm Published by Wajntrob Moore Lancel & Carpentier LITERATURE: Field 72-14L
1950réf. 408086London : W. Campion 1950. First Edition. Hardcover. Very good copy in the original gilt-blocked cloth. Slight suggestion only of dust-dulling to the spine bands and panel edges. Light foxing to prelims. Remains particularly well-preserved overall; tight bright clean and strong. Physical description; 101 p. 7 leaves of colour illustrations ; 26 cm. Notes; Translation of La maison sans fenêtre. Subjects; Dwellings. Dwellings Fiction. Fiction. Habitations Romans nouvelles etc. London : W. Campion hardcover
1992réf. 359518Madrid : Publicaciones de la Residencia de Estudiantes Consejo Superior de Investigaciones Cientificias 1992. First Edition. Softcover. Fine copy in the original color-printed stiff-card wrappers. Particularly and surprisingly well-preserved; tight bright clean and especially sharp-cornered. Physical description; 249 p. : ill. some col. facsims. ports. ; 25 cm. Notes; Includes indexes. Subjects; Dali Salvador 1904-1989 ; Correspondence. Dalí Salvador 1904-1989 Friends and associates. Dalí Salvador 1904-1989 Correspondence. Residencia de Estudiantes Madrid Spain. Artists Spain ; Correspondence. Genre; Illustrated. Madrid : Publicaciones de la Residencia de Estudiantes, Consejo Superior de Investigaciones Cienti?ficias paperback
réf. 23567London: Peter Owen 1973. Hardcover. Orig. quarter vellum and marbled boards spine gilt lettered. Fine in fine publisher's red cloth slipcase. Dali Salvador. 318 pages. 22 x 14.5 cm. Limited edition copy 61 of 100 signed by Dali. Laid in with the 19-pp. pamphlet “Postface to Hidden Faces” comprising of “Objective Chance” and “Reverie”. His first and only novel. Hidden Faces was originally written in French in 1943 two years after Dali had published his autobiography to great success. Chevalier a professor at Berkeley University spent several weeks with Dalí translating directly into English as Dalí wrote. The novel was completed in two weeks on the estate of the Marquis de Cuevas in Franconia a mansion in the mountains of New Hampshire next to the Canadian border. Numerous black and white reproductions of paintings after Dali. Peter Owen hardcover
1947réf. 299848London ; Brussels : Nicholson & Watson 1947. First Edition. Hardcover. Very good copy in the original gilt-blocked cloth. Slight suggestion only of dust-dulling to the spine bands and panel edges. Remains particularly well-preserved overall; tight bright clean and strong. Physical description: 359 pages ; 20 cm. Translation of: Rostros ocultos. Subjects: Dalí Salvador - 1904-1989. Aristocracy - Social class. Europe. London ; Brussels : Nicholson & Watson hardcover
réf. 140937150London: Peter Owens 1973. Signed Limited Edition. Near Fine. First English edition. One of a limited 100 copies signed by Salvador Dali; this copy is unnumbered and out of series. Publisher's gilt stamped vellum and marbled paper covered boards. Near Fine in Near Fine slipcase lacking 20-page Postface booklet. Slight yellowing to vellum and light wear at joints slipcase slightly marked and with one joint tender. The artist's only novel signed. Peter Owens unknown
1948réf. 240440New York : Simon and Schuster 1948. Second Edition. Hardcover. Fine cloth copy in a good if somewhat edge-torn with some minor loss and dust-toned dust-wrapper now mylar-sleeved. Remains quite well-preserved overall; tight bright clean and strong. Copy is not price-clipped. Physical description; 128 p. : ill. ; 28 cm. Notes; First published in 1946. Subject; Illustrated books — U.S.A. — 1941-1950. New York : Simon and Schuster hardcover
1975réf. 68674Chartwell Books Inc. New Jersey 1975. 1975 Edition. Hardback. An exceptional copy; fine in an equally fine dw. Particularly and surprisingly well-preserved; tight bright clean and especially sharp-cornered. Literally as new still in protective packaging. ; 356 pages; Description: 356 p : chiefly ill. some col. ; 28 cm. Subject: Dali Salvador 1904-1989. SPANISH PAINTING. Chartwell Books, Inc. , New Jersey hardcover
réf. 33690396like new. unknown
1968réf. 1259Paris France: Monnaie de Paris. Limited/Numbered Edition. Other. Bronze medallion "The Dionysian Unicorn" designed by artist Salvador Dali 1904-1989 and struck by Monnaie de Paris Mint of Paris in 1968 to accompany the book Dali de Draeger deluxe edition from French publisher Draeger Imprimeurs. The book was a very large perfect bound softcover whose binding glue disintegrated rendering the book disbound. The original art is by Salvador Dali and his in-mold initials are cast into the front of the piece. From a limited edition of 1500 the back of the piece is die impressed with "1017" identical to its matching numbered copy of Dali de Draeger. The medallion is 3 3/16" diameter and weighs 9.6 ounces. The Monnaie de Paris was founded in 864 by King Charles the Bald and is one of the world's oldest companies extant. This heavy medallion from their collaboration with Salvador Dali is an example of the mint's best work and is in the same Fine condition as when it was struck.; Sculpture; 8vo 8" - 9" tall . 1968. Monnaie de Paris unknown
réf. 51-6816Paris: Flammarion 1994. 12mo. 13 x 18cm. Boards in d-j. Fine.The relationship between Dali and Halsman:. The collaboration between Dalí and Halsman began in 1941. They met while working on Labyrinth a project performed by the Ballets Russes at New York’s Metropolitan Opera House in 1941 for which Halsman photographed the costumes designed by Dalí. They continued to work closely together on joint commissions mainly related to ballet but also generated their own projects such as Dali’s Midsummer Night’s Mare Dali Atomicus Dali Sculpture with Light and In Voluptate Mors in which models are arranged in the shape of a skull. In 1960 Halsman documented the making of Dalí’s film Chaos and Creation.Philippe Halsman explains the concept of the jointly produced book Dali’s Mustache as follows: “In 1954 the growth of Dali’s mustache miraculously increased. When the painter returned to New York I was amazed: the points of his mustache were higher than his eyebrows. I saw my duty and started to photograph the play and interplay of his mustache. I needed Dalí’s consent and I approached the great surrealist cautiously: ‘Books have been written about you and about other painters. But there is no book about a part of their personality as for instance Rembrandt’s nose or Picasso’s foot. What a tribute to your genius Dalí! A book to appear – dedicated not to the whole but only to a small part of you!”.Text below by Mary PanzerCurator of PhotographsNational Portrait Gallery Smithsonian Institution.Philippe Halsman 1906-1979 was born in Riga Latvia. He studied engineering in Dresden before moving to Paris where he set up his photographic studio in 1932. Halsman's bold spontaneous style won him many admirers. His portraits of actors and authors appeared on book jackets and in magazines; he worked with fashion especially hat designs and filled commissions for private clients. By 1936 Halsman was known as one of the best portrait photographers in France.From the 1940s through the 1970s Philippe Halsman's sparkling portraits of celebrities intellectuals and politicians appeared on the covers and pages of the big picture magazines including Look Esquire the Saturday Evening Post Paris Match and especially Life. His work also appeared in advertisements and publicity for clients like Elizabeth Arden cosmetics NBC Simon & Schuster and Ford. Photographers amateur as well as professional admired Halsman's stunning images. In 1958 a poll conducted by Popular Photography named Halsman one of the "World's Ten Greatest Photographers" along with Irving Penn Richard Avedon Ansel Adams Henri Cartier-Bresson Alfred Eisenstaedt Ernst Haas Yousuf Karsh Gjon Mili and Eugene Smith. Altogether Halsman's images form a vivid picture of prosperous American society in the middle years of the twentieth century. "Philippe Halsman: A Retrospective" is the first historical survey of his work.Halsman's career came to a dramatic halt in the summer of 1940 when Hitler's troops invaded Paris. Albert EinsteinHis wife daughter sister and brother-in-law who all held French passports immigrated to America but as a Latvian citizen Philippe Halsman could not obtain a visa. For several long months he waited in Marseilles along with many others who were forced to escape fascist Europe. Finally through the intervention of Albert Einstein who had met Halsman's sister in the 1920s Halsman obtained permission to enter the United States and he arrived in New York in November 1940 with little more than his camera.Halsman's big break came when he met Connie Ford a striking young model who agreed to pose in exchange for prints for her portfolio.Constance Ford When publicists at Elizabeth Arden saw Halsman's photograph of Ford against an American flag they used the image to launch a national campaign for "Victory Red" lipstick. A year later in the fall of 1942 Life asked Halsman to shoot a story on new hat design. To Halsman's delight his portrait of the model smiling through a feathery brim landed on the cover. One hundred more covers followed before the magazine ceased weekly publication in 1972.When Halsman began working for Life the magazine was only six years old and photojournalism was still a new field. Before the existence of Life and its competitors Americans learned about the world from newspapers radio and newsreels. But the new picture magazines published pages filled with bright dramatic photographs bringing Americans vivid information that no other media could match. Frank SinatraIn the spirit of a variety show or a world's fair magazines combined stories about international politics everyday life news events celebrities exotic scenery and humor to prove that "so much of the world so judiciously selected had never been seen before in one place." Today to understand the significance of those great magazines we need only look at the many forms of mass media that have come to replace them. Now we find photographs on television and billboards; in special publications devoted to news people fashion or sports; in newspapers; in museums and galleries; and on the Internet. And ironically the more places there are to see photographs the harder it is to attract viewers. But in 1942 when Philippe Halsman's portrait simply appeared on the cover of Life and immediately reached a large united audience.Surrealism:.In Paris Halsman studied the work of other artists and photographers especially the surrealists from whom he learned to make images that surprised his viewers. By including homely and ultimately disturbing details he gave his subjects memorable tension. Through subtle lighting sharp focus and close cropping he turned formal fashion shots into serious investigations of character. When Halsman posed NBC comedians against bare white paper eliminating all defining context their isolation made them look both frail and funny.Salvidor Dali Most important of all from the surrealists' exploration of the erotic unconscious Halsman learned how to combine glamour sex and wholesome energy in one portrait. This unusual ability made him Life's favorite photographer for sensual stars like Marilyn Monroe and Brigitte Bardot. Halsman's sympathy for surrealism also led to his long productive friendship with Salvador Dali. Halsman met Dali on assignment in 1941 and over the next three decades they became partners on many projects including a series of playful tableaux that had all the disturbing irrationality of dreams or a painting by Dali. Their most notable production was "Dali Atomicus" in which the artist his canvas furniture cats and water all appear suspended in air.Psychological Portraiture:.Over the course of his career Halsman enjoyed comparing his work to that of a good psychologist who regards his subjects with special insight. With his courtly manners and European accent Halsman also fit the popular stereotype at a time when Americans regarded psychology with fascinated skepticism. In fact Halsman was proud of his ability to reveal the character of his sitters. As he explained "It can't be done by pushing the person into position or arranging his head at a certain angle. It must be accomplished by provoking the victim amusing him with jokes lulling him with silence or asking impertinent questions which his best friend would be afraid to voice.".Marilyn MonroeIn the spring of 1952 Halsman put his signature technique to work when Life sent him to Hollywood to photograph Marilyn Monroe. Halsman asked Monroe to stand in a corner and placed his camera directly in front of her. Later he recalled that she looked "as if she had been pushed into the corner cornered with no way to escape." Then Halsman his assistant and Life's reporter staged a "fiery" competition for Monroe's attention. "Surrounded by three admiring men she smiled flirted giggled and wriggled with delight. During the hour I kept her cornered she enjoyed herself royally and I . . . took between 40 and 50 pictures.".In this widely familiar portrait Monroe wears a white evening gown and stands with her back against two walls one dark the other light her eyes half closed and her dark lipsticked mouth partly open. Yet Halsman deftly avoided any explicit representation of the true subject of the picture. Using the euphemistic language of the time Halsman's assistant admired the photographer's ability to make "suggestive" pictures of beautiful women which still showed "good taste" emphasizing "expression" rather than "physical assets." And then the assistant added "Halsman is very adept at provoking the expression he wants.".Jumpology:.In 1950 NBC asked Halsman to photograph many of its popular comedians. Milton Berle Ed Wynn Sid Caesar Groucho Marx Bob Hope Red Skelton and many others came to Halsman's studio where they performed while he captured their antics on film. A single session could generate two or three hundred pictures. When Halsman compared these comic images to more traditional portraits he found that comedians often jumped and always stayed in character. Desperation and good humor finally drove him to ask others to jump for his camera when the Ford Motor Company commissioned him to make an official family photograph in honor of the company's fiftieth anniversary. WindsorsHalsman spent a long tiring session with nine edgy adults and eleven restless children. Afterward Halsman's irrepressible humor inspired him to ask matriarch Mrs. Edsel Ford "May I take a picture of you jumping'" The astonished Mrs. Ford replied "You want me to jump with my high heels" Next her daughter-in-law Mrs. Henry Ford II requested a turn. The "jump" pictures had surprising charm and over the next six years Halsman asked many clients to jump for him. Van Cliburn Edward R. Murrow and Herbert Hoover declined Halsman's invitation but most people realized they had nothing to lose. Some gained considerably like the suddenly buoyant and likable Vice President Richard Nixon who jumped for Halsman in the White House. Halsman claimed the jumps revealed character that was otherwise hidden. "When you ask a person to jump his attention is mostly directed toward the act of jumping and the mask falls so that the real person appears.".Halsman also pursued this project to discover something about himself. "I assure you that often before approaching the person my heart would beat and I would have to fight down all my inhibitions in order to address this request to my subject. At every time when the subject agreed to jump it was for me like a kind of victory." How did Halsman persuade so many to abandon their composure for his camera Somehow he managed to convince each one that the risk was all his own.Like many who escaped Hitler's Europe Philippe Halsman rarely discussed the past. He rightly insisted that his most important work took place in America and in many ways his adopted country became his subject. One typical review noted his patriotic flair praising Halsman's "unsanctimonious and immensely intense portrayal of American bounce." From a historian's perspective it seems clear that Halsman invented a glowing image of the nation as he saw it using light persuasion nerve imagination psychology and experience. This place and these faces are his creation.Halsman's perpetual quest for hidden truth also recalls his personal history as an artist and a refugee. Halsman knew that the effort to establish one's identity had significance far beyond the needs of the celebrity marketplace. "This fascination with the human face has never left me. . . . Every face I see seems to hide and sometimes fleetingly to reveal the mystery of another human being. . . . Capturing this revelation became the goal and passion of my life.". Paris: Flammarion, 1994. hardcover
réf. 75-0927Paris FR: Artcurial 2014. 4to. Soft Covers. Very Good. Spine slightly scuffed. 140 pp. Text is in French.Color plates. There might be an additional charge due to the large size of the book. Paris, FR: Artcurial, 2014 paperback
réf. 73-3801St. Petersburg: Salvador Dali Museum 1985. 89x61 cm. Color poster. Very Good. In plastic.Item in plastic sleeve new photos of item can be sent to customer upon request. St. Petersburg: Salvador Dali Museum, 1985 unknown
réf. 70-2278San Francisco : Weinstein 2000s. 4to. 16 pp. Very Good. Soft Cover. Illustrated paper wraps. Staple binding. Color and B&W plates throughout. Extremely Scarce.From the Collection of the Art Historian Peter Selz 1919-2019. San Francisco : Weinstein, [2000s?]. paperback
réf. 16-4360Stuttgart.: Graphik International 1975. 4to. 4 page prospectus.The set titled “Hommage à Leonardo” conssts of three drypoint etchings with aquatint and color by lithography. Published by Graphik International Stuggart. Printed by Leblanc/Matthieu Paris. Michler & Löpsinger 764 Stuttgart.: Graphik International, 1975 unknown
réf. 51-3424Paris: XXe Siècle 1974. . 4to. 24.5 x 31 cm. Original pictorial boards. Original lithograph by Charles Lapicque LACKING those by Salvador Dali Wilfredo Lam Jacques Herold. Ex-Rose Marie Mannion library at Notre Dame. Some markings. Good. Paris: XXe Siècle, 1974. hardcover
réf. 18-3081Figueres Spain: Fundacio Gala-Salvador Dali 2017. . 4to. 165 pp. Color pictorial wraps with printed vellum dustjacket. Good with marginal edgewear along dustjacket. Color plates. In English and en Francais. Figueres, Spain: Fundacio Gala-Salvador Dali, 2017. paperback
réf. 18-3830New York NY: Staempfli Gallery 1967. . 8vo. 8 pp. Soft stapled grey and color illustrated wraps. Good with marginal edgewear from use. Black plates. Includes essay by George W. Staempfli. Catalogue created on occasion of exhibition at Staempfli Gallery in New York from October 10 through 28 1967. From the Collection of the Art Historian Peter Selz. New York, NY: Staempfli Gallery, 1967. paperback
réf. 18-2052New York NY: Howard Greenberg Gallery 2004. . 4to. 24 pp & 16 pp. Stiff printed wraps in 2-way binding. Very good. Includes verso fold-out portfolio catalog of 16 full page black and white plates. Catalog created on occasion of exhibit “Halsman / Dali” at the Howard Greenberg Gallery in New York from February 6 through March 13 2004. First edition. New York, NY: Howard Greenberg Gallery, 2004. paperback
réf. 16-3112circa 1960s. 96 x 65 cm. Wrinkled. No images on the internet. circa 1960s. unknown
réf. 15-9215New York: Felicie Schumsky Inc. 1973 - 1974. 8vo. Nine Postcards & Folded Poster Very Good with small tear & some creasing on poster. Color plates. New York: Felicie Schumsky, Inc., 1973 - 1974. unknown
réf. 09-0438Paris: Demart Pro Arte 1992. Full color lithograph 30 x 40 cm 20.5 x 25 cm. in the plate. Signed and dated in the plate at bottom with publisher info at bottom margin. Reproduction of 1935 Dali painting "Solitude Paranoïaque-Critique" on matte paper. Fine. Paris: Demart Pro Arte, 1992. unknown
réf. 08-1782New York: Amiel 1975. Bronze sculpture from an original wax mold by Dali. Fabricated at the Hôtel des Monnaies Paris. Set in the blue portfolio sleeve for Our Historical Heritage. Blue Cloth portfolio cover. 26.5 x 20.5 inches with Dali's signature stamped in gold. Medallion measures 4" = 100 mm. in diameter. Albert Field catalogue page 101. New York: Amiel, 1975. hardcover
