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Daliean Horse
Daliean Horse  
I have a question about this print titled "Le Cheval Caligula". Was this done on Arches paper, and is there a print listed as EA?  Thanks

Hello, Jon,

The legitimacy of 'Dalinean Horses' is quite complicated, so I'll present you what I have in Albert Field's 'Complete Graphic Works of Salvador Dali'.  The short answer is that the works were NOT done on Arches paper, and yes, there are EAs in this edition.

The legitimate lithographs should measure 53.4cm x 39cm on 68cm x 50cm paper. The original edition should be on Rives, whether it is 1 of the 250, part of the two sets of EAs, or one of the A-O HC series.  The prints are embossed, and, as you said, the title is 'Le cheval de Caligula' #Caligula's Horse#.

According to Field's section on counterfeits, the original edition was printed by Simeon Wajntraub and Jacques Carpentier.  Carpentier published two editions, but he never proved he had rights to the second edition printed.  According to Carpentier, on 22 June 1972, Dali signed 15,000 prints -- 7500 for the first edition and 7500 blank sheets for a later edition.  Field is evidently suspicious that Dali signed 15,000 sheets in one night.  Carpentier said that all sheets were signed horizontally, resulting in signatures being on one side of vertical prints; he would not guarantee signatures at the bottom of vertical prints.  In 1981, MAEVA #formerly owned by Carpentier# used 'presigned paper' to publish an edition of smaller images on smaller paper -- 41.9cm x 30 cm on 56 x 36cm), the tirage being 250 numbered in Arabic, another 250 also numbered in Arabic, 15 lettered A through O, 33 EA and 50 EA.  Field examined two prints from the second edition and noted that they were on Arches paper manufactured after Dali stopped signing sheets, thus concluding the signatures are forgeries.

As always, I recommend contacting a certified appraiser and/or specialist in Dali's graphics for more information.  Still, I hope this is helpful.
Kind regards,

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Elliott H. King


As a professional art historian, I can answer questions related to the art and life of Salvador Dalí. I am neither an art broker nor an appraiser, so I cannot answer questions regarding a work's value or authenticity; however, I can refer you to individuals who work in the Dali market.


I am an art historian specializing in Salvador Dalí. For over ten years, I have been a pioneer in the critical study of ‘Late Dalí’ (i.e., the artist's work after 1940). I have presented extensively on aspects of Dalí’s production at the Philadelphia Museum of Art, the Tate Modern, L’Université de Lausanne, Cerisy la Salle, the University of London, and Harvard University, and I have been a guest lecturer at Cambridge University and the University of Chicago. I have published several essays about Dalí in addition to my book, 'Dalí, Surrealism, and Cinema' (Kamera Books, 2007). I have also contributed to major international exhibitions of Dalí's work, including the Dalí Centenary Exhibition (2004-05) and 'Dalí & Film' (2007-08).

BOOKS "Dalí: The Late Work", High Museum of Art, Atlanta in association with Yale UP, 2010. "Dalí, Surrealism and Cinema", Kamera Books, Herts (UK), 2007. ESSAYS, ARTICLES AND CHAPTERS • “Little Black Dress, Little Red Book: Dalí, Mao, and Monarchy (with Special Attention to Trajan’s Glorious Testicles)”, in Michael R. Taylor (ed.), The Dalí Renaissance: New Perspectives on His Life and Art after 1940, Philadelphia Museum of Art, Philadelphia, 2008, pp. 90111. • “The Prodigious Story of the Lacemaker and the Rhinoceros”, in ibid, pp. 190204. • “Crazy Movies That Disappear”, in Matthew Gale (ed.), Dalí and Film, Tate Publishing, London / Museum of Modern Art, New York, 2007, pp. 214229. Published also in Spanish as "Dalí y el cine", Electa, Madrid, 2008. • “Le temps dalínien fait mouche: Réflexions sur les « montres molles »”, in Astrid Ruffa, Philippe Kaenel, Danielle Chaperon (eds.), "Salvador Dalí à la croisée des savoirs", Éditions Desjonquères, Paris, 2007, pp. 3752. • “Winged Fantasy with Lead Feet: The Influence of Llullism and Hiparxiologi on Dalí’s Mysticism”, in Hank Hine, William Jeffett and Kelly Reynolds (eds.), "Persistence & Memory: New Critical Perspectives on Dalí at the Centennial", Bompiani Arte, Milan, 2004, pp. 189193. EXHIBITION CATALOGUES: ENTRIES • Dawn Ades and Michael R. Taylor (eds.), "Dalí", Bompiani Arte, Milan, 2004. EXHIBITION CATALOGUES: BIBLIOGRAPHIES, FILMOGRAPHIES AND CHRONOLOGIES • “Dalí Filmography”, published in Matthew Gale (ed.), "Dalí and Film", op.cit., pp. 230231. • “A Cinematic Chronology of Dalí, 19411989”, in ibid, pp. 160163. • Compiled the most complete bibliography of Dalí resources todate, published in Dawn Ades and Michael R. Taylor (eds.), "Dalí", op.cit., pp. 568598.

Ph.D, Art History and Theory (2010) University of Essex, Colchester, England M.A. with Distinction in Dissertation, History of Art (2001) Courtauld Institute of Art, London, England B.A. summa cum laude, Art History (hons., Phi Beta Kappa) University of Denver, Denver, Colorado

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