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Fine Art/Dali's Cosmic Horseman Value


I have Salvador Dali's Cosmic Horseman purchased in New York at Gallery 121 in 1986. It is a hand colored etching printed in 1982. This artist's proof is print number E.A. This edition has 300 Arabic, CCC Roman, 300 international and 100 Artist's proofs. This edition consists of impressions hand-signed by the artist. The plates have been destroyed,effaced,or cancelled. The edition is neither a restrike nor is it posthumous. There are no multiples of the same image that exist in lithograph, serigraph, etching, or engraving. I was wondering if this piece had any value today, and if so approximately what would that be? Thank you for your time. Robert

Dear Robert,

Thank you for your question. First, I must preface that I am not a professional authenticator nor an appraiser, so information I have is based wholly on others' research.  I would recommend contacting a professional, such as the Dali Society (, Frank Hunter at the Salvador Dali Archives in New York, and/or Bernard Ewell in Santa Fe.

As you know, Dali's graphics are often a sticky subject because so many fakes and forgeries are on the market.  You have a great amount of information on your image, though I was immediately concerned by the fact that it is hand-signed at such a late date.  With this in mind, I looked up the image in the books I own.  According to Albert Field's 'Official Catalogue of the Graphic Works of Salvador Dali', the Cosmic Horseman -- also known as Cavalier Cosmique and as Memoire du Temps Perdu (Memory of Lost Time) -- is not an authentic Dali work.  According to Field, Leon Amiel, who had contractual relations with a number of publishers, signed a certificate stating the work was published in 1982, as you said; however, Field describes the image as 'a pastiche by an unidentified hand', adding that Dali signed an affidavit in December 1980 declaring that he had stopped signing prints after that date.    

Based on Field's research, it would seem that Cosmic Horseman is a work that Dali had no hand in producing or signing.  I should add that the image is also not listed in Bruce Hochman's price guide to Dali graphics, again suggesting that something about it is unusual.  I'm sorry not to have better news for you, and, again, I would advise seeking the opinion of a certified appraiser to determine your work's actual authenticity.
Good luck,

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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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