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Fine Art/Dali Song of Songs


dear elliott,
i thank you for the opportunity to pose this question.  i collect salvador dali art, and own 11 signed and numbered works.

i've noticed that you mentioned on more than one occasion, that you've written that dali's song of songs of solomon contained no EA, or artist's proofs, based on albert fields not making mention of it in his book.

is this reason enough to believe that EA's in this suite are forgeries.

i know dali's signature as well as my own, and feel that many of these EA's are authentic.

for example, copy and paste the following link, scroll down approximately half way, and observe the works listed for sale from this suite.  you'll notice that some are in fact are numbered EA:

your thoughts...

thank you for your valuable time,


Dear Jim,

Thank you very much for your question; I appreciate the opportunity to give some further clarification to previous answers I have given on this question.  

It is true that Field does not note any EAs for the Song of Songs of Solomon suite.  Field also refers to known forgeries of these works that are marked EA.  It is for this that I have raised concern that graphics marked EA *may* be forgeries.  I apologize if I have given the impression that EAs of this suite are invariably forgeries. That sort of pronouncement is beyond my expertise, and indeed, I recently received a kind note from a professional appraiser confirming that there *were* almost assuredly EAs produced for this suite, despite Field's documentation.  I do not personally know whether these EAs would have been signed, but it seems reasonable.  In short, some legitimate EAs were very likely produced.  However, one should be cautious since there are also known forgeries marked EA; hence the need for professional consultation. As I have noted, I am not a professional authenticator or appraiser myself, and whenever I have expressed the possibility that an EA from Song of Songs may be a forgery, I have tried to be clear that questioners should really consult a professional for more information on authentication and value.  

In sum, Field's book makes a fine case that EAs from this suite have a certain likelihood of being forgeries, but no, one should not take from this that EAs in this suite are all forgeries.

Thank you again for your question.

Kind regards,

Fine Art

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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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