Fine Art/Dali prints


I have in our Turner Collection color intaglio cataloged as "to Be or Not to Be" 64/145 and pencil signed.  It seems it would be from a series relating to Shakespeare?

I also have "Espana" HC 9/50 slightly smaller in size than the Art/Contract in Paris from 1971. Would this have a relationship to the Spanish Civil war?

Anything more you can tell me to look for as to background on either would be appreciated.
Catherine Sullivan, Curator
Janet Turner Print Museum
CSU, Chico
Chico, CA

Dear Catherine,

Please let me apologize for the delay in responding to your question.  
It would be very helpful if you could please follow up with an image of 'To be or not to be' so I can look it up in the books I have here. As for Spain, I was able to confirm it was the work I had in mind by looking at the Janet Turner Print Museum's website.  N.b., You may want to consult an authenticator or appraiser, as according to Albert Field's Complete Graphic Works of Salvador Dali, there is a forgery of this particular image on the market.  Sidestepping that since it is not related to your question, the graphic is based on Dali's painting of the same title from 1938, now in the Museum Boymans-Van Beuningen in Rotterdam, The Netherlands.  Given the title and date at which it was made, it would seem likely that Dali did indeed have the Spanish Civil War in mind, though there is no clear political message in the work itself despite that by 1938 the Nationalists controlled most of the country.  The most direct inspiration for the work might be the drawings of Leonardo da Vinci, given the diminutive soldiers and horses that create the face and chest of a woman leaning against a nightstand.  Dali took a detached view of the Spanish Civil War, though the conflict deeply affected his family and took the life of one of his closest friends, the poet Frederico Garcia Lorca.
I hope this gives you some useful information.  Please let me know if you have any other questions or if you would like to send me an image of the Shakespeare graphic.

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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