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Fine Art/re: Dali lithographs


3 youngsurrealistic women holding an orchestra holding an
3 youngsurrealistic wo  
I want to sell 2 lithographs I purchased many years ago. I have enclosed photos. One is "Memoirs du Temps Perdu". It is signed on the right, and is numbered 74/300 on the left.  The other piece is "Three Young Women Holding an Orchestra". It is signed on the right ad numbered 261/300.  Your help is greatly appreciated!

Dear Eileen,

Thank you for your question.  I am not an authenticator or appraiser, so the information I am able to provide in so far as authenticity and value are concerned is limited; I would highly recommend consulting a professional, such as the Dali Society in Los Angeles, CA ( or the Dali Archives in New York City.
I regret to say that, according to Albert Field's 'Official Catalogue of the Graphic Works of Salvador Dali', both 'Memoir du Temps Perdu' and 'Three Young Women Holding an Orchestra' are unauthorized graphics and most likely inauthentic. In the case of 'Memoir du Temps Perdu', I am guessing as to the graphic based on the title, though perhaps you in fact own a different work.  Assuming the title refers to the graphic I have in mind, according to Field, 'Memoir du Temps Perdu' (also known as 'The Cosmic Rider' and 'Cavalier Cosmique') is a pastiche by an unidentified hand (i.e., not by Dali).  The publisher, Leon Amiel, signed a certificate stating it was published in 1982, though this is after the date that Dali stopped signing graphics.  
In the case of 'Three Young Women Holding an Orchestra', according to Field, on 15 December 1981 A. Reynolds Morse of the Dali Museum signed three contracts with David Mondai-Delcourt to create authorized reproductions of three paintings -- The Hallucinogenic Toreador; Discovery of America; and Three Young Women Holding an Orchestra. When Morse discovered that he had to consult the museum trustees to make such arrangements, he attempted to repudiate the contracts but Delcourt refused.  The graphics, consequently, are considered 'afters', and they were printed after Dali was no longer able to sign them.
Again, I would highly recommend contacting a professional appraiser to specialist in Dali's graphics who may be able to provide you more thorough -- and perhaps more positive -- information.  Please let me know if I can assist any further.

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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