Salvador Dalí, ‘La Divine Comédie (The Divine Comedy) (M & L 1039-1138; Field p. 190)’, 1974, Forum Auctions
Salvador Dalí, ‘La Divine Comédie (The Divine Comedy) (M & L 1039-1138; Field p. 190)’, 1974, Forum Auctions
Salvador Dalí, ‘La Divine Comédie (The Divine Comedy) (M & L 1039-1138; Field p. 190)’, 1974, Forum Auctions
Salvador Dalí, ‘La Divine Comédie (The Divine Comedy) (M & L 1039-1138; Field p. 190)’, 1974, Forum Auctions
Salvador Dalí, ‘La Divine Comédie (The Divine Comedy) (M & L 1039-1138; Field p. 190)’, 1974, Forum Auctions
Salvador Dalí, ‘La Divine Comédie (The Divine Comedy) (M & L 1039-1138; Field p. 190)’, 1974, Forum Auctions
Salvador Dalí, ‘La Divine Comédie (The Divine Comedy) (M & L 1039-1138; Field p. 190)’, 1974, Forum Auctions
Salvador Dalí, ‘La Divine Comédie (The Divine Comedy) (M & L 1039-1138; Field p. 190)’, 1974, Forum Auctions
Salvador Dalí, ‘La Divine Comédie (The Divine Comedy) (M & L 1039-1138; Field p. 190)’, 1974, Forum Auctions
Salvador Dalí, ‘La Divine Comédie (The Divine Comedy) (M & L 1039-1138; Field p. 190)’, 1974, Forum Auctions
Salvador Dalí, ‘La Divine Comédie (The Divine Comedy) (M & L 1039-1138; Field p. 190)’, 1974, Forum Auctions
Salvador Dalí, ‘La Divine Comédie (The Divine Comedy) (M & L 1039-1138; Field p. 190)’, 1974, Forum Auctions

The book in three volumes, containing 99 of the 100 woodcuts printed in colours, prints on BFK Rives paper, each with the stamped signature in the block, numbered from the German edition of as many as 1000, published by Dr Jawdat Naffouj, Landstudl, each sheet in the original card mount (as issued), lacking The Death of Virgil (M & L 1082), each portfolio housed in original matching slipcase with the artist's name embossed in gold on the spine, overall 450 x 343 x 155mm (17 3/4 x 13 1/2 x 7 1/4in) (99) (unframed)

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About Salvador Dalí

Salvador Dalí was a leading proponent of Surrealism, the 20-century avant-garde movement that sought to release the creative potential of the unconscious through strange, dream-like imagery. “Surrealism is destructive, but it destroys only what it considers to be shackles limiting our vision,” he said. Dalí is specially credited with the innovation of “paranoia-criticism,” a philosophy of art making he defined as “irrational understanding based on the interpretive-critical association of delirious phenomena.” In addition to meticulously painting fantastic compositions, such as The Accommodations of Desire (1929) and the melting clocks in his famed The Persistence of Memory (1931), Dalí was a prolific writer and early filmmaker, and cultivated an eccentric public persona with his flamboyant mustache, pet ocelot, and outlandish behavior and quips. “Each morning when I awake, I experience again a supreme pleasure,” he once said. “That of being Salvador Dalí.”

Spanish, 1904-1989, Figueres, Spain