Salvador Dalí, ‘Much Ado About Shakespeare II’, 1970, Phillips

Property Subject to Artist's Resale Right (see Conditions of Sale for further information)

All images: 17.4 x 12.4 cm (6 7/8 x 4 7/8 in.)
All sheets: 44.2 x 31.4 cm (17 3/8 x 12 3/8 in.)

All signed, annotated 'EA.' and consecutively numbered 1-16 in pencil on the front, further inscribed and signed 'Epreuve de notre collection' by Denise Rigal in pencil on the reverse (one of 25 artist's proofs, the edition was 250 on Japanese and 200 on BFK Rives papers), printed by Atelier Rigal, published by Editions Graphiques Internationales, Paris, all unframed.

Including: Henry IV, Henry V (a), Henry V (b), Henry VI, Henry VIII, The Taming of the Shrew, The Merry Wives of Windsor, Love's Labours Lost, Troilus and Cressida, Cymbeline, Two Gentlemen of Verona, Richard II, Richard III, Timon of Athens, King John, and All's Well That Ends Well

Ralf Michler and Lutz W. Löpsinger 390-405

Atelier Rigal, Paris
Private Collection, France

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