Salvador Dalí, ‘Postcard by Dalì to The Countess Pecci-Blunt’, 1937, Wallector
Salvador Dalí, ‘Postcard by Dalì to The Countess Pecci-Blunt’, 1937, Wallector

C.P.A.S. (Carte postale autographe signée) Handwritten, signed postcard addressed to Countess Anna Laetitia Pecci-Blunt. Sent from Tessar, Zürs on 12 April 1937, according to postmark. (9 x 14 cm). In Spanish. The Contessa’s home address partially erased. In perfect condition, except for a small, pale ink stain, on the upper left-hand side.
From Lech Zürs, Austria’s most exclusive ski resort, Dalì sent a postcard with his greetings to his "Distinguida amiga", Contessa Anna Laetitia Pecci Blunt. He waxes euphoric about his “magnificent trip to New York”.

The background:
The painter was continuing on his rapid path to success, which had culminated in 1934 with two major one-man shows at New York’s Julien Levy Gallery. He had no problem then in attracting the attention of the American public with a series of bizarre, tongue-in-cheek and spectacular stunts like the 2 ½-metre-long baguette he installed at the centre of the room. Dalì found his natural habitat in a city where he could exhibit his persona, be gossiped about, and become a legend, a myth. A place where he could “get a good price” for his paintings and find himself a patron (the millionaire Edward James, for whom he created the two most famous icons of surrealism, the Lobster Telephone and the Mae West lips sofa). During a lecture organized in his honour, Dalì uttered the famous phrase: “The difference between me and surrealists is that I am a surrealist”, thus betraying the fact that he was no longer part of the group headed by Breton, which had expelled him definitively in 1936. After inventing and theorizing the “paranoid-critical method”, Dalì said goodbye to the surrealists’ boring automatic writing and entered the Olympus of art, not only as the only real surrealist, but as Dalì, the living myth. Around that time, Breton, a forceful leader, had this to say in his Anthologie de l’humour noir, dated 1939: “Dalì vanished in 1935 to make way for the personality better known as Avida Dollars, a socialiste portraitist who has for some time now returned to the Catholic faith and to the artistic ideals of the Renaissance, and today flaunts the Pope’s encouragement and congratulations”.

F. NICOSIA, Dalì, Il giornale, Milano, 2006, p.52.

Signature: Handwritten, signed postcard addressed to Countess Anna Laetitia Pecci-Blunt.

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