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Salvator Dalí

Prints Available from Grafos Verlag

      Both the Löpsinger and the Fields Catalogues Raisonnés give excellent information on individual prints. Those published by Grafos Verlag are all reproduced in them. Here we provide only an overview and a summary, without attempting to be complete, since it would be beyond the scope of these pages to comment on each individual graphic work. Over 50 graphic works by Salvador Dalí were published by Grafos Verlag, under the auspices of Dr. Friedrich Herlt (and at the beginning of the 60's and 70's, exclusively for the Doctors' Circle of Collectors, or 'Ärztesammlerkreis'). Some prints are already missing from our selection, long since sold out.


Puntaire de Vermeer



One of the earliest prints to be published by Grafos Verlag was Dalí's 'Puntaire de Vermeer' (Vermeer's Lace Maker), an homage to Vermeer, printed in 1958. It is an unusual print. Dalí literally played with an experimentally explosive technique, achieving an astonishingly classical effect with explosives. Then come prints from the series 'Five Spanish Portraits' from 1966, including the portraits of 'El Cid', Cervantes and Don Quijote, the knight who, with lance and shield, rides against his own illusions. These are masterpieces of etching in small format, in fine blue, brown and gray tones. Two years later, in 1968, 'Pegasus' is printed, the winged horse of Greek legend, and an etching with the famous 'Soft Clock' of flowing time and then the 'Soft Telephone'. Objects which would normally be stable home accessories begin to melt, and then reality begins to falter. This vision was inspired in completely mundane circumstances during an evening meal, and found its way into many of his works. Some of the prototypes of Dalí's treasure chest are his chest-of-drawer-bodies, his marionette-like supports, grasshoppers, knights and his unmistakable landscapes. The backdrop for the most outlandish imaginings of this day-dreamer is the abrupt coastal landscape of Cadaqués, with the bizarre rock formations of Cap de Creus.

Hommage à la médecine

Gala Assumpta

  In 1973, he creates the fragile figure propped up on crutches, like a butterfly pinned down alive, 'Hommage à la médecine', dedicated to Vesalius, the personal physician of the Spanish king, founder of modern anatomy. Crutches symbolized, for Dalí, as many other things also, resurrection. How did it go in his autobiography, 'The Secret Life of Salvador Dalí', when he recalls his childhood experience with Dullita? 'And then I saw how the rainbow of her laughter had created a bridge across the entire distance of the crutches between us.' Likewise in his work from 1973, 'Gala Assumpta' (The Ascension of Gala), in which he lifts her up into the sky, his beautiful, beloved wife. 'Gala was the angel of stability', he had thus described her.  

Stillness of time

Vesper Bells


Stillness of time, the soft clocks of his 'Time Suite' were done in the mid-70's. These soft-colored lithographs are centerpieces of Dalí's stock of motifs. The clock also becomes a leitmotif in his 'Cycles of Life', to which belong prints such as 'Vesper Bells', a recollection from his childhood in Figueres, 'La Rubia', 'Vigor of Youth' and 'La mano'. The use of clichés and their incorporation into unexpected constellations was part of this Surrealist's creative strategy, and it may recall the work of Breton or Max Ernst.

La Rubia

La Mano



Path of wisdom

  For the Dalí Retrospective of 1978-79, a vivid illustrative selection of watercolor-like lithographs was produced, including such works as 'Path of wisdom', with its drawer-head. The drawer, as is known, had great relevance for Dalí and appeared in his most famous paintings. 'The Flowering of Inspiration' or 'Gala en fleurs' recalls happenings and arises from the depths of the soul. The print 'The Agony of Love', with its unicorn, revives myths, life stories and dream worlds. The cycle 'Les Amoureux' from the same year simply sizzles encounter: the famous lovers of all times, from 'Adam and Eve' all the way to 'Lancelot and Guinevere', as well as 'Anthony and Cleopatra', and even 'Cleopatra's Royal Wedding'. 'I was also', Dalí wrote, 'as you all know, a king.' The riding couple, 'Woman leading horse' and 'The Horse-Girl', recalls Spanish festival appearances by the Infanta, women adorned with garlands and horsemen. These prints give the illusion of paintings.

Anthony and Cleopatra

Woman leading horse
The Birth of Venus
Celestial Elephant
A series of individual prints with famous Dalí motifs includes 'The Birth of Venus', 'Celestial Elephant', 'Daphne I' and 'Daphne II' (in whose figure we can also suspect the presence of Gala), as well as 'Cap de Creus'.

Daphne I

Daphne II

Cap de Creus
Joys of Bacchus

Printemps de Gala

  To this we can add 'Joys of Bacchus', that 'juicy grape harvest of our passions'; and then the 'Fleurs surréalistes' (Flowers for Gala), 'Printemps de Gala', and especially the lithograph of the 'Surreal Rider, Homage to Velázquez' Rider'. In 1979, he creates an etching with the same motif, 'Jinete' (Rider), a vehement, brilliant monochrome drawing. All of these lithographs, generally after original gouaches, were done on stone. Such is the case with 'The Doctor' and 'The Dentist' (The Fight Against Evil, or The Dentist).

Hommage a Velasquez

The Doctor



The Chemist

The Chef


His series on The Professions stems from the same period (1979). On offer are 'The Chemist' and 'The Chef'. The spontaneity of gouache and watercolor is reflected in these works. Myth and profanity come together, from Greek themes to the Catalan Sardana dance, Odysseus returns to all coasts, and Don Quijote de la Mancha is also free of boundaries, hearts open to him everywhere. A humorous, burlesque etching series was produced on the theme of Don Quijote. Grafos Verlag offers the entire series of 16 prints, as well as the individual prints from this and all the other series offered here. Dalí illustrates Cervantes' story vividly. Don Quijote, popular as few other literary characters have ever been, has become a legend and an image of the soul. Together with his entirely dissimilar yet loyal companion Sancho Pansa, they make up the two anti-heroes of Spain. Neither the steed Rosinante nor Lady Dulcinea de Tobosa can be missing when Don Quijote appears. Steadfast knight even in defeat, Quijote remains true to his ideals and hallucinations, idealist, fighter and dreamer.

The return of Ulysses

Don Quijote

Lady Dulcinea


Mensaje de Hispanida

Und zuguterletzt die Buch-Kassette Dix Recettes d'immortalité. Zehn Rezepte der Unsterblichkeit, der Griff ein silbern-goldener Telephonhörer, verführt zur Frage: ob ein Anruf genügt? Elf Kaltnadelradierungen mit Heliogravuren, zum Teil farbig, 1973 gedruckt. Allein die Bildtitel sind verschroben genug, um zu vexieren. Ein Aphrodisiakum, das mit Vorsicht genossen sein will, und wie es im Kommentar heisst: 'erdacht, gezeichnet und geschrieben von S. Dalí in Port-Lligat, Paris und New-York 1971-1972'. Mensaje de Hispanida ein Reiterrelief in Silber gegossen mit Prägesignatur: Salvador Dalí, 1974, ebenfalls im Angebot des Grafos Verlages, das Objekt wird im Rückblick zur Ehren-Medaille für einen spektakulären grossen Künstler. ek


Last Update: 04.06.09;
© Texte by Evi Kliemand, 1998-2009. © by Grafos Verlag AG, 1998-2009

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