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Location: Texas City, Texas
Ships to: US,
Item: 146139992814

Return shipping will be paid by:Buyer
All returns accepted:Returns Accepted
Item must be returned within:30 Days
Refund will be given as:Money Back
Artist:Salvador Dalí,Salvador Dali
Unit of Sale:Single Piece
Signed By:Salvador Dali
Image Orientation:Portrait
Size:Medium (up to 36in.)
Signed:Yes
Title:Changes In Great Masterpieces
Material:Paper
Framing:Matted & Framed
Original/Licensed Reprint:Original
Subject:Surrealism,Surreal,Dali,Artists,Changes In Great Masterpieces,Masterpiece,Art History,The Louvre,Surreal Portrait,Spanish Masterworks,Royalty,Spain,Vermeer,The Love Letter,La Lettre,La Lettre D’amour,Renaissance
Print Surface:Paper
Listed By:Dealer or Reseller
Type:Lithograph In Colors
Year of Production:1974
Item Height:35 in
Style:Abstract,Modernism,Surrealism
Theme:Art,Surrealism,Surreal,Salvador Dali,Masterpieces,National Gallery,Surreal Portrait,Changes In Great Masterpieces,La Lettre,Vermeer,Love Letter,Renaissance
Features:1st Edition,Limited Edition,Numbered,Signed,Hand Signed In Pencil, LR
Production Technique:Lithography
Country/Region of Manufacture:United States
Item Width:25 in
Time Period Produced:1970-1979

Salvador Dali (1904-1989) The Love Letters (Vermeer) 1974 Limited Edition 150 Changes in Great Masterpieces Salvador Dali Vermeer La Lettre Hand Signed Original Lithograph Love Letter Art 11/150 Pencil Signed Signed also by Gallery Owner Phyllis Lucas on reverse Up for sale is a limited edition hand signed lithograph in colors titled “Jan Vermeer : La Lettre d’Amour (The Love Letter) : From Changes In Great Masterpieces Suite” by master artist Salvador Dali, published in 1974 on Arches watermarked paper. This piece is hand signed in pencil by Dali on the lower right, and numbered in pencil 11 of 150 on the lower left. Sheet size: 25 x 35”. The catalogue reference is Field 74-2. Provenance: Acquired From The Phyllis Lucas Gallery, NYC, New York. Phyllis Lucas Gallery was the official American dealer and a publisher of Dali’s lithography. The lithograph is stamped “Phyllis Lucas” on the reverse. “Vermeer of Delft is the pinnacle of painting … in the drama of his work, the pictorial problem disappears,” Salvador Dalí once said. Discussion: This lithograph is one of six lithographs from the series Changes in Great Masterpieces published by Phyllis Lucas, 1974. In this series of six original lithographs in full color, Master Dali has given us a concept most original and provocative. His contention is that we “look” but actually do not “see” all the details in a work of art. For this reason Dali has honored six great paintings by Rembrandt, Vermeer, Raphael, and Velasquez and of course himself on which he has made certain changes to tantalize the viewer into studying and comparing the original with his graphic work. A facsimile of each original painting appears at the bottom of each sheet for this purpose. To further give us an example of Dalinean wit, he has added a “remark” on each graphic in the form of an original lithograph relating to the actual subject. In January 1965 Master Salvador Dali appointed Sidney Z. Lucas, New York City art publisher, to be his exclusive publisher in North America of hand signed graphics, including original lithographs like this piece. As Dali’s first North American publishers of original lithographs, the Lucas Gallery began a personal collaboration with Dali that lasted from 1965 to 1974. https://www.pbs.org/video/antiques-roadshow-appraisal-1971-salvador-dali-etching/ Please email me with any questions, thank you! Additional Discussion: “The Love Letter (Dutch: De liefdesbrief) is a 17th-century genre painting by Jan Vermeer. The painting shows a servant maid commenting to her mistress on a letter the woman holds. The painting is in the Rijksmuseum Amsterdam. The tied-up curtain in the foreground creates the impression that the viewer is looking at an intensely private, personal scene. There is also an element of trompe-l’œil as Dutch paintings were often hung with little curtains to conserve them, and the device of painted curtains is seen in other Dutch works of the period. The diagonals on the chequered floor create the impression of depth and three-dimensionality. The fact that it is a love letter that the woman has received is made clear by the fact that she is carrying a cittern, a form of lute used in the period as a symbol of love – often carnal love; luit was also a slang term for vagina. This idea is further reinforced by the slippers at the very bottom of the picture. The removed slipper was another symbol of sex. The floor brush would appear to represent domesticity, and its placement at the side of the painting may suggest that domestic concerns have been forgotten or pushed aside. The colors blue and gold are important in the composition of the painting. In the household that The Love Letter takes place in, gilded ornamentation indicates substantial wealth. The gold is located on the woman’s dress, the top of the fireplace, and many of the objects, which complements the blue on the floor, the maid’s dress, the picture frames, etc. Classical influence is also apparent in the ionic columns of the fireplace. The two paintings on the wall are also significant. The lower painting is of a stormy sea, a metaphor for tempestuous love.[citation needed] Above it is a landscape painting of a traveler on a sandy road. This may refer to the absence of the man who is writing to the lady. Love Letter remains the only one of Vermeer’s works to incorporate a seascape.” (-From Wikipedia) Salvador Dali Biography: From the Smithsonian Magazine: by Stanley Meisler, April 2005 “The Surreal World of Salvador Dalí” Salvador Dalí spent much of his life promoting himself and shocking the world. He relished courting the masses, and he was probably better known, especially in the United States, than any other 20th-century painter, including even fellow Spaniard Pablo Picasso. He loved creating a sensation, not to mention controversy… Salvador Felipe Jacinto Dalí Domènech was born May 11, 1904, in the Catalonian town of Figueres in northeastern Spain. His authoritarian father, Salvador Dalí Cusí, was a well-paid official with the authority to draw up legal documents. His mother, Felipa Domènech Ferres, came from a family that designed and sold decorated fans, boxes and other art objects. Although she stopped working in the family business after marriage, she would amuse her young son by molding wax figurines out of colored candles, and she encouraged his creativity. According to Dalí biographer Ian Gibson, she was proud of Salvador’s childhood drawings. “When he says he’ll draw a swan,” she would boast, “he draws a swan, and when he says he’ll do a duck, it’s a duck.” Dalí had an older brother, also named Salvador, who died just nine months before the future artist’s birth. A sister, Ana María, was born four years later. Dreamy, imaginative, spoiled and self-centered, the young Salvador was used to getting his own way. “At the age of six,” he wrote in his 1942 autobiography, The Secret Life of Salvador Dalí, “I wanted to be a cook. At seven I wanted to be Napoleon. And my ambition has been growing steadily ever since.” He prided himself on being different and felt himself blessed with a delicate sensitivity. Grasshoppers frightened him so much that other children threw them at him to delight in his terror. Dalí was 16 when his mother died of cancer. “This was the greatest blow I had experienced in my life,” he wrote in his autobiography. “I worshiped her. . . . I swore to myself that I would snatch my mother from death and destiny with the swords of light that some day would savagely gleam around my glorious name!” Yet eight years after her death, he would sketch the outline of Christ in an ink drawing and scrawl across it the words about spitting on his mother’s portrait. (Although Dalí probably intended the work as an anticlerical statement, not a personal slur against his mother, news of it infuriated his father, who threw him out of the house.) The precocious Dalí was just 14 when his works were first exhibited, as part of a show in Figueres. Three years later, he was admitted to the Royal Academy of Fine Arts of San Fernando in Madrid but, once there, felt there was more to learn about the latest currents in Paris from French art magazines than from his teachers, whom he believed were out of touch. (On a brief excursion to Paris with his father in 1926, he called on his idol, Pablo Picasso. “I have come to see you before visiting the Louvre,” Dalí said. “You’re quite right,” Picasso replied.) When it came time for his year-end oral exam in art history at the academy, Dalí balked at the trio of examiners. “I am very sorry,” he declared, “but I am infinitely more intelligent than these three professors, and I therefore refuse to be examined by them. I know this subject much too well.” Academy officials expelled him without a diploma. It was probably inevitable that the then-current ideas of the French Surrealists—artists such as Jean Arp, René Magritte and Max Ernst—would attract Dalí. They were trying to apply the new, psychoanalytic theories of Sigmund Freud to painting and writing. Dalí was well acquainted with Freud and his ideas about sexual repression taking the form of dreams and delusions, and he was fascinated with the Surrealists’ attempts to capture these dreams in paint. It was Spanish artist Joan Miró, a fellow Catalan allied to the Surrealists, who would bring Dalí to their attention. Miró even had his own Paris dealer look at Dalí’s paintings on a visit to Figueres. Afterward, Dalí wrote to his friend the Spanish playwright and poet Federico García Lorca, whom he had met during their student days in Madrid, that Miró “thinks that I’m much better than all the young painters in Paris put together, and he’s written to me telling me that I’ve got everything set up for me there in order to make a great hit.” Miró continued to drum up interest in Dalí’s work in Paris, and when the artist arrived there in 1929, Miró introduced him to many of the Surrealists. Dalí had come to Paris to take part in the filming of Un Chien Andalou (An Andalusian Dog), which Spanish film director Luis Buñuel, whom Dalí had also known since his student days, was directing from a script on which he and Dalíhad collaborated. The 17-minute film, as incoherent as adream, riveted—and appalled—audiences with its overt sexualand graphic imagery. Even today, it’s hard not to cringe at images of a man wielding a razor against the eye of a woman, priests towing dead donkeys, and ants devouring a rottinghand. Dalí boasted that the movie, which was praised byavant-garde critics, “plunged like a dagger into the heart of Paris.” In the summer of that same year, Dalí, 25, met his future wife and lifelong companion, Gala, at his family’s vacation home in Cadaqués, a picturesque fishing village on the craggy Mediterranean coast, 20 miles from Figueres. Among the visitors that summer were Buñuel, Magritte and French poet Paul Éluard and his Russian-born wife, Helena Diakanoff Devulina, better known as Gala. Ten years older than Dalí, Gala was at first put off by Dalí’s showoff manner, heavily pomaded hair and air of dandyism that included a necklace of imitation pearls. His demeanor struck her as “professional Argentine tango slickness.” But the two were ultimately drawn to each other, and when Gala’s husband and the others left Cadaqués, she stayed behind with Dalí. The affair proceeded slowly. It was not until the next year, according to Dalí, that in a hotel in the south of France, he “consummated love with the same speculative fanaticism that I put into my work.” Dalí’s father was so upset by the liaison and by Dalí’s eccentric behavior that he branded him “a perverted son on whom you cannot depend for anything” and permanently banished him from the family homes. Critic Robert Hughes described Gala in his Guardian article as a “very nasty and very extravagant harpy.” But Dalí was completely dependent on her. (The couple would marry in 1934.) “Without Gala,” he once claimed, “Divine Dalí would be insane.” International acclaim for Dalí’s art came not long after he met Gala. In 1933, he enjoyed solo exhibitions in Paris and New York City and became, as Dawn Ades, who curated the exhibition in Venice, puts it, “Surrealism’s most exotic and prominent figure.” French poet and critic André Breton, the leader of the Surrealist movement, wrote that Dalí’s name was “synonymous with revelation in the most resplendent sense of the word.” In 1936, Dalí, at 32, made the cover of Time magazine. In addition to Freudian imagery—staircases, keys, dripping candles—he also used a host of his own symbols, which had special, usually sexual, significance to him alone: the grasshoppers that once tormented him, ants, crutches, and a William Tell who approaches his son not with a bow and arrow but a pair of scissors. When Dalí finally met Freud in London in 1938 and started to sketch him, the 82-year-old psychoanalyst whispered to others in the room, “That boy looks like a fanatic.” The remark, repeated to Dalí, delighted him.

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