Lot 344
  • 344

Salvador Dalí

Estimate
20,000 - 30,000 USD
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Description

  • Salvador Dalí
  • Le Violon (Violon d'Ingres)
  • Inscribed Dalí, dated 1966, numbered 4/6 and inscribed with the foundry mark Georges Rudier. Fondeur. Paris
  • Gilt and silvered bronze
  • Height: 20 1/4 in.
  • 51.5 cm

Provenance

Captain John Peter Moore & Catherine Perrot-Moore (acquired directly from the artist and sold: Artcurial, Paris, December 7, 2004, lot 263)
Acquired at the above sale by the present owner

Literature

Henri François Rey, La Collection Salvador Dalí Perrot-Moore, Vienna, 1983, illustrated n.p.
Robert & Nicolas Descharnes, Dalí, Sculptures & Objects, The Hard and the Soft, Spells for the Magic of Form, Paris, 2003, no. 281, illustrations of other casts p. 117

Condition

The work is in good condition. The surface may be slightly dirty and might benefit from cleaning, though a tarnished appearance seems to be the artist's intention. Minor spots of verdigris near signature and rubbing to gold patina on backside.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

"For the execution of this sculpture, the Rudier Foundry brought Dalí the skull of a Margay cat (a Latin American wildcat from the family of ocelots) to form the end of the violin. The back of the instrument is a human backside. In The Secret Life, Dalí recalls how once he smashed a violin of a school chum with his feet 'to finally obtain irrefutable proof of the superiority of painting over music'" (Robert & Nicolas Descharnes, op. cit, p. 117).