Salvador Dalí

Beniamino Levi, Paris
Acquired from the above by the father of the present owner in 1984

Albert R. Morse, Albert Field & Robert P. Descharnes, Dalí, Camblest, 1980, colour illustration of another cast p. 35
Albert Field, Dalí dans la troisième dimension, London, 1985, illustration of another cast p. 16
Beniamino Levi, The Dalí Universe, London, 2000, colour illustration of another cast pp. 82 & 83
Robert & Nicholas Descharnes, Dalí, The Hard and the Soft: Spells for the Magic of Form. Sculptures and Objects, Paris, 2004, no. 655, colour illustration of another cast p. 255

Light brown patina. Apart from a 1cm. wide semi-circular area of patina wear to the base, this work is in good condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Surrealist fascination with the femme fatale is given monumental expression in Dalí's iconic Femme en flamme. Astounding for its grace and beauty, the sculpture betrays all of the illusionistic brilliance usually associated with Dalí's painted works. His trademark sinuous contours appear to transcend the properties of the heavy bronze medium to create a work which is immense yet intimate, whilst the gestures are delicate and expressive. The initial impact of the piece gives way to an intense atmosphere of emotional disquiet – emphasised by the sculptures lack of facial features.

The Femme en flamme makes numerous allusions to Classical sculpture in order to subvert artistic tradition and conventional notions of beauty. Dalí famously violated the archetype of feminine beauty, the Venus de Milo, by adding drawers to a cast of the sculpture. The same Surrealist humour is at work in the present piece; the fire which engulfs the figure from behind represents not only a destruction of classical beauty and its associated artistic ideals, but a conflagration of the desires residing in the viewing subject.