Description
Salvador Dalí – Color Pencil Signed and Numbered WoodEngraving – The Divine Comedy – Paradise Canto 11
The Divine Comedy wood engraving series, one ofDalí’s most prominent sets of works, was based on Dante Alighieri (1265–1321)’s Commedia . In the 1950s, the government of Italy commissioned Dalí toproduce a series of watercolors (between 1951 and 1960) for a special editionof the Divine Comedy to celebrate its 700th anniversary. However, due toopposition in the country, this book was never published. Instead, between 1959and 1963, Joseph Forêt, a French publisher, worked with Dalí and the workshopsof Jacquet and Taricco to produce 100 wood engravings from these works. Eachprint correlates with one of the 100 cantos in the Divine Comedy . Theseengravings were meticulously carved by talented artisans—over 3,500 wood plateswere created, meaning each print involved a 20–30 layer printing process. Thus,strong printmaking papers, mostly B.F.K. Rives, were used for this series.
The initial French book edition contains 6 volumes anddoes not include the in-plate boxed signature seen in later versions. Followingthat, an Italian edition and some lithograph editions after these woodengravings were also published.
Salvador Dalí approved all officially published editions.However, he only signed some of them in three known sessions:
- When the Les Heures Claires book editions were published, Dalí signed the first prints of each image at his home in Port Lligat;
- In 1970, Dalí signed 70 sets of prints (bearing boxed plate signatures) in black pencil at the Hotel Meurice;
- At the F.A.R. Gallery and the St. Regis Hotel in New York, Dalí signed 150 sets in color pencil. Red was used for cantos in Inferno , purple for Purgatory , and blue for Paradise .
The current print, Paradise Canto 11 (M&L1116, Field p.196, listed as Canto 14 in the Field Catalogue Raisonné),was not professionally framed when it arrived. Some minor discoloration wascaused by non-acid-free matboard, and the back corners were taped for mounting.However, the front of the print and all edges and corners are intact, with nomajor damage. This impression bears the B.F.K. Rives paper watermark and Dalí’sblue pencil signature, along with edition number 53/150. All of this correlateswith the known characteristics of the 150 prints Dalí signed at the St. RegisHotel in New York. I have seen number 45/150 of the same print, and ParadiseCanto 31 from the same signed set (also 53/150), sold previously.
Interestingly, the initial stroke of the “D” in thesignature left a groove on the paper, but the color was dull. Still, Dalícontinued and finished the signature in his fluent style. This resonates withthe description in Field’s Catalogue Raisonné that each signing session was sointense that “the breaking or dulling of a pencil point caused only a slightdelay.”
Upon careful examination, I was astonished by the detailsof this work. Each layer of color brings different textures and carefullycarved patterns. The strong pressure from the printing process left plate marksalong the edge and a slight bulge on the reverse side of the paper. It’s hardto imagine that 3,500 individual plates were created with such precision—thisprint is not just about Dalí, but also a testament to the talent of the masterengravers who brought it to life. The craftsmanship can only be fullyappreciated by holding the print and examining it inch by inch.
Dimensions: • Paper: 13.25 × 9.75 in • Image: 9.75 × 7 in
Condition Report: • Tape on the back corners (x4) • Minor discoloration on verso • No major damage
Authentication and Provenance: • Blue pencil signed and numbered: 53/150 • Nye & Company, Chic & Antique Auction , May 1st, 2025, Lot 537
Catalogue Raisonné: M&L 1116, Field p.196
Disclaimer: I have conducted thorough research to ensure the accuracy and authenticity ofthis piece to the best of my ability. However, it is sold as is, with noguarantees or warranties regarding its provenance or historical attribution.
