April 25, 2021 February 12, 2021 - Friday - Sunday: 6:00 - 10:00 PM - A Salvador Dalí Exhibiton Curated by Marcel Katz and Bertrand Epaud - Art Plug
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Marcel Katz Art Presents:
A Salvador Dalí Exhibiton
Curated by Marcel Katz
and Bertrand Epaud
February 12, 2021
April 25, 2021
Friday - Sunday:
6:00 - 10:00 PM
www.artplug.com
independent art fair & experientia
MARCEL Katz
KATZstarted in hospitality, na
A B O U T T H E C U R ATO R
overseeing marketing & creative
AKA “THE ART
eventuallyPLUG”
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ABOUT THE
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Marcel Katz, Miami based and born. The Art Plug consists of “The Art
Since,par�cipa�ng
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all over the US. Katzand beganservices
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hospitality groups. Solidifying his ability to curate and create unique expe-
Katzforishisknown and soughtConsist- out
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ing of Marcel Katz Art; A Fine artconnect
art conglomerate.
the dots.
gallery and artplug.com onlineHe has curat
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rated by Marcel Katz in which he As enlistsWhitehot
a co-curator to Magazine
collaborate in ref-put it,
Artist erence to crea�ng a posi�ve outlook based on life's hardships and experi-
ences through the exhibi�on of traditional
contemporary power
ar�sts. Thestructure,
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Agency; A crea�ve & ar�s�c representa�on artist’s
agency having curatedgreatest
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ects for globally recognized brands. Such as the Dali Universe, Hya�, SBE
Hospitality Group, Red Bull, Ly�, Footlocker, Stella Artois, Atlan�c Records,
Empire Distribu�on, Stoli, Cho�o Ma�e, E11even Brand, & E11even
Vodka. The Art Plug Power House; An independent art fair & experien�al
pla�orm for local and interna�onal ar�sts. A marquee experience for
those a�ending Miami‘s Art Week during the month of December.
Since “Disrup�ng the US Art Scene” ~Forbes The Art Plug has appeared in
over 100 publica�ons with the most recent Forbes Italia feature ar�cle in
the debut of “The Real Surreal” Curated by Marcel Katz in partnership
@theartplugagency @marcelkatzart @artplugpowerhouse with Bertrand Epaud, Official US representa�ve Of the Dali Universe
bronze collec�on.
platform for international artists. !
the Miami nightlife scene and rose to
mming for the Opium Group in 2013. This
entrepreneurial endeavors, as he began
s own collection. !
ABOUT THE
his art empire. Through his gallery, he has
ts, including Picasso, CURATORS
Warhol, Dali, Haring, BERTRAND
temporary artists. His agency represents
-recognized brands. And his events have EPAUD
@thedaliuniverse
attending Miami’s Art Basel weekend. !
Bertrand Epaud is a French art consul-
eclectic taste, creative vision, and ability to tant, based in New York City. He is a
renowed Salvador Dalí expert and the
paigns with brands from various industries
US representative of The Dalí Uni-
Art Consultant
er, Atlantic Records, Empire Distribution,
and Chotto Matte.!
verse bronze collection. He has curat-
ed numerous fine art shows around
Curator the world, for Dalí, and many other
artists.
a force to be reckoned with, challenging
Dalí
ng major waves doing it.” Katz Expert
is “the He has opened and operated the big-
gest art galleries in the Middle East,
and has collaborated with govern-
ments, Royal Families, famous airlines
and institutions on innovative art
projects.
tfolio
NEW ARRIVALS
ALICE IN WONDERLAND
In 1968 Dalí was commissioned to illustrate an edition of the Alice
in Wonderland book. Dalí chose to represent Alice as a girl with a
skipping rope, an image which first appeared in his oeuvre in the
1930’s and was used in numerous oil paintings such as Morpholog-
ical Echo (c.1935).
Like Alice in Wonderland, Dalí travelled a long and arduous road
through the land of dreams by means of his artistic expression. He
was drawn to both the incredible story line and the extravagant
characters in Lewis Carroll’s 1865 tale. Alice was one of Dalí’s favor-
ite characters. In the story, Alice falls asleep and dreams of falling
*USD price will be subject to change according to current EUR exchange rates
down a rabbit hole into a fantasy world of magic ‘drink-me’ potions,
eccentric creatures and absurd realities. For Dalí, she is the eternal
girl-child who responds to the confusion of this nonsense world
with the naivety and innocence of childhood.
Here, Dalí portrays Alice’s innocence and naivety. Dalí created Al-
ice’s silhouette holding a skipping rope frozen in motion above her
head, her hands and hair blossoming into roses, symbolizing femi-
nine beauty and eternal youth. The crutch symbolizes stability, it
gives her emotional support, acting as a link back to reality.
Date: conceived in 1977, first cast in 1984
Material: bronze
Technique: lost wax process
Edition: 266 / 350, patina blue
©AIP Art Investment Partners
Height: 90,5 cm, bronze/marble base: 45 x 20 cm
Maquette: original drawing, Alice In Wonderland, 1977
Direct intervention (created by Dalí): the idea, image, and original maquette
Contact for Indirect intervention (created by artisans): lost wax process and patina
$25,750
Pricing
NEW ARRIVALS
HORSE SADDLED WITH TIME
The theme of lapsing time troubled Dalí incessantly. The artist
stated “The mechanical object was to become my worst enemy,
and as for watches, they would have to be soft, or not be at all”. The
horse, one of Dalí’s favourite images, is saddled with Dalinian time.
The famous soft-watch is used here in place of a normal saddle.
The horse is portrayed as the representation of life weighed down
and harnessed tightly by time.
The sculpture signifies the omnipresence of time and the weight it
has in all our actions. The raging horse appears to protest against
this unwelcome constraint, his movements a futile attempt to free
*USD price will be subject to change according to current EUR exchange rates
himself. Time races on and reminds us of man’s fleeting voyage
through life and our own mortality. This surrealistic beast cannot
be ridden by man, for it is time who is the ultimate rider. Dalí be-
lieved that time and space could not be dissociated, and this sculp-
ture illustrates time in its disordered dimension, fluid, receding and
transitory. This sculpture is one of the first from the collaboration
between Beniamino Levi, President of the Dalí Universe, and Dalí
himself. For this sculpture, Dalí created the maquette in wax,
moulding it with his fingers. The hand markings are visible in the
body of the horse, its muscles and particularly the mane.
Date: conceived and first cast in 1980
Material: bronze
Technique: lost wax process
Edition: 299 / 350, patina brown
©AIP Art Investment Partners
Height: 44 cm, bronze/marble base: 56 x 17 cm
Maquette: original drawing, Horse Saddled with Time, 1980
Direct intervention (created by Dalí): the idea, image, and original maquette
Contact for Indirect intervention (created by artisans): lost wax process and patina
$25,750
Pricing
NEW ARRIVALS
LADY GODIVA
WITH BUTTERFLIES
Lady Godiva was an English noblewoman from the eleventh centu-
ry, who, according to legend, rode naked through the streets of
Coventry on horseback, to oppose taxation laws of the time, im-
posed by her husband the Earl of Mercia, becoming a feminine
legend.
In this sublime sculpture, Dalí adds a surreal touch, adorning Lady
Godiva’s body with four fluttering butterflies, symbols often used
in his artwork. Symbols of the soul and of change, butterflies insin-
*USD price will be subject to change according to current EUR exchange rates
uate rebirth, infinite transformations, metamorphosis, and natural
beauty.
Lady Godiva’s ride has inspired many artists, Dalí in particular used
this image from 1976 both in bronze and in various etchings.
The Dalínian Lady Godiva with Butterflies does not hide beneath
her abundant hair,but proudly announces her femininity. Her
whole figure seems to radiate light and luminescence, the trumpet
a symbol of victory pointing to the heavens and the future.
Date: conceived in 1976, first cast in 1984
Material: bronze
Technique: lost wax process
Edition: 233 / 350, patina brown
©AIP Art Investment Partners
Height: 51 cm, bronze/marble base: 41 x 23,5 cm
Maquette: original drawing, Lady Godiva with Butterflies, 1976
Direct intervention (created by Dalí): the idea, image, and original maquette
Contact for Indirect intervention (created by artisans): lost wax process and patina
$25,750
Pricing
NEW ARRIVALS
NOBILITY OF TIME
The classic Dalinian symbol of time takes centre stage in this sculp-
ture. Dalí's soft watch is draped against a tree whose roots entwine
a stone. The watch is stretched, its malleable form seems to take
the shape of the tree. The trunk sprouts new roots and leaves grow
from the branches, symbolizing new life.
In the sculpture, a crown adorns the watch. The terminology
“crown of a watch” usually refers to the mechanical device which
allows us to wind and set the hands of a clock. Without this import-
ant component, a watch won’t wind and cannot keep time.
Dalí plays with this notion, since time on a Dalinian watch is time-
*USD price will be subject to change according to current EUR exchange rates
less, irrelevant and cannot be set. Dalí’s watches have no motion
and lose all meaning, the essence of time is lost and melts away.
The crown of the watch, in this case can be interpreted as a royal
crown, symbolizing the “nobility” of time, indicating time's mastery
over human beings. Time reigns supreme over man, governing our
existence in the real world, immutable and uncontrollable by man.
By the side of time stand two recurring images: a meditative angel
representative of the Spirit, and a female figure covering herself
with a shawl.
Date: conceived in 1977, first cast in 1984
Material: bronze
Technique: lost wax process
Edition: 14 / 350, patina brown
©AIP Art Investment Partners
Height: 60 cm, bronze/marble base: 38 x 29,5 cm
Maquette: original drawing, Nobility of Time, 1977
Direct intervention (created by Dalí): the idea, image, and original maquette
Contact for Indirect intervention (created by artisans): lost wax process and patina
$25,750
Pricing
NEW ARRIVALS
PROFILE OF TIME
Echoing Dalí's 1931 painting The Persistence of Memory, in which the famous melted watch appears for the first
time, this sculpture is an ingenious creation - full of symbolism and hidden meanings. Dalí became obsessed
with the flow of time and portrays the clock as soft, a type of symbolism he reserved for those objects he
loathed. “The mechanical object was to become my worst enemy, and as for watches, they would have to be soft, or
not be at all!”
The soft watch liquefies lamentably over the tree forming Dalí enjoyed rotating images, experimenting
a double image. Tilting ones head to the left a hidden with malleability; he manipulated and mutated
image appears; the clock face changes into the artists pro- everyday objects to disrupt reality, blurring the
file, an eye, a pointed nose and the 9 suggestive of Dalí’s boundaries between the unconscious and con-
*USD price will be subject to change according to current EUR exchange rates
moustache. Dalí enjoyed surprising people and encour- scious. The melting clock evokes sensations of
aged them to participate in his art. The shape of limp clock timelessness found in the dream world, the
immediately recalls Dalí’s 1929 work The Great Masturba- watch is fluid, almost sinuous and time be-
tor, a self-portrait with a distorted long head in profile comes meaningless. But there is also a melan-
looking downward. This peculiar shape is based on a spe- cholic atmosphere suggestive that time is run-
cific rock formation in his hometown, emphasizing the in- ning out and of man’s constant battle against
fluence of Dalí’s native landscape in his art, besides the time.
olive tree, another significant image for Dalí.
Date: conceived in 1977, first cast in 1984
Material: bronze
Technique: lost wax process
Edition: 112 / 350, patina brown
©AIP Art Investment Partners
Height: 51 cm, bronze/marble base: 34 x 24,5 cm
Maquette: original drawing, Profile of Time, 1977
Direct intervention (created by Dalí): the idea, image, and original maquette
Contact for Indirect intervention (created by artisans): lost wax process and patina
$25,750
Pricing
NEW ARRIVALS
UNICORN
In this sculpture Dalí eulogizes his relationship with his beloved wife Gala,
the heartshaped opening in the wall representing their love. In his autobi-
ography, Dalí illustrates Gala riding a Unicorn, Gala, mounted on the Uni-
corn of my Fate, suggesting that the image of the Unicorn and eternal love
for Gala were, for Dalí, sources of inspiration.
The Unicorn is a mythical creature prominent in legends as a symbol of
purity, it was also adopted as the sign or ideal representation of the “per-
fect” knight. The horn of the Unicorn was believed capable of neutralizing
any poison. The Unicorn’s horn pierces the wall through a heart-shaped
opening, from which blood drops. Universally celebrated as a benevolent
*USD price will be subject to change according to current EUR exchange rates
creature that appeared in many diverse cultural traditions, the Unicorn is
admired as beautiful, mysterious, difficult to tame. The distinguishing
factor is the single horn; it is of significant interest, and is a recurring
image in Dalí’s art. Dalí was intrigued by the rhinoceros’s horn fascinated
by its perfect spiral logarithmic forms, as well as seashells shaped like
horns.
Dalí’s Unicorn becomes a compositional synthesis full of multiple messag-
es; the symbolism of the wall, the bleeding heart, Dalí’s love for Gala, and
the woman in the foreground who adds to the feminine and sensual
aspect of the sculpture.
Date: conceived in 1977, first cast in 1984
Material: bronze
Technique: lost wax process
Edition: 16 / 350, patina brown
©AIP Art Investment Partners
Height: 57 cm, bronze/marble base: 48 x 33 cm
Maquette: original drawing, Unicorn, 1977
Direct intervention (created by Dalí): the idea, image, and original maquette
Contact for Indirect intervention (created by artisans): lost wax process and patina
$25,750
Pricing
*USD price will be subject to change according to current EUR exchange rates
SAINT GEORGE
AND THE DRAGON
Dalí transforms the traditional iconography of the legend of Saint
George, in a symbolic and interpretive work. The Saint is the brave
knight in shining golden armor, represented in the act of inflicting
the mortal blow on the dragon and saving the life of the princess of
Selene at his side.
Metamorphic touches find their way into this sculpture: the drag-
on’s wings morph into flames and the tongue is formed like a
crutch, one of Dalí’s favored symbolic elements.
SCULPTURE
The absence of facial features both in Saint George and the prin-
cess, is a typical Dalinian reference, underlining the purely symbol-
LARGE SCALE
ic significance of the figures.
In this sculpture Dalí focuses on the duality between life and death
and good and evil.
Realized from a gouache original titled
“Saint George and the Dragon”
by Salvador Dalí in 1977
©AIP Art Investment Partners
Edition: 7/7 + 3 EA + 2 HC, bronze
Dimensions: 143 x 138 x 84 Cm. Contact for
(56 x 54 x 33 In.) Pricing
SERIES*USD price will be subject to change according to current EUR exchange rates
OF SURREALISM
AFTER 50 YEARS
A SHATTERING
ENTRANCE
TO THE USA
Medium:
Etching, Hand Colored.
Dimensions:
65 x 50 Cm. (25.5 x 19.6 In.)
Year:
1974
Edition:
143/195
Contact for
Pricing
SERIES*USD price will be subject to change according to current EUR exchange rates
LES FRUITS
PAMPLEMOUSSE POIRE DON
FLORDALÍ
ÉROTIQUE
(GRAPEFRUIT) QUIXOTE
Technique: Technique:
Photolith Of Original Gouache Painted Photolith Of Original Gouache Painted
On Printed Illustration and On Printed Illustration and
Engraving. Engraving.
Paper Size: Paper Size:
76 X 56 Cm. (30 x 22 In.) 76 X 56 Cm. (30 x 22 In.)
Year: Year:
1969 1969
Contact for Contact for
SERIES Edition: EA Pricing Edition: EA Pricing*USD price will be subject to change according to current EUR exchange rates
D’AIMER
LA DÉESSE UN GÉNÉREUX
DE CYTHÈRE COURSIER
L’ART
Technique: Technique:
Woodcut Woodcut
Paper Size: Paper Size:
56 X 38 Cm. (22 x 15 In.) 56 X 38 Cm. (22 x 15 In.)
Year: Year:
1979 1979
Edition: Unavailable Edition: Unavailable
SERIES Suite from 29/57 Suite from 29/57*USD price will be subject to change according to current EUR exchange rates
D’AIMER
C’EST LÀ QUE L’AMOUR PHOEBUS, CE DIEU
SE PLUT À LIVRER BATAILLE COURONNÉ DE LAURIERS
L’ART
Technique: Technique:
Woodcut Woodcut
Paper Size: Paper Size:
56 X 38 Cm. (22 x 15 In.) 56 X 38 Cm. (22 x 15 In.)
Year: Year:
1979 1979
Edition: Unavailable Edition: Unavailable
SERIES Suite from 29/57 Suite from 29/57*USD price will be subject to change according to current EUR exchange rates
IMAGE A:
FIGURE DU GRAND
GARGANTUA ET PANTAGRUEL:
MASTURBATEUR
LES SONGES DRÔLATIQUES
Technique:
Lithograph Of Gouache Plus Felt
Pencil On Illustration (Grapholith)
Paper Size:
76 X 54 Cm. (29.9 x 21.25 In.)
Year:
1973
Contact for
Edition: Pricing
225/250
DE PANTAGRUEL
IMAGE C:
HEAUME DE LA NAISSANCE
ET DE LA MORT
Technique:
Lithograph Of Gouache Plus Felt
Pencil On Illustration (Grapholith)
Paper Size:
76 X 54 Cm. (29.9 x 21.25 In.)
Year:
1973
Contact for
Edition: Pricing
SERIES 153/250*USD price will be subject to change according to current EUR exchange rates
LE
CAVALIER
Technique:
Lithograph Enlarged From An
Original Ink Drawing With Added Color
Paper Size:
47,5 X 64,5 Cm. (18.7 x 13.5 In.)
Year:
1976
Edition:
146/250
Contact for
Pricing
VITRAUX
L'HIRONDELLE PUZZLE
Technique: OF LIFE
Lithograph Enlarged From An
Original Ink Drawing With Added Color Technique:
Lithograph
Paper Size:
47,5 X 64,5 Cm. (18.7 x 13.5 In.) Paper Size:
47,5 X 64,5 Cm. (18.7 x 13.5 In.)
Year:
LES
1976 Year:
1974
Edition:
200/250 Edition:
58/250
Contact for
Contact for
SERIES Pricing
Pricing*USD price will be subject to change according to current EUR exchange rates
ROI, JE T’ATTENDS
DES ROIS
À BABYLONE
PENDUS AUX
ARBRES
Medium:
Original Engraving
Dimensions:
62 x 40 Cm. (24 x 15.7 In.)
Year:
1973
Edition:
68/150
Unavailable
SERIES*USD price will be subject to change according to current EUR exchange rates
DECAMERON
LE
TONNEAU
Technique:
Color Etching
Paper Size:
45 x 32 Cm. (17.7 x 12.5 In.)
Year:
1972
Edition:
Book Graphic
LE
84/124
Contact for
Pricing
SERIES*USD price will be subject to change according to current EUR exchange rates
DALINIAN DANCER Elements of flamenco can be seen in this sculpture; the ruffles on
the dress, its low neckline, and the hair pulled back in a bun. Dalí
Dalí was fascinated with the art of dance and it was of great seems to capture the sense of movement perfectly. The dancer
significance in his life and work. twirls around in a display of vitality and ecstasy, the layers of
her skirt flaring out as she moves; the heaviness of the bronze con-
He was especially attracted to the passion and flamboyance of the trasts with the lightness of the vibrant dancer. The faceless figure,
flamenco, known for its ability to explore the full range of feelings a recurring motif in Dalí’s oeuvre, lures us in with her intense
and emotions. He was an avid admirer of the “flamenco queen” of rhythm.
Spain, “La Chana”, and would often watch her perform, with his
pet ocelot in tow. Undoubtedly it was Dalí’s fascination with ballet that influenced
much of his art work. His close links with the stage and theatre,
meant he collaborated with designers and dressmakers through-
out the 1930’s and beyond, designing costumes, contributing to
stage sets and writing librettos, such as Bacchanale (1939), and
SCULPTURES
Tristan Fou (1936-1938).
Dalí depicted the Sardana dance in various paintings, the most
famous being The Sardana of the Witches (1918) which he painted
at a very young age. He was influenced by his father’s love of the
Sardana, a traditional folk dance of Catalonia where dancers form
a circle and follow choreographed steps, holding hands.
Date: conceived in 1949, first cast in 1984, 2017 cast
Material: bronze
Technique: lost wax process
Edition: 203 of 350 + 35 EA, patina blue
Height: 40,5 cm* (15.9 In.)
size does not include marble base, approximately 4 cm (1.57 In.) high
Maquette: original drawing, Dalinian Dancer, 1949
©AIP Art Investment Partners
Direct intervention (created by Dalí): the idea, image, and original maquette
Contact for Indirect intervention (created by artisans): lost wax process and patina
Pricing*USD price will be subject to change according to current EUR exchange rates
DANCE OF TIME II Dalí brings to this sculpture a dynamism, where the clock appears
to be literally “dancing”. Unrestrained by the rigid laws of a watch,
The melting clock is the most recognizable Dalinian image and the time, for Dalí, moves to the rhythm of a perpetual dance, speeding
artist chose to portray it consistently throughout his lifetime. Dalí up, slowly down, stretching out, liquefying.
became obsessed with the concept of time and used the melted
The clocks illustrate an important theme in Dalí’s art; the contrast
watch image in many of his works.
between the hard and the soft, a central preoccupation of the
artist.
Dalí flips reality, taking the familiar image of a watch which is
hard, solid and precise and inverts its characteristics. It is now
the opposite, becoming soft, inaccurate, time bends to individual
meanings. Again in this sculpture, the unexpected softness of the
watch contrasts with the hardened sturdy tree trunk upon which
the clock rests.
SCULPTURES
Some say that Dalí represents in his watches Albert Einstein’s
theory of relativity of space and time; the dancing watch illustrating
the concept of movement through time.
The Dance of Time II is presented alongside Dance of Time I and
Dance of Time III.
Date: conceived in 1949, first cast in 1984, 2017 cast
Material: bronze
Technique: lost wax process
Edition: 139 of 350 + 35 EA, patina green
Height: 30,5 cm* (12 In.)
size does not include marble base, approximately 3 cm (1 In.) high
©AIP Art Investment Partners
Maquette: original gouache, Dance of Time, 1979
Direct intervention (created by Dalí): the idea, image, and original maquette
Unavailable Indirect intervention (created by artisans): lost wax process and patina*USD price will be subject to change according to current EUR exchange rates
HOMAGE TO NEWTON
Dalí honors Isaac Newton (1642-1727), the English mathematician,
who discovered the law of gravity when an apple fell on his head.
In this sculpture, based on the small image illustrated in the paint-
ing Phosphene of Laporte (1932), Dalí pierced the figure with two
holes: one which portrays the absence of Newton’s vital organs,
whilst the empty head suggests open mindedness. Dalí implies
that Newton has become a mere name in science, completely
stripped of his personal identity and individuality.
Dalí was obsessed with the concept of hard and soft, here he plays
with inverting the anatomy, showing the bones protruding from
SCULPTURES
the body. As Dalí recounts in his autobiography, The Secret Life of
Salvador Dalí: “The hip bones, which absolutely must be very prom-
inent- pointed, so that one knows that they are there.”
In 1986 the King of Spain dedicated a large plaza in Madrid to Dalí
and the artist created a monument of this image for its center, that
is almost five meters high. The sculpture still stands there today.
Date: conceived and first cast 1980, 2017 cast
Material: bronze
Technique: lost wax process
Edition: 152 of 350 + 35 EA, patina brown
Height: 35 cm (13.7 In.)
Maquette: original wax, Homage to Newton, 1980
Direct intervention (created by Dalí): the idea, image, and original maquette
©AIP Art Investment Partners
Indirect intervention (created by artisans): lost wax process and patina
Contact for
Pricing*USD price will be subject to change according to current EUR exchange rates
SAINT GEORGE Dalí transforms the traditional iconography of the legend of Saint
AND THE DRAGON George, in a symbolic and interpretive work. The Saint is the brave
knight in shining golden armor, represented in the act of inflicting
the mortal blow on the dragon and saving the life of the princess of
Selene at his side.
Metamorphic touches find their way into this sculpture: the drag-
on’s wings morph into flames and the tongue is formed like a
crutch, one of Dalí’s favored symbolic elements.
The absence of facial features both in Saint George and the prin-
cess, is a typical Dalinian reference, underlining the purely symbol-
ic significance of the figures.
SCULPTURES
In this sculpture Dalí focuses on the duality between life and
death and good and evil.
A larger size version of this sculpture was presented to Pope John
Paul II in 1995 by the Dalí Universe for display in Rome’s Vatican
collection. The museum sculpture is on display in the staircase of
Pope Pius IX at the Vatican Apostolic Palaces (private apartments of
the Pope)
Date: conceived in 1977, first cast in 1984, 2014 cast
Material: bronze
Technique: lost wax process
Edition size: 343 of 350 + 35 EA, patina green/brown
Height: 46 cm (18 In.)
Maquette: original gouache, Saint George and the Dragon, 1977
Direct intervention (created by Dalí): the idea, image, and original maquette
©AIP Art Investment Partners
Indirect intervention (created by artisans): lost wax process and patina
Contact for
Pricing*USD price will be subject to change according to current EUR exchange rates
SPACE ELEPHANT Dalí’s elephants have exaggeratedly long legs which raise them up
towards the sky. These thin, multi-jointed legs juxtapose with the
The image of an elephant carrying an obelisk is portrayed in one of heavy body of the elephant. The obelisk alludes to a tiring burden,
Dalí’s best-known paintings The Temptation of St Anthony (1946). yet the artist distorts reality making it weightless, an illusion of it
Four elephants led by a horse in a desert landscape, carry symbolic almost floating above the saddle. The combination of these
objects which represent various temptations. The obelisk, contradictory elements create a sense of disarray and
symbol of knowledge and power, is Dalí’s homage to Gian Lorenzo metaphysical imbalance that can only exist in a dream-like
Bernini’s sculpture in Rome. world.
This surreal creature, moving through space towards the heavens,
symbolizes a flight of fantasy to a mesmerizing universe. The image
of the elongated legs in addition to the tall pointed obelisk, alludes
to man’s pursuit of ‘reaching higher’.
The legs of the elephant originally had claw-like feet during the
SCULPTURES
sculpture’s creation. Doubtful of this element, Beniamino Levi
President of the Dalí Universe, approached Dalí to modify it. After
initial resistance and with Gala’s support, the feet changed to
horses hooves.
Like the soft watch, the Elephant became an important symbol, an
unforgettable image used repeatedly in his oeuvre.
Date: conceived and first cast in 1980, 2017 cast
Material: bronze
Technique: lost wax process
Edition size: 308 of 350 + 35 EA, patina brown
Height: 94 cm (37 In.)
Maquette: original plaster, Space Elephant, 1980
Direct intervention (created by Dalí): the idea, image, and original maquette
©AIP Art Investment Partners
Indirect intervention (created by artisans): lost wax process and patina
Contact for
Pricing*USD price will be subject to change according to current EUR exchange rates
TRIUMPHANT ANGEL
Religious imagery fascinated and intrigued Dalí throughout his life-
time. For Dalí, angels expressed grace, nobility and lightness. Dalí
once said “nothing is more stimulating than the idea of an angel!”.
The face and trumpet in the sculpture, echo the Cubist style pio-
neered by Pablo Picasso, who Dalí admired. It is interesting that
Cubism and Surrealism co-exist in this sculpture.
From the 1940s, when Dalí began weaving strong religious themes
into his artworks, angels appear frequently in his oeuvre. Dalí re-
jected his family’s Catholicism early in life, only to re-embrace it
again in later years. For Dalí, angels represented divine awareness,
purity, protection and illumination. The key element of the sculp-
SCULPTURES
ture is the trumpet, it links heaven and earth, bringing and re-
flecting divine light.
The angel’s wings are in perfect equilibrium, referencing Dalí’s ob-
session with geometrical precision. This sculpture embodies Dalí’s
idea of heavenly achievement and aspiration.
Date: conceived in 1976, first cast in 1984, 2017 cast
Material: bronze
Technique: lost wax process
Edition size: 291 of 350 + 35 EA, patina blue
Height: 50 cm (19.6 In.)
Maquette: original drawing, Triumphant Angel, 1976
©AIP Art Investment Partners
Direct intervention (created by Dalí): the idea, image, and original maquette
Indirect intervention (created by artisans): lost wax process and patina
Contact for
Pricing*USD price will be subject to change according to current EUR exchange rates
TRIUMPHANT ELEPHANT These spindly legs remind us of stilts and crutches, which Dalí used
The elephant, Dalí’s symbol of the future, is one of his favourite so often in his work.
images, often typically depicted carrying objects on their backs.
The elephant was a recurring theme, first appearing in his 1944
Dalí subverts the idea of the elephant being heavy and strong, by
painting Dream Caused by the Flight of a Bee Around a Pomegran-
giving it impossibly long legs. It is an example of pure Daliesque
ate a Second Before Awakening. The Triumphant Elephant is
whimsy, a fantastic image created by juxtaposing the immense
one of the artist’s most iconic and instantly recognizable
weight with the fragility of the thin joints. There is a sense of other-
images.
worldliness as Dalí’s elephants defy the laws of nature moving ef-
fortlessly, almost gracefully. The figure resting lightly on the pachyderms back is an angel, an
image which featured widely in Dalí’s oeuvre. In Dalinian psycholo-
gy, the messenger represents the subconscious that guides man
through life. The elephant raises his trunk triumphantly as the jubi-
lant herald mirrors this action trumpeting success and hope for the
SCULPTURES
future.
Dalí’s fascination with elephants was such that when Air India com-
missioned him to create a souvenir in 1967, Dalí presented a porce-
lain ashtray; a swan which transformed into an elephant when
turned upside down. In lieu of payment, the eclectic Spaniard
asked for a baby elephant which was duly flown from Bangalore to
Geneva.
Date: conceived in 1975, first cast in 1984, 2017 cast
Material: bronze
Technique: lost wax process
Edition size: 172 of 350 + 35 EA, patina green
Height: 53 cm (20.9 In.)
Maquette: original gouache, Triumphant Elephant, 1975
©AIP Art Investment Partners
Direct intervention (created by Dalí): the idea, image, and original maquette
Indirect intervention (created by artisans): lost wax process and patina
Contact for
PricingROTATING ART COLLECTION
TIAGO
MAGRO
@tiagomagro
Mixed media artist born in brazil experiment With different ele-
with a work That exudes 80’s and ments along with color But being
90’s influence whilst Captivating a brazilian does play a major part in
modern palette and refreshing Each stroke given, understanding,
Energy. living, loving and learning from
art. It expresses Who i am. It’s my
He has worked in the urban envi-
soul. My ultimate goal is to Inspi-
ronments of New york, miami and
re, to have individuals want to feel
brazil, using varied Materials (in-
Superior about themselves and
cluding stencils, spray paint,
contribute To having them follow
epoxies, varnishes and newspa-
their dreams… i don’t do art i live
pers) to Convey love and passion
art.”
for life.
“I love the emotion of being able
to relate to Each of my pieces and
each piece is Ultimately a part of
me. I want my art to Express and
reflect who i really am. In most Of
my work i use mixed media andSAN
JORGE
Dimensions:
182 x 152 Cm.
Unavailable
FLOR Dimensions: $ 8,000
DALÍ 152 x 91 Cm.
THE REAL
SURREAL
MAGRO
Dimensions:
213 x 152 Cm.
TIAGO
$ 15,000
$ 12,000
I DON´T
Dimensions:
DO DRUGS, 213 x 152 Cm.
I AM
ARTIST DRUGS
COMMISSION STARTING AT $5,000NICO mural project. Through this pro- tic record, Strata clothing, the City
SUAVE ject she has guided thousands of
children in designing and painting
of Jacksonville, the Jacksonville Ja-
guars, TIAA bank, PNC bank,
@nicosuavalicious
murals in over thirty schools Esdras Thelusma, Fredo Bang, dj
Originally from west palm beach, around duval county. Nico is also Shab, Dede Westbrook, The boys
nico is a florida based artist repre- a member of the few and far and girls clubs of northeast
sented by the art plug agency. crew, which is an international Forida, Xxxtentacion foundation,
Nico is also a creative director, crew of street artists and graffiti Teavana tea, Bustle, the Bushwick
community organizer, and youth writers, and as a crew member collective, Monster energy, Kona
empowerment enthusiast. she works to empower women skatepark, and Swisher sweets.
and girls through creative pro- Nico has received a lot of recogni-
After attending the bak middle jects in her community and tion for her community work and
school of the arts and the alexan- beyond. Nico’s current personal murals and has won many
der w. Dreyfoos high school of the focus is on creative direction in awards including: “visual artist of
arts in south florida, she moved various forms, progressive mural the year 2019” from mieux maga-
to jacksonville to study at the uni- productions, and exploration of zine, tiaa bank “community cham-
versity of north florida. She left new mediums of expression. pion” award, “production of the
unf after a few years to focus on year 2017: color me kona” from
art, and has since painted murals As an independent artist, Nico the cultural council of greater jac-
around the whole city, organized has worked with brands such as ksonville, and many more.
local art and music events, and Pilot pen, Redbull, Champion
developed various mural and arts brands, Void magazine, Empire
initiatives including the kid’s records, Universal records, Atlan-esoR THE SPACE
BETWEEN
Dimensions: US
40 x 40 In.
Dimensions:
40 x 40 In.
$ 4,750
$ 4,750
FLORIDALÍ
3
SUAVE
Dimensions:
40 x 4v0 In.
NICO
$ 3,000
FOOD FOR THOUGHT
$ 4,750 Dimensions:
122 x 60 In.
ARTIST
COMMISSION STARTING AT $5,000HAIIILEEN
@haiiileen
First-generation Cuban - Ameri- tion which transforms everything deep expression and experimen-
can and Miami, FL native Aileen she hears into visual imagery. For tal approach to our environmen-
Quintana, also known as Haiii- her, it is essential to explore emo- tal perceptions and conventional
leen, is an interdisciplinary artist tional language and self-evolu- ideas of reality through her work.
known for her neo-acid experi- tion, driven by a never-ending cu- Haiiileen is the lead visual artist
mental works that span through riosity. This has led her to study for Tidal, a Google ambassador,
several different mediums and physics, she is able to grasp a full and has worked on several com-
facets. Her dedication to the local understanding of how sound, missions for III Points, Space
artistic community fuels her capa- light, and color all interact with Miami, SoHo Beach House,
city to createand tear down the one another. Haiiileen then incor- Delano Hotel, The City of Miami
boundaries that have yet to be ex- porates her findings into 3-di- Beach, Art Basel, Frost Museum
plored within her own mind. mensional mediums and installa- of Science and more.
tions, where she can bring her sy-
Her initial breakthrough as a Along with her practice, she is
nesthetic visions to life and trans-
self-taught makeup artist led her also a consultant, director, produ-
port her viewers to transcendent,
to build a highly successful career cer, designer, filmmaker, perfor-
alternate worlds.
utilizing faces as her canvases. mance artist, sculptor and insta-
What makes Haiiileen’s practice Haiiileen continuously exhibits llation artist.
so intrinsically distinctive is her her ability to create thought-pro-
synesthesia, a rare sensory condi- voking material that provides aOPTIC OPTIC
RED BLUE
Dimensions: Dimensions:
49 x 24 x 6.5 In. 49 x 24 x 6.5 In.
Materials: Materials:
Speciality paint on Speciality paint on
acrylic mirror acrylic mirror
$ 12,000 $ 12,000
HAIIILEEN
NEO
ACIIIID (5)
ARTIST Dimensions:
11 x 11 In.
Materials:
Acrylic LED on
$ 1,750
a wooden frame COMMISSION STARTING AT $10,000HIPNOTIC HAIIIDRO
(2) SET OF TWO
Dimensions:
15 x 19 x 3.75 In. Dimensions:
18.5 x 24.5 In.
Materials:
Wood frame on acrylic, Materials:
specialty paint
Gold aluminum
framing acrylic
$ 4,750 $ 3,500
HAIIILEEN
HAIIIDRO
(1) SET OF TWO
Dimensions:
18.5 x 24.5 In.
Materials:
Gold aluminum
framing acrylic
ARTIST $ 3,500
COMMISSION STARTING AT $10,000GRABSTER @grabster Marcus “GRABSTER” Borges was nights, with the tropical color pa- born in Brazil, raised in New York, llets and art deco elements, this and developed in South Florida. artist reminds you what makes it At a young age, he was exposed such a cool stylish city. to the urban street culture that provided different outlets to exer- cise his creativity. Seeing graffiti art on walls and trains was a great inspiration that paved the way for his journey as artist. establishing himself in the miami street art scene for the past 15 years, today his artwork can be found all around south florida and where- ver he makes his travels. GRABSTER’s art reflects that nos- talgic retro Miami feel. from the palm trees, sunsets, to the neon
DESTINY GRABADOR
DALÍ
Dimensions:
30 x 40 In.
Dimensions:
Materials:
60 x 84 In.
Acrylic
Materials:
Acrylic
$ 3,500
$ 15,000
GRABSTER
ARRIVAL
Dimensions:
36 x 36 In.
Materials:
Acrylic
$ 4,500
ARTIST
COMMISSION STARTING AT $5,000WIJ
@mindofwij
Hello my name is Wij, I grew up in world. A piece of art can make a
Arizona and have found an incre- person travel through time into
dible passion in creating art. memories they weren’t aware
they still possessed. They can
I feel as though if people used
bring enlightenment to ones
their brains in unconventional
consciousness with no words
ways more
spoken at all. Art has the ability
often it would bring much more
to tell stories or share knowled-
enjoyment out of existence here
ge over vast amounts of time,
in this dimension on earth. Being
bringing along the energy that
able to see things from all angles
was put into it while undergoing
with an open mind is key for fin-
creation...
ding peace.
I strive to bring that abundant,
Vibrant energy, provoking thou-
positive energy to all who acqui-
ght, & higher consciousness is
re my works of art.
what I focus my artwork around.
Inspiration, feelings or visions
though looking at a painting is
one of my favorite things in theWATCHING DESERT
THE SKY VOYAGER
FALL
Dimensions:
Dimensions: 36 x 48 In.
30 x 48 In.
$ 5,500
$ 5,500
UNIVERSE
AT WORK
Dimensions:
30 x 40 In.
WIJ
Unavailable
ARTIST
COMMISSION STARTING AT $5,000ABVA
@abvatheartist role in ABVA lifetime. Initially ins- conviction that personal improve-
pired by Street Art, he applies fas- ment, life-learning and intercultu-
Proudly born in Sassuolo, in the cinating features belonging to va- ral confront remain the corners-
Italian Providence of Modena rious artistic fields to his pieces, tone of human existence. Art and
known for world-famous luxury influenced by cultures and people Culture, with both capital A and C,
cars and delicious cuisine, ABVA met in his travels. This passion, together can enrich and give new
has an internationally oriented which turned into ABVA's true meanings, feelings and emotions
curriculum. South American vibes profession, has a long story and to our daily life. Means of his per-
and Latin culture have always in- roots in the artist's very young sonal expression and artistic
trigued ABVA. Guided by his cu- age. With his works, ABVA tries to standpoint, ABVA creations vehi-
riosity and passion for discovery, instil novelty to everyday objects, cle ideas from everyday life, such
ABVA spent one year in Hondu- going beyond and the idea of self as the comparison between good
ras, later moving to Argentina to and other. His open-minded and evil, but they also destructure
attend a Bachelor Degree in Busi- approach to both art and life reality and shapes to create new
ness and Economics. brought ABVA to experience forms. In this process of visual re-
other vehicles for expressing his presentation and catalyst, chro-
Back to Italy, he now lives be-
artistic creed by carrying his emo- matic tonalities have the upper
tween Sassuolo and Milan, his
tions on canvas. hand. Colours impact the behol-
second 'professional' home.
der as they are the key protago-
Alongside his academic studies,
ABVA future lays in the world of nists of ABVA's world.
art has always occupied a central
art, guided by his never vanishingDALÍ CALLING
STELLA FOR DALÍ
ARTOIS #1
Dimensions: Dimensions:
30 x 48 In. 40 x 40 In.
Unavailable
$ 8,000
DALÍ
STELLA
ARTOIS #2
ABVA
Dimensions:
30 x 48 In.
ARTIST $ 3,500
COMMISSION STARTING AT $5,000NICK
CRUZ
@artcruzn
Nick Cruz, a Florida native, aspi- journey, with something new
res to inspire through utilizing seen every time a piece is viewed.
many different mediums for self His new series of sculptures entit-
expression in his quest of crea- led “Between the light” aim to
ting “smart art” intellectually invi- make people see things from di-
gorating and chromatically capti- fferent perspective by hand craf-
vating, which is seen across the ting iconic bold shapes like light-
board through his paintings and ning bolts, clouds and rainbows
sculptures. His psychedelic cubis- made of steal and painted gold.
tic style of painting evokes an The main objective is to cast a
emotion he refers to as an “eye- shadow in day and night with
gasm”. From the vast array of light.
hard lines and shiny metallic ac-
cents that juxtapose his use of vi-
brant solid colors and matte fini-
shes creating works that seem to
come off the canvas. His Dali and
Escher influences can be seen in
his own style taking viewers on aSTELLA ARTOIS LIGHTNING
(FUNCTIONAL BOLT (STANDING)
BEER OPENER) Dimensions:
Dimensions: 22 In.
27 In. Edition:
Edition: 1/5
1/10
CRUZ
$ 5,000
$ 5,000
MARCEL x NICK
EVOLUTION OF EVOLUTION OF
THE RAINBOW THE RAINBOW
(TABLE TOP) (LARGE)
KATZ
Dimensions: Dimensions:
60 x 40 In. 97 x 73 In.
$ 6,500 $ 15,000
ARTISTTHE STUDY
OF SQUARE
Dimensions:
30 x 40 In.
CRUZ
NICK
$ 7,000
ARTISTCONTACT: W W W. A R T P L U G . C O M HELLO@ARTPLUG.COM
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