SALVADOR DALÍ | LE VIOLON (VIOLON D'INGRES)

Mstislav Rostropovich, Paris (a gift from the Artist)
By descent from the above to the present owner

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

Rich varied gold and silver patina. The surface of the bronze has areas of pitting commensurate with the casting process. The crown of the skull has some discolouration and there is further discolouration to the gilding, most notably to the areas surrounding the holes of the shoulders and thighs of the torso. There is further pitting and scratches to the back. This work is in overall 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."

This gilt and silvered bronze violin is testament to the close friendship that developed between two extraordinary artists: Mstislav Rostropovich and the Spanish Surrealist Salvador Dalí.  The present work, Dalí’s drawing of Rostropovich (illustrated below) and a series of paintings further confirm the cellist’ influence on Dali’s career and work. Shortly after attending the first performance that Rostropovich gave in 1967 at the Champs Elysées Theatre, Dalí asked Rostropovich if he could pose for him in the hope of capturing the cellist’s intense actions. Following the painter’s request, Rostropovich played the same eight fragments from Bizet’s “Les pêcheurs de perles;” for three hours, a transcendent performance during which Dalí is recorded shedding tears.

The drawing and Le Violon were the precursors of Dalí’s 1983 “Séries de Catastrophes,” which adopts the cello as the main subject. Ultimately, Dalí uses the form of the cello as a visual metaphor for music and the female form, rendering the instrument into a surreal object emblematic of the great artist’s œuvre.

The present work was cast in multiple editions with varying combinations of patina, ranging from gold to silver and black and green. Originally conceived as wall appliques, several casts have candle arms issuing from the shoulders of the torso. It is possible, in fact, that they were designed to be sold in pairs.