DEATH OF GALA
That is the title of this poem. Who do you think wrote it?
I had a dream that Gala died
With no one standing by her side,
For even death refused to host
Such a terrifying ghost.
All lived in mortal fear of her,
A tigress with deep ruffled fur.
Adder-tongued, she struck at friends
To leave a scar that never mends.
Born too soon, died too late,
She deserved a better fate.
The sort of legend she became,
Tied to Dali's clounish fame,
Created minions who would poke
Specious fun at her and joke
About her ways behind her back.
Nor did their jibes irreverence lack,
Though to her face they would pretend
Her reign as queen would never end.
Who can count the human cost
To have a soul of Russian frost?
When none are left who can recall
The eyes that pierced a lover's wall
How sad no one should be bereft
When only Gala's name is left!
When mortal friends have been denied
And no one cares that one has died,
A force like Gala's fades away,
While Dali's courtiers mince and play.
Now all are gone who could endure
The weight of hatred so mature
It rejected love and chose
Just the callowest of those
Who came to love and stayed to hate
The temptress by the white-whashed-gate.
So the day that Gala died
No one mourned and no one cried.
With no lovers left to see
Her tarnished immortality,
The friends her tongue had wounded said,
"Her bitter soul is better dead."
OK, who do you think wrote that? It was privately printed in 1991 in a book titled Some Fifty Unprofessional Poems 1988-1933 (that's right). The book was given to me by the author along with another which contained olumns he had written about mining for a Colorado mountain newspaper.
It was written by A. Reynolds Morse, the great Dali collector, founder of The Salvador Dali Museum and The Salvador Dali Foundation.
Showing posts with label The Salvador Dali Museum. Show all posts
Showing posts with label The Salvador Dali Museum. Show all posts
Sunday, May 22, 2011
Monday, February 21, 2011
ANSWERING THE QUESTIONS
ANSWERING THE QUESTIONS
So, there I was enjoying breakfast with friends in a beautiful courtyard restaurant in San Miguel de Alliende, Mexico, when that frequently asked question again came up. "What's happening with the Dali court cases and those crazies who were attacking you on-line? It seems that lots of people want to know that because for a couple of year there it was such a big topic and recently it's hardly been mentioned. OK, here goes.
THE DALI COURT CASES:
You'll remember that in August, Federal Court Judge Zatkoff dismissed the jury decision against Park West Gallery. That set up the stage for a second trial in Port Huron, Michigan. Park West Gallery would still be the plaintiff and the defendants would still be Fine Art Registry, Theresa Franks and David Phillips, her writer.
In December, Judge Zatkoff denied the FAR motion to overturn his ruling, but did give the defendants the opportunity to appeal his decision to the 6th Circuit Court of Appeals. They have done so, but it is far from unclear that the court will accept the case. If they do, FAR will file their brief, Park West's attorneys will respond and the Circuit Court will hear verbal arguments before ruling. If they do not accept the case, Judge Zatkoff will order the retrial. Either way, it's going to be some months before there is forward movement.
Will I testify again? I don't know. I would expect that I will, but I currently have no contract with or retainer from either Park West Gallery of their law firm.
Now, about the attempted class action suits that FAR and others make so much noise about. Either they have been dismissed or are in the process of Park West moving for their dismissal. None have been certified to go forward or are even close to certification.
The State Court case filed by Fine Art Registry and others has been stayed pending an appeal by Frank Hunter of a decision to keep him in the case as a FAR witness. This matter also has a long way to go before either dying with a wimper or, less likely it seems, being tried.
THE LYING BASTARDS:
With no discernable purpose other than keeping the pot boiling, the FAR witch keeps throwing fuel onto the fire beneath her caldron of lies, innuendos and insults. She apparently continues to see me as a potent threat or she wouldn't continue her tirades.
How amusing to see that Fine Art Registry posted a photograph of me (taken from this blog) dressed in my costume for the Surreal Parade from The Salvador Dali Museum to the opening of the New Dali Museum. This they point to as evidence that I'm somehow irresponsible and ridiculous. They obviously know nothing of Dalinian culture and didn't even recognize that the action figure in my breast pocket was Sigmund Freud.
The posting refers to me as "...Park West Gallery's lone, self-proclaimed Dali authenticator, Bernie Ewell, an appraiser (so he claims) residing in New Mexico." That's "Thirty-nine year Accredited Senior Appraiser of The American Society of Appraisers" to you, Lady.
Interesting how a slimy comment like "self-proclaimed" is used to question the credibility and reputation recognized in many countries of the world where I am the expert of choice for those who know.
The posting repeats the old lie that I "worked for Park West Gallery for more than a decade (and was paid handsomely)." Not even close. I NEVER worked for Park West. I have always been a totally independent and disinterested third party expert who was called as an EXPERT WITNESS. And the "paid handsomely" part? Nowhere near enough for the grief, reputation assasination and business destruction that I have suffered at the hands of these loonies. Fortunately saying what they say ("impotent and clownish") doesn't make it true.
There have been some wonderful comments sent to this blog expressing outrage at the way Fine Art Registry has targeted me for a Google Bomb. I appreciate the support and faith of those who have sent them, but have decided that to post them would just further push an obviously unbalanced woman closer to the edge.
Unfortunately this crap will continue. They'll keep pouring toxins into the Dali market pond which will spread out to sicken or kill all other organisms. The legitimate players see this and complain about their sick market, but do and say nothing. Sometimes I wonder why I continue to work on their behalf when they are so unwilling to clean their own pond.
POSITIVE, EXCITING MEETINGS:
When Melinda and I were in Dallas/Fort Worth airport on our way to Mexico, who should come along with a huge smile and his dynamite glasses but our friend Elliott King? He pulled up a chair to our table and we had a great catch-up chat. Elliott was on his way to Canada for the reinstallation of "Santiago El Grande" which had thrilled many thousands at his splendid Dali: The Later Years show in Atlanta. He was pleased to hear that while we were in Mexico we would be traveling down to Mexico City to visit our mutual friend Enrique Zepeda. I'll enjoy telling you all about our adventures in a couple of weeks.
Meanwhile, I'll work on the revision of Artful Dodgers: Fraud and Foolishness in the Art Market and enjoy Central Mexico. Hasta luego!
So, there I was enjoying breakfast with friends in a beautiful courtyard restaurant in San Miguel de Alliende, Mexico, when that frequently asked question again came up. "What's happening with the Dali court cases and those crazies who were attacking you on-line? It seems that lots of people want to know that because for a couple of year there it was such a big topic and recently it's hardly been mentioned. OK, here goes.
THE DALI COURT CASES:
You'll remember that in August, Federal Court Judge Zatkoff dismissed the jury decision against Park West Gallery. That set up the stage for a second trial in Port Huron, Michigan. Park West Gallery would still be the plaintiff and the defendants would still be Fine Art Registry, Theresa Franks and David Phillips, her writer.
In December, Judge Zatkoff denied the FAR motion to overturn his ruling, but did give the defendants the opportunity to appeal his decision to the 6th Circuit Court of Appeals. They have done so, but it is far from unclear that the court will accept the case. If they do, FAR will file their brief, Park West's attorneys will respond and the Circuit Court will hear verbal arguments before ruling. If they do not accept the case, Judge Zatkoff will order the retrial. Either way, it's going to be some months before there is forward movement.
Will I testify again? I don't know. I would expect that I will, but I currently have no contract with or retainer from either Park West Gallery of their law firm.
Now, about the attempted class action suits that FAR and others make so much noise about. Either they have been dismissed or are in the process of Park West moving for their dismissal. None have been certified to go forward or are even close to certification.
The State Court case filed by Fine Art Registry and others has been stayed pending an appeal by Frank Hunter of a decision to keep him in the case as a FAR witness. This matter also has a long way to go before either dying with a wimper or, less likely it seems, being tried.
THE LYING BASTARDS:
With no discernable purpose other than keeping the pot boiling, the FAR witch keeps throwing fuel onto the fire beneath her caldron of lies, innuendos and insults. She apparently continues to see me as a potent threat or she wouldn't continue her tirades.
How amusing to see that Fine Art Registry posted a photograph of me (taken from this blog) dressed in my costume for the Surreal Parade from The Salvador Dali Museum to the opening of the New Dali Museum. This they point to as evidence that I'm somehow irresponsible and ridiculous. They obviously know nothing of Dalinian culture and didn't even recognize that the action figure in my breast pocket was Sigmund Freud.
The posting refers to me as "...Park West Gallery's lone, self-proclaimed Dali authenticator, Bernie Ewell, an appraiser (so he claims) residing in New Mexico." That's "Thirty-nine year Accredited Senior Appraiser of The American Society of Appraisers" to you, Lady.
Interesting how a slimy comment like "self-proclaimed" is used to question the credibility and reputation recognized in many countries of the world where I am the expert of choice for those who know.
The posting repeats the old lie that I "worked for Park West Gallery for more than a decade (and was paid handsomely)." Not even close. I NEVER worked for Park West. I have always been a totally independent and disinterested third party expert who was called as an EXPERT WITNESS. And the "paid handsomely" part? Nowhere near enough for the grief, reputation assasination and business destruction that I have suffered at the hands of these loonies. Fortunately saying what they say ("impotent and clownish") doesn't make it true.
There have been some wonderful comments sent to this blog expressing outrage at the way Fine Art Registry has targeted me for a Google Bomb. I appreciate the support and faith of those who have sent them, but have decided that to post them would just further push an obviously unbalanced woman closer to the edge.
Unfortunately this crap will continue. They'll keep pouring toxins into the Dali market pond which will spread out to sicken or kill all other organisms. The legitimate players see this and complain about their sick market, but do and say nothing. Sometimes I wonder why I continue to work on their behalf when they are so unwilling to clean their own pond.
POSITIVE, EXCITING MEETINGS:
When Melinda and I were in Dallas/Fort Worth airport on our way to Mexico, who should come along with a huge smile and his dynamite glasses but our friend Elliott King? He pulled up a chair to our table and we had a great catch-up chat. Elliott was on his way to Canada for the reinstallation of "Santiago El Grande" which had thrilled many thousands at his splendid Dali: The Later Years show in Atlanta. He was pleased to hear that while we were in Mexico we would be traveling down to Mexico City to visit our mutual friend Enrique Zepeda. I'll enjoy telling you all about our adventures in a couple of weeks.
Meanwhile, I'll work on the revision of Artful Dodgers: Fraud and Foolishness in the Art Market and enjoy Central Mexico. Hasta luego!
Monday, January 24, 2011
MY FRIENDS REN AND ELEANORE
Attending the Grand Opening of the splendid new Salvador Dali Museum in St. Petersburg, Florida (story and pics below), I thought frequently of how thrilled A. Reynolds and Eleanore Morse would have been to see the culmination of their half-century efforts to build the world's best Dali collection. Perhaps they were with us. I almost thought at times that I heard Ren's chuckling.
He and I first met in 1987 when he stopped by my Colorado Springs appraisal office to discuss an upcoming prosecution of two Denver brothers whose 43 galleries sold fake Dali prints throughout the southwest. He would testify and I was the prosecution's chief expert witness.
Biographies and obituaries (both in The New York Times) are easily available online. The memories I have of the Morses are both personal and enjoyable.
If he was here today, I believe that Ren would agree that we hit it off immediately--as he told Eleanor when we called her from my office. As he saw it, he and I were both Colorado boys. He had grown up in the state, graduated Phi Beta Kappa from the University of Colorado, was a Board member of the Denver Natural History Museum, had published a newspaper column titled Gold Links Tailings about life in the gold mining town of Leadville, and collected and wrote about etchings by George Elbert Burr.
I was the Past-President of the Colorado Open Space Council and the Colorado Nature Conservancy, owned a wildlife preserve on the west side of Pikes Peak, was an expert on etchings and he and I had climbed many of the same mountains. In St. Petersburg he loved the fact that I, like he, wore a bolo tie.
When I visited Ren and Eleanor in 1987, 1993 and 1998 to appraise the museum collection and to lecture, Ren frequently brought me volumes of his journals and read me passages. Eleanor would tell me stories about the acquisition of one work or another. When we went to dinner at their favorite restaurant, we would often be accompanied by curator Joan Kropf who was really good about going through the experience yet again and hearing the same stories yet again.
The first time they took me to their house, in 1987, Ren pointed at a handsome polished ebony sculpture on a stand in the living room. "Bet you don't know what that is," he said. When I identified it as the rowing post from a Venetian gondola he was amazed because he said I was the first person to ever pass his little test.
Sweet Eleanore (with a core of iron) was an accomplished French scholar and translated numerous Dali books, including Robert Descharnes' 1984 monumental Salvador Dali: The Work the Man. When she heard that my wife Melinda and I would be attending the 2004 Dali centennial seminars at the Museum, she invited us to dinner at the Yacht Club and her box at the symphony. She and Melinda had become fond of each other when Melinda assisted me with the 1998 appraisal. Every year I also did appraisals of the artworks that the Morses donated to the Museum.
Eleanor was less passionate that Ren who often burst out with opinions before carefully considering them. When he heard for the first time about the Albaretto Collection in Turin, Italy, he stated that the works must be fakes because he didn't know about them. Later the couple became close to the other collecting couple, Giuseppe and Mara Albaretto, visited their home and exchanged warm letters, which I have read. When I twice visited the Albarettos, we shared stories about our mutual friends from Florida. Unfortunately, Ren's first response has been used by the bad guys in the Dali market to taint the Albaretto reputation. Dali had carefully kept his major collectors from knowing about each other.
As the new museum opens to welcome its annual quarter of a million visitors, I enjoy thinking about what it would mean to my friends Ren and Eleanore. The building is enormous, the collection is magnificently hung and the curatorial staff is far larger and more scholarly that the Morses every knew. Dr. William Jeffett's splendid 2010 book Dali Doubled is a must-have for every Dali fan. Ren, who wrote seven Dali books, would be impressed and proud.
Monday, January 17, 2011
Sunday, January 16, 2011
ATLANTA TO ST. PETERSBURG
ATLANTA TO ST. PETERSBURG
My last post shared some of the excitement expressed by the droves of visitors to the all-night "closing" of the major exhibition at the High Museum in Atlanta, Dali: The Later Years. Well now we have the numbers.
When we again linked up a couple of days later in St. Petersburg, Florida, the show's curator Elliott King told me that over 15,000 people waited in line, paid their money and viewed the exhibit. That would be phenomenal, a dream or impossible for almost any other artist, but not for Dali and not for a show of this quality and importance.
It was evident from the people swirling around Elliott and me that they considered seeing the show before it closed was a personal priority. It was fun to point out to people that the tall young man with the sequined tie and sequined shoes standing next to me was the curator who had, in one year, identified the works he wanted to display, borrowed them from museums and private collections, written the catalog, received and hung the shipped artworks and hosted the surrounding events. The responses were always such as to make Elliott's mother very proud. They also showed that the viewers had some idea of the curator's Herculean task.
OPENING OF THE NEW SALVADOR DALI MUSEUM
Well, we were finally at the anticipated date - 1/11/2011 - the opening of the magnificent new building that will henceforth offer to the world the unrivalled collection and changing exhibitions of The Salvador Dali Museum. Not only that, but I was waking up to the day in the Hilton Bayside Hotel just a couple of blocks away in St. Petersburg, Florida. I was there because Elliott King had been kind enough to call me when he arrived in Atlanta and heard an ice storm was forecast for Monday when he and I were scheduled to fly to Tampa. We both changed our airline reservations to get out of Dodge on Sunday. I am so grateful for this kindness and view with horror the possibility that I might otherwise have been stuck in Atlanta when the airport was shut down. I would not then have been waking up to the great day in St. Petersburg.
The surreal parade from the wonderful old museum to the new building was great fun. Lots of people dressed up in Dalinian costumes and there were fun marching groups with props, including some I never identified. The route was lined with television and other cameras and six broadcast trucks had their antennas raised for transmission.
Having been to the members' preview at the museum when I arrived from Atlanta on the previous Sunday, I was less concerned with seeing the interior and installation in the new building, than I was in seeing the characters who showed up, some other Dali heavy hitters, the panel of speakers and S.A.R. la Infanta Cristina of Spain. The Princess, whose life my wife well knows from HOLA! magazine, gave a generous short speech before cutting the ribbon, one half of which will be delivered to the Fundacio Gala-Salvador Dali in Figures, Spain.
Since I first visited the (now old) Dali Museum in 1987 to do the first of three appraisals of the collection for founder A. Reynolds Morse, I have examine each piece in the collection under magnification, so my visit during the preview was a visit to many old friends. No longer are the huge masterpieces lined up on a single wall somewhat remote from visitors. Each has its own alcove and visitors can get really close to each. This is great for viewers and I hope it will never prove to be too close. The small, intimate works, each protected by glass, continue to be lined up for close viewing. I assume that the guards, as was the practice in the previous facility, will have to clean nose and finger prints off the glass twice a day.
It was good to again see Curator Peter Tush and discuss how we thought the building would "work". There is no question that it is an inspiring design. It is dominated by a free-standing three story high spiral staircase on the inside and an irregularly shaped glass dome that flows from the roof to the ground on the outside. Constructed of 1,026 individually sized triangles of glass, the "Glass Enigma" suggests that a Buckminster Fuller geodesic dome may have melted in the Florida sun. From the atrium inside, it opens the building to a lovely exterior view of gardens, palm trees and a yacht marina across the street.
The Salvador Dali Museum has housed the world's largest and best collection of original Salvador Dali paintings in St.Petersburg since 1982. It has become the state's most-attended museum (over 200,000 a year) and will certainly attract even more visitors with its new building.
Everyone who works for the museum, the outstanding army of volunteers and the movers and shakers of St. Petersburg can be very proud of their new gem. The Dali world has a new icon at which people can experience the genius and universal appeal of Salvador Dali. I am so pleased to have been part of the celebration.
My last post shared some of the excitement expressed by the droves of visitors to the all-night "closing" of the major exhibition at the High Museum in Atlanta, Dali: The Later Years. Well now we have the numbers.
When we again linked up a couple of days later in St. Petersburg, Florida, the show's curator Elliott King told me that over 15,000 people waited in line, paid their money and viewed the exhibit. That would be phenomenal, a dream or impossible for almost any other artist, but not for Dali and not for a show of this quality and importance.
It was evident from the people swirling around Elliott and me that they considered seeing the show before it closed was a personal priority. It was fun to point out to people that the tall young man with the sequined tie and sequined shoes standing next to me was the curator who had, in one year, identified the works he wanted to display, borrowed them from museums and private collections, written the catalog, received and hung the shipped artworks and hosted the surrounding events. The responses were always such as to make Elliott's mother very proud. They also showed that the viewers had some idea of the curator's Herculean task.
OPENING OF THE NEW SALVADOR DALI MUSEUM
Well, we were finally at the anticipated date - 1/11/2011 - the opening of the magnificent new building that will henceforth offer to the world the unrivalled collection and changing exhibitions of The Salvador Dali Museum. Not only that, but I was waking up to the day in the Hilton Bayside Hotel just a couple of blocks away in St. Petersburg, Florida. I was there because Elliott King had been kind enough to call me when he arrived in Atlanta and heard an ice storm was forecast for Monday when he and I were scheduled to fly to Tampa. We both changed our airline reservations to get out of Dodge on Sunday. I am so grateful for this kindness and view with horror the possibility that I might otherwise have been stuck in Atlanta when the airport was shut down. I would not then have been waking up to the great day in St. Petersburg.
The surreal parade from the wonderful old museum to the new building was great fun. Lots of people dressed up in Dalinian costumes and there were fun marching groups with props, including some I never identified. The route was lined with television and other cameras and six broadcast trucks had their antennas raised for transmission.
Having been to the members' preview at the museum when I arrived from Atlanta on the previous Sunday, I was less concerned with seeing the interior and installation in the new building, than I was in seeing the characters who showed up, some other Dali heavy hitters, the panel of speakers and S.A.R. la Infanta Cristina of Spain. The Princess, whose life my wife well knows from HOLA! magazine, gave a generous short speech before cutting the ribbon, one half of which will be delivered to the Fundacio Gala-Salvador Dali in Figures, Spain.
Since I first visited the (now old) Dali Museum in 1987 to do the first of three appraisals of the collection for founder A. Reynolds Morse, I have examine each piece in the collection under magnification, so my visit during the preview was a visit to many old friends. No longer are the huge masterpieces lined up on a single wall somewhat remote from visitors. Each has its own alcove and visitors can get really close to each. This is great for viewers and I hope it will never prove to be too close. The small, intimate works, each protected by glass, continue to be lined up for close viewing. I assume that the guards, as was the practice in the previous facility, will have to clean nose and finger prints off the glass twice a day.
It was good to again see Curator Peter Tush and discuss how we thought the building would "work". There is no question that it is an inspiring design. It is dominated by a free-standing three story high spiral staircase on the inside and an irregularly shaped glass dome that flows from the roof to the ground on the outside. Constructed of 1,026 individually sized triangles of glass, the "Glass Enigma" suggests that a Buckminster Fuller geodesic dome may have melted in the Florida sun. From the atrium inside, it opens the building to a lovely exterior view of gardens, palm trees and a yacht marina across the street.
The Salvador Dali Museum has housed the world's largest and best collection of original Salvador Dali paintings in St.Petersburg since 1982. It has become the state's most-attended museum (over 200,000 a year) and will certainly attract even more visitors with its new building.
Everyone who works for the museum, the outstanding army of volunteers and the movers and shakers of St. Petersburg can be very proud of their new gem. The Dali world has a new icon at which people can experience the genius and universal appeal of Salvador Dali. I am so pleased to have been part of the celebration.
Monday, January 10, 2011
ATLANTA SHOW CONFIRMS DALI'S APPEAL
ATLANTA SHOW CONFIRMS DALI'S APPEAL
SALVADOR DALI: THE LATE WORK, currated by Elliott King at the High Museum Of Art in Atlanta was just as splendid a show as I had hoped. When you read a high-quality show catalog, the curator's essay will reveal just how much he or she "gets" the artist's work and will also frequently demonstrate how much he or she likes it. In the case of an Elliott King, you have a curator with a life-long dedication to the study of the artist so an exhibition he organizes can be expected to offer special insights. This one absolutely did and the crowds responded big time.
The High Museum's idea was to mount a final celebration titled "Dali 'till Dawn" that would keep the exhibition open for its final 31 hours. King was scheduled to lead three tours - 1am, 3am and 5am! The next afternoon, after we both flew to St. Petersburg ahead of Atlanta's snow storm, he called to ask if I could join him and some other Dali people for drinks and possibly dinner. What stamina! What youth!
Elliott and I linked up in Atlanta (as planned) and went to meet a very engaging and stimulating coupe for drinks. We then swung past the museum at about 8:00 to see what was happening. The line for admission was about three blocks long. We went back to the hotel and agreed to visit the exhibition at 10:00 PM. Again, when we arrived we were stunned to see the line had not diminished and the museum was packed. The atmosphere was electric and the excitement easily negated the fact that the temperature was 38 degrees and a strong, cold wind was blowing. Apparently hundreds of people thought the discomfort was worth braving. They were eventually well rewarded.
I also got the reward I had long anticipated as Elliott gave me a personal tour of the show and we discussed the works, their history and techniques and a great deal more about our mutual passion--Salvador Dali. It is always so exciting to be with an intellectual and well informed companion, especially at such an exhibition. The show was really splendid in spite of the fact that 18 artworks had been reurned to The Salvador Dali Museum to be hung for the grand opening of their new building on the 11th. I, of course, had examined every one of them under magnification when I appraised the museum's collection three times throughout the years.
When I left the High Museum at 1:30 in the morning with two companions with whom I discussed Dali until 2:30 back at my hotel, the line to get into the exhibition was still two blocks long! The temperature had dropped even lower, but these folks would not be denied. The show was crowded all night. What a recognition of the fascination people have with Salvador Dali and what a recognition of the show that Elliott King had curated--in just one year. Wow.
I arrived in St. POetersburg in time for the members' reception at the new museum. The Grand opening is tomorrow. Stay tuned for a report of all of the fun and foolishness and my opinions of the new buiding.
SALVADOR DALI: THE LATE WORK, currated by Elliott King at the High Museum Of Art in Atlanta was just as splendid a show as I had hoped. When you read a high-quality show catalog, the curator's essay will reveal just how much he or she "gets" the artist's work and will also frequently demonstrate how much he or she likes it. In the case of an Elliott King, you have a curator with a life-long dedication to the study of the artist so an exhibition he organizes can be expected to offer special insights. This one absolutely did and the crowds responded big time.
The High Museum's idea was to mount a final celebration titled "Dali 'till Dawn" that would keep the exhibition open for its final 31 hours. King was scheduled to lead three tours - 1am, 3am and 5am! The next afternoon, after we both flew to St. Petersburg ahead of Atlanta's snow storm, he called to ask if I could join him and some other Dali people for drinks and possibly dinner. What stamina! What youth!
Elliott and I linked up in Atlanta (as planned) and went to meet a very engaging and stimulating coupe for drinks. We then swung past the museum at about 8:00 to see what was happening. The line for admission was about three blocks long. We went back to the hotel and agreed to visit the exhibition at 10:00 PM. Again, when we arrived we were stunned to see the line had not diminished and the museum was packed. The atmosphere was electric and the excitement easily negated the fact that the temperature was 38 degrees and a strong, cold wind was blowing. Apparently hundreds of people thought the discomfort was worth braving. They were eventually well rewarded.
I also got the reward I had long anticipated as Elliott gave me a personal tour of the show and we discussed the works, their history and techniques and a great deal more about our mutual passion--Salvador Dali. It is always so exciting to be with an intellectual and well informed companion, especially at such an exhibition. The show was really splendid in spite of the fact that 18 artworks had been reurned to The Salvador Dali Museum to be hung for the grand opening of their new building on the 11th. I, of course, had examined every one of them under magnification when I appraised the museum's collection three times throughout the years.
When I left the High Museum at 1:30 in the morning with two companions with whom I discussed Dali until 2:30 back at my hotel, the line to get into the exhibition was still two blocks long! The temperature had dropped even lower, but these folks would not be denied. The show was crowded all night. What a recognition of the fascination people have with Salvador Dali and what a recognition of the show that Elliott King had curated--in just one year. Wow.
I arrived in St. POetersburg in time for the members' reception at the new museum. The Grand opening is tomorrow. Stay tuned for a report of all of the fun and foolishness and my opinions of the new buiding.
Thursday, January 6, 2011
ARGILLET BEFORE ATLANTA
ARGILLET BEFORE ATLANTA
What a surprise to have a quick flurry of e-mails and telephone calls with Christine Argillet who, with her very talented artist husband Jean and her son and his girlfriend had decided to make a trip to Santa Fe. Christine and Jean have been here about three times before and my wife Melinda and I are always delighted to see them. What a sparkling and fun evening we have when we meet for dinner. It has been equally fun to meet for lunch or to have them visit our home in the canyon. We have also gotten together several times at their home in Venice, California.
Naturally there was talk of Christine's totally unique father, art publisher, photographer and gallerist Pierre Argillet. I remembered my visit with Pierre at his chateau south of Paris and the Argillet's added much from their extensive experiences. Viken Argillet had spent a lot of time with his grandfather on various occasions, including when he could not fly out of Paris because of the 9/11 attacks. I suggested that these experiences helped him develop his "eye" as a filmmaker and he enthusiastically agreed.
Christine told me that when her father and Dali hit on an idea for a suite of prints illustrating a text, they were both so impatient to see the results that their joint energy was frenetic. I have seen many of the preliminary sketches that Dali did during their discussions. I have also seen a lot of the "home movies" Pierre made of the "happenings" they staged and of other visits to the chateau by Salvador and Gala. The best of all--which Baron Philippe duNoyer has promised me a copy of--is a short clip of Salvador Dali dancing the Charleston on the lawn.
What a pleasure it was to get a Dali fix from this delightful family just days before I fly to Atlanta for the closing of Elliot King's A-1 exhibition of the late works of The Master. How do I know the show is so good before I even see it? I've been spending time with the excellent catalog that Elliott gave me when we met for lunch last month.
And.....speaking of the show and the catalog, there is something that I have not mentioned previously. Elliott astounded me with the information that he had only a year to plan the exhibition with the staff of the High Museum, arrange loans of the major works from institutions in the US and Spain, write the catalog with essays by other Dali scholars and pull all of the thousands of details together prior to the opening. I was astounded. Such an exhibition usually takes three or four years of work.
I'm getting pretty excited about the trip to Atlanta and then on to St. Petersburg. I have seen a great many of the works in the show, and, of course, have appraised all of the paintings at The Salvador Dali Museum. Elliott was even able to include the iconic and internationally-known 1931 oil "Persistence of Memory" from the collection of the Museum of Modern Art in New York. I always enjoy asking people who have not seen the actual painting how large they think it is. The answer is usually expressed with hand movements indicating a work about 20 by 24 inches or larger. It's only 9 1/2 by 13 inches! That makes it even more impressive.
What a surprise to have a quick flurry of e-mails and telephone calls with Christine Argillet who, with her very talented artist husband Jean and her son and his girlfriend had decided to make a trip to Santa Fe. Christine and Jean have been here about three times before and my wife Melinda and I are always delighted to see them. What a sparkling and fun evening we have when we meet for dinner. It has been equally fun to meet for lunch or to have them visit our home in the canyon. We have also gotten together several times at their home in Venice, California.
Naturally there was talk of Christine's totally unique father, art publisher, photographer and gallerist Pierre Argillet. I remembered my visit with Pierre at his chateau south of Paris and the Argillet's added much from their extensive experiences. Viken Argillet had spent a lot of time with his grandfather on various occasions, including when he could not fly out of Paris because of the 9/11 attacks. I suggested that these experiences helped him develop his "eye" as a filmmaker and he enthusiastically agreed.
Christine told me that when her father and Dali hit on an idea for a suite of prints illustrating a text, they were both so impatient to see the results that their joint energy was frenetic. I have seen many of the preliminary sketches that Dali did during their discussions. I have also seen a lot of the "home movies" Pierre made of the "happenings" they staged and of other visits to the chateau by Salvador and Gala. The best of all--which Baron Philippe duNoyer has promised me a copy of--is a short clip of Salvador Dali dancing the Charleston on the lawn.
What a pleasure it was to get a Dali fix from this delightful family just days before I fly to Atlanta for the closing of Elliot King's A-1 exhibition of the late works of The Master. How do I know the show is so good before I even see it? I've been spending time with the excellent catalog that Elliott gave me when we met for lunch last month.
And.....speaking of the show and the catalog, there is something that I have not mentioned previously. Elliott astounded me with the information that he had only a year to plan the exhibition with the staff of the High Museum, arrange loans of the major works from institutions in the US and Spain, write the catalog with essays by other Dali scholars and pull all of the thousands of details together prior to the opening. I was astounded. Such an exhibition usually takes three or four years of work.
I'm getting pretty excited about the trip to Atlanta and then on to St. Petersburg. I have seen a great many of the works in the show, and, of course, have appraised all of the paintings at The Salvador Dali Museum. Elliott was even able to include the iconic and internationally-known 1931 oil "Persistence of Memory" from the collection of the Museum of Modern Art in New York. I always enjoy asking people who have not seen the actual painting how large they think it is. The answer is usually expressed with hand movements indicating a work about 20 by 24 inches or larger. It's only 9 1/2 by 13 inches! That makes it even more impressive.
Monday, January 3, 2011
SO MANY GREAT SUPPORTERS IN 2010
SO MANY GREAT SUPPORTERS IN 2010
Now that we're launched into 2011, I am spending some time looking back at what was a very difficult year professionally. There was the Google Bomb and the cyber mugging of Fine Art Register. There was the Federal Court trial in Port Huron, Michigan in which I was not as well used as I would like and the subsequent puzzling behavior of Albert Scaglione. There were lies and attacks from others and a significant loss of prestige and business.
At the same time, there was a tremendous swell of support and positive response on my behalf to all of this. When I look at the members of the Dali Study Group, the former clients, the colleagues and others who took time to express their continued support and admiration, I find that they represent the best and the most informed opinions. They are people who have looked at the facts, weighed the reputations of those involved, factored in their experiences of me over the years and have said quite clearly, "Bernard, we believe in you, regret the pain you have suffered, and know that those who do not treat you as you deserve are beneath our contempt.
These opinions--coming from people who really know--have sustained and energised me. These are the voices that repeatedly say, "Keep up the good work, Bernard. Continue to be the beacon of truth and integrity and don't let the scum win."
I am immensely grateful to those voices. I am grateful for their loyalty, their careful weighing of the facts and their courage in speaking out. It may be that a reputation carefully built over decades can be destroyed overnight, but these people have reminded me that I am not in that position.
Now it's on to exciting new adventures. Next week at the High Museum in Atlanta catching up with Elliott King's splendid presentation of Dali's last forty years of work and his excellent catalog essay demonstrating its quality will be a marvelous way to kick off the Year of Return. That will be followed almost immediately by the Grand Opening of the fantastic new Salvador Dali Museum location in St. Petersburg. That will attract all of the brightest and the best from the world of Dali. Even if one of the low life creeps into the festivities, it will make no difference. I'll be among those who know more about The Master than have gathered anywhere else.
Then in February I'll spend several days in Mexico City with one of the most passionate--and best informed--Dali collectors I know of. That will hopefully be followed by the retrial of Park West Gallery v. Fine Art Registry, Theresa Franks et al. and I'll hopefully be asked to contribute my expertise and perspectives.
Amidst all of this, I'll have the always rewarding experience of talking with Dali collectors almost every day that I am in my office. I enjoy the telephone consultations so much and am pleased to always be able to provide more information than others are capable of. Those calls, in which I tell a client everything I know and they need to know about their Dali artwork, are always great fun. That's true even when the discussion is about a fake because I have the opportunity to tell the collector stories about the scoundrels responsible.
Yes. Actually 2010 was a pretty exciting year and the positives clearly overshadow the smoggy parts. There are a lot of wonderful people out there and I am grateful to draw energy and pleasure from them. 2011 is going to be GREAT! On to the YEAR OF RETURN!
Now that we're launched into 2011, I am spending some time looking back at what was a very difficult year professionally. There was the Google Bomb and the cyber mugging of Fine Art Register. There was the Federal Court trial in Port Huron, Michigan in which I was not as well used as I would like and the subsequent puzzling behavior of Albert Scaglione. There were lies and attacks from others and a significant loss of prestige and business.
At the same time, there was a tremendous swell of support and positive response on my behalf to all of this. When I look at the members of the Dali Study Group, the former clients, the colleagues and others who took time to express their continued support and admiration, I find that they represent the best and the most informed opinions. They are people who have looked at the facts, weighed the reputations of those involved, factored in their experiences of me over the years and have said quite clearly, "Bernard, we believe in you, regret the pain you have suffered, and know that those who do not treat you as you deserve are beneath our contempt.
These opinions--coming from people who really know--have sustained and energised me. These are the voices that repeatedly say, "Keep up the good work, Bernard. Continue to be the beacon of truth and integrity and don't let the scum win."
I am immensely grateful to those voices. I am grateful for their loyalty, their careful weighing of the facts and their courage in speaking out. It may be that a reputation carefully built over decades can be destroyed overnight, but these people have reminded me that I am not in that position.
Now it's on to exciting new adventures. Next week at the High Museum in Atlanta catching up with Elliott King's splendid presentation of Dali's last forty years of work and his excellent catalog essay demonstrating its quality will be a marvelous way to kick off the Year of Return. That will be followed almost immediately by the Grand Opening of the fantastic new Salvador Dali Museum location in St. Petersburg. That will attract all of the brightest and the best from the world of Dali. Even if one of the low life creeps into the festivities, it will make no difference. I'll be among those who know more about The Master than have gathered anywhere else.
Then in February I'll spend several days in Mexico City with one of the most passionate--and best informed--Dali collectors I know of. That will hopefully be followed by the retrial of Park West Gallery v. Fine Art Registry, Theresa Franks et al. and I'll hopefully be asked to contribute my expertise and perspectives.
Amidst all of this, I'll have the always rewarding experience of talking with Dali collectors almost every day that I am in my office. I enjoy the telephone consultations so much and am pleased to always be able to provide more information than others are capable of. Those calls, in which I tell a client everything I know and they need to know about their Dali artwork, are always great fun. That's true even when the discussion is about a fake because I have the opportunity to tell the collector stories about the scoundrels responsible.
Yes. Actually 2010 was a pretty exciting year and the positives clearly overshadow the smoggy parts. There are a lot of wonderful people out there and I am grateful to draw energy and pleasure from them. 2011 is going to be GREAT! On to the YEAR OF RETURN!
Thursday, December 30, 2010
MEETING ONE OF THE TRUE EXPERTS
MEETING ONE OF THE TRUE EXPERTS
The large exhibition currently at the High Museum in Atlanta is about to end. SALVADOR DALI: THE LATE WORKS was guest curated by Elliott H. King, a Dali scholar who received his PhD at the University of Essex where he worked closely with Dawn Ades. He has focused on the art created by Dali after 1940--a period that has been critically dismissed by many as inferior to his earlier works. "Not so" says Dr. King and demonstrates in the exhibition that the Master created numerous very important works in the years from 1940 to 1980.
It is the creative period during which Dali painted "Santiago El Grande" (1957); "The Ecumenical Council" (1960); "Christ of St. John of the Cross" (1951); "Madonna of Port Lligat" (1950) and numerous other significant works, including portraits. King's curatorial triumph, however, was acquiring the loan of "Assumpta Corpusculaire Lapislazuline" (1952) from a Spanish collection. This exhibition clearly demonstrates that the years covered were filled with more than just the commercial commissions and public shenanigans. In other words, it is an important contribution to the study of Dali and an eye-opener for the critical dismissers.
On the way back from a pre-Christmas family visit, Melinda and I had the great pleasure of having lunch with Elliott King who generously showed up with a catalog of the exhibition as a gift. It is a beautiful publication and includes essays by other Dali scholars including Hank Hine, Director of The Salvador Dali Museum and William Jeffett, Chief Curator of Exhibitions at the Dali Museum.
What an intense hour and a half that was. Both Elliott and I jammed as much information and perspective-sharing into it as possible. I am quite sure it was the beginning of an enjoyable friendship characterized by mutual trust and the sharing of more information and perspectives. We first met in 2004 at the Dali centennial symposia at The Salvador Dali Museum, but did not have any time together.
I'm excited that we'll next meet in Atlanta for the final couple of days of the exhibition. Elliott is scheduled to participate in the 31 hour Dali Till Dawn event. He'll be giving three "insomniac tours" of the show at 1 a.m., 3 a.m., and 5 a.m.!!! Perhaps I can bring him coffee. Details and tickets are to be found at www.high.org.
On January 10th, both Elliott and I will fly to Tampa and drive to St.Petersburg for the January 11th Grand Opening of the new Salvador Dali Museum. You can check out the schedule of events at www.salvadordalimuseum.org. I am really looking forward to seeing the next stage in the phenomenal advances that have been made since my first visit with Ren and Eleanor Morse in 1987 at the time that I did my first (of three) appraisal of the collection.
There will be several postings in early January that will share with you my experiences at the High and Dali Museums. I believe this will be a great way to kick off a year in which I expect to regain whatever reputation and prestige the low life in the Dali market have tried to tarnish. As John Pope Hessey wrote, "Dedication to the truth can gain one many enemies."
For my supporters, well-wishers, clients and good guys, I send my very best for a rewarding 2011. Peace on Earth to men of good will.
The large exhibition currently at the High Museum in Atlanta is about to end. SALVADOR DALI: THE LATE WORKS was guest curated by Elliott H. King, a Dali scholar who received his PhD at the University of Essex where he worked closely with Dawn Ades. He has focused on the art created by Dali after 1940--a period that has been critically dismissed by many as inferior to his earlier works. "Not so" says Dr. King and demonstrates in the exhibition that the Master created numerous very important works in the years from 1940 to 1980.
It is the creative period during which Dali painted "Santiago El Grande" (1957); "The Ecumenical Council" (1960); "Christ of St. John of the Cross" (1951); "Madonna of Port Lligat" (1950) and numerous other significant works, including portraits. King's curatorial triumph, however, was acquiring the loan of "Assumpta Corpusculaire Lapislazuline" (1952) from a Spanish collection. This exhibition clearly demonstrates that the years covered were filled with more than just the commercial commissions and public shenanigans. In other words, it is an important contribution to the study of Dali and an eye-opener for the critical dismissers.
On the way back from a pre-Christmas family visit, Melinda and I had the great pleasure of having lunch with Elliott King who generously showed up with a catalog of the exhibition as a gift. It is a beautiful publication and includes essays by other Dali scholars including Hank Hine, Director of The Salvador Dali Museum and William Jeffett, Chief Curator of Exhibitions at the Dali Museum.
What an intense hour and a half that was. Both Elliott and I jammed as much information and perspective-sharing into it as possible. I am quite sure it was the beginning of an enjoyable friendship characterized by mutual trust and the sharing of more information and perspectives. We first met in 2004 at the Dali centennial symposia at The Salvador Dali Museum, but did not have any time together.
I'm excited that we'll next meet in Atlanta for the final couple of days of the exhibition. Elliott is scheduled to participate in the 31 hour Dali Till Dawn event. He'll be giving three "insomniac tours" of the show at 1 a.m., 3 a.m., and 5 a.m.!!! Perhaps I can bring him coffee. Details and tickets are to be found at www.high.org.
On January 10th, both Elliott and I will fly to Tampa and drive to St.Petersburg for the January 11th Grand Opening of the new Salvador Dali Museum. You can check out the schedule of events at www.salvadordalimuseum.org. I am really looking forward to seeing the next stage in the phenomenal advances that have been made since my first visit with Ren and Eleanor Morse in 1987 at the time that I did my first (of three) appraisal of the collection.
There will be several postings in early January that will share with you my experiences at the High and Dali Museums. I believe this will be a great way to kick off a year in which I expect to regain whatever reputation and prestige the low life in the Dali market have tried to tarnish. As John Pope Hessey wrote, "Dedication to the truth can gain one many enemies."
For my supporters, well-wishers, clients and good guys, I send my very best for a rewarding 2011. Peace on Earth to men of good will.
Friday, February 20, 2009
THE ROAD TO PUBOL
THE ROAD TO PUBOL (ALONE WITH DALI AND DUNCAN, PART 4)
This is the fourth posting in the series recounting the trip my son Duncan and I made around Dalí country in Catalonia, Spain about seven years ago.
After our incredible and never-to-be-forgotten visit to Casa Dalí at Port Lligat and an exploration of Cap de Creuz and the surrounding mountains, I was ready for another adventure. Duncan needed some time off. One can only keep up with the Artpro-On-The-Go for so long. First we made the pilgrimage up exhilierating mountain roads to the other “roads”: San Per de Rhodes Monestary. This is the institution that created and exported all over Europe the Romanesque culture and style.
A gorgeous ruin now, it hangs on the side of a crag, on top of which is a ruined castle named San Salvador. Just down the ridge is a ruined abbey named Santa Helena. To Dalí, this was a tremendously significant place because it had the foundation of scholarship and culture and a castle named “Salvador” and an abbey named “Helena” in close proximity on top of a bare and wind-swept ridge. “Helena” was Gala Dalí’s actual name.
I was ready to be off on the search for the tiny village of Pubol and its castle which had been discovered by Salvador Dalí in 1968 (the year he finished the Teatro-Museo Gala-Salvador Dalí in Figures.) He had been promising Gala that he would buy her a castle as her personal retreat for thirty years. The first time he made the promise they were living in Northern Italy during the Spanish Civil War, which was closely followed by the Second World War, most of which they spent in the United States.
Can you imagine living with Salvador Dalí? Gala—an exceedingly strong and domineering woman—wanted a place of her own where Dalí could visit her by written invitation only. Whoa!
With Duncan chillin’, I set out through the labyrinth of farm roads that spider web the Plane of Ampurdam between Figures and Cadaques (and Port Lligat). I eventually was at the base of the slope on top of which was the silhouette of the village, castle and church of Pubol. They formed an almost solid stone mass because most of the buildings were connected to each other like a Southwestern Indian pueblo. (Yes, I know. “pueblo” is the word the Spanish use for tiny villages like Pubol)
Fields, vineyards and orchards flowed down the sloped below this towering, dark edifice. As I approached, I was fascinated to see the mass evolve into individual houses, stables, taverns and small plaza (but all connected). I think this place was built with consideration for defense.
Just above the village (a street’s width away) stood the conjoined church and Castle Gala Dalí. How nice, it was rather modest in its proportions, being basically a tower house, built without extensions for easier defense. No longer very fortress-like, it had served as a home to the Marquises of Blondel and the family now lived in Madrid. As a result, the castle was more of a “fixer-upper” than a great find.
Dalí bought it in 1970 and the restoration began. When it was completed, Dalí spent four months decorating the vestibule and various nooks of the castle. Everyone’s favorite story about that time was that Dalí was offended by the old iron radiators so he had them ripped out—and then painted radiators on the wall where they had stood! What a goof-ball. I think we would have liked each other (although there are many things about his character that I do not appreciate.)
The yard in front of the south-facing arched castle entrance is taken up with a maze of paths among high evergreen hedges arranged so that a visitor frequently turns a corner and is confronted by some very weird Dalí sculpture or construction. The fish pond is pretty wretched, but architecturally attractive.
Oh, incidentally, the exterior north wall of Gala’s castle faces the little plaza in front of the church and is joined at the corner to the church. Imbedded in it are three skulls.
Time to go in. The entrance is a low arch through what is called “The Persian Room” which includes a peep hole through which one can see into the basement—the former dungeon. And what to the wondering eye should appear but a 1976 Cadillac and a carriage that had been used by the previous proprietor. At one time it also housed Gala’s orange Datsun. (Didn’t know about that one, did you?)
The Cadillac de Ville was purchased in the United States in 1976 for $10,000. (Years later I would buy two 1976 Cadillac Sevilles. Beautiful small cars. One I got from my dear friend Marty Gordon, the legendary print dealer and publisher.)
The small court yard between the front wall and gate and the house proper has the feeling of being in a large stone well. The front of the house exhibits various decorative elements, but is dominated by the decorative stone staircase leading up to the front door which is surmounted by a carved coat of arms.
As an aside, I am reminded that later King Juan Carlos granted Salvador Dalí the title of Marquis of Pubol. Sort of like children playing kingdom in the living and dining rooms and one of them being designated Duke of the Red Chair.
The wonders that I found inside Gala’s Castle will be the subject of my next posting. Since I’m behind, I’ll try to get to it in a few days. I may be here to write, but I’m also on vacation.
This is the fourth posting in the series recounting the trip my son Duncan and I made around Dalí country in Catalonia, Spain about seven years ago.
After our incredible and never-to-be-forgotten visit to Casa Dalí at Port Lligat and an exploration of Cap de Creuz and the surrounding mountains, I was ready for another adventure. Duncan needed some time off. One can only keep up with the Artpro-On-The-Go for so long. First we made the pilgrimage up exhilierating mountain roads to the other “roads”: San Per de Rhodes Monestary. This is the institution that created and exported all over Europe the Romanesque culture and style.
A gorgeous ruin now, it hangs on the side of a crag, on top of which is a ruined castle named San Salvador. Just down the ridge is a ruined abbey named Santa Helena. To Dalí, this was a tremendously significant place because it had the foundation of scholarship and culture and a castle named “Salvador” and an abbey named “Helena” in close proximity on top of a bare and wind-swept ridge. “Helena” was Gala Dalí’s actual name.
I was ready to be off on the search for the tiny village of Pubol and its castle which had been discovered by Salvador Dalí in 1968 (the year he finished the Teatro-Museo Gala-Salvador Dalí in Figures.) He had been promising Gala that he would buy her a castle as her personal retreat for thirty years. The first time he made the promise they were living in Northern Italy during the Spanish Civil War, which was closely followed by the Second World War, most of which they spent in the United States.
Can you imagine living with Salvador Dalí? Gala—an exceedingly strong and domineering woman—wanted a place of her own where Dalí could visit her by written invitation only. Whoa!
With Duncan chillin’, I set out through the labyrinth of farm roads that spider web the Plane of Ampurdam between Figures and Cadaques (and Port Lligat). I eventually was at the base of the slope on top of which was the silhouette of the village, castle and church of Pubol. They formed an almost solid stone mass because most of the buildings were connected to each other like a Southwestern Indian pueblo. (Yes, I know. “pueblo” is the word the Spanish use for tiny villages like Pubol)
Fields, vineyards and orchards flowed down the sloped below this towering, dark edifice. As I approached, I was fascinated to see the mass evolve into individual houses, stables, taverns and small plaza (but all connected). I think this place was built with consideration for defense.
Just above the village (a street’s width away) stood the conjoined church and Castle Gala Dalí. How nice, it was rather modest in its proportions, being basically a tower house, built without extensions for easier defense. No longer very fortress-like, it had served as a home to the Marquises of Blondel and the family now lived in Madrid. As a result, the castle was more of a “fixer-upper” than a great find.
Dalí bought it in 1970 and the restoration began. When it was completed, Dalí spent four months decorating the vestibule and various nooks of the castle. Everyone’s favorite story about that time was that Dalí was offended by the old iron radiators so he had them ripped out—and then painted radiators on the wall where they had stood! What a goof-ball. I think we would have liked each other (although there are many things about his character that I do not appreciate.)
The yard in front of the south-facing arched castle entrance is taken up with a maze of paths among high evergreen hedges arranged so that a visitor frequently turns a corner and is confronted by some very weird Dalí sculpture or construction. The fish pond is pretty wretched, but architecturally attractive.
Oh, incidentally, the exterior north wall of Gala’s castle faces the little plaza in front of the church and is joined at the corner to the church. Imbedded in it are three skulls.
Time to go in. The entrance is a low arch through what is called “The Persian Room” which includes a peep hole through which one can see into the basement—the former dungeon. And what to the wondering eye should appear but a 1976 Cadillac and a carriage that had been used by the previous proprietor. At one time it also housed Gala’s orange Datsun. (Didn’t know about that one, did you?)
The Cadillac de Ville was purchased in the United States in 1976 for $10,000. (Years later I would buy two 1976 Cadillac Sevilles. Beautiful small cars. One I got from my dear friend Marty Gordon, the legendary print dealer and publisher.)
The small court yard between the front wall and gate and the house proper has the feeling of being in a large stone well. The front of the house exhibits various decorative elements, but is dominated by the decorative stone staircase leading up to the front door which is surmounted by a carved coat of arms.
As an aside, I am reminded that later King Juan Carlos granted Salvador Dalí the title of Marquis of Pubol. Sort of like children playing kingdom in the living and dining rooms and one of them being designated Duke of the Red Chair.
The wonders that I found inside Gala’s Castle will be the subject of my next posting. Since I’m behind, I’ll try to get to it in a few days. I may be here to write, but I’m also on vacation.
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