The LOST DALÍ Collection™ has been traced back to the son of a now deceased art collector whom, according to published data on the Internet, is alive and presently living in the south of France, not far from the last known address from which the artwork was shipped, piece by piece over at least a 20+ year period. Until we learn otherwise and with reference to the earliest known record of ownership, the last known address located in France, which has been verified through purchase receipts obtained from the last owner of record located in Maine (USA), will serve as “ground zero” with regard to the origins of the artworks. SDALÍ.ORG acquired The LOST DALÍ Collection™ from the last known owner located in Maine.
According to the original owner allegedly still living in the South of France, The LOST DALÍ Collection™ was in fact his father’s collection, which was slowly transitioned to the collections previous owner in Maine, before being acquired by SDALÍ.ORG.
To date, SDALÍ.ORG has not been able to locate a single record for either the sale, transfer, or publication (print and electronic) of any artwork in The LOST DALÍ Collection™, other than a limited number of purchase receipts provided to us by the previous owner of the collection located in Maine.
Upon physical examination of the artworks, all 124 masterpieces in the collection are original works of art. The LOST DALÍ Collection™ consists of a collection of Oil on Canvas, Oil on Board, Watercolor on Laid Paper, and China/India Ink and Pen on both heavy card and laid paper – all of which are consistent with the mediums Dalí was known to have used. The collection does not contain any modern lithographs, prints, or etchings.
Upon further examination of the artworks, all 124 masterpieces in the collection have physical characteristics consistent with the date in which they are signed and dated. For example, when examining the handful of original artworks attributed to Dalí on laid paper, the manufactured date of the paper was consistent with the date in which the artwork was signed and dated.
What makes this collection of original Salvador Dali artwork significant is not just the sheer number of works discovered, but also the fact that the artworks are unquestionably executed by the same hand (artist). Anyone can assemble a collection of artworks by the same artist, but if they're forgeries, as some will undoubtedly proclaim, the fact that they are all attributed to the same hand is significant, especially considering the collection has never before been sold – with or without profit.
Each and every original artwork contains one or more, if not dozens of attributes that are undeniably characteristic of Salvador Dalí. From symbols, text, objects and shapes, to technique and color pallet used, we believe the similarities are unquestionable.
Some experts simply don’t have their facts straight and we can prove it! A renowned Dalí expert located in France has already proven not to have his facts straight. After reviewing photographs of a few artworks in The LOST DALÍ Collection™, the expert revealed in writing that the alleged Dalí forger, who he believed was responsible for the artworks, was now using color. Having been able to prove through purchase receipts that the artwork is at least 20+ years old, that theory was easily disproven and quickly dismissed, shedding additional credibility to the high probability that the artwork is in fact attributed to Salvador Dalí.
Interestingly enough, The LOST DALÍ Collection™ was never sold at a profit! What fraudster in their right mind would spend years of his or her life creating all of these artworks attributed to Salvador Dalí (and likely more) without ever attempting to sell them as authentic, for a profit, on the open market?
Even more unbelievable than the discovery of The LOST Dalí Collection is the fact that it was discovered an estimated 12-16 months before being complete lost to the elements. Secured between duct taped Plexiglas and displayed on art easels, The LOST DALÍ Collection was housed and displayed outdoors in The Dalí Dome, a decommissioned Naval radar dome purchased by the owner for the original purpose of restoring Etzel automobiles – then later repurposed to proudly display Dalí’s lost works.
Each original work of art in The LOST DALI Collection is unquestionably unique and one-of-a-kind. Not a single artwork can be found in any official (or unofficial) publication of Dali’s known works. Interestingly enough, and to the surprise of Dali experts and brokers alike, not a single artwork in this collection has ever been documented, publicized, displayed or sold.
A forgery is an item that was made to fool others into believing it is something it is not. This includes counterfeits, but also made up items like a 'newly discovered' Dali paintings, for example (imagine that). On the other hand, a fake is an item that is seriously misidentified or whose identity is seriously misrepresented.
Because it is public knowledge that virtually ALL Salvador Dali original artworks are well documented, including genuine hand-signed Salvador Dali lithographs and etchings (some of which are publically disputed), it is near impossible to conclude that the artworks in The LOST DALI Collection are fakes.
Equally significant, given the sheer number of these newly discovered artworks attributed to Dali, coupled with the fact that each piece in the collection appears to be period, signed, dated – all by the same hand, it would be historically negligent, if not outright reckless, to dismiss these masterpieces as mere forgeries, as they are clearly not 1:1 renderings of any known Dali artworks.Enter text here.
In an excerpt from author Noah Charney’s recent Phaidon book The Art of Forgery, the art crimes historian recounts the strange tale of Salvador Dalí and his friend, assistant, and potential forger Antoni Pitxot, raising vital questions about the nature of authenticity and deceit in the realm of art.
Dalí produced a staggering number of works in many media. The number of projects to which he attached his name increased with his age—and his desire for more and more money—but his lifestyle and declining mental competence seemed at odds with his prodigious output.
The life of Antoni Pitxot (born 1934) is inseparable from that of his great friend Dalí. Both he and Dalí were born in Figueres in Catalonia, Pitxot a generation after Dalí, and both owned property in Cadaques. Their families were close friends and Dalí was the earliest supporter of the young Pitxot’s work. Pitxot was an award-winning artist himself whose work often features surreal allegories of memory, as does Dalí’s. Pitxot would go on to co-design the Dalí Museum, which was built in 1968, and became the museum’s director after Dalí’s death.
Pitxot received the Gold Medal of Merit in Fine Arts from the King of Spain in 2004 for work produced under his own name. However, a conspiracy theory begins in 1966, when Pitxot moved in to Dalí’s villa full-time. Their close personal, artistic and geographical relationship led some individuals familiar with Dalí to believe that Pitxot began painting as Dalí around the same time, sanctioned by Dalí as his own artistic powers started to wane.
The main objection to such an interpretation is the question of deceit—which in itself may be a case of pride. Perhaps Dalí was reluctant to admit that he was painting less and assigning his projects to his assistant, preferring to maintain the illusion of continued prolificacy even as his skills deteriorated.
The primary issue with the speculation that Antoni Pitxot is responsible for one or more artworks in The LOST DALI Collection is that the dates don’t correlate in any meaningful manner. Pitxot was born in 1934. It is alleged he began painting for Dalí in the 1960’s. Since the majority of The LOST DALI Collection falls within the date range 1920-1955, it is impossible for Antoni Pitxot to have created the original artworks signed in the name of Salvador Dalí.