Astonishing clues about the LOST Salvador Dali Collection. We're believers!

Some experts simply don’t have their facts straight and we can prove it! A renowned Dali expert located in France has already proven not to have his facts straight. After reviewing photographs of a few works in The LOST Salvador Dali art gallery 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 Salvador Dali 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 Dali (and likely more) without ever attempting to sell them as authentic, for a profit, at an auction house or art gallery?

Even more unbelievable than the discovery of The LOST Salvador Dali 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 Salvador Dali Collection was housed and displayed outdoors in The Dali Dome, a decommissioned Naval radar dome purchased by the owner for the original purpose of restoring Etzel automobiles – then later re-purposed as an art gallery to proudly display Dalí’s lost works.

Each original work of art in The LOST Salvador Dali Collection is unquestionably unique and one-of-a-kind. Not a single artwork can be found in any art gallery or 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 art gallery 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.

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 Dali 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 Dali were born in Figueres in Catalonia, Pitxot a generation after Dali, and both owned property in Cadaques. Their families were close friends and Dali 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 Dali Museum and art gallery, 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.