Life and Death in the Visions of Salvador Dalí

Illustrations for and The Divine Comedy Organized by Carole Sorell Incorporated David S. Rubin, Curator

Presented with generous support from the Park West Foundation 143 framed prints 400-600 linear feet / No rental or shipping fees / 100 catalogs included Available beginning September 2017

2 Life and Death in the Visions of Salvador Dalí

Salvador Dalí, Plate 11, Les Chants de Maldoror, 1934, Salvador Dalí, Choleric People from The Divine Comedy, 1960, 15 7 3 intaglio print, sheet: 13 1/8 x 10 in. / plate: 8 ⁄16 x 6 ⁄8 in. wood engraving on wove paper after a watercolor, 9 ⁄4 x 7 in.

3 Exhibition Package

• 143 framed prints, ready to hang

• Didactic labels and wall text panels

• 100 catalogs with checklist, illustrations of selected works, and essay by David S. Rubin

• 100 posters

• 50 copies of Dalí - Illustrator by Eduard Fornés (2016, hardcover, 407 pages)

• Press kits

• Docent training

• Hosted VIP reception

• National marketing and PR assistance from Carole Sorell, Inc.

For further information and to book the exhibition please contact

Carole Sorell 845-687-9667 / 212-945-7878 [email protected] [email protected] www.carolesorellinc.com PO Box 286, Stone Ridge, NY 124844

4 Throughout his prolific career, Salvador Dalí illustrated more than 100 books. Among the most celebrated of his book illustrations are his portfolios for the Comte de Lautréamont’s Les Chants de Maldoror and Dante Alighieri’s The Divine Comedy. The exhibition Life and Death in the Visions of Salvador Dalí presents these two portfolios together.

Lautréamont’s Les Chants de Maldoror (The Songs of Maldoror) was a favorite literary work among the Surrealists, many of whom found beauty in art and literature devoted to the pursuit of the irrational and the unorthodox. A poetic novel of sorts that unfolds in a non-linear fashion, Les Chants de Maldoror describes the violent and perverse character of a despicable protagonist who has renounced God, humanity, and conventional morality. Dante’s The Divine Comedy is considered to be one of the most important works in the history of Italian literature. Although it too is a poetic narrative, The Divine Comedy is told sequentially, taking its readers along with Dante on a journey through Hell, Purgatory, and Paradise. Allegorically, it is often interpreted as representing the trajectory of the soul towards God.

At the suggestion of , Salvador Dalí was commissioned in the early 1930s to create a series of intaglio prints to illustrate Les Chants de Maldoror for the Swiss publisher Albert . Between 1932 and 1934, Dalí created 44 intaglios for the project, and all but one appear as plates, headpieces, or tailpieces in Skira’s edition of the book. Rather than respond to specific passages of text by Lautréamont, Dalí’s illustrations are free interpretations and are tied to themes that are also prevalent in his Surrealist paintings of the 1930s. Throughout the series viewers will see Dalí’s disturbing visions of violence and death with a strong emphasis on psychological paranoia and human mortality.

Dalí was initially commissioned by the Italian government in 1950 to illustrate The Divine Comedy in celebration of the 700th anniversary of Dante’s birth. Dalí’s hiring for the project became controversial in the Italian Parliament because Dalí was Spanish and not Italian. On top of that, Dalí had once declared himself “a Surrealist void of all moral values.” As a result, the government sponsorship was cancelled, but Dalí persevered. Already immersed in the project, he offered it to the French publisher, Joseph Forét, who headed Editions d’art Les Heures Claires. Between 1951-1960, Dalí painted 100 watercolors in preparation for the publication of The Divine Comedy. The wood engravings that appear in the portfolio, which was published in 1960, are based on these watercolors. In contrast to his illustrations for Les Chants de Maldoror, Dalí’s imagery for The Divine Comedy closely follows Dante’s narrative.

In viewing the portfolios for Les Chants de Maldoror and The Divine Comedy together, exhibition visitors will enjoy a rare opportunity to compare two classic bodies of work by Dalí, one created during the height of when he was a young artist, and the other from his later years. In the earlier work, viewers will observe how Dalí employed his characteristic Surrealist style and imagery to exploring the immoral nature of an evil protagonist. In the later series, we see a mature artist applying spontaneous techniques, mastered over decades, to the art of storytelling. Additionally, viewing the two portfolios together should keep audiences thinking about the relationship between earthly sins like those committed in Les Chants de Maldoror and their potential consequences as told by Dante and expressively visualized by Dalí in The Divine Comedy.

5 About the Organizers

Carole Sorell

Carole Sorell is the founder, president and CEO of Carole Sorell Incorporated. Sorell’s clients include Fortune 500 companies such as Ford Motor Company, United Technologies Corporation, Philip Morris Companies Inc., and the governments of Mexico and Hong Kong. Previously Sorell was Assistant Commissioner of Public Affairs, Department of Cultural Affairs, New York City, under the administrations of Mayors Dinkins and Giuliani where she represented over 1800 cultural organizations, serving as the liaison to the Mayor’s Office, the Mayor’s Cultural Advisory Commission, the NYC Commission for the United Nations, NYC & Company (formerly the New York City Convention & Visitors Bureau) and the Congressional Arts Caucus. She also served as Vice President of the American Council for the Arts, where she developed and implemented promotional and marketing strategies for agency programs and advocacy initiatives, which achieved national awareness and celebrity participation. Under this mantle, she was a member of President Clinton’s Goals 2000 Leadership Team, hosted congressional breakfasts and meetings on the Hill, and supervised a national conference, Art Education for the 21st Century Global Economy, bringing together major leaders in the fields of government, business, arts and education. As a Partner and Vice President at Adams Rinehart (now Ogilvy Adams & Rinehart) she headed a division where she worked with leading financial clients. As a Senior Vice President at Ruder Finn, she originated and directed total marketing, communications and promotional campaigns for major corporate clients. She has worked with major personalities and celebrities which include Presidents Clinton and Reagan (working with White House staff), Betty Ford and Joan Mondale, prime ministers Yitzhak Rabin and Shimon Peres, Alexander Calder and John Houseman, Christopher Reeve, Garth Brooks, Kenny G, Michael Bolton, John Mellencamp, Frank Zappa, Ray Charles, Herb Alpert and Tony Bennett. She is listed in Who’s Who in America, Who’s Who in the World, Who’s Who of American Women, Who’s Who of Emerging Leaders in America, Who’s Who of Professional Business Women, Who’s Who in Media and Communications, and Who’s Who in Advertising.

6 David S. Rubin

David S. Rubin has been an active figure in the contemporary arts field for forty years. From 2006-2014 he served as The Brown Foundation Curator of Contemporary Art at the San Antonio Museum of Art. From 2000-2006, he was Curator of Visual Arts at the Contemporary Arts Center, New Orleans; from 1994-99, he was Curator of Twentieth Century Art at Phoenix Art Museum; from 1990-94 he served as Associate Director/Chief Curator of Cleveland Center for Contemporary Art (now MOCA Cleveland); prior positions include Director of the Freedman Gallery, Albright College, Reading, PA; Director of Exhibitions, San Francisco Art Institute and Adjunct Curator, San Francisco Museum of Modern Art; Director, Santa Monica College Art Gallery; Assistant Director, Galleries of the Claremont Colleges and Assistant Professor of Art History, Scripps College, Claremont, CA. Since 1980, Rubin has been a member of the International Association of Art Critics. In 1996 he served as U.S. Commissioner for the Cuenca Bienal of Painting in Ecuador. From 2001 - 2007, he was an international juror for the Florence Biennale. He is currently listed in Who’s Who in the World, Who’s Who in America and Who’s Who in American Art. Over the years, Rubin has organized numerous solo and thematic exhibitions. Solo projects have been devoted to Martha Alf, Willie Birch, Douglas Bourgeois, Rolando Briseño, Petah Coyne, Jay DeFeo, David Halliday, Adad Hannah, Al Held, Daniel Lee, Donald Lipski, Christian Marclay, Ana Mendieta, Dennis Oppenheim, Alison Saar, Martin Puryear, Vincent Valdez, and many others; group exhibitions include Cruciformed: Images of the Cross Since 1980; Old Glory: The American Flag in Contemporary Art; It’s Only Rock and Roll: Rock and Roll Currents in Contemporary Art; Chelsea Rising; Birdspace: A Post-Audubon Artists Aviary, The Culture of Queer: A Tribute to J.B. Harter, Playing with Time, Chocolate: A Photography Exhibition, Waterflow, and Psychedelic: Optical and Visionary Art since the 1960s, which was accompanied by a comprehensive best-selling book on the subject, co- published by the San Antonio Museum of Art and MIT Press. Since 2014, Rubin has been a regular contributor to the online art journals Visual Art Source and Glasstire. Rubin holds a B.A. in Philosophy from the University of California, Los Angeles and an M.A. in Art History from Harvard University.

7 About the Sponsor

Park West Foundation

Park West Gallery founder and CEO Albert Scaglione and his wife, Mitsie, formed the Park West Foundation in 2006. Upon its establishment, the foundation’s primary mission was to address the urgent needs of young adults aging out of foster care in Southeastern Michigan. Under the guidance of director Diane Pandolfi, the Park West Foundation now empowers more than 1,000 local youth by offering education, shelter, clothing and food assistance. The Park West Foundation is a helping hand, facilitator, and funding source for art awareness while also supporting at-risk youth, conservation and the environment. The foundation actively supports national and international programs such as arts education program Turnaround Arts, the Fostering Futures Scholarship Benefit, the Guy Harvey Ocean Foundation and The Prince’s Trust International.

8 Life and Death in the Visions of Salvador Dalí

Exhibition Checklist Les Chants de Maldoror, 1934 43 plates for illustrated book signed in pencil and numbered on the colophon First edition, Published by Editions , Collection of Park West Gallery, Southfield, Michigan

Plate 1 (Frontispiece) Plate 2 (Headpiece) Plate 3 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 3 3 3 intaglio print, sheet: 13 ⁄16 x 9 in. intaglio print, sheet: 13 ⁄16 x 10 in. intaglio print, sheet: 13 ⁄16 x 10 in. 15 13 15 1 15 plate: 8 ⁄16 x 6 ⁄16 in. plate: 5 x 7 ⁄16 in. plate: 9 ⁄16 x 6 ⁄16 in.

9 Plate 4 Plate 5 Plate 6 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 1 1 1 1 intaglio print, sheet: 13 ⁄8 x 10 in. intaglio print, sheet: 13 ⁄8 x 10 in. plate: intaglio print, sheet: 13 ⁄8 x 10 ⁄16 in. 15 7 15 7 13 plate: 8 ⁄16 x 6 ⁄8 in. 8 ⁄16 x 6 ⁄8 in. plate: 9 x 6 ⁄16 in.

Plate 7 (Tailpiece ) Plate 8 (Headpiece) Plate 9 Les Chants de Maldoror, 1934 intaglio Les Chants de Maldoror, 1934 intaglio Les Chants de Maldoror, 1934 1 7 1 1 1 print, sheet: 13 ⁄8 x 9 ⁄8 in. print, sheet: 13 ⁄6 x 10 in. intaglio print, sheet: 13 ⁄8 x 10 ⁄16 in. 5 3 3 7 image: 2 ⁄8 x 2 ⁄4 in. image: 5 ⁄4 x 7 in. plate: 9 x 6 ⁄8 in.

Plate 10 Plate 11 Plate 12 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 1 13 1 intaglio print, sheet: 13 1/8 x 10 in. intaglio print, sheet: 13 ⁄8 x 10 in. plate: intaglio print, sheet: 13 ⁄16 x 10 ⁄16 in. 7 15 7 15 7 plate: 9 x 6 ⁄8 in. 8 ⁄16 x 6 ⁄8 in. plate: 8 ⁄16 x 6 ⁄8 in.

10 Plate 13 Plate 14 Plate 15 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 1 1 1 1 intaglio print, sheet: 13 ⁄16 x 10 ⁄16 in. intaglio print, sheet: 13 ⁄8 x 10 in. intaglio print, sheet: 13 x 10 ⁄16 in. 15 7 7 7 15 13 plate: 8 ⁄16 x 6 ⁄8 in. plate: 8 ⁄8 x 6 ⁄8 in. plate: 8 ⁄16 x 6 ⁄16 in.

Plate 16 Plate 17 (Tailpiece) Plate 18 (Headpiece) Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 1 1 15 1 1 intaglio print, sheet: 13 ⁄8 x 10 ⁄8 in. |intaglio print, sheet: 13 ⁄16 x 10 ⁄8 in. intaglio print, sheet: 13 ⁄4 x 10 in. 13 1 3 5 1 plate: 9 x 6 ⁄16 in. image: 3 ⁄8 x 2 ⁄16 in. image: 2 ⁄16 x 6 ⁄8 in.

Plate 19 Plate 20 Plate 21 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 1 15 1 1 1 intaglio print, sheet: 13 ⁄16 x 9 ⁄16 in. intaglio print, sheet: 13 ⁄8 x 10 ⁄16 in. intaglio print, sheet: 13 x 10 ⁄16 in. 13 7 7 15 7 plate: 8 ⁄16 x 6 ⁄8 in. plate: 9 x 6 ⁄8 in. plate: 8 ⁄16 x 6 ⁄8 in.

11 Plate 22 Plate 23 (Tailpiece ) Plate 24 (Headpiece) Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 1 1 1 1 3 1 intaglio print, sheet: 13 ⁄16 x 10 ⁄16 in. intaglio print, sheet: 13 ⁄16 x 10 ⁄16 in. intaglio print, sheet: 13 ⁄8 x 10 ⁄16 in. 15 7 1 15 3 7 plate: 8 ⁄16 x 6 ⁄8 in. image: 3 ⁄16 x 3 ⁄16 in. image: 4 ⁄8 x 6 ⁄8 in.

Plate 25 Plate 26 Plate 27 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 1 1 1 3 1 intaglio print, sheet: 13 ⁄8 x 10 in. intaglio print, sheet: 13 ⁄16 x 10 ⁄16 in. intaglio print, sheet: 13 ⁄8 x 10 ⁄16 in. 15 7 15 13 15 13 plate: 8 ⁄16 x 6 ⁄8 in. plate: 8 ⁄16 x 6 ⁄16 in. plate: 8 ⁄16 x 6 ⁄16 in.

Plate 28 Plate 29 Plate 30 (Tailpiece) Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 1 1 1 1 intaglio print, sheet: 13 ⁄16 x 10 ⁄16 in. intaglio print, sheet: 13 ⁄4 x 10 ⁄16 in. intaglio print, sheet: 13 x 10 in. 15 15 15 15 1 plate: 8 ⁄16 x 6 ⁄16 in. plate: 8 ⁄16 x 6 ⁄16 in. image: 3 ⁄8 x 4 in.

12 Plate 31 (Headpiece) Plate 32 Plate 33 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 3 1 1 1 intaglio print, sheet: 13 ⁄8 x 10 in. intaglio print, sheet: 13 ⁄8 x 10 ⁄16 in. intaglio print, sheet: 13 ⁄16 x 10 in. 15 1 15 13 15 13 image: 2 ⁄16 x 4 ⁄8 in. plate: 8 ⁄16 x 6 ⁄16 in. plate: 8 ⁄16 x 6 ⁄16 in.

Plate 34 Plate 35 Plate 36 (Tailpiece) Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 15 1 1 15 15 intaglio print, sheet: 12 ⁄16 x 10 ⁄16 in. intaglio print, sheet: 13 ⁄16 x 9 ⁄16 in. intaglio print, sheet: 13 x 9 ⁄16 in. 15 7 15 7 7 5 plate: 8 ⁄16 x 6 ⁄8 in. plate: 8 ⁄16 x 6 ⁄8 in. image: 4 ⁄8 x 3 ⁄16 in.

Plate 37 (Headpiece) Plate 38 Plate 39 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 1 15 1 1 1 1 intaglio print, sheet: 13 ⁄16 x 9 ⁄16 in. intaglio print, sheet: 13 ⁄16 x 10 ⁄16 in. intaglio print, sheet: 13 ⁄16 x 10 ⁄16 in. 1 15 15 7 15 7 image: 4 ⁄2 x 6 ⁄16 in. plate: 8 ⁄16 x 6 ⁄8 in. plate: 8 ⁄16 x 6 ⁄8 in.

13 Plate 40 Plate 41 Plate 42 (Tailpiece) Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 Les Chants de Maldoror, 1934 1 1 1 1 15 intaglio print, sheet: 13 ⁄8 x 10 ⁄16 in. intaglio print, sheet: 13 x 10 ⁄16 in. intaglio print, sheet: 13 ⁄8 x 9 ⁄16 in. 15 13 15 7 3 1 plate: 8 ⁄16 x 6 ⁄16 in. plate: 8 ⁄16 x 6 ⁄8 in. image: 3 ⁄8 x 4 ⁄4 in.

Plate 43 Les Chants de Maldoror, 1934 3 intaglio print, sheet: 13 ⁄16 x 10 in. 7 plate: 9 x 6 ⁄8 in.

14 Life and Death in the Visions of Salvador Dalí

Exhibition Checklist The Divine Comedy, 1960 100 plates for illustrated book Signed on block and hand-signed in pencil Published by Les Heures Claires, Paris Collection of Park West Gallery, Southfield, Michigan

Departure on the Grand Voyage 1960, Virgil Comforts Dante Sharon and the Passage of Acheron wood engraving on wove paper after 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 a watercolor, 9 ⁄4 x 7 in., signed in the after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. block at lower right

15 Legs Minos Cerberus 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in., signed in after a watercolor, 9 ⁄4 x 7 in. the block at lower center.

Misers and Squanderers Choleric People Erinnyes 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

Heretics At the Edge of the Seventh Bolge 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

16 The Forest of Those Who Committed Blasphemers The Borders of Phlegethon Suicide, 1960, wood engraving on wove 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 paper after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

The Climb of Geryon Usurers Imposter 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

Simoniacs Soothsayers and Sorcerers The Black Devil 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

17 The Dishonest The Torment of Hypocrites Robbers 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

Centaur Inhabitants of Prado The Logician Devil 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in., signed in after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. the block lower center.

Bertrand de Horn Falsifiers Men Who Devour Themselves 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in., signed in after a watercolor, 9 ⁄4 x 7 in., signed in after a watercolor, 9 ⁄4 x 7 in. signed in the block lower center. the block lower center. the block lower center.

18 Giants Traitors Against Their Country Traitors Against Their Hosts 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in., signed in after a watercolor, 9 ⁄4 x 7 in., signed in after a watercolor, 9 ⁄4 x 7 in., signed in the block lower center. the block lower center. the block lower center.

The Ghost Spoken of The Fallen Angel The Grim Boatman’s Boat 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

Indolents The Negligent Reproaches of Virgil 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

19 Deaths by Violence Princes of the Flowered Valley Guardian Angels of the Valley 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

The Dream The Face of Virgil The Proud 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in., signed in after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. the block lower center

The Beauty of the Sculpture The Second Level A Spirit Interrogating Dante 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

20 Envy The Stream of Anger Leaving the Level of Anger 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

The Fourth Level: Accidia Dante’s Dream Greed and Lavishness 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

The Source Lavishness Gluttony 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

21 The Tree of Chastisement Rising to the Seventh Level: Lustful Meeting of the Two Groups of Lechers 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper after 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. a watercolor, 9 ⁄4 x 7 in.

The Last Oratories of Virgil The Divine Forest Meeting of Dante and Beatrice 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

Announcement of the Grand Event 1960, Dante’s Confession Earthly Paradise wood engraving on wove paper after a 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

22 Dante Purified Dante The Angel 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in., signed in after a watercolor, 9 ⁄4 x 7 in., signed in after a watercolor, 9 ⁄4 x 7 in. the block lower center. the block lower right.

The First Heaven Beatrice The New Aspect of Beatrice 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

The Sky of Mercury Dante’s Men Doubt The Grandest Beauty of Beatrice 1960, 1960, wood engraving on wove paper 1960, wood engraving on wove paper wood engraving on wove paper after a 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. watercolor, 9 ⁄4 x 7 in.

23 The Heaven of Venus The Angel of the Sun The Opposition 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in., signed in the block lower left.

Uproar of the Glorious Cups Thus the Earth was Created Ghost of Christ 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in., signed in the block lower center

Dante’s Ecstasy Ghosts of Ancestors Ghosts of Ancestors, 1960, wood 1960, wood engraving on wove paper 1960, wood engraving on wove paper engraving on wove paper after a 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. watercolor, 9 ⁄4 x 7 in.

24 The Splendor of Beatrice, 1960, wood Language of the Birds, 1960, wood The Sixth Heaven of Jupiter engraving on wove paper after a engraving on wove paper after a 1960, wood engraving on wove paper 3 3 3 watercolor, 9 ⁄4 x 7 in. watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

The Mystical Ladder The Angel of the Seventh Heaven 1960, The Triumph of Christ and the Virgin 1960, wood engraving on wove paper wood engraving on wove paper after a 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

The Joy of the Blessed Saint John and Hope Meeting at the Forces of Luxury (Dante 1960, wood engraving on wove paper 1960, wood engraving on wove paper Recovers His Sight) 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. 1960, wood engraving on wove paper 3 after a watercolor, 9 ⁄4 x 7 in.

25 Gloria Patri The March Towards God The Creation of Angels 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in., signed in after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. the block lower center.

At the Empyrean The Archangel Gabriel Preparation of the Last Prayer 1960, wood engraving on wove paper 1960, wood engraving on wove paper 1960, wood engraving on wove paper 3 3 3 after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in. after a watercolor, 9 ⁄4 x 7 in.

Prayer of Saint Bernard 1960, wood engraving on wove paper 3 after a watercolor, 9 ⁄4 x 7 in.

26