Beschreibung:

James Croak (1951) Interpersonal Relationship Suit (1995) (3x) Unique pieces Latex, rubber and gravel, approx. H. 193 cm Provenance: - Galerie De La Tour, Amsterdam - Private collection, the Netherlands (3x) * Condition report available upon request
Ger Eikendal (1954) Tijdsbeeld II (2001) Signed with monogram and dated 2001 lower centre Signed and titled on the reverse Oil on panel, 120.2 x 100.1 cm Provenance: - Galerie Mokum, Amsterdam (2001) (incl. invoice) - Private collection, the Netherlands * Condition report available upon request
James Croak (1951) Interpersonal Relationship Suit (1995) (3x) Unique pieces Latex, rubber and gravel, approx. H. 193 cm Provenance: - Galerie De La Tour, Amsterdam - Private collection, the Netherlands (3x) * Condition report available upon request
Olav Cleofas van Overbeek (1946) Glazen Kolf en Blauwe Doos (Glass Flask and Blue Box) (1986) Signed and dated 86 lower centre Oil on canvas, 90 x 115.4 cm Provenance: - Galerie Lieve Hemel, Amsterdam (1987) (incl. invoice) - Private collection, the Netherlands * Condition report available upon request
James Croak (1951) Interpersonal Relationship Suit (1995) (3x) Unique pieces Latex, rubber and gravel, approx. H. 193 cm Provenance: - Galerie De La Tour, Amsterdam - Private collection, the Netherlands (3x) * Condition report available upon request
Salvador Dalí (1904-1989) Le Sacre du Printemps (1966) Signed lower right Signed and annotated With kisses for both of you by Catherine Perrot-Moore and Dalí's secretary Peter Moore lower left Signed and dated 1966 in the stone An unsigned proof (aside the edition of 150) Lithograph in colours on cream wove paper, 76 x 56 cm Provenance: Collection Albert van Dam, Amsterdam, acquired directly from the artist, thence by descent Literature: Field 66-4 Note: Moore, who was referred to as "Captain Moore" due to his service in the British Navy, claims to have worked as a secret agent during World War II. According to his own statements, he also served as an advisor to Winston Churchill In 1955, he met Salvador Dalí who appointed him as his private secretary and manager. Moore played a significant role in Dalí's career and became a millionaire himself. In 1975, Dalí and Moore's collaboration ended at the insistence of Dalí's wife, Gala. Moore stated that he was tired of Gala's jealousy and intrigue. Dalí and Moore formed a harmonious partnership in promoting the brilliant surrealist artist. The artist himself knew very well "what I have in the Capitano." Even after their separation, Moore remained devoted to Dalí, who was experiencing deteriorating health. There are no ill words known from him about the successors appointed by Gala as advisors and confidantes. One of Moore's great accomplishments from an art historical perspective was his wholehearted dedication in helping realize Dalí's heartfelt desire until the end of 1975: The museum in Figueres. Prior to that, Moore and his wife Catherine Perrot had established a Dalí museum in Cadaqués, which was inaugurated in the presence of the artist. Without Moore's administrative support, the official Dalí Museum in Figueres would not have come to fruition during Dalí's lifetime. However, their shared intention to create a tomb for the painter at Dalí's castle in Púbol could not be realized, nor could Dalí's wish to mount his portrait bust, created by Arno Breker monumentally on a skyscraper in New York as an "eternal light." Peter Moore served as Dalí's manager and co-publisher of important graphic and bronze editions during their 20 years of collaboration. Ideas such as jewellery collections, Dalí's leopards, scandalous happenings and societies, as well as fascinating figures in Dalí's court, including Amanda Lear were born out of the collaboration between Moore and his master. Moore made headlines ten years after Dalí's death when the Spanish justice system accused him of circulating forged lithographs by Dalí. A clear definition of what and how things