The decorations were given according to sketches. Salvador Dali's comments on his jewelry collection (1959). "Living" ruby ​​heart

Salvador Dali next to his work "Ruby Heart". Photo: www. salvador-dali.org

So, let's start from the end - with the apotheosis of the art of jeweler Salvador Dali.

Everyone knows that this eccentric genius had not only “constancy of memory,” but also constancy in matters of the heart, which is very rare for representatives of the bohemian world. Gala was his eternal muse, girlfriend, wife, lover. For his beloved, Dali made a luxurious brooch “Ruby Heart”, decorated with 46 rubies, 42 diamonds and 4 emeralds. The mechanism inside the brooch makes “Dali’s heart” still beat. Take a look, it's amazing:

It all started with the fact that once Salvador Dali believed in the universality of his talent, he made the whole world believe in it. As a jewelry designer, he created a luxurious collection of 37 pieces with a unique surreal charm.

“The ideal thing for me is one that is absolutely not suitable for anything. You can't write with this item, you can't remove excess hair with it, and you can't make calls. This item cannot be placed on a Louis XIV table or chest of drawers. This thing just needs to be worn, and it is jewelry” - S. Dali

S. Dali “Ruby Lips”, 1949, rubies, pearls. S. Dali, K. Alemany “Eye of Time”, 1949, platinum, diamonds, ruby, enamel, Movado 50SP watch movement. Photo: www. artsy

Some of Salvador Dali's jewelry fantasies have become iconic works of art of the 20th century - the artist's favorite "Cosmic Elephant", "Eye of Time" with a teardrop in the corner, the excitingly sensual "Ruby Lips" and the pulsating "Royal Heart".

Meeting of the Catalan surrealist with the Sicilian duke-jeweler on an abandoned American farm

In 1941, Salvador Dalí and Gala visited Caress Crosby, an American publisher, at her estate in Virginia, with whom the artist had been friends since the days of Paris. In 1934, Caress sponsored his first trip to America. The godmother of the Parisian writers of the “lost generation,” as Caresse Crosby was called, edited Dali’s autobiography.

Dali, it seems, became so homesick that he began working outdoors, although previously the artist did not like to paint in the fresh air, preferring a cozy studio. He was captivated by the history of the old South and he summoned the ghost spirits - the inhabitants of the Hampton House farm. The snowy weather suggested a black and white composition and a funny picture was immediately born in the surrealist’s imagination, which he called “The Effect of Ten Little Indians, a Black Piano and Two Black Pigs in the Snow.”

Caress Crosby invited the Italian designer Duke Fulco di Verdure to introduce him to Dali, suggesting their further cooperation. Verdura had just gained a name and a good reputation by that time, having worked for several years as a textile designer for Coco Chanel. In 1939, he opened his own jewelry salon in New York.

Design by F. di Verdura of the Medusa brooch, 1941, parchment, gouache. Miniature drawing by Salvador Dali

Apparently, in order to test the guest, Dali decided to play a prank on the designer. Arriving at Hampton Manor, the young Duke was horrified: instead of the elegant mansion he had imagined, he was greeted by a dilapidated house without electricity or heat.

Verdura later described a truly surreal meeting with Dali in the old Hampton Manor estate:

Salvador Dalí, Gala and Caress Crosby at Hampton House, Virginia, 1941

“It was deathly cold in the living room. Everyone was wearing a coat. I took off my coat when I entered the house and, numb from the cold, I could not ask for it back. Dali constantly repeated: “This is Picasso’s workshop.” I have never been to Picasso’s studio, but I was told that there is the same poverty there as during his Blue Period.”
Later it turned out that everything was set up by Dali, and Verdura, who also loved pranks, quickly found a common language with the surrealist, and Crosby’s house seemed to him “a picture of comfort and delight.” In the end, Verdura called his visit "a huge success" because he and the artist began work on jewelry, which was first shown at the Julien Levy Gallery exhibition in 1941 next to Dali's paintings, and later at the Dali and Miró exhibition at the Museum of Modern Art.

S. Dali “Royal Heart”, 1953, gold, rubies, sapphires, emeralds, aquamarines, peridot, garnets, amethyst, pearls

“Fulko and I tried to find out whether precious stones were born for painting or painting for precious stones. We are sure that they were born for each other. This is a marriage of love” - S. Dali

Tango for two: Dali meets Carlos Alemany

In the 1950s, Dali dreamed of more complex and fantastic jewelry projects, and he no longer took part in general exhibitions of the surrealists - they excluded him from their movement. Dali proclaimed himself a universal master, like those who created during the Renaissance:

Some of Salvador Dali's jewelry fantasies have become iconic works in the art of the 20th century - the artist's favorite "Cosmic Elephant", "Eye of Time" with a teardrop in the corner, the excitingly sensual "Ruby Lips" and the pulsating "Royal Heart".

“As a paladin of the new Renaissance, I also refuse to limit myself. My art, in addition to painting, includes physics, mathematics, architecture, nuclear science (psycho-nuclear, mystical-nuclear) and jewelry art.” During the Renaissance, great masters did not limit themselves to one single means of expression. The genius of Leonardo da Vinci goes far beyond painting. His scientific spirit comprehended in the depths of the sea and in the air the possibility of miracles that today have become a reality. Benvenuto Cellini, Botticelli and da Luca processed precious stones for jewelry, creating cups and ornamental bowls decorated with stones of extraordinary beauty.”

S. Dali “Cup of Life”, 1963, gold, yellow diamonds, rubies, sapphires, emeralds, lapis lazuli, with a mechanism that moves the wings of butterflies. Photo: Richard Lozin

Dali's wish came true with the appearance of jeweler Carlos Alemany in his life.
A native of Buenos Aires, Carlos Alemany was the conductor of a tango orchestra back in the 1930s and toured throughout Latin America, Europe and the United States. In the 1940s, he began to study jewelry making in New York, and having met Dali in the 1950s, he was able to realize the crazy fantasies of the surrealist genius. The designers collaborated until 1971.

The jewelry was made from luxurious precious stones brought from the Congo - emeralds, sapphires, lapis lazuli, malachite.

Dali came up with the design and selected the materials himself for each work, focusing not only on the color, shape and value of the material, but also on the symbolic meanings attributed to precious stones and precious metals.

Until 1970, the genius of surrealism created only 39 sketches, from which 37 pieces of jewelry were made. The first 22 pieces were purchased by the American millionaire Cummins Catherwood, and in 1958 the owner of the collection was the Owen Cheatham Foundation, which bought all subsequent Dali jewelry creations. In 1981, the collection became the property of a Saudi tycoon and was then sold to three collectors from Japan.

In 1999, the Gala-Salvador Dali Foundation bought the jewelry collection for 5.5 million euros. Today, 39 decorations born from Dali's surrealist fantasies can be seen in the Theater-Museum in Figueres.

Word to the Master

“...My art in painting, diamonds, rubies, pearls, emeralds, gold, peridot shows how metamorphoses occur; people create and change themselves. When they sleep, they transform into flowers, plants, trees. A new transformation is taking place in Heaven. The body again becomes the crown of creation and reaches perfection.”

“In jewelry, and in all my creative activities, I create what I love most... My work emphasizes the logarithmic law, as well as the relationship between spirit and matter, between space and time.”

« I have been aware of the connection between time and space since childhood. However, my invention of the "soft watch" - first in painting and then in 1950 in gold and precious stones - led to a division of opinion: on the one hand, approval and understanding, and on the other, skepticism and mistrust.
Today in American schools my “soft clocks” are shown as a prophetic expression of the fluidity of time - the indivisibility of time and space. Speed ​​travel in our time (space flights) confirms this belief. Time is not frozen, it is fluid.”

Dali spoke about the frivolity of some jewelry that he himself invented:

“They are illusory! Dali's jewelry is completely serious. I'm glad that people smile when they look at telephone earrings. A smile is nice. But these earrings, like all my jewelry works, are serious. They represent the ear, a symbol of harmony and unity. They signify the speed of modern means of communication, hope and danger in an instant change of thought.”

But what, according to Dali, is of greatest value? “Jeweled items—ornaments, medals, crosses, objets d’art—were not designed to remain inert in armored cells. They were created to please the eye, lift the spirits, awaken the imagination and express beliefs..."

“...Without an audience, without the presence of spectators, these jewels will not perform the functions for which they were created. Thus, the viewer becomes their final creator - the viewer's eye, his heart and mind, merging with more or less understanding of the artist's intentions, give them life."

- Salvador Dali

Salvador Dali's comments on his jewelry collection, 1959:

During the Renaissance, great masters did not limit themselves to one single means of expression. The genius of Leonardo da Vinci goes far beyond painting. His scientific spirit comprehended in the depths of the sea and in the air the possibility of miracles that today have become a reality. Benvenuto Cellini, Botticelli and da Luca processed precious stones for jewelry and created goblets and ornamental bowls decorated with stones of extraordinary beauty.

Palladin of the new Renaissance, I also refuse to be limited. My art covers, in addition to painting, physics, mathematics, architecture, nuclear science - psychonuclear, nuclear mysticism and jewelry. With my jewelry, I would like to protest against the importance placed on the price of the material used by jewelers. I strive for the artist's art to be appreciated for what it is - design and craftsmanship should be valued above the value of precious stones, as was the case during the Renaissance.

DESIGN AND INSPIRATION

In jewelry, as in all my creative work, I embody what I love most. In some of them you can appreciate the architectural shades (as in some of my paintings). Here the logarithmic law is once again manifested, as well as the relationship between spirit and matter, between time and space.

ON THE RELATIONSHIP OF TIME AND SPACE

The understanding of the unity of time and space penetrated my consciousness as a child. However, my invention of “soft watches” - first painted in oils, and later, in 1950, made of gold and precious stones, caused conflicting responses: acceptance and understanding, on the one hand, and skepticism and mistrust, on the other.

Today in American schools my “soft clocks” are demonstrated as a prophetic expression of the fluidity of time..., the inseparability of time and space. The speed of movement in our time - space flights - confirms this belief. Time is fluid, it is not frozen.

ON ATTACHING HUMAN QUALITIES TO INANIMATE OBJECTS

Anthropomorphic themes appear again and again in my jewelry. I see human forms in trees, leaves, animals; animal and plant - in human.

My art with painting, diamonds, rubies, pearls, emeralds, gold, chrysoprase proves how metamorphosis occurs; human beings have the ability to create and transform. When they sleep, they completely change, turning into flowers, plants, trees. The next transformation takes place in Paradise. The body becomes whole again and reaches perfection.

ABOUT THE FRIVOLIENT APPEARANCE OF SOME DALI JEWELRY

Illusion! Dali's jewelry should be taken very seriously. I like my Phone Earrings to make me smile. A smile is something pleasant. But these earrings, like all my jewelry, are serious things. Earrings - represent the ear - a symbol of harmony and unity. They contain the meaning of the speed of modern means of communication, the hope and danger of the sudden exchange of thoughts.

ABOUT THE COLLECTION

My jewelry collection, assembled by the Owen Chisem Association, will inevitably acquire historical significance. Over time, these products will prove that simply beautiful objects, having no practical use, but at the same time beautifully crafted, were appreciated in an era when the main emphasis seemed to be on everything utilitarian and material.

Freed from materialism and in the name of philanthropic ideals, Dali's jewelry acts as ambassadors to America, Russia, Europe and the rest of the world, symbolizing the cosmogonic unity of our age.

Jewelry decorated things - jewelry, medals, crosses, objects of art were not conceived to be stored as dead weight in an armored chamber. They were created to please the eye, lift the spirit, excite the imagination and express beliefs. Without an audience, without the presence of spectators, these products would not fulfill the function for which they were created. This means that the viewer himself ultimately turns into an artist. His gaze, heart, mind, catching, more or less understanding the creator’s intention and merging with this intention, breathe life into these products.

The history of Salvador Dali's jewelry collection begins in 1941. Based on Dali's sketches, jeweler Carlos Alemany created 37 pieces of jewelry. The first 22 pieces were purchased by American millionaire Cummins Catherwood, and in 1958 the owner of the collection was the Owen Cheatham Foundation, which bought all subsequent Dali jewelry creations. In 1981, the surrealist jewelry became the property of a Saudi multimillionaire, who then sold the collection piecemeal to three legal entities from Japan. One of these buyers subsequently initiated the return of jewelry masterpieces to their homeland, Spain.

In 1999, the Gala - Salvador Dali Foundation bought the precious collection created by the brilliant Spaniard for 900 million pesetas (5.5 million euros). Today, 39 jewelry (2 items were made according to the artist’s sketches after his death), born of Dali’s surreal fantasies, can be seen in the theater-museum in Figueres, in the Galatea tower, where a permanent exhibition hall has been created for them.

The Salvador Dali jewelry collection is a one-of-a-kind set of jewelry with an amazing combination of subjects, materials, sizes and shapes - the recognizable and unique handwriting of the maestro. Gold, platinum, precious stones, pearls and corals are no longer just expensive materials. They did not even become earrings, brooches or necklaces, but turned into hearts, lips, eyes, flowers, animals and anthropomorphic forms, religious and mythological symbols.

Among the jewelry fantasies of Salvador Dali: the surrealist’s favorite image is “Cosmic Elephant” (1961), the excitingly sensual “Ruby Lips” (1949), “Living Flower”, “Eye of Time” with a tear in the corner, “Bleeding World” (1953 ) and, of course, “Royal Heart”, which Gala requested. A luxurious ruby ​​and, without a doubt, living heart: 46 rubies, 42 diamonds and 4 emeralds are combined into a single precious composition. It is made in such a way that the moving center “beats” like a real heart.

The production of replicas of unique jewelry presented in our online store is carried out under an exclusive license by the Gala - Salvador Dali Foundation.

For some reason, not everyone knows that in addition to his contribution to painting, this artist managed to excite a lot of jewelry connoisseurs.

It is unlikely that anyone could have formulated the meaning of Dali’s jewelry works more precisely than the artist himself did, albeit allegorically. The first of the “Ten Rules for Those Who Want to Become an Artist” reads “...Learn to make your brush produce gold and precious stones.” Just in case, the other nine:

Tristan and Isolde. The silhouettes of lovers form a bowl, which, in turn, symbolizes the possible abundance of love between a man and a woman.

But the problem is that today we can name only a few publications devoted to the results of the development of jewelry art in the twentieth century, where the name of the artist is mentioned and attempts are made to determine his role in this process. 



In 1985, the book of the English critic Barbara Cartlidge, “Jewelry of the Twentieth Century,” was published in New York, summing up the century, where Dali’s name is named among the outstanding artists of the 20th century who, in the post-war 1940s - 1950s. work in the field of artistic jewelry.

The author of the book, owner of the famous London jewelry gallery Electrum, highly appreciates the significance of Dali's jewelry works. She notes that, unlike Pablo Piicasso, Max Ernst, Alexander Calder and Georges Braque, who were engaged in jewelry art from time to time, “Dali works in this field constantly: his drawings, carried out by highly skilled artisans, form an important part of his contribution to art in general.” “- and further: “His extraordinary collection of surreal jewelry made of gold and precious stones with mechanisms like a beating heart shocks the world of conventional jewelry with its audacity and extravagance.

Space elephant. Aquamarine in a gold medallion depicting the Madonna. The crown of the Mother of God is covered with diamonds. When the medallion turns over, the face of the Madonna becomes the face of Christ.

The German historian Hermann Schadt spoke somewhat more definitively about Dali’s jewelry works in his book “The Art of Goldsmiths. 5000 years of jewelry and tableware”: “The jewelry design of the Spanish painter Salvador Dali illustrates the connection of his various areas of interest: that the space of cumulative pictorial concepts can be transformed into jewelry...”

Dali first turned to creating jewelry in 1941. Dali drew detailed sketches with comments and indications of materials. His ideas were embodied by jeweler and family friend Carlos Alemany. The “calling card” of all these treasures was color saturation: the sunniest yellow gold, rubies, the whitest pearls, bloody corals, the most colorful emeralds, deep blue sapphires, dazzlingly pure silver... Not a trace of the fashionable muted colors and ambiguity of art -nouveau.

Result:

Further, while in the United States between 1942 and 1944, Dalí, together with the House of Verdura, created jewelry inspired by the “general nostalgia for the Renaissance.” Here, during the war years, on the one hand, the “upstart style” (cocktail style) continues to dominate. On the other hand, favorable conditions have developed for the implementation of original creative concepts in the modernization of the objective world, brought by emigrant artists from Europe.

The very atmosphere of American artistic culture in these years created fertile ground for an extraordinary expansion of the artist’s range of interests. In warring Europe, experiments in jewelry were unthinkable. During all these years, the production of jewelry as luxury goods was subject to high taxes. In the post-war years, jewelry made in traditional designs was in particular demand in Europe. They best responded to the prevailing desires in society to restore the measured rhythm of life destroyed by the war. 



The situation begins to change only at the end of the 1940s, when the period of “celebration of peace” ends and the need for change arises in the most conservative “minor arts”. 



Jewelry works by Dali from the late 1940s. - this is the materialized development of his pictorial images. Researchers have repeatedly noted that not a single detail can be eliminated from Dali’s paintings. But it is also important that they are literally filled with artistic aphorisms that have become iconic symbols of the 20th century.- show jewelry art in its true meaning. Design and craftsmanship should be worth more than precious stones and metals, as they were in the Renaissance."

More eloquent than other decoration details is the author's facsimile. Although it is placed on the back of the watch, it is clearly visible in the very center of the composition. This is the painter’s habit and, at the same time, a tribute to the increased creativity at the turn of the 1940-1950s. demand for artistic jewelry. Previously, jewelry artists also put their signatures on products, but always on the reverse side. Now jewelry from Dali, as well as from other great masters, have become signs of belonging to the elite, and this has acquired a special meaning. 



Bleeding world. The suffering of a world divided by war and chaos. In the medallion dedicated to war, a pearl arrow holds the world together, symbolizing the love of Christ and my hope for peace.

Later, in his diary for September 1958 (Port Ligat, I-e) Dali will talk about it like this: “... Just as I was walking to my table to finally sit down, they called me to the next table, where they asked, I don’t agree "Should I make an egg from enamel in the Faberge style." 



The next decade became especially fruitful for Dali the jeweler. During this period, he created his most famous works - the “Eye of Time” brooch-watch, “Ruby Heart”, and the “Ruby Lips” brooch. Compositions from the 1950s gradually acquire a certain integrity, which is indirectly confirmed by their relative independence. Relative, because the initial ideas are still realized in painting; not as literally as in the 1940s, are reproduced in jewelry. 


The creation of the “Eye of Time” brooch-watch (1949 or 1951) was preceded not by a specific pictorial composition, but by the theme of “vision” developed in various ways by the artist. In a piece of jewelry, all stages of the “infinitely expanded meaning” of a painting are accumulated in a symbolic sign of time - a clock enclosed in the pupil of an eye, not without grace, outlined by diamonds in a pave setting.

Man can't escape your fate, or escape from time. The eye sees everything: both the present and the future

Opens and closes like a beautiful flower, showing the world stamens and petals with diamonds. Flowers in the shape of hands, always pointing upward towards the light. Malachite from the Congo hides the mechanism - a simple system of counterweights that brings the jewelry to life.

To an even greater extent, the artist reflected the development of a work of applied art as a “plastic philosophical metaphor” in the surreal object “Ruby Heart”, 1953. Its birth, according to Dali, was preceded by a story he wrote in his diary for September 1958:
“... Wanting to thank Gala for the explosive pomegranate apple, I repeated:

What do you want, my heart? What do you want, my heart? 



And she responded with a new gift for me: “A beating heart made of ruby!”

.

My art absorbs

The first painting that hangs near the stairs leading us to the Jewelry Hall. She's called "The Apotheosis of the Dollar"

The staircase leading upward, the railings of which, our imagination perceives as the famous mustache of Dali.

Dali liked to give his jewelry his favorite surreal forms. Remember his famous painting "The Persistence of Memory"?

Symbols of faith, such as the crucifix, occupied one of the main places in the artist’s work.

"Eye of Time", with a frozen tear.

"Leaf in the shape of a hand with veins"

"The tree of Life"

"Honey in the Honeycomb of a Precious Heart"

"Butterflies"

The living, pulsating “Royal Heart” is made of 46 rubies, 42 diamonds and 4 emeralds. There is a mechanism built inside that makes the heart beat.

Pearl teeth and "Ruby lips"

"Psychedelic Flower"

"Night Spider"

Did everyone see the female image?

The door opens and closes, showing us

"Grapes of Immortality" - a bunch of grapes and skulls

"Cross of golden cubes."

"Fallen Angel"

"Space Elephant"

“The ideal thing for me is one that is absolutely not suitable for anything. You can't write with this item, you can't remove excess hair with it, and you can't make calls. This item cannot be placed on a masterpiece or placed on a Louis XIV chest of drawers. This thing just needs to be worn, and it is jewelry” - S. Dali.

Brooch “Ruby lips with teeth like pearls”, 1958

Salvador Dali has repeatedly convinced the world of the universality of his talent. He had been nurturing the idea of ​​his own collection of jewelry with a unique surreal charm for many years, but he was finally able to bring his ideas to life after meeting the talented jeweler Carlos Alemany.

A native of Buenos Aires, Alemany was the conductor of a tango orchestra back in the 1930s and toured throughout Latin America, Europe and the United States. In the 1940s, he began studying jewelry in New York, and after meeting Dali in the 1950s, he was able to realize the crazy fantasies of the surrealist genius. The designers collaborated until 1971.

S. Dali, K. Alemany “Eye of Time”, 1949, platinum, diamonds, ruby, enamel, Movado 50SP watch movement. Photo: www. artsy

The jewelry was made from luxurious precious stones brought from the Congo - emeralds, sapphires, lapis lazuli, malachite.

Dali came up with the design and selected the materials himself for each work, focusing not only on the color, shape and value of the material, but also on the symbolic meanings attributed to precious stones and precious metals.

Model showing off Salvador Dali's jewelry

Based on Dali's sketches, jeweler Carlos Alemany created 37 pieces of jewelry and two more were created after the artist's death. In total, there are 39 jewelry works based on sketches by Salvador Dali in the world. Since the war in 1941, when Dali lives and works in the USA, the company of New York jewelers Alemany & Ertman has been bringing the master’s fantasies to life under his supervision. One after another, works of art are born, “painted” with precious materials.

Sketches of jewelry by Salvador Dali in the exhibition hall "Dali-Joies" of the Dali Theater-Museum in Figueres

The first 22 pieces were purchased by American millionaire Cummins Catherwood, and in 1958 the owner of the collection was the Owen Cheatham Foundation, which bought all subsequent Dali jewelry creations. In 1981, the surrealist jewelry became the property of a Saudi multimillionaire, who then sold the collection piecemeal to three legal entities from Japan. One of these buyers subsequently initiated the return of jewelry masterpieces to their homeland, Spain.

In 1999, the Gala – Salvador Dali Foundation bought the precious collection created by the brilliant Spaniard for 900 million pesetas (5.5 million euros). Today, 39 decorations born of Dali's surrealist fantasies can be seen in the theater-museum in Figueres, in the Galatea Tower, where a permanent exhibition hall has been created for them.

"Space Elephant", 1961

The Salvador Dali jewelry collection is a one-of-a-kind set of jewelry with an amazing combination of subjects, materials, sizes and shapes - the recognizable and unique handwriting of the maestro. Gold, platinum, precious stones, pearls and corals are no longer just expensive materials. They did not even become earrings, brooches or necklaces, but turned into hearts, lips, eyes, flowers, animals and anthropomorphic forms, religious and mythological symbols.

S. Dali “Living Flower”, 1959. Gold, diamonds, malachite base

Among the jewelry fantasies of Salvador Dali: the surrealist’s favorite image is “Cosmic Elephant” (1961), the excitingly sensual “Ruby Lips” (1949), “Living Flower”, “Eye of Time” with a tear in the corner, “Bleeding World” (1953 ) and, of course, “Royal Heart”, which Gala requested. True, Dali dedicated the mechanical heart to the coronation of Elizabeth II.

A luxurious ruby ​​and, without a doubt, living heart: 46 rubies, 42 diamonds and 4 emeralds are combined into a single precious composition. It is made in such a way that the moving center “beats” like a real heart.

"Royal Heart" with pulsating middle, 1953

"Living" ruby ​​heart

Some of Dali's works have mechanisms and can move. “Living Flower” opens and closes its petal arms, “Ruby Heart” beats, and “Fallen Angel” flaps its wings.

S. Dali, K. Alemany. Brooch “Heart of Honeycomb”, 1949, gold, diamonds, rubies

S. Dali. Necklace with intertwined limbs (Choreographic Necklace), c. 1964, gold, diamonds, amethyst, sapphire

S. Dali “Swan Lake”, 1959, gold, diamonds, aquamarines, emeralds, sapphires, rock crystal. Photo: Richard Lozin

S. Dali “Hand in the Shape of a Leaf”, 1949, gold, emerald, rubies. Photo: Richard Lozin

S. Dali, K. Alemany “Pax Vobiscum”, 1968, gold, diamonds, quartz, painting on wood. Photo: Richard Lozin

S. Dali “Cross Branch”, 1959, gold, platinum, diamonds, rubies, emeralds. Photo: Richard Lozin

S. Dali “The Grapes of Immortality.” "Angel of Eternity", 1970. Gold, amethysts, emeralds, smoky quartz. Photo: Richard Lozin

Brooch “Persistence of Memory”, 1949

The address of the museum where the exhibition is located, opening hours, ticket prices, as well as other useful information can be found on the official website of the Gala-Salvador Dali Foundation.