Pair of “initiatory” candelabra in gilded bronze, made by Dalí in 1975. On the candelabra will be placed golden discs, ovoid shapes, mini obelisks and other objects capable of releasing positive energies as wished by Dalí. The candelabra are reproduced in the volume “Dalí, le dur et le sculpture et objects” edited by Robert Descharnes, the artist's historic secretary in 2003.

"Maravillas with acrostic variation" these works belong to a series of works created to illustrate the book by the poet Rafael Alberti entitled Maravillas con variaciones acrostica en el jardin de Miró published in 1975. The series of lithographs printed in two different formats were made mainly using primary colors reinforced by black signs to mark the compositional rhythm of Miró's story of signs that goes well with the flow of Albertian poetry.

"Maravillas with acrostic variation" these works belong to a series of works created to illustrate the book by the poet Rafael Alberti entitled Maravillas con variaciones acrostica en el jardin de Miró published in 1975. The series of lithographs printed in two different formats were made mainly using primary colors reinforced by black signs to mark the compositional rhythm of Miró's story of signs that goes well with the flow of Albertian poetry.

"Maravillas with acrostic variation" these works belong to a series of works created to illustrate the book by the poet Rafael Alberti entitled Maravillas con variaciones acrostica en el jardin de Miró published in 1975. The series of lithographs printed in two different formats were made mainly using primary colors reinforced by black signs to mark the compositional rhythm of Miró's story of signs that goes well with the flow of Albertian poetry.

"Maravillas with acrostic variation" these works belong to a series of works created to illustrate the book by the poet Rafael Alberti entitled Maravillas con variaciones acrostica en el jardin de Miró published in 1975. The series of lithographs printed in two different formats were made mainly using primary colors reinforced by black signs to mark the compositional rhythm of Miró's story of signs that goes well with the flow of Albertian poetry.

Arriving in the village of Vallauris, in the south of France in 1946, Picasso visited the Ramie's studio and was seized by the desire to work with ceramics, something he had already done even if occasionally in Spain in his youth. Also thanks to the meeting with the young Jacqueline Roque, who worked with the Ramie spouses and who later became his last partner, Picasso began to attend the workshop where, in the following years, and until his death, he created over 4000 works. He often used jugs and plates that already existed and were part of the popular tradition which he, with his intervention, transformed into archaic and symbolic forms of fantastic animals or forms with a strong primordial imprint. The evocative and desecrating capacity of Picasso's form found, in the use of ceramics, a highly suggestive element that allowed him to create works that are now unanimously considered as the highest expression of ceramic art in the world. Picasso's work was a forerunner for many artists who, after him, tried their hand at ceramic art as it was in the fields of painting, drawing and graphic arts.

Arriving in the village of Vallauris, in the south of France in 1946, Picasso visited the Ramie's studio and was seized by the desire to work with ceramics, something he had already done even if occasionally in Spain in his youth. Also thanks to the meeting with the young Jacqueline Roque, who worked with the Ramie spouses and who later became his last partner, Picasso began to attend the workshop where, in the following years, and until his death, he created over 4000 works. He often used jugs and plates that already existed and were part of the popular tradition which he, with his intervention, transformed into archaic and symbolic forms of fantastic animals or forms with a strong primordial imprint. The evocative and desecrating capacity of Picasso's form found, in the use of ceramics, a highly suggestive element that allowed him to create works that are now unanimously considered as the highest expression of ceramic art in the world. Picasso's work was a forerunner for many artists who, after him, tried their hand at ceramic art as it was in the fields of painting, drawing and graphic arts.

Arriving in the village of Vallauris, in the south of France in 1946, Picasso visited the Ramie's studio and was seized by the desire to work with ceramics, something he had already done even if occasionally in Spain in his youth. Also thanks to the meeting with the young Jacqueline Roque, who worked with the Ramie spouses and who later became his last partner, Picasso began to attend the workshop where, in the following years, and until his death, he created over 4000 works. He often used jugs and plates that already existed and were part of the popular tradition which he, with his intervention, transformed into archaic and symbolic forms of fantastic animals or forms with a strong primordial imprint. The evocative and desecrating capacity of Picasso's form found, in the use of ceramics, a highly suggestive element that allowed him to create works that are now unanimously considered as the highest expression of ceramic art in the world. Picasso's work was a forerunner for many artists who, after him, tried their hand at ceramic art as it was in the fields of painting, drawing and graphic arts.

Arriving in the village of Vallauris, in the south of France in 1946, Picasso visited the Ramie's studio and was seized by the desire to work with ceramics, something he had already done even if occasionally in Spain in his youth. Also thanks to the meeting with the young Jacqueline Roque, who worked with the Ramie spouses and who later became his last partner, Picasso began to attend the workshop where, in the following years, and until his death, he created over 4000 works. He often used jugs and plates that already existed and were part of the popular tradition which he, with his intervention, transformed into archaic and symbolic forms of fantastic animals or forms with a strong primordial imprint. The evocative and desecrating capacity of Picasso's form found, in the use of ceramics, a highly suggestive element that allowed him to create works that are now unanimously considered as the highest expression of ceramic art in the world. Picasso's work was a forerunner for many artists who, after him, tried their hand at ceramic art as it was in the fields of painting, drawing and graphic arts.

Arriving in the village of Vallauris, in the south of France in 1946, Picasso visited the Ramie's studio and was seized by the desire to work with ceramics, something he had already done even if occasionally in Spain in his youth. Also thanks to the meeting with the young Jacqueline Roque, who worked with the Ramie spouses and who later became his last partner, Picasso began to attend the workshop where, in the following years, and until his death, he created over 4000 works. He often used jugs and plates that already existed and were part of the popular tradition which he, with his intervention, transformed into archaic and symbolic forms of fantastic animals or forms with a strong primordial imprint. The evocative and desecrating capacity of Picasso's form found, in the use of ceramics, a highly suggestive element that allowed him to create works that are now unanimously considered as the highest expression of ceramic art in the world. Picasso's work was a forerunner for many artists who, after him, tried their hand at ceramic art as it was in the fields of painting, drawing and graphic arts.