To celebrate the centenary of the birth of Salvador Dalí, the Foundation named after him has wished to pay homage to the painter by beginning publication of a catalogue raisonné of his work. The purpose is not a catalogue of aesthetic appraisal of the painter's work, but a work of attribution in which an attempt has been made to state definitively the works which form part of Dalí's pictorial production. For the work of attribution, we have examined the works known to us. We checked our visual examination against the photographic documentation and information available to us. This has been given to us by the current owners of the work, whether private individuals or institutions. This information has been checked, wherever possible, against a second source of information, obtained from: books from the Gala-Salvador Dalí Foundation library (the artist's private library and the Foundation's own library); exhibition catalogues; the contemporary press of the period, up to 1930. A selection was made from what we call the "father's album" (collection of press cuttings covering the period 1918-1929, made by the painter's father and with interesting supplementary annotations) and the press library of the Gala-Salvador Dalí Foundation; auction catalogues; the archives of the Salvador Dalí Museum in St. Petersburg, Florida. The painstaking work of the founders has allowed us to reconstruct the history of many of his works; handwritten texts by Dalí himself: his diary collected in S. Dalí, Un diari, 1919-1920: les meves impressions i records íntims, Fundació Gala-Salvador Dalí ; Edicions 62, Figueres, Barcelona, 1994, and the collection of the Abelló Museum, Salvador Dalí, lletres i ninots : fons Dalí del Museu Abelló, Museu Abelló, Fundació Municipal d'Art, Mollet del Vallès, 2001. Where we have been unable to examine a particular work directly, this has been done through photographs. When there has been ever any doubt, we have chosen not to include in the catalogue those works to which we have not had direct access. This does not mean that they cannot be attributed to Dalí, but that the level of information available has not allowed us to state with certainty that they are the artist's work. What we now present is a first part of the research work undertaken. It spans the period 1910-1930. Over the following years, we will continue to study the entire oeuvre of Dalí, divided into the following phases: second period up to 1939, a third period up to 1951, a fourth period up to 1964 and a fifth and final period which will include the works up to 1983. The work has been carried out by the technical teams of the Gala-Salvador Dalí Foundation. Under the direction of Montse Aguer, Director of the Center for Dalinians Studies (CED: Centre d'Estudis Dalinians), the following have taken part: Carme Ruiz, CED, and Rosa Aguer, Registrar. The team was advised by Antoni Pitxot, Director of the Dalí Theatre-Museum, Georgina Berini, Foundation Conservator-Restorer of the Gala-Salvador Dalí Foundation, and Fèlix Fanés, UAB Professor of Art History and CED adviser. The works are presented in chronological order. Wherever possible a colour reproduction is provided. Each work is accompanied by a short informative text which includes title, date, technique, support, dimensions, signature, annotations, collection, provenance, exhibitions and bibliography. Titles It is not uncommon for a work to be known by different titles. The criteria used in such cases to decide the title of the works in this catalogue has been to accord priority to the titled when first exhibited. Later titles are listed afterwards. If the title used for a first exhibition is not known, then the most popular is accorded priority. When we are absolutely sure of the title on the basis of the documentation available, then the title is published in italics. Where the name by which the work is known popularly is given as second or only title, then we publish it in bold. Date Dalí did not always date his paintings. Where a work is not dated, we suggest a year. If we have reliable information, then we simply state the date without further ado. When we are not entirely sure of our own proposal, the year is preceded by the abbreviation "c." (circa). Technique   This is a catalogue of paintings, and as such contains primarly oil paintings. There are some tempera paintings and others of diverse pictorial techniques, ranging from collages of various materials to the use of varnish as medium. With regard to technique, where it has not been possible to examine the work directly, we show the information provided by museums or by private owners. Support  Dalí painted on various kinds of supports: cardboard, wood, but particularly on different types of canvas, of which the most typical of this first period are the following: burlap or pieces of sack cloth, very coarse and with a very open mesh, upon which he painted directly, with no preparatory undercoat or primer, as stated above. Where the work has not been examined directly we give the information about the support provided by the Museums or private owners themselves. Dimensions We give the measurements in centimetres and inches. Height precedes width. Whenever possible, we have taken the measurements ourselves. As with the previous points, where we have been unable to examine a work in situ we have had to accept the information provided by the institutions or the private owners. Signature and inscriptions We describe the signature and its position within the painting. We also point out when the painting is unsigned. Where it was signed at a later date by the artist himself, this is stated in a note. Location In this section the present owner of the work is stated. Private collectors usually prefer to remain anonymous, and such cases are refered to by the expression "private collection". Provenance This section shows the names of the various previous owners of the work. This information is very useful when it comes to the attibution of a painting. However, it is unlikely to be an unbroken history in this respect. We endeavour to offer all the information we have managed to gather. Often, however, we have had to depend on the information provided us by the owners (public or private). Exhibitions The most important exhibitions at which the work has been shown are indicated, listed in chronological order. Where it is known, the number under which the work was reproduced in the catalogue of an exhibition is listed. Bibliography We list the most important books in which a picture of the work is reproduced, specifying the page on which it appears. 8. As with any catalogue raisonné, this is a work in progress. Thanks to the open nature of the system chosen to present it (online), provisional data will in the future be altered in the light of new information obtained. The basic information for this catalogue comes from the extensive documentary sources of the Gala-Salvador Dalí Foundation, and has been supplemented by the major collections of the Salvador Dalí Museum of St. Petersburg, which has placed its collection entirely at our disposal. For the resolution of certain technical data we have received technical assistance from the Conservation and Restoration Departments of the Museo Nacional Centro de Arte Reina Sofía in Madrid and the Fine Arts Faculty of the University of Barcelona.