Copyrights and Trademark

The contents of these pages (including pictures, designs, logos, photographs, text written and other materials) are the copyright trademark or registered trademark of Les Tricots de Margot LTD. ALL RIGHTS RESERVED. The copying, modification, distribution, reproduction, or incorporation into any other work of part or all of the material available on this website in any form is prohibited. Extracts from the site may be forwarded to third parties solely for personal use and recommendations.

Registered Office

LES TRICOTS DE MARGOT LTD.
PO Box 662824
LONDON 
W2 7NR, United Kingdom

Registered in England and Wales No.° 7298586


If Dali and Miro seemed to equal time back then, things soon changed. In the ever-loftier pantheon of modernism, Miro was maintained as a deity, while rolex replica was expelled as a rebel angel. Like Rockwell and , his ability to rolex replica the unwashed masses who couldn't understand Picasso or Mondrian made him a pariah for elite taste, while his ongoing dalliances with popular culture in a pre-Warhol age damned his reputation as a serious swiss replica watches. From the late '30s on, Dali's name got attached to just about everything and everyone outside the museum's boundaries: Time magazine and the Dali News (a self-promoting newspaper, its title a joke on the hublot replica); Shirley Temple, Mae West, and Laurence Olivier (each the subject of a "louis vuitton replica" of sorts); Hitchcock, Disney, and Schiaparelli (with whom he collaborated); TV commercials for Alka-Seltzer; etc.--all vivid proof of Dali's status as a charlatan/businessman/pop star. Although cartier replica treasures of the '20s and '30s still had some respectability as historical emblems of Surrealism, omega replica gradually went off the screen of history, and the very different output of his later decades would only be exiled to an ever-more-distant rolex replica.