Lithograph More Prints

Marc Chagall (1887-1985) - Sirène et Poisson (Sirene and Fish) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Arches paper. Dimensions of work: 73 x...

Marc Chagall (1887-1985) - Cirque Lithograph from 1967. The edition of 250 on Arches paper. Dimensions of work: 42 x 32.5 cm. Publisher: Tériade, Paris. Reference: Mourlot 487, ...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Marc Chagall (1887-1985) - So went Moses and Aaron, and gathered all the Elders of the children of Israel L...

Marc Chagall (1887-1985) - Cover for Menu (trial proof) Lithograph from 1964. Trial proof - unique work. Dimensions of sheet: 45 x 32 cm Dimensions in frame: 53.2 x 43.2 cm Publ...

Marc Chagall (1887-1985) - Vision de Paris Lithograph from 1952. Dimensions of work: 35 x 52 cm Publisher: Tériade, Paris. On the verso another Lithographs in black. Reference: ...

Marc Chagall (1887–1985) Daphnes and Chloé, Planche XXVI Lithograph in colours, 1961, A unique trial proof printed, notably without the central fold and visible printing marks, with variant colouration differing from the standard edition of 150. Unsigned, as issued. Sheet: 55 x 76 cm Frame: 93.6 x 73cm Published by Mourlot, Paris Referenced in Cramer, Chagall: The Illustrated Books, no. 46; Sorlier 329 In excellent condition, the sheet fresh and vibrant, with no evidence of light exposure or discolouration. The work has been framed for the first time by the present gallery, using high quality materials. -- Marc Chagall's Daphnis and Chloé...

Artist: Marc Chagall Title: The House in My Village Portfolio: Mourlot Lithographe I Medium: Lithograph Year: 1960 Edition: Unnumbered Framed Size: 20 1/2" x 18 1/2" Image Size: 12 1...

Marc Chagall (1887-1985) - The Juggler Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condition.

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. –- Marc Chagall (1887-1985) - Disrobing Her with His Own Hand..., from Four Tales from the Arabian Nights Lit...

Marc Chagall (1887-1985) - The Wandering Musicians Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condi...

Marc Chagall - Original Lithograph Frontispiece for André Dunoyer de Segonzac, and Julien Cain. "Humanisme Actif: Mélanges d'Art et de Littérature Offerts à Julien Cain." Paris: H...

Marc Chagall (1887-1985) - The Bay of Angels Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condition.

Marc Chagall - Summer's Dream - Original Handsigned Lithograph 1983 Printed by Mourlot Dimensions: 48 x 65 cm Handsigned in pencil Justified EA (Epreuve D'artiste, Artist proof) asi...

Artist: Marc Chagall Title: Sarah and the Angels Portfolio: Drawings for the Bible Medium: Lithograph Date: 1960 Edition: Unnumbered Sheet Size: 14 3/8" x 10 1/4" Image Size: 14 3/8"...

Marc Chagall - A Midsummer Night's dream - Original Handsigned Lithograph 1975 Dimensions: Sheet : 97.5 x 71.5 cm Image : 80 x 60 cm Handsigned and numbered Edition: 50 Reference: ...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. –- Marc Chagall (1887-1985) - La Ruse de Dorcon, from Daphnis et Chloé Lithograph from 1961. The edition of...

A rare signed, original, artist's proof lithograph (épreuve d'artiste). Throughout his career, Chagall produced colored lithographs such as “La Tour Eiffel...

Marc Chagall (1887–1985) L'Odyssée, Planche XIX Lithograph in colours, 1974, A unique trial proof printed, notably without the central fold, with variant colouration differing from ...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Marc Chagall (1887-1985) - Quai aux Fleurs Lithograph from 1954. Dimensions of sheet: 38 x 28 cm Dimensio...

Marc Chagall (1887-1985) - Le cirque Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condition.

Marc Chagall (1887-1985) - Acrobats at Play Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condition.

Marc Chagall (1887-1985) - Daphnes and Chloé, Planche XLI Lithograph from 1961. Dimensions of work: 43 x 66 cm. Enhanced with gouache. Examined and identified by a French gallery ...

Marc Chagall (1887-1985) - Cirque Lithograph from 1967. The edition of 250 on Arches paper. Dimensions of work: 42 x 32.5 cm. Publisher: Tériade, Paris. Reference: Mourlot 487, ...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. –- Marc Chagall (1887-1985) - And in those dayes, when Moses was growen, he went foorth unto his brethren, and...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Marc Chagall (1887-1985) - Printemps Lithograph from 1938. Dimensions of work: 35 x 26 cm Publisher: Téri...

Marc Chagall (1887-1985) - The House in my Village Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condi...

Marc Chagall Original Lithograph 1963 Dimensions: 32 x 24 cm Reference: Chagall Lithographe 1957-1962. VOLUME II. Condition : Excellent Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater...

"Marc Chagall (1887-1985) - L'apparition au Cirque Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condi...

Artist: Marc Chagall Title: The Circus Portfolio: Mourlot Lithographe I Medium: Lithograph Year: 1960 Edition: Unnumbered Framed Size: 20 1/2" x 17 1/2" Image Size: 12 1/2" x 9 1/2" ...

Marc Chagall - Original Lithograph The Red Rider From the unsigned, unnumbered lithograph printed in the literary review XXe Siecle 1957 See Mourlot 191 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater, where he would paint a series of murals titled Introduction to the Jewish Theater as well. In 1921, Chagall also found work as a teacher at a school for war orphans. By 1922, however, Chagall found that his art had fallen out of favor, and seeking new horizons he left Russia for good. Flight After a brief stay in Berlin, where he unsuccessfully sought to recover the work exhibited at Der Sturm before the war, Chagall moved his family to Paris in September 1923. Shortly after their arrival, he was commissioned by art dealer and publisher Ambroise Vollard to produce a series of etchings for a new edition of Nikolai Gogol's 1842 novel Dead Souls. Two years later Chagall began work on an illustrated edition of Jean de la Fontaine’s Fables, and in 1930 he created etchings for an illustrated edition of the Old Testament, for which he traveled to Palestine to conduct research. Chagall’s work during this period brought him new success as an artist and enabled him to travel throughout Europe in the 1930s. He also published his autobiography, My Life (1931), and in 1933 received a retrospective at the Kunsthalle in Basel, Switzerland. But at the same time that Chagall’s popularity was spreading, so, too, was the threat of Fascism and Nazism. Singled out during the cultural "cleansing" undertaken by the Nazis in Germany, Chagall’s work was ordered removed from museums throughout the country. Several pieces were subsequently burned, and others were featured in a 1937 exhibition of “degenerate art” held in Munich. Chagall’s angst regarding these troubling events and the persecution of Jews in general can be seen in his 1938 painting White Crucifixion. With the eruption of World War II, Chagall and his family moved to the Loire region before moving farther south to Marseilles following the invasion of France. They found a more certain refuge when, in 1941, Chagall’s name was added by the director of the Museum of Modern Art (MOMA) in New York City to a list of artists and intellectuals deemed most at risk from the Nazis’ anti-Jewish campaign. Chagall and his family would be among the more than 2,000 who received visas and escaped this way. Haunted Harbors Arriving in New York City in June 1941, Chagall discovered that he was already a well-known artist there and, despite a language barrier, soon became a part of the exiled European artist community. The following year he was commissioned by choreographer Léonide Massine to design sets and costumes for the ballet Aleko, based on Alexander Pushkin’s “The Gypsies” and set to the music of Pyotr Ilyich Tchaikovsky. But even as he settled into the safety of his temporary home, Chagall’s thoughts were frequently consumed by the fate befalling the Jews of Europe and the destruction of Russia, as paintings such as The Yellow Crucifixion...

Artist: Marc Chagall Title: Blue Still Life Portfolio: Derriere le Miroir 99-100 Medium: Lithograph Date: 1957 Edition: 2500 Frame Size: 19 1/2" x 17 3/4" Sheet Size: 15" x 11" Signa...

Marc Chagall (1887-1985) - Couple et poisson (Couple and Fish) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Arches paper. Dimensions of work: 73 x...

Marc Chagall (1887-1985) - Sirène au pin (Sirene with Pine) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Arches paper. Dimensions of work: 73 x 52...

Marc Chagall (1887-1985) - Cirque Lithograph from 1967. The edition of 250 on Arches paper. Dimensions of work: 42 x 32.5 cm. Publisher: Tériade, Paris. Reference: Mourlot 487, ...

Marc Chagall Original Lithograph 1963 Dimensions: 32 x 24 cm Reference: Chagall Lithographe 1957-1962. VOLUME II. Condition : Excellent Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater...

Marc Chagall (1887-1985) - Femme au bouquet (Woman with Bouquet) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Arches paper. Dimensions of work: 73...

Marc Chagall (1887-1985) - Soleil couchant (Sunset) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Arches paper. Dimensions of work: 73 x 52 cm. Re...

The Candlestick, from Jean Leymarie, Vitraux pour Jérusalem (Jerusalem Windows), André Sauret, Monte Carlo, 1962 (see M. 366-72; see C. books ...

Artist: Marc Chagall Title: Rachel Hides Her Father's Household Goods Portfolio: Drawings for the Bible Medium: Lithograph Year: 1960 Edition: Unnumbered Frame Size: 22 1/4" x 18 3/4...

Artist: Marc Chagall Title: Profile and Red Child Portfolio: Mourlot Lithographe I Medium: Lithograph Year: 1960 Edition: Unnumbered Framed Size: 20 1/2" x 17 1/2" Image Size: 12 1/2...

Poster (provenance unknown). Measures 9 x 13 inches and is Unframed. Good Condition.

Marc Chagall - Original Lithograph La Vache Bleue (The Blue Cow) From the unsigned, unnumbered lithograph printed in the literary review XXe Siecle 1967 See Mourlot 488 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Marc Chagall (born in 1887) Marc Chagall was born in Belarus in 1887 and developed an early interest in art. After studying painting, in 1907 he left Russia for Paris, where he lived in an artist colony on the city’s outskirts. Fusing his own personal, dreamlike imagery with hints of the fauvism and cubism popular in France at the time, Chagall created his most lasting work—including I and the Village (1911)—some of which would be featured in the Salon des Indépendants exhibitions. After returning to Vitebsk for a visit in 1914, the outbreak of WWI trapped Chagall in Russia. He returned to France in 1923 but was forced to flee the country and Nazi persecution during WWII. Finding asylum in the U.S., Chagall became involved in set and costume design before returning to France in 1948. In his later years, he experimented with new art forms and was commissioned to produce numerous large-scale works. Chagall died in St.-Paul-de-Vence in 1985. The Village Marc Chagall was born in a small Hassidic community on the outskirts of Vitebsk, Belarus, on July 7, 1887. His father was a fishmonger, and his mother ran a small sundries shop in the village. As a child, Chagall attended the Jewish elementary school, where he studied Hebrew and the Bible, before later attending the Russian public school. He began to learn the fundamentals of drawing during this time, but perhaps more importantly, he absorbed the world around him, storing away the imagery and themes that would feature largely in most of his later work. At age 19 Chagall enrolled at a private, all-Jewish art school and began his formal education in painting, studying briefly with portrait artist Yehuda Pen. However, he left the school after several months, moving to St. Petersburg in 1907 to study at the Imperial Society for the Protection of Fine Arts. The following year, he enrolled at the Svanseva School, studying with set designer Léon Bakst, whose work had been featured in Sergei Diaghilev's Ballets Russes. This early experience would prove important to Chagall’s later career as well. Despite this formal instruction, and the widespread popularity of realism in Russia at the time, Chagall was already establishing his own personal style, which featured a more dreamlike unreality and the people, places and imagery that were close to his heart. Some examples from this period are his Window Vitebsk (1908) and My Fianceé with Black Gloves (1909), which pictured Bella Rosenfeld, to whom he had recently become engaged. The Beehive Despite his romance with Bella, in 1911 an allowance from Russian parliament member and art patron Maxim Binaver enabled Chagall to move to Paris, France. After settling briefly in the Montparnasse neighborhood, Chagall moved further afield to an artist colony known as La Ruche (“The Beehive”), where he began to work side by side with abstract painters such as Amedeo Modigliani and Fernand Léger as well as the avant-garde poet Guillaume Apollinaire. At their urging, and under the influence of the wildly popular fauvism and cubism, Chagall lightened his palette and pushed his style ever further from reality. I and the Village (1911) and Homage to Apollinaire (1912) are among his early Parisian works, widely considered to be his most successful and representative period. Though his work stood stylistically apart from his cubist contemporaries, from 1912 to 1914 Chagall exhibited several paintings at the annual Salon des Indépendants exhibition, where works by the likes of Juan Gris, Marcel Duchamp and Robert Delaunay were causing a stir in the Paris art world. Chagall’s popularity began to spread beyond La Ruche, and in May 1914 he traveled to Berlin to help organize his first solo exhibition, at Der Sturm Gallery. Chagall remained in the city until the highly acclaimed show opened that June. He then returned to Vitebsk, unaware of the fateful events to come. War, Peace and Revolution In August 1914 the outbreak of World War I precluded Chagall’s plans to return to Paris. The conflict did little to stem the flow of his creative output, however, instead merely giving him direct access to the childhood scenes so essential to his work, as seen in paintings such as Jew in Green (1914) and Over Vitebsk (1914). His paintings from this period also occasionally featured images of the war’s impact on the region, as with Wounded Soldier (1914) and Marching (1915). But despite the hardships of life during wartime, this would also prove to be a joyful period for Chagall. In July 1915 he married Bella, and she gave birth to a daughter, Ida, the following year. Their appearance in works such as Birthday (1915), Bella and Ida by the Window (1917) and several of his “Lovers” paintings give a glimpse of the island of domestic bliss that was Chagall’s amidst the chaos. To avoid military service and stay with his new family, Chagall took a position as a clerk in the Ministry of War Economy in St. Petersburg. While there he began work on his autobiography and also immersed himself in the local art scene, befriending novelist Boris Pasternak, among others. He also exhibited his work in the city and soon gained considerable recognition. That notoriety would prove important in the aftermath of the 1917 Russian Revolution when he was appointed as the Commissar of Fine Arts in Vitebsk. In his new post, Chagall undertook various projects in the region, including the 1919 founding of the Academy of the Arts. Despite these endeavors, differences among his colleagues eventually disillusioned Chagall. In 1920 he relinquished his position and moved his family to Moscow, the post-revolution capital of Russia. In Moscow, Chagall was soon commissioned to create sets and costumes for various productions at the Moscow State Yiddish Theater, where he would paint a series of murals titled Introduction to the Jewish Theater as well. In 1921, Chagall also found work as a teacher at a school for war orphans. By 1922, however, Chagall found that his art had fallen out of favor, and seeking new horizons he left Russia for good. Flight After a brief stay in Berlin, where he unsuccessfully sought to recover the work exhibited at Der Sturm before the war, Chagall moved his family to Paris in September 1923. Shortly after their arrival, he was commissioned by art dealer and publisher Ambroise Vollard to produce a series of etchings for a new edition of Nikolai Gogol's 1842 novel Dead Souls. Two years later Chagall began work on an illustrated edition of Jean de la Fontaine’s Fables, and in 1930 he created etchings for an illustrated edition of the Old Testament, for which he traveled to Palestine to conduct research. Chagall’s work during this period brought him new success as an artist and enabled him to travel throughout Europe in the 1930s. He also published his autobiography, My Life (1931), and in 1933 received a retrospective at the Kunsthalle in Basel, Switzerland. But at the same time that Chagall’s popularity was spreading, so, too, was the threat of Fascism and Nazism. Singled out during the cultural "cleansing" undertaken by the Nazis in Germany, Chagall’s work was ordered removed from museums throughout the country. Several pieces were subsequently burned, and others were featured in a 1937 exhibition of “degenerate art” held in Munich. Chagall’s angst regarding these troubling events and the persecution of Jews in general can be seen in his 1938 painting White Crucifixion. With the eruption of World War II, Chagall and his family moved to the Loire region before moving farther south to Marseilles following the invasion of France. They found a more certain refuge when, in 1941, Chagall’s name was added by the director of the Museum of Modern Art (MOMA) in New York City to a list of artists and intellectuals deemed most at risk from the Nazis’ anti-Jewish campaign. Chagall and his family would be among the more than 2,000 who received visas and escaped this way. Haunted Harbors Arriving in New York City in June 1941, Chagall discovered that he was already a well-known artist there and, despite a language barrier, soon became a part of the exiled European artist community. The following year he was commissioned by choreographer Léonide Massine to design sets and costumes for the ballet Aleko, based on Alexander Pushkin’s “The Gypsies” and set to the music of Pyotr Ilyich Tchaikovsky. But even as he settled into the safety of his temporary home, Chagall’s thoughts were frequently consumed by the fate befalling the Jews of Europe and the destruction of Russia, as paintings such as The Yellow Crucifixion...

Marc Chagall Original Lithograph 1963 Dimensions: 32 x 24 cm Unsigned, as published in "Chagall Lithographe 1957-1962. VOLUME II" Edition of several thousand Condition : Excellent M...

Marc Chagall (1887-1985) - Abdullah Discovered before Him..., from the Arabian Nights Lithograph from 1948. Inscribed Pl. 9 and numbered 82/90. Dimensions of work: 42.5 x 32.5 cm...

Marc Chagall (1887-1985) - Fiancés dans le ciel de Nice (Finaces in the Sky at Nice) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Arches paper. Di...

Marc Chagall (1887-1985) - Couple dans les Mimosas (Couple in Mimosa) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Arches paper. Dimensions of wor...

Marc Chagall (1887-1985) - Bataille de Fleurs (Carnaval of Flowers) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Arches paper. Dimensions of work:...

Marc Chagall (1887-1985) - Roses et Mimosas (Roses and Mimosa) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Arches paper. Dimensions of work: 73 x...

Marc Chagall (1887-1985) - La baie des Anges au bouquet de roses (Angel Bay with a Boquet of Roses) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Ar...

Marc Chagall (1887-1985) - Sirène au Poète (Sirene with Poet) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Arches paper. Dimensions of work: 73 x ...

Marc Chagall (1887-1985) - The Clown with Flowers Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condit...

Marc Chagall, Original Lithograh depicting an instant of the Bible. Technique: Original lithograph in colours (Mourlot no. 234) On the reverse: another black and white original litho...

Marc Chagall (1887-1985) - Nativité Lithograph from 1950. Dimensions of work: 38 x 56 cm. Plate signed. Publisher: Tériade, Paris. The work is in Excellent condition.

Marc Chagall (1887-1985) - Vision de Paris Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condition.

Marc Chagall (1887-1985) - Le Verger (The Orchard) Lithograph from 1961. The edition of 34/60 on Arches paper with wide margins. Dimensions of work: 53.7 x 75.4 cm. Hand signed. ...

Marc Chagall (1887-1985) - La Fortune et le Jeune Enfant Etching from 1954. Edition of 85. Enhanced with watercolour by the artist. Dimensions of work: 39 x 30 cm. Reference: Cr...

Marc Chagall (1887-1985) - The Angel Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condition.

Artist: Marc Chagall Title: Woman Circus Rider Portfolio: Derriere le Miroir: 10 Ans d'Edition Medium: Lithograph Date: 1956 Edition: 2000 Frame Size: 21" x 27 1/2" Sheet Size: 14" x...

Marc Chagall (1887-1985) - Les Amoureux au soleil rouge Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent ...

Marc Chagall (1887-1985) - The Lover's Heaven Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condition.