Marc Chagall Prints and Multiples

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Carrousel du Louvre (The Carousel of the Louvre), from the folio Derriere le miroir, No. 67–68, originates from the 1...

Héliogravure on brown-toned paper, no signature. Héliogravure  on bot sheets, recto and verso. Edition of 6500 unsigned copies. Printed by Mourlot and published by Tériade on the A...

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

Artist: Marc Chagall Title: Vision de Paris II Portfolio: 1953 Verve Vol VII No. 27-28 Medium: Lithograph Date: 1953 Edition: 6000 Frame Size: 28 1/4" x 21 1/2" Sheet Size: 14" x 20"...

This exquisite etching by Marc Chagall (1887–1985), titled Madame Korobotchka (Madame Korobotchka), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes o...

Héliogravure on brown-toned paper, no signature. Héliogravure  on bot sheets, recto and verso. Edition of 6500 unsigned copies. Printed by Mourlot and published by Tériade on the A...

Marc Chagall (Russian-French-Jewish, 1887 - 1985) was a painter, illustrator, and designer whose work combined modernist experimentation with deep roots in Jewish folk culture and me...

David is a woodcut on paper from Marc Chagall's Poèmes portfolio, published in 1968. The image size is 13 x 10 inches and the art is framed in an ornate, gold-tone frame. Unsigned as...

Medium: original lithograph. Catalogue reference M 133. This beautiful color lithograph was printed by Mourlot and published in Paris by Teriade for Verve in 1956 for a special editi...

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...

Marc Chagall Bouquet for Fernand Original lithograph in colors on paper Mourlout Souvenirs de Portraits d'Artistes 1972

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...

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

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...

This exquisite lithograph by Marc Chagall (1887–1985), titled L’Ange (The Angel), from the album The Lithographs of Chagall, Volume I, originates from the 1960 edition published by A...

Medium: original lithograph. Catalogue reference: Mourlot 81. Printed in 1952 at the atelier Mourlot for the art revue Verve (Volume 7, Number 27-28) and published in Paris by Teriad...

Le Peintre Devant Le Village I, 1969. Lithograph in colors on Arches paper. Hand signed lower right by Marc Chagall. Hand numbered 42/75 lower left. Mourlot 603. Published by Mae...

This exquisite etching by Marc Chagall (1887–1985), titled Le cocher donne a manger aux chevaux (The Coachman Feeds the Horses), originates from the celebrated folio Nicolas Gogol, L...

Marc Chagall - Bath-Sheba at the Feet of David - Original Handsigned Etching 1958 Printed by Tériade Dimensions: 54 x 39 cm Handsigned and numbered handcolored Edition: 100 Reference: Cramer 30. Etching with hand-coloring, circa 1930, initialled in pencil, numbered 75/100 (there were also twenty hors-commerce copies) , published 1958 by Tériade, Paris, on Arches wove paper 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 depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (sheet) Published by: Édit...

A very good impression of this color lithograph. Signed and numbered 38/50 in pencil by Chagall. Catalogue reference: Mourlot 541

Marc Chagall Enlévement de Chloé (Chloe is carried off by the Methymneans) from Daphnis and Chloé, 1961, is a stunning and gorgeous work of art tha...

Paper Size: 15 x 11 inches ( 38.1 x 27.94 cm ) Image Size: 15 x 11 inches ( 38.1 x 27.94 cm ) Framed: No Condition: B: Very Good Condition, with signs of handling or age Ship...

Artist: Chagall, Marc Title: Profile and Red Child Date: 1960 Medium: Lithograph Unframed Dimensions: 12 3/4 x 9 1/2" Signature: Unsigned Edition: book edition Literature: Mo...

This exquisite lithograph by Marc Chagall (1887–1985), titled David sauve par Michal (David Saved by Michal), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve...

MARC CHAGALL 1887 - 1985 [Shagal, Mark, Zakharovich, Moses] Vitebsk, Belarus 1887 - 1985 Saint-Paul-de-Vence (Russian/French) Title: The Rainbow, 1969 Technique: Original Ha...

Untitled from Celui qui dit les choses sans rien dire (One who says things without saying anything). Color etching and aquatint on Japon Imperial paper. Hand signed and numbered by M...

Original lithograph by Marc Chagall, printed during the artist's lifetime directly from Chagall's own lithographic stones.

Medium: original lithograph. The catalogue reference is Mourlot 401. Printed in 1963 at the Mourlot Freres atelier and published in the "Chagall Lithographe II" catalogue raisonne. S...

Marc Chagall, Russian (1887 - 1985) - The Circus, Portfolio: Lithographs Book I, Year: 1960, Medium: Lithograph, Size: 13 x 9.75 in. (33.02 x 24.77 cm), Printer: Mourlot Freres, Par...

The Wandering Musicians by Marc Chagall is part of his larger exploration of music and the arts. The lithograph likely reflects Chagall's fascination with music as a universal langua...

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...

This exquisite lithograph by Marc Chagall (1887–1985), titled Mere et enfant devant a Notre-Dame (Mother and Child before Notre-Dame), from Verve, Revue Artistique et Litteraire, Vol...

Artist: Marc Chagall Title: The Green Clown Medium: Lithograph Year: 1966 Edition: 1500 Framed Size: 17 7/8" x 15 1/4" Sheet Size: 10" x 7 3/4" Reference: Cramer 67 Signed: Unsigned

Playful, tender, and steeped in dreamlike emotion, this original 1970 lithograph by Marc Chagall was created as a contribution to the French art review XXe Siècle—an influential publ...

Marc Chagall (1887-1985) - The Ladder Original Lithograph from 1957. Dimensions of work: 23 x 20 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condition.

Marc Chagall (Russian/French, 1887-1985), "Temple et Histoire de Bacchus", from the "Daphnis et Chloe" series, Lithograph in Colors, 1961, from an edition of 250, published by Teria...

This exquisite lithograph by Marc Chagall (1887–1985), titled L'apparition au cirque (The Vision at the Circus), from the album The Lithographs of Chagall, Volume II, originates from...

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) - 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...

The artwork featured on pages 4 and 5 of Derrière le Miroir No. 182 (1969) by Marc Chagall is titled "Reverie". This double-page lithograph presents a dreamlike composition, reflecti...

This exquisite etching by Marc Chagall (1887–1985), titled La petite ville (The Small Town), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes original...

Marc CHAGALL Moses with the Tablets of the Law & His People, 1973 Original stone lithograph (Printed in Mourlot workshop) Unsigned and not numbered On vellum 32 x 24 cm (c. 13 x 10 ...

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...

This exquisite etching by Marc Chagall (1887–1985), titled L'intendant (The Steward), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de M...

Héliogravure on brown-toned paper, so signature. On bot sheets, recto and verso. Edition of 6500 unsigned copies. Printed by Mourlot and published by Tériade, Paris. Ref. Mourlot,...

Marc CHAGALL Memory of the Natal Land Original stone lithograph On paper 31 x 24 cm (c. 12 x 10 inch) Edited by Teriade, 1969 REFERENCES : Catalog raisonne Mourlot #572 Excellent ...

Etching on Montval wove paper, realized by Marc Chagall in 1931-39 and published by Tériade in 1956. Belongs to the series "The Bible". Edition of 275+30 out of commerce copies. N...

Medium: original color lithograph. Catalogue reference: M 646. Printed in Paris in 1972 at the Mourlot atelier. Size: 12 1/2 x 9 3/8 inches (320 x 238 mm). Not signed.

This exquisite etching by Marc Chagall (1887–1985), titled L'indication de la route (The Road Sign), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes ...

This exquisite etching by Marc Chagall (1887–1985), titled Manilov (Manilov), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chag...

Artist: MARC CHAGALL Title: Moses receives the Ten Commandments (FROM STORY OF THE EXODUS) Medium: Lithograph on arches paper Image Size: 18.50x13.50 inches paper size: 20 x 15 inche...

Marc Chagall (1887-1985) The Circus : On Stage, 1967 Original lithograph (Mourlot Workshop) On Arches vellum 42 x 32 cm (c. 17 x 13 in) REFERENCE : Catalog raisonne Chagall Lith...

Medium: original lithograph. Printed by Mourlot and published in Paris by Teriade for Verve in 1956 for a special edition devoted exclusively to Chagall's original Bible art. Size: 1...

Marc Chagall David Saved by Michal From the rare limited edition Editions de la Revue VERVE, Paris The Bible Original double sided lithograph on paper 1956 Mint Condition

This exquisite lithograph by Marc Chagall (1887–1985), titled L’Offrande (The Offering), from the album The Lithographs of Chagall, Volume I, originates from the 1960 edition publish...

Marc Chagall, Original Lithograph depicting an instant of the Bible. Technique: Original lithograph in colours Year: 1956 Sizes: 35,5 x 26 cm / 14" x 10.2" (sheet) Published by: Édit...

Medium: original lithograph. Catalogue reference: Mourlot 198. Printed in 1957 at the Mourlot atelier and published in Paris by Maeght. This charming composition is one of the origin...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. –- Marc Chagall (1887–1985, France) Springtime in the Meadow, from Daphnis and Chloe, 1961 Marc Chagall’s Sp...

This exquisite etching by Marc Chagall (1887–1985), titled Apparition des policiers (Appearance of the Policemen), originates from the celebrated folio Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chagall (Nicolas Gogol, Dead Souls, Original Etchings by Marc Chagall), published by Teriade Editeur, Paris, 1948, and printed by Fort, Impressions artistiques, Paris, under the direction of Louis Fort, 1923–1927. The composition reveals Chagall’s dramatic and often darkly comic response to Gogol’s narrative, transforming the sudden intrusion of authority into a surreal, psychologically charged vision infused with irony and theatrical tension. Executed as an etching on velin d arches filigrane paper, this work measures 17.764 x 10.827 inches (45.12 x 27.5 cm). Signed in the plate and unnumbered as issued. Printed by Fort, Impressions artistiques, Paris, under the direction of Louis Fort. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Apparition des policiers (Appearance of the Policemen), from Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chagall (Nicolas Gogol, Dead Souls, Original Etchings by Marc Chagall), 1948 Medium: Etching on velin d arches filigrane paper Dimensions: 17.764 x 10.827 inches (45.12 x 27.5 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1948, published; 1923–1927, printed Publisher: Teriade Editeur, Paris Printer: Fort, Impressions artistiques, Paris, under the direction of Louis Fort Catalogue raisonne reference: Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne Des Livres Illustres. P. Cramer ed., 1995, illustration 17 Condition: Well preserved, consistent with age and medium Provenance: From Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chagall (Nicolas Gogol, Dead Souls, Original Etchings by Marc Chagall), published by Teriade Editeur, Paris, 1948 Notes: Excerpted from the folio (translated from French), It was taken from this album, on velin d arches filigrane "Les Ames mortes", L examples, numbered from there, including a complimentary suite on japon nacre; CCLXXXV examples, numbered from LI to CCCXXXV and XXXIII non-market examples, numbered from I to XXXIII reserved for employees. All colophons are signed by the artist. About the Publication: Nicolas Gogol, Les Ames mortes, Eaux-fortes originales de Marc Chagall (Nicolas Gogol, Dead Souls, Original Etchings by Marc Chagall) stands among the most important illustrated literary works of the twentieth century. Conceived over several decades and rooted in Chagall’s deep emotional connection to Gogol’s satirical vision of Russian society, the album unites text and image in a profoundly imaginative synthesis. Published by Teriade in 1948 and printed by Fort, Impressions artistiques, Paris, under the direction of Louis Fort, the album embodies the high standards of Parisian printmaking and continues to be regarded as one of the great illustrated works of the twentieth century, admired for its fusion of literature, etching, and the distinctively dreamlike vision of Marc Chagall. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary imagination, radiant color, and deeply poetic symbolism made him one of the most beloved and influential artists of the twentieth century. Rooted in the imagery of his Jewish heritage and the memories of his childhood in Vitebsk, Chagall’s art wove together themes of faith, love, folklore, and fantasy with a dreamlike modern sensibility. His unique style merging elements of Cubism, Fauvism, Expressionism, and Surrealism defied categorization, transforming ordinary scenes into lyrical meditations on memory and emotion. Influenced by Russian icon painting, medieval religious art, and the modern innovations of artists such as Pablo Picasso, Henri Matisse, and Georges Braque, Chagall developed a profoundly personal visual language filled with floating figures, vibrant animals, musicians, and lovers that symbolized the transcendent power of imagination and love. During his early years in Paris, he became an integral part of the Ecole de Paris circle, forming friendships with Amedeo Modigliani, Fernand Leger, and Sonia Delaunay, and his creative spirit resonated with that of his peers and successors Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray. Over a prolific career spanning painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art. His works are held in major museums worldwide, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim. The highest price ever paid for a Marc Chagall artwork is approximately 28.5 million USD, achieved in 2017 at Sothebys New York for Les Amoureux (1928). Marc Chagall etching...