Marc Chagall

Marc Chagall -- The Festival, from L'Odyssée

1975

MARC CHAGALL Le repas chez Dryas, from: Daphnis et Chloé, 1961 Color lithography Sheet 42.2 x 64 cm From the edition of 250 unsigned copies. Frame 69.5 x 91 x 4 cm Printed by Mourlot...

MARC CHAGALL -- Le Lit d'Ulysse from L'Odyssée II, 1975 Lithograph in colors Unsigned, one of 250 published by Mourlot, Paris Literature Mourlot 829 Unframed Sheet: 42.5 x 32.5 cm

Marc Chagall The Death of Dorcon, from Chagall's Daphnis and Chloé suite, 1961 Sheet size: 42 x 64 cm Unsigned From the book edition of 250 (there is also a signed and numbered edit...

Marc Chagall Untitled (from the Louis Aragon: Celui qui dit les choses sans rien dire suite), 1975 / 1976 etching and aquatint in colors on wove paper Image size: 40 × 30 cm Sheet s...

Marc Chagall (1887-1985) - Celui qui dit les choses sans rien dire, Planche XI Etching and aquatint from 1976. The edition of 225. Dimensions of sheet: 47 x 35 cm Dimensions in f...

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

This Lithograph is Hand Signed in pencil by the artist "Marc Chagall" at the lower right corner. It is also hand numbered 56 in pencil from the edition of 200, at the lower left mar...

Color lithograph on Arches wove paper. This work is hand-signed by Marc Chagall (Vitebsk, 1887–Saint-Paul, 1985) in black crayon in the lower margin. Numbered 114/200 in the lower right margin. A small inscription in the lower left plate states: 'D'Apres Marc Chagall - Ch. Sorlier Grav,' indicating Charles Sorlier as the engraver of the piece. Printed by Mourlot, Paris for the Editions of the Metropolitan Opera, New York. Catalogue Raisonné: Carmen, 1966, is documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work). 1. Sorlier, Charles. Chagall Lithographs, Vol. V 1974-79. New York: Crown Publishers, 1984. Listed and illustrated as catalogue raisonné no. 39. 2. Sorlier, Charles. Chagall's Posters: A Catalogue Raisonné. New York: Crown Publishers, 1975. Page 110 Upon adapting Carmen to a large-scale format to occupy the height of the façade of the Metropolitan Opera House, “Chagall was indefatigable in attempting time after time to achieve the desired result, with ever-increasing effectiveness” (Sorlier 110). The outcome was a meticulously detailed and marvelous work. Several retouches and color & compositional changes resulted in several months of perfecting the work. Carmen is proof of Chagall’s enduring talent and skill of extracting each color and pushing it to its boldest and brightest to create a scene of dazzling performers set over a dreamy cityscape. This is considered one of Chagall’s best lithographs. In the center of this monumental composition, a whimsical mandolin player captures our attention, dressed in a bright, colorful costume as he twirls his instrument; this musician was later revealed to be the artist’s close confidante, Rudolf Bing, director of the Metropolitan Opera House at the time. It was a secret—yet recognizable—portrait of not only his friend but also the patron who commissioned this piece. Surrounding this central musician, two figures gracefully perform for an awestruck audience. Colorful animals flit throughout the composition, while at the bottom, a city of skyscrapers guides our eye upwards, relaying the impression that the central figures are suspended in midair. From the superb coloration to the joyous expressions of the figures, this magnificent piece transports us to Chagall’s magical, carefree world. Marc Chagall Carmen...