Technique: Original Hand Signed and Inscribed Lithograph in Colours on Arches Wove Paper
Paper size: 31.5 x 41.1 cm. / 12.4 x 16.2 in.
Image size: 17.4 x 24.6 cm. / 6.9 x 9.7 in.
Additional Information: This original lithograph in colours is hand signed in pencil by the artist “Marc Chagall” at the lower right margin.
It is also hand inscribed in pencil “épreuve d’artiste” [artist’s proof]. Our impression is one of a small number of artist’s proofs which were signed by the artist. The standard edition was created for the book “Humanisme Actif – Hommage a Julien Cain” and published unsigned and unnumbered.
The paper bears the Arches watermark in the lower left margin.
Note:
Julian Cain was the general administrator of the Bibliothèque nationale de France prior to being removed from his post by the Vichy government in 1941. Importantly, prior to the Nazi occupation of Paris, Cain saw the importance in protecting the library’s most valuable works and arranged for their evacuation and safe keeping. In 1941, Cain was publicly denounced by a statement in the newspaper Le Matin and subsequently arrested and interned in French prisons until 1944. He was transported to Buchenwald concentration camp and after some time was assigned to translation duties, his belief in returning to the National Library was his main source of strength and ultimately upon American liberation of Buchenwald, he was reinstated as the general administrator of the Bibliothèque nationale. He was instrumental in the formation of UNESCO in the Post-war years and elected to be the vice-president of their executive council.
Literature: Literature: Mourlot, F. & Sorlier, C. (1974). Chagall: The Lithographs, Vol. IV (Catalogue Raisonne). D.A.P./Distributed Art Publishers, Inc.
Reference: Mourlot 487
Title: The Carrousel of the Louvre, from: Derrière le Miroir | La Carrousel du Louvre, 1954
Technique: Original Lithograph in Colours on Wove Paper
Paper size: 38.2 x 27.6 cm. / 15 x 10.9 in.
Image size: 35 x 27 cm. / 13.8 x 10.6 in.
Additional Information: This is a beautiful original lithograph in colours by Marc Chagall. It was printed in 1954 as part of the Derrière le Miroir publication of 11 lithographs to accompany the exhibition titled “Paris” held at Galerie Maeght in 1954.
This is from the limited edition of 2,500 unsigned impressions.
It was printed by Mourlot, Paris, and published by Maeght Éditeur, Paris in 1954.
Literature: Mourlot, F., and Sorlier, C., (1998). Chagall: The Lithographs (Catalogue Raisonné). D.A.P./Distributed Art Publishers, Inc.
Reference: Mourlot 103
MARC CHAGALL 1887-1985
[Shagal, Mark, Zakharovich, Moses]
Vitebsk, Belarus 1887-1985 Saint-Paul-de-Vence, France (Russian/French)
Title: Mother and Child at the Eiffel Tower, from: Derrière le Miroir | Mère et enfant à la Tour Eiffel, 1954
Technique: Original Lithograph on Wove Paper
Paper size: 38.2 x 27.6 cm. / 15 x 10.9 in.
Image size: 35 x 27 cm. / 13.8 x 10.6 in.
Additional Information: This is a beautiful original lithograph by Marc Chagall. It was printed in 1954 as part of the ‘Derrière le Miroir’ publication of 11 lithographs to accompany the exhibition titled “Paris” held at Galerie Maeght in 1954.
This is from the limited edition of 2,500 unsigned impressions.
It was printed by Mourlot, Paris, and published by Maeght Éditeur, Paris in 1954.
Literature: Mourlot, F., and Sorlier, C., (1998). Chagall: The Lithographs (Catalogue Raisonné). D.A.P./Distributed Art Publishers, Inc.
Reference: Mourlot 94
Condition: Excellent condition.
MARC CHAGALL 1887-1985
[Shagal, Mark, Zakharovich, Moses]
Vitebsk, Belarus 1887-1985 Saint-Paul-de-Vence, France (Russian/French)
Title: The Pantheon, from: Derrière le Miroir | Le Panthéon, 1954
Technique: Original Lithograph on Wove Paper
Paper size: 38.2 x 27.6 cm. / 15 x 10.9 in.
Image size: 35 x 27 cm. / 13.8 x 10.6 in.
Additional Information: This is a beautiful original lithograph by Marc Chagall. It was printed in 1954 as part of the ‘Derrière le Miroir’ publication of 11 lithographs to accompany the exhibition titled “Paris” held at Galerie Maeght in 1954.
This is from the limited edition of 2,500 unsigned impressions.
It was printed by Mourlot, Paris, and published by Maeght Éditeur, Paris in 1954.
Literature: Mourlot, F., and Sorlier, C., (1998). Chagall: The Lithographs (Catalogue Raisonné). D.A.P./Distributed Art Publishers, Inc.
Reference: Mourlot 95
Title: The Carrousel of the Louvre, from: Derrière le Miroir | La Carrousel du Louvre, 1954
Technique: Original Lithograph in Colours on Wove Paper
Paper size: 38.2 x 27.6 cm. / 15 x 10.9 in.
Image size: 35 x 27 cm. / 13.8 x 10.6 in.
Additional Information: This is a beautiful original lithograph in colours by Marc Chagall. It was printed in 1954 as part of the Derrière le Miroir publication of 11 lithographs to accompany the exhibition titled “Paris” held at Galerie Maeght in 1954.
This is from the limited edition of 2,500 unsigned impressions.
It was printed by Mourlot, Paris, and published by Maeght Éditeur, Paris in 1954.
Literature: Mourlot, F., and Sorlier, C., (1998). Chagall: The Lithographs (Catalogue Raisonné). D.A.P./Distributed Art Publishers, Inc.
Reference: Mourlot 103
Title: Echo, from: Daphnis and Chloe | L’Echo, 1961
Technique: Original Hand Signed and Numbered Lithograph in Colours on Arches Wove Paper
Paper size: 53.6 x 75.5 cm. / 21.1 x 29.7 in.
Image size: 42 x 63.5 cm. / 16.6 x 25 in.
Additional Information: This original lithograph in colours is hand signed in pencil by the artist “Marc Chagall” at the lower right margin.
It is hand numbered in penci at the lower left margin, from the edition of 60.
This is one of the 42 plates that are part of the Daphnis and Chloe series of Marc Chagall.
Our impression is from the deluxe edition of 60 hand signed and numbered impressions.
There was a further book edition of 250 impressions (not signed, not numbered and without margins)
It was published by Tériade Éditeur, Paris in 1961.
The paper bears the Arches watermark.
The story of Daphnis and Chloe, a pastoral elegy attributed to the 3rd century Greek poet Longus, dates from the second century A.D.
It is a classical romance involving the adventures of two foundling children raised by adopted parents who are humble shepherds in the idyllic setting of the Isle of Lesbos.
The discovery of the infants who have been left exposed takes place at different times, but in both circumstances their clothing and rich tokens found with them suggest the foundlings may be of noble birth. In each instance the shepherd who finds the baby is alone and tempted to steal their treasure and leave them to fate, but instead bows to the paternal instinct to nurture and raise the child as his own.
As Daphnis and Chloe grow to be young adults tending their adopted parents’ sheep and goats on the sun-drenched Grecian hillsides and pastures, they discover that their friendship is turning to love but in their innocence they do not know how to proceed.
Together they experience many trials and tribulations, protected throughout by the god Pan, before finally realizing their true fate.
Daphnis and Chloe has served through the ages as the inspiration for nearly every love story that has followed including Romeo and Juliet.
In 1959 Efstratios Tériade, the publisher of the vastly influential 20th century art review Verve, approached Chagall suggesting to him that he undertake a new project, illustration of the prose romance Daphnis & Chloe.
The idea of reviving and illustrating this story, which had been widely popular primarily in France and England throughout the 17th and 18th centuries, is one that greatly appealed to Chagall.
He began his preparation by making two trips to Greece, traveling there to absorb the inspiration of the Greek landscape. Over the course of three years Chagall worked on this project creating forty-two lithographs. These has since been heralded as one of Chagall’s greatest graphic achievement. In the introduction to the set in the Mourlot catalogue raisonné it is referred to as “the most important graphic work that Marc Chagall has created thus far.”
Literature:
1. Mourlot, F. & Sorlier, C. (1998). Chagall: The Lithographs (Catalogue Raisonne). D.A.P./Distributed Art Publishers, Inc.
Reference: Mourlot 340
2. Cramer, P. (1995). The Illustrated Books of Marc Chagall. Geneva: Galerie Cramer.
Reference: Cramer 46
Condition: Very good condition. Pale, unobtrusive staining in the margins. Remnants of moisture staining, visible only verso.
Title: When Abdullah got the Net Ashore…, from: Four Tales from the Arabian Nights, 1948
Technique: Original Hand Signed Lithograph in Colours on Laid Paper
Paper size: 43 x 33 cm. / 16.9 x 12.9 in.
Image size: 37.5 x 28.7 cm. / 14.8 x 11.2 in.
Additional Information: This original lithograph in colours is hand signed in pencil by the artist “Marc Chagall” at the lower right margin.
This is a proof aside from the edition of 90.
The work is the 8th plate (of 12) from the Album “Four Tales from the Arabian Nights”.
This work was printed in 1948 in a limited edition of 90 signed and numbered impressions by Albert Carman, New York. It was published by Pantheon, New York.
There is a thirteenth composition which was only included in ten of the portfolios.
Note: Each composition illustrates a piece of text from one of four tales from the Arabian nights. This composition relates to the story of “Abdullah the Fisherman and Abdullah the Merman”. The text from which the image was created is – “When Abdullah got the net ashore, he saw a man in it and he fled from him, but the man called out to him from within the net…”
Literature:
1. Mourlot, F., & Sorlier, C., (1960). Chagall: The Lithographs I: 1922-1957 (Catalogue Raisonné). D.A.P./Distributed Art Publishers, Inc.
Reference: Mourlot 43
2. Cramer, P. (1995). Marc Chagall: The Illustrated Books: Catalogue Raisonné. Geneva: Cramer
Reference: Cramer 18
Condition: Very good condition. Very pale time-staining around the image. Very pale staining along the left sheet edge. The colours are very strong.
Title: Then the Boy displayed to the Dervish his Bosom…, from: Four Tales from the Arabian Nights, 1948
Technique: Original Hand Signed and Numbered Lithograph in Colours on Laid Paper
Paper size: 43 x 33 cm. / 16.9 x 12.9 in.
Image size: 38 x 28.6 cm. / 15 x 11.3 in.
Additional Information: This original lithograph in colours is hand signed in pencil by the artist “Marc Chagall” at the lower right margin.
It is also numbered in pencil from the edition of 90 and inscribed “pl. 1” at the lower left margin
The work is the 1st plate (of 12) from the Album “Four Tales from the Arabian Nights”.
This work was printed in 1948 in a limited edition of 90 signed and numbered impressions by Albert Carman, New York. It was published by Pantheon, New York.
There is a thirteenth composition which was only included in ten of the portfolios.
Note: Each composition illustrates a piece of text from one of four tales from the Arabian nights. This composition relates to the story of “Kamar al- Zaman and the Jewellers Wife”. The text from which the image was created is – “Then the boy displayed to the Dervish his bosom, saying, “Look at my breasts which be goodlier than the breasts of maidens and my lipdews are sweeter than sugar candy…”
Literature:
1. Mourlot, F., & Sorlier, C., (1960). Chagall: The Lithographs I: 1922-1957 (Catalogue Raisonné). D.A.P./Distributed Art Publishers, Inc.
Reference: Mourlot 36
2. Cramer, P. (1995). Marc Chagall: The Illustrated Books: Catalogue Raisonné. Geneva: Cramer
Reference: Cramer 18
Condition: Excellent condition. Very pale, unobtrusive time-staining around the image.
Title: Eiffel Tower with Donkey: Derrière le Miroir | La Tour Eiffel à l’Âne, 1954
Technique: Original Lithograph in Colours on Wove Paper
Paper size: 38.2 x 27.6 cm. / 15 x 10.9 in.
Image size: 35 x 27 cm. / 13.8 x 10.6 in.
Additional Information: This is a beautiful original lithograph in colours by Marc Chagall. It was printed in 1954 as part of the Derrière le Miroir publication of 11 lithographs to accompany the exhibition titled “Paris” held at Galerie Maeght in 1954.
This is from the limited edition of 2,500 unsigned impressions.
It was printed by Mourlot, Paris, and published by Maeght Éditeur, Paris in 1954.
Literature: Mourlot, F., and Sorlier, C., (1998). Chagall: The Lithographs (Catalogue Raisonné). D.A.P./Distributed Art Publishers, Inc.
Reference: Mourlot 97
Marc Chagall (1887–1985) was a Russian-Belarusian-French painter of Jewish origin who was born in Belarus, at that time part of the Russian Empire. He is associated with the modern movements after impressionism. Born in 1887, his Jewish origins and rural upbringing in Russia had a lasting effect on Chagall’s life. His poetic mastery of dreams, memories and folklore dominated his work and commitment to original printmaking throughout his life. Chagall was 63 years old when he first came to Mourlot in 1950 to study the technique of colour lithography with Charles Sorlier. Already a famous artist with nothing to prove, Chagall nevertheless worked tirelessly to master the nuances and subtleties of this demanding medium for his own satisfaction. Marc Chagall fabricated a mystical world of lovers, musicians and artists in his work. He chose lithography as a print medium that could offer him almost unlimited painterly freedom to explore his world. “Something would have been lacking in my life if, in addition to my passion for colour, I had not been involved with engraving or lithography…Each time I held a lithographic stone or copperplate in my hand I thought I was touching a talisman. It seemed to me that I could put all my joys and sorrows in it…..Everything that touched my life through the years, births, deaths, weddings, flowers, animals, birds, the poor workers, my parents, lovers in the night, the biblical prophets, on the street, at home, in the temple and in heaven. And as I grew older, the tragedy of life within us and around us.” Marc Chagall
Marc Chagall (1887–1985) was a Russian-Belarusian-French painter of Jewish origin who was born in Belarus, at that time part of the Russian Empire. He is associated with the modern movements after impressionism. Born in 1887, his Jewish origins and rural upbringing in Russia had a lasting effect on Chagall’s life. His poetic mastery of dreams, memories and folklore dominated his work and commitment to original printmaking throughout his life. Chagall was 63 years old when he first came to Mourlot in 1950 to study the technique of colour lithography with Charles Sorlier. Already a famous artist with nothing to prove, Chagall nevertheless worked tirelessly to master the nuances and subtleties of this demanding medium for his own satisfaction. Marc Chagall fabricated a mystical world of lovers, musicians and artists in his work. He chose lithography as a print medium that could offer him almost unlimited painterly freedom to explore his world. \"Something would have been lacking in my life if, in addition to my passion for colour, I had not been involved with engraving or lithography...Each time I held a lithographic stone or copperplate in my hand I thought I was touching a talisman. It seemed to me that I could put all my joys and sorrows in it.....Everything that touched my life through the years, births, deaths, weddings, flowers, animals, birds, the poor workers, my parents, lovers in the night, the biblical prophets, on the street, at home, in the temple and in heaven. And as I grew older, the tragedy of life within us and around us.\" Marc Chagall
