Art by Medium: Lithograph

Artist: MARC CHAGALL Title: Moses & the Burning Bush (FROM STORY OF THE EXODUS) Medium: Lithograph on arches paper Image Size: 18.50x13.50 inches paper size: 20 x 15 inches Relea...

Chagall, Marc. BOUQUET DE NUIT. Mourlot 693. Lithograph, 1973. Edition of 30. Numbered and signed in pencil. 25 1/2 x 18 3/4 inches, 647 x 476 mm. (image); 34 3/8 x 25 1/4 inches, 87...

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'apparition Au Cirque (The Apparition at the Circus), from Chagall Lithographe II (Chagall Lithographer II), originates...

This exquisite lithograph by Marc Chagall (1887–1985), titled Chagall Lithographe (Chagall Lithographer), from Chagall Lithographe II (Chagall Lithographer II), originates from the S...

This exquisite lithograph by Marc Chagall (1887–1985), titled La Jongleuse (The Juggler), from Chagall Lithographe I (Chagall Lithographer I), originates from the October 1960 issue ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Couple devant l’arbre (Couple Before the Tree), from Chagall Lithographe I (Chagall Lithographer I), originates from the October 1960 issue published by Andre Sauret, Editeur, Monte-Carlo, and printed by Mourlot Freres, Paris, 1960. This visionary composition reflects Chagall’s mastery of the lithographic medium, embodying his poetic imagination through fluid line, expressive form, and a luminous sense of movement. The work conveys the artist’s unique ability to merge memory, symbolism, and emotion into a cohesive visual language, transforming even the simplest subject into a deeply evocative and dreamlike image. Infused with lyricism and spiritual resonance, the composition exemplifies Chagall’s enduring exploration of identity, mythology, and the transcendent power of art. The piece forms part of Chagall Lithographe I, a landmark publication that documents and celebrates the artist’s achievements in lithography, offering insight into one of the most significant aspects of his graphic oeuvre. Executed as a lithograph on velin paper, this work measures 12.5 x 9.625 inches (31.75 x 24.45 cm). Unsigned and unnumbered as issued. The edition exemplifies the superb craftsmanship of the Mourlot Freres atelier, renowned for its collaborations with the greatest modern masters of the 20th century. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Couple devant l’arbre (Couple Before the Tree), from Chagall Lithographe I (Chagall Lithographer I), October 1960 Medium: Lithograph on velin paper Dimensions: 12.5 x 9.625 inches (31.75 x 24.45 cm) Inscription: Unsigned and unnumbered as issued Date: 1960 Publisher: Andre Sauret, Editeur, Monte-Carlo Printer: Mourlot Freres, Paris Catalogue raisonne references: Chagall, Marc, et al. Chagall Lithographe. Andre Sauret, 1960-1986, illustration 281-292. Cramer, Patrick, and Meret Meyer. Marc Chagall: Catalogue Raisonne des Livres Illustres. P. Cramer ed., 1995, illustration 43. Condition: Well preserved, consistent with age and medium Provenance: From Chagall Lithographe I (Chagall Lithographer I), published by Andre Sauret, Editeur, Monte-Carlo, 1960 Notes: Excerpted from the album (translated from French), This work, which was designed and compiled by Fernand Mourlot and Andre Sauret, was finished in October 1960. The reproductions were printed on the presses of Draeger Freres, and the original lithographs on the presses of Mourlot Freres. The Imprimerie Nationale de France is responsible for the typography. Of this work it was shot, apart, CL examples on Grand Velin d'Arches, numbered to the press from I to CL, signed by the artist and the publisher, including, in addition, two original lithographs specially made for this separate draw. About the Publication: Chagall Lithographe I (Chagall Lithographer I), published in October 1960 by Andre Sauret in Monte-Carlo and printed by Mourlot Freres, represents a foundational survey of Marc Chagall’s lithographic production. Conceived in close collaboration with master printer Fernand Mourlot, the publication serves as both a catalogue and a celebration of the artist’s exploration of lithography from the late 1940s through the 1950s. It documents the technical and artistic evolution of Chagall’s printmaking, highlighting the innovative approaches he developed in partnership with the Mourlot atelier, whose expertise allowed for the translation of his painterly vision into the lithographic medium with extraordinary fidelity. The publication includes numerous reproductions alongside original lithographs, offering a comprehensive overview of themes central to Chagall’s work, including biblical narratives, folklore, and personal symbolism. Widely regarded as an essential reference in the study of Chagall’s graphic oeuvre, Chagall Lithographe I stands as a testament to the enduring collaboration between artist and printer, and to the importance of lithography within the broader trajectory of 20th century modern art. 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 20th 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—artists who, like Chagall, sought to push the boundaries of perception, emotion, and form. Over a prolific career that spanned painting, printmaking, stained glass, ceramics, and stage design, Chagall brought an unparalleled poetic sensibility to modern art, infusing even the most abstract subjects with human warmth and spiritual depth. His works are held in the most prestigious museums around the world, including the Museum of Modern Art, the Centre Pompidou, the Tate, and the Guggenheim, where they continue to inspire generations of artists and collectors. The highest price ever paid for a Marc Chagall artwork is approximately $28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Couple...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le cirque (The Circus), from Chagall Lithographe I (Chagall Lithographer I), originates from the October 1960 issue publ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Les Amoureux au Soleil Rouge (The Lovers in the Red Sun), from Chagall Lithographe I (Chagall Lithographer I), originate...

Marc Chagall (1887-1985) - L'Acrobate rouge (The Red Acrobat) Lithograph from 1974. Épreuve de collaborateur 4/4, aside from the edition of 50 impressions. Dimensions of sheet: 83...

This vibrant lithograph created in 1962 by Marc Chagall belongs to the celebrated portfolio Vitraux pour Jérusalem (Windows for Jerusalem), a project inspired by Chagall’s monumental...

L'Oiseau Bleu By Marc Chagall Marc Chagall (1887–1985) was a Russian-French artist celebrated for his vibrant, dreamlike paintings that blend fantasy, folklore, and personal memor...

This exquisite lithograph by Marc Chagall (1887–1985), titled Pleurs de Jeremie (Lamentations of Jeremiah), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: ...

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...

This exquisite lithograph by Marc Chagall (1887–1985), titled Isaie (Isaiah), from Marc Chagall, Dessins Pour La Bible (Drawings for the Bible), Verve: Revue Artistique et Litteraire...

Marc Chagall (1887-1985) "Daphnis Discovers Chloe" from ...

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 82. Printed in 1952 at the atelier Mourlot for the art revue Verve (Volume 7, Number 27-28) and published in Paris by Teriad...

Marc Chagall Moses 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 La Tour Eiffel Verte (The Green Eiffel Tower), from the album Chagall, originates from the 1957 edition published by Mae...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Jeu des Acrobates (The Game of Acrobats), from the album The Lithographs of Chagall, Volume II, originates from the 1...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Peintre et son Double (The Painter and his Double), from the folio Derriere le miroir, No. 246, originates from the 1...

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 lithograph by Marc Chagall (1887–1985), titled Reverie (Reverie), from the folio Derriere le miroir, No. 182, originates from the 1969 edition published by Maeght Edit...

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 Sans titre (Untitled), from the folio Derriere le miroir, No. 198, originates from the 1972 edition published by Maeght ...

"Chagall At Pace/Columbus" by Marc Chagall Exhibition poster Color offset lithography Signed in the print Publisher: Pace Gallery, Columbus

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Bouquet Noir et Bleu (The Black and Blue Bouquet), from the album Chagall, originates from the 1957 edition published...

SALE ONE WEEK ONLY Marc Chagall is clearly a Modernist. Though titled "Summer Night" it could just as easily be identified as a scene from Shakespeare...

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...

Original lithograph by Marc Chagall from The Bible of 1960 "Eve maudite par Dieu" Unsigned 35 x 26 cm Excellent condition

Marc Chagall (1887-1985) Bouquet and the Eiffel Tower (Offering of Flowers, Paris), 1964 Original color lithograph (Mourlot workshop) Signed in pencil Artist's proof, numbered / 25 ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Hommage a Georges Braque (Homage to Georges Braque), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Braque (Tribute to Georges Braque). Published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Mourlot Freres, Paris, this luminous composition stands as Chagall’s poetic tribute to his friend and contemporary Georges Braque, “Neither the sun nor the brilliance of the moon can calm today this strange sadness. Something close has gone, though his life was distant. And there is nothing with which this life can be compared. And from this departure there arise feelings inexpressible, like his colors which spoke but not to everyone. I have seen his plastic world so far from the worries of the day and his personality beyond this world. That is what he called “reality.” How true he was, and how troubling that is! Perhaps if we enter into the grandeur of certain French paintings — La Poix d’Avignon, a still life by Chardin, or The Embarkation for Cythera by Watteau — then the dream of Braque will seem clearer to us. And our path will become clearer too.” In Hommage a Georges Braque, Chagall fuses symbolic imagery to evoke themes of flight, harmony, and spiritual transcendence, celebrating Braque’s lifelong devotion to art and transformation. The composition reflects Chagall’s unique synthesis of emotion and imagination, merging the visionary with the intimate. Executed on velin paper, this lithograph measures 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued. Signed in the plate and unnumbered, as issued. The edition exemplifies Chagall’s lyrical command of color and form within the refined graphic artistry of Derriere le Miroir. Artwork Details: Artist: Marc Chagall (1887–1985) Title: Hommage a Georges Braque (Homage to Georges Braque), from Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Braque (Tribute to Georges Braque), 1964 Medium: Lithograph on velin paper Dimensions: 15 x 22 inches (38.1 x 55.9 cm), with centerfold, as issued Inscription: Signed in the plate and unnumbered, as issued Date: 1964 Publisher: Maeght Editeur, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the 1964 folio Derriere le Miroir, Nos. 144–145–146, published by Maeght Editeur, Paris Notes: Excerpted from the folio (translated from French): Taken from this special issue of “Behind the Mirror,” CCCL examples on velin de Rives were numbered, constituting the original edition of L’Hommage a Georges Braque. These deluxe examples also included an etching based on Trois oiseaux sur fond violet. The lithographs for this issue were printed in the ateliers of Maeght Editeur, Levallois. The text was printed by Fequet et Baudier, typographers. Finished printing May 13, 1964. About the Publication: Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the 20th century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned as both an exhibition catalogue and a work of art in itself—featuring original lithographs printed directly from the artists' stones or plates, alongside essays, poems, and critical commentary. Over the course of 36 years, Derriere le Miroir produced more than 250 issues and showcased an extraordinary roster of artists including Henri Matisse, Marc Chagall, Joan Miro, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Paul Rebeyrolle, Claude Garache, Antoni Tapies, Bram van Velde, Pierre Alechinsky, Pol Bury, Shusaku Arakawa, and Gerard Titus-Carmel. Printed in the ateliers of Mourlot, Arte, and Imprimerie Moderne du Lion, the periodical set new standards for quality in color lithography, combining fine art printing with elegant typography and poetic text. Beyond its visual brilliance, Derriere le Miroir also became a cultural chronicle of postwar European modernism. Each issue coincided with exhibitions held at Galerie Maeght, providing a collectible and widely accessible record of groundbreaking shows. Its integration of image, text, and philosophy created a dialogue between art and literature that elevated the modern art book to new aesthetic heights. Today, Derriere le Miroir remains one of the most sought-after and historically significant art publications, prized by collectors and scholars alike for its craftsmanship, influence, and its role in defining the visual language of 20th-century modernism. The Maeght Foundation in Saint-Paul-de-Vence continues to honor this legacy through exhibitions and archival preservation of the series, affirming Derriere le Miroir's enduring place in the history of modern art and fine art publishing. About the Artist: Marc Chagall (1887–1985) was a Belarus-born French painter, printmaker, and designer whose visionary use of color and poetic symbolism made him one of the most beloved and influential artists of the 20th century. Rooted in the rich imagery of his Jewish heritage and childhood in Vitebsk, Chagall’s dreamlike compositions fused memory, folklore, faith, and romance with the expressive innovations of modern art. His work evolved alongside and in dialogue with the great modern masters—Pablo Picasso, Henri Matisse, Alexander Calder, Salvador Dali, Joan Miro, Georges Braque, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Chagall, redefined artistic language for a new century. Spanning painting, printmaking, stained glass, ceramics, stage design, and illustration, Chagall’s career reflected both his deep spirituality and his boundless imagination. His works are held in major museum collections worldwide, including the Museum of Modern Art, the Guggenheim, the Tate, and the Centre Pompidou. The highest price ever paid for a Marc Chagall artwork is approximately $28.5 million USD, achieved in 2017 at Sotheby’s New York for Les Amoureux (1928). Marc Chagall Hommage a Georges Braque, Chagall Derriere le Miroir, Chagall Maeght Editeur Paris, Chagall Mourlot Freres, Chagall 1964...

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

Marc Chagall (1887-1985) - Creation Lithograph from 1960. Dimensions of work: 35 x 26 cm Publisher: Tériade, Paris. The work is in Excellent condition. Fast and secure shipment.

MARC CHAGALL 1887-1985 [Shagal, Mark, Zakharovich, Moses] Vitebsk, Belarus 1887-1985 Saint-Paul-de-Vence, Alpes-Maritimes Title: When Abdullah got the Net Ashore…, from: Four Tales...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le Clown Amoureux (The Loving Clown), from the album The Lithographs of Chagall, Volume II, originates from the 1963 edi...

Marc Chagall (1887-1985) - So went Moses and Aaron, and gathered all the Elders of the children of Israel Lithograph from 1966. The edition of 20 on Japanese paper. Unsigned and u...

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 David & Absalom From the rare limited edition Editions de la Revue VERVE, Paris The Bible Original double sided lithograph on paper 1956 Mint Condition

Artist: Chagall (After), Marc Title: Les Lilas Series: Derriere le Miroir Date: 1981 Medium: Offset Lithograph Unframed Dimensions: 15" x 11" Signature: Unsigned Literature: ...

Medium: original lithograph. Printed in Paris in 1963 by the Mourlot Freres atelier. Size: 12 1/2 x 9 1/2 inches (320 x 240 mm). Not signed.

Marc Chagall Isaiah 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 Sans titre (Untitled), from the folio Derriere le miroir, No. 235, originates from the 1979 edition published by Maeght ...

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

This exquisite lithograph by Marc Chagall (1887–1985), titled L'Opera (The Opera), from the folio Derriere le miroir, No. 67–68, originates from the 1954 edition published by Maeght ...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le cirque (The Circus), from The Lithographs of Chagall I, originates from the October 1960 issue published by Andre Sau...

Marc Chagall Bateau Mouche au bouquet, 1961 Original Lithograph Unnumbered of the edition of 180 Sheet Size: 39 * 30 cm Unsigned Reference Mourlot 352

VIntage Chagall Poster

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

Artist: MARC CHAGALL Title: Pharaohs Daughter and Moses (FROM STORY OF THE EXODUS) Medium: Lithograph on arches paper Image Size: 18.50x13.50 inches paper size: 20 x 15 inches Releas...

Marc CHAGALL The Blue Cow, 1967 Original lithograph (Mourlot workshop) Not signed On paper 31 x 24 cm (c. 12 x 10 in) REFERENCE : Catalog raisonne Mourlot #488 Edited by XX Siecle ...

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...

Marc Chagall Title: SACRIFICES MADE TO THE NYMPHS from Daphnis and Chloe Original Lithograph on Arches wove paper Printed by Mourlot, published by Tériade, Paris Edition ...

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...

This exquisite lithograph by Marc Chagall (1887–1985), titled Apres L'Hiver (After The Winter), from the folio Derriere le miroir, No. 198, originates from the 1972 edition published...

This exquisite lithograph by Marc Chagall (1887–1985), titled Jour de Printemps (Spring Day), from the folio Derriere le miroir, No. 198, originates from the 1972 edition published b...

This exquisite lithograph by Marc Chagall (1887–1985), titled Le village (The Village), from the folio Derriere le miroir, No. 225, originates from the 1977 edition published by Maeg...

This exquisite lithograph by Marc Chagall (1887–1985), titled Soleil avec cheval rouge (Sun with Red Horse), from the folio Derriere le miroir, No. 235, originates from the 1979 edit...

This exquisite lithograph by Marc Chagall (1887–1985), titled Sans titre (Untitled), from the folio Derriere le miroir, No. 147, originates from the 1964 edition published by Maeght ...