Prints and Multiples

This original etching with drypoint is hand signed in pencil by the artist "Marc Chagall" at the lower right corner. It is also hand numbered in pencil from the edition of 100, at t...

TECHNICAL INFORMATION Shepard Fairey Mail Man 2000 Screenprint 24 x 18 in. Edition of 140 Pencil signed & numbered Accompanied with COA by Gregg Shienbaum Fine Art Condition...

TECHNICAL INFORMATION: Shepard Fairey Chinese Soldiers 2006 Screenprint 24 x 18 in. Edition of 300 Pencil signed and numbered; accompanied with COA by...

TECHNICAL INFORMATION Chinese Banner 2 2004 Screenprint 24 x 18 in. Edition of 300 Pencil signed & numbered Accompanied with COA by Gregg Shienb...

Lithograph

Lithograph

Lithograph, 1955 Handsigned by the artist in pencil and numbered 131/300 Publisher : Maeght (Paris) Printer : Charles Sorlier (Paris) Catalog : Chagall Lithographe V CS 8 74.00 cm. x...

Signed on plate. Edition of 335 prints. Plate n. 67 from the series : “Les Ames Mortes”. Cat. Matignon n.77 p.59 Image Dimensions : 27.6 x 21.3 cm This artwork is shipped from Italy...

Artist: Marc Chagall Title: The Accordionist (Derriere le Miroir 99-100) Portfolio: Derriere le Miroir Medium: Original Lithograph Date: 1957 Edition: 2500...

Ceiling of the Paris Opera House The value is in the beautiful framing. Please note the shipping cost as the piece is very large (frame is 47" x 47"). In 1960, the Minister of ...

Marc Chagall (1887-1985) The Bible, David and Bethsabée in Love Original lithography (Mourlot Workshop) On paper 37 x 26.5 cm (c. 14.5 x 10.2 in) A second illustration on the back...

Marc Chagall (1887-1985) The Bible, The Young Lady in the Field Original lithography (Daeger Workshop) On paper 36 x 26.5 cm (c. 14.2 x 10.2 in) Second illustration on the back, ...

Marc Chagall (1887-1985) The Bible, The Lovers, Ruth and Booz Original lithograph (Mourlot Workshop) On paper 36 x 26.5 cm (c. 14.2 x 10.2 in) Second lithograph on the back, see p...

Marc Chagall (1887-1958) Bible : Moses and Aaron with Pharaoh (Moïse et Aaron devant Pharaon), 1939 Original etching Not signed On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch)...

Marc Chagall (1887-1958) Bible : Samson overthrows the pillars (Samson renverse les colonnes), 1939 Original etching Printed signature in the plate On Mont...

Marc Chagall (1887-1958) Bible : Canticle of David (Cantique de David), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) I...

Marc Chagall The Flute Player (M. 197) Lithograph printed in colors, 1957 Signed low right in pencil Numbered 46/90 Published by Maeght, Paris framed image: 250 x 430 mm sheet: 380...

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

'Bias by Numbers' by Shepard Fairey, 2017 18 x 24 inches (45,7 x 61 cm) Screen print on cream, speckletone fine art paper. Limited edition of 450 (#134/450) Hand-signed and dated in ...

Medium: original color lithograph. Catalogue reference: M 646. This beautiful Chagall composition was published in 1972 and printed in Paris by Mourlot. Size: 12 1/2 x 9 1/2 inches (...

Medium: original lithograph. Printed in Paris in 1960 by the Mourlot Freres atelier. Size: 12 1/2 x 9 1/2 inches (320 x 242 mm). Not signed.

Paper Size: 15 x 22 inches ( 38.1 x 55.88 cm ) Image Size: 15 x 22 inches ( 38.1 x 55.88 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Detai...

Marc Chagall Original Lithograph 1969 From the revue XXe Siecle, edition of 12,000 Unsigned, as issued Dimensions: 32 x 24 Condition : Excellent Reference: Mourlot 572 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...

'Arab Woman Gold' by Shepard Fairey, 2007 18 x 24 inches (45 x 61 cm) Screen Print on Fine Art Paper. Limited edition of 300 (AP) Hand-signed and dated in pencil by Shepard Fairey....

Marc Chagall The House in My Village, 1960 Lithograph Hand signed lower righter Edition 16/40 lower left Frame size 56 x 42.5 x 3 cm Image size 32 × 25.5 cm Frame included Referenc...

Marc Chagall (1887-1985) The Bible, Noemie and her Daughters Original lithography (Daeger Workshop) On paper 36 x 26.5 cm (c. 14.2 x 10.2 in) Second illustration on the back, see ...

Edition Details Year: 2017 Class: Art Print Status: Official Released: 10/10/17 Run: 450 Technique: Letterpress Paper: Cream cotton paper Size: 10 X 13 Markings: Signed & Numbered Embossed Paper / Silkscreen / Graffiti and Street Art...

Marc Chagall (1887-1958) Bible : Isaiah's prayer, (Prière d'Esaïe), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) INFOR...

Disinformation Damage (Disinformation, Damage, Social Media, Politics, Credible Journalism, Lies) Screen print on thick white Speckletone paper Year: 2024 Size: 12x24 inches Edition:...

Marc Chagall (1887-1958) Bible : Isaiah's vision (Vision d'Esaïe), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) INFORM...

This screen print, “A Cracked Icon,” is a reference to one of my favorite musicians, David Bowie, and his song “Cracked Actor.” I’m fascinated by how we process fragmentation and mut...

Marc Chagall (1887-1958) Bible : Samson and the lion, (Samson et le lion), 1939 Original etching Printed signature in the plate On Montval vellum, 33.5 x 44 cm (c. 13.1 x 17.3 inch)...

Marc Chagall (1887-1958) Bible : Saul and David (Saül et David), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) INFORMAT...

Marc Chagall (1887-1958) Bible : Elijah on Mount Carmel (Elie sur le mont Carmel), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13...

Marc Chagall (1887-1958) Bible : Prophecy about Jerusalem (Prophétie sur Jérusalem), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x ...

Overloading the Grid (David Byrne) (Talking Heads, Punk Rock, Creativity, Innovation) Screen print on thick white Speckletone paper Year: 2024 Size: 24x18 inches Edition: 550 Signed, dated and numbered by hand COA provided Ref.: 924802-2086 *Lead time may vary between 10-14 Days Tags: #TalkingHeads #PunkRock #Creativity #Innovation "I've been a fan of the Talking Heads since I was a kid, listening to songs like “Once in A Lifetime” and “Burning Down the House” on the radio. This was long before I discovered punk rock and realized the band's significant role in the nascent punk scene at CBGB’s in mid-70s NYC. Watching the film Stop Making Sense on HBO as a teenager left me intrigued by David Byrne's peculiar yet fearless performance in an absurdly oversized suit. Little did I know then that Byrne's exploration of life's awkwardness was precisely his forte! As I grew more sophisticated, I came to appreciate the Talking Heads' creative adventurousness both musically and visually. Learning that David, Tina, and Chris all attended the Rhode Island School of Design, the same art college I went to, added another layer of connection. For the “Overloading the Grid” (David Byrne) print, I collaborated with photographer Bobby Grossman...

Marc Chagall (1887-1958) Bible : Elijah touched by an angel, (Elie touché par un ange), 1939 Original etching Printed signature in the plate On Montval vellum, 33.5 x 44 cm (c. 13.1...

Marc Chagall (1887-1985) The Bible, Esther and her Cousin Original lithography (Daeger Workshop) On paper 36 x 26.5 cm (c. 14.2 x 10.2 in) Second illustration on the back, see pho...

Marc Chagall (1887-1958) Bible : Jeremiah in the pit (Jérémie dans la fosse), 1939 Original etching Not signed On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) INFORMATION: Pu...

Marc Chagall (1887-1958) Bible : David ascending the hill of olives (David montant la colline des oliviers), 1939 Original etching Printed signature in the plate On Montval vellum, ...

Shepard Fairey Climate Clash (Animals, Mascots, Climate change, Strength, Collaboration, Francisco Reyes) Screen print on thick cream Speckletone paper Year: 2024 Size: 24x24 inches ...

Disinformation Damage Set (Disinformation, Damage, Social Media, Politics, Credible Journalism) 2 x Screen prints on thick white and cream Speckletone paper Year: 2024 Size: 12x24 in...

Marc Chagall (1887-1985) The Bible, Vashyi Chassed away Original lithography (Daeger Workshop) On paper 36 x 26.5 cm (c. 14.2 x 10.2 in) Second illustration on the back, see photo ...

Shepard Fairey Disinformation Damage (Disinformation, Damage, Social Media, Politics, Credible Journalism, Lies) Screen print on thick cream Speckletone paper Year: 2024 Size: 12x24 ...

'Muslim Woman' by Shepard Fairey, 2005 24 x 36 inches (61 x 91,4 cm) Offset Lithograph on Fine Art Paper. Limited edition of 750 (AP) Hand-signed and dated in pencil by Shepard Fair...

Marc Chagall (1887-1958) Bible : The judgment of Solomon (Le jugement de Salomon), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13...

Marc Chagall (1887-1958) Bible : Lot and his daughters (Loth et ses filles), 1939 Original etching Not signed On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) INFORMATION: Pub...

Shepard Fairey Climate Clash (Animals, Mascots, Climate change, Strength, Collaboration, Francisco Reyes) Screen print on thick white Speckletone paper Year: 2024 Size: 24x24 inches ...

Shepard Fairey Climate Clash Set (Animals, Mascots, Climate change, Strength, Reyes) 2 x Screen prints on thick white and cream Speckletone paper Year: 2024 Size: 24x24 inches (each)...

'Peace Woman Kennwood' by Shepard Fairey, 2008 18 x 24 inches (45,7 x 61 cm) Screen print on cream, speckletone fine art paper. Rare Kenwood Vineyard limited edition of 200 (137 /200...

A bright yellow composition by Marc Chagall featuring a floating white head with red hair, an upside-down pair of green trousers, and a bright red signature by the artist in the plat...

Marc Chagall (1887-1958) Bible: Abraham ans the three angels (Abraham et les trois anges), 1939 Original etching Not signed On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) IN...

Marc Chagall (1887-1958) Bible : The burning bush (Le buisson ardent), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) IN...

Marc Chagall Original Lithograph Title: The Green Horse 1973 Dimensions: 33 x 50 cm Reference: This lithograph was created for the portfolio "Chagall Monu...

Marc Chagall (1887-1958) Bible : The fight with the angel (La lutte avec l'ange), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13....

Marc Chagall (1887-1958) Bible : Noah's coat (Le manteau de Noé), 1939 Original etching Not signed On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 inch) INFORMATION: Published by ...

Marc Chagall (1887-1958) Bible: Joseph and his brothers (Joseph et ses frères), 1939 Original etching Printed signature in the plate On Montval vellum, 44 x 33.5 cm (c. 17.3 x 13.1 ...

I started my sticker campaign in 1989 and I continue to value the power of a small but mighty source of disruption and expression. When I was younger and had few resources my strateg...