Geneva - Prints and Multiples

Jean Cocteau - Christ - Original Handsigned and Handcolored Lithograph Signed in the plate Handsigned and dated in color pencil. Handcolored in pencil. Dimensions: 50.5 x 33 cm 1957 ...

Salvador Dali - La Fontaine Portrait - Handsigned Engraving 1974 Hand signed by Dali Edition: /250 The dimensions of the image are 22.8 x 15.7 inches on 31 x 23.2 inch paper Referenc...

Joan Miro - Original Lithograph 1976 Dimensions: 32 x 25 cm Revue XXe Siècle Reference : Mourlot 1106 Edition: Cahiers d'art published under the direction of G. di San Lazzaro. Unsi...

Original Lithograph by Jean Cocteau Title: Three Persons or One Signed in the plate Dimensions: 32 x 25.5 cm Edition: 200 1959 Publisher: Bibliophiles Du Palais Unnumbered as issued

after Henri Laurens - Cubism - Pochoir Published in the deluxe art review, XXe Siecle 1956 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Unsigned and unumbered as issued

Salvador Dali - Zeus - from "Mythologie" Original Etching Dimensions: 76 x 46 cm 1965 Editor: Phika Pierre Argillet Edition: 12/150 Handsigned and numbered References : Michler et Lo...

Alexander Calder - Original Lithograph - Behind the Mirror 1 Original lithograph created in 1976 Framed Dimensions: 38 x 56 cm Source: Derrière le m...

(after) Maurice Utrillo Inspired Village of Montmartre Pochoir with printed signature Edition of 490 Dimensions: 39 x 30 cm Information : This print was created for the portfolio "Le Village inspiré, Chronique de la bohème de Montmartre (1920-1950) " published by Vertex in 1950 Condition : Excellent Maurice Utrillo (1883 - 1955) The French painter Maurice Utrillo was born as the illegitimate son of the painter Suzanne Valladon in Paris on December 26, 1883. He was adopted by the Catalan art critic Miguel Utrillo...

Enki Bilal - Athena - Original Lithograph Publisher: Amis du Livre Edition: 240 2012 Dimensions: 42 x 30 cm. Unsigned and unnumbered as issued

Antoni Clavé - Original Lithograph - For Alexander Pushkin's Queen of Spades Dimensions: 325 x 247 mm. 1946 Original lithograph of Antoni Clavé Editio...

Charles Lapicque - Composition - Original Lithograph Published in the deluxe art review, XXe Siecle 1951 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Unsigned and unnumbered...

Zao Wou-ki - Original Lithograph 1962 From La tentation de l’Occident Dimensions: 39 x 28.5 cm Publisher: Les Bibliophiles Comtois Edition of 170 Reference: Jørgen Ågerup 137 - 146...

Title: Europe's Faces printed signature Dimensions: 33 x 46 cm Edition: 200 Luxury print edition from the portfolio of Sciaky 1961 Jean Cocteau Writer, artist and film director Jea...

(after) Sonia Delaunay - Composition - Pochoir 1956 Dimensions: 32 x 25 cm Revue XXe Siècle Cahiers d'art published under the direction of G. di San Lazzaro. Unsigned and unumbered ...

Leonor Fini - Toads - Original Handsigned Lithograph Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm

Marino Marini - Horses - Original Lithograph 1951 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

From Joan Miro by Jacques Prévert and Georges Ribemont-Dessaignes. Unknown publication size Plate I, from Joan Miro by Jacques Prévert and Georges Ribemont...

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: Éditions de la Revue Verve, Tériade, Paris Printed by: Atelier Mourlot, Paris Documentation / References: Mourlot, F., Chagall Lithograph [II] 1957-1962, A. Sauret, Monte Carlo 1963, nos. 234 and 257 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...

With the printed signature of Picassp and date, as issued Based on an original composition of 1920, printed in 1946 Picture Dimensions: 21 x 31 cm. Sheet Dimensions: 31 x 41 cm Prin...

Edouard Goerg - Magic Jungle - Original Etching Paris, Le Gerbier, 1946 Edition of 340 Edouard Joseph Goerg ‘Edouard Goerg’: Born of French parents Edouard Joseph Goerg left Austral...

Enki Bilal - Nausicaa - Original Lithograph Publisher: Amis du Livre Edition: 240 2012 Dimensions: 42 x 30 cm. Unsigned and unnumbered as issued

Joan Miro - Moon Bird, Sun Bird - Original Lithograph 1964 From the journal "XXe Siecle" Unsigned edition of unknown size Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Refere...

After Pablo Picasso The Human Comedy - Lithograph after an original drawing, as published in the journal "Verve" Printed signature and date Dimensi...

Salvador Dali - Mad Tristan - Original Etching Dimensions: 45 x 33 cm Edition: 125 1970 Signed in pencil. On Arches Vellum References : Field 70-10 (p. 60-61)

René Lenig Original Handsigned Lithograph Dimensions: 76 x 54 cm Edition: HC XXI/XXX HandSigned and Numbered Ecole de Paris au seuil de la mutation des Arts Sentiers Editions René Lenig was one of the great painters of the “Ecole de Paris” and of the second mid twenty century.

Pierre Alechinsky - Composition - Original Lithograph From the literary review "XXe Siècle" 1960 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Unsigned and unumbered as issued

Joan Miro Miro Original Abstract Lithograph Artist: Joan Miro Medium: Original lithograph on Rives vellum Portfolio: Miro Lithographe II Year: 1975 Edition: 5,000 Image Size: 10" x 1...

Maurice Estève - Composition - Original Lithograph Colorful Abstraction 1965 From the art review XXe Siecle Dimensions: 32 x 24 inches Edition: G. di Sa...

Jacques Villon - Man- Original Etching 1951 Signed in pencil and numbered Dimensions : 34.8 x 25 cm

Salvador Dali - Albert Schweitzer - Original Handsigned Engraving Dimensions: 17.5 x 12.5 cm 1970 Signed in pencil EA Jean Schneider, Basel Reference...

Inspired by architecture, historical urbanism, passion for creation with intense multicultural experiences thru traveling and living in different parts of the planet, my drawings are...

Leonor Fini - Pleasure - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsigne...

Dufza - Paris Notre Dame - Original Handsigned Etching Circa 1940 Handsigned in pencil Dimensions: 20 x 25 cm Unumbered as issued

Jean Jansem - Original Etching Title: Saint Dimensions: 40 x 30 cm Edition of 175 Paper: vélin de Rives 1974 Jean Jansem was born in 1920 at Seuleuze in Asia Minor and spent his ear...

Salvador Dali - Moshe Dayan - Original Handsigned Etching Dimensions: 38 x 28 cm 1968 Signed in pencil EA in Sanguine Jean Schneider, Basel References : Fi...

Jean Cocteau - Marine Mountains - Original Lithograph Dimensions: 38 x 28 cm Edition: 200 In Rives From: COCTEAU. — VERDET (André). Montagnes marines. S. l. (Paris), Les Messagers du...

André Beaudin - Composition - Original Lithograph 1964 Dimensions: 30 x 20 cm Edition of 200 (one of the 200 on Vélin de Rives) Mourlot Press, 1964 Unsigned and unumbered as issued

Jacques Villon - Cubist Man - Original Etching From the literary review "XXe Siècle" 1951 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Unsigned and unumbered as issued

Joan Miro Miro Original Abstract Lithograph Artist: Joan Miro Medium: Original lithograph on Rives vellum Portfolio: Miro Lithographe IV Year: 1981 Edition: 5,000 Image Size: 10" x 1...

Pablo Picasso (after) Helene Chez Archimede Medium: engraved on wood by Georges Aubert Dimensions: 44 x 33 cm Portfolio: Helen Chez Archimede Year: 1955 Edition: 240 (Here it is on...

Artist: Pablo Picasso (after) Medium: lithograph, Arches paper Portfolio: Le Goût de Bonheur Year: 1970 Edition: Total of 1998 copies (666 each in G...

Original Lithograph by Jean Cocteau Title: Torero's Son 1961 printed signature in the stone Dimensions: 38 x 28 cm Lithograph made for the portfolio "Gitans et Corridas" p...

Leonor Fini - Pride - Original Lithograph The Flowers of Evil 1964 Conditions: excellent Edition: 500 Dimensions: 46 x 34 cm Editions: Le Cercle du Livre Précieux, Paris Unsigned a...

after Jean Arp Moustaches et Squelette Executed in 1957 after the original artwork by the studios from Daniel Jacomet in Paris, France Pochoir Dimensions: 32 x 24 cm From the art re...

André Minaux - Abandoned Boat - Original Lithograph 1964 Dimensions: 30 x 20 cm Edition of 200 (one of the 200 on Vélin de Rives) Mourlot Press, 1964 And...

Lithograph after Jean Cocteau Title: Europe Bridge of Civlizations Signed in the stone Dimensions: 33 x 46 cm Edition: 200 Luxury print edition from th...

Marino Marini - Knight - Original Lithograph 1968 Dimensions: 32 x 48 cm From the art review XXe siècle Unsigned and unumbered as issued

Eduardo Arroyo - Jean Moulin - Original Lithograph 1984 Conditions: excellent Edition: 495 Dimensions: 37,3 x 58 cm Editions: Trinckvel

(after) Marc Chagall Lithograph after a watercolor, published in the book "Lettre à mon peintre Raoul Dufy." Paris, Librairie Académique Perrin, 1965. Printed signature Dimensions:...

Isia Leviant - Hands Signed Lithograph Dimensions: 70.5 x 54.5 cm Edition of 30 Signed and numbered Isia Leviant (1914 - 2006) was a Franco Israeli Kinetic painting artist. He is a...

Leonor Fini - Surrealist Portraits Original Lithograph Handsigned Dimensions: 38 x 28 cm Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture...

Serge Poliakoff (after) - Composition - Pochoir Published in the deluxe art review, XXe Siecle 1956 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Unsigned and unumbered as is...

Leonor Fini - Nimphs - Original Handsigned Lithograph Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm

Zoran Music (after)- Composition - Pochoir 1959 Dimensions: 32 x 24 cm From the art review XXe siècle Unsigned and unumbered as issued

Enrico Baj - Original Lithograph Colorful Abstraction 1962 From the art revue XXe Siecle Dimensions: 32 x 24 Edition: G. di San Lazzaro. Unsigned and unumbered as issued

Raoul Dufy - Plates - Original Etching Dimensions: 13 x 10". Edition of 200 1940 Edition Les Bibliophiles du Palais, Paris Unsigned and unumbered as issued

Original Lithograph by Jean-Gabriel Domergue Title: Sublime Signed in the plate Dimensions: 40 x 31 cm 1956 Edition of 197 This artwork is part of the famous portfolio "La Parisienne...

Jean Cocteau - Morlot - Original Lithograph 1964 Dimensions: 30 x 20 cm Edition of 200 (one of the 200 on Vélin de Rives) Mourlot Press, 1964 Jean Cocteau Writer, artist and film ...

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: Éditions de la Revue Verve, Tériade, Paris Printed by: Atelier Mourlot, Paris Documentation / References: Mourlot, F., Chagall Lithograph [II] 1957-1962, A. Sauret, Monte Carlo 1963, nos. 234 and 257 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" (...