Switzerland - Prints and Multiples

Jean Jansem (1920-2013) Baladin, 1983 Lithographie sur papier Arches, justifiée et numérotée 27/100 Signée en bas à droite 20 x 15 cm / 36 x 27 cm Bibliographie: Catalogue raisonné...

Jean Jansem (1920-2013) Le Clairon, 1993 Lithographie sur papier Arches, justifiée EA12/30 Signée en bas à droite 65 x 50 cm / 76 x 56 cm Bibliographie: CR Jansem, 2000, n°85 "Ma...

Jean Jansem (1920-2013) Ballerine sur fond vert, 1995 Lithographie sur papier Arches, justifiée et numérotée 48/100 Signée en bas à droite 22 x 17 cm / 32 x 26 cm Bibliographie: ...

Jean Jansem (1920-2013) Mère et enfant, 1989 Lithographie sur papier Arches Signée en bas à droite et justifiée en bas à gauche 67 x 50,5 cm / 76 x 54 cm Bibliographie: Imprimeu...

Ed: 28/300 Paper glue to cardboard American frame in brown and golden wood 145 x 83.5 x 3.7 cm

“Le Picador II” from the book Sabartés, “A los Toros avec Picasso“ 1961, from the edition of unknown size, printed by Mourlot Frères, Paris, published by Andre Sauret, Monte Carlo. ...

Vase aux chèvres (A.R. 156), July 6th, 1952 Ed. 40 pcs H. 19 cm I H. 7 1/2 in White earthenware clay, deep engraving filled with oxidized paraffin, dipped in white enamel Dated on on...

Original Vintage Poster by the Austrian artist Ferdinand Ludwig Graf, a member of the Hagenbund. This Viennese artist association moved as soon a...

Mickalene Thomas Maya & Interior 2024 UV pigment print on 410gsm Somerset Tub Sized Radiant White paper with 4 metallic silkscreen glitter and shimmer layers, a CMYK silkscreen centr...

Lithograph by Picasso Atelier Mourlot. Paper: Vélin. Dimensions : 9 5/8 x 12 7/16 inches Reference: Bloch 1015 Picasso is not just a man and his work. Picasso is always a legend, ...

Salvador Dali - Woman Holding a Veil - Original Stamp-Signed Etching Stamp signed by Dali Edition of 294 copies. Paper : Arches vellum. Dimensions : 16x12". Catalogue Raisonné : F...

Pablo Picasso - Lithograph Title: Painter and his Model From the illustrated book "Regards sur Paris" (Paris: André Sauret, 1962) Pulled from the folio numbered 85 from the edition o...

Salvador Dali - Plum - Original Hand-Signed Lithograph 1969 Dimensions: P. 57 x 37 cm Sheet: 75 x 56 cm Edition of 340 + proofs Editor : Jean Schneider, Basel Handsigned, EA (Epreuv...

Gaston Suisse (1896-1988) Panthère noire dans les bambous, 1927 Gravure sur bois, sur papier Velin de Van Gelder. Rehaussé aux lavis d’encre de Chine par l’artiste Signé en bas à gauche et daté 1927 en bas à droite Black panther in a forest of bamboos, 1927 A handcolored woodcut on Velin de Van Gelder paper Signed and dated 1927 Bibliographie /Literature Gaston Suisse, splendeur du laque art déco. Emmanuel Bréon. Somogy Éditions d'art, Paris 2013, reproduite page 105 (un autre exemplaire reproduit) The artist made a wood engraving of which he made about twenty prints himself. These proofs were not marketed as is, Gaston Suisse reworked each of the proofs using Indian ink washes in order to obtain different effects for each proof, which are thus unique original works. Born in 1896 in a family of artists, his father Georges was a close friend of Siegfried Bing and a great lover of Japanese art and a bibliophile. He passed his taste for art to his son whom he often took to draw at the Botanic Garden . Around 1910, Gaston Suisse, who hasn't entered yet the artistic school, met Paul Jouve, then 18 years his elder, who was already famous. In 1911, at the age of 17, he entered the National School of Decorative Art where he followed the teachings of Paul Renouard. Thanks to his knowledge and taste for the Japanese art, he chose lacquer painting as his specialty. His practice of this noble and demanding subject were so much appreciated that he was awarded with two gold medals in 1913 and 1914. Mobilized during the war , he joined the army and go in Salonika where he found his friend Jouve. In 1918, he finished his studies at the School of Applied Arts in order to perfect his training. He learned in particular the techniques of gilding and oxidation of metals. The first productions of Gaston Suisse, furniture and objects in lacquer with geometrical patterns, were an instant success and Suisse was appointed as member of Salon d'Automne in 1924, the very year of his first exhibition. Considered as an artist-decorator, his sincere and deep friendship with Jouve linked him in parallel with the groups of the animaliers of the Jardin des Plantes and became a close friend of Edouard-Marcel Sandoz. When travelling to Maghreb and Middle-East between 1923 and 1925, he produced numerous drawings representing antelopes, apes and fennec foxes...

Original Lithograph by Jean Cocteau Title: Blue Lady Signed in the plate Dimensions: 32 x 25.5 cm Edition: 200 1959 Publisher: Bibliophiles Du Palais Unnumb...

JOSEF ALBERS (1888-1976) "EK Ii" from the series Homage to the Square 1970 Screenprint on Hahnemühle Buttenboard 55 x 55 cm 21.65 x 21.65 inches Number 31 of 125 Edition Keller, Star...

Salvador Dali - Marguerite - Original Etching from "Faust" suite Stamped signature, as issued From the standard edition of 731 Dimensions: 38,5 x 28,5 cm Edition Argillet, Paris 1969...

Salvador Dali - Nude and Lobster - Original Etching Dimensions: 38 x 28 cm Edition: 390 1967 Editor : Au Cercle du Livre Précieux On Rives Vellum From the Serie Casanova Unsigned as ...

“Plate I,” from “Oda à Joan Miró,” by Joan Brossa Lithograph in colors, 1973 Signed in pencil and inscribed “H.C.” (presumably one of 10; the total edition was 525) Published by La...

Portfolio of 10 Original Signed Engravings by Salvador Dali Title: Decameron Signed in Pencil by Salvador Dali Dimensions: 45 x 32 cm Edition EA 1/5 1972 References : Field 72-8 (p. ...

Salvador Dali - The Atomic Era - Original Lithograph Joseph FORET, Paris, 1957 PRINTER : Atelier Mourlot. SIGNATURE : printed in the image LIMITED : 19...

after Henri MATISSE Edition of 200 with the printed signature, as issued 76 x 56 cm With stamp of the Succession Matisse References : Artvalue - Succession Matisse

Pierre Soulages - Original Lithograph Published in the deluxe art review "XXe siècle" 1970 Unsigned as published Dimensions: 32 x 24 cm Pierre Soulages or the "painter of black" as ...

Salvador Dali - The War - Original Etching Dimensions: 38 x 28 cm Edition: 235 1967 Embossed signature On Arches Vellum References : Field 67-10 (p. 34-35)

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...

Jean Jansem (1920-2013) Petite danseuse aux cheveux défaits, 1991 Lithographie sur papier Arches Signée en bas à droite et justifiée en bas à droite 66 x 47 cm / 76 x 54 cm Imprime...

Pablo Picasso - Original Lithograph La Petite Corrida (The Small Bullfight) 1958 Edition of 2000, unsigned Published in the journal XXe Siecle Dimens...

Salvador Dali - The Biblia Sacra was published in 1969 by Rizzoli of Rome - SIGNATURE : printed in the image - LIMITED : 1499 - SIZE : 19 x 13 3/4" - REFERENCES : Michler and Lopsi...

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

Original Lithograph by Jean Cocteau Title: Taureaux Signed in the plate Dimensions: 40 x 30 cm Edition: 200 Luxury print edition from the portfolio of Trinckvel 1965 From the last po...

Salvador Dali - Original Etching Stamp signed by Dali Edition of 294 copies. Paper : Arches vellum. Dimensions : 16x12". Catalogue Raisonné : Field 68-6 (p. 40-41). Salvador Dal...

After Pablo Picasso 1881 - 1973 The Dwarf Dancer (Barcelona Series) - 1966 Framed Offset Color lithograph signed, dated and dedicated at the bottom "For L...

Andy Warhol (American, 1928-1987) Mick Jagger, 1975 Screenprint on Arches Aquarelle paper Signed by Andy Warhol and Mick Jagger along lower edge Edition 212 of 250, apart from 50 art...

Joan Miro - Blue Maze - Original Lithograph Artist: Joan Miro Editor: Maeght Year: 1956 Dimensions: 23 x 38 cm Unsigned and unnumbered as issued From Miro by Jacques Prevert Referenc...

Salvador Dali - The Drawers - Original Etching Dimensions: 38 x 28 cm Edition: 235 1967 Embossed signature On Arches Vellum References : Field 67-10 (p. 34-35)

Leonor Fini - Pregnant - Original Handsigned Lithograph Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 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 for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

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

Original Lithograph by Jean Cocteau Title: Taureaux Signed in the plate Dimensions: 40 x 30 cm Edition: 200 Luxury print edition from the portfolio of Trinckvel 1965 Jean Cocteau W...

Robert Longo White Snow Trees of the Back Forest 2020 Archival pigment print 71.1 × 55.8 cm (28 × 22 in) Signed and numbered Edition of 30 In excellent condition PLEASE NOTE: Editio...

Paul Jouve - Chimpanzee - Original Engraving Editions Rombaldi, Paris, 1950. Copy on velin creme de Rives Artwork by Paul Jouve. Original copper engraving ...

Salvador Dali - Nude at the Window - Original Handsigned Lithograph Dimensions: 76.5 x 57 cm 1970 Signed in pencil and numbered Edition : /CXX References : Field 70-8 Salvador Dali Salvador Dali was born as the son of a prestigious notary in the small town of Figueras in Northern Spain. His talent as an artist showed at an early age and Salvador Felipe Jacinto Dali received his first drawing lessons when he was ten years old. His art teachers were a then well known Spanish impressionist painter, Ramon Pichot and later an art professor at the Municipal Drawing School. In 1923 his father bought his son his first printing press. Dali began to study art at the Royal Academy of Art in Madrid. He was expelled twice and never took the final examinations. His opinion was that he was more qualified than those who should have examined him. In 1928 Dali went to Paris where he met the Spanish painters Pablo Picasso and Joan Miro. He established himself as the principal figure of a group of surrealist artists grouped around Andre Breton, who was something like the theoretical "schoolmaster" of surrealism. Years later Breton turned away from Dali accusing him of support of fascism, excessive self-presentation and financial greediness. By 1929 Dali had found his personal style that should make him famous the world of the unconscious that is recalled during our dreams. The surrealist theory is based on the theories of the psychologist Dr. Sigmund Freud. Recurring images of burning giraffes and melting watches...

Paul Jenkins - Composition - Original Lithograph 1964 Dimensions: 30 x 20 cm Edition of 200 (one of the 200 on Vélin de Rives) Mourlot Press, 1964 Paul Jenkins, American (1923 - 2012) Paul Jenkins, an artist originally associated with abstract expressionism, exhibits in his mature works a redefining of color, light and space on the canvas surface. Born in Kansas City, Missouri in 1923, Jenkins worked as a teenager in a ceramics factory, where he was first exposed to color intensity and the creation of form. From age 14 to 18, he studied drawing and painting at the city's Art Institute. Initially interested in drama, Jenkins received a fellowship to the Cleveland Playhouse, then continued his dramatic studies in Pittsburgh at the Drama School of the Carnegie Institute of Technology. Deciding to become an artist, Jenkins moved to New York City in 1948 and studied at the Art Students League. During Jenkins's three years at the League, Yasuo Kuniyoshi and Morris Kantor were his influential instructors. While Jenkins continued to live and paint in New York City, his personal explorations took a metaphysical turn, which would ultimately become dominant in his work. P.D. Ouspensky's The Search of the Miracu/ous changed the artist's thoughts on human growth and limitations, while the Chinese I Ching, through its thematic emphasis on constant change, heightened his interest in flowing paint on canvas. Painting for Jenkins became an intuitive, almost mystical process. He commented, "I paint what God is to me." In 1953, Jenkins traveled to Paris, where, a year later, he had his first one-man show. While working at the American Artists Center, he continued to experiment with flowing paints, pouring pigment in streams of various thicknesses, with white thin spills as linear overlays. Jenkins's intent was to deny stasis and create a literal and metaphysical sense of dynamism, while maintaining a sense of unity. Beginning in 1958, Jenkins titled each canvas Phenomena, with additional identifying words. He believed the work to be descriptive of the discovery process inherent in each painting. Paralleling his beliefs, the artist's paintings have undergone subtle but definite changes. Beginning in the early 1 960s, a shift of color saturation and exposure of the white areas gave Jenkins's canvases an enhanced feeling of illumination. If Jenkins's technique is unorthodox, he is in many other ways a traditional artist. He works in an acrylic medium on traditional linen canvas or fine rag paper. Often he uses an ivory knife...

Original Lithograph - Pablo Picasso Title: The Painter and His Model This is unsigned and unnumbered, as issued From the book/portfolio "Regards sur Paris" Published by André Saure...

Salvador Dali - Don Quixote Pear - Original Hand-Signed Lithograph 1969 Dimensions: P. 57 x 37 cm Sheet: 75 x 56 cm Handsigned, EA (Epreuve d'Artiste) Excellent Condition Reference:...

Joana Vasconcelos Crocheted Creatures Copernic 2023 Archival pigment print 86.36 × 111.76 cm (34 × 44 in) Edition of 25 In excellent condition Print is offered unframed With the u...

Salvador Dali - Apparition de Dulcinée - Original Lithograph Joseph FORET, Paris, 1957 SIGNATURE : printed in the image LIMITED : 197 copies. SIZE : 41 x 33 cm REFERENCES : Field 57...

Original Lithograph by Jean Cocteau Title: Taureaux Signed in the plate Dimensions: 40 x 30 cm Edition: 200 Luxury print edition from the portfolio of Trinckvel 1965 Jean Cocteau W...

Giuseppe Capogrossi - Stencil 1958 Dimensions: 32 x 25 cm Edition: G. di San Lazzaro. Giuseppe Capogrossi B. 1900, ROME; D. 1972, ROME Giuseppe C...

Jean Jansem (1920-2013) Deux danseuses, 1995 Lithographie sur papier Arches, justifiée et numérotée EA Signée en bas à droite 22 x 17 cm / 32 x 26 cm Bibliographie: Catalogue raiso...

After PABLO PICASSO (1881-1973) Maternity (Grande Maternité) 1963 Offset Lithograph on Paper Signed and Dated Handsigned in Pencil Numbered: 73/200 9...

Joana Vasconcelos Crocheted Creatures Cai Lun 2023 Archival pigment print 86.36 × 111.76 cm (34 × 44 in) Edition of 25 In excellent condition Print is offered unframed With the us...

Lithograph numbered and signed by hand 19/60 edition From Israel collection

Marc Chagall - Original Lithograph The Red Rider From the unsigned, unnumbered lithograph printed in the literary review XXe Siecle 1957 See Mourlot 191 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...

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