Print Page
Email to FriendSigned Marc Chagall, Lithograph, Le Grand Bouquet (The Large Bouquet), 1963  |
Place your cursor over the thumbnails below to view the full-size image:
Click each room to better visualize its scale and beauty in different contexts.:
| Artist: | Chagall, Marc (1887 - 1985) |
|---|---|
| Title: | Le Grand Bouquet (The Large Bouquet), 1963 |
| Reference: | Mourlot 384 |
| Medium: | Original Color Lithograph on Vélin d'Arches |
| Image Size: | 26 3/5 in x 20 1/10 in (67.5 cm x 51 cm) |
| Sheet Size: | 31 7/10 in x 23 in (80.5 cm x 58.5 cm) |
| Framed Size: | 46 in x 37 1/2 in (116.8 cm x 95.3 cm) |
| Signed: | This work is hand-signed by Marc Chagall (Vitebsk, 1887 - Saint-Paul, 1985) in pencil in the lower right margin. |
| Edition: | This work is annotated 'H.C.' (Hors commerce or artist's proof) in pencil in the lower left margin; aside from the numbered edition of 50. |
| Condition: | This work is in excellent condition with rich color and full margins. |
| Gallery Price: Item# 4050 | Sorry, this item is sold. Please visit the rest of our Chagall fine art collection |
| Historical Description: | |
|---|---|
The bouquet figures prominently in Chagall's oeuvre; it is in fact difficult to find a picture by him that does not feature at least one hastily sketched bloom. Mourlot and Sorlier, two of Chagall's closest collaborators in the graphic arts, write of this particular print: "In most of Chagall's large lithographs the colour is supported by black drawing. In this work, the artist wanted to rediscover 'the chemistry' of his palette' (The Lithographs of Chagall, 28). A second look at this luminous print confirms the remarkable absence of black. The windowpanes, the simple vase and of course the flowers are structured with color alone. Scenting the room with sweet smells beneath the glowing bouquet, a basket of strawberries catches our eye. The luscious red fruit echoes the rounded petals climbing up each weighted stalk in the bouquet above. Long green leaves dangle down, forming a collar for the bright purple and red blooms. Unique in Chagall's prolific lithographic output, this print stands out as a vibrant choice for any collector. Created in 1963, this original color lithograph is printed on Vélin d'Arches. Hand-signed by Marc Chagall (Vitebsk, 1887 - Saint-Paul, 1985) in pencil in the lower right margin, this work is annotated 'H.C.' (Hors commerce or artist's proof) in pencil in the lower left margin. It is one of several artist's proofs created aside from the numbered edition of 50. Catalogue Raisonné & COA: 1. Gauss, Ulrike, ed. Marc Chagall: The Lithographs, La Collection Sorlier. Stuttgart: D.A.P., 1960. Listed as catalogue raisonné no. 384 on p. 187. 2. Sorlier, Charles. Chagall Lithographs, Vol. III 1962-1968. Boston: Boston Book and Art Shop, Inc. Listed and illustrated as catalogue raisonné no. 384 on pp. 28-9. 3. A Certificate of Authenticity will accompany this work. About the Framing: | |
| Style: | 20th Century Modern Master, Lovers, French and Russian |
About Us: Masterworks Fine Art strives to be the best source of fine art for our clients and collectors all over the world. We believe the most direct way to accomplish this is by establishing a lifetime of personal and professional relationships with our clients. More About Us »
Do you own a similar Chagall to sell? We offer free evaluations.
Biography of Marc Chagall
Marc Chagall (1887 - 1985)
Marc Chagall was born July 7, 1887, in Vitebsk, Russia. From 1907 to 1910, he studied in Saint Petersburg, at the Imperial Society for the Protection of the Arts and later with Léon Bakst. In 1910, he moved to Paris, where he associated with Guillaume Apollinaire and Robert Delaunay and encountered Fauvism and Cubism. He participated in the Salon des Indépendants and the Salon d'Automne in 1912. His first solo show was held in 1914 at Der Sturm gallery in Berlin.
Chagall visited Russia in 1914, and was prevented from returning to Paris by the outbreak of war. He settled in Vitebsk, where he was appointed Commissar for Art in 1918. He founded the Vitebsk Popular Art School and directed it until disagreements with the Suprematists resulted in his resignation in 1920. He moved to Moscow and executed his first stage designs for the State Jewish Chamber Theater there. After a sojourn in Berlin, Chagall returned to Paris in 1923 and met Ambroise Vollard. His first retrospective took place in 1924 at the Galerie Barbazanges-Hodebert, Paris. During the 1930s, he traveled to Palestine, the Netherlands, Spain, Poland, and Italy. In 1933, the Kunsthalle Basel held a major retrospective of his work.
During World War II, Chagall fled to the United States. The Museum of Modern Art, New York, gave him a retrospective in 1946. He settled permanently in France in 1948 and exhibited in Paris, Amsterdam, and London. During 1951, he visited Israel and executed his first sculptures. The following year, the artist traveled in Greece and Italy. During the 1960s, Chagall continued to travel widely, often in association with large-scale commissions he received. Among these were windows for the synagogue of the Hadassah-Hebrew University Medical Center, Jerusalem, installed in 1962; a ceiling for the Paris Opéra, installed in 1964; a window for the United Nations building, New York, installed in 1964; murals for the Metropolitan Opera House, New York, installed in 1967; and windows for the cathedral in Metz, France, installed in 1968. An exhibition of the artist's work from 1967 to 1977 was held at the Musée du Louvre, Paris, in 1977-78, and a major retrospective was held at the Philadelphia Museum of Art in 1985. During his lifetime he also created popular lithographs, such as Maternity. Chagall died March 28, 1985, in Saint-Paul-de-Vence, France.
"When Matisse dies," Pablo Picasso remarked, "Chagall will be the only painter left who understands what color really is." Picasso claimed he was not a fan of the "flying violins and all the folklore, but his canvases are really painted, not just thrown together." He followed up by saying, "There's never been anybody since Renoir who has the feeling for light that Chagall has."
The Haggerty Museum describes The Bible Chagall prints as showing "Chagall's fluid forms, dreamlike sense of space and unique style. In his choice of subject matter, Chagall reveals his reading of the Old Testament in its moments of triumph, sorrow, and prophecy."
