Marc Chagall, Bataille de Fleurs (Carnaval of Flowers) from Nice and the Côte d’Azur, 1967
Signed Marc Chagall lithograph, Bataille de Fleurs (Carnaval of Flowers) from Nice and the Côte d’Azur, 1967
|Artist:||Marc Chagall (1887 - 1985)After|
|Title:||Bataille de Fleurs (Carnaval of Flowers) from Nice and the Côte d’Azur, 1967|
|Image Size:||24 7/16 in x 18 in (62 cm x 45.8 cm)|
|Sheet Size:||29 9/16 in x 20 11/16 in (75 x 52.5 cm)|
|Framed Size:||43 in x 36 in (109.2 cm x 91.4 cm)|
|Edition:||Numbered from the edition of 150 in pencil in the lower left margin (aside from an edition of 75 signed and numbered in Roman numerals and 10 artist's proofs).|
|Signature:||This work is hand signed by Marc Chagall (Vitebsk, 1887 - Saint-Paul, 1985) in pencil in the lower right margin.|
|Condition:||This piece is in excellent condition.|
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Item # 5054
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Historical Description of this artwork
Marc Chagall Bataille de Fleurs (Carnaval of Flowers), 1967 depicts the ‘Battle of the Flowers’ that is part of the annual Nice Carnival that occurs from the end of February to early March. The highlight of the carnival, the ‘Battle of the Flowers,’ takes place on the Promenade de Anglais and is composed of a parade of floats of exquisite flower arrangements. In this stunning piece, Chagall captures the excitement surrounding this event as well as the sheer beauty of the vibrant floral arrangements. This whimsical work conveys the Battle of the Flowers in a magical light, as the horse-driven floral floats appear to fly in the blue sky. Beneath these soaring floats, a colorful crowd composed of reds, blues, yellows, and pinks gathers on the streets to view this spectacle of flowers. Chagall highlights one couple in particular, as they stand near the stone wall, embracing in a moment of love and celebration while, behind the throng of people, the viewer can make out the elegant buildings of the city of Nice.
This piece is part of a set of 12 lithographs titled Nice and the Côte d’Azur that were created in collaboration between Chagall and Charles Sorlier and run in 1967, of which there were 235 total. This work is numbered from the edition of 150 in pencil in the lower left margin and printed on Arches wove paper (aside from an edition of 75 signed and numbered in Roman numerals and 10 artist’s proofs). This piece is hand signed by Marc Chagall (Vitebsk, 1887 – Saint-Paul, 1985) in pencil in the lower right margin.
Catalogue Raisonné & COA:
Marc Chagall Carnaval of Flowers (Bataille fe Fleurs), 1967 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoice accompanying the sale of the work).
1. Sorlier, Charles, Chagall Lithographs 1974-1979, Vol V, New York: Crown Publishers, 1984. Listed and Illustrated as catalogue raisonné no. C33.
2. A Certificate of Authenticity will accompany this work.
About the Framing:
Marc Chagall Carnaval of Flowers (Bataille fe Fleurs), 1967 is framed to museum-grade, conservation standards, presented in a complementary moulding and finished with silk-wrapped mats and optical grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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Marc Chagall Biography
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 Museum of Biblical Art 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.”