Marc Chagall, L’Horloge (The Clock), 1956


original Marc Chagall The Clock (L’'Horloge), 1956 for sale

Signed Marc Chagall etching, L’Horloge (The Clock), 1956

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Artist:Marc Chagall (1887 - 1985)

Title:L’Horloge (The Clock), 1956

Reference:M. 1202

Medium:Original Color Etching and Aquatint

Image Size:12 1/4 in x 9 3/16 in (31.1 cm x 23.3 cm)

Sheet Size:22 in x 15 in (55.9 cm x 38.1 cm)

Framed Size:29 in x 25 in (73.7 cm x 63.5 cm)

Edition:Numbered from the edition of 300 in pencil at lower left; printed by Georges Visat and published by Maeght, Paris.

Signature:This work is hand signed by Marc Chagall (Vitebsk, 1887 - Saint-Paul, 1985) in pencil at lower right; it is also signed in the plate in the lower left side of the image.

Condition:This work is in excellent condition, with bold, fresh colors.

Contact Us:1-800-805-7060

Gallery Price:
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Item # 4216
 
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Historical Description of this artwork


Marc Chagall L’Horloge (The Clock), 1956 captivates the viewer with its dreamy imagery. Franz Meyer, the artist’s son-in-law, writes that the clock represents, variously, “a mysterious item in the inventory of the world of [Chagall’s] childhood,” a reminder of homely memories, and an object personified, sporting a boot and a wing (Meyer, 379). These various incarnations illuminate the many meanings of the clock, part furniture, part machine. By marking the time, it marks the passing of human life and, “In that very way it draws attention to the limits of the world of time and separates the human world from the eternal” (Ibid.). L’Horloge thus invites the viewer to contemplate the passing of time in its ethereal universe, where lovers blend with the green arc of the sky and the buildings sleep quiet and blue below. The work is wistful, romantic and mysterious all at once. Activating many visual phrases and layers of meaning, Chagall creates a work in which one can get lost.

Created in 1956, this color etching and aquatint was printed on BFK Rives paper by Georges Visat. The printer’s blindstamp can be found in the lower left margin and his name in the lower right. This work is hand signed by Marc Chagall (Vitebsk, 1887 – Saint-Paul, 1985) in pencil at the lower right, and is also signed in the plate at the lower left. Published by Maeght, Paris, this work is numbered from the edition of 300 in pencil in the lower left.

Catalogue Raisonné & COA:
Marc Chagall The Clock (L’Horloge), 1956 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work).

1. A Certificate of Authenticity will accompany this work.

About the Framing:
Marc Chagall The Clock (L’Horloge), 1956  is framed to museum-grade, conservation standards in a complementary moulding with a linen-wrapped mat 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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Why Chagall?

Lover and dreamer, folk artist Marc Chagall chased the fantastic and dreamlike his whole life. Buy an original signed color lithograph or original print and bring his unique vision of beauty home with you.

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Artistic Styles of Chagall

20th Century Modern Master, Lovers, French and Russian

Marc Chagall Complete Biography

Read our complete Marc Chagall Biography

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Marc Chagall Lithographs etchings and paintings for sale
Marc Chagall (1887-1985)

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.

Watch: Marc Chagall’s exhibition in Moscow’s Tretyakov Gallery

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.”

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