Marc Chagall, Couple dans Mimosa (Couple in Mimosa), from Nice & the Côte d’Azur, 1967
Signed Marc Chagall lithograph, Couple dans Mimosa (Couple in Mimosa), from Nice & the Côte d’Azur, 1967
|Artist:||Marc Chagall (1887 - 1985)|
|Title:||Couple dans Mimosa (Couple in Mimosa), from Nice & the Côte d’Azur, 1967|
|Medium:||Color Lithograph on Arches Paper|
|Image Size:||24 in x 18 1/8 in (61 cm x 46 cm)|
|Sheet Size:||29 3/8 in x 21 in (74.6 cm x 53.3 cm)|
|Framed Size:||approx. 43 in x 36 in (109.2 cm x 91.4 cm)|
|Edition:||Numbered from the edition of 75 proofs in Roman numerals in pencil in the lower left margin; there were also 150 signed and numbered in Arabic numerals, and a few 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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Historical Description of this artwork
Chagall’s ability to visually communicate intimacy in its most private and passionate existence is simply unparalleled. Marc Chagall Couple dans Mimosa (Couple in Mimosa), 1967 takes place at night on the coast of France, as a bright moon illuminates the city below. The city bustles with night energy, filled with bold splashes of magenta and purple. Above the city, in the mysterious space between earthly life and a watchful moon, we observe a couple deep in love. The male gently embraces the female, looking at her intently and holding her securely. The passion transmitted from man to woman becomes a visual metaphor in the burst of multicolored floral images that surrounds the couple. These flowers act as a halo, symbolizing the physical and emotional union of this pair. Chagall’s mastery of color and figural depiction shines through, as he invites us to enter into the romance and passion of this scene.
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. This work is numbered from the edition of 75 proofs in Roman numerals in pencil in the lower left margin (total edition of 150 signed and numbered in Arabic numerals, edition of 75 signed and numbered in Roman numerals, and a few artist’s proofs). This piece is hand signed by Marc Chagall (Vitebsk, 1887 – Saint-Paul, 1985) in pencil in the lower right margin and signed ‘CH. SORLIER SCULP’ in the stone in the lower left of the image and ‘MARC CHAGALL PINX’ in the stone in the lower right of the image.
Catalogue Raisonné & COA:
Marc Chagall Couple in Mimosa (Couple dans Mimosa), 1967 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 sale of the work).
1. Sorlier, C. Chagall Lithographs, vol. V 1974 – 1979, New York: Crown Publishers, 1984. Listed and illustrated as catalogue raisonné no. CS 32.
2. A Certificate of Authenticity will accompany this work.
About the Framing:
Marc Chagall Couple in Mimosa (Couple dans Mimosa), 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.”