Marc Chagall, Roses et Mimosa (Roses and Mimosa) from Nice & the Côte d’Azur, 1967
Signed Marc Chagall lithograph, Roses et Mimosa (Roses and Mimosa) from Nice & the Côte d’Azur, 1967
|Artist:||Marc Chagall (1887 - 1985)After|
|Title:||Roses et Mimosa (Roses and Mimosa) from Nice & the Côte d’Azur, 1967|
|Medium:||Color Lithograph on Arches Paper|
|Image Size:||24 in x 17 3/4 in (61 cm x 45 cm)|
|Sheet Size:||28 3/4 in x 20 3/4 in (73 cm x 52.7 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.|
|Signature:||This work is hand signed by Marc Chagall (Vitebsk, 1887- Saint-Paul, 1985) in pencil in the lower right margin; ‘CH. SORLIER SCULP’ printed in blue in the lower left of the image with ‘MARC CHAGALL PINX.’ printed in blue in th|
|Condition:||This work is in excellent condition, a fine impression.|
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Item # 4977
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Historical Description of this artwork
Chagall Roses et Mimosa (Roses and Mimosa) captures our eye with alluring hues and a boldly bursting bouquet. In this lithograph Chagall illustrates his adoration for this Paris local in an immensely romantic and stunning work. Our senses are completely immersed in this piece, with rich textures that give a feeling of depth and refinement to the image. A large overflowing bouquet of flowers encompasses the majority of this work, with deep rich red roses on the right and bright yellow mimosas on the left. Full of painterly layers of transparent hues, the sense of viscosity in the colors gives a bright and fresh appearance to the work. A woman stands on the right in a bright red dress and hat strolling along the coastline, with a deep blue ocean in the distance. A small boat sits in the distance, surrounded by bright reds and yellows reflected from the large sun sitting above on the left. In front of the sun, a blue and green fish floats on air, depicting the artist’s use of symbolic imagery in his works.
Created in 1967, this work is one of 12 original color lithographs from the Nice and the Côte d’Azur series. Printed by Mourlot, Paris, this work was engraved by Charles Sorlier in collaboration with Marc Chagall (Vitebsk, 1887- Saint-Paul, 1985); an ink stamp on the verso in black in the lower right reads: ‘MARC CHAGALL | ROSES ET MIMOSAS | gouache sur papier | reproduite en lithographie | Ch. Sorlier, graveur_Mourlot, imp.’ Numbered from the edition of 150 in pencil in the lower left, this piece is hand signed by Marc Chagall (Vitebsk, 1887- Saint-Paul, 1985) in pencil in the lower right margin. Printed on Arches wove watermarked paper.
Catalogue Raisonné & COA:
Marc Chagall Roses and Mimosa (Roses et Mimosa), 1967 from Nice & the Côte d’Azur 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. Sorlier, Charles, Chagall Lithographs 1974-1979, Vol V, 1984, listed and illustrated as catalogue raisonné no C29.
2. A Certificate of Authenticity will accompany this work.
About the Framing:
Marc Chagall Roses and Mimosa (Roses et Mimosa), 1967 from Nice & the Côte d’Azur is framed to museum-grade, conservation standards, presented in a complimentary 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.”