Marc CHAGALL "Double Visage Gris" Original Lithograph, Hand Signed


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"Double Visage Gris"
Original Limited Edition Lithograph Hand Signed in Pencil

Artist: Marc Chagall
Title: Double Visage Gris
Year: 1974
Medium: Original Lithograph in Black and Grey on Japon Nacre
Edition: 34/50
Signed: Hand Signed in Pencil Lower Right, Numbered Lower Left
Accompanied by a Gallery Certificate of Authenticity
Condition: Excellent, a very good impression.
New Museum Quality Contemporary Framing

Framed size : 33 1/2" X 28 1/4"
Artwork (Image): 21 7/8" X 14 3/4"

FRAMING ($1400 Value)
Newly Framed with:

Premium wood moulding

Bainbridge Fabric Mat -Charred Black ( Premium Quality natural and man-made surface fabrics, museum-quality, Acid-Free and Lingin-Free, Fade and Bleed Resistant)
With Crescent Rag Museum Solids 8 Ply as a bottom layer

Crescent Rag Museum Solids 8 Ply Backboard:

Cotton RagMat is... QUALITY: Cotton RagMat is the only mounting and matting board guaranteed safe next to any artwork. The quality of cotton RagMat is simply unsurpassed and is the natural choice when the highest levels of protection are required. NATURAL: Cotton is naturally acid-free and lignin-free. Cotton RagMat is processed without harsh chemicals or additives

TRU-VUE Optium MUSEUM Acrylic:

- Virtually eliminates reflections

- Blocks up to 99% of UV rays

- Optimal light transmission protects and brightens colors

- Anti-static protection that immediately dissipates static

- Durable hard coat protects against scratches

- Shatter resistance safeguards against injury and damage to artwork

- Cleans like glass – no special cleaners needed

- Proprietary coating is engineered for permanence

TYVEK Dust Cover:

- Acid free - ph 7 (Neutral)

- Water resistant - Breathable

- Tear resistant

- Durable

- Mold and mildew resistant

- Lightweight, flexible and strong

- Recyclable

Artwork will be shipped crated and insured

"In our life there is a single color, as on an artist's palette, which provides the meaning of life and art. It is the color of love." – Marc Chagall

"When Matisse dies, Chagall will be the only painter left who understands what color really is." – Pablo Picasso



Born Vitebsk, Russia (now Belarus) in 1887, Marc Chagall was a painter, printmaker and designer associated with several major artistic styles, synthesizing elements of Cubism, Symbolism and Fauvism. One work in particular, I and the Village (1911), pre-dated Surrealism as an artistic expression of psychic reality. An early modernist, Chagall created works in nearly every artistic medium, including sets for plays and ballets, biblical etchings, and stained-glass windows.

The ubiquitous courtyard animals of his childhood, strong family heritage and faith, native village and the vitality of Paris became the major themes in his art. These first impressions lingered in Chagall's mind and created unique autobiographical images that included floating lovers, massive bouquets of joyful flowers, the gentle horse or cow, the watchful rooster, his beloved muse-first wife, Bella, and the merriment of the circus.

Chagall died in France in 1985. Today, he is widely regarded as one of the most successful artists of the 20th century.

Picasso said, "When Matisse dies, Chagall will be the only painter left who understands what color really is"

Marc Chagall was born on July 7, 1887, in Vitebsk, Belarus (in the Russian Empire), and was raised in a devoutly Jewish environment with eight other siblings. His father worked in a fish warehouse, and his mother ran a shop where she sold fish and sundry baking supplies. As a child, Chagall attended heder (Jewish elementary school) and later went to public school, where lessons were taught in Russian.

After learning the elements of drawing at school, from 1907 to 1910, Chagall studied painting in St. Petersburg at the Imperial Society for the Protection of the Arts, eventually under stage designer Léon Bakst. A characteristic work from this early period is "The Dead Man" (1908), a painting that depicts a violinist (a recurring image for the artist) amid a nightmarish rooftop scene.

Chagall moved to Paris in 1910, and then moved into a studio on the edge of town in a Bohemian area known as La Ruche ("the Beehive"). There, he met several writers and artists, including Guillaume Apollinaire, Robert Delaunay and Albert Gleizes. In such artistic company, experimentation was encouraged, and Chagall quickly began developing the poetic and innovative tendencies that had begun to emerge in Russia at the time—tendencies that may not have previously been encouraged. At the same time, he came under the influence of the Impressionist, Post-Impressionist and Fauvist pictures he saw in Paris museums, and was introduced to Fauvism and Cubism. Before long, he was participating in the Salon des Indépendants and the Salon d'Automne (1912), annual French exhibits, staging his first solo show in 1914 in Berlin to great adulation.

This period—during which he created several images of his childhood and hometown of Vitebsk—is considered Chagall's strongest, artistically, and the style he developed would remain with him for the rest of his life. His works during this time include "Hommage Apollinaire" (1911-12), The Fiddler (1912) and Paris Through the Window (1913).

After the Berlin exhibition, Chagall returned to Vitebsk, Belarus, where he intended to stay long enough to marry his fiancée, Bella. A few weeks later, though, he was stranded by the outbreak of World War I, as the Russian borders were closed indefinitely. Instead of despairing, Chagall embraced local scenes in his art, working at the time in an unusually realistic style.

Paintings such as "The Praying Jew" (or The Rabbi of Vitebsk; 1914) and "Jew in Green" (1914) emerged during this period.

Chagall married Bella in 1915, she would become his artistic inspiration. Upon meeting Bella in 1909, Chagall writes "I feel she has known me always, my childhood, my present life, my future; as if she were watching over me, divining my innermost being, though this is the first time I have seen her. I knew this is she, my wife".

The flying lovers of Birthday (1915-23) and the playful, acrobatic Double Portrait with a Glass of Wine (1917) serve as testaments to the joyousness of the artist's spirit during the early years of his marriage.

At first, Chagall was enthusiastic about the Russian Revolution of October 1917, and he decided to settle in Vitebsk. In 1918, he was appointed commissar for art, and then founded and directed the Vitebsk Popular Art School. Disagreements with the Suprematists (a group of artists primarily concerned with geometric shapes) resulted in Chagall's resignation from the school in 1920, after which he moved to Moscow, there undertaking his first stage designs for the State Jewish Chamber Theater. Chagall then left Russia for good. After a stop-over in Berlin in 1922, the artist returned to Paris in 1923 with his wife and daughter; his first retrospective took place there the following year, at the Galerie Barbazanges-Hodebert.

Chagall had learned engraving while in Berlin, and he received his first engraving commission in 1923, from Paris art dealer and publisher Ambroise Vollard, for creating etchings to illustrate a special edition of Nikolay Gogol's novel Dead Souls. Over the next three years, Chagall completed 107 plates for the Gogol book, 100 gouaches for poet Jean de La Fontaine's Fables, and a series of etchings illustrating the Bible; his career as a printmaker was in full swing.

During the 1930s, besides painting and engraving, Chagall traveled extensively: to the Netherlands, Spain, Poland, Italy and Palestine, where he stayed for two months, visiting the Holy Land to inspire his Bible etchings. In Palestine in 1931, Chagall immersed himself in Jewish life and history, and by the time he returned to France, he had completed 32 of biblical plates (he would create 105 in total).

With Hitler rising to power, a full-blown war was waged in Germany against artists, and, subsequently, anything deemed modern or difficult to interpret being confiscated and burned (with some of Chagall's works being singled out). The once-impressed German press now turned on Chagall, and in response, Chagall's paintings struck a different tone, with terror and persecution taking on foreground roles.

In Solitude (1933), Chagall's anxiety over the fate of humanity is represented by an atmosphere of despondency and in the figure of the huddled, pious Jew; in White Crucifixion (1938), Jewish and Christian symbols are mixed in a depiction of a Nazi crowd terrorizing Jews. The artist would be dealt another blow in 1939, when Ambroise Vollard died and Chagall's various etching projects were put on hiatus. (Another publisher later picked up where Vollard had left off, issuing Dead Souls in 1948, La Fontaine's Fables in 1952 and the Bible in 1956.)

With the outbreak of World War II, Chagall moved farther and farther south in France, as the Nazi threat became increasingly real for European Jews.

A group of Americans ran a rescue operation trafficking artists and intellectuals out of Europe to the United States via forged visas, and Marc Chagall was one of more than 2,000 who escaped this way. He arrived in New York with Bella on June 23, 1941—the day after Germany invaded the Soviet Union—and spent most of the next few years in the New York area.

In New York, Chagall continued to develop his signature themes, but in 1942, a new commission came his way: to design the sets and costumes for a new ballet, Aleko, by Léonide Massine, which would stage Pushkin's The Gypsies and be accompanied by the music of Tchaikovsky. When Aleko—Chagall's first ballet—premiered on September 8, 1942, it was a great success. Also during this period, Chagall designed the backdrops and costumes for Stravinsky's ballet The Firebird (1945), another success.

The course of Chagall's life and art was changed yet again in 1944, when his wife, Bella, passed away. Inconsolable, the artist turned his canvases to the wall, unable to work, for almost a year. Bella would remain, however, his constant companion for the rest of his life appearing in his works as a curvaceous nude clad in pearls or an apparition watching over the artist at his easel.

Thereafter, depictions of memories of his wife recurred in Chagall's work; she appears in several forms—a haunted weeping wife, an angel and a phantom bride—in Around Her (1945), and as a bride in The Wedding Candles (1945) and Nocturne (1947

Before moving back to France for good in 1948, Chagall was honored with retrospective exhibitions at both the Museum of Modern Art in New York and the Art Institute of Chicago.

In 1948, Chagall settled again in France, on the French Riviera at Vence. During the 1950s, he forayed into painting and modeling ceramics, stone sculptures and mosaics. In 1958, Chagall designed the scenery and costumes for the ballet Daphnis and Chloe for the Paris Opera, from whom, five years later, he received a commission to paint a new ceiling for its theater.
Upon his return to France, Chagall found himself under the guidance of master printer Charles Sorlier at Mourlot Frères Atelier—a well known lithography studio. According to Sorlier, the partnership would be fruitful—"He learned like an inquisitive apprentice boy. As stubborn as he was eager, under my guidance he tried out every imaginable technique. No craftsman will ever be prouder than I was to have such a gifted apprentice under my tutelage. For many long months he came and worked tirelessly, and his dissatisfaction allowed him to have only a few of his first attempts printed".

The subsequent results were remarkable with more than 1000 original lithographs created with stunning color techniques still unparalleled today. Chagall would complete many lithographic series including The Bible, The Story of Exodus, The Circus, Daphnis and Chloe and The Odyssey' oftentimes traveled to foreign countries for inspiration and used up to 25 different lithographic plates per print to achieve the perfect expression of color. His mastery as a colorist was noted by Picasso who said "When Matisse dies, Chagall will be the only painter left who understands what color really is".

Marc Chagall died at his Saint Paul de Vence home in March 1985 at the age of 97 with his second wife Vava, at his side—a highly regarded, decorated and exhibited artist—the last in the great line of 20th Century Modern Masters.

"In our life there is a single color, as on an artist's palette, which provides the meaning of life and art. It is the color of love".

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