4922 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

MARC CHAGALL 'Le Peintre et son Double', lithograph, 1981, 35cm x50cm, framed and glazed.

Inscribed and dated in pencil (lower right), gouache on paper23cm x 36.5cm (9in x 14.3in)Footnote: Béla Kádár was a Hungarian painter and one of the most famous painters of the Hungarian avant-garde whose paintings reflected many of the leading artistic movements of the early 20th Century including Der Blaue Reiter, Cubism, Futurism and Metaphysical painting. Like other artists of his day he had been drawn to Paris and Berlin in 1910 to study, before permanently moving to Western Europe in 1918. By 1923 he had his first significant exhibition in Berlin at the invitation of Herwath Walden, who was a significant figure in the German avant-garde being publisher of Der Sturm which featured the works of Paul Klee, Wassily Kandinsky and Marc Chagall amongst others. During this exhibition Kádár met Katherine Dreier whose Societe Anonyme was central to bringing the work of the European avant-garde to America, and as a result by 1928 he had held two exhibitions of his work at the Brooklyn Museum of Art in New York.

signed (lower right), pen, ink, and watercolour on paper41cm x 29cm (16in x 11.5in)Footnote: Béla Kádár was a Hungarian painter and one of the most famous painters of the Hungarian avant-garde whose paintings reflected many of the leading artistic movements of the early 20th Century including Der Blaue Reiter, Cubism, Futurism and Metaphysical painting. Like other artists of his day he had been drawn to Paris and Berlin in 1910 to study, before permanently moving to Western Europe in 1918. By 1923 he had his first significant exhibition in Berlin at the invitation of Herwath Walden, who was a significant figure in the German avant-garde being publisher of Der Sturm magazine which featured the works of Paul Klee, Wassily Kandinsky and Marc Chagall amongst others. During this exhibition Kádár met Katherine Dreier whose Société Anonyme was central to bringing the work of the European avant-garde to America, and as a result by 1928 he had held two exhibitions of his work at the Brooklyn Museum of Art in New York.

Robert Combas (born 1957) Le Rêve Paradis Plus Cauchemard Le rêve : Je te tiens dans mes bras mon amour et haut loin un beau bateau vogue sur l'azur.Le cauchemar : mais le bourreau veille et le Turc son copain se chope par-derrière en plus, je me prends un coup de hache dans la gueule 1988signéacrylique sur toilesignedacrylic on canvas246 x 195.5 cm.96 7/8 x 76 15/16 in.Exécuté en 1988.Footnotes:ProvenanceCollection particulière, FrancePuis par descendance au propriétaire actuelExpositionSète, Musée Paul Valery, Aquestecop ! Robert Combas, 1992, n.p., illustré en couleurLyrique, psychédélique et fascinant, le style sans concession de Robert Combas s'impose dans toute son œuvre, qui figure parmi les plus riches du mouvement néo-expressionniste depuis son émergence dans les années 1980. Membre fondateur du mouvement de la Figuration libre, étroitement aligné sur les Junge Wilde en Allemagne et la Downtown scene de New York, Combas crée des œuvres narratives uniques en leur genre, qui sont souvent des représentations personnelles de personnages qui semblent avoir été ensorcelés et ravis de l'être. Dans cette œuvre, Le Rêve Paradis plus Cauchemar, la théâtralité et le romanesque de la composition revêtent un caractère à la fois dramatique et ludique, et livrent également un portrait autobiographique de l'artiste et de sa compagne et muse, Geneviève Boteilla, que Combas a rencontrée en 1987. Peinture impressionnante, créée à l'apogée de l'une des décennies les plus fécondes de l'artiste, Le Rêve Paradis plus Cauchemar est non seulement une œuvre emblématique de la Figuration Libre mais également une œuvre maîtresse de Combas. Entre sa première exposition en solo à Montpellier en 1980, jusqu'à sa participation à l'exposition fondatrice 5/5 : Figuration Libre France/USA au Musée d'Art Moderne de la Ville de Paris en 1984 – qui comparait les œuvres de Combas, Remi Blanchard et François Boisrond, avec celles de Jean-Michel Basquiat, Keith Haring et Keny Scharf – les années 1980 ont été une période cruciale dans la carrière de Combas. Exposant chez les galeristes Chantal Crousel et Leo Castelli, éminents marchands d'art de l'époque, et travaillant avec eux, l'artiste a vu sa notoriété se répandre en Europe et en Amérique, et ses toiles expressives, inspirées de la BD, sont devenues plus raffinées, plus complexes et plus accomplies.Les passages intenses et spectaculaires qui caractérisent la technique picturale de Combas sont totalement originaux, mais le rapprochement avec le néo-expressionisme figuratif allemand est tentant et évident. Bien que la composition onirique de l'œuvre présentée aujourd'hui, qui fait fi des règles de la perspective, fasse écho à une toile de Chagall ou évoque même les couleurs kaléidoscopiques des vitraux de la Cathédrale Notre-Dame de Chartres, l'influence de Combas sur Haring, Scharf et Caroll Dunham est indéniable. Les œuvres du mouvement de la Figuration Libre, reconnaissables à leurs couleurs fortes, leurs lignes dures et les dimensions exagérées des visages et des personnages, se saisissent de toutes les sources d'inspiration, depuis l'art populaire et l'art outsider jusqu'à la peinture de la Haute Renaissance. Peu de tableaux reflètent un artiste à son zénith comme le fait Le Rêve Paradis plus Cauchemar, dont la liberté et l'interprétation insolente de la forme sont saisissantes.Bien qu'il ait fait l'objet de rétrospectives dans les plus grands musées pendant sa carrière, y compris au Musée des Beaux-Arts de Taipei à Taiwan, le Musée d'art moderne de la Ville de Paris et la Fondation Mudima à Milan, l'influence de Combas sur la génération des street artists et des peintres néo-expressionnistes qui ont suivi demeure encore largement sous-estimée. L'œuvre présentée aujourd'hui marie une représentation contemporaine et lyrique des personnages et des paysages avec l'expression profonde de thèmes narratifs transcendants chers à Combas, et l'ensemble produit une peinture de qualité exceptionnelle, qui est l'une des plus belles œuvres de l'artiste français et l'un des meilleurs témoignages de la Figuration Libre arrivant aujourd'hui sur le marché.Operatic, psychedelic, and compelling, Robert Combas' uncompromising style stands out as one of the richest bodies of work of the Neoexpressionist movement since its emergence in the 1980s. As the founding member of the Figuration Libre, a group that is aligned closely to the Junge Wilde in Germany and the Downtown scene of New York City, Combas' paintings are uniquely narrative and often personal depictions of figures enthralled and enraptured. In the present work, Le Rêve Paradis plus Cauchemar, the theatricality and romance of the composition is dramatic and playful, but equally revealing as an autobiographical portrait of the artist and his companion and muse, Geneviève Boteilla, whom Combas met in 1987. An impressive painting that represents the culmination of one of the most significant decades for the artist, Le Rêve Paradis plus Cauchemar is an exemplary piece of Figuration Libre and a masterwork of Combas' oeuvre. From his first solo show in 1980 in Montpellier, through his inclusion in the seminal exhibition 5/5: Figuration Libre France/USA at the Musée d'Art Moderne de la Ville de Paris in 1984 – that compared the works of Combas, Remi Blanchard, François Boisrond, with those of Jean-Michel Basquiat, Keith Haring, and Keny Scharf – the 1980s were a pivotal decade in Combas' career. Working and exhibiting with Chantal Crousel and Leo Castelli, the preeminent dealers of the period, the artist's notoriety flourished in Europe and America, and his expressive, cartoonish canvases became more refined, complex, and accomplished. Combas' intensive and dramatic passages of paint are completely original, yet the association to American figurative Neoexpressionism are tantalising and evident. Whilst the dreamscape and non-perspectival composition of the present work echoes a Chagall canvas or even the kaleidoscopic colours of the stained-glass windows of Cathédrale Notre-Dame de Chartres, Combas' influence on Haring, Scharf, as well as Carroll Dunham, are undeniable. Typified by bold colours, hard lines, and exaggerated faces and figures, the Figuration Libre seized upon all manner of source material, from folk and outsider art to high renaissance painting. Characterised by its freedom and brazen interpretation of form, few paintings capture an artist at his zenith quite like Le Rêve Paradis plus Cauchemar.The subject of major museum retrospectives over the course of his career, including the Taipei Fine Arts Museum in Taiwan; the Musée d'art moderne de la Ville de Paris; and the Fondation Mudima in Milan, Combas remains a largely underappreciated influence on the generation of street artists and neoexpressionist painters that followed. In the present work, the contemporary, lyrical manner of his figures and landscapes is matched by Combas' deep appreciation of transcendent narrative themes, producing a painting of exceptional quality and one of the finest works by the French artist and examples of the influential Figuration Libre to come to market.... For further information on this lot please visit Bonhams.com

Roger Fry (British 1866-1934) Le Baou des Noir, Vence signed and dated ‘Roger Fry / 1920’ (lower left) oil on canvas 63.5 x 80cmFootnote: Set in the rugged hills of the Alpes Maritimes department and incised throughout with a labyrinth of medieval cobbled streets, Vence, formerly the Roman settlement of Vintium, attracted a flock of artists and writers including, D.H. Lawrence, Marc Chagall, Henri Matisse, Christopher Wood, and Gwen Raverat. The present lot was executed on one of several trips Fry made to Vence. On this particular trip, taken in the spring of 1920, Fry was accompanied by the French artist, Jean Marchand. In his 1920 publication of the influential work, Vision and Design, which comprised a collection of twenty-five essays he had written between 1900 and 1920, Fry dedicated a chapter to Marchand, whom he credited for discarding the 'scaffolding of cubism'.Condition report: The painting is lined using glue paste, the tension in the canvas is good. There is some minor cracking to the paint layer and some losses in the paint layer along the top, this is likely to have happened when the painting was cut from the stretcher to line. There are several small lumps/holes in the paint layer. These could be holes in the original canvas (?) The lumps appear to be a build up of glue. The picture is varnished using a natural resin which has now yellowed. There is a small area of overpaint in the sky which has recently been retouched. The painting has been recently cleaned and restored to a high standard.

§ Marc Chagall (French/Russian 1887-1985) Woman with a Donkeysigned postcard15 x 11cm

Marc CHAGALL (1887-1985)Boaz Wakes Up and Sees Ruth at his FeetLithograph35.5 x 26cm

Marc Chagall, lithograph, Revolution, 1965 Redfern Gallery label verso, 54 x 47cm.

MARC CHAGALL Witebsk 1887 - 1985 Vence: Printemps. Farblithographie 1969. Mourlot 568. - Expl. 32/75. Signiert. Auf chamoisfarbenem Vélin d'Arches. 65 x 50,5 cm (Blatt: 75,5 x 56 cm). Farben etwas verblichen, vereinzelt stockfleckig sowie mit leichtem Lichtrand. Winzige Beschädigungen am Oberrand hinterlegt [bg]

MARC CHAGALL Witebsk 1887 - 1985 Vence: Le Fleuve vert. Farblithographie aus P. de Mandiargues, „Chagall“, 1974. Mourlot 728. Aus Cramer Bücher 95. - Auf Vélin. 27,5 x 57,3 cm. Mit geglätteter Bugfalte. [bg]

MARC CHAGALL Witebsk 1887 - 1985 Vence: L'Oiseau vert - Le Fond jaune. Ausstellungsplakate der Galerie Maeght 1962 und 1969/70. 2 Bll. Farblithographien 1962/69. Mourlot 354 und 602. Sorlier-Affiches 41 und 57. Czwiklitzer 10 und 173. - Bl. 2 mit dem Namenszug im Stein sowie beide mit typographischem Plakattext und Bl. 2 mit dem Copyright von Maeght 1969. Auf leichtem Vélin. 70 x 53 und 78 x 57 cm. Bl. 2 mit leichten Randläsuren. [ms]

MARC CHAGALL Witebsk 1887 - 1985 Vence: L'Oiseau bleu - Baie de Nice. Ausstellungsplakat der Septiéme Biennale de Peinture, Menton 1968 bzw. der Galerie des Ponchettes, Nizza 1970. 2 Bll. Farblithographien von Ch. Sorlier nach einer Gouache (1954) bzw. einem Ausschnitt der Farblithographie „La Baie des Anges“ (1970) von Chagall, um 1968/70. Sorlier CS 41 und vgl. Mourlot 486a. Sorlier-Affiches 115 und 125. Czwiklitzer 38 und 43. - Mit dem Namenszug Chagalls (mit Datum „1954“, Bl. 1) und Sorliers (beide) im Stein sowie beide mit typographischem Plakattext und Copyrightvermerk von Mourlot. Auf leichtem (Bl. 1 chamoisfarbenem) Vélin. 76,5 x 51 und 76,2 x 53 cm. Beide mit leichten Randläsuren und Bl. 2 mit Bleistiftspuren am Unterrand. [ms]

MARC CHAGALL Witebsk 1887 - 1985 Vence: Le Magicien de Paris - Offrande des Fleurs (Hommage à Louis Aragon). Ausstellungsplakat des Grand Palais, Paris 1969/70 bzw. des Musée d'Art moderne, Céret 1971. 2 Bll. Farblithographien von Ch. Sorlier (Bl. 2 mit Fotoklischee) nach einer 1970 bzw. 1964 entstandenen Farblithographie von Chagall, um 1969/71. Vgl. Mourlot 597 und 417. Sorlier-Affiches 121 (second tirage) und 131. Czwiklitzer 41 und 46. - Mit dem Namenszug Chagalls (Bl. 2) und Sorliers (beide) im Stein sowie beide mit typographischem Plakattext und Copyrightvermerk(e). Auf leichtem Vélin. 71,3 x 51 und 67,8 x 49 cm. Beide mit Bleistiftspuren (Unterrand) und vereinzelten Randknickspuren. Bl. 2 mit winzigem Randeinriss. [ms]

MARC CHAGALL Witebsk 1887 - 1985 Vence: Verve, Vol. VII, Nos. 27/28. Revue Artistique et Littéraire. Hrsg. von E. Tériade. Mit 30 meist farb. Lithographien von und nach verschiedenen Künstlern, zahlr. meist farb. Abb. und franz. Texten versch. Autoren. Paris, Verve, (1952/53). Folio. OPpbd. 153 SS. Cramer Bücher 23. Mourlot 80-87. - Enthält Arbeiten von und nach F. Borès (2), G. Braque (2), M. Chagall (8; Visions de Paris), A. Giacometti (2), M. Gromaire (2), H. Laurens (2), F. Léger (3; Saphire E 14), A. Masson (3), H. Matisse (3) und J. Miró (3; Cramer Bücher 25. Mourlot 121). Auf Vélin. Einband leicht fleckig, sonst gut erhalten. [ms]

SAMMELNUMMERN - VERSCHIEDENE KÜNSTLER: Derrière le Miroir. 10 Ans d'Edition. Heft mit 6 meist farb. Orig.-Graphiken (1 Holzschnitt, 2 Radierungen, 3 Lithos; einschl. Umschlag), zahlr. Abb. und Text. Paris, Maeght, 1956. Folio. Orig.-illustr. OBrosch. 75 SS. DLM Nr. 92/93. - Enthält Arbeiten von J. Bazaine, M. Chagall (Cramer Bücher 26. Mourlot 153), A. Giacometti (Lust 62), J. Miró (Cramer Bücher 36. Dupin 105 und Mourlot 174) und R. Ubac. Radierungen von Giacometti und Miró jeweils Abdrucke von der gestrichenen Platte. Sehr gut erhalten. [ms]

SAMMELNUMMERN - VERSCHIEDENE KÜNSTLER: Derrière le Miroir. La Fondation Marguerite et Aimé Maeght. Band mit 2 Orig.-Lithographien (davon 1 in Farbe) und 4 meist farb. Lithographien nach versch. Künstlern, zahlr. Abb. und Text von Henri Maldiney. (Paris, Maeght, 1964). Illustr. OPpbd. 70 SS. DLM Nr. 148. - Enthält je eine Arbeit von A. Giacometti (nicht bei Lust) und J. Miró (Cramer Bücher 89. Mourlot 352) sowie nach G. Braque, M. Chagall, P. Tal Coat und R. Ubac. Teils mit dem Namenszug im Stein. Auf Vélin. Einband gering bestoßen, sonst gut erhalten. [ms]

Marc Chagall (1887-1985) Modernist figural lithographic print published in New York printed in West Germany 1977. Centrefold as issued. Frame size approx 26 ¾ x 20 ½ inches (Glazed)

Marc Chagall (1887-1985)Titelblatt Glasmaleri fur Jerusalem, lithograph in colours, Paris 1962, 32 x 24cm

JOAN RIPOLLÉS (Castellón, 1932)."The flower".Oil on canvas.Signed in the lower left corner.Measurements: 130 x 97 cm.Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, being still very young and in the middle of the postwar period, he entered to work in an industrial painting workshop. From then on he dedicated himself to painting at night, and later he took drawing classes at the Ribalta Institute in Castellón. After his debut in a collective exhibition held in 1951 at the Caja de Ahorros de Castellón, in 1954 there was a turning point in his career, as a result of a trip to Paris where he established contact with the artistic circles of the city. He remained in the French capital until 1963, and during these years he made twelve paintings for the church of Saint-Paul de Trigan in the Commune des Chaulegnes. However, he could not leave industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organized his first major solo exhibition at MACBA in 1962, and in 1967 he traveled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse Gallery, acquires all his work, something that will be repeated on his trip to Japan. From that moment on, he began a brilliant international career that has taken his work all over the world. In 1977 he moved to Holland, where he made the engravings for the book in homage to Josep Plà. Between 1986 and 1987 he devoted himself to sculpture, creating sixty-two works in ceramic and bronze that were exhibited at the 1988 edition of ARCO. He has organized solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, several American cities, Germany and Japan. He is currently an exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Arts Prize of the Valencian Community. Ripollés is, today, one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. After a first stage of correct figuration in which he recreates the landscape of his land, his work is leaning first towards a dramatic expressionism, and then towards a simplified painting based on the imaginative and poetic recreation of reality. Within this lyrical, ironic world and a certain eroticism, a work is developed whose roots hide a deep admiration for Picasso and Chagall. Ripollés is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.

AFTER MARC CHAGALL 1887-1985 - A FRAMED AND GLAZED ABSTRACT MIXED MEDIA STUDY OF A MAN IN A BOWLER HAT BEARING SIGNATURE LOWER LEFT SIZE - 68CM X 48CM

di San Lazzaro, XXe Siècle 4 Thèmes: Chagall, Portes D'Afrique, La Ville, 1907-1917, 1966, French text, hardcover, with two original lithographs, double page colour by Chagall and single page by Vieira Da Silva, and di San Lazzaro, L'Illustration Du XXe Siecle: The Great Adventure of Modern Art, XVII-61, 1961, paperback, with cover illustrated by Marc Chagall, Tudor Publishing Co., printed in Italy, text in English, includes an original colour lithograph by Karel Appel, both complete and in good condition

Marino Marini (1901-1980), serigraph, Portrait of Chagall, 1968 edition published by Carl Schunemann Bremen, 28 x 38 cm, mounted, unframed; Marc Chagall, La Petit Ange (Mourlot 179, Cramer Books) lithograph, 1957, unsigned, unnumbered, mounted, 24 x 27 cm; Hommage à San Lazzaro, 1975 original lithograph on wove paper, 35 × 26.5 cm, edition of 575, unsigned, not numbered, extracted from the portfolio created as a tribute to Gualtieri di San Lazzaro, the founder of the magazine XXe siècle, all in good condition, see extra photos (3)

After Marc Chagall, four grano-lithographs from his Exodus series on Arches paper, printed in 1984 by SPADEM, 1984, each 59 x 43 cm, numbered in pencil from editions of 1800, embossed signature, in very good condition, never framed (4)

Loudon Sainthill (Australian, 1919-1969)The Musician pen and ink, watercolour and gouache77 x 57cmA work from the same series of 'The Musicians' and dated 1958 is in the collection of the National Gallery of Australia.Provenance: Bequeathed to the current owner by Alfred Hecht.Loudon Sainthill (Australian, 1919-1969)Artist, costume and set designer, Loudon Sainthill lived a life designing for stars of the ballet, opera, theatre and film. He was born in Tasmania, but moved to Melbourne where he met his lifelong partner, Harry Karl Tatlock Miller (1913-1989). His love of theatre design began in Australia, where he designed for touring ballets. His paintings of the dancers garnered attention and, in 1939, he was invited to London to exhibit at the Redfern Gallery. This success was followed by exhibitions in Australia. During the Second World War, Sainthill served with the Australian Army. He was discharged in 1946 and briefly lived with Miller in Merioola, which was also the home of a group of artists including Alec Murray, Jocelyn Rickards and Donald Friend. Returning to London in 1949, Sainthill’s career took off; he designed for the ballet 'Ile des Sirenes' starring Margot Fonteyn (1950) and then 'The Tempest' at the Shakespeare Memorial Theatre (1951). One of his most celebrated projects was for the set and costume designs of 'Le Coq d’Or' at the Royal Opera House, Sainthill being given this commission after Marc Chagall suddenly withdrew from the project. Sainthill later won a Tony for his work on 'The Canterbury Tales' (1967). During his lifetime, he worked on more than fifty productions, and published multiple books of his designs and paintings with his partner, Miller, enabling his innovative and vibrant designs to live on to inspire future generations. Condition report: Unexamined out of glazed frame. The paper is cockled due to gouache on the paper rather than caused by a condition issue. There is a very small brown mark on the man’s hat (his left side) – this is shown in a photograph. Overall, the paper is a very light brown in colour, consistent with its age. This is clear if you look at the hand (see image). There is a light line to the right hand caused by time staining where an older mount may have been removed (see image). There is some damage to the frame (see image).However, in our opinion, the condition comments noted above do not affect the appeal of the work.

*Marc Chagall (Russian-French, 1887-1985)Moise Piate 18, from Songeslithograph in colours, from an edition of 50 and 10 proofs, published by Gerald Cramer, Geneva, 1981, signed 'Marc Chagall' and numbered 20/50 in pencilplate 30.3 x 23.4cmProvenance: Farm House, Farm Street, Mayfair, London.*Artist's Resale Right may apply to this lot.Condition report: Viewed out of frame, slight wave to the print caused by printing process, light discolouration to borders caused by the mount - see images. Could benefit from a more secure framing, but genarally print is in good condtion.

δ Marc Chagall (1887-1985)Chagall Lithograph I-IV 1969-1973Four volumes of the catalogue raisonné, 1960-1974, comprising 28 lithographs, most printed in colours, with text in German and English, the lithographs printed by Mourlot, Paris, bound as issued in the original boards, with the original lithographed paper wrappers, each 325 x 255mm (12 3/4 x 10in) (vol) (4)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Marc Chagall (1887-1985) (after)Lovers by the Eiffel TowerLithograph printed in colours, 1994, a proof aside from the edition of 750, with the publication details printed verso, printed by Mourlot, Paris, on wove paper, with full margins, sheet 1030 x 720mm., (40 1/2 x 28 1/2in) (unframed)Provenance: Ex coll Family Mourlot, with the Mourlot collection rubberstamp versoδ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Marc Chagall (1887-1985)Maternité (Kornfeld 65-69)The rare and important set of copper plates for the etchings, 1925-26, the edition printed by Louis Fort and Paul Haasen, each circa 150 x 100mm (5 7/8 x 3 7/8 in) (unframed) Ex. Coll Louis Fort and Paul Haasen, Paris.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

** δ Marc Chagall (1887-1985)Die Begierde II (Kornfeld 55)Etching with drypoint printed in red, 1925, signed in pencil, the edition was 33, on China paper, with full margins, sheet 250 x 190mm (9 7/8 x 7 ½ in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

δ Marc Chagall (1887-1985) (after)Poster from Musee National Message BibliqueLithographic poster printed in colours, 1975, printed by Mourlot, Paris, on wove paper, the full sheet 760 x 515mm (30 x 20 3/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Chagall, Marc -Longus.Daphnis et Chloé. 2 Bände. Mit 42 (16 doppelblattgrossen) Original-Farblithographien von Marc Chagall.Paris, Tériade, 1961. Gr. Folio (43,5 × 34 cm). [10] Bll., 74 S., [12] Bll.; [6] Bll., 75 S., [11] Bll. Lagen und Tafeln lose eingelegt in Original-Karton-Umschlägen (leicht gebräunt), zusammen in 2 Original-Halbleinen-Mappen mit goldgeprägten Rückentitel und Bandzahl (schwach bestossen, Bd. 1 Vordergelenk minimal angeplatzt), die lädierten Schuber in einzelnen Segmenten vorhanden.Cramer 46 - Mourlot 308-349 - Garvey, S. 44. - Eines von 250 nummerierten Exemplaren auf Vélin Arches, im Druckvermerk vom Künstler signiert (Gesamtauflage 270). - Vollständig. - Die vorliegende lithographische Buchillustration Daphnis & Chloés zählt zu den Hauptwerken Chagalls und veranschaulicht auf fantasievolle Weise mit seiner meisterhaften Anwendung von Farben und Motiven die Geschichte des antiken Liebespaares. 1952 erhielt Chagall von Tériade die Anfrage für eine Reihe von Lithographien, welche die Geschichte von Daphnis und Chloé des griechischen Dichters Longus nacherzählen. Chagall hatte soeben seine zweite Frau, Valentina Brodsky, geheiratet und nahm sich folglich der Liebesgeschichte an. Die 42 enthaltenen Farblithographien entstanden während einer Zeitspanne von 9 Jahren. Als Inspiration dienten Chagall verschiedene Destinationen seiner Hochzeitsreise in Delphi, Athen und Poros. - Die Farblithographien gedruckt bei Mourlot, Paris. - In den Rändern leicht gebräunt, die Lithographien in äusserst frischem Zustand.

Chagall, Marc.Drawings for the Bible. Text by Gaston Bachelard. Mit 25 (inklusive Einbandillustration) farb. u. 23 schwarz-weissen Original-Lithographien von M. Chagall sowie 96 Tafeln.Paris, Verve, 1960. 9, 8 Bl. 36 x 27 cm. Illustrierter Original-Pappband mit Original-Umschlag.= Verve 37-38. - Mourlot 230-277 - Cramer 42. - Der Druck der Farblithographien bei Mourlot. - Die englische Ausgabe des berühmten Werkes, vorliegend mit dem seltenen Umschlag.

Verve.Revue artistique et littéraire. Nrn. 1-9 und 11-18 in 14 Heften. Mi tvon Borès, Bonnard, Braque, Chagall, Derain, Guys, Kandinsky, Klee, Léger, Masson, Matisse, Miró, Rattner und Rouault, sowie zahlreichen Heliogravüren.Paris, Éditions de la Revue Verve, 1937-1947. Folio. Illustr. Original-Broschuren und OPp. mit illustr. Schutzumschlägen (Rückene etwas berieben und bestossen, Schutzumschläge teils leicht angerissen oder vereinzelt winzige Fehlstellen).Enthält: Vol. I, Nr. 1; Vol. I, Nr. 2; Vol. I, Nr. 3; Vol. I, Nr. 4; Vol. II, Nr. 5 & 6; Vol. II, Nr. 7; Vol. II, Nr. 8; Vol. III, Nr. 9; Vol. III, Nr. 11; Vol. III, Nr. 12; Vol. IV, Nr. 13; Vol. IV, Nrn. 14 & 15; Vol. IV, Nr. 16; Vol. V, Nrn. 17 & 18. - Der Druck der Farblithographien bei Mourlot. - Leicht gebräunt, vereinzelt etwas angestaubt. Bindung bei Heft 13 angeplatzt, Heft 4 mit einigen Bleistiftanstreichungen.

ZEITSCHRIFTEN -Verve. Revue artistique et littéraire. 8 Hefte in 4 Bdn. Mit 39 (davon 4 doppelblattgr., inkl. OU) Original-Farblithographien von Borès, Bonnard, Braque, Chagall, Derain, Guys, Kandinsky, Klee, Léger, Masson, Matisse, Miró, Rattner und Rouault, sowie zahlreichen Heliogravuren.Paris, Éditions de la Revue Verve, 1937-1940. Folio. Halbleder-Meistereinbände im Stil des Art Déco, mit blindgeprägtem Rückentitel und Bandzahl (sign.: "Weber & Wirz"). Mit eingebundenen illusrt. Original-Broschuren (Ecken minimal bestossen, vereinzelte winzige Bereibungen, leicht beschabt).Druck der Farblithographien bei Mourlot. - Leicht angestaubt. Stellenweise minimal gebräunt. Insgesamt sehr sauber. - Exlibris "Alvarobalozza" sowie Etikett "F. ROTH Beaux Arts, Lausanne" montiert.

After Chagall, two prints from 'Derriere Le Mirroir' 15" x 10.5", a further Chagall print 12" x 9", and a print after Picasso 14" x 10", and a print after Matisse 11.5" x 8.5", (5).

Marc Chagall 1887–1985 La vierge d'Israël, 1960 Farblithografie auf Büttenpapier unten rechts signiert Marc Chagallunten links nummeriert 25/50 35,7 x 27,2 cm (Stein) Literatur: WERKVERZEICHNIS Mourlot, Nr. 231.

Marc Chagall 1887–1985 Bonjour sur Paris, 1952 Farblithografie auf Bütten unten rechts signiert Marc Chagallunten links bezeichnet Epreuve d'artiste 38 x 51 cm Literatur: WERKVERZEICHNIS Murlot, Nr. 71.

Marc Chagall 1887–1985 Les coquelicots, 1949 Lithografie unten rechts signiert Marc Chagallunten links nummeriert 3/400 55 x 40,5 cm Literatur: WERKVERZEICHNIS Sorlier, Nr. CS2.

Marc Chagall (1887-1985)Untitled A page from a publication entitled "Sélection chronique de la vie artistique// VI // Marc Chagall // Éditions sélection - 1929" with a drawing by the artistSigned and dated 1929, Paris25x18 cm

MARC CHAGALL 'Tulips on a Windowsill', lithograph, signed in the plate, 35cm x 45cm, farmed and glazed.

Artist: Aleksandr Yakovlevich Golovin (Russian, 1863 - 1930). Title: "Set Design". Medium: Mixed media (watercolor, gouache, pen, pencil). Date: Composed c1910-20. Dimensions: Image size: 11 x 16 in. (279 x 406 mm).Lot Note(s): Signed with the initials "A.G." in Cyrillic on the support mount, lower right, recto. Supple, wove paper. Overall condition very good to fine. The drawing is affixed to the original support mount. The drawing itself has no holes, tears, foxing, etc. The colors are very fresh. There is some minor surface soiling middle left, else just very nice. Comment(s): Works by Golovin of this caliber are rare. Aleksandr Golovin studied at the Moscow College of Painting, Sculpture and Architecture initially as a student of architecture and later as a painter. He lived and worked in Moscow as an interior painter, furniture designer and decorator tradesman, and in 1900, in collaboration with Konstantin Korovin, he designed the interior décor of the Russian Empire pavilion at the Paris World’s Fair. Golovin moved to St. Petersburg in 1901, where he worked prominently as a stage designer until the Russian Revolution of 1917. He was the leading designer for the theaters in St. Petersburg at this time, and an important contributor to the legendary Ballets Russes, which commissioned the most esteemed choreographers, dancers, musicians and stage designers of the era, including Natalia Gontcharova, Mikhail Larionov, Marc Chagall, George Braques, Joan Miró, Max Ernst, Henri Matisse, and Pablo Picasso. Please note: this work is being exhibited in an exhibition frame and is being sold unframed. [18217-4-6000]

Marc Chagall (1887-1985) Pair of modernist figural lithographic prints published in New York printed in West Germany 1977. Mounted but unframed, approx overall sizes 20 x 16 inches. Cellophane wrapped.

Chagall, Marc (1887 Witebsk- Paul de Vence 1985)"Tour Eiffel à l´Aue rouge". Farblithographie. Blatt aus dem Jahr 1954. 38x 27,5 cm. R. Wvz. Mourlot 97. Erworben in der Galerie Wünsche Bonn 1969, Kaufrechnung im Original anbei.

Group of seven prints. Includes one Mark Tobey "Transworld Art" poster, one Mark Tobey exhibition poster; one Peter Freudenthal "Art Expo" poster, one Georges Bracque "Les Oiseaux de la Chapelle" print, numbered 265/350, one Georges Bracque Galerie Maeght exhibition poster, One Marc Chagall Galerie Maeght poster, and one Toulouse Lautrec Galerie Des Ponchettes poster.Mark Tobey Transworld Art; height: 27 1/2 in x width: 19 5/8 in. Mark Tobey Exhibition Poster; height: 28 in x width: 19 5/8 in. Peter Freudenthal Art Expo; height: 27 1/2 in x width: 19 5/8 in. Georges Bracque Les Oiseaux de la Chapelle; height: 19 1/4 in x width: 14 1/4 in. Georges Bracque Galerie Maeght; height: 19 3/4 in x width: 28 1/4 in. Marc Chagall Galerie Maeght; height: 27 5/8 in x width: 20 3/4 in. Toulouse Lautrec Galerie Des Ponchettes; height:Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Mark Tobey Transworld Art; height: 27 1/2 in x width: 19 5/8 in. Mark Tobey Exhibition Poster; height: 28 in x width: 19 5/8 in. Peter Freudenthal Art Expo; height: 27 1/2 in x width: 19 5/8 in. Georges Bracque Les Oiseaux de la Chapelle; height: 19 1/4 in x width: 14 1/4 in. Georges Bracque Galerie Maeght; height: 19 3/4 in x width: 28 1/4 in. Marc Chagall Galerie Maeght; height: 27 5/8 in x width: 20 3/4 in. Toulouse Lautrec Galerie Des Ponchettes; height:

Group of 12 books "Derriere le Miroir," Paris, France: Maeght Éditeur between 1952-1963. Featuring Alexander Calder, Marc Chagall, German avant-garde group Der Blaue Reiter, Pierre Reverdy, Georges Braque, Pierre Tal-Coat, Joan Miro, Henri Matisse, and Pablo Palazuelo. Written in French.(Each); Height: 15 1/4 in x width: 11 1/4 in.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.(Each); Height: 15 1/4 in x width: 11 1/4 in.

Marc Chagall (Russian/French, 1887-1985)Chagall Lithographe I-IV (Cramer Books 43, 56, 77 ,94) Four volumes, 1960-1974, comprising 24 lithographs printed in colours, volume I with text in German, volumes II, III and IV with text in French, printed by Mourlot Frères, Paris, published by André Sauret, Paris, bound as issued in the original boards, all with the grey cardboard slipcases, overall 325 x 250mm (12 3/4 x 9 3/4in)(Vol)(4)Footnotes:Click for an instant shipping quoteThis lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

London: George G. Harrap & Company Limited, 1929. 8vo, number 366 of 575 UK copies signed by Rackham, 12 colour plates, original vellum gilt, bookplate designed by Chagall

Lithografie, ¨Moses¨ (1979), unten rechts handsigniert ¨Marc Chagall¨, Ex. 3/50, ca. 59,5x44,5cm (in Passepartout), gerahmt (87x70cm), minimal gewellt

George Donald - 'Love Song' artist proof prints and after Marc Chagall print, framed and glazed

Chagall, MarcWitebsk 1887–1985 Saint-Paul de Vence)"Jour de Printemps". 1972. Farblithographie. 23/50. Unten rechts in Bleistift signiert. Blattgrösse 63x49,3 cm. Gerahmt. -Blatt gebräunt. Heller Lichtrand. Blatt wurde zwischen Passepartout und Rückkarton montiert.

A copy of the Genesis Publications title 'Wyman Shoots Chagall' (1998), numbered 1122 / 1500 and signed by Bill Wyman. With CD insert and slip case, original mailing box.

MARC CHAGALL 'Femme et Oiseau', lithograph, plate signed, ref.: Cramer 49, 25cm x 19cm, framed and glazed. (Subject to ARR - see Buyers Conditions)

Marc Chagall 1966 Lithograph Nudes Chicken Poster Abstract Art Exhibition Zurich. Original 1966 colour offset lithograph of a poster created by Marc Chagall for an exhibition at the Kunsthaus, Zurich, from Dezember 1950 - Januar 1951. Measures 51cm by 40cm.

AFTER MARC CHAGALL (4)The blue circusreproduction print15 x 21cmtogether with three further reproduction prints, two after after Paul Klee, and another after Felix TopolskiARR(4)

Chagall (Marc) The Jerusalem Windows, text by Jean Leymarie, with 2 original lithographs by Chagall, plates and illustrations, many colour, original cloth, dust-jacket, very slight rubbing to upper edge, 4to, New York & Monte Carlo, 1962.

AFTER MARC CHAGALL (1887-1995), "Nocturne in Venice" and "The Acrobats", pair lithographs, unsigned, 12 1/2" x 9 1/2", stained wood frames (Est. plus 21% premium inc. VAT)Very good

MARC CHAGALL 'David and his Harp', 1956, very rare original colour lithograph, from the Bible suite, Mourlot 134, printed by Mourlot, 35cm x 25cm, in vintage French frame.

MARC CHAGALL 'Le Couple avec Chien', 1976, off set lithograph, plate signed, edition of 250, rare suite 'Atelier de Chagall', 20cm x 25cm, framed and glazed. (Subject to ARR - see Buyers Conditions)

MARC CHAGALL 'The Mystical Crucifixion', lithograph, plate signed, ref.: Cramer 49, 35cm x 50cm, framed and glazed. (Subject to ARR - see Buyers Conditions)

Original vintage advertising poster for an exhibition of work by Marc Chagall held at Galerie Maeght in June-July of 1962. The featured artwork is The Green Bird by Chagall - a dove rests on a hoop beneath a grape vine and a young couple are visible through the hoop. The image is drawn in black on a green and blue background. With black text. Marc Chagall (1887-1985) was a French artist who produced paintings, drawings, illustrations, stage designs, ceramics and stained glass windows for cathedrals, the UN and the Art Institute of Chicago. Printed in France by Mourlot publishing house. Good condition, minor creasing, staining. Country of issue: France, designer: Marc Chagall, size (cm): 70x53, year of printing: 1962