778 résultats
1937510540Verve 1937. First Edition. Paperback. FINE. Complete run of the first four issues of Teriade's legendary art magazine. Beginning with a stunning cover produced by Matisse for the first issue Verve would incorporate fresh artwork into its cover designed newly commissioned by artists such as Miro Picasso Chagall and other leading lights of the French art world. Each issue offered spectacular color lithographs printed by the Paris lithographers Mourlot. Early issues came in litho-printed card wrappers in boxes later volumes would be in paper-over board with litho covers. This choce allowed Teriade to feature the fresh lithographic artwork in the cover design but left the books themselves extremely fragile and succeptible to wear. Additionally the full-page lithographs have been continuous targets for art dealers looking to excise the plates. So condition seen here is quite rare with each volume preserved COMPLETE FINE with no signs of the wear and toning so commonly seen. 'The cover of Verve No. 1 is by Henri Matisse; it consists of three unmodulated colors--red blue and black--that the master cut directly from printers' ink specimen books. . Mattisse's cover for the first issue lithographed by Fernand Mourlot printers was an original work of art created expressly for the magazine--as would be practically all of the Verve's covers. . The painter took great pains to make sure that the cover would turn out exactly as he wished. . THe care Matisse lavished on what others might consider a minor undertaking was one of the hallmarks of Teriade's publications. How did he induce the greatest artists of this century to give the very best of themelves . Matisse and Teriade shared a common ideal. For both of them painting was life itself.' Michel Antonioz VERVE: The Ultimate Review of Art and Literature 35-36. Verve paperback
1956330115New York: Harcourt Brace 1956. First. hardcover. near fine/very good. Chagall Marc. Beautifully illustrated with 28 original lithographs 16 of which are in color the 12 b/w lithographs are printed on rear of color plates; and 105 additional b/w heliogravures of Chagall's etchings throughout. Text by Jean Wahl & Meyer Shapiro. Small folio original blue pictorial boards red printed d.w. New York: Harcourt Brace 1956. First American edition.<br/> <br/> The book first appeared as a double issue of Verve Vol VII Nos. 33-34. An exceptional copy in the original unclipped dust wrapper.<br/> <br/> Harcourt Brace unknown
19501204071950. First Edition. Signed. CHAGALL Marc. Verve. Contes de Boccace. Paris: Éditions de la Revue Verve 1950. Folio original lithographic dust jacket over boards. $5800.First edition of this exceptional volume of 26 Chagall heliogravures accompanied by 26 tipped-in color prints from a medieval miniaturist boldly signed by Chagall on the half title. From the collection of Joseph Liverant a fellow Russian Jewish emigré and friend of Chagall.The art critic Stratis Eleftheriades under the nom de plume Tériade published the art journal Verve in Paris from 1937 to 1960. He commissioned famous artists of the day from Matisse to Picasso and Chagall to provide works for the journal with numerous lithographs appearing for the first time in his publications. This volume is particularly notable for the unusual medium for Chagall used: ""New washed drawings in India ink which are quite unrelated to anything he had done before. Using black diluted in every possible degree from onyx to the palest shade of gray he produced sheets that give an intensely colorful effect These drawings were a response to what he saw in his new environment and stemmed from the urge to render in a spontaneous fashion the overwhelming impact of the profusion and light. They also reveal paradoxically the increased importance of color as a medium of expression. In these drawings 'light' does not signify a diminution of the colorfulness but an advance into the zone from which it springs. One might say that the heart of the color is light and from this light Chagall created the colorfulness of his sheets. What this means is visibly demonstrated by the drawings he did at Tériade's suggestion for the number of Verve dedicated to Boccaccio's Decameron. What Chagall produced was a present-day counterpart to colored reproductions of the miniatures in a fifteenth-century manuscript of Boccaccio's work. For each of his drawings he drew inspiration from the miniature of the same scene and the old and new illustrations are reproduced side by side in the pages of Verve. In Chagall however everything attains a new meaning. A new logic links the objects of the anecdotic 'tale' and the plot of the love story gives rise to ardent desire and serene joy. What is more in Chagall's large black-and-white plates the light radiates in a far richer modulation of color than the full coloring of the miniaturist's precise magic-lantern pictures"" Meyer 499. From the collection of Joseph Liverant a fellow Russian Jewish emigré and close friend of Chagall. Liverant and Chagall both fled Europe in World War II Liverant to Canada and Chagall to the United States. After the war both acquired residences in Provence where shared social circles similar ages and a mutual love of Yiddish combined to forge a lasting bond of friendship between the two.About-fine condition. hardcover
19271751Paris: I. Grodzensky 1927. First edition. Text in French and Yiddish. In publisher’s wrappers bound by string. Cover design by Marc Chagall. Cover and plates are worn at extremities. Cover and some plates damaged at corners and at the string. Two photographic reproductions are loose. Overall in good condition. First edition. Text in French and Yiddish. In publisher’s wrappers bound by string. Cover design by Marc Chagall. 4 text plates and 19 album card plates with mounted photographic reproductions. <p><br /> Scarce book with Chagall’s cover design.<br /> <p><p><br /> With Marc Chagall’s image on the front cover. Before a black background the image features an opened Torah scroll with the inscription of Schwartzbard's name in Hebrew letters an angel with sword flies over the Torah an allusion to Michael the Archangel the advocate of the Jews.<br /> <p><p><br /> A scarce album with pictures of places and portraits of people connected with the Schwartzbard-trial together with short expressions of opinion from prominent intellects as well as brief biographical notes on Schwartzbard and Petliura.<br /> <p><p><br /> Sholom Schwartzbard 1886–1938 was a Russian-born French Yiddish poet and anarchist the assassin of Symon Petliura 1879–1926 head of the Ukrainian government-in-exile in Paris in 1926. Schwartzbard held Petliura responsible for the death of fifteen of his relatives murdered in pogroms during Petliura rule of the Ukrainian National Republic. The number of Jews murdered during the massive 1918–1921 pogroms in Ukraine is estimated to be between 35000 and 50000 and a large percent of the violent attacks were carried out by soldiers under Petliura’s command. The Schwartzbard trial began in mid-October 1927 lasted for eight days in the end it turned on accusations of Petliura's responsibility for the pogroms and eventually Schwarztbard was acquitted. <br /> <p><p><br /> Scarce we could trace only 3 copies in institutional holdings Harvard University Widener Library Cambridge MA USA; NLI Jerusalem; Musée d’art et d’histoire du Judaïsme Paris.<br /> <p>. [I. Grodzensky] unknown
1927B-2022-0841<p>With one etching signed and numbered in pencil by Chagall. Marc Chagall Paul Morand. NRF Librairie Gallimard. Paris 1927 In octavo one of 120 numbered copies on Hollande Pannekoek with an etching on frontispiece by Marc Chagall on China paper signed by Chagall in pencil and numbered 20/120. Total Edition 325. Ref: Cramer #9. <br />Very good. Please ask for complete conditions report.</p> Gallimard paperback
1960475Marc Chagall B. 1887 VITEBSK RUSSIA; D. 1985 SAINT-PAUL-DE-VENCE FRANCE DRAWINGS FOR THE BIBLE as published for Verve.<br /> Verve Vol. X no. 37/38. 1960. Text by Gaston Bachelard. Folio. With 24 original lithographs in color including the cover by Chagall and 96 reproductions in black and white. Complete as issued. Verve hardcover
1943164927Paris: Les Éditions du Chéne 1943. With original self portrait drawn by Chagall First edition first printing inscribed by the artist in French with an original self portrait drawing "A mademoiselle Paulette Carlier Souvenir de Marc Chagall Vence 1951". Quarto. 16 tipped in colour plates after paintings by Chagall. Original illustrated wrappers lettering to front cover in black and grey. Housed in a red cloth flat-back box with black leather label. Spine split otherwise a bright copy. hardcover
196047654Monte Carlo: Andre Sauret 1960. First Edition. Hardcover. Fine/Near Fine. 6 volumes. All first editions Andre Sauret and Crown Publishers of the complete catalogue of Chagall's lithographs. A couple of small nicks/chips in the original glassine jackets of two volumes volume 4 clipped at the flap corner but not removing the price. This set in very near fine condition clean throughout and the bindings tight and square with only light nicking to the spine head of one jacket all housed in black cloth cases the first four in clamshell boxes the final two in black cloth slipcases with gilt titles to the front and spine of each. Complete with all the lithographs. Andre Sauret hardcover
19612312280032Printed by Mourlot published by Teriade Paris 1961. Art Prints & Posters. Like New. Limited edition of 250 colored lithographs. Unframed. Image dimensions: 59 x 43 cm. From Daphnis and Chloe printed on Arches wove paper by Mourlot published by Teriade Paris. Mourlot 343; Cramer books 46 Depicts Longus' Daphnis et Chloe where Daphnis falls into a wolf trap chasing one of his goats which Chagall has shown in blue. Printed by Mourlot, published by Teriade, Paris unknown
196438517Paris: Mourlot 1964. In very good condition. 99 x 632 cm 39 x 25 inches. Large-format original color lithograph by Marc Chagall after the Opéra ceiling lithographically interpreted and engraved by Charles Sorlier D'après Marc Chagall Ch. Sorlier Grav. printed by Mourlot Paris 1964. Hand-signed by Chagall in pencil lower right with a later occasional signature 1970. Sheet: 99 × 63.2 cm 39 × 25 inches. A monumental and rare signed impression of one of the most celebrated images in 20th-century French cultural life. Marc Chagall 7 July 1887 28 March 1985 was one of the most celebrated and beloved artists of the 20th century. Born Marc Zakharovich Shagal in Vitebsk Belarus then part of the Russian Empire he trained in Saint Petersburg before moving to Paris in 1910 where he became part of the vibrant avant-garde of Montparnasse. Drawing on Jewish folk tradition Russian culture and the imagery of his Belarusian childhood Chagall developed a uniquely dreamlike visual language infused with lovers floating above villages fiddlers on rooftops animals angels and mystical biblical scenes. Associated with Fauvism Cubism and Surrealism yet belonging to none he was the quintessential 'School of Paris' master. His monumental stained-glass windows ceiling paintings including the Paris Opéra and tapestries brought his vision to public spaces worldwide. Chagall's work is held at MoMA in New York the Tate in London the Centre Pompidou in Paris the Guggenheim and the Musée National Marc Chagall in Nice inaugurated in 1973 and dedicated to his biblical message cycle. He remains one of the most sought-after names in 20th-century prints with original lithographs consistently coveted by collectors worldwide.This large-format original color lithograph depicts a detail of Chagall's celebrated ceiling painting for the Paris Opéra the Palais Garnier commissioned by André Malraux and completed in 1964. The ceiling comprising 220 square metres of painted canvas divided into five colour zones pays homage to the great composers Mozart Wagner Berlioz Rameau and Debussy and was unveiled to wide acclaim. The scene depicted here 'Roméo et Juliette' is among the most lyrical passages of the ceiling showing lovers entwined in Chagall's signature floating reverie. The lithograph was produced in 1964 by Mourlot Paris and lithographically interpreted and engraved by Charles Sorlier Mourlot's chief lithographer and Chagall's most trusted technical collaborator as indicated by the imprint 'D'après Marc Chagall Ch. Sorlier Grav.' The sheet bears a hand signature by Chagall in pencil in the lower right corner added as an occasional signature Gelegenheitssignatur in 1970 not a signed numbered edition but a personal autograph applied directly to this impression. Such signed copies of the Opéra poster are rare and significantly more sought after than unsigned examples. The sheet edges show minor signs of wear consistent with display; colors are fresh and the image is in excellent condition. Hand-signed by Chagall in pencil lower right occasional signature 1970. The sheet edges show minor signs of wear consistent with handling and display. Colors vivid and fresh. Image in excellent condition. Sorlier 96 Mourlot unknown
1960191348Boston New York: Boston Book and Art Shop Crown Publishers George Brazillier 1960-86. Chagall's monumental catalogue raisonné with 28 original lithographs First American editions of the catalogue raisonné of Chagall's lithographic work a monumental feat of publishing which took more than two decades to complete. Text in English. 6 vols large quarto. Profusely illustrated in colour throughout and with 28 original lithographs by Chagall 22 in vols. I and II frontispieces of vols. III and IV the jackets of vols. I-IV. Original grey cloth titles to front covers and spines in black. With pictorial dust jackets of which 4 are original lithographs. Contents clean; dust jackets fine some light rubbing to edges small closed tear to head of spine of vol. V all dust jackets in their original acetate: a near fine set. hardcover
19602463<p>Marc Chagall B. 1887 VITEBSK RUSSIA; D. 1985 SAINT-ST. PAUL-DE-VENCE FRANCE. Monte Carlo and NYC Mourlot 1960-1986. 6 vols. 4to. pp. 220; 209; 179; 180; 250; 224. Illustrated throughout in colour and monochrome. Chagall made 24 original lithographs - most of them coloured - for these volumes. The dust jackets of the first 4 vols are also original colour lithographs."11 Publisher"s cloth and dust jackets. . Two Volumes signed in pen Vol. 1 and Vol III. Andre Sauret. 1960 - 1986. The complete catalogue raisonné of the lithographs. Monte Carlo & NY 1960-1984 1st editions in German French and English the complete set in 6 volumes containing about 1000 pages 28 original full-page lithographs circa 800 color and b&w illustrations. Cloth in decorative paper dust jackets. Vol. 1 the dust jacket is complete the volume is tight and fine inside; the other 5 volumes are flawless in excellent condition. All volumes with English German and French text each volume 13 x 11 in. <br />Volume 1 in German Lithographs from 1922 to 1957. 12 original lithographs 10 of them in colors Mourlot 281-292; Cramer 44 SIGNED in pen by MARC CHAGALL on the front end paper. With an additional brochure in Lithography of the full front cover and description of the volume 4 pp. <br />Volume II In German. with one brochure in German with 4 pp. with the original lithograph cover. 1962: 12 original lithographs 7 in colors Mourlot 577-578; Cramer 56. <br />Volume III 1962-1968 SIGNED BY MARC CHAGALL to Marc Kinkle IN PEN : 2 original color lithographs Mourlot 577-578; Cramer 77 French text. <br />Volume IV 1969-73: 2 original color lithographs in French Mourlot 729-730; Cramer 94; <br />Volume V In German 1974-79. <br />Volume VI 1980-85. In English. Crown Publishers. Additional references: Monod 2502-2507; Freitag 1561.</p> Verlag Andre Sauret hardcover
196382188Paris:: Andre Sauret Editeur 1963. First edition; No. 8 of 150 copies on Grand Velin d'Arches signed by Marc Chagall and ASndre Sauret. publisher's stiff illustrated wrappers in original glassine; preserved in the original cloth slipcase and lettered chemise. A very fine copy in chemise slightly faded at the spine and slipcase also with some fading at a bump at one corner which does not extend to the contents. . Folio. With two original lithographs created for this publication each numbered and signed by Chagall. The illustration on the binding is also an original lithograph. Illustrated throughout including much in color. Andre Sauret, Editeur, hardcover
1931CHAGALLM008535�ditions Roberto A. Corr�a Paris. 1931. First edition. Octavo. pp ii 135 ix. Illustrated with black and white plates. Pictorial wrappers. Pages unopened.Out of a total edition of 565 copies this is number 36 of 50 copies on Hollande with laid in at the front two original etchings by Chagall: ''Le Violoniste'' and ''Autoportrait au chevalet''. The latter has been signed by the artist in lower right corner.Covers a bit rubbed at head and tail of spine. Very good. Very scarce. �ditions Roberto A. Corr�a, Paris. unknown
196010<p><b>CHAGALL Marc 1887-1985. </b><i>Les amoureux de la tour Effiel. </i>Signed folio colored lithograph 24 x 19" matted. Paris: 1960. Number 78 of 200 signed by the artist. Fine copy of a delightful lithograph. <b>Mourlot </b>187. <br /></p>
19225084<p>Numbers 1-3. Each is quarto 26x17 cm. wrappers 80 80 83 pp. No. 1 released in 3000 copies No. 3 notes 2000. Cover design by Mark Chagall who also provided a statement in No. 1. A literary-artistic journal Shtrom was an organ of the Kultur-Lige which moved from Kyiv to Moscow in 1921. While not an official state publication it is the first Yiddish serial to appear in the USSR. Poetry and prose by Peretz Markish der Nister Pinchas Kahanowitz David Hofshtein Naum Auslander Nokhem Oyslender David Bergelson Itsik Kipnis N. Daniel and Shmuel Nisn-Gordiner inter alia. Shtrom aspired to be international in scope drawing on Yiddish writers worldwide but over time it published writers of the Soviet Union. The last 3 numbers came under Party control and it failed to maintain sufficient financial support to continue. OCLC traces only a holding in microfiche Harvard but MOMA has 1-4. Refs: <em>Shneer: Yiddish and the Creation of Soviet Jewish Culture 2004; Tradition and Revolution p. 151; MOMA 372</em></p> Shtrom paperback
196074797<p>Marc Chagall<br />Der Engel The Angel 1960<br />Lithograph<br />Hand Signed lower right<br />Numbered 13/100 <br />Image size: 32x26.5 cm <br />Frame size: 76 x 63.5 x 5 cm<br />Printed by Mourlot Paris. <br />Published by André Suaret Paris. <br />Reference Cramer 43 Mourlot 288.</p>
195638412Paris: Mourlot 1956. In very good to excellent condition. 35.6 x 266 cm 14 x 105 inches. Original signed color lithograph by Marc Chagall signed in pencil by the artist from Original Signed Lithograph 1956. Published by Mourlot 1956. Printed by Mourlot Paris. Sheet: 35.6 x 266 cm 14 x 105 inches. One of Chagall's most celebrated biblical prints — a collector's original not a reproduction. Marc Chagall 7 July 1887 – 28 March 1985 was one of the most celebrated and beloved artists of the 20th century. Born Marc Zakharovich Shagal in Vitebsk Belarus then part of the Russian Empire he trained in Saint Petersburg before moving to Paris in 1910 where he became part of the vibrant avant-garde of Montparnasse. Drawing on Jewish folk tradition Russian culture and the imagery of his Belarusian childhood Chagall developed a uniquely dreamlike visual language infused with lovers floating above villages fiddlers on rooftops animals angels and mystical biblical scenes. Associated with Fauvism Cubism and Surrealism—yet belonging to none—he was the quintessential 'School of Paris' master. His monumental stained-glass windows ceiling paintings including the Paris Opéra and tapestries brought his vision to public spaces worldwide. Chagall's work is held at MoMA in New York the Tate in London the Centre Pompidou in Paris the Guggenheim and the Musée National Marc Chagall in Nice—inaugurated in 1973 and dedicated to his biblical message cycle. He remains one of the most sought-after names in 20th-century prints with original lithographs consistently coveted by collectors worldwide.Signed original lithographs by Marc Chagall are among the most prized items in the modern prints market. Printed at the Mourlot studio in Paris—where Chagall worked closely with Fernand Mourlot from 1950 onward—and signed by the artist in pencil these works carry the direct authentication of one of the 20th century's greatest graphic artists.This original color lithograph sheet: 35.6 x 266 cm 14 x 105 inches depicts 'David and Bathseba - signed' signed in pencil by the artist. Published in 1956 by Mourlot this work is a fine example of Chagall's graphic production of the period printed at the celebrated Mourlot studio in Paris under the direct supervision of Fernand Mourlot. Each color was applied from a separate lithographic stone resulting in the luminous layered palette that makes Chagall's prints instantly recognizable. Chagall's biblical lithographs are among the most sought-after prints in his œuvre combining deep spiritual feeling with the dreamlike palette and symbolic imagery that define his unique vision. Collectors of 20th-century graphic art prize these works for their authenticity as original lithographs—not reproductions—and for their place in one of the most celebrated print suites of the postwar era. In very good to excellent condition. David and Bathseba is probably ChagallÂ’s most saught illustration of his famous bible series which were published in 1956 in Paris. Overall a very well preserved example of this hand signed original color lithograph. Mourlot 132 Mourlot unknown
1958N - 2026 - 12<p>Couleur Amour 13 Aquarelles. Gouaches Lavis de Marc Chagall. Au Vent d'Arles. Paris 1958 Preface by Jean Cassou. Large portfolio with 13 pochoirs realized by Daniel Jacomet after Chagall art works. Limited and numbered edition of 300 copies in Arabic N. 29 20 out of commerce in Roman I to XX printed in Richard de Bass paper especially watermarked for this edition. Loose as issued and collected in the original pictorial cloth portfolio folder especially executed by Chagall.</p> Au Vent d'Arles
196074909<p>Marc Chagall<br />The Tree of Jesse L'Arbre de Jessé 1960<br />Colour lithograph on Arches paper<br />Hand signed lower right<br />Edition 88/90 lower left<br />Image size: 56 x 38 cm<br />Frame size: 74.5 x 64.5 x 3 cm<br />Published by Maeght Editeur Paris<br />Reference: Mourlot 297 Cramer 40<br />Gallery COA</p>
197274763<p>MARC CHAGALL<br />Camille Bourniquel La Féerie et le Royaume Fernand Mourlot Paris 1972 M. 668-677; C. books 88<br />The complete set of ten lithographs in colors 1972<br />Hors-texte title page text in French and justification on Arches<br />Signed in pencil on the justification by both the artist and the author<br />Edition 158 of 205 <br />The full sheets Loose as issued folded paper covers beige cloth-covered boards and matching slipcase with title in gilt on the spine. 12 x 9 in. 312 x 234 mm.</p><p>All offers are welcomed</p> Fernand Mourlot hardcover
1964191164Paris: Mourlot 1964. One of 12 prints from the Twelve Maquettes of Stained Glass Windows for Jerusalem created for the synagogue at the Hadassah-Hebrew Medical Centre in Jerusalem. Printed by Charles Sorlier Paris. There was also an edition of 75 numbered in Roman numerals. Edition of 150 in Arabic numerals. Original lithograph in colours on watermarked Arches wove paper right edge deckled. Signed in pencil lower right by Chagall numbered lower left. Image size: 62 x 46.3 cm. Sheet size: 74.3 x 52.5 cm. Framed size: 87 x 67.5 cm. Presented in a handmade white gold leaf frame with acrylic glazing. Excellent condition. Sorlier/Mourlot CS13 unknown
1977182062Paris: Maeght Editeur 1977. With one of 25 signed etchings First edition number 17 of 25 copies signed by Chagall and Malraux on the limitation page and with an additional impression of the frontispiece on Japon Impérial paper all sides deckled signed and numbered by Chagall. The full edition was 225 copies 200 of which were numbered and 20 marked hors commerce both without the additional signed print. Malraux winner of the Nobel Prize in Literature provided the text based on a previously unpublished manuscript from 1939 about his experiences in the Spanish Civil War. Chagall executed the etchings with the plates destroyed after printing. Folio. With 16 full-page etchings with aquatint by Chagall 2 double page. Sheet size: 44 x 33 cm. Text in French. Original Rives wove paper wrappers lettering to front cover in black pages printed on Rives wove paper with deckled edges and publisher's watermark. Housed in publisher's beige cloth clamshell box lettering to spine gilt. All in fine condition. Cramer Chagall Illus. Books 103. hardcover
194248674New York.: Pierre Matisse. 1942. Original publisher's pale yellow printed wrappers with folding flap titles to front cover in green later green board slipcase. 8vo. 230 x 154 mm. Title to front cover verso and interior of folding flap with text 'Europe' by James Thrall Soby page also to interior of wrapper with 'Catalogue' with artist title and date of each work leaf of white paper with the text 'America' by Nicola Calas recto verso with blank leaf with notes here with numerous signatures see below following fold-out spread with monochrome reproduction photograph by George Platt Lynes of the participating artists see also below recto and verso also with the text 'America' concluding on the inner rear wrapper. PROVENANCE: Margaret and Alfred Barr; acquired from Barr's estate by Thomas Walther; private collection Berlin. Margaret and Alfred Barr's presentation copy of the catalogue for the exhibition they had done so much to enable signed by all of the participating artists and by the gallerist Pierre Matisse.Pierre Matisse's presentation is in black ink to the foot of the blank 'Notes' leaf bearing the signatures of the participating artists: 'THIS IS A SPECIALLY SIGNED COPY FOR MARGARET AND ALFRED BARR / Pierre Matisse / NEW YORK MARCH 3d 1942'.The copy is signed in various colour inks by all of the participants: Marc Chagall blue ink Pavel Tchelitchew turquoise Ossip Zadkine red Eugene Berman purple Yves Tanguy umber Fernad Léger red Max Ernst blue André Masson red André Breton turquoise Amedée Ozenfant blue Kurt Seligmann umber Piet Mondrian blue / black Roberto Matta Echaurren sepia and Jacques Lipchitz green.It is significant that Margaret Scholari Barr known as Marga is listed first in the presentation by Pierre Matisse as from 1940 she had taken charge of the ongoing operations to help artists and writers fleeing Europe. Each individual required 'a visa from the State Department an affidavit of financial support an affidavit of moral sponsorship vouching that he or she was in imminent danger and would not be inimical to U.S. interests biographical sketches and letters of reference proving identities and the above and at least $400 for ocean passage'. In conjunction with Curt Valentin himself a beneficiary of the Barrs' help Kay Sage she married Yves Tanguy another beneficiary in 1940 Kay Boyle and the Emergency Rescue Committee. Although no exact list of all of those who benefited from the help of the Barrs and the ERC remains extant the majority of those who exhibited in 'Artists in Exile' did and the present catalogue represents a remarkable testament to their work their efforts and their humanity.The exhibition - perhaps an unlikely one given the range of participants and their differing outlooks temperaments and sympathies - was held at Pierre Matisse 41 East 57th Street New York from 3rd - 28th March 1942; each of the artists contributed one work undertaken after their arrival in the US those by Masson and Lipchitz were courtesy of the Buchholz Gallery.'Pierre Matisse did not run after publicity but there were times when publicity ran after him. That is what happened in March 1942 when the Pierre Matisse Gallery in New York opened a show called 'Artists in Exile'. The title came fraught with pathos. So did the timing . The word 'exile' had sharp teeth . As he wrote to his father . 'I stayed in town to hang the exiles' show today instead of tomorrow. I took this precaution because all the exhibitors are right here in town. You know what they are like. They'd insist on giving me advice and making sure that their own painting had a very goood place . They number fourteen in all and I got them together for a group photograph. As most of them didn't speak to one another when they were in France I was afraid there would be trouble when they were all thrown together . '. Pierre Matisse quoted by John Russell.'In no sense were they a band of brothers. But they did all agree to huddle together before the camera . Given the variety of age instinct outlook nationality and relative achievement that was in question the show was necessarily the equivalent of alphabet soup. It was not likely that the fourteen artists in question would ever again be in the same room at the same time. Not only were they a tight fit in the space available but solidarity was minimal. And yet for an uneasy quarter of an hour along with other unlikely conjunctions André Masson sat next to Piet Mondrian and Marc Chagall sat between Max Ernst and Fernand Léger. There was zero eye contact. Unsmiling they sat stiff and still and stared straight ahead.' James Russell.' . as the situation became increasingly desperate across the Atlantic i.e. in Europe in the 1930s European artists scholars and arts workers began reaching out to MoMA for help. Working in concert with the Emergency Rescue Commitee ERC a group of New York-based activists MoMA staff including director Alfred H. Barr Jr. and his wife art historian Margaret Scholari Barr who led the initiative at the Museum helped their peers in Europe secure the papers and funds necessary to immigrate to the US . Scholari Barr made 'rescue' operations her full-time occupation in these years . Artists including André Breton Marc Chagall Max Ernst and Piet Mondrian were able to relocate here through the aid of the Barrs and the ERC.' MoMA catalogue.'Sometimes doing more than the government was willing to do MoMA was the final hope for many. The Barrs took advantage of their contacts and MoMA’s reputation to turn the museum into a literal protector and defender of modern art.' Christina Eliopoulos.see Christina Eliopoulos' 'In Search of MoMA’s “Lost†History: Uncovering Efforts to Rescue Artists and Their Patrons' MoMA 2016; see John Russell's 'Matisse: Father and Son' New York 1999 pp. 201 - 203. Pierre Matisse. unknown
1961191525Paris: Mourlot 1961. One of 42 images from the portfolio edition aside from the unsigned edition of 270 bound as a book. Daphnis et Chloé is based on an ancient 2nd century Greek romance by the novelist Longus. In 1912 Sergei Diaghilev's Ballets Russes commissioned the French composer Maurice Ravel to write the music for their ballet. Edition of 60. Original lithograph in colours on watermarked Arches wove paper lower left and right edges deckled. Signed in pencil lower right by Chagall numbered lower left. Image size: 54 x 37.6 cm. Sheet size: 42.5 x 32 cm. Framed size: 64.5 x 51.7 cm. Presented in a handmade white gold leaf frame with acrylic glazing. Excellent condition. Mourlot 308; Cramer Books 46 unknown
