MARC CHAGALL (1887-1985)
MARC CHAGALL (1887-1985)
MARC CHAGALL (1887-1985)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more
MARC CHAGALL (1887-1985)

Coucher de soleil et coq au double-profil ou Le souvenir de la ville

Details
MARC CHAGALL (1887-1985)
Coucher de soleil et coq au double-profil ou Le souvenir de la ville
signed ‘Chagall Marc’ (lower left)
gouache, pastel and brush and India ink on paper
22 ¾ x 31 ½ in. (57.8 x 80 cm.)
Executed in 1971
Provenance
Anonymous sale, Sotheby’s, London, 26 June 1985, lot 429.
Private collection, Europe, by whom acquired at the above sale; sale, Christie’s, New York, 5 May 2010, lot 269.
Acquired at the above sale by the present owner.
Exhibited
Osaka, Takashimaya Art Gallery, Marc Chagall, March - June 2012, no. 30, p. 47 (illustrated); this exhibition later travelled to Kyoto, Takashimaya Art Gallery, March - April 2012; Yokohama, Takashimaya Art Gallery, April - May 2012; and Tokyo, Takashimaya Art Gallery, June 2012.
Okayama, Prefectural Museum, Marc Chagall, July - October 2012, no. 27, p. 53 (illustrated); this exhibition later travelled to Gifu, Prefectural Museum, July - October 2012.
Special Notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Post Lot Text
The Comité Marc Chagall has confirmed the authenticity of this work.
Sale Room Notice
Please note that the correct medium for this work is 'gouache, pastel and brush and India ink on paper' and not as stated in the printed gallery guide.

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Lot essay

There is nothing anecdotal in my pictures - no fairy tales - no literature in the sense of folk-legend associations... For me a picture is a plane surface covered with representations of objects - beasts, birds, or humans - in a certain order in which anecdotal illustrational logic has no importance. The visual effectiveness of the painted composition comes first. Every extra-structural consideration is secondary”

Marc Chagall

The representation of hybrid creatures between man and animal comes from a long tradition spreading from Hieronymus Bosch to Goya, through Johann Füssli. In the 20th Century, Chagall is probably the one who most frequently drew on from the animal directory to populate his universe. It is for the artist a sign of his deep attachment to his childhood, marked by religious folklore and the omnipresence of domestic beasts raised by his family. Without insisting too much on the symbolism of the animals he represents, the animal presence allows Chagall to stress the expressiveness, humour and lyricism of his compositions, in order to emphasize that humans and animals are ultimately members of the same community.

If I create from the heart, nearly everything works; if from the head, almost nothing”

Chagall had from the outset established himself as a colourist, but it was not until this latter part of his life that his colour achieved its full radiance and plenitude in his work. It was during the 1960s, using the lessons he had learned while working on several large-scale public commissions for stained glass windows, that light and colour became an essential elements in Chagall's work in their own right. Coucher de soleil et coq au double-profil is suffused with the warm luminosity and sun drenched colour of the South of France, which Chagall has complimented with his airy, free handling of pigment. The imagery employed combines some of Chagall's favourite subjects in a composition of great poetical beauty, worthy of the artist's best works.

Lot Essay Header Image: Present lot illustrated (detail).

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