?Final Price Realized includes Buyer’s Premium added to Hammer Price
Estimate: $ 30,000 - $ 50,000
MARC CHAGALL (after) Romeo and Juliet.
Color lithograph, 1964. 635x990 mm; 25x39 inches, full margins. The deluxe edition, before letters. Signed and numbered 74/200 in pencil, lower margin. Printed by Mourlot, Paris. Published by the French Tourist Bureau, Paris. A superb impression of this large, important lithograph with vibrant colors.
Chagall's (1887-1985) exceptional career as a lithographer was greatly facilitated by his ongoing artistic collaboration with the master-printer Charles Sorlier of the Atelier Mourlot, Paris. Though Chagall made lithographs as early as the 1920s, his lithographic work blossomed from the 1950s onward, under the guidance of Sorlier. Chagall and Sorlier worked together closely; after creating a composition, Chagall trusted Sorlier to touch-up his lithographic stones, and provide approval of quality. Sorlier became so familiar with Chagall's work (and Chagall relied on Sorlier's judgment to such an extent) that Sorlier created a number of prints in a style "after" Chagall, as interpretive designs of Chagall's original paintings and gouaches (see lots 682 and 684).
Many other artists produced "after" prints in this fashion as well, issuing works that were made by the same professional printmakers that they were working with to produce their "original" editions. In other cases, the "after" prints were created by well-known artists; Jacques Villon, for instance, made many prints after artists such as Matisse and Picasso (see lots 466 and 467). "After" prints were also created under the auspices of artists' publishers. The Parisian publisher Georges Braque worked with Maeght to create graphics made "after" his watercolors and paintings. The printers whom he regularly worked with on his "original" graphics headed these projects. Like Chagall, Braque assisted the printers closely throughout the entire process; he chose each image and which technique to use, directed the lithographer or engraver, and corrected and approved the proofs, authorizing his production of the work by hand-signing the edition.
These "after" prints reproduce prominent, large color paintings from earlier in the artists' careers, created before they had begun to utilize color printmaking techniques, and generally, from the mid-20th century on, were championed by print publishers as a means of extending the artists' commercial output. Sorlier 96.
