A Belorussian-born French painter, printmaker, and designer, Marc Chagall created a singularly poetic figurative oeuvre full of rich colors and dreamlike imagery – flying lovers, massive bouquets, melancholy clowns, fantastic animals, lonely fiddlers, and vibrant hearts – that made him one of the most popular early modern and Western artists of the 20th century. Born Moishe Shagal on 7 July 1887, in Vitebsk, in the Russian Empire, Chagall grew up among a devout Jewish community. After learning the elements of drawing at a local school and studying painting at Zvantseva in St. Petersburg. He moved to Paris in 1910, befriending such audacious Expressionist and Cubist painters including Chaim Soutine, Robert Delaunay, Fernand Leger, Andre Lhote, and other members of the young avant-garde. Chagall’s own practice, however, also absorbed the rich hues of the Impressionist, post-Impressionist, and Fauvist paintings popular at the time. Responding to these stimuli, Chagall produced works such as I and the Village, 1911, The Fiddler, 1912, and Paris Through the Window, 1913, essentially establishing the whimsical and emotional vocabulary that would characterize his art of the next 60 years. The development of his career and the vagaries of two World Wars forced Chagall to move repeatedly between France, Germany, and Russia while also spending time in the United States. While in North America, Chagall excelled beyond painting, designing sets and costumes for numerous performances by the American Ballet Theatre. Eventually returning to Paris, Chagall would continue to work in France alongside his two great loves: one, lasting more than 30 years, with Bella Rosenfeld, who appeared in myriad paintings from Birthday, 1915–23, to Around Her, 1945; the other, with Valentina Brodsky, who was featured in several of his later portraits. The artist died in Saint-Paul-de-Vence on the French Riviera, where he had settled with Brodsky. Chagall’s six-panel stained-glass installation American Windows is permanently on view at the Art Institute of Chicago. Similarly, Chagall famously repainted the ceiling of Paris’s Palais Garnier for free, fulfilling the institution’s efforts to modernize. His works can also be found in the collections of the Montreal Museum of Fine Arts and the Solomon R Guggenheim Museum, New York. According to Sotheby’s Mei Moses, the average compound annual return for Chagall resold at auction between 2003 and 2017 was 6.8% and 85.0% of 294 such works increased in value.

Marc Chagall

Modern Day Auction Including Masterpieces from the Lewis Collection

Marc Chagall 1887 - 1985 Nu allongé signed Chagall and dated 912 (upper centre) pen and ink and gouache on paper 24 by 34.3 cm. 9½ by 13½ in. framed: 50.5 by 60.5 cm. 19⅞ by 23⅞ in. Executed in 1912. The authenticity of this work has kindly been confirmed by the Comité Chagall.

nu allongé

Masterpieces from the Lewis Collection

Marc Chagall 1887 - 1985 Les Amoureux de Vence signed Marc Chagall (lower left); signed Marc Chagall and dated 1957 (on the stretcher) oil on canvas 72.5 by 99.5 cm. 28½ by 39¼ in. Executed in 1957. The authenticity of this work has been confirmed by the Comité Marc Chagall.

les amoureux de vence

Marc Chagall 1887 - 1985 L'Artiste et le nu signed MArc Chagall (lower left); signed again and dated 1978 on the reverse tempera, gouache, brush and ink, pastel and pencil on masonite 35 by 27 cm. 13¾ by 10⅝ in. framed: 56 by 47.8 cm. 22 by 18⅞ in. Executed in 1978. The authenticity of this work has kindly been confirmed by the Comité Chagall.

l'artiste et le nu

Marc Chagall 1887 - 1985 La Femme rouge au coq signed MArC ChAgAll (lower right) gouache, coloured crayon, pastel and brush and ink on paper 59 by 50 cm. 23¼ by 19⅝ in. Executed in 1970. The authenticity of this work has kindly been confirmed by the Comité Chagall.

la femme rouge au coq

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a>, limited folio edition of <a href="https://www.sothebys.com/en/search?query=The%20Tempest&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">The Tempest</a>, signed by <a href="https://www.sothebys.com/en/search?query=Marc+Chagall&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Marc Chagall</a>.<ul><li>Marc Chagall (French-Russian).</li><li>After William Shakespeare (English).</li><li>Monte Carlo:&nbsp;Andre Sauret,&nbsp;1975.</li><li>Folio.&nbsp;</li><li>Fifty lithographs overall, with original tissue guards.</li><li>Limited edition of 250 signed and numbered copies (this is #96), 270 the entire edition.</li><li>Original glassine wrappers; printed on Arches wove paper, in a cream vellum box, stamped in gilt on cover, held in original publisher's cardboard shipping box with label.</li></ul> A wonderful and evocative series of lithographs, produced when Chagall was 88 years old. When Raymond Levy of Editions André Sauret first approached the artist about illustrating Shakespeare's Tempest, Chagall initially hesitated because he was afraid he might not do justice to the text, but then between March and May 1975, he produced fifty drawings on tracing paper, which were transferred onto zinc plates and sent back to Chagall for final retouching.

The Tempest | Signed by Chagall

Blessing of Ephraim and Manasseh, from The Bible, by <a href="https://www.sothebys.com/en/search?query=Marc+Chagall&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Marc Chagall</a>, 1956.<ul><li>March Chagall (Russia-French, 1887-1985).</li><li>Etching, hand-colored with watercolor on Arches Wove paper.</li><li>Hand-signed and numbered.</li><li>This work is presented unframed.</li></ul> This original etching is hand-colored by the artist in watercolor. It is signed in pencil "M. Ch." in the lower right margin. It is also hand numbered in pencil from the edition of 100, in the lower left margin. Each one of the 100 impressions was hand painted by Chagall in watercolor, making each impression a unique work. This etching is part of the The Bible series and was printed by Raymond Haasen, Paris in 1958 in a limited edition of 100 hand-coloured impressions. It is one the 105 images that Chagall created for this important series published by Tériade, Paris. Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Blessing of Ephraim and Manasseh, from The Bible

The Village, from: Chagall: Jacques Lassaigne, by <a href="https://www.sothebys.com/en/search?query=Marc+Chagall&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Marc Chagall</a>, 1957.<ul><li>Marc Chagall (Russian-French, 1887-1985).</li><li>Lithograph on Arches Wove paper.</li><li>Hand signed and numbered.</li><li>This work is presented unframed.</li></ul> This original lithograph is hand signed in pencil by the artist ‘Marc Chagall’ at the lower right margin. It is also numbered from the edition of 90 at the lower left margin. It was printed by Fernand Mourlot and published by Editions Maeght, Paris. The paper bears a partial Arches watermark in the upper right margin. Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

The Village, from: Chagall: Jacques Lassaigne

When Abdullah got the Net Ashore…, from: Four Tales from the Arabian Nights, by <a href="https://www.sothebys.com/en/search?query=Marc+Chagall&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Marc Chagall</a>, 1948.<ul><li>Marc Chagall (Russian-French, 1887-1985).</li><li>Lithograph in colors on Laid paper.</li><li>Hand-signed.</li><li>This work is presented unframed.</li></ul> This original lithograph in colors is hand signed in pencil by the artist "Marc Chagall" at the lower right margin. This is a proof aside from the edition of 90. The work is the 8th plate (of 12) from the album Four Tales from the Arabian Nights. This work was printed in 1948 in a limited edition of 90 signed and numbered impressions by Albert Carman, New York. It was published by Pantheon, New York. There is a thirteenth composition which was only included in ten of the portfolios. Each composition illustrates a piece of text from one of four tales from the Arabian nights. This composition relates to the story of “Abdullah the Fisherman and Abdullah the Merman”. The text from which the image was created is – “When Abdullah got the net ashore, he saw a man in it and he fled from him, but the man called out to him from within the net…” Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

When Abdullah got the Net Ashore…, from: Four Tales from the Arabian Nights

Marc Chagall1887 - 1945Le CirqueParis, Tériade Éditeur, 1967.In-folio (425 x 324 mm).En feuilles, couverture en vélin d’Arches, sous chemise et étui toilés de l’éditeur.L’un des chef -d’oeuvres de Chagall.Textes de Marc Chagall.38 lithographies originales de Marc Chagall, dont 23 en couleurs, comprenant 3 sur double page.Les lithographies ont été t irées sur les presses de Mourlot.Édition unique à 270 exemplaires sur vélin d’Arches. Exemplaire de collaborateur non signé.

Cirque

<a href="https://www.sothebys.com/en/search?query=Gogol&amp;tab=objects" rel="noopener noreferrer" target="_blank">Gogol</a>'s Les Âmes Mortes (Dead Souls), the first major book entirely illustrated and signed by <a href="https://www.sothebys.com/en/search?query=marc%20chagall&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Chagall</a>.<ul><li>Sold as a set of 2 volumes.</li><li>Nicolai Gogol (Russian).</li><li>Illustrated by Marc Chagall (French-Russian).</li><li>Paris: Tériade, 1948.</li><li>Folio.</li><li>Illustrated with 96 etchings, hors-texte, and 11 etched vignettes, en-texte on Japon nacré.</li><li>Signed by Chagall in ink on the justification page.</li><li>Limited edition, one of 50 copies on vélin d’arches filigrané, this being numbered 27, from a total edition of 368.</li><li>Text in French.</li><li>All loose as issued in publisher’s printed cream colored wrappers, with cream colored chemises.</li></ul>&nbsp;Gogol’s masterpiece Dead Souls, the first major book entirely illustrated by Chagall and his first illustrations for Vollard. Written over five years at the end of the long pilgrimage that brought Gogol to Germany, Switzerland, France and Italy, Dead Souls offers a vivid and ruthless portrait of a small swindler in provincial Russia in 1820. Published for the first time in 1842, the novel went on to exert a huge influence over the development of Russian literature. In 1923 the French publisher Ambroise Vollard asked Chagall to produce an illustrated edition. Chagall, who had always felt a strong emotional connection to the country where he spent his youth, agreed with enthusiasm and pursued the project between 1923 and 1927. However, like many other Vollard projects, the production of the work was interrupted and only completed years later. The final plate presents a particularly curious image in which Gogol reads and Chagall paints a portrait of Vollard.

Les Âmes Mortes

Take Up Again, Muses… Theocritus, from: In the Land of the Gods, by <a href="https://www.sothebys.com/en/search?query=Marc+Chagall&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Marc Chagall</a>, 1967.<ul><li>Marc Chagall (Russian-French, 1887-1985).</li><li>Published by A.C. Mazo, Paris, 1967.</li><li>Printed by Mourlot.</li><li>Lithograph in colors on Wove paper.</li><li>Hand-signed and numbered.</li><li>This work is presented unframed.</li></ul> This original lithograph in colors is hand signed in pencil by the artist "Marc Chagall" at the lower right margin.&nbsp;It is also numbered in pencil from the edition of 75, at the lower left corner. There was also an edition of 25 reserved for the artist, author, and collaborators. This subject is the ninth of twelve lithographs comprising the portfolio Sur la Terre des Dieux [In the Land of the Gods]. Reprenez muses, reprenez avec moi le chant bucolique. [Take up again, muses, take up again with me the bucolic song]. ﻿Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Take Up Again, Muses… Theocritus, from: In the Land of the Gods| Reprenez Muses…Theocritus: Sur la Terre des Dieux

Marc Chagall(1887 - 1985) Scène biblique signed Marc Chagall (lower right) oil on canvas 43 ¼ by 49 ⅜ in. 109.9 by 125.4 cm. Executed circa 1980.&nbsp;

Scène biblique

Fine Books and Manuscripts, Including Americana. Part 2

(Artist's Books) Two French limited edition artist's books, comprising: Mourlot, Fernand; and Jacques Prevert Souvenirs et Portraits d'Artistes. Paris: [Fernand Mourlot: 1972] 4to (323 x 250 mm). Limited edition of 800 copies, this number 4, with 25 mostly color printed lithographs by various artists including Henri Matisse, Georges Braque, Pablo Picasso, Joan Miro, Jean Cocteau, Marc Chagall, Alberto Giacometti, Bernard Buffet, Graham Sutherland, and others; offsetting and bleed-through from the plates, as to be expected. The contents loose, as issued, in original printed paper wrapper, with publisher's gray linen clamshell case, spine titled in black; wrapper toned, evidently from the interior of the clamshell case, a common occurrence with this title, the clamshell case with three spots of fraying and wear at the corners of the spine. [and] (Revue XXe Siecle) San Lazzaro et ses Amis. Paris, XXe siecle, 1975 4to (355 x 262 mm). Limited edition of 575 copies, this number 390, with 15 color lithographs by various artists, including "lithographies originales" by Alexander Calder, Marc Chagall, Max Ernst, Joan Miro, Henry Moore, Zao Wou-Ki, and others, and with "lithographies en second tirage" by Braque, Fontana, Magritte, Picasso, and others; offsetting and bleed-through, as expected. Loose, as issued, in original printed paper wrapper, publisher's linen clamshell case with spine titled in black, a photographic print of San Lazarro laid down on the interior of the front board; a few tiny spots of soiling to the wrappers, otherwise fine.

View 1 of Lot 434: (Artist's Books) | Two French limited edition artist's books

(artist's books) | two french limited edition artist's books

Verve Verve: Revue artistique et litteraire. Paris: Teriade, and New York: Harcourt Brace & Co., 1937–1958 Numbers 1–34 in 26 volumes, folio (approximately 355 x 270 mm). Mixed set, mostly French-language editions, but with nos. 3, 5, and 33/34 in English, profusely illustrated with reproductions and original lithographs by various artists of the School of Paris; occasional light soiling and a few small stains, very infrequent light toning, some spotting to no. 1, staining to the final leaf of no. 2, small stains from adhesives to titles and endpapers in nos. 3, 7, 10, 11, 12, 13, 16, 17/18, 23, 24, 25/26, 33/34. Original wrappers and pictorial boards, some rubbing and wear to extremities, occasional light toning and pale dampstaining to spines, a few creases to jacket flaps, no. 1 with mild foxing to the wrapper, no. 13 with losses at head and tail of spine, no. 16 with a toned tape repair to wrapper at tail of spine, no. 31/32 with tape repairs at head and tail of spine, and no 33/34 with repaired losses to wrapper edges, altogether a very good set. Each issue in a mylar protector, the set housed in 8 custom brown cloth clamshell cases, with printed paper labels to spines; light rubbing to extremities, a few nearly-indiscernible pale stains. A complete run of this sumptuous mid-century Parisian arts journal. This landmark Modernist magazine is prized for its lithographs of works by celebrated French artists. The illustrated covers alone feature work by a veritable who's who of the Paris School, including Matisse, Braque, Bonnard, Rouault, Maillol, Chagall, and Picasso. Other artists who contributed include Kandinsky, Leger, Giacometti, Derain, and Klee, among others. Published by Teriade between 1937 and 1960, in addition to the remarkable range of artists it featured, its early literary contributors included James Joyce and Ernest Hemingway. The set is uncommon when found complete and in presentable condition, as here. The contents of Verve comprise: No. 1: Lithographs by Leger, Miro, Ratner, cover by Matisse No. 2: Lithographs by Kandinsky (2) and Masson (2), cover by Braque No. 3: Lithographs by Chagall, Miro, Rattner and Klee, cover by Bonnard No. 4: Lithographs by Matisse (4) and Derain (4), cover by Rouault No. 5/6: Lithographs by Guys (4). Braque, Rouault, Derain (2), Leger, Bonnard (2), Matisse (2) and Klee, cover by Maillol No. 7: Les Tres Riches Heures du Duc de Berry No. 8: Lithographs by Bonnard, cover by Matisse No. 9: Les Fouquet de la Bibliotheque Nationale No. 10: Les Tres Riches Heures du Duc de Berry No. 11: Les Fouquet de Chantilly No. 12: Les Fouquet de Chantilly No. 13 Matisse, De la Couleur, 2 lithographs and cover by Matisse No. 14/15 Jean Bourdichon, Les Heures d'Anne de Bretagne No. 16: Rene d'Anjou No. 17/18: Couleur de Bonnard, lithograph and cover by Bonnard No: 19/20: Picasso, Couleur de..., cover by Picasso No 21/22: Matisse, Vence 1944-48, lithograph and cover by Matisse No. 23: Le Livre du Coeur d'Amour..., cover by Matisse No. 24: Contes de Boccace, cover by Chagall No. 25/26: Picasso, Vallauris 1949-1951, lithograph and cover by Picasso No. 27/28: Lithographs by Braque (2). Matisse (4), Giacometti (2), Masson (4), Leger (4), Miro (4), cover by Braque No. 29/30: Suite de 180 dessins de Picasso, 1953-54, 11 lithographs by Picasso No. 31/32: Carnets Intimes de G. Braque, cover by Braque No 33/34: Illustrations for the Bible by Marc Chagall, 17 lithographs and cover by Chagall No. 33/36: Dernieres oeuvres de Matisse, 1950-1954, 40 lithographs and cover by Matisse No 37/38: Marc Chagall, Dessins pour la Bible, 24 lithographs and cover by Chagall

View 1 of Lot 458: Verve | Complete set of this landmark art publication

verve | complete set of this landmark art publication

Livres & Manuscrits

[Avant-garde russe ─ Grand Bal des Artistes Travesti-Transmental] ─ Pierre Choumoff

[Avant-garde russe ─ Grand Bal des Artistes Travesti-Transmental] ─ Pierre Choumoff Photographies inédites du Grand Bal des Artistes Travesti-Transmental. Paris, février 1923. 8 tirages argentiques d’époque, par Pierre Choumoff, avec au verso son tampon violet : "Choumoff, Photographe, 6 Faubourg Saint-Jacques, Paris". Formats d'environ 170 x 223 mm (variations d'une photo à l'autre). Ces photographies représentent les décors éphémères et les participants du célèbre Grand Bal des Artistes Travesti-Transmental de février 1923. Témoignages visuels inédits de ce bal mythique d'avant-garde. Photographies, avec planche coloriée par Gontcharova, invitation et programme. Après les horreurs de la guerre, tout le monde veut faire la fête dans les années 20 à Paris : les Années folles voient les bals et fêtes costumées se multiplier partout dans Paris, au Bal Bullier, aux Salles Huyghens, à Magic City, au Moulin de la Galette à Montmartre ou dans l’atelier de Van Dongen. Plusieurs associations d'artistes organisent des bals, comme l’AAAA (Association pour l’Aide aux Artistes). Entre 1923 et 1925, l’Union des Artistes Russes à Paris organise de grands bals au profit de la caisse du secours mutuel. Ces événements réunissaient les artistes russes et de toutes nationalités, exilés ou installés à Paris : il y eut d’abord ce Grand Bal des artistes Travesti-Transmental à la salle Bullier en février 1923, puis le Bal banal (14 mars 1924), le Bal olympique, "Vrai Bal Sportif costumé" dans les caves de l’Olympia (11 juillet 1924) et enfin, le Bal de la Grande Ourse (8 mai 1925). Plus tard, il y eut également le Bal des deux Dianes (1926) et le Bal fantastique en l’honneur de Jules Verne (1929). Sous l’égide de Hélène Oettingen et organisés par Iliazd, Natalia Gontcharova et Mikhaïl Larionov, ces bals marquent la vie artistique de l’époque. Ces soirées font l’objet d’une production artistique originale : affiches, décors éphémères, spectacles théâtraux et performances, etc. Faisant exploser les limites du cadre de la scène, investissant murs, sol et au plafond, ces mises en scènes éphémères permettent aux artistes et participants de communier artistiquement. "Dans ces entreprises qui mobilisent un nombre considérable de participants la théorie de l’’union des arts’ chère à l’avant-garde se concrétise peut-être plus pleinement que dans les Ballets Diaghilev par l’adjonction de la poésie, de la calligraphie et de la sculpture et l’art de l’affiche. La scène n’est plus séparée de la salle, le spectateur est en même temps acteur, et la fête rappelle que l’art doit changer la vie" (H. Menegaldo, p. 259). Le premier et le plus célèbre de ces bals, le "Grand Bal des artistes Travesti-Transmental" fait référence aux conceptions poétiques de Khlebnikov, Kroutchenych et Zdanévitch. "Au nombre des attractions, ‘le fœtus à quatre têtes’, l’élection des femmes à barbe reines de la nuit, la ‘Compagnie transatlantique de pickpockets’ de Robert Delaunay" (H. Menegaldo, p. 259). Les costumes et les décors de théâtre créés par Natalia Gontcharova sont d'une importance majeure dans l'histoire de l'art théâtral décoratif, car ils ont révolutionné la scénographie en intégrant les avant-gardes artistiques au spectacle vivant et ont profondément transformé la relation entre espace, acteur et spectateur. Par nature éphémères, ces lieux transformés n’ont pas survécu : rares en sont les témoignages visuels. Les documents présentés sont probablement inédits. 8 photographies de Pierre Choumoff (1872-1936). Formé à Saint-Pétersbourg, le photographe s’exile en France afin d’échapper aux arrestations auxquelles l’exposaient ses activités artistiques. Initié à la photographie par Jan Strożecki, il travaille dans son atelier parisien de la rue du Faubourg-Saint-Jacques de 1911 à 1933. Principal photographe de Rodin, il réalise également les portraits de nombreuses figures majeures de son temps, parmi lesquelles Bakst, Chagall, Einstein, Fauré, Gleizes, Kerenski, Léger, Maïakovski, Monet, Pavlova, Pitoëff, Prokofiev, Stravinsky et Tsvetaïeva. Parmi ces huit photographies, on distingue celles qui présentent les décors de la manifestation de celles où des acteurs, artistes et invités du bal prennent la pose. S’il est délicat d’identifier tous les personnages sur ces clichés, on reconnaît cependant Foujita, installé à Paris depuis 1913, qui était de toutes les fêtes, adorant se déguiser. Le programme du bal annonce un spectacle intitulé "Foujita et les merveilles du Japon" : c’est lui que l’on distingue sur une estrade, entouré d’acteurs grimés ou vêtus de kimonos. [1]. Salle à décors peints sur toile tendue, un personnage assis au premier plan ; on distingue une affiche portant la mention "Avis Le prix des C[onsom]mations est majoré [au profit ?] de la Société [des a]rtistes Russes". [2]. Salle à décors peints sur toile tendue, avec un mannequin en costule féminin et un personnage (en carton ?) représentant une femme (il pourrait s’agir d’une des poupées-portraits de Marie Vassilieff ou de sa "poupée diseuse de bonne aventure" annoncée au programme ?). Sur les décors, on aperçoit le nom d’André Lasserre, celui de Olga Vtoroff (1898-1936) et la mention "La cachiri Rego-Monteiro", probablement Vicente do Rego Monteiro (1899-1970), artiste brésilien actif à Paris dans les années 1920, qui publia en français notamment Quelques Visages de Paris en 1925. [3]. Salle à décors peints sur toile tendue, dont un porte le nom de "Claire Fargue" (l'artiste émigra de Russie avant 1921, date à laquelle elle commence à exposer au Salon d'Automne, au Salon des Tuileries, et au salon de l'Araignée) ; un des décors est probablement de Serge Férat ou d'Irène Lagut. [4]. 7 personnages, en habits japonais posant sur une estrade avec inscriptions en japonais : certains en kimonos, avec éventails, ombrelle, etc. ; on reconnaît Foujita, torse-nu ; une femme en smoking avec un chapeau haut-de-forme). On distingue une femme attablée à l'arrière-plan. Il s'agit probablement des participants au spectacle "Fête villageoise au Japon" monté par "Foujita et ses amis" et, comme l'indique le programme, des "costumes et orchestre du vieux temps au Japon". [5]. Personnage travesti, devant une grande effigie peinte avec des inscriptions ("Cez..", "Manouche", "la bonne Av…", "mon ventre", etc. [6]. Groupe d’une cinquantaine de personnes, certaines costumées, d’autres en habits de soirée. On reconnaît Foujita au centre (torse nu, maquillé), etc. Plusieurs personnes sont en costumes japonais, on voit aussi un clown, un homme coiffé d'un turban, des femmes habillées en homme ou vêtues de mini-jupes, des masques, etc. [7]. Groupe d’environ 30 personnes, certaines déguisées, grimées, homme travesti, etc., avec en arrière-plan un décor et des personnages peints. [8]. Groupe (5 hommes et 2 femmes), en habits de ville, devant une fontaine ouvragée. On reconnaît peut-être Gontcharova et Larionov (de profil?). GONTCHAROVA, Natalia. 2 planches, dont une coloriée à la gouache et signée "N. Gontcharova", l’autre en noir.262 x 186 mm (planche) sur un feuillet 338 x 258 mm. L'épreuve gouachée a probablement été rehaussée par Natalia Gontcharova elle-même. LARIONOV, Mikhaïl. 3 planches dont : 1 en noir, 2 rehaussées à la main (peut-être par Larionov ?).275 x 225 mm. Billet d’entrée pour le Grand Bal des Artistes Travesti-Transmental. Paris, 1923.223 x 137 mm. Impression recto bicolore en xylogravure sur papier fort beige. Billet d’entrée pour le Grand Bal des Artistes organisé salle Bullier 31 rue de l'Observatoire à Paris le 23 février 1923 "au profit de la caisse de secours mutuel de l'Union des Artistes Russes". Exemplaire non numéroté et sans prix marqué. Illustré d'un grand bois gravé bicolore de Mikhail Larionov (trois personnages stylisés). Programme original du Bal, conçu par Larionov pour l’Union des Artistes Russes. Paris, 1923.In-4. Broché. Grand Bal des Artistes organisé salle Bullier 31 rue de l'Observatoire à Paris le 23 février 1923 "au profit de la caisse de secours mutuel de l'Union des Artistes Russes". Illustrations de Picasso, Ferat, Gris et Derain. Ces documents proviennent probablement d'un des organisateurs ou de son entourage (peut-être le photographe Pierre Choumoff ?). Ils ont appartenu à Xavier Fourcade, fameux galeriste américain qui défendit Willem de Kooning, John Chamberlain et Joan Mitchell, entre autres.

View 1 of Lot 112: Grand Bal des Artistes Travesti-Transmental. Février 1923. 8 photographies (décors et participants, dont Foujita), 3 planches de Gontcharova et Larionov (une gouachée et signée), programme et invitation.

grand bal des artistes travesti-transmental. février 1923. 8 photographies (décors et participants, dont foujita), 3 planches de gontcharova et larionov (une gouachée et signée), programme et invitation.

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