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120 Main Street, Upton MA 01568-6193

For more information or to purchase, please call 1-800-809-3343 or email us at spaightwood@gmail.com

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Last updated: 1/25/2017
Home / Gallery Tour 1 / The Worlds of Marc Chagall / Gallery Tour 2 / Artists
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Marc Chagall and Paris

Our Chagall pages are arranged thematically and/or by series and illustrate over 200 different etchings and lithographs. Clicking on the links will bring you to one or more pages on that subject.

Paris / Paris2 / The Village / The Circus / Circus 2 / Lovers / Lovers 2 / Music / Music 2
Flowers / Flowers 2 / Self Portraits / Self Portraits 2

Dead Souls (1923-27) / Dead Souls 2 / Dead Souls 3 / Dead Souls 4 / Dead Souls 5 / Maternité (1925-26)
Fables of La Fontaine (1927-30) / Fables 2 / De Mauvais Sujets (1958) / Et sur la terre (1977)

Chagall and the Bible
Etchings for the Bible (1930-39, 1952-56) / Bible Etchings 2 / Bible Etchings 3
1956 Verve Lithographs for the Bible / 1956 Bible Lithographs 2
1960 Verve Lithographs for Drawings for the Bible / 1960 Bible Lithographs 2 / 1960 Bible Lithographs 3
The Story of the Exodus (1966) / Exodus 2 / The Jerusalem Windows (1962) / Other Biblical Subjects

Chagall in black and white / Signed Chagall Etchings and Lithographs
Original Chagall Posters

Review, 12/10/03 Rhythm Section (an entertainment guide jointly produced by the Wisconsin State Journal and the Capital Times)

Marc Chagall on Paris

We came to Paris as though impelled by fate. We sought the sun that would light up the shadowy corners within us, within our souls which suffered in a kind of darkness. Each from his own corner of the world found his weary way to Paris, not to make his name—at that time there was little hope of achieving success—but in order to express himself differently, completely, and, above all, to find the artistic means to give outward manifestation to inward feelings

It should not, however, be thought that we were betraying the countries from which we had come. On the contrary. I believe that deep within ourselves we remained even more faithful to them, thanks to France, without whom the artistic sources of our native lands could not have found clear expression. No one can fully explain this phenomenon, but, over the past two hundred years, only in the atmosphere of Paris has it been possible to evaluate the qualities and defects of a painting. In this country the chemistry of the plastic arts becomes visible. Here it can be weighed, independently of all "-isms," just as formerly in Italy, and in other countries, a kind of plastic eloquence could be appreciated. This is not due merely to the French Academy—it is the very air of the country, and other things more difficult to define, that have produced the colours of a Watteau, a Chardin, a Cézanne, a Monet. . . .

I left my native land in 1910. At that moment I decided that I needed Paris. I came because I sought the light of Paris, its freedom, its refinement and the skills of the craft. Paris lit up my shadowy world like the sun. But in seeing the light, at the Louvre and elsewhere in France, I did not forget the country where I was born. On the contrary. I saw it more clearly. I could, of course, have expressed myself in the town where I was born. But I wanted to see with my own eyes the things I had heard about so far away that "revolution of the eye," the colors that blended freely into each other, reflecting the light whilst striving energetically with one another in the flow of a studied or a casually dominant line. The sun of art shone only in Paris. It seemed to me then, as it still does, that there can be no greater revolution of the eye than that I experienced on my arrival in Paris.
Place de la Concorde (M. 83). Original color lithograph, 1952. 75 signed & numbered + 6000 unsigned impressions. Published in a special issue of the deluxe art review Verve dedicated to Chagall's vision of Paris. One of Chagall's earliest color lithographs. Image size: 353x264mm. Price: $2500.
Mother & child in front of Notre Dame. (M. 82). Original color lithograph, 1952. 75 signed & numbered + 6000 unsigned impressions (of which ours is one). Published in a special issue of the deluxe art review Verve dedicated to Chagall's vision of Paris. One of Chagall's earliest color lithographs. Image size: 353x264mm. Price: $2000.
Vision of Paris (M. 81). Original color lithograph, 1952. 75 signed & numbered + 6000 unsigned impressions (of which ours is one). Published in a special issue of the deluxe art review Verve dedicated to Chagall's vision of Paris. One of Chagall's earliest color lithographs, with the usual off-center centerfold. several millimeters are covered by the mat. Image size: 353x528mm. Price: $3250.
Vision of Paris: Evening (M. 86). Original lithograph, 1952. 75 signed & numbered + 6000 unsigned impressions (of which ours is one). Published in a special issue of the deluxe art review, Verve dedicated to Chagall's vision of Paris. Image size: 353x264mm. Price: $750.
Night in Paris (M. 96). Original color lithograph, 1954. 75 signed and numbered impressions plus 2500 impressions signed in the plate (of which ours is one). Published in a special number of the deluxe art review Derriere le Miroir dedicated to Chagall's vision of Paris. Illustrated in Marc Chagall: Bonjour Paris (Basel, 1983) and the 1977 catalogue for a graphics retrospective at the Message Biblique museum in Nice. Image size: 335x280mm. Price: $4250.
Quai de Bercy (M. 93). Original color lithograph, 1954. 75 signed and numbered impressions plus 2500 impressions signed in the plate (of which ours is one). Published in a special number of the deluxe art review Derriere le Miroir dedicated to Chagall's vision of Paris. Illustrated in Marc Chagall: Bonjour Paris (Basel, 1983) and the 1987 catalogue for a graphics retrospective at the Message Biblique museum in Nice. One of Chagall's most beautiful lithographs! With the usual off-center centerfold. Several millimeters are covered by the mat. Image size: 378x456mm. Price: $5500.
Quai de Bercy (M. 93). Original color lithograph, 1954. 75 signed and numbered impressions plus 2500 impressions signed in the plate (of which ours is one). Published in a special number of the deluxe art review Derriere le Miroir dedicated to Chagall's vision of Paris. Illustrated in Marc Chagall: Bonjour Paris (Basel, 1983) and the 1987 catalogue for a graphics retrospective at the Message Biblique museum in Nice. One of Chagall's most beautiful lithographs! With the usual off-center centerfold. It has been trimmed to edge of the image and still has the large border of gray. It just came back from restoration and has been deacidified, washed, and cleaned. The center fold has been reinforced and the old tape that had been used to mat it has been chemically neutralized. In short, it has now been made as archivally secure as possible. The photo shows the entire lithograph (the white showing is the space betweeen the edge of the mat and the lithograph). Image size: 378x456mm. Price: $4500.

The two photographs were taken about a munte apart under the same lighting from the same camera at the same distance.
Dimanche / Sundays (M. 98). Original color lithograph, 1954. 75 signed and numbered impressions plus 2500 unsigned impressions (of which ours is one). Published in a special number of the deluxe art review Derriere le Miroir dedicated to Chagall's vision of Paris. Illustrated in Marc Chagall: Bonjour Paris (Basel, 1983) and the 1977 catalogue for a graphics retrospective at the Message Biblique museum in Nice. Image size: 335x280mm. Price: SOLD
The Monsters of Notre Dame (M. 101). Original color lithograph, 1954. 75 signed and numbered impressions plus 2500 impressions signed in the plate (of which ours is one). Published in a special number of the deluxe art review Derriere le Miroir dedicated to Chagall's vision of Paris. Illustrated in Marc Chagall: Bonjour Paris (Basel, 1983) and the 1977 catalogue for a graphics retrospective at the Message Biblique museum in Nice. Image size: 352x270mm. Price: SOLD.
The tree of Jesse (M. 297). Original color lithograph, 1960. 90 signed & numbered impressions + c. 1500 unsigned impressions (of which ours is one). Executed the same year as Chagall's suite of color lithographs for the Bible, this rare night scene glows with brilliant colors not seen much after this date, as Chagall's palate went pastel. Hard to find! Image size: 320x250mm. Price: SOLD.
The Pantheon (M. 95). Original lithograph, 1954. 75 signed and numbered impressions plus 2500 impressions signed in the plate (of which ours is one). Published in a special number of the deluxe art review Derriere le Miroir dedicated to Chagall's vision of Paris. Image size: 380x280mm. Price: $850.
The Lovers' Sky (M. 393). Original color lithograph, 1963. 40 signed & numbered impressions plus 2500 unsigned impressions for Chagall Lithographe Volume II (of which ours is one). Image size: 320x240mm. Price: $1,250.
Romeo and Juliet (Sorlier p. 96). Color lithograph by Charles Sorlier after Chagall's preliminary model for the Paris Opera House ceiling, 1964. 200 impressions on Arches paper without poster text signed and numbered by Chagall plus 5000 impressions with text commissioned by the Office of French Tourism. Chagall supervised the production of this work; one of the signed impressions sold at auction in 2006 for $31,000. A very fine impression with strong colors of this large and beautiful lithograph; some repaired tears and rubbings at the extreme edges. Image size: 650x1010mm (25-1/2x39-3/4 inches). Price: $3600 (frame not included).
The Magician of Paris (Sorlier p. 120). Color lithograph by Charles Sorlier for a major Chagall retrospective at the Grand Palais in Paris after a large lithograph by Chagall, 1970. The first edition was 6000 impressions; because the poster sold out during the exhibition, a second edition of 3500 was printed. Chagall supervised the production of this work. The text below the image has been trimmed and there are the remains of old dry-mounting adhesive on the verso not affecting the image. Image size: 550x400mm. Price: $850.

The left and right lower corners are actualy the same white as the upper parts of the print.

Spaightwood Galleries, Inc.

To purchase, call us at 1-800-809-3343 (508-529-2511 in Upton MA & vicinity) or send an email to spaightwood@gmail.com.
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For directions and visiting information, please call. We are, of course, always available over the web and by telephone (see above for contact information). Click the following for links to past shows and artists. For a visual tour of the gallery, please click here. For information about Andy Weiner and Sonja Hansard-Weiner, please click here. For a list of special offers currently available, see Specials.

All works are sold with an unconditional guarantee of authenticity (as described in our website listing).

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Visiting hours: Saturday and Sunday noon to 6 pm and other times by arrangement.
Please call to confirm your visit. Browsers and guests are welcome.