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Spaightwood Galleries
Marc Chagall signed prints
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To sign or not to sign: that is the question
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The pencil signature is a fairly recent development in the history of printmaking. The practise is generally attributed to Whistler's brother-in-law, Sir Francis Seymour Haden, who was soon imitated by Whistler himself. Until the last third of the 19th century, the only time a print came with a signature was when it was a gift by the artist. Seymour Haden's great innovation was to charge extra for a signature: 5 guineas for an unsigned print, 6 for a print with a signature (a guinea equaled 21 shillings or about $5.25, so Haden's innovation added a modest 20% or $5.25 to the price of a print). The innovation did not catch on immediately. Most of Renoir's and Cezanne's prints are unsigned as are most German Expressionist prints, which were often published in books and periodicals in editions of between 200 and 1000 impressions. The practice of having separate signed and unsigned editions continued during most of the 20th century. Chagall, Miró, Picasso, Braque, Giacometti, Kandinsky, Kollwitz, and others often did both signed and unsigned editions so that those who could afford to pay could have a signed impression while those who could not could still have the print. Kollwitz frequently published a small edition with pencil signature and then, a few years later, a larger unsigned edition of the same piece would appear. Chagall's great etching series either come unsigned, like the Dead Souls, his first major work for Ambroise Vollard, or partially signed and partially unsigned. Chagall was at his most elaborate when he and Vollard decided to issue three editions of The Fables of La Fontaine: a small signed edition of 100 numbered with the place of the plate in the series, a hand-colored but unsigned impression of 85, and an unsigned edition of 240. It was thus possible either to have an unsigned hand-colored impression or a signed but uncolored impression. In the Bible etchings, Chagall and Vollard changed course: the etchings came either unsigned and uncolored or signed and hand-colored. Chagall also made many prints for publication in deluxe art reviews like Derrière le Miroir and XXe Siecle; sometimes these would also be available in a small pencil-signed and numbered edition. To further complicate things, sometimes Chagall would take one of the large-edition unsigned pieces, sign it, and send it off to a friend or sign one of the unsigned impressions at a gallery opening. A pencil signature on a print that was not supposed to be signed is called a complimentary signature. A Chagall signature on a letter is worth about $1000; on a work of art it can be worth many times that amount. Unfortunately, as the desire for signed Chagall prints pushed the prices higher and higher, the forgers, scenting an opportunity, were quick to take unsigned prints, add a fake signature, often an HC or EA annotation, and let it go at that. Spaightwood guarantees the authenticity of all works we sell. That guarantee includes the signature.
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Petrouchka retires les bottes / Petrochka removes Tchitchikov's boots (Sorlier 68, Hannover 108). Original etching, 1923-27. 335 impressions signed in the plate + 33 HC. No hand-signed impressions exist from the published edition. Ours is a very rare (if not unique) pencil-signed trial proof labeled "Essai" lower left. After this proof, Chagall added more hatching to Petrochka's chest and hair, Tchitchikov's back and boots, and the area of floor by Petrouchka's foot. There is a full page ilustration in Sorlier's Marc Chagall and Ambroise Vollard. A very crisp and sharp impression. Image size: 277x220mm. Price: $9500.
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Le chat et les deux Moineaux / The cat and the two sparrows (H. 243, S. 191). Original etching, 1927-30. 100 pencil signed impressions (of which this is one), 85 hand-colored impressions, and 240 impressions (of which 40 are on japon paper) signed in the plate for The Fables of La Fontaine. This image occurs as plate 97 in the Fables. The Fable concerns a cat and a sparrow whohave been brought up together and become friends. They play with each other and scuffle playfully at times, but the cat always keeps his claws in. One day a strange sparrow flies in and assaults the cat's friend. The cat, defending the honor of his sparrow, proceeds to kill and eat the stranger. However, having tasted sparrow tartare, so to speak, his friend soon follws the stranger down the cat's throat as he reflects, "The world is right! / A bird is certainly a bite upon which to gloat." The poet offers the dedicatee, the Duke of Burgundy, the opportunity to draw his own moral from this fable: "What moral can I deduce from what has just been said? / Fables aren't fables if not brought to a head. I seem to detect outlines which escape me; no use; / Conundrums are for you, not for my groping muse." Since the Duke does not reply, it is up to readers to supply the missing moral, which probably warns that it is not wise to keep your friends too close if they might suddenly turn and devour you. A very strong impression; slight discoloration outside the platemark. Image size: 299x237mm. Price: $9500.
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L'artiste II (M. 929). Original color lithograph, 1978. 50 signed & numbered impressions, of which this is n. 11/50. This work has just come back from restoration. It is a beautiful image in very good condition. Image size: 330x250mm. Price: $15,000.
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Pour Vava plate 13: David plays for King Saul (Cramer 1992, n.142). Original tampon sec or scratch lithograph, 1984. This late work is part of a love note from Chagall to his wife, Vava (Valentina). Edition: 10 signed and numbered impressions. Chagall coated a stone with black lithographic ink, scatched a drawing into the ink with a sharp-pointed stylus, laid the paper face-down upon the stone and rubbed the reverse until the ink transferred to the paper (see William M. Ivins, Jr. How Prints Look (Boston: Beacon Press, 1958, p. 17). This work was shown in Nice in a celebration of Chagall's long collaboration with Gerald Cramer (see Patrick Cramer, Marc Chagall–Gerald Cramer, Trente ans de travail et d'amitie [Geneve: Galerie patrick Cramer, 1994], p. 35, n. 142). Our impression is a signed artist's proof. Image size: 240x177mm. Price: $12,500.
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Bouquet for Fernand (M. 635). Original color lithograph, 1972. 800 unsigned impression for Mourlot's Souvenirs et portraits d'Artistes, published in Paris by Alain Mazo. There were also 50 portfolios with Roman numerals and several unnumbered artist's proofs. Ours is a signed trial proof on which Chagall has crossed off the printer's border marks (full sheet illustrated on left above; image as matted on right; the backgound is cream, the brown is the result of using a flash to illuminate the piece from up close). Since only Chagall would have access to this proof, it gives a baseline for a "private" signature, as opposed to the more flamboyant "public" signature he uses on signed and numbered editions. Image size: 335x260mm Price:$4750.
We also have one of the 800 unsigned impressions available: Price: $1500.
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Mystical Crucifixion (D.L.M. 250, n. 27-28). Original color lithograph, 1950. c. 1000 impressions signed in the stone; published in the deluxe art review, Derriere le Miroir in 1950. Chagall began doing paintings of the Crucifixion after the Nazis came to power, perhaps as a reminder that there were times in the past when the the full power of the state was turned against Jewish rabbis and their followers. It may be significant that this is one of the first two color lithographs that Chagall drew directly on the stone and that it came shortly after Israel's war for independence led to a troubled peace and six years before the Arab states would try again to destroy Israel. Identified in the 1982 catalogue raisonné of Derrière le Miroir as an original lithograph and mentioned as one of Chagall's first two solo efforts at color lithography in a 1977 memoir by Aimé Maeght, Chagall’s dealer from 1950 on and the one who sent him to Mourlot’s lithography workshop to learn how to do all of the color stones for his lithographs, thereby starting a collaborative relationship with Charles Sorlier, master-printer at Mourlot, with whom he would work until his death in 1986. From now until 18 January 2009, another impression of this lithograph will be on display at the Museum of Biblical Art (Broadway and 61st Street in New York City) in an exhibition entitled Chagall's Bible: Mystical Storytelling, a title so good I wish I had thought of it first. Although our print is not in the show (because it is on the walls in our show), the photograph of this work included in the brochure for MOBIA's show, provided by us, is of our impression (as were three other photographs in their brochure). MOBIA's wall label suggests that the woman with the female child on the right of the composition were Chagall's first wife, Bella, and his daughter, Ida. No separate signed & numbered edition exists; with the ceterfold as always. Image size: 360x520mm. Price: $4150.
Impression without complimentary signature available. Price: $1625.
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Ruth at the feet of Boaz (M. 248). Original color lithograph, 1960. 50 signed and numbered impressions plus 6500 unsigned impressions. Ours is an impression from the unsigned Verve edition with a complimentary signature. Image size: 356x253mm. Price: $3,900. (Also available without signature. Price: $1,575.)
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Job in despair (M. 254). Original color lithograph, 1960. 50 signed and numbered impressions plus 6500 unsigned impressions. Ours is an impression from the unsigned Verve edition with a complimentary signature. Image size: 356x253mm. Price: $3,900. (Also available without signature. Price: $1,575.)
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Acrobat on a green background (M. 946). Original color lithograph, 1979. 20,000 impressions signed in the stone. Illustrated in Chagall's Works in Series. Ours is a pencil-signed impression taken from the deluxe art review, Derrière le Miroir. 310x220mm. Image size: 278x211mm. Price: $3250. Also available without the pencil signature (as shown): $950.
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Bouquet a l'oiseau (M. 298). Original color lithograph, 1960. Edition: 75 signed & numbered impressions plus c. 2000 unsigned impressions for the deluxe French art review, Derrière le Miroir. Ours is an impression with a complimentary signature. A brilliant impression of one of Chagall's most beautiful early images. Illustrated Nice 1987. Image size: 340x260mm. Price: $3600.
An unsigned impression of the Derrière le Miroir impressions matted so that the lettering at top is not visible is also available for $1450.
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The painter in front of the village (M. 603b). Original color lithograph, 1969. 75 signed & numbered impressions + 5000 unsigned impressions published in 1969 in the deluxe art review, Derrière le Miroir. Our impression has a complimentary signature by Chagall. Image size: 380x280mm. Price: $3850.
Also available without the pencil signature: $1000.
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Carte de voeux pour l'année 1974 (M. 708). Original color lithograph, 1974. 200 unsigned impressions reserved for Chagall for use as his 1974 New Year's Card. The lithograph is printed on Arches paper folded to make a greeting card. Our impression contains a note addressed to "meine lieben Nina & Rudi" signed "Marc & Vava Chagall" by Chagall. Image size: 143x109mm. Price: $5250.
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The village (M. 917). Original color lithograph, 1977. 15,000 unsigned impressions. Ours is a signed impression as taken from the deluxe art review, Derrière le Miroir. Image size: 380x560mm. Price: $3,750.
An unsigned impression is available for $975.
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Pour Vava / For Vava: The Artist at the Easel (Cramer 1992). Original tampon sec or scratch lithograph, 1984. This late work is part of a love note from Chagall to his wife, Vava (Valentina). Edition: 10 signed and numbered impressions. Chagall coated a stone with black lithographic ink, scatched a drawing into the ink with a sharp-pointed stylus, laid the paper face-down upon the stone and rubbed the reverse until the ink transferred to the paper (see William M. Ivins, Jr. How Prints Look (Boston: Beacon Press, 1958, p. 17). This work was shown in Nice in a celebration of Chagall's long collaboration with Gerald Cramer (see Patrick Cramer, Marc Chagall–Gerald Cramer, Trente ans de travail et d'amitie [Geneve: Galerie patrick Cramer, 1994], p. 35, n. 142). Our impression is a signed artist's proof showing the artist—clearly Chagall—turning away from his easel, where he has just completed a portrait of himself with Vava against the backdrop of Nice. Very rare! Image size: 240x177mm. Price: $12,500.
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Spaightwood Galleries, Inc.
To purchase, call us at 1-800-809-3343 (508-529-2511 in Upton MA & vicinity) or send an email to sptwd@verizon.net. We accept AmericanExpress, DiscoverCard, MasterCard, and Visa.
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.
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.
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