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120 Main Street, Upton MA 01568-6193

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Last updated: 1/25/2017
Home / Gallery Tour 1 / Womanshow 2006 / Gallery Tour 2 / Artists
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Marc Chagall as Printmaker: Drypoints, etchings, and lithographs 1923-1981
November 18, 2006 to March 18, 2007: A Virtual Tour of "Chagall 2006," Part I

Chagall 2006 Virtual Tour 1 / Chagall 2006 Virtual Tour 2

Upton pre-rehab (Madison WI Cap Times feature on move)

The new home of Spaightwood Galleries—the former Unitarian Church (built 1874) at 120 Main Street in Upton MA
1-800-809-3343 or 1-508-529-2511
If the title is italicized in blue, clicking on it will take you to a much better enlarged photograph.
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View from the corner of Maple and Main St (also known as Highway 140).
Entrance, featuring our new front door.
Beginning at the front door guarded by Mike Weber's ceramic sculpture Watchbeast, we present 15 of the original color lithographs Chagall executed for a special number of Verve in 1956 devoted to his Etchings for the Bible (displayed on the opposite wall). By itself far left: Solomon (M. 131). Top row, from left: Angel (M. 120), Angel at the gates of Eden (M. 121), Abraham and Sarah (M. 122), Moses receiving the 10 Commandments (M. 123), Moses with the tablets of the Law I (M. 124), Moses with the tablets of the Law II (M. 125), Moses with the tablets of the Law III (M. 126). Bottom row, left to right: David and Bathseba (M. 132), David and Absolom (M. 133), David with his harp (M. 134), Jeremiah (M. 139), Jeremiah's lamentations (M. 140), Isaiah (M. 141), Daniel in the lion's den (M. 142).

For full details see the the two pages on our website devoted to the Verve 1956 Bible.
Turning to the left, we offer six color etchings )of ten) from De Mauvais Sujets / Concerning Naughty Things (click for complete details). Original color etchings, 1958. 156 signed & numbered portfolios containing 10 unsigned etchings. From left to right, De Mauvais Sujets, pl. 1 (Kornfeld 106), De Mauvais Sujets, pl. 2 (K. 107), De Mauvais Sujets, pl. 4 (K. 109), De Mauvais Sujets, pl. 5 (K. 110), De Mauvais Sujets, pl. 7 (K. 112), De Mauvais Sujets, pl. 10 (K. 115).
The view from the loft showing the left side of the exhibit (details below)
The Blue Profile (M. 476, Sorlier p. 52). Original color lithograph, 1967. 90 signed and numbered impressions on Arches paper without poster text plus 2000 impressions with text for an exhibition of Chagall's works at Galerie Maeght, Paris. Image size:730x485mm. Price: SOLD.
These five works introduce one of more interesting thematic motifs in Chagall's art, the relationship between birds, beasts, lovers and artists. In The Village (1977; M. 917; with complimentary signature; top left), The Green Bird (1962; M. 354; with complimentary signature; center), and The Bay (1962; M. 356; lower right), Chagall uses the bird, either by itself or in combination with a lttle beast (horse, ram, goat), where the bird seems to symboliize the side of the lover or the artists whose spirit soars above the earthly world (ruled in The Bay by Leviathan, whose tail dwarfs the buildings in the village behind him and the trees in the foreground); in Paysage au Coq / Landscape with Rooster (1958; M. 208; lower left), a large blue-green rooster with a bouquet of flowers in his tail stands in the middle of the body of a naked woman; above him a bride stands underneath a traditional marriage canopy as used in Jewish weddings. The cock, a traditional symbol of lust and the delights of the flesh at least since the middle ages, functions rather differently than the bird carrying the lovers off into the skies to the right. In The Concert (1957; M. 176; with complimentary signature; top right), we see a scene that is almost like a variant on medieval or Renaissance depictions of heaven with the hosts of angels singing for the Virgin and her Son, but here it is a pair of lovers reclining in a small boat floaating down a river with the Eiffel Tower visible on the right and a mermaid swimming on the lower right while what may be a sea serpent peaceably coils about on the lower left. The choir includes a figure playing a harp as boatman, a cock top left, a ram to the right of him (in the orange area), and a bird in the yellow circle above the lovers and the harper, suggesting a dream of the total harmony of all thiings good and enjoyable. For full information on The Village, click here. For The Green Bird, The Bay, and Paysage au Coq, click here. For The Concert, click here.
These fifteen works from Chagall's 1960 Verve Bible are only a portion of the 24 original color lithographs he executed for a volume focusing on his Drawings for The Bible. For all of the original lithographs from this work, see here and the links to two additional pages you will find there. Top row from left: Drawings for the Bible (God creating with David and Bathsheba (M. 230a), Vision of Jerusalem (Dove and Chagall-beast, here an ass, M. 230b), Paradise (M. 232), Adam and Eve: The Fall (M. 235), God and Eve (M. 236). Middle row: Adam and Eve expelled from Paradise (M. 237), Sarah and Abimelech (M. 239), Sarah and the Angels (M. 240), Naomi and her daughters-in-law (M. 245), Ruth and Naomi gleaning (M. 246). Bottom row: Ruth at the feet of Boaz (M. 248, with complimentary signature), Boaz wakes up and sees Ruth at his feet (M. 249), The face of Israel (M. 231), Job praying (M. 253), Job in despair (M. 254 with complimentary signature).
Top left: Mystical Crucifixion (DLM 250; 1950, with complimentary signature, top left); L'artiste II / The Artist II (M. 929; 1978; 11/50; center); The circus rider (M. 153; top right); Vision of Paris (M. 81; 1952, bottom left); Behind the Mirror (M. 412; 1964; bottom right). For full information about these works, click here for the Mystical Crucixion; here for L'artiste II; here for Vision of Paris; here for Behind the Miroir and The Circus Rider.
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.
The Yellow Background (M. 602, Sorlier p. 56). Original color lithograph, 1969. 100 impressions on arches before poster text signed in the stone plus 3000 impressions with text for an exhibition of Chagall's works at Galerie Maeght, Paris. The 100 avant la lettre impressions on Arches vellum are a much more mustardy yellow; the 3000 impressions with text are printed on a much lighter paper and the color is more of a canary yellow so that the two are instantly distnguishable. Image size:750x555mm. Price: $4300.
Regular edition with poster text: $1200.
The left end wall features ten of Chagall's etchings for Gogol's Les ames morte / Dead Souls. Top row, from left: Madame Korobotchka (Sorlier 18, Hannover 54; 1923-1927); The House Painters (S. 22, H. 62); Attroupement des paysans (S. 26, H. 67); Uncle Mitiai & Uncle Miniai (S. 26, H. 67); Tchitchikov triumphant (S. 49, H. 95). Bottom row, from left: Maxime Teliatnikov the Cobbler (S. 59, H. 95); Banquet at the Police Chief's house (S. 65, H. 106); Révélations de Nozdriov (S. 72, H. 114); The night watchman by the street-lamp (S. 75, H. 115); Petrouchka cleaning (S. 69, H. 109). The large 1953 original Miro lithograph Nocturne above has no place in this show, yet there it is. Odd things happens in Chagall's art! For fullinformation about the Dead Souls and details on our holdings from this wonderful series, click here for the first of four web pages devoted to them on our website.
On the left wall of the former sanctuary, we have one very large piece, The Artist as a Phoenix (Sorlier, Chagall's Posters, p. 59; 1972) by Charles Sorlier after an original lithograph by Chagall. At 1600x1200mm (64x48 inches), this is the largest collaboration between Chagall and Sorlier, his master printer. This work continues the apparent man/beast dichotomy that was the subject of several earlier works. Note what both the artist face and the beast face seem to have on their minds (in a very literal way!). Next to it are a group of three pieces, an unfolded proof with a complimentary signature of the cover of Chagall Lithographe III (M. 577; 1968), The Green Eiffel Tower (M. 201, 1957, an impression with large margins on heavy white velin paper, here illustrated with an impression without margins), and The Painter in Front of the Village (M. 603b, 1969, with a complimentary signature).
Next to the door, we find two more etchings from the Dead Souls, Selifan, (Sorlier 7, Hannover 45; 1923-27) the rascal troika driver also seen below chatting with the center horse, whom he accuses of shirking (the horse turning to look at him laughts, because it is perfectly true; it is also true that Selifan does the same whenever he can) On the way to Sobakevich's (S. 8. H. 46; 1923-27) . Over the door, a reminder of things to come: Après l'Hiver / After the Winter (M. 651; 1972).
The tour continues here

Spaightwood Galleries, Inc.

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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 10:00 am to 5:00 pm and Sunday noon to 6:00 pm and other times by arrangement.
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