Prints signed by Chagall are a little like gold dust at the best of times, but with his work in such high demand, we are particularly proud to have acquired this lithograph. Flowers are abundant within Chagall’s oeuvre, and are never ‘just’ flowers. They capture the inexpressible joy of life, love and pure symphonic colour. At times they assume an almost human character, like a portrait in disguise. This piece is particularly special, as Chagall has signed it twice in pencil, and added a dedication to his friend Jean Marabini.

The working relationship between Chagall and Charles Sorlier may have been one of the closest in all of 20th century art. Sorlier was a master printmaker who worked in Mourlot's workshop for over forty years. Chagall's devotion to lithography came relatively late in life, and he was already 63 when he began to work with Sorlier in 1950. Together they would create an accomplished and desirable body of prints that boast an unprecedented lyricism and peerless complexity of colour.

To make an original lithograph, Chagall would first draw the design in black onto a lithographic stone, sheet of zinc or piece of transfer paper. After printing several proofs, he would develop the images further with watercolour or pastel. At this point he and Sorlier would conduct colour tests, refining each print until it met Chagall's high standards. Once the image attained its desired harmony, Sorlier would colour the lithographic plates to the artist's specifications. Such was Chagall's trust in Sorlier that he allowed him to adjust each work as necessary in order to achieve the best effect.

In a sign of the profound closeness of their relationship, Chagall gave Sorlier permission to create interpretive lithographs from his paintings and watercolours, as in this piece. These pieces are among the most desirable works in all of Chagall's graphic oeuvre. Sorlier would create an initial trial proof based on the initial work, which Chagall would then touch up with watercolour and pastel. Speaking about the process, Sorlier said that "...the result so obtained is in fact a new creation, and not a reproduction, having but a very distant relationship with the initial maquette. Indeed, Chagall reworks these compositions so extensively that they can almost be considered as original engravings." Determined that his friend and collaborator should receive his proper credit, these collaborative prints often bear Sorlier's engraved signature alongside that of the artist.

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Framing - This piece has been framed by an experienced in-house framing team to conservation standards. This is included in the price. We use archival materials and 99% anti UV glass to ensure the long-term safety and stability of the artwork. All frames are bespoke, taking into account the precise needs of each piece in terms of preservation and presentation. Click here for more information.

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