The Violinist. Die Geigerin by Marc Chagall, 1887-1985

Marc Chagall, 1887-1985
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The Violinist. Die Geigerin

Original etching in black ink extensively overworked by Chagall in colour chalk and pencil. 1944. Signed in pencil. Unique impression of the first state from Chagall's own collection with added colour. Probably printed at Hayter's studio New York, 1944. Of the utmost rarity.
Ref: Kornfeld - Chagall Etchings 89. This impression cited.
Provenance: Chagall's own Collection. St Paul de Vence.

Note: Only eight impressions printed in 1944 are known, allretained for Chagall's collection. This is the only known example with colouring by Chagall. In 1957 there was an edition of 12 impressions. Superb impression. On cream laid Van Gelder-type paper. Excellent original condition. Some proofing ink marks in margin. Full margins. Sheet:17 1/2 x 11 1/2. Plate: 226x174mm.

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A unique impression, with added hand-colouring by Chagall.

This exceptional work was etched by Chagall in 1944 when he was n New York. It is one of a group of 7 first impressions, hand printed by him in various tones and including one example in ?negative?. However this impression is the only existing impression to which Chagall added hand-colour. It was recorded in the Chagall oeuvre catalogue in 1970 as in Chagall?s personal collection at St. Paul de Vence. After this proof Chagall made a few small alterations to the plate (notably an added fish on the left) and printed just one more proof. (In 1957 he resurrected the plate from his studio and printed a total of 16 impressions). The total edition, at any date, is thus just 24 impressions of which this is one of the very first and the only one with colour.

The idea of the metamorphosis of violin into woman is characteristic of the extraordinary invention and vibrancy of Chagall?s unique inspiration at one of the greatest moments in his artistic career in the 1940?s. It shows how his ideas linked with some aspects of Surrealism, stimulated no doubt by his contact with artists like Ernst and Miro who were all in New York with him at this date. At the same time it also underlines his total individuality and the way that at all times humour was a powerful element in his artistic language.

Chagall had a constant fascination for printmaking. Etching was his first adopted print medium (used when he drew the ?Mein Leben? themes in the early 1920?s) and his approach to it was always intuitive. In this plate line etching, finger-work and open-bite textures are combined in a totally personal way, ideas possibly suggested by Hayter who was with Chagall and the other artists of the circle in New York at this date and had reopened his print studio Atelier 17 there. The whole approach to the handling of the composition, as well as the use of the technique, show the unique genius of Chagall's art in its early period.