Marc Chagall
1887-1985 | Russian

Couple sur le lit
(Couple on bed)

Signed 'Marc Chagall' (lower right)
Oil and India ink on canvas

Marc Chagall's exquisite work, Couple sur le lit, completed in 1952, epitomizes the motif of a lover's embrace—a theme recurrent and highly sought after throughout his illustrious career. Additionally, this work serves as a tribute to Chagall's native Russia, a motif that defines his oeuvre. Chagall’s works in warm, vibrant tones—specifically those rendered in reds and oranges—strongly evoke the passion of love the artist so fervently sought to portray and are among the most desirable of his works.

The motif of lovers is a hallmark of Chagall’s masterpieces, often symbolizing his deep affection for his first wife, Bella Rosenfeld, and his grief upon her death in 1944. In this remarkable composition, a couple overlooks a Russian cityscape inspired by the artist's birthplace—his beloved village that was destroyed during World War II. Instead of succumbing to resentment over this and the many other tragedies he endured, Chagall employed bold, intense colors and dream-like settings to reflect the emotional turbulence of his life. After initially rejecting vibrant pink and red hues during his mourning for Bella and his displacement during the Second World War, Chagall eventually returned to these bright colors as a testament to the adversities he had overcome. This use of color solidified Chagall's reputation as a master colorist in his later works, with his red hues being among the most coveted in his palette.

The beautiful female figure in this painting is bathed in warmth, and sits upright on the bed, implying her impending departure. Her companion, rendered in cool blue, reclines. His body is positioned towards her as if pleading with her to stay, likely a nod to the effects of war or, more profoundly, to life's fragility. The painting’s ability to convey universal themes of love, loss and resilience through Chagall's distinctive visual language makes it a compelling visual narrative.

In his lifetime Chagall produced an incredible body of work that continues to demand the highest attention in the art community. Today, his works belong to the collections of prestigious museums across the globe including the Museum of Modern Art in New York, the Guggenheim Museum in New York, Tate Modern in London and the National Museum of Modern Art in Paris. The intense use of color and thematic depth in this painting is similar to works in the collections of top institutions, such as Les Amants au ciel rouge (Lovers in the Red Sky), 1950, at the San Francisco Museum of Modern Art.

This work is accompanied by a certificate of authenticity issued by the Comité Marc Chagall

Circa 1931-1952

Marc Chagall
1887-1985 | Russian

Musiciens sur fond multicolore
(Musicians on a multicolored background)

Signed 'Chag' (on the sleeve of the right figure); stamped with the signature 'Marc Chagall' (lower right)
Tempera, gouache, colored ink and India ink and pastel on paper

“The fact that I made use of cows, milkmaids, roosters and provincial Russian architecture as my source forms is because they are part of the environment from which I spring and which undoubtedly left the deepest impression on my visual memory of the experiences I have." - Marc Chagall

Marc Chagall’s 1981 masterpiece Musiciens sur fond multicolore offers a captivating glimpse inside the mind of the artist. With an all-over array of figures and colors, the composition showcases a kaleidoscopic collection of the artist’s most cherished motifs, realized in a brilliant variety of hues. This work includes Chagall’s signature rooster and a pair of his euphoric flying lovers and also several other motifs alluding to his childhood in the rural town of Vitebsk, including several farm animals like cows and goats, a nursing mother figure and a plentiful array of musicians. In Chagall’s oeuvre, music appears as a recurring motif, signifying Chagall's heritage, with his popular Fiddler figure recalling the artist's memories of listening to his uncle play the fiddle. This work, with its dizzying combination of colors and figures, recalls the overwhelming polyphony of the most complex and jovial musical movements.

Chagall’s later works are characterized by a rich use of jewel tones and bright colors and a turn toward even more personal and introspective compositions. While Chagall populates his composition with a familiar cast of characters from the imaginative world he built over several decades, the work’s bold use of intense color firmly situates this painting in the remarkable latter years of his life—a most desirable and sought-after period in his oeuvre. More than any of his later more vibrant compositions, this multi-color dream, with its brilliant use of rainbow hues, demonstrates the deep influence of Chagall’s work on stained glass windows. The remarkable spectrum of colors recalls Chagall’s beautiful rainbow of stained glass windows in Jerusalem. In Musiciens Sur fond multicolor Chagall's rainbow-hued dream dazzles the eye and sparks nostalgia and cultural pride.

This work is accompanied by a certificate of authenticity issued by the Comité Marc Chagall, signed by the artist’s granddaughter Merit Meyer, dated Paris, 13 June 2022 and numbered 2022152.

Dated 1981

Marc Chagall
1887-1985 | Russian

Esquisse pour L'Opéra
(Study for the Opéra)

Signed "Chagall Marc" (lower left) and signed and inscribed "Marc / pour Vava / 1953 / Chagall" (en verso)

Oil on canvas

"You have to make drawing sing through color." – Marc Chagall

This vibrant oil on canvas offers a captivating glimpse into the fantastical world of the great Marc Chagall. Imbued with the dream-like quality that characterizes his best work, this painting, entitled Esquisse pour tableau L'Opéra, pulsates with profound musicality. It also serves as the genesis of a powerful image and motif that would later emerge in Chagall’s monumental ceiling painting for the Paris Opera House. Rich with history and the artists’ love for Paris, this composition is both magical and enthralling.

Chagall's use of color creates movement and harmony, and this work embodies his famed musicality. Rendered in a vibrant palette of red, orange and blue, the composition features a woman in white dancing and floating above a depiction of the Paris Opera House. She is positioned beneath an image of three intertwined figures—Chagall’s rendition of Carpeaux’s famous sculpture, The Dance, now housed at the Musée d’Orsay. Chagall reimagines this iconic sculpture within a bluish-purple cloud, bringing it to life in his uniquely fantastical form.

The artist's rare use of orange and blue in this work is both intentional and ethereal. As complementary colors, orange and blue create a striking contrast when juxtaposed within Chagall’s vibrant composition. Typically, Chagall only let orange dominate in his Parisian scenes, showing a deep affection for the city.

Chagall cherished this opera motif profoundly—after completing this remarkable composition, he revisited the image in another oil on canvas titled L'Opéra in 1953, though the colors are less captivating. He later created a similar lithograph in 1954, also titled L'Opéra, which is heralded as one of his most vibrant and colorful lithographs, featuring bright red and green hues. Among the different versions of this famed image, our piece was chosen as the cover for the book Marc Chagall: The Ceiling of the Paris Opera by Jacques Lassaigne. More than any other rendering of the motif, this great work represents Chagall in his purest form, using his language of color to evoke a deeply personal visual narrative of the themes he cherished most: music, the idea of home and history.

Marc Chagall was born in Vitebsk, Russia, to a large, close-knit Jewish family of herring merchants. He began studying painting in 1906 under the famed artist Yehuda Pen. In 1907, he moved to St. Petersburg and joined the school of the Society of Art Supporters. In 1910, Chagall relocated to Paris to be near the art community of the Montparnasse district, and he would eventually become a French citizen. Amongst the turmoil of the 20th century, including the Soviet regime and the outbreak of WWII, Chagall would continue to move between Russia, France and the United States throughout his life.

Chagall died at the age of 97 in Saint-Paul de Vence, France, in 1985, leaving behind an incredible body of work that is unquestionably one of the most celebrated of the 20th century. His paintings have remained prized highlights in public and private collections alike, with works belonging to important institutions across the globe including the Museum of Modern Art in New York, the Guggenheim Museum in New York, Tate Modern in London and the Centre Pompidou in Paris.

This work is accompanied by its certificate of authenticity issued by the Comité Marc Chagall.

Dated 1953

Mystical and mysterious, a mythological Ondine rests beside an ethereal forest pond in this majestic, original oil on canvas by French Symbolist Pierre-Amédée Marcel-Béronneau. A student of the famed Gustave Moreau, Béronneau painted some of the most ornate scenes ever envisioned which focused upon entrancing figures of classical mythology.

Ondine, or Undine, is a female elemental being of ancient origin that is used to describe nymphs, mermaids, naiades and the like. In lore, the beings reside near pools, ponds and waterfalls and are known for their captivating singing voices that are said to have a hypnotic effect on men. These immortal figures, though they may resemble women lack one of the most important human characteristics – a soul. Here, in true Symbolist fashion, Béronneau creates a breathtakingly vivid dream world in which this Ondine is prominent. Her lack of color, as compared to her surroundings, seems to reflect the absence of this most essential of mortal traits. Though graceful and unquestionably beautiful, without a soul the Ondine is unable to truly experience an enriched and fulfilled life.

Born to a locksmith and a housewife in Bordeaux, Béronneau received his initial training at the Municipal School of Fine Arts in his hometown and later Paris’ Decorative Arts School. In 1892, he enrolled into the Academie des Beaux-Arts where he entered the studio of Gustave Moreau. Béronneau quickly became one of the master’s best pupils. In a letter of recommendation to the Mayor of Bordeaux, Moreau wrote: “Mr. Béronneau, my student, is a wonderful worker, very gifted and worthy of your interest.”

Béronneau would go on to have a tremendously successful career, winning numerous awards and honors throughout his lifetime. He exhibited at the Salon and the Salon des Indépendants from 1895, garnering medals in 1900, 1913 and 1926. The art critic Arsène Alexandre wrote about him in the paper “Le Figaro” that he was a “great refined artist”, a “delicate, serious and often deep painter who [mixed] a great integrity with the yearning for the highest thoughts”. The French government also commissioned works, such as his “Last Hour”, currently found in the collection of the Fine-Arts Museum in Bordeaux. He became Knight of the Legion of Honor in 1914.

Canvas: 28 7/8” high x 23 5/8” wide Frame: 35 1/4” high x 30 1/8” wide

Ferdinand du Puigaudeau
1864-1930 | French

La fête foraine de nuit à Batz-sur-Mer
(The Nighttime Fair at Batz-sur-Mer)

Signed "F. du Puigaudeau" (lower right)
Oil on canvas

Glowing with a festive air, this bustling carnival scene is a quintessential work by French artist Ferdinand du Puigaudeau. Beloved for his vibrant compositions of country life, fairs and fireworks, du Puigaudeau cultivated a unique artistic vision that masterfully synthesized elements of Impressionism, Symbolism and Neo-Impressionism.

The crowded night fair of La fête foraine de nuit à Batz-sur-Mer comes to life under du Puigaudeau's energetic brushwork and vivid color palette. The composition displays a virtuosic luminosity, as a warm glow emanates from the carousel and du Puigaudeau's trademark fireworks light up the sky. The artist would have encountered this delightful scene while living on the Brittany coast after 1904, and he captured the distinct atmosphere and visual character of this region—like the medieval architecture and the white bonnets of the Breton women—with alluring accuracy.

Du Puigaudeau was born in Nantes, France in 1864, and he was large ely a self-taught artist at the beginning of his career, teaching himself to paint on trips to Italy and Tunisia. In 1886, he arrived at the famous artist colony of Pont-Aven, where he met and was greatly influenced by Paul Gauguin. By 1890, du Puigaudeau was exhibiting works at the Salon of the Société Nationale des Beaux-Arts and with the famed gallerist Paul Durand-Ruel. In 1897, the famed Edgar Degas bought one of his Fireworks through Durand-Ruel, and the two artists became fast friends. Today his works are held in major collections including the Thyssen-Bornemisza Museum in Madrid and the Indianapolis Museum of Art, among others.

Circa 1905

Henri Martin
French | 1860-1943

Déjeuner champêtre
(Pastoral Luncheon)

Signed “Henri Martin” (lower right)
Oil on canvas

More than any of his contemporaries, the renowned Post-Impressionist Henri Martin masterfully combined modern technique with classical subject matter, demonstrating his brilliance in color and assured compositions. This exceptional work, Déjeuner champêtre, showcases Martin’s virtuosity in capturing the essence of the natural world and the people who inhabit it.

This remarkable composition features a serene luncheon scene: a mother lounging on a seaside cliff with a baby in her lap, while a young boy and girl leisurely enjoy the surrounding landscape. The vibrant leaves of the tree, the elegant sheet in the foreground and the blue ocean dotted with sailboats create a complete and captivating exhibition of Martin’s skills. This work is a study of one of four decorative paintings executed for Dr. Jean d’Herbécourt’s famous dining room, now on display at the Beauvais Museum in France. This work, kept in a private collection in France for decades, will be included in the forthcoming catalogue raisonné by Marie-Anne Destrebecq-Martin.

Henri Martin began his artistic studies at the École des Beaux-Arts in Toulouse. In 1879, he moved to Paris to study under Jean-Paul Laurens, and his early academic style earned him a medal from the conservative Paris Salon at the age of 23. Shortly after, Martin was awarded a trip to Italy, which profoundly affected his artistic development. While studying the works of the Italian masters, Giotto and Masaccio, Martin acquired a new perspective on light, leading him to abandon his classical training and fall under the influence of the not-so-academic Impressionists.

Utilizing and experimenting with various impressionistic techniques, Martin created important and well-received Divisionist, Symbolist and Pointillist paintings. His work was so admired that it earned him the Grand Prize at the Paris Exposition Universelle in 1900. Martin remained an independent artist, refusing numerous contracts from successful Parisian dealers. His works can be found in museums around the world including the Musée d’Orsay and the Palais des Beaux-Arts in Paris.

Circa 1910-11

Auguste Herbin
1882-1960 | French

Aoum II

Signed and dated 'herbin 1944' (lower right); titled "aoum" 2 (lower left)
Oil on canvas

This bold and vivid abstract oil on canvas was painted by French painter Auguste Herbin, a pioneer in popularizing Modernist abstraction. Over his expansive nearly 60-year career, Herbin rubbed shoulders with art history greats from Pablo Picasso to Georges Braque before honing his personal and innovative style. Entitled Aoum II, the painting stands apart for its daring color palette and crisp composition.

Painted in 1944, Aoum II embodies Herbin’s fully-formed artistic aesthetic and stylistic tenets. Only two years prior to its creation, Herbin developed his “alphabet plastique,” a synergistic visual language of color and form that he described in detail in his published book L’art non-figuratif non-objectif. Though the artist was highly cerebral in his process of creating art, one does not need to perfectly understand his principles to feel Aoum II's magnetism. The geometric shapes visible in the composition — primarily fragmented triangles and circles — are rendered in bold pinks, blues and yellows on a deep black background. His tiered application of color creates a natural three-register visual effect as if to tell a story from the apex of the form to its denouement.

Auguste Herbin began his artistic training at the École des Beaux-Arts de Lille before moving to Paris in 1901. In the early years of his career, he experimented with a variety of styles, exhibiting Post-Impressionistic works at the Salon des Indépendants in 1906 and Fauvist paintings at the Salon d'Automne in 1907. After a brief Cubist period following his introduction to Pablo Picasso, Georges Braque and Otto Freundlich, Herbin co-founded his own artistic movement in the 1930s: Abstraction-Création group in Paris. Devoted to encouraging abstract art as a response to the representational tenets of the Surrealist movement, then led by André Breton, Herbin served as the publisher and author for the group's eponymous art journal. Today, Herbin’s work resides in prestigious private collections and museum institutions around the globe, including the Tate Modern in London, the Museum of Modern Art in New York and the Centre Pompidou in Paris, among others.

Painted 1944

Canvas: 25" high x 39" wide
Frame: 34 3/8" x 48 1/8" wide x 2" deep

Auguste Herbin
1882-1960 | French

Vases aux chrysanthèmes

Signed 'Herbin' (lower right)
Oil on canvas

This bold and vivid still life was composed by French painter Auguste Herbin, a pioneer in popularizing Modernist abstraction. Over his expansive nearly 60-year career, Herbin rubbed shoulders with art history greats from Pablo Picasso to Georges Braque while honing his personal and innovative style. With a daring color palette and crisp composition, Vases aux chrysanthèmes represents a transformative moment in the artist's career.

Auguste Herbin began his artistic training at the École des Beaux-Arts de Lille before moving to Paris in 1901. In the early years of his career, he experimented with a variety of styles, exhibiting Post-Impressionistic works at the Salon des Indépendants in 1906 and Fauvist paintings at the Salon d'Automne in 1907. After a brief Cubist period following his introduction to Pablo Picasso, Georges Braque and Otto Freundlich, Herbin co-founded his own artistic movement in the 1930s: the Abstraction-Création group in Paris. Devoted to encouraging abstract art as a response to the representational tenets of the Surrealist movement, then led by André Breton, Herbin served as the publisher and author for the group's eponymous art journal. Today, Herbin’s work resides in prestigious private and public collections around the globe, including the Tate Modern in London, the Museum of Modern Art in New York and the Centre Pompidou in Paris, among others.

This painting is pictured in Herbin, Catalogue raisonné de l'oeuvre peint by Geneviève Claisse, page 287.

Painted 1904

Reuven Rubin
Israeli | 1893-1974

Orientala

Signed “Reuven Rubin"
Oil on canvas

A striking and unique work rendered in a breathtaking jewel-toned palette, Orientala by Rueven Rubin showcases the dynamic artistry and singular point-of-view of the Israeli artist. While olive trees, sheep and fishermen were typical subjects for the artist, this rare work features the countenance of a woman. Considered a pioneering figurative Israeli artist of the mid-20th century, Rubin was a founder of the Eretz-Yisrael style alongside artists Nachum Gutman and Ziona Tajar. Rubin is celebrated for his portraits and sun-bleached modernist landscapes painted over the artist’s six-decade career spent living between Tel Aviv, New York, and Los Angeles.

Enigmatic and colorful, Orientala features a scantily clad woman wearing a turban-like headdress and holding a potted plant. Rubin renders the woman’s strong features in a plethora of non-naturalistic colors and with bold, angular brushstrokes. Reminiscent of works by Picasso, Jawlensky and even Chagall, Rubin employs a vivid and original palette along with striking modern techniques to create a composition that firmly establishes his own distinctive style.

Rubin Zelicovici, later Reuven Rubin, was born in Galaţi to a Romanian Jewish Hasidic family. In 1912, he left to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France and began to cultivate his artistic vision. Influenced by artists like Cezanne, Rubin’s early depictions of his country’s landscapes rebelled against Bezalel and helped to establish Rubin as an internationally recognized artist. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem and that year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin also designed backdrops for the Habima Theater and the Ohel Theater. Rubin’s work frequently explored themes of the biblical landscape, folklore and people in his works. Today, Rubin’s works are included in the collections of several major museums, including the Museum of Modern Art in New York City.

20th century

Hugues Claude Pissarro
b.1935 | French

Corinne et Isaac au jardin
(Corinne and Isaac in the Garden)

Signed “H. Claude Pissarro” (lower left)
Oil on canvas

In this composition, French artist H. Claude Pissaro lovingly depicts his wife and fellow artist Corinne Puzenat-Pissarro and their son Isaac in a vibrant garden. A testament to his family, this lively painting bursts with color, as plants come to life with rich three-dimensional depth through the masterful use of impasto. This work showcases Pissarro's unparalleled skill as a colorist and offers an intimate glance into the life of the world-renowned artist.

Hailing from a long lineage of artists, including Impressionist Camille Pissarro, Pissarro's artistic talents were cultivated at an early age. He exhibited his first works at the young age of 14 and later studied in Paris at the École du Louvre and École Normale Supérieure. A 1959 White House commission to paint the portrait of President Eisenhower cemented his reputation as an artist of renown, and his work has since been featured in important exhibitions throughout Europe and the United States. While his style has evolved throughout his career, he is best known for his energetic pastel compositions. H. Claude Pissarro’s works have been exhibited and collected throughout the world, and they remain highly coveted for their intimate size and relatable subject matter.

Jean-Pierre Cassigneul
b.1935 | French

La terrasse devant la mer
(The Terrace by the Sea)

Signed “Cassigneul” (lower left)
Oil on canvas laid on panel

This monumental, three-paneled oil painting is among the largest ever composed by the celebrated French painter Jean-Pierre Cassigneul. Capturing a woman in grey against a windswept seascape, the composition is classic Cassigneul, exuding a serenity and sophistication that is unique to his aesthetic. Triptychs are highly rare in the artist's oeuvre, and the panels can be displayed apart or attached. Renowned for his portraits that bring together brilliant pops of color with an atmosphere of elegance and tranquility, Cassigneul's upbringing in French fashion is keenly felt in the composition, as he brings the chic Parisian ideal to life.

One of the most famous living French artists, Cassigneul is set apart by his unique ability to produce works that feel both dramatically contemporary and classic in style. La terrasse devant la mer brings together two of his most common tropes: a sleepy-eyed beauty and a vibrantly hued landscape. The green colors of the sea and the dusky sky provide a sharp contrast to the central figure, whose large hat and billowing scarf exude a timeless fashion. With its vivid, rich palette and flat spatial planes, Cassigneul’s style follows in the tradition of the French Post-Impressionist group known as Les Nabis, which included celebrated French artists such as Pierre Bonnard, Edouard Vuillard and Maurice Denis. Expressionist painter Kees van Dongen was another important influence on the young Cassigneul, whose portraits resemble van Dongen’s elongated, sharply contoured female forms.

Born in Paris in 1935, Cassigneul's grandfather was the founder of the ground-breaking French fashion house Jean Dessès. Raised among the glamor and excitement of the Parisian fashion world, the young Cassigneul observed models, dressmakers and runway shows from a very young age. His interest in art also manifested early, and he painted his first landscape at Deauville at the young age of 12. He studied at the École des Beaux-Arts, holding his first one-man exhibition at just 17 years of age. Since that first show, his work has been widely exhibited worldwide, particularly in Western Europe, the United States and Japan, where he enjoys an especially devoted following.

20th century

Triptych: 51 1/4" high x 71” wide
Panel: 51 1/4” high x 23 1/2” wide x 1 3/8" deep

Ramon Dilley
1933 - | Spanish

Élégantes à Deauville

Signed “Dilley 91” (lower right)
Signed and titled “Ramon Dilley / Elegantes a Deauville” (en verso)
Oil on board laid on canvas

A vivid representation of Art Deco splendor,Élégantes à Deauville showcases the Art Deco era’s luxurious tranquility and stylish elegance. Two fashionably dressed women, embracing the quintessential style of 1920s flappers, look upon a tranquil seascape. The scene, likely set at Deauville, Normandy, one of the most exclusive seaside resorts in France, is richly detailed with a costume-changing tent, the French flag, a wooden beach chair and a stately sailboat on the distant horizon. This painting, adorned with Dilley’s characteristic blooming rhododendrons, captures the enchanting serenity of the French coast.

Dilley's subjects and techniques evoke the legacy of notable painters such as Kees van Dongen and Jean-Pierre Cassigneul, particularly through his vibrant, saturated palette and figure elongation. However, Dilley's creations uniquely capture a vanished era of elegance and sophistication. Marrying modernity with timelessness, his paintings stand as some of the most exemplary in their category.

Born Gomez Ramon y Romero in Madrid in 1933, Dilley's family relocated to France in 1936, fleeing the Spanish Civil War. France became his lifelong home, where he drew inspiration from the French avant-garde and the celebrity milieu. Under sculptor Paul Delmondo's guidance, he entered the École du Louvre, further refining his considerable talent. In the 1960s, at the suggestion of art historian and auctioneer Maurice Rheims, he adopted the name "Dilley." His works, celebrated for blending old-world allure with contemporary fashion, are highly sought after, gracing numerous prestigious private collections globally, including those of the Shah of Iran, Prince Rainier of Monaco and Valery Giscard d'Estaing.

Dated 1991

Henri Lebasque
1865-1937 | French

Maternité
(Maternity)

Oil on canvas
Signed “Lebasque” (lower left)

In this effusive oil on canvas, Henri Lebasque captures a contemplative scene of a young mother feeding an infant. Referential in subject to classic Renaissance scenes of the Madonna and child, Lebasque’s airy palette and en plain air setting in the French countryside bring a fresh vitality to art historical renderings of motherhood. Often called the “painter of joy and light,” Lebasque’s talent for creating bright canvases is on display in this original oil.

Henri Lebasque is remembered as a remarkable Post-Impressionist painter. Rooting himself in the Parisian art scene in the early 20th century, he exhibited in the influential Salon des Indépendants alongside artists like Georges Seurat, Paul Cézanne, Edouard Vuillard and Pierre Bonnard. He then went on to found the Salon d’Automne with Henri Matisse and other artist friends. His friendships with these artists and his visits to the south of France, initially encouraged by fellow painter Henri Manguin, influenced Lebasque’s rich use of color most associated with the Fauvist painters.

Exemplary of the colorful compositions that define his oeuvre, Maternité is pictured in the artist’s catalogue raisonné. Lebasque’s works can be found in prestigious museums collections worldwide, including the Musée d’Orsay in Paris, the National Museum of Western Art in Tokyo, the de Young in San Francisco, the Museo Thyssen in Madrid and the Pushkin State Museum of Fine Arts in Moscow.

Painted 1912

Unframed: 23 1/2 3/4“ high x 28 3/4” wideFramed: 36 2/5“ high x 31 1/8” wide x 2“ deep

Marc Chagall
1887-1985 I Russian

Couple dans la nuit
(Couple in the night)

Signature stamp of the estate "Marc Chagall" (lower right)
Tempera and India ink on Masonite

Couple dans la nuit captures Marc Chagall’s profound engagement with both spiritual and earthly love. Completed near the end of his life, this masterful work employs the vivid color palette and ethereal figures for which Chagall is renowned. The painting explores the duality of love—one side heavenly, the other human and sensual—creating a rich, symbolic narrative through the juxtaposition of these two worlds.

On the top right, Chagall's signature blue dominates, a hue emblematic of the artist’s connection to his spirituality. Within this celestial blue floats an angel, a donkey and a circus performer, all symbols of purity and innocence. The donkey, often interpreted as a representation of Chagall's daughter Ida, connects the work to themes of familial love. This imagery reflects Chagall’s deep roots in religious iconography, a fusion of his Hasidic Jewish upbringing and the Christian influences he encountered during his time in France. The figures in this section of the composition evoke the divine love Chagall associated with God and his children.

In stark contrast, the bottom right of the composition is drenched in red, symbolizing the fiery passion of human love. The lovers, a frequent motif in Chagall’s oeuvre, embody earthly desire and connection. Yet the presence of an angel hovering above them lends a sense of sanctity to their embrace, suggesting that their union is blessed by divine power. The woman’s bouquet, another recurring symbol in Chagall’s work, serves as a visual metaphor for love’s beauty and fragility. The inclusion of a goat, tied to Chagall’s Jewish heritage and the Yom Kippur ritual of atonement, adds further depth to the lovers' narrative, suggesting a purification of their sins through love.

Executed in 1984, Couple dans la nuit stands as a late testament to Chagall’s ability to weave together personal history, religious symbolism and universal themes of love and redemption. His unique blend of mysticism and human emotion in this work cements his legacy as one of the most expressive and visionary artists of the 20th century.

Marc Chagall was born in Vitebsk, Russia, to a large, close-knit Jewish family of herring merchants. He began studying painting in 1906 under the famed artist Yehuda Pen. In 1907, he moved to St. Petersburg and joined the school of the Society of Art Supporters. In 1910, Chagall relocated to Paris to be near the art community of the Montparnasse district, and he would eventually become a French citizen. Amongst the turmoil of the 20th century, including the Soviet regime and the outbreak of WWII, Chagall would continue to move between Russia, France and the United States throughout his life. Chagall died at the age of 97 in Saint-Paul de Vence, France, in 1985, leaving behind an incredible body of work that is unquestionably one of the most celebrated of the 20th century. His paintings have remained prized highlights in public and private collections alike, with works belonging to important institutions across the globe including the Museum of Modern Art in New York, the Guggenheim Museum in New York, the Tate Modern in London and the Centre Pompidou in Paris.

This work is accompanied by its certificate of authenticity issued by Meret Meyer, on behalf of the Comite Chagall, dated 21 December 2023 (no.2023386).

Painted 1984

Canvas: 13 1/2“ high x 10” wide (35.2 x 27 cm)
Framed: 22 7/8“ high x 19 5/8” wide x 2“ deep (58 x 50 x 5 cm)

Provenance:
Estate of the artist
Private collection, London

Marc Chagall
1887-1985 I Russian

Nu au double-profil
(Nude in double-profile)

Signature stamp of the estate "Marc Chagall" (lower left)
Gouache, tempera, red chalk and felt pen on paper

Marc Chagall’s Nu au double-profil beautifully embodies the artist’s signature blend of surrealism and symbolism. In this captivating composition, Chagall merges reality with dreamlike fantasy, featuring a male and female figure merged in a "double profile," a motif frequently explored in his work. The figures float within a scene that defies natural order, with a winged grandfather clock soaring through the sky, suggesting a transcendent concept of time. The juxtaposition of these surreal elements heightens the imaginative quality of the work, further underscoring Chagall's mastery of creating worlds untethered to the physical realm.

Nu au double-profil unfolds like a vivid dreamscape, brimming with Chagall’s most beloved motifs. A symphony of vibrant colors, brought to life through gouache and tempera, bathes the "doubled" central figure in an otherworldly glow. Chagall subtly integrates a self-portrait in the upper-left corner, where he paints a bouquet and moon onto a canvas—elements that echo outside the frame in a brilliant interplay of art and reality. The bouquet’s leaves blend seamlessly with the hair of the intertwined figures, a poetic fusion of the human and natural worlds that epitomizes Chagall’s distinctive visual language.

Marc Chagall was born in Vitebsk, Russia, to a large, close-knit Jewish family of herring merchants. He began studying painting in 1906 under the famed artist Yehuda Pen. In 1907, he moved to St. Petersburg and joined the school of the Society of Art Supporters. In 1910, Chagall relocated to Paris to be near the art community of the Montparnasse district, and he would eventually become a French citizen. Amongst the turmoil of the 20th century, including the Soviet regime and the outbreak of WWII, Chagall would continue to move between Russia, France and the United States throughout his life. Chagall's importance as a pioneering figure of modern art cannot be overstated. His imaginative compositions, often centered on personal memories, folklore, and religious themes, had a profound influence on the development of 20th-century art.

Chagall’s use of color and form bridges the realms of Cubism, Surrealism and Symbolism, while remaining distinctly his own. His paintings have remained prized highlights in public and private collections alike, with works belonging to important institutions across the globe including the Museum of Modern Art in New York, the Guggenheim Museum in New York, the Tate Modern in London and the Centre Pompidou in Paris.

Accompanied by a certificate of authenticity issued by Meret Meyer, on behalf of the Comité Chagall, dated 6 April 2023 (no. 2023111)

Circa 1975

Paper: 29 1/8" high x 22 1/2" wide (74 x 57 cm)
Framed: 50“ high x 42 1/2” wide x 3 3/8“ deep (127 x 108 x 8.5 cm)

Provenance:
Estate of the artist
Private collection, London

Marc Chagall
1887-1985 | Russian

Les boulevards

Signed and dated "Marc Chagall 1953" (lower right and verso)
Oil and sawdust on canvas

"When Matisse dies, Chagall will be the only one who understands what color really is." –Pablo Picasso

A captivating fusion of dreamlike romance and symbolic imagery, Les boulevards is one of Marc Chagall's brilliant masterpieces, epitomizing the artist’s unique ability to blend fantasy with personal emotion. This work captures the modern master at his very best at the height of his global fame, and its grand scale pulls the viewer into Chagall's mesmerizing dream world.

In this enchanting nocturnal scene, the artist's iconic gold-plumed rooster hovers above the sleeping city of Paris, holding the Book of Life in his human hand, a nod to Chagall's Jewish heritage. Wrapped in the brilliant red plumage of the rooster is a pair of lovers in a row boat, another one of the artist's famed motifs. The somnolent moon casts an ethereal glow across the composition infusing it with dreamlike serenity, while an amorphous creature hovers smilingly in the top right corner.

Les boulevards is truly a feast for the senses, with its textured surface combining oil and sawdust to create an almost tangible, luminous atmosphere of mysticism. Chagall’s bold use of color is particularly striking, with the rich blues and greens interspersed with vibrant reds and golds, enhancing the fantastical elements of the piece. The lovers, delicately suspended in the air, convey a sense of eternal love, while the rooster's wide-eyed, knowing gaze represents the Chagall himself, as it so often does across his oeuvre. The intricate layering of textures, along with the blending of figurative and symbolic elements, marks this work as an extraordinary example of Chagall’s mature period, where his mastery of color and form reached new heights.

Produced during a pivotal period in Chagall’s life, Les boulevards reflects the artist's triumphant return to Paris after World War II and the joy he found in his new relationship with his second wife, Valentina Brodsky, who he married just a year earlier in 1952. This period of transition and homecoming imbues the painting with contemplative and visual depth.

Marc Chagall was born in Vitebsk, Russia, to a large, close-knit Jewish family of herring merchants. He began studying painting in 1906 under the famed artist Yehuda Pen. In 1907, he moved to St. Petersburg and joined the school of the Society of Art Supporters. In 1910, Chagall relocated to Paris to be near the art community of the Montparnasse district, and he would eventually become a French citizen. Amongst the turmoil of the 20th century, including the Soviet regime and the outbreak of WWII, Chagall would continue to move between Russia, France and the United States throughout his life. Chagall died at the age of 97 in Saint-Paul de Vence, France, in 1985, leaving behind an incredible body of work that is unquestionably one of the most celebrated of the 20th century. His paintings have remained prized highlights in public and private collections alike, with works belonging to important institutions across the globe including the Museum of Modern Art in New York, the Guggenheim Museum in New York, the Tate Modern in London and the Centre Pompidou in Paris.

This work is accompanied by its certificate of authenticity issued by Meret Meyer, on behalf of the Comité Marc Chagall, dated 26 January 2022 (certificate no. 2022001).

Painted 1953

Canvas: 45 3/4“ high x 34 7/8” wide (116.21 x 88.58 cm)
Frame: 56 3/4“ high x 46 1/8” wide x 2 3/4“ deep (144.15 x 117.16 x 6.99 cm)

Literature:
Franz Myer, Marc Chagall: Life and Work, New York: Tudor Publishing Co., 1964, p. 760

Exhibited:
Paris, Galerie Maeght, Paris, Marc Chagall, 1954
New York, Acquavella Galleries, Inc, XIX et XX Century Master Paintings, 1984, pp. 38 & 39, no. 18 (illustrated)

Provenance:
Galerie Maeght, Paris
Anne Burnett Tandy, Fort Worth, Texas
Private collection, United States
Private collection, London

Marc Chagall
1887-1985 | Russian

La fuite: coq et bouc au dessus du village
The escape: rooster and goat above the village

Signature stamp of the estate "Marc Chagall" (lower left)
Gouache, pastel, and graphite on paper

La fuite: coq et bouc au dessus du village is a deeply poignant work by Marc Chagall, created in 1962. In this composition, Chagall captures the profound personal and cultural turmoil he felt following the destruction of his hometown, Vitebsk, during World War II. The village, once a place of joy and nostalgia, is represented here through a nightmarish vision, with the horizon aglow in the orange flames of destruction. Though dramatic, the scene is imbued with Chagall's signature dreamlike quality, where reality and imagination intertwine to reflect the trauma of the times and the artist’s emotional response.

This work centers on symbolic elements long associated with Chagall's artistic vocabulary. A cockerel and a goat hover above the village, each bearing profound significance. The cockerel, often seen as a stand-in for the artist himself, symbolizes resilience, personal identity, and at times, love. The goat, central to Jewish sacrificial traditions, evokes themes of martyrdom and the suffering of the Jewish people, especially in light of the Holocaust. The church at the center, starkly illuminated amid the devastation, becomes a powerful symbol of spiritual endurance amidst chaos. Through his vibrant use of gouache and pastel, Chagall achieves a vivid, almost hallucinatory quality that heightens the emotional intensity of the scene.

Marc Chagall was born in Vitebsk, Russia, to a large, close-knit Jewish family of herring merchants. He began studying painting in 1906 under the famed artist Yehuda Pen. In 1907, he moved to St. Petersburg and joined the school of the Society of Art Supporters. In 1910, Chagall relocated to Paris to be near the art community of the Montparnasse district, and he would eventually become a French citizen. Amongst the turmoil of the 20th century, including the Soviet regime and the outbreak of WWII, Chagall would continue to move between Russia, France and the United States throughout his life. Chagall's importance as a pioneering figure of modern art cannot be overstated. His imaginative compositions, often centered on personal memories, folklore, and religious themes, had a profound influence on the development of 20th-century art. Chagall’s use of color and form bridges the realms of Cubism, Surrealism and Symbolism while remaining distinctly his own. His paintings have remained prized highlights in public and private collections alike, with works belonging to important institutions across the globe including the Museum of Modern Art in New York, the Guggenheim Museum in New York, Tate Modern in London and the Centre Pompidou in Paris.

Painted 1962

Paper: 29" high x 22 1/8" wide (73.6 x 56.1 cm)
Frame: 42 1/2" high x 39 5/8" wide x 3 1/2" deep (108.1 x100.5 x 9 cm)

Provenance:
Estate of the artist
Private collection, London

Exhibited:
Paris, Galeries nationales du Grand Palais, Marc Chagall, 2003
San Francisco, San Francisco Museum of Modern Art, Marc Chagall, 2003
Turin, Galerie d'Arte Moderna, Marc Chagall: un maestro del '900, 2004
Martigny, Fondation Pierre Gianadda, Chagall entre ciel et terre, 2007
Zagreb, Klovicevi Dvori Gallery, Marc Chagall, 2007-08
Tokyo, Tokyo Station Gallery, Chagall: The Third Dimension, 2017
Aomori, The Aomori Museum of Art, Chagall: The Third Dimension, 2018

Marc Chagall
1887-1985 | Russian

Gouache préparatoire pour Sirène au poète
Preparatory gouache for Siren to the poet

Signature stamp of the estate "Marc Chagall" (lower center)
Gouache and pastel on paper

This gouache was the foundation for a famed lithographic series by Marc Chagall. Painted in 1960, this work inspired the 150 signed lithographs, The Nice and The Côte d'Azur series, released in 1967, and stands as a remarkable example of the artist's mastery over color, form and emotional resonance. In this version, the embrace between the poet and the siren is more vivid and dynamic than in the final lithographs, offering an unfiltered glimpse into Chagall's creative process. Its significance lies in its connection to one of Chagall's most beloved subjects: the poetic dreamscape of the French Riviera.

The visual elements of this work demonstrate Chagall's signature fantastical and symbolic style. The entwined poet and siren merge into one ethereal figure, set against a surreal backdrop of a beach adorned with palm trees, with one tree whimsically replaced by a bloom of flowers. The royal blue sky contrasts with the crimson moon and its reflection in the ocean, casting a dreamlike glow over the entire composition. The bold, rich hues of the gouache, particularly the vibrant blues and reds, evoke Chagall’s profound emotional connection to the South of France and his mastery of capturing its atmospheric beauty.

Marc Chagall, one of the most celebrated artists of the 20th century, spent much of his later life in Nice, where he felt a deep spiritual connection to the Mediterranean landscape. In this series, Chagall returned to the themes of love, mythology and nature, seamlessly blending them with the luminous light of the Côte d'Azur. His art from this period reflects a profound serenity, and his work has been exhibited in major institutions worldwide, including the Louvre and the Museum of Modern Art.

This work is accompanied by its Certificate of Authenticity issued by Meret Meyer, Comité Chagall, dated 6 April 2023

Painted 1960

Canvas: 30 1/2“ high x 21 1/2” wide (77.5 x 54.6 cm)
Frame: 47 1/4“ high x 38 3/8” wide x 2 3/8“ deep (120 x 97.5 x 6 cm)

Provenance:
Estate of the artist
Private collection, London

Literature:
D. Marchesseau, Chagall: ivre d'images, Paris, 1995, p. 111 (illustrated)

Marc Chagall
1887-1985 | Russian

La joie du village
(The joy of the village)

Signed “Marc Chagall” (lower right)
Gouache, pastel, pen and ink on laid paper

This stunning work, entitled La Joie du Village, combines an array of Chagall's most iconic symbols in his unmistakable bold palette, woven together masterfully in a vibrant, energetic composition. The painting features some of his most celebrated motifs: a bridal couple floating above a quaint village, likely symbolizing Chagall and his beloved first wife, Bella Rosenfeld, and their hometown of Vitebsk. This radiant nocturnal scene captures the artist's nostalgic affection for his homeland and his deep emotional ties to Bella.

The visual elements in La Joie du Village are quintessentially Chagall. The floating figures, rendered in vivid hues, create a sense of otherworldly magic, while a colorful cockerel, symbolizing love and fertility, plays a central role. The painting also features a sea-foam green goat and blue fiddler, two figures that appear frequently in Chagall’s work, alluding to his Jewish heritage and the memories of his youth. The goat, often viewed as a symbol of sacrifice, hints at Chagall’s personal history and the tribulations faced by his community in the Russian Empire. Meanwhile, the fiddler, a recurring motif in his oeuvre, represents the joyous yet bittersweet musical traditions that filled his childhood.

Marc Chagall’s career spanned many decades and mediums, and he is widely regarded as one of the 20th century’s most influential artists. His ability to blend personal memory with folklore and fantasy set him apart from his contemporaries. Born in Vitebsk, Chagall was part of the Russian Jewish tradition, and his work often reflects the spirituality and mysticism of his background. Throughout his career, he used art to process the emotional weight of his experiences, from his deep love for his wives to the tragedies of war. Chagall’s work continues to be celebrated in major museums around the world, from the Centre Pompidou in Paris to the Museum of Modern Art in New York.

Painted 1964

Paper: 26 5/8" high x 20 1/2" wide (67.5 x 52 cm)
Frame: 36 1/2" high x 30 1/4" wide x 2" deep (108.1 x100.5 x 9 cm)

Provenance:
Galerie de l’Elysée, Paris
Arthur Tooth & Sons Ltd, London (acquired 12 October 1966)
Mr. Nathan Cummings, Chicago (acquired 12 June 1968)
Jack Cummings, Montreal
Private collection, London

Marc Chagall
1887-1985 | Russian

Couple in the Moonlight

Signed "Marc Chagall" (lower right)
Oil, tempera and colored inks on canvas

Marc Chagall's Couple in the Moonlight is a stunning representation of one of the artist’s most iconic motifs—romantic couples bathed in a dream-like glow. This painting is a remarkable example of Chagall’s mastery, created during the final years of his life when many art critics believe he reached his creative zenith. The central couple, positioned to the left of the composition, features Chagall himself, depicted in bright orange and floating mid-air with a painter’s palette in hand. Hugging him is a figure, ethereal in white, likely one of his two beloved wives, blending seamlessly into the ghostly atmosphere of the scene.

The backdrop is characteristic of Chagall’s unique combination of personal and symbolic elements. A Russian-style village harkens back to the artist's roots, while the image of the crucified Christ, a motif Chagall revisited throughout his career, serves as a poignant nod to the paradoxes that fascinated him—particularly his Jewish heritage and his immersion in Christian society during his time in Paris. The moon, glowing brightly in the top left corner, casts a soft illumination across the painting, highlighting a group of circus performers and a canvas of bright red flowers floating in mid-air, further adding to the surreal and whimsical nature of the work.

Where some artists faltered in their later years, Chagall creativity flourished, producing some of his most beloved and coveted paintings. This work is a tribute to the themes of love, memory and faith that Chagall explored throughout his lifetime, combining technical mastery with a deeply personal narrative. Today, Chagall’s works are part of the permanent collections of major institutions such as the Museum of Modern Art and the Guggenheim Museum in New York, the Tate Modern in London and the National Museum of Modern Art in Paris.

This work is accompanied by its certificate of authenticity from the Comité Marc Chagall.

Circa 1980-81

Canvas: 38 3/4" high x 28 1/2" wide (98.43 x 72.39 cm)
Frame: 51" high x 40 1/2" wide x 3 3/4" deep (129.54 x 102.87 x 9.53 cm)

Provenance:
Estate of the artist
Private collection

Marc Chagall
1887-1985 | Russian

Couple Devant le Buisson

(Couple in front of the bush)
Signed "Marc Chagall" (lower right)

Gouache, colored inks, pastel, tempera and colored pencils on Rives paper

Marc Chagall’s Couple devant le buisson is a captivating work by the modern master, seamlessly blending religious symbolism with secular themes to craft a deeply evocative visual narrative. The painting prominently features the biblical Burning Bush from the story of Moses, but rather than the traditional depiction of Moses facing this divine phenomenon, Chagall presents a couple standing with their backs to the bush, seemingly more captivated by their love for one another. This intriguing juxtaposition reflects Chagall’s ability to intertwine sacred themes with human experience, imbuing the work with both passion and spirituality.

The composition is filled with vivid details, from the vibrant rooster symbolizing fertility and vitality to the hovering goat, which recalls the Jewish symbol of atonement and the removal of sin. Above the scene, a flutist floats serenely, evoking the traveling musicians common in the Jewish shtetls of Eastern Europe, where Chagall spent his early years. These elements bring a rich layer of symbolism and nostalgia to the work, merging Chagall’s personal heritage with biblical references in a style uniquely his own.

Throughout his career, Chagall’s inventive use of color and dream-like imagery has captivated audiences, making him one of the most celebrated artists of the 20th century. His works are held in the collections of major institutions such as the Guggenheim Museum, the Metropolitan Museum of Art and the Musée National Marc Chagall in Nice, among others.

Accompanied by a certificate of authenticity from Meret Meyer on behalf of the Comité Chagall, dated 21 December 2023 (no. 2023393)

Circa 1980

Canvas: 35 1/2" high x 24 7/8" wide (90 x 63 cm)
Frame: 53 1/8" high x 42 1/2" wide x 2 1/8" deep (135.1 x 108 x 5.3 cm)

Provenance:
Estate of the artist
Private collection, London

Marc Chagall
1887-1985 | Russian

Couple aux fleurs et raisins
(Couple with flowers and grapes)

Signed ‘Marc Chagall’ (lower right)
Tempera, gouache, pastel, colored pencils and graphite on Japan paper

“Colours were more important [for Chagall] than the type of flower. I doubt he knew the names of flowers, but he was in awe of bouquet gifts.” –Bella Meyer, granddaughter of Marc Chagall

This multimedia piece exhibits Chagall’s favored theme of lovers embracing amidst a vibrant flower bouquet. First explored in his oeuvre in the 1920s, this work is radiant with bursts of color and movement surrounding the couple, symbolizing Chagall’s reverence for life and the joyous feeling of love. The flowers conceal the male figure who appears to float behind the bouquet. His outstretched hand softly reaches toward the exposed female figure. The grapes symbolize abundance—a frequently used motif by Chagall for works of lovers—and the two birds, perhaps his common bluebird motif, symbolize happiness and a sense of hope.

While working with stained glass in the 1960s and 70s, Chagall discovered innovative uses of colors that he then applied to his paintings and works on paper. Rather than the more common monochrome hues, Chagall outlines the lovers’ heads in green, whereas the man’s hand is highlighted in blue. The natural colors seamlessly integrate with the greenery of the bouquet, subtly connecting their love as akin to the blooming floral display. This romantic work blends Chagall’s ethereal use of color and movement with optimism for love and the future.

Marc Chagall was born in Vitebsk, Russia, to a large, close-knit Jewish family of herring merchants. He began studying painting in 1906 under the famed artist Yehuda Pen. In 1907, he moved to St. Petersburg and joined the school of the Society of Art Supporters. In 1910, Chagall relocated to Paris to be near the art community of the Montparnasse district, and he would eventually become a French citizen. Amongst the turmoil of the 20th century, including the Soviet regime and the outbreak of WWII, Chagall would continue to move between Russia, France and the United States throughout his life.

Chagall's importance as a pioneering figure of modern art cannot be overstated. His imaginative compositions, often centered on personal memories, folklore, and religious themes, profoundly influenced the development of 20th-century art. Chagall’s expressive use of color, form and movement bridge the realms of Cubism, Surrealism, and Symbolism while remaining distinctly his own. His extensive works on paper have remained prized possessions in public and private collections alike, with pieces belonging to institutions like the Guggenheim Museum in New York, the National Museum in Warsaw, and the Centre Pompidou in Paris.

This work is accompanied by a certificate of authenticity issued by Meret Meyer, on behalf of the Comité Chagall, dated 6 April 2023 (no. 2023118).

Circa 1976

Paper: 24 3/8” high x 18 1/8” wide (60.33 x 44.45 cm)
Frame: 38" high x 35" wide x 2 3/8" deep (99.70 x 83.82 x 5.08 cm)

Provenance:
Estate of the artist
Private collection, London

Walasse Ting
1929-2010 | Chinese

Woman with Cat

Signed with artist's seal (upper left)
Acrylic on paper

Unflinchingly bold and sensual, Woman with Cat is an exuberant nude by the celebrated contemporary Chinese-American painter Walasse Ting. The artist is best known for his nude depictions of women, characterized by provocative poses and electrifying color arrangements filtered through Ting's unique blend of Pop art and abstraction. Ting's deft handling of expressive strokes of neon color is clearly on display here, as well as his remarkable ability to create unforgettable, intensely powerful compositions.

Ting first explored his talent for art by painting on the sidewalks of his neighborhood in Shanghai as a child. He was primarily self-taught, but he studied at the Shanghai Art Academy for a time. He left China for Paris in 1952, where he fell under the influence of the avant-garde collective CoBrA, which espoused a spontaneous, expressive approach to painting inspired by the art of children. After a few years in Paris, Ting relocated to New York City where he drew inspiration from the works of the Abstract Expressionists and Pop artists, and in 1970 he was awarded the prestigious Guggenheim Fellowship. Today, his works can be found in the Hong Kong Museum of Art, the Museum of Modern Art in New York and the Art Institute of Chicago, among others.

Circa 1975

Paper: 12 1/2" high x 18 3/4" wide (31.75 x 47.63 cm)
Frame: 21 1/2" high x 27 3/4" wide x 1 1/2" deep (54.61 x 70.49 x 3.81 cm)

Moïse Kisling
1891-1953 Polish-French

Paysage de Provence
(Landscape in Provence)

Signed “Kisling” (lower right)
Oil on canvas

Moïse Kisling’s Paysage de Provence is a brilliant display of the modernist’s mastery of vibrant color and bold form, capturing the radiant beauty of the Provençal landscape. This work exemplifies Kisling’s daring use of contrasting colors and dynamic line work, infusing the natural world with emotional intensity that underscores his groundbreaking vision. Created during a pivotal period of innovation in Kisling’s career, Paysage de Provence offers a vivid portrayal of both nature’s splendor and the artist’s creative genius.

In this striking composition, Kisling reimagines the landscape of Provence, choosing to focus not on the wide expanse of land but on an intimate grove of trees. Each tree in the scene stands as its own character—some with the light bark and silvery leaves of olive trees, others with the stately presence of evergreens. The deciduous trees at the center, poised on the brink of autumn, provide a rich variety of greens, golds and browns, showcasing Kisling’s remarkable ability to evoke seasonal change and the diversity of life. His painterly technique—characterized by strong, dark edges juxtaposed with feathery brushwork and an expansive color palette—gives the scene a dreamlike quality while still maintaining a firm connection to the natural world.

Moïse Kisling was an important Polish-born French painter who became a significant figure in early 20th-century modern art, especially associated with the School of Paris, a group of international artists who made Paris the epicenter of creative activity. Kisling moved to Paris in 1910, where he interacted with key artists of the time, including Amedeo Modigliani, Pablo Picasso and Jules Pascin, gaining prominence for his striking style. Kisling’s works are recognized for their emotional depth and luminosity, and this landscape is no exception. Today many of Kisling's paintings are held in prestigious public collections, including the Harvard Art Museums, the British Museum, and the Metropolitan Museum of Art.

Painted 1921

Canvas: 35 3/4" high x 28 1/4" wide (90.81 x 70.76 cm)
Frame: 43" high x 35 1/4" wide x 1 1/4" deep (109.22 x 89.54 x 3.18 cm)

Provenance:
Private collection, Paris
Private collection, Austria
Private collection, London

Literature:
Jean Kisling, Kisling 1891-1953, vol. III, 1995, p. 322, no. 71 (illustrated)

Exhibitions:
Tokyo, Mitsukoshi Museum Hiroshima, Kisling, Centenaire, Japon, 1991-1992

Henri Martin

1860-1943 French

Venice

Signed "Henri Martin" (lower right)
Oil on canvas

Henri Martin, an exceptional Post-Impressionist painter known for his light-drenched landscapes, created this oil while on a trip to Venice in 1909-1910. Drawn to the city’s clear, strong light and its reflections on the surrounding buildings, Martin visited many times during his career. Venice’s distinctive atmosphere has served as a source of inspiration for generations of artists, and Martin builds off this legacy in his work. This resplendent landscape expertly captures the morning sunlight coming over the Grand Canal, illuminating the vibrant colors of the historic palazzos.

In this composition, Martin used Pointillism to painstakingly apply small touches of vibrant color. The subtle brushstrokes contrast with the strong vertical lines and classic architecture of the buildings. In doing so, Martin blends his early academic training with a modern sensibility of light and color, imbuing the work with a moving sense of the fleeting nature of beauty.

Martin began his artistic studies at the École des Beaux-Arts in Toulouse in 1877. Finding recognition early into his schooling, he received a municipal scholarship to relocate to Paris in 1879, where he studied under Jean-Paul Laurens. His early academic style won him a medal at the conservative Paris Salon at the young age of 23. However, after studying the works of Giotto and Masaccio on his first trip to Italy a few years later, he radically altered his approach to painting to reflect his new perspective on light. Experimenting with various neo-impressionist techniques, Martin captured the fleeting qualities of light through Divisionist, Symbolist and Pointillist paintings.

Throughout his career, Martin refused numerous contracts from successful Paris dealers. His independence sets him apart from fellow contemporaries given the 20th-century art market, where most artists relied on dealers for financial stability and exposure. By rejecting the contracts, Martin preserved full control over his creative vision and never assented to commercial pressures. His artistic integrity allowed him to remain a true original in an era defined by market conformity. Martin’s works can now be found around the world including the Musée d’Orsay and the Palais des Beaux-Arts in Paris.

This work is accompanied by a certificate from Madame Marie-Anne Destrebecq-Martin.

Circa 1909

Canvas: 26 1/2" high x 27 3/8" wide (67.31 x 94.93 cm)
Frame: 37" high x 47 3/4" wide x 3 1/4" deep (93.98 x 121.29 x 8.33 cm)

Kees van Dongen
1877-1968 | Dutch-French

Madame Flore Lesieur

Signed "van Dongen" (upper left)
Oil on canvas

"You have to want to touch a painting, for it to be a pleasure for all the senses." –Kees van Dongen

This captivating portrait by Kees van Dongen embodies the glamour and sophistication of Parisian high society, beautifully portrayed through his subject, Madame Flore Lesieur, the wife of aviation innovator Henri Lesieur. Painted in 1939, Van Dongen's mastery of vibrant color and rich texture is on full display, as he elegantly fuses modernist sensibilities with the timeless charm of classical portraiture.

While van Dongen painted iconic celebrities such as Josephine Baker and Brigitte Bardot, his portraits of Parisian socialites of the early 20th century remain among his most important. Madame Flore is depicted in a flowing and feathery white gown, enhanced by a sumptuous fur coat that nearly jumps off the canvas to marvelous effect. The angelic white ang gray tones that dominate the canvas are expertly punctuated by her bright teal sash, glowing skin, and alluring red lips, cheeks and hair—emphasizing Van Dongen's ability to elevate beauty and femininity in a manner that feels both luxurious and avant-garde. Her wide, expressive eyes—an iconic hallmark of van Dongen’s portraiture—immediately draw the viewer in, evoking both a sense of intimacy and the artist’s fascination with the female form.

Every element of this portrait exudes elegance and sophistication, a fitting tribute to one of the most influential women of her time. Flore Lesieur, portrayed here with a delicate grace, was not only celebrated for her own social stature but also for her connection to her husband’s trailblazing work with Air France in the post-World War II era. These included launching trans-Atlantic passenger services and introducing innovative sleeper flights, revolutionizing commercial aviation. His accomplishments, such as overseeing Air France’s move to New York’s Idlewild Airport (now JFK) and receiving the prestigious title of Chevalier of the French Legion of Honor, marked him as a leader in his field.

The Lesieurs later relocated to Miami Beach, where they continued to shape society through their philanthropic initiatives. Together, they established the Henri and Flore Lesieur Foundation and endowed the Henri and Flore Lesieur Chair in Ophthalmology at the Bascom Palmer Eye Institute, leaving an enduring legacy.

Van Dongen received his early artistic training at the Royal Academy of Fine Arts in Rotterdam and later moved to Paris in the early 1900s. After settling in the Montmartre district, then the artistic hub of the city, van Dongen found himself immersed in an environment that stimulated his creativity and inspired him to begin exhibiting his paintings. Even in his earliest shows his works were showcased alongside the artistic masters of the day. At the 1905 Salon d'Automne, van Dongen's paintings were hung in the same gallery as the highly esteemed artist Henri Matisse, a deep honor for the younger van Dongen. Importantly, it was from this pivotal showing that the Fauves—the "wild beasts" of the early 1900s—were born. Matisse had pioneered the Fauvist technique, exemplified by intensely expressive colors and bold brushwork. Van Dongen's early paintings bore the hallmarks of this explosive expression, ushering him into the circle of the leading avant-garde painters of the day.

An artist whose career was defined by coloristic expression and unyielding originality, Kees van Dongen and his unique style grabbed the attention of early 20th-century art connoisseurs, ranking him among the leading modernists of the era. Above all, van Dongen was dedicated to the subject of the modern urban woman, and they remained central to his output throughout his career. Today, van Dongen's artworks grace museum collections, including the Metropolitan Museum of Art and the Museum of Modern Art in New York, the Art Institute of Chicago and the State Hermitage Museum in St. Petersburg, among others.

This work will be included in the forthcoming van Dongen Digital Catalogue Raisonné by the Wildenstein Plattner Institute.

Painted 1939

Canvas: 43 1/2" high x 35 1/2" wide (110.49 x 90.17 cm)
Framed: 50 1/4" high x 42 3/4" wide x 3" deep (127.64 x 107.63 x 7.62 cm)

Provenance:
Madame Flore Lesieur (the sitter)
Private Collection, Paris (by descent)
Bass Museum of Art, Miami
Private collection

Jean Jules Cavaillès
1901–1977 French

La Colombe
(The Dove)

Signed "J. Cavaillès" (lower right and on reverse)
Oil on canvas

Jules Cavaillès' La Colombe embodies the artist's vibrant and uplifting approach to still life, distinguished by his use of pure, bold color and expressive compositions. The lively interplay of red, green, pink and blue hues radiates a sense of joy, while the overflowing bouquet and leaves bring an exuberant vitality to the canvas. In the foreground, the inclusion of a charming dove—a common motif in Cavaillès' work—symbolizes love, peace and harmony, heightening the sense of serenity conveyed by the composition.

In La Colombe, Cavaillès skillfully manipulates color and form, evoking a joyful spirit that is a hallmark of his oeuvre. The dove, pot of flowers and bright red table all reflect his mastery of balancing the Fauvist-inspired vibrant palette with a more restrained, soft realism. This painting perfectly captures the simple pleasures of life, imbuing the work with a deep sense of warmth and tranquility.

Jules Cavaillès, an influential figure in the Post-Impressionist and Fauvist movements, is celebrated for his mastery of color and light. His works are noted for their optimistic, vibrant depictions of ordinary scenes that epitomize joie de vivre. He and a like-minded group of artists in Paris formed a movement called La Réalité Poétique, which celebrated the lyrical, emotional layers of everyday life. Cavaillès exhibited in Paris at major Salons, taught at the École des Arts Décoratifs and his works reside in prominent institutions like the Musée d'Art Moderne de Paris.

Circa 1956

This work will be included in the forthcoming catalogue raisonné being prepared by the Jules Cavaillès Research Center under the registration number S_12_009.

Canvas: 25 3/4" high x 32 1/8" wide (65.41 x 81.60 cm)
Frame: 27 1/4" high x 33 1/2" wide x 2 3/8" deep (69.22 x 85.09 x 6.03 cm)

Provenance:
Galerie Romanet, Paris (acquired by 1956)
Braswell Galleries, Norwalk, Connecticut
Acquired from the above in 2012
Private collection, New York

Louis Valtat
1869-1952 | French

Maternité, Femme en Bleu Devant la Fenêtre

Signed “L.V.” (lower right)
Oil on board

Vibrant hues of crimson reds, golden yellows and cool blues define this remarkable Post-Impressionist oil on canvas by the French painter Louis Valtat. Maternité, Femme en Bleu Devant la Fenêtre not only exemplifies his signature style but also explores a subject rarely explored by male artists of the time—the quiet, everyday world of women and motherhood. This composition is Valtat at his best, capturing the essence of domestic tranquility with an arresting vibrancy.

Valtat masterfully depicts an intimate domestic scene, bathed in warm afternoon light. In the foreground, a woman dressed in blue sits gracefully at a table, while behind her, a second woman dressed in red cradles a baby. The interplay of colors is striking: the rich red walls contrast harmoniously with the cooler blue tones of the dress, window and table, creating a dynamic yet serene portrayal of domestic life.

Born in Normandy in 1869, Valtat enrolled at the École des Beaux-Arts at the age of 17, where he studied under the great French figure painters Gustave Boulanger and Jules Lefebvre. There, he began his association with several artists who would influence the trajectory of his career, including Henri Matisse, Édouard Vuillard, Pierre Bonnard, Paul Signac and Pierre-Auguste Renoir, with whom he remained lifelong friends. He was awarded the Jauvin d’Attainville prize in 1890 and exhibited for the first time at the Salon des Artistes Indépendants in 1893.

Renoir introduced Valtat’s works to Ambroise Vollard, the renowned art dealer. Vollard identified Valtat as one of the most exciting painters working in Paris at the turn of the 20th century. On Renoir’s advice, Vollard made an agreement with Valtat to purchase almost all of the artist’s work for the first decade of the 20th century (1902 – 1912), becoming his dealer and agent.

The relationship was a fruitful one; Vollard went on to organize Valtat’s first solo exhibition at his gallery and submitted Valtat’s works to other exhibitions in Paris. In 1927, Louis Valtat was awarded the Chevalier de la Légion d’Honneur, which was considered the premier order of France. Throughout his career, Valtat remained true to his unique style, never completely associated with a particular art movement but was influenced by many. Today, his works are found in important collections around the globe, including the Hermitage in St. Petersburg, the Museum of Modern Art in New York, the Thyssen-Bornemisza Museum in Madrid, the Musée des Beaux-Art in Bordeaux and many others.

Circa 1899

Canvas: 17 3/8“ high x 21” wide (44.13 x 53.34 cm)
Frame: 29 1/2“ high x 33” wide x 3 3.4“ deep (74.92 x 83.82 x 9.53 cm)

Literature:
J. Valtat, Louis Valtat: Catalogue raisonné de l'oeuvre peint, Paris
1977, vol. I, p. 27, no. 242

Provenance:
Anonymous sale, Hôtel des Chevau-Légers, Versailles, 6 July 1961, lot 84
Private collection, Paris
Private collection, New York

Jean Dufy
1888-1964 | French

Nature Morte au Panier de Mimosa

Signed “Jean Dufy 29” (lower right)
Oil on canvas

Jean Dufy, French painter and ceramicist who was the younger brother to Raoul Dufy, created this stunning still-life, which encapsulates the peak vibrance of the Parisian avant-garde movement. While Dufy is best known for painting city scenes, circuses and musicians, this painting brings together two major inspirations of the artist: porcelain design and flowers. Dufy combined a Fauvist color palette and bold, energetic brushstrokes with an homage to his lauded porcelain painting skills in Nature Morte au Panier de Mimosa. This work exemplifies the groundbreaking vision of Dufy and his avant-garde circle, combining various media to create an artistic realm that transcends reality.

The still-life features Dufy’s distinctive, boisterous color palette and his characteristic use of patchwork-esque brushwork. A vase of roses, a basket of mimosa flowers, an apple, oranges and a porcelain tea cup and saucer rest on the table. A single wilted rose rests on the table, subtly blended into the electric green table.

Once a next-door neighbor to Georges Braque, the flattened surface of the table and fragmented composition reflect the great Cubist's influence on Dufy and his experimentation with still lifes. In this work, Dufy also pays tribute to his multi-decade partnership with the renowned Théodore Haviland, for whom he began working as a porcelain painter in 1916 in Limoges, France. In the painted tea set, Dufy recreates the Bussière motif, featuring blue and red blooms set on a glimmering white background. The original motif was exhibited at the 1925 Exposition Internationale des Arts Décoratifs, where he won a gold medal for porcelain design.

Born in Le Havre in 1888, Dufy was one of ten siblings, including his older brother Raoul. Jean studied at the École des Beaux-Arts in Le Havre before moving to the capital to join Raoul, who by this time had already established himself as an artist in Paris. Raoul took Jean under his wing and introduced him to a circle of Post-Impressionist artists that deeply influenced Jean’s painting approach, including Derain, Picasso and Cézanne. His first solo exhibition occurred in Paris in 1914, at age 26, and he consistently exhibited thereafter both in France and America. Since his death in 1964, appreciation for his work has grown steadily, and his works can be found in major art museums worldwide, including the Museum of Modern Art in New York and the Centre Pompidou in Paris.

This work will be featured in the upcoming catalogue raisonné currently being prepared by Jacques Bailly.

Dated 1929

Canvas: 21 1/4” high x 17 5/8” wide (53.98 x 44.77 cm)
Frame: 27 7/8" high x 24 1/4" wide x 2 7/8" wide (70.80 x 61.60 x 7.30 cm)