Marc Chagall

Vittorio de Sica, Rome
Galerie Patrick Cramer, Geneva
Private Collection (acquired from the above in 1979 and sold: Sotheby's, New York, November 9, 1995, lot 313)
Acquired at the above sale by the present owner

Work is in very good condition. Sheet is laid down on board. Board is mounted to window mat with tape in four places, two on each side edge. Surface may be slightly rubbed at lower left. Scattered surface irregularities, scraping and variation in pigment layering all appear inherent to artist's process. Sheet appears to be somewhat time darkened in areas left exposed. Two tiny, isolated spots of craquelure in thickest spots of pigment in white bloom at left center and at top center, otherwise fine. Colors are bright and fresh overall.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Les Amoureux au bouquet combines two of Chagall's favorite themes: the lovers and opulent floral bouquets. The multi-colored bouquet of flowers erupts from a vase and dominates the right half of the picture plane with the lovers in the top left corner. Chagall constantly turned to flower painting to evoke an expressive sensation of fantasy in their combination of still-life, narrative motifs, and landscape. 

This fascination with flowers began in the late 1920s and remained prevalent in his art throughout the rest of his career. Chagall was first struck by the charm of flowers in Toulon in 1924; he later claimed that he had not known of flowers in Russia and they therefore represented France for him.

Chagall can be considered one of the great autobiographical artists of the 20th century, as he invests all of his pictures with deeply personal images from his personal history. In 1941, Chagall and his wife, Bella, fled France to the United States in the wake of the Nazi invasion. The same year that World War II ended, Chagall's beloved Bella died, which left the artist completely overwhelmed with grief. On his return to France in 1948, he executed Les Amoureux au bouquet, an image that is dominated by the flowers that represent Chagall's return to the home he loves. Furthermore, the use of the oversized bouquet combined with the image of the lovers expresses his feelings of nostalgia and deep adoration for his lost beloved.

Fig. 1 The artist with his wife, Bella, in his studio, c. 1939