Marc Chagall

Beatrice Renfield Estate, New York (sale: Christie's, New York, 5th November 2003, lot 167)
Purchased at the above sale by the present owner

Executed on black wove paper, not laid down, hinged to the mount at two points along the top edge. The left, right and bottom edges are deckled with some minor associated nicks and tears. Apart from a diagonal 3cm. flattened crease to the top left corner, a 1cm. tear to the upper left edge and some paint shrinkage to the areas of thick gouache, this work is in good condition. Colours: Overall fairly accurate although the colours are brighter in the original.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Executed in 1926 only a few years after Chagall settled in France, the present work depicts a heart-warming scene of embracing lovers under an umbrella in the rain at night. Chagall has placed the couple slightly off centre in the composition, enhancing the intimacy of the moment as though the viewer is witnessing a private moment. This element is further heightened by the way the couple emerge from the dark background, visible only through their bright umbrella and clothes with only nuances of the scene behind them of which they are oblivious. Couple sous la pluie is an excellent example of Chagall's work from this period in France. The scene is simultaneously affectionate and playful, evidence of the artist's newfound love and vigour in life. However, the intricate detailing of the flowered pattern on the woman's skirt still recalls the artist's earlier Russian influence.

Upon arriving in France in 1923, Chagall seemed to develop a sense of ease and liberation. As Lionello Venturi notes: 'After some months in Berlin, Chagall reached Paris in the Spring of 1923 ... What entranced Chagall was Paris itself – its atmosphere, its serenity, its cultural refinement, the tradition of courtesy, the light, the nuances, the color. After the turmoil of the revolution, Paris was a paradise on earth. Until then, he had felt like a leaf in a storm: now, in Paris, he realized that his life had a center, and that center was his love for Bella ... now, with their life together secure, he was ready to forget his hardships, and see his love mirrored in everything on earth. Flowers especially, and embracing lovers, inspired him with a song of love that was always the same and always new' (L. Venturi, Marc Chagall, New York, 1945, pp. 35 & 36)