D`après Marc Chagall (1887-1985) - photo 1
D`après Marc Chagall (1887-1985) - photo 2
D`après Marc Chagall (1887-1985) - photo 3
D`après Marc Chagall (1887-1985) - photo 4
D`après Marc Chagall (1887-1985) - photo 5
D`après Marc Chagall (1887-1985) - photo 6

D`après Marc Chagall (1887-1985)

Lot 151
05.04.2023 14:00UTC +01:00
Classic
Sold
€ 126 000
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 930161
Lot 151 | D'après Marc Chagall (1887-1985)
Estimate value
€ 150 000 – 250 000
D'après Marc Chagall (1887-1985)

Le Coq rouge

avec la signature 'ChAgAll' et le monogramme de l'atelier Yvette Cauquil-Prince (en bas à droite); avec la numérotation et l'inscription '1/1 PIECE UNIQUE' (au revers)

tapisserie en laine tissée à la main

308.3 x 359.1 cm.

Conçu en 1950 et exécuté par l'atelier Yvette Cauquil-Prince en 1991; cette œuvre est unique



with the signature 'ChAgAll' and with the monogram of the Yvette Cauquil-Prince's atelier (lower right); with the numbering and the inscription '1/1 PIECE UNIQUE' (on the reverse)

hand-woven wool tapestry

121 3/8 x 141 1/2 in.

Conceived in 1950 and executed by the Yvette Cauquil-Prince atelier in 1991; this work is unique





Provenance

Atelier Yvette Cauquil-Prince, Paris.

Acquis auprès de celui-ci par le propriétaire actuel.



Exhibited

Vienne, Kunsthaus, Meister des 20. Jahrhunderts, Tapisserien, Hommage an die Meisterweberin Yvette Cauquil-Prince, février-mai 2000, p. 127 (illustré en couleurs, p. 45).



Special notice


Artist's Resale Right ("droit de Suite").
If the Artist's Resale Right Regulations 2006 apply to this lot, the buyer also agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
This item will be transferred to an offsite warehouse after the sale. Please refer to department for information about storage charges and collection
details.



Post lot text

“L’univers de la tapisserie transmis par Yvette Cauquel-Prince prend une signification nouvelle; c’est une nouvelle création, un autre aspect de l'œuvre, sa continuation naturelle… Rien n’est identique à l’original, tout est différent et complémentaire, car la tapisserie appelle d’autre lignes de force fournies par une autonomie créative: l’autonomie des maîtres-tapissières (…) c’est pourquoi Chagall était si heureux de voir ses propres créations réinventées par ce biais.”
Jean-Louis Prat, ancien directeur de la Fondation Maeght, Saint-Paul-de-Vence.

Marc Chagall a découvert le monde de la tapisserie lorsqu’il reçut une commande pour créer trois œuvres bibliques pour la Knesset, à Jérusalem en 1963. Ces tapisseries monumentales, réalisées par les maîtres-artisans M. E. Lelong & M. Bourbonneaux à l’illustre manufacture des Gobelins à Paris, ont été dévoilées en 1969. Chagall a d’abord été hésitant avec cette nouvelle forme d’art mais, après la commande de la Kessnett, il s’est rendu compte de son potentiel et a voulu continuer à explorer son œuvre au travers de cette nouvelle technique.
Chagall a été présenté pour la première fois à Yvette Cauquil-Prince, une maître-tapissière et tisserande belge, par Mme Madeleine Malraux (l'épouse du Ministre de la Culture français) en 1964, alors qu'il supervisait la production des tapisseries de la Knesset.
Chagall a été très impressionné par le travail de Cauquil-Prince après avoir vu une de ses tapisseries de Picasso. Il lui donna alors l’opportunité de créer leur première collaboration, La Famille d’Arlequin (1966), à la condition que s’il n’aimait pas le résultat, ils détruiraient la pièce immédiatement. Cauquil-Prince accepta à son tour à la condition que l'œuvre serait détruite si le résultat final la décevait. Heureusement, leur première tentative fut un succès retentissant. L’artiste et Cauquil-Prince ont noué une relation étroite et elle a pu continuer à interpréter les grandes peintures en grandes tapisseries, y compris l'impressionnante œuvre présentée ici.
Tout au long de leur relation, Chagall et Cauquil-Prince se sont mutuellement admirés, il l’appelait la «Toscanini de la tapisserie» et parlait souvent d’elle comme «(sa) petite fille».Cette dernière expression fut utilisée une fois de trop par Chagall devant sa femme jalouse, Vava; elle réagit alors en interdisant aux deux de travailler ensemble. Une décennie s’écoula avant qu’ils ne puissent reprendre contact et collaborer à nouveau.
Chagall et Cauquil-Prince ont entretenu une relation personnelle et professionnelle étroite jusqu'à sa mort en 1985, jour où Chagall lui a embrassé les mains et déclaré « ces mains sont faites d’or ». La maître-artisan est restée proche de la famille de l’artiste par la suite. Avec leur accord elle a continué à interpréter les travaux de Chagall en tapisseries, un souhait que Chagall avait exprimé de son vivant: «Quand je ne serai plus là, vous devrez continuer le travail» lui avait-il dit. «Il n’y aura jamais de tapisserie de Chagall sans vous».
Tout au long de sa vie, Cauquil-Prince a continué à utiliser son savoir-faire pour faire revivre et moderniser l’art ancien de la tapisserie. Bien que son talent et sa réputation pour la réalisation de tissage d’après des peintures l’aient amenée à travailler avec d’autres grands noms du XXème siècle, (Picasso, Braque, Ernst, Klee, Matta, Kandinsky et Calder pour n’en citer que quelques-uns), son nom reste synonyme des tapisseries de Chagall; aujourd’hui encore d’importantes expositions internationales continuent de mettre en avant et de célébrer son oeuvre.

“The tapestry universe convey by Yvette Cauquil-Prince takes on a new significance; it is a new creation, another aspect of the work, its natural continuation... Nothing is identical with the original, everything is different and complementary, for tapestry demands other lines of force provided by a creative autonomy: the autonomy of the master-craftswoman [...] that is why Chagall was so happy to have his own creation reinvented by this intermediary.”Jean-Louis Prat, former director of the Maeght Foundation, Saint-Paul-de-Vence.

Marc Chagall first encountered the world of tapestry when he was commissioned to create 3 biblical pieces for The Knesset,Jerusalem in 1963. These monumental tapestries were finally unveiled in 1969, realised by master-craftsmen M. E. Lelong & M. Bourbonneaux at the infamous Manufacture des Gobelins in Paris. Chagall was hesitant at first with this new art form however after the Knesset commission, he realised the potential and wanted to continue exploring his works through this new medium.Chagall was first introduced to Belgian-born master craftswoman and weaver, Yvette Cauquil-Prince by Mme Madeleine Malraux (the French Minister of Culture’s wife) in 1964, whilst he was overseeing the production of the Knesset tapestry commissions. Chagall was deeply impressed by Cauquil-Prince’s work after being shown one of her Picasso tapestries. He gave Cauquil-Prince the opportunity to create their first collaboration, La Famille d’Arlequin (1966), on the condition that if he didn’t like the outcome, they destroy the piece immediately. Cauquil-Prince agreed with her own condition that it would be destroyed if the final effort disappointed her. Thankfully, their first effort was a resounding success. The artist and Cauquil-Prince formed a close relationship and Cauquil-Prince continued translate master paintings into master tapestries, including the impressive present work. Throughout their relationship, Chagall and Cauquil-Prince had a huge amount of admiration for each other; he called her the “Toscanini of tapestry” and often referred to her as “my little girl”. The latter of which Chagall vocalised one too many times in front of his jealous wife, Vava; she reacted by banishing the two from working together. A decade passed before they were able to reconnect and continue working again.
Chagall and Cauquil-Prince’s close personal and professional relationship until his death in 1985, a day in which Chagall kissed her hands and proclaimed “[t]hese hands are made of gold.” The master craftswoman remained close to the artist’s family thereafter. With their approval she continued to translate Chagall’s works into tapestry, something that Chagall himself had said he wanted. “When I am no longer here, you must continue the work,” he told her. “There will never be a tapestry by Chagall without you.”
Throughout her life, Cauquil-Prince continued to use her expertise to revive and modernise the age-old art form of tapestry. Although her talent and reputation for translating paintings into the woven-form lead her to work with the other greats of the twentieth century (Picasso, Braque, Ernst, Klee, Matta, Kandinsky and Calder to name a few), her name remains synonymous with Chagall tapestries; major international exhibitions continue to highlight and celebrate her legacy.
Art style:Modern art
Place of origin:Western Europe, France, Europe
Auction house category:Rugs & carpets
Address of auction CHRISTIE'S
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