Galerie Rosengart, Lucerne
Sale: Sotheby's, London, December 6, 1978, lot 381
Waddington and Tooth Galleries, Ltd., London
Sale: Christie's, New York, May 5, 2005, lot 152
Acquired at the above sale by the present owner

Excellent condition, colors are bright and fresh. The work is hinged to the mat in two places along the upper edge. Upper edge retains the perforations which show that the sheet was removed from a spiral bound sketchbook. Executed on cream wove paper. Pigments are very thickly applied resulting in undulating sheet. White pigment is very thickly applied in bride's veil with a very small corresponding amount of craquelure and a small chip of paint loss to the left of her mouth. There are a few touches of pastel and charcoal on the figures left and right. Tiny remnants of mounting tape at center of left, right and lower extreme edges. On verso: scattered studio stains inherent to the work, some minor surface dirt, some remnants of tape along upper edge.
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.

Le Mariage is an outstanding example of Chagall's unique, visionary aesthetic – one which combines rich folk🎃loric imagery with representations of simple, earthly virtues. The dynamic composition abounds with diverse characters who witness the union of lovers in the foreground. A chorus of angels with feathered wings grace the left hand side of the sheet, echoed by the musicians on the lower right; together, they imbue this painting with 🧸a powerful lyrical quality.

The iconography of the present work is replete with images that are ubiquitous in Chagall's oeuvre. Bouquets of flowers suggest the romanticism of Paris, whilst contributing to the multi-sensory aspect of the image. Along the right are a number of pr🃏ovincial houses, strongly reminiscent of those which Chagall encountered in his native Vitebsk. Th💮ese icons are joined by a cockerel and a goat which, along with the angels, are mediators between the celestial and natural worlds.

Such themes in Chagall's work, in particular the dominant theme of the lovers, are timeless. The artist's visualisation transcends the reality of daily existence into the realm of the chimerical, and is testament to his reputation as one of the greatest iconographers of the twentieth ce༺ntury.