Theodor Ahrenberg, Stockholm
Private Collection, New York
Acquired from the above by the present owner

Jacques Lassaigne, Chagall, Paris, 1957, illustrated p. 80
Franz Meyer, Marc Chagall, Life and Work, New York, 1961, no. 870, illustrated n.p.
Charles Sorlier, The Ceramics and Sculptures of Chagall, Monaco, 1972, no. 54, illustrated p. 70
Jacob Baal-Teshuva, Marc Chagall, 2003, illustrated p. 258

Carved in rogne stone. Apart from some light surface dirt in the crevices and light wear, consistent with age and handling, this work is in overall very good condition.
"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."

This roughly carved Rogne stone relief is a rare example of Chagall's already very limited sculptural œuvre and King David is one of the only six Rogne s๊tone sculptures he ever created.

It is the only piece from the series that was sold to the distinguished patron and collector Theodor Ahrenberg and the only piece remaining in private hands. Four of the other Rogne stone sculptures were gifted by Chagall and his wife to Musée Marc Chagall in Nice, while the Christ remains in the collection of their daughter Ida. Ahrenberg also owned four other early sculptures by Chagall including Mother and Child, Rooster, Fantastic Animal, and Woman with Chicken's Head.

Though Chagall's stone reliefs are rare, his subject matter is more characteristic, and indeed the present work depicts one of Chagall's favourite motifs: King David. Typically Chagall's figures do not adhere very closely to the biblical and he often plays quite freely with biblical figures. As such, King David appears with a fur pelt, perhaps representing the typical Russian dress of his homeland which Chagall often depicts him in. David was also a great singer and dancer having eased the heartache of King Saul with music and dance. As such, he comes majestically replete with crown and harp. Unlike many of Chagall's other paintings of David, the character fills the whole space, devoid of other imagery or blank space. Perhaps as a reflection of the medium, the figure appears unusually solid and stoic, literally trapped within the space he inhabits. Gaston Bachelard, the great philosopher and theorist of the poetics of space, asks us to consider Chagall's sculpture within the framework of Primitive art. He challenges and questions its formal intent, when he asks: 'is this sculpture Chagallian, or is it Assyrian?'. Notwithstanding their imposing material quality and hardness, Bachelard goes on to relate these works to the artist's iconic poetic sensibility, reminding us of the way in which 'Chagall leads us to an immense rêverie' (in Marc Chagall (exhibition catalogue🎶), Grand Palais, Paris, 1969-70, p. 244, translated from the French).