Marc Chagall Moses Sees The Sufferings Of His People

Marc Chagall’s biblical imagery is central to his printed oeuvre, and the scene often referred to as “Moses Sees the Sufferings of His People” sits squarely within that legacy. For appraisers and collectors, this subject is most commonly encountered as an original etching from Chagall’s celebrated La Bible suite (published 1956) or as later lithographic/photomechanical reproductions. Distinguishing among these is essential for accurate valuation.

This guide breaks down what the work is, how to identify the version you have, what affects market performance, and how to describe it properly in a report or catalogue.

Context: Where This Image Fits in Chagall’s Oeuvre

• Commission and publication: In 1930 the dealer Ambroise Vollard commissioned Chagall to illustrate the Bible. Chagall worked on the plates during the 1930s and resumed after the war. The full set of 105 etchings—collectively known as La Bible—was ultimately published in Paris in 1956 by the art publisher Tériade.

• Subject and narrative: “Moses Sees the Sufferings of His People” (frequently catalogued under a French title such as “Moïse voyant les souffrances de son peuple”) belongs to the Exodus cycle, depicting Moses witnessing the oppression of the Israelites in Egypt. The composition typically shows an anguished Moses set slightly apart from laboring figures or an oppressive overseer—a poignant statement of witness and moral awakening consistent with Chagall’s lifelong engagement with Jewish history.

• Media families you will encounter:

  • Original intaglio etchings from La Bible (black-and-white, printed on fine wove paper).
  • Color lithographs related to the Bible drawings (often from the Verve issues mid-1950s), printed by a leading Paris lithography studio of the time.
  • Later offset/photomechanical reproductions or book plates, often confusingly described in the marketplace.

Knowing which family a sheet belongs to is the primary determinant of value.

Versions and Editions: What Exists for This Subject

1. La Bible (1956), original etching

• Portfolio: 105 etchings total; this subject appears within the Old Testament sequence.
• Paper: Typically on quality wove such as Arches; an “ARCHES” or “ARCHES FRANCE” watermark is common.
• Printing: Executed in Paris under Tériade’s direction at a master intaglio atelier; impression quality tends to show crisp platemarks and rich line work.
• Editions: Issued as part of complete sets with standard and deluxe papers. Standard sets usually comprise unsigned sheets; deluxe subsets may include sheets on Japon or specially numbered/signed copies. Individual leaves were often later removed from bound or boxed sets for sale.
• Signature/numbering: Most individual etchings from the standard sets are not pencil-signed or numbered; this is normal and does not preclude authenticity.

2. Dessins pour la Bible / Verve issues (mid-1950s), color lithographs and reproductions

• Chagall also created color lithographs related to his Bible drawings, published in Verve. These are original lithographs when stated as such, but they are not etchings and are distinct from the La Bible intaglios.
• Some Verve publications reproduce black-and-white images photomechanically. These reproductions lack the tactile characteristics of original prints and carry lower market value.

3. Later posters and offset reproductions

• Poster editions, book plates, and offset prints on thin or coated stock may bear printed text or margins trimmed close. Under magnification, dot patterns reveal mechanical reproduction. These are decorative, not original prints.

Key catalogues:

• The illustrated book La Bible is commonly referenced as “Cramer 30” (Cramer’s catalogue of Chagall’s illustrated books). For etchings and prints more broadly, appraisers also cite the standard Chagall print catalogues raisonnés compiled by recognized scholars and print specialists.

Authentication: How to Tell What You Have

Focus on seven practical checkpoints:

1. Technique and surface

• Original etching: A clear platemark indentation around the image from the copper plate is a strong indicator. You should feel a subtle ridge if you run a fingertip gently across the edge of the image area (avoid abrasive contact). Lines appear slightly bitten into the paper, with potential plate tone (a light veil of ink left intentionally).
• Lithograph: No platemark; the surface is even. Original lithographs have continuous tonal areas but no intaglio bite.
• Photomechanical: Under 10x magnification you’ll see rosette/dot patterns; surfaces are uniformly flat, often on thinner, coated, or magazine-like paper.

2. Paper and watermark

• La Bible etchings were printed on quality wove papers; an “ARCHES” watermark is typical when backlit. Deluxe impressions may be on Japon paper (smooth, slightly warm tone, often thinner).
• Reproductions may have no watermark, or the sheet may be clearly commercial stock.

3. Sheet and image measurements

• For La Bible etchings, the image (plate) size is typically modest, often roughly in the range of about 18–25 cm on the short side, within a larger sheet (commonly c. 35–45 cm on the long side). Expect wide margins. Precise measurements matter: record both the platemark (image) and full sheet sizes in centimeters.
• Reproduction leaves from Verve or books often conform to standard magazine page sizes and may show evidence of binding or a central fold if removed from a stitched volume.

4. Inscriptions

• Unsigned sheets from La Bible are common. If present, a pencil signature “Marc Chagall” lower right and edition notations (e.g., “xx/xxx” or “E.A.” for artist’s proof) can indicate a deluxe or proofing state. Beware of later-added spurious signatures on reproductions.
• Publisher or printer blindstamps are uncommon for the standard La Bible etchings, but might appear with some deluxe impressions in other Chagall editions.

5. Ink character

• Original etchings show characteristic wiped ink with occasional plate tone and subtle variations across impressions.
• Reproductions exhibit uniform blacks and flat fields; no wiping marks.

6. Catalogue cross-reference

• Locate the work within the La Bible sequence in Cramer (as the book-level reference) and, if available, a print catalogue raisonné entry that describes the plate. Verify titles in French variants.

7. Provenance and documentation

• Invoices from reputable print galleries, references to acquisition from disbound La Bible sets, and prior auction listings that cite the correct references strengthen attribution.

Condition Factors That Move the Needle

• Paper integrity: Tears into the image, paper losses, brittle edges, and severe mat burn reduce value. Light toning is common in mid-century papers but still impacts price.
• Stains and foxing: Brown spots (foxing) and moisture tidelines detract. Professional conservation can improve appearance but should be disclosed.
• Trimming: Cutting into or near the platemark is a serious condition issue for etchings. Collectors prefer full margins.
• Creases and handling: Soft handling creases are expected for older sheets; sharp folds or breaks are more problematic.
• Inks and plate wear: A well-inked impression with good contrast is preferable. Later pulls from a worn plate (if any) show softer lines.
• Mounting and adhesives: Non-archival hinges, pressure-sensitive tapes, and adhesive stains lower value and may require treatment.

For lithographic or photomechanical versions, condition matters similarly, but the baseline market value is lower, making restoration economics different.

Valuation: What Drives Market Outcomes

• Medium and edition: An original La Bible etching generally commands significantly more than a Verve reproduction or offset poster. Within originals, deluxe paper, proofs, and especially hand-colored or signed impressions carry premiums.
• Subject desirability: Among biblical subjects, Moses-themed plates are actively collected, with imagery of moral witness and deliverance resonating broadly. This scene’s emotional clarity helps its market appeal.
• Impression quality: Crisp platemark, rich blacks, and plate tone are pluses. Weak or gray impressions underperform.
• Completeness and context: Sheets retained with full margins, accompanied by portfolio justification pages or publisher material, can sell stronger. However, single leaves are common and desirable when well-presented.
• Provenance and citations: A clear chain of ownership and correct catalogue citations (e.g., “La Bible, Paris, Tériade, 1956; Cramer 30”) help both confidence and price.
• Market comparables: Appraisers should compare against recent sales of the same plate (where confirmed) and, failing that, against close substitutes from the same suite with similar Moses/Exodus subjects. Adjust for condition, signature, paper, and sheet size.

Note on pricing: The market for Chagall prints is active but heterogeneous due to the coexistence of originals and reproductions. Avoid extrapolating from high results for signed color lithographs to unsigned etchings, or vice versa.

How to Catalogue It Correctly

A concise, professional entry for an original etching might read as follows (adapt with exact measurements and references):

• Artist: Marc Chagall (1887–1985)
• Title: Moses Sees the Sufferings of His People [Moïse voyant les souffrances de son peuple]
• Date: Plate 1930s; published 1956
• Medium: Etching on wove paper (Arches watermark)
• From: La Bible, Paris, Tériade, 1956
• Sheet size: [insert cm]; Plate size: [insert cm]
• Edition: From the book edition; unsigned as issued
• References: Cramer 30; [add relevant print CR reference if available]
• Condition: [objective summary: toning/foxing/margins/creases]
• Provenance: [if known]

For a Verve-related lithograph or photomechanical reproduction, say so plainly, and avoid using the word “etching.”

Practical Checklist for Appraisers

• Confirm medium under magnification: intaglio bite and wiping versus lithographic or offset dots.
• Check for a platemark and feel for the plate ridge (carefully).
• Backlight for ARCHEs/ARCHES FRANCE watermark; note paper type (Arches vs Japon).
• Measure both plate and full sheet in centimeters; record margins.
• Look for pencil signatures/notations; treat unsigned La Bible sheets as normal.
• Cross-reference with Cramer 30 and a reputable Chagall print catalogue raisonné.
• Assess condition: toning, foxing, mat burn, tears, trimming, creases, adhesive.
• Note provenance and any publisher materials.
• Photograph both sides, including watermark and edge details.
• Position value using recent, like-for-like comparables and adjust for condition and edition.

FAQ

Q: My sheet is unsigned. Is it still an original Chagall? A: Very possibly. Most standard La Bible etchings were issued unsigned. Signature is not required for authenticity in this suite; rely on the medium, platemark, paper watermark, and catalogue references.

Q: How do I tell an original etching from a Verve reproduction? A: An original etching has a platemark and palpable intaglio characteristics. Verve reproductions (photomechanical) are flat and show halftone dots under magnification. Paper quality and watermarks also differ.

Q: Did Chagall make color versions of this subject? A: The La Bible etchings are black-and-white. Chagall did create color lithographs related to his Bible drawings, but they are separate works and should be catalogued as lithographs, not etchings.

Q: Are trimmed margins a big issue? A: Yes. Trimming close to or into the platemark materially impacts value for etchings. Full margins are strongly preferred by collectors.

Q: What catalogue reference should I use? A: Cite La Bible as “Cramer 30” and add the entry from a recognized Chagall print catalogue raisonné if available. Include dimensions and a clear description to avoid confusion with reproductions.

By applying careful connoisseurship to medium, paper, and publication context, you can confidently identify “Moses Sees the Sufferings of His People,” place it correctly within Chagall’s printed oeuvre, and reach a defensible appraisal conclusion.