Marc Chagall, 'L'Écuyère' (The Female Rider), from the Lithographe I-IV series

This is a color lithograph attributed to Marc Chagall, depicting a classic circus theme featuring a nude female rider on a horse and a floating clown figure. The piece exhibits the artist's signature dreamlike Surrealist style with ethereal, floating figures and a soft palette of blue, red, and muted tones. The composition shows the rider bending over a large horse head rendered with a vibrant red patch of color. In the upper left, a blue clown figure is suspended in the air. The work is signed 'Marc Chagall' in the lower right corner, which appears to be part of the plate rather than a hand-signature. The print is housed in a simple silver-toned metal frame with a wide, off-white mat. Regarding condition, there is notable yellowing and tanning (toning) across the paper, likely due to acidic matting or light exposure over time. Discoloration is especially visible along the edges of the mat window. There is some minor waving of the paper, though no direct vertical tears are visible from this perspective. The craftsmanship shows typical mid-20th-century lithographic techniques with textured, grainy color applications characteristic of the Mourlot Frères workshop in Paris. Based on the style, this appears to be a mid-century print, likely from the 1960 collection 'Lithographe I'.

I have examined the digital representation of 'L’Écuyère' (The Female Rider). This piece appears to be a color lithograph from Marc Chagall’s 'Lithographe I' series, published in 1960 by Andre Sauret and printed by Mourlot Frères. The composition features quintessential Chagall motifs: the circus, a floating clown, and the soft, dreamlike rendering of forms. While the aesthetic is consistent with the artist's published multiples, the signature in the lower right appears to be plate-signed or printed rather than hand-signed in graphite or ink, which significantly affects its market positioning. The condition of this specific example presents challenges. I observe significant overall toning and 'mat burn'—a dark yellowing at the perimeter caused by contact with acidic materials. This indicates the paper has undergone chemical degradation, which reduces value compared to 'bright' copies. The slight waving suggests a lack of archival mounting. In the current market, unsigned lithographs from the 'Lithographe' volumes are common. Recent auction results for this specific plate in similar condition range from $400 to $600. Value is hampered by the visible discoloration; a pristine, hand-signed version would command thousands, but this mass-produced edition is seen as a decorative entry-point for collectors. This appraisal is based on visual data only. A physical examination is required to verify the paper type (Arches vs. wove), check for hidden foxing on the reverse, and confirm the absence of mechanical reproduction dots (halftone) which would indicate a common poster rather than a genuine lithograph. Production of a provenance trail or a gallery invoice from a reputable dealer would further solidify this valuation.