PARIS.- The stained-glass workshop run by Brigitte Simon and Charles Marq in Rheims in the 1950s was the scene of artistic friendships with Marc Chagall, George Braque, Le Corbusier, Raoul Ubac, Joseph Sima, Maria Helena Vieira da Silva, Geneviève Asse and Serge Charchoune.

On 17 November 2016 PIASA will offer for auction the collection of books and artworks offered to Brigitte Simon and Charles Marq by these artists.

Dedicated books, paintings and works on paper reflect the links forged during the long hours spent together pioneering a new approach to stained glass.

The works in the Collection of B & C Marq retrace a history born in Rheims at the start of the 1950s, in the workshop close to the Cathedral run by the stained-glass artists Brigitte Simon (1926-2009) and Charles Marq (1923-2006).

A collection reflecting artistic friendships
Brigitte Simon and Charles Marq had the splendidly bold idea of asking the most talented artists of their era to express themselves in stained-glass. That is how Jacques Villon, Marc Chagall, Georges Braque, Le Corbusier, Raoul Ubac, Joseph Sima, Maria Helena Vieira da Silva, Joan Miró, Serge Poliakoff, Geneviève Asse and Serge Charchoune were all to be found at some stage in their handsome workshop-cum-home in Rheims.

An exceptional ensemble of 22 books with drawings by Marc Chagall
The exceptional ties between Brigitte Simon, Charles Marq and one of the great artistic figures of the 20th century, Marc Chagall, can be deduced from the charming dedications to the books he gave the couple. Chagall's frequent visits made a lasting impact on their children, Charlotte and Benoît Marq.

"I have wonderful memories of Chagall in Rheims between 1958 (his first windows for Metz Cathedral) and 1974" recalls Benoît. "He worked with impressive energy every day, ceaselessly creating – sometimes questioningly, sometimes anxiously – with his inspiration invariably boosted by advice from Brigitte or Charles."

The exceptional dialogue between Brigitte Simon, Charles Marq and their artist friends was not confined to technical considerations linked to stained glass, but originated from their shared sensitivity to art of a refined and spiritual nature – epitomized by Brigitte Simon's magnificent windows in the transepts of Rheims Cathedral, echoing the work of Sima and Vieira da Silva in the nearby church of St-Jacques.