Original Signed Lithographs, Etchings, Linocuts & Aquatints

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Georgetown Frame Shoppe, established in 1989 in Washington, DC, is a leading fine art print dealer. We specialize in buying and selling works on paper by Contemporary and Modern Masters.

Our collection of lithographs, etchings and linocuts emphasizes artists such as Pierre Auguste Renoir, Henri Matisse, Andy Warhol, Marc Chagall, Pablo Picasso, Mary Cassatt, Joan Miro, Alexander Calder, Francisco Goya, Roy Lichtenstein, and Bernard Buffet. Please feel free to call or email us for further information and pricing.

E-mail us for more information at:

peter@georgetownframeshoppe.com

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  • Andy Warhol The Witch

    On August 12th, 1980, Andy Warhol wrote this entry in his Dairy; “Saw Margaret Hamilton, the witch in The Wizard of Oz, and got so excited…told her how wonderful she was. She’s really small.” Warhol met Margaret Hamilton at the Peking Opera and persuaded her to come to his studio and recreate her classic, frightening pose for the Myths portfolio.

    Created in 1981, Myths consists of ten screenprints meant to capture the imginary characters popular during the 20th century in American pop culture. Most of the images used were taken from history, literature, classic Hollywood films and television from the 1950s.

    In an interview with Warhol, Barry Blinderman said “What impressed me most about The Witch was the color. The way the shape and color interact reminds me of things Ellsworth Kelly used to do. I’ve always wondered if you ever thought of your paintings in the 60’s in terms of Kelly and Noland, your contemporaries doing abstract art

    In his classic airy interview style, Warhol says “I always liked Ellsworth’s work, and that’s why I always painted a blank canvas. I loved that blank canvas thing and I wish that I had stuck with the idea of just painting the same painting, like the soup can, and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now? Anyway, you do the same painting whether it looks different or not.”

    The Witch (1981) is an original screenprint on Lenox Museum Board from the Myths portfolio and is referenced in Feldman II.261. The Witch is hand signed and numbered in pencil on the verso (back lower right) and is an edition of 200. For more information about Andy Warhol or The Witch please contact the gallery. Call For Value.

  • Joan Miro Miro Lithographe II, Plate VII

    “The spectacle of the sky overwhelms me. I'm overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge empty spaces. Empty spaces, empty horizons, empty plains - everything which is bare has always greatly impressed me.” —Joan Miró

    As his work grew more abstract, Miro insisted, “Everything in my pictures exists.'' He based his leaps of imagination on the hard ground of reality. Conducting his own Surrealism-inspired exploration, Miró invented a new kind of pictorial space in which carefully rendered objects issuing strictly from the artist's imagination are juxtaposed with basic, recognizable forms - a sickle moon, a simplified dog, a ladder. This portfolio Miro Lithographe II and the lithograph Plate VII revealed a shifting focus to the subjects of women, birds, and the moon, which would dominate his iconography for much of the rest of his career.

    Miró has been a significant influence on late 20th-century art, in particular the American abstract expressionist artists such as Motherwell, Calder, Pollock, Matta and Rothko. Miró often worked with a limited palette, yet the colors he used were bold and expressive. His lyrical abstractions and color field paintings were precursors of that style by artists such as Helen Frankenthaler, Olitski and Louis.

    Plate VII (1975) is an original lithograph referenced in Mourlot 1042 from the Miro Lithographe II portfolio. Plate VII is edition XII/LXXX. For more information about Joan Miro or Plate VII please contact the gallery. $3,995 framed.

  • Pablo Picasso Sculpteur et son Modèle devant une Fenêtre

    In this original etching, Sculpteur et son Modèle devant une Fenêtre, Picasso's mistress, Marie-Thérèse Walter, is portrayed in the sculptors studio. She is posing for a bearded sculptor and is rendered in the neoclassical style used throughout the Vollard suite. The dense mark making used to depict Marie-Thérèse Walter creates more depth with a darker tone. The scupltor is depicted with simple lines. This dichotomy places the focus on the model as the center of the work and the sculptor as the attentive observer. 

    Pablo Picasso worked extensively on the set in the spring of 1933 and completed the suite in 1937. Richard Dorment muses that as Picasso took such a long time to create the suite, "the imagery and the emotional register of the prints constantly shifts to reflect Picasso's erotic and artistic obsessions, marital vicissitudes, and the darkening political situation in Europe. A minotaur appears, joining in scenes of bacchic excess, but the minotaur is transformed from a gentle lover into a devourer of women, reflecting Picasso's turbulent relationships with Marie-Thérèse and his wife Olga. In a third transformation, the minotaur becomes pathetic, blind and impotent, he wanders by night, led by a little girl with the features of Marie-Thérèse.”

    Sculpteur et son Modèle devant une Fenêtre is an original etching on Montreal laid paper and is referenced in Bloch 168. Sculpteur et son Modèle devant une Fenêtre is hand signed in pencil and is an edition of 260. For more information about  Pablo Picasso or Sculpteur et son Modèle devant une Fenêtre please contact the gallery. SOLD.

  • Andy Warhol Mao

    Mao is one of a series of silkscreened portraits of the Chinese Communist leader Mao Zedong by Andy Warhol. Bruno Bischofberger, Warhol’s dealer, suggested that Warhol create portraits of the most important figure in the 20th century. Bruno suggested Albert Einstein, who Warhol did make a portrait of later in 1980 for the Ten Portraits of Jews of the 20th Century portfolio. 

    China’s communist leader might have seemed an odd choice for an artist known for his focus on the objects of everyday American life like Campbell’s soup cans and Coca-Cola bottles, but painting Mao encapsulated everything that made Warhol tick: fame, an image inherently pop due to its incessant mass reproduction by the Communist Party, and the possibility of subverting a communist icon into a commercial, consumeristic one.

    Warhol said “I have been reading so much about China. They’re so nutty. They don’t believe in creativity. The only picture they ever have is of Mao Zedong. It’s great. It looks like a silkscreen." This image mirrors representations that were displayed throughout China during and after the Cultural Revolution (1966–76). His red rouge and yellow eyes resemble graffiti. These details can be interpreted as commentary on the resemblance of Communist propaganda to capitalist advertising media.

    Mao is an original screenprint on Beckett High White paper and is referenced in Feldman II.97. Mao is hand signed in ballpoint pen on verso and is an edition of 195/250. For more information about Andy Warhol or Mao please contact the gallery. SOLD