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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  • Pablo Picasso (after) Bacchanale

    Bacchanale was created during a period of great contentment in Pablo Picasso’s life. In the summer of 1955 he moved to La Californie, a great fin-de-siècle villa in the hills above Cannes, with his new partner Jacqueline Roque, a woman forty-five years his junior who inspired a fresh phase of creative productivity in the artist. 

    Saturated with the Mediterranean sun and the pleasures it brought with it—the bullfights, the beach, and the intense warmth and light—in the mid 1950s Pablo Picasso renewed an earlier interest in some of the classical motifs that he associated with the region—particularly the theme of the Bacchanale. He once remarked, "It is strange, in Paris I never draw fauns, centaurs, or mythical heroes . . . they always seem to live in these parts.” 

    Bacchanale may include a subtle self portrait. The thoughtful, and fully clothed, male figure on the right is particularly amusing because he possesses an uncanny resemblance to the infamous creator of this work, Pablo Picasso himself. Clad in a horizontal stripped shirt, the favorite sailing attire of Picasso, this mysterious figure possesses a playful and simultaneously mysterious personality. 

    Bacchanale (1959) by Pablo Picasso (after) is an original etching and aquatint. Bacchanale is an edition of 9/300 with a Crommelynck stamp. Bacchanale is hand signed in pencil. For more information about Pablo Picasso or Bacchanale, please contact the gallery. $14,995 framed.

  • Jim Dine Sunflower

     

    If an artist's work is irrevocably tied to the development of his persona, then  Jim Dine stands as an example of the artist as the ever-questioning and inwardly oriented human being. Best known for his images of hearts, bathrobes, and tools, Jim Dine seeks to make the personal physical through his art. These components have produced a man of complex and highly vulnerable sensibilities.

    What distinguishes Jim Dine from the Pop Artists with whom he has often been associated is his relationship to materiality: he loves what paint and other matter can be made to do. Dine's artworks, like the original lithograph Sunflower, are much more complex than the seemingly simple heart shape. The shape has been the vehicle for Dine to explore the unending ways that paint can be applied to a surface, the nuances of texture, the infinite variations of line and color, and the vast range of feelings and emotion. "Of the heart, a sign that one can care, that there is a constant presence of feeling." 

    When asked what was his fascination with the hearts, "I have no idea but it’s mine and I use it as a template for all my emotions. It’s a landscape for everything. It’s like Indian classical music -- based on something very simple but building to a complicated structure. Within that you can do anything in the world. And that’s how I feel about my hearts.” 

    Sunflower (2005) from the 2005 Suite by Jim Dine is an original lithograph in colors on Rives BFK paper. Sunflower is hand signed and is an edition of 22/200. For more information about Jim Dine or Sunflower, please contact the gallery. $2,995 framed

  • Keith Haring Fertility Plate 5

    In Keith Haring’s silkscreen Fertility Plate 5, brightly colored, very pregnant women dance among other figures energetically; the atmosphere is overwhelmingly a salute to womanhood.

    1983 saw the start of his friends and sisters beginning their own families. His good friend Kenny Scharf recalls that his wife Tereza’s pregnancy had a significant impact on Haring, who promptly began to incorporate celebratory images of pregnant women in his drawings. In some ways, this subject matter seems an unusual choice for a gay man in his twenties, yet even at this early point in the development of his iconography, Haring’s choice of imagery reflected a deep commitment to the power of children.

    This series also addresses the high prevalence of HIV infection among pregnant women in Sub-Saharan Africa. Haring was a staunch activist and leader in promoting awareness about the virus and the Fertility portfolio is a centerpiece in his fight of the transmission of the virus from mother to child. Keith Haring loved the hope and innocence of children inspired. To him, they represented a better humanity: color-blind, unprejudiced and caring, uncorrupted by greed and hatred towards others. Fertility Plate 5 represents the saving of children and human kind.

    Keith Haring Plate 5 (1983) by Keith Haring is an original silkscreen. Fertility Plate 5 from the Fertility portfolio is hand signed in pencil and is an edition of 100. For more information about Keith Haring or Fertility Plate 5, please contact the gallery. SOLD

  • Robert Indiana Greenpeace Love

    Robert Indiana’s father worked in different aspects of the oil industry throughout Indiana. As a child he was mesmerized by the bold neon signs at gas stations. Ms. Haskell, at the Whitney, described his use of language as one of his most important contributions, anticipating the many artists who manipulate words today. “It’s very different than, say, Jasper Johns, who embedded words in gestural brush strokes,” she said. “Here words are the content.”

    Although few fans seem familiar with the background of Love, the art historian Susan Elizabeth Ryan revealed that the first version of his most famous work was markedly different. Completed at the end of 1964, after Robert Indiana and Ellsworth Kelly had broken up, it had a cruder four-letter word in place of “love,” in a similar composition with a tilted “u.”

    Robert Indiana never fully discussed, at least not in public, why he made the transition to the G-rated version, which he used as his Christmas card that year. Mr. Anderson, the former Indianapolis and Dallas museum director, said that “Love,” should be remembered in a broader political context, as a product of the 1960s. “To be true to the artist’s intentions,” he said, “we should see ‘Love’ in relation to the antiwar moment.”

    Greenpeace Love (1994) by Robert Indiana is an original serigraph and an edition of HC 18/18. Greenpeace Love is signed and numbered in pencil. For more information about Robert Indiana or Greenpeace Love, please contact the gallery. Call the Value.