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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  • Original Screenprints by Andy Warhol

    In 1972, former president Richard Nixon made a diplomatic trip to the People's Republic of China, a landmark occasion in the history of U.S. international relations.  That same year, Andy Warhol created a series of screenprints of Communist leader Mao Zedong based on a portrait photograph from the chairman’s famous Little Red Book of idealogical quotations.  Warhol brought his Pop Art aesthetic to bear on the ten screenprints he produced, imbuing Mao’s staid, formal portrait with a rainbow of lurid hues and a riot of black linework.  This series, entitled Mao, has since become one of Warhol’s most popular and sought-after works and has become an enduring icon of his artistic legacy.  Warhol’s first and only visit to China came in 1982 at the invitation of an industrialist patron from Hong Kong.  Warhol's attitude was characteristically flippant in the renup to his departure, but in actuality his experience in China resonated with him both personally and artistically.  The country’s strictly circumscribed borders meant that Warhol was able to enjoy a respite from the glare of celebrity that he felt the need to inhabit back home; as he put it, he didn’t have to wear “his Andy suit,” although his unusual appearance and bon vivant demeanor did attract some notice among the locals.  He was inspired by the uniformity that characterized the aftermath of China's Cultural Revolution, recognizing in the sea of blue unisex Mao suits around him a visual concept that matched his own fascination with factory-made multiples.  Warhol enjoyed posing for photos at famous sites around Beijing; eventually, his tour led him to the classic portrait of Mao Zedong hanging in Tiananmen Square—the same image that inspired Warhol’s visual riffs in his Mao portfolio of ten years earlier.  Thus the artist came full circle through a deeply personal odyssey to the source of his artistic achievement in the West.  The Mao screenprint pictured above, the second from the series, thus represents a coalescence of subject, creator, and occasion that cements its unique place in the history of pop culture and the world. Mao measures approximately 36" x 36" unframed and is in excellent condition. It is a rare, unsigned proof published apart from the regular edition of this series. CALL FOR VALUE

  • Original Screenprints by Roy Lichtenstein

    This spectacular screenprint on Rives paper is entitled The Solomon R. Guggenheim Museum Poster. It was created by Roy Lichtenstein in 1969 to advertise his first solo exhibition at a New York gallery, the venerable and iconic Guggenheim Museum. The exhibition featured more than 100 works produced by Lichtenstein over the previous decade, including pieces from his famous Haystacks and Cathedrals series. The artist had first made a name for himself in 1962, when Leo Castelli Gallery hosted the first public exhibition of his works, and he earned further attention from the international art world with an appearance at the 1966 Venice Biennale. The 1969 Guggenheim exhibition, which coincided with a show by Claes Oldenburg at New York's Museum of Modern Art, was a clear acknowledgement by the art world establishment that a sizable shift was taking place; however, the reception of Lichtenstein's Pop Art point of view was far from uniformly positive. A 1964 headline in Life magazine read Is He the Worst Artist in the U.S.?, and the New York Times review of the Guggenheim exhibition was distinctly ambivalent as to the quality and long-term relevance of Lichtenstein's contributions. "I think," wrote reviewer John Canaday, "...that you will enjoy Mr. Lichtenstein's Guggenheim show if you take it at its bright face value....There are very interesting interplays here--something like the desegregation of fine art and commercial art--but part of its charm is its obviousness. The interest is largely technical--God knows it isn't pictorial--and that is that." He described Lichtenstein's novel use of his now-famous Ben-Day dots as "slick" and "commercial," and dismissed the artist's visual riffs on works by artists such as Pablo Picasso and Piet Mondrian as "clever stunts admirably performed." Nowadays, of course, we recognize the value of Lichtenstein's unique perspective and the bright, bold aesthetic which he used to reinvent our interpretation of what consitutes "fine art". His influence since that groundbreaking 1969 exhibition has been enormous and his work has continued to generate widespread appeal around the world. In 2012, Washington D.C.'s National Gallery of Art hosted another retrospective exhibition of Lichtenstein's artwork, a blockbuster collection that went on to tour in London and Paris in 2013. It was the first full survey of Lichtenstein's illustrious career since a 1993 landmark show prior to the artist's death hosted by, appropriately, the Solomon R. Guggenheim Museum. This handsome screenprint is a memento of a groundbreaking achievement in the life of an up-and-coming artist and a testament to the impact his talent would one day yield. The Solomon R. Guggenheim Museum Poster is numbered 224/250 and has been hand signed in pencil. It measures approximately 28 3/4" x 28 3/4" unframed and 34 3/4" x 34 3/4" framed. $14,000 framed

  • Original One-of-a-Kind Screenprints by Andy Warhol

    In 1983, Andy Warhol was approached by his New York art dealers, Ronald and Frayda Feldman, about producing a portfolio of screenprints featuring critically endandered animal species from around the world. Warhol was an animal lover and a dedicated conservationist and welcomed the novelty of the project. That same year he produced a series of ten works printed on Lenox Museum Board that he called Endangered Species. Feauturing "portraits" of animals such as a Grevy's zebra, a Siberian tiger, and a San Francisco silverspot moth, Endangered Species features all of the visual attributes that had come to identify Warhol's signature Pop Art style by the 1980s. Frenetic line work and vivid colors abound, and the vaguely formal, portrait-like renderings of the "animals in makeup," as Warhol called them, is in keeping with some of his earlier portraits of celebrities such as Elizabeth Taylor, Marilyn Monroe, and Muhammad Ali. Although his choice of subject matter would seem to be a departure from such precedents, Endangered Species may instead represent a variation on one of Warhol's most salient themes: a link between the ephemeral nature of fame and the disappearance of some of the world's rarest animal species. Another forerunning tradition that Warhol continued with the creation of this series was that of producing a number of unique trial proofs, or TPs, for each of the images that eventually ended up published in the regular edition of 150. Proofs are impressions of a piece pulled during the printing process to ensure quality and to evaluate elements such as color and line before submitting the image for its final press. Warhol, always an innovator, used this opportunity to experiment with wildly different colors, patterns, and layouts before settling on what would be published as part of the regular edition of his portfolios. For Endangered Species, for example, Warhol created 30 unique prints of each of the ten images in the series. Orangutan, pictured above, is an example of the breadth of Warhol's creativity and playfulness with color, the bright yellow of the regular-edition image tempered here to a more muted palette of vivid blues. This piece is particularly special, however, in that it was published for Warhol's personal use outside the set of official signed and numbered TPs. Warhol gifted this screenprint to Jon Gould, his companion in the 1980s, and the piece bears both Warhol's signature and a dedication to "Jon." This one-of-a-kind work of art is therefore both a testament to Warhol's boundless creative energy as an artist and a link to his personal life, a piece which clearly held great sentimental value to the artist himself.  Orangutan is hand signed in pencil by Warhol and measures 38" x 38" unframed. SOLD

  • Original Linocuts by Pablo Picasso

    This gorgeous linocut is called Picador et Torero and was executed by Pablo Picasso in 1959.  It was created using a sheet of linoleum mounted to a block of wood, which Picasso gouged with a sharp tool to create an incised image of a caparisoned bullfighter standing next to a picador and his horse. Linoleum is a softer and lighter material than wood, which allowed Picasso greater spontaneity in the execution of his design than with a more restrictive medium like woodcut; this freedom of movement was well-suited to the emotionality and energy that Picasso brought to so much of his work. Traditionally, once inked, the image would have been transferred to paper and overlaid with a succession of seperate carved linoleum blocks, each inked with a different color; however, Picasso came to find this approach too time-intensive and instead began to experiment with alternative methods of color-blocking. In 1959, the same year that he produced Picador et Torero, he pioneered a technique in which he worked a single block reductively, simply inking a new color each time he re-gouged the block. In this case, then, instead of carving three separate blocks individually inked in black, mauve, and beige, he used a single block successively re-inked and reprinted to create this stunning three-color linocut. Although his focus on linocut came later in his career, after he had spent years working in woodcut, lithography, and etching, Picasso's mastery and transformation of the medium was unparalleled. He first began his use of it in 1959, in the village of Vallauris above Cannes, where the artist vacationed and had been producing pottery for more than a decade. That year and annually through 1964, Picasso produced a series of promotional posters on behalf of the artists of Vallauris to advertise the town's ceramic crafts fairs. A local printer, Arnéra, suggested linocut as a means of producing the posters since it was a relatively inexpensive and readily available material to print, and it wasn't long until Picasso began utilizing the medium beyond the manufacture of the posters. As he continued to develop his technique, Picasso discovered the particular facility and creativity that linocut allowed him, and true to form he explored and expanded the scope of its potential almost to exhaustion. Picador et Torero represents an important locus in Picasso's development as a printmaker, as he continued to push boundaries and pursue the greatest possibilities in his art. Picador et Torero meaures approximately 29 5/8" x 24 1/2" unframed and has been hand signed by Picasso in pencil. It was published as one of only a few proofs in advance of the regular edition of 50, making it an especially rare and collectible work. SOLD