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 Andy Warhol, Roy Lichtenstein, Jean-Michel Basquiat, Damien Hirst, Banksy, Takashi Murakami, Salvador Dali, Robert Indiana, Sam Francis, Jim Dine, John Baldessari, Pierre Auguste Renoir, Henri Matisse, Marc Chagall, Pablo Picasso, Jasper Johns, Joan Miro, and Alexander Calder. Please feel free to call or email us for further information and pricing.

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  • Keith Haring Icons Plate 3

    Plate 3 from the Icons portfolio is also known as the “The Flying Devil” or “X-Man”. The winged figure in Keith Haring’s signature style has a cross on his chest and is flying upwards. The “X”  symbol was a general statement against the transformation of humans into targets. Sometimes beheaded or with their arms raised in a “don’t shoot” gesture, the artist took a strong stand against events of the time, like the state of emergency during the apartheid-era in South Africa, or the war in Vietnam war.

    The “X” can also symbolize individuals who are infected with HIV. As is still somewhat the case today, being known to have HIV greatly hurt peoples social status in the 1980s and 90s. Many people were ostracized from their communities and families when their HIV positive status was revealed. You are metaphorically marked with the target “X.”

    The same portfolio also includes the contrasting Plate 4, or the “Flying Angel” icon. Yellow and with open arms, Keith Haring employs this religious motif to comment on the existence of heaven and hell, often from an anti-religious perspective. Haring said “Good and Evil are very hard to explain or understand. I'm sure that evil exists, but it is hard to isolate. Good and evil are intertwined and impossible to separate. They are not completely opposites and in fact are often one and the same.”

    Keith Haring Plate 3 (1990) from the Icons portfolio by Keith Haring is an original silkscreen with embossing. Plate 3 is stamped and signed on the verso by Julia Gruen, executor of the the Keith Haring Estate. Plate 3 is the edition 115/250. For more information about Keith Haring or Icons Plate 3, please contact the gallery. $14,995 framed

  • Andy Warhol Campbell's Soup I: Consomme

    Andy Warhol loved to turn the mundane into art. He admired how uniform and consistent the flavor was from can to can of Campbell’s Soup. He famously said, “I used to drink it. I used to have the same lunch every day, for 20 years, I guess, the same thing over and over again.” 

    He reportedly bought every kind of can of Campbell’s Soup at his local grocery store. Consommé, Cream of Mushroom, Old Fashioned Vegetable, and Pepper Pot are just a sample of the flavors that he screenprinted on wove paper. 

    Campbell’s loved Warhol right back. Warhol made the pantry staple feel cool, and Campbell’s appreciated the favor. In 1966, the company paid homage to Campbell's Soup Cans with a limited edition dress. For just $1 and two can labels, a soup-loving fashionista could sport the paper Souper Dress. Today, these paper dresses can fetch upwards of $7500.

    When asked about the impulse to paint Campbell’s soup cans, Warhol replied, “I wanted to paint nothing. I was looking for something that was the essence of nothing, and that was it”. The humble soup cans would soon take their place among the Marilyn Monroes, Dollar Signs, and Coca Cola Bottles as essential, exemplary works of contemporary art. 

    Consommé (1968) from the Campbell's Soup I by Andy Warhol is an original screenprint on paper. Consommé is is an edition of 250 and referenced in Feldman II.52.
    The original screenprint is hand signed in ball-point pen and the number is stamped on the back. For more information about Consommé, Campbell's Soup I, or Andy Warhol screenprints please contact the gallery. Call for Value.

  • Salvador Dali The Corridor of Katmandu

    Salvador Dali had a prosperous professional and creative partnership with the renowned collector and art publisher Pierre Argillet. In 1969, Argillet traveled to India with his daughter and inspired one of Salvador Dali’s most beloved Surrealist portfolios- Hippies. While in India, the publisher took hundreds of photographs and many of the photographs featured hippies who had traveled east on a type of mystic pilgrimage. Having never traveled to India, Dali was completely fascinated with the photographs, and with the hippies on their pilgrimage. 

    What did the artist that once proclaimed ‘I don't do drugs. I am drugs. Take me, I am the drug; take me, I am hallucinogenic,”’ think of the psychedelic counter culture of the 60s? Through this series we get a glimpse of Salvador Dali’s interpretation of the “Love and Peace” years. Surreal, sometimes outlandish characters and scenes are presented in intricately etched lines and whirls. 

    Even if we knew Salvador Dali’s exact opinions and intentions, would we be satisfied? One could say that Salvador Dali preferred to raise questions rather than answer them.“People love mystery, and that is why they love my paintings,” he said. This stunning etching on Arches wove paper, The Corridor of Katmandu exemplifies the Hippies portfolio. The seemingly spontaneous composition, combined with the superior technique, represents Salvador Dali at the peak of his artistic maturity.

     The Corridor of Katmandu from the Hippies portfolio (1969-1970) by Salvador Dali is an original color etching on Arches wove paper. The Corridor of Katmandu is numbered 88/145, and is hand signed in pencil. The Corridor of Katmandu is referenced in Field 69-13 G. For more information about The Corridor of Katmandu or Salvador Dali, please call the gallery. SOLD

  • Andy Warhol Paolo Uccello St. George and the Dragon, 1460

    As early as 1964, Andy Warhol received the nickname of “Saint Andy.” This title referred more to his immense popularity among the young Pop crowd, and to the authentically innocent façade of Warhol’s physical appearance than to religious devotion. Not until his death did news of Warhol’s relationship to the spiritual come to serious attention by the public. 

    John Richardson’s eulogy of Warhol at his memorial mass at St. Patrick’s Cathedral asked his audience to “recall a side of [Warhol’s] character that he hid from all but his closest friends: his spiritual side,” calling this spirituality “the key to the artist’s psyche.”

    In the Details of Renaissance Paintings series Andy Warhol cropped paintings by Renaissance masters, abstracting the sections from a larger whole, stripping them of the original context and blurring the original meaning of the paintings. Does Andy Warhol mean to make a social commentary on how we consume works of art? With a cut here, and a dash of color there, Warhol creates fetishized knock-offs to signal the commodification of the art industry.

    Or did Warhol create Paolo Uccello St. George and the Dragon, 1460 with reverence to the original masterpieces, influenced by his religious and spiritual life? As with most theories about Warhol’s deepest beliefs and intentions, the answer is probably that both these ideas coexist at once, creating the tension that makes Andy Warhol’s work so captivating.

    Paolo Uccello St. George and the Dragon, 1460 (1984) by Andy Warhol is an original screenprint on Arches Aquarelle (Cold Pressed) paper. Paolo Uccello St. George and the Dragon, 1460 is from the portfolio Details of Renaissance Paintings and is the edition 33 of 50. The original screenprint is hand signed and numbered in pencil and referenced in Feldman II.327. For more information about Paolo Uccello St. George and the Dragon, 1460 or Andy Warhol please contact the gallery. Call for Value