Original Signed Lithographs, Etchings, Linocuts & Aquatints
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.
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Original Salvador Dali Imaginations and Objects of the Future
Born in Figueres, Spain, in 1904, Salvador Dali is considered to be one of the true masters of twentieth-century art. The artist’s work juxtaposes his meticulous skill as a painter with his fantastic depiction of hallucinatory characters and imaginative landscapes. Friends with Joan Miro and Pablo Picasso, Dali is synonymous with the Surrealist movement, a process in which the subconscious was accessed for greater artistic creativity. The artistic processes of Surrealism appealed to Dali, who found new and unique ways to view the world around him. Dali quickly became the most prominent and controversial member of the Surrealist movement, and was eventually expelled from the group in 1934. Dali and his wife and muse, Gala, moved to the United States of America in 1940 to escape the dangers of World War II; it was while in the United States Dali refined his artistic view. Following the end of WWII, Dali and his wife split their time in Spain and the United States. While in the United States during WWII, Dali experimented with printmaking, but the 1960s-1970s are considered to be the true apex of the artist’s prints. His 1975 portfolio Imaginations and Objects of the Future is a stunning example of his later work. The portfolio represents an imaginative world that is the result of a more scientific and religious phase that Dali entered later in his life, a phase in which he became increasingly concerned with technological advancement, nuclear warfare, and his own legacy as an artist. The resulting portfolio is not only an exploration of Dali’s visions for the future, but also his parallels with Leonardo da Vinci, who was know for his futuristic inventions. In the portfolio's publisher's preface, Dali is quoted as stating: “I am not so presumptuous as to compare myself to da Vinci. But I am the present day da Vinci.” Imaginations and Objects of the Future is filled with Dali’s whimsical inventions for convenience and luxury, such as the Cybernetic Lobster Telephone, and Breathing Pneumatic Armchair. Future Melting Space-Time includes quintisential surrealist motifs, like the melting clock. The portfolio, which consists of ten lithographs, some of which include collage, and one engraving, draws the viewer in with vibrants colors and Dali’s signature witty satire. Through the portfolio, Dali is speaking directly to his successors, predicting things as they will be. Georgetown Frame Shoppe is pleased to offer the complete portfolio of Imaginations and Objects of the Future for sale. The portfolio consists of ten lithographs on Japon paper, and one engraving with color added by poichoir. Each lithograph is hand signed in pencil by Salvador Dali and numbered LX/LXXV. The lithographs measure aproximately 30 3/4" x 27" unframed each, and are in excellent condition. Please call the gallery for more information. CALL FOR VALUE
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