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 Jean Dubuffet Screenprints
French avant-garde artist Jean Dubuffet is considered one of the leading cultural rebels of the 20th century. Dubuffet was born in 1901 in Le Havre, France, the son of a prosperous wine merchant. At 17, Dubuffet began to study art in Paris; he left after only six months of classes, growing skeptical of what he considered “the artist’s privileged status”. He withdrew from the art world, and instead worked in factory jobs and at his family’s wine business. During this time, Dubuffet developed an interest in what he called “Art Brut”, or “Raw Art”: art that was created by those without any formal training, especially the mentally insane. He regarded Art Brut to be a more authentic and imaginative form of artistic expression, rather than formal, “traditional” art. In 1942, at the age of forty-one, Dubuffet decided to return to painting full time. His interest in Art Brut, and his complete rejection of formal art, influenced his style. His work comprised of simple, primitive images that emulated the spontaneous energy of Art Brut; his work was the “anti-art”, accessible to simple people. With other artists, writers, and dealers from Dada and Surrealist circles, Dubuffet founded the Compagnie de l’Art Brut. For the organizations first exhibition in 1949, Dubuffet published a manifesto in which he proclaimed Art Brut’s superiority over officially recognized art. Throughout the 1950s and 1960s, Dubuffet continued to experiment with his style, which was becoming increasingly more abstract. In printing, he experimented with textures by using sandpaper and chemicals to alter the surface of the prints. In the 1970s, Dubuffet became increasingly more involved with public sculptural installations. Jean Dubuffet died in Paris in 1985. This mesmerizing black and white screenprint, which was executed towards the end of Dubuffet's life, is Evocations from his Fables series. The screenprint exemplifies Dubuffet's style, with it's abstract, almost primitive forms that have an undeniable energy and movement. The screenprint is initialed and numbered 25/50 in pencil. It is approximatley 33 1/4" x 21 1/2" unframed, and 41" x 32" framed. For more information about Dubuffet or Evocations, please call the gallery. $4,000 framed
Original Roy Lichtenstein Screenprints
On March 21, 1982, ABC broadcasted a two-hour, star-studded television special called "I Love Liberty". Produced by Norman Lear (who also produced sitcoms such as "All in the Family" and "The Jeffersons"), "I Love Liberty" commemorated the 250th anniversary of George Washington's birth. The special was taped in February 1982, in front of ten thousand people at the Los Angeles Sports Arena, and included appearances by celebrities such as Barbara Streisand, Robin Williams, and the Muppets. It was an extravaganza celebrating American values and patriotism, complete with rousing dance numbers and dramatic sketches. In conjunction with the television special, Roy Lichtenstein executed this eye-catching screenprint, also titled I Love Liberty. In I Love Liberty, Lichtenstein presents one of the most recognizable symbols of American freedom - the Statue of Liberty - in his iconic Pop Art style. Lady Liberty's three-dimensional form is reduced to simple lines and blocks of color set against a simple diagonally-striped background. Instead of showing the statue's full figure, Lichtenstein chose instead to crop in, showing only a portion of her face, arm, and aloft torch. Although only a portion of the statue is visible, the image is instantly recognizable. Lichtenstein's compostion juxtaposes contemporary American style with a long-standing symbol of American hisotry and patriotism. The overal effect is striking; the simplicity of the lines and colors, paired with a powerful icon, creates a demanding image. The Statue of Liberty was a popular subject for Lichtenstein; he used the image again in Painting with Statue of Liberty (1983), that is currently part of the National Gallery of Art's collection. Other artists, such as Keith Haring and Peter Max, have also used the iconic figure in their work. For more information about I Love Liberty, or other works of art, please contact the gallery. I Love Liberty is hand signed and dated in pencil, and is number 67/250.It measures 38 3/8" x 27 1/8" unframed and 44" x 32" framed. It is fully referenced in Corlett 192. $45,000 framed
Original Works by Frank Stella
Frank Stella is an American painter and printmaker. Born in 1936 in Massachusetts, Stella attended the Phillips Academy in Andover, Massachusetts where he studied art history and painting. He continued his studies at Princeton University, studying under art historian William Seitz, and recieved his B.A in 1958. Following graduation, Stella moved to New York City, and achieved almost immediate fame as an artist. Stella’s Black Paintings (1959-1960) turned Abstract Expressionism on its head; the cooly impersonal, industrial black lines on white canvas were a catalyst for the emerging Minimalist movement of the 1960s. Unlike Abstract Expressionism of the 1940s and 1950s, which thrived on passionate expression of the anxiety and trauma of postwar society, Minimalism emphasized a detachment from any type of symbolism. Throughout the 1960s, Stella's work focused on on the very basics of art: color, shape, and composition. In the mid 1960s he began working exclusively with master printer Kenneth Tyler of Gemini G.E.L, who later established Tyler Graphics LTD. In the 1970s, as he began to experiment more with color and composition, Stella’s work took a drastic turn away from minimalism. Although his early work is easily identifiable as minimalistic, Stella never considered himself a strict follower of the style. His work during the 1970s evolved from the restrained aesthetic of somber geometric shapes to a baroque-like exuberance of curving lines, neon colors, and swirling brushstrokes. He also began experimenting more with printmaking, combing several techniques within one piece. The work that Stella produced during the 1970s had a decisive influence on his later work, and still does today. Frank Stella still lives and works in New York City. In 1980, Stella began a series called Circuits , inspired by the Grand Prix. The series includes pieces named Talledega, Estoril, Imola, and Pergusa; each are named after raceways. Georgetown Frame Shoppe is proud to offer Estoril Three II (1982), a fantastic example from the Circuits sereis. Estoril Three II, which combines engraving, relief printed etching, and woodcut, exemplifies Frank Stella’s style - curving lines swirl throughout the print in eye-catching DayGlo colors. The piece demands the view's attention, from the exuberance of the lines and colors, to the size: it measures 66" x 55 1/2" unframed, and 76" x 66" framed. The print is hand signed by Frank Stella, and is numbered 30/30. For more information about Estoril Three II, or about Frank Stella, please contact the gallery. $20,000 framed
Original Salvador Dali Hippies Etchings
Pierre Argillet (1910-2001) was a renowned collector and art publisher, who worked closely with many of the leading artists of the mid-20th century. However, it is his close collaboration and friendship with Salvador Dali that the publisher is best known for. Argillet first began working with Dali in the 1930s, a time in which Dali truly started to develop his artistic reputation. Dali is synonymous with the Surrealist movement, a process in which the subconscious was accessed for greater artistic creativity. Although one of the most prominent members of the movement, Dali was also one of the most outspoken and controversial artists of the group. By 1939 Dali had separated completely from the group; for the remainder of his career Dali would develop his own style as an independent artist. Dali’s unique artistic vision led to a long and productive relationship with Argillet. The working relationship between the artist and publisher spanned thirty years and produced nearly 200 etchigs. Their collaboration ended in 1974, when Dali decided to work more with photo-based lithographs. Argillet preferred the more traditional method of copperplate etchings. The pair would remain close friends, however, until Dali’s death in 1989. In 1969, Argillet traveled to India with his daughter; while in India, the publisher took hundreds of photographs, many of hippies who had traveled east on a type of mystic pilgrimage . Having never traveled to India, Dali was compltetely fascinated with the photographs, and with the hippies on their pilgrimage. Dali used these photographs as inspiration for his Hippies series, his own interpretation of the “Love and Peace” years of the 1960s. Surreal, sometimes outlandish characters and scenes are presented in intricately etched lines and whirls. This stunning etching on Japon paper, The Corridor of Katmandu (Field 69-13G) exemplifies Dali’s interpretation seen throughout the Hippies portfolio (1969-1970). The seemingly spontaneous composition, combined with the superior technique, represents Dali at the peak of his artistic maturity. The Corridor of Katmandu is numbered VL/C, and is hand signed in by Dali.It measures 26” x 20” unframed. It has also been verbally authenticated by Bruce Hochman, OS of the Salvador Dali Gallery. For more information about this beautiful etching, or about the Hippies, please call the gallery. SOLD