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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  • Keith Haring Pop Shop III

    Keith Haring was concerned about the impact that computers would have on art, politics and modern daily life. He speculated on a future led by these potentially controlling mechanisms unleashed on a populous unwilling or unable to think for itself. How would the 'untrustworthy machines' he portrayed in his art affect the human population?

    “The role of the arts in human existence is going to be tested and tried. It is possibly the most important time for art the world has ever seen. The artist of this time is creating under a constant realization that he is being pursued by the computers. We are threatened. Our existence, our individuality, our creativity, our lives are threatened by this coming machine aesthetic. It is going to be up to us to establish a lasting position of the arts in our daily lives, in human existence.” 

    Keith Haring loved expression of the human soul and psyche, and was deeply concerned about the effect of the encroachment of the digital age on the human spirit. He said “If humans are expendable, then emotions, enjoyment, indulgence, creative aesthetic, and personality of human beings are expendable.”  

    Pop Shop III expresses Keith Haring’s anxiety by depicting a person getting literally pulled head-first inside a computer. Technology anxiety continues to capture the minds of artists and public alike as technology ever becomes more apart of our lives. 

    Keith Haring Pop Shop III (1989) by Keith Haring is an original silkscreen. Pop Shop III is hand signed in pencil and the edition AP 3/20. For more information about Keith Haring or Pop Shop III, please contact the gallery. SOLD.

     

  • Andy Warhol Marilyn

    Andy Warhol understood the allure of global celebrity and its effects on contemporary society long before gossip blogs were even a thing. Through his distinctive style of work, Warhol referred to a society in which individuals were seen as mere products rather than human beings. 

    Soon after her tragic death in 1962,  Andy Warhol made a series paying tribute to  Marilyn Monroe, the film star and sex symbol who had captured America’s imagination. The prints of Marilyn Monroe are some of the most iconic images Andy Warhol ever made. By relying on his signature screen-printing techniques to scribble over the iconic features of famous faces, Warhol was responsible for making these celebrities even more popular even in death. 

    Just as Warhol’s fetishistic use of consumer-produced packaging is often the source of many debates and discussions, so was his obsessive rendering of famous women. Some view the Marilyn Monroe Screenprints as frank expressions of his sorrow at public events. Others view them as some of the first expressions of 'compassion fatigue' - the way the public loses the ability to sympathize with events from which they feel removed. This mystery fuels the continued intense interest with both Marilyn Monroe and Andy Warhol as celebrities.

    Marilyn (1967) is an original screenprint on paper from the portfolio Marilyn Monroe (Marilyn). The edition is hand signed in ballpoint pen and numbered via stamp verso by Warhol and referenced in Feldman 68, II.29. For more information about Marilyn or Andy Warhol please contact the gallery. SOLD.

     

  • An Homage to Yves Klein Multicolor 1960 D and An Homage to Monogold 1960 D

    An Homage to Yves Klein Multicolor 1960 D and An Homage to Monogold 1960 D by Takashi Murakami both nod to the 20th century French artist Yves Klein. The more you compare the two artists the more fascinating the connections become. Decades separated their practices as Takashi Murakami was born the same year that Yves Klain died, but both were leading artistic figures in post-war European art and post-war Japanese art, respectively. It is clear why Takashi Murakami also saw a connection between him and Yves Klein.

    Yves Klein was known for his flat monochromes of blue and gold that were seen as an inspiration to and as a forerunner of minimal art, as well as pop art. Takashi Murakami blended his training in traditional Japanese painting with Japanese pop culture references to create his iconic “Superflat” style.

    Further, both figures flowed between their relationships between western and Japanese culture, a topic that fascinated Takashi Murakami. Yves Klein traveled to Japan and became the first European to become a black belt in Judo. Takashi Murakami explains “for those of us born in Asia, it remains an ever-important question. The reason is that what we today define as Art represents the path followed by Western art history, and yet here in the East, we have our own history. To survive as artists, we must learn to resolve the collision of these two cultures. My own personal position is drawn from how well I can arrange the unique flowers of Asia, moreover the ever strange blossoms that have bloomed in the madness of the defeated culture of postwar Japan, into work that will live within the confines of Western art history.”

    An Homage to Yves Klein Multicolor 1960 D and An Homage to Monogold 1960 D (2012) by Takashi Murakami are each an offset print with cold stamp. An Homage to Yves Klein Multicolor 1960 D and An Homage to Monogold 1960 D are editions of 300 and hand signed and numbered. For more information about An Homage to Yves Klein Multicolor 1960 D and An Homage to Monogold 1960 D or Takashi Murakami, please contact the gallery. Call for value.

  • Roy Lichtenstein Bull V

    While developing the series Bull Profile, Roy Lichtenstein studied photographs in a 1970 cattle sales catalog. The Bull Profile begins with a bull created with crosshatch strokes that gives it depth reminiscent of classic forms of printmaking. The most “abstract” of this series uses nothing but a few lines to create the cow.

    The name Bull Profile is directly quoting Pablo Picasso’s lithographic series “The Bull” in which bovines are incrementally rendered abstract. Picasso always said he identified with the Bull as a symbol of masculine power and virility. The first clue that Roy Lichtenstein intended this series to be a parody is his choice to render domesticated cattle that lack muscle and large horns.

    Roy Lichtenstein is dismissing the primary art theory in the 20th century that truth would be found in abstracting an image down to its simplest form. Lichtenstein sarcastically explores this idea by calling into question the presumed distinction between “realistic” and “abstract” depictions. Bull V is in the tradition of Rene Magritte’s piece The Treachery of Images, that poses that all visual representations are abstractions. “The series pretends to be didactic; I’m giving you abstraction lessons. But nothing is more abstract than anything else to me. The first one is abstract; they're all abstract.” Lichtenstein said.

    Bull V by Roy Lichtenstein is a Linocut on Arjomari paper. This piece is from the Bull profile portfolio and is referenced in Corlett 116. Bull V is hand signed in pencil. For more information on Bull V, Roy Lichtenstein, or the entire Bull Profile portfolio please contact the gallery. SOLD.