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Exhibits
  • Charles Sorlier after Marc Chagall Saint Jean Cap-Ferrat

    Saint Jean Cap Ferrat by Marc Chagall (after) is a hauntingly romantic original lithograph featuring two lovers in the landscape of the Mediterranean sea. Chagall moved to the south of France when he returned to Europe after the second World War. Although his first wife, Bella Rosenfeld, died in 1944, she remained a prominent figure in his art for the rest of his life.

    Their intense love for one another permeated his romantic paintings. Each has described their "love at first sight" reaction to the other in their writings. In her memoirs, Bella wrote of their first meeting: "I was surprised at his eyes, they were so blue as the sky ... I'm lowering my eyes. Nobody is saying anything. We both feel our hearts beating.” In My Life, Chagall's autobiography, he also described their first meeting: "Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me.”

    Before her death, Chagall often depicted her as floating and elongated. After her death, as seen in Saint Jean Cap Ferrat, the woman is portrayed with more earthly elements like bowls of fruit and bouquets of flowers. In life, her love represented spiritual and other worldly transcendence. After her death, his longing shifted to envisioning her presence in the physical world.

    Marc Chagall is one of the most romantic and mystical artists of the 20th century. He is credited with bringing metaphor to modern Western art and being the father of Surrealism. Saint Jean Cap Ferrat by Charles Sorlier after Marc Chagall, is an original lithograph. This work is a creative collboration between Charles Sorlier and Marc Chagall. Sorlier worked under the direct supervision of Chagall. Saint Jean Cap Ferrat is hand signed in pencil by Chagall and is referenced in CS 4. For more information about Marc Chagall, or if you would like to purchase Saint Jean Cap Ferrat, please contact the gallery. Call For Value.


    • Keith Haring Pop Shop V Portfolio

      After Keith Haring's death in 1990, Robert Farris Thompson wrote a beautiful dedication to him in which he explained the evolution of his use of dolphins and angels: “One of Keith’s ideographs somehow captures his art and his aspiration. I refer to the fish-tailed image of Yemanjá, the Yoruba-Brazilian mermaid goddess of the seas. Keith developed this striking image in the subways in 1982: ‘What happened, really, was that the drawing grew out of an evolution of other images, of the dolphins, of the angels, and sort of combined and turned into this sort of dolphin-mermaid-angel. Then, being in Brazil made that image mean [Yemanjá] by doing it there.’ Haring spent the winters of the middle ’80s with his friend Kenny Scharf at the latter’s house near IIheus, in Bahia, south of Salvador. The two of them painted the outside of Scharf’s house, which attracted the attention of their black and white neighbors, many of whom were fishermen. ‘They’d ask us to do something in their houses or on their boats, and we would,’ Haring recalled. Since hundreds of black and white fishermen in Brazil worship Yemanjá for the fish she brings, and for the protection she offers when they are caught in their barques in a storm, their excited naming of this angelic mermaid “Yemanjá!” was a very natural sequence.

      The plentitude of meaning that the fisherfolk of Bahia read into this sign, meanings Haring carried back with him to New York, are matched by the richness of the originating iconographic vortex out of which the sign emerged: a circle of humans turning into dolphins turning into humans turning into dolphins. Haring meant this as a critique of Darwin’s theory of evolution, with its brutalities of hierarchical ranking. ‘Darwin,’ he said, ‘only goes in one direction.’ Let this motif rest, then, as the laurel around Keith’s head, where he rejoined himself with the forces of fusion, the forces of dance, the forces of music. So doing, he left, as legacy, the collapse of so-called out and so-called in, so-called high and so-called low, into mysterious ecstasy and reemergence.”

      Georgetown Frame Shoppe currently has the complete Pop Shop V portfolio including Plate 1, Plate 2, Plate 3 and Plate 4 for sale. Shown above is the original silkscreen Plate 3 from the Pop Shop V Portfolio. Each silkscreen is hand signed in pencil and is an edition of 200. For more information about Keith Haring or if you would like to purchase all four Keith Haring signed screen prints, please contact the gallery. SOLD

      • Andy Warhol The Witch

        On August 12th, 1980, Andy Warhol wrote this entry in his Dairy; “Saw Margaret Hamilton, the witch in The Wizard of Oz, and got so excited…told her how wonderful she was. She’s really small.” Warhol met Margaret Hamilton at the Peking Opera and persuaded her to come to his studio and recreate her classic, frightening pose for the Myths portfolio.

        Created in 1981, Myths consists of ten screenprints meant to capture the imginary characters popular during the 20th century in American pop culture. Most of the images used were taken from history, literature, classic Hollywood films and television from the 1950s.

        In an interview with Warhol, Barry Blinderman said “What impressed me most about The Witch was the color. The way the shape and color interact reminds me of things Ellsworth Kelly used to do. I’ve always wondered if you ever thought of your paintings in the 60’s in terms of Kelly and Noland, your contemporaries doing abstract art

        In his classic airy interview style, Warhol says “I always liked Ellsworth’s work, and that’s why I always painted a blank canvas. I loved that blank canvas thing and I wish that I had stuck with the idea of just painting the same painting, like the soup can, and never painting another painting. When someone wanted one, you would just do another one. Does anybody do that now? Anyway, you do the same painting whether it looks different or not.”

        The Witch (1981) is an original screenprint on Lenox Museum Board from the Myths portfolio and is referenced in Feldman II.261. The Witch is hand signed and numbered in pencil on the verso (back lower right) and is an edition of 200. For more information about Andy Warhol or The Witch please contact the gallery. Call For Value.

        • Joan Miro Miro Lithographe II, Plate VII

          “The spectacle of the sky overwhelms me. I'm overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge empty spaces. Empty spaces, empty horizons, empty plains - everything which is bare has always greatly impressed me.” —Joan Miró

          As his work grew more abstract, Miro insisted, “Everything in my pictures exists.'' He based his leaps of imagination on the hard ground of reality. Conducting his own Surrealism-inspired exploration, Miró invented a new kind of pictorial space in which carefully rendered objects issuing strictly from the artist's imagination are juxtaposed with basic, recognizable forms - a sickle moon, a simplified dog, a ladder. This portfolio Miro Lithographe II and the lithograph Plate VII revealed a shifting focus to the subjects of women, birds, and the moon, which would dominate his iconography for much of the rest of his career.

          Miró has been a significant influence on late 20th-century art, in particular the American abstract expressionist artists such as Motherwell, Calder, Pollock, Matta and Rothko. Miró often worked with a limited palette, yet the colors he used were bold and expressive. His lyrical abstractions and color field paintings were precursors of that style by artists such as Helen Frankenthaler, Olitski and Louis.

          Plate VII (1975) is an original lithograph referenced in Mourlot 1042 from the Miro Lithographe II portfolio. Plate VII is edition XII/LXXX. For more information about Joan Miro or Plate VII please contact the gallery. SOLD

          • Pablo Picasso Sculpteur et son Modèle devant une Fenêtre

            In this original etching, Sculpteur et son Modèle devant une Fenêtre, Picasso's mistress, Marie-Thérèse Walter, is portrayed in the sculptors studio. She is posing for a bearded sculptor and is rendered in the neoclassical style used throughout the Vollard suite. The dense mark making used to depict Marie-Thérèse Walter creates more depth with a darker tone. The scupltor is depicted with simple lines. This dichotomy places the focus on the model as the center of the work and the sculptor as the attentive observer. 

            Pablo Picasso worked extensively on the set in the spring of 1933 and completed the suite in 1937. Richard Dorment muses that as Picasso took such a long time to create the suite, "the imagery and the emotional register of the prints constantly shifts to reflect Picasso's erotic and artistic obsessions, marital vicissitudes, and the darkening political situation in Europe. A minotaur appears, joining in scenes of bacchic excess, but the minotaur is transformed from a gentle lover into a devourer of women, reflecting Picasso's turbulent relationships with Marie-Thérèse and his wife Olga. In a third transformation, the minotaur becomes pathetic, blind and impotent, he wanders by night, led by a little girl with the features of Marie-Thérèse.”

            Sculpteur et son Modèle devant une Fenêtre is an original etching on Montreal laid paper and is referenced in Bloch 168. Sculpteur et son Modèle devant une Fenêtre is hand signed in pencil and is an edition of 260. For more information about  Pablo Picasso or Sculpteur et son Modèle devant une Fenêtre please contact the gallery. SOLD.