Signed Original Lithographs, Prints, Etchings, & Sculptures
Did you know Picasso was questioned for
stealing the Mona Lisa?
Chagall + Sorlier: Printmaking's Dream Team
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Renowned worldwide as one of the greatest artists of the 20th century, Pablo Picasso pioneered the ceramics medium with his stunning Madoura ceramics. Displaying a range of innovative techniques, artistic styles, and subject matters, Picasso's Madoura ceramics exemplify his artistic genius and love of experimentation in the sculptural medium.
This scarce early etching by Picasso demonstrates his unmatched ease as a draftsman. Behind the simple, confident composition of a child sitting on his mother's lap lies great clarity of vision. Short, strong lines compose the mother's wavy, flowing hair and aquiline features. Her son is drawn in softer lines emphasizing his youth and innocence. The slightly blurred quality of his face and fine hair recall an inability to sit still most associated with young children. The realistic style is both a classical and timeless air in this Picasso lithograph.
Motherhood, a subject that captured the artist's attention again and again, is as old as humanity and Picasso treats it as such. Mother and child form a solid pyramid in this image reminiscent of Raphael's images of the Madonna and Christ child. The conflict and anticipated suffering of that ancient maternal story is absent from his rendering; This Picasso lithograph is the peace and quiet of a mother lost in the smell of her child's hair and shape of his small body. The son, in turn, absorbs himself in playing with his mother's fingers. Picasso captures the very essence of this special relationship and transforms it into a monument to the maternal spirit.
Larger than life, a towering bouquet occupies the main space in this unusual composition. Large red poppies appear in a diagonal cluster near the base of the bunch of flowers, punctuating a composition otherwise dominated by yellow, violet, blue and green. No Chagall is complete without the vision of embracing lovers, and this lithograph is no exception. Tucked into the safety of the swirling blue sky, a man and woman hold each other. Their love brings them so close that their bodies seem to meld into one. The man's leg becomes the woman's flowing purple dress, while his cheek presses into hers. A quiet village pierced by a pointed spire occupies the peaceful hillside beyond, drenched in the pale green hues of spring. Robert Marteau writes of Chagall's accomplishments in lithography, "Without apparent effort and with a freshness reconquered each time, his vivid inks create a theater of dreams where nature and vision are fused together." This statement holds true for Les Coquelicots (Red Poppies), where Chagall's vision of an ever-blooming bouquet meets that of an eternal love under a quiet country sky.
Catalogue raisonné author Jacques Dupin writes of a “serial creation” manifest in the artist’s graphic work; in Parties de campagne (Country outings), Dupin discovers five different landscapes. His interpretation of what he terms an “uncertain variation” provides an insightful framework for viewing the series. Joan Miró’s impulsion to test the compositional possibilities, directing the gaze according through the manipulation of line and color, results in a visual journey. The fantastical creatures in these Country outings are not the only ones to wander through violet and orange blooms that change suddenly into red, exuberant fields. Here is a world of possibility that grabs the viewer by the hand, beckoning irresistibly at the abstracted countryside displayed like a promise.
The Hundred Guilder Print remains the most famous and desirable Rembrandt etching to date. Noted Rembrandt scholar Christopher White describes this astounding work as "the apotheosis of Rembrandt's activity in etching in the 1640's, and according to popular opinion of his whole career" (White, Rembrandt as Etcher, 57). White further traces the origin of the title to a print seller named Mariette, who sold an impression of this print to Rembrandt himself for 100 guilders.
The ability to depict an abundance of Christian iconography coupled with the beautiful prose associated with the work combine to make this a landmark piece in the canon of Rembrandt's religious works. Grandiose in size with an incredible amount of detail, this magnificent work is a superb impression - the best Rembrandt impression that we have ever witnessed at our gallery. This print clearly demonstrates Rembrandt's unparalleled mastery of diverse printmaking techniques as we witness the individual features and expressions upon each character's face. Rich in burr, this dramatic piece is best viewed in person as photographs do not do justice to the awe-inspiring nature of this celebrated print.
The ability to depict an abundance of Christian iconography, coupled with the beautiful prose associated with the work-combine to make this a landmark piece in the canon of Rembrandt's religious works. In fact, it seems a fair assertion that the Hundred Guilder Print remains the most famous and desirable Rembrandt etching. The National Gallery of Art in Washington D.C. occasionally displays this masterpiece.
Master of the small detail, Albrecht Dürer created a unified and intricate composition in this moving woodcut. Figuring out the spatial relationship of Christ to the men lowering his body to the ground proves to be difficult. Slumped inconsolably in lower right corner, Mary’s prone position echoes that of her son’s body. The mass of figures crowding towards the front recreates the sense of mourning and chaos that must have marked this scene. This piled mountain of humanity resembles the form of the hilltop on which three crosses stand in the distance. The two hapless thieves crucified alongside Christ remain suspended from the limbs of the crosses. In the upper right of the image a structure resembling an open tomb foreshadows the next stage of the Passion. Collectors appreciate the intelligence and complexity of Deposition of Christ, which captures multiple phases in the Passion in a single elaborate work.
Depicting highly successful real estate mogul Sachiko Goodman, Andy Warhol chooses a palette as striking as his subject. Candy orange and lavender are set off against a bright aquamarine. As is the case with many of his famous portraits of celebrities in the 1970’s and 80’s, the artist’s point of departure would have been one of his photographs of the subject. Preferring to portray an idealized version of his subject, Warhol review the silkscreen created after a chosen photograph and remove any blemishes. Sachiko’s flawless skin and bright smile owe some of their brilliance to this step. The artist published several volumes of his photographs during his lifetime, providing insight into his working methods and relationship with the camera. As the only printer’s proof aside from an edition of 7, this extremely rare print is virtually unique, according to Feldman and Schellman. Combined with Sachiko’s graceful beauty, this work’s rarity makes it incredibly desirable.