Signed Original Lithographs, Prints, Etchings, & Sculptures

Andy Warhol Original, Blackglama (Judy Garland)

Andy Warhol depicts Judy Garland not as the wide-eyed teenager that America fell for in "The Wizard of Oz" (1939), but as a mature, soulful woman confidently meeting the viewer's gaze. Crowning her with the reddest hair against a background of sunshine yellow, Warhol makes reference in this original color screenprint to the red pigtails and yellow brick road that made the film famous. The artist places Garland right of center in a relaxed, three quarter profile view, skin awash in the white light glow of a movie set. A unique color variant according to Feldman & Schellmann, "Blackglama (Judy Garland)" reframes the glamour and romance of the early years of cinema within Warhol's idealized and ironic take on screenprints.

Albrecht Durer, Agony in the Garden

Recognized as one of the most influential artists of his time, Albrecht Dürer developed formidable skill as a master painter and printmaker. His oeuvre displays his incredible evolution away from the Late Gothic period towards the pinnacle of the Northern Renaissance. Durer woodcuts and etchings are renowned for their minute study of detail and dense, elegant compositions; the former technique requires precision of line while the latter allows for a freer image. That being said, both etching and woodcut liberated the artist from the intense pressure necessary to engrave a plate of hard metal. "Agony in the Garden" reflects the increased ease of etching. Indeed, The Illustrated Bartsch notes that the print has, "the effect of an impetuous pen drawing" (Bartsch, Vol. 10, 60).

Rembrandt Etchings

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.

Joan Miro Prints

Created in 1973, this original Joan Miró print is an artist’s proof hand-signed by the artist in pencil in the bottom center of the work. It is of considerable size and in excellent condition; the image measures 53 3/5 x 23 1/6 in (136.9 x 58.9 cm).

Robert Dutrou profoundly altered the course of Joan Miró’s work in 1967 when he introduced the artist to the new printmaking technique of silicon carbide engraving. “Le Chef des Equipages (Head of the Crew)” resulted from Miró’s combination of carborundum, as the process is also known, with etching and aquatint. The large-scale original print uses bold washes of black, yellow, green, and blue to great, playful effect, its color suggesting the form of a comical authority figure.

Its creation followed on the heels of the 1970 exhibition at the Museum of Modern Art in New York entitled “Joan Miró: Fifty Recent Prints.” While celebrating this innovative, joyful turn in the artist’s career, the show confirmed the importance of his headlong leap into printmaking, holding up the medium as one equal to painting or sculpture.

Marc Chagall prints

In a sunlit, alive world two young lovers embrace, their androgynous features imparting a mirror effect to The Adolescents. And, indeed, the compositional unity of this hand signed Chagall lithograph first strikes the viewer. From the couple's rounded arms and tilted heads the eye travels to the pint-sized mother and child nestled in the blooming greenery. The black crescent moon fixed against a pink and yellow sun becomes a diving blue figure of indistinct gender facing a rooster climbing skywards. These images, familiar to any admirer of the artist, carry the same impact as their counterparts from Chagall lithographs of fifty years prior. Close friend and engraver Charles Sorlier explains: "Chagall had the rare privilege of seeing the newness of each morning: This day to him was the very first day, the orange the sweetest one, the flower the brightest one and woman the most beautiful one" (Chagall: A Retrospective, 228).

The Adolescents is the artist's ode to youth, to ardent and unquestioned love, to color and to exuberant line that overflows into the margins. It is his image of everything familiar that asserts itself as new.

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