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Lithographs

  • Christianity Is Too Big For Me - Jacob Rantzau
    Width: 55 cm / Height: 75 cm
    EUR 536,00
    In stock
  • Behind the Mirror - Ole Ahlberg
    Width: 60 cm / Height: 76 cm
    EUR 1.075,00
    In stock
    Litography from CLOT, BRAMSEN & GEORGES, today the oldest printing workshop in Paris, was founded by Auguste Clot back in late 18th century, where he was known as the capitals finest art printer.
    Not only due to his skills, but not at least, the new way he mixed the various colors in the printing process attracted the young “Nabis” who in Auguste Clot found a true and highly professional inspirator. As the predecessors, the Impressionists, Vollard also ordered prints by the young “Nabis” to be a part of his famous graphic albums.

    From 1896 the most beautiful works were printed at Clots presses, signed by Degas, Cézanne, Renoir, Sisley, Redon, Bonnard, Vuillard, Signac, Munch, Rodin and many others.

    In 1934 André Clot, the son of the founder Auguste Clot succeeded his father as daily leader. In this period, Rouault, Matisse, Denis, Roussel, Guillaumin, Foujita and others had their time in the workshop

    In 1963 the Danish lithograph Peter Bramsen enters the workshop as associates.

    In 1965 together with the founder’s grandson Dr. Guy Georges they found EDITIONS ATELIER CLOT - publishing prints.

    In 1968 the workshop moves to larger premises situated in Rue Vielle du Temple in the center of the Marais district. Again the old printing workshop succeeded to attract artists creating masterpieces on the old stone press. Just to mention Asger Jorn, Pierre Alechinsky, Antonio Saura, Bram Van Velde, Maurice Wyckaert, Pol Bury, Roland Topor, Tabuschi , Jan Voss, Antonio Segui, and many other well know international artists.

    In 1988 Christian Bramsen enters the company as associate, and a guarantee for the high professional standard will maintain as it was founded for over 100 years ago. Christian Bramsen is international oriented, and among others, he arranges retrospective exhibitions all over the world, mostly focusing on a specific artist and his works created at the workshop.

    From 2004 Morten Brunholt takes over the established sales representation in Scandinavia, and as from 2013 now also a part of the Scandinavian publishing activities.

    Technically, Ahlberg is in full control, he paints narrowly and precisely to the smallest detail; Nevertheless, Tintin appears perfectly cartoonish and sincere awkward in the adult universe. Ahlberg simply melts two completely different values ​​together without overconstructing it.

    If the toys Ole Ahlberg often places in his pictures are a solid symbol of innocence, then it’s a different matter when it comes to the figure of Tintin, who has become a kind of trademark for the artist. For Tintin is a completely fictitious person. Plus he’s a very special type, one where you don’t find even an inkling of a love life in any of the comics. With the exception of the opera-singing, bosomy Milanese nightingale, Bianca Castafiore, women are by and large missing from Tintin’s universe. Even the heavily drinking and constantly cursing Captain Haddock shies terrifyingly away from Castafiore’s advances, which are more a publicity stunt than a real declaration of love. Ole Ahlberg places this quite unusually virtuous comic strip figure in situations where he is confronted with very corporeal and scantily clad earthy women. With great wonder, or should we say shock, Tintin stares at the forbidden fruit. His facial expressions, often taken from episodes in actual comics, reveal that all this eroticism is completely alien to him. As though it came from another planet. Ole Ahlberg, leaving no room for doubt, emphasizes that Tintin is a fictitious person by depicting him using Herges’ sharp, black contours in contrast to the rest of the paintings clair obscure.

    Before the popular breakthrough, Ole Ahlberg was best known as (80er) surrealist, and as part of the art association "Pas Partout" he already made strong works at the time - and they were hard to get hold of. Today you have to think and act quickly if you want to own one of the new original works.
  • By the Pool II - Ole Ahlberg
    Width: 60 cm (paper size) / Height: 76 cm (paper size)
    EUR 1.075,00
    In stock
    Litography from CLOT, BRAMSEN & GEORGES, today the oldest printing workshop in Paris, was founded by Auguste Clot back in late 18th century, where he was known as the capitals finest art printer.
    Not only due to his skills, but not at least, the new way he mixed the various colors in the printing process attracted the young “Nabis” who in Auguste Clot found a true and highly professional inspirator. As the predecessors, the Impressionists, Vollard also ordered prints by the young “Nabis” to be a part of his famous graphic albums.

    From 1896 the most beautiful works were printed at Clots presses, signed by Degas, Cézanne, Renoir, Sisley, Redon, Bonnard, Vuillard, Signac, Munch, Rodin and many others.

    In 1934 André Clot, the son of the founder Auguste Clot succeeded his father as daily leader. In this period, Rouault, Matisse, Denis, Roussel, Guillaumin, Foujita and others had their time in the workshop

    In 1963 the Danish lithograph Peter Bramsen enters the workshop as associates.

    In 1965 together with the founder’s grandson Dr. Guy Georges they found EDITIONS ATELIER CLOT - publishing prints.

    In 1968 the workshop moves to larger premises situated in Rue Vielle du Temple in the center of the Marais district. Again the old printing workshop succeeded to attract artists creating masterpieces on the old stone press. Just to mention Asger Jorn, Pierre Alechinsky, Antonio Saura, Bram Van Velde, Maurice Wyckaert, Pol Bury, Roland Topor, Tabuschi , Jan Voss, Antonio Segui, and many other well know international artists.

    In 1988 Christian Bramsen enters the company as associate, and a guarantee for the high professional standard will maintain as it was founded for over 100 years ago. Christian Bramsen is international oriented, and among others, he arranges retrospective exhibitions all over the world, mostly focusing on a specific artist and his works created at the workshop.

    From 2004 Morten Brunholt takes over the established sales representation in Scandinavia, and as from 2013 now also a part of the Scandinavian publishing activities.

    Technically, Ahlberg is in full control, he paints narrowly and precisely to the smallest detail; Nevertheless, Tintin appears perfectly cartoonish and sincere awkward in the adult universe. Ahlberg simply melts two completely different values ​​together without overconstructing it.

    If the toys Ole Ahlberg often places in his pictures are a solid symbol of innocence, then it’s a different matter when it comes to the figure of Tintin, who has become a kind of trademark for the artist. For Tintin is a completely fictitious person. Plus he’s a very special type, one where you don’t find even an inkling of a love life in any of the comics. With the exception of the opera-singing, bosomy Milanese nightingale, Bianca Castafiore, women are by and large missing from Tintin’s universe. Even the heavily drinking and constantly cursing Captain Haddock shies terrifyingly away from Castafiore’s advances, which are more a publicity stunt than a real declaration of love. Ole Ahlberg places this quite unusually virtuous comic strip figure in situations where he is confronted with very corporeal and scantily clad earthy women. With great wonder, or should we say shock, Tintin stares at the forbidden fruit. His facial expressions, often taken from episodes in actual comics, reveal that all this eroticism is completely alien to him. As though it came from another planet. Ole Ahlberg, leaving no room for doubt, emphasizes that Tintin is a fictitious person by depicting him using Herges’ sharp, black contours in contrast to the rest of the paintings clair obscure.

    Before the popular breakthrough, Ole Ahlberg was best known as (80er) surrealist, and as part of the art association "Pas Partout" he already made strong works at the time - and they were hard to get hold of. Today you have to think and act quickly if you want to own one of the new original works.
  • High Voltage - Tine Helleshøj
    Width: 56 cm / Height: 38 cm
    EUR 135,00
    In stock
    A really cool giclée-print
    38 x 56 cm
    Edition: 140
    Numbered and signed by the artist
  • In the Air II - Ole Ahlberg
    Width: 60 cm (paper size) / Height: 76 cm (paper size)
    EUR 1.075,00
    In stock
    Litography from CLOT, BRAMSEN & GEORGES, today the oldest printing workshop in Paris, was founded by Auguste Clot back in late 18th century, where he was known as the capitals finest art printer.
    Not only due to his skills, but not at least, the new way he mixed the various colors in the printing process attracted the young “Nabis” who in Auguste Clot found a true and highly professional inspirator. As the predecessors, the Impressionists, Vollard also ordered prints by the young “Nabis” to be a part of his famous graphic albums.

    From 1896 the most beautiful works were printed at Clots presses, signed by Degas, Cézanne, Renoir, Sisley, Redon, Bonnard, Vuillard, Signac, Munch, Rodin and many others.

    In 1934 André Clot, the son of the founder Auguste Clot succeeded his father as daily leader. In this period, Rouault, Matisse, Denis, Roussel, Guillaumin, Foujita and others had their time in the workshop

    In 1963 the Danish lithograph Peter Bramsen enters the workshop as associates.

    In 1965 together with the founder’s grandson Dr. Guy Georges they found EDITIONS ATELIER CLOT - publishing prints.

    In 1968 the workshop moves to larger premises situated in Rue Vielle du Temple in the center of the Marais district. Again the old printing workshop succeeded to attract artists creating masterpieces on the old stone press. Just to mention Asger Jorn, Pierre Alechinsky, Antonio Saura, Bram Van Velde, Maurice Wyckaert, Pol Bury, Roland Topor, Tabuschi , Jan Voss, Antonio Segui, and many other well know international artists.

    In 1988 Christian Bramsen enters the company as associate, and a guarantee for the high professional standard will maintain as it was founded for over 100 years ago. Christian Bramsen is international oriented, and among others, he arranges retrospective exhibitions all over the world, mostly focusing on a specific artist and his works created at the workshop.

    From 2004 Morten Brunholt takes over the established sales representation in Scandinavia, and as from 2013 now also a part of the Scandinavian publishing activities.

    Technically, Ahlberg is in full control, he paints narrowly and precisely to the smallest detail; Nevertheless, Tintin appears perfectly cartoonish and sincere awkward in the adult universe. Ahlberg simply melts two completely different values ​​together without overconstructing it.

    If the toys Ole Ahlberg often places in his pictures are a solid symbol of innocence, then it’s a different matter when it comes to the figure of Tintin, who has become a kind of trademark for the artist. For Tintin is a completely fictitious person. Plus he’s a very special type, one where you don’t find even an inkling of a love life in any of the comics. With the exception of the opera-singing, bosomy Milanese nightingale, Bianca Castafiore, women are by and large missing from Tintin’s universe. Even the heavily drinking and constantly cursing Captain Haddock shies terrifyingly away from Castafiore’s advances, which are more a publicity stunt than a real declaration of love. Ole Ahlberg places this quite unusually virtuous comic strip figure in situations where he is confronted with very corporeal and scantily clad earthy women. With great wonder, or should we say shock, Tintin stares at the forbidden fruit. His facial expressions, often taken from episodes in actual comics, reveal that all this eroticism is completely alien to him. As though it came from another planet. Ole Ahlberg, leaving no room for doubt, emphasizes that Tintin is a fictitious person by depicting him using Herges’ sharp, black contours in contrast to the rest of the paintings clair obscure.

    Before the popular breakthrough, Ole Ahlberg was best known as (80er) surrealist, and as part of the art association "Pas Partout" he already made strong works at the time - and they were hard to get hold of. Today you have to think and act quickly if you want to own one of the new original works.
  • Looking for another planet - Tine Helleshøj
    Width: 56 cm / Height: 38 cm
    EUR 135,00
    In stock
    A really cool giclée-print
    Looking for another planet
    38 x 56 cm
    Edition: 140
    Numbered and signed by the artist
  • Morning has broken - Ole Ahlberg
    Width: 60 cm (paper size) / Height: 76 cm (paper size)
    EUR 1.075,00
    In stock
    Brand new beautiful and original colour litograph by Ole Ahlberg!

    Litograph from CLOT, BRAMSEN & GEORGES, today the oldest printing workshop in Paris, was founded by Auguste Clot back in late 18th century, where he was known as the capitals finest art printer.
    Not only due to his skills, but not at least, the new way he mixed the various colors in the printing process attracted the young “Nabis” who in Auguste Clot found a true and highly professional inspirator. As the predecessors, the Impressionists, Vollard also ordered prints by the young “Nabis” to be a part of his famous graphic albums.

    From 1896 the most beautiful works were printed at Clots presses, signed by Degas, Cézanne, Renoir, Sisley, Redon, Bonnard, Vuillard, Signac, Munch, Rodin and many others.

    In 1934 André Clot, the son of the founder Auguste Clot succeeded his father as daily leader. In this period, Rouault, Matisse, Denis, Roussel, Guillaumin, Foujita and others had their time in the workshop

    In 1963 the Danish lithograph Peter Bramsen enters the workshop as associates.

    In 1965 together with the founder’s grandson Dr. Guy Georges they found EDITIONS ATELIER CLOT - publishing prints.

    In 1968 the workshop moves to larger premises situated in Rue Vielle du Temple in the center of the Marais district. Again the old printing workshop succeeded to attract artists creating masterpieces on the old stone press. Just to mention Asger Jorn, Pierre Alechinsky, Antonio Saura, Bram Van Velde, Maurice Wyckaert, Pol Bury, Roland Topor, Tabuschi , Jan Voss, Antonio Segui, and many other well know international artists.

    In 1988 Christian Bramsen enters the company as associate, and a guarantee for the high professional standard will maintain as it was founded for over 100 years ago. Christian Bramsen is international oriented, and among others, he arranges retrospective exhibitions all over the world, mostly focusing on a specific artist and his works created at the workshop.

    From 2004 Morten Brunholt takes over the established sales representation in Scandinavia, and as from 2013 now also a part of the Scandinavian publishing activities.

    Technically, Ahlberg is in full control, he paints narrowly and precisely to the smallest detail; Nevertheless, Tintin appears perfectly cartoonish and sincere awkward in the adult universe. Ahlberg simply melts two completely different values ​​together without overconstructing it.

    If the toys Ole Ahlberg often places in his pictures are a solid symbol of innocence, then it’s a different matter when it comes to the figure of Tintin, who has become a kind of trademark for the artist. For Tintin is a completely fictitious person. Plus he’s a very special type, one where you don’t find even an inkling of a love life in any of the comics. With the exception of the opera-singing, bosomy Milanese nightingale, Bianca Castafiore, women are by and large missing from Tintin’s universe. Even the heavily drinking and constantly cursing Captain Haddock shies terrifyingly away from Castafiore’s advances, which are more a publicity stunt than a real declaration of love. Ole Ahlberg places this quite unusually virtuous comic strip figure in situations where he is confronted with very corporeal and scantily clad earthy women. With great wonder, or should we say shock, Tintin stares at the forbidden fruit. His facial expressions, often taken from episodes in actual comics, reveal that all this eroticism is completely alien to him. As though it came from another planet. Ole Ahlberg, leaving no room for doubt, emphasizes that Tintin is a fictitious person by depicting him using Herges’ sharp, black contours in contrast to the rest of the paintings clair obscure.

    Before the popular breakthrough, Ole Ahlberg was best known as (80er) surrealist, and as part of the art association "Pas Partout" he already made strong works at the time - and they were hard to get hold of. Today you have to think and act quickly if you want to own one of the new original works.
  • Movement 2 - Carsten Beck
    Width: 40 cm / Height: 55 cm
    EUR 267,00
    In stock
  • Movement 3 - Carsten Beck
    Width: 40 cm / Height: 55 cm
    EUR 267,00
    In stock
  • Movement 4 - Carsten Beck
    Width: 40 cm / Height: 55 cm
    EUR 267,00
    In stock
  • Movement 5 - Carsten Beck
    Width: 40 cm / Height: 55 cm
    EUR 267,00
    In stock
  • Movement 5 - Carsten Beck
    Width: 40 cm / Height: 55 cm
    EUR 507,00
    In stock
  • Accused - Ole Ahlberg
    Width: 61 cm / Height: 44 cm
    EUR 240,00
    Not in stock

    Before the popular breakthrough, Ole Ahlberg was best known as (80er) surrealist, and as part of the art association "Pas Partout" he already made strong works at the time - and they were hard to get hold of. Here is one of the original surrealistic litographs.

  • Sightseeing IV - Ole Ahlberg
    Width: 56 cm / Height: 66 cm
    EUR 885,00
    In stock
    Litography from CLOT, BRAMSEN & GEORGES, today the oldest printing workshop in Paris, was founded by Auguste Clot back in late 18th century, where he was known as the capitals finest art printer.
    Not only due to his skills, but not at least, the new way he mixed the various colors in the printing process attracted the young “Nabis” who in Auguste Clot found a true and highly professional inspirator. As the predecessors, the Impressionists, Vollard also ordered prints by the young “Nabis” to be a part of his famous graphic albums.

    From 1896 the most beautiful works were printed at Clots presses, signed by Degas, Cézanne, Renoir, Sisley, Redon, Bonnard, Vuillard, Signac, Munch, Rodin and many others.

    In 1934 André Clot, the son of the founder Auguste Clot succeeded his father as daily leader. In this period, Rouault, Matisse, Denis, Roussel, Guillaumin, Foujita and others had their time in the workshop

    In 1963 the Danish lithograph Peter Bramsen enters the workshop as associates.

    In 1965 together with the founder’s grandson Dr. Guy Georges they found EDITIONS ATELIER CLOT - publishing prints.

    In 1968 the workshop moves to larger premises situated in Rue Vielle du Temple in the center of the Marais district. Again the old printing workshop succeeded to attract artists creating masterpieces on the old stone press. Just to mention Asger Jorn, Pierre Alechinsky, Antonio Saura, Bram Van Velde, Maurice Wyckaert, Pol Bury, Roland Topor, Tabuschi , Jan Voss, Antonio Segui, and many other well know international artists.

    In 1988 Christian Bramsen enters the company as associate, and a guarantee for the high professional standard will maintain as it was founded for over 100 years ago. Christian Bramsen is international oriented, and among others, he arranges retrospective exhibitions all over the world, mostly focusing on a specific artist and his works created at the workshop.

    From 2004 Morten Brunholt takes over the established sales representation in Scandinavia, and as from 2013 now also a part of the Scandinavian publishing activities.

    Before the popular breakthrough, Ole Ahlberg was best known as (80er) surrealist, and as part of the art association "Pas Partout" he already made strong works at the time - and they were hard to get hold of. Today you have to think and act quickly if you want to own one of the new original works.
  • Tine Helleshøj - space oddity
    Width: 56 cm / Height: 76 cm
    EUR 135,00
    In stock
    A really beautiful giclée-print
    76 x 56 cm
    Edition: 140
    Numbered and signed by the artist
  • Accused - Ole Ahlberg
    Width: 22,5 cm / Height: 29,5 cm
    EUR 134,00
    In stock


    Before the popular breakthrough, Ole Ahlberg was best known as (80er) surrealist, and as part of the art association "Pas Partout" he already made strong works at the time - and they were hard to get hold of. This is one of the original surrealistic litographs.
  • Accused - Ole Ahlberg
    Width: 22,5 cm / Height: 29,5 cm
    EUR 134,00
    In stock

    Before the popular breakthrough, Ole Ahlberg was best known as (80er) surrealist, and as part of the art association "Pas Partout" he already made strong works at the time - and they were hard to get hold of. This is one of the original litographs.
  • Accused - Ole Ahlberg
    Width: 50 cm / Height: 61 cm
    EUR 134,00
    In stock

    Before the popular breakthrough, Ole Ahlberg was best known as (80er) surrealist, and as part of the art association "Pas Partout" he already made strong works at the time - and they were hard to get hold of. This is one of the original surrealistic litographs.
  • Accused - Ole Ahlberg
    Width: 46 cm / Height: 57 cm
    EUR 227,00
    In stock
    This is Before the popular breakthrough, Ole Ahlberg was best known as (80er) surrealist, and as part of the art association "Pas Partout" he already made strong works at the time - and they were hard to get hold of. This is one of the original surrealistic litographs.
  • The Getaway - Ole Ahlberg
    Width: 60 cm (paper size) / Height: 76 cm (paper size)
    EUR 1.075,00
    In stock
    Litography from CLOT, BRAMSEN & GEORGES, today the oldest printing workshop in Paris, was founded by Auguste Clot back in late 18th century, where he was known as the capitals finest art printer.
    Not only due to his skills, but not at least, the new way he mixed the various colors in the printing process attracted the young “Nabis” who in Auguste Clot found a true and highly professional inspirator. As the predecessors, the Impressionists, Vollard also ordered prints by the young “Nabis” to be a part of his famous graphic albums.

    From 1896 the most beautiful works were printed at Clots presses, signed by Degas, Cézanne, Renoir, Sisley, Redon, Bonnard, Vuillard, Signac, Munch, Rodin and many others.

    In 1934 André Clot, the son of the founder Auguste Clot succeeded his father as daily leader. In this period, Rouault, Matisse, Denis, Roussel, Guillaumin, Foujita and others had their time in the workshop

    In 1963 the Danish lithograph Peter Bramsen enters the workshop as associates.

    In 1965 together with the founder’s grandson Dr. Guy Georges they found EDITIONS ATELIER CLOT - publishing prints.

    In 1968 the workshop moves to larger premises situated in Rue Vielle du Temple in the center of the Marais district. Again the old printing workshop succeeded to attract artists creating masterpieces on the old stone press. Just to mention Asger Jorn, Pierre Alechinsky, Antonio Saura, Bram Van Velde, Maurice Wyckaert, Pol Bury, Roland Topor, Tabuschi , Jan Voss, Antonio Segui, and many other well know international artists.

    In 1988 Christian Bramsen enters the company as associate, and a guarantee for the high professional standard will maintain as it was founded for over 100 years ago. Christian Bramsen is international oriented, and among others, he arranges retrospective exhibitions all over the world, mostly focusing on a specific artist and his works created at the workshop.

    From 2004 Morten Brunholt takes over the established sales representation in Scandinavia, and as from 2013 now also a part of the Scandinavian publishing activities.

    Technically, Ahlberg is in full control, he paints narrowly and precisely to the smallest detail; Nevertheless, Tintin appears perfectly cartoonish and sincere awkward in the adult universe. Ahlberg simply melts two completely different values ​​together without overconstructing it.

    If the toys Ole Ahlberg often places in his pictures are a solid symbol of innocence, then it’s a different matter when it comes to the figure of Tintin, who has become a kind of trademark for the artist. For Tintin is a completely fictitious person. Plus he’s a very special type, one where you don’t find even an inkling of a love life in any of the comics. With the exception of the opera-singing, bosomy Milanese nightingale, Bianca Castafiore, women are by and large missing from Tintin’s universe. Even the heavily drinking and constantly cursing Captain Haddock shies terrifyingly away from Castafiore’s advances, which are more a publicity stunt than a real declaration of love. Ole Ahlberg places this quite unusually virtuous comic strip figure in situations where he is confronted with very corporeal and scantily clad earthy women. With great wonder, or should we say shock, Tintin stares at the forbidden fruit. His facial expressions, often taken from episodes in actual comics, reveal that all this eroticism is completely alien to him. As though it came from another planet. Ole Ahlberg, leaving no room for doubt, emphasizes that Tintin is a fictitious person by depicting him using Herges’ sharp, black contours in contrast to the rest of the paintings clair obscure.

    Before the popular breakthrough, Ole Ahlberg was best known as (80er) surrealist, and as part of the art association "Pas Partout" he already made strong works at the time - and they were hard to get hold of. Today you have to think and act quickly if you want to own one of the new original works.
  • The Lake - Ole Ahlberg
    Width: 56 cm / Height: 66 cm
    EUR 885,00
    In stock
    Litography in 23 colors from CLOT, BRAMSEN & GEORGES, today the oldest printing workshop in Paris, founded by Auguste Clot back in late 18th century, where he was known as the capitals finest art printer.
    Not only due to his skills, but not at least, the new way he mixed the various colors in the printing process attracted the young “Nabis” who in Auguste Clot found a true and highly professional inspirator. As the predecessors, the Impressionists, Vollard also ordered prints by the young “Nabis” to be a part of his famous graphic albums.

    From 1896 the most beautiful works were printed at Clots presses, signed by Degas, Cézanne, Renoir, Sisley, Redon, Bonnard, Vuillard, Signac, Munch, Rodin and many others.

    In 1934 André Clot, the son of the founder Auguste Clot succeeded his father as daily leader. In this period, Rouault, Matisse, Denis, Roussel, Guillaumin, Foujita and others had their time in the workshop

    In 1963 the Danish lithograph Peter Bramsen enters the workshop as associates.

    In 1965 together with the founder’s grandson Dr. Guy Georges they found EDITIONS ATELIER CLOT - publishing prints.

    In 1968 the workshop moves to larger premises situated in Rue Vielle du Temple in the center of the Marais district. Again the old printing workshop succeeded to attract artists creating masterpieces on the old stone press. Just to mention Asger Jorn, Pierre Alechinsky, Antonio Saura, Bram Van Velde, Maurice Wyckaert, Pol Bury, Roland Topor, Tabuschi , Jan Voss, Antonio Segui, and many other well know international artists.

    In 1988 Christian Bramsen enters the company as associate, and a guarantee for the high professional standard will maintain as it was founded for over 100 years ago. Christian Bramsen is international oriented, and among others, he arranges retrospective exhibitions all over the world, mostly focusing on a specific artist and his works created at the workshop.

    From 2004 Morten Brunholt takes over the established sales representation in Scandinavia, and as from 2013 now also a part of the Scandinavian publishing activities.

    Technically, Ahlberg is in full control, he paints narrowly and precisely to the smallest detail; Nevertheless, Tintin appears perfectly cartoonish and sincere awkward in the adult universe. Ahlberg simply melts two completely different values ​​together without overconstructing it.

    If the toys Ole Ahlberg often places in his pictures are a solid symbol of innocence, then it’s a different matter when it comes to the figure of Tintin, who has become a kind of trademark for the artist. For Tintin is a completely fictitious person. Plus he’s a very special type, one where you don’t find even an inkling of a love life in any of the comics. With the exception of the opera-singing, bosomy Milanese nightingale, Bianca Castafiore, women are by and large missing from Tintin’s universe. Even the heavily drinking and constantly cursing Captain Haddock shies terrifyingly away from Castafiore’s advances, which are more a publicity stunt than a real declaration of love. Ole Ahlberg places this quite unusually virtuous comic strip figure in situations where he is confronted with very corporeal and scantily clad earthy women. With great wonder, or should we say shock, Tintin stares at the forbidden fruit. His facial expressions, often taken from episodes in actual comics, reveal that all this eroticism is completely alien to him. As though it came from another planet. Ole Ahlberg, leaving no room for doubt, emphasizes that Tintin is a fictitious person by depicting him using Herges’ sharp, black contours in contrast to the rest of the paintings clair obscure.

    Before the popular breakthrough, Ole Ahlberg was best known as (80er) surrealist, and as part of the art association "Pas Partout" he already made strong works at the time - and they were hard to get hold of. Today you have to think and act quickly if you want to own one of the new original works.
  • Untitled - Peter Skovgaard - Lithography
    Width: 38 cm / Height: 56 cm
    EUR 294,00
    In stock
  • Untitled I
    Width: 29.5 cm / Height: 20.9 cm
    EUR 135,00
    In stock
  • Untitled - Peter Skovgaard
    Width: 56 cm / Height: 76 cm
    EUR 399,00
    In stock
    Litography
  • Untitled II
    Width: 20.9 cm / Height: 29.5 cm
    EUR 135,00
    In stock
  • Untitled - Peter Skovgaard - Lithography
    Width: 56 cm / Height: 76 cm
    EUR 399,00
    In stock
  • Untitled III
    Width: 21 cm / Height: 14.7 cm
    EUR 108,00
    In stock
  • Untitled - Peter Skovgaard - Lithography
    Width: 56 cm / Height: 76 cm
    EUR 399,00
    In stock
  • Untitled IV
    Width: 21 cm / Height: 14.7 cm
    EUR 108,00
    In stock
  • Untitled - Peter Skovgaard - Lithography
    Width: 38 cm / Height: 56 cm
    EUR 294,00
    In stock
  • Untitled V - John Kenn
    Width: 14.7 cm / Height: 21 cm
    EUR 108,00
    In stock
  • Untitled - Peter Skovgaard - Lithography
    Width: 38 cm / Height: 56 cm
    EUR 294,00
    In stock
  • Untitled VI - John Kenn
    Width: 14.7 cm / Height: 21 cm
    EUR 108,00
    In stock
  • Untitled - Peter Skovgaard - Lithography
    Width: 38 cm / Height: 56 cm
    EUR 294,00
    In stock
  • Untitled - Peter Skovgaard - Lithography
    Width: 56 cm / Height: 76 cm
    EUR 399,00
    In stock
  • Wetland - Ole Ahlberg
    Width: 60 cm (paper size) / Height: 76 cm (paper size)
    EUR 1.075,00
    In stock
    Litography from CLOT, BRAMSEN & GEORGES, today the oldest printing workshop in Paris, was founded by Auguste Clot back in late 18th century, where he was known as the capitals finest art printer.
    Not only due to his skills, but not at least, the new way he mixed the various colors in the printing process attracted the young “Nabis” who in Auguste Clot found a true and highly professional inspirator. As the predecessors, the Impressionists, Vollard also ordered prints by the young “Nabis” to be a part of his famous graphic albums.

    From 1896 the most beautiful works were printed at Clots presses, signed by Degas, Cézanne, Renoir, Sisley, Redon, Bonnard, Vuillard, Signac, Munch, Rodin and many others.

    In 1934 André Clot, the son of the founder Auguste Clot succeeded his father as daily leader. In this period, Rouault, Matisse, Denis, Roussel, Guillaumin, Foujita and others had their time in the workshop

    In 1963 the Danish lithograph Peter Bramsen enters the workshop as associates.

    In 1965 together with the founder’s grandson Dr. Guy Georges they found EDITIONS ATELIER CLOT - publishing prints.

    In 1968 the workshop moves to larger premises situated in Rue Vielle du Temple in the center of the Marais district. Again the old printing workshop succeeded to attract artists creating masterpieces on the old stone press. Just to mention Asger Jorn, Pierre Alechinsky, Antonio Saura, Bram Van Velde, Maurice Wyckaert, Pol Bury, Roland Topor, Tabuschi , Jan Voss, Antonio Segui, and many other well know international artists.

    In 1988 Christian Bramsen enters the company as associate, and a guarantee for the high professional standard will maintain as it was founded for over 100 years ago. Christian Bramsen is international oriented, and among others, he arranges retrospective exhibitions all over the world, mostly focusing on a specific artist and his works created at the workshop.

    From 2004 Morten Brunholt takes over the established sales representation in Scandinavia, and as from 2013 now also a part of the Scandinavian publishing activities.

    Technically, Ahlberg is in full control, he paints narrowly and precisely to the smallest detail; Nevertheless, Tintin appears perfectly cartoonish and sincere awkward in the adult universe. Ahlberg simply melts two completely different values ​​together without overconstructing it.

    If the toys Ole Ahlberg often places in his pictures are a solid symbol of innocence, then it’s a different matter when it comes to the figure of Tintin, who has become a kind of trademark for the artist. For Tintin is a completely fictitious person. Plus he’s a very special type, one where you don’t find even an inkling of a love life in any of the comics. With the exception of the opera-singing, bosomy Milanese nightingale, Bianca Castafiore, women are by and large missing from Tintin’s universe. Even the heavily drinking and constantly cursing Captain Haddock shies terrifyingly away from Castafiore’s advances, which are more a publicity stunt than a real declaration of love. Ole Ahlberg places this quite unusually virtuous comic strip figure in situations where he is confronted with very corporeal and scantily clad earthy women. With great wonder, or should we say shock, Tintin stares at the forbidden fruit. His facial expressions, often taken from episodes in actual comics, reveal that all this eroticism is completely alien to him. As though it came from another planet. Ole Ahlberg, leaving no room for doubt, emphasizes that Tintin is a fictitious person by depicting him using Herges’ sharp, black contours in contrast to the rest of the paintings clair obscure.

    Before the popular breakthrough, Ole Ahlberg was best known as (80er) surrealist, and as part of the art association "Pas Partout" he already made strong works at the time - and they were hard to get hold of. Today you have to think and act quickly if you want to own one of the new original works.
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The word ‘lithograph’ means stone print. This is a flat printing technique where the artist draws the desired motive with a greasy ink, called tusche, or crayon on a special limestone (Solnhofen Limestone). The artist draws directly on the smooth, flat limestone – hence the name flat printing because the image is drawn directly on to the surface rather than cut into the surface as with, for example, lino cut (relief printing). It is important to be completely focused when drawing, since the lines cannot be erased or redone once the final drawing on the stone surface is complete. When the artist has completed the drawing, the stone is processed using a complex range of chemicals before the ink is applied and the printing can begin.

The printing is done using a special lithography press. The lithography technique was invented in Germany towards the end of the 18th century. The lithography technique is based on the fact that oil and water doesn’t mix, and this is exactly what was discovered in Germany in the 18th century: That this particular type of limestone has the qualities needed to absorb and retain both watery and greasy ink. Limestone is the most essential tool in a lithography workshop and a seasoned printer has a special relationship with his stone. The relationship between grease and water is used to define areas of the stone where it can absorb (greasy) printing ink and areas where it repels the ink because it is saturated with water. During the actual printing process, the stone surface is kept wet using a fine layer of water, so the printing ink only sticks to the surface where the artist has drawn. Lithographs can be made as both mono and multi-colour prints.

Colour prints use one stone per colour, which means that the stone needs to be completely cleaned before the artist can transfer their motive again, and then print another colour. This means, if there are 10 colours in a lithograph the stone has been cleaned, the motive redrawn, and the colour applied 10 times. This makes lithography a slow and difficult printing process, which requires the artist to work with professional lithographers. These specialist artisans know how to mix the colours, how much grease to add to the ink, and how thick the layer of ink should be before printing. Often several lithographers work together by the stone, printing, cleaning and applying the ink. This kind of teamwork can only be successful if the artist works with highly skilled specialists.

As with all types of artistic printing, every edition is numbered and signed. This means that if you buy a lithograph with the number 3/20 written on it you are buying the 3rd of a total of 20 prints. When the printing is completed for the number of impressions the artists wishes to print the motive on the stone is destroyed, so that no more copies of this print can be created ever again. Therefore, a lithograph is a “true” work of art, which is only available in very limited editions. Some experts can even detect whether a lithograph is printed at the beginning or towards the end of the process. The price of a lithograph is, therefore, significantly higher than for things like posters, and the price vary depending on the name of the artist, the size of the artwork and, not least, the number of editions. The price of the individual print will be lower for a high number of editions. A lithograph should always be framed using high-quality glass to protect against bleaching and other damage.