Car Prints and Multiples

Liquor Store Reflection by C.J. (Ching-Jang) Yao, Taiwanese (1941–2001) Date: 1981 Screenprint, Signed and numbered in pencil Edition of 250 Size: 22 in. x 30 in. (55.88 cm x 76.2 cm)

Silkscreen Print – A printing technique whereby the artist paints glue or stencils their work onto a mesh stretched over a wooden frame. Colour is then pushed through the mesh (whic...

This striking vintage lithographic reproduction captures the glamour and thrill of the legendary 1950 Monaco Grand Prix, a race steeped in over a century of history. Originally desig...

The exhilarating feeling of speed is felt in this thrilling design for Renault cars by Pierre de Bas. It is one of the rarer car posters created during this ...

Printmaking on Paper

Delahaye is a 1989 poster by Pierre Fix-Masseau. The artwork features the classic 1937 Delahaye model 135 M amidst the backdrop of the famous Casino de Monte-Carlo. This poster comme...

Regent Street By Michael Wallner [2020] limited_edition Brushed aluminium Edition number 25 Image size: H:68 cm x W:91 cm Complete Size of Unframed Work...

"L'arc de Triomphe, Wrapped" (Project for Paris) is a 2019 limited-edition (Edition 500) offset-lithograph by Christo (signed in the plate). The work comes beautifully framed in a wh...

John Stobart "The Statue of Liberty in a Panorama of New York City in 1886" Color Lithograph approx 32 x 43 inches framed Signed in Pencil and Numbered 914/950 A marine painter of ...

Roth, Ernest (American, 1879-1964). FROM PIER 4 - EAST RIVER. Etching, not dated. Edition size not stated. Signed in Pencil, and titled in pencil at the lower edge, and Signed, dated...

The 1935 original advertising poster for Dunlop introduces "Le pneu agraire," a tire designed to enhance agricultural operations and productivity. Crafted by J. Herbert & Cie in Leva...

The 1935 original advertising poster for Dunlop introduces audiences to the innovative Tire Trakgrip, a groundbreaking tire designed to meet the diverse needs of drivers. Printed by ...

Robert Rauschenberg Lily Scent, 1981 Lithograph 32 x 24 inches SPIII Signed

Poster. Measures 10 x 16 inches and is Unframed. Good Condition.

Otto Kuhler (1894-1976) original etching, 1923. Title: “Mississippi Evening” Signed in pencil lower right. Title in pencil lower center. Dated lower left, 1923. Image measures 7 7/8...

Raymond Pettibon Black Flag flyer 1984: A rare flyer for gig by Black Flag, September 27, 1984 at the Indian Center, Salt Lake City, UT with off-set artwork by Pettibon Flea, the R...

Rare#163/264 edition direct from Zedsy. 21 x 26 Inches (53 x 66 cm) Screen print on 100% cotton 330gsm archival fine art paper. Print edition of Zedsy's 'Needle in a Haystack' Mon...

"The Celebrated Clipper Ship Dreadnought" is an original hand-colored lithograph by Currier & Ives. It depicts a sailing ship. 13 1/4" x 17 1/2" art 19" x 23 1/2" frame Nathaniel Currier was a tall introspective man with a melancholy nature. He could captivate people with his piercing stare or charm them with his sparkling blue eyes. Nathaniel was born in Roxbury, Massachusetts on March 27th, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble yet spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel’s father unexpectedly passed away leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a life-long career when he apprenticed in the Boston lithography shop of William and John Pendleton. A Bavarian gentleman named Alois Senefelder invented lithography just 30 years prior to young Nat Currier’s apprenticeship. While under the employ of the brothers Pendleton, Nat was taught the art of lithography by the firm’s chief printer, a French national named Dubois, who brought the lithography trade to America. Lithography involves grinding a piece of limestone flat and smooth then drawing in mirror image on the stone with a special grease pencil. After the image is completed, the stone is etched with a solution of aqua fortis leaving the greased areas in slight relief. Water is then used to wet the stone and greased-ink is rolled onto the raised areas. Since grease and water do not mix, the greased-ink is repelled by the moisture on the stone and clings to the original grease pencil lines. The stone is then placed in a press and used as a printing block to impart black on white images to paper. In 1833, now twenty-years old and an accomplished lithographer, Nat Currier left Boston and moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. With the promise of good money, Currier hired on to help Brown prepare lithographic stones of scientific images for the American Journal of Sciences and Arts. When Nat completed the contract work in 1834, he traveled to New York City to work once again for his mentor John Pendleton, who was now operating his own shop located at 137 Broadway. Soon after the reunion, Pendleton expressed an interest in returning to Boston and offered to sell his print shop to Currier. Young Nat did not have the financial resources to buy the shop, but being the resourceful type he found another local printer by the name of Stodart. Together they bought Pendleton’s business. The firm ‘Currier & Stodart’ specialized in "job" printing. They produced many different types of printed items, most notably music manuscripts for local publishers. By 1835, Stodart was frustrated that the business was not making enough money and he ended the partnership, taking his investment with him. With little more than some lithographic stones, and a talent for his trade, twenty-two year old Nat Currier set up shop in a temporary office at 1 Wall Street in New York City. He named his new enterprise ‘N. Currier, Lithographer’ Nathaniel continued as a job printer and duplicated everything from music sheets to architectural plans. He experimented with portraits, disaster scenes and memorial prints, and any thing that he could sell to the public from tables in front of his shop. During 1835 he produced a disaster print Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives. The public had a thirst for newsworthy events, and newspapers of the day did not include pictures. By producing this print, Nat gave the public a new way to “see” the news. The print sold reasonably well, an important fact that was not lost on Currier. Nat met and married Eliza Farnsworth in 1840. He also produced a print that same year titled Awful Conflagration of the Steamboat Lexington in Long Island Sound on Monday Evening, January 18, 1840, by which melancholy occurrence over One Hundred Persons Perished. This print sold out very quickly, and Currier was approached by an enterprising publication who contracted him to print a single sheet addition of their paper, the New York Sun. This single page paper is presumed to be the first illustrated newspaper ever published. The success of the Lexington print launched his career nationally and put him in a position to finally lift his family up. In 1841, Nat and Eliza had their first child, a son they named Edward West Currier. That same year Nat hired his twenty-one year old brother Charles and taught him the lithography trade, he also hired his artistically inclined brother Lorenzo to travel out west and make sketches of the new frontier as material for future prints. Charles worked for the firm on and off over the years, and invented a new type of lithographic crayon which he patented and named the Crayola. Lorenzo continued selling sketches to Nat for the next few years. In 1843, Nat and Eliza had a daughter, Eliza West Currier, but tragedy struck in early 1847 when their young daughter died from a prolonged illness. Nat and Eliza were grief stricken, and Eliza, driven by despair, gave up on life and passed away just four months after her daughter’s death. The subject of Nat Currier’s artwork changed following the death of his wife and daughter, and he produced many memorial prints and sentimental prints during the late 1840s. The memorial prints generally depicted grief stricken families posed by gravestones (the stones were left blank so the purchasers could fill in the names of the dearly departed). The sentimental prints usually depicted idealized portraits of women and children, titled with popular Christian names of the day. Late in 1847, Nat Currier married Lura Ormsbee, a friend of the family. Lura was a self-sufficient woman, and she immediately set out to help Nat raise six-year-old Edward and get their house in order. In 1849, Lura delivered a son, Walter Black Currier, but fate dealt them a blow when young Walter died one year later. While Nat and Lura were grieving the loss of their new son, word came from San Francisco that Nat’s brother Lorenzo had also passed away from a brief illness. Nat sank deeper into his natural quiet melancholy. Friends stopped by to console the couple, and Lura began to set an extra place at their table for these unexpected guests. She continued this tradition throughout their lives. In 1852, Charles introduced a friend, James Merritt Ives, to Nat and suggested he hire him as a bookkeeper. Jim Ives was a native New Yorker born in 1824 and raised on the grounds of Bellevue Hospital where his father was employed as superintendent. Jim was a self-trained artist and professional bookkeeper. He was also a plump and jovial man, presenting the exact opposite image of his new boss. Jim Ives met Charles Currier through Caroline Clark, the object of Jim’s affection. Caroline’s sister Elizabeth was married to Charles, and Caroline was a close friend of the Currier family. Jim eventually proposed marriage to Caroline and solicited an introduction to Nat Currier, through Charles, in hopes of securing a more stable income to support his future wife. Ives quickly set out to improve and modernize his new employer’s bookkeeping methods. He reorganized the firm’s sizable inventory, and used his artistic skills to streamline the firm’s production methods. By 1857, Nathaniel had become so dependent on Jims’ skills and initiative that he offered him a full partnership in the firm and appointed him general manager. The two men chose the name ‘Currier & Ives’ for the new partnership, and became close friends. Currier & Ives produced their prints in a building at 33 Spruce Street where they occupied the third, fourth and fifth floors. The third floor was devoted to the hand operated printing presses that were built by Nat's cousin, Cyrus Currier, at his shop Cyrus Currier & Sons in Newark, NJ. The fourth floor found the artists, lithographers and the stone grinders at work. The fifth floor housed the coloring department, and was one of the earliest production lines in the country. The colorists were generally immigrant girls, mostly German, who came to America with some formal artistic training. Each colorist was responsible for adding a single color to a print. As a colorist finished applying their color, the print was passed down the line to the next colorist to add their color. The colorists worked from a master print displayed above their table, which showed where the proper colors were to be placed. At the end of the table was a touch up artist who checked the prints for quality, touching-in areas that may have been missed as it passed down the line. During the Civil War, demand for prints became so great that coloring stencils were developed to speed up production. Although most Currier & Ives prints were colored in house, some were sent out to contract artists. The rate Currier & Ives paid these artists for coloring work was one dollar per one hundred small folios (a penny a print) and one dollar per one dozen large folios. Currier & Ives also offered uncolored prints to dealers, with instructions (included on the price list) on how to 'prepare the prints for coloring.' In addition, schools could order uncolored prints from the firm’s catalogue to use in their painting classes. Nathaniel Currier and James Merritt Ives attracted a wide circle of friends during their years in business. Some of their more famous acquaintances included Horace Greeley, Phineas T. Barnum, and the outspoken abolitionists Rev. Henry Ward, and John Greenleaf Whittier (the latter being a cousin of Mr. Currier). Nat Currier and Jim Ives described their business as "Publishers of Cheap and Popular Pictures" and produced many categories of prints. These included Disaster Scenes, Sentimental Images, Sports, Humor, Hunting Scenes, Politics, Religion, City and Rural Scenes, Trains, Ships, Fire Fighters, Famous Race Horses, Historical Portraits, and just about any other topic that satisfied the general public's taste. In all, the firm produced in excess of 7500 different titles, totaling over one million prints produced from 1835 to 1907. Nat Currier retired in 1880, and signed over his share of the firm to his son Edward. Nat died eight years later at his summer home 'Lion’s Gate' in Amesbury, Massachusetts. Jim Ives remained active in the firm until his death in 1895, when his share of the firm passed to his eldest son, Chauncey. In 1902, faced will failing health from the ravages of Tuberculosis, Edward Currier sold his share of the firm to Chauncey Ives...

Etching on laid paper Signed in plate lower left: Longueville Published by Cadart & Luquet, Éditeurs, 79 Rue Richelieu, Paris With the blindstamp of the Société des Aquafortistes...

Paper Size: 12 x 24 inches ( 30.48 x 60.96 cm ) Image Size: 7.75 x 20.25 inches ( 19.685 x 51.435 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additio...

"Le Chevet de Notre-Dame en hiver". In good condition. Some minor scratches on the frame. Measures 35x29

Maximino Javier (Mexico, 1948) 'Bajada de emergencia (serie Tamayo Total)', 2023 silkscreen on paper Canson 320 g. 20.3 x 28.2 in. (51.5 x 71.5 cm.) Edition of 100 Unframed ID: JAV-1...

Peter Fischli / David Weiss Untitled (Airport Paris) 2008 Offset lithograph on three sheets Each sheet: 51 1/4 x 32 5/8 inches; 130 x 83 cm Edition of 100 Signed and numbered in ink ...

Lithographic reproduction of the Skiff Acajou 1923 original model by French artist Dumont. Recreated on the presses of Arte in Paris and published by Maeght Editeur. "Skiff" typical...

Original exhibition poster for "Out of the Ordinary: Venturi, Scott Brown and Associates" a show focusing on the architecture of Robert Venturi, Denise Scott Brownand Associates, hel...

This limited edition print, titled Pioneer Pontiac, was created by the acclaimed artist John Salt in 1977. Published by OK Harris, this piece is part of a limited edition of 350 prin...

The 1988 original poster by Andy Warhol, created for the "Cars" series and prominently featuring the Mercedes-Benz Typ C 111 Versuchswagen, is a compelling piece that highlights the ...

Original 1993 Louis Vuitton Poster by Razzia – Hand Signed in Graphite, Linen Backed – Rare Collector’s Art Print. The later printing has differen...

The art book is 30x30cm，contains most of the works and some sketches from November 2020 to early November 2021. The total number of pages is 200, and the books are hardcover. 157g ar...

This stunningly colorful lithograph was created by Victor Spahn, a French painter of Russian origin. Known as the "painter of movement", his technique gives the impression of speed a...

Dan GANDRE (1936-) FRENCH CASTLE : Chambord Castle, 1982 Original Lithograph Handsigned in pencil Numbered / 250 (the number you can see can be different) On Vellum 56 x 76 cm (c. ...

Artist: Ralph Fasanella, American (1914 - 1997) Title: Empire State Year: 1974 Medium: Screenprint on Arches Paper, signed and numbered in pencil Edition: 300 Image: 40 x 24 inches S...

'Nihon Noir arose from my fascination with Japan and my desire to translate the feeling that struck me on my first visit, that somehow you have been transported to a parallel future ...

Hiro Yamagata Marriage" Serigraph Signed And Numbered. In good condition measures 36x32

A delicate composition of an industrial Hudson River town, seen from lower Manhattan; a view of what is now Liberty State Park. New York: 1884. Etching with aquatint on cream laid p...

Title: Umbrella Man at Sea Year: 2000 Medium: Offset lithograph in colors on gloss archival paper Size: 24 x 36 inches Inscription: Hand signed by Peter Max in ink and unnumbered, as...

Werner Bronkhorst is a contemporary artist based in Australia. He is recognised for his two distinctive styles, with the first involving abstract sculptural backgrounds with hyper-re...

Screen printed poster designed by Stanley Mouse, depicting a classic car under a text bubble in a psychedelic font. The text gives the details of the ev...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: This image comes from the series "Fast Food Fast Cars: The Pursuit of Happiness" in which Carden photographs one icon of American childhood- a Hot Wheels...

Etching on chine collé mounted to white wove paper, 3 11/16 x 5 (92 x 125 mm), full margins. In good condition with minor mat tone. Printed by Delâtre, Paris. [Guiffrey 34]

Presented Is A Beautiful Richard Scudder Original “1950’s Derelict Truck.” :: Digital :: Americana :: This piece comes with an official certificate of authenticity signed by th...

Joan Didion in front of her Daytona Yellow Stingray Corvette, 1968, Time magazine TIME commissioned this portrait of author Joan Didion photographed...

This artwork titled "Yelding the Right of Way" c.1975 is a color offset lithograph by renown western artist Arnold Friberg, 1913-2010. It is hand signed...

Original 1964 Bernard Villemot Poster — SNCF “I Entrust My Car and My Sleep to …” — Linen Backed Vintage Travel Advertising Art. Fine condition, Grade A. Excellent colors and rea...

Original Le “Rouen” vintage French travel by ship poster. Linen-backed stone lithograph in B condition but ready to frame. The Rouen going out of the Dieppe Harbour, Dieppe - Newhaven Line, 6 moderns boats". This France - England line was joined with the "Chemins de Fer de l'Etat and the Southern Railway from Paris to London". A French original poster printed in stone-lithography. Printed for both the British Southern Railway...

Werner Bronkhorst is a contemporary artist based in Australia. He is recognised for his two distinctive styles, with the first involving abstract sculptural backgrounds with hyper-re...

Albert Brenet (1903-2005) stands as a distinguished figure known for his mastery of capturing the grandeur and strength of the sea. His 1971 original poster for the "Marine Nationale Française - Guepratte et Porte-Avion" is a splendid creation, showcasing his deep appreciation for France's naval prowess and the powerful synergy between art and the sea. Albert Brenet's illustrious career was marked by his extraordinary ability to bring the maritime world to life on canvas and in posters. As a naval painter, he was celebrated for his meticulous attention to detail and his reverence for the maritime experience. Brenet's art was not merely a portrayal; it was a vivid immersion into the world of the sea. The 1971 poster...

"T-SILII-AA-LIS" Raven Finned Killer Whale Serigraph, 34/99 In reference to the image, Davidson says: "Usually the Raven forms the fin, it's my own var...

The original 1946 Soviet propaganda poster titled "Vive la Marine Soviétique!" is a powerful visual representation of the Soviet Union's maritime strength and national pride. Created...

Original etching by Michel Delacroix hand signed and numbered out of 3 Printer's Proof. Delacroix is known for his lithographs and etchings, which further showcase his talent for capturing the essence of Parisian life. His work has been collected by art enthusiasts and collectors worldwide, cementing his reputation as one of the most beloved contemporary artists inspired by the French capital...

Dalton Bank, vintage interior photograph from Richard Heeps' series, Ordinary Places. The square scene in the artwork is of a home in a state of renovation, the distinctive open blac...

Medium: original etching. This impression on Canson et Montgolfier wove paper was printed in 1937 in an edition of 500 for the "Paris 1937" portfolio. Printed at the atelier of Jean-...

Louise Marler Cemetery (from "Oil is History" Collection)(Classic Car, Graveyard, Vintage) Archival Giclee Print 2007 Edition: 10 Image Size: 14.25 x 11.75 inches (36.19 x 29.84 cm) ...

Lithographic reproduction of the Gladiator 1904 original model by French artist Dumont. Recreated on the presses of Arte in Paris and published by Maeght Editeur. Paper Size: 11.25...

This interactive poster by acclaimed illustrator James McMullan invites viewers to engage by visually matching images in the margin with corresponding train cars. McMullan’s detailed...

This original advertising poster from the 1970s pays tribute to the legendary Volkswagen Combi, a vehicle that became synonymous with freedom, travel, and the countercultural movemen...

Published by The Metropolitan Museum of Art, this first edition poster commemorates the 1995 exhibition featuring Alfred Sisley's Boats on the Seine from the Courtauld Collection. A ...

A majestic poster made around the 1950s by Albert Brenet 🇫🇷 (1903-2005), a famous French painter, poster artist, sculptor and illustrator. He was notably appointed official painte...

Shan Fannin's (US based) "1965 Alfa Romeo Giulia TZ2 - Limited Edition Giclee Print" is an limited edition giclée print that depicts a close up view of the front of a red Alfa Romeo Giulia. This print ships in a tube. About the artist: Born 1969 in California, artist Shannon “Shan” Fannin brings vehicles to life with a combination of photorealism and abstraction. Painting in a unique style using acrylics, hands, and brushes allows her to focus on the vehicle while giving a hint of the abstract surroundings. Fannin travels internationally to photograph vehicles and talk with their owners to enhance her creative process. Fannin’s paintings have been shown in 2 solo exhibitions and national galleries throughout the United States. She has been published in Greek, British, and American publications including PoetsArtists, American Art Collector, and Where Women Create. Fannin artworks are currently represented through 33 Contemporary, The Good Art...

ABOUT THIS PIECE: 19.6x23.5, edition of 50 — FACEMOUNTED TO PLEXI This piece is available face mounted to plexi glass giving a modern, durable, and sleek finish. Every print is fully authenticated with a signed and numbered Certificate of Authenticity. This image comes from the series "Fast Food Fast Cars: The Pursuit of Happiness" in which Carden phot...