Car Prints and Multiples

This view of the Brooklyn and Manhattan Bridges is looking down "Plymouth Street" to the intersection of Jay Street. It is #35 in the catalogue raisonne by Retif & Salzer and is in the permanent collection of the Museum of City of New York...

Draham Harbour is an artwork realized by William Ridley in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of the publish...

The original vintage poster celebrating Mercedes-Benz’s double victory at the 24 Hours of Le Mans is a dynamic tribute to one of the brand’s most iconic moments in motorsport history. Featuring the legendary Mercedes-Benz Typ 300 SL, the poster highlights the triumph of Lang-Riess in first place and Helfrich-Niedermayr in second, marking a dominant performance at the world’s most famous endurance race. Rendered in a striking black-and-white illustration, the artwork captures the speed, intensity, and drama of the race. The perspective places the viewer directly behind the Mercedes-Benz 300 SL as it speeds down the track, its sleek, aerodynamic design cutting through the night. A race official is seen holding a lap board, reinforcing the sense of movement and competition. The hand-drawn style conveys the raw energy of endurance racing, where precision engineering and human determination combine for victory. The typography emphasizes the "double victoire" in bold blue, underscoring the unprecedented achievement. The mention of a new distance record of 3,733.780 km in 24 hours further highlights the engineering excellence of the 300 SL, a car that would go on to become one of the most celebrated sports cars in history. This poster is a rare and valuable collectible, not only for motorsport and automotive enthusiasts but also for lovers of mid-century racing memorabilia...

Herve Telemaque (France, 1937-2022) 'La pêche miraculeuse', 2005 silkscreen on canvas 39.4 x 31.9 in. (100 x 81 cm.) Edition of 99 Unframed ID: TEL1361-013-106

This vintage maritime poster, created by the legendary Roger Chapelet, pays tribute to the Lyautey, a distinguished passenger liner of the Compagnie de Navigation Paquet. Active in t...

Parisian Café Eiffel Tower Paris France Limited Edition Print by British Artist. A high quality limited edition print of Angela's European Series, incorporating the Eiffel Tower - on...

This hand-signed offset lithograph by Davis Cone, titled Wink, represents the historic Wink Theater in Dalton, Georgia. The Wink Theater, built by J.C.W. Wink in 1941, stands as one ...

An overflow of traffic in front of St. Bartholomew's Episcopal Cathedral on Park Avenue between 50th and 51st

9-1-1 (Porsche) by Frank Schott 48 x 66 inches / 122cm x 168cm signed edition of 7 29 x 40 inches / 74cm x 102cm signed edition of 25 archival quality fine art pigment print limit...

Bruce Conner, who passed away in 2008, was born in McPherson, Kansas in 1933. In the late 50s, he moved to San Francisco where he became a pivotal figure in the Beat scene of poets,...

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...

"L'Arc de Triomphe, Wrapped Project for Paris I" is one of the last projects realized by Christo before his passing. This limited edition piece is a testament to Christo's enduring v...

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...

Shan Fannin's (US based) "1930 Indian Scout 101" is an limited edition giclée print that depicts a close view of a red Indian motorcycle gas tank w...

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]

North Dock is a black and White etching realized by Mathew White Ridley in the 1860s.  Titled in the lower. Image size: 12x21. Very good impression with wide margins and a very fr...

Paper Size: 24 x 36 inches ( 60.96 x 91.44 cm ) Image Size: 23 x 35 inches ( 58.42 x 88.9 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Deta...

Original Messageries Maritimes linen-backed vintage travel poster by ship. Below it reads: "Levant; Ocean Indian; Extreme—Orient; Oceanie—Australie; Afrique du Sud." Excellent condi...

We acquired a series of marine works from Laurence Dunn's Archives. To find more scroll down to "More from this Seller" and below it click on "See all from this seller." Laurence D...

Artworks sold in perfect condition : Set # 1 composed of 5 Gallery Print 30x40 cm This is an exceptional offer that we are presenting today. For almost four years, here on 1stdibs, a...

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-...

'Manhattan Bridge', etching, c. 1920, proofs only. Signed in ink in the image, lower right. A fine, rich impression, in warm black ink, on cream wove ...

Adriaan Lubbers, 'Times Square', lithograph, 1929, edition 50. Signed, dated, titled, and editioned '(50)' in pencil. A fine impression, on cream wove paper, with full margins (2 1/2...

The 1972 original poster by Albert Brenet for the Musée français du chemin de fer in Mulhouse is a captivating work that captures the essence of France's rich railway heritage. Created by the renowned French painter and illustrator, the poster reflects Brenet’s talent for depicting scenes of transportation and industry with a sense of grandeur and nostalgia. This piece was part of a promotional campaign to attract visitors to the museum, which is dedicated to preserving and showcasing the history of French railways. Albert Brenet was a distinguished artist known for his dynamic illustrations, particularly in the fields of maritime and transport subjects. His work is characterized by a meticulous attention to detail and a vibrant, lifelike quality that brings industrial scenes to life. In this 1972 poster, Brenet turns his attention to the world of trains, presenting an evocative scene that highlights both the mechanical beauty of the locomotive and the human connection to it. The poster features a striking depiction of a historic steam locomotive, rendered in rich, vivid colors. The powerful engine, meticulously detailed, stands as a symbol of the technological advancements and the spirit of progress that defined the railway era. The setting, likely a large train shed or museum hall, creates a dramatic backdrop that emphasizes the grandeur of the locomotive. Brenet’s skillful use of light and shadow adds depth and realism, making the engine appear almost tangible. At the heart of the scene are two figures—likely visitors to the museum—gazing up at the locomotive in awe. Their presence adds a human element to the image, emphasizing the role of the Musée français du chemin de fer as a place of education and inspiration. By including these figures, Brenet captures the wonder and curiosity that trains continue to evoke, bridging the gap between past and present. The text on the poster, Musée français du chemin de fer - Mulhouse, is elegantly placed, with a clean, classic typeface that complements the visual composition without detracting from the central image. The simple, yet effective typography reflects the museum’s focus on heritage and the timeless appeal of the railway. The Musée français du chemin de fer, located in Mulhouse, Alsace, is one of the largest railway museums in Europe. Established to preserve the rich history of French rail transport, the museum houses an extensive collection of locomotives, carriages, and railway artifacts. The poster by Brenet was part of an effort to promote the museum to a broader audience, inviting them to explore the fascinating world of trains and their impact on modern society. The 1972 poster is not only a piece of advertising but also an artwork that encapsulates the spirit of the museum. Brenet’s artistic interpretation captures the essence of the museum’s mission: to celebrate the technological and cultural achievements of the railway industry and to share this legacy with future generations. Today, the poster is considered a collector’s item, valued for both its artistic merit and its historical significance. It serves as a reminder of the golden age of rail travel and the enduring fascination with the power and elegance of trains. Albert Brenet’s work continues to be admired for its ability to convey the majesty of industrial subjects, making the Musée français du chemin de fer poster...

Paris Café with Eiffel Tower France Limited Edition Print of Figurative Cityscape Painting by Leading British Urban Landscape Artist, Angela Wakefield. Print measures 16 x 9.5 inch...

"FernLake" Cargo Ship at Sea Chromolithograph on Canvas Original Maiden Voyage of the FernLake Chromolithograph from the painting by Norwegian artist Carl B. Hestman (Norwegian, 19...

Shan Fannin's (US based) "1971 Mercedes AMG 300 SEL (a.k.a. "Red Pig")" is an limited edition giclée print that depicts a 1971 Mercedes AMG 300 SEL. Born 1969...

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-...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you ...

Leith Pier and Harbour is an etching realized in 1845 by William Henry Bartlett. Signed on the plate. Titled on the lower center. Good condi...

It's early morning I'm St. Louis in this 2002 mezzotint that is signed and numbered Art Werger’s lyrical suburban scenes are evocative of boyhood summer evenings while his city imag...

Medium: original etching and drypoint with vernis mou. Published in Paris in 1910 by Gazette des Beaux-Arts. The catalogue reference is Sanchez and Seydoux 1910-5. Plate size: 8 1/4 ...

Paper Size: 22 x 14 inches ( 55.88 x 35.56 cm ) Image Size: 22 x 14 inches ( 55.88 x 35.56 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Det...

Medium: original lithograph. This lithograph was printed in 1956 for the "Improvisations" portfolio, published by the Artists Equity Association of New York on the occasion of the 19...

Bateaux Pecheurs de Fécamp is a black and white etching realized by Pierre-Emile Berthelemy (1818-1890) in 1870s. Titled in the lower. Image size: 28cmx19cm. Very Good condition. ...

Canyon Road, by John Hogan, lithograph, edition, black, white, Santa Fe hand pulled lithograph edition signed and numbered by the artist unframed 30 x 44 paper size John Hogan A gr...

This maritime painting captures a dynamic scene of sailing ships on a vast seascape, with multiple vessels of varying sizes depicted in intricate detail. The composition is balanced ...

Paper Size: 24 x 36 inches ( 60.96 x 91.44 cm ) Image Size: 24 x 36 inches ( 60.96 x 91.44 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Det...

Medium: original etching. This impression on laid paper was printed in London in 1868 for the rare first volume of Philip Gilbert Hamerton's "Etching and Etchers". Plate size: 4 7/8 ...

Medium: original etching. This impression on cream wove paper was printed in 1897 and published in Paris by Gazette des Beaux Arts. Plate size: 5 x 9 inches (125 x 227 mm). Signed in...

Etching hand watercolored realized by Giuseppe Malandrino in 1970s. Edition of VII/XXX. Excellent condition.

The 1955 original poster by Albert Brenet, created for the SNCF (Société Nationale des Chemins de fer Français), celebrates the electrification of the Valenciennes - Thionville railw...

Shan Fannin's (US based) "Semper Paratus (Firetruck-First Responders Tribute)" is an limited edition giclée print that depicts a Semper Paratus. Born 1...

Laura Jordan art works are available to buy online or in our contemporary art gallery in Oxfordshire. We offer Laura Jordan original artworks and limited ed...

Three-dimensional color lithographic construction with moving elements. Hand signed top left by Red Grooms. Hand numbered 24/75 top right. Plexiglass box size: 23.125 x 30.625 x 6...

"The New Steamship Cephalonia, of the Cunard Line" is an original hand-colored lithograph by Currier & Ives. It depicts a large sailing steamship. There is a significant stain in the artwork in the upper center. 12" x 16 3/4" art 21" x 26" 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...

Sublime Art Deco poster designed by Monneret in 1979 to promote the 90th Salon des Indépendants, held from February 8 to March 5, 1979 at the Grand Palais in Paris. The Salon des In...

This rare poster is an early work by Christo from 1968, created as part of his ambitious project to wrap the Museum of Modern Art (MoMA) in New York City. Christo used the proceeds f...

Paper Size: 37.5 x 22.5 inches ( 95.25 x 57.15 cm ) Image Size: 22.25 x 16.25 inches ( 56.515 x 41.275 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Ad...

A fine lithograph print depicting a steamer coming in to dock. This work is part of the Prints for Schools series. The purpose of Prints for Schools was to provide schools and other ...

Medium: lithograph. From the "In Memory of My Feelings" portfolio, printed in 1967 on Mohawk Superfine Smooth paper in a limited edition of 25...

Medium: original etching. This impression on wove paper was printed in 1908 and published in Paris for the Revue de l'art ancien et moderne. Plate size: 5 3/4 x 8 1/2 inches (143 x 2...

Medium: original etching. This impression on Arches laid paper printed in 1880 for Philip Gilbert Hamerton's very scarce "Etching and Etchers". Plate size: 6 1/8 x 9 1/2 inches (152 ...

Tunisian Architecture is an original photolithography realized by Bettino Craxi in the 20th Century. Artist's proof. Hand-Signed. Published in the Portafoglio "Tunisiaca 1995: d'...

Fine Art Print, limited editions.

Medium: Lithograph and stencil on Papeteries de Rives paper Year: 1953 Paper Size: 5.71 x 8.86 inches Inscription: Unsigned and unnumbered, as issued Notes: From the album, Toulouse-...

Paper Size: 24 x 36 inches ( 60.96 x 91.44 cm ) Image Size: 24 x 36 inches ( 60.96 x 91.44 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional Det...

Original XXII Gran Premio de Espana vintage poster; artist Michael Turner, size: 26.5" x 38". Year 1975. Archival linen backed original Spanish racing poster. 17th Gran Prix...