Vehicle Prints and Multiples

Screenprint in colours, 1991, on wove paper, signed, titled and numbered from the edition of 95 in pencil, published by Waddington Graphics and Corianda Studios, 102.5 x 77 cm. (40.4...

Petit Canot de St Valery is a black and white etching realized by Adolphe Hervier (1818 -1879) in 1870s. Titled in the lower. Image size: 16.5x23.5cm. Very Good condition. Realiz...

1983 New York Graphic Society Ltd. Printed in Italy. Measures 22.25 x 30 inches and is unframed. The piece is in Good Condition-minor discoloration/wrinkling consistent with age and ...

John DePol, 'North River Front', chiaroscuro wood engraving, 1953, edition not stated. Signed, dated, and titled in pencil. Signed in the block, lower left...

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...

Around 1960, Michelin, the renowned French tire manufacturer, produced a striking advertising poster for its Pneumatici Velo line. This poster exemplifies the brand’s commitment to c...

Medium: Lithograph on grand vélin d'Arches spécial paper Year: 1961 Paper Size: 14.8 x 22 inches, with centerfold, as issued Inscription: Unsigned and unnumbered, as issued Notes: Fr...

Old Battersea Bridge View, Chelsea, 1879 - Etching on Paper Black and white 1897 etching titled "Old Battersea Bridge View" by Charles John Watson (British, 1846-1947). View at Chelsea from the bank of the Thames, with boats moored in foreground at left, Old Battersea Bridge in background, and Chelsea Old Church beyond. Signed and dated "Charles J Watson...

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"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...

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 ...

Medium: Lithograph on vélin d'Arches paper Year: 1970 Paper Size: 20 x 26 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, André Derain entre ...

Original Sabena vintage travel poster. Archivally linen —backed in very fine condition, A, ready to frame. The image comprises three surfboard-style sections depicting New York to Brussels and to the Heart of Paris via Sabena, Belgian World Airlines. Sabena, short for Société Anonyme Belge d'Exploitation de la Navigation Aérienne, was Belgium's national airline from 1923 until its bankruptcy in 2001. Sabena produced numerous vintage travel posters during its operational years to promote tourism and its flight routes. One notable poster is titled "Fun Brussels, Helicopter to Paris." This poster likely depicts Brussels as a vibrant and exciting destination, highlighting the convenience of traveling from Brussels to Paris via helicopter. Sabena was known for its innovative approach to air travel, and the depiction of a helicopter flight to Paris would have been cutting-edge at the time. One of the surfboard-style images features New York, the next the World’s Fair in Brussels, and, of course, the Eiffel Tower...

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...

The circa 1910 original poster by Ernest Montaut titled En reconnaissance le dirigeable et l'automitrailleuse is a remarkable example of early 20th-century advertising art, showcasin...

Ancient Roman Fresco from the series "Antiquities of Herculaneum", is an etching on paper realized by Giovanni Morghen in the 18th Century. Signed on the plate. Good conditions exc...

Original poster of an absolute rarity was realized by Jean Olivier in 1929, in order to promote the company Air Union and its lines of the Orient. Air Union was a French airline fou...

Lithograph on Magnani-Pescia paper. Paper size cm.17,5x cm.24,5 work size cm. 14,5 x cm. 22 Excellent condition, no defects.

ABOUT THIS PIECE: This series explores the color and composition of our most recognizable form of transportation. A photographer and art director, Thomas Eigel brings an inspired eye...

Etching and drypoint realized by Alcione Gubellini in the mid-20th Century. Edition of 16. Hand signed and numbered in pencil. Excellent condition.

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 ...

To see our other Oxford and Cambridge pictures, including an extensive collection of works by Ackermann, scroll down to "More from this Seller" and below it click on "See all from th...

This is an original giclee print by Scott Jacobs. Signed and numbered In good condition Measures 30x22 Unframed

Etching and drypoint realized by Alcione Gubellini in the mid-20th Century. Edition of 16. Hand signed and numbered in pencil. Excellent condition.

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...

This artwork titled "Western Film" 1976 is an original color lithograph on Arches paper by renown artist Hiro Yamagata (Japanese, b. 1948) It is signed and numbered 39/185 in pencil ...

Watch Us: Together We Can Do It, I 2019 by Chin Chih Yang is a signed limited edition digitally created print on archival paper: 27/75 - edition number, date of creation, and artist'...

Paper Size: 27.5 x 31.5 inches ( 69.85 x 80.01 cm ) Image Size: 23 x 29.25 inches ( 58.42 x 74.295 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additional D...

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

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...

Original poster: Shoot Ships to Germany. At this Shipyard are being built ships to carry to our men "Over There" -- Food, Clothing, and the Munitions of War. Without these ships ou...

In the realm of vintage travel posters, the Circa 1930 original poster of Albert Sébille for the Cie Gle Transatlantique "France" stands as a remarkable testam...

The Motorbike is a contemporary artwork realized by César Baldaccini in 1972. Mixed colored screen print Hand signed and numbered on the lower margin Edition of 262/300 Includes ...

This limited edition print by Daniel Pollera depicts a figure wearing a hat, sitting in a sailboat, sailing out into the open bay. The sailboat creates misty ripples in the water as ...

Jean PICART LE DOUX Lagoon of Venice Original lithograph Signed in pencil Justified EA (artist proof) On vellum Arches 76 x 53 cm (c. 29,9 x 20.9 inch) Very good condition, light m...

Original poster of the airline company Air France, designed by Renluc in 1953 to promote the link between Paris and Buenos Aires Airline - Aviation - Tourism Madrid - Dakar - Recif...

Bacher, Otto (American, 1856-1909. FONDAMENTA DEL TOLENTI.Andrews 28, State 2 of 2. Etching, 1880. Inscribed and signed "From yours truly Otto H. Bacher / Present state of Plate." Nu...

Image dimensions: 40.7 x 53.7 cm. Souvenir of Portugal an original artwork realized by Paul Collomb in the 1970s. Mixed lithograph on paper. Hand-signed by the artist at the lower...

The 1958 original poster by Roger Excoffon for Air France: Paris-Tokyo par le Pôle is a masterful example of mid-20th century graphic design and a celebration of Air France's pioneer...

Lithograph on Magnani-Pescia paper. Paper size cm.17,5x cm.24,5 work size cm. 14,5 x cm. 22 Excellent condition, no defects. Aldo Riso was born in 1927 in Santa Maria di Leuca, in th...

Medium: original etching. Printed in Germany in 1925 for the rare Ganymed "Das funfte Jahrbuch der Marees Gesellschaft", published in Munich by Marees-Gesellschaft, R. Piper & Co. Th...

Original 1962 poster by Roger Chapelet titled "Le Maroc par les paquebots rapides de la compagnie de navigation Paquet" transports viewers to the exotic allure of Morocco via the swi...

Bernard VERCRUYCE (1949-) The Balloon Original lithographi Signed in pencil Numbered / 100 On Rives vellum 58 x 42 cm (c. 23 x 17 in) Excellent condition

The circa 1930 original poster by Leonard Richmond for "Glorious Holidays Abroad: Venice" is an evocative representation of interwar travel, promoting Venice as a dream destination f...

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-...

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-...

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-...

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-...

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-...

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-...

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-...

The circa 1910 original aviation poster by Calmont titled "L'atterrissage au couvent" is a captivating piece that captures the excitement and novelty of aviation during the early 20t...

View of Canal in Venice is an original drawing in watercolor on cardboard realized by an anonymous artist in the mid-20th Century. Good conditions. The artwork represents the color...

Lithograph on vélin d’Arches paper. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: from the folio, Regards sur Paris, 1962. Published by André Sauret, Paris;...

Original Type 59. Grand Prix Bugatti. Linen-backed, horizontal format, fine condition. Small format. This is an original small format type 59. Grand Prix Bugatti sports car print ...

Ancient View of Strasburg is an original modern artwork realized in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin: Strasburg...

The 2002 original poster titled Louis Vuitton Classic - Parc de Bagatelle was created by the renowned French poster artist Razzia. This artwork was commissioned for the prestigious Louis Vuitton Classic, an exclusive annual event that took place at the Parc de Bagatelle in Paris, celebrating classic cars and vintage automobiles. Held from June 28 to 29, 2002, this event attracted automobile enthusiasts, collectors, and connoisseurs from around the world, showcasing a rare and elegant selection of classic cars. Razzia, born Gérard Courbouleix-Dénériaz, is known for his iconic poster art that merges modernity with nostalgia, often drawing on vintage themes. His work is celebrated for its bold lines, vibrant colors, and minimalist compositions, making him one of the most sought-after poster designers of the late 20th and early 21st centuries. For the Louis Vuitton Classic, Razzia perfectly captures the essence of the event—luxury, heritage, and timeless elegance. The poster’s composition is visually striking, featuring a vivid yellow vintage car, a Ford GT40, a symbol of speed and design excellence, set against a stylized background of the American flag, with its distinctive stars and stripes subtly incorporated into the green and yellow landscape. The green tones give the image a contemporary yet refined feel, with the waving flag underscoring the connection between classic American automobiles and the luxury of French high society. The car is viewed from a bird’s-eye perspective, with precise detailing and a dynamic shadow, which gives the image depth and a sense of movement. In the upper portion of the image, a solitary figure dressed in a white hat and suit stands elegantly, casting a long shadow. The figure suggests sophistication and is likely a nod to the car enthusiasts or Louis Vuitton patrons attending the event—well-dressed, distinguished, and exuding style. The character’s placement within the larger composition evokes a sense of calm and contemplation, fitting for an event focused on appreciating the craftsmanship and beauty of classic cars. The minimalism of the figure also contrasts effectively with the bold curves of the automobile below, creating a balanced yet dynamic composition. At the top of the poster, the event’s title, “Louis Vuitton Classic”, is displayed in clean, elegant typography, with the event details, including the location (Parc de Bagatelle) and the dates (28-29 Juin 2002), prominently featured at the bottom. Logos for Mercedes Benz and Zenith Swiss Watchmakers are also included, highlighting the event’s partnerships with other luxury brands, reinforcing the elite and high-status nature of the occasion. The Louis Vuitton Classic event was an important gathering for those passionate about classic cars, and Razzia’s poster perfectly encapsulates its luxurious and exclusive atmosphere. The pairing of a sleek, vintage car with subtle design elements from Louis Vuitton’s world...

This artwork titled "Rotterdam, Maashaven" 1958, is an original color etching with aquatint by noted Dutch artist Hendrikus Elias Roodenburg, 1895-1987. It is hand signed and titled ...