Car Art

Provenance Acquired by the gallery directly from the artist Artist Statement "Freeway Palm is from a road trip I took when I helped my parents move from San Diego to the midwest aft...

LSR Streamliner II, captured in the iconic home of speed, Bonneville Salt Flats. Just as the mountains contrast with the flatness, Richard Heeps captured this racing car at high spee...

Saul Steinberg's "Sphinx" is a whimsical yet thought-provoking etching that brilliantly captures the artist's unique perspective on the world. Created in 1984, this work is an exempl...

"Untitled 2" (En Rouge) Photography Edition 2/7 32" x 24" in by Larsen Sotelo Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin finish Limited Edition of 7 2020...

Hans Figura: 1898-1978. Well listed Austrian artist. Most famous for these beautiful etchings on silk. He has an auction result high for a single etching just over $2400. We have own...

Lech Ice Bar The Ice Bar at the Hotel Krone in Lech, Austria, 1960. The mountain in the background is the Omershorn. Gorgeous print measuring an large 40 x 40" inches / ca 101 x 1...

Charles Fazzino 3d lithograph on paper signed and numbered. In good condition measures 27x19

"Chevrolet Corvette" by Bob D'Olivo UNITED STATES - MAY 01: 1957 Ford Thunderbird - Chevrolet Corvette. These two V8 powered cars represent Detroit's...

"Marquees Venues" by Michael Ochs Archives Marquees Venues (Photo by Michael Ochs Archives). Unframed Paper Size: 12" x 16'' (inches) Printed 2022 Silver Gelatin Fibre Print

Late afternoon, the long shadows on a city street speak to a day left behind. Carole Garland discovers poetry in paint in this urban, gritty, dusky setting that is drifting into night. What mysteries lie ahead? “Five O’Clock Shadow” is part of Garland’s Urban LA series of paintings. Carole Garland has shown in many Southern California venues, most recently at TAG Gallery, Bergamot Station; realART Gallery, Agoura Hills; the Gallery at West Los Angeles College; Rose Café, Venice; the Santa Paula...

Archival pigment print Signed and numbered, verso 18 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 7) 45 x 60 inches (Edition of 3) This photograph is offered by ClampArt...

The artwork presents a vivid scene in a nighttime desert. A classic light blue Cadillac, parked under a neon “Roy’s Motel Café” sign, captures mid-20th-century Americana. The glowing...

Ed. 1/5, unframed print with framing options available. "I was having a picnic somewhere remote in France near a small creek why a family drove up nearby and came right next to us t...

Howard Cushing 1974 (printed later) C print Estate stamped and numbered edition 1 of 150 with Certificate of authenticity Caption: Howard Cushing on a motorcycle outside the Cushin...

Hobo on Bowery Street by Rollercoaster by Michael Ormerod is a 24" x 34" black and white photographic print on Hahnemuhle paper from a limited edition of 10 prints. Featured in the...

Ferrari Team, Pits, Monaco, 1960's Archival pigment print Paper size: 22 x 17 in., Image size: 19 x 12 1/2 in. Signed in black ink on print margin by Jesse Alexander Jesse Alexander...

Artwork # 1 on 5 sold in limited edition in perfect condition This photo was made in 1956, the negative was digitized during the artist's lifetime and the technical parameters (fram...

"Untitled 3" (En Rouge) Photography Edition 2/7 32" x 24" in by Larsen Sotelo Not framed. Ships in a tube. Giclee (Archival Ink) print on 310G Platine Fibre Cotton Rag w/satin fi...

This is one of my studio paintings. I love watercolor because it’s a very challenging medium. I used Daniel Smith Extra Fine Watercolors with world-class acid-free Arches 300gsm wa...

Civic Building – Manaus, Eliza Southwood Limited Edition Silkscreen Print of 20 Silkscreen Print on Paper Size: H 97cm x W 67cm Signed and titled Silkscreen Print – A printing techn...

"Village Of The Loire Valley" captures the timeless beauty and feeling of a French town in the country, and is an excellent example of Bryan Mark Taylor's modern approach to Impressi...

"Red and Crimson Volkswagen" by Shan Fannin is an original acrylic painting depicting a close up view of a red Volkswagen. Born 1969 in California, artist Shannon “Shan” Fannin bri...

"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...

Printmaking on Paper

Rush Hour by Ali Mourabet [2022] original and hand signed by the artist Acrylic on canvas Image size: H:80 cm x W:80 cm Complete Size of Unframed Work: H...

Paper Size: 13 x 17 inches ( 33.02 x 43.18 cm ) Image Size: 13 x 17 inches ( 33.02 x 43.18 cm ) Framed: Yes Frame Size: H: 14 x W: 18 x D: .75 in. Condition: A: Mint Additiona...

At the Port. 1966, oil on cardboard, 56x69,5 cm He learned at State Technique of Riga, architecture department. 1937 –Latvian academy of Art, landscape Studio of V. Purvitis, with d...

Vintage Oil Painting California Sierra Foothills Town by D. Grech c.1997 Original oil on masonite Dimensions 22" wide x 14" high The lightly distressed frame measures 16" wide x 1...

The Italian artist Mario Cortiella (1907-1981), through his pictorial work, aligns himself with the tradition of expressive figurative painting, evoking the atmospheres of the School...

To see our other views of Oxford and Cambridge, 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 ...

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...

Artist: Richard Haas, American (1936 - ) Title: 57th Street Looking East Year: 2007 Medium: Etching, signed and numbered in pencil Edition: 36/200 Image Si...

Charles Hoffbauer was a prolific, French-born artist renowned for his historic murals and paintings, in addition to the impressionist New York City street scenes which brought him co...

Ken Price silkscreen on Arches 88 paper 14.875 x 12.375” 1981 edition of 150 stamped by Ken Price, SOMA Fine Art Press and Arabesque Books

An Aston Martin DB6 sports car driving past the tennis courts at Il Pellicano Hotel in Porto Ercole, Tuscany, August 1973. Slim Aarons Estate Edition, C...

This is acrylic on three shaped ragboard panels in artist-made frames.

Watercolor featuring the American Barque A.J. Harvey. Inscribed in the lower center of the painting and with the original handwritten adn signed label on the reverse. "Barque A.J. Ha...

A lion strolls in front of a Range Rover in this photorealistic painting entitled "Dark Mane" by Rick Pas. Though small in scale this painting delivers gr...

In this photograph, Frank Sinatra is captured glancing over his shoulder at his friend, photographer Frank Worth, while sitting in his classic Ford Thunderbird. Frank Sinatra was a...

Titled with artist's reference number on back of mount. Stamped, 'Edward Weston printed by' and signed by Cole Weston on back of mount.

Medium: Gouache on Board Signature: Signed Lower Left Sight Size 29.00" x 26.00;" Framed 38.50" x 35.00" Framed under glass. Original cover illustration for The Saturday Evening Po...

"1 E" is an American Realist painting of a parked vintage car at a motel in Florida. Framed. Signed at bottom left. Carl Bretzke is a representational painter who specializes in urban scenes, nocturnes, and plein-air landscapes. He is a member of the Plein Air Painters of America since 2021. Carl's work has been exhibited extensively in Minnesota and California, including the Minneapolis Institute of Art. Carl's work has been described in the Washington Post as "simultaneously intimate and detached…The artist's unadorned style recalls Edward Hopper and The Ashcan school." Carl holds an MD degree from the University of Minnesota Medical School. His undergraduate degree is from the University of Colorado...

Lucian Bernhard was an award-winning graphic, interior, and typography designer and highly influential to the world of 20th century graphic and poster ...

Original linen-backed NORWICH CASTLE vintage travel poster, printed in England in 1935 by artist C. W. Hobbis and published by Page Brothers (Norwich) Ltd. It features a city center ...

Ship repair. 1956, oil on canvas, cardboard, 43,5x61,5 cm landscape with boats Dontsov German (1916. Saratow, Russia – 2001. Riga, Latvia) His professional carrier began...

Frame: 15 3/8 x 35 3/8 in. Signed upper right Born in New York City in 1959, Max Ferguson started as a filmmaker, making award-winning animated films as a teenager. But it was whil...

Ship In A Swell Off The Pier, 19th Century attributed to Henry Redmore (1820-1888) Fine Large 19th century British maritime scene of a ship in a swell ...

60x60x1.5 cm. One of a kind work. Signed front and back. Sold with a certificate of Authenticity. Painted on wood panel with the highest quality professional oil colors. Sold with a ...

Dimensions: 8" x 10" Dimensions w/Frame: 12.5" x 15.5" Shimon Attie (born Los Angeles in 1957) is an American visual artist. He was awarded a Guggenheim Fellowship in 2008, The Ro...

Print Published By New York Graphic Society, 1961 Printed In Holland Measures 23.5 x 27.5 in. In Good Condition

The funeral of Malcolm XFred W. McDarrah, 1926-2007 Veteran Village Voice photographer Fred W. McDarrah Over a 50-year span, McDarrah documented the rise of...

It's good to have someone to smoke with on the way. In this painting, I captured a moment between two individuals during a smoking break in a vast desert. Using stark acrylic contras...

"Walking Downtown" is one of 36 featured works which make up the series Above & Beyond. This homage to New York City is an evocative tribute to Peter Liepke's adopted home town, the urban metropolis he chose over his native Minnesota. This is not just another group of photographs of obvious NYC landmarks...

This neon piece is hand blown glass. It is mounted on contoured, clear plexiglas with pre drilled holes for hanging, and comes ready to hang. This piece is offered in the following c...

This photograph was created by American artist and avid scuba diver Michael DeCamp. DeCamp's abstract photos have an enigmatic quality, and the interactions between shapes and colors...

Vintage 1930s watercolor and ink painting of Estes Park, Colorado, by American artist James Russell Sherman (1906-1989). This captivating work features a detailed view of storefronts...

Martin Lewis (1881-1962, Shadows, Garage at Night, drypoint, 1928, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 69, only state, from the t...

Anya Simmons Mevagissey Harbour, Cornwall Original seascape painting Mixed Media on board (Gesso, acrylic and acrylic inks) Image Size. 26cm x 26cm Framed size. 46cm x 46cm x 4cm Sold Framed in a Triple White Wooden Moulding with Non-Reflective Art...

Kate #15, 2002 by American photographer Leonard Freed is in the photographer's series "Kate." This is an 11" x 14" gelatin silver photograph signed verso (back of photo) by the Freed...

Pedal into a world of artistic design with the bicycle advertisement page from "The David Lance Goines Poster Book," published in 1978. This visually striking page features David Lan...