Car Art

Men at work by a Brooklyn East District Terminal locomotive during an afternoon shift change. For over 100 years, the Brooklyn East District Terminal was responsible for floating fre...

Ormond Gigli Girls in the Windows, 1960 Gelatin Silver Print Printed by Artist 24" x 24" Unique Edition AP 3/5 Framed: $20,350 Provenance: Printed...

This striking original circa 1970 Lufthansa travel poster captures the bold visual identity of postwar international tourism. Framed by the iconic red steel arches of the Golden Gate...

The artwork portrays a vast, empty desert beneath a stormy sky. A vintage brown car stands alone, its sleek design contrasting with the barren landscape. Two figures, separated yet s...

Born in New York City in 1959, Max Ferguson started as a filmmaker, making award-winning animated films as a teenager. But it was while he was a visiting student at an art school in ...

A cluster of vintage red Ferraris lounge on displayed in a square in Florence, Italy. Street Photographer Mitchell Funk was struck by the unexpected site and documented the scene em...

It's a moody and original account of an iconic American view. Dots of red for taillights become an abstract pattern in the foreground, while silhouetted pedestrians punctuate the com...

December 1959, Scrap Metal Loading Area, 8A Yard between 9th & 8th Street by Kent Avenue. Looking East. American, b. 1949 In his more than three decades as an artist, Nicholas Berg...

Pollock's Model A, 1998 Signed, numbered, and dated in pencil Lithograph Sheet: 13 x 20 inches Frame: 20.5 x 26.5 inches Edition 6 of 75

'Rainy Drugs Sign' is a black and white photographic print on Hahnemuhle paper by Michael Ormerod in a limited edition of 10. Featured in the 2024 posthumous solo exhibition, 'Micha...

Gelatin silver print Paper size: 20 x 16 in., Image size: 18 3/4 x 15 in. Signed, titled, and dated by Earlie Hudnall, Jr. Earlie Hudnall, who is one of the most notable African Ame...

Medium: Oil on Board Signature: Signed Lower Left Original cover illustration for The Saturday Evening Post, May 30, 1959. The Post described, “It is so refreshing to get away from...

A double image, with multiple narratives. The title and main imagery depict the third day of Captain Ahab's fateful chase of Moby Dick (chapter 135). In the lower image the whale is ...

Title: French Impressionist Oil Painting of Docked Fishing Boats Along a Harbour By Fanch Lel (French b. 1930) Size: 10.5 x 13.75 inches (height x width) Signed: Yes Oil painting on ...

American Legion on Flatbed Truck by Michael Ormerod is an 8" x 10" black and white photographic print on Hahnemuhle paper from a limited edition of 10 prints. Featured in the 2024 ...

An unexpected pedestrian is caught walking across Park Avenue on a rainy day. We are not sure where he came from or where he is going, but he seems to be on a mission. The Astronaut...

This is an original painting hand painted on canvas by UK artist Michael Forbes - shipped rolled - it's priced well below retail so having it stretched by a framer is easy, safer and...

Subscription and first edition lithographs in stock Full plate: 196 Presented in a acid free mount

“Yes, I find there’s nothing like a motor for giving me ideas for new dance steps.” Humorous illustration for Life magazine, published December 31, 1914 Signed lower left Lowell ...

The Open Road 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 2024 posthumous solo exh...

Wonderful Fauve Landscape with blocky areas of punchy bold reds and yellows. This was done the same year of the Armory Show in which both William Zor...

"Tantalize, Synchronize, Exercise!" is an original metal, mirrored glass, polyester fibre, wire, plastic, and enamel paint artwork by Kendal Murray measu...

Signed Lower Right

From the Vanishing Vernacular series. Vanishing Vernacular features a selection of color works by photographer Steve Fitch focusing primarily on the distinctive, idiosyncratic, and ...

This piece is an exceptional impressionistic cityscape scene by Paul Gagni of 'La Bourse' in Paris. The Bourse de Commerce (Commodities Exchange) is a building in Paris, originally u...

The picture belongs to a set of photographs which Kallay took in 1965 for a German book publisher in NYC.

Elizabeth Taylor Spinning Lasso in "Giant" by Globe Photo Archives This black and white action shot features actress Elizabeth Taylor swinging a...

Nick Veasey Silver Porsche 911 on Blue 2025 From Print Series Signed and numbered by artist 63,7 x 206 cm frame included Edition of 25 AP

Nick Veasey Silver Ferrari F40 on Red 2025 From Print Series Signed and numbered by artist 63,7 x 206 cm frame included Edition of 25 AP

Hand signed by the artist on verso. Hand Painted Unique Silkscreen on Canvas. Artwork is in excellent condition. Certificate of authenticity included. All reasonable offers will b...

Parking by Frank Schott 48 x 72 inches / 122cm x 182cm edition of 7 signed 27 x 40 inches / 68cm x 102cm edition of 25 signed archival fine art pigment print signed & numbered by ...

Oleg Turchin's "Ferrari Enzo" is an oil on canvas that measures 36" x 54". Get ready to immerse yourself in the world of Italian car culture with Oleg T...

Brighton 27 - Platinum Palladium print over silver on vellum paper Edition 1 of 8 , plus 2 AP ( Small size ) An old Harley Davidson motorcycle in front of a gas station garage ...

"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...

Tram Turntable A tram being manually rotated on a turntable in San Francisco, California, 1960. 48x48" inches / 122 x 122 cm paper size Estate Stamped Collection Edition to 150 ...

Kaiser Deluxe (1956) (Photo By Phillip Harrington) 1949 Kaiser Deluxe automobile. Additional Information: Unframed Paper Size: 16x20'' Printed Later About the Image: Kaiser Permanente is an American integrated managed care consortium, based in Oakland, California, United States, founded in 1945 by industrialist Henry J. Kaiser and physician Sidney Garfield. NOTE OTHER SIZES OF THIS IMAGE AVAILABLE 10 x 12'' 12 x 16'' 16 x 20'' 20 x 24'' 20 x 30'' 30 x 40'' FRAMING AVAILABLE ON REQUEST About the Artist: Phillip A. Harrington was born in 1920 and grew up in Holland, Michigan. He developed an interest in photography at an early age, joining the high school camera club at 16. At the age of 19, Harrington moved to New York City to study at the Clarence. H. White school of photography, a prestigious institution with graduates such as Margaret Bourke-White, Dorothea Lange, Laura Gilpin...

Both spare and dynamic, Karl Hartman’s hyper-saturated countrysides and surreal depictions of Americana perfectly match the vividness of our late-summer h...

1960's image of Elvis Presley, the King of Rock n' Roll at his castle in Graceland posing with his beautiful Rolls Royce. The photo is a later-generation example and is a re-strike t...

No Transport Problems Mrs Woolworth Donahue with car and bicycles on her motor yacht, ‘Hartline’ 60 x 40" inches / 152 x 101 cm cm paper size Estate Stamped Collection Edition t...

Image dimensions: 10.1 x 13.9 cm. Port of New Orleans is a black and white xylograph on paper, realized in 1890 by Holland Tringham. Of little dimensions but high quality, this ori...

'Carlton Hotel' The entrance to the Carlton Hotel, Cannes, France, 1958. 20x20" inches / 51 x 51 cm paper size Estate Stamped Collection Edition to 150 Photo by Slim Aarons ...

This painting is acrylic on deep-profile canvas, wired and ready to hang. :: Painting :: Pop-Art :: This piece comes with an official certificate of authenticity signed by the artist...

April 1968: Mr and Mrs Donald Leas with their Rolls Royce and two pet dogs outside The Flagler Museum in Palm Beach, Florida. The colourfully fashionable couple stand next to their ...

Noel Mahaffey Night Times Square – 1979 Print – Silkscreen print on Somerset Paper 22” x 30” Edition: signed in pencil and marked PP 4/25 Noel Mahaffey was born in St. Augustine, ...

Title: All The Letters Medium: Oil on canvas Size: 8.5 x 12 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Year: 2000 ...

"Malibu Bandits" Black & White Photography 30" x 24" in Ed 1/7 by Brendan North ABOUT: Brendan North is a fine art photographer based in Los Angeles. Having built a social media p...

City Nocturne original oil on MDF panel :: Painting :: Impressionist :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: No :: Sig...

Acrylic on masonite, framed in sleek black wood to enhance its presentation and value. Set against the vibrant backdrop of Havana, Cuba, this dynamic painting captures the sizzling ...

G.S WART « La flottille au large d'un port » Belle Huile sur toile signée en bas à gauche 40 x 65 cm Encadré.

La obra va firmada por el artista que pintó esta pintura Se presenta enmarcada la pintura con un marco de la época de la pintura El estado de la obra es bueno Medidas obra: 50 x 7...

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...

Summit Cable Car (Blue), photograph from Richard Heeps' On-Sea series. This artwork is a limited edition of 25, gloss photographic print, dry-mounted to aluminium, it is presented i...

I aimed to explore the themes of journey and aspiration, juxtaposed with isolation and uncertainty. Acrylics vividly captures the vast desert and clear blue skies, providing a surr...

Ed Ruscha Some Los Angeles Apartments (Unsigned), 1965 True First Edition Artist Book: Stated Limited Edition of only 700 7 × 5 1/2 inches Unframed A rare and elusive 1960s Artist Book. Makes a terrific gift. This is a TRUE 1965 1st Edition of only 700 stated copies. (NOT to be confused with the second edition in 1970 which was published in a much larger edition of 3000 and NOT to be confused with an eponymous 1990 Whitney Museum publication.) A must have for Ruscha Fans. SOME LOS ANGELES APARTMENTS. Los Angeles: Self-Published, 1965. True First Edition Printed Wrappers with Glassine. Original Artist's Book. This marvelous vintage 1965 48 page book features 34 black and white illustrations and is in surprisingly fine condition. "Some Los Angeles Apartments" is Ed Ruscha's third artist book - a wry yet heartfelt photographic survey of the subtle beauty of the post-war Southern California rental property construction boom. A spectacularly bright, most handsome example of the uncommon 1965 first edition (entry B3 in Siri Engberg's "Edward Ruscha: Editions 1959-1999" which is also cited on page 141 of Martin Parr and Gerry Badger's "The Photobook: A History Volume II", pages 198-201 of The Hasselblad Center's "The Open Book", page 105 of "From Fair to Fine 2", and page 226 of "From Fair to Fine 3") limited to seven hundred unnumbered copies. This is an exceptional example of this important little gem that is often confused with the 1990 Whitney Museum exhibition catalogue of virtually the same title. "In the 1960s, Ed Ruscha more or less reinvented the artist’s book. By turning away from the craftsmanship and luxury status that typified the livre d’artiste in favor of the artistic idea or concept, expressed simply through photographs and text, Ruscha opened the genre to the possibilities of mass-production and distribution. Some Los Angeles Apartments, with its straightforward presentation of modern California domestic buildings, celebrated the vernacular architecture of Southern California." The Getty Museum "....It's perhaps fitting that Ed Ruscha - one of the central figures in late 20th century photography - does not consider himself a photographer. "I think photography is dead as a fine art," he told John Coplans...

A muted, mid-century oil on canvas view of a street scene in Brussels with vintage cars parked and a group of people conversing beside billboards with a view of a church in the distance. Signed lower left, 'P. van Mol...

"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...

This watercolour drawing by the French artist Hermine David is signed by the artist in black ink “Hermine David” at the lower left corner. It is also titled and dated in black ink b...

Wonderful set of four original pencil drawings depicting vintage motor cars from the 1930's. They are an ideal gift or interior furnishing for any 'man cave' or 'boys room...

Modern edition, C-Type print estate stamped and authenticated on reverse by a representative of the Eva Sereny archive. Paul Newman at his home in Connect...

Every painting begins with a place to stand. Sometimes I find one in seconds; sometimes the hunt goes on for many seasons. A canvas can easily frame the everyday. But my task is to t...