Car Art

Benton, Thomas Hart (American, 1889-1975 SLOW TRAIN THROUGH ARKANSAS. Fath . Lithograph, 1941. Edition of 250 published by Associated American Artists (A.A.A.). 9 7/8 x 12 inches (im...

THIS PIECE IS AVAILABLE FRAMED. Please reach out to the gallery for additional information. ABOUT THIS PIECE: This image comes from the series "Fast Food Fast Cars: The Pursuit of...

Artist: Heiner Meyer Title: Red Kiss Medium: Screenprint on handmade paper Year: 2024 Edition: 33/35 Framed Size: 34 1/2" x 35 1/2" Sheet Size: 30 5/8" x 31 1/4" image Size: 24 3/4" ...

Work on canvas Beige wooden frame 65 x 74 x 7 cm

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

Jaguar Motor Racing Sylvia Smith (British 20th century). signed and dated Jul. 65' oil on canvas, framed framed: 28.5 x 34.5 inches canvas: 24 x 30 inches provenance: private collec...

Artwork #1 / 5 sold in perfect condition printed on baryta heavyweight paper & framed (black metal border) From the collection called "Art 2014", format 30x42 cm. SERIES OF 5 PRINTS + 2 AP Artwork printed later on fine art papers later (2014) from black & white negatives processed in 1962 During the 15 year period in which Fabrizio La Torre...

A beautiful oil on canvas painting by the French artist, Jean Salabet. Salabet was a Parisian painter known for his colorful cityscapes depicting the times of his generation. His wor...

Kamil Kubik, Czech/American (1930 - 2011) - Museum of Natural History, Medium: Screenprint, signed and numbered in pencil, Edition: AP, Image Size: 14 x 18 inches, Size: 17.5 x 2...

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 ...

This marine oil on canvas resonates with French Impressionism of the late 19th century (reminiscent of the circle or followers of Eugène Boudin) and captures the fleeting poetry of w...

Possibly a rendering for the renovation of Marion Oliver McCaw Hall in Downtown Seattle. Original gouache on artist board. American, circa 1962, artist unknown.

Julius Montalant (1823 - 1898) Harbour of Rio Janeiro, 1843-1850 Oil on canvas 17 x 24 inches Signed and dated lower right; conservator's inscription on the reverse Born in Virginia, probably Norfolk, Julius Montalant is known for his drawings and paintings inspired by his travels on board navy ships. Attached to the USS St. Louis around 1844-45, he sketched ports of call he visited, including Brazil, Chile, New Zealand, Australia, and China. Many of his works are held in the Museum of the U.S. Naval Academy. Navy records indicate his rank as 'C. Clerk', which may mean that he held a civilian position. During the 1850s he lived in Philadelphia, and in 1851-61 he exhibited at the Philadelphia Art Union and the Pennsylvania Academy of the Fine Arts. Included were paintings of North America, Greece...

Linnea Pergola St Marks Place Giclee on handmade cotton paper Year: 2019 Image Size: 14.75 x 20.375 inches (37.47 x 51.75 cm) Paper Size: 17.13 x 24.02 inches (43.5 x 61 cm) Edition:...

James Abbott McNeill Whistler Beach Scene at Dieppe, 1885-86 Watercolor on paper, mounted on board 8 1/2 x 5 inches Signed on the reverse Provenance: Miss Annie Burr Jennings Mrs. ...

New York City Street Scene - an Original Painting by British Urban Landscape Artist Angela Wakefield. At measures 12 x 12 inches Frame measures 16 x 16 inches The character of New...

A striking 1940s modernist gouache painting by Frederick Shane titled Artists Sketching (California), depicting three artists working outdoors against a sweeping mountainous landscap...

Title Patrice Landauer Paris Street Scene Vintage Cars Oil Painting Key Details Artist: Patrice Landauer (French, b.1965) Medium: Oil on wood panel S...

In "Destinations", Frederick Mershimer creates an image of taxis rushing by the Fuller Building, better known as Flatiron Building. The building is only six feet wide at its rounded...

In “American Motel Signs” Steve Fitch crisscrossed the United States documenting the colorful dynamic, advertisements inviting weary traveler to park their car and pack it in for the...

Ice Cream Truck, vibrant street photography from the seaside town of Wildwood, from Richard Heeps Jersey Shore series. This artwork is a limited edition of 25 gloss photographic pri...

This Game We Play #35 is a 30" x 40" C-Type Matte print from a Limited Edition of 5 by Franck Bohbot. A nighttime portrait of a street-side basketball court captures leaves the view...

This surreal artwork captures a stark desert crossroads under a vivid blue sky, where a vintage white convertible takes center stage. Two figures add intrigue: one stands beside the ...

Daniel Arsham Eroded Turbo 911 Holographic Label of Authenticity Edition of 500 ERODED 911 TURBO reimagines the iconic 1986 911 Turbo ( 930 ) as a relic from a future archaeological...

Etching on paper. Hand signed, dated and numbered by artist with pencil. Edition of 50 prints.

Artist: Henri Renard, French (1920 - ) Title: French Street Scene Year: circa 1950 Medium: Oil on Canvas, signed l.r. Image Size: 24 x 36 in. (60.96 x 91.44 cm) Frame Size: 31.5 x 44...

"Triple Elvis" (Denied) Silkscreen Painting by Charles Lutz Silkscreen and silver enamel paint on canvas with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82 x 72" inches 2010 This important example was shown alongside works by Warhol in a two-person show "Warhol Revisited (Charles Lutz / Andy Warhol)" at UAB Abroms-Engel Institute for the Visual Arts in 2024. Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis...

"Yellow Cadillac" is an original watercolor painting by Bruce McCombs. The artist signed the piece lower right. It reatures a shiny yellow car with its doors open sitting on a suburb...

St Jean Pied de Port (South West France) signed by Regine David (female French artist, 1910-2018) oil painting on board, unframed measures: 15 x 18 inches condition: the painting is ...

Striking Haitian acrylic painting on board depicting a busy street scene executed in a distinctive naive style with bold colors and plenty of action. Signed J N Robert and presented ...

Artwork # 1 on 5 sold in limited edition in perfect condition This photo was made in 1955, the negative was digitized during the artist's lifetime and the technical parameters (framing, contrast, light, etc.) was approved by him. This is a very high quality fine art prints on 310 gr/m² Fine Art paper with museum quality pigment inks. “ On Broadway, near Trinity Church”, New York December 1955. A rainy Sunday morning, a solitary pedestrian seems to be falling over on the slippery surface. As is always the case with Fabrizio La Torre’s photographs, quite apart from the artistic merit, this picture invites us to speculate what is the story behind it: why this deserted avenue at 11:10 on that particular morning, what was the man in the rain doing, why is that car defiantly parked right underneath a no parking sign...

Moonlight Schooner by Chris Golds (British, 1936-1924) signed and dated 78 titled/ inscribed verso oil on canvas, framed framed: 18.5 x 33 inches canvas: 16 x 30 inches Provenance:...

Original 1989 Louis Vuitton Automobile Classiques Poster –Hand Signed, Archival Linen-Backed. This poster was created for the Concours d’Elegance ...

Listing includes free shipping to the continental US and a 14-day return policy. Joan Didion by Julian Wasser 16 x 20 inch gelatin silver print Edition 1...

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...

Artist Comments
In the search for cozy-looking campers, artist Hadley Northrop discovered that some trucks have the same appeal. This particular food truck appeared at an outdo...

Canot, P.C. (French, worked in England, 1710-1777), after Willem van de Velde and Ludolph Bakhuizen. "A BRISK GALE" and "A MODERATE GALE," engravings, ...

Cuauhtémoc, 1982 by Louis Letouche (French 1924-2015) oil painting on linen canvas, stretched over board framed Framed size: 15 x 21.75 inches Superb oil painting by the well listed French marine artist Louis Letouche (1924-2015). The painting portrays the 20th Century ship titled: Cuauhtemoc, 1982. ARM Cuauhtémoc is a sail training vessel of the Mexican Navy, named for the last Mexica Hueyi Tlatoani Cuauhtémoc who was captured and executed in 1525. She is the last of four sister...

World Series Parade, New York City, 1954 by Leonard Freed, is an 11" x 14" gelatin silver later ("lifetime") print, signed on verso (back of print) by the photographer and stamped (magnum). The photograph is handprinted by Leonard Freed. Parade by Freed captures the joy of two majorettes en route in the streets of the city for the celebration of the New York Giants...

Davis Cone 1983 Variety Photo Plays Signed in pencil and marked 3/7 PP (Printers Proof) Lithograph in colors Paper Size 34½ x 26 inches Image Size 32½ x 23¼ inches Eleanor Ettinger G...

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

Wonderful original pencil drawing depicting a vintage motor car racing scene from the 1930's. The drawing is by - "K. B. White" - a British illustrator and motoring artist who was ...

Dimensions with frame: 47 x 34 x 3,5 cm. Signed "A Carducci" in the lower right corner. A vibrant and expressive depiction of a Parisian street scene, animated by pedestrians, shopfronts, and early automobiles under a lively urban atmosphere. The composition captures the dynamic rhythm of city life, with figures moving through a bustling intersection framed by Haussmannian architecture. Executed with bold, gestural brushwork and a richly textured surface, the painting emphasizes movement, light, and immediacy over fine detail. The artist employs a dynamic palette of warm browns, greys, and ochres, punctuated by vivid accents of red, yellow, and blue, bringing energy and depth to the scene. The wet pavement and reflections suggest recent rain, enhancing the sense of atmosphere and modernity. The buildings are rendered with a semi-abstract approach, their forms slightly distorted through expressive handling, aligning the work with Post-Impressionist and early Expressionist tendencies. This painting reflects the vitality of early 20th century Paris, appealing to collectors of modernist cityscapes, Parisian subjects, and expressive urban painting. paris street scene painting, scène de rue à paris, paris cityscape oil painting...

A man with x-ray vision, Nick Veasey creates art that shows what it is really like inside. Original artwork. C print, Chromaluxe. Signed and numbered out of 25. Accompanied with th...

Saint Germain-des-Prés under the snow. Oil on canvas, 60x92 cm Constantin Kluge was a Russian-born French painter best known for his naturalistic scenes of Paris and French countrys...

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...

A charming Parisian scene oil on canvas painting by the French artist, Johannes Schiefer. This painting is a wonderful example of his work from the prime of his career. Capturing a v...

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...

Gerald Berghammer - Black and white cityscape photography. Tattoo and body piercing shop with a vintage car parked in front, Las ...

Artist/ School: Signed by Eug. Mavie. French 20th century Title: Classical Warships at Sea. Medium: oil on canvas, unframed Painting: 18 x 25.5 inches Colours: Blue, red, orange...

Wonderful original pencil drawing depicting a vintage motor car racing scene from the 1930's. The drawing is by - "K. B. White" - a British illustrator and motoring artist who was ...

"Megalopolis" by David Gerstein is a vibrant 3-D wall sculpture that captures the dynamic energy of the city. Using bold colors and layered shapes, Gerstein brings the urban landscap...

There is a cinematic style to this artwork, Lone Pine, taken in a former movie town in California, many Western films were made there. Taken outside Richard's iconic interior photogr...

Archival pigment ink print on Hahnemuhle cotton paper. Each print is uniquely hand embellished by the artist with acrylic paint and prismacolor. Edition 1 of 5. Kristin Moore says o...

Here for your consideration is an outstanding example of the landscape mastery of American artist, Edmund Darch Lewis. Fabulous light and clarity of the bucolic scene. Signed lower right and dated 1870. Recently cleaned. Several old patches verso with corresponding in paint. Condition is very good The painting is framed in its original gold leaf period frame which is in fine condition. Overall measurements are 35 by 46.5 inches. Edmund Darch Lewis was born in Philadelphia, the son of a prominent businessman. According to family tradition he was educated at a private school...

Original Porsche 928 German factory poster. Archival linen-backed and presents in Grade A condition. The white area was cleaned up during linen backing. This should be the lowes...

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

Inga Lindgren and Poodles - Fashion Photograph New York Spring Street Photograph by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Ed...

Edition: limited edition 11/24 Information: Laurent combines a robust background in mechanical engineering with a profound passion for cars and arts. From a young age, Laurent spen...

Paris French artist, circa 1960's signed oil on on canvas, framed framed: 26.5 x 32 inches canvas : 20 x 25 inches Provenance: private collection, France Condition: very good conditi...