Car Art

This Oldsmobile Cutlass advertisement from 1977 depicts a complex figural composition integrated with a car and a homey landscape. Beyond its status as a historical document of an Ol...

Anastasia Samoylova b. 1984 Antique Ford Car, Fort Meyers, 2021 Signed in ink on artist label Archival Pigment Print 16" x 20" Edition 1 of 5 plus 2 AP

Steve Schlackman is a lawyer by profession and a photographer by choice. Fascinated by the magical world of photography since his youth, he honed this...

Crash Call by Arthur Steel WIMBLEDON, LONDON 1975 All prints are hand signed limited editions, no further prints are produced once sold. paper size - 54 x 41 " / 137 x 104 cm s...

Baby Love Bug by Arthur Steel Baby Love Bug – Volkswagen Owner’s Meet, Great Britain 1980 All prints are hand signed limited editions, no further prints are produced once sold. pa...

Landscape painting of Speedway gas station sign by Edie Nadelhaft- oil on canvas, 10 x 20 inches An avid motorcyclist, Edie Nadelhaft takes annual weeks-long tours of the country's ...

Conditions : Near mint Conditions. Framed under glass with its original frame. Signed lower part by the artist in pencil. Painter and Aquarellist. Nanterre (92) March 13th 1900 – C...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 5. CURRENT EXHIBITION - runs through September 11th, 2016. Any framed photographs purchased during the sho...

Bahamas Speed Week The Bahamas Speed Week in Nassau, 1963. 60x40” / 101x152 cm - paper size Estate Stamped Collection Edition to 150 Photo by Slim Aarons Printed in 2025 Lim...

Chauffeurs Feast Twickenham By Arthur Steel Paper size: 24 x 19" / 61x48 cm Silver Gelatin Print 1960 (printed later) unframed hand signed limited edition of 50 note other print...

Baby Love Bug By Arthur Steel Paper size: 24 x 19" / 61x48 cm Silver Gelatin Print 1980 (printed later) unframed hand signed limited edition of 50 note other print sizes and fra...

Rolls Royces Baby Bugatti Bug 26 By Arthur Steel Paper size: 54 x 41" / 137 x 104 cm Silver Gelatin Print 1970 (printed later) unframed hand signed limited edition of 20 note ot...

We are excited to announce the grand opening of “Indian Summer” at La Plage in Sag Harbor. This exhibition will include Fine Art + Photography from the Robin Rice Gallery including Rice’s own fine art photography. The show will be on exhibit beginning Friday October 9th, with an opening reception Saturday October 10th 2020 from 5pm to 8pm. Car, Fashion, Motorcycle, Portrait, Sepia, Water, Woman, Vintage...

The Fullers May 1970: Alvin and Lilly Fuller outside their new home in Palm Beach, Florida, pose with their fashionable European sports car, the Mercedes 190SL. 20x20” / 51 x 51 ...

Skiers pass by the Hotel Chesa Grischuna in Klosters, 1963. 40x40” / 101 x 101 cm - paper size Estate Stamped Collection Edition to 150 Photo by Slim Aarons Printed in 2025 L...

Katharine Hepburn 1953: American film star Katharine Hepburn (1907 – 2003) driving along the waterfront with Irene Mayer Selznick at Montego Bay, Jamaica. 60x60” / 152 x 152 cm ...

John Rawlings 1950, Fashion photographer John Rawlings (1912 – 1970) on the beach at Montego Bay, Jamaica. 40x40” / 101 x 101 cm - paper size Estate Stamped Collection Edition t...

Smilby depicts a night scene with a couple engaging in lewd sexual acts in their car. Although situated in a wooded area, it is still in public view. They are surprised by a highly ...

Browne, George Elmer (American, 1871-1946). THE TRAWLERS. Drypoint, not dated. Edition size not stated. Titled and signed in pencil. In excellent condition.

Hotel Santa Fe - Euro Disney Resort is a colour vintage photo, realized in the Early 1990s. Good conditions and aged. It belongs to a historical and nostalgic album including histo...

Beverly Hills Hotel Cars parked outside the Beverly Hills Hotel on Sunset Boulevard in California, 1957. 60 x 60” / 152 x 152 cm paper size Estate Stamped Collection Edition to...

La catastrophe ferroviaire is a black and white vintage photo, realized in June 19th.1961. The photo depicts the rail disaster on the Strasboug-Paris line. Good conditions and aged...

La mort tragique du prince Ali Khan is a black and white vintage photo, realized in May 13th.1960. The photo depicts the incident, in which Prince Ali Khan, died. Good conditions a...

Burned car is a black and white vintage photo, realized in January 18th. 1960. The photo depicts a car burned during a test of protective barriers under the Ariccia bridge, near Rom...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 20 CURRENT EXHIBITION - runs through February 25, 2017. Any framed photographs purchased during the show will be after February 25th. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current exhibition of the photograph. ABOUT In this exhibition, Mindaugas Gabrenas invites us to reflect on the poetics of place through his lyrical and surrealist imagery. His hand-printed silver gelatin prints reveal abandoned regions, wild coasts and strange territories from Lithuania to Scotland to America. As a scientific innovator, he uses unique techniques and unconventional materials in order to create his whimsical, dream photos. In “Spinning The Wheel”, stars trace the sky in a curved motion and meet the water below creating a sense of the infinite. As Gabrenas explores and captures landscapes through very long exposures, he actually meditates and reflects on the world around him encouraging his viewers to imagine themselves within the landscapes and dream with him. In another image “Dream About an Empty House”, that was taken in Lithuania, we see a young girl from behind in a red polka dotted dress as she faces an abandoned home. Using his handmade camera he constructed by merging two cameras—a Kiev 88 and a Kodak Duaflex II. The viewfinder of the Duaflex serves as an additional filter on the lens of the Kiev 88, which is fixed to its body with several macro rings. Before shooting the film, he wraps it in black rye bread and waits several days for the mold to grow onto the film. The combination of these two techniques creates a sense of motion around the central figure. “Alternatives”, our invitational image, pulls us into Gabrenas’ world. The focused close-up and abstracted view of train tracks distorts a familiar shape into a strange and unusual form. The tracks lead you in the distance, a blurry city of New York. The ironic lack of human life in New York City conveys a mystifying sense of place. In “Something With a Head”, we’re taken to the Lithuanian seaside where silhouetted figures stand on sand dunes watching...

Monotype painting of American landscape with sky and sweeping clouds, printed in muted colors and black and white. A large train cuts a path atop a ridge. Michele Zalopany's masterfu...

Johnson, Bess L. GLOUCESTER. Etching and aquatint, not dated. Edition size not known. Titled in pencil, lower left, and signed in pencil, lower right. Image of a boat at a dock in Gl...

The sudden crash is a black and white vintage photo, realized in 1960s. Good onditions and aged. It belongs to a historical and nostalgic album including historical moments, places...

The garage of Passy  is a black and white vintage photo, realized in July 7th 1960. A great fire struck a hundred cars inside a parisian garage. The firemen fight against fire. Goo...

Evan Jones is a painter based in Atlanta, Georgia. He graduated with a bachelor of fine arts degree in painting from SCAD Atlanta and has exhibited throughout the United States. ...

A young lady is searching for her husband in the 1930s and with the help of a boy she finds him in a roadside bar known as a Honky Tonk or Juke Joint. This humorous painting has been...

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...

This is a beautiful one-of-a-kind original impressionist painting. The piece ships ready to hang and is signed by the artist on the bottom right. This item ships from Ireland.

Acrylics, oil pastel on canvas Shin Seung-Hun is a South-Korean artist born in 1979 who lives & works in Jeju Island, Korea. He is considered by critics as the new Korean Takashi Mu...

Slim Aarons Skiing In Seefeld, 1985 C print estate edition of 150 A group of men and women go cross-country skiing in Seefeld, Austria, 1985. Estate stamped and hand numbered editi...

Oil on canvas Karine Bartoli was born in 1971 in Ajaccio. She enrolled at the Ecole Nationale Superieure des Beaux Arts in Marseille where she graduated in 1997. Since then she has ...

Cette peinture magnifique est une réussite et nous invite sur le circuit mythique du Mans dans les années 60. Le style artistique de Benoît Montet dans cette oeuvre est impressio...

Route 66 Root Beer American Gas Station Painting by Leading British Contemporary Artist, Angela Wakefield. A unique original work. Art measures ...

From the series Rhythms of streets #4- canvas painting by Dmitry Spiros size - 31,5" x 31,5" (80cm x 80cm), 2023 Night city. A modern day city and a night city are two completely ...

A new Tiki is being delivered to a popular surf beach. This god will protect the surfers from the angry water spirits. This surfer painting has been c...

Benjamin Eisenstat (1915-2001) Oil on board, 1981 Measures: 10 1/4" H x 14" W, frame 14 1/2" H x 18 1/2" W. “New York City” in excellent condition. Signed lower right and also on the...

The present Arthur "Art" Fitzpatrick & Van Kaufman collaborative automobile ad painting goes beyond motoring culture and ventures deeply into the realm of fine art. It would not ...

Archival pigment print featuring sexy woman with dog and police car. Fun and playful. Others sizes available. Framing options available as well. About the Artists: In a world where friendship, creativity, and passion merge, the unique artist duo The Guys With The Same Name...

Gigino Falconi was born in Giulianova (Teramo) in 1933. He began painting at the age of sixteen, and in 1954 he obtained a Liceo Artistico of Pescara. During the early years of his c...

original oil on panel horse sketch :: Painting :: Contemporary :: This piece comes with an official certificate of authenticity signed by the artist ::...

Bahamas Speed Week The Bahamas Speed Week in Nassau, 1963. 40 x 60" inches / 101 x 152 cm paper size Estate Stamped Collection Edition to 150 ...

Reflecting back on the 60s, my rendition takes me to the time when my first car was a yellow VW Beetle. I had that car for many years. :: Painting :: Fine Art :: This piece comes ...

signed, titled, dated by artist in pencil, verso (c) The Estate of Fred Lyon Courtesy. Peter Fetterman Gallery

The Basilica of St. Peter is a black and white vintage photo, realized in Second Half 20th Century.  A beautiful view of the Michelangelo's dome, Bernini's square and Maderno's faca...

"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...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 25. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: In Gordon’s third exhibition, his remarkable capacity for discovery and self-described “pathological curiosity” makes for an entirely unpredictable series of photographs, while the small size of the gelatin silver prints emphasizes their detailed nature and enhances the mysterious quality generated by his choice in cameras (namely, the increasingly popular Holga film camera). Stettinius’ wry sense of humor, references to popular culture, and use of kitschy subject matter permeate the entire black and white exhibition. The invitational image, “Yoda’s Garden”, is a perfect emblem of the exhibition’s mischievously comedic representation of Americana. In this image, a scarecrow proudly stands at the center of a growing cornfield, a gingham dress wrapping its body and a mask of the popular Star Wars character “Yoda” serving as its head. Although the references to both Star Wars and The Wizard of Oz may appear staged, Stettinius’ photography is anything but. Stettinius frequently finds inspiration in road trips, generating an aesthetic with the satirical playfulness of David Graham or Ralph Meatyard. This spontaneous, anthropological approach to photography can be seen in several of the pieces in Stettinius’ collection. This is perhaps most notably found in “Fast Money...

Henry Winzenreid (American, 1892-1981) Untitled (Steamboats and Factories), 20th century Lithograph Sight size: 10 x 14 in. Framed: 17 1/8 x 21 1/4 in. Signed lower right: AP/60 Wi...

Liquor Store by Alain Le Garsmeur Exterior of a drive-in liquor store in downtown Cheyenne, Wyoming, USA, 1979. Paper size 20 x 24 inches / 50 x 60 cm Pr...

Palm Beach Street Cars parked on a tree-lined street in Palm Beach, Florida, circa 1953. 40 x 40" inches / 101 x 101 cm paper size Estate Stamped Collection Edition to 150 Pho...

'The Carlton Hotel' A Cadillac with Florida plates parked outside the Carlton Hotel, Cannes, France, circa 1955. Paper size 20 x 20 inches / 51 x 51 cm Estate Stamped Collecti...

The Campidoglio is a black and white vintage photo, realized in second half 20th Century. Good conditions and aged. It belongs to a historical and nostalgic album including histori...

The Carlton Hotel in Cannes 1955 C print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. CAPTION: A Cadillac with Florida plates p...

A plein air painting of a street in Tirana, Albania.

John Rawlings Fashion photographer John Rawlings on the beach at Montego Bay, Jamaica, 1950. 40 x 40" inches / 101 x 101 cm paper size Estate Stamped C...

John Sloan etching Schuylkill River, 1894, signed, titled, annotated “100 proofs” [only 25 were printed], also signed by the printer “Peter Platt im...