Car Art

Los Angeles-based photographer Tyler Shields seeks “beauty in chaos,” capturing both young models and celebrities such as Lindsay Lohan and Mischa Barton. His polished editorial imag...

San Francisco is a vintage photograph realized in the 1960s. Good conditions. The artwork is realized in a well-balanced composition.

Palm Beach Street by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped C-Print. Edition of 150. Printed Later. Palm Beach Street is a Limited Edition Estate Stamped Digit...

Paris Corner Kids from the Paris In Colour Series 1956-61 By Peter Cornelius large oversize 40 x 30 inches / 101 x 76 cm paper size Printed 2022 Archival pigment print Framing and...

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

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...

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...

The piece is a dialogue on freedom and grounding, encouraging reflection on life's journey and the stillness found in moments of change. It offers a vibrant addition to any space, co...

Title: Umbrella Man at Sea Year: 2000 Medium: Offset lithograph in colors on gloss archival paper Size: 24 x 36 inches Inscription: Hand signed by Peter Max in ink and unnumbered, as...

Notre Dame in the snow, early evening, along the Seine by the French artist, Henri Stenn. The painting has a wonderful tonal quality that is characteristic of the artist’s work. The...

About this Painting: I originally painted this Pebble Beach awarding winning car back in 2017. The painting sat on my walls for several years, and in 2021 I recreated it on a much la...

A beautiful 18th century nautical scene filled with movement and activity. One etching from the series of 10 lively nautical scenes entitled Seascapes. This image depicts four vesse...

A fantastic figure from the In Tintin’s Car (Series 1) collection, specifically model 58, “The Gangsters’ Car,” from the Tintin in America book, circa 2002. This scene is one of the...

'Cowboy on Ranch with Cows' is a black and white photographic print on Hahnemuhle paper in a limited edition of 10 by Michael Ormerod. Featured in the 2024 posthumous solo exhibiti...

Mieczyslaw Lurczynski (1908-1992). Pont Neuf/ Landscape. Double-sided canvas measures 10.5 x 13.75 inches. Canvas is a gessoed panel, unstretched. Signed lower right.

Christo Wrapped Building Project for 1 Times Square, New York, 1985 Lithograph, collage on cardboard Ed 17 of 100 18 x 22 in Christo became famous for his monumental collaborations...

Pair of French mid 20th Century drawing in the style of Georges Remi, dit Hergé. The works are not signed but both are titled and dated. Presented in modern frames under glass. The first is a charming street view of Cannes on the Cote D'Azur in the south of France, an area now internationally famous for its annual film festival. The artist has captured the imposing nature of the fine stone buildings with their blue and green shutters towering over the scene. Next to it fine trees so characteristic of French streets are just coming in to leaf. Two men go about their business, one is walking towards a cafe. Cars and a red delivery truck animate the scene. The second an equally charming view of the chapel at the Nice Chateau cemetery on the Cote D'Azur in the south of France. The artist has captured the imposing nature of the fine colourful stone buildings with their arches, cupolas and finials. Surrounding the buildings are trees and bushes and to the foreground cars of typical 1960s design. The style of the artist is clearly inspired by the animations of Georges Remi, dit Hergé which were so popular at this period. Georges Remi, more commonly known as Hergé created his own clean, expressive style of drawings known as ligne claire...

'Car Wash' a highly collectable 48 x 48 inch oil on canvas painting by Internationally acclaimed American Realist James Torlakson, framed in a contempo...

"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...

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...

'Greg's Auto Shop, Nashville, Tennessee' is a black and white archival inkjet print by Morgan Silk. It is available in this size of 18" x 18" in a limited edition of 10. A nightti...

Shipping by Maurice Mazeilie (French) oil painting on card, unframed stamped verso inscribed verso painting: 6 x 8.5 inches A delightful original oil painting by the 20th century F...

Brad Davis’s Business District is a luminous oil painting on wood panel, framed and ready to hang, measuring 36 x 36 inches (framed to 38 x 38 inches). Executed in 2025, this work ca...

This early 1960s photograph, captured by society photographer Slim Aarons, features the Bahamas Speed Week in Nassau. This is an estate-stamped and hand-numbered edition of 150 with...

ROBERT KENNETH WHITE (b. 1950) – “THE LADY VANISHES” Oil on Canvas ⚜ Hand Signed Lower Right ⚜ Frameless Display A CINEMATIC VISION OF MIDCENTURY GLAMOUR AND URBAN MEMORY In The La...

Artist: Slonem, Hunt Title: Red Cross Hatch Date: 2023 Medium: Oil on wood Unframed Dimensions: 10" x 8" Framed Dimensions: 13.5" x 11.5" Signature: Signed by Artist on Verso ...

Sabrina (1953) - Silver Gelatin Fibre Print (Photo by Hulton Archive/Getty Images) October 1953: Belgian-born actor Audrey Hepburn (1929-1993) leans out of a car window on the set ...

Artwork # 1 on 5 sold in perfect condition Limited Edition of 5 + 2 AP : Fiat Lux. Religiously parked under the watchful gaze of the Blessed Virgin, the ca...

Water Trails down Empty Street in Front of Water Tower by Michael Ormerod is a black and white photographic print in this size of 24" x 34" in an Edition of 10. Michael Ormerod was ...

Ted Davies, American (1928 - ) - Wall Street, Year: circa 1973, Medium: Woodcut on Japon, Image Size: 29 x 22 inches, Size: 37 x 25 in. (93.98 x 63.5 cm)

Provenance Acquired by the gallery directly from the artist Signed "Peters" on lower left Description Reminiscent of Roger E. Kuntz's geometric paintings of the Los Angeles Freewa...

Dylan Gordon is a photographer from the Central Coast of California. A childhood spent raising horses, surfing and skating inspired him to tell stories of the people and places he ...

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
A white farmhouse sits quietly beneath a gray sky, its brick chimneys contrasting against the muted backdrop. A red tractor rests in the golden field. Artist ...

Radio City New York NYC Sunset by Contemporary British Urban Landscape Artist Angela Wakefield Art measures 31.5 x 31.5 inches Frame measures 36.5 x 36.5 ...

This artwork captures a solitary moment in a remote desert setting. The scene focuses on a vintage motel, "Desert Inn," with its bright yellow façade standing out against the dark, m...

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...

Born and raised on the Central Coast of California, Dylan was brought up raising horses, surfing and skating throughout his youth. The pursuit to tell stories came naturally when he began pointing his camera towards what and who he loved most. Now known for his work in the Outdoor and Editorial realms Dylan travels the globe shooting with Top Athletes and brands. Dylan now resides in Ventura...

This dynamic 1968 poster by renowned motorsport artist Michael Turner captures the glamour and adrenaline of the legendary 12 Hours of Sebring, one of America’s most prestigious endu...

"Falaise Collection" by John Chillingworth An outfit designed for the English market by Maxime de la Falaise. The model wears a pale tangerine sweater and tie with apricot red taper...

Details 44 x 55 inches (115 x 140 cm) edition of 10 Medium: Archival Pigment Print Mounted and framed Available sizes and editions: 21 x 26 inches, edition of 7 32 x 40 inches, ed...

ABOUT THIS PIECE: French photographer Ludwig Favre recently visited New York City. His pictures of New York's iconic architecture carry the same romantic feel of a Parisian shooting ...

On the Road, reimagines classic Richard Heeps artworks presented with full film rebate almost like a blown up contact sheet. There is a cinematic style to this artwork, 'Lone Pine',...

This photograph, taken in 1952, depicts the Place de la Concorde in Paris, France. The scene captures a busy urban atmosphere with classic cars typical of the mid-20th century lining...

Cafe De Flore (1948) - Silver Gelatin Fibre Print (Photo by John Downing/Getty Images) Horse riding on Rotten Row, in London's Hyde Park, circa 1965. ...

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...

'God Speed Good Year', captured in the iconic home of speed, Bonneville Salt Flats. The bold graphic 'God Speed Good Year' contrasts in size against the vast...

Print called "Art 2014", format 42 x 60 cm. SERIES OF 5 PRINTS + 2 AP Artwork sold in perfect condition (Edition 3/5) On a square in the city center, the photographer saw three diffe...

July 17, 1954: Argentinian racer Juan Manuel Fangio (1911 - 1995) chalks up a win for the Mercedes team at the French Grand Prix in Reims. Original Publication: Picture Post - 7209 -...

Landscape is an original pouchoir artwork realized in 1920 by Leonardo Brunelleschi. The State of preservation is very good. The artwork represents the scenery of a road trip by ca...

No Edition Signed in black ink on print margin by Jesse Alexander Gelatin silver print Paper size: 14 x 11 in. Image size: 9 1/2 x 9 1/2 in. "Soon-to-be World Champion Phil Hill is in his first Grand Prix drive for Ferrari. The car is a single seater Formula Two machine, and he is seen rushing downhill through the infamous "Fuchsröhre" section of the Ring. The image is unusual for several reasons: it was taken with a Rolleiflex camera...

Oil on canvas Canvas size: 13 x 18 inches Framed size: Signed lower right

Car, Downtown Car Park, Dallas, Texas is a stunning C-Type Print by contemporary photographer Samuel Hicks. It is available in in this size in an Edition of ...

Provenance Acquired by the gallery directly from the artist Signed "Obermeyer" on lower right Artist Statement "Escaping the traffic of the freeway and slipping into downtown from ...

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...

This Photograph titled "Lotus MK 9" c.1960, is a gelatin silver print by noted photographer Richard Stacks, 1930-2015. It has the stamp of the Baltimore Sunpapers and the name of the...

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...

Paper Size: 23.5 x 35.5 inches ( 59.69 x 90.17 cm ) Image Size: 23.5 x 35.5 inches ( 59.69 x 90.17 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Additi...

Nice poster of Alexis Kow for the 24h of Le Mans. Alexis Kow said Kow is a French designer, poster artist, illustrator and model maker, born September 17, 1901 in Moscow. As early as...

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