Wheel Art

Original painting signed by the Artist on the lower left.

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 view you want. David Loggan (1634-1692) Sidney Sussex...

David Loggan (1634-1692) St Peter's College Oxford - New Inn Hall, Aula Novi Hospitii Engraving 1675 25x36cm Baptised in Danzig in 1634 Loggan's parents were English and Scottish. Studying engraving in Danzig with Willem Hondius (1598-1652 or 1658) he moved to London in the late 1650s producing the engraved title-page for the folio 1662 Book of Common Prayer. Marrying in 1663 he moved to Nuffield, Oxfordshire in 1665 to avoid the Plague and was in 1668/9 appointed Public Sculptor to the nearby University of Oxford having been commissioned to produce bird’s-eye views of all the Oxford Colleges. He lived in Holywell Street as he did this. Oxonia illustrata was published in 1675, with the help of Robert White (1645-1704). Following its completion he commenced work on his equivalent work for Cambridge, Cantabrigia Illustrata which was finally published in 1690 when he was made engraver to Cambridge University. Oxonia illustrata also includes an engraving of Winchester College (sharing its founder – William of Wykeham – with New College) whilst Cantabrigia illustrata includes one of Eton College (which shares its founder – Henry VIII – with King’s College). Bird’s-eye views required a particular talent as an architectural perspectivist of that era as it was not until 1783 that the first living thing (a sheep, named Montauciel ‘climb to the sky’) was sent aloft by the Mongolfier brothers in a balloon. Loggan thus had to rely on his imagination in conceiving the views. Loggan’s views constitute the first accurate depictions of the two Universities, in many ways unchanged today. Whilst the Oxford engravings were produced in reasonable numbers and ran to a second edition (on thicker paper and with a plate number in the bottom right-hand corner), those of Cambridge were printed in smaller numbers and no second edition was produced. The Dutchman Pieter van der Aa published some miniature versions of the engravings for James Beverell’s guidebook to the UK Les Delices de la Grande Bretagne c. 1708. Edmund Hort New (1871-1931) produced a series of pen-and-ink drawings of views of Oxford that paid homage to Loggan showing the development of the city in the following two hundred years. They were turned into photoengravings by Emery...

We acquired a series of photographs from Rosemary Ellis's studio. To find more from this series scroll down to "More from this Seller" and below it click on "See all from this Seller...

From a series of similar photographs, to see the others scroll down to 'see all from seller'. Rosemary Ellis (1910-1938) Pipes VII Original proof photograph for 'Pipes and Wires' in...

Translated title: "Tropical flight" Acrylic on masonite.

Translated title: "Drunken face". Mixed media on canvas.

Signed/etched by artist on bronze base of sculpture with edition number. 2/30

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 view you want. David Loggan (1634-1692) All Souls College...

Artist: Christina Allan Title: Supernova Medium: Acrylic on Canvas Size: 42 x 38 inches (106.7 x 96.5 cm) Year: 2022 Notes: Hand Signed on Verso. Exh...

Les Tilleuls de L'Avenue de la Mer by H. Claude Pissarro (b. 1935) Pastel on card 37 x 51 cm (14 ⁵/₈ x 20 ¹/₈ inches) Signed lower left, H. Claude Pissarro This work is accompanied ...

My painting of a US-spec 1967 Jaguar E Type (XKE) S1 convertible (dhc), painted using acrylic paint onto stretched canvas measuring approx 26" x 22". :: Paint...

Acrylic paint on stretched canvas, I present my painting of a Chevrolet Nomad. :: Painting :: Photorealism :: This piece comes with an official certificate of authenticity signed by...

This painting is presented on canvas covered 3mm thick MDF. This painting of a 1960 Ford Thunderbird has been created using acrylic paints and measures 40x50cm ( approx 16" x 20" ) :...

Painted onto 3mm thick MDF-backed canvas, a 1961 Chevrolet Impala convertible, completed using acrylic paints. The painting shows the car on Paris licence plates which can be over-pa...

A large original painting of the LeMans 24-hour winning car from 1971. The is a Porsche 917K Salzburg, created on 92x73cm stretched canvas using acrylic paint, partially airbrushed. ...

I spotted the car at the LeMans race circuit. This 1955 Jaguar D Type is exactly the model which won the LeMans 24-hour race in 1955 driven by Mike Hawthorn, I cannot be certain that...

A classic convertible known as a Woody sits on a tropical beach at sunset as the honeymoon couple wait on the pier for the boat to take them to their paradise retreat. This paintin...

This painting depicts a scene from the 1930's of a car pulling off the highway to fill up with gasoline at a filling station and maybe have a beer with lunch. The price of 5cents per...

Published Thayer Stroller advertisement, 1951 Watercolor and gouache on board Signed lower left

For the past dozen years or so I’ve focused on bridge elements by selecting portions of bridge structures and painting segments in a realist style. Previous shows at the Billis Gal...

This exquisite watercolor on paper painting by Charles Marie Palianti, titled "Morning Mood on the Market," captures the vibrant atmosphere of a bustling marketplace. Painted in a re...

Signed on reverse Digital C-type print Accompanied by Magnum Photos COA Available in two sizes: Paper size: 20 x 24 inches, edition of 10 Paper size: 40 x 50 inches, edition of 5 ...

This large scale color photograph depicts an open freight train car, perfectly framing a vista of a mountain with the train tracks in the foreground. V...

Represented by George Billis', NYC and LA galleries -- When I think about the conventions of painting -- a tradition I respect immensely -- I notice that my concern has always been...

Lithograph in colors on paper. Hand signed lower right by Peter Max. Hand numbered 67/150 lower left. Sheet size: 27 x 34 inches. Custom framed as pictured. White frame and ma...

40"40" photograph, edition of 5, signed and editioned on reverse framed in natural wood shadowbox frame This photograph is from a series entitled, “(UN)THINKABLE,” the culmination of 25 years of Phillip Buehler’s work photographing remnants of the Cold War throughout the United States and Europe. Buehler has visited NATO airbases, Cape Canaveral, the Airplane Graveyard, missile bunkers and silos (even within New York City’s borders) among many other sites that are historic, and yet hidden, forbidden, and forgotten. Photographs from this series will be featured in a solo exhibition this September at the Front Room Gallery. For anyone growing up during the Cold War the sense of dread of the world’s annihilation was all to concrete. It was evidenced in films like “Dr. Strangelove” and “The Day After.” Everyone knew the U.S. had enough nuclear weapons to destroy the world 5 times over, and assumed something similar about the Russians. For those not old enough to remember this built in fear, don’t worry (worry) it is reawakening. We don’t need another Cuban Missile Crisis to push us to the brink, the renewed tension with the Russians, and now North Korea’s recent entry in the nuclear weapons club is more than enough to unnerve anyone who is watching these conflicts unfold. Phillip Buehler is watching closely. Through this comprehensive series Buehler’s photos show many aspects of this non-war war. In Buehler’s aerial photographs from a military airplane storage yard in Arizona the repetition of the same model of bomber aircraft are so abstractly pattern-based that the overall effect beginnings to feel like a Middle Eastern tapestry...

Original painting signed by the Artist in lower left.

This watercolour on paper is signed by the artist “J. Gurvich” at the lower left corner. It is also signed in Hebrew and dated “1956” at the lower right corner. Provenance: The collection of Pinchus (Pancho) Getz, Kibbutz Ramot Menashe, Israel. Kibbutz Ramot Menashe, Israel. In the Early 1950's, after the death of Joaquín Torres García...

Original etching and drypoint, signed in the plate and in pencil in the lower right corner; Dodgson "Etchings and drypoints by Muirhead Bone", Print Collector's Quarterly, 1922, IX, p. 173-200; Mackenzie, British Prints, p. 57; 400 x 278 mm Superb test with signs particularly rich in beards, a characteristic typical only of the first tests: the pictorial effect is very effective. Small uneven margins. In perfect state of conservation. Rich of burr drypoint, 1916, printed on cream paper. Good margins all around. In good condition. Sir Muirhead Bone (23 March 1876 - 21 October 1953) was a Scottish etcher and watercolorist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists...

Phelps creates staged scenes that resemble film stills. He pairs models with pieces of machinery, motorcycles and found objects in industrial settings. Conscious of costume with dram...

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

Signed Lower Right by Artist “As the stage swung down into the city, he pointed out a girl strolling along with a greyhound on a leash of a blue silk ribbon” Magazine story illust...

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...

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 ...

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 prod...

Includes a Certificate of Authenticity

Black and White, Car, Urban, Los Angeles, Sky, american, b&w, black & white, urban photography, vehicle, bikes, driving, bicycle, motion blue, vignette, van, high contrast, California 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: Since the inception of Sunshine & Noir in 2001, Alleman has shot extensively in Los Angeles, New York, San Francisco and other American cities. In his latest iteration Alleman takes a detour beyond the frenetic landscapes of urban America into Paris - playfully guiding the viewer through a simultaneously familiar and foreign geography. In the exhibition, square and panoramic landscapes and iconic landmarks stretch across the gallery, where Alleman creates intrigue by re-expressing instantly recognizable subjects. Images with blurred, vignetted edges epitomize his surrealist style, haunting throughout the series. His artful mastery at capturing movement is seen in the invitational image, San Fernando Valley...

Date: 1945 Medium: Oil on Board Dimensions: 16.00" x 33.75" Signature: Signed Lower Right Exhibitions: Exhibited at International Galleries Contemporary American Illustration, May 1...

Henri Carnier, 19th century busy European harbor view Signed lower left. Frame damaged. Dimensions without frame: 32 cm x 48 cm With frame: 50.5 cm x 66.5 cm From 1900 Karl Kaufma...

Georgina Lara British, (fl. 1862-1871) A Busy Village Oil on canvas, unsigned Image size: 11.75 inches x 19.25 inches Size including frame: 16.25 inches x 24.25 inches Provenance: Cooling Galleries, Bond Street, London A pleasing village scene featuring figures, horse and other animals in a village square. To the left, a team of horses with a hay cart can be seen resting whilst a group of people chat outside a village store. In the foreground a group of children play marbles by a dog as two women chat by a log. Meanwhile, a horse and cart is shown entering the village alongside a barn. Georgina Lara also known as Edwina Lara was a London painter of rustic farmyard and village scenes. Her work also closely resembles that of Edward Masters...

A red vintage woodie station wagon is parked by a beach house, with a person standing beside it looking at the sea. Another individual is sitting on the sand nearby, and surfboards a...

Alleman's use of perspective and framing gives the dingy NYC street vendor an elevated sense of grandeur. Thomas Alleman’s urban landscapes convey the pulsating energy and sensual e...

As if developed from memory, West’s latest collection channels imagery from a familiar past life. Just as the DaDa artists utilized art objects in unconventional forms produced by un...

The specific film Alleman uses in this photograph draws the viewer in to the eyes painted on the wall, which are paralleled by the two cars sitting directly under each eye. Thomas ...

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization. These photographs are about a tangible physical experience, about moving parts. Gittler’s expert printing-his ability to see the potential in a frame and employ the techniques necessary to articulate that vision on paper-brings the work to life. There’s wit in the brand iconography and a documentary component, but Gittler resists prescribing interpretations, saying subtext isn’t the point. His use of extremely shallow depth of field, intense contrast and exploded grain is muscular and poetic. But subtext is relevant. Although Robin Rice first approached Ian Gittler about his vector-based art on photo paper, the gallerist challenged him to create a series of photographs with that kind of machismo. As a native New Yorker who was marched through the halls of MOMA as a toddler, Gittler’s inspiration-his idea of macho-has less to do with cowboys and racecar drivers than with Franz Kline brushstrokes and modernist design. For Gittler, macho means the maximum amount of black ink that can lie across a sheet of photo paper. That kind of force. He narrowed his field of view for this series-often to a centimeter or two-in order to achieve a purely visual, visceral response. Gittler titled the work Motor Art in tribute to the 1934 Museum of Modern Art exhibit, Machine Art. Upon its sixtieth anniversary, Phillip Johnson wrote of the show (and of his own essay for its original opening), “The thrust was clear: anti-handicraft, industrial methods alone satisfied our age; Platonic dreams of perfection were the ideal.” Ian Gittler photographs, draws, writes, and makes music. He has created album covers for Willie Nelson, Roy Hargrove...

Georgian artist Merab Gagiladze was born in Tbilisi. In 1987 he began his formal art education at the Tbilisi College of Art, School of Ceramics. In 19...

The bench in the shade

Conditions : Very good overall Conditions. Signed by the artist. Provenance: Family of the artist, studio sale. Signed in pencil lower right. Complementary shipping worlwide by DHL,...

With his multimedia portraits, Moroccan artist Hassan Hajjaj thrives in a space between cultures, traditions, mediums, and artistic movements. The subjects of his photography range f...

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

This beautiful intricate, Rotring pen and markers on paper, on 350gsm Colorset white paper. This piece is framed on a white wood frame, uv glass and all archival materials. GUILLAUM...

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...

You think it started 500 years ago? You're partly right. But the real exploration began, in my opinion, in the late 1940s. That's when the great event happened. America started movin...

RANDOLPH SCHWABE, RWS, NEAC (1885-1948) Giant’s Head Farm, Cerne Abbas Signed with initials, inscribed Giant’s Head Farm, Cerne Abbas and dated 193...

keywords; brown, earth tones, surrealism, car portrait, car accident, oil painting, representation painting, strangeness, contemporary surrealistic, unsettling, contemporary realist painting, dreams, symbolic composition, tonalist, grey, monochrome, nostalgic, vintage, early century, illustration, car, automobile, old car wreck...

24"x 30" photograph, edition of 5, signed on reverse. This photograph is taken at Greystone Park Hospital, in an area of the building where snow has drifted into the abandoned complex. Phillip Buehler has been photographing abandoned places around the world since he rowed to the (then abandoned) Ellis Island in 1974. Many, like Greystone Park Hospital, have since been demolished; some, like Ellis Island and the High Line, have been restored, and some, like the S.S. United States and the New York State Pavilion, are now in jeopardy. Photographs from the (now demolished) Greystone Park Hospital are featured in this exhibition and in the book “Wardy Forty” which he wrote in 2013 about the last days of Woody...

Represented by George Billis Gallery, NYC & LA --“I do think the big problem in a way…is how you deal with ordinary life—that is not extraordinary, that does not involve heroism,...

keywords; surrealism, portrait, oil painting, earth tones, figurative painting, strangeness, contemporary surrealistic, unsettling, contemporary realist painting, dreams, symbolic composition, dream, men , portrait, earth tones, tonalist, grey, monochrome, nostalgic, vintage, early century, illustration, brown, car, automobile, tractor, old car wreck...

Charming colour framed print depicting a lively English village setting by A. Ludovici published by Raphael Tuck & Sons Ltd Print Sz: 6 1/2"H x 11 7/8"W Frame Sz: 12"H x 17"W