Michael Turner Furniture

Depicting the iconic black and white image of McQueen in the titular role, this extremely rare and stunningly designed poster for Bullitt is a treasure from the midcentury. Released...

This poster is for the 1977 Monaco Grand Prix, with the brilliant illustration design by Carpenter. The vibrant and modern artwork depicts the speed of the racers. The 1977 Monaco G...

This rare 1933 lithograph by renowned modernist artist Arnold Rönnebeck depicts a striking winter scene of a Colorado mountain mine blanketed in snow. Rendered in dramatic black-and-...

This poster is for the 1978 Monaco Grand Prix, with the brilliant illustration design showing the car of the legendary Niki Lauda racing ahead of the chasing pack. The vibrant and mo...

Authorised Edition vintage Monaco Grand Prix car poster by Geo Ham 1936 This poster is advertising the Grand Prix Printed by IDL Paris circa 1980 Size: 2...

Etching and drypoint on greenish cream wove paper, 3 1/4 x 1 15/16 inches (81 x 48 mm), full margins. Signed, dated, and inscribed "III" in pencil. Number 46 from the French Churche...

Original vintage poster for the 1935 Monaco Grand Prix car race held on 22 April featuring a striking Art Deco design by Geo Ham (Georges Hamel; 1900-1972) featuring a Mercedes W25, ...

A man raises his hand to his chin, his neck tilted and face turned to look at a dilapidated farmhouse, barely held together by planks of wood and exposed to the elements. Behind him ...

Waiting from the Kent Bicentennial Portfolio Will Barnet, American (1911–2012) Date: 1975 Offset Lithograph (unsigned as issued) Image Size: 11.25 x 11 inches Size: 17 x 14 in. (43.1...

Original vintage motorsport poster - Grosser Preis von Deutschland Weltmeisterschafts-Pokal der Konstrukteure / German Grand Prix Constructors' World Championship Trophy - held on th...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...

In this sentimental work from 1939, Benton expresses his admiration for the rural lifestyle of the Midwest. He highlights the connection between man and the land by depicting two fig...