Razzia

In an age when most poster art is computer generated, Razzia is one of the world’s only modern day poster "artists". He began his incredible artwork in the 1980’s, and the legacy continues to this day. We are proud to feature Razzia’s artwork in our gallery... 

During the Golden Age of posters, before television and certainly computers, advertisers employed the best artists they could find to make interesting and unique renderings of the product they wished to sell or advertise in order to impact the market and stand out from their competitors with a strong image. In most cases the artist would produce a painting which when approved would be lithographed with the appropriate text. Razzia still conceives his posters from an original painting, a technique not common in this day and age.

His biggest client, Louis Vuitton, commissioned him for all the special events they sponsor around the world including the Louis Vuitton Cup sailing competition and numerous Concours d’Elegance of automobile.

Other clients for which he has worked include Stetson Hats, for their 2000-2001 advertising campaign, Lancia Automobiles, L’Oreal, International Prêt à Porter Feminin (France), Bloomingdale’s, Macy’s, Harrod’s, the Nice Jazz Festival, the City of Deauville, several brand name Champagnes and several restaurants in Paris and New York.

Razzia has sold to many collectors around the world including Elton John, Jackie Collins, and Michael Caine.

Alain Lévesque

Inspired by the Art Deco and Italian Futurism movement, the paintings of Canadian artist Alain Lévesque are recognized by car enthusiasts throughout the world.

Born in 1956 at Lassare in Abitibi, at an early age Alain Lévesque chose a career in graphic design. Very quickly, he achieved a place among the leading poster artists by creating major works for the Montreal World Film Festival and the Americas Cycling Grand Prix, plus the series of three posters showing the three world capitals in the giant 1991 exhibition at the Montreal Museum of Fine Arts, entitled The 1920s: The Age of the Metropolis.

Alain's fascination with automobile art began in 1988, being exposed to the 1920's and 1930's automobile and their forms which inspired him. Today his artwork has been published in several international publications including Automobile Classique France, Octane Magazine England, Hemming Classic Car U.S.A, as well as Top Gear Italy. It is also on the cover page of Panorama Magazine December 2014 as well as the Robb Report Vietnam July 2015.

We are proud to feature Alain Lévesque's artwork in our gallery.

Nicholas Watts - exploring auto racing from different angles and perspectives

Works of Nicholas Watts
By Jacques Vaucher

Preserving a fleeting moment in time is something that historians and romantics alike often wish they could do.

The paintings of automotive artist Nicholas Watts are dedicated to doing just that. He has mastered the art of capturing a brief second in time, not only through the event and local environment, but the emotional aspect as well.

Born in Tunbridge, England in 1947, Watts is a virtually self-taught artist. From an early age he was fascinated with the automobile, including its structure, form and function. Each painting of his is a celebration of that fascination, and is painstakingly researched and detailed.

Working usually with gouache-on-board and later in acrylic on canvas, Watts’ work is always exploring auto racing from different angles and perspectives. This is clearly evident in his recent work, which not only opens up new views to historical moments in the sport, but also explores new techniques of capturing speed and action on board and canvas.

By stopping time just seconds before the most fateful event of the race, Watts has managed to hold on to the feeling of that specific moment. Even people who didn’t witness the race, or don’t know of its outcome can sense the tension in the air.

“I want to put more of myself into my paintings,” explains Watts. “I can do this through my use of color and brush strokes, without losing the exact shape of the vehicle. I doubt my style will ever become completely impressionistic, but I have moved away from the photo-realism I began with.

He continually offers us new approaches and perspectives of the motor races, keeping his work fresh and new, and in high demand. If the past 40+ years have been any indication of his growth and potential, we expect Nicholas Watts to remain at the forefront of automotive art for years to come. In his own words, “I only hope I have enough time to create all of the ideas I have in my head.

Geo Ham - One of the finest automotive artists

Widely regarded as one of the finest automotive artists of all time, Geo Ham was born in France in 1910. He began getting his work published by as early as 1923, and by the 1930's was already established as the finest in his field, being commissioned to create the fantastic Art Deco posters for the Monaco Grand Prix, the 24 Hours of Le Mans and many others.

Geo Ham competed in the 1934 Le Mans race in a 2 liter Derby, and although fuel problems forced him to withdraw, his experience helped him capture the excitement of motor racing in his paintings. Geo Ham died in 1972.

Ernest Montaut Studio Lithographs finished in contemporary watercolor by hand with stencils by Ernest Montaut Studio

Ernest Montaut, a French artist, was celebrated as an illustrator of early automobile racing, air and water transportation. Dramatic posters documenting the earliest auto and air races, these lithographs were popular for advertising promotions as well as for home decoration.

Each lithograph was hand painted with both aqueous and opaque watercolor, applied with a series of stencils. One print might require as many as 18 stencils before completion. A forerunner of modern silk screening, this tedious lithographic process often involved a staff of 12 artists over several days to produce one print. Each print was thus handcrafted, allowing for color variation in almost every image. It is estimated that fewer than 100 designs were created, usually with approximately 100 prints per series.

Simple, accurate and vibrant, these prints are recognized as premier in the early art of the machine age.

Barry Rowe

Barry Rowe and I have a history that goes back several decades.  My appreciation for his work and my enjoyment of his personality and work ethic allowed us to successfully work together for years.

In 2003, Barry asked me to write the Forward for his soon-to-be-released book, "Atmosphere and Light" (which is available in this collection).  I was flattered by the offer, and of course I agreed to it.  

Below is what I had to say at the time.  My Opinion has only been reinforced to this day.  

Forward from "Atmosphere and Light"

One of the advantages of owning my own gallery, l'art et l'automobile, in New York, (now moved to Harper Texas) is that I can surround myself with some of my favorite artwork created by artists whom I admire and enjoy working with.  

In 1994 Barry Rowe sent me a few transparencies of his recent paintings, and I knew instantly that I would like to sell his art in my gallery.  We have worked together ever since.  Barry and I are both pioneers of automotive art in its decorative form.  I often wonder what we would have chosen as our vocation if we had lived in an earlier century, because the automobile has been such an influence on both our lives.  

England has probably produced more great automotive artists than any other country, and Barry definitely continues the tradition that started with Gordon Crosby.  Today there are at least a dozen world-renowned painters of the car residing or working in England.  Barry is one of the Best.  

What I admire most about Barry's art is his classic technique and his ability to paint a full range of subjects so well, mastering scenes regardless of their era.  Classic Cars, vintage and modern race cars, the occasional airplane, landscapes, horses, portraits of people, and crowd scenes are all executed with ease.  All of his paintings display great composition and style.  This is the first book to catalog the breadth of Barry's work, which is truly impressive in it's scope. Barry, I know I am not the only one pleased to see this retrospective of your work. Bravo!  You and your art deserve it.  I believe this will not be the last book of yours.  

-Jacques Vaucher
New York
November 2003