🔥 RARE Vintage Modern 1970s LOWRIDER Car Pop Art Illustration Poster

Description: This is a very cool and RARE Vintage 1970s LOWRIDER Car Pop Art Illustration BODY WORK Poster, printed on Mylar, and designed and created by the legendary California Air Brush artist and illustrator, Peter Palombi (1944 - 2009,) for the Haggar denim clothing company in the mid 1970's. This artwork depicts a gleaming and immaculate burgundy early 1940's Cadillac, with the words: "Body Work BY HAGGAR," at the top half of the poster, and the words: "SMOOTH OUT YOUR ROUGH EDGES," at the lower edge of the poster. The reflective nature of the chrome and headline text of this poster is due to the mirror surface of uncoated mylar, which is very metallic and mirror-like. Signed and Dated in Print, "PALOMBI 75" at the lower right edge. Approximately 30 1/4 x 38 3/4 inches (including frame.) This high-quality lithograph poster was produced on a special mirrored mylar sheet. This type of print is very expensive to produce, and nobody makes this type of artwork anymore. Approximately 30 1/4 x 38 3/4 inches (including frame.) Good overall condition for decades of age and storage, with some light spots of soiling along the edges of the poster (please see photos carefully.) Priced to Sell. Palombi's original artworks are in the permanent collection of the Hilbert Museum of California Art at Chapman University, and in Private Collections worldwide. This particular art poster has only been offered a handful of times since the invention of the Internet. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks! About the Artist: Peter Palombi Born: 1944Known for: Hyper-realist style covers for magazine illustrations, record covers Peter Palombi (Born 1944) was active/lived in California. Peter Palombi is known for Hyper-realist style covers for magazine illustrations, record covers. As a Designer and Illustrator, Peter Palombi was one of the best of the California Airbrush* Illustrators of the late 1970s. His distinctive style referenced nostalgic elements from the 1940s and '50s as well as Art Deco*.He is noted for his signature hyper-realistic style, and known for being one of the chosen artist cover illustrators for musicians and bands from the 1970s.Notable covers include Commodores - Movin' On, Daryl Hall / John Oates* - War Babies, Curtis Mayfield - There's No Place Like America Today, and Various - 41 Original Hits From The Sound Track Of American Graffiti. Peter Palombi – Notable album cover work examples – Willie Nelson – The Best of..; Freddie King – Burglar; Hall & Oates – War Babies; George Benson – Breezin’; The Commodores – Movin’ On; Curtis Mayfield – There’s No Place Like America Today(b. 1944; d. August, 2009) – Peter Palombi was an artist and illustrator best-known for his hyper-realistic airbrush work. He is one of the four “Kings of California Airbrush Art” featured in the 2008 book on the subject (titled Overspray: Riding High with the Kings of California Airbrush Art. In addition to his music industry work, he’s produced images for publications such as Playboy and Rolling Stone magazine and film industry clients that included the studios behind the movies American Graffiti and The Last Picture Show. Peter died in 2009 after battling cancer. Robert Rodriguez Fine Art Prints SCA: The Art and interests of Robert Rodriguez Rosenfeld, Wilson, Palombi and Dilts, Inc.? Sounds like a law firm from a John Grisham novel. But it was the name of the studio that Peter Palombi organized with two art directors and a rep, while he was still in art school. They quickly got so busy that he dropped out of school, and I don’t know if he ever got his degree. Who cares? He got famous instead, and did some really amazing work. He only stayed at the studio for about five years and left around 1974 I think. He was well known in Los Angeles, but when he left the studio to go out on his own, he became one of the best known California illustrators of the period. He did national advertising, Playboy Magazine illustrations, Rolling Stone Magazine covers…he was the first one I know who was able to make it work, even before FedEX, Fax machines, and computers.I was friends with Peter in Chouinard Art Institute and we were in the same class. In the first class we ever took, the teacher invited students to paint murals on the walls. Peter and his roommate Pat Nagel did a mural about the Watt’s Riots that were going on at the time. It must have been about 25 feet long by 14 feet tall in black and white and sepia. This was the first time I realized that being the best artist in grammar school, junior high school and high school, didn’t count for much. Everybody in the school had been the best in their previous schools, and they were just better.When I graduated, I went to visit Peter, to see what work he was doing, and he asked me to help do a storyboard that night. I stayed and I wound up staying for five years. Peter was just starting, but I got to move up with him. He had always had a way of working with Rapido-graph pens and magic markers on vellum, where you would wipe it and smear it with toilet paper. It was mostly for comps and storyboards, but Peter was so good with it that he used it for finished art as well. PETER PALOMBI 1975-1985by rodriguezfineartprintsca After Peter left the studio to free-lance, his career really took off, as did his work. I think at the studio he probably got work because of the studio, but when he left, he got work for himself. Work where they really wanted his style. He got into airbrush with a vengeance and brought his own sensibility to it. Closeups of objects, where the details were so luscious that you didn’t realize it was a closeup of something as mundane as an electric plug or a telephone. They were as sexy as the high-heeled shoes that he loved to paint. Reflections, highlights, textures, he made them all sing.And he was a wizard with type and borders too. I think I probably love doing type and borders with my own work because of being around Peter and seeing that illustration was about the composition of the entire piece, not just the drawing and painting. It was all about design as a whole. PAID TO PLAY: Illustrating L.A. 1945 - 1985 Curated by Robert Berman, Dave Willardson and Charles E. White IIISeptember 17 – December 23, 2011ROBERT BERMAN GALLERY presents PAID TO PLAY – an overview of the oft overlooked Southern California artists rooted in illustration, commissioned to create imagery for record albums, magazines, advertisements, et al. A genre dirtily linked to commercialism but nonetheless full of innovation, technique, artistic expression and speed. “Fueled by a combination of intense demand, sleepless nights and brutal competition, the four men at the center of LA’s airbrush market – Dave Willardson, Charles E. White III, Peter Palombi and Peter Llyod – embarked on careers that produced iconic work for Playboy, Levi’s, the Rolling Stones, along with major studio films such as American Graffiti and Tron.” - Overspray: Riding High with the Kings of California Airbrush Art. And the wrangler of these men was Mike Salisbury – the art director of West magazine, the Sunday supplement of the Los Angeles Times, beginning in the late 60s – who was for illustrators what Ferus Gallery was for beat artists – a platform to project Los Angeles cool to the world at large. Though the visuals defined a generation, most west coast illustrators never landed the fine art jump with the aplomb of their east coast contemporaries like James Rosenquist, Tom Wesselmann and Andy Warhol. But perhaps the most convincing testament to the relevance of a movement largely branded as irrelevant would be the 1969 West magazine cover painted by Ed Ruscha, commissioned by Salisbury, which fetched $578,500 at auction in 2009. Included in the exhibition are works by Willardson, White, Palombi, Llyod, Lou Beach, Pat Blackwell, Tim Clark, Dante, Sean Douglas, William George, Bill Imhoff, Patrick Nagel, George McManus, Dennis Mukai, Martin Mull, Margo Nahas, Jayme Odgers, Neon Park, Everett Peck, Mark Ryden, Todd Schorr, Millard Sheets, Tommy Steele, Len Steckler, Ben Talbert, John Van Hamersveld, E. Franklin Wittmack, Zox and others. PAID TO PLAY is part of Pacific Standard Time. This unprecedented collaboration, initiated by the Getty, brings together more than sixty cultural institutions from across Southern California for six months beginning October 2011 to tell the story of the birth of the L.A. art scene.

Price: 1350 USD

Location: Orange, California

End Time: 2025-02-14T03:18:29.000Z

Shipping Cost: 45 USD