Platinum/palladium prints

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Esso Station and Tenement House, Hoboken, NJ, 1972

Double coated platinum palladium print

13 3/4 x 11 in. (34.9 x 27.9 cm)

36 x 28 in. (91.4 x 71.2 cm), ed. 2 of 15


Before there was Exxon, there was Esso. Tice has revealed the unmistakable essence of American post-war design in this photograph: from the aquiline neon sign, to the glistening chrome that frames the 1970s Chevy Impala. The bright, springy neon shimmers before a background of melodramatic sky and architecture. Printed from three negatives in double-coated platinum palladium, Esso Station is a true masterpiece.

Aspen Grove, Aspen, Colorado

1969, printed 2016
Platinum/palladium print
11 x 14 in. (27.9 x 35.6 cm)

28 x 36 in. (71.1 x 91.4 cm), edition 2/15, platinum

Hudson River Pier, Jersey City, New Jersey, 1979
Platinum/palladium print
7 5/8 x 9 5/8 in. (19.4 x 24.5 cm)

20 x 24 in. (50.8 x 61.0 cm), edition 14 of 30

Petit's Mobil Station, Cherry Hil, New Jersey, 1974
platinum/palladium print
20 x 24 in. (50.8 x 61 cm)

edition 27 of 30


George Tice’s most iconic photograph, Petit’s Mobil Station recalls the magnificent abandon of an Edward Hopper painting, and has become emblematic of the quintessential American urban landscape. Tice photographed Petit’s Mobil Station on route to visit his girlfriend at the time. Exiting the New Jersey turnpike around dusk, Tice propped up his camera on the side of the road and set a 2 minute exposure. To preserve the scene’s serene emptiness — one where the flat top sedan is the only sign of human activity— Tice covered the lens every time a new car pulled up to the pump. The platinum and palladium that Tice used to print the photograph evokes the richness of light, giving the station an unexpected gravitas.

From the Chrysler Building, New York, 1978
Double-coated platinum/palladium print
36 x 28 in. (91.4 x 71.1 cm)

edition 6 of 15

Porch, Monhegan Island, Maine

1971, printed 2015
Platinum/palladium print

13 3/8 x 8 7/8 in. (34.0 x 22.5 cm)


The Monhegan Island home where Porch was photographed has inspired painters and photographers alike. The painter Rockwell Kent, who built the home, was its first resident — and such paintings as Winter, Monhegan Island, 1907, are testament to his affection for the Maine island. He often received visitors such as Robert Henri, who later wrote of his experiences, “I have never seen anything so fine.” Jamie Wyeth, the son of the late realist painter Andrew Wyeth, was residing in the home when Tice visited in 1971. Tice discovered the home while lodging with the island’s lighthouse keeper nearby. Porch was included in Tice's 1973 series Seacoast Maine: People and Places.

Oak Tree, Holmdel, New Jersey, 1970
Palladium print
20 x 24 in. (50.8 x 61 cm)

Edition 11 of 30

Ferry Slip, Jersey City, New Jersey, 1979
Platinum/palladium print

20 x 24 in. (50.8 x 61 cm), edition 2 of 30

28 x 36 in. (71.1 x 91.4 cm), edition 3 of 15

Amish Boy with Straw Hat, Lancaster, Pennsylvania

1965, printed 2015
Platinum/palladium print
10 7/16 x 13 3/16 in. (26.5 x 33.5 cm)

Hayfork, Lancaster, Pennsylvania

1968, printed 2015

Platinum/Palladium Print
13 3/16 x 8 7/8 in. (33.5 x 22.5 cm)

Roaring Fork River, Aspen, Colorado

1969, printed 2007

Palladium print
24 x 20 in. (61 x 50.8 cm)

edition 5 of 30

Strand Theater, Keyport, New Jersey

1973, printed 2011
Platinum/palladium print
20 x 24 in. (50.8 x 61 cm)

Edition 5 of 30

Telephone Booth, 3 AM, Rahway, New Jersey, 1974
Platinum/palladium print
24 x 20 in. (61 x 50.8 cm)

Edition 7 of 30

White Castle, Route #1, Rahway, New Jersey

1973, printed 2007
Platinum/palladium print
20 x 24 in. (50.8 x 61 cm)

edition 2 of 30

Aquatic Plants #1, Saddle River, New Jersey

1967, printed 2007
Palladium print
20 x 24 in. (50.8 x 61 cm)

Edition 5 of 30

Woods, Port Clyde, Maine, 1970
Palladium print
20 x 24 in. (50.8 x 61 cm)

Edition 2 of 30

Explosion Aboard the USS Wasp

August 9, 1959, printed 2015
Platinum/palladium print
13 7/16 x 10 3/4 in. (24.1 x 27.3 cm)


Tice captured Explosion Aboard the USS Wasp as a 21 year old official photographer for the US Navy. The aircraft carrier had been cruising along Norfolk, Bermuda and Quonset Point, when a helicopter engine exploded in one of the ship’s hangars. After appearing on the front page of New York Times, the photograph caught the attention of Edward Steichen, then director of the Museum of Modern Art, who acquired the artwork into the collection. Explosion Aboard the USS Wasp was Tice’s first serious photograph that helped solidify his life course as an artist.


George Tice, born in 1938 in Newark, New Jersey, is one of the most prominent fine-art photographers in the United States. His body of work has continually focused on the American landscape. He began photographing at the age of 14, when, on the advice of a teacher, he joined the Carteret Camera Club. A turning point in his training happened two years later, when a professional photographer critiquing a club members’ work praised his picture of an alleyway. Tice briefly studied commercial photography at Newark Vocational and Technical High School. At sixteen he left high school to work as a darkroom assistant for a Newark portrait studio. A year later he enlisted in the U.S. Navy, serving as a photographer's mate. In 1959, a published image he made of an explosion aboard the USS Wasp caught the eye of photographer Edward Steichen, who as director of photography at the Museum of Modern Art, acquired the print for the museum’s collection. Especially well known as a master printer, Tice printed for artists like Edward Steichen as well as printing the portfolios of such artists as Frederick H. Evans and Edward Weston. 

For the next decade, Tice worked as a portrait photographer and helped to establish The Witkin Gallery. His initial success allowed him to concentrate on personal projects. In the 1960s, Tice shifted from smaller camera formats to larger ones, which enabled him to craft carefully detailed prints. When George Tice moved from professional to personal work, he turned his lens to the American urban and rural landscapes, attempting to capture the spirit of the place. Self-taught in the use of the view camera, Tice began photographing the Amish communities of Pennsylvania, a region close to where he grew up. One of his series focused on Lancaster, Pennsylvania, which depicted the daily life of the Amish people and their integration with the landscape around them. Tice frequently returned to this area of Pennsylvania and over a span of eight years he produced his well-known photo-essay on the Amish and Mennonite communities. Tice’s other work features the architectural and industrial motifs that identify American Society. In 1969, Tice was included in the opening group show at the Witkin Gallery that set a precedent for other photographic gallery exhibitions.

George Tice is drawn to the vestiges of American culture on the verge of extinction. Although he has photographed throughout the United States, he is best known for his pictures of his native New Jersey, and the impeccable quality of his black-and-white prints. 

George Tice’s first show in New York was at the Underground Gallery in 1965. In 1972, he had a one-man show at the Metropolitan Museum of Art, Paterson, New Jersey and in 2002, ICP exhibited George Tice: Urban Landscapes, a series he had worked since 1960s. 

Exhibited internationally, George Tice’s work is represented in over one hundred museum collections, including MoMA, the Metropolitan Museum of Art, the Art Institute of Chicago, the J. Paul Getty Museum and the Newark Museum. Tice has received fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the National Media Museum (UK), the New Jersey State Council on the Arts, as well as commissions from The Field Museum of Natural History, the Houston Museum of Fine Arts, and the Museum of Modern Art. He has published seventeen books including the following that are available in the gallery: Fields of Peace (1998), George Tice: Selected Photographs, 1953-1999 (2001), Lincoln (1984), Hometowns, An American Pilgrimage (1988), Stone Walls, Grey Skies, A Vision of Yorkshire (1993), George Tice: Urban Landscapes (2002), Common Mementos (2005),Paterson II (2006), Ticetown (2007) and Seacoast Maine (2009).

Selected solo exhibitions

Seeing Beyond the Moment: Photographic Legacy and Gifts of George Tice, Newark Museum, Newark, NJ
George Tice: 60 Years of Photography, Nailya Alexander Gallery, New York, NY

Platinum/Palladium Photographs, Nailya Alexander Gallery, New York, NY

George Tice: American Photographer, Peter Fetterman Gallery, Santa Monica, CA

George Tice: A Retrospective, Scott Nichols Gallery, San Francisco, CA

George Tice: Urban Landscapes, International Center of Photography, New York, NY

George Tice: An American Master, Point Light Gallery, Glebe, New South Wales, Australia

Stone Walls, Grey Skies, Witkin Gallery, New York, NY
Stone Walls, Grey Skies, Photo Gallery International, Tokyo, Japan
The Photographs of George Tice, Houk Gallery, Chicago, IL

Stone Walls, Grey Skies and A Retrospective, National Museum of Photography, Film & Television, Bradford, England


Seacoast Maine, Photo Gallery International, Tokyo, Japan
Hometowns, Chrysler Museum, Norfolk, VA
Hometowns, Witkin Gallery, New York, NY

George A. Tice, Photographic Museum of Finland, Helsinki, Finland

Liberty State Park: The Master Plan, Museum of Modern Art, New York, NY

Urban Landscapes, Rutgers University Art Gallery, New Brunswick, NJ

Paterson, New Jersey, Metropolitan Museum of Art, New York, NY