Slim Aarons

'Poolside Pairs' Slim Aarons Limited Edition Estate Stamped Print

1970

'Pulitzer On The Beach' Slim Aarons Limited Edition Estate Stamped Print Premium Rates Apply. Patsy Pulitzer (nee Patsy Bartlett) at Palm Beach, Florida, circa 1955. (Photo by Slim Aarons/Hulton Archive/Getty Images) Silver Gelatin Print Produced from the original negative Certificate of authenticity supplied Archive stamped Numbered in ink on front Printed 2021 Various sizes and frame options available FRAMING: Please note that this piece is unframed – however, we offer a full framing service. If you would like this piece framed, please contact us for a quote. Keywords 1950s 50s woman model aesthetic luxury high society black and white beach...

'Pool At El Venerol' 1967 Slim Aarons Limited Edition Estate Stamped Print Guests by the pool at 'El Venerol', the villa of Hector and Chico de Ayala, Marbella, Spain, August 1967....

'Poolside Pairs' Slim Aarons Limited Edition Estate Stamped Print, Printed Later Former fashion model Helen Dzo Dzo Kaptur (in white lace) and Nelda Linsk (in yellow), wife of art dealer Joseph Linsk, at the Kaufmann Desert House in Palm Springs, California, January 1970. The Linsks are the current owners of the house. (Photo by Slim Aarons/Getty Images) C Print Produced from the original transparency Certificate of authenticity supplied Archive stamped THIS PRINT 60x40 inches / 152 x 101 cm paper size printed 2021 Various sizes and frame options available FRAMING: Please note that this piece is unframed – however, we offer a full framing service. If you would like this piece framed, please contact us for a quote. We ship regularly using Fedex Express services and shipping to all international locations. Keywords 1970s 70s luxury monumental friends party women swimming...

"Saturday Night Fever" Original Vintage 1977 Lobby Card Condition Mint Original vintage 1977 lobby card from the film "Saturday Night Fever" directed by John Badham FRAMING: Pleas...

"Saturday Night Fever" Original Vintage 1977 Lobby Card Condition Mint Original vintage 1977 lobby card from the film "Saturday Night Fever" directed by John Badham FRAMING: Pleas...

"Saturday Night Fever" Original Vintage 1977 Lobby Card Condition Mint Original vintage 1977 lobby card from the film "Saturday Night Fever" directed by John Badham FRAMING: Pleas...

Archival inkjet print Signed and dated, recto 7 x 5 inches, sheet This artwork is offered by ClampArt, located in New York City. Maggie Meiners is an American artist and photograph...

Dye-Sublimation print on aluminum

Edition of a drawing of the famous architect Juan José Díaz Infante Senior.

Blue print, drawing of the famous architect Juan José Díaz Infante Senior.

Limited edition of 30 museum quality Giclee prints on CANVAS, signed and numbered by the artist. Print lead time 1 week. A "Certificate of Authenticity" issued by the artist is inc...

Brown Cottonwood, 2005 By Andrew Millner (American, b. 1967) Lightjet Print Mounted on UV Plex Signed Lower Right Unframed: 87" x 44" Framed: 88" x 45" Andrew Millner is a visual artist based in St. Louis, MO. His work investigates the relationship between art and nature, the natural and the made. Millner received a BFA from University of Michigan, in Painting and Sculpture. He has had more than 56 group exhibitions since 1987 and over 15 solo exhibitions at institutions including Miller Yezerski Gallery, Boston, Massachusetts; Ellen Miller Gallery, Boston, Massachusetts; CCA, Santa Fe, New Mexico; Tria Gallery, New York City, New York; Richard Levy Gallery, Albuquerque, New Mexico; David Floria Gallery, Aspen, Colorado; Contemporary Museum St. Louis, St. Louis, Missouri. "I started drawing on the computer in 2005. Previous to that, most of my work had been about finding lines in nature; the contours of leaves, the ripples on rivers, the edges of overlapping hills. Although I was using traditional art materials, I prepared the canvases with slicker and slicker surfaces so that the lines wouldn’t soak into the background but sit on top, preserving the nuances of my hand. I thought of the drawings as photographic, in the diaristic sense of recording moments of time. I enjoyed the easy correspondence of the endless novelty of line in these natural forms and the endless variety of line created by my hand. I couldn’t draw the same leaf twice so my subject and process were well matched. I had the idea to draw every leaf of a tree, but I struggled with the scale and complexity of the subject. How does one bring a tree indoors? How can one see the whole tree and its individual parts simultaneously? I tried traditional strategies and materials but the results were unsatisfactory. I wondered if it would be possible to make the drawing on a computer. Since everything… music, photos, movies & books were being digitized, what about drawing? I wasn’t interested in something computer-generated, but sought to “dumb down” the computer and use it as a repository for simple line drawings. In the program I use, Adobe Illustrator, lines are called “paths”… an apt name since the line exists at no set scale or color. Only later do I assign the attributes of color and thickness. Taking my laptop outdoors, I drew my first tree “en plein air.” Using a digital tablet and pen, I drew simple contours of the leaves and branches. Having these drawings remain in digital form rather than in physical form, opened up interesting possibilities and enabled me to tackle the complexity of a tree in intriguing ways. My lines were free and separate from the background and from each other. I drew the branches individually and then later, I could cobble them together to reconstitute the whole tree. On the screen, I could zoom in and out and draw at different scales simultaneously. I could zoom out to draw a simple contour of the entire trunk and then zoom in to draw the smallest leaf with equal effort. I drew in layers so that as the drawings accumulated I could turn layers “off” so that they wouldn’t obscure subsequent layers. These two novelties, drawing at different scales simultaneously and making parts of the drawing invisible to allow for work on top or behind previous drawings, allowed for the accumulation of hundreds of simple outlines to create a dizzying visual complexity. Subsequent trees I drew from photographs. I would take hundreds of close-ups of a tree from a single point of view and then stitch all of these close ups together on the computer. Sometimes I photographed the same tree in the summer and then in the fall after it lost its leaves. This allowed me to see and draw all of the branches and limbs unadorned and unobscured. I would draw the tree twice, with and without leaves, merging the two drawings into one document. In this way, the drawings comprise and compress great spans of looking over vast time frames and seemingly contradictory close-up and distant points of view. My digital drawings have been outputted in different ways… mostly as photographs printed directly from the digital file or as archival inkjet prints. The results defy easy categorization. Are they drawings, prints, or camera-less photographs...