Modern Photography

A contemporary photograph of an AC/DC - Back In Black cassette tape. This is s the first release in the much anticipated series "The Music" by pop Artists Destro "They encapsulate an...

"Hollywood Sign" is a photomosaic artwork by Destro. This image is made up of 100's of smaller images of Hollywood related imagery. Archival photographic paper Framing options ava...

"The VHS" by pop Artist Destro. We all remember those iconic nights at the video store. Pop artist DESTRO once again encapsulates one of our favorite past times in a fine art con...

"Ali" is a photomosaic artwork by "Destro". The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds of smaller ...

'Sardinian Holiday' 1967 Slim Aarons Limited Estate Edition Print Selvaggia Borromeo enjoys a yachting holiday on the Costa Smeralda in Sardinia, 1967. Paper size 40 x 30 inches /...

"Basquiat"is a photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds of smalle...

"The VHS" by pop Artist Destro. We all remember those iconic nights at the video store. Pop artist DESTRO once again encapsulates one of our favorite past times in a fine art con...

The photographers note regarding this work is "A bicycle with its shadow in the autumn sun, Germany 1930s." This work comes to you as a new Fine Art Print on Hahnemühle William Turn...

Audrey, r34_2 -- Audrey Hepburn in the studio village for Paramount's Sabrina Fair. Photographed for the December 7, 1953 issue of Life. Image size is 22" x 22" (for 24" x 36" paper ...

Audrey Hepburn White Shirt Portrait, r24_3 -- Informal portrait of Audrey Hepburn. Out take from the cover shoot for the April 19, 1954 international issue of Life. Image size is 22"...

"Hollywood Sign" is a photomosaic artwork by Destro. This image is made up of 100's of smaller images of Hollywood related imagery. Exhibition Poster from series "The ICONS" Destr...

Exhibition Poster from the Shane Russeck Pop up gallery in Los Angeles. Original offset lithograph poster printed on acid-free archival paper from the 2019 exhibition/opening of S...

'Equestrian Entrance' Slim Aarons Limited Edition Estate Stamped Print 1957 Madame de la Haye-Jousselin on her horse at the gates to her chateau in Normandy. Slim Aarons Chromogeni...

'Porto Ercole' 1973 Slim Aarons Limited Estate Edition Print A jetty juts out from the rocky shoreline at the Hotel Il Pellicano in Porto Ercole, Tuscany, August 1973. Paper size 4...

"Secret Menu" Photography 24" x 36" in Edition 1/15 by Larsen Sotelo Not framed. Ships in a tube Comes with COA Available sizes: Edition of 15: 24" x 36" inch Edition of 7: 30"...

'Jean Serpieri' 1961 Slim Aarons Limited Edition Estate Stamped Print Madame Jean Serpieri sits in the ballroom of the Tour La Reine near Athens, wearing a gown that belonged to the ...

Slim Aarons 'Skiing Waiters' 1960 Three skiing waiters on a ski slope, with the man in the foreground carrying a bird on a tray, the second man carrying a bottle of wine in an ice bucket, and the third carrying a menu, circa 1960 (Photo by Slim Aarons). This photograph epitomises the travel style and glamour of the period's wealthy and famous, beautifully documented by Aarons. In his words, he loved to photograph 'attractive people in attractive places, doing attractive things'. A beautiful and classic Slim Aarons C-type photograph. This print measures 30 x 30" / 76 x 76 cm paper size Printed in 2024 - produced from the original transparency Certificate of authenticity supplied Archive stamped and numbered in ink on the front Limited Edition to 150 only OTHER SIZES AVAILABLE : 12 x 12 / 30 x 30 cm 20 x 20 / 50 x 50 cm 30 x 30 / 76 x 76 cm 40 x 40 / 102 x 102 cm 50 x 50 / 127 x 127 cm 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. GALERIE PRINTS works in close partnership with the prestigious Getty Images Archive and Slim Aarons Estate, London England - to bring you officially certified prints from this beautiful collection. Our prints are produced as Original Colour C-type or Black & White Silver Gelatin Photographs – utilising the original transparencies and negatives housed at the Archive. Keywords skiing in the 60s 1960 skiing on a sunny day waiters on a slope luxury dining on the slopes snow white white waiter uniform typical waiter red jacket blu sky winter season winter clothes mountain life skiing men fashion 1960s black dinner jacket...

'La Concha Beach Club' 1975 Slim Aarons Limited Estate Edition Bathers at La Concha Beach Club, Acapulco, Mexico, February 1975. Slim Aarons Chro...

Faye Dunaway Reclining The Morning After, 1977 (Framed) Signed Edition Print by Terry O'Neill Mint condition C print hand numbered 11 / 50 and hand signed by photographer Frame...

Frida is a photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds of smaller i...

Chalet Costi Skiers outside the Chalet Costi in Zermatt, 1968. Slim Aarons Chromogenic C print Printed Later Slim Aarons Estate Edition Produced utilising the only original tr...

A contemporary photograph of 2Pacs iconic "All eyez on me" cassette tape. This is s the first release in the much anticipated series "The Music" by pop Artists Destro These iconic ta...

'Party on the Steps' 1970 Slim Aarons Limited Estate Edition Print Guests by the pool at Nelda Linsk's desert house in Palm Springs, California, January 1970. The house was designed...

"Basquiat"is a photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds of smalle...

Hotel Du Cap-Eden-Roc by Slim Aarons, 1976 Limited Edition Estate Stamped Print Guests standing by a white Rolls-Royce convertible courtesy car at the Hotel du Cap-Eden-Roc, Antibes,...

Skiers At Verbier Skiers relax in deckchairs on the slopes at Verbier in Switzerland. Slim Aarons Chromogenic C print Printed Later Slim Aarons Estate Edition Produced utilisin...

This is a pop art photo print of the original Stormtrooper toy from Kenner. "The Toys" by LA based Pop Artists DESTRO. This is the first release in the much anticipated series "The ...

A contemporary photograph of Guns N' Roses iconic "Appetite for Destruction" cassette tape. This is s the first release in the much anticipated series "The Music" by pop Artists Dest...

"ELVIS BY ANDY WARHOL" is a photomosaic artwork by Destro. Destro has created large prints which are made up of many hundreds of smaller images. Archival photographic paper Framin...

Dukes of Windsor is a black and white vintage photo, realized in the early 1970s. It belongs to historical album including photo reportages of historical moment and political events,...

Original museum grade exhibition prints on acid-free archival photographic paper. The bright clusters and nebulae of planet Earth's night sky are often named for flowers or insects....

"Brando" is a photomosaic artwork by Destro. This image is made up of 100's of smaller images of Marlon Brando. Archival photographic paper Framing options available Signed editio...

A contemporary photograph of 2Pacs iconic "Miami Vice" soundtrack cassette tape. This is s the first release in the much anticipated series "The Music" by pop Artists Destro These ic...

Evelyn Lauder limited edition photograph. Titled: Luminous Leaf. Depicts a close up picture of a semi translucent leaf with light shining through. Measures 16" x 20". No signature on front but I believe they are signed verso. Not inspected out of frame. Label on verso reads: Evelyn H. Lauder Luminous Leaf, September 1999 C-print, edition #10/10 Housed in frame measuring 23" x 27". Good overall condition with wear to frame. Provenance: From the estate Vic and Rena Rowan Damone, Palm Beach, Florida. Vic Damone was a notable singer, songwriter, actor, and philanthropist. Rena Rowan Damone was the highly successful lead designer and one of the founding members of the clothing company Jones New York. Evelyn Lauder (née Hausner; August 12, 1936 – November 12, 2011) was an Austrian American businesswoman, socialite and philanthropist who has been credited as one of the creators and promoters of the pink ribbon as a symbol for awareness of breast cancer. Lauder, an avid photographer, had a home in Colorado and a penthouse on Fifth Avenue lined with modern art. She was born Evelyn Hausner in 1936 in Vienna, Austria, to a Jewish family. Lauder’s family fled Nazi-occupied Austria in 1938, using their household silver to get visas to Belgium. They then moved on to England where her mother was sent to an internment camp on the Isle of Man and Evelyn was placed in a nursery. The family arrived in New York City in 1940. Lauder would later recall that she was asleep when the ship bringing them to the United States arrived in New York Harbor and her mother woke her up to see the Statue of Liberty During the war years her father worked as a diamond cutter; then the family opened the first of what became a chain of five dress shops in Manhattan. She graduated from Hunter College High School in 1954. She then attended Hunter College, part of the City University of New York, where she studied Psychology and Anthropology and also where she met her future husband, Leonard Lauder, then a trainee naval officer, on a blind date. She graduated from Hunter College in 1958. The couple were married on July 5, 1959. After the marriage, she worked for several years as a public school teacher in Harlem before leaving to work with her husband at the company founded in 1946 by her mother-in-law, Estée Lauder, which at the time sold six products: a red lipstick, creams, lotions, and Youth Dew fragrance in a bath oil...

"TRIPLE ELVIS BY ANDY WARHOL" is a photomosaic artwork by Destro. Destro has created large prints which are made up of many hundreds of smaller images. Archival photographic paper ...

'Harbour Island' 1970 Slim Aarons Limited Estate Edition Print Harbour Island in the Bahamas, 1970. Paper size 40 x 60 inches / 101 x 152 cm Printed in 2024 - produced from the or...

"The VHS" by pop Artist Destro. We all remember those iconic nights at the video store. Pop artist DESTRO once again encapsulates one of our favorite past times in a fine art con...

Slim Aarons 'New England Skiing' Two women recline on improvised sunbeds in Cranmore Mountain, New Hampshire, circa 1955 (Photo by Slim Aarons, printed later) This photograph epitom...

DARTH VADER from the original Kenner release of the Star Wars toys in May of 1977 This is pre release is the first release in the much anticipated series "The Toys" "They encapsulat...

'No Transport Problems' 1980 Slim Aarons Limited Estate Edition Mrs. Woolworth Donahue with car and bicycles on her motor yacht, ‘Hartline’. Slim Aarons...

'Palm Springs Life' 1970 Slim Aarons Limited Estate Edition Print Nelda Linsk (left, in yellow), wife of art dealer Joseph Linsk with guests by the pool at the Linsk's desert house ...

'Lake Tahoe Canoes' by Slim Aarons Young women canoeing on the Nevada side of Lake Tahoe, 1959. Three young women are pictured in their red, turquoise, and white coloured canoes on ...

'Poolside Promenade' 1961 Slim Aarons Limited Estate Edition Print A fashion show at the Colony Hotel in Palm Beach, Florida, 1961. Paper Size 40 ...

17 Rue des Rosiers Paris, France. A small Shul in the old Jewish quarter of Paris (the Pletzel), known as the ‘Zibetzin’, located at 17 Rue De Rosiers, The Lubavitcher Rebbe was kno...

'Penthouse Pool' 1961 Slim Aarons Limited Estate Edition Young women by the Canellopoulos penthouse pool, Athens, July 1961. Slim Aarons Chromogenic C print Printed Later Slim Aa...

Meeting is a vintage photo, realized in the early-20th Century  Good conditions. It belongs to a historical and Nostalgic album including historical moments, places, families, artw...

Frida with Idol by Nickolas Muray depicts Mexican painter Frida Kahlo posing while holding a green stone carved idol in her hand. She stands in front o...

"Newman" is an acrylic photomosaic artwork by Destro. The first release in a series mosaic works called "Icons". Destro has created large prints which are made up of many hundreds o...

Punto Arenas - Vintage Photograph is a Silver salt print realized in the late 19th Century. Five photographs, applied on a Passepartout: Good condition and aged margins.

Lucian Clerque 's fascination with light and shadow is evident. In 1959, Clergue captured historic and artistic photographs on the set of Jean Cocteau's last film "Testament of Orph...

"Brando" is a photomosaic artwork by Destro. Exhibition Poster from series "The ICONS" The first release in a series mosaic works called "Icons". Destro has created large prints w...

This is a pop art print of the original Rocket Firing Boba Fett toy from Kenner "The Toys" by LA based Pop Artists DESTRO. These iconic figures have become more then just iconic col...

Brunch At Brennans Sunday brunch at Brennan’s restaurant, New Orleans. A Wonderful Time – Slim Aarons Slim Aarons Chromogenic C print Printed 2024 Slim Aarons Estate Edition Pr...

'Keep Your Cool' 1978 Slim Aarons Limited Estate Edition Carmen Alvarez enjoying a game of backgammon with Frank ‘Brandy’ Brandstetter in a swimming pool at Acapulco. Slim Aarons ...

'Catherine Wilke' by Slim Aarons Catherine Wilke joins the topless sunbathers on the island of Capri, 1980. A typical 'Slim' photograph chronicling the young and glamorous relaxing...

A contemporary photograph of Guns N' Roses iconic "Appetite for Destruction" cassette tape. This is s the first release in the much anticipated series "The Music" by pop Artists Dest...

Halftone photographic print on gloss photographic paper. Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: From the folio, Alfred Stieglitz Memorial Portfolio 1864-1946, 1947. Published by Twice a Year Press, New York; printed by Lakeside Press, Chicago, 1947. Excepted from the folio, edition limited to fifteen-hundred copies. INTRODUCTORY NOTE-AMERICA WITHOUT ALFRED STIEGLITZ, Twice during his life, and now again after his death, the compelling and magnetic personality of Alfred Stieglitz has evoked spontaneous group tribute. In America and Alfred Stieglitz, as in the earlier and memorable No. 47 of Camera Work, the elusive question: What is the meaning of Stieglitz? was posed. In both volumes—as in so much other writing about him-it was answered in as many ways as there were artists, writers, composers-individuals in all fields of endeavor attempting to "explain" him. Indeed, the meaning and influence of Stieglitz as artist, patron, teacher, inspirer, friend, critic, were so vastly complex, it may be that no single estimate of him could at any point fully cover all facets of his character. Thus it may be both inevitable and particularly fitting that a memorial volume to him should also be in the form of a group tribute the more so since he himself so firmly believed that no matter how diligently one attempts to evaluate the meaning of any individual or work of art (or life itself for that matter) there can never be one single interpretation, one single estimate that can be viewed as absolute or final. That tribute should be paid by a group is fitting for still another reason, for although Stieglitz was ostensibly a great individualist, no one believed more firmly than did he in the idea that individuals dedicated to the same ends should come together and work together for a common purpose each leaving the other free to say his say without interference. In reading over the tributes now published in this portfolio as they have been received, I have felt what I always feel about any writing concerning Stieglitz that is born of deep feeling: That those who are moved to write about him invariably do so more from a desire to share a sense of wonder about him, than actually to "explain" his meaning or importance. This again is as it should be, for Stieglitz's entire life was dedicated to the sense of wonder-his own, as well as that of others. There were those who scoffed at the title "America and Alfred Stieglitz" when the volume bearing that name first appeared (the inference having been that those responsible for it overestimated Stinglitz's importance). The question now is-What of America without Alfred Stieglitz? What has gone out of our lives now that Stieglitz is no longer here? For certainly we have suffered a great and abiding loss in his death. And although America is infinitely richer for his having lived, it is not quite the same now that he is gone. Certainly there is no one in this country now standing up for the arts in precisely the manner in which Stieglitz stood up for them. There is no one now fighting as he fought to keep art from being regarded as a commodity. There is no gallery in America at this moment whose spirit and approach are even remotely related to the spirit of "291," the Intimate Gallery, An American Place. Wherever Stieglitz functioned there was a sacred feeling about the artist, about the work of art, about the cleanliness of walls, about those seeking art. There is now no one photographing as he photographed; no one speaking as he spoke. America without Alfred Stieglitz is indeed changed subtly but incontrovertibly changed. This portfolio is published to re-evoke the tradition in which he lived. It is issued as a labor of love, in tribute to a great and lovable man, in deep sadness that he is no longer alive and in dedication to the principles for which he stood, and the spirit in which he worked. The tributes received have been printed without editing, except for corrections of important errors of fact. They express the views of their authors; they are inevitably as much portraits of their authors as of their subject. I have included excerpts from a few letters received after Stieglitz's death, which, although not written for publication, seem somehow to belong; various pieces written about Stieglitz some time ago by those who would surely have contributed related tributes now, had they not died within recent years; several articles meant for this portfolio but already published elsewhere; a cross-section of obituaries and memorial pieces from leading newspapers and journals; a few tributes received after the portfolio was planned, at the request of their authors. As for the decision to include reproductions of Stieglitz's photographs: As with all attempts to reproduce his work, I have felt a certain degree of hesitation. Although he disliked very much having his work reproduced, he would, in general, permit reproductions to be published when requested. I have attempted to procure the best approximation of his work that could be made in America at this time. To those who believe it unfitting to reproduce Stieglitz's work at all, or that one should wait to do so until conditions are perfect, I can only state this: Stieglitz was indeed a great perfectionist, but he spoke out vigorously against making such a fetish of perfectionism that one might finally do nothing whatsoever in behalf of the very things about which one claims to care the most. Years ago he wrote to someone who asked to reproduce his work: "My photographs do not lend themselves to reproduction. The very qualities that give them their life would be completely lost in reproduction. The quality of touch in its deepest living sense is inherent in my photographs. When that sense of touch is lost, the heartbeat of the photograph is extinct. In the reproduction it would become extinct dead. My interest is in the living. That is why cannot give permission to reproduce my photographs." He wrote this, despite giving permission to reproduce his work many times both before and after the statement was written. At another time he wrote: "As for reproductions, I feel that if the spirit of the original is lost, nothing is preserved. My work might be reproduced if properly interpreted, that is, the spirit might be preserved. Of course, some of the things can't possibly be reproduced for obvious reasons. Above all, the reproductions must have a clean feeling— an absolute integrity of their own." Aware of these feelings and despite the paradox that he so often granted permission to reproduce his work in spite of them—wish to make it clear that the reproductions herewith included are in no sense offered as substitutes for Stieglitz originals. They are published rather as a reminder of the originals themselves. In concentrating so intently upon the fostering of other artists, Stieglitz paid far too little attention to seeing that his own work might be better known to the general public. It is high time that this situation was remedied. To print a mere twenty reproductions, in the light of the enormous scope of Stieglitz's work, is also not to suggest that this portfolio represents a true "cross-section" of his work. All that could be done under the present circumstances was to choose a few representative prints, from various periods, that might possibly be reproduced without losing too much of the form of the originals, and thereby show at least the general direction in which Stieglitz's work evolved even though obviously only in a cursory-and therefore perhaps misleading-fashion. But if the inclusion of these few reproductions should do nothing more than lead those who see them to the originals, their publication may be justified. In the final analysis, in paying tribute to Stieglitz one cannot help but wish-first and foremost-to enable his contribution as an artist to speak for itself. For his contribution as photographer will live on—as symbol and portrait of all that he stood for, envisioned, created, expressed-quite independently of whatever else he fostered and inspired. And that contribution is one of the greatest in the world of art in our time. —Dorothy Norman...

The Perfect Piste 1960 Two downhill skiers on powder snow, Zermatt, Switzerland, 1960. by Toni Frissell 30 x 20" inches / 76 x 51 cm paper size Archival pigment print unframed ...