Art

Tea at the Ritz, New York Colored chalk, 1912 Signed with the estate stamp verso. (see photo) Authenticated by the artist's daughter, Mme Paulette Johnston. Image size: 10 5/8 x 10 1...

Grey Dior Outside Paris Louvre Metro, 1957 -- This image of a model wearing a gray Dior suit outside the Louvre Metro station was photographed by Mark Shaw in Paris in 1957 for LIFE magazine's September article "A Bright Young Look in Paris". Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. Fashion photography of a model wearing a grey Dior dress outside by the metro entrance at the Louvre. The model is also wearing gloves and a hat. She is standing in profile and looks behind her. In front of her, she is holding a map. She is standing in front of the Louvre metro map.

Mark Bohan with Models, 1961 -- According to Dior this image shows "Marc Bohan with models from his first collection (Spring-Summer 1961), which was a great success. The prettiness a...

John John Looking at his Reflection in Tabletop, nb_ 150 -- Jackie and John Jr. Palm Beach 1963 Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made t...

Courtyard Chanel Red Velvet Dinner Dress, Cour de Rohan, 1955 -- A velvet dinner dress by Chanel, is photographed in the vine hung Paris courtyard, Cour de Rohan, in 1955. THE 24” x ...

Chanel Visits with Jeanne Moreau, 1957 -- Chanel visits with the famous French film actress, Jeanne Moreau. Mark Shaw's informal, grainy, black and white images of Coco Chanel were c...

Audrey Hepburn, c23_14 -- Audrey Hepburn was photographed for LIFE magazine in 1953. The photo essay shows images from a regular day on the set. "…Not because there is anything so re...

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"...

Designers' Homes Pink Satin, 1960 -- Christa Vogel wearing a Dior satin dress, photographed for 1960 issue of Life Magazine. The setting is a house ow...

Audrey Hepburn, 54_0309a_a -- Audrey Hepburn was photographed for the June 1954 issue of Mademoiselle. Her dress is a Claire McCardell creation. THE 24” x 36” SIZE OF THIS IMAGE IS O...

Yves St. Laurent in Studio -- Fashion Designer Yves St. Laurent in his studio as photographed by Mark Shaw. Image size is 40" x 59" (for 44" x 63" paper size). All Mark Shaw prints a...

Audrey Hepburn, r15_9 -- Audrey Hepburn at home. This image is an out take from the photo shoot for the cover of the April 19, 1954 international issue of Life magazine. Image size i...

Jackie in Pink Dress in Yellow Room nb_114a -- A portrait of Jackie and JFK. THE 24” x 36” SIZE OF THIS IMAGE IS ONLY OFFERED IN AND EDITION OF 15. Image size is 16" x 16" (for 17" x...

Vanity Fair Sheer Gown Icon, Circa 1955 -- One of Mark Shaw’s favorite photographs, this Vanity Fair slip was photographed by Mark Shaw for an award w...

John Jr. on Reflective Tabletop 1963, nb_149 -- This photo of John Junior, taken when he was three, was a favorite of Jackie’s; in a letter to Mark, Jackie wrote “they really should ...

Audrey Hepburn, r18_4 -- Audrey Hepburn at home. This image is an out take from the photo shoot for the cover of the April 19, 1954 international issue of Life magazine. Image size i...

Jackie in Pink Dress nb_119 -- A Portrait of Jackie. Image size is 22" x 22" (for 24" x 36" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle phot...

Dior, Palais de Glace Dress, 1957. Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Ea...

Jackie and Caroline, Book Cover -- Jackie and Caroline on the beach in Hyannis Port, 1959. This photo was used as the cover of Mark Shaw's famous book, the John F. Kennedys, which wa...

Coco Lies on Divan, 1957 -- This photo, published in LIFE in 1957, shows Coco Chanel, aged 74, at her apartment on the Rue Cambon in Paris reclining on her massive divan. In notes ta...

Audrey Hepburn Turns, audrey_07 -- Photographed by Mark Shaw in 1953, this image is an outtake from the photo essay on Audrey Hepburn for the December 1953 issue of LIFE. Image size ...

Audrey Hepburn, r8_10 -- Informal portrait of Audrey Hepburn. This image is an out take from the photo shoot for the December 7, 1953 issue of Life magazine. Image size is 22" x 22" (for 24" x 36" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. A black and white photograph of Audrey Hepburn sitting and reading...

JBK Leads Horse nb_064_065 -- Shot for LIFE in 1959, Jackie Kennedy leads Sagebrush across a meadow at Merrywood, her mother's Virginia Estate. This image is also part of the Mark Shaw Photographic Archive's fine art gallery collection. Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. A black and white photo of Jackie Kennedy...

Medium: original etching and drypoint in black, red and brown. This beautiful composition is printed on wove paper (date of printing unknown). Plate size: 7 5/8 x 5 1/2 inches (195 x...

HELLEU, PAUL CÉSAR (1859 - 1927) "La Dame a la Toque" (Lady in Fur Hat) Montesquiou XXXVI, c. 1906 Drypoint printed in colors on pale cream wove paper Signed in black crayon lower ...

Backstage Balmain Floral Shawl -- Backstage at the 1954 Pierre Balmain Couture show. Image size is 10" x 15" (for 11" x 17" paper size). All Mark Shaw pr...

Paris: Gazette des Beaux Arts, 1892. Etching and dry point on cream laid paper. 7 9/16 x 5 7/8 inches (191 x 148 mm), full margins. Signed in pencil, lower right margin. A dark, ink...

Miss Taylor Drypoint, c. 1900 Signed in pencil lower left (see photo) Small edition, about 10 Very rich impression, full of burr Condition: Excellent Image size: 21-1/4 x 13-1/4" Sheet size: 25 3/8 x 18 5/8" Reference: Montesquiou XII Paul César Helleu was born in Vannes, Brittany, France. His father, who was a customs inspector, died when Helleu was in his teens. Despite opposition from his mother, he then went to Paris and studied at Lycée Chaptal. In 1876, at age 16, he was admitted to the École des Beaux-Arts, beginning academic training in art with Jean-Léon Gérôme. Helleu attended the Second Impressionist Exhibition in the same year, and made his first acquaintances with John Singer Sargent, James McNeill Whistler, and Claude Monet. He was struck by their modern, bold alla prima technique and outdoor scenes, so far removed from the studio. Following graduation, Helleu took a job with the firm Théodore Deck Ceramique Française hand-painting fine decorative plates. At this same time, he met Giovanni Boldini, a portrait painter with a facile, bravura style, who became a mentor and comrade, and strongly influenced his future artistic style. When he was 18 years old, Helleu established a close friendship with John Singer Sargent, four years his senior, that was to last his lifetime. Already becoming established, Sargent was receiving commissions for his work. Helleu had not sold anything, and was deeply discouraged almost to the point of abandoning his studies. When Sargent heard this, he went to Helleu and picked one of his paintings, praising his technique. Flattered that Sargent would praise his work, he offered to give it to him. Sargent replied, "I shall gladly accept this, Helleu, but not as a gift. I sell my own pictures, and I know what they cost me by the time they are out of my hand. I should never enjoy this pastel if I hadn't paid you a fair and honest price for it." With this he paid him a thousand-franc note. Helleu was commissioned in 1884 to paint a portrait of a young woman named Alice Guérin (1870–1933). They fell in love, and married on 28 July 1886. Throughout their lives together, she was his favourite model. Charming, refined and graceful, she helped introduce them to the aristocratic circles of Paris, where they became popular fixtures. On a trip to London with Jacques-Émile Blanche in 1885, Helleu met Whistler again and visited other prominent artists. His introduction to James Jacques Tissot, an accomplished society painter from France who made his career in England, proved a revelation. In Tissot, Helleu saw, for the first time, the possibilities of drypoint etching with a diamond point stylus directly on a copper plate. Helleu quickly became a virtuoso of the technique, drawing with the same dynamic and sophisticated freedom with his stylus as with his pastels. His prints were very well received, and they had the added advantage that a sitter could have several proofs printed to give to relations or friends. Over the course of his career, Helleu produced more than 2,000 drypoint prints. Soon, Helleu was displaying works to much acclaim at several galleries. Degas encouraged him to submit paintings to the Eighth Impressionist Exhibition in May and June 1886. The show was installed in a Paris apartment at 1 rue Laffitte, which ran concurrently with the official Salon that year to make a statement. Although 17 artists joined the famous exhibit that included the first Neo-Impressionistic works, Helleu, like Monet, refused to participate. Paul Helleu Sketching with His Wife (1889), by John Singer Sargent, The Brooklyn Museum, New York In 1886, Helleu befriended Robert de Montesquiou, the poet and aesthete, who bought six of his drypoints to add to his large print collection. Montesquiou later wrote a book about Helleu that was published in 1913 with reproductions of 100 of his prints and drawings. This volume remains the definitive biography of Helleu. Montesquiou introduced Helleu to Parisian literary salons, where he met Marcel Proust, who also became a friend. Proust created a literary picture of Helleu in his novel Remembrance of Things Past as the painter Elstir. (Later, Helleu engraved a well-known portrait of Proust on his deathbed.) Montesquiou's cousin, the Countess Greffulhe, enabled Helleu to expand his career as a portrait artist to elegant women in the highest ranks of Paris society, portraits that provide the basis for his modern reputation. His subjects included the Duchess of Marlborough, the Marchesa Casati...

Portrait de petite fille, en buste, cheveux sur les epaules (Ellen 14 ans) Portrait of a little girl, bust, hair on shoulders) Drypoint, 1902 Signed lower right corner Very small edition Portrait of the artist's daughter Ellen, at age 14. Title inscribed into the plate upper left Brilliant impression full of burr No stated edition, proofs only, less than 10 imps Unidnetified collector's mark verso: Initials "PH", not in Lugt Reference: Laran, IFF No. 390 Condition: Excellent Image/Plate eize: 14 3/4 x 12 5/8 inches Sheet size: 25 x 16 inches "Paul César Helleu was born in Vannes, Brittany, France. His father, who was a customs inspector, died when Helleu was in his teens. Despite opposition from his mother, he then went to Paris and studied at Lycée Chaptal. In 1876, at age 16, he was admitted to the École des Beaux-Arts, beginning academic training in art with Jean-Léon Gérôme. Helleu attended the Second Impressionist Exhibition in the same year, and made his first acquaintances with John Singer Sargent, James McNeill Whistler, and Claude Monet. He was struck by their modern, bold alla prima technique and outdoor scenes, so far removed from the studio. Following graduation, Helleu took a job with the firm Théodore Deck Ceramique Française hand-painting fine decorative plates. At this same time, he met Giovanni Boldini, a portrait painter with a facile, bravura style, who became a mentor and comrade, and strongly influenced his future artistic style. When he was 18 years old, Helleu established a close friendship with John Singer Sargent, four years his senior, that was to last his lifetime. Already becoming established, Sargent was receiving commissions for his work. Helleu had not sold anything, and was deeply discouraged almost to the point of abandoning his studies. When Sargent heard this, he went to Helleu and picked one of his paintings, praising his technique. Flattered that Sargent would praise his work, he offered to give it to him. Sargent replied, "I shall gladly accept this, Helleu, but not as a gift. I sell my own pictures, and I know what they cost me by the time they are out of my hand. I should never enjoy this pastel if I hadn't paid you a fair and honest price for it." With this he paid him a thousand-franc note. Helleu was commissioned in 1884 to paint a portrait of a young woman named Alice Guérin (1870–1933). They fell in love, and married on 28 July 1886. Throughout their lives together, she was his favourite model. Charming, refined and graceful, she helped introduce them to the aristocratic circles of Paris, where they became popular fixtures. On a trip to London with Jacques-Émile Blanche in 1885, Helleu met Whistler again and visited other prominent artists. His introduction to James Jacques Tissot, an accomplished society painter from France who made his career in England, proved a revelation. In Tissot, Helleu saw, for the first time, the possibilities of drypoint etching with a diamond point stylus directly on a copper plate. Helleu quickly became a virtuoso of the technique, drawing with the same dynamic and sophisticated freedom with his stylus as with his pastels. His prints were very well received, and they had the added advantage that a sitter could have several proofs printed to give to relations or friends. Over the course of his career, Helleu produced more than 2,000 drypoint prints. Soon, Helleu was displaying works to much acclaim at several galleries. Degas encouraged him to submit paintings to the Eighth Impressionist Exhibition in May and June 1886. The show was installed in a Paris apartment at 1 rue Laffitte, which ran concurrently with the official Salon that year to make a statement. Although 17 artists joined the famous exhibit that included the first Neo-Impressionistic works, Helleu, like Monet, refused to participate. Paul Helleu Sketching with His Wife (1889), by John Singer Sargent, The Brooklyn Museum, New York In 1886, Helleu befriended Robert de Montesquiou, the poet and aesthete, who bought six of his drypoints to add to his large print collection. Montesquiou later wrote a book about Helleu that was published in 1913 with reproductions of 100 of his prints and drawings. This volume remains the definitive biography of Helleu. Montesquiou introduced Helleu to Parisian literary salons, where he met Marcel Proust, who also became a friend. Proust created a literary picture of Helleu in his novel Remembrance of Things Past as the painter Elstir. (Later, Helleu engraved a well-known portrait of Proust on his deathbed.) Montesquiou's cousin, the Countess Greffulhe, enabled Helleu to expand his career as a portrait artist to elegant women in the highest ranks of Paris society, portraits that provide the basis for his modern reputation. His subjects included the Duchess of Marlborough, the Marchesa Casati, Belle da Costa Greene, Louise Chéruit, and Helena Rubinstein. Looking for new inspiration, Helleu began a series of paintings and color prints of cathedrals and stained glass windows in 1893, followed by flower studies and landscapes of parks in Versailles. Helleu took up sailing, owning four yachts over his life. Ships, harbor views, life at port in Deauville, and women in their fashionable seaside attire became subjects for many vivid and spirited works. In 1904, Helleu was awarded the Légion d'honneur and became one of the most celebrated artists of the Edwardian era in both Paris and London. He was an honorary member in important beaux-arts societies, including the International Society of Painters, Sculptors, and Engravers, headed by Auguste Rodin, and the Société Nationale des Beaux-Arts. On his second trip to the United States in 1912, Helleu was awarded the commission to design was the ceiling decoration in New York City's Grand Central Terminal. He decided on a mural of a blue-green night...

HELLEU, PAUL CÉSAR (1859 - 1927) MADAME GEORGES MENIER Montesquiou XXI Drypoint in colors, c. 1900 Signed in pencil, lower right Printed on wove paper Full Margins 22 1/4” x 13...

Coco Creates Jewelry, Front, 1957 -- Coco Chanel creates jewelry in her workroom. She works with plasticine surrounded by boxes overflowing with "jewels." Mark Shaw's informal, grain...

Courtyard Chanel Red Velvet Dinner Dress, Cour de Rohan, 1955 -- A velvet dinner dress by Chanel, is photographed in the vine hung Paris courtyard, C...

Audrey Hepburn, c19_27 -- Audrey Hepburn, ready in make-up and costume to play the title role in Paramount's Sabrina Fair. This shot is an out take from the photo essay in the December 7, 1953 issue of LIFE. Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw...

Untitled (Young woman seen from the back) Sanguine crayon, charcola and watercolor on paper, c. 1910 Signed with the estate stamp, Lugt 5169 lower left corner Provenance: Estate of the artist (see estate stamp signature) Galerie J. Le Chapelin, 71 Rue Faubourg Saint-Honoré, Paris (highly respected gallery in the 1950s) Private Collection, New Jersey Condition: Slight vertical crease in the paper left side of image. Tiny spots of staining. Image/Sheet size: 11 1/2 x 11 3/4 inches Paul César Helleu was born in Vannes, Brittany, France. His father, who was a customs inspector, died when Helleu was in his teens. Despite opposition from his mother, he then went to Paris and studied at Lycée Chaptal. In 1876, at age 16, he was admitted to the École des Beaux-Arts, beginning academic training in art with Jean-Léon Gérôme. Helleu attended the Second Impressionist Exhibition in the same year, and made his first acquaintances with John Singer Sargent, James McNeill Whistler, and Claude Monet. He was struck by their modern, bold alla prima technique and outdoor scenes, so far removed from the studio. Following graduation, Helleu took a job with the firm Théodore Deck Ceramique Française hand-painting fine decorative plates. At this same time, he met Giovanni Boldini, a portrait painter with a facile, bravura style, who became a mentor and comrade, and strongly influenced his future artistic style. When he was 18 years old, Helleu established a close friendship with John Singer Sargent, four years his senior, that was to last his lifetime. Already becoming established, Sargent was receiving commissions for his work. Helleu had not sold anything, and was deeply discouraged almost to the point of abandoning his studies. When Sargent heard this, he went to Helleu and picked one of his paintings, praising his technique. Flattered that Sargent would praise his work, he offered to give it to him. Sargent replied, "I shall gladly accept this, Helleu, but not as a gift. I sell my own pictures, and I know what they cost me by the time they are out of my hand. I should never enjoy this pastel if I hadn't paid you a fair and honest price for it." With this he paid him a thousand-franc note. Helleu was commissioned in 1884 to paint a portrait of a young woman named Alice Guérin (1870–1933). They fell in love, and married on 28 July 1886. Throughout their lives together, she was his favourite model. Charming, refined and graceful, she helped introduce them to the aristocratic circles of Paris, where they became popular fixtures. On a trip to London with Jacques-Émile Blanche in 1885, Helleu met Whistler again and visited other prominent artists. His introduction to James Jacques Tissot, an accomplished society painter from France who made his career in England, proved a revelation. In Tissot, Helleu saw, for the first time, the possibilities of drypoint etching with a diamond point stylus directly on a copper plate. Helleu quickly became a virtuoso of the technique, drawing with the same dynamic and sophisticated freedom with his stylus as with his pastels. His prints were very well received, and they had the added advantage that a sitter could have several proofs printed to give to relations or friends. Over the course of his career, Helleu produced more than 2,000 drypoint prints. Soon, Helleu was displaying works to much acclaim at several galleries. Degas encouraged him to submit paintings to the Eighth Impressionist Exhibition in May and June 1886. The show was installed in a Paris apartment at 1 rue Laffitte, which ran concurrently with the official Salon that year to make a statement. Although 17 artists joined the famous exhibit that included the first Neo-Impressionistic works, Helleu, like Monet, refused to participate. Paul Helleu Sketching with His Wife (1889), by John Singer Sargent, The Brooklyn Museum, New York In 1886, Helleu befriended Robert de Montesquiou, the poet and aesthete, who bought six of his drypoints to add to his large print collection. Montesquiou later wrote a book about Helleu that was published in 1913 with reproductions of 100 of his prints and drawings. This volume remains the definitive biography of Helleu. Montesquiou introduced Helleu to Parisian literary salons, where he met Marcel Proust, who also became a friend. Proust created a literary picture of Helleu in his novel Remembrance of Things Past as the painter Elstir. (Later, Helleu engraved a well-known portrait of Proust on his deathbed.) Montesquiou's cousin, the Countess Greffulhe, enabled Helleu to expand his career as a portrait artist to elegant women in the highest ranks of Paris society, portraits that provide the basis for his modern reputation. His subjects included the Duchess of Marlborough, the Marchesa Casati...

Dior, Felicite Gown, 1953. Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print...

Madame Helleu Looking at Watteau drawings at the Louvre. (En regardant les Watteau de Louvre). c. 1895. Drypoint printed in 2 colors - black and sepia. 11 3/4 x 15 7/8. Goncourt 3, d...

Mme. Rigaud with Spaniel France, 1957 -- Mme. Mario Rigaud, one of France's best markswomen, sits outside her 18th century home, Chateau de Marcheval, near Orleans, France. The English Springer Spaniel, the founder of all English Hunting Spaniels...

A model wearing Dior photographed by Mark Shaw in the mid 1950s. Recently published in the book Dior, Glamour, Mark Shaw. Rizzoli, 2013. Image size is 10" x 15" (for 11" x 17" pap...

Paul César Helleu is regarded among the most sought-after society portraitists of his era, and his Belle Époque works rival those of his contemporaries John Singer Sargent and Giovanni Boldini. He is best remembered for capturing the era's most beautiful socialites, including Consuelo Vanderbilt, the Duchess of Marlborough, the Comtesse de Loriol Chandieu and the Comtesse Mathieu de Noailles, among others. This work, however, stands out in that it captures the charming likeness of one of his art world cohorts, Mathilde See, a Parisian-born decorator and painter of floral still lifes. She is the essence of the modern woman, captured in her fashionable dress as she strolls along the flower-lined streets of Paris. Commanding in size, Portrait de Mathilde See fully displays Helleu's mastery over the medium of pastel. The muted palette of greys and blues is typical of the artist, bringing a harmony and cohesiveness to the composition. Furthermore, Helleu cleverly alludes to See's own artistic output with a backdrop of vibrant floral blooms, enlivening the canvas and complementing the greens and blues of the peacock feather adorning her hat. The portrait is all the more significant thanks to its provenance. It was previously in the collection of A. Alfred Taubman, one of America's most successful entrepreneurs and one-time owner of Sotheby's. Considering Taubman encountered some of the most noteworthy and beautiful works of art ever made through his auction house, the fact that he chose this portrait by Helleu to grace his collection is a testament to its import. Born in Brittany in 1859, Helleu moved to Paris in 1876 in order to study at the École des Beaux-Arts. Like so many other artists of his generation, he was trained there under the Academic master Jean-Léon Gérôme. That same year, he also attended the Second Impressionist Exhibition...

Gianni and Marella Agnelli on Their Boat with Pat Suzuki and Clint Hill, Ravello, 1962 -- From Mark Shaw's personal collection of snapshots from a 'dolce vita' trip with Jackie Kenne...

HELLEU, PAUL CÉSAR (1859 -1927) "MADAME GEORGES MENIER" Montesquiou XXI Drypoint in colors, c. 1900 Signed in pencil, lower right Printed on wove paper Full...

Audrey Hepburn at Apartment Gate, c5_42 -- Audrey Hepburn waits by the gate of her apartment for the studio car. She was on the set of Sabrina by 6:30am. Image size is 10" x 15" (for 11" x 17" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. A black and white photograph of Audrey Hepburn...

Audrey Hepburn Backstage at Ondine, 54_0330c_6, 1954 -- Backstage at Ondine, Audrey Hepburn was photographed for Mademoiselle in 1954. After years of perfect blondes, Audrey's look was fresh and new. "…Beauty is again human instead of heavenly and we have Miss Hepburn to thank for it." Image size is 22" x 32" (for 24" x 36" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. A black and white photograph of Audrey Hepburn putting makeup on her eyelids. Her eyes are closed and she stretches the skin on her eyelid. She is at a vanity. There is a big mirror and a smaller mirror on the vanity. Hepburn has her back to the camera but she is visible in the big vanity...

Paul César Helleu Profile of a Woman, 1913 Etching Printed signature On vellum 26 x 20 cm (c. 10.5 x 8 inch) Very good condition, light defects at the edge of the sheet

Audrey Hepburn, c19_4, 1953 -- Audrey Hepburn regularly bicycled from the movie studio's make up department to the set. In the early days of her movie career, bicycles were a common mode of transportation to and from the set. Image size is 13.75" x 20" (for 17" x 22" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw...

Paul César Helleu Shy Red Hair Woman, 1913 Lithograph and watercolor stencil Printed signature On vellum 26 x 20 cm (c. 10.5 x 8 inch) Very good condi...

HELLEU, PAUL CÉSAR (1859 -1927) "JEUNE FEMME ASSISE" (Young Woman Seated) Original Drawing in sanguine, white and black chalks, c. 1910 Signed in pencil by artist, lower right Full Margins on cream wove paperImage size: 17.5” x 11.02” Paul César Helleu...

Kennedy Unpublished Beach -- The Kennedys at Hyannis Beach Image size is 22" x 32" (for 24" x 36" paper size). All Mark Shaw prints are made to order in l...

HELLEU, PAUL CÉSAR (1859 -1927) "Fillette Assise de Profil àGauche (Mlle. P) (Profile of a Seated Girl to the left) Drypoint in colors, c. 1895 Signed in pe...

JFK, JBK Relax and Smoke c_05_05. Image size is 22" x 32" (for 24" x 36" paper size). All Mark Shaw prints are made to order in limited editions on Hahnemuhle photo rag paper. Each print is Estate stamped on the back and signed and numbered by David Shaw, and accompanied by a letter of authenticity. Lead time is four to six weeks, but we often receive them sooner. *Please note this image is available in several sizes. Prices increase as editions sell out. A black and white photograph of Jackie Kennedy and John F. Kennedy. Jackie Kennedy is sitting on a sofa chair and is laying back. She has her legs crossed and her hands rest on the armrests. She looks and John F. Kennedy. JFK is sitting on the sofa with his arm resting on the sofa back. He has his legs crossed and is smoking. JFK has his back to the camera and is out of focus. This is also an interior shot. They are relaxing in a living room. There is a sofa and sofa chair. A coffee table with books...

A model wearing Dior photographed by Mark Shaw in the mid 1950s. Recently published in the book Dior, Glamour, Mark Shaw. Rizzoli, 2013. Image size ...

Kennedy, nb_100 -- Published on the cover of the Ladies Home Journal in 1961, this photo was actually taken in Hyannis Port in 1959 before JFK became pres...

Backstage Balmain Tartan Gown -- Backstage at the 1954 Pierre Balmain Couture show. Image size is 10" x 15" (for 11" x 17" paper size). All Mark Shaw pr...

Paul César Helleu. La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. 21 1/2 x 13 3/4 (sheet 24 x 15). A rich impression printed o...

Beach Hat Models in Red Jaguar -- Photographed by Mark Shaw for LIFE's June 1959 article "Bedecked Beach Hats hit the City" this image shows five models sporting an array of amusingly decorated beach hats. The convertible parked on a New York side street is a Jaguar XK...

HELLEU, PAUL CÉSAR (1859 - 1927) "La Dame a la Toque" (Lady in Fur Hat) Drypoint printed in colors on pale cream wove paper, c. 1906 Signed in black crayo...

Audrey Hepburn Under the Dryer Smoking, c10_13 – While working on the film Sabrina, Audrey Hepburn was shampooed every night -- She often conducted business with her agents while und...