Hand Black and White Photography

Mike Tyson showing the peace sign. The original intent was to just photograph his hand with the peace sign and include in the caption that it was indeed Mike Tyson's hand. However du...

This is actually the first frame of the shoot as Clint just stepped on set and stared at the camera in the glare of the lights, not super excited about having his picture taken. Being a pro he quickly loosen up and there are plenty of other images of him smiling warmly from the session. However this first frame of Clint with the slight grimace and thousand mile stare is the most authentic and Clint we all know and love. This portrait of Clint Eastwood by Scott McDermott...

11 x 14" vintage silver gelatin iconic photograph of Andy Warhol & Archie his beloved dachshund, 1973. Signed by Jack Mitchell on the print verso in pencil and signed on the front in...

"Annunciation 3" Photography 23"x19" inch Ed. 1/3 by VLADIMIR CLAVIJO-TELEPNEV Author's direct print on wood Vladimir Clavijo-Telepnev was born in 1962 in Moscow, in the family of creative people. His father, Pedro Clavijo, was a Columbian journalist and a radio reporter. His grandfather by his father's side, Edmundo Clavijo Cubilios, was a famous Columbia's photograph and artist. His grandfather and grandmother by his mother's side, Vladimir and Margarita Telepnevs, were painters. In 1986 Vladimir graduated from the Moscow Polygraphic Academy, faculty of graphic art, specializing in painting, graphics, and polygraphic design. PRIVATE COLLECTIONS: ELTON JOHN PRINCESS MICHAEL of KENT MARIE CHRISTINE PETER...

Untitled XXX, XXXI, and XXXIII, Triptych 2010 by Nico Baixas From the Series Chiromorphose Archival Pigment Print on Hahnemuhle fine art paper Overall size: 150 cm x 100 cm W Indiv...

Hombre en Red by Ricky Cohete Archival pigment print Image size: 30 in H x 20 in W. Edition of 13 Unframed _________________________ Ricky Cohete was born in a coastal city in Ecua...

"Desfile de Gigantes", Parade Portrait, San Miguel de Allende, Guanajuato State, Mexico, 2020 Photograph by Cosmo Condina of a portrait of a young Mexican girl posing with a flower...

Symposium by Ricky Cohete Archival pigment print Image size: 30 in H x 20 in W. Edition of 13 Unframed _________________________ Ricky Cohete was born in a coastal city in Ecuador,...

Kate #16, is from the Kate series, 2002 by American photographer Leonard Freed. This is a signed, 16" x 20" black and white photograph (gelatin silver), stamped/authenticated modern print by the Freed estate. Printed: 2006. A photographer herself, model and yogini Kate remains complicit in striking a pose, nude, in a convertible with the Golden Gate Bridge in the background. Her body shape and form blend with the natural beauty of the California setting. Freed captures both playfulness and sensuality of a self-possessed woman. The Kate nude photo series...

Untitled XXVI. (s-5-S3-0008). 2010 by Nico Baixas From the Series Chiromorphose Archival Pigment Print on Hahnemuhle fine art paper Sheet size: 100 H cm x 100 W cm. Image size: 90 H...

"Annunciation 2" Photography 59"x30" inch Ed. 1/3 by VLADIMIR CLAVIJO-TELEPNEV Author's direct print on wood Vladimir Clavijo-Telepnev was born in 1962 in Moscow, in the family of creative people. His father, Pedro Clavijo, was a Columbian journalist and a radio reporter. His grandfather by his father's side, Edmundo Clavijo Cubilios, was a famous Columbia's photograph and artist. His grandfather and grandmother by his mother's side, Vladimir and Margarita Telepnevs, were painters. In 1986 Vladimir graduated from the Moscow Polygraphic Academy, faculty of graphic art, specializing in painting, graphics, and polygraphic design. PRIVATE COLLECTIONS: ELTON JOHN PRINCESS MICHAEL of KENT MARIE CHRISTINE PETER...

Untitled XXII, (nc-25-S3-0009). 2010 by Nico Baixas From the Series Chiromorphose Archival Pigment Print on Hahnemuhle fine art paper Sheet size: 50 H cm x 50 W cm. Image size: 45 H...

Lina Scheynius (*1981 Sweden) Untitled (Calendar), 2012 Fibre-based silver gelatin print, hand proofed by the artist. Image 16 x 24 cm (6 1/4 x 9 1/2 in.) ...

Savannah Spirit Never Let the Same Snake Bite You Twice Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch: "When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since. To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection. The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there. Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning. Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture. During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..." - Katie Peyton Hofstadter Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...

16x20” Limited Edition Next available edition printed upon purchase. Other sizes available. Please allow 4 weeks for production.

Untitled XXIII, XXIV, and XXV, Triptych 2010 by Nico Baixas From the Series Chiromorphose Archival Pigment Print on Hahnemuhle fine art paper Overall size: 150 cm x 100 cm W Indivi...

This photograph by Catherine Opie was produced in an edition of 70 in 2022, and is offered by CLAMP in New York City.

Albert WATSON (*1942, Scotland) Kate Moss, Frontal Nude 2, 1993 Special Gelatin Silver Print Sheet 61 x 51 cm (24 x 20 1/8 in.) Edition of 10 plus 2 AP's; Ed. no. 10/10 – from sold o...

Cool Capucine 1955 (printed later) Fiber print Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. circa 1955: French actress Capuci...

Edition of ONE of TEN The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they ha...

11 x 14" vintage silver gelatin photograph of Warhol Superstars Sylvia Miles as Hollywood has-been Sally Todd and Joe Dallesandro as hustler Joey Davis in Andy Warhol's "Heat" - Marc...

Disorder (Bombay Beach) - 2023 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signature label and certificate. Artist inventory PL2023-12. ...

Mikael Siirilä Helsinki, Finland, 2020 Handmade silver gelatin print. The fibre-based photograph is tea-toned, stamped, signed and numbered in pencil o...

Mikael Siirilä Helsinki, Finland, 2020 Handmade silver gelatin print. The fibre-based photograph is tea-toned, stamped, signed and numbered in pencil o...

Untitled XIX, XX, and XXI, Triptych 2010 by Nico Baixas From the Series Chiromorphose Archival Pigment Print on Hahnemuhle fine art paper Overall size: 150 cm x 100 cm W Individual...

Mikael Siirilä Helsinki, Finland, 2020 Handmade silver gelatin print. The fibre-based photograph is tea-toned, stamped, signed and numbered in pencil on sheet verso. Size 15 x 22 cm...

Edition of ONE of TEN The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they ha...

Miss Sparky by Baron Wolman, taken in Los Angeles in 1968 as part of Baron's Groupies series, taken for Rolling Stone magazine. Limited edition number 2/150, signed and noted by Bar...

Untitled XVI, XVII, and XVIII, Triptych 2010 by Nico Baixas From the Series Chiromorphose Archival Pigment Print on Hahnemuhle fine art paper Overall size: 150 cm x 100 cm W Indivi...

Karen Seltenrich by Baron Wolman, taken in San Francisco in 1970 as part of Baron's Groupies series, taken for Rolling Stone magazine. Limited edition number 14/150, signed and note...

Edition of 3 The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they have a soul...

black + white toy-camera image from the series 'my affair with diana' 10x10 image size in edition of 50 (price increases as edition sells). printed on hahnemuhle bamboo su...

black + white toy-camera image from the series 'my affair with diana' 10x10 image size in edition of 50 (price increases as edition sells). printed on hahnemuhle bamboo su...

black + white toy-camera image from the series 'my affair with diana' 10x10 image size in edition of 50 (price increases as edition sells). printed on hahnemuhle bamboo su...

black + white toy-camera image from the series 'my affair with diana' 10x10 image size in edition of 50 (price increases as edition sells). printed on hahnemuhle bamboo su...

black + white toy-camera image from the series 'my affair with diana' 10x10 image size in edition of 50 (price increases as edition sells). printed on hahnemuhle bamboo su...

black + white toy-camera image from the series 'my affair with diana' 10x10 image size in edition of 50 (price increases as edition sells). printed on hahnemuhle bamboo su...

black + white toy-camera image from the series 'my affair with diana' 10x10 image size in edition of 50 (price increases as edition sells). printed on hahnemuhle bamboo su...

black + white toy-camera image from the series 'my affair with diana' 10x10 image size in edition of 50 (price increases as edition sells). printed on hahnemuhle bamboo su...

Untitled XII, (nc-17-S1-0003). 2010 by Nico Baixas From the Series Chiromorphose Archival Pigment Print on Hahnemuhle fine art paper Sheet size: 50 H cm x 50 W cm. Image size: 45 H ...

Untitled XIII, XIV, and XV, Triptych 2010 by Nico Baixas From the Series Chiromorphose Archival Pigment Print on Hahnemuhle fine art paper Overall size: 150 cm x 100 cm W Individua...

Framed, 20x24" signed lifetime edition print by Terry O'Neill of David Bowie taken in Los Angeles in 1975 on the set of “The Man Who Fell To Earth” Signed limited edition number 2/5...

Edition of ONE of TEN The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they ha...

'Bandstand', captured on a visit to his grandparents at the British seaside in Eastbourne, this collection by Samuel Field is a beautiful reminder of days gone by. This artwork is a...

Edition of ONE of TEN The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they ha...

Untitled X, (nc-14-S1-0003). 2010 by Nico Baixas From the Series Chiromorphose Archival Pigment Print on Hahnemuhle fine art paper Sheet size: 50 H cm x 50 W cm. Image size: 45 H cm...

Untitled IX, (nc-4-S3-0007). 2010 by Nico Baixas From the Series Chiromorphose Archival Pigment Print on Hahnemuhle fine art paper Sheet size: 50 H cm x 50 W cm. Image size: 45 H cm...

Artist Name: Lidija Commeca Title of Artwork and Date of creation: Chimaera, 2023 Medium on ground: Print on Hahnemühle fine art paper Signature : Not signed Artwork Unique Double e...

'On the Rhodes again' part of the series 'Hands down' - 2019 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid, not mounted. Signed on the back and with certificate. Artist inventory PL2019-504. Kirsten Thys van den Audenaerde, based in Brussels also uses expired Polaroid film for her storylines. She explores the American landscape, the utterly destruction of the American dream and the wonders of the naked body put into forgotten, lost spaces...

Edition of ONE of TEN The stunning fine art portraits by fine art photographer Laurentina Miksys have been described as opulent, timeless, and emotionally expressive. When they ha...

Savannah Spirit The Remedy Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch: "When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since. To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection. The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there. Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning. Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture. During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..." - Katie Peyton Hofstadter Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...

Untitled VII, (c-6-S2-0006). 2010 by Nico Baixas From the Series Chiromorphose Archival Pigment Print on Hahnemuhle fine art paper Sheet size: 50 H cm x 50 W cm. Image size: 45 H cm...

Untitled VIII, (nc-3-S3-0008). 2010 by Nico Baixas From the Series Chiromorphose Archival Pigment Print on Hahnemuhle fine art paper Sheet size: 50 H cm x 50 W cm. Image size: 45 H ...

Savannah Spirit Amor de Artuño Silver gelatin on Ilford multigrade paper, signed, edition of 5 Scroll for more on the artist and this series and an excerpt from the recent monograph, The Archive #6: Savannah Spirit, published by Quiet Lunch: "When I first saw Savannah Spirit’s early nudes, I felt immediately struck by their power and awareness. Of course, they were traditionally beautiful, with classical lighting and shadows from Venetian blinds. Some of them were sexy, in the way bodies are sexy. But they weren’t sexualized. Looking at them, I felt powerful. I felt good. They depicted the body of an adult woman viewing herself with love. I’ve been devoted to them ever since. To me, these portraits invoke the power of a landscape. The way the light rolls over the body evokes the body’s connection with the earth, with sunrise and its long deep shadows. The patterns of darkness can break the figure into geometry, creating a distance between the viewer and the image, as in End of An Era and Staying Abreast. Yet others, like Resist and Be The Woman You Needed When You Were Younger, create direct address, and sometimes empathy. Sometimes, the viewer takes the vantage point of the artist, and the piece becomes a further study in introspection. The titles, like The Bottom Line and Read Between the Lines, often invoke idioms, figures of speech, or stereotypes that themselves point back to the culture that produced them. As conceptual components, they are both playful and political, which, when juxtaposed against image to elicit a mood or reaction. For me, it’s different every time. I am often pricked to discover how the vernacular of Hollywood capitalism, juxtaposed to a powerful, nude self-portrait of a woman, almost always feels a bit surprising–as if I wasn’t expecting her to be there. Recent works, like Network, use both shadow and mirror to create a doubled image, the artist and her reflection, further suggesting the sense of a dialogue with the self. The two bodies are not a mirror image, though seen in a mirror: a conversation between two sides of oneself, rather than a literal twinning. Over the past decade, as this series took on greater and deeper life, Savannah and I have had countless wonderful discussions about women, bodies and art. As a former artist’s model, early in her career, she participated in the form of power that was available to her: that of the quieted muse. She knew she was being objectified, she recalls, but at least she was included in the club. I instantly recognized that message. She was still creating her own work, though, and one day, she realized she’d had enough of seeing herself through someone else’s lens. She turned the camera on herself, and began to take a very different kind of picture. During the pandemic, the feeling of being alone with oneself can sometimes feel overwhelming. These recent pieces reflect that agitation of the dialogue alone, the being with oneself, seeking connection..." - Katie Peyton Hofstadter Classic black and white silver gelatin print, signed by the artist Savannah Spirit. This is a self portrait of the artist. Categorize between self-portrait, contemporary feminism, take back control, I am my own muse, my body my choice...

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 ...

Koo Stark Black and white silver gelatin portrait photograph of photographer Horst P. Horst, official 80th birthday image. Frame: 17 1/4 x 23 1/4 inches Sight: 10 1/4 x 13 1/4 inches Condition: Good. Kathleen Norris Stark (born April 26, 1956), better known as Koo Stark, is an American photographer and actress, known for her relationship with Prince Andrew. She is a patron of the Julia Margaret Cameron Trust, which runs the museum of the Victorian pioneer photographer. Early life and education Stark was born in New York. Her parents were Wilbur Stark, a writer and producer, and Kathi Norris, a writer and television presenter in New York City. She is the youngest of three children, the others being Pamela and Brad. At the time of her birth, the family was living in the city's Manhattan borough.[1] Her grandfather, Edwin Earl Norris, was a cabinetmaker and musician, playing the French horn and the viola in the Newark Symphony Orchestra. Her mother's family were Presbyterians.[2][3] After a divorce in the 1960s, her mother remarried.[4] Koo Stark attended the Hewitt School in New York and the Glendower Preparatory School in Kensington, London. After training at a stage school, she began her film acting career. (she acted in the original Star Wars!) Stark also began to work as a fashion model, particularly for Norman Parkinson. In February 1981, she was at the National Theatre as an understudy in the Edward Albee play Who's Afraid of Virginia Woolf? Stark has worked as a photographer since the 1980s, and may have been the first person to turn the tables on the pursuing paparazzi by taking photos of them. Prince Andrew has told how in 1983 a photographic printer, Gene Nocon, invited Stark to take photographs of people taking photos of her, for his exhibition, Personal Points of View, planned for October. She persuaded Nocon to include Andrew's work as well. Her early photographs led to a book deal, for which she took lessons from Norman Parkinson. She travelled to Tobago, where he lived, and he became her mentor. Her book Contrasts (1985) included about a hundred of her photographs. She went on to study the work of leading photographers, including Angus McBean, whom she met and photographed, developing her interests in photography to include reportage, portraits, landscapes, still life, and other work. The book Contrasts was launched at Hamiltons Gallery, London, in September 1985, at an exhibition of the same name. In 1994, the Gallery Bar at the Grosvenor House Hotel in Park Lane hosted an exhibition called 'The Stark Image', forty photographs by Stark, including several previously unpublished. In 1998, her work was featured at the Como Lario in Holbein Place, Belgravia. In July 2001 she had an exhibition called 'Stark Images" at the Fruitmarket Gallery in Edinburgh, duplicated from June to July 2001 at Dimbola Lodge on the Isle of Wight. A solo exhibition of portraits was at the Winter Gardens, Ventnor, from September to October 2010,[29] and another at Dimbola Lodge from February to April, 2011. On 22 April 1987, a charity auction at Christie's, St James's, for the Campaign to Protect Rural England, featured signed work by David Bailey, Patrick Lichfield, Don McCullin, Terence Donovan, Fay Godwin, Heather Angel, Clive Arrowsmith, Linda McCartney, Koo Stark, and fifteen others, Views by Stark, including some of Kirby Muxloe Castle, were in G. H. Davies's England's Glory (1987), a CPRE book launched at the same time. Pictures by Stark have appeared in Country Life and other magazines. Several of her portraits are in the National Portrait Gallery, and work is also in the collections of the Victoria and Albert Museum, both in London. A Leica user, Stark has said her camera transcends mere function and is a personal friend. A solo exhibition hosted by the Leica gallery in Mayfair in May 2017 was entitled Kintsugi, a Japanese word for a way of renovating things that have been broken. Stark explained the title: "Kintsugi is a way of learning to see individual beauty, and to appreciate the value of experience and honesty. It is the antithesis of digital, airbrushed, Photoshop-homogenised 'beauty'." In August the exhibition was repeated in Manchester, to mark the opening of a new Leica store there. Stark has been a practising Buddhist since meeting the Dalai Lama. She continues to live in London and is a member of the Chelsea Arts Club. She is a Patron of the Julia Margaret Cameron Trust, at Dimbola Lodge on the Isle of Wight, home of the Victorian pioneer photographer Julia Margaret Cameron. Stark met Prince Andrew in February 1981, and they were close for some two years, before and after his active service in the Falklands War. Tina Brown has claimed that this was Andrew's only serious love affair. In October 1982 they took a holiday together on the island of Mustique. According to Lady Colin Campbell, Andrew was in love, and the Queen was "much taken with the elegant, intelligent, and discreet Koo". However, in 1983, after 18 months of dating, they split up under pressure from the Queen. In 1997, Prince Andrew became the godfather of Stark's daughter, and in 2015, when the Prince was accused by Virginia Roberts over the Jeffrey Epstein connection, Stark came to his defence, stating that he was a good man and she could help to rebut the claims. Photographic exhibitions 'Contrasts', Hamiltons Gallery, Carlos Place, London, September 1985 'The Stark Image', Gallery Bar at Grosvenor House Hotel, London, 1994 'Stark Images', Dimbola Lodge, Isle of Wight, June to July 2001 'Stark Images', Fruitmarket Gallery, Market Street, Edinburgh, July 2001 'Portraits by Koo Stark', Winter Gardens, Ventnor, Isle of Wight, September to October 2010 'Koo Stark: Contrasts', Dimbola Lodge, Isle of Wight, February to April, 2011 'Kintsugi', Leica gallery, Bruton Place, Mayfair, May 2017 'Kintsugi', Leica store, Police Street, Manchester, August 2017 'Kintsugi Portraits', San Lorenzo, Beauchamp Place, London SW3, November 2017 Horst Paul Albert Bohrmann (1906 – 1999), who chose to be known as Horst P. Horst, was a German-American fashion and Fine Art photographer. The younger of two sons, Horst was born in Weißenfels-an-der-Saale, Germany, to Klara (Schönbrodt) and Max Bohrmann. His father was a successful merchant. In his teens, he met dancer Evan Weidemann at the home of his aunt, and this aroused his interest in avant-garde art. In the late 1920s, Horst studied at Hamburg Kunstgewerbeschule, leaving there in 1930 to go to Paris to study under the architect Le Corbusier. While in Paris, he befriended many people in the art community and attended many galleries. In 1930 he met Vogue photographer Baron George Hoyningen-Huene, a half-Baltic, half-American nobleman, and became his photographic assistant, occasional model, and lover. He traveled to England with him that winter. While there, they visited photographer Cecil Beaton, who was working for the British edition of Vogue. In 1931, Horst began his association with Vogue, publishing his first photograph in the French edition of Vogue in December of that year. It was a full-page advertisement showing a model in black velvet holding a Klytia scent bottle. His first exhibition took place at La Plume d'Or in Paris in 1932. It was reviewed by Janet Flanner in The New Yorker, and this review, which appeared after the exhibition ended, made Horst instantly prominent. Horst made a portrait of Bette Davis the same year, the first in a series of public figures he would photograph during his career. Within two years, he had photographed Noël Coward, Yvonne Printemps, Lisa Fonssagrives, Count Luchino Visconti di Modrone, Duke Fulco di Verdura, Baron Nicolas de Gunzburg, Princess Natalia Pavlovna Paley, Daisy Fellowes, Princess Marina of Greece and Denmark, Cole Porter, Elsa Schiaparelli, and others like Eve Curie. Horst rented an apartment in New York City in 1937, and while residing there met Coco Chanel, whom Horst called "the queen of the whole thing". He would photograph her fashions for three decades. He met Valentine Lawford, British diplomat in 1938, and they lived together until Lawford's death in 1991. Horst adopted a son, Richard J. Horst, whom they raised together. In 1941, Horst applied for United States citizenship. In 1942, he passed an Army physical, and joined the Army on July 2, 1943. On October 21, he received his United States citizenship as Horst P. Horst. He became an Army photographer, with much of his work printed in the forces' magazine Belvoir Castle. In 1945, he photographed United States President Harry S. Truman, with whom he became friends, and he photographed every First Lady in the post-war period at the invitation of the White House. In 1947, Horst moved into his house in Oyster Bay, New York. He designed the white stucco-clad building himself, the design inspired by the houses that he had seen in Tunisia during his relationship with Hoyningen-Huene. Horst is best known for his photographs of women and fashion, but is also recognized for his photographs of interior architecture, still lifes, especially ones including plants, and environmental portraits. One of the great iconic photos of the Twentieth-Century is "The Mainbocher Corset" with its erotically charged mystery, captured by Horst in Vogue’s Paris studio in 1939. Designers like Donna Karan continue to use the timeless beauty of "The Mainbocher Corset" as an inspiration for their outerwear collections today. His work frequently reflects his interest in surrealist style and surrealism and his regard of the ancient Greek ideal of physical beauty. Horst P Horst signed color photograph in color. Horst is listed as one of the best photographers ever along with Diane Arbus, Ansel Adams, and Robert Mapplethorpe His method of work typically entailed careful preparation for the shoot, with the lighting and studio props (of which he used many) arranged in advance. His instructions to models are remembered as being brief and to the point. His published work uses lighting to pick out the subject; he frequently used four spotlights, often one of them pointing down from the ceiling. Only rarely do his photos include shadows falling on the background of the set. Horst rarely, if ever, used filters. While most of his work is in black & white, much of his color photography includes largely monochromatic settings to set off a colorful fashion. Horst's color photography did include documentation of society interior design, well noted in the volume Horst Interiors. He photographed a number of interiors designed by Robert Denning and Vincent Fourcade of Denning & Fourcade and often visited their homes in Manhattan and Long Island. After making the photograph, Horst generally left it up to others to develop, print, crop, and edit his work. One of his most famous portraits is of Marlene Dietrich, taken in 1942. She protested the lighting that he had selected and arranged, but he used it anyway. Dietrich liked the results and subsequently used a photo from the session in her own publicity. In the 1960s, encouraged by Vogue editor Diana Vreeland, Horst began a series of photos illustrating the lifestyle of international high society which included people like: Consuelo Vanderbilt, Marella Agnelli, Gloria Guinness, Baroness Pauline de Rothschild and Baron Philippe de Rothschild, Helen of Greece and Denmark, Baroness Geoffroy de Waldner, Princess Tatiana of Sayn-Wittgenstein-Berleburg, Lee Radziwill, Duke of Windsor and Duchess of Windsor, Peregrine Eliot, 10th Earl of St Germans and Lady Jacquetta Eliot, Countess of St Germans, Antenor Patiño, Oscar de la Renta and Françoise de Langlade, Desmond Guinness and Princess Henriette Marie-Gabrielle von Urach, Andy Warhol, Nancy Lancaster...

"Tuberose" Museum Archival Digital Photographic Print On Fine Art Paper This piece is a Limited Edition of 12, signed on verso, includes a gallery label, and certificate of authenticity. Lynn Bianchi...

An underwater black and white photograph of beautiful naked young woman breasts covered with air bubbles. “In my line of photography all best shots are ...