Pants Art

Oil on canvas Karine Bartoli was born in 1971 in Ajaccio. She enrolled at the Ecole Nationale Superieure des Beaux Arts in Marseille where she graduated in 1997. Since then she has ...

Majestic Nishikigoi in Metal Splendor : Aqueous Grandeur Scarlet embodies Hiro Ando’s bold reinterpretation of the Japanese carp, where tradition and contemporary aesthetics converge...

Antonia Pozzi is an original artwork realized by the Italian artist and photographer Angelo Cricchi in 2009. Original Digital Photograph on paper. Hand-signed by the artist, dated...

Boys In Paris from the Paris In Colour Series 1956-61 By Peter Cornelius 30 x 40 inches/ 76 x 101 cm paper size Printed 2022 Archival pigment print Framing and size options avail...

Emile (2018)
 40x51 cm, Edition of 10 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Instant Film (not mounted) Signed on back with Certificate Ab...

Ch-ch-ch-ch-changes (Stage of Consciousness) - 2007 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist...

'Cortina D'Ampezzo' by Slim Aarons Isa Genolini and Maria Antonia in the main street of Cortina d'Ampezzo, Italy, March 1982. Estate stamped and hand numbered edition of 150 with ...

Archival pigment print Signed and numbered, verso 24 x 30 inches (Edition of 6) 30 x 40 inches (Edition of 6) This photograph is offered by ClampArt, located in New York City. Plea...

Archival pigment print 20 x 16 inches (Edition of 8) 29 x 24 inches (Edition of 8) This photograph is offered by ClampArt, located in New York City. During the 2012 football seas...

My girlfriend and Me liked to dress up "take it off and throw it away"). We were looked at on the street, some advised us to go to a madhouse, but we liked it.) Tanka lived on the fi...

The Prodigy - signed Limited Edition Print Collage Boston June 2 1997 NME Cover Shoot (photo Kevin Westenberg) NB All prints are signed and numbered b...

Dolores Guinness Dolores Guinness catches the sun’s last rays in Costa Smerelda, Sardinia, 1965. 20 x 20" - paper size Estate Stamped Collection Edition to 150 Photo by Slim ...

Summer time (and the living is easy) - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist invent...

This artwork captures a vibrant Californian scene, with a sleek vintage black car set against a sun-drenched desert landscape and a bold "CALIFORNIA"...

Curling Heinrich Dite and Leonie Heller play a variety of curling in Lech, Austria. 20 x 20" - paper size Estate Stamped Collection Edition to 150 Photo by Slim Aarons Printe...

Signed limited edition print of the Beastie Boys by Jake Chessum. Jake recalls ” This was from April 1994. I flew from London to shoot at Mike D’s ba...

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

Louise - Signed limited edition archival pigment print , Louise Bourgoin french actress, 2006 Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Pho...

This artwork depicts a young woman confidently poised at the Texas state line, symbolizing both a literal and metaphorical crossing. Set against a vibrant blue sky, the scene cente...

Blake's painting imagines a quiet moment about the Sultana, a steamboat carrying Union POWs home at the end of the Civil War. Hours later, the vessel exploded, killing over a thousan...

This entire series was inspired by a piece of graffiti by the street artist Banksy in the UK. Nick Stern - who ironically has been called the Banksy of Los Angeles and goes by the street name "Plastic Jesus" -decided to set himself the challenge to recreate the original Banksy...

Vintage gelatin silver print Signed in black ink, l.r. 14 x 11 inches, sheet size 13 x 9 inches, image size This artwork is offered by ClampArt, located in New York City. Born in ...

2011, Unique Edition Resin fiberglass chrome effect with protective cap plexiglas with LED 54 3/10 × 12 1/5 × 7 9/10 in - 138 × 31 × 20 cm The artwork is signed by the Artist , carve...

Ski paradise by Anne Storno [2021] limited_edition and hand signed by the artist Screenprinting Edition number 30 Image size: H:58 cm x W:40 cm Complete Size of Unframed Work: H:70 ...

When I arrived at my grandmother's house, the neighbors said, "Oh, the city girl has arrived." And my grandmother said, "Child, what have you done to yourself? You're a girl..." My g...

Commanding Warriorcat: Red Eternal Vigil by Hiro Ando emerges as one of the most powerful figures within the series Neko Sculptural Symphony: Claws of Legends, where feline warriors ...

‘Twiggy’ Chelsea, London, 1966 by Arthur Steel Paper size: 40 x 28.5 inches / 102 x 71 cm Framing options available. Fashion shoot at her then boyfr...

Oil on canvas Karine Bartoli was born in 1971 in Ajaccio. She enrolled at the Ecole Nationale Superieure des Beaux Arts in Marseille where she graduated in 1997. Since then she has ...

limestone and oils 27 x 23 x 6 in c. 2005 What's more comfortable than a jean jacket? When I was working on the "What is America?" series, a jean jacket was at the top of the list of iconic clothes...

From the Vargas Portfolio **Portfolio Cover Not Included** Lithograph Only Alberto Vargas (1896-1982) was born in Arequipa, Peru, in 1896, the son of...

2017, Edition of 8 Resin FiberGlass Painted & Varnished 51 1/5 × 37 2/5 × 37 2/5 in - 130 × 95 × 95 cm The artwork is signed by the Artist , carved with edition number and date u...

Commanding Warriorcat: Blue Eternal Vigil reveals a serene and majestic interpretation of Hiro Ando’s feline guardian, where blue introduces an almost oceanic sense of calm and depth...

On the set of the film Paris Texas - Wim Wenders is a vintage black and white photograph realized in 1984. Good conditions.

LARRY KANTNER Boy with Dog 1980 Acrylic on canvas 52.5 x 40.5 inches

Dolores Guinness Dolores Guinness catches the sun’s last rays in Costa Smerelda, Sardinia. Paper size 30 x 30" inches / 76 x 76 cm Estate Stamped Collection Edition to 150 Pho...

Signed Keith Haring poster 1985: A highly collectible hand-signed 1985 Keith Haring exhibition poster published on the occasion of: Keith Haring Painting...

Series: Diamond Dust All available sizes & editions for each size of this photograph: 31" X 46.5" - Edition of 10 Diamond Dust Collection Diamond Dust is a glittering material t...

Vintage gelatin silver print Signed in black ink, l.r. 14 x 11 inches, sheet size 13 x 9 inches, image size This artwork is offered by ClampArt, located in New York City. Born in ...

Martin Mull is a singular artist whose iconography directly translate the American culture.

A man stops to watch a young woman tie her sandals on the pavement in Portofino marina, August 1977. Gorgeous print measuring a large 30 x 20" inches / ca 76 x 51 cm’s paper size. ...

'Dolores Guinness' 1965 Slim Aarons Limited Edition Estate Print - Oversize Dolores Guinness catches the sun’s last rays in Costa Smerelda, Sardinia. (Photo by Slim Aarons) C Pr...

Signed limited edition print of The Clash, featuring Joe Strummer, Mick Jones, Paul Simonon and Topper Headon, photographed by Brian Aris in London. Br...

Richard Prince (b. 1949) is one of the most innovative, influential and polemic American artists. Whether you associate him with The Pictures Generation, post-modernism or appropriat...

Signed limited edition print of Debbie Harry of Blondie by Michael Brennan, taken at the studio on East 45th in Manhattan, New York, USA, Febru...

Oil on canvas Karine Bartoli was born in 1971 in Ajaccio. She enrolled at the Ecole Nationale Superieure des Beaux Arts in Marseille where she graduated in 1997. Since then she has ...

Commanding Warriorcat: Candy Eternal Vigil introduces a surprising softness within Hiro Ando’s universe, where the legendary feline guardian appears in an unexpected candy-pink armor...

Grandiose Sumocat: Black Dance and Battles of Balance by Hiro Ando presents a powerful and monumental interpretation of the iconic feline wrestler within the celebrated series Neko S...

Well presented in a contemporary wood frame. Signed. On board.

This realistic oil portrait of a young man is by Daniel Hughes. In a field surrounded by the magical glow of dozens of fireflies, a young man stands alone, looking towards the hills...

Putting aside his usual black and white palette, Hiroshi Watanabe uses color in his attempt to tell an unbiased story of North Korean culture and everyday ...

In 1981 Maggie Taylor (b. 1961) began to photograph while she was a student at Yale University majoring in philosophy. She primarily took photographs of suburban landscapes and stran...

Taken in Woodstock, NY in 1968. One of the most iconic photographs of Bob Dylan taken at his house. Signed by photographer. Limited Edition of 100

From the Series Guerreros One of-a kind Photomontage on archival paper Signed, titled and dated by the artist Overall size: 27.5 H x 19.5 W in. Individual size: 27.5 H x 39 W in. 1. ...

Debbie Harry photograph New York, 1977 by Fernando Natalici: Cooler than cool... Debbie Harry, New York, 1977, photographed on the set of "The Foreigner" by celebrated New York unde...

8 editions, 2/8 , artwork coming from the Artist's artworks serie : " Celestial Guardians: Shimmering Crystal Chronicles " The artwork is signed by the Artist , carved with edition ...

1965: Dolores Guinness catches the sun's last rays in Costa Smeralda, Sardinia. Slim Aarons Dolores Guinness Costa Smeralda, Sardinia Chromogenic Lambda print Printed Later Slim Aarons Estate Edition Complimentary dealer shipping to your framer. 40 x 40 inches $3950 30 x 30 inches $3350 20 x 20 inches $2500 Complimentary dealer shipping to your framer. Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). Please contact us for additional photographs from Slim Aarons * Dolores Guinness (31 July 1936 – 20 January 2012), was a German born "Freiin" (Baroness), socialite, fashion icon and jet set member of the 1950s and 1960s. She has been a member of the International Best Dressed List since 1970. Her mother was the famous Mexican-born socialite Gloria Guinness. Dolores was often seen in Vogue, Harper's Bazaar, Town and Country and Life magazine dressed in designer clothes from Givenchy, Christian Dior, Yves Saint Laurent and Balenciaga during the 1950s and 1960s, photographed by Cecil Beaton, Bert Stern, Henry Clarke, Mark Shaw (photographer), Richard Avedon and William Klein. She often appeared on the International Best Dressed List during these years. The Costa Smeralda (lit. 'Emerald Coast...

1965: Dolores Guinness catches the sun's last rays in Costa Smeralda, Sardinia. Slim Aarons Dolores Guinness Costa Smeralda, Sardinia Chromogenic Lambda print Printed Later Slim Aarons Estate Edition Complimentary dealer shipping to your framer. 40 x 40 inches $3950 30 x 30 inches $3350 20 x 20 inches $2500 Complimentary dealer shipping to your framer. Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). Please contact us for additional photographs from Slim Aarons * Dolores Guinness (31 July 1936 – 20 January 2012), was a German born "Freiin" (Baroness), socialite, fashion icon and jet set member of the 1950s and 1960s. She has been a member of the International Best Dressed List since 1970. Her mother was the famous Mexican-born socialite Gloria Guinness. Dolores was often seen in Vogue, Harper's Bazaar, Town and Country and Life magazine dressed in designer clothes from Givenchy, Christian Dior, Yves Saint Laurent and Balenciaga during the 1950s and 1960s, photographed by Cecil Beaton, Bert Stern, Henry Clarke, Mark Shaw (photographer), Richard Avedon and William Klein. She often appeared on the International Best Dressed List during these years. The Costa Smeralda (lit. 'Emerald Coast...

Louise - Signed limited edition archival pigment print , Louise Bourgoin french actress, 2006 Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Phot...

A vibrant young Jessica Lang shows off her Scottie in this relaxed portrait of the rising star at her cottage retreat in Minnesota in 1976. Art Shay Jessica Lange...

Cortina d'Ampezzo Fashion 1972 Chromogenic Lambda Print Estate edition of 150 Isa Genolini and Maria Antonia in the main street of Cortina d'Ampezzo, Italy, March 1982. Estate sta...