The palazzo s “all but empty rooms, bare-windowed and pecked down”, wrote Valentin Lawford, created a “whole as beautiful in its nakedness as a tree in winter or a shell on a beach. The white of the walls, the general bareness of the rooms, highlighted each object and artifact. Horst always sought by means of the contrast of colors to emphasize each element and that these they supported each other and not competing among them. Natural lighting helps to make the colors of each element real when the photo is printed. 

 

All Prices are quoted as "initial price".  
Please note that prices and availability may change due to current sales.  Additional sizes and prints are available. 
Printed later under the supervision of the Horst Estate / Courtesy Horst Estate /  Condé Nast

Cy Twombly in Rome 1966 - Untitled #14 and Untitled #28, Diptych

$10,000.00Price
  • Horst P. Horst

    Cy Twombly in Rome 1966 - Untitled #14 and Untitled #28, Diptych

    Archival Ink Print

     

    DIMENSIONS:

    23.6 in H x 47.2 in W - $10.000

    31.5 in H x 63 in W - $20.000

    50 in H x 100 in W - $35.000

    59.4 in H x 118.8 in W - $50.000

    Canvas

     

    Unframed

    This image is part of the Cy Twombly portfolios and is sold individually in 4 limited edition dimensions.

  • Horst P. Horst German-American, 1906-1999 (born Horst Paul Albert Bohrmann) was one of the towering figures of 20th-century fashion photography. Best known for his work with Vogue—who called him “photography’s alchemist”—Horst rose to prominence in Paris in the interwar years, publishing his first work with the magazine in 1931. In the decades that followed, Horst’s experimentations with radical composition, nudity, double exposures, and other avant-garde techniques would produce some of the most iconic fashion images ever, like Mainbocher Corset and Lisa with Harp (both 1939). As The New York Times once described, “Horst tamed the avant-garde to serve fashion.” Though associated most closely with fashion photography, Horst captured portraits of many of the 20th century’s brightest luminaries, dabbling with influences as far-ranging as Surrealism and Romanticism. “I like taking photographs because I like life,” he once said. “And I love photographing people best of all because most of all I love humanity.”

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