"Amongst the vast array of interiors and portraits done by Horst P. Horst during the Around That Time years, the most striking example of this oeuvre, is the brilliantly executed, Cy and Tatiana Twombly, Rome, 1966, portfolio. The images represent a coming together of photographer, subject and home that is uniquely brilliant."
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 by the Horst Estate/ Courtesy: The Horst Estate and Condé Nast. All photographs are accompanied by a Horst P.Horst Estate certificate of originality and a label with a numbered hologram sticker.”
Cy Twombly in Rome 1966 - Untitled #22, 1966 (Small size)
Cy Twombly in Rome 1966 - Untitled #22, 1966
Archival Pigment Print
Image size: 23.6 in. H x 23.6 in. W
Sheet size: 29.5 in. H x 29.5 in. W
Edition of 9
Additional sizes are available:
Image size: 31.5 in. H x 31.5 in. W
Sheet size: 39.4 in. H x 39.4 in. W
Edition of 5
Image size: 50 in. H x 50 in. W
Sheet size: 50 in. H x 50 in. W
Edition of 3
X Large $25.000
Image size: 59.4 in. H x 59.4 in. W
Sheet size: 59.4 in. H x 59.4 in. W
Edition of 2
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.”