Shangri La, the house that Duke built for herself in Hawaii in the 1930s, is not merely her own youthful version of a private utopia. With originality rare for the period, she included a number of authentically Islamic art. Something of the spirit of the house is evident from the outset: it's an arbitrary but enchanting mixture of Moroccan, Egyptian, Turkish, Syrian, and Persian motifs, bathed in shadow, glowing with coloured, half-lights, speckled with filigree, at once softened and set off by Hawaiian vegetarian in abundance.
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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
Doris Duke - Shangri La, 1966 (Small size)
Doris Duke, Shangri La, 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
CONTACT US FOR OTHER AVAILABLE SIZES
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
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
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.”