Marella Agnelli is the super chic wife of the famous and definitely one of the most important and beloved men of Italy: Gianni Agnelli – (the heir owner of Fiat and later on Ferrari, Alfa Romeo and Jeep) poses in a Valentino dress in her Villa Perosa, near Turin, Italy. Which is not only known for its architectural and interior beauty but also for its worldly famous gardens. Marella is synonymous of style not only in Italy but very much internationally. She kept one hairstyle her whole life, in her case, short but who wouldn't? Look at that neck, and then look at that pose.
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“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.”
Marella Agnelli, Untitled #2, 1967 (Small size)
Marella Agnelli, Untitled #2, 1967
Archival pigment print
DIMENSIONS:
Small
Image size: 23.6 in. H x 23.6 in. WSheet size: 29.5 in. H x 29.5 in. W
Edition of 9CONTACT US FOR OTHER AVAILABLE SIZES
Medium
Image size: 31.5 in. H x 31.5 in. W
Sheet size: 39.4 in. H x 39.4 in. W
Edition of 5Large
Image size: 50 in. H x 50 in. W
Sheet size: 50 in. H x 50 in. W
Edition of 3Extra Large
Image size: 59.4 in. H x 59.4 in. W
Sheet size: 59.4 in. H x 59.4 in. W
Edition of 2Horst 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.”
