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.
Marella Agnelli, Untitled #4, 1967 (Small size)
Marella Agnelli, Untitled #4, 1967
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
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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
Limited editions / Printed under the supervision of the Horst Estate / Courtesy of Condé Nast.
This image is part of the Marella Agnelli portfolio 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.”