Printed under the supervision of the Horst Estate - Courtesy Horst Estate/ Condé Nast. All Prices are quoted as "initial price". Please note that prices and availability may change due to current sales. "Amongst the vast array of interiors and portraits were 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 the 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, Rome #1, 1966
Portfolio #1 Cy Twombly in Rome, 1966
Eight archival pigment prints, matted in an embossed portfolio box.
Image size: 15.7" x 15.7"
Sheet size: 19.7" x 19.7"
Overall wall size composition of the entire portfolio is 40 W x 80 H
Edition of 10 + 3AP
Printed Later under the supervision of the Horst Estate - Courtesy Horst Estate/ Condé Nast.
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.”