This intimate portrait of Jane Fonda predates her activism by a decade and coincides with the start of her film career. When it was taken she was still a model, and this is her all-American appeal reclining during assignment at Horst’s home in Oyster Bay. Throughout the 1950s, he carried out many advertising commissions when it started to be a serious business again after the war. Jane Fonda featured twice on the cover of Vogue. From an acting dynasty, she was in many Hollywood films before Barbarella, but it is Roger Vadim’s sci-fi extravaganza of 1968 and the charming Barefoot in the Park from the year before that identify her closely with the 1960s and the first half of her career. Increasingly politicized by America’s military involvement with Vietnam, she became ‘Hanoi Jane’, an outspoken and articulate public figure. From then on she gave memorable ‘serious’ performances in films like Klute (1971), Coming Home (1978), Comes A Horseman (1978), and On Golden Pond (1981) with her father and screen veteran Henry Fonda.


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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.”

Portraits - Jane Fonda Modeling, Plaid Wool Dress, CA, 1959

  • Horst P. Horst

    Portraits - Jane Fonda Modeling, Plaid Wool Dress, CA, 1959

    Photographic Paper, Archival Pigment



    Image size: 27.6 in. H x 23.6 in. W

    Frame size: 32.5 in. H x 28.5 in. W x 2.25 in. D

    Edition of 10

  • 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.”


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