Continental US - Portrait Photography

Matiz managed to create intimate portraits, in which Frida seemed happy to surrender to her lens. The result was dynamic portraits of Khalo, a wonderful example of both the photograp...

Argentinian race car driver Juan Fangio (1911 - 1995) in his Mercedes at Le Mans, June 1955. The race saw the death of Mercedes team mate Pierre Levegh and 80 spectators. Original Pu...

Stunning museum quality fine art print of Chrissy Teigen by photographer Markus Klinko from a collection of contemporary nudes by the celebrated photographer, featuring amongst other...

Tropics Motor Motel II (Memories of Green) – 1999 Edition 1/10 58x56 cm Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid Artist invento...

'Radha Pink' (29 Palms, CA) - 1999 38x36cm, Edition of 30, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #6...

The Sanchez Twins by Baron Wolman, taken in San Francisco in 1968 as part of Baron's Groupies series, taken for Rolling Stone magazine. Limited edition ...

C-print on Fuji Paper 7 + 3AP, 8 left "CAMOUFLAGED BEAUTY COLLECTION Van Zeijl's love for nature and metamorphosis is also identifiable in the rebellious way she reshapes the dresse...

High schoolers picnic on the beach at Bonita Springs, Florida, 1955. Slim Aarons Spring Break Black and White Photography Slim Aarons Estate Edition Nu...

Combined Edition 25 Also available in 50 x 60 cm/ 20 x 24 inch and as combined Edition 10 in 76 x 101 cm / 30 x 40 inch 101 x 127 cm / 40 x 50 inch Portrait of American actor and fi...

Digital C-print Stamped and numbered, verso 20 x 24 inches (Edition of 10) 30 x 40 inches (Edition of 5 + 1 AP) 50 x 60 inches (Edition of 3) This photograph is offered by ClampArt, located in New York City. Please note that prices increase as editions sell. Luke Smalley was an American artist known for his photographic work, which pairs a coolly minimalist aesthetic with a retro nostalgia. Images from his early in his career were inspired by fitness manuals and yearbooks c. 1910. This is not surprising since Smalley graduated with a degree in sports medicine from Pepperdine University and worked for a number of years as a model and personal trainer. Smalley shot the bulk of his photographs in his home state of Pennsylvania, using real high school athletes as models. “Exercise at Home” is Luke Smalley’s second major body of work. Shot in and around the tiny Pennsylvania town the artist called home, Smalley revisits themes of adolescent growing pains acted out under the guise of earnest athleticism. Teenagers engage in simple yet strange competitions meant to establish their standings amongst one another. Two youths practice boating safety...

Gretchen Van de Kamp Ward In Gustave Tassell, Beverly Hills, Estate Edition, Portrait Photograph This 1960 portrait photograph, captured by society ph...

Brigitte Bardot with cigarette in hand by photographer Michael Ochs, originally taken in 1962. (Michael Ochs Archives/Getty Images) As an authorized Getty Images Gallery partner, we...

In 1986 African-American musician Dee Dee Bridgewater left the United States and moved to Paris, France where she lived for the next fifteen years with her family, two daughters and ...

Francesca Woodman, Providence, Rhode Island (1976) photographed by George Lange. 11 x 14" archival pigment print 17 x 21 x 2" frame with UV plexgia...

American photographer Burt Glinn photographed the Hollywood star in conversation with Mike Todd and film director John Huston for a “Stop Arthritis” event which took place in New Yor...

American model Jean Patchett photographed in Paris wearing a Jean Dessès evening gown. American Vogue magazine April 1, 1950. Paris Drama, 1950 C print Estate stamped and numbered e...

Gelatin silver print (Edition of 15) Stamped and numbered, verso 14 x 11 inches, sheet 7 x 5 inches, image From the series, "Gymnasium" This photograph is offered by ClampArt, loca...

When the trembling heart stops beating, what remains is a tiny beautiful corpse. I make a portrait to commemorate that life and to express my sorrow and regret. It’s my gesture towar...

This exquisite heliogravure after Sir Cecil Beaton (1904–1980), titled Rudolf Nureyev, from the folio Cecil Beaton, Electa Editrice Portfolios, 1981, originates from the 1981 edition...

"Etched in Stone" This best-selling, award-winning image features the defined musculature of an all white-horse against a black backdrop. The print series Equus: Light & Form focus...

16" x 20", signed limited edition print of David Bowie by Masayoshi Sukita. Taken at RCA Studios, New York, 1973. As featured in the new movie, Moonage Daydream. This print is also ...

Fashion Show, Brooklyn, New York, USA 1963 by Leonard Freed is a 19" x 13" signed and numbered archival pigment print in an edition of 10. Signed by the estate, Freed's widow Brigitte Freed, on back of photograph. Available: 3/10. Provenance: Freed Estate *** Artist’s Bio: Leonard Freed (1929-2006) was an American photographer from Brooklyn, New York. His "Black in White America" series made him known as a documentarian, a social documentary photographer. Freed worked as a freelance photographer from 1961 onwards and as a Magnum photographer Freed traveled widely abroad and, in the US, photographing African Americans (1964-65), events in Israel (1967-68, 1973), and the New York City police department...

Kate #10, 2002 by Leonard Freed is an 8" x 10" hand printed. Signed by the photographer black and white photograph, stamped "vintage" by the Freed estate. Model and yogini Kate remai...

Gelatin silver print Signed in pencil, verso 11 x 14 inches, sheet size 9.75 x 12.5 inches, image size This artwork is offered by ClampArt, located in New York City. Lillian Bassm...

This work is offered by CLAMP in New York City. Slava Mogutin Marko Hands, Berlin 2007 Signed, titled, and numbered, verso Chromogenic print (Edition...

Artist: Man Ray (American born, 1890 - 1976) Title: SIDE PORTRAIT Date Of Negative: 1926 Type Of Print: Authentic Vintage Sheet Fed Photogravure/Heliogra...

This piece is a photolithograph from the original negative by Laszlo Willinger, original shot in 1937 and printed at a later date. It depicts English actress, Vivien Leigh...

Annie’s Big Book Famed photographer Annie Leibovitz weighs in with her own SUMO Art Edition (No. 1–1,000) Archival pigment print Keith Haring (contact sheet), New York City, 1986...

Untitled (Phone Call) Mike Tyson speaking with Camille Ewald after winning his first title, WBC World Championship, Las Vegas, 1986 Signed and numbered, verso Archival pigment prin...

Listing includes framing with UV plexi, free shipping to the continental US and a 14-day return policy. One 4.5 x 3.25 inch unique vintage Kodak print of Tina Chow (1975). Prints ar...

Signed limited edition print of The Beastie Boys taken in 1987 by Lynn Goldsmith Signed limited edition #7/20 - signed, numbered and titled by Lynn Goldsmith

From a stunning collection of contemporary nudes from celebrated photographer, Markus Klinko, featuring amongst others, Dita Von Teese, Stoya and Aubrey O’Day This print is availabl...

Willy Nelson, 1993 by American photographer Leonard Freed is a series of (3) photographs, gelatin silver press RC prints, which are each signed verso (bac...

"The Glimmer Twins - Mick Jagger" Photography 20x15 in by Charlie Auringer Year: 1978 Edition of 50 Medium: Silver gelatin limited edition photographic print on paper Signed and num...

Victor Arimondi (1942-2001). Portrait of male model Ingolf wearing Torben Hardernberg, ca. 1975. Period print measures 9 x 11 inches. Artist studio stamp on verso. Victor Arimondi ...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. Murnaghan was well known for his striking underwater photography, capturing his sub...

Pentti Sammallahti is a benchmark figure in contemporary Finnish photography. His works depict nature eroded and broken down by civilization, but he does not put man and the environm...

Andy Warhol Portrait of Roy Lichtenstein, 1975 Polaroid dye-diffusion print Authenticated by the Andy Warhol Foundation for the Visual Arts, bears the Foundation stamp verso Frame included: Framed in white wood frame with UV plexiglass; with die-cut window in the back to show official Warhol Foundation authentication stamp and text Measurements: 9 9/16 x 8 9/16 x 9/16 inches (frame) 3 1/2 x 2 3/4 inches (window) 4.16 x 3.15 inches (Artwork) Authenticated and stamped by the Estate of Andy Warhol/Warhol Foundation for the Visual Arts An impressive piece of Pop Art history! A must-have for fans and collectors of both Andy Warhol and Roy Lichtenstein: This is a unique, authenticated color Polaroid taken by one Pop Art legend, Andy Warhol, of his most formidable contemporary and, in many respects, rival, Roy Lichtenstein. One of only a few portraits Andy Warhol took of Roy Lichtenstein, during one tense photo shoot. Both iconic artists, colleagues and, perhaps lesser known to the public, rivals, would be represented at the time by the renowned Leo Castelli Gallery. The truth is - they were really more rivals than friends. (the rivalry intensified when Warhol, who was working with Walt Disney, discovered that Lichtenstein painted Mickey Mouse before he did!!) Leo Castelli was committed to Roy Lichtenstein, and, it's easy to forget today, wasn't that interested in Warhol as he considered Lichtenstein the greater talent and he could relate better with Roy on a personal level. However, Ivan Karp, who worked at Castelli, was very interested in Warhol, as were some powerful European dealers, as well as many wealthy and influential American and European collectors. That was the start of Warhol's bypassing the traditional gallery model - so that dealers like Castelli could re-discover him after everybody else had. Warhol is known to have taken hundreds of self-portrait polaroid photographs - shoe boxes full - and he took many dozens of images of celebrities like Blondie and Farrah Fawcett. But only a small number of photographic portraits of fellow Pop Art legend Roy Lichtenstein -- each unique,- are known to have appeared on the market over the past half a century - all from the same photo session. This is one of them. There is another Polaroid - from this same (and only) sitting, in the permanent collection of the Getty Museum in California. There really weren't any other collaborations between these two titans, making the resulting portrait from this photo session extraordinary. It is fascinating to study Roy Lichtenstein's face and demeanor in this photograph, in the context of the great sense of competition, but perhaps even greater, albeit uneasy respect, these two larger than life Pop art titans had for each other: Like Leo Castelli, Roy Lichtenstein was Jewish of European descent; whereas Warhol was Catholic and quintessentially American, though also of European (Polish) descent. They were never going to be good friends, but this portrait, perhaps even arranged by Leo Castelli, represents an uneasy acknowledgement there would be room at the top for both of them. Floated, framed with die cut back revealing authentication details, and ready to hang. Measurements: 9 9/16 x 8 9/16 x 9/16 inches (frame) 3 1/2 x 2 3/4 inches (window) 4.16 x 3.15 inches (sheet) Authenticated by the Estate of Andy Warhol/The Andy Warhol Foundation for the Visual Arts. Estate Stamped: Stamped with the Andy Warhol Estate, Warhol Foundation for the Visual Arts stamp, numbered "B 512536P", with the Estate of Andy Warhol stamp and inscribed UP on the reverse. Bears the Warhol Foundation unique inventory number. Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...

Fashion model Pamela Minchin photographed on the Isle of Wight wearing Fortnum and Mason’s dark burgundy Lastex satin swimsuit with ballet skirt, Harper’s Bazaar, July 1939. 'For ba...

Special XL limited edition series - paper size 70" wide x 40" high This iconic image of David Bowie as The Thin White Duke was taken by renowned Rock photographer, John Rowlands, o...

Stone and Press Gallery is excited to offer several works in celebration of the LGBTQ community. A black and white photograph of a young woman in boots. Brinley Ribando...

In this early photographic series, Dubravka Lazić turns her lens toward a subject rarely treated with such a quiet dignity: domestic cats. Shot in 2005, these portraits mimic the fo...

1955: John Bryant with his AC sports car in Kinnerton Place, London SW1, Printed Later. His passenger is Margaret McAulay. 40 x 40 inches $3950 30 x 30 inches $3350 20 x 20 inches $3000 Complimentary dealer shipping to your framer, worldwide. Undercurrent Projects is pleased to offer this vibrant photograph, printed by the Slim Aarons estate. It is part of the estate's only official limited run, of 150. Estate stamp embossed on recto, hand numbered in ink on recto, with certificate of authenticity from the estate (not a secondary gallery licensing from the estate). Increasingly heralded for his influence, Slim Aarons (1916-2006) made a career out of photographing "attractive people doing attractive things in attractive places." Aarons is known for his iconic images of Hollywood glamour and luxurious people, places and lifestyles. Undercurrent Projects offers premium quality photographic prints from the Slim Aarons Archive, owned and housed by Getty Images. All photographs are printed and authorized by the Getty Images Gallery, London. Photographs are printed utilizing the original transparency held at the archive source. Aarons began his career as a combat photographer in World War II. Though he earned a Purple Heart for his service, he declared that combat had taught him that the only beach worth landing on was decorated with beautiful people enjoying themselves in the sun. Slim Aarons is noted for his documentation of the Beautiful People over 50 years, encompassing high society, celebrity, aristocracy, and the jet set. He was born and raised in New York City and New Jersey and later New Hampshire. He took up photography as a teenager. At the age of eighteen, he enlisted in the U. S. Army and was later appointed official photographer at the United States Military Academy at West Point. During World War II he served as an army combat photographer for Yank magazine in Europe, North Africa, and the Middle East. After the war he became a freelance photojournalist, first based in Hollywood, then Rome, then New York. His photographs appeared in many magazines, including Life, Holiday, Town & Country, Look, Venture, and Travel & Leisure. His first book A Wonderful Time (1974) is considered a classic. * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). Please contact us for additional photographs from Slim Aarons * Slide show includes a close-up of the Slim Aarons estate's stamp. The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Internal: Slim Aarons Vintage Sport, Vintage Car photography, Sports Car Photography

"Black Diamond" This award-winning image is a fashion-inspired portrait of an elite horse wearing the attire of his discipline. The print series Equus: Light & Form focuses on the...

Carmen Alvarez enjoying a game of backgammon with Frank 'Brandy' Brandstetter in a swimming pool at Acapulco, 1978. Slim Aarons Keep Your Cool (Backgammon in Acapulco) Chromogenic Lambda print Printed Later Slim Aarons Estate Edition Complimentary dealer shipping to your framer, worldwide. Stamped and hand numbered by the Slim Aarons Estate. Certificate of Authenticity included. Collector will get the next number in the edition 72 x 48 inches $4900 60 x 40 inches $3950 40 x 30 inches $3350 30 x 20 inches $3000 Complimentary dealer shipping to your framer, worldwide. Over the course of a career lasting half a century, Slim Aarons (1916-2006) portrayed high society, aristocracy, authors, artists, business icons, the celebrated and their milieu. In doing so, he captured a golden age of wealth, privilege, beauty and leisure that occurred alongside—but quite separate from—the cultural and political backdrop of the second half of the Twentieth Century. Photograph is unframed Slide show includes a close-up of the Slim Aarons estate's stamp. Collector will get the next number in the edition * We are pleased to offer the entire archive of the Slim Aarons Estate, offering the official Slim Aarons Estate Edition (only offered in this edition of 150). * Undercurrent Projects, New York, is proud to represent Aarons' full collection of negatives and transparencies. Housed at Getty Images Hulton Archive in London, The Slim Aarons Estate has released the limited Estate edition as a Lambda print, which is a modern c-type prints. They have chosen Lambda prints for their sharpness, clarity, colour saturation and quality, compared to archival inkjet prints. Lambda printing gives true continuous tone. Internal: Slim Aarons Poolside Glamour Photography, Vintage Backgammon, Vintage Sport, Acapulco, Vintage Pools, Vintage Games...

Radha Pink (29 Palms, CA) Original Polaroid - Unique Piece 1/1. 10.7 x 8.7 cm. Artist inventory 616.00. Signed on back. Original Polaroids for Sale — The Heart of My Work For ...

This early 1950s portrait photograph, captured by society photographer Slim Aarons, features Marilyn Monroe (1926 - 1962), wearing a red negligee trimmed with black lace, sorts out h...

"Majesty at Sea" With only 9 of these iconic boats still left on the water, and with history of competition in the Olympics and Americas' Cup races, these boats represent the apex o...

Maggie Taylor's digital creations are emblematic, afterimages that invite, transport and are unforgettable. Taylor's images are built, layer by layer and object by object, through a ...

French actress Brigitte Bardot on the set of "The Ballad of Frenchie King" in Almeria, Spain, 1971 Platinum lifetime print. (lifetime signed) 20 x 24 inches Edition Size: 50 + 10 ...

John Lennon & Yoko Ono taken outside the white room of their home in Tittenhurst, Ascot, UK in 1971. Barrie Wentzell recalls, "I visited John and Yoko one afternoon accompanying a f...

Frida Painting "Two Fridas" by Nickolas Muray is a limited edition black and white portrait of Mexican painter Frida Kahlo in her studio, sitting in front of her famous painting, The...

Photography, edition 1/15.

"At the Start" In this best-selling image, the racing yachts Velsheda, Ranger, and Rainbow wait for the start of a race in Italy. The nautical print series Sail: Majesty at Sea is an intimate look at two revered racing boat classes and their incredible and enduring design as they navigate the open seas. Images from this series are in the permanent collection of the Mariners' Museum, Newport News...

The Rolling Stones, taken in 1966 by Art Kane Originally photographed in London by Art Kane for McCall’s Magazine’s 1966 photo essay‘ Teen Idols’, Kane lay on his back and had the b...

Green Bedroom #2 (4am), limited edition photograph, signed and numbered Hopper Meditations is a personal photographic response to the work of the Ameri...

Greg Brennan Jack Nicholson, outside Stringfellows, London 2001 Edition of 25 Hand-signed by Greg Brennan Archival Pigment Print Unframed and shipped flat As one of Britain's longes...

Sean Connery on the Moon, 1971 Silver Gelatin Print Estate signature stamped and numbered edition of 50 with certificate of authenticity Re-c...

Runaway Ride - The Getaway (The Last Picture Show) - 1999 40x40cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #345. ...

Archival pigment print, painted frame (Edition of 4 + 1 AP) Signed and numbered, verso This photograph is offered by ClampArt, located in New York City. Price includes mounting and ...