6,460 results for "hollywood"

This fine art print features actress and model Jane March, posed topless on the rooftop of the Hotel Le Bristol in Paris in 1992. This risqué iconic b...

'Monte Carlo' Friends board a riva boat in Monte Carlo, Monaco, 1975. 40 x 30" inches / 101 x 76 cm paper size Estate Stamped Collection Edition to 150 Photo by Slim Aarons ...

Capucine 1957: French actress Capucine, (Germaine Lefebvre) (1933 - 1990) fanning herself at a New Year's Eve party held at Romanoffs in Beverly Hills. 20x24" paper size Estate S...

Having A Topping Time Socialite Alice Topping relaxing at a poolside in Palm Beach. 48x48" inches / 122 x 122 cm paper size Estate Stamped Collection Edition to 150 Photo by S...

'Bergese House' The sumptuous garden of the Bergese villa in Marbella, southern Spain, August 1967. 40 x 30" inches / 101 x 76 cm paper size Estate Stamped Collection Edition ...

The seaside swimming pool at the Hotel Taormina, Sicily, August 1975. Estate stamped and hand numbered edition of 150 with certificate of authenticity from the estate. Chromogenic...

Capri Holiday 1958 - Slim Aarons Estate Stamped Swimmers off the Italian island of Capri, 1958. 40 x 30" inches / 101 x 76 cm paper size Estate Stamped Collection Edition to 150...

Tania Mallet Actress Tania Mallet relaxes on a red-curtained four poster in Eleuthera, in the Bahamas. She is best known for her role as the unfortunate Tilly Masterson in the Bond...

Tanned bodies on the deck of Dino Pecci Blunt’s yacht in Marbella, Spain 1967. Printed later. A group of bronzed young women captured from the back are seen enjoying the Spanish ho...

Cushing Home 1966 - Slim Aarons Estate Stamped Members of the Cushing family outside their home, ‘The Ledges’ in Newport, June 1966. 10 x 10" inches / 25 x 25 cm paper size Estat...

'The Misfits' Oversize Limited Edition silver gelatin print A gorgeously candid portrait of the first rebel of Hollywood and greatly respected young son of method acting - before ...

Limited Art Edition (No. 101–200), with the gelatin silver print Untitled (Sardegna, 1980), numbered and signed by Ralph Gibson. Edition of 100 Gelatin silver print, 11 x 14 in., in ...

Samuel George Davis Jr. (December 8, 1925 – May 16, 1990) was an American singer, dancer, actor, comedian, film producer and television director. At age three, Davis began his caree...

CZ’s Dogs 1955 - Slim Aarons Estate Stamped Mrs F C Winston Guest (1920 – 2003) (aka Cee Zee Guest) with her dogs in front of the Grecian temple pool on her ocean-front estate, Vill...

'C.Z. Guest With Her Great Dane' 1955 Slim Aarons Limited Estate Edition Print The swimming pool and jetty at the Villa d'Este Hotel, Lake Como, Italy, June 1983. 40 x 30" inches ...

'Andros Island' Friends prepare for a day snorkeling by Andros Island, Bahamas, 1957. 30x30" inches / 76 x 76 cm paper size Estate Stamped Collection Edition to 150 Photo by ...

'Nice Pool' 60 x 60" inches / 152 x 152 cm paper size Estate Stamped Collection Edition to 150 Photo by Slim Aarons Printed in 2025 Limited to 150 prints only (regardless of ...

Vogue magazine editor Topsy Taylor, a visitor to Acapulco, circa 1966. Complimentary dealer shipping to your framer, worldwide. Undercurrent Projects is proud to offer this vibrant...

Vila Vera The bar at the Villa Vera Hotel Spa and Racquet Club in Acapulco, January 1968. 40 x 30" inches / 101 x 76 cm paper size Estate Stamped Collection Edition to 150 Pho...

Sophia Loren - Venice 1955 Oversize Archival Pigment Print Absolutely Exquisite HUGE 40 x 40" inches / 101 x 101 cm paper size print. Unframed. Produced on authentic Hahnemühle p...

Snorkelling In The Shallows A group of people snorkelling off a small boat in Malta, circa 1959. Gorgeous print measuring 40 x 40" inches / ca 101.6 x 101.6 cm’s paper size. Est...

'Checkered Flag' The checkered flag signals the end of the race during the 1963 Nassau Speed Week. 30 x 20" inches / 76 x 51 cm paper size Est...

Curacao Children 1979 - Slim Aarons Estate Stamped Three local children sitting on a low wall, Curacao, Netherlands Antilles, January 1979 16 x 20" inches / 51 x 51 cm paper size ...

Colourful Crew 1970 - Slim Aarons Estate Stamped A group of colourfully dressed holidaymakers on a yacht, Bermuda, June 1970 60 x 40" inches / 152 x 102 cm paper size Estate Stam...

Apres Ski The apres ski in Vail, Colorado, March 1964. Gorgeous print measuring 60 x 40" inches / ca 152.4 x 101.6 cm’s paper size. Estate Stamped Collection Edition to 150 P...

Ski Instructors Only Skis leaning against the wall of a hut marked ‘Ski Instructors Only’ in New Hampshire, 1955. Paper size 16 x 16" inches / 40 x 40 cm Estate Stamped Collect...

'Saint-Tropez Boucherie' A boucherie or butcher's shop on Rue des Commercants in Saint-Tropez, on the French Riviera, August 1971. Gorgeous print measuring an extra large 40 x 30"...

Tina Onassis 1958: Athina Livanos Onassis (Tina Onassis) the first wife of Greek shipowner Aristotle Onassis relaxing by the swimming pool aboard thei...

Garden Party - Slim Aarons Estate Stamped An elegant garden party in Miami, Florida. 10 x 10" inches / 25 x 25 cm paper size Estate Stamped Collection Edition to 150 Photo by ...

Greta Garbo "Mata Hari" Film Photograph by Clarence Sinclair Bull, 1931 A black and white photograph, matte finish, double-weight paper, depicting a 1931 shot of the star titled 'Mata Hari,' printed decades later from the original negative, penciled in the lower left corner "A.P.," Estate stamped and blind embossed in the lower right corner "Clarence Sinclair Bull," further blind embossed in same corner "The Kobal / Collection," verso with the photographer's black ink credit stamp, verso further with two "Edward Weston" black ink credit stamps dated "1981" and "1992," originally from the John Kobal Collection. Greta Garbo was a Swedish-American actress. Regarded as one of the greatest screen actresses of all time, she was known for her melancholic, somber persona, her film portrayals of tragic characters, and her subtle and understated performances. In 1999, the American Film Institute ranked Garbo fifth on its list of the greatest female stars of classic Hollywood cinema. Clarence Sinclair Bull was born in Sun River, Montana, in 1896. His career began when Samuel Goldwyn hired him in 1920 to photograph publicity stills of the Metro-Goldwyn-Mayer film studio's stars. He is most famous for his photographs of Greta Garbo, taken between 1926 and 1941. Bull's first portrait of Garbo was a costume study for the silent romantic drama film Flesh and the Devil in September 1926. Bull was able to study with the great Western...

Palm Beach Idyll A couple sunbathe by the sea at Palm Beach Florida 1955 USA Gorgeous print measuring 30 x 30" inches / ca 76 x 76 cm’s paper size. Estate Stamped Collection Ed...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Member of the ‘Jolly Club’, Gabriele D’Annunzio, Prince Di Montenevoso at Vallelonga with his red Lola racing car. He is Chief Test Driver for Firestone International, April 1982. P...

Slim Aarons Christmas Swim 1954 (printed later) C print Estate stamped and numbered edition of 150 with Certificate of authenticity Rita Aarons, wife of photographer Slim Aarons, ...

Quiet Afternoon Brigitte Lapp Fonda reclines amidst the foliage in Marbella, circa 1980. Paper size 20 x 20" inches / 51 x 51 cm Estate Stamped Collection Edition to 150 Photo...

Squaw Valley Snow Snow covers the deserted cafe in Squaw Valley, California, January 1961. Paper size 30 x 20" inches / 76 x 51 cm Estate Stamped Collection Edition to 150 Ph...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------------------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveller through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations , but which lend themselves to his own work. In a similar way he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypcal and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylised, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing, and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modelled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys; and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights and soldiers. In the case of monsters, mythical creatures and robots, it is more about creating visions of the future and parallel worlds. Certainly since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft, or the creation of avatars are also interesting worldwide phenomena of virtual realities that are not only relevant for children and teens. So when a middle-aged Berlin photographic artist (like Christian Rothmann) chooses to study 120 toy robots with great difference in form, it represents a journey back to his own childhood - even if at the time, he played with a steam engine rather than a robot. Once batteries had been inserted, some of the largely male or gender neutral robots, could flash, shoot, turn around and even do more complicated things. Some can even still do it today - albeit clumsily. This of course can only be seen on film, but the artist intends to document that as well; to feature the robots in filmic works of art. The positioning of the figures in the studio is the same as the tableau of pictures in the exhibition room. In this way, one could say Rothmann deploys one robot after the other. This systematic approach enables a comparative view; the extreme enlargement of what are actually small and manageable figures is like the macro vision of insects whose fascinating, sometimes monster-like appearance only becomes visible when they are blown up a hundredfold. The same thing goes for the robots; in miniature form they seem harmless and cute, but if they were larger than humans and made noises to match, they would seem more threatening. Some of the tin figures...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Lake Tahoe Ladies A group of young women in their bathing suits on the Nevada side of Lake Tahoe, 1959. Paper size 16 x 16" inches / 41 x 41 cm Estate Stamped Collection Edition...

Holidaymakers on the deck of yacht in Saint-Tropez, France, August 1971. 40 x 60 inches $3950 30 x 40 inches $3350 20 x 30 inches $3000 10 x 12 inches $1350 Complimentary dealer...

Virna Lisi - Golden Period of Italian Cinema is a vintage black and white photograph realized in the mid-20th Century. Good conditions. Virna Lisi Born on November 8, 1936, she beg...

'Christmas Swim' Rita Aarons, wife of photographer Slim Aarons, swimming in a pool festooned with floating baubles and a decorated Christmas tree, Hollywood, California, 1954. Two ...

Dolores Guinness Dolores Guinness catches the sun’s last rays in Costa Smerelda, Sardinia. Paper size 30 x 30" inches / 76 x 76 cm Estate Stamped Collection Edition to 150 Pho...

Skiers in Lech 1979 - Slim Aarons Estate Stamped Skiers line up for a hike to ski resort Zurs from Lech, Austria, February 1979 12 x 16" inches / 30 x 41 cm paper size Estate Sta...

Barbados Bliss by Slim Aarons Ava Marshall relaxes with a book amongst the bougainvillea in Barbados, April 1976. 60 x 60 inches / 152 x 152 cm paper ...

Sea Drive 1967 Film producer Kevin McClory takes his wife Bobo Sigrist and their family for a drive in an ‘Amphicar’ across the harbour at Nassau. The children are Bianca Juarez (Bo...

Porto Ercole Boats 1991 - Slim Aarons Estate Stamped Boats off Porto Ercole, Tuscany, July 1991. 60 x 40" inches / 152 x 101 cm paper size Estate Stamped Collection Edition to 15...

Lake Tahoe Young women holidaying by Lake Tahoe, circa 1959 Gorgeous print measuring 30 x 30" inches / ca 76 x 76 cm’s paper size. Estate Stamped Collection Edition to 150 Pho...

Park Avenue A view of neatly arranged office and apartment blocks along Park Avenue in New York City. 30 x 30" inches / 76 x 76 cm paper size Estate Stamped Collection Edition t...

40x40in ed.18 Archival Pigment Print Mounted and Framed Also available: 50x50in ed.7 Archival Pigment Print Mounted and Framed 60x60in ed.3 Archival Pigment Print Mounted and Fram...

Quiet Afternoon 1980 - Slim Aarons Estate Stamped Brigitte Lapp Fonda reclines amidst the foliage in Marbella, circa 1980. 20 x 20" inches / 51 x 51 cm paper size Estate Stamped ...

American stage actress, author, columnist, horsewoman, fashion designer, and socialite, C. Z. Guest, ( aka Mrs. Winston F. C. Guest, 1920 - 2003) with her personalized Ford Model T t...

This is a 2002 contact sheet (a positive print of all the negative images from a roll of 35mm film or medium format film) of youthful-looking Daniel Craig...

Singer Julie London enjoying breakfast in bed at the Beverly Hills Hotel, circa 1957. Gorgeous print measuring 30 x 30" inches / ca 76 x 76 cm’s paper size. Estate Stamped Coll...

Giacomo Montegazza Giacomo and Stefania Montegazza welcome guests arriving by boat at their villa, La Casinella, on Lake Como, 1983. 30x40” / 76x101 cm - paper size Estate Stampe...

Pool By The Sea by Slim Aarons 1969 Guests and white umbrellas / parasols around the swimming pool at the infamously glamorous Hotel du Cap Eden-Roc, ...

Lorenzo Agius (b.1962) Jude and Ewan in Bed 2003 digital C-Type print 48 x 60 in. / 30 x 40 in. / 20 x 24 in. signed and numbered printed later This work is available in the following sizes (paper size): 20 x 24 in., edition of 25 + 2 AP, £3,960 (inc. 20% UK VAT) 30 x 40 in., edition of 25 + 2 AP, £5,880 (inc. 20% UK VAT) 48 x 60 in., edition of 15 + 2 AP, £8,640 (inc. 20% UK VAT) Provenance: Direct from the artist's studio Notes: All photographs are signed and numbered and accompanied by a certificate of authenticity signed by the photographer. Photographed in London, 2003, celebrating the Bafta awards and UK talent. Celebrity photographer, Lorenzo Agius, is renowned for his unique, intimate and often comical portraits of the 'stars'. The photographer shot to great prominence following his seminal images from the 1996 groundbreaking British film, Trainspotting. Agius has had a colourful affair with 'celebrity' over the past two decades. Expertly capturing the character and individuality of each of his sitters, Agius' images flaunt stylistic brilliance and bubble with personality. From Madonna to Margot Robbie, Agius' body of work portrays the varying and often polar characters of major icons. He tunes into the creativity of his subjects and successfully reflects the mood of the moment; the results are natural, accessible and in each case reflect the artist's eye for light, composition and a strong imagination for narrative. Whether it be celebrating British culture or capturing the sleek, Hollywood look, Agius' personality is intrinsic to his photographs; the mood is always light and refreshing and humour is ever present. Six of Agius' iconic works are part of the permanent collection at the National Portrait Gallery, London. The artist has been an Ambassador for Canon Cameras since 2008 and has exhibited at The Getty Gallery, London alongside other notable exhibitions in Moscow, Paris, Cannes and the UAE. Categories: Lorenzo Agius, Jude and Ewan in Bed, jude law...

Jean Serpieri 1961 - Slim Aarons Estate Stamped Madame Jean Serpieri sits in the ballroom of the Tour La Reine near Athens, wearing a gown that belonged to the wife of Otto, the fir...

Penthouse Pool Young women by the Canellopoulos penthouse pool, Athens, July 1961. 40 x 40” / 101 x 101 cm paper size Estate Stamped Collection Edition to 150 Photo by Slim Aa...

Swimming In Spain 1970 - Slim Aarons Estate Stamped Swimming and snorkelling in the bay at the Hostal De La Gavina, in S’agaro, Costa Brava, Spain, July 1970. 30 x 20" inches / 61...