Nolden/H Fine Art

See our Artists Here

ArtGalerie — Wed, 24 Apr 2024 05:05:45 +0000

Nolden/H – Fine Art is offering works from the following artists:

Andy Warhol

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Photo Artists

Nolden/H – Fine Art, Paris is offering works from the following photo – artists

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Francesca Woodman

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Girl With The Yellow Skirt

ArtGalerie — Mon, 22 Apr 2024 00:12:57 +0000

Nyssa Sharp: ‘Girl With The Yellow Skirt’, Fine Art Print, 300/m² Hahnemühle matte, acid-free and handmade, fade resistant, from the original painting of the same size: 30 x 40 cm, price € 195.-

also available size: 50 x 70 cm, price € 285.-.

Prices incl. taxes plus shipping. Order here!

About the Artist

Nyssa Sharp, an emerging artist living in Sydney, Australia. Nyssa creates stunningly powerful portraits that focus on the expression of the inner female attitude and dialogue.

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Picasso and Françoise Gilot at the Côte d’Azur

ArtGalerie — Sun, 23 Apr 2023 05:02:33 +0000

Robert Capa: “Picasso und Françoise Gilot”, France, French Riviera, 1951, Magnum Estate stamped and numbered Editions Poster, lim. edition of 100, Offset print 150gsm premium paper, 18 x 24 in / 45,7 x 61 cm. Price € 385.- incl. and shipping within Europe. Order here!

This photo shows Françoise Gilot – who married Picasso in 1943 and lived with him for 10 years – Pablo Picasso and Javier Vilato (a nephew of Picasso). The photo was taken by Robert Capa on the beach of Golfe-Juan, France, Cote d’Azur, in 1951.

Literatur: Robert Capa, The Collection, by Richard Whelan, Berlin, 2001, pic. No. 798 – Robert Capa, Retrospektive, published by Laure Beaumont-Maillet, Berlin 2005, page 237.

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George Hoyningen-Huene – Divers

ArtGalerie — Fri, 21 Apr 2023 12:00:24 +0000

George Hoyningen-Huene: “Divers (Horst With Model)”, 1930, (Swimwear by Izod), platinum-palladium print, blindstamped in the margin, signed by Horst and title, date, edition ‘AP 3/3,’ and annotation ‘From The Collection of’ in pencil on the reverse, 1930, printed later by Salvatore Lopes ( Eye for Elegance , p. 39; Ewing, pl. 66) 19 by 14¾ in. (48.3 by 37.5 cm.). Not available

About the Artist

George Hoyningen-Huene (1900 – 1968). Born in a Russian aristocratic family, George Hoyningen-Huene fled the Revolution and settled in Paris where he would soon become a prominent photographer for French Vogue, from 1925. In the mid 1930s, he moved to New York where he collaborated with Harper’s Bazaar before establishing himself in Hollywood in the early 1940s. With his flawless poses and settings alongside a mastering of light and shadows, the Russian photographer marked the interwar years with his elegant portraits influenced by those of Edward Steichen and Greek sculptures. Nonetheless, he introduced a sense of surrealism to his images with the use of incongruous objects, artistic blow-up backgrounds, giant hands or horse heads mingled with classical columns while he became the first to capture his models from above to resemble Greek friezes. After World War II, George Hoyningen-Huene gave up fashion photography concluding that elegance had ended with the destruction of much of Europe and thus adapted his sophisticated touch to cinema stars.

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See more famous photo artists of this time: Man Ray

Andreas Gursky, Formula 1, Pitstop

ArtGalerie — Fri, 21 Apr 2023 10:47:08 +0000

Andreas Gursky: „F1 Pitstop “, Offsetprint, Official Exhibition Poster, condition as delivered from the printer, size: 40 x 120 cm, (15 ¾ x 47 ¼ inches), produced exclusively for the Exhibition “Andreas Gursky” in New York, 2007. Literature: Thomas Weski, Don deLilo: Andreas Gursky, 2007. Price upon request.

About this Artwork

F1 Pitstop, 2007, features four monumental images. Brilliant colors and compositional arrangement codify the flurry of organized but frantic activity of a Formula One pit row. The pit crews, placed underneath a long row of spectators, give the photographs a serene, tranquil balance despite the intense, frenzied event. The result is a typical Gursky effect, a detached aesthetic view of a spectacle that manages to retain its visual stability.

About Andreas Gursky

The big, bold, seductive and surprising color photographs of German photographer Andreas Gursky (* 1955) set forth a stunning image of our contemporary world of high-tech industry, international markets, big-time sports, fast-paced tourism and slick commerce. Tracking the zeitgeist from his native Germany to such far-flung places as Hong Kong, Brasilia, Cairo, New York, Shanghai, Stockholm, Tokyo, Paris, Singapore and Los Angeles, Gursky has earned acclaim at the leading edge of contemporary art with a polished signature style that draws upon a great diversity of ideas, precedents and techniques.

Details from Andreas Gursky: „F1 Pistop“, Offsetprint:

Seething mechanics and technicians in bright team colours surround two vehicles in the pit stop. Above them, ranks of spectators look down from the hospitality suite like the heavenly host in a medieval frieze. The precise, neutral style creates a hushed reality: the sweaty, dust-streaked racing drivers have been removed from their earsplitting tarmac battle and placed in a balletic, tiptoeing mime. This is Formula One with the sound off.

F1 Boxenstopp is by German artist Andreas Gursky, whose luminous prints are now on show at two London galleries. His bold, large-format colour photographs (this one is a whopping 222cm x 608cm) are hot commodities. Already in 2007 one of his works sold for $2.48m (£1.27m), the highest price ever paid for a work by a living photographer.

This image might seem like an exceptionally crafted composition by a well-placed photographer, but it is in fact a minutely manipulated shot made up of elements from Grand Prix races around the world – Monte Carlo, Istanbul, Shanghai, São Paulo. The picture calls to mind Courbet’s large-scale painting A Burial at Ornans, its twin in size. Both artists give a banal scene the ambitious dimensions usually reserved for grand history paintings.

In his early fifties, Gursky is candid about his use of image manipulation, spending months in his Düsseldorf studio looking through reels and reels of film, adjusting colour, light and shade, sometimes one pixel at a time. He calls it “assisted realism”. The illusion is masterful, and at first sight, every picture seems a glimpse of the real world. Even when you register the seams, this impression is hard to shake off. It’s a little disorienting.

One of Gursky’s favourite themes is the opposition of the crowd and the individual. Within the mass, the human becomes pattern. Among the new works on display in London is the Pyongyang series (2007), for which Gursky travelled to the Arirang Festival in North Korea, held in honour of the late Communist leader Kim Il Sung.

The festival’s games include more than 50,000 participants performing tightly choreographed acrobatics. Gursky’s photographs describe the brilliant colours of this totalitarian spectacle. Get closer, and you can see smiling faces. It’s a sort of hyper-reality, so manically detailed that it makes your eyeballs sweat.

The Art of Bernd and Hilla Becher

ArtGalerie — Thu, 20 Apr 2023 03:30:59 +0000

Bernd and Hilla Becher: Water tower, Toledo, Ohio (1978), 1989, offset lithograph. printed on high quality “Satimatt” paper (250g/sqm) at Arjomari, Paris, overall size 38 x 28,5 cm, image size: 32 x 22 cm, from the series Schirmer Mosel, 15 years, jubilee folder, unsigned, certified in print upper right and lower centre (recto). Best condition. Price € 195.- Order here!

About Bernd and Hilla Becher

Bernd Becher (* 1931 – † 2007) und Hilla Becher (* 1934 – 2015) lifetime project of documenting the industrial landscape of our time secures their position in the canon of postwar photographers. Their work at once conceptual art, typological study, and topological documentation has influenced German photographers of a younger generation, including Thomas Struth, Thomas Demand, Candida Höfer, Thomas Ruff, and Andreas Gursky. Their work can be linked to the Neue Sachlichkeit movement of the 1920s and to such masters of German photography as Karl Blossfeldt, August Sander, and Albert Renger-Patzsch. Their photographs of industrial structures, taken over the course of forty years, are the most important body of work in independent objective photography. The functionalist and aesthetic dimensions of the Bechers’ subject matter, their typologizing which she is reminiscent of nineteenth-century naturalists’ classificatory schemes, and the anonymous industrial building style favored by German architects, have influence a whole generation. The Becher’s show that industrial building types impose themselves on our consciousness as the cathedral did on that of the Middle Ages, and that the Bechers’ photographs which seem at first glance only to record a vanishing landscape serve to examine this shaping of our perceptions. Their work provides us with a rare opportunity to see how we see.

More Artwork by Bernd and Hilla Becher

Bernd and Hilla Becher: ‘Wassertürme (Water Towers)’, 2007, offset print 250 g/m², from the series Typologies, size: 70 x 70 cm (27 ½ x 27 1/2″). Publisher: Kunstsammlung Nordrhein-Westfalen Düsseldorf / Kunstverlag Achenbach + Costa, Düsseldorf. Price € 380,- Order here !

Bernd and Hilla Becher: ‘Zwei Fördertürme 1967 / 2004’, 2 pigment prints on photo rag paper, 75 x 60,5 cm (29½ x 23¾ in.) ea., signed, numbered, edition of 60. SOLD

Bernd and Hilla Becher: ‘Wassertürme (Water Towers)’, 2007, Image IV from Typologies, Digital pigment print (Ditone) on photo paper, size: 90 x 112 cm (35½ x 44″). Edition of 40, signed “B. + H. Becher” by Hilla Becher and numbered on verso. Price upon request

Bernd und Hilla Becher: ‘Walls and Conduits’, 1991, Lithograph, signed, numbered, edition of 100, size: 63 x 50 cm. SOLD.

Bernd und Hilla Becher: ‘Wasserturm Trier-Ehrang’, 1982 / 2009, silver gelatine print, signed. numbered, edition of 100, size: 18.5 x 24 cm, plus free book Bernd & Hilla Becher: Grundformen/Formes élémentaires / Basc Forms. Price upon request

Bernd and Hilla Becher: Four Silos, Offset print on Chromolux, handsigned, lim. edition of 100, 80 x 65 cm / Vier Silos, Farboffset auf Chromolux, limitiert, handsigniert by Bernd Becher, lim. Auflage 100 Ex. Size: 80 x 65 cm. Price upon request

Bernd and Hilla Becher: ‘Coal Mine, Pipe, Detail’, 1990-1991, Lithograph, signed, numbered en verso, edition of 75, size: 77.2 × 58.1 cm – 30 3/8 × 22 7/8 in. Price upon request

Bernd and Hilla Becher: ‘Gasbehälter (Gas Tanks)’, 2009, Image VII from Typologies, Digital pigment print (Ditone) on photo paper, size: 90 x 112 cm (35½ x 44″). Edition of 40, signed “B. + H. Becher” on label verso by H. Becher, numbered. Price upon request

Bernd und Hilla Becher: ‘Aufbereitungsanlagen (Preparation Plants)’, 2009, Image VI from Typologies, Digital pigment print (Ditone) on photo paper, size: 90 x 110 cm (35½ x 43¼”). Edition of 40, signed “B. + H. Becher” on verso by H. Becher, numbered. Price upon request

Bernd and Hilla Becher: ‘Kies- und Schotterwerke (Gravel Plants)’, 2006, Image III from Typologies Digital pigment print (Ditone) on photo paper, size: 90 x 112 cm (35½ x 44″). Edition of 40, signed and numbered on verso. Price upon request

Bernd and Hilla Becher, Coal Storage Tower, (Grube Eschweiler Reserve), Four views on one sheet. Offset lithograph on light cardboard, handsigned, 55 x 41cm (60 x 45cm). Signed and numbered. Lim. edition of 100 copies. SOLD

Bernd and Hilla Becher: Silo Kühltürme (Silo, Cooling Towers), 1971, Offsetprint, size: 54,5 x 60 cm, handsigned with pencil and dated, Edition Griffelkunst, Hamburg (185 C1), elaborately framed for museum use (white wooden strip, passepartout, UV protection glass). SOLD.

Bernd and Hilla Becher: Anonyme Skulpturen (Anonymous sculptures), 1973, Limited edition of 80, size: 86 x 61,5 cm, Letterpress printing on art cardboard, signed and numbered.

Bernd and Hilla Becher Hochöfen (Blast Furnace), 1971, lithograph, edition of 300, handsigned, numbered, elaborately framed for museum use (white wooden strip, passepartout, UV protection glass). SOLD.

Bernd and Hilla Becher: ‚Wasserturm Kirkhamgate, Leeds – England‘, 1976, Pigment print on Chomalux Photopaper, title on front, signed, dated numbered en verso. Size picture: 40 x 30 cm, size paper: 52 x 40 cm. SOLD.

Bernd and Hilla Becher: ‘Monceau Fontaine Nr. 18, Charleroi, Belgium’, 1975, original black and white gelatin silver print (7 1/8 x 9 3/4), (print 2002), numbered and signed in pencil on verso by Bernd Becher and Hilla Becher, print edition 100, including the photo book ‘Industrielandschaften’ by Schirmer and Mosel, Munich, first edition, first printing, print and slipcase mint, new, unread. Limited slipcased edition of 100 hand-numbered copies, book in hardcover with dust jacket. 272 pages, size: 315 x 255 mm (9 3/4 x 12 inches) with 180 duotone plates. Photographs by Bernd and Hilla Becher. German Text. SOLD

Bernd and Hilla Becher: “Wasserturm Mannheim“, 1976, Lithograph, signed, dated, numbered en verso, titled on front, picture size: 42,6 x 31,5 cm, total size: 51,8 x 39,9 cm, Publisher: Griffelkunst-Vereinigung, Hamburg 1976. SOLD.

Bernd und Hilla Becher: “Wasserturm Viviers, Belgien“ 1976, original photo on chromolux photocarton, signed and dated en verso, titled on front : Wasserturm Verviers Belgien, picture size: 43 x 32,2 cm, total size: 51,8 x 40 cm. SOLD.

Bernd und Hilla Becher: ‘Sechs Wassertürme’, 1976, Set of 6 offset lithographs, each print size: 52 x 40 cm / (20½ x 15¾”), each signed en verso. Artist´s proof in addition to an edition of 385. SOLD.

Bernd and Hilla Becher: ‘Framework Houses’, 1993, duotone offset print, Siegener Industriegebiet, (Industrial Area, Siegen), signed, numbered en verso, edition of 100, size: 194 x 208 cm. SOLD.

Bernd & Hilla Becher: “Fachwerkhäuser (Framework Houses)“, 1993/2003, offset print, industrial zone Siegen, Germany, 1993, Blattformat: 70 x 70 cm. (27 ½ x 27 1/2″). SOLD.

Bernd und Hilla Becher: ‘Fachwerkhäuser (Framework Houses)’, 1993, Siegener Industriegebiet, (Industrial Area, Siegen), Portfolio of 12 duotone offset prints, each print size: 63 x 50 cm, (24¾ x 19¾ in.), each signed and numbered. Edition of 50. SOLD.

Jeff Wall – A Sudden Gust of Wind (after Hokusai)

ArtGalerie — Sun, 12 Mar 2023 09:10:02 +0000

Order here: Poster of A Sudden Gust of Wind (after Hokusai), 1993, by Jeff Wall.

The poster is printed on FSC certified, responsibly sourced paper by our print workshop in Newhaven, Sussex. It measures 50 x 70 cm, including a white border and the artwork credit line, printed underneath the artwork image. Price EUR 125.- incl Tax and shipping within Europe. Click here!

Andreas Feininger – The Photojournalist

ArtGalerie — Wed, 17 Feb 2021 12:00:29 +0000

Andreas Feininger: The photojournalist (Dennis Stock), 1951/2022,

Licensed print with white border around the image: Size image: 47 x 61 cm, overall: 52 x 66 cm. Premium Luster Photo Paper 250 g/m. Price € 195,- incl. VAT plus shipping. Order here!

Andreas Feininger is considered one of the most influential photographers of the 20th century. Born in Paris in 1906 as the eldest son of the famous painter Lyonel Feininger, he belongs to a generation of artists who discovered photography as an artistic medium for themselves in the period after the First World War and developed a new photographic way of seeing. Clarity, simplicity and organization are the basic principles of his work. Like hardly anyone else, he understands how to link image content with strict formal criteria such as perspective and composition.

The architecture and life of his adopted city of New York have fascinated him over the decades. Again and again he captured the Manhattan skyline, the street canyons, the skyscrapers, the bridges, and the elevated trains in atmospherically dense images. Today, his views of the metropolis rank among the classics of photographic history. The exhibition at the Bröhan Museum features over 90 black-and-white photographs.

There are very few portraits in the work of Andreas Feininger. Rather, it is the thematic world of the big city and nature that interested him as a photographer and occupied him professionally. For over two decades he worked as a photojournalist for Life magazine. Nevertheless, it is this portrait, The Photojournalist, that is considered Feininger’s personal masterpiece and the photographer’s portrait of the twentieth century par excellence, considering the selection of images in numerous encyclopedias and standard works on twentieth-century photography.

Feininger’s photograph was taken in the context of a group of photographs showing representatives of various professions, mostly taken frontally and in close-up, and bearing attributes typical of their profession. Most of these anonymized portraits are studio shots. The respective instrument becomes part of the face and hides the view of the eyes like a mask or a disguise: there is the doctor with his headlamp, the pilot with a breathing mask, the racing driver with his helmet, the fencer with his visor, etc. The portrait also shows the fencer with his visor. There is also a self-portrait by Feininger, showing the photographer himself behind a large magnifying glass. And there is just that photojournalist looking through his Leica turned to portrait format. The person portrayed – his colleague Dennis Stock, twenty years his junior – is silhouetted against the background like a silhouette. Only the precise circle of a spotlight glaringly illuminates the central part of the face in which the Leica – precision mechanical device, status symbol and at that time the most important professional prop of the photojournalist – covers the eye and nose of the sitter. The lens and the attached rangefinder not only cover the eyes, they literally replace them, as in a futuristic sculpture.

The fact that this photograph became the photographic portrait of the 20th century par excellence can be explained by the suggestive power it exudes. The photograph is a symbol of optimism for the future and enthusiasm for technology, and at the same time it elevates the profession of photojournalism to the status of an objective, purely documenting and thus incorruptible authority.

Cy Twombly – Artistic Poet

ArtGalerie — Wed, 17 Feb 2021 00:30:14 +0000

Cy Twombly: “The Fire”, 1985, Lithograph on Arches paper, size 38 x 28 cm, numbered in pencil, edition of 150. Price upon request.

About Cy Twombly

Cy Twombly (1928-2011) lived and worked in Rome and Gaeta, Italy, and in Lexington, Kentucky. He was one of the seminal artists of the second half of the twentieth century, with a complex oeuvre extending over six decades. His work brilliantly fused the legacy of American Abstract Expressionism with the intellectual rigor of classical European and Mediterranean culture, reflecting his extensive reading in history, classical literature, and mythology. Twombly’s artistic development is traced through more than 200 paintings, sculptures, drawings, and photographs which span his entire career, including three major history painting cycles – Nine Discourses on Commodus (1963), Fifty Days at Iliam (1978), and Coronation of Sesostris (2000). Polyphonic in conception, Cy Twombly presents a range of views with essays that shed light on the various aspects and phases of his body of work.

About this Artwork

This is the fourth of five paintings called “The Rose” made in 2008. Twombly incorporates lines from Rainer Maria Rilke’s poem, Les Roses, into theses works. The following words (fragments from section XXIV of Les Roses) are included in this particular work:

Gaeta 11-08
Rose
flower of all flowers
petal over petal
do you feel our own
palpable
pleasure
Rilke

More Artwork by Cy Twombly

Cy Twombly, Untitled, 1971/ 2018, Fine Art Print, 300/m² Purcell Ultrasmooth matte fine art paper, fade resistant. Based on the original painting in oil and wax crayon, from 1971, Rome, Italy. Fine Art Print size: Image: 30 x 18 5/8 in / 76,2 x 47,3 cm. © The Doris and Donald Fisher Collection, SFMOMA / © Estate of Cy Twombly. Price € 450.- Order here.

Cy Twombly, Second Voyage to Italy (Second Version), 1962 / 2018, Fine Art Print, 300/m² Purcell Ultrasmooth matte fine art paper, fade resistant. Based on the original painting, oil, crayon, and graphite on linen in 1962. Fine Art Print size: Image: 30 x 22 1/2 in / 76,2 x 57,15 cm. © The Doris and Donald Fisher Collection, SFMOMA / © Estate of Cy Twombly. Price € 450.- Order here.

Cy Twombly, Untitled, 1968 / 2018, Fine Art Print, 300/m² Purcell Ultrasmooth matte fine art paper, fade resistant. Based on the original oil-based house paint, pencil and wax crayon from 1968 in Rome, Italy. Fine Art Print size: Image: 30 x 24 in / 76,2 x 61 cm. © The Doris and Donald Fisher Collection, SFMOMA / © Estate of Cy Twombly. Price € 450.- Order here.

Cy Twombly – Original print designed by Cy Twombly for his exhibition held at Yvon Lambert Gallery, Paris in 1986, Offset lithograph, size: 29 1/2 × 22 in / 75 × 56 cm. Price upon request

Cy Twombly: ‘Three Dialogues’, 1977, Offset lithograph, designed by Cy Twombly for his exhibition held at Yvon Lambert Gallery, Paris, in 1977, Size: 29 1/2 × 21 1/10 in – 75 × 53.5 cm. Sold.

Cy Twombly – XIV Olympiade Sarajewo -, 1984, etching with aquatint and lithograph printed in colours, 1984, signed, inscribed ‘right to print’ and dated 83 in pencil, proof before the edition of 150, on wove paper, with full margins, 76,5 x 54, 5 cm (30 1/8 x 21 1/2 in). Price € 8.500,- Order here!

Cy Twombly – XIV Olympiade Sarajewo -, 1995, etching with aquatint and lithograph printed in colours, signed in pencil under the pciture, from a special edition for the Moenchehaus Museum, Goslar, Germany, 1995, in a wooden frame with passepartout, total size incl. frame: 100 x 70 cm. Price € 4.500,- Order here!

Cy Twombly: ‘Roman Notes’, 1971, lithograph, signed and numbered, edition of 100, size: 69,7 x 87 cm / 27.4 x 34.3 in. Price upon request

Cy Twombly: ‘Untitled (Detail of Painting)’ 2002/2007, Digital pigment print (Ditone) on Inova paper, from a dryprint 2002, size: 81 x 61 cm (32 x 24 in), edition of 45, signed and numbered. From the portfolio Re-Object/Mythos. Price upon request.

Cy Twombly: „Gaeta Set (For the Love of Fire and Water)”, 1993, Book with 8 poems by Octavio Paz plus 10 Offset Lithographs by Cy Twombly, edition of 100, Publisher: Udo and Anette Brandhorst, Cologne, Germany. Size: 30 x 23,5 cm. Price € 8.000,- Order here!

Horst P. Horst: Cy Twombly, Roma, 1966 / 2017, Inkjet Print, dimensions: 59.45 x 59.45 in. / 151 x 151 cm. Price upon request.

Toni Frissell – Weeki Wachee Springs

ArtGalerie — Wed, 17 Feb 2021 00:20:09 +0000

About this Artwork

A fashion model swims in the Weeki Wachee Springs in Florida. The crystal-clear Weeki Wachee River, which flows into the Gulf of Mexico a few kilometers further west, rises at a depth of 40 m. Its source, the Weeki Wachee Springs, with a daily output of 227 million l of water (= 2800 l / sec), is 23 ° C in the year. In it, the American photographer Toni Frissell (Antoinette Frissell Bacon) had a model for fashion photography. When her photo was published in “Harper’s Bazaar” in 1947, she was famous at one time. It belongs to the legendary photographs of the photographic art.

About Toni Frissell

Brought up in New York’s high society, Antoinette Frissell landed her first job in 1931, as a caption writer for Vogue. Yet, because of a terribly bad spelling she was advised by Carmel Snow to take on photography instead. An apprentice to Cecil Beaton and a close observer of Edward Steichen’s work, Toni Frissell pioneered fashion photography by taking her models outdoors and using nontraditional sitters such as her socialite friends, the Vanderbilts and the Carnegies. Placing the accent on the active woman and on a photojournalist-like approach, it was quite naturally that the American photographer volunteered for the American Red Cross, in 1941, to depict nurses, front-line soldiers and orphaned children – ‘I’d rather stalk with a camera than a gun’. Later, bored with fashion photography, she focused on portraiture and became the first female photographer to work for Sports Illustrated, from 1953. Toni Frissell mostly concentrated on photographing women from all environments should it be the glamorous models of her early years, suffering war victims, active nurses or powerful individuals such as Eleanor Roosevelt or Jackie Kennedy and thus became the pioneer feminist commentator of her times.

Toni Frissell: “Weeki Wachee Springs, Florida”, 1947, Original Fineart Paper-Print 250 g/m², image size: 76 cm x 76 cm, Overall: 81 cm x 81 cm, edition of 75, Gallery Certificate of Authenticity. (Toni Frissell / Library of Congress). Literature: Toni Frissell: Photographs 1933 – 1967 by Sidney Stafford (Author), Hardcover, September 1994. Ask for price

Toni Frissell: “A fashion model sits on the edge of a boat in Montego Bay, Jamaica, in November of 1946”, handmade Original Hahnemühle Fineart Paper-Print 250 g/m², size: 60 x 45 cm, edition of 75, Gallery Certificate of Authenticity. (Toni Frissell / Library of Congress). Literature: Toni Frissell: Photographs 1933 – 1967 by Sidney Stafford (Author), September 1994. Ask for price

Toni Frissell: “A fashion model poses in an evening gown on the steps of the Jefferson Memorial with the Tidal Basin and Washington Monument in the background in July of 1952”. handmade Original Hahnemühle Fineart Paper-Print 250 g/m², size: 75 x 75 cm, edition of 75, Gallery Certificate of Authenticity. (Toni Frissell / Library of Congress). Literature: Toni Frissell: Photographs 1933 – 1967 by Sidney Stafford (Author), September 1994. Ask for price

Toni Frissell: “At the wedding of Jacqueline Bouvier and John F. Kennedy, a close-up portrait of the Kennedy family with the couple on September 12, 1953”, handmade Original Hahnemühle Fineart Paper-Print 250 g/m², size: 60 x 45 cm, edition of 75, Gallery Certificate of Authenticity. (Toni Frissell / Library of Congress). Literature: Toni Frissell: Photographs 1933 – 1967 by Sidney Stafford (Author), Hardcover, September 1994. Ask for price

Toni Frissell: „John F. Kennedy wearing sunglasses in September of 1957”, handmade Original Hahnemühle Fineart Paper-Print 250 g/m², size: 60 x 45 cm, edition of 75, Gallery Certificate of Authenticity. (Toni Frissell / Library of Congress). Literature: Toni Frissell: Photographs 1933 – 1967 by Sidney Stafford (Author), September 1994. Ask for price

Toni Frissell: „ Jacqueline Kennedy, September, 1957”, handmade Original Hahnemühle Fineart Paper-Print 250 g/m², size: 60 x 45 cm, edition of 75, Gallery Certificate of Authenticity. (Toni Frissell / Library of Congress). Literature: Toni Frissell: Photographs 1933 – 1967 by Sidney Stafford (Author), September 1994. Ask for price

Toni Frissell: “Elizabeth Taylor, held by her husband Eddie Fisher. Photographed sometime between 1958 and 1964. handmade Original Hahnemühle Fineart Paper-Print 250 g/m², size: 60 x 45 cm, edition of 75, Gallery Certificate of Authenticity. (Toni Frissell / Library of Congress). Literature: Toni Frissell: Photographs 1933 – 1967 by Sidney Stafford (Author), September 1994. Ask for price

Toni Frissell: “Artist Frida Kahlo stands next to an agave plant during a photo shoot for Vogue magazine, “Senoras of Mexico,” in 1937, handmade Original Hahnemühle Fineart Paper-Print 250 g/m², size: 75 x 75 cm, edition of 75. Gallery Certificate of Authenticity (Toni Frissell / Library of Congress). Literature: Toni Frissell: Photographs 1933 – 1967 by Sidney Stafford (Author), September 1994. Ask for price