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Vogue Late January 1927 - Eduardo Benito - Framed art Print

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Regular price £55.00 (Unframed)

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  • Framed print by Eduardo Benito.
  • Buy this print framed for £165.
  • Buy this print unframed for £55.
  • Framed size is 62 x 47 cm.
  • Other print sizes and frame styles are available.



Time to despatch:

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Unframed prints are usually shipped on the next working day if ordered before 2pm. Framed items can take one or two working days longer with our experts in the framing workshop.

Express services:

Express service for unframed print and posters by Royal Mail Special Delivery to arrive the next working day for an additional cost. Framed prints are always shipped by express courier.

Shipping Fees:

UK - £3.95 for unframed items by 1st Class Packetpost
UK - £6.90 for unframed items by Royal Mail Special Delivery
UK - £8.95 for framed items.

International - Shipping is calculated before you check out according to destination.
International - Unframed by Registered AirMail or by premium express courier (select at checkout).
Very large prints are always sent by express service.
International - Framed by premium express courier (select at checkout).

Duities and VAT:

EU countries pay no VAT but will be liable to local taxes or duties.
Please be advised! - International orders may be liable to local taxes or duties when they enter your country.

About the artist

Eduardo Garcia Benito was born in the town of Valladolid, Spain in 1891, Benito showed artistic talent from very early on. In 1912 he won a scholarship from the town council of Valladolid to study at L’École des Beaux-Arts in Paris, and by 1915, he had participated in his first group exhibition, at the Galerie du Faubourg Saint-Honoré. Over the next five years, he continued to exhibit his artwork, culminating in 1921 with his prestigious ascension to the title of “Sociétaire of the Salon.”

Benito made his living in Paris by painting society portraits, including those of the self-proclaimed king and queen of fashion, Paul and Denise Poiret, and illustrating fashions in the Gazette du Bon Ton, a Parisian fashion journal published by Lucien Vogel. Benito belonged to Vogel’s exclusive group of artist-illustrators known as the “Beaux Brummels of the Brush,” which also included Charles Martin, Georges Barbier, Bernard Boutet de Monvel, Pierre Brissaud, Georges Lepape, and André Marty. Conde Nast had been keenly aware of this talented group, Benito in particular, since the mid-1910s but it was not until Paul Poiret threw one of his famous parties that the two men finally met in 1920. Within a year’s time, Benito was one of Vogue and Vanity Fair’s most important artists and would remain so for two decades.

Benito’s signature style – what Condé Nast referred to as the “Big Head” – captures the look and spirit of art deco. Art movements of the day such as Cubism and Constructivism inspired his iconic and highly stylised geometric forms. His illustrations of fashionable women, reduced down to a few strokes of the pen, feature long necks topped with heads resembling the African-figure sculptures of the tragic Italian artist Amedeo Modigliani, a personal friend of Benito’s in Paris. The typical Benito cover features stark backgrounds with solid planes and few colours.

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