Cecil Beaton (1904-1980 )Maison Madame Grès, 1935 . Two (2) vintage silver prints, mounted on cardboard. Dry stamp "Vogue Studio Paris" on the mounts in the lower right corner. Stamp "Condé Nast", handwritten caption (1) and signature of Cecil Beaton (1) on the reverse. 19x14 and 18,5x14, 5cmAttached: Vogue Studio Maison Madame Grès, c. 1935. Vintage silver print, mounted on cardboard. Dry stamp "Vogue Studio Paris" on the mount in the lower right corner. Stamp "Condé Nast" on the back. 21,7x15,5cmProvenance of n° 124 to 134: Succession Madame Grès, Hôtel Drouot, Paris. The career of Germaine Émilie Krebs, known as Alix, then Alix Grès and finally Madame Grès, extends from the 1930s to the 1980s, and crosses the mutations of the fashion industry by preserving a singular style around the drapery and a sculptural vision of the clothing: "I wanted to be a sculptor. For me, it's the same thing to work with fabric or stone". A privileged witness to the birth and expansion of communication through photography, Madame Grès collaborated from her first collections with many artists such as Man Ray, Cecil Beaton, Horst P. Horst, Genia Rubin and George Hoyningen-Huene.