The terry o’neill faye dunaway poolside photo was taken at the Beverly Hills Hotel on March 29, 1977, the morning after Dunaway won the Academy Award for Best Actress. O’Neill photographed her by the hotel pool at around 6 a.m., capturing a quiet moment just hours after the ceremony. The setting and timing are central to the image’s enduring power.
The terry o’neill faye dunaway poolside photo has a polished, unhurried appearance, despite the early start after a late night. O’Neill had met Dunaway a few weeks earlier, and they had become friends before he arranged the shoot. Here, discover how that connection helped bring the portrait about, what happened beside the pool, and why it remains one of O’Neill’s most memorable images.
Key Takeaways
- Understand how the quiet poolside setting contrasts with the celebratory night that came before it.
- Discover how O’Neill’s prior connection with Dunaway helped him arrange the portrait.
- Learn what the photograph reveals about O’Neill’s ability to create an enduring image in a brief shoot.
- Explore what to consider when viewing the photograph as part of Terry O’Neill’s photographic legacy.
Faye Dunaway poolside photograph
Terry O’Neill’s Faye Dunaway poolside photo distills a private pause into a carefully composed portrait. The shoot itself took about 10 minutes, yet its relaxed atmosphere suggests a longer exchange between photographer and sitter. A contact sheet from the session contains 12 images, offering a glimpse of the brief sequence behind the finished photograph.
The square composition gives Dunaway’s expression and the setting equal importance. In one print, the image measures 45.8 by 45.7 centimetres, while the paper sheet measures 61 by 50.6 centimetres. Those dimensions distinguish the photographed image from its surrounding margins, a useful detail when considering the work’s presentation.
Edition details depend on the print being discussed. One print is signed, titled, and numbered 9/50 in ink in the margin, and bears a Lothar Schirmer Collection stamp on the reverse. A separate listing describes a poolside print as an edition of 495. These figures refer to distinct print descriptions, so they should not be collapsed into one edition statement.
That distinction matters to collectors. The image remains the recognizable portrait, but a specific print’s edition number, inscription, and provenance help identify that particular object. For example, the 9/50 print lists Terry O’Neill as provenance and was acquired directly from the artist. Its illustration as plate 54 on page 143 of a 2023 catalogue adds another point of reference for readers tracing the photograph’s publication history.
O’Neill’s working method also shapes how the image reads. His career began at the start of the 1960s and spanned over six decades, giving him long experience photographing public figures. In this Terry O’Neill Faye Dunaway poolside photo, the concise session and 12-image contact sheet suggest a photographer attentive to expression and composition rather than elaborate staging. The result feels intimate yet composed, a balance that has helped the portrait endure.
Photograph location and date
Terry O’Neill photographed Faye Dunaway beside the pool at the Beverly Hills Hotel on March 29, 1977. The date places the portrait the morning after Dunaway won the Academy Award for Best Actress. Its setting is specific: the hotel pool in Beverly Hills, California, rather than a studio or film set. That location gives the image its distinctive private, unhurried atmosphere.
The timing was unusually early. Accounts place the session at around 6 a.m., with a more precise account giving 6:30 a.m. O’Neill photographed Dunaway before anyone else was at the pool. The difference between “around 6” and 6:30 reflects approximate and more exact descriptions of an early-morning shoot, not a different date or location.
Dunaway had gone to bed at 3 a.m., leaving little time to rest before the portrait. The sequence helps explain the image’s contrast: the previous night brought the Academy Awards, while the next morning found her at a quiet hotel pool. The portrait’s composed appearance sits against that compressed schedule, rather than a leisurely day arranged around a formal studio session.
The Oscar context also fixes the photograph in Dunaway’s career. She won Best Actress for Network, after two earlier nominations. On March 29, 1977, that achievement was still immediate; the portrait records the morning after the ceremony, not a later recreation. Keeping the award, date, and location together makes the photograph’s story easier to distinguish from other portraits of Dunaway.
For readers identifying the image, start with three details: Beverly Hills Hotel, March 29, 1977, and the morning after the Oscar win. The time is commonly described as around 6 a.m., while 6:30 a.m. offers a more exact account. Those details connect the poolside setting to the event that shaped its significance, and clarify why this particular morning became inseparable from O’Neill’s portrait.
Terry O’Neill’s account of arranging the photo shoot
In a 2015 interview with The Cut, Terry O’Neill recalled pitching the idea for a post-Oscar portrait of Faye Dunaway. Their connection began weeks before the poolside session, when they met on the set of Three Days of the Condor. That earlier encounter gave the request a personal context, rather than making it a meeting between strangers.
O’Neill said he and Dunaway had become friends before the shoot. That relationship helps explain how he could approach her with a portrait idea after the Academy Awards. His account describes an arrangement shaped by familiarity. The setting was the Beverly Hills Hotel pool, where the celebrated image took shape.
The sequence was straightforward: O’Neill proposed a post-awards photograph, Dunaway agreed to meet him, and they spent time together by the pool. He said they spent an hour there during the session. That was the length of their time at the pool; the finished portrait captures a single moment from the encounter.
Dunaway’s schedule made the meeting demanding. After the late-night Oscar celebrations, she had barely slept before seeing O’Neill. The contrast between her fatigue and the portrait’s composed appearance is part of the story. O’Neill’s account connects the image not only to the award, but also to the trust that made an early appointment possible.
The key details behind the photograph are their earlier meeting, growing friendship, O’Neill’s proposal, and the hour spent at the pool. Together, they explain the shoot’s personal foundation rather than leaving its relaxed mood to chance. The portrait emerged from a specific arrangement between photographer and sitter, shaped by their acquaintance and the occasion following Dunaway’s Oscar win.
Having barely slept before the meeting, Dunaway arrived with the immediate effects of an almost sleepless night. That detail sets the portrait’s calm presentation against the physical circumstances of its creation, highlighting the contrast between the image and the morning behind it.
How much do signed Terry O’Neill Faye Dunaway poolside prints cost?
There is no single price for every signed Terry O’Neill print of Faye Dunaway. Value depends on the particular print, not just on its familiar poolside subject. Collectors should distinguish a signed photograph from a later print and assess the edition, condition, and documentation of each work. These details help explain why two prints of the same moment can differ in value.
Start with the signature and edition information. A print numbered 9/50 belongs to a different edition description from a print offered in an edition of 495. These figures identify separate print descriptions, not interchangeable versions of one edition. The edition, numbering, and signature together provide useful context when comparing works, while the image itself remains the same celebrated portrait.
Next, consider provenance and supporting records. The 9/50 print discussed earlier lists Terry O’Neill as provenance and was acquired directly from the artist. Such documentation helps establish an object’s history. A catalogue reference can also help identify the image: this photograph appears as plate 54 on page 143 of a 2023 catalogue by Lothar Schirmer and Isabella Rossellini.
Condition and presentation matter, too. Examine the print surface, margins, and any handling marks, and note whether framing is included. The paper, image dimensions, and framing format affect how a print looks, but do not determine its value on their own. Compare like with like: a signed, numbered photograph is not equivalent to a differently produced print.
For a considered assessment, gather the edition number, signature details, provenance, catalogue references, condition notes, and presentation information. These points give collectors a clear basis for comparing signed Dunaway poolside works without confusing distinct editions. Galerie Prints’ Terry O’Neill Photography offering provides a natural place to explore the photographer’s work and consider the portrait within his wider photographic legacy.
Galerie Prints: The Slim Aarons Collection
Galerie Prints offers a natural next step for anyone keen to explore photography beyond this portrait. Browse Terry O’Neill Photography to discover more of his work, or explore the distinct perspective of The Slim Aarons Collection. The gallery also offers Cinema Lobby Cards and Star Wars Limited Edition Prints.
Explore these collections if the story behind the image has sparked a wider interest in photographic art, cinema, or popular culture. Each offers a different route through visual history, from O’Neill’s portraits to Slim Aarons’s photography and the imagery of film.
Explore Galerie Prints to continue your visit, or contact the gallery with your enquiry.
Let the photograph guide your next discovery
A photograph can become more than a record of a celebrated moment. It can invite a lasting connection with the people, places, and atmosphere it preserves. Terry O’Neill’s Faye Dunaway poolside photograph rewards a closer look, showing how a portrait’s mood can resonate long after its original setting has passed.
If the image has caught your attention as a collector or admirer, consider what draws you to it: Dunaway’s presence, O’Neill’s distinctive eye, or the photograph’s place in cinematic history. That reflection can help you decide how to explore the work and its place within a wider collection.
Galerie Prints offers a considered setting for discovering photography and related visual works. To enquire about this photograph and continue your exploration, contact Galerie Prints about the photograph. Let your interest in this singular portrait lead to another rewarding encounter with photographic art.
Frequently Asked Questions
What is the story behind Terry O’Neill’s poolside photograph of Faye Dunaway?
O’Neill’s portrait grew from an acquaintance with Dunaway that began while they were connected to Three Days of the Condor. Their rapport helped shape a personal shoot rather than a formal studio sitting. The resulting contact sheet contains 12 images, offering a glimpse of the frames behind the celebrated portrait. Dunaway’s Oscar-winning performance in Network gives the image its post-ceremony context.
When and where was Faye Dunaway’s poolside photo taken?
O’Neill photographed Dunaway at the Beverly Hills Hotel pool on March 29, 1977, the morning after her Academy Award win for Network. The session took place early, before other people were at the pool. Accounts place the time at around 6 a.m., with one giving 6:30 a.m. Together, the date and hotel identify the photograph’s setting and immediate occasion.
What details are visible in the iconic Faye Dunaway poolside photograph?
The square portrait captures Dunaway’s expression beside the Beverly Hills Hotel pool, in a composed, quiet moment the morning after her Oscar win.
How did the poolside photograph become famous?
Its fame is tied to the striking contrast between Dunaway’s composed portrait and the early morning after her Oscar-winning night. O’Neill captured the image in a brief, 10-minute shoot.




















