David Yarrow Scottish, b. 1966
The Jerome (Color), 2026
Archival Pigment Print
Available in two sizes:
Standard - 52 x 71 inches
Large - 71 x 100 inches
Standard - 52 x 71 inches
Large - 71 x 100 inches
Edition of 12 plus 3 artist's proofs
Signed, editioned and dated on the bottom recto
The Jerome Aspen, Colorado - 2026 The raw and imposing facade of the Jerome Hotel has lorded over Aspen since the 1880s. Its size and ornate brickwork remind us that...
The Jerome
Aspen, Colorado - 2026
The raw and imposing facade of the
Jerome Hotel has lorded over Aspen
since the 1880s. Its size and ornate
brickwork remind us that Victorian
architectural ambition extended beyond
New York and Chicago, reaching even
remote mining communities 8,000 feet
up in the Rockies.
The Jerome has witnessed much change
in Aspen over 140 years: a tough bluecollar
community evolved into a modest
winter sports destination welcoming
hipsters and artists as well as cowboy
capitalists. Aspen then, of course, slowly
grew into its role as the world’s most
celebrated ski resort. It has lived more
lives than most communities ever will.
The Jerome’s story is unique and it will no
doubt continue to hold court long after
we are all gone. It is the one historical
constant the town can boast of, having
hosted every conceivable archetype over
its long life.
The hotel chooses not to judge, but if the
room walls could talk, there would be
a large volume of stories to come from
behind that grand brickwork facade. Not
all guest behaviour at the Jerome has
come from the highest ethical drawer and
I think its legendary status is enhanced
by that. This is no gateway to heaven;
there is too much history of scandal and
vice behind the brickwork.
My homage to the grandness of the
Jerome demanded compositional balance
and good spatial sensitivity. I knew my
shooting position and for this to work
I needed the help of the Aspen police
department who have always been a joy
to deal with.
We had no desire to be lame with our
props and brought one of the world’s
most expensive cars - the Ferrari 250
GTO - onto the set. That immediately
allowed me to tell a bohemian story and in
Kate Bock and Brooks Nader we had the
talent to embrace the vibe.
My goal was to take an original
photograph that Aspenites could smile
at and in so doing celebrate one of
the most historic hotels in America. I
think we achieved that and there is a
pleasing amount of detail in the window
reflections. It’s always in the small detail.
There is nowhere quite like The Jerome.
Aspen, Colorado - 2026
The raw and imposing facade of the
Jerome Hotel has lorded over Aspen
since the 1880s. Its size and ornate
brickwork remind us that Victorian
architectural ambition extended beyond
New York and Chicago, reaching even
remote mining communities 8,000 feet
up in the Rockies.
The Jerome has witnessed much change
in Aspen over 140 years: a tough bluecollar
community evolved into a modest
winter sports destination welcoming
hipsters and artists as well as cowboy
capitalists. Aspen then, of course, slowly
grew into its role as the world’s most
celebrated ski resort. It has lived more
lives than most communities ever will.
The Jerome’s story is unique and it will no
doubt continue to hold court long after
we are all gone. It is the one historical
constant the town can boast of, having
hosted every conceivable archetype over
its long life.
The hotel chooses not to judge, but if the
room walls could talk, there would be
a large volume of stories to come from
behind that grand brickwork facade. Not
all guest behaviour at the Jerome has
come from the highest ethical drawer and
I think its legendary status is enhanced
by that. This is no gateway to heaven;
there is too much history of scandal and
vice behind the brickwork.
My homage to the grandness of the
Jerome demanded compositional balance
and good spatial sensitivity. I knew my
shooting position and for this to work
I needed the help of the Aspen police
department who have always been a joy
to deal with.
We had no desire to be lame with our
props and brought one of the world’s
most expensive cars - the Ferrari 250
GTO - onto the set. That immediately
allowed me to tell a bohemian story and in
Kate Bock and Brooks Nader we had the
talent to embrace the vibe.
My goal was to take an original
photograph that Aspenites could smile
at and in so doing celebrate one of
the most historic hotels in America. I
think we achieved that and there is a
pleasing amount of detail in the window
reflections. It’s always in the small detail.
There is nowhere quite like The Jerome.
Provenance
Artist's studio; Casterline|Goodman Gallery, Aspen735
of
735