Harry Benson
Harry Benson, Ali and The Beatles II, Miami; edition 17/35, 1964
Archival Pigment Photograph, 40 x 40 in. unframed
BENS00098
Harry Benson, Andy Warhol and Bianca Jagger, The Factory, NYC; edition of 35, 1964
Photograph, 23 x 50 in.
In Harry Benson’s “Andy Warhol and Bianca Jagger at The Factory,” the photographer employs a unique and innovative technique to convey a nuanced narrative. The photograph is presented as a Kodak film strip, featuring two distinct images captured within a single frame. In the first image, Andy Warhol, the enigmatic artist synonymous with the Pop Art movement, takes center stage. He is sharply in focus, holding a camera with a sense of purpose and intent. Behind him, Bianca Jagger, the glamorous and iconic figure, occupies the foreground but remains blurred, her features obscured by the selective focus. The deliberate choice to keep Warhol in focus while rendering Jagger blurry creates a striking visual juxtaposition, inviting viewers to contemplate the dynamic relationship between artist and muse. Warhol, renowned for his exploration of fame and celebrity culture, assumes the role of the observer, capturing Jagger through his lens. His presence in the foreground suggests an element of control and authority, as he directs the gaze of both the viewer and his subject. In the second image of the film strip, the focus shifts dramatically. Now, Bianca Jagger emerges as the focal point, her features rendered with crisp clarity while Warhol recedes into a soft blur. This reversal of focus underscores the ephemeral nature of celebrity and the transient power dynamics within the world of art and fame. Jagger, once the blurred subject in the background, now takes center stage, commanding attention with her poise and presence. Through Benson’s masterful composition, “Andy Warhol and Bianca Jagger at The Factory” transcends the confines of a traditional photograph, becoming a layered exploration of identity, perception, and the interplay between artist and subject. The use of the film strip format adds an additional layer of storytelling, reminiscent of the sequential narrative found in cinema. As viewers navigate between the two images, they are invited to consider the complexities of fame, representation, and the symbiotic relationship between those who create art and those who inspire it. Benson’s photograph stands as a testament to the enduring allure of these two iconic figures and the captivating stories they continue to inspire.
BENS00038
Harry Benson, Beatles Pillow Fight George V Hotel Paris, edition 31/35, 1964
Archival Pigment Photograph, 44 x 44 inches / 48 x 48 inches framed (+$850 frame)
Harry Benson’s self-described “one photograph” is Beatles’ Pillow Fight from 1964 at the Hotel George V in Paris. In this instance, Benson was not only privileged to be working with The Beatles, but lucky enough to be with the legendary band when they received the news that their song “I Want to Hold Your Hand” went to number one on the charts in the United States. Before he knew it, Benson was artfully photographing a pillow fight. He was snapping away at their celebratory play fighting, catching the signature shot of Paul McCartney swinging a pillow at John Lennon while Ringo Starr jumps on top of George Harrison. Benson says about his work with The Beatles, “Some assignments I feel I could go back and improve on, but not The Beatles, I don’t think I could have bettered it.” He then says about Beatles’ Pillow Fight in particular, “With most of my pictures I think I could have done better, but this was the perfect moment, it won’t happen again. I got it.” During this particular time in 1964, The Beatles were still fresh, new, and working well together creating the perfect chance for Benson to capture them at their height. Benson’s timing was impeccably placed to capture Paul McCartney’s swing after Benson’s subtle suggestion led the way for an intimate and playful portrayal of the legendary band. Benson recalls processing the negatives in the bathroom of the George V and putting the negatives in his suitcase, never realizing their historic and cultural importance.
BENS00015
Harry Benson, Beatles Pillow Fight Contact Sheet Paris; edition 14/40, 1964
Archival Pigment Photograph, 44 x 44 inches / 48 x 48 inches framed (+$850 frame)
BENS00014
Harry Benson, Berlin Kiss; edition 6/35, 1996
Photograph, 40 x 50 inches (paper) / 47.5 x 47.25 inches framed (+$650 frame)
In Harry Benson’s “Berlin Kiss,” a couple’s passionate embrace becomes a symbol of unity and celebration on the anniversary of the Berlin Wall’s fall. Taken in the early hours of the morning in a bar, the image exudes intimacy and spontaneity, with the couple’s entwined arms conveying a sense of deep connection and affection. Despite the anonymity of the couple’s faces, Benson’s composition captures the raw emotion and intensity of the moment. The anniversary of the Berlin Wall’s fall serves as a backdrop for their embrace, imbuing the image with layers of historical significance and cultural resonance. As Benson’s lens documents this fleeting moment of love and solidarity, it also reflects on the larger themes of freedom, unity, and the enduring human desire for connection. “Berlin Kiss” encapsulates the spirit of hope and renewal that characterized the aftermath of the wall’s collapse, reminding us of the transformative power of love in overcoming barriers—both physical and metaphorical.
BENS00039
Harry Benson, Dolly Parton, Nashville, edition 16/35, 1976
Archival Pigment Photograph, 22 x 17 inches / 30 3/4 x 25 3/4 inches framed (+$250 frame)
“Dolly Parton makes everyone feel right at home with a down-home welcome when she meets you. She was getting ready for me to photograph her. I walked over to ask when she would be ready and saw her standing near a window, putting on the finishing touches of her make-up. I said, “Dolly, don’t move, just keep doing what you are doing,” and she obliged. It was a completely natural picture, no lights were set up, yet it was the one I liked best from that day.” – Harry Benson
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Harry Benson, Beatles Composing #3, George V Hotel, Paris; edition 14/35, 1964
Archival Pigment Photograph, UNFRAMED
“It seemed John and Paul could compose anywhere. They would wander over to the piano, sit down, and start playing, taking no notice of what was going on around them. Here in their George V Hotel suite they were composing “I Feel Fine.” George and Ringo wandered over and started to join in. It was fascinating to watch how intense they were while creating a song.” – Harry Benson
BENS00087
Harry Benson, Beatles Composing #1 George V Hotel Paris, edition 11/35, 1964
Archival Pigment Photograph, 30 x 40 inches / 37 1/8 x 47 1/8 inches frame (+$650 frame)
BENS00013
Harry Benson, Beatles Arriving in New York; edition 9/35, 1964
Archival Pigment Photograph, 30 x 40 inches UNFRAMED
“On February 7, 1964, Pan Am flight 101 from London landed at New York’s JFK Airport. “I Want to Hold Your Hand” had become number one on the U.S. charts only a few days earlier. I had arranged with them to turn around and look at me as they exited the plane, but in the excitement of the moment, they forgot. I called out for them to turn around. Ringo heard me and reminded the other three and I took the photo. Since the crowds of screaming fans had been kept away by the New York police, I didn’t bother to develop and wire the photos to London. Years later, photographer Jonathan Delano was helping me and came across the undeveloped roll of Tri-X film. I am glad he found that roll, for the photo is important to me because it was taken on the day we all arrived in America for the first time.” – Harry Benson
BENS00084
Harry Benson, Frank Sinatra and Mia Farrow Truman Capote Ball; edition 24/35, 1966
Archival Pigment Photograph, 17 x 22 inches / 25 3/4 x 30 3/4 inches framed (+$250 frame)
Harry Benson’s photograph captures a moment of glamour and intrigue as Frank Sinatra and Mia Farrow make their entrance into Truman Capote’s legendary Black and White Ball at the Plaza Hotel in NYC in 1966. The atmosphere is electric with anticipation, as the couple, adorned in elegant masks, step into the spotlight. Mia Farrow’s mask, a delicate white butterfly, contrasts beautifully with Frank Sinatra’s striking black cat mask complete with whiskers. Sinatra, with a smirk on his face, gazes directly at the camera, exuding confidence and charisma as he leads Farrow into the festivities. The couple’s connection is palpable, their clasped hands and Sinatra’s guiding gesture suggesting a sense of unity and mutual support. In the background, a throng of photographers and onlookers capture the moment, underscoring the immense public interest and intrigue surrounding the event. Tuxedoed men mingle in the background, adding to the aura of sophistication and exclusivity that permeates the scene. Benson’s photograph encapsulates the allure and mystique of Capote’s Black and White Ball, an event that transcended mere celebrity to become a cultural phenomenon. The party, attended by the elite of society, was the hottest ticket in town, with exclusivity so coveted that even those who were not invited would fabricate excuses rather than admit their absence. The occasion was held in honor of Kay Graham, owner of the Washington Post, and the detectives who cracked the murder case depicted in Capote’s groundbreaking novel, “In Cold Blood.” For Capote, it was a moment of triumph, a pinnacle of his literary and social success. Benson’s photograph serves as a vivid snapshot of a bygone era, capturing the essence of an iconic event that continues to captivate imaginations decades later. In the faces of Sinatra and Farrow, we glimpse the allure of fame and the magnetic pull of a night steeped in glamour and intrigue.
BENS00005
Harry Benson, Beatles Suffolk Downs Racetrack, Boston; edition 9/35, 1966
Photograph, 20 x 34 inches / 28.5 x 34.5 inches framed (+$400 frame)
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![Harry Benson, Beatles Running on Miami Beach; edition 7/35, 1964
Photograph, 30 x 40 inches paper / 42.25 x 51 inches (framed) [+$1,200 frame]
BENS00036](/images/27138_h2048w2048gt.5.jpg)
Harry Benson, Beatles Running on Miami Beach; edition 7/35, 1964
Photograph, 30 x 40 inches paper / 42.25 x 51 inches (framed) [+$1,200 frame]
BENS00036
Harry Benson, Barbra Streisand at Arthur on New Year’s Eve, New York City, edition 6/35, 1965
Archival Pigment Photograph, 30 x 24 inches / 37 x 31 inches framed (+$400 frame)
BENS00010
![Harry Benson, James Brown Does the Split, Augusta, GA; edition 22/35, 1979
Archival Pigment Photograph, 24 x 30 inches (paper) / [+$850 frame]
“When I arrived to photograph the “Godfather of Soul” his hair was in rollers. After a few minutes, Brown said, “Come with me, I’ll show you my town.” We jumped in his car and drove around Augusta. He would randomly stop the car, run into a stranger’s yard, do the split and sing “I feel good,” then jump back in the car and drive off. Next he would repeat his surprise visit in another stranger’s yard. As you can imagine the people were stunned and delighted. It’s an experience they are going to talk about forever!” – Harry Benson
BENS00047](/images/27203_h2048w2048gt.5.jpg)
Harry Benson, James Brown Does the Split, Augusta, GA; edition 22/35, 1979
Archival Pigment Photograph, 24 x 30 inches (paper) / [+$850 frame]
“When I arrived to photograph the “Godfather of Soul” his hair was in rollers. After a few minutes, Brown said, “Come with me, I’ll show you my town.” We jumped in his car and drove around Augusta. He would randomly stop the car, run into a stranger’s yard, do the split and sing “I feel good,” then jump back in the car and drive off. Next he would repeat his surprise visit in another stranger’s yard. As you can imagine the people were stunned and delighted. It’s an experience they are going to talk about forever!” – Harry Benson
BENS00047
![Harry Benson, Beatles Waving on Miami Beach; edition 6/35, 1964
Archival Pigment Photograph, 30 x 40 inches (paper) / 41.25 x 51 inches (framed) [+$1,200 frame]
BENS00048](/images/27205_h2048w2048gt.5.jpg)
Harry Benson, Beatles Waving on Miami Beach; edition 6/35, 1964
Archival Pigment Photograph, 30 x 40 inches (paper) / 41.25 x 51 inches (framed) [+$1,200 frame]
BENS00048
Harry Benson, Princess Diana, Glasgow, edition 9/35, 1992
Archival Pigment Photograph, 30 x 24 inches / 37 x 31 inches framed (+$400 frame)
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Harry Benson, Richard Nixon Jerusalem Israel, edition 9/35, 1974
Archival Pigment Photograph, 17 x 22 inches / 25 3/4 x 30 3/4 inches framed (+$250 frame)
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Harry Benson, Barbra Streisand Central Park New York, edition 9/35, 1967
Archival Pigment Photograph, 17 x 22 inches / 25 3/4 x 30 3/4 inches framed (+$250 frame)
BENS00006
Harry Benson, Robert Kennedy's Saint Patrick's Day Parade NYC; edition 6/35, 1968
Archival Pigment Photograph, 17 x 22 inches / 23 3/8 x 25 3/4 inches framed (+$200 frame)
BENS00002
Harry Benson, Arnold Palmer Latrobe Country Club Pennsylvania, edition 16/35, 1974
Archival Pigment Photograph, 17 x 22 inches / 23 3/8 x 25 3/4 inches framed (+$200 frame)
BENS00003
Harry Benson, Francis Ford Coppola Al Pacino and Diane Keaton on set; edition 9/35
, 1971
Archival Pigment Photograph, 17 x 22 inches / 23 3/8 x 25 3/4 inches framed (+$200 frame)
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| 1971 | Sponder Gallery
Harry Benson, Z Jackie Kennedy, London; edition of 35, 1962
Photograph, 40 x 40 inches $20,000, 30 x 30 inches $18,000
BENS00034
Harry Benson, Z Greta Garbo in Robe; edition of 35, 1976
30 x 24 inches $12,000, 24 x 20 inches $11,000, 22 x 17 inches $10,000
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Harry Benson, Z Beatles Ed Sullivan Show, NY; edition of 35, 1964
40 x 50 inches $28,000, 30 x 40 inches $27,000, 24 x 30 inches $22,000, 20 x 24 inches $18,000, 17 x 22 inches $15,000
“Beatlemania was spreading and this was to be their first appearance on the Ed Sullivan Show. The excitement started at breakfast time. My room was just down the hall, and I was having breakfast with the four of them in their suite at the Plaza Hotel. No one was eating much. Everyone was just talking about their performance, which would be broadcast live that evening. Outside in the street excited, hysterical young fans were waiting for us to leave for the Ed Sullivan Theatre. Police assigned to the hotel were busy wrestling with young girls who were trying to climb up back stairways pretending to be hotel guests. About 1:30 there was a bang on my door. John came in and said they were going to the theatre now and to stay as close as I could or the police would cut me off. There was pandemonium trying to get to the car. In the car as we left the hotel all four put their heads down while I took the photograph of the fans screaming and leaning on the back window of the car. When we got to the CBS studio, it was chaos again. I jumped out first and John kept me next to him because the studio stage door opened and slammed like an elastic band so that no fans could push their way in. After the rehearsal we just stayed at the studio; it would have been too hectic to go back to the hotel. We sat around drinking Coca Colas until they went on. As everyone knows, they were sensational. The frenzied audience with girls crying and screaming in mass hysteria drowned out their singing. This became the norm for all of their appearances.” – Harry Benson
BENS00025
Harry Benson, Z Farrah Fawcett, NYC, 1981
Archival Pigment Photograph, 17 x 22 inches $10,000 / 20 x 24 inches $12,000 / 24 x 30 inches $15,000 / 30 x 40 inches $18,000 / 40 x 50 inches $20,000
BENS00093
Harry Benson, Z Cassius Clay (Muhammad Ali) vs Sonny Liston weigh-in, Miami, 1964
Archival Pigment Photograph, 22 x 17 inches $10,000 / 24 x 20 inches $12,000 / 30 x 24 inches $15,000 / 40 x 30 inches $18,000
BENS00090
Harry Benson, Z Cassius Clay (Muhammad Ali) vs Sonny Liston, 1964
Archival Pigment Photograph, 22 x 17 inches $10,000 / 24 x 20 inches $12,000 / 30 x 24 inches $15,000 / 40 x 30 inches $18,000
BENS00091
Harry Benson, Mick Jagger; edition of 35, 1969
Archival Pigment Photograph, 40 x 30 inches UNFRAMED
BENS00085
Harry Benson, Z Jackie in London, (In the Doorway), 1961
Archival Pigment Photograph
BENS00081
Harry Benson, Z Easy Rider Dennis Hopper and Peter Fonda, 1969
Archival Pigment Photograph
BENS00077
Harry Benson, Z Francis Bacon, Metropolitan Museum, NY, 1975
Archival Pigment Photograph
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Harry Benson, Z Martin Luther King, Jr. Portrait, Canton Mississippi, 1966
Archival Pigment Photograph
BENS00063
Harry Benson, Z Ali Float Like a Butterfly, Miami, 1964
Archival Pigment Photograph
BENS00059
Harry Benson, Z Andy Times Four with Pia Zadora in background, The Factory, NYC, 1983
Archival Pigment Photograph
BENS00058
Harry Benson, Z Muhammed Ali KO Listen, Lewiston Maine, 1965
Archival Pigment Photograph, 17 x 22 inches $10,000 / 20 x 24 inches $12,000 / 24 x 30 inches $15,000 / 30 x 40 inches $18,000 / 40 x 50 inches $20,000
BENS00092
Harry Benson, Berlin Kiss; edition 28/35, 1996
Archival Pigment Photograph, 40 x 50 in.
In Harry Benson’s “Berlin Kiss,” a couple’s passionate embrace becomes a symbol of unity and celebration on the anniversary of the Berlin Wall’s fall. Taken in the early hours of the morning in a bar, the image exudes intimacy and spontaneity, with the couple’s entwined arms conveying a sense of deep connection and affection. Despite the anonymity of the couple’s faces, Benson’s composition captures the raw emotion and intensity of the moment. The anniversary of the Berlin Wall’s fall serves as a backdrop for their embrace, imbuing the image with layers of historical significance and cultural resonance. As Benson’s lens documents this fleeting moment of love and solidarity, it also reflects on the larger themes of freedom, unity, and the enduring human desire for connection. “Berlin Kiss” encapsulates the spirit of hope and renewal that characterized the aftermath of the wall’s collapse, reminding us of the transformative power of love in overcoming barriers—both physical and metaphorical.
BENS00050
Harry Benson, Z Berlin Kiss; edition of 35, 1996
Photograph, 48 x 60 inches $30,000, 40 x 50 inches $28,000, 30 x 40 inches $25,000, 24 x 30 inches $22,000, 20 x 24 inches $18,000, 17 x 22 inches $15,000
In Harry Benson’s “Berlin Kiss,” a couple’s passionate embrace becomes a symbol of unity and celebration on the anniversary of the Berlin Wall’s fall. Taken in the early hours of the morning in a bar, the image exudes intimacy and spontaneity, with the couple’s entwined arms conveying a sense of deep connection and affection. Despite the anonymity of the couple’s faces, Benson’s composition captures the raw emotion and intensity of the moment. The anniversary of the Berlin Wall’s fall serves as a backdrop for their embrace, imbuing the image with layers of historical significance and cultural resonance. As Benson’s lens documents this fleeting moment of love and solidarity, it also reflects on the larger themes of freedom, unity, and the enduring human desire for connection. “Berlin Kiss” encapsulates the spirit of hope and renewal that characterized the aftermath of the wall’s collapse, reminding us of the transformative power of love in overcoming barriers—both physical and metaphorical.
BENS00031
Harry Benson, Z James Brown Does the Split, Augusta, GA; edition of 35, 1979
Photograph, 30 x 40 inches $18,000, 24 x 30 inches $15,000, 20 x 24 inches $12,000, 17 x 22 inches $10,000
“When I arrived to photograph the “Godfather of Soul” his hair was in rollers. After a few minutes, Brown said, “Come with me, I’ll show you my town.” We jumped in his car and drove around Augusta. He would randomly stop the car, run into a stranger’s yard, do the split and sing “I feel good,” then jump back in the car and drive off. Next he would repeat his surprise visit in another stranger’s yard. As you can imagine the people were stunned and delighted. It’s an experience they are going to talk about forever!” – Harry Benson
BENS00053
Harry Benson, Z Andy Warhol and Bianca Jagger, The Factory, NYC; edition of 35, 1977
Photograph, 40 x 86 inches $30,000, 33 x 72 inches $27,500, 28 x 60 inches $25,000, 23 x 50 inches $22,500, 21 x 40 inches $18,000, 13.5 x 29 inches $15,000
In Harry Benson’s “Andy Warhol and Bianca Jagger at The Factory,” the photographer employs a unique and innovative technique to convey a nuanced narrative. The photograph is presented as a Kodak film strip, featuring two distinct images captured within a single frame. In the first image, Andy Warhol, the enigmatic artist synonymous with the Pop Art movement, takes center stage. He is sharply in focus, holding a camera with a sense of purpose and intent. Behind him, Bianca Jagger, the glamorous and iconic figure, occupies the foreground but remains blurred, her features obscured by the selective focus. The deliberate choice to keep Warhol in focus while rendering Jagger blurry creates a striking visual juxtaposition, inviting viewers to contemplate the dynamic relationship between artist and muse. Warhol, renowned for his exploration of fame and celebrity culture, assumes the role of the observer, capturing Jagger through his lens. His presence in the foreground suggests an element of control and authority, as he directs the gaze of both the viewer and his subject. In the second image of the film strip, the focus shifts dramatically. Now, Bianca Jagger emerges as the focal point, her features rendered with crisp clarity while Warhol recedes into a soft blur. This reversal of focus underscores the ephemeral nature of celebrity and the transient power dynamics within the world of art and fame. Jagger, once the blurred subject in the background, now takes center stage, commanding attention with her poise and presence. Through Benson’s masterful composition, “Andy Warhol and Bianca Jagger at The Factory” transcends the confines of a traditional photograph, becoming a layered exploration of identity, perception, and the interplay between artist and subject. The use of the film strip format adds an additional layer of storytelling, reminiscent of the sequential narrative found in cinema. As viewers navigate between the two images, they are invited to consider the complexities of fame, representation, and the symbiotic relationship between those who create art and those who inspire it. Benson’s photograph stands as a testament to the enduring allure of these two iconic figures and the captivating stories they continue to inspire.
BENS00032
Harry Benson, Z Dolly Parton, Nashville; edition of 35, 1976
50 x 40 inches $20,000, 40 x 30 inches $18,000, 30 x 24 inches $15,000, 24 x 20 inches $12,000, 22 x 17 inches $10,000
“Dolly Parton makes everyone feel right at home with a down-home welcome when she meets you. She was getting ready for me to photograph her. I walked over to ask when she would be ready and saw her standing near a window, putting on the finishing touches of her make-up. I said, “Dolly, don’t move, just keep doing what you are doing,” and she obliged. It was a completely natural picture, no lights were set up, yet it was the one I liked best from that day.” – Harry Benson
BENS00045
Harry Benson, Z Joe Namath in Locker Room Shaving, NY, 1974
Archival Pigment Photograph
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Harry Benson, Z Tina Turner and Janis Joplin, MSG, NYC, 1969
Archival Pigment Photograph
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Harry Benson, Z Jackie Kennedy with Ski Mask; Laurentian Mts., Canada; edition of 35, 1968
Photographph, 30 x 40 inches $25,000, 24 x 30 inches $22,500, 20 x 24 inches $18,000, 17 x 22 inches $16,000
BENS00017
Harry Benson, Z Beatles Suffolk Downs Racetrack, Boston; edition of 35, 1966
Photograph, 30 x 40 inches $18,000, 24 x 30 inches $15,000, 20 x 24 inches $12,000, 17 x 22 inches $10,000
BENS00044
Harry Benson, Z Frank Sinatra and Mia Farrow, Truman Capote Ball; edition of 35, 1966
Photograph, 40 x 60 inches $22,000, 30 x 40 inches $20,000, 24 x 30 inches $15,000, 20 x 24 inches $14,000, 17 x 22 inches $12,000
Harry Benson’s photograph captures a moment of glamour and intrigue as Frank Sinatra and Mia Farrow make their entrance into Truman Capote’s legendary Black and White Ball at the Plaza Hotel in NYC in 1966. The atmosphere is electric with anticipation, as the couple, adorned in elegant masks, step into the spotlight. Mia Farrow’s mask, a delicate white butterfly, contrasts beautifully with Frank Sinatra’s striking black cat mask complete with whiskers. Sinatra, with a smirk on his face, gazes directly at the camera, exuding confidence and charisma as he leads Farrow into the festivities. The couple’s connection is palpable, their clasped hands and Sinatra’s guiding gesture suggesting a sense of unity and mutual support. In the background, a throng of photographers and onlookers capture the moment, underscoring the immense public interest and intrigue surrounding the event. Tuxedoed men mingle in the background, adding to the aura of sophistication and exclusivity that permeates the scene. Benson’s photograph encapsulates the allure and mystique of Capote’s Black and White Ball, an event that transcended mere celebrity to become a cultural phenomenon. The party, attended by the elite of society, was the hottest ticket in town, with exclusivity so coveted that even those who were not invited would fabricate excuses rather than admit their absence. The occasion was held in honor of Kay Graham, owner of the Washington Post, and the detectives who cracked the murder case depicted in Capote’s groundbreaking novel, “In Cold Blood.” For Capote, it was a moment of triumph, a pinnacle of his literary and social success. Benson’s photograph serves as a vivid snapshot of a bygone era, capturing the essence of an iconic event that continues to captivate imaginations decades later. In the faces of Sinatra and Farrow, we glimpse the allure of fame and the magnetic pull of a night steeped in glamour and intrigue.
BENS00029
Harry Benson, Ali Hits George, Miami; edition 33/35, 1964
Archival Pigment Photograph, 40 x 50 inches / 51 x 62 inches framed (+$1,350 frame)
BENS00049
Harry Benson, Beatles Composing #1, George V Hotel, Paris; edition 21/35, 1964
Archival Pigment Photograph, 42 x 42 inches UNFRAMED
BENS00083
Harry Benson, Beatles Pillow Fight George V Hotel Paris, edition of 35, 1964
Archival Pigment Photograph, 30 x 30 inches / 40 1/8 x 40 3/8 inches framed (+$650 frame)
Harry Benson’s self-described “one photograph” is Beatles’ Pillow Fight from 1964 at the Hotel George V in Paris. In this instance, Benson was not only privileged to be working with The Beatles, but lucky enough to be with the legendary band when they received the news that their song “I Want to Hold Your Hand” went to number one on the charts in the United States. Before he knew it, Benson was artfully photographing a pillow fight. He was snapping away at their celebratory play fighting, catching the signature shot of Paul McCartney swinging a pillow at John Lennon while Ringo Starr jumps on top of George Harrison. Benson says about his work with The Beatles, “Some assignments I feel I could go back and improve on, but not The Beatles, I don’t think I could have bettered it.” He then says about Beatles’ Pillow Fight in particular, “With most of my pictures I think I could have done better, but this was the perfect moment, it won’t happen again. I got it.” During this particular time in 1964, The Beatles were still fresh, new, and working well together creating the perfect chance for Benson to capture them at their height. Benson’s timing was impeccably placed to capture Paul McCartney’s swing after Benson’s subtle suggestion led the way for an intimate and playful portrayal of the legendary band. Benson recalls processing the negatives in the bathroom of the George V and putting the negatives in his suitcase, never realizing their historic and cultural importance.
BENS00012
Harry Benson, Z Ali and The Beatles I, 5th Street Gym, Miami, 1964
Archival Pigment Photograph, 17 x 22 inches $10,000 / 20 x 24 inches $12,000 / 24 x 30 inches $15,000 / 30 x 40 inches $18,000 / 40 x 50 inches $20,000
BENS00089
Harry Benson, Z Ali Hits George, 5th Street Gym, Miami; edition of 35, 1964
Photograph, 40 x 50 inches $28,000, 30 x 40 inches $27,000, 24 x 30 inches $22,000, 20 x 24 inches $18,000, 17 x 22 inches $15,000
BENS00030
Harry Benson, Z Beatles Composing #1, Paris; edition of 35, 1964
Photograph, 30 x 40 inches $18,000, 24 x 30 inches $15,000, 20 x 24 inches $12,000, 17 x 22 inches $10,000
BENS00042
Harry Benson, Z Beatles Composing #2, Paris; edition of 35, 1964
Photograph, 30 x 40 inches $18,000, 24 x 30 inches $15,000, 20 x 24 inches $12,000, 17 x 22 inches $10,000
“It seemed John and Paul could compose anywhere. They would wander over to the piano, sit down, and start playing, taking no notice of what was going on around them. Here in their George V Hotel suite they were composing “I Feel Fine.” George and Ringo wandered over and started to join in. It was fascinating to watch how intense they were while creating a song.” – Harry Benson
BENS00041
Harry Benson, Z Beatles Composing #3, Paris; edition of 35, 1964
Photograph, 30 x 40 inches $18,000, 24 x 30 inches $15,000, 20 x 24 inches $12,000, 17 x 22 inches $10,000
“It seemed John and Paul could compose anywhere. They would wander over to the piano, sit down, and start playing, taking no notice of what was going on around them. Here in their George V Hotel suite they were composing “I Feel Fine.” George and Ringo wandered over and started to join in. It was fascinating to watch how intense they were while creating a song.” – Harry Benson
BENS00043
Harry Benson, Z Beatles Composing Times Three; edition of 35, 1964
Photograph, 72 x 30 inches $20,000, 60 x 24 inches $15,000, 50 x 20 inches $14,000
BENS00033
Harry Benson, Z Beatles on Miami Beach; edition of 35, 1964
30 x 40 inches $18,000, 24 x 30 inches $15,000, 20 x 24 inches $12,000, 17 x 22 inches $10,000
BENS00023
Harry Benson, Z Beatles Pillow Fight Contact Sheet; edition of 40, 1964
Photograph, 47 x 47 inches $28,000, 44 x 44 inches $26,000, 40 x 40 inches $22,000, 30 x 30 inches $16,000, 23 x 23 inches $14,000
BENS00028
Harry Benson, Z Beatles Pillow Fight; edition of 35, 1964
Photograph, 60 x 60 inches $42,500, 47 x 47 inches $38,000, 44 x 44 inches $35,000, 30 x 30 inches $32,500, 22 x 22 inches $25,000, 16 x 16 inches $22,000
BENS00027
Harry Benson, Z Beatles Running on Miami Beach; edition of 35, 1964
30 x 40 inches $18,000, 24 x 30 inches $15,000, 20 x 24 inches $12,000, 17 x 22 inches $10,000
BENS00024
Harry Benson, Z Beatles Waving on Miami Beach; edition of 35, 1964
Photograph, 30 x 40 inches $18,000, 24 x 30 inches $15,000, 20 x 24 inches $12,000, 17 x 22 inches $10,000
BENS00052
