Harry Benson: Royalty, Rebels & Rockstars

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)

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$8,000

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)

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$12,000

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)

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$10,000

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)

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$18,000

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

$35,000

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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$10,000

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

$12,000

Harry Benson, Z Jackie Kennedy Waving, London, edition of 35, 1962

Archival Pigment Photograph, 40 x 40 inches $20,000, 30 x 30 inches $18,000

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$18,000

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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$10,000

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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$10,000

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)

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$10,000

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

$32,500