DBFA Winter 2020 Catalog

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2020 WINTER CATA LO G DAVID BENRIMON FINE ART

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B A

WINTER 2020 CATALOG The Fuller Building 41 East 57th Street, Second Floor New York, NY 10022 212-628-1600 • info@benrimon.com • www.davidbenrimon.com © 2020, David Benrimon Fine Art LLC

TABLE OF CONTENTS Derrick Adams Pair: Interior Life (Man) & Woman, 2019

Psalm: Ad Te, Domine, Levavi, 2009

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Derrick Adams Self Portrait on Float, 2019

Harold Ancart Untitled (Yellow Sky), 2017

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Daniel Arsham Crystal Relic 002 - Nintendo Game Boy, 2020

Daniel Arsham Eroded Brillo Box, 2020

Michael Craig-Martin From ‘Fundamentals’ series

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Yayoi Kusama

Bulb, 2016

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Flowers, 2002

Racket, 2016

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KAWS

Sunglasses, 2016

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What Party, 2020

Star Spangled Shadows, 2009

14 15 16 17

Damien Hirst

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Broken Men, 2019

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Landscape Mobile (Limoges), 1991

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I Love Liberty, 1982

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Roy Lichtenstein 18

Damien Hirst BUTTERFLY HEART (LARGE) (H7-3), 2020

SEEING, 2018

Roy Lichtenstein

Damien Hirst All You Need is Love, Love, Love, 2009

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Roy Lichtenstein

Keith Haring Untitled, 1987

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Rashid Johnson

Keith Haring Untitled, 1987

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KAWS

Urs Fischer Chicken Rotation, 2016

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Alex Katz Rose Bud, 2019

FAILE

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Loie Hollowell Standing in Light & Standing in Shadow, 2018

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Shara Hughes It’s More Than a Guilty Pleasure #15, 2019

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David Shrigley I Love..., 2019

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Damien Hirst Fruitfull, 2020

Jean-Michel Basquiat Boxer Rebellion, 1982-83/2018

Damien Hirst Signed Circle Spin Painting, 2009

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Forms in Space, 1985

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Roy Lichtenstein 19

Shipboard Girl, 1965

Roy Lichtenstein

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Composition I, 1996

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Harland Miller In Shadows I Boogie, 2019

Mocha Standard, 1969

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Takashi Murakami Mr. Dob, 2017

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Julian Opie New York Couple 6, 2019

Julian Opie New York Couple 8, 2019

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Ai Weiwei “Good Fences Make Good Neighbors” Project), 2017

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Mickey Mouse (Trial Proof), 1981

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Tomato Soup, from Campbell’s Soup I (F. & S. II.46), 1968

Andy Warhol

Paper Heads series

Flowers (F. & S. II.67), 1970

Paper Head 6. 2019, 2019

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Jonas Wood

Paper Head 4. 2019, 2019

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Three Clippings, 2018

Paper Head 1. 2019, 2019

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Jonas Wood

Julian Opie

Landscape Pot with Plant, 2017

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Julian Opie Long hair (from Boston Statuettes), 2020

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Julian Opie Blazer (from Boston Statuettes), 2020

Ed Ruscha Yes, 1984

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Tom Wesselmann Nude with Bouquet and Stockings, 1991

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Tom Wesselmann Monica Lying on Blanket, 1988

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Jonas Wood Untitled, 2014

Julian Opie Leggings (from Boston Statuettes), 2020

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Andy Warhol

Julian Opie

Earphones (from Boston Statuettes), 2020

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Andy Warhol

Julian Opie Red White Black Yellow (from Standing People), 2020

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Artist’s Hand (Sculpture for The Public Art Fund, New York City,

Julian Opie Yellow Black White Blue (from Standing People), 2020

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Ed Ruscha Sponge Puddle, 2015

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Ed Ruscha Cold Beer Beautiful Girls, 2009

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Ed Ruscha That Was Then, This Is Now, 2014

Takashi Murakami And Then x 727 (Vermillion : Shu), 2013

Ed Ruscha

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Derrick Adams Pair: Interior Life (Man) & Woman, 2019 Pigment print on Hotpress 24h x 18w in (each) 61h x 45.7w cm Edition of 75 Signed, numbered and dated, verso

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Derrick Adams Self Portrait on Float, 2019 Woodblock, gold leaf, collage 40h x 40w in 101.6h x 101.6w cm Edition of 50 Signed and numbered by the artist in the lower corners of the paper

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Harold Ancart Untitled (Yellow Sky), 2017 Color lithograph on BFK Rives Paper 40h x 31w in 101.6h x 78.7w cm Edition of 15, 2 AP, 1 EP Signed, titled, dated, and numbered, recto

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Jean-Michel Basquiat Boxer Rebellion, 1982-83/2018 Screenprint on Rives BFK Paper 28 3/4h x 39 1/4w in 73h x 99.8w cm Edition of 60 Numbered on recto; signed and stamped on the verso

by The Estate of Jean-Michel Basquiat

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Daniel Arsham Crystal Relic 002 - Nintendo Game Boy, 2020 Cast resin, gloves with original case 6h x 3 1/2w in 15.2h x 8.9w cm Edition of 500 Comes in studio designed housing with a metal identification card, die-cut foam, sealing label, and a pair of white art handling gloves. Includes a holographic label verifying its edition number and authenticity.

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Daniel Arsham Eroded Brillo Box, 2020 Resin 9 3/5h x 9 3/5w x 9 3/5d in 24.4h x 24.4w x 24.4d cm Edition of 500 Comes in Arsham studio designed housing with die-cut foam, sealing label, and a pair of white art handling gloves. Includes an Arsham Editions holographic label verifying its edition number and authenticity.

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Michael Craig-Martin From ‘Fundamentals’ series

Bulb, 2016 Screenprint on Somerset Tub Sized Satin 410gsm paper 41 3/4h x 20 3/4w in (106h x 52.7w cm) Edition of 30

Racket, 2016 Screenprint on Somerset Tub Sized Satin 410gsm paper 41 3/4h x 20 3/4w in 106h x 52.7w cm Edition of 30

Sunglasses, 2016 Screenprint on Somerset Tub Sized Satin 410gsm paper 17 3/4h x 33 1/2w in 45h x 85w cm Edition of 30

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FAILE Star Spangled Shadows, 2009 Screenprint 23h x 38w in 58.4h x 96.5w cm Edition of 300

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Urs Fischer Chicken Rotation, 2016 Aluminum, epoxy, steel, acrylic primer, gesso, acrylic ink, acrylic silkscreen, and acrylic paint 49 3/4h x 45 1/8w x 1/4d in 126.4h x 114.6w x 0.6d cm Edition of 18

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Keith Haring Untitled, 1987 Lithograph in colors on Rives BFK paper 8 1/4h x 12 1/8w in 21h x 30.8w cm Edition of 100 Signed, numbered, and dated in pencil lower right

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Keith Haring

Untitled is a marker on fluorescent-pink book cover

Untitled, 1987

drawing by Keith Haring for George. In his signature

Lithograph in colors on Rives BFK paper 8 1/4h x 12 1/8w in 21h x 30.8w cm Edition of 100

graffiti style, Haring renders his trademark Three-

Signed, numbered, and dated in pencil lower right

Eyed Monster and Dancing Man, two icons he created to respond to relevant issues and NYC street culture of the 1980s. The Three-Eyed Monster is from Haring’s 1990 Icons set and is a symbol for greed, as well as to indicate hellishness, fear and death in his artworks. The Dancing Man icon has another figure going through a hole in his head to suggest violence and spirituality.

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Damien Hirst All You Need is Love, Love, Love, 2009 Screenprint in colors with diamond dust on wove paper 60h x 60w in Edition of 50

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Damien Hirst BUTTERFLY HEART (LARGE) (H7-3), 2020 Laminated giclée print on aluminium composite panel 27 1/2h x 28 5/8w in 69.9h x 72.7w cm Edition of 1698 Digitally signed on a label affixed to the reverse, numbered of 1698

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Damien Hirst Psalm: Ad Te, Domine, Levavi, 2009 Screenprint in colors with diamond dust on wove paper 29h x 28w in 73.7h x 71.1w cm Edition of 50 Signed and numbered to lower edge

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Damien Hirst Signed Circle Spin Painting, 2009 Acrylic on paper 20 1/2 diameter in 52 cm Unique Hand signed by the artist, verso. Also has stamped signature and inscription.

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Damien Hirst Fruitfull, 2020 Laminated GiclĂŠe print on aluminium composite panel 30 3/4h x 30 3/4w in 78.1h x 78.1w cm Digitally signed on a label affixed to the reverse

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David Shrigley I Love..., 2019 4 color screenprint on Somerset Tub Sized Satin White 410gsm 30h x 23 1/2w in 76.2h x 59.7w cm Edition of 125 Signed, numbered and dated by the artist.

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Shara Hughes It’s More Than a Guilty Pleasure #15, 2019 Custom lucite frame, acrylic, spraypaint, pigment print on paper 27h x 24w x 1 1/2d in 68.6h x 61w x 3.8d cm Edition of 15 Signed by the artist

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Loie Hollowell Standing in Light & Standing in Shadow, 2018 Set of two ukiyo-e Japanese style woodcuts 46 1/2h x 33 3/4w in 118.1h x 85.7w cm Edition of 25 Signed, numbered, and dated recto

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Alex Katz Rose Bud, 2019 Archival pigment inks on Crane Museo Max paper 44h x 33w in 111.8h x 83.8w cm Edition of 100 Signed in pencil and numbered

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Yayoi Kusama Flowers, 2002 Lithograph 20 1/4h x 14 1/4w in 51.4h x 36.2w cm Edition of 50 Signed, titled, dated, and numbered recto

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KAWS What Party, 2020 Full set of 7 screenprint on Saunders Waterford 425gm HP hi-white paper 22h x 22w in 55.9h x 55.9w cm Edition of 100 Each signed and dated in pencil “KAWS 20”, numbered of 100, published by the artist.

This year, American graffiti artist KAWS revealed his newest character What Party - an isolated, despondent and still figure with heavy gloved hands that subtly alludes to the world’s current situation and the emotional and psychological complexities of our time. The figure is an iteration of KAWS’ iconic Michelin Man-inspired character Chum. Unlike the confident Chum who runs toward the future, What Party stands in a resoundingly solemn tone, with his head hanging low and shoulders hunched over, appearing sad, overwhelmed, weary, lonely and shy - feelings and situations we can empathize with in our complex cultural and political environments. Like KAWS’ other characters Chum, Companion, and Accomplice, the figure’s presentation is balanced with humor in its cartoon aesthetic, rendering him relatable to all.

What Party is so relevant that monumental sculptures of the figure have been appearing across the world - notably in front of the Seagram Building on New York City’s Park Avenue and the K11 Art & Culture Centre in Hong Kong.

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KAWS SEEING, 2018 Alloy, ceramic, LED light and mixed media 14 5/8h x 6 7/8w x 7 3/8d in 37.2h x 17.5w x 18.7d cm Edition of 250 Signed dated and stamped with the artist’s name, title, number and date on the underside

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Rashid Johnson Broken Men, 2019 27-color silkscreen with mylar collage 55h x 42w in 139.7h x 106.7w cm Edition of 51 Signed and numbered by the artist, recto

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Roy Lichtenstein Landscape Mobile (Limoges), 1991 Painted bronze and porcelain 21 3/4h x 25 1/2w x 5 3/4d in 55.2h x 64.8w x 14.6d cm Edition of 125 With printed signature, title, date and numbered on the underside in black ink, published by Bernardaud & Artes Magnus Ltd., Limoges and New York.

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Roy Lichtenstein’s Landscape Mobile is a beautiful standing mobile the artist designed as a table centerpiece in 1991. As a prominent Pop artist of the late 20th century, Lichtenstein drew on the comic book style of bold colors, strong line, exaggerated shape, and Ben-Day dots. In playful Pop fashion, Lichtenstein’s mobile represents various elements of nature - a tall tree with bushy leaves, two bubble-like clouds, slanting rain in the sky, and a bright yellow sun. The base of the tree is set in a green basin with a blue interior to represent the element of water. As a table centerpiece, Lichtenstein intended for the base to be filled with flowers. While this mobile is in fact a non-moving object, Lichtenstein’s placement of floating objects gives a sense of shifting and balancing parts, invoking Alexander Calder’s standing mobiles or ‘stabiles.’

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Roy Lichtenstein I Love Liberty, 1982 Screenprint in colors 38 3/8h x 27w in 97.5h x 68.6w cm Edition of 250 + 73 AP Signed, numbered and dated recto

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Roy Lichtenstein Forms in Space, 1985 Screenprint in colors 35 7/8h x 52w in 91.1h x 132w cm Edition of 125 Signed in pencil, dated and numbered recto

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Roy Lichtenstein Shipboard Girl, 1965 Offset lithograph on white wove paper 27 1/8h x 20 1/4w in 68.9h x 51.4w cm Signed by the artist in pencil lower right

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Roy Lichtenstein Composition I, 1996 Screenprint in colors on Lanaquarelle Watercolor paper 47 1/2h x 34 5/8w in 120.7h x 88w cm Edition of 50 Signed, dated and numbered recto

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Harland Miller In Shadows I Boogie, 2019 Etching with relief printing 58 1/2h x 35w in 148.6h x 88.9w cm Edition of 75

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Takashi Murakami Mr. Dob, 2017 Painted cast vinyl 10 1/2h x 12 1/2w x 10 1/2d in 26.7h x 31.8w x 26.7d cm Edition of approx. 400

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Takashi Murakami And Then x 727 (Vermillion : Shu), 2013 Four-color offset printing, silver 19 3/4h x 19 3/4w in 50.2h x 50.2w cm Edition of 300 Signed and numbered by the artist recto

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Julian Opie

Julian Opie

New York Couple 6, 2019

New York Couple 8, 2019

Screenprint with inkjet and collage on conservation board with frame 49 7/24h x 35 48/53w x 1 98/127d in 125.2h x 91.2w x 4.5d cm Edition of 55 + 5 AP

Screenprint with inkjet and collage on conservation board with frame 49 7/24h x 35 48/53w x 1 98/127d in 125.2h x 91.2w x 4.5d cm Edition of 55 + 5 AP

Each work is signed by the artist and numbered on a label on the verso.

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Julian Opie

Julian Opie

Yellow Black White Blue (from Standing People), 2020

Red White Black Yellow (from Standing People), 2020

Acrylic lenticular mounted on acrylic 43 3/4h x 46 3/4w x 1 1/4d in 111.1h x 118.8w x 3.2d cm Edition of 25 + 5 AP

Acrylic lenticular mounted on acrylic 43 3/4h x 46 3/4w x 1 1/4d in 111.1h x 118.8w x 3.2d cm Edition of 25 + 5 AP

Each work is signed by the artist and numbered on a label on the verso.

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Julian Opie Paper Heads series

Paper Head 6. 2019, 2019 Laser-cut archival Museum Board relief, presented in sprayed white frames selected by the artist 33h x 28w x 1 1/2d in 83.8h x 71.1w x 3.8d cm Edition of 50

Paper Head 4. 2019, 2019 Laser-cut archival Museum Board relief, presented in sprayed white frames selected by the artist 33h x 28w x 1 1/2d in 83.8h x 71.1w x 3.8d cm Edition of 50

Paper Head 1. 2019, 2019 Laser-cut archival Museum Board relief, presented in sprayed white frames selected by the artist 33h x 28w x 1 1/2d in 83.8h x 71.1w x 3.8d cm Edition of 50

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Julian Opie

Julian Opie

Earphones (from Boston Statuettes), 2020

Long hair (from Boston Statuettes), 2020

Patinated black bronze on Crema Grey stone base 21h x 4 3/4w x 6 1/2d in 53.3h x 12.1w x 16.5d cm Edition of 25 + 4 Artist Proofs

Patinated black bronze on Crema Grey stone base 20 1/2h x 4 3/4w x 7 1/4d in 52.1h x 12.1w x 18.4d cm Edition of 25 + 4 Artist Proofs

Each work is signed by the artist and numbered on a label on the underside.

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Julian Opie

Julian Opie

Leggings (from Boston Statuettes), 2020

Blazer (from Boston Statuettes), 2020

Patinated black bronze on Crema Grey stone base 20 1/8h x 4 3/4w x 6 1/2d in 51.1h x 12.1w x 16.5d cm Edition of 25 + 4 Artist Proofs

Patinated black bronze on Crema Grey stone base 51h x 12w x 17 1/2d in 129.5h x 30.5w x 44.5d cm Edition of 25 + 4 Artist Proofs

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Ed Ruscha Yes, 1984 Lithograph in colors on Rives BFK paper 22 1/2h x 30w in 57.2h x 76.2w cm Edition of 25 Signed, dated and numbered recto

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Ed Ruscha Mocha Standard, 1969 Screenprint 24 7/8h x 40w in 63.2h x 101.6w cm Edition of 100 Signed, dated and numbered recto

Mocha Standard is a striking edition from Ed Ruscha’s iconic series of gasoline stations. The artist first began experimenting with the subject in his first artist book, Twentysix Gasoline Stations of 1963, and it would go on to become one of his most enduring and popular motifs. Consisting of a series of banal photographs Ruscha took while driving on Route 66 between Los Angeles and his hometown of Oklahoma City, the images captured the ordinary settings of middle America and converted them into dramatic symbols. In 1969 Ruscha returned to the theme, creating Mocha Standard. The Standard Stations are undoubtedly one of Ruscha’s most illustrious subjects and an enduring tribute to the Great American West.

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Ed Ruscha That Was Then, This Is Now, 2014 Lithograph on paper 35 1/2h x 46w in 90.2h x 116.8w cm Edition of 75 + 15 AP Signed, dated and numbered recto

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Ed Ruscha Cold Beer Beautiful Girls, 2009 40 1/2h x 30 1/2w in 102.9h x 77.5w cm Edition of 60 Signed, dated and numbered recto

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Ed Ruscha Sponge Puddle, 2015 Lithograph in colors on wove paper 29h x 28w in 73.7h x 71.1w cm Edition of 60 Signed, dated and numbered recto

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Ai Weiwei Artist’s Hand (Sculpture for The Public Art Fund, New York City, “Good Fences Make Good Neighbors” Project), 2017 Electroplated rhodium on cast urethane resin 5h x 4w x 4d in 12.7h x 10.2w x 10.2d cm Edition of 1000 Signed on the underside

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Andy Warhol Mickey Mouse (Trial Proof), 1981 Unique screenprint in color with diamond dust 38h x 38w in 96.5h x 96.5w cm TP 17/30 Signed and numbered on the lower left.

Mickey Mouse is from Warhol’s Myths portfolio of ten famous fictional characters from 20th century American pop culture.

Fascinated with fame and widespread imagery, Warhol’s portfolio includes the following ten icons: Santa Claus, Mickey Mouse, the Wicked Witch of the West, Howdy Doody, Uncle Sam, Dracula, Superman, Mammy, The Star and The Shadow. These subjects from Hollywood films are rendered in Pop colors, lines, and diamond dust both reflecting American theatricality and glamour, elevating popular culture to the realm of fine art.

Mickey Mouse is a Trial Proof. While working on the Myths portfolio, Warhol created a series of different color versions of each image, before selecting one to be printed in an edition of 200.

These initial ‘trial proofs’ were preserved and released as a formal component of the edition. This print is also inlaid with diamond dust, a by-product of making of industrial-grade diamonds. The dust was sprinkled on to the ink while still wet, creating the effect of a shimmering surface, reminiscent of the gold leaf Warhol used in the late 1950s. This print is unique.

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Andy Warhol Tomato Soup, from Campbell’s Soup I (F. & S. II.46), 1968 Screenprint in colors on wove paper 35h x 23w in 88.9h x 58.4w cm Edition of 250 Signed and numbered verso

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Andy Warhol Flowers (F. & S. II.67), 1970 Screenprint on paper 36h x 36w in 91.4h x 91.4w cm Edition of 250 Signed by the artist and numbered with a rubber stamp verso

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Jonas Wood Three Clippings, 2018 MixografĂ­a relief prints in colors with embossing, on handmade paper 40h x 32w in (each) 101.6h x 81.3w cm Edition of 40 Each signed, dated and numbered in pencil recto

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Jonas Wood Landscape Pot with Plant, 2017 16 colour screen print on 410gsm Somerset tub sized Satin Enhanced White pape 39h x 29 1/2w in 99.06h x 74.93w cm Edition of 100 Signed and numbered on the lower left.

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Jonas Wood Untitled, 2014 Lithograph and screenprint in colors 48h x 37 1/8w in 121.9h x 94.3w cm Trial Proof 5 Signed, dated and numbered recto

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Tom Wesselmann Monica Lying on Blanket, 1988 Enamel on laser-cut steel 20 1/4h x 40w in 51.4h x 101.6w cm Edition of 25 Signed by the artist

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Tom Wesselmann Nude with Bouquet and Stockings, 1991 Screenprint in 18 colors on 4 ply Archivart paper 45h x 80w in 114.3h x 203.2w cm Edition of 100 Signed by the artist

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