Daniel Arsham’s Jungle Sculpture pairs a seated ruin with a 50-copy edition

Daniel Arsham’s Jungle Sculpture (2026) is one of two new LITO works presented through Sotheby’s LIMITED series. Sotheby’s lists it at US $7,500 with an enquiry option; its individual listing specifies a Hi-Rnd print on paper, a black aluminium frame and a signed, numbered backplate in an edition of 50. The published dimensions are 80 × 113.12 cm. These are the terms listed at the 7 October 2026 check.

LITO describes the pair as forthcoming Sotheby’s exclusives. Release date and time remain TBD. The actionable route is therefore Sotheby’s enquiry service, rather than a timed drop or a confirmed immediate checkout.

A sculpture encountered within the landscape

Jungle Sculpture’s defining subject is a seated, eroded figure enclosed by vegetation. The image treats the statue as something discovered within a wooded setting, with the surrounding growth holding it apart from the viewer. This reading follows the composition; LITO situates both new works within Arsham’s imagined archaeology, where familiar forms appear displaced from any certain historical moment.

The companion Canyons of the Unknown makes a materially different pictorial proposition. There, monumental heads merge with desert terrain and built passages; Jungle Sculpture preserves a more legible separation between a sculptural object and its surroundings. For someone collecting Arsham’s treatment of classical forms, the choice turns on whether the ruin remains an encountered figure or becomes an inhabitable landscape.

Fifty copies and a surface-led print process

Canyons carries an edition of 25 and a listed price of US $9,500. Jungle Sculpture thus has twice the stated numbered run and a US $2,000 lower asking price within the same release family. Those facts help locate the two offers, but neither the price difference nor the edition count measures demand. For a collector already drawn to the seated figure, the lower price is a practical advantage within this two-work offering, alongside its smaller physical dimensions.

The production also continues an established relationship. Memory Waterfall (2025), identified by Perrotin as Arsham’s first LITO edition, used Hi-Rnd printing, museum-grade paper and black aluminium framing in a run of 199. Jungle Sculpture reduces that numbered run to 50 while retaining the same named production approach. It is a narrower edition within that printmaking lineage, rather than evidence of a newly introduced technique.

In LITO’s account, Arsham singles out the process’s ability to convey brushwork and contrasts between reflective and matte passages. That distinction is relevant to Jungle Sculpture’s dense, shadowed setting: close-up and angled views can help a buyer evaluate the physical surface separately from the composition’s apparent depth. Because the signature and numbering are recorded on a backplate, a rear photograph should accompany front and surface views when documenting an individual example.