Ephemera

Peter Blake | Eric Clapton | Derek Taylor

24 Nights, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> by <a href="https://www.sothebys.com/en/search?query=Eric%20Clapton&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Eric Clapton</a> and <a href="https://www.sothebys.com/en/search?query=Peter%20Blake&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Peter Blake</a>.<ul><li>Sold as a set of 2 books, a 2-CD set, and several items of ephemera.</li><li>Genesis Publications.</li><li>This is No. 1718 of 3500 copies.</li><li>Book is accompanied by a 64-page volume of commentary by Derek Taylor.</li><li>Includes a 2-CD set of live recordings including 3 exclusive tracks.</li><li>Accompanied by four guitar picks, a back-stage laminate pass and a guitar string.</li><li>Quarter bound in bonded leather and housed in a solander box.</li></ul> 24 Nights is a limited edition book and CD box set commemorating a record 24-nights of performances by Eric Clapton at the Royal Albert Hall in 1991. The book is a unique collaboration between Eric Clapton, Peter Blake, Derek Taylor and Genesis Publications.

24 Nights

An issue of <a href="https://www.sothebys.com/en/search?query=New%20York%20Times&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">The New York Times</a> Magazine featuring <a href="https://www.sothebys.com/en/search?query=Basquiat&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Jean Michel Basquiat</a>, published in 1985.<ul><li>Basquiat article by Cathleen McGuigan.</li><li>Photo by Lizzie Himmel.</li><li>New York: The New York Times Company, 1985.</li><li>This February 10th, 1985 edition is famously entitled “New Art, New Money: The Marketing of an American Artist."</li></ul> This much iconic cover photo features Basquiat at his most critical turning point - one in which, the grandeur and height of his success is brought into marked contradiction by an expression defined by a wary, slightly tired defiance; as if he's already begun to perceive all the further judgements and trappings of a notorious 1980's New York art world - a pivotal force in the artist's meteoric rise and fall. A definitive and much historical Basquiat collectible made for any dedicated collector of the artist.

The New York Times Magazine: New Art, New Money Basquiat Issue

Keith Haring 

A coloring book illustrated by Keith Haring and sold at his Pop Shop throughout the mid to late 1980s.<ul><li>Keith Haring (American, 1958-1990).</li><li>New York: Pop Shop, circa 1980s.</li><li>10 double sided pages for a total of 20 illustrations.</li><li>Two printed Haring signatures on the front cover.</li><li>Offset printed, staple bound artist book (coloring book).</li></ul> Keith Haring was an American artist and social activist known for his illustrative depictions of figures and symbols. His white chalk drawings could often been found on the blank poster marquees in New York’s public spaces and subways. “I don't think art is propaganda,” he once stated. “It should be something that liberates the soul, provokes the imagination and encourages people to go further. It celebrates humanity instead of manipulating it.” Born on May 4, 1958 in Reading, PA, he grew up in neighboring Kutztown, where he was inspired to draw from an early age by Walt Disney cartoons and his father who was an amateur cartoonist. Haring moved to New York in the late 1970s to attend the School of Visual Arts, and soon immersed himself in the city’s graffiti culture. By the mid-1980s, he had befriended fellow artists Andy Warhol, Kenny Scharf, and Jean-Michel Basquiat, and collaborated with celebrities like the singer Grace Jones. Diagnosed with HIV/AIDS in 1988, Haring’s prodigious career was brief, and he died of AIDS-related complications on February 16, 1990 at the age of 31. Before his death, Haring established the Keith Haring Foundation, a non-profit committed to raising awareness of the illness through art programing and community outreach. Throughout his career, Haring made his art widely available through the location of his murals, as well as through the Pop Shop—Haring's own storefront which he used to sell his memorabilia. The artist’s mural Crack is Wack (1986), can still be seen today on a retaining wall along FDR Drive in Manhattan. Haring’s works can be found in the collections of The Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Art Institute of Chicago, and the Smithsonian American Art Museum in Washington, D.C.

Pop Shop Coloring Book

Robert Motherwell

A typed letter from Motherwell on Spanish politics and art.<ul><li>Robert Motherwell (American).</li><li>Signed “Robert Motherwell,” to Nancy Macdonald of Spanish Refugee Aid Inc. of NY.</li><li>909 North Street, Greenwich, CT:&nbsp;March 31, 1980.</li><li>Two pages on letterhead.</li><li>Presented in brown cloth chemise.</li></ul> Lengthy typed letter with content concerning Motherwell’s uneasy negotiation of Spanish politics and art. In 1980, the Juan March Foundation and the Catalan bank La Caixa organized the first exhibition of Motherwell’s work in Spain. His series of works titled Elegies for the Spanish Republic, begun in 1949 and continued until his death in 1991, totaled more than 170 works and would strongly link the artist with anti-Francosim and the lost Spanish Republic. However, as this letter demonstrates, in person, Motherwell maintained a professional, neutral stance, and seemed to have trouble engaging the Spanish in any political conversation. Reading, in part:“I didn’t realize at the time of the New York Times announcement that, though the Juan March Foundation originated the show, in Barcelona it was under the auspices of the largest savings bank in Catalonia, ‘la Caixa,’ at a small museum they have acquired. If I understand correctly, it is either Spanish or certainly Catalonian law that such a bank must spend 50% of it’s annual profits on culture … The Jaun March Foundation, as far as I can tell, is almost an exact equivalent of the J.S. Guggenheim Foundation here … They seem extremely wealthy, honorable in intent, and highly efficient — I mean an almost IBM-corporate efficiency, shattering every cliché about ‘mañana’ (what is ironic is that the fabulously wealthy Juan March was the financial backer of Franco, and yet in my show are major ‘Elegies to the Spanish Republic.’). My impression, for what it’s worth, is that there’s a kind of understanding that anything scholarly or artistic can be done as long as one stays away from partisan politics. For instance, Barcelona insisted that I be present and treated me beautifully, while the Juan March people [from Madrid] had implied that it wasn’t necessary to go to Barcelona, and immediately descended on the scene. As you know, there are tremendous Separatist movements in Spain …&nbsp; Being a fish swimming in foreign waters, I asked various people who know the scene what to do, and the concensus [sic] is that it is a Spanish labyrinth that is *their* problem … Naturally my own interest is in the artistic community, which seems both aware and touched by any outside support. But my experience in Barcelona was (as in Germany, for example) that political discourse is conspicuous by its absence in any general conversation … Everything I have said is impressions — I found the Spanish, unlike Latin Hispanics, extremely reserved and discrete, almost like old-time New England Yankees. What lies underneath I really don’t know … I realize I am a bit vague because I really don’t *know* anything. I have been going on the artist in me, which senses tensions, pride and formality, eagerness and extreme vulnerability, and since I am not by nature an activist, I have reacted with thorough professionalism instinctively, which seems to be precisely correct … Naturally I find it both strange and irresistable [sic] to show my Hispanic sympathies under such auspices, but there are unexpected occasions: for instance, I’ve given a small ‘Elegy to the Spanish Republic’ to the University of Salamance (the oldest one in Spain), and they wish to honor me with a ceremony, which I presume the central government is aware of, and I personally somewhat dread, not being an exhibitionist but an exhibitor … In Barcelona, several young artists told me that, after hearing me speak and reading an interview with me, they were determined to leave for New York. In short, my whole experience is basically as an individual with other individuals, as it is here at home, for that matter. (I have stuck with the Guggenheim Foundation because it is the only Foundation that gives exclusively to individuals, *not* institutions.)”

Robert Motherwell Typed Letter To Nancy Macdonald

A complete eleven-issue run of one of the greatest publications to emerge from the mid-century experimental music scene.<ul><li>Sold as a set of 11 numbers in 10 volumes.</li><li>Davis and Sacramento CA: Composer and Performer Edition, 1967-1973.</li><li>Printed offset throughout on various paper stocks, with numerous custom elements: die-cut and folded sheets, glassine inserts and a variety of tipped-in items.</li><li>Bound in the original spiral-bound pictorial wrappers all, issues 7/8 printed tete beche.&nbsp;</li></ul> Elaborately produced and edited by Larry Austin (UC-Davis instructor and director of its New Music Ensemble), SOURCE aimed not only to document the experimental music scene that centered primarily on the West Coast (Mills College, etc.), but to expand the very idea of the musical score: "Our idea of a 'score' is broad. To us it is transcribed information about the composer's music-making process and contains a way of imparting this information to those who might recreate the composition" (Austin, issue 1). Much like frequent contributor John Cage's 1969 book Notations, SOURCE argued in part that the score should be viewed as much as a visual art as a musical one. This was reflected in the magazine's production: a Dick Higgins score riddled with actual bullet holes, John Cage's "Not Wanting to Say Anything About Marcel" printed in color on glassine, and perhaps most infamously Nelson Howe's "Fur Music," which utilized actual tipped-in fur swatches and included the instruction "to focus attention on the exploration of the tactile qualities of fur, but with the added requirement that the tactile sensation be *heard*." Contributors across the run include: John Cage, Toshi Ichiyanagi, Harry Partch, David Tudor, Morton Feldman, Robert Ashley, Pauline Oliveros, Dick Higgins, Nam June Paik, Steve Reich, Harold Budd, Lejaren Hiller, Max Neuhaus, Larry Austinm, among many others.

SOURCE: Music of the Avant Garde Collection

Tasha Tudor

A signed watercolor used in Tudor's Caldecott Honor book, Mother Goose.<ul><li>Tasha Tudor (American, 1915-2008).</li><li>This image appears on page 63 of the book.</li><li>It accompanies "Sing a Song of Sixpence" and depicts the King, Queen, three other adults and two little children seated at a feast with the birds just coming out of the pie.</li><li>This work is presented unframed.</li></ul>

Mother Goose, Sing a Song of Sixpence, Watercolor Illustration

Andrea Miller-Keller

Subway Drawings by Keith Haring&nbsp;exhibition catalogue, published for the occasion "Keith Haring / New York City Subway Drawings 1983," June 5—August 7, 1983.<ul><li>Keith Haring (American).</li><li>Text by Andrea Miller-Keller (American).</li><li>Photographs by Tseng Kwong Chi (American).</li><li>Hartford, Connecticut: Wadsworth Atheneum, 1983.</li><li>6 pages.</li><li>Part of an unsigned edition of unknown size.</li><li>Includes a blue foldout insert featuring four illustrations.</li><li>Includes an exhibition checklist and selected exhibition bibliography.</li><li>Hole-punched pages are original to the pamphlet.</li></ul>

Keith Haring Subway Drawings 1983

Damien Hirst  | Ian Jeffrey

A first edition catalog of an important exhibition by a group of student artists at Goldsmiths College, later identified as the Young British Artists, organized and curated by provocateur Damien Hirst.<ul><li>Damien Hirst (English).</li><li>Ian Jeffrey (English).</li><li>Photography by Edward Woodman, with the exception of Sovereign and Untitled.</li><li>London:&nbsp;The Artists and Ian Jeffrey, 1988.</li><li>Unpaginated.</li><li>Illustrated with color and black and white plates.</li><li>Features artists Steven Adamson, Angela Bulloch, Mat Collishaw, Ian Davenport, Angus Fairhurst, Anya Gallaccio, Gary Hume, Michael Landy, Abigail Lane, Sarah Lucas, Lala Meredith-Vula, Stephen Park, Richard Patterson, Simon Patterson and Fiona Rae.</li><li>Presented in original printed bronze wrappers.</li></ul> In his essay "Platonic Tropics," Ian Jeffrey (then head of art history at Goldsmiths) circles and spins around the idea of a generational "collective imagination," what had become of it, and what it had come to in 1988: "Perhaps '88 works and makes in terms of difference, that it begins from an idea of polarity and of the complementary, and works towards totalization." Perhaps. Coherent or not, Freeze was important for what it was, what it did and what it represented. It was a DIY show organized outside the gallery system in a disused Port Authority building by largely middle-class art students with impressive corporate sponsorship—the retroactively mythic origin point of a movement and a highly successful machine for turning seeming outsiders into art world insiders.

Freeze

A first-edition copy of the catalog for Keith Haring's exhibit at Tony Shafrazi Gallery, featuring the iconic neon Haring Three Eyed Smiling Face cover.<ul><li>Forward by Tony Shafrazi (American).</li><li>Includes texts by Keith Haring, Jeffrey Deitch, Robert Pincus-Witten and David Shapiro.</li><li>Includes photographs of Haring's subway drawings by Haring’s close friend Tseng Kwong Chi.</li><li>Designed by Dan Friedman.</li><li>New York: Tony Shafrazi Gallery, 1982.</li><li>144 pages.</li><li>Softcover.</li><li>Includes 15 double-sided lithographic inserts.</li><li>Part of a limited edition of 2,000 copies.</li><li>Metal wire bound.</li></ul>

Keith Haring at Tony Shafrazi Gallery Catalog

Andy Warhol

A copy of Film Culture Magazine, 1967, featuring the artwork of Andy Warhol.<ul><li>Andy Warhol designed the cover and several inside pages of the magazine using portraits taken in a photo booth.</li><li>Includes images of Nico, Edie Sedgwick and other Warhol factory muses.</li><li>Contains numerous still images and articles about the films of Andy Warhol and his crew.</li><li>Offset lithograph printed magazine is approximately 25 pages.</li></ul>

Film Culture Magazine, Featuring Andy Warhol Cover Art

Announcement card and catalog for Keith Haring's Memorial Exhibition at Tony Shafrazi Gallery in New York, 1990.<ul><li>New York: Tony Shafrazi Gallery.</li><li>Softcover catalog is 44 pages.</li><li>Catalog is part of an edition of 2,000.</li><li>Includes illustrations in both color and black and white, and an introduction by Tony Shafrazi.</li><li>Announcement card is offset printed on heavy cardstock.</li></ul>

Keith Haring Memorial Exhibit Announcement Card and Catalog

Kenny Scharf

Catalog for the exhibition In Your Face with a signed drawing by Kenny Scharf.<ul><li>Kenny Scharf (American).</li><li>Keith Haring (American).</li><li>Jean-Michel Basquiat (American).</li><li>New York: Malca Fine Art, 1997.</li><li>80 pages.</li><li>Signed by Kenny Scharf in black marker on the interior, alongside a hand-drawn Scharf character.</li><li>Softcover.</li></ul> In Your Face was a 1997 exhibition that featured the work of Keith Haring, Kenny Scharf, and Jean-Michel Basquiat.

In Your Face, Exhibition Catalog Featuring Warhol, Basquiat, and Scharf (signed with drawing by Scharf)

Catalog for Keith Haring exhibition at the Stedelijk Museum, signed by the artist.<ul><li>Includes original drawing by Haring along with signature.</li><li>Amsterdam: Stedelijk Museum, 1986.</li><li>83 Pages.</li><li>Preface by Wim Beeren.</li><li>Includes in-depth interview with the artist.</li><li>Includes photography by Haring's close friend, Tseng Kwong Chi.</li><li>Published for the occasion of the exhibition Keith Haring at the Stedelijk Museum, in Amsterdam, Netherlands, March 15th – May 12th, 1986.</li></ul>

Keith Haring Exhibition, Stedelijk Museum, Signed Catalog

Kenneth Grahame | Ernest Howard Shepard

Original artwork of The Gaoler's Daughter, an original preliminary study for the Wind in the Willows.<ul><li>Kenneth Grahame (British).</li><li>Ernest Howard Shepard (English).</li><li>The Gaoler's Daughter entering his cell with tea and hot buttered toast, a preliminary study for The Wind in the Willows page 175.</li><li>Pencil on wove paper, initialed in the lower right corner, numbered "167" in the lower left, matted and framed.</li></ul>

The Gaoler's Daughter Original Artwork

Vanessa Bell

Original watercolor for the children's book Emlycaunt by Julia Duckworth Stephen.<ul><li>Vanessa Bell (English).</li><li>Depiction of donkey with monkey in foliage.</li><li>Artist's stamp to lower right corner.</li><li>Pencil, ink and watercolor on paper.</li><li>Framed and mounted on a folding matte under glass.</li></ul> One of 33 illustrations by Bell for her mother's children's story, Emlycaunt. This particular work was probably to illustrate the following passage of the story: "Tommy was very glad to do what the elephant said, and a monkey who came cantering up on a donkey advised him to go to the bathing place.&nbsp;'On such a warm day,' he said, 'we all like to take a swim.'"

Emlycaunt Original Watercolor

Jean-Michel Basquiat exhibition catalogue published for the occasion of Basquiat's first solo museum exhibition and UK debut, which was organized by Mark Francis, additionally traveled to the Institute of Contemporary Art in London (1985) and the Boijmans-van Beuningen Museum in Rotterdam (1985).<ul><li>Jean-Michel Basquiat (American).</li><li>Photography by Zindman/Fremont and James Van Der Zee (American).</li><li>Designed by Peter Saville Associates P/S/A.</li><li>Edinburgh: The Fruitmarket Gallery, 1984</li><li>Printed in the Netherlands by Lecturis bv.</li><li>The front and back covers display original designs by Basquiat, with two quotations inscribed on the back.</li></ul>

Jean-Michel Basquiat Paintings 1981-1984

David Weinstock

Archive of the Crucible Furniture Corporation's product photographs, internal documents, and marketing materials: a treasury of American furniture design.<ul><li>Sold as a set of 3.</li><li>David Weinstock (Polish-American).</li><li>[New York]:&nbsp;n.p,&nbsp;[circa 1960-1970].</li><li>Three original smooth white printed folders with Crucible printed to exterior; versos matte red.</li><li>Folder 1 contains. several dozen items, including a stapled catalogue of public area multiple seating; hand-annotated design specs and full folded blueprints for a signature Crucible table; news articles and clippings from design industry publications; double-page advertisement for Republic Steel's Merchant Pig Iron, featuring Weinstock.</li><li>Folder 2 contains four leaves of chair design sketches on various company stationery; advertising mock-ups and logo design; small notebook of design sketches followed by handwritten notes; 16-page catalogue; [48] page catalogue, unbound but with three-hole punches to left side; additional loose pages of catalogue photography and specs.</li><li>Folder 3 contains 42 original 8'' x 10'' glossy black and white photographs; 16 smaller original photographs of assorted sizes, one in color; and 7 additional 8'' x 10'' photographs with printed specs and Crucible logo, apparently intended for catalogue use.</li></ul> Weinstock's Crucible Corporation supplied seating to many iconic locations, including the 5th Avenue Revlon Salon, the Kennedy Airport, and San Francisco's Fairmount Hotel, among many other public buildings. As a supplier to architectural, institutional, and commercial interior designers for over 50 years, Crucible was a significant contributor to the 'look' of the public-facing 20th century: not only showpieces like the aforementioned lobbies and lounges, but the everyday stools, chairs, and tables of of theaters, classrooms, and restaurants; the shapes one sees and touches every day that form the greater shape of contemporary life. Born in 1924, the Polish-born Weinstock was most active in the 1940s through the 1970s, and by the later decades of his career was one of the last furniture designers and manufacturers remaining in New York City. This archive includes original product photographs, magnificently alone or staged on plush carpeting, set off by marble busts; sales brochures, design specs, advertising materials, clippings from industry publications (among them: Furniture Production Magazine's tech report on secret developments in Rigid Foam; an article on the special requirements of psychiatric ward design with photo credits to Crucible, alongside Herman Miller and Knoll); and advertisements featuring Weinstock or other Crucible personnel and products. A curious inclusion is one small notebook of design sketches followed by handwritten notes: various puns, quotations, and aphorisms, possibly intended for advertising use, along with a series of apparently original observations on city scenes and the passers-by who sooner or later would sit in a Crucible chair (e.g., "She wore her martyrdom &amp; her goodness like jewelry (woman on a bus)"; "To the world he contributed nothing but demands &amp; complaints"). A fascinating collection from a firm whose craftsmanship and conception of public space helped form the essential experience of waiting in comfort or anticipation, in liminal spaces; from gleaming white hotel lobby barrel chairs like cushioned bathtubs, to the vast connected rows of lecture hall seating, to the imperceptibly nervous-making lines of airport lounges: a smooth silhouette with a core of iron in the bustling heart of the city and the century.

Crucible Furniture Design Archive

Raymond Chandler

Original typed document assigning exclusive motion picture rights for his unpublished book “entitled BRASHER DOUBLOON (alternate title HIGH WINDOW).”<ul><li>Raymond Chandler (American).</li><li>Leaves punched in left margin for ring binder.</li><li>Los Angeles: 29 May 1942.</li><li>4 pp. typed on rectos only.</li><li>4to.</li><li>Signed by Chandler on page 4, dated and notarized below with raised seal.</li></ul> Chandler assigns film rights for his third novel, completed in March 1942, here still bearing his original title, The Brasher Doubloon as well as the alternate title that Chandler gave it at Blanche Knopf’s suggestion. The High Window was published by Knopf in August 1942.&nbsp;&nbsp; “In May of 1942, The High Window was sold to 20th Century-Fox for $3,500 as a second-run or B picture and was released the following year as Time to Kill.” (Macshane, p. 105) At the time of the present assignment, Chandler had established a critical reputation but financial success eluded him. He sold film rights to Farewell, My Lovely (1940) for $2,000, and came to regret this intensely when Murder, My Sweet, the film of Farewell, My Lovely, proved a box office hit but earned Chandler no additional money. Rights to his first novel, The Big Sleep, remained unsold, in large part because of the restrictive climate of censorship of subject matter exercised by the Production Code Administration. Chandler was hired by Paramount in 1943 to work on the screenplay of Double Indemnity with Billy Wilder in part because Wilder was impressed by The High Window. Wilder and Chandler’s collaboration was a landmark in film noir and marked a change in the climate of censorship in Hollywood, and thus cleared the way for the filming of The Big Sleep in 1944 and its release in 1946. The High Window was filmed again in 1946 and released in 1947 as The Brasher Doubloon, starring George Montgomery as Philip Marlowe. A fine document from an early point in Chandler’s decidedly ambivalent relationship to Hollywood.

Ephemera

Filters

Way to Buy

Author

Price

Book Subject

Book Special Feature

Book Language

Era

Materials

Color

Region of Origin

Country of Origin

Item Location

Available for International Shipping

Peter Blake, Eric Clapton, Derek Taylor

Keith Haring

Robert Motherwell

Tasha Tudor

Andrea Miller-Keller

Damien Hirst , Ian Jeffrey

After Andy Warhol

After Keith Haring

Kenny Scharf

Kenneth Grahame, Ernest Howard Shepard

Vanessa Bell

David Weinstock

Raymond Chandler