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Keith Haring 

"Dance on the Lower East Side" event announcement card by <a href="https://www.sothebys.com/en/search?query=Keith%20Haring&amp;tab=objects" rel="noopener noreferrer" target="_blank">Keith Haring</a>.<ul><li>Fold-out invitation designed and illustrated by Haring for a benefit party at The Underground, New York, NY in 1983.</li><li>Participants included New York graffiti artists Futura 2000, Phase II (Phase 2) and 1980s NY hip-hop group the Rock Steady Crew.</li><li>Plate signed (printed) and dated 1983 by Haring on the mid-lower front right.</li><li>Offset printed.</li><li>This work is presented unframed.</li></ul> Keith Haring rose to prominence in 1980s New York within the East Village art scene alongside Jean-Michel Basquiat, Kenny Scharf, and Jenny Holzer. He bridged the gap between the art world and the street, graffitiing city subways and sidewalks before committing to a studio practice. Haring united the appeal of cartoons with the raw energy of Art Brut artists such as Jean DuBuffet as he developed a distinct pop-graffiti aesthetic that comprised energetic, boldly outlined figures against solid or patterned backdrops. His major themes included exploitation, subjugation, drug abuse, and the threat of nuclear holocaust; Haring boldly engaged with social issues, especially after receiving an AIDS diagnosis in 1987. Today, his work sells for seven figures at auction and has been the subject of solo shows at the Brooklyn Museum, the San Francisco Museum of Modern Art, and the Albertina Museum in Vienna, among other institutions.

Dance on the Lower East Side Announcement Card

Moritz Lowey | Pierre-Henri Puiseux

Moritz Lowey (French, 1833-1907) and Pierre-Henri Puiseux (French, 1855-1928).<ul><li>Héliogravure after photographs by Loewy and Puiseux depicting the Moon’s surface, from L'Atlas Photographique de la Lune.</li><li>The finest and most meticulous image of the moon until the 1970s.</li><li>Deemed worthy of exhibition at the Paris World Fair in 1900.</li><li>L'Atlas Photographique de la Lune was the ultimate achievement of 19th-century astronomical photography, and can be regarded as one of the great publishing ventures of the 19th and early 20th centuries.</li><li>Moritz Loewy and Pierre-Henri Puiseux, assisted by Charles Morvan, undertook a project to make a complete series of detailed photographs of the moon and the lunar surface. Their very best images were then published in L'Atlas photographique de la Lune. This was issued in fascicles in 1896 and 1910 by the Observatory of Paris; the atlas represents the best and most complete overview of the work of Loewy and Puiseux.</li><li>The enlargements were used to decorate the showroom of the Ministère de l'Instruction Publique at the Exposition Universelle during the World's Fair, which was held in Paris in 1900.</li><li>Framed and glazed.</li></ul>

Atlas de la Lune: Pole Sud Pitiscus Zagut

Moritz Lowey (French, 1833–1907) and Pierre-Henri Puiseux (French, 1855–1928).<ul><li>Héliogravure after photographs by Loewy and Puiseux depicting the Moon’s surface, from L'Atlas Photographique de la Lune.</li><li>The finest and most meticulous image of the moon until the 1970s.</li><li>Deemed worthy of exhibition at the Paris World Fair in 1900.</li><li>L'Atlas Photographique de la Lune was the ultimate achievement of 19th-century astronomical photography, and can be regarded as one of the great publishing ventures of the 19th and early 20th centuries.</li><li>Moritz Loewy and Pierre-Henri Puiseux, assisted by Charles Morvan, undertook a project to make a complete series of detailed photographs of the moon and the lunar surface. Their very best images were then published in L'Atlas Photographique de la Lune. This was issued in fascicles in 1896 and 1910 by the Observatory of Paris; the atlas represents the best and most complete overview of the work of Loewy and Puiseux.</li><li>The enlargements were used to decorate the showroom of the Ministère de l'Instruction Publique at the Exposition Universelle during the World's Fair, which was held in Paris in 1900.</li><li>Framed and glazed.</li></ul>

Atlas Photo de la Lune: Maurolycus Werner Sacrobosco 

Sylvia Sleigh

Morellos at the Back Door by <a href="https://www.sothebys.com/en/search?query=Sylvia+Sleigh&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Sylvia Sleigh</a>.<ul><li>Sylvia Sleigh (English, 1916-2010).</li><li>Oil on canvas.</li><li>Signed and dated&nbsp;May 11 ’53 (lower left).</li><li>Executed in 1953.</li></ul> Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Morellos at the Back Door

Samuel Johnson

<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">First edition</a> of <a href="https://www.sothebys.com/en/search?query=samuel+johnson&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Samuel Johnson</a>'s English dictionary.<ul><li>Sold as a set of 2 volumes.</li><li>Samuel Johnson (English).</li><li>A dictionary of the English language: in which the words are deduced from their originals, and illustrated in their different significations by examples from the best writers. To which are prefixed, a history of the language, and an English grammar.</li><li>London:&nbsp;Printed by W. Strahan, for J. and P. Knapton; T. and T. Longman; C. Hitch and L. Hawes; A. Millar; and R. and J. Dodsley,&nbsp;1755.</li><li>Modern full brown calf bound period style, blind-stamped floral borders, raised bands, gilt- and blind-stamped spines, green and lavender goatskin spine labels, red speckled edges.</li></ul> When Johnson begun work on the dictionary, he was at one of the lowest points of his career: a friend called him "a great genius – quite lost to both himself and the world" (Gilbert Walmesly, letter to David Garrick, November 1746). The work was initially suggested to him by the printer Robert Dodsley: "a monumental project that great authors such as Pope and Joseph Addison had contemplated and given up almost before they really got going and lesser men had trembled to think of compiling even as they grumbled and protests about the dire need Britain had for a dictionary" (Martin, 221). Johnson biographer Peter Martin calls the idea "brave, even reckless" because it was such an immense proposal — the French equivalent took over 40 people 55 years to complete — and without precedent in English in scale and depth of research. While it was not the first dictionary of the English language, it was by far the most complex, containing multiple definitions of words, etymological and orthographic notes, and examples of usage from major writers like Shakespeare (which in turn buttressed the Bard's own hallowed reputation). The task revealed some of Johnson's hubris — it took 7 years to complete, rather than the 3 Johnson had planned — but ultimately landed like a meteor, with a far-reaching impact felt even today. Since then, cooler heads have followed the example of the French and pursued crowd-sourced solutions when tackling this kind of scale, from the Oxford English Dictionary to Wikipedia. A landmark in English literature, marking the moment when the language reached modern maturity.

A Dictionary of the English Language | First Edition

Percy Bysshe Shelley

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Subject=Fine%2520bindings" rel="noopener noreferrer" target="_blank">finely bound</a> Kelmscott Press edition of The Poetical Works of <a href="https://www.sothebys.com/en/search?query=percy+bysshe+shelley&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Percy Bysshe Shelley</a>.<ul><li>Sold as a set of 3 volumes.</li><li>Percy Bysshe Shelley (English).</li><li>Hammersmith:&nbsp;Kelmscott Press,&nbsp;1894–95.</li><li>Octavo.</li><li>Part of an edition of 250 copies.&nbsp;</li><li>Printed in red and black, ornamental woodcut title, borders, and initials.</li><li>Original full limp vellum, spines stamped in gold, issued without silk ties, housed in custom cloth chemises and blue morocco backed slipcases.</li></ul> The magnificent Kelmscott edition of the poems of Shelley, with an interesting New York provenance, likely from the 1920s. Includes signatures on the two preliminary blank leaves of a number of New York businessmen and philanthropists, many with connections to Temple Emanu-El, among them: Sam SherringtonDudley D. SicherSamuel J. Bloomingdale [1873-1968; son of Lyman]Felix M. WarburgHerbert J. MartinJonah GoldsteinJ. Edwin GoldmanLeo SulzbergerRalph SamuelHenry F. SamstagLouis J. RosenbachWilliam GoldmanL.A. AnsbacherH.A. Guinzburg [d. 1928]Fred M. SteinS.M. GoldbergManny StraussAlbert J. LehmannJos. GutmanSolomon Lowenstein [1877-1942]Z.D. BernsteinBernard RosenwaldEdwin S. LorschHerman LissnerCyrus L. Sulzberger [1858-1932]Maunie GoodmanJ.W. FrankelJoseph WellenHerman Sanders.

The Poetical Works of Percy Bysshe Shelley

Jean-Michel Basquiat | Randolph Black

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster?locale=en" rel="noopener noreferrer" target="_blank">vintage poster</a> announcing <a href="https://www.sothebys.com/en/search?query=Basquiat&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Basquiat</a> (as SAMO) in his first major show; curated by the great Basquiat champion, Diego Cortez, the show would mark Jean-Michel's official unveiling to the art world.<ul><li>Poster designed by Randolph Black.</li><li>Basquiat credit (as SAMO) found in the lower area of the top second area.</li><li>Offset lithograph.</li><li>This work is presented unframed.</li></ul> A historical document of the New York downtown art scene of the time, additional participants included (with their names listed on the poster): Keith Haring, Futura 2000, Andy Warhol, Kenny Sharf, Robert Mapplethorpe, Nan Goldin, Dondi, Lady Pink, Lawrence Weiner &amp; many more figures of historic acclaim.

Basquiat Exhibition Poster | New York/New Wave P.S.1 1981

Albert Einstein

Two letters by <a href="https://www.sothebys.com/en/search?query=Albert+Einstein&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Albert Einstein</a>, one <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">hand-signed</a>.<ul><li>Sold as a set of 3: 2 letters, 1 envelope.</li><li>Albert Einstein (German).</li><li>Potsdam, Germany: 1931.</li><li>One of the letters is hand-signed by Einstein.</li></ul> The first letter is a single-paged autograph letter signed by Albert Einstein with one horizontal fold and one vertical fold. Letter accompanied by mailing envelope, both with matching paper-clip rust stain. Letter with some light wear along edges, small staining to lower corner. Addressed to G. W. Meyer and dated 8 Oktober 31 in Potsdam, the Letter reads in full: "Sehr geehrter Herr! Indem ich Ihnen für die Uebersendung des Buches von Henry George bestens danke, sende ich Ihnen anliegend die gewünschte Meinungsäusserung mit der Bitte um Weiterleitung an Mrs. Evans. Mit ausgezeichneter Hochachtung" and signed in ink "A. Einstein". He thanks Meyer for serving as an intermediary in getting a book to him and for forwarding the enclosed letter. The second letter is a typed copy of Einstein's previously enclosed letter, presumably made by Meyer before he passed the original on to Evans. Addressed to R. W. Evans and dated 8.10.1931 in Potsdam, the letter discusses Henry George's economic theory of poverty and land nationalization, compares it to Franz Oppenheimer's work, and proposes questions to be asked. Presumably he was sent a copy of Henry George's Progress and Poverty. First published in 1879, it sparked the Progressive Era, discussing the paradox of increasing inequality and poverty amid economic and technological progress as well as the economic value of land.

Albert Einstein Signed Letter, with Letter On Economics

Jon Savage

A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/music" rel="noopener noreferrer" target="_blank">concert poster</a> for a performance by <a href="https://www.sothebys.com/en/search?query=joy+division&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Joy Division</a> in 1979, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> by the designer, <a href="https://www.sothebys.com/en/search?query=Jon%20Savage&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Jon Savage</a>.<ul><li>Designed by Jon Savage (English, born 1953).</li><li>Produced for a performance taking place at The Factory, Russell Club, Manchester on the 13th of July, 1979.</li><li>This work is presented unframed.</li></ul> Around 450 people attended the concert where the group performed tracks including Dead Souls, Insight, Shadowplay, Disorder and Transmission. It has been signed in the lower right corner by music and cultural critic, Jon Savage, who designed the artwork.

British Joy Division Concert Poster | Signed by the Designer

Lotte Jacobi

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of the photobook by <a href="https://www.sothebys.com/en/search?query=Lotte+Jacobi&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Lotte Jacobi</a>, with a signed photograph of <a href="https://www.sothebys.com/en/search?query=Albert+Einstein&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Albert Einstein</a> laid in.<ul><li>Lotte Jacobi (American).</li><li>Edited by Kelly Wise.</li><li>Danbury, New Hampshire: Addison House, 1978.</li><li>Quarto.</li><li>187, [5] pages.</li><li>Black-and-white photographs by Lotte Jacobi, printed in gravure.</li><li>Number 86 of 125 copies signed and numbered by Jacobi on the half-title, with a gelatin silver photograph laid in.</li><li>Signed in pencil in lower right of image, small area of mirroring in lower left quadrant.</li><li>White cloth-covered boards, spine and front stamped in brown, publisher's cloth-covered dropback box.</li></ul> With Jacobi's signed portrait of Albert Einstein.&nbsp;Deluxe issue, with the often missing original photograph, 'Albert Einstein, Physicist, Princeton, NJ., 1938.' Lotte Jacobi (1896-1990) was responsible for some of the most striking and enduring photographic portraits of the twentieth century. Her style, characterized by experimentation with unusual perspectives, cropped heads, and high or low angles, places her work in line with the Neue Sachlichkiet (New Objectivity) school of German photography. She was the fourth generation of her family to take up photography, following an apprenticeship with her father, she took over the 'Jacobi Studio of Photography' in Berlin. Between 1927 and 1935, she photographed many prominent figures from the arts and sciences, including Bertolt Brecht, Peter Lorre, Käthe Kollwitz, and Kurt Weill. John Heartfield was a customer of the studio from 1929 – 1932, and Jacobi made photographs for Heartfield's montages and book covers. After 1933, Jacobi concealed her Jewish identity by working under various pseudonyms, and in 1935, she immigrated to New York City, where she re-established a studio and successfully resumed her career. In 1938, she was the first woman to photograph on the floor of the New York Stock Exchange; her picture of the deserted floor was one of many of published in the New York Herald Tribune. Despite efforts to retrieve her archive, much of Jacobi's early work was lost when she left Germany.

Lotte Jacobi Signed First Edition

Alec Soth

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of Broken Manual by <a href="https://www.sothebys.com/en/search?query=Alec+Soth&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Alec Soth</a>.<ul><li>Alec Soth [Lester B.Morrison] (American).</li><li>[Saint Paul, Minnesota] and (Göttingen), [Little Brown Mushroom] and Steidl, (2010).</li><li>Quarto.</li><li>First edition of 300 copies.</li><li>Signed and numbered in black ink on the lower cover.</li><li>Laid in color photograph signed and numbered on verso.</li><li>Color and black and white photographs.</li><li>Printed grey wrappers, cream cloth spine with title in black ink, housed in a hollowed out copy of The Nineteenth Century as issued, with a bi-fold leaflet and color photograph laid in to a pocket which is signed and numbered by Soth.</li></ul> Broken Manual was originally issued in an edition of 300 copies, each concealed within another hollowed-out book. Before being sold, all 300 copies were exhibited in an installation forming part of Soth's first US retrospective, 'From Here to There: Alec Soth's America' at the Walker Art Centre, Minneapolis (12 September 2010 - 2 January 2011). Following the success of his first two books, Sleeping by the Mississippi (2004) and Niagara (2006), Soth began to explore the idea of 'a fantasy of retreat'. He created Broken Manual over four years, between 2006 and 2010; the genesis of the series stems from his fascination with the life of Thomas Merton, a Trappist monk who, before he died in 1968, lived for almost three decades at the remote Abbey of Gethsemani in Kentucky. This interest led to further investigations into the places where people go to escape civilization and those that go there to escape, including monks, survivalists, hermits, and runaways. Soth's alter ego, Lester B. Morrison, was borne out of this research and under this name, Soth created an underground instruction manual of sorts for those wishing to retreat from society and escape their lives. It includes suggestions such as '1. Change your appearance (beard)... 8. Create your own language... 7. Avoid women... 16. Get a dog.' Soth then travelled the country, taking photographs that illustrated the ideas found in the manual. Soth explains in Interview magazine how the project had its origin in a commission by the High Museum of Art, Atlanta, to make work in the American South: 'I was working in Atlanta and wasn't interested in Atlanta, and then I remembered the Olympic bomber, Eric Rudolph. I poked around where he had been living and hiding out while the FBI was looking for him. I wasn't so interested in the politics of it, it was more the fantasy of the man on the run, something I have always been attracted, the fugitive, that kind of story... it got me thinking about how I wanted to get at that desire to run away, without it being a documentary essay on a specific ideology, outside of the documentary tradition.'

Broken Manual Signed First Edition

Dr. Oskar Fischel | Max Von Boehn

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Subject=Fine%2520bindings" rel="noopener noreferrer" target="_blank">finely bound</a> and <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Subject=Illustrated" rel="noopener noreferrer" target="_blank">illustrated</a> edition of Modes and Manners of the Nineteenth Century.<ul><li>Sold as a set of 3 volumes.</li><li>Oskar Fischel (English).</li><li>Max Von Boehn (German).</li><li>Translated by M. Edwardes.</li><li>Modes and Manners of the Nineteenth Century as Represented in the Pictures and Engravings of the Time.</li><li>London: J. M. Dent &amp; Co., 1909.</li><li>Each volume with 4 inlaid miniature portraits for a total of 12 portraits by Currie.</li><li>Bound in full teal morocco, ribbed gilt decorated spines, covers ruled and paneled in gilt, floral gilt decorations to front covers, white silk morie pastedowns and endpapers, top edges gilt, others uncut, each housed in their original open ended slipcases, by Riviere &amp; Son for J. H. Stonehouse, lower edge of rear cover stamped "Miniatures C. by Currie".</li></ul> The "Currie" refers to Miss C.B. Currie (Caroline Billin Curry, 1849-1940), a British book illuminator known for her miniature portraits on book covers and fore-edge paintings. She worked for the bookshop Henry Sotheran &amp; Co. and is famous for her work with the binder Riviere &amp; Son.

Modes and Manners of the Nineteenth Century as Represented in the Pictures and Engravings of the Time

Aston Martin

<ul><li>Offered from over 32 years of single enthusiast ownership; known UK history from new.</li><li>Recently restored in 2017-2018 and refinished in Aston Martin Almond Green.</li><li>Fascinating history file, including factory build sheet, original UK logbook, and correspondence dating to 1972.</li><li>One of 45 examples of the coveted DB4 Vantage SS saloon, and 31 RHD Vantage specification examples.</li><li>Retains its original Vantage SS engine, uprated to 4.2-litre displacement and 285 horsepower, and a Laycock overdrive.</li><li>£495,000 GBP Asking.</li></ul> THE PINNACLE OF THE DB4 PLATFORM - THE SERIES IV VANTAGE With production spanning from September 1961 to December 1962, the Aston Martin DB4 Series IV boasted a number of small yet important differences over its predecessors. Namely, the rear lights were recessed into the bodywork, the bonnet scoop was lower, and a new front grille was introduced, featuring seven vertical bars, all features which carried into the DB5. Continual updates in production only improved the breed, and towards the end of the DB4 production a final run of high-specification cars, known as the Series IV Vantage Saloons, left the factory between March and December 1962. These Series IV Vantage SS cars are considered by many to be among the most collectable DB4s. Another important introduction was the fitting as standard of the Vantage-specification “Special Series” (or SS) engine, previously an optional extra. Topped with triple SU HD8 carburettors alongside special cylinder heads, a higher compression ratio (9:1), larger valves, and an oil cooler, power increased to 266 horsepower, representing a 10 per cent increase over the standard DB4. The Vantage SS also borrowed the instrumentation from the DB4 GT, identifiable by separate dials for each function, including oil temperature. The Vantage-specification DB4 SS would remain in production until the introduction of the DB5 in 1963, with 45 examples produced and only 31 cars built to RHD specification, including the car on offer here. CHASSIS NO. DB4/977/R Chassis number DB4/977/R was built in 1962 and left the factory finished in California Sage over a Terra Cotta interior. As per the car’s original build sheet, it left the factory outfitted to Vantage specifications, with a 3.77:1 rear-axle ratio, a Powr-Lok differential, a heated rear windscreen, and fitted with two Marchal headlamps. It was destined for its home market of the United Kingdom. The car’s original owner, listed as Spielman Enterprises of Bristol, took delivery on 6 July 1962, with the original logbook signed off by a J.V Spielman. The car was issued 256 PHW as its first registration number, and it retains that same registration number today. Spielman would own the car for five years and used it regularly. The service notes listed with the build sheet show he regularly serviced the car throughout his ownership, while accumulating over 14,000 miles in his first year of ownership and 40,000 miles by May of 1965. In May of 1967, Spielman sold the car to G. Bacon of Bacon’s Transport (also of Bristol) who in turn sold the car to G. Elgin of Shute Shelve Garage in nearby Winscombe in November of 1968. It remained with him until May of 1971; at that point the car was sold to Stuart Eyles of Newent, Gloucestershire, who owned the car for less than a year. The next owner would be Robert John Taylor of Chester who purchased the car in April of 1972. Correspondence and invoices from his ownership dating from 1972 remain in the history file, including a letter to the current owner stating the following: “May I say that I am pleased that 256 PHW has been acquired by someone who is showing a real interest in her. I, and later my family, have spent many enjoyable hours touring the countryside in the car—and answering many questions, and requests for a ‘quick spin’ by members of the local Constabulary”. Taylor retained ownership until January 1989. At this point, the car was acquired by John Victor Cigarini of London. Cigarini, a film producer who split his time between the UK and Los Angeles, purchased the car in need of a restoration and commissioned Goldsmith and Young, Aston Martin specialists based in Wiltshire. THIRTY-TWO YEARS OF SINGLE ENTHUSIAST OWNERSHIP Towards the end of the restoration with the DB4 still incomplete, it was purchased by the current enthusiast owner. An in depth read of the file illustrates that after joining the Aston Martin Owners Club in March of 1993, he completed the purchase of the car in May 1993. Restoration work was completed by December of 1993, with the car refinished in Aston Martin Almond Green (as it appears today) with a charcoal Connolly interior (as it presents today). It is important to note that the odometer was zeroed at the beginning of this restoration, and the mileage showing today is the mileage of the car since restoration. Over the ensuing years, regular use and upkeep would continue, with the DB4 having accrued approximately 15,000 miles over the course of the past thirty-two years. Servicing and maintenance were usually carried out by Aston Martin Works, R.S. Williams, and Trinity Engineering, all well-known Aston Martin specialists, and an indexed summary written out by the current owner confirms the work carried out in his tenure as detailed in their respective invoices. These can be found in the car’s digital history file. Under the current owner’s instructions, displacement of the 3.7-litre ‘SS’ engine was increased to 4.2 litres and fitted with Cosworth pistons to raise the compression ratio to 10:1 and electronic ignition, thus increasing power output over the already considerable ‘SS’ specification to a claimed 285 horsepower. Oil and cooling systems have been uprated and DB4/977/R is equipped with an uprated radiator and JMB water pump. The driveline is rounded out with an overdrive, an uprated clutch, and a dynamically-balanced prop-shaft. Braking is via the original DB4 GT servo-assisted Girling disc brakes, enhanced by EBC brake pads. As a testament to the car’s condition, it has been proudly shown at a number of Aston Martin Owners Club events over the past three decades, including appearing at the club’s display twice at the Concours of Elegance at Hampton Court in 2022 and 2017, Windsor Palace in 2016, and at the St. James Concours of Elegance in 2013. It has also appeared at club concours events at the Guards Polo Club, Windsor (2006), Mapledurham (2009), and Loseley Park (2022), and exercised on club track days at Goodwood, Silverstone, and Brands Hatch. Most recently, Aston Martin Works Service and Trinity Engineering in 2017-18 undertook a sympathetic body restoration with the DB4 again being refinished in Aston Martin Almond Green. During this process, close attention was paid to reshaping the front wings to factory correct standards, and the car received a new windshield, side and rear windows, and the window frames were rechromed. Since the completion of this work, the car was largely kept in static storage, with regular exercise off public roads to make sure it remained in working order. The last service was carried out in 2021 at Aston Engineering in Derby. Chassis number DB4/977/R was recently collected and driven by RM Sotheby’s Car Specialist Will Smith. Following his drive, Will reported that; “This is without question one of the finest DB Aston Martins I’ve ever had the privilege to drive. The torque of the 4.2-litre engine is a huge benefit and the gearbox is silky smooth. The steering is precise and the shorter chassis gives great feedback on either motorway or challenging B-road.” For many, these Series IV DB4 Vantages represent the pinnacle of the DB4 platform (with the exception of course the DB4 GT which it so closely resembles!) as the Series V DB4s sported longer, taller, and heavier bodywork with smaller wheels, presaging the DB5. Well-kept and beautifully presented, this DB4 Vantage has been its owner’s prized possession for over thirty-two years. Benefitting from a known history from new with seven UK owners, and tremendously rare in RHD form with just 31 examples produced, it would revel in being enjoyed on the open road.

DB4 Series IV Vantage SS

Crockett Johnson

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a>, first printing of Harold and the Purple Crayon by <a href="https://www.sothebys.com/en/search?query=Crockett+Johnson&amp;pfilters.dateRange=past" rel="noopener noreferrer" target="_blank">Crockett Johnson</a>.<ul><li>Crocket Johnson (American).</li><li>[New York]:&nbsp;Harper &amp; Brothers,&nbsp;1955. </li><li>[64] pages.</li><li>Illustrated by Johnson in black and purple on every page.</li><li>Original quarter black cloth, color pictorial boards, in original unclipped ($1.50, lower corner) brown and purple pictorial dust jacket. </li></ul>

Harold And The Purple Crayon First Edition

Raymond Pettibon

A <a href="https://www.sothebys.com/en/search?query=punk+flyer&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">punk flyer</a> for a performance by <a href="https://www.sothebys.com/en/search?query=Black+Flag&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Black Flag</a> in 1983.<ul><li>After Raymond Pettibon (American, born 1957).</li><li>Produced for a performance by Black Flag in Santa Monica at Civic Auditorium, Jun 11, 1983. </li><li>Post-marked 1983 on verso.</li><li>Printed Pettibon signature on lower right.</li><li>SST stamp on verso.</li><li>Offset printed.</li><li>This work is presented unframed.</li></ul>

Black Flag Punk Flyer

<a href="https://www.sothebys.com/en/search?query=Record+cover+art&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Record cover art</a> by <a href="https://www.sothebys.com/en/search?query=Keith+Haring&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Keith Haring</a> for musician Bipo's album 'Crack is Wack.'<ul><li>After Keith Haring (American, 1958-1990).</li><li>Printed Haring signature on lower left.&nbsp;</li><li>Reverse photo by Haring's close friend, Tseng Kwong Chi.</li><li>Offset lithograph on vinyl record cover.</li><li>This work is presented unframed.</li></ul> Haring's cover illustration here for his friend at the time, Bipo, is inspired by his famous 1986 Harlem mural by the same title - perhaps the most famous of all public artworks by Haring.

Haring Record Cover Art | Bipo | Crack is Wack

Robert Frank

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of <a href="https://www.sothebys.com/en/search?query=Robert%20Frank&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Robert Frank</a>'s <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Type=Art%2520and%2520Design" rel="noopener noreferrer" target="_blank">photobook</a> The Americans.<ul><li>Robert Frank (American).</li><li>New York: Grove Press, Inc., 1959.</li><li>170 pages.</li><li>First American edition.</li><li>83 black and white photographs printed in gravure.</li><li>Plain endpapers, black cloth-covered boards, titles to spine in gold, white photo-illustrated dust-jacket printed in black, black and red collage by Alfred Leslie on the lower panel.</li></ul> The first American edition of Frank's masterpiece, after Robert Delpire's Les Américains, was published in France the previous year. The Americans follows a careful and complex sequence, with four chapters, each introduced by a photograph of the American flag. In his successful application for the Guggenheim grant that allowed him to make this work Frank wrote: 'The project I have in mind is one that will shape itself as it proceeds... The material is there; the practice will be in the photographer's hand, the vision in his mind!' Between April 1955 and June 1956 he set out on a series of trips across America. His aim was to complete a body of work that would be 'a broad, voluminous picture record of things American, past and present... A visual study of a civilisation.' For this, the defining edition, Frank stripped the texts which appeared opposite the photographs in Delpire's edition and added an introduction by Jack Kerouac, who writes, 'What a poem this is, what poems can be written about this book of pictures some day by young new writers.... Whether 'tis the milk of humankind-ness, or human-kindness, Shakespeare meant, makes no difference when you look at these pictures. Better than a show... Robert Frank, Swiss, unobtrusive, nice, with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the tragic poets of the world!' Like Vladimir Nabakov, Frank saw 1950s America as no American could have seen it, 'the loneliness, alienation, rootlessness, and sadness of automobile-happy mid-century America.' David Levi Strauss referred to the French edition as sociology, whereas the American edition is poetry. And as Kerouac writes 'Anybody doesn't like these pitchers don't like potry, see?' With this book, Frank galvaniZed photography for his generation and has influenced, in some way, every other generation since.

The Americans | First American Edition

Claude Cahun

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a>, presentation copy of Le Coeur de Pic, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">inscribed</a> by <a href="https://www.sothebys.com/en/search?query=Claude%20Cahun&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Claude Cahun</a>.<ul><li>Claude Cahun [pseudonym of Lucy Schwob] (French).</li><li>Lise Deharme (French).</li><li>Preface by Paul Eluard.</li><li>Le Coeur de Pic. Trente-deux poèmes pour les enfants illustrés de vingt photographies par Claude Cahun.</li><li>Paris: Librairie José Corti, 1937.</li><li>Quarto.</li><li>60 pages.</li><li>20 photographs printed in relief halftone.</li><li>Inscribed by Claude Cahun in different colored pencils on first page.</li><li>Red cloth-covered boards over green cloth spine, titles in black on upper side, color photographic reproductions on upper and lower.</li></ul> Presentation copy, inscribed by Claude Cahun: 'á Germaine [Hennes] et J. Euzenat / Bien amicalement / Claude'. Deharme and Cahun, who were both active in French surrealist circles, envisioned Le Coeur de Pic as a cohesive artwork. Cahun’s photographs brought inanimate objects to life and encouraged older viewers to see the world through a child’s perspective. ‘Beyond its visual accomplishments, Le Coeur de Pic is also noteworthy as a collaborative project between two women artists. Well into the 1930s, surrealist women were still perceived as muses rather than creators, a realty that complicated collaborative projects between female artists and often resulted in the critical dismissal of their work’ (What They Saw 94).

Le Coeur de Pic Inscribed First Edition

Richard Avedon

<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">First edition</a> presentation copy of <a href="https://www.sothebys.com/en/search?query=Richard%20Avedon&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Richard Avedon</a>'s autobiography, inscribed to Elaine Kaufman.<ul><li>Richard Avedon (American).</li><li>New York: Random House, 1993.</li><li>Presentation copy inscribed to Elaine Kaufman.</li><li>Black and white photographs.</li><li>Plain endpapers, brown cloth-covered boards with titles to spine in red and to upper side in red and burgundy, black and white reproduction of Avedon's self-portrait to lower side, in publisher's plastic dust jacket.</li></ul> A presentation copy inscribed to Elaine Kaufman, proprietor of the legendary Elaine’s bar on the Upper East Side, where Avedon was a regular: ‘Dear / Elaine / “Jesus, The days / that we have / seen. Come, come ….” / Justice Shallow / Henry IV Part II / with love / Dick / 1993.' In his introduction, Avedon writes, ‘This book tracks the path of three crucial illusions in my life. The first section is about the illusion of laughter, and a young man’s discovery of the fine line between hilarity and panic. The second section is about the illusion of power. The third section is about the loss of all illusions... The interweaving of elements from my life’s work - out of chronology, as echoes and foreshadowings - is true, I think, to the inner shape of any life, but sometimes I’ve found the image of a later event in an early photograph, and once or twice a late picture was made in the grip of a lost emotion.’

An Autobiography Inscribed First Edition

William Blake | Robert Blair

<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">First edition</a> and a subscribers' copy of The Grave, A Poem, by Robert Blair, with illustrations by <a href="https://www.sothebys.com/en/search?query=William%20Blake&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">William Blake</a>.<ul><li>Robert Blair (Scottish).</li><li>Illustrated by William Blake (English).</li><li>London: T. Bensley, 1808.</li><li>Folio.</li><li>Frontispiece portrait, additional engraved title-page (marked 'Subscribers Copy' to lower edge) and 11 drawings by Blake, etched by Louis Schiavonetti.</li><li>Includes list of subscribers, a poem "To the Queen" by Blake, and advertisement referencing Henry Fuseli's favorable comments, complete.</li><li>Bound in the original boards, original printed paper label to front cover, entirely uncut as issued.</li></ul> One of about 590 copies published by subscription. In October 1805, Blake was commissioned by the publisher Cromek to prepare 40 drawings for the poem. Disagreements between Blake and Comek about the artistic direction led to hiring Schiavonetti for the engraving. Cromek included a portrait of Blake as a frontispiece and promoted the book aggressively and the illustrations to The Grave became Blake's best known work through much of the nineteenth century.

The Grave, A Poem | First Edition Subscribers' Copy

Rex Ray

A limited edition lithograph which has been signed by <a href="https://www.sothebys.com/en/search?query=David%20Bowie&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">David Bowie</a>.<ul><li>Rex Ray (American, 1956-2015).</li><li>The ‘Ziggy 2002’ artwork by Rex Ray was commissioned by Bowie for the 30th anniversary of his album The Rise And Fall Of Ziggy Stardust And The Spiders From Mars. </li><li>This is number 1240 of 2002 limited edition prints each of which has been autographed by the artist in the lower right corner and by David Bowie in the lower left corner. </li><li>Bowie has signed his name in pencil.</li><li>This work is presented unframed.</li></ul>

David Bowie Signed Ziggy Limited Edition Lithograph

A 1967 <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/music" rel="noopener noreferrer" target="_blank">concert</a> handbill for two performances by John Coltrane which took place at the Olatunji Center Of African Culture in New York, on the 23rd of April 1967. <ul><li>The handbill is printed with a black and white image of John Coltrane playing the flute with the venue address at the top and event details in the lower left and right corners. </li><li>This event was Coltrane’s penultimate performance and featured his last ever live saxophone recording.</li><li>This work is presented unframed.</li></ul>

John Coltrane Concert Handbill

Jean-Michel Basquiat

A <a href="https://www.sothebys.com/en/search?query=Basquiat&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Basquiat</a> exhibition <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster" rel="noopener noreferrer" target="_blank">poster</a>, published on the occasion of: Jean-Michel Basquiat at Larry Gagosian Gallery, 510 North Robertson Boulevard, Los Angeles, California.<ul><li>After Jean Michel Basquiat (American, 1960-1988).</li><li>Offset lithograph.</li><li>This work is presented unframed.</li></ul> This well-sized vintage Basquiat-designed poster is defined by (printed) found objects around a central figure depicted in “X-ray” style, with organ references throughout. Imagery of a gasoline pump and jagged metal gates further surround this central figure, as does anatomical references; and lists of grains, elements, and American companies. The exhibition info is reproduced in Basquiat’s handwriting along the poster’s lower edge.

Basquiat Exhibition Poster

Cindy Sherman 

A promotional card designed by&nbsp;<a href="https://www.sothebys.com/en/search?query=Cindy%20Sherman&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Cindy Sherman</a>&nbsp;in conjunction with&nbsp;<a href="https://www.sothebys.com/en/search?query=Comme%20des%20Garcons&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Comme des Garcons</a>.<ul><li>After Cindy Sherman (American, born 1954).</li><li>Offset printed post card.</li><li>Cindy Sherman artwork credit lower right.</li><li>This work is presented unframed.</li></ul> Cindy Sherman rose to prominence with&nbsp;Untitled Film Stills&nbsp;(1977–80), a series of 69 photographs in which the artist captured herself reenacting pop culture clichés about women. In the years since, the artist—a major figure of the so-called Pictures Generation—has continued to photograph herself in various guises as she examines women’s roles in history and contemporary society. Sherman’s images range from the beautiful to the grotesque; she’s used elaborate costumes, extensive makeup, and wigs to build her characters and has, in recent years, embraced digital tools to further manipulate her images. Sherman has exhibited in multiple Venice Biennales and Whitney Biennials, and in institutions around the world.

Cindy Sherman Comme des Garcons Announcement Card

<a href="https://www.sothebys.com/en/search?query=Basquiat&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Basquiat</a> created this impossibly rare printed flyer to advertise a band performance within his feature acted <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/film" rel="noopener noreferrer" target="_blank">film</a>: Downtown 81 / New York Beat in 1980.<ul><li>After Jean Michel Basquiat (American, 1960-1988).</li><li>The flyer with text and imagery by Basquiat, promotes a segment performance by Kid Creole and the Coconuts at The Rock Lounge: 285 West Broadway, New York, December 15th, 1980.</li><li>Offset printed flyer.</li><li>Accompanied by a letter of provenance.</li><li>This work is presented unframed.</li></ul> A much historical work, much notably exhibited and cataloged as part of, Montreal Museum of Fine Arts: Seeing Loud: Basquiat and Music (October 2022 - February 2023) &amp; sister show at the Paris Philharmonic (March - July 2023). ‘In 1980, writer and Warhol associate Glenn O’Brien, Swiss photographer Edo Bertoglio, and Jean-Michel Basquiat, a graffiti innovator and noise music artist who’d just begun to exhibit his paintings, hit the streets of lower Manhattan to make a movie about the bombed-out bohemia they lived and breathed. Left unfinished due to assorted legal and financial issues until it was fully assembled for release in 2000,&nbsp;Downtown 81&nbsp;follows Basquiat, a naturally compelling screen presence, as he tries to hawk a painting (one of the artist’s own first works) while hustling for a place to sleep. So what was meant to be a document of its time instead became a window into a long-lost world of life on the margins and creative ferment—and it feels especially potent today, when NYC had transformed into an artless ghost town, before escalating racial injustices brought people back to the streets. The film features appearances by John Lurie, Fab 5 Freddy, and Debbie Harry; musical performances by DNA, James White and the Blacks, and Kid Creole and the Coconuts; and, most remarkable of all, a portrait of a more innocent Manhattan in all its mangy glory.’ (Metrograph)

Downtown 81 / New York Beat Movie Music Performance Poster

Gabriel García Márquez

An uncorrected proof of the <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first American edition</a> of <a href="https://www.sothebys.com/en/search?query=One%20Hundred%20Years%20of%20Solitude&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">One Hundred Years of Solitude</a>.<ul><li>Gabriel García Márquez (Colombian).</li><li>Translated from the Spanish by Gregory Rabassa.</li><li>New York:&nbsp;Harper &amp; Row [i.e., Barnstable, Mass.: Crane’s Duplicating Service],&nbsp;1970.</li><li>Octavo.</li><li>432 pages.</li><li>Upper cover states: To be published February 25, 1970.</li><li>The first three pages are the 1967 TLS review of the original Buenos Aires edition in Spanish.</li><li>Duplicated sheets, glue bound without spine, yellow wrappers (upper cover printed, lower cover blank with Crane’s stamp inside).</li></ul>

One Hundred Years of Solitude | Uncorrected Proof of the First American Edition

A fashion campaign advertisement, featuring photography by <a href="https://www.sothebys.com/en/search?query=Cindy%20Sherman&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Cindy Sherman</a> in conjunction with famed Japanese fashion designer, <a href="https://www.sothebys.com/en/search?query=Issey%20Miyake&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Issey Miyake</a>.<ul><li>After Cindy Sherman (American, born 1954).</li><li>Published by Bomb Magazine.</li><li>Offset printed advertisement on news print.</li><li>Cindy Sherman printed signature lower right.</li><li>This work is presented unframed.</li></ul> Cindy Sherman rose to prominence with “Untitled Film Stills” (1977–80), a series of 69 photographs in which the artist captured herself reenacting pop culture clichés about women. In the years since, the artist—a major figure of the so-called Pictures Generation—has continued to photograph herself in various guises as she examines women’s roles in history and contemporary society. Sherman’s images range from the beautiful to the grotesque; she’s used elaborate costumes, extensive makeup, and wigs to build her characters and has, in recent years, embraced digital tools to further manipulate her images. Sherman has exhibited in multiple Venice Biennales and Whitney Biennials, and in institutions around the world. She has been awarded a MacArthur Fellowship, and her work regularly sells for seven figures on the secondary market.

Issey Miyake Fashion Advertisement

<a href="https://www.sothebys.com/en/search?query=jean%20michel%20basquiat&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Basquiat</a> created this flyer on the occasion of a performance by his band, Test Pattern (later renamed to <a href="https://www.sothebys.com/en/search?query=basquiat%20gray&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Gray</a>), at the much fabled downtown art space, “A’s", December 5th, 1979, at 330 Broome Street, New York.<ul><li>After Jean Michel Basquiat (American, 1960-1988).</li><li>Published by the artist, 1979.</li><li>This work is presented unframed.</li></ul> A much historical work, notably exhibited and catalogued as part of the 2017 Basquiat London Boom for Real exhibition at the Barbican Center and more recently at the Montreal Museum of Fine Arts (MBAM) &amp; Paris Philharmonic. Basquiat's unique squiggly line, signature vertically spaced "E", use of random technical information, and text, sometimes crossed out, is already apparent in this most seminal early work. Basquiat playfully includes, then crosses his name out on the mid lower left alongside fellow band members. From Jean-Michel Basquiat: A Biography, Fretz, 2010:“Jean-Michel did all the posters for his band. One of the early public performances was in December 1979 at A’s, a loft at 330 Broome Street... Arleen Schloss, the owner, also let Jean-Michel stay there at times and use it as a studio for his “MAN MADE” clothing… [The hand-drawn poster for the gig] is done in his recognizable style, with strange arrows and notations added underneath. Some of the words are crossed out, and there is a dotted line of ink splashed through the middle of the page. A photocopied micro-cassette finishes off the look, suggesting some kind of sound, but not conventional music.”

Basquiat Test Pattern Concert Flyer

The Beatles

School photographs of <a href="https://www.sothebys.com/en/search?query=John%20Lennon&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">John Lennon</a>, <a href="https://www.sothebys.com/en/search?query=Paul%20McCartney&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Paul McCartney</a> and <a href="https://www.sothebys.com/en/search?query=George%20Harrison&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">George Harrison</a>.<ul><li>Sold as a set of 2.</li><li>Includes a black and white panoramic photograph of the pupils of the Lower School of Liverpool Institute High School in 1956, featuring Paul McCartney and George Harrison: Paul McCartney is stood on the top row on the left side and George Harrison is on the next row down on the right side.</li><li>The photograph also features Paul McCartney’s brother Mike, part time member of The Quarrymen Ivan Vaughan and The Beatles road manager Neil Aspinall.</li><li>Also included is a black and white panoramic school photograph of Quarry Bank High School, Liverpool in May 1955 featuring John Lennon: John is in the third from top row towards the center.</li><li>The photograph also features John’s friend Pete Shotton.</li><li>Each is presented unframed.</li></ul>

John Lennon, Paul McCartney, And George Harrison School Photographs

George Harrison | Keith West

A&nbsp;<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a>&nbsp;lithograph of the illustration drawn for ‘Taxman,' the 1966&nbsp;<a href="https://www.sothebys.com/en/search?query=Beatles&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Beatles</a>&nbsp;song written by&nbsp;<a href="https://www.sothebys.com/en/search?query=George%20Harrison&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">George Harrison</a>.&nbsp;<ul><li>Keith West (British, born 1943).</li><li>Genesis Publications, 1986.</li><li>Edition 13/850.</li><li>Signed by George Harrison and Keith West.</li><li>This work is presented unframed.</li></ul> An original lithograph of the illustration drawn for ‘Taxman’, the 1966 Beatles song written by George Harrison. The song is from the ‘Revolver’ album and is featured in the Genesis Publications book Songs By George Harrison which contains a selection of George’s compositions coupled together with illustrations drawn by artist Keith West that were inspired by the songs. The lithograph is hand signed by George and Keith in pencil in the lower left corner and numbered 13/850 in the lower right corner. It has also been signed again by Keith in the lower right corner.

Signed Taxman Lithograph 13/850

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> lithograph of the illustration drawn for ‘Piggies’, the 1968 <a href="https://www.sothebys.com/en/search?query=Beatles&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Beatles</a> song written by <a href="https://www.sothebys.com/en/search?query=George%20Harrison&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">George Harrison</a>.&nbsp;<ul><li>Keith West (British, born 1943).</li><li>Genesis Publications, 1986.</li><li>Edition 13/850.</li><li>Signed by George Harrison and Keith West.</li><li>This work is presented unframed.</li></ul> The song is from the ‘White Album’ and is featured in the Genesis Publications book Songs By George Harrison which contains a selection of George’s compositions coupled together with illustrations drawn by artist Keith West that were inspired by the songs. The lithograph is hand signed by George and Keith in pencil in the lower left corner and numbered 13/850 in the lower right corner. It has also been signed again by Keith in the lower right corner.

Signed Piggies Lithograph 13/850

A nuclear disarmament poster designed and distributed by <a href="https://www.sothebys.com/en/search?query=Keith%20Haring&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Keith Haring</a> for an activist event in 1982.<ul><li>After Keith Haring (American, 1958-1990).</li><li>Offset-lithograph.</li><li>Printed signature on lower right.</li><li>This work is presented unframed.</li></ul> In 1982 Keith Haring created this poster for Nuclear Disarmament, which features his signature Radiant Baby in a mushroom cloud. This historical work marks Haring's first poster and helped engineer his focus on social activism. On June 2, 1982 Haring transported the stack of posters in a handcart to New York's Central Park, to what was the largest demonstration to date against nuclear weapons and the 1980s global arms race. There were approximately one million protesters and Haring gave his posters away for free (source: Keith Haring: Posters Prestel pub.). “Babies represent the possibility of the future,” Haring said, “the understanding of perfection, how perfect we could be. There is nothing negative about a baby, ever … The reason that the “baby” has become my logo or signature is that it is the purest and most positive experience of human existence.” A rare example presented here in fine condition. Keith Haring (American, 1958–1990), a Neo-Pop and Graffiti artist, had a short but prolific career centered on a vision to unite “high art,” urban aesthetics, and public spaces using humorous, irreverent, and poignant works. Born in Pennsylvania, Haring attended the Ivy School of Art in Pittsburgh for two years, planning to become a commercial artist. He found this path unsatisfying, and instead chose to study at the School of Visual Arts in New York, where he met fellow artists Jean Michel Basquiat and Kenny Scharf. Haring immersed himself in the culture of the city’s streets and clubs, and, in 1980, began covering the blank billboards on subway station walls with his Subway drawings in chalk. Haring’s bold public art attracted the attention of several galleries, and, by the early 1980s, he was painting Neo-Pop works and large murals full time. In an effort to make his art widely accessible, Haring opened the Pop Shop in 1986 in downtown New York, selling commercial items adorned with his signature, cartoonish imagery. Haring combined graffiti, hip-hop, and urban aesthetics, frequently depicting animals, figures, commercial icons, sexual imagery, and childlike motifs in pieces that were both playful and concerned with social issues. His work became increasingly confrontational following his 1987 diagnosis of AIDS. Haring resolved to work harder than ever in his remaining years, creating pieces with a fervent speed and devoting his art to social action in addition to his personal expression. In 1989, he established the Keith Haring Foundation, whose goal is to promote art programs and public spaces for children, and to raise awareness about AIDS. He died on February 16, 1990 in New York at the age of 31. In addition to hundreds of exhibitions held during his lifetime, Haring has been the subject of numerous retrospectives in New York, San Francisco, Paris, Tokyo, and Berlin since his death.

Nuclear Disarmament Poster

J.K. Rowling

The proof-reader's personal copy of the <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">first edition</a> of <a href="https://www.sothebys.com/en/search?query=harry%20potter&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Harry Potter</a> and the Philosopher's Stone.<ul><li>J.K. Rowling (English).</li><li>London: Bloomsbury, 1997.</li><li>Octavo.</li><li>Softcover.</li><li>223 pages.</li><li>Pictorial card wraps by Thomas Taylor with Harry and the Hogwarts Express to upper cover and wizard to lower.</li></ul> The first edition paperback of the first book in the phenomenally popular Harry Potter series. Both the hardcover and paperback of the first edition were printed on the same day, with neither having bibliographical priority. All of the first issue points are present with the complete number sequence of 10 down to 1, ‘1 wand’ repeated twice on the equipment list on p. 53 and and the misprint “Philospher’s” on the lower cover. This, Pippa Le Quesne’s personal copy – Editorial Assistant at Bloomsbury during the period of publishing the first two instalments of the Harry Potter serie (1996 to 1998). As Pippa explains, “One of my jobs was to proof-read both type-set books and their covers. Although I had been on a proof-reading course, this was my first job in publishing and my eye clearly wasn’t very sharp as it was me that made the infamous errors in the school list (a wand listed twice) within the text and the errors on the back cover of the Philospher’s Stone. I met Jo Rowling when she came down from Scotland to see my boss (Sarah Odedina) and her editor (Emma Matthewson). She brought with her her daughter Jess, who I played with whilst she was busy talking to them. She signed another copy of the paperback first edition of the Philosopher’s Stone for me, with the inscription 'To Pippa, thanks for all of your help with me and my commas, love Jo. Sadly, I had to sell that in 2003 to pay my electricity bill (famously starter publishing salaries do not match the cost of living in London), but I do like the thought that it is out there somewhere in the world and someone is wondering who Pippa is! Another of my jobs was to clear the manuscript cupboard where we kept the original manuscripts until a book had been published, then they would be thrown away to make way for the next lot of commissioned manuscripts waiting to be edited/printed. So, another claim to fame (or biggest regret) is that I will have thrown into the bin various drafts of the first and second Harry Potter books, having no idea of their worth or interest in years to come. Jo Rowling worked on a typewriter rather than a computer initially (and yes, she really did hand write the first book in a cafe in Edinburgh). When she had finished the Chamber of Secrets she typed it up, packaged it up and sent it in the post to Bloomsbury. She did not even take a photocopy (because of the expense) but trusted Royal Mail entirely (bearing in mind this was before the first Harry Potter book had exploded) She phoned to say she had sent it, so we were expecting it within a couple of days. For some reason it took five or six days to arrive and we (including Jo) assumed it had got lost in the post! Huge relief all round when it arrived at Bloomsbury." An exceptional association copy of the first Harry Potter story – the first edition, first printing, famous for the two typographic errors and owned by the editorial assistant who missed them

Harry Potter and the Philosopher's Stone

Apple Records | Various Artists

An <a href="https://www.sothebys.com/en/search?query=apple%20records&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Apple Records</a> promotional display that would have been used in a record shop in the 1970s.<ul><li>The card stand-up displays album cover artwork by Apple artists Mark Hopkin, Elephants Memory, Lon And Derek Von Eaton, Billy Preston and David Peel And The Lower East Side.</li></ul>

Fresh From Apple Records Shop Promotional Display

This 1980s <a href="https://www.sothebys.com/en/search?query=Keith%20Haring&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Keith Haring</a> poster was illustrated by Haring in conjunction with the Benefit Performances for the New Arts Program of Kutztown; September 1984 at Symphony Space in New York City.<ul><li>After Keith Haring (American, 1958-1990).</li><li>Published by the New Arts Program, Inc., Kutztown, PA, 1984.</li><li>Haring’s heart shaped frame, defined by the bodies of two swans around the central figure, reveal his closeness to his hometown of Kutztown, PA.</li><li>Offset lithograph.</li><li>Printed signature: 'Keith Haring 1984' on the lower right.</li><li>This work is presented unframed.</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. After briefly studying commercial art in Pittsburgh, Haring came across a show of the works of Pierre Alechinksy and decided to pursue a career in fine art instead. He 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.

Haring Kutztown Connection Benefit Poster

Chuck Jones

A limited edition <a href="https://www.sothebys.com/en/search?query=Looney%20Tunes&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Looney Tunes</a> cel signed by animator <a href="https://www.sothebys.com/en/search?query=Chuck%20Jones&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Chuck Jones</a>.<ul><li>Chuck Jones (American, 1912-2002).</li><li>Warner Bros.</li><li>"Tunnel Vision."</li><li>Part of a Limited Edition of 250.</li><li>Accompanied by a&nbsp;Linda Jones Seal.</li><li>This work is presented matted.</li></ul> This cel features Wile E. Coyote in the aftermath of his usual Looney Tunes cartoon gag - hitting the "tunnel." Created using original Chuck Jones artwork.&nbsp; The full-figure image is hand-painted on a 12 field cel which bears a Linda Jones seal in the lower left and is signed by Chuck Jones (1912 - 2002) in the lower right.

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After Keith Haring

Moritz Lowey, Pierre-Henri Puiseux

Moritz Lowey, Pierre-Henri Puiseux

Sylvia Sleigh

Samuel Johnson

Percy Bysshe Shelley

After Jean-Michel Basquiat, Randolph Black

Albert Einstein

Jon Savage

Lotte Jacobi

Alec Soth

Dr. Oskar Fischel, Max Von Boehn

Aston Martin

Crockett Johnson

After Raymond Pettibon

After Keith Haring

Robert Frank

Claude Cahun

Richard Avedon

William Blake, Robert Blair

Rex Ray

After Jean-Michel Basquiat

After Cindy Sherman

Jean-Michel Basquiat

Gabriel García Márquez

After Cindy Sherman

After Jean-Michel Basquiat

The Beatles

After George Harrison, Keith West

After George Harrison, Keith West

After Keith Haring

J.K. Rowling

Apple Records, Various Artists

After Keith Haring

Chuck Jones