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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 

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&nbsp;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&nbsp;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: Delambre Manilius Bessel

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=Basquiat&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Basquiat</a> created this printed flyer in 1981 to advertise a band performance within his feature acted film: <a href="https://www.sothebys.com/en/search?query=Downtown%2081%20%2F%20New%20York%20Beat&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Downtown 81 / New York Beat</a>.<ul><li>After Jean-Michel Basquiat (American, 1960-1988).</li><li>Offset printed flyer, 1981.</li><li>Accompanied by a signed letter of provenance from Basquiat's notable friend and collaborator.</li><li>This work is presented unframed.</li></ul> The flyer with text and imagery by Basquiat, promotes a segment performance by James White and The Blacks: Jan 12, 1981 at Peppermint Lounge: West 45th street New York, NY. A much historical work, notably exhibited and catalogued as part of Montreal Museum of Fine Arts: Seeing Loud: Basquiat and Music exhibit (October 2022 - February 2023) and 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.’ (Metrogrpah)

Basquiat Downtown 81 / New York Beat Music Flyer

<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>Offset printed flyer.</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 sought-after 1982 <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> illustrated coloring book.<ul><li>Keith Haring (American).</li><li>Published by the artist and Tony Shafrazi Gallery, with the copyright and publishing date presented on the lower left front cover.</li><li>Includes 16 lithographic double-sided prints.</li><li>Offset printed.</li><li>Staple-bound.</li><li>Unsigned, from an edition of approximately 2000.</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 Coloring Book 

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 ‘Here Comes The Sun’, the 1969&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 ‘Here Comes The Sun’, the 1969 Beatles song written by George Harrison. The song is from the ‘Abbey Road’ 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 Here Comes The Sun Lithograph 13/850

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

Joseph Cornell

A scarce <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 Maria, privately printed by <a href="https://www.sothebys.com/en/search?query=joseph%20cornell&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Cornell</a> in an edition of about 100 copies and given away to his friends as presents, augmented with a collaged element to the last page.<ul><li>Joseph Cornell (American).</li><li>[Queens, NY]:&nbsp;Salamander Editions [Joseph Cornell],&nbsp;(1954).</li><li>Small collaged element to last page (postcard detail of skyline of lower Manhattan).&nbsp;</li><li>Original printed stapled wraps, original blue tissue still present.</li></ul> This work was inspired by nineteenth-century opera singer Maria Malibran-Garcia and was produced with the same precision and care Cornell brought to his other productions. It is in many ways a Cornell work in book form, not only due to the collaged element present, but also in the appropriation of text, the use of a decorative headpiece from yet another book, and focusing on one of Cornell's signature obsessions. A box of leftover copies of Maria was discovered with Cornell's estate and are seen on the market with some regularity. These are identifiable, however, by a lack of any collage element in the rear of the book, no blue tissue (which according to his diaries, Cornell labored to find just the right color of), and their generally fine condition (having been stored in a box for years). This copy, however, is one of those augmented and circulated by Cornell himself -- and genuinely scarce as such. OCLC locates one holding (Utah, though another lies among the Donald Windham and Sandy Campbell Papers at Yale) and only one additional among museum collections (the Smithsonian). A curious entry in a curious career and an early and under-appreciated artist's book, rare in this state altered by Cornell.

Maria

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

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 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> and Warner Brothers limited edition animation 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>After animation art by Chuck Jones.</li><li>Warner Bros.</li><li>"Wed Wiv-ver Vah-Wee" (Red River Valley), 1991.</li><li>Signed by Chuck Jones.</li><li>Part of an edition of 750, this being 490/750.</li><li>With a Linda Jones Seal and Certificate of Authenticity.</li><li>This work is presented matted.</li></ul> The full-figure image is hand-painted on a 16 field cel which bears a Linda Jones seal in the lower left and is signed by Chuck Jones (1912 - 2002) in the lower left.

Signed Looney Tunes Cel

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 and Certificate of Authenticity.</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.

Looney Tunes Wile E. Coyote Cel

Ricky Powell

A photo of <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> and <a href="https://www.sothebys.com/en/search?query=Andy%20Warhol&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Andy Warhol</a>, by Ricky Powell.<ul><li>Ricky Powell (American, 1961-2021).</li><li>C print photograph.</li><li>Hand-signed by Powell in lower right corner from an edition of unknown size.</li><li>This work is presented unframed.</li></ul> Claiming, “You can never run out of pictures to take; all you gotta do is leave your house,” Ricky Powell has been documenting artists, celebrities, models, hip hop rappers, and people on the streets of his native New York City since 1985. The self-proclaimed “original NYC street photographer” used his bold personality and beat-up Minolta to get behind-the-scenes access to groups like the Beastie Boys and Run DMC, with whom he toured, and to such downtown artists as Jean-Michel Basquiat and Keith Haring, to name only a handful of his subjects. Publications, clothing, and lifestyle brands took notice of his intimate, candid color and black-and-white shots, and commissions for the New York Times and Puma, among many others, followed. From his base in Greenwich Village, Powell continues to roam the streets, documenting his city through the people who call it home. From a young age Haring enjoyed drawing, especially Disney characters and other cartoons. He initially wanted to become a commercial artist but after a year at the Ivy School of Professional Art in Pittsburgh, Haring dropped, moved to New York City and enrolled in the School of Visual Arts (SVA). Haring immediately felt connected to the thriving alternative arts scene happening downtown in the late 1970s and became friends with&nbsp;Jean-Michel Basquiat&nbsp;and&nbsp;Kenny Scharf. Haring’s first major works were his subway drawings. Haring produced a large number of these public works between 1980 and 1985, integrating his motifs outlined figures into everyday public space in a way that directly engaged its viewers. Haring's 1st solo exhibition was held at Westbeth Painters Space in 1981 and a celebrated show debuted at the historic Tony Shafrazi Gallery in New York the following year. Throughout the 1980s, Haring was committed to democratizing the art experience and along with paintings, he also created theater sets, billboards, murals, advertising campaigns and even a line of Swatch watches. In 1986 he opened the Pop Shop in SoHo, selling apparel, posters and toys bearing his drawings. This was a controversial move, as many galleries criticized Haring for “de-valuing” the art object while others, such as&nbsp;Andy Warhol, championed Haring’s insistence on making art accessible and affordable. Pop Shop was highly influential to contemporary crossovers of art and merchandise that are now so dominant, as in the work of&nbsp;Jeff Koons,&nbsp;Yayoi Kusama,&nbsp;KAWS and&nbsp;Takashi Murakami. In addition to this ideology of accessibility, Haring was also very socially engaged and used his striking imagery to promote awareness of various political and social campaigns. His many notable public works included a mural on the western side of the Berlin Wall, the&nbsp;Crack is Wack&nbsp;mural in New York, and a mural for the 100th anniversary of the Statue of Liberty in 1986. Haring was diagnosed with AIDS in 1988 and used his presence in the arts community to raise awareness of the crisis. In 1989, a year before his death, he established the Keith Haring Foundation, whose mission is to raise funds for AIDS organizations and children’s literacy and arts programs. Since his death in 1990, Haring has become one of the most widely-recognized and celebrated artists of the 20th century. Obsessed with celebrity, consumer culture, and mechanical reproduction, Pop Art king, Andy Warhol created some of the 20th century’s most iconic images. Warhol was widely influenced by popular &amp; consumer culture, with this being evident in some of his most famous works: 32 Campbell's soup cans, Brillo pad box sculptures, and portraits of Marilyn Monroe &amp; Mick Jagger, for example. Rejecting the standard painting and sculpting modes of his era, Warhol embraced silk-screen printmaking to achieve his characteristic hard edges and flat areas of color. The artist mentored Keith Haring and Jean-Michel Basquiat and continues to influence contemporary art around the world: His most bold successors include Richard Prince, Takashi Murakami, and Jeff Koons. Warhol has been the subject of exhibitions at the Whitney Museum of American Art, Museum of Modern Art, Tate Modern, and Centre Pompidou, among other institutions.

Andy Warhol And Keith Haring Photograph

A 1988 <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> <a href="https://www.sothebys.com/en/search?query=exhibition%20announcement&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">exhibition announcement</a> card, designed and illustrated by the artist just months before his death in August of the same year.<ul><li>After Jean Michel Basquiat (American, 1960-1988).</li><li>Published by The Hans Mayer Gallery, 1988.</li><li>Published on the occasion of 'Jean-Michel Basquiat at Galerie Hans Mayer Düsseldorf, Grabbeplatz 2 Jan 1st – Mar 31st 1988.'</li><li>Offset lithograph in colors printed on heavy paper.</li><li>Basquiat printed signature to lower left.</li><li>This work is presented unframed.</li></ul> The Hans Mayer Gallery Düsseldorf, began with a Josef Albers show in 1965 and concentrated on constructionist art in the following years. In 1969 Hans Mayer was the first to show Andy Warhol in Düsseldorf. The gallery later added exhibitions by further standout artists, Frank Stella, Ellsworth Kelly, Bill Beckley, Robert Rauschenberg, Roy Lichtenstein, Tom Wesselmann, Keith Haring, &amp; Jean Michel Basquiat in the years to follow.

Basquiat Galerie Hans Mayer Exhibition Annoucement Card

Ink on paper sketch by <a href="https://www.sothebys.com/en/buy/rock-&amp;-roll" rel="noopener noreferrer" target="_blank">rock and roll</a> legend and <a href="https://www.sothebys.com/en/search?query=beatles&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en&amp;filters.type=Buy%20Now" rel="noopener noreferrer" target="_blank">Beatles</a> musician, Paul McCartney.<ul><li>A piece of paper with a typed directory of Liverpool City Council schools on the reverse of which Paul McCartney has sketched three male characters. Paul has drawn a 1950s rock n' roll figure adding the word ‘ROCKK!!!’ above it and the words ‘Flippin Right’ below it. Paul has added the letters 'G, G, O, M, M, AN, G, G, O' above the lower drawing. </li><li>The sketches date to the late 1950s when Paul was a student at Liverpool Institute between 1953 and 1960.&nbsp;</li><li>Comes with Frank Caiazzo certificate of authenticity, who is a lead authenticator of Beatles signatures.</li></ul>

Paul McCartney Rock n' Roll Art Book Sketches

A <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> painted portrait of an unidentified young woman by <a href="https://www.sothebys.com/en/search?query=sylvia%20plath&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Sylvia Plath</a>.<ul><li>Sylvia Plath (American, 1932-1963).</li><li>(Wellesley, Mass):&nbsp;n.p,&nbsp;[1948 or 1949].</li><li>Gouache painting on thick paper.</li><li>Signed by Plath on verso: "Sylvia Plath / (Age 16) / 26 Elmwood Rd / Wellesley, Mass."&nbsp;</li><li>With Plath estate seal on both front (lower left corner) and back.&nbsp;</li><li>Housed in a metal frame.</li></ul> An original, bold portrait painted by a 16-year-old Sylvia Plath. Plath made visual art throughout her life in a wide variety of mediums: from collage and oils to watercolor and pastels. Before she settled firmly on poetry in college, she seriously considered majoring in art. This early piece, painted while she was in high school (and, given the inscription on the verso, likely submitted to an art contest or competition), is executed in colorful gouache in a decidedly modern, almost Fauvist style, and features an unnamed young woman resting her chin in her hand. The approach to this piece speaks to her early experimentation with the kind of art that would inspire her writing as an adult. Plath would later write to her mother, "I feel I'm developing a kind of primitive style of my own which I am very fond of" (August 28th, 1956). In 1958, she wrote that her "deepest source of inspiration" was "the art of primitives like Henri Rousseau, Gauguin and Paul Klee and De Chirico [...] Once I start writing, it comes and comes" (quoted in Clark, 518). As this letter suggests, Plath did not merely dabble in art: it was in many ways central to her creative practice. According to Dorothy Moss, curator of the 2017 Smithsonian National Portrait Gallery exhibition of Plath's art, ONE LIFE: SYLVIA PLATH, "I think that once you know that she drew and painted and sketched constantly as a child, and realize that she went to college to major in art, you'll start seeing how vivid her descriptions are, and how beautifully she put visual images into words." That exhibition prominently featured Plath's painting "Triple-Face Portrait" (1950), which shares a decidedly similar sensibility with this piece. A moving and vibrant original work from one of the defining authors of the 20th century, capturing the youthful exuberance she would transform from visual media into the written word

Untitled Portrait Of A Woman

A limited edition of The White House: An Historic Guide, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">inscribed</a> by President Kennedy, the First Lady, and Caroline <a href="https://www.sothebys.com/en/search?query=John%20F%20Kennedy&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Kennedy</a> to Grandpa Joe.<ul><li>Commissioned by the First Lady Jacqueline Kennedy.</li><li>Washington, D.C.: White House Historical Association, 1962.&nbsp;</li><li>Large Octavo.</li><li>Number 1a from a limited edition of 75.</li><li>Inscribed by the President, First Lady, and Caroline Kennedy to Joseph P. Kennedy.</li><li>Presentation inscription in pen to limitation.</li><li>Loose typed letter of provenance signed in pen.</li><li>Publisher’s red morocco, double gilt filet borders, ‘JPK’ in gilt to lower right of upper panel, spine lettered in gilt, housed in custom-made red morocco solander box, original blue card box preserved.</li></ul>&nbsp;&nbsp;A superb association copy of this illustrated guide to The White House commissioned by the First Lady Jacqueline Kennedy.&nbsp;&nbsp;This copy presented to Joseph P. Kennedy Sr. by his son, John F. Kennedy, the 35th President of the United States. Inscribed in pen ‘To Dad with love from Jack [i.e John F. Kennedy], Christmas, 1962’, with further inscriptions by the First Lady ‘For Grandpa - with adoration, Jackie’, and their daughter, aged 5, ‘Caroline’.&nbsp;&nbsp;&nbsp;With excellent provenance for the presidential, and later Kennedy family secretary, Evelyn Lincoln (1909-1995), including her typed ‘Note of Historical Record’ signed and dated November 21, 1982 explaining her acquisition of this ‘red Moroccan book’ and other Kennedy family possessions. Lincoln served as the personal secretary to John F. Kennedy from 1951 until the his assassination in 1963, later working for Jackie Kennedy at her home in Georgetown, D.C.&nbsp;&nbsp;First Lady Jacqueline Kennedy oversaw the publication of this guide to the Executive Mansion as part of her restoration and preservation of the White House, releasing a softcover version for the general public with the intent of spreading knowledge of the house's historic importance. During their official Christmas party, held on December 12, 1962, the President and First Lady presented each member of the Kennedy administration with a stunning present, one of these beautiful red leather-bound copies of the book; this very first one, however, was reserved for President Kennedy's father, and unlike the others inscribed solely by the President and first Lady, this one includes the heart-warming signature of their daughter, Caroline Kennedy (John F. Kennedy, Jr., had only just turned two).&nbsp;

The White House: An Historic Guide

Nickelodeon

<a href="https://www.sothebys.com/en/search?query=Production%20cels&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Production cels</a> and hand-painted background from <a href="https://www.sothebys.com/en/search?query=Nickelodeon&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Nickelodeon</a>'s animated series Ren And Stimpy.<ul><li>Sold as a set of 2: Production cels and background, mounted together.</li><li>Nickelodeon.</li><li>Cels from season 4, background from season 5.</li><li>Cels from episode: "Stupid Sidekick Union" which originally aired on 3/18/1995.</li><li>The hand-painted Master production background is from season 5 episode 4 segment "Bellhops" featuring the grand entrance to the hotel's penthouse.&nbsp;</li><li>Production codes RS-437 BG-51 found in the lower corners</li><li>Backgrounds for this episode were created by Raymond Zibach and Richard Daskas.</li><li>Accompanied by a gallery letter of authenticity.</li><li>This work is presented matted.</li></ul>

Ren and Stimpy Production Animation Cels and Background

A&nbsp;<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Subject=Prints%2520and%2520colour%2520plate" rel="noopener noreferrer" target="_blank">color plate</a>&nbsp;of flowers by&nbsp;<a href="https://www.sothebys.com/en/search?Book%20Subject=Prints%2520and%2520colour%2520plate&amp;query=Pierre-Joseph%20Redout%C3%A9&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Pierre-Joseph Redouté</a>.<ul><li>Pierre-Joseph Redouté (Belgian).</li><li>Fritillaria Imperialis.</li><li>Paris: Chez L’Auteur,&nbsp;1802-16.</li><li>Plate number 131.</li><li>Stipple engraving printed in color, and finished by hand, after Redouté by de Gouy, bearing the artist’s name, lower left.</li><li>This work is presented matted.</li></ul>&nbsp;"The highest peak of Redouté's artistic and botanical achievement... Among the most important monuments of botanical illustration ever to be published." (Frans A. Stafleu, "Redoute - peintre de fleurs" in A Catalogue of Redouteana). Redouté was at the height of his powers during the publication of&nbsp;Les Liliacees. It is easily the equal in accomplishment of its more popular successor,&nbsp;Les Roses. The work is broader than its title implies, including as it does petaloid monocotyledons in general belonging, for example to Commelinaceae, Bromeliaceae, Liliacea. At this time, he had as patron and sponsor Josephine Bonaparte, who, on acquiring Malmaison and establishing a superb garden of rare plants there, required an artist of outstanding talent to record them.

Fritillaria Imperialis Engraved Plate

A&nbsp;<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Subject=Prints%2520and%2520colour%2520plate" rel="noopener noreferrer" target="_blank">color plate</a>&nbsp;of flowers by&nbsp;<a href="https://www.sothebys.com/en/search?Book%20Subject=Prints%2520and%2520colour%2520plate&amp;query=Pierre-Joseph%20Redout%C3%A9&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Pierre-Joseph Redouté</a>.<ul><li>Pierre-Joseph Redouté (Belgian).</li><li>Lilium Superbum.</li><li>Paris: Chez L’Auteur,&nbsp;1802-16.</li><li>Plate number 103.</li><li>Stipple engraving printed in color, and finished by hand, after Redouté by de Gouy, bearing the artist’s name, lower left.</li><li>This work is presented matted.</li></ul>&nbsp;"The highest peak of Redouté's artistic and botanical achievement... Among the most important monuments of botanical illustration ever to be published." (Frans A. Stafleu, "Redoute - peintre de fleurs" in A Catalogue of Redouteana). Redouté was at the height of his powers during the publication of&nbsp;Les Liliacees. It is easily the equal in accomplishment of its more popular successor,&nbsp;Les Roses. The work is broader than its title implies, including as it does petaloid monocotyledons in general belonging, for example to Commelinaceae, Bromeliaceae, Liliacea. At this time, he had as patron and sponsor Josephine Bonaparte, who, on acquiring Malmaison and establishing a superb garden of rare plants there, required an artist of outstanding talent to record them.

Lilium Superbum Engraved Plate

A&nbsp;<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Subject=Prints%2520and%2520colour%2520plate" rel="noopener noreferrer" target="_blank">color plate</a>&nbsp;of flowers by&nbsp;<a href="https://www.sothebys.com/en/search?Book%20Subject=Prints%2520and%2520colour%2520plate&amp;query=Pierre-Joseph%20Redout%C3%A9&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Pierre-Joseph Redouté</a>.<ul><li>Pierre-Joseph Redouté (Belgian).</li><li>Gladiolus Cardinalis.</li><li>Paris: Chez L’Auteur,&nbsp;1802-16.</li><li>Plate number 112.</li><li>Stipple engraving printed in color, and finished by hand, after Redouté by Langlois, bearing the artist’s name, lower left.</li><li>This work is presented matted.</li></ul>&nbsp;"The highest peak of Redouté's artistic and botanical achievement... Among the most important monuments of botanical illustration ever to be published." (Frans A. Stafleu, "Redoute - peintre de fleurs" in A Catalogue of Redouteana). Redouté was at the height of his powers during the publication of&nbsp;Les Liliacees. It is easily the equal in accomplishment of its more popular successor,&nbsp;Les Roses. The work is broader than its title implies, including as it does petaloid monocotyledons in general belonging, for example to Commelinaceae, Bromeliaceae, Liliacea. At this time, he had as patron and sponsor Josephine Bonaparte, who, on acquiring Malmaison and establishing a superb garden of rare plants there, required an artist of outstanding talent to record them.

Gladiolus Cardinalis Engraved Plate

A&nbsp;<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Subject=Prints%2520and%2520colour%2520plate" rel="noopener noreferrer" target="_blank">color plate</a>&nbsp;of flowers by&nbsp;<a href="https://www.sothebys.com/en/search?Book%20Subject=Prints%2520and%2520colour%2520plate&amp;query=Pierre-Joseph%20Redout%C3%A9&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Pierre-Joseph Redouté</a>.<ul><li>Pierre-Joseph Redouté (Belgian).</li><li>Hæmanthus Multiflorus.</li><li>Paris: Chez L’Auteur,&nbsp;1802-16.</li><li>Plate number 204.</li><li>Stipple engraving printed in color, and finished by hand, after Redouté by de Gouy, bearing the artist’s name, lower left:</li><li>This work is presented matted.</li></ul>&nbsp;"The highest peak of Redouté's artistic and botanical achievement... Among the most important monuments of botanical illustration ever to be published." (Frans A. Stafleu, "Redoute - peintre de fleurs" in A Catalogue of Redouteana). Redouté was at the height of his powers during the publication of&nbsp;Les Liliacees. It is easily the equal in accomplishment of its more popular successor,&nbsp;Les Roses. The work is broader than its title implies, including as it does petaloid monocotyledons in general belonging, for example to Commelinaceae, Bromeliaceae, Liliacea. At this time, he had as patron and sponsor Josephine Bonaparte, who, on acquiring Malmaison and establishing a superb garden of rare plants there, required an artist of outstanding talent to record them.

Hæmanthus Multiflorus Engraved Plate

A&nbsp;<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Subject=Prints%2520and%2520colour%2520plate" rel="noopener noreferrer" target="_blank">color plate</a>&nbsp;of flowers by&nbsp;<a href="https://www.sothebys.com/en/search?Book%20Subject=Prints%2520and%2520colour%2520plate&amp;query=Pierre-Joseph%20Redout%C3%A9&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Pierre-Joseph Redouté</a>.<ul><li>Pierre-Joseph Redouté (Belgian).</li><li>Paris: Chez L’Auteur,&nbsp;1802-16.</li><li>Plate number 352.</li><li>Stipple engraving printed in color, and finished by hand, after Redouté by de Gouy, bearing the artist’s name, lower left.</li><li>This work is presented matted.</li></ul>&nbsp;"The highest peak of Redouté's artistic and botanical achievement... Among the most important monuments of botanical illustration ever to be published." (Frans A. Stafleu, "Redoute - peintre de fleurs" in A Catalogue of Redouteana). Redouté was at the height of his powers during the publication of&nbsp;Les Liliacees. It is easily the equal in accomplishment of its more popular successor,&nbsp;Les Roses. The work is broader than its title implies, including as it does petaloid monocotyledons in general belonging, for example to Commelinaceae, Bromeliaceae, Liliacea. At this time, he had as patron and sponsor Josephine Bonaparte, who, on acquiring Malmaison and establishing a superb garden of rare plants there, required an artist of outstanding talent to record them.

Pancratium Calathiforme Engraved Plate

A&nbsp;<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Subject=Prints%2520and%2520colour%2520plate" rel="noopener noreferrer" target="_blank">color plate</a>&nbsp;of flowers by&nbsp;<a href="https://www.sothebys.com/en/search?Book%20Subject=Prints%2520and%2520colour%2520plate&amp;query=Pierre-Joseph%20Redout%C3%A9&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Pierre-Joseph Redouté</a>.<ul><li>Pierre-Joseph Redouté (Belgian).</li><li>Paris: Chez L’Auteur,&nbsp;1802-16.</li><li>Plate number 17.</li><li>Stipple engraving printed in color, and finished by hand, after Redouté by Tassaert, bearing the artist’s name, lower left.</li><li>This work is presented matted.</li></ul>&nbsp;"The highest peak of Redouté's artistic and botanical achievement... Among the most important monuments of botanical illustration ever to be published." (Frans A. Stafleu, "Redoute - peintre de fleurs" in A Catalogue of Redouteana). Redouté was at the height of his powers during the publication of&nbsp;Les Liliacees. It is easily the equal in accomplishment of its more popular successor,&nbsp;Les Roses. The work is broader than its title implies, including as it does petaloid monocotyledons in general belonging, for example to Commelinaceae, Bromeliaceae, Liliacea. At this time, he had as patron and sponsor Josephine Bonaparte, who, on acquiring Malmaison and establishing a superb garden of rare plants there, required an artist of outstanding talent to record them.

Narcissus Engraved Plate

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Subject=Prints%2520and%2520colour%2520plate" rel="noopener noreferrer" target="_blank">color plate</a> of flowers by <a href="https://www.sothebys.com/en/search?Book%20Subject=Prints%2520and%2520colour%2520plate&amp;query=Pierre-Joseph%20Redout%C3%A9&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Pierre-Joseph Redouté</a>.<ul><li>Pierre-Joseph Redouté (Belgian).</li><li>Crinium Giganteum.</li><li>Paris: Chez L’Auteur,&nbsp;1802-16.</li><li>Plate number 181.</li><li>Stipple engraving printed in color, and finished by hand, after Redouté by Allais, bearing the artist’s name, lower left.</li><li>This work is presented matted.</li></ul>&nbsp;"The highest peak of Redouté's artistic and botanical achievement... Among the most important monuments of botanical illustration ever to be published." (Frans A. Stafleu, "Redoute - peintre de fleurs" in A Catalogue of Redouteana). Redouté was at the height of his powers during the publication of Les Liliacees. It is easily the equal in accomplishment of its more popular successor, Les Roses. The work is broader than its title implies, including as it does petaloid monocotyledons in general belonging, for example to Commelinaceae, Bromeliaceae, Liliacea. At this time, he had as patron and sponsor Josephine Bonaparte, who, on acquiring Malmaison and establishing a superb garden of rare plants there, required an artist of outstanding talent to record them.

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After Keith Haring

Moritz Lowey, Pierre-Henri Puiseux

Moritz Lowey, Pierre-Henri Puiseux

Moritz Lowey, Pierre-Henri Puiseux

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Chuck Jones

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Pierre-Joseph Redouté

Pierre-Joseph Redouté

Pierre-Joseph Redouté

Pierre-Joseph Redouté

Pierre-Joseph Redouté

Pierre-Joseph Redouté

Pierre-Joseph Redouté