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

<a href="https://www.sothebys.com/en/search?query=George+Harrison&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">George Harrison</a>: Volume 1 &amp; Volume 2 CD edition books, <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 Harrison and artist <a href="https://www.sothebys.com/en/search?query=Keith+West&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Keith West</a>.<ul><li>Sold as a set of 2 volumes.</li><li>George Harrison (English).</li><li>Illustrated by Keith West.</li><li>Genesis Publications.</li></ul> Volume 1:&nbsp;<ul><li>Number 1007 of 2500 limited edition copies.</li><li>Individually numbered and personally autographed by George Harrison and Keith West.&nbsp;</li><li>This book is hand-bound in black three-quarter leather with gild tooling and presented in a hand-made solander box.</li><li>A CD housed in a sliding drawer inside the two-tray solander box, contains previously unreleased material.&nbsp;</li></ul>&nbsp;Volume 2:&nbsp;<ul><li>Number 856 of 2500 limited edition copies.</li><li>Hand signed by George Harrison and Keith West.</li><li>Contains 59 songs by George Harrison including I Me Mine, My Sweet Lord and All Things Must Pass.</li><li>Hand-bound in a black three-quarter leather binding and presented in a two-tray solander box.</li><li>A CD housed in a sliding drawer inside the two-tray solander box, contains previously unreleased material.&nbsp;</li><li>It comes in the original mailing box.</li></ul> In 1985 artist Keith West, one of the finest botanical watercolor artists in the world, was introduced to George Harrison, and so began a close collaboration to produce a stunning set of watercolors illustrating the composer’s many memorable songs.&nbsp;

George Harrison: Volume 1 and Volume 2 CD Edition | Signed by George Harrison and Keith West

<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>, <a href="https://www.sothebys.com/en/search?query=Vivienne%20Westwood&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Vivienne Westwood</a>, and Malcolm McLaren collaboration for the 1983 'Witches' collection.<ul><li>After Keith Haring (American, 1958-1990).</li><li>Released as part of the Vivienne Westwood collection AW1983.</li><li>Silkscreen design on cotton fabric, originally part of a women's top (design has been cut out from top and is now a flat piece of fabric).</li></ul> A rare, museum worthy art fashion piece published on occasion of the AW1983 Vivienne Westwood &amp; Malcolm McLaren 'Witches' collection featuring printed artwork by Keith Haring. Related pieces from this collection were modeled by Madonna in 1983 &amp; worn in her ‘Borderline’ video; and are featured as part of The Costume Institute: The Metropolitan Museum of Art, New York. This unique Keith Haring, Vivienne Westwood collaboration stands as a historic moment in fashion, signifying the last collaborative endeavor between Westwood and McLaren. The collection was born after a transformative trip to America, where they encountered Haring, who lent his iconic designs to several pieces. His fluorescent, public art-inspired motifs seamlessly merged with high fashion, while his symbols and characters, rich with social and political commentary, provided a bold visual language that perfectly aligned with Westwood and McLaren's rebellious punk ethos. "I went to America to talk to Keith Haring and get some of his art, using it with fluorescent and dark backgrounds with hieroglyphics...space-invader type images. His work was like a magical esoteric sign language" - Vivienne Westwood 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 after enrolling in the School of Visual Arts (SVA). 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.

Keith Haring and Vivienne Westwood Collaborative Silkscreened Fabric Piece

An invitation for <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>'s first New York solo show at the historic Westbeth Theater Painters Space in Manhattan.<ul><li>After Keith Haring (American, 1958-1990).</li><li>Off-set printed announcement.</li><li>Accompanied by a gallery certificate of authenticity.</li><li>This work is presented unframed.</li></ul> Designed and illustrated by Haring, featuring the artist’s seminal crawling baby. The Keith Haring Foundation acknowledges this via their website as Haring’s 1st solo exhibition. 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.

Des Refusés Westbeth Painters Space Announcement Card

Fine Books & Manuscripts, Including Americana

Faden, William — Bernard Ratzer The Province of New Jersey, Divided into East and West, commonly called the Jerseys. London: Wm. Faden, December 1st, 1777 Engraved map (to sight: 806 x 578 mm), hand colored in outline, on 2 joined sheets; no visible defects, not examined out of frame. The first state of one of the finest and most celebrated maps of New Jersey, made during the Revolutionary War. This finely engraved map depicts New Jersey at a large scale of 7 miles to an inch. At the time of its publication, it was the largest and most detailed map of the state made up until that time. It includes the states topography, including the Jersey Highlands and the Palisades in the north and the broad Pine Barrens and coastal marshes in the south, as well as the county divisions, major roads and towns. The map also covers the Hudson Valley, most of Long Island, eastern Pennsylvania and all of Delaware Bay. Faden, based in London, engraved his map based largely off the manuscript surveys of Bernard Ratzer, a British military surveyor best known for his map of New York City. Ratzer’s surveys of the state were produced to revolve a bitter boundary dispute that had persisted for a century between New Jersey and New York. George III, in 1764, enlisted Samuel Holland and William De Brahm with demarcating the boundary, and Ratzer was enlisted as the surveyor. This newly decided border is noted on the map as "The boundary settled by commissioners in 1769." Another interesting feature on the map is the two lines bisecting the state, being the boundary lines between the earlier colonies of East and West Jersey. These boundaries were formed because, in 1664, after Charles II granted the New Jersey charter jointly to Lord Berkeley and Sir George Carteret, Berkeley sold his share to John Fenwick who passed it on to a consortium that included William Penn. In 1676, the king only renewed Carteret’s charter, and the already small province was split into two awkward colonies. One of the boundaries, "Keith's Line," refers to the 1687 demarcation by surveyor George Keith. After the two colonies were reunited under a royal governor in 1702, land ownership questions predicated on the partition necessitated that an internal line of division persist, which was re-demarcated as the "Lawrence Line" in 1743. The map’s cartouche features a pastoral scene with farmhouses and racoons. In the lower left corner, there is a table of astrological observations. This is an excellent example of an important map, attractively hand colored in outline. REFERENCES Guthorn, British Maps of the American Revolution 39; Degrees of Latitude 47; Schwartz & Ehrenberg, Mapping of America 193; Snyder, The Mapping of New Jersey 57-59

View 1 of Lot 1016: Faden, William — Bernard Ratzer | First state of this important map of New Jersey, 1777

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