A collection of record covers with artwork by Andy Warhol.<ul><li>Sold as a set of 4.</li><li>Each is accompanied by its vinyl record.</li><li>Includes covers for Diana Ross, Aretha Franklin, Debbie Harry and Liza Minnelli.</li></ul>

Warhol Record Cover Art: A Collection of 4 Works

A collection of <a href="https://www.sothebys.com/en/search?query=record%20cover%20art&amp;tab=objects" rel="noopener noreferrer" target="_blank">record covers</a> designed by <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> during the years 1977 to 1986.<ul><li>Sold as a set of 4.</li><li>Records included with their covers.</li><li>Offset lithograph on four individual record album covers.</li><li>Records include Diana Ross, Aretha Franklin, The Rolling Stones and John Lennon.</li></ul>

Record Cover Art: A Collection of 4 Works

<a href="https://www.sothebys.com/en/search?query=Damien%20Hirst&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Damien Hirst</a> produced this album design exclusively for the heralded UK music group The Hours in 2009.<ul><li>After Damien Hirst (English, born 1965).</li><li>Records included.</li><li>Housed in a thick card gate-fold picture sleeve.</li><li>Accompanied by a picture booklet containing Damien Hirst Skull and Swirl artwork.</li><li>This work is presented unframed.</li></ul> Damien Hirst first came to public attention in London in 1988 when he conceived and curated "Freeze," an exhibition in a disused warehouse that showed his work and that of his friends and fellow students at Goldsmiths College. In the nearly quarter of a century since that pivotal show (which would come to define the Young British Artists), Hirst has become one of the most influential artists of his generation. His groundbreaking works include The Physical Impossibility of Death in the Mind of Someone Living (1991), a shark in formaldehyde; Mother and Child Divided (1993) a four-part sculpture of a bisected cow and calf; and For the Love of God (2007), a human skull studded with 8,601 diamonds. In addition to his installations and sculptures, Hirst’s Spot paintings and Butterfly paintings have become universally recognized.

Damien Hirst Record Cover Art

A collection of record covers with artwork by Andy Warhol.<ul><li>Sold as a set of 40.</li><li>Each is accompanied by its vinyl record.</li><li>Includes four Andy Warhol Banana covers from the 1967 The Velvet Underground &amp; Nico, presented in four varying states (slightly to fully peeled).&nbsp;</li><li>Other covers include The Rolling Stones, Debbie Harry, John Lennon, John Cale, Aretha Franklin, The Smiths, Thelonious Monk, Liza Minnelli, Diana Ross and more.</li></ul>

Warhol Record Cover Art: A Collection of 40 Works

A collection of record cover art by Keith Haring.<ul><li>Sold as a set of 16.</li><li>Accompanied by their original vinyl records.</li><li>Includes the iconic "Life is Fresh! Crack is Wack!" cover.</li><li>Each piece was published during the artist's lifetime and designed directly by Haring.</li><li>Printed artist copyright and artwork credit on each piece.</li></ul>

Record Cover Art: A Collection of 16 Works

Collection of record covers featuring artwork by Josef Albers.<ul><li>Sold as a set of 7.</li><li>Accompanied by original records.</li></ul>

Record Cover Art: A Collection of 7 Works

Vinyl record covers featuring artwork by Keith Haring.<ul><li>Sold as a set of 4.</li><li>Includes the following records:</li><li>David Bowie:&nbsp;Without You.</li><li>Peace Birds '88 All Stars:&nbsp;Hiroshima.</li><li>Run DMC:&nbsp;Christmas In Hollis.</li><li>Sylvester: Someone Like You.</li><li>Each includes its original vinyl record.</li><li>Offset lithographs on cardboard record covers.</li></ul>

A collection of record covers with artwork by Josef Albers.<ul><li>Sold as a set of 7.</li><li>Each cover is accompanied by its original record.</li><li>Offset lithograph on vinyl album covers.</li></ul>

Record Cover Art: Set of 7 Works

A collection of record covers designed by Andy Warhol during the years 1976 to 1986.<ul><li>Sold as a set of 4.</li><li>Records included with their covers.</li><li>Offset lithograph on four individual record album covers.</li><li>Records include Aretha Franklin, John Lennon, Paul Anka and Japanese post-punk band Rats &amp; Star.</li></ul>

<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

A collection of record cover art by Andy Warhol.<ul><li>Sold as a set of 4.</li><li>Includes original records.</li><li>Off-set lithograph on four individual record album covers.</li></ul>

Warhol Record Cover Art: Set of 4 Works

Record cover art with photo by Andy Warhol for This is John Wallowitch!<ul><li>Designed by Irwin Rosenhouse.</li><li>Includes original vinyl record.</li><li>First pressing.</li></ul>

Record Cover Art: This Is John Wallowitch

The Jay T. Snider Collection of Benjamin Franklin

(Johann Conrad Beissel) Vorspiel der Neuen-Welt welches sich in der letzten Abendroethe als ein paradisischer Lichtes-Glantz unter den Kindern gottes hervor gethan. In liebes, lobes, leidens, krafft und erfahrungs Liedern abgebildet, die gedrückte, gebückte und creutz-tragende Kirche auf Erden. Philadelphia: Gedruckt bey Benjamin Francklin, in der Marck-strass, 1732 (bound with:) [Johann Conrad Beissel.] Jacobs Kampff- und Ritter-Platz allwo der nach seinem Ursprung sich sehnende Geist der im Sophiam verliebten Seele mit Gott um den neuen Namen gerungen, und den Sieg davon getragen. Entworffen in unterschidlichen Glaubens- u. Leidens-Liedern u. erfahrungs vollen Austruckungen des Gemuths … Verleget von einem Liebhaber der Wahrheit die im Verborgenen wohnt. Philadelphia: Gedruckt bey B.F., 1736 Together 2 works in one volume, pot 8vo (151 x 90 mm, second work slightly shorter). Both texts in double columns with vertical rule, a little bit of Gothic type, occasional typographic headpieces and ornaments; a very little scattered soiling, chiefly marginal. Contemporary Ephrata sheep, covers with double blind-fillet frame, cordiform hinges and clasp catching on the front cover, plain endpapers, edges stained brown; worn and a bit restored, with losses to corners and head of spine. A pair of Benjamin Franklin's rarest imprints and among the earliest German-language books printed in the British Colonies, preserved in a contemporary Ephrata binding. Vorspiel der Neuen-Welt was the second of three hymnals Franklin printed for the Ephrata community, and it contains all but three of the sixty-five hymns from the 1730 Göttliche Liebes un Lobes gethöne (Miller 15; citing one complete and one fragmentary copy) and adds fifty-five new texts by Beissel, Michael Wellfare, Martin Bremer, and others. Jacobs Kampff- und Ritter-Platz was essentially a supplement to Vorspiel, containing thirty-two new hymns, mostly by Beissel, including one—“Wer Ohren hat der hœre was der Geist der Gemein[d]e[n] saget” (Whoever has ears, let him hear what the Spirit says to the churches)—that runs to forty-three stanzas. Samuel Eckerling commissioned the Vorspiel, containing hymns of "love, praise, suffering, strength, and experience," for which Franklin received £20; the supplemental Jacobs Kampff- und Ritter-Platz—“Published by a lover of truth, who dwells in secret”—was commissioned by Beissel himself. Conrad Beissel was born in Eberbach, Baden-Württemberg, Germany, in 1692. Orphaned at a young age, he initially made his livelihood as a baker and fiddler, but after joining the Lutheran Pietism movement, he abandoned his former life—but not his inclination towards music. In 1720, Beissel emigrated to Germantown, Pennsylvania, where he joined a band of Pietistic hermits known as the Society of the Woman of the Wilderness. That venture soon collapsed and he moved on to the German Baptists (Dunkards) but found their spiritual life wanting, so he set out further west for a life of solitary prayer and meditation. A decade after his arrival in Pennsylvania, Beissel had attracted his own followers, probably because of the charismatic personality that had made him a popular performer in the Palatinate. In 1732, he founded the Ephrata Cloister on the Cocalico Creek in the Conestoga region, and he led this celibate, ascetic, Sabbatarian community as spiritual leader and music director until his death in 1768. Christoph Sauer succeeded Franklin as printer to the German-speaking Ephrata community, but it soon established its own press, part of a vibrant economy that also included agriculture, milling, papermaking, and manufacture of textiles. Ephrata became so financially successful that in 1745 Beissel, fearing the community was losing its focus on spirituality, exiled brothers Samuel and Israel Eckerling, the community’s principal proponents of prosperity, and returned the community to a subsistence economy. Beissel maintained the press, but not as a commercial undertaking: the Brotherhood accepted a commission from the Skippack Mennonites to translate (from the original Dutch) and print a German edition of the Martyrs’ Mirror without requiring them to subscribe for a set number of copies. Running to 1,512 pages of letterpress, Der blutige Schau-Platz oder Martyrer-Spiegel der Tauffs gesin̄ten oder wehrlosen-Christen, die um des Zeugnuss Jesu ihres Seligmachers Willen gelitten haben, und seynd getödtet worden, von Christi Zeit an bis auf das Jahr 1660 was the largest book printed in eighteenth-century North America and was on the press from 1748 to 1749 (ESTC W19947; Evans 6256). Beissel “is said to have written more than 4,000 lines of poetry, almost all of it religious, some of it set to music that he composed. For the community's worship, he developed distinctive types of choral harmony and antiphonal singing, and he frequently required the members to sing in this style on late night walks around Ephrata. … Beissel’s German-language poetry has not received the attention it deserves” (Frantz). His musical notation was not printed but copied in multiple manuscripts that were used in conjunction with the hymnal texts. “For Beissel, music is imbued with a specific purpose, that of worship. He posits that one of the functions of a faithful community is to attempt to match ‘the manner of the angelic choirs’ with ‘songs of love and praise.’ Indeed, although Beissel states that singing is the method by which ‘to praise God outwardly in the purest way,’ he notes a significant challenge to this system of worship: ‘the continued weight of our roughness in the not yet fully crucified nature’” (Herbert, pp. 104–105). Although Franklin’s Autobiography states that he began to study foreign languages in 1733, Leo Lemay writes that he actually started several years earlier. “The account in the Autobiography describes his learning to read the modern romance languages French, Italian, and Spanish before Latin, which was then easy to learn. Franklin omits German. It would not help in learning Latin, and listing it in addition to several Romance languages might have made his accomplishments seem quite extraordinary, and Franklin consistently understated his achievements. He learned German because so many Pennsylvanians were German (locally called ‘Pennsylvania Dutch’) and the language would be useful to him in his personal and business life. He published two books [both by Beissel] in German in 1730. He probably knew German by then and set Conrad Beissel's books in type. Before 1732 [when Vorspiel der Neuen-Welt was printed], he read German fluently (Life, 2:17). Miller found four other examples (all in Pennsylvania) that, like the present set, contained these two Beissel hymnals bound together: at the Historical Society of Pennsylvania, Franklin & Marshall, the Library Company of Philadelphia, and Penn State. This is evidently the only copy of Vorspiel der Neuen-Welt to appear at auction for more than a century (the Pennypacker copy was sold at the Anderson Galleries, 29 October 1923, lot 125), while it is nearly a century and a quarter since a copy of Jacobs Kampff- und Ritter-Platz is noted in the auction records (again the Pennypacker copy, this sold by Henkels in 1905). There is no record of another Sammelband of the two hymnals ever appearing at auction. REFERENCES Miller 48, 118; ESTC W30969, W1238; Evans 3503, 3986; Hildeburn 452, 536; Campbell 46, 98; cf. John B. Frantz, "Johann Conrad Beissel," in American National Biography; cf. Christopher Dylan Herbert, Voices in the Pennsylvania Wilderness: An Examination of the Music Manuscripts, Music Theory, Compositions, and (Female) Composers of the Eighteenth-Century Ephrata Cloister. Dissertation for the Doctor of Musical Arts degree, The Juilliard School, 2018 PROVENANCE Sotheby's New York, 21 July 2022, lot 1054 (undesignated consignor, descended through a Lancaster-area family)

View 1 of Lot 7: (Johann Conrad Beissel) | A Sammelband of two of Benjamin Franklin's rarest imprints

(johann conrad beissel) | a sammelband of two of benjamin franklin's rarest imprints

Shelf Life: Books, Manuscripts and Works on Paper from the Library of Stanley J. Seeger and Christopher Cone

Thomas Hardy Far from The Madding Crowd. London: Macmillan, 1908. VIRGINIA WOOLF'S COPY, WITH HER OWNERSHIP INSCRIPTION on front free endpaper ("V. Stephen"), 1908 reprint, 8vo, 32pp. publisher's catalogue at end original blue cloth, upper cover blocked in gold with TH monogram medallion, housed in collector's slipcase in blue morocco and cloth, front and rear free endpapers browned, hinges split, lower joint starting, binding worn and soiled, spine sunned “…For these reasons, Hardy’s genius was uncertain in development, uneven in accomplishment, but, when the moment came, magnificent in achievement. The moment came, completely and fully, in Far from the Madding Crowd. The subject was right; the method was right; the poet and the countryman, the sensual man, the sombre reflective man, the man of learning, all enlisted to produce a book which, however fashions may chop and change, must hold its place among the great English novels…” (Virginia Woolf, ‘The Novels of Thomas Hardy’) VIRGINIA WOOLF'S COPY OF A FAVOURITE NOVEL WITH A DEEP FAMILY RESONANCE. When, on 25 July 1926, Virginia Woolf travelled to Max Gate for her first and only meeting with Thomas Hardy, it was Far From The Madding Crowd – presumably this very copy – that she read on the train from London to Dorchester. Woolf admired the novel greatly but it was also a book that connected the two writers in a much more personal way. It had been Leslie Stephen, Woolf’s father, who had accepted the novel for publication when he was editor of The Cornhill Magazine. At that point Stephen was an established man of letters whilst Hardy was largely unknown, and not only did Woolf’s father play a vital role in the publication of Hardy’s breakthrough novel but he also introduced him to many figures in literary London. Hardy dedicated a poem in remembrance of Stephen in Satires of Circumstance (1914), which triggered his daughter to write to Hardy to tell him how “I have long wished to tell you how profoundly grateful I am to you for your poems and novels”. Virginia Woolf’s tea with Hardy was a memorable success and is recorded in typically exquisite detail in her diary. She records Hardy's comment about her father's publication of Far From the Madding Crowd: "We stood shoulder to shoulder against the British public about certain matters dealt with in that novel". She was impressed by his "freedom, ease & vitality": "He seemed very 'Great Victorian' doing the whole thing with a sweep of his hand (they are ordinary smallish, curled up hands) & setting no great stock by literature; but immensely interested in facts; incidents; & somehow, one could imagine, naturally swept off into imagining & creating without a thought of its being difficult or remarkable; becoming obsessed; & living in imagination". Virginia Woolf’s diaries and letters include many references to her love of Hardy’s work: when she visited Stonehenge in 1903 she was reading Tess of the D’Urbervilles, and when she was trying to encourage herself in her writing she looked to Hardy as an example (“...As for Thomas Hardy, he's a great man; his style is not made to fit, but what of that? If we had but his ribs, his thighs, his stomach and his entrails!...”, 21 May 1912). His novels are singled out for praise in The Common Reader, but her detailed critical appreciation of Hardy came with the essay ‘The Novels of Thomas Hardy’. She was commissioned in 1919 to prepare an obituary piece for the TLS, and the subject occupied her for a considerable period: in 1921 she was still “reading Hardy for my famous article – the one I'm always talking about", and she felt some discomfort that she was writing in preparation for his death. The essay, a sensitive and sympathetic survey of his work, appeared in the TLS just eight days after he died in January 1928, and was republished in The Common Reader Vol. 2 (1932). BOOKS FROM VIRGINIA WOOLF'S LIBRARY ARE RARE AT AUCTION. Virginia Woolf evidently acquired this volume while she was still "V[irginia] Stephen": i.e. before her marriage to Leonard Woolf in 1912. The lot includes a typed letter of provenance signed by Leonard’s final companion, Marjorie Tulip ("Trekkie") Parsons, recording in August 1994 that this volume "was in the library of Virginia Woolf and remained in her possession until her death'', that it passed at that time to Leonard Woolf, and then, she says, "at Leonard's death it passed to me and has remained in my possession until now". PROVENANCE: Virginia Woolf (1882-1941): inscription to front free endpaper ("V. Stephen"); Leonard Woolf (1880-1969); Marjorie Tulip ("Trekkie") Parsons (1902-1995): typed letter signed ("M.T. Parsons") and dated August 1994, confirming earlier provenance; Sotheby's, London, 8 July 2004, lot 258 LITERATURE: Marion Dell, ‘Moments of Vision: Thomas Hardy and Virginia Woolf’, The Thomas Hardy Journal, 31 (2015), 13-24

View 1 of Lot 156: Thomas Hardy | Far from The Madding Crowd, 1908, Virginia Woolf's copy

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