Living Contemporary

Claude Gassian b.1949 Keith Richards, Berlin titled, dated 1990, signed and numbered 2/10 on the reverse pigmentary print 36,5 x 55,5 cm ; 14⅜x 21⅞in. Executed in 1990, this work is number 2 from an edition of 10. __________________________________________________________________________ Claude Gassian b.1949 Keith Richards, Berlin titré, daté 1990, signé et numéroté 2/10 au dos tirage pigmentaire 36,5 x 55,5 cm ; 14⅜x 21⅞in. Exécutée en 1990, cette oeuvre est le numéro 2 d'une édition de 10 exemplaires.

keith richards, berlin

Contemporary Discoveries

Annie Leibovitz b. 1949 Keith Richards signed Annie Leibovitz, titled Keith Richards, annotated New York, dated 1980, and editioned 8/40 (in the margin) gelatin silver print 14 by 14 in. 35.6 by 35.6 cm. Executed in 1980; this work is number 8 from an edition of 40.

keith richards

NOW!

Claude Gassian b.1949 Mick Jagger, Keith Richards, Charlie Watts, Paris 1976 signed, titled, dated 1976 and numbered 3/15 on the reverse silver print 30,7 x 46,5 cm ; 12 1/16 x 18 5/16 in. (image) 51 x 66,5 cm ; 20 1/16 x 26 3/16 in. (framed) Executed in 1976, this work is number 3 from an edition of 15. __________________________________________________________________________ Claude Gassian b.1949 Mick Jagger, Keith Richards, Charlie Watts, Paris 1976 signé, titré, daté 1976 et numéroté 3/15 au dos tirage argentique 30,7 x 46,5 cm ; 12 1/16 x 18 5/16 in. (image) 51 x 66,5 cm ; 20 1/16 x 26 3/16 in. (framed) Exécutée en 1976, cette oeuvre est le numéro 3 d'une édition en 15 exemplaires.

mick jagger, keith richards, charlie watts, paris 1976

Claude Gassian b.1949 Keith Richards, Anvers 1973 signed, titled, dated 1973 and numbered 11/15 on the reverse silver print 36 x 55,5 cm ; 14 3/16 x 21⅞in. (image) 54 x 74,5 cm ; 21¼x 29 5/16 in. (framed) Executed in 1973, this work is number 11 from an edition of 15. __________________________________________________________________________ Claude Gassian b.1949 Keith Richards, Anvers 1973 signé, titré, daté 1973 et numéroté 11/15 au dos tirage argentique 36 x 55,5 cm ; 14 3/16 x 21⅞in. (image) 54 x 74,5 cm ; 21¼x 29 5/16 in. (framed) Exécutée en 1973, cette oeuvre est le numéro 11 d'une édition en 15 exemplaires.

keith richards, anvers 1973

Claude Gassian Né en 1949 Keith Richards, Ron Wood, Paris 1998 signed, titled, dated 1998 and numbered 3/10 on the reverse pigmentary print 36,5 x 55,2 cm ; 14 3/8 x 21 3/4 in. (image) 55 x 73 cm ; 21 11/16 x 28 3/4 in. (framed) Executed in 1998, this work is number 3 from an edition of 10. __________________________________________________________________________ Claude Gassian Né en 1949 Keith Richards, Ron Wood, Paris 1998 signé, titré, daté 1998 et numéroté 3/10 au dos tirage pigmentaire 36,5 x 55,2 cm ; 14 3/8 x 21 3/4 in. (image) 55 x 73 cm ; 21 11/16 x 28 3/4 in. (framed) Exécutée en 1998, cette oeuvre est le numéro 3 d'une édition en 10 exemplaires.

keith richards, ron wood, paris 1998

Claude Gassian b.1949 Keith Richards, Mick Jagger - Madrid - Marseille 1990 signed, titled, dated 1990 and numbered 7/15 on the reverse silver print 30,5 x 46 cm ; 12 x 18⅛in. (image) 49 x 65 cm ; 19 5/16 x 25⅝in. (framed) Executed in 1990, this work is number 7 from an edition of 15. __________________________________________________________________________ Claude Gassian b.1949 Keith Richards, Mick Jagger - Madrid - Marseille 1990 signé, titré, daté 1990 et numéroté 7/15 au dos tirage argentique 30,5 x 46 cm ; 12 x 18⅛in. (image) 49 x 65 cm ; 19 5/16 x 25⅝in. (framed) Exécutée en 1990, cette oeuvre est le numéro 7 d'une édition en 15 exemplaires.

keith richards, mick jagger - madrid - marseille 1990

Fine Books and Manuscripts, Including Selections from the Collection of Barbara and Ira Lipman

[Richards, Keith] Original Trial Transcript, Her Majesty the Queen, and Keith Richards. Toronto, Ontario: New Court House, 23-24 October, 1978 [ii], 93 pp., printed single-sided (280 x 215 mm). Spiral bound, red paper wrappers, printed paper label "Her Majesty the Queen - and - Keith Richard" to cover. Signed and certified on page 93 by the official court reporter. A bit of handling wear, soiling, and light creasing. Accompanied by a photograph of Keith Richards with the court reporter. "Free Keith!" — an infamous drug bust threatens to derail the Stones at the peak of their success ﻿On February 27th, 1977, while The Rolling Stones were in Toronto for a recording session for their Love You Live album at the Mocambo Club, Canadian police raided Keith Richards and Anita Pallenberg's hotel room and found roughly an ounce of heroin and five grams of cocaine. Police found him in the throws of his addition, and in his memoir, Richards recalled: "They couldn’t wake me. By law you have to be conscious to be arrested... My memory of it is waking up and them going slap, slap, two Mounties dragging me about the room, slapping me. Trying to get me conscious." The quantity was such that the musician was charged with intent to traffic, the penalty for which in Canada ranges from seven years, to life in prison. Richards secured a special medical visa permitting him to undergo an experimental addiction treatments in the states in advance of the trial, which took place in October of the following year. The present document is a transcript of that pivotal legal proceeding, where Keith Richards appeared in court before Judge Lloyd Graburn to argue that he wasn't a danger to the community, having pled guilty to a lesser charge of possession of heroin, and elected trial by judge alone. Richard's newfound sobriety was central to his defense. His attorney would go on to contextualize his ongoing struggles with addiction in the context of his creativity, arguing that he found himself in this "terrible predicament" because he was "racked with severe emotional pain." Drawing comparisons to other tortured artists through history, such as Van Gogh and Billie Holiday, his lawyer went on: "one often wonders whether whether its not his oversensitivity to life and to people and to his environment that allows him to see and express in music and writing what most of us are not gifted enough to see ... I suggest to your Honour from the evidence that you've heard that Keith Richard [sic] is a man who, by the pressures of his emotional makeup and the cauldron of the work schedule and into which he's thrown and the pressures of international acclaim, has become so racked that he turned to heroin to help him." In handing down the sentence, Judge Graburn agreed, deeming: "No incarceration or fine would be appropriate because of Mr. Richards’ continuing treatment for drug addiction and his long-term benefit to the community." As cheers erupted in the courtroom, Richards was given a one-year suspended sentence, one years' probation, and was ordered to give a special performance at the Canadian National Institute for the Blind. There was some speculation that the court's leniency amounted to preferential treatment, but Prosecutor, Paul Kennedy, didn't seem to object: "If you get a member of the Rolling Stones off heroin" he said, "you've done some good." Keith Richards finally managed to get the monkey off his back following his dust-up with the Mounties, going on to tour with the Stones through some of their most successful and frenzied periods, through to today. PROVENANCE Official Court Reporter — thence by descent REFERENCE Keith Richards, James Fox. Life. New York: Little, Brown, and Company, 2010

[richards, keith] | trial transcript of keith richards' infamous heroin bust. toronto, ontario: new court house, 23-24 october, 1978

Claude Gassian Né en 1949 Keith Richards, New York 1992 signed, titled, dated 1992 and numbered 4/5 on the reverse silver print 119 x 80 cm ; 46 7/8 x 31 1/2 in. (image) 123 x 83 cm ; 48 7/16 x 32 11/16 in. (framed) __________________________________________________________________________ Claude Gassian Né en 1949 Keith Richards, New York 1992 signé, titré, daté 1992 et numéroté 4/5 au dos tirage argentique Exécutée en 1992, cette œuvre est le numéro 4 d'une édition en 5 exemplaires. 119 x 80 cm ; 46 7/8 x 31 1/2 in. (image) 123 x 83 cm ; 48 7/16 x 32 11/16 in. (framed)

keith richards, new york 1992

Claude Gassian b.1949 Mick Jagger, Keith Richards - Indio (CA) 2016 signed, titled, dated 2016 and numbered 1/12 on the reverse pigmentary print 54,5 x 36 cm ; 21 7/16 x 14 3/16 in. (image) 76 x 56,5 cm ; 29 15/16 x 22¼in. (framed) Executed in 2016, this work is number 1 from an edition of 12. __________________________________________________________________________ Claude Gassian b.1949 Mick Jagger, Keith Richards - Indio (CA) 2016 signé, titré, daté 2016 et numéroté 1/12 au dos tirage pigmentaire 54,5 x 36 cm ; 21 7/16 x 14 3/16 in. (image) 76 x 56,5 cm ; 29 15/16 x 22¼in. (framed) Exécutée en 2016, cette œuvre est le numéro 1 d'une édition en 12 exemplaires.

mick jagger, keith richards - indio (ca) 2016

Claude Gassian b.1949 Keith Richards, New York 1992 signed, titled, dated 1992 and numbered 4/10 on the reverse pigmentary print 35 x 54 cm ;13¾x 21 14 in. (image) 58 x 75 cm ; 22 13/16 x 29½in. (framed) Executed in 1992, this work is number 4 from an edition of 10. __________________________________________________________________________ Claude Gassian b.1949 Keith Richards, New York 1992 signé, titré, daté 1992 et numéroté 4/10 au dos tirage pigmentaire 35 x 54 cm ;13¾x 21 14 in. (image) 58 x 75 cm ; 22 13/16 x 29½in. (framed) Exécutée en 1992, cette œuvre est le numéro 4 d'une édition en 10 exemplaires.

Claude Gassian b.1949 Keith Richards, Prague 1990 signed, titled, dated 1990 and numbered 5/10 on the reverse silver print 36 x 55 cm ; 14 3/16 x 21 11/16 in. (image) 54 x 74,5 cm ; 21¼x 29 5/16 in. (framed) Executed in 1990, this work is number 5 from an edition of 10. __________________________________________________________________________ Claude Gassian b.1949 Keith Richards, Prague 1990 signé, titré, daté 1993 et numéroté 5/10 au dos tirage pigmentaire 36 x 55 cm ; 14 3/16 x 21 11/16 in. (image) 54 x 74,5 cm ; 21¼x 29 5/16 in. (framed) Exécutée en 1993, cette œuvre est le numéro 5 d'une édition en 10 exemplaires.

keith richards, prague 1990

Made in Britain

Important Photographs from the Peter Fetterman Collection

Important Photographs from the Peter Fetterman Collection Ethan Russell b. 1945 Keith Richards, Patience Please, 1972 Silver print, printed later. Signed, titled, dated and numbered 18/250 in black ink in the lower margin. Matted. (unframed) image: 47.8 by 32.3cm.; 18¾ by 12 3/4in. sheet: 51 by 40.6cm.; 20 by 16in.

View 1 of Lot 141: Keith Richards, Patience Please, 1972

keith richards, patience please, 1972

Scarfe at Sotheby’s: Sixty Years of Being Rude

GERALD SCARFE "Keef" 770 by 520mm. (on 835 by 595mm. sheet), ink drawing, captioned "Keef", signed lower right, unmounted sheet From the artist's private collection. Please click here to view shipping calculator

scarfe | [rock and roll] | "keef" [keith richards]

Fine Books and Manuscripts, Including Americana

[Richards, Keith] Original Trial Transcript, Her Majesty the Queen, and Keith Richards. Toronto, Ontario: New Court House, 23-24 October, 1978 [ii], 93 pp., printed single-sided (280 x 215 mm). Spiral bound, red paper wrappers, printed paper label "Her Majesty the Queen - and - Keith Richard" to cover. Signed and certified on page 93 by the official court reporter. A bit of handling wear, soiling, and light creasing. Accompanied by a photograph of Keith Richards with the court reporter. "Free Keith!" — an infamous drug bust threatens to derail the Stones at the peak of their success On February 27th, 1977, while The Rolling Stones were in Toronto for a recording session for their Love You Live album at the Mocambo Club, Canadian police raided Keith Richards and Anita Pallenberg's hotel room and found roughly an ounce of heroin and five grams of cocaine. The quantity was such that the musician was charged with intent to traffic, the penalty for which in Canada ranges from seven years, to life in prison. The present trial transcript is the court stenographer's own copy of the pivotal legal proceeding that followed this arrest. It offers revealing details about Keith Richards' life with the band at the peak of their success, his notoriously rapacious appetite for drugs, his efforts to get sober following the arrest, and his trial defense, which included testimony from SNL producer Lorne Michaels (who describes their 1978 performance on SNL in great detail), and journalist Jack Hubert Batten. In the months that elapsed between his arrest and the trial date, Richards got sober and pursued an intensive regime of psychiatric treatment (detailed here in reproductions of testimonials submitted by his doctors). When he appeared in court before Judge Lloyd Graburn on 23 October 1978, his newfound sobriety was central to his defense. His attorney contextualized his ongoing struggles with addiction in the context of his creativity, arguing that he found himself in this "terrible predicament" because he was "racked with severe emotional pain." Expanding on this further, he mused: "one often wonders whether its not his oversensitivity to life and to people and to his environment that allows him to see and express in music and writing what most of us are not gifted enough to see ... I suggest to your Honour from the evidence that you've heard that Keith Richard [sic] is a man who, by the pressures of his emotional makeup and the cauldron of the work schedule and into which he's thrown and the pressures of international acclaim, has become so racked that he turned to heroin to help him." In handing down the sentence, Judge Graburn agreed, deeming: "No incarceration or fine would be appropriate because of Mr. Richards’ continuing treatment for drug addiction and his long-term benefit to the community." As cheers erupted in the courtroom, Richards was given a one-year suspended sentence, one years' probation, and was ordered to give a special performance at the Canadian National Institute for the Blind. There was some speculation that the court's leniency amounted to preferential treatment, but Prosecutor Paul Kennedy, didn't seem to object: "If you get a member of the Rolling Stones off heroin" he said, "you've done some good." Keith Richards finally managed to get the monkey off his back following his dust-up with the Mounties, going on to tour with the Stones through some of their most successful and frenzied periods, through to today. REFERENCE Keith Richards, James Fox. Life. New York: Little, Brown, and Company, 2010 PROVENANCE Official Court Reporter — thence by descent

View 1 of Lot 124: [Richards, Keith] | The official trial transcript of Keith Richards' infamous 1978 heroin bust

[richards, keith] | the official trial transcript of keith richards' infamous 1978 heroin bust

Contemporary Art Online | New York

RUSSELL YOUNG b. 1960 KEITH RICHARDS signed and inscribed love peace and petrol bombs on the reverse acrylic silkscreen on canvas 48⅛ by 60⅛ in. (122.3 by 152.6 cm.) Executed in 2006, this work is from an edition of 20. PROVENANCE Acquired directly from the artist by the present owner

russell young | keith richards

Dear Keith: Works from the Personal Collection of Keith Haring

THIS LOT IS BEING OFFERED AT NO RESERVE Dear Keith: Works from the Personal Collection of Keith Haring RICHARD SERRA b. 1939 UNTITLED inscribed For Keith Love Richard ink on printed paper 17½ by 23½ in. (44.4 by 112.9 cm.) Executed in 1989.

richard serra | untitled

Claude GassianNé en 1949Keith Richards, New York 1992signed, titled, dated 1992 and numbered 4/5 on the reversesilver print119 x 80 cm ; 46 7/8 x 31 1/2 in. (image)123 x 83 cm ; 48 7/16 x 32 11/16 in. (framed)__________________________________________________________________________Claude GassianNé en 1949Keith Richards, New York 1992signé, titré, daté 1992 et numéroté 4/5 au dostirage argentiqueExécutée en 1992, cette œuvre est le numéro 4 d'une édition en 5 exemplaires.119 x 80 cm ; 46 7/8 x 31 1/2 in. (image)123 x 83 cm ; 48 7/16 x 32 11/16 in. (framed)

aretha franklin and keith richards

Pigment print, printed later. Signed and numbered 4/24 in black ink and with the photographer's blindstamp in the lower margin

keith richards and his bentley, 1966

Pigment print, printed later. Signed and numbered 2/24 in black ink and with the photographer's blindstamp in the lower margin

keith richards, wasted, 1966

Pigment print, Diasec mounted. Signed and numbered A.P. from an edition of 25 in silver pen in the lower left corner. With a gallery label bearing information about the work in facsimile affixed to the back of the frame and accompanied by a signed and dated certificate of authenticity

keith richards, 2008

PF1222

Tirage argentique monté sur plaque d'aluminium et encadré. Avec un certificat d'authenticité signé et daté 2003 au crayon par le photographe. Ed.1/3

keith richards, man of the year, british gq, new york, 1999

Photographies

Tirage chromogénique. Signé, titré, daté et numéroté 7/25 au crayon et avec le tampon copyright de l'artiste au verso. Monté sous passe-partout et encadré.

'keith richards, rolling stone cover', boston, 2002

Rock n Roll Sale

1 page (8 x 5 in.) with 11 lines of text and 4 signatures, plus 1 page with one signature, no place or date [London, Fall 1965], to "Steven"; formerly folded.

autograph letter signed by brian jones, with signatures of bill wyman, mick jagger, keith richard, and charlie watts

 A Rock & Roll Anthology: From Folk to Fury

Color photographic print (8 x 10 in.; 203 x 254 mm). Signed and dated by Jagger and Richards in 2009.

mick jagger and keith richards

Rock & Pop

silver print, printed later, signed and numbered "6/50" in black pen and with the photographer's archive blindstamp in the lower margin, sheet size 500 x 604mm., image size 360 x 525mm.

mick jagger and keith richards in a taxi, 1965

Keith Richardson-Jones 1925 - 2005 Series CMA: 1/1S numbered 1/1S (lower right); also numbered 1/1 5&R (lower left) gouache on paper unframed: 63 by 63cm.; 24¾ by 24¾in. framed: 66 by 66cm.; 26 by 26in.

series cma 1/1s

KEITH RICHARDSON-JONES 1925-2005 SERIES SYZYGY: MICRO INTERVALS I; AND II one signed on the reverse each acrylic on three adjoined panels stretched over board (2) unframed (each): 120 by 90cm.; 47¼ by 35½in. Executed in 1985. Please note: Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot To view Shipping Calculator, please click here

keith richardson-jones | series syzygy: micro intervals i; and ii

Keith Richardson-Jones 1925 - 2005 Partitions signed KEITH RICHARDSON-JONES, titled and inscribed (on the reverse) oil and pen on canvas laid on board unframed: 76.5 by 76.5cm.; 30 by 30in. Executed in 1990.

partitions

Contemporary Curated

Property from the Collection of William T. Georgis & Richard D. Marshall

Property from the Collection of William T. Georgis & Richard D. Marshall Keith Haring 1958 - 1990 Drawings for Paris Review signed, titled and dated Sept. 23 - 82 (lower left) ink and graphite on paper image: 8 by 10½ in. (20.3 by 26.7 cm.) sheet: 11 by 13⅞ in. (27.9 by 35.2 cm.) Executed in 1982.

View 1 of Lot 252: Drawings for Paris Review

drawings for paris review

Rock & Roll

The Rolling Stones A typescript management contract, signed and executed by the band and Andrew Loog Oldham, [ca. 1964] Becoming the Stones Two leaves (328 x 203 mm) typed on rectos, signed on the second page by Bill Wyman, Mick Jagger, Keith Richards, Brian Jones, Charlie Watts, and Andrew Loog Oldham; remnants of previous mount adhered to verso at corners, three old horizontal folds, slight split along one fold of one leaf at outer margin, creasing at margins and corners, several holes to upper left corner of each leaf, a few tiny marginal nicks and closed tears, stray spots, lightly browned, more so at margins. The transformative contract between the Stones and their most influential manager and producer The contract begins: 1. I hereby engage you individually and jointly as 'The Rolling Stones' to render such services as I may require in the production of phonograph records, and you hereby accept such engagement and agree to render such services for us for a period ... terminating August 31st, 1970. 2. A minimum of 40 (forty) 78 r.p.m. record sides or their equivalent shall be recording during the term hereof; additional recordings shall be performed by you and recorded by us at our election. ... It further stipulates, along with standard licensing agreements, the breakdown of royalties, which help to date the present contract: 5. We shall pay you for services to be rendered hereunder and for the rights granted herein, a royalty of seven per cent (7%) on sales up to February 28th, 1965 and twelve per cent (12%) on sales after February 28th, 1965 of the wholesale sellers price (exclusive of all taxes) of ninety per cent (90%) of all records sold and paid for in the United Kingdom containing on both sides thereof a composition or compositions performed by you and recorded hereunder ... Andrew Loog Oldham was essential to The Rolling Stones' success. After being tipped off to the band, Loog Oldham went to see the Stones performing as the house band in a Richmond club and immediately saw their potential for pop stardom. He returned to London certain that he had seen the next British sensation and offered to partner signing them with his then employer, Beatles’ manager Brian Epstein . His boss passed on the chance to work with the scruffy band, and so the then Rollin’ Stones signed their first management contract with Loog Oldham in May 1963. Oldham was only nineteen years old, so he partnered with Eric Easton, as he wasn't legally allowed to sign contracts or obtain an agent's license on his own. The arrangement of joint management with Easton came to an end in 1964 over the split of royalties due the band for original songs and his underhanded manipulation of licensing and publishing. Loog Oldham then took the reins of marketing the band alone and in earnest, with an unorthodox and transgressive style that became a template for rock managers thereafter from Led Zep’s Peter Grant to the Sex Pistols’ Malcolm McClaren. It was Loog Oldham who initially pushed them to pursue writing their own songs, rather than sticking with their R&B covers. And although he originally thought to model the band off The Beatles—with whom he had worked before—he instead decided to situate them in opposition to the Fab Four, encouraging a dishelved and heterogenous appearance: to create a group of dangerous-seeming "undesirables," against the The Beatles' safer charms. He orchestrated such press as “Would you let your daughter marry a Rolling Stone?” and when one of the band was nicked for urinating against a gas station wall, even that became a press moment. He carefully curated the band’s image, first by relegating the piano player Iain Stewart to an offstage role (not photogenic enough) and then by pushing Jagger rather than founder Brian Jones to be the front man and face of the group. Loog Oldham also produced most of the classic Brian Jones era Stones albums, including all their iconic mid-60s hits, from "Satisfaction," "Paint it Black," "Get off my Cloud," "19th Nervous Breakdown," etc. From setting the band’s image (album covers photographed by Derek Bailey and longer hair), and courting controversy to insure press coverage to sitting behind the mixing board, Loog Oldham steered the Stones to stardom. It was one of the most enviable and legendary production and management runs in rock. Though he only managed the band until 1967, when they parted ways amidst strained relations, few others exerted such an impact on the band. Without Andrew Loog Oldham's influence and vision, it is arguable if they Stone’s would have made it out of the Crawdaddy Club. PROVENANCE Christie's London, 20 June 2014, lot 105 “…They only wanted exploiting. They were all bad boys when I found them. I just brought out the worst in them.” (ALO. Stoned. St. Martin’s Press, 2001. Pg. 257) “It had never crossed my mind to be a songwriter until Andrew came to me and Mick…” Keith Richards in The Rolling Stones in Their Own Words.

View 1 of Lot 55: The Rolling Stones | A management contract signed by the Stones and Andrew Loog Oldham

the rolling stones | a management contract signed by the stones and andrew loog oldham

Photographs

PETER BEARD 1938-2020 'KEITH', 1972 A unique object, silver print. Signed, titled and illustrated in black ink and with a contact sheet of images of Keith Richards collaged on the image. Framed. Overall 35.6 x 28 cm (14 x 11 in.) To view Shipping Calculator, please click here

Results for "Keith Richards"