Discover our selection books of <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/art-book?Book%20Subject=Art" rel="noopener noreferrer" target="_blank">art</a> and design from out of print, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/art-book?Book%20Special%20Feature=Signed" rel="noopener noreferrer" target="_blank">signed</a>, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/art-book?Book%20Special%20Feature=First%2520Edition" rel="noopener noreferrer" target="_blank">first edition</a> and <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/art-book?Book%20Subject=Ephemera" rel="noopener noreferrer" target="_blank">ephemera</a>. Browse art history, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/art-book?Book%20Subject=Photographs" rel="noopener noreferrer" target="_blank">photography</a>, and <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/art-book?Book%20Subject=Music" rel="noopener noreferrer" target="_blank">music</a>, and artists such as <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?creators=Andy%2520Warhol" rel="noopener noreferrer" target="_blank">Warhol</a>, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?creators=Keith%2520Haring" rel="noopener noreferrer" target="_blank">Keith Haring</a>, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?creators=Jean-Michel%2520Basquiat" rel="noopener noreferrer" target="_blank">Basquiat</a>, and <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?creators=Man%2520Ray" rel="noopener noreferrer" target="_blank">Man Ray</a>. Also, find&nbsp;books by <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?creators=TASCHEN" rel="noopener noreferrer" target="_blank">TASCHEN</a> and other <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Type=Art%2520and%2520Design&amp;Book%20Subject=Luxury%2520Contemporary%2520Books" rel="noopener noreferrer" target="_blank">contemporary luxury books</a>.

Visual Art Books

First Editions

Contemporary Books

Signed

Photography

Ephemera

Art & Design Books

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> edition of Florilege Des Amours De Ronsard by <a href="https://www.sothebys.com/en/search?Book%20Type=Signed%2520and%2520Inscribed&amp;query=Henri%20Matisse&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Henri Matisse</a>.<ul><li>Henri Matisse (French).</li><li>Paris:&nbsp;Albert Skira,&nbsp;1948.&nbsp;</li><li>Quarto.</li><li>Signed by both Matisse and Skira.</li><li>Limited Edition, number 262/320.</li><li>Incomplete, lacking 17 quires, comprising 68 pages and numerous lithographs.</li><li>Housed in publisher's folder with purple suede spine within publisher's slipcase designed by Matisse.</li><li>In original printed wrappers with glassine.</li></ul>

Florilege Des Amours De Ronsard

This SUMO-sized retrospective celebrates&nbsp;David Bailey, one of the world’s most influential photographers&nbsp;and the culmination of&nbsp;portraits from the 1950s to the 2010s. Discover some&nbsp;300 subjects&nbsp;as varied as Nelson Mandela, the Beatles, the Queen,&nbsp;Salvador Dalí, Bill Gates and Yves Saint Laurent.<ul><li>David Bailey (English).</li><li>Edited by Benedikt Taschen (German).</li><li>Francis Hodgson (English).</li><li>Bookstand designed by Marc Newson (Australian).</li><li>Köln:&nbsp;Taschen, 2019.</li><li>440 pages.</li><li>Hardcover.</li><li>Included with the signed print&nbsp;Andy Warhol, 1965, 20 x 24 in., fiber-based silver gelatin on Ilford paper.</li><li>Edition of 75.</li><li>Numbered and signed by Bailey.</li><li>Accompanied by bookstand&nbsp;and a set of four book jackets featuring John Lennon and Paul McCartney, Jean Shrimpton, Mick Jagger and Andy Warhol.</li></ul>

David Bailey: Art Edition

The most up to date edition of the <a href="https://www.sothebys.com/en/search?query=Jean-Michel%20Basquiat&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Jean-Michel Basquiat</a> catalogue raisonné, released in 2010.&nbsp;<ul><li>Sold as a set of 3 volumes.</li><li>After Jean Michel Basquiat (American, 1960-1988).</li><li>Contributors: Bruno Bischofberger, Richard D. Marshall, Tony Shafrazi, Achille Bonito Oliva, Glenn O’Brien, John Cheim, Pierre Cornette de Saint Cyr, Diego Cortez, Ouattara, Demosthenes Davvetas, Johnny Depp, Annina Nosei, Jean-Louis Prat, Herbert and Lenore Schorr, Michael Ward Stout, Robert Farris Thompson, Larry Warsh.</li><li>New York/Paris: Tony Shafrazi Gallery and Galerie Enrico Navarra, 2010.</li><li>Third edition.</li><li>Hardcover.</li><li>Includes an appendix not included in past editions.</li><li>Volume 1: 376 pages; Volume 2: 312 pages; Appendix: 64 pages.</li><li>Sealed within its original slipcase.</li></ul> The appendix includes updates and information about newly added works, plus installation photos from Basquiat’s 2010 exhibition at Fondation Beyeler as well as an introduction written by Enrico Navarra and an essay by Achille Bonito Oliva; with further texts by Johnny Depp, Richard D. Marshall, Diego Cortez, Annina Nosei, Glenn O’Brien, Bruno Bischofberger, and other notable Basquiat scholars. Jean-Michel Basquiat’s dramatic life and iconic paintings—which variously feature obsessive scribbling, enigmatic symbols and diagrams, and iconography including skulls, masks, and the artist’s trademark crown—make him one of the most famous artists of the 20th century. The self-taught painter embraced graffiti before committing to a studio practice. He found a mentor and friend in Andy Warhol, who helped the young artist navigate the 1980s New York art world. Across his oeuvre, Basquiat drew on his own Caribbean heritage; a convergence of African American, African, and Aztec cultural histories; classical themes; and pop cultural figures including athletes and musicians. The immediacy and intellectual depth of his paintings won him widespread acclaim both before and after his untimely death at the age of 27. Basquiat’s paintings now belong in the collections of the Museum of Modern Art, the Museum of Contemporary Art, Los Angeles, the Whitney Museum of American Art, and the Metropolitan Museum of Art, among others. In 2017, Basquiat’s Untitled (1982) notched $110.5 million at auction and became the most expensive artwork by an American artist to ever be sold.

Jean Michel Basquiat Catalog Raisonne

Sensual, artistic and cerebral, this volume pairs Norman Mailer's classic book&nbsp;Marilyn&nbsp;with Bert Stern's&nbsp;provocative “last sitting” portfolio&nbsp;to trace the complexity and the allure of an incomparable screen siren.&nbsp;<ul><li>Norman Mailer (American, 1923-2007).</li><li>TASCHEN, 2011.</li><li>Combines the author’s masterful text with Stern’s penetrating images of the 36-year-old Marilyn.&nbsp;</li><li>Numbered and signed by Stern.</li><li>Edition of 1,712 (No. 251–1,962).</li><li>Hardcover in clamshell box, 278 pages.</li></ul>

Marilyn Monroe

Andy Warhol: The Thirteen Most Wanted Men (Dossier No. 2357) screen print and exhibition catalog, signed by the artist.<ul><li>Paris: Galerie Ileana Sonnabend, 1967.</li><li>Staple-bound exhibition catalog contains six text leaves and one black-and-white screen print.</li><li>Signed by Andy Warhol in four places: On the front cover, on the John Joseph screen print, inside the flap and on the back cover.</li><li>Published on the occasion of the exhibition Andy Warhol: The Thirteen Most Wanted Men, held in April 1967 at Galerie Ilena Sonnabend, Paris.</li></ul>

Andy Warhol: The Thirteen Most Wanted Men (Dossier No. 2357) Screen-Print & Exhibition Catalog

An issue of <a href="https://www.sothebys.com/en/search?query=New%20York%20Times&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">The New York Times</a> Magazine featuring <a href="https://www.sothebys.com/en/search?query=Basquiat&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Jean Michel Basquiat</a>, published in 1985.<ul><li>Basquiat article by Cathleen McGuigan.</li><li>Photo by Lizzie Himmel.</li><li>New York: The New York Times Company, 1985.</li><li>This February 10th, 1985 edition is famously entitled “New Art, New Money: The Marketing of an American Artist."</li></ul> This much iconic cover photo features Basquiat at his most critical turning point - one in which, the grandeur and height of his success is brought into marked contradiction by an expression defined by a wary, slightly tired defiance; as if he's already begun to perceive all the further judgements and trappings of a notorious 1980's New York art world - a pivotal force in the artist's meteoric rise and fall. A definitive and much historical Basquiat collectible made for any dedicated collector of the artist.

The New York Times Magazine: New Art, New Money Basquiat Issue

Inscribed copy of Frankenthaler from the painter to the noted art historian Charles Moffett.<ul><li>Helen Frankenthaler (American).</li><li>Text by Barbara Rose (American).</li><li>Designed by Robert Motherwell (American).</li><li>New York:&nbsp;Abrams,&nbsp;[1970].</li><li>Square quarto.</li><li>272 pp. with 205 illustrations, including 54 full-color plates.</li><li>Bound in cloth printed with a Frankenthaler work made just for this publication, in clear mylar dust jacket.</li></ul> Designed by Frankenthaler's husband, the great abstract expressionist, Robert Motherwell. This copy inscribed to the art historian and curator Charles Moffett: "For Charles and Jane, Congratulations! Happy days, Fond thoughts, Sincerely, Helen Frankenthaler, Sept '79" with a scrap of kraft paper with Frankenthaler's return address tipped in to the front free endpaper in her hand.

Frankenthaler

Araki is an artist who reacts strongly to his emotions and uses photography to experience them more fully.<ul><li>Nobuyoshi Araki (Japanese, b.1940).</li><li>TASCHEN, 2002.</li><li>Araki pares down&nbsp;decades’ worth of images&nbsp;to some&nbsp;1‚000 exemplary photographs, the&nbsp;ultimate personal retrospective&nbsp;to his prolific, controversial oeuvre to date.</li><li>Numbered and signed by Araki.</li><li>Edition of 2,500.</li><li>Hardcover in clamshell box, 636 pages.</li></ul>

Araki

First edition, signed copy of Holy Cats privately published by Warhol while still a commercial artist.<ul><li>Andy Warhol (American).</li><li>[New York]:&nbsp;[privately printed],&nbsp;[1954].</li><li>Illustrated with 21 offset lithographs.</li><li>Octavo.</li><li>Signed by Warhol with hand-drawn copyright symbol.</li><li>Illustrated dust jacket.</li></ul>

Holy Cats by Andy Warhol's Mother

A complete eleven-issue run of one of the greatest publications to emerge from the mid-century experimental music scene.<ul><li>Sold as a set of 11 numbers in 10 volumes.</li><li>Davis and Sacramento CA: Composer and Performer Edition, 1967-1973.</li><li>Printed offset throughout on various paper stocks, with numerous custom elements: die-cut and folded sheets, glassine inserts and a variety of tipped-in items.</li><li>Bound in the original spiral-bound pictorial wrappers all, issues 7/8 printed tete beche.&nbsp;</li></ul> Elaborately produced and edited by Larry Austin (UC-Davis instructor and director of its New Music Ensemble), SOURCE aimed not only to document the experimental music scene that centered primarily on the West Coast (Mills College, etc.), but to expand the very idea of the musical score: "Our idea of a 'score' is broad. To us it is transcribed information about the composer's music-making process and contains a way of imparting this information to those who might recreate the composition" (Austin, issue 1). Much like frequent contributor John Cage's 1969 book Notations, SOURCE argued in part that the score should be viewed as much as a visual art as a musical one. This was reflected in the magazine's production: a Dick Higgins score riddled with actual bullet holes, John Cage's "Not Wanting to Say Anything About Marcel" printed in color on glassine, and perhaps most infamously Nelson Howe's "Fur Music," which utilized actual tipped-in fur swatches and included the instruction "to focus attention on the exploration of the tactile qualities of fur, but with the added requirement that the tactile sensation be *heard*." Contributors across the run include: John Cage, Toshi Ichiyanagi, Harry Partch, David Tudor, Morton Feldman, Robert Ashley, Pauline Oliveros, Dick Higgins, Nam June Paik, Steve Reich, Harold Budd, Lejaren Hiller, Max Neuhaus, Larry Austinm, among many others.

SOURCE: Music of the Avant Garde Collection

A first-edition copy of the catalog for Keith Haring's exhibit at Tony Shafrazi Gallery, featuring the iconic neon Haring Three Eyed Smiling Face cover.<ul><li>Forward by Tony Shafrazi (American).</li><li>Includes texts by Keith Haring, Jeffrey Deitch, Robert Pincus-Witten and David Shapiro.</li><li>Includes photographs of Haring's subway drawings by Haring’s close friend Tseng Kwong Chi.</li><li>Designed by Dan Friedman.</li><li>New York: Tony Shafrazi Gallery, 1982.</li><li>144 pages.</li><li>Softcover.</li><li>Includes 15 double-sided lithographic inserts.</li><li>Part of a limited edition of 2,000 copies.</li><li>Metal wire bound.</li></ul>

Keith Haring at Tony Shafrazi Gallery Catalog

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition" rel="noopener noreferrer" target="_blank">first edition</a> <a href="https://www.sothebys.com/en/search?query=exhibition%20catalog&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">exhibition catalog</a> pamphlet for <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>'s Musee d’Art Moderne de la Ville de Paris solo exhibition in 1970.<ul><li>Andy Warhol (American).</li><li>Paris: Musee d’Art Moderne, 1970.</li><li>Text by Alfred Pacquement.</li><li>Features&nbsp;Pink Cow&nbsp;cover and portrait of the artist.</li><li>Text in French.</li><li>Single sheet folded accordion style into 12 pages, including exhibition checklist.</li></ul>

Andy Warhol Musee d’Art Moderne Exhibition Pamphlet

Announcement card and catalog for Keith Haring's Memorial Exhibition at Tony Shafrazi Gallery in New York, 1990.<ul><li>New York: Tony Shafrazi Gallery.</li><li>Softcover catalog is 44 pages.</li><li>Catalog is part of an edition of 2,000.</li><li>Includes illustrations in both color and black and white, and an introduction by Tony Shafrazi.</li><li>Announcement card is offset printed on heavy cardstock.</li></ul>

Keith Haring Memorial Exhibit Announcement Card and Catalog

<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/sothebys-&amp;-abbeville-press-capsule-libraries" rel="noopener noreferrer" target="_blank">Sotheby's &amp; Abbeville Capsule Libraries</a>&nbsp;present a curated selection of Abbeville Press books from the personal archive of publisher Bob Abrams, in conjunction with&nbsp;Art without Boundaries: The Abrams Family Collection. The&nbsp;International Vanguards Collection&nbsp;is sold as a set of 5 books on art and design, including the following titles: <ul><li>Arman.</li><li>Arman (French-American).</li><li>Jan Van der Marck (Dutch-American).</li><li>New York: Abbeville Press, 1984.</li><li>First edition, out of print.</li><li>128 pages.</li></ul> <ul><li>Komar &amp; Melamid.</li><li>Carter Ratcliff (American).</li><li>Artwork by Vitaly Komar and Alexander Melamid.</li><li>New York: Abbeville Press, 1989.</li><li>First edition, out of print.</li><li>208 pages.</li></ul> <ul><li>Making Their Mark: Women Artists Move Into Mainstream 1970-85.</li><li>Randy Rosen and Catherine Coleman Brawer.</li><li>New York: Abbeville Press, 1989.</li><li>First edition, out of print.</li><li>300 pages.</li></ul> <ul><li>The New Image: Painting in the 1980s.</li><li>Tony Godfrey (English).</li><li>New York: Abbeville Press, 1986.</li><li>First edition, second printing, out of print.</li><li>160 pages.</li></ul> <ul><li>Seductive Subversion: Women Pop Artists 1958-1968.</li><li>Edited by Sid Sachs and Minioudaki Kalliopi.</li><li>New York: Abbeville Press, 2010.</li><li>First edition, out of print.</li><li>248 pages.</li></ul>

International Vanguards Collection

First edition, illustrated copy of Apollinaire's work on cubist painters inscribed by Motherwell.<ul><li>Guillaume Apollinaire (French).</li><li>The Cubist Painters: Aesthetic Meditations, 1913.</li><li>New York:&nbsp;Wittenborn and Company,&nbsp;1944.</li><li>[36]pp.</li><li>Inscribed by Robert Motherwell to his architect Pierre Chareau.</li></ul> Motherwell was the general editor of documents of modern art, and he has inscribed this copy to a noted French architect and his wife, "For Dollie &amp; Pierre Chareau (1883–1950)/ with affectionate respect/ Robert Motherwell/ NYC/December 1944." Chareau had fled France to Morocco and then to the USA. In the late 1940s, Chareau completed two architectural projects in the United States. One was a house and studio for artist Robert Motherwell in East Hampton, Long Island.

The Cubist Painters Inscribed by Robert Motherwell

Finely bound and illustrated set of Bryan's Dictionary of Painters and Engravers compiled by Williamson.<ul><li>Sold as a set of 5.</li><li>George C. Williamson (British).</li><li>London:&nbsp;G. Bell &amp; Sons, Ltd.,&nbsp;1918.</li><li>Bound in three-quarter purple morocco and linen boards, bordered in gilt-tooling, spines display raised bands, panel details and label lettering, all gilt-tooled, top edges are gilded with marbled endpapers.</li></ul>

Bryan's Dictionary of Painters and Engravers

The iconic modernist book, signed by Matisse, is one of the great editions of one of the great books.<ul><li>James Joyce (Irish).</li><li>Illustrations by Henri Matisse (French).</li><li>Introduction by Stuart Gilbert (English).</li><li>New York:&nbsp;The Limited Editions Club,&nbsp;1935.</li><li>363, [1] pages.</li><li>Illustrated with six etchings and 20 tipped-in drawings on blue and yellow paper.</li><li>Limited edition of 1,500 numbered copies signed by Matisse, this being number 1,264.</li><li>Bound in original brown Bancroft buckram with gilt globe stamped to front board.</li><li>Housed in a custom quarter leather over black cloth archival clamshell box with gilt title spine.</li></ul> Joyce's masterpiece, in the deluxe edition published after the 1933 landmark ruling in the case of United States v. One Book Called Ulysses. Eleven years after the book's initial publication, a US court affirmed that in the matter of obscenity, One Book Called Ulysses had soundly defeated the United States, and immediately thereafter, Limited Editions Club founder George Macy began to plan what would be a monumental achievement: a landmark among Matisse's livres d'artiste, reproducing his preparatory drawings alongside the final soft-ground etchings; the only illustrated Ulysses with an introduction that Joyce allowed to be published; and the most accurate text of the novel published in the US until 1961. In the early days of the project, believing that the artist "[knew] the French translation very well" and only wanted for an idea of the Irish context, Joyce proposed to send him an illustrated Dublin Weekly of 1904 for visual reference. But Matisse had no interest in the specificities of Ireland, and, though his drawings were organized around the Odyssey itself, barely more interest in the specificities of Greece (the two struggling women of his "Calypso," Hillary Spurling suggests, were "an image that had more to do with the artist's own home life that summer than with either Joyce or Homer"). Seeing the sample drawings, George Macy began to plea for some connection, any connection between image and text: "While we understand, and admire, the idea by which the plates are to be illustrative of Homer's Odyssey, it is essential that the incidents of the Odyssey which are illustrated must also make reference to incidents in Joyce's book." This was no way to speak to a great artist. Matisse responded by matching his drawings to individual chapters without explanation, saying only that they represented "reactions of my mind before Joyce's work" and, by the way, "Mr. James Joyce, who knows about the way I am illustrating his book, quite agrees with me on it." This would perhaps have been news to Mr. James Joyce, whose best-known comment on the finished product was: "If they had been signed L.J. [Lucia Joyce] instead of H.M. people would have had a different tale to tell. I am only too painfully aware that Lucia has no future but that does not prevent me from seeing the difference between what is beautiful and shapely and what is ugly and shapeless. As usual I am in a minority of one." Setting aside Joyce's opinion, Matisse's work may be viewed as conceptually linked to his own: not illustrations in any conventional sense, but a parallel artistic project, a second great modernist manipulation of the Odyssey. Another plausible interpretation of Matisse's drawings understands them as a response not to the text but to "the critical apparatus that developed around the novel during the 1930s" (Brown), and specifically to Stuart Gilbert's perceptive introduction. As for contemporary reception, members of the Limited Editions Club expressed one of three reactions: A vile book, dressed up with great art; a great book, ruined by "crackpot drawings"; or a magnificent work, the expression of "perfect rapport among author, illustrator and designer." The third judgment has held up quite well. Luca Crispi, "A French Homer in America: James Joyce, Henri Matisse, and the Limited Editions Club "Ulysses;" Willard Goodwin, "A Very Pretty Picture M. Matisse But You Must Not Call It Joyce": The Making of the Limited Editions Club "Ulysses"; Kathryn Brown, Matisse's Poets: Critical Performance in the Artist's Book.

Ulysses

A finely bound copy Zoologia Britannica.<ul><li>Thomas Pennant (English).</li><li>Etched by P. Mazell after P. Paillou and others.</li><li>Zoologia Britannica tabvlis aeneis CXXXII illvstrata.</li><li>Augsburg: Johan Jacob Haid und Sohn, 1771.</li><li>Large folio.</li><li>132 hand-colored etched plates (11 of mammals, 121 of birds).</li><li>Title and text in Latin and German.</li><li>Uncut in contemporary calf-backed marbled boards.</li></ul>&nbsp;The first colored illustrations of birds in a book which attempted to list and portray all of the British species, many of them life-size. The birds are divided into land birds and water birds, and under each species some synonyms and references to the literature are given, to which are added a brief description and remarks on the habit of the bird. The English edition was published 1761-1766.

Zoologia Britannica

A&nbsp;limited edition, signed and numbered Annie Leibovitz&nbsp;SUMO,&nbsp;presenting&nbsp;some of the most famed actors, musicians, artists, writers, athletes and business people of our time.&nbsp;<ul><li>Annie Leibovitz (American).</li><li>Bookstand designed by Marc Newson (Australian).</li><li>Köln:&nbsp;Taschen, 2014.</li><li>476 pages.</li><li>Bound in leather hardcover.</li><li>Art Edition (No. 1–1,000), edition of 1,000.</li><li>Eight foldouts.</li><li>Archival pigment print&nbsp;"Keith Haring" (contact sheet),&nbsp;New York City,&nbsp;1986,&nbsp;signed by Leibovitz and produced by fine art printer David Adamson in Washington.</li><li>Presented with full set of all four covers and bookstand.</li></ul>

Annie Leibovitz: Art Edition

A typed letter from Motherwell on Spanish politics and art.<ul><li>Robert Motherwell (American).</li><li>Signed “Robert Motherwell,” to Nancy Macdonald of Spanish Refugee Aid Inc. of NY.</li><li>909 North Street, Greenwich, CT:&nbsp;March 31, 1980.</li><li>Two pages on letterhead.</li><li>Presented in brown cloth chemise.</li></ul> Lengthy typed letter with content concerning Motherwell’s uneasy negotiation of Spanish politics and art. In 1980, the Juan March Foundation and the Catalan bank La Caixa organized the first exhibition of Motherwell’s work in Spain. His series of works titled Elegies for the Spanish Republic, begun in 1949 and continued until his death in 1991, totaled more than 170 works and would strongly link the artist with anti-Francosim and the lost Spanish Republic. However, as this letter demonstrates, in person, Motherwell maintained a professional, neutral stance, and seemed to have trouble engaging the Spanish in any political conversation. Reading, in part:“I didn’t realize at the time of the New York Times announcement that, though the Juan March Foundation originated the show, in Barcelona it was under the auspices of the largest savings bank in Catalonia, ‘la Caixa,’ at a small museum they have acquired. If I understand correctly, it is either Spanish or certainly Catalonian law that such a bank must spend 50% of it’s annual profits on culture … The Jaun March Foundation, as far as I can tell, is almost an exact equivalent of the J.S. Guggenheim Foundation here … They seem extremely wealthy, honorable in intent, and highly efficient — I mean an almost IBM-corporate efficiency, shattering every cliché about ‘mañana’ (what is ironic is that the fabulously wealthy Juan March was the financial backer of Franco, and yet in my show are major ‘Elegies to the Spanish Republic.’). My impression, for what it’s worth, is that there’s a kind of understanding that anything scholarly or artistic can be done as long as one stays away from partisan politics. For instance, Barcelona insisted that I be present and treated me beautifully, while the Juan March people [from Madrid] had implied that it wasn’t necessary to go to Barcelona, and immediately descended on the scene. As you know, there are tremendous Separatist movements in Spain …&nbsp; Being a fish swimming in foreign waters, I asked various people who know the scene what to do, and the concensus [sic] is that it is a Spanish labyrinth that is *their* problem … Naturally my own interest is in the artistic community, which seems both aware and touched by any outside support. But my experience in Barcelona was (as in Germany, for example) that political discourse is conspicuous by its absence in any general conversation … Everything I have said is impressions — I found the Spanish, unlike Latin Hispanics, extremely reserved and discrete, almost like old-time New England Yankees. What lies underneath I really don’t know … I realize I am a bit vague because I really don’t *know* anything. I have been going on the artist in me, which senses tensions, pride and formality, eagerness and extreme vulnerability, and since I am not by nature an activist, I have reacted with thorough professionalism instinctively, which seems to be precisely correct … Naturally I find it both strange and irresistable [sic] to show my Hispanic sympathies under such auspices, but there are unexpected occasions: for instance, I’ve given a small ‘Elegy to the Spanish Republic’ to the University of Salamance (the oldest one in Spain), and they wish to honor me with a ceremony, which I presume the central government is aware of, and I personally somewhat dread, not being an exhibitionist but an exhibitor … In Barcelona, several young artists told me that, after hearing me speak and reading an interview with me, they were determined to leave for New York. In short, my whole experience is basically as an individual with other individuals, as it is here at home, for that matter. (I have stuck with the Guggenheim Foundation because it is the only Foundation that gives exclusively to individuals, *not* institutions.)”

Robert Motherwell Typed Letter To Nancy Macdonald

The complete portfolio of etchings (two more than the regular edition), all signed and numbered by Miró.<ul><li>Joan Miró (Spanish).</li><li>Geneva: G. Cramer, 1977.</li><li>Folio.</li><li>Limited edition, one of 15 copies with two additional etchings, from a total edition of 83.</li><li>Signed and numbered in pencil by Miró on the justification.</li><li>Loose as issued, original printed vellum wrappers designed by Miró, bound in the original printed vellum wrappers, housed in the publisher’s beige cloth with title printed in black.&nbsp;</li></ul> Gualtieri di San Lazzaro was an Italian writer and art publisher. For the majority of his life, he resided in Paris where he published monographs focusing on the work of contemporary French and Italian artists. He was the founder of the periodical XXe Siècle. Angel Juncosa has been on the board of trustees of the Miró Foundation since 1983.

Hommage à San Lazzaro

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?locale=en&amp;Book%20Special%20Feature=Signed" rel="noopener noreferrer" target="_blank">signed</a> <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition" rel="noopener noreferrer" target="_blank">first edition</a> of a <a href="https://www.sothebys.com/en/search?query=Jean-Michel%20Basquiat&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Jean-Michel Basquiat</a> exhibition catalog, from the exhibition at the Gallery Bruno Bischofberger in Zurich from January 19th to February 16th, 1985.<ul><li>Jean Michel Basquiat (American).</li><li>Zurich: Bischofberger Editions, 1985.</li><li>12 full-page color plates (one folding) and a photographic portrait of Basquiat by Jeannette Montgomery.</li><li>Number 173 of an edition of 1000 hand-signed and numbered by Basquiat.</li><li>Hardcover.</li></ul> “Jean-Michel, contrary to what you might think, absolutely did not consider himself a ‘Graffiti Artist.’ He had always seen himself as a Fine Artist, and his influences ranged from Leonardo Da Vinci to Abstract Expressionists like Cy Twombly and Franz Kline” (John Seed). In January 1985, Basquiat enjoyed his first one-artist show, at the Bischofberger Gallery in Zurich. This is the commemorative book of 12 paintings from that show." Jean-Michel Basquiat was an influential African-American artist who rose to success during the 1980s. Basquiat’s paintings are largely responsible for elevating graffiti artists into the realm of the New York gallery scene. His spray-painted crowns and scribbled words referenced everything from his Haitian and Puerto Rican heritage, to political issues, pop-culture icons, and Biblical verse. The gestural marks and expressive nature of his work not only aligned him with the street art of Keith Haring and Kenny Scharf, but also the Neo-Expressionists Julian Schnabel and David Salle. “If you wanna talk about influence, man, then you've got to realize that influence is not influence,” he said of his process. “It's simply someone's idea going through my new mind.” Born on December 22, 1960 in Brooklyn, NY, Basquiat never finished high school but developed an appreciation for art as a youth, from his many visits to the Brooklyn Museum of Art with his mother. His early work consisted of spray painting buildings and trains in downtown New York alongside his friend Al Diaz. The artist’s tag was the now infamous pseudonym SAMO. After quickly rising to fame in the early 1980s, Basquiat was befriended by many celebrities and artists, including Andy Warhol, with whom he made several collaborative works. At only 27, his troubles with fame and drug addiction led to his tragic death from a heroin overdose on August 12, 1988 in New York, NY. The Whitney Museum of American Art held the artist’s first retrospective from October 1992 to February 1993. In 2017, after having set Basquiat’s auction record the previous year with a $57.3 million purchase, the Japanese billionaire Yusaku Maezawa surpassed it, buying the artist’s Untitled (1982) at Sotheby's for $110.5 million. This set a new record for the highest price ever paid at auction for an American artist's work. Today, Basquiat's works are held in the collections of The Museum of Modern Art in New York, the Rubell Family Collection in Miami, and the Museum of Contemporary Art in Los Angeles, among others.

Signed Jean-Michel Basquiat Exhibition Catalog

A signed sheet of Roy Lichtenstein Real Estate inscribed letterhead.<ul><li>Hand-signed and inscribed “thanks” in blue ink by Roy Lichtenstein.</li><li>Offset printed letterhead stationery on woven paper.</li><li>This work is presented matted.</li></ul> “Because if you write to enamel companies [with that on your letterhead] they will take you seriously.”—Roy Lichtenstein, on his letterhead image, 1993 Born in New York, NY, Lichtenstein attended the Art Students League during his teenage years before enrolling at Ohio State University to study art. In 1943, Lichtenstein was drafted into the army, serving for three years before returning to school. In 1949, he received an MFA, and continued to teach and paint in Ohio for several years. His early 1950s works, painted in a European Modernist style, frequently depict uniquely “American” subjects, including scenes of western expansion and an adaptation of Emanuel Gottlieb Leutze’s famous Washington Crossing the Delaware (1871). In the 1960s, Lichtenstein moved to New Jersey to teach at Rutgers University, and began his iconic comic strip works, which marked a distinct break with his previous aesthetic. Lichtenstein was motivated to create works that no one would want to hang on the walls, later commenting, “The one thing everyone hated was commercial art; apparently they didn’t hate that enough, either.” A solo show of such works at the Leo Castelli Gallery in 1962 garnered him critical acclaim and notoriety in the art world. His work continued to incorporate pop culture themes, displaying static images of figures, brushstrokes, landscapes, mirrors, reflections and other subject matter in an ironic style. His later works feature close examinations of illusionism and the representation of reality in art. A very prolific, celebrated and sought-after artist, Lichtenstein created many public sculptures during his lifetime, and his work has been the subject of many retrospectives around the world. He died in New York City in 1997 at 74 years old.

Roy Lichtenstein Real Estate Hand-Signed Letterhead

A first edition, signed Roy Lichtenstein exhibition catalog.<ul><li>Roy Lichtenstein (American).</li><li>Essays by curator John Coplans.</li><li>Pasadena: Pasadena Art Museum, 1967.</li><li>Approximately 64 pages.</li><li>With black and white and color illustrations.</li><li>From a limited edition of 1,700 copies.</li><li>Signed and dedicated by Lichtenstein in ink on the interior first page.</li><li>Includes a transcribed interview with the artist, exhibition checklist, biography, bibliography and exhibition history, and reproductions of more than several 1960s Lichtenstein masterpieces.</li><li>Published on the occasion of: Roy Lichtenstein at the Pasadena Art Museum &amp; Walker Art Center 1967, the artist's first museum retrospective.</li><li>Softcover, cover designed by Lichtenstein.</li></ul>

Roy Lichtenstein Compositions Exhibition Catalog

This SUMO-sized edition is Sebastião Salgado's love letter to the planet, a monumental portfolio of nature, animals and indigenous peoples that reveals the&nbsp;earth in all the precious splendor of its pristine state.<ul><li>Sold as a set of 3.</li><li>Sebastião Salgado (Brazilian).</li><li>Edited by Lélia Wanick Salgado (Brazilian).</li><li>Bookstand designed by Tadao Ando (Japanese).</li><li>Köln:&nbsp;Taschen, 2013.</li><li>704 pages, two volumes.</li><li>Hardcover.</li><li>Edition of 2,500.</li><li>Numbered and signed by Salgado.</li><li>Presented with bookstand.</li></ul>

Genesis

A signed copy of L'Alouette.<ul><li>Joan Miró (Spanish).</li><li>Text by René Char (French).</li><li>Paris: GLM, 1954.</li><li>Small oblong quarto.</li><li>One leaf, unfolded.</li><li>Signed by the author and the artist on the verso.</li><li>Part of a limited edition, one of 30 copies hand-colored by Miró, from a total edition of 100.</li><li>Lithograph heightened with watercolor, pastel and India ink on wove paper.</li></ul>&nbsp;One of 30 copies with original hand-coloring by Miró. This example has extensive additions, with a blue background to the text, the artist’s fingerprints in red and black, ink line drawings to the lithograph, as well as brightly colored dots to the justification. The artist decorated the thirty examples with different illustrations, making them each unique but retained some similar elements such as the red dots and line drawings. René Char and Joan Miró had met during the Surrealist period, but their friendship dated from the post-war years when Miró returned to France. L'Alouette is their third collaborative work. A notably scarce work even for unsigned examples both on the market and institutionally. There are only two copies in libraries, at Yale University and the Bibliothèque Nationale de France.

L'Alouette

Original catalogue pamphlet for Jean-Michel Basquiat's 1982 Rome show at Galleria Mario Diacono, Italy.<ul><li>Rome: Galleria Mario Diacono.</li><li>Part of an unnumbered edition of unknown size.</li><li>Text by gallerist Mario Diacono.</li><li>Published for the occasion of the artist's exhibition from October 23 to November 20, 1982.</li><li>Cardstock pamphlet opens to four panels with red letterpress texts.</li></ul>

Basquiat Rome Pamphlet

As vibrant as her unique visual language, this monograph presents the work of&nbsp;Beatriz Milhazes, the&nbsp;Brazilian painter who fuses modernist abstraction with the colors and light of her native country.<ul><li>Beatriz Milhazes (Brazilian, b. 1960).</li><li>Köln: TASCHEN, 2017.</li><li>With&nbsp;over 280 paintings, an in-depth essay on her work, a long conversation piece, a poetic dictionary of key motifs and a year-by-year biography.</li><li>Numbered and signed by Milhazes.</li><li>Edition of 1,000.</li><li>Hardcover in clamshell box, 480 pages.</li></ul> The large-scale geometric paintings of Beatriz Milhazes are a marriage between European and Brazilian Modernism, and she is considered Brazil’s most successful contemporary painter.&nbsp;&nbsp;Born in Rio de Janeiro, Milhazes was fascinated with décor, fashion and geometry in a time where there was little exposure to contemporary painting. She studied art at Escola de artes visuais do Parque Lage in the early ’80s, calling herself a geometric abstractionist, and influenced by Matisse, Mondrian and Tarsila do Amaral.&nbsp;&nbsp;&nbsp;She has developed a unique brushstroke-free method of applying paint to canvas by applying acrylic motifs onto sheets of plastic before transferring them to the canvas and peeling off the plastic, leaving the shape behind like a decal. Layering the canvas with swirling, overlapping images, she creates lush paintings that are richly saturated and wildly imaginative, yet remain deceptively complex.&nbsp;&nbsp;After an invitation to show her work at Carnegie International in 1995, Milhazes’ career expanded internationally. In 2012, her Meu Limão (2000) was auctioned at Sotheby’s for $2.1 million, making it the highest-priced artwork from a living artist in Brazil. Milhazes’ work has been exhibited at the Guggenheim in NYC, MoMA and Musée d’Art Moderne de la Ville de Paris, among others.

Beatriz Milhazes

From mirrors as canvases to computer paintings,&nbsp;this is the definitive monograph of Albert Oehlen's work to date.<ul><li>Albert Oehlen (German, b. 1954).</li><li>TASCHEN, 2009.</li><li>Covers the entire scope of Oehlen's career with discussions by contributing authors Robert Ohrt, Klaus Kertess, Martin Prinzhorn and John Corbett.</li><li>Numbered and signed by Oehlen.</li><li>Edition of 1,000.</li><li>Hardcover in clamshell box, 660 pages.</li></ul> Paintings by Albert Oehlen are an enigmatic commentary on Neo-Expressionism from the 1980s. Tearing down the old rules, his kitchen sink approach has created vibrant new forms that are exciting reinterpretations of the work he was inspired by.&nbsp;&nbsp;Born in Krefeld, Germany, Oehlen studied at Hochschule für bildende Künste Hamburg and liaised with artistic circles in Germany and Cologne before his work rose to prominence in the ’80s. Associating with the Junge Wilde artists, he defied categorization, deconstructing the process of painting to the basics of color, movement and gesture, and building a new order of abstract painting that imposed rules such as working only in gray paint or primary colors.&nbsp;&nbsp;&nbsp;Oehlen is also known for site-specific installations, often complemented with live music from avant-garde bands. He experiments with computer-generated technologies, blending Expressionist brushwork, the surrealism of Dalí and John Graham and intentional amateurism. The result is at once ghostly, industrial and unexpected, a Pandora’s box of techniques with endless combinations and interpretations. His first major NYC exhibition was in 2015 at the New Museum on the Lower East Side, and in 2019, his Self-Portrait with Empty Hands was auctioned at Sotheby’s for over $7.5 million.&nbsp;

Oehlen

A limited edition, signed copy of Revolving Doors by Man Ray.&nbsp;<ul><li>Man Ray (American).</li><li>Turin: Luciano Anselmino, 1972.</li><li>Large folio.</li><li>Complete portfolio of 10 pochoir prints.</li><li>Signed and numbered by the artist on the justification.</li><li>Part of an edition of 100 copies on Velin d’Arches paper.</li><li>Prints loose as issued and unbound in plain wrappers, in the original black cloth solander box with "Man Ray" on the spine.</li></ul>&nbsp;Man Ray created a series of collages of geometric shapes titled Revolving Doors between 1916 and 1917. They were included in his third solo show at the Daniel Gallery in New York and were installed on a rotating pole that the viewer could spin, bringing the machine-like anthropomorphic forms to life. The original collages were destroyed, but he later reproduced them in this series of pochoirs, also including the explicative text which originally accompanied each work.

Revolving Doors

Depictions of birds seen by hunters in the wild.<ul><li>Roland Clark (American).</li><li>New York:&nbsp;The Derrydale Press,&nbsp;1938.</li><li>Folio.</li><li>First edition, no. 22 of 50 copies with two original signed etchings, and 69 reproductions of Clark's work.</li><li>Original three-quarter brown morocco gilt, raised bands, marbled boards, black leather spine labels with gilt lettering and rules, t.e.g., marbled endpapers, binding signed by James MacDonald.</li><li>Small label of the Sporting Gallery and Bookshop.</li><li>Crimson morocco backed drop box stamped in gilt, by European Bookbinders.</li></ul> Inscribed on the half-title: “For Dr. Shepard Krech / Good Ducks--&amp; Good Shooting / Roland Clark / X-11-38”. Rare in any event, and especially so in the original box, which Frazier does not illustrate and apparently had not seen, noting only that “Siegel states that the Deluxe edition is boxed.” Siegel also writes: “Roland Clark's Etchings is one of the finest works produced on an American sporting artist.” A gem copy of a superb book, the largest of the Derrydales.

Roland Clark's Etchings

A portfolio of the Chinese paintings in the collection of the Museum of Fine Arts in Boston.<ul><li>Boston:&nbsp;Museum of Fine Arts,&nbsp;1961.&nbsp;</li><li>178 loose plates.</li><li>Includes two 30-page paperback catalogs of the plates, one in English and one in Chinese.</li><li>Housed in folio-sized tan cloth folding case.</li></ul>

Portfolio Of Chinese Paintings In The Museum

Basquiat executed this one line poem circa 1982 while living with a noted Gray bandmate.<ul><li>Single page removed from notebook.</li><li>The line reads: "SOME BORING HARBOR / CAMERAS MILD SUSPENCE."</li><li>Ink on paper.</li><li>Obtained directly from a prominent Basquiat Gray band member whose typewritten prose appears on the reverse.</li><li>Accompanied by a signed letter of provenance from the aforementioned.</li></ul> Here, Basquiat begins to play with the idea of beginning a screenplay, with the work’s empty space and liner notes leaving us to surreally fill in the blanks. The work further echoes Basquiat’s one-line street poems during his (earlier) SAMO period and famed notebook entries, not to mention his interest in beat poetry and fragmented prose scenarios mirroring the style and influence of William S. Burroughs. During the very early part of his career, Basquiat also experimented with screenwriting.

Handwritten One Line Poem

A collector's edition of Linda McCartney: Life In Photographs, <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Subject=Autographed%2520and%2520Signed%2520Material" rel="noopener noreferrer" target="_blank">signed</a> by <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>.<ul><li>Linda McCartney (American).</li><li>Germany: TASCHEN, 2011.</li><li>Signed by Paul McCartney.</li><li>Numbered 673 of 750 copies.</li><li>Hardcover book housed in a clamshell box.</li></ul>

Linda McCartney: Life In Photographs

Set of Harry Potter Page to Screen: The Complete Filmmaking Journey.<ul><li>Sold as a set of 10.</li><li>Bob McCabe (English).</li><li>Jody Revenson (American).</li><li>Moira Squier (American).</li><li>Harry Potter: Page to Screen; The Creature Shop Compendium: Flora and Fauna from the Harry Potter Films; Environments Envisioned: Building Fantastic Sets and Scouting Dramatic Locations; A Guide to the Graphic Arts Department: Posters, Prints, and Publications from the Harry Potter Films; Movie Magic: Practical Props and Exciting Effects; The Paintings of Hogwarts: Masterpieces from the School of Witchcraft and Wizardry Sets; Ten Years Later: Life on Set with the Harry Potter Cast and Crew; Wizard Wear and Muggle Attire: Costuming the World of Harry Potter.</li><li>New York: HarperCollins, (2011).</li><li>Limited edition of 3,000, this being number 519.</li><li>Includes a replica of The Monster Book of Monsters film prop.</li><li>Includes a gilded portfolio of five frame-able prints of original Harry Potter concept art.</li><li>Cloth-bound volumes.</li><li>All volumes housed in a cloth-covered case.</li></ul>

Harry Potter Page to Screen: The Complete Filmmaking Journey

<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>, second issue of <a href="https://www.sothebys.com/en/search?locale=en&amp;query=Man%20Ray&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Man Ray</a>'s extraordinary first monograph — association copy inscribed to friend and muse Joella Bayer, whose portrait appears in the book.<ul><li>Man Ray (American).</li><li>Texts by André Breton, Paul Eluard, Rrose Sélavy, and Tristan Tzara.</li><li>Preface by Man Ray.&nbsp;</li><li>Hartford, Connecticut: James Thrall Soby, (1934).&nbsp;</li><li>Frontispiece portrait of Man Ray by Picasso.</li><li>104 heliogravures.</li><li>Inscribed by Ray to Joella Bayer on the inside of the front cover: "For Joella / Man Ray."&nbsp;</li><li>Additionally signed below by her husband Herbert Bayer, with his thumbprint.&nbsp;</li><li>Text in English and French.&nbsp;</li><li>Original color photographic wrappers with plastic comb binding.</li></ul> "Seized in moments of visual detachment during periods of emotional contact, these images are oxidized residues, fixed by&nbsp;light and chemical&nbsp;elements, of living organisms." — Man Ray Man Ray's photobook of "sensuous, often dreamlike" photographs and rayographs, inscribed to Joella Bayer, daughter of poet and artist Mina Loy and wife of designer and photographer Herbert Bayer (whose signature and thumbprint are also present). Joella Bayer knew Ray most of his life, having been introduced to the artist by her mother in Paris in the 1920s and then growing closer through her first husband, the gallerist Julien Levy, who frequently exhibited Ray. Ray portrayed or photographed Joella Bayer a number of times during his life, most famously in this book, where her solarized portrait appears as plate 47. Arranged in five thematic sections, Photographs includes laudatory essays and poems from Ray's surrealist contemporaries André Breton, Paul Éluard, Rrose Sélavy [Marcel Duchamp], and Tristan Tzara marking the divisions. Stated "Second Edition" (as almost all copies are); in fact it is the second issue of the first edition, mislabeled in an attempt "to generate demand where none existed by suggesting the edition had sold out. After replacing the title pages of these copies with one stating second edition, [the publisher] returned them for sale" (Roth 80).

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Henri Matisse

TASCHEN, David Bailey

After Jean-Michel Basquiat

TASCHEN, Norman Mailer

Andy Warhol

Helen Frankenthaler

Nobuyoshi Araki, TASCHEN

Andy Warhol

Keith Haring

Andy Warhol

After Keith Haring

Various Authors

Apollinaire, Guillaume

Henri Matisse, James Joyce

Thomas Pennant

Annie Leibovitz, TASCHEN

Robert Motherwell

Joan Miró

Jean-Michel Basquiat

Roy Lichtenstein

Roy Lichtenstein

Sebastião Salgado, TASCHEN

Joan Miró, René Char

Beatriz Milhazes, TASCHEN

Albert Oehlen, TASCHEN

Man Ray

Roland Clark

Jean-Michel Basquiat

TASCHEN, Linda McCartney

J.K. Rowling, Bob McCabe, Jody Revenson, Moira Squier

Man Ray