The rarest work according to Schiller is a folded, eight-panel drawing from 1959 titled The Acrobat. Hand-colored by Sendak, he issued it as a Christmas card that year. Only 30 copies were printed, and the publisher Bob Brooks and the artist each received only 15 copies to distribute that year. There are only three copies located on OCLC, and only one copy sold at auction (2014). This copy is from the library of Judy Taylor, Sendak's British editor at The Bodley Head. The panels depict a lone tumbling boy limbering up for the holiday season.
Also featured are until now unavailable rarities of Sendak’s output. A watercolor illustration from 1971, titled Pictures by Maurice Sendak, was created by the artist as an introduction to a pictures portfolio and exhibition at the Society of Illustrators. It shows Wild Things Moishe and Lady in a gallery taking in the portraits of Mickey, Max, and Alligator hanging on the wall. The Credit Crunch no. 1, a study dated 1966-68, is along with The Credit Crunch no. 2 Sendak’s earliest use of Wild Thing-like characters for commercial advertising. Other highlights include original illustrations and rare promotional materials from Really Rosie, Little Bear, and Higglety Pigglety Pop.
Sendak’s love of the stage also led him to create sets, illustrations and advertisements for his favorite houses, productions, and troupes, including his work for the New York City Opera (1982’s season included Candide and Hamlet), Tchaikovsky's Nutcracker (1996), Prokofiev's The Love for Three Oranges (1981) and more.