A handful of Hollywood stars exemplified style and elegance (the super-suavity of Cary Grant flexing his cuff links, the pixie chic of Audrey Hepburn), but Diane Keaton went beyond, crafting a personal aesthetic that encompassed not only fashion but photography, interior design, book publishing, film directing, and mixed media. As the title heroine of Woody Allen’s breakthrough rom-com Annie Hall (1977), Keaton introduced a sartorial mashup of silk tie, wool vest, baggy khakis, derby hat, and round specs (she would later market an eyeglass collection)—a signature look that was vintage yet modern, androgynous yet femme, aw-shucks but sophisticated. It was casual wear as collage and it was as a collagist that she found her calling. As a child Keaton snipped pictures out of McCall’s for projects; later, as a cast member of the musical Hair, she scissored away, covering a wall in her dinky one-bedroom apartment with assemblages. Collage can easily spill over into clutter but Keaton had a knack for composition that converted discrete images into a compact panorama. Her fashion, art, and design aesthetic was a minimalist palette of monochrome: tans, creams, and neutrals that, infused with her personality, never turned cold or antiseptic. There was always a sense of play to treat the eyes. Four auctions at Bonhams, presented under the title “Diane Keaton: The Architecture of an Icon,” now offer items from Keaton’s collection of clothes, photographs, furniture, decorative objects, and cinema memorabilia, including the original untitled script for Annie Hall. The first auction is live on June 8 at Bonhams on West 57th Street; the other three auctions are online, ending consecutively on June 9, 10, and 11. In New York, over the 10 days leading up to the live auction, an exhibition of the Keaton collection is on view, an opportunity not only to appreciate her taste but to pay our respects. —James Wolcott