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Supplied in black wood frame with window mount cut to show signature and number and with uv filtered art glass. The print is framed, in inventory and ready to deliver. Limited edition of 500, signed/numbered by Sir Peter Blake, made by Coriander Studios on 410gsm Somerset Cotton archive paper, Apple logo embossed in the bottom margin, image 19.5 x 19.5 inches. Framed dimensions 28.5 x 29.5 inches.
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The Sandinista! LP cover photograph (1980) An archivally processed silver gelatin photograph made by hand in the darkroom from Pennie Smith's original negative on 16x20 inch paper, signed on the front under the image area by Pennie Smith. On this original photograph you can see the West Ham graffiti that was removed from the actual Sandinista! LP cover artwork. Pennie Smith photographed the group behind Kings Cross/ St Pancras Station in London. The group had recently finished shooting a video for 'The Call Up', and Mick Jones is still wearing the helmet he wore for the filming.
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Archival silver gelatin photograph made by hand in the darkroom from the original negative on 16 x 20 inch (40x50cm) paper, signed by Pennie Smith on the front under the image. Price is shown for an unframed photograph excluding VAT. The classic London Calling album cover photograph. It is one of the most famous photographs in the history of rock ‘n’ roll. It is not cheap, but sometimes the good stuff has to hurt a little. The photograph shows Paul Simonon about to smash up his bass during a show at The Palladium, New York City on 21 September 1979. It is an acclaimed shot, receiving the ultimate accolade from Q Magazine by being voted the best rock and roll photograph of all time. Pennie had accompanied The Clash throughout their 1979 US tour, and very nearly didn’t attend this particular concert. In the end she chose to turn down the offer to go out with friends and ended up stage right at The Palladium. The band were used to getting a big response from their US audiences, but not on this night – The Palladium had fixed seating. Paul’s frustration turned to anger, and then he lost it completely. His watch stopped at 9.50pm.
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A variant of the 1966 album cover photograph. Gered recalls: "This photograph is an out-take from the "Between the Buttons" album cover session. It was taken very early on a beautiful morning after an all night recording session. The Stones always recorded through the night and I thought that their "look" after one of these gruelling sessions might capture an image that would be right for the time. The band's manager and producer Andrew Loog Oldham agreed, as did the band, and at about 5.30 a.m. we all set off in a procession of limousines for Primrose Hill. I had built a rather clumsy filter of black card, glass and Vaseline, which I hoped would create a strange, ethereal and slightly "stoned" look to the photos. In spite of Brian Jones being rather unhelpful some of the time, and all of us feeling the bitter early morning chill, the photos turned out better than I could have wished for and the cover image has become one of my most famous and enduring photos of the Stones".
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Prices are shown excluding VAT. This is added at checkout where applicable.
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A bedrock for any Stones collection. Gered recalls: "This image became my first cover for the band, and was the fulfilment of a dream for me at the age of 18. The original negative for this image was lost years ago, probably stolen from my studio where security was lax to say the least, but it was recently returned to me, having been found in an old lock-up in West London. After careful restoration I am now able to produce these beautiful prints. One of these prints is now part of the permanent collection at the National Portrait Gallery in London." Prices are shown excluding VAT. This is added at checkout where applicable.
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Prices are shown excluding VAT. This is added at checkout where applicable.
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Prices are shown excluding VAT. This is added at checkout where applicable.
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Prices are shown excluding VAT. This is added at checkout where applicable.
