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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.
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Prices are shown excluding VAT. This is added at checkout where applicable.
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This beautiful close up portrait was the product of Julian Broad's first session with Paul Weller, taken shortly after the release of his first solo album in 1992.
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This is Julian Broad's cover photograph for Paul Weller's fifth solo album, Heliocentric, released in April 2000. Julian Broad started working with Paul Weller in 1992, shortly after the release of his first solo album. Heliocentric was Broad's first album cover session with Paul Weller, and he was very excited about the prospect. The location for the shoot was London's Ragged School studio, and the session was inspired by the cover of Free's 1970 album Fire and Water.
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The cover photograph from Paul Weller's 2012 solo album, Sonik Kicks.
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Mixed media: Original 7” and 12” Jam record sleeves. Unique edition of 5.Each one is different, and individual sleeves will vary from piece to piece. Framed size 95 cm x 95 cm, in white box frame. Price includes frame but not delivery. Please ask for a quote for delivery based on your location.
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Mixed media piece cut from original Jam album, plus red and blue vinyl records. Each one is different, and individual albums will vary from piece to piece. Choose your favourite album if you like, or leave it to us. You can see Sound Affects and All Mod Cons here. Unique edition of 50, each piece signed and numbered by Keith Haynes. Standard version is presented in a 52cm x 52cm white wood frame, with a circular white mount. As an alternative, you can choose a black frame with a red circular mount. Price includes frame but not delivery. Please ask for a quote for delivery based on your location.
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This was taken at the Manor during the recording of Stanley Road. Here Paul seems engulfed by the piano, microphones and other studio equipment framing his face in the photograph. He's oblivious to it all though, totally immersed in the music playing back through his headphones. Note the Beatles songbook close to hand, also reflected in the inner lid of the piano.
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A great outtake from the In The City album sleeve session.
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Fresh from shooting the cover to their single News of The World, The Jam repaired to a local cafe for a full English. We love the fact that Paul is already on his post-breakfast cigarette, while Rick and Bruce chow down.
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Olly Ball’s recollections of the session are fascinating: “We shot the cover of Our Favourite Shop on a Sunday afternoon in London in April or May 1985, at Bow Street Studios in Covent Garden. I was based there for ten years.” “I wasn’t a rock photographer as such. I mostly shot magazine editorial in those days. I was offered the job because Simon Halfon, the designer, had seen some photos I’d shot for the Observer Magazine Living Extra. These were pictures of rooms based on a TV programme; so we’d have Jewel In The Crown on the TV and all the props and food would be Indian. The other themes were Dallas, Arena and The Tube.” “Most of the stuff in the shop belonged to Paul and Mick, but the snooker cue and George Best coat hanger are mine. Fran Crawley was the stylist and she supplied the counter, book-rack etc. The set was built by my assistant, and great friend, Ross Kerridge with Peter Chatterton. Paul and Mick dressed most of the set, but we were all involved, and I shot it on a Mamiya RB6x7 on a 90mm lens.” “I’m happy to say it went straight to number 1 in the album charts, but it remains the only album cover I ever shot.”
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A dramatic portrait of Paul Weller by Pennie Smith, taken close to The Manor Studios, near Oxford, in 1995. Achieving the balance between the light on Paul's face and the dark outline of the ruins behind requires the supreme skill of a master black and white hand-printer. This silver gelatin photograph is made in the darkroom from Pennie Smith's original negative on 16 x 20 inch paper, and signed on the front under the image area by Pennie Smith. The image size is 11 x 16 inches approx. The price is shown for an unframed photograph - please ask if you require framing.
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Paul Weller photographed behind Manor Studios, Oxford in 1995 by Pennie Smith. This silver gelatin photograph is made in the darkroom from Pennie Smith's original negative on 16 x 20 inch paper, and signed on the front under the image area by Pennie Smith. The image size is 11 x 16 inches approx. The price is shown for an unframed photograph - please ask if you require framing.
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Early days—1977—and Pennie Smith captures The Jam in matching black suits, white shirts, black ties and black & white shoes. Three aliens from another time and place, dropped into a London street scene. Life goes on oblivious in the background, but something is starting….. and as a wise man once said: the kids want some action. Who can f****** blame them ? This silver gelatin photograph is made in the darkroom from Pennie Smith's original negative on 16 x 20 inch paper, and signed on the front under the image area by Pennie Smith. The image size is 11 x 16 inches approx. The price is shown for an unframed photograph - please ask if you require framing.
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The Jam by Pennie Smith As a photographer you have to be in the right place at the right time. Then you need that blend of skill and luck. The result is this perfect composition. Paul Weller leans back and launches into one on his Rickenbacker. Bruce Foxton leaps so high that he reveals Rick Buckler on drums in the background. The best bit - look at how Bruce's legs form into a perfect 'A', synching with the logo behind. This is a silver gelatin photograph made in the darkroom from the original negative on 16 x 20 inch paper, and signed on the front under the image area by Pennie Smith. The image size is 11 x 16 inches approx. The price is shown for an unframed photograph - please ask if you require framing.
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Paul Weller in cream trousers and corduroy overcoat photographed by Pennie Smith at the video shoot for “Funeral Pyre”. The filming took place at Horsell Common, near Woking in 1981. This silver gelatin photograph is made in the darkroom from Pennie Smith's original negative on 16 x 20 inch paper, and signed on the front under the image area by Pennie Smith. The image size is 11 x 16 inches approx. The price is shown for an unframed photograph - please ask if you require framing.
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What a treat to be able to offer Pennie Smith's photographs to our clients. I love this 1980 photograph of Paul Weller taken at The Town House studios, during the recording of my favourite Jam album, Sounds Affects. It plays a nice visual trick on the viewer. If you start at the top you would be forgiven for thinking that the moon is shining down on an outdoor scene—and the corrugated sheets in the background seem to confirm that thought. Then, once you see the floorboards and microphones you realise your first impressions were wrong. This silver gelatin photograph is made in the darkroom from Pennie Smith's original negative on 16 x 20 inch paper, and signed on the front under the image area by Pennie Smith. The image size is 11 x 16 inches approx. The price is shown for an unframed photograph - please ask if you require framing.
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I read somewhere that this is Paul Weller’s favourite photograph of The Jam. Maybe that’s because it is just him and Bruce — or maybe it is because it is a truly great image. We call it “tripod” because Bruce and Paul seem to have fused into a rock-solid three-legged entity. One thing you may not notice at first - see how the shadows form edgy geometric shapes on the floor. Taken in 1978, this photograph appeared on the front cover of NME on 4 November of that year, under the headline “Jam today”. This silver gelatin photograph is made in the darkroom from Pennie Smith's original negative on 16 x 20 inch paper, and signed on the front under the image area by Pennie Smith. The image size is 11 x 16 inches approx. The price is shown for an unframed photograph - please ask if you require framing.
