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Prices are shown excluding VAT. This is added at checkout where applicable.
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Art Kane was a huge Bob Dylan fan, and literally stalked a very un-cooperative Dylan around an L.A. rooftop to get the shot. Dylan didn't like being told what to do, and Kane didn't shoot reportage style. Dylan, literally cornered, submitted to the direction and gave up the shot with a smouldering look that says, alright, you win. As Kane later recalled " I told him, "I'm going to stay until I get what I want." I finally manoeuvred him into a corner, he slid down and looked up. I had my shot."
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In Spines #7 Paul Weller, Keith Haynes recreates the spines of fifty five 12-inch singles and albums by The Jam, The Style Council and Paul Weller. This is not a photograph – it is a drawing that Keith makes from scratch, painstakingly recreating and combining each spine into the overall artwork. There are two versions of Spines #7 Paul Weller: a smaller version with a 50 x 50 cm image printed on 66 x 66 cm paper, which can be supplied framed or unframed. The second option is a larger 90 x 90 cm image size (with no white border around the image) which is mounted on dibond and supplied in a black tray frame, ready to hang.
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Frank Stefanko recalls the shoot in Haddonfield, NJ during the winter of 1978: "...he arrived in a slick ’60 Corvette. I think that car was his pride and joy. It was loaded, it was sleek, it ruled Route 9 and the New Jersey Turnpike. I imagined what it would be like to be Bruce, cruising in that Vette up the Pike under that giant Exxon sign in the wee, wee hours, thinking up song ideas while listening to his favorite tunes in that bad-ass Corvette.” Please note that this beautiful photograph is now right down to the wire for the limited edition 30x40 inch paper size option. We now have just one left in inventory - artists proof 4/4 - the very last one in the 30x40 size. It is framed and ready to deliver, and looks incredible in this large size.
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A signed limited edition photograph showing the full 35mm frame—with the Bond Street underground sign on the left—and the frame rebate. Available in one size only, with the image area (including rebate) measuring 11 x 11 inches. A limited edition of 50 in this size, signed and numbered by Martyn Goddard. Martyn remembers: “For the “Down in the Tube Station at Midnight” single sleeve, we decided to shoot on location. We chose Bond Street tube station on the Central line, mainly, I think, because Bill Smith knew the station well as it was on his daily commute. The shoot took place on 12 September 1978. We waited until late evening before our raid on the station. This was going to be a quick one because we didn’t have permission. I used a 35mm Nikon camera with fast black and white film, pushed to the limit without a tripod, hence the resulting grainy images. The band stood at the end of the platform and I waited until a speeding train emerged out of the tunnel before pressing the shutter. We then made a hasty exit to street level.” Please allow 2-3 weeks between order and delivery for an unframed photograph. If you would like a quote for framing please just ask. Framing adds 2-3 weeks.
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A signed limited edition 3d cutout photograph on 5mm pvc available in a choice of size options. Click on the size options below to see available sizes and prices. Please allow 2-3 weeks between order and delivery.
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February 1999 - Santa Monica, California Robert Sebree recollects: “Tom took an interest in a hot rodded ’54 Chevy pickup I had driven to a previous session, so even though I was still in the process of converting this ’54 Chevy panel delivery into a grip truck I decided to use it to haul my gear to the shoot. When I saw Tom’s eyes light up at the site of the van I think we both knew this shot was going to happen. After we finished the shoot we went out to the van and hung out. Tom would strum the guitar while we talked and then break into a song which was punctuated with the occasional photograph. The van unlocked some memories for Tom. His father had the same panel truck that he used to drive around Florida wholesaling cigarette lighters to grocery stores when Tom was a kid.” Prices are shown for unframed items, excluding VAT. VAT is added at checkout where applicable. Signed limited edition photographs are available in a choice of physical size options. Click on the size options below to see available sizes and prices. Please allow 2-3 weeks between order and delivery for an unframed photograph. If you would like a quote for framing please just ask. Framing adds 2-3 weeks.
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Debbie Harry photographed in 1988 by Brian Aris in her New York apartment.
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Window mounted and ready to frame, these open edition prints have an overall mounted size of approx 20x20 inches (50x50cm) and an image size of approximately 10x10 inches ( 27x27cm) for a square image. Prints are embossed with the Duffy archive stamp, and ink stamped on the reverse with a replica of Duffy's original studio logo, and sealed in a clear cellophane wrapper. If you would like to order a print, simply make your purchase and notify us of your chosen image. Shipping charges apply where we ship outside the UK. Europe – GBP 40 ; USA – GBP 50; Rest of World – GBP 65.
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In Spines #6 Springsteen, Keith Haynes recreates the spines of Bruce Springsteen albums to form this beautiful new limited edition print. The starting point is Keith’s own record collection, which he supplements with missing albums he needs for the piece. These sleeves are used as research materials. The painstaking process then begins as Keith tracks down all the historic fonts and uses these to recreate the spines himself, building up the artwork spine by spine. So this is not a photograph, and neither is it assembled from actual sleeves cut up in some way – it is a completely new artwork designed and created by Keith. Limited edition of 40 archival pigment prints with silkscreen varnish, image size 44x100 cm / 17x39 inches, paper size 64 x 120cm / 25 x 47 inches. Signed and numbered by Keith Haynes in the border under the image area. Price is shown for an unframed print. If you would like us to organise framing, just let us know and we will give you a quote for frame/delivery.
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Important technical note The 665 Polaroid negative from which the photograph is made has some small inherent imperfections around the border areas and on parts of the image, and we wanted to give purchasers some information on this. Colin explains: “If you look at the thigh you'll see a light water stain which is on the negative permanently. This was shot on 665 Polaroid which was a B&W polaroid that yielded a positive and a negative when peeled. Back then I was “Mr. 665”. You would have to peel the excess paper from the negative and then put it in a tupperware filled with water to soak. The water would turn black as the coating on the neg dissolved, and then you would need to rinse it and hang it to dry. I would have 10-20 negs in the tupperware on top of each other, and the fragile nature of the film would almost guarantee some marks. I'm lucky there's not a big scratch on it! These inherent markings always occur with 665 polaroid negs. It's from the peeling process. I love imperfections and I understand some people might not like that but I think others won't mind. For me the imperfections just add to the street cred of the image.”
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In Spines #4 The Beatles, Keith Haynes recreates the spines of thirty-four 12-inch singles and albums by The Beatles. This is not a photograph – it is a drawing which Keith makes from scratch, painstakingly recreating and combining each spine into the overall artwork. There are two versions of Spines #4 The Beatles: a smaller version with a 50 x 50 cm image printed on 66 x 66 cm paper, which can be supplied framed or unframed. The second option is a larger 90 x 90 cm image size (with no white border around the image) which is mounted on dibond and supplied in a black tray frame, ready to hang.
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"David-san came to Japan with Iggy Pop to promote the latter's album The Idiot - that Bowie-san had produced. The photos were meant to have a punk feel. David-san had asked Yacco to get as many leather jackets as possible. The whole session was over an hour." After this photo session, Sukita selected about 20 photos to give to David, including the Heroes LP sleeve. When David contacted Sukita to say he wanted to use it, Sukita was delighted. Heroes went on to be voted Melody Maker magazines best cover image of the year. "I was very proud. I am still very fond of this photo." Masayoshi Sukita.
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"A few days before the show at Radio City Music Hall, Bowie did a photo session, a rehearsal and an interview at RCA Studio. He went on to do another rehearsal at Radio City Music Hall. Yacco-San was working as the stylist, running here and there with costumes by Kansai Yamamoto that shed brought over from Japan. They looked marvellous." Masayoshi Sukita
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This photograph appeared inside the gatefold sleeve of The Queen is Dead album, this has become an iconic shot of the band. The impact on the Lads club has been well documented – For years fans have gone back to the Salford Lads Club and it has become a shrine to the Smiths fans who pose for their own version of the photo. All a bit like Beatles fans posing on the Abbey road zebra crossing. The Queen is Dead shoot itself was in December in Salford on a damp dark day. Stephen Wright recalls: ‘It should have been cancelled really as it was so poor for photography. We spent a bit of time at a couple of locations but the Salford Lads club was the key one. You can even see Johnny shivering in some of the images. Somehow the casual poses and the grim weather give the photos certain natural and gritty character and I love the way Morrissey stands there – arms folded and smirking slightly like the Mona Lisa. These days that image has been accepted as part of the collections of the National Portrait Gallery, the Manchester Art Gallery and the Salford Art Gallery. All rather funny when the original film was processed in a bedroom / darkroom, with the chemicals kept in old drinks bottles."
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Prices are shown excluding VAT. This is added at checkout where applicable.
