• Limited edition of 25 archival handmade silver gelatin photographs in this size, signed and numbered on the front under the image area by Chris Gabrin.
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    "By the time I took this picture (for  This Year's Model, Elvis Costello's second album, released in 1978) I had already photographed Elvis a dozen or more times. As his career took off I watched his confidence in front of the camera grow. In those days every single had a picture sleeve, so by the time this album came, we had done several sleeves together and Elvis was relaxed when working with me. Apart from my assistant, there were just the two of us. The concept of him behind a camera for the sleeve of This Year's Model had already been chosen, so I decided to equip Elvis with exactly the same tripod and camera as I was using to create a 'mirror' for him. Alongside a powerful stereo I kept a large record collection at my Camden Studio, and artists would choose music they enjoyed or were interested in for their sessions. Just as we were about to start shooting, Elvis asked me if I had Hotel California by The Eagles, and could I play it? I was puzzled by his choice - until he told me that he loathed the record, but wanted to look really pissed off and angry in the shots! We played the record several times during the session and whilst I directed him, I was also aware of his copying some of my own actions as I took the photographs. This picture was only recently discovered, and is the next frame to one used for the album sleeve. It has never been published before." Chris Gabrin
  • Limited edition of 25 archival photographs in this size, signed and numbered on the front under the image area by Chris Gabrin.
  • This is an interesting piece of history: the New Boots and Panties cover shot that never was. This is a contact sheet enlargement of an entire roll of film taken by Chris Gabrin for an early idea for the New boots cover. In the end this idea was not pursued, but this sequence of images shows Ian in the doorway of his house while his son Baxter (who features alongside his father on the actual cover photograph) looks out of an upstairs window. Limited edition of 25 archival photographs on 20 x 24 inch paper , signed and numbered on the front under the image area by Chris Gabrin.
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    Chris Gabrin: Ian Dury portrait

    £ 450£ 1,500
    Available in a choice of physical size options. Please ask for framing options. Please allow 2-3 weeks between order and delivery for an unframed photograph.  Framing adds 2-3 weeks.
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  • A recently discovered image from Chris Garbin's Jesus of Cool LP cover sessions with Nick Lowe. Limited edition of 10 photographs on 16 x 20 inch paper, with an image size measuring approximately 14.5 x 14.5 inches, signed and numbered on the front under the image area by Chris Gabrin. Price is shown for an unframed photograph, with no charge for delivery.
  • A recently discovered image from Chris Garbin's Jesus of Cool LP cover sessions with Nick Lowe. Limited edition of 10 photographs on 16 x 20 inch paper, with an image size measuring approximately 14.5 x 14.5 inches, signed and numbered on the front under the image area by Chris Gabrin. Price is shown for an unframed photograph, with no charge for delivery.
  • Archival pigment print in a limited edition of 150, from the original album cover artwork, on Somerset Photo Satin 300 gsm paper. Paper measures 76x78cm (30x31 inches), with an image size measuring approximately 58x58cm (23x23 inches). Signed by Mick Jones and Paul Simonon. Please allow 6-8 weeks between order and delivery.
  • Archival pigment print in a limited edition of 150, from the original album cover artwork, on Somerset Photo Satin 300 gsm paper. Paper measures 76x78cm (30x31 inches), with an image size measuring approximately 58x58cm (23x23 inches). Signed by Mick Jones and Paul Simonon. Please allow 6-8 weeks between order and delivery.
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    Claude Gassian: "David Bowie's show in Paris for the Station to Station tour was one of my favourite ever concerts, and will remain so. It was a great time for music and photography." Prices are shown excluding VAT. This is added at checkout where applicable.
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    Claude Gassian: "I used infrared film on this occasion to bring Lou Reed even more in a surrealistic universe during this great show at the Paris Olympia in 1974." Prices are shown excluding VAT. This is added at checkout where applicable.
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    Miles Davis, relaxed and ready to leave the scene, after his concert in Paris in 1986. Prices are shown excluding VAT. This is added at checkout where applicable.
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    Claude Gassian remembers the shoot fondly: "I was just discovering Patti Smith's masterpiece album Horses. At that time I was listening to it all day long. So it was a real privilege, and one of my first important sessions, to accompany Patti when she visited Jim Morrison's grave at the Père Lachaise cemetery in Paris." Prices are shown excluding VAT. This is added at checkout where applicable.
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    Claude Gassian remembers the day well. "It was always a great time to spend a moment with Serge in his house in Paris on the Rue de Verneuil. This one was the first time. And Jane came in for a few minutes..." Prices are shown excluding VAT. This is added at checkout where applicable.
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    Claude Gassian recalls: " Every night before the show, Keith and Ronnie warm up with their guitars, playing blues. " Prices are shown excluding VAT. This is added at checkout where applicable.
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    Claude Gassian recalls: "When Keith saw this picture, he decided to use it for Europe on the cover of his first ever solo recording, the single 'Run Rudolf Run'. Each European country had their own design - so I know there will be some dedicated collectors who have them all." Prices are shown excluding VAT. This is added at checkout where applicable.
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    Claude Gassian recalls: "I once asked Keith to say something about this picture. He wrote to me : 'The Man at Work' " Prices are shown excluding VAT. This is added at checkout where applicable.
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    Claude Gassian recalls: "I had this photo session with Keith in his apartment in New York. I brought a lot of lights, flash and umbrellas – but my favorite picture remains this dark portrait, lit only by the flame of his Zippo lighter." Prices are shown excluding VAT. This is added at checkout where applicable.
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    Claude Gassian recalls: " This is Mick in March 1971, at The Roundhouse in London, The Stones' Farewell to England show" Prices are shown excluding VAT. This is added at checkout where applicable.
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    Claude Gassian recalls: " At the end of each show in 1975/76, Mick went on stage with four buckets of water. The first three of them were directed into the crowd, and invariably he drenched himself from head to foot with the last bucket." Prices are shown excluding VAT. This is added at checkout where applicable.
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    Prices are shown for unframed prints in 25 x 25 cm and 50 x 50cm image sizes. Please allow 10 days between order / shipping date. Larger bespoke sizes (up to 150 x 150 cm / 59 x 59 inches approx) can be made to order - if you would like something bespoke please ask for a quote based on your desired size / location.
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    This actual print was the personal property of the late great John Entwistle.  In May 2003, Sothebys in London auctioned 386 lots belonging to John Entwistle. The majority of lots consisted of guitars, but lot number one in the auction comprised John’s favourite photographs of The Who, which originally hung on the walls of his home.  This portrait by Colin Jones of The Who was one of the photographs in that first lot. It has a removable Sotheby’s sticker on the glass in the front left corner, and a Sotheby’s ticket strung on the reverse. It is in its original wood frame—the one John Entwistle had when he owned it—which has a small scratch on the top section. It is priced in its original frame but could be reframed for an additional £200. There is no visible signature. The image measures 16.5 x 23 inches, and the frame measures 21.5 x 28 inches.   British photographer Colin Jones (1936-2021) first photographed the Who in 1965, when this photograph was taken in Wapping Lane, in London’s Surrey Docks - “one of my haunts down in the East End docklands” as Colin recalled later. Colin’s poignant and evocative images of the British working class from the last of the dock workers to the final days of the miners and steel workers are rightly acclaimed. Bill Brandt was a major fan of Colin’s work, which has been shown in major exhibitions in London, Washington and beyond. 
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