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Limited edition letterpress print by Peter Dean, featuring two specially commissioned wood engravings from renowned engraver Andy English Production: Each print is handmade on a vintage Albion press, using a mix of wooden and metal type, inked by hand. Once dry, each print is numbered in pencil under the image, and each print is accompanied by a certificate of authenticity. Edition size: 1967 Dimensions: 27.3 cm (10.75 inches) x 49.4 cm (19.5 inches). These measurements include a 2.5 cm (1 inch) margin around all sides of the printed area. The paper is cut by hand, so exact size will vary to a small degree. Paper type: Archival 225gsm Zerkall 902 Rough, which is superbly suited to letterpress printing. Colour: best described as as off-white or very pale cream paper, with black type.
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Out of stockA custom acrylic display case designed to hold a single slipcased copy of any large-format 18x24 inch book published by Ormond Yard Press. This is a bespoke open sided display unit, constructed from 5mm thick perspex with gently rounded edges designed to display - on the wall - any of the large format 18 x 24 inch books published by Ormond Yard Press. A hanging system (subframe and risers) on the reverse ensures it hangs vertically on the wall. Dimensions of unit: 18.5 (w) x 25 (h) x 1.5 (d) inches / 47cm x 64cm x 4cm. It is supplied empty - the book is a separate purchase. Shipping - UK no charge / Europe £50 / USA £75 / Rest of World £95
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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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Prices are shown excluding VAT. This is added at checkout where applicable.
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Limited edition silver gelatin photograph in a choice of physical sizes, signed and numbered on the front under the image area by Astrid Kirchherr.
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In Spines #3 Stones, Keith Haynes recreates the spines of fifty-one Rolling Stones albums. The starting point is Keith’s own record collection, which he supplements with missing albums he needs for the piece. These 12-inch sleeves are the source materials. Keith then researches all the historic fonts and uses these to recreate the spines himself to build up the artwork. 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 #3 Stones: 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. .
