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David Corio recalls: "The Hope & Anchor was legendary during the pub rock and early punk days to be daring enough to support new unknown bands. The pub had been threatened with closure by the local council so various bands that got their early gigs there put on a series of benefit shows in the tiny basement. Joy Division and Madness had played on previous nights and these were the hottest tickets in the hottest venue in town. For the whole band to fit on the stage was an accomplishment. Not only was it tiny but by now the band that had spearheaded the Two Tone movement was beginning to fracture. Keyboardist Jerry Dammers was at loggerheads with other members of the band but sometimes creative tensions can produce great performances. The problem for me was trying to get as many of the band members in the frame as they danced around and I tried to avoid being crushed against the front of the stage. When the whole audience is bouncing up and down sometimes you have to snap away and hope for the best. This one came out pretty well considering."
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Limited edition of 20 signed, numbered handmade palladium prints made by David Michael Kennedy. Image size 14.5 x 14.5 inches.
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In his session for Five Leaves Left, Keith Morris contrasted the placid, if slightly world-weary, image of Nick Drake with the lives of Londoners going about their everyday business. Prices are shown for unframed items, excluding VAT
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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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This one was taken on the 2001 Days of Speed Tour. We really like the crop and the lighting on this - it puts the emphasis onto his knees, feet, the stool and his guitar. There's great movement in this picture: see how Paul's foot is caught mid bounce by Lawrence.
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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". Prices are shown excluding VAT. This is added at checkout where applicable.
