Project Description

We Love The Beatles!

We are delighted to present We Love The Beatles—the section of the website where we bring together all our Beatles material.

Here you will find classic photography, paintings, prints and mixed media pieces – from the early days in Hamburg through to Abbey Road.

We have so much to show you. Scroll down and take a look for yourself.

Astrid Kirchherr

The Beatles  – funfair, Hamburg, 1960

Astrid Kirchherr is probably the best known of the early Beatles photographers.

A protege of the renowned Hamburg based photographer Reinhart Wolf, she befriended the Beatles in 1960 when they were a five piece featuring Stuart Sutcliffe and Pete Best. Her well-known 1960 Hamburg funfair portraits of that five piece line-up were the band’s first proper professional photographic session.

She became engaged to Stuart Sutcliffe, who left the band and stayed with her in Hamburg. She continued on her path as a photographer after Stuart’s untimely death. A selection of Astrid Kirchherr’s early Hamburg photographs are available to purchase.

Click on the button below to see her available editions. 


“Astrid was the one, really, who influenced our image more than anybody. She made us look good. She was the one who had the leather kicks and the Beatles haircut.”

– George Harrison

Dick Matthews

The Beatles  – Cavern Club, December 1961

Dick Matthews photographed The Beatles at the Cavern Club in 1961

This early photograph of The Beatles at the Cavern on 8 December 1961 has a fascinating history. It is one of four photographs taken that day which was subsequently produced in four sets of four images in the 1980s, directly from the original negatives, after they had passed out of Dick Matthews ownership and into the hands of the then owner. One set of four was given to Paul McCartney, one to George Harrison, and one to Ringo Starr (even though the photograph pre-dated his time with the Beatles). The fourth set was initially intended to be given to John Lennon, but the original owner decided to keep the set for his personal collection.

The current owner then managed to track down Dick Matthews in Liverpool where he signed the set of four prints. Dick Matthews was unaccustomed to signing photographs and not only was this set the only set of the four to be signed by him, but it is the only set of photographs he signed in his entire career. Dick Matthews died in November 2010. This is a very large format piece – image size 23 x 37 inches, mount size 32 x 44.5 inches.


“I met Paul and said “D’you wanna join my band?” Then George joined. Then Ringo joined. We were just a band who made it very very big. That’s it.”

– John Lennon

David Porter

The Beatles  – Buxton Pavillion Gardens, 1963

This photograph of the Beatles at The Buxton Pavilion Gardens in 1963 is the result of a collaboration between the original photographer, David Porter, and Michael Spencer Jones.

Michael Spencer Jones, a lifelong Beatles aficionado and also a photographer himself, and best known for his photographs of Oasis, undertook a painstaking colourisation process to transform David Porter’s original black and white print into the colour image shown here. Michael estimates that he spent more than 200 hours on the process. The spectacular end result of this collaboration is now available for collectors to purchase as a limited edition, signed by both David and Michael. The detail is exquisite – from the mass of individual faces in the crowd, right down to the texture of the leather on John’s boots.

The photograph was taken at the beginning of Beatlemania. It is a wonderful social document and captures the very essence of The Beatles phenomena. The scene is very much a narrative; a girl fan lays unconscious and is being attended by two officials on stage; a note which she had been clasping in her hands only moments before now lies at the feet of John Lennon; the note reads ‘John, please sing You Really Got a Hold on Me’.

David Porter was a photographer working in Manchester in the 1960s. He photographed The Beatles on two occasions and recalls the mayhem from that evening. “I remember a large contingent of police having to be drafted onto the stage in an attempt to restore order. A few weeks later they went to the states and Beatlemania went global, and the rest is history”.

“Does it bother you that you can’t hear what you sing during concerts? No, we don’t mind. We’ve got the records at home.”

– John Lennon

David Hurn

The Beatles in EMI studios (later renamed Abbey Road Studios), examining the script of the film ‘A Hard Days Night’, 1964
The Beatles on a train platform during the filming of ‘A Hard Days Night’, 1964

David Hurn is one of Britain’s most respected and important documentary photographers.

At the height of Beatlemania in 1964, Hurn spent several weeks on the sets of A Hard Day’s Night – the first Beatles film, recording the process and capturing an informal portrait of the band at work.

Blurring the lines between the reality of their pop-star status and fiction, the film follows several days in the life of the group as they navigate television appearances and record label executives. The film was shot in near sequential order on an actual traveling train leaving daily from Marylebone Station (London) traveling to Minehead (Somerset).

“The train would stop, for various shooting reasons, several times during the journey. Miraculously, thousands of fans would appear at every stop seemingly from nowhere – I spent a lot of time photographing action between bodyguards and police and those fans” , the photographer recalls.

Hurn became a member of the reputed Magnum photo agency in 1965.

The Beatles during the filming of ‘A Hard Days Night’, 1964
The Beatles during the filming of ‘A Hard Days Night’ with the director, Dick Lester, leaping on stage, 1964.

“It was hard to get all four Beatles in the same picture … Some evenings we just used to play Monopoly. In retrospect, I should have taken pictures of that too. I’m afraid I was too competitive to want to get up from the table.”

– David Hurn

Roger Kasparian

The Beatles Salute – Le Bourget airport – Paris, June 1965
The Beatles All Smiles – Le Bourget airport, Paris, June 1965
The Beatles, in line, Palais Des Sports de Paris, June 1965

Roger was working in Paris at the height of the sixties beat boom, and his subjects included the A-List of sixties pop culture: The Beatles, The Rolling Stones, The Who, Marianne Faithfull and many more.

Then, in 1970, Roger took over his father’s photographic studio, put the showbiz world behind him, and became a typical local photographer. He took pictures of marriages, birthdays and municipal councils while his classic 1960s music archive lay undisturbed – for fifty years.

This photograph of the Beatles from their concert on 20 June 1965 is a very rare beast. Beatles aficionados will know that photographs of George with a twelve string Rickenbacker are impossibly difficult to find. What’s also really special is the band’s linear formation, each one doing his individual thing, and John really belting out his vocal.

The Beatles Harmonise – Olympia Paris, January 1964
George To Camera, Palais Des Sports de Paris, June 1965
John orders drinks, Le Bourget Airport Paris, June 1965

“The Beatles saved the world from boredom”

– George Harrison


John Smiling – London, August 1965

Together with David Bailey and Terence Donovan, Duffy is recognised as one of the innovators of “documentary” fashion photography, a style which revolutionised fashion imagery and furthermore the fashion industry. Duffy once famously set fire to his negatives. He didn’t destroy everything though. His son Chris, also a professional photographer, reconstructed his archive with all that was rescued. Duffy passed away in 2010.

We are delighted to offer some examples signed by Duffy, along with a beautiful nine frame contact sheet issued by the Duffy archive. The photograph of John Lennon above was taken after The Beatles had returned from the USA after playing at Shea Stadium, New York. Lennon is smiling and holding what he jokingly claimed was a “UFO Detector”.

John Smiling Contact Sheet – New York, August 1965
Paul McCartney with George Martin, 1966
John Lennon With Eye Glasses, 1966

“None of us wanted to be the bass player. In our minds he was the fat guy who always played at the back. ”

– Paul McCartney

Jean-Marie Périer

The Beatles- Ladder – Paris, March 1964
The Beatles – Red Door – London, March 1964
John Lennon at George V – Paris, May 1965
The Beatles- Lighters – Paris, March 1964
The Beatles – Nice, June 1965

Acclaimed French photographer Jean-Marie Périer photographed the Beatles on various occasions from 1964 to 1967. In February 1967 Périer found himself camped for a week in a makeshift photographic studio, inside the Abbey Road recording studios, while the Beatles were in the midst of recording Sgt Pepper’s Lonely Hearts Club Band.

One of the most famous photographs from that session was used on the front cover of the picture sleeve of the double A-side single, “Strawberry Fields Forever / Penny Lane”. Périer deliberately set up the lighting behind the band, to create the desired effect. Sadly most of the session photographs were lost over the years, but Jean-Marie does still have a variant of the “Strawberry Fields” cover photograph in his archive and this is close to the sleeve shot –  as close as it gets.

Strawberry Fields session – London, February 1967
The Beatles Go Pop – London, February 1967
Beatles 67 – London, February 1967

“Brian Epstein had hired me to shoot some record sleeves during the recording of Sgt Pepper’s Lonely Hearts Club Band. They needed group pictures of the four, so I had to wait a long time since it seemed there was always one of them hanging around somewhere – talking to the angels!”

– Jean-Marie Périer

Bob Whitaker

John grins -Germany, 1966
The Beatles – Umbrellas – Scotland, 1964
‘Way Out’ George at Chiswick Park – 1966

Bob Whitaker photographed The Beatles over a key two year period, from 1964 to 66. His photograph of The Beatles with dismembered dolls and raw meat was used on the infamous US Yesterday and Today Butcher sleeve.

Born in England to an English mother and Australian father, Bob Whitaker (1939-2011), was well-known for his innovative photographic style. He was heavily influenced by his good friend Salvador Dali and this can be seen in the surreal images he took. His straight-forward, no holds-barred approach to photography left many of his subjects at ease, and allowed him to get closer than others before. Following the Beatles final world tour Bob went back to London, to help create the notorious hippy magazine “Oz”, with Martin Sharp.

We show a small selection of Bob Whitaker’s Beatles limited editions here. Click on the button below to view the wider collection.

Shooting the Help! promo – 1965

The Beatles go pop

Bob Whitaker’s pop art screen prints

A framed set on the gallery wall

Bob Whitaker created this set of bold and dramatic screen prints around 2005. Just 25 sets exist. Each print is made on on 27.5 x 39.5 inch paper, and numbered out of 25 under the image area in pencil. One print in each set has been signed by Bob Whitaker. They are offered as a complete set of four.

George Harrison
John Lennon
Paul McCartney
Ringo Starr

“The schedules were punishing. You hardly knew which city you were in. What I mostly remember about touring is being constantly ushered onto planes along with the Beatles and their supporting cast.”

– Bob Whitaker

Barrie Wentzell

The Beatles outside Brian Epstein’s house on Chapel Street Belgravia, 19 May 1967
John inside Brian Epstein’s house on Chapel Street Belgravia, 19 May 1967

Barrie Wentzell was one of the photographers at the Sgt Pepper’s press launch held at Brian Epstein’s house in London’s Chapel Street in May 1967 – the first time that The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band LP was played to the assembled media.

Barrie recalls the days fondly – “This was the first time I’d met and photographed The Beatles. It was at the launch party for Sgt. Pepper at Brian Epstein’s house in Belgravia –  a very posh part of London. There were people there from the press and elsewhere, and The Beatles were walking around talking and laughing. 

I was taking a few shots inside the house when Derek Taylor, their wonder press officer, suggested all the press and photographers go outside and we’ll do some pictures by the door. I managed to crawl up to the front through the crowd and get this picture of the “Fab Four”.

Press:“Why is it that you Ringo get more fan mail than the others?”
Ringo:“I dunno. I suppose it’s because more people write me.”


Sir Peter Blake

Sir Peter Blake is one of the UK’s foremost Pop Artists. In 2007, in a collaboration with Apple, he released a limited edition screen print of his artwork for the Sgt Pepper album cover. These sold out when first offered on the market, but from time to time we secure examples

The Sgt Pepper screenprint

Peter Dean: the limited edition Mr. Kite letterpress print

Rolling Stone magazine has described it as “simply stunning”, the V&A Museum have it in their permanent collection and Paul McCartney owns one. We are big fans of the analogue production values of the traditional letter press printing process. We are delighted to offer a handmade letterpress print by artist Peter Dean of the poster that inspired ‘Being for the Benefit of Mr. Kite!’, the song that closes side one of The Beatles’ 1967 album, Sgt. Pepper’s Lonely Hearts Club Band.

The Mr Kite letterpress print

Iain Macmillan

Scottish photographer, Iain Macmillan (1938-2006), was introduced to the Beatles through Yoko Ono who he worked with in 1966: Iain included a photograph of her in “The Book of London”, a collection of his photographs published that year. She then commissioned Iain to document her exhibition at London’s Indica gallery, and as a result, Iain was introduced to John Lennon – establishing the Beatles connection. Subsequently, John Lennon invited Iain to photograph the Abbey Road cover.

On Friday, 8 August, 1969, John Lennon, Paul McCartney, George Harrison and Ringo Starr walked over the zebra crossing next to Abbey Road studios. There and back. Three times. Six clicks of the shutter. Just six photographs, and the shoot was over. Three frames showing the Beatles crossing from left to right, and three walking from right to left. The same order in each of the six frames – John Lennon first in white, then Ringo Starr in black, Paul McCartney in grey, barefoot, holding a cigarette in his right hand (all three in Tommy Nutter suits) and at the back, a denim clad George Harrison.

The fifth frame of six, showing a left to right traverse, was chosen as the actual cover.

Abbey Road Session Frame 1
Abbey Road Session Frame 2
Abbey Road Session Frame 3
Abbey Road Session: Back Cover
Abbey Road Session Frame 4
Abbey Road Session Frame 5: The LP Cover Photograph
Abbey Road Session Frame 6

Supplies of Abbey Road material are extremely limited. Please get in touch with us at the gallery for information


“Everything will be ok in the end. If it’s not ok, it’s not the end.”

– John Lennon



Matt Grainger

From Hamburg to Abbey Road. Matt Grainger’s colourful limited edition prints are a tribute to seminal musicians and historic musical moments. For the exhibition Matt has created an exclusive series of ten prints for us, one representing each year from 1960 to 1969. Each print has been created as a limited edition of 50, signed and numbered by Matt Grainger. They are available to purchase individually, or as a special collector’s set of 10 prints with matched edition numbers.


The Beatles 1960
The Beatles 1961
The Beatles 1962
The Beatles 1963
The Beatles 1964
The Beatles 1965
The Beatles 1966
The Beatles 1967
The Beatles 1968
The Beatles 1969
The Beatles “From Hamburg To Abbey Road” special set of 10

“As far as I’m concerned, there won’t be a Beatles reunion as long as John Lennon remains dead. ”

– George Harrison


Keith Haynes

The Beatles – Love Me Do

Keith’s work explores pop art in its purest form, using album sleeves, record labels, badges and, of course, beautiful, black vinyl – not only as its subject, but also as its raw material.

Keith’s work is a playful and often-nostalgic exploration of popular culture, and in particular, popular music culture from his past to the present day. Whether it’s a graphically iconic portrait or a meaningful song lyric, each piece is created from original vinyl records chosen to enhance the subject matter; in these works the Subject and the Object are of equal importance. His current work has been exhibited extensively in the UK and overseas and can be found in private collections in the UK, Europe, America, Hong Kong, Singapore and Australia.

We have a selection of Keith’s Beatles artwork on show, including a spectacular new piece, Love Me Do, shown alongside, which is being shown for the first time in the exhibition.

The Beatles – Love Is All You Need
Spines #4 The Beatles
The Beatles — HELP!
The Beatles – Abbey Road
The Beatles – Can’t Buy Me Love
The Beatles – Sergeant Pepper: All You Need is Love
The Beatles – Single Heads – John, Paul, George and Ringo
John Lennon

Red and Blue. A masterstroke by Alan Klein, many younger fans’ introduction to the Beatles came through the 1973 double album sets 1962-66 and 1967-70: a.k.a. The Red Album and The Blue Album. Keith Haynes celebrates these classic compilations in this 70 x 70 x 6 cm artwork, presented in an acrylic box frame, using cut versions of the red and blue albums – in red and blue vinyl.

The Beatles – Fab Four red and blue

What’s your favourite Beatles album? Tough one. I think I would have to say, The Best Of The Beatles.”

– Alan Partridge

The Temple of Wax

Lucille – Little Richard

The Temple of Wax – featuring The Beatles, and songs covered by The Beatles

We have been really humbled by the fantastic response to our bespoke Temple of Wax service.

Our purpose in launching the Temple of Wax has been to celebrate a favourite piece of music by turning it into an incredible artwork – made just for you. We take that cherished vinyl record and transform it into a large-scale work of art that you can hang on your walls at home or at work and enjoy every single day.

Whatever you choose, we can transform – in a size of your choice up to 100 cm/39 inches in diameter – into a huge three dimensional version. The large scale does something really quite incredible and dramatic to the original – like nothing you will have seen before. The finished artwork looks like a real record. It is circular. The central hole is removed. It is three dimensional. You can see the detail in the grooves, and it has a custom ultra-high-gloss finish that makes colours just ‘pop’.

In the exhibition we include classic Beatles pieces, and some key 45s they covered – like Lucille here. If you haven’t commissioned a piece, maybe now is a good time.

Find our more.