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Keith Richards recording at Olympic Studios, London, 1967.
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An archival photograph in a limited edition of 25 on 20 x 24 inch paper. A stamped, numbered, posthumous estate print issued by the Jim Marshall Estate in one size only with certificate of authenticity. Price is shown for an unframed example excluding VAT.
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The first punk rock photograph? Art Kane knew that their image was as 'bad' boys compared to the Beatles 'boys next door' look, and he wanted to reference that, but going into this 1966 shoot for McCalls Magazine with The Rolling Stones he had no preset idea of how he wanted to photograph them. On the way out of his hotel on the morning of the shoot he grabbed some postcards of Queen Elizabeth II from a giftshop. He knew he wanted the band members to do something disrespectful to this cherished symbol of The British Empire. Of course, in the end McCalls magazine were too nervous to run this early 'punk' photograph of Brian, but we're not scared.
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Art Kane knew that their image was as 'bad' boys compared to the Beatles 'boys next door' look, and he wanted to reference that, but going into this 1966 shoot for McCalls Magazine with The Rolling Stones he had no preset idea of how he wanted to photograph them. On the way out of his hotel on the morning of the shoot he grabbed some postcards of Queen Elizabeth II from a giftshop. He knew he wanted the band members to do something disrespectful to this cherished symbol of The British Empire. Of course, in the end McCalls magazine were too nervous to run this early 'punk' photograph of Keith, but we're not scared.
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This image is made as a Chromaluxe print. Chromaluxe printing is an archivally stable process that produces prints with outstanding depth and an ultra-high-gloss finish. The technique uses a process called dye sublimation to fuse the image directly on to a 1.2mm panel of white coated aluminium. The print cannot be scratched, and do not need additional framing/glazing. This allows the viewer to fully appreciate the highly saturated colours and jewel-like appearance.
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This image is made as a Chromaluxe print. Chromaluxe printing is an archivally stable process that produces prints with outstanding depth and an ultra-high-gloss finish. The technique uses a process called dye sublimation to fuse the image directly on to a 1.2mm panel of white coated aluminium. The print cannot be scratched, and do not need additional framing/glazing. This allows the viewer to fully appreciate the highly saturated colours and jewel-like appearance.
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This image is made as a Chromaluxe print. Chromaluxe printing is an archivally stable process that produces prints with outstanding depth and an ultra-high-gloss finish. The technique uses a process called dye sublimation to fuse the image directly on to a 1.2mm panel of white coated aluminium. The print cannot be scratched, and do not need additional framing/glazing. This allows the viewer to fully appreciate the highly saturated colours and jewel-like appearance.
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This image is made as a Chromaluxe print. Chromaluxe printing is an archivally stable process that produces prints with outstanding depth and an ultra-high-gloss finish. The technique uses a process called dye sublimation to fuse the image directly on to a 1.2mm panel of white coated aluminium. The print cannot be scratched, and do not need additional framing/glazing. This allows the viewer to fully appreciate the highly saturated colours and jewel-like appearance.
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This image is made as a Chromaluxe print. Chromaluxe printing is an archivally stable process that produces prints with outstanding depth and an ultra-high-gloss finish. The technique uses a process called dye sublimation to fuse the image directly on to a 1.2mm panel of white coated aluminium. The print cannot be scratched, and do not need additional framing/glazing. This allows the viewer to fully appreciate the highly saturated colours and jewel-like appearance.
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This image is made as a Chromaluxe print. Chromaluxe printing is an archivally stable process that produces prints with outstanding depth and an ultra-high-gloss finish. The technique uses a process called dye sublimation to fuse the image directly on to a 1.2mm panel of white coated aluminium. The print cannot be scratched, and do not need additional framing/glazing. This allows the viewer to fully appreciate the highly saturated colours and jewel-like appearance.
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A bedrock for any Stones collection. Gered recalls: "This image became my first cover for the band, and was the fulfilment of a dream for me at the age of 18. The original negative for this image was lost years ago, probably stolen from my studio where security was lax to say the least, but it was recently returned to me, having been found in an old lock-up in West London. After careful restoration I am now able to produce these beautiful prints. One of these prints is now part of the permanent collection at the National Portrait Gallery in London." Prices are shown excluding VAT. This is added at checkout where applicable.
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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.
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An archival photograph in a limited edition of 25 on 20 x 24 inch paper. A stamped, numbered, posthumous estate print issued by the Jim Marshall Estate in one size only with certificate of authenticity. Price is shown for an unframed example excluding VAT.
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An archival photograph in a limited edition of 25 on 20 x 24 inch paper. A stamped, numbered, posthumous estate print issued by the Jim Marshall Estate in one size only with certificate of authenticity. Price is shown for an unframed example excluding VAT.
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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".
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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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Prices are shown excluding VAT. This is added at checkout where applicable.
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This is an estate authorised, posthumous limited edition photograph in a choice of physical sizes, with a maximum edition of 50 worldwide across all sizes (and not 50 in each size). This circular photograph is made as a ChromaLuxe print, cut to a circular shape, and is ready to hang on the wall without additional framing. As a guide we have included prices below for two alternate size options, but this photograph can be made in any size up to 100cm diameter. If you can't see the exact size for you don't worry —please just ask for a quote based on the size you would like. Each ChromaLuxe print is made to order—please allow 4 weeks between order and delivery. Prices are shown excluding VAT.
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This is an estate authorised, posthumous limited edition photograph in a choice of physical sizes, with a maximum edition of 50 worldwide across all sizes (and not 50 in each size). This circular photograph is made as a ChromaLuxe print, cut to a circular shape, and is ready to hang on the wall without additional framing. As a guide we have included prices below for two alternate size options, but this photograph can be made in any size up to 100cm diameter. If you can't see the exact size for you don't worry —please just ask for a quote based on the size you would like. Each ChromaLuxe print is made to order—please allow 4 weeks between order and delivery. Prices are shown excluding VAT.
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Mixed media piece cut from original 7” and 12" Rolling Stones albums and singles. Each one is different, and individual records will vary from piece to piece. Supplied in perspex box frame, dimensions 80 x 80 cm Unique (as no two are exactly alike) edition of 20 + 2AP Price includes perspex box frame but not delivery. Please ask for a quote for delivery based on your location.
