[Reid, Jamie]; [Sex Pistols]Biblio.com
159 résultats
réf. 41240London: n.p. 1976. First Edition. Very good. Original flyer from a series of dates that would help define the legendary and infamous band. Beginning in 1976 The Sex Pistols' took up Tuesday night residency at the 100 Club a venue better known until then for jazz gigs that would be pivotal for the band. As Jon Savage has written in his definitive ENGLAND'S DREAMING: "In the intimate setting of the 100 Club the group could relax enough to take risks with their material and their performances. There they began to master their equipment using the acoustics of the small club to experiment with overload feedback and distortion. Electric amplification had provided much of the excitement of early Rock'n'Roll: pushing their equipment to the limit . the Sex Pistols twisted their limited repertoire into a noise as futuristic as their rhetoric" 177. The club also served as location for the famed 100 Club Punk Special a two-day festival featuring the Pistols The Damned The Buzzcocks The Clash Siouxsie and the Banshees and other unsigned acts an event that was instrumental in bringing punk to the mainstream. It was also at the 100 Club pogoing was first invented a development often attributed to Sid Vicious but more likely simply fans' practical response to poor visibility in the tight confines of the club. Describing the June 29th date of which bootlegs exist Savage writes: "But the 100 Club take is something else. Here the Pistols are wound up to a pitch of impossible tautness: they swoop and drive through their fifteen songs more than half of all they would ever play in their brief life." This performance also almost certainly marked the first public performance of "Flowers of Romance." In addition the July 6 date is significant the first "real" show by The Damned who opened. Together two landmark performances for the group that defined British punk rock. While Reid's more commercial work for the Pistols appears with some regularity early and ephemeral promotional items like this are decidedly more scarce. And after Reid's iconic "God Save the Queen" flyer arguably the defining Sex Pistols handbill perfectly combining the raw energy of the group with Reid's signature punk style. This image was also utilized by Reid in his design of the Sex Pistols' press kit. 8.25'' x 11.75'. Broadside handbill. Offset duplicated recto only. Artwork by Jamie Reid featuring a repeated image of Rotten/Lydon snarling into a mic. Very good with some flattened creases and a 1/3" edge tear on the bottom. n.p. unknown
réf. 41240London: n.p. 1976. First Edition. Very good. Original flyer from a series of dates that would help define the legendary and infamous band. Beginning in 1976 The Sex Pistols' took up Tuesday night residency at the 100 Club a venue better known until then for jazz gigs that would be pivotal for the band. As Jon Savage has written in his definitive ENGLAND'S DREAMING: "In the intimate setting of the 100 Club the group could relax enough to take risks with their material and their performances. There they began to master their equipment using the acoustics of the small club to experiment with overload feedback and distortion. Electric amplification had provided much of the excitement of early Rock'n'Roll: pushing their equipment to the limit . the Sex Pistols twisted their limited repertoire into a noise as futuristic as their rhetoric" 177. The club also served as location for the famed 100 Club Punk Special a two-day festival featuring the Pistols The Damned The Buzzcocks The Clash Siouxsie and the Banshees and other unsigned acts an event that was instrumental in bringing punk to the mainstream. It was also at the 100 Club pogoing was first invented a development often attributed to Sid Vicious but more likely simply fans' practical response to poor visibility in the tight confines of the club. Describing the June 29th date of which bootlegs exist Savage writes: "But the 100 Club take is something else. Here the Pistols are wound up to a pitch of impossible tautness: they swoop and drive through their fifteen songs more than half of all they would ever play in their brief life." This performance also almost certainly marked the first public performance of "Flowers of Romance." In addition the July 6 date is significant the first "real" show by The Damned who opened. Together two landmark performances for the group that defined British punk rock. While Reid's more commercial work for the Pistols appears with some regularity early and ephemeral promotional items like this are decidedly more scarce. And after Reid's iconic "God Save the Queen" flyer arguably the defining Sex Pistols handbill perfectly combining the raw energy of the group with Reid's signature punk style. This image was also utilized by Reid in his design of the Sex Pistols' press kit. 8.25'' x 11.75'. Broadside handbill. Offset duplicated recto only. Artwork by Jamie Reid featuring a repeated image of Rotten/Lydon snarling into a mic. Very good with some flattened creases and a 1/3" edge tear on the bottom. n.p. unknown
réf. 41240London: n.p. 1976. First Edition. Very good. Original flyer from a series of dates that would help define the legendary and infamous band. Beginning in 1976 The Sex Pistols' took up Tuesday night residency at the 100 Club a venue better known until then for jazz gigs that would be pivotal for the band. As Jon Savage has written in his definitive ENGLAND'S DREAMING: "In the intimate setting of the 100 Club the group could relax enough to take risks with their material and their performances. There they began to master their equipment using the acoustics of the small club to experiment with overload feedback and distortion. Electric amplification had provided much of the excitement of early Rock'n'Roll: pushing their equipment to the limit . the Sex Pistols twisted their limited repertoire into a noise as futuristic as their rhetoric" 177. The club also served as location for the famed 100 Club Punk Special a two-day festival featuring the Pistols The Damned The Buzzcocks The Clash Siouxsie and the Banshees and other unsigned acts an event that was instrumental in bringing punk to the mainstream. It was also at the 100 Club pogoing was first invented a development often attributed to Sid Vicious but more likely simply fans' practical response to poor visibility in the tight confines of the club. Describing the June 29th date of which bootlegs exist Savage writes: "But the 100 Club take is something else. Here the Pistols are wound up to a pitch of impossible tautness: they swoop and drive through their fifteen songs more than half of all they would ever play in their brief life." This performance also almost certainly marked the first public performance of "Flowers of Romance." In addition the July 6 date is significant the first "real" show by The Damned who opened. Together two landmark performances for the group that defined British punk rock. While Reid's more commercial work for the Pistols appears with some regularity early and ephemeral promotional items like this are decidedly more scarce. And after Reid's iconic "God Save the Queen" flyer arguably the defining Sex Pistols handbill perfectly combining the raw energy of the group with Reid's signature punk style. This image was also utilized by Reid in his design of the Sex Pistols' press kit. 8.25'' x 11.75'. Broadside handbill. Offset duplicated recto only. Artwork by Jamie Reid featuring a repeated image of Rotten/Lydon snarling into a mic. Very good with some flattened creases and a 1/3" edge tear on the bottom. n.p. unknown books
réf. 41240London: n.p. 1976. First Edition. Very good. Original flyer from a series of dates that would help define the legendary and infamous band. Beginning in 1976 The Sex Pistols' took up Tuesday night residency at the 100 Club a venue better known until then for jazz gigs that would be pivotal for the band. As Jon Savage has written in his definitive ENGLAND'S DREAMING: "In the intimate setting of the 100 Club the group could relax enough to take risks with their material and their performances. There they began to master their equipment using the acoustics of the small club to experiment with overload feedback and distortion. Electric amplification had provided much of the excitement of early Rock'n'Roll: pushing their equipment to the limit . the Sex Pistols twisted their limited repertoire into a noise as futuristic as their rhetoric" 177. The club also served as location for the famed 100 Club Punk Special a two-day festival featuring the Pistols The Damned The Buzzcocks The Clash Siouxsie and the Banshees and other unsigned acts an event that was instrumental in bringing punk to the mainstream. It was also at the 100 Club pogoing was first invented a development often attributed to Sid Vicious but more likely simply fans' practical response to poor visibility in the tight confines of the club. Describing the June 29th date of which bootlegs exist Savage writes: "But the 100 Club take is something else. Here the Pistols are wound up to a pitch of impossible tautness: they swoop and drive through their fifteen songs more than half of all they would ever play in their brief life." This performance also almost certainly marked the first public performance of "Flowers of Romance." In addition the July 6 date is significant the first "real" show by The Damned who opened. Together two landmark performances for the group that defined British punk rock. While Reid's more commercial work for the Pistols appears with some regularity early and ephemeral promotional items like this are decidedly more scarce. And after Reid's iconic "God Save the Queen" flyer arguably the defining Sex Pistols handbill perfectly combining the raw energy of the group with Reid's signature punk style. This image was also utilized by Reid in his design of the Sex Pistols' press kit. 8.25'' x 11.75'. Broadside handbill. Offset duplicated recto only. Artwork by Jamie Reid featuring a repeated image of Rotten/Lydon snarling into a mic. Very good with some flattened creases and a 1/3" edge tear on the bottom. n.p. unknown books
réf. 161259London: Virgin Records 1977. An original Virgin Records promotional poster for the Sex Pistols fourth single "Holidays in the Sun" the B side was "Satellite". Reid liberated the images from a Belgium tourist brochure and added speech bubbles with lyrics from the song. The tourist company sued and the record sleeve and related promotional material had to be withdrawn. Offset lithograph in two colours on white matt art paper. Sheet size: 100.5 x 70 cm Light creasing otherwise in excellent condition. unknown
réf. 160718London: Virgin Records 1977. An original Virgin Records promotional poster for the Sex Pistols fourth single Holidays in the Sun the B side was Satellite. The beach image was taken from a previously published translation of a Situationist International book Reid had worked on Leaving the 20th Century with added speech bubbles featuring lyrics from the song. Offset lithograph in two colours on white matt art paper. Sheet size: 70 x 100.5 cm. Framed size: 73 x 103.5 Light creasing otherwise in excellent condition. Presented in a black frame. unknown
réf. 161256London: Virgin Records 1977. An original Virgin Records promotional poster for the Sex Pistols fourth single "Holidays in the Sun" the B side was "Satellite". The beach image was taken from a previously published translation of a Situationist International book Reid had worked on "Leaving the 20th Century" with added speech bubbles featuring lyrics from the song. Offset lithograph in two colours on white matt art paper. Sheet size: 100.5 x 70 cm Light creasing otherwise in excellent condition. unknown
réf. 169338London: Virgin Records 1977. Original poster for the Sex Pistols third single An original Virgin Records promotional poster for the Sex Pistols' third single "Pretty Vacant" signed and inscribed by the artist lower right "Jamie Reid Demand the impossible". This example is from the collection of Hilary Gerrard Ringo Starr's business manager from the early 1970s and director of the Beatles Apple Corps Ltd. The B side was a cover of "No Fun" by the Stooges released in July 1977. Reid liberated the idea of the two buses from Point-Blank an American Situationist pamphlet from 1973. Offset lithograph on white matt art paper. Sheet size: 72 x 100.7 cm. Framed size: 74.5 x 102.7 cm. Tape residue to extreme corners otherwise in excellent condition. Presented in a black frame with conservation acrylic glazing. unknown
réf. 176255London: Jamie Reid 1977. She aint no human being This original artwork was intended to be used as bunting flags for the Sex Pistols's river boat promotional stunt on the River Thames outside the Houses of Parliament for their God Save the Queen single and are hole punched to the top corners. On 7 June Virgin Records hired a boat named the Queen Elizabeth from Westminster to Tower Bridge on which the Sex Pistols could play live. The party ended when the boat returned and was raided by the police. While none of the band was arrested police detained the Pistols manger Malcolm McLaren and ten others including journalists. Triangular bunting was used on the day and these prints were kept aside. Two commercially printed Union flags on card overprinted in black with the official portrait of Queen Elizabeth II taken by Peter Grugeon for her Silver Jubilee each doctored by Jamie Reid. The first shows the Queen with a safety pin in her mouth with swastika eyes and the Sex Pistols ransom logo lower left; this was the original idea for the cover of the Sex Pistols single God Save the Queen. The second shows her with a safety pin in her mouth the Sex Pistols ransom logo lower left and the words "God Save The Queen She Aint No Human Being" circled around her head taken from the lyrics of the single. Presented float mounted in a lime waxed frame. Each sheet 20 x 29 cm. Framed size: 51 x 65.1 cm. unknown
