{"title":"PUNK50: Still Making Noise Auction","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eJune 15th - June 25th, 2026\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"grannies","title":"Grannies","description":"\u003cp\u003eBANKSY (B. 1974)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eGrannies\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003enumbered '184\/500' (lower right)\u003c\/p\u003e\u003cp\u003escreenprint in colours on Arches wove paper\u003c\/p\u003e\u003cp\u003e22 1\/4 x 30 1\/8 inches (56.5 × 76.5 cm)\u003c\/p\u003e\u003cp\u003eframed: 27 1\/2 x 35 inches (70 x 89 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 2006. This work is number 184 from an edition of 500. Accompanied by a signed and dated Certificate of Authenticity from Pest Control.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003ePublished by Pictures on Walls, London.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eGrannies\u003c\/i\u003e was published in 2006 by Pictures on Walls, the London-based publishing partnership Banksy used across the mid-2000s for his major screenprint editions. The year of its publication was also the year of his Bristol Museum interventions and his Barely Legal exhibition in Los Angeles — the show widely credited with completing his transition from cult underground figure to internationally recognised artist and his permanent entry into the serious secondary market.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe image draws on two of Banksy's most persistent strategies: the subversion of domesticity and the inversion of assumed hierarchies of generation, taste and transgression. PUNKS NOT DEAD references the 1981 LP by The Exploited — a defiant response to the perceived commercial dilution of British punk and one of the defining slogans of the post-Sex Pistols hardcore underground. THUG FOR LIFE draws on American gangster vernacular, most directly associated with Tupac Shakur. Rendered in the quietest possible domestic register, both slogans are reframed: not as belonging to any subculture, but as universal declarations of persistence.\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502070477049,"sku":"JP0626013","price":12000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0626013_4.jpg?v=1784038860"},{"product_id":"out-of-the-dross-blue","title":"Out of the Dross (Blue)","description":"\u003cp\u003eJAMIE REID (1947–2023)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eOut of the Dross (Blue)\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003esigned, titled and numbered by the artist\u003c\/p\u003e\u003cp\u003esilkscreen on Somerset Radiant White Velvet 330gsm, with unique over-screening\u003c\/p\u003e\u003cp\u003e44 1\/8 x 28 3\/8 inches (112 x 72 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 2011. This work is artist's proof number 1 of 3.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eBlue colourway of \u003ci\u003eOut of the Dross\u003c\/i\u003e, a print Reid produced in 2011 — built from his pre-punk vocabulary at Suburban Press and reactivated through his late printmaking partnership with Stolper. The work is silkscreened on Somerset Radiant White Velvet 330gsm with unique over-screening — meaning each artist's proof in the run of three carries a distinct surface treatment over the base silkscreen, making the present example a one-of-three variation rather than a uniform edition copy.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eReid's late practice produced some of the most distinctive printmaking of his career: working at scale, on fine-art papers, in editions that retained the political directness of his Pistols-era graphic language while moving into a more contemplative gallery register. \u003ci\u003eOut of the Dross\u003c\/i\u003e is a slogan Reid used recurrently across his career — a phrase that names the project of his entire practice.\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502071427321,"sku":"JP0526037","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526037_1.jpg?v=1784038857"},{"product_id":"liberty-for-all","title":"Liberty For All","description":"\u003cp\u003eJAMIE REID (1947–2023)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eLiberty For All\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003esigned, titled and numbered by the artist\u003c\/p\u003e\u003cp\u003esilkscreen with diamond dust\u003c\/p\u003e\u003cp\u003e44 1\/8 × 32 1\/2 inches (112 x 82.4 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 2013. This work is an artist's proof.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eA white-on-white silkscreen with diamond dust — the deliberately spectral handling Reid used across his gallery output, set against the directness of the slogan itself. \u003ci\u003eLiberty For All\u003c\/i\u003e condenses four decades of Reid's political work into a single phrase, running from his pre-punk agitation at the Croydon-based underground press Suburban Press, through his role as the visual architect of the Sex Pistols, into his late painting and printmaking in the years before his death in 2023.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe diamond-dust technique — particles of fine glass applied to the wet ink — gives the surface a quiet glitter that catches light differently from any direction, a deliberate counterpoint to the bluntness of the words it embeds.\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502071525625,"sku":"JP0526036","price":2400.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526036_1.jpg?v=1784038860"},{"product_id":"one-of-one-test-print-t-shirt","title":"One-of-One Test Print T-Shirt","description":"\u003cp\u003eA one-of-a-kind and quite possibly one of the rarest Nirvana shirts in existence, Jeff Ross was the master screen printer that Sub Pop entrusted with much of its early tour-shirt output across the Bleach and pre-Nevermind period, meaning the difference between a faded production pull and a piece like this is the difference between a print and the proof. This is the proof: a single shirt Ross used over the course of months to check registration, ink density, and color across multiple screen runs before committing them to production. Test prints exist in single examples by definition, almost always destroyed , thrown away or worn into oblivion. That this one survived — pairing Nirvana with Tad and the British psych-punk outfit Thee Hypnotics, a constellation of bands that toured together at the precise moment grunge was crossing from regional scene to global event — and survived in size Large, mint condition places it among the rarest physical artifacts of the Bleach-to-Nevermind threshold.\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502071591161,"sku":"JP0526064","price":5000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526064_1.jpg?v=1784038860"},{"product_id":"hand-screened-butcher-paper-poster-the-piast-club-jersey-city-nj","title":"The Misfits Piast Club Poster","description":"\u003cp\u003eA monumental piece of East Coast hardcore iconography. This large-format hand-screened butcher-paper poster showcases the night The Misfits tore through The Piast Club in Jersey City, New Jersey, with Gang Green and the Nihilistics on December 10, 1982 — a date along The Misfits Evilive Tour. The artwork is by Pushead (Brian Schroeder), and only very few examples are known to have surfaced. The poster was produced by someone working inside the Misfits' immediate New Jersey ecosystem, and the venue is deliberately omitted from the artwork — almost certainly because the same sheet was meant to do duty for multiple dates along the run. Some surviving copies are hand-colored; this one is clean. The Boise-born artist's skull-and-bone vernacular would soon migrate from butcher paper onto Metallica sleeves and three generations of t-shirts, but in December 1982 it was still hardcore's secret handshake. Posters of this scale, on this paper, surviving from this run — most were stapled to telephone poles and lost to the weather within days of the gig — are vanishingly rare.\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502071656697,"sku":"JP0526065","price":7000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526065_1.jpg?v=1784038860"},{"product_id":"never-circulated-poster-wilson-center-washington-d-c","title":"Black Flag Poster","description":"\u003cp\u003eThe poster for the Wilson Center show that almost happened. Black Flag was billed to headline a stacked D.C. hardcore lineup — The Effigies, Double-O, Iron Cross, Faith — on September 17, 1982, but the band never made it to the venue: Henry Rollins was sick or injured, the precise reason now lost to varying accounts. The show was scratched before doors. The result is a Bob Raiteri design, printed by Danny McHenry — a foundational pair in the Dischord-orbit poster lineage — surviving in mint condition, traceable directly back to the press rather than the street. A piece of D.C. hardcore history that documents not the show that was, but the one that wasn't.\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502071722233,"sku":"JP0526066","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526066_1.jpg?v=1784038865"},{"product_id":"issues-1-13","title":"i-D Magazine Issues 1–13","description":"\u003cp\u003eThe complete original fanzine run of the publication that invented street style as an editorial subject.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eIssues 1–13 (1980–1983), the complete run in the magazine's original oblong-quarto fanzine format — spanning the title's evolution from its founding as Fashion Magazine (Nos 1–6) through Manual of Style into i-D proper — including the scarce Scars gold flexidisc issued with No. 3, most often separated from the copies it came with.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eFounded in August 1980 by Terry Jones and produced at his home studio on an IBM golfball typewriter, i-D began as a hand-stapled fanzine issued in an edition of approximately fifty copies. The first issue appeared on London streets at the crossover of punk and the New Romantics and contained the declaration — by fashion editor Caroline Baker — that would define the magazine's entire editorial stance: \"Originate, don't imitate.\" Jones, who had served as art director of British \u003ci\u003eVogue\u003c\/i\u003e from 1972 to 1977, set i-D apart from anything that preceded it through the Straight Up: the floor-to-ceiling street portrait, subject against a blank wall, recording what Londoners were actually wearing. Issues 1–13 represent the complete founding run in the magazine's original format; from Issue 14 it adopted a more conventional size and folio.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom The Mott Collection\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502071787769,"sku":"JP0426073","price":2000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0426073_1.jpg?v=1784038859"},{"product_id":"complete-run-1977-1981","title":"Slash Magazine Complete Run 1977–1981","description":"\u003cp\u003eThe rarely complete archive of the most consequential punk publication the West Coast produced.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eComprising Volume 1, Numbers 1–12; Volume 2, Numbers 1–11; Volume 3, Numbers 1–5; the unnumbered First Anniversary Issue; both September 1981 issues, including the elusive final issue inserted as a bonus into the September 1981 edition of NY Rocker; and an original Slash window-shop decal from the magazine's own archives.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eApproximately three-quarters of this run came directly from the Slash archives, never circulated; the remaining quarter assembled piece by piece over years. From its first issue in 1977 — printed on newsprint, with Dave Vanian of The Damned on the cover — Slash gave American punk what \u003ci\u003eSniffin' Glue\u003c\/i\u003e gave Britain: a voice, a vocabulary and a permanent record. Founded by Steve Samiof and Melanie Nissen, and published out of a Los Angeles loft that shared a building with the future Slash Records, the magazine ran to twenty-nine issues. Samiof's design and Nissen's photography set a standard the imitators never reached. Claude \"Kickboy Face\" Bessy's editorial was famously uncompromising — happy to slate the bands its own advertisers were promoting. Jeffrey Lee Pierce wrote here before The Gun Club existed; Gary Panter drew his \u003ci\u003eJimbo\u003c\/i\u003e strip here before \u003ci\u003eRAW\u003c\/i\u003e; Ed Colver, David Arnoff, Frank Gargani and Ann Summa documented every name that mattered, in real time.\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502071886073,"sku":"JP0526067","price":1900.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526067_1.jpg?v=1784038864"},{"product_id":"signed-london-calling-lp-by-all-four-members","title":"'London Calling' LP (Signed)","description":"\u003cp\u003eThe double album that detonated punk's borders — recorded over the long hot summer of 1979 at Wessex Studios with Guy Stevens, \u003ci\u003eLondon Calling\u003c\/i\u003e broke open the form, pulling reggae, ska, rockabilly and R\u0026amp;B into the slipstream of The Clash's sound. This UK first pressing carries the autographs of all four members on the reverse sleeve, gathered in person around the time of release: Joe Strummer in black ballpoint, Paul Simonon in blue felt-tip, Topper Headon and Mick Jones in blue ballpoint. A rare, fully-signed example of the record Rolling Stone would later call the album of the eighties, captured at the precise moment the band were re-writing what punk could be.\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502071918841,"sku":"JP0526068","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526068_1.jpg?v=1784038861"},{"product_id":"london-calling-in-store-promotional-poster","title":"'London Calling' In-Store Poster","description":"\u003cp\u003eThe main design element taken from the record sleeve designed by Ray Lowry for the December 1979 release of \u003ci\u003eLondon Calling\u003c\/i\u003e on Epic \/ CBS Records, this in-store promotional poster serializes Pennie Smith's photograph of Paul Simonon smashing his bass at New York's Palladium across the sheet in a strikingly Pop style — a deliberate compositional reference to Elvis Presley's 1956 debut LP and Andy Warhol's 1960s Triple Elvis and Electric Chair. The pink-and-green Cooper Black wordmark in turn appropriates the typography of Presley's LP, framing the album as a generational handover of rock-and-roll iconography. \u003ci\u003eLondon Calling\u003c\/i\u003e remains the Clash's most commercially and critically successful release, and Lowry's design — produced contemporaneously with the band's 16 Tons Tour of the UK — is among the most recognizable graphic statements of the post-1979 punk era.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eElvis was a continually referenced figure in the punk movement, known as \"the original rebel,\" see also lot 34.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLITERATURE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eKrivine, Andrew. \u003ci\u003eToo Fast To Live, Too Young To Die: Punk and Post-Punk Graphics\u003c\/i\u003e. London: Pavilion Books, 2020, p. 110\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eToo Fast To Live\u003c\/i\u003e Collection\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502071984377,"sku":"JP0426042","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0426042_1.jpg?v=1784038867"},{"product_id":"setting-sons-promotional-poster-signed-by-all-three-members","title":"'Setting Sons' Poster (Signed)","description":"\u003cp\u003eAmerican promotional poster for the Jam's \u003ci\u003eSetting Sons\u003c\/i\u003e (Polydor Records, 1979), signed in person by all three members — Rick Buckler, Bruce Foxton and Paul Weller — during the band's fourth US tour in February and March 1980. That nine-date run was the final leg performed in support of \u003ci\u003eSetting Sons\u003c\/i\u003e; by its conclusion the band had begun writing material that would surface on \u003ci\u003eSound Affects\u003c\/i\u003e. Across an eight-and-a-half-year career and roughly 650 to 680 documented gigs, the Jam performed in the United States only sixty-five times. American promotional material bearing all three signatures is correspondingly scarce.  Together with the Stranglers, the Jam produced a series of hit records in the UK, but never managed to achieve major commercial success in the US.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLITERATURE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eKrivine, Andrew. \u003ci\u003eToo Fast To Live, Too Young To Die: Punk and Post-Punk Graphics\u003c\/i\u003e. London: Pavilion Books, 2020, p. 148\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eToo Fast To Live\u003c\/i\u003e Collection\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072017145,"sku":"JP0426044","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0426044_1.jpg?v=1784038865"},{"product_id":"signed-singles-going-steady-lp-by-all-four-members","title":"'Singles Going Steady' LP (Signed)","description":"\u003cp\u003eThe Buzzcocks' \u003ci\u003eSingles Going Steady\u003c\/i\u003e, released in September 1979 — the singles compilation that codified Pete Shelley and Steve Diggle's run of 1977–79 seven-inches into one of the canonical British punk LPs of the period. Issued initially for the US market by IRS Records and subsequently in the UK by United Artists, the record gathers \"Orgasm Addict,\" \"What Do I Get?,\" \"Ever Fallen in Love (With Someone You Shouldn't've)\" and the rest of the A-side singles, paired with their B-sides on side two.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003ePete Shelley (born Peter McNeish; 1955–2018) — his stage name an homage to the Romantic poet Percy Bysshe Shelley — wrote \"Ever Fallen in Love\" among the most enduring love songs the punk era produced. Bayley met the Buzzcocks during their American tour, gathered the present signatures from the full band, and took a small set of hotel-room photographs of Shelley at the same time.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the personal archive of Roberta Bayley\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072082681,"sku":"JP0426186","price":120.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0426186_1.jpg?v=1784038869"},{"product_id":"concert-poster-ticket-stub-odeon-theatre-edinburgh","title":"Concert Poster \u0026 Ticket Stub","description":"\u003cp\u003eAn exceptionally rare original poster from the night Joy Division opened for Buzzcocks at the Edinburgh Odeon — one stop on the Buzzcocks' autumn 1979 tour, with Joy Division providing support across the run. Sold with the original ticket stub for Stalls B14: Joy Division's name, as the supporting act, does not appear on the stub, a small piece of evidence of how rapidly the band's status was about to change. Within the year Ian Curtis would be gone and the band that was second on the bill that night would be remembered as one of the most important British groups of the era.\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072115449,"sku":"JP0526073","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526073_1.jpg?v=1784038868"},{"product_id":"unknown-pleasures-promotional-poster-factory-records","title":"'Unknown Pleasures' Poster","description":"\u003cp\u003ePromotional poster for the UK first release of \u003ci\u003eUnknown Pleasures\u003c\/i\u003e, Joy Division's debut LP, issued by Factory Records in June 1979 under the catalogue number FACT 10. The cover — designed by Peter Saville and reproduced on this poster — is among the most recognized graphic statements of the post-punk era: a black sheet bearing stacked plots of successive radio pulses from the pulsar CP 1919, drawn from a diagram published in Harold D. Craft's 1970 Cornell University astronomy doctoral thesis, by way of \u003ci\u003eThe Cambridge Encyclopaedia of Astronomy\u003c\/i\u003e (1977). Saville's design has remained continuously in print, reproduction, and homage for over four decades. The present example is the original UK Factory Records issue.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLITERATURE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eA subsequent Australian release of the same design (GAP Records, under license from Factory Records, 1981) is illustrated in Krivine, Andrew. \u003ci\u003eToo Fast To Live, Too Young To Die: Punk and Post-Punk Graphics\u003c\/i\u003e. London: Pavilion Books, 2020, p. 302\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eToo Fast To Live\u003c\/i\u003e Collection\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072180985,"sku":"JP0426045","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0426045_1.jpg?v=1784038864"},{"product_id":"concert-poster-the-factory-russell-club-manchester-signed-jon-savage-from-the-rob-gretton-archive","title":"Factory Club Poster (Signed by Jon Savage, Rob Gretton Archive)","description":"\u003cp\u003eAn original poster for one of the defining Joy Division club shows, on the night the band played The Factory at the Russell Club in Hulme — Tony Wilson's club night that would lend its name to Factory Records. Around 450 people were in the room as the band ran through Dead Souls, Insight, Shadowplay, Disorder and Transmission, just weeks after \u003ci\u003eUnknown Pleasures\u003c\/i\u003e landed in the wider world (see previous lot). The poster's artwork is by the cultural critic Jon Savage — author of \u003ci\u003eEngland's Dreaming\u003c\/i\u003e, the canonical account of British punk — who has signed the lower right corner. It comes from one of the most important archives of the Manchester post-punk era: that of Joy Division's manager, Factory co-director and Haçienda founding partner Rob Gretton, with a letter from his partner Lesley Gilbert confirming its provenance.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the archive of Rob Gretton, manager of Joy Division, co-director of Factory Records and founding partner of the Haçienda. Accompanied by a letter of authenticity from Lesley Gilbert, partner of Rob Gretton\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072246521,"sku":"JP0526072","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526072_1.jpg?v=1784038872"},{"product_id":"the-great-rock-n-roll-swindle-promotional-poster-virgin-records","title":"'The Great Rock 'n' Roll Swindle' Poster","description":"\u003cp\u003ePink-bordered promotional poster for \u003ci\u003eThe Great Rock 'n' Roll Swindle\u003c\/i\u003e (Virgin Records, 1979), the soundtrack album to the Sex Pistols' film of the same name. Early pressings of both the double-LP and single-LP soundtrack formats included machine-folded copies of either the American Express parody poster — withdrawn almost immediately by Virgin under threat of litigation from American Express — or the Quad film poster. Some 1979 and 1980 pressings instead included the \"Dead Deer\" poster or the \"Sid From Beyond The Grave\" poster. The present design was never included as an insert in any pressing of \u003ci\u003eThe Great Rock 'n' Roll Swindle\u003c\/i\u003e; it was issued exclusively as a standalone promotional sheet, and is materially rarer than the British film quad of the same artwork. A fine, bright example.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eToo Fast To Live\u003c\/i\u003e Collection\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072279289,"sku":"JP0426047","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0426047_1.jpg?v=1784038872"},{"product_id":"single-animation-cel-for-the-great-rock-n-roll-swindle","title":"'The Great Rock 'n' Roll Swindle' Cel (Frame 41)","description":"\u003cp\u003eSingle hand-painted animation cel from \u003ci\u003eThe Great Rock 'n' Roll Swindle\u003c\/i\u003e (Julien Temple, 1980), the Sex Pistols film conceived with Malcolm McLaren. Sequenced 'Frame No. 41' in the production order.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eFollowing his departure from the band, John Lydon declined to participate in the film. In response, Animation City was commissioned to create a small number of animated sequences to help reconstruct the story of the Sex Pistols. Aside from brief excerpts of concert footage, Johnny Rotten appears in the film only in animated cartoon form.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThe Stolper-Wilson Collection\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072377593,"sku":"JP0526031","price":600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526031_1.jpg?v=1784038873"},{"product_id":"silly-thing-who-killed-bambi-promotional-poster-virgin-records","title":"“Silly Thing \/ Who Killed Bambi?” Poster","description":"\u003cp\u003ePromotional poster for the double A-side single \"Silly Thing \/ Who Killed Bambi?\", taken from \u003ci\u003eThe Great Rock 'n' Roll Swindle\u003c\/i\u003e and released by Virgin Records in 1979. The title refers to the abandoned Russ Meyer \/ Roger Ebert film originally commissioned by Malcolm McLaren in 1977; little was completed before the production collapsed, but the title and Jamie Reid's design were absorbed into Swindle. Reid's layout deploys Disney's house cursive typography against the Pistols' subject matter — a direct extension of the visual strategy he developed across the band's earlier campaigns. Unlike the American Express parody, Quad film, \"Dead Deer,\" and \"Sid From Beyond The Grave\" posters, this design was not included as a folded insert in any pressing of \u003ci\u003eThe Great Rock 'n' Roll Swindle\u003c\/i\u003e; it was issued only as a standalone promotional sheet for the single, making it materially scarcer than the LP-insert variants most commonly encountered.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLITERATURE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eIllustrated in \u003ci\u003eTorn Apart: Punk + New Wave Graphics, Fashion \u0026amp; Culture, 1976–86\u003c\/i\u003e, exh. cat. (Orlando: Orlando Museum of Art \/ MW Books, 2024), p. 123\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eToo Fast To Live\u003c\/i\u003e Collection\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072410361,"sku":"JP0426046","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0426046_1.jpg?v=1784038873"},{"product_id":"two-animation-cels-for-the-great-rock-n-roll-swindle","title":"'The Great Rock 'n' Roll Swindle' Cel Pair","description":"\u003cp\u003eTwo hand-painted cels from \u003ci\u003eThe Great Rock 'n' Roll Swindle\u003c\/i\u003e. The first depicts Johnny Rotten in the film's animated portrait sequence; the second shows Malcolm McLaren as the Pirate Captain from the credit sequence — the persona under which McLaren narrated the band's own myth back to them.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThe Stolper-Wilson Collection\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072475897,"sku":"JP0526206","price":420.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526206_1.jpg?v=1784038873"},{"product_id":"single-animation-cel-for-the-great-rock-n-roll-swindle-1","title":"'The Great Rock 'n' Roll Swindle' Cel (Frame 21)","description":"\u003cp\u003eSingle hand-painted animation cel from \u003ci\u003eThe Great Rock 'n' Roll Swindle\u003c\/i\u003e (Julien Temple, 1980), the Sex Pistols film conceived with Malcolm McLaren. Sequenced 'Frame No. 21' in the production order.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eFollowing his departure from the band, John Lydon declined to participate in the film. In response, Animation City was commissioned to create a small number of animated sequences to help reconstruct the story of the Sex Pistols. Aside from brief excerpts of concert footage, Johnny Rotten appears in the film only in animated cartoon form.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE\u003c\/b\u003e:\u003c\/p\u003e\u003cp\u003eThe Stolper-Wilson Collection\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072541433,"sku":"JP0526033","price":600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526033_1.jpg?v=1784038874"},{"product_id":"sort-it-out-tour-poster-liverpool-university","title":"Sort It Out Tour Poster","description":"\u003cp\u003eA rare original poster for The Clash's appearance at Liverpool University on the Sort It Out Tour, the band's UK run in support of \u003ci\u003eGive 'Em Enough Rope\u003c\/i\u003e. The show was originally booked for 6 December 1978 and rescheduled to 1 December — making surviving posters for the corrected date unusually scarce. The Sort It Out Tour caught the group at full velocity: Topper Headon's drumming locked in, Mick Jones's guitar work flowering, and the live show that would carry them out of punk and into something larger taking shape night after night.\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072574201,"sku":"JP0526071","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526071_1.jpg?v=1784038876"},{"product_id":"concert-poster-de-hallen-kortrijk","title":"Kortrijk Concert Poster","description":"\u003cp\u003eA poster for the Sex Pistols' date at the Hallen van Kortrijk, Belgium, on 29 January 1978 — one of a string of European shows booked to follow the band's American tour. None of them were ever performed. The Sex Pistols played their last show at Winterland Ballroom, San Francisco, on 14 January 1978; Johnny Rotten announced his departure four days later. The European leg — Kortrijk, Liège, Leuven, Nijmegen and beyond — collapsed with him before a single date was played.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThis poster was printed before the collapse. The poster passes directly from a former Pigz roadie: provenance that places it inside the cancelled operation at the precise moment anticipation turned into abandonment.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom a former roadie with Pigz, the booked support act\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072639737,"sku":"JP0526070","price":2400.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526070_1.jpg?v=1784038878"},{"product_id":"unsold-winterland-ticket-185-san-francisco","title":"Unsold Winterland Ticket #185","description":"\u003cp\u003eAn original Bill Graham Presents box-office ticket for the Sex Pistols at Winterland Ballroom, San Francisco, on 14 January 1978 — the band's final performance. Onstage that night Johnny Rotten delivered the closing line that became the band's epitaph — \"Ever get the feeling you've been cheated?\" — and walked offstage. Within days Rotten had publicly left the band; in the days following Winterland, Vicious overdosed on heroin, and subsequently fell into a coma on the flight back to New York and was hospitalised; and the original four-piece never performed together again. Sid Vicious died in New York on 2 February 1979, just over a year later, ending any possibility of reformation.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThis is not the Ticketron variant most commonly encountered. It is the box-office version of the ticket — and it is ticket #185, unsold, retrieved directly from Bill Graham's Oakland warehouse after Graham's death in a 1991 helicopter crash. The ticket never left the box office; an unused, uncirculated example of a ticket variant rarely seen in any condition. The ticket carries a hand-stamped \"SEX PISTOLS JAN 1978\" on the reverse, applied at the box office.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eBill Graham Productions, San Francisco; sold from Bill Graham's Oakland warehouse following his death in 1991; thence from the collection of Joshua White\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072672505,"sku":"JP0526025","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526025_3.jpg?v=1784038872"},{"product_id":"signed-dollar-bill-randys-rodeo-san-antonio","title":"Sid Vicious Signed Dollar Bill","description":"\u003cp\u003eA 1977 US one-dollar bill signed by Sid Vicious in ink at Randy's Rodeo, San Antonio, Texas, on the night of 8 January 1978 — the fifth date of the Sex Pistols' nine-night US tour, and the show at which Vicious was photographed onstage with a bandaged hand after striking an audience member with his bass.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThis bill was signed before Memphis — before Vicious resumed using heroin on the tour.  Crew kept him on handles of vodka through the early dates to stave off withdrawal; Memphis, the next night, was the turning point at which the regime broke down. Onstage in Memphis, Vicious carved “gimme a fix” into his chest. The dollar bill therefore captures Vicious at his most functional moment on the entire tour, two nights before the descent began.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eObtained at Randy's Rodeo, San Antonio, on 8 January 1978 by Jez Bird; thence from the collection of Joshua White\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072705273,"sku":"JP0526024","price":1700.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526024_1.jpg?v=1784038874"},{"product_id":"live-stiffs-1977-tour-set-of-five-promotional-posters","title":"Live Stiffs Tour Poster Set","description":"\u003cp\u003eThe complete five-poster set produced as merchandise for the first Live Stiffs Tour, which ran from early October to early November 1977 — Stiff Records' package outing featuring Ian Dury, Wreckless Eric, Elvis Costello, Nick Lowe, and Larry Wallis. The set was designed by Barney Bubbles and photographed by Chris Gabrin, both then affiliated with Stiff, and was conceived and self-financed by the two of them rather than commissioned by the label. Sold at venue merchandise tables for £1 each — a substantial price for a student audience in 1977 — the posters barely sold during the tour itself; most of the unsold inventory was discarded or pulped at its conclusion. Single posters of Elvis Costello and Ian Dury, both of whom were already commercially ascendant by late 1977, survived in greater numbers than the others. Complete sets of all five are scarce.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLITERATURE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFour of the five posters illustrated in Krivine, Andrew. \u003ci\u003eReversing Into The Future: New Wave Graphics 1977–1990\u003c\/i\u003e. London: Pavilion Books, 2021, p. 262\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eToo Fast To Live\u003c\/i\u003e Collection\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072770809,"sku":"JP0426048","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0426048_A.jpg?v=1784038875"},{"product_id":"signed-the-clash-debut-lp-by-all-five-members","title":"The Clash Debut LP (Signed)","description":"\u003cp\u003eA UK vinyl pressing of The Clash's self-titled debut, the album about which \u003ci\u003eZigzag\u003c\/i\u003e would exclaim: “This is the most exciting album I’ve heard in years… one of the most important records ever made\" on its release in April 1977 — and one of the few documents of the band signed by all five members associated with the line-up: Paul Simonon, Joe Strummer, Mick Jones, Topper Headon and the band's first drummer Terry Chimes, credited on the original sleeve as \"Tory Crimes.\" Chimes had left before the record came out, making any item signed by all five vanishingly rare.\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072803577,"sku":"JP0526076","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526076_1.jpg?v=1784038879"},{"product_id":"anarchy-in-the-uk-concert-poster-preston","title":"'Anarchy in the UK' Tour Poster (Preston)","description":"\u003cp\u003eAn original concert poster for the most notorious tour in British music history. The Anarchy in the UK Tour — Sex Pistols, The Clash, The Heartbreakers and The Damned — set out across Britain in December 1976 in the immediate aftermath of the Bill Grundy interview, and watched almost every date collapse under councils' pressure. The Charlton Theatre, Preston date on 10 December was among the casualties: the show was cancelled, the audience turned away, and the tour passed into legend. Surviving posters from the cancelled shows are exceptionally scarce, having been pulled or destroyed when each date fell.\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072836345,"sku":"JP0526069","price":5000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526069_1.jpg?v=1784038877"},{"product_id":"bad-brains-punk-showcase","title":"Bad Brains Punk Showcase","description":"\u003cp\u003eSHEPARD FAIREY (B. 1970)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eBad Brains Punk Showcase\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003esigned, dated and numbered by the artist\u003c\/p\u003e\u003cp\u003esilkscreen on wood panel\u003c\/p\u003e\u003cp\u003e24 x 18 inches (61 x 45.7 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 2013. This work is number 1 from an edition of 6.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eShepard Fairey's portrait of Bad Brains, drawing on the band's legendary Punk Showcase performances at Washington, D.C. venues including Madam's Organ in the late 1970s. Bad Brains — H.R., Dr. Know, Darryl Jenifer and Earl Hudson — defined the sound of American hardcore at its most accelerated, alongside Minor Threat, Black Flag and the wider Dischord-orbit groups; H.R.'s standing-jump silhouette became the totem image of the band's live performance, and is the figure at the centre of Fairey's composition here, framed within the artist's typographic banners and ornamental groundwork.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe present work is from the smaller wood-panel edition of six — silkscreened by the artist over a hand-prepared birch panel ground. Number 1 in the edition.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the artist's studio\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072901881,"sku":"JP0526335","price":2200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526335_1.jpg?v=1784038882"},{"product_id":"joan-jett","title":"Joan Jett","description":"\u003cp\u003eSHEPARD FAIREY (B. 1970)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eJoan Jett\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003esigned, dated and numbered by the artist\u003c\/p\u003e\u003cp\u003esilkscreen on wood panel\u003c\/p\u003e\u003cp\u003e24 x 18 inches (61 x 45.7 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 2013. This work is number 5 from an edition of 6.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eShepard Fairey's portrait of Joan Jett, built from a photograph by Chris Stein of Blondie — taken during Jett's Runaways period, when she was in her late teens, the band two years into the four-year run that founded American all-female rock. Stein and Jett later both signed copies of the paper edition of the image at a session held in Debbie Harry's hotel room.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe present work is from the smaller wood-panel edition of six — silkscreened by the artist over a hand-prepared birch panel ground. Number 5 in the edition.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the artist's studio\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072934649,"sku":"JP0526336","price":2000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526336_1.jpg?v=1784038882"},{"product_id":"military-jacket-1-sex-pistols","title":"Military Jacket No. 1 (Sex Pistols)","description":"\u003cp\u003eSHEPARD FAIREY (B. 1970), with ROLLAND BERRY\u003c\/p\u003e\u003cp\u003e\u003ci\u003eMilitary Jacket 1 (Sex Pistols)\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003emixed media artifact: silkscreened, hand-painted and stencilled dead stock military jacket, with WWII army tent patches and metal studs; framed\u003c\/p\u003e\u003cp\u003e38 x 43 x 3 inches (96.5 x 109.2 x 7.6 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 2010.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eA one-of-a-kind artwork from Shepard Fairey's 2010 collaboration with the designer Rolland Berry — a project Berry described as \"wearable art,\" and which produced a series of one-off jackets built around the OBEY visual vocabulary spliced with classic punk-rock iconography. Each jacket in the project took thirty-five to forty hours of work by hand: hand-studding, hand-distressing, hand-pulled silkscreens, individually mixed palettes, treated as three-dimensional paintings rather than garments.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eNumber 1 in the project, this military-cut jacket is built on a dead stock vintage military base, appliquéd with WWII-era army tent patches and finished with hand-applied metal studs. The composition carries Sex Pistols imagery — the band Fairey credits as the one that changed his life at age fourteen, the moment, in his words, that \"marked a turning point\" in his orientation toward art, music and design. The three jackets in the Rolland Berry collaboration were shown together at an OBEY Clothing pop-up at 151 Orchard Street, New York City in May 2010. The present work is sold framed.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the artist's studio\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502072967417,"sku":"JP0526334","price":4800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526334_1.jpg?v=1784038885"},{"product_id":"strummerville-version-2","title":"Strummerville Version 2","description":"\u003cp\u003eSHEPARD FAIREY (B. 1970)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eStrummerville, Version 2\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003esigned and dated by the artist on the front of the canvas\u003c\/p\u003e\u003cp\u003emixed media (stencil, silkscreen and collage) on canvas\u003c\/p\u003e\u003cp\u003e41 x 30 inches (104.1 x 76.2 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 2015.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eShepard Fairey's portrait of Joe Strummer, built from a photograph by Kate Simon — the photographer who also shot the cover of The Clash's 1977 self-titled debut LP. The image was first developed for Strummerville, the charity established in 2003 by Strummer's widow Lucinda Tait to honor Strummer's belief that music can inspire and empower; Fairey produced the design at Tait's request and released a paper edition of 450 on cream Speckle Tone paper in 2014. The present canvas is the artist's second iteration of the composition, executed in 2015 as a mixed media work — stencilled, silkscreened and collaged on canvas — distinct from the paper edition.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe Clash were, by Fairey's own account, his all-time favourite band, and Joe Strummer one of his enduring personal heroes \"for his music, lyrics, wit, compassion for the underdog and stance against injustice.\" \u003ci\u003eStrummerville, Version 2\u003c\/i\u003e sits among the most explicitly elegiac works in Fairey's wider portrait series.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the artist's studio\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502073098489,"sku":"JP0526333","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526333_1.jpg?v=1784038885"},{"product_id":"sid-smoking","title":"Sid Smoking","description":"\u003cp\u003eSHEPARD FAIREY (B. 1970)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eSid Smoking\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003esigned and dated by the artist on the front of the canvas\u003c\/p\u003e\u003cp\u003emixed media (stencil, silkscreen and collage) on canvas\u003c\/p\u003e\u003cp\u003e41 x 30 inches (104.1 x 76.2 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 2013.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eShepard Fairey's portrait of Sid Vicious — built from Dennis Morris's 1977 photographs of the Sex Pistols, the canonical visual record of the band's London period. Morris, granted complete access to the group across that year, produced a body of work that included the most reproduced photographs of Vicious in existence; Fairey's \u003ci\u003eSid Smoking\u003c\/i\u003e draws directly on that archive, refracting Morris's photograph through Fairey's signature graphic vocabulary of red-and-cream halftone, Art Deco ornament and decorative ground-pattern that ties the work to the wider OBEY visual system.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe Sex Pistols were, by Fairey's own account, the band that changed his life — a friend played him \u003ci\u003eNever Mind the Bollocks\u003c\/i\u003e when he was fourteen, and the moment marked, in Fairey's words, \"a turning point\" in his orientation toward art, music and design. The Sid portrait has returned across multiple editions and HPMs since 2013 and remains among the most personally invested images in Fairey's punk-era output. The present canvas is the original mixed media work — stencilled, silkscreened and collaged by the artist on canvas — distinct from the paper editions of the image.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the artist's studio\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502074114297,"sku":"JP0526332","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526332_1.jpg?v=1784038884"},{"product_id":"learn-from-the-past-live-in-the-present-look-to-the-future-black","title":"'Learn from the Past' (Black)","description":"\u003cp\u003eJAMIE REID (1947–2023)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eLearn from the Past, Live in the Present, Look to the Future (Black)\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003esigned 'Jamie Reid' (lower right)\u003c\/p\u003e\u003cp\u003einkjet base print on 310gsm Hahnemühle 'German Etching' paper, with acrylic screen-print additions and mixed media on board\u003c\/p\u003e\u003cp\u003e43 7\/8 x 32 1\/4 x 3\/4 inches (111.5 x 82 x 2 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 2011.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eJamie Reid — the artist whose ransom-note typography, Pop-art collage and Situationist détournement defined the visual identity of the Sex Pistols and have remained continuously in print, reproduction and homage in the half-century since. Reid's slogan \u003ci\u003eLearn from the Past, Live in the Present, Look to the Future\u003c\/i\u003e recurs across his entire post-Pistols practice, condensing the political and spiritual continuities that run from his early-1970s agitprop at Suburban Press in Croydon, through his work with Malcolm McLaren on the Sex Pistols campaigns of 1976–79, into the late painting and printmaking Reid produced in the years before his death in 2023.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe present work is the black colourway in the paired chromatic system Reid had used throughout his career, since the Sex Pistols-era prints — black and red as opposed political registers. The companion red (lot 57) is offered following.\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502074179833,"sku":"JP0526034","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526034_1.jpg?v=1784038887"},{"product_id":"learn-from-the-past-live-in-the-present-look-to-the-future-red","title":"'Learn from the Past' (Red)","description":"\u003cp\u003eJAMIE REID (1947–2023)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eLearn from the Past, Live in the Present, Look to the Future (Red)\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003esigned 'Jamie Reid' (lower edge)\u003c\/p\u003e\u003cp\u003einkjet base print on 310gsm Hahnemühle 'German Etching paper,' with acrylic screen-print additions and mixed media on board\u003c\/p\u003e\u003cp\u003e43 7\/8 x 32 1\/4 x 3\/4 inches (111.5 x 82 x 2 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 2011.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe companion red colourway to lot 56. One of Jamie Reid's most enduring slogans — \u003ci\u003eLearn from the Past, Live in the Present, Look to the Future\u003c\/i\u003e — a phrase that condenses Reid's life's work, from his early-1970s agitprop at Suburban Press in Croydon, through his role as the visual architect of the Sex Pistols campaigns of 1976–79, into the late painting and printmaking he produced in the years before his death in 2023.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eBlack and red stage the same composition in the paired chromatic system Reid had used since the Pistols-era prints — colour as ideological register, the two together as a political pairing.\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502074245369,"sku":"JP0526035","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526035_1.jpg?v=1784038887"},{"product_id":"god-save-the-queen-promotional-poster-virgin-records","title":"“God Save the Queen” Poster","description":"\u003cp\u003eThe single that defined punk's confrontation with British state ceremony. The Sex Pistols' \"God Save the Queen\" was released on Virgin Records on 27 May 1977, into the week of the Queen's Silver Jubilee — a single timed, titled and packaged as a deliberate intervention into the nation's official celebration of itself. The record was banned by the BBC, refused stock by Boots, Woolworths, W.H. Smith and most of the major British retailers, and excluded from the in-store airplay of every chain that did carry it. It reached No. 2 in the Official UK Singles Chart during Jubilee week — widely believed, in subsequent accounts, to have been suppressed from a No. 1 position the establishment was unwilling to publish.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eJamie Reid's artwork for the campaign is among the most consequential graphic statements of the twentieth century: Cecil Beaton's 1956 official portrait of Queen Elizabeth II, defaced with ransom-note lettering across the eyes and mouth, the title and band name applied in the cut-up typography Reid had developed across Suburban Press and would deploy across the rest of the band's campaign. The design has been continuously cited, reproduced, parodied and reissued ever since, and remains probably the single most reproduced punk image in circulation.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom The Mott Collection\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502074278137,"sku":"JP0426074","price":1000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0426074_1.jpg?v=1784038882"},{"product_id":"sid-vicious-johnny-rotten-cheeks-luxembourg","title":"Sid Vicious \u0026 Johnny Rotten Luxembourg","description":"\u003cp\u003eBOB GRUEN (B. 1945)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eSid Vicious \u0026amp; Johnny Rotten, Cheeks, Luxembourg, 1977\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003esigned, titled, and dated 'SID VICIOUS + JOHNNY ROTTEN - EUROPE - 1988 Bob Gruen NYC 03' (lower margin)\u003c\/p\u003e\u003cp\u003ecibachrome print\u003c\/p\u003e\u003cp\u003eimage: 9 x 12 inches (22.9 x 30.5 cm)\u003c\/p\u003e\u003cp\u003esheet: 11 x 14 inches (27.9 x 35.6 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 1977. Printed in 2003. Accompanied by a certificate of authenticity signed and dated by the artist.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eSid Vicious and Johnny Rotten photographed by Bob Gruen in Luxembourg in 1977, during the Sex Pistols' brief and chaotic European campaign before the band's American tour and Vicious's heroin spiral. The frame catches the two principals in a moment of silliness, before either of them had become unable to be near the other. Within months, Rotten would walk offstage at Winterland with the closing line that ended the band; less than a year and a half after that, Vicious would be dead.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eGruen's European tour photography of the Sex Pistols sits alongside his more widely circulated American tour work.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eCibachromes are prized above all other prints for its optical luminosity, absolute colour saturation, and archival permanence: where conventional chromogenic prints build colour by forming new dyes, cibachrome achieves extraordinary depth by replacing existing ones. Because cibachromes have been discontinued, every surviving example is, by definition, the last of its kind.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the studio of Bob Gruen\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502074310905,"sku":"JP0526080","price":3000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526080_1a.jpg?v=1784038884"},{"product_id":"cmon-everybody-promotional-poster-virgin-records","title":"“C'mon Everybody” Poster","description":"\u003cp\u003ePromotional poster for the Sex Pistols' \"C'mon Everybody\" single — Sid Vicious's cover of the Eddie Cochran rock-and-roll standard, taken from \u003ci\u003eThe Great Rock 'n' Roll Swindle two record set \u003c\/i\u003e(post band breakup), released by Virgin Records in 1979. The lot pairs work by two of the most consequential visual collaborators on the band: Bob Gruen, whose access throughout the band's doomed American tour made him punk's de facto in-house documentarian, and Jamie Reid, whose ransom-note typography and pop-art sensibility defined the Pistols' graphic identity. For an original cibachrome of the Gruen photograph, see lot 52.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eToo Fast To Live\u003c\/i\u003e Collection\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502074376441,"sku":"JP0426043","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0426043_1.jpg?v=1784038889"},{"product_id":"sid-vicious-im-a-mess-san-antonio-tx","title":"Sid Vicious 'I'm a Mess'","description":"\u003cp\u003eBOB GRUEN (B. 1945)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eSid Vicious, 'I'm a Mess', San Antonio, TX, 1978\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003esigned and dated 'Bob Gruen' (lower margin)\u003c\/p\u003e\u003cp\u003ecibachrome print\u003c\/p\u003e\u003cp\u003eimage: 11 x 6 inches (27.9 x 15.2 cm)\u003c\/p\u003e\u003cp\u003esheet: 16 x 20 inches (40.6 x 50.8 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 1978. Printed in 1999. Accompanied by a certificate of authenticity signed and dated by the artist.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eOne of Bob Gruen's defining images of the Sex Pistols' 1978 US tour — and one of the most recognizable photographs in the history of British punk: Sid Vicious, face smeared with ketchup and mustard, grinning beside a hot dog at a Texas sound check, a button on his leather jacket reading \"I'm a Mess.\" The image was staged by Vicious himself: when Gruen raised the camera at the pair's shared meal, Sid paused, fetched more condiments, and smeared them deliberately across his face and the hot dog before the shutter clicked.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eGruen had joined the tour by accident. Originally saying goodbye to Malcolm McLaren after the Atlanta opening show, he was invited onto the bus when McLaren counted eleven people on the manifest and realized he had room for one more. He stayed for the full American run — seven performed dates, 70 rolls of film — producing the most extensive and intimate body of photographic work on the Sex Pistols in their final weeks together.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eNow held in the permanent collection of the National Portrait Gallery, London, the image has become one of the canonical visual documents of the era. It was subsequently used by Virgin Records as the source for the promotional poster of the band's 1979 single \"C'mon Everybody\" — Sid Vicious's cover of the Eddie Cochran standard, released as part of \u003ci\u003eThe Great Rock 'n' Roll Swindle, \u003c\/i\u003esee lot 53.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eCibachromes are prized above all other prints for its optical luminosity, absolute colour saturation, and archival permanence: where conventional chromogenic prints build colour by forming new dyes, cibachrome achieves extraordinary depth by replacing existing ones. Because cibachromes have been discontinued, every surviving example is, by definition, the last of its kind.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the studio of Bob Gruen\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502074441977,"sku":"JP0526079","price":4000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526079_1a.jpg?v=1784038884"},{"product_id":"sid-and-nancys-studded-cuffs","title":"Sid and Nancy's Studded Cuffs","description":"\u003cp\u003eWhen Malcolm McLaren and Vivienne Westwood renamed their King's Road shop SEX in 1974, they were making a statement as much as a business decision. Drawing explicitly on the fetish and S\u0026amp;M subcultures they had encountered in New York — and stocking rubber, leather, and bondage hardware alongside their own designs — they were proposing that the materials of sexual transgression and the materials of youth rebellion were the same thing. Studded leather, in that framework, was not decoration; it was about power, refusal, and the body as a political site. The studded wristband, the studded belt, the hardware-laden silhouette assembled for the Sex Pistols were drawn directly from that vocabulary — transferred from the underground leather scene into the glare of the music press and the high street.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eSid Vicious was the figure in whom this transfer became total. When he joined the Sex Pistols in February 1977, replacing Glen Matlock on bass, he arrived already wearing the language. Nancy Spungen, the Philadelphia-born groupie who attached herself to Vicious the same year, wore it alongside him. Together they became punk's most extreme couple: chaotic and publicly self-destructive. The studded cuff was central to this uniform. Steve Emberton's 1978 photograph of the two of them, shot at Sid's Maida Vale apartment for Record Mirror and later selected by Rolling Stone for its \u003ci\u003eFifty Greatest Rock Portraits\u003c\/i\u003e, shows the couple dressed in this punk hardware.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe two cuffs in this lot — one pyramid-studded (Nancy's), one dome-studded with \"SID\" scratched into the face of the leather (Sid's) — passed directly from Anne Beverley, Sid's mother in the weeks following her son's death in February 1979.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the collection of Anne Beverly, mother of Sid Vicious\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502074507513,"sku":"JP0526204","price":11000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526204_1_8f80d710-13c3-4086-96b0-331aeaaa1e94.jpg?v=1784038886"},{"product_id":"signed-never-mind-the-bollocks-lp-at-cains-ballroom-tulsa","title":"'Never Mind the Bollocks' LP (Signed)","description":"\u003cp\u003eA vanishingly scarce fully-signed example, one of the very few known to carry Sid Vicious's signature. A 1977 US first pressing of the Sex Pistols' debut, signed in black ballpoint on the graphic inner sleeve by Johnny Rotten, Sid Vicious, Steve Jones and Paul Cook. The signatures were gathered on the night of 11 January 1978 at Cain's Ballroom in Tulsa, Oklahoma — the penultimate performed date of the band's catastrophic US tour, with San Francisco to follow. The tour's final date in San Francisco three nights later ended with Johnny Rotten's closing line at Winterland — \"Ever get the feeling you've been cheated?\" — and the band's collapse. Tulsa caught the Sex Pistols at the precise moment before the end. Outside the venue, evangelical protesters in the parking lot worked a bullhorn and a banner warning that following the Sex Pistols would condemn the audience to hell. Inside, the room got what the original recipient describes as a show that was \"nothing short of incendiary. Very loud and very intense, especially Johnny Rotten.\"\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eAfter the set, the recipient approached one of the band's security guards and handed over the album sleeve; the guard walked it to the band, the four members signed it in turn between themselves, and the sleeve was handed back. The Sex Pistols never played as a four-piece again after Winterland three nights later, and Sid Vicious would be dead by February 1979. A historically singular document of British punk's most notorious group, signed during the tour that destroyed them.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eObtained in person at Cain's Ballroom, Tulsa, Oklahoma, 11 January 1978; thence from the collection of the present owner\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502074573049,"sku":"JP0526202","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526202_1.jpg?v=1784038887"},{"product_id":"us-tour-archive","title":"US Tour Archive","description":"\u003cp\u003eSEX PISTOLS — US TOUR ARCHIVE\u003c\/p\u003e\u003cp\u003eA comprehensive archive of thirteen original pieces of ephemera from the Sex Pistols' US tour of December 1977 – January 1978, presented in thirteen frames.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003ePerformed dates:\u003c\/p\u003e\u003cp\u003eConcert ticket, Great SouthEast Music Hall, Atlanta, GA, 5 January 1978\u003c\/p\u003e\u003cp\u003eConcert ticket, Taliesyn Ballroom, Memphis, TN, 6 January 1978\u003c\/p\u003e\u003cp\u003ePolaroid, Memphis, TN, 6 January 1978\u003c\/p\u003e\u003cp\u003eBackstage Guest Pass, Randy's Rodeo, San Antonio, TX, 8 January 1978\u003c\/p\u003e\u003cp\u003eConcert ticket, Randy's Rodeo, San Antonio, TX, 8 January 1978\u003c\/p\u003e\u003cp\u003eTwo concert tickets, Longhorn Ballroom, Dallas, TX, 10 January 1978\u003c\/p\u003e\u003cp\u003eConcert ticket, Cain's Ballroom, Tulsa, OK, 11 January 1978\u003c\/p\u003e\u003cp\u003ePolaroid, Tulsa, OK, 11 January 1978\u003c\/p\u003e\u003cp\u003eConcert ticket, Winterland Arena, San Francisco, CA, 14 January 1978\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eCancelled dates:\u003c\/p\u003e\u003cp\u003eConcert ticket, Leona Theatre, Homestead, PA, 28 December 1977\u003c\/p\u003e\u003cp\u003eBackstage pass, Leona Theatre (cancelled), Homestead, PA, 28 December 1977\u003c\/p\u003e\u003cp\u003eConcert ticket, Ivanhoe Theatre, Chicago, IL, 31 December 1977\u003c\/p\u003e\u003cp\u003eConcert ticket, The Agora, Cleveland, OH, 1 January 1978\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eFrame dimensions:\u003c\/p\u003e\u003cp\u003eSeven frames, each: 8 3\/4 × 10 3\/4 inches (22.2 × 27.3 cm)\u003c\/p\u003e\u003cp\u003eSix frames, each: 8 1\/8 × 10 5\/8 inches (20.6 × 27.0 cm)\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eA comprehensive private archive of original ephemera from the Sex Pistols' infamous nine-date US tour of December 1977 and January 1978 — the catastrophic run that ended the band, twelve nights chronicled by road manager Noel Monk in \u003ci\u003e12 Days on the Road with the Sex Pistols\u003c\/i\u003e (1990). The archive was assembled by the consignor over the course of fifteen years and is built directly off Monk's account: each piece is a tangible artifact corroborating a specific story detail in the book, from the cancelled dates the tour never reached to the venues it did, and the polaroids and backstage credentials of the people inside the operation.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe archive captures the full physical paper-trail of the tour. The cancelled-show tickets (Ivanhoe Theatre, Chicago, 31 December 1977; The Agora, Cleveland, 1 January 1978; Leona Theatre, Homestead PA, 28 December 1977, with corresponding backstage pass) document the dates councils and venue owners pulled at the last hour, when local pressure made the gigs untenable. The performed-date tickets (Great SouthEast Music Hall, Atlanta; Taliesyn Ballroom, Memphis; Randy's Rodeo, San Antonio; Longhorn Ballroom, Dallas; Cain's Ballroom, Tulsa; Winterland, San Francisco) form a complete sequence — the entire route the band actually played, ticket by ticket, between 5 and 14 January 1978.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eNo equivalent assembled archive of this period exists; to reproduce it would not be a practical possibility; the material has dispersed across five decades, and several of the cancelled venues no longer exist.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the collection of Joshua White\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502074605817,"sku":"JP0526023","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526023_01.jpg?v=1784038892"},{"product_id":"paul-cooks-smoking-boy-t-shirt","title":"Paul Cook's 'Smoking Boy' T-Shirt","description":"\u003cp\u003eThe 'Smoking Boy' T-shirt — the first Sex Pistols T-shirt ever produced, and one of the founding objects in the visual history of British punk. Malcolm McLaren conceived and made the design in March 1976, in a run of no more than forty examples, specifically to promote the newly-formed band. McLaren described it in an interview with writer Paul Gorman in 2006: \"This was my first attempt at making a Sex Pistols T-shirt. I wanted to create something of a stir.\"\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe source image was taken by McLaren from the underground publication \u003ci\u003eBoys Express No. 4\u003c\/i\u003e, purchased in a shop in Brixton in the winter of 1975–76. McLaren's stated rationale tied the provocative image directly to the band's name: \"the way this boy stood with his cigarette could look like a smoking gun.\" Bernie Rhodes, then assisting McLaren and later to become manager of the Clash, was unable to print the shirt. McLaren turned instead to Glen Matlock — simultaneously an art student at St Martins College of Art and a Saturday shop assistant at SEX — who printed the run at the college; McLaren reportedly threatened to dismiss him from the shop if he refused. The design was subsequently used on a poster for the Sex Pistols' concert at the Chalet du Lac, Paris, in September 1976.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe present example was manufactured inside out — an inversion of conventional garment construction consistent with the anti-fashion logic Westwood and McLaren built into their garments across the SEX and Seditionaries periods. It passed directly from Paul Cook — drummer and founding member of the Sex Pistols, and one of only two members (alongside Steve Jones) present from the band's formation in Shepherd's Bush in 1975 through to their final shows — to the photographer and designer Trevor Key (10 July 1947 – 6 December 1995), who acquired it while working for Virgin Records in 1977. Key had formed Cooke Key Associates with Brian Cooke in 1976; the studio became the go-to design and photography operation for Virgin Records, and Key's credits for the band include the sleeve for \u003ci\u003eNever Mind the Bollocks, Here's the Sex Pistols\u003c\/i\u003e (Virgin Records, 1977) and \u003ci\u003eThe Great Rock 'n' Roll Swindle\u003c\/i\u003e (Virgin Records, 1979).\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eA variant of the 'Smoking Boy' T-shirt is held in the permanent collection of the Costume Institute at the Metropolitan Museum of Art, New York.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003ePaul Cook, drummer, the Sex Pistols; thence to Trevor Key, photographer and designer, by direct acquisition in 1977; accompanied by a Certificate of Authenticity issued by Eddie Lock (COA No. 14120, 14 January 2020)\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502074704121,"sku":"JP0626014","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0626014_1.jpg?v=1784038897"},{"product_id":"setlist-given-to-alan-vega-bridgeport-ct","title":"Setlist Given to Alan Vega","description":"\u003cp\u003eBruce Springsteen's setlist for his Devils \u0026amp; Dust Tour performance at the Arena at Harbor Yard, Bridgeport, Connecticut, on 20 July 2005 — the night Springsteen dedicated his solo cover of Suicide's \"Dream Baby Dream\" to Alan Vega, in the audience as his guest. The setlist was given to Vega personally by Springsteen after the show.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eSpringsteen and Vega first met in the early 1980s, when Suicide were recording their second album and Springsteen was working in the same New York studio, down the hall from each other. The friendship that began in those adjacent rooms carried across the following decades, with Springsteen citing Vega as one of the most influential artists to him of all time — placing Vega among his twenty-five biggest musical heroes in Rolling Stone, and remarking after Vega's death in 2016 that \"there was nobody remotely like him.\"\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eFor the Devils \u0026amp; Dust tour Springsteen was closing his entire set with \"Dream Baby Dream\" — Suicide's 1980 closing track, a song Springsteen would eventually record his own definitive studio version of as the final track on \u003ci\u003eHigh Hopes \u003c\/i\u003e(2014). When Vega went to the Bridgeport show, Springsteen jumped off the soundcheck stage to greet him. That night, before the encore, Springsteen said from the stage: \"We have a very special guest in the audience. I wanted to dedicate this song to the man who wrote it — Alan Vega is with us.\" He then performed \"Dream Baby Dream\". Vega was moved to tears by Springsteen's reading of his song; \"I could never do this song again. His version of it is so beautiful.\"\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eOn the reverse of the photocopied setlist, in Springsteen's hand, are his home address and the contact details for his personal assistant.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThe Estate of Alan Vega \/ Saturn Strip, LTD\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502075228409,"sku":"JP0426224","price":800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0426224_1.jpg?v=1784038895"},{"product_id":"pair-of-spirit-drawings","title":"Pair of Spirit Drawings","description":"\u003cp\u003eALAN VEGA (1938-2016)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eA Pair of Spirit Drawings\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eeach signed and dated 'ALAN VEGA 2015' (lower edge)\u003c\/p\u003e\u003cp\u003eeach: graphite on paper\u003c\/p\u003e\u003cp\u003eleft: 12 x 9 3\/4 inches (30.5 x 24.8 cm)\u003c\/p\u003e\u003cp\u003eright: 12 x 9 inches (30.5 x 22.9 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 2015.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eTwo of Alan Vega's late Spirit Drawings, signed and dated by the artist. The series emerged from a creative surge that defined Vega's later life.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eVega had drawn nightly for decades — earlier work being intense portraits of older men, executed in stacks of notebooks as a compulsion or ritual. The portraits began to lose their features, the faces gradually opening into something Vega himself described as Spirit.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eVega's first major museum exhibition of drawings was the 2009 Alan Vega Retrospective at the Museum of Contemporary Art, Lyon, where ninety-four drawings were shown for the first time. His drawings, including the Spirit Drawings Series, have subsequently been shown at Deitch Projects, New York (2017); Invisible Exports, New York (2014); New Discretions, New York (2017); The Armory Show, New York (2014, Laurent Godin Gallery booth); FIAC, Paris (2012, Laurent Godin Gallery booth); and Laurent Godin Gallery, Paris (2012, 2018, 2024).\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThe Estate of Alan Vega \/ Saturn Strip, LTD\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502075293945,"sku":"JP0426220","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0426220_1.jpg?v=1784038894"},{"product_id":"pair-of-lotto-ticket-drawings","title":"Pair of Lotto Ticket Drawings","description":"\u003cp\u003eALAN VEGA (1938–2016)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eA Pair of Untitled Drawings (Lotto Ticket Series)\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003egraphite on New York State lottery tickets\u003c\/p\u003e\u003cp\u003eeach: 8 1\/2 x 3 1\/4 inches (21.6 x 8.3 cm)\u003c\/p\u003e\u003cp\u003eExecuted 1986–2016.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eA pair of drawings by Alan Vega executed in graphite on New York State lottery tickets — a substrate Vega turned to repeatedly across thirty years of his studio practice. Before Vega turned to art, he had been an astrophysics major at Brooklyn College, and his lottery practice ran on what his widow and longtime creative collaborator Liz Lamere described as an entirely worked-out statistical analysis.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe tickets became one of the ready surfaces Vega drew, wrote and worked onto, in the same body of work that produced the Spirit Drawings and his final paintings. Per Lamere: \"Alan had this knack of turning everyday objects that people might overlook into art… you can't really separate life and art from the man. Everything he did was part of his creative vision.\"\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThe Estate of Alan Vega \/ Saturn Strip, LTD\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502075359481,"sku":"JP0426222","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0426222_1.jpg?v=1784038897"},{"product_id":"alan-vegas-champion-gloves","title":"Alan Vega's Champion Gloves","description":"\u003cp\u003eAlan Vega's own Champion-branded fingerless leather gloves — worn extensively in concert and in press photographs throughout the Suicide tours of the 1980s and beyond, and right through to his final performances in 2015. The gloves are visible in concert footage from at least 1988, including a French festival performance in Rennes.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eVega cultivated a visual language as influential as his music: black leather, fingerless gloves, chains, biker jackets, and militaristic silhouettes combined with an intense physical stage presence to establish a template for punk and post-punk style that reverberated far beyond the downtown New York scene. His stripped-back, street-derived aesthetic — worn not as costume but as a second skin — profoundly informed later generations of designers and musicians. Most notably Hedi Slimane, who photographed Vega in New York in the early 2000s and later incorporated imagery from Vega's Ransom Note collages into collections for Celine; and Rick Owens, who recently collaborated with Suicide on a capsule collection for SS26 Temple.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe gloves also appear in the Nike Soldier music video, starring the musician Kris Esfandiari as Vega.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThe Estate of Alan Vega \/ Saturn Strip, LTD\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502075392249,"sku":"JP0426218","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0426218_1.jpg?v=1784038897"},{"product_id":"alan-vega-suicide-england","title":"Alan Vega","description":"\u003cp\u003eBOB GRUEN (B. 1945)\u003c\/p\u003e\u003cp\u003e\u003ci\u003eAlan Vega, Suicide, England, 1978\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003esigned, titled, and dated 'Bob Gruen Suicide 78' (lower margin); stamped with the photographer's copyright (on the reverse)\u003c\/p\u003e\u003cp\u003esilver gelatin print\u003c\/p\u003e\u003cp\u003e7 1\/4 x 9 1\/2 inches (18.4 x 24.1 cm)\u003c\/p\u003e\u003cp\u003eExecuted and printed in 1978. Accompanied by a certificate of authenticity signed and dated by the artist.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eAlan Vega of Suicide, photographed by Bob Gruen during the band's 1978 European tour — the run on which Suicide were famously bottled, abused and disrupted across the Clash's UK tour dates, and during which Vega reportedly threw himself into the audience to confront hecklers.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eSuicide's transatlantic standing — Marty Thau's Red Star debut had been released in December 1977 — by 1978 already placed them alongside Television, the Ramones and the Heartbreakers as one of the foundational acts of American punk's first wave; their European reception was, by contrast, openly hostile. Vega and Martin Rev's stripped electronics, vocal histrionics and refusal to play to expectations made them the band most other punks weren't yet ready for.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the studio of Bob Gruen\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502075457785,"sku":"JP0526081","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526081_1a.jpg?v=1784038891"},{"product_id":"xxxxl-face-no-5-big-t-debbie","title":"XXXXL Face No. 5 Big T (Debbie)","description":"\u003cp\u003eJOHN DOVE AND MOLLY WHITE\u003c\/p\u003e\u003cp\u003e\u003ci\u003eDebbie\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003einscribed 'GREAT FACE T-SHIRT N°5' (on the original cardboard box)\u003c\/p\u003e\u003cp\u003earchival ink digital print on cotton doublelock T-shirt with alloy hanger with anodised finish in original cardboard box\u003c\/p\u003e\u003cp\u003eT-shirt: c. 126 x 82 3\/4 inches (320 x 210 cm)\u003c\/p\u003e\u003cp\u003ehanger: 65 x 33 7\/8 inches (165 x 86 cm)\u003c\/p\u003e\u003cp\u003eoverall (displayed with hanger):  124 x 96 7\/8 inches (315 × 246 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 2015. Accompanied by a signed and dated certificate of authenticity.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eDebbie\u003c\/i\u003e (2015) inaugurates Dove and White's Big-T Multiple series — the XXXXL format, first introduced at Kitsch-22, 22 Woodstock Street, London in 1976–77 alongside \u003ci\u003eBowie (Face No. 1), Siouxsie (No. 2), Jordan (No. 3)\u003c\/i\u003e and \u003ci\u003eJohnny Rotten\u003c\/i\u003e. The Face series was conceived around the idea of urban tribal make-up: face-paint printed separately from the bleached portrait, as an abstract pattern read as the new face-paint of the tribes of London.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe image was derived from a cassette tape advertisement, photographed by the artists with an Olympus Trip camera and transferred onto film with black overpainting — a characteristically low-fi process applied to an image that has since become one of the most celebrated faces in popular culture.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe XXXXL Big T format — the printed T-shirt scaled to wall-sculpture proportions and presented on a custom anodised-alloy hanger — is one of Dove and White's signature gestures, translating the artists' wearable-art idiom of the 1970s into a stable, gallery-format object. At a printed area of approximately 320 × 210 cm and a display height of more than three metres when hung, Debbie is the largest of the Face series Big Ts in scale, and one of the most fully realised statements in Dove and White's post-2000 practice. Presented as a wall sculpture, the work is delivered in the artists' original cardboard box — itself inscribed GREAT FACE T-SHIRT N°5 — with the signed and dated certificate of authenticity.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the personal archive of John Dove and Molly White\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502075523321,"sku":"JP0526053","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526053_1.jpg?v=1784038903"},{"product_id":"siouxsie-with-fabulous-fake-flowers","title":"Siouxsie with Fabulous Fake Flowers","description":"\u003cp\u003eJOHN DOVE AND MOLLY WHITE\u003c\/p\u003e\u003cp\u003e\u003ci\u003eSiouxsie with Fabulous Fake Flowers\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003esigned by both artists (on the reverse)\u003c\/p\u003e\u003cp\u003einkjet and acrylic on canvas\u003c\/p\u003e\u003cp\u003e41 3\/4 x 41 3\/4 inches (106 x 106 cm)\u003c\/p\u003e\u003cp\u003eExecuted in 2024.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eSiouxsie Sioux emerged from the Bromley Contingent surrounding the Sex Pistols before establishing herself as one of the most distinctive figures in British punk; through her work with Siouxsie and the Banshees, she helped define the transition from punk into post-punk, her confrontational style, theatrical image and uncompromising musical experimentation exerting a profound influence on generations of musicians and designers alike.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eThe present work returns to John Dove and Molly White's Face series, first introduced at Kitsch-22, 22 Woodstock Street, London in 1976–77, with \u003ci\u003eSiouxsie Sioux as Face No. 2\u003c\/i\u003e (after Bowie) — translated here, almost half a century later, into a new compositional and material register. The original 1970s Face series was conceived around the idea of urban tribal make-up: face-paint printed separately from the bleached portrait, as an abstract pattern read as the new face-paint of the tribes of London. The 2024 \u003ci\u003eSiouxsie with Fabulous Fake Flowers\u003c\/i\u003e re-stages that idea as a digital print on canvas with the flowers painted in acrylic — Dove and White's punk-era idiom translated into the medium register of contemporary gallery painting, the Face No. 2 portrait set among saturated, hyperreal flowers that pull the image into a post-Warhol pop-floral grammar.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the personal archive of John Dove and Molly White\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502075556089,"sku":"JP0526051","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526051_1.jpg?v=1784038903"},{"product_id":"patti-smith-t-shirt","title":"Patti Smith T-Shirt","description":"\u003cp\u003eDesigned by Mark May, working in Dove and White's studio in the early 1980s and a longstanding Patti Smith devotee, and published under the artists' Modzart Review label. Modzart Review was the imprint Dove and White operated through the 1980s as the studio moved beyond the Kitsch-22 \/ Wonder Workshop period, exhibiting at the London Designer Shows, Paris Prêt-à-Porter shows, and stockists in the United States, the Netherlands, and Japan.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePROVENANCE:\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom the personal archive of John Dove and Molly White\u003c\/p\u003e","brand":"Joopiter","offers":[{"title":"Default Title","offer_id":48502075654393,"sku":"JP0526043","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/files\/JP0526043_1.jpg?v=1784038909"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/2783\/5385\/collections\/Screenshot_2026-06-10_at_2.06.06_PM.png?v=1781114787","url":"https:\/\/shop.joopiter.com\/collections\/punk50-still-making-noise-auction.oembed","provider":"Joopiter","version":"1.0","type":"link"}