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Vintage American boxing-style window cards (on heavy card stock) do not commonly survive. This is an unusually large format poster, for a gig at the University of Cincinnati with a terrific line-up in the big year of the funk to disco crossover.

This original pre-concert poster was famously misprinted with the sharp white outline on the lower left side of the upper die. This was corrected on the second printing (after the event) and on all other later reprints. 'Tumblin' Dice' was released as a single prior to
'Exile On Main Street'.
This is the scarce genuine original, in superb condition, acquired from a person who worked for the band for ten years around this period.

Aiming the band squarely at a Mod audience manager Pete Meaden changed The Who's name to the High Numbers. One of the venues they played in that summer of 1964 was the Railway Hotel in Wealdstone - it was to prove significant.

Manager-to-be Kit Lambert saw a line of scooters and Mods outside the hotel. Inside he saw the perfect band for his planned Mod movement documentary. He filmed the band performing, of which some terrific footage survives. Note classic Moon expression.

Absolutely wonderful shot of Moon. The band's inimitably dynamic style was already bubbling up even at this early stage. The Railway saw the birth of Townsend's guitar smashing. Not to be outdone, Moon kicked over his drum kit soon after.

Another brilliant shot (the band's first official photo shoot, 1st June 1964), with a deceptively angelic Moon. The photographer is believed to be Richard Rosser, working for Rave magazine, a shoot then manager Pete Meaden would have organised to highlight the band's new Mod credentials.

Famous artwork by one of New York's greatest designers. Glaser created, amongst other classics, the I Love New York and the long-running DC Comics 'bullett' logos.

An adaption of a cover by Futurist designer Fortunato Depero, whose work Saville also used for the band's second single 'Procession'. Saville's request to credit the original artist was declined, so he added the Grafica Industria credit as a nod to the Italian Futurists. One of the most beautiful of all the Factory designs.

Billy Fury is the cover star for The Smiths' last single. In a 1984 interview Morrissey included Billy Fury's singles in his brief collection of most treasured people and possessions.

The young Elvis Presley photographed by James R. Reid (his hairdresser) in 1955. This was his first ever press shot.

The cover star is Richard Bradford, from the 1967 ATV series 'Man In A Suitcase', in which he played a dismissed CIA agent working for hire in London, living out of his suitcase.

"The sleeve is quite spectacularly beautiful and lavishly packaged." The cover star is Alexandra Bastedo, taken from John D Green's best selling 1967 photo book, with an inimtable period-piece title, 'Birds of Britain'.

The 'cover star' is Alain Delon inthe 1964 film 'L'Insoumis'.
The band also used the image as a 40 ft stage backdrop on their 1986 tour.

Impressive full size boxing bill-style poster for Squeeze's first live album, from the band's second period after Jools Holland had returned in 1985.

Apparently commissioned by a panicking Warners under an overnight deadline after the original designer failed to deliver, Peter Lloyd produced a classic of 70's album artwork, in all its overblown airbrushed glory.
The sharp eyed will also see hints of the styling he brought to his work on the film 'Tron'.

David Storey, under Jerry Dammers' idiosyncratic oversight, created the 2 Tone label's unique look, including Walt Jabsco the dancing Ska man. For 'Ghost Town' Dammers wanted a distinctive illustration; Sims and Storey found the skeletons on an old postcard.

Original 2 Tone posters rarely surface.

The image of Jim Morrison is taken from a Mike Barich photo on the 10th November 1968 at the Minneapolis Concert Hall.

Stylish original blacklight design that works well as a straightforward poster.

On 4th March 1967, Big Brother and the Holding Company played with the Steve Miller Band in 'a benefit for peace', 'Journey to the End of Night', at the U.C.S.F. medical center Steninger auditorium. Printed by The Bindweed Press, San Francisco.

Original 12" Silvertone Records sleeve proof, 14"x25"
Art by John Squire

A huge fan of the Clash, Squire's interest in Jackson Pollock was sparked by Paul Simonon's use of Pollock-style paint techniques, famously on the band's stage clothes. For the Roses, the arrival of new bassist Mani saw everything fit into place, and the resulting single, the shimmering 'Elephant Stone', saw the birth of the band's classic sound.

This beautiful portrait was photographed in Matthew's flat in Islington. Bjork saw Matthew as a uniquely talented photographer.

Shot for i-D magazine, when the band were still unsigned. The Gallaghers already command the camera, with a studied attitude. Liam was curt; Noel offered to carry his bags.

Well, we never thought after 3 and a half years that we'd see this poster again, the flagship item from 2006's original 'Rock Explosion' Exhibition. But a second copy has finally come our way. Extremely scarce and again in excellent condition.

The third of John Pasche's three Art Deco-inspired tour posters for the band, then at their absolute peak, touring the recently released 'Exile On Main Street'.
Note: This is the most repro'd of all the classic John Pasche posters and the genuine original is both hard to identify and scarce. This poster was acquired from a person who worked for the band for ten years around this period.

Original RCA/MAINMAN standee.
25"x38"

Very scarce original in-store card stock display/standee, with Guy Peellaert's famous Bowie as dog-man artwork and previous album releases below.

Vintage card displays were never made in large numbers and rarely survive. This example is in excellent condition.

Fabulous image laying it on the line in no uncertain terms for the country music establishment after the unsupported 'Unchained' won a Grammy. The famous photograph was taken by Jim Marshall at the 1969 San Quentin gig, asking Cash for "something for the warden"!

Designer John Pasche created early 70's tour posters for the band, but most famously created the 'lips' logo in 1971 for the Stones' own label. A fine example of the Acid-tinged 30's revival style of the time.
Note: Repros are very common on this poster.

The very scarce Fuck Forever poster was first printed for an exhibition of Jamie's work in 1986 at Hamilton's Gallery,
13 Carlos Place, London W1.

On the back is artwork and text in black & white by Jon Savage & Jon Wozencroft, with illustrations of Jamie's work and his influences.

The original artwork was made in 1978 as a prop for 'The Great Rock'n'Roll Swindle'.

£1100.00 special conservation framed, both sides viewable.

Original concert poster, 20"x30"

Rare original screenprint poster for Van Der Graaf Generator's November 1st gig at Derby's College of Art & Technology. Derby appears to have had a distinctive local printer/designer in the 70s producing concert posters.

Appropriately known as the "Good-Bye Britain Tour", this was their first proper UK tour since 1966, launched just before their disastrous tax affairs forced them into the two year exile that was to result in the recording of 'Exile On Main Street'.

Reproductions exist - this is the genuine original poster.

Super-scarce original concert poster for the Stones' cancelled dates at the two castles. This is one of the rarest major Stones posters, with only merchandise versions or out-and-out repros normally surfacing.

We hadn't imagined to see this poster again, but were lucky to recently acquire this from a person who worked for the band for ten years around this period.

Original British quad poster, unfolded.
30"x40"

The magnum opus of Malcolm McLaren's re-invention of the band's history (in his favour) that began almost the moment it ceased to exist. It took 20 years for 'The Filth And The Fury' to set the record straight. A proposed Jamie Reid design was ditched in favour of the final (aptly) 'Carry On..'-style artwork.

Original Atlantic/Kinney promo poster, 23.5"x33"

The evocative photograph of the Victorian woodland worker was found by Robert Plant and Jimmy Page in a Reading junk shop, on one of Jimmy's frequent trawls. The foldout sleeve contrasted an old rural way of life with the bleak new urban landscape of the 1960s.

Original Island promo poster 20" x 30"
Photography by Antony Price.

Original Island promo poster 20" x 30"

After two unsuccessful American albums Ron and Russell Mael relocated to Britain in 1973 and signed with Island Records.

'Kimono My House', rated by many fans as their best lp, was Sparks' breakthrough release, with 'This Town Ain't Big Enough for Both of Us' reaching no.2. Truly unique, Sparks were to prove very influential.

Moving from Australia to London, becoming 'OZ' magazine's Art Director, Martin Sharp soon became a defining artist of the era, brilliantly finding the perfect visual expression for Hendrix's revolutionary sonic explosion.
The image is based on a Linda McCartney photograph taken at the Rheingold Festival in Central Park, NY, July 1967.

Re-energised by the challenge of Punk and the disco and Latin flavours of New York City, Jagger led the band to cut their best album since 'Exile..' and their last great album of properly new recordings.

Superb and rare original promotional piece.

In a characteristically sharp turn, Bowie shed his glam rags for an exploration of America and the polished sound of Philadelphia soul. The title single was a breakthrough for him in the U.S. and the album also yielded the classic Lennon collaboration 'Fame'.

This original unused (still flat) die-cut mobile is a rare find.

Published by Big O Posters.
24"x33"

The album 'Yessongs' was released on three discs in a unique fold-out package featuring four narrative artwork panels by Roger Dean, continuing the theme that began with 'Fragile' in 1971. "Escape", showing the craft leading the planetary fragment through space, is the first panel.

Unusual multi-purpose card display, with instructions on the reverse for display options.

Surprisingly little original promo material from Pink Floyd's classic years survives.

Infamous culinary masterpiece from the end of the band's greatest period, ending with producer Jimmy Miller utterly burnt out. Recorded in Jamaica, Bill Wyman remembers: "We would be driven to Byron Lee's studio through downtown Kingston. Two large, double gates guarded by the man with the shotgun would open and let us in and then close behind us.
Very scarce original poster.

Ultra rare promo for the landmark album, the first produced by Jimmy Miller (the last to involve Brian Jones), that saw The Stones return to the Blues and the key to their classic period.

The distinctive building, featuring in the album's famous photo shoot, is Swarkestone Hall Pavilion, a 17th century grandstand, part of the original grounds of Swarkestone Hall in Derbyshire.