Main Music Catalogue  Bowie Catalogue

Malcolm Garrett, founder of Assorted Images, a key designer during this period who Caryn Gough originally worked for, arranged for the making of a small number of special canvases, to be displayed in the windows of HMV in London and Manchester on the release of the album.

December 1988 and the word about Manchester's new music scene begins to filter out. The design for this concert's impressive line-up stands perfectly poised between the classicism of the Peter Saville years and the colourful Pop Art style of the new era at Factory.

Gorgeous poster, the only one to show all of the dichromat variations. New Order had signed in 1985 to Quincy Jones' Qwest records for their US releases.

New Order signed with Quincy Jones's Qwest label for their US releases in 1985. The Qwest poster material for Technique easily matched the standard of the UK designs.

This proof has the finished version of the front cover loosely pasted over an earlier version in the same blue-grey as the back cover. It was hand-folded in half to replicate the sleeve and has hand written correction notes by either Jo Slee or Caryn Gough. Card stock.

Wonderful 'double' proof of the inner photo of Morrissey and Marr on stage at the Jobs For A Change Festival in June 1984. This proof is one of only a small number to have survived (estimate:12). Card stock.

Stephen Wright's famous photograph of the band outside the Salford Lad's Club was entered into the National Portrait Gallery collection in 2005. This proof (with differences from the final version) is one of only a small number to have survived (estimate: 10/12). Card stock.

This proof is believed to be one of only a tiny number to have survived (likely very low single figures). Card stock.

The cover star is playwright Shelagh Delaney. This early version paper stock proof, which features different colours to the final sleeve, is one of only a small number to have survived.

This proof is one of only a small number to have survived (estimate:12). Card stock.

This proof is one of only a small number to have survived (estimate: less than 5). Card stock.

This proof is one of only a small number to have survived (estimate: 5). Card stock.

This proof is one of only a small number to have survived (estimate: 8). Card stock.

This proof is believed to be one of only a tiny number to have survived (estimate: 3). Thick paper stock.

Ian Curtis's last performance with Joy Division was at Birmingham University on 2nd May. Ill health had curtailed a number of gigs in the run up to the forthcoming American tour.

This large-size embosser was used at the Hacienda to stamp items with the logo FAC51 THE HAÇIENDA. The raised print stamp measures 3.5x1.5cms with a bounding box.

Sold with letter of provenance.

The extraordinarily named Gay Traitor was the Hacienda's basement cocktail bar, and referred to Anthony Blunt (pictured at top) whose role in the Cambridge 5 spy ring had been publically exposed three years prior. The two photos below are of fellow Soviet spies Kim Philby and Guy Burgess ('Hicks'), both with bars in the club named after them.

The poster follows the club's famous yellow and black hazard stripes motif.

The image is a detail from a 1981 work by Dutch sculptor Jan Van Munster - 'Energie-Piek ijs'. Note the typefaces, reflecting what Peter Saville saw as the group's contrasting classical and modernist aspects.

The single was re-released in 1988 to partner the release of the compilation album 'Substance' (see above). The design and the poster partners 'Substance' (see above).

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.

Two versions of this poster were produced - one black on silver, the other silver on black. Both are extremely scarce. The wave image, sourced from the 'Cambridge Encyclopedia of Astronomy', depicts the pulses from the first pulsar star discovered (1967).

NB. No other original UK poster format is known from this seminal release.

Two rare proofs for the 'Sextet' album.
Ben Kelly was the designer of the Hacienda. His brief from Factory for the design of the club was simple: "big bar, small bar, food, stage, dance-floor, balcony, and a cocktail bar in the basement"

Robert Palmer played the Hacienda as part of the Pride album tour.

The imagery for Technique and the single Round & Round were intense experiments in colour, with a distinct influence from Yves Klein and Andy Warhol's later period. Influenced by Acid House and the sounds of Ibiza (where it was partly recorded) the album went straight to the top of the UK charts.

The somewhat scarcer yellow variation.

Very scarce original first release Factory Australia poster. Distribution of Factory material in Australian began in 1979, with Factory UK sending 1/4 inch master tapes and original artwork to Australia. It was to become a successful market for Factory.

Two rare card stock proofs for the front and back covers of Movement's original cd release in 1986.

The design was based on a painting ('Poppers') by New York artist Richard Bernstein, most famous for his celebrity portrait covers for Andy Warhol's 'Interview' magazine.

A set of Euro denominated stamps depicting Ian Curtis.

Canadian singer and artist Martha Ladly's intriguing career around time encompassed not only stints performing with Martha and the Muffins, the Associates and Roxy Music, but also a personal and professional relationship with Peter Saville. FACTUS 8 the EP saw the departure of Martin Hannett and the birth of the band's independent sound.

"Well, you've blown it now, You'll never see the Hacienda. It doesn't exist anywhere. THE HACIENDA MUST BE BUILT!'

In true Factory style, the company paid for Central Station Design to visit Los Angeles to collect the American candy material that was combined with British sweet wrappers to reflect the album's creation in America and the UK. Central Station's work was a big shift away from Peter Saville's style, reflecting the new era of rave and 'Madchester'.

Unusually mocked up by the designers at full size, the finished poster incorporates flourescent, luminescent and metallic inks designed to make the poster functional both day and night.
8vo were one of the fine design studios who continued the label's ethos of design excellence in the post-Saville period.

One of the most striking of all Factory's posters. Julian Morey joined Peter Saville Associates after graduating from St Martin's in 1988, leaving in 1990. The imagery (a microscopic pollen spore) bears a clear conceptual relationship to that of Unknown Pleasures. Julian Morey has confirmed the poster's correct date.

This exceptional piece is a double sided photographic print within a plastic sleeve upon which Morrissey has hand written the title, layout markings and comments.

This rare and fragile item, a fascinating insight into the care and detail the participants put into the design process, is custom framed to protect Morrissey's fragile notations.

The cover star is Candy Darling, Andy Warhol Superstar non pareil, famously featured in Lou Read's 'Walk on the Wild Side'. Morrissey had used imagery from the Factory on the first album.

The cover star is Yootha Joyce, on the set of the 1965 film 'Catch Us If You Can'.

The only one of the Rough Trade designs not to feature a cover star, this alternate version features Morrissey's hand written lyrics.

The cover star is Richard Bradford, from ATV's 1967 TV series 'Man in a Suitcase'. Morrissey named the programme as one of his favourites in a list of personal touchstones in the 16th September 1989 issue of the NME.

The band's appearance on Top of the Pops promoting the single saw the famous gladioli take centre stage. The poster has the only horizontal format in the series. The cover star is Jean Marais in Jean Cocteau's remarkable 1949 film 'Orphée'.

Originally a B-side of the 1984 single "William, It Was Really Nothing", the song soon became a fan favourite and was released as an A-side in its own right. The cover star is actor Sean Barrett in the 1958 film 'Dunkirk'.

Cover star actress Alexandra Bastedo, from TV's 'The Champions', taken from John D Green's best selling 1967 photo book, which sports the period-piece title 'Birds of Britain'. The design's beautiful silvered finish delighted Morrissey.

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 cover star is playwright Shelagh Delaney from a 1961 edition of A Taste of Honey. In NME in 1986 Morrissey said: "I've never made any secret of the fact that at least 50 per cent of my reason for writing can be blamed on Shelagh Delaney."

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

The Smiths at their peak.
The 'Cover Star' is Alain Delon in the 1964 film 'L'Insoumis'.

This is a scarce unfolded example of this poster.

Morrissey took the famous image of a determinedly non-Aquarian young Vietnam 'grunt' (from Emile de Antonio's 1969 anti-war film 'In the Year of the Pig') whose helmet bore the words "Make War Not Love" and replaced them with a message of his own, the transformation engineered by Caryn Gough.

The cover star is distinguised comedienne and actress Avril Angers (who Morrissey admired) in the 1966 film 'The Family Way', a late Boutling Brothers comedy with a working class Bolton setting. Paul McCartney composed the soundtrack.

Jurgen Volmer's photographs of Hamburg's young Rock scene in the early 60s - most famously of the Beatles - won him Lennon's and McCartney's enduring admiration, and clearly that of Morrissey too. The pictures were published in his 1981 book 'Rock'n'Roll Times: The Style and Spirit of the Early Beatles and Their First Fans'.

The cover star is Truman Capote, photographed by Cecil Beaton in Morocco in 1949.

Joe Slee dates the image of cover star Fabrice Colette, sporting a Jean Cocteau tattoo, to 1966. It appeared in a special 1983 edition of Liberation dedicated to Cocteau and this was most likely Morrissey's immediate source.

A rare and unusual promotional format. Sold with letter of provenance - this canvas was a personal gift from Morrissey to the previous owner.

"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'. Card stock.

This proof is one of only a small number to have survived (estimate: 12). Card stock.

This proof is one of only a small number to have survived (estimate: 10/12). Card stock.

This proof is one of only a small number to have survived (estimate: 5). Card stock.

This proof with barcode is believed one of only a small number to have survived (estimate: 3). Card stock.

This poster captures the Stone Roses still playing to small audiences outside of their native north west, but with change in the wings: their album was about to be released in April to mixed reviews, but 'She Bangs The Drums' in July was to catapult them to success.

One of a handful of British albums that fundamentally shifted the course of music after the punk revolution. The painting is 'Bye Bye Badman' from 1988. Real lemons were nailed on for the album's cover shoot.

The artwork shredded to form this design surfaced in it's original form as the cover of Silvertone's 1995 compilation The Complete Stone Roses.

Original Silvertone promo poster for the 12" release. Probably the most famous of the band's sleeves, it features a detail from John Squire's painting 'Double Dorsal Doppleganger'. The rippled effect was achieved with ingenious simplicity by photographing the painting through a sheet of dappled glass.

Originally recorded and produced by New Order's Peter Hook and his engineer Michael Johnson, "Elephant Stone" was remixed by John Leckie and was the Roses's third single and their first on Silvertone Records. The original version featured an extended drum intro, the second shorter version the distinctive wah-wah guitar. This poster is from the 1990 release of the song, after the success of the debut album.