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274 Hits for November 2021
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(£iving in a) ConDem Nation
date : 2011size : 31” x 23”
medium : giclée.
edition : 25 signed titled and numbered by the artist
paper : Hahnemuhle 265gsm 100% cotton rag.
price : £350
postage : £6 UK : £8 Eur : £10 USA / Can / Aus. Please ask for cost to other areas.
notes : In the words of the artist, “Cut everything and there'll be nothing left”.
(£iving in a) ConDem Nation
(Re) UK
date : 2007size : 33½” x 23¼”
medium : oil
notes : There has been much talk of the dis-integration of the United Kingdom with the introduction of the Scottish parliament and the Welsh assembly. The fact that Wales is not represented on the Union Jack is addressed in this painting by Brian Jones.
comment : “If Y Ddraig Goch / The Red Dragon (of Wales) was added to the existing Union Jack, it would look mad and pose major problems for the College of Heralds. My version (as far as I can ascertain) is heraldically correct. To the English, Wales is not a country, but a principality, which is why it is not on the Union Jack; try telling that to a Welshman after a rugby Grand Slam!”
(Re) UK
1 in the Hat
date : 2000size : 8¼” x 3”
medium : collage.
notes : Logo for short-lived record label.
comment : “I think the backers were looking for something slick and corporate; I gave them a piece that looked like nothing else around – they weren’t sure, but soon grew to love it!”.
1 in the Hat
1st Stars n Stripes
date : 2010size : 30½” x 23¼”
medium : oil
notes : Another of Brian Jones' exploration of the development and uses of the British ‘Union Jack’, sees him paint the first version of the Stars and Stripes, which appeared in 1777, when a complete severance with Britain had been decided upon.
comment : “After Independence, the British Union Flag was removed from the upper canton, and replaced with a circle of 13 stars, which were arranged in such a way so that none appeared to have more importance than others.”
1st Stars n Stripes
2-faced Gene
notes : Gene Serene takes to the stage, with her face, and my artwork as projection, taken at her Electrogogo show (3/3/05).2-faced Gene
3 x Truth
date : 2005size : 43½” x 32½”
medium : collage.
notes : Trilingual collage produced during Jones' visit to Bulgaria in Summer '05. Bulgarian and Welsh, with English sandwiched between.
comment : “Very simple, and immediate on first view; I've thought about those words for a long time, so this is one of my more contemplative pieces. The composition was dictated by where I was, and the fact that the Bulgarian and Welsh flags, have exactly the same colours”.
Prints available
3 x Truth
3OH!3 / IPS back sleeve
date : 2009size : 7” square
medium : lithograph
notes : Back sleeve for the 3OH!3 versus Inner Party System 7”, released on Photo Finish Records.
3OH!3 / IPS back sleeve
3OH!3 / IPS front sleeve
date : 2009size : 7” square
medium : lithograph
notes : Front sleeve of the limited edition remix 7” by 3OH!3 and Inner Party System, featuring the artist's ‘Pin-up’ image; the bands remixed each other's tracks and released 1000 on vinyl. As with most of Jones' works, all the original artworks are collaged.
3OH!3 / IPS front sleeve
3OH!3 / IPS side 1 label
date : 2009size : 3½” diameter
medium : lithograph
notes : Side 1 label for the 3OH!3 versus Inner Party System limited edition 7”.
3OH!3 / IPS side 1 label
3OH!3 / IPS side 2 label
date : 2009size : 3½” diameter
medium : lithograph
notes : Side 2 label for the 3OH!3 and Inner Party System limited edition 7”.
3OH!3 / IPS side 2 label
5 Punt
date : 2008size : 11½” x 8½”
medium : collage
notes : This design was based on the Welsh 5 bob/ shilling notes issued from Llandudno in the late 1960s/ early 1970s - the border was originally used on a Malaysian note issued by the occupying Japanese forces in 1941. Mr Williams (who issued the Welsh notes) adapted it, and Brian adapted his!
comment : “Before I put any sketch ideas down on paper, I did some research into the history of Welsh banking, and money. Between 1968 and 1971, a Mr. Williams issued Welsh currency from Llandudno and caused a bit of a stir.”
5 Punt
A Lone
date : 2007size : 20” x 20”
medium : oil
notes : Word play forms the basis for this Pop Art painting with a political undertone.
comment : “Following-on from the 'Untied States…' I chose to do this one as America does stand alone. The Lone Star state is running out of Texas tea, hence the current ‘Oil Wars’.”
A Lone
Aim
date : 2007size : 20” x 20”
medium : oil
notes : Another work in Brian's on-going exploration of targets as both motif and theme.
comment : “I painted this work as it relates to both my target works and the matchboxes that I've worked on. Based on an Indian matchbox design, I cropped the name from the composition and transferred it to the title.”
Aim
Airedales
date : 1993/ 2002size : 16” x 10”
medium : collage.
notes : Repeat pattern collage using commercial packaging as source. A prime example of Jones’ ability to re-present the mundane in a different context.
comment : “It took me ages to collect all those dog food labels, and nearly as long to scalpel them all out, one-by-one. Old school collage; these days people would be more likely to scan one into Photoshop, and duplicate like that. There’s a place for Photoshop, but not for generating the idea. This has two dates, as I re-worked / reconstructed the piece in ‘02”.
Airedales
All Over You
date : 2004size : 7”
medium : lithograph.
notes : AA cover for ‘All Over You’ by Gene Serene, released on BabyTeeth Records.
comment : “That’s a 100% collage that I scanned when finished”.
All Over You
American Blues
date : 2011size : 31½” x 23¼”
medium : oil
notes : Another in the artist's on-going ‘Great American Flag’ series, sees Jones turn his attentions stateside once more.
comment : “I didn't listen to anything except for Blues throughout the production of this painting. From Robert Johnson and Bessie Smith, right through to Howlin' Wolf and John Lee Hooker. A great excuse for a Blues-out.”
SOLD
American Blues
Andy Fire
date : 1992comment : “This was taken at the ESP May Day Pageant in Sefton Park, Liverpool. Andy was stilt-walking, and fire-breathing at the same time. Against the twilight sky, without a flash”.
Andy Fire
Arc of the Covenant
date : 2006size : 31” x 23”
medium : giclée.
edition : 33 signed & numbered.
paper : 265 gsm Hahnemule cotton rag.
price : £350
notes : First in the series of new prints based on oil paintings, produced in Summer 2006. A recurring theme in Jones' works, the red, white and blue motif is part of the artist's on-going questioning of everything hip, fab, groovy and British.
From a Limited Edition of 33, signed, numbered and dated by the artist.
Arc of the Covenant
Arc of the Covenant
date : 2006size : 8” x 8”
medium : oil.
notes : One of a series of four recent paintings in which Jones questions the notions of both art and Britishness. The ‘mod’ target has been a recurring motif throughout the artist's works for a number of years.
comment : “I keep looking at the original design and wondering ‘why does it still resonate with people?’ To some it's the RAF target, the Mod target, the Pop Art target, yet to me, it's another cultural iCon that deserves to be re-interpreted with a twist”.
Arc of the Covenant
Artbeatz logo
date : 2003size : 7” x 4”
medium : collage.
notes : Logo produced for artbeatz.co.uk.
comment : “Something familiar with a twist”.
Artbeatz logo
Babylondon
date : 2005size : 31” x 23”
medium : giclée.
edition : 75
paper : 265gsm 100% acid free rag.
price : £350
notes : Inspired by the works of Blake, Schwitters, and Heartfield, twisted through Pop, and subverted by Punk, a major comment on Britain's capital by Brian Jones. This collage-based survey proclaims ‘another England’ and heralds a new Pop Art. The work also features two verses from William Blake's ‘London’ poem, comprising the ransom note border.
Babylondon
Babylondon
date : 2005size : 17½” x 24”
medium : collage.
notes : Collage-based survey of Britain's capital city; this iconoclastic and controversial piece features Jones' acerbic observations. Fully titled ‘Welcome To Babylondon’, the work also features two verses from William Blake's ‘London’ poem comprising the border.
comment : “The last time I got back, I thought ‘…it was like Babylon…’. Blakes’ ‘New Jerusalem’? At times, but more often, I think he must have been having a laugh. I have a love / hate relationship with the place; both a prayer, and a curse, for Caer Llundain”.
Babylondon
BabyTeeth logo
date : 2004size : 4” x 2”
medium : collage.
notes : Ransom note logo produced for London-based BabyTeeth Records.
comment : “Analogue cut and paste – it looks simple, but you have to consider how the original will look when reproduced at various sizes in black”.
BabyTeeth logo
Beatles Horrorshow
date : 2005size : 13” x 8”
medium : screenprint.
edition : 75
paper : Arches 88
price : £350
notes : Three colour distortion of the Fab Four’s clean-cut image; darkly psychedelic.
Hand-rendered by the artist on Arches 88 300gsm, 100% cotton fibre paper with deckled edges, from a signed, numbered, dated, and titled Limited Edition of only seventy five.
Beatles Horrorshow
Beatles Horrorshow
date : 2005size : 13” x 8”
medium : screenprint.
notes : One of a number of ‘images in progress’ by Jones.
comment : “The flipside of the clean-cut image is its darker, more sinister opposite”.
Beatles Horrorshow
Beatles Horrorshow
date : 2004size : 6” x 2½”
medium : collage.
notes : A ripped, torn, and reconstructed image of the Fab Four.
comment : “I went to the same school as McCartney and Harrison, the same art school as Lennon and Sutcliffe, and was born in the same district as Gringo…”.
Beatles Horrorshow
Beatles Horrorshow
date : 2005size : 13” x 8”
medium : screenprint.
notes : Another of Jones's future classic ‘iConic’ images, which employs the repeat off-register method to create the overall effect.
comment : “As a cultural phenomenon, they cannot be ignored. Within this work, I chose to use candy-coloured acidic layers to seep-through the black overlay, to show their psychedelic undertones. It’s also like a David Lynch film; at a glance, it’s the Beatles, but look closer, and there’s something a bit darker going-on. One panel for each of the pre-fab five …”.
Prints available.
Beatles Horrorshow
Biff Bang Pow SOLD)
date : 2006size : 11” x 9” each
medium : oil.
notes : ‘Biff Bang Pow!’ set of three, these small oils were produced in autumn 2006 and were exhibited at the ‘rude and ill-bred’ show in late 2006 and early 2007. The three images were also produced as a set of pin badges for this exhibition.
comment : “Not a triptych in the classical sense, it is a series which show together and are integral to each other. The title came from the classic mod track by The Creation”.
Biff Bang Pow SOLD)
Blackspot
date : 2008size : 20” x 20”
medium : oil
notes : This negative companion to ‘Ghostarget’ has the textural quality to over-ride the absence of colour.
comment : “These (n)one colour pieces are almost Zen in that there are no distractions for the viewer.”
Blackspot
Blackwhited States of America
date : 2010size : 30½” x 23¼”
medium : oil
notes : A bold 21st century interpretation of the US flag, which forms part of Brian's ‘Great American Flag’ series.
comment : “Flags, their development, and their cultural resonances are of great interest to me; in one part of the world, an image can be perceived as representing cultural colonialism, whilst in another, the same image can be perceived as a symbol of hope and freedom.”
Blackwhited States of America
Blairman Mao
date : 2002size : 30½” x 22½”
medium : screenprint.
edition : 50
paper : Arches.
price : £350
notes : A classic piece of contemporary ‘Pop Art’, by rising ‘New Pop’ / Punk artist Brian Jones, which has political resonance with the works of John Heartfield and George Grosz.
This image has featured in the British Council touring exhibition ‘Upfront and Personal : Three Decades of UK Political Graphics’, on BBC Northern Ireland, and the ‘Pax Britannica’ anti-war exhibition at London’s Aquarium Gallery, where it hung, literally, next to works by Richard Hamilton and Jamie Reid.
Hand-rendered by the artist on Arches 88 300gsm, 100% cotton fibre paper with deckled edges, from a signed, numbered, dated, and titled Limited Edition of only fifty.
Blairman Mao
Blairman Mao
date : 2002size : 30½” x 22½”
medium : screenprint.
notes : A classic piece of contemporary ‘Pop Art’, by rising ‘New Pop’ / Punk artist Brian Jones, which has political resonance with the works of John Heartfield, and George Grosz.
This image has featured in the British Council touring exhibition ‘Upfront and Personal: Three Decades of UK Political Graphics’, on BBC Northern Ireland, and the ‘Pax Britannica’ anti-war exhibition at London’s Aquarium Gallery, where it hung, literally, next to works by Richard Hamilton and Jamie Reid.
comment : “Blair as Chairman Mao; he was acting like a president, which brought this image to mind…..”.
edition : 50 prints available
Blairman Mao
Blairman Mao
date : 2003size : 30½” x 19”
medium : screenprint.
notes : Hand-rendered by the artist, they are individually numbered, and stamped with ‘Pop Edition’, and the artist’s facsimile signature.
comment : “I decided to produce the Pop Edition screenprints to make my works accessible to all”.
edition : 500 prints available
Blairman Mao
Blairman Mao
date : 2002size : 11¾” x 8¼”
medium : collage.
notes : Original black and white collage of one of Jones’ most striking images to capture the political zeitgeist. This image has appeared in exhibitions in Europe, Africa, and Asia.
comment : “I remember thinking, after some thinking man’s cigarettes “This fella is acting like a president – who does he think he is, Chairman Mao?”, and that’s where it came from; identity cards and wars all round. Republic of Britain – ROB”.
Blairman Mao
Blairman Mao (detail)
date : 2003size : 8¼” x 2¾”
medium : lithograph.
notes : Promotional bookmark using a detail of ‘Blairman Mao’, produced by the Regional Print Centre, Wrexham, Wales.
comment : “Done by the place where I produce my prints; diolch yn fawr i’r Wrecsam!”.
Blairman Mao (detail)
Blue Nude
date : 2008size : 33½” x 23¼”
medium : oil
notes : Second in the series of semi-abstract nude paintings, this work sees Jones capture a fore-shortened figure in a subtle palette and bold lines.
comment : “This is a side to my work which is very rarely seen; most of the nude paintings and studies that I did up to 2000, were actually destroyed (by me) in 2001, so that I could begin afresh.”
Blue Nude
Brokeback Britain (pink)
date : 2010size : 31” x 23”
medium : giclée
edition : 15 signed, titled and numbered by the artist
paper : Hahnemuhle 265gsm 100% cotton rag
price : £400
notes : A witty image in which Jones' artistic expression captures the political zeitgeist of Britain's first post-war coalition government. 21st. century satire in the tradition of Hogarth and Swift.
comment : “Vivienne Westwood originally borrowed the cowboys from Tom of Finland, and I borrowed them from her.”
Brokeback Britain (pink)
Bullseye
date : 2007size : 39” x 39”
medium : oil
notes : Using basic targets as his point of departure, the artist applies his lateral thinking and his impasto technique.
comment : “I've looked at a whole range (no pun intended) of targets, from the RAF use to those of a shooting gallery. With this painting, I used the common vernacular ‘Bullseye’ (for target), then steered the work in that direction.”
Bullseye
Burn Baby, Burn
date : 2011
size : 8½” x 11½”
medium : collage
notes : Echoing the line from Vietnam in its title, juxtaposed with an apeing of 1970s petrol station ‘special offers’ in the text, this powerful image may initially appear as humourous, or even too cutting, yet has serious intent behind its creation. The artist felt the need to express his shock and sadness at the extreme measures being taken by Buddhist holy people.
comment : “Hopefully the title will help to put this piece into its intended context. There is something seriously wrong when monks and nuns feel that the only choice that they have is to make the ultimate sacrifice, and self-immolate. A shocking image? It needs to be. I find the reality far more shocking. Perhaps the story would gain more coverage were it to be ‘marketed’ like a special offer at a garage. There is nothing frivolous or disrespectful about this piece.”
Burn Baby, Burn
Burn Your Prayers
date : 1986size : 11¾” x 8¼”
medium : collage.
notes : One of a series of posters to advertise ‘The Time Is Now!’ magazine.
comment : “I really enjoyed doing these posters…”.
Burn Your Prayers
C’est Ne Pas Ne Pas Une Pipe
date : 1995size : 7¾” x 5¾”
medium : objet trouvé.
notes : A combination of found objects playfully combined into an homage to René Magritte’s ‘C’est Ne Pas Une Pipe’.
comment : “It’s not not because it is”.
C’est Ne Pas Ne Pas Une Pipe
Cambridge MA
date : 2010size : 30½” x 23¼”
medium : oil
notes : AKA ‘The Great Union Flag’, the ‘Congress Flag’ and the ‘Cambridge Flag’, this flag was raised in 1776 by general George Washington, as the banner to rally American patriots in their struggle for independence from Britain.
comment : “I read somewhere that at the Boston Tea Party (1773), one of these flags was taken from an East India Company ship. The above flag was identical to that of the aforementioned flag, which the company had been using since 1707. It's interesting to know that during the American war of independence, both sides were flying flags incorporating the first British Union flag.”
Cambridge MA
Camo Gene
notes : Ms.Serene at Electrogogo (London), blending-in extremely well with the ‘All Over You’ single artwork.Camo Gene
Celtic Surveyor flyer
date : 1991size : 7½” x 5¾”
medium : photocopy.
notes : Flyer version of this Jones design, produced on lilac paper; a copy of this is in the permanent collection of the V & A, London.
comment : “Unrest were added to the bill late on; I remember writing ‘Unrest’ by hand on most flyers, though some had already gone out…”.
Celtic Surveyor flyer
Celtic Surveyor Live Music Event
date : 1991size : 11¾” x 8¼”
medium : collage.
notes : Original artwork for the live music event at Jamie Reid’s ‘Celtic Surveyor’ exhibition.
comment : “Jamie was busy, so he asked me to do the poster…”.
Celtic Surveyor Live Music Event
Celtic Surveyor poster
date : 1991size : 16¾” x 11¾”
medium : photocopy.
notes : Poster version of this Jones design, produced on red; a copy of this is in the permanent collection of the V & A, London.
comment : “It was nice to do this for Jamie in my hometown”.
Celtic Surveyor poster
Chelvis
date : 2004size : 6” x 4”
medium : screenprint.
notes : Elvis as Che Guevara – rock‘n’roll warfare in Jones’ ‘New Pop’ idiom.
comment : “Very early (‘54 - ‘56), Presley was like a Punk Prometheus – by ‘59, he was burnt”.
Chelvis
Chelvis
date : 2006size : 22½” x 30½”
medium : screenprint.
edition : 33
paper : Arches.
price : £400
notes : Limited-edition screen print of the striking ‘Chelvis’ image, which fuses the iconic Che Guevara image with the instantly recognizable face of Elvis Presley. Each print, hand-rendered by the artist, is based on Jones’ oil painting by the same title which sold at the ‘rude and ill-bred’ exhibition in Brighton. Each print in this edition is slightly different, making “every one an original”…
Chelvis
Chelvis (SOLD)
date : 2006size : 23¼” x 33½”
medium : oil.
notes : Oil featuring Elvis as Che; revolution meets rock'n'roll in this 'iConic' head-on collision of Pop and politics.
comment : “An oxymoron; a ‘pure oil’ expression of mine”.
( SOLD )
Chelvis (SOLD)
Chirk by Train
date : 2004comment : “There’s some nasty, big horrible woodchip company, with acres of logs stacked, then buried under sawdust. They dig them out, and make the highly noxious MDF / chipboard chips. There’s something very ‘Twin Peaks’ about this place”.
Chirk by Train
Circles
date : 1983size : 21½” x 21½”
medium : oil on canvas.
notes : Painted in early 1983, ‘Circles’ has shown at many exhibitions over the years. An early example of the artist using text as image, which is still a recurring theme throughout his works.
comment : “A time-based piece in its own small way; I put a chrome stud into the canvas when I did this. It’s now rusted nicely”.
Circles
Classic
date : 2007size : 39” x 39”
medium : oil
notes : Classic ‘Mod’ target given the treatment by Jones, in his continuing exploration and re-interpretation of all things ‘British’.
comment : “Since I first did Airfix model plane kits in the mid-60s (a Hawker Harrier was my first), I've been very taken with the red, white and blue target. Beyond that, I remember seeing a photo of Keith Moon wearing a white t-shirt with a huge target on the front; my first exposure to Pop Art as such. I also like taking known iconic imagery and re-presenting it in different contexts.”
Classic
Clocks Now!
date : 1986size : 11¾” x 8¼”
medium : collage.
notes : First poster design to promote ‘The Time Is Now!’ underground magazine.
comment : “I had nothing, so I cut-up an old catalogue – what time is it anyway?”.
Clocks Now!
Clockwork Now!
date : 1986size : 11¾” x 8¼”
medium : collage.
notes : Original collaged artwork, featuring an image of Laurel and Hardy.
comment : “I did a few different posters for ‘The Time Is Now!’”.
Clockwork Now!
Complement II
date : 2008size : 39” x 39”
medium : oil and acrylic
notes : Second in the series of three of ‘complementary’ target paintings.
comment : “It is quite amazing how the same colours placed in different combinations give the distinct impression of individual compositions.”
Complement II
Complement III
date : 2008size : 39” x 39”
medium : oil and acrylic
notes : Last in the series of three complementary targets comprised of concentric circles.
comment : “This was not an exercise in Marxist dialectics; more an exploration of the qualities of colour and light when placed in different positions.”
Complement III
Consume At Your Peril
date : 2006size : 17” x 11½”
medium : collage.
notes : Another image produced for the Blacksmoke / Greenpeace ‘Danger Global Warming’ project.
comment : “To quote the Stranglers “something better change”!”.
Consume At Your Peril
Cultural Blackspot
date : 2006size : 8½” x 11½”
medium : collage
notes : Designed by Brian in 2006, this image was stolen from this site and has subsequently appeared on various websites in photographic form, and it appears to have been printed as posters which have been fly-posted in various cities. The artist has never made any money from this design, which was done as an homage to the old 'Accident Blackspot' road signs, and resents the fact that his imagery has been taken without permission.
Cultural Blackspot
Curse the Nazis
date : 2004comment : “A quick-painted welcome banner, for Jean Marie Le Pen, who was attending a fundraising dinner for the BNP near my home. I couldn’t let this pass without comment, and almost got stomped by a gang of boneheads; what year is this? I thought we’d dealt with all this in the 70s…”.
Curse the Nazis
Cut It Up
date : 1986size : 7½” x 5¾”
medium : collage.
notes : Image produced for ‘The Time Is Now’ magazine.
comment : “William Burroughs reading a book – cut-it-up; met him a couple of times when he was in Liverpool”.
Cut It Up
Cyclic Amp poster
date : 1989size : 29¾” x 20”
medium : screenprint.
notes : Promotional concert poster for seminal Liverpool noise gods, Cyclic Amp.
comment : “Great band … they used to have Napalm Death begging them for support slots, and’d get 5 star reviews in Sounds, etc. … One of Liverpool’s best-kept secrets, they split not long after the show. This was one of a series of visuals that I’d been working on for the band, and the only one used; the poster looked great; we had 100 done for the gig; most were fly-postered, so the few survivors are like hen’s teeth!”.
Cyclic Amp poster
Dada Discs logo
date : 2004size : 3” x 2”
medium : collage.
notes : Logo produced for London-based Dada Discs.
comment : “Working small has definite advantages, and working with flat artwork has positive advantages”.
Dada Discs logo
Danger Tetra
date : 2005size : 3¾” x 4¾”
medium : photocopy.
notes : Simple graphic highlighting the dangers of these structures.
comment : “At least 300 of these masts are being built across Wales, and many more across the rest of Britain”.
Any UK groups wanting hi-res. versions of the anti-Tetra graphics, please use the "Contact page" to e-mail Brian Jones.
Danger Tetra
Dim Tetra poster (English)
date : 2005size : 8½” x 11½”
medium : photocopy.
notes : Welsh-language poster produced for the Llanidloes Anti-Tetra Mast Campaign.
comment : “These radiation-emitting masts will affect almost everyone in the country; I’ve tried to sum-up the dangers with some simple images”.
Any UK groups wanting hi-res. versions of the anti-Tetra graphics, please use the "Contact page" to e-mail Brian Jones.
Dim Tetra poster (English)
Doherty’s Religious
date : 1991comment : “On my first (of many) visit to L’Derry, I stayed in the Bogside, and the Fountains…
Like a bad game of chess, the poor people of Derry are caught between the Queen and the Bishop”.
Doherty’s Religious
Dolydd (back)
date : 2009size : 6½” x 3¼”
medium : screen print
notes : During the summer of 2009, Brian was asked to design and print a new ‘currency’ for Gweithdy Llanfyllin Workhouse, to be used at their inaugural Green Fayre. Within the border of foliage is a line-drawing of one of the few extant Victorian workhouses in Wales.
comment : “I had a week to come up with the designs for front and back, and another to make the screens and print them in time for the Green Fayre. It's in a very rural place, and I wanted this to be highlighted through the design. Time was tight; luckily, I was helped with the printing by Sogol Biglari, who is studying for her degree in art at Leeds University.”
Dolydd (back)
Dolydd (front)
date : 2009size : 6½” x 3¼”
medium : screen print
notes : The Llanfyllin Union Workhouse, which opened in 1837, is known locally as “the Dolydd” (pron. “Dolith”), which Brian thought was similar in sound to “dollar”; when asked to produce these, he immediately came up with his design for the ‘Dolydd bill’. Featuring the most infamous former resident of the Workhouse, they were used in lieu of £ Sterling at a Green Fayre weekend during summer 2009. The printing of, and ‘trading’ in Dolydds was filmed for the BBC, for a new series to be screened in late 2009.
comment : “Within hours of their issue, kids were selling them onsite to adults for £3 each, so they obviously had some ‘value’ attached to them by others, which I find interesting. ‘The Dartmoor Shepherd’ was the title of the biography of David Davies of Llanfyllin, a man who was sentenced to over 60 years in prison sentences for stealing from church poor boxes. He actually spent over 50 years in prison; as he was from rural Wales, they gave him the job of looking after the sheep while he was in Dartmoor. He received a 13-year sentence for stealing 2 shillings (10p), which led David Lloyd-George and Winston Churchill to plead with the governor for his early release. Part of the condition of release was that he work on a farm near Rhiwabon for 6 months; he absconded after a couple of weeks, broke into Moreton Hall's cellar, and pinched 4 bottles of whiskey, valued at £2. He asked the judge to send him to Llanfyllin workhouse, as he didn't want to die in gaol. On his death in 1929, the local populace paid for a headstone, so that he wasn't buried in a paupers grave. A twist of historical irony places him on their new ‘currency’; I hope it raises a smile.”
Dolydd (front)
DT64 Didi Says...
date : 1991size : 11¾” x 8¼”
medium : collage.
notes : One of a series of posters produced with Jamie Reid, in Berlin.
comment : “There were all these German teens in for a photocopy workshop; we produced a series of designs to try to help save DT64 youth radio station”.
DT64 Didi Says...
DT64 Spectacle (black)
date : 1991size : 11¾” x 8¼”
medium : collage.
notes : Another in the series produced with Jamie Reid, at Kunsthaus, Berlin.
comment : “Kind of ‘don’t just sit and watch’ message; I’ve used the cover of the Debord book a few times for posters…”.
DT64 Spectacle (black)
DT64 Spectacle (white)
date : 1991size : 11¾” x 8¼”
medium : collage.
notes : Another version in the series produced with Jamie Reid, at Kunsthaus, Berlin.
comment : “This is the version with a white background”.
DT64 Spectacle (white)
Electric CD
date : 2004size : 5½” x 5½”
medium : photocopy.
notes : Front cover of the ‘Electric Dreams EP’ by electroclash diva Gene Serene, on Dada Discs.
comment : “rather confusingly ‘Electric Dreams’ wasn’t on the CD!”.
Electric CD
Electric Dreams
date : 2004size : 7”
medium : lithograph.
notes : A-side design for the single released on BabyTeeth Records.
comment : “The CD design I did was full colour, though I knew what it would look like as black only. The original artwork was seconded immediately for the first vinyl release”.
Electric Dreams
Electric label
date : 2004size : 5½”
medium : lithograph.
notes : On-body design for the first release on independent Dada Discs.
comment : “Text as image”.
Electric label
England's Dreaming
date : 2006size : 2” x 1½”
medium : print and collage.
edition : 50
notes : One of a Limited Edition of only fifty signed and numbered matchboxes produced for the ‘rude and ill-bred’ Brighton show. These were based on a large oil painting by the same title which is part of Jones' current ‘Gorra Light Mate?’ series.
comment : “I'd been working on these matchboxes for months, then a London gallerist, who shall remain nameless, threatened to steal the idea from me; I do hope that he was merely exercising his sense of humour”.
England's Dreaming
England's Dreaming (NFS)
date : 2006size : 33” x 23½”
medium : oil.
notes : Second in the series of matchbox paintings, here Jones uses his painting skills to good effect, reproducing his version of the England's Glory design in oil paint. Another classic piece of Pop Art from the growing Jones repetoire.
comment : “Title was inspired by Jon Savage's excellent book by the same title. I think that Peter Blake did a version of the old design in the early 1960s, which was a more primitive version, and not full colour. I took four days to draw this, and over a month to actually paint it”.
England's Dreaming (NFS)
Eyeless on Gaza
date : 2010size : 26½” x 11½”
medium : giclée
edition : 15 signed, titled and numbered by the artist
paper : Hahnemuhle 265gsm 100% cotton rag
price : £350
notes : A simple yet effective image which conveys the artist's thoughts on the Gaza situation. The title paraphrases Aldous Huxley and John Milton; in Milton's ‘Samson Agonistes’ there is a single case of blindness: when it comes to modern-day Gaza, many more appear to be affected by ‘blindness’.
Eyeless on Gaza
F Clones
date : 1992credit : Rosie Larmour-Jones.
comment : “F were an arts group bunch of reprobate friends; I was conscripted into this performance at Liverpool University. I’m not saying which one is me”.
F Clones
Fire
date : 2007size : 20” x 20”
medium : oil
notes : In this painting, which is part of Jones' body of target works, Brian casts his eye over a classic archery target and comes up with a striking New Pop work.
comment : “I've always had a fascination with targets, bullseyes and the like; this stems from shooting galleries at fair grounds; places where I can disappear in to the crowd and observe the side shows. My great-grandmother had a hoop-la stall on Pat Collins' fair in the first decade of the 20th century.”
Fire
For Foot's Sake
date : 2007size : 23¼” x 33½”
medium : oil and collage
notes : In this piece, which wittily plays on an oft-heard phrase of Brian's, he has collaged a fabric tape measure directly on to the canvas to both comprise the text and frame the composition.
comment : “I don't like the metric system at all; I've got a mate who is a builder who swears by mm for their accuracy, but I'm unpersuaded. Finally, the EU has ruled that the imperial measurement system can run in parallel to the metric system in Britain, and greengrocers will not-longer be fined for selling bananas by the lb. I also felt completely ripped-off as a kid; when we went to Rhyl, I used to get 240 goes on a one-arm bandit for a quid: after decimalization (metrication of my money), I suddenly only got 100 goes. I still speak in ‘old money’ and measure in inches, because they relate to proportions, clocks and calendars.”
For Foot's Sake
Four Dozen Ways
date : 1986size : 5” x 2½”
medium : collage.
notes : Full title ‘Four Dozen Ways to Sit on Your Arse and Watch TV’, this graphic appeared in ‘The Time Is Now!’.
comment : “Letraset collaged onto a colour ad. – ‘old skool’ flat collaged artwork, long before Photoshop – I still work like this, even with Photoshop”.
Four Dozen Ways
Four Poppies
date : 2006size : 31” x 23”
medium : giclée.
edition : 33 signed & numbered.
paper : 265 gsm Hahnemule cotton rag.
price : £350
notes : A semi-abstracted design based on photographs taken by Jones of the oriental poppies which grow in his garden. In 2004 the poppies flowered three times in one year. In addition to expressing his concerns about the environment, rather poignantly, Jones decided to make these available to express his sadness at never meeting either of his great-grandfathers, both of whom fell in the Great War. The futility of war and global warming conveyed through ‘iConic’ pop art flowers.
From a Limited Edition of 33 signed, numbered and dated by the artist.
Four Poppies
Four Poppies
date : 2003size : 20” x 20”
medium : giclée.
notes : This image is the source for the series of poppies abstracts.
comment : “In 2003, the poppies in the garden flowered three times”.
Four Poppies
Free Pussy Riot
date : 2012size : 8¼” x 11¾”
medium : collage
notes : Commissioned for the ‘Through Disobedience We Progress’ part of the ‘Glad Tidings of Struggle and Strife; a history of protest Christmas cards’ exhibition, Jones has subverted a Soviet-era Constructivist image by Rodchenko, to produce this witty plea for the all-girl punk group.
comment : “Free Pussy Riot! From Pussia with love …”
Free Pussy Riot
Fuck Dance Let’s Art
date : 1983size : 11¾” x 8¼”
medium : collage.
notes : Early collage using on old 78rpm sleeve, and a basic cut-and-paste technique. A version of this appeared in ‘The Time Is Now!’ magazine in 1987.
comment : “I did this years ago in response to the ‘Fuck Art Let’s Dance’ t-shirts that were about; they just looked wrong! At one point, Jon Savage asked me could he quote it as a line – hope I got a credit! I re-worked the image a couple of years ago, and in 2004 I produced some 6” x 4” screenprints of it. If it looks familiar, I got it from the same source as the Clash!”.
Fuck Dance Let’s Art
Fuck Dance...
date : 2005size : 6” x 4”
medium : screenprint.
edition : 25
paper : Arches.
price : £100
notes : One of a series of miniature screenprints produced by Brian Jones.
Hand-rendered by the artist on Arches 88 300gsm, 100% cotton fibre paper with deckled edges, from a signed, numbered, dated, and titled Limited Edition of only twenty five.
Fuck Dance...
Fuck Dance...
date : 2005size : 6” x 4”
medium : screenprint.
notes : One of a series of miniature screenprints produced by Brian Jones.
comment : “And why not?”.
edition : 25 prints available
Fuck Dance...
Gene CD poster
date : 2004size : 16¾” x 11¾”
medium : photocopy.
notes : Dada Discs promotional poster for the ‘Electric Dream EP’ CD.
comment : “She also needed a poster to advertise the release”.
Gene CD poster
Gene logo
date : 2004size : 4” x 2”
medium : collage.
notes : Logo produced for electroclash performer, Gene Serene; this is used on posters, flyers, CDs and records.
comment : “She needed something to establish her space and look”.
Gene logo
Gene poster
date : 2004size : 6” x 2½”
medium : collage.
notes : Original collage for the promotional poster of Gene Serene’s independent cd release.
comment : “Even for jobs, I still prefer to produce flat artwork”.
Gene poster
Gene Serene (SOLD)
date : 2006size : 31½” x 23½”
medium : oil and collage.
notes : First in the series of five portraits of the Dada Gods, this painting combines many elements of Jones’ works, including impasto, brush work and collage. Since 2004 Jones has undertaken to produce visuals for Ms. Serene, from the DaDA Discs and G.S. logos, to sleeves for her releases to date. This painting, based on a series of photographs taken by Jones at Electrogogo (London) also features the artwork (used as projection) of the now highly sought-after limited edition white vinyl 7”, ‘Electric Dreams’.
comment : “When I looked at the snaps I’d taken, this particular image stood-out as a strong, almost graphic depiction of Genie in live action. I spent many hours firstly looking at the photograph in question, then applying various techniques to achieve an impression of the essence of her performance. I could have simply ‘painted a photograph’, but that is not how I work”.
Gene Serene (SOLD)
Genesis CD (back)
date : 2005size : 5” x 5”
medium : collage.
notes : Back cover for the ‘Genesis’ promotional album by Gene Serene.
comment : “An exercise in patience, and how to make lots of text look interesting”.
Genesis CD (back)
Genesis CD (front cover)
date : 2005size : 5” x 5”
medium : collage.
notes : Front cover image for the ‘Genesis’ promotional CD by Gene Serene.
comment : “A striking image of Ms. Serene”.
Genesis CD (front cover)
Genesis CD (on body)
date : 2005size : 5” diameter
medium : collage.
notes : Onbody design for the 'Genesis' promotional album.
comment : “Minimal, as in ‘need-to-know’”.
Genesis CD (on body)
Genie Medusa
date : 2011size : 8” x 8”
medium : collage
notes : Striking image for Gene Serene's ‘Double Future’ release.
comment : “Genie as Medusa.”
Genie Medusa
Ghostarget
date : 2008size : 20” x 20”
medium : oil
notes : The title suggests ‘traces’ of something that can no-longer be seen, but with his impasto application of the oil paint, this work certainly has a meditative presence.
comment : “I enjoy working with colour, but on occasion, I also like to create more tranquil pieces devoid of all colour. It is a challenge to describe form in the absence of colour.”
Ghostarget
Glass Union 1606
date : 2010size : 33½” x 23¼”
medium : oil
notes : Another in the artist's on-going exploration of the Union flag, its history and development, making it historical contemporary Pop Art.
comment : “This first Union flag appeared in 1606, and it remained a ‘glass union’' up to the Jacobite Rebellion of 1745. As a kid, I used to pass a union building on my way to school, and until I knew better, I read the sign as ‘onion’; a bit of a word-play on ‘Glass Onion’ and ‘union’.”
Glass Union 1606
God Bless the Squatters
date : 2011size : 8½” x 11½”
medium : collage
notes : With the proposed criminalisation of squatting on the agenda, the artist, who previously spent ten years squatting, addresses this erosion of the rights of the citizen in this collage, which depicts a family's ‘1st. night in a squat’.
comment : “Cottars and Borderers are the old British names for squatters. With so many empty buildings and a shortage of housing, this ancient right will become a criminal offence. What is the alternative? The re-introduction of Workhouses? Homes for all.”
God Bless the Squatters
God Bless the Travellers
date : 2011
size : 8½” x 11½”
medium : collage
notes : A piece expressing support for the residents of Dale Farm, near Basildon, Essex, and others facing similar difficulties.
comment : “Spending £18 million to evict 86 traveller families is not only immoral, it's also a form of ‘ethnic cleansing’ [horrible newspeak phrase].”
God Bless the Travellers
God Save DT64
date : 1991size : 11¾” x 8¼”
medium : collage.
notes : A re-working of Jamie Reid’s ‘God Save The Queen’ image, produced at the Berlin ‘Celtic Surveyor’ exhibition.
comment : “It was a ‘Jamie Reid’ workshop, so we used some of his imagery for the posters”.
God Save DT64
God Save DT64 orig
date : 1991size : 8” x 7¾”
medium : collage.
notes : Original collage of ‘God Save DT64’.
comment : “This was the collage that was copied and used for posters”.
God Save DT64 orig
Gog and Magog
date : 1984size : 42” x 24”
medium : oil.
notes : Throughout the 80s, the artist worked on a series of abstracted themes, including mythical figures, and landscapes.
comment : “Sadly, this incomplete snap from a weird angle is the only record that I have of this painting. Another of my lost works”.
Gog and Magog
Goldie Lookin' Chair
date : 2005notes : Actor of note, and all round Cymro iawn (fawr!), Rhys Ifans, posed for this informal portrait at a London nightclub. Mi es i siarad Cymraeg gyda Rhys yn Llundain, which was nice … .
Goldie Lookin' Chair
Good Morning Campers (NFS)
date : 2007size : 23¼” x 33½”
medium : oil
notes : Another iconic institution and the notion of ‘jollidays’ are re-visited in Brian's own inimitable style.
comment : “For working class kids, Butlin's (besides time in a shack or caravan on the North Wales coast in my case) was just about the only holiday within reach for many. As a kid I went to Skegness and Pwllheli; I wish I still had my ‘Butlin's Beaver Club’ badge!”
Good Morning Campers (NFS)
Gorra Light Mac (NFS)
date : 2007size : 33½” x 23¼”
medium : oil
notes : Stunning image of the famous Scottish Bluebell matchbox design, painted in Jones' favoured impasto technique.
comment : “I love this particular design - it has all the classic elements and hints at the works of Charles Rennie MacIntosh and art nouveau in general. It's a design shame that their marketing department felt the need to go for more colour on the box; its simplicity was its beauty and appeal.”
Gorra Light Mac (NFS)
Gwnewch Bopeth yn Gymraeg: Defaid
date : 2009size : 30” x 20”
medium : screen print
notes : Second in the series of images for Futile Gestures, this graphic turns the negative ‘sheep-shaggers’ into a positive and humorous poster. A smaller version has also been printed on to t-shirts.
Gwnewch Bopeth yn Gymraeg: Defaid
Gwnewch Bopeth yn Gymraeg: Hoywon
date : 2008size : 30” x 20”
medium : screen print
notes : ‘Do Everything in Welsh: Gays’ is the English translation. Based on an iconic Welsh Language Society poster of the late '60s/ early '70s, this is the first in a series of images to be produced for Futile Gestures.
Gwnewch Bopeth yn Gymraeg: Hoywon
Honour Thy Labels and Thy Plastic
notes : A snap that I was sent of the dr.d piece outside the MuTate show, Curtain Rd., Shoreditch, London.photo credit: dr.d.
Honour Thy Labels and Thy Plastic
Humpty Trumpty
date : 2017size : 11¾” x 8½”
medium : collage, pen and ink
notes : Jones' take on the bad hombre of the United States, which uses his ‘Walk Quietly Through Life But Always Carry A Big Stick’ in the hand of Mr.Trumpty, sat atop a wall made of dollar bills.
comment : “The first Reality TV president leads the Mad Hatter's tea party.”
Humpty Trumpty
I Can Do Anything - Front Cover
date : 2006size : 5” x 5”
medium : collage.
notes : Limited Edition design for the front cover artwork of Ms. Serene's CD single which was released by Org records in October 2006.
comment : “There was a lot of messing about with my artwork which was a sordid saga. NEVER AGAIN! I'm actually quite happy with my finished artwork but annoyed that it only made it onto the limited edition release. A pox on those responsible”.
I Can Do Anything - Front Cover
I Can Do Anything’ (back)
date : 2006size : 7” x 7”
medium : collage
notes : Back sleeve of the Limited Edition CD single by Gene Serene.
comment : “Another exercise in making boring credits look interesting!”
I Can Do Anything’ (back)
I Don't Have a Mobile
date : 2010medium : assemblage.
size : 6” wide, 3½” deep, 7¼ high
notes : A small sculptural piece, which playfully combines an aged piece of oak, a mobile telephone and a nail.
comment : “I really don't have a mobile!”
I Don't Have a Mobile
If You See Kay
date : 2005size : 31” x 23”
medium : giclée.
edition : 50
paper : 265gsm 100% cotton rag.
price : £350
notes : New Pop for old… wittily titled ‘If You See Kay’, Jones takes ‘Love’ into the 21st Century, with his cutting yet humourous re-working of and old Pop chestnut. From an edition of only 50, signed, numbered, dated, and titled by the artist.
If You See Kay
If You See Kay
date : 2005size : 31” x 23”
medium : giclée.
notes : With the turning of the new millennium, the sleeping giant awoke, only to find the same old images were still roaming the landscapes of the imagination like cultural dinosaurs. After a thousand year slumber, he rubbed his eyes several times in disbelief. Then declared cultural guerilla war on Mammon and her offspring…
comment : “The title comes from a Memphis Slim tune; the sentiment comes from NOW!”.
Prints available.
If You See Kay
If You See Kay (b&w)
date : 2005size : 31” x 23”
medium : giclée.
notes : Jones casts his scalpel-like eye over this 1960's classic, updating the powerless into a powerful and controversial original new piece.
comment : “I like Indiana's colour effect, but can't go with the hippy platitude; of its' time, yes, but wheeling it out for editions every 5 years is very tedious, and not my idea of 21st Century art”.
Prints available.
If You See Kay (b&w)
If You See Kay (b&w)
date : 2005size : 31” x 23”
medium : giclée.
edition : 15
paper : 265gsm 100% cotton rag.
price : £350
notes : Black version, from a signed, numbered, titled and dated edition of only 15. No stranger to controversy, or ‘freedom of speech’ if you prefer, nothing is sacred to Jones' piercing eye.
If You See Kay (b&w)
If You See Kay (SOLD)
date : 2005size : 20;” x 20”
medium : oil.
notes : Original Brian Jones oil on canvas, which inspired the prints by the same title… exhibited at his ‘iCons’ show in Cardiff, another example of Jones' ‘fine art as graphics: graphics as fine art’, using his favoured impasto technique.
comment : “Hand-drawn, then hand-painted using traditional oil on canvas; to counter-balance my subject matter, I try to use traditional materials whenever possible. If I am going to paint on canvas, I use oils; they're far more tactile than acrylics, and will hopefully last for at least 500 years longer!”.
( SOLD )
If You See Kay (SOLD)
IOU
date : 2008size : 11½” x 8½”
medium : collage
notes : The ultimate in promisory notes… “I promise to pay the bearer in the next life” - another of Brian's images for Welsh Art Now magazine.
comment : “The ancient Britons/Brythons, so I believe, would lend money and accept payment in the next life, which I used as a starting point.
The horseshoe: in 1799 David Jones of Llandovery set-up the Black Sheep Bank, which ran as an independent bank until 1909 (when it was bought by Lloyds). Jones was a drover by profession, and drovers were held in high regard when it came to entrusting them with amounts of money and promisory notes.
An old traveller friend of mine tells me that a sign of the drovers was the horseshoe with a dot to the right, so it's tipping the hat to the drovers as well as wishing the bearer luck.... one day!.”
IOU
Jamie Reid logo
date : 2002size : 4” x 2”
medium : collage.
notes : Logo produced for Arcova Studios; this logo was used on original Sex Pistols artwork for licence to Japan. It appeared on t-shirts, bags, wallets, labels, tags, and promotional materials.
comment : “At the age of 13, I was copying Jamie’s artwork; 25 years later, I was asked to alter it!”.
Jamie Reid logo
Just What Is It That Makes Today's Homes So Different, So Appealing?
date : 2003size : 16¾” x 17¼”
medium : collage.
notes : An homage to Richard Hamilton’s seminal Pop Art piece from 1956. This piece keeps the same proportions as the Hamilton work, replacing the ‘muscle man’ (50’s ‘ideal’) carrying the lolliPop, with David Beckham (00’s ‘ideal’) singing karaoke.
comment : “I love the Hamilton original. I wanted to apply my New Pop aesthetic to a re-interpretation of the piece. Quite prophetic having a bird on the sunbed who ain’t Posh. David Beckham singing karaoke in the parlour? If that isn’t ‘Pop’, what is?”
Just What Is It That Makes Today's Homes So Different, So Appealing?
King Billy
date : 2003size : 11¾” x 8¼”
medium : collage and ink.
notes : Billy Fury as the King of British Rock ‘n’ Roll, edged with “It’s good for your body, it’s good for your soul”, hand-written around the border. This piece, quite aptly, showed at Jones’ ‘iCons’ Derry exhibition.
comment : “I had this piece sketched-out for quite a while, and produced it in the lead-up to Derry. Billy Fury in the imperial state crown - fantastic. He charted before the Beatles, and produced some excellent rockabilly tunes, before Decca put an orchestra behind him. A true star. This piece could equally have been called ‘The Golden Age of Rock ‘n’ Roll’ – that Mott the Hoople track is a killer. Inspired by the song, it conjured-up this image in my mind; the border is tipping the hat to Ian Hunter”.
King Billy
Kit (back)
date : 1988size : 12”
medium : lithograph.
notes : Back sleeve painting for Liverpool-based indie popsters, Kit.
comment : “I painted these to size, oil on paper”.
Kit (back)
Kit (front)
date : 1988size : 12”
medium : lithograph.
notes : Front cover painting for Kit’s debut single, ‘My Design’, released in 1988 on Dave Haslam’s Playhard Records. This features a version of Jones’ ‘Portrait of the Artist as a Young Dog’.
comment : “They also used my dog for some long-sleeved t-shirts, which looked good”.
Kit (front)
Kit backdrop
date : 1987size : 10 feet x 10 feet
medium : acrylic on canvas.
notes : Detail of a backdrop painted for Liverpool-based indie popsters, Kit.
comment : “It’s not often that I use acrylics; I can count on one hand the times I’ve used it since”.
Kit backdrop
KPD-0
date : 2006size : 11½” x 8½”
medium : collage
notes : Original collage design produced for Sofia-based punksters KPD-0.
comment : “They wanted something that could be used as the front cover for their next CD and which could also double-up as a generic gig poster. I think there's a copy of the poster in the clients section of this site.”
KPD-0
kpd-0 - 'Zero' front cover
date : 2005size : 5” x 4¾”
medium : photocopy.
notes : Front cover for the 'Zero' promo album by Sofia-based 'progressive Punk' band, kpd-O.
comment :
“The first graphic for a young Bulgarian punk band I know; I met Ivan (from the band) while I was in Sofia; got chatting about everyone from Sonic Youth to the Clash, and agreed to collaborate with them on some visuals.
Went to see them live at Oshipka! in Sofia; good gig turned into a well-dodgy scenario … more about Bulgarian adventures will appear in the ‘Words’ section of this site later.
kpd-0 - 'Zero' front cover
KPD-0 gig poster
date : 2006size : 17” x 23”
medium : photocopy
notes : Poster version of the design for KPD-0.
comment : “Simple, cheap and effective which was what they needed.”
KPD-0 gig poster
Land Of The Fat
date : 2008size : 12” x 12”
medium : collage
notes : The artist was invited to by Rough Trade/ Street Art Awards 08, to produce an image adapting the sleeve of a well-known 7” or 12” vinyl record. Brian chose to work on ‘The Fat Of The Land’ by The Prodigy; replacing the crab with a burger, the ant with a cow, ‘Prodigy’ with ‘Prodigiously’, and turning the title back on itself, ‘The Land Of The Fat’ will be raffled/autioned to raise funds for the Single Homeless Project.
comment : “A comment on the fast-food culture of the West and its resulting ill-health; half the planet is over-weight, while the other half starves.”
Land Of The Fat
Laurel & Hardy Now!
date : 1986size : 11¾” x 8¼”
medium : collage.
notes : Original collaged artwork, featuring an image of Laurel and Hardy.
comment : “I did a few different posters for ‘The Time Is Now!’”.
Laurel & Hardy Now!
Le Dejeuner avec L’herbe
date : 1983size : 48” x 24”
medium : oil and collage on canvas.
notes : Theme by Manet, treatment by Jones. Throughout his works, Jones will often take a look at works by other artists, and ‘update’ / re-interpret them for contemporary audiences. Taking its cue from Manet’s painting, the “L’herbe” in question is being smoked. Gold foil is collaged onto the surface for the cigarette lighter. A very early example of collage within his paintings.
comment : “The two male figures are good friends of mine – the third figure was painted from a small sculpture I made called ‘The Mystery of Childbirth’ – I think I got that line from Patti Smith”.
Courtesy of Cameron collection
Le Dejeuner avec L’herbe
Little Arrows
date : 2007size : 40” x 40”
medium : oil
notes : This work takes a square Union Jack painted on to four separate canvases, and re-arranges them into a rhombus which abstracts the union flag.
comment : “I'd been thinking about the Red Arrows (RAF display team) and how their name related to the flag; the title comes from a song by Leapy Lee.”
Little Arrows
Love Hearts
date : 1989size : 11½” x 8½”
medium : ink.
notes : Semi-abstraction that echoes the woodcuts of the German Expressionist school of the early twentieth century.
comment : “Women are the raison d'etre for Being”.
Love Hearts
Madollar
date : 2001size : 11¼” x 4½”
medium : collage.
notes : Original collage depicting Madonna as the ‘Queen of Pop’ on a dollar bill. A version of this image featured in Esquire magazine’s report on the Euro, alongside works by Paul Smith, Seymour Powell, and other noteables. The image has since been screenprinted, and etched by the artist.
comment : “I’d been working on a separate portrait of Madonna, as the ‘Queen of Pop’. During that, I started to think about how the portrait might be applied. I made a quick sketch, and let it mature for a while. I went back to the sketch, and did it without too many changes”.
Madollar
Madollar
date : 2003size : 11¾” x 8¼”
medium : etching.
notes : Small Limited Edition photo-etching featuring the ‘Madollar’ image, expressing the artist’s interest in how images are transformed by the different print processes.
comment : “I love the look of these etchings”.
edition : 50 prints available
Madollar
Madollar (black)
date : 2002size : 27½” x 13½”
medium : screenprint.
notes : Hand-rendered by the artist, they are individually numbered, and stamped with ‘Pop Edition’, and the artist’s facsimile signature.
comment : “With my prints, I make every one an original, and unique in some small way; even with my Pop Editions”.
edition : 750 prints available
Madollar (black)
Madollar (black)
date : 2003size : 30½” x 22½”
medium : screenprint.
notes : A stunning print, depicting Madonna in her guise as the ‘Queen of Pop’, on a $1 bill. This image was first seen in Esquire Magazine; it has since featured in the Liverpool Biennial of Contemporary Art, and the artist’s ‘iCons’ shows.
comment : “I like the black ones…”.
edition : 75 prints available
Madollar (black)
Madollar (black)
date : 2003size : 30½” x 22½”
medium : screenprint.
edition : 75
paper : Arches.
price : £350
notes : A stunning print, depicting Madonna in her guise as the ‘Queen of Pop’, on a $1 bill. This image was first seen in Esquire Magazine; it has since featured in the Liverpool Biennial of Contemporary Art, and the artist’s ‘iCons’ shows.
Hand-rendered by the artist on Arches 88 300gsm, 100% cotton fibre paper with deckled edges, from a signed, numbered, dated, and titled Limited Edition of only seventy five.
Madollar (black)
Madollar (fabric)
date : 2004size : 36” x 18”
medium : screenprint.
notes : A single ‘Madollar’ printed on unbleached calico. Six were printed in repeat to be made into suitable stage apparel for electroclash singer Gene Serene.
comment : “It’s not practical to make a frock out of Arches!”.
Madollar (fabric)
Madollar (pink)
date : 2002size : 27½” x 13½”
medium : screenprint.
notes : Hand-rendered by the artist, they are individually numbered, and stamped with ‘Pop Edition’, and the artist’s facsimile signature.
comment : “With my prints, I make every one an original, and unique in some small way; even with my Pop Editions”.
edition : 750 prints available
Madollar (pink)
Madollar (pink)
date : 2003size : 30½” x 22½”
medium : screenprint.
notes : Also titled ‘Madollar’, and featuring Mrs. Ritchie as the ‘Queen of Pop’ on a $1 bill, this pink version is from a smaller edition, and is another of Jones’ commercial images.
comment : “…I also like the pink”.
edition : 25 SOLD OUT
Madollar (pink)
Madollar jacket back
date : 2005size : 12 (UK)
medium : fabric
notes : Front and back shots of the ‘Madollar’ jacket made for Gene Serene by Anti-utopia of London. This garment, made as stage wear, uses screenprinted ‘Madollar’s which Jones produced for Ms. Serene. A mini-skirt was also produced as part of this outfit, but was stolen in Berlin. This will be replaced in the near future
comment : “Another use for the Madollar image; I produced a length of fabric for Genie; just as well I kept a piece back or she'd be performing without a skirt!”.
Madollar jacket back
Madollar jacket front
date : 2005size : 12 (UK)
medium : fabric
notes : Front and back shots of the ‘Madollar’ jacket made for Gene Serene by Anti-utopia of London. This garment, made as stage wear, uses screenprinted ‘Madollar’s which Jones produced for Ms. Serene. A mini-skirt was also produced as part of this outfit, but was stolen in Berlin. This will be replaced in the near future
comment : “Another use for the Madollar image; I produced a length of fabric for Genie; just as well I kept a piece back or she'd be performing without a skirt!”.
Madollar jacket front
Mammon part 1
date : 2003size : 22½” x 15½”
medium : collage and ink.
notes : First in the ‘Mammon’ series, Jones takes currency symbols, and elevates them to become the images themselves. Another example of the artist’s on-going interest in re-presenting well-known cultural symbols as images.
comment : “I did these in a bit of a rage (artrage?), and edged them with a Dillinger lyric. Immediate, but meditative too. I accept pounds…”
Mammon part 1
Mammon part 2
date : 2003size : 22” x 15½”
medium : collage and ink.
notes : Part 2 in the series, the dollar symbol this time takes centre stage. As with the others, a hand-written border completes the piece.
comment : “I also accept dollars…”
Mammon part 2
Mammon Part 3
date : 2003size : 22” x 15½”
medium : collage and ink.
notes : Last in the series, as “it’s the youngest currency”, the Euro is the centre of the composition.
comment : “…and Euros!”
Mammon Part 3
Mr Benn
date : 2014size : 16½” x 11¾”
medium : giclée and watercolour.
edition : 10 signed numbered and titled by the artist
paper : Hahnemuhle 265gm 100% cotton rag.
price : £350
notes : This image was produced by the artist as a celebration of the life of Tony Benn. It is now released posthumously as a tribute to the late politician. Published as a Limited Edition of just 10, each print has been hand-finished with watercolour by Brian.
comment: “The original painting and collage was completed in early 2013; I put it aside whilst working on other projects. It then took months to get the proofing right, in which time he unfortunately fell-off the perch. A politician with conviction and integrity? A rarity these days which ought to be celebrated.”
Mr Benn
Mr Benn
date : 2013
size : 11¾” x 8¼”
medium : watercolour, pen, and collage
notes : Using the style of McKee and Lawless, Jones has produced a witty portrait of Tony Benn depicted outside the Houses of Parliament as the ‘other’ Mr. Benn.
comment : “Mr. Benn? It was obvious really…! Drawn in ink, painted in watercolour and completed with collage.”Mr Benn
Naked Truth
date : 2005size : 8½” x 11½”
medium : collage.
notes : Based on a line from Jean Jacques Rousseau, Jones takes cut-and-paste, and gives it a philosophical twist.
comment : “Light relief from an insane world.....started this piece in 2002, but re-constructed it in 2005”.
Naked Truth
Negative Oblige
notes : Cropped negative version; Noblesse Oblige - goth art disco as it has never been seen before. A strong image, with minimal processing.Negative Oblige
Nelson Mandala
date : 2013size : 23” x 23”
medium : giclée
edition : 33 titled, signed and numbered
paper : Hahnemuhle 265gsm 100% cotton rag
price : £350
postage : free
Nelson Mandala
Nelson Mandala
date : 2010
size : 24” x 24”
medium : collage, guache and acrylic
notes : Based on the Buddhist ‘mahakala’ form of a mandala, this work features international icon Nelson Mandela in the title role.
comment : “I've been meaning to do this piece for ages. There's only a one letter difference between the two words. Done in honour of the man who made the transition from revolutionary to statesman look easy.”
Nelson Mandala
Never Trust a Punc(h)
date : 2007size : 31½” x 23¼”
medium : oil
notes : Another in his ‘Gorra light mate?’ series of oil paintings sees Jones re-interpret the classic Punch matchbox design.
comment : “I'm endlessly fascinated by design on ephemera and how it resonates with both the past and the present.”
Never Trust a Punc(h)
Nice Swan (NFS)
date : 2006size : 33” x 23½”
medium : oil and collage.
notes : First in the series of oil paintings produced by Jones during the Summer of 2006, ‘Nice Swan’ also uses an element of collage within the design. The strike-strip is actually coarse-grained sand from Pwllheli beach.
comment : “I like small things that can go big, and big things that can go small; I blew-up the matchbox design, drew it (no projectors here!), painted it, then reduced it back to matchbox sized for the Brighton show goody bags”.
Nice Swan (NFS)
No Radiation
date : 2006size : 8½” x 11½”
medium : collage.
notes : Another recurring motif in Jones' works, are his series of ‘subverts’ produced over the years. This piece transforms the classic Rodchenko beer ad, into an anti-mobile phones warning.
comment : “The original is great; coulda cribbed-it very quickly in Photoshop, but preferred to spend the time cutting-out every single piece with a scalpel. This was both to tip-the-hat to Rodchenko, and to end-up with a piece of artwork, instead of just another disc. I'm anti-radiation, and refuse to have a mobile; I know dudes who've had tumours and worse. People already know about the delights and downfalls of beer, but seem delighted with their mobiles. A scandal by any other name”.
No Radiation
No Surrender
date : 1991comment : “When a brother kills a brother it’s much more than just a war”.
No Surrender
No Tetra poster (English)
date : 2005size : 8½” x 11½”
medium : photocopy.
notes : Poster produced for the Llanidloes Anti-Tetra Mast Campaign.
comment : “These radiation-emitting masts will affect almost everyone in the country; I’ve tried to sum-up the dangers with some simple images”.
Any UK groups wanting hi-res. versions of the anti-Tetra graphics, please use the "Contact page" to e-mail Brian Jones.
No Tetra poster (English)
No.1 Now!
date : 1986size : 7½” x 5¾”
medium : photocopy and collage.
notes : Cover of the first issue of ‘The Time Is Now!’, published by the Underground Press, Liverpool.
comment : “I wanted something that would mean the mags couldn’t be covered by others in the shops, and came-up with the sandpaper idea. Took ages, but it was worth it”.
No.1 Now!
No.2 Now!
date : 1986size : 7½” x 5¾”
medium : photocopy and collage.
notes : Cover of issue no.2 of Liverpool’s underground magazine.
comment : “This one tied-in with the ‘Burn Your Prayers’ poster – if you don’t like the mag, remove the match, and burn it”.
No.2 Now!
No.3 Now!
date : 1986size : 7½” x 5¾”
medium : photocopy.
notes : Cover of issue no.3 of ‘The Time Is Now!’.
comment : “This magazine started getting more interesting … contributors were to include the unemployed, junkies, Adrian Henri, Jamie Reid, Jon Savage, plus others”.
No.3 Now!
No.4 Now!
date : 1987size : 7½” x 5¾”
medium : photocopy.
notes : Cover of issue no.4 of ‘The Time Is Now’.
comment : “I really enjoyed doing these covers…”.
No.4 Now!
No.5 Now!
date : 1987size : 7½” x 5¾”
medium : photocopy.
notes : Issue no.5 of the cult Liverpool magazine.
comment : “From this issue, the quality of print got more consistent, when they were done at Ai in London”.
No.5 Now!
No.6 Now!
date : 1987size : ¾” x 8¼”
medium : photocopy.
notes : Cover of issue no.6, featuring the famous shot of Harold Lloyd.
comment : “For this issue, it went A4, but back to normal after that; this one had some Jon Savage collages in it”.
No.6 Now!
No.7 Now!
date : 1987size : 7½” x 5¾”
medium : photocopy.
notes : Theda Bara was the featured ‘cover star’ for issue no.7 of ‘The Time Is Now!’.
comment : “I’d hitch to London with the layout in an empty suitacse. I’d go to Assorted Images, where Jamie Reid had a space, copy the mags, put ‘em in the case, and hitch back to Liverpool!”.
