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Open filters- Brief description:
- 1964 Malibu shaped by Braunton shaper Bob Powers, clearly assigned, in excellant condition. Its provinence is helped by several surviving photos of Bob Powers himself waxing ans surfing this very board. A very important piece of both North Devon and British Surfing history.
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2015
- Colour:
- cream with black stripes
- Comments:
- donated by Bob Powers
- Dimension:
- 10'2" x 26"
- Entry number:
- E015
- Object component name:
- Type
- Object component information:
- S
- Object component name:
- Shape
- Object component information:
- Malibu
- Object number:
- 2015.1..
- Object production date:
- 1964
- Object production organisation:
- Bob Powers
- Reproduction number:
- E0015.JPG
Persistent shareable link for this record: https://museumdata.uk/objects/c9aba3da-0345-3038-956d-b743b2d079d5
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/c9aba3da-0345-3038-956d-b743b2d079d5, Museum of British Surfing, CC BY
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- Brief description:
- A certificate of participation in the "World Surfing Championships" held for the first time in the UK in Cornwall. The condition of this is not great , but a very reare piece of paper.
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2016
- Comments:
- poor condition, donated by Neil Clifton
- Entry number:
- E002
- Object component name:
- Shape
- Object component information:
- Quiksilver World Surfing Championship Certificate
- Object number:
- 2016.2.1.
- Object production date:
- 1986
- Reproduction number:
- E002.jpeg
Persistent shareable link for this record: https://museumdata.uk/objects/9b7bd28a-13b7-32dc-942f-bf01998bfee3
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/9b7bd28a-13b7-32dc-942f-bf01998bfee3, Museum of British Surfing, CC BY
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- Brief description:
- Ted Deerhurst was the first British surfer to enter the World Prefessional Surfing circuit. potentially putting him on the road to world champion status. His story is legendary, Ted was a Viscount, future Lord the realm. He gave up that lifestyle to move to California and later Hawaii to live his surfing dreams of becoming a pro surfer. Ted was also a successful board shaper in his own right producing his now highly sought after "Excalibur" boards. This example was not shaped by Ted
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2016
- Colour:
- All blue
- Comments:
- Shaped by Nev Hyman (Australia)
- Dimension:
- 6’0” x 19½”
- Entry number:
- E001
- Object component name:
- Type
- Object component information:
- S
- Object number:
- 2016.1..
- Object production organisation:
- Ted Deerhurst
- Reproduction number:
- E001.JPG
Persistent shareable link for this record: https://museumdata.uk/objects/49839a57-97be-3111-966a-76e1940a5c63
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/49839a57-97be-3111-966a-76e1940a5c63, Museum of British Surfing, CC BY
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- Brief description:
- One of Britains earliest and most iconic surfboard brands, "Bilbo", started in the early 1960's in Newquay Cornwall by Bill Bailey and Bob Head. This example in much loved and well surfed condition is a very early example. One of a number that the Museum is lucky enough to own, no history of British surfing exhibit is complete without a Bilbo.
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2015
- Colour:
- plain with blue stripes
- Dimension:
- 10'1" x 25"
- Entry number:
- E016
- Object component name:
- Type
- Object component information:
- S
- Object component name:
- Shape
- Object component information:
- Malibu
- Object number:
- 2015.2..
- Object production date:
- 1965
- Object production organisation:
- Bilbo
- Reproduction number:
- E016.jpeg
Persistent shareable link for this record: https://museumdata.uk/objects/c7bbc185-3250-36b9-bb03-6ab1a891ec3e
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/c7bbc185-3250-36b9-bb03-6ab1a891ec3e, Museum of British Surfing, CC BY
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- Brief description:
- Along with Cornwalls "Bilbo", surfboards, "Tiki" are one of the oldest and most iconic of the British Board manufactures. Tiki was founded by shaper Tim Heyland in Braunton North Devon. Braunton being the home of the Museum of British Surfing makes these Tikis extra special to us. The Tiki Surf Shop is still trading just minutes from the Museum. This particular example is a 1976 single fin pintail in excellant condition, one of a collection of Tikis telling the whole Tiki story ,held at the museum.
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2015
- Colour:
- red and blue spray swirl
- Comments:
- excellent condition
- Entry number:
- E025
- Object component name:
- Type
- Object component information:
- S
- Object component name:
- Shape
- Object component information:
- single-fin pintail
- Object number:
- 2015.12..
- Object production date:
- 1976
- Object production organisation:
- Tiki
- Reproduction number:
- E025.JPG
Persistent shareable link for this record: https://museumdata.uk/objects/2b9d4596-8811-3415-a57b-739192593279
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/2b9d4596-8811-3415-a57b-739192593279, Museum of British Surfing, CC BY
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- Brief description:
- A very early wooden Bellyboard, maker unknown, painted by owner in the Wrigleys Chewing Gum livery.
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2016
- Colour:
- Wrigley’s Chewing Gum
- Entry number:
- E229
- Object component name:
- Type
- Object component information:
- B
- Object number:
- 2016.31..
- Reproduction number:
- E229.JPG
Persistent shareable link for this record: https://museumdata.uk/objects/d3f6257e-cdda-37df-aaaa-95108ab58b91
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/d3f6257e-cdda-37df-aaaa-95108ab58b91, Museum of British Surfing, CC BY
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- Brief description:
- Shaped by Pete Lawson of Durban South Africa, although not British demonstrates the shapers art beutifully, high performance shaping artistically air brushed with flames.
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2015
- Colour:
- Blue flames (Deco)
- Comments:
- Maker/shaper Pete Lawson, Durban, South Africa
- Dimension:
- 6’6” x 18½”
- Entry number:
- E117
- Object component name:
- Type
- Object component information:
- S
- Object number:
- 2015.33..
- Object production organisation:
- Pottz
- Reproduction number:
- E117.JPG
Persistent shareable link for this record: https://museumdata.uk/objects/3218447f-75e0-395c-9418-1656686d7296
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/3218447f-75e0-395c-9418-1656686d7296, Museum of British Surfing, CC BY
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- Brief description:
- A very early wooden Bellyboard stencilled with the "Parkins" name. This board would have been hired out from Woolacombe beach by its owners Parkin Estates.
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2016
- Colour:
- green
- Entry number:
- E247
- Object component name:
- Type
- Object component information:
- B
- Object number:
- 2016.47..
- Object production organisation:
- Parkins
- Reproduction number:
- E247.JPG
Persistent shareable link for this record: https://museumdata.uk/objects/b2222ef9-5f5a-3435-aa17-29f5aa028476
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/b2222ef9-5f5a-3435-aa17-29f5aa028476, Museum of British Surfing, CC BY
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- Brief description:
- An example of a windsurfing board, a very early 1969 "tiki", donated by Graham Shepard.
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2015
- Colour:
- Blue / yellow
- Comments:
- Windsurfing board. Donated by Graham Shepherd
- Dimension:
- 8’7” x 22”
- Entry number:
- E146
- Object component name:
- Type
- Object component information:
- S
- Object component name:
- Shape
- Object component information:
- Extreme pintail
- Object number:
- 2015.59..
- Object production date:
- 1969
- Object production organisation:
- Tiki
- Reproduction number:
- E146.JPG
Persistent shareable link for this record: https://museumdata.uk/objects/80dd4d7f-c065-3b75-811e-aa9fa950f40d
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/80dd4d7f-c065-3b75-811e-aa9fa950f40d, Museum of British Surfing, CC BY
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- Brief description:
- "Seaforce", wetsuit jacket in black "sharkskin", with red waterproof seam tape. A good example of a two piece wetsuit from the 1970's.
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2017
- Colour:
- black, red tape
- Comments:
- 1 of 2
- Entry number:
- E356
- Object component name:
- Type
- Object component information:
- W
- Object component name:
- Shape
- Object component information:
- Jacket with collar, sharkskin
- Object number:
- 2017.58..
- Object production date:
- 1970's
- Object production organisation:
- Seaforce
- Reproduction number:
- E356.JPG
Persistent shareable link for this record: https://museumdata.uk/objects/448c38ff-c82d-3ff9-bd5b-bbc9f0cc33b6
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/448c38ff-c82d-3ff9-bd5b-bbc9f0cc33b6, Museum of British Surfing, CC BY
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- Brief description:
- This wooden Hawaiian style board is part of the museums permanent display showing how the modern board is descended from the beutiful hand carved wooden boards of the Hawaiian islanders depicted in illustrations made on Captain Cooks famous voyage of discovery.
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2015
- Colour:
- wooden
- Comments:
- Hawaiian style
- Entry number:
- E028
- Object component name:
- Type
- Object component information:
- S
- Object component name:
- Shape
- Object component information:
- "David" replica
- Object number:
- 2015.16..
- Reproduction number:
- E028.JPG
Persistent shareable link for this record: https://museumdata.uk/objects/7bd43047-d81f-3008-b181-624b85a00397
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/7bd43047-d81f-3008-b181-624b85a00397, Museum of British Surfing, CC BY
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- Brief description:
- A booklet from c1970, "Learn to Surf", foreword by D Wilson in 1967. This publication was donated to the museum by Fraser Jepson.
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2017
- Colour:
- foreword by D Wilson 1967
- Comments:
- donated by Fraser Jepson
- Entry number:
- E286
- Object component name:
- Type
- Object component information:
- L
- Object component name:
- Shape
- Object component information:
- booklet
- Object number:
- 2017.131..
- Object production date:
- c1970
- Object production organisation:
- Learn to Surf
- Reproduction number:
- E286.jpeg
Persistent shareable link for this record: https://museumdata.uk/objects/4644e353-13b8-36ff-aaa9-0a5231cb18ef
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/4644e353-13b8-36ff-aaa9-0a5231cb18ef, Museum of British Surfing, CC BY
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- Brief description:
- American O'Neil wetsuit, in red. very representative of the "shortie" style of wetsuit with no arms and short legs, greatly aided movement but probably not as successful here as in America due to our colder seas.
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2017
- Colour:
- black, red
- Entry number:
- E365
- Object component name:
- Type
- Object component information:
- W
- Object component name:
- Shape
- Object component information:
- Shortie
- Object number:
- 2017.67..
- Object production date:
- 1970's
- Object production organisation:
- O'Neill
- Reproduction number:
- E356.JPG
Persistent shareable link for this record: https://museumdata.uk/objects/ece52019-9d99-36d5-8380-b6430d9161d9
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/ece52019-9d99-36d5-8380-b6430d9161d9, Museum of British Surfing, CC BY
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- Brief description:
- This 1970s Tiki, donated to the museum by Lyn Harris, is an important example of a "transitional" board, (The transition fom the traditional long Malibu style boards to the more modern shorter boards) and would have been shaped in Abergavenny Wales.
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2017
- Colour:
- Green with black arrows
- Comments:
- donated by Lyn Harris, made in Abergavenny
- Entry number:
- E285
- Object component name:
- Type
- Object component information:
- S
- Object component name:
- Shape
- Object component information:
- Single-fin, transition
- Object number:
- 2017.135..
- Object production date:
- 1970's
- Object production organisation:
- Tiki
- Reproduction number:
- E285.JPG
Persistent shareable link for this record: https://museumdata.uk/objects/20417d89-a453-3830-846d-9ddb87bdb848
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/20417d89-a453-3830-846d-9ddb87bdb848, Museum of British Surfing, CC BY
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- Brief description:
- An absolutly stunning example of a twin finned swallow tail surfboard. This board features extreme airbrushed graphics making it an outstanding piece of art,as well a superb surfboard. This artwork clearly made it too precious to surf as it remains in outstanding condition. A true testament to the shaping skills of one of North Devons finest shapers Joolz of Gluf Stream Surfboards.
- Collection:
- Museum of British Surfing
- Acquisition date:
- 2015
- Colour:
- Spray brush deck / red bottom
- Comments:
- Shaped by 'Jules'. Keel fins
- Dimension:
- 6’0” x 21”
- Entry number:
- E168
- Object component name:
- Type
- Object component information:
- S
- Object component name:
- Shape
- Object component information:
- Swallowtail twin
- Object number:
- 2015.79..
- Object production date:
- 2006
- Object production organisation:
- Gulf Stream
- Reproduction number:
- E168.JPG
Persistent shareable link for this record: https://museumdata.uk/objects/0e904671-2ed2-3f1c-bf2e-d45c3d53bffa
Use licence for this record: CC BY
Attribution for this record: https://museumdata.uk/objects/0e904671-2ed2-3f1c-bf2e-d45c3d53bffa, Museum of British Surfing, CC BY
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- Object name(s):
- Child's t-shirt and shorts
- Brief description:
- 1. L (centre back) 45.1 cm
2. L(inside leg) 11.1 cm
Child's T-shirt and matching shorts, printed with a "Teenage Mutant
Hero Turtles" design.
1. T-shirt of white cotton jersey, with a round neck, short sleeves and a machine-stitched hem.
2. shorts of white cotton, with elasticated waist and machine-hemmed
legs.
Both garments are printed with the same design (across the chest of the T-shirt and around the sides of the shorts): Donatello is shown emerging from the sewer with his staff, while Michelangelo, Raphael and Leonardo stand around him brandishing their weapons. The word "TURTLES" is printed in green above them. "Teenage Mutant Hero Turtles" is the British name (thought to project a less violent image than the original) for "Teenage Hero Ninja Turtles", comic book characters created in the USA in the early 1980s by Peter Laird and Kevin Eastman, and marketed on a wide variety of goods for children by Mark Freedman's Surge Licensing Company. Like "The Simpsons", their appeal to children is supposed to lie in adult disapproval (in this case, of the violence), and in the eccentric use of certain words and phrases based on California surfing slang and supposedly unintelligible to adults. (This design is probably a pirated one, as it shows no copyright or licensing acknowledgements, Donatello is shown as brown rather than green, and the generic name of the characters is reduced).
- Collection:
- Victoria and Albert Museum
- Inscription content:
- (label) 100% Cotton COTON/BAUMWOLLE MADE IN UK
- Object history note:
- References:
Bought from a street stall in Bethnal Green Road
- Object name:
- Child's t-shirt and shorts
- Object number:
- B.166:1-1993
- Object production date:
- about 1990
- Date - association:
- made
- Date - earliest / single:
- 1990-01-01
- Date - latest:
- 1990-12-31
- Object production note:
- Made by: Teenage Mutant Hero Turtles
Britain
- Physical description:
- 1. L (centre back) 45.1 cm
2. L(inside leg) 11.1 cm
Child's T-shirt and matching shorts, printed with a "Teenage Mutant
Hero Turtles" design.
1. T-shirt of white cotton jersey, with a round neck, short sleeves and a machine-stitched hem.
2. shorts of white cotton, with elasticated waist and machine-hemmed
legs.
Both garments are printed with the same design (across the chest of the T-shirt and around the sides of the shorts): Donatello is shown emerging from the sewer with his staff, while Michelangelo, Raphael and Leonardo stand around him brandishing their weapons. The word "TURTLES" is printed in green above them. "Teenage Mutant Hero Turtles" is the British name (thought to project a less violent image than the original) for "Teenage Hero Ninja Turtles", comic book characters created in the USA in the early 1980s by Peter Laird and Kevin Eastman, and marketed on a wide variety of goods for children by Mark Freedman's Surge Licensing Company. Like "The Simpsons", their appeal to children is supposed to lie in adult disapproval (in this case, of the violence), and in the eccentric use of certain words and phrases based on California surfing slang and supposedly unintelligible to adults. (This design is probably a pirated one, as it shows no copyright or licensing acknowledgements, Donatello is shown as brown rather than green, and the generic name of the characters is reduced).
- Responsible department/section:
- YVA
- Technique:
- 1)Printed cotton jersey (2)Printed cotton
- Text reason:
- Collections online record
Persistent shareable link for this record: https://museumdata.uk/objects/b423c14d-d461-34b6-a01b-932e28bc6009
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/b423c14d-d461-34b6-a01b-932e28bc6009, Victoria and Albert Museum, CC BY-NC
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- Title:
- iPad
- Object name(s):
- Tablet computer
- Brief description:
- First generation Apple iPad with battery, power cord, detachable plug head, box (in two parts) and instructions.
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Electrical appliances
- Associated concept:
- Product design
- Associated concept:
- Entertainment & Leisure
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- mm
- Dimension value:
- 243
- Dimension:
- Width
- Dimension measurement unit:
- mm
- Dimension value:
- 190
- Dimension:
- Thickness
- Dimension measurement unit:
- mm
- Dimension value:
- 13
- Dimension:
- Width
- Dimension measured part:
- screen
- Dimension measurement unit:
- in
- Dimension value:
- 9.7
- Dimension:
- Weight
- Dimension measurement unit:
- g
- Dimension value:
- 680
- Material:
- plastic
- Material:
- aluminium
- Material:
- glass
- Material:
- electrical components
- Object history note:
- Purchased in a brand new condition by the V&A in February 2011, shortly before the launch of the iPad 2 (acquisition registered file no. 2011/145).
- Object history note:
- The first tablet computer produced by Apple was the Newton MessagePad, which became available in 1993. The MessagePad was described in 1992 by then Apple CEO John Sculley as a ‘Personal Digital Assistant’ (PDA), a capable electronic Filofax. The iPad, however, is not specifically designed for business. Rather, it is a convenient meeting-point between a smartphone and a laptop computer which allows its user to easily experience audio-visual media on a platform more conveniently-sized, and lighter, than a laptop. On a related note, the designer of the iPad, Jonathan Ive, designed the MessagePad 110, the second generation of Apple’s Newton products.
In 2002, Microsoft Chairman Bill Gates speculated that tablet computers would be the most popular form of computers sold in America within 5 years, a claim that did not come to fruition. However, in 2010 Apple sold over 3 million iPads within the first 80 days after release and by the launch of the iPad 2 they had sold more than 15 million. It is a policy of Apple to promptly remove from the market earlier versions of their products as soon as a newer version is made available. The first generation iPad was available for only 11 months: 3rd April 2010 (USA release date) until 2nd March 2011. The iPad 2 was launched in the USA on 11th March 2011. Additionally, Apple only supports updates to older versions of their operating system for a limited time after the discontinuation of the hardware for which it was designed. The iPad was initially shipped with the iPhone’s OS 3.2 software, which could only be upgraded until the release of iOS 5.1.1 in May 2012. Since then, first generation iPad users have not been able to update their operating systems to newer versions.
Like the iPhone, the iPad is controlled by a multi-touch display and virtual onscreen keyboard; the lack of external controls means that the operating system needs to be intuitive and responsive – easily navigated by young and old alike. Its functionality works best for consuming and interacting with information, rather than creating it; web surfing, watching video and sending e-mail. The iPad also boasts a 10-hour battery life. In a press release accompanying the launch of the iPad, Steve Jobs called the computer a ‘magical and revolutionary device… [that] creates an entirely new category of devices’.
- Object name:
- Tablet computer
- Object number:
- W.2:1 to 7-2011
- Object production date:
- 2010
- Date - association:
- made
- Date - earliest / single:
- 2010-01-01
- Date - latest:
- 2010-12-31
- Object production organisation:
- Apple
- Organisation's association:
- designers
- Object production organisation:
- Foxconn
- Organisation's association:
- manufacturers
- Object production person:
- Ive, Jonathan
- Person's association:
- designer
- Object production place:
- Shenzhen
- Place association:
- made
- Place note:
- probably
- Object status:
- Mass produced
- Physical description:
- First generation Apple iPad with battery, power cord, detachable plug head, box (in two parts) and instructions.
- Reproduction number:
- 2011EY5819
- Reproduction number:
- 2011EY5820
- Responsible department/section:
- FWK
- Technique:
- Plastics, glass, aluminium, electrical components
- Text reason:
- Collections online record
- Text:
- This first generation iPad was purchased by the V&A in a brand new condition shortly before the launch of the iPad 2. It was designed by British-born Jonathan Ive, Senior Vice-President of Design at Apple. It is controlled by a multi-touch display and virtual onscreen keyboard; the lack of external controls means that the operating system needs to be intuitive and responsive – easily navigated by young and old alike. Its functionality works best for consuming and interacting with information, rather than creating it; web surfing, watching video and sending e-mail. The iPad is an innovative design, both in terms of its hardware and its software, which reinvigorated the flagging market for tablet computers. Indeed, Apple sold more than 15 million iPads by the time of the launch of the iPad 2 in April 2011, only 11 months after the original first came on the market.
- Text reason:
- Summary description
- Text:
- [Gallery 76]
9. TABLET COMPUTER: ‘IPAD’
2010
The iPad was designed to be a convenient meeting point between a smartphone and a laptop computer. Its function is disguised until the iPad is activated by pressing the only front button. However, the intuitive features of the device led to its use by a large number of consumers, providing access to global networks on an unprecedented scale.
USA
Designed by Jonathan Ive for Apple Inc., California
Manufactured by Foxconn in China
Plastics, glass and aluminium
Museum no. W.2-2011
- Text date:
- 2015
- Text reason:
- Gallery label text
Persistent shareable link for this record: https://museumdata.uk/objects/9a40c4ba-bfd4-38b7-af8a-ae7559e5a9e3
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/9a40c4ba-bfd4-38b7-af8a-ae7559e5a9e3, Victoria and Albert Museum, CC BY-NC
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- Title:
- Bill Graham Presents
- Object name(s):
- Poster
- Brief description:
- Poster advertising Country Joe and the Fish, Albert King and Blodwyn Pig at Fillmore West, San Francisco, October 9 - 12 1969. Green background with white pedestal made of the band's names topped with a light green illustration of a man on a winged horse. Behind is a red circle, with image of people fleeing across a square.
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Entertainment & Leisure
- Associated concept:
- Advertising
- Associated concept:
- Posters
- Content - person:
- Country Joe and the Fish
- Content - person:
- Blodwyn Pig
- Credit line:
- Given by the Smithsonian Cooper-Hewitt, National Design Museum
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- cm
- Dimension value:
- 53.8
- Dimension:
- Width
- Dimension measurement unit:
- cm
- Dimension value:
- 35.7
- Material:
- card
- Material:
- printing ink
- Object history note:
- Transferred as part of a collection from the Cooper Hewitt Museum, New York, in 1985.
- Object name:
- Poster
- Object number:
- S.1265-2010
- Object production date:
- 1969
- Date - association:
- designed
- Date - earliest / single:
- 1969-01-01
- Date - latest:
- 1969-12-31
- Object production person:
- Tuten, Randy
- Person's association:
- illustrators
- Object production place:
- San Francisco
- Place association:
- designed
- Other number:
- BG 195
- Other number type:
- Bill Graham's numbering system
- Physical description:
- Poster advertising Country Joe and the Fish, Albert King and Blodwyn Pig at Fillmore West, San Francisco, October 9 - 12 1969. Green background with white pedestal made of the band's names topped with a light green illustration of a man on a winged horse. Behind is a red circle, with image of people fleeing across a square.
- Reproduction number:
- 2014HB8730
- Responsible department/section:
- T&P
- Technique:
- lithography
- Technique:
- Lithography on card stock
- Text reason:
- Collections online record
- Text:
- The Fillmore in San Francisco is a historic music venue, named after its original location at the intersection of Fillmore Street and Geary Boulevard. Known as the Fillmore Auditorium in the mid-1960s, concert promoter Bill Graham began a series of concerts featuring bands from the counterculture of the time. In 1968, due to his spiralling success, he moved to a larger venue which he named Fillmore West. Having closed in 1971, and after extensive repair work to fix earthquake damage, Graham's venue was revived when Live Nation reopened the original Fillmore venue in 1994.
San Francisco in the mid-1960s was the hub of the LSD and Hippie scene and the cultural and political rebellion of 1967's Summer of Love. The resulting influence of these factors on the artists of the area created the fantastic psychedelic posters of the Fillmore. Art dealer Jacaeber Kastor said of the posters, "They couldn't just tell you the information about the show. They had to tell you what kind of people you might meet, what kind of far out trip you might have or perhaps even reveal the mysteries of the universe. Wow. Quantum mechanics, visual mudwrestling, Acid test pop quiz on a phone pole!"
Randy Tuten, the artist of this poster, was born in San Francisco but moved to Los Angeles with his family at a young age. He was a self taught artist, into cartooning and surfing. By 1966 he was hitchhiking between Los Angeles and San Francisco, to catch bands at the Avalon Ballroom and Fillmore West; he finally decided to stay in San Francisco upon seeing Stanley Mouse & Alton Kelley’s Fillmore West posters. Tuten was hired by Bill Graham in 1969. His style, influenced by Alton Kelley and Rick Griffin’s, was in keeping iwht the commercial art formats of American advertising. He drew trains, ships, classic automobiles and planes with a mix of photographs and lettering. He became Graham’s first in-house poster artist, which he stayed as for ten years.
This gig featured a performance by the band Country Joe and the Fish, a rock band most widely known for musical protests against the Vietnam War, and also regarded as a seminal influence to psychedelic rock. They were supported by a British blues-rock band, Blodwyn Pig, who had formed after guitarist with Jethro Tull, Mick Abrahams, fell out with the band's leader, Ian Anderson.
- Text reason:
- Summary description
- User's reference:
- User's reference:
- Reference:
- Lemke, Gayle The Art of the Fillmore 1966-71, Thunder's Mouth Press, New York, 1999
Persistent shareable link for this record: https://museumdata.uk/objects/da159c84-5443-3712-a17d-c89d51d67c5a
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/da159c84-5443-3712-a17d-c89d51d67c5a, Victoria and Albert Museum, CC BY-NC
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- Title:
- Bill Graham Presents
- Object name(s):
- Poster
- Brief description:
- Poster advertising The Byrds and Joe Cocker and the Grease Band at The Fillmore West, San Francisco, 12 to 15 June 1969. Brown and beige vertically striped background, band names at the top and bottom, and central printed image in black on a pale green oval, of the Saint Louis (Eads) Bridge in the USA.
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Entertainment & Leisure
- Associated concept:
- Advertising
- Associated concept:
- Posters
- Content - person:
- The Byrds
- Content - person:
- Cocker, Joe
- Credit line:
- Given by the Smithsonian Cooper-Hewitt, National Design Museum
- Location type:
- Thumbnail
- Dimension:
- Height
- Dimension measurement unit:
- cm
- Dimension value:
- 53.8
- Dimension:
- Width
- Dimension measurement unit:
- cm
- Dimension value:
- 35.7
- Material:
- card
- Material:
- printing ink
- Object history note:
- Transferred as part of a collection from the Cooper Hewitt Museum, New York, in 1985.
- Object name:
- Poster
- Object number:
- S.1258-2010
- Object production date:
- 1969
- Date - association:
- designed
- Date - earliest / single:
- 1969-01-01
- Date - latest:
- 1969-12-31
- Object production person:
- Tuten, Randy
- Person's association:
- illustrators
- Object production place:
- San Francisco
- Place association:
- designed
- Other number:
- BG 177
- Other number type:
- Bill Graham's numbering system
- Physical description:
- Poster advertising The Byrds and Joe Cocker and the Grease Band at The Fillmore West, San Francisco, 12 to 15 June 1969. Brown and beige vertically striped background, band names at the top and bottom, and central printed image in black on a pale green oval, of the Saint Louis (Eads) Bridge in the USA.
- Reproduction number:
- 2014HB8731
- Responsible department/section:
- T&P
- Technique:
- lithography
- Technique:
- Lithography on card stock
- Text reason:
- Collections online record
- Text:
- The Fillmore in San Francisco is a historic music venue, named after its original location at the intersection of Fillmore Street and Geary Boulevard. Known as the Fillmore Auditorium in the mid-1960s, concert promoter Bill Graham began a series of concerts featuring bands from the counterculture of the time. In 1968, due to his spiralling success, he moved to a larger venue which he named Fillmore West. Having closed in 1971, and after extensive repair work to fix earthquake damage, Graham's venue was revived when Live Nation reopened the original Fillmore venue in 1994.
San Francisco in the mid-1960s was the hub of the LSD and Hippie scene and the cultural and political rebellion of 1967's Summer of Love. The resulting influence of these factors on the artists of the area created the fantastic psychedelic posters of the Fillmore. Art dealer Jacaeber Kastor said of the posters, "They couldn't just tell you the information about the show. They had to tell you what kind of people you might meet, what kind of far out trip you might have or perhaps even reveal the mysteries of the universe. Wow. Quantum mechanics, visual mudwrestling, Acid test pop quiz on a phone pole!"
Randy Tuten, the artist of this poster, was born in San Francisco but moved to Los Angeles with his family at a young age. He was a self taught artist, into cartooning and surfing. By 1966 he was hitchhiking between Los Angeles and San Francisco, to catch bands at the Avalon Ballroom and Fillmore West; he finally decided to stay in San Francisco upon seeing Stanley Mouse & Alton Kelley’s Fillmore West posters. Tuten was hired by Bill Graham in 1969. His style, influenced by Alton Kelley and Rick Griffin’s, was in keeping iwht the commercial art formats of American advertising. He drew trains, ships, classic automobiles and planes with a mix of photographs and lettering. He became Graham’s first in-house poster artist, which he stayed as for ten years.
Featured at this concert as the headline act was the American band The Byrds. Formed in 1964, they only attained the commercial success of The Beatles and The Rolling Stones for a short time in the mid-1960s, but today are considered one of the most influential bands of the era. They pioneered folk-rock, combining the sounds of the British Invasion bands with traditional folk, before progressing through the 1960s with psychedelic and country rock sounds. Their enduring songs include their cover of Bob Dylan's Mr. Tambourine Man and self-penned songs such as Eight Miles High. They were supported by Joe Cocker, an English blues rock musician and singer, most known for his gritty voice and cover versions of popular songs.
- Text reason:
- Summary description
- User's reference:
- User's reference:
- Reference:
- Lemke, Gayle The Art of the Fillmore 1966-71, Thunder's Mouth Press, New York, 1999
Persistent shareable link for this record: https://museumdata.uk/objects/cd66e0a8-7536-31a0-8ce3-0070474e0256
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/cd66e0a8-7536-31a0-8ce3-0070474e0256, Victoria and Albert Museum, CC BY-NC
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- Title:
- Book N. 9
- Object name(s):
- Scrapbook
- Brief description:
- Scrapbook with red and blue binding, inscribed in pen on the spine with 'Book N. 9' and dates. The first item in the book is a Herb Ritts photograph of a nude male model behind a large bubble. The next three sides have clippings from a Vogue article about famous cultural figures from the last twenty years, all male, then follows six photographs of a man playing Monopoly; magazine clippings of Squires' Australian and Chatsworth fabric collections; a map of Florence; photographs of the staff at Warner Fabrics, including the artist, at an exhibition stand at a trade fair in Venice; a drawing of a group of young Italian men and a drawing of the Venetian skyline; two type written pages described dreams the artist had; a photograph of the artist wearing a suit in a hotel room in Venice; a science fiction postcard of a muscular man with a robot head and a woman wearing bikini briefs on a beach with a UFO overhead; a cover of the London area 1988 phone book; an air ticket to New York from London with British Airways; a postcard of Josephine Baker in 1927; three magazine clippings with photographs of the actor Christopher Lambert; three scientific toys by the Children's Encyclopedia explaining day and night, the Earth spinning and the hemispheres; a postcard of an artwork by Gordon Crook and a photograph of Crook; a pamphlet from an F. C. B. Cadell exhibition at the Portland Gallery in 1988; three photographs of the artist with two friends in the English countryside, and two photographs of a Concorde from an airport window.
Then follows a series of photographs of skyscrapers in New York; a magazine clipping depicting Benazir Bhutto; paper ephemera related to hotels the artist stayed in; five sides with various clippings about Andy Warhol; a card with a cartoon version of Margaret Thatcher with a noose around her neck; a clipping about The Fine Young Cannibals; clippings of Chet Baker at various ages; a page of notes regarding Disney and other films, signed 'the Publicity Department'; an A4 envelope addressed to Squires with 17 American postage stamps on the front; a series of photographs of a woman feeding birds by a pond with two children; a clipping depicting the architect I. M. Pei alongside a postcard of two men cleaning Pei's pyramid at the Louvre; a street map of Milan; photographs of a small display celebrating the 20 years since the Lunar Landing designs by the artist in 1969; a watercolour entitled 'Summer 81 Ladbroke Road 1989'; a postcard of Barbie and Ken surfing; a wash drawing of a horse; a risque advertisement for a Canadian film by Jacques M. Benoit from 1989; three decorated A4 envelopes from Mo McDermott in Los Angeles to the artist alongside photographs and scraps of drawings; a clipping of the actor Mel Gibson; photocopied postcards and notes from friends; blue wrapping paper with a pineapple motif; a promotional leaflet of a play by Iris Murdoch at the Aldwych Theatre entitled 'The Black Prince'; a series of photographs of the artist's elderly parents in 1989; a card of Elizabeth Taylor as Cleopatra in blue tones by Andy Warhol from the 1989 MOMA show; packaging for teabags, and a leaflet for an ENO production of the Magic Flute.
Following this are several photographs depicting the artist and colleagues setting up a stand at a trade show (the Decorex Furnishing Fabric Show of 1989); a photograph of the last drawing made by David Exley on the same page as a cover of the Scientific American in 1988 with the headline 'What Science knows about AIDS'; a photograph of the lunar eclipse; clippings about the designer Andre Debreuil; a map of Holland Park with parts of photographs pasted over it; a series of photographs of the artist with three male friends in the gardens of Hatfield House; a photograph of a cartoon mural with cat by david Exley ca. 1970; a homoerotic postcard of footballers; family photographs of the artist and his sister and friends in British Columbia; clippings about a Robert Mapplethorpe exhibition in Connecticut 1989; photographs of the artist in front of Mark Rothko and David Hockney paintings in the LA County Museum (LACMA); various other photographs of the artist visiting public libraries in California; a postcard and clipping about the political situation in East Timor; several photographs of the artist's friend David Mazer; promotional materials from the J. P. Getty Museum, December 1989; the cover of 'The Face' magazine about the 90s, December 1989. There is a note by the artist in blue at this point reading 'A new beginning to art and everyday life in a scrapbook diary....start in the centre. Go west for the 1990s, go east for the 1980s'.
There follows a selection of photographs of Squires and David Exley with a third man, Richard Reiche, in San Francisco, at the home of Exley.
There follows a loose card with a pencil inscription on the page reading 'A talismanic message from Gordon Crook'; a letter from Neil Harvey at the V&A thanking the artist for coming in to talk to staff about the development of his designs and working methods; a thank you card from the Metropolitan Museum in New York for a donation the artist made; a Sainsbury's receipt; a small poster of Minnie Mouse; two NatWest bank cards belonging to the artist, one split in two; information about organic wine; packaging for potato gratin, and glue pens; an article about wet and dry photography processes; a postcard of Anubis; a chronology of the life of Frans Hals; photographs of Squires and friends in a New York hotel room (the Royalton); clippings on the designer Marc Newson; a March 1990 cover of Newsweek with the headline 'The Future of Gay America'; three Polaroids of fashion designs by Neil Bottle; an Evening Standard cover from 1990 with a story about an Observer journalist murdered in Iraq; a comical card of Pope John Paul II; clippings regarding Section 28 and a production of 'Bent' at the Garrick Theatre with Ian McKellen; an Italian goats cheese wrapper; an American Express bank card belonging to the artist; a Christopher Isherwood quote from 'Christopher and his Kind'; photographs of a couple in front of a concrete building in Toronto; a postcard of Ghanian fabric design from a museum in Rotterdam; photographs of a joint 50th birthday celebration between the artist, Sue Palmer and two others; more clippings featuring quotes by literary figures on the subject of homosexuality and homophobia, printed on pink paper; wine bottle wrappers, and various ephemera from a Warner's Fabrics trade show in Florence.
The album then jumps back to the 1970s with photographs of the artist's friend David Exley and examples of his work ca. 1972. There follows a short obituary notice for Exley who died in April 1990, followed by photographs of Exley's partner and parents; a letter about Exley's career written by Squires; two notes by Exley's partner Ruppert Reiche to Squires about a trip to Kyiv (Kiev) and Moscow; two photographs of 1950s vintage cars by Exley ca. 1982; the packaging for a Depeche Mode release entitled 'Violator'; an official polling card belonging to Squires; clippings from newspapers and Newsweek magazine about AIDS; two more bank cards in the artist's name; supermarket receipts; ephemera from the Design Museum, American Ballet Museum, and from a production of 'Mother Courage' by Brecht at the Mermaid Theatre.
There follows four pages with clippings about the design work of Philippe Starck; two pages of promotional materials relating to a play entitled 'Burn This' stariing Juliet Stevenson and John Malkovich; a tag from Liberty's; a 1990 cover of 'The Face' magazine depicting Prince; Greenpeace cards about the whales and CFC pollution; a booklet about the Monument at London Bridge; a clipping of Deee-Lite from 'The Face' magazine; a picture of Derek Jarman from 'The Listener', August 1990, with the headline 'Facing up to AIDS'; print advertisements for curtains; the cover of 'For Him' magazine with Harrison Ford; a series of homoerotic magazine clippings of male models; a 3D postcard of the New York skyline; a small section of The Pink Paper; a large postcard of a landscape by Jacques Ruhlmann; a magazine clipping depicting Willem Dafoe; an invitation to a retirement party for Natalie Rothstein from the Textiles Department at the V&A; a flyer for a MOMA show entitled 'High and Low- Popular Culture and Modern Art'; a selection of business cards from New York; a flyer for 'Mexico', an exhibition at the Metropolitan Museum; a Wizard of Oz collage postcard by Helga Strobel; three side of photographs of meals in restaurants; a chronology of Claude Monet from the Royal Academy; clippings of Versace menswear; a collage by the artist entitled 'A Visit to Los Angeles'; three pages of photographs depicting David Exley's partner Reiche, his cats, and vintage automobiles; Jack Nicholson on the cover of Arena magazine in 1990; a selection of Christmas cards from friends; a selection of photographs taken in La Defense and Paris in general; a hand-written note in horror at the outbreak of war in Iraq; the cover of Time Out magazine, February 1991; party invitations; a flyer for a V&A fashion photography show entitled 'Appearances'; a flyer for a Gerhard Richter show; a photograph of David Exley topless wearing leather gloves; more photographs of Exley's partner Rupert Richard Reiche with an inscription in pencil that he too had sadly died of AIDS in 1991; a page of promotional materials for Joe Orton's 'What the Butler Saw'; a pamphlet from a health organisation about condoms; a flyer for a Keith Vaughan exhibition of drawings of the young nude male; and finally, a list of homeopathic treatment 'do's and don'ts', a receipt from Sainsbury's, a yellow furniture design postcard, and some blank loose sheets of paper, one with doodles and the word 'Strangee' written upon it.
The clippings are interspersed with occasional blank pages. Most of the photographs have captions and dates inscibed in pencil.
- Collection:
- Victoria and Albert Museum
- Associated concept:
- Tourism & Travel
- Associated concept:
- Advertising
- Associated concept:
- Textiles
- Associated concept:
- Gender and Sexuality
- Content - concept:
- fabric
- Content - concept:
- trade
- Content - concept:
- holidays
- Content - concept:
- travel
- Content - concept:
- dreams
- Content - concept:
- photographs
- Content - concept:
- postcards
- Content - concept:
- AIDS
- Content - person:
- Josephine Baker
- Content - person:
- Warhol
- Content - person:
- Thatcher
- Content - person:
- Baker, Chet
- Content - person:
- Holiday, Billie
- Content - person:
- Glenda
- Content - person:
- Prince
- Content - person:
- Jarman
- Content - person:
- John Lennon
- Content - person:
- Adam Faith
- Content - place:
- Venice
- Content - place:
- Hatfield
- Content - place:
- British Columbia
- Content - place:
- Canada
- Content - place:
- San
- Content - place:
- Paris
- Credit line:
- Bequeathed by Eddie Squires
- Dimension:
- Height
- Dimension value:
- 45
- Dimension:
- Width
- Dimension value:
- 30
- Material:
- paper
- Object name:
- Scrapbook
- Object number:
- E.1052-2000
- Object production date:
- 1987-1991
- Date - association:
- made
- Date - earliest / single:
- 1987-01-01
- Date - latest:
- 1991-12-31
- Object production person:
- Eddie Squires
- Person's association:
- artist
- Object production place:
- Britain
- Place association:
- made
- Physical description:
- Scrapbook with red and blue binding, inscribed in pen on the spine with 'Book N. 9' and dates. The first item in the book is a Herb Ritts photograph of a nude male model behind a large bubble. The next three sides have clippings from a Vogue article about famous cultural figures from the last twenty years, all male, then follows six photographs of a man playing Monopoly; magazine clippings of Squires' Australian and Chatsworth fabric collections; a map of Florence; photographs of the staff at Warner Fabrics, including the artist, at an exhibition stand at a trade fair in Venice; a drawing of a group of young Italian men and a drawing of the Venetian skyline; two type written pages described dreams the artist had; a photograph of the artist wearing a suit in a hotel room in Venice; a science fiction postcard of a muscular man with a robot head and a woman wearing bikini briefs on a beach with a UFO overhead; a cover of the London area 1988 phone book; an air ticket to New York from London with British Airways; a postcard of Josephine Baker in 1927; three magazine clippings with photographs of the actor Christopher Lambert; three scientific toys by the Children's Encyclopedia explaining day and night, the Earth spinning and the hemispheres; a postcard of an artwork by Gordon Crook and a photograph of Crook; a pamphlet from an F. C. B. Cadell exhibition at the Portland Gallery in 1988; three photographs of the artist with two friends in the English countryside, and two photographs of a Concorde from an airport window.
Then follows a series of photographs of skyscrapers in New York; a magazine clipping depicting Benazir Bhutto; paper ephemera related to hotels the artist stayed in; five sides with various clippings about Andy Warhol; a card with a cartoon version of Margaret Thatcher with a noose around her neck; a clipping about The Fine Young Cannibals; clippings of Chet Baker at various ages; a page of notes regarding Disney and other films, signed 'the Publicity Department'; an A4 envelope addressed to Squires with 17 American postage stamps on the front; a series of photographs of a woman feeding birds by a pond with two children; a clipping depicting the architect I. M. Pei alongside a postcard of two men cleaning Pei's pyramid at the Louvre; a street map of Milan; photographs of a small display celebrating the 20 years since the Lunar Landing designs by the artist in 1969; a watercolour entitled 'Summer 81 Ladbroke Road 1989'; a postcard of Barbie and Ken surfing; a wash drawing of a horse; a risque advertisement for a Canadian film by Jacques M. Benoit from 1989; three decorated A4 envelopes from Mo McDermott in Los Angeles to the artist alongside photographs and scraps of drawings; a clipping of the actor Mel Gibson; photocopied postcards and notes from friends; blue wrapping paper with a pineapple motif; a promotional leaflet of a play by Iris Murdoch at the Aldwych Theatre entitled 'The Black Prince'; a series of photographs of the artist's elderly parents in 1989; a card of Elizabeth Taylor as Cleopatra in blue tones by Andy Warhol from the 1989 MOMA show; packaging for teabags, and a leaflet for an ENO production of the Magic Flute.
Following this are several photographs depicting the artist and colleagues setting up a stand at a trade show (the Decorex Furnishing Fabric Show of 1989); a photograph of the last drawing made by David Exley on the same page as a cover of the Scientific American in 1988 with the headline 'What Science knows about AIDS'; a photograph of the lunar eclipse; clippings about the designer Andre Debreuil; a map of Holland Park with parts of photographs pasted over it; a series of photographs of the artist with three male friends in the gardens of Hatfield House; a photograph of a cartoon mural with cat by david Exley ca. 1970; a homoerotic postcard of footballers; family photographs of the artist and his sister and friends in British Columbia; clippings about a Robert Mapplethorpe exhibition in Connecticut 1989; photographs of the artist in front of Mark Rothko and David Hockney paintings in the LA County Museum (LACMA); various other photographs of the artist visiting public libraries in California; a postcard and clipping about the political situation in East Timor; several photographs of the artist's friend David Mazer; promotional materials from the J. P. Getty Museum, December 1989; the cover of 'The Face' magazine about the 90s, December 1989. There is a note by the artist in blue at this point reading 'A new beginning to art and everyday life in a scrapbook diary....start in the centre. Go west for the 1990s, go east for the 1980s'.
There follows a selection of photographs of Squires and David Exley with a third man, Richard Reiche, in San Francisco, at the home of Exley.
There follows a loose card with a pencil inscription on the page reading 'A talismanic message from Gordon Crook'; a letter from Neil Harvey at the V&A thanking the artist for coming in to talk to staff about the development of his designs and working methods; a thank you card from the Metropolitan Museum in New York for a donation the artist made; a Sainsbury's receipt; a small poster of Minnie Mouse; two NatWest bank cards belonging to the artist, one split in two; information about organic wine; packaging for potato gratin, and glue pens; an article about wet and dry photography processes; a postcard of Anubis; a chronology of the life of Frans Hals; photographs of Squires and friends in a New York hotel room (the Royalton); clippings on the designer Marc Newson; a March 1990 cover of Newsweek with the headline 'The Future of Gay America'; three Polaroids of fashion designs by Neil Bottle; an Evening Standard cover from 1990 with a story about an Observer journalist murdered in Iraq; a comical card of Pope John Paul II; clippings regarding Section 28 and a production of 'Bent' at the Garrick Theatre with Ian McKellen; an Italian goats cheese wrapper; an American Express bank card belonging to the artist; a Christopher Isherwood quote from 'Christopher and his Kind'; photographs of a couple in front of a concrete building in Toronto; a postcard of Ghanian fabric design from a museum in Rotterdam; photographs of a joint 50th birthday celebration between the artist, Sue Palmer and two others; more clippings featuring quotes by literary figures on the subject of homosexuality and homophobia, printed on pink paper; wine bottle wrappers, and various ephemera from a Warner's Fabrics trade show in Florence.
The album then jumps back to the 1970s with photographs of the artist's friend David Exley and examples of his work ca. 1972. There follows a short obituary notice for Exley who died in April 1990, followed by photographs of Exley's partner and parents; a letter about Exley's career written by Squires; two notes by Exley's partner Ruppert Reiche to Squires about a trip to Kyiv (Kiev) and Moscow; two photographs of 1950s vintage cars by Exley ca. 1982; the packaging for a Depeche Mode release entitled 'Violator'; an official polling card belonging to Squires; clippings from newspapers and Newsweek magazine about AIDS; two more bank cards in the artist's name; supermarket receipts; ephemera from the Design Museum, American Ballet Museum, and from a production of 'Mother Courage' by Brecht at the Mermaid Theatre.
There follows four pages with clippings about the design work of Philippe Starck; two pages of promotional materials relating to a play entitled 'Burn This' stariing Juliet Stevenson and John Malkovich; a tag from Liberty's; a 1990 cover of 'The Face' magazine depicting Prince; Greenpeace cards about the whales and CFC pollution; a booklet about the Monument at London Bridge; a clipping of Deee-Lite from 'The Face' magazine; a picture of Derek Jarman from 'The Listener', August 1990, with the headline 'Facing up to AIDS'; print advertisements for curtains; the cover of 'For Him' magazine with Harrison Ford; a series of homoerotic magazine clippings of male models; a 3D postcard of the New York skyline; a small section of The Pink Paper; a large postcard of a landscape by Jacques Ruhlmann; a magazine clipping depicting Willem Dafoe; an invitation to a retirement party for Natalie Rothstein from the Textiles Department at the V&A; a flyer for a MOMA show entitled 'High and Low- Popular Culture and Modern Art'; a selection of business cards from New York; a flyer for 'Mexico', an exhibition at the Metropolitan Museum; a Wizard of Oz collage postcard by Helga Strobel; three side of photographs of meals in restaurants; a chronology of Claude Monet from the Royal Academy; clippings of Versace menswear; a collage by the artist entitled 'A Visit to Los Angeles'; three pages of photographs depicting David Exley's partner Reiche, his cats, and vintage automobiles; Jack Nicholson on the cover of Arena magazine in 1990; a selection of Christmas cards from friends; a selection of photographs taken in La Defense and Paris in general; a hand-written note in horror at the outbreak of war in Iraq; the cover of Time Out magazine, February 1991; party invitations; a flyer for a V&A fashion photography show entitled 'Appearances'; a flyer for a Gerhard Richter show; a photograph of David Exley topless wearing leather gloves; more photographs of Exley's partner Rupert Richard Reiche with an inscription in pencil that he too had sadly died of AIDS in 1991; a page of promotional materials for Joe Orton's 'What the Butler Saw'; a pamphlet from a health organisation about condoms; a flyer for a Keith Vaughan exhibition of drawings of the young nude male; and finally, a list of homeopathic treatment 'do's and don'ts', a receipt from Sainsbury's, a yellow furniture design postcard, and some blank loose sheets of paper, one with doodles and the word 'Strangee' written upon it.
The clippings are interspersed with occasional blank pages. Most of the photographs have captions and dates inscibed in pencil.
- Responsible department/section:
- PDP
- Technique:
- collage
- Technique:
- drawing
- Technique:
- Scrapbook of photographs and paper ephemera
- Text reason:
- Collections online record
Persistent shareable link for this record: https://museumdata.uk/objects/37cd64a8-fa03-3063-84e9-6693cc9ac4ca
Use licence for this record: CC BY-NC
Attribution for this record: https://museumdata.uk/objects/37cd64a8-fa03-3063-84e9-6693cc9ac4ca, Victoria and Albert Museum, CC BY-NC
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