If you have a copy of this poster, for the London/UK concert(s), sold by ATP, among other places, could you please describe the numbering on the left hand side (bottom), and tell what shape, or what Roman Numeral you do or do not see?
I ask because my copy says #7/100 (followed by what LOOKS like the Roman Numeral 2 (II) crosed top and bottom, looking like an "(almost) square"; were there 2 runs of 100? Did each date have an accompanying edition of 100 for THAT concert? Or, is this "Notation" for some other purpose? I didn't notice this until I had the poster properly matted and framed.
If anyone knows, please share the info. Thanksalot.
Sorry the resolution is so poor.
UKpromopost100
UKpromopost100.jpg (49.56 KiB) Viewed 1641 times
Last edited by semisynthetic on Mon Jul 04, 2011 1:08 am, edited 1 time in total.
"Everything is a Poison; it is the amount or degree that separates one Poison from another"
Paracelsus
Here is an image of the USA Concert Poster, autographed (? Spaceman), and numbered in pencil, ltd ed of 200
Both Concert Posters are on Heavy Stock and are excellent additions to the library. The USA Poster is # 174/200 (a second copy is #163/200)
This poster seems to be more well known; the image is found in many sites on the internet. There is a nice silvery-metallic look to the material creating the image on the poster itself.
Attachments
USpromoLAGWAFIS
USpromoLAGWAFIS.jpg (59.34 KiB) Viewed 1666 times
"Everything is a Poison; it is the amount or degree that separates one Poison from another"
Paracelsus
Yeah me too semisynthetic... sorry. Mine's in 63/100 - no additional markings - as above from the first RAH night.
I suspect there may have been 100 printed for the UK, and by what you say a second printing of 200 done for the US shows (possibly for the later UK shows?)
Anyway. It's a beautiful artifact and was bought to me as a surprise - a cool momento of a mad evening!
The ed. of 100 are the UK Concerts. The ed. of 200 are the US Concert.
A number of people have suggested that the cryptic marking which I mentioned with regard to the UK Poster,
is likely an Artists Proof marking; and after comparing a (rather substancial) variety of posters from 1949 on, including a number of UK based artworks, I believe that to be a plausible explanation, (and the fact that certain sources were "ringers" in this attempt to answer an interesting, but admittedly minor detail). Thank You.
I have noticed that oftentimes the AP is observed in the early pieces of a run; for example, promo posters for Pink Floyd, in their early years, 1967-69, I observed what appear to be Proof marks on the first 20 to 50 copies of posters promoting singles, and a set of (3) 1949 posters of a live "Roy Acuff", two have (initialed) proofmarks, and the third copy was numbered and checked; but the Spiritualized® Poster differed; whereas the other examples listed have a number w/ "checkmark", or the artists initials, the (apparent) proof for "LAGWAFIS" was more open to interpretation.
I know that the point in question is trivial, but I am such a fan of J. Pierce / Spiritualized, I simply wanted to know; I agree with you that these ARE very nice quality posters of a brilliant work; I have always been impressed with the quality and variety of artwork and packaging that J. Pierce has used from the beginning.
Although some bands make up in artwork what they lack in musical talent, creativity or inspiration, others use excellent packaging to augment what is already quality of an exceptional nature. The clear 7" of "Run", the assorted blisterpacks of LAGWAFIS, colored vinyl; the A&E Booklet; the "glow" of the PURE PHASE Electric Mainlines Box; on and on, visual art used in Spiritualized®, or related works by J. Pierce, "Guitar Loops" for example are all quite good and house the work of one of my all time favorite bands and musicians.
That is what I see Spiritualized® doing; augmenting exceptional work with packaging that makes the "whole set greater than the sum of the parts". I can't help thinking that those people who use only or mainly downloads are missing something; just as a vinyl LP may be enhanced by having a jacket, inner sleeve(s), and quite often, addional artwork or "extras", a CD can "minimize" the totallity of the effect by limiting the artwork or excluding lyrics and so on. Of course the music for music only argument has its own merit, but in view of other possibilities, I find this view to be rather constrained.
The band "Soft Speaker" has quite good quality artwork, the Picture CD for "Strangers in the Alps" comes to mind. It may not be necessary to do so, but the forethought and effort that musical artists put forth visually for the listener can be an added plus.
Such forethought, in my opinion, can show the listener, with at least some degree of the concern the musician has for the presentation of their own work.
Certain packaging, that is blatantly commercial or exploitive may have the opposite effect; and there are always pieces and examples in that grey zone that may have been designed by or with the artist, or, were likely chosen by the record company w/o any input from the musician whose work is contained within.
In any event, the ephemera created for a flash in the pan is very often, in my experience, of lesser quality than exceptional musical works. The LAGWAFIS posters illustrate this well, they are printed on heavy acid-free stock, and look fantastic framed.
(This is in stark comparison to the long defunct and really quite awful band, "The Mocky Turtles" w/ their flyer suggesting the reader "leave this in the rain for its own destruction"). An excellent example of why such items are referred to as "ephemera".
Have fun, and thanks to all who contributed their useful and interesting data!
"Everything is a Poison; it is the amount or degree that separates one Poison from another"
Paracelsus
