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CONTEMPORARY ART SINCE 1999
JAMIE REID
Tea & Sympathy (White), 2005

Edition of 95
 51(w) x 75(h) cm
20.35(w) x 29.72(h) inches
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Jamie Reid
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Tea & Sympathy (White), 2005

INFORMATION
51(w) x 75(h) cm
20.35(w) x 29.72(h) inches
Show scale of piece
Screenprint on Somerset paper, embossed details with deckled edge.

Signed and numbered on front.

Unsigned 'Printers Proof' available for £400 / $500. Please enquire.

Edition of 95
PRICE
$ 1,380.00 Available from a private collection
Price of artwork and Shipping Fee are dependent on country of delivery. Shipping fee to United States is $ 55.00 [change country here]
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Jamie Reid Biography

(British, b. 1947)
Artist, Situationist, Druid, Activist, Jamie Reid is the man who cut-and-pasted the Punk movement of the late 70’s. Responsible for the Sex Pistols legendary ‘Never Mind the Bollocks’ artwork, Reid is the man that put the safety pin through Her Majesty’s lower lip. Loved and loathed, he visually epitomised the D.I.Y punk ethic with his own form of visual anarchy. Reid’s unique re-mixing of 1960’s imagery with 1970’s Punk ethic creates an unsurpassed anarchistic feel. The Swastika Eyeballs image was first submitted to A&M for the cover of the Sex Pistol’s God Save the Queen 7 & subsequently banned. Apart from a poster that was issued in Spain, this is the first publication of one of Reid’s most iconoclastic images.
 
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An unusual-looking ransom-note, cut-and-pasted with torn-out letters from a Sunday newspaper, Jamie Reid has for fifty years, openly proclaimed ‘God Save the Queen’. The artist epitomised the D.I.Y. Punk ethics with his own form of visual anarchy, using simple images and few words to deliver punchy, easy-to-understand messages. Always an activist and often anti-establishment, his imagery is loaded with political undertones and humour. One, a promotional sticker for storefronts welcoming shoplifters, another suggesting ‘Keep Warm, Make Trouble’ to make it through the colder months. Many of his messages are as relevant today as in the seventies. Tea & Sympathy from 2005 are the first screenprints of one of Reid’s most iconoclastic images.
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