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Entertainment Memorabilia

18 July 2018 | starting at 12:00 BST
Live Auction
London, Knightsbridge
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Overend Watts/Mott The Hoople: A 1954 'Hardtail' Fender Stratocaster, believed the earliest of its type to be shipped,Overend Watts/Mott The Hoople: A 1954 'Hardtail' Fender Stratocaster, believed the earliest of its type to be shipped,. Sold for £47,500 inc. premium
James Bond: A rare and original concept artwork for the stylish and iconic poster for Diamonds Are Forever, Eon Productions / United Artists, 1971,James Bond: A rare and original concept artwork for the stylish and iconic poster for Diamonds Are Forever, Eon Productions / United Artists, 1971,. Sold for £27,500 inc. premium

Lot gallery

299 lots available

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Asia: A 'Platinum' award for the album Asia, together with a Roger Dean Astra print, 1980s,
Asia: A Canadian 'Gold' award for the album Alpha together with a Roger Dean Alpha print, 1983,
Overend Watts/Mott The Hoople: A 1954 'Hardtail' Fender Stratocaster, believed the earliest of its type to be shipped,
Mott The Hoople: A group of Overend Watts' stage clothing, 1970s,
Mott The Hoople: A group of Overend Watts' stage clothing, 1970s,
Mott The Hoople: A group of Overend Watts' stage clothing, 1970s,
Mott The Hoople: A group of Overend Watts' stage clothing, 1970s,
Mott The Hoople: A telegram from David Bowie regarding the recording of All The Young Dudes, 1972,
Mick Rock (British, b. 1948): David Bowie print, taken 1972,
Mick Rock (British, b. 1948): David Bowie print, taken 1973,
David Bowie: Two autographed albums and related items, various dates, 5
David Bowie: A group of UK tour memorabilia, all from the May/June 1973 tour, 5
David Bowie: A signed Petty Cash Voucher, dated 7th August 1973,
Mick Rock (British, b. 1948): David Bowie, Earls Court print, 1973, 2
David Bowie: a rare uncensored album cover for Diamond Dogs, RCA, CPLI-0576, 1974,
David Bowie: A Diamond Dogs album promo poster, UK, 1974,
David Bowie: an autographed copy of 'David Bowie Black Book, The Illustrated Biography' by Barry Miles, Omnibus Press, 1980,
David Bowie: An autographed copy of the album Tonight, EMI records, 1984,
David Bowie: An autographed copy of the single Absolute Beginners, Virgin Records, 1986,
David Bowie: An autographed 'Sound & Vision Tour' poster, 1990,
David Bowie: a striking and original Head of David Bowie pastel portrait, 1995,
Davie Bowie: An annotated and autographed Virgin Atlantic notecard from David Bowie to Woody Woodmansey, 1993,
David Bowie: a screen used black woollen coat worn by David Bowie in the film Everybody Loves Sunshine (also known as B.U.S.T.E.D) 1999,
David Bowie: Star print, 1998,
David Bowie: Self-Portrait (Mustique) print, 2002,
David Bowie: a signed copy of 'Moonage Daydream: The Life and Times of Ziggy Stardust' by David Bowie and Mick Rock, Genesis Publications, 2002,
David Bowie: signed copy of 'From Station To Station Travels With Bowie 1973-1976' by David Bowie and Geoff MacCormack, Genesis Publications, 2007,
Vivienne Westwood and Malcolm McLaren: A 'Let It Rock' T-shirt, circa 1972,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

172 —
Vivienne Westwood and Malcolm McLaren: A 'Let It Rock' T-shirt,
circa 1972,

Sold for £2,750 inc. premium
Vivienne Westwood and Malcolm McLaren: An 'I Groaned with Pain...' T-shirt, circa 1975,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

173 —
Vivienne Westwood and Malcolm McLaren: An 'I Groaned with Pain...' T-shirt,
circa 1975,

Sold for £1,375 inc. premium
Vivienne Westwood and Malcolm McLaren: A 'Naked Footballer' T-shirt, 1975-76,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

174 —
Vivienne Westwood and Malcolm McLaren: A 'Naked Footballer' T-shirt,
1975-76,

£2,000 - £3,000
Vivienne Westwood and Malcolm McLaren: A 'Tits' T-shirt, circa 1976,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

175 —
Vivienne Westwood and Malcolm McLaren: A 'Tits' T-shirt,
circa 1976,

Sold for £937.50 inc. premium
Vivienne Westwood and Malcolm McLaren: A pair of black trousers, circa 1976,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

176 —
Vivienne Westwood and Malcolm McLaren: A pair of black trousers,
circa 1976,

Sold for £562.50 inc. premium
Vivienne Westwood and Malcolm McLaren: A 'You're Gonnna Wake Up One Morning' T-shirt, 1976-77,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

177 —
Vivienne Westwood and Malcolm McLaren: A 'You're Gonnna Wake Up One Morning' T-shirt,
1976-77,

Sold for £1,187.50 inc. premium
Vivienne Westwood and Malcolm McLaren: A pair of khaki trousers, 1976-77,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

178 —
Vivienne Westwood and Malcolm McLaren: A pair of khaki trousers,
1976-77,

Sold for £1,000 inc. premium
Vivienne Westwood and Malcolm McLaren: A 'Cambridge Rapist' T-shirt, 1977,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

179 —
Vivienne Westwood and Malcolm McLaren: A 'Cambridge Rapist' T-shirt,
1977,

£800 - £1,000
Vivienne Westwood and Malcolm McLaren: A 'Destroy' T-shirt, circa 1977,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

180 —
Vivienne Westwood and Malcolm McLaren: A 'Destroy' T-shirt,
circa 1977,

Sold for £1,187.50 inc. premium
Vivienne Westwood and Malcolm McLaren: A 'God Save The Queen' T-shirt, 1977,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

181 —
Vivienne Westwood and Malcolm McLaren: A 'God Save The Queen' T-shirt,
1977,

Sold for £1,500 inc. premium
Vivienne Westwood and Malcolm McLaren: An 'Exposé' T-shirt 1977,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

182 —
Vivienne Westwood and Malcolm McLaren: An 'Exposé' T-shirt
1977,

£1,500 - £2,000
Punk: 'Skum' No.1 fanzine original artwork, 1977,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

183 —
Punk: 'Skum' No.1 fanzine original artwork,
1977,

Amended
£2,800 - £3,200
Punk: 'Skum' No.2 fanzine original artwork, 1977,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

184 —
Punk: 'Skum' No.2 fanzine original artwork,
1977,

Amended
£2,000 - £3,000
Punk: 'Skum' No.3 fanzine original artwork, 1977,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

185 —
Punk: 'Skum' No.3 fanzine original artwork,
1977,

Amended
£2,000 - £3,000
Punk: 'Skum' No.4 fanzine original artwork, 1977,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

186 —
Punk: 'Skum' No.4 fanzine original artwork,
1977,

Amended
£2,500 - £3,000
Punk: 'Skum' No.5 original fanzine artwork, 1977,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

187 —
Punk: 'Skum' No.5 original fanzine artwork,
1977,

Amended
£2,000 - £3,000
Punk: 'Skum' No.6 fanzine original artwork, 1977,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

188 —
Punk: 'Skum' No.6 fanzine original artwork,
1977,

Amended
£2,000 - £3,000
Punk: A collection of fanzines, 1970s/80s,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

189 —
Punk: A collection of fanzines,
1970s/80s,

Sold for £1,625 inc. premium
Punk: A collection of fanzines, 1970s/80s,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

190 —
Punk: A collection of fanzines,
1970s/80s,

Sold for £1,500 inc. premium
Punk: A collection of fanzines, 1970s/80s,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

191 —
Punk: A collection of fanzines,
1970s/80s,

Sold for £937.50 inc. premium
Punk: A collection of fanzines, 1970s/80s,
THE MARK JAY COLLECTION OF PUNK MEMORABILIA Lot 172-232 The collection represents a very personal record of an extraordinary and incendiary eighteen months from mid-1976 to early 1978 when Punk Rock exploded across the UK music scene. Mark's involvement in the movement came very early – before the notorious Bill Grundy interview with the Sex Pistols, before any of the groups had record contracts and before the movement even had a proper name. Growing up in Hammersmith, west London in the mid-1960s, Mark had watched immaculately-attired Mods parading along the streets, wishing he was old enough to be part of whatever they were getting up to. Eventually, it was David Bowie who provided Mark with a portal into a youth culture that he could finally call his own. Totally smitten since the incarnation of Ziggy Stardust, Mark had followed Bowie's every move, and at Wembley in May 1976, Mark witnessed the first flowerings of embryonic 'spike-tops' who were soon to become some of the major players on the Punk scene. Although this gig was perhaps one of the finest moments in Bowie's career, Mark was as equally mesmerised by a certain core of the audience, as by the Thin White Duke himself. Armed with the brashness of a fourteen year-old, Mark got talking to some of the exotically-dressed creatures sporting rubber, zips, ripped T-shirts with graphic imagery and safety pins. He became aware of a band called the Sex Pistols who were currently playing around London and felt he just had to go and see them. It was at a Pistols' gig a little later that year, where he picked up his first copy of the fanzine 'Sniffin Glue', which urged other would-be fanzine editors to go out and do likewise. Spurred on by this rallying call and the daily increasing buzz of the scene, Mark co-opted a couple of like-minded schoolmates and did just that. The result was 'Skum', amongst the very first wave of fanzines in the UK. It lasted for seven issues and included interviews with many seminal Punk figures, including a pre-Pistols Sid Vicious (his first ever interview), a pre-Pogues Shane McGowan, reviews of The Clash by a pre-Spandau Ballet Gary Kemp and lots of content either directly related to, or commissioned by, the Sex Pistols' camp. Mark's cartoons and artwork for the fanzine were noticed by Malcolm McLaren and Vivienne Westwood and they commissioned him to design a poster, entitled 'The Story So Far', to promote and accompany the Pistols' debut LP. In June 1977 Mark was one of the few fans lucky enough to attend the Sex Pistols' legendary 'Boat Party' concert on Jubilee Day, an invitation that was part-payment for the production of the poster, along with the printed material, flyers and some of the T-shirts that are now offered in this auction. The bulk of the collection was therefore obtained through Mark's close association with the groups at the time, their offices and their entourage. It was totally normal for the likes of Joe Strummer, Mick Jones or Johnny Rotten to take the time to stop and talk to their fans and ask about their lives and feelings. This is what made the movement so special and made people feel so involved. Being a fanzine editor in 1977 meant that you could be part of the dialogue that Punk was creating and be involved in it on a day-by-day basis. There was a unique egalitarianism which allowed teenagers 'from nowhere' like Mark to express themselves through music, print, design and fashion and, most importantly, be seen and heard by a wide and ever-expanding audience. Mark admits that he spent an inordinate amount of time hanging around McLaren and Westwood's shop in London's Kings Road, where he also had a Saturday job in a Beaufort Market record stall, and was totally immersed in Punk. As with some other items in the collection, the fanzine collection offered here was amassed through a barter system, whereby people exchanged copies of their work along with information and ideas. Looking at the collection as a whole some forty years later, it seems incredible that so much work, bursting with so much passion, ideas and expression, was produced in such a relatively short space of time.

192 —
Punk: A collection of fanzines,
1970s/80s,

£750 - £900
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