Bridget Riley, 1964 by David Newell-Smith

Bridget Riley, 1964 by David Newell-Smith

  • This is Classique, at its longest edge the print will be 30cm long with an overall length of 51cm framed.

    It is printed on Fuji Lustre photographic paper and will have a white mount surround with solid wood frame.

    • 160 £

    This is Forté, at its longest edge the print will be 60cm long with an overall length of 77cm framed.

    It is printed on Fuji Lustre photographic paper and will have a white mount surround with solid wood frame.

    • 310 £

    This is Alu-Forté, at its longest edge the print will be 60cm and floats above the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 310 £

    This is Alu-Grandé, at its longest edge the print will be 90cm and floats above the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 425 £
    51cm longest edge
    51cm longest edge
    51cm longest edge
    51cm longest edge
    77cm longest edge
    77cm longest edge
    77cm longest edge
    77cm longest edge

    (Rest of the World £35)

About David Newell-Smith

David Newell-Smith, was part of an explosion of British photojournalistic talent in the early 1960s. Armed with revolutionary new lightweight 35mm cameras and an aesthetic influenced by the great French and American photographers such as Henri Cartier-Bresson and Eugene Smith, this generation also benefited from the new colour supplements that were to showcase their work.

The group included such luminaries as Don McCullin, who got his first break from the Observer, Tony Armstrong-Jones, Terence Donovan and David Bailey. Those photographers would find fame far outside the orbit of their calling, but others – Newell-Smith, Peter Keen and Stuart Heydinger (there were very few female practitioners in the business aside from the great Jane Bown) – dedicated themselves to the Observer and the art of newspaper photography.

Born in Kent in 1937, Newell-Smith learned the skills and developed his love of photography while on national service in the RAF. Afterwards he worked freelance and then, in 1964, with the help of the Vietnam war photographer Philip Jones Griffiths, joined the Observer staff. Over the following two decades, the paper and its magazine were graced by the extraordinary range of his work.

Newell-Smith’s staff job afforded him many opportunities to document the swinging 60s in Britain. He captured the febrile murk of the Cavern Club, the energy of Jagger and the Stones and the otherworldliness of Twiggy, of whom he said, after shooting her, “She’s a product of the photographer’s imagination. I’ve tried to suggest this by increasing the contrast to emphasise the lines of the composition, the oval shapes that blend into each other giving an overall abstract effect.”

As well as the glamour, he covered the grit. His stark, compassionate shoot in the Gorbals in Glasgow complemented the work of Penny Tweedie, who had documented the slum for the launch of the charity Shelter two years earlier. In 1967, he travelled to record the Six Day war in what was then Jordan, and among many other foreign trips, he covered the student riots in Paris in 1968, returning with an image of two demonstrators so chic and timeless that only last week, on seeing it for the first time, my 18-year-old asked if he could get a print for his wall.

Unlike some of his peers, Newell-Smith didn’t find fame in war or fashion photography. His legacy, the prints and negatives, are carefully stored in the GNM archive and his body of work is a testament to the art of the newspaper photographer.

In 1967 Newell-Smith expressed a sentiment that always held true for him: “There is nothing I would rather do than take photographs. I don’t know why exactly but to me it’s completely satisfying in every way.”

About David Newell-Smith

Born in Kent in 1937, Newell-Smith learned the skills and developed his love of photography while on national service in the RAF. Afterwards he worked freelance and then, in 1964, with the help of the Vietnam war photographer Philip Jones Griffiths, joined the Observer staff. Over the following two decades, the paper and its magazine were graced by the extraordinary range of his work.

Newell-Smith’s staff job afforded him many opportunities to document the swinging 60s in Britain. He captured the febrile murk of the Cavern Club, the energy of Jagger and the Stones and the otherworldliness of Twiggy, of whom he said, after shooting her, “She’s a product of the photographer’s imagination. I’ve tried to suggest this by increasing the contrast to emphasise the lines of the composition, the oval shapes that blend into each other giving an overall abstract effect.”

As well as the glamour, he covered the grit. His stark, compassionate shoot in the Gorbals in Glasgow complemented the work of Penny Tweedie, who had documented the slum for the launch of the charity Shelter two years earlier. In 1967, he travelled to record the Six Day war in what was then Jordan, and among many other foreign trips, he covered the student riots in Paris in 1968, returning with an image of two demonstrators so chic and timeless that only last week, on seeing it for the first time, my 18-year-old asked if he could get a print for his wall.

Unlike some of his peers, Newell-Smith didn’t find fame in war or fashion photography. His legacy, the prints and negatives, are carefully stored in the GNM archive and his body of work is a testament to the art of the newspaper photographer.

In 1967 Newell-Smith expressed a sentiment that always held true for him: “There is nothing I would rather do than take photographs. I don’t know why exactly but to me it’s completely satisfying in every way.”

A staff job followed and he retired from there 1st January 2016 (it was a schoolboy ambition to be a Guardian photographer). It was GREAT, BRILLIANT and the best job ever.