Shepard Fairey OBEY – Strummerville Joe Strummer 2014 Screen Print
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Shepard Fairey OBEY – Strummerville Joe Strummer 2014 Screen Print
Gauntlet Gallery · Authenticated Street Art
Shepard Fairey (OBEY) Strummerville — Joe Strummer / The Clash
2014 Screen Print · #188/450 · Hand-Signed & Numbered · Photo by Kate Simon · Benefit for Strummerville Charity
★ Sold Out at Release — Charity Benefit Print · Commissioned by Joe Strummer’s widow Lucinda; photographs by Kate Simon, who shot the first Clash cover. Fairey called The Clash his all-time favorite band.
The composition is full-color screen print in Fairey’s most muscular propaganda-poster idiom: deep red, rich cream, and metallic gold on cream Speckletone paper. Joe Strummer stands three-quarter length, wearing suspenders over an open-collared work shirt, holding a guitar neck with both hands — fingers gripping the fretboard, the instrument angled upward like a standard raised in battle. Behind him, bold red Constructivist radiating rays emanate from a circular burst, framed by an elaborate gold Art Nouveau ornamental border with lightning bolt corner motifs. A silhouetted guitarist stands inside an OBEY star medallion in the upper background. The bottom banner reads STRUMMERVILLE in white on black.
This is a print that sits at the intersection of two legendary legacies: Fairey’s, as the defining artist of politically engaged street art, and Strummer’s, as the voice of punk’s most intellectually serious and globally compassionate band. Fairey’s own words make the weight of the project clear — this was not a commission he took lightly.
Shepard Fairey — in His Own Words
“The Clash are my all-time favorite band and their frontman, Joe Strummer, is a hero of mine for his music, lyrics, wit, compassion for the underdog, and stance against injustice. Joe’s widow Lucinda approached me about creating an image of Joe to help raise funds for Strummerville, the charity set up to honor and fulfill Joe’s belief that music can inspire and empower. Strummerville provides opportunities for musicians around the globe. I was incredibly honored that Lucinda asked me to be involved, and I was moved when she shared her opinion that Joe and I have similar philosophies. The print is a collaboration with photographer Kate Simon, who shot the first Clash cover.”
— Shepard Fairey, OBEYgiant.com, April 2014
Print Details
Artist
Shepard Fairey (OBEY)
Title
Strummerville
Subject
Joe Strummer — frontman of The Clash
Year
2014 (released April 15, 2014)
Medium
Screen print on cream Speckletone paper
Colors
Full color — deep red, cream, metallic gold, black
Size
18″ × 24″ (46 × 61 cm)
Edition Number
#188/450 — hand-numbered in pencil (confirmed from photograph, lower left)
Signature
Hand-signed by Shepard Fairey in pencil (lower right — confirmed from photograph)
Strummerville was founded by Joe Strummer’s friends and family in the year after his death in 2002. Its mission is to provide opportunities for musicians around the globe — funding rehearsal spaces, equipment, studio time, and international collaborations for emerging artists who lack resources. The charity reflects Strummer’s central conviction that music is a democratic, empowering force available to anyone willing to pick up an instrument. Proceeds from the original sale of this print went directly to Strummerville’s programs. Owning this print is in some sense owning a piece of that mission.
About Joe Strummer — The Subject
John Graham Mellor (1952–2002), known as Joe Strummer, co-founded The Clash in London in 1976. The band became one of the most critically revered acts in rock history — their 1979 double album London Calling is consistently ranked among the greatest records ever made. Strummer’s songwriting combined reggae, rockabilly, and punk with a political urgency that never felt didactic. After The Clash disbanded in 1986, Strummer continued recording and performing, founding The Mescaleros in the late 1990s. He died unexpectedly of an undiagnosed heart condition in December 2002, at 50. His legacy as a musician, activist, and humanitarian has only grown since.
About the Artist — Shepard Fairey (OBEY)
Born 1970 in Charleston, South Carolina, Shepard Fairey studied at the Rhode Island School of Design and built his career through the Andre the Giant Has a Posse campaign — one of the first viral street art movements. His work is held in the permanent collections of the Smithsonian Institution, MoMA New York, LACMA, and the Victoria and Albert Museum in London. His 2008 Obama HOPE poster is among the most reproduced political images of the 21st century. The Strummerville print represents Fairey as a genuine fan paying tribute to a genuine hero — not a licensed celebrity collaboration, but a personal act of reverence.
What Is Included
Original Shepard Fairey Strummerville screen print, 2014
Hand-signed in pencil by Shepard Fairey (lower right — confirmed from photograph)
Hand-numbered #188/450 in pencil (lower left — confirmed from photograph)
Full-color screen print on cream Speckletone — unframed, stored flat
Gauntlet Gallery digital provenance documentation
Shipping & Handling
Professional packing. Full insurance. UPS delivery.
Shipped via UPS in a rigid flat-pack mailer with acid-free tissue interleaving, cardboard backing boards, and foam corner protection. Full insurance included. Tracking provided on all orders.
Domestic (USA): UPS Ground or UPS 2-Day — typically 3–7 business days. International: UPS International — message us for a quote before purchasing. International buyers are responsible for local duties and VAT.
Every print leaves us in the same condition it arrived. Zero damage record.
More Shepard Fairey at Gauntlet Gallery
We carry a rotating selection of authenticated Shepard Fairey prints across all eras and themes — political editions, music tributes, environmental prints, the 2017 Damaged Stencil Series, letterpress works, and large-format silkscreens. We also stock Banksy, Death NYC, and a curated selection of signed music collectibles. Add us to your Saved Sellers to be notified when new inventory drops.
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Originally an art gallery in San Francisco, Gauntlet Gauntlet was built at the intersection of street culture, historic moments, and disciplined collecting. Rooted in the ethos of underground art movements — skate, punk, protest graphics, and independent publishing — we curate pieces that carry both cultural weight and market structure. This time bringing these items to the world after our technical in reinvention.
Our focus spans limited edition fine art, street art pioneers, music and space memorabilia, and historically significant signed works. Every item is selected for scarcity, authenticity, and long-term relevance — not short-term hype.
From museum-collected artists and politically iconic prints to astronaut autographs and era-defining music signatures, Global Gauntlet exists to preserve cultural milestones and help collectors acquire them with confidence.
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Add suggested items to your listings – Check it out on 3Dsellers.com
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100% AUTHENTIC
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NEW ADDITIONS
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Every artist has a story. Every fan has a memory.
This isn’t just a guitar — it’s a bridge between the artist’s world and yours. Each piece in this collection has been subtly customized to reflect the unique aesthetic of the artist it represents — from tonal choices and finish details to design elements that echo their signature style and creative identity.
Whether it’s the raw energy of a punk icon, the soulful elegance of a blues legend, or the bold experimentation of a modern visionary, these guitars capture something words alone can’t — thefeelingof the music that moved you.
What makes this piece special:
🎨Artist-Inspired Customization— Design elements tailored to reflect the artist’s visual and musical identity
✍️Authentic Connection— Each guitar tells a story that resonates with the fans who lived it
🔍Curated with Care— Selected and verified by Gauntlet Gallery, specialists in authenticated music collectibles
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ARTIST HIGHLIGHT
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SHEPARD FAIREY
Few contemporary artists have bridged underground culture and institutional recognition as effectively as Shepard Fairey. Emerging from skate and punk subcultures with the original Obey Giant campaign, he built a visual language rooted in propaganda aesthetics, bold iconography, and political commentary.
What makes Fairey compelling for collectors isn’t just name recognition — it’s durability. His work sits at the intersection of activism, design, and pop culture.
From the globally recognized Hope poster to decades of tightly controlled screenprint editions, he has demonstrated both cultural relevance and disciplined market structure.
Institutional validation from MoMA, the Smithsonian, and the V&A reinforces long-term credibility. Meanwhile, secondary market data shows consistent liquidity and steady appreciation across core prints.
For collectors, this is cultural equity with infrastructure behind it — not trend-driven volatility.
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