Lot 71
Jim Marshall Signed Dye Transfer Photograph, "Yellow Woodstock"
A fisheye view of Santana's set from behind the stage at the Woodstock Festival at Max Yasgur's Farm at Bethel, NY, August 16, 1969. Woodstock has transitioned from being the quintessential 1960’s musical mega- event, into a facet of the psychic fabric of American culture. The images, stories, and even the hyperbole have become mythic in their telling and retelling; it was the kind of event that people of a certain age lie about, their attendance part of their own American mythos. Jim Marshal lived Woodstock, was the “chief” backstage photographer, with the uncanny ability to capture images such as this one. No one else in the world could have taken this photograph, even thought others were there at that place and time. The fisheye view of Carlos Santana and his group from backstage, showing the audience in its enormity as well as the stage and its inhabitants, is a timeless moment for the viewer to linger over. It has captured multiple layers of activity and organized chaos, and frozen it for eternity. One of seven prints created between June 2001 and June 2009. Image size: H12 x 18 inches
About Jim Marshall:
Jim Marshall was, without question, one of the seminal photographers of the world of rock and roll in the United States during its most fertile and eventful era. He was in the right place at the right time, with the skills, talent, and relentless drive to capture the spirit of the moment. He was born in Chicago in 1936 and he died March 24, 2010 in New York City.
From his beginnings in the Midwest, through his early career in San Francisco, to his mature career in New York, Marshal gave the country a truly American rock outlook. It reflected the region-trumping growth of rock as a social unifying force that gathered all youth in its wake. In the heyday of 1960s rock music in San Francisco, he captured the likes of Mick Jagger, Jimi Hendrix, Carlos Santana, Grace Slick, Janis Joplin and the rest of the pantheon of rock and roll royalty. As time passed , he kept photographing these people as well as the emerging figures, adding to the sense of history, continuity, and the breaks and changes that all human life—even rock gods—experience.
Marshall had the ability to capture with his lens the quintessential moments that illuminated the lives of his subjects, the performance behind, even within, the performance. When that split second in time is caught forever, it becomes a document, a record, a testament to the talents of both rocker and photographer. Photography itself is then a performance.
A word from the printer Ctein:
“Regarding the dye transfers, they are all prints made by me for Jim Marshall between mid 2001 and mid 2009. All were printed under Jim's direction and according to his instruction; he examined and approved every single print before signing.”
“Jim typically did a limited numbered-and-signed edition of 50, but most of the editions did not sell out. Since Jim was a last-minute kinda guy, that means there would be fewer than 50 prints out there-- he rarely had more than two or three prints made at a time, and he usually didn't sign one until he sold it. In many cases, I do not know how many prints were made of a particular photograph. “
All are printed on oversize paper with 1" or greater white borders, signed and titled and marked "A/P" on front by Jim Marshall in ink, signed and dated with the printing date on back in graphite by me.
About Ctein:
For 35 years Ctein has been a master dye transfer printer. This incredibly complex and difficult process produces by far the finest photographic prints and has been undertaken by only a very small percentage of color printers. Ctein is one of only a handful of printers still using this 70-year-old medium. His results are so impressive that Kodak's own dye transfer experts proclaimed that there was no one alive who produced better color prints than Ctein.
Ctein has printed for such notable photographers as: photojournalist Ken Jarecke, whose famous "Face of War" photograph defined the first Gulf War; music photographer Jim Marshall, whose iconic rock and roll, blues and jazz photographs are well-known to every lover of modern music; and portraitist Bernard Lee Schwartz, whose portraits of everyone from the Pope to Twiggy are in major collections around the world. Ctein prints reside in major academic, governmental, and museum collections around the world - even the Royal Family of Great Britain has prints made by Ctein.
Ctein is also a widely-read author, with well over a million words in print. He literally "wrote the book" for Kodak on many dye transfer printing techniques. Several of today's elite circle of dye transfer printers say they owe their beginnings to Ctein's instruction in that craft. For over a quarter-century, he's had hundreds of articles and columns published in numerous photography and technology magazines. His has written the critically acclaimed books, "Post Exposure: Advanced Techniques for the Photographic Printer" and "Digital Restoration from Start to Finish."
Ctein's technical credentials are equally impressive. His knowledge of computers and digital photography runs wide and deep. Educated at Caltech, Ctein has provided research, testing and consultation to companies such as Apple Computers, Eastman Kodak, and Agfa. He is the ultimate "early adopter" of digital photography and printing, despite his passion for a classic color printing process like dye transfer. He embraced digital photography's potential when most didn't imagine it was possible. He was designing digital cameras in 1971. In 1973 he made the first electronic prints directly from color negatives. In 1974 he was researching electronic photofinishing for a major film manufacturer. In the late 70s he designed sophisticated color printers and displays and consulted for Apple Computers on advanced display technologies.
Today, Ctein offers the most exclusive custom digital printing services, alongside the traditional and time-honored dye transfer prints.
Estimate: $4,000 - $6,000