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Frank Herrmann
The Beatles oversize CONTACT SHEET - FOUND photographic b/w print on Hannehmuhle

1967

$2,085.75
£1,500
€1,775.69
CA$2,847.21
A$3,202.48
CHF 1,661.05
MX$38,848.36
NOK 21,061.18
SEK 19,819.75
DKK 13,247.13
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About the Item

Before digital when cameras used only film, a roll of 36 would be processed to produce a strip of negatives. The long roll of negatives was then cut into strips of six, usually with five or six frames on each strip. These strips were then laid carefully onto a sheet of photographic paper in the darkroom and exposed to light. The paper would be developed, fixed and dried to produce a set of 'positive' images on a sheet of photographic paper, known as a 'contact sheet' for photographers and picture editors to then select the best frames. Negatives were then stored in wallets with transparent sleeves of tissue with a cover made of paper where the photographer would write details to identify the work. These fitted neatly into filing cabinets for safe and easy storage. On Thursday March 30th 1967 Frank Herrmann was despatched to Abbey Road Studios to cover a story on recording techniques for the Sunday Times newspaper. It was understood that Beatles manager Brian Epstein gave the Sunday Times access to the studios and the world's most famous band in the hope of broadening their appeal to an even wider, slightly older audience. In fact the article that made it onto the Spectrum column in the Sunday Times' April 2nd edition was a story about the emerging trend for independence of record producers and their fight for more money. The article explained how George Martin had received only the union minimum of £15 for his work orchestrating Eleanor Rigby. It went on to show how the money was divided for one of the million selling Beatles LP's and how unfair to the artists this was. From two rolls of film shot that day and out of many brilliant images, only one appeared very small from Herrmann's shoot in the 2nd April paper and that was a picture of John Lennon and George Martin sitting at the mixing desk, neither of them looking into camera. The images would sit undisturbed in Herrmann's archive for the next 30 years. March 30th 1967 turned out to be a historic day in the Beatles calendar as following the recording session photographed here by Herrmann, they made their way to Michael Cooper's Flood Street studio to be photographed for one of the most famous album covers of all time, Sgt Pepper's Lonely Hearts Club Band. All prints are embossed with the photographers stamp, numbered and signed by the photographer Frank Herrmann in pencil on lower right margin. Printed on Hahnemühle Photo Rag 308gsm fine art paper. This acid- and lignin-free classic meets the most exacting requirements for age resistance and is specially designed for FineArt applications. Whether it is used for FineArt photography or art reproductions, the ideal combination of structure, print quality and weight makes Photo Rag® one of the most versatile FineArt papers. paper size : 35 x 24 inches image size : 31 x 23 inches Edition No 11/25 All works are sold unframed.
  • Creator:
    Frank Herrmann (1933, British)
  • Creation Year:
    1967
  • Dimensions:
    Height: 32 in (81.28 cm)Width: 24 in (60.96 cm)Depth: 1 in (2.54 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Norwich, GB
  • Reference Number:
    1stDibs: LU2376215578222

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The Beatles at Abbey Road Studios, March 30th 1967 during the recording of Sgt Pepper's Lonely Hearts Club Band, take a lunch break. Later that day they after recording they made their way to Michael Cooper's Flood Street Studios to pose for the famous album cover. This is an original traditional silver gelatin print signed by the photographer, printed in 2008 for inclusion in Herrmann's sol show The Unseen Beatles at The Saint Giles Street Gallery in Norwich. Though is says 1/25 the other prints in the edition were never printed and this image is not available anywhere else. Rare image hand printed. paper size 20 x 16, Image size 18 x 12 inches. This print is embossed with the photographers stamp, numbered and signed by the photographer Frank Herrmann in pencil on lower right margin. Frank Herrmann is widely regarded as one of the outstanding photojournalists of the latter part of the twentieth century, with an illustrious thirty year career at The Sunday Times. Covering stories as diverse as the UDI in Rhodesia in 1966, the Paris riots in ’68, the Yom Kippur War of '73, the U.S Presidential elections of ’75 and the birth of Zimbabwe in 1980, he has travelled to Africa with Bob Geldof to record the famine relief work of Band Aid, has been to the South Pole to photograph the trans-Arctic expedition and has worked with Hunter Davies on several books including The Glory Game and Great Britain – a Celebration as well as his text book book on portraiture titled Portrait photography. His many portrait sittings include,  amongst others, Orson Welles, Maggie Smith, Sean Connery, William Burroughs, Winston Churchill, Duke Ellington, Harold Macmillan, Ronald Reagan, Arthur Miller, Samuel Beckett, Henry Moore, Judi Dench...
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