Joe Sia Limited Edition Prints

Joe Sia Limited Edition Prints

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Joe Sia

Limited Edition Prints

We’ve selected 15 of Joe’s most iconic images and cropped them to a visually arresting 16” square. These Silver Gelatin (“SG”) Prints are produced on 20” x 24” fiber-based Ilford paper by expert printer Kirk Anspach and are matted to fit a standard 22” x 28” frame. They’ll be up on the wall in no time, adding a striking feature to any décor.

These prints are in a Limited Edition of 50, each one numbered.

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Jimi Hendrix once asked him, “Hey Joe, where you goin’ with that camera in your hand?”

The best, Joe Sia called, “Photos you can almost hear.”

In 2004, we bought the archive of rock photographer Joseph Sia, one of the most prolific rock photographers – a man who captured 35 years of music history on a quarter of a million photographic negatives. More important than sheer numbers, he was truly one of the very best rock photographers that ever put an eye to lens.

Born in the Bronx, Joe loved music. He gravitated around the Fillmore East and the flower-power youth-culture rock scene, setting out to capture some of the most incredible sounds of the last half-century. Scrambling with camera and film to stages throughout New York and the New England states, he documented thousands of performances, including some of the most iconic moments in rock. Sia snapped Jim Morrison's infamous 1967 onstage arrest for obscenity after mocking police during the performance of “Back Door Man” in New Haven, Connecticut. He shot the Newport Jazz and Folk Festivals, Atlantic City Pop Festival, Woodstock (1969 and 1994), the Stone’s 1969 “Gimme Shelter” tour, George Harrison’s 1971 “Concerts for Bangladesh”, and the 1974 Bob Dylan and The Band tour. His images first made the cover of Rolling Stone in 1969 and his work has since graced the pages of books and periodicals worldwide and album covers from Clapton and Hendrix to Zappa.

“A good photo is more than just a snap-shot,” explained Sia. “The whole essence of the shot lies in being able to seize the passion of the music. It’s not just about the guitar – it’s the performers face, it’s their music and it’s how they handle themselves on stage and the way they move around.”

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