Woodstock Wood

About fifty miles north of New York City in the town of Sugarloaf, New York, Tim Diltz has operated a frame shop for over forty years, specializing in recycled barn wood frames. Tim and I became friends years ago when we were introduced at the studio I was recording at in Chester, NY. I knew his last name because Henry Diltz was the photographer credited on many albums I listened to (Crosby, Stills and Nash, The Eagles and other musicians from the west coast) and as chance would have it Tim is Henry's brother. When I added some Woodstock memorabilia to my collection, Tim asked if I'd like to have them framed in wood he'd salvaged from the festival site. I was shocked to hear his story (reproduced here with his certificate of authenticity) and kept alert through the years for anything that might corroborate the existence of the shed that Tim had harvested planks from before it collapsed and was removed in the late eighties.


Artifacts Framed in Woodstock Wood:

Blueprints    Max Yasgur's Signature    Jimi Hendrix' Autograph

Felix Pappalardi's Card to Jack Bruce

Max On Stage    Miracle Tickets    Ultimate Poster



Postcard Captures Source of Woodstock Wood

This postcard clearly shows the shed as it was in 1969, just to the right of center with clothes or towels hung on the eave to dry. It's my belief it was a roadside stand where the resident farmer would offer fresh produce for sale. Farther up the road on the left is a truck trailer parked behind the stage, which is also visible through the trees. Look closely and you can see the artists' walkway which took them from the "Performers' Pavilion" over West Shore Road to the stage, about 25 feet off the ground.

Tim unknowingly salvaged wood from the same shed his brother Henry captured in a photograph he took in 1969 as Woodstock Ventures' official photographer. That photo, taken from behind the stage looking down West Shore Road from the opposite direction, shows the shed on the left and appears at 1:30 of the video below. The artists' walkway appears at 1:45

And of course, the back of the card:


The Prototype

This is one of a kind. A prototype. Around the end of July, beginning of August 1969 it was rushed from the printer (artist Arnold Skolnick was staying on Shelter Island by the far eastern tip of Long Island NY) for Woodstock Ventures' approval before details had been finalized. This "mockup" was discovered, fairly recently, taped to a wall during demolition of one of the buildings in the vicinity of White Lake that had been rented by producers in advance of the festival. It was displayed at the Museum at Bethel Woods as part of the 2012 Spring/Summer exhibit "Byrd/Skolnick: A Tale of Two Posters" retrospective. The following is excerpted from pages 104-105 of Michael Lang's book "The Road To Woodstock"

I wanted a dove perched on a guitar as our image. Every other concert event before Woodstock had focused on the acts. Woodstock was not to be like any other event. I gave Arnold the copy and told him the main message was "three days of peace and music". Our (general) contract (with talent) spelled out our "no star billing" policy. Woodstock was to be advertised as an event that was about us: our culture, our music, our art and our values.

Even better, The Prototype is now framed in Woodstock Wood which was salvaged from the festival site.