Relix

The run opens on February 29, a date that only exists every four years, and that accidental rarity fits the moment. Disraeli Gears had been out for three months, "Sunshine of Your Love" was climbing the American charts, and Clapton, Bruce, and Baker were at the absolute height of their powers as a live unit. The May 1968 breakup decision was still months away. This four-night stand at the Fillmore and Winterland is prime Cream, no asterisks.Lee Conklin's design arrives at a high point in his Fillmore tenure, dense, intricate, his hand immediately recognizable to any serious BG collector.This lot is honestly cataloged as an incomplete set. The anchor is a third-edition poster in Excellent condition, clean and fully displayable at 13 7/8 × 20 15/16 in. Accompanying it: a single original ticket from opening night, February 29, grading Very Good, a leap-day artifact that stands on its own. The handbill covers the full four-night run, grading Good at 4 3/8 × 6 7/8 in. Three pieces, one run, no complete ticket set, priced accordingly.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 109 | Cream | The Fillmore & Winterland February 29–March 3, 1968 | Lee Conklin | Third Edition

Before Janis Joplin had an album. Before Syd Barrett left Pink Floyd. Before Santana’s debut existed. Before “Light My Fire” hit number one. These shows happened, and Bill Graham printed the paper to prove it.“The Sound: Fillmore &amp; Winterland Originals, 1966–1970” is twenty-one lots drawn from a single private archive — posters, handbills, and tickets spanning the foundational years of San Francisco rock. Wes Wilson’s psychedelic typography. Bonnie MacLean’s post-Wilson authority. Lee Conklin’s dense, intricate hand. Rick Griffin at the height of his powers. And the bills themselves: the Grateful Dead across six years of Fillmore history, Cream on leap day 1968, the Doors the night “Light My Fire” went to number one, Pink Floyd’s first and only American tour with Syd Barrett.These are the documents from before the records existed. Graham called it The Sound. This is what it looked like.

January 1968: seven months after Monterey Pop detonated Janis Joplin's name across the national consciousness, eight months before Cheap Thrills would make her a household name. Big Brother and the Holding Company are at the apex of their Fillmore run — the room knows it's witnessing something, and BG 104 is the paper that proves it.Sharing the bill across Fillmore and Winterland: The Electric Flag, Mike Bloomfield's newly-formed supergroup following his departure from the Paul Butterfield Blues Band, already one of the most electrifying live acts on the circuit. And the Youngbloods, "Get Together" is already in wide circulation. Three nights, two venues, one of the most loaded triple bills of the era.This lot is the complete three-night archive: a first-edition poster grading Excellent (14 3/16 × 21 in.), and two individual night tickets, January 25 and 26, each in Mint condition, and the original handbill (Good, light wear consistent with age), which surfaces an unlisted billing absent from the poster entirely: Boston psych outfit Ultimate Spinach. Complete sets at this condition tier are genuinely rare.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 104 | Big Brother & The Holding Company, The Electric Flag, The Youngbloods January 25–27, 1968 | The Fillmore & Winterland | Poster, 2 Tickets, Handbill

December 1969: Live/Dead had been in the world for barely three weeks when the Dead walked back into the Fillmore West for this four-night run. Widely regarded as one of the greatest live albums ever committed to tape, its release marked the moment the Dead's reputation for transcendent improvisation became impossible to ignore outside the cult. These December shows are the immediate follow-through. the band at their most confident, the room already buzzing with what the record had just documented.Sharing the bill: Humble Pie, the British outfit formed earlier that year by Steve Marriott, fresh off the Small Faces, alongside a young Peter Frampton, making serious early inroads with American audiences. The pairing of San Francisco's hometown icons with one of London's most promising new rock acts gives this four-night run a genuine transatlantic charge.Designed by David Singer, BG 205 is a first edition, 14 × 22 in. Condition grades Good: tack holes at the corners, creases consistent with period display, this poster lived on a wall, exactly as intended. Priced accordingly for its grade, it remains one of the most accessible entry points into the Dead's Fillmore West catalog.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 205 | The Grateful Dead, Humble Pie | The Fillmore West December 4–7, 1969 | David Singer | First Edition

The image on this poster became one of the most recognizable in rock history, not just as a Fillmore artifact, but as the basis for Santana's self-titled debut album cover. Lee Conklin's snarling lion's head, with its hidden faces and flowing figures, was so arresting that Santana asked him to rework it directly for the record. The album wouldn't drop until 1969. This poster is from before any of that, Santana still building their Fillmore reputation, the artwork not yet carrying the weight it was about to carry.The bill runs deep. Steppenwolf had released "Born to Be Wild" just weeks before this run, it was already climbing the charts, already soundtracking the summer. The Grateful Dead close out the full six-night engagement on the back half of the run.One transparency note for the collector: this is a fifth-edition printing of BG 134. First editions command significantly higher premiums, original first printings can easily command over $5,000 in top preserved states. This copy grades Excellent at 14 × 20 in., clean and fully displayable, and represents a legitimate way to own one of the most culturally resonant images in the entire BG series at a condition-appropriate price point.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 134 | The Grateful Dead, Steppenwolf, Santana | The Fillmore West August 27–29, 1968 | Lee Conklin | Fifth Edition

Two days. That's how long the Grateful Dead's self-titled debut album had been in the world when this show happened on March 19, 1967. Their first record on Warner Bros., the one that introduced "Golden Road" and "Cream Puff War" to anyone outside the Haight, had just landed, and the Dead walked back into the Fillmore to share a bill with Chuck Berry, the man who handed rock and roll its vocabulary in the first place. The generational handoff implied in that pairing is as rich as it gets.This is Wes Wilson in his prime Fillmore period, one of the Big Five poster artists, the designer who essentially invented psychedelic typography, his Art Nouveau-inflected letterforms already redefining what a concert announcement could be. BG 55 is among his later contributions to the BG series before his departure from the Fillmore later that year.Second edition, Very Good condition (13½ × 20 9/16 in.) — clean and displayable, with the honest wear of nearly six decades. A poster-only lot, priced for its grade.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 55 | The Grateful Dead | The Fillmore March 19, 1967 | Wes Wilson | Second Edition

October 1966: the Grateful Dead have no album. No Warner Bros. deal, no studio recordings, no national profile beyond the Haight and the people who'd been showing up to Fillmore shows all year. What they have is the room, and Bill Graham put them on a two-night stand at catalog number 32, sharing the bill with Lightnin' Hopkins, the East Texas blues titan whose fingerpicking style and storytelling directness ran as a deep current through everything Jerry Garcia was developing as a guitarist.The pairing isn't incidental. The Dead's roots in country blues, jug band music, and the rural American folk tradition were always present beneath the psychedelia, and here, five months before their debut album would introduce them to the world, they're on a bill with one of the living masters of that lineage. Hopkins and Garcia in the same building in 1966 is a collector's footnote that deserves to be a headline.At catalog number 32, this is Wes Wilson deep in the early Fillmore run, his psychedelic typography still crystallizing into the style that would define the era.Second edition, Good condition (13½ × 22 in.), corner imperfections consistent with age and period handling, honestly graded and priced accordingly. A poster-only lot documenting the pre-album Dead at their most purely local and alive.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 109 | Cream | The Fillmore & Winterland February 29–March 3, 1968 | Lee Conklin | Third Edition

hi@basta.app