Relix

One week after this run, Monterey Pop happened, and The Doors weren't on the bill. Deliberately excluded, as the story goes, for not fitting the peace-and-love image of the festival. While Jefferson Airplane and Big Brother played to the world at Monterey on June 16th, The Doors had just finished two nights at the Fillmore that by all accounts were as intense as anything they put down that year."Light My Fire" was climbing the charts in real time during this run, still six weeks from hitting number one, but already pulling the band out of the underground and into something wider. The June 9–10 Fillmore stand sits right at that hinge. The room knew it was watching something shift.One documented footnote: during these shows, Morrison accidentally caught Bill Graham in the head with a twirling microphone. Graham received a hand-painted helmet as an apology before the next Doors Fillmore run in July.Bonnie MacLean's design comes in her post-Wilson period of full authority over the Fillmore's visual identity. Third edition, Very Good condition (14 × 23 in.), a single corner ding at bottom right, otherwise clean and displayable. Priced for the 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 67 The Doors, The Fillmore Poster June 9-10, BG 67 | The Doors | The Fillmore June 9–10, 1967 | Bonnie MacLean | 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.

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 32 | The Grateful Dead | The Fillmore October 21–22, 1966 | Wes Wilson | Second Edition

Before the album. Before the Summer of Love. Before Monterey. In December 1966, the Grateful Dead were still almost entirely a San Francisco phenomenon, and Bill Graham put them on a three-night bill that tells you everything about what the Fillmore was doing culturally.Big Mama Thornton, the Texas blues titan who wrote "Ball and Chain," shared a stage with the Dead just six months before Janis Joplin's Monterey performance of that same song changed everything. Tim Rose, whose recording of "Morning Dew" directly shaped the version the Grateful Dead would make one of the most anticipated moments in their live catalog for the next three decades. Three nights, three wildly different musical lineages in the same room, all pointing toward something the world hadn't quite named yet.Wes Wilson at catalog number 41 — early in the BG series, his psychedelic typography was still finding its full voice. Second edition, Very Good condition (14 × 22⅛ in.), clean and fully displayable. A poster-only lot that documents one of the more historically resonant triple bills of the entire Fillmore era.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 41 | The Grateful Dead | The Fillmore December 9–11, 1966 | Wes Wilson | Second Edition

Eight weeks before Monterey Pop transformed Janis Joplin into a national phenomenon, she was still playing three-night stands at the Fillmore, this time opening for one of the architects of the electric blues. Howlin' Wolf, whose "Smokestack Lightning," "Spoonful," and "Back Door Man" ran through the DNA of virtually every band playing the Fillmore circuit, headlining alongside the band that was about to change everything. The generational transfer happening in that room across three nights in April 1967 is as loaded as any bill in the series.One collector's note on the poster itself: Wes Wilson, working at pace, spelled the headliner's name "Howling Wolf", the extra "g" a documented production quirk that has become part of BG 60's identity among collectors.Worth knowing for the record: BG 60 was printed once. Every surviving copy is a first edition, no reprints were ever produced, making this a single-pressing artifact with no secondary market to dilute it.First edition, Very Good condition (14 × 23¾ in.). Clean, displayable, honest age-appropriate handling. A poster-only lot that catches Janis Joplin at the Fillmore in the last quiet weeks before everything changed.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 60 | Howlin' Wolf, Big Brother & The Holding Company | The Fillmore April 21–23, 1967 | Wes Wilson | First Edition

May 1967: the Grateful Dead's debut album has been in the world for seven weeks, Monterey Pop is six weeks out, and the Summer of Love is about to detonate San Francisco into the national consciousness. This two-night stand at the Fillmore catches the Dead at the precise hinge point, a recording band now, but still playing the room that made them, right before everything went irreversibly wide.Supporting acts worth noting: The Paupers, the Canadian outfit who would share the Monterey bill with the Dead just six weeks later, making this an early document of that festival's orbit.BG 62 is Wes Wilson working deep into his Fillmore tenure, by mid-1967 he would depart following a dispute with Graham over royalties, making his later BG numbers among the final artifacts of one of the defining designer-venue relationships in American rock history.Second edition, Good condition (14 × 23 in.), corner creases consistent with period handling, honestly graded and priced accordingly. A poster-only lot. For the Wilson completist or the collector building the Dead's pivotal 1967 Fillmore run, BG 62 lands at a genuinely significant moment in the calendar.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 62 | The Grateful Dead | The Fillmore May 5–6, 1967 | Wes Wilson | Second Edition

Sixteen days after Janis Joplin walked off the Monterey Pop stage and into rock history, Big Brother and the Holding Company came home to the Fillmore for six nights. The audience in that room knew what had just happened, they'd been watching it build for two years, and this run, opening on the Fourth of July at the height of the Summer of Love, carries the full weight of that moment. San Francisco's counterculture at its absolute zenith, document in hand.Bo Diddley headlines, the man whose 1955 beat became one of the foundational rhythms of rock and roll, still a commanding live presence a decade later, and an inspired booking alongside the most talked-about band in America that July.Bonnie MacLean's design arrives in the period following Wes Wilson's departure from the Fillmore, her work stepping fully into its own authority in the BG series.First edition, Excellent condition (14 × 21 in.), no folds, no tears, paper clean and bright. The strongest grade in this lot series, priced accordingly and ready to display. A poster-only lot documenting one of the most charged weeks in Fillmore history.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 71 | Bo Diddley, Big Brother & The Holding Company | The Fillmore July 4–9, 1967 | Bonnie MacLean | First Edition

July 25, 1967: "Light My Fire" hits number one. That same night, The Doors walk onto the Fillmore stage for the first of six nights. The commercial breakthrough and the Fillmore run land on the exact same date, BG 75 is the document of that collision, the moment the Doors crossed fully from underground phenomenon to the biggest band in America, playing the room that built them.Sharing the bill: The Yardbirds, but not the band most collectors picture. By July 1967, Eric Clapton and Jeff Beck were long gone. This is the Jimmy Page lineup, twelve months before Page would walk away and form The New Yardbirds with Robert Plant, John Paul Jones, and John Bonham. The band that became Led Zeppelin was one year away. What's on this poster is its direct predecessor, at the Fillmore, on the week "Light My Fire" went to number one.Six nights. Two bands at defining moments in their respective trajectories. Bonnie MacLean's design in her full Fillmore authority.Fourth edition, Very Good condition (14¼ × 21 11/16 in.), mild creases consistent with age, clean and displayable. Priced for the grade, and one of the more historically loaded bills in this entire series.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 75 | The Doors, The Yardbirds | The Fillmore July 25–30, 1967 | Bonnie MacLean | Fourth Edition

October 1967: Syd Barrett's Pink Floyd on their first American visit, The Piper at the Gates of Dawn freshly in the world, playing three nights at the Fillmore. Within months Barrett would be gone, his mental health deteriorating through the end of 1967 and into early 1968, David Gilmour stepping in by spring. This three-night Fillmore run sits in that narrow, irreplaceable window: the original lineup, the original vision, still intact.BG 90 is Bonnie MacLean designing at the height of her Fillmore authority, one week before the same venue would host Pink Floyd again alongside Big Brother for the legendary BG 91 run.The anchor is a third-edition poster in Excellent condition, clean, fully displayable, no folds or tears at 13 × 20 in. Accompanying it is a single original show ticket from the opening night, October 26, grading Fair; a surviving artifact but not a display piece. For the Barrett-era collector, the poster stands on its own. The ticket is provenance.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 90 | Pink Floyd | The Fillmore October 26–28, 1967 | Bonnie MacLean | Third Edition

Steve Miller built his name at the Fillmore. He appeared at Monterey Pop in June 1967, recorded his debut in London the following year, and spent the years between building one of the most consistent catalogs of any San Francisco original. By November 1970 he's headlining two nights at Winterland behind Number 5, and that album carries weight beyond its chart position. "Jackson-Kent Blues," its most charged track, was a direct response to the killing of four students at Kent State six months earlier. Performing it live in San Francisco in November 1970 landed differently than almost anywhere else in the country.Sharing the bill: Country Joe McDonald, the Bay Area folk-rock icon whose band the Fish had just dissolved. Two artists whose careers had grown up together in the Haight, on the same Winterland stage as the 1960s fully gave way to the new decade. Bill Graham understood the resonance of that pairing.Randy Tuten's first-edition design sits in the Winterland Productions catalog rather than the BG numbered series, placing it outside the most actively traded segment of the market, which tends to keep prices accessible for collectors building the early 1970s Winterland run.First edition, Very Good condition (14 × 21 in.), clean, fully displayable, no significant wear. A poster-only lot priced at a level that reflects the grade and the catalog designation rather than the cultural weight of the bill.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 67 The Doors, The Fillmore Poster June 9-10, BG 67 | The Doors | The Fillmore June 9–10, 1967 | Bonnie MacLean | Third Edition

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