Relix

February 1968: The Who Sell Out had been in American record stores for roughly six weeks, and the band was touring behind it through the same circuit that had made their Monterey Pop performance the previous summer one of the most talked-about sets of that festival. Three nights at the Fillmore and Winterland, Pete Townshend, Keith Moon, Roger Daltrey, and John Entwistle at the precise moment The Who were cementing their American reputation as the most physically dangerous live act in rock.The bill is pure Graham: Cannonball Adderley, whose "Mercy, Mercy, Mercy" had crossed jazz into soul radio the previous year, sharing three nights with a British rock band hell-bent on destroying their own equipment. The Vagrants, worth noting, featured a young Leslie West, years before he founded Mountain. The eclecticism is the point, and it's why these posters remain so historically charged.Lee Conklin's design is among the most sought-after of his Fillmore tenure, intricate, densely worked, unmistakably his hand.Condition is honestly graded Fair: creases and tack holes consistent with period wall display (13 7/8 × 21 in.), priced accordingly. A poster-only lot for the Who collector or Conklin enthusiast building the 1968 Fillmore run at a genuine entry 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 108 | The Who, Cannonball Adderley, The Vagrants | The Fillmore & Winterland February 22–24, 1968 | Lee Conklin | First 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.

February 1967: Quicksilver Messenger Service headlining three nights at the Fillmore, their marathon improvisational guitar interplay between John Cipollina and Gary Duncan already defining what San Francisco psychedelia could sound like at full stretch. What the poster doesn't tell you, and the handbill does, is that Jefferson Airplane was also on the bill, in the same month Surrealistic Pillow was released. "Somebody to Love" and "White Rabbit" were brand new. The room that weekend was carrying the full voltage of a scene at its most generative.This is the document of that discrepancy: a Wes Wilson first-edition poster that went to press before the Airplane was added to the bill, and a handbill, printed later, that carries both bands and tells the complete story. Both pieces, one run, one designer.The poster grades Good, with tack holes and creases from period display (13 9/16 × 23 3/16 in.); the handbill grades Excellent, clean and bright at 4 7/8 × 8 1/8 in. The handbill is the stronger physical piece. Together, they document a show that the poster alone only partially captures.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 48 | Quicksilver Messenger Service, Jefferson Airplane | The Fillmore February 3–5, 1967 | Wes Wilson | First Edition

Pink Floyd's American debut. Syd Barrett's first, and only, United States tour with the band. By the time the November 2–4 run at the Fillmore concluded, Barrett's deterioration was visible enough that within weeks the band would ask David Gilmour to join as cover. By April 1968, Barrett was officially gone. BG 91 documents the original lineup, on American soil, for the first and last time.Sharing the bill: Big Brother and the Holding Company, four months after Monterey had made Janis Joplin a household name. The collision of Barrett's psychedelic Cambridge vision and Joplin's raw San Francisco power on the same Fillmore stage across three nights is the kind of bill that gets taught in music history courses. The Metropolitan Museum of Art holds BG 91 in its permanent collection, a meaningful marker of where this poster sits culturally.Bonnie MacLean's design is among her most celebrated Fillmore works.The anchor is a first-edition poster grading Good: tack holes and creases consistent with period display (14 1/16 × 21 1/8 in.), priced for the condition. Accompanying it is a rare uncut double handbill covering both BG 91 and BG 92, two consecutive weeks of shows on a single uncut sheet (4½ × 14 in.), designed by MacLean and Nicholas Kouninos. The handbill grades Poor and requires condition notes before listing; it is a document piece, not a display piece, but as an uncut double, its format is genuinely uncommon in the market.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 91 | Pink Floyd, Big Brother & The Holding Company | The Fillmore November 2–4, 1967 | Bonnie MacLean | Poster & Rare Uncut Double Handbill | First Edition

Axis: Bold as Love had been in American record stores for roughly two weeks when Jimi Hendrix walked into the Fillmore for this four-night run. The second album, the one that showed exactly how far the Experience intended to push the form, was brand new, and the band was playing it live at the venue that had done more than any other to build their American reputation. BG 105 is the document of that moment.The bill is equally remarkable in depth: John Mayall, whose Bluesbreakers had already launched Eric Clapton and Peter Green, and Albert King, whose "Born Under a Bad Sign" had just redefined what the electric blues could be. Three generations of the guitar lineage on one poster.Rick Griffin's design is among his most celebrated Fillmore works, one of the Big Five artists at the height of his powers, producing an image that has become inseparable from how collectors picture the Hendrix-era Fillmore.Condition must be disclosed clearly: this second-edition copy is dry mounted to a backing board, an irreversible process, and shows paper loss, grading Fair overall. It is not a display piece. For the Hendrix completist or Griffin collector building historical depth at an accessible price point, it remains a legitimate original artifact of a genuinely significant run.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 105 | The Jimi Hendrix Experience, John Mayall, Albert King | The Fillmore & Winterland February 1–4, 1968 | Rick Griffin | Second Edition

Sixteen months after Woodstock. Eleven months before There's a Riot Goin' On. December 1970 is the precise hinge point in one of the most dramatic transformations in American music history, the moment between the joyful, Technicolor Family Stone that tore Yasgur's farm apart and the dark, paranoid, studio-isolated Sly Stone recording alone in a Bel Air mansion. This two-night Winterland stand is documented evidence that the band actually showed up, by this point, of the 80 scheduled concerts that year, Sly had already missed 26.Also on the bill: Little Sister, the vocal group led by Sly's sister Vet Stewart, whose harmonies would appear throughout There's a Riot Goin' On. The cast of the next album, performing at Winterland ten days before Rolling Stone ran a piece asking publicly where Sly Stone had gone.Randy Tuten's first-edition design is among his Winterland-era work, collectible, period-correct, and outside the BG numbered series, which makes Winterland Productions pieces like this less commonly seen in the market.Condition must be disclosed: Fair, with handling marks, this is a document, not a display piece, priced accordingly at 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.

WIN 710211 | Sly & The Family Stone | Winterland December 11–12, 1970 | Randy Tuten | First Edition

November 1968: Anthem of the Sun had been out four months, Aoxomoxoa was still being recorded, and the Grateful Dead were deep in their most psychedelically experimental period, playing four nights at the newly renamed Fillmore West alongside Quicksilver Messenger Service, whose self-titled debut had landed earlier that year. Two of San Francisco’s most essential bands, at the height of their creative powers, on the same bill for four nights. This is the Fillmore West in its purest form.Lee Conklin’s design recalls Renaissance paintings of faces fashioned from vegetables and animals, a Mercury figure assembled from interlocking human forms, the staff topped by a grinning skull. It is among his most ambitious compositional works in the BG series, and among the most immediately recognizable.This first printing was produced before the concerts on plain matte uncoated stock , distinguished from the second edition by the absence of a “W” at the end of the ticket outlets strip. The dimensions, 14 1/16 × 20 3/8 in., confirm the first pressing.Fair condition with corner creases, honestly graded and priced accordingly. A poster-only lot.

BG 144 | The Grateful Dead, Quicksilver Messenger Service | The Fillmore West November 7–10, 1968 | Lee Conklin | First Edition

"The Sound" was Bill Graham's own description of what was happening musically in San Francisco in the fall of 1966, and he handed those two words to Wes Wilson, who turned them into one of the most celebrated images in the entire Fillmore canon. The curvaceous nude female figure Wilson built around Graham's phrase became so immediately iconic it drove multiple print runs, making BG 29 one of the rare early BG posters that exists in documented editions precisely because demand demanded it. The bill is equally loaded. Jefferson Airplane, debut album barely six weeks old, Signe Anderson still on vocals in the last weeks before Grace Slick's arrival transformed them, sharing six nights with the Paul Butterfield Blues Band, whose Newport Folk Festival appearance the previous year had already changed how rock musicians understood the electric blues. And Muddy Waters, the architect of Chicago blues, whose vocabulary ran through everything on that stage.Three lineages of American music, one poster, one phrase that Graham coined to name a scene that had never been named before.Second edition, Fair condition (13½ × 24½ in.), creases and rips at the top, honestly graded and priced for the condition. A poster-only lot. For the Wilson completist or early Fillmore historian, BG 29 in any edition is non-optional.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 108 | The Who, Cannonball Adderley, The Vagrants | The Fillmore & Winterland February 22–24, 1968 | Lee Conklin | First Edition

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