Relix

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.

WIN 701120 | Steve Miller Band, Country Joe McDonald | Winterland November 20–21, 1970 | Randy Tuten | 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.

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

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

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 701120 | Steve Miller Band, Country Joe McDonald | Winterland November 20–21, 1970 | Randy Tuten | First Edition

hi@basta.app