BG-134 Grateful Dead, Santana 1968 Fillmore West Poster Graded a Unique 10 Gem Mint....

Description

RIGHT THERE WITH THE SKELETON & ROSES AND FLYING EYEBALL

BG-134 Grateful Dead, Santana 1968 Fillmore West Poster Graded a Unique 10 Gem Mint. Hyperbole is usually held back in these pages, but who could possibly hold back while describing this beast? A massive, screaming perfect 10 Gem Mint grade - the only one ever awarded this poster - on an iconic, psychedelic masterwork of a concert poster that almost everybody knows - rock fan or not - designed to sell tickets for the most enduring and beloved American rock band to emerge from the 1960's, still playing to tens of thousands of spectators today.

We're going to pause to catch our breath while you let that sink in.

You know this poster. Your friends all know this poster. Your mailman knows this poster. Unless you're under 30, this image has crossed your field of view in one fashion or another in the 57 years that it's existed. I once had a classical-musician girlfriend who disdained my rock hobby but actually said, "If you ever run across a cheap copy of that poster, I'd like it for my wall." Have you ever heard anybody say about this poster, "Nah... don't like that one so much"?

To cover the formalities, this is a first-printing San Francisco concert poster for the Grateful Dead, Santana, Steppenwolf and three other acts playing at the Fillmore West Auditorium (in two series of shows) covering Tuesday thru Sunday, August 27-September 1, 1968. Famously designed by Lee Conklin and known as BG-134 in the Bill Graham numbered series, this poster has been graded a roaringly perfect 10 Gem Mint by CGC (the Certified Guaranty Company), truly an investment-quality grade if ever there was one. And it carries the prestigious pedigree of coming from the Tim Backstrom Grateful Dead Collection, which Heritage is auctioning off all year long to great success.

One of the things you hear over & over about this poster is that people keep seeing things they hadn't seen before. Whether it's the whiskers emanating from two faces, the grass skirt doubling as the lion's chin or the African woman with her breasts inside the lion's mouth, there are always new things to discover. "Conklin's art is the gift that keeps on giving," says Scott Montgomery of the University of Denver, who curated an exhibit of Conklin's work at the Haight Street Art Center a few years ago. "Sometimes I see things that maybe aren't even there. I call it the 'Conklin effect.'"

Adds Ted Bahr of the Bahr Gallery of concert poster art, "The detail in this poster is simply amazing, and the imagery is both sublime and complicated. Although Bill Graham preferred color posters to advertise his concerts, BG-134 was so powerful in its original pen and ink, it was sent to press that way."

Conklin designed 35 posters for Bill Graham from 1968-1970, advertising shows at the Fillmore, Winterland and the Fillmore West concert halls. But this one has to be regarded as his crowning achievement. According to TRPS.org, the web site of The Rock Poster Society, "For many music fans, Lee Conklin is the 'Santana-lion guy'... a reference, of course, to his famous design for Santana's first album, whose central image was taken from his Fillmore West poster. BG-134 is a stunner, and few artists are fortunate enough to have created a work of art that is so universally recognized and beloved."

From an early age, Conklin identified himself as an artist. He attended K-12 in Spring Valley, New York. He then moved to Grand Rapids, Michigan and attended Calvin College, a conservative church school. But Lee was labeled a beatnik, and was the cartoonist for the college paper. He was also labeled a trouble-maker for doing avant-garde paintings and blasphemous poetry. Upon discharge from the Army, Conklin became acquainted with the new San Francisco poster-art scene and moved to S.F. to try his hand. His work was an immediate success, as the world now knows.

As for the musicians on this poster, you know some of them well. The very week of these shows, the Grateful Dead's second album, Anthem of the Sun, entered Billboard magazine's LP chart. Steppenwolf was riding high on their very first hit, "Born to be Wild," presently the #2 record in the country. The Staple Singers signed to the prestigious Stax Records label in Memphis this year, and released two albums with guitar legend Steve Cropper. Mainstream commercial success for the Stapes wouldn't arrive until the 70's.

There's not much we can say about Santana, because it would be a year before their debut album on Columbia Records would come out, with this poster's artwork giving it visual gravitas like few others of the rock era. We're just happy they weren't still the Santana Blues Band, because that one powerful word "Santana" says it all - especially on this poster.

The Preservation Hall Jazz Band were based in New Orleans, spreading the gospel about that music and were only five years into their career at this point. And the Sons of Champlin were from Marin County just north of San Francisco, and featured front man Bill Champlin. Rather than a psychedelic band, they were more straight-ahead rock which featured horns and R&B influences. Champlin would eventually turn solo in the late 70's and then join the huge rock group Chicago in 1981.

So at the end of the day, this beautiful poster represents one of the most popular and enduring images to emerge from the psychedelic poster scene of the 1960's. It's a poster for the ages, no question about it, and we're thrilled to be offering one of those 60's posters that everyone wanted to put up on their wall... but in unique, pristine, museum-quality condition, now preserved forever. Measures 14" x 21". From the Tim Backstrom Grateful Dead Collection. COA from Heritage Auctions.

Heritage Auctions provides as much information as possible but strongly encourages in-person inspection. Condition statements are offered as general guidance only, not as complete representations of fact, and do not constitute a warranty or assumption of liability by Heritage. Some condition issues may not be noted but may be visible in the photos, which are considered part of the condition report. Lots estimated at $1,000 or less are not de-framed for inspection, and we may be unable to provide additional details for lots valued under $500. Heritage does not guarantee the condition of frames and is not liable for damage to frames, glass/acrylic coverings, original boxes, display accessories, or artwork that has shifted in the frame. All lots are sold "AS IS" under our Terms & Conditions of Auction.