Family Dog corrections
Bill Graham corrections
Batman essay corrections
Graham tickets corrections
Neon Rose corrections
If you have questions or information that might be useful in keeping my guide up-to-date, I may be reached at firstname.lastname@example.org.
Return to Eric King's Main Page.
After the copyrights page add:
PUBLICATION HISTORY OF THIS GUIDE
It has been brought to my attention that there are collectors who are interested in the publication history of this Guide. The following should enable them to determine what edition(s) they have and when they were published.
The First Edition A was published in 1980 by Vogue Press in an edition of 100 copies. It is 121 pages long.
Between 1984 and 1993 the Guide was published in about four separate editions B, C, D, and E.
These are 149 pages long and vary only slightly. These editions were 150 copies each.
The Second Edition was published in 1996. “c 1996 SVAHA PRESS” appears at the bottom of the third page. It is 457 pages long. This is the first illustrated edition. This edition was 150 copies.
The Third Edition was published in 1999. It is 642 pages long. This edition was 150 copies.
The Fourth Edition was published in 2001. It is 646 pages long. This edition was 150 copies.
The Fifth Edition was published in 2003. It is 655 pages long. This edition was 150 copies.
The Sixth Edition was published in 2004. A small “6” appears in the lower right corner of the front page cover. It is 664 pages long. This edition was 150 copies.
The Seventh Edition was published in 2006. A small “7” appears in the lower right corner of the front page cover. It is 681 pages long. This edition was 150 copies.
The Eighth Edition was published in 2008. A small “8” appears in the lower right corner of the front page cover. It is 698 pages long. This edition was 150 copies.
The Ninth Edition was published in 2009. A small “9” appears in the lower right corner of the front page cover. It is 797 pages long. This edition was 150 copies.
Under acknowledgments add:
"Even later additions to the list of acknowledgements are: Mark L. Corley, Joe Armstrong, Vance Carpenter, Bert Webb and Michael Bradford."
At the PMA show in October 2000 Mark Powers pointed out to me that his name was nowhere to be found on this list of acknowledgements. This is a major oversight for which I humbly apologize. Mark’s contribution to this scholarship is substantial.
Still later additions are Jim Northrup, Cindy Lefton, Theofilos J. Pappas, John Smith, Chris Gerrie, Lutz Hieber, Gisela Theising, J. C. Hall.
Thanks to Michael Erlewine for correction of many typographical errors.
Steve Hathaway, Bill Hahn, Arnold Benetti, Sue Nelson, John Arimond, Tom Hamilton, David Ruma and Jack Perno.
Mark Corley, Kevin Phillips, Doug Garn, Mark Forer, Christian
Peterson, Bill Culnane, Roger Clark, Dan Powell
Pat McGauley, Henry Josephson, Ross Hannan, Toni Franklin,
Jeremy Reynolds, Steve Young, Chris Gibson
Greg Hodal, Peter Ostertag, Paul Turansky, Maria Lewis, David
Pierson, Jerol Weinberg, David Bannigan, Jon Burr
Matthew Warman, Craig Purnhaven, Glen Trosch, Roge Loyd, John
Adelfson, Mike Storeim, Kelli van Gool, Scott Adell, Doug
Bern Pedit, Houston Freeberg, Tom Anderson, David McLaughlin.
In 2009 Robert Beerbohm pointed out to me that around 1990 he helped me sort out some confusion over BG-18, and now his name is belatedly added to this acknowledgements page, Jeff Gold, Mark Smigel, Rick Holgerson, Barry Mayer, Kris Mikkelson, Vince Dugar, Bill Fisher.
For the eleventh edition add: Stewart Eiss, Rich Hesselein,
Cliff Yamasaki, Emma Roper, Steve Hathaway, Richard Webster,
Robert Gifford, Joel Krakow, Doug Hurlbot
After Some Words About Micrometers add:
SOME WORDS ABOUT BLACK LIGHT
Another major step forward in identifying the various printings of these posters was taken when Jacaeber Kastor suggested that we examine paper stocks on poster backs under black light. In some cases the differences are dramatic. This tool has been successful in distinguishing some of the most difficult and problematic originals from their reprints. I now believe that anyone who is serious about the study of these posters should purchase a black light. They are available in most hardware stores at inexpensive prices.
Before the Family Dog section add:
Response to Phil Cushway
In July of 2001 Mr. Phil Cushway, owner of Artrock, made a number
of complaints about this guide as part of a brief essay posted on
with eBay item 1446507650, a copy of
FD-66-RP-2. In order to do justice to Mr. Cushway's criticisms I will quote them in their entirety exactly as they appeared:
"In general I hesitate getting at all involved in the designation of what is, or is not a first printing. In many cases it is possible to distinguish with relative certainty, that there were two printings and what contra-distinguishes them apart. In many cases, however, this is not possible. The primary text used for this purpose, Eric King's "collector's guide" changes over the years with some posters that are "only printed once" in one edition, now has different printings; posters thought to be second printings are now considered to be the reverse; posters with several printings before are now considered to be part of a single-edition; newly discovered. The recent (within the last year) discovery of "small dots" or "small lines" is now thought to separate "printings". I try to rest my reasoning on the following premises: 1) That I was not present at the printer at the actual time of printing and therefore can never say for certain without a lot of proof that these were in fact multiple printings and how to tell the difference. 2) That professional printers who would do things in the most reasonable and simplistic manner primarily printed these posters. 3) That in general, what was the most likeliest, and simplistic explanation is what probably happened. 4) We should not try to read something too complicated into what is a very straightforward process."
Mr. Cushway has raised a number of issues which merit a careful, well-reasoned response. The most important point that should be made is that most of the criticisms Mr. Cushway makes relate to changes between my earliest guide to this material, the first edition, which I wrote in 1978 and 1979, and the expanded, illustrated third edition which I wrote in 1995. In the earliest edition I disregarded the subtle differences between many of the printings of Family Dog posters from FD-43 to FD-86. In 1978 I felt that since the Family Dog had chosen to designate each of these printings as "-1" even though some had been printed weeks and even months after the concerts, I should accept the decision of the copyright holder to make such a designation. It is important to note that at that time these specific Family Dog posters sold for a maximum of $5.00 each, and, like almost everyone else, I never anticipated that they would have the values they currently do.
The main reason that I wrote the original guide is that reprints
of early Bill Graham posters were being sold by people claiming
they were originals. Here there was a genuine difference in value.
And original BG-8 might have been worth $20 while a reprint was
worth only $3.00, and
there was every reason to believe early originals would continue to increase in value if collectors felt confident about what they were buying. No such problem existed with Family Dog posters from No. 1 to No. 41 because these were almost all clearly marked. In 1978 although I was aware of the problem with the undesignated reprinting of Family Dog posters from No. 43 to No. 86, I chose to ignore it. I have apologized for this poor scholarship repeatedly, and I do so again here. My earlier guide was inadequate in this regard, and I have regularly given buyers of that guide a substantial discount on the purchase of the newer ones, but it is important to repeat that quite a few of these distinctions were not only very subtle and difficult to describe, they were also on items which had what was essentially the same value, $5.00 in mint condition. The notion of devoting an additional several hundred hours to the writing of the 1978 guide in order to distinguish this material under these circumstances seemed excessive to say the least. Almost all the changes Mr. Cushway refers to fall into this specific area where the 1978 guide listed Family Dog posters from No. 43 to No. 86 as printed once when in fact there were multiple printings which I listed correctly in 1995.
Today this material is tens and often hundreds of times more
valuable, collected by multitudes all around the world, recognized
by major art historians as the most important graphic art in the
20th Century and bought mainly as decor. It is hard for people to
understand that in the late
1970s this material was collected only by a few dozen serious collectors and at most a few hundred casual ones almost all of whom lived in the San Francisco Bay area. These were collectors seeking complete sets to put into albums. They were interested in what mainstream Americans in general and the San Francisco art establishment in particular viewed as "the drug crazed ravings of filthy, sex obsessed hippies." (This is a direct quote made to me in the early 1970’s by a high ranking official of the San Francisco Museum of Modern Art whom I shall not embarrass by naming.) By 1990 it became clear that a new edition of the guide was necessary, one which reflected the fact that there were clear distinctions between the various printings of most of the Family Dog posters between No. 43 and No. 86 as well as several Bill Graham posters not noted in my earlier guide. Unfortunately I was unable to work on this revision until 1995. By this time the enormous jump in values necessitated a very precise, thorough and professional guide which I believe I have made available since 1996.
As for more specific criticisms I note the following: there are
only two cases where posters designated originals and posters
designated reprints have been reversed. One is the "Batman," BG-2,
about which I have written a lengthy essay concerning what is
almost certainly the worst
scholarly mistake made not only by me but agreed upon by all the early collectors of this material. The other is FD-44 which was the result of an error by my typist which I failed to catch in the proofreading process to the expanded and illustrated 1996 edition which was the first edition entered into a computer. The failure to catch this reversal was entirely my fault, but it does not represent an error in scholarship. I knew all along which was the correct original. It was properly identified in my handwritten manuscript which I gave to my typist.
The case of the poster which previously had been listed with
multiple printings which I changed to one printing in 2000 is
FD-68. It seems unfair to me for Mr. Cushway to complain about
this since he is the one who pointed out that the evidence of
multiple printings was incorrect. He
presented conclusive proof that the guide was incorrect, and I changed it to reflect the new data. I note that although there is not a lot of similar information which will alter the guide substantially that is likely to emerge following the decade from 1990 to 2000 during which a great deal of the research was done both by myself and by Jacaeber Kastor of Psychedelic Solution, this continues to be a fluid scholarship. Some new material or evidence is discovered almost monthly, and it would be irresponsible for me not to share this with those who use my guide. That is why I maintain my web site, so collectors can access the latest information as it becomes available. While it is not possible for me or anyone else to guarantee absolutely that this or that item will not change, the level of precision now has reached the point where it is extremely unlikely there will be many such changes. Perhaps the best demonstration of this is that there are only about half a dozen serious differences between my guide
and Mr. Kastor's catalogue which is the result of research almost completely independent from my own. We share our results, but we work separately. If we have arrived at this many identical conclusions, it seems reasonable for the collecting public to rely on the notion that there are
not many mistakes in our two works on this topic.
Another related topic which ought to be addressed is the claim by
some parties that Mr. Kastor and I differ greatly on many items.
This is just not so and is very possibly the work of people who
wish to discredit both of us so they can sell reprints which they
claim are originals. The main
differences between Mr. Kastor's catalogue and my guide involve either style or areas of interest. The styles are very different because his is a catalogue of items or sale. He runs a business, and quite reasonably he wishes to sell his wares. Information he gives about printing variations is
only one part of what he seeks to present to his customers. In my guide it is the main information that I wish to present to my readers. Carefully read these two documents rarely state anything mutually exclusive. As for different areas of interest, I seem to have a fascination with things like the fact that a number of early Bill Graham cards which were printed three cards vertically alongside one poster have differences among the three cards, top, middle and bottom (This is other than split fountain differences such as BG-53.). I have laboriously outlined these differences which really would have no utility in a catalogue of items for sale. Mr. Kastor chooses to lump them together. He is well aware of these differences, does not dispute them and even pointed one of them out to me. He seems to have an interest in subtle differences in paper stocks, especially in differences between stocks from the same printing which when viewed obliquely on the reverse under good lighting have either a random texture or a texture which he describes as "rows." My attitude is that since these are from the same printing, I would prefer to lump them together. I am fully aware of these distinctions and do not dispute their existence.
The last of Mr. Cushway's objections that I wish to address is
based on his apparent belief that I use small dots or lines as
proof of the existence of different printings because I use them
as traits distinguishing printings. Actually in these cases I
usually have already proved to my own
satisfaction that there are different printings, and I am merely looking for the clearest and simplest distinctions between them which can be verbally described. These are often small dots or lines which appear on all copies of one printing and no copies of another. So that collectors can understand how this process works, the following is a description of the evidence on two different posters, BG- 205 and FD-49, and how they came to be described as having two printings when previously only one had been listed. I will also cite one case, FD-75, where as yet no such evidence exists but which I list as having two printings anyway, and I will say something about why I do so.
For a number of years beginning in the mid-1980s I had suspected
there might be two printings of BG-205. The reason for this was
that I had noticed there were two variants which were reliably
separable by color. Although the differences were subtle, they
were consistent, and I saw no transitional copies, copies partway
between the two in color which would indicate one run during which
the ink was changed, a common occurrence with early Bill Graham
posters. Furthermore the cards seemed to match one variant of the
poster, but the cards were not printed on the same sheets at this
stage of psychedelic history. While interesting, this was not
adequate evidence to warrant my changing the guide to indicate two
printings, especially since it was not one of the six unmarked
1975 reprints and no copies of BG-205 bore the script "W" which at
the time was thought to mark all post 1975 Bill Graham reprints (I note in passing that after BGP reprinted the six posters Nos. 170, 188, 210, 211, 214 and 216 in 1975, I wrote a letter to Bill Graham very politely suggesting his attorneys check California law regarding reprinting of
posters. I mentioned that the law prohibited selling reprinted posters without designating them as reprints. I never received a response, but afterwards the reprints bore this script "W."). I simply waited to see if further evidence would appear.
In 2000 Michael Bradford, a part-time poster dealer in North
Carolina who knew I was interested in this image e-mailed me that
he had acquired a very interesting item, a proof sheet of two
posters, a BG-205 with no script "W" and a BG-140 with a script
"W." It was on glossy, coated stock similar to that used for Bill
Graham originals from No. 150 to No. 286. This was clear evidence
of a BG-205 reprint, and I asked him to send it to me so I could
study it. When it arrived, I pulled out six copies of BG-205 I had
saved, three from one group, three from the other. The proof sheet
clearly matched one group, so that group was definitely the
reprint, but although the colors of the two groups were different,
the differences were
very subtle, and it was not possible to describe these differences verbally. Furthermore since few collectors nowadays were likely to have copies of both variants, it would not have been possible (as it was in the 1970s when there were few collectors most of whom had most known variants)
to say "hold your two copies side-by-side and look for the one with the darker magenta..." I had to find some mark that appeared on all of one edition and none of the other.
I noticed that on three copies there was a small black line on the right edge of the poster midway between the top and bottom. Having seen this sort of mark on posters on several previous occasions, I recognized this as a remnant of a printer’s bull's-eye which had been placed too close to the image and could not have been completely removed in trimming without creating an unattractively narrow border (A printer’s bull's-eye is a circle with two crosshairs through it, one vertical, one horizontal. Usually there are four on an uncut sheet, usually center top and bottom and center left and right sides. They are used to realign the press exactly between the different runs with the various plates so that colors are printed in exactly correct registration. These are usually trimmed off after the printing process is complete.).
I saw that the BG-205 on the reprint sheet was on the viewer’s
left so the right border of the
BG-205 was in the middle of the sheet between the two images. That meant there could he no copies of the reprints with the black line in the right margin because there could not be a printer’s bull's-eye at the center of the sheet. There would have been no room for it. It could only be there on the original, and it was extremely unlikely any originals existed which had been trimmed so far in as to eliminate this black line entirely because this would have created a drastically unbalanced poster.
I then changed the guide to include this new information. I note
that the small line was not used as "proof" of two printings, only
as the distinguishing characteristic, and that there was
substantial and convincing evidence beyond the existence of the
small line that there were two
printings. I did not describe the evidence because if I attempted to give the reader all the evidence on every image, the guide with the four or five times its current size.
The case of FD-49 is similar but not identical. With Family Dog
items the printing records for the numbers from 43 to 86 exist in
the form of the carbon copies of the billing from California Litho
Plate to the Family Dog. In general these do not show by number
which items were reprinted.
They simply read "reprints 5M," but there are enough such receipts from week to week that it is obvious almost all of these numbers were reprinted. Furthermore proof sheets of both originals and reprints exist in most cases. Original proof sheets are readily distinguished from
reprints by the presence of cards. An employee of California Litho Plate has confirmed the long held belief that cards were never reprinted with Family Dog posters. As with BG- 205 it was clear that there were two groups of posters, one a range of darker blues which match the cards and
one a lighter blue which did not. Again I set aside several copies from each group and awaited further evidence. It was suspected that the darker was the original and the lighter the reprint, but this was not certain.
Jacaeber Kastor then did the same thing, stored away a few copies
of each, and one night when he had some time to spare he spread
out on the floor a selection of both groups and spent several
hours looking at them. Eventually he noticed that on all the light
blue copies there was a
small, faint horizontal line in the lower margin. This was clearly a mark which was on the printing plate, not a mark made, for example, by piece of dirt which had gotten on the plate during the printing process, had moved around and eventually had been removed by the printer during the course of the printing. While this did not seal the case, it certainly gave credence to the idea that two different plates printed these two groups of posters. Since it was extremely unlikely two plates were made to print the original and there were no light blue cards, he decided this meant there were two printings and listed them as such in his catalog. As a dealer he had access to a substantial number of additional copies which to check, and he also contacted other collectors and dealers to check their copies. All confirmed his thesis. I agreed with the results of his research and changed the guide accordingly. That would have been an adequate end of the story, but several months later two other things surfaced. One was the original artwork which did not have the small line, and the other was a printer's proof sheet of the reprint of FD-49 printed alongside FD-59. On this sheet FD-49 clearly had the small line. As an astute reader can see, the existence of this small line is far from the only proof that there are two printings. It is only one part of a carefully reasoned argument in favor of there being two printings. It is the only one mentioned in my guide and in Mr. Kastor's catalog because it is the easiest means of distinguishing between the two printings, not because it is the sole proof there are two printings which it obviously is not.
After Response to Phil Cushway add:
ESSAY ON. CONDITION 2017
In recent years there has been an increasing obsession with the condition of the posters from the psychedelic 1960s which are being collected by a generation now three generations removed from the era itself. This new generation of collectors is going so far as to have these posters professionally graded for condition and then sealed/encapsulated in plastic containers as if they were coins, not art and mementos of an era of revolution. They also are going so far as to have paper restorers drastically alter them to make them appear to the eye as if they are undamaged. Often these “restorations” are only detectable by paper experts examining these posters with scientific tools like black lights, microscopes, and micrometers.
An interesting point on this topic recently was made by a woman who is part of TRPS (The Rock Poster Society) and who is one of the survivors who was there in the day. She said that since the earliest posters actually were stapled to walls and telephone poles by Chet Helms himself, the original poster artists themselves, or other members of the Family Dog, or people working for Bill Graham prior to the concerts, that these staple pairs on these posters are part of their status as original, that they count as "as issued.” She refers to the pairs of staple holes in the earliest Family Dog posters as “Dog Tracks." This makes them not damage but legitimate parts of their creation, part of their art. To clarify the topic; if you had a copy of the Gutenberg Bible on which Martin Luther had scribbled his own notes in the margins, this would not be damage that decreased its value.
I recently acted as agent of sale for a large collection of posters from the estate of someone who was an active participant in the era from the beginning. The tack holes in the corners were put there by him to stick them on the walls of his apartments. He saw them as part of his daily life from the time they were printed. He would have pointed out that they were created with the intention first of being posted to announce concerts and second of being attached to the walls of hippie pads to be enjoyed by the hippies who lived there. Is that really something we should see as damage, or is it part of their aura of authenticity?
Needless to say, I am not part of the cabal of dealers, collectors, paper conservators etc. who believe that the closer a poster is to the exact condition it was in when it came off the printing press, the more valuable it is. Over twenty years ago Jacaber Kastor, one of the original collectors and experts on the printing history of this material, said something about the collectors of the 1990s which is one of the few things I have heard said about them which I wish I had said, “All these guys who fucked everything that walked now want virgins.”
Let us consider the possibility of buying one of two different copies of FD-26-OP-1, the original printing of the Skeleton and Roses created by Mouse and Kelley of Mouse Studios. The first is the absolutely perfect copy auctioned last year (2016) by Clars Auctions for $19,000.00 which I authenticated as the best original printing I ever had seen and which then, hypothetically, was put into a mylar and stainless steel air tight container after being rated 9.99 by CGC. The second is a copy from the estate of Mario Savio who got it at the concert. At that time it was autographed, “From Chet Helms to my friend Mario Savio. Thanks for coming to the Avalon.” This copy has a dozen tack holes, three in each corner, representing the three times Savio moved while he owned this poster. It is somewhat toned from marijuana smoked by Abbie Hoffman, et. al. It also is signed by Mouse and Kelley below autographs of Bobby Seale, Angela Davis, and Bettina Aptheker, all of whom visited Savio one evening for dinner over which the four discussed Herbert Marcuse. I could throw in a few coffee stains it got during one of Savio’s moves when he was helped moving by Jerry Rubin before Rubin became a real estate consultant. I suspect you will get my point even if you don’t agree with it.
This is not to say that any damage that your poster sustains adds to its value because it adds to its character. If your neighbor’s destructive 16 year old son threw darts at it in your garage in 1996, that depreciates rather than enhances its value. Ditto for the sad event of your cat spraying it when you tacked it to your wall in back of your dining room table, that is, unless you can document that the cat in question was the highly esteemed Fat Freddy’s Cat, the wonderfully named “Chairman Meow.”
There is a lot of difference between a bullet hole resulting from random street violence in 1987 in Fresno, and a bullet hole shot through it in a drunken rage by Hunter S. Thompson at the time he was writing one of the greatest opening lines in all literature, the opening of Fear and Loathing in Las Vegas, “We were in the desert somewhere east of Barstow when the drugs began to take hold.” That opening line is up there with “Sing to me, Goddess, the wrath of Achilles, Peleus son.”
There are other factors, too. Is the corner missing because a careless mover ripped it off the wall without cautiously removing the tacks in 2004, or was the missing corner caused by the fact that Augustus Owsley Stanley III, Bear, accidentally spilled LSD on it, and your grandmother tore off that corner, chewed and swallowed it, and had the best trip of her life, the trip during which your mother was conceived? Things tend to be relative… Including the ramblings of an old hippie.
The case for two printings of FD-75 tends to rest on the evidence
of other images as much is on evidence of FD-75 itself. Here there
are two distinct groups separable by color. Unlike FD-49 where the
two groups were not noticed until after the close of the Avalon
Ballroom, the second
variation was recognized when it appeared in posters shops while the concert series was still running. The lighter blue was very noticeable in contrast to the blue of the original. Therefore it was possible for me to inquire among the early collectors to see if anyone had seen a lighter copy
around the time of the FD-75 concert. No one had. Since there were no cards which matched the lighter blue version, it was, like FD-65, one of the images which very early on led to the suspicion that the Family Dog was reprinting posters which it did not designate as such (By the time I became aware of the California law on this topic, the Family Dog was long out of business.). Since I was not certain about the reprinting of postcards in 1978, in my 1979 guide I only mentioned that there were two variants, and although I had an opinion about which was the first, and that opinion was widely shared, I did not designate the darker blue as the original. By 1995 I knew enough about the printing history of other Family Dog posters from No. 43 to No. 86 to be able to say confidently that since there were very distinct color groups which did not overlap and that one and only one matched the cards, the one which matched the cards was an original and the one which did not was a reprint.
In the case of Family Dogs Nos. 70, 73, 76, 80 and 83 no separate
groupings are now known to exist, and I tend to think that most of
these will continue to be designated as printed only once, but
future evidence is unpredictable. For the rest of the Family Dog
items from No. 43 to No. 86, I believe that evidence exists for
reprinting of each item except for No. 68 where both posters and
postcards vary substantially indicating one printing with several
ink changes and No. 55 where there are almost certainly two
printings (A proof sheet of FD-55 and FD-57 exists.), but I am
unable to separate them consistently to my own satisfaction. Mr.
Kastor believes he can, and although I recommend that collectors
who want to be certain of having an original buy one of each from
him, I am strongly inclined to believe his designations are
correct. We both have spent
hours and hours looking for a consistent scratch or dot to separate them but thus far we have been unsuccessful.
I hope the preceding will convince the reader that the
scholarship of my guide which Mr. Cushway has sought to call into
question is, in fact, accurate and trustworthy.
After Essay on Condition 2017 add:
In 2017 something occurred which requires a substantial paragraph or two which I never thought I would live long enough to have to write. It has to do with the duration of copyrights.In the U.S.A. these last a very long time, so although many attempts have been made in the United States to bootleg the posters in this Guide, all the major attempts have been shut down because the copyright holders, currently Wolfgangs Vault for Bill Graham and Rhino Entertainment for the Family Dog, make vigorous defense of their copyrights against pirates/bootleggers who illegally print their copyrighted images in America. Alas, many countries in Europe and Asia have copyright laws which expire a lot quicker than American ones do. This means that printers in many countries now can print whatever Bill Graham, Family Dog, or Grande Ballroom/Russ Gibb material they want without fear of legal repercussions in their countries.
Once they do their now lawful printing in their home countries,
they soon list these reprints on the worldwide flea market of
everything, ebay. This means that the only recourse someone like
Laura Grimshaw, widow of the late, great Detroit poster artist,
Gary Grimshaw, has against these people trying to steal part of
her livelihood is to apply to ebay's VERO department and get their
listings removed from ebay. Ebay will do this if you file their
forms correctly with the i's properly dotted and the t's properly
crossed, but this does nothing to prevent the pirate printers from
This means that collectors who are just starting out need to be
able to recognize modern digital printing such as that done by
Australian printer who in addition to printing half a dozen of
Gary's posters also printed some of the Bill Graham posters and
the Family Dog Posters. These were removed from ebay on
application of the appropriate copyright holders, but it also
means that these reprints are out there to confuse people.
These are not forgeries intended to deceive serious
investors/collectors. Anyone who has been at this for a while can
recognize that these were not printed by offset lithography in
1968. The inks were sprayed on, not rolled on, and this leaves a
distinctly different surface on the paper. Offset lithography
leaves a relatively even surface following the surface of the
actual paper while sprayed on digital printing creates an uneven
surface of tiny hills and valleys. Also these mostly are printed
to order, and one can order a variety of sizes which usually are
nowhere near the dimensions in this Guide.
I should add that these reprints are very poorly printed, fuzzy,
only approximately correct colors, and worst of all, often as
expensive as legitimate reprints which are readily available. Let
the buyer beware.
After Family Dog essay add:
The Mystery of the Family Dog Capitol Records Reprints
I have had in my possession for a number of years photocopies of two printing invoices from California Litho Plate Company, one of the companies which printed Family Dog material. While I have seen many of the yellow carbon copies of California Litho Plate invoices, I have not seen these two invoices in that form, only as photocopies, but I have no reason to believe they are not photocopies of genuine invoices. One is dated 10/9/1967. The other is dated
11/21/1967. The earlier one indicates that 100,000 Family Dog posters, 5,000 each of twenty different posters, were shipped directly from the printer to Kama Sutra Productions in Los Angeles. Kama Sutra Productions was associated with Capitol Records. The later invoice indicates that another 100,000 Family Dog posters, again 5,000 each of twenty different posters, were shipped directly from the printer to Capitol Records in Los Angeles. Several numbers appear on both invoices indicating that a total of 10,000 of those posters were printed, presumably at different times. The list on the 10/9/1967 invoice is as follows: 1, 3, 5, 14, 17, 21, 26, 28, 29, 30, 33, 38, 39, 41, 42, 43, 50, 54, 56, 60. The list on the 11/21/1967 invoice is as follows: 17, 26, 28, 38, 49, 50, 53, 59, 61, 64, 70, 72, 75, 77, 82, 83, 84, 85, 86, D-5.
Apparently it was the intention of Capitol Records to distribute these posters to record stores across the country where they would be sold. There are copies of magazine ads dating from that time showing nineteen of the twenty posters on the first invoice (Number 41 appears twice, and Number 38 does not appear.). I know of no ads showing the posters on the second invoice. Because these posters were shipped directly from the printer to Los Angeles, copies of many of these printings never were in the Family Dog inventory so no copies of those were distributed in the San Francisco Bay Area unless a handful wound up in a local record store. This also means that no copies of many of these were in the possession of Postermat, the North Beach San Francisco poster shop which bought the Family Dog inventory when the Family Dog closed in 1968. This shop sold posters from the mid 1960s through the 1980s before selling its inventory to Artrock which eventually sold its inventory of Family Dog material to Wolfgangs Vault. This resulted in an almost complete absence of many of these reprints in collections originating in the Bay Area.
Capitol Records has no archive of old promotional material. Furthermore it is their policy to destroy any unused promotional material after six months. They were very helpful when I tried to find copies of these variants, but they were long gone. Over the years I had been able to identify only a handful of these Kama Sutra Records reprints, mostly from the first list, Numbers 1, 21, 28, 33, 38 and 42. All the others were unknown. I thought it was possible that some of these so closely resembled other printings that no one had recognized them, or, more likely, they had never fallen into the hands of one of the few experts sufficiently familiar with the material that they immediately would see they were different.
In 2008 on the internet I encountered someone whose late father had been an executive of Kama Sutra Records. Among the items in his estate was a cardboard package containing copies of all twenty of the Kama Sutra Records reprints. The package, which was printed with the Family Dog logo, appears to have been the way in which at least some of the Kama Sutra Records reprints were distributed to record stores across the country.
I was able to study
each of these twenty posters carefully, and I discovered that
about half of them were from separate printings which can be
distinguished from other Family Dog reprints. The others appear
to be identical to copies which were in the Family Dog inventory
when it was sold to Ben Friedman/Postermat. The fact that about
half of these twenty Kama Sutra Records reprints match copies
which were in the Family Dog inventory in substantial quantities
indicates that at the time the Kama Sutra Records reprints were
printed, another 5,000 of them were printed and sent to the
Family Dog for distribution by them. By identical I do not mean
simply the same colors or paper stocks but also the presence of
common printing zits which are transitory in nature. These are
caused by specks of dirt which get onto the printing plate
during printing process and are periodically removed from the
plate by the printer. If there are common printing zits on
posters, it is clear the plate was not cleaned between the time
one was printed and the time the other was printed. If a press
run was ended at 5,000 and the plate was going to be reused,
even the next day, the plate would have been cleaned, so the
presence of common printing zits speaks strongly in favor of
these which match copies in the Family Dog inventory being
printed in one continuous press run of 10,000
half of which was sent to Kama Sutra Records and half to the
Family Dog. Information about the specific posters can be found
under the listing for each poster.
The fact that some of these Kama Sutra Records reprints have been so difficult to find because they are identical to other well-known Family Dog reprints leads me to believe that at least some and possibly most of the Capitol Records reprints have been so elusive because they, too, are identical to the well-known reprints that were in the Family Dog inventory. Since several of the Kama Sutra Records reprints turned out to be ones I had already catalogued, for example FD-1-RP-3, I think it is possible some of the Capitol Records reprints already have been entered in this Guide, for example FD-D5-RP-2. Unless and until a similar find of Capitol Records reprints is discovered, this will remain a mystery. Of course, if anyone finds such a package of Capitol Records reprints, I would very much like to see it.
I believe it is worth
noting that several of these reprints which definitely were
printed by California Litho Plate nevertheless bear credits from
Bindweed Press, the printing of FD-26 which bears the notation
“FD26 (3)”, or Double-H Press, FD-43-RP-3. This probably means
that film from those printers came into the hands of California
Litho Plate and was used to burn the plates used by California
It is also worth noting that in 1967
or 1968 Chet Helms went to England, and a Family Dog office or
shop was opened. I do not believe any concerts were promoted. The
business at this location sold a number of things including
posters. Some of these posters were numbered Family Dog posters
(Some years ago I saw a number of posters of flags of European
nations which had been stamped as sold by this business.). The San
Francisco Family Dog office sent these posters to London where
they were stamped on the front
“c FAMILY DOG PRODUCTIONS, LTD., ENGLAND”
and on the back
“FAMILY DOG PRODUCTIONS
2 BLENHEIM CRESCENT
LONDON, W.11 01-777-2823”
This was done with a rubber stamp. These posters are not listed under specific numbers because they are standard Family Dog posters. They are no different from other listed posters except for the post printing additions of the two rubber stamps.
After the Mystery of the Family Dog Capitol Records Reprints add:
FAMILY DOG--BINDWEED PRESS PRINTING RECORDS
In the middle 1980s I acquired photocopies of the Bindweed Press invoices for the printing they did for the Family Dog. At the time no one was seriously devoted to figuring out what the printing history was for the later Family Dog posters from FD-42 on, and the possibilities of unmarked early reprints of Family Dog posters between FD-11 and FD-40 just was not high on anyones list of important things to do. I glanced at them, remembered a few generalities, and then put them in a box. In 20/20 hindsight it is too bad I did not study them carefully because if I had, I might have been able to distinguish the originals from the early reprints, but I did not, and that leads us to the current situation in 2013 where there simply is no possibility that anyone ever is going to be able to tell which are the originals and which are the very early unmarked reprints. This has created the necessity where all of these are accepted as originals. This idea is accepted by all the major dealers and collectors.
Over the years I have discovered that several of these posters for which there are early reprints have two clear and distinct groups, one obviously the original, the other the reprint. We just do not know which is which. I have added these pairs to the Guide and to my website. These are FD-22, FD-23, FD-27, and FD-30. I thought that now it might be useful to give the readers of this Guide the additional information that does exist from these invoices so that they will know most of what I know. I also want to say something about the posters that were reprinted but for which there are no recognizable pairs. I say "most of what I know" because there are a handful of facts that someone might interpret to mean that this part of a pair or that part of a pair is the original and the other the reprint. Since nothing that I have been able to learn would prove positively that one or the other is an original or a reprint, I will not add to the confusion about this material by saying things that might only incline someone to think they know the difference. If there is no possibility of proving something with certainty, it would be irresponsible of me to say things like "I sort of think that this makes it more likely that A is the original and B the reprint." Furthermore it would generate real chaos in this market if five years from now what I had said was proved completely wrong. Those of you who have been collecting this material for a long time know what problems the misidentification of the Batman original caused plus the problems that arose from my errors regarding BG-21 and BG-38, and I hope I have gained the wisdom not to create similar difficulties now.
With that preface, here is what I do know:
There are three relevant invoices. One dated Nov. 30, 1966, the second dated Dec. 17, 1966, and the third Feb. 2 1967. The first two list all the Family Dog posters reprinted without notation on them showing they were reprints. These are 18, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34.
Despite the fact that there are two clear and distinct groups for 35 and 36, the printing records do not show them being reprinted without notation, so the two groups of 35 and 36 have to represent changes in the inks used during one press run. The February 2, 1967 invoice says that 14, 17, 22, 24, and 29 were reprinted. While the posters on the Nov. 30, 1966 and the Dec. 17, 1966 invoices were designated by the concert dates, the posters on the Feb. 2 1967 invoice were designated by what was then the new Family Dog numbering system.
It is very important to note here that the Grateful Dead poster on this Feb. 2, 1967 invoice has the number 22 after the words "Grateful Dead," and the 13th Floor Elevators poster on this invoice has the number 24 after "13th Floor Elevators." I am inclined to believe these might be errors. I raise this possibility because no additional printing of FD-22 exists with bracketed reprint notation on it printed on the standard Bindweed Press vellum stock and with Bindweed credit, nor is there a reprint of FD-24 with a bracketed reprint notation on Bindweed vellum with a Bindweed credit. The only other known legitimate reprint of FD-22 is the one on index printed by California Litho Plate which has the notation "No. 22-3" in the lower right corner, and the only other known reprint of FD-24 has the notation "No. 24-2" in the manner used by California Litho Plate in the lower right corner, not the bracketed notation used by Bindweed Press.
I suspect that these actually refer to another Grateful Dead reprint, FD-26-RP-2 which is on Bindweed Vellum and bears the notation 26 (2), and another 13th Floor Elevators reprint,
FD-28-RP-2 which is on Bindweed vellum, and bears the notation 28 (2), but this is educated speculation on my part. The reason I consider this is that Bindweed charged the Family Dog for reprinting some Grateful Dead poster and some 13th Floor Elevators poster on Feb. 2 1967, but it appears these were not printings of FD-22, and FD-24. FD-22 and FD-24 had the same bands listed as the ones on the invoice, and the only other possibilities that I can think of are FD-26 and FD-28 which in fact had the same bands listed as FD-22 and FD-24. Remember that the Family Dog numbering system was very new at this time, that Bindweed did not print Family Dog posters after FD-40, and that Frank Westlake of Bindweed Press more than likely confused the numbers he was told although he apparently printed the images he was told with the correct numbers on them. The billing may have been done earlier or later, and he may have been confused by all this. As a side note, I once was shown a Bindweed printing plate for FD-30 which had the notation "30 (2)" on it, but this plate apparently never was used. No posters bearing this notation exist. Also when
Double-H Press reprinted FD-9 around the same time as these Bindweed reprints were done (a Double-H Press invoice in my possession documents this.), FD-9 was misidentified with the notation "4 (2)." This proves the printers used by the Family Dog had confusion about what were the correct numbers in the new numbering system.
It is worth noting that the printing plates used for these early, unmarked reprints almost certainly were the printing plates used for the originals. Frank Westlake printed most of the Family Dog posters he printed on the same stock, so it is reasonable to assume he printed almost all these reprints on the same stock. He must have bought this stock in quantity from the same paper dealer. This is in contrast to Bill Graham's early printers for whom Wes Wilson purchased remaindered paper in odd lots so that the stock used for many of the Bill Graham early originals varies. Since the paper stock and the printing plates for these unmarked Family Dog reprints were the same as for the originals, the only differences on these reprints from the originals is the possibility that Frank Westlake mixed different proportions of inks for these reprints, so although he strove to make the colors the same, they might not be identical. It also is possible that in the weeks between the original printings and the reprint printings, the plates might have been slightly damaged leading to additional minor print flaws.
In the Guide and in the corrections and additions section of my website I have designated two groups for FD-22, FD-23, FD-27, and FD-30. There is no overlap between the two groups. No transitional copies exist between them, and they obviously represent an original and a reprint. We just do not know which is which, and it is highly doubtful at this late date almost fifty years later that we ever will. These distinctions are in the Guide and/or one my website and need not be discussed further here.
All of the reprints on the Nov. 30 1966 and the Dec. 17 1966 invoices except FD-18 are preceded by the notation "1M." This means that all of these reprints were done in press runs of 1,000. The reprint invoice of Nov. 30 1966 listing FD-18 shows only 300 copies were printed. Since FD-18 was printed on a paper stock very different from all the other Bindweed Press Family Dog posters, I tend to assume that Frank Westlake had only 300 sheets left over from what he had bought for the original printing, and he used these for the reprint. This probably was a remaindered paper, and more identical stock was not available, so that is why there were only 300 reprints. In this case this variant, if we ever distinguish it, will be very scarce.
The difficulties of even finding what might be pairs are made very clear by something that happened recently dealing with FD-24. I was looking at about seven or eight copies, and I noticed that there were two fairly distinct groups based on the reds and the greens. Some of them were more light and pale, and some of them were more rich and dark. It did not appear to be more and/or less ink on the plate. The color itself appeared different. I looked for some printing flaw which might be common to one group and not appear in the other, and I found a flaw that appeared on all the lighter ones and none of the darker ones. I knew better than to conclude something from this small a sample, but I thought it certainly was worth further research. I emailed Mike Storeim of Classic Posters, and he had two more that fit the characteristic. Then I called Dennis King who has spent almost as long as I have looking at these posters, and I managed to persuade him to look through his inventory. He found that not only did he have copies where the printing flaw was greater and lesser down to almost disappearing, he had copies of both color variations with and without the flaw. Obviously this was not a distinction that proved anything besides the possibility that the inks were changed during one or the other press run, and that something went wrong with the plate that printed the red during that run. This sort of thing has happened to me several times with other early Family Dog posters. Some characteristic appears which I think might be significant, and after much research and bothering patient people to whom I am very grateful, I discover that I have barked up the wrong tree.
FD-25 is a poster which has not yet reached a very high price level so it is one that dealers still might have several copies in inventory. In the last decade I have looked at a lot of them, and I can not seem to find anything, printing mark or color distinction, which reliably separates them at all much less into two distinct groups.
By this point it is unlikely that it would be possible to assemble fifteen or twenty copies of the Skeleton and Roses, FD-26, original in one place at one time, and so many of the copies have been subjected to so much sun light that it is doubtful that even if there were a distinguishing characteristic, it is unlikely scholars could find it and then prove that it distinguished two separate printings.
On FD-28 I am inclined to believe we never will find anything to distinguish the two printings because instead of everything being the same as on FD-25, on FD-28 there is a great deal of variation in all the colors. The inks obviously were changed during one or both press runs and transitional copies between the color extremes exist.
On FD-29 there are original copies that are a medium green which is consistent, and there are copies which are dark green which varies from fairly dark to very dark, but the really dark ones are very scarce, so it seems likely that this was an experiment before actual printing started, and that this color was rejected. The medium green is by far the best artistically so it would seem the others were rejected. This seems to prevent using this distinction to declare two separate groups.
On FD-31-OP-2 the printing is monochrome black, and neither I nor anyone else I ever have discussed this with has distinguished any copies (other than a couple with experimental additional silver ink) which are different from the others. It would seem highly unlikely that FD-31-OP-1 with the wrong date was the version that was reprinted without marking. This means this probably is the one most likely never to be separated into two groups.
In contrast to most of the others where there are too many variations, FD-32 seems to be the one where the colors across the runs are very consistent. The means it is unlikely this one ever will be separated into two groups.
FD-33 has at least three different variant originals, medium green, dark green, and olive green. With three variants it obviously is impossible to divide them into two groups, so it is unlikely we ever will know even what the two groups are, much less which group might have been before and which after the concert.
FD-34 is the last poster mentioned on these Bindweed invoices, and for this one there is a progression from lighter to darker colors with all the steps in between. Again there is no possibility of separating them into two groups.
After all this information is considered, what should someone who collects these posters do now? On the one hand if you collect these posters based on aesthetics and for decor, to hang in your dining room, you should not do anything different than you have done all along. You should buy the originals that please your taste. Until and unless humans create a time machine, no one ever will know which of any of these groups are originals and which are reprints, and this means that if your taste prefers the orange FD-27 over the reddish orange version, you should buy it and hang it in your living room. It is an original. If you prefer the reddish orange, buy that for the same reason. It is an original.
On the other hand if you are a collector amassing a set of originals of these posters, I think your situation is quite different. When you collected your copies of Bill Graham posters and you bought BG-29, you acquired one of each of the three different variants, the black and white, the magenta, and the purple. These are all originals, but they are clearly different one from another. The same is true of these Family Dog posters. They are variants of the original, and you should have one of each in your collection when the groups are obviously separate and distinct. In the case of those numbers where there are no separate and distinct groups, then there is not much point in your spending several thousand dollars to acquire four different copies of, for example, FD-33 because this one is several angstroms different in its shade of green from another one you already have. If you bought every one that was slightly different from the others you have, you could wind up with eighteen of them and still be looking for number nineteen. That way lies madness.
One last thing which occurred to me as I was finishing this essay: in the mid 1970s I spoke with someone whose identity I do not remember, but he must have been someone I considered reliable because I consider the following factual. He said that when the Family Dog went out of business around New Year's Day 1968/1969 after losing the lease on the Avalon Ballroom, he went by the Family Dog storefront and found the door open but no one from the Family Dog there. He said there were several people going through the Family Dog inventory and taking whatever they wanted. He said that at that time he found copies of Family Dog Bindweed originals. Since most of the Family Dog Bindweed originals that had been printed before the shows had been posted to advertise the shows, it would appear that as late as the end of the Avalon Ballroom era, the Family Dog inventory still included some of the unmarked Bindweed reprints I have discussed here. On a more primary level this would appear to be further good evidence that the reprints on the invoices I have actually were printed.
As I end a lot of my emails to collectors asking me questions, "I hope this helps."
"Pomegranate Press printed an authorized reprint of this image in
the 1990’s. A Pomegranate
Press credit appears on the reverse"
Under FD-1 description after “… suggested by Chet Helms.” add
“The title of this book is “The American Heritage Book of
Indians.” The editor in chief is Alvin M. Josephy Jr. The title of
the photograph is “Sioux
Chiefs.” It was taken by Edward Curtis.
Change FD-1-RP-3 to read
FD-1-RP-3 In 2000 a copy of the third printing was discovered. It incorrectly bears theAfter notes under FD-1 add:
notation "No.1-2" in the lower right corner. The "Washington Street" credit is
deleted and replaced in the lower left bottom margin with "1967 c Family Dog
Productions 639 Gough St., San Francisco, Calif. 94102". The distance from the base of the "9" to the top of the "o" is the same as on FD-1-RP-2. In 2008 it was determined that this is the Kama Sutra Records reprint. The 2000 copy and the 2008 Kama Sutra Records copy are both on identical stock which has a woven or “rows” texture on the front as well as other similarities. 14 9/32" x 20 5/16" 14 13/32" x 20 9/32"
Under FD-5 change date to "4/22&23/66."
Add to FD-5-RP-3 This poster is on stock which glows or floresces
under black light.
Change FD-5-RP-4 to read
"FD-5-RP-4 The fourth printing on uncoated index has the same markings as FD-5-RP-3. The blue of this printing is substantially lighter than FD-5-RP-3, and the red is slightly lighter. The length is sufficiently different to use as a distinguishing characteristic. In 2008 it was discovered that this is the Kama Sutra Records reprint. The stock has "rows" or woven texture on the back and does not glow or floresce under black light. The previously known copy and the Kama Sutra Records copy discovered in 2008 have identical linear dimensions.Under FD-7 move "Daily Flash" from artists to acts.
14 21/64" x 20 55/64"
Under FD-5-OHB-A add: "In 2009 I was showed a copy of this handbill which was substantially smaller than other copies I had seen. I studied it very carefully under high magnification and determined that it was not trimmed after distribution to hide edge damage but was distributed in this smaller size. Henceforth it should be noted that this handbill appears in various sizes. This item does not have the perforations of FD-5-RHB-D. 11 23/32"x 15 3/16"
After FD-5-OHB-C add
FD-5-RHB-D Volume 9 Number 1 of CA Magazine: The Journal of Communication Art
from 1967 had an article on psychedelic posters. Bound into the spine and
detachable by perforations was a handbill of FD-5. The image size was the
same as FD-5-OHB-A, but the paper dimensions were 11 3/4” x 15 9/16”
Add to FD-9-RP-2 "There is a great deal of variation to the green
of this printing from light to
olive to fairly dark."
Under FD-9 notes add that the picture is of Greta Garbo from the 1932 film Mata Hari.
Under FD-11 change "FD-1-OP-1" to "FD-11-OP-1."
Under FD-12-OP-1 add: In 2011 a forgery dating from
the mid 1970s was discovered. The distinguishing characteristic of
this forgery is the horizontal measurement of the distance along
bottom edge of the rectangle surrounding "AVALON BALLROOM" from the outer side of the left edge of this rectangle to the outer side of the right edge. This
measurement on genuine copies is 13 7/32" plus or minus 1/64."
After FD-12-PP-5 add: FD-12-FP-6 In 2011 a forgery of the original printing of this poster was discovered. It appears to date from the mid 1970s. The stock used was quite thin. The best
way to distinguish this forgery from FD-12-OP-1 and FD-12-OP-2 is the measurement described under FD-12-OP-1. On the forgery this distance is
13 1/64." It is not possible to give the dimensions of this forgery because the copy which was discovered had been trimmed.
Add to FD-14-OP-1 "Most originals were printed in silver ink."
Under FD-14-RP-3 add: "This printing is on stock which is smooth
on the front."
FD-14-RP-4 to read:
FD-14-RP-4 In 2008 the Kama Sutra Records reprint was discovered. Notations are the same as those on FD-14-RP-3, but this separate printing is on stock which has a “rows” or woven texture on the front. The blue is slightly darker on FD-14-RP-4 than it is on FD-14-RP-3.
13 59/64 x 19 29/32”
After FD-14-RP-7 add
"FD-14-OP-8 In 1999 several copies of a variant original printing were discovered printed with gold ink."Under FD-14-PP-5 and FD-14-PP-6 change "priate" to "pirate."
Under FD-14-OHB-B change "FD-14-HBO-6" to "FD-14-OHB-A."
Under FD-14-RPC-C change "5 29/32"" to "4 29/32""
Add to FD-15-OP-1 “Underneath “Sopwith Camel” the poster reads
“FRI. AND SAT. NIGHTS ONLY.” Apparently due to a late change in
the bill some copies have a small sticker covering “SAT.” “SUN” is
hand written on this sticker.”
Under FD-15-RP-2 change "two" to "three" and "both" to "all" twice. Add "It is on dull/matte finish stock."
Under FD-15-RP-3 add "It is on a semi glossy stock."
After FD-15-RP-3 add
"FD-15-RP-4 This variant is part of the same press run as FD-15-RP-2, but it is .0090" thick. It is on a semi glossy stock."Under FD-17-RP-4 add: "This printing is on stock which glows or floresces under black light.
After FD-17-RP-7 add:
FD-17-PP-8 In 2011 a pirate selling on www.amazon.com bootlegged this poster. The stock
used was slick and glossy. It is difficult to say which variant was used as the
basis of this pirate because the “Jefferson Airplane/Great Society” lettering is
blue and the “Avalon Ballroom” lettering is purple. This does no match any
known variant poster or handbill. The size is the distinguishing characteristic.
12” x 18”
Under FD-17 change handbills to read:
|FD-17-OHB-A||The handbill was printed once but on three different
colors of paper. Since the amount of purple ink used
varied substantially, all four variants themselves vary
from one to the next from darker to lighter. The ink also
varied between pure purple and purple with a great deal of
red in it. Further confusing the issue is that by some
means unclear to me the distance between the "Bindweed"
credit and the bottom purple border varied. Sometimes the
credit was close to the bottom edge of the paper, sometimes closer to the border, sometimes half covered by the boarder, and sometimes actually covered by the border making it appear that an entirely separate variant which deliberately omitted the credit exists. Basically only four variants exist. FD-17-OHB-A is pure purple ink on white paper. 8 31/64" x 10 61/64"
|FD-17-OHB-B||This variant is reddish purple ink on yellow paper. 8 33/64" x 11 1/64"|
|FD-17-OHB-C||This variant is reddish purple ink on pink paper. 8 17/32" x 11"|
|FD-17-OHB-D||FD-17-OHB-D In 2000 a variant was shown to me which I had not seen before but which had been known for some time to at least two serious collectors. This variant is the pure purple ink on yellow paper. It is distinctly different from FD-17-OHB-B which is much more common. It should be noted that this new variant is not a two of a kind item. The collectors who pointed it out to me each said they had seen several copies of it and had long thought it was in my guide.|
Under FD-19-OP-1 change "right" to "left."
Under FD-20-OHB-A add:
It should be noted that the FD-20 image above is taken from the poster. The handbills are slightly different without the rays and with the lettering arranged differently and lower down and around the five men picture.
Under FD-21 change the description to read:
“This poster is several shades of red and blue in a white frame. For many years the central image of this poster was thought to be the City Hall of San Francisco after the 1906 earthquake, but in 2003 it was pointed out to me by Christian Peterson that this is actually the Sonoma County Court House after the 1906 earthquake. “
After FD-21-RP-5 add
|FD-21-RP-6||In 2000 another reprint was discovered. This dates from
the time of the concerts. Above the word "Dance" at the
top the top border line is straight for about 4 1/4". On
FD-21-RP-2 and FD-21-RP-3 the left end of this line simply
begins to slope downward. On FD-21-RP-6 this horizontal
line extends about 1/32" beyond the point where the line
begins downward. This creates a "Y" shaped effect not on
the other 1960’s reprints. This effect does appear on the
original. This poster does not have letter separations.
This poster is substantially longer than the others. This
poster is on uncoated index. In 2008 it was discovered
that this is the Kama Sutra Records reprint.
14 9/64" x 20 53/64"
|FD-22-PP-5||In 1999 two separate reduced image, black and white only (no yellow) pirates of this image were discovered. On this version the distance from the bottom most point in the image near the right margin to the top most point in the image near the right margin (portions of the black line border) is 16". On this version the motto "May the Baby Jesus…" is nearly illegible.|
|FD-22-PP-6||On this reduced image, black and white only (no yellow)
pirate the distance
described under FD-22-PP-5 is 15 7/8". The motto "May the Baby Jesus…"
is clearly legible.
Add to FD-24-RP-2 "The Family Dog logo is a positive image in black with lots of detail."
After FD-24-RP-2 add
|FD-24-PP-3||In 1999 a pirate was discovered. It had been shot off a damaged copy of FD-24-RP-2.The upper right and lower right corners have printed "tears" and "tape pulls" which appear to have been on the legitimate copy used to produce the pirate. There is extensive dot screening around the border which is white on FD-24-RP-2. Colors are substantially different.|
Under FD-26 add
Change FD-26-RP-4 to read: In 2007 I located a copy of the Kama Sutra Records reprint of this poster. It turned out to be identical to FD-26-RP-3. See
"The Mystery of the Capitol Records and Kama Sutra Records Reprints" in the Table of Contents.
FD-26-RP-13 A Portal Publications reprint exists on thin stock. It bears the credit “RP 006 c 1977 Mouse/Kelley Portal Publications Ltd. Corte Madera. California 94925 Litho in U.S.A.” on the right side of the bottom margin. 20 3/64” x 27 63/64”
Add to FD-26-PP-9:
After FD-26-PP-10 add:
but less glossy than FD-26-PP-10. This one measures 14 5/16" x 19 11/16".
After FD-28-PP-7 add:
Under notes under FD-28 change the notes to read: "The striped effect was not produced by shining light on the face of a man through Venetian blinds as had been previously stated in this guide. It was produced by a light beam used by the USA military for making a facial contour map for an Air Force flight helmet. The photographer was the famous Life magazine photographer, Ralph Morse.
FD-29-RP-4 This printing on uncoated index bears “29(3)” in the lower left corner. No “Bindweed” credit appears. “© Family Dog Productions 639 Gough St., San Francisco, Calif. 94102” appears in the lower left margin. This printing is on stock which glows or floresces under black light. 14 “ x 20 1/32”
FD-29-RP-5 In 2008 the Kama Sutra Records reprint was discovered. It bears the same notations as FD-29-RP-4, but it is a separate printing. Colors, paper stock and linear dimensions are all different. This printing is on stock that does not glow or floresce under black light. 13 63/64” x 19 31/32”
FD-29-PP-6 In 2008 a pirate printer, probably in Australia, printed a pirate/bootleg poster of this image which was sold on ebay. This bootleg was based on FD-29-RP-4. It can be
distinguished by the fact that the white areas are not pure white but contain small, colored dots. It was printed digitally on semi-gloss stock unlike the uncoated index of the
lawful reprint. 13 61/64" x 19 63/64"
Under FD-29-RPC-H change "Keley" to "Kelley."
Under FD-29-OHB-D and FD-29-OHB-E change "boarder" to "border."
Under Notes change "the early Twentieth Century" to "1896."
Under both FD-30-OP-1 and FD-30-OP-2 change "1996" to
Under FD-30 change FD-30-RP-3 and FD-30-RP-4 to read
FD-30-RP-3 The next printing, a reprint, bears the notations “No. 30-3” in the lower left corner and “1967 © Family Dog Productions 639 Gough St., San Francisco, Calif. 94102” in the lower right. No poster bearing “No. 30-2” is known to exist. This poster is on a stock which has a mild glow or florescence on the back when exposed to black light. 14 9/32” x 19 31/32”
FD-30-RP-4 In 2008 the Kama Sutra Records reprint was discovered. It was a separate printing. It bears the same notations listed for FD-30-RP-3, but the paper stock is different, colors are different and linear dimensions are different. This stock does not glow or floresce when exposed to black light, but the easiest way to distinguish this printing is that it is 3/8” narrower than FD-30-RP-3. 13 7/8” x 19 57/64”
Under FD-33 artists add: Wes Wilson
**In 2014 I was going through the Guide, and I happened to stop on this image. I gave some serious thought to the artists’ credit for this image and decided that the main portion of this image, the Family Dog logo, was created by Wes Wilson, and although I do not think he should get a credit on all the Family Dog posters on which the logo appears, I now think that he should get credit as one of the artists on this individual poster because the logo is the main element of the image. I exchanged emails with Wes and asked for his thoughts on this, because I would not change something like this without consulting him, but he, too, thought about it, and he agreed with me that this poster should be considered a collaboration between Mouse and Kelley and
himself. Accordingly his name has been added to the artists credits for this poster.
Under FD-33-OP-1 change "left" to "right."
Under FD-33-RP-4 add "In 2008 it was discovered that this was the Kama Sutra Records reprint. The copy that I obtained in the mid 1970s from Bob Cohen, Chet Helms' associate, was identical in microscopic printing marks, linear dimensions and paper stock to the Kama Sutra Records copy."
After FD-33-RP-4 add:
FD-33-PP-5 In 2008 a pirate printer, probably in Australia, printed a pirate/bootleg poster of this image which was sold on ebay. This bootleg was based on FD-33-RP-4. It can be
distinguished by the fact that the white areas are not pure white but contain small, colored dots. It was printed digitally on semi-gloss stock unlike the uncoated index of the
lawful reprint. 14 1/8" x 20 17/64"
After FD-34-RP-2 add:
FD-34-PP-3 In 2011 a pirate selling on the internet bootlegged this poster. The stock used was glossy. The size is the distinguishing characteristic. 12 1/64” x 17 63/64”
After FD-34-OHB-D add:
FD-34-OHB-E In 2011 a copy of FD-34-OHB-C was discovered with a page of Mojo Navigator printed on the back. This sheet probably was printed with the handbill front and then the Mojo
Navigator page added to the back and finally inserted in an issue of the magazine. It is likely that other issues of Mojo Navigator had other Family Dog handbills in them besides
this and FD-40-OHB-D which has been known for a long time. 8 29/64” x 11 15/64”
Under FD-36 change date to read "11/25 & 26/66."
After FD-36-RP-3 add
"FD-36-OP-4 In 1999 copies of a variant original printing were
discovered on orange stock."
Under FD-38-RP-3 add, "In 2008 it was discovered that this was
the Kama Sutra Records reprint. The copy that I obtained in the
mid 1970s from Bob Cohen, Chet Helms' associate, was identical in
paper stock and linear dimensions to the Kama Sutra Records copy.
The paper stock was woven or "rows" texture on the front.
FD-39-RP-2* This reprint is on uncoated index and adds “No. 39” in the lower right corner. No indication is made of second or third printing. This printing has a blue which is a medium blue darker than that of FD-39-RP-3. 13 61/64” x 20 1/64”
2008 the Kama Sutra Records reprint was discovered. It bears
only one major printing differences from FD-39-RP-2. The only
consistent recognizable difference is that the blue of this
printing is a light blue lighter than that of
FD-39-RP-2. 13 3/4” x 20 1/16”
*After looking at a lot of copies of
FD-39-RP-2 and several of FD-39-RP-3, I discovered that
both versions were printed at the same time. The evidence for
common printing zits on both and darker blue and lighter blue versions. The blue ink simply was changed between the run of 5000 of one and 5000 of the other. I have tried to avoid any distinction between two printings of a poster which requires someone to have more than one item in his/her hand, but here this is unavoidable. Both versions exist on stocks which have and do not have “rows” or woven texture, so that criterion can not be used. Some copies of each glow or floresce under black light, and others do not, so that criterion can not be used. The stocks are all of similar thickness so that can not be used. I even noticed that linear dimensions, length and width varied on both versions. The only real
difference is the color, and I believe the semantics of color are unreliable for describing the difference between these shades of blue. Since these are reprints and most collectors are not that concerned with telling reprints apart, especially ones probably printed an hour or two apart, I am going to make an exception this one time. If you need to tell these two reprints apart, you will have to have one of each in front of you. The darker will be FD-39-RP-2, and the lighter will be FD-39-RP-3.
After FD-39-RP-3 add
FD-39-OP-4 In 2003 a variant of the original was discovered which was not printed with the black
plate. On this variant the Indian appears blue which was printed under the black on those
copies which were printed with the black plate. “The Bindweed Press San Francisco”
appears in white drop out in the lower margin at left. 13 49/64” x 19 61/64”
After FD-40-OP-1 add:
FD-40-PP-2 In 2011 a pirate selling on www.amazon.com bootlegged this poster. It was done on slick, glossy stock. The size is the distinguishing characteristic. 12” x 18”
FD-40-PP-3 In 2015 yet another pirate/bootleg of this poster was offered on ebay. This one was much larger than the original. Printing was somewhat muddier both due to
the copying and the expansion. Size is the distinguishing characteristic. 17 15/16” x 24 1/32”
Under FD-40-OHB-A delete “Toward the end of the press run the red
ran low, and many copies
exist with pale red.”
After FD-40-OHB-B add
FD-40-OHB-C It had previously been thought that the version with pale color instead of red was a result of the red ink running low in the reservoir of the press. Closer examination of this version shows that it is a different color than pale red. Accordingly it has been designated a new variant. Thanks to Phil Cushway for pointing this out to me in 2003. 8 17/32” x 10 31/32”
FD-40-OHB-D Some copies of this handbill had part of an
interview with Country Joe and the Fish on the back. This was then
distributed with an issue of Mojo Navigator.
Under FD-41-RP-2 change “41-2” to “41 (2).”
Under FD-41-RP-2 add: This more commonly seen variant lists the Family Dog address as 639 Gough Street.
Change FD-41-RP-3 to read: The Kama Sutra Records reprint discovered in 2008 lists the Family Dog address as 1725 Washington Street. This means that FD-41-RP-3 predates FD-41-RP-2. 13 63/64" x 20"
Under FD-41 change FD-41-OHB-B to read:
The other handbill is black ink on coral paper. Both have a Family Dog credit and
bulk postal information on the reverse. In 2001 a copy was discovered which had been
mailed to someone on the mailing list. 8 17/32" x 11 1/32"
Under FD-41 after FD-41-OHB-B add
FD-41-OHB-C Some copies of FD-41-OHB-B were hand addressed and sent to people on the mailing list.Under FD-42-RP-2 add: "In 2008 when I was able to compare copies of this item with the copy that came from Kama Sutra Records, it was possible to establish that this was the Kama Sutra Records printing. Paper stocks were the same, size was within 1/64” and there were several common printing zits.
FD-43-OP-1 The poster was printed three times. One original has “Double-H Press” credit below the Family Dog phone number. Number appears in lower left corner on poster. 14 1/64” x 20” See FD-43-RP-3 for reprint with “Double –H Press” credit.
*FD-43-OP-2 In 2003 it was discovered that the printing which deletes the “Double-H Press” credit is an original. Accordingly this designation has been changed from
FD-43-RP-2 to FD-43-OP-2. See evidence at the end of this section.
14 5/64” x 19 61/64”
**FD-43-RP-3 In 2007 I had access to a number of posters from the estate of an executive of Kama Sutra Records. One of these posters was a copy of FD-43. To my surprise this poster had the “Double-H Press” credit. Printing records of California Litho Plate show that they reprinted this poster for Kama Sutra Records long after the concert, so this poster definitely is a reprint, so all Double-H credit posters of FD-43 will need to be examined to see if they are reprints. I discovered that the original with the Double-H credit is on stock which floresces or glows under black light. The reprint with the Double-H credit does not. See further evidence at the end of this section. 14 1/32” x 19 59/64”
FD-43-RP-4 Pomegranate Press printed an authorized reprint of this image in the 1990’s. It is the same image as FD-43-OP-2 with no Double-H credit. A Pomegranate Press credit appears on the reverse. 12 29/32” x 14 15/16”
FD-43-OPC-A The postcard appears in three forms. The first has a blank reverse. 4 31/32” x 7 3/32”
FD-43-OPC-B The second has a Family Dog credit and bulk mail permit on the reverse. 5 1/16” x 7”
FD-43-OPC-C Some copies of FD-43-OPC-B were mechanically addressed and sent to people on the mailing list.
F. D. 43 Moby Grape
poster is several shades of bluish gray and white on a red
background. The central image is a photograph of a
kneeling woman, Alla Nazimova, from the 1923
silent movie Salome. The card for this image was the first in the numbered Family Dog series to have been printed on the same sheet as the poster, at first one poster and four cards and then shortly thereafter one poster and six cards which became the usual policy. After this point only a handful of cards were printed separately from the posters. As far as is currently known no Family Dog cards ever were reprinted when the posters were reprinted during the 1967 – 1968 period. For this reason with only two or three exceptions the cards parallel the original printings perfectly and comparison between the card and poster of a specific number for identical colors is usually a reliable means of distinguishing original printing posters from reprint posters incorrectly bearing the designation "-1" in the numbered Family Dog series (This does not apply to the Bill Gra-
*Evidence: Since the time of the concerts it had been assumed that because the Double-H credit printing was more scarce than the one without the credit and because the change in credit implied a change in printers, that the Double-H credit printing was the original and the one without this credit was a reprint. In 2003 Phil Cushway of Artrock discovered a printer’s proofsheet which had a single FD-43 poster, four postcards and concert tickets. This proofsheet did not have the Double-H credit. Because it is known that the cards were never reprinted and tickets were certainly not reprinted (In fact the usual policy was for the printer to stop the press when enough tickets had been printed and then remove that portion of the image from the printing plate so that printer’s proofs often exist both with and without tickets.), it is clear that the printing without the Double-H credit is an original printing. Accordingly the designation of this printing in this Guide had been changed to “FD-43-OP-2.” It was then necessary to consider the possibility that the Double-H credit printing might be a reprint. This was very unlikely because Double-H did not print any later printings after FD-43, but it had to be considered. Using a 20x loupe, I examined the paper stock used for the Double-H credit printing. I compared this to the stock used for the mailed cards sent to people on the mailing list. The stocks are identical. Since the mailers were printed first, well before the concert, the Double-H credit printing is also an original printing. It is noteworthy that the printing without the Double-H credit appears on two slightly different stocks. These differences are most notable with respect to how they appear under black light. Furthermore the blank backed cards which were handed out in the street to advertise the event also are printed on two slightly different stocks which correspond to the two stocks of the printing without the Double-H credit, further evidence that these posters were printed before the concert. Why the Double-H credit was removed at some point in the press run is not known for certain. One possibility suggested by Jacaeber Kastor is that since the printing records show that the original of this poster was printed by California Litho Plate, not Double-H, and that the ticket outlets strip on FD-43 is based on the ticket outlets strip of
FD-42, that the ticket outlets strip from FD-42 inadvertently was attached to the FD-43 artwork without the Double-H credit being removed. The plate was made from this artwork, and printing was begun. Shortly after printing was begun, one of the pressmen at California Litho Plate noticed the Double-H credit, stopped the presses and removed the Double-H credit. Since cost was a big factor in printing these posters, the copies with the improper Double-H credit were not thrown out but were delivered to the Family Dog along with the ones without the Double-H credit. All things considered, this makes sense because ticket outlets strips were occasionally reused without careful attention being paid to incorrect information they might include. This was also the case with BG-230 where a ticket outlets strip including David Singer’s name was attached to a poster by Pat Hanks.
**Further evidence: While it was good evidence that the copy of FD-43 which came from the estate of a Kama Sutra Records executive was a reprint just because it came from that estate, and printing records show this poster was reprinted for Kama Sutra Records, there was the possibility that he might have acquired this poster separately, especially since the “Double-H Press credit was present. I looked for further evidence, and I noticed that this poster had a remnant of a printer’s bull’s eye in the middle of the right edge. Because original posters of FD-43 were printed on the left half of sheets with the cards on the right, it would be impossible for there to be a printer’s bull’s eye along the right edge of an original because the right edge of an original would have been in the middle of the uncut sheet, and printers did not place printer’s bull’s eyes in the middle of uncut sheets. They only placed them along the edges of the sheets. This means that this poster was printed on the right side of a sheet which means it was printed two up (two posters side by side) on a sheet with another copy of FD-43. Only the oddly shaped FD-98 and FD-99 originals were printed on sheets without the cards. Since we already know of printer’s proof sheets with cards which are originals, we know that the posters from this sheet which was printed with two posters side by side has to be a reprint.
Once I had determined that this poster had to be a reprint, I looked for a means of distinguishing it from the original with the Double-H credit. At that point I found that the paper stocks were different, that the originals floresced or glowed under black light, and this reprint did not. I did not use the printer’s bull’s eye remnant as a distinguishing characteristic because the poster was printed two up on a sheet, and the posters on the left half of the sheet would not have this printer’s bull’s eye remnant in the middle of the right edge.
Under FD-44-OP-1 Delete:
Under FD-44-RP-2 Delete the text and replace with: "The reprint measures 20 1/4" long."
Add: "*" Before "FD-44-RP-2"
At the bottom of the page add: "*This error was discovered by
After FD-45-PP-3 add:
FD-45-PP-4 In 2011 a pirate selling on www.amazon.com bootlegged this poster. The stock
used was slick and glossy. A white border not on the original was added. The
distinguishing characteristic is its smaller size. 12 “ x 18”
At the end of Notes FD-45 add, "The source of this image is a
poster by Alphonse Mucha entitled La Samaritaine which was done
for Sarah Bernhardt in 1897."
Under FD-46 change the text to read:
FD-46-OP-1 The original printing of this poster
was done on three stocks of paper. All three match the
variations of postcards. Color shadings vary within press
runs but three groups are apparent. None of the three
originals have the mark described under FD-46-RP-3. One paper
stock was thin, only .0055”, and glossy.
14 5/32” x 20 1/64”
FD-46-OP-2 The second original was on a more porous stock similar to vellum. This took the ink much differently than FD-46-OP-1. This one is .0065” thick.
14 3/32” x 20”
FD-46-RP-3 The reprint was done on index similar to that used on many later Family Dog posters. This stock is .0075” thick. The reprint has a very faint black line beginning 1/2” above the upper right point of the star in the upper left corner of the poster. (If the star was a clock, this point is at two o’clock.). This line curves slightly, rises a bit from left to right and is about 5/8” long.
14 5/32” x 20 1/64”
FD-46-RP-4 In 2009 it was discovered that the variant thought to be a separate printing was not. Accordingly this listing is deleted. The unusual color of the stock was due to damage. The size difference probably was due to the reprint being printed two up (two posters side by side), and the cutter being set so that the cut in the middle was closer to one side than the other. The proof that this poster is part of the same printing is that it has common printing zits from dirt on the printing plate as copies of FD-46-RP-3.
FD-46-OP-5 In 2009 I learned that some copies of the original poster were printed on even thinner stock than FD-46-OP-1. This stock is very thin, only .0045” thick and glossy like FD-46-OP-1.
FD-46-OPC-A “Place stamp here” reverse, same stock as FD-46-OP-1. 5 1/64” x 7”
FD-46-OPC-B “Place stamp here” reverse, same stock as FD-46-OP-2. 5” x 6 31/32”
FD-46-OPC-C Bulk mail permit reverse, same stock as FD-46-OP-1. 5 1/32” x 6 31/32”
FD-46-OPC-D Bulk mail permit reverse, same stock as FD-46-OP-2.
FD-46-OPC-E Some copies of FD-46-OPC-C were mechanically addressed and sent to people on the mailing list.
FD-46-OPC-F Some copies of FD-46-OPC-D were mechanically addressed and sent to people on the mailing list.
FD-46-OPC-G “Place stamp here” reverse, same stock as FD-46-OP-5. 4 63/64” x 6 61/64”
Change the notes to read:
F. D. 46 Dance of the Five Moons
This poster is red, green and red over blue on a blue background. The central image is made
up of five circles each with a face in profile in it. They are surrounded by stars. On his last
several posters Victor Moscoso had been experimenting with a type of lettering that slanted
slightly to the left and widened towards the bottom which was rounded. The lettering on this
poster is one of Moscoso's mature, signature alphabets which continues to be seen today in a
wide variety of places, especially in advertising. Unfortunately he rarely if ever is given credit
for originating this design. Although the printers of the early Bill Graham series posters often
changed paper stocks during the press run of originals, this was not common in the Family
Dog series, but it did happen in this case. The original printing of this poster as well as the
postcard appear on three different paper stocks.
FD-49-OP-1 Printing records indicate this image was printed multiple times. Unfortunately postcards including addressed mailers vary considerably from light to dark blue and light to dark orange. Paper stocks vary in thickness as well. In 1998 a distinguishing characteristic between FD-49-OP-1 and FD-49 reprints was discovered by Jacaeber Kastor. The original does not have the small line in the blue margin described under FD-49-RP-2 . 14” x 19 63/64”
On all the reprints
of FD-49 there is a small, horizontal line in the blue border
above the “ER” in “KEPLER’S” in the ticket outlets strip. This
line is only a few thousandths of an inch wide by 1/8” long. In 2007 it was determined that there
were a total of three separate reprints. As fate would have it
the one whose dimensions are listed here probably is the last
printing. It is characterized by a blue which is lighter than
medium blue. All the others are medium blue or darker. This is
also the only one of the reprints which probably was not printed
two up alongside FD-59, so there is no reprint of FD-59 which is
parallel to this FD-49. The back
does not turn gray or lavender under blacklight
13 61/64” x 20 5/64”
This reprint was printed two up on the same sheet
(alongside) a reprint of FD-59. This means that
paper stocks and colors are the same on that reprint and this
one. This reprint is substantially wider than the other two
FD-49 so the width will be the distinguishing characteristic.
14 23/64” x 20 1/16”
FD-49-RP-4 This reprint was printed two up on the same sheet side by side with a reprint of FD-59. The colors and paper stock match those of that FD-59. The distinguishing characteristic of this poster is that the stock will turn gray or lavender under black light. The light blue version will not. The blue of this poster is darker than medium blue. 13 61/64” x 19 61/64”
This entry replaces any previous FD-50 entry.
|FD-50|| Break on Through to the
|3/3 & 3/4/67||Avalon Ballroom|
|Victor Moscoso||Country Joe and the Fish
FD-50-OP-1* The original printing of this poster has a ticket
strip in green. A proof sheet exists which shows the postcards with a
white strip and a poster with a green strip. Since cards were not
reprinted, the original has a green strip. Since FD-50-RP-7 discovered
in 2002 also has a green ticket outlets strip, it must be noted that
FD-50-OP-1 has a small (1/64") black spot near the top of the left
portion of the second "R" in "Sparrow" just under the middle of the
right leg of the "H" in "the." 14 32/32" x 19 49/64"
FD-50-RP-2 The second printing, a reprint, has the ticket outlets
in white. A substantial number of copies of this printing have a mostly
horizontal printing flaw across "Sparrow." 14 1/32" x 19 31/32"
FD-50-RP-3 A variant exists which has the ticket outlets strip
replaced with "Printed by Offset in Three Colors on International
Paper’s Springhill ® Whitetag, Basis 100." A short essay about
printing technique and the life of Victor Moscoso appears on the
reverse of this printing. "No. 50-1" appears in the lower left corner.
FD-50-RP-4 This variant has a blank ticket outlets strip. A
number of copies of this printing have a mostly horizontal printing
flaw across "Sparrow." This variant was printed on two different paper stocks. One has a woven or "rows" texture on the back and does not glow or floresce on the back under black light. It turns an off white. The other does not have a woven or "rows texture on the back. This variant turns gray on the back under black light. 14 1/32" x 19 31/32"
FD-50-RP-5 In 1990 Pyramid Books in England printed this image.
Paper stock is thick and glossy. The top half inch of the image is
missing. In 1997 it was learned that this was a properly licensed
reprint, not a pirate. 11 57/64" x 16 35/64"
FD-50-RP-6 Another variant exists which has the ticket outlets
replaced with "Printed by Offset in Three Colors on International
Paper’s Springhill R Whitetag, Basis 100." A short essay about
printing technique and the life of Victor Moscoso appears on the
reverse. "No.50-1" does not appear in the lower left corner.
FD-50-RP-7* In 2002 a printer’s proof sheet was discovered with
posters printed side by side. These both have a green ticket outlets
strip. This newly discovered reprint may be distinguished from
FD-50-OP-1 because copies of FD-50-RP-7 do not have the small
black dot described under FD-50-OP-1. Colors do differ from
FD-50-OP-1, especially the blue which is much lighter on FD-50-RP-7,
but the presence or absence of the dot is the distinguishing factor.
FD-50-RP-8 In 2007 I located a copy of the Kama Sutra
Records reprint of this poster. It turned out to be identical to
the variant of FD-50-RP-4 which was on stock which turned gray on
the back under black light, the variant which did not have a woven
or "rows" texture on the back. See "The Mystery of the Capitol
Records and Kama Sutra Records Reprints" in the Table of Contents.
FD-50-OPC-A The ticket outlets strip is white on both printing
variants of the postcard. "Place stamp here" is on one reverse. 5 1/64" x
FD-50-OPC-B The other reverse has the bulk mail permit. 4 63/64" x
FD-50-OPC-C Some copies of FD-50-OPC-B were mechanically
addressed and sent to people on the mailing list.
*Since the early 1980’s serious scholars of this material have
been aware that in 1967
Capitol Records ordered 100,000 posters from the Family Dog, 5,000 each of 20 images.
These were shipped directly from the printer to Capitol Records. The evidence for this is
the existence of a printer’s invoice describing this sale. Capitol Records then distributed
these posters to record stores across the country. They also advertised the set of 20
posters in music magazines. Since these posters were shipped directly from the printer
to Capitol Records, no copies of these posters were in the Family Dog inventory when
the Family Dog went out of business and sold its remaining inventory to Postermat.
Accordingly these have been very difficult to locate and document. One of the last
missing Capitol Records variants has been the FD-50. In 2002 we found out why we
had been unable to document this variant. It simply looked too much like the original to
Fortunately in 2002 Bill Jacobs of California discovered a
printer’s proof of two FD-50
Posters printed side by side. Since all California Litho Plate Family Dog originals except
the unusually shaped FD-98 and FD-99 were printed on the same sheets as cards which,
according to employees of California Litho Plate were never reprinted, it was clear that
this was a proof sheet of the long sought Capitol Records reprint. Mr. Jacobs was kind
enough to bring this proof sheet to the October 5, 2002 TRPS (The Rock Poster Society)
Swap Meet where it was carefully examined and compared to an original proof sheet
which once had been the property of the artist, Victor Moscoso, who had taken it home
from the printer’s before the concerts. Present at that time and assisting me in this
examination were Jacaeber Kastor and Dennis King as well as several other serious
scholars of this material. Mr. Kastor and I agreed that the best distinguishing
characteristic was the presence or absence of the dot mentioned under FD-50-OP-1. Mr.
Dennis King felt that although the dot did distinguish between the two printings, he
preferred a different distinction involving the Family Dog logo. Those interested in his
distinction should contact him directly.
I wish to thank Mr. Jacobs for discovering this variant and bringing it with him to the
Swap Meet so we could all study it and Mr. Dennis King for recognizing the importance
of this proof sheet and speaking to Mr. Jacobs about bringing it to the Swap Meet where
it could be studied.
F. D. 50 Break on Through to the Other Side This poster is
several shades of green, red
and blue. The central image is a photograph of a human face seen from the bridge of the
nose up. A series of wavy lines emanates from the middle of the forehead giving the
appearance of the radiation of energy. The caption "Break on Through to the Other Side"
is written above the face in reference to the Doors song with that title. The four Doors
posters in the Family Dog series by Victor Moscoso are among the most popular
psychedelic posters both because they are very beautiful and because they are for
concerts by the Doors.
Under FD-51 Change posters to read:
FD-51-OP-1 In 2007 it was determined that there were two printings of FD-51 with a dark pink Family Dog logo. The original dark pink logo poster is substantially wider than the dark pink logo reprint. The black of the original is much darker and more nearly black than that of the dark pink logo reprint, but the width should be used as the distinguishing factor. 14 17/64” x 20 1/64”
FD-51-RP-2 A reprint with a white Family Dog logo exists. 14 3/64” x 19 61/64”
FD-51-PP-3 In 2006 a pirate printer offered a bootleg of this image on a website which has since been discontinued. The image of this bootleg is much larger than that of the original. 18 29/32” x 24”
This dark pink logo reprint is much narrower than the
dark pink logo original. The black of this variant is more of a
dark gray than a black.
14” x 20 1/64”
Under FD-52-OP-1 and FD-52-RP-2 add "It is on uncoated index."
After FD-52-RP-2 add "FD-52-RP-3 This variant is on semi glossy stock."
Under FD-53 Artist add: “Fred Roth (Photographer)”
FD-54 change FD-54-OP-1, FD-54-RP-2 and FD-54-RP-3 to read:
The second printing, a reprint, is c. 14 1/8" wide or
narrower. This reprint has a small, reddish dot
located in the left margin outside the blue double border
1 7/8” below the bottom of the “S” in “Sunday.” This dot does not appear on FD-54-RP-3. 13 31/32” x 19 29/32”
In 2008 the Kama Sutra Records reprint was discovered. It is a
separate printing from FD-54-RP-2. The colors are different from
either FD-54-OP-1 or
FD-54-RP-2. There are no common printing zits despite there being quite a few on each printing. This printing may be distinguished by the fact that it is narrower than 14 1/8” wide and does not have the dot described under
FD-54-RP-2. 13 31/32” x 19 31/32”
posters to read:
FD-56-OP-1* The best distinction between the original and the reprints of this poster is the absence of small red printing flaws on the originals which are present on FD-56-RP-2 and the absence on originals of the blue dot which is present on both FD-56-RP-2 and FD-56-RP-3. 14 1/32” x 20 1/64”
this reprint there are small, fine horizontal red lines
(printing flaws) in the right margin around and below the lower
right edge of the photograph. Some copies have more of these
flaws, and some have less, but all these reprints have some.
These reprints also have the blue dot described under
59/64” x 19 31/32”
2008 the Kama Sutra Records reprint was discovered. It is a
separate printing from FD-56-RP-2. It does not have the red
print flaws that are described under FD-56-RP-2. It does have a
small blue dot located as follows: First find the period (.) in
“Alchemical Co.” Then find the “2” in “94102,” the zip code in
the Family Dog address. Draw an imaginary vertical line below
the period and another horizontal one to the right of the bottom
of the “2.” The location of the blue dot, if it is present, will
be where those two imaginary lines meet. 13 63/64” x
Under FD-56 notes add
Phil Cushway has very rightly said that if I change anything significant in this Guide at this late date (2008), I should include the evidence which supports this change. Since the new definitions of Family Dog 56 posters narrow the definition of the original, I believe it is appropriate to explain why this has been done.
Originally I had thought that there were only two printings of this poster. These were FD-56-OP-1 and the one listed as FD-56-RP-2 which was described as having the small red printing flaws in the right margin below the photograph. There were numerous copies of what now is clearly a third printing (FD-56-RP-3) in the San Francisco Bay Area in the inventory of the Family Dog which were sold to Ben Friedman of Postermat in 1968, but I had not recognized them as a separate printing because they were so similar to FD-56-OP-1. While FD-56-RP-2 was very different in color from FD-56-OP-1, FD-56-RP-3 was nearly identical in color to FD-56-OP-1, and I thought the minor differences were variations within a press run.
Further compounding this problem was the fact that when, at the suggestion of Jacaeber Kastor, experts began examining these posters for the presence or absence of “rows” or woven texture on the paper stocks, it was clear that both FD-56-OP-1 and what is now FD-56-RP-3 were printed on the “rows” or woven side of paper stock with one side “rows” or woven in texture and the other side smooth. I considered this so unusual that the likelihood that two separate printings of a poster done half a year or more apart were both printed in this way was so small that these had to be the same printing.
Then in 2008 the Kama Sutra Records reprint showed up. Printing records clearly indicated it was printed at least six months after the shows, but there it was, printed on stock with “rows” or woven texture on the side of the printing. The cards, including the mailers, were printed on the “rows” or woven texture side of stock with one side “rows” or woven texture and the other side smooth. But the Kama Sutra Records printing had to be a reprint and so did any others that matched it, but the problem was that there was no immediately apparent difference between it and the postcards, and this meant the originals which matched the postcards were on that type of stock, too.
Jacaeber Kastor had said that there was a large and elaborate print flaw between the upper portions of the “H” and the “A” in “Charlatans” which only appeared on a small number of copies of FD-56 which he had seen, and he took that as his signifier for originals. I saw these posters as originals, but I would not accept this print flaw as a signifier because I had seen copies of FD-56 with only very small versions of this print flaw. I reasoned that this print flaw developed and got worse as the press run continued, and that early in the press run this flaw was not present at all so there were originals without it. Accordingly I stayed with the small red print flaws on FD-56-RP-2 as the only necessary signifier distinguishing between two and only two printings. Jacaeber Kastor correctly identified that there were three printings, but by using the print flaw between the “H” and the “A” of “Charlatans” as a signifier for the original, he eliminated legitimate originals from his listing of originals.
Since I already knew that the postcard was on “rows” or woven texture stock with the image on the “rows” or woven texture side, I had to find some other means of using the postcard to document the difference between the original FD-56-OP-1 and the Kama Sutra Records reprint FD-56-RP-3. I took out two copies of the poster which I had obtained in the late 1960s from people who had gone to many of the shows and whose collections had included mostly originals. This did not mean these were definitely originals, but it did mean it was likely they were. One had the print flaw between the “H” and the “A” in “Charlatans,” and the other did not.
I held the backs of my three postcards and one mailer under a black light, and all had an identical mild white floresence. I did the same with the two posters I thought were likely to be originals. Both of these matched the mild white floresence of the postcards and mailer under black light. I then tried the same comparison on two posters which had been bought in the 1970s from Ben Friedman’s Postermat which came from the Family Dog inventory as well as on the Kama Sutra Records reprint. These all matched each other in turning purple/gray under black light. This was a good start, but only two copies of each poster as well as the Kama Sutra Records reprint and three cards was not enough of a sample to be definitive.
I then went to Wolfgangsvault where I checked these patterns against a large number of postcards and posters. The three posters in the archive of Jacaeber Kastor, which now belongs to Wolfgangsvault, which Mr. Kastor had thought were originals, all matched the postcards by florescing white. The posters in the Wolfgangsvault inventory which were not from the
FD-56-RP-2 printing, turned one of two similar shades of purple/gray under black light. All the postcards in the Wolfgangsvault inventory matched mine in florescing mild white under black light. It was now clear that the Kama Sutra Records printing had been half of a ten thousand print run half of which had gone directly to Kama Sutra Records and half of which had gone to the Family Dog’s own inventory.
At this point I considered the possibility of using the common floresence of the postcards and the originals as the distinguishing criterion, because this and the obviously different floresence of the Kama Sutra Records reprint was the evidence that led me to my conclusion, but this would have required a reader of this Guide to have a black light and a postcard in addition to a poster in order to tell what his/her poster was. I have resisted using criteria generating this need for multiple items because if it is at all possible, I think this Guide should be able to tell a collector how to figure out what an item is using only one item.
At Wolfgangsvault I had six different originals and a pile of reprints sorted by white or purple/gray floresence on the back. This was, I hoped, enough to find some mark which would be on one or the other group consistently so it could be used to distinguish the groups which had already been accurately separated by whether they matched or did not match the floresence of the postcard.
Grant Feichtmeir of Wolfgangsvault (who by now in 2008 is very
knowledgeable about this material) and I began looking at
several FD-56-RP-3 reprints along with the originals. We noticed
several transitory red printing flaws but eventually focused on
several blue dots. Eventually we discovered the one in the lower
right corner which I describe under FD-56-RP-3. This dot was
clearly a mark on the plate because it appeared on every copy of
FD-56-RP-3 which turned purple/gray under black light as well as
all the copies of FD-56-RP-2, but it did not appear on any of
the copies of FD-56-OP-1. At this point we agreed that the blue
dot would be the means by which we would distinguish FD-56-OP-1
I hope that the readers of this Guide will find this explanation adequate to justify this change in the Guide. If anyone has any questions about this, please email me at the address on the title page of this Guide.
Under FD-57 acts change "Maji" to "Haji"."
Change FD-57-OP-1 and FD-57-RP-2 and FD-57-OPC-A to read
|FD-57-OP-1||The original poster differs from the reprint in a number of ways involving color tone which are apparent when held side by side, but the best way to tell them apart when only one is present is to look 1 1/4" to the left of the "1" in "1967" in the bottom margin copyright notice. On the original there is a 1/64" irregular blue dot. This distinction was discovered by Jacaeber Kastor in 2000. There is some variation in color among posters with the dot. Since there are similar copies of the card, these are originals.|
|FD-57-RP-2||On the reprint the dot described under FD-57-OP-1 has been deleted.|
|FD-57-OPC-A||The postcards parallel FD-57-OP-1 in color. This card has a "place stamp here" reverse.|
Under FD-59-RP-2 add: "The back of this variant will turn gray or
bright lavender under blacklight. It was printed two up on a sheet
Under FD-59-RP-3 add: "The back of this variant will not turn gray or bright lavender under blacklight. It was printed two up on a sheet with FD-49-RP-3."
Under FD-60 change FD-60-OP-1 and FD-60-RP-2 to read
FD-60-OP-1 On the original the white area described under FD-60-RP-2 is filled with pale brown ink. 14 1/64" x 20"Delete all of FD-61 descriptions and replace with:
FD-60-RP-2 Below the word "ROOM" on the right side of the photo is a heart shaped design with an arrowhead shaped tail. This tail is under the "M" in "ROOM." On the reprint there is a white area along the top edge of the arrowhead shaped tail. This area is c. 1/2" long by c. 1/32" wide. 14 3/64" x
Change FD-60-RP-3 to read:
FD-60-RP-3 In 2007 I located a copy of the Kama Sutra Records reprint of this poster. It turned out to be identical to FD-60-RP-2. See “The Mystery of Capitol Records and Kama Sutra Records Reprints” in the Table of Contents.
The good news is that after years of confusion, the mystery of
FD-61 has, at last, been resolved.
The bad news is that most of what has been in this guide about FD-61 before 2003 has been
wrong. My fellow scholar of this material, Jacaeber Kastor of Psychedelic Solution in New York
City, was only one third wrong, much better than me.
For years we have known that FD-61 was one of the few remaining
images which we really did
not have correctly described, and in January 2003 we began exchanging emails seeking to figure
out what the truth is about this difficult image. Eventually we spent an hour and a half on the
phone with each other and with a group of posters and cards in front of us, and as we exchanged
insights, we finally were able to achieve accurate answers to our questions.
I believe that since many people rely on this guide, readers are
entitled to more than just a
correction of a mistake. They are entitled to an explanation of why something was wrong and
why the new information is correct. A description of the process of how the new conclusions
were reached will be found following the entry for this number.
FD-61-OP-1 The original is identified by a
horizontal band 1/8” wide running parallel to,
below and touching the lowest pink border. This band in the blue area is a very faintly
darker shade of blue than all the other blue of the poster. This band is most visible
beginning just above the “s” in “outlets” at the bottom and running to the left edge of the
paper. There is also a similar band 1/16” wide and 1 1/2” long or longer extending
vertically (at a right angle) upward from the first band in the left margin. It is necessary
to search very carefully under very good light in order to find this band. Holding the
poster at varying oblique angles can help. Another characteristic of this poster is a small
dot immediately to the left of the “M” in “Moscoso.” Stock of this printing varies from
.007” to .008” 14” x 20”
FD-61-RP-2 The second printing does have the
dot but not the band described under
FD-61-OP-1. Stock also varies in thickness and texture. At least two separate stocks are
known to exist for this printing. 14 1/64” x 20 1/16”
FD-61-RP-3 This printing does not have the dot or the band described under FD-61-OP-1.
FD-61-OPC-A This card has a “place stamp here”
reverse. There is a faint darkening of
the blue in a vertical band 1/8” wide down the card beginning above the “E” in “The
FD-61-OPC-B This card has a bulk mail permit
reverse and the same band described
copies of FD-61-OPC-B were mechanically addressed and sent
people on the mailing list.
FD-61-OPC-D This card has a “place stamp
here” reverse but no band as described under
card has a bulk mail permit reverse but no band as described under
FD-61-OPC-F Some copies of
FD-61-OPC-E were mechanically addressed and sent to
people on the mailing list.
The process by which the new descriptions of FD-61 were arrived at is as follows:
The old signifier for FD-61, the difference between pure orange
and reddish orange was always
considered problematic. Most of the readers of this guide found it useless because the semantics
of color are different from person to person. Many people even see color differently from eye to
eye (Try looking at something carefully with one eye shut. Then change eyes. Many people will
recognize subtle differences in color.). Furthermore experiments have shown that different
cultures describe color differently. If you take a color band tapering gradually between blue and
green and ask a person born and raised in Tokyo where the color stops being blue and starts
being green, that person will pick a different place along the band than a person born and raised
in New York City. Also I once was on a glacier and asked a dozen people whether a particular
point on the glacier was blue or green, I got seven “blue” answers and five “greens.”
For this reason several people have looked very closely at FD-61
posters to find some marking
which would work. In early 2003 I finally noticed the band described under the new listing for
FD-61-OP-1. I examined it on several dozen copies, both those I thought were originals by color
and those I thought were reprints by color. All of those I thought were reprints had the band,
and all those I thought were originals did not have it. I then sent this information to Jacaeber
Kastor of Psychedelic Solution in New York City. He studied many more copies and agreed it was
a workable signifier, but he believed I had it backwards. According to him it was the originals
which had the band. We then spent an hour and a half on the phone with a pile of copies of this
poster in front of each of us, and he noticed that the band does not disappear to the right of the
“S” in “Outlets.” It only becomes more faint. It actually runs all the way across the poster to the
He then had the excellent insight that if he was right and the
band was only on originals and ran
all the way to the edge of the poster, it would appear on two out of every six postcards because
the cards had been printed so that they were on the same double sheet with the original poster,
one poster with six cards. We both got out a number of cards, and we were both able to find
cards with the band running exactly where it should be according to his theory. This
demonstrated conclusively that those posters with the band are originals, those without are
reprints. In order to double check this I called Paul Getchell, another serious scholar of this
material, who owns a copy of the uncut printer’s proofsheet of FD-61 with the cards. I asked him
to look for the band, and he was able to find the band running all the way across the poster
horizontally and vertically down the lowest two cards on the sheet. The cards on this sheet are
rotated 90 degrees from the poster so a horizontal line on the poster would be vertical on the
This leads to the question of how I managed to get the original
and the reprint reversed for all
these years. I had used the logic used on most of the Family Dog items from this period, that
since the cards were never reprinted, the original poster was the one which matched the cards.
In this case for unknown reasons, the cards and posters do not match. Paul Getchell told me that
one of the things which is interesting about the proofsheet which he has is that the orange is
much darker and more reddish on the side/half of the postcards than it is on the side/half of the
poster. The darker, more reddish postcards more closely match the poster reprint which was done
later on a double sheet printed side by side with a poster of FD-66. Mr. Kastor has a photograph
of the printing plate of this item so we know it was printed this way. Further linking
FD-61-RP-2 to FD-66-RP-2 is the fact that the vertical bars/lines which appear in the red on that
poster also appear in the upper left red area of FD-66-RP-2 also appear in the upper left blue
area of FD-61-RP-2.
Mr. Kastor also showed me copies of another poster which is a
third printing of FD-61 which does
not have the darker blue band and is missing the small dot which appears immediately to the left
of the “Moscoso” signature in the plate on FD-61-OP-1 and FD-61-RP-2. He believes, and I am
inclined to agree, that this poster was printed later, probably two up with two copies of the same
I apologize to the buyers of this guide for this error which is
probably the worst in this guide
which has been discovered up to this point. I can only say that this is a fluid scholarship with new
discoveries made regularly, and those of us who study it try our best to see the information we
share with others is as accurate as possible.
Under FD-62 change posters to read:
In 2007 it was
discovered that this poster was printed twice and that there are
two variants of the original. Both variants of the original have
a small c. 1/64” blue
dot in the right margin level with the right arm of the “Y” in
the Family Dog logo. Both variants are printed on “rows” or
“woven” textured stock. This variant has the rows pattern on the
front of the poster. 14 1/32” x 20 1/64”
This variant with the blue dot described above has the
rows pattern on the back of the poster. 14” x 19 31/32”
FD-62-RP-3 The reprint does not have the blue dot described above and is on stock which does not have a rows pattern on either side. 13 31/32” x 19 31/32”
FD-62-OPC-A This card has a “place stamp here” reverse. 4 63/64” x 7”
FD-62-OPC-B This card has a bulk rate permit reverse. 4 63/64” x 6 31/32”
FD-62-OPC-C Some copies of FD-62-OPC-B were mechanically addressed and sent to people on the mailing list.
Under FD-62 notes add:
F. D. 62 Sutter's Mill
2007 Phil Cushway, owner of Artrock, discovered that he owned two
proof sheets of this poster, one with cards alongside
the poster which was the original and
one printed side by side with FD-58, obviously a reprint. He studied these two sheets carefully and noticed that the original had the blue dot described above, and the reprint did not. In order to prove that the dot was not just a flaw on this copy but on the whole run, several hundred posters were sorted by dot/no dot and then sorted by stock. All copies with the dot were on one stock and all copies without the dot were on the other. This proved the dot was a reliable signifier for the original. Some cards have rows pattern on the front, some on the back.
FD-63-OP-1 The original is on stock with a tan
reverse. This tan stock has a “rows” or woven texture on the
reverse. All postcards are on this stock.
Change FD-63 text to read:
Under FD-64 change the entire text to read:
In 2001 Mr. Phil Cushway, owner of Artrock, raised the issue of whether or not the distinction made in my guide between FD-65-OP-1 and FD-65-RP-65 was correct. His assertion that it might not be appeared in three sentences which were part of the description of Ebay item 1446507693, a copy of FD-65-RP-2. His words addressing this topic are as follows, " The white border is generally considered to be the first printing, while the yellow border is supposed to be the second printing. While this may be true, ( I was not there to be sure) I do have an uncut proofsheet of white cards and a yellow border poster. Thus, although this is considered to be a second printing poster, there is proof to the contrary with the proofsheet."
Beginning with FD-43 and extending to FD- 86 almost every Family Dog poster was reprinted at least once. The only exceptions appear to be FD-70, FD- 73, and FD-80. FD-82 was probably printed twice, but both printings predate in the show. It was generally Family Dog policy to reprint an item when stock ran low. The three which were not reprinted were among the slowest selling Family Dog posters from the era, and there was an ample supply of them in stock as demonstrated by the fact that there were substantial numbers of them in the inventory when it was acquired by Ben Friedman, owner of the Postermat, who bought the Family Dog poster and postcard inventory not long after the Family Dog went out of business.
During the time when these posters were being published, early collectors were not taking careful notice of the reprints of Family Dog posters between numbers 43 and 86. There was an awareness of earlier, pre-43 reprints because these were, for the most part, properly labeled, but in general the fact that the Family Dog chose to mislabel reprints "-1" seemed to preclude discussion in the '60s. Distinctions like the differences in color tone on many of the posters which are obvious to us now were initially ignored. The exception to this was FD-65. The white versus yellow distinction was so drastic it was impossible to ignore.
I generally have avoided citing my own experiences as sources of information, but in this case I will make an exception.
Mr. Cushway repeatedly has stated, "I wasn't there so I don't really know for sure." This once I choose to say, "I was there. I do know." By the time of the FD-65 concert I knew at least a dozen other collectors, most of whom I had met either from ads I had run in underground newspapers or from encounters on Telegraph Avenue while trading postcards carried in cigar boxes. There was quite a bit of comradery as well as trading, and we exchanged information freely. When the yellow bordered FD- 65 appeared, it was long after the show. I was very curious about it, and I remember asking everyone I knew who was collecting the posters if they had seen a yellow bordered one at the time of the show. They all said they had not seen it until it began being sold in poster shops months after the show. Everyone remarked that the only ones they had seen at the time of the concert were the white bordered ones, and only white bordered ones appeared in runs of originals collected from the people who had gotten their posters attending the concerts. It was the recognizably different yellow bordered FD- 65 that eventually led collectors to speculate that the Family Dog might be reprinting posters after number 43 without properly designating them as they had before number 43. In fact, this was what was happening.
This brings us to the prooofsheet mentioned by Mr. Cushway. I
have seen this proofsheet, and there is no doubt it is as he
describes it, six white bordered cards alongside a yellow bordered
poster. Although it is well established that no yellow bordered
posters were distributed before the show, merely relying on this
avoids the issue of the existence of Mr. Cushway's proofsheet
which almost certainly was printed prior to the show because it
includes cards. As I have written in several places, cards
apparently were not reprinted by the Family Dog, but the answer
here is simple and is confirmed by a variety of other proofsheets,
some of them owned by Mr. Cushway. The artists who created these
posters liked to experiment, and they did so often. The artists
themselves state this. Large numbers of one of a kind printings of
these posters exist, experiments with colors which the artists
decided they did not want to use or they were told they could not
use because of some additional expense. Rick Griffin apparently
the idea of this poster with the yellow background and border. One was printed before the show as an experiment, but it was not chosen as the final original format. Later when it came time reprint this poster, Rick’s preference for a yellow border was accepted. This is the most logical
explanation considering that no yellow bordered posters were distributed before the show and none appeared until months after the show. Rather simply put, if the Family Dog had printed substantial quantities of yellow bordered posters prior to the show, they would have distributed them. This is also suggested by the fact that Rick’s posters were very popular and that all his other Family Dog numbered images were reprinted. This image was quite popular, and it was from the time when the posters before and after it were reprinted so it would be highly unlikely it was not reprinted. The above evidence points very strongly to two printings of FD-65, a white bordered original and a yellow bordered reprint.
One additional confirmation of this which testifies to the level of alertness of the late 1960s collectors is that when Family Dog Number 121 appeared in two substantially different color variants, both before the show, I remember that collectors were aware of both variants within a week or two after the concert. The same would have been the case if substantially different color variants of FD-65 had been distributed before the show. Everyone involved would have wanted copies of both versions in the same way they wanted both versions of FD-121.
Under FD-66 change "Schwal" to "Schwall."
Under FD-66-OP-1 change the text to read:
|FD-66-OP-1||This poster was printed twice. The original printing matches the postcard and does not have the lines described under BG-66-RP-2.|
|FD-66-RP-2||In 1999 a reprint of this image done in
1967 or 1968 was discovered. The reprintis a lighter
green and a lighter red than the original. It does not
match the postcard.
Paper dimensions, length, width and thickness are very close to identical with the original. When viewed at an oblique angle the upper left corner of the reprint seems to have five or six faint vertical red lines about 3/32" wide separated by red lines of similar width that are very faintly different in color from the background red. These extend from the top edge to the green border of the image. This is one of the few posters where it might not be a bad idea to have a postcard handy to check whether an item is an original or a reprint.
|FD-66-OPC-A||This card has a "place stamp here" reverse.|
|FD-66-OPC-B||This card has a bulk rate permit reverse.|
|FD-66-OPC-C||Some copies of FD-66-OPC-B were mechanically addressed and sent to people on the mailing list.|
Following FD-66 add the following:
In 2001 Phil Cushway, the owner of Artrock, wrote a one page
essay claiming that the distinguishing feature used in my Guide to
tell the difference between FD-66-OP-1
and FD-66-OP-2 was incorrect. He published this essay on Ebay along with the description of Ebay item No. 1446507650 which was a copy of Family Dog No. 66, the "Strongman." While
Mr. Cushway expressed a number of general reservations about my Guide which are discussed in a new part of the introduction to my Guide (see table of contents: Response to Concerns Expressed by Phil Cushway), I will address here only the reasons why I believe he is incorrect in his contention that either there is only one printing of this poster or there is more than one printing but they are indistinguishable.
Since I seek to be fair in a scholarly refutation of Mr. Cushway's thesis, I will quote in full his paragraph from Ebay on FD-66. It appeared exactly as follows:
"I have a great deal of issue’s of the now "current" (this year's) model. [The reference is to the latest edition of my Guide.] That in 1999 it was discovered that these were in fact 2 printings of this poster and that they can be distinguished by the presence of small, faint green lines that extend for the image to the top of the poster along the left hand side. While it may be true that there were 2 printings of this poster, (having not been there, I cannot say for certain anyway). This is simply not a satisfactory explanation of these lines or their origins or differences in a "printing". The more likely explanation is this - When these posters were being printed, sometimes the image would be "offset" and in fact, this is what probably happened here. The lines simply "ghosted" here; the printer, to fix this recurring and normal happening simply wipe down the plate so that, presto, the "ghosted" lines simply disappear. Furthermore, this argument is what happened when I examined a bunch of these posters from the same pack - low and behold, when found, the posters exhibited varying ghosting and posters with the absence of ghosting all within the same bundle. Because of these reasons, I am not going to separate these out. If you win the bid for one of these it might or might not have the "ghosted lines". If you insist that only the poster with out these offending lines is the first, don't bid on this one first, where you might or might not get it. Buy instead from someone else (who by the way most likely got it form me anyway). Phil"
Mr. Cushway's error in quoting my Guide and describing the
signifier as "green lines" rather than red ones can be overlooked,
but his failure to address the real difference between the two
printings, the substantial differences in all the colors,
indicates he has not seriously contested the validity of my
assertion that there are two printings of FD-66. Since differences
in color are not useful distinctions when a person using my Guide
has only one item available, because verbal descriptions of such
color distinctions are not possible, it is necessary to look for
specific markings; plate scratches, ghosting etc. which appear on
one printing and not another. These marks are not evidence of more
than one printing, and Mr. Cushway's challenge to their use as
signifiers is a challenge to a strawman, apparently successful but
proving nothing. What
makes it clear that there were two printings of this poster is that there are clear and distinct groupings of these posters which can be separated consistently and reliably by colors. Not only can they be separated by colors, there are no gradations of color running between the two as there are, for example, on FD-68 in which case it was necessary to designate all copies as originals. Further clarifying the distinction between the two printings is the fact that all known postcards including mailers sent out by the Family Dog before the FD-66 concert match one of the color groupings, and no known postcards match the other. Although it is very difficult to prove the negative "The Family Dog never reprinted postcards," the printing records which are widely distributed among the scholars of this material make no reference to the reprinting of
postcards, and all known reprint plates are of posters printed two side-by-side without postcards.
Furthermore Mr. Cushway's assertion that he has packages of these posters which include copies with no ghosting next to ones with ghosting (with the faint red lines), does not prove his contention that my Guide is incorrect. His original source of supply was the vast inventory of Ben Friedman's Postermat. Friedman was notorious for mixing piles of posters. When he, Friedman, bought the Family Dog inventory in the late 1960s, this inventory included large numbers of both originals and reprints which were already intermingled. Friedman further added to this chaos by putting all posters of a given number on the same rack in his warehouse which I toured on a number of occasions as early as the early 1970s.
Put simply, there are no known copies of the darker red version of FD-66 which have the red lines. If there are versions of the lighter red without them, it will not make them originals or make the printings indistinguishable. It would just mean I will have to use a different signifier to tell the printings apart. Those who are unsure about the use of the red lines can always refer to color tones on copies of postcards, something I already suggested as a backup in the last edition of my Guide, or they can employ the small dot in the left margin two inches down from where the chair touches the left border, the signifier used by Jacaeber Kastor of Psychedelic Solution who agrees with me that there are two readily distinguishable printings of FD-66, one known to be an original, one known to be a reprint.
This all being the case, I believe I have demonstrated to the satisfaction of a reasonable person that there are two printings of FD-66, that the ones without the ghosting, the faint vertical red lines described in my Guide, are the originals and that the ones with the ghosting are the reprints.Change FD-67-OP-1 to read: On the original there is no left margin. The poster has been trimmed to the inner black border. In 2015 I encountered a copy of FD-67 which had not been trimmed
Under FD-68 add
FD-68-RHB-D In 2001 the San Diego Museum of Art used this image
for a handbill promoting
a show of psychedelic posters. 2" x 6"
Under FD-70 notes add:
It should be noted that the poster and card are not identical. The card is a mirror image of the poster.
Under FD-71 change the date to read "7/13-16/67."
Change FD-71-OP-1 to read: The original measures c. 13 27/32" x 21 7/8". This is about 1/2" longer than the reprint. In 2015 I discovered that on the reverse of the original printing of
FD-71 there is a 3/16" long horizontal line on the left edge 3/16" down from the top. This is a remnant of a printer's bull's eye from the backprint which was
for postcard backs which only were printed on originals.
Change FD-71-RP-2 to read: The reprint measures c. 13 7/8" x 21 3/8". This is about 1/2" shorter than the original. The length is the distinguishing characteristic. The horizontal line
described under FD-71-OP-1 does not appear on FD-71-RP-2
Change FD-71-OPC-A to read: The postcards match FD-71-OP-1 which is slightly different in color from the reprint.
Under FD-72 change the posters section to read:
FD-72-OP-1 The original has the ticket outlets strip in black and the image drawing in black and shades of gray. The dot described under FD-72-RP-3 does not appear. Colors match the card. 14" x 20 1/32"
FD-72-RP-2 This reprint has the ticket outlets strip and image drawing in shades of green.
The dot described under FD-72-RP-3 does not appear. 13 63/64" x 20 1/8"
FD-72-RP-3 This reprint has a 1/32" dot, black over red, located near the top of the loop between the "U" and the "L" of "JULY" just to the right of the top center of the poster. Colors do not match the card. 14" x 20 1/16"
Under FD-73 change the date to read "7/27-30/67."
Under FD-74 under acts delete "Tripping West to East."
Under acts change "National" to "Natural."
After FD-78-RP-2 add
|FD-78-RP-3||This variant is substantially darker blue than FD-78-RP-2. Unlike FD-78-OP-1 and FD-78-RP-2 which are on uncoated index this variant is on semi glossy stock.|
Under FD-78 artists add “Adolph Weinman”
Under FD-78 add
FD-78-PP-4 In 2006 I was shown a videotape of an episode of the television series Nash Bridges. In the episode Don Johnson/Nash Bridges goes to the
offices of a music industry executive. Clearly visible on the office wall is a version of FD-78. This version is at least 2’ x 3’. This is much larger than any authorized
copy of this image. I have never seen a copy of this item in person, but it clearly exists. I would appreciate it greatly if anyone who owns a copy of this
version would show it to me.
Under FD-81-OP-1 change "only once" to "twice" and add "On the original the white of "Moscoso" and the ticket outlet strip is even and unbroken."
After FD-81-OP-1 add:
|"FD-81-RP-2||On the reprint the white of "Moscoso" and the right quarter of the ticket outlets strip is almost completely eliminated where the background is orange."|
|FD-81-RP-3||This variant has the same ticket outlets markings as
FD-81-RP-2 , but unlike FD-81-OP-1 and FD-81-RP-2 which
are on uncoated index this variant is on semi glossy
|FD-82-OP-2||Some copies were printed with a Denver ticket outlets strip. These add "Grateful Dead" in large letters across the forehead of the skull. This lettering was done by John Chic.|
Add to FD-84(D-4)-OP-1 "The reprint was distinguished from the
original in 1999. See
Change FD-84(D-4)-RP-2 to read:
"FD-84(D-4)-RP-2 In 1999 the reprint was distinguished from the original. The reprint has a 1/64" dot made up of both dark pink and light blue located 3/8" in from the edge of the white background circle at about three o’clock. There are other similar flaws, and colors are subtly different, but this dot on the reprint which is not on the original is the best distinguishing factor."Add to FD-84(D-4)-OPC-A "printed in black."
Add to FD-84(D-4)-OPC-B "printed in rust/red."
After FD-85-OPC-C add: In 2014 a pirate/bootleg
version of this card was discovered. It is easily
identified because the back is blank, but it also is on stock different from the
index used for the lawful printing. This stock is slick and glossy. It is .010”
thick. It is easy to determine this is a modern printing because when the colors
are viewed under 10x magnification, it is clear the color is not even, rolled on
ink but tiny dots of sprayed on ink which is a characteristic of digital printing.
5” x 7 1/64”
Under FD-89 under artist add "Mouse *."
At the bottom of the page add:
FD-89-OP-1 In 2001 Jacaeber Kastor of Psychedelic Solution along with his assistant , Brad Kelly, determined that this poster was printed twice. The original does not have either of the scratches listed under FD-89-RP-2 and FD-89-RP-3. 14 15/64" x 20"After FD-89-OPC-C add: In 2014 a pirate/bootleg version of this card was discovered. It is easily
FD-89-RP-2 The second printing was printed two up on double sized sheets. The two are not identical but were printed at the same time. Both FD-89-RP-2 and FD-89-RP-3 have a c. 3/4" long faint scratch running diagonally up toward the upper right corner beginning 3/8" above the "T" in "Concert" at the top. This item does not have the additional scratch described under FD-89-RP-3. 14 1/64" x 20 63/64"
FD-89-RP-3 This item also has a c. 1 9/16" long scratch located in the panel with the chain and hook hoisting the Family Dog logo. It begins about 3/16" in from the left margin of the panel and extends obliquely upward and slightly to the right. 14" x 20 63/64"
Add to FD-90-OPC-B "printed in black."
After FD-90-OPC-C add
"FD-90-OPC-D This card has a "place stamp here" reverse printed in black."
Add to FD-96-OPC-A "printed in black."
Add to FD-96-OPC-B "printed in blue."
After FD-96-OPC-C add
"FD-96-OPC-D This card has a place stamp here reverse printed in dark pink."Under FD-98 change FD-98-OP-1 to read:
|"FD-98-RP-2||In 1997 a reprint was discovered on uncoated index. This stock is a different index, a bit shinier, than the one the card is printed on."|
|"FD-99-RP-2||In 1997 a reprint was discovered on uncoated index. This stock is a different index, a bit shinier, than the one the card is printed on."|
|FD-101|| Eternal Reservoir
(or the Source)
|Rick Griffin||Quicksilver Messenger Service
The following text represents a complete revision of FD-101. It
is not that the previous text
was wrong, only that it was confusing and inadequate. I apologize for any inconvenience this
may have caused.
FD-101-OP-1 Reasonably conclusive evidence
points in the direction that this poster was
printed two times in the 1960‘s. The original is on stock which has a woven pattern on
the back. See FD-101-OP-5. This is described as “rows” by Jacaeber Kastor of Psychedelic
Solution. If the “woven” back is held at the correct angle to bright light, the “rows” or
“threads” appear. The back of the postcard matches this texture except for
FD-101-OP-5. 14 1/64” x 20 5/64”
FD-101-RP-2 The reprint has a glossy back with
no rows pattern. If the front of this
printing is viewed at the correct angle under bright light, a rows or woven pattern will
appear. No postcards of this variant are known. 13 63/64” x 19 15/16”
FD-101-RP-3 In 1976 Rick Griffin printed
copies of this image in double the standard
poster size to distribute at a show in England. These posters have a printed numbered
notation that they are for this show. 20 3/8” x 29”
FD-101-RP-4 In 1990
Pyramid Books in England printed this image. Paper stock is
thick and high gloss. The top 1” of the image is missing. It had been thought that this
was a pirate, but in 1997 it was learned that this was a properly licensed reprint. 11
57/64” x 16 17/32”
FD-101-OP-5 A small number
of copies of this poster exist which do not have a rows or
woven texture on either side. These copies are not a bright black as are the others,
either originals or reprints. These are originals. 14” x 20 3/32”
The author of this guide would like to acquire a copy of FD-101-OP-5.
FD-101-OPC-A This card has a “place stamp
here” reverse. The back has a rows or
woven texture which matches FD-101-OP-1. 5” x 6 63/64”
FD-101-OPC-B This card has a bulk rate permit
reverse. The back has a rows or woven
texture which matches FD-101-OP-1. 5” x 7 1/64”
FD-101-OPC-C Some copies of FD-101-OPC-B were
mechanically addressed and sent to
people on the mailing list.
FD-101-RPC-D In 1989 this postcard was
reprinted in Italy on glossy stock. some detail
is lost. “Rockin Umbria” appears on the reverse.
FD-101-OPC-E This card has a
bulk mail permit back which does not have a rows or
woven texture, nor does it have that texture on the front. It matches FD-101-OP-5.
At this point in 2003 no copies of this card with a place stamp here square are known.
Apparently these were produced early in the run and only have bulk mail backs which
traditionally were printed first.
FD-101-OPC-F Some copies
of FD-101-OPC-E were mechanically addressed and sent
to people on the mailing list.
The author of this guide would like to acquire a copy of either FD-101-OPC-E or
F. D.101 Eternal Reservoir (or the Source)
This poster is several shades of blue, several shades of yellow,
green and orange on a black
background. The central image is a heart shaped design with roots descending into the ground
below and branches rising into the air. There is an opening in the heart from which flow two
streams of orange liquid. Immediately upon seeing this image, viewers recognize Griffin's
intention was to depict a living entity which he saw in his mind and in his heart as both
growing from the soil and nourishing it. This is one of the most profoundly biophilic of the
psychedelic images, and for this reason it has been popular from the first day it was posted.
Griffin was a very complex man who, more than most people, confronted a number of serious
conflicts about the nature of spiritual reality. On one side of what he saw as the dual nature of
existence was the Old Testament "Jealous and Angry God" before whom we have all given in
to temptation and on the other was the New Testament Savior who stood between man and
the Old Testament God on Judgment Day. It is not surprising that his most graphic
interpretations of both of these diametric opposites appeared within only a few weeks of each
other. That Rick could see both the Eyeball of B.G. 105 and the Source of F. D. 101 in his
mind's eye at the same time shows that not only was he going through a period of intense
artistic fertility, he was also being torn between these two polarities as he wrestled with
himself and sought to decide on his own personal answers to the moral questions of existence
that all serious people must confront. Although Rick did choose to accept Jesus as his
personal Savior, the conflict inherent in these two images, the love of a nourishing, fleshly
world and the fear that this fleshly world was not nourishing and that love of it could lead to
eternal damnation, troubled him for the rest of his life. He both loved this life and feared that
by loving this life he would lose eternal life. Whatever the eternal Answer might be, Rick
Griffin certainly turned his seeking for that Answer into great art.
* Evidence: When it was noticed by Jim Northrup that the reprints
of this poster had a woven
or rows texture on the front, the possibility was raised that these were originals which acciden
tally had been printed on the wrong sides of the sheets. After considerable study of our various
copies, Jacaeber Kastor, the owner of Psychedelic Solution, and I spoke on the phone for sever-
al hours. The conclusions we reached are represented by the current text of FD-101.
First we noted that there were no known copies of an FD-101 postcard with a woven or rows
textured front. This did not mean that they did not exist, but since Family Dog postcards and
original posters almost always were printed on the same sheets, and Family Dog postcards
were not reprinted in the 1960’s, and there are a lot of copies with the woven/rows front poster,
there should be a lot of woven front cards if these were originals. We thought this was interest-
ing but not ample evidence to prove woven/rows front posters were reprints. We started look-
ing for internal evidence, evidence from the posters and cards themselves which would resolve
this one way or the other.
Second we looked at a printer’s proofsheet of the original to find an open unprinted area. We
did this on the notion that if woven/rows front posters were originals, the open unprinted area
of a printer’s proofsheet would match the paper stock of the back of a woven/rows front poster.
After careful examination we determined that they did not match. Both to the unaided eye and
under magnification they appeared to be different paper stocks. The we examined them under
black light and found that they were drastically different in appearance under black light.
Third we noted that the back of the original had a woven/rows texture with lines that were more
vertical, and on the ones with the woven/rows front the lines were more horizontal.
A person without access to a printer’s proofsheet can study this by looking at the center of the
image of an original which has a small but significant white area in the “sun” portion of the im-
age. When this is compared under black light or magnification (but especially black light) to
the back of the reprint, they clearly are very different.
As for the discovery of FD-101-OP-5 this is documented by the fact that Mr. Kastor has a copy
of this as a card, and I have a copy of it as a poster. Each of us would like to acquire the one we
do not currently have. I had previously thought this was a unique reprint, but the discovery of
Mr. Kastor’s matching card proves it is an original, albeit a rather rare one. Under FD-104 change the date to read "2/2-4/68."
Under FD-106 change "Youngbloods Bloods" to "Youngbloods"
Under FD-107 change "Quick Silver" to "Quicksilver"
After FD-115-OPC-C add: In 2014 a pirate/bootleg version of
this card was discovered. It is easily
identified because the back is blank, but it also is on stock different from the
index used for the lawful printing. This stock is slick and glossy. It is .010”
thick. It is easy to determine this is a modern printing because when the colors
are viewed under 10x magnification, it is clear the color is not even, rolled on
ink but tiny dots of sprayed on ink which is a characteristic of digital printing.
5” x 7 1/64”
After FD-116-OPC-C add
FD-116-PPC-D An Italian printing of this card on glossy stock was done in 1989. “Rockin Umbria
appears on the reverse.
Under FD-117-OP-1 add "by the Family Dog."
After FD-117-OP-1 add "FD-117-RP-2 In 2008 the artist who created this image in 1968 celebrated its 40th anniversary by completely recreating the image and printing a limited edition of 100 copies. '1968/2008' is added next to 'Crome Syrcus.' 17 1/32" x 23 49/64""
Under FD-117 add the dates the acts appeared: "Canned Heat
5/3&4/68" and "Crome Syrcus 5/5/68"
Under FD-118 change "Flamin’s" to "Flamin’"
Under FD-120 change posters to read:
FD-120-OP-1 This poster was printed lawfully only once. 13 21/32" x 19 63/64"
FD-120-PP-2 In 2008 a pirate/bootleg of this poster was printed, probably in Australia, and sold on ebay. This poster was printed digitally on semi-gloss stock unlike the lawful original
which was printed on uncoated index. This bootleg can be distinguished by the fact that the white area are not pure white but are filled with small, colored dots.
14 3/32" x 21 7/64"
Under FD-125 delete "Dog" from acts.
Under FD-125 under artist add "*L. Kent Hollister."
Under FD-125 add:
* The original Family Dog catalog listed "David Warren" as the artist who created the artwork for FD-125. When I communicated with Mr. Warren in 1979, he confirmed that he had created this poster. Although I noticed that two different pens, one much wider than the other, were used to create this design, I gave it no further thought.After FD-125-OPC-E add:
In the late 1980’s someone at a show gave me very credible evidence that this design was a collaboration by two artists. I called L. Kent Hollister at the phone number I had been given, and it had been disconnected. I wrote to the address I had been given, and the letter came back stamped "Not at This Address."
Over the years this continued to bother me because the evidence for collaboration was significant and obvious. I did not like the idea of depriving someone of credit in the guide, but without being able to contact Mr. Hollister for confirmation, I could go no further.
In early 2000 I came across the slip of paper with the old address on it, and for some reason or other I decided to write to it again. To my amazement I got an answer from Mr. Hollister who had been there all along and had no idea why the letter had been returned. I made an appointment and drove up to see him.
The details of the collaboration are simply that the central face was drawn first by L. Kent Hollister who at the time was creating portraits from photographs. The photograph used here was a Victorian portrait of a young woman he had found in a book. He gave the drawing to David Warren who drew the floral border and lettering.
For those collectors who want the evidence besides the substantial differences in style and the widths of the pens, Mr. Hollister showed me several of his older drawings with similar cross hatching. Although I did not know him in the 1960’s, he went to concerts and did album cover work for Quicksilver. Also he knew and worked with George Hunter,
but the clincher, so to speak, is his 1960’s logo/signature on the piece. Look just to the right of the "N" in "Avalon" and amidst the flowers a drawing of an eye is hidden. This is Mr. Hollister"s signature. It is worth noting that the same eye signature appears at the bottom center on the Carousel Ballroom Moby Grape handbill for April 12 & 13, 1968, AOR#2.161, which was also created by Mr. Hollister.
FD-125-OPC-F This card is of the FD-125 image only and has a bulk mail permit reverse
4 5/8” x 7 21/32”
Under FD-128 change the date to read "7/19-21/68."
Under FD-130 add "Edward Curtis (Photographer)" and under notes
add "In 2015 Casey Simpson was interviewed about this image, and
she said the deck of cards was published by
Southern Pacific Railroad, and the photographer was Edward Curtis."
Under FD-134 change the photographer to “Arnold Genthe” and
change the description to read:
“This poster is several shades of brown on a beige background. The central image is a
photograph of a woman wearing a long, flowing gown. She has her arms raised straight above
her head. The photograph is an early 20th-century photograph by Arnold Genthe. Over the
years I had been told several times that the partially legible photographers credit read “Zenthe.“
This is incorrect. The photographer was named Arnold Genthe (1869-1942). I was repeatedly
told that the woman in the photograph is Isadora Duncan, a dancer who was very famous in the
early Twentiethth-century. It is not. The woman in the photograph is Anna Pavlova from a pho-
tograph taken Nov. 8, 1915. Pavlova also was a very famous dancer in the early 20th Century.
The card for this image and No. 133 were printed as a pair.”
Under FD-135 after FD-136-OPC-D add
FD-136-OPC- E In 2010 a blank backed version of this card was discovered. 4 49/64" x 6 1/2"
Under FD-137 add
FD-137-RPC-E In 1971 Tea Lautrec Litho printed the image photograph without the concert information as a postcard. "Ride this Train" appears on the reverse.
Under FD-139 add
FD-139-RPC-E In 1971Tea Lautrec Litho printed the image
photograph without the concert information as a postcard. "Holy
City Service" appears on the reverse.
FD-139-OPC-F In 2010 a blank backed version of this card was discovered. 6 35/ 64" x 4 39/64"
After FD-142-OPC-D add
"FD-141-OPC-E This card is of only the FD-141 image. It has a blank reverse."Under FD-142-PP-2 change "Befheart" to "Beafheart."
After FD-142-PP-2 add
|FD-142-PP-3||In 1999 yet another pirate printing of this image was discovered. Although it does not bear the "San Francisco Poster Co." credit, the dot screen pattern is very similar to FD-142-PP-2. The correct acts appear on the bill.|
Under FD-146 change the third act to read:
"Saloom Sinclair & Mother Bear"
After FD-146-OPC-D add:
FD-D7-OP-1 This poster was printed twice. The original has lettering which is brownish green which matches the postcard. 14" x 20 1/16"At the end of FD-D-7 add: *Another commentator on this material had claimed that all copies of FD-D-7, both brownish green and gold lettering were originals. Although no one ever had
FD-D7-RP-2 The reprint has lettering which is gold. This is distinctly different from the card which is brownish green. This version is on somewhat glossy/ slick stock. 14 1/16" x 19 61/64"
FD-D7-RP-3 This reprint has lettering which is also gold in tone. It is from the same press run as FD-D7-RP-2, but it is on uncoated index. 14 1/32" x 19 61/64"
Add to FD-D-13-OPC-B "printed in lavender."
After FD-D-13-OPC-D add
|FD-D-13-OPC-D||This number reserved for future use.|
|FD-D-13-OPC-E||This card has a bulk mail permit reverse printed in gray.|
|FD-D-13-OPC-F||Some copies of FD-D-13-OPC-E were mechanically addressed and sent to people on the mailing list.|
Under FD-D14-OPC-A add:
Change posters under FD-D18 to read:
FD-D18-OP-1 This poster exists in three variants. In 2014 the issue of which of these variants is an original and which is a reprint was revisited. This, the purple variant, has a red triangle in the upper left corner as background for the Family Dog logo. It is the only original. See essay at the end of this item. 12 45/64” x 21 33/64”
FD-D18-RP-2 This, the dark blue variant, has a black triangle in the upper left corner as back
ground for the Family Dog logo. Both black triangle variants are reprints. See
essay at the end of this item. FD-D18-OP-1 and FD-D18-RP-2 have image
backgrounds of blue/purple which are so different in tone that simply less
ink on the plate could not account for the difference. This variant is on non
reflective index. A small but not inconsequential number of copies of this
printing were miscut by the operator of the guillotine so that the top edge is
oblique with the right edge about 1/2” shorter than the left. 12 21/32” x 21 3/4”
FD-D18-RP-3 In 1999 a black triangle version on semi glossy stock was discovered. This version is a substantially darker blue/purple than FD-D18-OP-1 or FD-D18-RP-2. It was discovered along with previously unknown similar semi glossy stock versions of FD-52, FD-64, FD-78 and FD-81 all of which were clearly reprints. It, too, is a reprint. 12 41/64” x 21 3/4”
Somehow or other between the time I printed the ninth edition, which had them correctly, and the time I printed the tenth edition, which eliminated them, the text of FD-D-5 deleted the part of the section on postcards. It will be added back to the eleventh edition, if there ever is one, but since it is missing from the tenth edition, I add it here. I apologize for this problem about which I can say only that I do not trust electrons which I suspect are relatives of gremlins. They have minds of their own unknown to Einstein, and sometimes they do stuff like this.
FD-D5-OPC-A This card has a place stamp here reverse. 4
13/16” x 6 59/64”
FD-D5-OPC-B This card has a bulk mail permit reverse.
FD-D5-OPC-C Some copies of FD-D5-OPC-B may have been mechanically addressed and sent to people on the mailing list.
FD-D5-PPC-D An Italian printing of this card on glossy stock was done in 1989. “Rockin
Umbria” appears on the reverse.
Change FD-D-18-?PC-D to read
"FD-D-18-OPC-D This card has no light blue stripe in the right margin. It has a "place stamp here" reverse printed in the same light blue as the doorway."
Under FD-D-18-OPC-A delete "…is…6 31/32""
Under FD-D-18-OPC-B delete "the… OPC-A" and "It measures… 6 31/32""
Change "FD-D-18-?PC-D" to "FD-D-18-OPC-D" and delete "is the same…?P-2" and "It measures… 6 31/32"" and "The existence… in this case."
After FD-D-18-OPC-D add
|FD-D-18-OPC-E||This card has no light blue strip in the right margin
and has a bulk mail permit
reverse printed in the same light blue as the doorway.
|FD-D-18-OPC-F||Some copies of FD-D-18-OPC-E were mechanically addressed and sent to People on the mailing list.|
Delete "Further confusing… bright light."
Change "FD-86" to FD-109."
Delete "over three months… FD-86" and replace with "well before FD-109."
After FD-D-18-OPC-F add
|FD-D-18-OPC-G||This card has no light blue stripe in the right margin. It has a "place stamp here" reverse printed in black. It is wider than the other cards and similar in width to FD-D-18-OPC-D.|
|FD-D-18-OPC-H||The discovery of FD-D-18-OPC-G in 2000 leads me to
believe there is
narrower version of FD-D-18-OPC-D (no blue stripe but with
a blue imprint "place
stamp here" reverse) with dimensions similar to
FD-D-18-OPC-A. Time will tell...
Add to this section, "A copy of this variant was showed to
me in 2009."
Also under FD-D18 under * delete the entire section following the * and replace it with:
* Previously in this space there was a long essay about the colors of the various printings of
FD-D18 and what they might show about whether the black triangle versions of FD-D18 were
originals or reprints. This material has been eliminated because it has now been proved that
black triangle versions of FD-D18 are reprints. See FD-D18-RP-2.
At the end of FD-D18 add:
. A printer's proof exists with the red triangle poster and six postcards. Printing records of the Family Dog from California Litho plate and Tea Lautrec Litho clearly indicate no postcards were reprinted, so red triangle is an original.
In 2014 the author of this Guide revisited the issue of whether black triangle versions
of FD-D18 were originals or reprints. He was assisted in this research by Grant Feichtmeier of
Wolfgangs Vault and Mike Storeim of Classic Posters.
The following facts were determined from examination of a large number of posters and post-
cards and several printer’s proof sheets. The red triangle version poster was printed on three
very distinct, different paper stocks. The postcards also were printed on these same three differ-
ent stocks. Although these stocks appear the same to the naked eye, under black light they ap-
pear very different. The black triangle versions, both FD-D18-RP-2 and FD-D18-RP-3, are on
stocks which also are very distinctly different from each other and from the three paper stocks
of FD-D18-OP-1. There are no postcards on either of the two stocks on which FD-D18-RP-2
and FD-D18-RP-3 appear. If either of these were originals, there would be postcards on these
stocks because all the original cards done by California Litho Plate except for the odd sized
FD-98 and FD-99 were printed on the same double sheets as the original posters, one poster on
the left and four or six postcards on the right.
It was also noted that the cutter trimmed red triangle at the bottom right up to the bottom of the
ticket outlets strip. The cutter trimming black triangle versions trimmed them substantially
below the ticket outlets strip. On black triangle versions below the ticket outlets strip there is a
white spot with small amounts of red and blue within the spot. On all known uncut proof sheets
of red triangle the color ends immediately below the ticket outlets strip, that is, the area below
the ticket outlets strip is all white. This is why the red triangle posters were cut so close to the
ticket outlets strip at the bottom. If they had been cut any lower there would have been a white
strip all across the bottom. The white spot which appears at the bottom of black triangle
could not possibly have been at the bottom of red triangle if it had been cut longer because the
entire area on the proof sheets is white. This is clear evidence that red triangle and black
triangle were printed with different printing plates, further evidence that black triangle was
In 2015 the ultimate piece of evidence in this discussion
appeared. I saw a proof sheet of
FD-D-18 printed two up with a copy of FD-101. These obviously were reprints because they
were printed as a pair without postcards. This copy of FD-D-18 had the black triangle.
Under FD-I-OHB-A add: In 2011 a forgery dating from the 1970s was discovered. The distinguishing characteristic of this forgery is the vertical measurement of the distance along the right
margin from the outside edge of the horizontal black line at the top edge of the image to the outside edge of the horizontal line at the bottom. This measurement on
genuine copies is 10 5/32" plus or minus 1/64."
After FD-I-OHB-E add:
FD-I-RHB-F In 2005 Perry Pfeffer in conjunction with the late Chet Helms, Kelley and
George Hunter arranged for a hand done silkscreen reprint of Family Dog handbills I, II, III and IV. These were printed four to a sheet, one of each on a sheet. The stock used was high quality smooth, but not glossy stock .0090” thick. This is readily distinguished from the original handbills which are on stock less than .0060” thick. The reprint stock is ecru/off white in color. 265 sheets were printed. 65 uncut sheets were signed by Helms, Kelley and Hunter. 100 uncut sheets were unsigned. 100 sheets were cut in quarters. The cut handbills were not signed. This item is the single reprint handbill of FD-I.
10 1/64” x 13”
FD-I-IV-RP-4 This item is the uncut sheet described under FD-I-RHB-F. Because of its size
it is numbered as a poster. 24”x 31”
After FD-I-IV-RP-4 add: FD-I-FHB-G In
2011 a forgery of this handbill was discovered. It appears to date
from the early to mid 1970s. The stock of paper used was somewhat
and coarse than genuine originals, and slight detail is lost, but the best way to distinguish this forgery is the measurement described under
FD-I-OHB-A. On the forgery this measurement is 10 1/16." It is not possible to give the original size of this forgery because the copy which was
discovered had been trimmed.
After FD-II-OHB-B add:
FD-II-RHB-C This item is the 2005 reprint. See FD-I-RHB-F and FD-I-IV-RP-4.
After FD-III-OHB-A add:
FD-III-RHB-B This item is the 2005 reprint. See FD-I-RHB-F and FD-I-IV-RP-4.
Under FD-IV-OHB-A change the color of the paper stock from
"ecru/beige" to "off white."
After FD-IV-OHB-A add:
FD-IV-RHB-B This item is the 2005 reprint handbill. It should be noted that although the silkscreen used to print these items was made from the original 1965-1966 film, this reprint was not nearly as clear and sharp as the original. The dot screen of the reprint was much coarser than the dot screen of the original. The reason for this is that the silkscreen process does not produce as sharp an image as offset lithography printed with a metal plate. See FD-I-RHB-F and FD-I-IV-RP-4.
FD-IV-FHB-C In 2005 at the TRPS swap meet I was shown a forgery of this handbill which had been in the possession of the person selling it since approximately 1975. It is important to note that forging of this material was going on even as far back as the middle 1970s. As with all such forgeries which are produced by photographing an original and using the photograph to produce a new printing plate, the resulting handbill is much fuzzier, less clear than the original. The reason for this loss of clarity, unlike the loss with the silkscreen process, is due to the impossibility of producing a new plate from a genuine original handbill that captures all the fine detail of the original. This forgery is on stock with a very clear vertical rows/woven texture. These rows are about 1/16” across and visible on both sides of the stock. The original handbill is not on stock with rows/woven texture. This stock is .0110” thick. The original is on stock less than
.0060” thick. 8 31/64” x 11”
FD-IV-FHB-D In 2011 a forgery of this handbill turned up in Europe. One thing that was clear
about this forgery was that it was quite old. It was printed with a very early photocopy machine, probably in the early 1970s. Since it is so old, it is impossible to say whether this forgery was done in the U.S.A., possibly in the San Francisco Bay Area, or in Europe. This specific copy had been sold to its 2011 owner as a genuine original. This copy was printed on very pale green paper. A lot of detail was lost, and the inking was very uneven. There are lots of small white spots in the black areas, particularly on the black colored jackets of three of the five band members. These areas are even, uninterrupted black on the original and the 2008 reprint. It is possible other forgeries were printed at the same time on other colored papers so the key thing to look out for is the uneven inking with lots of tiny white spots. There also is a faint black horizontal line all across the bottom and the top of this forgery about 1/8” in from the bottom and top edges of the paper. 8 23/32” x 11 13/32”
After FD-IV-FHB-D add
FD-IV-OHB-E In 2014 I was shown a copy of this handbill on substantially thicker stock than
the more common version, FD-IV-OHB-A. It is .0090” thick. After very
careful examination it was determined that this newly discovered variant was
printed with the correct original printing plate and is a genuine original var-
iant printed before the event and distributed to promote it. Since it is very
unlikely that this is a unique item, it is now being added to this Guide and
assigned this designation number. The stock of this item is white, not off
white. 8 47/64” x 11 17/64”
After FD-IV-OHB-E add:
FD-IV-OHB-F In 2016 yet another original variant was discovered. This, too, clearly was
printed at the time of the event with the original printing plate. This variant is
on stock which is slightly darker than the off white of FD-IV-OHB-A.
The description of FD-IV-OHB-A, the far more common version of this
image now has been changed to “off white.” This darker version is best
described as pale beige//ecru. 8 31/64” x 10 63/64”
FD-IV-FHB-G In 2016 I was shown yet another older forgery of this handbill. The source had
been in possession of it since the mid 1980s, knew it was a forgery, and told
me the specific source of the forgery who had forged it and several other
handbills from other venues such as the Vulcan Gas Company back in 1979.
This forgery is on pale blue stock. The ink of this forgery is reflective when
viewed obliquely, a sign that it was printed by a means other than offset
lithography, possibly photocopying. 8 47/64” x 11 25/64”
Change "Dr. Strange" to "Sparkle Plenty" both times.
Under FD-VI change "fakil" to "fakir."
Under FD-VII change handbills to read:
FD-VII-OHB-B This variant is black ink on tan paper. There is a mid-1970s forgery of this handbill on an orange/tan stock. On the legitimate original in the oval around George’s face in the black area immediately to the viewer’s left of George’s hair there should be at least a dozen narrow white areas at least 1/16” long which are not quite horizontal but run from left to right rising a bit as they move from left to right. 8 1/2” x 10 63/64”
FD-VII-FHB-C On the forgery much detail is lost, and the area mentioned under
FD-VII-OHB-B is almost completely black. This item was originally created with the deliberate intention of deceiving people into thinking it was a genuine
original as were the forgeries of handbills of FD-1, FD-3, FD-6 and FD-12 which were all done by the same person. 8 33/64” x 11”
After FD-VII-FHB-C add:
FD-VII-OHB-D In 2016 a new variant of the original was discovered. This is in black ink on
light gray/grayish blue stock. Often when printers bought stock like that used
on these handbills, the stock came in fairly large quantities with a spacer in-
serted every 500 sheets. I was told this by one of the printers, probably Frank
Westlake of Bindweed Press. In order to print 3,000 of something the printer
would count six spacers into the pile of his inventory. This would leave six
sheets of the spacer stock in the pile with 3,000 sheets of the stock on which
he intended to print. Rather than carefully locate and remove these spacers,
printers often just printed on the spacer. This is the case with FD-II-OHB-B.
It is reasonable to assume that this also is the case with the newly discovered
FD-VII-OHB-D. My best estimate is that between 10 and 20 of these were
printed depending on the total press run. 8 1/2” x 11”
After FD-660226 add:
6/24&25/66 Avalon Ballroom
Dennis Nolan Big Brother & the Holding Company
FD-660624-OHB-A When I originally added the unnumbered material to this Guide, I
accidentally failed to include this handbill which definitely is a Family
Dog image. Chet Helms was managing Big Brother & the Holding Company at this time, and he had Dennis Nolan create a handbill with a blank
space in the center which could be used for multiple events by having a
rubber stamp made with the location and dates of the concerts. In this
case the words “AVALON BALLROOM” and the dates “June 24 & 25”
were stamped in red. There is no poster size version of this handbill, but
since this was an alternate handbill for the FD-14 event, the other FD-14
material also is for this same concerts. See also FD-660923.
5 31/64” x 8 1/2”
9/23&24/66 Avalon Ballroom
Dennis Nolan Big Brother & the Holding Company
FD-660923-OHB-A When I originally added the unnumbered material to this Guide, I
accidentally failed to include this handbill which definitely is a Family
Dog image. Chet Helms was managing Big Brother & the Holding Company at this time, and he had Dennis Nolan create a handbill with a blank
space in the center which could be used for multiple events by having a
rubber stamp made with the location and dates of the concerts. In this
case Chet had printing in rust color added that listed the Avalon Ballroom on September 23 & 24. It also said that Big Brother had just returned from Chicago, and that Howlin’ Wolf would be
appearing with them. See also FD-660624. 5 33/64” x 8 17/32”
11/12/66 Campus Hall UC Irvine
Unknown Oxford Circle
FD-661112-OP-1 I had first seen this small poster in the mid-1970s and concluded it was
a rip off usage of the Family Dog logo. In 2004 Joe Armstrong asked
me about it, and I decided to ask Chet who remembered it as an authorized
usage so it is now being added to the guide. 10 15/64” x 15 11/32”
Under FD-670002 Change OHB to OPC and change
"handbill" to "postcard." Add "This version has a place stamp
After FD-670002-OPC-A add "FD-670002-OPC-B This version has a bulk mail permit back."
After FD-670004-OHB-A add:
FD-671123-OHB-D Some copies of
the card have a blank back.
After FD-671231 add
FD-671231A-OHB-A In 2015 this business card sized item associated with the same event as FD-671231 was discovered.
After FD-680406 Add:
Under FD-680528 change "Unknown" to "San Andreas Fault."
FD-680512 Civic Center Plaza5/12/68San Andreas Fault Kaleidoscope
Studios Initial Shock
A. B. Skhy Blues Band
FD-680512-OHB-A In 1998 a handbill on coarse light blue paper was discovered for this event which was a benefit for and jointly put on with the Haight-Ashbury Medical Clinic. The ink used was medium to dark blue. It measures 13 15/16" x 8 1/2". This handbill was printed only once.
Under FD-680701 change the date to read "7/1/68."
Under FD-681031-OPC-B delete "It is unknown whether any of these were mailed to people on the mailing list," and add
FD-681031-OPC-C Some copies of FD-681031-OPC-B were mechanically addressed and mailed to people on the mailing list.
After FD-681122B add
Under FD-690117 add PG&E to the acts.
Under FD-690613 add "It is possible Devil's Kitchen also played
this concert. They are listed in a San Mateo Times article of the
same date as the telegram."
After FD-690620 add
FD-690625-OHB-A In 2015 a single copy of this previously unknown handbill appeared on ebay. 8 1/2" x 14"
Under FD-690704 add: In 2006 a ticket for the FD-690704 event was
discovered. It was designed by San Andreas Fault Studios.
Under FD-690718A add: In 2006 a ticket for the FD-690718A event
was discovered. It as designed by San Andreas Fault Studios.
After FD-690718B add
|7/18-20/69||660 Great Highway|
|Sir Douglas Quintet
Under FD-690718B-OHB-A add "Some copies were hand stamped
in red ink with a rubber stamp reading, "& WIDESCREEN VIDEO
TRIP OF MOON ODYSSEY."
In 2002 notorious poster pirate from Austin, Texas
created this poster and fraudulently claimed that it was an original
poster created in 1969 for the shows listed on FD-690718A and
FD-690718B. He did so to cash in on the popularity of Doug Sahm
of the Sir Douglas Quintet in the Austin area. This is not a poster
created in 1969, but a 21st Century pirate. 13 57/64” x 19 7/64”
*One of the most insidious assaults upon poster collectors since
the mid 1990’s has been the
post facto creation of posters for events which actually took place and sometimes even had
legitimate posters created to advertise them. The first one of these I saw was one for the Rolling
Stones appearance at Altamont. Although the event took place in 1969, the picture was of a
Mick Jagger who was at least 40 years old. The seller on ebay swore he had been at the event,
gotten the poster there and kept it under his bed ever since. In general this kind of piracy has
not been that much of a problem with items in this Guide because the copyright holders act-
ively defend their rights, and this is an infringement on the Family Dog copyrighted logo, but
this just shows the importance of vigilance on the part of collectors.
Under FD-690807A change artist from "T. Daly" to "Trish Daly."
Under FD-690815 remove "16" before Devil's Kitchen.
After FD-690815-OHB-D add
"FD-690815-OHB-E In 1999 a copy was found on pale blue/green stock."
After FD-690815 add:
FD-690916 In Search of America
9/16/69 660 Great Highway
Jellyroll Press Orion
|FD-690916-OP-1||In 1998 a small poster (18 15/16" x 11 15/16") was discovered for this event which was described as "A Political Light Show." This poster was printed only once. Orion and Devil's Kitchen are also listed for this date on FD-690915.|
Under FD-691007 change "600" to "660."
Under FD-691010 add "660 Great Highway" above "A. B. Skhy" level
Under FD-691010 change Artist from Unknown to "Chet Helms."
Under FD-691010 add "A great deal of variation in inking exists across the press run of this handbill running from lighter rust to darker rust. This is due to less and more ink on the printing plate.
After FD-691016-OHB-B add:
FD-691016-OHB-C In 2016 two more variants were discovered. This one is in black ink on off white paper.
FD-691016-OHB-D This variant in in black in on tan paper.
Under FD-691017-OHB-A change "subtle" to "substantial."
Under FD-691017 Change Artist from Unknown to "Chet Helms."
Under FD-691031-OHB-A add “Color varies between gray and
Under FD-691031 Change Artist from Unknown to "Chet Helms."
Under FD-691107 Change Artist from Unknown to "Chet Helms."
Before FD-691113-OHB-A add:
"FD-691113-OP-1 In 1997 a poster size of this image was discovered."
Under FD-700714-OHB-A change the height from 7"
Under FD-700821-OHB-A add, "but it was printed on two paper
stocks. This item is the more common version which is on uncoated
After FD-700821-OHB-A add:
FD-700821-OHB-B This item is the less common version on slick, coated stock. 8 15/32" x 10 19/32"
|BG-7-PP-3||In the mid 1980’s someone acquired the black and red plates for the reprint of BG-7. This person printed and sold a small quantity of posters, printer’s proofs with three cards and separate cards. These can be identified by the absence of the green run. The attorneys for Bill Graham Presents defended the copyright immediately. They seized the offending material, and very few copies were distributed. These were printed on .0075" uncoated index."|
"BG-7-PPC-D See BG-7-PP-3 for information about the pirate card."After BG-8-RP-2 add:
|"BG-8-RP-3||In 1996 this poster was printed again under the auspices of Wes Wilson. The words "Andy Warhol and his Plastic Inevitable" were printed in hot pink instead of white. "Copyright 1996 Wes Wilson BG-8-3/PS 33" was added below "Fillmore" at the lower left corner of the image above "Ticket."|
"This paper is similar in color to the stock used for BG-2-OHB-A, BG-11-OHB-A, BG-13-OHB-A and BG-17-OHB-A."Under BG-8-RPC-G change "1993" to "1991."And change c 1996 to c 1966.
After BG-8-RPC-G add
"BG-8-OHB-H This item is on pale yellow paper with a review reverse."the lower right corner of the image below and right of the “O” in “San Francisco” is 22 29/64” on the genuine original. See BG-9-PP-3. At the time of the discovery of
BG-8-RPC-I In 2004 Matthew Marks Gallery in New York City used this image for a card announcing an exhibition of psychedelic posters.
4 7/32" x 6 1/32"
BG-8-RHB-J In 2005 Brad Kelly pointed out to me that in 2002 Chronicle Books and the Andy Warhol Foundation issued a box of copies of Andy Warhol memorabilia. It was called The Andy Warhol Pop Box. Among the items in this box was a copy of the BG-8 handbill printed in black ink on pale yellow paper. There is no review on the reverse which is blank. Since I have never seen an original of this handbill on yellow paper, I believe this description alone should be enough to prevent someone from offering this as an original. 5 17/32” x 8 33/64”
After BG-8 notes add: *There also exists a handbill for this event which is only a version of the Los Angeles Times review printed on pale pink paper without any version of the BG-8 image on the other side. This handbill is not included in the numbering system of this Guide because this Guide is limited to items which bear the images designated by number by the original copyright holder, Bill Graham Presents. Nevertheless collectors should be aware this version exists.
This version adds, “Coming to the Fillmore Auditorium” in the upper right corner and, “FRI., SAT. + SUN. MAY 27, 28, 29” in the lower right corner. Also on this version the vertical lettering “Los Angeles Times” in the upper right corner is not solid black lettering as it is on the handbills with the BG-8 image on the other side. In this case this lettering is hollow.
Under BG-9 change the text to read:
BG-9-OP-1 The original poster bears union logo #72 in the lower left corner. The diagonal measurement from the upper left corner of the image above and left of the “B” in “Bill” to
"BG-11-RPC-D Some copies of the uncoated index cards have a blank reverse."Under BG-12 acts delete Great Society. They did not play this concert.
Under BG-12-RPC-C add "The back of this card has the words "place stamp here" above a blacked out bulk rate permit.
After BG-12-RPC-C add: "BG-12-RPC-D Some postcards have a blank
After BG-12-RPC-D add: BG-12-RPC-E Some postcards
have the bulk mail permit without the “place stamp here” imprint
After BG-12-RPC-E add: BG-12-OHB-F In 2014 I was
shown another version of the negative image handbill (See
BG-12-OHB-B) which had a printing flaw similar to one on
which meant it almost certainly was printed with the same printing plate as BG-12-OHB-B. This version is in light blue ink on white stock." No
union logo appears. 5 1/16" x 8 1/16"
It now appears that the postcard was printed twice, once with BG-13-RP-3 and once with BG-13-RP-4. The cards were printed in threes alongside the posters. Each of the three is distinguishable from the other two by printing flaws. Furthermore each printing was cut two different ways. This gives a total of twelve different possible cards. Two (for the number of printings which were on different paper) times three (for the number of different printing flaw variations) times two (for the number of different cuttings) equals twelve. The paper possibilities are either vellum or index depending on whether the card was printed with BG-13-RP-3 or BG-13-RP-4. The flaw possibilities are either no print flaw, a vertical purple arc flaw 1/8" long above the "ea" in "Geary" or a small 1/32" purple blob located 3/16" below the "a" in "at." The cut sizes are either less than 7 1/2" height (short) or longer than 8" (long).
BG-13-RPC-B This item is on vellum with no print flaw and is long. 5 1/8" x 8 3/64" BG-13-RPC-C This item is on vellum with the arc flaw and is long. 5 3/32" x 8 3/64" BG-13-RPC-D This item is on vellum with the blob flaw and is long BG-13-RPC-E This item is on vellum with no print flaw and is short. BG-13-RPC-F This item is on vellum with the arc flaw and is short. 5 7/64" x 7 11/64" BG-13-RPC-G This item is on vellum with the blob flaw and is short. BG-13-RPC-H This item is on index with no print flaw and is long. BG-13-RPC-I This item is on index with the arc flaw and is long. BG-13-RPC-J This item is on index with the blob flaw and is long. 5 1/16" x 8 1/32" BG-13-RPC-K This item is on index with no print flaw and is short. 5 1/16" x 7 15/32" BG-13-RPC-L This item is on index with the arc flaw and is short. 5 3/64" x 7 7/16" BG-13-RPC-M This item is on index with the blob flaw and is short. 5 3/64" x 7 15/32"
Under BG-16 Add to BG-16-RPC-C
BG-17-RP-3 This reprint is also blue on the reverse. "#17" has been added after the Wilson ‘66 credit. 13 31/32" x 19 15/16"
Change BG-18 posters to read:
BG-18-OP-1A The original printings of this poster bears all three of the following characteristics: The reverse side of the paper is white. The lettering "Wes Wilson '66" is dark red matching the color of dark red in the ticket outlet strip. Paper thickness is less than .008". One variant of the original is on .0065” stock which has a pronounced floresence or glow under black light.
13 15/16” x 19 31/32”
BG-18-OP-1B Another has a moderate, even floresence under black light and is on stock in the .0075” to .0080” range. 14 3/32 “ x 20 5/32”
BG-18-OP-1C A third has no floresence under black light. This also is on stock in the .0075” to .0080” range. 13 63/64” x 20 7/64”
BG-18-RP-2 The reverse of the second printing is blue. The green is an olive green. "#18" does not appear (see BG-18-RP-3). 13 23/32” x 19 45/64”
BG-18-RP-3 The reverse of this, the third printing is also blue. Green is a rich, dark maple tree leaf green. "#18" appears after "Wes Wilson '66".
13 63/64” x 19 31/32”
BG-18-RP-4 The reverse of the fourth printing is white. On this and only this printing "Wes Wilson '66" appears in a bright red matching the red of the image lettering, not the dark red of red over green of the ticket outlets strip as it is on all the other printings. 13 1/2” x 20 1/64” and 13 45/64” x 20 7/64”
BG-18-RP-5 The last printing is white on the reverse and has "Wes Wilson '66" in dark red like the ticket outlets strip. Paper stock is thicker than .009". This is the same paper stock, smooth uncoated index as most of the first printings of BG-54 through BG-149 inclusive. 13 29/32” x 20”
BG-18-OP-6 A few copies of an original on .0065” stock which has a pronounced glow under black light (See BG-18-OP-1.) got a very light saturation of the red probably due to the reservoir of the press running out of red ink. This created an appearance of “pink,” but under high magnification it can be seen to be red. These have no ticket outlets strip or Bill Graham or Wes Wilson credits. The reason for this is that the green was printed over the red, and the “pink” was so faint as to be obliterated by the green which went over it.
13 15/16” x 19 31/32”
BG-18-PP-7 In 2006 an ebay seller who later stopped selling on ebay created two pirate versions of this image as a poster. One was an enlarged version of the handbill, blue on an off white background. Both pirates can be distinguished by the absence of the Wes Wilson credit next to the “3” in the date. 18 29/32” x 24 1/64”
BG-18-PP-8 This pirate also done in 2006 by the same pirate who did BG-18-PP-7 follows an appoximation of the original poster colors, but the Wilson credit is also missing here. 18 29/32" x 24"
Under BG-19 After BG-19-OHB-E Add:"BG-19-OHB-F This item is purple ink on yellow paper."
The back of the original printing of this poster will
floresce or glow under black light. 13 11/16” x 21 3/32”
for two reprints is the difference in the color red from
BG-25-RP-2 to BG-25-RP-3 as well as different paper stocks.
The distinguishing characteristics are print flaws, but the
consistent color difference and paper stock difference are the
best evidence. On this item the horizontal red print flaw
described under BG-25-RP-3 does not appear. In previous editions
this Guide described a saw tooth projection which it now appears
is not a useful distinction. The best way to distinguish
BG-25-RP-3 is the presence or absence of the horizontal red print flaw described under BG-25-RP-3. Under black light the back of this poster has a distinct gray tone.
13 37/64” x 21”
After BG-25-RP-3 add: BG-25-PP-4 In 2011 a pirate selling on the internet bootlegged this poster. The stock used was glossy. The size is the distinguishing characteristic. 12” x 18”
After BG-25-PP-4 add:
BG-25-RP-5 In 2014 Wolfgang's
Vault reprinted this poster on slick, glossy stock in a press
run of 500. A "Wolfgang's Vault" credit appears in the lower
right corner. 20 25/64" x 30 49/64"
BG-25-OHB-A This is the first handbill in the Bill Graham series which was a full color match of the poster. It had a blank reverse and, like the poster was .0070" or less in thickness. 4 7/8” x 8 43/64”
BG-25-RPC-B This postcard, printed in late 1966 or early 1967, matches poster BG-25-RP-2 and is .0075" or more in thickness. It has a gray tone on the back under black light. 4 7/8” x 8 1/2”
This postcard, probably printed later in 1967, matches
BG-25-RP-3. It has a white tone on the back under black light. 4
7/8” x 8 1/2”
BG-25 notes add:
several of the serious students of the printing history of
psychedelic posters raised questions about the accuracy of this
Guide regarding BG-25. These questions arose because they
occasionally had encountered piles of posters dating from the
1960s which were all or almost all originals except for the copy
of BG-25 which, according to this Guide, was a reprint,
BG-25-RP-2. Since BG-25 is one of the most confusing and difficult
posters in the Bill Graham series to identify correctly, and since
my designations of BG-25 posters are not based on later research
but actual personal experience around the time of the concerts, I
believe I ought to include this in the Guide so these questions
will be answered once and for all.
In late April or early May of 1966 I began saving these posters. By late May of 1966 I realized there was some kind of series, and I tried to acquire the earlier posters which I was missing. After finishing work on my Master's Degree in English Literature at the University of California Berkeley campus in June 1966, I left California for the summer. I returned around Labor Day to begin work on my Ph.D. As soon as I got back, I put up signs on telephone poles seeking to buy the posters I had missed during the summer. Almost immediately I encountered a man who had been taking down these posters from telephone poles all the way back to the King Kong, FD-2. Another way he had gotten these posters was out of store windows where they had been posted. Typically he would go into a store and ask for a poster, usually soon after it had been posted and well before the concerts. Many store owners did not want to keep these posters for themselves but felt they should keep the poster in their store window until after the concerts, so they would tell people like this man to put his initials on the poster, and they could come back and pick up the poster after the event.
In the pile of posters I bought from this man in the middle of September 1966 was a copy of BG-25 on which his initials appear in ballpoint pen. This was about two or at most three weeks after the BG-25 concerts. Obviously this poster has to be an original because this copy had been posted in a store window before the concerts. I still own this copy, and I can not have mixed it up with another one because his initials are on it. Under black light the back of this poster will glow or floresce. The stock of this copy of BG-25 matches all the blank backed copies of the BG-25 handbill I ever have seen, all of which glow or floresce under black light. I am strongly inclined to believe that BG-25 was the first Bill Graham Presents poster to have been printed on a larger sheet with three handbills arranged vertically alongside the poster, hence the identical stock of original handbills and original posters. I will add more on this below.
The issue has been raised as to whether BG-25-RP-2 might have been printed before the concerts and should be reclassified as an original since this is the version which has appeared in the piles in question. The answer is "no" for several reasons. First no blank backed copies of the handbill exist on the stock used for BG-25-RP-2, only "place stamp here" backs with the return address of the Fillmore Auditorium. This imprint did not appear on an original postcard until at least BG-38 postcards several months later, and the plate to imprint it reasonably can be presumed not to have existed until then.
Second the stock used to print BG-25-OP-1 was an unusual one and only was used on one other original, BG-26-OP-1. What this implies is that enough of this stock was bought before the BG-25 event that there was some left over on which BG-26-OP-1 was printed. In all likelihood this means that there was enough of this stock to print all the copies of BG-25-OP-1 without having to use another stock to finish the press run.
So why does BG-25-RP-2 occasionally turn up in piles of posters that mostly are originals (Most of the time runs of originals dating from the time of the concerts include BG-25-OP-1.)? In 2008 I got a good idea of why BG-25-RP-2 sometimes appears in these piles. I encountered a client who had inherited from his mother two sets of the earliest Bill Graham Presents posters. These sets were unusual in that his mother had told him specifically that she had never been to a concert, had never been handed a poster in the street and had never taken one down from a telephone pole or out of a store window. All of her posters had come from a single source, a show of Wes Wilson posters at a gallery in November 1966. All the posters in these two sets were originals except for the BG-25s. One was an original, and one was a reprint, BG-25-RP-2.
I asked Wes if I could interview him about this, and he most graciously consented (Thanks, Wes.). Wes remembered that this show was held at a small gallery called the Kelly Gallery and that this show was one in which he did not participate personally. The owner had asked him for posters for this show, and Wes had sent him to both Bill Graham and West Coast Litho, the printer he was using at that time. Most of the posters came from Bill Graham's small inventory, but the printer apparently had just reprinted BG-25, so copies of BG-25-RP-2 were included in the show along with a handful of originals.
The timing of this art show coincides with the first use of the "Bill Graham Presents / Fillmore Auditorium return address" postcard backprint, and this backprint was placed on this very early reprint, perhaps the first or second Bill Graham Presents poster reprinted (The Batman poster, BG-2, may have been reprinted a week or two earlier but by a different printer than BG-25.).
Wes also told me something else about the original printing of the BG-25 poster and handbills. For some time preceding this poster he had wanted to experiment with something which became one of his signature design statements, color which extended to the edges of the poster. The printing presses at the earliest printers he used at that time, Bindweed Press and Double-H Press, did not have the capacity to run color to the edge of the sheet, so he moved to West Coast Litho where he worked with a pressman named Ivor Powell to produce the effect he wanted on BG-18-OP-1 and BG-23-OP-1. He also discovered that West Coast Litho had a substantially larger press than the ones on which he previously had been working. This gave him the idea to experiment with a larger sheet of paper on which he could print one poster with three handbills arranged vertically alongside the poster. This achieved a much more attractive full color handbill which was a smaller version of the poster, a product much more interesting than the separately printed monochromic handbills to which he had been restricted until that time. It appears the BG-25 was the first time he tried this idea, hence the fact that all the original posters must match the stock of the original blank backed handbills. If a large quantity of other paper had been used before the event, there would have to be a substantial number of blank backed handbills on that stock. There are not. There only are postcard back versions on the stock of BG-25-RP-2 so BG-25-RP-2 can not be an original.
For the record the same thing is true of BG-25-RP-3 (No blank backed copies of a handbill exist on the stock of BG-25-RP-3 either, only postcard backed versions.) which has to be a reprint for another reason as well. There are too many copies of BG-25-RP-3 in the inventory of Wolfgangs Vault for it to be an original. Wolfgangs Vault owns the remainder of the inventory of Bill Graham Presents, and there is no way that Bill Graham Presents would have saved that many copies of a poster at the time of that concert. This is the same reason I had to change the designation of what I had thought was a variant original of BG-21 but which turned out to be a very early reprint. There just were too many copies of it in the Wolfgangs Vault inventory, and Bill Graham was not saving hundreds of copies of posters at the time of that concert, and BG-25 dates only four weeks later. Bill Graham Presents did not start saving large quantities of originals until months later.
I hope this settles the confusion and debate about the printing history of BG-25-OP-1.
Under BG-26-RPC-D add:
This card is cut similarly to BG-26-OHB-A with a 1 1/8" wide border above the image and a narrow border below."
After BG-26-RPC-D add:
BG-26-RPC-F This card is cut similarly to BG-26-OHB-C with borders less than 1/4" both above and below the image. "West Coast Litho." credit appears on the reverse.
After BG-28-OP-1 add:
Over the years Mr. Kastor and I have exchanged opinions on the printing history of psychedelic posters, and I have benefited greatly from his expertise. He has given me a number of corrections, distinctions and additions for my guide, and I have the highest respect for his scholarship. That said, I disagree with him vigorously on this particular matter. In the last thirty plus years I have seen several dozen original printings of this poster. These are copies of known provenance which can be traced back to the time of the concerts. I know of only one copy which can be documented to be an original which does not have the saw tooth characteristic. While it is certainly possible that other original copies without the saw tooth characteristic exist, I would be very reluctant to buy an original which did not have this trait.
It used to be that dealers could encounter groups of all originals with no reprints in the possession of people who had attended many of the concerts. Even if one was not absolutely certain of how to distinguish originals from reprints, one in possession of such a grouping could with confidence sell them as originals. This simply no longer happens and has not happened with any reliable frequency in the last decade. Either these people have long since sold what they had, or they have become systematic collectors themselves. Not too long ago a dealer encountered an almost complete run of Wes Wilson Bill Graham originals from someone who in fact had attended many of the concerts. This dealer assumed that all the posters in this stash were originals, but, as it turned out, one was a reprint. The old Hippie apparently had forgotten he had missed one concert and bought that poster months later. Fortunately I was able to point out this reprint to the dealer before he sold it and wound up with a very ($1350.00) dissatisfied customer.
The difficulty of establishing
provenance for any given poster at this late date simply
makes it imprudent for a collector to purchase a copy of
Bill Graham number 28 as an original if the saw teeth are
not present. Based on my experience there is no worse than
one chance in thirty that the collector is passing up a
genuine original, but at least twenty-nine chances in thirty
that someone is making a mistake.
This entry replaces any previous BG-30 entry.
|10/7 & 8/66||Winterland|
|Wes Wilson||Butterfield Blues Band
BG-30-OP-1* Previously I had described the original of this
poster as being the
blue/green version with a faint lightening of color at a specific point in the left
margin. In 2002 I discovered this was incorrect. Although the blue/green variants
are originals, there are pure blue originals, too. Henceforth originals are to be
distinguished by the presence of substantial red ink backprint of the upper two
flowers, the ones located at the top of the poster (Backprint is ink on the reverse
of a poster picked up from the previous copy as the next copy came off the press
because the previous copy was not yet dry.). Some originals may have red
backprint from the swirl and/or other flowers, but minimally there will be
backprint from the upper two flowers. The presence or lack thereof of blue
backprint is not relevant. Because the front image of the poster appears on the back
of BG-30-RP-2, it can be noted additionally that the back of the original does not
flouresce or glow under black light. 11 53/64" x 24 3/8" and 11 27/32" x 24 17/64"
BG-30-RP-2 The second printing, a reprint, is on porous stock
similar to vellum.
It has no red backprint from the upper two red flowers. The back of the reprint
flouresces or glows under black light. 11 7/8" x 24 11/32"
BG-30-RP-3 The third printing is on uncoated index similar
to that used for Bill
Graham originals between number 54 and number 149. It does not have the red
backprint. 11 53/64" x 24 9/32"
BG-30-OHB-A This handbill appears in two variants. The first is
on paper .0055"
thick. On this variant "In Advance: $3.00" and "At the Door: $3.50" are in white
letters on blue background. The blue is a pure blue without the slight green tinge
of the original poster. 4 1/4" x 8 11/32"
BG-30-OHB-B This variant handbill is .0080" thick. "In Advance:
$3.00 and "At
the Door: $3.50" appear in blue lettering on a white background. This blue also is
relatively pure and lacking the slight green tinge of the original poster. 4 5/16" x
BG-30-RPC-C The postcard is on the .0080" stock of BG-30-RP-2.
BG-30-RP-2. "In Advance: $3.00" and "At the Door: $3.50" appear in blue
letters on a white background. This card was cut to two different sizes. This one
measures c. 4 7/16" x 8 1/4". 4 7/16" x 8 19/64"
BG-30-RPC-D This card is identical to BG-30-RPC-C except the top
borders are narrower. It measures c. 4 7/16" x 7 3/4". 4 27/64" x 7 49/64"
BG-30-RPC-E In 1977 Bill Graham Presents backstamped a number of
BG-30-RPC-C to use as a New Year’s card, "WARM WISHES FOR A GREAT 1978;
CHEERS, BILL GRAHAM AND THE F.M. FAMILY. THIS IS AN ORIGINAL FILLMORE
HANDBILL PRINTED IN 1966." Actually it has a postcard reverse, not a blank
(handbill) reverse. 4 7/16" x 8 9/32"
B. G. 30
This poster is red, blue, white and black on a blue background. It makes use of one of the more
popular psychedelic icons, a circle made up of swirling arcs.
* Since this represents a substantial widening of
the definition of a BG-30 original, users of this
Guide are entitled to ask why this change has been made. I acquired my own original from a
bulletin board in the Telegraph Avenue area of Berkeley within a day or two after the concerts. It
is the blue/green variant. The four or five other collectors I knew by mid-1967 all had copies
acquired in similar fashion. All were blue/green. I later saw pure blue ones on the same paper
stock, but I assumed these were later printings because I never saw transitional copies which
would indicate a change in ink during the press run (When the printer did not have enough of a
specific ink for an entire press run, they would often start with one color and when the ink
reservoir ran low, they would add ink of a slightly different color. This would produce posters of a
color part way between color one and color two. When the reservoir again ran low, more of color
two would be added producing a purely color two variant. The existence of transitional copies,
ones part way between two color variants, is generally evidence of one printing during which the
color of the ink was changed. ).
Recently I have seen several transitional copies.
I take this as clear evidence of
one printing, both blue/green and blue. All of them are on the same paper stock, one
characterized by a fine pattern of "rows" or "woven" texture on the back. My experience has
been that this paper stock is difficult for most people to distinguish, so I looked for another
distinguishing characteristic. What I found that all the originals had in common but which
appeared on none of the reprints was the backprint of the upper two red flowers. I also add
that the back of the original does not flouresce or glow under black light while BG-30-RP-2
I note in passing that previously this image was
one of only a handful in my Guide which was
different from the catalog of Mr. Jacaeber Kastor. He has long believed that the blue/green and
pure blue variants on "rows" stock are parts of the same press run, and I now agree with him.
What this means is that if we were both asked to sort a randomly chosen pile of 100 BG-30
posters into originals, first reprints and second reprints, we would sort them the same, and this
agreement is good news for collectors because it increases the stability of the hobby.
Under BG-31 date delete (10/16 was actually cancelled)
Under Bg-31 date add "*A long time ago, probably back in the 1980s, someone told me that the reason the "16" was deleted from the third printing was that that show was cancelled. In 2016 I
discovered that this is incorrect. Recordings of the show on 10/16/1966 exist. I have no idea why the "16" was deleted."
Under BG-31 change the text to read:
BG-31-OP-1 The original printing has "October 16" across the photograph and a black background behind "14" and "15". 13 17/32” x 23 5/8”
BG-31-RP-2 The second printing, a reprint, has "October 16" across the photograph and a brown background behind "14" and "15". 13 19/32” x 23 19/32”
BG-31-RP-3 The third printing deletes "October 16" across the photograph.
13 57/64” x 23 19/32”
BG-31-OHB-A The original handbill matches BG-31-OP-1. 4 21/32” x 8 7/32”
BG-31-RPC-B The earlier postcard in silver matches BG-31-RP-2. 4 41/64” x 8 13/64”
BG-31-RPC-C The later postcard in gold matches BG-31-RP-3. 4 41/64” x 8 13/64”
(It is not a typographical error that these copies of BG-31-RPC-B and
BG-31-RPC-C are exactly the same size.)
BG-31-RPC-D In 2010 I learned that there is a variant of the postcard that matches
BG-31-RP-3. This variant has the “October 16” across the photograph. The way to identify this variant is by thickness. It is .0090” thick. Also the printingwith the date is in gold ink. On
BG-31-RPC-B this printing is in silver-platinum colored ink. Since this poster was printed with three postcards alongside the poster, the explanation for the existence of a substantial number of
postcards with the “16” but no posters is that when altering the printing plateto remove the “16,” the “16” was removed from the poster and two of the postcards, but the "16" was left on the
plate, probably by accident, on one of the cards. The other possibility is that the film was altered before the burning of the plate for the gold ink, the "16" was removed from the poster and two
of the postcards, but accidentally left on one of the postcards.
B.G. 31 This poster is silver or gold, dark brown
and white on a light brown background. In the center is a
photograph of Big Mama Mae Thornton.
Change BG-32-OP-1 to read: "This item is on index
which is from .0075" to .0085" thick."
After BG-32-RP-5 add:
Under BG-36-OHB-A change "3 1/32"" to "3 3/8"."
Change the postcards section of BG-36 to read:
BG-36-RPC-D Before 1999 it was incorrectly thought that all postcards of BG-36 had small lettering. This item has small lettering. This item has the "P" in "Presented" well to the right of the gap between the "B" and the "O" in "Bola." This item is on .0080" stock. There is substantial color variation among cards on this stock.
BG-36-RPC-E This item has small lettering. The "P" in "Presented" is very slightly to the left of the gap between the "B" and the "O" in "Bola." It has the shoulder printing flaw. This item is on .0080" stock.
BG-36-RPC-F This item has small lettering. This item has the "P" in "Presented" well to the right of the gap between the "B" and the "O" in "Bola." It is on .0090" stock. The cards on .0090" stock tend to be much more consistent in color. This card matches BG-36-RP-3.
BG-36-RPC-G This item has small lettering. The "P" in "Presented" is slightly to the left of the gap between the "B" and the "O" in "Bola" It has the shoulder printing flaw. This item is on .0090" stock. This card matches BG-36-RP-3. No postcards are known to match BG-36-RP-4.
BG-36-RPC-H This postcard reverse item has large lettering. It is on .0080" stock.
BG-36-RPC-I This postcard reverse item has large
lettering. It is on .0090" stock matching BG-36-RP-3.
BG-36-RPC-J In 2017 it was discovered that a substantial number of copies of BG-36-RHB-D were used by Bill Graham as invitations to a Valentine's Day party. The invitation was printed on the reverse of the postcard.
After BG-37-RP-2 add:
BG-37-RP-3 In 2014 Wolfgang's Vault reprinted this poster on slick, glossy stock in a press run of 500. A"Wolfgang's Vault" credit appears in the lower right corner. 20 7/16" x 35 11/16"
After BG-37-RPC-D add
BG-37-OHB-E Some copies of BG-37-OHB-A were stamped with a rubber stamp bulk mail permit, mechanically addressed and sent to people on the mailing list.
Change the entire text of BG-38 to read:
BG-38-OP-1 The original of this poster was printed on at least three different stocks of paper. It also varies considerably in gray and yellow/orange. Each of the three
paper stock can be identified by thickness and by response to black light on the reverse.. This original is on stock between .0075" and .0080" thick.
No original has the mark described under BG-38-RP-4. Under black light the stock of this poster is almost the same as it appears under regular light.
13 15/32” x 21 5/64”
BG-38-OP-2 This original is on stock which is between .0080" and .0085" in thickness. Under black light the reverse turns a grayish purple. It does not have the mark
described under BG-38-RP-4. 13 27/64” x 21 1/8”
BG-38-OP-3 This original is on stock between .0085” and .0090" in thickness. Like BG-38-OP-2 under black light the reverse turns grayish purple. It, too, does not
have the mark described under BG-38-RP-4. 13 7/16 x 21 13/64”
BG-38-RP-4. This reprint was done during the period that most other last reprints of early posters was done, and it is on the same stock as most Bill Graham originals
from number 54 to number 149. This stock is .0090” thick. Locate the “T” in “LOTHAR.” In the upper left corner of the left arm of the “T” is a very
faint almost horizontal line about 1/16” from the top and about 1/8” long. This also appears on BG-38-RP-6. The yellow/orange varies substantially and
the gray varies slightly. Three different color variants were measured, and all were identical within 1/64” 13 7/16” x 21”
BG-38-RP-5 In 1986 Wes Wilson reprinted this poster in entirely different colors, red, blue and orange. "© 1986 Wes Wilson" appears in the lower left corner. The mark
in the “T” in “LOTHAR” does not appear. 13 33/64” x 20 13/32”
BG-38-RP-6* In 2004 it was noticed that all originals and reprints of this image except for one produce no floresence or glow under black light. The back of this variant
reprint on .0085” stock has a pronounced mottled glow under black light. It has the mark in the “T” in “LOTHAR” described under BG-38-RP-4.
13 31/32” x 21 1/64”
In 2009 it was discovered that this printing was not a variant original as I had thought, but it was a very early reprint which dates before BG-38-RP-4.
Accordingly the designation BG-38-OP-6 has been changed to BG-38-RP-6.
BG-38-RP-7 In 2010 the current copyright holder of these Bill Graham posters, Wolfgang’s Vault, issued a large size reprint of this image on glossy, coated stock.. It
bears the notation “Wolfgang’s Vault” in white ink in the lower right corner. 23 37/64” x 37 1/32”
BG-38-OHB-A The original handbill was printed only once. Unlike the poster on which image color runs out to the edge, the handbill has a white border. No copies of
this item are known to have been mailed to people on the mailing list. This item does not change color appreciably under black light. The stock matches
BG-38-OP-1. 5 5/64” x 7 27/32”
BG-38-RPC-B This postcard matches the handbill image. On the back the stock fluoresces as does BG-38-RP-6. This card is a reprint. 5 5/64” x 7 27/32”
BG-38-RPC-C In 1986 Wes Wilson published a postcard matching BG-38-RP-5. 4 1/32” x 6”
BG-38-OHB-D In 2014 it was discovered that some blank backed handbills were on stock which turned grayish purple under black light. These match BG-38-OP-2 and
BG-38-OPC-E On 2014 it was discovered that some postcard backed cards were on stock which turned grayish purple under black light matching BG-38-OP-2 and
BG-38-OP-3. Other than the postcard backprint these are identical to BG-38-OHB-D. These are the first small sized items to be backprinted with the Bill
Graham backprint before the concerts.
B. G. 38 This poster is orange and black on a gray
background. The handbill and the postcard are two shades of
orange and black on a white background. The central image is a
robed human figure extending a large peace symbol toward the
viewer. This is the first image where the original printing bears
the correct number.
* * *
After BG-38-RP-5 add
* BG-38-OP-6 In 2004 it was noticed that all originals and reprints of this image except for one produce no floresence or glow under black light. The back of this variant reprint on .0085” stock has a pronounced mottled glow under black light. 13 31/32” x 21 1/64” In 2009 it was discovered that this printing was not a variant original as I had thought, but it was a very early reprint which dates before BG-38-RP-4. Accordingly the designation "BG-38-OP-6" has been changed to "BG-38-RP-6.
The evidence for BG-38-RP-6 being a reprint is conclusive. I had
thought it was an original because I had thought the handbills for
this image had been printed separately from the posters in the
manner of, for example, BG-33 because they did not match the
posters. They had no gray background. Also the paper stock of the
handbills I owned seemed to match the postcards, so I had thought
they were printed at the same time, that this was the first
postcard back item printed before the show. Now it is clear that
only some of the postcards match the stocks of some of the
originals. The stocks of the blank backed handbills all match one
or another of the stocks of the original posters.
The confusion was resolved by my seeing the original printing plate which has the usual three postcards along side the poster. The plate was burned in such a way that the handbills/postcards did not get a gray imprint while the posters did. This meant that there were handbills which matched all three known original poster variants. I just had not seen all of them, and since I had not used black light to distinguish paper stocks when I did the original illustrated edition of this guide in 1996, I had not noticed that the paper stock of some of the postcards was actually quite different from that of the handbills. It is now clear that the stock of some of the postcards matches the stock of BG-38-RP-6, while the stocks of the handbills do not. They match the stocks of BG-38-OP-1, BG-38-OP-2 and BG-38-OP-3. In 2014 a postcard backed card sized item was discovered matching BG-38-OP-2 and BG-38-OP-3.
Two other reasons make it clear that BG-38-RP-6 is an early reprint. First, the inventory of Wolfgangs Vault, which now in 2009 has the old Bill Graham inventory, contains too many copies of this variant for them to have been printed before the shows. Bill Graham Presents simply was not saving that many copies of posters printed before the shows this early in the era (This is similar to the way I was able to determine that what I had previously designated as BG-21-OP-1 was also a very early reprint.).
Second, adding to the evidence is the fact that the stock of BG-38-RP-6 is identical to the stock of BG-35-RP-2, which always has been accepted as a very early reprint. The printers in this period did not store large quantities of paper in their shops. As Bill Graham ordered items printed, they went out and bought paper to print just the quantities he ordered. The paper stock of both BG-35-RP-2 and BG-38-RP-6 is rather unusual in the way it fluoresces under black light. It is reasonable to assume that Bill Graham ordered the reprinting of BG-35 and BG-38 at the same time, and that the printer bought paper to print both at the same time. Since the postcards of BG-35 match the stock of BG-35-RP-2, and there is no chance that these postcards predate the shows, it is logical that the same situation is involved with BG-38. These postcards came after the show which means the posters which match them also came after the shows.
In 2014 a reliable means of distinguishing BG-38 originals from BG-38 reprints was discovered. None of the originals has the following mark in the “T” in “Lothar.” On the reprints except for BG-38-RP-5 in the upper left corner of the left arm of the “T” in “LOTHAR” there is a faint, almost horizontal line about 1/8” long about 1/16” down from the top of the “T.” This was checked on several dozen originals as well as hundreds of reprints, and it proved true in all cases. At the same time further research was done on postcards and handbills, and a new original handbill and a new original postcard were also discovered. The author of this Guide would like to thank Grant Feichtmeir of Wolfgangs Vault for his assistance in this matter.
After BG-38-RP-6 add:
BG-38-RP-7 In 2010 the current copyright holder of these Bill Graham posters, Wolfgang’s Vault, issued a large size reprint of this image on glossy, coated stock.. It bears the notation
“Wolfgang’s Vault” in white ink in the lower right corner. 23 37/64” x 37 1/32”
Under BG-40 change cards and handbills to read
BG-40-OHB-A All small size of this image have the word "Love" the same color as the background. This item has the background yellow characteristic of BG-40-OP-1. One third of the yellow background handbills have a 4 1/2" long white arc which is 3/32" deep at its deepest running from near the top down the right border of the image. On these handbills the second "E" in "FREE" is white. 4 1/2" x 7 5/8"
BG-40-OHB-B Some copies of BG-40-OHB-A were stamped with a rubber stamp bulk rate permit, hand addressed and sent to people on the mailing list.
BG-40-OHB-C This handbill has an olive green background and is parallel to BG-40-OP-3. It has the white arc described under BG-40-OHB-A. The second "E" in "FREE" is white. 4 15/32" x 7 5/8"
BG-40-RPC-D This postcard is on .0090" stock similar to that used for Bill Graham originals from number 54 to number 149. It has the white arc described under BG-40-OHB-A. The second "E" in "FREE" is white. 4 7/16" x 7 5/8"
BG-40-OHB-E This item has a yellow background characteristic of BG-40-OP-1. It does not have the white arc described under BG-40-OHB-A. The second "E" in "FREE" is yellow. In the circle left of the "2" of "December 2" is a 3/16" long oblique line. There is a lot of printing flaw blue on the circle left of the "L" in "Lee." 4 1/2" x 7 39/64"
BG-40-OHB-F Some copies of BG-40-OHB-E were stamped with a rubber stamp bulk rate permit, hand addressed and sent to people on the mailing list.
BG-40-OHB-G This handbill has an olive green background and is parallel to BG-40-OP-3. It does not have the white arc described under BG-40-OHB-A. The second "E" in "FREE" is olive. In the circle left of the "2" of "December 2" is a 3/16" long oblique line. There is a lot of printing flaw blue on the circle left of the "L" in "Lee."
BG-40-OHB-H This handbill has an olive green background and is parallel to BG-40-OP-2. It has the white arc described under BG-40-OHB-A. The second "E" in "FREE" is white.
BG-40-OHB-I This handbill has an olive green background and is parallel to BG-40-OP-2. It does not have the white arc described under BG-40-OHB-A. The second "E" in "FREE" is olive. It does not have the line in the circle described under BG-40-OHB-E or the printing flaw blue in the circle left of the "L" in "Lee." 4 37/64" x 7 3/4"
BG-40-RPC-J This postcard is on .0090" stock similar to that used for Bill Graham originals from number 54 to number 149. It does not have the white arc described under BG-40-OHB-A. The second "E" in "FREE" is olive. In the circle left of the "2" of "December 2" is a 3/16" long oblique line. There is a lot of printing flaw blue on the circle left of the "L" in "Lee." 4 7/16" x 7 5/8"
BG-40-OHB-K This item has a yellow background characteristic of BG-40-OP-1. It does not have the white arc described under BG-40-OHB-A. The second "E" in "FREE" is yellow. It does not have the line in the circle described under BG-40-OHB-E or the printing flaw blue in the circle left of the "L" in "Lee."
BG-40-OHB-L Some copies of BG-40-OHB-K were stamped with a rubber stamp bulk rate permit, hand addressed and sent to people on the mailing list.
BG-40-OHB-M Some copies of BG-40-OHB-C were stamped with a rubber stamp bulk rate permit, hand addressed and sent to people on the mailing list.
BG-40-OHB-N This handbill has an olive green background and is parallel to BG-40-OP-2. It does not have the white arc described under BG-40-OHB-A. The second "E" in "FREE" is olive. In the circle left of the "2" of "December 2" is a 3/16" long oblique line. There is a lot of printing flaw blue on the circle left of the "L" in "Lee." 4 1/2" 7 31/64" and 4 37/64" x 7 47/64"
BG-40-OHB-O Some copies of BG-40-OHB-G were stamped with a rubber stamp bulk rate permit, hand addressed and sent to people on the mailing list.
BG-40-OHB-P This handbill has an olive green background and is parallel to BG-40-OP-3. It does not have the white arc described under BG-40-OHB-A. The second "E" in "FREE" is olive. It does not have the line in the circle described under BG-40-OHB-E or the printing flaw blue in the circle left of the "L" in "Lee." 4 31/64" x 7 45/64"
BG-40-OHB-Q Some copies of BG-40-OHB-P were stamped with a rubber stamp bulk rate permit, hand addressed and sent to people on the mailing list.
BG-40-OHB-R Some copies of BG-40-OHB-H were stamped with a rubber stamp bulk rate permit, hand addressed and sent to people on the mailing list.
BG-40-OHB-S Some copies of BG-40-OHB-N were stamped with a rubber stamp bulk rate permit, hand addressed and sent to people on the mailing list.
BG-40-OHB-T Some copies of BG-40-OHB-I were stamped with a rubber stamp bulk rate permit, hand addressed and sent to people on the mailing list.
BG-40-RPC-U This postcard is on .0090" stock
similar to that used for Bill
originals from number 54 to number 149. It does not have the
under BG-40-OHB-A. The second "E" in "FREE" is olive. It does
not have the line in the circle described under
BG-40-OHB-E or the printing flaw blue in the circle left of
the "L" in "Lee." 4 7/16" x 7 13/16"
Some evidence exists that a least some copies of BG-43-OHB-A were folded into copies of the next mailer, BG-44-OHB-A and mailed stapled together, possibly with a copy of the MacLean handbill included, and a few of these are currently known to exist.Under BG-45 notes add the following:
4 29/64" x 7 19/64" and 4 29/64" x 7 13/64"
Under BG-44 change the text to read:
BG-44-OP-1-A There is an almost bewildering variety to copies of this poster. The lettering varies in steps from pure gray to a rich purple/blue. On some copies the hair of the figure matches the lettering. On others the hair is much darker. The pink of the background varies from light to dark. Stock used varies from .0080" to .0105". Paper types run from porous vellum to index. This is the "Monday/Friday, go buy more paper and ink" syndrome taken to its utmost extreme. There are substantial variations among the handbills to match the posters. It is reasonable to assume that all of these are originals, with only the exception described under BG-44-RP-2. 13 49/64” x 23 55/64” and
13 27/32” x 23 3/4”
In 2014 it was pointed out to me that the descriptions on the Wolfgangs Vault
site listed separately each of the three paper stocks on which the original printing of BG-44 was printed. While I have known about these for decades, I never
listed them because there already was so much potential confusion because of
the color variations, but since the scholar who maintains the Wolfgangs Vault
and I have concluded that we should try to see that there are no disagreements
between the site he maintains and my Guide, I will now list the three dif
ferent paper stocks of BG-44 separately following the lead of his site.
The first original printing is on stock that has a distinct woven or rows
pattern on the back. The linear dimensions of this item vary, but the
dimensions on the Wolfgangs Vault site are a reasonable average.
13 13/16” x 23 3/4” The thickness of this stock is .008”.
BG-44-OP-1-B This version also varies dramatically in color. The stock is thicker and
coarser without the woven/rows texture on the back. It does not glow or
fluoresce on the back under black light. This lack of glow under black
light is the means to distinguish this item from BG-44-OP-1-C.
13 13/16” x 23 3/4”
BG-44-OP-1-C This variant does not show woven or rows texture on the back. It does
fluoresce brightly on the back when held under black light.
13 7/8” x 23 11/16”
BG-44-RP-2 Since the paper stock used to print Bill Graham originals from number 54
to 149 was never used to print originals before number 54, any copies of
BG-44 on this stock would be reprints. Such copies do exist. They are
characterized by the usual hard, uncoated index surface of this stock.
Unfortunately the stock used for the reprint also has a woven or rows
texture on the reverse which could lead to them being confused with
copies of BG-44-OP-1-A which is the only original with a woven or rows
textured reverse. Fortunately these copies are on stock .009” to .0095” in
thickness so the can be distinguished by this trait from BG-44-OP-1-A
which is substantially thinner at .008”. In 2010 I had occasion to look at
several hundred copies of the reprint. All of them had some degree of a
horizontal blue smudge through the word “Tickets” in the lower left
corner. This may prove to be the best signifier for the distinction between
BG-44 originals and BG-44 reprints because no original I have seen has
had this smudge. 13 3/4” x 23 45/64”
BG-44-OHB-A The varieties described under BG-44-OP-1 are matched by the varieties among the handbills. 4 39/64” x 7 59/64” and 4 43/64” x 7 29/32”
BG-44-OHB-B Some copies of BG-44-OHB-A were hand stamped with a rubber stamp bulk rate permit, addressed by addressograph and mailed to people on the mailing list.
BG-44-OPC-C Since postcards appear on the same stocks as handbills, it is reasonable to assume they were back printed before the concert. No copies of the postcard are known to exist on the stock used for Bill Graham originals from number 54 to number 149. 4 43/64” x 7 29/32” and 4 43/64” x 7 31/32”
B. G. 44
This poster is gray and purple on a pink background. There is considerable variation in the tones of the gray and the pink from light to dark. The central image is a woman’s face. This poster announces the first major San Francisco Bay Area appearances of the Doors.
* * *
Under BG-45-OP-1 add "The reverse of this item fluoresces or glows under black light.
Under BG-45-OP-2 add "The reverse of this item does not fluoresce or glow under black light.
After BG-45-RP-4 add
BG-45-PP-5 In 2003 an unauthorized use of this image was made by someone who
produced what they called a “Giclee” print. It was substantially larger than the
size of usual Fillmore posters, and a white border was added, but it was
cropped along the bottom so as to eliminate the ticket outlets strip. Colors
were somewhat paler than the correct green and bluish purple. It is unknown
how many of these were produced before they were ordered by the copyright
holder to cease and desist. 17 57/64” x 24 3/64”
After BG-45-PP-5 add
BG-45-RP-6 In 2013 the current copyright holder, Wolfgang's Vault, reprinted this poster with a Wolfgang's Vault credit in the lower right corner. 23 1/8" x 36"
Under BG-45-OHB-A add "This item was printed along side BG-45-OP-1 on the same sheets. It fluoresces or glows under black light."
After BG-45-RPC-E add
BG-45-OHB-F This item was printed along side BG-45-RP-2 on the same sheets. It does not fluoresce or glow under black light.
BG-45-OHB-G Some copies of BG-45-OHB-F were stamped with a bulk mail permit, mechanically addressed, and sent to people on the mailing list.
Under BG-49 add "Jimmy Reed" to acts
Under BG-49 change cards to read
BG-49-PC-B This item has a bulk rate permit reverse and the shape described under BG-49-PC-A. 4 31/32" x 8 5/64"
BG-49-PC-C Some copies of BG-49-PC-B were mechanically addressed and sent to people on the mailing list.
BG-49-PC-D This item has a place stamp here reverse. To the right of the "O" in "Trio" and the "M’s" in "2PM" and "7PM" is a long, narrow shape the upper end of which is rounded. At its widest this shape is at least 1/8" wide, much wider than the shape described under BG-49-PC-A. Unlike the shape described under BG-49-PC-A which has a right edge which is a single convex arc, this item has a right edge which is a compound arc made up of an upper section which is concave and a lower section which is convex. There is a sharp point where they meet. To the left of the "F" in "Fillmore" are four long, narrow shapes. On this item the upper left edge of the smallest of these four shapes forms two tiny "hooks." 4 29/32" x 8 1/16"
BG-49-PC-E This item has a bulk rate permit reverse and the shape described under BG-49-PC-D.
BG-49-PC-F Some copies of BG-49-PC-E were mechanically addressed and sent to people on the mailing list.
BG-49-PC-G This item has a place stamp here reverse. It has the 1/8" wide shape described under BG-49-PC-D, but the upper left edge of the smallest of the four shapes also described under BG-49-PC-D forms a single continuous convex arc. There are no "hooks." 4 57/64" x 8"
BG-49-PC-H This item has a bulk rate permit reverse and the shapes described under BG-49-PC-G. 4 61/64" x 8"
BG-49-PC-I Some copies of BG-49-PC-H were
mechanically addressed and sent to people on the mailing
BG-51-PC-E This card is identical to BG-51-PC-A except it is missing the letters "TIC" of the word "TICKETS" at the left of the ticket outlets strip.
Add to BG-51&52-OHB-B "The hat of the figure to the viewer's right in BG-52 is dark red."
After BG-51-PC-E add:
BG-51&52-PC-G Some copies of BG-51&52-OHB-F were imprinted on the reverse with a bulk mail permit, West Coast Litho credit and Fillmore Auditorium address.
BG-51&52-PC-H Some copies of BG-51&52-PC-G were mechanically addressed and sent to people on the mailing list.
"Otis Rush & his Chicago Blues Band
Under BG-53 change the dates to read 3/3-5/67.
Under BG-53-OP-1 add: "In 2015 a small but substantial stash of
the original printing was found measuring 12 5/16" x 22 1/2"
Under BG-53-PC-B and BG-53-PC-E change “blue” to “blue/green” and “red” to “red/rust.”
Eliminate the current section under BG-53-PC-G and change it to read:
Add to BG-54-PC-A "The chin of the lower face is the same color as the rest of the face."
Add to BG-54-PC-B "The chin of the lower face is the same color as the rest of the face."
After BG-54-PC-C add:
|BG-54-PC-D||Two variants of this postcard exist. Both predate the concert. The chin of the lower face of this variant is an entirely different color than the rest of the face. This postcard has a place stamp here reverse.|
|BG-54-PC-E||On this variant the chin of the lower face is an entirely different color than the rest of the face. This postcard has a bulk mail permit reverse.|
|BG-54-PC-F||Some copies of BG-54-PC-E were mechanically addressed and sent to people on the mailing list.|
Delete the acts listed and replace with:
Quicksilver Messenger Service
Under BG-56 change BG-56-PC-I to read: “In 2002 Jim Northrup showed me a copy of BG-56-PC-F which had been mechanically addressed and sent to someone on the mailing list.”
Change BG-57-OP-1 to read:
BG-57-RP-2 On the reprint the blob described under BG-57-OP-1 is missing. It has been replaced with a very narrow 1/64" wide line of orange overlapping the blue on the left side of the middle of the "P." This line is 3/16" long--Brad Kelly's logic is that the blob was a mistake not noticed until the first printing was complete. The narrow line on BG-57-RP-2 is what was left of the blob after the printer cleaned up the plate. If the blob was a mistake on the second printing, why would the line be on the first? The black left margin at its narrowest next to the bulge of the second "BYRDS" is over 3/16" wide on these posters.
Under BG-62-RP-3 add:
After BG-68-OP-1 add
BG-68-PP-2 The pirate printing represents a drastic alteration of the image. The Bill Graham credit at the top is eliminated and so is the ticket outlets strip at the bottom, but most notable is the change in colors. The original purple on an orange background which extends to the border is changed to a white border with black lines and color produced by a split fountain technique which has rust at the top and yellow at the bottom all on an aqua/blue background.After BG-68-PP-2 add
Under BG-69-OP-1 add "legally" after "printed."
After BG-69-OP-1 add:
BG-69-PP-2 The pirate printing represents a drastic alteration of the image. The Bill Graham Presents credit is eliminated at the top and so is the ticket outlets strip and artist’s credit at theAfter BG-69-PP-2 add
bottom, but most notable is the change of colors. The original purple on an orange background which extends to the border is changed to a white border with black lines and color produced by a split fountain technique which has violet at the top, yellow in the middle and blue/green at the bottom. 14 3/4" x 22 1/64"
After BG-74-PPC-D add
|BG-74-PPC-E||In the 1990’s another pirate postcard was produced. This time the image was cropped so that the Bill Graham Presents credit at the top was removed. The reverse bears the notations "U620-JEFFERSON AIRPLANE & GRATEFUL DEAD," "UNDERGROUND" and "Printed in England." 4 9/64" x 5 29/32"|
BG-75-OP-1 The original poster was printed on uncoated index. The printer’s credit "Neal, Stratford & Kerr" appears to the right of "75." 14 5/16" x 21 11/32"Under BG-75 change BG-75-RP-2 to read
BG-75-RP-2 This reprint poster was printed on coated stock of the kind used for most Bill Graham originals beginning with number 150. The printer’s credit mentioned under BG-75-OP-1 is deleted. 13 61/64" x 21 5/32"Under BG-75 add
BG-75-RP-3 An additional reprint exists which predates BG-75-RP-2. This item was printed on stock similar to the original, that used for Bill Graham originals from number 54 to number 149. The printer’s credit mentioned under BG-75-OP-1 is deleted.After BG-75-RP-3 add:
14" x 21 19/64"
|"BG-76-OP-1||It had previously been thought that this poster had been printed twice, once before the concert and once after, but it now appears that the two versions are variants of one printing and both are originals. This variant does not have a brown border strip across the top and one third down way down each side. This lack of brown border strip matches the postcard.|
|"*BG-76-OP-2||This variant has a brown strip across the top and one third way down each side."|
"* A member of the Prime Movers told me that his band substituted for Electric Flag."Under BG-81 change posters to read:
Under BG-82-OP-1 add:
The original is on uncoated index similar to most Bill
Graham originals from number 54 to number 149.
In 2002 Jacaeber Kastor noticed that there were two
variations, and in 2006 I noticed a third, two of which are originals. One is a reprint. Apparently
during the original press
run the printer noticed
two small flaws in the plate after some posters had been printed, stopped the presses
and corrected them. The first version has the two small flaws. These flaws
are a small yellow dot between the upper arms of the “E” in
“ONE” and a small yellow area along the top edge of the bottom
curve of the “S” in “SEPT.” 14 1/32”
x 21 7/64”
BG-86-OP-1B In 2007 I discovered that this poster had been printed three times, not twice as previously had been thought. The poster formerly identified as BG-86-OP-1B was found to be a reprint. Accordingly this designation is being eliminated from this Guide. See reasoning under notes.
BG-86-OP-1C On this version the yellow dot between the upper legs of the “E” in “ONE” has been “corrected” with small brown dots which mimic the dot screen of the background. The yellow area along the top edge of the “S” in SEPT.” has been scratched on the plate so this flaw also is no longer present. 14 3/64” x 21 1/8”
BG-86-RP-1.5 In 2007 the poster formerly identified as BG-86-OP-1B was discovered to be a reprint. It is an earlier reprint than BG-86-RP-2. This reprint is on index. It can be distinguished from BG-86-OP-1A and BG-86-OP-1C because the yellow area along the top edge of the “S” in “SEPT” has been corrected, but the small yellow dot between the upper arms of the “E” in “ONE” has not been corrected. That area is still yellow on this version. 14 1/64 ‘ x 21 35/64”
BG-86-RP-2 The third printing, a reprint, is on the glossy, coated stock used for most Bill Graham originals beginning with number 150. It is interesting that this reprint follows the earliest version of the poster, BG-86-OP-1A. 14 1/64” x 21 9/32”
In 2007 I first got access to printing records of Bill Graham Presents for posters printed by Tea Lautrec Litho. These records indicated that BG-86 had been printed three times instead of two as previously had been thought. The records indicated that one of the reprints was done in August of 1968, well before the shift to glossy stock, so one reprint had to be on index stock. The first thought that this reprint was one of the already known three variants on index proved true.
I studied all three index versions to see if there was some way that one of them could be separated from the other two. First I noted that two of them were virtually identical in size, only 1/64” different from each other while the third was substantially different in length. While it is not impossible for random chance to have the printer set the cutter identically on two separate occasions, this is not likely so I began to see if there were other links between the two similarly
sized versions, BG-86-OP-1A and BG-86-OP-1C. I found that there is a small white dot in the top center of the “O” in “COW” on each of these but not in the same location on the newly designated BG-86-RP-1.5. This white dot on both OP-1A and OP-1C only would have been possible if they were printed at the same time. I was able to examine the original film which was used to produce the printing plates for all the printings. This film would produce a plate that printed a poster fitting the characteristics of BG-86-OP-1A. This leads to the idea that this is the original state of the poster. If this is the original state of the poster, then BG-86-OP-1C which was printed at the same time as BG-86-OP-1A also precedes the concert. This leaves only BG-86-RP-1.5 to be the August reprint on index. Postcards also have the flaws in the “E” in “ONE” and the “S” in “SEPT.” I was not able to link any of the paper stocks to any of the others using blacklight on the backs.
Under BG-87 change cards to read:
Under BG-88 change 11/13&14 to 10/13&14
BG-87-PC-A All small size are on the same stock as BG-87-OP-1. This postcard has a place stamp here reverse. On this variant the face and the body of the Mercury figure are the same color. 4 35/64" x 6 29/32"
BG-87 & 88-PC-B This double postcard has a blank reverse on the BG-87 side and a bulk mail permit on the reverse of the BG-88 side. The face of the Mercury figure is the same color as the body. 4 35/64" x 13 63/64"
BG-87 & 88-PC-C Some copies of BG-87 & 88-PC-B were mechanically addressed and sent to people on the mailing list.
BG-87-PC-D This postcard has a place stamp here reverse. The face of the Mercury figure is even throughout and lighter in color than the body.
BG-87-PC-E This postcard has a place stamp here reverse. The upper portion of the face of the Mercury figure matches the body, but the lower portion of the face is lighter than the body.
BG-87 & 88-OPC-F This double postcard has a blank reverse on the BG-87 side and a bulk mail permit on the BG-88 side. The face of the Mercury figure on the BG-87 side is even throughout and lighter in color than the body.
BG-87 & 88-PC-G Some copies of BG-87 & 88-PC-F were mechanically addresses and sent to people on the mailing list.
BG-87 & 88 PC-H This double postcard has a blank reverse on the BG-87 side and a bulk mail permit on the BG-88 side. The upper portion of the face of the Mercury figure on the BG-87 side matches the body, but the lower portion of the face is lighter than the body.
BG-87 & 88-PC-I Some copies of BG-87 & 88-PC-H were mechanically addresses and sent to people on the mailing list.
After BG-90-OP-1 add
BG-90-PP-2 In 2006 a pirate printer offered a bootleg of this image on ebay. It is distinguished by the absence of a ticket outlets strip. 18 29/32” x 24 1/64”
BG-90-RP-3 In 2010 the current copyright holder of these Bill Graham Presents posters, Wolfgang’s Vault, issued a large size reprint of this image on glossy, coated stock.
The notation “Wolfgang’s Vault” appears in white in the lower right corner. 24 61/64” x 37 1/32”
Under Tickets under BG-90 add
"A variant ticket without a bottom strip exists. Red, yellow, dk & lt tan"
Under BG-92 change Procul to Procol
Under BG-92-OP-1 Change the length to 21 3/64"
After BG-92-OP-1 add
BG-92-RP-2 In 2013 the current copyright holder, Wolfgang's Vault, reprinted this poster with a Wolfgang's Vault credit in the lower right corner. 24 13/ 64" x 36"
Under BG-93 change Procul to Procol
Under BG-98 Artist add "Stanley Mouse."
After the main heading designations "BG-97" and "BG-98" place asterisks. At the bottom of the page add the following:
The text of BG-98 should be discarded and replaced with:
|BG-98-OP-1||"Copyright B. GRAHM (sic) 67" appears in the lower right corner. "KELLY" (sic) does not appear.|
|BG-98-OP-2||"Copyright B. GRAHAM 67" appears in the lower right corner. An "A" has been scratched into the plate between the "H" and "M." "Kelly" does not appear.|
|BG-98-OP-3||"Copyright B. GRAHAM 67" appears in the lower right. "KELLY" (sic) has been scratched into the plate in the lower right corner of the inner image above the "s" in "Collectors."|
|BG-98-PC-A||This postcard has a place stamp here reverse. It is 3 11/16" wide (see also BG-97 for double).|
|BG-98-PC-B||This card is identical to BG-98-PC-B except the reverse is blank. It is distinguishable from the BG-98 half of the BG97&98 double which is 4 1/8" wide.|
Under BG-97&98-PC-B add "This card is 4 18" wide."
Under BG-97 the final (second) designation "BG-97&98-PC-B"
should read "BG-97&98-PC-C."
Change the second BG-97&98-PC-B to BG-97&98-PC-C.
After BG-97&98-PC-C add
BG-97-PC-D This postcard sized item is identical to BG-97-PC-A except the reverse is blank. 4 23/64" x 7 3/64"After BG-99-RP-2 add
BG-100 change posters to read:
BG-100-OP-1 In 2007 Phil Cushway, the owner of Artrock, posted on expressobeans.com printing dockets and printing samples which prove that this poster was printed twice. The
original printing does not have the green dot described under BG-100-RP-2. 14” x 21 1/32”
BG-100-RP-2 The reprint discovered in 2007 is distinguished by a small green dot which is located in the lower portion of the “v” in “Quicksilver.”
BG-100-RP-3 In 2010 the current copyright holder of these Bill Graham posters, Wolfgang’s Vault, issued a large size reprint of this image on glossy, coated stock.. This reprint bears the
notation “Wolfgang’s Vault” in white in the lower left corner. 24 43/64” x 37 1/64”
After BG-100-RP-3 add:
BG-100-PP-4 In 2011 a pirate selling on www.amazon.com bootlegged this poster. The stock
used was slick and glossy. A white border not on the original was added. The
size is the distinguishing characteristic. 12” x 18 1/64”
Under BG-101 Change acts to read:
In 2007 I saw
printing records belonging to Phil Cushway, owner of Artrock which documented that this poster had
been printed twice. The original does not have the mark
described under the reprint. 14 15/64” x 21 3/64”
BG-104-RP-2 The reprint has a vertical faint pink bar on the back of the poster. This bar is 1/4” wide and extends from the top of the back of the poster down about 12.” It is just to the right of the middle of the poster. 14 3/16” x 21 1/64”The reason that I am confident that the reprint and the original can be separated as described above is that I separated over a hundred copies of this poster using a black light shined on the backs. One group was one stock which had a mild glow or floresence under black light. The other was on stock which did not. None of the cards glowed or floresced under black light. I then looked for a mark on either one group or the other which could be used to distinguish them, and I discovered the faint pink bar described above which appears only on the backs of the group the floresced or glowed under black light.
After BG-105-PC-E add
BG-105-RPC-F In 2001 Artrock used this image as the basis of a postcard which was used to announce a memorial exhibition on the tenth anniversary of Rick’s untimely death. 4 7/32" x 5 15/16"
Under BG-105 add:
BG-105-RPC-G In 2004 the new copyright holder who recently had purchased all the Bill Graham Presents copyrights began reprinting selected items. Among the first items printed at this time was a postcard of this image. A Wolfgangs Vault logo appears on the reverse.
4 1/4” x 6”
Under BG-106 change artist from "Lee Conklin" to "Stanley Mouse."
Under BG-108 add "Who" to acts.
After BG-108-RP-2 add:
BG-108-RP-3 In 2014 Wolfgang's Vault reprinted this poster on slick, glossy stock in a press run of 500. A "Wolfgangs's Vault" credit appears in the lower right corner. 20 13/32" x 29 27/32"
Under BG-108 after BG-108-PC-A add
BG-108-RPC-B In 2000 SFX, the new owners of Bill Graham Presents reprinted this card using the reverse to advertise their sale of concert memorabilia. 3 15/16" x 5 15/16"Under BG-109 change the number location to read, "109 appears above the 'e' in 'Loading Zone'"
Under BG-137 comments change "Rire" to "Rit."
Under BG-138 change BG-138-PC-A to read "This postcard has a place stamp here back."
Under BG-139 change number location to read "’138’ appears incorrectly above and right of ‘Hayward’ in the ticket outlets strip on the postcard. The previous image is the correct BG-138. This image is BG-139.
The correct number appears in this location on the poster.
Add to BG-140-PP-3:
|"BG-140-PP-4||In 1997 a pirate measuring 15 9/16" X 23 3/8" was discovered on thin, uncoated stock. It was German in origin and may date substantially earlier. "Printed in West Germany" appears in the lower right corner. "833 004-1" appears in the upper right corner." In 2001 it was discovered that this poster accompanied a German Import Rykodisc release entitled "Jimi Hendrix Experience – Live at Winterland." It is reasonable to assume this was not a pirate poster but an authorized reprint."|
After BG-142-OP-1 add:
BG-142-PP-2 In 2011 a pirate selling on www.amazon.com bootlegged this poster. The stock
used was slick and glossy. A white border not on the original was added. The
size is the distinguishing characteristic. 12” x 17 63/64”
Under BG-143 change Procul to Procol
After BG-143 add:
Unknown Led Zeppelin
Bonzo Dog Band
BG-144A-PP-1 In 2008 a pirate printer apparently in Indiana created a poster similar to the old boxing style posters for a fantasy concert which did not occur at the time and place
listed. It was printed on cardboard as were the old boxing style posters. This poster is an infringement on the rights of both the late Bill Graham as well as the acts
listed. It was sold on ebay among other places. 14 1/32" x 21 63/64"
B.G. 144A This poster was printed by split fountain technique and is pink at the top, yellow in the middle and green at the bottom. The central image is a photograph of Led Zeppelin.
The lettering is block lettering.
Under BG-147 artist add "Victor Moscoso**."
After "*" add:
Under BG-161 add BG-161-PC-D using text from BG-160-PC-E changing BG-160 bulk reverse to BG-161 bulk reverse.
Under BG-165-RP-2 add
In 2001 Phil Cushway of Artrock listed a copy of this second printing on ebay describing it as a first (Item #1491643893). I questioned Mr. Cushway about this, and he said this was an accident. He said he had spoken with the artist, Randy Tuten, and he said Randy Tuten had told him specifically that the yellow bordered BG-165 is a reprint, and he, Mr. Cushway, does not dispute this.Add to the text of BG-166-OP-1 "Since 2015 I have seen several posters from this time frame that were cut more narrowly by the printer than the more common versions. BG-166-OP-1 is
In late 2006 the new owner of the Bill Graham Presents
reprinted four of the numbered Fillmore/Fillmore West
posters. Each was printed on two different stocks. All bear the credit “Wolfgang’s Vault” in the lower right corner. This item is the smaller version
on uncoated index. 14 25/32" x 22 13/32"
BG-169-RP-4 This item is the larger
version on glossy, coated stock. 21 1/2" x 32 33/64"
Caveat Emptor and all that stuff. Look out for this one.
Under BG-173 change posters to read:
Under BG-177 change "BG-177-PC-B" to BG-177-PC-A."
Under BG-179 change "BG-179-PB-B" to "BG-179-PC-A."
Change BG-180-OP-1 and BG-180-RP-2 to read
"BG-180-OP-1 The original poster printed before the concert has a faint, vertical, straight blue line 3/4" long in the right margin beginning 2" down from the top of the poster. 14 1/32" x 22 1/32"Under BG-185 change "BG-185-PC-B" to "BG-185-PC.A."
BG-180-RP-2 On the reprint the faint blue line described under the original has been removed. 14" x 22"
In late 2006 the new owner of the Bill Graham Presents
copyrights, Wolfgang’s Vault, reprinted
four of the numbered Fillmore/Fillmore West
posters. Each was printed in two different sizes. All bear the credit “Wolfgang’s Vault” in the lower right corner. This is the smaller version on glossy, coated stock. 14” x 22 25/64”
BG-199-RP-4 This item is the larger version also on glossy, coated stock. 20 25/64” x 32 1/2”
Under BG-201 number change the location to read "Under the 'S' in 'Sunday'"
Under BG-202 act change "Stone" to Stones."
Change BG-205 posters to read:
|BG-205-OP-1||This poster was printed twice. The original has a c.
1/8" long horizontal black line midway between the top and
the bottom of the right margin. This is a remnant of
of a printer's bull's-eye not fully removed in trimming.
|BG-205-RP-2||The reprint does not have the printer's bull's-eye remnant described under BG-205-OP-1.|
Under BG-209 delete Loading Zone from acts.
Change BG-210-OP-1 to read,
"On the original there is a c. 1/64" dot c. 5/32" above the top of the edge of the brown image c. 5/16" left of the right edge of the brown image. This is in the top white margin slightly left of the right edge of the image."Change BG-210-RP-2 to read, "On the reprint the dot described under BG-210-OP-1 has been
Change BG-211-OP-1 and BG-211-RP-2 to read
BG-211-OP-1 The original poster has a small 1/32" red dot in the top margin about 1/2" to the left of the top right corner of the image. 14" x 22 3/64"Under BG-214 change the posters to read:
BG-211-RP-2 On the reprint the dot described under BG-211-OP-1 has been removed. 14" x 22 3/64"
Under BG-217 change the date to read "2/12-15/70."
After BG-219-PC-A add:
|"BG-219-PPC-B||In 1997 an English pirate printing of this card was discovered. It is smaller than Fillmore West cards, and much detail is lost due to sloppy printing. The following notations appeared on the reverse: "U619- DOORS-WINTERLAND, "UNDERGROUND" and "Printed in England."|
BG-232A-PC-B This variant was printed on slightly smoother stock than BG-232A-PC-A. It is .0105" thick. It is not on coated stock similar to that used for Bill Graham Presents posters from number 150 to number 287. The blue tends to be a bit darker than the blue of BG-232A-PC-A."
Under BG-245 after Procul add (sic)
At the end of the text for BG-245-OP-2 add:These blues do not necessarily match the range of blues of the cards which are blue.
Under BG-246 notes add that the temple is the
Parthenon on the Acropolis of Athens, and the woman is Isadora
Duncan. The original photograph is by Edward Steichen. Change
"four" to "three."
Under BG-248, 249 and 251 change the number to read:
"247" appears incorrectly at the left above the ticket outlets strip on the card but not the poster. Leave the correct location the same on all three.Under BG-254 change Procul to Procol
2006 the new owner of the Bill Graham Presents copyrights, Wolfgang’s Vault, reprinted four of the
numbered Fillmore/Fillmore West
posters. Each was printed in two different sizes. All bear the credit “Wolfgang’s Vault” in the lower right corner. This is the smaller version on uncoated index stock. Both of the 2006 reprint BG-289 posters have the lower left edge as does BG-289-RP-2. 16 17/32” x 22 25/64”
BG-289-RP-4 This item is the larger version on glossy, coated stock. 24 1/64” x 32 17/32”
Change "Was" to "Wes."
Under BG-285 delete:
Th 17, Su 20 - one ticket: red, blue, silver, rust, whiteUnder Bill Graham tickets BG-285 add
Fr 18: blue, red, silver, black
After BG-289-RP-2 add
2006 the new owner of the Bill Graham Presents copyrights, Wolfgang’s Vault, reprinted four of the
numbered Fillmore/Fillmore West
posters. Each was printed in two different sizes. All bear the credit “Wolfgang’s Vault” in the lower right corner. This is the smaller version on uncoated indexstock. Both of the 2006 reprint BG-289 posters have the lower left edge as does BG-289-RP-2. 16 17/32” x 22 25/64”
BG-289-RP-4 This item is the larger version on glossy, coated stock. 24 1/64” x 32 17/32”
Under Bill Graham Presents tickets after BG-286 add
287 Mo Jun28 Backstamped tickets used instead of tickets bearing
Backstamped in black on back of BG-120. Backstamp reads
“VALID ONLY MON JUNE 28 FILLMORE WEST— 3.50”
Tu Jun 29 Backstamped tickets used instead of tickets bearing BG-287 image.
Backstamped in red on back of BG-119. Backstamp reads
“VALID ONLY TUE JUNE 29 FILLMORE WEST— 3.50”
We Jun 30 Backstamped tickets used instead of tickets bearing BG-287 image.
Backstamped in black on back of BG-150. Backstamp reads
“VALID ONLY WED JUNE 30 FILLMORE WEST— 3.50”
Th Jul 1 Backstamped tickets used instead of tickets bearing BG-287 image.
Backstamped in black on back of BG-128. Backstamp reads
“VALID ONLY THUR JULY 1 FILLMORE WEST—3.50”
Fr Jul 2 Backstamped tickets used instead of tickets bearing BG-287 image.
Backstamped in black on back of BG-80. Backstamp reads
“VALID ONLY FRI JULY 2 FILLMORE WEST— 3.50”
Sa Jul 3 Backstamped tickets used instead of tickets bearing BG-287 image.
Backstamped in black or red on back of BG-90. Backstamp reads
“VALID ONLY SAT JULY 3 FILLMORE WEST— 3.50”
Su Jul 4 Backstamped tickets used instead of tickets bearing BG-287 image.
Backstamped in black on back of BG-117. Backstamp reads
“VALID ONLY SUN JULY 4 FILLMORE WEST— 3.50”
Since the BG-287 image was created shortly after the concerts, neither image tickets nor postcards of this image
exist. That is why backstamped tickets were used. It is likely that both black and red backstamps exist of all the
BG-287 tickets. It also is likely that all the variants of the fronts of the specific tickets (all the different days) were used, that is, if a BG-117 ticket was used for Sunday July 4, it is likely that all the variants of BG-117 were used, not just one specific day.
Under Bill Graham Presents Tickets change BG-289 to read BG-289
this ticket was not an image ticket.
"In 2000 a new plague appeared to make life difficult for collectors of Grande Ballroom material. Someone began printing pirate reprints of newspaper ads for Grande concerts. These images bear considerable resemblance to those of legitimate Grande cards and posters, but usually the images are different in some way. What this means is that if youUnder G/G-661007-RP-2 change "400" to "325."
find a "new" variant not listed in this book, especially if it is on thin paper and 8 1/2" x 11" or larger, it is more likely than not that the item is a pirate. While it is still possible new original material will turn up even after thirty years, it is not likely. Since these items are being sold very cheaply, the best thing to do is acquire a copy and send it to me for study so that I can make note of it in my Guide. I will pay for the postage both ways when I return it to you. In this way other collectors can be made aware of each of these pirates as it appears. I will include a note about each pirate under the genuine use of the image."
G/G-661007-RP-3 The third printing is a mechanically printed edition. It
is much closer in size to the original than the second, but the stock is .0125” thick which is much thinner than the original. The notations “c 1966, 1993, 2003 GARY
GRIMSHAW” and “Third edition under license to Levi’s R Vintage Clothing” appear in the bottom margin at the left. The artist also signed and numbered a limited number of
copies (297) of this edition. 14 1/64” x 19 31/64”
Under G/G-661007 after G/G-661007-RP-3 add
G/G-661007-RP-4 The fourth printing is a mechanically printed edition. The notation “Fourth Edition Art c 1966, 1993, 2003, 2006 Gary Grimshaw” appears in the
lower left corner. 13 3/64” x 19 1/32”
Under G/G-661007 add:
G/G-661007-PHB-B In 2013 a person who was a seller at Detroit area record shows began selling an oversized postcard version of this image based on the black and white only handbill.
5 11/64" x 7 13/16"
After G/G-661007-PHB-B add:
G/G-661007-RPC-D In 2006 Gary Grimshaw printed a postcard sized, blank backed version of this image which parallels G/G-661007-RP-4. 4 5/16" x 6 3/8"
After G/G-661014-OP-1 add:
G/G-661014-RP-2 In 2008 Gary Grimshaw reprinted this image as a poster. The credit "Second Edition c 1966, 2008 Gary Grimshaw" appears in the bottom margin. The background
white of the original has been turned pale blue, and there are other color changes. 13" x 19"
Under G/G-661021 change the text to read:
G/G-661021-OP-1 This poster was printed only once. No card or handbill is known to exist for this concert. The image is based on the same photograph as Mouse and Kelley used
for FD-28. This photograph is not, as was previously thought, of a man photographed behind venetian blinds. Please see notes under FD-28. 17 5/8” x 22 1/2”
After G/G-661021-OP-1 add:
G/G-661021-RP-2 In 2008 Gary Grimshaw reprinted this image. The credit "Second Edition Art c 1966, 2008 Gary Grimshaw" appears in the bottom margin. 13" x19"
G/G-661021-RPC-A In 2008 Gary Grimshaw reprinted this image as a blank backed postcard sized item. The credit “Second Edition Art c 1966, 2008 Gary Grimshaw” appears in the bottom
margin. 4 5/16 x 6 3/8”
Under G/G-661104 change handbills to read:
G/G-661104-OHB-A The original printing of this handbill was printed only once. It is parallel to the image of the poster, but it only was printed in black and white. The brown used on the poster is missing.
G/G-661104-FHB-B In 2017 a forgery of this handbill was discovered. Actually what I had thought was a genuine original which I had acquired in 2007 turned out to be a forgery. Since I never had seen another copy,
one which could traced back to the time of the concerts, I had no way of knowing that what I had purchased was not genuine. This is a major problem with extremely rare black and white items
like this. If you have no access to a well documented genuine copy, you are vulnerable to forgers. This was a forgery, not a pirate/bootleg. The difference is that a pirate/bootleg is produced in
large quantities to sell cheaply. A forgery is produced in only one or two copies with much greater care than pirates/bootlegs. There is a deliberate attempt made to defraud a serious collector out
of a lot of money. That is what happened here. A serious collector paid a lot of money for what he thought was a genuine originnal, probably back in th 1990s. I acquired it when that collector’s collection was broken up. I spent over three hours studying the forgery alongside a copy of known provenance, and eventually I realized the one I had bought in 2007 was a very serious forgery
done by someone who knew a lot about printing, and used that knowledge to defraud someone out of a lot of money. The differences between the two, the genuine original and the forgery are so
minute that I am unable to describe them here verbally. I can only say that if anyone is offered a copy of this handbill, they should have me look at it to determine whether or not it is genuine.
Between G/G-661104 And G/G-661118 Add:
G/G-661111 Grande Ballroom11/11&12/66 Hitch Hikers
Gary Grimshaw MC-5
G/G-661111-OHB-A In 1998 a handbill for the weekend between G/G-661104 and G/G-661118 was discovered. This handbill was printed only once. No poster is known to exist for this event.
|"G/G-670317-FHB-B||In May 1998 a forgery of G/G-670313-OHB-A was discovered. The forgery of G/G-670317-OHB-A is sufficiently different in image size to be recognizable as printed with a different plate than genuine originals, one made by copying a handbill, not the original artwork. The vertical measurement along the right margin of the image of the original is 10 37/64." The same measurement on the forgery is 10 36/64." Unfortunately this is not a sufficiently great difference for someone with an ordinary ruler to discern it reliably, but there is a flaw typical of such forgeries, the difficulty of depicting long, narrow white spaces within black areas, ones only a few thousandths of an inch wide. To the right of the "M" in "1AM" just inside the inner white border is such a small white space which looks very much like a knife viewed point on. On the forgery this is about 1/4" long. On genuine originals this is about 5/16" long or a bit longer. The camera used by the forger simply was not able to capture the information of the narrowest 1/16" of this white space and turned it black."|
|"G/G-670421-FHB-C||In May 1998 a forgery of G/G-670421-OHB-A was discovered. The vertical measurement of the highest point of the image near the left margin is 10 3/16" on the forgery. On the genuine original this distance is less than 10 1/8." Also the lettering in the bottom margin "A RUSS GIBB PRODUCTION" and "POSTER BY GRIMSHAW" is much muddier. For example, the top loops of the second "B" in "GIBB," the "R" in "PRODUCTION," the "P" in "POSTER" and the "'B" in "BY" are filled in, solid black, on this forgery whereas on the genuine originals these loops have small white spaces in them.|
|"G/G-670423-OHB-B||This item is identical to G/G-670423-OHB-A except it is printed on pale red/pink stock."|
Under G/G-670609 add
G/G-670609-PHB-C Another version of the same pirate exists on tan paper. 8 33/64” x 11”
G/G-670609-OHB-D In 2014 I discovered why Henkel (see OHB-A) described the stock of this handbill as cream colored. There actually is a version of the original handbill on cream
colored stock separate from the pale yellow version.
Under G/G-670616-PHB-B change the entry to read “…white or very pale gray paper.”
Under G/G-670623-OHB-A change the entry to read
“This handbill was printed in black ink on pale blue paper. The black strip across the top extends to the edge of the paper…”
Under G/G-670623-PHB-B Add
“The black strip across the top of the paper does not extend to the
edge of the paper. The edge of the paper is pale gray/lavender.”
Under G/G-670623 add
G/G-670623-PHB-C Another version of the pirate exists on light blue paper. The black strip across the top does not extend to the edge of the paper. The edge of the paper is light blue.
Under G/G-670630 change "Grande Ballroom" to "Ford Auditorium."
Under G/G-670630-OHB-A change:
|"G/G-670630-OHB-B||The second handbill matches the poster with 'Jefferson Airplane' in blue, etc."|
Under G/G/670825 add:
G/G-670825-OHB-C In 2003 I concluded that this handbill also was distributedChange G/G-670827A-OHB-A to read:
with the outer border crudely trimmed off with a
scissors. I have now seen eight copies of this handbill.
Four of these had the outer border trimmed in this manner.
Two of these belonged to people who had gotten the handbill at the time of the event and told me they had not trimmed it themselves. The four trimmed copies came from different sources. 6 3/8” x 9 7/8”
Under G/G-670929-OP-1 change "only once" to "twice."
After G/G-670929-OP-1 add:
After "G/G-671027-OPC-C" add:
|"G/G-671027-OPC-D||This card has a 'Grande Ballroom' imprint reverse but no 'Place stamp here' square the same as G/G-671103-OPC-B.|
|G/G-671027-OPC-E||This card has a 'Grande Ballroom' imprint reverse but no 'Place stamp here' square, but it is different from G/G-671103-OPC-B."|
Under G/G-671110 add: "Victor Skrebneski
(Photographer)"change "Skrebnewski" to "Skrebneski."
Under G/G-671110 add
G/G-671110-RP-3 In 2006 the artist, Carl Lundgren, authorized a second reprint of this image which is also signed and numbered. It also has a white border not
on the original. The “R” to “N” distance on this version is 12 1/4”. 17 1/32” x 27 5/32”
Change G/G-671126-OHB-A to read:
Under G/G-671208 add "Wilson Mower Pursuit" under the list of acts.
Under G/G-671208 before G/G-670812-OPC-A add:
Under G/G-680223A add:
|"G/G-680223A-RP-1||After 1990 this image was printed as a poster for the first time but since it was done after the concert, it is a reprint. 'RG68-2. Original artwork by Gary Grimshaw...' appears at the bottom."|
G/G-680816-OPC-B This item has a "Grande Ballroom" and a "Place Stamp Here" imprint reverse. It does not have the printer's bull's-eye mentioned under G/G-680816-OPC-F.
G/G-680816-OPC-C This item has a "Grande Ballroom" and a "Bulk Mail Permit No. 642" imprint reverse. It does not have the printer's bull's-eye.
G/G-680816-OPC-D Some copies of G/G-680816-OPC-C were mechanically addressed and sent to people on the mailing list.
G/G-680816-RPC-E In 1994 Pomegranate Artbooks reprinted this card with a Pomegranate imprint reverse. It does not have the printer's bull's-eye.
G/G-680816-OPC-F This card has a blank reverse. At the right end of the ticket outlets strip at the bottom of the card is a small black circle with cross hairs through it . This is known as a printer's bull's-eye. It is used to align thepress. Usually they are on parts of the paper which are trimmed off before an item is distributed, but in this case it accidentally was placed in the image and could not be removed. These cards were printed two to a sheet so it may be assumed that half of each variant has the printer's bull's-eye.
G/G-680816-OPC-G This item is the same as G/G-680816-OPC-B except with the bull's-eye.
G/G-680816-OPC-H This item is the same as G/G-680816-OPC-C except with the bull's-eye.
G/G-680816-OPC-I This item is the same as
G/G-680816-OPC-D except with the bull's eye.
Under G/G-680913 artist add "Carl Lundgren."
Under G/G-680920 artist delete "Carl Lundgren."
Under G/G-681004 artist add "Donnie Dope."
Under G/G-681004 add
G/G-681004-RP-1 In 2005 Carl Lundgren issued a signed and numbered limited edition poster
of this image. 17 5/64” x 27 13/32”
delete "No poster is known to exist for this image."
Under G/G-681011 add:
G/G-681011-RP-1 In 2008 Carl Lundgren issued a signed and numbered limited edition poster of this image. 17 3/64" x 28 5/16"
Under G/G-681015 artist add "Donnie Dope."
Under G/G-681015 add:
In 2005 Carl Lundgren published a signed and numbered limited edition
poster of this image
Under G/G-681029 add:
G/G-681029-RP-1 In 2004 Carl Lundgren published a poster of this image.
It was a limited edition of 100 which was signed and num-
bered. No original printing poster exists for this image.
17 5/32” x 27 19/64”
Under G/G-681029-OPC-B delete "No poster is known to exist for this event."
Under G/G-681030 add
G/G-681030-PP-3 In 2005 a British company listed as “NME” reproduced a number of posters from the psychedelic era, this one among them. They used the six
star version as a source. The poster was printed with a black outer border not present on the original or the reprint. The image is off center to
the left. "NME PRESENTS VINTAGE ROCK AND ROLL POSTERS" appears in the lower right corner. A version of the guitar neck/dove
Woodstock poster appears on the reverse. c. 9 11/16" x 11 7/8"
G/G-681030-PP-4 In 2006 it was discovered that in the mid 1970s a company named “CIRCUS” or something close to that published a book containing a number of psychedelic poster images.
These were perforated along one side so they could be removed easily from the book. This image is one
of the images that was in this book. It is based on the six star version. The number “51,” the page number, appears in the lower right corner. A
brown tone head and body profile appears on the reverse with the number “52” in the lower right corner. 10 1/64” x 14 27/32”
G/G-681030-PP-5 In 2013 someone selling on ebay offered a digitally printed pirate of this item based on the six star image. Viewed under magnification the tiny dots of digital printing are
visible. It is on glossy stock. The left and right borders are much wider than the top and bottom borders. 11 11/16" x 16 37/64"
After G/G-681030 add
Saturday November 30, 1968 Jimi Hendrix Experience at Cobo Hall (also Friday May 2, 1969 Jimi Hendrix Experience at Cobo Hall)
In 2007 Hal Leonard published a book entitled Road Work: Rock & Roll Turned Inside Out by Tom Wright. Wright was a long time denizen of the Detroit rock scene and a major photographer of the Grande era. He worked for Russ Gibb among others and was there at the Grande in its late 1960s heyday. Anyone seriously interested in the Grande ought to read this book.
In the text Wright mentions a concert Russ Gibb put on with the Jimi Hendrix Experience at Cobo Hall. Two different online chronologies of Jimi Hendrix Experience concerts show two appearances by the Jimi Hendrix Experience at Cobo Hall: Saturday November 30, 1968 and Friday May 2 1969.
In all the years I have researched the history of art for Russ Gibb and/or the Grande Ballroom, I had never encountered anyone who mentioned that either of these concerts was promoted by Russ Gibb, and I have never included any material from them in this Guide, but since Wright clearly was one of those at the heart of the Detroit scene, I could not discount this reference without further research. Accordingly I called Russ Gibb who has been most gracious and generous in making himself available to me for interviews and scholarly research. Russ told me clearly and specifically that he was not in any way involved with the promotion of either of these two concerts. He believed that Wright simply had mixed up the Cobo Hall concerts with the Masonic Auditorium concert by the Jimi Hendrix Experience (2/28/68) and the CNE Coliseum Toronto concert by the Jimi Hendrix Experience the next night (2/24/68) which he, Russ Gibb, did promote.
This is in no way intended as a criticism of Wright’s excellent book, just as clarification that collectors of Grande/Gibb material do not have to add material from either of these two concerts to their collections.
Under G/G-681031 change artist from "Unknown" to "Carl Lundgren,
Donnie Dope, Mardi Forrester."
Under G/G/681031 add:
G/G-681031-RP-1 In 2006 Carl Lundgren published a signed and numbered limited edition poster of this image. 17 1/64" x 27 3/8"
Under G/G-681101 added "Donnie Dope" under Artist.
Under G/G-681115 artist delete "Carl Lundgren."
Under G/G-681121 add
G/G-681121-RP-1 In 2001 Carl Lundgren published a hand pulled silkscreen of this image. It was a limited edition of 300 which was signed and numbered. No original printing ofUnder G/G-681121 add
this image exists as a poster. 17 23/32" x 29 63/64"
|"G/G-690124A-OPC-B||This card has a "Grande Ballroom" and a "Bulk Mail Permit #642" imprint reverse."|
Teagarden & Vanwinkle
G/G-690308A-OHB-A This handbill was printed only once. It is for the same event as G/G-690308. There are two variants. This variant is in black ink on pale yellow paper. 5 1/2" x 8 17/32"
G/G-690308A-OHB-B This variant is in black ink on rose colored paper.
After G/G-690308 add
G/G-690328-PHB-A There was no original poster, postcard or handbill for this event as far as is currently known. In 2000 a pirate printed this handbill using a 1969 newspaper ad as a source. This copy was in black ink on thin pink stock. The notation "A Russ Gibb Production" appears at the lower right. 17" x 11 1/32"
Between G/G-690418B And G/G-690425 Add:
G/G-690423 Grande Ballroom
|G/G-690423-OHB-A||In 1998 Matthew Radofsky, who created the original artwork for a number of other Grande posters, handbills and posteards gave me a photocopy of this handbill which I had not known about when I wrote the Grande portion of this Guide in 1996. It was printed only once in a press run of about 500. Mr. Radofsky indicated that no posters were printed for this event.|
Under G/G-690509-OPC-A delete "No poster is known for this event."
Under G/G-690509 after G/G-690509-RPC-B add:
|"G/G-690509-PP-1||In 1997 a mid 1990's European pirate poster of this image was discovered. Colors used were lavender, blue, green, orange and purple along with gray and black. "Joe Cocker" was deleted and "The Byrds" was added. "Janis Joplin" was added in a balloon at center left, and "Frank Zappa" was added in a balloon at center right. It is important to note there was no poster original of this image."|
After G/G-690516-OPC-C add
G/G-690516-OPC-D This card has a blank reverse.Under G/G-690530 change the cards to read:
David & Roselyn
G/G-690709-OHB-A This handbill was printed only once.
Between G/G-690806-OP-3 and G/G-690806-OPC-A insert:
After G/G-690824 add
G/G-690831-OP-1 In 2001 a poster was discovered
for this event. It was printed only once, but there are two
versions. This one is black and blue inks
on yellow stock. 11 1/32” x 17 3/64”
G/G-690831-OP-2 This version of this poster is black and red inks on yellow stock. c. 11” x 17”
Friend and Lover
Wilson Mower Pursuit
Red White and Blues Band
G/G-690831-OP-1 In 2001 a poster was discovered for this event.
It was printed only once. c. 11" x 17"
After G/G-690831 add
G/G/690831A Benedictine Stadium
8/31/69 Same as G/G-690831
G/G-690831A-OHB-A In 2003 a handbill was discovered for this event. It was
printed only once. 8 1/2” x 10 15/16”
After 690831A add:
G/G-690912 Grande Ballroom
9/12&13/69 Turtles, T-Rex, Thomas Blood
Carl Lundgren, Jerry Younkins
G/G-690912-RP-1 There were no posters, postcards or handbills created to promote these Russ Gibb concerts at the time of the event. In 2008 Carl Lundgren, one of the original
Detroit psychedelic poster artists, used a collage by Jerry Younkins, also one of the original artists who collabotated on Detroit psychedelic posters in the 1960s,
to create a poster with this image as a commemorative of this event. 17 1/32" x 23 25/32"
After G/G-691002 add
G/G-691013-OP-1 This number reserved for future use.
G/G-691013-OHB-A This handbill was printed only once. There have been reports that there also is a poster for this event.
Under G/G-691013 delete the entry "G/G-691013-OP-1 and under G/G-691013-OHB-A delete
"There have been reports that there also is a poster for this event."
After G/G-691013 add
|J & S Stoddard|
G/G-691013A This poster was printed only once. c. 16" x 21"
After G/G-691031-OPC-B add
G/G-691031-PHB-C This image has two pirate handbills which were created inAfter G/G-691031 add:
2000 from underground newspaper ads. The image is the same,
but the colors have been changed. They are no longer the polychrome of the poster and the card , but they are now a monochromic black on orange paper. This
parallels the newspaper ad from which the pirate was made. There was no original handbill which was mono-chromic black on orange paper. The pirate handbills
come in two sizes. Both are on thin stock. This one has an orange border all around the image. It measures 8 33/64" x 11"
G/G-691031-PHB-D This pirate handbill from a newspaper ad also is in
black ink on thin orange stock. This one only has an orange border at the top and bottom. The image extends to the left and right sides. It measures
10 43/64" x 16 21/32"
|G/G-700124C-OP-1||This poster was printed only once. It is for some of the same events as G/G-700124A and G/G-700124B.|
|10-2/70||No performers listed:
Rally for John Sinclair
|J & S Stoddard|
G/G-701002-OP-1 This poster was printed only once. No handbill or
card is known for this event.
15 57/64" x 20 57/64"
Under G/G-710613A-OHB-A change the backprint to read, "DEAL OF
ALL TIME... ADMITS TWO FOR $1.50"
After G/G-721021 add
G/G-721022 Grande Ballroom
10/22/72 Wishbone Ash Jonathan Round
G/G-721022-OHB-A This handbill was printed only once. 8 1/2" x 12 13/16"
Under G/G-701224C add
"This poster also exists without the Grande Ballroom imprint. The
version without the Grande
imprint was sold to benefit the defense of John Sinclair. That version is not listed in this guide because it is not connected with the Grande Ballroom."
Under G/G-701231 change text to read:
G/G701231OPCA After considerable study in 2006 I have been forced to conclude that some
copies of this handbill are forgeries. Since these have been sold as originals,
these can not be called pirates or bootlegs. The original is on white stock. It
is much sharper than the forgery, but the best way to distinguish the forgery
is to look at the left edge of the top of the castle turret. On the original the
roof of the turret has an eave which extends slightly to the left of the vertical
left wall of the castle. See the upper illustration. 4 13/64” x 7 13/64”
G/G701231PHBB The forgery appears on two different stocks. One is white.
The forgery was printed with a different printing plate than the originsl. It
is less clear than the original, but the easiest way of distinguishing the forgery
is to look at the left edge of the roof of the turret. On the forgery this edge is
straight without the roof eave extending out past the vertical left edge of the
castle wall. See the lower illustration. 4 9/16” x 7 43/64”
G/G-701231-PHB-C The forgery also appears on tan stock.
After G/G-710805C add
G/G-710906 Grande Ballroom
G/G-710906-OHB-A In 2010 Greg Bosch discovered a handbill for this event. (The image of this handbill is hand done lettering with "PEOPLE'S BALLROOM"
in block letters at the top.) 8 1/2” x 11”
After G/G-720124 add
G/G-720319 Grande Ballroom
3/19/72 Ted Nugent
G/G-720319-OHB-A In 2009 a
copy of this handbill was discovered. It was printed only once.
Someone sent me a photocopy of it. It was printed in black ink on
Size is in the 8 1/2" x 11" range/
The image is a hand drawn picture of Ted Nugent with long hair and a mustache. The acts are listed below his picture, and "Grande Ballroom" appears in a large arc at the bottom.
The producer was Don Decker.
After G/G-720413 add:
G-G-720413A Grande Ballroom
4/13/72 Detroit featuring Mitch Ryder
G-G-720413A-OHB-A In 2010 a copy of this additional handbill for the Grande event on
4/13/1972 was discovered. It described the Grande as the People’s
Ballroom. This handbill was printed only once in pink ink on white
stock. 8 1/2” x 11”
Under G/G-671027 STAMP HERE add "8 Black" and "9 Black."
In the bulk mail column after 690124A (72) add "53 Blue."
NR-4-OP-1 On the original the orange of the top margin is relatively even in tone 2 1/4" from the right edge. There may be a pinpoint of white at this point. The rhodamine (dark red) is lighter than on the second. 14 1/64" x 20 1/32"Under NR-7 add:
NR-4-RP-2 On the reprint there is a 3/16" white smudge (printing flaw) in the orange top margin 2 1/4" from the right edge. 14 3/64" x 20 7/64"
NR-8-OP-1 This poster was printed only once. 14 1/32" x 19 63/64" Previous editions of this guide incorrectly stated that this poster was printed twice. I apologize for this mistake. Before I included the Neon Rose posters in this guide, I spent several hours interviewing Victor Moscoso about his recollections of the printing history of his Neon Rose series. Victor has a portfolio of his work in which he keeps one original copy of each of these images. These were posters given to his late father-in-law, Thomas Colman, as they came off the presses. Shortly before his father-in-law died, these were returned to Victor. Every item in this portfolio is an original according to scholarship I had done prior to interviewing him. I assumed that the Neon Rose number eight must be an original as well, and it is, but one problem arose which confused the issue. This known and proven original is a full quarter of an inch longer than all the other copies I had seen. I incorrectly assumed that this poster had been reprinted and that the reprints were the shorter copies. Eventually when no other copies of the longer version appeared despite the great amount of searching done by several serious collectors, I began to wonder about this. When I spoke with Victor recently, he told me that what happened in this case was that when the posters came off the press, he had to leave before the posters were dry enough to run through the large printer’s cutter so he pulled one sheet off the topUnder NR-12 add
of the pile and cut it by hand to give to his father-in-law. This explains why the poster in his portfolio is oversize by a quarter of an inch. The rest of the posters were eventually cut to the standard approximately 20" size. This poster was not reprinted. Two slightly different stocks of paper were used, and ink tone of each color varies substantially across a spectrum, but these are not different printings. Victor has no record or recollection that this poster ever was reprinted. All copies are originals.
Under NR-12 dates add 4/4-6/67
NR-12-RHB-A In 2001 the San Diego Museum of Art used this image for a handbill promoting a show of psychedelic posters. 3 ¾" x 8 57/64"Under NR-15 add:
NR-12-RPC-B In 2004 Matthew Marks Gallery in New York City used this image for a card announcing an exhibition of psychedelic posters.
4 15/64" x 6 1/32"
|"NR-15-PP-3||At an unknown date an unauthorized party created a hand pulled silkscreen printing of this image but with the following alterations: 'Spring' was changed to 'Wilson,' 'Haight Ashbury' was changed to 'Wilson High' and original colors were changed to grape and dark blue. This item measures 20" X 13 3/4." Inking was crudely done with some overlapping. There is no signature. One copy of this item was discovered in 1996."|
After NR-17-OP-2 Add:
|"NR-17-OP-3||At some point in the late 1960's Blushing Peony cut off the left border and bottom of some copies of NR-17-OP-2 removing the address. A drawing of a woman in chains (not drawn by Victor Moscoso) was printed on the reverse along with an ad for a Blushing Peony sale at a different location: 1323 Polk St."|
"NR-25(B-6)-RP-6 In 1999 it was learned that Moore Gallery produced another run similar to NR-25(B-6)-OP-2 approximately a month after the Joint Show in 1967. These were kept in storage until 1999 when attempts were made to sell them. It appears theyUnder Appendix I Artists after Henry, William add
were cut somewhat smaller than NR-25(B-6)-OP-2, but otherwise they are very difficult to distinguish.
"Hollister, L. Kent: FD; 125."Under "Fugs" add "FD-104."
Under Quicksilver Messenger Service change "75" to "76."
Under Savoy Brown change "169" to "165."
Under Appendix II add "Gold: BG-278."
Under Appendix II add "Luke and the Apostles: BG; 74."
Under Appendix II delete "Almond, Mark: BG-273&274" and add "Mark-Almond: BG:273&274."
Under Appendix II add "Prime Movers: BG; 80."
Under Appendix II change Procul to Procol
Under Appendix II change "The Fat" to "Toe Fat"
Under Appendix II delete "Tripping West to East: FD; 74."
Under Family Dog want list delete mailer FD-107.