Not currently on display at the V&A

Bill Graham Presents

Poster
1967 (designed)
Artist/Maker
Place of origin

The Fillmore in San Francisco is a historic music venue, named after its original location at the intersection of Fillmore Street and Geary Boulevard. Known as the Fillmore Auditorium in the mid-1960s, concert promoter Bill Graham began a series of concerts featuring bands from the counterculture of the time. In 1968, due to his spiralling success, he moved to a larger venue which he named Fillmore West. Having closed in 1971, and after extensive repair work to fix earthquake damage, Graham's was revived when Live Nation reopened the original Fillmore venue in 1994.

San Francisco in the mid-1960s was the hub of the LSD and Hippie scene and the cultural and political rebellion of 1967's Summer of Love. The resulting influence of these factors on the artists of the area created the fantastic psychedelic posters of the Fillmore. Art dealer Jacaeber Kastor said of the posters, "They couldn't just tell you the information about the show. They had to tell you what kind of people you might meet, what kind of far out trip you might have or perhaps even reveal the mysteries of the universe. Wow. Quantum mechanics, visual mudwrestling, Acid test pop quiz on a phone pole!"

The artist of this poster, Wes Wilson, was a designer in the San Francisco small press company Contact, creating posters for Bill Graham's Fillmore and rival promoter Chet Helms' Avalon Ballroom. He stopped working for Helms in August 1966, as he received more artistic freedom from Graham. He adapted his lettering style from an Art Nouveau and Expressionism exhibition, expanding the outlines and shapes exaggeratedly, creating intense patterns for the backgrounds. He used vibrant and contrasting colours, which, combined with the patterns, often made the text almost indecipherable. His choice of colours was to reflect the nature of the stimulating light shows that accompanied the concerts.

This gig at the Fillmore Auditorium featured a performance from Howlin' Wolf, an electric blues pioneer with booming voice, and massive influence on many British and American bands of the time. He was supported by Big Brother and the Holding Company, a seminal San Francisco psychedelic rock band, featuring Janis Joplin on vocals.


Object details

Categories
Object type
TitleBill Graham Presents (series title)
Materials and techniques
Lithography on index card stock
Brief description
Poster advertising Howling Wolf, Big Brother and the Holding Company and The Harbinger Complex at the Fillmore Auditorium, San Francisco, 3rd, 4th and 5th February 1967.
Physical description
Poster advertising Howling Wolf, Big Brother and the Holding Company and The Harbinger Complex at the Fillmore Auditorium, San Francisco, 3rd, 4th and 5th February 1967. Red and blue pattern and text, with yellow at top and bottom, featuring an illustration of a naked woman in orange, with long, brown, wavy hair.
Dimensions
  • Height: 60.5cm
  • Width: 35.5cm
Style
Copy number
First Edition
Credit line
Given by the Smithsonian Cooper-Hewitt, National Design Museum
Object history
Transferred as part of a collection from the Cooper Hewitt Museum, New York, in 1985.
Subjects depicted
Place depicted
Summary
The Fillmore in San Francisco is a historic music venue, named after its original location at the intersection of Fillmore Street and Geary Boulevard. Known as the Fillmore Auditorium in the mid-1960s, concert promoter Bill Graham began a series of concerts featuring bands from the counterculture of the time. In 1968, due to his spiralling success, he moved to a larger venue which he named Fillmore West. Having closed in 1971, and after extensive repair work to fix earthquake damage, Graham's was revived when Live Nation reopened the original Fillmore venue in 1994.

San Francisco in the mid-1960s was the hub of the LSD and Hippie scene and the cultural and political rebellion of 1967's Summer of Love. The resulting influence of these factors on the artists of the area created the fantastic psychedelic posters of the Fillmore. Art dealer Jacaeber Kastor said of the posters, "They couldn't just tell you the information about the show. They had to tell you what kind of people you might meet, what kind of far out trip you might have or perhaps even reveal the mysteries of the universe. Wow. Quantum mechanics, visual mudwrestling, Acid test pop quiz on a phone pole!"

The artist of this poster, Wes Wilson, was a designer in the San Francisco small press company Contact, creating posters for Bill Graham's Fillmore and rival promoter Chet Helms' Avalon Ballroom. He stopped working for Helms in August 1966, as he received more artistic freedom from Graham. He adapted his lettering style from an Art Nouveau and Expressionism exhibition, expanding the outlines and shapes exaggeratedly, creating intense patterns for the backgrounds. He used vibrant and contrasting colours, which, combined with the patterns, often made the text almost indecipherable. His choice of colours was to reflect the nature of the stimulating light shows that accompanied the concerts.

This gig at the Fillmore Auditorium featured a performance from Howlin' Wolf, an electric blues pioneer with booming voice, and massive influence on many British and American bands of the time. He was supported by Big Brother and the Holding Company, a seminal San Francisco psychedelic rock band, featuring Janis Joplin on vocals.
Bibliographic references
  • Lemke, Gayle The Art of the Fillmore 1966-71, Thunder's Mouth Press, New York, 1999
  • Poster Collecting. Fillmore Poster. 06 August 2010.
Other number
BG 60 - Bill Graham's numbering system
Collection
Accession number
S.792-2010

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Record createdSeptember 24, 2010
Record URL
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