First i want to say that this Poster was printed in the late 60s , early 70s by the San Francisco Poster Co. If you need info on the S. 14 1/2″ x 20″ aprox. (NM) (Near Mint Condition), go to the end of this listing for the facts. (Guts name does not appear in the lower right corner). Gut’s name is in Tom Wolfe’s Electric Cool Aid Acid Test and On The Road by Jack Kerouac. Also a Hell’s Angel. And one of Ken Kesey’s Merry Pranksters. Tattoo Designer, Poster Artist, once owner of a head shop called Joynt Venture. Gut and Blue Cheer are mentioned in Sonny Barger’s book Hell’s Angel. This image is In the Art of rock as AOR 2.248. Promoting Big Brother and the Holding Company with Janis Joplin at California Hal. The concert was in 1967. These posters are extremely rare and very difficult to come by. Especially in this good of condition.. (M-)(Mint Minus Condition)(see grading system below). Not bad after being stored for over 35 years. Some discoloring on the very edges from age. (see all pictures)15 1/4″ x 22″. They gathered 200 car mirrors from used car lots, bought or aquired 1,000 penny whistles, incense, candles and several hundred lillies and printed up hudreds of posters with the word NOW. The mime troup split into two groups that walked up and down Haight on either side of Haight Street, chanting and handing out the posters and the pennywhistles to the crowd. Girls dressed in white sheets like togas gave out flowers and the car mirrors were used to reflect the sun from the sunny side of the street to the shaded side. People quickly moved out into the street, blocking the traffic. A bus driver stopped his bus and got out and danced while, to the sudden anxiety of the crowd, the san Francisco Hells Angels drove down the central white line of the street, flying NOW flags from there sissy bars. Between 3,000 and 4,000 people eventually took up the chant: The streets belong to the people. The police gathered, but didnt know what to do. So they did what they always did and arrested the Hells Angels, Chocolate George and Hairy Pete. All 4,000 peple then marched to the police ststion demanding their release. Pictured in this poster is Hairy Pete (Henry) of the San Francisco Hells Angels and a passenger participating in the movement. The San Francisco Poster Co. In the period between 1965 and 1971 in San Francisco There was an outburst of graphic creativity that is unparalleled in American art. The Bindweed Press was the DBA of a printer named Frank Westlake. Westlake personally printed several dozen of the best-known early San Francisco psychedelic posters including many original printings of the most famous early Family Dog images for concerts at the Avalon Ballroom as well as many posters and handbills for other local San Francisco venues such as Winterland. Among these are the world famous, iconic Skeleton and roses image for the Grateful Dead at the Avalon, Family Dog No. 26, Frankenstein, also for the Dead at the Avalon, family Dog No. 22 and the Zig-Zag man for Big brother and the Holding company at the Avalon, Family Dog No. All of these bear the bottom margin notation The Bindweed Press Considering that the thaught of these as disposable advertising and the paper stock he used was a low-cost vellum, Westlake did a remarkably good job printing these posters. The colors are vibrant, and the minor imperfections were seen as part of the raw energy pulsating through san Francisco in that era. Like most printers Westlake held onto his printing plates after the jobs were completed, and on numerous occasions he reprinted early Family Dog posters at the request of the late Chet Helms who owned the DBA The Family Dog. This was often done with the original printing plates. There is no controversy about any of the above. Posters from the Bindweed Press Unquestionably are original printings, ones printed preconcert with the intention of distributing at least part of the press run to advertise the event, or authorized reprints, ones printed after the concert under the auspices of the concert promotor to sell in retail outlets. This is in contrast to pirate/bootleg posters or forgeries. Because these are done without access to the original artists drawings or the original printing plates, these typically are poorly printed, fuzzy, coarse and poorly colored. Usually they are printed in large quantities. Forgeries are printed in small quantities with the specific intention of fooling serious collectors into paying prices they would for originals. Every attempt is made to match the original in colors and paper stock. Which brings us to the confusing case of The San Francisco Poster Co. Which falls into the noneof the above category. Sometime in the late 1960s or early 1970s Frank Westlake closed TheBindweed press and moved to England. He took with him many of the printing plates for psychedelic posters he had printed. He removed the Bindweed Press credits and replaced them with San Francisco Poster co. These posters fall into two groups, Ones done for the Family Dog and ones done for other venues. The exact status of these posters is difficult to pin down. None were authorized by the artists who created them, the promoters who commissioned them or the acts which appeared on them, but unlike pirates or bootlegs they were printed with the original plates so they are not of poor printing quality. In at least some cases the images were never copyrighted so it is reasonable to ask if any laws or ethical matters enter into the equation at all. The Family Dog images constitute an even more complex dilemma. Here in most cases for reasons best known to himself Westlake chose to print the posters in colors drastically different from the originals. To say the least none of the artists of the family Dog series is any too pleased about this alteration of his work, But they remain interesting, well-printed if bizarrely colored oddities with a collectibility of their own. Further complicating this was a long-running personal dispute between Westlake and Helms. The reason that the Bindweed press stopped printing Family dog posters and handbills is that Helms owed Westlake substantial bills that never were paid. Weatlake felt strongly that under these circumstances he had every right to use his personal property The printing plates in this case remained Westlakes lawful property. Needless to say Helms felt his properly copyrighted material was off-limits for this type of debt collection. This matter was never resolved, but collectors continue to add these posters to their collections. It is over 35 years old and by vertue of its age and increasing rarity it was never common in the U. A and is now fairly difficult to find outside this stash It has attained its own unique cachet. If someone tried to do this now, they would be sued immediatly, but that is now and this was then. The grading system I used is the same one used by and devised by Fred Williams in his Rock Poster Price Guide. M Mint:Untouched, Pristine. VG+ Very Good Plus:Image area is undamaged and poster is whole. Minor fold or tack holes, no major tears. Folds, holes, paper missing but not major. VG- Very Good Minus:Noticable damage extended into image area;such as tears, holes, tape stain, noticable fading, paper missing, but image still intact. GD Good:Noticable damage, holes, tears, missing pieces possibly extended into image area, stains etc. Borderline, unless its a rare item. (S) Signed by artist:Noted when signed by more than one artist. The item “HELLS ANGELS JANIS JOPLIN CONCERT POSTER SF 60S GUT SF MIME TROUPE HAIGHT HIPPIE” is in sale since Saturday, June 24, 2017. This item is in the category “Entertainment Memorabilia\Music Memorabilia\Rock & Pop\Artists R\Rolling Stones\Concert Memorabilia”. The seller is “beetnix2″ and is located in Bradenton, Florida. This item can be shipped worldwide.
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