Symphony buffs need not feel left out of the world of vintage music posters. Since 1972, the Santa Fe Chamber Music Festival has been publishing handsome, high-quality posters designed around paintings by Georgia O’Keefe, Dan Namingha, and other southwest artists.

But without a doubt, the most accessible and collected type of vintage concert poster is the 1960s rock poster. In London, Michael English and Nigel Waymouth, working as Hapshash and the Coloured Coat, produced psychedelic updates of Art Nouveau posters for Pink Floyd, Jimi Hendrix, Traffic, and The Who.

In Boston, the owners of a club called Boston Tea Party tended to take a clean, graphic approach to publicize concerts by everyone from local heroes J. Geils Band to New York’s Velvet Underground. Tea Party posters were frequently composed of little more than a block or two of solid color juxtaposed with formal-looking type.

Detroit had the Grande Ballroom, whose resident poster artist was Gary Grimshaw. His posters for locals like MC5 and visitors such as The Fugs tilted more toward the psychedelic style, often incorporating altered photographs into his design.

Meanwhile in Los Angeles, Dahlgren made posters for a club called the Kaleidoscope, whose posters were always circular. Across town, John Van Hamersveld produced beautiful, trippy images for Jimi Hendrix, Jefferson Airplane, and other bands playing L.A.’s Shrine Auditorium.

But the city that’s best known for vintage rock posters is San Francisco. A combination of multiple music venues and lots of talented artists was the catalyst for the vibrant scene. Over at the Avalon Ballroom, Chet Helms hired Wes Wilson, followed by Stanley Mouse and Alton Kelley, to make posters for shows featuring The Blues Project, Captain Beefheart, Big Brother and the Holding Company, and the Grateful Dead.

That first year, 1966, Kelley and Mouse created an image for the Grateful Dead that would visually define the band. Known among collectors as FD026, it was based on an illustration the artists found in a 19th-century copy of the Rubaiyat of Omar Khayyam. Sometimes called Skeleton & Roses, a version of this poster would be used as an album cover for the band in 1971. Today it is one of the most enduring and collectible images in psychedelic rock.

Over at Bill Graham’s Fillmore Auditorium, artist Wes Wilson created posters that helped define the psychedelic lettering style of the day. In 1966, several of Wilson’s posters also featured photographs by Herb Greene. One of the best of these, BG025, revolved around a terrific portrait of a pre-Jefferson Airplane Grace Slick, a smile teasing the corners of her lips as she looks tantalizingly to her right and out of the camera’s range.

With a resume that bridged the Avalon and the Fillmore, Wilson was a respected figure on the local rock-poster scene. Indeed, when the Beatles came to town in August of 1966 to play what would be their last live performance, Wilson was hired to make the poster for that show.

Another influential San Francisco artist was Rick Griffin, whose February 1968 "Flying Eyeball" poster (BG105) for Jimi Hendrix, John Mayall, and Albert King is an icon of the art form.

Victor Moscoso rounds out the so-called Big Five (Wilson, Kelley, Mouse, and Griffin being the other four). Moscoso produced numerous posters for the Avalon and a smaller club called the Matrix. For Moscoso fans, the Holy Grail is to collect all 27 posters in the artist’s hyper-vivid Neon Rose series.

Other San Francisco poster artists of note include Lee Conklin, whose black-and-white drawing of a lion for a show at the Fillmore West became a celebrated album cover for Carlos Santana. Another important Fillmore alum is David Singer, who created 67 Fillmore posters, including the venue’s final one to mark its historic closing week.

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