Donovan was at the height of his popularity from the mid to late-1960's, and Bill Graham acknowledged this draw by abandoning his traditional concert venue for the much large Cow Palace. Bonnie MacLean liked Donovan's music, too, and her portrait-frame poster sweetly announced this one-night-only appearance.
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The 1st printing A poster was printed on plain smooth uncoated stock and displays a medium brown center photo. It bears a yellow mark between the two upper arms of the "E" of "One" and a small yellow area in the bottom curve of the "S" of "Sept". It measures 14" x 21 1/8" and was printed before the concert on 9/11/1967 in a run of 5,000.
The 1st printing B is also on plain uncoated stock. This version has both the yellow mark in the "E" of "One" corrected, as well as the area in the "S" of "Sept". It was printed before the concert in the same print run as the 1st printing A poster, and measures 14" x 21 1/8".
The 2nd printing poster was also printed on plain uncoated stock. The reprint has the yellow area in the bottom curve of the "S" of "Sept" fixed, but still bears the yellow mark in the upper arms of the "E" of "One". It was printed after the concert on 8/19/1968 in a run of 1,500 and measures 14" x 21 9/16".
The 3rd printing poster is identified by its glossy coated stock and noticeably darker colors. It also bears the yellow blob in the arms of the "E" of "One" as seen in the 2nd printing. This post-concert reprint was printed in a run of 1,000 on 12/14/1968, and it measures 14" x 21 1/2"
During the early days of the Fillmore, MacLean was the most "present" member of the staff. She collected tickets, passed out handbills, blew up balloons and counted money for Fillmore productions. Impressed with her lettering skill on the upcoming attractions chalkboards, Bill Graham surprised her with an easel and art supplies for Christmas, 1967, and MacLean's poster artist career was launched. Untrained in graphic arts, MacLean's early style evolved into ornate, Medieval-Gothic designs. Faces in her posters wore trance-like stares, steady and serene, and evoke the detached spirituality of the sixties.