The peacock shows up in Bonnie MacLean's artwork as a Yardbird reference in this dual offering poster: the Yardbirds performed three days, the Doors performed three days, and all six shows featured the James Cotton Blues Band and Richie Havens. The serene visage of this maiden was a clear reference to the detached spirituality of the era.
The 1st printing poster pre-dates the concert and is on uncoated matte index. The printer's credit "Neal, Stratford + Kerr" is displayed in the lower right corner, and this original poster measures 14" x 21 3/8".
The post-concert 2nd printing is on the same matte stock as the original printing, but this reprint omits the "Neal, Stratford + Kerr" printer notation. There is a noticeable diagonal blue scratch in the white peacock feather that was not present in the 1st printing. It measures 14" x 21 1/4".
The 3rd printing is differentiated by its smooth, glossy stock. It does not bear the printer's credit and does show the blue scratch in the peacock feather like the 2nd printing. It was printed on 12/14/1968 in a run of 1,000 and measures 13 7/8" x 21 1/8".
The 4th printing is on smooth opaque cover stock and has a Wolfgang's Vault notation in the lower right hand margin. It was printed in 2006 by the Bill Graham Archives LLC in a 1000 copy run. This reprint measures 14 1/4" x 21 11/16".
The 5th printing is on glossy cover stock and also bears a Wolfgang's Vault notation in the lower right hand margin. It was printed in 2006 by the Bill Graham Archives LLC in a 1000 copy run, and is larger than the other printings, measuring 21 3/8" x 32 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.