Description: About the Poster Offered is the second printing of this very early work by Rick Griffin. The central image on the Kenneth Anger poster is an engraving by Gustave Dore to illustrate Milton's Paradise Lost The poster was intended to promote a film however filming was stopped shortly after the poster was designed due to a disagreement between Anger and sound composer Robert Beausoleil. Beausoleil was a disciple of Charles Manson and was sentenced to death in 1969 for the murder of Gary Hinman. The image is from French engraver & illustrator Gustave Dore. Kenneth Anger was an innovative experimental filmmaker who worked almost entirely in short films. He is recognized as one of America's first openly gay director and his role in making gay culture visible within American cinema was important. He focused much of his work upon occult themes being fascinated by English occultist Aleister Crowley.Griffin reprinted these with the Berkeley Bonaparte credit.I hesitate to identify any poster as “mint” as someone will surely take a magnifying glass and find a spec; although this one looks as pristine as possible. I can assure you though that it as good as they were on the day of production. This poster measures approximately 14 3/8” x 19 7/8”. Pictures are the best description on the condition of this poster. I have taken many and will provide more upon request. This poster shows a large bird holding onto a person by its beak in the air. In the background of the sky are clouds and the moon. This image is set between columns that are on the right and left side of the poster. There are flowers wrapped around the columns. Printed at the foot of the columns is "666." Printed at the bottom of the poster on the stair steps is "Lucifer Rising / A Love Vision / By Kenneth Anger." Printed at the front bottom left corner is "Distributed By (c) Berkeley Bonaparte 1967, P.O. Box 1250, Berkeley, Calif." Printed at the front bottom right corner is "Rick Griffin." I have researched the internet to determine value and have found virtually nothing within the last few years and absolutely none containing Rick’s signature. Hopefully, someone in the eBay community can assist if you would share any knowledge that you might have. Pictures are the best description on the condition of this poster. I have taken many and will provide more upon request. I have gone through great lengths to insure that my posters have been maintained using only archival materials. I have preserved them on acid free paper mounted by protective corners stored flat in binders. On most of the photos of posters that I will be offering you may notice these corner protectors. Shipping Info : To best insure their safe shipping I will therefore recommend to mail this poster flat. Should you want a cheaper alternative and are willing to accept responsibility, please contact me. I know that many sellers roll the posters into a container which is much cheaper but may lead to slight damage of wrinkling and handling issues which, due to my view of these being not only pieces or art but historical offerings, I hesitate to do. But if you prefer the roll up method, the poster will be sent in a 4" PVC tube via USPS Priority Mail. Domestic Shipping and handling policy: 2 Options available : 1. Shipping, Insurance and Handling fee (plus signature confirmation for items $250 and above) for poster roll up in a 4" PVC tube method via USPS Priority Mail - $36. 2. Shipping, Insurance and Handling fee (plus signature confirmation for items $250 and above) for shipping poster flat between 2 pieces of 1/4" thick tough plywood within the 48 contiguous US via Fedex/UPS Ground/USPS - $75. There will be a surcharge of $15 for shipping flat via Fedex/UPS to Hawaii/Alaska. Additional unframed posters will be free of shipping charge. If you purchase multiple posters, please wait for the invoice reflecting the shipping discount. *We do not accept any other form of payment other than PayPal. I will be offering more Fillmore Posters in the weeks and months to follow. ** Returns are not accepted for this item unless there has been an error in posting. Refunds will be accepted at full refund cost if item sold does not match the description above. Returned item must be in original condition as sent. Reimbursement will be for the cost of the item only. PayPal is the only payment method. Feel free to contact me if you have any questions or need to see additional photos of the item and I will respond to the best of my knowledge. The item(s) are from a smoke-free household. Pictures are of the actual item being auctioned. General Fillmore Information These posters were very cheaply made; especially the earlier ones. Bill Graham never envisioned that they would someday become collector items. They were intended to be posted on walls, telephone poles, etc. to advertise that week’s performing artists only to be torn down, discarded and replaced next week with a new poster for the next show. No one gave thought to such subjects as handling creases, tack holes, etc. There was little attention made to quality of ink and paper. Many times the printer would run out of paper and would simply use whatever they had in stock. Here are Wes Wilson’s details of the story as told to Collector’s Weekly: Normally I had to design and deliver printed posters in a matter of a week, or even days. Within three or four days of getting the billing, I had to have the poster at the shop getting printed. For producers like Chet Helms and Bill Graham, that was usually as quick as they could get these bands scheduled. It was just tough to schedule two or three bands way in advance for some reason. I don’t know why, but that was just the way it was. Once in a while, I remember Bill would be real happy if he had over a week in advance and would perhaps have photos for a poster. That was a big deal. It was a pretty fast-moving business in those early days. As such, maintaining them in ‘pristine’ condition is an on-going challenge. I have gone through great lengths to insure that these posters have been maintained using only archival materials. I have preserved them on acid free paper mounted by protective corners stored flat in binders. On most of the photos of posters that I will be offering you may notice these corner protectors. *Your feedback rating is important for me, so please contact me first if you are unhappy with your purchase. Please give us opportunity to resolve the issue as soon as possible. Rick Griffin Bio Richard Alden Griffin was born near Palos Verdes, California on the 18th of June 1944. His father, James, was an engineer (who had briefly worked as an animator for Disney) and an amateur archaeologist in his spare time. As a boy, Rick accompanied his father on digs in the Southwest, where Rick was exposed to the Native American and ghost town artifacts that were to influence his later work. Rick was taught to surf by Randy Nauert at the age of 14 at Torrance Beach. The pair had met at Alexander Flemming Jr. High and were to become lifelong friends, Rick producing much of the artwork for Randy's future band, the Challengers. At Nathaniel Narbonne High School in the 50's Rick began copying images from Mad Magazine and then developed his own style of surf doodles. Rick's friends would pay him 50¢ for an original piece penned on their shirts. Rick was also interested in Hot Rod cars and motorcycles, their decoration being amongst his earliest professional work. As a contributor to the underground comix movement, his work appeared regularly in Zap Comix. Griffin was closely identified with the Grateful Dead, designing some of their best known posters and record jackets. Randy Nauert introduced Rick to John Severson at a screening of "Surf Fever" at Narbonne High telling John that he should hire Rick for his magazine. Rick had already done artwork for Greg Noll (decorating Noll's early price lists), the Illustrated Surfer's Dictionary, and Bing. Soon he was designing posters for surf movie screenings and advertising spot illustrations for Hermosa Beach’s Greg Noll Surf Shop. Soon after leaving Palos Verdes High School, Rick became staff artist at Surfer Magazine. After high school, Griffin became staff artist at Surfer Magazine, where the comic strip character, Murphy—the little gremlin he had created—became an iconic image integral to the California surf scene. Adopted by many as a mascot, the little Gremlin (thought by some to have been the personification of Rick), soon became integral to the Californian surf scene. Rick parted company with Surfer in 1964. Planning to immigrate to Australia, Rick hitched a lift toward San Francisco. After falling asleep, he awoke to find the car swerving from side to side with the driver laughing maniacally. The vehicle went out of control and Rick later recalled that the last thing he remembered was flying through the air watching his cheap suitcase hitting the ground and splintering into a thousand pieces. The first thing he heard when he finally regained consciousness was someone reading Psalm 23 "Yea, though I walk through the valley of the shadow of death...” This proved to be a major factor in Rick's later conversion to Christianity. Rick's left eye was dislocated in the accident (perhaps the inspiration behind the disembodied eye in his subsequent work), and he sustained lasting facial scarring. Subsequently Rick changed not only his appearance, (he grew a beard and sported an eye-patch), his art also became more sophisticated and the characteristic fluid lettering style emerged. In 1964, while attending Chouinard Art Institute, Griffin met his future wife, Ida Pfefferle, and fell in with a bohemian art gang/jugband group that had recently arrived in Los Angeles from Minnesota, known as the Jook Savages. Griffin played the one-string zither, began to smoke weed, grow his hair, and dress differently. In mid 1965, he shelved the Murphy character indefinitely and began the “Griffin-Stoner Adventures,” in which a more accurate self-caricature—paired with a foil based on Surfer Magazine photographer Ron Stoner—wandered the globe supposedly sending coded dispatches to the magazine from the frontlines of a rapidly evolving surf culture. His time at Chouinard Art Institute, (now Cal Arts), was to shape Rick's future life. Not only did he meet fellow artist and future wife Ida Pfefferle, but in 1964 he became involved with the Jook Savages a group of artist-musicians. After taking time out for a Mexican surf trip, Rick and Ida met up with the group in San Francisco in late 1966, the two living initially in their van. While Griffin was in demand as the illustrator for surf-related commercial enterprises, he was also drawn to the emerging counterculture. He and his friends attended Ken Kesey’s Acid Test in riot-devastated Watts where they drank the Kool-Aid. Ida, who had moved to the Bay Area to give birth to Rick’s daughter, Flaven, started sending Griffin postcard versions of the new posters emerging from the growing Haight-Ashbury ballroom scene. Griffin had come across the year-old “Seed” (AOR-2.2) poster advertising The Charlatans at the Red Dog Saloon in Virginia City, Nevada. Its combination of Old West and circus poster motifs rendered with handmade variations on old typefaces caught Griffin’s attention and led him to the scene at the Red Dog Saloon. Frustrated with Chouinard and Surfer Magazine’s censorship of his Griffin-Stoner strips, Griffin folded up shop and split to spend the summer of 1966 in Mexico surfing. Griffin later reunited with Ida and relocated to San Francisco’s Haight-Ashbury, where the Jook Savages had been offered a group show of their artwork at The Psychedelic Shop. Rick Griffin’s first San Francisco rock poster was for the Jook Savages Art Show at the “New Improved Psychedelic Shop,” and it led directly to an invitation to design a poster for the Human Be-In in 1967 in Golden Gate Park, advertised as the "Gathering Of Tribes", showing a guitar toting Indian on horseback announcing a jamboree integrating the clans of the Berkeley radical stronghold, the lingering North Beach Beat scene, and the blossoming hippie community.. It was this event that kicked off the Summer of Love. As the Haight-Ashbury scene developed, Rick's work was in high demand. More than 20,000 tribe members assembled on the polo field in Golden Gate Park to hear Allen Ginsberg, Gary Snyder, Lenore Kandel, Timothy Leary, and Jerry Rubin, and dance to the music of the Grateful Dead, Quicksilver Messenger Service, Sir Douglas Quintet, Big Brother & The Holding Company, and Jefferson Airplane. The poster so perfectly captured the vibe of the event that it instantly became iconic. Griffin’s work was also featured in the January Human Be-In edition of the S.F Oracle—released to coincide with the event—with a spectacular centerfold illustration for Allen Ginsburg’s “Renaissance or Die.” Chet Helms and Bill Graham both recruited Griffin to work on their promotions. From March of 1967 through November of 1968, Rick Griffin produced more than two dozen posters for the Family Dog and Bill Graham, plus almost as many commissions and projects done for the Berkeley Bonaparte poster company (in which he was a partner) and for out-of-town clients. Griffin’s first official Family Dog poster hit the streets in March 1967. Drawing on influences as diverse as Native American culture, the Californian surf scene and the burgeoning hippie movement, he incorporated beetles, skulls, surfing eyeballs, vivid colors and wild lettering into his art. Rick produced a series of ground-breaking posters for Chet Helms, a producer of The Family Dog collective and Bill Graham who staged events at the Avalon Ballroom and the Fillmore Auditorium respectively. He made posters for legends such as Jimi Hendrix, Albert King and the Grateful Dead, the logo for Rolling Stones magazine, and many album sleeves; perhaps the most well-known being the Grateful Dead's Aoxomoxoa. Along with Alton Kelley, Stanley "Mouse" Miller, Victor Moscoso and Wes Wilson, Rick became known as one of the "Big Five" of psychedelia. In 1967 they founded the Berkeley-Bonaparte distribution agency to produce and sell psychedelic poster art. He oversaw the lithography, ensuring a flow of quality artwork by himself and other leading lights, destined to grace the walls of the enlightened to this day. The famous 'Flying Eyeball' poster ranks as one of the most important of the time and is sought after by fans and modern art museums alike. Although at the vanguard of the psychedelic art movement Rick still produced comic art true to his roots. His work can be found in Zap, Snatch and Tales From The Tube. Early in 1967, Griffin was commissioned to design the logo for a new magazine called Rolling Stone. By July 17, the Big Five (Wilson, Kelley, Mouse, Moscoso, and Griffin) were the subject of the solo “Joint Show” at the uptown Moore Gallery, which generated huge opening-night crowds and massive publicity, including a review in the San Francisco Chronicle. On September 1, Griffin (alongside the Big Five, except Mouse), was featured in a LIFE cover story called “The Great Poster Wave.” As if that were not enough, Griffin was Robert Crumb’s choice to contribute to the second issue of Zap Comix. Griffin and Moscoso had already been toying with the idea of producing a comic book, and Griffin’s famous mutant Morning Paper funny pages poster (FD-89) is said to have inspired Crumb’s Ultra Super Modernistic Comics in Zap #1. Griffin contributed heavily to Zap #2. When Rick moved back to Southern California in 1969 and settled eventually in San Clemente, John Severson asked him to design a poster for his latest film Pacific Vibrations, and to appear in it. Months later Severson was presented with a masterwork. Rick and Ida's daughter Adelia was born whilst Rick was working on the piece and both mother and unborn child are featured in the poster. Rick did more work for Surfer and also found time to create the Man From Utopia comics. In the 70's Rick became a Christian and his work took a radical change of direction. He produced the Illustrated Book of Saint John and later created work for the Calvary Chapel in Costa Mesa. The Chapel was affiliated with Maranatha! Music and hired Rick as art director to produce album covers, posters and flyers for the growing Christian music scene. Rick travelled to Europe in 1976 with his friend and agent Gordon McClelland to exhibit his work in Amsterdam, London, and Sunderland in the north of England. On their return to California McClelland wrote Rick's biography, Rick producing the cover art. In the 1980's Rick's work included a logo and cover art for English rockers The Cult, notably "Soldier Blue", designed in 1987 for an aborted single release and not to see the light of day until it was used as a template for "Rare Cult" thirteen years later. As a perfectionist Rick put 110% into every piece he produced no matter how large or how small, but he was never a businessman and according to daughter Flaven never considered that people would try to rip him off. Murphy's last appearance was in 1987 pouring over druid runes, suggesting perhaps, that the artist was re-evaluating his life once more. At this time Rick was surfing in the cold water at Mystos, north of San Francisco. At noon on 15th August 1991 in Petaluma, California Rick phoned Robert Beerbohm's gallery from a grocery store payphone to hear that a painting had just sold for $1800. On his way back to his house on Stadler Lane he was thrown from his Harley-Davidson Heritage Softail motorcycle when he collided with a van that suddenly turned left as he attempted to pass it. He was not wearing a helmet and sustained major head injuries. He died three days later on August 18 in nearby Santa Rosa Memorial Hospital, at the age of 47. His loss cannot be over-estimated, a true visionary and outstanding talent, he enhanced our lives in so many ways. Rick Griffin's last published work was printed in the San Francisco magazine, The City, shortly before his death; a self-portrait of the man at Heaven's Gate, pen and ink in hand. About the seller I lived in San Francisco from 1973 to 1993; the last several years in an apartment building on the eighth floor where I could literally drop a rock out of my window down to the Fillmore Auditorium. While living in San Francisco, I befriended Ben Friedman owner/operator of the Postermat located at 901 Columbus Ave one block north of the hustling Broadway nightlife and tourist attractions; the largest purveyor of psychedelic rock posters in the world at the time. Following his purchase of all Avalon posters from Chet Helms in 1969, Ben negotiated with Bill Graham to purchase all posters in Bill’s possession for $.50 each. Bill Graham thought that he was crazy asking “What do you plan to do with them” as the concerts were now over? Ben replied "I buy them from you for 50 cents and sell them for a dollar." Ben and I spent hours over two decades talking about Fillmore posters and the artists, many of whom who drop into the store needing money and selling Ben some of their works. I was fortunate to meet many of them including Rick Griffin before his tragic motorcycle accident. Ben allowed me, and to the best of my knowledge only me, to actually sort through his stacks of Fillmore posters affording me the opportunity to purchase the most perfect. On rare occasion, after closing the store and feeding the resident rats (they actually learned Ben’s routine for closing the store and always feeding them before turning out the lights), Ben and I would go upstairs to his apartment; quite the experience. Ben had no lights upstairs with the only night light coming from the nearby nightclubs and restaurants. Ben had LOTS of cats that he fed with paper food plates that were scattered everywhere. Ben would allow me to forage through boxes of unorganized posters looking for oddities and rarities. For certain posters, I had to ‘work’ Ben for months. I remember the rare Avalon FD 20 poster that he had hanging on his store wall for years that I wanted, but he didn’t want to sell it to me. Eventually, with great patience taking well over a year, I was able to obtain it. One day I was at the store working on Ben to get another rare poster that he kept in his upstairs apartment as he also didn’t want to sell this one to anyone. Again, with great patience, on this day he agreed to have his companion Blandina Farley go up to get it. As she was bringing it into the store, the Great Earthquake of 1987 hit; the name of the poster that I was purchasing was the Avalon poster FD 21 EARTHQUAKE featuring Bo Diddley. My fiancé had just arrived from out of country three days prior; it was quite a night. I had made an offer to Ben to purchase about 15-20 posters at one time for $35 each but Blandina intervened and objected to this purchase saying that if he sold many of them at one time that he would quickly run out of these prestigious posters. "He would never let you buy what you wanted to buy," said Paul Grushkin, author of "The Art of Rock: Posters From Presley to Punk." "He would let you buy three or four max. You'd have to stand there for hours wheedling him to pull out what you were looking for. Hundreds of us used to be supplicants to this guy." I was one of those hundreds. I had the good fortune of personally meeting and obtaining signatures of artists Wes Wilson, Stanley Mouse, Alton Kelly, David Singer, Randy Tuten, Rick Griffin, Victor Moscoso and Lee Conklin. Eric King assisted me in obtaining the very hard to get signatures of Bonnie MacLean, ex-wife of Bill Graham, who wanted at the time to separate herself from her ex-husband and the entire Fillmore subject. Eric also helped me to obtain several very rare posters including a mint copy of BG 74. Eric King is the renowned expert on Fillmore posters. I was able to befriend Stanley Mouse to the point where once a year we would have a dinner together. I visited his home and studio in Marin County where I purchased dozens of rare progression posters and other works of art; one of which now hangs over my bed. I was also able to visit Victor Moscoso’s studio where he was working on artwork celebrating the 25th anniversary of Woodstock that he was presenting to Time Magazine. The subject was the iconic bird sitting on the guitar neck; but now the bird was represented as a skeleton. For some reason Time did not select this piece for their cover? I was in the computer business and would trade computer graphic equipment with David Singer for rare posters (many of them non distributed double posters) and signatures. He was quite the soft-spoken gentleman who enjoyed telling me about the progression of his career which now included the exciting new graphic art opportunities with computers. I visited Randy Tuten in his beautiful Victorian home in San Francisco where I was also able to obtain many items and of course signatures. Wes Wilson came to my home and signed well over 60 posters; sharing many stories of how he was chosen by Bill Graham to do virtually all of the early posters as he was the only one that was able to design and print individual posters under the tremendously short time line of a poster a week. They eventually had money disagreements and separated for months. I have dealt with all of the major dealers including Jacaeber Kastor, Dennis King, Eric King, Ben Friedman, Philip Cushway, Paul Getchell, Ed Walker, Debi Jacobson, Larry Marion, Denis Mosgofian (son of Tea Lautrec Litho Printing owner Levon Mosgofian), Robert Beerbohm, unfortunately Bob Metzler, and many others. In what is now 40 plus years of collecting, I have assembled what I believe to be one of the finest collections of Fillmore and Avalon posters and handbills. While Jacaebor Kastor, Eric King and Paul Getchell have a more impressive overall collection of early rock and roll posters, I believe that for completeness, condition, and signatures, my Fillmore collection will compare to any. These posters have been maintained in archival books holding approximately 40 posters per binder. These binders are stored in a custom made solid oak cabinet with cocoa bola trim making them to also be what I believe is the most accessible and viewable collection of these historic pieces anywhere. These posters were all collected by me between 1968 when I graduated from high school until 1993 when I moved from San Francisco. I have not purchased any since that time. This was a hobby of passion, for both rock and roll and the extremely unique and beautiful city of San Francisco where I was privileged to live for 20 years. Therefore, I have very mixed feelings about separating from this collection, but now that I am retired, it seems like a good time to evaluate. For now, I am starting by selling some of the duplicate Fillmore posters which I will add on to monthly. At the same time, I am in the process of photographing each poster from my “complete set” of Fillmore posters documenting all authentic printed versions and re-verifying versions, condition, and signatures. This will take time so I will list below what I have completed now on this set and update this list in the future. I have no real idea what this complete collection is worth so I will have to figure out how to list it when the time comes. I have no intention to break up this complete set. As described, I have taken great pride and effort in caring for and storing this pieces of history and can assure you that I am offering some of the best condition posters available anywhere. Bill Graham and San Francisco’s Fillmore West made significant contributions to the history of Rock and Roll in support of many performing artists including on regular basis; Big Brother and the Holding Company, the Grateful Dead, Jefferson Airplane, Quicksilver Messenger Service and Bill Grahams ‘house band’ of Carlos Santana. And of course these historical posters giving us the Art of Rock!!!. I thank you for your interest in looking at them and hope that should you purchase one that you will appreciate the uniqueness of the subject of the San Francisco Fillmore Rock and Roll experience. Complete Fillmore Poster Set - Book 1 Bill Graham Memorial (Signed by R. Tuten), BG 1 (1st printing, handling marks on edges, no pinholes or creases), BG 1 (2nd printing, single pinhole in each corner, minor color fading), BG 1 (3rd printing in mint condition), BG 2 (1st printing signed by Wes Wilson in pencil in mint condition), BG 2 (2nd printing, has four very tiny pinholes – three of which are so small that they don’t show up on pictures), BG 2 (3rd copy signed by Wes Wilson in pencil in mint condition), BG 3 (1st printing signed by Wes Wilson in pencil in mint condition), BG 3 (2nd printing signed by Wes Wilson in pencil in mint condition), BG 0 (1st printing signed by B. MacLean in pen in mint condition), BG 0 (Variant first printing signed by B. MacLean in pen in mint condition), BG 4 (1st printing signed by Wes Wilson in blue ink in excellent condition; very slight aging of white and one small pinhole in top corners only), BG 4 (2nd printing signed by Wes Wilson in pencil in mint condition), BG 5 (1st printing signed by Wes Wilson in pen in mint condition), BG 5 (2nd printing signed by Wes Wilson in pencil in mint condition), BG 6 (1st printing – strong purple color - signed by Wes Wilson in pencil in mint condition), BG 6 (2nd printing – more reddish color - signed by Wes Wilson in pencil in mint condition), BG 7 (1st printing signed by Wes Wilson in pencil in excellent condition having slight wave on right border and pinholes in each corner), BG 7 (2nd printing signed by Wes Wilson in pencil in mint condition), BG 8 (1st printing signed by Wes Wilson in pen (pencil?) in excellent condition having very slight toning of white border and pinholes in top corners), BG 8 (2nd printing signed by Wes Wilson in pen in mint condition), BG 9 (1st printing signed by Wes Wilson in pen in outstanding condition with one very small pinhole in each corner; very hard to see), BG 9 (2nd printing signed by Wes Wilson in ink in mint condition), BG 10 (1st printing signed by Wes Wilson in pencil in mint condition), BG 10 (2nd printing signed by Wes Wilson in pencil in mint condition), BG 11 (1st printing signed by Wes Wilson in pencil in mint condition), BG 11 (2nd printing signed by Wes Wilson in pen in mint condition), BG 12 (1st printing signed by Wes Wilson in pencil in mint condition with two very small brown spots in lower right corner), BG 12 (2nd printing signed by Wes Wilson in pencil in mint condition), BG 13 (1st printing signed by Wes Wilson in pencil in mint condition), BG 13 (2nd printing signed by Wes Wilson in pencil in mint condition with several very small brown spots in lower left corner and left border), BG 13 (3rd printing signed by Wes Wilson in pen in mint condition), BG 13 (4th printing signed by Wes Wilson in pencil in mint condition), BG 14 (1st printing signed by Wes Wilson in pencil in mint condition), BG 15 (1st printing signed by Wes Wilson in pencil in mint condition), BG 15 (2nd printing signed by Wes Wilson in pencil in mint condition) BG 16 (1st printing signed by Wes Wilson in pencil in mint condition), BG 16 (2nd printing signed by Wes Wilson in pencil in mint condition), BG 17 (1st printing signed by Wes Wilson in pencil in mint condition), BG 17 (2nd printing signed by Wes Wilson in pencil in mint condition), BG 18 (1st printing signed by Wes Wilson in pencil in mint condition), BG 18 (2nd printing signed by Wes Wilson in pen in mint condition), BG 19 (1st printing signed by Wes Wilson in pencil in mint condition).
Price: 1200 USD
Location: Phoenix, Arizona
End Time: 2024-02-11T19:53:10.000Z
Shipping Cost: 28 USD
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