Glen Trosch has been widely lauded for his active role in tirelessly supporting the need for transparency in the vintage rock concert poster market. He is widely credited with breakthrough educational programs that provide collectors with unprecedented information on the topics of grading, storage, and establishing a two-way market for these vintage posters.Read More
I decided to learn everything I possibly could from the most successful and ethical investor in the world, Mr. Warren Buffett. I realized I was no financial genius, but I was highly confident that most of Mr. Buffett's rules for success in the stock market could be readily applied to my area of expertise: the buying and selling of rare collectibles.
Over the past 35 years, I have purchased rare coins for $100,000 that are now worth $2,000,000, bought unique stamps for $25,000 that are now worth $250,000 and even paid (twice) to have lunch with Warren Buffett.
I firmly believe there's absolutely no reason to re-invent the wheel when it comes to success. It's far easier to learn the lessons from legendary businessmen that have already graduated from "The School of Hard Knocks." You can save a lot of time and heartache that way.
I have read every book and magazine article I could find on Warren Buffett. I have read every one of Mr. Buffett's Berkshire Hathaway annual reports, and I've faithfully attended his yearly meetings in Omaha, Nebraska for the past 15 years.
In 2000 and 2001 I even went as far as paying $20,000 to have lunch with Mr. Buffett (when I have a goal, I go after it!), so I could personally have him answer all of my last remaining questions on his rules for success. Of course, people thought I was crazy at the time (you paid $20,000 for lunch???), but this was unquestionably the smartest money I've ever spent.
And now that lunch with Mr. Buffett goes for over $4.5 million (no, that is not a typo) — an appreciation of over 225 times my cost – I can also argue that this was the best investment I've ever made!
Advice worth its weight in gold!
Here's what Mr. Buffett told me, and how my clients and I are following his advice to maximize the most significant collectibles opportunity I have ever seen:
1. Buy quality.
Quality is remembered and appreciated long after the price is forgotten.
Follow this golden rule! It's critical to understand that sophisticated collectors always want the very best. For these savvy folks, price is secondary, and quality comes first. Museum-quality will always be highly sought after and become increasingly desirable while run-of-the-mill variety will never rise above dull and unexciting.
2. Buy for the long term.
…with the idea of holding forever.
Rare collectibles are scarce and all but impossible to find. It takes a tremendous amount of time and energy to track down top tier material. You must realize that what you sell today could very well be impossible to replace at any price tomorrow. When you buy the best, it just keeps getting better. So think long term, every successful collector I have ever heard about or worked with has embraced this strategy.
3. Patience is critical.
Wait for the perfect pitch, right down the middle of the plate.
This one's going to be tough for you to follow because it involves fighting human nature. The posters we recommend are tough to find, and our client's demand far exceeds what small supply we can locate.
I urge you to resist the temptation to rush out and acquire items that are inferior in quality and desirability. It's easy to place funds in second-tier material because these items are always readily available. Don't do it; you'd be shooting yourself in the foot.
4. When the opportunity presents itself, act quickly and swing for the fences.
I have done everything in my power to illustrate for you why 1960s psychedelic rock concert posters represent one of the most compelling opportunities of all time. But it's not enough to identify an opportunity. It's more important, far more critical, to decisively act on rare opportunities and exploit them to their fullest potential.
The most important call of my entire career
Whatever success I've achieved can be directly attributed to staying focused, with laser-like intensity and discipline, on what I've proven to be one of the best in the world seeking out and discovering the "next big thing in collectibles"!
1960s psychedelic rock concert posters are ultra-rare, historically significant, museum-quality works of art that can be beautifully displayed and are trading for just a tiny fraction of what they should be.
Each week more collectors recognize these poster's unique appeal, each month the appreciation of their rarity in mint condition escalates exponentially, and each year a more significant portion of the small available supply is placed into long term collections, never to appear in the marketplace again.
1. Vintage rock concert posters are dirt cheap and severely undervalued compared to other collectibles.
Right now, you can buy incredibly rare, drop-dead gorgeous works of art in museum-quality, mint condition for under $1,000! You can even purchase most of the very rarest and most famous works of art for well under $10,000!
When you realize that the most desirable rare coins, stamps, and baseball cards start at $100,000 and quickly escalate into the millions, it's easy to understand why my clients and I are putting to work every spare dollar we possibly can at these rock bottom, bargain-basement price levels.
2. Vintage rock concert posters were produced in incredibly small quantities!
All of the works that we're focused on acquiring were originally issued in numbers of 100 to 2500 pieces. In comparison, coins, comics, stamps, baseball cards, and most other collectibles were routinely issued in a range from tens of thousands to hundreds of millions. This is why the world's most savvy collectors are now aggressively snapping up every piece they can track down.
3. Vintage rock concert posters in mint condition are incredibly rare!
Please understand that these works of art were initially produced as advertisements for live events. They were posted on telephone poles, bus stops, bulletin boards, store windows and other places all over town. After the event, they served no purpose, so they were quickly torn down and replaced with a new poster advertising the next big concert.
The only ones interested in this groundbreaking art were teenagers passionate about the bands and music, or hippies that were attracted to the poster's cosmic visual appeal.
Since these free spirits were the only ones collecting at the time, very little (if any) attention was paid to the state of preservation. Any knowledgeable collector will tell you that this is the primary factor in determining the value of any collectible! Very few of these works of art were carefully saved, and it is indeed a miracle that any have survived in mint condition today.
4. Vintage rock concert posters possess tremendous historical importance!
There is a near-unanimous consensus among historians that the 1960s represented the most significant social movement of the 20th century.
Perhaps Jann Wenner, world-famous journalist and Founder of Rolling Stone Magazine recently put it best:
"The culture wars that began in the sixties, about drugs, about military incursions into foreign countries, about sex and human rights, the environment and on and on, are still being fought. All the issues are correct, and they are rooted in the activism of the sixties. The values have not only survived in many ways they are the mainstream values of our times."
These fantastic works of art are, without a doubt, the most authentic historical artifacts of this historical era. Unlike any other collectible or art in the world, they most closely represent and embody the ideals and values that helped shape our nation — then and now. For this reason alone, the appreciation and importance of these unique works of art are guaranteed to grow with each passing year.
5. Vintage rock concert posters are incredibly beautiful!
These works of art must be seen to be believed. Photographs and books simply cannot do them justice. The bold colors, cosmic lettering, and sexy imagery were all designed to stop a viewer in their tracks. Its goal to artistically convey the message that something truly special was going to be experienced at the event being advertised. Indeed, most people today agree that coming into contact with one of these posters is an event unto its self!
The famous concert promoter, the late Bill Graham, had this to say:
"These posters are so much more than historical documents or promotional tools; they are art, as the music itself is art, and in many cases, they are very fine high art."
6. Vintage rock concert posters enjoy a broad base of demand and popularity!
While most collectibles are sought after by small niches of specialized, esoteric enthusiasts, these historical works of art are now becoming sought after by many millions of people around the world! Consider the following:
These rare artworks are sought after by fans of the music. There are literally millions (or tens of millions) of fans that enjoy the music of Bob Dylan, Eric Clapton, Janis Joplin, Jimi Hendrix, The Doors, The Grateful Dead and the dozens of other musical superstars of the Sixties that are featured on these works of art. These fans jump at the opportunity to acquire original, 1960s Mint Condition posters of their favorite artists when they discover that this opportunity actually exists.
These rare artworks are highly sought after by art lovers as treasured keepsakes and conversation pieces for their homes. There are millions of people who actively seek out and acquire unusual and important art purely for its aesthetic appeal, irrespective of its topic. For example, artwork by Alphonso Mucha, Henri De Toulouse Lautrec and other star artists of the Belle Epoque are highly coveted today for their beautiful and historical importance not for the soda pop or shampoo that their posters originally advertised.
These rare artworks are sought after by collectors of Americana. There are literally millions of collectors of Americana, the collecting of historically important items in American history. And Psychedelic Art is the living, breathing record of a historical era. No other art or collectible more closely embraces or conveys the ideals and values of the 1960s critical time of social growth in the 20th century.
7. Vintage rock concert posters can be beautifully displayed.
This is one of the critical factors why I believe the future demand and desirability of these rare works have literally unlimited upside potential.
See, it's straightforward to understand why the world's most exquisite paintings are worth $50,000,000 – $100,000,000 while the rarest coins, stamps, and baseball cards are worth $1,000,000 to $2,000,000.
Collectors are willing to pay a considerable premium for the prestige that comes with being able to display their rare acquisitions right on their walls!
Art collectors garner constant praise from their family, friends, and associates who are also lucky enough to view their rarities. Collections of other material are all but impossible to display and mainly remain far from view, securely locked up in bank safe deposit boxes.
Psychedelic art looks wonderful when displayed in even the most elegant mansion, particularly in billiards and game rooms, home theaters, pool houses, and other fun places in the home.
8. Vintage rock concert posters appeal to an unprecedented demographic!
It can easily be argued that these works hold the most significant appeal to the most wealthy and lucrative segment of our society, the baby boomers. The teenagers of the sixties are now our nations hedge fund managers and CEO's and represent the wealthiest class of individuals in the history of our nation.
The same folks that think nothing of $80,000 BMWs and $2,000,000 vacation homes are now looking to acquire genuine remembrances and historical artifacts of their youth. These rare works of art are ridiculously cheap to this class of people, and they have the surplus of funds ready to be deployed when presented with the unique opportunity.
9. Vintage rock concert posters are now becoming widely accepted and displayed by major museums.
Over the past several years, vintage rock concert posters have enjoyed major, highly successful exhibitions in many of our nation's most prestigious museums including the New York Museum of Modern Art, The San Francisco Museum of Modern Art, The Whitney Museum of American Art, The Laguna Art Museum, The San Diego Museum of Art, and the Smithsonian Institution.
Experienced collectors know that when the art establishment finally declares a category class of art to be historically significant and worthy enough to be displayed in their sacred spaces, it is a loud and clear "buy signal" to jump aboard.
These exhibitions have been —and will continue to be—instrumental in broadening the awareness and appeal of vintage concert posters as millions of new people are exposed to their unique beauty, rarity, and historical importance.
10. Vintage rock concert posters are a stable and secure store of value that provides a hedge against inflation and today's horrendously volatile financial markets.
After 25 years of paper asset inflation, savvy individuals are now desperately trying to place a portion of their funds into stable and secure tangible assets that are free from the volatility and inflation that is so prevalent in today's financial markets.
1960s psychedelic rock concert posters perfectly meet these criteria. The value of this art does not fluctuate wildly day by day (or hour by hour)! The appreciation and demand for these rarities increase with each passing day while the tiny available continues to dwindle!
11. Vintage rock concert posters in mint condition are vastly undervalued and under-appreciated compared to the prices of similar pieces in used condition!
It can be strongly argued that this fact alone is enough for psychedelic art to earn the title of "Most Undervalued Collectible in the World Today."
Let's take the average poster that was printed in an edition of 1000 pieces. Of those, probably 10-20% (100-200) exist in any condition today. Of these 100-200 surviving pieces, it's safe to say that no more than 5-10% (5-20) have somehow miraculously survived in mint condition. This tiny handful of posters, if they can be found and purchased at today's ridiculously low prices, represent the very best value in the collectibles market today!
Take a look at the chart below. You'll see that in coins, stamps, baseball cards, and comics, it's common for mint condition collectibles to trade at 20 - 60 times the average. This price differential simply represents the difference in rarity between mint condition and used examples.
You can currently acquire mint condition specimens for a tiny fraction of what they should be and what collectors believe they will eventually be. This allows savvy collectors to buy the very best for a fraction more, all the while enjoying a collection that should skyrocket in desirability as the rarity of mint condition items becomes understood.
12. Vintage rock concert posters are now 50 years old! Just as most equities investors steer clear of penny stocks and new issues, the same rule applies to collectibles.
While concert posters have been highly sought after and actively collected since they were initially issued, the majority of collectors prefer to wait for an area to become seasoned. Most collectors want to see a category demonstrate a proven track record of desirability before they become motivated to begin their own acquisition of an item. Indeed, the very definition of an antique is a collectible having a high value due to its considerable age.
These rare works, issued from 1965-1969, are now 50 years old, making them far more desirable to collectors than they were in the seventies, eighties, and nineties. These posters, from an age standpoint, are just now coming into their own, making this the very definition of a true ground floor opportunity.
A guide to British concert posters and British psychedelic posters by Nick Etheridge
Hapsash posters and Osiris Visions posters - a word of caution about reprints.
The OA and Hapshash posters have been widely copied and unless you are well acquainted with the originals and the many fakes on the marketplace, get some good advice before parting with any money. To paraphrase Brad Rogers, a pioneer in identifying the OA bootlegs –”if you don’t know where it’s been for 50 years or you’re not an expert assume it’s a fake.”
Most fakes seen on the market come from the same original source in the UK and printed up in 80’s or 90’s along with various permutations of story about originating from a newly discovered ‘stash’ usually in an attic of a relative of the printers.
These still appear regularly on eBay and smaller auction houses. The reproductions have recently been ‘rebranded’ and often labelled as ‘later ‘or 2nd printings from the 1970’s so being offering at a more affordable lower price, but they are in fact nice decorative items only. So, seek either provenance, expert advice or a respected dealer.
None of the bootlegs are true screen prints and look and feel new and generally 20 x 30 in. There is no standard ‘one size fits all’ and all for authentic OA issues and sizes vary slightly across the series and print runs.
Nearly all surviving Original Hapshash or OA posters are damaged or used in some way. They almost never survive in faultless mint condition. A poster with aging and damp/water stains on the reverse, pin holes, tape residue and handling are commonplace. This can all be positive factors establishing age and originality as most of these posters have ‘lived a life’. So, don’t let that put you off.
Be very wary of white clean new looking paper with no imperfections in near perfect condition. Be cautious of bargain prices as rare originals seldom come at knock down prices. I have also seen fakes that are deliberately distressed and damaged to appear old, so be looking out for this trick too.
The list of these current well-known Hapsash and Osiris Visions Bootleg posters are as follows-
Pre OA-PinkFloyd/Soft machine at UFO Poster by Michael English (double size 40 x30 inches)
OA 102 Tomorrow My White Bicycle Poster - BOTH white and cream paper versions
OA109 The Move at the Marquee Poster
OA 114 CIA v UFO Pink Floyd Poster-there is also an early 1970’s POST OA non-screen print reproduction that comes up for sale often as an original 1st print.
OA 118 5th Dimension Leicester Poster
OA 123 The Who I can see for Miles Poster
OA 124 Richard Bernstein Gallery Poster
OA 134 Julie Felix At the Albert Hall Poster
The following posters were originally offset litho- All theOAS and OA 500 series were also offset
OAS 4 The Who at the Saville Theatre Poster
OA501 Arthur Brown Track Promo Poster
OA 502 Jimi Hendrix Track Promo Poster
Yarrowstalk licenced Osiris Visions reprint posters
There is also a group of licenced Osiris Visions reproduction posters known as the Yarrowstalk edition printed by Brian Zahn of the US Yarrowstalk counterculture magazine. These posters were screen printed in the later part of 1967 in Philadelphia, Pennsylvania and are the earliest known licensed reprints.
The posters can be distinguished by the lack of OA printing Credit and some copies appear slightly misprinted. Unfortunately, there is no printers mark, but some helpfully do have an elaborate Yarrowstalk stamp and/or Brian Zahn’s signature on the verso. However, it is impossible to determine 100% exactly when they were printed, reprinted or in what numbers.
Mint condition copies still emerge for sale on the market and from the Zahn estate who seem to still have copies for sale. The known Yarrowstalk prints are -
OA 103 Hendrix at the Fillmore Poster
OA104 UFO Coming Poster
OA 114 CIA v UFO Poster
OA 116 Save Earth Now Poster
Although not OA originals or produced in London they are historically relevant as the earliest reprints licenced from Hapshash so they have value, and are not recent bootlegs. They can make an affordable substitute for the more expensive and harder to find original Osiris Visions posters
Verso of Hendrix at the Fillmore OA 103 Yarrowstalk edition
One of the great joys of collecting is also that of occasional rediscovery and recently several unknown original Hapshash works have come to light. They have no OA number and not works printed for Osiris Visions, but they have been acknowledged as original pieces by Nigel Waymouth. Hopefully there is still more to be discovered!
Hapshash and the Coloured Coat at the Paradiso 25 April 1968 / Thursday? Good!
This poster reuses the 1966 pre Hapshash English /Waymouth poster Friday? Good! With a reimagined and irreverent 1960’s Last supper with colourful new characters and uses it as a gig poster for the bands appearance at the famous Paradiso Club in Amsterdam.
Hapshash expanded it interest into creating experimental music recording two albums and naturally creating the artwork and promotional material. As a studio work it seems to succeed with a cast of quality musicians supporting the artists who didn’t play on the albums but as a live act it became shambolic and acrimonious.
The few gigs were apparently improvised, chaotic and only a few more occurred back in the UK. This Holland trip was the only time both English and Waymouth performed together live and Waymouth describes these gigs as the end of their artistic partnership. This is the only known copy which came to light in 2017.
Score it at the Head Shop
These small promo posters in green on pink paper were given away to customers at the Kensington Park Road Head Shop London. The stoned hippie head surrounded by hashish (?) smoke and shooting stars is typical Hapshash. There are currently two known copies of this recently discovered poster. The wavy ‘Score it at the Headshop’text is similar in style to the text on the Hapshash 14hr Technicolor Dream flyer design of April 67 so possibly from the same early Hapshash period.
This guide was written by Nick Etheridge. Nick welcomes any comments or additional information you may have. can be reached at firstname.lastname@example.org
References and Notes Hapsash and Osiris Visions posters
Whocollection.com. A very useful Osiris poster resource by respected collector Brad Rogers with information and images about the series and his pioneering research on the fake OA posters. http://www.whocollection.com/hapshash_&_osiris_posters.htm.
V&A Museum London – A great resource of many original and rare OA posters in the permanent collection including the International Times file copies and Michael English’s own collection that and can be viewed online. https://collections.vam.ac.uk/.
Information about the infamous UK Hapshash and poster faker Nigel Mentzel- https://mentzelposters.blogspot.com/;This is a comprehensive blog by Australian academic and passionate Martin Sharp and 60’s art blogger Michael Organ.
Bibliography - Hapsash and Osiris Visions posters
Useful texts and background for the UK underground scene.
High Art by Ted Owen
Days in The Life, Voices from the English Underground 1961-71 by Jonathon Green
In the 60’s by Barry Miles
My White Bicycle: Making Music in the 1960’s by Joe Boyd
3D Eye by Michael English
The Art of British Rock 50 years of Rock Posters, Flyers and Handbills by Mike Evans
I want To Take You Higher- The Psychedelic Scene 1965-69
Underground Graphics by Graham Keen
A Guide to British concert posters and British psychedelic posters by Nick Etheridge
OAS 5 Osiris Visions Ltd Poster
The OAS 5 is a little known promo poster that boldly displays the new address and phone number of Osiris Visions after its move to new premises around November or early December 67. Although not a graphic masterpiece, it provides a direct insight into the dazzling selection posters available at the end of 1967 All but three of the designs are from Hapshash and only two non silkscreen.
Very few of the 1967 OA posters were reprinted in 1968 with the notable exception of the popular OA 103 Hendrix at the Fillmore and OA 301 Luv Me.
OA 116 Save Earth Now Poster
This is a stunning example of a very early 1960’s environmental poster showing the growing awareness and interest in ecology and protecting our world. The poster shows aspects of the earth from the sky, sea, jungles and mountains with various animals along the different races and religions of the world living in harmony.Note the subtle background colour split from bright yellow to green under the gold ink pass.
OA 123 I Can See for Miles Poster The Track record promo for The Who is a masterclass of rainbow printing. There are three individual split applications of ink to create this poster and must have been incredibly time consuming to print. There is a red to yellow gradient backgroung, metalic silver to gold gradiant and a final dark blue to light blue.The effect is beautiful, seamless and easy to miss.
Finding an absolute original of this poster can be very challenging due to the high quality bootleg that has been in circulation for some years and originates from a well known UK bootlegger.
The copy is very well printed and sometimes still passing for the original as it appears to have layered inks although it is not a true silk screen poster. These posters still come up for sale on Ebay and more recently sold on as modestly priced 1970’s reprints now they are generally recognised as reprints. So expert help is needed if offered one of these posters as this fake has fooled collectors and dealer alike.
Part 3 of this Guide on Hapsash concert posters and Osiris Visions posters will be published soon.
A guide to British concert posters & British psychedelic posters by Nick Etheridge
A lot has been said and continues to be said about classic US psychedelic posters. There has been commentary, cataloguing, revision and revelation as material emerges from deep collections and prices and excitement continues to rise.
By contrast, UK psychedelic posters, are mostly uncatalogued and with limited classification making it a potential Wild West for fakery, fraud and uncertainty for the uninitiated.
However, some of the posters that emerged from the London scene are among the most creative, beautiful and desirable anywhere and highly coveted by astute collectors. Today there is enormous demand from collectors and museums worldwide for the few extant copies who recognise the historical importance, stunning artwork and legendry performers and artists who thrived and exploded out of the vibrant London scene of the late 60’s.
Hapshash and the Coloured Coat Posters
The greatest and most cohesive body of psychedelic art from the UK are the almost mythical posters created by Hapshash & The Coloured Coat. The artists Michael English and Nigel Waymouth were initially put together to create artwork for the famous London psychedelic nightclub the UFO on Tottenham Court Road, London and from that wellspring emerged a small but astonishing series of concert posters, record promos, head and fashion shop posters and numerous smaller graphics works like the fold out cover posters for OZ magazine. They eventually recorded an LP culminating in a few live gigs that pre-empted their parting of ways mid-1968. Their legacy of perhaps 30 posters of fantastic quality, ground-breaking printing and rich imagination defines the UK psychedelic era and set new standards for what and how posters could be printed.
It is worth noting that due to scarcity, desirability and limited information all authentic Hapshash posters printed in 1967-68 are considered as 1st pressing originals. Although some popular posters were reprinted during this time such is the desirability and scarcity of the 1960’s originals that these hand produced works are considered equally collectable, a situation quite unique in the rock poster collecting world.
OA 114 CIA v UFO Pink Floyd at UFO Poster
OA114 is one of the most beloved of all Hapshash UFO and Pink Floyd posters. This was for what turned out to be the last night of the original UFO club before pressure from the mainstream press persuaded the police to act and close it down. The poster is a tour de force of cosmic symbols, flying saucers and beautiful printing. This is one of the most bootlegged of all the OA posters and Nigel Waymouth’s personal favourite.
Position 70 OZ 4 poster.In May 67 Hapshash produced the first of two beautiful wraparound covers that unfolded into posters for issue 4 and later 13 of the ground-breaking OZ magazine. The iconic image was reproduced minus the magazine price by Big O as a commercial poster and was still available into the early 70’s. Despite its popularity few have survived. The image shows the unfolded poster.
Osiris Visions Ltd. and the poster printing process
The majority of the Hapshash output are part of a wider catalogue of posters printed and distributed by Osiris Visions Ltd. This business was set up by Joe Boyd who ran the UFO club and Barry Miles the proprietor of Indica Books and the International Times the leading UK counterculture newspaper.
Once Osiris Visions was established all posters were allocated an ‘OA’ or Osiris Agency catalogue number which was printed onto the posters as part of the printing credit and copyright details which can be seen on all the original OA Hapshash posters apart from a few non-OA productions and early pre-OA printings.
This OA printing credit can be key to deciphering and understanding when, and sometimes where, the poster was printed. The printing credit below is from the last original printing of OA 103 Hendrix at the Fillmore. The Charlotte St. address identifies it as the last of the official printing of this poster dating it between Dec 67 or the early 1968 and the type font indicates it was printed by TSR.
Artists who worked on the OA series were the very best of the scene including Mike McInnerney, Martin Sharp, Adrian George and Greg Irons from the US as well as various images supplied by photographers like Des Dale.
The OA series allocations can appear haphazard with numbers missed, posters reallocated to different numbers as well as numerous and seemingly pointless additional series with only a few posters in it. But at least it is an inventory of sorts even if initially confusing and incomplete.
A key feature of Hapshash posters is they were beautifully hand screen printed with liberal use of bright dayglo and rich metallic inks giving them a distinctive texture, colour intensity and depth. They revived, improvised and improved split colour ‘rainbow printing’ mixing different colours seamlessly to dramatic affect. Despite the process being labour intensive it might be used multiple times on a single poster. OA 123 I Can See for Milespromo Track Records for The Who has three passes of ink and all are split and graduate seamlessly to different colours!
Unfortunately, these printing methods are time consuming and very costly so only small numbers could be produced (100’s not 1000’s) and the fact the best posters were silkscreen meant Osiris Visions made little if any money from them.
The printing process also prohibited any large-scale production as the individual colour screens used to pass the ink through would quickly wear out from the abrasion of forcing ink over and through them by hand with a squeegee. Additional runs would need new sets of screens crafted from templates prepared by the artists and increasing the run size did not reduce costs.
The handmade screens would never be identical one printing to the next or from one print shop to another. The incredibly popular Hendrix at the Fillmore OA103 was printed no less than five times at three different locations each with distinct layering of overlapping inks. A small point perhaps but the district differences are very useful now to help determine authenticity and chronology of printings. Despite the multiple printings it is still rare as an original due to the modest numbers printed.
About half the concert posters were fly posted often in dazzling large groups and the others sold on but Osiris Visions ran at a loss due to the high production costs required to produce them. Joe Boyd finally closed Osiris Visions mid 1968 as the poster business declined and the Hapshash partnership dissolved.
UFO Mk 2 OA202 poster
This was the first stunning work from the Hapshash collaboration in March 67 and is considered a Pop Art masterpiece. It’s an impressive 30 x 40 inches and expensive to produce so probably printed in very low numbers. It is a flowing pink/orange peppermint swirl spelling UFO floating over a gold background. They were posted around the streets of drab London in large groups and must have looked mesmerizing. This advertised six weeks of shows at the UFO Club that included Pink Floyd, Soft machine and Arthur Brown. It is sometimes referred to as the’ toothpaste poster’ and as an original incredibly rare.
The artwork from Hapshash is distinctive for their use of styles and images from Pop Art to Art Nouveau (both original and plagiarized), mystical symbols and mythical animals, ground-breaking and playful use of split colour printing. Within many of the highly detailed and layered artworks will be found small whimsical details, cartoon characters, unnoticed cryptic messages and astrological signs that all add to the mystique of the posters.
The desire for a cohesive vision in the poster was paramount to the artists and perhaps at times more so than what was being advertised. Information was often minimized to the periphery or integrated directly into the graphics raising them to more ‘objet d’art’ rather than a throwaway promotional device.
OA 130 poster Mystical Pantomimes Incredible String Band March Tour 1968.
Full of sexual and colourful symbolism. Fantastic multiple split colour passes of ink from gold to yellow and red and a dark to light blue over the top. The tour name only appears in an obscure thought bubble and tour dates modestly displayed (or obscured) in the bottom border over rows of red dots. The band’s name appears in the clouds alongside other small characters over a sea of geometric dots that cover the lower portion of the poster. This poster also has the circular Hapshash logo used on design work in 1968.
Screen or Offset ? OAS Poster Series
Most Hapshash posters are screen printed but this is not always the case. Joe Boyd of Osiris Visions requested that Hapshash use the cheaper offset litho process to reduce costs but they prefered the silkscreen process due to the fantastic results. However a few are litho printed, including the OAS series.
The OAS series begins with the four beautiful Sunday at the Saville OAS 1-4 for concerts in September and October 67 which are offset but commonly described or sold as silkscreened. They do have the look of a silkscreened poster but they are all offset on uncoated stock that also gives them a matt silkscreened look.OAS 4 has been bootlegged so caution is required as many copies circulating are reprints.
Despite being limited to offset printing for this series Hapshash still had fun experimenting and there are two rarer variants, OAS 3 Traffic that uses pink and blue rather than black and an OAS 4 The Who that is a darker orange/brown rather than bright orange.
Its not well known that there are six, not four, posters in the OAS series that includeOAS 5 Osiris Visions Promo ( see below) and OAS 6 The Who Sells Out by Adrian George that came machine folded into the first 1000 issues (500 mono 500 stereo) of the Album released 15 December 1967. The album with small ‘psychedelic poster inside’ sticker and original folded poster today now command a high price.
OAS 3 Sunday at the Saville The Pink Floyd/ Jimi Hendrix Poster
Comonly thought of as a screenprint this litho poster in matt almost grey silver lists a stunning selection of key performers of the UK underground in October 67. Joe Boyd who ran Osiris Visions also managed many of the bands here and also produced Pink Floyds first single. Although performing on separate nights very few concert posters are able to boast both Jimi Hendrix and The Pink Floyd with Syd Barrett on the billing.
This poster and other OA’s were oficially reproduced by the San Fransisco Arts lab in the 1990’s under the supervision of the English and Waymouth with early numbers being hand signed by the artists. This series of reprints uses very bright and shiny metalic inks giving a spectacular but different feel than the originals.
About the Author - Nick Etheridge is a dedicated collector based in the UK and passionate about psychedelic posters from Hapshash to Hawkwind.
In recent years he has become fascinated by the influential groundbreaking posters from Osiris Visions and Hapshash issued for a short period in the heyday of the 60’s scene in London.
Nick is dedicated in his research clarifying the posters, identifying print runs and increasing our knowledge along with helping avoid the fakes that have flooded the market.
Nick welcomes any additional information you wish to contribute on this subject, and is available to answer any questions you may have. He can be reached at Nicketheridge1@hotmail.com
Stay tuned for part 2 which will be published soon!
References and Notes Hapsash and Osiris Visions posters
Whocollection.com. A very useful Osiris poster resource by respected collector Brad Rogers with information and images about the series and excellent research on the fake OA posters.
V&A Museum London – vam.ac.uk; there are many original and rare OA posters in their permanent collection and can be viewed online.
Hapsash and Osiris Visions Poster Bibliography
Useful texts and background for Hapsash and Osiris Visions posters and the UK underground scene.
High Art by Ted Owen
Days in The Life, Voices from the English Underground 1961-71 by Robert Green
In the 60’s by Barry Miles
My White Bicycle: Making Music in the 1960’s by Joe Boyd
3D Eye by Michael English
The Art of British Rock 50 years of Rock Posters, Flyers and Handbills by Mike Evans
Legendary concert hall produced historic moments and highly sought after concert posters
What collectors have long known is now officially recognized….the Grande Ballroom was one of the most important concert venues of the 1960’s! The legendary music venue was recently added to the National Register of Historic Places.
The Grande, located in Detroit Michigan, represented one of the largest and most vibrant outpost of the Psychedelic Scene outside San Francisco. Musical icons such as Pink Floyd, The Who, Led Zeppelin, Cream, Traffic and many others appeared on the Grande stage.
These shows were promoted through the creation of mind boggling concert posters that created by well known artists Carl Lundgren and Gary Grimshaw. Their output is universally recognized for being of World Class quality, in the same league as the poster created by “The Big Five” out west.
What’s most exciting to collectors is that these posters were created in extremely limited quantities of 500-1000 per issue. Equally important, Detroit did not have the huge legion of poster collectors that were active in California.
This means that the survival rate of Grande concert posters, particularly in high grade, is extremely low. That’s why we described Grande Ballroom concert posters as a “powder keg ready to explode”, in our 2018 year in review blog post.
If you are looking for beautifully designed concert posters that are historically important and extremely rare, artworks from the Grande Ballroom are hard to beat!
To read more about Grandes historic designation, click here.
“The Era of Cool” featured at Westmoreland Museum of American Art in Pennsylvania.
Over the course of his 50 year career, legendary pop artist John Van Hamersveld has created influential and instantly recognizable works of art including the iconic Endless Summer poster and historic concert posters of Jimi Hendrix, Cream, Dylan, and many others.
We’re excited to learn that The Westmoreland Museum of American Art in Greensburg, Pa. has announced they will become the next in a steady stream of art museums that are now recognizing the historical importance and artistic appeal of 1960’s graphic art and design.
There is no doubt that the exposure of our beloved artworks to Mainstream America completes the transformation of our niche hobby into an important and desirable category of art that is recognized by museums around the world.
The Westmoreland is located just 35 miles east of Pittsburgh, Pennsylvania. The exhibit is scheduled to run July 20th through October 20th.
To learn more about the Hamersveld exhibit, click here.
Artist’s personal copies available exclusively at PAE
A Dead & Company concert poster by South Jersey born, artist Owen Murphy is proving to be a hot collectible. The poster, created for a June 20th, 2019 concert by Dead & Company at BB&T Bank Pavilion, in Camden, N.J., was released in a limited, numbered edition of 700. Collectors snapped up the 580 posters that were made available at the concert in under 5 hours. 50 copies were saved by the band. The Artist’s personal 70 copies are being offered exclusively by PAE on 6/28/19 @ 6:00pm ET, SHARP.
"When Dead and Company commissioned me to create this artwork, it was literally a dream come true," says Murphy." I grew up in South Jersey, listening to the Grateful Dead, and I've attended dozens of concerts at this venue over the past 20 years. My great grandfather even worked at Campbell's soup after World War 1 which is headquartered in Camden. It was critical for me to include as many local references in this poster as I possibly could."
The poster's clever artwork, considered by many collectors to be Murphy's best, features Uncle Sam displaying posters for the show that are designed liked Andy Warhol's famous Campbell Soup cans. Philadelphia's iconic skyline is in the background with a silhouette of a Grateful Dead dancing bear taking the place of William Penn.
Murphy, now based in Baltimore, Maryland, began his career on April 1, 2011, when he created a poster for the popular jam band, Pigeons Playing Ping Pong. In the past eight years Murphy has created concert posters for world famous bands such as Widespread Panic, Phil Lesh and Friends, Govt' Mule, Disco Biscuits, Slightly Stupid, and many others that are now highly sought after by collectors.
To learn more about Owen Murphy and his groundbreaking concert posters, check out his his Instagram page @onedropdesignstudio or visit his Facebook page, One Drop Design Studio.
The Artist’s 70 personal copies will be available for purchase on 6/28/19 at 6:00pm Et , SHARP at Psychedelic Art Exchange’s website, www.ConcertPosterGallery.com.
Museum-quality Grateful Dead FD-26 Skeleton and Roses concert poster smashes records as interest in vintage 1960's psychedelic art posters explodes.Read More
Major museum exhibits of Vintage Concert Posters continue to flourish across the nation.
Last month the collectibles world received the exciting news that a massive collection of 3,000 vintage concert posters from the 1960’s to present was donated to Sacramento State University. The collection, includes vintage posters of Jimi Hendrix, Cream, The Kinks and hundreds of other musical legends.
The collection was assembled and donated by Dennis Newhall, a Sacramento native. “This is a story about the venues, the poster artists, the pioneering radio stations that brought rock to Sacramento, and the rock bands that played here,” explained Newhall.
Plans are being drawn up to exhibit the posters in multiple locations around the city.
“This is a very focused popular culture collection,” remarked James Fox of Sacramento State. “We can learn as much about ourselves from popular culture as we can by reading Shakespeare or Freud or whoever.”
This announcement is just the latest of several recent exhibits featuring Vintage Concert posters in major museums across the country.
The fact that we, as collectors, can still acquire 50 year Vintage Concert Posters in Museum Quality condition for just a few hundred dollars — that hang in major art museums across the country— explains why many experienced collectors are so excited about the opportunities available in today’s marketplace.
Stay tuned for more information on this exhibit in coming months!
The independent, third party authenticator and grader of Vintage Concert Posters has led to exploding demand and record prices!
By now, everyone that reads this blog and is active in the collectibles marketplace knows about the CGC Rock Poster Revolution. To summarize, the demand for Vintage Concert Posters has exploded over the past 2 years due to the availability of unbiased third party authentication and grading by CGC.
What used to be a niche marketplace has been transformed into a highly sought after art form that is being widely recognized and displayed at the most important art museums across the United States. (See prior blog posts for further details.)
As every collector understands, the value of a collectible is directly proportionate to it’s rarity and state of preservation. CGC provides unbiased opinions on authentication, attribution, originality (many posters have professional restoration that is hard for all but experts to detect), and condition.
Not a day goes by in our office without someone asking for more information on the company making all this noise.
A recently published article on The Certified Collectibles Group (the parent company of CGC) provides some impressive information.
The company has been around for more than 30 years, has 275 employees in the U.S. and another 85 employees scattered at several offices around the world. They have authenticated and graded literally tens of millions of collectibles valued at many billion of dollars.
Clearly, this is a world class operation that has turned Vintage Concert Posters into a World Class marketplace! Collectors from other collectibles markets, that are used to the concept of independent third party authentication and grading, can now acquire vintage concert posters without worrying about detecting Original Printing versus Reprints, professional restoration, counterfeits, or condition.
This huge influx of collectors has created exploding demand that has overwhelmed the tiny available supply and has led to record prices that are occurring with increasing frequency.
To read the complete article, click here.
Worldwide focus on Sixties music and culture sure to increase demand for Vintage Concert Posters
New details are emerging about the 50th Anniversary of Woodstock and by all major media accounts this event is set to be even larger and more impressive than our most optimistic expectations.
Michael Lang, the producer of the original Woodstock Festival in 1969, is back at the helm. Woodstock 50 will take place August 16th - 18th in Watkins Glen International in upstate New York, just a couple hours away from Bethel, New York where the original Woodstock was held.
An impressive lineup of bands have been announced with a nice blend of classic artists and more contemporary performers. Improbably, a fine assortment of musicians will appear that also performed at the original Woodstock 50 years ago!
These classic 1960’s music legends include Santana, Canned Heat, John Sebastian, John Fogerty, Country Joe McDonald, David Crosby, members of Jefferson Airplane (now performing as Hot Tuna) and Bob Weir, Bill Kreutzmann and Mickey Hart from the Grateful Dead!
While history has rightfully noted all the Sixties legends that tragically passed away in their twenties, it is truly inspiring to have this many original musical groups that are still performing and thriving today, 50 years later.
For a detailed analysis of how the 50th Anniversary will effect the Vintage concert poster Market, click here.
Instruments and concert posters of the 1960’s take center stage .
Last month we reported on the new “Play It Loud” exhibit at the Metropolitan Museum of Art in New York City. We explained the monumental significance of this event and the eventual reverberations that will be felt throughout the Vintage Concert poster Market.
The exhibit is now open and mainstream media can’t get enough of this exhibit. Seems like The Beatles, Stones, Hendrix and the rest of our 1960’s musical icons hold a lot more mass market interest and appeal than Rembrandt and Picasso!
CBS put together a wonderful story that was broadcast nationwide and is available around the world. We are all readers of this blog to checkout the story here.
Gallery in Oyster Bay, N.Y. invites readers of this blog to a private tour!
Anyone that has ever held a vintage concert poster in their hands understands that the grandeur of the awe inspiring art can never be fully displayed or transferred by tiny photos on a smartphone or computer.
Because of this, it’s always exciting for us to lead readers of this blog to venues where these important historical artifacts can be seen in person.
Our friend, Ted Bahr, started collecting late 1960’s posters just after college when he was living in San Francisco and remembers many evenings trundling into the legendary Ben Friedman’s Postermat in North Beach and trying to cajole Ben into selling some of his rarer issues.
Fast forward 30 years and Ted, who in 1999 started a company that produced conferences and trade shows in New York, had sold his company and began casting about for what to do in the next phase of life. More than 35 psychedelic posters had been beautifully framed and hung in his former offices and, knowing the increasing value of and interest in this poster art, he decided to open the Bahr Gallery, near his home in Oyster Bay, NY.
The Bahr Gallery, which opened last year, has several rooms featuring more than 60 psychedelic master works on rotation featuring posters from San Francisco’s Big Five of Wes Wilson, Stanley Mouse, Victor Moscoso, Rick Griffin, and Alton Kelley, and others.
Unlike the poster shops of old, the Bahr focuses on a complete presentation; an appropriate, carefully selected frame, archival mounting, nearly-invisible museum glass and a meticulously researched backgrounder on each work of art, putting the piece in context.
While The Bahr sells the artwork, visiting the Gallery is like visiting a museum and many people will stay for more than an hour, which they are more than welcome to do. Also, the Gallery hosts private events, Exhibition openings, book signings, and musical evenings. An example from this past November was an event attended by 100 people to hear “the voice of the Grateful Dead Radio Hour,” David Gans, play with a Hawaiian slack key guitarist and Hula dancer, an event that also raised $700 for a local charity.
“We are curating the visual experience for admirers of this art, the music, and its special time in history, said Bahr. “It’s time for these 50-year-old works of art – already highly prized by collectors and connoisseurs of the period – to be properly displayed in a beautiful, elegant setting as they seek new homes.”
Exhibitions planned for 2019 include a Winter Showcase, British Invasion, Woodstock and other Festivals and the art of the Grateful Dead.
Owner Ted Bahr notes, “I was not asked to plug Psychedelic Art Exchange but I am going to anyway. Most of the pieces we display are purchased at auction from the reputable specialists in the field. I particularly appreciate the advocacy for CGC grading by Scott and Glen at PAE. Buying from experts makes my job easier – even though I do my own authenticity analysis, I know I am getting the piece as advertised. Further, companies like PAE act as a clearinghouse for the marketplace and allow me to then share this great art with the world. I enthusiastically invite all readers of PAE’s blog to contact me for a private tour!”
Learn more at www.bahrgallery.com or follow them on Facebook or Instagram @bahrgallery. To get on the mailing list for events and exhibitions at the Bahr Gallery, or to schedule a private tour, send Ted Bahr a note, email@example.com.
“Play It Loud” will feature 130 instruments and Vintage Concert Posters!
The Metropolitan Museum of Art in New York City has announced the opening of their “Play It Loud” exhibition on April 9th. The exhibit is being heralded as the first major museum exhibition of Rock and Roll instruments.
In addition to the instruments, a large number of Vintage Concert Posters will be featured!
The fact the most important and influential art museum in the world is featuring a rock and roll exhibition further cements the immense historical importance and appeal of authentic artifacts of this era.
This marks a moment in time where our hobby is truly taking center stage. This blog has reported extensively on recent museum exhibitions of Bill Graham, The Rolling Stones and the 50th Anniversary of The Summer of Love.
In each case, these exhibits have exposed several hundred thousand people to the importance of this era and has led to a surge of interest in Vintage Concert Posters.
The bottom line is that what was once a niche hobby has now been transformed into a legitimate category of art that is being exhibited in the most important museums around the world!
It’s never been more exciting to be a collector than RIGHT NOW! We will give a full report on the exhibition in coming weeks.
To read all the details more about Play It Loud, click here.
Iconic band is surprisingly more relevant than ever before!
The future desirability of Vintage 1960’s Concert Posters was further reinforced with today’s story on NPR’s 1A podcast. The show examined the immense popularity of the Grateful Dead and 1960’s music with the generation that was born after Jerry Garcia’s death in 1995.
The show highlights 3 guests, Grateful Dead archivist David Lemieux, musician Holly Bowling and the directors of programming at Sirius FM.
To summarize, the huge interest in The Dead is based on a sense of community, the enduring values of The Sixties, and the american musical tradition of The Dead that is a mashup of virtually every musical genre.
All 3 of these factors are fueled by unprecedented access and exposure to the band and the era through live shows and music that is readily available online through the internet archive, Youtube, dozens of music festivals, and the various post Dead incarnations of the musicians.
It’s quite an interesting show and the focus is squarely on the popularity of the band and the era with today’s young people. For those that question whether people in the future will care about this music, and the collectible artifacts linked to it, the answer is a resounding “Yes!”.
To listen to the podcast, click here.
Vintage ‘60’s art has firmly established worldwide, mass market appeal.
The desirability and collectibility of vintage 1960’s counter culture art was further verified by the recent announcement that Dr. Martens has entered into a Limited Edition collaboration with The Estate of Rick Griffin.
The Limited Edition collection includes two different pairs of world famous Doc Martens boots, two different T-shirts and a backpack, all featuring iconic Rick Griffin art.
The fact that an international corporation that has a large, highly sophisticated marketing department has chosen to feature Rick Griffin art on products targeted to younger generations further affirms the lasting desirability and appeal of this iconic imagery.
This announcement comes on the heals of a recently announced Grateful Dead beer and a Wall Street Journal article that examines the mania attached to authentic items with direct links to the sixties. Both of these are covered in earlier posts to this blog.
To learn more about the Rick Griffin/ Dr. Martens collaboration, click here
4 things every collector should know about today’s market.
The market for Vintage Concert Posters has become the most exciting collectibles market in the world today due to a a multitude of positive developments that has created a “perfect storm” for these historic works of art. Please reference previous posts for extensive detail and discussion.
Despite everything that Vintage Concert Posters has going for them, there is one HUGE overriding factor that has turned this market into an overnight success, 50+ years in the making. And of course, we’re talking about the introduction of independent third party grading by CGC.
Without CGC, we would not be witnessing the massive influx of new collectors into this market. These collectors are already experienced acquiring independently authenticated and graded rare coins, stamps, baseball cards, comic books, autographs, paper money, etc,. This experience makes their transition into Vintage Concert Poster collecting both comfortable and seamless.
This huge increase in demand has lead to record prices and appreciation for the finest quality and rarest pieces and a commensurate dwindling of the tiny available supply. The facts show that of the hundreds of price records that were set for Vintage Concert Posters in our auctions in 2018, well over 90% were authenticated and graded by CGC.
Despite the warm collector reception that CGC posters enjoy, there are 4 important facts about today’s marketplace that are not widely understood.
1) Not All concert Posters Are Eligible For CGC Grading.
This is the most common mis-conception in today’s marketplace . Currently, CGC only authenticates and grades posters that are listed in The Art of Rock by Paul Grushkin, or in Eric King’s Collector’s Guide to Psychedelic Rock Concert Posters, Postcards and Handbills.
King’s guide lists popular concert poster series from The Family Dog, The Bill Graham Series, The Grande Ballroom, The Neon Rose , and The Vulcan Gas. The Art of Rock lists several hundred other concert posters from various venues throughout the United States.
There are still a large percentage of posters, perhaps 35-45% (our best guess, only) that are not currently listed in these two reference books, and are NOT currently eligible for CGC authentication and grading.
CGC will be expanding their universe in the the future, which leads to another opportunity that requires more discussion at another time.
2) Psychedelic Art Exchange Has EVERY Eligible Poster CGC Graded Before It’s Sold or Auctioned!
Our mission at PAE is very simple, and very clear. We provide a safe and secure place to buy, sell, and learn about Vintage Concert Posters.
Everyone knows that the value of ANY given collectible is largely based on it’s condition. Small differences in condition lead to large differences in value.
This means there is an inherent conflict of interest between buyers and sellers. We remove this conflict of interest by getting every eligible poster CGC graded before we sell or auction it.
For buyers, this means you can bid with confidence, knowing that you are basing your purchasing decision on an unbiased third party opinion.
For sellers, it means enjoying the benefits of the huge demand and record prices that the market commands for CGC graded material. It’s a win-win situation for everyone concerned.
The reason we adhere to this policy 100% is because we don’t want to put collectors in a position of wondering “Why isn’t this poster CGC graded? What is the seller trying to hide?”
Of course, PAE also buys and sells concert posters that are not currently eligible for CGC grading. Our policy with these issues is to grade the posters on a consistent scale of 1-100, published in writing, on our website. In addition, every poster is backed up by the strongest guarantee, in writing, possible.
3) CGC Grading is FAR Stricter Than Most Collectors Realize.
PAE prides itself on offering the finest quality material available today. We have been high profile “condition freaks” from the very first day we opened our doors over 10 years ago.
That being said, CGC has given new meaning to the term “Strictly Graded”. It is our belief that CGC provides the absolute best value for your collecting dollar at every end of the condition spectrum.
In every auction we have savvy collectors picking off incredible quality posters graded 5.5 -8.0. Don’t let the numerical grade deceive you. These posters provide tremendous value and quality.
Likewise, every auction features posters graded 8.5 - 9.2 that are stone cold gems. We’re talking about super clean pieces free of nicks, cuts, tears, and pinholes. These are posters that used to be described… and sometimes still are… as “Dead Mint” before the introduction of CGC.
The bottom line is that if you are a collector that’s looking for the maximum bang for your collecting buck, take a close look at concert posters with slightly lower CGC grades. You’ll be blown away by the quality you receive in return for the funds paid out.
We’re confident abut this based on the steady stream of collectors that tell us how excited they are when they receive an item that greatly EXCEEDS their expectations.
4) CGC is Not Just About Determining Condition
While the numerical grade of a CGC concert poster is always the top subject of conversation, there is another equally important layer of confidence and protection that CGC offers, independent attribution and detection of restoration.
Before CGC, you really had to become your own expert to safely buy these posters. The law of the land was Buyer Beware.
Undisclosed hidden restoration and counterfeit posters was commonplace. CGC has solved all that. Now collectors can buy and sell with confidence. And the results speak for themselves.
John Bogle, the legendary inventor of stock index funds died tonight. His company went from zero to 5.1 TRILLION dollars under management ( Yes, TRILLION) based on a single simple idea. Bogle is quoted as saying,” It was never my intent to build a colossus. Turns out, when you do what’s right for investors, money pours in.”
At PAE, we try to follow this very same ethos. You have our word that in 2019 we will continue to work our hardest to provide you — and all collectors — a safe and secure place to buy, sell, and learn about Vintage Concert posters.
2018 Vintage Concert Poster Market Year in Review!
The future is uncertain. Hindsight is 20/20. Here’s our report card on our 2018 Predictions.
By all accounts, 2018 was a remarkable year for the Vintage Concert Poster Market. Let’s take a look back at our exact predictions from 12 months ago and see how many panned out — our report card and current comments are in italics.!
1) Record Prices fo the Finest and Rarest!
Increased demand and dwindling supply will lead to record prices across ALL categories.
There is no question that 2018 marked a tipping point where demand greatly increased supply. This led to record prices across all price categories from $100 posters up to $50,000.
2) The Number of Market Participants Multiplies...Again!
This is a market that clearly has the wind at it's back. (See 2017 year in review blog post for reasons why) At PAE, our goal is to bring at least 1000 new clients onboard.
A variety of factors that have been reported here led to a major influx of collectors, many from that are experienced in other collectibles categories. For this prediction, we deserve an A. However, PAE came a little short of generating 1000 new buyers, lowering our grade to A-.
3) A Focus on Tangible Assets Will Fan The Flames.
The White House is committed to spending money like a drunken sailor. This is already leading to a fall in the dollar and a rise in gold. What does this have to do with vintage concert posters? Plenty. This is the very beginning of a cycle of renewed inflation and desire for "hard assets".
Trump did spend like a drunken sailor, and interest rates rose to reflect a red hot economy. However, these monetary moves have not yet filtered into financial markets. Gold, which is a fair barometer for mainstream America’s taste for tangible assets moved sideways the entire year. It looks like the move in gold we predicted in 2018 is may now be underway as the price has increased 10% in the past 90 days.
4) Continued Growth at PAE
2017 was year of growth for PAE, growth in clients, growth in volume and growth in staff. In addition to our two principals, Glen and Scott, we now have 2 full time employees and 3 part time employees that each log about 20 hours each.
2018 represented records for us in terms of dollar volume, number of posters and number of customers. our team has grown to 3 full time and 4 part time members to assure that PAE remains the safe and secure place to buy, sell, and learn about Vintage Concert Posters.
5) Severe Supply Shock Hits Market.
There's a sound in the marketplace that started 2017 off as a murmur but has slowly grown into a roar. We're talking about a giant sucking sound of rapidly dwindling supply that has become pervasive in the marketplace.
Overall, there is a dramatic drop in the number of desirable posters that are 100% Original with no restoration. It’s commonplace to see major offerings where over half the top listings have restoration of some form or other. That being said, PAE had a record year of sellers and consigners that wanted to tap into our worldwide clientele that believe current prices remain ridiculously dirt cheap and are willing to pay whatever it takes to secure the best quality posters in existence. We were proud to offer collectors an incredible selection of high quality items in every price category.
6) Premiums for Artist Signed Material Explodes.
This is a trend we have seen steadily gaining steam over the past several years and we see an acceleration of this trend in 2018.
Big deal. Anyone could have predicted this trend. A total “No Brainer” trend that will continue to gather steam. Stay tuned for a future blog on this subject.
7) Interest in Grande Ballroom, Vulcan Gas and Armadillo World HQ Posters Climbs.
As more and more collectors enter the marketplace, interest will gravitate to areas that are currently under valued. Over the past 2-3 years we have seen an explosion in interest for all three of the venues listed above.
We nailed it when it comes to Armadillo World Headquarters posters. Demand for these went into thermo nuclear overdrive, as hot as any category out there. Grande posters have ALWAYS been popular and in demand. We saw an uptick, but no more of an uptick than the general market. Grande posters are a powder keg ready to EXPLODE, but what we envision didn’t fully happen in 2018. These are VASTLY under valued at today’s price levels, in our opinion. Vulcan Gas posters represent a fertile area for anyone that wants history, rarity and mind-blowing art for pennies on the dollar to what they may trade at one day. Stupid cheap compared to their San Francisco brethren.
8) and 9 ) Values of Large Size Fillmore and AOR Posters Explodes
Up until now, CGC has not had the capabilities to grade the large size Fillmore and AOR posters, but this situation is about to change. Look for these massive posters to command substantial premiums once CGC commences grading in the coming weeks!
We jumped the gun on this one. We thought CGC would start grading these posters much earlier in the year, and that collector demand and commensurate prices would jump forward. CGC didn’t get started on this until the second half of the year, and little supply has entered the marketplace so far. The large format posters that have appeared have been VERY well received, watch for fireworks in this category in 2019.
10) Renewed Focus on Handbills and Postcards
It's no secret that a concert handbill is far easier to counterfeit than a concert poster. Third party authentication and grading by CGC has brought much needed integrity to this overlooked area of the market. With the introduction of CGC, we have seen an explosion of interest in concert handbills, now that collectors can acquire them with confidence.
Another no brainer trend that is in it’s VERY early days. This segment of the market had been left for dead due to a multitude of authentication issues. Independent authentication and grading by CGC has solved all this with a beautiful package. Collectors can get the same iconic art, the same legendary bands, and in some cases rarity that EXCEEDS the poster for a fraction of the money the posters command. A Grand Slam that leaves collectors with an insatiable appetite for these historic artworks.
Or next blog, to be published shorty, will disclose our predictions for 2019.