Bill's Archives

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"A Ritual Pentagon Exorcism October 21 Washington", 1967. Poster created for “The Great Exorcism and Levitation of the Pentagon,” designed with concentric circles including images of Allen Ginsberg, Uncle Sam, Tuli Kupferberg, and mushroom clouds surrounding a skull and crossbones. The event was conceived by Beat poet Allen Ginsberg, Abbie Hoffman, Ed Sanders, and other members of the political “New Left” in protest of the Vietnam War, and planned to coincide with the much larger “Stop the Draft Week” protest. On Saturday, October 21, 1967, at least 100,000 gathered in front of the Lincoln Memorial​ in Washington, D.C., to protest the Vietnam War and to participate in the exorcism ritual designed by Sanders. His exorcism was humorous and vulgar but also contained elements of actual occultism. After hours of speeches, roughly half crossed the Potomac toward the Pentagon. Mimeographs of Sanders’s ritual were distributed to protesters, complete with magical formulas written in ancient Greek and Hittite. The ritual consisted of 10 steps including praying for the bad karma of American soldiers, consecrating the four directions, encircling the Pentagon in cornmeal, and the use of a “sacred Grope relic”. The collective goal was to levitate the Pentagon three feet into the air, turn orange and vibrate, until all evil spirits departed. Ginsberg​ (depicted in the outer circle) led Tibetan Chant​s in the hope of accomplishing exactly that feat, accompanied by The Fugs, a satirical rock group. As the exorcism antics progressed, copies of the ritual handbills were nabbed by authorities and the event resulted in some 600+ arrests. While the group was unsuccessful at levitating the Pentagon, Ginsberg felt it was still a success, noting that four months after the exorcism, a Gallup poll indicated a 52% opposition to the war among American citizens. The event and this poster were historically significant enough that the very few existing copies are now part the permanent collections of the Center for the Study of Political Graphics, Oakland Museum of California, and Duke and Michigan State Universities The strange thing about this poster is that, even though it was made for a protest happening in Washington, D.C., unfolded/unrolled copies were inexplicably found in a collection of vintage prints in San Francisco, thousands of miles away from its intended purpose. www.etsy.com/shop/BillsArchives

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Original 1970 offset lithograph from artist Sätty printed over photo of Nude Woman In Window by Mike Powers, designed by Dale Smith above quote from Goethe: "We are formed and fashioned by what we love." Celestial Arts CA86 Orbit Graphic Arts, a poster printing company based out of San Francisco during the 1960s/1970s, distributed this overprinting by Sätty who was famous for creating mind-blowing and now highly collectible collages, having been exhibited at the MoMA, Boston Museum of Fine Arts, San Francisco Museum of Art and several other major museums listed below. If you look at the last photo, you'll see two of the base images (both available for purchase if interested) over which he would print layers of other illustrations. www.etsy.com/shop/BillsArchives One of the better-known poster artists when the psychedelic era was in full flower in the 60's, Wilfried (Wilfred) Podriech, also known as Sätty, was as much a part of the scene as Dr. Hip or the Grateful Dead. For a few years, his life had been one long summer of love. He staged huge parties where socialites and hippies mingled, in a subterranean basement of the pre-earthquake building where he lived on. He was schooled in architecture, engineering and design, and spent some time working in Brasilia before he settled in San Francisco in the early 60's. It was the threshold of the psychedelic era, and Sätty soon began making posters, developing an extraordinary collage technique that brought together both the technological and surreal sides of his background. Drawing from his enormous collection of 19th-century illustrations, and using his knowledge of overprinting, collage, overlays, paints and offset lithography, Sätty superimposed and juxtaposed images to create layered compositions of such wildness, density and subtle detail that they speak more tellingly than any static visual records of the time could do. His transformations of the original materials range from the discreet addition of a few whimsical oddities in the foreground of an etching, to the full-out hallucinations of an opium den or a ballroom swirling with romantic delirium. And the fact that these are all 19th-century images, radically revised by a 20th-century eye, gives one the eerie sense of shifting back and forth in time, space and perception. There's a startling sardonic humor in Sätty's visionary history, but there is love as well for the reckless, plunging voracity of those early days. EXHIBITIONS One Man Shows: • Moore Gallery, San Francisco; 1968. • Berkeley Gallery, San Francisco; 1970. • Goethe Center, San Francisco; 1971. Group Shows: • San Francisco Museum of Art; 1967. • Moore Gallery, "Second Joint Show", San Francisco; 1968. • Museum of New York City; 1969. • Boston Museum of Fine Arts; 1969. • Sun Gallery, San Francisco; 1969-1971 • National Museum of Art, Belgrade, Yugoslavia; 1970. • National Museum, Warsaw, Poland; 1970. • Gary Standiford Gallery, San Francisco; 1970-1971. • Richmond Art Center, California; 1971. • Museum of Modern Art, New York; 1971. • Arts and industry exhibition, San Francisco; 1971. • Dr. Reidar Wennesland Art Collection (public Exhibition), San Francisco; 1971. • Gallery: The Poster (with David singer), Los Angeles; 1972. • Kristiansand Art Association, Norway; 1972. • The Palace of the Legion of Honor, San Francisco; April-June 1975. GUEST LECTURES • The artist's studio, San Francisco; 1970. Lecture for members of the Society for the Encouragement for Contemporary Art concerning "Art and the Electronic Media". • Berkeley Gallery, San Francisco; 1971. Lecture about the artist' work for members of the San Francisco Museum of Art. • San Francisco Art Institute; 1971 and 1974. Two lectures in printmaking and one lecture for students at the artist's studio. • College of Arts and Crafts, Oakland; 1974. Lectures on "Photo and Printmaking" with slide show. • San Francisco State University, Art Department; 1974. "Imagination vs. Media" with slide show. • San Francisco Museum of Art; 1974. "Media and Poster Art" with slide show. • San Francisco State University, Literature Department; 1975. "Composition" with slide show. PUBLISHED ILLUSTRATIONS Washington Post (Book World- syndicated Sunday supplement) 1973-1975- nine illustrations. • Rolling Stone (26 issues) 1969-1975. • Berkeley Barb, 1969. • East Village Other, 1969. • Organ (7), 1970. • Oz Magazine, England (3 issues), 1971-1974. • Clear Creek (10), 1971-1972. • KPFA folio, 1971-1972. • Ramparts (4), 1972. • Communication Arts Magazine (2), 1972. • Sunday Paper (illustrated in collaboration with David Singer), 1972. • Equilibrium (5), 1973. • Video City- Radical software (2), 1973. • Living Daylights, Australia (2 illustrations from "Time Zone", 1974. • Village voice, 1975. COVER ART • Washington Post (book World syndicated Sunday supplement, 1973-1975: The Sovereign State of ITT, by Anthony Sampson. Gravity's Rainbow, by Thomas Pynchon. Through Russian Eyes, by Anatolii Gromyko. Richie, by Thomas Thompson. Before Civilization, by Colin Renfrew. The Clockwork Testament, by Anthony Burgess. • California Living, Los Angeles, 1969. Two color posters as part of cover. • The East Village Other, New York, 1969. • Berkeley Barb, Berkeley, 1969. Two covers • KPFA Folio, Berkeley 1972. • Publisher's Weekly, New York, April 1975. • The San Francisco Sunday Examiner And Chronicle, 1975. RECORD ALBUM COVERS • "GHANDARVA", Beaver and Kraus; Warner Bros., 1971. Five color cover with David Singer. • "The Occult", United Artists, 1973. A variety of interviews and music. Color cover and back plus 1 color and 12 black and white illustrations in booklet explaining the album. • "The Miraculous Hump Returns from the Moon", The Sopwith Camel, Warner Bros, 1973. • "Feel", George duke, MPS Records, 1974. Separate European release, MPS Records , 1975. • "The Aura Will Prevail", George duke, HPS Records, 1975. BOOKS • The Cosmic Bicycle: Straight Arrow Books, San Francisco, 1971. Limited hardbound edition, regular softbound edition. 160 9"x 12" pages. 79 black and white and 8 four color illustrations. Four color cover and back. • Time Zone: Straight Arrow Books, San Francisco, 1973. 9" x 12" softbound edition, 160 pages, 84 black and white illustrations. Three color cover and back. ISBN: 0879320281 0879320672 (pbk.) BOOK ILLUSTRATIONS AND COVERS • Biafra Good-bye, 1970 • Rolling Stone Book of Days, 1970-71 • One Eighty Five, 1973 • The Axis of Eros, 1973 • Madness Network News Reader, 1974 • Monsters, 1974 • The Index of Possibilities-Energy and Power, 1974 • The Rainbow Book, 1975 • The Annotated Dracula, 1975 • The Hashish Eater, 1975 • The Illustrated Edgar Allan Poe 1976

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at Bill's Records https://www.instagram.com/p/B5hEi8whvSU/?igshid=8s5jo9wfxzk0

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Original offset lithograph poster untitled by SÄTTY featuring a turbaned man smoking a pipe next to some large mushrooms in a jungle scene of monkeys. Most likely created 1969 or 1970 and published by Celestial Arts in San Francisco.

Orbit Graphic Arts, a poster printing company based out of San Francisco during the 1960s/1970s, distributed this overprinting by Sätty who was famous for creating mind-blowing and now highly collectible collages, having been exhibited at the MoMA, Boston Museum of Fine Arts, San Francisco Museum of Art and several other major museums listed below. If you look at the last photo, you’ll see two of the base images (both available for purchase if interested) over which he would print layers of other illustrations.

The poster measures 23" x 35" Offset lithograph on heavy stock paper that feels 40 years old like you would expect.

www.etsy.com/shop/BillsArchives

One of the better-known poster artists when the psychedelic era was in full flower in the 60’s, Wilfried (Wilfred) Podriech, also known as Sätty, was as much a part of the scene as Dr. Hip or the Grateful Dead. For a few years, his life had been one long summer of love. He staged huge parties where socialites and hippies mingled, in a subterranean basement of the pre-earthquake building where he lived on.

He was schooled in architecture, engineering and design, and spent some time working in Brasilia before he settled in San Francisco in the early 60’s. It was the threshold of the psychedelic era, and Sätty soon began making posters, developing an extraordinary collage technique that brought together both the technological and surreal sides of his background. Drawing from his enormous collection of 19th-century illustrations, and using his knowledge of overprinting, collage, overlays, paints and offset lithography, Sätty superimposed and juxtaposed images to create layered compositions of such wildness, density and subtle detail that they speak more tellingly than any static visual records of the time could do. His transformations of the original materials range from the discreet addition of a few whimsical oddities in the foreground of an etching, to the full-out hallucinations of an opium den or a ballroom swirling with romantic delirium. And the fact that these are all 19th-century images, radically revised by a 20th-century eye, gives one the eerie sense of shifting back and forth in time, space and perception. There’s a startling sardonic humor in Sätty’s visionary history, but there is love as well for the reckless, plunging voracity of those early days.

EXHIBITIONS One Man Shows: • Moore Gallery, San Francisco; 1968. • Berkeley Gallery, San Francisco; 1970. • Goethe Center, San Francisco; 1971.

Group Shows: • San Francisco Museum of Art; 1967. • Moore Gallery, “Second Joint Show”, San Francisco; 1968. • Museum of New York City; 1969. • Boston Museum of Fine Arts; 1969. • Sun Gallery, San Francisco; 1969-1971 • National Museum of Art, Belgrade, Yugoslavia; 1970. • National Museum, Warsaw, Poland; 1970. • Gary Standiford Gallery, San Francisco; 1970-1971. • Richmond Art Center, California; 1971. • Museum of Modern Art, New York; 1971. • Arts and industry exhibition, San Francisco; 1971. • Dr. Reidar Wennesland Art Collection (public Exhibition), San Francisco; 1971. • Gallery: The Poster (with David singer), Los Angeles; 1972. • Kristiansand Art Association, Norway; 1972. • The Palace of the Legion of Honor, San Francisco; April-June 1975.

GUEST LECTURES • The artist’s studio, San Francisco; 1970. Lecture for members of the Society for the Encouragement for Contemporary Art concerning “Art and the Electronic Media”. • Berkeley Gallery, San Francisco; 1971. Lecture about the artist’ work for members of the San Francisco Museum of Art. • San Francisco Art Institute; 1971 and 1974. Two lectures in printmaking and one lecture for students at the artist’s studio. • College of Arts and Crafts, Oakland; 1974. Lectures on “Photo and Printmaking” with slide show. • San Francisco State University, Art Department; 1974. “Imagination vs. Media” with slide show. • San Francisco Museum of Art; 1974. “Media and Poster Art” with slide show. • San Francisco State University, Literature Department; 1975. “Composition” with slide show.

PUBLISHED ILLUSTRATIONS Washington Post (Book World- syndicated Sunday supplement) 1973-1975- nine illustrations. • Rolling Stone (26 issues) 1969-1975. • Berkeley Barb, 1969. • East Village Other, 1969. • Organ (7), 1970. • Oz Magazine, England (3 issues), 1971-1974. • Clear Creek (10), 1971-1972. • KPFA folio, 1971-1972. • Ramparts (4), 1972. • Communication Arts Magazine (2), 1972. • Sunday Paper (illustrated in collaboration with David Singer), 1972. • Equilibrium (5), 1973. • Video City- Radical software (2), 1973. • Living Daylights, Australia (2 illustrations from “Time Zone”, 1974. • Village voice, 1975.

COVER ART • Washington Post (book World syndicated Sunday supplement, 1973-1975: The Sovereign State of ITT, by Anthony Sampson. Gravity’s Rainbow, by Thomas Pynchon. Through Russian Eyes, by Anatolii Gromyko. Richie, by Thomas Thompson. Before Civilization, by Colin Renfrew. The Clockwork Testament, by Anthony Burgess. • California Living, Los Angeles, 1969. Two color posters as part of cover. • The East Village Other, New York, 1969. • Berkeley Barb, Berkeley, 1969. Two covers • KPFA Folio, Berkeley 1972. • Publisher’s Weekly, New York, April 1975. • The San Francisco Sunday Examiner And Chronicle, 1975.

RECORD ALBUM COVERS • “GHANDARVA”, Beaver and Kraus; Warner Bros., 1971. Five color cover with David Singer. • “The Occult”, United Artists, 1973. A variety of interviews and music. Color cover and back plus 1 color and 12 black and white illustrations in booklet explaining the album. • “The Miraculous Hump Returns from the Moon”, The Sopwith Camel, Warner Bros, 1973. • “Feel”, George duke, MPS Records, 1974. Separate European release, MPS Records , 1975. • “The Aura Will Prevail”, George duke, HPS Records, 1975.

BOOKS • The Cosmic Bicycle: Straight Arrow Books, San Francisco, 1971. Limited hardbound edition, regular softbound edition. 160 9"x 12" pages. 79 black and white and 8 four color illustrations. Four color cover and back. • Time Zone: Straight Arrow Books, San Francisco, 1973. 9" x 12" softbound edition, 160 pages, 84 black and white illustrations. Three color cover and back. ISBN: 0879320281 0879320672 (pbk.)

BOOK ILLUSTRATIONS AND COVERS • Biafra Good-bye, 1970 • Rolling Stone Book of Days, 1970-71 • One Eighty Five, 1973 • The Axis of Eros, 1973 • Madness Network News Reader, 1974 • Monsters, 1974 • The Index of Possibilities-Energy and Power, 1974 • The Rainbow Book, 1975 • The Annotated Dracula, 1975 • The Hashish Eater, 1975 • The Illustrated Edgar Allan Poe 1976

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1968 offset lithograph titled "The Ring Game" Number 1-C in a Series of Reproductions of a painting by Ray Cooper Very rare Celestial Arts: Number 15. Printed by Orbit Graphic Arts, a poster printing company based out of San Francisco during the 1960s/1970s Advertised in Evergreen Review as "The Most Significant Development on the Poster Scene", Celestial Arts collaborated with Vorpal Galleries to print a limited number of superb reproductions of paintings by young San Francisco artists beginning with "The Ring Game" by Ray Cooper. The full-color reproductions were lithographed on quality paper by San Francisco's best-known specialist in color lithography, who offered the fine works at slightly more than usual poster prices. Founded by abstract artist, Muldoon Elder, Vorpal Galleries (1965-1973) just a few years later would feature an exhibition by M.C. Escher where, at the opening, 3,000 people showed up and many waited two hours to get in.

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"San Francisco" drawing by Joe Gomez Collage created for distribution by Martin Jacobs ©1969 offset poster work on lithographic paper inscription: "(c) 1969 Celestial Arts, 1345 Howard Street, San Francisco 94103 CA50" and "(blacklight poster) international rights reserved Printed By [Orbit Graphic Arts logo] in U.S.A" in pink at the bottom left and right corners. Poster has a purple background with a flower border. Mixed in with the flowers are pins with phrases relevant to the time. At the center is a collage of illustrated black houses and stores. Centered at the bottom on the white edge is "San Francisco" in pink. On the bottom edge at the center is "New" in pink. The original 1968 version ("CA10") had "Haight Ashbury" in cut-out floral letters (instead of "San Francisco") and is a 5-color acetate color key framed in the home of the poster's creator, Martin Jacobs, who owned a 3,000 square foot shop called Haight St. Palace, located at Haight & Masonic from 1967-1970. The shop sold posters, records, buttons, sandals. It was a hangout for the rock stars in the area like Big Brother & Holding Company, Quicksilver Messenger Service and the Grateful Dead. On Saturday nights usually a local group performed and about 500 people showed up. Joe Gomez used to sit outside Haight St. Palace and draw. One day Jacobs offered Gomez $50 to draw a picture of Haight Street for a poster. Jacobs added the flowers with his 35mm camera and the result is this poster. Haight St. Palace can be seen on the bottom row, 6th building from the left. Just above on the left side of the shop you'll see a small heart that says M.J. and D.L. That stands for Marty Jacobs and Denise Lee, a flower child who Jacobs married and had 5 kids with. On an interesting side note, every Saturday at the Drugstore Cafe on Haight, Jacobs had breakfast with Grace Slick and Janis Joplin. This poster has such a huge historical significance to that era - the love and peace theme and the buttons, flowers, and Haight St. tell a story, and, in 2010, a copy was added to the permanent collection of the Oakland Museum of California.

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Original 1969 offset lithograph poster titled "Full Moon in Aries" by Sätty Published by Celestial Arts in San Francisco ("CA58"). Orbit Graphic Arts, a poster printing company based out of San Francisco during the 1960s/1970s, distributed this overprinting by Sätty who was famous for creating mind-blowing and now highly collectible collages, having been exhibited at the MoMA, Boston Museum of Fine Arts, San Francisco Museum of Art and several other major museums listed below. If you look at the last photo, you'll see two of the base images (both available for purchase if interested) over which he would print layers of other illustrations. One of the better-known poster artists when the psychedelic era was in full flower in the 60's, Wilfried (Wilfred) Podriech, also known as Sätty, was as much a part of the scene as Dr. Hip or the Grateful Dead. For a few years, his life had been one long summer of love. He staged huge parties where socialites and hippies mingled, in a subterranean basement of the pre-earthquake building where he lived on. He was schooled in architecture, engineering and design, and spent some time working in Brasilia before he settled in San Francisco in the early 60's. It was the threshold of the psychedelic era, and Sätty soon began making posters, developing an extraordinary collage technique that brought together both the technological and surreal sides of his background. Drawing from his enormous collection of 19th-century illustrations, and using his knowledge of overprinting, collage, overlays, paints and offset lithography, Sätty superimposed and juxtaposed images to create layered compositions of such wildness, density and subtle detail that they speak more tellingly than any static visual records of the time could do. His transformations of the original materials range from the discreet addition of a few whimsical oddities in the foreground of an etching, to the full-out hallucinations of an opium den or a ballroom swirling with romantic delirium. And the fact that these are all 19th-century images, radically revised by a 20th-century eye, gives one the eerie sense of shifting back and forth in time, space and perception. There's a startling sardonic humor in Sätty's visionary history, but there is love as well for the reckless, plunging voracity of those early days. EXHIBITIONS One Man Shows: • Moore Gallery, San Francisco; 1968. • Berkeley Gallery, San Francisco; 1970. • Goethe Center, San Francisco; 1971. Group Shows: • San Francisco Museum of Art; 1967. • Moore Gallery, "Second Joint Show", San Francisco; 1968. • Museum of New York City; 1969. • Boston Museum of Fine Arts; 1969. • Sun Gallery, San Francisco; 1969-1971 • National Museum of Art, Belgrade, Yugoslavia; 1970. • National Museum, Warsaw, Poland; 1970. • Gary Standiford Gallery, San Francisco; 1970-1971. • Richmond Art Center, California; 1971. • Museum of Modern Art, New York; 1971. • Arts and industry exhibition, San Francisco; 1971. • Dr. Reidar Wennesland Art Collection (public Exhibition), San Francisco; 1971. • Gallery: The Poster (with David singer), Los Angeles; 1972. • Kristiansand Art Association, Norway; 1972. • The Palace of the Legion of Honor, San Francisco; April-June 1975. GUEST LECTURES • The artist's studio, San Francisco; 1970. Lecture for members of the Society for the Encouragement for Contemporary Art concerning "Art and the Electronic Media". • Berkeley Gallery, San Francisco; 1971. Lecture about the artist' work for members of the San Francisco Museum of Art. • San Francisco Art Institute; 1971 and 1974. Two lectures in printmaking and one lecture for students at the artist's studio. • College of Arts and Crafts, Oakland; 1974. Lectures on "Photo and Printmaking" with slide show. • San Francisco State University, Art Department; 1974. "Imagination vs. Media" with slide show. • San Francisco Museum of Art; 1974. "Media and Poster Art" with slide show. • San Francisco State University, Literature Department; 1975. "Composition" with slide show. PUBLISHED ILLUSTRATIONS Washington Post (Book World- syndicated Sunday supplement) 1973-1975- nine illustrations. • Rolling Stone (26 issues) 1969-1975. • Berkeley Barb, 1969. • East Village Other, 1969. • Organ (7), 1970. • Oz Magazine, England (3 issues), 1971-1974. • Clear Creek (10), 1971-1972. • KPFA folio, 1971-1972. • Ramparts (4), 1972. • Communication Arts Magazine (2), 1972. • Sunday Paper (illustrated in collaboration with David Singer), 1972. • Equilibrium (5), 1973. • Video City- Radical software (2), 1973. • Living Daylights, Australia (2 illustrations from "Time Zone", 1974. • Village voice, 1975. COVER ART • Washington Post (book World syndicated Sunday supplement, 1973-1975: The Sovereign State of ITT, by Anthony Sampson. Gravity's Rainbow, by Thomas Pynchon. Through Russian Eyes, by Anatolii Gromyko. Richie, by Thomas Thompson. Before Civilization, by Colin Renfrew. The Clockwork Testament, by Anthony Burgess. • California Living, Los Angeles, 1969. Two color posters as part of cover. • The East Village Other, New York, 1969. • Berkeley Barb, Berkeley, 1969. Two covers • KPFA Folio, Berkeley 1972. • Publisher's Weekly, New York, April 1975. • The San Francisco Sunday Examiner And Chronicle, 1975. RECORD ALBUM COVERS • "GHANDARVA", Beaver and Kraus; Warner Bros., 1971. Five color cover with David Singer. • "The Occult", United Artists, 1973. A variety of interviews and music. Color cover and back plus 1 color and 12 black and white illustrations in booklet explaining the album. • "The Miraculous Hump Returns from the Moon", The Sopwith Camel, Warner Bros, 1973. • "Feel", George duke, MPS Records, 1974. Separate European release, MPS Records , 1975. • "The Aura Will Prevail", George duke, HPS Records, 1975. BOOKS • The Cosmic Bicycle: Straight Arrow Books, San Francisco, 1971. Limited hardbound edition, regular softbound edition. 160 9"x 12" pages. 79 black and white and 8 four color illustrations. Four color cover and back. • Time Zone: Straight Arrow Books, San Francisco, 1973. 9" x 12" softbound edition, 160 pages, 84 black and white illustrations. Three color cover and back. ISBN: 0879320281 0879320672 (pbk.) BOOK ILLUSTRATIONS AND COVERS • Biafra Good-bye, 1970 • Rolling Stone Book of Days, 1970-71 • One Eighty Five, 1973 • The Axis of Eros, 1973 • Madness Network News Reader, 1974 • Monsters, 1974 • The Index of Possibilities-Energy and Power, 1974 • The Rainbow Book, 1975 • The Annotated Dracula, 1975 • The Hashish Eater, 1975 • The Illustrated Edgar Allan Poe 1976

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at Bill's Records https://www.instagram.com/p/B5hB9qyBICL/?igshid=7ig5jbj6qdsl

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1968 offset lithograph titled "Four Birds" Number 1-R in a Series of Reproductions of a painting by Carol Richards Celestial Arts #18. Printed by Orbit Graphic Arts, a poster printing company based out of San Francisco during the 1960s/1970s Advertised in Evergreen Review as "The Most Significant Development on the Poster Scene", Celestial Arts collaborated with Vorpal Galleries to print a limited number of superb reproductions of paintings by young San Francisco artists beginning with "Four Birds" by Carol Richards. The full-color reproductions were lithographed on quality paper by San Francisco's best-known specialist in color lithography, who offered the fine works at slightly more than usual poster prices. Founded by abstract artist, Muldoon Elder, Vorpal Galleries (1965-1973) just a few years later would feature an exhibition by M.C. Escher where, at the opening, 3,000 people showed up and many waited two hours to get in.

[billsarchives]

Original 1969 UNCENSORED offset lithograph poster titled “Top This” by #SÄTTY features a Fifteenth century male astride a rooster perched on a globe and is printed over his “Pleasure Lovers” collage of musician & woman with 3 heads and body of bird and dog.

This is the uncensored version Produced by #CelestialArts. A censored version has the male’s middle finger removed and the word’s “KISS MY ASS” removed from the globe he and the rooster top.

This is a also a rarer variation of the poster which is double-sided to provide enhanced effects when lit from behind as shown in photos.

Orbit Graphic Arts, a poster printing company based out of San Francisco during the 1960s/1970s, distributed this overprinting by Sätty who was famous for creating mind-blowing and now highly collectible collages, having been exhibited at the MoMA, Boston Museum of Fine Arts, San Francisco Museum of Art and several other major museums. One of the better-known poster artists when the psychedelic era was in full flower in the 60’s, Wilfried (Wilfred) Podriech, also known as Sätty, was as much a part of the scene as Dr. Hip or the Grateful Dead. For a few years, his life had been one long summer of love. He staged huge parties where socialites and hippies mingled, in a subterranean basement of the pre-earthquake building where he lived on. He was schooled in architecture, engineering and design, and spent some time working in Brasilia before he settled in San Francisco in the early 60’s. It was the threshold of the psychedelic era, and Sätty soon began making posters, developing an extraordinary collage technique that brought together both the technological and surreal sides of his background. Drawing from his enormous collection of 19th-century illustrations, and using his knowledge of overprinting, collage, overlays, paints and offset lithography, Sätty superimposed and juxtaposed images to create layered compositions of such wildness, density and subtle detail that they speak more tellingly than any static visual records of the time could do. His transformations of the original materials range from the discreet addition of a few whimsical oddities in the foreground of an etching, to the full-out hallucinations of an opium den or a ballroom swirling with romantic delirium. And the fact that these are all 19th-century images, radically revised by a 20th-century eye, gives one the eerie sense of shifting back and forth in time, space and perception. There’s a startling sardonic humor in Sätty’s visionary history, but there is love as well for the reckless, plunging voracity of those early days. EXHIBITIONS One Man Shows: • Moore Gallery, San Francisco; 1968. • Berkeley Gallery, San Francisco; 1970. • Goethe Center, San Francisco; 1971. Group Shows: • San Francisco Museum of Art; 1967. • Moore Gallery, “Second Joint Show”, San Francisco; 1968. • Museum of New York City; 1969. • Boston Museum of Fine Arts; 1969. • Sun Gallery, San Francisco; 1969-1971 • National Museum of Art, Belgrade, Yugoslavia; 1970. • National Museum, Warsaw, Poland; 1970. • Gary Standiford Gallery, San Francisco; 1970-1971. • Richmond Art Center, California; 1971. • Museum of Modern Art, New York; 1971. • Arts and industry exhibition, San Francisco; 1971. • Dr. Reidar Wennesland Art Collection (public Exhibition), San Francisco; 1971. • Gallery: The Poster (with David singer), Los Angeles; 1972. • Kristiansand Art Association, Norway; 1972. • The Palace of the Legion of Honor, San Francisco; April-June 1975. GUEST LECTURES • The artist’s studio, San Francisco; 1970. Lecture for members of the Society for the Encouragement for Contemporary Art concerning “Art and the Electronic Media”. • Berkeley Gallery, San Francisco; 1971. Lecture about the artist’ work for members of the San Francisco Museum of Art. • San Francisco Art Institute; 1971 and 1974. Two lectures in printmaking and one lecture for students at the artist’s studio. • College of Arts and Crafts, Oakland; 1974. Lectures on “Photo and Printmaking” with slide show. • San Francisco State University, Art Department; 1974. “Imagination vs. Media” with slide show. • San Francisco Museum of Art; 1974. “Media and Poster Art” with slide show. • San Francisco State University, Literature Department; 1975. “Composition” with slide show. PUBLISHED ILLUSTRATIONS Washington Post (Book World- syndicated Sunday supplement) 1973-1975- nine illustrations. • Rolling Stone (26 issues) 1969-1975. • Berkeley Barb, 1969. • East Village Other, 1969. • Organ (7), 1970. • Oz Magazine, England (3 issues), 1971-1974. • Clear Creek (10), 1971-1972. • KPFA folio, 1971-1972. • Ramparts (4), 1972. • Communication Arts Magazine (2), 1972. • Sunday Paper (illustrated in collaboration with David Singer), 1972. • Equilibrium (5), 1973. • Video City- Radical software (2), 1973. • Living Daylights, Australia (2 illustrations from “Time Zone”, 1974. • Village voice, 1975. COVER ART • Washington Post (book World syndicated Sunday supplement, 1973-1975: The Sovereign State of ITT, by Anthony Sampson. Gravity’s Rainbow, by Thomas Pynchon. Through Russian Eyes, by Anatolii Gromyko. Richie, by Thomas Thompson. Before Civilization, by Colin Renfrew. The Clockwork Testament, by Anthony Burgess. • California Living, Los Angeles, 1969. Two color posters as part of cover. • The East Village Other, New York, 1969. • Berkeley Barb, Berkeley, 1969. Two covers • KPFA Folio, Berkeley 1972. • Publisher’s Weekly, New York, April 1975. • The San Francisco Sunday Examiner And Chronicle, 1975. RECORD ALBUM COVERS • “GHANDARVA”, Beaver and Kraus; Warner Bros., 1971. Five color cover with David Singer. • “The Occult”, United Artists, 1973. A variety of interviews and music. Color cover and back plus 1 color and 12 black and white illustrations in booklet explaining the album. • “The Miraculous Hump Returns from the Moon”, The Sopwith Camel, Warner Bros, 1973. • “Feel”, George duke, MPS Records, 1974. Separate European release, MPS Records , 1975. • “The Aura Will Prevail”, George duke, HPS Records, 1975. BOOKS • The Cosmic Bicycle: Straight Arrow Books, San Francisco, 1971. Limited hardbound edition, regular softbound edition. 160 9"x 12" pages. 79 black and white and 8 four color illustrations. Four color cover and back. • Time Zone: Straight Arrow Books, San Francisco, 1973. 9" x 12" softbound edition, 160 pages, 84 black and white illustrations. Three color cover and back. ISBN: 0879320281 0879320672 (pbk.) BOOK ILLUSTRATIONS AND COVERS • Biafra Good-bye, 1970 • Rolling Stone Book of Days, 1970-71 • One Eighty Five, 1973 • The Axis of Eros, 1973 • Madness Network News Reader, 1974 • Monsters, 1974 • The Index of Possibilities-Energy and Power, 1974 • The Rainbow Book, 1975 • The Annotated Dracula, 1975 • The Hashish Eater, 1975 • The Illustrated Edgar Allan Poe 1976

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Vintage blacklight poster titled "Desert Blossom" Circa 1970. Flower patterned female springing from cactus blossom Designed by James "Jim" Bunnell second photo illustrates how the piece is depicted under black light During his youth in Santa Monica, Jim sang as the front man in several successful local bands (The Inrhodes, Future, and Anno Domini) and had the opportunity to play alongside notable artists including Jimmy Page, the Yardbirds and the Doors. He was a talented and practiced artist who helped his father run their family owned design and silk screening business, producing some of the more iconic black light posters of the 1960s-70s, usually signing his name as just "Bunnell". When Jim was 18, his father passed away, requiring Jim to pursue his passions independently and care for his mother. Operating the family business alone and working as a musician, he devoted himself to his dream of becoming an architect. Because of this change in careers, the number of Bunnell works on paper are few and, 40 years later, becoming increasingly rarer.

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at Bill's Records https://www.instagram.com/p/B5hAuNNhJqU/?igshid=14hzpmvyvzqpc

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at Bill's Records https://www.instagram.com/p/B5hAcjPB-0D/?igshid=1g0bfb3krscjt

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at Bill's Records https://www.instagram.com/p/B5hAGqCBO06/?igshid=1vomvrljur0je

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at Bill's Records https://www.instagram.com/p/B5g_rVgBXB8/?igshid=1nywqw9lgln9t

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at Bill's Records https://www.instagram.com/p/B5g-qknh0S1/?igshid=8z801fhe9j9r

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at Bill's Records https://www.instagram.com/p/B5g-MyfB83a/?igshid=vlwintrzx9pl