Relix

Before Janis Joplin had an album. Before Syd Barrett left Pink Floyd. Before Santana’s debut existed. Before “Light My Fire” hit number one. These shows happened, and Bill Graham printed the paper to prove it.“The Sound: Fillmore &amp; Winterland Originals, 1966–1970” is twenty-one lots drawn from a single private archive — posters, handbills, and tickets spanning the foundational years of San Francisco rock. Wes Wilson’s psychedelic typography. Bonnie MacLean’s post-Wilson authority. Lee Conklin’s dense, intricate hand. Rick Griffin at the height of his powers. And the bills themselves: the Grateful Dead across six years of Fillmore history, Cream on leap day 1968, the Doors the night “Light My Fire” went to number one, Pink Floyd’s first and only American tour with Syd Barrett.These are the documents from before the records existed. Graham called it The Sound. This is what it looked like.

January 1968: seven months after Monterey Pop detonated Janis Joplin's name across the national consciousness, eight months before Cheap Thrills would make her a household name. Big Brother and the Holding Company are at the apex of their Fillmore run — the room knows it's witnessing something, and BG 104 is the paper that proves it.Sharing the bill across Fillmore and Winterland: The Electric Flag, Mike Bloomfield's newly-formed supergroup following his departure from the Paul Butterfield Blues Band, already one of the most electrifying live acts on the circuit. And the Youngbloods, "Get Together" is already in wide circulation. Three nights, two venues, one of the most loaded triple bills of the era.This lot is the complete three-night archive: a first-edition poster grading Excellent (14 3/16 × 21 in.), and two individual night tickets, January 25 and 26, each in Mint condition, and the original handbill (Good, light wear consistent with age), which surfaces an unlisted billing absent from the poster entirely: Boston psych outfit Ultimate Spinach. Complete sets at this condition tier are genuinely rare.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 104 | Big Brother & The Holding Company, The Electric Flag, The Youngbloods January 25–27, 1968 | The Fillmore & Winterland | Poster, 2 Tickets, Handbill

December 1969: Live/Dead had been in the world for barely three weeks when the Dead walked back into the Fillmore West for this four-night run. Widely regarded as one of the greatest live albums ever committed to tape, its release marked the moment the Dead's reputation for transcendent improvisation became impossible to ignore outside the cult. These December shows are the immediate follow-through. the band at their most confident, the room already buzzing with what the record had just documented.Sharing the bill: Humble Pie, the British outfit formed earlier that year by Steve Marriott, fresh off the Small Faces, alongside a young Peter Frampton, making serious early inroads with American audiences. The pairing of San Francisco's hometown icons with one of London's most promising new rock acts gives this four-night run a genuine transatlantic charge.Designed by David Singer, BG 205 is a first edition, 14 × 22 in. Condition grades Good: tack holes at the corners, creases consistent with period display, this poster lived on a wall, exactly as intended. Priced accordingly for its grade, it remains one of the most accessible entry points into the Dead's Fillmore West catalog.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 205 | The Grateful Dead, Humble Pie | The Fillmore West December 4–7, 1969 | David Singer | First Edition

Two days. That's how long the Grateful Dead's self-titled debut album had been in the world when this show happened on March 19, 1967. Their first record on Warner Bros., the one that introduced "Golden Road" and "Cream Puff War" to anyone outside the Haight, had just landed, and the Dead walked back into the Fillmore to share a bill with Chuck Berry, the man who handed rock and roll its vocabulary in the first place. The generational handoff implied in that pairing is as rich as it gets.This is Wes Wilson in his prime Fillmore period, one of the Big Five poster artists, the designer who essentially invented psychedelic typography, his Art Nouveau-inflected letterforms already redefining what a concert announcement could be. BG 55 is among his later contributions to the BG series before his departure from the Fillmore later that year.Second edition, Very Good condition (13½ × 20 9/16 in.) — clean and displayable, with the honest wear of nearly six decades. A poster-only lot, priced for its grade.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 55 | The Grateful Dead | The Fillmore March 19, 1967 | Wes Wilson | Second Edition

Before the album. Before the Summer of Love. Before Monterey. In December 1966, the Grateful Dead were still almost entirely a San Francisco phenomenon, and Bill Graham put them on a three-night bill that tells you everything about what the Fillmore was doing culturally.Big Mama Thornton, the Texas blues titan who wrote "Ball and Chain," shared a stage with the Dead just six months before Janis Joplin's Monterey performance of that same song changed everything. Tim Rose, whose recording of "Morning Dew" directly shaped the version the Grateful Dead would make one of the most anticipated moments in their live catalog for the next three decades. Three nights, three wildly different musical lineages in the same room, all pointing toward something the world hadn't quite named yet.Wes Wilson at catalog number 41 — early in the BG series, his psychedelic typography was still finding its full voice. Second edition, Very Good condition (14 × 22⅛ in.), clean and fully displayable. A poster-only lot that documents one of the more historically resonant triple bills of the entire Fillmore era.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 41 | The Grateful Dead | The Fillmore December 9–11, 1966 | Wes Wilson | Second Edition

May 1967: the Grateful Dead's debut album has been in the world for seven weeks, Monterey Pop is six weeks out, and the Summer of Love is about to detonate San Francisco into the national consciousness. This two-night stand at the Fillmore catches the Dead at the precise hinge point, a recording band now, but still playing the room that made them, right before everything went irreversibly wide.Supporting acts worth noting: The Paupers, the Canadian outfit who would share the Monterey bill with the Dead just six weeks later, making this an early document of that festival's orbit.BG 62 is Wes Wilson working deep into his Fillmore tenure, by mid-1967 he would depart following a dispute with Graham over royalties, making his later BG numbers among the final artifacts of one of the defining designer-venue relationships in American rock history.Second edition, Good condition (14 × 23 in.), corner creases consistent with period handling, honestly graded and priced accordingly. A poster-only lot. For the Wilson completist or the collector building the Dead's pivotal 1967 Fillmore run, BG 62 lands at a genuinely significant moment in the calendar.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 62 | The Grateful Dead | The Fillmore May 5–6, 1967 | Wes Wilson | Second Edition

Sixteen days after Janis Joplin walked off the Monterey Pop stage and into rock history, Big Brother and the Holding Company came home to the Fillmore for six nights. The audience in that room knew what had just happened, they'd been watching it build for two years, and this run, opening on the Fourth of July at the height of the Summer of Love, carries the full weight of that moment. San Francisco's counterculture at its absolute zenith, document in hand.Bo Diddley headlines, the man whose 1955 beat became one of the foundational rhythms of rock and roll, still a commanding live presence a decade later, and an inspired booking alongside the most talked-about band in America that July.Bonnie MacLean's design arrives in the period following Wes Wilson's departure from the Fillmore, her work stepping fully into its own authority in the BG series.First edition, Excellent condition (14 × 21 in.), no folds, no tears, paper clean and bright. The strongest grade in this lot series, priced accordingly and ready to display. A poster-only lot documenting one of the most charged weeks in Fillmore history.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 71 | Bo Diddley, Big Brother & The Holding Company | The Fillmore July 4–9, 1967 | Bonnie MacLean | First Edition

October 1967: Syd Barrett's Pink Floyd on their first American visit, The Piper at the Gates of Dawn freshly in the world, playing three nights at the Fillmore. Within months Barrett would be gone, his mental health deteriorating through the end of 1967 and into early 1968, David Gilmour stepping in by spring. This three-night Fillmore run sits in that narrow, irreplaceable window: the original lineup, the original vision, still intact.BG 90 is Bonnie MacLean designing at the height of her Fillmore authority, one week before the same venue would host Pink Floyd again alongside Big Brother for the legendary BG 91 run.The anchor is a third-edition poster in Excellent condition, clean, fully displayable, no folds or tears at 13 × 20 in. Accompanying it is a single original show ticket from the opening night, October 26, grading Fair; a surviving artifact but not a display piece. For the Barrett-era collector, the poster stands on its own. The ticket is provenance.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 90 | Pink Floyd | The Fillmore October 26–28, 1967 | Bonnie MacLean | Third Edition

February 1967: Quicksilver Messenger Service headlining three nights at the Fillmore, their marathon improvisational guitar interplay between John Cipollina and Gary Duncan already defining what San Francisco psychedelia could sound like at full stretch. What the poster doesn't tell you, and the handbill does, is that Jefferson Airplane was also on the bill, in the same month Surrealistic Pillow was released. "Somebody to Love" and "White Rabbit" were brand new. The room that weekend was carrying the full voltage of a scene at its most generative.This is the document of that discrepancy: a Wes Wilson first-edition poster that went to press before the Airplane was added to the bill, and a handbill, printed later, that carries both bands and tells the complete story. Both pieces, one run, one designer.The poster grades Good, with tack holes and creases from period display (13 9/16 × 23 3/16 in.); the handbill grades Excellent, clean and bright at 4 7/8 × 8 1/8 in. The handbill is the stronger physical piece. Together, they document a show that the poster alone only partially captures.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 48 | Quicksilver Messenger Service, Jefferson Airplane | The Fillmore February 3–5, 1967 | Wes Wilson | First Edition

Axis: Bold as Love had been in American record stores for roughly two weeks when Jimi Hendrix walked into the Fillmore for this four-night run. The second album, the one that showed exactly how far the Experience intended to push the form, was brand new, and the band was playing it live at the venue that had done more than any other to build their American reputation. BG 105 is the document of that moment.The bill is equally remarkable in depth: John Mayall, whose Bluesbreakers had already launched Eric Clapton and Peter Green, and Albert King, whose "Born Under a Bad Sign" had just redefined what the electric blues could be. Three generations of the guitar lineage on one poster.Rick Griffin's design is among his most celebrated Fillmore works, one of the Big Five artists at the height of his powers, producing an image that has become inseparable from how collectors picture the Hendrix-era Fillmore.Condition must be disclosed clearly: this second-edition copy is dry mounted to a backing board, an irreversible process, and shows paper loss, grading Fair overall. It is not a display piece. For the Hendrix completist or Griffin collector building historical depth at an accessible price point, it remains a legitimate original artifact of a genuinely significant run.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 105 | The Jimi Hendrix Experience, John Mayall, Albert King | The Fillmore & Winterland February 1–4, 1968 | Rick Griffin | Second Edition

February 1968: The Who Sell Out had been in American record stores for roughly six weeks, and the band was touring behind it through the same circuit that had made their Monterey Pop performance the previous summer one of the most talked-about sets of that festival. Three nights at the Fillmore and Winterland, Pete Townshend, Keith Moon, Roger Daltrey, and John Entwistle at the precise moment The Who were cementing their American reputation as the most physically dangerous live act in rock.The bill is pure Graham: Cannonball Adderley, whose "Mercy, Mercy, Mercy" had crossed jazz into soul radio the previous year, sharing three nights with a British rock band hell-bent on destroying their own equipment. The Vagrants, worth noting, featured a young Leslie West, years before he founded Mountain. The eclecticism is the point, and it's why these posters remain so historically charged.Lee Conklin's design is among the most sought-after of his Fillmore tenure, intricate, densely worked, unmistakably his hand.Condition is honestly graded Fair: creases and tack holes consistent with period wall display (13 7/8 × 21 in.), priced accordingly. A poster-only lot for the Who collector or Conklin enthusiast building the 1968 Fillmore run at a genuine entry price point.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 108 | The Who, Cannonball Adderley, The Vagrants | The Fillmore & Winterland February 22–24, 1968 | Lee Conklin | First Edition

"The Sound" was Bill Graham's own description of what was happening musically in San Francisco in the fall of 1966, and he handed those two words to Wes Wilson, who turned them into one of the most celebrated images in the entire Fillmore canon. The curvaceous nude female figure Wilson built around Graham's phrase became so immediately iconic it drove multiple print runs, making BG 29 one of the rare early BG posters that exists in documented editions precisely because demand demanded it. The bill is equally loaded. Jefferson Airplane, debut album barely six weeks old, Signe Anderson still on vocals in the last weeks before Grace Slick's arrival transformed them, sharing six nights with the Paul Butterfield Blues Band, whose Newport Folk Festival appearance the previous year had already changed how rock musicians understood the electric blues. And Muddy Waters, the architect of Chicago blues, whose vocabulary ran through everything on that stage.Three lineages of American music, one poster, one phrase that Graham coined to name a scene that had never been named before.Second edition, Fair condition (13½ × 24½ in.), creases and rips at the top, honestly graded and priced for the condition. A poster-only lot. For the Wilson completist or early Fillmore historian, BG 29 in any edition is non-optional.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 29 | Jefferson Airplane, Paul Butterfield Blues Band, Muddy Waters | The Fillmore & Winterland September–October 1966 | Wes Wilson | Second Edition

The run opens on February 29, a date that only exists every four years, and that accidental rarity fits the moment. Disraeli Gears had been out for three months, "Sunshine of Your Love" was climbing the American charts, and Clapton, Bruce, and Baker were at the absolute height of their powers as a live unit. The May 1968 breakup decision was still months away. This four-night stand at the Fillmore and Winterland is prime Cream, no asterisks.Lee Conklin's design arrives at a high point in his Fillmore tenure, dense, intricate, his hand immediately recognizable to any serious BG collector.This lot is honestly cataloged as an incomplete set. The anchor is a third-edition poster in Excellent condition, clean and fully displayable at 13 7/8 × 20 15/16 in. Accompanying it: a single original ticket from opening night, February 29, grading Very Good, a leap-day artifact that stands on its own. The handbill covers the full four-night run, grading Good at 4 3/8 × 6 7/8 in. Three pieces, one run, no complete ticket set, priced accordingly.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 109 | Cream | The Fillmore & Winterland February 29–March 3, 1968 | Lee Conklin | Third Edition

The image on this poster became one of the most recognizable in rock history, not just as a Fillmore artifact, but as the basis for Santana's self-titled debut album cover. Lee Conklin's snarling lion's head, with its hidden faces and flowing figures, was so arresting that Santana asked him to rework it directly for the record. The album wouldn't drop until 1969. This poster is from before any of that, Santana still building their Fillmore reputation, the artwork not yet carrying the weight it was about to carry.The bill runs deep. Steppenwolf had released "Born to Be Wild" just weeks before this run, it was already climbing the charts, already soundtracking the summer. The Grateful Dead close out the full six-night engagement on the back half of the run.One transparency note for the collector: this is a fifth-edition printing of BG 134. First editions command significantly higher premiums, original first printings can easily command over $5,000 in top preserved states. This copy grades Excellent at 14 × 20 in., clean and fully displayable, and represents a legitimate way to own one of the most culturally resonant images in the entire BG series at a condition-appropriate price point.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 134 | The Grateful Dead, Steppenwolf, Santana | The Fillmore West August 27–29, 1968 | Lee Conklin | Fifth Edition

October 1966: the Grateful Dead have no album. No Warner Bros. deal, no studio recordings, no national profile beyond the Haight and the people who'd been showing up to Fillmore shows all year. What they have is the room, and Bill Graham put them on a two-night stand at catalog number 32, sharing the bill with Lightnin' Hopkins, the East Texas blues titan whose fingerpicking style and storytelling directness ran as a deep current through everything Jerry Garcia was developing as a guitarist.The pairing isn't incidental. The Dead's roots in country blues, jug band music, and the rural American folk tradition were always present beneath the psychedelia, and here, five months before their debut album would introduce them to the world, they're on a bill with one of the living masters of that lineage. Hopkins and Garcia in the same building in 1966 is a collector's footnote that deserves to be a headline.At catalog number 32, this is Wes Wilson deep in the early Fillmore run, his psychedelic typography still crystallizing into the style that would define the era.Second edition, Good condition (13½ × 22 in.), corner imperfections consistent with age and period handling, honestly graded and priced accordingly. A poster-only lot documenting the pre-album Dead at their most purely local and alive.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 32 | The Grateful Dead | The Fillmore October 21–22, 1966 | Wes Wilson | Second Edition

Eight weeks before Monterey Pop transformed Janis Joplin into a national phenomenon, she was still playing three-night stands at the Fillmore, this time opening for one of the architects of the electric blues. Howlin' Wolf, whose "Smokestack Lightning," "Spoonful," and "Back Door Man" ran through the DNA of virtually every band playing the Fillmore circuit, headlining alongside the band that was about to change everything. The generational transfer happening in that room across three nights in April 1967 is as loaded as any bill in the series.One collector's note on the poster itself: Wes Wilson, working at pace, spelled the headliner's name "Howling Wolf", the extra "g" a documented production quirk that has become part of BG 60's identity among collectors.Worth knowing for the record: BG 60 was printed once. Every surviving copy is a first edition, no reprints were ever produced, making this a single-pressing artifact with no secondary market to dilute it.First edition, Very Good condition (14 × 23¾ in.). Clean, displayable, honest age-appropriate handling. A poster-only lot that catches Janis Joplin at the Fillmore in the last quiet weeks before everything changed.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 60 | Howlin' Wolf, Big Brother & The Holding Company | The Fillmore April 21–23, 1967 | Wes Wilson | First Edition

One week after this run, Monterey Pop happened, and The Doors weren't on the bill. Deliberately excluded, as the story goes, for not fitting the peace-and-love image of the festival. While Jefferson Airplane and Big Brother played to the world at Monterey on June 16th, The Doors had just finished two nights at the Fillmore that by all accounts were as intense as anything they put down that year."Light My Fire" was climbing the charts in real time during this run, still six weeks from hitting number one, but already pulling the band out of the underground and into something wider. The June 9–10 Fillmore stand sits right at that hinge. The room knew it was watching something shift.One documented footnote: during these shows, Morrison accidentally caught Bill Graham in the head with a twirling microphone. Graham received a hand-painted helmet as an apology before the next Doors Fillmore run in July.Bonnie MacLean's design comes in her post-Wilson period of full authority over the Fillmore's visual identity. Third edition, Very Good condition (14 × 23 in.), a single corner ding at bottom right, otherwise clean and displayable. Priced for the grade.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 67 The Doors, The Fillmore Poster June 9-10, BG 67 | The Doors | The Fillmore June 9–10, 1967 | Bonnie MacLean | Third Edition

July 25, 1967: "Light My Fire" hits number one. That same night, The Doors walk onto the Fillmore stage for the first of six nights. The commercial breakthrough and the Fillmore run land on the exact same date, BG 75 is the document of that collision, the moment the Doors crossed fully from underground phenomenon to the biggest band in America, playing the room that built them.Sharing the bill: The Yardbirds, but not the band most collectors picture. By July 1967, Eric Clapton and Jeff Beck were long gone. This is the Jimmy Page lineup, twelve months before Page would walk away and form The New Yardbirds with Robert Plant, John Paul Jones, and John Bonham. The band that became Led Zeppelin was one year away. What's on this poster is its direct predecessor, at the Fillmore, on the week "Light My Fire" went to number one.Six nights. Two bands at defining moments in their respective trajectories. Bonnie MacLean's design in her full Fillmore authority.Fourth edition, Very Good condition (14¼ × 21 11/16 in.), mild creases consistent with age, clean and displayable. Priced for the grade, and one of the more historically loaded bills in this entire series.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 75 | The Doors, The Yardbirds | The Fillmore July 25–30, 1967 | Bonnie MacLean | Fourth Edition

Steve Miller built his name at the Fillmore. He appeared at Monterey Pop in June 1967, recorded his debut in London the following year, and spent the years between building one of the most consistent catalogs of any San Francisco original. By November 1970 he's headlining two nights at Winterland behind Number 5, and that album carries weight beyond its chart position. "Jackson-Kent Blues," its most charged track, was a direct response to the killing of four students at Kent State six months earlier. Performing it live in San Francisco in November 1970 landed differently than almost anywhere else in the country.Sharing the bill: Country Joe McDonald, the Bay Area folk-rock icon whose band the Fish had just dissolved. Two artists whose careers had grown up together in the Haight, on the same Winterland stage as the 1960s fully gave way to the new decade. Bill Graham understood the resonance of that pairing.Randy Tuten's first-edition design sits in the Winterland Productions catalog rather than the BG numbered series, placing it outside the most actively traded segment of the market, which tends to keep prices accessible for collectors building the early 1970s Winterland run.First edition, Very Good condition (14 × 21 in.), clean, fully displayable, no significant wear. A poster-only lot priced at a level that reflects the grade and the catalog designation rather than the cultural weight of the bill.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

WIN 701120 | Steve Miller Band, Country Joe McDonald | Winterland November 20–21, 1970 | Randy Tuten | First Edition

Pink Floyd's American debut. Syd Barrett's first, and only, United States tour with the band. By the time the November 2–4 run at the Fillmore concluded, Barrett's deterioration was visible enough that within weeks the band would ask David Gilmour to join as cover. By April 1968, Barrett was officially gone. BG 91 documents the original lineup, on American soil, for the first and last time.Sharing the bill: Big Brother and the Holding Company, four months after Monterey had made Janis Joplin a household name. The collision of Barrett's psychedelic Cambridge vision and Joplin's raw San Francisco power on the same Fillmore stage across three nights is the kind of bill that gets taught in music history courses. The Metropolitan Museum of Art holds BG 91 in its permanent collection, a meaningful marker of where this poster sits culturally.Bonnie MacLean's design is among her most celebrated Fillmore works.The anchor is a first-edition poster grading Good: tack holes and creases consistent with period display (14 1/16 × 21 1/8 in.), priced for the condition. Accompanying it is a rare uncut double handbill covering both BG 91 and BG 92, two consecutive weeks of shows on a single uncut sheet (4½ × 14 in.), designed by MacLean and Nicholas Kouninos. The handbill grades Poor and requires condition notes before listing; it is a document piece, not a display piece, but as an uncut double, its format is genuinely uncommon in the market.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG 91 | Pink Floyd, Big Brother & The Holding Company | The Fillmore November 2–4, 1967 | Bonnie MacLean | Poster & Rare Uncut Double Handbill | First Edition

Sixteen months after Woodstock. Eleven months before There's a Riot Goin' On. December 1970 is the precise hinge point in one of the most dramatic transformations in American music history, the moment between the joyful, Technicolor Family Stone that tore Yasgur's farm apart and the dark, paranoid, studio-isolated Sly Stone recording alone in a Bel Air mansion. This two-night Winterland stand is documented evidence that the band actually showed up, by this point, of the 80 scheduled concerts that year, Sly had already missed 26.Also on the bill: Little Sister, the vocal group led by Sly's sister Vet Stewart, whose harmonies would appear throughout There's a Riot Goin' On. The cast of the next album, performing at Winterland ten days before Rolling Stone ran a piece asking publicly where Sly Stone had gone.Randy Tuten's first-edition design is among his Winterland-era work, collectible, period-correct, and outside the BG numbered series, which makes Winterland Productions pieces like this less commonly seen in the market.Condition must be disclosed: Fair, with handling marks, this is a document, not a display piece, priced accordingly at the grade.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

WIN 710211 | Sly & The Family Stone | Winterland December 11–12, 1970 | Randy Tuten | First Edition

The Sound: Fillmore & Winterland Originals, 1966–1970

The Grateful Dead did not simply perform concerts. They built a world, night after night, in which electricity, improvisation, and the collective will of thousands of listeners converged into something that resisted every attempt to contain or define it. No recording could fully capture it. No photograph could hold it. And so the band's crew — engineers, roadies, and sonic architects working under names like Owsley Bear, Ram Rod, Kidd Candelario, and Sparky Raizene — built systems of ever-increasing ambition in pursuit of a simple, impossible goal: to make the sound as large as the experience. The Wall of Sound, deployed across the Dead's historic 1974 touring season, was the apotheosis of that pursuit: a 641-speaker, 26,400-watt apparatus so colossal it required its own trucks, its own structural engineering, and a full day of assembly before a single note was played. It remains the most ambitious live sound installation in the history of popular music.This auction, presented by ANALOGr in partnership with Relix, brings together that hardware — and much more — in a single historic sale. McIntosh MC 2300 amplifiers that carried Garcia's signal through the Wall's towering arrays sit alongside the 1967 Fender Twin Reverb he played at Newport Pop Festival '68, later passed to John Cipollina of Quicksilver Messenger Service. Phil Lesh's original Dual Showman bass head is here, still bearing fragments of Courtney Pollock's tie-dye. So are the Hard Truckers cabinets marked "CHEOPS" — believed to be the monitors the Dead brought to the base of the Great Pyramid in 1978 — and the original Wall of Sound diagram poster, hand-signed by the crew who built it. Beyond the gear, the sale encompasses psychedelic posters, signed memorabilia, original tickets and backstage passes, and an ultra-rare 1965 Scorpio Records 7" single that predates the Dead's mythology entirely. Each lot carries direct, documented provenance traced to the band's inner circle, their personal estates, and their storage lockers. For those who believe that history lives in objects, this is where to look.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.Few amplifiers in rock history can claim such a storied dual provenance as this 1967 Fender Twin Reverb. Originally owned and played by Jerry Garcia, it served as his primary amplifier during the Grateful Dead's landmark performance at the 1968 Newport Pop Festival—one of the earliest large-scale music gatherings in the United States and a direct precursor to Woodstock. The amp bears unmistakable evidence of its origins: "Grateful Dead" is stenciled on the side, and the marking "J1"—designating Jerry's #1 amp—confirms its front-of-stage role in his rig. After Garcia, the amp passed to John Cipollina of Quicksilver Messenger Service, who added "Quicksilver" to the cabinet and incorporated it into his own touring setup, elements of which are now enshrined at the Rock &amp; Roll Hall of Fame. Most recently serviced by Danny Ghinn (of Dumble Amplifier fame) on November 11, 2025, this amp is in documented, playable condition. A singular artifact of the San Francisco psychedelic era.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Jerry Garcia & John Cipollina Owned 1967 Fender Twin Reverb

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.A monument to the Wall of Sound era, this 1971 McIntosh MC 2300 amplifier (serial #1Y542) is presented in its original vintage case—a case that served a very specific and legendary function on the Grateful Dead's stage: it was the step Bill Kreutzmann used to climb up to his elevated drum riser. Together, the amp and its purpose-built road case represent the engineering ingenuity and sheer physical scale of the Dead's groundbreaking live sound system. Coveted by audiophiles for its sonic fidelity and by collectors for its historical significance, the MC 2300 remains one of the most respected power amplifiers ever produced. This example has passed through Grateful Dead hands and retains its original character.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Grateful Dead Black McIntosh MC 2300 UltraSound Amp & Kreutzmann Step-Case

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.This 1970s McIntosh MC 2300 power amplifier (serial #1Y423) was used by Jerry Garcia as part of the Grateful Dead's legendary Wall of Sound—the most ambitious live sound system ever assembled. The Dead modified the unit themselves, adding banana plug jacks to the rear output terminals for their custom speaker arrays. A Steal Your Face sticker graces the rear panel, and the channel labels are hand-written: "Jerry" over the Left channel output and "Mickey" over the Right, indicating that even after the Wall of Sound was dismantled in 1974, this amp continued to carry Garcia and Hart's signals in the band's ongoing live operation. Obtained directly from the Grateful Dead storage locker of Bill "Kidd" Candelario—one of the Dead's most trusted road crew veterans—its provenance is as solid as its build.Dimensions: 10.5 x 19 x 17 inches.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Grateful Dead Jerry Garcia-Used Wall of Sound McIntosh MC 2300 Power Amplifier

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.One of Phil Lesh's primary bass amplifier heads from his most formative years with the Grateful Dead, this Fender Dual Showman head (serial #A 02876) bears the designation "#5" on its cabinet top—a road-crew numbering system used to track equipment across tours. Modified extensively by the Grateful Dead and Alembic crew, the unit features two 1/4" direct preamp output jacks and a pair of banana plug jacks installed on the rear, routing Lesh's signal out to the bank of McIntosh MC 2300/3500 amplifiers that formed the Wall of Sound. Authentic fragments of tie-dye cloth by artist Courtney Pollock—which once draped the front of the cabinet in the early 1970s—remain visible in the corners, a delicate reminder of the era's visual exuberance. A rare opportunity to own a piece of Phil Lesh's original stage rig. As Deadheads say: Lesh is More!Dimensions: 24 x 9.5 x 8 inches.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Phil Lesh's 1960s–1970s Grateful Dead Fender Showman Bass Amplifier Head #5

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.Reclaimed directly from the storied Winterland Arena in San Francisco, these original wooden bench chairs are genuine artifacts of one of rock and roll's most hallowed venues. Constructed from heavy Northern California redwood with flip-up seats, the chairs date to Winterland's opening on June 29, 1928, making them nearly a century old. Tom Stack personally removed these benches from the building on September 24, 1985, as Winterland was being deconstructed prior to its eventual demolition. The chairs were situated in the four rows of seats just off the main floor—prime territory for many legendary shows, including the Grateful Dead's final Winterland performance on New Year's Eve, December 31, 1978. This lot includes a San Francisco Chronicle column by the legendary Herb Caen, multiple Winterland feature articles, and a zip drive containing 45 archival photographs.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Winterland Ballroom Bench Sets

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.This extraordinary pair of Hard Truckers stage monitors combines two significant chapters of Grateful Dead history in a single lot. The cabinets house 10" JBL speakers alongside EV tweeter horns pulled directly from the center cluster of the 1974 Wall of Sound. Grateful Dead roadie "Sparky" built the custom Hard Truckers enclosures and integrated crossovers specifically for these salvaged Wall of Sound components, as confirmed by legendary sound engineer Dan Healy. Most remarkably, one cabinet bears the word "CHEOPS" scratched into its wood—widely believed to indicate these were the very speakers the Dead brought to Egypt in September 1978, attempting to use the burial chamber of the Great Pyramid of Cheops as a natural echo chamber during their historic Pyramids concerts. Obtained from Merry Prankster Ken Babbs' Oregon farm via his son Simon Babbs. Includes an original 8x10 photograph of Phil Lesh with his Big Brown bass and Keith Godchaux on stage with these cabinets from a 1978 Grateful Dead show.Dimensions: 13 x 16 x 22 inches each.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Pair of 1970s Grateful Dead / Hard Truckers Custom Stage Speakers with 1974 Wall of Sound EV Horn — Egypt 'CHEOPS' Marked + Photograph

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.A quiet but deeply evocative relic from the Grateful Dead's touring operation, this mid-1970s cymbal case comes directly from the estate of Lawrence "Ram Rod" Shurtliff—the Dead's head roadie and one of the most beloved figures in the band's extended family. Ram Rod joined the Grateful Dead organization in the late 1960s and remained a central presence for decades, his dedication earning him near-mythological status among Deadheads and crew alike. This road-worn case—numbered #75 and measuring 25 x 25 x 6 inches—would have traveled with the band across countless tours, carrying the percussion hardware that defined the Dead's rhythm section. For collectors of Grateful Dead road crew memorabilia, items from Ram Rod's personal estate are exceptionally rare.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Grateful Dead Empty Cymbal Case #75 — From the Estate of 'Ram Rod' Shurtliff

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.A matched pair of late-1970s Hard Truckers bass cabinets, purpose-built for the Grateful Dead's touring sound system. Each cabinet houses a 15" JBL speaker—the workhorse transducer preferred by the Dead's audio crew for its power handling and low-frequency response. Constructed from lighter-color Baltic birch—a material chosen for its acoustic properties and durability on the road—these cabinets feature banana plug inputs on the rear, consistent with the Grateful Dead's custom signal routing system. Part of the same extended family of Hard Truckers-built equipment that powered the Dead's live sound throughout the 1970s, this pair represents the quieter, behind-the-scenes engineering that made the Grateful Dead's live experience unlike anything else in rock.Dimensions: 22.5 x 18 x 26.5 inches each.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Pair of Late-1970s Grateful Dead / Hard Truckers 15-Inch Bass Cabinets

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.An 18-inch Zildjian medium crash cymbal played by Grateful Dead drummer Bill Kreutzmann, offered here from the estate of the late Lawrence "Ram Rod" Shurtliff. Kreutzmann's thunderous, intuitive drumming—often interlocking with Mickey Hart in the famous "Rhythm Devils" dual-drum passages—was central to the Grateful Dead's improvisational language for over three decades. This cymbal was part of the physical drumkit that powered that sound, and its provenance through Ram Rod's estate lends it an additional layer of historical authenticity. A piece of the rhythm section, preserved.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Grateful Dead Bill Kreutzmann Medium Crash Zildjian Cymbal — From the Estate of 'Ram Rod' Shurtliff

Estimated shipping costs: $125 (domestic US) / $300 (international). ANALOGr will contact you following the auction with a shipping invoice.A matched pair of White Instruments Series 4303 graphic equalizers (serial numbers 126 and 127), used on stage by the Grateful Dead throughout the 1970s. These rack-mount units—covering the 40Hz to 16kHz frequency range across 3U of rack space—allowed the Dead's audio crew to perform pinpoint frequency adjustments for individual instruments as well as stereo PA and monitor mixes. The consecutively numbered serials confirm they were acquired and deployed as a matched pair by the band's organization. Obtained from the Grateful Dead storage locker of Bill "Kidd" Candelario, their provenance is direct and unimpeachable. White Instruments EQ's were a staple of the Dead's signal chain during the era and appear in numerous archival photographs of their stage rig.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Pair of Grateful Dead Stage-Used 1970s White Instruments Series 4303 19-Inch Equalizers

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.A pair of large-format, 4-way speaker main cabinets built by Grateful Dead crew members using Hard Truckers Baltic birch construction. Painted black to minimize visual distraction on stage, each cabinet contains four individual speaker drivers spanning the full frequency spectrum, connected via integrated crossover networks that route each frequency range to its appropriate driver. Banana plug connections on the rear are consistent with the Grateful Dead's custom signal distribution system. These are among the largest Hard Truckers cabinets ever constructed, representing the practical engineering that underpinned the Dead's ambitious live sound.Dimensions: 24 x 19.5 x 35 inches each.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Pair of Large 1970s Hard Truckers 4-Way Speaker Mains (Grateful Dead Related)

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.An early example of the Hard Truckers/Alembic collaboration that would go on to define the Grateful Dead's live bass sound, this late-1960s dual 15" ported bass cabinet represents the genesis of an era. Built from Baltic birch with Hard Truckers hardware clips, the cabinet houses two JBL 15" speakers and features both 1/4" and banana plug inputs on the rear—reflecting the evolving signal routing practices of the Dead's audio crew. Mounted on casters for ease of movement across stages, this cabinet is a foundational artifact of the sound system development that would eventually culminate in the Wall of Sound.Dimensions: 15 x 24 x 42 inches.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Hard Truckers / Alembic Late-1960s Dual 15-Inch Ported Bass Cabinet (Grateful Dead Related)

Estimated shipping costs: $75 (domestic US) / $225 (international). ANALOGr will contact you following the auction with a shipping invoice.An extraordinary document of rock history: the original "Wall of Sound" diagram poster drawn by Mary Ann Meyer depicting the Grateful Dead's monumental speaker system as deployed at the Hollywood Bowl on July 21, 1974. The poster has been hand-signed by the Wall of Sound's actual builders and operators—Steve Parish, Joe Winslow, Ron Wickersham, John Meyer, Rick Turner, and John Curl—the engineers and roadies whose collective genius made the system possible. Steve Parish added a handwritten tribute in the top right corner: "On behalf of Mark 'Sparky' Raizene, Bill 'Kidd' Candelario, Larry 'Ramrod' Shurtliff who were largely instrumental in building &amp; operating THE WALL." Accompanying the poster is an original backstage pass from the very same Hollywood Bowl performance on July 21, 1974. Together, this is a rare and historically irreplaceable piece of Grateful Dead and live music history.Dimensions: 17 x 11 inches.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Grateful Dead Wall of Sound Hand-Signed Hollywood Bowl Poster + Original 7/21/74 Backstage Pass

Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.A set of seven original audio frequency response graphs from the personal archive of John Curl—the legendary audio designer who helped engineer the Grateful Dead's Wall of Sound in 1973. Rendered on period-correct K+E (Keuffel &amp; Esser Co.) Audio Frequency 46 6882 graph paper and measuring 8.5 x 11 inches each, these graphs document the acoustic research and testing that informed the design of the most ambitious live sound system ever built. One graph is hand-signed in pen: "John Curl '73." Obtained directly from Curl at his Berkeley home and archive, this set represents one of the only documented glimpses into the Wall of Sound's developmental process. Curl has since become one of the most respected figures in high-end audio design; his JC2 preamplifier, originally developed for the Wall of Sound, remains in production to this day. Priceless as history; extraordinary as collectibles.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Grateful Dead John Curl Hand-Signed Wall of Sound Audio Frequency Test Graphs, 1973

Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.Among the rarest items ever offered at Grateful Dead auction: an authentic Owsley "Bear" Stanley autograph on a photograph of the 1974 Wall of Sound at the Hollywood Bowl. Bear—the Dead's legendary sound engineer, financier, and LSD chemist—was famously averse to signing autographs or posing for photographs. His inscriptions are extraordinarily uncommon. This photograph shows the Wall of Sound in full deployment, and Bear's inscription reads: "I MADE THIS! 4 June '07"—a characteristically direct assertion of authorship from the man who, along with the Dead's crew, conceived and realized the most ambitious live sound apparatus in rock history. This is one of the few Bear Stanley autographs ever to appear at public auction.Dimensions: 5 x 4 inches.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Owsley 'Bear' Stanley Hand-Signed Grateful Dead 1974 Wall of Sound Photograph

Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.A deeply poignant pair of artifacts from one of the most significant nights in Grateful Dead history: the October 20, 1974 concert at Winterland, the final show of the band's legendary Wall of Sound tour—filmed for "The Grateful Dead Movie" and the last performance before the band's extended hiatus. The ticket stub from this show is stamped with the ominous phrase "The Last One," which at the time prompted genuine fear among Deadheads that the band was breaking up permanently. Accompanying the stub is a Maxell 7" reel-to-reel tape recording, preserving the concert on magnetic tape as Deadheads of the era did before digital media existed. Together, these items tell the story of a single night that felt like an ending—and eventually proved to be only a pause.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Grateful Dead 7-Inch Reel-to-Reel Recording + 10/20/1974 'The Last One' Ticketron Ticket Stub

Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.An exceptionally rare Grateful Dead concert handbill from 1969, featuring the Hell's Angels and drawn by artist Geno Henicki—one of the only known surviving copies of this item. The handbill documents a singular moment in the cultural mythology of the San Francisco rock scene, capturing the complicated and storied relationship between the Grateful Dead and the Hell's Angels motorcycle club during the late 1960s. At a time when handbills were the primary means of announcing underground shows, this fragile paper document survived against the odds to become one of the rarest pieces of Dead memorabilia in existence. For serious collectors of psychedelic-era concert ephemera, this represents a once-in-a-generation acquisition.Dimensions: 7 x 10 inches.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Grateful Dead 1969 Geno Henicki / Hells Angels Handbill

Estimated shipping costs: $75 (domestic US) / $225 (international). ANALOGr will contact you following the auction with a shipping invoice.A luminous piece of psychedelic poster art from the Spring of 1967, this large-format 18 x 18-inch concert poster advertises a three-night run (April 14–16) at The Kaleidoscope in Los Angeles, featuring the Grateful Dead, Jefferson Airplane, and Canned Heat. The poster has been signed by members of Jefferson Airplane, adding a layer of personal connection to an already exceptional artifact. 1967 represented the flowering of the San Francisco psychedelic scene and the birth of the concert poster as an art form, and pieces from this period—particularly from Los Angeles venues—are among the most sought-after in the genre. A beautiful example of the era's visual and musical culture in one.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Grateful Dead / Jefferson Airplane / Canned Heat Pink Kaleidoscope Concert Poster — Signed by Jefferson Airplane

Estimated shipping costs: $75 (domestic US) / $225 (international). ANALOGr will contact you following the auction with a shipping invoice.A remarkable convergence of two of rock's greatest acts, this 17 x 23-inch poster commemorates the legendary Kezar Stadium concert featuring both the Grateful Dead and Led Zeppelin. The poster bears authentic signatures from Led Zeppelin's Robert Plant and John Paul Jones, as well as the signature of Randy Tuten—the acclaimed poster artist who designed the piece and whose work defines the aesthetic of the Bay Area concert scene. Kezar Stadium shows were landmark events in the early 1970s San Francisco rock calendar, and a signed poster from such an event—featuring two of the era's most iconic bands—is an extraordinary collectible for admirers of either act.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Grateful Dead / Led Zeppelin Kezar Stadium Poster — Signed by Robert Plant, John Paul Jones & Randy Tuten

Estimated shipping costs: $75 (domestic US) / $225 (international). ANALOGr will contact you following the auction with a shipping invoice.Two original payment checks issued to Jerry Garcia and Bob Weir for their appearance on "The Late Show with David Letterman," dated February 27, 1992. One check is made out to Garcia, the other to Weir, creating a matched pair that documents a specific, verifiable moment in the careers of two of rock's most enduring figures. As primary artifacts with real financial and biographical significance—bearing the names of Garcia and Weir as payees—these checks occupy a unique category between musical memorabilia and historical document. For collectors who prize items that connect to specific, dateable events, this is a rare find.For any questions about items, please contact Harrison at<a target="_blank" rel="noopener noreferrer nofollow" href="mailto:harrison@relix.com"> harrison@relix.com.</a>

Jerry Garcia & Bob Weir 1992 Letterman Show Appearance Checks

Wall of Sound: A Living History of the Grateful Dead — Instruments, Artifacts & Ephemera

Before there was a poster, there was a performance. The Fillmore was not merely a concert venue — it was the beating heart of a cultural revolution, a room where the boundaries between artist and audience, between blues and psychedelia, between commerce and counterculture, dissolved night after night into something entirely new. This auction traces that history through the paper artifacts that announced it: original posters, handbills, and tickets spanning from April 1966, when the first shows were barely being documented, through the early 1970s, when the era was already beginning to pass into legend.From Wes Wilson's earliest experiments in flowing psychedelic typography to the intricate masterworks of Bonnie MacLean, Rick Griffin, Stanley Mouse, and Alton Kelley, the lots gathered here represent the full arc of the Fillmore's golden age — and the artists who gave it its face. Jefferson Airplane and the Grateful Dead, Jimi Hendrix and Led Zeppelin, Pink Floyd and The Doors: these are not merely names on a bill, but the building blocks of a world that still echoes in music, art, and design today. Complete sets with matching handbills and dated tickets sit alongside rare single editions, offering collectors at every level a genuine opportunity to own something irreplaceable. For those who believe that history lives in objects, this is where to look.

Graded and slabbed by CGC at 9.0.This single poster is catalogued as BG 0, making it one of the earliest known Fillmore pieces on record and an extraordinarily rare artifact from the very dawn of the San Francisco psychedelic music scene.It is a 1st edition print designed by Bonnie MacLean, one of the Fillmore's most beloved and prolific poster artists, whose work helped define the visual language of the era. The poster promotes a performance by The Grass Roots and Quicksilver Messenger Service at The Fillmore in April 1966, a time when the venue was just beginning to establish itself as the epicenter of a cultural revolution.Measuring 12 5/8 x 18.5 inches, this piece presents beautifully and has been graded by CGC as 9.0, reflecting its outstanding state of preservation for a piece of this age. There are no significant flaws to report, making this an exceptional find for any serious collector.Pieces from this earliest period of Fillmore history rarely come to market in any condition, let alone one as fine as this. This is a true cornerstone lot for anyone looking to anchor a world-class collection of Fillmore memorabilia.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-0 (CGC 9.0) The Grass Roots & Quicksilver Messenger Service | Bonnie MacLean | April 22-23, 1966 | First Edition

This single poster is a 1st edition (Edition A) from August 1966, featuring two of the most celebrated bands in San Francisco's psychedelic rock history sharing the same bill at The Fillmore. Designed by Wes Wilson, the godfather of the Fillmore poster art form and the inventor of the flowing, hard-to-read lettering style that became synonymous with the era, this piece is a quintessential example of his early work.Measuring 14.25 x 20 inches, the poster is graded Good and shows tack holes, a stain, and creases consistent with a piece that has lived a full life since 1966. While the condition reflects honest age-related wear, the graphic integrity of Wilson's design remains clearly visible and impactful.The pairing of Jefferson Airplane and the Grateful Dead on a single bill is a reminder of just how extraordinary the San Francisco live music landscape was during this period.Posters from this early BG series are highly sought after by collectors, and Wilson-designed pieces in particular command strong interest at auction. A wonderful opportunity to own an authentic piece of rock history at an accessible price.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-23-OP-1-A Jefferson Airplane & Grateful Dead | Wes Wilson | August 12-13, 1966

This single poster is a 1st edition from October 1966, promoting an early Grateful Dead performance at Winterland, one of San Francisco's other great rock venues of the era, closely associated with Bill Graham's concert empire alongside The Fillmore.Designed by Wes Wilson, the piece showcases his signature psychedelic typography and organic design sensibility, which was already fully formed by this point in 1966. Measuring an unusually tall 11 7/8 x 24.25 inches, the format itself is a distinctive feature that sets this poster apart from standard Fillmore dimensions.The poster is graded Good and exhibits tack holes and corner creases that are entirely typical for pieces from this period. Despite the wear, the design reads clearly, and the poster retains its full visual presence.Early Grateful Dead posters from 1966 are among the most historically significant pieces a collector can acquire, as they document the band's earliest days before they became one of the most followed acts in American music history. This is a compelling and authentic artifact from the very beginning of the Dead's legendary live career.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-30 Grateful Dead, Winterland | Wes Wilson | October 7-8, 1966 | First Edition

This poster is a 1st edition from November 1966, celebrating a performance by blues titan Muddy Waters at The Fillmore, a booking that reflects Bill Graham's deep commitment to presenting blues legends alongside the rock acts they directly inspired.Designed by Wes Wilson and measuring 13.75 x 22.5 inches, this is a striking example of Wilson's ability to translate the energy of a performance into a bold and memorable graphic statement. The poster is graded Very Good, with only minor bottom-edge paper imperfections noted, an impressive state of preservation for a nearly 60-year-old piece of concert ephemera. Muddy Waters' appearances at The Fillmore were pivotal cultural moments, introducing his music to a new generation of rock fans and cementing the cross-pollination of blues and psychedelic rock that would define the era.Posters from the BG 30s series are highly collectible, and a Very Good example like this represents excellent value. This is a beautiful piece that would be a highlight in any serious collection of Fillmore or blues memorabilia.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-35 Muddy Waters | Wes Wilson | November 4-6, 1966 | First Edition

This single poster is a 1st edition from October 1967, drawn from the AOR (Art of Rock) series rather than the standard BG run, making it a distinctive and somewhat rarer entry in the Fillmore canon. Featuring Jefferson Airplane and Mother Earth at The Fillmore, the poster was designed by Jim Blashfield, whose work brought a unique visual sensibility to the psychedelic poster tradition.Measuring 13 7/8 x 19.75 inches and graded Excellent, this is a pristine example that has survived over five decades in outstanding condition. The AOR series is sometimes overlooked in favor of the more widely collected BG series, but pieces like this represent a genuine opportunity to acquire high-quality Fillmore material at strong value. Jefferson Airplane was at the absolute peak of their popularity and cultural influence in late 1967, making this a historically resonant piece as well as a visually compelling one.The Excellent grade means there are no significant condition concerns, and this poster would display beautifully framed. A wonderful addition for collectors of Jefferson Airplane material, AOR series posters, or Fillmore history more broadly.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

AOR 2.89 Jefferson Airplane & Mother Earth | Jim Blashfield | Oct 29, 1967 | Excellent

This is a rare and exciting complete set comprising a poster, handbill, and ticket from the November 1967 Pink Floyd, Big Brother &amp; The Holding Company, and Richie Havens shows at The Fillmore and Winterland, one of the most historically significant bills ever to grace either venue.All three pieces were designed by Bonnie MacLean and together represent a matched set that is exceptionally difficult to assemble. The first edition poster measures 14 1/16 x 21 1/8 inches and is graded Fair, showing tack holes, creases, and black marker in the top-right corner, with wear that is understandable given the poster's age and the cultural moment it captures. By contrast, the handbill (4.5 x 7 inches) is in Excellent condition, and the ticket (2.5 x 4 3/8 inches) is a stunning Mint example, making the overall set a beautifully balanced offering across three different formats.Pink Floyd's early American appearances are among the most coveted subjects in all of rock memorabilia collecting — and this run holds special distinction as the band's United States debut, making pieces from this specific engagement genuinely singular. The combination of all three formats in a single lot is an extraordinary opportunity that rarely presents itself. This complete set would be a crown jewel in any serious collection.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-91 Pink Floyd, Richie Havens, & Big Brother and the Holding Company | Complete Set - First Edition Poster, Handbill, & Ticket | Bonnie MacLean | November 2-4, 1967

This poster is a first edition from November 1967, documenting a performance by The Doors at The Fillmore during one of the band's most exciting periods.Designed by Jim Blashfield and measuring 14 x 21.25 inches, the poster is graded Good and shows one tack hole in each corner, paper loss, and tape on the back, condition issues that are common for pieces that were displayed and handled during their original use. While the condition is not without flaws, the poster retains its full graphic impact and remains a highly recognizable and desirable piece.The Doors were at the height of their fame and mystique in late 1967, and original concert posters from this period are among the most sought-after items in rock memorabilia. Jim Blashfield's design work for the Fillmore is less widely known than that of Wilson or MacLean, making this an interesting piece for collectors who appreciate the full breadth of the venue's artistic output. The 3rd edition designation means this is not the most scarce version, but it remains a genuinely authentic artifact from a legendary band's peak years.A strong addition to any Doors or Fillmore collection.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-93 The Doors |  Jim Blashfield | November 16-18, 1967 | First Edition

This single poster is a signed 2nd edition from February 1968, featuring The Jimi Hendrix Experience and John Mayall at both The Fillmore and Winterland, a remarkable double-venue billing that speaks to the scale and ambition of Bill Graham's concert productions during this period. Designed by Rick Griffin, one of the true titans of psychedelic poster art and a pivotal figure in the broader underground art movement of the 1960s, this piece carries significant artistic and historical weight.Measuring 14 x 21 11/16 inches, the poster is graded Poor with creases throughout and staining, reflecting a difficult preservation history. However, the poster carries the exceptional distinction of being hand-signed, a factor that substantially elevates its desirability and collectibility regardless of condition grade.Jimi Hendrix material is among the most passionately collected in all of rock history, and a signed Griffin-designed poster from a 1968 Fillmore show is a genuinely extraordinary artifact.Even in poor condition, the combination of Hendrix, Griffin, and a hand signature makes this one of the most significant pieces in the auction.Collectors who prioritize provenance and historical significance over cosmetic condition will find this lot particularly compelling.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-105 The Jimi Hendrix Experience & John Mayall | Rick Griffin (Signed) | February 1-4, 1968

This is a complete set comprising a poster, handbill, and four individual night tickets from a Grateful Dead and Quicksilver Messenger Service run at The Fillmore West in November 1968, a multi-night engagement that captures both bands at a creatively fertile moment. All pieces were designed by Lee Conklin, whose intricate, densely detailed style made him one of the most distinctive voices among the Fillmore's roster of poster artists.The 1st edition poster measures 14 1/16 x 20 3/8 inches, is graded Good with corner dings, and retains a strong visual presence despite its wear. The handbill is graded Good, and the four individual night tickets, covering November 7, 8, 9, and 10, range in condition from Good to Excellent, with the November 10 ticket in particularly fine shape.The inclusion of all four night tickets is a remarkable feature of this lot, as individual tickets from specific show dates are notoriously difficult to locate decades after the fact. Complete sets of this scope, poster, handbill, and a full run of dated tickets, are exceptionally rare and represent the holy grail for many Grateful Dead collectors.This lot is a standout offering and a once-in-a-while opportunity for serious collectors of Dead or Fillmore material.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-144 Grateful Dead & Quicksilver Messenger Service | Complete Set - Poster, Handbill, & 4 Tickets | Lee Conklin | November 7-10, 1968 | First Edition

This is a complete set comprising a signed poster, handbill, and three individual night tickets from Led Zeppelin's legendary April 1969 run at The Fillmore West and Winterland, one of the most celebrated engagements in the band's early American touring history.The 2nd edition poster was designed by Randy Tuten and Peter Pynchon, measures 13 15/16 x 21 inches, and bears a hand signature by Randy Tuten himself, adding a personal and provenance-rich dimension to an already significant piece. The poster is graded Fair with handling marks and creases, described as a "lot copy," but the handbill is in Very Good condition, and the three individual night tickets for April 24, 25, and 26 are graded Very Good, Excellent, and Excellent, respectively.Led Zeppelin's early Fillmore appearances are among the most mythologized in rock history, predating their rise to the stadium-level fame that would define the 1970s, and original material from this period is extraordinarily scarce. The combination of a Tuten-signed poster, a near-complete run of dated tickets, and a handbill in a single lot is a remarkable assemblage that would be nearly impossible to replicate on the open market.This is, without question, one of the marquee lots of the auction and a genuine trophy piece for any serious collector of classic rock memorabilia.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-170 Led Zeppelin | Complete Set - Poster, Handbill, & 3 Tickets | Randy Tuten (Signed) | Apr 24-26, 1969 

This partial set comprises a poster and three individual night tickets from a Grateful Dead and New Riders of the Purple Sage run at The Fillmore West in June 1970, designed by David Singer. Singer's work for the Fillmore is characterized by a more refined, painterly approach that distinguished him from the rawer psychedelic energy of his predecessors, and this piece is a fine example of his mature style.The 2nd edition poster measures 14 x 21 inches and is graded an impressive Excellent, making it one of the finest condition examples in the auction. The three individual night tickets, for June 4, 5, and 6, are graded Good, Excellent, and Excellent respectively, rounding out a strong set across all formats represented. This run took place during the final chapter of the original Fillmore West, which closed its doors in 1971, lending these pieces additional historical significance as documents of the venue's final creative years.The New Riders of the Purple Sage were closely associated with the Grateful Dead during this period, with Dead members frequently sitting in, making this a particularly resonant piece for fans of both acts. A beautifully preserved lot that combines an Excellent condition poster with a strong run of matching tickets.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-237 Grateful Dead & New Riders of the Purple Sage | Poster & 3 Tickets | David Singer | June 4-6, 1970 | Excellent

This single poster is a 3rd edition from February 1966, making it one of the oldest pieces in the entire auction and a document of the very earliest days of the Fillmore's history as a rock venue.Designed by Peter Bailey and measuring 14 5/16 x 19 15/16 inches, this poster predates the emergence of the now-iconic Fillmore visual style that would later that same year be defined by Wes Wilson. The piece is graded Very Good and shows edge imperfections, trimmed edges, and minor rips and creases, entirely understandable for a piece approaching 60 years of age.Jefferson Airplane was one of the pioneering acts of the San Francisco psychedelic scene, and their early Fillmore appearances, documented here, represent the ground floor of what would become a cultural phenomenon.BG 1 is one of the most symbolically significant catalog numbers in the entire Fillmore series, and examples in any condition are keenly sought by serious collectors. The Very Good grade makes this a presentable and displayable example of one of the rarest and most historically important Fillmore posters.An exceptional opportunity to acquire a piece of genuine rock history from the very beginning.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-1 Jefferson Airplane | Peter Bailey | February 4-6, 1966 | Very Good

This poster is a 4th edition from May 1966, documenting one of the most culturally charged evenings in Fillmore history, a performance by The Velvet Underground under the auspices of Andy Warhol's Exploding Plastic Inevitable multimedia event, sharing the bill with Frank Zappa's The Mothers of Invention.Designed by Wes Wilson and measuring 13 x 19 inches, this poster sits at the intersection of two of the most influential artistic movements of the 1960s: the San Francisco psychedelic scene and the New York avant-garde pop world centered around Warhol's Factory. The poster is graded Excellent, making it one of the finest presentable examples of this historically loaded piece that a collector is likely to encounter.The convergence of Warhol, The Velvet Underground, and The Mothers of Invention on a single Fillmore bill was a genuinely extraordinary moment, and Wilson's design captures the energy of that collision beautifully. Pieces that connect the two coasts' artistic revolutions of the 1960s are perennially in demand among collectors of both rock memorabilia and pop art history. The Excellent condition means this poster would display magnificently and needs no apologies.One of the most intellectually and historically compelling lots in the auction.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-8 Andy Warhol, The Velvet Underground, & The Mothers | Wes Wilson | May 28-29, 1966 | Excellent

This poster is a 2nd edition from June 1966, featuring Jefferson Airplane at The Fillmore in another early appearance by the band that would soon become one of the defining acts of the psychedelic era.Designed by Wes Wilson and measuring 14 1/16 x 20 inches, this is a clean, beautiful example from Wilson's prolific early run of Fillmore commissions. The poster is graded Excellent, with no significant condition concerns to report, making it a highly displayable and investment-worthy example.By mid-1966, Wilson's distinctive design language was fully established, and this poster exemplifies the flowing forms and vibrant energy that made his work so immediately recognizable and enduringly influential. Jefferson Airplane posters from this early period are consistently strong performers in the collector market, driven by deep and sustained demand from fans of the band and the broader San Francisco scene.The combination of an Excellent condition grade and a desirable early BG catalog number makes this a particularly attractive lot for collectors at any level.A wonderful piece that would anchor any collection of Fillmore or Jefferson Airplane memorabilia.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-10 Jefferson Airplane | Wes Wilson | June 10-11, 1966 | Excellent

This poster is a 1st edition from March 1967, capturing Jefferson Airplane at The Fillmore during the period immediately surrounding the release of their landmark album Surrealistic Pillow, one of the defining records of the psychedelic era.Designed by Wes Wilson and measuring 13 11/16 x 20 1/16 inches, this is a pristine example from what many consider the peak of Wilson's creative output for the Fillmore. Graded Excellent, the poster presents beautifully with no significant condition issues, and its 1st edition status adds further desirability for serious collectors.By early 1967, Jefferson Airplane had achieved national recognition and were at the forefront of the cultural explosion centered in San Francisco, making this a particularly resonant historical document. Wilson's designs from this period are among the most reproduced and referenced in the history of graphic art, and original 1st edition examples in Excellent condition are genuinely scarce on the open market.This poster would display magnificently and represents a strong investment for collectors focused on the intersection of music history and graphic design history. A highlight lot for anyone with a passion for the Summer of Love era.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-54 Jefferson Airplane | Wes Wilson | March 10-12, 1967 | First Edition

This poster is a 1st edition from September 1967, another Jefferson Airplane appearance at The Fillmore, but this time rendered by Greg Irons rather than the more widely celebrated Wes Wilson, making it an interesting point of comparison within a Jefferson Airplane collection. Greg Irons brought a rawer, more underground comics-influenced sensibility to his Fillmore work, and his designs occupy a distinctive niche within the broader poster art tradition of the era.Measuring 13 7/8 x 21.25 inches and graded Very Good with some creasing, this poster retains strong visual clarity and would present well in a frame.By September 1967, Jefferson Airplane were one of the biggest bands in America, fresh off a summer that included landmark festival appearances and heavy radio play, lending this piece significant cultural weight. Irons-designed Fillmore posters are somewhat less common in the collector market than Wilson or MacLean pieces, making this a potentially interesting undervalued acquisition for discerning collectors.The 1st-edition status and Very Good condition combine to make this a solid, presentable lot. A fine piece from the height of the psychedelic era.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-85 Jefferson Airplane | Greg Irons | September 28-30, 1967 | First Edition

This poster is a 1st edition from October 1972, documenting a David Bowie performance at Winterland during what is widely regarded as one of the most transformative moments in his career, the Ziggy Stardust era, when Bowie was reinventing rock performance and pushing the boundaries of identity, costume, and spectacle.Designed by Randy Tuten and measuring 13 5/8 x 22 inches, this poster represents a slight shift in the auction's timeline, bridging the classic Fillmore era of the late 1960s with the early 1970s rock scene that grew directly from it. The poster is graded Very Good with only minor handling marks, making it a clean and highly displayable example.Randy Tuten's design work for Winterland in the early 1970s is highly regarded and increasingly collected as the legacy of the San Francisco venue scene continues to grow in cultural appreciation. David Bowie posters from this era are perennially in demand among collectors of glam rock and classic rock memorabilia, and Winterland examples are particularly scarce compared to arena-era Bowie material.This is a visually striking and historically significant piece that would stand out in any collection spanning the full arc of 1960s and 1970s rock history.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

WIN-721027 David Bowie, Winterland | Randy Tuten | October 27-28, 1972 | First Edition

This is a complete set comprising a poster, handbill, and three individual night tickets from a Paul Butterfield Blues Band run at The Fillmore in July 1967, all designed by Bonnie MacLean. MacLean's work for the Fillmore is among the most celebrated in the poster art tradition, and this piece is widely considered one of her finest designs, intricate, vibrant, and deeply expressive of the psychedelic moment.The 1st edition poster measures 13 15/16 x 21 inches and is graded Excellent, as is the handbill at 4.5 x 6 15/16 inches, making the top two pieces of this set exceptional in terms of preservation. The three individual night tickets, for July 11-13/16, July 14, and July 15, are graded Good, Excellent, and Excellent, respectively, completing a well-preserved set across all three formats.The Butterfield Blues Band were one of the great live acts of the era, and their Fillmore appearances were celebrated events that drew devoted audiences.A complete set of this caliber, Excellent poster, Excellent handbill, and strong tickets, is exactly the kind of offering that serious collectors wait years to encounter. This is a beautiful and cohesive lot that showcases Bonnie MacLean's artistry at its very best.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-72 Butterfield Blues Band | Complete Set - Poster, Handbill, & 3 Tickets | Bonnie MacLean | July 11-16, 1967 | First Edition

This is a complete set comprising a poster, handbill, and three individual night tickets from an Electric Flag, Moby Grape, and Steve Miller Blues Band run at The Fillmore in August 1967, all designed by Bonnie MacLean. This bill is a remarkable snapshot of the San Francisco scene's diversity and vitality in the summer of 1967, bringing together three acts that each represented a different dimension of the blues-rock and psychedelic fusion that defined the era.The 1st edition poster measures 14 x 21 inches and is graded Very Good; the handbill measures 4.5 x 7 inches and is also graded Very Good. The three individual night tickets, for August 8-10/13, August 11, and August 12, are all graded an exceptional Mint, making the ticket component of this set among the finest in the entire auction. The combination of a Very Good poster and handbill with three Mint tickets is a remarkable assemblage that reflects extraordinary care in preservation across all three formats.Electric Flag were at the peak of their brief but brilliant existence in August 1967, and original material from this run is genuinely scarce.A superbly preserved complete set and one of the strongest offerings in the auction from a condition standpoint.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-77 Electric Flag, Moby Grape & Steve Miller Blues Band | Complete Set - Poster, Handbill, & 3 Tickets | Bonnie MacLean | August 8-13, 1967 | First Edition

This is a complete set comprising a poster, handbill, and three individual night tickets from a Buffalo Springfield run at The Fillmore in December 1967, designed by the legendary duo Stanley Mouse and Alton Kelley, two of the most celebrated and influential artists ever to work for the Fillmore. Mouse and Kelley's collaborative designs are among the most iconic in the history of rock poster art, and their partnership represents a creative partnership with few equals in the genre.The 1st edition (B) poster measures 11 x 21 1/8 inches and is graded Very Good; the handbill measures 5 x 7 inches and is also graded Very Good. The three individual night tickets — for December 21, 22, and 23 — are graded Excellent, Fair, and Mint, respectively, offering a full three-night run in a single lot.Buffalo Springfield were one of the great but tragically short-lived bands of the era, and their Fillmore appearances are cherished documents of a band that contained within it the seeds of several legendary subsequent careers. Sharing the bill across this three-night run were the Collectors and Hour Glass — the Los Angeles group fronted by Duane and Gregg Allman, years before the formation of the Allman Brothers Band.A complete set designed by Mouse and Kelley is a genuinely special offering, combining two of the most prestigious names in poster art history with one of the most beloved bands of the 1960s.A fitting and magnificent closing lot for Fillmore Archive Auction No. 1.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

BG-98 Buffalo Springfield | Complete Set - Poster, Handbill, & 3 Tickets | Stanley Mouse & Alton Kelley | December 21-23, 1967 | First Edition

The Fillmore Era: Posters, Tickets, and Handbills from Rock's Golden Age, 1966-1972

Before there was a band, there was a story. The Grateful Dead took their name from a folk tale as old as human memory—the story of a traveler who honors an unburied stranger and is repaid with gifts beyond measure. This auction traces that literary lineage from its earliest scholarly study, Gordon Hall Gerould's extraordinarily rare 1908 volume The Grateful Dead: The History of a Folk Story, through the very dictionary Jerry Garcia consulted when he discovered the name in 1965. These foundational artifacts anchor a collection that illuminates the written word's central place in the Dead's universe.From there, the collection expands into the poetry and publications that defined the band's intellectual circle: Robert Hunter's landmark verse, Bobby Petersen's elegies to fallen friends, the iconic Jester songbook with its Mouse and Kelley illustrations, complete runs of The Golden Road, and the monumental Taping Compendium that documented three decades of live performance. Together, these items reveal the Grateful Dead not just as a band, but as a literary movement—a community of poets, scholars, and writers whose work gave shape and meaning to the music. For collectors and scholars alike, this is a rare opportunity to own pieces of that story.

Princeton University literary scholar Gordon Hall Gerould wrote the first book-length study of the grateful dead folk tale in English, which inspired the entry in the dictionary that Garcia found in November 1965. One of the rarest books in the world of the Dead, few copies survive, especially in this condition.David Nutt, 1908. Octavo, 177 + 15 pp. Cloth. As issued, without jacket, in a custom clamshell archival box. Fine condition; an extraordinary copy.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

The Grateful Dead: The History of a Folk Story | Gordon Hall Gerould | David Nutt, 1908

The seminal 1960s work about Ken Kesey and the Merry Pranksters that catapulted the Dead into national prominence. Tom Wolfe's classic book was a foundational work of New Journalism, a school of writing that emphasized the literary potential and subjective nature of journalism. The book's chapter on the Dead cemented the band's place in the American counterculture and enshrined their legendary participation in the Acid Tests.Farrar, Straus and Giroux, 1968. Octavo, 434 pp. First edition, first printing. Toning to flyleafs, otherwise clean and bright. Beautifully rebound in psychedelic purple leather and marbled fine book paper.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

The Electric Kool-Aid Acid Test | Tom Wolfe | Farrar, Straus and Giroux, 1968 | First Edition, First Printing

This artifact of the Acid Test era can be seen in Paul Perry's On the Bus (Thunder's Mouth, 1990, p.140). The Pranksters had these made to signify "who was a 'Card Carrying Merry Prankster,'" and decorated the front with the famous image of Uncle Sam by James Montgomery Flagg. It is accompanied by one of Ken Kesey's own mysterious business cards, with "IT IS" and "mobile KESEY".Ca. 1965–66. 3.5 x 2 in. Browning to edges, image clean and bright; in remarkable condition for a 60-year-old cardstock. With a signed COA by Zane Kesey, Ken Kesey's son.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

"Can You Pass the Acid Test?" Business Card | Merry Pranksters | Ca. 1965–66 | With Ken Kesey "IT IS" Business Card & COA by Zane Kesey

Longtime band staffer and Ice Nine manager Alan Trist continued his research into the Grateful Dead folktale after cowriting the essay on it for the band's 1983 tour program, finally producing this "retelling," as he modestly called it, in 1989. Beautifully illustrated, this rendition captures the essential features of the folk story, offering an authentic and compelling narrative suitable for storytelling. At heart, the story is about the obligations of the living to the dead, a debt that, when honored, provides precious gifts.Hulogosi, 1989. Octavo, 43 pp. Hardbound in dust jacket. Signed by the author. Near fine.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

The Water of Life: A Tale of the Grateful Dead | Alan Trist | Hulogosi, 1989 | Signed

Starting in 1984, Deadheads could learn about&nbsp;the Grateful Dead&nbsp;through The Golden Road, a beautifully produced quarterly published by veteran journalists Blair Jackson and Regan McMahon. The Golden Road offered insightful interviews with band members and staffers, concert reviews, tour information, and carefully monitored the pulse of the Grateful Dead scene for 27 issues, finally ending in 1993. As a document of the Dead's final era, the magazine offers an unparalleled inside look at the scene as it underwent seismic change. This set has been beautifully library-bound, preserving the magazine and making it a handsome addition to any Deadhead bookshelf. Indispensable.Complete run bound in two archival hardbound library volumes.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the completion of the auction.

The Golden Road, Nos. 1–27 | Complete Run Blair Jackson & Regan McMahon | 1984–1993 | Two Volumes, Library Bound

Long before the internet connected Deadheads across the globe, Blair Jackson and Regan McMahon did it the old-fashioned way — with ink and paper. Launched in 1984, The Golden Road was a labor of love: a quarterly magazine that brought serious journalism to the Grateful Dead universe, featuring candid interviews with band members and crew, sharp concert coverage, and an attentive ear to the ever-evolving Dead scene. Over 27 issues spanning nearly a decade, it chronicled one of the band's most transformative periods, ending with its final issue in 1993. For collectors, this is primary source material — a window into a world that was changing faster than anyone knew.Issue no. 1. Fine/near fine condition.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

The Golden Road, Issue No. 1 | Blair Jackson & Regan McMahon | 1984

Octavo, 161 pp. Paperbound. Minor edgewear, standard perfect-bound spine crease (from the cover being opened), else near fine.Best known as the lyricist of "Passenger," Peter "Monk" Zimmels was a member of the Dead's larger literary circle who was a close friend of Phil Lesh's. In addition to his lyrics, he wrote poetry, which his family assembled into this volume at his death. Given to friends and family, this is one of the rarest of all Grateful Dead books. Readers will be fascinated to see the original draft of the lyrics for "Equinox" here, an outtake from the Terrapin Station sessions finally released on the 2006 CD reissue of the album. There are other treasures throughout, such as "Homegrown," dedicated to M.G., or Carolyn Garcia, Jerry's wife, who also wrote the book Primo Plant, one of the earliest how-to guides to growing marijuana. Monk officiated at Garcia's marriage to M.G.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the completion of the auction.

Peter Monk: Collected Poems | Peter "Monk" Zimmels | Lyricist of "Passenger," Grateful Dead Literary Circle

This is the dictionary that Garcia consulted when he found the band's name. The editor responsible for the entry was Maria Leach, a folklore scholar best known for her monumental Dictionary of Folklore. She consulted Gerould's book to write the entry. We are pleased to offer the correct edition, confirmed by consulting the actual dictionary, which differs from the version famously depicted in The Book of the Deadheads.1956 edition. Pristine condition in a custom archival clamshell box.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

Funk and Wagnalls New Practical Standard Dictionary | The Dictionary of the Grateful Dead | 1956 Edition

Grateful Dead&nbsp;band staffer and longtime manager of the Dead's publishing arm, Ice Nine Publishing, edited this commemorative tour program, the band's first extensive effort. Along with band member biographies, it included a range of revealing essays by fellow travelers such as Paul Krassner, a collage of album cover art, a moving afterword by Milton Mayer, Robert M. Petersen's moving elegy to Pigpen, "He Was A Friend of Mine," and more. The most significant essay is by Petersen with Alan Trist on the Grateful Dead folk tale, marking the first exploration of the link in a band publication.Tall octavo, 29 pp. Fine condition.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

Grateful Dead Tour Program, 1983/84 | Edited by Alan Trist | Ice Nine Publishing

Conducted by Yale law school professor Charles Reich, the author of The Greening of America, along with Rolling Stone editor and publisher Jann Wenner, this interview provided the first sustained, book-length view of the Dead as they entered the 1970s from the mind of the musician who, for many fans, represented the leader and guiding spirit of the band.Straight Arrow, 1972. Hardbound in dust jacket, 254 pp. Quarto. First edition. Near fine, very good condition with a dust jacket that is in very good condition, some chipping to the lower edges and discoloration on jacket.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

Garcia: A Signpost to New Space | Jerry Garcia with Charles Reich & Jann Wenner | Straight Arrow, 1972 | First Edition

This is the only known copy to have ever come to market to be signed by the compiler and editor, longtime band staffer Alan Trist, who was Garcia and Hunters friend in early 60s Palo Alto and a central person in Hunter's recent novel The Silver Snarling Trumpet. Incredible condition.Published a year after Petersen's death, this volume honored the Dead's longtime friend and lyricist, offering definitive proof of his ambition and achievement. This beautifully produced volume showed how Petersen's poetry helped to define the Dead and connected them to the Beat Generation and the San Francisco Poetry Renaissance.Hulogosi, 1988. Octavo, 129 pp. Hardbound in dust jacket. Signed.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the completion of the auction.

Alleys of the Heart: Collected Poems | Robert M. Petersen | Edited by Alan Trist | Foreword by Robert Hunter | Hulogosi, 1988 | Signed

Hunter's major press debut was a landmark work that features some of his finest poems. This volume cemented Hunter's claim to the status of serious poet in a volume that remains one of his most important and collectable. The final poem, "Holigomena," ends with some of Hunter's most eloquent poetry: "attempting / to speak truly / if not / truthfully / about lost things / in lost places / with lost words / in a lost song / and somehow / bring it / to be found."Viking, 1991. Octavo, 94 pp. Hardbound in dust jacket. Slightest of edgewear and bowing to upper edges of jacket, else mint. A beautiful copy.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

Night Cadre | Robert Hunter | Viking, 1991 | First Edition

A fascinating poetic exercise that grew into a full-length work, Idiot's Delight" was printed in Beat poet Raymond Foye's Hanuman Press series of pocket-sized works. Hunter played with the page's small size to superb effect, with a wide-ranging meditation on appetite and a host of other themes that will resonate with readers who know his lyrics. Funny, insightful, and moving, this is one of his rarest works.Small 16mo., 137 pp. Softbound (wrappers) in jacket. Very good condition. Some visible damage to outer jacket. Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

Idiot's Delight | Robert Hunter | Hanuman Press

Band lyricist and poet Robert M. "Bobby" Petersen's first published chapbook. It contains his moving elegies to Janis Joplin, "For Janis," and to Pigpen, "He Was A Friend of Mine." Petersen was an important figure in the early Dead scene, a close friend of Phil Lesh's and Alan Trist's, and an early and stalwart supporter of the band. Petersen is best known for his lyrics for the Dead, including "New Potato Caboose," "Pride of Cucamonga," and "Unbroken Chain"; his last lyric was "Revolutionary Hamstrung Blues," performed only once and never recorded in the studio. Petersen was considered the most serious and accomplished poet in the Dead's scene in the band's early years, and a link to the older San Francisco Bay Area poetry scene. Copies of this first chapbook are rare; copies of the first printing are unheard of. This is one of the equally scarce second printings, which the Grateful Dead sponsored as a tribute to their old friend.SIGNED BY AUTHOR, ROBERT M. PETERSON. Chapbook. Softbound. Octavo, 31 pp., unnumbered. 2nd printing. Privately published, financed by Grateful Dead Productions. Signed by Petersen on the front flyleaf; fine condition; some spotting to front flyleaves, as is common.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

Far Away Radios, Signed | Robert M. Petersen | 2nd Printing, Grateful Dead Productions

The famous "Jester" songbook, with the iconic cover illustration. When the Dead hired Alan Trist in 1970, his first assignment was to help establish Ice Nine Publishing to handle their music copyrights and publications. This songbook was a symbol of that effort, and this landmark work demonstrated the Dead's commitment to old-fashioned literary and artistic values with their own distinctive Haight-Ashbury spin. With beautiful calligraphy for the music by Bob Bayless and gorgeous full-color illustrations by famed Haight-Ashbury artists Stanley Mouse and Alton Kelley, the Jester Songbook set a standard for rock music.First printing. Fine. Rare in this condition. This first printing does not have the ISBN on the back cover. Some toning to cover, but otherwise near fine.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

Grateful Dead [Jester Songbook] | Ice Nine Publishing | Stanley Mouse & Alton Kelley, Illustrators | First Printing

The rare follow-up volume to the Jester Songbook, this included the music and lyrics for Wake of the Flood, From the Mars Hotel, and Blues For Allah. The cover featured Rick Griffin's crow from Wake of the Flood and marked the last in-house production of the band's songbooks. A powerful document from the year the Dead returned to the road after their hiatus from late 1974 through spring 1976.Ice Nine Publishing, 1976. Quarto, 104 pp. Fine.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

Grateful Dead, Vol. II | Ice Nine Publishing, 1976 | Rick Griffin Cover Art

Softbound, Quarto, 260 + [11] pp.; 279 + [16] pp. Slipcased. Fine. Rare, especially in this condition.As the Dead expanded their catalog, Ice Nine partnered with Warner Bros. to publish new songbooks, aptly entitled Anthology I and II. With discographies in the back. These oversized softbound volumes rarely survived in good condition; we're proud to offer a pristine set here in the very rare slipcased edition. Slipcased volumes have traditionally been the mark of an author's importance, a tribute to the power of their work. This slipcased set marked the first time the Dead's music received this level of respect.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the completion of the auction.

Grateful Dead Anthology, Vols. 1 & 2 | Ice Nine Publishing / Warner Bros. | Slipcased Edition

The monumental, groundbreaking study of the Dead's performances on tape, exhaustively documented and analyzed by dozens of expert tape collectors and Deadhead writers. The essays on the band's taping practices and the history of fan taping remain invaluable, and the lavishly detailed descriptions of concerts, tapes, and first-person accounts of shows make this a high-water mark in Grateful Dead writing. Dwork was the editor and publisher of Deadhead fanzine Dupree's Diamond News, giving this series a particular cachet. A rare and revealing look at the band's music from the perspective of the Taper's Section, and an incisive look at how fan taping infused and helped to define the Dead's cultural footprint.Henry Holt / PepperTonic, 1998–2001. Paperbound. Quarto, 598 pp; 756 pp.; 711 pp.; 407 pp. Mint condition, as new. This set includes Volume 4, the Addendum, which is rare.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

The Deadhead's Taping Compendium, Vols. 1–4 (Complete, with Rare Vol. 4 Addendum) | Michael M. Getz & John R. Dwork, Eds. | Henry Holt / PepperTonic, 1998–2001

The first full-length biography of the band was written by a college friend of Phil Lesh, who managed the Warlocks briefly in 1965. Although Harrison became a controversial figure, prone to exaggeration and error, his book was the first to treat the Dead as part of a larger cultural movement. This copy shows minor wear but includes the flexi-disk of Neal Cassady rapping with the Dead, providing accompaniment at a famous concert at the Straight Theatre in July 1967, less than a year before his untimely passing. Almost every copy has had the flexi-disk removed; this copy not only includes the disc, but it is as issued, bound in.Links, 1973. Square octavo, 180 pp. First edition, first printing. Some toning to cover, minor creases, and one small tear to the back cover at the bottom edge. About very good. Includes flexi-disk.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

The Dead Book Hank Harrison | Links, 1973 | First Edition, First Printing | With Flexi-Disk (Neal Cassady)

When the Dead began licensing vendors, one enterprising artisan created a beautifully detailed metal casting of Stanley Mouse and Alton Kelley's iconic reimagining of E.J. Sullivan's illustration of a skeleton crowned with roses, which became the famous Family Dog poster and Grateful Dead symbol. Years later, a few of these were turned into bookends. These are heavy, beautifully built pieces.Domestic (United States) shipping is included in the purchase price. International shipments will be subject to additional shipping costs, to be invoiced after the auction is completed.

Grateful Dead Skeleton & Roses Bookends | Stanley Mouse & Alton Kelley | Cast Metal

Dead Letters: Books, Poetry & Printed Treasures of the Grateful Dead

This curated auction features a trove of vintage and rare Grateful Dead concert posters, spanning the band’s storied career. Highlights include Fillmore originals, European tour prints, Mardi Gras celebrations, Egypt 1978, and more. Many pieces are first printings, artist-signed, or sourced from historic venues that helped shape the Dead’s legacy.Whether you're a lifelong collector or just discovering the psychedelic visual world of the Dead, this archive offers a unique window into the art, culture, and movement that followed the band for decades.Bid now and own a piece of Grateful Dead history.Free shipping within the United States. International shipping is available at an additional cost.

Art by Wes Wilson2nd Printing, Excellent Condition (minor handling wear along a few edges and a small surface blemish near the right side of the face)Size: 14 1/4" Wide x 20" TallA cornerstone of psychedelic rock history, this original BG 23 poster captures the energy of two legendary bands—Grateful Dead and Jefferson Airplane, sharing the stage at San Francisco’s iconic Fillmore Auditorium on August 12–13, 1966. Designed by Wes Wilson, the godfather of psychedelic poster art, BG 23 is revered for its electric color palette, flowing typography, and early use of the now-iconic Fillmore style that helped define the visual identity of the Haight-Ashbury scene.This poster marked one of the earliest appearances of the Grateful Dead at the Fillmore, alongside a rising Jefferson Airplane during the Summer of Love’s formative months. Original printings of BG 23 are prized by collectors for their historical significance and striking visual appeal.&nbsp;Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;

BG 23 – Grateful Dead & Jefferson Airplane, Fillmore Auditorium (August 12-13, 1966)

Art by Wes Wilson2nd printing • Conservation backed with archival paper • Excellent condition (Minor edge wear and light handling marks near corners)14″ Wide x 22″ TallThis stunning poster from Bill Graham’s legendary Fillmore series captures the Grateful Dead’s headlining run in December 1966. Designed by iconic psychedelic artist Wes Wilson, the bold lettering and surrealist imagery reflect the explosive creativity of San Francisco’s counterculture scene.Printed as a 2nd edition and professionally conservation-backed on archival paper, this piece is in excellent condition, with minor edge wear and light handling marks near corners, a true collector’s gem.BG 41 is an essential entry in the early Grateful Dead poster canon and an excellent representation of late-1966 Fillmore design sensibilities. This copy’s condition and conservation work make it a top-tier example.Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;

BG 41 – Grateful Dead & Big Mama Thornton, Fillmore Auditorium (December 9-11, 1966)

Art by Wes Wilson3rd printing, lithograph, excellent (Light edge and corner wear are visible upon close inspection)28 1/2" tall x 15 3/4" wideThis iconic Wes Wilson poster commemorates the three-night residency at the historic Fillmore in San Francisco (July 15–17, 1966), featuring seminal performances by Jefferson Airplane supported by the Grateful Dead. Printed as a third edition lithograph and preserved in excellent condition with light edge and corner wear, it's a masterpiece of psychedelic concert artwork—tall, narrow format with vivid color and Wilson’s bold, flowing typography.Ideally suited for collectors of 1960s concert posters, this tall-format piece by Wes Wilson captures the vibrant energy of early San Francisco psychedelic rock. A standout for frame-and-display, it’s a rare collectible reflecting two pioneering bands at a historic moment.Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;

BG 17 – Grateful Dead & Jefferson Airplane, Fillmore Auditorium (July 15–17, 1966)

Art by Sun GraphicsOriginal Print, Rare Survivor, Excellent condition (light corner wear)13 3/8” Wide x 20½” TallThis VERY RARE original poster commemorates the Grateful Dead’s historic 1986 performance at Boreal Ridge Ski Resort in Northern California, a high-altitude, summertime show remembered for its remote mountain setting and electric energy. Designed by Sun Graphics, the poster blends bold typography with vibrant imagery evocative of the Dead’s mountain-vibe mystique.Preserved in excellent condition with light corner wear, this original print is a true survivor; few were produced, and even fewer remain intact nearly four decades later. A must-have piece for any serious Deadhead or collector of 1980s-era concert memorabilia.Add a rare and atmospheric artifact to your collection from a lesser-known but legendary moment in Grateful Dead history.<div>Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;</div>

Boreal Ridge ’86 Poster

Art by Harry RossitOriginal Print,&nbsp; Excellent Condition (Corners show light wear with faint edge rubbing, and the surface retains strong color and gloss)13" Wide x 19" TallCelebrate the spirit of Fat Tuesday Dead-style with this vibrant original 1993 Mardi Gras poster, created by artist Harry Rossit for the Grateful Dead’s annual celebration at the Oakland Coliseum. Known for their festive and playful Mardi Gras shows, the Dead leaned into the pageantry with parades, costumes, and unexpected setlists.Rossit’s artwork bursts with New Orleans flair, blending psychedelic motifs with traditional Mardi Gras imagery. This is an excellent condition original. The corners show light wear with faint edge rubbing, and the surface retains strong color and gloss. Overall, remarkably well-preserved with only minor signs of handling.A perfect collectible for Deadheads and poster enthusiasts alike, capturing the magic of one of the Dead’s most beloved live traditions.<div>Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;</div>

Mardi Gras 1993 Poster

Art by Troy AldersOriginal print, Excellent Condition (minor corner softening. No creases, folds, or edge tears. Two tape pulls are present on the reverse side, but do not affect the front image or display.)7,262 / 7,50015 3/4" Wide x 28 1/2" Tall <div>Artist Troy Alders created this striking original 1995 Mardi Gras poster for what would become the Grateful Dead’s final Mardi Gras celebration. Held at the Oakland Coliseum, these festive shows were beloved for their colorful parades, surprise performances, and carnival atmosphere, and 1995 was no exception.</div><div>Alders’ artwork captures the vibrant energy of Mardi Gras with a psychedelic twist, reflecting both the spirit of the holiday and the band’s enduring creativity. The poster remains in excellent condition, with minor corner softening. No creases, folds, or edge tears. Two tape pulls are present on the reverse side, but do not affect the front image or display.</div><div>A rare and poignant piece from the final year of the Grateful Dead’s storied run, this poster is a must-have for collectors looking to own a vibrant artifact from one of the band’s most spirited traditions.</div><div> Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;</div>

Mardi Gras 1995 Poster

Art by Alton KelleyOriginal print, Excellent Condition (light corner and edge wear)Size: 30" Wide x 20" Tall<div>This VERY RARE stunning original 1978 European Tour poster, designed by legendary psychedelic artist Alton Kelley, commemorates one of the most iconic moments in Grateful Dead history—their groundbreaking performances at the Great Pyramids of Giza in Egypt.</div><div> </div><div>Kelley’s artwork captures the mysticism and grandeur of the occasion, blending ancient symbolism with the Dead’s cosmic aesthetic. With bold colors and rich detail, the poster reflects both the cultural significance and psychedelic wonder of the band’s Egyptian adventure.</div><div> </div><div>Preserved in excellent condition, with light corner and edge wear, this is a rare and highly sought-after collectible from a milestone event that cemented the Dead’s global legend.</div><div> </div><div>Own a piece of history from the band’s most mythical tour—a sacred relic for any serious Deadhead or poster collector.</div><div> Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;</div>

European Tour 1978 Poster (Egypt '78)

Art by Dennis Larkins (signed)Original print, Excellent Condition (Light edge and corner wear &amp; softening)30" Wide x 20" Tall<div>This VERY RARE original 1980 Radio City Music Hall poster, designed and hand-signed by acclaimed artist Dennis Larkins, commemorates the Grateful Dead’s legendary acoustic and electric performances during their eight-night residency in New York City. These October shows, paired with a run at the Warfield in San Francisco, formed the basis of the beloved Reckoning and Dead Set live albums.</div><div>Larkin’s surreal, dimensional artwork captures the grandeur of Radio City through a psychedelic lens, making this poster one of the most visually striking in the Dead’s concert history.</div><div>Preserved in excellent condition, with light edge and corner wear &amp; softening, and signed by the artist, this piece is a museum-worthy collectible from a pivotal era in the band’s evolution.</div><div>A must-have for any serious Deadhead or poster collector, commemorating the moment the Dead went unplugged in one of America’s most iconic venues.</div><div>Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;</div>

Radio City Music Hall Poster (October 1980)

Artist - Richard BiffleDetails &amp; Condition - Original print, Signed by Full Band, Mint ConditionSize - 12" Wide x 18" Tall<div>This original 2004 “Wave That Flag” Summer Tour poster, designed by renowned Grateful Dead artist Richard Biffle, celebrates The Dead’s triumphant return to the road. Featuring Bob Weir, Phil Lesh, Mickey Hart, and Bill Kreutzmann, joined by Warren Haynes, Jeff Chimenti, and Jimmy Herring, this tour brought the spirit of the Dead into a new era.</div><div>Vibrant and richly detailed, Biffle’s artwork captures the energy and symbolism of the Grateful Dead’s enduring legacy. What makes this piece truly exceptional is that it’s signed by the full band, making it a rare and valuable collector’s item.</div><div>Preserved in mint condition, this poster is a standout tribute to the post-Jerry era and a must-have for any serious Deadhead or rock memorabilia collector.</div><div>Wave that flag—and own a piece of modern Dead history.</div><div>Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;</div>

The Dead – “Wave That Flag” Summer Tour 2004 Poster (Signed by Full Band)

Artist - G. L. McElhaneyDetails &amp; Condition - Unauthorized 2nd Printing, Excellent condition (minor edgewear and soft corners)Size - 11 17/32” Wide x 17 1/2 “ Tall<div>This vibrant poster commemorates the Jerry Garcia Band’s two-night stand at the legendary Armadillo World Headquarters in Austin, Texas, on March 20–21, 1976. Designed by G. L. McElhaney, the artwork features classic 1970s style with psychedelic accents, capturing the laid-back Texas vibes and the Garcia Band’s genre-blending sound.</div><div>Offered here is in excellent condition with minor edgewear and soft corners, unauthorized 2nd printing, a well-preserved piece that mirrors the original design but was produced after the event without official approval. Despite its unofficial status, this version remains highly collectible due to its scarcity and visual appeal.</div><div>A must-have for JGB fans and Texas rock history buffs alike, this poster offers a colorful glimpse into one of the most beloved venues of the era and a memorable moment in Garcia’s solo touring legacy.</div><div>Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;</div>

Jerry Garcia Band – Armadillo World Headquarters Poster (March 20–21, 1976)

Artist John CushingDetails &amp; Condition - 2nd Printing, Thin Stock, Excellent Condition (Minor corner wear and light handling)Size - Wide 17" x Tall 22 5/8"<div>This striking poster commemorates a legendary night of psychedelic rock at the Earl Warren Showgrounds in Santa Barbara, California, on April 29, 1967. Featuring an unforgettable lineup of the Grateful Dead, The Doors, UFO, and Captain Speed, this event captured the raw energy of the West Coast’s rapidly evolving music scene.</div><div>Designed by John Cushing, the poster showcases vibrant mid-’60s psychedelic artistry, blending surreal color and typography with a bold visual layout. This 2nd printing on thin stock is preserved in excellent condition, with minor corner wear and light handling, making it a rare survivor from one of the most exciting and experimental years in rock history.</div><div>While a full setlist from the night remains elusive, the Grateful Dead were known during this period for fiery performances of “Viola Lee Blues,” “Cream Puff War,” and “Cold Rain and Snow,” while The Doors were riding high off their debut album and hit single “Light My Fire.”</div><div>A museum-worthy piece of California rock history, this poster is a must-have for collectors of psychedelic art and fans of the era’s most groundbreaking bands.</div><div>Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;</div>

Grateful Dead, The Doors, UFO, Captain Speed – Santa Barbara Poster (April 29, 1967)

Printed By Okeanos PressDetails &amp; Condition - Limited Poetry Print, Near Mint conditionSize - 8¼″ Wide x 12¼″ Tall <div>This beautifully printed 1990 broadside features the complete lyrics to “Touch of Grey” by Grateful Dead lyricist Robert Hunter, presented as a formal literary work. Issued by Okeanos Press with approval from Ice Nine Publishing, it was part of a limited-run initiative to preserve and recognize the poetic merit of Hunter’s contributions to American songwriting.</div><div>Printed on cream-colored stock with a clean vertical layout, the piece is topped by a classic Steal Your Face logo, framing the lyrics like a poem rather than a song. Unlike standard merchandise or promotional materials, this broadside was never sold at concerts and was intended for literary and archival audiences.</div><div>Preserved in near-mint condition, it stands as a rare and elegant tribute to the Grateful Dead’s enduring anthem and Hunter’s legacy as a poet.</div><div>A must-have for Deadheads, collectors of rock literature, and fans of Hunter’s lyrical genius.</div><div>Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;</div>

“Touch of Grey” Broadside by Robert Hunter (1990)

Cover Artist (Unofficial Edition) - Rick GriffinDetails &amp; Condition - Sealed, Very Good Condition (corners and edges show wear)<div>This rare, unofficial 1974 pirate copy of the Grateful Dead’s Wake of the Flood is a highly sought-after bootleg artifact from the band’s early independent era, representing a dark artifact of the struggles the band's record company faced when starting.&nbsp;</div><div>When the Dead set out to create their own record company, they didn't realize what they were up against. Although Grateful Dead Records ended up selling a respectable number of their debut release, Wake of the Flood, the record was pirated -- illegal copies were printed up and sold to unsuspecting retailers, whose customers were angry at how bad the sound quality was. When record stores started returning these pirates as defective pressings, the band realized they had a problem, one that would cost them almost half of the album's sales, if not more, and changing the course of the band's career -- if it had not been pirated, things might have turned out very differently for the band's record company, and for the band.</div><div>Almost no copies of the pirate edition survived, and this is in as-new condition, still sealed, with the telltale printed track listing attached to the back.&nbsp;</div><div>It is a truly historic artifact that documents a career-defining challenge the Dead experienced, one that shows what was at stake. Most of all, it is a talisman: even though this would have crushed most companies, the Dead not only persevered, they survived. This artifact is a vivid, historic, and remarkable statement of that determination and integrity.</div><div>Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;</div>

Wake of the Flood Vinyl Record (Unofficial 1974 Pirate Copy)

Details &amp; Condition: Original Print, Near Mint ConditionSize - 8.5" Wide x 12" Tall<div>This original Grateful Dead concert program from 1983/84 offers a snapshot of the band during a high-energy era marked by evolving setlists, new material, and renewed creative momentum. Produced for their national tour, the program features band photos, artwork, and era-specific commentary that reflects the Dead’s unique blend of improvisation, culture, and community.</div><div>Printed on glossy stock and preserved in near mint condition, this piece captures the vibe of early-'80s Dead, when Brent Mydland’s keyboards were in full swing and the band was delivering fiery performances coast to coast.</div><div>A rare collectible that bridges the late ’70s and late ’80s Dead eras, perfect for fans and collectors seeking original ephemera from the band’s storied touring history.</div><div>Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;</div>

1983/1984 Concert Program

Original print • Very Good condition (noticeable edgewear, slight creasing, soft corners)This poster was produced for Jerry Garcia’s 13-night solo run at the Lunt-Fontanne Theatre in New York City, held October 15–31, 1987. Billed as “Acoustic and Electric,” each show featured Garcia performing two full sets—one acoustic, one electric—supported by longtime collaborators John Kahn and David Kemper.<div>The clean, sharp design centers on a black-and-white photo of Garcia grinning behind a vertically positioned guitar, framed by an art-deco border. It remains one of the most iconic visuals of his post-Dead career and a standout among Bill Graham Presents material from that era.</div><div>Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;</div>

Jerry Garcia – Lunt-Fontanne Theatre 1987 Poster

Original program • Near-Excellent condition (light to moderate edgewear, gently softened corners)This official Playbill was distributed to attendees during Jerry Garcia’s 13-night “Acoustic and Electric” solo run at the Lunt-Fontanne Theatre in New York City, held from October 15 to 31, 1987. The performances marked Garcia’s return to the stage following his 1986 diabetic coma and featured both acoustic and electric sets backed by longtime collaborators including John Kahn, David Kemper, and members of the Jerry Garcia Band.The Playbill includes cast and crew listings, production notes, and era-specific advertisements, offering a snapshot of the Broadway scene during Garcia’s historic residency. It also features black-and-white photography and written tributes to Garcia’s influence, both within and beyond the Grateful Dead. A rare and authentic piece of memorabilia from one of the most significant solo chapters in Garcia’s career.Free shipping within the United States. International shipping is available at an additional cost. If you would like more information, please email marketplace@relix.com.&nbsp;

Relix

The Sound: Fillmore & Winterland Originals, 1966–1970

Wall of Sound: A Living History of the Grateful Dead — Instruments, Artifacts & Ephemera

The Fillmore Era: Posters, Tickets, and Handbills from Rock's Golden Age, 1966-1972

Dead Letters: Books, Poetry & Printed Treasures of the Grateful Dead

From The Vault: Grateful Dead Posters & More

Grateful Dead by Chuck Sperry - 4 Poster Set

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