relix.auction

"The Days Between," the Hunter/Garcia song that most poignantly evokes the promise the pair felt when they began to imagine the future in the early 1960s together, now means the nine-day stretch from August 1, Garcia's birthday, to August 9, the anniversary of his passing. It's become the Dead Head's high holy days, the community's quiet, sacred time in the Grateful Dead calendar year.Relix presents a curated sale honoring Jerry Garcia, not only as a musician, but as an icon whose image became folk art for a generation. These lots trace Garcia's cultural afterlife through the objects fans made, mailed, wore, and kept, the tributes that commemorate the guitarist who became a legend and trace that remarkable path.Leading the sale is a rare color lithograph of Garcia by noted 1960s photographer Gene Anthony, depicting Garcia in 1967 at the peak of his "Captain Trips" Haight-Ashbury guise. Signed by the artist and mounted on archival board, it is unbelievably rare, a genuine standout for any serious collection. Even more rare is a Lithuanian Olympic basketball jersey bearing "Garcia" on the back. Other standouts include a life-size poster of Garcia's signature axe Rosebud, Robert Hunter's haunting poetic broadside "An Elegy for Jerry," one of the official copies mailed to Dead Heads after Garcia's passing, along with volunteer laminates from the 8/13/95 Golden Gate Park memorial, the Montserrat "Dancing Bear" Memorial Stamp Project sets, and the rare Bill Graham Presents "Jerry Garcia on Broadway" marquee mugs.Nine days. A lifetime of tributes. Bid accordingly.-- as always.

In 1992, a newly independent Lithuanian basketball team arrived at the Barcelona Olympics short on funding. The Grateful Dead helped: a $5,000 donation, and, more consequentially, a license letting the team sell tie-dye shirts featuring the band's imagery.New York artist Greg Speirs designed the run, a slam-dunking skeleton he called "Skullman," rendered in Lithuania's national colors. The shirts sold fast, reportedly around 20,000 in the first week, with a share of proceeds going to the Lithuanian Olympic Committee. (The Dead weren't the only ones pitching in: NBA guard Šarūnas Marčiulionis and scout Donnie Nelson also raised money for the team.)Lithuania went on to take bronze, wearing the tie-dye on the podium, one of the more unlikely crossovers of counterculture and Olympic sport.This is the actual design of the jersey, not a copy, designed to honor the Dead's&nbsp;guiding light. One of the most unique and prominent examples of the Dead's philanthropy, and a powerful statement of the ideals that they quietly embodied as they embraced their growing stature as public figures in the 1990s.This one-of-a-kind jersey bears the name “Garcia” across the reverse, a one-off sample that honors this evocative&nbsp;moment of the&nbsp;Dead championing an underdog who prevailed, providing a direct thread back to the moment the Dead's generosity was transformed into an international symbol of freedom and fun. No distinguishing label present, and no evidence of removal.Mint condition, and one of the most story-rich pieces in the collection.Size: Oversized/tall-cut XLLength = 34"Seam to seam = 24"

1992 Lithuanian Olympic Basketball Jersey — Original, One-of-a-Kind “Garcia” Reverse

“Rosebud” was the name of one of Jerry Garcia's most iconic custom guitars — built by luthier Doug Irwin and famously inlaid with a dancing skeleton, an instrument as personal to him as his own voice. This life-size poster renders Garcia at full human scale, the kind of piece that turns a wall into a shrine and anchors a room the moment the&nbsp;eye catches it. For the&nbsp;aficionado who wants his Jerry life-sized and his&nbsp;music even larger.Very good condition. Slight creases from rolling; small tear on the bottom (see images). Heavy art stock, one of only 24 copies.24" x 48"

Life-Size Jerry Garcia “Rosebud” Poster

Hand-numbered 873 of 5,000, this print represents the pinnacle of Garcia's image-turned-icon, the fine art culmination of the vast folk-art economy that grew up around Jerry Garcia. Created by the countless artists who translated his instantly recognizable visage into the face fans could bring into their homes and make a part of their lives, this brooding portrayal captures how a musician becomes an&nbsp;inspiration: reproduced, circulated, and loved a thousand times over until the image is as familiar as the music. A clean, collectible entry into that tradition, and an affordable way to own an image that belongs to history in a numbered piece of the Garcia canon.Mint Condition25" x 34"

Jerry Garcia by Joseph DiVencenzo — Hand-Numbered 873 of 5,000

In Garcia's final years his two most-played guitars, “Lightning Bolt” and “Top Hat,” came from an unlikely source: Stephen Cripe, a self-taught Florida woodworker who had never built an electric guitar and reportedly worked from photographs — even repurposing a slab of 19th-century rosewood for one body. That improbable partnership is one of the great deep-cut stories in Dead lore, and this limited edition of just 24 (unnumbered) celebrates it. A true rarity for the collector who already knows the hits and wants the hidden chapters. Mint 24" x 37"

Garcia “Cripe” Guitar — Limited Edition of 24 (Unnumbered)

Photographer Gene Anthony was there for the birth of all of it — the 1967 Human Be-In, the Summer of Love, the Haight-Ashbury streets where the Grateful Dead were still the neighborhood band before they were a national phenomenon. This 1967 color lithograph captures Garcia at that exact hinge in history, when the whole culture was crystallizing around a few blocks of San Francisco. Signed by the artist and mounted on archival board, it is the undisputed centerpiece of this sale: a photograph turned artwork from the instant a movement found its face. Very rare. Mint. 7x5 inches.

Jerry Garcia, 1967 — Signed Gene Anthony Color Lithograph

When Garcia died on August 9, 1995, grief moved through the Deadhead world like something physical, and fans reached for any way to keep him close. This memorial necklace does exactly that — a metal pendant etched with his face on the front and “Jerry Garcia 1942–1995” on the reverse, strung on a braided cord meant to be worn, not shelved. It's mourning you can carry, devotion made wearable. A quietly powerful piece for anyone who felt that loss. Mint.

Jerry Garcia Memorial Necklace — Etched Portrait, 1942–1995

By the mid-1980s the Jerry Garcia Band was Garcia's other life — looser, funkier, a place to stretch out beyond the machinery of the Dead — and a two-night stand at the Wiltern in Los Angeles was a hot ticket. This patron handbill for the March 13–14, 1987 run was produced by Bill Graham Presents, the promotion empire built by the most legendary impresario in rock history, whose graphic work is fiercely collected in its own right. Premium concert ephemera from a great room on a great night. Very rare. Mint.

Jerry Garcia Band — Wiltern Theatre, LA, Mar 13–14 1987 Patron Handbill

Robert Hunter was the invisible half of Jerry Garcia — the lyricist behind “Ripple,” “Box of Rain,” “Truckin',” "The Days Between," and so much of the songbook Garcia brought to life and made immortal. When his old friend and lifelong songwriting partner Garcia died, Hunter answered in the deepest way he knew: with words. “An Elegy for Jerry” is his most powerful elegy, a poetic&nbsp;tribute he read aloud at Garcia's funeral and later memorialized in this limited edition broadside mailed out to Dead Heads as a gift from the band to their fans, honoring their fallen comrade and the bond that united them all, just as Hunter honored the one he forged with Garcia. To hold this handbill is to hold the moment the band's own poet said goodbye. Near mint — and quietly one of the most moving artifacts in the sale.

Robert Hunter — “An Elegy for Jerry” Memorial Handbill

On August 13, 1995, tens of thousands of mourners filled the Polo Fields in Golden Gate Park — the same park where the Dead had played for free in the '60s — to say goodbye to Jerry Garcia. This volunteer laminate is a backstage relic of that day, worn by the dozens of volunteers who assisted BGP staff in ferrying the hundreds and hundreds of artifacts, flowers, and gifts that created one of the most remarkable&nbsp;altars ever built for a musician. This badge of service honors the musician, the extraordinary&nbsp;connection he created with his listeners, and the hundreds who offered their service to put the memorial together. It isn't a souvenir; it's a piece of the funeral for an era, from the afternoon a city and a scene grieved out loud together.&nbsp;Mint.

Jerry Garcia Memorial Laminate — Golden Gate Park, 8/13/1995

Conducted by Yale law school professor Charles Reich, noted author of classic bestseller 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. This is the book that immortalized Garcia as the philosopher-king of the Haight-Ashbury and the book that turned Rolling Stone into a serious publisher, not just a music magazine. Finally given the fine book treatment it deserves with an archival, custom&nbsp;clamshell rare book box with an exclusive&nbsp;Garcia handprint foil imprint.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, with some chipping to the lower edges and discoloration on the jacket.

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

The ultimate&nbsp;commemoratives of the final performance of a towering musician, who spent his life giving music to others.Own a piece of music history with this rare Grateful Dead Soldier Field Ticket &amp; Backstage Pass Set from the band’s final performances with Jerry Garcia. This EXTREMELY LIMITED 4-piece set includes one ticket and one backstage pass for each night, July 8 and 9, 1995, when the Dead took the stage at Soldier Field in Chicago for what would become Jerry Garcia's final performances and the last Grateful Dead shows.Opening with The Band, these emotionally charged shows marked the end of an era. Jerry Garcia’s passing one month later, on August 9, 1995, cast these nights in a new light, transforming them from tour stops into a sacred farewell for Deadheads around the world. The Grateful Dead would not perform under that name again until the 2015 “Fare Thee Well” shows, a full 20 years later.The set is preserved in mint condition, with all four items housed in archival-grade sleeves for long-term protection. The unused backstage passes feature vibrant graphics from the era, and the unused tickets remain as issued, never torn, never scanned.This set offers an unparalleled opportunity to own a tangible memory from the Dead’s storied journey. A must-have for fans, archivists, and music historians alike.

Grateful Dead – Final Show Ticket & Backstage Pass Set (Soldier Field, Chicago, IL – July 8–9, 1995)

In the days after Garcia's death, grief in the Deadhead world turned almost instantly into art — hand-drawn, photocopied, and stuck to guitar cases and van bumpers from coast to coast. These fan-made “Thank You Jerry...” stickers come from the August 13, 1995 memorial in Golden Gate Park: three copies of a spontaneous, communal act of mourning. Ephemeral by nature, which is exactly why surviving examples are worth keeping. Mint.

“Thank You Jerry” Fan Sticker — Garcia Memorial, Golden Gate Park, 8/13/1995 (Set of 3)

“Don't Let A Living Legend Die” — an illustrated fan tribute from The Sticker Guy, produced in the wake of Garcia's passing. It's a snapshot of how the community actually processed loss: not through official statements but through grassroots, self-published art passed hand to hand in parking lots and record shops. Set of three, and a vivid piece of the movement's DIY heart. Mint.

“Don't Let A Living Legend Die” Tribute Postcard by The Sticker Guy (Set of 3)

By 2001, Jerry Garcia had become the rarest kind of American figure — a countercultural saint printed, half in tribute and half in wink, onto his own money. This novelty commemorative “bill” puts his face where a president's would go, a cheeky nod to just how thoroughly he'd entered the national imagination. Garcia was legendarily indifferent to money. But his music was priceless. This bill celebrates both--improbably. Ironically priced and a&nbsp;guaranteed grin. Mint.

Jerry Garcia Commemorative Bill — 2001 Novelty Note

Few people realized Jerry Garcia was a serious visual artist until the early 1990s, when his abstract paintings and watercolors were licensed into the wildly successful “J. Garcia” necktie line — silk ties that smuggled his artwork into boardrooms, department stores, and Father's Day gift boxes across America, and became an unlikely fashion phenomenon. These 23 neckties come from that collection: the moment Garcia the painter quietly reached millions of people who'd never once been to a show. Mint.

J. Garcia Neckties (Set of 23)

When Todd McFarlane — the comics superstar behind Spawn — turned his hyper-detailed toy company loose on music legends, Jerry Garcia made the cut. This 2001 McFarlane figurine renders him in intricate detail on a display stand, a small act of pop-culture canonization that set Garcia on the shelf beside the icons of the action-figure age. Display-ready and instantly recognizable. A fun collectible with real shelf presence.Good condition. Crease on hang tag and damage on top of the plastic casing (see images).

Jerry Garcia Figurine by McFarlane Toys (2001)

Before the mythology hardened around him, there was just Jerry — funny, curious, endlessly articulate. “A Talk with Jerry Garcia,” dated 1982, is exactly that: the man himself in conversation, a spoken-word document of how he actually thought and spoke at the height of the band's road years. For collectors, the voice is the artifact — an hour in a room with Garcia, preserved. CD.

A Talk with Jerry Garcia (1982) — CD

Wolfgang's was an expression of one of Bill Graham's treasured roles, the hometown club owner who could provide an intimate place for musicians to connect with their listeners in a respectful, nurturing and deeply meaningful environment. Jerry treasured his duets with longtime friend and colleague John Kahn, but just as meaningful was the fact that he could do so at the club named for his old friend Bill, whose lifelong friendship was forged at the Trips Festival in 1966, when he saw a side of the brusk promoter that touched him deeply. These two matchbooks document the kind of deeply personal moments that Graham's vision sought to foster, giving Garcia's music the stage it needed to touch the shared humanity that inspired so many listeners. Ephemera from Wolfgang's is incredibly rare. These fragments are relics, matchbooks that speak to the sparks that could ignite when a great promoter and a great artist joined forces.This lot pairs two Wolfgang's matchbooks, each carrying a fan's handwritten note tying it to a Jerry Garcia and John Kahn appearance (one dated 8/28/1984); Kahn was Garcia's closest musical foil for two decades, the bassist at his side through nearly every side project. The attributions are the fans' own and unverified, but the romance of two matchbooks pocketed on specific nights is the whole point. Sold together as a pair. Mint and VERY Rare.

Wolfgang's Matchbooks — Two, w/ Fan Notes (Garcia & Kahn, SF) — VERY RARE

In the fall of 1987, Jerry Garcia did something almost no rock musician ever does — a multi-night run on Broadway, lighting up a New York theater marquee with his own name. This Bill Graham Presents mug commemorates that unlikely, elegant chapter, carrying the "Jerry Garcia on Broadway" marquee design with BGP's unmistakable eye for graphics. Rare, useable, and a perfect small piece of the story. Excellent.

"Jerry Garcia on Broadway" Coffee Mug — BGP Marquee Design

One of the stranger and sweeter facts of Jerry Garcia's afterlife is that sovereign nations printed the Grateful Dead onto official postage. This single lot gathers the collection's entire Garcia Memorial Stamp Project in one sweep: Montserrat's 1995 and 1996 issues alongside a 1995 Tanzania commemorative — headlined by a complete, uncut 30-stamp "Dancing Bear" sheet and rounded out with hand-numbered six-stamp sets, individual singles, and coveted first-day-postmarked examples, each accompanied by its Certificate of Authenticity. It's the whole improbable crossover of Deadhead devotion and world philately, sold together as one turnkey collection. Mint &amp; sealed.

Garcia Memorial Stamp Project — Complete Collection (10 Pieces)

The Days Between: A Jerry Garcia Auction

The Grateful Dead were not just a band. They were a traveling city. A self-sustaining organism of musicians, engineers, roadies, managers, artists, and devotees who dismantled and reassembled their world in a new location, night after night, for thirty years. The music was the reason, but the infrastructure was the miracle: the laminated credentials that unlocked backstage doors, the production cases that crossed continents, the itinerary booklets that kept fifty people moving across six countries in formation, the green room signs that came down at the end of the night and went up again somewhere else the next day. This sale is a portrait of that world — not the music, exactly, but the machinery behind it, and the human beings who made it run.&nbsp;From Dan Healy's personal Europe '72 tour itinerary to Robbie Taylor's road-worn production trunks, from Bill "Kidd" Candelario's Egypt backstage pass to Ram Rod's trove of unused credentials spanning a decade of touring, the lots gathered here trace the Grateful Dead's story through the objects that kept it moving. There are all-access laminates from the band's final summer, a ticket from the very last show, July 9, 1995, Soldier Field, Chicago, and signed posters that document the long aftermath of the Dead's run, in which the surviving members continued to carry the music forward under different names and configurations. Each item carries a direct, documented provenance. For those who believe that the crew built something just as enduring as the music, this is where to look.&nbsp;

A striking piece of the Grateful Dead's touring infrastructure, this red production trunk was built and used by Robbie Taylor — the band's trusted production manager throughout much of the 1980s and 1990s — during the 1990 touring season. Constructed from heavy-duty road case materials with spring loaded clips, the trunk was used to store and transport extra packing blankets used to protect equipment between shows. A Steal Your Face sticker on the exterior marks it unmistakably as a piece of Dead family gear. Road cases of this quality and documented provenance rarely make it to the open market; most were retired, repurposed, or simply lost after the band ceased touring in 1995.Size: 24.5 x 48 x 31 inches.Local pickup preferred; Rock-It Cargo shipping can be facilitated upon request.Shipping: 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.

Grateful Dead 1990 Robbie Taylor Red Production Trunk

A primary document from one of the most celebrated tours in rock history, this set of crew documents belonged to Dan Healy — the Grateful Dead's chief sound engineer from 1967 through 1994, and one of the most consequential figures in the history of live sound reinforcement. The documents outline the full schedule and logistical itinerary for the Grateful Dead's spring 1972 European tour, which ran from April 7 to May 26, comprising 22 performances across six countries including England, Denmark, Germany, France, and Luxembourg. The tour resulted in the landmark triple live album Europe '72, released in November 1972, and is widely regarded as one of the finest extended concert documents in rock history. Healy — who helped design and operate the Wall of Sound and served as the band's primary audio architect for nearly three decades — was part of the touring entourage of approximately 43 people who accompanied the band across 5,572 miles of travel. An itinerary from his personal archive is an exceptional primary document of a legendary tour.Shipping: Estimated shipping costs: $75 (domestic US) / $225 (international). ANALOGr will contact you following the auction with a shipping invoice.

Grateful Dead Dan Healy's 1972 Europe Tour Itinerary

A veteran of the Grateful Dead's 1980s touring operation, this large white production case was built and managed by Robbie Taylor, the band's long-serving production manager. Whether housing cables, tools, or essential crew supplies, cases like this one were the unglamorous backbone of the Dead's remarkably consistent touring machine. After the Grateful Dead disbanded in 1995 following Jerry Garcia's death, this case continued its working life on the road with Phil Lesh and Friends — Lesh's post-Dead touring project — lending it a continuous thread of Bay Area rock history across two decades of live music. The case still contains a roll of 6-mil Visqueen plastic sheeting, used by the crew to cover their outdoor footwear in wet weather conditions during outdoor shows.Size: 24.5 x 54.5 x 29.5 inches.Shipping: 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.

Grateful Dead 1980s Robbie Taylor White Production Case

A complete set of six Grateful Dead 1992 Summer Tour all-access band member laminates, from the personal collection of Robbie Taylor — one laminate for each member of the band as it stood during that season: Jerry Garcia, Bob Weir, Phil Lesh, Vince Welnick, Mickey Hart, and Bill Kreutzmann. All-access laminates issued specifically for band members — rather than crew, press, or guests — are among the rarest categories of Grateful Dead backstage credentials, and a complete set of all six band members from a single tour is exceptional.Shipping: Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.

Grateful Dead 1992 Summer All-Access Band Member Laminates —  Complete Set of Six

The Grateful Dead Movie is a 1977 concert film co-directed by Jerry Garcia and Leon Gast, documenting the band's five-night farewell stand at San Francisco's Winterland Ballroom from October 16–20, 1974 — the shows that marked the end of the Wall of Sound era and the beginning of an extended hiatus. This DVD edition has been signed by six key figures connected to the film and the band: Bob Weir, Phil Lesh, Donna Jean Godchaux, Bill Kreutzmann, longtime road manager and crew chief Steve Parish, and animator Gary Gutierrez, who created the film's celebrated psychedelic animated opening sequence featuring the Grateful Dead's iconic Uncle Sam skeleton. From the Collection of Tom Stack — founder of Club Dead and former Vice President of Licensing and Merchandise at Grateful Dead — and the Club Dead Archive. Comes with both DVDs comprising this edition of the film.Shipping: Estimated shipping costs: $75 (domestic US) / $225 (international). ANALOGr will contact you following the auction with a shipping invoice.

Grateful Dead Movie DVD — Signed by Bob Weir, Phil Lesh, Donna Jean Godchaux, Bill Kreutzmann, Steve Parish & Gary Gutierrez

A rare and deeply personal set of artifacts from the Grateful Dead's legendary September 1978 concerts at the Giza Plateau in Egypt, from the collection of Bill “Kidd” Candelario — one of the Dead's most trusted and long-serving road crew members, and later President of Grateful Dead Merchandising. The lot includes two items: first, Candelario's personal all-areas Egypt backstage laminate, with his passport photograph laminated on the reverse alongside his legal name “William Candelario” and passport number — the kind of credentialing required for a production of that international scale. Second, Candelario's original golden Grateful Dead Egypt concert program from the Giza shows, held in front of the Sphinx and the Great Pyramids. The Egypt concerts are among the most mythologized events in the Grateful Dead's history; backstage laminates from band and crew members connected to those shows have appeared at public auction only a handful of times.Shipping: Estimated shipping costs: $75 (domestic US) / $225 (international). ANALOGr will contact you following the auction with a shipping invoice.

Bill 'Kidd' Candelario's Grateful Dead Egypt Backstage Pass &  Original Gold Egypt Concert Program, 1978

An original artwork created by graphic artist Chuck Hughes for the Grateful Dead's “Paul Revere” run at Boston Garden — a series of shows held September 27, 28, 29 and October 1, 2, and 3, 1994, representing the band's final extended run at the fabled arena. The lot includes Hughes' original painting, black-and-white workup film, and a never-worn “Paul Revere” event shirt (size XL) with the location and full run dates printed on the back. From the Collection of Tom Stack — founder of Club Dead and former Vice President of Licensing and Merchandise at Grateful Dead — and the Club Dead Archive. Hughes and Stack worked closely together on Grateful Dead merchandise design during this period; this piece represents the creative process in its rawest form, before it reached mass production.Painting dimensions: 18.5 x 22 inches.Shipping: Estimated shipping costs: $75 (domestic US) / $225 (international). ANALOGr will contact you following the auction with a shipping invoice.

Grateful Dead 'Paul Revere' Boston Garden Original Artwork by Chuck Hughes — With Event Shirt & Film

A remarkable cache of 57 unused Grateful Dead backstage passes from 1995 — the band's final touring year. Unused passes are significantly rarer than used ones; they were typically held back by production staff for administrative and contingency purposes and were never distributed. That so many from a single season survived together as a group speaks to their origin within the Dead's inner production circle. The passes span the 1995 touring calendar, a year of considerable tumult for the band — including gate-crashing incidents, canceled shows, and ultimately Jerry Garcia's death on August 9, 1995, which brought the Grateful Dead's 30-year run to a close. For collectors of Dead credentials, unused passes from the final year carry particular historical and emotional weight.Shipping: Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.

57 Grateful Dead Unused Backstage Passes, 1995

A substantial group of 69 unused Grateful Dead backstage passes from 1994, preserved together from within the band's production organization. The 1994 touring season was one of the Dead's most active late-period years, encompassing shows from coast to coast at venues ranging from the Boston Garden to Giants Stadium to the Shoreline Amphitheatre. Unused passes — never issued, never clipped, never carried through a backstage door — are far less common on the market than their used counterparts, and a group of this size from a single season is an exceptional find. A vivid document of the Dead's final full year of uninterrupted touring.Shipping: Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.

69 Grateful Dead Unused Backstage Passes, 1994

A group of 57 unused Grateful Dead backstage passes from the 1993 touring season, held back from distribution and preserved intact within the band's production organization. 1993 was a pivotal year for the Dead: it marked the continued evolution of the band's late-period sound and the ongoing challenge of managing an audience that had grown far beyond the intimate counterculture community of their early years. These pristine, unissued credentials offer collectors a direct material connection to the machinery behind one of the most logistically complex touring operations in popular music.Shipping: Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.

57 Grateful Dead Unused Backstage Passes, 1993

Among the most historically significant items in this entire auction: an original, unripped concert ticket and unused backstage pass from July 9, 1995 at Soldier Field in Chicago — the final concert the Grateful Dead ever performed with Jerry Garcia. The ticket reads: “Grateful Dead with Special Guest, Soldier Field, Chicago, Illinois, Sunday, July 9, 1995, 6:00 PM, $33.50 — Upper Stand, Gate 15, Section 113, Row 20, Seat 17.” Exactly one month later, on August 9, 1995, Jerry Garcia died at the age of 53, and the Grateful Dead ceased to exist as a band. An unused ticket from that night — never torn, never used — is one of the rarest physical artifacts of the Dead's final chapter. The accompanying backstage pass features a cowboy with guns blazing on the front, a design that, with hindsight, carries its own quiet symbolism.Shipping: Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.

Original Unused Concert Ticket & Unused Backstage Pass — Final Grateful Dead Show, July 9, 1995, Soldier Field, Chicago

Seventy-five unused Grateful Dead backstage passes spanning more than a decade of touring — from 1983 through 1995 — from the personal collection of Lawrence “Ram Rod” Shurtliff, the band's beloved head roadie and one of the most revered figures in the Dead's extended family. Ram Rod joined the Grateful Dead organization in the late 1960s and remained a central presence for the rest of the band's career, his loyalty and steadiness earning him an almost mythological status among Deadheads and crew alike. Items from his personal archive carry a provenance of the highest order — these passes were not sold, traded, or distributed. They remained with Ram Rod, a quiet record of the years he spent putting the Dead's world together night after night.Shipping: Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.

75 Unused Grateful Dead Backstage Passes, 1983–1995 — Property of Ram Rod

Three original green room door signs bearing the names Jerry, Bob, and Phil, removed directly from the backstage doors of the BJCC Coliseum in Birmingham, Alabama by Tom Stack on April 5, 1995 — one of the final years of the Grateful Dead's touring life. Stack, founder of Club Dead and former Vice President of Licensing and Merchandise at Grateful Dead, took the signs on his way out through the backstage exit after the show. Each sign measures 11 x 6 inches and is sold as a set of three. Also included is proposed artwork for a Birmingham show t-shirt designed for the April 4–5, 1995 BJCC run, printed on 11 x 17-inch paper. Ephemera of this specificity — tied to a precise date, venue, and removal — is extraordinarily rare. As the listing notes, you can now pretend that Jerry, Bob and Phil all have a room at your house.Shipping: Estimated shipping costs: $75 (domestic US) / $225 (international). ANALOGr will contact you following the auction with a shipping invoice.

Grateful Dead Green Room Door Signs — Jerry, Bob & Phil — April 5, 1995, BJCC Coliseum, Birmingham, Alabama

A multi-signed concert poster bearing the signatures of Bob Dylan alongside the four surviving core members of the Grateful Dead — Bob Weir, Phil Lesh, Mickey Hart, and Bill Kreutzmann — performing together under the name The Dead, joined by keyboardists Jeff Chimenti and Rob Barraco, guitarist Jimmy Herring, and vocalist Joan Osborne. Nine signatures gathered on a single poster, documenting one of the most notable post-Garcia collaborations between the Dead and one of the central figures of twentieth-century American songwriting.Dimensions: 17 x 25 inches.Shipping: Estimated shipping costs: $125 (domestic US) / $300 (international). ANALOGr will contact you following the auction with a shipping invoice.

Multi-Signed The Dead Poster — Signed by Bob Dylan, Bob Weir, Phil Lesh, Mickey Hart, Bill Kreutzmann, Joan Osborne, Jimmy Herring, Jeff Chimenti & Rob Barraco

A concert poster from Furthur's debut New Year's Eve run — December 30 and 31, 2009, at San Francisco's Bill Graham Civic Auditorium — signed by both Phil Lesh and Bob Weir. Furthur was the touring band Lesh and Weir launched together in September 2009, and these shows marked the new project's first turn-of-the-year run, carrying forward the Grateful Dead's long tradition of marking the new year with multi-night stands in their home city. The lot includes the original event laminate.Dimensions: 16 x 23 inches.Shipping: Estimated shipping costs: $125 (domestic US) / $300 (international). ANALOGr will contact you following the auction with a shipping invoice.

Furthur 2009 New Year's Eve Run Poster — Signed by Phil Lesh & Bob Weir, with Original Event Laminate, Bill Graham Civic Auditorium

A near-complete run of the Pure Jerry archival CD series, comprising six different Jerry Garcia live releases that document performances across fifteen years of his work outside the Grateful Dead. The set includes:• Jerry Garcia &amp; Merl Saunders Band — Keystone, Berkeley — September 1, 1974• Jerry Garcia Band — Theatre 1839, San Francisco — July 29 &amp; 30, 1977• Jerry Garcia Band — Warner Theatre, Washington, DC — March 18, 1978• Jerry Garcia Band — Lunt-Fontaine, New York City — October 15–30, 1987• Jerry Garcia Band — Lunt-Fontaine, New York City — October 31, 1987• Jerry Garcia Band — Merriweather Post Pavilion, Columbia, MD — September 1 &amp; 2, 1989Rare to encounter the series gathered together as a single set.Shipping: Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.

Pure Jerry Archival Live Series — Six-Volume CD Collection of Jerry Garcia Band & Side Project Performances, 1974–1989

A comprehensive archive of 86 vintage Grateful Dead magazines and reference catalogs — a foundational cross-section of the print culture that grew up around the band during its touring years and after. The collection comprises:<ul><li>(34) copies of the Golden Road Magazine (complete set from Winter 1984 - 1993 Annual) included several duplicates</li><li>(30) copies of Duprees Diamond Magazine</li><li>(5) copies of Bonhams Life on the Road with the Grateful Dead (the Ram Rod Shurtliff Collection)</li><li>(6) copies of Grateful Dead comix</li><li>(11) copies of Unbroken Chain MagazineA foundational reference collection for any serious Deadhead library.</li></ul>Shipping: Estimated shipping costs: $125 (domestic US) / $300 (international). ANALOGr will contact you following the auction with a shipping invoice.

Grateful Dead Periodical Archive — 86 Vintage Magazines Including a Complete Run of The Golden Road, Dupree's Diamond News, Unbroken Chain & Grateful Dead Comix

Long Strange Trip: Relics from the Road

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

relix.auction

The Days Between: A Jerry Garcia Auction

Long Strange Trip: Relics from the Road

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

hi@basta.app