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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

"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)

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, 1967 — Signed Gene Anthony Color Lithograph

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