Grateful Dead Memorabilia

By 1966, the Grateful Dead was a fixture in San Francisco’s Avalon Ballroom and Fillmore Auditorium, both of which produced posters and postcards to advertise their shows. That year, Alton Kelley and Stanley Mouse created one of the most famous Grateful Dead Avalon posters, known among collectors as FD026. Based on an illustration the artists found in a 19th-century copy of the Rubaiyat of Omar Khayyam, the poster became known as Skull & Roses, thanks to the prominence of a rose-covered skeleton in its center. A version of this poster would go on to become an album cover for the band in 1971 and remains one of its most enduring and collectible images.

Over at the Fillmore, artist Wes Wilson was creating posters that helped define the psychedelic lettering style of the day. In 1966, several of his posters for Grateful Dead concerts featured photographs by Herb Greene. One of the best of these, BG032, had a portrait of a leather-jacketed, Cheshire-cat-grinning Jerry Garcia staring straight into the camera. Another, BG023, paired a group photo of the band with one of the Jefferson Airplane, which at the time got top billing.

Fillmore promoter Bill Graham hired an artist named James H. Gardner to create a new version of this poster for a summer-of-1967 show of the Airplane and the Dead (they were billed on the poster as representatives of the "the San Francisco scene") in Toronto. Known as BG074, the poster used the same Herb Greene photo of the Grateful Dead below a new one of the Jefferson Airplane, and was organized almost exactly like Wilson’s original. But due to the remote location and low print run, it is today one of the most collectible Grateful Dead posters from the late 1960s.

Other San Francisco artists to create Grateful Dead posters include Rick Griffin, whose January 1969 poster for a series of shows at the Avalon (ABR690124) was repurposed that summer for the band’s third album, Aoxomoxoa.

Which brings us to vinyl. When the Grateful Dead recorded their first few albums, the process in the studio was, by most accounts, a good deal less than perfect. Thus, in the early 1970s, Anthem of the Sun and Aoxomoxoa, the band’s second and third albums, were remixed to improve their sound quality. This pleased the band but annoyed some of its fans, who preferred the original muddy mixes, which are now quite collectible.

Deadheads also cherish ticket stubs from the 1960s and beyond. Those for shows at the Fillmore and Avalon were usually mini, two-color versions of the poster, so some collectors strive to collect a concert’s poster, postcard, and tickets to create complete sets.

Ticketron issued one of the band’s most famous tickets for a show on October 20, 1974. Prior to this concert, the Dead had announced its intention to take a hiatus. No one really knew if this was just a break or a break-up, so the ticket for that show was printed with the words “THE LAST ONE” in big, blocky letters on its front. And for some reason, the band’s name was misspelled—Greateful instead of Grateful.

Of course, the Grateful Dead did not break up. In fact, during the 1980s and early 1990s, they were routinely one of the highest-grossing touring bands on the planet. Stage passes from these decades, particularly uncut sheets of unused passes like the "Truck Puzzle" (12/3/92-12/17/92) by Tony Reonegro are highly collectible. After the death of Garcia, the band created a line of collectibles for kids in the form of stuffed bean-bag bears, similar to Beanie Babies but with Grateful Dead themes.

In recent years, the band has released limited-edition soundboard recordings of entire runs at the Fillmore West (four nights in a row from 1969) and Winterland (three nights in a row from 1973). These sets routinely turn up for resale on eBay.

Even more successful are the recent auctions at Bonham’s of items that had been collected by former Grateful Dead road managers and band associates. In these tony, auctioneer surroundings—a far cry from the band’s communal, 1960s digs in Haight-Ashbury—everything from gold records to tie-dyed speaker covers to Harley Davidson motorcycles have been auctioned off, sometimes for breathtaking prices.

Among the most prized items at these affairs (besides the original album art and the handmade guitars, which have brought tens and even hundreds of thousands of dollars) have been the beat-up equipment and attaché cases. Despite their road-weary condition, or perhaps because of it, these modest cases have fetched upwards of $15,000 each.

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