Relix Marketplace has partnered with ANALOGr.com to bring music fans a chance to acquire Grateful Dead rarities and highly sought-after band-associated mementos. The partnership will commence this Thursday, July 18, 2024, with an online offering of 19 unique items hand-picked for this opportunity. 

The upcoming sale will feature various music memorabilia that spans the Grateful Dead’s post-60s career. These items–such as the 1971 “New on Warner Bros” Promo Poster for the Skull & Roses Album owned by Ram Rod ($500) and the 1985 Grateful Dead Twilight Zone TV Show Appearance Signed Contract ($15,000)–are not just collectibles, but pieces of music history. ‘90s rarities, including the “The Untouchables” Shirt Art, 1995, Chicago, Soldier Field ($4,000), are also included.

From a 1995 “Northbound Train” Summer Tour T-shirt ($200) to a 1/2-scale Fully Functional Wall of Sound PA Speaker System with Poster ($300,000), the prices span and reflect investment-grade listings steeped in the rich history of revered San Francisco band. Poster collectors will also receive a unique opportunity to acquire illustrative billings of concerts past, such as Grateful Dead Memorial Poster Original Art by Alton Kelly ($75,000) and Grateful Dead Rare 1st Print “Quick & The Dead” Glo Poster in Purple ($22,500).

ANALOGr.com’s partnership with Relix Marketplace, presents a joint mission to celebrate the Grateful Dead’s enduring legacy and rich culture. By offering irreplaceable collectibles, the paired entities extend the opportunity for fans to take home a truly unique piece of musical history. Scroll down to view the one-of-a-kind artifacts. 

The items listed below will be available for purchase on Relix Marketplace this Thursday, July 18, at 1 p.m. ET.

Grateful Dead Bill Graham Envelope, Clive Davis Note, & Western Union Telegrams – $15,000

Lot Description: Rare Grateful Dead Memorabilia from Ram Rod- Bill Graham Envelope, Clive Davis Note, and Western Union Telegrams. Overview: This unique collection of memorabilia from the legendary Grateful Dead offers an intimate glimpse into the band’s storied history, highlighting key moments from their career. These items were meticulously archived by Laurence Shurtliff aka “RamRod,” an American music executive and roadie, who served as President of Grateful Dead Productions, Inc. from 1976, the year the Grateful Dead incorporated, until the death of guitarist Jerry Garcia in 1995.

Dylan & The Dead Contact Sheet by Herb Greene – $2,500

The “Dylan & The Dead Contact Sheet” by Herb Greene holds significant historical and cultural value. This contact sheet is a collection of images taken during the photo session for the collaborative album “Dylan & The Dead,” released in 1989 by Arista Records. The album represents a unique collaboration between Bob Dylan, one of the most influential singer-songwriters, and the Grateful Dead, a legendary rock band. This partnership symbolizes a blending of different musical styles and fan bases, making the contact sheet a piece of rock history. Herb Greene is renowned for his iconic photographs of rock musicians, particularly those associated with the San Francisco music scene of the 1960s and 1970s. His work captures the essence of the artists he photographs, making his contact sheets valuable for both their artistic and documentary qualities. The contact sheet provides a behind-the-scenes look at the creation of the album’s visual identity. It offers insight into the photo selection process and the interactions between Dylan and the Grateful Dead during the shoot.

Grateful Dead Audio Tapers Cardboard Sign – $1,500

The iconic “Tapers Section” sign used by the Grateful Dead at their concerts during the 1980s and 1990s. These signs were indeed cardboard and were placed in designated areas within the venue where fans who wanted to record the concert could set up their recording equipment. These sections were officially sanctioned by the band to accommodate fans who wished to tape the shows for personal use. These signs became a symbol of the band’s unique relationship with their fan base, emphasizing their support for recording and sharing live performances. They are highly collectible items among fans of the Grateful Dead and are considered a piece of cultural history from that era of live music.

Grateful Dead Memorial Poster Original Art by Alton Kelly – $75,000

Delve into the artistic legacy of Alton Kelley with this extraordinary collection of original artwork for the “Memorial” poster. This unique ensemble includes watercolors, paintings, hand-drawn notes, pen & ink boards, film cut-outs, and more, showcasing Kelley’s meticulous craftsmanship and creative process. A standout in rock art history, this artwork is prominently featured in “The Art of Rock” and stands as a singular museum piece. Discerning eyes will spot Kelley’s distinctive fingerprints embedded within the original art, offering a rare glimpse into the mind of a visionary artist.

Grateful Dead Rare 1st Print “Quick & The Dead” Glo Poster in Purple – $22,500

Presenting a true gem for Grateful Dead enthusiasts and poster collectors: the original 1966 “The Quick and the Dead” FD-12-OP-1 first printing poster from the Avalon Ballroom. This hand-painted purple Day Glo poster is not only one of the rarest early Family Dog Avalon Ballroom treasures but also one of the most historically significant. Used to advertise the Grateful Dead’s June 10-11, 1966 shows, this poster is notable for featuring the first skeleton image associated with the band, a motif that Alton Kelley & Stanley Mouse famously expanded upon with their iconic FD-26 Skeleton & Roses poster a few months later. Due to its rarity, many professional poster collectors have never seen or handled one of these original, venue-used posters. Measuring 14 3/32” x 19 7/8”, this piece of rock history is a must-have for any serious collector.

Behind The Wall Of Sound Picture – $1,500

From the Estate of Ram Rod – A rare black and white photograph of Ram Rod backstage building the Wall of Sound in 1974 – photographer unknown.  This image was on the wall of his office for many years.  These remarkable items were meticulously archived by Laurence Shurtliff aka “Ram Rod.” Shurtliff, a beloved member of the Grateful Dead’s crew, played an integral role in the band’s day-to-day operations and shared in their historic journey. As President of Grateful Dead Productions, Inc. from 1976 until Jerry Garcia’s death in 1995, Shurtliff’s stewardship and dedication to the band’s legacy are evident in the preservation of these mementos. They are not just artifacts but cherished pieces of the Grateful Dead’s history.

Grateful Dead Logo Pressing by Bob Thomas & Owsley Stanley – $27,500

“In 1969 the Dead were renting a warehouse in Novato, California. I was sound man for the band at the time, and lived in Oakland. Bob Thomas, an old friend of mine had just moved from LA to the Bay area and needed a place to stay, and we needed someone to look after the warehouse, which had had a problem with break-ins. Bob was a superb graphic artist whose work is now familiar to most Deadheads in the form of the Live Dead album cover and the Bear’s Choice cover, on which the popular Dancing Bears appeared. The Dead in those days had to play in a lot of festival style shows where the equipment would all wind up at the back of the stage in a muddle. Since every band used pretty much the same type of gear it all looked alike. We would spend a fair amount of time moving the pieces around so that we could read the name on the boxes. I decided that we needed some sort of marking that we could identify from a distance. I was in the habit of driving from Oakland to Novato in a little MGTF which had plastic side curtains, which were not very transparent, due to aging of the plastic. One day in the rain, I looked out the side and saw a sign along the freeway which was a circle with a white bar across it, the top of the circle was orange and the bottom blue. I couldn’t read the name of the firm, and so was just looking at the shape. A thought occurred to me: if the orange were red and the bar across were a lightning bolt cutting across at an angle, then we would have a very nice, unique and highly identifiable mark to put on the equipment. At the warehouse I told Bob the idea that I had, and he made a quick sketch. A mutual friend, Ernie Fischbach, who was visiting with Bob, said “Give it to me, I’ll show you an easy way to put it on the boxes.” Whereupon he proceeded to cut holes in a couple of pieces of stencil paper. One was a circular hole, about 5 1/2 inches in diameter, and the other was a part of a circle 5 inches in diameter. But it was a half circle with a jagged edge. Then he held the stencil to an amp and sprayed a circle of white paint. Then with one side up, the red half circle went on top of the dried white paint and after wiping off the red and turning the stencil over, the blue was applied. This was the first version, and we put it on to all our gear. It helped make it easier to find our stuff in the crunch. I still have an old toolbox with one of the stencils on it. A few days later I was talking to Bob and suggested that perhaps the words “Grateful dead” could be placed under the circle, using a style of lettering that would appear to be a skull if you saw it from a distance (I guess I was influenced by too many posters of the time). Any way a few hours later he came down from the loft with the design we know and love. In 1992, Bob decided to produce hand-pulled prints of the logo as a hardwood block engraving, but first he cut a test block in pine, to see how the design looked as a woodcut. He liked the test block so well that he decided to pull 50 prints, signed, numbered and hand colored them. He gave the last of the prints to me (a few months before he died) to help sell them. Most have now been sold. This was one of the last pieces he did. The print is on heavy, off-white watercolor paper. Size: 14″ by 17″.

1/2 Scale Fully Functional Wall Of Sound PA Speaker System w/ Poster – $300,000

1:2 Scale Working Model of the Grateful Dead’s Wall of Sound by Anthony Coscia. The 1:2 scale Wall of Sound is a fully functional sound system with endless configuration possibilities. Measuring 17 feet tall by 30 feet wide, it serves as a live performance system designed for larger venues accommodating 500-2,000 people. This scale transforms any venue into a destination spot, attracting patrons from far beyond the typical local audience. Even as a static installation, it draws attention purely for its visual impact.

1971 Grateful Dead “New on Warner Bros” Promo Poster for Skull & Roses Album owned by Ram Rod – $500

This rare promotional poster for the Grateful Dead’s iconic 1971 self-titled album, commonly known as Skull and Roses. This collectible was once part of the personal collection of Ram Rod, the legendary road manager for the Grateful Dead. Measuring 23” x 28 3/4” and in excellent condition, this poster is a must-have for any serious Deadhead or music memorabilia collector.

Bob Weir’s McIntosh 2300 – $85,000

Early Grateful Dead Mac Amplifier used by Bob Weir. Description: This is one of the earliest known Mac amplifiers used by Bob Weir of the Grateful Dead. Believed to have been part of the Wall of Sound and used at Watkins Glen, it is confirmed to have been used during the Europe ’74 tour, as noted in the Europe ’74 manifest, showing the designation “GD 010.”

“The Untouchables” Shirt Art, 1995, Chicago, Soldier Field – $4,000

“The Untouchables”T-Shirt Summer, 1995, Prototype Artwork for Last Ever Grateful Dead Date in Chicago from Tom Stack & The Club Dead Archives:  Noted artist, sculptor, photographer, sketcher and designer Erik Hawkey approached Club Dead in early 1995, wondering if he could do some art for me to use on the upcoming Grateful Dead Tour. With the summer fast approaching, and two dates in Chicago on the books, I was able to FINALLY put in motion some art that had been rattling around my skull for a while….The Untouchables!!! PERFECT for Chicago, and after all, I shared a last name with the star of the TV show, Robert Stack. Erik and I sat down at the big table and I described what I saw…..6 skeletons to mirror the band members, a street scene with shady and menacing characters, Chicago-style architecture, cramped buildings with lots of brick, manhole covers, violin cases to disguise the machine guns(guitars), whores looking out the windows…. He didn’t want to commit too far before he went to final draft, so he brought this sketch into Club Dead a couple of days later. For reasons I can’t recall, we never went any further with the art. Perhaps things bogged down at GDP, or we ran out of time, but the shirt never happened. Such a shame, I think it would have absolutely killed it. Untouchable pun, sorry. And of course, as it turned out, the Chicago shows on July 8th and 9th were to be the Grateful Dead’s final shows. This original drawing has been in the Club Dead archives since then. It will make an amazing framed piece. Feel free to tape this story to the back of the frame! One-of-a-kind!!

Grateful Dead “Tom Sawyer” Painting by Richard Biffle in 1995 – $15,000

From the Collection of T. Stack and the Club Dead Archive. Tom Stack is the Founder of Club Dead and the Former VP of Licensing & Merchandise at Grateful Dead. Inspired by a random rest stop/pull over at the Suwanee River Overlook on Highway 441 in South Georgia, Tom Stack then collaborated with his go-to artist at the time, Richard Biffle to create the top seller for the Grateful Dead’s 1995 Spring Tour. Titled, “Tom Sawyer,” complete with a nod to the Saturday Evening Post’s lettering, this ORIGINAL painting was a “one-take,” meaning there were no corrections necessary. The technology at the time required the submitted art/paintings to be rolled over a cylindrical drum to create film separations in order to produce the t-shirts. Unlike today, if the art didn’t pass muster, it had to be completely re-painted. There was no computer assistance in any form. In fact, today, it is the complete opposite, there generally are no paintings, ONLY computer generated art. Still a prolific artist, Richard’s originals remain in feverish demand over 30 years later, and Tom Sawyer is no exception. This painting has been in Tom’s possession since 1995, and is now being made available to serious collectors worldwide. It comes with a signed Certificate of Authenticity from Richard Biffle, as well as a one-of-a-kind sweatshirt complete with the rear art. Includes LOA + XL grey Sweater with same illustration. Size: 28 X 24 1/2 ”

Grateful Dead ”Wake Of The Flood” #3 Mother Pressing Plate from Jerry Garcia & Rock Scully’s House on Hepburn Heights, 1973 – $9,000

Steel record pressing plates known as a “Mother” from Wake of the Flood, the first album recorded on the Grateful Dead’s private record label, “Grateful Dead Records,” 1973. Steel pressing plates are one of a kind artifacts from the Grateful Dead office and are among the rarest historical artifacts in this collection. The sixth studio album by the Grateful Dead, recorded between August 4 through 15, 1973 and originally released on October 15, 1973. Dated Sept 12, 1973, in good condition. This came from Jerry’s Hepburn Heights House in San Rafael, Marin County. Part of a collection of items that were put out for the curb for trash pickup after Rock Scully was fired from The Grateful Dead and was moved out/evicted from the house on Hepburn Heights that he and Jerry Garcia shared in Marin County, California in the late 70’s and early 80’s. “I had a store for 10 years in Sonoma County, California from 2006 to 2016. In 2006 a gentleman named David came into the Santa Rosa store with a unique tale. He told me that he had been living in Marin County in the 80’s and one day, he noticed a pile of belongings out on the curb for garbage pickup. He and another friend checked out the items and realized that they were in front of Jerry Garcia’s house. As the things were out on the curb for garbage collection, they got their station wagon and loaded up as much as they could, making multiple trips to collect what they could before the garbage truck came to pick up the items. Those items included some furniture and boxes of miscellaneous paper and other goods including a number of record albums and a few items from The Grateful Dead offices and studios. David returned to my store a few times over the next 4 or 5 years always with another box of items and each time, I purchased what he brought to sell me. Due to the nature of the items and a number of other factors, I can state with confidence that these items were indeed owned by Jerry Garcia. Over the years, through my research, I was able to determine that these items were put out on the curb to clear out the apartment where Rock Skully had been living until he was fired from The Grateful Dead organization.” -Pü Tzu.    

Grateful Dead Garcia Broadway Staff XL Polo Style – $250

Presenting an exclusive piece from the esteemed Tom Stack Collection and Club Dead Archive: the GARCIA On Broadway STAFF shirt. This iconic garment, worn exclusively by the staff during Jerry Garcia’s unforgettable October run at the Lunt Fontanne Theatre in 1987, stands as a testament to a pivotal moment in Garcia’s career. Tom Stack, the founder of Club Dead and former VP of Licensing & Merchandise at Grateful Dead, preserves this piece with care. Lightly worn and responsibly stored, the shirt is a rare find in ‘Roadie Black’ and boasts a size XL. This item not only symbolizes a significant chapter in Jerry Garcia’s legacy but also embodies the spirit of community and devotion that defined his Broadway performances.

Grateful Dead “Northbound Train” 1995 XL Summer Tour Shirt – $200

From the Collection of T. Stack and the Club Dead Archive. Tom Stack is the Founder of Club Dead and the Former VP of Licensing & Merchandise at Grateful Dead. Northbound Train—Artwork by Richard Biffle. This was the tour shirt from Summer 1995, the Grateful Dead’s last tour. The tour shirts were white, this was a custom tie-dye made for Club. Size: XL

Grateful Dead Hard Trucker Ribbon Tweeter Speaker from the Estate of “Ram Rod” Shurtliff with letter from Dennis “Wiz” Leonard – $7,500

Grateful Dead Custom Alembic / Hard Truckers ribbon tweeter, manufactured for the Grateful Dead by Dennis “Wiz” Leonard in 1978. Black painted pine speaker enclosure (6.5 x 9.75 x 5.75”), hand assembled ribbon tweeters. Overall worn. While ribbon tweeters have a high frequency response that’s significantly more detailed than traditional drivers, they require much more cost and effort to manufacture and maintain; they can also be hard to match to amplifiers and require very low impedance. The present pair are a prime example of the Dead experimenting with what would be seen by some as a needlessly difficult set up in order to achieve the best possible live audio, resulting in a maximally delicate, upper range resolution.

1985 Grateful Dead “Twilight Zone” TV Show Appearance Signed Contract – $15,000

Grateful Dead band-signed 2 page contract for their music collaboration with the Twilight Zone TV show. This rare document bears the signatures of all band members, including the legendary Jerry Garcia, solidifying their involvement in this iconic television production. This contract is a historical artifact, showcasing the Dead’s diverse musical talents and their foray into television. It represents a unique crossover between rock music and the entertainment industry, highlighting the band’s cultural impact and creative versatility. Size: 8.5 x 11. 

Club Dead 80’s Large Illustration Combination White T-Shirt – $500

From the Collection of T. Stack and the Club Dead Archive. Tom Stack is the Founder of Club Dead and the Former VP of Licensing & Merchandise at Grateful Dead. Size: L. 

Jerry Garcia Bust By Steve Lester (#6) from T. Stack & The Club Dead Archives, 1996 – $15,000

The Garcia Estate contacted Tom Stack soon after Jerry’s death and put him in touch with Anchorage, Alaska based sculptor Steve Lester, who had created this lifelike bronze bust of Jerry. Though he had never seen the band in person, nor really ever listened to them, he was able to craft this exquisite bust in Jerry’s likeness, painstakingly replicating each and every feature of our beloved Garcia. Using multiple images of Jerry as inspiration Steve looked to Tom for his help in selling them exclusively through the Club Dead channels. Besides this one (#6/350) used for the 1997 catalog insertion and then gifted to Tom, Club Dead regrettably sold only one other bust in 2 years. This is from a planned run of 350 (smaller version—larger version was limited to a mere 50 pieces). Club Dead sold product to over 600 stores in the US, Canada, Japan and Europe, and boasted a direct retail mailing list of over 30,000 names. No other distribution channels were used, and the artist did not sell them directly. Tom has not been able to find the artist for over 25 years, his whereabouts are unknown, so more specifics are unavailable, but it is Tom’s guess that very few were ever sold, as the sculptor was simply that, a sculptor, not a distribution business. The buyer of this may be buying one of maybe a dozen or two ever made. Maybe. Could certainly be fewer. Let’s just say it is incredibly rare. Individually numbered and “signed” (via an engraving) and comes with an article from an Alaska newspaper telling the fascinating production story, along with accompanying pictures from Lester’s craft-making. Also comes with a copy of the Club Dead 1997 catalog. Weighs over 25 pounds. Size: Base = 9.5” Height = 14”