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Mouse and Kelley found a black and white version of this skeleton and roses image while digging through library books. “We were fishing in the past, bringing up old stuff that should be seen again.”
Though not the Grateful Dead’s first association with a skeleton—that credit goes to Wes Wilson’s May 1966 poster The Quick and The Dead—Alton Kelley and Stanley Mouse’s adaption of Edmund J. Sullivan’s 1900 illustration of a skull and roses was the one that became best known.
This poster marks the first use of the 'Skull and Roses' motif which became so closely associated with the Grateful Dead and remains one of the most famous and instantly recognisable images associated with any band in the history of rock & roll.
14 de may. de 2008 · The proof features the cover artwork for their eponymously-titled 1971 album release, commonly referred to as 'Skull And Roses' or 'Skull F**k'. The cards were distributed for general advertising and promotion of the album and the business cards were used by the Grateful Dead management and others associates.
22 de oct. de 2022 · On inspecting Alton Kelly and Stanley Mouse’s psychedelic illustration, they settled on Skull & Roses. By the 1960s, the art of the 19th century was back in fashion – in a countercultural sense, of course.
4 de jun. de 2008 · A 19th-century engraving from “The Rubaiyat of Omar Khayyam” inspired a famous poster for a Grateful Dead concert at the Avalon Ballroom in 1966 that showed a skeleton wearing a garland of...
Alton Kelley, Stanley Mouse, Skull and Roses; Grateful Dead and Oxford Circle at Avalon Ballroom, 1966. Offset lithograph; 20 × 14 1/4 in. Denver Art Museum: Partial gift of David and Sheryl Tippit; partial purchase with Architecture, Design, and Graphics Department acquisition funds; and partial purchase from the Volunteer Endowment Fund in ...
