• 音樂&樂器

    890 銷售中

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  • 0—3 430 000 000 HKD
  • 1 1月 1990— 8 1月 2019


Just Andersen

定價: 14 500 HKD


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Fine and Important Italian Violin, Antonio Stradivari, Cremona, c. 1720

Fine and Important Italian Violin, Antonio Stradivari, Cremona, c. 1720, labeled ANTONIUS STRADIVARIUS CREMONENSIS, FACIEBAT ANNO 1724, the one-piece back of bold curl, the ribs of medium curl, the later scroll of narrow curl, the top of fine to medium grain, the varnish of a golden color, length of back 14 1/16 in., 357 mm. Certificate: Etienne Vatelot, Paris, June 14, 1961. Provenance: M. Culenaere M. Culenaere (fils) Etienne Vatelot Lorand Fenyves The Fenyves Stradivari violin, c.1720 has been conserved in its present state for over 100 years, and in that time has never been offered for public sale. It has never been photographed or published until now, and has not appeared with the other 530 surviving instruments of Antonio Stradivari and his sons that have been catalogued and illustrated in violin literature. Its broad, full arching, large proportions, lightweight Balkan maple back and renowned sound projection are among the features which characterize the finest works of the maker's 'Golden Period'. The first recorded owner of the violin was a Monsieur Cuelenaere, Director of the Conservatory of Music at Douai, France, who purchased the instrument in nearby in Lille. There may also have been an association with the Parisian dealer Jean Baptiste Vuillaume through his protégé Paul Baille, who is known to have worked in Lille and Douai at the time of M. Coulenaer's tenure. In 1894 it then passed to his son who was already a well-known violinist in the Concerts Colonne at the Odeon Theater in Paris and at the Paris Opera. The original documents accompanying the violin were destroyed in a 1914 bombing and invasion during the First World War. After the death of M. Cuelenaere fils, it was sold to the firm of Etienne Vatelot, where it remained until 1961, when it was sold to Lorand Fenyves, then Concertmaster of The Orchestre de la Suisse Romande in Geneva, Switzerland. A prolific soloist, recording artist and distinguished professor of violin, Mr. Fenyves continued to use the Stradivari violin as his only performance instrument for over forty years.

  • USA
  • 2006-10-15


FENDER 'BLACKIE' CIRCA 1956 AND 1957, A COMPOSITE FENDER STRATOCASTER The headstock bearing the logo Fender/STRATOCASTER/WITH SYNCHRONIZED/TREMOLO/ORIGINAL/Contour/Body, neckplate engraved -20036, the body of alder in later black finish fitted with three single-coil pickups, 21 fret maple neck of pronounced 'V' shape with black dot inlays and single string clip; and Anvil case stencilled in white with an image of two cartoon duck heads and lettering THE/DUCK BROS./LONDON 01 486 8056 with adhesive tape inscribed by Lee Dickson Auction #15/BK/'56 '57 Black/Stratocaster Blackie served as Eric Clapton's practically sole stage and studio guitar for 15 years of his career from late 1970 to 1985. Clapton told Dan Forte in his 1985 interview published in Guitar Player: "I feel that that guitar has become part of me. I get offered guitars and endorsements come along every now and then. [A guitar maker] tried to get me interested in a fairly revolutionary guitar. I tried it, and liked it, and played it on stage - liked it a lot. But while I was doing that, I was thinking "Well, Blackie is back there. If I get into this guitar too deeply, it's tricky, because then I won't be able to go back to Blackie. And what will happen to that?" This all happens in my head while I'm actually playing [laughs]. I can be miles away thinking about this stuff, and suddenly I shut down and say, "This is enough. No more. Nice new guitar. Sorry. You're very nice, but..." That's when I drag the old one back on, and suddenly it's just like jumping into a warm pool of water". Clapton first played Blackie on stage at the Rainbow Theatre, Finsbury Park, London on the 13th January 1973 at the concert organised by Pete Townshend and others to encourage Clapton's recovery from addiction. Clapton was to play two shows that night, he played Blackie (with a tremolo arm) in the first show, and used George Harrison's cherry red Les Paul for the second. When Clapton fully resumed his recording and touring activity in 1974 after overcoming heroin addiction, he and Blackie were seemingly inseparable. Starting with a short tour of Scandinavia in June, Clapton extensively toured the US, Japan and Europe in 1974 with Blackie. Years of intensive world tours with Blackie followed throughout the rest of the 1970s, which were only broken up by recording sessions. Blackie shared stage with among others Carlos Santana on the 1975 tour, Freddy King at the Crystal Palace Garden Party and at the Dallas Convention Center in 1976, The Band at the Last Waltz concert in 1976, Bob Dylan at Blackbushe Aerodrome in 1978 and Muddy Waters in 1979. The jubilant "comeback" album 461 Ocean Boulevard, the phenomenally successful album Slowhand , the critically acclaimed No Reason To Cry and the historic live album Just One Night from the 1970s, were all recorded with Blackie. In the early 1980s Blackie was by Clapton's side as he fought his way back from ill health and alcoholism and shared the stage with Muddy Waters in one of his last performances in 1982. In 1983, newly recovered Clapton, with Blackie in his hand, acted as the musical director for the star studded ARMS benefit tour for Ronnie Lane, featuring members of the Rolling Stones, Jeff Beck, Jimmy Page, Stevie Winwood and Joe Cocker. This was followed by recording and touring with Roger Waters on his Pros and Cons of Hitch Hiking project. The Behind The Sun album and the subsequent triumphant 1985 world tour, which included the landmark appearance at Live Aid at JFK Stadium, Philadelphia in the summer of 1985, marked Eric Clapton's renewed vigour for making music. It also marked the end of an era for Blackie, as the famous guitar was retired to give way to its offspring, the Eric Clapton Signature Stratocaster, the idea for which was conceived after the first night of the 1985 tour. Blackie's last stand at the 1985 tour concert in Hartford on the 1st of May, was filmed and released on video. Blackie also made it to the first promo video by Eric Clapton for the song Forever Man from the Behind The Sun album. The last known occasion when Blackie was seen by the public was for the 1990 television commercial for Honda Japan when, at the specific request of the company, Clapton used Blackie to record a new guitar solo on the song Bad Love in a New York studio and was filmed for the commercial doing so. Blackie was also brought out on stage for one number during the 1991 Royal Albert Hall shows. (2)

  • USA
  • 2004-06-24


GIBSON 1964, ES-335 TDC The headstock inlayed Gibson and stamped on the reverse 67473, labelled Style L-5-CES/Gibson ES 335TDC/Number 67473 is hereby/GUARANTEED/against faulty workmanship and materials./Union Made Gibson INC/KALAMAZOO MICHIGAN,/U.S.A., length of back 18½ in. (47 cm.); and original Lifton hardshell case, stencilled on the lid in white CREAM DELICATE HANDLE WITH CARE DELICATE ELECTRONIC INSTRUMENT HANDLE WITH CARE EC G ES, with adhesive tape inscribed by Lee Dickson Auction (SADLY!)/Gibson Cherry Red-Cream/'64-335- #67473 Purchased by Eric Clapton in 1964, he has used this ES-335 throughout his career from The Yardbirds, with Cream, John Mayall's Bluesbreakers, Blind Faith, and throughout his solo career. Fellow Yardbird Chris Dreja was photographed playing Clapton's 335 more often than Clapton himself at that time. With Cream, Clapton was more frequently pictured with various Gibson Les Pauls, and the famous psychedelic Gibson SG, painted by The Fool. However, he appears to have started using this ES-335 alongside a Gibson Firebird I during Cream's farewell tour in the autumn of 1968, which culminated in two concerts at the Royal Albert Hall on November 26th, 1968. In the second concert of the day, Clapton played this ES-335 whilst he used the Firebird in the first concert. In December 1968, Clapton went on to cut Badge and other tracks with this guitar at IBC Studios in London, released later on the Goodbye album. Clapton used this ES-335 extensively with Blind Faith in recording sessions at Morgan and Olympic Studios, and on stage during the Scandinavian and US Tours that followed. An inside cover photo of No Reason To Cry suggests that this ES-335 was present at the Shangri La Studio sessions in the spring of 1976. Clapton said in a 1989 interview that this guitar was also used on his 1989 rendition of Ray Charles' Hard Times released on the Journeyman album. According to Lee Dickson, this guitar was taken to practically all Clapton's recording sessions throughout his 25 year tenure with Clapton since 1979. In the autumn of 1994, this Cherry Red ES-335 returned to the stage as one of the key guitars used on the Nothing But Blues Tour when Clapton played on it the Freddy King numbers Someday After A While, I'm Tore Down and Have You Ever Loved A Woman. Clapton can be seen playing this guitar at Filmore West on the 8th and 9th of November, 1994, in the footage of a documentary film of the Nothing But Blues Tour, directed by Martin Scorsese. This ES-335 remained as a stage guitar, largely reserved for Freddy King numbers, until the summer of 1996. Again, it was captured in concert footage that year when Clapton used it on various TV shows, most notably the VH-1 Duets programme with Dr. John at Roseland, New York on the 9th May, 1996. It was used at the Prince's Trust concert in London's Hyde Park on the 29th June, 1996, subsequently released on video as Eric Clapton - Live in Hyde Park, where it features on the cover. (2)

  • USA
  • 2004-06-24


C.F. MARTIN AND COMPANY 1939, STYLE OOO-42 The headstock bearing the logo C.F. Martin & Co./Est. 1833, branded internally C.F.Martin & Co/Nazareth, PA. and 000-42/73234, length of back 19 5/16 in. (49 cm.); and leather covered hardshell case with adhesive tape inscribed by Lee Dickson Auction/Boo-Hoo/Auction #30/M. OOO-42 # 73234 This guitar was the main instrument for Eric Clapton's MTV Unplugged appearance, one of the pivotal moments in his career. The picture of Clapton playing this guitar which appeared on the c.d. cover for the multi-million seller Unplugged album, has became one of the most enduring images of recent music history. Clapton used it to play the acoustic version of: Layla, Before You Accuse Me and Old Love, as well as early versions of My Father's Eyes and Lonely Stranger. The guitar first appeared on stage at the first of the Blues only seasons at the Royal Albert Hall in February/March 1993, used in the opening acoustic segments of the show for pre-war Blues covers such as Alabama Women, How Long Blues and Four Until Late. It went on to serve as Clapton's main stage acoustic guitar between 1993 and 1995, mostly used in the opening acoustic segments of the Blues concerts for numbers such as Malted Milk. When Martin was developing its first Eric Clapton signature model 000-42EC, Eric Clapton requested that the construction of that guitar should be based on the structure of this pre-war 000-42. A Martin publicity photograph at the time shows Clapton holding this guitar in one hand, and the new signature model in the other. Although Clapton Signature Martin guitars with built-in pickups began to be used for larger concert venues from 1996 onwards, this guitar remained as the main stage acoustic guitar through the 1997 Far Eastern Tour and the first leg of the Pilgrim US Tour in 1998. (2)

  • USA
  • 2004-06-24

Roy Eldridge Estate

Nicknamed 'Little Jazz,' Roy Eldridge (1911-1989) was a jazz trumpet player known for his sophisticated use of harmony, virtuosic solos, and mastery of the instrument's highest register. His prolific career lasted decades, seeing-and influencing-the development of jazz from its beginnings to its peak. His first brush with stardom came at age 14, when his brother took him along to a 1925 rehearsal session that included Duke Ellington, Rex Stewart, and Benny Carter. Eldridge hit the road on his own three years later, playing the carnival circuit and delighting crowds with note-for-note trumpet renditions of the most popular saxophone solos of the day. After moving to Harlem, and later Chicago, Eldridge emerged as one of the top jazz trumpeters in the world, sought after by venues, bands, and recording studios alike-Artie Shaw and Gene Krupa were both willing to defy social convention, and sometimes law, by inviting him into their bands, using him as a featured soloist in a time when black musicians were barred from white groups. He went on to tour in Europe under the wing of jazz impresario Norman Granz and record with the likes of Ella Fitzgerald, Coleman Hawkins, Charles Mingus, and Eric Dolphy through the 1950s and 60s. Even a stroke in 1970 couldn't to slow him down, as he took on the duties of bandleader at a New York jazz club for the next decade. Just as his career serves as a microcosmic summary of jazz history, his personality typified the spirit of jazz-Granz later said of him, 'Every time he's on he does the best he can, no matter what the conditions are. And Roy is so intense about everything, so that it's far more important to him to dare, to try to achieve a particular peak, even if he falls on his ass in the attempt, than it is to play safe. That's what jazz is all about.' Featured here is an extraordinary collection of Eldridge's papers, instruments, sheet music, records, photographs, posters, a large trunk, and other personal effects, chronicling his career as one of the most influential swing musicians of his era.Among his papers are a wide variety of letters, contracts, tax returns, set lists, Christmas cards, checks, bank statements, and appointment books. Particularly notable among this group are: signed contracts dated between 1953 and 1980, including his 1965 tour of Europe and performances at the Downbeat Jazz Festival in Chicago and New York's Museum of Modern Art; his 1955 life insurance policy; three of his credit cards circa early 1970s, each signed with his given name, "David R. Eldridge"; two Christmas cards signed by Ella Fitzgerald; itineraries for tours with Ella Fitzgerald and Oscar Peterson; typed lyrics for 'TV Is The Thing'; ALSs sent to his wife; and a vintage signed photo of Sugar Ray Robinson, inscribed to "Little Jass [sic]." Unsigned photos are of a wide array of dates and sizes, with everything from candid snapshots to oversized prints, dated from the 1930s through 1970s. A few scrapbooks are also included. All paper material is in very good to fine condition, with dampstaining and moisture exposure to many pieces. Especially impressive are hundreds of pieces of handwritten sheet music in both ink and pencil, as well as some facsimile copies of the handwritten originals. Song titles include: 'I Remember Harlem,' 'Saturday Night Fish Fry,' 'A Lot of Livin'' (bearing a "Count Basie Orch." stamp), 'Don't Do Me Like That,' 'Cottontail,' 'Fly Me to the Moon,' 'Let Me Uptown,' and 'Everybody do the Charleston.' Also includes full handwritten scores of each instrument's part for a number of songs, including 'Rockin' Chair' and 'After You've Gone' arranged by Quincy Jones, as well as 'Easter Parade,' 'I Remember Harlem,' and 'Basin St. Blues.' Instruments included are two trumpets, a cornet, Roy's drum set made up of four drum shells of various sizes with drum kit equipment and a few other percussion instruments, and his brother Joe Eldridge's Martin saxophone. The most important trumpet is a Benge 5x trumped stamped "Resno-Tempered Bell, Custom Built by E. Benge, Los Angeles, Calif.," and the number 13671 impressed into the side of the middle valve, with ML impressed on the other side. The serial number dates the trumpet to 1974. There are a few small dimples, but it is in tested, working condition. Includes the original Benge case (with Roy's name & address label on the case), 3 or 4 mouthpieces, and three mutes. Second trumpet is a silver-plated circa 1928-30 King Liberty model, impressed with the serial number 78397 on the second valve. The trumpet has a few dents and rust spots, otherwise fine condition. Instrument is housed in his large tan trumpet case, labeled Roy Eldridge, with red lining from the 1940s-1950s. The cornet is a Carl Fischer's American Model, serial number 77734, with heavy corrosion to much of the horn. Various other brass instrument accessories are also included.The collection of recordings consists of over 100 acetates, 300 78 rpm records (1930s-1950s), studio recordings, and nearly 100 reel-to-reel tapes. Many of the acetates are original radio air checks and the tapes are reels of live concerts, broadcasts, and rehearsals. Acetates are in extremely fragile condition, many becoming delaminated and flaking. The tapes and 78s are generally in fine condition. Detailed lists of the records and tapes are available online at www.rrauction.com.Twelve of his awards are also present, including the plaque he received in recognition of his 1971 Grammy nomination for "Best Jazz Performance by a Group, 'The Nifty Cat,' Album." Other award plaques are from Down Beat (1946), the Blue Note (1984), International Jazz Federation (1981), and various smaller organizations and universities. While the Grammy plaque is in fine condition, most others exhibit heat soiling and moisture exposure.To top it off is Eldridge's black beret, a style statement of many of the great jazzmen and their contemporaries-a look made most famous by the likes of Dizzy Gillespie and Thelonious Monk, both of whom recorded with Eldridge. Eldridge is often cited as one of Gillespie's greatest influences-they even collaborated on an album together in 1954, entitled Roy and Diz.Eldridge, who died in 1989, 'was a keeper-he kept stuff around.' Additionally included are 50 pages of an incomplete autobiography Eldridge started writing in the 1950s. He saved airplane tickets, laundry slips, Christmas cards, canceled checks, and thousands of jazz photographs and homemade recordings in the cluttered basement and attic of his house at 194-19 109th Avenue in Hollis, Queens. We have a Christmas card from the trumpeter Buck Clayton, some canceled checks to band members from the Roy Eldridge Orchestra, a laundry receipt from a London hotel, business cards, note pads, and so much more. Also saved were several photographs of Eldridge performing with Coleman Hawkins and Thelonious Monk from 1945 and posters of his tour with Ella Fitgerald. Not to mention the audio recordings of Eldridge playing, including approximately 200 hours of reel-to-reel tapes and approximately 350 78 rpm records. The music ranges from the 1930s to the 1980s and includes private sessions in musicians' homes and big band concerts recorded from live radio broadcasts. One tape is a recording of Woody Allen playing clarinet with Eldridge and Gerry Mulligan. Overall, this is a stunning archive of jazz history. Eldridge's influence on the genre-serving as a bridge from swing to bebop-is unquestionable, and this group of his personal effects traces that development. With everything from his personal instruments to unheard recordings of he and his collaborators, it is remarkable in depth and breadth, it is an instantly impressive collection of the highest interest to any jazz aficionado. Due to the enormity of the collection please be advised that extra shipping charges will apply. The sheer overwhelming volume of items precludes a complete list, however, there is a very detailed inventory list of the recordings made by WKCR Jazz Radio DJ Ben Young, Phil Schapp and staff with notes on the 1920s-1970s studio recorded discs and commercial records and a list of the reel-to-reel tape recordings, which is available online at www.rrauction.com. Interested parties are strongly advised to view the collection in person at our offices, as this collection is sold as is, and no returns will be accepted. Many items have been exposed to moisture and exhibit blemishes or a musty odor consistent with such. Large personal collections such as this are seldom offered as a whole, and there are certainly still many discoveries that lie within. A truly rare find!

  • USA
  • 2014-03-21


A 1962 Rickenbacker 425, serial number BH 439, purchased by George Harrison in September 1963 in Mount Vernon, Illinois, while on a two-week visit to see his sister, Louise. Harrison met a few other young musicians during his stay and told them about his interest in buying a Rickenbacker. They took him to Red Fenton’s Music Store, where Harrison looked at Fenton's selection and chose a style that he liked. The guitar he chose had a Fireglo finish, not black as Harrison preferred, so the shop owner offered to refinish it for Harrison. The color was important to Harrison so that it would match John Lennon’s similar Rickenbacker. A week later the refinish was complete and Harrison began playing the guitar. After Harrison’s return from the States, he used the guitar for The Beatles' first appearance on the television program Ready Steady Go ! on October 4, 1963, and on the program Thank Your Lucky Stars in December 1963. Harrison took the guitar on the band's October 1963 week-long tour of Sweden. He interchangeably used his Country Gentleman and the 425. Harrison was photographed with the guitar extensively on this tour, and the entire band was photographed posing with the guitar as well. This is purported to be the only known photograph in existence of all four Beatles holding a single guitar. Harrison played this guitar as The Beatles recorded “I Want to Hold Your Hand” at Abbey Road Studios. This song, The Beatles' fifth single, gave The Beatles their break in the U.S. market. The same session produced the recording of “This Boy.” John Lennon also played the guitar backstage at a performance in Glasgow, Scotland, on October 5, 1963. A photograph published in an August 1964 Beat Monthly magazine shows Lennon with this guitar. In the late 1960s or early 1970s, Harrison gave the guitar to George Peckham, who had a long association with Apple and especially George Harrison in multiple roles, including cutting engineer at Apple. Peckham had borrowed a guitar from Harrison for his appearance on Top of the Pops , as a rhythm guitarist in the band The Fourmost. Upon returning it, Harrison asked Peckham if he would like to keep a guitar. Harrison showed him this Rickenbacker, saying that it was a “great rhythm player.” Prior to Packham receiving the guitar it was modified from its original state with an additional pick up added. Peckham kept the guitar in the condition he received it with no further modifications. The guitar case was given to Peckham by Slade band member Noddy Holder, who saw Peckham carrying it around without one. Holder said he couldn’t bear to see a Beatles guitar carried around without a case. Accompanied by copies of two letters from Harrison’s office that confirm he gave the guitar to Peckham, one from Olivia Harrison and the other from Caroline Foxwell, Harrison’s assistant. Both date from 1999. Also present is a copy of a letter from Peckham explaining the circumstances surrounding Harrison gifting him the guitar. LITERATURE Beatles Gear : All the Fab Four’s Instruments , From Stage to Studio ( Revised Edition ) by Andy Babiuk (San Francisco: Backbeat, 2002) pp. 94-95 George Harrison’s Rickenbacker 425 Guitar sn# BH439 Excerpt from the upcoming revised book Beatles Gear by Andy Babiuk  ~ As published at the GRAMMY Museum Beatles Exhibition 2014 At the pace The Beatles were moving in 1963, it was time for a much-deserved break, and a brief two-week holiday was planned to begin on September 16th. It was during this time that George Harrison and his brother Peter went to the United States to visit their sister Louise who had relocated to Benton, Illinois, in the 1950s. During Harrison’s visit to the US his sister introduced him to a friend, local musician Gabe McCarty. McCarty says Harrison purchased his first Rickenbacker guitar during this trip, long before most Americans had even heard of The Beatles. “I played some guitar with George a few times at his sister’s house during that visit,” McCarty recalls. “George wanted to buy a Rickenbacker guitar, so I took him up to Mount Vernon, to Red Fenton’s Music Store. That was the only place around here that had a Rickenbacker franchise, and he bought a guitar that they had in stock. I think there were two or three, and he was wanting a black one. Fenton didn’t have anything but red sunburst ones in stock. That was a popular colour then. I think the reason George wanted it black was that John Lennon had a black Rickenbacker, and they would match. So Fenton told George that if he left the guitar there for a week he would have it refinished black for him.” A day after Harrison returned to England the Beatles were back to work. This time it was a live performance for the key British pop TV show, Ready Steady Go!. On the afternoon of October 4th the group attended a camera rehearsal in Studio Nine at Television House in London, and later that evening they performed ‘Twist And Shout’, ‘I’ll Get You’ and ‘She Loves You’ for the live broadcast. Photographs taken of the rehearsal show Harrison pictured for the first time playing his new Rickenbacker 425 guitar with The Beatles. The group found time to return to the studio and on October 17th recorded their fifth single, ‘I Want To Hold Your Hand’ backed with ‘This Boy’. The recordings were made on a new Studer J-37 4-track recording machine, which had just been installed at Abbey Road studios. Instruments used during the session were the same as their contemporary concert line-up. Harrison once again used his new Rickenbacker 425, Lennon his Rickenbacker 325, McCartney his new ’63 Hofner bass, and Starr his Ludwig set. With its release, ‘I Want To Hold Your Hand’ proved to be one of the group’s most important recordings as it was the single that broke the Beatles in the US market giving birth to Beatlemania. Another appearance on ABC Television’s Thank Your Lucky Stars was taped on October 20th, and Harrison once again used his Rickenbacker 425. On October 23rd the band flew to Sweden for a week-long tour. During the Swedish shows Harrison used his Country Gentleman, but played his Rickenbacker 425 almost as much. Some of the pictures taken of the group in Sweden show them posing with Harrison’s Rickenbacker, while other shots reveal Lennon playing the 425 backstage. Live photos taken at the October 29th concert show Harrison with the guitar. Years later Harrison gave his Rickenbacker 425 to George Peckham, a guitarist in Liverpool band The Fourmost who became a record-cutting engineer at Apple. Through the years the guitar was modified. A second pickup was added, plus associated extra controls. The inside cavity of the guitar was routed to accommodate the additional pickup, a new faceplate was made for the guitar, and the original Kluson tuners were changed to Grover Sta-Tite models. The modified Rickenbacker was sold at auction in September 1999 at Christie’s, and the purchaser contacted Harrison, enquiring about the guitar and its alterations. Harrison confirmed that it was indeed the guitar that he had given to Peckham – but he did not remember making the modifications to the guitar. Peckham on the other hand said that modified Rickenbacker was the way he received the guitar from Harrison. EXHIBITED Rock and Roll Hall of Fame, Cleveland: November 2000 - July 2002 John Lennon Museum, Japan: August 2002 - September 2003 Rock and Roll Hall of Fame, Cleveland: October 2003 - August 2013 Musical Instrument Museum, Phoenix, Arizona: August 2013 - January 2014 GRAMMY Museum, Beatles Exhibition, New York City: February 2014 - May 2014  

  • USA
  • 2014-05-18


1966 Red Fender Mustang, serial number 126288, solid maple neck and body, 22 fret rosewood fret board, double cutaway body, the nut has been flipped to accommodate the fact that the guitar has been strung for a left handed player, together with original hard case. Accompanied by an affidavit from John "Mitch" Mitchell the drummer for The Jimi Hendrix Experience. Which reads: "I, John Mitch Mitchell, formerly the drummer with the Jimi Hendrix Experience, herby DECLARE that the following statement is true: 1. This 1966 Daytona Red Fender Mustang guitar - serial number 126288 - was previously owned and used by the late James Marshall Hendrix 2.The guitar and case are both in their original form 3. The guitar - serial number 126288 - was used by James Marshall Hendrix at the Olympic Studio, London, for the recording of 'Axis Bold as Love' and 'Electric Lady Land' and was used by him on these two albums 4. The guitar was left with me for pick-up modification and later was given to me by Jimi Hendrix as a gift and it has remained in my possession ever since." Prepared by Garwood Devine Solicitors, London and witnessed by Rozenburg and Gould, Commissioners of Oaths, dated March 19, 1999 Also in 1999 Christie's East authenticated this information and gave a conservative estimate of $150,000. To order a full color auction catalog detailing each lot in the "Icon's of Music" Sale Benefiting Music Rising for $50 please email info@juliensauctions.com.

  • USA
  • 2007-04-22

An extremely rare and important fine gold, enamel and pearl-set perfume-sprayer automaton pistol,

An extremely rare and important fine gold, enamel and pearl-set perfume-sprayer automaton pistol, Swiss, most probably by Mouliniè et Bautte or Bautte et Moynier, circa 1805, The gilt brass cylinder movement with plain tri-spoke brass balance and feather-tooled escapement fork, the dial with black Breguet numerals on white enamel ground, concealed behind circular cover at the end of the handle, opening on secret button, the movement also enclosed with similar cover of deep scarlet enamel over engine turned decoration, the edges and centres set with split pearls, continuing further up the pistol grip with arcs of engine turning beneath the scarlet enamel to the sides, underside and top, all edged with split pearls and a small gold loop for chain on timepiece underside, pierced and tooled flint strike with square onyx hammer and mask detail on the top, the lower barrel sides with plaques depicting a recumbent dog on one side and a hare on the other, surrounded with a black enamel and further split pearl border, above tooled straight trigger, the barrel in deep blue with paillonne and laurel gold decoration emanating from the ends and the scent shot out from the barrel when the trigger is depressed and the hammer is struck, issuing from a cone rose, opening with six gold and white and red enamel lotus petals, sprung from the action and reset with barrel slide after hammer is lifted -4 5/16in. (11cm) long when closed

  • GBR
  • 2006-11-07

1933 Rolls-Royce Phantom II Continental Coachwork by Thrupp & Maberly, with FLM Panelcraft

1933 Rolls-Royce Phantom II Continental Coachwork by Thrupp & Maberly, with FLM Panelcraft Chassis no. 3MW Engine no. FG 55 7,668cc OHV Inline 6-Cylinder Engine Single Jet Rolls-Royce Carburetor 120bhp at 3,500rpm 4-Speed Manual Transmission 4-Wheel Servo-Assisted Drum Brakes *Originally ordered by Barbara Hutton for her husband Prince Mdivani *Extravagant and attractive 3 position coachwork *Same owner for past 40 years *Offered with tools and extensive history file *One of the most historically important Phantom II Continentals THE PHANTOM II CONTINENTAL Rolls-Royce's "single model" policy had proved an outstanding success for the company. The Phantom II was having excellent sales figures, however Sir Henry Royce envisioned a more sporting model. He had at his side the able young development engineer Ivan Evernden who was a key player in the Phantom II Continental and went on to design its post war successor, the R-Type Continental Bentley. During the development of the Phantom II, the majority of the long-distance testing was carried out on the long straight roads surrounding Chateauroux in France. Sir Henry Royce's many journeys between the South of England and the South of France no doubt opened his eyes to the type of motoring not available upon England's narrow and winding roads. With long distance high-speed motoring in mind, the Phantom II Continental chassis was created, the project being personally overseen by this legendary duo. The whole car was conceived by Royce to be a more sporting and compact four-seater owner/driver motor car when compared to the long wheelbase standard Phantom II. Just 281 such chassis were produced and they differentiated themselves from their standard cousins with thicker 5 leaf springs, a six inch shorter chassis, specifically 144 inches, and the provision of recessed rear footwells and lower rear seating. The engine was tuned with a high compression cylinder head and high lift camshaft. Power on the open road was enhanced by an exhaust cutout with switch fitted on the driver's side floorboard. With lightweight coachwork being fitted, the final result was a motor car capable of carrying four people in comfort at high speeds over great distances. The Continental is rightly considered by many to be one of the finest pre-war Rolls-Royces. The majority of Phantom II Continentals were fitted with close-coupled four-door closed coachwork. However, a small number were fitted with more stylish designs. Most possessed exquisite elegance, but none arguably more than the car presented here. THE MOTORCAR OFFERED This Phantom II Continental story begins with the one of the most intriguing women of the 20th century, Barbara Hutton, heiress of the Woolworth family fortune. Barbara met the dashing young Prince Alexis Mdivani, in 1932. Prince Mdivani was living in exile in Paris, having fled his native Georgia after the Soviet invasion in 1921. Barbara was very taken by the Prince, and they were soon engaged. In celebration of their engagement Barbara commissioned a very special Rolls-Royce Phantom II Continental for her new husband to be. As the pages show, this is one of the most lavish and elegant Phantom II Continentals ever built. The body was commissioned from Thrupp and Maberly and was in the popular 3 position drop-head style. The dashboard was designed by Barbara and Prince Mdivani. The Prince, being a trained pilot, tailored a dashboard that was very much aircraft-inspired, including specially ordered large gauge tachometer, rev-counter, and even an altimeter. These gauges were mounted in an aluminum engine-turned dashboard and interior was also trimmed in engine turned aluminum rather than the usual wood veneers. The car's already long bonnet was extended by a further 4 inches, a format which it is thought was beyond that of any others built. Along with this extended bonnet, Prince Mdivani requested that the bonnet louvers be angled at 13.5 degrees. Andre Tele-controls were also ordered so that the suspension could be stiffened up for high speed running. It is suspected that the Phantom II went with the Prince and Barbara on phases of their extravagant honeymoon. Unfortunately, for the Prince, his marriage to Barbara was not meant to last and after a disagreement they divorced. He was on holiday in Spain with the car a month later and was taking a German Countess to the train station. An eyewitness to the events that followed, stated that a shirtless man thundered by him at over 80mph. Unfortunately, the Prince lost control of the car, and was killed in an ensuing crash. After this incident, it is understood that the car was sent back to Rolls-Royce and Thrupp and Maberly for a complete rebuild at the Rolls-Royce Works before passing to its next owner. In 1951 the Phantom II was motoring on the streets of London, when it caught the eye of a young American enthusiast. He was very taken by the car's devastatingly good looks and vowed to one day own it. Twenty years later he had his chance and he bought 3MW from De Ville Carriage Company Ltd. Today, as evidenced, there are FLM Panelcraft kicker plates in addition to the Thrupp ones and it seems likely that this post-war coachbuilding entity were responsible for a restoration prior to his acquisition. The car sailed home to the United States with the current owner on the Cunard Liner QE2 in 1972. Since arriving in the US, the car has gone on many long-distance driving tours. It has been meticulously maintained in the consigners private collection. Four years ago, noted Rolls-Royce specialist, The Vintage Garage carried out a major service on the car. This work is fully documented in the car's history file. The vehicle was recently inspected by a Bonhams Specialist and proved to be incredibly interesting. It is a delightful older restoration in good order, and it would appear that many of the original custom features that were likely ordered with the car, such as its Cromos bumper and Sireno horn. It has an imposingly elegant yet uniquely dashing appearance. Many large prewar cars have distinct limitations when it comes to steering, braking and performance, which make their usage on modern roads somewhat problematic. This is clearly not true of the Phantom II Continental. Sustained cruising speeds over 70 miles per hour were indeed endorsed by the factory, and were much on the mind of its first owner. The view down the elongated bonnet, above the big dials and glinting aluminum of the dashboard make for a unique driving and show experience, which has stood the passage of time, bringing to mind an era of elegance and 'joie de vivre' of the French Riviera, and its Mediterranean coast. Of all 281 of these cars built, collectors will prize this one and it will give pleasure to many on the most prestigious tours and Concours fields worldwide.

  • USA
  • 2018-03-09