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Lot 502
ROTARY - a gold plated stainless steel Mecanique Skeleton automatic wristwatch, ref. 03071, white dial with Roman numeral hour markers, skeleton movement and original strap, 21 jewel movement with calibre 8N24, case width 37mm, working orderVery good working order, no damage, case extremely lightly abraded, on original strap, crown working, hands adjust smoothly
Lot 125
Status Quo: Alan Lancaster's Schecter Telecaster-Style Guitar,circa 1979,all-natural wood finish, single cutaway body, two replacement pickups with two rotary controls and three-way selector, white plastic scratchplate, gold-plated hardware, fingerboard with black dot markers, headstock with Schecter decal and Schaller machineheads, in hard, plush-lined stickered Fender case with original pickups in box and strap, guitar 38 1/4in (97cm) longFootnotes:Provenance: Property of Alan Lancaster. Best known as a founding member of the rock band Status Quo.This guitar originally belonged to Rick Parfitt, from 1979 to 1985, when he swapped it for a Gibson EB3 bass guitar owned by Alan. It was used by Rick for various recordings and concerts. Post-Quo, it was played on The Party Boys' No. 1 single 'He's Gonna Step On You Again' and on the band's eponymous, first studio album.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 108
Bob Solly (The Manish Boys): A Guild Starfire II Electric Archtop Guitar,1964,serial no. 31082 impressed to the back of headstock and inscribed on label inside the body, Starfire Red finish, the single-cut thinline body in bound laminated mahogany, twin pickups with three-way selector, two tone and two volume rotary controls, black plastic scratchplate, two f-holes, 'G' brand tailpiece; bound mahogany neck with rosewood fingerboard and dot markers, Grover machineheads, model plate and maker's inlay, in skin-effect, hard shaped case with strap, strings, capo and plectra, accompanied by a letter of provenance, CITES licence no.593569/01Footnotes:Lots 108-112 are from the collection of Bob Solly (1944-2020).A musician, designer and writer, Bob was a founding member of The Manish Boys from Maidstone. For about a year, they were fronted by David Jones (David Bowie), with whom they recorded the 1965 Parlophone single, I Pity The Fool/Take My Tip.After the group split up, Bob and partner Paul Rodriguez concentrated on songwriting, working with producer Shel Talmy. Following a move away from the music business, Bob became a successful designer and architect. However, he retained his passion for music and built up a large record collection. His knowledge of post-war popular music was extensive, and he became a broadcaster and writer for magazines such as Record Collector.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 109
Bob Solly (The Manish Boys): A Gibson L4 CES Guitar,1988,serial no. 83258543 and Made In U.S.A. impressed to rear of headstock and number also inscribed on label inside body, vintage tobacco sunburst finish, bound body with single pointed cutaway, spruce top and mahogany back and sides, twin f-holes, gold-plated hardware, twin 57 Classic Humbucker pickups with three-way selector, two volume and two tone rotary controls, Art Deco-style tailpiece and inlaid bridge, bound mahogany neck with ebony fingerboard and split block markers, headstock with Gibson Deluxe machineheads and maker's inlay, in hard, shaped plush-lined Gibson case with lead, strap, plectra and original purchase receipt dated 1/10/88 from Peter Cook's Guitar World, London, accompanied by a letter of provenance, guitar 41 1/4in (104.8cm) longFootnotes:Provenance:Lots 109-112 are from the collection of Bob Solly (1944-2020). A musician, designer and writer, Bob was a founding member of The Manish Boys from Maidstone. For about a year, they were fronted by David Jones (David Bowie), with whom they recorded the 1965 Parlophone single, I Pity The Fool/Take My Tip.After the group split up, Bob and partner Paul Rodriguez concentrated on songwriting, working with producer Shel Talmy. Following a move away from the music business, Bob became a successful designer and architect. However, he retained his passion for music and built up a large record collection. His knowledge of post-war popular music was extensive, and he became a broadcaster and writer for magazines such as Record Collector.For further information on this lot please visit Bonhams.com
Lot 110
Bob Solly (The Manish Boys): A Guild DeArmond X-155 Electric Archtop Guitar,1998,serial no. 8061934 to rear of headstock, Korean-made, the bound, natural finish maple body with single cutaway, twin f-holes, four-ply laminated scratchplate, twin pickups with three-way selector, two tone and two volume rotary controls, bound neck, Indian rosewood fingerboard with block markers, headstock with model nameplate and inlay, in plush-lined, shaped hard case with strap, lead, strings and plectra, accompanied by a letter of provenance, guitar 42in (106.5cm)Footnotes:Provenance:The Bob Solly (The Manish Boys) Collection.For further information on this lot please visit Bonhams.com
Lot 117
Status Quo: Alan Lancaster's Fender Mustang Bass Guitar,1968,serial no. 245188 stamped on F-series neckplate, shaped, twin cutaway offset body in mauve finish, single active pickup with two rotary controls, three-ply laminated scratchplate, Indian rosewood fingerboard with white dot markers, headstock with Fender decal and machineheads, in hard, faux-skin rectangular plush-lined case with Status Quo and other stickers, the chrome scratchplate, original pickups, strap and packet of strings within, guitar 41 1/2in (105.5cm) longFootnotes:Provenance: Lots 117-127 are from the Alan Lancaster Collection.Best known as a founding member of the rock band Status Quo, Lancaster contributed to songwriting, and vocals on albums and live concerts, taking the lead on tracks such as 'Backwater', 'Is There A Better Way', 'Bye Bye Johnny', 'High Flyer' and 'Roadhouse Blues' etc. Having formed the band in 1962 with schoolmate, Francis Rossi, his final performance as a full-time member of Status Quo was at Wembley Stadium on 13 July 1985 for the opening of Live Aid. Alan joined the original line-up of the band for reunion concerts in 2013 and 2014.This guitar was used on virtually all Quo's live and studio work by Alan from 1968 to 1978. Originally white, it was stripped back to a natural wood finish in the early '70s, with a chrome scratchplate added later. In the late '70s it was sprayed mauve and the scratchplate changed back to the white laminate version, with replacement EMG active pickup. The lead pieces attached to the back of the body are weights to enable the guitar to hang at the correct angle when Alan was standing and strapped. The piece of felt at the bridge end was to dampen any hard hits from the plectrum that might make unwanted 'thumps'. As Alan has remarked, It's a powerful axe.Sharing duties with the Travis Bean and Kramer guitars also offered in this auction, the guitar was finally played on the 2013 and 2014 Status Quo reunion concert tours and recordings.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 138
Joy Division: The Vox Phantom VI Special Guitar Owned By Ian Curtis And Played In The Video For 'Love Will Tear Us Apart',1967,British-made, serial no.76634 stamped on the neckplate, pentagonal mahogany body finished in white with Jennings' Bigsby B5-type tremolo, Tune-o-matic roller bridge, three pickups with six push-button controls, including the misprinted 'Replat' for 'Repeat', and five rotary controls, original strap buttons, back with cavity for PP3 battery conversion, laminated scratchplate, one-piece maple neck with zero-fretted rosewood fingerboard and original frets, dot markers, headstock with Phantom VI Special decal, chrome truss rod cover and non-original Schaller machineheads, in hard rectangular, plush-lined case, accompanied by a copy of 12' single for the 40th anniversary of 'Love Will Tear Us Apart' on vinyl, and a letter of provenance from Ian's daughter Natalie Curtis, CITES license no.592982/01Footnotes:Provenance:Owned and played by Joy Division frontman, singer-songwriter Ian Curtis (b.1956-d.1980). Used by fellow band-mate Bernard Sumner following Ian's death, and later gifted to Ian's daughter Natalie Curtis, in circa 2002.Considered by many as a British cultural icon who had a once-in-a-generation talent, Ian Curtis's musical legacy, even 40 years on, is as strong as ever. Despite a short career, Ian's association with Joy Division as a fascinating and enigmatic figure was instrumental in the band becoming pioneers of the post-punk movement with their debut album 'Unknown Pleasures', released by Factory Records in 1979. Now regarded as one of the best albums of all time, it's said 'Unknown Pleasures' defined not only the city of Manchester, but a moment of social change. Through his complex and melancholic song-writing, his distinct vocals, and commanding stage presence, Ian has managed to leave a lasting influence on musicians everywhere, and the music industry has never quite been the same since. Formed in 1976 in Salford, Greater Manchester, Joy Division (originally named Warsaw) consisted of singer and 'song-poet' Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook, and drummer Stephen Morris (who joined in 1977). Inspired by other musicians such as David Bowie, Kraftwerk, Sex Pistols, Jim Morrison, Iggy Pop, Roxy Music and Lou Reed, Ian's vision had a powerful impact on the band, resulting in Joy Division moving away from the typical 'punk sound' of the time, and instead creating their own sound, now considered as the start of the post-punk movement. Bought in September of 1979 by Joy Division's manager, Rob Gretton, this Phantom Vox was the guitar used by Ian on stage during Joy Division's 1980 European Tour, as well as on the recording of their track 'Heart and Soul', and features throughout the music video for the timeless hit 'Love Will Tear Us Apart'. As photography shows, Ian can be seen playing this guitar at several venues during the band's 1980 tour, the best-known imagery being those atmospheric shots taken by photographer Anton Corbijn - who is responsible for much of the band's early photography. Corbijn is also the creator for the music video for the re-release of Joy Division's hit 'Atmosphere' in 1988, and directed the Ian Curtis biopic Control, released in 2007.Joy Division recorded their single 'Love Will Tear Us Apart' at Pennine Studios, Oldham, on 8th January 1980, along with the B-side, 'These Days'. This version was very similar to the version the band played live, however the band later re-recorded the single with producer Martin Hannett at Strawberry Studios, Stockport in March 1980. By March of the same year, the band were recording their second studio album 'Closer', recorded at Britannia Row Studios in Islington, London. It is said Ian played this Vox on the track 'Heart and Soul' on this album; in an interview for Pat Graham's book, 'Instrument', Bernard Sumner states: Ian really liked this guitar. The Phantom had tons of effects built into it, as an added bonus. It had a pause unit, and a thing called the 'replat'. When we got the guitar, half the effects didn't work, and we were thinking, 'what the hell is replat?' We got the guitar repaired, and it turned out that 'replat' is actually 'repeat' - it was just a misprint. The guitar has a battery in it, and if you press the buttons in the wrong combination it will go into self-oscillate mode and start to make this strange twittering sound that Ian liked very much. It is a pretty wacky guitar. It sounded like some of the thinner guitars on Velvet Underground tracks, clean and jangly...Joy Division released their single 'Love Will Tear Us Apart' on the 18th April 1980 on Factory Records. This was closely followed by the band filming their own promo video on the 28th April at T.J. Davidson's studio on Little Peter Street, Manchester (a location they had rehearsed in at the start of their career). It is in this video, set in a disused mill, that Ian Curtis can be seen singing and playing his Vox Phantom guitar. A suitably gritty backdrop for a deceivingly melancholic track, this video has undeniably become a part of musical history. Sadly, this was the only music video Joy Division ever filmed, for Ian Curtis committed suicide at his home in Macclesfield just three weeks later in May 1980, on the eve of the band heading off for their first American tour. He was aged just 23. In Peter Hook's book 'Unknown Pleasures: Inside Joy Division', he comments on Ian's guitar playing, saying: You could tell he would have been a great guitar player...He'd picked the guitar up late, starting around the time we were writing the sounds that would become 'Closer'... He played in the video for 'Love Will Tear Us Apart' and was obviously quite a rudimentary player, but you could tell he would have got so much better because he had that ear - he thought like a musician.Following Ian's untimely death, the band released the video for 'Love Will Tear Us Apart' in June 1980 and it has since gained over 63 million views on YouTube. Shortly after this the band released their second and final album, 'Closer', in July 1980. Upon its release the album went to no.6 in the charts and by 1982 had sold over 250,000 copies worldwide, with the posthumous single 'Love Will Tear Us Apart' having sold over 160,000 copies. This year, 2020, therefore marks the 40th anniversary of not only this important music video, Joy Division's last album, but also of Ian's passing.The Phantom Vox stayed with the band, who later that year became the prolific 'New Order', and was looked after and used by Bernard Sumner. Sumner has said: ...we did use it on a couple of New Order recordings, the one I remember is 'Everything's Gone Green' (released in 1981). On the rhythm guitar part on that song, you can hear this guitar'. Music journalist Jon Savage has also said that it was played by Johnny Marr of The Smiths whilst part of his alternative dance supergroup 'Electronic' with Bernard. Many years later, Bernard gifted the guitar to Ian's daughter Natalie when she came of age in circa 2002. The guitar has remained in her possession since then.'The guitar came to me at a time in my life when I was keen to learn more about my late father. I'm not at all musical, yet it is fascinating to see my father's guitar, I mean, it's such personal thing. Since I'm a visual person, the Phantom is especially interesting to me, as the design is rather unusual. I grew up around and have worked with musicians, and although I've seen a lot of guitars, I've never seen anything like this. From everything I've been told about my father, he was very obsessed with how things looked, and so to me the Phantom makes sense and very much feels ... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 184
George Harrison: A Rare Bartell Fretless Electric Guitar owned by George Harrison,believed made circa 1967,serial no. A132, an unconventional guitar manufactured by Bartell of California, presented to George Harrison in August 1967 whilst he was renting a house on Blue Jay Way, Los Angeles; the contoured maple hollow body with twin cutaways in three-tone sunburst finish, with two f-holes, two single coil pickups with four Daka-ware rotary volume/tone controls, selector switch, four-ply laminated scratchplate, compensator bridge and rectangular tailpiece, maple neck with rosewood cap and phenolic fingerboard with painted line markers, celluloid truss rod cover, 'Bartell of California' decal to the headstock, Kluson Deluxe machineheads, in padded gig bag; accompanied by a photograph of George Harrison with his guitar collection at Friar Park, circa 1974, this guitar clearly visible at his left elbow, and statements from the vendor and associates regarding the gifting of the guitar in the 1980s, accompanied by a letter of provenance, CITES licence no.593367/01, 40.5in (103cm) longFootnotes:Provenance:Given by George Harrison to session guitarist Ray Russell when working on the music for the Handmade Films production, Water, in 1984. Offered with the letters of provenance is a 1985 vinyl pressing of the album The Golden Beatles, which includes the recording of an interview with the Beatles by DJ Kenny Everett, with producer Tony Olivestone operating the tape machine. The interview was conducted at Abbey Road Studios on Thursday 6th June 1968 during a long recording session for the White Album and broadcast on BBC Radio One on 9th June in The Kenny Everett Show. An edited version of the interview was committed to vinyl at the time as an Apple promo disc, but released only in Italy, as 'Una Sensazionale Intervista Dei Beatles'. A detailed description of the full interview is included in That Magic Feeling: The Beatles' Recorded Legacy 1966-1970 (John C. Winn, Random House USA Inc., 2009). The interview is also available on YouTube. www.youtube.com/watch?v=4DuRSC2eIpsEverett's interview was typically unstructured and chaotic, with John being heard messing about on a guitar. Everett asks: 'What kind of guitar's that, it's fairly strange-looking...?' to which John replies 'A fretless guitar'. Although there is, to date, no other documentary or photographic evidence of the Beatles using a fretless electric guitar, which at that time would have been an extremely rare instrument indeed, it is unlikely that it was anything other than the guitar offered here.It is not known whether the fretless found its way onto any Beatles recordings, but there is some interesting academic thought on this subject. For example, in February 2020, Kenny Jenkins, Senior Lecturer in Music Performance and Production at Leeds Beckett University, stated to the vendor that he believed this fretless was used on the White Album tracks Helter Skelter and Happiness Is A Warm Gun: 'Having spent a fair amount of time playing a fretless guitar, I can definitely say that's what is being used on both these tracks. I've been listening to this record for over 40 years and I'd never noticed it before, but once I'm listening out for it, it's an unmistakable sound. It's particularly effective on Happiness Is A Warm Gun where it's drenched in fuzz, probably a Dallas Fuzz Face pedal. There weren't many fretless guitars in the world in 1968, so it seems obvious that it's your Bartell'.In addition, the opinion was sought of Dr. Richard Perks, Lecturer in Music Performance, University of Kent, and one of Europe's leading exponents of the fretless electric guitar. In 2019 he was awarded a research grant to explore the fretless guitar scene of West-Asia and latest academic publications have addressed modern-day electric guitar performance. He stated that: 'I can say with some degree of certainty that a fretless electric guitar was used during the recording of The Beatles (White Album). On the track Happiness is a Warm Gun, the characteristic timbre of a fretless guitar is unmistakable; I am also convinced it features at various points throughout Helter Skelter. Furthermore, there is sufficient evidence to suggest the use of a fretless guitar on Savoy Truffle. In each case, the fretless guitar parts exhibit a 'full' tone, which directly supports the view that the Bartell model – a hollow-body – was used.'A Facebook post in 2019 gave details by Mark Moffatt, a former employee of Top Gear Musical Instruments in Denmark Street, London, that in 1973, Apple sent a number of George Harrison's guitars to the shop for servicing. Moffatt recalls: 'It was thrilling opening cases to find legendary guitars like Rocky, the Ric 12, Epiphone Casino, Dobro lap steel and others but the mystery was the oddball Bartell fretless guitar that was among them'. A year or so later, photographer Brian Aris captured these guitars amongst many others which surrounded George at home in Friar Park, with the Bartell at the back, but clearly visible below his left elbow.George, being interested in all things guitar, most likely kept the Bartell as something of a curio/novelty, even though it may have proved tricky to play. All in all, this guitar comes with an intriguing history and is a welcome addition to the list of instruments known to have been owned by George Harrison in the 1960s and beyond.With thanks to Paul Brett and Tony Bacon for their assistance and research, and to guitar technician, Steve Clarke.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 121
Status Quo: Alan Lancaster's Kramer 350B Bass guitar,circa 1976,serial no. 40395 stamped on neckplate, twin cutaway, contoured walnut body in natural lacquered finish, single pickup with two rotary controls, aluminium/wood neck, Ebonol fingerboard with zero fret and dot markers, slot headstock with Schaller machineheads, in hard, rectangular tweed, plush-lined case with Status Quo and other stickers, strings within, guitar 42 1/2in (108cm) longFootnotes:Provenance: Property of Alan Lancaster. Best known as a founding member of the rock band Status Quo.Purchased in 1978, this guitar was used extensively for both live and studio work. The last appearance with the original Quo for this guitar ocurred in 1984 for The End Of The Road shows and recordings.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 192
George Harrison: A Hofner President 'thinline' semi-acoustic guitar owned by George Harrison,1959,Serial no.185, natural finish carved spruce top and Hofner decal, flame maple back and sides, maple and mahogany neck, rosewood 22-fret fingerboard with eight inlaid fret markers, headstock with inlaid floral sprays and lettered 'HOFNER', faux tortoiseshell scratchplate, plastic control panel with two rotary controls, single pickup, label with serial number inside body beneath upper f-hole, modern strings, with a set of five vintage strings in a RotoSound bag, accompanied by a vintage case labelled Guild Case 2516, and a letter from the vendor concerning the provenance, CITES License no.587592/01 (3)Footnotes:Provenance:From the collection of Alan Herring, who was employed by both George Harrison and Ringo Starr from 1967-1969. Given to the vendor in the summer of 1969, before the release of 'Here Comes The Sun'. Used by Harrison at his home, Kinfauns, and originally acquired by him as it reminded him of one of his first guitars, also a Hofner President.'...George gave me this Hofner President... in the summer of 1969, before the release of 'Here Comes the Sun'. I'd gone to George to ask him to show me the chord I was missing from the song 'Here Comes the Sun' which I was trying to teach myself to play. George told me to go and get a guitar from his guitar room, which I did, he described this guitar as 'Blondie' and remarked that a Hofner President was his first good guitar. George showed me the chord then took the guitar from me, and told me, whilst smiling, 'Play it up here at the seventh fret', he then handed the guitar back to me telling me it was mine. He said it needed some work doing on it and gave me a set of strings for it that he thought would be better for me than the ones on the guitar. I played this guitar frequently when waiting for the band whilst they had their long sessions at Abbey Road Studios. One night I was playing in the kitchen at the studios when George came in with Mal Evans. George took the guitar from me and started to play the Simon and Garfunkel song 'Mrs Robinson' delightfully substituting his nickname for me 'Alan Herringbone' for that of Mrs Robinson. This was a very special moment for me - one of the best of my time there...' - Alan Herring.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
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