CHEZ CHRISTIE'S
Pour une vente c'est une vente. Pas moins de 100 guitares de Slowhand ont été vendues chez Christie's au profit du centre de désintoxication Crossroad Centre, le 24 Juin 1999.
Et pour le moins que l'on puisse dire, cette affaire en aura fait couler de l'encre, des électrons et des dollars.
| Lot # | Description
Note : Photos disponibles sur le site de |
Valeur estimée
En U.S. Dollars |
Enchère finale
En U.S. Dollars |
Acquise par |
| 1 | 1994 Martin J12-40 (natural) | 4 - 6,000 | 26,000 | en personne |
| 2 | 1996 Fender Stratocaster Eric Clapton Signature Model (midnight blue) | 6 - 8,000 | 35,000 | en personne |
| 3 | 1951 Gibson J-185 (sunbrust) | 6 - 8,000 | 14,000 | en personne |
| 4 | 1998 Fender Stratocaster Eric Clapton Signature Model (sunburst) | 5 - 7,000 | 22,000 | en personne |
| 5 | Gibson ES-335 DOT (natural) | 6 - 8,000 | 38,000 | par téléphone |
| 6 | 1996 Martin OM-28 VR (natural) | 6 - 8,000 | 35,000 | par téléphone |
| 7 | 1995 Gibson Les Paul Custom (sunburst) | 6 - 8,000 | 28,000 | en personne |
| 8 | c. 1960's Silvertone (sunburst) signed by Les Paul | 1 - 2,000 | 24,000 | en personne |
| 9 | 1995 Gibson B.B. King Lucille (black) signed by B.B. - bought at a charity auction | 6 - 8,000 | 45,000 | par téléphone |
| 10 | 1996 Gibson Explorer (black) bought at a Stevie Ray Vaughan Benefit Auction | 2 - 3,000 | 24,000 | en personne |
| 11 | c. 1960 Harmony Stratotone Mars Model (sunburst) | 1 - 2,000 | 16,000 | ? |
| 12 | 1985 Matrin Shenandoah 000-2832 (natural) generally used by Andy Fairweather-Low | 3 - 5,000 | 21,000 | par téléphone |
| 13 | 1994 Fender Stratocaster Eric Clapton Signature Model (cream) | 6 - 8,000 | 50,000 | Mike D. of California |
| 14 | 1991 Gibson Firebird (red) given to Clapton by a fan | 2 - 3,000 | 34,000 | en personne |
| 15 | 1970's Gibson Les Paul Custom (cherry red) | 5 - 7,000 | 26,000 | en personne |
| 16 | 1999 Gibson Les Paul Standard (sunburst) | 3 - 5,000 | 26,000 | en personne |
| 17 | c. 1962 Gibson SG Les Paul Standard (cherry red) | 5 - 7,000 | 30,000 | en personne |
| 18 | 1958 Gretsch Chet Atkins Tennessean (translucent red) | 5 - 7,000 | 22,000 | en personne |
| 19 | 1959 Martin 00-17 (natural) | 4 - 6,000 | 17,000 | en personne |
| 20 | Late 1950's Hofner Club 60 (natural) gift from Roger Forrester | 2 - 3,000 | 24,000 | en personne |
| 21 | 1959 Gibson ES-335TDN (natural) | 20 - 30,000 | 45,000 | en personne |
| 22 | 1990s Vicente Sanchis Flamenco Model 41 (cypress) | 3 - 5,000 | 26,000 | par téléphone |
| 23 | 1960s Coral Sitar (red/black crackle) | 6 - 8,000 | 36,000 | en personne |
| 24 | 1919 Martin 0-18 (ntaural) | 4 - 6,000 | 44,000 | par téléphone |
| 25 | c. 1920 Gibson L-3 (red mahogany sunburst) | 2 - 3,000 | 24,000 | en personne |
| 26 | 1940 Gibson L-7 (sunburst) | 5 - 7,000 | 22,000 | Jeff Gale |
| 27 | 1990s Beltona Tri-cone (nickel) | 6 - 8,000 | 35,000 | en personne |
| 28 | 1970s Gibson Les Paul Recording Model (walnut) signed by Les Paul | 6 - 8,000 | 40,000 | par téléphone |
| 29 | c. 1962 Gibson SG Les Paul Junior (cherry red) | 3 - 5,000 | 30,000 | en personne |
| 30 | c. 1928 Gibson L-3 (sunburst) | 2 -3,000 | 16,000 | en personne |
| 31 | c.1940s Gibson L-50 (sunburst) | 4 - 6,000 | 20,000 | ? |
| 32 | c. 1949 Gibson ES-125 (sunburst) used on Motherless Child video | 6 - 8,000 | 32,000 | Michael J. Fox |
| 33 | c. Late 1930s Kalamazoo (sunburst) | 1 - 2,000 | l 7,000 | Steve & Anna Fern, England |
| 34 | 1960 Gibson ES-330TD (sunburst) | 3 - 5,000 | 24,000 | en personne |
| 35 | 1994 Fender Stratocaster Eric Clapton Signature Model (cream) used on film score of The Van | 6 - 8,000 | 50,000 | en personne |
| 36 | 1959 Gibson ES-225TD (sunburst) | 2 - 3,000 | 18,000 | en personne |
| 37 | 1953 Gibson ES-295 (sunburst) | 6 - 8,000 | 21,000 | par téléphone |
| 38 | Fender/Versace Guitar Strap | 800 - 1,200 | 14,000 | en personne |
| 39 | 1996 Fender Stratocaster Eric Clapton Signature Model (black/green) | 6 - 8,000 | 52,000 | par téléphone |
| 40 | c.1940 Gibson ES-100 (sunburst) | 4 - 6,000 | 17,000 | Debra Berg-McCarthy |
| 41 | 1960 Gibson ES-330T (sunburst) | 3 - 5,000 | 22,000 | en personne |
| 42 | 1956 Gibson Byrdland (sunburst) | 15 - 20,000 | 52,000 | en personne |
| 43 | Fender/Versace Guitar Strap | 800 - 1,200 | 9,000 | en personne |
| 44 | 1996 Fender Stratocaster Eric Clapton Signature Model (black/green) | 6 - 8,000 | 50,000 | en personne |
| 45 | Late c. 1930s Kalamazoo (sunburst) | 1 -2,000 | 24,000 | en personne |
| 46 | 1959 Gibson ES-335TD (sunburst) | 20 - 30,000 | 70,000 | Gill Southworth, qui possède les guitares Southworth Vintage à Bethesda dans le Maryland |
| 47 | 1993 Fender Stratocaster Eric Clapton Signature Model (ivory shite) | 6 - 8,000 | 42,000 | en personne |
| 48 | 1957 Gibson Byrdland (sunburst) | 10 - 15,000 | 38,000 | en personne |
| 49 | 1947 Fender Broadcaster Relic (blonde) | 5 - 7,000 | 19,000 | en personne |
| 50 | 1994 Fender Stratocaster 40th Anniversary Concert Edition Model (wine red) | 5 - 7,000 | 28,000 | par téléphone |
| 51 | 1941 Martin 00-18G (natural) | 5 -7,000 | 24,000 | en personne |
| 52 | Late 1950s Fender Twin Amplifier | 2 - 3,000 | 12,000 | par téléphone |
| 53 | 1958 Fender Stratocaster (Mary Kay - translucent blonde) | 20 - 40,000 | 55,000 | en personne |
| 54 | c. 1952 Gibson Super 400C (sunburst) | 12 - 18,000 | 26,000 | en personne |
| 55 | 1956 Gibson Super 300C (sunburst) | 10 - 15,000 | 26,000 | en personne |
| 56 | 1990 National Reso-phonic Model M-1 (sunburst) used on film Rush | 6 - 8,000 | 42,000 | Peter Morton's Hard Rock Hotel and Casino (Las Vegas) |
| 57 | Fender D'Aquisto (natural) used on Retail Therapy | 5 - 7,000 | 22,000 | par téléphone |
| 58 | 1991 Fender Stratocaster Eric Clapton "Blackie" Signature Model (smoker's model) | 5 - 7,000 | 68,000 | en personne |
| 59 | 1987 Guild GF-60NT (natural) on the 25 Years tour programme | 2 - 3,000 | 20,000 | en personne |
| 60 | 1989 Guild F-46NT (sunburst) | 3 - 5,000 | 16,000 | en personne |
| 61 | 1982 Gibson Chet Atkins Standard (natural) | 5 - 7,000 | 35,000 | en personne |
| 62 | 1986 Fender Stratocaster Eric Clapton Signature Model (pewter) | 10 - 15,000 | 95,000 | en personne |
| 63 | 1987 Fender Stratocaster Eric Clapton Signature Model (Torino red) | 6 - 8,000 | 60,000 | en personne |
| 64 | 1987 Fender Stratocaster Eric Clapton Signature Model (7-Up green) | 6 - 8,000 | 50,000 | en personne |
| 65 | 1988 Guild G-60NT (natural) | 2 - 3,000 | 18,000 | par téléphone |
| 66 | 1988 Guild F-61RNT (natural) | 2 - 3,000 | 17,000 | en personne. |
| 67 | 1987 Fender Stratocaster Eric Clapton Signature Model (Torino red) | 3 - 5,000 | 50,000 | par téléphone. |
| 68 | Late 19th Century Salvador Ibanez (natural) | 3 - 5,000 | 42,000 | Jeff Gale |
| 69 | 1990 James Trussart Steel Deville (chrome) | 3 - 5,000 | 35,000 | en personne |
| 70 | 1990s Fender Stratocaster Eric Clapton Model (gold with snow leopard) | 5 - 7,000 | 42,000 | en personne |
| 71 | 1982 Fender Stratocaster '57 Re-issue model (sunburst) | 5 - 7,000 | 28,000 | par téléphone |
| 72 | 1992 Fender Telecaster 40th Anniversary model (sunburst) custom made for Clapton | 5 - 7,000 | 62,000 | en personne |
| 73 | 1988 Pensa-Suhr (honey) gift from Mark Knopfler | 5 - 7,000 | 45,000 | en personne |
| 74 | 1982 Roland G-505 (candy apple red) with two synthesizers - used during Edge of Darkness period | 3 - 5,000 | 29,000 | en personne |
| 75 | 1986 Guild Nightbird (green metallic) | 3 - 5,000 | 26,000 | Jonathan Mikos (gagnant du concours VH1) |
| 76 | 1980s Fender Stratocaster XII (sunburst) | 6 - 8,000 | 42,000 | ? |
| 77 | 1991 Taylor 955-C (natural) gift from Richie Sambora | 5 - 7,000 | 30,000 | par téléphone |
| 78 | 1987 Fender Stratocaster Eric Clapton Signature Model (7-Up green) | 6 - 8,000 | 55,000 | par téléphone |
| 79 | 1990 Gibson Chet Atkins Standard | 5 - 7,000 | 35,000 | en personne |
| 80 | Fender/Versace Guitar Strap | 800 - 1,200 | 15,000 | en personne |
| 81 | 1990 Fender Stratocaster Eric Clapton Signature 'Blackie' Model | 5 - 7,000 | 48,000 | ? |
| 82 | Late 1950s Fender Twin Amplifier | 2 - 3,000 | 16,000 | ? |
| 83 | 1956 Gibson ES-350TN (natural) played at Chuck Berry tribute | 15 - 20,000 | 62,000 | ? |
| 84 | 1959 Gibson J-200 (sunburst) | 8 - 12,000 | 78,000 | ? |
| 85 | c.1964 Gibson ES-345TD (sunburst) | 15 - 20,000 | 32,000 | ? |
| 86 | c.1980 Santa Cruz F-13 (sunburst) pictured with cat | 4 - 6,000 | 35,000 | ? |
| 87 | c.1980 Santa Cruz FTC-15 (natural) | 3 - 5,000 | 35,000 | ? |
| 88 | 1960s National Studio 66 Model (black) used on film Water | 1 - 2,000 | 28,000 | ? |
| 89 | 1980s Fender Stratocaster Elite (cream) | 5 - 7,000 | 30,000 | ? |
| 90 | 1980s Roger Giffin (blue metallic) | 5 - 7,000 | 42,000 | Jeff Gale |
| 91 | 1980s Fender Stratocaster Elite (black) | 5 - 7,000 | 26,000 | ? |
| 92 | 1958 Gibson Explorer (natural) used in ARMS concert | unknown | 120,000 | ? |
| 93 | 1979 Fender Stratocaster Anniversary Model (silver metallic) | 5 - 7,000 | 35,000 | ? |
| 94 | c. 1930s National Duolian (nickel) | 6 - 8,000 | 35,000 | Michael J. Fox |
| 95 | 1978 Guild D-55NT (natural) | 5 - 7,000 | 32,000 | ? |
| 96 | 1974 Martin 000-28 (natural) rodeo man sticker | 12 - 18,000 | 155,000 | ? |
| 97 | c.1975 Telecaster (translucent blonde) | 6 - 8,000 | 42,000 | ? |
| 98 | 1956 Fender Stratocaster (sunburst ) | 20 - 30,000 | 80,000 | ? |
| 99 | Dobro Electric 12-string (natural) | 2 - 3,000 | 28,000 | ? |
| 100 | c.1930 Gibson L-4 (sunburst ) | 6 - 8,000 | 50,000 | ? |
| 101 | 1930s D'Angelico (sunburst ) | 20 - 25,000 | 55,000 | ? |
| 102 | 1930s D'Angelico Excel (sunburst ) | 20 - 30,000 | 42,000 | ? |
| 103 | 1954 Fender Stratocaster (sunburst ) | 20 - 30,000 | 190,000 | ? |
| 104 | 1952 Fender Telecaster (natural) gift from Carl Radle | 15 - 20,000 | 90,000 | ? |
| 105 | 'Brownie' - 1956 Fender Stratocaster (used on Layla album) | 80 - 100,000 | 450,000 | par téléphone |
| Ces prix furent confirmés par Christie's | TOTAL | 4,452,000 | Total (premium inclus) 5,072,350 |
by Mark Deavult
What an incredible trip — easily one of the best experiences of my life.
Such a treat to meet so many friends "in person" for the first time
— and make many new friends! Oh yea, Eric was good (or was that God?) too!
Went over early to Nile's — what a great place! A big thanks to LindaW
for setting that up! The place quickly filled up with Slowhanders. I only wish
it had been an all-day event — it was far too short. There were so many
people there — I still missed meeting several people who I was looking
for. Eric will have to throw another bash just so I can finish meeting everyone
.
Went over to the Garden a little early. They were handing out neat little flyers
(for lack of a better word) for Crossroads Center donations, had a picture of
a black tolex guitar case on the outside, and then, opened, a donation form
for the Crossroads Center. The only T-shirts available seemed to be for the
Crossroads Center . I didn't see any programs or other memorabilia. Had some
decent seats right next to the side of the stage that afforded a great view
of the audience as well as the performers. Got a real kick out of watching the
crowd, watching audience reaction. Also enjoyed watching many of the Slowhanders
sneak out of their seats and slip forward to the front of the stage (all names
been changed to protect the guilty, I won't tell!). I've tried it before but
I always get "busted", I must wear a guilty look on my face or something.
At about 8p.m., the house lights went down and following a short taped segment
(I'd guess it will be the intro for the VH1 broadcast) Eric strode onstage,
dressed (for those who have to know) in his typical black/black outfit. (I picture
EC's closet with seven hangers, one for each day of the week, each with an identical
black suit ). I'm sorry to let some of you down, but I did not catch whether
it was New Balance or Nike shoes...so shoot me . He does have a nice pair of
rimless spectacles, far better than the 50s style glasses he sported during
the Pilgrim tour. (I was asked to report on this stuff so I am just
fulfilling my obligation )
Eric started the set with a sweet version of "My Father's Eyes". Tasty
solos, no real fire, enjoyable nonetheless. "Hoochie Coochie Man"
was a nice surprise for the second number. Somebody correct me, didn't he play
this before with a capo, in a different key? I didn't see the capo, and it sounded
deeper — a nice version. After a nice version of "Reconsider Baby"
the band performed "Pilgrim" — a somewhat tepid version IMHO.
I felt that Alan Darby's presence would have been great — or, even better,
Phil Palmer. "River of Tears" seemed to have a slightly different
arrangement (maybe it was just me) but was a bit too laid back. I was hoping
for some of the fire he showed at the Earl's Court shows last year, but it just
wasn't there. David Sanborn joined the band for a great, punchy version of "Going
Down Slow" which featured some nice horn work and a hot, but too short,
solo from EC. Sheryl Crow came out and performed four or five songs — all
well done. Her vocals seemed a bit shrill bit I'm chalking it up to the PA system.
EC seemed really content to sit back and become a member of the band and provide
tasty fills — nothing really hot, just good funky music.
Then for the highlight of the evening. The song that SHOULD have been the final
encore — Eric slammed into the first chords of "Little Wing"
and there was a stunned silence of a second or two before people realized what
it was. When was the last time he played this live? At least 20 years ago? At
any rate, the Garden came ALIVE, it was an incredible moment. Incredible vocals
and solos that got higher and higher ... it was one of those moments where time
seemed to slow. I have no idea how long it was, but it seemed like 10 minutes
or more. Eric finished on a high note, and had a HUGE grin on his face as people
went just NUTS. I can only hope he takes this to heart and goes through his
back catalog (or catalogue, for some of you ) and dust off some of the great
songs from the past.
Mary J. Blige took the stage next and provided a great "bathroom break"
for the crowd — that's the only way I can put it. Quite a change from Eric's
considered pacing of the Journeyman shows through the Pilgrim
tour, where one could tell there was a lot of effort put into the "flow"
of a concert. It seemed to really drain the energy level of the audience. To
her credit, she WORKED and really tried her best — but just didn't connect
to the audience well. In a way, she was underutilized. It may have been possible
to have done more of EC's material with her on vocals, could have had some "different"
arramgements of familiar songs, but alas, that didn't happen.
A short acoustic set (without "Driftin", which was a disappointment
— this was definitely a "blues" crowd). EC did a good job with
"Old Love" — nice solo break. Opinions vary on the Tim Carmon
keyboard solo — personally I'll pass. The guy is extremely talented. He
could do something *different*. After hearing some of the European shows from
the 1998 tour where the band did some great, funky jazz stuff in "Old Love",
it was a bit of a letdown. On a side note, there was another young keyboard
player shoehorned in with Tim. I believe it was Simon Climie. I like his keyboard
playing much better than his skills as a producer (where was Nile Rogers when
EC needed him?). He's pretty good (although no Chris Stainton). EC then did
a nice version of "Badge", similar to the arrangement of the one he
did at the Hyde Park show in 1996. Nice, tight solo, nothing exceptional. A
nice "Wonderful Tonight", Katie sounded as great as ever — and
the wonderful, talented, and lovely Tessa Niles is back! Those two work so well
together, they were great all night. Eric then began noodling on the guitar
and ... was it too much to hope ... "Layla"! Needless to say, this
brought down the house. David Sanborn was a real treat here, playing the "Layla"
riff on Saxaphone! Quite nice, I wouldn't have thought it would have worked,
but it was great, and brought some new life to it.
Eric then brought in Bob Dylan. As Dylan walked on, Eric strode purposefully
to our side of the stage and had a short, intense conversation with one of the
techs, with a bit of finger pointing towards the center stage - he looked annoyed.
Shortly I spied a someone crawling along the backline behind the amps - dunno
what the problem was. Dylan came out and my hopes were quickly dashed that EC
would do a version of "Don't Think Twice - It's Alright" like he did
at Bobfest. (Then again, don't screw with perfection!!!). To be honest, with
Dylan's singing, the song was into it's second or third chorus before I could
even tell what song it was. A Closed Caption device on the overhead screen would
have been useful! I was impressed by Dylan's guitar skills. EC turned a number
of the solos over to him and he didn't do a bad job! They did a great version
of "Born in Time" (thankfully EC did some of the vocals). They finished
with a more uptempo version of "Crossroads", with Bob and EC sharing
a vocal mic. EC even gave Bob the first solo! It was nice, but I was really
hoping for "Sign Language" or "Knockin' On Heaven's Door".
As with Crow, I would have preferred doing more of EC's material.
After a short break, EC walked out again for the encore, and teased the audience
with the riff for "Sunshine", and then began playing a neat rhythm
figure, muting the strings, as the rest of the band came out and took their
positions, than slammed into the riff, which, predictibly, brought everyone
to their feet. In the solo, he seemed to have one of those moments where he
started to go one direction, changed his mind, and went in another completely.
I know opinions vary on this, but for me, Ray Cooper would have been a welcome
addition to the show. I always enjoyed his antics.
Then followed a great version of "Bright Lights". Correct me if I'm
wrong, but another song EC hasn't performed live in 20+ years. A nice, laid
back version — still, I would have preferred to end on an uptempo number.
I clocked the show at over 3 hours 15 minutes from lights down to lights up
— quite a change for EC! Finally we got a full night's music from him!
All in all, it was a great show, although uneven. "Little Wing" was
worth the trip alone!
Back to Nile's after the show. Great to hear the "buzz" from people,
and to hear the different reactions — from "Best Ever!" to "It
sucked!". Kind of funny, I went to the pay phones to call (read: harass)
a couple Slowhanders who couldn't make the show and some people who were in
the bathrooms heard me and came out.They were Clapton fans in town for the show,
but had no knowledge of the Slowhand Digest or the get together!! They were
amazed when we started pointing around the room at where people had come from.
It was a great time, but all too short. I only wish I had far more time to get
to know everybody, and I can't wait until "next time".
Un article-interview marathon
de 6 pages. Un retour sur les raisons de cette vente, un commentaire sur les
bénéfices, bref un superbe article
pour terminer cet événement.
Retour à la home page d'Eric Clapton.
