2022.03.16 GUITARS THAT MADE HISTORY at Dore & Rees Auction Salerooms, Frome, UK

GUITARS THAT MADE HISTORY THE JAMES MORGAN COLLECTION

WEDNESDAY 16 MARCH 2022 DORE & REES, FROME

Guitars That Made History The James Morgan Collection Wednesday 16 March 2022

10:30am Lots 1-87

Viewing Details on page 4 Head of Sale

Marc Allum enquiries@doreandrees.com 07553 751751 / 01373 462257

Enquiries

enquiries@doreandrees.com

Catalogue

£10 (including p&p)

Dore & Rees

Auction Salerooms Vicarage Street Frome BA11 1PU 01373 462257 www.doresandrees.com

Cover illustrations:

Front:

Lot 77

Inside back:

James Morgan at The Marquee Club

Inside front: Back:

Lots 44 and 85

Lots 44 and 83

Information for Bidders and Buyers The following notes will give you the most important information regarding how to bid and buy. Please keep an eye on the auction catalogue listed at doreandrees.com/upcomingauctions where any specific arrangements for auctions will be kept updated.

The full Terms and Conditions of Sale can be found at doreandrees.com (link at the bottom of the webpage) and also printed at the back of this catalogue.

Condition Reports

Condition reports will be available up to 48 hours before the auction, requests are to be submitted via the lot details page of the auction catalogue listed at doreandrees.com/upcoming-auctions

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Bidding

In person – join us in the saleroom By absentee bids – you can submit your absentee bids via doreandrees.com By telephone – a limited number of telephone lines will be available for the auction, bookable on a first come first serve basis Online – bid live online via doreandrees.com, easyliveauction.com and the-saleroom.com, charges apply.

Buyer’s Premium

As a Buyer, you will pay the Hammer Price, Buyer’s Premium of 30% of the Hammer Price (inclusive of VAT), any artists resale right royalty payable on the sale of the Lot and any further VAT due

Payment Methods

Purchases can be paid by BACS, Debit Card, Credit Card (up to a limit of £500 if a distance payment) or Cash (up to a limit of £8,000 in person). Payment is due within 5 working days of the auction.

Collection and Shipping

Once paid for, lots can be collected from Dore and Rees by appointment. We can recommend shippers to assist with the collection and transport of lots to you.

Electrical Items

Electrical items are sold as ‘antiques’ only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use.

Dore & Rees Specialist Services Dore & Rees, established in Frome in 1868, has a long standing and cherished position in Somerset and the South West. Having built up a loyal local following, offering regular general auctions of antiques, furnishings and works of art and collectables, Dore & Rees is also pleased to be able to offer a more specialist service for genres which often fall outside of the more traditional auction house departments.

This service has been specifically tailored to represent collectors and families whose passion or attachment to a very personal collection can best be represented by equally passionate specialists. Whether it’s an ancient artefact or a collection built up over many years, our approach to understanding the story and provenance behind the items and sharing them with a global audience in a tailored and considered way through strategic marketing and PR, has proven how personal attention can lead to success at auction.

The James Morgan collection of guitars and musical equipment has been curated and catalogued by our Specialist Services consultant Marc Allum. Marc has been an expert on the BBC Antiques Roadshow for 24 years. His eclectic and broad knowledge stems from an inherent and exacting interest across a wide spectrum of the art and antiques business. With over thirty years’ experience, his areas of expertise range from pre-history to modern design. He’s also a guitarist!

Marc Allum

His early career was forged as Director of Rosebery’s auctioneers in London but in latter years he has worked closely as a consultant with his Roadshow colleague Lee Young and is pleased to be on board helping to develop the Dore & Rees brand.

Marc has appeared on numerous other television and radio shows over the years, writes regularly for mainstream magazines and is an author with several books to his name. As an Arts Society registered lecturer, he also talks frequently to groups around the world.

Marc is a Fellow of the Society of Antiquaries and an ambassador for the Association of Heritage Engineers.

Peter-Jack Rainbird Dore and Rees are delighted to have PeterJack Rainbird at an exclusive late view on Monday 14 March playing classic guitars from the James Morgan Collection.

He is a renowned recording artist with Warner Brothers, the ADA and published Author and composer with Sounds True.

Peter-Jack is recognised by the R.I.A.A as being in the top 1% of recording artists in the world.

Events include, but not exclusive to:

New York City International Guitar Festival, collaborations with Grammy Award winning artists Tony Levin, Pete Lockett, Roman Klun, Sarah MacLachlan and Daniel Lanois.

Mainstage performer at Wanderlust Festival, United Nations NYC and for His Holiness the Dali Lama of Tibet.

He is a self-confessed chocoholic, and all round good guy!

Viewing Times Saturday 12 March 11:00am to 3:00pm Sunday 13 March

11:00am to 3:00pm

Tuesday 15 March

10:00am to 4:00pm

Monday 14 March

10:00am to 8:00pm (see above)

Morning of auction from 9:00am

James Llewelyn Morgan (1950-2021) A Life in Music Sadly, I never met James, however, it has been my great honour to take an emotive journey through his life, carefully curating the memories and artefacts of his musical career and presenting them to a new band of musicians and collectors. As a guitarist myself, it has been an emotional voyage through James’ many decades of making and recording music, narrated with great poignancy by his brother and sister Will and Harriet.

His first encounter with a stringed instrument was with a cello. By all accounts it didn’t go well. He then played the drums in the army cadet band at school before making his first stage appearance as a ‘rock’ drummer and then playing drums in the blues boom of the 1960s in various amateur bands. Some of his fellow musicians went on to form Genesis!

By 1969 James was living in London and was hungering for a little more limelight. He taught himself guitar and like many guitarists, found that the lure of acquiring a much cherished instrument inevitably drew him to Denmark Street. It was here, in the early 70s that he found his beloved ’59 Les Paul. Reputedly, it cost a whopping £450 and his credit card bore the burden! This iconic guitar became James’ companion for life and he’d say ‘you can take my guitar when you can prise my cold dead fingers off it’. Many guitars came and went but the ’59 was always a constant in his life, right up until the end when hampered by arthritis, he found it difficult to play.

It was also in the early 70s that James met a man called Graham Noden. Having spoken to Graham at length I know he held James in high esteem and they remained great friends until the end of James’ life.

Sound checking the 1959 Gibson at Leas Cliff Hall, Folkestone.

However, it was the ’59 that brought them together and Graham, now renowned as one of the greatest guitar techs and luthiers to the stars, earned his first paying job out of college, refretting the ’59 for James. Graham made several instruments for him and also maintained his guitars especially the ’59, giving it a seamless and well documented 50 year provenance.

However, James’ passion for creating music led him to set up a small 4-track studio in his ‘cottage’ near Wandsworth Common. This compact home studio, complete with layers of sound-proofing fabricated from mattresses and screwed up newspaper, gradually improved, and became an 8-track with both the convivial atmosphere and ever -better equipment attracting a growing number of loyal

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DORE & REES AUCTIONEERS

James' London studio featured in Melody Maker

GUITARS THAT MADE HISTORY, WEDNESDAY 16 MARCH 2022 ‘analogue’ artists. Arthur Brown (Fire), Pretty Things, Peter Perrett and The Only Ones, UK Subs, Glen Matlock, Wilko Johnson from Dr Feelgood, to name just a few. Hundreds of artists passed through the studio making demos and masters with musical input from James. The studio featured in Melody Maker in February 1980 where it’s noted rates were £8 per hour by cheque, £6 for cash, plus tape! Many items of equipment in the sale date from this period and were used by these people.

All the while, James continued to perform in many bands playing both guitar and bass, including the George Hatcher Band (As credited on their Wiki entry) until by the 90s, the studio started to take a back seat, with his love of music taking centre stage

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at festivals, pubs, clubs and universities and venues across Europe, most notably with Stan Webb’s Chicken Shack. James gained some notoriety touring with bands in the UK by wearing a stripy top, beret and a string of onions and garlic and acquired the nickname ‘Frenchie Morgan’. While sorting through his papers, I rather poignantly found the original hand typed invoice from 1985 for the replica vegetables! Of course, his love of guitars always endured and it is those cherished and historic instruments that Dore and Rees are offering in memory of James Morgan.

James will be sadly missed by his family, friends and fellow musicians.

Marc Allum

James Morgan at The Marquee Club with Vivienne McAuliffe on vocals. Viv was well known for her vocal collaborations with Gerry Rafferty and Patrick Moraz. She worked with John Galliano and was a senior lecturer at the London College of Fashion.

Order of Sale Lots

1-18

Guitar Pedals and Effects

Lots 19-61a Amplification, Studio Equipment, Accessories and Spares Lots 62-68

Miscellaneous Ephemera, Books and Personal Items

Lots 69-87

Electric and Acoustic Guitars

How to find the Saleroom Dore and Rees is centrally located in Frome, Somerset; about a 10 minute walk from the station with direct trains from London Paddington, operated by Great Western Railways (www.gwr.com).

Dore and Rees Auction Salerooms Vicarage Road Frome BA11 1PU 01373 462 257

Photography: Dominic Brown

Layout & Design: Eddie Hams

Printing: Quay Digital, Portishead

Guitar Pedals and Effects

1

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1

A VINTAGE MXR BLOCK LOGO NOISE GATE LINE DRIVER GUITAR PEDAL (1975-84)

and a late 1970s MXR six band graphic equaliser.

Gigged and studio used, untested with paint defects £70-100

2

A VINTAGE MXR BLOCK LOGO NOISE GATE LINE DRIVER GUITAR PEDAL (1975-84)

with external power input.

Gigged studio used, untested with paint defects, more paint loss on graphic £70-100

3

A VINTAGE MXR DYNA COMP COMPRESSOR GUITAR PEDAL

with external power input.

Gigged and studio used, untested with paint defects £30-50

4

A CLASSIC 1970s COLORSOUND OVERDRIVER PEDAL

Paint defects through use and one silver knob cap missing. Slight depression in case under foot switch.

Untested £100-200 See illustration on page 10

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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4

5

10

7

6

5

A CLASSIC 1970s COLORSOUND OCTIVIDER PEDAL

with old paper label to base ‘Repair 16-8-76’.

Paint defects through use. Untested £150-200

6

A VINTAGE 1970s ELECTRO-HARMONIX BIG MUFF PI GUITAR PEDAL

This classic guitar pedal is the original ‘fuzz’ overdrive effect and was used by most famous rock guitarists including Jimi Hendrix, Carlos Santana and Dave Gilmour. It continues to be a retro favourite amongst mainstream musicians.

Paint loss marks and wear due to use. Untested £60-100

7

A VINTAGE ELECTRO-HARMONIX SCREAMING TREE TREBLE BOOSTER

Markings to case and oxidisation through age and use.

Untested £40-60

8

A 1970s MXR MODEL 117 ANALOGUE FLANGER

with original box, a rare original 70s example with mains power lead, some signs of wear, box with heavy wear.

Untested £60-100 See illustration on page 9

GUITARS THAT MADE HISTORY, WEDNESDAY 16 MARCH 2022

9

AN MXR M133 MICRO AMP BOXED AS NEW

£30-50

10

A 1970s CRY BABY WAH WAH PEDAL

serial number 46610 Dusty with some wear. Untested £40-60

11

A DUNLOP CRY BABY WAHWAH PEDAL MODEL GCB-95

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12

A VINTAGE DOD FX-40B 7 BAND GRAPHIC EQUALIZER

boxed, a Frontline Regulated Power Supply with five 9 volt ports, boxed, and a new DC 8-plug Roland power connector cord £40-60

13

A BOSS DI-1 ACTIVE DIRECT BOX

boxed. Untested £40-60

boxed as new and appears to be unused £30-50

14

A BOSS OC-2 OCTAVE PEDAL

boxed as new, a BOSS DD-2 Digital Delay pedal, unboxed, a BOSS CS-3 Compression Sustainer, unboxed, a BOSS CH-1 Super Chorus, unboxed, a BOSS VB-2 Vibrato, unboxed and two PSA-240 AC Adaptors, boxed £100-200

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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15

A RARE 1970s PS-1A OBERHEIM MAESTRO PHASE SHIFTER

The case is generally good with some scratching and accumulated dirt through use. Untested but lights up when plugged in £100-200

16

A BOSS DD-3 DIGITAL DELAY PEDAL

boxed, and a BOSS PSA-240 AC Power Adaptor.

Digital Delay is boxed and hardly used, the adaptor is older and in a worn box £40-60

17

A 1970S MXR NOISE GATE LINE DRIVER GUITAR PEDAL

Worn studio condition, untested. £40-60 See illustration on page 9

18

A BOSS GE-7 EQUALIZER PEDAL

boxed as new £40-60

Amplification, Studio Equipment Accessories and Spares

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19

A PAIR OF TANNOY ‘LANCASTER’ SPEAKERS

1970s, serial numbers 102983 and 107882, in teak cases with factory labels verso and original sales pamphlet.

84cm x 55cm x 32cm These speakers were the main monitor speakers in James Morgan’s studio in the 1970s. (Untested) £800-1200

GUITARS THAT MADE HISTORY, WEDNESDAY 16 MARCH 2022

20

A PAIR OF PMC OB1 (PROFESSIONAL MONITORING COMPANY)

floor standing speakers in cherry veneer finished cases.

102.2cm x 20cm x 32.5cms Used latterly by James Morgan as part of a Hi-Fi set-up. Untested £300-500

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A PAIR OF QUAD 303 POWER AMPLIFIERS AND A QUAD 33 PRE-AMPLIFIER, 1970s

The Quad 33/303 hi-fi combo were Quad’s first commercial solid state modular components and particularly stylish and understated in design. These items formed part of James Morgan’s original 1970s London studio and come with original leaflet. £250-350

22

A NAIM HI-FI SYSTEM

comprising an NAP 150X amp, a CD5si, compact disc player and a NAC112x pre-amplifier, all with original accessories and paperwork for 2005.

Untested but functional prior to removal £40-60

23

A KENWOOD KX780 CASSETTE DECK

and a Sony TC-FX150 cassette deck with accessories.

Untested but functional prior to removal. £40-60

24

A TEAC CD-RW890 COMPACT DISC RECORDER

with manual and remote.

Untested but working prior to removal £40-60

GUITARS THAT MADE HISTORY, WEDNESDAY 16 MARCH 2022

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25

A REVOX A77 REEL TO REEL

and an Akai GXC-46D Stereo tape deck. There is some original paperwork to go with the Revox.

Untested £200-300

26

A MARSHALL JTM1C 50TH ANNIVERSARY GUITAR COMBO AMPLIFIER

This 50th Anniversary all valve combo was made as a celebration of the original 60s Marshall ‘sound’ and even at 1 watt packs a lovely tone and power with its simple controls. In good working condition £300-400

27

A PAIR OF ORIGINAL 1970s CALREC CM-652

small diaphragm condenser mics with PSU and cables in original fitted case £80-120

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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28

A YAMAHA EMX5014C 1000W POWERED MIXER

with up to 14 inputs in flight case Untested, with paperwork £100-200

29

A DEAN MARKLEY RM-80-DR STUDIO RACK MOUNT DUAL CHANNEL GUITAR AMPLIFIER

with 12AX7 Tube pre-amp and spring reverb.

Untested £60-100

30

A CROWN D-150A RACK MOUNTED VINTAGE STEREO AMPLIFIER

rated at 80w per channel and a custom un-named rack amplifier.

Untested. Studio used in the 1970s £70-90

31

AN ALESIS MIDIVERB II 16-BIT DIGITAL EFFECTS PROCESSOR

in original box £40-60

GUITARS THAT MADE HISTORY, WEDNESDAY 16 MARCH 2022

32

AN ALESIS MIDIVERB II 16-BIT DIGITAL EFFECTS PROCESSOR

in original box and an Alesis S-16Q dual 15 band graphic equaliser, boxed £70-100

33

A SHURE SM58 VOCAL MICROPHONE

and three others in original boxes and another in a vinyl carry case.

Untested £100-200

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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Lots 39 and 40

34

A BEYER DYNAMIC M201 DYNAMIC MICROPHONE

two others, an AKG D202 E1 Microphone and three others, an AKG D190E microphone and two others, an AKG D1000c microphone, a Shure Unisphere model 585sb microphone and an Audio Technica ATM11 microphone, all with associated leads.

All studio used and with signs of wear £200-300

35

A KORG MINIKORG 700 SYNTHESISER

incomplete and for spares.

The Korg 700 was the first mass produced monophonic synthesiser and was introduced in 1973. This example was used in James’ studio but is incomplete lacking exterior panels, left hand control panel and is for spares only £40-60

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A QUANTITY OF GUITAR RELATED ACCESSORIES

and spares including machine heads, bridge parts, strap locks, assorted capos, sliders, plectrums, machine head winders, a digital tuner, a digital metronome, a Bigsby B70 aluminium vibrato unit and other items. A lot £70-90

37

AN AMDEK 6 CHANNEL STEREO MIXER

a RadioShack multimixer, two PZM (Pressure Zone Microphones) and various other accessories. A lot £40-60

38

A GOOD COLLECTION OF GUITAR STRAPS

mostly leather and dating from the 1970s onwards and also including a Fender fabric strap.

All of these straps were used by James Morgan over the decades when playing live or in the studio £70-90

39

A QUANTITY OF ELECTRIC BASE GUITAR STRINGS

including Roto sound SM66 Bass and others (13 packs) and other bass strings including Ernie Ball. A lot £50-100

40

ASSORTED GUITAR STRINGS

including packets of six and twelve string sets including Ernie Ball and various classical and acoustic Guitar strings – packeted and odds £50-100

41

A NADY 501, UHF WIRELESS GUITAR SYSTEM RECEIVER

with battery charger and flight case £30-40

42

A PAIR OF ELECTROVOICE (EV) SX300 PASSIVE PA SPEAKERS

with stands and another pair.

Untested but in clean condition £300-400

GUITARS THAT MADE HISTORY, WEDNESDAY 16 MARCH 2022

43

A MARSHALL SILVER JUBILEE 25/50 MODEL 3530,300 WATT BASS HEAD

with matching cab, the amp head with a Marshall flight case.

Untested. This is a well gigged unit with wear to the cab but the amp head is cased and therefore cleaner. This was one of James’ favourite gigging rigs £150-200

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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44

A MARSHALL SILVER JUBILEE 25/50 MODEL 3560, 600 WATT BASS HEAD

with matching cab, the amp head with a Marshall flight case.

Untested . This is a well gigged unit with wear to the cab but the amp head is cased and therefore cleaner. This was similar to the previous lot in being a favourite gigging rig for James £200-300

GUITARS THAT MADE HISTORY, WEDNESDAY 16 MARCH 2022

45

A MARKBASS CMD 121H BASS COMBO

Hardly used but untested £100-200

46

A MARKBASS CMD 121H BASS COMBO

Hardly used but untested £100-200

47

A QUANTITY OF MICROPHONE STANDS AND PARTS

A lot.

Well used and worn £50-100

48

A QUANTITY OF MISCELLANEOUS STUDIO SPARES

including sockets, jacks; quarter-inch, XLR microphone connectors and sockets, microphone parts, splitter boxes and other studio related items, many unused as new £50-100

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49

A QUANTITY OF QUARTER-INCH GUITAR LEADS

including Horizon, Planet Waves, and Whirlwind; various lengths, a lot £50-100

50

AN ORIGINAL STYLOPHONE ELECTRONIC POCKET ORGAN

by Dübreq in brown and two boxed modern re-issued examples £20-30

51

A PAIR OF LANEY CXP-112 ACTIVE STAGE MONITORS.

Untested but in good condition and little used £100-150

52

A PAIR OF VINTAGE RCL WEDGE MONITORS.

Untested. These were frequently gigged £40-60

53

A VINTAGE CARLSBRO MARLIN 6-300II PA MIXER AND TWO CABS.

Untested. These are well gigged with the cabs in very worn condition £50-100

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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54

A SET OF FIVE ‘CUSTOM’ CABS

comprising two bass, one mid and two ‘tweeters’, unnamed and a small vintage red vinyl cab with a celestion speaker.

61cm x 61cm x 37cm max £100-200

55

A ROLAND CUBE-30 COMPACT GUITAR AMP

with COSM modelling.

In good working condition £40-60

56

TDK SA90 HIGH POSITION IECII/TYPEII FIVE PACK

another pack, five others, TDK FE90 IEI/TYPEI five pack and three pack of three TDK AD90s all packed as new.

(29) £50-100

57

AN AMPEX GRANDMASTER 456 STUDIO MASTERING AUDIO TAPE

and four others all boxed as new and unused, together with various Ampex spools and other tapes and spools.

A lot £30-50

58

A SELECTION OF VINTAGE PERCUSSION INSTRUMENTS

to include cowbells, tambourines, a Kalimba, four graduated Chinese wooden ‘cowbells’ and various other instruments £70-100

59

AN ITALIAN MANDOLIN BY CARLO, LEVERI & FIGLIO OF NAPLES

with case £30-50

60

A B&H, OF HOLBORN LONDON, UKELELE BANJO

with case and a Chinese ukelele £40-60

61

AN OVATION ‘APPLAUSE’ ELECTRIC UKELELE

with soft case, as new £100-200

61a

AN AKAI GXC-46D STEREO CASSETTE DECK

with Dolby 8 noise reduction, untested £50-80

Miscellaneous Ephemera Books and Personal Items

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A 1969 FENDER LOVIN’ CARE CATALOG (SIC)

a Selmer early 1960s guitar catalogue and a Bell of Surbiton Guitars, Amplifiers and Accessories catalogue.

Fender catalogue cover disconnected in two parts and with wear, Selmer catalogue with surface wear and dirt with hand annotated prices, Bell catalogue with glue spine shedding pages £30-50

63

LED ZEPPELIN, ‘PRESCENCE’ SSK 59402

1976, the first Zeppelin Swansong issue, Vinyl clean with minor marks, cover with edge discolouration and some spotting, Pretty Things, Silk Torpedo, SSK 59400, Swansong, 1974, Pretty Things, Savage Eye, K 59401, Swansong, 1975, in similar condition and other assorted vinyl albums £50-80

GUITARS THAT MADE HISTORY, WEDNESDAY 16 MARCH 2022

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PAUL MCCARTNEY, LINDA MCCARTNEY AND RINGO STARR

an interesting group of autographs signed on two folded pieces of A4 paper and variously dedicated to ‘Dick’ and also including Chris Spedding, Dave Edmunds and John Paul Jones (Led Zeppelin).

These autographs were collected by a friend of James’ called ‘Dick’ and they were sourced by Dick’s girlfriend who was part of a rock ‘n’ roll and jive dance group that appeared in the 1984 British film musical drama ‘Give My Regards to Broad Street’ written by Paul McCartney and starring Ringo and Linda as themselves. Dick subsequently gave them to James.

Some edge marking, annotated after the event with biro ‘names’, some with smaller pencil markings, central folds to pages with some fading, otherwise good £500-800

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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JAMES’S PERSONAL COLLECTION OF BADGES

including various examples from the 1970s, wildlife button badges, enamelled badges etc. A lot £15 £20

66

A COLLECTION OF EPHEMERA INCLUDING A LED ZEPPELIN AT KNEBWORTH 1979 PROGRAMME

various music scores including Layla, Get it On and American Pie, Various 1970s guitar magazines and papers and equipment paperwork, four 1990s Blues Brothers bumper stickers and various other items. A lot £30-50

67

WALTER CARSON, GIBSON GUITARS, 100 YEARS OF AN AMERICAN ICON, GIBSON PUBLISHING, 1994

Tony Bacon and Paul Day, The Gibson Les Paul Book, Balafon, 1993, Ditto, The Fender Book, Balafon 1992, various authors, Classic Guitars of the ‘50s, Walter Freeman Books, 1996, Paul Day and Dave Hunter, The Ultimate Fender Book, Ilex, 2011 and various other guitar and music related books £50-100

68

AN OLDIES LES PAUL AND MARY FORD SX CD BOXED COLLECTION

two Crossroads Guitar Festival DVDs and other items £30-50

Electric and Acoustic Guitars

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69

A GRETSCH ELECTROMATIC SIX STRING BARITONE WITH BIGSBY TREMOLO

single cut body and black sparkle finish, No CY04121880. Comes with hard case.

Excellent condition £150-200

GUITARS THAT MADE HISTORY, WEDNESDAY 16 MARCH 2022

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A RARE PAUL REED SMITH (PRS) ‘GOLDEN ERA’ ACTIVE BASS IV, 1989 PROTOTYPE NO2

with sunburst finish, three single coil pickups and active/passive controls and nickel tail/bridge with bolt-on neck with rosewood fretboard and pearl dot markers. The reverse of the headstock marked by hand ‘Proto #2 ’89’, with hard case and leather locking strap.

109cm x 34cm max This guitar was regularly gigged by James and the fact that he owned three PRS basses obviously denotes his affection for them.

Condition is overall very good with some minor scratching, some surface ‘buckle rash’ on the neck plate and a small dint next to the nut £1000-1500

GUITARS THAT MADE HISTORY, WEDNESDAY 16 MARCH 2022

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A PAUL REED SMITH (PRS) ACTIVE SET NECK BASS GUITAR, 1990, NO 090715

with blue stained maple deck and painted black body, three single coil pickups, active/passive controls and nickel tail/bridge, the rosewood fretboard with bird pearl markers and painted neck, the headstock with transfer printed logo and ink stamped serial number, with hard case and leather locking strap.

109cm x 34 cm This guitar was gigged by James and has some fine scratching and some minor dints to the body and some minor marks to the headstock but is in overall good condition £600-900

GUITARS THAT MADE HISTORY, WEDNESDAY 16 MARCH 2022

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A PAUL REED SMITH (PRS) ‘GOLDEN ERA’ ACTIVE SET NECK SIGNATURE MIKE OLDFIELD BASS GUITAR, 1989, NO 990615

in two tone honey coloured maple deck with red mahogany body three single coil pickups, active/passive controls and nickel tail/bridge, the rosewood fretboard with bird pearl markers the headstock signed and numbered but also signed verso by Mike Oldfield, signature #15, with hard case and leather locking strap.

109cm x 34cm max This guitar was gigged by James and has the added attraction of being a signature Mike Oldfield edition. Condition is overall very good with some minor marks and one chip to the edge of the front of the headstock and two small lacquer dents £1200-1800

GUITARS THAT MADE HISTORY, WEDNESDAY 16 MARCH 2022

Each lot is subject to a buyer’s premium of 30% inclusive of VAT @ 20%.

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A CUSTOM MADE/COMPOSITE PRECISION STYLE BASS GUITAR

with natural wood heavy lacquered Schecter body with ‘burst’ finish and an ESP neck , with two sets of pickups, active electronics and brass front plate, with rosewood fretboard, dot markers, with three Schaller and one Guild machine head, with hard-shell case and leather strap.

116cm x 34cm Overall craquelure to body, scratches and dents, oxidised and slightly rough-cut control plate, with some dints to headstock £100-200

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A GUILD P50-NT ACOUSTIC BASS GUITAR, NATURAL, 1977, NO 153825

119cm x 46cm x 16cm max Guild introduced the B50 acoustic bass in 1975. This lovely clean example dates from 1977, a year which seems to resonate in musical terms. These guitars produce a rich, deep tone and are remarkably smooth to play.

The body has a spruce top with rosewood bridge, split saddles and cream bridge pins, black scratch plate with nicely figured mahogany back and sides. The neck is mahogany with cream side dots with rosewood fretboard and pearl dot inlays, the black headstock has pearl ‘Guild’ inlays with open-gear tuners and is stamped with the serial number as well as the interior paper label.

The guitar is in very good condition for a 45 year old instrument with some minor marks and about four dints to the front face and some minor scratching and comes with its original hard case (worn) £600-900

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A FENDER CUSTOM SHOP SUB-SONIC BARITONE STRATOCASTER

2001, serial number CN92750, in candy apple red, with noiseless pickups and 27.5 inch scale length, with Fender Custom Shop, Corona, California, certificate of authenticity and signed by Mike Eldred, custom shop manager, with modern hard shell case.

98cm x 33 cm max Some minor marks and a couple of small chips but overall in excellent condition £700-1000

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A FENDER SQUIER STRATOCASTER

1982/83, serial number: JV36879 in cherry sunburst finish with black scratch plate and knobs; an early example of a Japanese Fender Strat made by Fender Japan Ltd, with Fender style fabric covered case.

98cm x 33cm Some chips, some scratching, fine scratching to scratch plate, one scratch plate screw absent, no tremolo arm and plastic back plate missing £250-350

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1959 Gibson Les Paul Standard ‘Burst’

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A 1959 GIBSON LES PAUL STANDARD ‘BURST’

serial number 9 1865 99cm x 33.5cm This example of the legendary Gibson Les Paul ’59 ‘Burst’ epitomises the very reason why this instrument has become such a cultural icon of the music world. To really understand its iconic status it’s essential that you experience its very soul. If this sounds a little dramatic then I make no apologies because these Les Pauls have a quality that transcends any of the more modern replicas or imitations. Let’s also not forget that this guitar is over 60 years old and in that time it has not only acquired its own history and patina but it has also become a central part of the historical narrative of solid bodied electric guitars.

As sales of the Goldtop declined in the late 1950s Gibson’s Les Paul was revamped with a more traditional cherry sunburst finish. However, sales were not as good as expected and production lasted for only just under three years. The guitar didn’t catch on in the UK simply because the UK government’s post-war trade restrictions drastically affected imports of American musical instruments and by the time this was lifted in 1959, it was essentially out of production. Yet this hiatus in interest was to be relatively short-lived. By the middle of the 1960s the Les Paul was gaining in appreciation and in no small part due to musicians such as Keith Richards playing a Bigsby-equipped ’59 who in turn generously loaned it to other musicians such as Eric Clapton and Jimmy Page, thus cementing its credentials amongst some of the world’s most iconic musicians. Richards played the guitar on their famed tour of the USA in 1964 and it was seen by millions when he played it on the Ed Sullivan show. In the States, guitar supremo and composer Mike Bloomfield very much led the Les Paul revival, first playing an old Goldtop. Demand gained momentum but with literally no single-cut Les Pauls available secondhand prices quickly rose and Gibson re-introduced the Les Paul in 1967, although initially not as a sunburst but in Goldtop and black Custom models. The rest is history.

This guitar is a classic example of this legendary instrument. The 9 1865 was bought by James circa 1972/73. Having taught himself guitar and becoming an accomplished musician, James visited Denmark Street

The ‘59 as featured on the front cover of Making Music, Aprl 1989 in search of a cherishable instrument and it was here that he found his beloved ’59. He reputedly paid £450 or perhaps £495 for it and his credit card bore the burden of what – at the time – was the modern equivalent of over £6,000.

It was in the same period that he met Graham Noden, the luthier and later famous ‘guitar tech to the stars’.

Graham was at college and it was James who gave him his first paying job re-fretting the ’59 in circa 1973.

Having spoken to Graham at length I know that they held each other in high esteem and remained friends for life with Graham maintaining and repairing James’

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guitars when needed. The ‘59 is strung with a reversed bridge and the strings are threaded over the tail piece, an idiosyncrasy that Graham explained suited James’ style of playing making it less likely that he would break a string.

Of course, provenance is everything and with this indisputable knowledge of the guitar we have a literally seamless 50 year timeline of ownership and history

which can be verified by one of the most celebrated guitar luthiers in modern music history. Graham also made several guitars for James which were poignantly returned to him after James passed away.

The guitar has a book-matched veneered maple deck with nice figuring. The original sunburst finish has faded back to a glorious warm honey-coloured hue with a light iridescence to the maple. There are hints of more colour under the scratch plate. Marks and wear are commensurate with over 60 years of use but have a complete honesty and integrity for a guitar of this age.

The deck has a hole next to the bridge and three holes visible at the tail of the guitar showing that it was once fitted with a Bigsby tremolo, perhaps once influenced

by Keith Richards doing the same modification. By James’ ownership it was equipped with its current setup, although it’s conceivable that the bridge and tail are the re-installed originals. These are play-worn with traces of gilding. The guitar is fitted with the original and much revered PAF Humbucker pickups. The cream plastic-work, scratch plate and tone switch plate are all original. The knobs are correct Top Hat ‘golden age’ examples and appear to be original. The guitar body is mahogany and the sides have been re-finished at some point with the body binding in what is now a deeper yellow colour. The main back plate has some heavy scratches and there is a hole adjacent to the neck where a guitar strap button has obviously been fitted earlier in its life. The front strap button has been moved up (or down) at some point leaving an old hole. The pots and wiring appear to be original with some later solder repairs. The guitar functions correctly.

The neck has a rosewood deck with trapezoid pearl markers and is set up by Graham to play like gossamer.

It has an extremely light touch. The headstock has a fine craquelure with fine dints and edge knocks and

GUITARS THAT MADE HISTORY, WEDNESDAY 16 MARCH 2022

chips commensurate with age. The pearl ‘Gibson’ has a yellowed lacquer finish with one small lacquer chip and the original Kluson tuners have been replaced with Grover Rotomatic machine heads, which is a typical update to facilitate better tuning. The scar holes for the old tuners are left as original.

This guitar is a much cherished and well utilised example of the ‘Holy Grail’ of the electric guitar world.

As James would say ‘you can take my guitar when you can prise my cold dead fingers off it’ and although many

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guitars came and went in James’ life his much prized ’59 remained an absolute constant. It was gigged and enjoyed by James and his many friends, used in his studio, published in several magazines and often kept under his bed. As a fellow guitarist and having played this classic guitar myself, it is undoubtedly imbued with part of James’ musical soul.

Estimate on request

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78

A GIBSON LES PAUL STANDARD GOLDTOP

1952 98.5cm x 33cm max The Les Paul was first offered in 1952 with a gold finish, hence its well-known name in popular guitar culture as a ‘Goldtop’. The guitar was originally designed by the Gibson factory manager John Huis and his team but crucially with input from Lester William Polsfuss known as Les Paul. His credentials as a famous blues, country and jazz player and luthier too, led to the development of one of the most iconic electric guitars in history, the Gibson Les Paul. Interestingly, despite its now legendary status the Les Paul was not initially considered a commercial success with lower than expected sales. However, this only seems to have added to its historic status and collectability.

This example was naturally a crucial addition to James’ Gibson stable. Paramount in establishing this guitar as a ’52 are the holes on the end of the body showing that it originally sported a trapeze tail piece , which was dropped in 1953, and this example has been later converted to a stoptail bridge, now with worn gilded finish. These very early Les Pauls were not given serial numbers; hence this example has no number. Some consider these early guitars to be ‘prototypes’. James regularly played this guitar and although the bridge is

not original it was set up by the well-known luthier Graham Noden, and plays very nicely.

The guitar has a mahogany body and neck . The Goldtop finish is in remarkably good condition with some but not many craquelure stress lines, mainly around the knobs, and rhythm/treble switch. There are also multiple dints and some scratches and two arc shaped scratches indicative of where the tail piece once sat. The pickups are cream mounted P-90s with a matching scratch plate and switch disc. The deck is bound with a white edging as is the rosewood fretboard which has trapezoid mother of pearl markers. The controls are gold speed knobs and look to be original to the guitar. The neck has an area of darker recolouring adjacent to the headstock which indicates a repair although given the integrity of the fretboard it doesn’t seem to suggest a break more a re-enforced stress strain. A slight arc is barely visible under the lacquer.

The face of the head stock has craquelure with the ‘Les Paul Model’ transfer looking faint but the pearl ‘Gibson’ is strong and slightly yellowed under the old lacquer.

The machine heads have been replaced with gilded Schaller examples leaving six screw holes visible from the original examples.

The guitar comes with a black Gibson well-gigged hard case with ‘gold’ plush lining and appears to date from the 1970s £4000-6000

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79

A GIBSON LES PAUL JUNIOR 1956 SINGLE CUT SUNBURST GUITAR, INK STAMPED SERIAL NUMBER 6 0847

98cm x 33cm max The Gibson Les Paul Junior was introduced to the market in 1954 as a more affordable option to the Les Paul Standard, for students and beginners. Classed as an ‘entry level’ electric guitar it was essentially a paired down ‘no frills’ version of the Standard with a single P90 ‘dog ear’ pickup, single tone and volume controls and a solid single-piece mahogany body with fixed neck and no complicated carving or shaping. A double cutaway version came to the market in early 1958. This example was key in James’ run of Gibson classic vintage guitars and like many players, he valued it for its characteristic simplicity and expressive tone which was due to the P-90. This single coil pickup has been produced by Gibson since 1946 and despite the usual mains hum problems associated with single coil pickups, the sound produced through a high-gain amplifier made it a popular choice with many mainstream rock and blues musicians through the 1960s and 70s. John Lennon played one, post the Beatles, albeit with an extra pickup added adjacent to the neck.

This example has the characteristic mahogany body with a good, warm toned-down sunburst finish commensurate with its age. The front has almost

perfect linear glaze craquelure, with some dints and marks and some lightly coloured-in edge chips and fine scratching and chips around the body sides. The reverse of the body has the usual buckle rash, which has over the decades, had some colouring . There is some heavier wear through to the mahogany on the top bow. The output jack is mounted on a black plastic plate. Having removed the backplate to reveal the wiring, there are some historic solder repairs visible on the pots.

The bridge is a ‘wrap-around’ which may have been changed but is aligned straight, making its setup proud of the bottom peg. The knobs are classic Gibson Goldtop top hats and the black ‘dog ear’ pickup cover and scratch plate have very fine scratching as you would expect.

The neck has a rosewood fret board with circular pearl markers and the nut appears to be original. The headstock transfer ’Les Paul Junior’ has some wear but the ‘Gibson’ is sharp and bright. The black paint has craquelure and there are some ‘arc’ scratches adjacent to the machine heads, maybe due to using a winder.

The Kluson single line ‘Deluxe’ machine heads appear to be original. The 6 0847 serial number has been smudged on stamping. There are some marks and dints the back of the neck.

The guitar comes with a Gibson branded brown leathereffect hard case which may be original. The case is very worn and lined in purple plush fabric £3000-5000

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A GIBSON SG JUNIOR, CHERRY FINISH, 1961, SERIAL NUMBER 30207

101cm x 33cm max The Gibson Les Paul SG Junior, rather like its predecessor the Gibson Les Paul Junior was introduced as a more affordable option. From 1961 to 1963 it was branded with the ‘Les Paul Junior’ transfer, as in this example, but this was removed in 1963 and it became known as the SG Junior. It’s overall simplicity – like the single cutaway junior, gave it a single dog-ear black plastic cased P-90 pickup and a single piece wrap-around bridge with a two layer black scratch plate.

This new distinctive chamfered double cutaway design seems brave for the period and the cherry finished mahogany body and neck with rosewood or ebony fretboard with pearl markers and a black headstock were ample for the range. In James’ case this guitar completed the ultimate Gibson line-up with this example dating to 1961. Of course, it’s simplistic but effective tonal capabilities and playability ensured its place in guitar history and its status as a rock ‘axe’.

James’ example is furnished with a rosewood fretboard. Overall, the guitar has seen some good use.

The body has dints and marks with craquelure to the lacquer, mostly in a few long lines but with some small lateral lacquer cracks over the top of the scratch board.

The back of the guitar has some scratching and chips with some old touch-ins. The access plate has some scratches. The wrap-around bridge has burring to the slots of the securing nuts and it may have been replaced as it has a good chrome finish, the scratch plate has suffered the same fate as most plates of this period with cracks around one screw hole, the tip missing on the bottom ‘horn’ and a slight bow to the bottom of the plate, the knobs are possible replacements. The headstock has very little craquelure, with the Les Paul Junior and Gibson gold transfers in sharp condition. The headstock edges have chips and wear, the Kluson Deluxe machine heads are the originals and the serial number is stamped. There are some small infilled dents to the reverse of the neck. The guitar comes with is original interior labelled case which is worn. James frequently played this guitar £2000-4000

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81

AN EPIPHONE RIVIERA CHERRY E360TD, 1967, SERIAL NUMBER 897805

109cm x 42cm James’ love of Gibsons ultimately brought him to own five Epiphone guitars in his lifetime. This lovely cherry finished Riviera was made in the same factory as its contemporary Gibsons in Kalamazoo, Michigan. The E360TD was the Epiphone branded counterpart to the famous Gibson ES-335. The 16 inch thin line semihollow double cut-away body is a classic design and this example is in very clean condition and is nicely set up to produce the full and rich tones that you would expect from this model. The deck has some long varnish craquelure, there are two small blemish or hole repairs to the right and left of the period correct

‘Frequensator’ tail piece, possibly from a different bridge set up at some point in its history. The bridge is a Gibson ‘Tune-O-Matic’ and there are two spec PAF chrome cased pickups. The scratch plate is three-ply bevelled with an Epiphone motif. Overall, the body has some minor scratches and indentations to the back but is very clean for a 55 year old guitar. The volume and tone knobs are original. The bound rosewood neck has single parallelogram pearl inlaid fret markers, with some indenting but mainly on the first fret. The headstock is pearl inlaid with some minor edge chipping and has its original Kluson Deluxe tuners with the serial number clearly stamped. The Kalamazzo internal blue paper label is in good condition. It comes with a vintage hard case £2000-3000

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82

AN EPIPHONE RIVOLI CHERRY BASS EB232C, 1967, SERIAL NUMBER 101909

115cm x 41.5cm As the bass counterpart to the previous lot James naturally wanted a bass version in his line-up. Again, made in the Gibson Kalamazoo factory this example has all of the classic attributes of its Gibson ES-335 equivalent.

This guitar has been well gigged in its lifetime with classic body wear. There are the typical long, mainly lateral varnish cracks, play-wear above the EB Humbucker pickup where the combination of resting your hand on the chrome guard and heavy playing, perhaps with a pick, has worn a small area. The back of the bass has buckle rash in certain areas and there is

no scratch plate. These were often removed by players on basses. The chrome hand guard has been reversed and may be a replacement, the bar bridge is original and the witches hat knobs are period with the pushbutton tone choke worn to a brass finish.

The rosewood fretboard has pearl dot markers, the back of the neck has some heavy wear dints and scratching, the headstock is pearl inlaid with multiple edge dents and marks, the 538 Kluson tuning keys have aged back to a dull finish with two central screws replaced and the serial number is stamped at the top.

The interior blue Kalamazoo label is illegible and this looks likely to be due to a retailers label being applied over it and then removed. The bass comes in a modern hard case £1000-1500

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83

A FENDER PRECISION ‘SALMON PINK’ BASS GUITAR, 1962/63, SERIAL NUMBER 73968

116cm x 33cm max The Precision or P-Bass as it is commonly called, is undoubtedly one of the most influential and most copied guitars in the bass playing world. The prototype was designed by Leo Fender in 1950 and was initially designed to bridge the gap between the size, skill and the amplification issues required to play a double bass, twinned with the ease and portability of a more convenient instrument.

It was launched in 1951 and was initially and unsurprisingly met with contempt by double bass players. However, the ‘rest is history’ as they say, with the P-Bass eventually proving to be one of the defining bass guitars in electric guitar history as its capabilities proved its essential qualities in the evolution of funk, soul, blues and rock.

This example was a favourite of James’ and as is noted in some correspondence he asserts it’s known history from about 1966 onwards. The back plate has a 1962 serial number and the neck is 1963. As James writes in a letter to the author of The Fender Bass, Klaus Basquiz

in 1993 (a copy of the letter comes with the bass), why is this? Almost certainly, the guitar was assembled from stock items giving a date anomaly but the ‘myth’ of the salmon pink fender is the question most people would ask. Why is it this colour? As is commonly known, some of the early paint colours used by Fender faded and this was the case with ‘fiesta red’, which due to inconsistencies in paint application and lacquering, faded to ‘salmon pink’. James notes that he had the ‘pink’ finish on his P-bass professionally restored but when it was stripped back it was found to have a sunburst finish underneath. Hank Marvin played a red Stratocaster in the ‘60s and it’s also thought that this added to the popularity of the colour with importers such as Selmer actually respraying guitars to satisfy this market.

This is an eminently playable bass with beautifully mellowed varnish, perfect patination and honest wear to the back of the neck with patinated machine heads, a rosewood fretboard with clay markers, tortoiseshell scratch plate, split coil pickup, replacement chrome work, lacking finger rest/tugbar, with knurled tone and volume knobs and professionally refinished in ‘salmon pink’. It comes with a modern hard case £3000-5000

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A FENDER STRATOCASTER SUNBURST, 1960, SERIAL NUMBER 46283

98cm x 32cm This is a classic example of the legendary Fender Stratocaster with the serial number dating from the 1960, 40000-58000 sequence. In reality this is the same as a 1959. The body has acquired the much cherished wear of a well-gigged and loved guitar of the period with overall wear on the prominent high spots, body contact wear on the back and various dints and knocks and scratches which sit so nicely with a classic guitar of this age. The colour is well toned to a tobacco shading.

All of the furniture is as original, the scratch board with mellowed fine wear, the bridge plating worn through

decades of playing. The original tremolo arm and chrome bridge cover come with the guitar. The rosewood fretboard has clay dot markers and may have been refretted. James’ papers contain an old Graham Noden receipt dated 5/7/6 (sic) which states Stratocaster ……refret 6130 wire….Nashville String& Tuning - £150.

The chrome neckplate is stamped with the serial number 46283, and the neck has some small dints and wear marks, the headstock has the age correct decal with a slight scratch to the ‘d’. The Kluson Deluxe tuners are original to the guitar. I have not been able to inspect the interior and wiring but the guitars functions correctly. It comes with its original very worn Fender case £8000-12000

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A FENDER STRATOCASTER SUNBURST, 1964, SERIAL NUMBER L42741

98cm x 32cm This is an excellent, clean example of a mid-sixties Stratocaster with a vibrant sunburst finish, the body has some minor dints and marks with one retouched mark near the tail and a small chip in the bottom cutaway, the three layer scratch plate has a yellowed hue and a small cutaway next to the truss rod adjuster, the pickups have a slightly brighter white hue; the bridge has play wear through the plating and all other furniture is original. The back plate has three corner cracks, a

common occurrence with these plates, and the chrome neck plate is stamped L42741. The rosewood fretboard has pearl markers, the back of the neck is very clean with a small discoloured patch next to the first tuner, the transfer is age related and the Kluson Deluxe tuners are original. The guitar comes with a set of photos of the interior and electrics which illustrate the originality. It has its tremolo arm, bridge cover, original strap, lead, picks and also its original hand numbered instruction book. The original case is in good condition and comes with the keys £10000-12000

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A ‘FRANKENSTEIN’ GUITAR

made as a tongue in cheek instrument from assorted parts bearing the decals on the headstock, A Leo Plank & J Arthur No Taste and a soft case.

As Found £30-40

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A FENDER STYLE CLASSIC FABRIC AND FAUX LEATHER GUITAR CASE

£40-60

END OF SALE

Select Interiors Wednesday 13 April 2022 at 10.30am

Inviting entries until 23 March

Enquiries: Guy Tayler guy.tayler@doreandrees.com 01373 462 257

Dore & Rees Vicarage Street, Frome BA11 1PU 01373 462 257 www.doreandrees.com

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15. Descriptions and condition a. Our descriptions of the Lot will be based on i i. Information provided to us by the Seller of the Lot (for which we are not liable); and ii. Our opinion (although it is likely that we will i not be able to carry out a detailed inspection of each Lot). b. We will give you a number opportunities to view and inspect the Lots before the auction. You (and any independent consultants acting on your behalf) must satisfy yourself about the accuracy of any description of a Lot. We shall not be responsible for any failure by you or your consultants to properly inspect a Lot. c. Representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion will be honestly and reasonably held and accept liability for opinions given negligently or fraudulently.

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Deposits are refundable after the auction if you are not a successful Bidder. d. Lots will be invoiced to the name and address on the Registration Form. e. Absentee bids may be left with us in writing indicating the maximum amount to be bid against a Lot (excluding Buyer’s Premium and/or VAT and any applicable charges). We will execute absentee bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Bidders submit identical absentee bids we may prefer the first bid received (where this can reasonably be ascertained). Neither we nor our employees or agents will be responsible for any failure to execute your absentee bid, unless our failure to do so is unreasonable. f. Telephone bidding is offered on a first come first serve basis on high value lots. Neither we nor our employees or agents will be responsible for any failure to execute your telephone bid, unless our failure to do so is unreasonable. g. Bidding online is available via doreandrees.com and our auction partners EasyLiveAuction.com.

CONDITIONS OF SALE

h. i. j. k. l.

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We may bid on Lots on behalf of the Seller up to one bid below the Reserve.

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Bidding increments will be at our sole discretion (and in line with standard auction practice).

The Bidder placing the highest bid for a Lot accepted by the Auctioneer will be the Buyer at the Hammer Price. Any dispute about a bid will be settled at our discretion. We may reoffer the Lot during the auction or may settle the dispute in another way. We will act reasonably when deciding how to settle the dispute.

17. Anti-Money Laundering Regulation a. We are obliged to comply with Anti-Money Laundering regulations which apply to individuals and businesses who deal in the sales, purchases and storage of works of art with a value of €10,000 (or equivalent) or more. b. Buyers may be requested to provide photographic ID and proof of address documentation in advance of the Auction in which they are bidding in order to meet the requirements of the regulations.

18. The Purchase price a. As Buyer, you will pay: i. The Hammer Price; ii. Buyer’s Premium of 25% of the Hammer Price iii. Any artists resale right royalty payable on the sale of the Lot iv. Any VAT due11

19. VAT a. You are responsible for the payment of any VAT applicable on the Hammer Price and Buyer’s Premium due for a Lot. b. We will charge VAT at the current rate at the date of the auction.

10. Artist’s Resale Right a. From mid February 2006, living artists are entitled by law to receive a resale royalty each time their work is resold by or to and art market professional. From January 2012, the Right has been extended to include sales of works by artists who have died within the last 70 years (following the existing term of copyright).

Royalties will be payable to the families and the beneficiaries of these artists. b. An artwork must be resold for more than 1000 euros Hammer Price (or equivalent) to qualify for the right. The rates applicable are calculated as a percentage of the Hammer Price and are set out on a sliding scale from 4% to 0.25%. The charge is exclusive of VAT. We reserve the right to pass all the cost to the Buyer of the qualifying artwork.

11. The contract between you and the Seller a. The contract for the purchase of the Lot between you and the Seller will be formed when the hammer falls accepting the highest bid for the Lot at the auction. b. You may directly enforce any terms in the Terms and Conditions of Sale - SELLER against a Seller to the extent that you suffer damages and/or

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loss as a result of the Seller’s breach of the Terms and Conditions - SELLER. c. If you breach these Terms and Conditions – BUYER, you may be responsible for damages and/or losses suffered by a Seller or us. If we are contacted by a Seller who wishes to bring a claim against you, we may in our discretion provide the Seller with information or assistance in relation to that claim. d. We normally act as an agent only and will not have any responsibility for default by you or the Seller (unless we are the Seller of the Lot) e. In addition to any other rights we may have to cancel a contract for sale under these Terms and Conditions – BUYER, in the event: i. You are in breach of your warranties in clause 3; or ii. We have not completed our enquiries pursuant to the Money Laundering Regulations and related legislation to our satisfaction; or iii. We have reason to believe that the transaction might be unlawful for any reason, or that the sale might put us under any civil or criminal liability, we may delay the completion of the sale, delay a release of a Lot or cancel the sale of a Lot.

12. Payment a. Immediately following your successful bid on a Lot you will: i. Pay to us the Total Amount Due by one of the following methods: 1. BACS 2. Debit Card 3. Credit card – up to a limit of £500 if a distance payment 4. Cash – up to a limit of £8,000 in person

13. Title and Collection of Lots a. While you are bound by the contract for the purchase of the Lot from the fall of hammer on your successful bid, ownership in the Lot will not pass to you until you have paid us in full the Total Amount Due in cleared funds for that Lot; b. You may not claim or collect your Lot until you have paid for it and ownership has passed to you. c. You will (at your own expense) collect any Lots that you have purchased and paid for either: i. Not later than 5 working days following the day of the auction II. Not later than 5 working days following the date that we have received payment of the Total Amount Due in cleared funds, if later.

14. Storage of Lots a. If you do not collect the Lot within the time period set out in above, you will be responsible for any reasonable removal, storage and insurance charges in relation to the Lot. b. The risk of loss or damage to the Lot will pass to you when you (or your agents) take physical possession of the Lot. c. If you do not collect the lot that you have paid for within 90 days after the auction we may sell the Lot. We will pay the proceeds of any such sale to you, we will deduct any storage charges or other sums that we have incurred in the storage and sale of the Lot. We reserve the right to charge you a selling commission at our standard rates on any such resale of the Lot.

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DORE & REES AUCTIONEERS

15. Remedies for non-payment or failure to collect purchases a. Please do not bid on a lot if you do not intend to buy it. If your bid is successful, these Terms and Conditions of Sale - BUYER will apply to you.

This means that you will have to carry out your obligations set out in these Terms and Conditions of Sale - BUYER. If you do not comply with these Terms and Conditions of Sale BUYER, we may (acting on behalf of the Seller and ourselves) pursue one or more of the following measures: i. Take action against you for damages for breach of contract ii. Reverse the sale of the Lot to you and/or any other Lots sold by us to you; iii. Resell the Lot by auction or private treaty (in which case you will have to pay any difference between the price you should have paid for the Lot and the price we sell it for as well as the charges outlined in Clause 8. Please note that if we sell the Lot for a higher amount than your winning bid, the extra money will belong to the Seller; iv. Remove, store and insure the Lot at your expense; v. If you do not pay within 5 days of your successful bid, we may charge interest at a rate not exceeding 1.5% per month on the Total Amount Due; vi. Keep that Lot or any other Lot sold to you until you pay the Total Amount Due vii. Reject or ignore bids from you or your agent at future auctions or impost conditions before we accept bids from you; and / or viii. If we sell any Lots for you, use the money made on these Lots to repay any amount you owe us. b. We will act reasonably when exercising our rights under clause 7. We will contact you before exercising these rights and try to work with you to correct any non-compliance by you with these Terms and Conditions.

16. Forgeries a. A sale shall be cancelled and the Buyer shall be entitled to a refund of both the Hammer Price and the Buyer’s Premium if a Lot bought by the Buyer through our Auction is shown to our satisfaction and within 14 days of the Auction to be a forgery.

17. Data Protection a. We will hold and process any personal data in relation to you in accordance with our current privacy policy, a copy of which is available on our website.

18. Liability a. Save as set out in these Terms and Conditions, we exclude to the fullest extent permitted by law all warranties and conditions, whether express or implied by statue, common law or otherwise. b. Nothing in these Terms shall operate to exclude or limit the liability of a party in respect of death or personal injury resulting from that party’s own negligence, for fraud or for any liability that cannot be excluded or limited under applicable law.

c. No party to these Terms shall be liable to any other contract, tort (including negligence) or otherwise for any indirect or consequential losses, or for any loss of profits, loss of good will, loss of revenue, loss of business or loss of anticipated savings. d. Subject to Clauses 10.b and 10.c, our liability to you shall not exceed £5,000, unless your claim relates to an item sold through an Auction in which case our liability to you shall not exceed the greater of £15,000 or the Hammer Price for the relevant Lot. e. We will not be responsible or liable for errors and omissions to execute bids, caused by a loss of internet connection, a breakdown or interruption of the on-line bidding system, or a breakdown or failure of any internet connection, computer or IT system.

19. General a. No party shall have any liability in respect of any delay in performance or non-performance of its obligations under these Terms (other than an obligation to pay) owing to Force Majeure. If a party is affected by Force Majeure it shall notify the other parties as soon as reasonably possible, in any event within 5 days, and shall take reasonable steps to mitigate the effect of the Force Majeure. Subject to Clause 4.b, risk in the Lot remains with you at all times until risk passes to the Buyer. You will indemnify us and our employees and agents, and the Buyer (where applicable) against all losses, damages, claims, costs and expenses suffered or incurred as a result of any claim in respect of the Lot or proceeds of the sale of the Lot. b. Every person on our premises shall be deemed to be there at their own risk and, subject to clause 9.b, shall have no claim against us in respect of accident or loss, however caused. c. These Terms are governed by in interpreted in accordance with the laws of England and Wales or the laws of Scotland or Northern Ireland if you live there). If you choose to bring proceedings in conjunction with these Terms you must do so in the courts of England and Wales, unless you live in Scotland, in which case you can choose to bring proceedings there, or in Northern Ireland, in which case you can choose to bring proceedings there. d. Any or all part of any term of these Terms that is found to be unfair or unenforceable by a court of competent jurisdiction will be treated as deleted and the remainder of the Terms will continue to govern each of our respective obligations. e. Any notice from you to us must be sent in writing to us at our address detailed on our website. f. If you elect to collect the Lot from us you will bear all associated cost, expenses and duties.)

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CONDITIONS OF SALE

SELLERS

1. Our Status a. You appoint us to act as agent to sell the Lots on your behalf by auction. b. You will pay us the Sellers Commission together with VAT at the prevailing rate. c. We will not include any Lots in an auction until they have been received by us. d. We will pay the Hammer Price, with Seller’s Commission, Loss and Damage Warranty and any other charges incurred deducted and applicable VAT applied at the prevailing rate, to you at 28 working days following the Auction in which the Lots are sold, or if later, 7 days after payment by the Buyer.

2. The Reserve a. We will agree with you the Reserve, which may be higher than the starting bid. b. We shall not publicise the Reserve. c. We may bid on your Lot up to an amount equal to the Reserve. You may not bid on your Lot under any circumstances, nor maySyou permit any person to bid on your lot on your behalf.

3. Seller’s obligations and undertakings a. You warrant to us and to the Buyer that: i. you are the sole owner of the Lot and that you have full right, title and authority to sell the Lot; ii. you have no reason to believe that it is a Forgery; iii. all Lots sold by you are sold to the Buyer with full title guarantee and free from all encumbrances; iv. you have provided to us all of the relevant information and documents in your possession or control concerning the Lot, including information about its authenticity, history, condition, prior ownership and all such information is complete to the best of your knowledge; v. if the Lot has been removed from a country outside the UK, all duties and taxes on the import of the Lot have been paid, all export and import declarations have been properly made; vi. you will pay any and all duties and taxes that may be due in connection with the sale of the Lot; vii. you have given us notice of any alterations to the Lot of which you are aware; viii. you may not withdraw a Lot from an Auction without our consent. b. If you withdraw a Lot from an Auction without our consent, you will pay to us 15% of the Lot’s estimate and any related costs within 14 days of such withdrawal. c. If the Buyer of your Lot decides to exercise their right to cancel, you agree that we shall be entitled to account directly to the Buyer for any applicable refund and we shall account to you for any sums retained on account of the Lot being damaged or tampered with by the Buyer. d. You will indemnify us and the Buyer in full on demand against all claims, costs or expenses incurred by us or the Buyer as a result of any breach by you of any of the obligations in this clause.

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4. Loss and Damage Warranty a. All Lots held with us are covered by insurance against risk of fire, burglary, water damage and accidental damage except to glass. For this we will charge you 1.5% plus applicable VAT of the Hammer Price for the Lot or the value the Lot would have achieved as assessed by the Auctioneer. b. Subject to this, risk in the Lot remains with you at all times until risk passes to the Buyer. You will indemnify us and our employees and agents, and the Buyer (where appliable) against all loss damage claims costs and expenses suffered or incurred as a result of any claim in respect of the Lot or the proceeds of the sale of the Lot.

5. Anti-Money Laundering Regulations a. We are obliged to comply with Anti-Money Laundering regulations which apply to individuals and businesses who deal in the sales, purchases and storage of works of art with a value of €10,000 or more b. Sellers may be requested to provide photographic ID and proof of address documentation in advance of the Auction in which their Lot is to be offered in order to meet the requirements of the regulations.

6. Images and Illustration a. We will take (or authorise others to take) photographs, video and/or produce images of the Lot and will own all intellectual property rights in any such images and may use them for any purpose, and you warrant that there is no restriction on our ability to do so.

7. Unsold Lots a. If at the end of the Auction, your lot is unsold (other than because it was withdrawn) the Lot will be available for After Sale offers. b. Registered Bidders may contact us and offer to purchase a Lot after the Auction. If the bid meets or exceeds the Reserve, we may authorise the sale of your Lot without contacting you and the sale will be completed as if the Lot had been sold during the Auction. If the bid is less than the Reserve, we will contact you. If you accept the bid and wish to proceed, the sale will be completed as if the Lot had been sold during the Auction. c. You may contact us at any time after the Auction to remove your Lot from the After Sale process. d. Subject to agreement with us, your unsold Lot can be re-offered at a future Auction at a revised Estimate and Reserve or can be collected by you, you are responsible for collection and transportation arrangements and costs.

8. Withdrawn Lots a. If we withdraw a Lot from Auction, we will notify you and you will collect the Lot from us within 30 days of our notification. b. You are responsible for collection and transportation arrangements and costs.

9. Forgeries A. A sale shall be cancelled and the Buyer shall be entitled to a refund of both the Hammer Price and the Buyer’s Premium if a Lot bought by the Buyer through our Auction is shown to our satisfaction and within 14 days of the Auction to be a Forgery. b. If this is the case, you shall refund to us on demand, the total amount paid to you in relation to the lot plus any costs incurred by us or by the Buyer.

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Glossary of Cataloguing Terms Dore and Rees team members are always pleased to discuss individual lots with prospective purchasers prior to the auction, you are welcome to request condition reports. If you require clarification of any terms used in the catalogue please be in touch. We are pleased to discuss lots which may have been altered, repaired, or restored.

The term basically used in conjunction with a date (ie. basically 18th century) indicates that, in our opinion, the item may have undergone restoration, repair, or alteration. It also indicates that only an element of the piece may date from the period stated in the description. The absence of the term basically does not imply that an item is without restoration, repair, or alteration. The use of inverted comas around a word or phrase (i.e. “pearl”) indicates that the piece, or object, may not be what it is purporting to be (i.e. a simulated pearl). If you are in doubt, our specialists are available prior to the auction to offer guidance and advice.

For Chinese ceramics and works of art, if the catalogue states that the object in question bears a mark, but it does not state “and of the period” it indicates that we believe the lot in question may not date from the period suggested by the mark. Clearly, references to the colour of jade are subjective and again buyers are advised to personally inspect items on which they intend to bid to ensure the colour meets with their expectation.

Care is taken to ensure that any statement as to authorship, attribution, origin, date and provenance is reliable and accurate, but all such statements of opinion are not to be taken as statement or representations of fact. Dore and Rees reserve the right, in forming their opinion, to consult and rely upon any expert or authority reasonably considered by them to be reliable.

Descriptions of property in this catalogue do not always indicate condition, repair or damage. Buyers are earnestly advised to inspect personally any lot they intend to purchase. Weights and measurements are approximate and should be verified by intending purchasers.

Paintings, Drawings and Prints

A work catalogued with the forename(s) and surname or recognised designation of an artist is, in our opinion, a work by the artist, e.g. JOHN NASH

Attributed to JOHN NASH – in our opinion, a work of the period of the artist which may be in whole or in part the work of the artist.

Studio of JOHN NASH – in our opinion, a work by an unknown hand, which may have been executed in the studio of the artist.

Circle of JOHN NASH – in our opinion, a work from the period of the artist and showing his influence.

Follower of JOHN NASH – in our opinion, a work executed in the style but probably not necessarily by a pupil.

Manner of JOHN NASH – in our opinion, a work executed in the style of the artist but of a later date.

After JOHN NASH – in our opinion, a copy of any date after a work by the artist.

Signed/inscribed/dated JOHN NASH – in our opinion, the work has been signed/inscribed/dated by the artist.

Bears signature/inscription/date JOHN NASH – in our opinion, the signature/inscription/date are probably not by the hand of the artist.

The addition of a question mark after any of the cataloguing terms in the above glossary indicates an element of doubt.

The term 'ascribed to' may in certain cases be used to denote a traditional attribution based on style.

A work catalogued as 'School' accompanied by the name of a place or country and a date mean that in our opinion the work was executed at that time and in that location, e.g. Italian School, circa 1800.

All reference to signatures, inscriptions and dates refer to the present state of work, i.e. as at the time of inspection for the purpose of cataloguing.

The use of inverted comas around the name of an artist, or date, in connection with a signature, or inscription (ie. signed “John Nash”) indicates that the signature, or inscription, may have been added by another hand.

Jewellery

The contents of any gemmological certificates accompanying lots in this sale are not guaranteed by Dore and Rees and we cannot be held responsible for any disagreement over the contents of the certificates after the sale, or for a retrospective change in opinion by the certificate issuer. All weights and measurements provided are approximate only. Prospective purchasers should assume that all coloured stones sold by Dore and Rees have been treated unless otherwise stated to the contrary in the catalogue description. Stones are commonly treated to enhance their colour and clarity. Sapphires and rubies are commonly heat treated and emeralds commonly oiled. Jade/jadeite is often bleached, polymer/resin filled or dyed.

Please contact Dore and Rees for more clarification on treatment in individual lots. Items containing rubies or jade/jadeite of Burmese origin are not permitted for import by the USA

Bidder Registration Form DORE & REES Auction Salerooms, Vicarage Street, Frome BA11 1PU Auction Date:

01373 462 257 www.doreandrees.com

Auction Name:

Title: Name: Address:

Telephone: Email: Identity checks required for new bidders in high value auctions, please provide the following: Photographic ID: a copy of passport or photographic driver’s license Proof of address: a copy of a utility bill, council tax bill Lot

Maximum bid (£)

Lot

Maximum bid (£)

Lot

Bidder Signature

Print Name

Date

Maximum bid (£)

Fine Asian Art Monday 16 May 2020 at 10.30am

Inviting entries until 1 April Enquiries: Lee Young lee.young@doreandrees.com 01373 462 257 / 07825 426555

Dore & Rees Vicarage Street, Frome BA11 1PU 01373 462 257 www.doreandrees.com

DORE & REES EST. 1868

AUCTION SALEROOMS, VICARAGE STREET, FROME BA11 1PU 01373 462257 www.doreandrees.com