Musical Instrument
Except otherwise stated, all results include the premium.
See also : Stradivarius Guitar Violin II Chinese instrument Song
Chronology : 1-1000 1700-1709 1710-1719 1720-1729 1970 1979
See also : Stradivarius Guitar Violin II Chinese instrument Song
Chronology : 1-1000 1700-1709 1710-1719 1720-1729 1970 1979
Musical instruments at auction represent a captivating intersection of artistry, craftsmanship, history, and cultural legacy, where ancient imperial treasures meet modern rock icons. This page chronicles the top 10 realized auction results worldwide for musical instruments, showcasing extraordinary prices driven by rarity, provenance (e.g., imperial collections, legendary musicians), tonal excellence, and surging global demand. The market has seen dramatic escalation—ancient Chinese guqin fetching nine-figure RMB sums due to scarcity and cultural reverence, Stradivari/Guarneri violins commanding multimillion-dollar highs for unmatched acoustics and heritage, and celebrity guitars (e.g., Pink Floyd and Grateful Dead legends) shattering records amid rock memorabilia booms (e.g., recent 2026 Christie's sales). These results reflect broader trends: institutional acquisitions, centenary commemorations, Asian collector enthusiasm for guqin, and Western fascination with vintage rock gear. From Tang Dynasty guqin embodying scholarly virtue and imperial prestige to 18th-century Cremonese violins prized for their enduring sound quality, and 20th-century electrics tied to cultural revolutions, these instruments transcend utility to become symbols of human creativity and historical continuity. Jump to key motifs: ancient Chinese guqin for imperial legacy, Stradivarius violins for classical perfection, or modern guitars for rock-era innovation. Explore era overviews and market drivers in Special Reports below, or browse related pages like Stradivarius, Guitar, Chinese Instrument, and chronology links for deeper context.
Chinese Guqin
756 Da Sheng Yi Yin
2011 SOLD for RMB 115M by China Guardian
The qin is the traditional Chinese plucked string instrument. The antique variants are now designated as guqin.
The guqin is the first of the four treasures of the scholar, ahead of Chinese go, calligraphy and ink painting. It was known since ancient times and the Chinese tradition likes to assign it with a pre-dynastic origin. Confucius is quoted among the sages who improved the instrument.
The classical seven-string guqin provides a music of great subtlety facilitated by the dots of harmony distributed on the surface. The wooden back is also an invitation to the inscription of poems.
The Imperial guqin are of great rarity. One of them named Da Sheng Yi Yin (legacy of the Great Sage) was sold for RMB 115M by China Guardian on May 22, 2011, lot 3570.
Lacquered in black and brown, it wears a poem and a seal and its harmonics match the months of the Chinese calendar.
Its date possibly refers to the first year of the Suzong emperor of the Tang matching 756 CE, although four other interpretations are also proposed. It probably refers to a historical event instead of the manufacture date of the instrument.
It is piano shaped 120 cm long, in Fuxi style. Its color is chestnut with black strings below th seven emblems. Such qin with rounded neck and larger curvature are classified as palace instruments of the Tang.
Da Sheng Yi Yin (大圣遗音, "Legacy of the Great Sage" or "Musical Legacy of the Sage")
Auction Details
Sold at China Guardian Auctions (Beijing) on May 22, 2011, in a dedicated special session titled "俪松最珍——唐琴大圣遗音" (highlighting its rarity), lot 3570. The final transaction price was RMB 115 million (approximately US$18 million at the time, including buyer's premium). This was a confirmed, successful sale widely reported in Chinese media and auction records as a landmark for Tang-era artifacts. No post-sale issues or cancellations occurred.
Age and Origin
Mid-Tang Dynasty (approximately 8th century, possibly specifically linked to around 756 CE during Emperor Suzong's reign). Attributed to the renowned Lei family workshop (雷氏), one of the most celebrated Tang guqin makers known for superior craftsmanship and tonewood selection. This makes it roughly 1,200–1,300 years old as of the 2011 sale (and over 1,250 years today).
Authentication and Originality
Widely accepted as authentic by experts from institutions like the Palace Museum, auction houses, and guqin scholars. Authentication is based on:
Made primarily from paulownia wood (桐木). Surface lacquer is chestnut-shell brown/black dominant, with some black lacquer and minor vermilion (red) repairs. It shows natural aging cracks (duanwen) that enhance resonance. Preservation is exceptional for its age, though it suffered water rust and graying from early 20th-century neglect (leakage in storage). Overall condition remains excellent, with intact original form and no major structural alterations.
Reworks, Repairs, and Provenance
Represents the pinnacle of Tang guqin craftsmanship, Lei-family legacy, and sonic perfection. Its rarity (few Tang examples survive intact) and imperial aura make it a "national treasure"-level artifact. Often highlighted in discussions of guqin history, tonewood aging traditions, and literati culture.
The guqin is the first of the four treasures of the scholar, ahead of Chinese go, calligraphy and ink painting. It was known since ancient times and the Chinese tradition likes to assign it with a pre-dynastic origin. Confucius is quoted among the sages who improved the instrument.
The classical seven-string guqin provides a music of great subtlety facilitated by the dots of harmony distributed on the surface. The wooden back is also an invitation to the inscription of poems.
The Imperial guqin are of great rarity. One of them named Da Sheng Yi Yin (legacy of the Great Sage) was sold for RMB 115M by China Guardian on May 22, 2011, lot 3570.
Lacquered in black and brown, it wears a poem and a seal and its harmonics match the months of the Chinese calendar.
Its date possibly refers to the first year of the Suzong emperor of the Tang matching 756 CE, although four other interpretations are also proposed. It probably refers to a historical event instead of the manufacture date of the instrument.
It is piano shaped 120 cm long, in Fuxi style. Its color is chestnut with black strings below th seven emblems. Such qin with rounded neck and larger curvature are classified as palace instruments of the Tang.
Da Sheng Yi Yin (大圣遗音, "Legacy of the Great Sage" or "Musical Legacy of the Sage")
Auction Details
Sold at China Guardian Auctions (Beijing) on May 22, 2011, in a dedicated special session titled "俪松最珍——唐琴大圣遗音" (highlighting its rarity), lot 3570. The final transaction price was RMB 115 million (approximately US$18 million at the time, including buyer's premium). This was a confirmed, successful sale widely reported in Chinese media and auction records as a landmark for Tang-era artifacts. No post-sale issues or cancellations occurred.
Age and Origin
Mid-Tang Dynasty (approximately 8th century, possibly specifically linked to around 756 CE during Emperor Suzong's reign). Attributed to the renowned Lei family workshop (雷氏), one of the most celebrated Tang guqin makers known for superior craftsmanship and tonewood selection. This makes it roughly 1,200–1,300 years old as of the 2011 sale (and over 1,250 years today).
Authentication and Originality
Widely accepted as authentic by experts from institutions like the Palace Museum, auction houses, and guqin scholars. Authentication is based on:
- Classic Tang construction (伏羲式/Fuxi style with rounded neck and larger curvature, often classified as palace instruments).
- Core paulownia wood soundboard and typical Tang joinery/sound holes (dragon pool/longchi and phoenix pond/fengzhao on the back).
- Cursive script inscription "大圣遗音" and poetic銘文 (e.g., "巨壑迎秋，寒江印月。万籁悠悠，孤桐飒裂") matching Tang calligraphy and literary styles.
- Sonic qualities aligning with historical descriptions of Lei-family instruments.
It is considered highly original in its core structure—one of the few surviving "true" Tang guqin available in private hands or auctions (most top examples reside in museums like the Palace Museum). It exemplifies all "nine virtues" of ideal guqin sound: 奇 (strange/wonderful), 古 (ancient), 透 (penetrating), 润 (moist/rich), 静 (quiet/tranquil), 圆 (round), 匀 (even), 清 (clear), 芳 (fragrant/aromatic).
Made primarily from paulownia wood (桐木). Surface lacquer is chestnut-shell brown/black dominant, with some black lacquer and minor vermilion (red) repairs. It shows natural aging cracks (duanwen) that enhance resonance. Preservation is exceptional for its age, though it suffered water rust and graying from early 20th-century neglect (leakage in storage). Overall condition remains excellent, with intact original form and no major structural alterations.
Reworks, Repairs, and Provenance
- Repairs/Reworks: Minor lacquer repairs (vermilion patches); the key intervention was a 1947 restoration by master Guan Pinghu (管平湖), who spent months repairing leakage damage after Palace Museum assessment—restoring clear, penetrating, crisp sound (described as 清脆松透, extremely fine quality). No extensive modern reworks altering the Tang structure.
- Provenance: Imperial Qing Palace collection (stored in the southern warehouse of the Hall of Mental Cultivation/养心殿南库, where emperors kept treasures). Post-1911 (after Puyi’s expulsion from the Forbidden City), discovered damaged by the Qing aftermath committee. Briefly in Palace Museum holdings; repaired 1947; later owned by famed collector/connoisseur Wang Shixiang (王世襄), who acquired it in 2003 for RMB 8.91 million (a prior record). Consigned to China Guardian in 2011. Current whereabouts (as of 2026) appear to be in private collection following the sale; it has been referenced in exhibitions and Palace Museum-related contexts but not confirmed as publicly displayed recently.
Represents the pinnacle of Tang guqin craftsmanship, Lei-family legacy, and sonic perfection. Its rarity (few Tang examples survive intact) and imperial aura make it a "national treasure"-level artifact. Often highlighted in discussions of guqin history, tonewood aging traditions, and literati culture.
1120 Song Shi Jian Yi
2010 SOLD for RMB 137M by Poly
The Huizong emperor, whose political incompetence led to the downfall of the Northern Song, was arguably the most important art lover of all time. At the beginning of Xuanhe, the sixth and final era of his reign, he had a catalog prepared of his collection, listing 6,391 paintings by 231 artists.
The esthete emperor was also a music lover. A self-portrait shows him playing the guqin, the zither with seven plucked strings used since the time of Confucius, 1600 years earlier.
An imperial guqin dated to the second year of Xuanhe, 1120 CE, has remained in a superb condition which has preserved its original sound. Some restorations under the Qing did not alter its sound box. According to the tradition for the most prestigious instruments, its name echoes its sound : Song Shi Jian Yi, stones amidst pine trees.
This classically shaped luxuriously lacquered instrument measures 126 cm overall, 21 cm shoulder wide and 4.7 cm thick.
After having been owned since 1953 by Fan Boyan, a famous guqin player in Shanghai, it was sold on December 5, 2010 by Poly for RMB 137M from a lower estimate of RMB 20M, lot 5681. It is illustrated in the post sale report by People's Daily.
Song Shi Jian Yi (松石间意, "Stones Amidst Pine Trees" or "Intentions Amid Pines and Stones")
Auction Details
Sold at Poly Auctions (Beijing) on December 5, 2010, lot 5681. The final transaction price was RMB 136.64 million (often rounded to RMB 137 million; approximately US$20–22 million, including buyer's premium; hammer around RMB 122 million). This set a world auction record for any musical instrument at the time and remains one of the highest for a guqin. The sale was fully concluded, with extensive contemporary coverage; the buyer was a private collector. Some reports note it was exhibited at the Poly Art Museum in Beijing for a period post-sale (per Chinese regulations for cultural relics in private hands), but no recent public resale or change is documented.
Age and Origin
Northern Song Dynasty (late 11th–early 12th century, associated with Emperor Huizong's era, 1101–1126). Linked to imperial court production during Huizong's reign (a passionate arts patron who amassed vast collections in his "Wanqin Tang"/Hall of Ten Thousand Qins). Roughly 900–1,000 years old at the 2010 sale (over 1,000 years today).
Authentication and Originality
Accepted as authentic Northern Song by experts, based on:
Paulownia-based, with exceptional overall preservation through centuries of careful stewardship. Renowned for superb condition, natural lacquer aging, and intact soundbox integrity. Layered inscriptions remain well-preserved, adding to its historical depth.
Reworks, Repairs, and Provenance
Stands out for its dramatic, multi-layered provenance connecting Song emperor, Su Dongpo, Ming masters, and Qing emperors. Its imperial ties, record inscriptions, and excellent preservation make it a supreme example of guqin as a vessel of elite cultural history. The higher auction price reflected provenance prestige and market timing over sheer age.
In comparison, Da Sheng Yi Yin emphasizes greater antiquity and sonic purity with minimal intervention, while Song Shi Jian Yi excels in historical layering and imperial prestige. Both are pinnacles of surviving antique guqin heritage.
The esthete emperor was also a music lover. A self-portrait shows him playing the guqin, the zither with seven plucked strings used since the time of Confucius, 1600 years earlier.
An imperial guqin dated to the second year of Xuanhe, 1120 CE, has remained in a superb condition which has preserved its original sound. Some restorations under the Qing did not alter its sound box. According to the tradition for the most prestigious instruments, its name echoes its sound : Song Shi Jian Yi, stones amidst pine trees.
This classically shaped luxuriously lacquered instrument measures 126 cm overall, 21 cm shoulder wide and 4.7 cm thick.
After having been owned since 1953 by Fan Boyan, a famous guqin player in Shanghai, it was sold on December 5, 2010 by Poly for RMB 137M from a lower estimate of RMB 20M, lot 5681. It is illustrated in the post sale report by People's Daily.
Song Shi Jian Yi (松石间意, "Stones Amidst Pine Trees" or "Intentions Amid Pines and Stones")
Auction Details
Sold at Poly Auctions (Beijing) on December 5, 2010, lot 5681. The final transaction price was RMB 136.64 million (often rounded to RMB 137 million; approximately US$20–22 million, including buyer's premium; hammer around RMB 122 million). This set a world auction record for any musical instrument at the time and remains one of the highest for a guqin. The sale was fully concluded, with extensive contemporary coverage; the buyer was a private collector. Some reports note it was exhibited at the Poly Art Museum in Beijing for a period post-sale (per Chinese regulations for cultural relics in private hands), but no recent public resale or change is documented.
Age and Origin
Northern Song Dynasty (late 11th–early 12th century, associated with Emperor Huizong's era, 1101–1126). Linked to imperial court production during Huizong's reign (a passionate arts patron who amassed vast collections in his "Wanqin Tang"/Hall of Ten Thousand Qins). Roughly 900–1,000 years old at the 2010 sale (over 1,000 years today).
Authentication and Originality
Accepted as authentic Northern Song by experts, based on:
- Imperial Song aesthetics and construction.
- Extraordinary number of inscriptions (12銘文 plus seals)—the most on any known guqin—including the name by Su Dongpo (Su Shi), plus Ming masters like Shen Zhou, Tang Yin (Tang Bohu), Wen Zhengming, Zhu Yunming, and Wang Chong.
- Qing imperial additions (Kangxi/Qianlong).
Core body is Song-era original, though layered historical interventions make it less "pristine" than some Tang examples. It exemplifies Song court refinement and literati connections.
Paulownia-based, with exceptional overall preservation through centuries of careful stewardship. Renowned for superb condition, natural lacquer aging, and intact soundbox integrity. Layered inscriptions remain well-preserved, adding to its historical depth.
Reworks, Repairs, and Provenance
- Repairs/Reworks: Qing-era renovations (imperial lacquer adjustments and inscriptions under Kangxi/Qianlong emperors) focused on enhancement and maintenance without major destructive changes to the soundbox. No significant modern reworks noted; emphasis on preserving resonance.
- Provenance: Northern Song imperial (Huizong era); passed through Ming literati (evidenced by inscriptions); entered Qing palace collection (cataloged with imperial銘); post-1953 owned by Shanghai guqin master Fan Boyan (樊柏雁). Consigned to Poly in 2010. Current whereabouts (as of 2026) likely remain in private collection, possibly with prior exhibition at Poly Art Museum; no confirmed resale or museum transfer in recent records.
Stands out for its dramatic, multi-layered provenance connecting Song emperor, Su Dongpo, Ming masters, and Qing emperors. Its imperial ties, record inscriptions, and excellent preservation make it a supreme example of guqin as a vessel of elite cultural history. The higher auction price reflected provenance prestige and market timing over sheer age.
In comparison, Da Sheng Yi Yin emphasizes greater antiquity and sonic purity with minimal intervention, while Song Shi Jian Yi excels in historical layering and imperial prestige. Both are pinnacles of surviving antique guqin heritage.
later Ming - Yu Shu Tang
2010 SOLD for RMB 58M by Suzhou Wumen
On November 15, 2010, Suzhou Wumen, an auction house located in the suburbs of Shanghai, sold a guqin for RMB 58M. It is illustrated in the post sale report shared by People's Daily.
This 128 cm long undated instrument is of the Jiaoye type, in English banana leaf, so named for its wavy edges. It has lost its bottom. It is painted in black and red and is inscribed Yu Shu Tang.
Built at the end of the Ming Dynasty, Yu Shu Tang was an official residence in the city of Qufu which served to receive emperors and imperial envoys visiting the Confucian temple. Qufu was the hometown of Confucius, who is the most ancient witness to the use of the guqin.
The construction of this instrument is very luxurious, and there is no doubt that it was played in the Yu Shu Tang. Experts believe that it later belonged to the Qianlong emperor.
This 128 cm long undated instrument is of the Jiaoye type, in English banana leaf, so named for its wavy edges. It has lost its bottom. It is painted in black and red and is inscribed Yu Shu Tang.
Built at the end of the Ming Dynasty, Yu Shu Tang was an official residence in the city of Qufu which served to receive emperors and imperial envoys visiting the Confucian temple. Qufu was the hometown of Confucius, who is the most ancient witness to the use of the guqin.
The construction of this instrument is very luxurious, and there is no doubt that it was played in the Yu Shu Tang. Experts believe that it later belonged to the Qianlong emperor.
Stradivarius
1714 Da Vinci Violin
2022 SOLD for $ 15.3M by Tarisio
In the 1690s and 1700s the so called Long Strad violins mark the experiments by Antonio Stradivari to increase the power of the sound. They are 5 mm longer than the classic size.
The know how acquired in that period led the master to design in 1709 other changes that still increased the sound while coming back to the classic size. Flatness and arching reached an unprecedented perfection. In that so called Golden Age that lasted until the mid 1720s, the stradivarius went to be the all time finest violins.
An example was the Soil of 1714, so named from an owner from around 1900. Its "cathedral" sound was so powerful that it did not match the requests of Menuhin, who owned it from 1950 and transferred it to Perlman in 1986.
The Da Vinci is also dated 1714 in its Stradivari label. Its back is made of a single maple piece, rarer than a two piece back for a stradivarius violin of the Golden Age. The varnish is of a bright and golden amber color polychromatic when varying the light.
It first surfaced in 1881 in a deceased estate sale. Its French name Le Léonard de Vinci is a tribute to genius granted in the 1920s by the French dealer Albert Caressa who also nicknamed Michelangelo and Titian two stradivarius from the same period.
It was purchased in 1923 by the recently emigrated Russian born virtuoso Toscha Seidel after a meticulous quest of the perfect violin. That new ownership made a front page of the New York Times in 1924.
Seidel used it extensively in concert and then in radio hosting and studio recording including for the soundtrack of The Wizard of Oz, Intermezzo and Melody for Three.
The da Vinci ex Seidel was sold for $ 15.3M by Tarisio on June 9, 2022, lot 136. Please watch the video shared by the auction house.
The know how acquired in that period led the master to design in 1709 other changes that still increased the sound while coming back to the classic size. Flatness and arching reached an unprecedented perfection. In that so called Golden Age that lasted until the mid 1720s, the stradivarius went to be the all time finest violins.
An example was the Soil of 1714, so named from an owner from around 1900. Its "cathedral" sound was so powerful that it did not match the requests of Menuhin, who owned it from 1950 and transferred it to Perlman in 1986.
The Da Vinci is also dated 1714 in its Stradivari label. Its back is made of a single maple piece, rarer than a two piece back for a stradivarius violin of the Golden Age. The varnish is of a bright and golden amber color polychromatic when varying the light.
It first surfaced in 1881 in a deceased estate sale. Its French name Le Léonard de Vinci is a tribute to genius granted in the 1920s by the French dealer Albert Caressa who also nicknamed Michelangelo and Titian two stradivarius from the same period.
It was purchased in 1923 by the recently emigrated Russian born virtuoso Toscha Seidel after a meticulous quest of the perfect violin. That new ownership made a front page of the New York Times in 1924.
Seidel used it extensively in concert and then in radio hosting and studio recording including for the soundtrack of The Wizard of Oz, Intermezzo and Melody for Three.
The da Vinci ex Seidel was sold for $ 15.3M by Tarisio on June 9, 2022, lot 136. Please watch the video shared by the auction house.
1714 Joachim-Ma Violin
2025 SOLD for $ 11.3M by Sotheby's
A violin made by Stradivari during his Golden period had almost certainly been played in 1879 by its owner Joseph Joachim of Joachim string quartet fame at the premiere of Brahms' violin concerto with the composer himself as conductor.
Si-Hon Ma later played it for four decades until his death. It was gifted by his estate to the New England Conservatory in Boston with the provision that it could one day be sold to benefit the student scholarship.
It is made of a two piece maple back. The label is stating "Antonius Stradivarius Cremonensis Faciebat 1714". The dendrochronology is pointing to 1699 in consistency with other instruments made around that date.
The Joachim-Ma violin was sold for $ 11.3M by Sotheby's on February 7, 2025, lot 1. Please watch the video shared by the auction house.
Despite an intense use, it is in a very fine preservation including its red brown on amber gold varnish. Its versatile tone is exceptionally rich and warm with subtle expressive nuances.
Si-Hon Ma later played it for four decades until his death. It was gifted by his estate to the New England Conservatory in Boston with the provision that it could one day be sold to benefit the student scholarship.
It is made of a two piece maple back. The label is stating "Antonius Stradivarius Cremonensis Faciebat 1714". The dendrochronology is pointing to 1699 in consistency with other instruments made around that date.
The Joachim-Ma violin was sold for $ 11.3M by Sotheby's on February 7, 2025, lot 1. Please watch the video shared by the auction house.
Despite an intense use, it is in a very fine preservation including its red brown on amber gold varnish. Its versatile tone is exceptionally rich and warm with subtle expressive nuances.
1721 Lady Blunt Violin
2011 SOLD for £ 9.8M by Tarisio
The art of Antonio Stradivari has never been equaled. The wood of his instruments was carefully selected, the master was a very clever manufacturer and an excellent mathematician. The secret of the high quality of his violins has however never been discovered.
An interesting hypothesis, not proven, is based on the fact that instruments made at the same time by Andrea Guarneri are approaching the quality of the Stradivarius: the very cold climate of the late seventeenth century would have created less dense wood by slowing the growth of trees.
The Lady Blunt has all the qualities required to excite violinists and experts. Luckily, this specimen is very close to its original state. It was manufactured in 1721, in the best time of Stradivari. It belonged to Jean-Baptiste Vuillaume, the French violin maker of the nineteenth century who made commendable efforts to understand and achieve the quality of the Stradivarius.
In 2008, this wonderful violin was purchased by Nippon Music in a private transaction whose amount exceeded $ 10M. This Tokyo foundation has decided to sell it to benefit the victims of the earthquake and tsunami. The auction was operated on June 20, 2011 by Tarisio. It was sold for £ 9.8M. Please watch the post sale video shared by the auction house. The image is shared by Wikimedia.
An interesting hypothesis, not proven, is based on the fact that instruments made at the same time by Andrea Guarneri are approaching the quality of the Stradivarius: the very cold climate of the late seventeenth century would have created less dense wood by slowing the growth of trees.
The Lady Blunt has all the qualities required to excite violinists and experts. Luckily, this specimen is very close to its original state. It was manufactured in 1721, in the best time of Stradivari. It belonged to Jean-Baptiste Vuillaume, the French violin maker of the nineteenth century who made commendable efforts to understand and achieve the quality of the Stradivarius.
In 2008, this wonderful violin was purchased by Nippon Music in a private transaction whose amount exceeded $ 10M. This Tokyo foundation has decided to sell it to benefit the victims of the earthquake and tsunami. The auction was operated on June 20, 2011 by Tarisio. It was sold for £ 9.8M. Please watch the post sale video shared by the auction house. The image is shared by Wikimedia.
By Tarisio Auctions. Violachick68 at English Wikipedia - Was sent to me personally, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=28827720
other Italian makers
1731 The Baltic Violin by Guarneri del Gesu
2023 SOLD for $ 9.4M by Tarisio
The followers of Amati maintained Cremona as the undisputed capital of violin making. Facing Stradivari who worked until over 90 years old, the Guarneri family has also created wonderful instruments. Maybe they used the same sources for the woods.
The popular image for Stradivari is that of a perfectionist craftsman taking care of every detail of the wood and shape. In contrast, the last of the Guarneri from Cremona, Giovanni son of Giovanni filius Andreae, is viewed as a more romantic figure. His violins reach the same power and the same quality of tone as the best Stradivarius instruments.
The elder Giovanni Guarneri was disabled by an illness in 1731. From that date the younger Giovanni inscribed his labels with an acronym of Christ and a cross, possibly referencing a sign of his workshop. For this reason, he will posthumously be known as Guarneri Del Gesu, also applied to his instruments.
From then, typical features of the del Gesu violins include a shorter body, broader wings and special sound holes.
An early Del Gesu in excellent condition made in beautifully flamed, high-quality maple wood was named The Baltic by a violin dealer. Its label with the plausible date of 1731 is a facsimile from the 1930s. The dendrochronology analysis is consistent with that date.
Coming from the family of a Chinese American music patron who had acquired it in 1979, the Baltic was sold for $ 9.4M by Tarisio on March 16, 2023, lot 118. It is complete in all parts and covered in a deep red brown varnish. Please watch the video shared by the auction house.
The popular image for Stradivari is that of a perfectionist craftsman taking care of every detail of the wood and shape. In contrast, the last of the Guarneri from Cremona, Giovanni son of Giovanni filius Andreae, is viewed as a more romantic figure. His violins reach the same power and the same quality of tone as the best Stradivarius instruments.
The elder Giovanni Guarneri was disabled by an illness in 1731. From that date the younger Giovanni inscribed his labels with an acronym of Christ and a cross, possibly referencing a sign of his workshop. For this reason, he will posthumously be known as Guarneri Del Gesu, also applied to his instruments.
From then, typical features of the del Gesu violins include a shorter body, broader wings and special sound holes.
An early Del Gesu in excellent condition made in beautifully flamed, high-quality maple wood was named The Baltic by a violin dealer. Its label with the plausible date of 1731 is a facsimile from the 1930s. The dendrochronology analysis is consistent with that date.
Coming from the family of a Chinese American music patron who had acquired it in 1979, the Baltic was sold for $ 9.4M by Tarisio on March 16, 2023, lot 118. It is complete in all parts and covered in a deep red brown varnish. Please watch the video shared by the auction house.
Rare violin crafted in 1731 expected to fetch over $10 million at auction https://t.co/EFew9UbTwA
— UPI.com (@UPI) March 9, 2023
Qianlong
1745 Xiangjiang Qiubi qin
2016 SOLD for HK$ 56M by Sotheby's
During the second year of the Yongzheng emperor, the young prince Hongli is studying in a library of the imperial city. This Wutong Library is named in reference to a pair of sycamore trees placed from immemorial time at the entrance of the pavilion. One of them has already withered away and was replaced, symbolizing the regeneration.
Hongli has become the Qianlong emperor. The second wutong tree passes in its turn during the ninth year of the new reign. Qianlong orders by imperial decree that the wood of the old tree is used to make four qin.
The qin was honored under the Tang and the Song as the first in the list of the four treasures of the scholar. This luxurious zither with seven plucked strings offered the ultimate Chinese music. During the Qing dynasty, the qin is a scarce instrument that revives the past.
The realization of the four Qianlong qin is documented in considerable detail in the imperial books, with the identification of officers, eunuchs and workmen. Each instrument is marked with another imperial poem. They are delivered to the Emperor on the 20th day of the 10th month of the 11th year of the reign, matching 1745 CE.
One of the four qin survives. Identified as the Xiangjiang Qiubi meaning Clear Autumn skies above the Xiang River, it is of Lianzhu (pearl string) style with total length 101 cm, shoulder width 16.5 cm and tail width 11.5 cm. It is lavishly made with cinnabar lacquered outer walls. It is incised with dragons, phoenix, goose feet and cranes, and inscribed. Crackles had been originally added to resemble an archaic instrument.
Conceived for prestige, it was sparingly played. The strings have been professionally replaced. It was sold for HK $ 56M from a lower estimate of HK $ 25M by Sotheby's on October 5, 2016, lot 3605, and for RMB 30.5M by Poly on June 14, 2024, lot 6305. It is detailed and illustrated in the 2024 post sale release shared by The Value.
Hongli has become the Qianlong emperor. The second wutong tree passes in its turn during the ninth year of the new reign. Qianlong orders by imperial decree that the wood of the old tree is used to make four qin.
The qin was honored under the Tang and the Song as the first in the list of the four treasures of the scholar. This luxurious zither with seven plucked strings offered the ultimate Chinese music. During the Qing dynasty, the qin is a scarce instrument that revives the past.
The realization of the four Qianlong qin is documented in considerable detail in the imperial books, with the identification of officers, eunuchs and workmen. Each instrument is marked with another imperial poem. They are delivered to the Emperor on the 20th day of the 10th month of the 11th year of the reign, matching 1745 CE.
One of the four qin survives. Identified as the Xiangjiang Qiubi meaning Clear Autumn skies above the Xiang River, it is of Lianzhu (pearl string) style with total length 101 cm, shoulder width 16.5 cm and tail width 11.5 cm. It is lavishly made with cinnabar lacquered outer walls. It is incised with dragons, phoenix, goose feet and cranes, and inscribed. Crackles had been originally added to resemble an archaic instrument.
Conceived for prestige, it was sparingly played. The strings have been professionally replaced. It was sold for HK $ 56M from a lower estimate of HK $ 25M by Sotheby's on October 5, 2016, lot 3605, and for RMB 30.5M by Poly on June 14, 2024, lot 6305. It is detailed and illustrated in the 2024 post sale release shared by The Value.
Instrument Details
- Name: Xiangjiang Qiubi (湘江秋碧, "Clear Autumn Skies above the Xiang River"). This name is inscribed in seal script within the phoenix pond (fengzhao) sound hole on the underside, impressed with a cinnabar seal reading yushang ("Appreciated by his majesty").
- Dynasty/Period: Qing Dynasty, Qianlong period, specifically dated to the autumn of the 10th year of Qianlong's reign (corresponding to 1745 CE). It was crafted in the imperial workshop known as Butongshuwu ("Replenished Wutong Library") in Suzhou, under the supervision of Tula (a commissioner of the Suzhou imperial manufactory). The design follows guidelines from the Qinding Lulu Zhengyi (an imperial musical encyclopedia).
- Type and Physical Characteristics: A pearl-string (lianzhu) style guqin (seven-stringed zither), made from wutong (paulownia) wood for the core soundboard. The body tapers gently with a convex upper surface and cusped edges at the neck and waist. Key features include:
- Length: 101 cm overall; effective cord length: 91 cm; head width: 14.5 cm; shoulder width: 16.5 cm; tail width: 11.5 cm.
- Exterior: Evenly coated in cinnabar (red) lacquer, intricately incised to simulate ancient crackle patterns—prunus crackles (meihua duan) and serpent belly crackles (shefu duan)—for an aged aesthetic. Decorated with traces of cranes and clouds on the front surface (near the ridge and 7th stud).
- Fittings: Two peg guards supporting seven celadon jade tuning pegs; two circular celadon jade goose feet (yanzu); pale celadon jade panels for the ridge (yueshan), brow (dew receptacle), dragon gum (longyin), gum support, scorched tail, and tail support. Inlaid vertically with 13 golden studs (hui) on the front.
- Underside: Four apertures including a rectangular peg pool, ruyi-shaped dragon pool (longchi) and phoenix pond (fengzhao), and an oval sound hole (over 2 inches long) between the dragon pool and goose feet. The unlacquered wutong interior is visible through these, revealing inscriptions.
- Strings and Condition: Originally silk strings (seven chords); professionally replaced in modern times along with loops. Near-pristine preservation with minor age-related issues like faint crackles around edges, insignificant bruising, shrinkage at the tail, and minor retouching to fragile areas (e.g., peg guards). One outer goose foot is a later Qing addition, but all other accessories are original. The dense crackle network enhances its antique appeal without compromising structure.
- Inscriptions:
- Imperial poem in the dragon pool (longchi): A Qianlong-composed eulogy to the qin in clerical script, marked yuzhi ("imperial composition") and impressed with a cinnabar seal Qianlong yubi ("Qianlong imperial brush"). Excerpt (translated): "Knowing nothing of 'plucking,' 'pulling'—I know the zither’s feeling! ... I love this one! For, just as well, it serves my every need!"
- Dated inscription in the oval sound hole: In clerical script, confirming the 1745 creation date and imperial guidelines, followed by a cinnabar seal possibly reading bide ("virtuous [as jade]").
- Additional calligraphy by court officials Wang Youdun (汪由敦, 1692–1758) and Zhang Ruo'ai (張若靄, 1713–1746), praising the instrument's craftsmanship and sonic qualities.
- Authentication and Originality: Considered an authentic imperial commission, with all core elements (wood, lacquer, jade fittings) original to 1745. The simulated crackles are intentional Qing-era artistry to evoke antiquity, not repairs. Experts note its rarity as one of the few surviving Qianlong-supervised guqin with such detailed inscriptions and jade embellishments, emphasizing its prestige (sparingly played, as per records).
- Preservation and Reworks/Repairs: Excellent condition for its age; no major reworks beyond the noted later goose foot and modern string replacement. The lacquer and crackles are well-preserved, with only minor fading to some inscription characters.
- Provenance:
- Commissioned for the Qianlong Emperor's court.
- Yamanaka & Co., New York (early 20th century dealers in Asian art).
- Sold at Parke-Bernet Galleries (predecessor to Sotheby's) in "Oriental Art: Third and Final Part of the Entire Stock of the New York Store of Yamanaka & Co, Inc., By Order of the Alien Property Custodian of the United States," June 28, 1944, lot 23.
- Collection of F. Bailey Vanderhoef Jr. (1913–2008), Ojai, California.
- Exhibited: "Oriental Lacquer" at Santa Barbara Museum of Art, 1976 (cat. no. 8).
- Historical and Cultural Significance: Exemplifies Qianlong's patronage of the arts, blending musical function with decorative luxury (jade and lacquer). As an imperial guqin, it symbolizes literati refinement and harmony with nature. Rarely played due to its prestige, it was designed for courtly appreciation. Later re-sold at Poly Auctions Beijing on June 14, 2024, lot 6305, for RMB 30.5 million (a lower price, possibly due to market shifts post-2016).
- Auction House: Sotheby's Hong Kong.
- Sale Date: October 5, 2016.
- Sale Name/Number: Important Chinese Art (HK0675).
- Lot Number: 3605.
- Estimate: HK$25,000,000–30,000,000.
- Realized Price: HK$56,000,000 (approximately US$7.2 million at the time, including buyer's premium). This made it one of the highest-priced guqin at international auction houses outside mainland China at the time.
- Notes: Bidding was competitive, exceeding the high estimate by nearly double. The sale occurred during a strong period for Chinese imperial artifacts, but the 2024 re-sale at Poly suggests fluctuating market values for Qing-era pieces compared to older Tang/Song examples.
An Imperial Cinnabar Lacquer Wutong Qin Ql from 1745 sells for HK$55.5/US$7.2m – far over est. and record for a Qing musical instrument pic.twitter.com/cXLtyQUWgR
— Sotheby's (@Sothebys) October 5, 2016
Guitar
(1969)-1970 The Black Strat of David Gilmour
2026 SOLD for $ 14.6M by Christie's
On June 20, 2019 in New York, Christie's sold David Gilmour's collection of more than 120 guitars. Passionate about guitars since his childhood in Cambridge, David dreamed of playing a Fender Stratocaster. He explains today that a Strat enhances the personality of its performer.
At the end of the 1960s, psychedelic music is taking over from classic rock and roll. To reach the fame, bands must now offer to the public sounds that are both dynamic and different. David becomes the guitarist of the Pink Floyd in 1968 to compensate for the incapacity of Syd Barrett victim of mental disorders.
The Black Strat was sold for $ 4M, lot 127. Made in 1969, it was bought new by David in 1970 at Manny's in New York. Until 1983 it is his favorite instrument, constantly modified by him to extract new sensational sounds. This instrument is a basic element of the Pink Floyd sound lab at their best time. It is played by David in 1973 in the album that will remain the biggest hit of the group, The Dark Side of the Moon.
This working guitar that was originally an ordinary Strat has become a cult instrument of rock in its post-Beatles phase. Leased for ten years at the Hard Rock Café in Dallas, it was later restored. Replicas were created by Fender from 2006 in two models, one of which named The Relic copying its state of wear before restoration.
In 2005, when the band's historic members meet in concert in London after a very long break, David Gilmour plays his Black Strat again. Frequently modified for half a century by its prestigious owner, it is offered with a reasonable estimate of $ 100K to 150K. Please read the article by Christie's telling its long story.
On March 12, 2026, it was sold for $ 14.6M by Christie's, lot 24 in the sale of the Irsay collection. A travel guitar case for Pink Floyd was included in the lot. It had been sold for $ 175K, lot 126 in the sale of the Gilmour collection.
The Black Strat is one of the most iconic electric guitars in rock history: a 1969 Fender Stratocaster famously owned and extensively used by David Gilmour of Pink Floyd. It became synonymous with his signature soaring, expressive tone on landmark albums and live performances. Heavily modified over decades to suit Gilmour's evolving needs, it played a central role in defining Pink Floyd's sound during their classic era.
Origins and Acquisition (1969–1970)
The guitar was originally manufactured by Fender in Fullerton, California, in 1969 as an alder-body Stratocaster. It came from the factory with a sunburst finish (painted over in black), a maple neck with a large headstock and 21 frets, a white pickguard, and standard early features like a synchronized tremolo bridge and 3-way pickup selector.
David Gilmour purchased it in May 1970 from Manny's Music on West 48th Street in New York City. This was a replacement for a previous black Stratocaster (a gift from his parents for his 21st birthday) that had been stolen along with other Pink Floyd gear during a 1968 U.S. tour. Gilmour debuted it publicly at the Bath Festival of Blues and Progressive Music in June 1970.
Early Modifications and Classic Pink Floyd Era (1970–1980s)
The Black Strat quickly became Gilmour's primary recording and performance guitar for over 15 years. It underwent numerous changes to refine his tone:
Return, Later Use, and Signature Models (1997–2019)
In May 1997, Gilmour requested its return from the Hard Rock Cafe. Restorations included refitting the original bridge, patching Kahler modifications, and installing a '57 reissue-style neck in some configurations.
It was reclaimed for Pink Floyd's historic Live 8 reunion performance in London's Hyde Park on July 2, 2005 ("Comfortably Numb" solo). Gilmour then used it as his main guitar again for the next decade, including his solo albums On an Island (2006) and Rattle That Lock (2015), plus tours and Pink Floyd's The Endless River (2015).
Fender collaborated with Gilmour and his technician Phil Taylor to release the David Gilmour Signature Stratocaster in 2008 (Relic and NOS versions in black over sunburst), replicating its look, feel, and tone.
Phil Taylor documented its full evolution in his book Pink Floyd: The Black Strat – A History of David Gilmour’s Black Fender Stratocaster.2019 Auction at Christie'sAs part of "The David Gilmour Guitar Collection" (over 120 instruments auctioned for charity, benefiting ClientEarth for climate initiatives), the Black Strat went under the hammer at Christie's in New York on June 20, 2019. Estimated at $100,000–$150,000, it sold for $3,975,000 (including buyer's premium), setting a new world record for any guitar sold at auction at the time. The entire collection fetched $21.5 million.The buyer was Jim Irsay (owner of the NFL's Indianapolis Colts), a noted collector of historic instruments. It became a centerpiece of his collection, exhibited publicly and occasionally played live (e.g., by Kenny Wayne Shepherd in tribute performances).
Post-2019 and Current Status (as of 2026)
Following Jim Irsay's passing in 2025, parts of his collection—including the Black Strat—are being auctioned. It is scheduled for sale again at Christie's in March 2026 as part of "The Jim Irsay Collection: Hall of Fame," alongside other legendary guitars.
The Black Strat's enduring legacy stems not from being pristine or rare in origin, but from Gilmour's constant experimentation—swapping necks, pickups, electronics, and hardware—to chase his ethereal, melodic sound. It remains a symbol of creative evolution in rock guitar history.
At the end of the 1960s, psychedelic music is taking over from classic rock and roll. To reach the fame, bands must now offer to the public sounds that are both dynamic and different. David becomes the guitarist of the Pink Floyd in 1968 to compensate for the incapacity of Syd Barrett victim of mental disorders.
The Black Strat was sold for $ 4M, lot 127. Made in 1969, it was bought new by David in 1970 at Manny's in New York. Until 1983 it is his favorite instrument, constantly modified by him to extract new sensational sounds. This instrument is a basic element of the Pink Floyd sound lab at their best time. It is played by David in 1973 in the album that will remain the biggest hit of the group, The Dark Side of the Moon.
This working guitar that was originally an ordinary Strat has become a cult instrument of rock in its post-Beatles phase. Leased for ten years at the Hard Rock Café in Dallas, it was later restored. Replicas were created by Fender from 2006 in two models, one of which named The Relic copying its state of wear before restoration.
In 2005, when the band's historic members meet in concert in London after a very long break, David Gilmour plays his Black Strat again. Frequently modified for half a century by its prestigious owner, it is offered with a reasonable estimate of $ 100K to 150K. Please read the article by Christie's telling its long story.
On March 12, 2026, it was sold for $ 14.6M by Christie's, lot 24 in the sale of the Irsay collection. A travel guitar case for Pink Floyd was included in the lot. It had been sold for $ 175K, lot 126 in the sale of the Gilmour collection.
The Black Strat is one of the most iconic electric guitars in rock history: a 1969 Fender Stratocaster famously owned and extensively used by David Gilmour of Pink Floyd. It became synonymous with his signature soaring, expressive tone on landmark albums and live performances. Heavily modified over decades to suit Gilmour's evolving needs, it played a central role in defining Pink Floyd's sound during their classic era.
Origins and Acquisition (1969–1970)
The guitar was originally manufactured by Fender in Fullerton, California, in 1969 as an alder-body Stratocaster. It came from the factory with a sunburst finish (painted over in black), a maple neck with a large headstock and 21 frets, a white pickguard, and standard early features like a synchronized tremolo bridge and 3-way pickup selector.
David Gilmour purchased it in May 1970 from Manny's Music on West 48th Street in New York City. This was a replacement for a previous black Stratocaster (a gift from his parents for his 21st birthday) that had been stolen along with other Pink Floyd gear during a 1968 U.S. tour. Gilmour debuted it publicly at the Bath Festival of Blues and Progressive Music in June 1970.
Early Modifications and Classic Pink Floyd Era (1970–1980s)
The Black Strat quickly became Gilmour's primary recording and performance guitar for over 15 years. It underwent numerous changes to refine his tone:
- Later in 1970: Swapped to a 1963 rosewood fretboard neck for Dark Side of the Moon recordings (1972–1973) and tours.
- 1973: Installed a pickguard assembly from a 1971 Strat (with 1971-dated neck and middle pickups).
- Late 1979: Added a Seymour Duncan SSL-1C custom-wound bridge pickup.
- 1985: Upgraded to a 5-way pickup selector.
- Early 1980s: Experimented with various necks (including Charvel bird's-eye maple 22-fret necks) and briefly a Kahler tremolo system (installed ~1983, later removed).
- It featured prominently on Pink Floyd albums like The Dark Side of the Moon (1973; e.g., "Money"), Wish You Were Here (1975; e.g., "Shine On You Crazy Diamond"), Animals (1977), and The Wall (1979; e.g., "Comfortably Numb"). It also appeared on Gilmour's solo debut David Gilmour (1978) and About Face (1983), as well as the film Pink Floyd: Live at Pompeii (1972).
Return, Later Use, and Signature Models (1997–2019)
In May 1997, Gilmour requested its return from the Hard Rock Cafe. Restorations included refitting the original bridge, patching Kahler modifications, and installing a '57 reissue-style neck in some configurations.
It was reclaimed for Pink Floyd's historic Live 8 reunion performance in London's Hyde Park on July 2, 2005 ("Comfortably Numb" solo). Gilmour then used it as his main guitar again for the next decade, including his solo albums On an Island (2006) and Rattle That Lock (2015), plus tours and Pink Floyd's The Endless River (2015).
Fender collaborated with Gilmour and his technician Phil Taylor to release the David Gilmour Signature Stratocaster in 2008 (Relic and NOS versions in black over sunburst), replicating its look, feel, and tone.
Phil Taylor documented its full evolution in his book Pink Floyd: The Black Strat – A History of David Gilmour’s Black Fender Stratocaster.2019 Auction at Christie'sAs part of "The David Gilmour Guitar Collection" (over 120 instruments auctioned for charity, benefiting ClientEarth for climate initiatives), the Black Strat went under the hammer at Christie's in New York on June 20, 2019. Estimated at $100,000–$150,000, it sold for $3,975,000 (including buyer's premium), setting a new world record for any guitar sold at auction at the time. The entire collection fetched $21.5 million.The buyer was Jim Irsay (owner of the NFL's Indianapolis Colts), a noted collector of historic instruments. It became a centerpiece of his collection, exhibited publicly and occasionally played live (e.g., by Kenny Wayne Shepherd in tribute performances).
Post-2019 and Current Status (as of 2026)
Following Jim Irsay's passing in 2025, parts of his collection—including the Black Strat—are being auctioned. It is scheduled for sale again at Christie's in March 2026 as part of "The Jim Irsay Collection: Hall of Fame," alongside other legendary guitars.
The Black Strat's enduring legacy stems not from being pristine or rare in origin, but from Gilmour's constant experimentation—swapping necks, pickups, electronics, and hardware—to chase his ethereal, melodic sound. It remains a symbol of creative evolution in rock guitar history.
1979 Tiger by Irwin for Garcia
2026 SOLD for $ 11.6M by Christie's
Founded in California during the acidic era, the psychedelic band Grateful Dead plays electric music. The group is created and directed by the guitarist Jerry Garcia who needs the best instruments in this technique whose popularity is quite recent.
At the end of the 1960s Doug Irwin is a young biochemist disillusioned by his training. Despite the atmosphere of freedom of that time, everyone must find a job : Doug decides that he will construct electric guitars. After a self-taught training he joins the Alembic company founded in 1969 in the Grateful Dead rehearsal room.
At that time Alembic worked on the electronic processing of sound more than on its creation. In 1971 Doug builds his first electric guitar in his own name in his kitchen and brings it to a specialty shop. Jerry is there : he buys the instrument. This guitar named Eagle (Alembic) was sold for $ 186K by Bonhams on May 8, 2007.
Eagle plays the role of a prototype from which Jerry and Doug embark on a more ambitious project. The result is an asymmetrically necked guitar named Wolf. It is completed in 1973 and Jerry uses it intensively for six years.
In the dispute about the estate of Garcia who died in 1995, Irwin became the owner of Wolf and its successor Tiger. He auctioned them through Guernsey's on May 7, 2002. The result was $ 960K for Tiger and $ 790K for Wolf.
Wolf was sold again by Guernsey's on May 31, 2017, for $ 1.9M. This single lot charity sale was organized for the benefit of the Southern Poverty Law Center.
Doug Irwin, a renowned luthier who worked briefly at Alembic before going independent, built several iconic custom guitars for Grateful Dead guitarist Jerry Garcia. These instruments represent a key evolution in Garcia's setup during the 1970s and beyond, moving from lighter, more experimental designs to heavier, tonally rich "super guitars" with elaborate inlays and construction.
The Starting Point: "Eagle" (1971–1972)
The story begins with the first guitar Doug Irwin built while still at Alembic (his #001). Toward the end of 1972, Jerry Garcia encountered this guitar, bought it on the spot for $850, and had it customized slightly. It featured an eagle inlay on the headstock (Irwin's signature logo), which gave it the nickname "Eagle". This was Garcia's introduction to Irwin's work—lightweight, high-quality, with an ebony fingerboard and 24 frets. It was played briefly (e.g., live on May 13, 1973) but served mainly as the spark for future commissions. Garcia immediately asked Irwin to build him a custom guitar, leading to the next phase.
Evolution from Eagle to Wolf (1972–1973)
Inspired by Eagle, Garcia commissioned a more personalized instrument right away. Irwin began work in May 1972 and delivered it in May 1973 (serial #007, cost $1,500).
Full History of Wolf
Subsequent History of Wolf
At the end of the 1960s Doug Irwin is a young biochemist disillusioned by his training. Despite the atmosphere of freedom of that time, everyone must find a job : Doug decides that he will construct electric guitars. After a self-taught training he joins the Alembic company founded in 1969 in the Grateful Dead rehearsal room.
At that time Alembic worked on the electronic processing of sound more than on its creation. In 1971 Doug builds his first electric guitar in his own name in his kitchen and brings it to a specialty shop. Jerry is there : he buys the instrument. This guitar named Eagle (Alembic) was sold for $ 186K by Bonhams on May 8, 2007.
Eagle plays the role of a prototype from which Jerry and Doug embark on a more ambitious project. The result is an asymmetrically necked guitar named Wolf. It is completed in 1973 and Jerry uses it intensively for six years.
In the dispute about the estate of Garcia who died in 1995, Irwin became the owner of Wolf and its successor Tiger. He auctioned them through Guernsey's on May 7, 2002. The result was $ 960K for Tiger and $ 790K for Wolf.
Wolf was sold again by Guernsey's on May 31, 2017, for $ 1.9M. This single lot charity sale was organized for the benefit of the Southern Poverty Law Center.
Doug Irwin, a renowned luthier who worked briefly at Alembic before going independent, built several iconic custom guitars for Grateful Dead guitarist Jerry Garcia. These instruments represent a key evolution in Garcia's setup during the 1970s and beyond, moving from lighter, more experimental designs to heavier, tonally rich "super guitars" with elaborate inlays and construction.
The Starting Point: "Eagle" (1971–1972)
The story begins with the first guitar Doug Irwin built while still at Alembic (his #001). Toward the end of 1972, Jerry Garcia encountered this guitar, bought it on the spot for $850, and had it customized slightly. It featured an eagle inlay on the headstock (Irwin's signature logo), which gave it the nickname "Eagle". This was Garcia's introduction to Irwin's work—lightweight, high-quality, with an ebony fingerboard and 24 frets. It was played briefly (e.g., live on May 13, 1973) but served mainly as the spark for future commissions. Garcia immediately asked Irwin to build him a custom guitar, leading to the next phase.
Evolution from Eagle to Wolf (1972–1973)
Inspired by Eagle, Garcia commissioned a more personalized instrument right away. Irwin began work in May 1972 and delivered it in May 1973 (serial #007, cost $1,500).
- Construction: Asymmetrical body (to address balance issues Irwin noted at Alembic), made from purpleheart and curly maple with an ebony fingerboard and 24 frets.
- Initial state: It had a peacock inlay on the headstock and no wolf motif yet.
- Naming and transformation: Garcia added a bloodthirsty cartoon wolf sticker below the tailpiece, which named it "Wolf". During the Grateful Dead's 1974 European tour, the headstock broke after falls off the stage. Irwin repaired it by replacing the peacock with his eagle logo inlay and adding a stunning ebony-and-brass wolf inlay on the body near the tailpiece—solidifying its identity.
- Usage: Garcia described Wolf as feeling like "an extension of myself" with "a certain magic." It was his primary guitar from 1973 onward, with updates like DiMarzio pickups in the late 1970s. It saw use until the early 1990s (briefly as a MIDI test bed in 1988).
Full History of Wolf
- 1972–1973: Built and delivered; initial peacock headstock + wolf sticker.
- 1974: Damaged on tour → repaired with eagle headstock and wolf body inlay.
- 1970s–1980s: Primary guitar; pickup swaps (e.g., DiMarzio in mid-1978).
- 1988: Brief MIDI experiments.
- Following Garcia's death in 1995, a legal dispute arose between Doug Irwin (the builder) and the Grateful Dead organization over ownership of four Irwin-built guitars Garcia had used: Wolf, Tiger, Rosebud, and Headless (the last never played live by Garcia).
- Garcia's will reportedly bequeathed his instruments to Irwin, but the band claimed rights as well.
- The parties settled in 2001/early 2002: Irwin received Wolf and Tiger, while the Grateful Dead took Rosebud and Headless.
- Irwin then consigned both Wolf and Tiger to Guernsey's for auction on May 8, 2002, in New York (held at Studio 54).
- Tiger sold for $850,000 (hammer price; $957,500 including buyer's premium) to Jim Irsay (owner of the Indianapolis Colts, a major memorabilia collector).
- Wolf sold for $700,000 (hammer price; $789,500 including premium) to an anonymous buyer (later identified in reports as philanthropist/musician Daniel Pritzker).
Subsequent History of Wolf
- After the 2002 sale, Wolf was owned by Daniel Pritzker for about 15 years.
- In 2017, Pritzker consigned it back to Guernsey's for a charity auction benefiting the Southern Poverty Law Center (SPLC).
- The single-lot auction took place on May 31, 2017, at Brooklyn Bowl in New York.
- It sold for $1.9 million (including buyer's premium) to Brian Halligan (CEO of HubSpot and a longtime Grateful Dead fan).
- Halligan's bid was matched by an additional $1.6 million donation, raising a total of $3.2 million for the SPLC.
- Wolf remains in Halligan's ownership as of the latest available information (including uses by others like musician Zach Nugent on recordings, with Halligan's permission).
Made in 1979, Tiger is less asymmetrical than Wolf. It innovates in the position of the strings. Garcia used it as his main guitar until 1989 when he replaced it by another Irwin guitar known as Rosebud.
In 1995 Tiger was the guitar of the very last concert of the Grateful Dead when Garcia re-used it after a mechanical problem on Rosebud.
Evolution from Wolf to Tiger (1973–1979)Immediately after receiving Wolf, Garcia commissioned another guitar, telling Irwin: "Don't hold back"—make it the best possible, no cost concerns (final cost around $5,800). Irwin took six years (1973–1979) to complete it, treating it as his masterpiece at the time.
Full History of Tiger
These guitars (along with later ones like Rosebud) highlight Irwin's collaboration with Garcia, blending craftsmanship, personal symbolism (eagle logo, animal inlays), and tonal innovation.
In 1995 Tiger was the guitar of the very last concert of the Grateful Dead when Garcia re-used it after a mechanical problem on Rosebud.
Evolution from Wolf to Tiger (1973–1979)Immediately after receiving Wolf, Garcia commissioned another guitar, telling Irwin: "Don't hold back"—make it the best possible, no cost concerns (final cost around $5,800). Irwin took six years (1973–1979) to complete it, treating it as his masterpiece at the time.
- Construction: "Hippie sandwich" laminated body (layers of cocobolo, vermilion, maple, and others) with solid brass binding/hardware, ebony fingerboard, 24 frets. It weighed about 13.5 lbs—heavy for density and sustain.
- Naming: A tiger inlay on the battery/preamp cover plate (near the tailpiece) gave it the name "Tiger".
- Debut and role: First played live with the Grateful Dead on August 4, 1979, at the Oakland Auditorium (on "Jack Straw"). It became Garcia's main guitar from 1979 to 1989, defining much of the Dead's late-'70s/1980s sound with its rich, deep tone.
- Later years: Garcia continued using it sporadically even after shifting to other Irwin guitars (like Rosebud in 1990). Tiger was the last guitar he played publicly with the Dead—at their final show on July 9, 1995, at Soldier Field ("Box of Rain").
Full History of Tiger
- 1973–1979: Commissioned and built over ~6 years/2000+ hours.
- 1979–1989: Garcia's main stage guitar.
- 1989–1995: Continued use alongside successors like Rosebud.
- 1995: Final public performance with the Dead.
- Irwin consigned both Wolf and Tiger to Guernsey's for auction on May 8, 2002, in New York (held at Studio 54).
- Tiger sold for $850,000 (hammer price; $957,500 including buyer's premium) to Jim Irsay (owner of the Indianapolis Colts, a major memorabilia collector).
- Wolf sold for $700,000 (hammer price; $789,500 including premium) to an anonymous buyer (later identified in reports as philanthropist/musician Daniel Pritzker).
- Tiger has remained in Jim Irsay's collection since 2002.
- Irsay has occasionally loaned or displayed it (e.g., in museums or at tribute events where musicians like Warren Haynes played it).
- Parts of Irsay's vast collection—including Tiger—was headed to auction at Christie's on March 12, 2026, lot 27. Tiger fetched $ 11.6M.
These guitars (along with later ones like Rosebud) highlight Irwin's collaboration with Garcia, blending craftsmanship, personal symbolism (eagle logo, animal inlays), and tonal innovation.
