Please note lots marked with a square will be moved to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn) on the last day of the sale. Lots are not available for collection at Christie’s Fine Art Storage Services until after the third business day following the sale. All lots will be stored free of charge for 30 days from the auction date at Christie’s Rockefeller Center or Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Operation hours for collection from either location are from 9.30 am to 5.00 pm, Monday-Friday. After 30 days from the auction date property may be moved at Christie’s discretion. Please contact Post-Sale Services to confirm the location of your property prior to collection. Lots may not be collected during the day of their move to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Please consult the Lot Collection Notice for collection information.
Lots made of or including (regardless of the
percentage) endangered and other protected
species of wildlife are marked with the symbol ~
in the catalogue. This material includes, among
other things, ivory, tortoiseshell, crocodile skin,
rhinoceros horn, whalebone certain species of
coral, and Brazilian rosewood. You should check
the relevant customs laws and regulations before
bidding on any lot containing wildlife material if
you plan to import the lot into another country.
Several countries refuse to allow you to import
property containing these materials, and some
other countries require a licence from the relevant
regulatory agencies in the countries of exportation
as well as importation. In some cases, the lot can
only be shipped with an independent scientific
confirmation of species and/or age, and you will
need to obtain these at your own cost.
Please note this lot incorporates material from endangered and/or protected species of wildlife which could result in export restrictions. Please see Paragraph H2(b) of the Conditions of Sale for further information.
THE HUMBUCKING PICKUP
Regardless of the success of the P-90 pickup, an audible problem with electric guitars began to present itself. The P-90, like all single-coil pickups, had the proclivity to amplify electrical interference. As the power output of guitar amplifiers grew so did the volume in interference. As the P-90 aired toward the warmer tones in the spectrum, the interference manifested itself in the form of a background “hum”. The chief electrical engineers at Gibson, Walter Fuller and Seth Lover, set about to solve this growing problem. Seth Lover understood that the problem lay in an electromagnet’s sensitivity to peripheral energy that was inflated by the amplifier’s 60 cycle transformer. His answer was to fabricate a magnetic pickup with two coils in one unit. Each coil bobbin would be wound with wire in opposite directions, one clockwise and the other counter-clockwise. The current now running through the pickup in opposing polarity effectively canceled the interference. It “bucked the hum”. With the coils wired in a series, they produced a stronger and thus a more powerful pickup and the Humbucker was born.
First mounted on Gibson steel guitars in 1955, they were advertised in the Gibson catalogue …with powerful hum-bucking pickups eliminate all electronic disturbances. In early 1957 the Humbucker was next mounted on Gibson’s hollow-body ES-175. When installed later that year on the Les Paul, Gibson now offered the most powerful and tonally balanced electric guitar in history. The Les Paul Model with Humbucker pickups, Tune-O-Matic bridge and stud tailpiece is a guitar design that is universally copied and remains unchanged to this day.