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.
CHET ATKINS 6120
In 1954 Jimmie Webster of the Gretsch company approached the young Nashville guitar virtuoso and studio player Chet Atkins about collaborating on an endorsement guitar that would carry his name. This marketing model had proved successful in the past at Gibson, with the Nick Lucas model in 1927 and later with the wildly popular Les Paul Model launched in 1952. After numerous prototypes passed by Atkins, the 6120 was born and released in 1955. The Chet Atkins 6120 was an all maple hollowbody electric in a translucent orange color, fitted with gold-plated hardware, Bigsby tremolo tailpiece, two DeArmond pickups and heavily festooned with western motifs.
By 1961 the unique sound and playability of thr 6120, together with Chet Atkins' fame, had positioned Gretsch as one of the top four electric guitar manufacturers globally. Gone was the large branded G on the body, along with the cowboy and cactus engraving on the pearl inlay. Fitted with an internal “trestle bracing”, Gretsch’s dual-coil Filter’Tron pickups to subdue feedback, a “zero” fret to increase sustain, and an ebony fingerboard with pearl half-moon inlays that gave the 6120 elegant lines, the guitar was an iconic mainstay of the Gretsch brand.