Auction items include ‘Bohemian Rhapsody’ drafts and 1941 Wurlitzer jukebox
By Eastern EyeAug 10, 2023
FROM fanciful costumes and working drafts of Bohemian Rhapsody to ashtrays and art, hundreds of items Freddie Mercury owned went on show in Britain last Friday (4) before being sold next month.
Sotheby’s has transformed its central London gallery to resemble the Queen frontman’s former home in the city for the month-long exhibition, ahead of its sixstage sale of the more than 1,400 lots.
A general view of the exhibition of his personal collection
The singer-songwriter, who died in 1991, had assembled an array of “treasures” which had been left largely untouched at his one-time west London house in the three decades since, according to the auctioneers.
They include a treasured Yamaha baby grand piano, revealed to be among the lots by Sotheby’s last Thursday (3), which Mercury composed numerous hits on. It is estimated to fetch up to £3 million.
The replica of the St Edward’s Crown and an accompanying cloak – in fake fur, red velvet and rhinestones – worn by the star on stage in the 1980s is also on display. He performed in both at the worldfamous Live Aid concert in 1985 and the finale renditions of God Save The Queen during his last tour with the band in 1986.
A 1941 Wurlitzer jukebox owned by Mercury
The 16,000 square feet (1,500 sq m) multi-room showcase, which runs until September 5 – the late singer’s birthday – also features numerous elements from his so-called Japanese collection.
Mercury had collected Japanese decorative arts, glass, graphic arts, ceramics and other objects originating from the country during his life.
“It constitutes an ensemble which is completely unique,” Sotheby’s Cecile Bernard said during an exhibition preview.
Furniture once used at Mercury’s Garden Lodge home also forms part of the Sotheby’s showcase.
A worn kitchen table, ornate cutlery and distinctive crockery hint at the entertainment, and attention to detail, the Queen frontman lavished on his guests.
Handwritten lyrics of Bohemian Rhapsody
A gilt-tooled leather-bound “dinner party guest and menu book”, detailing seating plans, menus and refreshments – and annotated with doodles – helps complete the picture.
A multicoloured, illuminated 1941 Wurlitzer jukebox, which Mercury kept in his kitchen and still operates on its original coinage, is another rare item. Loaded with records such as Ray Charles’ Hallelujah I Love Her So, Little Richard’s Rit It Up and Bill Haley’s Shake, Rattle and Roll, it is estimated to net £25,000 at auction.
The musical manuscripts set for display and sale include 15 pages of working drafts for Bohemian Rhapsody, and reveal Mercury initially planned to call the hit Mongolian Rhapsody.
Meanwhile, the contents of his elaborate dressing room also feature, from jackets and sequinned stage suits to shoes to glasses. A yellow “Champion” vest worn for the first half of his final Queen performance at Knebworth Park on August 9, 1986, is among them. Auction valuation: £6,000-£8,000.
Part of his collection of cat memorabilia, at Sotheby’s
A surviving school book with Fred Bulsara – Mercury’s real name – inscribed at the front is among the rarer items.
Dating to the mid-1960s, it features the then 18-year-old’s commentary and judgement on certain poetry, as well as a poem he composed entitled “Bird (‘Feather flutter in the sky...’)”.
The vast array of items - being auctioned by Mary Austin, one of the icon’s closest friends who cared for them at his former home - are expected to fetch at least £6m in total.
Austin will be donating a portion of the proceeds to the Mercury Phoenix Trust - founded by fellow Queen members Brian May, Roger Taylor and their manager Jim Beach to support HIV/Aids initiatives - and to the Elton John Aids Foundation.
For Bernard, helping to curate the exhibition has been a treasured experience itself, as the team tried to place pieces within Mercury’s creative process and journey. “When we went to Garden Lodge... we have been like archaeologists doing that, with so much fun,” she said.
Bernard added the sales - live events in London on September 6-8 and online from last Friday to September 11 - are “the best homage” to Mercury, given he “loved to collect” and buy at auctions. “He was himself very familiar with the process of collections going from one owner to another so it makes sense,” she said.
Some 30,000 to 40,000 items are available within the more than 1,400 lots, according to Sotheby’s cataloguer Fenella Theis. “Every piece is so autobiographical,” she said. “So every piece resembles one of Freddie’s many, many, many facets of his personality.” (AFP)
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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