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Paul Newman-owned Rolex Daytona Heads to Auction

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written by:  Simon de Burton

No watch at auction has ever created as much media hype as a scuffed up 1968 Rolex Daytona, given as a gift to Hollywood icon Paul Newman by his wife, which achieved a world record price of $17.75 million in 2017.

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Arguably, that sale also triggered the frenzy of demand for Rolex watches that has transformed the entire watch market ever since.

With power like that, it is little wonder that a second Rolex Daytona, once owned by Paul Newman, is likely to set the auction world alight when the watch goes across the block at Sotheby’s in December.

Unlike the $17m Daytona, the Rolex in question is not one that Mr Newman is known to have worn regularly, and was given away as a gift to a fellow racing enthusiast, Hollywood daredevil and stuntman who doubled for the actor in several movies, leading to them becoming close friends.Stan Barrett with Paul Newman enjoy stock car racing together.

Stan Barrett with Paul Newman enjoy stock car racing together.
Stan Barrett with Paul Newman enjoy stock car racing together.

The daredevil in question is Stan Barrett, whose adrenaline-seeking led him to attempt to become the first person to break the speed of sound on land in 1979, travelling at more than 700 mph in the Budweiser Rocket Car.

WATCHPRO columnist Simon de Burton picks up the story of Mr Newman and his double Mr Barrett, and finds out why a pair of steel Rolex watches worn during the Rocket Car attempt could realize more than $600,000 when they cross the block at Sotheby’s in December.

During the final run at Edwards Air Force Base in California on 17 December 1979, Stan Barrett wore the Cosmograph Daytona and GMT-Master.Stan Barrett wearing both the Rolex and GMT Master on one wrist. (picture courtesy Courtesy of Stan Barrett and RolexMagazine.com)

Stan Barrett wearing both the Rolex and GMT Master on one wrist. (picture courtesy Courtesy of Stan Barrett and RolexMagazine.com)
Stan Barrett wearing both the Rolex and GMT Master on one wrist. (picture courtesy Courtesy of Stan Barrett and RolexMagazine.com)

Afterwards, he was presented with a gold GMT-Master by August Busch, CEO of Anheuser-Busch, the main sponsor of the Budweiser Rocket Car and ‘Project Speed of Sound’.

That watch will also be auctioned and could realize $100,000, with a percentage of the money from the sale of all three pieces going to a Ukraine children’s charity that Mr Barrett has supported since 1987.This golden Rolex Reference 1675 GMT-Master was given to Stan Barrett by August Busch, CEO of Anheuser-Busch, the main sponsor of the Budweiser Rocket Car.

But the estimates for the two steel watches could prove conservative – because both were given to Mr Barrett by Hollywood idol Paul Newman, his best friend of 40 years and the godfather to his sons: NASCAR racing driver Stanton and television producer David.

This golden Rolex Reference 1675 GMT-Master was given to Stan Barrett by August Busch, CEO of Anheuser-Busch, the main sponsor of the Budweiser Rocket Car.
This golden Rolex Reference 1675 GMT-Master was given to Stan Barrett by August Busch, CEO of Anheuser-Busch, the main sponsor of the Budweiser Rocket Car.

As is well known, a Rolex Daytona gifted to Mr Newman by wife Joanne Woodward remains the most expensive wrist watch ever auctioned following its sale for $17.7m at Phillips New York five years ago. As a result, any Rolex with a connection to the Hollywood legend is now deemed ultra-valuable – and the latest two to come to market should be no exception.

Although 18 years Mr Newman’s junior, Mr Barrett formed a close relationship with the star after working as his main stuntman on numerous films, starting with Sometimes a Great Notion in 1971. Barrett was particularly well suited to the job due to his remarkable resemblance to Newman.This Rolex Reference 1675 GMT-Master Pepsi was on Stan Barrett’s wrist during the Rocket Car attempt.

This Rolex Reference 1675 GMT-Master Pepsi was on Stan Barrett’s wrist during the Rocket Car attempt.
This Rolex Reference 1675 GMT-Master Pepsi was on Stan Barrett’s wrist during the Rocket Car attempt.

Speaking by telephone from his Bellevue, Idaho, home in an exclusive interview for WATCHPRO, Mr Barrett said that Mr Newman had given him the Daytona watch immediately on hearing about the proposed record attempt. “We were at his home in Connecticut and he just went upstairs and came down with the Daytona. He could be very funny about me having the right watch to wear, and was always extremely generous.

“About four years earlier, after he had given me the GMT-Master, I bought the same model for my father – but it got stolen. The next thing we know, my father receives a replacement from Paul in the mail.”

Insatiable horophile Mr Newman gifted several watches to Mr Barrett throughout the friendship, including a Breitling Navitimer. “That time I had arrived at his house without a watch on,” recalls Mr Barrett. “Again, he went upstairs, and came down with this Breitling – and when he handed it over to me he said ‘Stan, be careful where you wear it. It was a present from Bruce Willis’.”

But it is the Rolex GMT-Master and Cosmograph Daytona now up for sale that are more interesting – not least since the former is tipped to realize $50,000-100,000, while the latter could achieve as much as $500,000.Stan Barrett wore this Rolex Reference 6262 Stan Barrett’s Rolex Daytona is expected to sell for up to $500,000.

Stan Barrett wore this Rolex Reference 6262 Stan Barrett’s Rolex Daytona is expected to sell for up to $500,000.
Stan Barrett wore this Rolex Reference 6262 Stan Barrett’s Rolex Daytona is expected to sell for up to $500,000.

While Mr Newman was photographed trying the Budweiser Rocket Car for size during practice sessions at Bonneville Salt Flats earlier in the year, he refused to watch the run proper.

“Paul called me after the Bonneville runs – during one of which the car’s canopy blew off at 600 mph – and he said ‘Stan, look, I want to support you, but everyone says you aren’t going to make it. And I don’t want to watch you die’,” recalls Mr Barrett.

To keep Mr Newman by his side in spirit, Mr Barrett strapped both gifted watches to his left wrist – and that is where they remained while he drove the rocket car to an unofficial 739.66 mph; a speed that, if accurate, would have made him the first person to break the sound barrier on land.The Budweiser Rocket Car unofficially broke the world land speed record. (Picture courtesy of Department of Defense photo by MSGT Paul J. Harrington)

The Budweiser Rocket Car unofficially broke the world land speed record. (Picture courtesy of Department of Defense photo by MSGT Paul J. Harrington)
The Budweiser Rocket Car unofficially broke the world land speed record. (Picture courtesy of Department of Defense photo by MSGT Paul J. Harrington)

But the record remains disputed due to the radar scanner being faulty, the fact that Mr Barrett only completed one run and because no one heard the tell-tale sonic boom that usually accompanies the sound barrier being broken.

All the same, no one else came close to the 700 mph mark for another 18 years until Andy Green drove Thrust SSC to 713.990 mph at Black Rock desert in September 1997, and then to 760.343 mph the following month.

Sotheby’s watch specialist Jonathon Burford says the watches relating to the Budweiser Rocket Car run will appeal to a wide range of collectors.

“They are not simply watches, but a part of American history the like of which won’t be seen again,” he told WATCHPRO. “All three were part of a moment in time that epitomizes a spirit of adventure that was so prevalent in America during the 1970s – and they will appeal to everyone from watch purists to motorsport fans and Hollywood memorabilia collectors.

“We have estimated them at what we believe to be realistic levels, but we do believe they are sufficiently significant to attract very strong bidding,” he added.

Mr Barrett says he wore the two steel watches regularly and often for more than 30 years, as did his son, Stanton – until they saw the huge price realised by ‘Newman’s own’ Daytona back in 2017.

“When I saw how much that one sold for I decided that maybe it wasn’t such a smart idea for us to keep wearing the watches that Paul had given me,” he said.

“I’ll be very sad to see them go, but it feels like the right thing to do. I’ll probably give around 30 per cent to the charity Slavic Gospel that I have worked with for the past 35 years and use the rest to pay-off my property loan”.

And unless Mr Barrett has a very large loan, we suspect there might be some left-over.

The sale of the Stan Barrett/Paul Newman Rolex watches will take place at Sotheby’s, York Avenue, New York on 6 December 2022. More details available soon at sothebys.com.
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Russians laugh at nuking New York City

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This is what one town in Ukraine looks like after Russian troops withdrew:

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A monument for Taras Shevchenko is symbolically protected by bandages in Borodyanka, northwest of Kyiv.

In the devastated town of Borodyanka, northwest of Kyiv, Natasha Romanenko has pushed paper into the bullet holes peppered across her windows.

It’s to keep the cold out, she tells us.

“You can see, there are holes where they were shooting directly in our window when we were hiding there,” she says, speaking through NPR’s interpreter.

When Russian forces invaded and occupied the town, the damage was devastating. Ukrainian officials say Russia deliberately bombed civilian areas and that hundreds are still missing more than a week after the invading forces withdrew. Now, crews are sifting through the wreckage to see what — and who — survived.

We start to see signs of the destruction on the drive from Kyiv into Borodyanka. What should be a quick trip now takes hours as destroyed bridges mean more cars crowd onto the few reliable routes, and the military checkpoints create long lines on narrow roads.

A destroyed building in the town of Borodyanka.

We pass through the village of Dmitriovka and see a burned-out car near homes reduced to rubble. A little farther on, there is a flattened tank.

Then, another destroyed car that has the word “children” spray-painted in Russian along the side door.

We arrive on Borodyanka’s main street — Central Street — with a humanitarian convoy that immediately begins handing out food and water.

It’s here that we meet Natasha. She and her family spent a month hiding in a cramped, dark root cellar.

“What did we eat? Mostly potatoes,” she says. “I had some spare oil, and I have a cow, so I had milk. And I went to my neighbor, I gave her some milk. She gave me some other things, some cheese. So this is how we survived. Our cow saved us.”

Natasha takes us to the cellar, which is mostly filled with crates of potatoes. She explains that at night, they would lay a carpet over the crates and try to sleep on top of that, keeping warm under all the blankets they had.

In the final days of the occupation, Natasha says, a Russian soldier confronted her. She had ventured out to milk her cow, and he thought she was scouting Russian troop locations. She says he took her out to the middle of the road and pointed a gun to her head.

Natasha Romanenko and her family spent a month hiding from Russian forces in Borodyanka.

“He was threatening me,” she says. “And what did I say to him? I said I just wish one thing: that he would see my face for the rest of his days, so he would never forget what he’s done here.”

The soldier spoke to someone else on his radio. Then, Natasha says, he let her go.

As the aid workers move through the main street, we break from the group, and the scale of the destruction starts to sink in. It’s utter devastation everywhere you look. 

There’s an apartment building blackened from flames, with the middle collapsed from the bombing. The windows in all the storefronts have shattered and roofs have collapsed. There are burned vehicles in the streets, and most of the power lines are down and frayed on the ground.

Across from the destroyed apartment building, there’s a small park with a monument in the middle. On top sits a giant bust of Taras Shevchenko, the famous Ukrainian poet. Bullet holes pierce his forehead.

The tall pillar that the bust rests on is cracked and crumbling from all the shrapnel. Three policemen are holding a ladder while another man stands nearby, ready to climb to the top.

Apartment complexes burned and blackened by flames from bombing in Borodyanka, northwest of Kyiv

Yaroslav Halubchik is an artist from Kyiv and has come here to help create an ad hoc art project — an instant memorial of sorts.

“We’re calling it ‘The Curing of Shevchenko’ or ‘The Healing of Shevchenko,’ ” he says.

Yaroslav steps up the ladder and starts to wrap a big gauze bandage around the bust’s giant head. As he does that, a man in a Ukrainian military uniform comes up and asks him what he’s doing.

Yaroslav explains that it’s performance art, and the soldier seems satisfied. It turns out, he was worried that they were repairing it.

“In this case, it is vital that we keep this monument as it is right now, it shouldn’t be touched,” the soldier says. He adds that it’s especially important because of who Shevchenko was.

“This is really important, because we all know that Shevchenko and other Ukrainian poets were always enemies of Russia,” he explains. “I really hope that people will rebuild everything here as it was, but we should keep this as it is now.”

We ask his name. He’s Yevhen Nyshchuk — the former Ukrainian minister of culture. He’s in the military now and based nearby.

A monument at the entrance of the town of Borodyanka.

We keep making our way down the main street. Building after building has collapsed from the bombardment of tank and rocket fire.

In the nearby town of Bucha, bodies were found in the street. Here, with so many collapsed structures, the worry is that bodies are still trapped underneath.

Several cranes carefully pick up debris, as recovery teams look for remains. There’s a playground in front of one of the buildings and a woman is sitting there on a bench next to a slide, watching the recovery work.

Her name is Ludmila Boiko.

“My sister and her son lived here. This is what’s left of them,” she says, pointing to a pile of old notebooks. “His mother kept his old notebooks from school.”

Ludmila found them scattered around the debris of the apartment building. That and some pictures, she says, are the only things she’s found.

Ludmila’s sister Olyna Vahnenko was 56. Her nephew, Yuri, was 24. He had just graduated from college.

Ludmila Boiko near a collapsed building in Borodyanka.

They’d left their apartment and sought shelter. But on March 1, during a break in the shelling and bombing, Olyna and Yuri went back. Ludmila says they talked on the phone, and Olyna said they had been able to shower and eat some food.

An hour later, Russian forces destroyed the building.

“Our friends were trying to help us, but for four days, it was a huge fire here,” Ludmila says. “And so first they were trying to fight the fire. They didn’t have a chance to do excavations right away.”

When the fire stopped, people started trying to look for survivors. Then shelling began again, and they had to flee.

After that, she says Russian forces were posted here, and nobody could get near the building.

Searching couldn’t resume until a month after the attack. So Ludmila sat, and waited.

“I just want to see how they discover all the bodies that they assume should be there, and then probably I would like to do something like with DNA testing because I want to know for sure what happened,” she says.

“I was so close with them that I don’t even know how I should live now. How should I live in this place?”

Rescuers search a collapsed building in Borodyanka.

The crane continues to slowly remove rubble from a collapsed building.

Soon, workers discover a woman’s body. Ludmila climbs up the pile of rubble to look. 

The body is removed, covered and placed next to three others found earlier that day.

Ludmila goes back to the playground and sits down, continuing her vigil.

Standby Switch Myth

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tube amplifier standby switch information

It’s a long-standing debate about what the standby switches on Fender amps are used for. That’s why Sweetwater‘s own tube amp expert, Greg Bowers, decided to clear things up and end the debate once and for all. This is his story más o menos a few Fomedits:

The Standby Switch

The myth about the lowly standby switch on guitar amplifiers has gone on since they first came on the scene in the 1950s, so no wonder it is still misunderstood. You would think that by now with the internet around everyone would be up to speed, but the myth is too enduring! I have even read articles from educated people that I respect who have not quite gotten the whole story correct because of reasonable sounding, but incorrectly applied details about vacuum tubes. Then the myth gets distorted even more, because everyone thinks these people should know what they are talking about.

These switches are notorious for causing weird problems and numerous questions from my customers like “Why does their amp pop when using it?” (they pop because they are switching anywhere from 300 to 800 volts. WOW!)I have merrily gone on repairing amplifiers over 20 years and decided to break down the mythology of standby switches based on what I know as a technician and amp builder to separate what is folklore and what is fact. At the very least, I would like to explain what standby switches are NOT used for. Here is what I learned repairing amps, doing research and reading history from much smarter people than myself.

Tube Amp History

Back in the 1940s -50’s there were no books or schools for making guitar amplifiers. Amplifying a guitar was a relatively new idea. Most great guitar amp companies were not founded by textbook electronic engineers or scientists, but smart service technicians who experimented with the recommended RCA vacuum tube circuits already published to get a better sounding or louder amplifier. This is true even to this day.

Designers often push the limits of what a tube can handle to see if it will work past its conservatively rated parameters used for AM radios and Public Address amplifiers. This is kind of like what hot rodder’s do to cars. Special effects using very odd looking devices or circuits also find their way into designs. And yes, there are actual technical mistakes made by these self-trained designers that become accepted norm for a given model. So I learned to expect any reason could be possible for just why standby switches exist!

It’s not a mute switch for breaks

Historically, I have yet to see an amp made with standby switches until Leo Fender was around. He is accredited for first inventing the idea and I have no reason to doubt this. Leo Fender adopted the standby switch design from reading vacuum tube service manuals. He was self-trained in electronics and developed his own designs. Basically, his switch disconnects the high voltage from the circuit, but the big question is why?

Leo Fender did not intend them for use during beer breaks as a mute switch (the biggest myth of all), even though this is what everyone thought he meant by the “standby” switch label and used them this way! A “mute” switch is a common switch often used on audio amplifiers but never designed the way Leo Fender’s “standby” switch is wired to the high voltage. A mute switch simply connects the audio signal to ground, stopping it from passing through the amplifier, just like turning the volume control all the way down.

One should note the term “standby” has been used occasionally in place of the word “mute” on other switches that actually are audio “mute” switches for taking breaks, further adding to the public confusion. All guitar amplifier companies are infamous for incorrectly labeling or coming up with cute names for a switch’s function. Leo Fender also is known for mislabeling what technically is a tremolo circuit control as a “vibrato”. This is probably because he did not know how to play guitar? Maybe he could have come up with a better name than “standby” that is less confusing? Too late now…

The addition of standby switches on tube amps is accredited to Leo Fender.
The addition of standby switches on tube amps is accredited to Leo Fender.

It’s not for protecting tubes

Leo Fender did not use the standby switch to protect the tubes, because it actually is not good to have the tubes on a very long time in standby, which is a fact from the RCA tube manuals. There are so many people who get this part wrong. Beware advice given by some internet guru who was just regurgitating someone else’s myth that sounds technical, but is just wrong!

This myth started with a misunderstanding of the old RCA tube manual recommendation for using standby switches when running very, very high voltage radio station transmitter tubes. RCA was NOT talking about the tubes used in a guitar amplifier. The tubes used in guitar amps are the same type tubes used in Grandma and Grandpa’s old tube radio receivers, TV’s and record players, etc., which you never see with standby switches, do you? Therefore, why would a guitar amplifier be different than these other devices? Because they are not! Fender’s first “Tweed” amplifiers also did not have a standby switch!

For Leo Fender, tubes were cheap back then and actually made much stronger than tubes we have today, so why would he have this supposed concern for tube life? In order to get the tone he wanted, many of his designs are actually very hard on tubes pushing the limits of their power capabilities, therefore it stands to reason that tube life was not his concern.

The standby switch on a Fender amp was put there by Leo to solve a problem he had later when building the much demanded larger power amplifiers using higher voltages to operate.

Don’t leave your tube amp on standby for too long. It’s bad.
Don’t leave your tube amp on standby for too long. It’s bad.

The actual reason for standby switches

It’s all about the capacitors!

As the public asked for louder amplifiers, Leo Fender began to build amplifiers with higher power supply voltages. When first turning on the amplifier and before the tubes are warm, tubes do not conduct high voltage, so there is no “load” on the power supply. This phenomenon would allow voltage to rise above the maximum voltage rating for the large capacitors used in the circuit, putting them at risk of shorting out from the stress. This was especially true when Fender started to use solid state rectifier diodes that provided power supply voltage instantly when the mains power was turned on.

While the tubes are warming up, the standby switch removed the high voltage from the circuit until the tubes filaments were warmed up to operating temperature and the power supply voltage would be loaded down by the tubes to the nominal safe operating voltage for the capacitors.

Sure, Leo could have installed much higher voltage rated capacitors that could safely handle the voltage rise, but these were very expensive back in his day. His company’s goal was to produce high quality, but lower cost amplifiers (and guitars), so keeping the price down was important to him. Therefore, the standby switch was a cost-saving design feature much cheaper than the alternative very expensive capacitors.

The standby switch removes high voltage from the circuit while the tubes warm up.
The standby switch removes high voltage from the circuit while the tubes warm up.

Takeaways

In my experience, if you want your tubes and the other parts of the amplifier to last longer, put a small fan on the amplifier to get the heat out of it. Excess heat is the greatest problem, so only have the amp on when you need it. Let’s review the takeaways.

There are occasionally a few modern amplifier designs that are taking the problems with conventional plate voltage standby switches into consideration and have put in safer systems for tube warm up purposes. To be fair, these systems do not cause the same potential problems as the old fashioned standby switches. If you have one of these amps, the use of the standby switch may not be causing any harm. You will simply have to inquire about your amps features to know what is used.

However, I still refer to other much smarter engineers than I, including the RCA tube manual which do not list any standby switches in the recommended design of receiving tube power supplies. Don’t expect your tubes to last longer using them.

Don’t use it as a “beer break” switch. For short breaks, simply turn down the volume control (or mute switch if you have one) and don’t use the standby switch, so there is not that nasty pop in the house sound system that could damage speaker drivers. If the time between sound check and performing is longer than 20 minutes, turn the amplifier completely off. You only need 5 minutes at the most to completely warm up a tube amplifier.

It’s as simple as that. Why else would you use something that often pops loudly in the audio when used (remember I mentioned it cuts off the high voltage)? By the way, other brands did not use standby switches until Marshall copied Fender’s Bassman amplifier design and after the two biggest makers used these standby switches, everyone assumed you always had one on a guitar amp. Often, designers put these on amplifiers only because the public asks for them, not that they are needed. This is due to the power of the myth! These days we have other devices available to protect the capacitors and in general capacitors are much cheaper now and can be made to run at higher voltages without great cost.

Don’t put one on your amp because you were told it makes the tubes last longer! Is there a way to help my tubes last longer you say? The correct understanding of vacuum tube operational specifications prove there is no evidence that a standby switch can make your tubes last longer and actually could only hurt them if you overuse the standby mode.

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a DIY valve overdrive pedal : goldie

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In an amongst the guitar building I decided to break out the soldering iron to build an overdrive pedal – as light relief. I had stumbled across the “Valvecaster” schematic and layout at Beavis Audio.

This is a very simple circuit that uses a 12AU7 valve, running at a low voltage. Because it is running at such low voltage it is very easy to overdrive.

The schematic specifies an operating voltage of 9v but I decided to bump it up to 12v to give a fraction more headroom. I chose one from the tangle of old wall-warts I have tucked away in a drawer. It could use a battery but I suspect that the current draw for heating the valve would suck a PP9 dry in a matter of minutes.

If you search for “valvecaster” at Youtube, you’ll find plenty of examples of the pedal in action. One of the common comments is that this is a naturally “dark” sounding pedal. This was not exactly what I was after and so I was going to experiment with different types of tone stacks. As laid out in the schematic it includes a simple treble cut tone control. Even turned up full this would only make the pedal darker, allowing treble frequencies to escape to earth. I decided, initially, to build it with no EQ, and then add it later. One of the results of this was that it is not a dark pedal at all. It is wonderfully balanced and punchy just as it is, and it’ll not be getting any additional EQ added. To remove the tone control I just eliminated the 10nF capacitor (C2) and the A100k potentiometer (VR2).

I reused an old enclosure I had laying around, which I shot with a coat of black nitro-cellulose and a very light top coat of gold (both left over from my Shaftesbury restoration). The gold coat is thin enough to allow just a hint of the black to show through.

The chemistry geeks amongst you may, by now, have worked out where the inspiration for the name and colour came from.

I have yet to print up and apply the decals for the pedal but there’s the standard 1/4″ input and output jacks round the back. The top has the valve, a true-bypass footswitch and the power toggle switch. On the front, left to right, are the gain, a dummy pot (filling up a surplus hole in the old enclosure) and the output volume.

When I was buying the parts for this I also got hold of a 12AT7 valve. This works well too. It is more subtle and has less gain, but in some ways is all the better for it; smoother, warmer and just a bit less wild.

You can listen to a quick demo of Goldie with the 12AU7, that I recorded for my friend Alfie Lanos, who was really helpful in helping me plan this one out.

It was recorded on my mobile phone so the sound quality is not the best, but gives you an idea of what the pedal does.