In 2025, the Metropolitan Museum of Art in New York received what its director, Max Hollein, called a “truly trailblazing and transformative gift”: a collection of 500 guitars amassed over decades by billionaire collector Dirk Ziff. The instruments span from 1920 to 1970, representing what many consider the golden age of American guitar making. Among the collection were some of the most iconic guitars in rock history, including Leo Fender’s first guitar from 1948, the 1930 Martin OM-45 played by Roy Rogers, and, most notably, a 1959 sunburst Les Paul famously played by Keith Richards during the Rolling Stones’ first appearance on The Ed Sullivan Show.
However, it is this Les Paul that has sparked intense controversy. Former Rolling Stones guitarist Mick Taylor claims that the very same guitar is the one he lost during the band’s chaotic recording sessions for Exile on Main St. in 1971. The Metropolitan Museum has strongly denied any suggestion that the guitar was stolen, asserting that its provenance is fully documented and transparent.
The Les Paul is celebrated not only for its distinctive sunburst finish but also for the history it carries. On October 25, 1964, the Rolling Stones made their American television debut on The Ed Sullivan Show, a performance that helped propel the band to international fame. Keith Richards used the sunburst Les Paul during the show, cementing the guitar’s place in rock lore. According to Taylor, he acquired the guitar from Richards in 1967 and continued to play it during his tenure with the band from 1969 to 1974. In 1971, while recording Exile on Main St. at the Villa Nellcôte on the French Riviera, the guitar went missing along with several other instruments, including bassist Bill Wyman’s bass and saxophonist Bobby Keys’ saxophone. The period was notorious for the band’s excesses, particularly drug use, which may have facilitated the disappearance of valuable instruments.
Taylor and his business manager, Marlies Damming, insist that the Les Paul in the Met collection is the very same instrument that went missing in 1971. They have called for an independent guitar expert to authenticate the guitar and verify its provenance. Taylor has emphasized that this issue is about far more than monetary value: the guitar represents a pivotal period in his career and a golden era of the Rolling Stones. It is a symbol of personal history, artistic achievement, and cultural memory.
The Metropolitan Museum, however, maintains that the guitar’s provenance is meticulously documented. According to the museum, Keith Richards owned the instrument until 1971, after which it passed to producer and manager Adrian Miller. Upon Miller’s death, Dirk Ziff purchased the guitar in 2016, later lending it to the Met for the 2019 exhibition Play it Loud: Instruments of Rock & Roll. Museum representatives have repeatedly stated that the instrument was never part of Taylor’s ownership and that there is no evidence it was ever stolen. The museum stresses that the guitar’s acquisition and management have been handled transparently and in accordance with strict curatorial standards.
This controversy highlights broader challenges in the collection of rock memorabilia. Instruments like the “Keithburst” Les Paul are more than just tools for making music; they are cultural artifacts, historical witnesses, and high-value collectibles. In the 1960s and 1970s, informal exchanges of instruments between musicians—through gifting, borrowing, or outright sales—were common, and often undocumented, which complicates provenance research decades later. The dispute also underscores the tension between private collectors and public institutions. Museums focus on clear provenance and public access, while musicians and former owners may emphasize emotional connections, personal history, and the preservation of artistic legacy. Balancing historical authenticity, legal ownership, and cultural significance is a challenge that continues to face collectors and institutions alike.
The legal and authentication aspects of this case could prove decisive. Independent guitar experts can assess an instrument by examining its wood grain, craftsmanship, serial numbers, and historical documentation or photographs. Should Taylor’s team provide convincing evidence that the guitar is indeed the one that disappeared in 1971, it could potentially result in legal action or a reevaluation of ownership. Yet even if authentication confirms the guitar’s historical identity, reconciling the interests of private collectors, artists, and public institutions remains a delicate process. History, law, and cultural significance are intertwined, often resisting simple solutions.
The controversy has also captured the attention of the public and media. Coverage ranges from Page Six to AP News, The Times, and People.com, all providing detailed accounts of the guitar’s history and the ongoing debate. Public opinion is divided. Many rock fans support Taylor, arguing that he has a right to reclaim a significant piece of his personal and musical history. Others side with the Met, highlighting the museum’s responsible stewardship and cautioning against unverified claims potentially undermining public trust in cultural institutions. Beyond questions of property, the dispute has sparked discussions on the ethics of collecting, preserving, and displaying musical heritage.
From a cultural perspective, the guitar is more than a physical object—it is a symbol of 1960s rock culture. It embodies the rise of the Rolling Stones, the historic television debut, and the legendary Villa Nellcôte recording sessions. Its disappearance and subsequent reappearance add layers of drama and mythology. Even if its ownership remains contested, the instrument stands as a testament to a defining era in music history, bridging private experience and public culture.
The case also illustrates the psychological significance of rock memorabilia. For Taylor, the guitar represents identity, achievement, and artistic experience. For the museum, it is a bridge between the public and the historical moment it represents. The intersection of personal memory, artistic significance, and public cultural value creates a rich, complex story far beyond the legal or financial stakes.
Looking forward, independent verification of the guitar’s provenance may clarify certain facts, but the dispute has already provided an opportunity to reassess the preservation of rock history, the ethics of collecting, and the importance of cultural memory. Regardless of the final resolution, the Les Paul will remain an enduring symbol of rock music’s evolution. Its story is a reminder that history is not merely about objects but also about the experiences, legends, and cultural narratives attached to them.
The controversy surrounding the “Keithburst” Les Paul underscores the broader importance of historical instruments as cultural artifacts. They provide insights into artistic processes, musical innovation, and the lives of iconic performers. The intersection of private collection, museum curation, and personal memory raises essential questions about how society preserves and interprets cultural heritage. For music historians, collectors, and fans alike, the guitar is more than an object; it is a lens through which the golden era of rock can be examined and appreciated.
Media sources such as AP News, People.com, and The Times have documented the story extensively, while the Metropolitan Museum has released official statements detailing the guitar’s documented history. The Les Paul’s case demonstrates that disputes over cultural artifacts can illuminate much larger issues: how we value art, how we preserve history, and how personal and collective memory intersect in shaping our understanding of the past. Whether in a museum or in private hands, the instrument’s significance as a cultural and historical artifact is indisputable.
Ultimately, the story of this 1959 sunburst Les Paul serves as a reminder that rock music is not just sound; it is a living history, a cultural emblem, and a repository of personal and collective memory. Its contested provenance, the debates surrounding its ownership, and the narratives it embodies all contribute to a richer understanding of music, history, and culture. The guitar’s journey—from Keith Richards to Mick Taylor, from private collections to public exhibition—captures the complexities of preserving and interpreting cultural heritage, and ensures that its legend will resonate for generations to come.
Whether the guitar is ultimately authenticated as the very instrument lost in 1971 or remains a symbol of broader historical intrigue, it has already achieved legendary status. Its story intertwines personal history, rock mythology, and cultural heritage, highlighting the intricate relationship between art, memory, and ownership. For enthusiasts, historians, and museum visitors, the “Keithburst” Les Paul will continue to inspire curiosity, debate, and appreciation—an enduring emblem of the transformative power of music.