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BB King Signed Prints


BB King Limited Edition Print Hand Signed By BB King and Robert Crumb

Very Rare Print. Only 2 Available!
BB King Limited Edition Print Hand Signed By BB King and Robert Crumb

Date: 2002 Wildwood

Signed By: Robert Crumb & B B King In Pencil

Edition: 245 Released World Wide

Dimensions: Print size 25 x 22, Image size 17 x 14

Atelier: Printed by Wildwood Serigraphs, Madison, USA

Condition: New

Medium: Silkscreen in 30 colours on Rives BFK Paper

British Pounds£6500
US Dollars$8645
Japanese Yen¥1115725

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BB King Lucille Guitar Limited Edition Lithograph Print Hand Signed By BB King

685 limited edition prints signed by BB King
BB King Lucille Guitar Limited Edition Lithograph Print Hand Signed By BB King

Signed By: BB King In Pen

Edition: 685 Print Limited Edition World Wide

Dimensions: 24 x 26 Inches

Condition: New Mint Condition

Medium: Lithographic Print On Heavy Stock Museum Rag Paper

British Pounds£595
US Dollars$791
Japanese Yen¥102132

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BB-King Hand Signed Limited Edition Portrait Photograph

Very Low Availability Limited Edition Photograph
BB-King Hand Signed Limited Edition Portrait Photograph

Signed By: BB King In Black Pen

Edition: 685 Limited Edition Prints Released World Wide

Dimensions: 24 x 26 Inches

Condition: New Mint Condition

British Pounds£995
US Dollars$1323
Japanese Yen¥170792

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BB King Signed Prints

When Riley B. King first arrived in Memphis in the summer on
1946, he searched on Beale Street for his cousin Bukka
White. After looking for Bukka for a few days, Riley finally
found him and Bukka took young Riley in. For the next ten
months, Bukka schooled Riley in the art of the blues.
Although Riley and Bukka jammed together in private, they
never played in public. Riley's talents were improving and
he profited from impromptu jam sessions with other blues
musicians he had met in and around the Memphis area. Bukka
had prepared Riley for his life as a bluesman by teaching
him everything from how to hold his guitar to phrasing
lyrics. Bukka's most important trait which he impressed upon
Riley was his durability, and without it, B.B. King would
not be who he is today.
After ten months in Memphis with Bukka, Riley decided that
his music career was getting nowhere. Besides that, he
missed his wife and had left other responsibilities back in
Indianola. Riley returned to Indianola, and in 1947, he and
his wife Martha raised a crop on the Johnson Barrett
plantation. By end of the crop season in 1948, Riley had
earned enough money to pay off all of his debts by
sharecropping, driving a tractor for $22.50 per week,
loading trucks and playing guitar on street corners. In late
1948 he headed back to Memphis, this time bound and
determined to make it in the music business.When Riley
returned to Memphis, he went to look for Sonny Boy
Williamson who had a blues music radio show on station KWEM.
Sonny Boy was actually Aleck "Rice" Miller, who has been
commonly referred to as Sonny Boy Williamson #2. Riley had
met Sonny Boy earlier in Indianola and was friends with his
guitarist Robert "Junior" Lockwood. Once Riley had found
Sonny Boy, he asked him if he could play a song on his blues
radio show. When Riley had convinced Sonny Boy to let him
play, Sonny Boy touted Riley as a new talent and the radio
station was flooded with calls. Sonny Boy then set up Riley
with a gig for which he himself had overbooked as a backup
for his preferred show. Sonny Boy was in a bind, and Riley
now had his big chance to play in front of a live crowd at
Miss Annie's Saloon in West Memphis. Riley couldn't have
picked a better time to return to Memphis. Miss Annie told
Riley that if he was to become a regular performer at the
saloon, he would have to promote the business on the radio.
On June 7, 1947, a new radio station, WDIA, went on the air.
By 1948, the station was turned into one of the first all
black staffed and managed radio stations. Riley went to WDIA
and asked the popular DJ, Nat Williams, if he could make a
record. Surprised by Riley's request, one of the station's
two owners, Bert Ferguson, had an idea. The station had just
secured an advertising contract for a health tonic named
Pepticon, the competitor for the tonic Hadacol, which was
promoted by Sonny Boy Williamson on KWEM. Ferguson set Riley
up with a ten minute spot in which he could play his guitar
and sing anything he liked, as long as he promoted Pepticon.
Riley's advertising jingle was: "Pepticon, Pepticon, sure is
good - You can get it anywhere in your neighborhood" *

Riley became known as the Pepticon boy. Because of his
popularity, the radio station expanded his program and
promoted him to a DJ. Riley's show was called the "Sepia
Swing Club." He played recordings by black artists, played
his guitar and also sang requests from listeners. Now that
he was a DJ, Riley needed a catchy name. He started out as
the "Beale Street Blues Boy," later he changed it to "Blues
Boy King," and finally shortened it to the now famous "B.B.
B.B. King's popularity was spreading and he made his first
recordings in 1949 for the Bullet Recording and
Transcription Company. Jim Bulleit had recently expanded
Bullet Records into the race record market with a series of
blues recordings called the "Sepia" series. It was these
early recordings which caught the attention of the Bihari
brothers, Jules, Saul and Joe, who controlled Modern
Records. Modern issued three labels: Kent, Crown and RPM. In
the summer of 1949, B.B. signed a recording contract with
Modern Records which lasted for 10 years.During the last six
months of 1949, RPM released six B.B. King singles.