Eric Clapton owned a circa 1980 Fender Stratocaster 'The Strat,' which was donated by Jimmy Page, as verified by Christie's auction listing.

"When Clapton first began playing the SG, it was still fitted with the original Deluxe Vibrolo arm; Clapton simply fixed the mechanism in place with arm reversed. The vibrato bar was eventually removed and replaced with two other tailpieces: another Gibson tremolo with a flexible piece of metal instead of springs; and a non-tremolo trapeze-style unit. The tuners were changed from the factory-issue Klusons to Grovers." - Gibson.

At 1:20 you can see Clapton playing this infamous guitar.

According to the lot notes from Bonhams auction house website, Eric Clapton used the Ibanez HD1000 Harmonics/Delay, a DBX 160 compressor, a model SDE-3000 Roland delay, a Dyno-My-Piano Tri Stereo Chorus, a Boss CE-1 chorus, and a Boss HM-2 Heavy Metal pedal for his Bob Bradshaw rack system in the mid to late 1980s.

Eric Clapton uses this stompbox on songs like 'Badge' where he needs to get a little 'phasy'-sound.

The California custom amp builder Michael Soldano was commissioned to build two of his SLO-100 amplifiers for Clapton in 1988. When interviewed in November 1988 for the Japanese Young Guitar magazine while on tour in Japan, Eric Clapton spoke about his newly acquired Soldano amps. Clapton commented that he had been using Fender Dual Showman amps (Lot 88) when he heard Mark Knopfler at rehearsals and was impressed by his sound. He realised it was Knopfler's amp rather than the guitar that was responsible for the sound character. Clapton tried Knopfler's amp and liking its sound which he described as 'warm' and 'round', immediately placed an order with Michael Soldano. Clapton went on to explain that although he was allowed to go on top of the waiting list, he waited two months before he received his amps because they were all handmade and not mass-produced. Clapton went on to say that Soldano was the best amp for him and thought it would be a classic. He added that he would be recording the next album with Soldano amps.

Clapton's guitar technician stated in an interview in 1994 Guitar Techniques magazine: "The Soldanos are the original amps that Mike Soldano built for us in a hurry. Of course we bought them, but because Mike dropped everything else he was doing, Eric gave him a signed Clapton Strat, which we thought was a fair deal. Eric said, "In return, why don't you sign my amps?" so that's what he did. We have two, one as a spare, but I like to alternate them so that valves are properly burnt in on both."

In 1989, the British music accessories engineer Pete Cornish was commissioned to build a guitar routing system to replace Clapton's Bradshaw switching system which would allow Clapton to recreate his studio guitar sound using his on-stage amps. This was to be achieved by a system that would mix the direct dry sound with various processed sounds at will. The Soldano heads were modified to form the heart of this elaborate system hand-built by Cornish and his wife, Lynda. The system defined Clapton's guitar sound between 1990-1994,the period of Clapton's return to forceful playing and a grand scale rock shows as chronicled by the album, 24 Nights. The entire system from the wireless transmitters that were once attached to Clapton's Versace guitar straps, and the nine-button foot-controller, to the purpose-made mains power distributor, multi-core cables, the massive rack unit housing Cornish's routing system, the control centre of the system, as well as the rack-mount signal processors including the Dyno-My-Piano Tri-Stereo Chorus, and the EV loaded Marshall cabinets are sold as an entire set-up, flight-cased and ready to go on a world tour.

In this 1985 photograph of Eric Clapton playing his "Blackie" Fender Stratocaster on the late-night talk show "Late Night with David Letterman", it can be seen that the british rock musician uses the Boss DD-2 Delay effect (introduced in 1983) as well as a Cry Baby wah wah pedal and the Boss CE-2 Chorus stomp box.

This picture by Chuck Pulin of Star File was taken from the 2004 Christie's auction catalogue for the sale "Crossroads Guitar Auction - Eric Clapton and Friends for the Crossroads Centre", page 194.

Eric Clapton frequently uses the Vox V847A Wah pedal both on stage and in the studio, as evidenced by a user-uploaded photo on Wordpress.

For the February 1999 volume of the German music magazine "Gitarre & Bass" (Guitar and Bass), journalist Stephan Neumeier had the chance to analyze Clapton's equipment for the Pilgrim tour. According to Clapton's guitar tech Lee Dickson, Clapton has been using the Ernie Ball "Eric Clapton Special" picks, which is the heavy "M" size plectrum.

The picks finish and text would change for every tour.

First launched at the NAAM show in 1973, the miniature battery-operated Pignose amplifier was used on many classic rock recordings of the 1970s. Clapton said that he had recorded all the guitar parts of his 1974 song Motherless Children using a Pignose amp, which may well have been this particular amp. Other notable examples of recordings with a Pignose include Joe Walsh's Rocky Mountain Way.

In this 1985 photograph of Eric Clapton playing his "Blackie" Fender Stratocaster on the late-night talk show "Late Night with David Letterman", it can be seen that the british rock musician uses the Boss DD-2 Delay effect (introduced in 1983) as well as a Cry Baby wah wah pedal and the Boss CE-2 Chorus stomp box.

This picture by Chuck Pulin of Star File was taken from the 2004 Christie's auction catalogue for the sale "Crossroads Guitar Auction - Eric Clapton and Friends for the Crossroads Centre", page 194.

"The various iterations of the Tone Bender have had many circuit configurations, but it’s best known as a three-transistor germanium design, typified by the Professional MKII. This is the pedal associated with Jimmy Page during the early days of Led Zeppelin, and was a key component of Eric Clapton’s “Woman Tone” on the Disraeli Gears album by Cream." According to writer Tom Hughes, author of Analog Man’s Guide To Vintage Effects

Eric Clapton frequently uses the Ernie Ball Polypro Guitar Strap, as evidenced by numerous photos, including the one titled "1316813353EricClapton.jpg."

This amp was purchased whilst on tour in Belgium in May 2006, and was used on stage with Gibson L-5s during the 2008/9 tours.

In a video titled "LEGENDS ERIC CLAPTON STEVE GADD MARCUS MILLER JOE SAMPLE DAVID SANBORN PUT IT WHERE YOU WANT IT," uploaded by marcus68777, Eric Clapton is seen using a Fender '59 Bassman LTD amplifier.

He can be seen with the guitar throughout the Concert for George.

Eric Clapton used the 1982 Roland G-505 guitar synth around 1985 during the "Edge of Darkness" period, as noted by Christie's.

Eric Clapton was seen playing this guitar in the promotional video for Tears in Heaven, released as a single from the soundtrack album to the Lili Zanuck film Rush in 1991. In the video, Clapton is seen performing on the rehearsal set for the 1991 George Harrison Japan tour at Bray Studios. However, it is most recognisable from its appearance on MTV's Unplugged in January 1992, when Eric Clapton used it to play the opening number Signe as well as Tears in Heaven and Circus Left Town.

Clapton also used this guitar for the solo performance of Tears In Heaven at the end of a television special in 1992 featuring an exclusive interview with the British TV presenter Sue Lawley, filmed at his London home. This guitar was also used for performing Tears In Heaven, Circus Left Town and Signe during the 1992 UK Tour which incorporated the 12 show season at the Royal Albert Hall in February/March.

Eric Clapton said that he bought this guitar via his manager Roger Forrester, from a fan in Austin, Texas in c.1983. He has used it on stage and is photographed playing it during the ARMS concert at The Royal Albert Hall, London, September 21, 1983.

Eric Clapton used this Pedal at the "Baloise Session" on the Song "Pretending".

Eric Clapton has used the 1948 Gibson L-5-P CES as a backup to his main Gibson L-5 since the 1993 Blues Tour, as shown in the provided image.

Purchased by Eric Clapton in 1964, he has used this ES-335 throughout his career from The Yardbirds, with Cream, John Mayall's Bluesbreakers, Blind Faith, and throughout his solo career. Fellow Yardbird Chris Dreja was photographed playing Clapton's 335 more often than Clapton himself at that time. With Cream, Clapton was more frequently pictured with various Gibson Les Pauls, and the famous psychedelic Gibson SG, painted by The Fool. However, he appears to have started using this ES-335 alongside a Gibson Firebird I during Cream's farewell tour in the autumn of 1968, which culminated in two concerts at the Royal Albert Hall on November 26th, 1968. In the second concert of the day, Clapton played this ES-335 whilst he used the Firebird in the first concert. In December 1968, Clapton went on to cut Badge and other tracks with this guitar at IBC Studios in London, released later on the Goodbye album.

Clapton used this ES-335 extensively with Blind Faith in recording sessions at Morgan and Olympic Studios, and on stage during the Scandinavian and US Tours that followed. An inside cover photo of No Reason To Cry suggests that this ES-335 was present at the Shangri La Studio sessions in the spring of 1976. Clapton said in a 1989 interview that this guitar was also used on his 1989 rendition of Ray Charles' Hard Times released on the Journeyman album. According to Lee Dickson, this guitar was taken to practically all Clapton's recording sessions throughout his 25 year tenure with Clapton since 1979.

In the autumn of 1994, this Cherry Red ES-335 returned to the stage as one of the key guitars used on the Nothing But Blues Tour when Clapton played on it the Freddy King numbers Someday After A While, I'm Tore Down and Have You Ever Loved A Woman. Clapton can be seen playing this guitar at Filmore West on the 8th and 9th of November, 1994, in the footage of a documentary film of the Nothing But Blues Tour, directed by Martin Scorsese.

This ES-335 remained as a stage guitar, largely reserved for Freddy King numbers, until the summer of 1996. Again, it was captured in concert footage that year when Clapton used it on various TV shows, most notably the VH-1 Duets programme with Dr. John at Roseland, New York on the 9th May, 1996. It was used at the Prince's Trust concert in London's Hyde Park on the 29th June, 1996, subsequently released on video as Eric Clapton - Live in Hyde Park, where it features on the cover.

Eric Clapton uses Ernie Ball Regular Slinky Guitar Strings (10-46) on his non-archtop guitars, as noted by Ernie Ball.

Clapton can be seen playing a Fender Precision Bass in this photo.

Eric Clapton commented that this guitar has "..a great sound.." and that he kept it as "...a dressing room guitar...". Lee Dickson recalled that Clapton had this guitar for a long time and that he took it to the dressing room at The Royal Albert Hall for Clapton during one of his seasons there in the 1990s.

In this source Eric Clapton is pictured at the House Of Blues playing his "Crash 2" Fender Stratocaster with a Shubb S1 capo.

This guitar resides in the London Hard Rock Cafè. It's one of the first of the HRC memorabilia collection.

Developed in collaboration with Clapton.

Eric Clapton refers to his 1898 Martin O-18 as a "Home Guitar," as noted in the Christie's auction listing.

Eric Clapton is associated with a late 1950s Fender Twin Amplifier, as detailed in a Christie's listing. This amp features a tweed covering, a metal plate labeled "Fender Twin-Amp," brown speaker cloth, two 12-inch speakers, and a control panel with four inputs, three switches, and six rotary controls.

Eric Clapton has been using a 1958 Fender Twin Amp, modified to increase the output by the late Cesar Diaz, for recording since the late 1980s. This model of amp was first seen on stage on the Blues nights during the 1991 Royal Albert Hall 24 Nights season. When Clapton started to play more blues numbers on stage in 1993, initially he used the Tweed Twin for the early part of the set, alongside his Pete Cornish/Soldano/Marshall rack set up. By 1995, Clapton was using the Tweed Twin Amp exclusively and had by this time acquired a number of spares. In 1997, Fender Amp Custom Shop built three replicas of his modified Tweed Twin using vintage parts and old pine, to replace the vintage Tweed Twins for stage use.