Handel Hendrix House (previously Handel & Hendrix in London and the Handel House Museum) is a museum in Mayfair, London, dedicated to the lives and works of the German-born British Baroque composer George Frideric Handel and the American rock singer-guitarist Jimi Hendrix, who lived at 25 and 23 Brook Street respectively.

Handel made his home in London in 1712 and eventually became a British citizen in 1727. Handel was the first occupant of 25 Brook Street, which he rented from 1723 until his death there in 1759. Almost all his works after 1723, amongst them many of his best-known operas, oratorios and ceremonial music, were composed and partially rehearsed in the house, which contained a variety of keyboard instruments, including harpsichords, a clavichord and a small chamber organ.

The museum comprises a carefully restored set of period rooms on the first and second floors of 25 Brook Street together with exhibition rooms in number 23, the adjacent house on the terrace. In 2016 the museum expanded to incorporate the upper floors of 23 Brook Street, home of Jimi Hendrix in the late 1960s.

The museum was opened in 2001 by the Handel House Trust following four decades of tireless and dedicated hard work. The idea first sparked in 1958 when Leslie Sparey, a dentist from the Lake District, made arrangements with Viyella, who occupied 25 Brook Street at the time, for a special visit with his family. A year later the musicologist and Handelian Stanley Sadie had the same idea when he attended a commemoration held there for the bicentenary of Handel's death.

Sparey's quest for a Handel Museum started when he began writing letters to a few eminent musicians; most of this early correspondence is now lost apart from a letter from Sir Keith Faulkner, Director of the Royal College of Music, written on 18 April 1972 in response to a letter he had received from Sparey on 11 April. Sir Keith apologised for not being able to meet during Sparey's recent visit to London, commented that no one appeared to be willing to take action, and further apologised for having no time to take on the project himself. In January 1983 Sparey drew up a detailed memorandum on the subject of Handel's house in which he mentioned that despite its being a Grade I listed building, planning permission had been sought in 1982 for the demolition of five Grade II listed buildings, substantially affecting several listed buildings including Handel's house. Sparey noted that although planning permission had been refused, he understood that the Co-operative Insurance Society, who had acquired 25 Brook Street in 1971, intended to appeal. His memorandum also mentioned that a few years earlier he had helped set up a committee specifically for promoting a Handel museum, with representatives from the Royal College of Music, the Royal Academy of Music, the Arts Council and interested others; having noted that the project had been shelved, Sparey finished his memorandum by pointing out the urgent need in ensuring the permanent preservation of Handel's House. When he posted the memorandum to a number of prominent musicians and personalities, the following responded favourably: Sir Charles Mackerras, Sir Charles Groves, Christopher Hogwood, Neville Marriner, Richard Baker and Edward Heath.

By 1983 the idea of forming the Handel Museum Trust Fund had been mooted, and as a result of a meeting with the Charity Commissioner a draft statement was issued in January 1984, setting out the objects and aims which involved creating a Handel museum in which articles of musical and personal interest from the period would be available for public display, organising events including exhibitions, seminars and concerts, creating scholarships, bursaries and fellowships, and raising funds for making all these aims possible.

In April 1984 Sparey received a letter from the Handel scholar Anthony Hicks, secretary of the Provisional Council for a Handel Institute. In his letter Hicks explained that the Institute consisted of a group of musical scholars, one of them Stanley Sadie, who wished to form a group in order to promote and support Handel studies with the aim of increasing public knowledge of Handel's life and music. Hicks further explained that although their concept of a Handel Institute was not dependent on a specific location, they were interested to hear about the proposal to turn the upper floors of 25 Brook Street into a Handel Museum, whilst hoping to explore with the developers the possibility of the Institute administering or making use of the premises. In Sparey's reply he informed Hicks that the Cooperative Insurance Society Ltd were appealing against the rejection of their development plan for the area, but with the assurance that if they won their case they would be interested in the idea of creating a Handel Museum. Hicks responded by sharing the Provisional Council's plans, pointing out that should a Handel Museum materialise at 25 Brook Street, it should incorporate articles of musical and personal interest connected to the life and times of Handel; he also mentioned that if it were to be a centre for Handel studies it would need equipment out of keeping with an elegant Georgian interior, such as microfilm readers, filing cabinets, a photocopier and tape- and disc-playing facilities. A compromise, he added, would be use of the first floor as a public exhibition and the upper floors for study and administration. Finally, Hicks stated that in view of the uncertainty concerning plans for the area and that the Handel house would not be available before 1989 at the earliest, the Provisional Council would focus on their own plans without associating with a particular location.

Sparey's response to Hicks in June 1984 stressed his sense of urgency in exploring the matter as thoroughly as possible despite the uncertainty regarding plans and the length of time before Handel's house would become available, and having expressed surprise that nothing had been attempted before, he emphasised the need for a few eminent Handel experts to meet and consider the whole concept in depth.