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| 1963 L-7C (63315) |
An extremely clean example with added Bartolini-style pickguard-mounted pickup. Lightly figured Maple back, sides, and 3-piece neck, Fine grain Sitka Spruce top, Kluson Deluxe tuners with plastic tulip buttons, Bound black painted headstock front with pearl "Gibson" and crown inlays, 1 3/4" nut width, Bound Brazilian Rosewood fingerboard with split parallelogram inalys, Cream boidy binding with black and cream purfling, Brazilian Rosewood bridge, Original diamond bar tailpiece, Bartolini-style pickup mounted onto pickguard with volume knob at bottom corner. Except for a very few small marks in the finish, this guitar looks brand new. With original brown Gibson hardshell case.
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$3500.00 |
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| 1966 Trini Lopez Custom (848425) |
The more rare full depth and upgraded features version of the Trini Lopez. Maple ply body, Mahogany neck, Cherry sunburst finish, Gold Grover mini tuners, Bound black painted headstock front with pearl "Gibson" inlay, Black and white truss rod cover, 1 5/8" nut width, Bound Ebony fingerboard with pearl triangles inlay, Slim neck profile, 25 1/2" string scale, Cream bound body and diamond f-holes, Gold humbucking pickups, tune-o-matic bridge, and "Trini Lopez" tailpiece, Gold bonnet volume and tone knobs, Diamond shaped pickguard, Standby switch on bass side upper bout, Pickup seltor switch on treble side upper bout. The pickup plating is a little oxidized, the the rest of the guitar is extremely clean. With recovered origianl hardshell case. |
On Hold |
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1968 Barney Kessel Custom (970219) |
The more rare upgraded features version of the Barney Kessel 17" double cutaway archtop model in extremely clean condition. Laminated Maple back and sides, Laminated Spruce top, #-piece flame Maple neck, Gold rib-backed Kluson tuners with metal tulip buttons, Bound blakc headstock overlay with pearl "Gibson" and stylized music note inlays, 1 5/8" nut width, Medium round neck profile, Bound Brazilian Rosewood fingerboard wtih pearl "bowtie" inlays, 25 1/2" string scale, Cream bound body and F-holes, Gold humbucking pickups, tune-o-matic brdige, and "Barney Kessel" tailpiece, Gold bonnet volume and tone knobs, Rubber doughnut mounted pickup selctor switch. A really clean, great playing example of this model. With original hardshell case. |
$4500.00 |
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1972 or 1974 Gibson Byrdland (614408) |
This model is essentially a short scale and very shallow body version of the L-5CES. Flame Maple back, sides, and neck, Fine grain Sitka Spruce top, Gold Super Kluson tuners with metal tulip buttons, Multiple bound back headstock ovarlay with pearl "Gibson" logo and L-5 style flower pot inlay, "Byrdland" truss rod cover, 1 11/16" nut width, Very slim neck profile, Multiple bound Ebony fingerbaord with pearl block inlay, Multiple bound body with side purfling, Bound F-holes, Gold humbucking pickups, tune-o-matic brdige, and Byrdland tailpiece, Black hat style knobs, Rubber doughnut mounted pickup selctor switch. The pickguard has started decomposition and is tucked away in a plastic bagie along with the mounting bracket in the case pocket. Very clean condition and set up beautifully. With original hardshell case. |
$5950.00 |
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| 1947 Epiphone Zephyr De Luxe (missing label) |
A fantastically clean example of Epiphone's popular 17 3/8" electric archtop. Flame Maple back, sides, and 5-piece neck, Fine grain Sitka Spruce top, Gold Epiphone tuners with cram buttons, Bound headstock overlay with pearl script "Epiphone" and floral inlays, 1 11/16" nut width, Bound Brazilian Rosewood fingerboard with pearl "cloud" inlays and binding material "racing stripes", Multiple bound body, "Master" series adjustable pole pieces pickup, Brazilian Rosewood bridge, Gold Frequensator tailpiece, Bound red turtle-oid pickguard with gold plated mountin ghardware, Pointer knobs, Metal strap buttons. No repair work except for shaving the bridge saddle and adding the strap buttons. Exceptionally clean condition with amazingly clean Lifton case. A nice collector archtop. |
On Hold |
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| 1935 Gibson Super 400 (92686) |
A great sounding example from the first full year of the spectacular 17 3/4" model with the early "pregnant spider" shape. Flame Maple back, sides, and neck, Medium grain Adirondack Spruce top, Replacement vintage Grover Imperial tuners, Multiple boud black headstock overlay with pearl script "Gibson" and split diamond inlays, Special Super 400 truss rod cover, 1 3/4" nut width, Multiple bound Brazilian Rosewood fingerboard with pearl split block inlays, Multiple bound body and F-holes, "Super 400" insription on heelcap, Brazilian Rosewood bridge with pearl triangle inlay, Large gold platd engraved Super 400 tailpiece, Ebony endpin with pearl dot. No cracks anywhere, but lots of top dings from decades of play. Huge voice. The original Grover G-98 tuners were worn out and replaced with the handsome gold vintage Grover Imperial tuners with stairstep buttons. The pickguard turned to dust at some point. I've priced this one very attractively to help the new owner finance a reproduction pickguard. With original Super 400 Lifton case. |
$7500.00 |
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Ca. 1974 Gibson Johnny Smith (376382) |
A very fine example of one of the fairly rare 16 3/4" archtop models designed by jazz great, Johnny Smith. Maple back and sides, fine grain Sitka Spruce top, Gold super Kluson tuners, Bound black headstock overlay with pearl "Gibson" and super 400 style pearl inlay, "Johnny Smith " truss rod cover, 1 3/4" nut, Bound Ebony fingerboard, 25" string scale, Split block pearl fingerboard inlay, Multiple layer top and side binding, Bound F-holes, Gold L-5 style tailpiece with "Johnny Smith" insert, Two small gold humbucking pickups and all controls mounted to the pickguard, Gold strap buttons, Deep burgundy red finish. Kept in spectacular shape, there are just a few small top dings. The cae is in new condition, protected by the heavy duty zippered cover. Not only a fine collectible, this guitar would be a great gigging instrument. |
$6750.00 |
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| 1917 Gibson L-1 (38455) |
This is a very nice example of the 13 7/8" roundhole archtop model with a build style that is closely related to Gibson mandolins of that WWI era. Maple or Birch back and sides, Adirondack Spruce top, Waverly strip tuners with ivoroid buttons, Script pearl "The Gibson" headstock inlay, 1 7/8" nut width, Full V-shape neck profile, Ivoroid bound Ebony fingerboard with pearl dots, 24 1/4" string scale, Ivoroid top and soundhole binding, Rope style soundhole purfling, Turtleoid tailpiece block and pickguard, Clamp type pickguard mount, Ebony endpin with pearl dot. Very clean and little in the way of dents or pickwear. The only damage is that the upper clamping leg for the pickguard is missing. The pickguard is quite stable with the fingerboard pin, the lower clamping leg, and the pin extending into the treble foot of the bridge. The bridge has been cut down a little for better playability. Very little top sinking under the bridge. This guitar responds with an authoritative voice when strung with medium guage strings and has a ringing sustain when strung with light guage. The original form fit case is in very nice condition. |
$2750.00 |
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1932 C-1 archtop (50015) |
This model is the most basic of Martin's OOO size archtop
models, made early enough that it has the round soundhole rather than F-holes.
Mahogany back and sides with back arched under brace tension, Carved Adirondack
Spruce top, Original clipped plate Grover tuners with rivets and seamed buttons, "C.F.
Martin" stamp on rear of headstock, Brazilian Rosewood headstock overlay
with vertical pearl "C. F. Martin" inlay, 1 3/4" nut width,
V-shape neck profile, Brazilian Rosewood fingerboard with snail shell dots
and bar frets, Black body binding with black and white edge purfling and
rosette, Light 18 style top shading color treatment, Original tailpiece and
pickguard, New Brazilian Rosewood bridge with bone saddle, Ebony heelcap,
Brazilian Rosewood butt wedge. Repair work performed by David Musselwhite
includes: Four back crack repairs near center seam, One treble side crack
repair, One bass side crack repair and neighboring side tear repair, Replacement
bridge, New gear and post rivet on low E string tuner, New bar frets. The
guitar plays very easily and frets true to the end of the fingerboard. The
replacement non-adjustable Brazilian Rosewood bridge give the guitar a clear,
incisive tone. A lighter adjustable bridge gives more warmth to the midrange
and bass. It is nice to have in a C-1 that retains the original tuners, pickguard,
and tailpiece. Much of the time these have been scavanged off for use on
other instruments. With hardshell case. |
$2900.00 |
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Late 1955 ES-350 (A-21226) |
A stunningly clean example from late in the run for this great
jazz archtop model. Except for the modern replacement for the broken original
tailpiece, this guitar is all original and was kept quite clean and in good
playing order. Maply ply 17" cutaway body, Three-piece Maple neck, Gold
single unit Kluson tuners with single line keystone buttons, Black headstock
front with pearl "Gibson" and crown inlays, 1 11/16" nut width,
Round neck profile, Bound Brazilian Rosewood fingerboard with pearl parallelogram
inlays, Cream-black-cream binding, Rosewood adjustable bridge, Period tune-o-matic
upgrade bridge in case pocket, Two black P-90 pickups with gold plated screws,
Gold speed knobs and all original pickup harness with 3-way switch, Black-white-black-white
finger rest with gold mounting hardware. There are two small dings on the
back, one small ding on the neck from a guitar stand, and a small area of
finish chipping at the edge of the neck heel. Otherwise there is some slight
finish crazing. No other rubbing or pickmarks at all. Virtually no fret wear.
This guitar plays like a dream and has the classic clear P-90 tone that I
love. With more recent Gibson brown hardshell case. |
On Hold
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1946 Gibson L-7 (99106) |
17" all solid woods Gibson archtop. Sitka Spruce
top, Flame Maple back and sides, Original single ring Kluson tuners except
for modern replacement double ring tuner on the high E string, Bound headstock
overlay with pearl crown and pearl "Gibson" script inlays, 1
3/4" nut width, Two-piece Maple neck, 25 1/2" string scale, Bound
Brazilian Rosewood fingerboard with pearl parallelogram inlays, Cream bindings,
Brazilian Rosewood bridges, Original hinged cast tailpiece, Authentic style
replacement pickguard from Gryphon Stringed Instruments. Nicks and scuffs
on top and back. With new TKL hardshell case.
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1939 Gibson L-30 (EG-6609) |
An "under-the-bed" condition
example of Gibson's smallest archtop model from just before WWII. Maple back
and sides, Adirondack Spruce top, Mahogany neck, Kluson strip tuners with
amber buttons, Black painted headstock front with white silkscreen "Gibson" script
logo and truss rod bell cover, 1 3/4" nut width, V-shape neck profile,
Brazilian Rosewood fingerboard with pearl dots, Brazilian Rosewood adjustable
bridge, Elevated finger rest, Original tailpiece and endpin. The neck is
good and straight with plenty of neck angle. The only cosmetic blemishes
are a top ding on the treble side upper bout and a small area of stain discoloration
on the treble side of the back near the tail. The amazing original chipboard
case remains in new condition. A rich sounding little time machine. |
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1946 Gibson L-7 (A 1041) |
A very clean, fine playing 17" archtop made just postwar.
Maple back (unfigured), sides (flame figured), and 3-piece Maple neck
(flame figured), Sitka Spruce top, Kluson tuners with ocatgonal plate,
riveted posts, and tulip buttons, Bound black headstock overlay with
inlaid pearl crown and script "Gibson" logo, Fossil ivory nut,
1 11/16" nut width, Bound Brazilian Rosewood 20 fret fingerboard
with pearl parallelogram inlays, Cream-black-cream top and back binding,
Brazilian Rosewood adjustable bridge, Original trapeze tailpiece, Original
cream bound turtle-oid pickguard, 25 1/2" string scale, Added white
strap button in heel and matching tailpiece button. The sunburst finish
is intact with some light crazing. The guitar was recently refretted
and lightly buffed to a high shine. The voice is full and balanced with
an authoritative "bark" for jazz rhythm and soloing. With Black
hardshell case. |
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| 1952 ES-350 (Serial
Number A-_____, Batch Number Z1991 34) |
A well-played earlier example of this model that can be
compared directly to the late 1955 model currently in stock. All Maple
ply body, Three-piece Maple neck, Gold Kluson tuners with single line
keystone button, Bound black headstock front with pearl "Gibson" and
crown inlays, Dark sunburst body and neck finish, 1 11/16" nut width,
Round neck profile, Bound Brazilian Rosewood fingerboard with pearl double
parallelogram inlays, 25 1/2" string scale, Cream-black-cream body
binding, Brazilian Rsoewood adjsutable bridge, Replaced gold diamond
tailpiece (the broken original is in the case), Black-white-black-white
finger rest with gold mounting hardware (side screw is a replacement),
Original gold tall numbered speed knobs and original wiring harness parts,
Two black P-90 pickups, Possibly replaced endpin and added strap button.
Finish arm wear on lower bout area of top, Finish leg wear on treble
side waist, finish wear on back of neck, Small missing binding piece
at top corner of headstock, Palm wear on top of bridge sadddle, Beginning
of crack through center of output jack ara, Very minor small dings and
scrapes here and there. A wonderful playing and sounding example of this
model at an affordable price. With more recent TKL case and really beat
original case. |
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1940 Epiphone Zephyr Tenor (4792) |
Another amazing time capsule blonde finish electric
archtop guitar from the jazz age. Flame figure maple plywood top and
back, Solid plain figured Maple sides, Two-piece Maple neck, Kluson
tuners with white buttons and post riveted to gear, Black headstock
with enameled "Epiphone" badge, Bound Brazilian Rosewood
fingerboard with pearl block inlays, Maple adjustable bridge base with
Brazilian Rosewood top, Black pickup with 4 large adjusting screws,
Master Voicer knob plates with white pyramid adjustment knobs, Simple
tailpiece, Faux tortoiseshell elevated translucent pickguard. Aside
from a little playing wear on the back of the neck (mostly in first
position), this guitar is in mint condition. The neck is straight and
true, making it very easy to express your inner Tiny Grimes. This is
a collector's guitar in fabulous original condition. With hardshell
case. |
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1952 Epiphone Century (64984) |
A clean 16" electric archtop from the early
1950s. Maple plywood body, Maple (?) 3-piece neck, Unbound headstock
with enameled "Epiphone" badge, Currently has Gotoh box housing
round button tuners to be replaced soon with period tuners, Cream coloreed
truss rod cover, Unbound Brazilian rosewood fignerboard, Single layer
cream body bidning, Brazilian Rosewood bridge, Simple tailpiece, White
pyramid knobs, Unbound red tortoiseshell pickguard, Single pickup with
cream housing, metal covering, and no adjustment screws. Very clean
condition with thumb wear in the middle area of the neck. The neck
has a slight sideways bow that doesn't affect the playability in any
way. An easy playing guitar with a warm, clear tone. With recent Gibson
TKL hardshell case. |
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1947 L-5P (A-2433) |
This is an extra clean example of the highest model 17" archtop
in the Gibson line. Sitka Spruce top, Flame Maple back, sides, and 3-piece
neck, Gold sealed Kluson tuners with single line keystone buttons, Multiple
layer cream and black binding and purfling on headstock, fingerboard,
pickguard, and body, Black headstock overlay with pearl script "Gibson" logo
and flower pot inlays, 1 11/16" nut width, Full round neck profile,
Ebony fingerboard wtih pearl block inlays, Gold plated L-5 tailpice,
Brazilian Rosewood adjustable bridge, Bound turtle-oid pickguard with
gold mounting hardware, Cream endpin with black dot. Kept in extremely
clean condition, this guitar plays beautifully and responds with a rich,
clear and insistent voice. A versatile jazz guitar from a classic period
in Gibson's history. With original alligator pattern Lifton case with
dark green interior. |
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| 1957 ES-175 (A24997) |
A very nice example of my favorite Gibson archtop model,
the single pickup version of their 16" plywood electric archtop
with 24 3/4" string scale. This one is apparently from the very
first batch that included the humbucking pickup. Unfigured plywood Maple
top, back, and sides, Mahogany neck, Replacement tuners, Black headstock
front with pearl "Gibson" and crown inlays, 1 11/16" nut
width, Original Delrin nut, Bound Brazilian Rosewood fingerboard with
pearloid parallelogram inlays, Cream-black-cream binding, Replacement
adjustable bridge, Original nickel plated "zig-zag" tailpiece,
Original P.A.F hmbucking pickup, Bonnet knobs, Original pickguard, Metal
endpin, Strap button added to neck heel. This guitar plays great and
has the extra acoustic "bounce" of not having a rear pickup
muting the movement of the bridge. I had noted expert Rich Hoeg open
up the pickup and authenticate it because the solder joints had been
disrupted. We saw by the string winding marks on the top of the bobbins
that the cover had been off for probably a few years in 1970s wshen lots
of knuckleheads were doing this. Luckily they saved the original cover
and had it reinstalled. The finish shows a fair amount of crazing all
over. The guitar shows very little wear except on the back of the neck.
With more recent brown Gibson hardshell case with pink interior.
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1979 Gibson L-5 CES Special (70369143) |
A mint condition example of this very rare sunburst finish
one pickup L-5 CES variant that precedes the eventual Wes Montgomery
L-5 of the 1990s. Flame figure Maple back, sides, and 5-piece neck, Gold
Kluson Sealfast tuners, Five layer black and cream black headstock overlay
with pearl flowerpot and "Gibson" logo inlay, truss rod cover
with engraved "Special" designation, 1 11/16" nut width,
Five layer cream and black bound Ebony fingerboard with pearl block inlays
and jumbo frets, Cream and black top and back binding and purfling, Single
gold humbucking pickup, Gold L-5 tailpiece, Ebony bridge with pearl inlay
in feet, Cream and black bound red turtle-oid pickguard, Hat style volume
and tone knobs, Added gold strap button in neck heel. The guitar remains
in mint condition. Without the muting effect of the bridge position pickup,
the volume and tonal range is expanded. This is a lush-toned instrument
with an easy playing neck profile and setup. Recent 5-ply Cedar Creek
case. |
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| 1956 Gibson ES-135 (V7314-30) |
This fairly rare electric arcthop
was produced by Gibson from 1954 to 1958, totalling only 556 guitars.
In the same five year time period, Gibson produced some 12,830 ES-125s!
This model is essentially a much more deluxe version of the ES-125
with upgrades of single unit Kluson Deluxe tuners with white oval buttons,
cream bound fingerboard, trapezoid fingerboard inlays, and bevelled
black-white-black-white fingerrest material found on the ES-175, etc.
I sure appreciate the upgrade on the fingerrest. The 1952 ES-125 that
I used to own had a stock flexible tortoiseshell fingerrest that didn't
support my planted fingers at all. All plywood construction, Mahogany
neck, Black painted headstock front with gold "Gibson" logo,
1 3/4" nut width, Brazilian Rosewood fingerboard, Cream body binding,
Sunurst top finish, Brown neck, back, and side finish, Brazilian Rosewood
bridge, P-90 pickup, Trapeze tailpiece with raised diamond crossbar,
Gold bonnet volume and tone knobs, 24 3/4" string scale. The guitar
is all original except for a replacement endpin, added strap button
in the heelcap area, and new tuner buttons, as the old ones had turned
to dust. The neck is straight and the original frets are in great shape.
There is a little fine finish crazing on the top and back and much
deeper, heavier crazing on the sides for some reason. There are a few
dings here and there, but the overall condition is very clean. I purchased
this guitar from the family of the man who bought it new. His grandson
said that it hadn't been played for a few years before he had died
in 1983 and it has been in a closet with rock'n'roll guage strings
on it since. Plugged in, the guitar has a great Herb Ellis jazz tone.
It's also great for jump blues, honkytonk, rockabilly, americana, etc.
With hardshell dreadnought case. |
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1950 ES-125 (5937-6) |
A great sounding 16" electric archtop guitar with
the fuller round neck profile from this era that I really like. Maple
plywood body, Mahogany neck, Kluson Deluxe strip tuners, Black painted
headstock front with gold "Gibson" decal, Original plastic
nut, 1 11/16" nut width, Brazilian Rosewood fingerboard with pearl
dots, Cream body binding, Sunburst finish, P-90 pickup, trapeze tailpiece,
Brazilian Rosewood bridge, Red turtle-oid pickguard, Barrel knobs, 24
3/4", Strap button added to neck heel. This is an easy playing example
with the original small frets and full neck profile. The finish has crazed,
especially on the sides and neck heel area. With original chipboard case. |
|

1946 Gibson L-7 (99106) |
17" all solid woods Gibson archtop. Sitka Spruce
top, Flame Maple back and sides, Original single ring Kluson tuners except
for modern replacement double ring tuner on the high E string, Bound
headstock overlay with pearl crown and pearl "Gibson" script
inlays, 1 3/4" nut width, Two-piece Maple neck, 25 1/2" string
scale, Bound Brazilian Rosewood fingerboard with pearl parallelogram
inlays, Cream bindings, Brazilian Rosewood bridges, Original hinged cast
tailpiece, Authentic style replacement pickguard from Gryphon Stringed
Instruments. Nicks and scuffs on top and back. With new TKL hardshell
case. |
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| 1947 Gibson L-50 (nsn
or batch number) |
With the dizzying array of feature
changes right after WWII, it's a little hard to date these guitars
without a batch or serial number, but the combination of dot inlay,
Modern silkscreen logo, and cream-bound finger rest point to 1947 on
this L-50. Adirondack Spruce top, Rock Maple back (lightly flame figures)
and sides (no flame figure), Mahogany neck, Kluson strip tuners with
cream buttons, Tapered headstock thickness, Adjustable truss rod, Plastic
nut, The full round neck profile that I really like, Brazilian Rosewood
fingerboard and bridge, Pearl fingerboard dots, Raised diamond tailpiece,
Single cream binding on top and back, Cream bound red turtle-oid finger
rest, Cream endpin. Unmodified in any way, this is a real time machine
guitar showing light wear on the frets, pick wear on the bass side
of the fingerboard (swing player syndrome), and a few stray dings in
the top. The voice hasn't really developed through enough play yet.
It should make a monster 16" archtop when it's played sme more.
With hardshell case. |
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| 1954 Gibson Super 300 (A
17308) |
This is the cosmetically simplified
version of the better known 18" wide Super 400 archtop. Flame
Maple back, sides, and two-piece neck, Tuners have been changed to
more recent Grover Imperial (I'm looking for a set of the round button
Kluson tuners original to this guitar.), Bound black headstock with
pearl "Gibson" and crown inlays, Brazilian Rosewood fingerboard
with pearl parallelogram inlays, Healthy pickguard and tailpiece. Plugged
jack hole in treble side lower bout, repaired 3" bass-side f-hole
crack, Finish repair to 3" wear spot on bass side of top between
bridge and fingerboard, some assorted knicks and dings from play wear
on top, back, sides, and neck. Endpin jack for transducer type pickup
in bridge saddle. Strap button in neck heel. A very healthy, meaty
sounding jazz guitar. With substantial Harptone case. |
|

1934 Gibson L-5 (91793) |
16" size with 24 3/4" string scale. Curly
Rock Maple back, sides, and 2-piece neck, Adirondack Spruce top, Gold
Grover tuners (replaced g tuner is a current gold Waverly), Bound tapered
headstock with pearl script "Gibson" and torch, Bone nut
1 3/4" nut width, V-shape neck profile, White binding on fingerbaord
and body, Pearl block fingerboard inlay, Ebony adjustable bridge, White
bound red turtle-oid pickguard, Trapeze tailpiece, Small F-holes. Fine
finish crazing and pick wear on bass side upper bout. Fingerboard wear
indicates a lot of Carter-style playing over the years. A strong, bright
guitar with lots of punch for serious swing or jazz rhythm playing.
With period hard case (Epiphone?) |
|
| Ca. Early 1950s Kay (nsn) |
Postwar 15 3/4" electric archtop with Jimmy
Reed style blade pickup. Ply body with painted flame figure on back
and sides and Spruce ply top, White body bindings, Birch neck, Replacement
Kluson style tuners with tulip buttons, Brass frets, Jimmy Reed style
blade pickup mounted in Brazilian Rosewood pickup surround, Brown volume
and tone knobs mounted on plastic tortoiseshell plastic plate in handy
postion at bass side of fingerboard near the top, White plastic pickguard,
Kalamazoo style adjustable Brazilian Rosewood bridge, White endpin.
Gutsy blues tone from this great little pickup. It plays fine, but
I'd put some nicer frets in it to get the best out of this guitar.
With black alligator hardshell case. |
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| 1937 Epiphone Triumph (11592) |
A huge sounding 17" archtop from the era of the 1930s
big bands. Maple Back and sides, Adirondack Spruce top, 5-piece Mahogany
neck, Round button single unit Grover open back tuners on rectangular
plates, Bound black headstock with pearl "Epiphone" and floral
inlays, Bound Braziian Rosewood fingerboard with large slotted diamond
pearl inlays, Brazilian Rosewood bridge, Bound dark red tortoiseshell
pickguard, No strap button in neck heel. The flaking dark sunburst finish
is from the finish adhesion problems in Epiphone guitars from this period
rather than abuse or wear. The original rare stamped strap style tailpiece
failed from metal fatigue and it is included in the case pocket. The
current pailpiece is a simpler, but more solid design fom a period Epiphone
Spartan archtop. This guitar produces and astonishingly huge, rich chordal
voice when played with a sure hand. It really does the job in providing
a powerful rhythm voice for a large traditional band. With original brown
pebble grain hardshell case. |
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| 1949 Epiphone Zephyr
Deluxe (79256) |
A commanding 17" electric archtop with a good acoustic
voice from the postwar jazz period. Birsdeye maple back and plain Maple
sides, Medium grain Adirondack Spruce top, 5-piece Maple neck, Bound
headstock with pearl "Epiphone" and floral inlays, Covered
gold Epiphone tuners with molded cream plastic knobs, Bound Brazilian
Rosewood fingerboard with pearl cloud inlays, Brazilian Rosewood brdige,
Gold Frequensator tailpiece, Master voicer knob plates with chicken knobs,
Bound red tortoiseshell pickguard, Shaded brown finish is in good condition
with crazing and some flaking in treble side waist, Single pickup with
dark cream colored plastic housing and small adjustment screws. Repaired
back crack, Repaired jack hole, no strap button in neck. The thumb wear
on the neck shows that the owner really played this guitar a lot! With
recent refret. With original dark alligator harshell case with orange
interior. |
|
| 1959 Hofner President (5665) |
A midline all-solid 16" two pickup
cutaway archtop. German Spruce top, Flame figure German Maple back
and sides, 5-piece German Maple neck, Original open back single unit
tuners, Bound headstock, Pearl "Hofner" logo and floral vine
pattern overlay, Zero nut, Full D-shape neck profile, Bound Brazilian
Rosewood fingerboard with triple dots inlay, Cream bound body with
line purfling, Cream bound F-holes, Pearloid heelcap, Black bakelight
pickups with wheel height adjustment, Adjustable ebony bridge, Segmented
strap type tailpiece with chrome end button, "Beatle Bass" type
controls with 2 volume knobs, sliding tone switch, and pickup selectors,
Gold "Hogner" decal on bass-side upper bout. The wide, but
low frets seem atypical of this era, but I can't tell if they are original
or not. It's clean work if they are replacements. Kept in nice condition,
this is a fun swing or blues guitar with lots of personality. With
original hardshell case. |
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