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.

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.

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.

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.

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.

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.

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?)

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.

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.

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.

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.