Folkway Music -- Instrument Gallery




Last updated: July 4, 2008 Questions? Please email info@folkwaymusic.com. Please note: These are some of the more notable instruments that have recently been sold by Folkway Music. None of these instruments are for sale. Gallery Sections: Martin Gibson Other Acoustic Guitars Resonators Mandolins & Banjos Archtop Guitars Classical Guitars Electric Guitars Amplifiers Miscellaneous Lefty Instruments Repaired Instruments
Main Photo	1952 Kay K-150 Introduced in 1952, the K-150 took direct aim at Gibson's ES-125. It was priced at $60, and featured a Thin-Twin pickup in the middle position, and volume and tone controls mounted on the top's upper bass bout. 16" arch-top fully hollow body with laminate maple back and sides and a laminate spruce top. The guitar is completely original, save for a new acoustic style 1/4" endpin jack we installed, and new buttons on it's patent-pend. Original Kluson tuners. The instrument was originally fitted with an inconveniently hard-wired 10 foot cable which passed through a hole in the guitar's bottom end. When the guitar wasn't being used plugged in, the player still had to deal with a long wire hanging out of the instrument! We'll supply the original with the guitar as a keepsake. On one hand it's an attractive and cool piece of electric guitar history - with bakelite knobs, and early basement paneling era esthetics. On the other, it's a great sounding vintage axe, with a meaty growl and tone-a-plenty. Bluesers will dig this guitar's character, and Jazzer's will dig its warmth. All of us will dig it's big fat neck, great playability, fine condition, and great looks. With original chipboard case On consignment SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail Case Open Case Closed

Main Photo	1940's Kay Archtop With it's 1940's styling, checker-board purfling, and tortoise-shell celluloid accents this is a seductively cool vintage archtop. Built sometime in the 1940's, we suspect, this guitar is constructed entirely of Walnut: Neck, body, fingerboard, bridge - all the wooden parts are American Black Walnut. Sunburst lacquer finish is a nice accent to the wood's naturally chocolaty-brown hue. No cracks, and in beautifully preserved condition. It has replacement Kluson tuners with aged buttons, and has nice action thanks to a recent neck reset. The neck has excessive forward bow, so playing up past the 5th fret has buzzy results in a few spots - but if you're a cow-boy chord picker, this one's for you. No case SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1964 Gibson Super 400C Serial # 177960. Priced at $775 in the early 1960's, the Super 400C was the flagship (and most expensive) instrument of the Gibson acoustic lineup. In today's dollars, that would equate to roughly $5500 - so needless to say, anyone who's shelling out that kind of cash for an instrument will likely take good care of it! Such is the case with the 1964 Super 400C offered here. The instrument looks fabulous, with 18 inches of Cremona sunburst warming up whatever room it's in, and accents-a-plenty of gold and pearl. Carved, solid figured maple back and Sitka spruce top; matching figured maple sides and neck, 7-layer top bindings and multi-layer-bound f-holes, sides, back, headstock, and fingerboard. White pearl inlaid fingerboard and headstock front and rear; gold-plated tuners, engraved tailpiece, and hardware. Yes, it is a fancy guitar. It is crack-free, and has its original tuners, nut, bridge, and tailpiece. The frets are non-original, and the pickguard is a well made recent replacement; there are DeArmond mounting holes on the edge of the fingerboard extension. An inch-wide band of light overspray covers the back binding edge from the waist to the neck heel. Finally, we can't say for certain that the body hasn't been very lightly and very professionally oversprayed. If it was, it was done long, long ago and is today virtually indistinguishable. The finish might be 100% original, but if we have the slightest doubt it's our job to tell you about it and let you decide for yourself. Ultimately, it is a beautiful instrument and a fine sounding and playing one, too. It has a fast and slim 60's neck carve with a nut width of 1-5/8", and a 25.4" scale length. With 1970's Gibson Hard shell case On Consignment NOT FOR SALE More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail Case Open Case Closed

Main Photo	1936 Arthur Hensel Archtop Arthur Hensel built many weird and wonderful instruments, but few are as beautiful and ornate as the archtop pictured here. Signed and dated august, 1936 by Hensel himself, this guitar was hand-carved by the mysterious builder. Its top and back are solid mahogany, bound in white celluloid. It has a three-piece mahogany neck, a bound Brazilian rosewood fingerboard, and bound headstock with a matching rosewood overlay. Interestingly, the sides of the headstock are veneered with Brazilian rosewood as well. This guitar was here for an extensive restoration that included repairing many cracks, removing much corrosion from the guitar's metal parts, a fingerboard leveling and refret, a new pickguard, and set up. The original fingerboard dots needed to be replaced during the refret, and we discovered that Hensel had used pearl shirt buttons as fingerboard dots!!! Check out that original hard shell case, too... there are many a Martin owner who'd like to get their paws on that one! With original chipboard case SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail "Before" Full Front detail "Before" Full Back detail Label detail 1 Label detail 2 Case Open Case Closed

Main Photo	1960 Gibson ES-330TN No serial # or FON (we dated this one by the neck profile). Is there anyone out there who doesn't think this guitar is at (or very near to) the pinnacle vintage Gibson coolness? We all certainly think it is! The single pickup ES-330T was built between '59 and '63, the natural finish version (ES-330TN) only being offered in '59 and '60. A total of 165 were built, compared to 1121 sunburst ES-330T's during those same two years. Any blond Gibson is rare, and the blond 330's are no exception to that rule. This one is a two owner guitar, and it's had nearly 50 years of steady use. We opted out of cleaning the finish on this baby; it looked too good to mess with. But we did set it up and carved a new old-looking bone nut for it; it plays beautifully. Original frets are evenly worn and not pitted (he played the whole neck of the guitar), original P-90 pickup with 8.4 kOhm resistance; original pickguard and mount, knobs, ABR-1 no-wire bridge, and tailpiece. Original tuning machines (although one might not be original, but is the same style and age as the others); newer pots and capacitor. The finish is completely original, and is fairly worn is a few areas; the back of the neck, inside the horns, and under your arm in particular. In our books the finish wear on this guitar is a value-added feature... it looks that good! 1-11/16" nut, 5.3 pounds light. And yes, it sounds as good as it looks... With 70's Gibson hard case On Consignment SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1954 National New Yorker Serial Number X31170. This gorgeous National arch-top is a perfectly preserved example of what Valco (then distributed by CMI) was up to in the mid 1950's. Its Kay-built body is made of laminated maple, with arched top and back, black purflings and white bindings, and matching f-hole ornamentation. It has a floating pickup in the neck position, and pickguard mounted controls. The guitar is completely original save for the tuner buttons that we replaced, and the strings. The instrument shows only very minor signs of wear, the most notable of which is a touch of worn-off finish in the first position of the neck. Next to no fret wear; and none of those pesky fingernail indents in the Brazilian rosewood fingerboard. The finish is in top shape, too. Well set up, and ready to play. 1-11/16" nut, 24.75 scale length; body width of 16.25". National electrics from this era had a co-axial screw-on output jack - we can include a custom made cable to work with this instrument for an additional $30. With original chipboard case SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail Case Open Case Closed

Main Photo	1947 Gibson L-7 Serial # A-625. A serial number on a 1940's Gibson! Wow... the things us guitar guys get excited about! This is a mid-year 1947 L-7, with a then-new "Modernized" Gibson logo, and open-geared Kluson tuning machines with original tulip buttons. The guitar is remarkably beautiful, with a gorgeous sunburst finished top, bound tortoise pickguard, raised-diamond nickel plated tailpiece, triple bound body, single bound fingerboard and headstock, and pearl ornamentation. With the exception of the outer-pickguard mounting nut the instrument is completely original. Like its more expensive big brother, the L-7 features a 17 inch body, with a carved spruce top and carved maple back. There is an old repaired crack on the sides of the guitar at the heel of the neck, and a bent tuning key - the classic combination. A bummer, really, as this guitar would otherwise be as nice an L-7 as you'd likely find. As it is, it is still a spectacular guitar; and a couple grand less. No other issues to mention - the top is in perfect condition, the neck angle is spot-on, the action and set-up are perfect. No top or back cracks, no neck damage. Original nut, frets, Brazilian rosewood adjustable bridge, and finish. With original Geib hard shell case SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail Case Closed Case Open

Main Photo	1951 Epiphone Zenith Serial # 63455. At 16-3/8 inches wide, with a solid carved spruce top, arched maple back and sides, and long 25.4" scale this Epi Zenith is a fairly serious instrument by today's standards. Back in 1950, however, this guitar sold for $85, when the top of the line Emperor listed at $400 - making it the second most affordable Epiphone archtop then available. But things were different in 1951; cheap didn't really mean cheap as we think of it. The Zenith is a very well built instrument, with fine materials and a sweet tone. The neck is a three section laminate of mahogany and walnut, with a Brazilian rosewood fingerboard and elevated tongue. The body is bound in white celluloid, and finished with a hand rubbed lacquer finish with a sunburst top and dark tinted sides. The tuners are individual Klusons with white buttons, the bridge is rosewood, and the headstock logo and inlay are of white mother of pearl. The bound celluloid pickguard is a replacement. The frets are replacements, and the fingerboard's deep fingernail grooves have been filled in for a flat playing surface. This guitar is overall in very good condition and has a great-looking vintage patina. Its voice is rich and warm, and the guitar has enough volume to cut though with a small jazz ensemble. With a period soft shell case SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail Old Straphole detail

Main Photo	1989 Guild X-500 Blond Serial #JB100340. The X-500 was Guild's answer to Gibson's L-5CES Epiphone's Emperor when it was introduced in '53; and is still at the top of Guild's electric guitar line today. The 17" wide box is the consummate Guild Jazz guitar, with spruce top, figured maple back and sides, and a Venetian cut away. Humbucking pickups mounted in the top with separate volume and tone controls, master volume and selector switch. The tailpiece is hand engraved, the fingerboard inlays are pearl and abalone, and the multi-ply body bindings extend up the fingerboard and around the headstock. There is no doubt that this is a fancy guitar. It is 100% original, in mint-condition, and well set up with a set of Chrome 12's. This guitar sounds, looks, and plays fantastically. On Consignment with original hard shell case. SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1955 Gibson ES-175D FON. W1973-31. First shipped in 1953, the ES-175D has proved to be amongst Gibson's most proven and popular instruments. The double pickup ES-175 evolved from the single pickup model which debuted in 1949, and was the first Gibson electric to feature a pointed (Florentine) cut-away. The guitar was immediately successful, and today is regarded by many as the most versatile electric instrument Gibson ever designed. 1955 was a transitional year at Gibson marked by makeovers to many of their instruments - some very slight, and some major (straight braces, larger pickguards, and non-tapered headstocks on acoustics; Electrics saw bonnet knobs, Tune-O-Matic bridges, the Les Paul Special, and the first thin-line electric guitar-the ES-225). This '55 ES-175D is equipped with original bonnet knobs, 20 fret fingerboard (both desirable first year issues), and trapeze tailpiece (final year issue); an interesting mix of original parts, found only on instruments from this particular year. The guitar is in remarkable condition overall. Its finish is in top shape with very little wear, and - with the exception of its tuners and frets - the instrument is completely original. The setup and playability are great; this guitar will do fast jazz comping nicely, but can be bent deeply on a minor blues. The P-90's are well balanced and strong with DC readings of 7.9 (neck) and 8.2 (bridge) kohms. The tuners have been changed a few times, and are now correct replacement single Klusons with aged tulip buttons. There are discretely filled screw holes on the back of the headstock from Schallers, and finish impressions around the string posts from the washers. There is also a small filled-in strap button hole on the bass side of the heel. The original brown/pink hard shell case accompanies this guitar and is, too, in excellent condtion. SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail Tuners Footprint detail Case Open Case Closed

Main Photo	1951 Gibson ES-150 FON 8742-17. A remarkably fine early ES-150. With the exception of the tuning machines, this instrument is completely original and unmodified. The finish is in great shape, and there are no cracks or bruises to mention. Original 5/8" tall barrel knobs (these were replaced by 1/2 tall speed knobs in '52), original tuning machine screws and bushings, 4-ply bevel-edge pickguard, trapeze tailpiece and bridge. Bound Brazilian Rosewood fingerboard with trapezoid inlays and original frets. The P-90 pickup has an output of 7.2 kOhms. Very comfortable neck, set up with fast low action. Some fret wear on the first 3 frets, not much elsewhere. They don't come too much more clean than this one, and they don't often come with an original hard shell case... SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail Case Open Case Closed

Main Photo	1948 Epiphone Zephyr De Luxe Serial # 75338. Their 1949 Catalog, Epiphone says it best, with a surprisingly tame color: "Finished in a gleaming whiteness of the natural wood, coated in a lifetime lacquer, hand rubbed to a high polish." "The tone spectrum pickup with separate string adjustment is full range. The Mastervoicer tone control enables the player to obtain many desired tone effects... Heavily gold plated frequensator tailpiece and 16 to 1 ratio geared enclosed machine heads... $240, case #105... $50." There aren't too many guitars from the late 1940's that look as good as high-end Epiphones. With one glance at this beauty, we're pretty sure you'll agree. From its gold Frequensator tailpiece, to it curvaceous multiple-bound celluloid pick guard, cloud fingerboard inlays, and up to the pearl fern headstock inlay and gold Epi tuners, this guitar just exudes coolness. Figured Maple back and sides, spruce top, all laminate construction, five ply neck, highly figured multiple bound Brazilian rosewood fingerboard, single Tone-Spectrum pickup, and Mastervoicer tone control. Large 17-3/8" wide body with multi-layer binding and unbound f-holes; completely original including hard case. Neck and frets are in great shape with little wear. The neck is one of the nicest feeling carves I've ever wrapped my hand around. Its scale is 25.5", and has a nut width is 1-11/16". In excellent condition overall, the guitar's bindings stretched away from the waist and have been glued and filled. There are very small and localized areas or finish touch up on and immediately adjacent to the repaired sections of binding. Keen eyes will notice that the out-side pole piece screws have been replaced. The originals are included, but were replaced to better the string-balance of the pickup. Excellent playability and set up, this guitar plays and sounds as good as it looks. With original hard shell case SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail Dial detail Case Open Case Closed

Main Photo	1954 Harmony Broadway If we could all look this good at fifty... In just about mint condition, with its original chip-board case, this Harmony Broadway arch top is a perfect example to add to your Harmony collection, or to start one with. It is truly in exceptional condition - it's lacquer is nice and shiny, there are no dings, scratches or pickwear, the frets are as new, and the pickguard still has its gold stencil art-deco design. It's completely original, too, and in good working order. We like it; you will too. SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1925 Gibson L-5 Serial # 81629. The Gibson L-5 designed by Lloyd Loar and introduced in late 1922 revolutionized the guitar world. Loar's 16" carved instrument was the first to employ "F" holes in its design, and signaled the genesis of the modern arched-top guitar. The L-5 featured many other modern features: An adjustable truss rod in the neck, a height adjustable and intonated bridge top, an elevated pickguard with a right-angle mounting bracket, and an elevated fingerboard which allowed the top's effective vibrating size to be enlarged; and a fourteen fret-to-the-body neck. Similar to his famous F-5 Mandolins, Loar's L-5 guitars featured Gibson's most select timbers, with spruce and maple plates carved, graduated, and tap-tuned to perfection. Thanks to Lloyd Loar, 1923 also saw the end of the celluloid tailpiece bracket (replaced with metal), and the introduction of a tilted-back neck attachment which permitted a taller bridge, more downward pressure on the instrument top, and a resulting increased volume. Today, the Loar-era "Master Model" instruments (L-5, K-5, H-5, F-5 and Style 5 Banjos) which bear Loar's signature are among the most prized instruments on the vintage market. Loar resigned from Gibson in December of 1924. The last known Loar-signed instrument was an F-5 dated December 21st 1924 bearing serial number 80416. The instrument pictured here is an L-5 completed in the spring of '25. This instrument's construction was undoubtedly begun during Loar's tenure at Gibson, but completed after his departure. As such it bears the Master Model label associated with Lloyd Loar, but not Loar's signature label. This particular L-5 bears certain transitional features indicative of the immediate post-Loar period: An angled peghead logo, flowerpot inlay, dot fingerboard inlays from the 5th fret on, single-bound fingerboard with pointed end, and gold hardware. Of note are the original tuning machines - gold Grover "Pancake" planetary banjo tuners with pearl buttons - a rare and beautiful feature. A one owner guitar and a local instrument, this L-5 came to us after being in storage since the early 1980's. There is finish wear to the back of the neck and to the areas that were in contact with the owners clothing. There is one small and largely insignificant top crack at the waist below the pickguard, and an invisible center-seam repair (done by us) beneath the tailpiece. The back and sides are in crack free excellent condition. The top braces are intact, and the top's arch is perfect. Original frets, pearl nut, bridge, endpin, and bound pickguard. The original tailpiece string hanger is bowing forward slightly, but is intact and functional. As is evident in the photos, the pickguard was once notched for a DeArmond floating pickup, and there is a fairly well-hidden 1" splice of fingerboard binding adjacent to the 18th and 19th frets. This instrument features two Master Model labels, one almost completely obstructing the second. We'd only love to be able to read the hidden label, but we can't, so that's all we can tell you about it... sorry. The maple figure in the neck, back, and sides is tight and deep; and is accented nicely by the Cremona sunburst hand-rubbed stain. Set up in our shop, this instrument plays perfectly up the neck. 24-3/4" scale, 1-3/4" nut. Tone? Well, that's the best part. If you've never played one of these first L-5's you really ought to soon. Sold with its original hard shell case in excellent condition US $28500 SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail Neck detail Fretboard detail Fretboard detail 2 Right Side detail Left Side detail Case Open Case Closed

Main Photo	1962 Gibson Johnny Smith Serial # 87019. Introduced in 1961, and offered in the Gibson Company catalog until 1989, the Johnny Smith was both the most expensive and (arguably) the most popular of the artist models the company offered in the 1960's. This early 1962 example (pot coded 12th week of 1962) features the earliest version of the JS humbucking pickup which has a layer of celluloid between the pickup's upper bobbin and gold plated cover (which made pole-pieces non-adjustable). Solid carved spruce top, and highly figured solid carved maple back and matching sides. Three-piece maple neck with 5-ply bound ebony fingerboard and matching headstock. Pearl split-block pearl fingerboard and split-diamond headstock inlays. 7-ply top bindings, 3-ply on the back and sides. 5-ply bound celluloid pickguard, bound f-holes, ebony adjustable bridge. Gold L-5 style tailpiece with Johnny Smith emblem, matching hardware, and Kluson Sealfast tuners. Rich sunburst lacquer finish on all sides. A beautiful and ultra-deluxe vintage Gibson archtop with a wonderful voice both acoustically and plugged in. The instrument is completely original and in remarkably excellent condition. The original frets show mild wear, the nut has never been removed, and the playability and feel are exceptional. Nut width of 1-3/4", 25" scale length. Included with this guitar is its original Lifton hard-shell case in Mint condition and original Canvas case cover (with replaced zipper). The Johnny Smith offered here is a fabulous investment opportunity, as instruments of this quality and condition are becoming harder and harder to come by. On Consignment SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail Case Open Case Closed Case Cover

Main Photo	1956 Harmony Commander 50 years old and never used. That's our kind of Harmony! The Commander Brand was sold by Sears in the 1950's. The guitars were built by Harmony, and this one is a model H1325 (Monterey). The top is solid spruce, and the back and sides are solid birch. The guitar is completely original and in mint condition, including its original chipboard case! The neck and frets are in good shape, and the guitar is now very playable thanks to some loving set-up work by us. Don't miss out on this one. SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1939 Gibson Recording King M3 FON # EW-1026. Some guitars just have it all. From the original stamped Kluson tuning machines (which are the same that are found on many high-end Gibsons of the era - and worth about five or six hundred) to the exquisite bound fire-stripe pickguard and the sunburst-on-all-sides original finish, this is a scrumptiously appealing guitar. It features a solid red-spruce carved top, maple back and sides, Brazilian rosewood fingerboard and bridge, and pearl headstock inlays and position markers. It is original right down to the tuner screws! Frets and neck are in great shape, with only some minor fret wear and worn finish on the back of the neck. Playability is great, thanks in part to this instrument's first-ever set up done right here! The nut measures 1 -3/4", scale length of 24-3/4". Superbly comfortable rounded neck profile with the slightest hint of a V. To top it off, it comes with its original soft-shell case! Wow. SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1960's Hofner 456 No Serial number. A great looking mid-sixties Hofner archtop. Figured maple laminate top, back, and sides. Multiple bound body, single bound fingerboard. Headstock, pickguard, fingerboard inlays of pearloid and tortoise. Truss-rod equipped neck, great action and well set up. This one plays great (unlike many of these old Hofners). Very loud with a lot of projection and cut. Not a sophisticated voice, but a noticeable one. On Consignment, without case SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1943 Kalamazoo KG-21 FON 8260-37. A mint-condition war-time Gibson-built Archtop. The KG-21 is a deep-bodied (4-3/8" at the tail block) L-00 shaped archtop with braced and pressed top and back of solid Red Spruce and mahogany. As with most Kalamazoo branded guitars, the appointments are fairly simple; single white bindings, basic tailpiece and pickguard, unbound figured Brazilian Rosewood fingerboard, three-on-a-plate tuners, silk-screened logo, and a two-color sunburst top finish with a dark-stained back. The guitar's neck is carved into a pronounced V- profile and has a chunky feel - likely shaped a bit thicker due to the absence of a truss-rod. The nut measures 1-3/4" and the scale is 24.75". Thanks to its extra-deep body depth, this guitar has a rich and warm voice, with a lot more bass than one would expect to hear from a 14-3/4" archtop. The trebbles are big and round, as one might expect, and the overall impression this guitar makes is one of organic rawness, with a distinctive tubby undertone, and a quickly responsive attack. It's a guitar with a lot of character, and roots guitarists, songwriters, and alt-country folks will love it. Guaranteed. It plays well and in tune, and comes with the very cool original case pictured. On Consignment SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	c. 1930 Washburn (Tonk) 5258 The Tonk Bros. Company of Chicago acquired the Washburn trademark in the late 1920's from Lyon and Healy. The new Tonk Bros. instruments were built by Stewart in the early run, and by Regal from 1930 onwards. Tonk Bros. guitars are highly regarded as well-built and good sounding instruments. The Washburn pictured here is an attractive early Tonk-built archtop model 5258. Its low serial number (1558) suggests that it was built by Stewart in the first year or two of Washburn's Tonk Bros. distributorship. The instrument's top is carved spruce with X bracing and segmented f-holes. The sides are solid highly-figured maple, and the back appears to be two-ply Mahogany and Maple. The back is arched (or Curved, as per the '32 Tonk Bros. Catalog) and the outer-ply of maple is deeply figured. The body is sunburst finished on all sides and single-bound in white. The neck is 7-segmented, with alternating layers of Mahogany and rosewood. It is a comfortable V profile with subtle rounding of the shoulders and a 1-13/16" nut. It features an ebony fingerboard with 20 bar frets (14 clear of the body), pearl dot inlays, and a 25.4" scale. The headstock is overlaid with Brazilian rosewood and features an abalone-pearl inlay logo and underscore, and nickel Grover 98 tuning machines. Finishing touches include a bound tortoise-celluloid pickguard, ebony bridge, and nickel trapeze tailpiece. The 15" wide body produces a strong voice and good cut, without excessively woody overtones or string balance issues. Tonally, we'd compare this instrument to an early Epiphone Triumph. The guitar is in excellent condition with no cracks or finish issues; it is completely original and is excellent playing condition as well thanks to a fret dressing and set-up in our shop. The original hard shell case pictured is included with the instrument. SOLD More photos: Front detail Back detail Headstock detail Case Open Full Front detail Full Back detail Tuners detail Case Closed

Main Photo	1946 Epiphone Triumph With its solid carved red spruce top and maple back, 17" body width, 5 piece laminate neck, and Frequensator tailpiece, this Epiphone was built for Jazz. It's a great sounding axe; lots of volume, projection and chop. Very playable, with a fresh set up and decent 60 year old frets. Original sealed tuners work surprisingly well, and finish off this vintage package quite tastefully. A fair amount of lacquer wear to the back of the neck, and a significant spot of wear adjacent to the treble F-hole. Crack free, and structurally A+. 25.4" scale, 1-11/16" nut. Sold with a hard shell case, On consignment SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1934 Martin C-2 Serial # 56827. In 1934, the C-2 carved-top pictured here sold new for $125, twenty five dollars more than the D-28 would list for a few months later. This was a fancy guitar by Martin's standards, and at 15" wide was one of the company's big guitars. But not big enough. In '34 Gibson's L-5, 7, 10, and 12 grew to 17". That same year Martin's biggest competitor introduced Super 400 - an 18" wide monster that was louder than any production guitar yet. The battle for arch-top supremacy was forever lost. Decades later the C-2 and 3 archtops (along with the larger F size) would be rediscovered not by Jazz guitarists, but by folk musicians and fingersylists who realized that these instruments could be converted to flat-top "Orchestra Models" or OM's. Martin wasn't producing the OM at the time (just the short-scale 000), and the long scale necks, Brazilian Rosewood back and sides and 1-3/4" nut width made those old arch tops great candidates for conversion. The original OM model from the early 1930's was produced in very limited number, and was - as it is today - one of the most sought after Martin flat-tops ever. Well converted C-2's and 3's are now valued at three or four times as much as an unconverted example. Which brings us to this guitar... Why, then, is it not getting converted? Simple, it's just too nice to convert! This guitar is completely original, crack-free, unmolested, and completely playable. And to boot, it sounds fabulous. No, it's not a Super 400 or an L-5, but it is a loud guitar with a great cut. The Brazilian rosewood is some of the best you'll ever see - perfectly quartersawn and straight. The pearl inlays are classically Martin in their simplicity and tastefulness, and the neck is exceedingly comfortable. It's a great guitar. SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1941 Kalamazoo KG-32N Talk about a gorgeous guitar! This is a '41 Kalamazoo KG-32N; it's just about same guitar as an Oriole, but without the peg-head ornamentation and with different binding. The KG-32N shown here is a rare guitar - most KG-32's were finished in sunburst - and it has withstood the ages very well, making it a truly collectable budget Gibson. Arched solid red spruce top (with three tight well-repaired cracks), arched figured maple back and sides, and what looks like a Korina Mahogany neck! The guitar's top is bordered with checker-board white and black, and the back and top are bound in white. Brazilian rosewood fingerboard and bridge, bound tortoiseshell celluloid pickguard and chrome-plate tailpiece. The tuners are original three-on-a-plate Klusons, with beautiful swirly-celluoid buttons. This guitar is original down to the last screw and bushing, and is simply breathtaking. The original hard shell case is included, too. SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1953 Epiphone Triumph Regent Serial # 65976. At 52 years old, this guitar has done a remarkable job of defying the aging process! It is in remarkable condition, with only the yellowing of the lacquer finish and white plastic parts to prove its age. The Triumph was one of the Epiphone company's most highly regarded instruments since its introduction in '31, and redesign in 1937. The Regent model (or cutaway) was introduced in '49 and quickly became the guitar of choice for many of the best Jazz players of the era. This 1953 model was built when Epiphone had begun to employ a Gibson-style truss rod that adjusts from the headstock end; making this instrument's neck easily adjustable. The neck profile is comfortable and contemporary, with a nut width of 1-11/16". Scale of 25.5". Original nickel-plated hardware - E-logo tuners and Frequensator tailpiece; and a beautifully preserved original pickguard. Frets are original and in near-new condition - which has allowed us to set this guitar up with exceptional action. It is a loud guitar, with bark and cut, and projection that will make the folks at the back of the room pay full attention! A true investment-grade jazz box. With near-mint original hard shell case. On Consignment SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1965 Harmony Monterey Electric This super-cool jazz/blues machine is what happens when you give uber-luthier Joe Yanuziello a sexy-sunburst 60's Monterey, and a little bit of free time... The pickup is a custom Yanuziello designed - Lindy Fralin made DeArmond, and the pickguard is a Yanuziello original. The guitar sounds INCREDIBLE! Sunburst on all sides, and bound in white; it looks pretty stunning, too. If you're going to play an old harmony - it might as well sound and look as good as this one does! The playability is fine thanks to decent fretwork and an action set at 3/32" under all the strings. It's a little high for Steve Vai or Yngwie Malmsteen, but hey, you can't please every one! With a gig-bag SOLD More photos: Full Front detail Full Back detail Headstock detail

Main Photo	NEW Hofner Jazzica LEFTY! We are not currently Hofner dealers, but we make every effort to have the finest selection of good lefties. A local dealer ordered this awesome jazz machine for a customer who never returned, and then brought it to us because, well, it's all backwards! Lucky us! Beyond cool, and one of the most fun-to-play lefties we have had. Featuring a hand-carved solid German spruce top, with nice contemporary f-holes, body of highly figured maple, unique wedge profile making it super comfy while retaining a full acoustic voice. Then there's that pickup... I don't know who makes these, but they are among the best sounding floating pickups I have heard, sweet and full for quiet passages, but gutsy when you need to dig in. Fingerboard, bridge, sculpted finger-rest and tailpiece all of black ebony. The nut measures 43mm, or a little more than 1 11/16". The body is 15 5/8" wide. This instrument is new, and is offered with full warranty, and in its super deluxe case with built-in humidity gauge and humidifier. A very exciting opportunity for us to offer a premium jazz box to our lefty customers. SOLD More photos: Full Front detail Full Back detail Side detail

Main Photo	1927 Gibson L-4 When this guitar was brought in for our assessment by the neighbour of the original owner, I knew by the sound of the two remaining strings that we had an exceptional instrument on our hands. With a few repairs and some setup work done, this guitar has proven to be one of the richest sounding archtops I have ever had the pleasure of playing. Structurally it is a rare bird, with a few unusual features. The serial number, 83708, dates to early 1927, and it has a transitional soundhole rosette around the oval soundhole, with checkered outer rings and diamonds in the middle. Very classy. And then there's that snakehead, a rare vestige of the Loar period, never usually seen this late. The details are all concurrent with Loar instruments. I suggest that this guitar was built in an earlier batch, and completed and dated in '27. All that aside, it sounds so good, that I challenge you to find a Loar-era guitar this appealing! The basses have the quality of a cello, huge, rich and full, with sweet trebles. This is a guitar that will appeal to players of many styles, particularly if you've ever found standard f-holed archtops a little tight and cold. The guitar is all original: maple and Adirondack spruce, ebony board and patented bridge, pearl nut, engraved tuners, floating guard, and that luscious green-lined case! We think the mahogany neck is a close copy of the bat that helped Babe Ruth sign on for $70,000 in February 1927, when the next highest player made $20,000. There is no fret wear, as the original owner played it lap-style with a riser nut. Check out the picture sent along by his family! The guitar plays exceptionally well, with a fresh setup from our shop, and has a reglued centre seam on the top. There are two dings in the top which were clearly filled in the Gibson shop, prior to sunbursting and finishing the guitar. A very fine investment. SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail Historical Photo

Main Photo	1968 Gibson Super 400 CESN From the Tsumura Collection. This 1968 Gibson Super 400CESN is pictured in Akira Tsumura's book "Guitars, The Tsumura Collection" (Kodansha International Ltd, New York, ISBN 0-97011-839-0) on pages 76 and 77. A stunning natural finish Super four, and one of only 11 built in '68. Carved spruce and highly-figured maple - and 18" wide there is a lot to look at on this beauty. All original gold hardware, bound tortoise-celluloid pickguard, 5 piece maple neck, and legendary tone. Factory original side repair in the area of the out-put jack, as seen in our detail photo, and noticeable in the Tsumura pictorial; the jack plate was likely to have been later added. There is the possibility of a repair to the headstock of this instrument, but the workmanship is so fine that we are unable to conclude this for certain. Recent professional refret and set up gives this guitar excellent playability - amazingly low action without buzzes. Nut width of 1 5/8", and a long scale. Sold with its original hard shell case. SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail Side detail

Main Photo	1930's Regal "Fischer Imperial A" A very cool Regal-made better-quality archtop. With its handsome looks, solid figured maple body, solid Red Spruce top, and engraved Mother-of-Toilet-Seat headstock, this is one of the nicest affordable vintage pieces we've offered for a while. It plays very well, and sounds great, with a warm round notes that make it almost sound like a carved-top. Very little playwear and no damage or repairs. You won't be disappointed with this one. With a newer case. SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail

Main Photo	1937 Martin R-18T A cool 00-sized arched-top tenor guitar. Carved top, mahogany sides and flat back. Completely original, but missing its pickguard; very playable, and well set up. 22.9" scale length. Brazilian rosewood fingerboard and bridge, Grover Sta-tite tuners and nickel-plate tailpiece, ivory nut. Fine tone with a lot of cut. If you haven't yet tried to play tenor guitar, here's a good reason to start! New HSC included. SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1964 Harmony Brilliant H1310 A rare top-end Harmony, the Brilliant Cutaway is one of the few affordable cutaway jazz boxes ever made. This one was found at the side of the road by a hitch-hiking customer of ours, who got us to do a refret and full tune up a couple of years ago. The frets are still great. Besides playing like a dream, with a really decent tone, it is a great-looking guitar. It's got punch and bite, coupled to a rich jazzy bottom end. Although it does not have an adjustable truss rod, the refret has taken care of the settling it did over the years, and it should remain in top form for many years. The original bone nut is 1 11/16", the neck is a nice full D shape. The tuners are very cool, being the same ones found on 1950's Martins. Hey, why didn't we steal those?! It comes with a newish deluxe TKL case, too! SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1958 Gibson ES-125 A super clean and original ES-125 from 1958. It's a gigantic-sounding Gibson with a P-90 pickup that rocks, thanks to a hot DC resistance of 8.2 kOhms. Super-feeling late 50's neck profile with a nut width of 1 11/16". Frets are in great shape, and the set up is all electric... comfy and low. These 125's are some of the most affordable vintage Gibsons, for now anyway. Well suited for blues and rock, and favored by many alt-country artists for their grungy/bright voice, full-depth acoustic body, and cool looks; it's a just a cool guitar. This one has very little finish wear to speak of, and is all-in-all a great instrument. Sold with a hard shell case. SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1946 Epiphone Emperor Roll over, Super 400! The widest production guitar of all time has landed here at Folkway in all her 18 1/2 inches of glory, and what a splash she makes! They built them this way for one reason: Volume. This is indeed a loud guitar with killer projection. From the player's position this guitar sounds fairly tame, but heard from in front it almost hurts. That's not all there is to love here. The tone is rich and balanced with huge basses and a thick, syrupy midrange, and doesn't lack for chop or bark. The previous owner used this as his main guitar for 37 years, in spite of a fine collection of other desirable archtops. This guitar answers the needs of the most discriminating player. Needless to say, it is also a singularly beautiful piece of craftsmanship. The beautifully hand-carved Adirondack spruce top features a gentle recurve which brings power to the subtle hand voicing, and the two parallel braces are individually voiced to enhance the treble and bass sides of this huge guitar independently. The w/b/w bound F-holes are a particularly pleasing shape, and sized appropriately for the air-volume without the muddy flutter that can come from over-sized holes. The body is a comfortable 3 1/4" deep and the 10" waist and 12 3/4" upper bout give a deceptively small feel to the guitar when it's on your lap. It has very nice flamed maple on the sides and back, and that must have been quite a tree. The original bone nut is 1 11/16" wide. The neck has lost almost all of its lacquer, revealing the 7-piece figured maple and walnut laminate. It is an extremely playable neck, with a mild V more like a '50's Martin than like any Gibson. The bound and purfled ebony board has the original frets in fine playing condition, and an adjustable truss rod accessed at the body end of the neck. The guitar has very tasteful inlays on the headstock, fingerboard and bridge-foot, in both pearl and abalone. The original tuners are very cool and work fine. As with any instrument that has actually been played a lot, there have been some repairs. The center seam of the top has been glued, as have two smaller tight cracks near the F-holes. The rest of the guitar is crack-free. The neck was reset in the mid 1960's, leaving a clean fillet of glue around the joint. A wooden dowel was put in through the back into the dovetail, as the dovetail didn't have sufficient flare to hold at tension. The finish touch-up over the dowel is nice, and there is no overspray or weirdness to the finish anywhere. Two holes from strap pins have been filled in the heel. A repaired hairline crack extends 6 inches along the side outward from the heel. The guitar plays great, with a good set-up and medium strings, and the original bridge has lots of height. Next to the Super 400, this is the most highly sought-after large-bodied production-archtop, and this one is priced right. It comes in a modern fitted hard shell case. SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail Neck Joint detail

Main Photo	1952 Gibson Super 400C Serial # A-11162. At 18" wide the Super 400 is an instrument that commands your attention. The king of Gibson's Archtop lineup since its introduction in 1934, The Super 400 was designed to be a loud guitar, with great cutting power and strong projection. This example, dating from 1952, is a simply extrordinary sounding instrument. Crack free, and in excellent condition, this instrument features a warm sunburst on all sides, multiple bound top, back, fingerboard, f-holes, pickguard and headstock. Its rosewood bridge, engraved tailpeice and celluloid pickguard are original; along with its pickguard mounting hardware, truss rod cover, Kluson tuners and tuner buttons. Its pickguard has been cut to accomodate a pickup, and there is a small screw hole in the fingerboard extension from the pickup support. Evidence of a different pickguard (it was from a Johnny Smith) in two additional small screw-holes - one not visible under the pickguard, and the other adjacent to the pickguard support on the side. The back was lightly oversprayed a long time ago for a reason we cannot figure out. The over-spray is flaking off revealing an unblemished original finish. This can be seen in the "Back Detail" photo linked below, near the waist and upper bout of the bass side. If you had the time, it would be a simple task to remove the remaining overspray with your thumbnail. Playability and action are great. Some fretwear - Jazz style - evenly disributed along the fretboard. The Ebony fingerboard of this instrument is a first-year feature and has resisted pitting. 1960's era black HSC included On Consignment SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Pickguard detail Fingerboard detail Tuners detail Tail piece detail Neck Back detail

Main Photo	1946 D'Angelico Excel Serial # 1704 - The second instrument completed by John D'Angelico in 1946. D'Angelico is considered by many to be the Stradivarius of Archtop guitars, and the 1940's were the Master's hayday amidst the overwhelming popularity of Jazz during that time. Today, musicians and collectors alike consider the instruments built by D'Angelico to be among the finest Archtop guitars ever built. This 17" Excel is in remarkably fine condition. It is a two owner instrument that is crack free, and shows very little play-wear to its finish. The original binding is completely intact, as is its original cross-hatched and bound celluloid pickguard. Original ebony bridge and engraved stairstep tailpeice; original pickguard support hardware. Exceptionally fine quilted and curly Maple back, sides and neck. Refretted some 10 years ago by Mandolin Bros. in New York, at which time proper 1940's Grover Imperial tuning machines were re-installed, replacing the misc tuners that were incorrect to this instrument. There remain filled screw holes on the back of the headstock from the replaced tuners; but no new finish was applied. Two small screw holes on fingerboard extension from a DeArmond pickup support. Set up in our shop, this D'Angelico plays as well as it looks, and sounds better still! It has tremendous cutting power, great volume, and is very consistent up the neck. It is a guitar that will definitely inspire and enchant you. 1940's Lifton hard shell case included On Consignment SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail Neck detail

Main Photo	1953 Gibson L-50 A very nice example of one of Gibson's best-selling archtop guitars. Very little playwear and a great vibe overall. This one has a rich tone with full basses and clean trebles. There are no cracks or repairs and the action is nice. A very cool looking and sounding affordable vintage archtop guitar, being sold in its original alligator case. SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1943 Harmony Marvel Leader Definitely on the list of coolest Harmonys we've ever had, this Marvel Leader features a faux-firestripe pickguard, Brazilian rosewood fingerboard, sunburst finish on all sides, and intricate multi-colored top purfling. It appears to have never been used as there are next to no dings and scratches, and only mild fret-wear. Pressed birch arched top and back, big chunky neck, and a look that will impress your Great Aunt Maybell - even if your playing doesn't! Newer Kluson tuners that work. Original soft case included SOLD More photos: Front detail Full Front detail Full Back detail

Main Photo	1933 Gibson L-7 Professionally refinished some 20 years ago by Luthier Michael Heiden, this L-7 is a great-looking, excellent sounding, and very playable guitar. The refin job looks as if it were done by Gibson in the 1950s, and the finish is thin and well aged. Quality repair work. The carved red-spruce top is in great shape despite 3 well repaired top cracks, and the carved back's figured maple is crack-free. The tuners, bridge, and tailpiece are all original. This is a guitar that is made to be played - it sounds the way you want it to; 16" archtops are some of the most under-appreciated instruments out there - and this is a good one! Great feeling v-shaped neck, not much fret wear, and well set up. With original hard shell case On Consignment SOLD More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1922 Gibson Style "0" It's not often that we get to have our hands on the coolest of cool old Gibsons! This Style O dates from Gibson's exahaulted Loar Era; but it bears little, if no, resemblance to the L-5 that debued that same year. What it lacks in tone it makes up in looks, and this guitar is one of the most downright attractive vintage instruments we've seen all year. It was through our repairshop for a seam separation and some set up work, and we tried our hardest to make the repair take as long as it could so we got to look at it longer! NOT FOR SALE More photos: Front detail Back detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1918 Gibson L-3 A pretty 'teens Gibson small round hole arch-top. This beauty was recently in our shop for bridge restoration and set up work. It plays great despite the hugeness of its neck! Thought you'd like to see it. NOT FOR SALE More photos: Front detail Headstock detail Full Front detail Full Back detail Tuners detail

Main Photo	1947 Gibson L-7 Blonde Serial #99596. An absolutely exquisite intrument. Seldom do we see such fine examples of 55 year old guitars. This L-7 is in near-perfect condition, crack and blemish free, 100% original (except for one proper replacement Kluson), and sounds astonishingly great! Loud, and full, with an awesome cut. The maple back and sides are beautifully figured - as one would expect to find on Gibson's L-5 models - making this instrument one of the fanciest L-7's we've ever seen. In addition, this L-7 sports its original bound tortoise-shell celluloid pickguard; pearl inlaid script logo, and pearloid Kluson tuner buttons. Original lacquer finish is in fine condition with attractive gloss and mild finish crazing. You'll carry it home in its original hard shell case, of course. On Consignment SOLD More photos: Front detail Back detail Headstock Detail Full Front detail Full Back detail

Main Photo	1969 Gibson L-7C OK, jazz-hounds, this one's for you. A veteran one-owner guitar from Montreal, with such a great feel. This guitar has never been played below the third fret - I don't even think this guy knew C, F or G. Solid carved spruce top, solid carved figured maple back and sides, five piece maple neck. At 3 3/8" deep, this guitar has a good full acoustic sound, but it lights up like New Orleans when you plug that old DeArmond into a Fender Vibrolux. Original tuners that work, aluminum bridge top, tailpiece with pointed ends and three raised diamonds. The neck features good, honest playwear on the back, but there has been no abuse, no cracks or issues. This guitar is ready for another 35 years of gigs. The original case is in good condition. SOLD More photos: Front detail Back detail Headstock detail Neck detail Full Front detail Full Back detail Tuners detail

Main Photo	1933 Gibson L-7 Serial # 91399. A stunning instrument. 16" wide acoustic archtop with carved spruce top, carved figured maple back and sides. Very clean and original, but with missing pickguard. This guitar plays very well, thanks to a recent professional refret and set up. The tone is all there - loud, rich, warm, punchy, and with a good cut. Its v-shaped neck is very comfortable, and has a nut width of 1 3/4". Nick Lucas style fingerboard inlays and Fleur-de-Lys headstock inlay. Original Grover tuners, with evidence of Waverly tuners having been installed at some point (the screw holes from the Waverly's are spaced a little wider than the originals, and a few of these holes are slightly visible adjacent to the tuners). The Sunburst top finish is beautiful, and adds to the classy vibe of this instrument. The L-7 remains, in our opinion, one of best deals in vintage guitars as it is often as fine as an L-5, but priced at a fraction of the cost. SOLD Case option: We have a few period Lifton cases in stock with prices ranging from US$275 to $600. More photos: Front detail Back detail Headstock detail

Main Photo	1938 Gibson / Recording King M-3 F.O.N. DW-1815. 16" Carved spruce-top arch-top built by Gibson under the Recording King brand name in the late 1930's. With the exception of the proper-footprint replacement tuners this instrument is 100% original and in excellent condition. It has Gibson's classy sunburst finish on all sides and the back of the neck and headstock. Solid figured maple back and sides, 5-piece maple/rosewood/maple neck, Recording king headstock logo and crown inlay in pearl. Single-bound top, back, fingerboard, and firestripe celluloid pickguard. One minor and well-repaired seam separation on the back, but otherwise completely crack free. No top sinkage, and very playable with just the right amount of relief in the neck and fine action. Carved-top tone with lots of volume, cut, and roundness. All that and the original case to boot! Original soft-shell case included. SOLD More photos: Front detail Back detail Headstock Detail Tuners detail Full Front detail Full Back detail

Main Photo	1929 Gibson L-4 Serial #89021. The combination of H style bracing, round soundhole, and carved top and back gives this instrument a very distinctive tone. A great sounding instrument, this L-4 has a surprising punch in its mid-range, and a loud and open quality to its voice overall. It plays well thanks to its adjustable truss rod, good frets, and low action. And with a nut width of 1 29/32" and V profile neck, it feels great in your hand. This guitar is, with the exception of one tuning machine, completely original (even the case!). It is crack-free, has a fine top arch, and has normal finish wear. It is a one owner instrument, and has been well cared for and maintained throughout its lifetime. Mild finish touch up around the "D" tuning machine is not particularly noticeable. Pearl-inlaid Gibson logo, beautiful sunburst top finish, black rear-headstock finish. Carved spruce top, carved Maple back and sides, Brazilian rosewood fingerboard, ebony bridge, original bone nut, original tailpiece, and original pickguard. Original deluxe hard-shell case included. SOLD More photos: Front detail Back detail Headstock detail Tuners detail

Main Photo	1965 Hofner President Bass Cool full-hollow body arch top bass guitar. 34" scale length, and great feeling neck make this one a breeze to play. 100% original, and in great shape. 2 warm sounding humbucking pickups each with volume and tone control. Open gear tuners, intricate headstock inlay, 4-ply body bindings, laminate tone woods with an attractive sunburst finish. Original hard shell case included SOLD More photos: Front detail Back detail Headstock detail

Main Photo	1954 Gibson ES-125 A near showroom-condition instrument. 100% original and super clean, this instrument likely spent the most part of its life in its original case. Neck and frets are in great shape with very little wear, and the original tuners work well. There are no cracks, and very few dings and scratches to speak of except for a small area of case wear near the output jack. Single P-90 pickup sounds awesome, with a hot output of 8.22 kOhms. Fat, bluesy tone. Full-feeling early 1950's Gibson neck profile. It's 50 years old! Crazy. Original Case included SOLD More photos: Front detail Back detail Headstock detail Full Back detail