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1964 Gibson ES-330TD
Serial #174813. Here is a beautiful example of a Gibson burst thin-line. The Gibson ES-330 has much of the same aesthetic styling as the 335, but it has P90 pickups instead of humbuckers and is without the center block. Those differences create a resonant and versatile guitar. The deep, defined mellow basses of the neck pickup are perfectly suited for the Jazz festival circuit. Conversely, the inherent cutting snarl of the bridge P90 will liven up any Country Blues set. The 1-5/8" nut and comfortable neck help make this guitar a joy to play. It has been professionally set up in shop with action of 4 to 5 64ths at the 12th fret. At some point it was re-fretted, and though there has been some fret wear since, all the notes ring true. With replaced tuners and some minor buckle rash, this otherwise pristine 330 is an opportunity for players to own an icon. It even comes with its original hang tags!
With hard shell case
On Consignment
3749 ($3375US)
3859 ($3469US) with credit card
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c.1932 Gibson L-00
FON 328. The L-00 took on many different looks during its production run, but none are more striking than the white-on-black versions of the early 1930's. This is a 1932 or 1933 instrument, and exhibits some interesting evolutionary features of the L-00. It's an all-mahogany 12-fretter, with early style bridge, silkscreen logo, and early 2-ply rosewood fingerboard. The braces are tall, thin, and unscalloped, and the bridge plate is petite and thin. The workmanship on Gibson guitars from this era is excellent, and the top's arch and bracing are in excellent shape. Although this was Gibson's least expensive flattop in '33 it is an astonishing instrument whose looks are only exceeded by its tone. This is a thick and rich guitar, with very full and expressive mids and highs, a dry woody bass, and a hint of sparkle thanks to that mahogany top. It has a complex voice, and a colorful harmonic palette. (how's that for a description?!). Do I like this one? Yes, quite a lot.
In excellent shape overall, this L-00 is crack-free and plays perfectly. It has recently had a neck reset, its fingerboard re-glued, a replacement bridge made, a few back brace ends glued, and the first 3 frets replaced. As the 13thfret has never been out we suspect that the luthier who reset the guitar's neck removed the entire fingerboard to access the dovetail joint. In our repair shop the finish along the edge of the neck and fingerboard was lightly touched up, and this repair is now largely unnoticeable. The bridge, saddle, and nut are accurate replicas of the originals, care of Folkway. Finally, four small tailpiece holes have been filled and very nicely concealed with touch-up. The guitar presents beautifully, and the aforementioned repairs all fade from consciousness within five minutes of holding this guitar. Set up with a somewhat low action of 5 to 6 64ths and 12-54 strings, this guitar is ready for anything you'll want to play. Truly a remarkable instrument in every way.
With 1940's chipboard case
On Consignment
$5750 (US $4999) ON HOLD
$5999 (US $5149) with credit card
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1934 Martelle Deluxe
Find another like it! This Martelle De Luxe is essentially a Gibson Roy Smeck Jumbo with a different headstock. It has been expertly converted from Hawaiian to standard style. Similar to Gibson's 1934 Jumbo, this instrument has a near-uniform depth of 4-5/8 inches to 4-3/8 inches, a 3-3/4" sound hole, small period sunburst top finish, and short scale length. It has two scalloped tone bars and a huge voice. The conversion, which included reshaping and narrowing the huge neck, installation of a truss rod, new fingerboard and frets, filling and re-routing the saddle slot for correct intonation, and a new nut and saddle was very professionally done. The neck is comfortable to play, and has an aged finish that is particularly well matched to the guitar. With perfect action, simply Awesome tone, and one of the most beautiful sunburst finishes out there, this instrument is tough to beat. This Jumbo has a huge and open voice, strong, sweet trebles up the neck, and rich, complete basses. It is a very lightweight guitar, and has a quality of tone that can't be found in most other guitars on the planet. The Martelle features mahogany back and sides, Red spruce top, 1-3/4" nut, 2-3/8" string spacing at the bridge, 24.75" scale length, original full-height lacquered bridge and action of 5 to 6 64ths at the 12th fret. It is in excellent condition with the exception of a repaired top crack below the bridge (and minor finish touch-up), and a patch to the bridge-plate.
Period hard-shell case included
On Consignment
US $9999
US $10,300 with credit card
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1957 Gibson ES-225T
FON U1916-26. The invention of the thinline guitar in 1955 was Gibson's way of
providing players with a light weight, feedback resistant hollow-body. To
help give the guitar further sonic definition, the solitary P90 pickup was
centrally placed between the neck and bridge, giving it what Gibson called
an "intermediate" range of tone. The guitar sounds anything but halfway,
however, with a P90 that growls the blues. Roll the tone off for a solid
round jazz tone. The guitar features a 16 inch wide laminate maple body with
a depth of 1-3/4", a pointed Florentine cut-away, 5-ply bevel-edge
pickguard, single P-90 pickup with volume and tone controls, Les Paul style
trapeze bridge/tailpiece, individual nickel Kluson Deluxe tuners (with one
replaced button), and a pearl inlaid Gibson headstock logo. This
all-original guitar is in immaculate condition, with only some minor top
coat scratches on the back and the slightest of fret wear that is hardly
worth mentioning. In fact, I suspect it would be
difficult to find a cleaner ES-225 out there. This truly beautiful example
must have been living in a closet most of its life, waiting. It has a
comfortably low set-up with action reading 6 to 4 64ths at the 12th fret.
With original chip board case.
On Consignment
$2799 (US $2519)
$2889 (US $2599)
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1939 Gibson / Cromwell G4
FON EC-351. This 16" archtop, similar to the Kalamazoo KG-31 and the Gibson L-50, features a solid spruce arched top and a braced arched Mahogany back. The Cromwell brand was built by Gibson and distributed by a few mail-order stores from 1935 until 1939. The Gibson budget brand has become famous for their flashy Deco fingerboard ornamentation and cool looks. This instrument features a sunburst top, elevated firestripe pickguard, single-bound body and fingerboard, and nickel tailpiece. It has a comfortable V neck with a 1-3/4" nut width and Brazilian rosewood fingerboard. Original everything, and in excellent condition. The guitar plays very well thanks to a fine setup and good original frets. All of us here like the way it sounds, too - it's loud and punchy, but has a warmth not usually found in less-pricey archtops.
With deluxe hardshell case
On consignment
$1499 (US $1299)
$1549 (US $1339) with credit card
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1936c. Gibson TG-00
FON is illegible, but may be 43?-2. The 4 string counterpart to the venerable L-00, the TG-00 shares the same body and bracing as its 6 string brother, but is fitted with a 22.75" scale tenor neck and a wee 4 string bridge. It is a well-used guitar with many scratches and dents in its original finish, but is in remarkably fine condition otherwise. A few repaired hairline cracks on the back but no top or side cracks to mention. Our repair department glued a few back brace ends, plugged numerous screw-holes left from various replacement tuners through the years, fitted aged 50's style Klusons and new period-correct bridge pins, and set the instrument up in our favorite Tenor tuning - low E, with .016 - .054 strings. The set up is just right, and the guitar plays beautifully and rewardingly. Neck is true, and the original frets are in very useable shape. Original tuner bushings, nut, saddle, and end-pin. Keen eyes will notice that this guitar has a three piece top - something we see fairly regularly on L-00 models of this era. The guitar's voice is breathtaking at worst; you'll have a hard time putting this instrument down.
With original chipboard case
$1999 (US $1695)
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1974 Gibson ES-335TD
Serial # 896015. Walnut finished 335, 100% stock and unmodified. A clean guitar, with strong patent # pickups, fast neck with a 1-9/16" nut, and excellent resonance. There's not really to much to describe, actually. The guitar is in excellent shape; there are no bad dings or scratches to mention, original frets show little wear and lie true, and the electronics all work well. D string tuner is a bit bent, and the bridge is fairly close to the guitar's top, but the in-shop set up is spot on and the guitar plays beautifully.
With non-original hard shell case.
On Consignment
$3449 (US $2999)
$3549 (US $3099) with credit card
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A Pair of Kel Kroydens!
Gibson offered the Kel Kroyden line in the first part of the 1930's but appears to have abandoned the brand as the depression worsened. All of the Kel Kroydens that we've encountered have dated from 1930, and have had FON's in the 9000's. The KK's are identical in build to the Gibson L-1's of the era, but have smaller necks without truss-rods. Many players prefer these instruments to their Gibson counterparts thanks to how much less they weigh without steel truss-rods, and the effect that this light weight has on tone. These guitars rumble even under a light touch and the notes jump from the soundhole with an immediacy that you've likely never experienced in a flat-top guitar.
1930 Kel Kroyden
FON 9854. An exceptional sounding guitar, recently neck-setted and freshly set up. This guitar sounds and plays like a dream. Red Spruce top, X-braced, mahogany back and sides. Single bound top, simple rosette, Brazilian rosewood board and original full-height bridge. Original tuners, nut, frets. Back, sides, and headstock rear have been very professionally and accurately refinished. Top finish is original, but has had French-polish touch-up; headstock face is original. One repaired back crack, no top or side cracks; a few reglued braces inside; 15th fret dot is replaced. 2 pounds 11 oz (about 1.25 lbs lighter than a Santa Cruz OM/PW, which is a very light guitar!). low C neck profile, with a nut width a hair wider than 1-11/16", and a 24-3/4" scale length.
With newer hard shell case
On Consignment
$3125 (US $2499)
$3219 (US $2579) with credit card
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1930 Kel Kroyden
FON 9956. And for those of you who are looking for a more original example, this Kel is 100% stock except for a new bone saddle compliments of Folkway. Original finish throughout, nut has never been removed, original full-height bridge with original pins (and matching end pin); original frets, and tuners. X-braced Red spruce top, mahogany back and sides. Perfect neck reset, one expertly repaired top crack, one repaired back brace crack. Fret dress and setup done here. Featherweight 2 pounds, 10oz. Low C neck profile with 1-11/16" nut, and 24-3/4" scale. This is an astounding guitar, with a fullness and balance that will surprise, reward, and beguile you.
With original hard-shell case
$5750 (US $4999)
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1955 Gibson Les Paul Goldtop
Serial # 5 9822. An early 1955 guitar, with wrap-around stud bridge/tailpiece. For many of us, there is little better in the world than old P-90's on a Les Paul; and a few minutes with this guitar plugged in to our '57 Fender Super would make a believer out of anyone. If tone is what you're after, save big bucks and buy a refinished solidbody. Period.
Refinished beautifully by Joeseph Yanuziello earlier this year and restored here at Folkway, this guitar offers huge tone and perfect feel at a fraction of the cost of a similar Goldtop with original finish. We unfortunately do not have "before" pictures, but we'll just say that this guitar needed its new finish quite badly. Some of the plastic parts were unsalvageable thanks to the layer of white enamel paint that covered them. Suffice to say, Yanuziello is a master with his spray-gun, and the guitar looks great now. All the body edges are un-modified, the original body binding is intact, and you won't find any ugly sanding scratches under the new Nitro lacquer. Original headstock finish, Les Paul decal, and pearl Gibson logo are all intact, as is the original stamped serial number on the rear - but have been lightly oversprayed. The neck has its original fingerboard binding, inlays, frets, and nut (which has never been off). The truss rod cover is original, and the tuners are new aged replacements. No extra holes were ever drilled in the headstock. The body features a mix of original and new parts as follows: Original P-90 pickups and covers, original aluminum tailpiece and studs, original switch, 3 original knobs, 2 original pointer washers; original pots (dated late 1954), original jack, original back plates (restored), original mounting screws, original strap buttons, original pickguard mounting bracket. New Vintage Clone pickguard, switch ring and tip, jack plate; new aged knob (bridge tone), two new pointer washers, and new Luxe "Grey Tiger" capacitors. Original solder joints and wire from the switch, but much of the remainder of the guitar's braided shield wire has been replaced or spliced as it had previously been cut short. The best of what is currently available was used in the restoration of this guitar. We crackle-aged the finish, but chose to leave wearing it in to the guitar's next owner. Original pots work well, but the bridge tone control circles without stopping at 10 - it works fine, so we left it alone. The guitar weighs in at 9.25 Lbs, and the pickup DC resistances are 7.9 (neck) and 7.7 (bridge).
We have provided a large number of detail photos of this instrument in order to answer any of your questions. Please feel free to call for an in-hands description if you'd like further detailed info on any aspect of this guitar.
With new TKL hard shell case
US $12,000
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1939 Recording King M-5
FON EW-1577. Funny to think that some of the fanciest guitars that Gibson was building in the late 1930's weren't branded Gibson! Similar to the Ray Whitley Jumbo we posted a little while back, the M-5 was the king of Ward's archtop lineup. Step aside L-12, the Recording King has got you beat! The M-5 is the rarest, fanciest, and most expensive of all Recording King archtops, and not a heck different in build than the L-10 or L-12 models. 17" wide body, parallel braced carved spruce top, maple back and bird's eye figured maple sides. Multi-ply bindings on the top, back, sides, and neck. Gorgeous sunburst finish, notched D'A'esque headstock with pearl block and silk-screened ornaments; 5-piece maple and mahogany neck with bound Brazilian rosewood fingerboard and pearl diamond inlays; matching rosewood bridge. Nickel tailpiece, bound firestripe celluloid pickguard, and Kluson tuners. C-shaped neck has a nut width of 1-3/4", 24.75" scale length, and a non-adjustable truss rod. Finishwear on the back of the neck, and uniform light fret wear - this guitar was clearly used for jazz. In excellent condition, crack-free, and completely original, this is both an interesting collector's guitar, and a great player. Set up in-shop, it plays as nicely as it looks.
With original hard shell case
$2295 (US $1999)
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1939 Kalamazoo KH-21 Mandola
FON EK-2433. A truly rare and interesting instrument. Mandolas of any brand were uncommon in the late 1930's as the Mandolin craze was pretty much all but dead by the outbreak of WWII, and there wasn't very much call for any mandolin-family instruments; especially the C-tuned Mandola. So what a curiosity this Kalamazoo-branded instrument really is. It shares the same appointments as many Kalamazoo instruments - sunburst top finish and dark back and sides, single-bound body, bound fire-stripe pickguard, and simple tailpiece and Kluson 4-on-a-plate tuning gears. It has a braced arched top and back, Brazilian rosewood fingerboard and bridge, and a bone nut. It has a small and well-repaired crack in the back that may or may not have been locally oversprayed. The repair is very attractively done and does not deter at all from the beauty of the instrument. It plays very well, and has a warm tone with lots of sustain and woodiness. There can't be too many of these instruments out there, especially in this fine condition.
With original case
$1949 (US $1679)
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c. 1939 Recording King J-55
No FON. Gibson built instruments for Wards that carried the Recording King brand roughly between 1937 and 1941, and none of these instruments are more renowned than the Ray Whitley models built during that time. As the man who ordered the very first SJ-200, no one is really sure why Ray Whitley endorsed Ward rather than Gibson guitars, but he did, and the instruments carrying his signature are among the most valuable Gibsons on the vintage market today. Interestingly though, this one isn't technically a Ray Whitley model (it seems to predate them) but does have the headstock and pickguard we associate with these guitars. A cross between a J-35, J-55, and the Ward's Catalog, the guitar has a single-bound body of mahogany and Red spruce, sunburst top and dark back and sides. Large, amoebic fire-stripe Whitley pickguard with no engravings, bound rosewood fingerboard with dot markers, rosewood headstock overlay with pearl block inlay. The Recording King brand was stenciled - not engraved- onto the pearl and has since partially flaked away. Kluson tuners with black buttons, and matching black bridge pins and end-pin. Chunky V-shaped Mahogany neck, 1-3/4" nut, and 24.75" scale. Inside, you'll see an un-scalloped X-brace with a wide angle (about 108 degrees) and three unscalloped tonebars. The guitar's bridge is a replica made in our shop as the original was shaved low and cracked through the pin-holes. Our repair department has also neck-setted and refretted the guitar, fixed a b-string pickguard crack, and re-glued a 1" section of the top's centerseam. The guitar's top is in excellent shape with no other cracks. Its back is crack free with the obvious exception of an ancient repair on the lower treble bout; and the sides show a few tight / glued mini-cracks typical of old mahogany dreadnaughts. There is another ancient side repair on the lower bass bout that matches the one on the back. Nothing funny to mention on the inside with either of these two old repair jobs, and they are both non-issues from a structural point of view, so we left them alone. With the exception of the frets, bridge and saddle the guitar is completely original and un-modified. All braces and bridgeplate are original, well-glued, and intact.
The guitar's voice is clear and balanced, and its attack is immediate - almost as if it knows what you're about to play. It has a strong midrange that makes flat-picked notes have that perfect round tone; and articulate, piano-like basses. Not thuddy, or tubby like later scallop-braced J-35's or 45's, this instrument is more reminiscent of a later 1930's L-00 - but bigger, with stronger bass. And you can't argue with that. Perfectly suited for fingerstyle or flat-picking, this may become the only guitar you play.
With a period Gibson Tweed hard shell case
US $17,500
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c. 1937 Gibson HG-00
FON 3328-17. Certainly among the finest examples of the 1930's HG-00 in existence, this guitar's condition is nothing short of miraculous. This one obviously remained unused through the years, likely thanks to the original Hawaiian set up that it arrived at Folkway with some time ago. Our repair department has just completed converting the instrument to Spanish style; a modification that includes resetting the neck, repositioning the saddle for proper intonation, and replacement of the original high nut. The workmanship is befitting of the guitar's condition, we're proud to admit, right down to the aged replica bone nut and saddle carved and installed. And for or posterity sake, we'll provide the guitar's original high nut, saddle and un-worn frets to its new owner.
Without any cracks, finish issues, loose braces, or repairs the guitar is flawless in every way. There is no wear on the gears of the original brass Grover tuning machines; there is no pickwear, there is no case-rash, the bridge has never been shaved, and the bridge plate is unworn. The only reason we replaced the original frets was to deal with excessive neck relief - and we even toyed with the idea of reinstalling the original frets! Yes, this is definitely THAT kind of guitar.
The HG-00 was a 12-fret L-00 with a wide 1-7/8" nut and no truss rod. They were built slightly heavier than their Spanish equivalent (L-00), but are quite lightly built by today's standards . Compared to an L-00 of similar vintage, expect a more pronounced mid-range, and likely a bit more headroom from this HG. It is a perfect choice for ragtime, or any one of your favorite John Hurt tunes... The guitar is currently set up with light strings and an action of 4 to 7 6ths at the 12th fret. The V neck isn't small, but if you're into wide necked guitar's you'll surely love the way this one feels.
With original chipboard case
$5749 (US $4999)
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1966 Gibson ES-330TD
Serial # 804387. We seem to be a magnet for metallic Burgundy finished Gibson ES's lately! The latest addition to the selection is this near-mint, all original '66 330. The 330 model has the same looks and styling as an ES-335, but is completely hollow and has P-90 pickups rather than humbuckers. This example is a one-owner under-the-bed guitar that has just surfaced here in Folkway-ville. Brilliant unfaded finish, almost no playwear, strong P-90's, and perfect frets. 1-5/8" nut, comfortable neck (it's not a "pencil neck"), and nicely set-up in shop. When guitars are this clean, there's really not much to tell you about! The pictures should tell the story well.
With original hard shell case
On Consignment
$4319 (US $3750)
$4449 (US $3850) with credit card
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1954 Gibson ES-175DN
Serial # A-17871, FON X-8846-11. Guitars like this Blond ES-175D are what vintage is all about. Some of us are into old guitars for their tone, some of us wax poetic about how they feel, and some of us are into them just because they look so darn good... But ALL of us are into guitars that do it all - and that's what this box is all about. With its strong, big-sounding P-90's, well-worn neck, great patina, and vintage Bigsby tremolo this guitar is a tone monster that looks as good as it sounds. Full hollow, full depth laminate maple body with natural finish, Florentine cutaway, short-scale mahogany neck, and double parallelogram inlays define the 175. That Bigsby may have been on the guitar since new, but it may not be a factory original part as is evidenced by extra screwholes hiding under the screw-plate. Completely original wire-harness and pickups, original pickguard, knobs, and switch-tip; original bridge, and Kluson tuners. The frets and the nicely aged tuner buttons are not original; and the bridge was once pinned to the top (there are small pin-holes in the top under the bridge, and small holes in the bridge base hidden by the adjustment thumbwheels). Newer jumbo frets show some wear but play well up the neck, some minor cracks by the output jack have been repaired, and the instrument has just recently been set-up in our shop. This guitar offers some of the best P-90 tone you'll ever hear; it plays nicely, and looks oh-so-gorgeous...
With its original hard shell case
On Consignment
$5750 (US $4999)
$5950 (US $5199) with credit card
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1961-2 Gibson SG Special
Serial # 50302. We're calling this one a '61-'62 Special because the serial number dates to 1962, but all the components and design elements are 1961 specific; and it makes a big difference. The pot codes date to the 40th week of '61. The wrap around bridge is nickel-plated lightweight aluminum - without compensation ridges, and the neck joint transition is smoothly feathered - these are all features that differentiate the '61 models from those a year younger. Why this guitar has a 1962 serial number is a
mystery, as it is clearly a 1961 model. The instrument is a one-owner guitar, and in completely original condition. All solder joints are intact, as are the original tuning machines, truss-rod cover, nut, frets, pickguard, P-90 pickups, knobs, and finish. There is a spot of wear by the output jack
and a small chip in the headstock that was glued back on in 1962. The neck is in great shape - no cracks at the body or headstock, good angle, and original frets with not too much wear. The set up is excellent, and the guitar plays fast and smooth. The '61 neck carve was wide and thin (1-11/16" at the nut), and built for fast lead work. The P-90's are strong,
and measure 8.1 kOhms (neck), and 7.8 kOhms (bridge). The cherry finish has strong color, and is in great condition throughout; a few dings as scratches here and there, but nothing excessive, save for the aforementioned wear by the jack. It's a dream to play, and sounds incredible. Weighing in at a
svelte 5.9 pounds total, you'd be hard pressed to find a lighter and more resonant SG.
With non-original case (he threw out the chipboard case years ago!)
On consignment
$6999 (US $6295)
$7200 (US $6499 ) with credit card
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1938 Recording King L-00
FON DW-1212. The super-rare Recording King Carson Robinson /Model K has the body and neck of a standard Gibson L-00, but is ladder-braced, has no
truss-rod, and a slightly different pickguard outline. This is a knockout of a guitar that we simply can't spare the time to work on. It's in
excellent condition, but for a small back crack, a pickguard margin crack, and a short crack between the soundhole and the fingerboard. The guitar has
its original lacquered bridge, and original bone nut and saddle, but is without tuners, and bridge pins. Repairs needed include fixing th
aforementioned cracks, resetting the neck, and setting up he guitar. The ladder-braced top is quite bellied as you'll see in one of the photos,
below. An option to explore would be to re-brace this top with X-bracing. A marvelous guitar with a great deal of potential.
$1699 (US $1399)
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1937 Gibson Black Special
FON 306B-11 The Black Special was an uncataloged budget archtop built from the mid 1930's until the Second World War. It's 16" wide, and features a
carved spruce top, flat maple back and sides, white top binding and black finish throughout. This particular example is original except for the
bass-side tuners and truss-rod cover. There are no cracks. Repairs needed: Remove back to reglued loose back braces (one is completely off), Back is
already separated from the sides at both sides of the waist, so the job should be easy. First frets are worn, and a fret-job really wouldn't hurt.
Original pickguard, bridge, tailpiece, nut, and 1/2 of the tuners.
$1049 (US $899)
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1947 Gibson LG-2
FON 648-4. Amongst the very first instruments to leave Kalamazoo with the then-new "Modernized" logo, this guitar was likely completed in late 1946 or early 1947. The new logo required a little less room than the "Script" logo it was replacing, and we suspect that Gibson moved the tuning machines about a 16th of an inch away from the nut to accommodate this difference in size. This change would have happened sometime after this guitar was built; and as a result, you'll notice that this guitar's logo appears mis-located, when in fact there was simply more space for it to occupy on the headstock. We find that kind of stuff interesting.
A gorgeous guitar, this LG-2 doesn't have a single crack and is completely original. It has a rich reddy-brown sunburst finish that's developed a wonderfully vintage patina over the years. With scalloped X bracing, very light weight, and a wide-grained top it's no wonder it sounds as good as it does, but this guitar has something extra-special in its voice too. Airiness, warmth, woodiness - any of these are good descriptors. It's not the loudest LG-2 out there, but it definitely does what it does well. Single-bound body, rosewood fingerboard and bridge, original nut, saddle, tuners, pins, and frets. Very little fret wear, nicely set-up in shop to standard 5 - 7 64ths action. Full height bridge, but no more room on the saddle to lower the action further. Comfortably round neck with 1-11/16" nut width. A special guitar.
With original chipboard case
SOLD
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1954 Gibson SJ
FON # X8096-8. Wow. It's original from the tuner buttons down to the end-pin, has its original hard shell case and rope strap; looks astounding, and plays perfectly. And, it will make you sound good. It doesn't get much better than a small-guard Southern Jumbo for many of us, and small-guard Southern Jumbos don't get much better than this one. Unmodified, save for the center-seam repair and set-up courtesy of our repair department, close to no playwear, and a perfect top-arch. Scalloped braced top, small maple bridge plate, full-height Brazilian rosewood bridge, and original frets with almost no wear. The strikes against it are minor and few in number: A small area of cat-claw scratching on the top near the end-pin, the odd ding in the finish, and stiffness in the original Kluson tuners. Set up with 5 to 7 action the saddle is on the low side, but does have a little more wiggle room left if you're looking for a fingerstyle set up. Strong projection, sweet and rich, with a tight low end, crispy highs and good clarity - pretty much what we'd hope to find in a big mahogany guitar. It's never really been played, and should open up into a tremendous guitar with a few good hours of strumming.
With original hard shell case
SOLD
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1940 J-35
FON #1464F. Let me start by saying that, as good as our pictures are,
they're sometimes just not good enough. The photos of this 1940 Gibson J-35
do not do this instrument justice. The top has some minor dings and
scratches, but these seem to have been excessively highlighted by the
diffuse light we use in our photo studio. Now for the good stuff...
This Gibson J-35 was built in 1940, and purchased new in 1941 by the
Grandfather of a gentleman from Rochester, NY who just recently sold us this
guitar. This instrument was well cared for by its three generations of
owners, as the condition of it attests. It is in wonderful shape, with
only one tiny (and repaired) crack on the bass side lower-bout of the top,
adjacent to the binding. The original lacquered Brazilian rosewood bridge
is full thickness. The finish is in great shape, very thin, with only mild
crazing. The original frets show only minor wear; and the nut, saddle,
bridge pins and endpin are all original. The original tuners have replaced
buttons. There are no interior repairs, no loose braces, no water damage,
and no excessive top deflection. It is an exceptionally fine no-issues
example. The neck is quite large - small hands will have a hard time with
this one - and the action (at 5/64 treble and 9/64 bass) is high on the bass
side. We simply don't shave bridges, and we've left the option to reset the
neck up to the next owner as certain collectors would prefer to have such a
fine specimen in its un-repaired and original condition. Nut width of 1
11/16", one piece mahogany neck with adjustable truss rod. Adirondack Red
spruce top and bracing; double un-scalloped tone-bars. Gorgeous fire-stripe
pickguard and no pickguard crack. It is a thunderously loud guitar, hugely
resonant, and well balanced. You feel the back vibrate with each note you
play. This guitar exemplifies why so many players want J-35 Gibsons. It
will not disappoint.
SOLD
More photos:
Front detail Back detail Headstock detail
Full Front detail Full Back detail Tuners detail
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