c.1935 Harmony H1307 Cremona VII
Serial # 2695. The Cremona VII was Harmony's top-tier archtop, and offered between the mid 1930's and early 1950's. The instrument features a 15.5" wide body, carved spruce top, figured maple back and sides, wide herringbone top trim and a dark sunburst finish. Pearl inlays and racing stripe on the fingerboard; pearl headstock inlays, gold plated engraved Martin-esque tailpiece, cream-celluloid bindings throughout, and Brazilian rosewood fingerboard and adjustable bridge. The headstock features front and back overlays, and the original decal of the store in Montreal from which it sold new, back all those years.
The instrument is in beautiful condition, with original unworn finish and frets, no cracks or damage. The tailpiece hinge has been repaired and pinned, and the pickguard is a nicely made replacement (the original is crumbling, but included). The set up is lovely, but the frets are not perfectly level and a hard attack can bring out minor buzzes up the neck.
The instrument has a full feeling soft-V neck profile, 25" scale, and 1-3/4" nutwidth. It's a comfortable neck, and combined with its smallish body, is a real enjoyable guitar to hold. It has that classic small-bodied arch top tone, with a lot of punch through the midrange and trebles, and an articulate bass-end.
With hardshell case
The instrument is in beautiful condition, with original unworn finish and frets, no cracks or damage. The tailpiece hinge has been repaired and pinned, and the pickguard is a nicely made replacement (the original is crumbling, but included). The set up is lovely, but the frets are not perfectly level and a hard attack can bring out minor buzzes up the neck.
The instrument has a full feeling soft-V neck profile, 25" scale, and 1-3/4" nutwidth. It's a comfortable neck, and combined with its smallish body, is a real enjoyable guitar to hold. It has that classic small-bodied arch top tone, with a lot of punch through the midrange and trebles, and an articulate bass-end.
With hardshell case