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NEW Oskar Graf 16" Koa Archtop
World class luthier Oskar Graf has been building string instruments one at a time for the last 40 years. His guitars are continually the finest we encounter, both in craftsmanship and tone, and we are especially honored to present his latest Archtop for sale here at Folkway. Please visit www.grafguitars.com to learn more about Oskar.
This 16” cut-away beauty is carved from highly figured Hawaiian Koa and master-grade Sitka spruce. Hand carved ebony bridge, tailpiece, and pickguard; matching curly Koa neck. Simple but tastefully appointed with mitered multiple purflings, multi-layered headstock overlays, brass-purfled headstock face, gold Schaller tuners, and pearl Graf logo. 25.2” scale, round C neck carve with a 1-3/4” bone nut. Hand polished high-gloss lacquer finish with a hint of amber tone. Kent Armstrong floating pickup, with pickguard mounted volume and tone controls. So much of the beauty of this guitar is in the details of Graf’s masterwork – the bevel to the F-holes edges, the shape of the cut away, the carve of the bridge and the brass string ground inlayed into the tailpiece. Every minute aspect of this guitar’s design has been carefully planned and executed by one of the finest craftsmen of our time.
With the guitar in hands, the first thing you’ll notice is how light the guitar feels. This light weight translates directly to warmth and resonance when the guitar is played, and this archtop has a fullness unique to this builder’s instuments. Single note runs thoroughly fill the space around the player, while chord melodies inspire a slower pace and a little extra time to listen to the music being created. But if blazingly fast arpeggios are your thing, Graf’s perfect fretwork and neck carve won’t slow you down at all. A remarkable guitar in so many ways, prepare to fall quickly in love with this masterpiece.
On consignment by the luthier
SOLD
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1930 Epiphone #4
Serial # 407. Not much is known about the Epiphone #4 and other numbered-models built in the very early 1930’s. We suspect the number series replaced the Recording models (A through E) that were built in the late 1920’s, but preceded the Masterbuilt models introduced shortly thereafter. There aren’t many of these instruments documented, and comparable guitars are hard to find, but through the study of this particular example its becomes evident that Epiphone was working on modernizing the steel string guitar, and this instrument represents a step in the process.
The instrument features a pressed spruce top with flat-top style X bracing, pin bridge and bridgeplate, pressed maple back and sides, and a 25.4” scale modern neck with a 1-11/16” nutwidth. With equal parts flattop and archtop, the guitar has a sound unlike anything else we’ve played. It’s dark and resonant, like a lightly built flat-top, but has the quicker attack and roundness of notes more often associated with archtop guitars. The bass strings shudder nicely under a heavy attack, with a lively back that sounds best when kept away from your belly – like most lightly built carved instruments. Treble notes ring full and thick and are remarkably balanced. The decay is more archtop than flat-top, which predisposes the guitar to syncopated rhythms and melody.
Completely refinished, a few repaired top cracks, plugged hole in bass-side waist, tuners replaced a few times, replaced nut, saddle, frets, and bridge-pins. Ebony fingerboard with slotted diamond inlays, three-piece maple neck with incredibly comfortable rounded V carve, engraved headstock overlay. Rosewood bridge is likely a replacement but might be original, original spruce bridge plate. No side or back cracks, excellent neck angle, perfect in-shop setup and action, strung with nickel-wound 12’s. Maple bridge plate patch, bone saddle, and Stewart-Macdonald Golden Age tuners installed in our shop. A rare and interesting piece, with excellent playability and very fine tone.
With hardshell case
SOLD
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1952 Gibson ES-150
No FON. For all practical purposes, let’s just call this a new 60 year old Gibson ES-150. Mint condition, untouched, and perfect. New tuner-buttons installed by us and a fresh set of strings are the only modifications this guitar has ever seen. It’s that clean. And then there’s the case. It’s pretty much new, too.
Laminate maple 17” full-depth arched body, single P-90 pickup, tall barrel knobs, adjustable wooden bridge. Mahogany neck, bound rosewood fingerboard with pearloid trapezoid inlays, Kluson ‘no-line’ tuners. In perfect working order. We’re happy to offer the guitar at a discounted price with a substituted new case.
(with original hardshell case)
SOLD
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1940 Epiphone Emperor
Serial # 14597. Upon its introduction in 1935 until the company’s sale in 1957, the Emperor was the highest quality, most lavishly appointed, and most expensive instrument offered by Epiphone. Designed and priced to compete directly against Gibson’s Super 400, the Emperor featured an 18-1/2” wide body of carved spruce and figured maple, ornate bindings and inlays, an adjustable neck reinforcement (marketed as a “Thrust Rod”), and a rear headstock overlay. Today, pre-war Emperors are prized for their tone, playability, and great looks.
Built in 1939 or 1940, this particular Emperor features a Frequensator tailpiece, Rosewood fingerboard and gold Grover G-98 tuners. 7-piece neck of figured maple and mahogany, pearl and abalone fingerboard and headstock inlays, and bound F-holes. The guitar has been beautifully refinished with gloss Nitrocellulose lacquer. Under the new finish there are two repaired back cracks, a couple of repaired top cracks, and a top slice adjacent to the bass-side F-hole. The bridge and pickguard are high-quality replacements, and a professional refret and excellent set up ensure the very best in playability. The neck has a round C profile, 25.5” scale, and a nut width of 1-23/32”. The guitar has a meaty and throaty voice, with a natural compression that allows soft notes to flower nicely while keeping heavy comping in check.
With Harptone Hardshell case
SOLD
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1938 Vega C-26
Serial # 38793. A dashing 16” Vega, in near perfect condition. Carved spruce top, maple back and sides, completely original, and gorgeous. Grover G-93 tuners work flawlessly, original bound pickguard and engraved tailpiece. No cracks or playwear. Recently refretted, excellent bridge fit, nicely set up. Soft V neck carve with 1-11/16” nut makes for an easy playing guitar. A beautiful time capsule, complete with perfectly preserved Geib hardshell case. Even if you’re buying this one just for the tuners and case, you’ll likely enjoy the guitar too!
SOLD
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1922 Gibson Style O
Serial # 69926, FON 11633. Gibson’s Style O was originally designed as a Mandolin orchestra rhythm instrument, and the guitar’s looks definitely suit the role – with its scroll and body point, the Style O is quite reminiscent of a 20’s F-4. The highest-end guitar in Gibson’s catalog until the introduction of the Master Model L-5, this Style O was built right around the time the first L-5 guitars. And like the then-new L-5, this Style O features an adjustable truss rod, adjustable bridge, and metal tailpiece. This must be among the last of the Style O’s as the model was dropped from the Gibson catalog around the same time this one was built; however, examples from as late as 1925 exist.
But for a missing pickguard this Style O is completely original and intact. The left and right side tuners are not an exact match, but both sides are definitely original to the guitar. Just about every Style O we’ve ever encountered has a crack through the heel of the neck and adjacent sides, and this guitar is no exception. The crack is well repaired and stable. No other cracks, no repairs. Original pearl nut, frets, bridge, and tailpiece; good top arch, neck angle, and action. It’s a much more richly toned Style O than others we’ve met. Like many round-hole arch-tops, the voice is warm and focused in the mids. But there is a woodiness to this guitar that is not often found in archtops; the treble notes have a very round texture, and the basses are surprisingly expressive. It’s quite a lovely guitar to play, but expect a substantial neck with a thick carve (1.1” deep at the 1st fret) and a 1-7/8” nut.
With original hardshell case
SOLD
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1937 (circa) Vega Electric Archtop
Serial #56197. With the introduction of Rickenbacker's first pick-up equipped guitars in 1932 the guitarist's world was forever changed - the electric guitar had arrived. 1935 saw the premiering of Gibson's ES-150, Epiphone's Electar models, National's Electric Spanish, and the first versions of this instrument - the Vega Electrovox. We're guessing this instrument dates from about 1937, but as we've not found any reliable serial number lists for Vega's guitars we can't offer a specific date of manufacture. Figured maple laminate body, very curvy and 16" wide, single-ply white binding, mahogany neck, bound rosewood fingerboard, ebonized bridge. Single coil pickup with "Dual-Tone" multi-capacitor tone circuit with bass, normal, and treble settings; volume control, white plastic radio knobs and plates. Original Black Bakelite pickguard, original tuning machines. Professionally replaced jumbo frets and a very nice in-shop set up. This is a great Jazz, Blues, or Rockabilly machine - and it's stage ready, too. Very comfortable C neck profile is similar to a 50's Gibson, but with a slightly narrower nut width of 1-5/8" and a 24.75" scale length. Vintage-chic and super cool.
With original hard shell case
SOLD
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1932 Kay Kraft Style B
Stromberg-Voisenet (Kay) introduced their Venetian body shape in the late 1920's, and offered the fancy archtop Kay Kraft versions between circa 1932 and 1937. With its curvy asymmetrical body, pearloid headstock, fancy gold decals and Cremona sunburst finish, the Kay Kraft looks like a million bucks - which was the magic ingredient to surviving the Great Depression; something that Kay did quite well. These guitars have a plunky lo-fi sweetness that lends itself well to old-time blues and figerpicked rags. Apart from the period-correct vintage replacement tuners this guitar is 100% original in excellent condition. Like every one of these we've ever seen, the ebonized maple fingerboard is cracked in a few places and the fretwork is not fabulous; but the guitar plays well after having been set up in our shop. Have a peek at the very cool original Bakelite bridge - it's got a compensated top on one side for Spanish style playing, and a straight top on the underside for lap-style!
With original case, strap.
SOLD
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1949 Gibson Super 400
Serial # A-3506, FON 3729. At 18” wide, the Super 400 is the largest guitar ever produced by Gibson. It was introduced in 1934 and redesigned in 1939, but few significant changes have since been made to the venerable Super Four. Introduced at a time when coaxing the most volume from an unamplified guitar was the foundation of new design, the Super 400 sold well despite is lofty price tag. Some of the most iconic Jazz recordings were cut on this model, and today – many decades later – the guitar remains one of the most sought-after archtop models in the vintage market.
This 1949 example is a wonderful sounding guitar in 100% original and unmodified condition. Apart from a small area of playwear on the top and a modest collection of scratches the guitar is in excellent condition. No finish wear on the instrument’s back, very slight wear on the back of the neck; no cracks or repairs. Original tuners work well, nut has never been removed, original frets are evenly worn but useable, pickguard is in excellent condition, as is binding, bridge, and tailpiece. Top arch is good, neck angle is fine. Apart from an added strap-button and a replaced endpin, the guitar is a straight-up as they come. Set-up in-shop with .013” nickel-wound strings the guitar is warm but throaty, with piles of headroom if you choose to dig in. The neck is a fairly fast C profile with a 1-11/16” nut and long scale; rosewood fingerboard typical of this era.
With original hard shell case
On Consignment
SOLD
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1918 Gibson L-3
Serial # 41218. With its rich red sunburst finish, ivoroid accents, engraved Waverly tuners, carved bridge and celluloid tailpiece, this small Gibson archtop speaks to old-world craftsmanship and attention to detail. It's a princely guitar, with handsome appointments. Completely original and in excellent working order, a long lost pickguard and missing label are this guitar's only real flaws. No cracks, scrapes, or bruises to discuss on this one, but there is some light playwear on the top near the soundhole. Light to moderate wear to the original frets, light finish wear on the back of the neck. Original bridge and tailpiece are in excellent condition, as are the tuners and nut. The V neck is large but quite playable, the fingerboard is true and shows proper relief, but there are a few buzzy bass notes in the middle part of the neck. Nicely set up with 5 to 7/64th action. Nut width of 1-13/16", short 24.2" scale. With its small body (about 13.75" wide), carved spruce and birch body and short scale 13 fret neck the guitar plays with a springy bounce. It's a fairly bright guitar, but still warmer than one would expect given its small size, especially with the right pick attack. Don't let the round-hole fool you, this one is archtop all the way!
With original hardshell case
SOLD
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1934 Gibson L-7
Serial # 90471, FON 363. Introduced in 1932, the L-7 was designed as less expensive option to the flagship L-5. Single ply body binding and dark brown back and side finish kept the price down, but there was really nothing “cheap” about this model. Its body was carved from solid spruce and figured maple, and neck was appointed similarly to the Nick Lucas models, with pearl logo and Fleur de Lys on the headstock, varied pattern pearl inlays on the fingerboard, binding to match the body, and nickel plated Grover tuners. Apart from the shorter scale neck, the L-7 didn’t look all too different than its more expensive older brother. As a result, it sold well and remained in the price list for a long time.
This 1934 example is a local guitar, it was bought new in Toronto at Beare & Son and spent the entirety of its life with its original owner, and subsequently his son. An original sale correspondence accompanies the guitar. This was a gigging musician’s guitar; it was well used but well maintained, and remains in very fine condition. A pickup was at one time surface mounted to the top with control unit mounted adjacent to the treble F hole. There are a total of six filled screw holes that remain today, along with the finish touch ups to hide them. The work is very nicely done – we couldn’t effectively photograph it, so have included black-light photos of the guitar. A fist-sized section of the back has been touched up as well, there is no longer any belt-rash, and the repair is invisible but for under black light. We suspect that the pickguard is a replacement, but can’t say for certain as it appears to match the guitar in age. It is a warm archtop, with good volume and projection , and has a comfortable V shaped neck. Frets show some wear in the first position, but set-up and playability are excellent.
With original “Red Line” hard shell case
SOLD
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1955 Old Kraftsman K-1
The Speigel owned "Old Kraftsman" trademark was branded on many Kay-built instruments from the 1930's through to the late 1960's. The instrument pictured here is an Old Kraftsman version of a Kay K-1. It's a 17" cut-away archtop built of laminate maple and spruce with white bindings and appointments. The guitar is in nearly-new condition and has just about no signs of wear anywhere it. Even its original case is super-clean. Obviously completely original, the only repairwork this guitar has ever seen was the set-up we gave it two days before these photos were taken. It plays very well, and has fine fretwork and neck angle. Brazilian rosewood fingerboard and bridge, Kluson tuners with original buttons, great looking original tailpiece and pickguard too. Chunky round neck with a nut width of a little more than 1-5/8" and a long 25.7" scale neck.
With original case
SOLD
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NEW Oskar Graf 17" Archtop
World class luthier Oskar Graf has been building string instruments one at a time for the last 40 years. His guitars are continually the finest we encounter, both in craftsmanship and tone, and we are especially honored to present his latest Archtop for sale here at Folkway. Please visit www.grafguitars.com to learn more about Oskar.
This 17” cut-away beauty is carved from highly curled maple and master-grade Sitka spruce. Hand carved ebony bridge, tailpiece, and pickguard; curly maple neck. Simple but tastefully appointed with mitered multiple purflings, multi-layered headstock overlays, brass-purfled headstock face, gold Schaller tuners, and pearl Graf logo. 25.2” scale, round C neck carve with a 1-3/4” bone nut. Hand polished high-gloss lacquer finish with a hint of amber tone. Kent Armstrong floating pickup, with pickguard mounted volume and tone controls. So much of the beauty of this guitar is in the details of Graf’s masterwork – the bevel to the F-holes edges, the shape of the cut away, the carve of the bridge and the brass string ground inlayed into the tailpiece. Every minute aspect of this guitar’s design has been carefully planned and executed by one of the finest craftsmen of our time.
With the guitar in hands, the first thing you’ll notice is how light the guitar feels. This light weight translates directly to warmth and resonance when the guitar is played, and this archtop has a fullness unlike any I’ve ever heard. Single note runs thoroughly fill the space around the player, while chord melodies inspire a slower pace and a little extra time to listen to the music being created. But if blazingly fast arpeggios are your thing, Graf’s perfect fretwork and neck carve won’t slow you down at all. A remarkable guitar in so many ways, prepare to fall quickly in love with this masterpiece.
On consignment by the luthier
SOLD
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1959 Supro Ranchero
Serial # T12198. The late 50's would see some of the most garish industrial design of the decade. The car tail-fin and pompadour alike would both reach unforeseen heights. The Supro Ranchero was a guitar clearly designed in that milieu. Though this 16 inch laminate arch top has a western name, its tone is all Chicago. The single coil Valco pickup is warm and best suited for rhythm and blues; but, turn up the slap-back echo and you have an excellent Rockabilly rhythm guitar. The 1-5/8" nut width and short scale neck aren't going to slow anyone down. The fingerboard tongue has a slight rise to it, so there is a little fret buzz in the upper register. This Ranchero is all original and virtually unblemished.
With original chipboard case
SOLD
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1948 Gibson L5 Premier
Serial # A-2433. Fitted with a Venetian cut-away in 1939, the L-5P was the world’s first cut-away f-holed arch-top guitar. The cut-away design proved immediately popular and many new models would be offered as such in the years immediately following the War. This L-5P is a lovely guitar – both in looks and tone. From the multi-ply headstock binding to the engraved gold and nickel tailpiece this guitar says what it says with more class than most. Deep, rich sunburst finish accentuates the figured Maple and spruce, while pearl ornaments dress up the fingerboard and headstock. Neck-setted and refretted, the guitar is well set up and plays nicely. Original Kluson Sealfast tuners work without issue. There is a very minor check in the heel and some spot touch-up work associated with the neck set; the pickguard has been rebuilt with new tortoiseshell celluloid and the original binding; the bridge is a period-correct Gibson part, but not original to the guitar, the tailpiece is missing the Varitone tension adjuster, there are two extra screw-holes from other pickguard mounting brackets, and there is a 3” length of back center-seam that has been glued. Apart from this collection of minor flaws the guitar is intact and in wonderful condition. Fast round neck profile with a 1-11/16” nut. Brazilian rosewood fingerboard (not ebony) has a scale length of 25.5”.
With newer Gibson hard case
On Consignment
SOLD
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1996 Gibson ES-165 Herb Ellis
Serial # 90666478. Essentially a modern version of the single pickup ES-175, the Herb Ellis model filled a much missed hole in the Gibson lineup upon its introduction in the early 1990’s. Fitted with a PAF inspired humbucker in the neck position, these early Herb Ellis 165’s remain one of the most popular Jazz boxes in modern Gibson history. Unfortunately, Gibson redesigned the model a few years back and the newer Johnny-smith pickup versions just aren’t the same. Just like the original ES-175’s this guitar features are cut-away laminate maple body, 24.75” scale mahogany neck, bound rosewood fingerboard with double parallelogram inlays, and volume and tone controls. This sunbust example is in near perfect condition and appears to have been very seldom used. It’s freshly set up with flat-wound 11-50’s and fast action. A wonderful guitar.
With original hard shell case
SOLD
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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
SOLD
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1936 Cromwell G-4
FON 973B. Cromwell guitars were built by Gibson in the 1930’s and marketed through various catalog distributors. This one has a Beare and Son, Toronto label visible through the bass-side F-hole as many of the Cromwells we encounter here in Ontario do. 16” archtop built of solid spruce and mahogany, with braced top and back. Sunburst top finish, single-bound top and back, firestripe raised pickguard, nickel tuners and tailpiece; and the white-stripe rosewood fingerboard typical of Cromwell guitars. Bridge is a 50’s replacement, nut is an aged new part made in our shop. The guitar is in excellent condition, and without cracks. Apart from a minor repair to the pickguard’s top corner the guitar has never needed repairs. Original tuners work well, original frets are unworn (it was set-up Hawaiian when we found it), and the neck relief is perfect. 30’s V shaped neck with 1-3/4” nut and 24.75” scale. A good sounding budget archtop with a lot of style.
With original chipboard case
SOLD
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1957 Epiphone Harry Volpe
Serial # 69041. Harry Volpe's prolific career as a performing Jazz guitarist, teacher, and guitar endorser culminated in the the creation of his signature Epiphone archtop. Approached by Epiphone in what would be their final years as an independent company, Volpe drafted specifications for a guitar suited to both the professional and novice player. The 15-1/4" Maple laminate lower bout with a 3-1/3" depth are a comfortable dimension for just about any sized player. Add to that a 1-3/4" nut with a 50's Gibson-style full C neck profile and suddenly a C7 flat-5 isn't so daunting. The solitary DeArmond neck pickup has enough bite to unsettle the mellowest jazz cafe and excite the darkest blues house. Set up in shop with an action of 4 to 5 64ths at the 12th fret. This rare guitar has the looks, tone and is easy to play.
With chip board case
SOLD
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1935c. Kay Deluxe K-2
By the mid 1930's Kay abandoned the fancy Venetian Kay Kraft instruments and their fancy ornamentation in favor of more simple, less expensive designs. The company had survived the worst of the Great Depression by building inexpensive instruments, and likely enjoyed the profitability of this niche. The Kay DeLuxe K-2 was a base-model instrument with a pricetag of about $16 in its day (about a third the price of a Gibson L-50). The guitar features a 15" wide body of arched spruce and birch, tastefully finished with a sunburst-on-all-sides Cremona lacquer; white bindings and soundhole rosette, Oahu-style headstock, adjustable neck, elevated bridge, and simple trapeze tailpiece. This example is a lovely instrument in very fine condition. With exception of a new ebony bridge and 4 of the tuning machine posts the guitar is original. Frets have been dressed and are in fine shape, and the guitar has been set-up in our shop. Tonally, round hole archtops don't fit into any mold - they're not at all like F-hole archtops, and not really like flat-tops either. Expect a guitar with a lot of the punch, quickness, and midrange of an archtop and the woodiness and fatness of a flat top. With a prominent muted warmth in the lower mids, chunky upper mids, and a peanut-butter smooth response, there's a good chance you'll fall in love with the way this guitar sounds. It straddles that line between nuanced lo-fi cool and cheap-chic; and gives the best of both sides. Soft V neck with 1-3/4" nut, and long 25.75" scale.
No case
SOLD
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1942 Gibson ES-300
Serial # 97420 FON 4096G-39. Upon its introduction in 1940, the ES-300 was the flagship of Gibson’s new Electric Spanish guitar line. Not many were produced though, as the War would curtail production shortly thereafter, and clean pre-war ES-300’s like this are quite rare today. This instrument is an example of Gibson’s second version of the model but apart from the pickup is virtually the same instrument (the first version featured a long, diagonal pickup). Its 17” body has a laminate arched spruce top and arched maple back and sides; Gibson designed in a pair of soundposts to help support the top. The headstock features a pearl script logo and a crown inlay – this model was the first to be outfitted with the crown – black painted rear, and individual Kluson tuners. The pickup is the predecessor to the P-90, and is a work of art in itself – with firestripe sides and a tortoiseshell top. Maple neck with a 25.5” scale, rosewood fingerboard, and pearl parallelogram inlays. The guitar is in wonderful condition throughout and quite original. The frets don’t show much playwear, and the guitar's original finish is glowingly beautiful. The pickguard has been expertly restored, and the pickup has just been rewound by Jason Lollar, whose work is undetectable. There is corrosion on the frets adjacent to the pickguard and some discoloration to the finish below. The original tuners tend to rattle at certain frequencies, and a few of the buttons have begun to corrode – we’d recommend replacing the set. All else is original and perfect. It is well set-up, has the most perfect fat / round neck you’ll ever put your hand on, and has incredible versatility. Rolling the tone off will give you that quintessential jazz tone, but leave that tone knob alone and blues and swing are the name of the game.
With original tweed lined case
SOLD
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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
SOLD
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1932 Orpheum No. 3
No Serial #. Built by Regal during the Tonk Distributorship era, this Orpheum No. 3 combines the best of archtops and flattops for a tone unlike much else you’ve heard. Similar in design to a Martin roundhole C-1 but much smaller; the guitar is built with a carved X-braced top and a flat braced mahogany back. The result is a punchy guitar with a strong attack, that is slightly more open and warm than a carved-back archtop, but not as woody as a flat top. Perfectly suited for lead accompaniment (think David Rawlings), this guitar will appeal to those of you who want an acoustic lead guitar with a sweet set of mids, good articulation, and fat single notes. About the dimensions of a Gibson L-00, the guitar is not large – but does feel substantial thanks to a fairly deep body and its big, chunky V shaped 14 fret neck. The guitar is 100% original save for the tailpiece screws, it’s stunningly beautiful and perfectly set up. Original bar frets are tall and have been dressed in our shop. No cracks or repairs, original tuners work well, and the original bridge had been expertly fitted to the guitar’s top. The nut width on this guitar is hair shy of 1-7/8”, so the small-handed need not apply! It’s a looker, and a distinctive sounding guitar, and we think it’s pretty darn cool.
No case
SOLD
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1960 Gibson Super 400CES
Serial # A-33851. Considered by most to be the "Holy Grail" of electric jazz
guitars, The PAF equipped, round (Venetian) cut-away Super 400CES from 1958
to 1960 is a beautiful thing. Only about 90 Super 400's with this
combination of pickups and cut-away were built, and most of us will never
have a chance to get our hands on one. Well, we aim to please here at
Folkway Music, and offer this near-mint condition 1960 Super 400CES for your
enjoyment.
About as clean as they come, this instrument shows only minor playwear. Some
slight finish-wear to the back of the neck in the first position and slight
scuff marks on the back, and a slight warp to the original pickguard are all
that can be held against this fine guitar. It is completely original, with
the likely exception of the frets. The wire harness has never been removed,
and all solder joints are virgin. The original gold PAF humbuckers have
outputs of 8.5 and 8.1 kOhms. The original hard shell case is in equally
fine and unfaded condition as well. It is an astronomically warm and rich
guitar, and certain to inspire. The combination of solid carved spruce and
maple, 18 inches, and PAFs is simply magical.
On consignment
SOLD
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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
SOLD
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1956 Gibson ES-125 LEFTY
FON V5966-6. Here's a rare and exciting opportunity for our left-handed customers. Factory left-handed, and in stunning MINT condition, this guitar has definitely benefited by being unplayable to the average right-handed
guitarist! No modifications, no issues, no scratches, no fretwear... we can find absolutely no flaws or faults on this guitar other than a couple of insignificantly small dings, and new replica tuner buttons. Completely
original and beautifully set up, this will certainly be among the highlights of any lefty's collection. 16" wide maple laminate body, single P-90 pickup, Brazilian rosewood fingerboard and lefty compensated bridge,
original Kluson tuners. 24.9" scale, 50's Gibson neck with original bone nut and 1-11/16" nut. Blues or Jazz are what this guitar loves to play, but we're sure you'll find ample versatility in the instrument's tone. Original
hang tag is included, as well as the original alligator brown case.
On Consignment
SOLD
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1966 Gretsch Double Anniversary
Serial # 81055. The Anniversary models were unveiled in 1958 in recognition of Gretsch's 75th anniversary. The company celebrated this benchmark for the next 17 years, finally retiring the model in 1975, just 8 years before their 100th birthday. Obviously a popular model, the full-hollow 16" archtop electric was an affordable model for those who wanted that Gretsch sound on a tighter budget. This Model 6117 Double Anniversary is in excellent condition - near mint, actually - with the exception of a changed set of 60's era Grover Imperials. Finish and binding are in excellent condition, as are the pickguard and pickup rings. Bone nut, rosewood fingerboard with thumbprint inlays and original frets, HiLo'Tron pickups, Space Control bridge, aluminum knobs, G-brand chrome-plated tailpiece. Original wire harness, pots dating to early 1966. Good neck angle, very little fretwear, and great playability thanks to a recent set up in our shop. There are pretty much no scratches on the guitar, and the original finish looks great.
With original hard shell case
SOLD
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1949 Gibson L-50
No FON. Based on the bound tortoiseshell pickguard, modern logo, and neck-profile, we're guessing this L-50 to have been built in 1949 or '49.
It's a great looking and super-clean vintage arch-top, with a carved spruce top and carved figured maple back. Brazilian rosewood fingerboard with
pearl dots, and matching rosewood bridge. The guitar is completely original but for its tuners - they're 1950's Klusons with original buttons. Lacquer
finish is really quite gorgeous, and apart for a little bit of pickwear above the fingerboard extension, it's nearly perfect. Nice frets, and well set up.
With period hard shell case
SOLD
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1951 Epiphone Zenith
Serial # 63455. The Zenith archtop saw continuous production from the introduction of Epiphone's "Masterbuilt" line until the company's sale to CMI in 1957. The student-model always featured a carved spruce top, but was simply appointed in order to maintain its affordable pricetag and market possition. By the time this example was built, the Zenith featured a single bound 16 3/8" wide body with sunburst top and dark-stained laminate maple back and sides. The neck is a three-piece lamination, sunburst finished, with a scale length of 25.4" and a nut width of 1-5/8". Individual Grover tuners, Brazilian rosewood fingerboard and bridge, nickel tailpiece, pearl headstock inlays. The guitar has been well used and has a fair amount of finish wear to the back of its neck. The frets, while worn, play buzz free, and the guitar is nicely set up. Older eplacement bound pickguard. No cracks, and in fine overall condition. A fine sounding and affordable archtop.
With period soft case
SOLD
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1939 Cromwell G-4
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. They are now famous for their flashy Art 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 condtion. 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
SOLD
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1946 Gibson ES-150
No FON. A very early P-90 equipped Gibson, and one of the earliest 17" ES-150's you'll encounter. The early post-war 150's featured a laminate maple body, single bound in white; and unbound rosewood fingerboard with simple dot inlays, individual tuners, and a long 25.5" scale length. Keen eyes will also notice this guitar's original tall, numberless, first-generation speed knobs. An old neck set and associated side-crack repair keep this great sounding jazz box's price low, but don't hurt its tone one bit. Tailpeice and tuner buttons are replacements; original frets are worn in the first position but are quite useable except at the 13th fret where notes buzz out noticeably; avoid playing in F, I guess. Great feeling late 40's neck, with 1-11/16" nut width, and original finished-in nut. Original adjustable bridge, wire harness, and all finish. With a bit of fretwork this guitar will be an excellent player; but is being offered AS-IS
With original hard shell case.
On Consignment
SOLD
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1950's Holiday Futuramic
A perfect companion to your metallic-copper set-neck Harmony Stratotone! The Futuramic might be just a cheap old archtop, but its spiffy paint-job more than makes up for whatever else this instrument lacks! TV- yellow on the front and back with red racing stripe painted purflings and metallic copper sides and neck. Matching pickguard and headstock face, and to tie it all together a walnut fingerboard! Check out the ICBMs and Boeing 707s adorning the headstock... Apart from the new buttons we installed on its Kluson tuners, the Futuramic is completely original and in great shape. It's well set up, too. You'll want to have huge hands if you choose to play it though - the neck on this thing puts Gibson's famous "Banner" necks to shame. It's got a nut width of a little more than 1-3/4", and is a full 1.1" deep at the 1st fret! (Compare this to a Banner Gibson's .95", and a Martin's .85" depth.) If you can negotiate the huge neck, you'll love playing the guitar - it's got a funky-plunky voice that goes perfectly with its looks.
And it comes with its original chipboard case
SOLD
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1939 Kalamazoo KG-31
FON 2446. A great looking vintage Gibson Kalamazoo jazz box from the late 1930's. Spruce top, mahogany back and sides. Sunburst finished on all sides, with single-ply binding throughout. Gorgeous bound fire stripe pickguard adds huge pizzazz to this already cool guitar. Brazilian rosewood fingerboard and bridge, nickel tailpiece, Kluson tuners. With the exception of one tuner-button, one tuner-gear, and one tuner screw (each on different tuners) and a two inch splice of fingerboard binding by the nut on the treble side of the neck, this instrument is completely intact. Neck and frets are in excellent condition, and playability is spot-on. No cracks, no issues. Typical 1930's Gibson neck with V profile and 1-3/4" nut width.
With 1950's alligator chip-board case.
SOLD
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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.
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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
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Main Photo
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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
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Main Photo
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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
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Main Photo
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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
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Main Photo
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1912 Gibson L-1
A small arch-top with lots of punch, volume, and vibe. We love these old
small Gibson arch tops - they have a tone unlike any other guitar out there,
and they match our Pumpkin-top A mandolins so nicely!. Carved spruce top,
carved Birch back. The Tailpiece is celluloid on metal, and the bridge pins
are ebony. And it has its original case too! It was in our shop for a new
bridge, and some set up.
NOT FOR SALE
More photos: Front detail Headstock detail Full Front detail
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Main Photo
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1935 Gibson Black Special #2
F.O.N. 158A-100. Yes, strangely enough, this IS the second black special #2
to come through the shop this year! This one is just in better condition
and more original than the last one we had! 100% original and in excellent
condition minus some pickwear above the low E string, this guitar plays and
sounds real nice. Original pickguard, tuners, tailpiece, bridge, etc.. The
Black special #2 was a catalogue special Gibson built in the mid-late
1930's. This one, dating from 1935, is a particularly early example, and is
therefore fairly historically important, given the relative rarity of this
model. Carved spruce top, flat maple back and sides, L-00 body shape and
size. Great feeling neck, and infinitely playable.
Original soft shell case included (but in poor condition)
SOLD
More photos: Front detail Back detail Headstock detail Tuners detail
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Main Photo
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1937 to '40 Gibson Black Special No. 2
A big sounding small Gibson arch-top. The Black Special #2 is a 14 3/4 inch
wide arch-top, very similar to the L-37 and L-47 models. Carved spruce top
(not pressed), flat maple back and sides, single bound top with unbound
back. Rosewood fingerboard and original bridge, and black finish. This
guitar plays great, and has a surprising volume and fullness. Loud and
clear, this guitar cuts through a mix incredibly well. A very rare guitar.
SOLD
More photos: Front detail Back detail
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Main Photo
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1930 to 1935 Kay Kraft Style B
These Kay Kraft asymmetrical Archtops were made by Stromberg-Voisinet in
Chicago in the early 1930's. This model features solid Maple pressed back
with solid-spruce top, ebonized fingerboard, round soundhole, and floral
decal pattern over a sunburst finish. It's tone is archtop-ish with lots of
volume and punch, and fat trebles - and has a bit of a dobro overtone. It's
tone is particularly difficult to describe; but is particularly easy to
listen to... it sounds really good. It will make a great addition to any
guitar arsenal - especially in the recording studio. The neck has been
reset, it has been set up, and plays very well in all positions along the
neck. Very light weight, with a comfortable thin-ish vintage V shaped neck.
Original (and equally cool) blue Geib soft case included
SOLD
More photos: Front detail
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Main Photo
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1961-63 Hofner Model 456
This is a very rare and unique Hofner electric archtop guitar. Not only
does this guitar have one of the greatest tones I have ever heard in an
electric, but it has both a passive and active circuit - the active being
powered by an on-board 3 volt battery. it is SO hot - that there is no need
for and overdrive pedal! This guitar will send even the most tame amp into
a blistering frenzy of hard-rockin' drive! And it has the looks to boot -
there is so much pearloid on this beautiful guitar - the headstock,
pickguard, control plate, knobs, and fretboard are covered in it. What's
not been covered with celluloid is finished with a warm Cremona sunburst.
Its action is great, and the guitar plays very well in every position. The
tuners are non-original Kluson Deluxe 3-on-a-strip that look great and have
aged well, and the neck was reset some time ago with some finish damage
resulting.
Older hard shell case included.
SOLD
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Main Photo
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1940's S.S. Stewart Arch Top
Incredibly clean and cool vintage S.S. Stewart jazz box. 100% original, in great playing order, no scratches bruises
or cracks, and perfectly playable.
Black lacquer finish with herringbone trim, tortoise shell-celluloid pickguard, inlayed fingerboard,
and celluloid peg head overlay.
This instrument must have been left in a closet somewhere with no stings on...
the neck angle is just fine, and the tuner gears show almost no wear.
A real gem of a guitar. Original case included
SOLD
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Other Sections:
Vintage & Used:
Martin Gibson Other Acoustic Guitars Resonators & Steels Mandolins & Banjos Archtop Guitars
Classical Guitars Electric Guitars Amplifiers Miscellaneous As-Is Instruments
New:
Asturias Blue Lion Breedlove Cort Dusty Strings Gold Tone Kentucky Larrivee National OME
Santa Cruz Taylor Ukuleles Yamaha Yanuziello
Lefty Guitars Instrument Gallery
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| Old Instruments Gallery Index |
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