{"title":"Other Acoustic Guitars","description":"","products":[{"product_id":"regal-hawaiian-acoustic-guitar-1940-3476","title":"Regal Hawaiian Acoustic Guitar (1940)","description":"Regal Hawaiian Acoustic Guitar, c. 1940, made in Chicago, natural lacquer finish, mahogany back and sides, spruce top, original black soft shell case. \u003cbr\u003e \u003cbr\u003eOverall length is 37 1\/4 in. (94.6 cm.), 13 in. (33 cm.) wide at lower bout, and 4 in. (10.2 cm.) in depth at side, taken at the end block. Scale length is 24 1\/4 in. (616 mm.). Width of nut is 1 7\/8 in. (48 mm.). Excellent Condition.","brand":"Regal","offers":[{"title":"Default Title","offer_id":46852774461580,"sku":"3476","price":600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_afaedfa4-9b81-44e3-aa67-a964172dceb1.jpg?v=1774327876"},{"product_id":"weissenborn-kona-style-3-hawaiian-acoustic-guitar-1924-4288","title":"Weissenborn Kona Style 3 Hawaiian Acoustic Guitar (1924)","description":"Kona Style 3 Model Hawaiian Acoustic Guitar, made by Weissenborn, c. 1924, made in Los Angeles, California, natural lacquer finish, flamed koa wood body. \u003cbr\u003e \u003cbr\u003eOverall length is 38 in. (96.5 cm.), 13 5\/16 in. (33.8 cm.) wide at lower bout, and 4 1\/16 in. (10.3 cm.) in depth at side, taken at the end block. Scale length is 25 in. (635 mm.). Width of nut is 1 7\/8 in. (48 mm.).","brand":"Weissenborn","offers":[{"title":"Default Title","offer_id":46852780359820,"sku":"4288","price":3200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_ffe72b0b-372a-48e3-9da0-271d8fde4f5e.jpg?v=1774327951"},{"product_id":"bigsbymartin-acoustic-electric-guitar-3738","title":"Bigsby\/Martin Acoustic-Electric Guitar","description":"Bigsby\/Martin Acoustic-Electric Guitar. \u003cbr\u003e \u003cbr\u003eCall or email us for additional technical information","brand":"Bigsby\/Martin","offers":[{"title":"Default Title","offer_id":46852811882636,"sku":"3738","price":0.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_ef0803bf-0e11-4c67-904f-01672dfd0f79.jpg?v=1774328519"},{"product_id":"danelectro-convertible-acoustic-electric-guitar-1961-5524","title":"Danelectro Convertible Acoustic-Electric Guitar (1961)","description":"Danelectro Convertible Model Acoustic-Electric Guitar (1961), made in Neptune, NJ, serial # 4091, formica with vinyl siding finish, masonite and pine body, poplar neck with rosewood fingerboard, original brown alligator chipboard case. \u003cbr\u003e\u003cbr\u003eA nice example of the classic 1960's roundhole hollowbody Danelectro with a fully hollow body, single lipstick tube pickup in a round soundhole, formica top and back finish and vinyl siding. The neck is the standard danelectro style with a vertical logo and openback Waverly strip tuners. Intended to be used with or without a pickup (hence the name) the Convertible guitars have more body response than any other Nathan Daniel design, and actually are a functional acoustic guitar. These were the most basic Danelectro guitar offered (original list price was $65.00) but have proved enduringly popular with a unique tone all their own, both plugged and unplugged. A few years back renowned singer\/songwriter J.J. Cale was been seen using a Convertible extensively, inspiring new interest in this unusual Danelectro creation. This is about the nicest of these we have had, an original owner guitar still very nicely preserved.\u003cbr\u003e \u003cbr\u003eOverall length is 38 3\/8 in. (97.5 cm.), 13 1\/8 in. (33.3 cm.) wide at lower bout, and 2 3\/16 in. (5.6 cm.) in depth, measured at side of rim. Scale length is 25 in. (635 mm.). Width of nut is 1 11\/16 in. (43 mm.). A very nice example, all original except for the knobs and with not much wear overall. One spot of wear into the wood on the treble side cutaway horn. There is less top sink on this guitar than many of these (the masonite top is unbraced) and the guitar is a very good player. Includes the original alligator-grain SSC. Excellent - Condition.","brand":"Danelectro","offers":[{"title":"Default Title","offer_id":46852873453708,"sku":"5524","price":750.0,"currency_code":"USD","in_stock":false}]},{"product_id":"national-model-1155e-acoustic-electric-guitar-1954-5720","title":"National Model 1155E Acoustic-Electric Guitar (1954)","description":"National Model 1155E Model Acoustic-Electric Guitar (1954), made in Kalamazoo, Michigan, serial # X-40261, sunburst top, natural back and sides finish, Spruce Top, Mahogany Back and Sides, Mahogany Neck, Rosewood Fingerboard, black chipboard case. \u003cbr\u003e\u003cbr\u003eThis electrified flat top guitar is a result of the intertwining of Gibson and National\/Valco with the CMI (Chicago Musical Instrument) empire in the 1940's and '50's. As National had no high-quality wood shop, a deal was struck for them to purchase Gibson-made bodies \"in the white\" (unfinished) for their better grade instruments, to be fited out with National necks and hardware. This Jumbo flat-top Model 1155 is built on a Gibson J-45 body with the neck block bearing a 1953 Gibson FON (factory order number) Y-5840-48. The bolted-on National \"Stylist\" heelless neck has a deep \"C\" profile, the headstock is covered in black plastic. The bolt-on, adjustable neck joint sports a screwed-on cream plastic plate retained by the strap button. \u003cbr\u003e\u003cbr\u003eThe pickguard is a translucent \"leopard striped\" celluloid peculiar to National, which gives the guitar a typically 1950's \"Populuxe\" tinge. The triple-bound sunburst top is a bit less artful if more dramatic than the period Gibson style and the heavy rosewood bridge has a point on the bottom end and three securing screws left in plain sight (Gibson covered theirs with pearl dots!). The electrified \"E\" model carries a pickup mounted under the end of the fingerboard with controls on the side above the neck-this guitar dates to the first year of this optional feature. These are very good sounding guitars with a distinct 'retro-cool' look rather different the typical Gibson. As early J-45's become ever more costly these \"half Gibson\" Nationals look better and better!\u003cbr\u003e \u003cbr\u003eOverall length is 40 1\/2 in. (102.9 cm.), 16 5\/16 in. (41.4 cm.) wide at lower bout, and 4 3\/4 in. (12.1 cm.) in depth at side, taken at the end block. Scale length is 25 in. (635 mm.). Width of nut is 1 9\/16 in. (40 mm.). This National electric flat top is a nice and good playing example; all original except the tuners are repro Klusons. Some pickwear to the top and heavier bucklewear to the back, the back of the neck is missing a lot of finish and feels nicely worn-in. The black\/red\/orange top finish is particularly vibrant on this one; the glued-on plastic National logo has lost bits at each end and now reads \"Vashiona\". Overall this is a cool guitar with a good vibe! Excellent - Condition.","brand":"National","offers":[{"title":"Default Title","offer_id":46852961108108,"sku":"5720","price":2500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_e50e708f-6546-4788-8396-06178be8abc5.jpg?v=1774328753"},{"product_id":"weissenborn-style-1-teardrop-hawaiian-acoustic-guitar-1930-5735","title":"Weissenborn Style # 1 Teardrop Hawaiian Acoustic Guitar (1930)","description":"Weissenborn Style # 1 Teardrop Model Hawaiian Acoustic Guitar, c. 1930, made in Los Angeles, natural finish, koa wood body and fingerboard. \u003cbr\u003e \u003cbr\u003eOverall length is 37 3\/4 in. (95.9 cm.), 15 3\/8 in. (39.1 cm.) width, and 3 in. (7.6 cm.) in depth, measured at side of rim. Scale length is 25 in. (635 mm.). Width of nut is 1 15\/16 in. (49 mm.). This rare Weissenborn has had a long journey from new and is fairly well worn overall, with a very old clear overfinish over most of the instrument that does not detract from its honey amber glow. Recently rebuilt and the top re-braced, rescued from life as a ornament (most of the old top bracing was gone!) and re-born as a truly wonderful sounding Hawaiian guitar. There is one long (repaired long ago) top crack along the upper bout, with a smaller one above, no other cracks to the notoriously unstable Koa. The tuners are 1950's Waverly's, the bridge is original (there was a tailpiece installed at some point, the holes in the rim now patched). Remarkably deep, resonant sound�not a collector's piece, perhaps, but a lovely instrument with much to offer the acoustic steel player. Very Good + Condition.","brand":"Weissenborn","offers":[{"title":"Default Title","offer_id":46852961796236,"sku":"5735","price":2800.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_7dadedb4-cd6e-4e98-a662-cc1d979ddac8.jpg?v=1774328796"},{"product_id":"weissenborn-kona-style-4-hawaiian-acoustic-guitar-1923-4565","title":"Weissenborn Kona Style 4 Hawaiian Acoustic Guitar (1923)","description":"Kona Style 4 Model Hawaiian Acoustic Guitar, made by Weissenborn, c. 1923, made in Los Angeles, California, natural varnish finish, koa body and neck, soft shell case. \u003cbr\u003e \u003cbr\u003eOverall length is 37 1\/2 in. (95.2 cm.), 13 in. (33 cm.) wide at lower bout, and 4 1\/8 in. (10.5 cm.) in depth at side, taken at the end block. Scale length is 25 in. (635 mm.). Width of nut is 2 in. (51 mm.). Beautiful, all original condition-a few seam repairs, one repaired side crack but overall as nice as these come! Overall Excellent + Condition.","brand":"Weissenborn","offers":[{"title":"Default Title","offer_id":46852962910348,"sku":"4565","price":4500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_fcc80ef9-f935-43cc-95d2-011b89ac64b6.jpg?v=1774328848"},{"product_id":"danelectro-convertible-acoustic-electric-guitar-1960-5780","title":"Danelectro Convertible Acoustic-Electric Guitar (1960)","description":"Danelectro Convertible Model Acoustic-Electric Guitar (1960), made in Neptune, NJ, formica with vinyl siding finish, masonite and pine body, poplar neck with rosewood fingerboard, original black alligator chipboard case. \u003cbr\u003e\u003cbr\u003eA nice example of the classic 1960's roundhole hollowbody Danelectro with a fully hollow body, single lipstick tube pickup in a round soundhole, formica top and back finish and vinyl siding. The neck is the standard Danelectro style with a vertical logo and openback Waverly strip tuners. Intended to be used with or without a pickup (hence the name) the Convertible guitars have more body response than any other Nathan Daniel design, and actually are a fairly functional acoustic guitar. These were the most basic Danelectro guitar offered (original list price with the pickup was $65.00) but have proved enduringly popular with a unique tone all their own, both plugged and unplugged. A few years back renowned singer\/songwriter J.J. Cale was been seen using a Convertible extensively, inspiring new interest in this unusual Danelectro creation.\u003cbr\u003e \u003cbr\u003eOverall length is 38 1\/2 in. (97.8 cm.), 13 1\/16 in. (33.2 cm.) wide at lower bout, and 2 1\/8 in. (5.4 cm.) in depth, measured at side of rim. Scale length is 25 in. (635 mm.). Width of nut is 1 11\/16 in. (43 mm.). All original, only minor wear, some dirt on the vinyl sidine but overall a clean example. A little typical sink to the top under the bridge (practically inevitable on this model) but better than many, this remains a very good player and a super example of an early Convertible, complete with the original black SSC. Excellent Condition.","brand":"Danelectro","offers":[{"title":"Default Title","offer_id":46852972576908,"sku":"5780","price":850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_06fd5e19-7ba4-40ed-b29c-fe54776ed8ec.jpg?v=1774329128"},{"product_id":"oscar-schmidt-hilo-style-670-hawaiian-acoustic-guitar-1925-4566","title":"Oscar Schmidt Hilo Style 670 Hawaiian Acoustic Guitar (1925)","description":"Hilo Style 670 Model Hawaiian Acoustic Guitar, made by Oscar Schmidt, c. 1925, made in Jersey City, NJ, natural varnish finish, original black soft shell case. \u003cbr\u003e\u003cbr\u003eA particularly beautiful 1920's Hawaiian guitar, made not in California like most but in Jersey City! Dramatically grained Island woods throughout, fancy shaped abalone inlay and binding on all edges make this one beautiful looking lap guitar. The sound is quite fine as well, perhaps a bit deeper and not as \"reverby' as many Weissenborn insrtruments but with a lovely rounded character. A real gem of an acoustic Hawaiian.\u003cbr\u003e \u003cbr\u003eOverall length is 38 3\/8 in. (97.5 cm.), 15 in. (38.1 cm.) wide at lower bout, and 3 in. (7.6 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 7\/8 in. (48 mm.). Appears very original and in unusually good structural condition for these often fragile instruments. The bridge has been re-glued at some point and two screws added behind the pins. Several long back cracks fully repaired, top is crack free; two repaired grain cracks on upper pass bout on the side. Finish is exceptionally nice with very fine checking throughout and hardly any wear. Includes an original soft case in fairly battered condition. Overall Excellent Condition.","brand":"Oscar Schmidt","offers":[{"title":"Default Title","offer_id":46853017960588,"sku":"4566","price":3500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_09a1537f-34d5-4851-8940-38c7f24a215c.jpg?v=1774330808"},{"product_id":"gibson-j-160e-acoustic-electric-guitar-1964-6460","title":"Gibson J-160E Acoustic-Electric Guitar (1964)","description":"Gibson J-160E Model Acoustic-Electric Guitar (1964), made in Kalamazoo, Michigan, serial # 202925, sunburst top, dark back and sides finish, mahogany back, sides and neck; spruce top, rosewood fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eGibson's J-160E electrified flat-top was a fairly successful guitar in its time but is now remembered primarily as one of the iconic \"Beatle guitars\" of the 1960's. John Lennon and George Harrison both used 1962 J-160E's as recording and touring instruments extensively during the band's early '60's breakthrough period, and this particular Gibson model remains indelibly linked to the Beatles legacy both visually and sonically. This 1964 guitar was built the same year as John's second J-160E, which he acquired in summer 1964 after his first one was stolen during the Beatles' Christmas shows in December '63. \u003cbr\u003e\u003cbr\u003eThis guitar is identical to Lennon's 1964 model, with specific period features including adjustable bridge with a ceramic saddle with small screw ends, capped amber bonnet knobs, Kluson Deluxe tuners with double-ring keystone buttons and most notably a double soundhole ring pattern, which differs from the 1962 examples the group originally purchased. He used this instrument (and also the band's other, earlier J-160 which by that point was technically Harrison's) on all of the Beatles' recordings from the BEATLES FOR SALE LP through the end of the group, and also for much of his early solo career, by which point the top had been stripped to natural. It is almost certainly this guitar that is famously heard feeding back an extended A note at the beginning of \"I Feel Fine\"!\u003cbr\u003e\u003cbr\u003eThe J-160E was originally of the more specialized Gibsons of the 1950's. Designed specifically for country\/western performers getting drowned out by their increasingly well-amplified bands, the fairly fancy 16\" Jumbo sported the same electronics (a specially adapted P-90 pickup) and cosmetic features as the earlier small-body CF-100E. Unlike that guitar (and all other period Gibson flat tops) the J-160E features a laminated spruce top with a ladder-braced design, Gibson's engineers having found that the decreased top resonance helped reduce feedback when amplified. The J-160 is functional both as an acoustic and electric instrument. Purely as acoustic guitar the sound is thinner than most other Gibson flat-tops with a pronounced midrange emphasis; the sound is distinctive and very notable on many Beatle recordings. As an electric guitar the tone is fairly full if not particularly versatile; quite a few Beatle records feature this sound as well. This particular J-160E is a definitive Beatle-year guitar but also just a nice example of the model.\u003cbr\u003e \u003cbr\u003eOverall length is 41 in. (104.1 cm.), 16 in. (40.6 cm.) wide at lower bout, and 4 15\/16 in. (12.5 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). A perfectly original guitar with some light to average wear. The top has some typical checking, there is a patch of wear through the finish by the soundhole just above the pickguard some finish worn off on the edges of the neck. The top is very solid but has a noticeable arch, which is almost inevitable with this ladder braced model. There is plenty of (adjustable) saddle and this guitar is a very good player with the typical J-160 sound; crisp and somewhat dry with pronounced upper mids, definitely a guitar with \"Rubber Soul\"! Includes a nice original yellow-lined HSC. Excellent - Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853027758220,"sku":"6460","price":5750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_3d6a2c91-9ef7-4713-9497-fe6879efbc6b.jpg?v=1774331108"},{"product_id":"francesco-olivieri-acoustic-guitar-1928-2672","title":"Francesco Olivieri Acoustic Guitar (1928)","description":"Francesco Olivieri Acoustic Guitar (1928), made in Catania, Italy, black chipboard case. \u003cbr\u003e\u003cbr\u003eHas a carved head located at the end of the headstock. The head is fashioned from the very same piece of wood as the neck and headstock. Has ornately decorated and bound spruce top and sound holes. Its back is essentially flat, but it gently slopes starting at the upper bout down to the heel of the neck.\u003cbr\u003e \u003cbr\u003eOverall length is 39 3\/8 in. (100 cm.), 14 3\/4 in. (37.5 cm.) wide at lower bout, and 3 in. (7.6 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.).","brand":"Francesco Olivieri","offers":[{"title":"Default Title","offer_id":46853170659468,"sku":"2672","price":2600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_a2afaa3b-fc2b-4bc6-b075-80e727e4d3d7.jpg?v=1774331501"},{"product_id":"danelectro-convertible-acoustic-electric-guitar-1965-2886","title":"Danelectro Convertible Acoustic-Electric Guitar (1965)","description":"Danelectro Convertible Model Acoustic-Electric Guitar, c. 1965, made in Neptune, NJ, formica finish, masonite and pine body, rosewood fingerboard. \u003cbr\u003e\u003cbr\u003eThe classic mid-60's roundhole hollowbody Danelectro with single lipstick tube pickup, Formica top and back finish, and pebble grained vinyl siding. Intended to be used with or without a pickup (hence the name), the Convertible guitars have more acoustic response than any other of Nathan Daniel's designs. \u003cbr\u003e\u003cbr\u003eThese were the most basic Danelectro offered, but have proved enduringly popular with a unique tone all their own. Currently the renowned singer\/songwriter J.J. Cale has been using a Convertible extensively, creating new interest in this unusual Danelectro creation.\u003cbr\u003e \u003cbr\u003eOverall length is 38 3\/8 in. (97.5 cm.), 13 1\/8 in. (33.3 cm.) wide at lower bout, and 2 in. (5.1 cm.) deep. Scale length is 25 in. (635 mm.). \u003cbr\u003e\u003cbr\u003eAll original except floating bridge replaced and \"Totally Shielded\" sticker is missing. Light wear to top, sides, and headstock. Excellent Condition.","brand":"Danelectro","offers":[{"title":"Default Title","offer_id":46853174165644,"sku":"2886","price":600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_693228cc-c113-42a6-a88f-1ace29aa8803.jpg?v=1774331607"},{"product_id":"harmony-h-27-acoustic-electric-bass-guitar-1967-7563","title":"Harmony H-27 Acoustic-Electric Bass Guitar (1967)","description":"Harmony H-27 Model Acoustic-Electric Bass Guitar (1967), made in Chicago, sunburst lacquer finish, laminated maple body, maple meck with rosewood fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis fairly imposing 4-string is one of the more obscure but interesting of Harmony's 1960's instruments-the H-27 \"Deluxe\" bass. This large and somewhat flashy instrument sold initially for 199.50, twice the price of the more familiar flat-topped H-22 that had been the company's only bass offering since 1962. The H-27 was introduced in mid-1966 with a fully arched, laminated multi-bound maple body, huge single-sided Fender-like headstock with a laminate tortoiseshell celluloid overlay and two special design DeArmond bass pickups with double adjustable poles for each string. The bridge is an elaborate fully adjustable metal unit with an integral tailpiece block mounted to the face in place of the H-22's simple wooden fitting. The 30\" scale neck has a bound rosewood fingerboard, the tuners are Japanese-made covered-back bass machines. The body has no pickguard but mounts two tortoise-celluloid topped finger rests, a single switch and individual tone and volume controls for the two pickups.\u003cbr\u003e\u003cbr\u003eThe H-27 has seen only one well-known endorser; it was the \"other\" favorite bass of the Small Faces' Ronnie \"Plonk\" Lane (alongside his original Harmony H-22) and he once told the tale of getting the first one into England, straight off the trade show booth at the 1966 British music fair. \"Plonk\" used one extensively in 1966-68, both live and on record, and he can be seen in a number of period clips with this model. The H-27 was not as successful as its lower-budget brother the H-22 and is far less well known now but on its own merits is a very interesting and underrated hollowbody bass with a huge but well-defined tone.\u003cbr\u003e \u003cbr\u003eOverall length is 46 1\/8 in. (117.2 cm.), 15 5\/8 in. (39.7 cm.) wide at lower bout, and 1 15\/16 in. (4.9 cm.) in depth, measured at side of rim. Scale length is 30 in. (762 mm.). Width of nut is 1 13\/16 in. (46 mm.). This bass is very nice overall; the finish is clean and unfaded with only some small chips and dings. Complete and original, with all the hardware intact including the oft-missing bridge and tailpiece covers. The only alteration is the original small plastic strap buttons have been replaced with stouter metal ones, and the original forward button is now mounted to the back of the heel�and one tuner has a couple of changed mounting screws. The rear pickup has an added wood riser underneath-Harmony mounted them directly to the top-this could easily be removed if desired but it actually helps get a more balanced sound from the pickups so we have left it in place. Shrinkage to the heavy celluloid headstock face veneer has caused the tip of the headstock to warp upwards slightly but this does not affect the instrument in any practical way. A very good player with excellent neck and frets, a fine example of this fairly rare bass. Includes a perfectly fitted period Victoria hard case that appears to be original to the bass, if not standard Harmony issue-this is the only one of these we have ever seen with a hard case include at any rate! Excellent Condition.","brand":"Harmony","offers":[{"title":"Default Title","offer_id":46853180326028,"sku":"7563","price":1450.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_2ded1de9-ba1d-4f9d-9313-e5b2678142ad.jpg?v=1774331767"},{"product_id":"danelectro-convertible-acoustic-electric-guitar-1966-3179","title":"Danelectro Convertible Acoustic-Electric Guitar (1966)","description":"Danelectro Convertible Model Acoustic-Electric Guitar (1966), made in Neptune, NJ, formica finish, masonite and pine body, rosewood fingerboard. \u003cbr\u003e\u003cbr\u003eThe classic mid-60's roundhole hollow body Danelectro with single lipstick tube pickup, formica top and back finish, and pebble grained vinyl siding. Intended to be used with or without a pickup (hence the name), the Convertible guitars have more acoustic response than any other of Nathan Daniel's designs. These were the most basic Danelectro offered, but have proved enduringly popular with a unique tone all their own. Currently the renowned singer\/songwriter J.J. Cale has been seen using a Convertible extensively, creating new interest in this unusual Danelectro creation.\u003cbr\u003e \u003cbr\u003eOverall length is 38 3\/8 in. (97.5 cm.), 13 1\/8 in. (33.3 cm.) wide at lower bout, and 2 in. (5.1 cm.) deep. Scale length is 25 in. (635 mm.). \u003cbr\u003e\u003cbr\u003eAll original except the knobs, which are period Teisco\/Kent fittings. Some minor wear overall, most noticeably a spot of bucklewear to the back. A good playing and sounding old Danno. Excellent Condition.","brand":"Danelectro","offers":[{"title":"Default Title","offer_id":46853197856908,"sku":"3179","price":650.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_29e120dc-91a2-469f-ac90-e997d60f3c85.jpg?v=1774331809"},{"product_id":"weissenborn-kona-style-4-hawaiian-acoustic-guitar-1925-3383","title":"Weissenborn Kona Style 4 Hawaiian Acoustic Guitar (1925)","description":"Kona Style 4 Model Hawaiian Acoustic Guitar, made by Weissenborn, c. 1925, made in Los Angeles, California, natural lacquer finish, flamed koa wood body, original black soft shell case. \u003cbr\u003e\u003cbr\u003eOne of the 1920's most distinctive and unusual instruments, the Kona Hawaiian Guitar has a somewhat twisted history, involving several fairly well-known names in Los Angeles lutherie of the 1910's and 1920's. While this particularly beautiful top-of-the-line Kona was built by Herman Weissenborn, he neither designed nor sold the guitar, and the instrument has many differences from the standard Weissenborn creations. \u003cbr\u003e\u003cbr\u003eWhile most Weissenborn-style instruments have an integral hollow neck, the Konas have a short V-profile solid neck with metal frets...theoretically it is possible to play the Kona in either Spanish or Hawaiian style, although most folks are satisfied with them as a steel guitar! The Kona guitar is a unique sounding instrument as well an extremely attractive one!\u003cbr\u003e\u003cbr\u003eThe 'Kona' trademark belonged to one C. S. Delano, who was one of the first instructors of the Hawaiian steel guitar in the continental US. Delano claimed to have studied with Joseph Kekuku, billed as the inventor of the Hawaiian technique, and opened his own teaching studio in Los Angeles in the early 1910's. As with many other teachers, it soon occurred to Delano that it would be a smart idea to have custom instruments for sale to students to supplement the studio's income. \u003cbr\u003e\u003cbr\u003eAt some point, Delano had come upon the work of incredibly creative, if highly eccentric, Seattle luthier Chris Knutsen who was experimenting with a 'convertible' guitar which could be played in either the Spanish or Hawaiian styles. Knutsen's design involved an adjustable neck with a screw bracket to change the fingerboard angle, but either he or Delano soon realized that an adjustment of the nut height was all that was really needed. The first few known Konas were built by Knutsen, who moved down to Los Angeles around this time. \u003cbr\u003e\u003cbr\u003eDespite his creative genius, Knutsen's craftsmanship was eccentric at best and he was never interested in getting involved in quantity production, so his designs are now mostly remembered by other names. After having some of his distinctive Konas built by another Los Angeles concern, the Schireson Brothers, Delano eventually settled on Herman Weissenborn as the supplier of his custom brand instruments.\u003cbr\u003e\u003cbr\u003eWeissenborn's name is now associated primarily with the hollow-neck Hawaiian guitars that bear his stamp, but these were also originally designed by Chris Knutsen. Around 1923, Weissenborn organized a large workshop for the production of these instruments, and that appears to be when he took over Kona production as well. This guitar has all the stylistic hallmarks of a Weissenborn-made instrument, with the new fancy Kona label introduced in 1925. \u003cbr\u003e\u003cbr\u003eAlthough visually similar -- at least from the front -- the styles of koa wood Hawaiian guitars from this workshop have notable differences. The typical Weissenborn Hawaiian guitar has a relatively thin body with a hollow neck; the Konas compensate for their solid neck by having a much deeper body. The Kona guitars in general have a darker, richer tone, while the Weissenborns have an airier sound.\u003cbr\u003e\u003cbr\u003eKona guitars are somewhat rarer than Weissenborns, as they were distributed only through Delano's studio. While Konas do not have official style designations, this guitar is the highest grade offered and corresponds to the top-of-the-line Weissenborn style 4. The soundhole and all the front edges, including the fingerboard and headstock, are bound with Hawaiian style \"zipper\" binding and the fingerboard has shaped pearl inlay. The koa top and back have an amazingly beautiful figured grain pattern. Whoever C. S. Delano sold this one to, it didn't get a lot of use, and has come down to us in a spectacularly well-preserved state!\u003cbr\u003e \u003cbr\u003eOverall length is 38 in. (96.5 cm.), 13 5\/16 in. (33.8 cm.) wide at lower bout, and 4 1\/16 in. (10.3 cm.) in depth at side, taken at the end block. Scale length is 25 in. (635 mm.). Width of nut is 1 7\/8 in. (48 mm.). \u003cbr\u003e\u003cbr\u003eCompletely original condition, no damage or repairs ever performed. One bridge pin is a replacement, otherwise all fittings remain as built. A very small amount of pickwear to the top and overall finish. Crazing is all that prevents this guitar from being in near mint condition. A spectacular find in a 1920's instrument, complete with the original period top-opening soft case. Excellent + Condition.","brand":"Weissenborn","offers":[{"title":"Default Title","offer_id":46853204803724,"sku":"3383","price":5000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_7a1d9686-a700-4c95-a952-4f60161a447f.jpg?v=1774331944"},{"product_id":"c-f-martin-0-28kh-hawaiian-acoustic-guitar-1928-3907","title":"C. F. Martin 0-28KH Hawaiian Acoustic Guitar (1928)","description":"C. F. Martin 0-28KH Model Hawaiian Acoustic Guitar (1928), made in Nazareth, PA, natural lacquer finish, flamed koa wood body; mahogany neck with ebony fingerboard, black soft shell case. \u003cbr\u003e\u003cbr\u003eOne of the finest examples we have ever seen of Martin's koa wood Style 28 Hawaiian guitar. Fabulous deeply curled koa body, herringbone trim, and slotted diamond inlay in the ebony fingerboard. Original flush-ground frets, high nut, and straight saddle. By the time this guitar was made, Martin Hawaiian instruments were purpose built with these features, unlike earlier examples that were essentially slightly-modified Spanish instruments. \u003cbr\u003e\u003cbr\u003eIt is increasingly rare to find these fine guitars in an unmolested original state, as many have been converted for Spanish play. With the renewed interest in acoustic steel stylings, these remaining deluxe Hawaiian Martins have gained increasing respect as some of the greatest instruments of the pre-resonator guitar era. \u003cbr\u003e\u003cbr\u003ePlayed as a Hawaiian guitar, the sound of this 00-28KH is dryer than the typical Weissenborn-style hollow neck instrument, with less natural reverb but a rounder, more direct punch to each note. This is simply one of the best-sounding Hawaiian Martins we have heard, with a lush tone and brilliant overtone harmonics abounding. For the \"hot\" Hawaiian guitarist in the style of Sol Hoopii or King Bennie Nawahii, it would be hard to imagine a better wood-bodied instrument.\u003cbr\u003e \u003cbr\u003eOverall length is 38 in. (96.5 cm.), 13 5\/8 in. (34.6 cm.) wide at lower bout, and 4 1\/4 in. (10.8 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 7\/8 in. (48 mm.). \u003cbr\u003e\u003cbr\u003eBeautifully original with very minor play wear; no cracks or repairs except one tiny grain crack and deep ding above the bridge. We don't see many 80 year old Martins in this condition! Excellent + Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853258739852,"sku":"3907","price":7600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_0a601f21-2c06-4823-83c4-199c70d6cd73.jpg?v=1774332350"},{"product_id":"harmony-h-27-acoustic-electric-bass-guitar-1966-4207","title":"Harmony H-27 Acoustic-Electric Bass Guitar (1966)","description":"Harmony H-27 Model Acoustic-Electric Bass Guitar (1966), made in Chicago, sunburst lacquer finish, laminated maple body, maple meck with rosewood fingerboard, original two-tone tolex soft shell case. \u003cbr\u003e\u003cbr\u003eOne of the more obscure and interesting of Harmony's 1960's instruments -- the H-27 \"Deluxe\" bass. This sold initially for 199.50, twice the price of the more familiar flat-topped H-22 that had been the company's only bass offering since 1962. The H-27 was introduced in 1966 with a fully arched, laminated, multi-bound maple body; huge, single-sided, Fender-like headstock with a laminate tortoiseshell celluloid overlay; and two special design DeArmond bass pickups with adjustable poles. The bridge is an elaborate fully adjustable metal unit mounted to the face in place of the H-22's simple wooden fitting. \u003cbr\u003e\u003cbr\u003eThis was the favorite bass of the Small Faces' Ronnie \"Plonk\" Lane who used one extensively in 1966-68, both live and on record. The H-27 is a very underrated hollow body bass with a huge but well-defined tone; this one is fitted out with a NOS set of ca. 1970 Sound City flatwound strings for the exact perfect period sound! For some reason this bass carries the signatures of two early rock'n'roll\/Rockabilly guitarists on its face: Paul Burlison (of Johnny Burnette's Rock and Roll Trio) and Link Wray. While we can't absolutely vouch for the authenticity of these autographs, we see no other reason for anyone to have put them on the bass!\u003cbr\u003e \u003cbr\u003eOverall length is 46 1\/8 in. (117.2 cm.), 15 5\/8 in. (39.7 cm.) wide at lower bout, and 1 15\/16 in. (4.9 cm.) in depth, measured at side of rim. Scale length is 30 in. (762 mm.). Width of nut is 1 13\/16 in. (46 mm.). \u003cbr\u003e\u003cbr\u003eVery nice overall; some small finish chips and dings. The rim-mounted jack has suffered the typical stress cracks and had a metal jackplate added. The lamination seam on the back of the headstock has pulled open slightly (caused by shrinkage to the celluloid headstock face) but is solid. At some point has had autographs added to the front as noted. Excellent neck and frets; a very good playing example of this rare bass. Excellent Condition.","brand":"Harmony","offers":[{"title":"Default Title","offer_id":46853273092236,"sku":"4207","price":950.0,"currency_code":"USD","in_stock":false}]},{"product_id":"vox-v-250-violin-bass-acoustic-electric-bass-guitar-1966-5711","title":"Vox V-250 Violin Bass Acoustic-Electric Bass Guitar (1966)","description":"Vox V-250 Violin Bass Model Acoustic-Electric Bass Guitar (1966), made in Italy, sunburst polyester finish, laminated maple body, laminated maple neck with ebony fingerboard, original grey hard shell case. \u003cbr\u003e\u003cbr\u003eThis Vox V-250 was the the obviously Hofner-inspired bass from the Eko-made Vox line, replacing a solid (or mostly solid) body Vox violin bass that was only in production briefly. With two small single-coil Vox pickups, segmented F-holes, a raised pickguard with handrest and a simple 3-knob switching system, it has a certain amount of individual character compared to most similar period basses. The small oblong single sided black headstock is a typical Vox trademark, but atypical for a \"Beatle\" style bass. This model was first available in 1966; within the next two years it had morphed into an even more elaborate creation, the Astro IV. A solid player and a neat find in a mid-60's bass with more individual character than most Beatle-inspired 4-strings. Also a garage band classic, as used by the Chocolate Watch Band (in the AIP feature RIOT ON SUNSET STRIP).\u003cbr\u003e \u003cbr\u003eOverall length is 45 3\/4 in. (116.2 cm.), 13 in. (33 cm.) wide at lower bout, and 1 7\/8 in. (4.8 cm.) in depth, measured at side of rim. Scale length is 29 1\/2 in. (749 mm.). Width of nut is 1 3\/4 in. (44 mm.). Very nice overall, an excellent player with none of the neck issues sometimes seen on Italian-made Voxes. Typical checking to the body finish, not too severe with no loss of finish except a few tiny chips on the rim. A couple of patched seams on the rim near the tailpiece that are barely noticeable are the only repair that is apparent, all else original and unmolested. A very good example, complete with the original Grey HSC with all latches and even the fragile handle intact. Excellent - Condition.","brand":"Vox","offers":[{"title":"Default Title","offer_id":46853278367884,"sku":"5711","price":850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_b8f77440-3def-4f04-b417-5a224926ace5.jpg?v=1774332830"},{"product_id":"harmolin-hawaiian-acoustic-guitar-1938-4708","title":"Harmolin Hawaiian Acoustic Guitar (1938)","description":"Harmolin Hawaiian Acoustic Guitar, c. 1938, made in Chicago, sunburst finish, original black soft shell case. \u003cbr\u003e \u003cbr\u003eOverall length is 38 3\/4 in. (98.4 cm.), 13 7\/16 in. (34.1 cm.) wide at lower bout, and 3 15\/16 in. (10 cm.) in depth at side, taken at the end block. Scale length is 25 in. (635 mm.). Width of nut is 1 5\/16 in. (33 mm.). Excellent Condition.","brand":"Harmolin","offers":[{"title":"Default Title","offer_id":46853282234508,"sku":"4708","price":975.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_09fae924-2470-462d-a78f-cb413cc7c230.jpg?v=1774332956"},{"product_id":"danelectro-convertible-acoustic-electric-guitar-1962-6128","title":"Danelectro Convertible Acoustic-Electric Guitar (1962)","description":"Danelectro Convertible Model Acoustic-Electric Guitar (1962), made in Neptune, NJ, formica with vinyl siding finish, masonite and pine body, poplar neck with rosewood fingerboard. \u003cbr\u003e\u003cbr\u003eA super nice example of the classic 1960s round hole hollow body Danelectro with a fully hollow body, single lipstick tube pickup in a round sound hole, formica top and back finish, and vinyl siding. The neck is the standard Danelectro style with a vertical logo and openback Waverly strip tuners. Intended to be used with or without a pickup (hence the name), the Convertible guitars have more body response than any other Nathan Daniel design, and actually are a fairly functional acoustic guitar. \u003cbr\u003e\u003cbr\u003eThese were the most basic Danelectro guitar offered (original list price with the pickup was $65.00), but have proved enduringly popular with a unique tone all their own, both plugged and unplugged. A few years back renowned singer\/songwriter J.J. Cale was seen using a Convertible extensively, inspiring new interest in this unusual Danelectro creation.\u003cbr\u003e \u003cbr\u003eOverall length is 38 1\/2 in. (97.8 cm.), 13 1\/4 in. (33.7 cm.) wide at lower bout, and 2 in. (5.1 cm.) in depth, measured at side of rim. Scale length is 25 in. (635 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eVery clean and all original except newer Straplok buttons, some slight chipping to the sound hole edge, and very light wear only. A bit of typical top sinkage, but less than most of these. A really nice example that plays well and sounds better -- even acoustically -- than it has any technical reason to! Excellent + Condition.","brand":"Danelectro","offers":[{"title":"Default Title","offer_id":46853291507852,"sku":"6128","price":850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_ff3272f9-afc0-4c62-9db7-9f537c5d0f38.jpg?v=1774333303"},{"product_id":"danelectro-convertible-acoustic-electric-guitar-1960-5660","title":"Danelectro Convertible Acoustic-Electric Guitar (1960)","description":"Danelectro Convertible Model Acoustic-Electric Guitar (1960), made in Neptune, NJ, formica with vinyl siding finish, masonite and pine body, poplar neck with rosewood fingerboard, original brown alligator chipboard case. \u003cbr\u003e\u003cbr\u003eA nice example of the classic 1960s round hole, hollow body Danelectro with a fully hollow body, single lipstick tube pickup in a round sound hole, Formica top and back finish, and vinyl siding. The neck is the standard Danelectro style with a vertical logo and openback Waverly strip tuners. Intended to be used with or without a pickup (hence the name), the Convertible guitars have more body response than any other Nathan Daniel design, and actually are fairly functional acoustic guitars. \u003cbr\u003e\u003cbr\u003eThese were the most basic Danelectro guitar offered (original list price with the pickup was $65.00), but have proved enduringly popular with a unique tone all their own, both plugged and unplugged. A few years back renowned singer\/songwriter J.J. Cale was been seen using a Convertible extensively, inspiring new interest in this unusual Danelectro creation.\u003cbr\u003e \u003cbr\u003eOverall length is 38 1\/2 in. (97.8 cm.), 13 1\/16 in. (33.2 cm.) wide at lower bout, and 2 1\/8 in. (5.4 cm.) in depth, measured at side of rim. Scale length is 25 in. (635 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eA bit worn overall but all original; a very good player and a nice example of an early Convertible, complete with the OSSC. Excellent - Condition.","brand":"Danelectro","offers":[{"title":"Default Title","offer_id":46853296488588,"sku":"5660","price":750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_b03919c0-635b-4293-baf8-8359e081b345.jpg?v=1774333493"},{"product_id":"harmolin-hawaiian-acoustic-guitar-1940s-496","title":"Harmolin Hawaiian Acoustic Guitar (1940s)","description":"Harmolin Hawaiian Acoustic Guitar, c. 1940s, made in USA, sunburst lacquer finish, spruce top, birch body. \u003cbr\u003e\u003cbr\u003eHere's one for the books: A highly unusual 7-string square-neck flat-top Hawaiian guitar with a \"Rube Goldberg\"-esque pitch-changing system for the third and fourth strings -- activated by knee levers beneath the neck! This very intriguing curiosity from the annals of steel guitar history was obviously someone's pet brainchild that never quite took the world by storm. Could this be a blind alley on the way to the pedal steel? \u003cbr\u003e\u003cbr\u003eThe folding knee levers operate metal bars leading to spring-loaded cams in a box under the headstock. These change the pitch of two strings which ride in slot-headed screws behind the nut. The lever system is stamped \"HAWAIIAN HARMOLIN, pat. Pend.\" on one of the bars. The whole assembly is very nicely made with multiple points of adjustment -- certainly not a thrown together affair! \u003cbr\u003e\u003cbr\u003eGenerally well made at the quality level of a better prewar Harmony (who almost certainly built this instrument), the guitar is a slot-headed square neck flat top with flush frets. It has a ladder braced two-tone sunburst spruce top and birch back, triple binding on top, single binding on back and soundhole, pin bridge, bone saddle and nut. The nut is extended with the seventh string beyond edge of fingerboard. The fingerboard has pearl dot inlay and the notes on one string are marked off in gold paint stencil. Tuners are unplated brass with black plastic buttons.\u003cbr\u003e \u003cbr\u003eOverall length is 37.5 in. (95.2 cm.), 14 in. (35.6 cm.) wide at lower bout, and 3.875 in. (9.8 cm.) in depth at side, taken at the end block. Scale length is 24.25 in. (616 mm.). \u003cbr\u003e\u003cbr\u003eClean overall with some minor wear and scratching, mostly to the top. Structurally fine except for several hairline grain cracks on the spruce top: one is still open, the rest are glued up. One of the pitch-changing levers is bent; otherwise the system appears intact, if not exactly functional. It could probably be restored with some TLC and a little ingenuity to figure out how it was supposed to work in the first place! While this guitar is currently playable, we offer it as a unique collector's item and display piece. Sold as is, condition as described.","brand":"Harmolin","offers":[{"title":"Default Title","offer_id":46853299994764,"sku":"496","price":350.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_5ae70fb8-3ebc-4735-9e53-004039cf9132.jpg?v=1774333638"},{"product_id":"kona-style-4-hawaiian-acoustic-guitar-1923-6876","title":"Kona Style 4 Hawaiian Acoustic Guitar (1923)","description":"Kona Style 4 Model Hawaiian Acoustic Guitar, c. 1923, made in Los Angeles, California, natural varnish finish, koa wood body and neck. \u003cbr\u003e\u003cbr\u003eOne of the 1920s' most distinctive and unusual instruments, the Kona Hawaiian Guitar has a somewhat twisted history, involving several fairly well-known names in Los Angeles lutherie of the 'teens and 'twenties. While this particularly beautiful top-of-the-line Kona was built by Herman Weissenborn, he neither designed nor sold the guitar, and the instrument has many differences from the standard Weissenborn creations. \u003cbr\u003e\u003cbr\u003eWhile most Weissenborn-style instruments have an integral hollow neck, the Kona guitars have a short, V-profile solid neck with metal frets...theoretically it is possible to play the Kona in either Spanish or Hawaiian style, although most folks are satisfied using them as a steel guitar! The Kona guitar is a unique-sounding instrument as well an extremely attractive one!\u003cbr\u003e\u003cbr\u003eThe \"Kona\" trademark belonged to one C. S. Delano, who was one of the first instructors of the Hawaiian steel guitar in the continental United States. Delano claimed to have studied with Joseph Kekuku, billed as the inventor of the Hawaiian technique, and opened his own teaching studio in Los Angeles in the early 1910s. As with many other teachers, it soon occurred to Delano that it would be a smart idea to have custom instruments for sale to students to supplement the studio's income. \u003cbr\u003e\u003cbr\u003eAt some point, Delano had come upon the work of incredibly creative if highly eccentric Seattle luthier Chris Knutsen who was experimenting with a \"convertible\" guitar which could be played in either the Spanish or Hawaiian styles. Knutsen's design involved an adjustable neck with a screw bracket to change the fingerboard angle, but either he or Delano soon realized that an adjustment of the nut height was all that was really needed. \u003cbr\u003e\u003cbr\u003eThe first few known Konas were built by Knutsen, who moved down to Los Angeles around this time. Despite his creative genius, Knutsen's craftsmanship was eccentric at best and he was never interested in getting involved in quantity production, so his designs are now mostly remembered by other names. After having some of his distinctive Konas built by another Los Angeles concern, the Schireson Brothers, Delano eventually settled on Herman Weissenborn as the supplier of his custom brand instruments.\u003cbr\u003e\u003cbr\u003eWeissenborn's name is now associated primarily with the hollow-neck Hawaiian guitars that bear his stamp, but these were also originally designed by Chris Knutsen. Around 1923 Weissenborn organized a large workshop for the production of these instruments and that appears to be when he took over Kona production as well. This guitar has all the stylistic hallmarks of a Weissenborn-made instrument, with the original plain Kona label used from 1923-25. Although visually similar (at least from the front), the styles of koa wood Hawaiian guitars from the Weissenborn workshop have notable differences. The typical Weissenborn-brand Hawaiian guitar has a relatively thin body with a hollow neck; the Konas compensate for their solid neck by having a much deeper body. The Kona guitars in general often have a darker, richer tone, while the Weissenborns have a lighter, airier sound.\u003cbr\u003e\u003cbr\u003eKona guitars in general are somewhat rarer than Weissenborns, as they were distributed only through Delano's studio. While Konas do not have official style designations, this guitar is the highest grade offered and corresponds to the top-of-the-line Weissenborn Style 4. The sound hole and all the front edges including the fingerboard and headstock are bound with Hawaiian style \"zipper\" binding and the fingerboard has shaped pearl inlay. The koa top and back have an amazingly beautiful figured grain pattern. Whoever C. S. Delano sold this one to, it didn't get a lot of use and has come down to us in a spectacularly well-preserved state!\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/fNOYz4vwQWs\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e \u003cbr\u003eOverall length is 37 1\/2 in. (95.2 cm.), 13 1\/4 in. (33.7 cm.) wide at lower bout, and 4 1\/4 in. (10.8 cm.) in depth, measured at side of rim. Scale length is 25 in. (635 mm.). Width of nut is 1 7\/8 in. (48 mm.). \u003cbr\u003e\u003cbr\u003eThis Kona remains in beautiful, all original condition, with just a few old repairs and no alterations or finish work. There are three repaired back cracks along the koa grain as is typical of Weissenborn instruments. The tuners and even the bridgepins appear original. The ambered varnish is generally well-preserved with some typical checking and scuffing, mostly to the back, but overall this instrument is about as nice as these come! Excellent sound; a super example of this fairly rare 90+ year old instrument. Excellent - Condition.","brand":"Kona","offers":[{"title":"Default Title","offer_id":46853300060300,"sku":"6876","price":3950.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_b6859bc6-8f7f-4fd4-a9e4-48eadacdb748.jpg?v=1774333642"},{"product_id":"weymann-flat-top-f-hole-deluxe-acoustic-guitar-1928-4278","title":"Weymann Flat-Top F-Hole Deluxe Acoustic Guitar (1928)","description":"Weymann Flat-Top F-Hole Deluxe Model Acoustic Guitar (1928), made in Philadelphia, PA, natural varnish finish, curly maple back, sides and neck; spruce top, ebony fretboard, original black soft shell case. \u003cbr\u003e\u003cbr\u003eThis Weymann flat top is one of the fanciest and most unusual 1920's guitars we have ever encountered, visually and sonically a most unique instrument. It is superbly made, with elegant touches everywhere-quite the most deluxe Weymann guitar we have ever encountered. The back and sides are outrageous fiddleback maple, with an extra bound and raised rim on the sides, front and back, as seen on the Philadelphia company's high-end Mandolutes. \u003cbr\u003e\u003cbr\u003eThe neck is also tightly grained laminated flame maple, with a heavy bound ebony fingerboard inlaid with a pearl tree-of-life pattern. The banjo-style headstock is elaborately inlaid with a pearl floral pattern and carries 6 recessed Weymann banjo tuners with pearl buttons. The top design is most unusual, with F-holes in the waist area, a moveable bridge and a heavy brass tailpiece. The edges are bound with half-herringbone and multiple layers of celluloid. The sound is unexpectedly deep and rich, with good definition and plenty of sustain.\u003cbr\u003e \u003cbr\u003eOverall length is 38 in. (96.5 cm.), 13 7\/8 in. (35.2 cm.) wide at lower bout, and 4 in. (10.2 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 3\/4 in. (44 mm.). This instrument has had a lot of use and repair over the years but remains substantially original. These are many scrapes and dings to the finish, but no large areas of loss or heavy overspray. The back has been French polished, and the back of the neck is well worn. The area around the bridge has aome marring from an old glued-down bridge. A number of repaired top cracks, none of major import. All of the tuners are Weymann originals from the 1920's, but two are not fully gold plated indicating they were replaced long ago. Someone obviously played this most unusual creation quite a bit; it remains a very playable guitar utterly distinctive in sound and style! Overall Very Good + Condition.","brand":"Weymann","offers":[{"title":"Default Title","offer_id":46853302878348,"sku":"4278","price":5500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_66a36700-1be6-4200-8f44-528d161fefef.jpg?v=1774333809"},{"product_id":"lyon-healy-bell-hawaiian-harp-5260-hawaiian-acoustic-guitar-1926-3103","title":"Lyon \u0026 Healy Bell Hawaiian Harp #5260 Hawaiian Acoustic Guitar (1926)","description":"Lyon \u0026amp; Healy Bell Hawaiian Harp #5260 Model Hawaiian Acoustic Guitar, c. 1926, made in Chicago, natural lacquer finish, Flamed koa body, spruce top, laminared mahogany neck, ebony fingerboard, original black hard shell case. \u003cbr\u003e\u003cbr\u003eOne of the most original and unique of 1920's American fretted instruments (although it actually has no frets!), the Lyon \u0026amp; Healy Bell Hawaiian Guitar is an absolute showstopper, a truly original design that has never been equalled. While this sort of super-elaborate lap-style guitar may seem quixotic now, in the mid-1920's Hawaiian guitar was a major trend in showbiz, and the need for louder (and flashier) instruments for steel playing was a major concern of fretted instrument makers and players. \u003cbr\u003e\u003cbr\u003eWhile the invention of the metal National resonator guitar proved to be the ultimate solution in the pre-electric era, several makers took a hint from the success of the Kona and Weissenborn non-traditional steel guitars and crafted ever grander wooden Hawaiian showboats, of which this is the grandest. When Lyon \u0026amp; Healy introduced this imposing monster around 1926, it must have seemed that the Hawaiian guitar had reached its peak.\u003cbr\u003e\u003cbr\u003eThe Bell Hawaiian is actually a somewhat strange creation. While it owes something in concept to the original Knutsen design that Herman Weissenborn popularized, it is not particularly similar to that or any other guitar. The \"Bell\" shape body was also used by L \u0026amp; H on a Spanish guitar produced at the same time, but that model had a much smaller body with a round upper bout and of course an actual 12-fret neck. \u003cbr\u003e\u003cbr\u003eOne of the odder features of the model #5260 is the vestigial neck�it is only three frets long, but still fully shaped and attached to the guitar in the conventional way. It would seem to have been far easier to simply fair the headstock into the body as Weissenborn did, but Lyon \u0026amp; Healy's designer thought otherwise! The early Knutsen and Kona guitars had a short fretted neck to allow for some adaptability to Spanish play, but the Bell Hawaiian's neck is purely decorative. \u003cbr\u003e\u003cbr\u003eThe very long spruce top is actually slightly arched and slopes gracefully down to meet the sides, most noticeably towards the front body points. The fingerboard is not fretted but has inlaid position markers and is bound in white celluloid, while the rest of the instrument's binding is a vibrant green peculiar to Lyon \u0026amp; Healy in this era. The back and sides are built of spectacular flamed koa wood of the highest grade, while the top is fine-grained spruce. The tuners are elaborately decorated gold-plated strips with solid pearl buttons.\u003cbr\u003e\u003cbr\u003eThe guitar's tone is far deeper than the average Hawaiian guitar, with a particularly dense rumble on the low notes. The top is ladder braced (unlike the X-braced Weissenborn-style instruments) and the bridge with its elaborate \"fishtail\" ends is quite thick. While Lyon \u0026amp; Healy often seemed to festoon their instruments with markings and numbers, this one carries no Washburn logo, serial, or model numbers, and only a very discreet \"Lyon \u0026amp; Healy, Makers. Chicago\" stamp on the inside back. \u003cbr\u003e\u003cbr\u003eThe Bell Hawaiian remains a fascinating example of American guitar ingenuity, so evolved it almost ceases to resemble a guitar. If not for the Dopyera Brother's collaboration with George Beauchamp in Los Angeles at around the same time creating the resonator guitar, it might have gone on to a better future, or at least seemed less like an obvious dead end! Still simply one of the most beautiful and distinctive Hawaiian guitars ever made, and a must for any high-end steel guitar collection.\u003cbr\u003e \u003cbr\u003eOverall length is 39 in. (99.1 cm.), 19 15\/16 in. (50.6 cm.) wide at lower bout, and 4 7\/8 in. (12.4 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). \u003cbr\u003e\u003cbr\u003eVery nice overall; one repaired top crack behind bridge and some overall light playwear. The bridge has pearl dots that appear to cover Gibson-style screws probably added during an early bridge reglue operation. \u003cbr\u003e\u003cbr\u003eOtherwise completely original and spectacular looking and sounding, with the truly unique original shaped hard case. Excellent Condition.","brand":"Lyon \u0026 Healy","offers":[{"title":"Default Title","offer_id":46853307302028,"sku":"3103","price":12000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_71dc04a4-f6d5-4154-9a0a-ab816e7f3283.jpg?v=1774333991"},{"product_id":"c-f-martin-000-18-acoustic-guitar-1952-8117","title":"C. F. Martin 000-18 Acoustic Guitar (1952)","description":"C. F. Martin 000-18 Model Acoustic Guitar (1952), made in Nazareth, PA, natural lacquer finish, mahogany back, sides and neck, spruce top; rosewood fingerboard, black hard shell case. \u003cbr\u003e\u003cbr\u003eOn the whole the auditorium-sized 000-18 is not one of Martin's rarer or more storied creations, but to many players and Martin fans it constitutes one of the company's most beloved combinations of wood, wire, and inspiration. The 000-sized mahogany body coupled with an X-braced braced spruce top makes for a very responsive guitar; the larger but narrow-waisted 14-fret form contributes both depth and clarity to the sound. \u003cbr\u003e\u003cbr\u003eThis 000-18 was built in mid-1952, one of a total of 550 examples of the model shipped that year. It incorporates typical period features, with a long-saddle rosewood bridge, tortoise celluloid pickguard, and some of the last of the just-post-war open back Kluson tuners, eventually replaced with the familiar closed-back Kluson Deluxe design. While not a particularly expensive guitar by 1950s standards, listing at $105.00 (plus case) the 000-18 still represented a substantial investment for many players. \u003cbr\u003e\u003cbr\u003eThis is not a flashy guitar; compared to its more decorative rosewood sister the 000-28, the trim is discreet with thin tortoise celluloid on the body edges and a simple multiple sound hole ring. In classic Martin style, the elegant understatement speaks for itself. Despite its humble appearance the 000-18 was always absolutely suitable as a fully professional instrument. The 000-18 was then and is now an extremely versatile guitar which can be used to play effectively in virtually any style of music.\u003cbr\u003e \u003cbr\u003eOverall length is 38 3\/4 in. (98.4 cm.), 15 1\/8 in. (38.4 cm.) wide at lower bout, and 4 1\/8 in. (10.5 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar is very well-played but remains an excellent example, just emerged from a recent neck set and refret and ready for the decades to come. It remains otherwise all original except for a correct-style repro pickguard. There is some average finish wear overall, but the only large area of loss to the lacquer is on the back of the neck. The top has a lot of small dings and dents (a few through the finish into the wood), but the only major pickwear is to the bottom lip of the sound hole. \u003cbr\u003e\u003cbr\u003eThere are several repaired spruce grain top cracks, two behind the treble half of the bridge down to the rim with a fairly deep \"case lid\" ding tangential to it. There is another old repaired grain split in the typical spot above the top edge of the pickguard, and one more off the 'guard's front edge. The guitar's finish overall has a smoky patina and exudes the classic \"old Martin\" vibe, while the sound is bright and fairly dry, with a lot of pop to the upper mids but an overriding sweetness. Very Good + Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853317886092,"sku":"8117","price":3850.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_8bc934e6-111f-4d8c-b822-d82b3ef6930e.jpg?v=1774334415"},{"product_id":"vivi-tone-acoustic-electric-guitar-1933-3369","title":"Vivi-Tone Acoustic-Electric Guitar (1933)","description":"Vivi-Tone Acoustic-Electric Guitar, c. 1933, made in Kalamazoo, Michigan, Cremona Brown Sunburst varnish finish, spruce back and top, maple rims; mahogany neck with ebony fingerboard.. \u003cbr\u003e\u003cbr\u003eThis extremely rare Vivi-Tone electric guitar is a fine example of Lloyd Loar's pioneering efforts in the creation of electric fretted instruments, as well as one of the earliest electric Spanish-style guitars ever made -- predated possibly only by the lost Stromberg-Voisinet electrics that are virtually unknown, and one or two Rickenbacker Electro prototypes. \u003cbr\u003e\u003cbr\u003eLoar himself played primarily mandolin family instruments, so one can assume the electric Spanish guitar was a project he had more personal interest in at Vivi-Tone than the Hawaiian style that was the raison d'etre at Rickenbacker. Despite its eccentric design, this is a very well-made and playable instrument with a fascinatingly engineered and complex, if somewhat primitive, pickup system. This was intended as both an acoustic and electric instrument, unlike Vivi-Tone's contemporary plank-like solidbodies. \u003cbr\u003e\u003cbr\u003eThe general construction is the same as Vivi-Tone's \"Acousti-guitars\"; a thick-rimmed, standard shaped body with a sunburst finish solid spruce top and back (with f-holes!) and very heavy laminated rims. The neck is shaped somewhat similar to old Gibson necks with a heavy \"V\" profile, bound ebony fingerboard, and pearl dot inlay. The narrow headstock is ivoroid veneered with a screened \"Vivi-Tone\" logo and the individual Grover tuners have grained ivoroid buttons. The top is triple bound, and the heelcap is ivoroid. The cast tailpiece carries a very Art Nouveau \"Vivi-Tone\" logo; the pickguard is heavy tortoise celluloid raised above the rim. The bridge has a compensated ebony cap. \u003cbr\u003e\u003cbr\u003eThe electronics are mounted in a removable drawer which slides out of the bass side of the rim, with the signal transmitted from the wooden bridge to a metal plate sensed by the coil of the pickup beneath. The bridge has another highly eccentric feature: two pivoting wooden arms screwed at their front ends to the top pass under the bridge top and via a small block of wood transfer vibration to the guitar's back, which was intended to be the primary soundboard! How well this feature works in practice is open to debate, but it is a highly unique concept. \u003cbr\u003e\u003cbr\u003eNearly everything about the Vivi-Tone is unique; Mr. Loar had certainly moved on in his theories since his time at Gibson and created one of the most eccentric, as well as earliest, of all electric guitars.\u003cbr\u003e \u003cbr\u003eOverall length is 39 1\/8 in. (99.4 cm.), 13 1\/8 in. (33.3 cm.) wide at lower bout, and 3 3\/4 in. (9.5 cm.) in depth, measured at side of rim. Scale length is 24 1\/2 in. (622 mm.). Width of nut is 1 7\/8 in. (48 mm.). \u003cbr\u003e\u003cbr\u003eWell-preserved with only light-moderate wear overall. There is a small divot in the peghead's plastic facing and a few deep scrapes to the back and rim edges, but overall the wear to the finish is minor. The complex and unique Vivi-Tone pickup unit has been re-wound to the original spec (which was quite a specialist task) using as many original components as possible. The guitar plays quite well, and while the sound is fairly archaic, this is a functional guitar in every sense, as well as a fabulous piece of electric guitar history. Excellent - Condition.","brand":"Vivi-Tone","offers":[{"title":"Default Title","offer_id":46853320900748,"sku":"3369","price":8500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_f0050524-af15-434c-9aba-5c7ce0c7b486.jpg?v=1774334559"},{"product_id":"larson-brothers-euphonon-dreadnought-acoustic-guitar-1938-8464","title":"Larson Brothers Euphonon Dreadnought Acoustic Guitar (1938)","description":"Euphonon Dreadnought Model Acoustic Guitar, made by Larson Brothers, c. 1938, made in Chicago, natural top, sunburst back and sides finish, maple back and sides, spruce top; laminated maple neck with ebony fingerboard, period hard shell case. \u003cbr\u003e\u003cbr\u003eThis wonderful Euphonon Dreadnought is easily one of the finest surviving 1930s Larson Brothers instruments we have seen, a true gem of a pre-war Jumbo and a fantastic instrument for any era. It was built originally for Doyne \"Don\" Wilson of the Hilltoppers, Chicago radio station WLS artists around 1938, and bears his name on the headstock. \u003cbr\u003e\u003cbr\u003eThe story we got is it was for some reason never picked up by him, instead sitting unclaimed in the brothers' shop. Subsequently it was sold to another local player, apparently a more jazz-oriented musician who used it very little and the guitar ended up in the Music Emporium in Pittsburgh in the '60s or '70s; their paper label is visible on the inside back. It has subsequently been in a private collection for many years.\u003cbr\u003e\u003cbr\u003eThis guitar carries the Euphonon brand on the backstrip, the last of several names the Larsons used for their wares. August and Carl began using this name in the 1930s, and the majority of guitars so branded show \"modern\" features: a 14-fret neck joint, slimmer neck, solid, non-slotted peghead, and often larger bodies. All Larson instruments were handmade, but in this era each one is unique. In the 1930s the brothers' Elm street shop functioned (in modern terms) as a custom shop, building one-offs for direct sale to the customer. \u003cbr\u003e\u003cbr\u003eAnyone could go to the Larson shop at 536 Elm Street in Chicago to order an instrument. August Larson is even remembered as saying \"you already have a guitar...why do you need another?\" In the 1930s many entertainers felt they needed bigger, flashier guitars. The Larsons were at the time the only major individual builder specializing in the fancy flat-tops preferred by \"Hillbilly\" entertainers, including Martin-style Dreadnoughts. \u003cbr\u003e\u003cbr\u003eThis guitar shows the Larsons adapting Martin's design to create something unique. Instead of the traditional Brazilian rosewood or mahogany, the body is curly maple with a lovely subtly shaded finish. The spruce top has the laminated X-bracing and subtly arched \"built under tension\" design the brothers developed 30 years before, ideally suited to this large-bodied design. Guitars of this period arguably show the structural and tonal advantages of August's innovations better than the smaller instruments of previous decades. \u003cbr\u003e\u003cbr\u003eThe top is multi-bound, with a large inlaid celluloid pickguard on the lower half of the face. The Larsons' signature rosewood bridge has clover inlay at each end. The laminated maple neck has a bound heavy ebony fingerboards inlaid with pearl blocks; the headstock is plain except for the name \"DON\" in pearl block letters. Don Wilson, for whom this guitar was almost certainly built, played standard and Hawaiian guitar as one of The Hilltoppers on WLS. Like many WLS performers, The Hilltoppers' once radio-driven celebrity is now only a footnote to country music history.\u003cbr\u003e\u003cbr\u003eLarger body Larson guitars with 14-fret necks are generally considered the cream of the Larson crop. With slimmer, more modern-feeling necks, they are very comfortable to most players. The built-under-tension construction helps create a quick response and bright, ringing tone with strong sustain even in a large guitar. Many consider the 16\" Euphonons the finest-sounding of all Larson instruments; indeed, some of the best steel-string guitars ever made. This unique pre-WWII maple Dreadnought is certainly a contender!\u003cbr\u003e \u003cbr\u003eOverall length is 41 1\/4 in. (104.8 cm.), 15 3\/4 in. (40 cm.) wide at lower bout, and 4 5\/8 in. (11.7 cm.) deep. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 3\/4 in. (44 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar remains in far more original condition than most extant large-body Larsons, with some light repair but substantially intact as the brothers originally built it. There is a very thin lacquer overspray over much of the instrument, most noticeable on the neck and headstock. The top appears to have the least, although a couple of filled dings indicate a minimal degree of overfinish. The neck also appears to have been cleanly reset. This work all looks to have been done quite some time ago, and there is subsequent light pick wear through the finish mostly around the pickguard and some dings through as well.\u003cbr\u003e\u003cbr\u003eThe bridge, the thin maple bridgeplate, and even the composite bridgepins are completely intact -- this is rarely the case after 80 years! The top center seam behind the bridge has been resealed but there are no cracks visible anywhere. The frets and fingerboard remain original and unaltered with only very light wear. The tuners are the original open-back Waverly units with plastic buttons and hexagonal grommets. The name \"DON\", inlaid in the headstock, was finished over at one point, and has re-emerged with minimal evidence of this work. \u003cbr\u003e\u003cbr\u003eThis is certainly one of the finest surviving Larson WLS guitars, with far less use and repair work than most. These were working tools for the original owners, and most have been heavily worn and often altered by subsequent repairs over the course of their service. The maple Dreadnought is a rarity in any era, and this is a unique instrument of its type. It is a great-playing and spectacular-sounding guitar, brighter than any similar Martin with the cut of an archtop and the deep power of the Dreadnought combined. It also includes the original hard case, something else almost never seen with Larson instruments. Excellent Condition.","brand":"Larson Brothers","offers":[{"title":"Default Title","offer_id":46853322768524,"sku":"8464","price":28000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_4fb0f4b9-dd13-41e5-b3c4-99acdf6d4bf3.jpg?v=1774334596"},{"product_id":"regal-bronsons-radio-grand-hawaiian-acoustic-guitar-1937-4125","title":"Regal Bronson's Radio Grand Hawaiian Acoustic Guitar (1937)","description":"Bronson's Radio Grand Model Hawaiian Acoustic Guitar, made by Regal, c. 1937, made in Chicago, sunburst top, dark back and sides finish, mahogany back and sides, spruce top. \u003cbr\u003e\u003cbr\u003eA very attractive squareneck Hawaiian guitar from the mid-late 1930's; subtle sunburst top, flamed tortoise celluloid pickguard, and bound top and back with multibound soundhole. \"Bronson's Radio Grand\" stenciled in gold on solid headstock. Bronson was a spin-off from Oahu, and similarly sold Hawaiian guitar lessons and the instruments to play on. This one is nicer than many similar instruments, and was a higher-grade student guitar with a good sound.\u003cbr\u003e \u003cbr\u003eOverall length is 37 1\/4 in. (94.6 cm.), 14 5\/16 in. (36.4 cm.) width, and 3 3\/4 in. (9.5 cm.) in depth at side, taken at the end block. Scale length is 25 in. (635 mm.). Width of nut is 1 7\/8 in. (48 mm.). \u003cbr\u003e\u003cbr\u003eVery fine overall with a well-done but oversized bridge replacement. Very little wear; a nice-sounding, solid-wood, prewar Hawaiian guitar at a budget price. Excellent Condition.","brand":"Regal","offers":[{"title":"Default Title","offer_id":46853329289356,"sku":"4125","price":350.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_cff02858-ce51-4eec-9f1a-3fff13ab9b82.jpg?v=1774334696"},{"product_id":"gibson-j-160e-acoustic-electric-guitar-1960-8952","title":"Gibson J-160E Acoustic-Electric Guitar (1960)","description":"Gibson J-160E Model Acoustic-Electric Guitar (1960), made in Kalamazoo, Michigan, serial # R6614-35, sunburst top, dark back and sides finish, mahogany back, sides and neck; spruce top, rosewood fingerboard, black hard shell case. \u003cbr\u003e\u003cbr\u003eGibson's J-160E electrified flat-top was a fairly successful guitar in its original 1950s incarnation but is now remembered primarily as one of the iconic \"Beatle guitars\" of the 1960s. John Lennon and George Harrison both used 1962 J-160Es as recording and touring instruments extensively during the band's early '60s breakthrough period, and this particular Gibson model remains indelibly linked to the Beatles legacy both visually and sonically. This late 1960 guitar was built just about a year and a half before George \u0026amp; John's original pair of 1962 J-160Es, which they acquired as a set in fall '62 and used for much of the band's subsequent career.\u003cbr\u003e\u003cbr\u003eThis guitar is practically identical to those 1962 models, with features specific to the period including adjustable bridge with a ceramic saddle and small screw ends, capped amber bonnet knobs, Kluson Deluxe tuners with keystone buttons, and most notably a single sound hole ring pattern. This distinctive feature is recognizably different from the appearance of the 1964 J-160E purchased as a replacement for Lennon when one of the originals was stolen in December 1963. The band used their J-160E models on many Beatles' recordings from their first LP right through the end of the group, and Lennon used one during his early solo career, by which point the top had been stripped to natural.\u003cbr\u003e\u003cbr\u003eThe J-160E was one of the more specialized Gibsons of the 1950s. Designed specifically for country\/western performers getting drowned out by their increasingly well-amplified bands, the fairly fancy 16\" Jumbo sported the same electronics (a specially adapted P-90 pickup) and cosmetic features as the earlier small-body CF-100E. Unlike that guitar (and all other period Gibson flat-tops), the J-160E features a laminated spruce top with a ladder-braced design, Gibson's engineers having found that the decreased top resonance helped reduce feedback when amplified. \u003cbr\u003e\u003cbr\u003eThe J-160 is admittedly a hybrid but is quite functional both as an acoustic and electric instrument. Purely as an acoustic guitar the sound is thinner than most other Gibson flat-tops with a high\/midrange emphasis; the sound is distinctive and very notable on many Beatle recordings. As an electric guitar the tone is full if not particularly versatile; quite a few Beatle records feature this sound as well. This particular J-160E is a definitive Beatle style guitar as well as a superbly well-preserved example of the model.\u003cbr\u003e \u003cbr\u003eOverall length is 41 in. (104.1 cm.), 16 in. (40.6 cm.) wide at lower bout, and 4 15\/16 in. (12.5 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar is about as clean as we ever expect to see authentic vintage instruments nearly 60 years on. The finish shows only tiny wear spots -- mostly on the headstock edges -- and some minimal checking. The sunburst top has virtually no pick marks at all. There is one repaired crack on the instrument, on the back bass side's lower bout edge. This had been solidly but visibly sealed with some minimal touch-up. \u003cbr\u003e\u003cbr\u003eThe instrument appears completely original and undisturbed except for the tuner buttons (which are correct style replacements for the crumbled plastic \"keystone\" originals) and possibly the tone and volume knobs, which are the correct type but appear to be slightly later 1960s originals with gold caps instead of the silver normally expected. The original frets show only very light wear and this is an excellent-playing example of this Beatle-style classic. The original alligator grain cardboard case is present but is not completely functional; we have sourced a correct 1960s Beat-era gold-lined black Gibson logo case as more fitting protection for its long and winding road onward. Excellent + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853339250828,"sku":"8952","price":6500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_0601f29a-f1eb-4f02-adf1-54c1b0cbff2a.jpg?v=1774335039"},{"product_id":"national-model-1155e-acoustic-electric-guitar-1956-8875","title":"National Model 1155E Acoustic-Electric Guitar (1956)","description":"National Model 1155E Model Acoustic-Electric Guitar (1956), made in Kalamazoo, Michigan, serial # X-59931, sunburst top, natural back and sides finish, Spruce Top, Mahogany Back and Sides, Mahogany Neck, Rosewood Fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis rather flashy-looking electrified flat-top guitar is a product of both Gibson and National\/Valco, the result of the complex intertwining of these two companies with the CMI (Chicago Musical Instrument) empire in the 1940s and '50s. CMI owned Gibson outright, but also acted as the exclusive distributor for Valco's National brand. As Valco did not operate a high-quality wood shop, a deal was struck for them to purchase Gibson-made acoustic guitar bodies \"in the white\" (unfinished) for their better grade instruments to be fitted out with National necks and hardware. \u003cbr\u003e\u003cbr\u003eThis Jumbo flat-top Model 1155E is built using a Gibson J-45\/J-50 body with the neck block bearing a Gibson Factory order number of W1480-6 indicating fabrication in 1955. The bolt-on National \"Stylist\" heelless neck and all hardware were fitted by Valco who finished out the guitar which was then sold by CMI sometime in 1956. \u003cbr\u003e\u003cbr\u003eThe neck itself is somewhat slimmer than earlier Valco-made examples, with a relatively shallow profile and just a hint of a \"V\". The headstock is covered in black plastic with a cream plastic \"National\" logo fitted. The hex-nut adjustable neck\/body joint is covered by a screwed-on cream plastic heel plate retained by the strap button. \u003cbr\u003e\u003cbr\u003eThe pickguard is a translucent \"leopard striped\" celluloid peculiar to National, which gives the guitar a typically 1950s \"Populuxe\" tinge. The triple-bound sunburst top has a look a bit less artful if more dramatic than the period Gibson style and the heavy rosewood bridge has a point on the bottom end and four large securing screws left in plain sight (Gibson covered theirs with pearl dots!). \u003cbr\u003e\u003cbr\u003eThe electrified \"E\" model is somewhat rarer than the straight acoustic version and carries a National single-coil pickup mounted under the end of the fingerboard with pole pieces peeking through the rosewood. The tone and volume controls are mounted on the side above the neck. These are very good-sounding guitars -- especially when plugged in -- with a funky sound and distinct \"retro-cool\" look rather different the typical Gibson. Combining the Gibson and National aesthetics, the 1155E is a singular creation of this somewhat oddball marriage of two '50's guitar greats .\u003cbr\u003e \u003cbr\u003eOverall length is 40 1\/2 in. (102.9 cm.), 16 5\/16 in. (41.4 cm.) wide at lower bout, and 4 3\/4 in. (12.1 cm.) in depth at side, taken at the end block. Scale length is 25 in. (635 mm.). Width of nut is 1 9\/16 in. (40 mm.). \u003cbr\u003e\u003cbr\u003eThis is a very nice all-original 1155E showing some general light wear and repair. Overall the finish is relatively clean with great color to the sunburst, showing very little fade. There are a number of dings, dents, and scrapes, but no major areas of wear. There are two spots on the side just below the neck joint that look like cigarette burn marks. There are several repaired grain cracks to the mahogany back but the top is nicely crack-free. \u003cbr\u003e\u003cbr\u003eThe binding appears to have been re-glued on the lower treble side waist. The celluloid pickguard has no deterioration but looks like it was re-glued at some point. The saddle has a small repaired chip between the low E and A strings that does not affect play. The back of the neck has a number of small dings and dents and one spot of minor finish melt behind the 9th fret. Everything is original, the frets have minimal wear, the electronics work fine and this is a fine playing and sounding example of this cool if somewhat eccentric guitar. Excellent Condition.","brand":"National","offers":[{"title":"Default Title","offer_id":46853357207692,"sku":"8875","price":3200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_f7752d92-c00d-4ba7-b912-ba9b10faa901.jpg?v=1774335850"},{"product_id":"oscar-schmidt-hilo-style-670-hawaiian-acoustic-guitar-1927-5672","title":"Oscar Schmidt Hilo Style 670 Hawaiian Acoustic Guitar (1927)","description":"Hilo Style 670 Model Hawaiian Acoustic Guitar, made by Oscar Schmidt, c. 1927, made in Jersey City, NJ, serial # 5083, natural finish, koa wood body and fingerboard. \u003cbr\u003e\u003cbr\u003eA particularly beautiful 1920s Hawaiian guitar, made not as one might expect in California like most, but in Jersey City! Dramatically grained Island woods throughout and fancy shaped abalone inlay and binding on all edges make this one beautiful-looking lap guitar. The sound is quite fine as well; perhaps a bit deeper and not as \"reverby\" as many Weissenborn instruments, but with a lovely rounded character. A real gem of a player's acoustic Hawaiian; well-used, well-traveled, but still regal.\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/fNOYz4vwQWs\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e \u003cbr\u003eOverall length is 38 in. (96.5 cm.), 15 in. (38.1 cm.) wide at lower bout, and 3 in. (7.6 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 2 in. (51 mm.). \u003cbr\u003e\u003cbr\u003eThis old Hilo Hawaiian has seen a lot of use, and traveled far from its original New Jersey birthplace; there is a sticker from a shop in Auckland, New Zealand on the back of the headstock! There are some very old crack repairs, and the binding is somewhat pulled up in places but still intact, with some spots amateurishly reglued. \u003cbr\u003e\u003cbr\u003eThere is a somewhat sloppy but thankfully thin old varnish application over much of the instrument; the technical term would be \"overspray,\" but this one was definitely applied with a brush! The tuners are a mixed lot -- the treble side are Depression-era Waverly strip, while the bass side are a 1950s European strip. Despite this hard life, the sound does not appear to have suffered, as it is still a lush-sounding instrument. A good player in an old Koa Hawaiian, ready for more adventures! Very Good Condition.","brand":"Oscar Schmidt","offers":[{"title":"Default Title","offer_id":46853360189580,"sku":"5672","price":1600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_5b9a5592-4405-4a88-a6b6-2d7c987bc18c.jpg?v=1774335900"},{"product_id":"greenfield-style-2-hawaiian-acoustic-guitar-1931-7075","title":"Greenfield Style 2 Hawaiian Acoustic Guitar (1931)","description":"Greenfield Style 2 Model Hawaiian Acoustic Guitar (1931), made in Edmonton, Alberta Canada, natural varnish finish, Koa wood body, black canvas case. \u003cbr\u003e\u003cbr\u003eThis Greenfield Style 2 is one of the more unique creations to emerge from the Hawaiian guitar craze of the 1920s, hailing from the unlikely home of Edmonton, Alberta in Canada. The Greenfield brothers were local cabinetmakers who also played guitar. Soon enough, they decided to craft instruments for themselves and then for sale as well. \u003cbr\u003e\u003cbr\u003eThey initially tried making a symmetrical extended body that completely surrounded the neck; that proved to be impractical as the player's steel kept banging into the treble side of the top. Their solution was to leave the hollow body extension only on the bass side, resulting in an asymmetrical but attractive offset design (nicknamed \"The Hambone\" at the time) unique to themselves. Constructed of varying cuts of Hawaiian koa with a subtly flamed top and all-wood binding, this is a very well-made and striking looking creation. \u003cbr\u003e\u003cbr\u003eThe Greenfields were not exactly modest about their instruments; the area under the sound hole has not only a large color label (proclaiming the guitar \"HAS NO RIVAL\" and guaranteeing it for all of one year) but patent stamps for the US and Canada and the maker's hand signature and date. One small stamp reads \"Proclaimed by Canadian and USA artistes of repute as the world's best Hawaiian guitar\". \u003cbr\u003e\u003cbr\u003eThis is a very good-sounding instrument, not dissimilar in tone to the Weissenborn and Kona guitars out of Los Angeles but with a distinctive character all its own. By the time this one was made in April 1931, the unamplified Hawaiian guitar was soon to be supplanted by the new electric models, quickly rendering these dedicated wood-body steel acoustics essentially obsolete as professional instruments. Lovely, unique, and definitely a show stopper, the Greenfield is one of the lost gems of the pre-electric Hawaiian guitar world.\u003cbr\u003e\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/fNOYz4vwQWs\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e \u003cbr\u003eOverall length is 36 in. (91.4 cm.), 13 in. (33 cm.) wide at lower bout, and 2 3\/4 in. (7 cm.) in depth, measured at side of rim. Scale length is 25 in. (635 mm.). Width of nut is 1 7\/8 in. (48 mm.). \u003cbr\u003e\u003cbr\u003eVery fine overall, showing some very light finish dings and scrapes but few signs of actual use. As is typical of many of these early dedicated Hawaiian instruments, the very thin top is lightly braced and has taken some curve to it over time but is stable and the instrument sounds very fine. There are a few re-sealed seams but no cracks, which is unusual for a koa instrument of this vintage. The tuners appear to have been replaced sometime around the 1960s with Japanese machines similar to the originals; otherwise, the guitar remains all original. A truly unique instrument, and a surprisingly practical player as well! Excellent - Condition.","brand":"Greenfield","offers":[{"title":"Default Title","offer_id":46853371920524,"sku":"7075","price":3000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_61c951f1-4210-4c85-bbdd-df001474082f.jpg?v=1774336278"},{"product_id":"gibson-j-45-banner-acoustic-guitar-1943-9890","title":"Gibson J-45 Banner Acoustic Guitar (1943)","description":"Gibson J-45 Banner Model Acoustic Guitar (1943), made in Kalamazoo, Michigan, serial # FON 2143-21, sunburst top, dark back and sides finish, mahogany back, sides and neck, spruce top, rosewood fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis Gibson J-45 was built during the Second World War when the company's instrument production was severely limited. The specifications of individual instruments can vary greatly, dictated by the materials available. This particular guitar has the expected combination of a sunburst-finished spruce top over the mahogany back, sides and neck standard for the J-45. A concession to wartime specs is the use of a maple insert under the fingerboard instead of the standard adjustable truss rod, as metal was severely rationed. The tuners are the slim flat-plate riveted Klusons of the period, specifically designed to use the minimum of metal possible. \u003cbr\u003e\u003cbr\u003eThe soundhole rosette is the earlier 7-ply style, while the top is single bound. The tuners are wartime Kluson strips designed to use the minimum of metal. The Gibson Factory Order Number (FON)2143-21 on the heelblock identifies this guitar as a 1943 model, based on recent research. The neck has a very deep round profile but is not as bulky as some of these wartime guitars without a metal rod installed. The sunburst is deep and rich with a stately hue. The headstock bears the gold script Gibson logo introduced at this time over the \"Only a Gibson is Good Enough\" banner decal that gives this era's guitars their identifying name. This is a great playing, huge sounding instrument that has survived nearly 80 years in fine condition, one of the nicer \"Banners\" we have ever had.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eOverall length is 40 3\/4 in. (103.5 cm.), 16 1\/8 in. (41 cm.) wide at lower bout, and 4 3\/4 in. (12.1 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar shows some minor wear and repair but is in excellent playing condition. Excellent - Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853381292172,"sku":"9890","price":15000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_3ddb4446-d6db-4ff4-ae23-528d1e5ca270.jpg?v=1774336746"},{"product_id":"busato-grand-modele-gypsy-jazz-acoustic-guitar-late-1930s-9136","title":"Busato Grand Modele Gypsy Jazz Acoustic Guitar (late 1930's)","description":"Busato Grand Modele Gypsy Jazz Model Acoustic Guitar, c. late 1930's, made in Paris, France, brown lacquer finish, spruce top, French poplar back and sides, ebony fingerboard, tweed hard shell case. \u003cbr\u003e\u003cbr\u003eApart from the extremely rare and valuable original Selmer\/Maccaferri instruments, authentic period French guitars germane to the Django Reinhart-derived Gypsy Jazz style are comparatively little known in the US. The original 1930's and '40's Selmers -- the \"gold standard\" of this type of instrument -- are currently reproduced by makers all over the world today, de rigeur for the enduringly popular Gypsy Jazz style. What is often forgotten is even as early as the 1930s other Parisian builders created their own interpretations of the design, which today even if built to variable standards have an authentic character lacking in modern reproductions. \u003cbr\u003e\u003cbr\u003eThe guitars made in Paris by Bortolo Busato have long been mysterious, even to most chroniclers of the history of Selmer style instruments. Busato was one of the earliest, if not the first, independent luthiers to copy the revolutionary Selmer design and build guitars directly inspired by Mario Maccafferri's designs for decades beginning in the early 1930s. By 1935 he was selling them out of his shop at 40 Rue d'Orgemont in the XX Arrondismont of Paris, and this guitar carries that label dating it to some time before 1943, when Busato relocated.\u003cbr\u003e\u003cbr\u003eThis is an unusually fancy instrument for a Selmer-style guitar, but Busato had his own aesthetic and used many decorative motifs on his guitars that are reminiscent of the accordions they were often called on to accompany. It would have been called a \"Grand Modele\" meaning it is a higher quality instrument; the \"Petit Modele\" was plainer and less expensive. This instrument is at the high end of Busato's offerings. \u003cbr\u003e\u003cbr\u003eThis is an earlier style 12-fret instrument with the smaller \"petit bouche\" oval soundhole adopted by Selmer in 1934-5. This guitar is an older 1930s pattern instrument (by the 1940s the 14-fret neck was more common). The headstock has gold-painted engraved trim with quite a few inlaid rhinestones. A similarly engraved and rhinestone'd composition pickguard is fitted to the top, which is itself stained dark and multi-bound. The back is laminated and arched, with shaped cross braces and the bridge, tailpiece and tuners are typical period fittings. \u003cbr\u003e\u003cbr\u003eMany prominent players (including Django Reinhart himself) have employed Busato guitars since the 1930s. They come in many variations, and there are endless variations in the details, but nearly all agree that they are second only to early Selmer Maccafferi instruments in sound quality, and in some cases judged superior. This instrument has been completely rebuilt possibly more than once; typical of many guitars with a Gypsy jazz pedigree the instrument shows a LOT of play wear and extensive repair. Even so this is a great-playing and lovely-sounding authentic period Parisian guitar, something not often seen anymore -- especially in the US. Playability is excellent and the sound is huge and fully suited to a range of styles, not just the Django-inspired style these are often pigeonholed in.\u003cbr\u003e \u003cbr\u003eOverall length is 38 in. (96.5 cm.), 16 in. (40.6 cm.) wide at lower bout, and 3 9\/16 in. (9 cm.) in depth at side, taken at the end block. Scale length is 25 1\/4 in. (641 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003eThis guitar has seen quite a bit of repair over the years, as is common with these genuine vintage pre-war Parisian guitars in general and Busatos in particular. Many have not survived at all, and most that have show decades of abuse and often poorly executed repairs. This instrument has been carefully rebuilt to ensure long-term playability; and is now quite a unique piece. \u003cbr\u003e\u003cbr\u003eThe top has been delicately re-braced in a more American style, with a generally Martin like X pattern. All internal work is exceptionally neat. The ebony fingerboard was replaced, the neck reinforced with a twin light non-adjustable graphite rods and the newer frets are somewhat larger than the original style. There are multiple repaired cracks to the top and cutaway area, neck heel and side adjacent. There is some sort of wear almost everywhere. The top shows a lot of pick marks near the soundhole, and the back shows the result of probably hundreds of hours of play in steamy clubs somewhere. Most of the finish remains original with some topical touch-up, only the back of the neck and heel have been totally oversprayed.\u003cbr\u003e\u003cbr\u003eWith its now trans-Atlantic construction this is a totally unique instrument. It is light as a feather, exceptionally loud and powerful sounding but with an underlying sweetness often missing in the original Parisian instruments, which tend to the brash. This instrument is beautiful in many ways, from its elegant jeweled look, decades of wear and now hybrid sound. It holds many stories no doubt, and has many left to tell. It is housed in a more modern tweed HSC. Very Good Condition.","brand":"Busato","offers":[{"title":"Default Title","offer_id":46853390499980,"sku":"9136","price":10750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_c6c1ccef-d01d-4e53-a553-84e4796d1c8e.jpg?v=1774337085"},{"product_id":"gibson-j-45-banner-acoustic-guitar-1943-10303","title":"Gibson J-45 Banner Acoustic Guitar (1943)","description":"Gibson J-45 Banner Model Acoustic Guitar (1943), made in Kalamazoo, Michigan, sunburst top, dark back and sides finish, mahogany back, sides and neck, spruce top, rosewood fingerboard, molded plastic hard shell case. \u003cbr\u003e\u003cbr\u003eThis beautiful Gibson J-45 was built smack in the middle of the Second World War when the company's instrument production was severely limited. While Gibsons can be often inconsistent the specifications of individual instruments in this era can vary greatly, dictated by the materials available. This particular guitar has the originally specified combination of a sunburst-finished spruce top over the mahogany back, sides and neck standard for the J-45. Even the standard adjustable truss rod is present; shortly after this guitar was made this was deleted as metal was severely rationed. \u003cbr\u003e\u003cbr\u003e The Gibson Factory Order Number (FON) 2192-47 on the heelblock identifies this guitar as made fairly early in 1943 according to recent research. The use of the metal truss rod is believed to stop around FON batch 2200, so this instrument belongs to one of the last batches so equipped until after the war. The neck has a deep round profile but is not as bulky as some of these wartime guitars without a metal rod installed. \u003cbr\u003e\u003cbr\u003eThe sunburst top finish is deep and rich with a stately hue. The soundhole rosette is the earlier 7-ply style, while the top and back are single bound. The headstock bears the wartime gold script Gibson logo over the \"Only a Gibson is Good Enough\" banner decal that gives this era's guitars their identifying name. This is a great playing, big sounding instrument that has survived nearly 80 years in fine condition, one of the nicer \"Banner\" J-45s we have had.\u003cbr\u003e \u003cbr\u003eOverall length is 40 3\/4 in. (103.5 cm.), 16 1\/8 in. (41 cm.) wide at lower bout, and 4 3\/4 in. (12.1 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar is very clean overall for an early J-45; the Gibson flat tops of this era have often been heavily played over the decades since WWII and many of the survivors are well worn by now. The instrument shows some light wear and some typical maintenance repairs but no serious damage or alteration. The finish is cleaner than most, still retaining a relatively shiny patina as it had when FDR was still at the nation's helm. There is some typical checking and small dings, dents and scratches overall, with some a few isolated areas of pickwear to the top, most notably above the strings. \u003cbr\u003e\u003cbr\u003eThe original bridge was neatly reglued and cut down a bit, with the mounting bolts still in place under new plugs. The original small maple bridgeplate is intact and unaltered. There is one repaired pickguard crack off the top edge of the guard, this is well sealed but a small splice was added so it is visible. There are two other fairly inconspicuous neatly sealed grain splits, one on the lower side and one on the top off the back edge. Both of these are very neatly closed up and hardly noticeable. \u003cbr\u003e\u003cbr\u003eThe neck has been very cleanly reset and the fingerboard refretted with period-appropriate wire; the nut was replaced at the same time. The original flat-plate wartime tuners have been replaced more than once, currently the guitar mounts a set of repro openback Kluson style machines, the closest available to the original wartime style. The small screws holding on the truss rod cover are the correct style but not original. A set of vintage re-issue non-slotted bridge pins is fitted and there is a vintage-style white plastic strap button added at the heel.\u003cbr\u003e\u003cbr\u003eClearly this instrument has been well cared for and all work has been done to a high level. It is an excellent playing guitar, not as raw and punchy as some \"Banners' but with a very smooth even sound, equally excellent as a strummed rhythm machine or fingerpicked. As it retains the \"correct\" woods and the adjustable truss rod, this is a fairly rare wartime example of the early J-45 as Gibson actually intended it to be! Excellent Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853403246732,"sku":"10303","price":16500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_f5e980b8-5b7d-4cf4-a39a-cb0d6549a4f5.jpg?v=1774337643"},{"product_id":"c-f-martin-d-18-acoustic-guitar-1959-10235","title":"C. F. Martin D-18 Acoustic Guitar (1959)","description":"C. F. Martin D-18 Model Acoustic Guitar (1959), made in Nazareth, PA, natural lacquer finish, mahogany back, sides and neck, spruce top, rosewood fingerboard, black hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a heavily worn-in but great playing 1959 D-18; in honor of Riley Puckett we call these \"Ragged but right\". It shows numerous signs of long use, an old headstock repair and some fairly heavy wear. This guitar shows typical appointments for 1959 including large varied-dot inlay on the Brazilian rosewood fingerboard, a rosewood long-saddle bridge and tortoise celluloid binding and pickguard. Despite a checkered life this guitar has a fabulous big voice and remains in fine playing condition. It has a set of first-year Grover Rotomatic tuners replacing the original Klusons, probably done long ago. \u003cbr\u003e\u003cbr\u003eIn 1959 -- partially thanks to the Kingson Trio -- Martin Dreadnoughts were the most sought-after flattops in the world, already long considered the world standard. Only 475 D-18's were made that year, and many were gigged heavily like this one over the decades to come. The D-18 and D-28 were the undisputed favorites of many professional Country \u0026amp; Western entertainers when new, and are still fantastic guitars for a wide range of styles. This one shows is wear and repair proudly but remains unbowed, an excellent player's instrument, a great stage or recording guitar.\u003cbr\u003e \u003cbr\u003eHeight is 40 3\/8 in. (102.6 cm.), 15 3\/4 in. (40 cm.) width. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar remains in good playing condition. It has a number of old repairs, the most serious being a solid but quite visible \"smiley\" crack at the base of the headstock; this repair was not touched up nor perfectly aligned, but was well sealed and is holding fine, not a further structural issue. The instrument also shows numerous top cracks. One runs from the top edge of the pickguard to the top of the upper bout, about an inch away from the treble fingerboard extension. Another spruce grain crack extends from the treble side waist to the middle of the lower bout and one from the edge of the bass side lower bout going towards, but not quite to the bottom of the pickguard. The center seam has been resealed from the bridge to the tailblock. \u003cbr\u003e\u003cbr\u003eThe finish shows a lot of wear over the entire instrument, with noticeable pickwear into the wood on the top above the soundhole and below the pickguard. There are three 'case bites\" on the bass lower bout, with short grain cracks on either side of one of them. The back has some scratching and some odd blushing to the finish, but is not too heavily worn. The treble side rim shows three cracks, from the waist towards the lower bout. They have been sloppily cleated on the inside, but are solid and not moving. The headstock shows noticeable scars from the repair and filled screw holes from the original Klusons.\u003cbr\u003e\u003cbr\u003eThe good news on this D-18 is it retains the original nut, bridge (somewhat shaved down), pickguard, the frets are original with some wear but recently crowned with a surprising amount of life left. Other than the rim cleat the interior is clean, including the small maple bridge plate. The finish remains mostly original with some overspray at the headstock break and light overspray over the treble side cracks. Oddly, it has never had a neck set. This guitar is not a showpiece but still a fine playing and sounding instrument, an excellent player's piece still. Very Good Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853403672716,"sku":"10235","price":4500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_6e05d143-09a7-4537-a596-3a69f45ac82f.jpg?v=1774337671"},{"product_id":"gibson-j-45-banner-acoustic-guitar-1944-10891","title":"Gibson J-45 Banner Acoustic Guitar (1944)","description":"Gibson J-45 Banner Model Acoustic Guitar (1944), made in Kalamazoo, Michigan, serial # 2221-48, sunburst top, dark back and sides finish, mahogany back, sides and neck, spruce top, rosewood fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis beautiful Gibson J-45 was built smack in the middle of the Second World War when the company's instrument production was severely limited; these flat top instruments were the only product they shipped in any real quantity. While Gibsons can be often inconsistent the specifications of individual instruments in this era often vary widely, dictated by the materials available. \u003cbr\u003e\u003cbr\u003eThis particular guitar has the standard specified combination of a sunburst-finished spruce top over the mahogany back, sides and neck standard for the J-45. The Gibson adjustable truss rod is not fitted; this was deleted from production in 1943 as metal was severely rationed. As a result the mahogany neck is built to a quite substantial profile; it still has a comfortable round backed feel some call the \"Louisville slugger\" style although this one is not QUITE that big. \u003cbr\u003e\u003cbr\u003eThe Gibson Factory Order Number (FON) on the heelblock starts with \"22\" but the rest is heavily faded; the batch ranking number written in red pencil is plainly visible identifies this guitar as #48 in the run. It was likely made in 1944 (possibly 1943) according to recent research. The soundhole rosette is the earlier 7-ply style, while the top and back are single bound. The headstock bears the wartime gold script Gibson logo over the \"Only a Gibson is Good Enough\" banner decal that gives this era's guitars their identifying nickname. The tuners are the later wartime Kluson strips with very thin riveted gears using the absolute minimum of metal. \u003cbr\u003e\u003cbr\u003eThe sunburst top finish is deep and rich with a stately hue; the upper top is additionally decorated with a period floral decal we find rather endearing. These sort of added decorations turn up on Gibson flat tops from this era more than on most other guitars, for some reason. This is a great playing, big sounding instrument that has survived nearly 80 years in fine condition, showing some scars but with its added rosy bouquet one of the more charming \"Banner\" J-45s we have had.\u003cbr\u003e \u003cbr\u003eOverall length is 40 3\/4 in. (103.5 cm.), 16 1\/8 in. (41 cm.) wide at lower bout, and 4 3\/4 in. (12.1 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar is relatively clean overall for an early J-45; the Gibson flat tops of this era have often been heavily played over the decades since WWII and many of the survivors are quite well worn by now. The instrument shows some light wear and some typical maintenance repairs but no serious damage or alteration, except for the rose tattoo on the top.\u003cbr\u003e\u003cbr\u003eOverall the finish is cleaner than most, still retaining the relatively shiny patina as it had when FDR was at the nation's helm. There is some typical checking and dings, dents and scratches overall, with some a few isolated areas of pickwear to the top, most notably around the pickguard and next to the treble side of the fingerboard extension. The area around the rose decal has a light overspray added in order to preserve it, but this is not conspicuous. There is a small fragment of another decal on the treble side lower bout and a third area where a decal likely once was under the banner logo on the headstock; these spots show some minor finish disturbance related to the decal removal. \u003cbr\u003e\u003cbr\u003eThe original bridge was neatly reglued and cut down just a bit, with the original mounting bolts still in place under pearl dots. The original small maple bridgeplate is intact and unaltered. There is one repaired pickguard crack at the \"B\" string position, this is well sealed. There are no other cracks, but an area of moisture damage on both the back and rims adjacent to the back binding, where both the finish and underlying wood were affected. This is most noticeable where the bass and treble side rims meet up under the end pin. The wood has shrunken a bit and there is a deep press mark into the wood that runs for about two inches, but the finish in the area is still mostly in tact and shows no signs of touch up.\u003cbr\u003e\u003cbr\u003eSimilarly, the bottom edge of the back next to the binding is slightly wavy as a result of the past moisture situation, but the finish is in tact and the binding itself is undisturbed. At the apex of the lower bout rim on the bass side, there is an area of finish disturbance, most likely the result of contact with a plastic strap at some point in the past. There are a few more lighter marks on the back as well. On the treble rim, there is an area of moisture damage where the clear coat has been worn through to the undercoat, leaving a light mark. \u003cbr\u003e\u003cbr\u003eThe neck has been very cleanly reset and the fingerboard refretted with period-appropriate wire; the nut was replaced at the same time. The original flat-plate wartime Kluson tuners still function well with their original white plastic buttons in place. This instrument has had some adventures along the way but more recently has been well cared for; all work has been done to a high level. The result is a truly excellent playing and sounding guitar, raw and punchy, but with a very smooth even sound, equally excellent as a strummed rhythm machine or fingerpicked. As it retains the \"correct\" woods, though without the adjustable truss rod, this is a fairly rare wartime example of the early J-45 as Gibson actually intended it to be! Excellent - Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853408030860,"sku":"10891","price":15000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_5d2e3b7c-992a-463e-a8a7-b3993b9fc33c.jpg?v=1774337888"},{"product_id":"c-f-martin-om-42ar-amazon-rosewood-acoustic-guitar-2003-11030","title":"C. F. Martin OM-42AR Amazon Rosewood Acoustic Guitar (2003)","description":"C. F. Martin OM-42AR Amazon Rosewood Model Acoustic Guitar (2003), made in Nazareth, PA, serial # 935664, natural finish, Amazon Rosewood back and sides, Italian Alpine spruce top, mahogany neck with ebony fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis 2003 Orchestra Model Martin is one of the genuinely rare Amazon Rosewood OM-42 AR limited edition guitars made that year. Unlike some so-called limited runs that consist of hundreds or even thousands of instruments these actually were VERY limited; this is # 2 of only 20 produced. Features include solid Amazon Rosewood back and sides, Italian Alpine spruce top with scalloped, forward shifted bracing, fossilized Ivory 1 3\/4\" nut saddle, grained Ivoroid binding, gold Waverly tuners, small \"teardrop\" pickguard and the traditional elaborate Style 42 abalone inlay patterns. The label is signed by C.F. Martin IV. \u003cbr\u003e\u003cbr\u003eAmazon Rosewood is a rarely encountered tonewood, as close in character to the traditional Brazilian rosewood as one is likely to find. Here's what Martin said about it at the time: \u003cbr\u003e\u003cbr\u003e\"Amazon rosewood (botanical name: Dalbergia spruceana) is from Brazil, and there is very little documentation available...the trees rarely grow large enough to produce material of suitable size and quality for acoustic guitar backs and sides and it is quite scarce. The species has a very wide range of colors and grain appearance making it difficult to match backs and sides. The species is heavier than Brazilian rosewood and East Indian rosewood, so these guitars were built slightly thinner. After purchasing enough for 100 sets, we inspected the material according to our specifications and only accepted enough wood for about 70 sets. After processing and matching, we only had enough sets to make a limited edition of 50 guitars - 30 D42AR and 20 OM42AR.\"\u003cbr\u003e\u003cbr\u003eThis is one of those, with nearly 20 years of aging now a powerful but beautifully balanced guitar, about as fine a modern OM style Martins as has ever come into the shop.\u003cbr\u003e \u003cbr\u003eOverall length is 40 1\/4 in. (102.2 cm.), 15 3\/8 in. (39.1 cm.) wide at lower bout, and 4 1\/16 in. (10.3 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 3\/4 in. (44 mm.). \u003cbr\u003e\u003cbr\u003eThe guitar shows very little use since new, with only some very minor handling marks and remains completely crack free, with no alterations or repairs since it left Nazareth nearly two decades ago. It has kept all of the original appointments, from binding and pearl inlay, to ebony bridge, fingerboard, fret wire, bone nut, and saddle. The original gold-plated Waverly tuners are in perfect shape, and the pearl inlayed bridge pins and end pin compliment the guitar's overall aesthetic. Quickly approaching 20 years old, this OM-42 has a very rich and well-balanced tone for being a relatively \"new\" Martin. The guitar is housed in the original black tolex hardshell case, with a copy of the factory specs in the pocket. Near Mint Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853414584460,"sku":"11030","price":6500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_0c619522-b8c4-4175-b2b7-4b10422c8812.jpg?v=1774338103"},{"product_id":"c-f-martin-d-42ar-amazon-rosewood-acoustic-guitar-2007-11031","title":"C. F. Martin D-42AR Amazon Rosewood Acoustic Guitar (2007)","description":"C. F. Martin D-42AR Amazon Rosewood Model Acoustic Guitar (2007), made in Nazareth, PA, serial # 1211078, natural finish, Amazon Rosewood back and sides, Adirondack spruce top, mahogany neck with ebony fingerboard, blue tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis 2007 Martin is one of the actually rare Amazon Rosewood D-42 AR limited edition guitars made that year. Unlike some so-called limited runs that consist of hundreds or even thousands of instruments these actually were quite limited; this is # 30 of only 35 produced. The features include Amazon Rosewood back and sides, Adirondack spruce top with scalloped, forward shifted Adirondack bracing, fossilized Ivory 1 3\/4\" nut and 2 5\/16\" saddle, grained Ivoroid binding, gold Waverly tuners and elaborate inlay including leaf swirl patterns on the bridge and fretboard extension. The label is signed by C.F. Martin IV. \u003cbr\u003e\u003cbr\u003eAmazon Rosewood is a rarely encountered tonewood, as close in character to the traditional Brazilian rosewood as one is likely to find. Here's what Martin said about it at the time: \u003cbr\u003e\u003cbr\u003e\"Amazon rosewood (botanical name: Dalbergia spruceana) is from Brazil, and there is very little documentation available...the trees rarely grow large enough to produce material of suitable size and quality for acoustic guitar backs and sides and it is quite scarce. The species has a very wide range of colors and grain appearance making it difficult to match backs and sides. The species is heavier than Brazilian rosewood and East Indian rosewood, so these guitars were built slightly thinner. After purchasing enough for 100 sets, we inspected the material according to our specifications and only accepted enough wood for about 70 sets. After processing and matching, we only had enough sets to make a limited edition of 50 guitars - 30 D42AR and 20 OM42AR.\"\u003cbr\u003e\u003cbr\u003eThis D-42 is one of them, and with 15 years of settling in is now a huge sounding guitar, one of the very finest recent Martins to come into the shop. The original list price on this instrument 15 years ago was $9999.00, complete in the original deluxe blue Geib 545 case.\u003cbr\u003e \u003cbr\u003eOverall length is 41 in. (104.1 cm.), 15 3\/4 in. (40 cm.) wide at lower bout, and 4 7\/8 in. (12.4 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 3\/4 in. (44 mm.). \u003cbr\u003e\u003cbr\u003eThe guitar shows very little use since new, with only some very minor handling marks and remains completely crack free, with no alterations or repairs since it left Nazareth well over a decade ago. It has kept all of it's original appointments, from binding and pearl inlay, to ebony bridge, fingerboard, fret wire, fossil ivory nut and saddle. The original gold-plated Waverly tuners are in perfect shape, and the pearl inlayed bridge pins and end pin compliment the guitar's overall aesthetic. Despite being a more modern Martin, this D-42 has all of the projection and tone one would expect from a rosewood dreadnought made many decades before. The guitar is housed in the original blue tolex hardshell case. Near Mint Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853420286092,"sku":"11031","price":7500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_f3e9a21d-2b21-4ade-b64c-99a316c46fe4.jpg?v=1774338339"},{"product_id":"selmer-maccaferri-modele-orchestre-acoustic-guitar-1932-11119","title":"Selmer-Maccaferri Modele Orchestre Acoustic Guitar (1932)","description":"Selmer-Maccaferri Modele Orchestre Model Acoustic Guitar (1932), made in Paris, France, serial # 163, natural finish, laminated rosewood back \u0026amp; sides, spruce top; walnut neck with ebony fingerboard, molded fiberglass road case. \u003cbr\u003e\u003cbr\u003eThis is a wonderful first-generation Selmer Maccaferri \"Modele Orchestre\", one of the truly iconic guitars of the 20th Century. It is an unusually fine and original condition, a lovely example of the most celebrated steel-string ever built in Europe. These rare Selmer instruments are mostly associated with the playing of Django Reinhardt, and the design has been copied and expanded upon into the present day. Beyond this they are a unique and important piece of guitar history as well as fantastic instruments to play.\u003cbr\u003e\u003cbr\u003eItalian guitarist\/luthier Mario Maccaferri was wholly responsible for this completely original and then very futuristic design; he was able to persuade the French Selmer company to market them and provide factory space where he could oversee their manufacture. Due to the disagreements often seen between artists and businessmen his involvement ended after about 18 months, but Selmer continued to build guitars for years. The design evolved considerably after 1932 but this instrument (#163) was built during that first year and is the pure original Mario Maccaferri design. It bears his name and patent number on the headstock and label, which Selmer thereafter deleted.\u003cbr\u003e\u003cbr\u003eThe original Modele Orchestre (nicknamed the \"Grand Bouche\") was one of a series of Maccaferri introduced by Selmer in 1932. These included diverse classical, Hawaiian and 4-string versions as well as this best-remembered steel string. Macaferri himself was primarily concerned with the classical concert models; this steel string was more of an afterthought. The London Selmer store was particularly keen on this model and many of the first generation were sent there, not sold in Paris. \u003cbr\u003e\u003cbr\u003eThe Modele Orchestre is distinguished be a host of unique features including the arched laminated rosewood body and bent (not carved) spruce top. The walnut neck has a spliced heel and headstock and fairly wide ebony fretboard. The early models feature a 12th fret neck joint but upper fret access is facilitated by the unique stepped cutaway, a radical feature in 1932. Everything on the instrument including the tuners and tailpiece were custom designed, in-house Selmer creations. \u003cbr\u003e\u003cbr\u003eMaccaferri's most elaborate original idea was an interior wooden resonating sound box under the large, D-shaped sound hole. This elaborate internal resonator was designed to enhance partials and even out variations in volume and tone between different strings, not unlike the 1920s Virzi Tone Producer championed by Lloyd Loar at Gibson. To this day its effectiveness is debated but its creator considered it a revolutionary improvement and patented it. The later Selmer \"Modele Jazz\" models built after 1933 deleted this feature. \u003cbr\u003e\u003cbr\u003eWell under 1000 Selmer guitars of ALL types were built from 1932-52. This particular instrument dates to the first year, one of just about 200 made only some of which were the steel-string \"Orchestre\" variant. Many of the early models were in 4-string layout, or classical, or Hawaiian without a cutaway; the general estimate is perhaps less than 100 of this exact model were ever built. \u003cbr\u003e\u003cbr\u003eNoted Selmer expert\/dealer Jacques Mazzoleni sold this very guitar (#163) some time back and had this to say: \"This guitar has quite a past. It was brought to the US in the 50s, bought in Paris from Joseph Reinhardt, who ran an ad in the paper to sell it. This is oral history, no reason for me not to believe an elderly person who got it from his friend. It has a more recent version of a pickguard (but) the top is whole underneath, and perfectly solid, the resonator intact as well. Its label is uniquely placed on the inside of the reflector; the guitar truly plays and sounds great.\" If this story is true this guitar may have been Strummed behind Joseph's brother Django on many occasions; his accompanists often preferred the slightly deeper \"Grand Bouche\" models to the \"Petit Bouche\" Django himself usually picked. \u003cbr\u003e\u003cbr\u003eWhile today the Selmer guitar is universally associated with Django Reinhardt and \"gypsy jazz\" stylings from the 1930s into to the 1960s they were used by many diverse French performers in varied styles, everything from musette to the backing of chansonniers. In the 1930s Selmers sold in the UK were widely used in dance bands and associated with performers Len Fillis and Al Bowlly. Many were played hard, heavily worn and poorly cared for, so original condition survivors like this are quite rare. This is simply a beautiful and historic instrument in any context, a true 6-string icon that plays and sounds exactly as it should even 90 years along.\u003cbr\u003e \u003cbr\u003eOverall length is 38 1\/2 in. (97.8 cm.), 15 3\/4 in. (40 cm.) wide at lower bout, and 4 in. (10.2 cm.) in depth at side, taken at the end block. Scale length is 25 in. (635 mm.). Width of nut is 1 7\/8 in. (48 mm.). \u003cbr\u003e\u003cbr\u003eThis is a played-in but largely original guitar, far better preserved than average for this often heavily used model. Many original Selmers were played virtually into the ground and\/or heavily modified along the way. Well into the 21st century to find a \"Modele Orchestre\" from 1932 in anything like original condition is a distinct rarity.\u003cbr\u003e\u003cbr\u003eThis guitar's very thin lacquer finish appears all original and shows a decent amount of wear overall, although less pick damage than many. There are scrapes, dings and chips overall, with a several deeper scratches on the lower side waist and typical pick marks on the top, including an area worn well into the wood on the lower edge of the soundhole. The back of the neck is somewhat worn down to the wood from play along both sides. \u003cbr\u003e\u003cbr\u003eThe only notable alteration to the instrument is a small and very thin added pickguard made of wood veneer below the strings between the soundhole and bridge. This is likely covering an area of pickwear but is not so heavy as to adversely affect the sound. The very thin spruce top has a number of repaired grain slits; between the bridge and back edge are five of varying lengths above the tailpiece and one between the B and E strings. Another runs from the back edge of the soundhole almost to the bridge, about 1\/2\" above the low E string. The area between the D-hole and cutaway shoulder has two small grain splits as well. All have been sealed up with no notable overfinish. The top is very solid with some very slight bulging on the front treble edge of the D-hole. \u003cbr\u003e\u003cbr\u003eThere are a couple of very small patches to the laminated sides, one on the turn of the upper bass bout near the back and another tiny one nearer the waist on the treble bass bout; these spots appear to have been filled in many decades ago. Two small screw holes patched in the lower side waist indicate some sort of floating pickguard was once installed. \u003cbr\u003e\u003cbr\u003eAn unusual survivor on this guitar is the fully intact original internal soundbox, which has often been removed. The original tuners and tailpiece are intact; the enclosed machines have a loose feel but hold when tuned to pitch. The compensated floating ebony bridge is in the correct original style, but we suspect it is a well-made later reproduction based on comparison to the outer bridge panels. The fingerboard has been very neatly refretted with a new bone nut spacer. \u003cbr\u003e\u003cbr\u003eWhile the above catalog of wear and tear may seem extensive, for a Selmer guitar of this period this is an excellent state of preservation. This instrument is wonderful to play with a truly sublime sound, offering immense projection in the higher register and a very incisive but never thin tone. While different in both sound and feel from the classic American guitars of this period The Selmer\/Maccaferri is equally revered as one of the century's most original and influential designs, widely copied since but rarely if ever equaled. A high-grade fiberglass case and cover are included to keep this prewar Parisian safe on future adventures. Overall Very Good + Condition.","brand":"Selmer-Maccaferri","offers":[{"title":"Default Title","offer_id":46853420777612,"sku":"11119","price":39500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_9a46a3d8-0b8d-47e6-ac79-7f9d6790469e.jpg?v=1774338359"},{"product_id":"vivi-tone-acoustic-electric-guitar-1933-7952","title":"Vivi-Tone Acoustic-Electric Guitar (1933)","description":"Vivi-Tone Acoustic-Electric Guitar (1933), made in Kalamazoo, Michigan, serial # 263, Cremona Brown Sunburst varnish finish, spruce back and top, maple rims; mahogany neck with ebony fingerboard.. \u003cbr\u003e\u003cbr\u003eThis extremely rare Vivi-Tone guitar is a fascinating example of Lloyd Loar and partner Lewis A. Williams' pioneering efforts in the creation of electric fretted instruments in the early 1930s. The design is utterly unique, as well as being one of the earliest electric Spanish-style guitars ever commercially made. \u003cbr\u003e\u003cbr\u003eThe Vivi-Tones were predated only by the lost Stromberg-Voisinet electrics that are virtually unknown, and the very earliest Rickenbacker Electro models. Loar himself played primarily mandolin family instruments, so one can assume creating an electric Spanish guitar was a project he had more personal interest in at Vivi-Tone than the Hawaiian style that was the raison d'etre at Rickenbacker. \u003cbr\u003e\u003cbr\u003eDespite its eccentric design, this is a very well-made and playable instrument with a fascinatingly engineered and complex, if somewhat primitive, pickup system. This guitar was designed to function as both an acoustic and electric instrument, unlike Vivi-Tone's contemporary plank-like solid-bodies that were purely electric. \u003cbr\u003e\u003cbr\u003eThe construction of the guitar itself is the same as Vivi-Tone's \"Acousti-guitars\"; by this point, the company had rationalized their production process and could build either an electric or an acoustic to order from the same instrument. The body is a thick-rimmed, standard-shaped affair with a sunburst finish solid spruce top and back. \u003cbr\u003e\u003cbr\u003eThis radical design almost turns the guitar inside out; in the acoustic mode, the arched solid spruce back is the soundboard as much as the spruce top. The laminated rims are very heavy to prevent any vibration, and the back is recessed into them to avoid contact with the player. The only sound hole in the top is under the substantial maple and ebony bridge -- filled in with the pickup -- while the back carries two small f-holes. \u003cbr\u003e\u003cbr\u003eThis guitar is built of high grade materials to a very high standard, certainly in a class with Gibsons of the era. The subtle hand-rubbed sunburst on the top, back, and rims is similar to 1920s Loar-era \"Cremona Brown\" Gibson finishes. The neck is shaped somewhat similarly to old Gibson necks with a heavy \"V\" profile, bound ebony fingerboard, and pearl dot inlay. The narrow headstock is ivoroid veneered with a screened \"Vivi-Tone\" logo and the individual Grover tuners have metal \"butterbean\" buttons. \u003cbr\u003e\u003cbr\u003eThe lovely sunburst top is triple-bound, and the heelcap is ivoroid. The cast metal tailpiece carries a very Art Nouveau \"Vivi-Tone\" logo; the pickguard is heavy tortoise celluloid raised above the rim. The bridge has a compensated ebony cap. \u003cbr\u003e\u003cbr\u003eThe electronics are mounted in a removable drawer which slides out of the bass side of the rim, with the signal transmitted from the wooden bridge to a metal plate sensed by a pickup beneath. This is a very late example, and (from the factory) uses a pre-made off-the-shelf telephone transducer as its pickup coil. Mr. Loar had certainly moved on in his theories since his time at Gibson and here created one of the most eccentric, as well as earliest, of all electric guitars.\u003cbr\u003e\u003cbr\u003eSadly the 1930s electric revolution came too late for Vivi-Tone, the company only lasting a very short time but leaving behind some of the most unusual guitars ever built, both acoustic and electric. This Guitar's acoustic sound is surprisingly loud for so small a body (Loar wasn't COMPLETELY out of his tree) and carries extremely well. \u003cbr\u003e\u003cbr\u003eThe amplified tone is functional but low powered, and the rather inefficient and completely microphonic pickup would never equal the contemporary Rickenbacker unit that was its primary competitor. Although a blind alley in guitar evolution, this Vivi-Tone Guitar is still a fascinating creation with a unique musical personality.\u003cbr\u003e \u003cbr\u003eOverall length is 39 1\/8 in. (99.4 cm.), 13 1\/8 in. (33.3 cm.) wide at lower bout, and 3 3\/4 in. (9.5 cm.) in depth, measured at side of rim. Scale length is 24 1\/2 in. (622 mm.). Width of nut is 1 7\/8 in. (48 mm.). \u003cbr\u003e\u003cbr\u003eOverall this is a clean and original example, showing some wear but no major repairs or alterations. There are spots of general wear to the finish overall, most notably to the top on the upper bass bout where some wear into the spruce has been touched up a bit. \u003cbr\u003e\u003cbr\u003eThe frets look little used and the guitar plays well, at least by Vivi-Tone standards, and is functional in both acoustic and electric modes. The rather inefficient pickup is fairly weak by modern standards, but the sound has an echoing otherworldly character to it. \u003cbr\u003e\u003cbr\u003eA very rare and historically interesting guitar. One of the nicer Vivi-Tones we have had (and we've had more than most!), housed in a period chipboard case that may be original. Excellent Condition.","brand":"Vivi-Tone","offers":[{"title":"Default Title","offer_id":46853427134604,"sku":"7952","price":8500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_237c87bb-b171-4900-a82c-5b6de300c78e.jpg?v=1774338572"},{"product_id":"selmer-modele-jazz-acoustic-guitar-1947-11349","title":"Selmer Modele Jazz Acoustic Guitar (1947)","description":"Selmer Modele Jazz Model Acoustic Guitar (1947), made in Paris, France, serial # 678, natural finish, laminated rosewood back \u0026amp; sides, spruce top; walnut neck with ebony fingerboard, brown tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a fabulous sounding if heavily played (as most are) Selmer Maccaferri \"Modele Jazz\", one of the truly iconic guitars of the 20th Century and the most celebrated steel-string ever built in Europe. These very rare original Selmer instruments are of course indelibly associated with Django Reinhardt, and the design has been copied and expanded upon right up into the present day. Beyond this they are a unique and important piece of guitar history as well as fantastic instruments to play.\u003cbr\u003e\u003cbr\u003eItalian guitarist\/luthier Mario Maccaferri was responsible for the original then very futuristic design. In 1931-2 he persuaded the French Selmer company to market them and provide factory space where he could oversee their manufacture. Disagreements between himself and Selmer ended Maccaferri's involvement after about 18 months, but the company continued to build the guitars for some years. The design evolved considerably after 1933; this instrument (#678) was built just after WWII and has numerous differences from the original Mario Maccaferri design. Selmer had also deleted any reference to his name on the headstock and label.\u003cbr\u003e\u003cbr\u003eThe original \"Modele Orchestre\" (nicknamed the \"Grand Bouche\") was the steel-string guitar in a series of Selmer instruments introduced in 1932. They were distinguished be a host of unique features including the arched laminated rosewood body and bent (not carved) spruce top. The walnut neck has a spliced heel and headstock and ebony fretboard. The early models feature a 12th fret neck joint but access is facilitated by the unique stepped cutaway, a radical feature in 1932. Everything on the instrument including the tuners and tailpiece were custom designed, in-house Selmer creations.\u003cbr\u003e\u003cbr\u003eThis guitar is the later Selmer \"Modele Jazz\"; an evolved version built after the mid-1930s and the de facto Gypsy Jazz standard. Among the many changes from earlier models is a longer scale, 14 fret neck with a narrower fingerboard, more suited to the \"jazz\" players who adopted the Selmer as a de facto standard. The most visible difference is the small oval soundhole, much smaller than the original large \"D\" shaped version. The neck has a fairly deep \"U\" profile with a back that gets flatter as it nears the body. The back and sides are laminated rosewood, the top solid spruce bound and with the soundhole inlaid with wood. The unique tuners, tailpiece and 3-piece floating bridge are the standard Selmer designs. \u003cbr\u003e\u003cbr\u003eWell under 1000 Selmer guitars of ALL types were built from 1932-52. Production stalled during WWII but re-started in 1946 at around serial #590. This guitar was built in late 1947; it is recorded as shipped in December of that year to a buyer designated as \"Paste\". This is the classic \"Django\" model; his accompanists sometimes preferred the older \"Grand Bouche\" models, but the \"Petit Bouche\" instruments are the ones Django himself usually picked. A very fine modern repro of the vintage Django-approved Stimer pickup by Pechealamouche is included allowing it to be accurately electrified if desired.\u003cbr\u003e\u003cbr\u003eBeyond \"gypsy jazz\" stylings Selmer guitars were used by many diverse French performers from the 1930s on in varied styles from musette to the backing of chansonniers as well as in English dance bands associated with performers Len Fillis and Al Bowlly. Many were played hard, heavily worn and poorly cared for, so survivors are now quite rare and sought after. This guitar is a well worn but wonderful player, a true veteran with the expected classic sound and more.\u003cbr\u003e \u003cbr\u003eOverall length is 38 1\/2 in. (97.8 cm.), 15 3\/4 in. (40 cm.) wide at lower bout, and 4 in. (10.2 cm.) in depth at side, taken at the end block. Scale length is 26 1\/2 in. (673 mm.). Width of nut is 1 3\/4 in. (44 mm.). \u003cbr\u003eThis guitar shows a decent amount of general wear but remains better preserved than many for this often heavily used model, often played virtually into the ground and\/or heavily modified along the way. The thin lacquer finish shows scrapes, dings and chips overall; the back and sides appear completely original with some noticeable checking. The back of the neck is also original, somewhat worn down to the wood from play and naturally polished smooth. \u003cbr\u003e\u003cbr\u003eThe top has a lot of touch up\/polish out related to a number of visible crack repairs. There is some typical pick wear, including a small areas worn into the wood on the upper edge of the soundhole and a wider swath below, both of which have been overfinished. The very thin spruce top has a number of repaired spruce grain slits; the area between the bridge and back edge has nine of varying lengths, all sealed with thin splices to the longest one under the bass foot of the bridge. The area around the soundhole has several other grain splits, some running neck to the bridge. \u003cbr\u003e\u003cbr\u003eThe only notable alteration to the instrument is a re-inforcing plate installed under the front edge of the soundhole. This is non-intrusive sonically and helps support the top below the fingerboard extension. There is some minor bulging to the top off the treble edge of the soundhole but as these go (considering the top repairs) this is a very solid example. All hardware appears original; the center part of the bridge is likely a reproduction but if so is very nicely done. To achieve proper intonation it is set back farther than the side pieces would indicate it originally was, but the guitar is euphonically happy this way. \u003cbr\u003e \u003cbr\u003eThe fingerboard has been very neatly refretted. Even played in and with the repairs old and new this is still an excellent playing example of this rare and much sought after guitar. Original Selmers were never imported to the US and have always been very hard to find here. The continuing interest in the music of Django has given this exact instrument a holy grail status among players who seek to chase down this unique style; for that the Selmer Modele jazz is the only choice, and originals like this the ultimate goal. Very Good + Condition.","brand":"Selmer","offers":[{"title":"Default Title","offer_id":46853462392972,"sku":"11349","price":32500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_e4d97b81-1ebc-4620-9e36-ce73c72e187c.jpg?v=1774339051"},{"product_id":"taylor-klein-ab-1-acoustic-electric-bass-guitar-1996-11411","title":"Taylor Klein AB-1 Acoustic-Electric Bass Guitar (1996)","description":"Taylor Klein AB-1 Model Acoustic-Electric Bass Guitar (1996), made in El Cajon California, serial # 960124201, natural finish, Imbuia wood back and sides, Sitka spruce top mahogany neck with ebony fingerboard, original black gig bag case. \u003cbr\u003e\u003cbr\u003eThe Taylor AB1 is probably the most original late 20th century design for an acoustic\/electric bass guitar, a market driven by the \"Unplugged\" fad of the '90s. They were co-designed by visionary master luthier Steve Klein and Robert Taylor and as a purely acoustic instrument more functional than many. AB-series acoustic-electric basses (AB-1, AB-2, AB-3) have been often considered to be among the best-sounding acoustic bass guitars to be found; while no match for an upright bass this model has more natural acoustic sound than most competitors for this niche market. These were only produced in limited numbers between 1996 and 2003 and are now out of production. \u003cbr\u003e\u003cbr\u003eThe AB-1 has a slim mahogany neck with 24 frets on the ebony fretboard and a Steve Klein signature fretboard inlay at the body end. The ebony nut 1-5\/8\" wide (like a Jazz Bass) and a phenolic saddle tops the large Imbuia bridge. The deep 19\" wide body has a unique internal skeleton frame that transfers string forces to the sides, leaving the top free to vibrate with less intrusive bracing required. Of all the Klein\/Taylor models the AB-1 comes closest to the sound of an upright bass. The Imbuia back and sides are combined with a Sitka spruce top to produce a warmer, woody sound with plenty of sustain. \u003cbr\u003e\u003cbr\u003eThe cutaway body is wedge-shaped in cross-section with the widest part down at the knee which makes playing this bass more ergonomic than most similar instruments. The single round soundhole is eccentrically placed on the cutaway, allowing the top to be much stronger than the traditional location. This AB-1 comes with the factory-installed Fishman ABGP-2 Pickup\/Preamp with volume and contour controls mounted on the upper bass shoulder. There is a hinged battery box on the lower treble side.\u003cbr\u003e \u003cbr\u003eOverall length is 51 1\/2 in. (130.8 cm.), and 8 in. (20.3 cm.) in depth at side, taken at the end block. Scale length is 34 in. (864 mm.). Width of nut is 1 5\/8 in. (41 mm.). \u003cbr\u003e\u003cbr\u003eThis is a solid original instrument, with no structural damage or repair except for a resealed upper back seam. There is not much play wear although there are a couple of deep dings on the top edges; moving this around it is bigger than you think and easily bangs into things! The bass plays very well and rests in the enormous original deluxe Taylor gig bag. Generally Excellent Condition.","brand":"Taylor","offers":[{"title":"Default Title","offer_id":46853470388364,"sku":"11411","price":3000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_cf59f19a-101a-465b-b737-c13df23fdac2.jpg?v=1774339351"},{"product_id":"vivi-tone-acousti-guitar-acoustic-guitar-1933-3615","title":"Vivi-Tone Acousti-Guitar Acoustic Guitar (1933)","description":"Vivi-Tone Acousti-Guitar Model Acoustic Guitar, c. 1933, made in Kalamazoo, Michigan, serial # 239, Cremona Brown Sunburst varnish finish, spruce top and back, maple sides, mahogany neck with ebony fingerboard, black hard shell case. \u003cbr\u003e\u003cbr\u003eFrom the fertile imagination of renowned acoustic engineer Lloyd Loar came this truly unique acoustic guitar, one of the most distinctive fretted creations of the 1930's. Ten years on from his stint at Gibson, Loar and former Gibson associate Lewis Williams launched the Vivi-tone company to market their electric guitar concepts. Vivi-Tone was primarily concerned with the development of amplified instruments, but as sales were minimal they also marketed these \"Acousti-Guitar\" models for more conservative players (well�maybe!) which embody the unusual fruits some of Loar's acoustic theories. \u003cbr\u003e\u003cbr\u003eThis radical instrument almost turns the guitar inside out; the arched solid spruce BACK is the soundboard as much as the spruce top. The laminated rims are very heavy to prevent any vibration, and the back is recessed into them to avoid contact with the player. The only soundhole in the top is under the substantial maple and ebony bridge, while the back carries two small f-holes. The neck is nearly 2\" wide with a substantial \"V\" shape, but is surprisingly comfortable with standard frets (some Vivi-Tones have unusually high fretwire). The long pickguard is very heavy tortoise celluloid.\u003cbr\u003e\u003cbr\u003eThis guitar is built of high grade materials to a very high standard, certainly in a class with Gibsons of the era. The subtle hand-rubbed sunburst on the top, back, and rims is similar to 1920's Loar-era \"Cremona Brown\" Gibson finishes. The top and back are triple-bound, the neck single-bound. The strikingly Art Nouveau \"Vivi-Tone\" logo is screened onto the ivory celluloid headstock veneer and cast into the tailpiece. The tuners are individual riveted Grovers with metal buttons. A label inside carries serial # 239 and reads \"patent applied for\". This particular guitar does not carry the second label found in many Vivi-Tones encouraging the purchaser to trade the instrument back (at \"full value\"!) within a year for an electric model. \u003cbr\u003e\u003cbr\u003eSadly the electric revolution came too late for Vivi-Tone, the company only lasting a short time but leaving behind some of the most unique guitars ever built, both acoustic and electric. This Acousti-Guitar is nicely original with only the tailpiece being a reproduction and in fine playing condition. The sound is surprisingly loud for so small a guitar (Loar wasn't COMPLETELY out of his tree) and carries extremely well, perhaps most reminiscent of a roundhole archtop like a Gibson L-4. Although a blind alley in guitar evolution, this Vivi-Tone Acousti-Guitar is still a fascinating creation and a truly unique musical personality.\u003cbr\u003e \u003cbr\u003eOverall length is 39 1\/2 in. (100.3 cm.), 13 1\/4 in. (33.6 cm.) wide at lower bout, and 3 7\/8 in. (9.8 cm.) in depth, measured at side of rim. Scale length is 24 1\/4 in. (616 mm.). Width of nut is 1 7\/8 in. (48 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar shows general wear overall, but with no notable no damage or major repairs. The finish has scuffs, dings and scrapes but no large areas of wear except it is partially down to the wood on the back of the neck; someone actually did play this unusual guitar! All the hardware is original except the tailpiece is an exact repro cast from an original; it is nickel plated rather then the unplated look of the original but otherwise is a dead ringer for that oft-broken or missing original piece. The pickguard has a bit of upward warping but is still fully intact. \u003cbr\u003e\u003cbr\u003eThe original frets have been lightly polished out and -- believe it or not -- this is a very fine playing guitar with a lot more sound than one might expect. The neck has the fairly sharp \"V\" profile typical of the 1930s but is not overly thick, and not uncomfortable for its type. More than a historical oddity, this is one of the most interesting acoustic guitars of the 20th century, if far from the best remembered! Overall Excellent Condition.","brand":"Vivi-Tone","offers":[{"title":"Default Title","offer_id":46853487362188,"sku":"3615","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_3dc136a7-0d5d-44a1-b915-86e04ddfa2fe.jpg?v=1774339972"},{"product_id":"castelluccia-petit-bouche-gypsy-jazz-acoustic-guitar-1955-8321","title":"Castelluccia Petit Bouche Gypsy Jazz Acoustic Guitar (1955)","description":"Castelluccia Petit Bouche Gypsy Jazz Model Acoustic Guitar, c. 1955, made in Paris, France, natural finish, laminated mahogany body, spruce top; French walnut neck with ebonized fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a very fine vintage French Selmer-style guitar by well-regarded Paris luthier Jean-Baptiste Castelluccia, founder of a dynasty still going strong. This guitar is missing its label but has all the known Castelluccia traits, including the monogrammed tailpiece. \u003cbr\u003e\u003cbr\u003eThe hardware is unplated brass and all bindings are wood. Based on the cosmetic and structural features it likely dates to the early-mid 1950s, although these handmade Parisian guitars are notoriously difficult to date exactly. \u003cbr\u003e\u003cbr\u003eCastelluccia was a more refined craftsman than many of his contemporaries, and this is a very finely made instrument with a higher level of workmanship and finish than most period Selmer-inspired instruments. A lovely guitar to play and a beautiful version of the iconic \"Django\"-style instrument.\u003cbr\u003e \u003cbr\u003eOverall length is 40 in. (101.6 cm.), 15 1\/2 in. (39.4 cm.) wide at lower bout, and 4 in. (10.2 cm.) in depth at side, taken at the end block. Scale length is 26 in. (660 mm.). Width of nut is 1 13\/16 in. (46 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar shows moderately heavy play wear overall, most notably to the top below the strings and sound hole. Apart from a very good pro refret, it remains nicely original, with just some old crack repairs. There are several short grain splits to the top between the fingerboard and sound hole, and a long spruce grain crack running from above the bridge to the back edge, all solidly sealed. The tuners and tailpiece appear original, the tailpiece carrying Castellucia's monogram. \u003cbr\u003e\u003cbr\u003eThese older Parisian-made Selmer guitars are very hard to find in good playing condition; most were literally played into the ground by the itinerant Gypsy or cafe musicians of that time and place. This is a completely authentic and excellent playing guitar with a very bright and focused sound, especially fine for small group use, as it cuts through other instruments exceptionally well. Very Good + Condition.","brand":"Castelluccia","offers":[{"title":"Default Title","offer_id":46853487984780,"sku":"8321","price":4750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_4e84ed93-1bf6-4724-85e6-a9016f3a0d1a.jpg?v=1774340000"},{"product_id":"gibson-j-45-banner-owned-and-played-by-bob-jones-acoustic-guitar-1943-10521","title":"Gibson J-45 Banner owned and played by Bob Jones Acoustic Guitar (1943)","description":"Gibson J-45 Banner owned and played by Bob Jones Model Acoustic Guitar (1943), made in Kalamazoo, Michigan, serial # 929-36 (FON), sunburst top, dark back and sides finish, mahogany back, sides and neck, spruce top, rosewood fingerboard, black hard shell case. \u003ciframe width=\"777\" height=\"583\" src=\"https:\/\/www.youtube.com\/embed\/X-uC6XOnkbY\" title=\"Wayne Henderson, Bob Jones - The Cherokee Shuffle\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003eThis guitar is one of the most heavily played examples of this model we have ever seen, for decades the primary gigging and recording instrument of Bob \"Dr. Frets\" Jones, dean of Brooklyn luthiers and a formidable musician in a variety of genres. It has wear virtually everywhere and an epic number of old repairs but still sounds fantastic, a true relic guitar if ever there was one. \u003cbr\u003e\u003cbr\u003eBob Jones played this guitar for decades both solo and with a number of artists including Andy Statman and Wayne Henderson, and in a long-standing duet with noted multi--faceted guitarist John Sholle. As a universally respected luthier Bob has handled more of the finest guitars on the planet than most, both vintage and modern, but chose this J-45 as his personal instrument for pretty much everything regardless of genre. \u003cbr\u003e\u003cbr\u003eThe Gibson Factory Order Number (FON) 929-36 on the heelblock identifies this guitar as most likely an early 1943 model, based on recent research. In this middle period of the Second World War specifications of individual instruments can vary greatly, dictated by the materials available. Unlike many this guitar has the \"correct\" combination of a sunburst-finished spruce top over a mahogany back, sides and neck specified for the J-45. The pickguard is the pre-war style \"firestripe' celluloid, an unusual fitting specific to some of the 900 FON series guitars. They probably found some of the material sitting around the factory and used it up! \u003cbr\u003e\u003cbr\u003eThe trim is fancier than standard J-45 spec; while the soundhole rosette is 3-ply, the top is 5-ply bound and the back 3-ply. The neck has a round profile and is big but not nearly as bulky as some of these wartime guitars. It also has the adjustable metal rod installed, which many do not. The sunburst is deep and rich with a stately hue. The original tuners are long gone, replaced with modern Waverlys. The headstock bears the gold script Gibson logo over the \"Only a Gibson is Good Enough\" banner that gives this era's guitars their identifying name. This is a great playing, huge sounding instrument, nearly 80 years down the pike and obviously well-used for many of them.\u003cbr\u003e \u003cbr\u003eOverall length is 40 3\/4 in. (103.5 cm.), 16 1\/8 in. (41 cm.) wide at lower bout, and 4 3\/4 in. (12.1 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis is a VERY heavily played guitar, a \"True Relic\" in every sense of the word. There are repairs galore; as immortalized in the homily \"the cobbler's children have no shoes\" this instrument belonging to a master luthier itself looks like many of them were done in a hurry just before the gig and never revisited. We can guarantee this is a solid and great sounding instrument, and it has been gigged steadily for decades around NYC and beyond. \u003cbr\u003e\u003cbr\u003eThere is wear virtually everywhere; dings, dents, scrapes, sweat wear and the like in profusion. The top has deep pick marks around and above the soundhole, into the wood on the lower lip and behind the pickguard. There are numerous repaired cracks on the back, all sealed, some cleated but in some cases not lined up exactly. There is a large bash repair to the curve of the lower treble bout side close to the top edge that is frankly sloppily done, though solid. The upper side has some small solidly sealed grain splits around the waist. The top has one crack, about 2 1\/2\" long in the center close to the bottom edge. \u003cbr\u003e\u003cbr\u003eAll the original slim top and back bracing remains intact. The top has a noticeable belly behind the bridge but is stable; a larger rosewood bridgeplate was added long ago, which has a repaired crack in it forward of the bridge. A small maple cap has been added over the center of that piece, which itself is fairly well worn into from string ends. The bridge itself is a correct rosewood repro in the original style, just a bit oversize and lower than a 1940s one would have been with bone saddle. The guitar has been refretted multiple times and the current set has hardly any wear. The tuners are fairly recent Waverly branded units with 'butterbean\" buttons. The endpin has previously had a jack installed but is not currently set up that way. \u003cbr\u003e\u003cbr\u003eThis instrument's foregoing catalog of defects may seem daunting; despite all the wear, damage and in some cases scattershot repairs this guitar has survived in very playable and great sounding condition. A small \"Made In Japan\" sticker has been whimsically added to the back of the headstock. This veteran guitar has a huge ringing sound, with considerable depth and power. It served an exceptional and versatile musician perfectly for decades as a gigging and recording instrument. If ever a guitar could be described as \"ragged but right' this is it! Overall Very Good Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853495423116,"sku":"10521","price":9750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_b2e9b1fa-0814-4aea-9e13-d5f3ca872922.jpg?v=1774340291"},{"product_id":"gibson-j-50-banner-acoustic-guitar-1942-12144","title":"Gibson J-50 Banner Acoustic Guitar (1942)","description":"Gibson J-50 Banner Model Acoustic Guitar (1942), made in Kalamazoo, Michigan, natural lacquer finish, mahogany back, sides and neck, spruce top, rosewood fingerboard, brown tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis heavily worn, weathered but beautiful Gibson J-50 is a very rare guitar, one of the earliest examples of this long-lived Jumbo model and also one of the very first \"Banner\" Gibsons ever built. The Factory Order Number (FON) 7117H on the heelblock identifies it as a 1942 model. The natural-top J-50 was actually the first model in the \"Banner\" line to go into production, and this early wartime J-50 has the earliest \"Banner features\". The first J-50 is registered as having been shipped out June 1, 1942 while the earliest J-45s and LG models were not shipped until August. This natural-top model was discontinued not too long after; only 144 total shipped out during the war, 98 during 1942 and a further 46 in 1943. the J-50 was revived\u003cbr\u003e\u003cbr\u003eDuring the Second World War Gibson's instrument production was severely limited, and the specifications of individual instruments in this era can vary greatly, dictated by the materials available. This particular early guitar has the originally specified combination of a natural-finished spruce top over the mahogany back, sides and neck. The standard adjustable truss rod is installed; this feature was soon deleted as metal was severely rationed. The mahogany neck has a rosewood fingerboard and is shaped to a deep round profile, but not as bulky as some wartime guitars.\u003cbr\u003e\u003cbr\u003eThe soundhole rosette is the earlier 7-ply style, the top is 5-ply bound and the back 3-ply. The pickguard is the pre-war style \"firestripe\" celluloid, a very rare sight on a banner. The headstock bears the wartime gold script Gibson logo over the \"Only a Gibson is Good Enough\" banner decal that gives this era's guitars their identifying name. The back has a darker wood strip along the center seam and no internal back strip, another off short-lived feature. The main X brace and the two tone bars behind the bridge are all neatly scalloped. The Kluson strip tuners are just post-war style, upgraded from the slim war-era versions that appear in 1943. \u003cbr\u003e\u003cbr\u003eThis guitar has seen a lot of wear and repair and at least one good story, but remains is a great playing, huge sounding instrument. It has survived 80+ years in the field and kept on ticking, the one and only \"Banner\" J-50 we have ever had.\u003cbr\u003e \u003cbr\u003eOverall length is 40 3\/4 in. (103.5 cm.), 16 1\/8 in. (41 cm.) wide at lower bout, and 4 3\/4 in. (12.1 cm.) in depth at side, taken at the end block. Scale length is 24 3\/4 in. (629 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis is a heavily used guitar, a \"True Relic\" in every sense of the word. There are a number of old repairs and some heavy wear but this is a solid and great sounding instrument. There is finish wear virtually everywhere; dings, dents, scrapes, and the like in profusion. The top has its own story to tell; under a VERY thin ancient varnish overcoat there are some words etched into the top lightly with pen or pencil. We can read the name \"Annette Paschal\" under the A string between the soundhole and bridge, and a faintly legible message on the upper bass bout by the edge. The previous owner deciphered it as \"Joe Lewis Williams loves Annette Paschal, Texas\" which gives this old Gibson more backstory mystery than most! The added thin coat of varnish over the top has micro-checked, and was applied so long ago most top wear is through it. This guitar shows less actual pick wear than many, mostly just a spot directly in front of the pickguard. \u003cbr\u003e\u003cbr\u003eThe top has two small repaired cracks off the back edge of the bridge, one behind the treble side running about 3\" back and a short 1\/2\" off the bass side. There is a small grain spruce grain split off the bass side waist. There are two sealed grain splits to the back and some general finish disturbance; the back center seam appears resealed over part of its length. There are numerous repaired cracks on the sides, all previously sealed but some not lined up exactly. There are multiple cracks along the lower side leading to a mahogany patch repair to the curve of the lower treble bout side. This is neatly done, solid but visible with a notable thin refinish to that area only. The upper side has some small solidly sealed grain splits running back from the waist. \u003cbr\u003e\u003cbr\u003eAll the original slim scalloped top and back bracing remains intact including the small maple bridge plate with a couple of visible reglued spots to brace ends. The rosewood bridge is original, possibly slightly lowered ages ago but the retaining bolts and pearl dot caps are intact. The bridge has been reglued noticeably (probably more than once) and the bone saddle is newer. There is a lot of wear to the neck and headstock, including a \"capo channel\" worn in the back of the neck between the first and seventh fret positions. The neck has been cleanly reset some time back and neatly refretted with period appropriate wire showing hardly any wear. The tuners are later 1940s period Kluson strips with the original buttons. \u003cbr\u003e\u003cbr\u003eThis is a beautiful J-50 but not for the \"clean freak\"; still despite the wear and repairs this rare \"Banner\" Jumbo has survived in very playable and truly great sounding condition. This veteran J-50 has a huge ringing sound with considerable depth and power. If ever a guitar could be described as \"ragged but right' this is it! It lives in a more recent Gibson HSC. Overall Very Good + Condition.","brand":"Gibson","offers":[{"title":"Default Title","offer_id":46853517541516,"sku":"12144","price":18500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_0b1ef72b-1175-4952-b57b-8ed1eb5da403.jpg?v=1774340843"},{"product_id":"c-f-martin-om-42-custom-shop-acoustic-guitar-2012-12228","title":"C. F. Martin OM-42 Custom Shop Acoustic Guitar (2012)","description":"C. F. Martin OM-42 Custom Shop Model Acoustic Guitar (2012), made in Nazareth, PA, serial # 1579742, natural finish, Madagascar Premium Rosewood back and sides, Adirondack spruce top, mahogany neck with ebony fingerboard, original black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis 2012 Custom Shop Orchestra Model OM-42 is a truly lovely instrument, a fine example of Martin's higher grade modern guitars. The features include hide glue construction, solid Madagascar Premium Rosewood back and sides, Adirondack spruce top with \"Golden Era\" scalloped, forward shifted bracing, fossilized Ivory 1 3\/4\" nut, grained Ivoroid binding, gold Waverly tuners with grained Ivoroid buttons, small \"teardrop\" pickguard and the traditional elaborate Style 42 abalone inlay patterns with snowflake inlay on the bridge wings. The abalone trim is particularly eye-catching on the top. The guitar is additionally fitted with an L.R. Baggs \"Anthem Tru-Mike\" amplification system with a soundhole control unit, the instructions and adjustment tool are in the case pocket. This is a powerful sounding instrument both acoustically and amplified, one of the nicest modern Martins we have had recently.\u003cbr\u003e\u003cbr\u003e \u003cbr\u003eOverall length is 40 1\/4 in. (102.2 cm.), 15 3\/8 in. (39.1 cm.) wide at lower bout, and 4 1\/16 in. (10.3 cm.) in depth at side, taken at the end block. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 3\/4 in. (44 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar shows some fairly minimal wear, just a mall scuffs, dings and dents here and there. The back has heavier scuffing and some minor scratching, the only really notable wear to the instrument. The only alterations are a gold-plated strap button added to the heel and the Anthem system fitted. This is a fine playing and great sounding OM, in the original Martin HSC that shows some minor road wear. Overall Excellent Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853517672588,"sku":"12228","price":8500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_5ea10056-0bb1-4a77-86da-d344f54465bf.jpg?v=1774340851"},{"product_id":"c-f-martin-d-18-acoustic-guitar-1959-11829","title":"C. F. Martin D-18 Acoustic Guitar (1959)","description":"C. F. Martin D-18 Model Acoustic Guitar (1959), made in Nazareth, PA, serial # 174836, natural lacquer finish, mahogany back, sides and neck, spruce top, rosewood fingerboard, black tolex hard shell case. \u003cbr\u003e\u003cbr\u003eThis is a heavily worn-in but great playing 1959 D-18; in honor of Riley Puckett we call these \"Ragged but Right\". It shows numerous signs of long use, including an old headstock repair and some fairly heavy wear. This guitar shows typical appointments for 1959 including large varied-dot inlay on the Brazilian rosewood fingerboard, a rosewood long-saddle bridge and tortoise celluloid binding and pickguard. Despite a checkered life this guitar has a fabulous big voice and remains in fine playing condition. It has a set of first-year Grover Rotomatic tuners replacing the original Klusons, probably done long ago.\u003cbr\u003e\u003cbr\u003eIn 1959 -- partially thanks to the Kingson Trio -- Martin Dreadnoughts were the most sought-after flattops in the world, already long considered the world standard. Only 475 D-18's were made that year, and many were gigged heavily like this one over the decades to come. The D-18 and D-28 were the undisputed favorites of many professional Country \u0026amp; Western entertainers when new, and are still fantastic guitars for a wide range of styles. This one shows is wear and repair proudly but remains unbowed, an excellent player's instrument, a great stage or recording guitar.\u003cbr\u003e \u003cbr\u003eHeight is 40 3\/8 in. (102.6 cm.), 15 3\/4 in. (40 cm.) width. Scale length is 25 1\/2 in. (648 mm.). Width of nut is 1 11\/16 in. (43 mm.). \u003cbr\u003e\u003cbr\u003eThis guitar is fairly worn in but remains in good playing condition. It has a number of old repairs, the most serious being a solid but quite visible \"smiley\" crack at the base of the headstock; this repair was not touched up nor perfectly aligned, but was well sealed and is holding fine, not presenting a further structural issue. The instrument also shows numerous top cracks. One runs from the top edge of the pickguard to the top of the upper bout, about an inch away from the treble fingerboard extension. Another spruce grain crack extends from the treble side waist to the middle of the lower bout and one from the edge of the bass side lower bout going towards, but not quite to the bottom of the pickguard. The center seam has been resealed from the bridge to the tailblock.\u003cbr\u003e\u003cbr\u003eThe finish shows a lot of wear over the entire instrument, with noticeable pickwear into the wood on the top above the soundhole and below the pickguard. There are three 'case bites\" on the bass lower bout, with short grain cracks on either side of one of them. The back has some scratching and some odd blushing to the finish, but is not too heavily worn. The treble side rim shows three cracks, from the waist towards the lower bout. They have been sloppily cleated on the inside, but are solid and not moving. The headstock shows noticeable scars from the repair and filled screw holes from the original Klusons.\u003cbr\u003e\u003cbr\u003eThe good news on this D-18 is it retains the original nut, bridge (somewhat shaved down), pickguard, the frets are original with some wear but recently crowned with a surprising amount of life left. Other than the rim cleat the interior is clean, including the small maple bridge plate. The finish remains mostly original with some overspray at the headstock break and light overspray over the treble side cracks. Oddly, it has never had a neck set. This guitar is not a collector's showpiece but still a fine playing and sounding instrument, an solid player's piece still and the perfect touring or recording D-18. Overall Very Good Condition.","brand":"C. F. Martin","offers":[{"title":"Default Title","offer_id":46853525864588,"sku":"11829","price":4750.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0672\/8702\/3756\/files\/01_d807d176-2f38-4167-924d-9a1c604396fe.jpg?v=1774341141"}],"url":"https:\/\/retrofret.com\/collections\/other-acoustic-guitars.oembed","provider":"RetroFret","version":"1.0","type":"link"}