D'Aquisto New Yorker Delux Arch Top Acoustic Guitar (1967)
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D'Aquisto New Yorker Delux Model Arch Top Acoustic Guitar (1967), made in Huntington Station, NY, serial # 1017, sunburst lacquer finish, flame maple back, sides and neck; spruce top, ebony fingerboard, original black hard shell case.
This fantastic and beautiful instrument is a very early D'Aquisto New Yorker Delux (that's how Jimmy spelled it) bearing serial number 1017. After finishing off the remaining uncompleted D'Angelico instruments after the master's death in late 1964 this is the 17th numbered guitar built by D'Aquisto under his own name. Inside on the back it is neatly signed and dated James L. D'Aquisto 4/18/67. At the time D'Aquisto was struggling to re-establish the business and just beginning to enjoy the reputation that would eventually see him generally regarded as the greatest of all arch top guitar builders.
This a transitional instrument, still built primarily in the D'Angelico style but with the beginnings of D'Aquisto's own stylistic evolution. We believe this to be the second guitar built with the new more fluid F-holes Jimmy designed; #1016 is the first designated "new style" in his ledger. This one carries the traditional D'Angelico style peghead but with the curves subtly altered; it still bears the pediment on the top, pearl art deco truss rod cover and "New Yorker" pearl scroll banner on the face under the D'Aquisto pearl logo.
The guitar is multi bound on all edges like the earlier D'Angelicos. The neck is a subtle C carve that feels perfect, neither too thin or too thick and comfortable along the entire fingerboard. That ebony fingerboard has split block pearl inlay; the tailpiece is in the old D'Angelico style as are the multi-bound pickguard and tall adjustable ebony bridge. D'Aquisto would move away from this earlier art deco inspired aesthetic as the 70's rolled on, but this instrument catches him just starting to put his own distinctive mark on the earlier D'Angelico pattern.
This guitar has only had two owners since new, and has been in one home now for several decades. It has been played regularly but sparingly over the years, and simply offers the tone by which an archtops of any era can be judged. These early D'Aquistos are by their nature quite rare, and while Jimmy's aesthetic underwent a fairly radical evolution over the length his career the sound of his guitars is uniformly excellent right from the first. #17 bears this out in spades!
Overall length is 43 1/2 in. (110.5 cm.), 18 1/8 in. (46 cm.) wide at lower bout, and 3 1/2 in. (8.9 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.).
This guitar remains in extremely fine cosmetic and perfect playing condition, showing only a few signs of being 55+ years old. The finish has some light wear mostly on the top with scattered small dings and dents but nothing going through the lacquer. There is some scarring around the pickguard bracket; the original guard was replaced many years ago with a very accurate replica as the celluloid began to outgas. The entire neck and some areas of the body around the heel and fingerboard were oversprayed long ago, likely when the pickguard was replaced. The guitar was neatly refretted around the same time.
There are small checks in some areas of the body binding, most notable the cutaway and upper waist but none of the binding is cracked heavily or crumbling. All hardware appears original except as noted the pickguard. The face of the headstock shows a check through the veneer across the lowest tuner shafts. There is a period DeArmond model 1100 pickup mounted via the typical bracket screwed to the bass side of the fingerboard. This is wired directly to small tone and volume controls under the treble side of the pickguard, with the jack mounted at the guard's lower tip. A Gibson style plastic strap button is mounted to the side above the heel.
This is simply a fantastic sounding instrument, fully living up to the reputation these guitars enjoy as some of the finest carved top guitars ever made. It is equally splendid with or without amplification, and the top-line DeArmond is certainly the pickup to do it justice. This guitar still resides in the original green-lined Hard case, with a period strap, some D'Aquisto picks and string packets, and a later D'Angelico brand string pack. An extra ebony bridge top is also included. Most amazingly the instrument is still accompanied by the original hand-written receipt from Jimmy D'Aquisto, dated to April 1967. This is written on John D'Angelico's receipt pad stationary with a sticker updating the name and address to D'Aquistos new Long Island shop. This is the best piece of history we have had included with one of these instruments, already about as good as it gets for these greatest of New York made guitars. Overall Excellent Condition.
This fantastic and beautiful instrument is a very early D'Aquisto New Yorker Delux (that's how Jimmy spelled it) bearing serial number 1017. After finishing off the remaining uncompleted D'Angelico instruments after the master's death in late 1964 this is the 17th numbered guitar built by D'Aquisto under his own name. Inside on the back it is neatly signed and dated James L. D'Aquisto 4/18/67. At the time D'Aquisto was struggling to re-establish the business and just beginning to enjoy the reputation that would eventually see him generally regarded as the greatest of all arch top guitar builders.
This a transitional instrument, still built primarily in the D'Angelico style but with the beginnings of D'Aquisto's own stylistic evolution. We believe this to be the second guitar built with the new more fluid F-holes Jimmy designed; #1016 is the first designated "new style" in his ledger. This one carries the traditional D'Angelico style peghead but with the curves subtly altered; it still bears the pediment on the top, pearl art deco truss rod cover and "New Yorker" pearl scroll banner on the face under the D'Aquisto pearl logo.
The guitar is multi bound on all edges like the earlier D'Angelicos. The neck is a subtle C carve that feels perfect, neither too thin or too thick and comfortable along the entire fingerboard. That ebony fingerboard has split block pearl inlay; the tailpiece is in the old D'Angelico style as are the multi-bound pickguard and tall adjustable ebony bridge. D'Aquisto would move away from this earlier art deco inspired aesthetic as the 70's rolled on, but this instrument catches him just starting to put his own distinctive mark on the earlier D'Angelico pattern.
This guitar has only had two owners since new, and has been in one home now for several decades. It has been played regularly but sparingly over the years, and simply offers the tone by which an archtops of any era can be judged. These early D'Aquistos are by their nature quite rare, and while Jimmy's aesthetic underwent a fairly radical evolution over the length his career the sound of his guitars is uniformly excellent right from the first. #17 bears this out in spades!
Overall length is 43 1/2 in. (110.5 cm.), 18 1/8 in. (46 cm.) wide at lower bout, and 3 1/2 in. (8.9 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.).
This guitar remains in extremely fine cosmetic and perfect playing condition, showing only a few signs of being 55+ years old. The finish has some light wear mostly on the top with scattered small dings and dents but nothing going through the lacquer. There is some scarring around the pickguard bracket; the original guard was replaced many years ago with a very accurate replica as the celluloid began to outgas. The entire neck and some areas of the body around the heel and fingerboard were oversprayed long ago, likely when the pickguard was replaced. The guitar was neatly refretted around the same time.
There are small checks in some areas of the body binding, most notable the cutaway and upper waist but none of the binding is cracked heavily or crumbling. All hardware appears original except as noted the pickguard. The face of the headstock shows a check through the veneer across the lowest tuner shafts. There is a period DeArmond model 1100 pickup mounted via the typical bracket screwed to the bass side of the fingerboard. This is wired directly to small tone and volume controls under the treble side of the pickguard, with the jack mounted at the guard's lower tip. A Gibson style plastic strap button is mounted to the side above the heel.
This is simply a fantastic sounding instrument, fully living up to the reputation these guitars enjoy as some of the finest carved top guitars ever made. It is equally splendid with or without amplification, and the top-line DeArmond is certainly the pickup to do it justice. This guitar still resides in the original green-lined Hard case, with a period strap, some D'Aquisto picks and string packets, and a later D'Angelico brand string pack. An extra ebony bridge top is also included. Most amazingly the instrument is still accompanied by the original hand-written receipt from Jimmy D'Aquisto, dated to April 1967. This is written on John D'Angelico's receipt pad stationary with a sticker updating the name and address to D'Aquistos new Long Island shop. This is the best piece of history we have had included with one of these instruments, already about as good as it gets for these greatest of New York made guitars. Overall Excellent Condition.