Gibson J-200 Flat Top Acoustic Guitar (1954)
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Gibson J-200 Model Flat Top Acoustic Guitar (1954), made in Kalamazoo, Michigan, serial # X8990-7, sunburst lacquer finish, maple back, sides and neck, spruce top, rosewood fingerboard and bridge, black tolex hard shell case.
This is a well worn Gibson J-200 from the mid-1950s, a "Real Relic" in every sense with wear and repair evident but a great sound and killer vibe. This large and flashy "King of the Flat Tops" was designed in the later 1930s especially for "Cowboy" rhythm playing, as a standout guitar to be seen on full-screen Celluloid in movie theaters. By the time this one was made in the mid-1950s small TV screens and country touring stages were where mostly appeared, but the flash was still apparent. Basically if you were any sort of C & W star (or aspiring one) you had one of these or a fancy pearl-top Martin if you were worth your boots and saddle!
This J-200 shipped out of Kalamazoo sometime in 1954; unfortunately the orange "Artist" label under the soundhole is partially torn away so the serial number was lost. Fortunately the X-prefix Factory Order Number (FON) is fully legible and dates it to 1954. It is one of 158 sunburst SJ-200s sent out from Kalamazoo in 1954, the model's highest total to date. The J-200 was by then already the choice of many country stars, and a few years later became a favorite of many early rockers as well. Elvis Presley rocked a natural J-200; The Everly Brothers adopted twin sunburst models for their sublime duets, and the J-200 became forever enshrined as the #1 Rock & Roll rhythm guitar. It also remained a top C&W singer's choice, the best playing companion to a Nudie suit.
This J-200 has typical features for the mid-1950's. The subtly blended sunburst lacquer finish sets off some fairly plain maple on the back and sides and a beautiful close grained spruce top. The top is multi-bound and decorated with the unique floral-engraved tortoise celluloid pickguard; this is the earlier fancier version with the extra line around the perimeter made of somewhat darker celluloid. The top also features the redoubtable "moustache" bridge with multiple pearl inlays, another hallmark of the model. This 1950s example has the "double X" top bracing pattern, with a single "X" under the bridge and a second smaller "X" under the fingerboard extension.
The laminated maple neck has a bound rosewood fingerboard with "crown" inlay, topped with a bound pearl inlaid headstock. It has a medium slim round-backed feel, a bit chunkier than some later necks we have felt but a very comfortable handful. The gold-plated tuners are Kluson Deluxes with "tulip" buttons. The "King of the Flattops" was Gibson's top-priced non-carved acoustic guitar, designed to power an entire band and look great doing it. The ultimate front person's guitar, the J-200 is still unsurpassed in that role and a fantastic live or recording guitar when a powerful rhythm sound is the job to be done. Someone "back in the day" got a lot of use out of this one but it remains a splendid survivor and a lovely player's instrument.
Overall length is 42 3/4 in. (108.6 cm.), 17 3/16 in. (43.7 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 1/2 in. (648 mm.). Width of nut is 1 11/16 in. (43 mm.).
This genuine veteran 75+ year old J-200 has general wear overall and one solid but quixotic repair we are at a bit of a loss as to explain. There is a thin line all across the back of the neck just below the nut that would seem to indicate the entire headstock was removed and reseated, although it's hard to see exactly how this would have occurred. The headstock is not later construction but appears original to the guitar, and there are no break or shatter lines except one tiny split off the binding just above it. We are not sure exactly what happened here, but the neck is completely solid and quite playable and the finish touchup not at all intrusive. The truss rod nut has been shimmed but the rod is intact and working. There is some light finish touchup visible, but no wholesale effort to disguise the repair. This is the oddest headstock repair we have ever seen, but solid and not any ongoing issue for the guitar.
The guitar is otherwise moderately heavily worn but appears original and unaltered. The finish shows moderately heavy checking and noticeable wear with dings, scrapes and dents overall, most heavily to the top with some typical pick scratching above the soundhole and along its upper rim. The back is surprisingly clean (not much cowboy belt buckle wear!) with some worn through spots near the edges, the armwear spot is fully worn through. The back of the neck has some finish worn down from play on both sides but no heavy capo wear. The beautiful engraved pickguard has some of the lacquer overcoat worn through and chipping to the finish along the bottom edge but no apparent celluloid distress.
The top has a several noticeable repaired spruce grain splits off the top edge of the pickguard, between the fingerboard and soundhole edge and soundhole and bridge. All are sealed but not finished over so plainly visible. The bridge shows a repair to a small crack on the treble side wing, and has a later bone saddle. It has also been reglued, with some chipping around the edges. A later strap button was added to the treble side of the heel. There are some deep scrapes and dings but no other cracks are apparent on the instrument.
The neck does not appear to have been reset, the heel is clean with an added strap button. The fingerboard was very nicely refretted with a replaced bone nut; there are some shallow divots in the first position. You can't fake the vibe of this J-200; it has a lot of sound and character played into it. While worn with obvious stories this is a great playing guitar with a huge ringing but still rich sound, one of the better sounding post-WWII J-200s we have had if far from the cleanest looking. A strummer's delight, a TRUE cowboy guitar (well, TV cowboy anyway!) and majestically vibey even without a Nudie suit! It lives in a modern hardshell case. Overall Very Good + Condition.
This is a well worn Gibson J-200 from the mid-1950s, a "Real Relic" in every sense with wear and repair evident but a great sound and killer vibe. This large and flashy "King of the Flat Tops" was designed in the later 1930s especially for "Cowboy" rhythm playing, as a standout guitar to be seen on full-screen Celluloid in movie theaters. By the time this one was made in the mid-1950s small TV screens and country touring stages were where mostly appeared, but the flash was still apparent. Basically if you were any sort of C & W star (or aspiring one) you had one of these or a fancy pearl-top Martin if you were worth your boots and saddle!
This J-200 shipped out of Kalamazoo sometime in 1954; unfortunately the orange "Artist" label under the soundhole is partially torn away so the serial number was lost. Fortunately the X-prefix Factory Order Number (FON) is fully legible and dates it to 1954. It is one of 158 sunburst SJ-200s sent out from Kalamazoo in 1954, the model's highest total to date. The J-200 was by then already the choice of many country stars, and a few years later became a favorite of many early rockers as well. Elvis Presley rocked a natural J-200; The Everly Brothers adopted twin sunburst models for their sublime duets, and the J-200 became forever enshrined as the #1 Rock & Roll rhythm guitar. It also remained a top C&W singer's choice, the best playing companion to a Nudie suit.
This J-200 has typical features for the mid-1950's. The subtly blended sunburst lacquer finish sets off some fairly plain maple on the back and sides and a beautiful close grained spruce top. The top is multi-bound and decorated with the unique floral-engraved tortoise celluloid pickguard; this is the earlier fancier version with the extra line around the perimeter made of somewhat darker celluloid. The top also features the redoubtable "moustache" bridge with multiple pearl inlays, another hallmark of the model. This 1950s example has the "double X" top bracing pattern, with a single "X" under the bridge and a second smaller "X" under the fingerboard extension.
The laminated maple neck has a bound rosewood fingerboard with "crown" inlay, topped with a bound pearl inlaid headstock. It has a medium slim round-backed feel, a bit chunkier than some later necks we have felt but a very comfortable handful. The gold-plated tuners are Kluson Deluxes with "tulip" buttons. The "King of the Flattops" was Gibson's top-priced non-carved acoustic guitar, designed to power an entire band and look great doing it. The ultimate front person's guitar, the J-200 is still unsurpassed in that role and a fantastic live or recording guitar when a powerful rhythm sound is the job to be done. Someone "back in the day" got a lot of use out of this one but it remains a splendid survivor and a lovely player's instrument.
Overall length is 42 3/4 in. (108.6 cm.), 17 3/16 in. (43.7 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 1/2 in. (648 mm.). Width of nut is 1 11/16 in. (43 mm.).
This genuine veteran 75+ year old J-200 has general wear overall and one solid but quixotic repair we are at a bit of a loss as to explain. There is a thin line all across the back of the neck just below the nut that would seem to indicate the entire headstock was removed and reseated, although it's hard to see exactly how this would have occurred. The headstock is not later construction but appears original to the guitar, and there are no break or shatter lines except one tiny split off the binding just above it. We are not sure exactly what happened here, but the neck is completely solid and quite playable and the finish touchup not at all intrusive. The truss rod nut has been shimmed but the rod is intact and working. There is some light finish touchup visible, but no wholesale effort to disguise the repair. This is the oddest headstock repair we have ever seen, but solid and not any ongoing issue for the guitar.
The guitar is otherwise moderately heavily worn but appears original and unaltered. The finish shows moderately heavy checking and noticeable wear with dings, scrapes and dents overall, most heavily to the top with some typical pick scratching above the soundhole and along its upper rim. The back is surprisingly clean (not much cowboy belt buckle wear!) with some worn through spots near the edges, the armwear spot is fully worn through. The back of the neck has some finish worn down from play on both sides but no heavy capo wear. The beautiful engraved pickguard has some of the lacquer overcoat worn through and chipping to the finish along the bottom edge but no apparent celluloid distress.
The top has a several noticeable repaired spruce grain splits off the top edge of the pickguard, between the fingerboard and soundhole edge and soundhole and bridge. All are sealed but not finished over so plainly visible. The bridge shows a repair to a small crack on the treble side wing, and has a later bone saddle. It has also been reglued, with some chipping around the edges. A later strap button was added to the treble side of the heel. There are some deep scrapes and dings but no other cracks are apparent on the instrument.
The neck does not appear to have been reset, the heel is clean with an added strap button. The fingerboard was very nicely refretted with a replaced bone nut; there are some shallow divots in the first position. You can't fake the vibe of this J-200; it has a lot of sound and character played into it. While worn with obvious stories this is a great playing guitar with a huge ringing but still rich sound, one of the better sounding post-WWII J-200s we have had if far from the cleanest looking. A strummer's delight, a TRUE cowboy guitar (well, TV cowboy anyway!) and majestically vibey even without a Nudie suit! It lives in a modern hardshell case. Overall Very Good + Condition.