Gibson

This guitar, whose original cherry finish is unfaded and nearly unworn, is in amazingly clean condition -- a virtual time capsule. We have never before seen a Gibson Les Paul Junior original cherry double cutaway maintained at this remarkable level of preservation.  That's really saying something!   If you are seeking more excitement than many a body can stand, this is the guitar for you.

The Gibson L-4 dates back all the way to 1912 (gee, that’s a hundred years ago) when it was a 16” guitar with an oval shaped soundhole and had a “The Gibson” inlaid logo.   The logo became just plain “Gibson” in the middle of 1928 and in 1935 a bunch of exciting things happened to it.  First of all it got twin f-holes, it was decorated with a Fleur-de-Lis on the headstock as homage to the areas first settled by the French, such as Louisiana and the Mississippi River Basin but it also appears on many European coats-of-arms and flags.

with all original tags and papers in the pocket including the Diploma-like Certificate testifying that this was made as a special edition.  When better semi-hollow body guitars are made they will undoubtedly have a “Gibson” logo on their headstock.  This one not only has that logo in gleaming (like a laser) but it has the Gibson crown or flower near the center of the headstock and a white bordered black bell-shaped truss rod cover above the nut.

From the Elvis Presley era – the sharp cut maple and spruce, all solid wood, carved, slightly slimmer electric archtop guitar, featuring twin gold-plated humbucking pickups.

One of the most striking and memorable designs in the history of the electric guitar, the Black Beauty is undeniably one of the most important electric guitars of the past 58 years.  Made from mahogany, this model and era guitar is famous for being the “Return of the Single Cutaway” Les Paul after a hiatus of 7 years during which time none were made.   Its frets were decidedly low profile which is why it retained its moniker of “Fretless Wonder.”

If you love the sweet tone of a classic Gibson carved-top, but have never been comfortable with the large size, then the new L-5 Signature is the guitar for you.  This beautiful instrument provides all of the tonal characteristics and appointments of the original L5, in a compact size that’s significantly easier to manage — on and off stage.  Yea, verily, the body of the L5 Signature is smaller than that of the original L-5, yet it retains the same impeccable tonal properties.

Its original brown exterior case has the pink interior (much like ourselves).    Inside this case are many goodies:  a leather strap, cloth covered cable, all the original Gibson papers and tags, and the certificate that comes with a Custom/Art/Historic model although in the interests of preserving its traditional appearance, the guitar has no Custom/Art/Historic decal behind the nut on the back of the neck.     We present to you one of the most beautiful electric guitar designs as the world has ever seen.

This mandolin is quite handsome having the black finish face, medium brown sides and back, a black ebony veneer headstock overlay with no logo on it as is common to the Style A-; the back of the neck is mahogany, the back and sides are plain maple and the top is carved spruce.  This has the oval soundhole, bound in yellowed ivoroid, and encircled on the face by three rings of crème-black-crème.  The bridge is one piece of ebony, compensated at the top, the slide-on tailpiece cover is etched “The Gibson” with a floral pattern.   

The instrument’s creature features include that solid carved spruce top with the twin open f-holes; carved mahogany back and sides, and they are, happily, solid wood as well; it has a single-piece mahogany neck, an ebony fingerboard with parallelograms inlaid in mother of pearl, multi-ply top binding and single-ply back and neck binding; an ABR-1 tune-o-matic ebony-base pearl inlaid bridge with a gold-plated brass tailpiece.

How do they do it, those always-surprising mandolin persons?  How do they manage to find super clean, original 62-year-old Gibson J-45 guitars like this?   From its radiantly original gold Gibson postwar script peghead decal set against a jet black background and its “Kluson Deluxe” double-line logo ivoroid button tuners whose knobs are in remarkable shape and original - to its original teardrop-shaped tortoise shell colored pickguard – this is a superb re-visitation to the second term of Harry S. Truman.

There are few prewar mandolins as beautiful or as elegant as the Gibson teens F-2. We tip our hat to Orville H. Gibson (mystery: nobody knows what the middle initial stood for, perhaps we should make a contest out of it) for inventing one of the most compelling musical instrument designs of the past 117 years.

The Gibson F-7 was a fairly short-lived but extremely well regarded model, made for just six years between 1934 and 1939. What it is, essentially, is a Gibson prewar F-5 mandolin with simpler appointments, and having a neck that joins the body at the 10th fret. In terms of the simpler appointments, this model has single-ply crème celluloid side, neck, headstock and pickguard binding, unbound twin lower case f-shaped soundholes.

including pick scratches in the upper bass bout of the face, and other typical scratches, scuffs, dings, hand wear on the back of the neck, infinitely small chips on the finished surfaces. This is to be expected since it is, after all, 88 years old. It has its original hard shell case but the center latch is non-functional since it’s missing the top section (somebody apparently once pried it apart with their Glock ET17070 entrenching tool), and also comes with 3 ancient books of mandolin instruction.

This banjo has the 20-hole flathead tone ring, the 24 brackets, the four corrugated thumbscrews hold resonator to him, the varied pattern mother of pearl fingerboard inlays at frets 1, 3, 5, 7, 10, 12, 15 and 17 (the 17th is a flying bird) and then a rectangular of pearl inlaid at fret 21 that is etched “Mastertone.”  Our Discount Price is $2,366.00 and Our Cash Discount Price is $2,295.00.

This is an extremely handsome mandolin, similar in some ways to a Gibson A-50 model, including having the adjustable truss rod feature, except having crème top binding while the A-50 also has back binding, and also having a flat back and not the A-50’s arched back. The top is, however, arched and finished in a glorious prewar sunburst; f-holes are unbound, the bridge is ebony and adjustable (possibly a replacement since the fingerboard is magnificent Brazilian rosewood and usually they match).

This banjo, suitable for any tenor banjo work but especially Celtic, has a 10 ½” diameter skin head – likely original – a scalloped slide-down tailpiece cover, a maple and ebony Grover bridge that is likely a replacement, an unbound ebony or stained pearwood fingerboard hosting 18 frets and 6 mother of pearl dotmarkers in 5 positions, a black overlain pickguard that comes to a point at the top and displays a “The Gibson” logo in silver silkscreen.