Weissenborn Jumbo ca. 1932 |
$3400Description: Hermann Weissenborn made quite a name for himself building his venerable hollow-neck lap guitars at the height of the Hawaiian music craze in the 20s. What's often overlooked is his contribution to the flat-top, Spanish guitar. Examples of his round neck guitars appeared in catalogs of the day, and were built to approximate the size of a Martin 0 (think 0-18K and 0-28K). These Spanish Weissenborns are rarely seen in the vintage market. This particular example, based upon its rather plain appointments, would fit the Weissenborn catalog description of a Style A guitar but for a few major and curious differences: the lower bout measures over 15" across and the neck has 14-frets clear to the body, making this a rare and possibly one-of-a-kind guitar. The guitar body and neck are Hawaiian koa. The fingerboard, and possibly the bridge, is Brazilian rosewood. The only adornment on the body are the three wooden sound hole rings. The lower bout measures 15 3/8" and is 3 7/16" deep at the end pin. The upper bout measures 9 1/2" across and 3 1/8" deep at the heel. Scale length is 24 15/16", and the 'C'-profile neck measures a hair under 1 7/8" at the nut, and the neck has a truss rod. The original bridge is 5 1/2" wide. The top is X-braced, and the original bridge plate has a bird-in-flight-like shape. The guitar appears all original but for one bridge pin and the saddle. There is one very old repair, difficult to see, where the neck appeared to have cracked and was reglued..in the area under the first three frets. It does not appear it was broken off. Also, the bridge appears to be attached slightly askew to the horizontal plane of the guitar..it's difficult to determine if it was originally glued on this way, or it was re-glued. Regardless, it's tight and intonation is excellent as-is. There are no other cracks or repairs to report. A recent neck set and fret dressing puts this guitar into tip-top shape. Playabliity of this guitar is outstanding. The neck has a modern feel to the hand, and the even frets and good action make it a pleasure to play and hard to put down. Saving best for last, its tonal quality places it in the highest echelon of vintage acoustic guitars. To our ears it's on par with the best vintage Martin OMs and 000s...distinct tones, full resonance and a clarity and richness found in a select few vintage acoustics.
Sound clip
See more photos
Martin 0-18 1930 |
$3600In 1930, Martin made 283 0-18s and at that time the company was poised to enter a new phase of guitar production. The long-body, 12-fret slot head instruments with bar frets were about to give way to the more modern 14-fret solid 'paddle' head guitars with t-frets. Some consider these 'end-of-an-era' Martins 12-fretters to be the ideal guitar for steel string fingerpicking. This example won't disappoint in that regard. This guitar appears original but for the saddle and one tuner gear screw. The back of the head stock is stamped with the Martin brand, which is also found inside on the back strip. The tuners are brass with an engraved outline. Neck, back and sides are mahogany, top is spruce and fingerboard ebony, with binding and purfling that conforms to the 18 grade instruments of the period. The fingerboard measures 1 7/8" at the nut with 2 7/16" spacing at the saddle. The body is virtually crack-free but for a small one inch crack on the side of the lower treble bout. The top has aged to a gorgeous pumpkin shade, and shows some playing wear but no abuse. The original belly bridge had a split in front of the saddle, but was professionally repaired, holds tight and is nearly invisible. The neck was reset with action at about 4/64". Original bar frets were leveled and dressed. Internally, the guitar is very clean and undisturbed. The guitar is a pleasure to play, and like most small Martins, produces a sound that is considerably bigger than one would anticipate; the tone rings loud and clear. Comes with a new TKL hard case..
See more photos
Oscar Schmidt "Stella" ca.1925 |
SOLDA rough-and-tumble example of the iconic Stella guitar..although it has the 'Road Warrior' mojo, this little Stella is in remarkably good, original condition (only the bridge pins are replacements). Lots of 'life experience', but solid. Likely dating to the mid-20s, this is an all birch example with 'Stella' pressed into the headstock. A 'decalcomania' ring adorns the sound hole with a matching back center strip. The neck was recently reset; the neck is straight with the action at ~ 7/64". A crack was glued on the top, and one on the side. Several brace tips were reglued as was the original bridge (all with hot hide glue). Some sections of the top/back/sides junctures were open and reglued. Frets were leveled and dressed. Width of body is 13 1/4"; scale length is 24 3/4"; width at nut is 1 3/4" and at the saddle 2 1/8". The guitar plays very well and the 'v' neck is comfortable in the hand. The sound of this particular Stella is exceptional when compared to others of its type..the notes ring clearly, with great sustain and projection. A great guitar for both fingerpicking and slide.
See more photos
Gibson Kalamazoo KG-14 1937 |
HOLDAnother nice example from Kalamazoo, Gibson's budget brand. The KG-14 is essentially an L-00 without the truss rod and x-bracing, and helped Gibson stay afloat through the Depression years. Mahogany body, spruce top, mahogany neck with tropical hardwood fingerboard. The guitar retains its original finish in good shape, original tuners and bridge. A recent neck set has the action at 5/64" at the high E, and 6/64" at the low E. The neck is the typical 'V' from this period, and comfortable in the hand. Crack-free top (there is a 1/2" line between the waist and pickguard that runs with the grain, but does not appear open) and back, with a small crack at the endpin repaired. The guitar produces the dry, woody ladder-braced sound coveted by blues pickers.
See more photos
Gibson J-45 Banner Maple 1944 |
$8000The wartime 'banner' Gibson flat tops have gained an increasingly avid, if not mythical, following, and for good reason..quality sound, quality construction and quirky combinations of materials not found pre or post WWII, including the "Only A Gibson Is Good Enough" banner decal. The features on this example suggest a date of 1944: script logo and banner, five-piece maple neck, square-cut heel block, riveted 3-on-a-plate Kluson tuners, and an adjustable truss rod. A look at BannerGibsons.com shows that a number of Gibsons were made with maple back and sides that share this guitar's FON 2828. Overall, this guitar appears to have been oft-played throughout its life, but with no major structural issues to report. The original Klusons had the powdered original buttons replaced with exact reproduction 'Henkes' buttons; the Brazilian rosewood fingerboard was recently refretted with the rosewood showing some playing divots in the first three frets; the tip of the small brace under the pickguard was glued; the original bridge was reglued and shows its original profile, retaining some of its original finish; bridge plate is super clean; the guitar sports its original finish, but, if one looks closely, it appears that someone tried to clean the sides with something that left some dull streaks (these could likely be buffed out); the body shows some nicks and dings and three screw holes in the lower bout from a prior tailpiece installation (likely a cheap fix when the bridge lifted). The top is appears to be 2-piece Adirondak spruce, and the back is a beautiful single piece of curly maple. There are no body or top cracks, although the center seam below the bridge is a bit funky, but tight, and finish checking is noted throughout. Best of all, this banner Gibson has 'the' sound that players seek in vintage instruments; rich and full, with a deep thump when fingerpicked. With the action set at 5/64", and the maple neck worn to a smooth tactile feel in the hand, the guitar is a pleasure to play over long periods of time. Comes with what could be its original brown, pink-lined hard case with broken hinges.
See more photos
National Style 1 Tenor Guitar 1930 |
$1900National Style 1 Tenor guitar, made in 1930. Nickel plated German silver guitar-shaped body, all original and aesthetically pleasing to the eye. Maple neck, bound ebony fingerboard, scale length 23". Orignial cone is in excellent condition. 'Planet' banjo-style tuners on a banjo-shaped headstock. The back of the neck shows a lot of finish wear, and the headstock decal has dried and flaked a bit. Frets and fingerboard show minimal wear. Body shows typical scratches and a few small dents. The guitar has accurate intonation, good action and plays well. It's quite loud when pushed with a pick. Beautiful original hard case with bright red lining.
See more photos
Martin OM-18 1930|
$13,000The revolutionary request from a banjo player to the Martin Guitar company resulted in an instrument that became the standard for modern flattop guitars. In 1929 banjoist/guitarist Perry Bechtel ordered a Martin with a slim, 14-fret neck. What evolved from Bechtel’s initial input was the Martin Orchestra Model (OM) guitar, which today is the benchmark acoustic guitar for fingerstyle players. Singing cowboy Roy Rogers was among the first to jump on the OM bandwagon. The OM-18 first appeared in 1930, 89 were made that year, and they retained the standard appointments of an 18-series guitar, with these changes: longer scale fourteen-fret neck, solid headstock and banjo tuners. This example sports those features with one exception: it has an original “long” pickguard, as opposed to the standard “short” pickguard seen on most OMs of the period. Perhaps this OM was constructed in ’30, put away “in the white” and only sold in ’31, when the “long” guards begin to appear? This one dates to no earlier than October of '31, because the heel block is stamped "OM-18", and Martin only began that practice in October of '30. Regardless, the pickguard was removed and reglued, and there is no evidence of this guitar ever having a smaller guard. Back and sides are Honduran mahogany and the top is Adirondak spruce; the neck is mahogany, with a rosewood overlay on the headstock; CF Martin & Co stamped on the back of the headstock; original 18-series banjo tuners; original ebony fingerboard with 3-dot inlay and bar frets; 25.4” scale; ebony (replacement) bridge; period Martin replacement black bridge pins. The body is 15” wide across the lower bout. Fingerboard measures about a thou under l ¾” at the nut, with string spacing 2 5/16” across the saddle. The neck profile is a modern-feeling C-shape, typical of the OM Martins. Old repairs to this guitar include: small patch and crack repairs at bottom of back; small patch in lower bass bout; older and very light overspray. There are various nicks and dings, some playwear on the top, and finish crazing overall. New repairs by noted luthier Steve Kovacik include: exact replacement bridge, and pin hole repair in original bridge plate (a replacement bridge on the guitar used a slightly different pin hole spacing); neck reset; fret level and dress; new saddle. The action is set at 5/64” from top of 12th fret to bottom of high E, and 6/64” from top of 12th fret to bottom of low E. The innards have been inspected and are straight and tight. The guitar plays beautifully and is very comfortable in the hand. The sound produced by this early example is among the best we’ve heard and is what players expect from an early OM..very balanced overall, strong projection, with each string ringing out independent of the others, producing the magical clarity and tone that rank the early Martin OMs into the upper echelon of vintage guitars. Once in the hands, this is a difficult guitar to put down...thank-you Perry Bechtel! Comes with a period correct vintage hard case.
Sound clip
See more photos
Gibson L-00 1936|
$3550The Gibson L-00s from the 30s are a favorite among players, and for good reason. They're comfortable to play, produce a dry, woody tone that only a vintage guitar can produce, and they're good lookin' to boot! The FON dates this one to 1936, as do the fancy brass Grover tuners that Gibson used in this time frame, among the snazziest tuners to appear on a Gibson. This example is an all original example including nut and saddle (in case). Curb-side appeal is excellent, showing some nicks and dings from age, and a side crack along the upper bout. Structurally, the guitar is sound from stem to stern. Recent neck set, bridge reglue and a few brace tips reglued as well as a small section of the back/side seam. No cracks in the top. Action is set to 5 & 6/64th, and the fingerboard shows little evidence of playing wear. The back of the slight 'V' neck shows little wear or abuse from capos. The bridge retains its original profile. This L-00 produces the tone that made its reputation: punchy, full and woody and is among the best of the L-00s we've offered.
See more photos
Oscar Schmidt Galiano Decalcomania ca 1930|
SOLDIn its seemingly endless strategies to market its guitars, the Oscar Schmidt Co. came up with the 'Decalcomania' ploy as early as 1912, according to catalogs of the period. Decalcomania was a decorative technique popularized during the ceramic transfer craze of the mid-1870s. The Oscar Schmidt Co. simply used 'decals' to fancy-up its factory-produced guitars. An attractive example is the guitar listed here. Representative of a typical 20s OS guitar, this example sports a solid birch back and sides, spruce top, dyed fingerboard, black-painted bridge. The body is finished in a brown stain, while the neck is more reddish. The tuners and pins all appear to be original, and there are no cracks in the body or neck. An 'A. Galiano' label is pasted inside. The neck, frets and fingerboard show very little playing wear, with the fingerboard retaining the oft seen numbering on the frets, probably for lap players. The original finish is clean and the decals retain their bright colors. The lower bout measures 13 1/2", the scale length is ~ 24 7/8", the neck is a tad over 1 7/8" at the nut and string spacing is 2 1/4" at the saddle. Action is set at 5/64" from top of 12th fret to bottom of both E strings. The neck shape is more C than V. Repairs include a recent neck set, frets leveled and dressed, new nut, and original fret wire saddle replaced with a new bone saddle. At some time in the past, the original bridge may have been sanded a hair on the bottom (the wings seem thinner than usual), but the top is original, and a hairline between the three treble bridge pins was glued. The guitar plays very well and the sound is way better than most concert-size guitars of its ilk. The trebles and mids are bright and clear, and the bass is punchy and full for a small-ish guitar. The overall sound is round and resonant with the expected ladder brace overtones.
See more photos
Gibson J50 Banner 1942|
SOLDIn the early war years, Gibson embarked on a number of model changes. Among them was the introduction of the now iconic flat top model, the J45, in 1942. One key to identifying a wartime Gibson is the "Only A Gibson Is Good Enough" banner below the logo on the headstock. Today these guitars are referred to as "Banner Gibsons". One variant of the sunburst J45 is the J50, or natural finish top, which first appeared in Gibson catalogs in 1946. However, a small number of J50s were made in 1942, along with the first J45s, and this is confirmed in the Gibson shipping ledgers of the period. Today, these 1942 J50s rank among the rarest of Gibson flattops. Typical of the period, this example has a club-ish one-piece mahogany neck, but not the baseball-bat thickness that appeared a few years later. The fingerboard is Brazilian rosewood. Back and sides are mahogany and the top is spruce, multiple ply black/white binding adorn the top, back and sound hole ring. The scale length is 25", and the neck measures 1 3/4" at the nut with string spacing 2 1/8" across the saddle. This was a one owner guitar, and, like many J45s/J50s, was a real work horse. But for all its late nights in country bars, it's in remarkably original condition. Tuners, bridge, pick guard, bridge plate, end pin and five of six bridge pins are original. The original Klusons show a bit of oxidation. The tuner buttons on these 40s Klusons typically dry rotted, and these were no exception. The buttons were replaced with historically accurate repros from Henkes & Blazer. The bridge retains its original profile, and the original maple bridge plate is intact (a 'reinforcing' overlay was carefully removed with no ill effects). The truss rod functions properly, but, for some reason, many years ago the owner had a very thin wedge placed between the fingerboard and neck from the nut to about fret four. At that time, there was some overspray applied to the finger board seam and upper shoulder area of the guitar. This is evident under UV light in the shoulder area, and some light stain is visible to the naked eye in the upper six inches of the top. The finish shows some crackle and crazing. The top and sides are crack free, and a five inch crack was glued on the back and the center seam was glued along the bottom ten inches. Because J50s of this era had no reinforcing seam inside, a few small cleats were glued in this area as reinforcement. The fingerboard was refretted and shows a few divots in the 'cowboy chord' position. The action is set at about 5/64" & 7/64", and the guitar plays well. This one won't need any play-in with a ToneRite to 'open it up'. The sound produced is what a player of vintage guitars hopes for when he strikes a big E chord .. big, rich, full .. truly rattles the rib cage. This is a flat pickers guitar that can mellow out when finger picked, and ranks among the best Gibson Jumbos we've played. Look for a youtube video soon. Comes with an older Geib case in good condition.
See more photos
Gibson Kalamazoo Oriole Lap Steel 1940|
$525Nice example of a Kalamazoo Oriole lap steel, made by Gibson in 1940. Painted in a pleasing yellow/brown sunburst, and bound in white along the top and fingerboard, with an additional stripe inlaid down the middle of the rosewood fingerboard. Adorned with a quaint oriole decal on the headstock. One pickup and two Bakelite control kobs, one tone the other volume. The scale length measures 22 1/2" and overall length is 32 1/4". Overall the paint is in good condition with a few chips and nicks, the plating on the metal parts shows no oxidation, both control knobs work, and only the tuners are replaced (this era would have had the 'crumbling buttons', and likely explain the replacement). Comes with its original soft case.
See more photos
National Duolian 1931|
$3100A stellar example of a quintessential vintage blues guitar..this Duolian is decked out in the coveted and rare 'black walnut frosted duco finish'. The 'C' series serial number in the very low 400s places this Duolian among the earliest extant, likely made in early 1931. In this period of National's production, the Depression was in full swing, so National created the single cone Duolian to sell at a budget price of $32.50. The strategy must have been a success; thousands were sold, and National survived these lean years. On this Duolian you'll find the features common to the earliest Duolians: steel body with flat-cut 'f'-holes; 12-fret mahogany neck; slotted headstock with stamped National Duolian logo; flat cover plate without the later 'ribs'; frosted duco paint. What sets this one apart from most Duolians is its color, what National called 'black walnut frosted duco' in catalogs of the period. Additionally, the fingerboard is not wood, rather, it's a black phenolic resin, a synthetic material not unlike Bakelite. This was National's nod toward using 'modern' cost-saving materials. National went through a very short period where the entire neck was made from Bakelite, but the failure rate was so high that the company returned to wood. This example is entirely original except for maybe the nut, which is an old bone nut cut 'Hawaiian style', but recently cut for regular playing. The cone and biscuit are pristine. The paint is about 95% intact, with only some top scratches and edge wear. The body shows no dents. Because this guitar spent the bulk of its life set up for lap playing, the frets show no wear. The tuners are original and clean. The original tailpiece is sound, with some oxidation present on the nickle plate. There are two condition issues to note: a small fingernail-size chip was glued where the neck meets the body, and the phenolic fingerboard was removed and two carbon fiber rods inlaid in the neck with the neck angle adjusted for optimum playing. The original board was reglued to the neck retaining the originality of the guitar. The guitar is an excellent choice for fingerpicking country blues tunes. Played with a slide, this guitar produces the classic Duolian sound coveted by the hillbilly and blues players of the Depression, and modern players today..comes with an older, non-original hard case.
Sound clip
See more photos
Oscar Schmidt Galiano 12-String Deluxe ca 1920s|
$8900A fine and rare example of a country blues icon, some would call this Deluxe Jumbo the grail of Oscar Schmidt guitars. Built with the finest materials available in the Oscar Schmidt factory, this example is a cousin to the Deluxe Lyra/Bruno Concert-size guitar we've recently acquired. Galiano was a label often seen on the more expensive Schmidt instruments. The body is red-stained mahogany with a spruce top, all bound with the fanciest red/black/green purfling, as found on Lead Belly's jumbo, trimmed in white celluloid. The neck is mahogany, bound in white, and is a smallish 'V' profile, less 'clubby' than what we've seen on other jumbo 12s. Fingerboard is ebony with fancy pearl inlay. The headstock is bound in white and sports a Brazilian rosewood overlay. The tuners are original. The bridge is an ebony replacement, as is the spruce bridge plate/brace under the top. The finish is original, and shows various nicks and dings. The top has a series of repaired cracks, and the upper bout and back each show a small crack. The neck was reset, is very straight and is inlaid with two fiber rods to hold its profile. The action measures ~ 6/64". The fingerboard measures 1 15/16" at the nut and 2 5/16" at the saddle. The scale length measures a whopping 26 5/8", and the lower bout is 15 3/4" across. This 12 ranks among the most comfortable playing, best sounding and visually appealing Oscar Schmidt 12-strings to come on the market. Comes with a modern hard case.
View Video
See more photos
Oscar Schmidt Lyra Bruno ca 1920s|
$3450Oscar Schmidt Stella guitars, it's reported, became popular with many rural players in the days of the 78 rpm record because they could be mail ordered, they were cheap, and, with their signature ladder brace bark, they sounded great. But the Schmidt factory in Jersey City also produced some pretty stunning high-end guitars, constructed with quality woods and inlaid with fancy marquetry and pearl. It's rare to find these examples on the market, likely because so few were made. This example, bearing the Lyra/Bruno label, is one of those elusive rare birds. The Lyra label reads "Lyra Brand Bruno Trademark" and is pasted over a yellow Stella label. Several things make this a fairly unique guitar. First, the top, side and neck woods are top notch. Second, the body size is not a typical small-bodied Stella, which usually measure 12 1/2" to 13 1/2" across the lower bout, and were referred to as Standard Size in OS catalogs of the day. This one measures a full 14", and is referred to as a Concert Size guitar in the period catalogs. The scale length is 25"; a bit longer than the Standard size, but shorter than the larger Grand Concert or Auditorium sizes. Another unusual aspect of this guitar is the neck profile. Typically, OS guitars have a 'V' neck profile. The mahogany neck on this one is a very modern 'U' shape, the same profile as the Standard size Bruno that came through the shop a while back. Schmidt guitars are often tricky to date, but a Bruno catalog from 1912 reads: F "Concert size, Dark Mahogany, Highly Finished, Very Fancy Top and Back Edge, Strip in Back, Fancy Inlaid Sound Hole, Full Celluloid Bound Body Fingerboard and Head -- Mahogany Neck, Ebony Fingerboard with Fancy Pearl Positions, Veneered Head Inlaid with Pearl Star, Ebony Bridge ...$15.00" The body is mahogany, bound in the fanciest "Lead Belly" purfling and white celluloid. The mahogany neck is bound in white and the head stock is overlaid with Brazillian rosewood, bound in white and inlaid with a pearl "Bruno" star. The neck measures 1 3/4" across at the nut, and 2 9/32" at the bridge. Tuners and ebony pyramid bridge appear original. The guitar is structurally very sound and has had a neck set in the past; the action measures ~ 5/64" at both the high and low E. The bridge had a hairline between a few bridge pin holes glued, there is a seam separation along the back strip, and some chip-out was repaired in the flat bridgeplate/brace. Other that that, this is a stellar example. And if all that's not enough, this beauty produces superior sound..not the rough and tumble ladder brace bark associated with its plainer cousins, but an articulate, well-rounded mellow sound, much like the larger Grand Concert Stellas. A pleasing guitar for finger picking. Comes with a modern hard case.
Sound clip
See more photos
National Duolian ca 1931|
$2895A clean example of National's Great Depression survival strategy. The low end Duolian quickly became the guitar of choice for may hillbilly and country blues musicians before WWII, and are sought today to recreate that sound. This example retains the luster of its bright-silver frost duco paint, original tuners and tailpiece. The cone is a NRP replacement. Scale length is ~ 25", the neck is ~ 1 7/8" at the nut, and measures ~ 2 1/4" at the saddle. The neck fit is a little funky at the body joint, as seen in the photo. The neck is very clean, the guitar plays fine and produces a nice loud resonator tone. Retains its original hard case.
Sound clip
See more photos
Oscar Schmidt "Stella" Hawaiian Scene stencil front guitar ca. 1933|
$750Standard size Oscar Schmidt-made guitar with rare and attractive stenciled Hawaiian scene on front. Unlabeled, but has all the hallmarks of the Jersey City factory outlined in "The Guitars of the Oscar Schmidt Company": sides of body thicker in middle than the two bout ends; square kerfing at top, tapered kerfing at bottom; angle to heel; headstock shape; flat-head screws to secure tuners; position markers at 5th, 7th, 10th and 12th frets. All birch construction, dyed fingerboard, overall excellent condition but for a few nicks and scratches. Back of V neck exceptionally clean, some dye worn off fingerboard but frets show very little wear. Fresh neck reset, using hide glue. Frets were leveled and polished. The floating bridge has a 1/16" shim to gain a bit of action adjustment since the original fret wire saddle offers no adjustment; the shim is the least invasive solution. This solid birch beauty is a comfortable player and produces a surprisingly loud and pleasant tone, with good difinition of individual notes. The body measures 13 3/8" across lower bout; scale length is 24 3/4".
Sound clip
See more photos
Winner Ukulele ca 1940|
$150Nothing says 'Hawaii' like a grass hut, palm trees, and a ukulele. Scant info on the Winner maker, but the construction does appear to be tropical hardwood, and crude-ish but ok workmanship. All original condition, friction tuners and likely original hard case. Very cool decal on headstock. Overall length 21 3/4"; body width 6 3/16"; scale 13 3/4"; black plastic top and sound hole binding; 12 frets.
See more photos
Stella Decalomania(Oscar Schmidt) ca. 1930|
$950'Decalomania' was the term used in Oscar Schmidt catalogs to describe guitars that were fancied-up with inexpensive decals. Additionally, several models sported 'pearlette', or in today's parlance, 'mother of toilette seat'. This example from the 1930's exhibits both degrees of gaudyness. This guitar is, from the catalog description, a "standard size, birchwood body, black satin finish, white pearlette fingerboard with three positions." Originally offered at $66 .. per dozen! The binding and soundhole ring are painted white. The body measures 13 1/2" across the lower bout, and the fingerboard measures 1 13/16" at the nut. Scale length is 24 7/8" (note how the bridge needed to be moved about an inch south for correct intonation, which is typical). Ladder braced. The guitar is pretty much original except for the loss of the pickguard. The neck was reset and multiple braces reglued. There appear to be a few cracks in the back, but they wouldn't open for glue, so may be surface or paint only. Don't be alarmed by the line in the heel, it's not a crack. It's the glue joint where two pieces of poplar were joined to make the neck blank, and is original and very solid. This is documented in a photo when the neck was off for a reset. A few scuffs and dings, but overall a solid and original guitar set up and ready to play..nice Stella birch-bodied bark, and uniquely ornamented. See more photos
Victoria (Regal) 12-Fret Concert size (Parlor) guitar |
$1100The blue foil label reads 'Victoria Best American Make B&J New York Guaranteed Perfect Scale' and is likely made by Regal, possibly Washburn, in the late 1920's. This little parlor is as sweet as they come, with more tone and herringbone/$$ than any guitar you'll ever see! The mahogany body is bound, top and back, with herringbone trim, rows of dark/light checks, and white plastic, as is the sound hole. The back strip is also herringbone and dark/light check inlay. Body and neck are finished in an attractive reddish/mahogany wash which complements the marquetry trim. The original 'flat pyramid' bridge (similar to Washburns of the era) sports bridge pins with pearl dots. The 12-fret mahogany neck is a comfortable V-shape, with a dyed fingerboard (deep finger divots in the first position). The guitar is ladder braced, with the brace just south of the sound hold set on a bias. Overall, the guitar is in very good orignial condition with a nice patina to the finish. A few nicks and dings, overall finish crazing, and one very old side crack repair. The guitar plays well and produces a resonant, woody sound with surprisingly boomy bass. Very pleasant to play and hear. In fact, the tone is as nice as you'll hear in a guitar of this size. The lower bout measures 12 7/8", scale length is 24 1/8". Body depth is ~ 4" measured at the end pin.
See more photos
