Beltone (Antonio Cerrito) ca. 1925 |

One of the more interesting .. and great playing and sounding .. guitars we've had in our short incarnation .. and add rare to that list of descriptors. New York City in the early 20th Century boasted a bevy of small guitar builders of Italian descent, with John D'Angelico the most renowned of the group. In the mix were luthiers Antonio Cerrito and Rafael Ciani (D'Angelico's uncle). This guitar likely comes from the shop of Antonio Cerrito because under the top is penciled "A. Cerrito". Neil Harpe reports in his book on Stella guitars that there was a strong connection between these Italian luthiers and the Oscar Schmidt company, often sharing Schmidt parts and labels. But it's clear that this guitar is a hand built, small shop creation. One indicator is that the neck has a mortise and tenon joint, typical of Cerrito, rather than the traditional dovetail joint one would expect to see in a Schmidt factory instrument. The other clues are in the build and wood selection. The fit and finish, both inside and out, are a cut above Schmidt factory work, the fancy purfling is typical for Cerrito made pieces, and the wood used is a higher quality than seen in most Schmidt instruments. Beltone was a catalog guitar, not a builder, and it's likely they commissioned Cerrito to build this one either on custom order or to attract a higher-price clientele. The size of this guitar fits what was commonly referred to as Grand Concert. The lower bout measures just over a 15", and 20 1/2" in length. The body is 3 7/8" thick at the end pin. Scale length is 26 3/8"; 1 3/4" at the nut and 2 5/16" across the saddle. The 12-fret neck is a nice grade of mahogany and the fingerboard is a dyed wood. The headstock is overlaid with what looks like a walnut veneer with the name "Beltone" engraved in a pearl diamond. Back and sides look to be birch and are grained with a faux rosewood paint finish. The Adirondak spruce top is bound in white and multi-color purfling, as is the sound hole. Back is bound in white, with triple strips of light colored purfling inlaid down the center seam. Pearl dot inlaid into bridge pins and end pin. Tuners and ebony pyramid bridge appear to be original. Overall, the condition of the guitar is clean and attractive with the following to report: fingerboard has a dryness grain crack and playing divots in the first playing position; the top has several repaired cracks; the points of the pyramid bridge had been sanded down a bit when the bridge was lowered to adjust action; one side crack and five repaired back cracks..the back appears to have been oversprayed and buffed. Recently, several braces were reglued; saddle slot filled and repositioned to correct intonation; neck reset; bridge reglued. The frets are good and the neck extremely comfortable with a modern 'C' shape. The sound this guitar produces is it's most remarkable feature .. it's a fingerpicker's dream guitar. Even though ladder braced, it rings out bright and clear in the trebles, and provides a chest-shaking thump in the bass. Best of all, the range of notes don't get lost or muddled like in some large-body guitars where the bass and mids bounce around like stones in a can..this handmade beauty produces tones that blend nicely, while maintaining their unique voices in the mix. This is a very rare guitar with a top-shelf sound and build, and very good value. Comes with soft case.
See more photos

Back to Top

Oscar Schmidt Sovereign Jumbo ca 1920|

Sovereign was the deluxe line of Oscar Schmidt instruments made in Jersey City, Jersey in the early part of the 20th Century. The Italianate 'mustachio' bridge and inlaid pick guard on this rare example reflect the Italian influence of many employed in the Schmidt factory. Along with its bridge and pick guard, this jumbo also sports the fancy red, black and green marquetry on the body, and a rosewood overlay on the headstock. The back, sides and neck are mahogany, the fingerboard and fancy bridge are rosewood. The top is red spruce. Inside the sound hole is a bright and attractive Sovereign label. These features coupled with its jumbo body place this example among the rarest of Oscar Schmidt instruments. The body measures a full 15 3/4" across the lower bout, and the scale length is just under 26 1/2". The neck measures 1 3/4" at the nut, and 2 5/16" at the saddle. The guitar is original except for a newly made saddle, replaced bridge pins and end pin. Structurally, the guitar is sound and in overall very good condition with the following repairs: Recent neck set; due to a previous amateur 'thinning' of the 'V' profile, the back of the neck from nut to about fret five was reshaped/refinished by guitar builder Mike Hauver; bridge reglue and pearl dots inlaid in former bolt holes; top crack repair; side dent repair. The back of the peg head has a chip of wood missing from a ding, and the body has various nicks and scrapes, but retains a nice sheen to the original finish. When strung to tension, the top around the sound hole dips, as seen in many Oscar Schmidt instruments of the period. The frets were leveled and dressed, and the guitar plays wonderfully with a comfortable action. Tuned down a whole step, the sound produced is stellar; likely the best ladder-braced six string we've heard. New hard case provided.

Back to Top

Vega Little Wonder Guitar-Banjo 1921|

A complete and well preserved example of the Vega Little Wonder Guitar-Banjo made in Boston in 1921. Two piece maple neck, ebony board, maple rim bound in tortoise celluloid with the bottom edge lacquered black. Included is a nickle plated arm rest stamped 'Vega', and easily removed maple resonator. Scale length is 25 1/4", neck width is 1 7/8" at the nut and 2 1/4" at the bridge. The head measures 11 13/16". The first three or four frets show a bit of wear, and the back of the neck is a bit stained from playing, otherwise in excellent condition. Outfitted with a skin head, the guitar banjo produces a pleasant and plunky old-time sound and plays comfortably.

Back to Top

Kalamazoo KG-31|

Kalamazoo KG-31.. Similar to a Gibson L-50, this Gibson-made archtop was produced in Kalamazoo from 1935-39. The ink-stamped FON 1069B dates this example to 1936. The KG-31 was right near the top of the Kalamazoo line, and this is a well-preserved example. In ’36, this one cost $25, with $5 more for a case. Features include 16” wide body bound in white top and back, mahogany back and sides, pressed spruce top with sunburst finish, bound rosewood fingerboard and adjustable bridge, firestripe pickguard bound in white, 14-fret neck with 24 ¾” scale length, mahogany neck with ‘V’ profile. The top retains is arched dome under tension, and the action is very good at ~ 6/64” at the 12th fret. There is a newer strap button in the heel, and repaired cracks in the treble side waist area. The guitar retains its original tuners. Very little play wear, and only sporadic nicks and scrapes. The guitar plays comfortably and produces a surprisingly loud and resonant tone with a bright archtop ‘scratch’. Retains its likely original soft case with purple lining in excellent condition.

Back to Top

Galiano (Antonio Cerrito) ca. 1925 |

Another interesting Grand Concert-size guitar from the NYC workshop of Antonio Cerrito. New York City in the early 20th Century boasted a bevy of small guitar builders of Italian descent, with John D'Angelico the most renowned of the group. In the mix were luthiers Antonio Cerrito and Rafael Ciani (D'Angelico's uncle). This guitar likely comes from the shop of Antonio Cerrito because it matches the construction details of the guitar in our inventory whose top is penciled "A. Cerrito". Neil Harpe reports in his book on Stella guitars that there was a strong connection between these Italian luthiers and the Oscar Schmidt company, often sharing Schmidt parts and labels. But it's clear that this guitar is a hand built, small shop creation. One indicator is that the neck has a mortise and tenon joint, typical of Cerrito, rather than the traditional dovetail joint one would expect to see in a Schmidt factory instrument. The other clues are in the build and wood selection. The fit and finish, both inside and out, are a cut above Schmidt factory work, the fancy purfling is typical for Cerrito made pieces, and the wood used is a higher quality than seen in most Schmidt instruments. The label reads "A. Galiano Fabbriconte Di Chitarre e Mandolini" and was the same label used inside the Galiano line of Oscar Schmidt guitars and some guitars from Ciani's workshop. The size of this guitar fits what was commonly referred to as Grand Concert. The lower bout measures just over a 15", and 20 1/2" in length. The body is 3 7/8" thick at the end pin. Scale length is 26 1/8"; 1 3/4" at the nut and 2 5/16" across the saddle. The 12-fret neck is a nice grade of mahogany and the fingerboard is a dark, tropical wood, perhaps ebony. The headstock is overlaid with what looks like a walnut or rosewood veneer. Back and sides are a nice reddish mahogany. The very tight grained Adirondak red spruce top is bound in white and multi-color purfling, as is the sound hole. Back is bound in white, with a strip of multi-colored colored purfling inlaid down the center seam. Pearl dot inlaid into bridge pins and end pin. Tuners and ebony pyramid bridge appear to be original. Overall, the condition of the guitar is clean and attractive with the following to report: Dryness crack in upper 9 frets of fingerboard; some fret and fingerboard wear in first position area; four (repaired) top cracks; one small (repaired) back crack. Recently, the guitar has had a neck reset, frets leveled and dressed and the saddle slot filled and routed for correct intonation. The neck is extremely comfortable with a modern 'C' shape. The sound this guitar produces, like it's A. Cerrito signed counterpart, is it's most remarkable feature .. it's a fingerpicker's dream guitar. Even though ladder braced, it rings out bright and clear in the trebles, and provides a deep thump in the bass. The range of notes don't get lost or muddled but ring out loud and clear..this handmade beauty produces tones that blend nicely, while maintaining their unique voices in the mix. This is another example of a rare guitar from a little know but highly skilled maker, with a top-shelf sound and build, and very good value. Comes with a newer hard case.
See more photos

Back to Top

Harmony Flat top ca. 1935 |

A very unusual example from the factory that produced guitars for 'Everyman'. Solid head, 12-fret flat top guitar with f-holes in place of the traditional round sound hole. Date stamped S-35 (second half 1935) all solid birch construction, brown stained finish on back and sides, with faux tiger-striped painted sunburst finish on top. A similar example to this guitar appeared in the Harmony catalog as late as 1940. Scale length is 24 3/8", 1 3/4" wide at nut, 2 7/32" string spacing across saddle. Action is ~ 3/64" from top of 12th fret to bottom of low E string. Slight 'V' profile in lower positions, flowing quickly into a sharp 'C' profile by the fifth, this is a wonderful guitar for fingerpicking the country blues. Fingerboard appears to be ebony with painted fancy white position markers, and painted binding around the top. This guitar is all original, and only a few glued top cracks needed repair. The sound is very balanced and open, and the notes sustain well across all the strings. It produces a pleasant tone, much like a round sound hole, with only the hint of the archtop 'scratch' sound, but plenty of ladder-brace punch. This is the perfect guitar if you want an alternative to the X-brace sound, a dedicated slide guitar, or knocking around the campsite. To paraphrase the beer commercial, "VBG tested; VBG approved!"

Back to Top

Gibson Kalamazoo KG11 ca. 1935|

Gibson's Depression era Kalamazoo line of guitars is gaining respect in the vintage guitar world, and provide great intrinsic value considering the relative cost. While built as a less expensive alternative to the "Only A Gibson Is Good Enough" flat-tops during the Great Depression, Kalamazoos were constructed by the same factory workers that built the standard Gibson line of guitars. Built very light, and generally ladder braced, the Kalamazoo flat tops are punchy and resonant, and this one could be at the top of that heap. The KG-11 body shape is the only Gibson-made instrument to sport this particular form, with a lower bout echoing L-00's of the period, and a unique, truncated upper bout dimension. The sound of this particular Kalamazoo belies its smaller size, and comes close to a standard L-00 in timbre, with just a hint of ladder-brace bark. The four piece top is sunburst Adirondack spruce with a well-defined 'firestripe' pickguard, the sides and back are mahogany. The upper bout measures 9 7/8", and the lower bout 14 11/16". The mahogany, 14-fret neck has a comfortable V-shape, and no truss rod. Scale length is 24 7/8". The fingerboard is Brazillian rosewood, showing only slight evidence of playing wear. The frets have been leveled and polished. The neck/heel joint is undisturbed. One top brace needed about 1" re-glued, and a prior repair shows hide glue over a portion of the bridge plate/brace to secure some chip out between pin holes. One top seam shows a seam for about 2" in the lower bout. This KG11 is likely all original, including tuners, bridge pins and a cool, decal bedecked, Geib soft case.

Back to Top

Oahu ca. 1930|

The Honolulu Conservatory of Music was a marketing strategy during the Hawaiian music craze. Best known for their Oahu branded guitars, the company also sold sheet music and guitar lessons. Most Oahu branded guitars were made in Chicago by Regal and Kay. However, some were made by the Oscar Schmidt Company, and we believe this to be one of those, based primarily on the neck heel and body profile. Even though this guitar would fall into the 'budget' category of the day, it's actually quite well made and is composed of quality materials. The body is koa, with a koa overlay on the head stock. The neck is mahogany and is topped with an ebony fretboard. There is 'rope' patterned purfling around the sound hole, and a rope strip down the middle of the back. The pyramid bridge is Brazilian rosewood, and includes bone bridge pins with abalone dots. The body measures 12 5/8" across the lower bout. Scale length is 24 7/8", and the fingerboard measures 1 7/8" at the nut, with string spacing 2 1/8" at the saddle. The neck profile is a very soft 'V'. The guitar is in overall excellent, original condition, including finish, the afore mentioned bridge pins, tuners, metal 'Oahu' plaque on headstock, and paper label. There is an old crack along the side of the body at the waist, no top or back cracks, and a small hairline in the bridge was repaired by filling the saddle slot and re-routing. The neck was reset, and frets were leveled and dressed. Action is 3/32" from top of 12th fret to bottom of low E string, and slightly lower at the high E, with about 3/32" of saddle. The guitar is ladder braced, and coupled with the koa body it produces a unique sound..not quite as full and round as birch or mahogany..but boxy and hollow sounding. The mahogany soft-V neck is easy to play, fits the hand nicely for finger picking and slide, and responds nicely to a soft touch. A beautiful little guitar..

Back to Top

Martin A Mandolin 1954|

Martin mandolin, Style A , serial number 21512, manufactured in 1954. It has a spruce top, bound mahogany top and back and, and mahogany sides, a rosewood veneer over the headstock, and a rosewood bridge. The instrument appears to be all original along with the original soft rigid case. The overall condition is virtually unused, with very little evidence of playing wear or handling. There is one small chip in the bass side of the headstock and a few small dings on the back and sides which prevent it from being "mint", otherwise "near mint". The neck is straight, and the angle is great. Only a hint of play wear on the first few frets. Scale length is 13 1/8", lower bout measures 9 1/2" and the fingerboard measures 1 3/8" at the nut. The instrument produces a very fine, ringing sound, which could easily be described as 'sweet'.

Back to Top

Sterling Hawaiian ca 1928|

You won't get sand kicked your face when you stroll up to the Luau with this Hawaiian beauty. Made in the era when Hawaiian music was all the rage, this one is about as glitzed-out as they come, including MOTS (Mother of Toilet Seat) fingerboard and pick guard, pearl-dot bridge pins, 'ice cream cone' headstock, fancy purfling, bound top, back and headstock, and a brilliant red stain, all topped-off with a beach scene decal. Sporting a 'Sterling' decal, but likely made by Stromberg Viosinet, we date this red, white and blues machine to about 1928, based on the 'gear under' Waverly 'patent applied' tuners, and the fact that SV became Kay around 1930. The body is all birch ladder brace construction with its original Brazilian rosewood pyramid bridge. Neck is a comfortable 'V' typical of the period. Guitar is all original including bridge pins, tuners, nut and saddle. Repairs include neck set, two filled bolt holes in the bridge and one back crack was glued/cleated. Additionally, the non-truss rod neck is fairly straight with proper relief, but the board is 'cupped' in the middle rather than perfectly flat. Frets were leveled without flattening the outer edges too much, and dressed. Action is low, and the guitar plays well and produces a nice, boxy bark, like a birch Stella.

Back to Top

National Triolian 1929|

In addition to creating a louder guitar affordable to the masses, National also cashed in on the Hawaiian music craze in the first part of the 20th Century. The earliest production Triolians were wood-bodied guitars, but in 1929, the bodies were made from metal. Some were painted in what the factory called Polychrome, which meant a yellow/green paint with stenciled Hawaiian scenes. The A-series serial number dates this one to 1929, and has features to support that date: no ribs on the cover plate; steel body with flat-cut 'f'-holes; slotted headstock with Triolian decal; a 12-fret Bakelite neck. History has shown the Bakelite guitar neck experiment to be a failure, and this one is too bowed for comfortable playing up the neck. It could easily be renecked by National Resophonic. This example is all original, including tuners and cone. The paint is about 97% intact, with only some loss and oxidation at a few points along the edges. There is no evident playing wear on the top, and the body is virtually dent free, although the cover plate shows a depression in one area. The tuners are clean and the cone is in excellent shape. The paint is bright and the stenciled Hawaiian scene is very sharp. In open tuning and a slide this Hawaiian beauty produces the classic single cone tone preferred by blues players. Retains its original soft case.

Back to Top

Gibson Kalamazoo KG11 1938|

Another clean and original example of what's quickly becoming a popular guitar with near-cult status. Originally made as a bottom shelf guitar that did not bear the Gibson name, the Kalamazoos sold by the thousands to players looking for a solid guitar made at the Gibson factory in Kalamazoo, MI. Today, they still hold great intrinsic value. Constructed of quality mahogany and spruce with a shape that is unlike most flattop guitars of any era. This one appears 100% original, including bridge pins, end pin, nut, saddle and tuners. The guitar has a serial number pressed into the back of the headstock; the 'D' stamp dates this one to 1938. The finish retains its original Gibson shine, and the classic Gibson sunburst is stunning, and is even echoed in the headstock. The neck was never off the guitar, and action is comfortable, set at 5/64" at the treble E and 6/64" at the low E measured at the 12th fret. The bridge remains unaltered and retains its original finish, typical of the period. The Brazilian rosewood fingerboard is in excellent condition, and the frets are newly leveled and polished. The guitar is just as clean on the inside, too. The only repair needed was a crack running parallel to the pickguard on the sound hole side of the pickguard. The upper bout measures 9 7/8", and the lower bout 14 11/16". The mahogany, 14-fret neck has a comfortable V-shape, and no truss rod. Scale length is 24 7/8".

Back to Top

No Name 'Fat Boy' ca 1920|

This is a 'no-name' guitar which we've given the moniker 'No-name Fat Boy'. Scads of cheap, ladder braced 12-fretters were made in the 20s and 30s, but most were smallish, thin-bodied instruments. This one has a fat body, 14" wide and 4 3/16" deep at the end pin. Scale length is 24 1/4", with a floating bridge (not original) and a tail piece typical of the period (original). The body is mahogany, with the back being one piece, with three repaired cracks. The spruce top has a simple purfling ring. The V-profile neck could be poplar and the fingerboard a tropical wood. The brass tuners appear original. Inside, the ladder braces are all tight, and the workmanship appears to be to a higher standard than typically seen in the Chicago factories, and way nicer that the Schmidt-made instruments: braces are tall and thin and finished-off smooth, similar to the Gibson braces of the period. The finish appears to have been redone many years ago, as it's taken on a nice vintage glow, or maybe it's original and French polished out..we don't know for sure. We recently reset the neck, pulled the finger board and inlaid two carbon fiber rods, and refretted the board. The neck is nice and straight, with the action set at about 5-6 6/4". The board measures 1 3/4" at the nut and string spacing is 2" at the bridge. The guitar is light as a feather, responsive to the touch, plays like butta, and produces a pleasing sound a cut above the typical 20's 12-fretter. This is a wonderful guitar for fingerstyle playing.

Back to Top

National Triolian Polychrome Tenor Guitar 1930|

Here's one for the players. National Triolian Tenor with Polychrome Hawaiian stenciled scene and pear-shaped body. This one's been played, and played again and again. It has its share of nicks, dings scratches, holes and even an old headstock repair, but it still charges onward! Remarkably, the original cone is in pretty decent shape, with only a hint of a crinkle at the top, and holds well under full tension. The headstock was broken at some time in its life, but was glued and screwed and it, too, holds well under tension. The frets show playing wear, as does the painted fingerboard. There are three small holes where it appears pickup controls were mounted. And it looks like the former owner had a logo painted on the cover plate, but later removed it. Three original Planet tuners and one old Waverly replacement. So this one's all original but for the replaced tuner. Strung up to full tension, this old workhorse plays and sounds like it should. A great buying opportunity for someone who wants to get into the Ballard Chefs Jug Band music but not break the bank. No case.

Back to Top

Gibson L-00 1936|

Another fine example of the eminently popular Gibson L-00. The 'B' stamp on the heel block dates this one to 1936. The guitar is virtually all original, and features the standard L-00 appointments of the period including wide sunburst spruce top, mahogany back and sides, mahogany neck, rosewood fingerboard and bridge. The guitar retains its original (pristine) tuners, finish, bridge, likely nut and saddle, and its original soft Geib case. The only evidence of repair is a reglued bridge, a few repaired dings on the top, and a 1" ding in the back. The original owner commented that this guitar was played lap-style slide through most of its history, which leaves the frets and fingerboard in excellent, like new condition. Scale length is 25"; 1 3/4" at the nut and 2 3/8" spacing across the saddle; the lower bout measures 14 3/4". Overall, there is very little evidence of playing wear; there is a matched set of 'Freddy Kruger-like' scratches on the top for who-knows-what-reason, and one spot on the neck from capo wear. The finish shows some long checking on top, and a few nicks, but there are no cracks in the top or sides. The inside of the guitar is immaculately clean, including a perfect original bridge plate. The guitar plays nicely with comfortable action and has some saddle height for a lower adjustment. It produces the rich and balanced sound for which these small Gibsons are noted.

Back to Top

Oscar Schmidt Stella Jumbo 12-string ca. 1920 |

As rare as hens teeth, and a wall of sound that will knock the filling out of molars, the jumbo Stella 12-string is an iconic vintage guitar for a number of reasons: they were played by Leadbelly, Blind Willie McTell and other bluesmen; they produce a sound that is unparalleled; just holding and playing one produces major-mojo chills. Oscar Schmidt produced the jumbo 12's in a variety of combinations. This one was marketed as a Decalcomania guitar..named after an art movement in the early days of the 20th century..and sports a colorful decal ring around the sound hole, much like the 12-string Willie McTell holds in his famous portrait. The guitar sports a spruce top, birch back and sides, a poplar or basswood neck and a fingerboard dyed black. The floating bridge is a repro, the tail piece is original. Tuners are relic replacements. Even though the guitar is structurally sound, it's seen some work over it's life. The top had a piece of spruce installed in the lower bass bout, and some cracks were filled with what appears to be putty, as were some dings or glue pull-out under the bridge. The top retains very little original finish, but the colorful decal is mostly there. Inside, the top was reinforced with a 'popsicle' brace under the fingerboard extension, and a few cleats under the cracks. The back and sides show lots of finish wear and dings, but are uncracked. Same for the neck..lots of finish wear but solid. In fact, the big 'V' neck with the worn finish has a pleasant feel to the touch. Lots of color worn off the fingerboard, but no nasty divots, and the frets are good. It's evident that this guitar has had it's neck reset at one time, and the action is low. Likely Stella sticker pasted inside the body. This is a man-size guitar..one for the big boys. The overall length is 42 3/8"; scale length is a whopping 26 5/8"; lower bout measures 15 5/8"; body depth at end pin is 4 1/4"; fingerboard is a full 2" across the nut, and string spacing at the saddle is ~ 2 3/8". The sound produced by this guitar is more jangly and less bassy than the mahogany body version, but much more boomy and loud than the smaller, more common, Grand Concert BBQ Bob-size 12-strings. The guitar is a pleasure to play..both fingerstyle and slide, and intonation up and down the neck is excellent..thank you floating bridge! In case you haven't noticed, Jumbo 12's hardly ever appear for sale. Repair history combined with stellar sound provide this one with great value in the vintage market. Comes with a new hard case. Be sure to check out the demo by Country Blues phenom Ari Eisinger on youtube..it's a rare treat to hear a great player play a great vintage guitar! Just click the blue button next to the photos, and don't forget the mp3 slide sample, too!

Back to Top

UAC Oscar Schmidt 'Stella' ca. 1930 |

Description: Standard size Oscar Schmidt-made guitar with rare and attractive stenciled black and white Hawaiian scene on front. This black and white looker sports the UAC headstock logo. United Artists Conservatory was another marketing scheme to sell inexpensive guitars with high-brow sounding names, to wit, the First Hawaiian Conservatory brand, among others. Inside is a label remnant, difficult to read, but the guitar has all the hallmarks of the Jersey City Oscar Schmidt factory as 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. This example is a tad different from typical budget tailpiece Standard models as it sports a solid spruce top, an ebony fingerboard, and the unusual 'snakehead' headstock. Solid birch back and sides, overall excellent condition but for a few nicks and scratches. Back of V neck exceptionally clean, frets and board show very little wear. Fresh neck reset, using hide glue. Frets were leveled and polished, and the neck is very flat, unlike many of these you see (no truss rod). This Hawaiian beauty is a comfortable player and produces a surprisingly loud and pleasant tone, a bit more rounded and full than its birch top counterparts, with good definition of individual notes. The body measures 13 3/8" across lower bout; scale length is 24 3/4". Two repairs of note; at some point, it appears a side crack was glued and touched up in black along the side/back seam. Recently, during set up, a hairline crack, very thin and running with the grain, was discovered in the area just under the first fret. It was very tight, but entering from the nut end, the seam was glued with epoxy, and solid. The guitar has a new nut, but the original is included. Retains its likely original soft case.

Back to Top

National Triolian 1929|

This Triolian's A11XX serial number places it among the earliest metal examples of this model, likely built in early 1929, and, with it's 'mustard' burst, stands out from the much more common polychrome Hawaiian scene Triolians of the era. The upside, for collectors, is this rare resonator instrument is all original, including it's engraved tuners, cone, tailpiece, hard Geib case and Bakelite neck. For a fingerstyle player, the neck may pose a problem; the Bakelite, true to form, is bowed resulting in high action at the 12th fret. Heck, within a year of the failed Bakelite experiment, National was re-necking these for dealers. However, for a slide player, it actually plays quite well, and chords can be fingered in the low to mid positions. The paint is an unusual and quite rare rich brown, with a mustard-looking sunburst. The cover plate has the nine drilled diamonds, but lacks the four ribs seen in later cover plates. The paint is in excellent condition overall, with a few chips and nicks here-and-there. There are no body dents, and one dent noted on the cover plate just below the biscuit guard. The engraved tuners are beautiful and original, as is the tailpiece. The original cone shows a bit of crush, but the guitar performs tuned to pitch. Scale length is ~ 25", the neck is ~ 1 7/8" at the nut, and measures ~ 2 1/4" at the saddle. Four position dots are missing in the fingerboard, but the frets and fingerboard show virtually no wear; action approaches 3/8" at the 12th fret (thank-you Bakelite). The guitar produces a deep and piercing sound with no weird buzzes or rattles. Comes with its original Geib hard case. A nice piece of National history.

Back to Top

Martin 000-18 1946|

Balance, tone and playability make the triple ought Martin series a favorite among players. This example features mahogany back and sides, spruce top, mahogany neck with rosewood fingerboard. Tuners and bridge are original. In fact, the guitar is original but for its finish, which was over sprayed many years ago, and missing end pin. Additionally, there are two side crack repairs, a long one, hard to see, along the bass bout, and a smaller repair on the treble side about 3" long in which a sliver of mahogany was inlaid. There is a large cleat under the pickguard, but no crack is evident. All repairs are older. The top is crack-free with a nice, aged patina, the fingerboard and frets are good, and the back of the neck is smooth with a bit of finish wear. The lower bout measures 15 1/4". The scale length is 25", fingerboard is 1 11/16th" at the nut, and string spacing is 2 1/8" at the saddle. This is a 'players grade' instrument, and a great opportunity to jump on the vintage train without breaking the bank. The guitar plays well, and has a wonderful, balanced tone.

Back to Top

Gibson L-00 ca. 1932|

An elegant specimen of a popular Gibson model. Built at a time when Gibson had less than a decade of flat-top building experience, the black 12-fret guitars with the white pick guards stand among the best of the L-00 lineage. In this era of construction, braces were light, tops were thin, and the bridge sat in the 'sweet spot' of the top, producing, arguably, the best sounding small flat tops of the 1930's. Within a year, Gibson went to a 14-fret neck, which moved the bridge a bit north to accommodate the extra frets, thereby ending the run of the lightly built 12-fretters. The lower bout measures 14 5/8", with a 25" scale. The fingerboard measures ~ 1 3/4" at the nut and string spacing is 2 3/8" at the saddle. Top is Adirondak spruce, back, sides and neck are mahogany, with a Brazilian rosewood finger board and bridge. Old repairs include a reglued, likely original, bridge, with a bit of profiling across the back of the bridge at that time. Tuners are 40's era replacements. Recently, the neck was reset and the top crack sealed and cleated. A 2" spruce cleat was glued under the finger board between the heel block and upper brace to support a bit of torn spruce due to grain runout while the fretboard extension was removed in preparation for the neckset. Finish is all original with no touch up, showing only minimal scratches and dings, and hardly any evidence of play wear on the top. Braces are tight, the bridge plate is perfect and original. Back of the 'C' profile neck is very clean and smooth, with only a bit of paint wear in the first position. The truss rod was adjusted, frets were leveled and dressed, and the guitar not only plays like a dream, but the sound is what lovers of this model seek..very open and balanced, with a woody richness that can only happen with age and light construction.

Back to Top

Oscar Schmidt UAC 'burst ca. 1933|

Yet another manifestation of the motley Oscar Schmidt catalog..this example is a 'Standard' size, solid birch body, tailpiece rendition. The honey-colored, tiger maple 'burst pre-dates the iconic Gibson Les Paul 'bursts by about 25 years..of course, this Stella is an acoustic guitar with painted faux-burst, but..a handsome motif regardless. This Jersey City beaut sports the UAC headstock logo. United Artists Conservatory was another marketing scheme to sell inexpensive guitars with high-brow sounding names, to wit, the First Hawaiian Conservatory brand, among others. Although a low-end offering, this guitar exhibits, in addition to its comely paint job, an original finish, 'C' profile neck, and an ebony-like fingerboard, as opposed to the dyed pear wood so often seen on the Oscar Schmidt guitars. Top is bound, and the sound hole ring is painted. The guitar is in excellent, original condition, including pick guard, tuners, bridge, end pin, tailpiece and nut (in the case). It even retains its presumed original, soft, chipboard case with leather-wrapped handle, in very good condition. There is a repaired 2" crack by the treble side of the fingerboard extension caused by the screw-on pick guard (common sight). The top sags a bit under the bridge at tension..also typical. And, as commonly seen, the finish flaked a bit at the glue joint where two pieces of wood were originally glued to make the neck/heel..this is not a repair or defect..the original tight joint was photographed when the neck was off to show this seam as undisturbed. The bridge is shimmed a bit to arrive at comfortable action, necessitated by the original fret wire saddle. The neck was recently reset with hot hide glue, and the frets were leveled and dressed. The board is flat and smooth, and the guitar plays like a dream..as nice as these old timers can be set up. The lower bout measures 13 1/4", neck width at nut measures 1 3/4", and the scale length is a hair under 25". This Oscar Schmidt variant is currently the shop favorite..as stated, it plays like a dream and has a unique sound which combines the ladder-braced 'bark' with a bit of arch top 'scratch'. A wonderful player for both bottleneck and fingerpicking.

Back to Top

Oscar Schmidt FHC ca 1928|

First Hawaiian Conservatory of Music New York was a brand made by the Oscar Schmidt Co. in Jersey City, NJ, and sold through mail order. The guitar features the signature OS ladder bracing, all solid birch construction, and 12 frets to the body. Beautifully finished in a bright red-orange sunburst stain, the body dimensions are a tad larger than many Stella concert size guitars of the day. No cracks to body or neck, and only minor finish chips and scrapes. A few brace tips reglued. The lower bout measures just a hair under 13 1/2", the V-neck is 1 7/8" at the nut, and scale length is 24 3/4". The fingerboard is a dyed hardwood. The bridge is original, and the six original bridge pins are inlaid in pearl. The neck was recently re-set, and the fingerboard was planed level; the original frets were leveled and polished. Tuners are original, nice and clean and work fine. This guitar fosters the Stella ladder-brace mystique. For a smallish guitar, it sounds really big and full, and with a slide produces clear, piercing notes .. has the 'it' vintage sound. Fingerpicks nicely, too.

Back to Top

Oscar Schmidt "Stella" 12-String|

A country blues icon, the Stella 12-string was the guitar of choice of Leadbelly, Blind Willie McTell, Barbeque Bob, among others. This particular example is a Grand Concert size guitar, commonly known as the "BBQ Bob" model. Body width is over 14", and scale length about 26". The body is faux-grained to resemble rosewood, with a natural spruce top bound with 'rope' binding. Neck is mahogany with a stained fingerboard; rosewood pyramid bridge. A few top cracks repaired, otherwise excellent and original. The guitar exhibits loud and direct mid-range sound, perfect for recreating the sounds heard on the old 78's of the early 20th century.

Back to Top

Gibson L-00 ca. 1934|

A very nice example of Gibson's ever popular L-series guitars. This one conforms to all the specs of a ca. 1934 L-00, including FON number, smallish sunburst, and V-profile of the neck. The guitar is mostly original except for a couple tuner bushings and the nut. Two old top cracks were re-glued (old repair left glue on top), small cracks at sound hole were reinforced with a spruce patch, and a few back cracks were glued. Several brace tips were glued, and the bridge was reglued with hot hide glue. The truss rod was adjusted, fingerboard was dressed and new frets were installed, leveled and polished, resulting in optimum neck relief and playing comfort. End block had a hairline crack glued with a thin overlay added for support. A few nicks and dings from decades of use, but otherwise, a nice looking guitar with a great set up. This example is one of the best sounding L-00's we've had the pleasure to play. Very strong and clear tones from treble to bass, and vibrates nicely against the players chest when pushed. Perfect guitar for a player who values tone over cosmetics. Comes with its likely original soft case.

Back to Top

Oahu Square neck ca. 1930 |

Nice, clean example from the bottom of the Oahu line of guitars. This model is the square neck, all solid birch, painted binding, with bolted on metal pyramid bridge and original metal nut raiser embossed 'Oahu'. All original with no repairs except for one set of tuners replaced with old Kluson strip tuner. Produces a pleasant, bright and boomy sound. Body measures 13 3/8" across the lower bout; scale length is 24 1/4". Various nicks and scratched, but solid.

Back to Top

Martin D-18 1967 |

A working man's guitar, the D-18 has been a favorite of players for many decades. This example from 1967 retains it's small, maple bridge plate, original finish, and is structurally sound and playable. A prior owner 'upgraded' the tuners with enclosed Kluson Deluxe, a retro pickguard and a strap button on the heel. With the original maple plate and aged spruce top this guitar booms. May have never had a neck set. The action at the 12th fret, bass side, top of fret to bottom of string is ~ 1/8". Frets are nice and high, with only slight playing wear on the Brazillian board. Back of neck is very clean. Mahogany back is crack free, with a bit of belt buckle wear. Both sides of the guitar show a few (repaired) cracks, there is a glued top crack from pickguard to bridge, and there is a small piece of mahogany re-glued on the treble side in the upper bout area. Nice hard case. Big sound and big value..

Back to Top

Gibson GB ca 1919|

With a serial number of 188, this is a very early example of a Gibson GB (Guitar Banjo). The headstock shape is unlike the later GB4 "moccasin-head" shape, and more like the guitar shape of the day. Since Gibson literature indicates the "trap door" resonator became an option in 1922, it's likely this one was retrofitted at some point in its history. This instrument conforms to the features found on an early GB: maple neck with dark center lamination, headstock shape, "The Gibson", diamond-shaped and fleur-de-lis peghead inlays, ebony fingerboard with white ivoroid binding and pearl dot inlays, hollow maple rim with no tone ring, and nickel-plated metal hardware. The engraved tuners appear original, as do the other metal parts with the exception of the armrest and tailpiece, which appear to be later additions. Inside is a gold Gibson decal on the rim, and on the dowel stick is a small metal Gibson plaque, and the serial number, 188, stamped into the stick. The neck is a comfortable 'C'-shape and measures 1 3/4" across at the nut. Scale length is 24 7/8" and the head measures ~ 12 1/4" across. The banjo plays well with a nice vintage plunk. Case is the original Geib hard case, black with red interior in very good condition.

Regal Dobro Model 27 ca. 1932|

SOLD

The second example in our inventory of an early Regal-made Dobro. In the late 1920's, the five Dopyera brothers founded National Guitars in California, and invented the coveted National resonator guitars. In 1928, Dopyera brothers John and Rudy left National and created the Dobro company where they manufactured resonator guitars that competed with National, but the Dobro resonator cone had a different cone arrangement, which included the 'spider', a cast aluminum piece that fit over the cone and transmitted the sound from the saddle/bridge to the cone. While the National company floundered, Dobro became so busy that they contracted the Regal guitar factory in Chicago to produce resonator guitars for sale east of the Mississippi. Some of these instruments tout the Dobro label, while others, like this example, are affixed with a Regal label. The wooden parts were made in Chicago, with the metal parts supplied by Dobro. This Regal-Dobro sports the hallmarks of a Model 27, the lower but immensely popular model in the lineup. Model 27 attributes include absence of three sound holes between the screens, no top binding and no fingerboard binding. Additionally, the cover plate on this guitar stamped 'pat. pend.' and it's 'clock position' screw holes suggest a ca. 1932 date of manufacture. Even though the Model 27 is the low end of the Dobro line, guitars produced in this time period have some desirable features including an ebony fingerboard and round-hole sound chamber. Both the original stamped aluminum cone and cast aluminum spider are in excellent condition. The headstock decal sports the green oval with the Regal name and crown in gold. The body and sound chamber are wooden ply. The round, slight 'V'-profile neck is likely basswood with twelve frets to the body. Original open tuners. Cover plate is nickel plated. The trapeze tailpiece is another 'Regal-made' trait. Scale length is ~ 25". Neck width is 1 3/4" at the nut and about 2 1/2" across at the saddle. The almost-black original finish oozes vintage blues vibe, with only the back and the back of the neck splashed with a bit of 'burst. Four of the dot inlays (drilled out to access the fingerboard screws) are essentially the only non-original parts on the guitar. There are no cracks, breaks or structural problems on the guitar. The guitar has a fresh neck set, a nice straight neck and plenty of saddle. Action is 5/64" (~2mm) from top of 12th fret to bottom of low E. The frets were leveled and dressed, and exhibit minimal playing wear .. the guitar plays like a dream and produces that unique, weird and wacky (but much admired) Dobro sound .. very cool and fun guitar to play and own! See more photos

Back to Top

Oscar Schmidt "Stella" Jumbo|

Along with the jumbo 12-string, this Oscar Schmidt jumbo six string, ranks among the rarest of desirable vintage acoustic guitars. At 15 5/8" across the lower bout, very few Stella 'jumbos' ever appear on the market. Additionally, this is the first Oscar Schmidt guitar we've ever seen with an all mahogany body. Likely from Schmidt's lower line of instruments, this guitar is spartan in it's appointments..sporting only a white sound hole binding and four position dots, otherwise, a plain Jane. But don't be lulled by it's plainness; with it's huge mahogany body and nearly 26 1/2" scale length, this thing can roar! The 12-fret, ladder braced guitar spent it's life thus far set up for Hawaiian slide playing, because there is absolutely no wear on the frets or fingerboard, and the frets are numbered in white, as is commonly seen on guitars from this era. The guitar is all original except for nut (original in case), saddle (ditto) and end pin. There are no cracks on the body, and the neck is solid and unspoiled by playing wear. Because the original saddle was simply a piece of fret wire and the original nut was plastic, both were replaced with bone to maximize sound potential. The neck was reset and the frets leveled and polished. Action is set at about 5/64", which allows tuning down to B or C without string rattle. (The sound sample is played with the lo and hi E's at ~ C#.) The poplar neck is a big, fat 'V' profile, and supports a dyed wood fingerboard which measures all of 1 15/16" at the nut. The finish is all original, with only a few nicks, scratches and some crazing on the back. The pickguard was added by a previous owner, and was screwed and glued to the top. Most of the glue was scraped off, and the varnish finish could be restored to give the guitar it's original pickguard-less look. The original bridge pins are dyed wood with pearl dots. Tuners are brass originals with white buttons in excellent condition. Although not marked, the guitar sports the typical Schmidt-made features: square top kerfing, heel profile and headstock shape. The guitar is a pleasure to play, is assertive in it's voice, and rings with a loud and clear tone..not for the faint of heart, nor those with small hands and short arms!

Back to Top

Martin 1-21 1919|

A nice example of a Style 21 Martin that conforms to the dimensions of a '1' size instrument, just a tad smaller than an '0' size guitar. The 13xxx serial number dates this guitar to 1919. The body is made from Brazilian rosewood, and the top is spruce. The body is bound on top with wood binding and dark/light/dark purfling, and the back is wood bound with only a single row of light purfling. As is typical on Style 21 instruments of the period, the sound hole sports a herringbone ring, and the back has a herringbone strip down the middle. The 12-fret neck is mahogany, with an ebony fingerboard. Solid diamond inlays in abalone, found on Style 3 ukes of the period, are at the fifth, seventh and ninth frets and are unusual on a guitar, as one expects to see the 'slotted diamond' inlays. The headstock is overlaid with Brazilian veneer, and the tuners are fancy engraved examples with pearloid buttons, and appear original to the guitar. The pyramid bridge looks like Brazilian, and measures 15/16" wide, and 6" long, right to Martin specs. This guitar 'should' have an ebony bridge, and this one may be an older replacement, with straight saddle, but it looks Martin-made and original. Only repairs evident are a reglued bridge, a glued back crack, and some evidence of a prior neck set. A few nicks and dings, and a scratch above the bridge, but no heavy wear or abuse. Fingerboard shows some wear in the first position, as do the bar frets. Bridge pins and end pin are replacement. With the action at 5/32" low E, and 3/32" high E, using nylon strings, the guitar plays nicely, and the very soft V neck is comfortable in the hand. The body dimensions are very close to that of a size '0', the guitar sounds about like that..rich and warm overtones, and louder than you'd expect from a small bodied guitar. The size '1' was the biggest selling Martin of it's day, and judging from the value found in it's playability, materials and sound, it's easy to understand why.

Back to Top

Epiphone Electar Model M c. 1937|

The Electar Model M was Epiphone's entry into the emerging electric guitar market. The serial number dates this to 1937. The body is maple ply, fingerboard is rosewood and the neck is mahogany. Top, back and fingerboard are bound in white. The pickup is a large horseshoe magnet, and the knobs are brown bakelite. The headstock has affixed a metal plaque sporting the 'Electar' name, and an affixed metal plaque on back that announces the licensing agreement with Meissner Inventions, a company in NJ that claimed rights to the concept of electrical instruments. The back of the guitar opens up via a felt covered plate for easy access to the electronics inside. The lower bout measures 14 3/4", the scale length is 25 1/4" and width at nut measures 1 3/4". The guitar appears all original and in overall excellent condition but for replaced tuners (new 'vintage' Grovers), plastic heel cap, and some finish loss along the treble upper bout, as seen in photos. The neck binding is shrunken and dry, but intact. The frets were leveled and polished. The pots turn easily, with the two outer serving as volume and tone controls. The inner knob acts more as a switch, but it's function is a mystery. The guitar plays well, and produces a range of sounds as the tone and volume are blended, from bright and brash, to quiet and mellow. The Electar retains it's likely original hard case, and is in serviceable shape, but has broken hinges and handle. Own a piece of electric guitar history..!

Back to Top

Washburn Style 115 1909 |

In the early part of the 20th Century, Washburn was manufacturing guitars with quality of materials and workmanship that rivaled the venerable Martin guitar factory. This Style 115 Washburn parlor guitar is a testament to that era of guitar artisans, and stands as a pristine survivor of over one hundred years of use. This orange and black labeled beauty sports quality materials throughout and is 100% original but for the replaced saddle (original is in case) and strings. Back and sides are a coveted straight-sawn Brazilian rosewood, topped in red spruce. The top is bound in dark/light rope binding and white, with multiple rings of black/white/red around the sound hole. The back is bound in white, and has an attractive yellow/orange/yellow back strip down it's center. The sides join at the ivory endpin with the same purfling. The ebony bridge is the original and typical 'flat-topped' pyramid bridge, which is somewhat of a Washburn trademark, and sports a straight cut, drop-in saddle, and original bridgepins. This little gem appears to have a cedar neck and an ebony fingerboard. Slotted head, overlayed in Brazialian, retains it's original tuners. After a hundred years, the guitar shows virtually no playing wear. The only condition issues to report are a 7" back crack that is so tight, that's it's doubtful any glue could be squeezed in, some scratches around the bridge from a prior re-glue, and a few light nicks and dings. Even more amazing considering the guitar came in it's original canvas 'trapdoor' case! The body measures 12 3/8" across the lower bout and is 4 1/8" deep at the end pin. Scale length is ~24 3/8" and measures 1 3/4" at the (original) nut. The guitar has a recent neck set, and the action is set at 5/64" at the high E, and 7/64" at low E, measured top of 12th fret to bottom of string. Overall length is 36 1/2". The top is ladder braced, and retains it's original bridge plate in good condition. Frets were leveled and polished. The intonation is exceptional for a straight saddle set up. This small-bodied guitar produces a larger than expected sound..not just loud, but a pleasant, ringing and resonant sound, well articulated across the strings..beautiful 'Brazilian-esque' overtones and great sustain. Comes with a new hard case, and, if desired, it's original 'trapdoor' case. Be sure to check out the audio clips.

Back to Top

Regal Archtop Jumbo ca. 1935 |

The Chicago factories likely made a million guitars over the course of a few decades in the early twentieth century, in myriad combinations of woods and appointments; and this one may stand out as that 'one-in-a-million' guitar. Arched spruce top, round sound hole, and 12-fret, slot-head combine to make this Regal (Chicago) made Auditorium-size acoustic guitar a very rare bird, and quite interesting. The slotted headstock sports the green and gold Regal crown logo decal. Fingerboard is a dyed soft wood with fancy decal position markers. The neck attaches at the 12th fret, and the fingerboard is not elevated, like on many archtops. The top is tight grained spruce and binding are painted. The attractive and original black bakelite pickguard is screwed right into the top. The back is a very wide (16 3/8") single piece of flamed birch. Sides are also birch and measure 4 9/16" deep at the end pin..this is one big box! Scale length is ~ 25 1/8", the neck measures 1 7/8" at the nut, and string spacing is 2 3/16" across the saddle. The guitar is in very good condition. The back appears to have been off and several top braces are reglued. The thick 'V'-shaped neck appears to have been reset in the past. The current bridge is a modern replacement, but the original is in the case because it sags a bit under full tension. Top retains a nice dome under full tension and shows no cracks. Lower position fingerboard and frets show some playing wear, as does the neck in the same area. The guitar plays nicely and produces a full sound..scratchy like an archtop on the high strings, and mellow on the low. This is a great box for fingerpicking to get that Sam Chatmon tone, fun with slide, and the weirdest guitar at the party, too.

Back to Top

National Trojan 1937 |

By 1937, National made efforts to move it's production plant from LA to Chicago in order to be near the large guitar producers Kay, Regal and Harmony, plus major guitar parts suppliers and distributors as well. This 'B' series wood-bodied Trojan still had it's metal parts made in California, while the wooden parts were likely sourced out to Harmony. The 14-fret neck is a very comfortable flattish 'V' profile, rosewood fingerboard, and measures 1 3/4" across the nut. Both fingerboard and frets are in excellent condition, and the action measures 6/64" from top of fret to bottom of low E string. The saddle is plenty high with a nice break angle. The cone, cover plate, deco-style pickguard and tailpiece are all original. Original tuners are in the case, replaced with Kluson Deluxe for finer operation (matching screw holes). The guitar has the 'in a tin bucket' National sound, plays smooth and is in overall excellent ..actually beautiful.. condition. The black peghead overlay, Art Deco 'N'-in-the-shield logo pickguard, plated cover plate and bright sunburst finish provide quite the aesthetic appeal, an icon of it's era. New hard case in faux alligator finish.

Back to Top

National Triolian ca. 1932|

The Trolian was a step up from the plainer Duolian in the National line. Bound fingerboard, different paint scheme and possibly better quality wood for the neck are about the only differences. This example appears all original including cone and tuners. Straight-cut f-holes, twelve fret neck. Action is fingerpicking low .. about 1/16" .. from top of 12th fret to bottom of low E string, but handles slide nicely, too. Scale length just over 25", 1 7/8" at the nut and 2 1/8" across at the saddle. Some wear on lower frets and fingerboard divots in the first position, some playing wear on the back of the neck and on the cover plate, and various nicks and scratches in the paint. A small dent in the side (a half inch across) at the lower bout. Also appears to have had it's neck reset at some point in the past as pads and posts are replaced. Plays smooth and easy, with a bright and full sound..new hard case. Price reduced!
See more photos

Back to Top

Regal Dobro Model 27 ca. 1932|

A very nice example of an early Regal-made Dobro. In the late 1920's, the five Dopyera brothers founded National Guitars in California, and invented the coveted National resonator guitars. In 1928, Dopyera brothers John and Rudy left National and created the Dobro company where they manufactured resonator guitars that competed with National, but the Dobro resonator cone had a different cone arrangement, which included the 'spider', a cast aluminum piece that fit over the cone and transmitted the sound from the saddle/bridge to the cone. While the National company floundered, Dobro became so busy that they contracted the Regal guitar factory in Chicago to produce resonator guitars for sale east of the Mississippi. Some of these instruments tout the Dobro label, while others, like this example, are affixed with a Regal label. The wooden parts were made in Chicago, with the metal parts supplied by Dobro. This Regal-Dobro sports the hallmarks of a Model 27, the lower but immensely popular model in the lineup. Model 27 attributes include absence of three sound holes between the screens, no top binding and no fingerboard binding. Additionally, the cover plate on this guitar stamped 'pat. pend.' and it's 'clock position' screw holes suggest a ca. 1932 date of manufacture. Even though the Model 27 is the low end of the Dobro line, guitars produced in this time period have some desirable features including an ebony fingerboard and round-hole sound chamber. Both the original stamped aluminum cone and cast aluminum spider are in excellent condition. The headstock decal sports the green oval with the Regal name and crown in gold. The body and sound chamber are wooden ply. The round, slight 'V'-profile neck is likely basswood with twelve frets to the body. Original open tuners. Cover plate is nickel plated. The trapeze tailpiece is another 'Regal-made' trait. Scale length is ~ 25". Neck width is 1 3/4" at the nut and about 2 1/2" across at the saddle. The almost-black original finish oozes vintage blues vibe, with only the back and the back of the neck splashed with a bit of 'burst. The only things not original on this guitar are the nut, four dot inlays (drilled out to access the fingerboard screws) and the addition of a long bolt through the heel to help secure the neck. This is an old neck repair, and a technique used today by some repairmen, since Dobro necks are only attached with 4 tiny wood screws and 1 large wood screw, no glue! There are no cracks, breaks or structural problems on the guitar. This guitar has a fresh neck set, a nice straight neck and plenty of saddle. Action is 5/64" (~2mm) from top of 12th fret to bottom of low E. The frets were leveled and dressed, and exhibit only minimal, if any, playing wear due to the evidence of a nut raiser for much of it's playing life .. the guitar plays like a dream and produces that unique, weird and wacky (but much admired) Dobro sound .. very cool and fun guitar to play and own! Sound clip
See more photos

Back to Top

Oscar Schmidt Bruno 1912|

From the 1912 C. Bruno & Son Inc. catalog: "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 Oscar Schmidt factory in Jersey City, New Jersy, was making guitars for other sellers, and Bruno and Son was one of them. This example is among the fanciest and highest quality to be had in this catalog offering. The lower bout measures 13 1/4" across; scale length is 24"; fingerboard is 1 3/4" at the nut and the strings span 2 1/4" at the saddle. The mahogany neck is not a typical 'V' shape, instead it is a fattish 'C' shape, comfortable to the hand. One interesting note: the inlay is exactly the same inlay as found on the "Leadbelly" Stella 12-string and reserved for the best model guitars. The guitar is mostly original except for nut, saddle, bridge pins and likely the bridge, too. The white binding on the bass side is a replacement. In it's past life the guitar had the neck reset to a favorable angle, but the heel joint could best be described as 'funky' .. not pretty, but very solid. There is a strap button screwed into the heel, but the heel is solid and not cracked. The top seam was reglued and there are a few repaired top cracks, as well as a few repaired on the back. The lower bout has two bb-sized holes, one filled, the other not. The frets were leveled and dressed. The finish appears orginal, but is a bit uneven and is flakey, but stable, on the headstock. Despite it's warts, the guitar plays very nicely. It has the strong mid-range tones produced by the ladder bracing, with nice sustain, and the mahogany and red spruce top mellow out the sound. The action is just about 1/8" at the 12th fret bass string, with about 3/32" of saddle. The intonation is about as good as one would expect on a straight saddle set up. Nice player, nice sound, great value for someone looking to find a top of the line Oscar Schmidt guitar. See more photos

Back to Top

Gibson Kalamazoo KG11 "Senior" ca. 1934|

It's not often that you find a Depression Era Kalamazoo in excellent condition, and it's even more unusual to find one constructed with quality woods usually reserved for the Gibson line of instruments. This example is from the early years of the Kalamazoo production and the 8XX FON places it about 1934. Marked 'Senior' on the headstock, it's as nice a Kalamazoo as one could hope to find. Aesthetically, it's a very pleasing guitar, sporting a very small sunburst amidst a dramatically dark, wide-grained spruce top, firestripe pickguard and w/b/w sound hole binding. The sides and back are a very nice grade of mahogany and show red against the almost black top. The mahogany neck is topped with a Brazillian rosewood fingerboard. Both top and back are bound in white. 'Kalamazoo' and 'Senior' are stenciled in white on the almost-black headstock. The original finish is in overall excellent condition, with only a few scratches here and there. No cracks anywhere, and original bridge and bridgeplate are both in excellent condition. Frets show slight divots in the first position, but no noticable wear on the fingerboard, nor on the back of the neck. The guitar produces the expected ladder-brace bark, and resonates with a bright boominess which makes it's presence known. Scale length is 24 7/8" .. fingerboard is 1 3/4" at the nut and the strings span 2 3/8" at the saddle. With fit, finish and materials that rival the Gibson branded guitars of the period, this 'Senior' transcends it's budget heritage and is great value for today's money. See more photos

Back to Top

Gibson A-2 Mandolin 1920 |

Gibson A-2 Mandolin, 1920 Serial # 629xx, excellent condition with original hard case. All parts are original and consistent with a ca 1920, pre-Loar era mandolin, including the non-adjustable bridge, tailpiece cover, tuners and finger rest. Beautiful wide-grain, brown spruce top, birch back and sides. The original finish shows only a minimal amount of nicks or scratches..it's overall very clean and crack-free. The action measures ~ 7/64" at the 12th fret, and could be reduced, if desired, at the bridge. The mandolin produces a beautiful ring when played, and comes with it's original hard case, also in excellent condition. As an added bonus, it comes with a quality padded, canvas carrying case and strap, designed to fit the case snugly. Overall, an excellent package at a fair price.

Back to Top

National Trojan 1934|

Early on, National was manufacturing wooden resonators, quit for a few years, then, with the Great Depression sucking the life out of the economy, began to market a series of budget, wooden bodied resonators again. But this time, National had Chicago makers Kay and Harmony produce the body, while National attached the metal parts and did the set up. Many wood-bodied Nationals seen on the market today are likely Trojans from this mid to late 30's batch, usually with a D or T series serial number. Some, like this example, were made in 1934, as part of the Z-series number batch, and often exhibit features that differ from the typical Trojan. The main feature that sets this guitar apart is the thick mahogany ply top, standard on the higher grade El Trovador. Most Trojans have a thinner birch ply top. This example is bound not only on the top and fingerboard, like most Trojans, but also on the back. Another El Trovador-like feature appears to be a Brazillian rosewood veneer overlay on the headstock, and a fancy black/white heel cover. The top has the long, straight f-holes. This Trojan looks to be an all original example, including tuners, cone and tailpiece. The mahogany body, stamped inside F-35 (fall of '35?) and neck were likely made by Harmony, as the top of the headstock has a Harmony-ish profile. The neck/body joint is a traditional dovetail joint and not the 'stick-through' construction of the metal guitars. The fingerboard is likely dyed maple, and the fourteen fret neck is a rounded C-shape, very comfortable to the hand. Scale length is the same as the 12-fretters, at just over 25". The cover plate and tailpiece are nickle plated brass. The guitar came to us with an old heel crack repair. The neck was steamed out, refit, and the old repair remains very strong and tight. A bit of creative French polish would likely hide the old seam. The finger board was cleaned and lemon oiled, the frets were leveled and polished. Some cosmetic chipping at 15th fret from it's removal to access the dovetail. Both fingerboard (14 degree radius) and frets and show very little wear, if any. The original cone is fit and holds tension, but does show a few dings and wrinkles. The back of the neck shows finish wear, and the rest of the guitar displays its nicks and scratches with aplomb. This guitar is perfect for someone wanting a players instrument with a unique 'voice', or, someone who doesn't want to break the bank to own a vintage National. The set up was done as per Bob Brozman's specs, including a maple (dyed black), non-radiused (for slide purposes), compensated saddle. The neck is straight, and the action is set at a compromise slide/fingerpicking height of ~ 1/8" from bottom of low E to top of 12th fret, with ~ 3/8" of saddle if one wanted a lower, fingerstyle action. Intonation is very accurate on all six strings. The guitar is a joy to play. And, likely because of it's thick mahogany ply top, it produces a sweet and mellow tone with a quick decay in the bass notes, giving it a nice ragtimey 'thump'. The high notes ring a bit longer and have that coveted National, bell-like, 'playing inside a garbage can' ring. Compare the sound clip of this Trojan with the other Trojan on our site (with typical birch ply) that we just sold. Comes with it's original hard case. Sound clip
See more photos

Back to Top

Galiano (Oscar Schmidt) ca 1925|

Neil Harpe reports in "The Stella Guitar Book" that the connection between NYC makers Ciani and Cerrito and the Oscar Schmidt factory in Jersey City is unclear. One thing is certain is that the guitars assigned as Cerrito/Ciani made are a cut above what generally came out of the Schmidt factory. The fit, finish, quality of wood, purfling, binding, inlay and, most of all, sound, present these guitars as special instruments in the market place. This example has a satin-like feel on the back of the 'C'-shaped neck. The concert size body produces a smooth and resonant sound, not a harsh bark like it's ladder braced Brethren, but can be pushed to volume if you dig in. Ladder braced spruce top, fine mahogany back and sides, mahogany neck with 'C' profile, ebony fingerboard with fancy inlays, top and back bound, fancy purfling on top and back stripe. The neck is very straight, with the frets replaced. Frets 13 through 17 were moved to adjust intonation. The neck at one time was bolted on, the neck heel was very cleanly plugged, and the hole remains, inconsequentially, in the block. The back has a sealed crack; the top has a few short cleated cracks in the lower bass bout; sides have a few nicks; original tuners replaced with old tuners. The bridge is likely replaced and sports a compensated saddle. Scale length is 25 5/8"; lower bout is 13 1/2" across; fingerboard measures 1 3/4" at the nut. The Galiano looks snazzy, plays nicely, and sounds great. Sound clip
See more photos

Back to Top

Gibson Kel Kroydon ca. 1930|

Common wisdom has the Kel Kroydon line as another example of Gibson's efforts to survive the gloom and doom of the Great Depression. However, the 4-digit 9000 series fon # (factory order number) stamped on the heel block of known examples, could place the Kel Kroydon model into the Gibson line up in the Spring of 1929, pre-dating the market crash of October, and the internal construction is exactly like that of the earliest flat top L-00-shaped 12-frets Gibson was producing in that era (referred to by some as 'big body Gibsons', because this was Gibson's departure from the smaller, archtop-type flattops, to a true, X-braced, flattop guitar). Kel Kroydon flat tops are among the favored of Gibson guitars..they are extremely light and ultra responsive, probably the lightest guitar ever made in the venerated Kalamazoo factory. Essentially, a 12-fret L-00 without the truss rod. The modern 'C' profile neck is straight, with two graphite rods installed under the fingerboard to ensure years of fine action; tuners are replacements, but of the era; 'Kel Kroyden' logo in red on headstock; lower frets show playing wear but not bad; top is crack free; sides have a few old, and tight cracks; one X-brace was glued; bridge plate is fine and original; due to it's extremely light build, tuned to A440, the top shows a bulge behind the bridge and some dipping in front, common in these early featherweights and expressed here in the interest of full disclosure, and not a detriment to the guitar's well-being; fon # 9956; original bridge has a few small chips out, but was cleaned and re-glued (a small spruce top flake lifted out upon bridge removal and was immediately reglued); appears much of the guitar was brush shellaced a long time ago and finish is 'orange peeled' in texture, but evokes mojo out the wazoo, and pleasing to the eye; various nicks and scratches. ..a diamond in the rough.. The Kel plays smooth and fast with it's ultra-thin C-profile neck, and the sound just oozes out at the lightest touch of the fingers.. the mids are remarkably strong and ringing. This is the sound produced on the earliest 12-fret Gibson L-00's & L-1's of the period and they're getting harder and harder to find. This guitar comes with a period hard case. See more photos

Back to Top

National Trojan ca. 1934|

An early version of the National, single cone, Trojan model, produced by National to weather the depression. Serial # Dxxx dates this one to 1934-35, according to Bob Brozman's book on Nationals. Metal parts made by National, wood parts probably by Harmony. Birch ply body, rosewood fingerboard, original spun cone, ribbed cover plate, attractive orange-ish sunburst on neck and headstock. Guitar plays well both with and without a slide; action is ~ 1/8". The highs ring just like it's metal bodied brethren, with mellow, quick decay, bass overtones. Overall in excellent condition but for a few nicks and scratches, minimal fret wear, and a few re-glued chips along the heel from a prior neck set (cosmetic only, no heel crack). Appears to retain original, or at least period, hard case, which was relined years ago for a tight fit. Nice guitar! Check out the audio clip.. See more photos

Back to Top

Martin 028K 1928|

Martin 0-28K made in 1928, serial # 346xx .. Martin 28 series koa guitars from this time period are among the most beautiful guitars ever made. This guitar crosses that threshold from musical instrument to art, understated but profound .. chocolate-brown, deeply figured tiger striped koa, herringbone top trim, zig-zag back strip inlay, white & black sound hole trim, white binding and trim, snowflake inlay on the ebony fingerboard, engraved tuners, pyramid bridge all combine to make a pleasant visual statement. This guitar retains its original flat frets, and is set up to play lap-style with a replacement raised bone nut. Its voice resonates punchy-strong mids and ringing highs. This guitar retains its original finish. Renowned Martin repairman David Musslewhite expertly refitted a new bridgeplate and made a small koa repair just north of the bridge. The original pyramid bridge has two small holes filled from an earlier attempt to attach the bridge. Bridge pins are replacements, end pin is original. Some wear to the finish below sound hole, and random scratches and nicks.

Back to Top

Oahu Round Neck ca. 1928|

Very uncommon ca. 1928 Oahu round neck, one owner, flat top twelve fret guitar in 'time capsule' condition, including very clean and original soft case. Probably made by Stromberg/Voisinet. Body is 13 3/8" across lower bout, all mahogany, 'checkerboard' bound, with multiple purfling rings and 'checkerboard' binding around sound hole. Dyed wood fingerboard is virtually unplayed .. scale length is ~ 23 3/8". Original tuners with nice pearloid buttons. Brazilian rosewood pyramid bridge with abalone dot bridge pins. This guitar was always set up with a nut raiser for lap playing. The 'half-slot' head stock is playfully shaped into an asymetric peak, also bound in 'checkerboard'. Nice mellow mahogany ladder-brace sound, excellent playability due to fresh neck reset. Oahu or S/V collectors, heads-up, this is one for the discerning collector, or a player who wants a wonderfully preserved, pre-WWII ladder braced flat top. Original soft case.

Back to Top

Oscar Schmidt (Stella) |

First Hawaiian Conservatory of Music New York was a brand made by the Oscar Schmidt Co. in Jersey City, NJ, and sold through mail order. This is the second such guitar in the vintagebluesguitars.com inventory. This guitar features the signature OS ladder bracing, all solid birch construction, and 12 frets to the body. Beautifully finished in a red stain, the body dimensions are a tad larger than many Stella concert size guitars of the day. The lower bout measures just a hair under 13 1/2", the fat (built for comfort) V-neck is 1 7/8" at the nut, and scale length is 24 3/4". The fingerboard still has the original applied paper label that instructed a student in Hawaiian slide guitar technique. Addtionally, the original six bridge pins are tipped in pearl. Except for the new nut and saddle, we believe this guitar is all original, including bridge pins, Brazillian bridge, tuners, canvas case, and, yes, even (possibly) the original slide! There are two cracks on the back, and the back was reglued for a short stretch along the lower bouts. Other than that, a few nicks and scratches here and there, and some wear on the lower bouts from rubbing in the case. (check out the scan of an original FHC ad from Popular Mechanics, January 1928 at http://vintagebluesguitars.com/blog). A recent neck set allows this guitar to be played both Spanish and with a slide, providing a punchy, ringing, ladder-brace tone. Click the player below for a short sound clip. See more photos

Back to Top

Kalamazoo KHG14 (Gibson) 1937 |

KHG stands for "Kalamazoo Hawaiian Guitar" and the size, "14", although some may recognize it as my shoe size, indicates the guitar is the same size/shape as the Gibson L-00. The KHG differed from the L-00 in two major ways: KG's were generally ladder braced, and the "H" version had a wider neck at the nut (1 15/16". Additionally, the "H" version sported a different heel shape, foreshadowing the shape found on the LG guitars of the 40's and 50's, and a straight-cut saddle slot. This particular example is in 'time capsule' condition fresh from an estate. All components are original but for a period replacement end pin. The "C" FON stamp dates this guitar to 1937, probably the fall. There are no cracks, breaks or finish damage to the guitar, and only very minor nicks are evident when examined closely. The fingerboard was never used Spanish-style, so it is virtually unplayed. The guitar is currently set up Hawiian style, with the original high nut. To convert to Spanish, the guitar will need a standard nut and a neck reset. The Brazillian rosewood bridge was reglued and the guitar was lightly cleaned with a damp rag to retain it's patina. Spruce top with about as nice a sunburst at you'd like to see, sporting a sweet firestripe pickguard unique to the Kalamazoo line. Mahogany back and sides with top binding. Mahogany 12-fret neck and Brazillian rosewood fingerboard, which is radiused to ~ 10". Scale length is 24 3/4", nut width is 1 15/16". The lower bout measures 14 5/8". The inside is equally as clean. The bridge plate has a bit of spruce missing between the 1st & 2nd, and the 3rd & 4th bridge pin holes, and there is a typical bulge behind the bridge, evident on many ladder braced guitars.The guitar retains it's original, faux alligator soft case with purple lining, also in excellent condition.

Back to Top

Carson J. Robeson (Gibson) |

Esentially a Kalamazoo KG11, and branded Carson J. Robeson, this is part of Gibson's Depression Era effort to sell guitars and remain solvent. Mahogany back and sides, mahogany neck with rosewood fingerboard, spruce top. Scale length is ~ 24 1/2", and the lower bout measures 14 3/4". Overall is pretty snappy condition, sporting a beautiful smallish Gibson sunburst, checkered binding around the sound hole, and top binding. Tuners replaced with the new Stu Mac retro tuners. Back of neck shows finish wear, and a spot where a prior owner carved out what looks like a notch for his thumb. Top has a few minor cracks, and the back has a few long cracks, some cleated. Close inspection reveals a heel block replacement, some supporting overlay on the sides and a bolt that may serve as an early neck attachment. The neck joint is tight and clean. The guitar is very playable with the typical resonant Kalamazoo ladder brace bark, with nice sustain, although action is on the high-ish side..about 5/16" from top of 12th fret to bottom of bass E string.

Back to Top

Gibson ES-125TC |

1964 Gibson ES-125TC (Serial # 2347XX), 16 1/4" wide, 1 P-90 pickup, single pointed cutaway, single bound top and back, beautiful cherry sunburst. Except for a small, repaired crack at the top right of the headstock, this guitar is in mint condition. This guitar has a great mid 60's vibe and is set up and ready to play. Hard case.

Back to Top

Marathon Synchrotone (Kay) |

This behemoth ladder-braced flat top by Kay is likely a post-WWII K22. The tuners have the shrunken plastic knobs, and the frets are coppery in color, both pointing to the 1940's or early 50's. The guitar features a one-piece mahogany back, mahogany sides, and a spruce top, with top and back bound with faux tortoise. The radiused fingerboard is rosewood. The 14-fret, faux tortoise bound neck appears mahogany. The guitar measures a whopping 17" across the lower bout, and is 4 1/2" deep at the end pin. Scale length is 25 3/4", and measures 1 5/8th at the nut. But for the saddle, the guitar appears all original. The original finish is very clean, but someone in it's past life 'cleaned' the top with something that disolved the finish. The only other issues are several long top cracks (now repaired), again, by someone in it's past life who attached a pickguard with wood screws. The crack are glued and cleated. Loose braces were detected and glued. The neck was reset, but the action remains a bit high: 11/64th" at the 12th fret, low E. For lovers of narrower fingerboards, the guitar thumps along nicely, but really screams with a slide. Hear a sound sample below:

Back to Top

Gibson Kalamazoo KM-12N |

A beautiful, well preserved and all original in-house budget brand Kalamazoo mandolin, made by Gibson. This is esentially the 'Oriole' model, but for the oriole decal and back binding. A-style body, f-holes, figured maple back and sides, clamshell tailpiece cover, original unbound pickguard, tortoise grain binding on top, unbound fingerboard, natural finish. There is a stamped FON and hand written lot number inside. Only two 'issues' need pointing out: the plastic tuners are (typically) disintigrating and will be replaced, and there is some oxidation on the metal parts, otherwise, this one-owner mando is in tip-top shape and sports it's original sash cord strap and two-tone Geib soft case with leather handle intact.

Back to Top

Oscar Schmidt Stella |

This concert size Stella oozes mojo .. fancy script 'Stella' logo on slotted headstock, solid birch all around, 12-frets, rustic original finish, playing wear up and down the fingerboard, decal sound hole rossettes and back strip. And, for as rustic as it appears, it's actually in pretty good structural condition! There are no cracks, braces reglued where needed, neck reset, frets leveled and dressed, and funky (and typical) wire fret saddle replaced with bone. This Stella retains it's original tuners. And it sounds like you'd hope it would, crisp ladder-brace bark, with pleasing mellow overtones in the bass and mids. This one sets itself apart, soundwise, from some of the other Stella/Regal catalog-type guitars we've handled. With the low action, and smooth-as-a-babies-butt neck, this guitar plays like butta', and the intonation is spot-on, thanks to the sliding bridge. Lower bout measures 13 1/2", scale is ~ 25", and fingerboard at the nut measures 1 7/8". Missing end pin and nut's been replaced.

Back to Top

Gibson LG2 3/4 1961 |

Nice example of an unusual flat top guitar produced by Gibson from the late 1940's until about 1962. Although stamped LG2 3/4 inside the sound hole, unlike the LG2, the three-quarter is ladder braced. Mini J-185 shaped body, rosewood fingerboard, rosewood bridge with pearl dots; mahogany back and sides, and a beautiful red/orange sunburst spruce top. Triple-bound sound hole ring, top double-bound, back single-bound. Kluson Deluxe enclosed tuners, wide T frets, fourteen-fret neck. Scale length is 23", lower bout measures 12 3/4", 1 5/8" across the nut. Overall condition is excellent but for several finish/top cracks and repaired open center seam. Sounds remarkably full for a three-quarter sized flat top. Original faux alligator brown soft case with metal Gibson logo plate.

Back to Top

Gibson L-1 12-Fret ca 1931 |

Beautiful example of an early Gibson 12-fret flat top with small sunburst. Factory Order Number (FON) 80. Overall condition is very good and quite original. The guitar retains it's original finish, tuners, bridge (may have been varnished), and possibly nut, saddle and end pin. The original maple bridge plate is in great condition and the original braces are tall and thin as per this early L period. There are no top cracks. There is one back crack about 7" long that was glued and cleated. The pick guard is likely a replacement but appropriate, some minor chipping from removal of the old guard. There is a 2" crack on the side along the lower bout, and another ding slightly north of there. The fingerboard and frets show some typical playing wear, and were dressed and polished. The center seam of top was glued and cleated at some point. The guitar plays well with the action set at ~ 7/64th". These L 12-fretters are renowned for the quality of tone, and this one delivers in spades .. clear, ringing and open with enough bass to produce the Gibson flat top 'it' sound. Retains it's original soft case. See it and hear it on YouTube.

Back to Top

Premier Studio Six Electric Archtop |

1950's. New York-made version of a Gibson ES-125, reportedly made in the old Oscar Schmidt (Stella) factory .. most likely by United Guitar Corporation in Jersey City, NJ. Single pick-up, 16" wide body, nice r&r or jazz box, or nasty George Thorogood slide tone. Body binding replaced.

Back to Top

Celebrated Benary Guitar |

Not much is known about the 'Celebrated Benary' brand of guitars. New York City census records of 1900 show a Robert? Benary, listed as a manufacturer of musical instruments. Additionally, there are Benary catalogs from the last decade of the 19th Century extant that describe various models of guitars with both mahogany and rosewood bodies available. Unique features of the Benary are the wooden longitudinal bar that runs from the heel block to the end block, the metal tailpiece/ebony bridge assembly, and the decorative medallion affixed to the tone bar. All three are a nod to the work of William B. Tilton, noted 19th Century New York City guitar maker. Because Benary emigratated from Canada to New York City in 1890, we believe this guitar was manufactured sometime in the early 1890's. This time period is near the peak of the parlor music trend in America, and, consequently, this guitar can be accurately ascribed the name 'parlor guitar', unlike the misnomer applied to small guitars manufactured in the 1920's onward, which were typically referred to as 'concert' size guitars by the manufacturers. And this one is on the larger size of most guitars produced in that period. The body measures 13 1/4" across at the lower bout, with a length of 19 1/4". The scale measures 24 7/8". The back and sides are straight grained Brazilian rosewood with a herringbone center strip down the back. The spruce top is bound with holly binding and herringbone trim. The sound hole sports the same herringbone trim, centered inside two dark rings. The neck is mahogany, the fretboard ebony with walnut overlay on the headstock. Width at the nut is 1 7/8". Fancy brass, engraved tuning machines sport nicely aged bone buttons. The soundhole medallion and tail piece are nickel plated and engraved to show the maker, 'Celebrated Benary Guitar', and place of manufacture, 'New York', respectively. This guitar is in surprisingly original condition with only the end pin and back binding replaced, and recently underwent the following repairs: stabilize and seal side cracks; glue top cracks; neck re-set; glue heel crack; repair crack in fingerboard in 'tongue' area; replace a few missing frets. This guitar plays nicely, and produces a clear and rich sound.
Back to Top

C.F. Martin C-1 Archtop |

Manufactured from 1932 through 1943 the 'C' series archtop was Martin's answer to the popularity of the the archtop guitar, and the need to sell guitars during the depression. This 1938 C-1 features a carved spruce top, mahogany back and sides, ebony fingerboard, individual Grover tuners (one replaced), nickle plated trapeeze tailpiece engraved 'Martin', and a shaded top. Fifty were made in 1938. The C-1 shares the same dimensions as a 000-size flat top, with a 24.9" scale and 15" across the lower bout. This guitar appears all original, including case, except for missing pickguard and a replaced tuner. Condition is excellent with only a few nick and scrapes here and there, some pickguard rash, and a little capo wear the on back of the neck. Body is sound showing no cracks, finger board shows only a little wear. Excellent value in a pre-war Martin guitar. Watch and hear it play on YouTube.

Back to Top

Gibson Mastertone TB3 1932 |

Style 3 banjos were the least expensive model in Gibson's Mastertone line, produced from 1925 through 1937. This banjo exhibits features typical of Style 3 Mastertones produced in the early 1930’s: The wood is mahogany; the resonator is single bound in white, and has concentric, inlaid purfling rings; the peghead is the ‘double-cut’ shape with inlay consistent with catalogs of the 1932 period; the fingerboard is ebony with period-consistent inlays, bound in white; tuners are ‘Grover Pat.’; metal parts are nickel plated; tail piece is Grover Patent Presto; forty-hole archtop tone ring; one-piece flange; Condition: The condition is, overall, excellent. All parts appear original including tailpiece, tuners, tone ring, arm rest and possibly Rogers skin head. The neck is straight and the action good. No signs of cracks in either the metal or wood parts. Some belt buckle scratches on the back of the resonator. Original frets show some wear, but no divots in the fingerboard. Back of neck is excellent with no visible playing wear. Original case with blue lining is in very good condition.

Back to Top

Stella (Harmony) 12-String |

Recently described on weeniecampbell.com as a "half-way house" to the original, pre-WWII Stellas, these 1960's examples fit the reference. We're happy to offer this clean, all solid birch example. Tuned low, this Stella 12 (actually made by Harmony) can put out a respectable wall of sound. Overall condition is excellent with no cracks or major finish flaws. The neck was recently reset, so the action is very good. The frets were leveled and polished, and intonation is spot-on up and down the neck. All braces are tight, and the original tuners were cleaned and lubed. The guitar is all original, including tuners, taipiece, pickguard, and probably bridge, saddle and nut. The lower bout measures 15 1/4", the nut measures 1 15/16", and the scale length is 25 1/4". The plastic truss rod cover has a crack, as does the pickguard, and there is a small screw hole in the side from a former strap button. Comes with what could be the original soft case. Well set up and ready to ride the B&O with Mr. McTell! Hear the sound of this guitar, fingerpicked and slide, tuned a few steps low from A440:

Back to Top

Kalamazoo KG11 (Gibson) |

Description: It's evident that Gibson's Depression era Kalamazoo line of guitars is gaining respect in the vintage guitar world, and for good reason. While built as a less expensive alternative to the "Only A Gibson Is Good Enough" flat-tops during the Great Depression, Kalamazoos were constructed by the same crafts-folk that built the standard Gibson line of guitars. Built very light, and generally ladder braced, the Kalamazoo flat tops are punchy and resonant, and this one could be at the top of that heap. The KG-11 body shape is the only Gibson-made instrument to sport this particular form, with a lower bout echoing L-00's of the period, and a unique, truncated upper bout dimension. The sound of this particular Kalamazoo belies its smaller size, and comes close to a standard L-00 in timbre, with just a hint of ladder-brace bark. The top is sunburst Adirondack spruce with a stellar 'firestripe' pickguard, the sides and back are mahogany. The upper bout measures 9 7/8", and the lower bout 14 11/16". The mahogany, 14-fret neck has a comfortable V-shape, and no truss rod. Scale length is 24 7/8". The fingerboard is Brazillian rosewood, showing only slight evidence of playng wear. The frets have been leveled and polished. For as much road wear as this guitar shows, it's surpriningly original, with only the bridge pins and saddle replaced. The neck was recently reset, and a compensated saddle provides good intonation. The top remains crack-free and shows some steam 'blush' along the treble fingerboard extension; the back and sides have several repaired cracks. Bridge plate and braces all tight and original. Nicks, dings and scratches abound, providing the requisite 'mojo'. With 'K-zoos' pushing the 2K mark, this one provides great value for both finger pickers and flat pickers. Hear the sound of this guitar in the player below.

Back to Top

Oscar Schmidt Stella |

This concert size Stella oozes mojo .. fancy script 'Stella' logo on slotted headstock, solid birch all around, 12-frets, rustic original finish, playing wear up and down the fingerboard, decal sound hole rossettes and back strip. And, for as rustic as it appears, it's actually in pretty good structural condition! There are no cracks, braces reglued where needed, neck reset, frets leveled and dressed, and funky (and typical) wire fret saddle replaced with bone. This Stella retains it's original tuners. And it sounds like you'd hope it would, crisp ladder-brace bark, with pleasing mellow overtones in the bass and mids. This one sets itself apart, soundwise, from some of the other Stella/Regal catalog-type guitars we've handled. With the low action, and smooth-as-a-babies-butt neck, this guitar plays like butta', and the intonation is spot-on, thanks to the sliding bridge. Lower bout measures 13 1/2", scale is ~ 25", and fingerboard at the nut measures 1 7/8". Missing end pin and nut's been replaced.

Back to Top

Gibson J-45 1969 |

Slope Shoulder, bone saddle. The perennial Gibson work horse for bluegrass or blues. This jumbo still has the desirable 'slope-shoulder' body shape which emanates the oft-imitated Gibson boom. The neck is thin and smooth, the action low and fast. Previous owner replaced the wood saddle w/ bone, but original is in the case. A few stabilized cracks (common on this vintage) below the bridge, and some typical finish crazing.

Back to Top

Gibson L-00 1934 |

Back to Top

Harmony Monterey Archtop Guitar |

Martin 0-28K made in 1928, serial # 346xx .. Martin 28 series koa guitars from this time period are among the most beautiful guitars ever made. This guitar crosses that threshold from musical instrument to art, understated but profound .. chocolate-brown, deeply figured tiger striped koa, herringbone top trim, zig-zag back strip inlay, white & black sound hole trim, white binding and trim, snowflake inlay on the ebony fingerboard, engraved tuners, pyramid bridge all combine to make a pleasant visual statement. This guitar retains its original flat frets, and is set up to play lap-style with a replacement raised bone nut. Its voice resonates punchy-strong mids and ringing highs. This guitar retains its original finish. Renowned Martin repairman David Musslewhite expertly refitted a new bridgeplate and made a small koa repair just north of the bridge. The original pyramid bridge has two small holes filled from an earlier attempt to attach the bridge. Bridge pins are replacements, end pin is original. Some wear to the finish below sound hole, and random scratches and nicks.

Back to Top

Gibson J-45 |

'Z' FON stamp dates this to 1952. J-45's from this period (1948-1954) are among the best made by Gibson. Hallmarks of this era include top-belly bridge, teardrop pick guard, 19-fret neck and scalloped braces. Fresh from a local estate, this guitar exhibits ringing trebles and thumping bass, smooth neck and clean action. All major components of this guitar appear original, including bridge and bridge plate. Nut and saddle may be replaced and a least one of the white tuner buttons is replaced. If you lift the hood and look inside, you'll see the original scalloped braces and bridge plate. A small top brace was sloppily re-glued at one point, and we glued three others that had come loose. In these years it's reported that the glue Gibson used wasn't the most stable, and as a result, there is some separation of back at the top of the neck and heel blocks. But one of the leading Martin repairmen in the nation told me that he tends not to re-glue these, so it's been left alone. There are two stabilized top cracks, 4"-6" long, along the waist on the bass side, and a stabilized crack that runs from south of the sound hole ring, under the pickguard, to the north side of the bridge. On the back is a stabilized crack about 6" long, beginning at the very bottom of the back. The frets are pretty clean, showing minimal string wear, and there are finger divots in the Brazilian rosewood fingerboard at the cowboy chord position. The neck measures 1 5/8" at the nut. Minimal wear along the back and sides of the neck, and no capo marks. The action is a hair higher than 1/8", with a low saddle. The guitar plays very well and the intonation sounds spot-on. Overall finish is very shiney as the guitar had been buffed smooth when we received it. A black light to the finish shows no over spray, and a few ding touch-ups with black paint on the head stock. It appears that at one point someone had a nut raiser on the guitar to play lap style. The spruce top exhibits a beautiful tobacco sunburst and shows some playing wear above and below the strings. And when held at an angle, spider web-thin finish checking is evident, which you typically see in these old Gibsons. The case, with it's 30's/40's-type latches, probably pre-dates this guitar, but it's a beautiful vintage brown leatherette with red/burgundy lining. The very top end of the bottom part of the case has been repaired with a piece of leather. I play finger-style with out picks, but I suspect, that when pushed with a flat pick or finger picks, this guitar is one of the bad boys on the block, and not for the faint of heart. If you see the vintage train leaving the station, here's a chance to get on board..fairly priced at $3200, plus shipping. Please visit our gbase store (linked above) for photos.

Back to Top

Beltone 5-String Banjo |

Circa 1941. Instruments were sold under the Beltone brand as early as the 1920's. Guesstimate date for this 5-string is 1941, based upon the copyright date of the banjo instruction book found in the case. This banjo has bar-type frets and is painted in a faux rosewood, typical of many budget, pre-war instruments. The paint on this piece is pristine, and could be described as 'mint'. Oddly, the non-nickel hardware (tailpiece and hooks) was corroded, but it cleaned up nicely. Head measures 11". Strung with light guage strings and it sounds just like a banjo. Comes with what is likely the original case.

Back to Top

Martin 0-18 |

Very clean 0-size Marin flat top from 1962, serial # 184xxx. Slight playing wear on top, and a few finish nicks here and there, otherwise excellent, original condition both inside and out. Frets and fingerboard are fine, action is very comfortable for finger picking, and this little beauty projects a clear, resonant tone like only a Martin can. Soft case. Check our gbase.com store for photos.

Back to Top

Martin D-28 |

An East Indian rosewood D-28 ca 1975. This guitar appears to be in all original, excellent condition but for a short crack between the pickguard and bridge. Flat picked for much of it's life by a bluegrasser, so the tone is open and resonant. Comes with original blue Martin case. Check our gbase.com store for photos.

Back to Top

Gibson L-00 or L-0 |

Three things you need to know about this 14-fret, ca 1935 L-00/L-0: the work around the bridge re-glue is not pretty, the first five frets are filed low, and the sound and playability of this L-1 are among the best of this type and period. The neck is v-shaped, but not too fat, and the action is just right for finger style blues. Having played many L-sized guitars from this period, I find that there is a wide range of tonal quality .. some sound great - some sound tinny or thin .. this is a great one. Clear, ringing mid and treble tones with woody, resonant bass. Mahogany back and sides, red spruce top, Brazilian rosewood fingerboard and bridge. The guitar appears to be mostly original, including the thin maple bridge plate and tuners, and exhibits a beautiful, small-ish sunburst. Aside from the work around the bridge and the low frets, there are some finger divots in the 'cowboy chord' position, a small crack in the top and one in the side, both stabilized with glue by a prior repair person, who also added larger bolts through the bridge and buffed out the finish to a high shine. Some finish loss on back of neck. Newer SSC. Check our youtube.com channel for video.

Back to Top

UAC Oscar Schmidt Stella 'Hawaiian Scene' |

Interesting version of an authentic, solid birch construction, Oscar Schmidt concert size guitar. Marketed as UAC, made by Oscar Schmidt. This OS 'Hawaiian Scene' version is quite unusual, and isn't documented in The Stella Guitar Book. Black paint with gold stencils. Lower bout is 13 1/4"; scale is about 25"; width at nut is 1 7/8". Neck was reset; frets leveled and polished; two top cracks (from screws of non-original pickguard) glued and cleated; additional top brace added; tail piece probably not original; overall decent, with some playing wear. Nice open sound when fingerpicked, really screams with a slide. Comes with what could be original soft case. Capture the Stella mystique and own a rare example of the ever popular Oscar Schmidt legacy.

Back to Top

Harmony Roy Smeck Vita-Uke |

Born in Reading, PA, in 1900 (twenty-five miles from vintagebluesguitars.com World Headquarters) Roy Smeck became one of America's most popular entertainers during the 20's and 30's, when the ukulele was king. It's reported that Smeck invented the Vita-Uke for Harmony. The vast majority of Harmony instruments were marketed at the lower rungs of the economic ladder. But the Roy Smeck Vita-Uke is an exception. First, the pear-shape departs from the typical hour glass form. Additionally, two seal-shaped sound holes replace the common round hole. The spruce selected for the top is exceptionally straight and tight, with upwards of twenty grain lines per inch, aged to a beautiful amber/gold tone. The top is bound black-white-black, and the original bridge is ebony. Back and sides are crafted from a select grade of curly mahogany..the curly grain really jumps out when angeled into the light. The neck is mahogany, and the head stock is marked in gold: "Roy Smeck Vita Uke" with the period Harmony logo in red. Tuners are the original friction tuners. Visible through the sound holes is a label that reads: Standard Approved National Association of Musical Instrument & Accessories MFRS. USA. Additionally, 'Harmony Company' is branded into the back. This rare uke is, surprisingly, in near mint, original condition, showing only a few scratches on the body and one on the neck. And if that's not enough, it retains it's original custom-made case, likely made by Geib (note small diamond embossed on accessory lid). The profile of the case fits the pear shape of the uke, is lined inside w/ a faded green felt, and sports a leather wrapped handle. And, as an added bonus: The inside of the case lid has a ribbon with "The Roy Smeck Vita-Uke The Harmony Company, Chicago, U.S.A." embossed in gold lettering. The case is in the same excellent condition as the uke. Dimensions: overall length..21 5/8"; scale length..14".. body width 7 13/16"; nut width 1 7/16". Considering originality, rarity and condition, this is about as complete a vintage package as one could hope to find.

Back to Top

Regal Stella-type 12 Fret |

This is a 1930's vintage ladder braced, Stella-type guitar likely made by Regal in Chicago. Back and sides are solid birch, and the top is solid spruce. The guitar exhibits the throaty but resonant sound for which ladder braced guitars are known. Twelve fret, 'V' neck, slotted head stock and dyed black finger board. The original bridge is also a painted softwood, with fret wire saddle. Colorful rosette and white binding around the sound hole. Stencil-painted front w/ flowers and vines. Just under 13" at the lower bout; 24 3/8" scale with surprisingly accurate intonation. End pin is ebony w/ pearl dot inlay. This guitar shows some wear overall, but has no cracks. Neck was recently reset, a brace re-glued and a hardwood overlay was glued over the bridge plate/brace to remedy the wear around bottom of the bridge pin holes. Structually, very sound and ready to slide onward through the 21st century.

Back to Top

Martin Ukulele Style 0 |

Martin Style 0 Ukulele .. ~ 1930-ish .. all mahogany body, unbound w/ one purfling ring around sound hole. Rosewood fingerboard and bridge .. ebony nut and saddle .. metal friction pegs .. 'C.F®. Martin & Co.' stamp on back of peg head, no Martin decal .. overall excellent condition but for a very small chip at the edge of the fingerboard between the 7th and 8th fret and a few little nicks. Original canvas case. A nice example of Martin craftsmanship. Check our store at gbase.com for photos.

Back to Top

Martin 0-18 1914 Brazilian |

Beautiful Martin 0-18, with Brazilian back and sides. Extremely light weight, but producing a rich, full and resonant sound. Replaced bridge plate, a few top crack repairs below bridge. Repaired crack on end block across the end pin hole. Watch and hear it play on YouTube.

Back to Top

National Duolian 1935 |

Wow! The essence of vintage blues guitars. This duco green/gray, metal bodied, resonator blues machine is fresh from a local estate.

Back to Top

Tonk American |

1930-ish. It's very unusual to find a 14-fret slothead guitar. This guitar is in very clean, original condition. The beautiful, small sunburst top has outrageously tight grained spruce, approaching thirty lines per inch! The back and sides appear to be ash, bound in white both top and back. Ebony fingerboard with bar frets is bound in white, as is the oval sound hole. The top braces are neither X nor ladder braced, but instead are placed on a slight bias (ladder-X bracing?). Raised bakelite pickguard, white end pin. The bridge appears to be a very dark Brazialian rosewood w/ a new compensated bone saddle. Scale length is a long 25 1/2" and the neck is 1 7/8" at the nut. The lower bout measures 14 3/8". This guitar is a great fingerpicking guitar with exceptionally defined tone and projection, a bit unique compared to a typical flattop guitar.

Back to Top

Regal Concert Parlor Guitar ca 1930 |

Concert size, twelve-fret, slot head guitar likely made by Regal in Chicago. The label inside reads: 'Carl Fischer's Make 4th Ave Cooper Square New York'. This is actually a very attractive and well-made guitar, with a better fit and finish than most Stellas. The lower bout measures 12 7/8" and the scale length is 24 1/8". The top is very nice Adirondack spruce with cool rope binding and white binding, with multiple red, green, tan and black soundhold rings. The guitar sports a Brazillian rosewood bridge and stamped tailpiece common to the period. The fingerboard is Brazillian rosewood with bar frets, and the 'V' neck appears to be some type of hardwood with a nice, smooth reddish finish with an exceptional feel in both shape and finish texture. Back and sides are quarter sawn white oak with a crazy flame effect in the grain, typical of white oak, stained with what looks to be the same color as the neck. The back is bound in white, with a multi-color strip down the center. Heel cap and end pin are either walnut or ebony. The guitar sounds fabulous. It's quite different than either a pin-bridge flat top or an archtop. The tone is clear and piercing, like you'd want from an old ladder braced guitar. Played in open tuning with a slide, this thing screams! The guitar is all original except for the nut. The neck was recently reset, frets leveled and dressed, so the action is low. Intonation is surprisingly spot-on to my ears. The back center seam had come undone a bit and was reglued, but leaves a gap. When the neck was reset, the resulting neck/side seam turned out a bit wider than cosmetic perfection demands (see photo), but the dovetail joint is shimmed, well glued and tight (I'm still learning this alchemy). Overall this is a really nice guitar for old time music or as an inexpensive second guitar for slide. No case.

Back to Top

Sterling Banjo-Guitar |

This banjo-guitar (guitar-banjo?) was made by the Slingerland company in Chicago. Slingerland made a variety of guitars, banjos, ukuleles and other instruments through the 1920's-1940's. The name is now ©Gibson (think drums). A similar instrument is shown in the 1936 Slingerland catalog at a price of $20. The head is 12", and the scale measures 24.5". The neck is maple with ebony heel cap and headstock veneer. The hoop is birds-eye maple and the stamped metal tail piece is nickel plated and similar to those found on many guitars of the period. Replacement calf-skin head and ebony nut (original nut included), otherwise this instrument is all original, near perfect. Original case. Annoy your guitar playing friends at your next pickin' session! This is a rare and desirable instrument.

Back to Top

Gibson L-00 |

Gibson L-00 1942 FON# 7430H .. War era Gibsons have the reputation of being a hodge-podge of construction elements, and this one fits the bill: mahogany back, maple sides, spruce top, unusual triple bound top (wbwbw) and double bound back, bound sound hole .. This single owner guitar is in overall excellent condition, with crisp paint, pristine fingerboard and frets, original tuners), original bridge and bridgeplate and probably nut and saddle as well. This guitar has the typical 14-fret L-00 dimensions except for the nut, which measures 1 3/4". The back of the neck is in especially fine condition, sporting a full C profile. The guitar retains the typical Gibson adjustable truss rod. This Gibson is a pleasure to play. The unique combination of maple sides and mahogany back provides a full and balanced tone, a resonant bass and mid-range that stands out even among the best sounding L-00's. The mid-range tones are particularly powerful and their vibrations are clearly felt against the players chest. Structurally, there are a few top cracks, several back cracks, and a side crack which have been glued. The paint along the bass lower bout is somewhat crazed. Action is set at ~ 1/8" from top of 12th fret to the bottom of the low E string, ~7/64 at the high E. Comes with a black, purple lined 'alligator' soft case of the period.

Back to Top

Oahu Square Neck Style 65M |

With a very cool checkerboard binding around top, back and sound hole. Top, back and sides are mahogany. 13.25" across lower bout. In the 1930's The Oahu Publishing Company billed itself as "The World's Largest Guitar Dealer" but the instruments were mostly made by Kay. This guitar arrived with the neck joint loose, so we pulled the neck and re-glued it. A few braces were re-glued and a new saddle was installed. Set up with a Hawaiian-style nut raiser of the period. Bridge possibly original. Plays like butta' with a nice, woody sound for your sliding pleasure.

Back to Top

Napoli Antonino |

Yes, it's Italian .. yes, it's green .. it's what Charlie Patton would have played had be been Italian and lived in the 60's! If you're a fan of the pre-WWII ladder braced sound, then check this one out. Twelve fret, slot head, ladder-braced top, arched and wildly faux grain-painted no-brace back, 24 1/2" scale, 14 1/2" lower bout, wide-grained spruce top, bar frets, comfortable neck 1 13/16" at the nut, Jetson's-esque tailpiece..what's not to like? The action on this guitar is excellent for finger picking, the frets were leveled and dressed, couple of cracks on the back .. Very pleasing ladder braced sound. Check out the Italian website, fetishguitars.com for more info on the Sicilian guitar tradition. No case.

Back to Top

Gibson J-45 |

'Road Warrior' J-45 from a great era..'V' FON stamp reveals that this guitar was made in 1956. Replaced bridge plate; repaired cracks; shaved tone bar and much finish wear. Big, rib cage-rattling boomer of a jumbo..this guitar is the reason players seek out vintage Gibsons!

Back to Top

Rex Professional ca. 1920's |

Currently the shop favorite, 'Rex' is a really nice playing and sounding slot head, ladder braced 12-fret from probably the early 1920's, maybe even earlier. Can't guess at the maker, but the decal on the headstock says 'Rex Professional', and the paper label inside displays a stamped serial number, and 'warranted for one year..'. It's evident by it's construction and materials that 'Rex' was a guitar of some quality. The body is made from a nice grade of mahogany, and the top looks like red spruce, with very tight 20 grains per inch along the center seam, and very wide, about 7 grains per inch, along the outer top area. Multiple bound top and soundhole (nine ply). Brazillian rosewood fingerboard. The action is low, and the guitar produces fine, ladder-brace tone with little effort. The sound is pleasantly clear, with good separation between the notes. With the saddle slanted and compensated, the intonation is very accurate over the six strings up and down the neck. Scale length ~24 5/8"; lower bout 13"; body thickness at lower bout is ~3 3/4"; width at nut 1 3/4" 'Rex' came to us with a bit of (poor) repair history, and it's truely a 'rescue' guitar. The neck dovetail joint was previously epoxied in, and epoxy was used on some crack repair, too. There were several nails holding the back on to the neck block. The neck was carefully removed with a hot artist spatula, as was the back. Repairs were made to the neck block and cracks glued and cleated. The cosmetic scars remain. The neck was reset to the proper angle. A reproduction ebony pyramid bridge was added, as were refurbished replacement tuners from ca 1930's. Frets were leveled and dressed, new nut and saddle installed and guitar was set up to play smoothly. Structurally, the guitar is very sound and tight, and great value for a real country blues era slot head, or lightly played parlor music.

Back to Top

Gibson LG1 ca. 1950 |

Beautiful example of an early Gibson LG1. The tapered headstock, square-G logo on the decal and FON 5733 date this pristine example to the late 40's/early 1950. Gibson eliminated the tapered headstock by mid-1950. Ladder-braced spruce top, mahogany sides, rosewood fingerboard and bridge show very little playing or age wear. Only thing to quibble about is finish line at the center seam and evidence of a few 'grain cracks' running along the left side of the top, common on Gibson flat tops of this period (they don't show from the inside). Original tuners replaced, too. Otherwise, this is as clean as they come. Set up to play comfortably and produces a crisp and resonant mahogany/ladder-brace bark. Comes with new Cedar Creek custom case.

Back to Top

Harmony (Sears) 12-String |

Made by Harmony for Sears, Model S-1227, ca 1970. Very nice, clean and original, all solid birch 12-string acoustic guitar, among the last of the run of American made 'big-factory' acoustics before the Asian imports cornered the market. Adjustable truss rod, 25" scale, 15" at the lower bout, 2" at the nut, dark hardwood fingerboard, no real issues except for a wear spot on one side and a funky screwed on pick guard, which may be a later add on. The neck was just reset and the frets leveled and dressed. Plays nice, sounds big, low price! Probably original soft case. Hear the sound of this guitar, tuned a few steps low from A440:

Back to Top

12 Fret Slot Head ca.1930 |

Some may call this one 'Ugly Betty', but she sure can sing! Unknown maker, likely one of the Chicago factories, 12-fret slot head, all birch, ladder braced construction. Fingerboard is some type of dark hardwood that I've seen on other cheapo guitars of the era. The guitar is basically all original but for new nut, with the following repairs: neck reset (my fourth attempt..see photo for heel gap); frets leveled and dressed; new nut; braces glued; cracks glued, likely adding up to over five-hundred dollars worth of repairs! ..but this was another 'practice' guitar for my repair skills. The action is low, and the guitar plays with little effort. The sound is pleasantly clear, with good separation between the notes with the requisite ladder braced/birch 'bark' to the tone. With the saddle slanted and positioned as it is, the intonation is fairly accurate over the six strings. Scale length ~24"; lower bout 12 3/4"; body thickness ~3 3/4"; width at nut ~ 1 7/8" A bit neglected over the years, and the finish is a bit flaked, but structurally sound and great value for a real country blues era slot head.

Back to Top

Oscar Schmidt (Stella) |

First Hawaiian Conservatory of Music New York was a brand made by the Oscar Schmidt Co. in Jersey City, NJ, and sold through mail order. The guitar features the signature OS ladder bracing, all solid birch construction, and 12 frets to the body. Beautifully finished in a red stain, the body dimensions are a tad larger than many Stella concert size guitars of the day. The lower bout measures just a hair under 13 1/2", the fat V-neck is 1 7/8" at the nut, and scale length is 24 3/4". The dyed fingerboard retains remnants of the original applied paper label that instructed a student in basic Hawaiian slide guitar. Addtionally, the end pin and five of the six bridge pins are tipped in pearl. The neck was recently re-set, and in the process of removal (previously glued w/ what appeared to be epoxy or something non-steamable) the heel cracked, but was expertly repaired. Also, the back was removed and all braces reglued w/ hot hide glue. There is a tight, glued crack on the treble side of the finger board. Original bridge, replaced nut and saddle. Tuners are original, nice and clean and work fine. This guitar fosters the Stella ladder-brace mystique. For a smallish guitar, it sounds really big and full, and with a slide produces clear, piercing notes that seem to sustain forever.. has the 'it' vintage sound. Fingerpicks nicely, too. Pick it up and you won't want to put it down! Comes w/ period ssc in good condition. See it and hear it on YouTube.com

Back to Top