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Auction Description for Guernsey's: The Artistry of the Guitar - Day 2
Viewing Notes:
April 1: 10AM - 9PM April 2: 10AM - 7PM April 3: 10AM - 7PM (for instruments to be sold that evening only)

The Artistry of the Guitar - Day 2

by Guernsey's


128 lots with images

April 3, 2014

Live Auction

321 East 73rd St

New York, NY, 10021 USA

128 Lots
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1959 José Ramírez Classical

Lot 138: 1959 José Ramírez Classical

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Description: NO RESERVE. After José Ramírez II died in 1957, José Ramírez III assumed control of the family workshop, but he was forced to work as more of a supervisor than the luthier?s role he previously enjoyed. However, he was highly involved in developing new designs and he directed his journeymen in constructing his visions. The quality of Ramírez guitars built during the late 1950s is quite impressive, particularly from the perspective of tone and volume projection. Some performers prefer Ramírez guitars from this era, which were made with a lighter build than later examples with longer scale lengths, larger sound boxes, and asymmetrical bracing. This 1959 Ramírez has sweet, mellow tone and outstanding playability thanks to its slim, rounded neck profile. Label: 1959 Top: Spruce Back and sides: Rosewood Neck: Mahogany Fretboard: Ebony Frets: 19 Bridge: Tie block Tuners: Machine with white plastic buttons

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1928 Martin 00-40H

Lot 139: 1928 Martin 00-40H

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Description: Martin introduced this fancy style 40 instrument, which was designed for Hawaiian or steel playing, in 1928, the same year this example was made. The timing was unfortunate for introducing a new expensive model, as the United States was beginning to experience a long period financial uncertainty and pricey items like the 00-40H often sat unsold on manufacturers? shelves. That appears to be the case with this guitar, which has a 1928 serial number but features the belly bridge that Martin introduced on this model in 1930. A common practice by Martin at this time was to update certain features like the bridge and pickguard before a guitar shipped so it more closely resembled the model?s current catalog depictions. With its raised nut, fret markers instead of frets, and non-compensated saddle, the 00-40H is clearly designed for steel or slide playing even though it has a rounded, Spanish-style neck. The abalone purfling and rosette and snowflake fretboard inlays Serial number: 37398 Top: Spruce Back and sides: Brazilian rosewood Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge: Ebony belly pin Tuners: Waverly machine with engraved nickel-plated baseplates and white ivoroid buttons

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1934 Gibson L-5

Lot 140: 1934 Gibson L-5

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Description: Here is an interesting, rare, and very early example of the first ?Advanced? L-5 models that Gibson made featuring a larger 17-inch body. Gibson introduced this new, larger version of the L-5 at the same time they introduced the Super 400 model. Other notable transitional attributes of this example include: a larger, broader ?open book? headstock shape (replacing the older, slimmer ?snakehead? profile), a return to the pre-1929 pointed-end fretboard, the 19-fret neck, rosewood bridge (instead of the previous ebony), and older-style large block fretboard inlays with the new addition of inlays at the first and seventeenth frets. This example also has the short-lived flat plate, hinged ?L-5?-engraved trapeze tailpiece. Serial number: 92230 FON: 142-9 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple with mahogany center strip Fretboard: Ebony Frets: 19 Bridge/tailpiece: Rosewood, gold-plated flat plate trapeze Tuners: Gold-plated open gear Grover G-98 with metal butter bean buttons

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1931 Martin OM-28

Lot 141: 1931 Martin OM-28

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Description: The Martin OM-28 is highly coveted by collectors and players alike for its outstanding tone and contemporary features. This is the model that plectrum banjo player Perry Bechtel helped Martin develop in the late 1920s when he custom ordered a 000-28 guitar with a neck that gave him better access to the upper frets. Martin decided to redesign the 000 body to accommodate the longer 14-fret neck with a 25.4-inch scale that met Bechtel?s requirements, making it shorter but also increasing its width to maintain the instrument?s output and balanced tone. To achieve this goal, Martin also moved the positions of the bridge and bracing. Bechtel raved about this new design when he took delivery of the guitar in 1929, but more importantly Martin?s sales representatives and dealers were also impressed, and they implored Martin to offer this design as a new model. At first, Martin made only a handful of examples called the 000-28 Perry Bechtel Special in 1929, but as demand increased they renamed it the Orchestra Model, which was shortened to OM and broke Martin?s previous practice of using numbers to designate size. The first Martin guitars bearing the OM name were a pair of OM-18 guitars that they made in 1930, and shortly afterwards production of Martin?s first 14-fret neck guitars went full steam ahead as they introduced their OM-28, OM-42, OM-45, and the incredible OM-45 Deluxe models later that same year. Initially, Martin produced more OM-28 guitars than any other OM model in 1930, but in 1931, the year that this guitar was built, the OM-18 surpassed the OM-28?s production numbers. Martin made 166 OM-28 guitars in 1931, and a good number featured the shaded brown finish as seen on this example. The OM-28 as seen here with its 14-fret neck, pickguard, solid ?paddle? headstock, and belly bridge established the successful formula for the modern Martin flattop guitar. This is an incredible-sounding instrument with full, balanced tone and a crisp, articulate voice thanks to its 25.4-inch scale and Brazilian Rosewood back and sides. Although the OM-28 was initially designed for rhythm playing in an orchestra, it is one of the best guitars for solo fingerstyle playing ever produced. Serial number: 48807 Top: Spruce Back and sides: Brazilian Rosewood Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge: Ebony belly pin Tuners: Nickel-plated individual Grover G-98 open gear with metal butter bean buttons

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1939 Vega C-71

Lot 142: 1939 Vega C-71

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Description: NO RESERVE. The Vega C-71 is also a 17-inch guitar like the C-66 also in this auction, but it is a fancier instrument. This model came with a standard natural blond finish, and the top on this guitar is so light that it almost looks bleached. The materials on this guitar are of excellent quality, particularly the flame maple back and sides, diamond-shaped fretboard inlays, and gold-plated hardware, which includes a trapeze tailpiece engraved with the Vega name. Serial number: 39070 Top: Spruce, natural finish Back and sides: Maple Neck: Mahogany Fretboard: Ebony with pearl inlays Frets: 20 Bridge/tailpiece: Ebony, gold-plated engraved trapeze Tuners: Gold-plated Grover G-98 with metal butter bean buttons

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C. 1927 Supertone Artist

Lot 143: C. 1927 Supertone Artist

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Description: NO RESERVE. Supertone was a brand name of stringed instruments sold by the Sears & Roebuck Company during the 1920s and 1930s. (Around 1940 the brand name was changed to Silvertone.) Most Supertone guitars were made by Harmony, but some models were also manufactured by Regal, Oscar Schmidt, and Stromberg-Voisinet (which later became Kay. The unusual airplane-shaped Aero Bridge seen on this guitar was a patented Harmony design that promised to ?put to flight the common fault of buckled and warped guitar tops?, but considering its introduction in 1927 it was likely also a tribute to Charles Lindbergh?s 1927 transatlantic flight in his plane, the Spirit of St. Louis. The bridge appears on several Harmony Roy Smeck models, including the teardrop-shaped Vita-Guitar. The 1929 Sears catalogue description for this Supertone model refers to Lindbergh, so it?s likely the previous design description was just typical creative marketing. This guitar?s materials and craftsmanship are impressive. The back and sides are koa, the top purfling and rosette ring are thick inlaid abalone, and the decorative fretboard inlays include stylish stars at the third and seventh frets. Serial number: None Top: Spruce, natural finish Back and sides: Koa Neck: Mahogany Fretboard: Ebony Frets: 18 Bridge: Rosewood pin ?Aero Bridge? Tuners: Open gear machine with metal rollers and ivoroid buttons

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1893 Martin 0-42

Lot 144: 1893 Martin 0-42

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Description: During the 1880s and early 1890s, the only Style 42 guitar listed on Martin?s price list was the small size 2 model 2-42. However, during this period numerous customers ordered larger size 1 and size 0 guitars with Style 42 appointments and by 1899 and 1900 Martin produced the 0-42 in much larger numbers than their size 1 and 2 counterparts. Typically this model would have featured pearl inlays at the fifth, seventh, and ninth frets, but this example has no fretboard inlays at all. It does, however, have all of the other Style 42 appointments of the mid-1890s, including an ivory pyramid bridge, ivory friction tuners, and abalone purfling and rosette. The bridge pins and end graft inlay are also ivory. This guitar measures 13 ½ inches at the widest section of the body and comes with its original coffin-style case made by Martin. The inside of the guitar is stamped ?From Sherman Clay & Co., San Francisco? and the number 78 is handwritten inside the guitar as well. Serial number: 78 Top: Spruce Back and sides: Brazilian rosewood Neck: Spanish cedar Fretboard: Ebony Frets: 18 Bridge: Ivory pyramid pin Tuners: Ivory friction

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C. 1937 Washburn Style 5244 Inspiration Extra Super Auditorium

Lot 145: C. 1937 Washburn Style 5244 Inspiration Extra Super Auditorium

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Description: NO RESERVE. With its 16-inch wide, 4 ½-inch deep body and 25 ½-inch scale, this Regal-made Washburn Style 5244 is an impressive jumbo guitar with huge sound to match. This 5224 Inspiration is as handsome as it is big, with a rich sunburst finish, subtle curves, and simple, understated style. The herringbone rosette and mottled celluloid pickguard are its only flourishes of fancy. It?s an absolute shame that after World War II the Washburn brand ceased to exist and the Regal Company became a mere shadow of its former glory, as pre-war Regal-made Washburn flattop guitar designs showed tremendous potential as lower cost competitors to Gibson and Martin models. With its jumbo dimensions and mahogany back and sides, the 5244 could have been an affordable alternative to the Gibson SJ-200 with a mellower, less bass-heavy sound, but it was never produced in large enough numbers to truly compete. Serial number: None Top: Spruce, sunburst finish Back and sides: Mahogany Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge: Rectangular ebony pin Tuners: Three-on-a-plate open gear with white plastic buttons

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1956 Marcelino López Flamenco

Lot 146: 1956 Marcelino López Flamenco

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Description: NO RESERVE. Marcelino López Nieto is one of the most respected Spanish luthiers alive today, renowned for both his classical and flamenco instruments. Born in 1931, he opened his own guitar workshop in Madrid in 1947. Unlike most Madrid builders, he is not influenced by the popular Ramírez style and prefers the traditional building methods of Torres. This 1956 Marcelino López Flamenco is an exceptional concert guitar with a crisp, assertive voice and brilliant percussive attack. Apparently this guitar was purchased in Spain in 1957 by an American customer who took it home, as the interior has a U.S. Customs stamp that reads ?25 May, 1957, New Haven.? Label: Serial number 93, 1956 Top: Spruce with clear plastic golpeador Back and sides: Cypress Neck: Mahogany Fretboard: Ebony Frets: 19 Bridge: Tie block Tuners: Machine with engraved gold-plated baseplates and white pearloid buttons

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1954 Gibson L-5C

Lot 147: 1954 Gibson L-5C

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Description: The Gibson L-5 Premiere/L-5C certainly is one of the most visually elegant archtop guitars ever conceived. This 1954 example is particularly dazzling thanks to its beautiful sunburst finish and attractively figured curly maple neck, back, and sides. It has everything an archtop aficionado could want?gorgeous looks, incredible playability, and stellar tone. Serial number: A18062 FON: Y7123 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple with mahogany center strip Fretboard: Ebony Frets: 20 Bridge/tailpiece: Rosewood, gold-plated L-5 trapeze with silver-plated insert Tuners: Gold-plated Kluson Sealfast with plastic tulip-shaped buttons

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1955 D'Angelico New Yorker

Lot 148: 1955 D'Angelico New Yorker

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Description: John D?Angelico made very few true electric guitars with the pickups mounted directly to the top instead of floating above the top. The single-coil pickups on this 1955 D?Angelico New Yorker were acquired from Franz of Astoria, New York, which also supplied pickups to the Guild guitar factory of Hoboken, New Jersey, only a short distance across the Hudson River from D?Angelico?s workshop on Manhattan?s Lower East Side. This guitar is similar to the New Yorker models D?Angelico was making at the time with the exception of the pickups, controls and f-hole placement. Completed on December 22, 1955, this guitar was made for a customer with the last name Weber. Although the electric guitar quickly gained popularity during the 1950s, few guitarists ordered electric guitars from D?Angelico. The electronics of the time could not capture the detail and nuances of the acoustic tone that made D?Angelico guitars renowned, and most guitarists preferred to play acoustically instead of compromising and settling for a less stellar electric approximation. While this guitar may not deliver the signature D?Angelico acoustic sound when plugged in, it produces very warm, fat, and alluring electric tones that are perfect for jazz, blues, or even early rock and roll or rockabilly. With the exception of the pickups and controls, this guitar is essentially the same as the New Yorker models D?Angelico was making at the time. It has a cutaway body, 22-fret neck, and the usual deluxe appointments like gold-plated Grover Imperial tuners, a gold-plated D?Angelico stairstep tailpiece, and segmented pearl fretboard inlays. The rear of the headstock features an ebony overlay with a diamond-shaped inlay. The bindings are original, but the heel cap was replaced after the original one decomposed?a typical occurrence with certain plastic materials used to make instruments during this era. ?Vincent Gallo helped me find that guitar,? says Hank Risan. ?He got it from the original owner. D?Angelico made a lot of guitars for musicians in the New York region that stayed in the area, so it was good to have someone in New York to find guitars for me.? Risan was also friends with James D?Aquisto, who became D?Angelico?s apprentice in 1953. D?Aquisto told Risan that one of his earliest tasks was making truss rod covers like the one seen on this instrument. D?Aquisto learned every detail of D?Angelico?s craft from working side-by-side with him until D?Angelico passed away in 1964. Serial number: 2211 Top: Spruce, natural finish Back and sides: Maple Neck: Maple Fretboard: Ebony, segmented block inlays Frets: 22 Bridge/tailpiece: Ebony with pearl block inlays, gold-plated D?Angelico stairstep trapeze Tuners: Grover Imperial stairstep Other: Two Gretsch single-coil pickups with white plastic covers, three-position pickup selector switch, master volume and master tone controls

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C. 1899 Maurer Presentation

Lot 149: C. 1899 Maurer Presentation

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Description: Little is known about the years 1893 when August and Carl Larson established their stringed instrument building workshop and 1900 when August and some investors purchased Maurer and Company. It assumed that the Larsons either worked for Maurer or were contractors who built instruments for the company. This Maurer presentation guitar, which appears to date from 1899, is a fine example of the high level of craftsmanship that the Larson brothers produced early in their careers. It is thought that they ordered their intricate tree-of-life fretboard inlays as seen on this guitar from Germany. The inlay work elsewhere is equally impressive, particularly the etched inlays on either side of the bridge and the elegant diamond and arrowhead design set in black mastic used for the purfling, rosette, and back strip. The Brazilian rosewood back is particularly stunning, constructed of six bookmatched pieces arranged in an X pattern. Although this is a small parlor-style guitar, the ladder-braced top and reinforced bridge are strong enough to support steel strings. This guitar appears on page I of the color photo section of Robert Carl Hartman?s book, The Larsons? Creations. Serial number: None Top: Spruce, natural finish Back and sides: Brazilian rosewood Neck: Mahogany Fretboard: Ebony Frets: 18 Bridge: Ebony flattened pyramid pin Tuners: Slotted machine with ivoroid buttons

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1929 Martin 00-40H

Lot 150: 1929 Martin 00-40H

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Description: Unlike the other 00-40H in this auction, this 00-40H features the catalog specification-correct ebony pyramid bridge. The main distinguishing feature between a Martin style 40 guitar like this one and a style 42 is the lack of abalone inlays surrounding the edges of the end of the fretboard that contact the body. This example has raised bar frets instead of the flush fret markers usually found on this model, so it could be played in traditional Spanish style with a few minor setup adjustments. Serial number: 40202 Top: Spruce Back and sides: Brazilian rosewood Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge: Ebony pyramid pin Tuners: Waverly machine with engraved baseplates and white ivoroid buttons

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1918 Gibson Style O

Lot 151: 1918 Gibson Style O

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Description: This 1918 Style O guitar has several features that differ from the 1917 Style O in this auction. The headstock features a pearl inlaid diagonal ?The Gibson? logo and smaller fleur-de-lis design. Also included is a floating pickguard with a single support bar and three-on-a-plate tuners instead of individual tuners. Serial number: 47300 Top: Spruce, sunburst finish Back and sides: Birch Neck: Mahogany with walnut center strip Fretboard: Ebony Frets: 22 Bridge/tailpiece: Ebony, pin trapeze Tuners: Three-on-a-plate open gear with white plastic buttons

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1953 Gretsch 6040 Synchromatic

Lot 152: 1953 Gretsch 6040 Synchromatic

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Description: Gretsch hadn?t yet adopted the Cadillac-inspired Eldorado name for the 6040 model shown in their 1952-53 catalogue. This 1953 6040 looks so close to the guitar shown in that catalogue that it possibly could have been the example that Gretsch depicted. Noteworthy features include the crossed peghead inlay with ?Synchromatic? inscribed on the jagged-design crosspiece, mother-of-pearl ?slashed humptop? fretboard inlays, gold-plated Grover Imperial tuners with flat-surface stairstep buttons, and an abundance of multi-ply binding almost everywhere, including around the f-holes. This Gretsch 6040 is a fine full-body, 18-inch archtop guitar that any jazz guitarist would have been very proud to own and play during the 1950s (and still today). Serial number: 6824 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple Fretboard: Ebony Frets: 20 Bridge/tailpiece: Rosewood stairstep, gold-plated G cutout trapeze tailpiece Tuners: Gold-plated Grover Imperial with stairstep buttons

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1933 Epiphone De Luxe Masterbilt

Lot 153: 1933 Epiphone De Luxe Masterbilt

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Description: The De Luxe Masterbilt was Epiphone?s flagship guitar model from 1931 until late 1935, when the company introduced its Emperor model. Epiphone designed the De Luxe Masterbilt to compete with the Gibson L-5, selling it for the same $275 retail price and promoting it their catalog under the headline ?For those who want the best?. The De Luxe Masterbilt boasted a more elegant and upscale appearance than the L-5 thanks to its finely detailed mother-of-pearl diamond- and triangle-shaped fretboard inlays and inlaid flowers, vines, and model name banners on the asymmetrical headstock, which also features a beveled, multi-layer plastic overlay. Black and white trapezoidal purfling surrounds the top, and even the back of the headstock is bound. Only the unbound, three-segment f-holes seem like a cosmetic downgrade compared to the L-5. This example lacks the elevated, single-bound pickguard that originally shipped with the model. Serial number: 6682 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple with two mahogany center strips Fretboard: Rosewood Frets: 20 Bridge/tailpiece: Rosewood, gold-plated trapeze Tuners: Open gear gold-plated Grover G-98

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1963 José Ramírez Classical

Lot 154: 1963 José Ramírez Classical

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Description: Many of the world?s greatest classical guitarists, including Andrés Segovia, have played José Ramírez III guitars, but Ramírez guitars are also very popular with rock and pop players. Sometime during the early 1960s around the same time that this guitar was made, George Harrison of the Beatles purchased a José Ramírez III guitar, which he used to record the song ?And I Love Her? in February of 1964. Although this 1963 has the various innovations that José Ramírez developed for his discriminating concert performance clientele like Andrés Segovia and Julian Bream, it is equally well suited for Contemporary and Classical music alike. Label: 1963 Top: Spruce Back and sides: Rosewood Neck: Mahogany Fretboard: Ebony Frets: 19 Bridge: Tie block Tuners: Machine with gold-plated engraved baseplates and white pearloid buttons

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C. 1905-06 Washburn Style 340 Grand Concert

Lot 155: C. 1905-06 Washburn Style 340 Grand Concert

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Description: NO RESERVE. This Style 340 Grand Concert provides further evidence that no other company was mass-producing guitars fancier than Washburn?s various models around the turn of the century. By 1905 Washburn?s catalogue claimed that the company had made a total of 300,000 guitars, although this number likely included instruments that Lyon & Healy had also made for other brands. The most notable feature of this guitar is its engraved inlays on the headstock, fretboard, and bridge. The shading in the fretboard?s star and the sunbursts on the bridge make those inlays look almost three-dimensional. Washburn?s Grand Concert models from this era are similar in size to the dimensions of Martin?s 0-size guitars, featuring a 13 ¾-inch wide body and 25-inch scale. Serial number: 288138 Top: Spruce Back and sides: Brazilian Rosewood Neck: Mahogany Fretboard: Ebony Frets: 18 Bridge: Ebony flattened pyramid pin with engraved pearl inlays Tuners: Open gear machine with white ivoroid buttons

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1960 Gibson J-200N

Lot 156: 1960 Gibson J-200N

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Description: NO RESERVE. The 1960 J-200 is the last of the great ?50s-era J-200 guitars, as in late 1960 Gibson began to change the saddle design in ways that adversely affected the instrument?s tone. This example features the desirable traditional saddle, which Gibson briefly replaced on later 1960 J-200s with an adjustable-height saddle. By 1961 Gibson embedded a metal Tune-o-matic bridge with individually adjustable saddles into the rosewood moustache bridge, which reduced the guitar?s volume output somewhat. This example features the gold-plated Grover Rotomatic tuners that started appearing on this model in 1959. Featuring the optional blonde finish, traditional saddle, and attractively figured maple, this 1960 J-200 is a fine example of Gibson?s most desirable jumbo maple flattop model. Serial number: A34442 Top: Spruce, natural finish Back and sides: Maple Neck: Maple with rosewood center strip Fretboard: Rosewood Frets: 20 Bridge: Moustache-shaped rosewood pin with four pearl inserts Tuners: Gold-plated Grover Rotomatic

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1941 Gibson ES-300

Lot 157: 1941 Gibson ES-300

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Description: NO RESERVE. When it comes to pre-war electrics, few guitars are more beautiful than this blonde ES-300. Its design is simple and elegant, and the natural finish highlights every detail of the grain of the high-quality tonewoods used for its construction. The enclosed Kluson Deluxe tuners may indicate that this guitar was possibly one of the 50 or so ES-300 guitars completed during 1942 through 1944, when the United States was actively involved in World War II. Serial number: 97147 FON: 3369G Top: Spruce, natural finish Back and sides: Maple Neck: Maple with mahogany center strip Fretboard: Rosewood Frets: 20 Bridge/tailpiece: Rosewood, nickel-plated trapeze with arrows and diamond motif Tuners: Nickel-plated enclosed Kluson Deluxe with metal buttons Other: Small diagonal single-coil pickup, master volume and tone controls

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C. 1939 Recording King Model 1027 Ray Whitley

Lot 158: C. 1939 Recording King Model 1027 Ray Whitley

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Description: Recording King was Montgomery Ward?s in-house brand name for guitars and other stringed instruments they sold in the 1930s. Kay and Regal made Recording King instruments, but the highest quality Recording King guitars were made by Gibson. Recording King even sold artist models bearing the names of several famous Gibson players, including Carson Robison, Roy Smeck, and Ray Whitley. Recording King introduced two Ray Whitley guitar models in 1939?the Model 1027 and Model 1028?both built by Gibson. The Model 1027 seen here is the fancier of the two, featuring fancy fretboard inlays, Whitley?s signature on the headstock, the distinctive ?batwing? bridge, and rosewood back and sides. Serial number: EA614 Top: Spruce, sunburst finish Back and sides: Rosewood, possibly Brazillain Rosewood Neck: Mahogany Fretboard: Rosewood Frets: 19 Bridge: Rosewood ?flying bat? pin Tuners: Nickel-plated Grover G-98 open gear with metal buttons

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1941 Gibson SJ-200

Lot 159: 1941 Gibson SJ-200

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Description: Here is a very rare pre-war Gibson SJ-200 with the desirable East Indian Rosewood back and sides. Gibson made only about 100 rosewood SJ-200 guitars before the maple version went into production, so in addition to being very desirable for the tonal qualities of its rosewood back and sides it?s also quite collectible due to its rarity. This is also the variant with the single-piece saddle that replaced the six individual height-adjustable saddles found on the earliest SJ-200 guitars during the late ?30s. But this particular SJ-200 has another attribute that makes it even more rare and desirable, as it once belonged to guitarist Stephen Stills, best known for his work with Crosby, Stills, Nash & Young and Buffalo Springfield. Although Stills was best known for playing Martin acoustics, he has long owned an impressive guitar collection that also included a few SJ/J-200 guitars. In the early ?70s he was occasionally photographed playing one of his Gibson SJ- or J-200 guitars on stage during concert performances with Crosby, Stills, Nash & Young. In the January 1976 issue of Guitar Player magazine, which features a cover feature on Stills and his collection, two J-200 guitars are listed: one with a 1962 serial number and another without a serial number. The latter could have been this particular guitar, as the writer apparently didn?t know to look inside the guitar at the neck block for the FON stamp. In that article, Stills also mentions a sunburst 1947 SJ-200 with serial number A1111 that was stolen in Cleveland in 1975. Even without the Stephen Stills association, this guitar is exceptionally desirable. The rosewood back and sides deliver brilliant, balanced tone and assertive volume output with warm bass but without the thin and comparatively shrill treble of the maple version.FON: 4804G stamped on neck block Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple with rosewood center strip Fretboard: Ebony Frets: 20 Bridge: Moustache-shaped rosewood pin with four pearl inserts Tuners: Gold-plated Kluson Sealfast with plastic pearloid tulip-shaped buttons

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1952 Edgar Mönch Classical

Lot 160: 1952 Edgar Mönch Classical

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Description: NO RESERVE. Edgar Mönch started building classical guitars in the 1940s in Munich, Germany. In 1965 he moved his workshop to Toronto, Canada, where he trained Jean Larrivée (of Larrivée Guitars) how to make guitars, but in the early ?70s he returned to Germany where he established his shop in Freiburg. Mönch?s guitars feature conventional Torres-style fan bracing and are inspired by the designs of Hermann Hauser. The tone of his 1950s instruments is described as similar to the classical guitars made by Hermann Hauser II during the same period. Built in 1952, this guitar has a loud, commanding voice that is ideal for concert performance thanks to its Brazilian rosewood back and sides. Julian Bream and John Williams played Mönch guitars during their careers, and this guitar is certainly worthy of players of their caliber. Label: Sobrinos de Domingo Esteso/Construcción de guitarras/Gravina 7 Madrid; ?Para Enrique Ruiz de sus amigos Conde? and ?1962? handwritten on label Top: Spruce with golpeadores Back and sides: Cypress Neck: Mahogany Fretboard: Ebony Frets: 19 Bridge: Tie block Tuners: Machine with engraved baseplates and carved pearl buttons

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1953 Martin D-18

Lot 161: 1953 Martin D-18

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Description: NO RESERVE. Martin D-18 guitars from the mid-1950s like this one are the dreadnought flattops of choice for many pros. Country stars Brad Paisley and Keith Urban are just a few recent examples of players who often use mid-?50s Martin D-18 guitars to record rhythm tracks in the studio. The tone of this 1953 D-18 is particularly powerful, sweet, and instantly recognizable for its classic Martin dreadnought sound. Serial number: 128988 Top: Spruce Back and sides: Mahogany Neck: Mahogany Fretboard: Rosewood Frets: 20 Bridge: Rosewood belly pin Tuners: Enclosed nickel-plated Kluson Deluxe with metal buttons

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1951 Epiphone De Luxe Regent

Lot 162: 1951 Epiphone De Luxe Regent

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Description: In 1950, Epiphone temporarily increased the size of the De Luxe model?s body width to 18 ½ inches, the same as their Emperor model, but the size returned to 17 3/8 inches in 1952. This 1951 De Luxe Regent dates from this very brief period when the De Luxe and Emperor were almost identical with the exception of a few minor details. The most instantly recognizable difference is their fretboard inlays, the De Luxe having single-piece clouds while the Emperor had unsegmented three-piece blocks with abalone shell ?V? inserts. According to the collector, this guitar originally belonged to jazz guitarist Johnny Smith and he purchased it from Smith?s brother. The floating DeArmond pickup and pickguard-mounted master volume and master tone controls are customizations that Smith had installed on the guitar. Serial number: 62762 Top: Spruce, natural finish Back and sides: Maple Neck: Maple with mahogany center strip Fretboard: Rosewood Frets: 20 Bridge/tailpiece: Rosewood, gold-plated Frequensator Tuners: Gold-plated Epiphone ?E? with marbeloid buttons Other: Floating DeArmond neck pickup; master volume, master tone, and switch mounted on pickguard

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1953 Gretsch 6039 Fleetwood Synchromatic

Lot 163: 1953 Gretsch 6039 Fleetwood Synchromatic

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Description: NO RESERVE. The Gretsch 6038/6039 Fleetwood was an intermediate model introduced in 1951, taking place in the Gretsch catalogue between the previous Synchromatic 300 and 400 models, which became known as the 6036/37 Synchromatic 300 and 6040/41 Eldorado. This potentially one-of-a-kind variant has an 18-inch body instead of the Fleetwood model?s standard 17-inch body, which makes it yet another intermediate between the Fleetwood and Eldorado that combines attributes of both. Gretsch archtops guitars with 18-inch bodies have tone and volume projection comparable to the D?Angelico New Yorker, Epiphone Emperor, and Gibson Super 400 guitars. The materials and workmanship on this example are top-notch as well, particularly the flame figuring on the back and neck and the attention to detail seen in the ?slashed humptop? fretboard inlays.Serial number: 8850 Top: Spruce, natural finish Back and sides: Maple Neck: Maple Fretboard: Rosewood Frets: 20 Bridge/tailpiece: Rosewood stairstep, gold-plated G cutout trapeze tailpiece Tuners: Gold-plated Grover Imperial with stairstep buttons

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1994 Martin D-45GA

Lot 164: 1994 Martin D-45GA

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Description: Here is another one of the 66 D-45GA Gene Autry artist guitars that Martin made in 1994. Like the other example, this guitar - which is no. 34 of 66 - also has an Adirondack Spruce top and Brazilian Rosewood back and sides, and it is the version based on Autry?s original model featuring his name inlaid in script lettering on the fretboard. The only major difference between this and the other example would be the tuners, which are nickel-plated on this guitar and gold-plated on the other. In addition to ordering the first D-45 from Martin and boosting the model?s success thanks to his film appearances, Autry also was one of the first performers to own and play the Gibson SJ-200. He also owned and played a 1937 Euphonon. Autry played a very important early role in both the development and success of the jumbo flattop guitar. Serial number: 543098 Top: Spruce Back and sides: Brazilian Rosewood Neck: Mahogany Fretboard: Ebony Frets: 19 Bridge: Ebony belly pin Tuners: Nickel-plated Waverly open gear

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1928 Martin 00-45

Lot 165: 1928 Martin 00-45

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Description: With a body size less one inch narrower than Martin?s 000 size models, Martin 00-45 guitars made in the late 1920s could be considered a fine alternative to the 000-45 except that the 00 variant is much more rare. In 1928 when Martin made this 00-45, they produced only 12 of them compared to the twenty-five 000-45 guitars they built that year. Between 1929 and 1939 when production of the 00-45 ceased, Martin made only another 13. Meanwhile during that same time frame, Martin made 141 these guitars?more than ten times as many! This 00-45 shows the incredible talent of the craftsmen Martin employed at the time. The inlay work draws the most immediate attention, particularly the torch inlay pattern on the guitar?s slotted headstock. Slotted diamond and snowflake inlays appear at the first, third, fifth, seventh, ninth, twelfth, fifteenth, and seventeenth frets, and abalone surrounds just about every conceivable line on the entire body, including the soundhole, top, fretboard edges along the body, sides, and back. Beautiful handcrafted wood marquetry adorns the back center strip. The materials used for this 00-45?s construction were the finest that Martin had on hand. The ebony fretboard is a deep, jet black, while the Brazilian rosewood used for the back and sides has a rich, chocolate brown hue and impossibly arrow-straight grain patterns. The grain of the Adirondack spruce top is very tight and similarly straight. Built during the period when Martin began to use reinforced construction to support the use of steel strings, this guitar has an ideal balance between a light, responsive build and the durability necessary for accommodating steel strings. It is strung with light-gauge Thomastik strings made to custom specifications to replicate the materials and string manufacturing methods that were used during the late 1920s. The guitar has a sweet, melodious voice and perfectly balanced response, which makes this guitar an incredible fingerstyle instrument. The larger 000-45 may overshadow its smaller 00-45 brother, but that is probably because so few guitarists have had the rare privilege of playing an original 00-45. Serial number: 37424 Top: Spruce Back and sides: Brazilian rosewood Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge: Ebony pyramid pin Tuners: Waverly machine with engraved baseplates and white ivoroid buttons

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C. 1937 Washburn Style 5246 Solo Large Auditorium

Lot 166: C. 1937 Washburn Style 5246 Solo Large Auditorium

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Description: NO RESERVE. This Washburn Style 5246 was made by Regal. At 15 ¼-inches wide, it?s not quite as big as Washburn?s Extra Super Auditorium models made at the same time, but like them it has similar body shape and comparable tone. The Brazilian Rosewood back and sides give this guitar crisp attack and brilliant treble. This guitar features typical Regal-made Washburn appointments for the era: headstock overlay with radial lines, ?smile? bridge, four simple dot fretboard inlays, and a 20-fret neck. Serial number: 399 Top: Spruce Back and sides: Brazilian Rosewood Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge: Ebony ?smile? pin Tuners: Three-on-a-plate open gear with white plastic buttons

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1951 Martin D-18

Lot 167: 1951 Martin D-18

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Description: NO RESERVE. Like the other 1951 D-18 in this auction, this guitar has a fair amount of playing wear. It also has its original sealed Kluson Deluxe tuners. Serial number: 121805 Top: Spruce Back and sides: Mahogany Neck: Mahogany Fretboard: Rosewood Frets: 20 Bridge: Rosewood belly pin Tuners: Enclosed nickel-plated Kluson Deluxe with metal buttons

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C. 1930 Prairie State 427

Lot 168: C. 1930 Prairie State 427

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Description: NO RESERVE. This Prairie State 427 dates a few years later than the other 427 in this auction, but it is very similar to the other example, featuring engraved inlays and multi-colored marquetry. The bookmatched Brazilian Rosewood on this example?s back is very attractively figured, and the trademark Prairie State stabilizing tube is visible inside the soundhole. This guitar?s previous owner scratched his (or her) name, C.W. Short, in cursive handwriting on the upper bass bout. Serial number: 522 Top: Spruce Back and sides: Brazilian Rosewood Neck: Mahogany Fretboard: Ebony Frets: 19 Bridge: Ebony flattened pyramid pin Tuners: Waverly open gear with white plastic buttons

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1927 Gibson L-5

Lot 169: 1927 Gibson L-5

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Description: Cartoonist Robert Crumb, best known for his underground Zap comics and countercultural characters Fritz the Cat and Mr. Natural, formed the band R. Crumb and His Cheap Suit Serenaders in the 1970s. They fashioned themselves an old-time-style string band that performed music from and inspired by the 1920s. In addition to Crumb, who played banjo and sang lead vocals, initial members of the Cheap Suit Serenaders included guitarist Robert Armstrong, also a cartoonist best known for his Mickey Rat comics, Al Dodge (mandolin, violin), and cellist Terry Zwigoff. This quartet released its first album, R. Crumb and His Cheap Suit Serenaders, in 1974, followed by R.Crumb and His Cheap Suit Serenaders #2 in 1976. In 1978 the band added two members to its lineup?slide guitarist extraordinaire Bob Brozman and Tony Marcus (guitar, fiddle)?and released R. Crumb and His Cheap Suit Serenaders #3. The group?s records and concert performances are noteworthy for their authentic 1920s sound, stylistic breadth that encompasses jazz, blues, Cajun, and Hawaiian, and period-correct instruments, most of which were purchased from esteemed vintage instrument dealer Jon Lundberg, who sold and restored instruments from his Berkeley, California shop starting in the 1960s. Robert Armstrong often played this 1927 Gibson L-5 as a member of the Cheap Suit Serenaders. This L-5 was probably built in early 1927, as it does not have the third-fret dot fretboard inlay that started to appear on the L-5 model later that year. In 1992, Armstrong and all of the other members of the Cheap Suit Serenaders except Crumb posed for a photo where they were all holding L-5 guitars that they each owned individually. Armstrong is seen holding this particular guitar in that photo. The neck on late-1920s L-5 guitars is not as bulky as it was on Loar-era L-5s, which makes them fine playing instruments for modern guitarists. The tone of L-5 guitars from this era is punchy and brilliant, partially thanks to the maple back and sides. The figuring of the curly maple neck and back on this example is particularly attractive and complemented by the warm amber glow of the sunburst finish. Serial number: 84677 FON: 9306 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple with walnut center strip Fretboard: Ebony Frets: 20 Bridge/tailpiece: Ebony, gold-plated trapeze Tuners: Gold-plated open gear three-on-a-plate Waverly with engraved base plates and pearloid buttons

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1933 Gibson L-5

Lot 170: 1933 Gibson L-5

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Description: NO RESERVE. Here is a 1933 L-5 produced during the last full year when Gibson made the model with a 16-inch body. Previous owner Frank M. Scully had his name engraved on the truss rod cover with the engraving likely done at the Gibson factory as many other Gibson guitars from the thirties have the same style font and decorations, notably the Ray Whitley L-00 ¾ custom guitar also sold in this auction.Serial number: 91100 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple with walnut center strip Fretboard: Ebony with pearl block inlays Frets: 19 Bridge/tailpiece: Ebony, gold-plated trapeze Tuners: Gold-plated

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C. 1900'S Washburn Style 167 Presentation

Lot 171: C. 1900'S Washburn Style 167 Presentation

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Description: NO RESERVE. This diminutive Washburn guitar, which measures only 12 ½ inches across the lower bout, appears to have been made around the turn of the 20th century. It has numerous features in common with the Style 167 model that Washburn offered at the time, but the exceptionally wide pearl top purfling and rosette ring, unusual headstock and fretboard inlays, and lack of a serial number suggest that this was a presentation instrument likely built for one of the numerous World?s Fairs taking place in the United States during that period. It also has a flattened pyramid bridge instead of the Durkee bridge typically appearing on the Style 167 at that time. As exemplified by this rare guitar, the craftsmanship seen in Lyon & Healy?s Washburn line of guitars was outstanding. Washburn and Martin dominated the guitar market in the United States at the turn of the century, and it?s likely that Martin introduced its style 45 in 1904 to compete with Washburn?s ornate instruments like this one. Serial number: None Top: Spruce Back and sides: Brazilian Rosewood Neck: Cedar Fretboard: Ebonized Frets: 18 Bridge: Ebony flattened pyramid pin Tuners: Open gear machine with ivoroid buttons

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1997 Martin Custom Shop D-45 Deluxe

Lot 172: 1997 Martin Custom Shop D-45 Deluxe

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Description: The D-45 remained Martin?s fanciest dreadnought model from its introduction in 1933 until the late 1980s and early ?90s when Martin introduced a variety of limited-edition models, including the 1993 D-45 Deluxe. Vintage guitar dealer Norm Harris of Norman?s Rare Guitars in Tarzana, California went even further beyond the D-45 Deluxe when he placed an order for this custom D-45, which Martin made for him in 1997. This custom D-45 has ?tree of life? inlays on the fretboard and vine pickguard inlays that are similar to those on the earlier D-45 Deluxe, but this guitar?s headstock also has a ?torch? inlay inspired by early 45-Style Martins instead of the vertical C.F. Martin logo and considerably more elaborate vine inlays on the bridge. The detail in the engraving work on the gold-plated Waverly tuners is particularly impressive. Serial number: 596413 Top: Spruce Back and sides: Brazilian rosewood Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge: Ebony belly pin Tuners: Gold-plated Waverly open gear with engraved buttons

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C. Late 1940's Gretsch 125F Jumbo Synchromatic

Lot 173: C. Late 1940's Gretsch 125F Jumbo Synchromatic

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Description: NO RESERVE. If you prefer guitars that are unusual, gorgeous, and rare, this Gretsch 125F Jumbo Synchromatic certainly fills the bill. In addition to being a rare 1940s 17-inch Gretsch flattop with a triangular soundhole and pre-war ?lightbulb?-style headstock shape with the ?Synchromatic? name positioned above the A and B string tuners, it also has an uncommon and uncommonly beautiful optional translucent white finish. Jazz guitarist Johnny Smith is credited with developing the distinctive triangular-shaped soundhole in the late Thirties, as seen on this model. However, guitarist Harry Volpe is more closely associated with this style of guitar as he was frequently photographed with a Synchromatic 400 archtop with this feature. Serial number: 2399 Top: Spruce, translucent white finish Back and sides: Maple Neck: Maple Fretboard: Rosewood Frets: 20 Bridge: Triangular rosewood base, rosewood height-adjustable bridge, nickel-plated diagonal ?harp?-style string anchors Tuners: Nickel-plated open gear Grover G-98 with metal butter bean buttons

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1935 Santos Hernandez Flamenco

Lot 174: 1935 Santos Hernandez Flamenco

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Description: Santos Hernandez (1874-1943) is one of the greatest Spanish guitar luthiers from the first-half of the 20th century. He started his career working for Manuel Ramírez, and it is believed that he built the 1912 Manuel Ramírez guitar that was Andrés Segovia?s primary instrument until 1938. Hernandez made an estimated 300 Classical and Flamenco guitars under his own name. Santos Hernandez flamenco guitars like this 1935 example are notable for their low action and outstanding playability. The attack is instantaneous and its output is impressively powerful. Hernandez?s flamenco guitar construction was influenced by the work of Antonio de Torres although he also developed his own innovations, such as a harmonic downward sloping bar placed under the soundboard that enhances treble frequencies. Many influential flamenco guitarists have played Santos Hernandez guitars, including Ramón Montoya and Sabicas. FON: 3369G Label: ?Santos Hernandez, Luthier, año 1935, Madrid, Aduana 27? Top: Spruce with white golpeador Back and sides: Cypress Neck: Spanish cedar Fretboard: Ebony Frets: 19 Bridge: Tie block Tuners: Machine with white ivoroid buttons

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1941 Gibson ES-300

Lot 175: 1941 Gibson ES-300

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Description: NO RESERVE. The second variant of the Gibson ES-300 was essentially identical to the first variant with the exception of its smaller pickup. While this pickup was also mounted diagonally, it did not produce the somewhat extreme tonal color variations from string to string that the previous version did. Another minor cosmetic change seen on this example is the raised triple parallelogram motif on the trapeze tailpiece instead of the more common arrows and diamond pattern. This is also one of the few Gibson ES-300 guitars featuring the optional sunburst finish, which Gibson starting offering in the Fall of 1941. Serial number: 97045 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple with mahogany center strip Fretboard: Rosewood Frets: 20 Bridge/tailpiece: Rosewood, nickel-plated trapeze with raised triple parallelogram motif Tuners: Nickel-plated Kluson open gear with metal buttons Other: Small diagonal single-coil pickup, master volume and tone controls

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1947 Epiphone De Luxe

Lot 176: 1947 Epiphone De Luxe

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Description: Although the Emperor overshadowed Epiphone?s De Luxe model, the De Luxe remained a popular choice both for its lower price and slightly smaller 17 3/8-inch body width, which is more comfortable to play that the Emperor?s mammoth 18 ½-inch body. Beyond its smaller body size and single-piece mother-of-pearl cloud inlays, there is little else that separates the De Luxe from its bigger brother. This 1947 De Luxe offers a rich, warm dark brown sunburst finish and gorgeously figured curly maple back. The original pickguard is missing, but it still has the stock Frequensator tailpiece and enclosed gold-plated ?E? logo tuners with marbeloid buttons.Serial number: 56324 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple with two mahogany center strips Fretboard: Rosewood Frets: 20 Bridge/tailpiece: Rosewood, gold-plated Frequensator Tuners: Gold-plated Epiphone ?E? with marbeloid buttons

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1936 Regal Custom

Lot 177: 1936 Regal Custom

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Description: Lulu Belle and Scotty, also known as The Sweethearts of Country Music, were popular country music stars during the 1930s and ?40s, best remembered for their performances on Chicago?s National Barn Dance WLS radio broadcasts. Lulu Belle, whose real name was Myrtle Eleanor Cooper Wiseman Stamey, retired from performing in the 1950s but later reemerged in the public eye when she was elected to the House of Representatives of North Carolina?s State General Assembly for two terms from 1975 through 1979. In 1936, Lulu Belle was photographed with this possibly one-of-a-kind Regal guitar while performing at the Illinois State Fair. The guitar looks identical to a guitar Red Foley was photographed with earlier, and since the two previously worked together it is highly possible that Foley gave Lulu Belle the same guitar. The incredible Art Deco headstock shape, pickguard, and bridge featuring a unique center dip have only been seen on this guitar and another duplicate featuring a natural finish. Both of these guitars were owned by Lulu Belle, which suggests they were custom made. Serial number: None Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple Fretboard: Ebony Frets: 20 Bridge: Ebony ?eagle wing? pin Tuners: Gold-plated Grover G-98 open gear with metal buttons

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1914 Martin 1-27

Lot 178: 1914 Martin 1-27

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Description: Martin's Style 27 guitars do not conform to the company's designation system where the models become fancier as the style number increases. Here is a Style 27 guitar, yet with its pearl trim it is much fancier than Martin's Style 28 instruments. The reason for the discrepancy is that during the 1850s and 1860s when Martin adopted the style designation, each body size was accompanied by its own separate set of style numbers that also reflected the model?s price. Style 28 was only used on larger models, and since Martin?s larger models were also more expensive, the fancier Style 27 became an anomaly. By 1898 when Martin was making numerous body sizes with the same style designations, Style 27 guitars became more expensive than Style 28 guitars. Martin's style and size designations also made it easier for customers to order custom instruments. With its ivory binding, marquetry purfling, trio of snowflake fretboard inlays, and pearl rosette, this 1-27 exudes elegant charm. Serial number: 11920 Top: Spruce Back and sides: Brazilian Rosewood Neck: Spanish cedar Fretboard: Ebony Frets: 19 Bridge: Maple, Ebony pyramid pin Tuners: Waverly machine with white ivoroid buttons

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C. Late 1930's Larson Hispana

Lot 179: C. Late 1930's Larson Hispana

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Description: Unlike most guitar makers during the early 20th century, August and Carl Larson often built experimental instruments throughout their careers instead of just refining previously-established designs. This very unusual flattop guitar, custom made for Rivera Modesto and called the Hispana, is one such example of the visionary work the Larsons produced after they were long established as premier luthiers. This guitar?s most notable feature is its patented bridge and tailpiece design, with its archtop-style floating bridge and classical guitar-style tailpiece that anchors the strings above the soundboard. Modesto affixed a sticker with the patent number 2,208,391 on the tailpiece sometime after his patent was granted in 1940. Also unusual is how the neck meets the body at the 15th fret and the guitar has a total of 24 frets, which is uncommon for a flattop acoustic even today. Apparently the bridge/tailpiece were not Modesto?s only innovation. The generous inlay work (including the Larson?s trademark single letter on the headstock, in this case an ?H?) and abalone purfling exemplify the Larson brothers? work. Even the tortoiseshell pickguard is inlaid into the top. This guitar appears on page X of the color photo section of Robert Carl Hartman?s book, The Larsons? Creations. Serial number: None Top: Spruce, natural finish Back and sides: Brazilian rosewood Neck: Mahogany with decorative center strip Fretboard: Ebony Frets: 24 Bridge: Patented Rivera Modesto design Tuners: Nickel-plated open gear Grover G-98 with metal buttons

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1862 Antonio de Torres Classical

Lot 180: 1862 Antonio de Torres Classical

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Description: It is probably impossible to overstate the importance of Spanish master luthier Antonio de Torres (1817-1892). His influential designs transformed the guitar from a meek, polite instrument suitable only for the confines of small parlors, drawing rooms, and cantinas into a powerful instrument with a dynamic voice capable of filling a concert hall. More of an innovator than inventor, Torres took pre-existing elements like fan bracing, a larger body size, and domed top and refined and improved the instrument?s overall design through painstaking attention to the finest details. Torres built guitars during two separate periods: first from the 1850s through 1869 in his workshop in Sevilla and during his ?segunda época? from 1875 through 1892 in Almería. He first came to national prominence in 1858 when he won a bronze medal at that year?s Sevilla Exhibition for a guitar featuring beautiful ornamental wood inlay work and highly figured bird?s eye maple that he chose to exhibit. But even though Torres? guitars were prized by influential early concert guitar masters like Julián Arcas, Miguel Llobet, and Francisco Tárrega, Torres often struggled financially as a luthier, which may explain his six-year absence from the craft. During his lifetime he built an estimated 300 guitars, but the number of instruments that still remain are estimated to be half to a third of that quantity. This 1862 guitar has many presentation features similar to Torres? prize-winning instrument from the 1858 Sevilla Exhibition. The three-piece back and bookmatched sides are exquisitely figured Bird?s Eye maple, and the large Spanish rosette, wide top purfling, and headstock inlays exhibit incredible detail in the wood marquetry. The French-made Jerome tuners have elegant engraved patterns, and the tuner buttons, rollers, and nut are ivory. The tie bridge is surprisingly understated compared to the rest of the guitar and other known high-grade Torres instruments built around this time, featuring only simple dots on either side of the bridge. The interior label is somewhat faded from time, but Torres?s name and workshop address are still legible, as is the handwritten ?2? completing the pre-printed decade notation. Unlike many existing Torres guitars, this guitar does not appear to have undergone extensive repairs and restorations. The current owner purchased this incredible Torres guitar from María Luisa Anido, who also at one point also owned Torres?s personal instrument from 1864.Label: Por D. Antonio de Torres, Sevilla, Calle de la Cerrajería, número 32, Año de 1862 Top: Spruce Back and sides: Bird?s Eye maple Neck: Spanish cedar Fretboard: Ebony Frets: 19 Bridge: Tie block Tuners: Jerome machine with engraved baseplates, ivory buttons, and ivory rollers

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1949 Gibson L-5CNE

Lot 181: 1949 Gibson L-5CNE

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Description: Gibson hollowbody electric guitars featured stiff, laminated tops to prevent excessive vibration that causes top-mounted pickups to feed back easily. When Gibson hired Ted McCarty as its new general manager in 1948, one of the first innovations he introduced was a pickup system called the ?Finger Rest? (also known to collectors as a McCarty pickup), where the pickup and controls were all mounted on a floating pickguard suspended above the top where the pickup wouldn?t be affected by the top?s vibrations. This blonde 1949 L-5C features a rare, original Finger Rest pickup/pickguard assembly, which Gibson offered as an option. This early post-war example is also notable for its early example of the diagonal Gibson logo in the modern style, a slight variation of which Gibson still uses today. While the 1939 and some early post-war examples of the cutaway L-5 are called L-5 Premiere models, in 1949 Gibson shortened the name to the L-5C. The full official name of this example is the L-5CNE to designate the cutaway, natural finish, and electric Finger Rest system.Serial number: A2995 Top: Spruce, natural finish Back and sides: Maple Neck: Maple with mahogany center strip Fretboard: Ebony with pearl block inlays Frets: 20 Bridge/tailpiece: Rosewood, gold-plated L-5 trapeze with silver-plated insert Tuners: Gold-plated Kluson Sealfast with plastic tulip-shaped buttons Other: McCarty floating Fingerrest single-coil pickup, volume, and tone control mounted in pickguard

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1958 Gibson J-200

Lot 182: 1958 Gibson J-200

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Description: NO RESERVE. Gibson?s J-200 model enjoyed immense popularity during the 1950s, and one look at this example is all it takes to realize why. It is simply one of the most beautiful flattop acoustic guitars that Gibson ever made. The sunburst finish on this 1958 J-200 is particularly stunning with its deep, rich dark brown edges virtually fading to a warm amber glow in the center. Two of the Kluson Deluxe tuners? plastic tulip-shaped buttons on this guitar have shrunken and cracked?a common occurrence with many Kluson tuners made after late 1958 when the chemical composition for the plastic changed. Serial number: A27587 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple with rosewood center strip Fretboard: Rosewood Frets: 20 Bridge: Moustache-shaped rosewood pin with four pearl inserts Tuners: Gold-plated Kluson Deluxe with plastic pearloid tulip-shaped buttons

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1925 Gibson L-5

Lot 183: 1925 Gibson L-5

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Description: This L-5 was made in 1925, the year after the model?s main designer, Lloyd Loar, left Gibson. This L-5?s overall design is similar to the Master Model L-5 guitars that Loar oversaw prior to his departure, but Gibson made a few significant changes, such as upgrading the nickel-plated parts to gold-plated and using maple for the back instead of birch. It also lacks the Virzi Tone Producer, which disappeared from L-5 production models around the same time of Loar?s departure from the company. Many players feel that the change to a maple back and elimination of the Virzi Tone Producer improved the L-5?s tone and projection. Serial number: 81707 FON: 8688 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple Fretboard: Ebony Frets: 20 Bridge/tailpiece: Ebony, gold-plated trapeze Tuners: Gold-plated open gear three-on-a-plate Waverly with engraved base plates and mother of pearl buttons

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C. 1930 Stahl Mandolin

Lot 184: C. 1930 Stahl Mandolin

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Description: NO RESERVE. The exact maker of this Wm. C. Stahl mandolin is the subject of debate. Some believe that the Regal built it, but others believe that it was crafted by another Chicago-based manufacturer, the Larson brothers. What is known is that on September 8, 1914, the U.S. government granted Frank Kodrick patent number 46,366 for this specific flat-back body design. Regal made several models with this distinctive asymmetrical body shape, including the No. 107 that even had the same headstock shape seen in Kodrick?s patent application and the simplified Ramona and Sultana Grand models that Regal made for B&D (Bacon & Day). However, this example?s headstock inlays, binding, and overall craftsmanship are more consistent with the Larson brothers? work during the early 1930s time frame. The Larsons also did a considerable amount of contract work for Wm. C. Stahl during the 1920s and ?30s. Regardless of who made it, this mandolin is a beautiful piece of instrument artistry, with a vividly colorful pearl rosette, finely detailed inlay work, and stunningly figured Brazilian Rosewood. The rear headstock tuner plate and tailpiece cover feature attractive engraving. Serial Numer: 30534 Top: Spruce Back & Sides: Brazillian Rosewood Neck: Mahogany Fretboard: Ebony Frets: 22 Bridge/tailpiece: Ebony, nickel-plated engraved tailpiece cover Tuners: Nickel-plated engraved backplate

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1936 Epiphone Emperor

Lot 185: 1936 Epiphone Emperor

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Description: This is a gorgeous Epiphone Emperor from the model?s first year of production. It is likely one of the first Epiphone guitars to feature the company?s trademark Frequensator tailpiece, which has remained a fixture of many Epiphone models ever since its introduction in late 1936. Notable details of this Emperor include its asymmetric peghead, 9-ply body binding, and 3-segment mother-of-pearl block inlays with V-inserts at the first, third, fifth, ninth, and twelfth frets. The single-piece 15th fret block inlay on this example has the name of its original owner Edward Fischer engraved on it. Serial number: 10450 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple with three mahogany center strips Fretboard: Ebony Frets: 20 Bridge/tailpiece: Ebony, gold-plated Frequensator Tuners: Open-gear, gold-plated Grover G-98

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1941 Gibson SJ-100

Lot 186: 1941 Gibson SJ-100

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Description: In addition to looking quite striking with its milk chocolate brown hues, the mahogany back and sides on this 1941 Gibson SJ-100 give this guitar warm, mellow tone that tames the aggressive bass normally associated with jumbo 17-inch acoustic flattop guitars. Whereas rosewood and maple SJ-style guitars are outstanding rhythm instruments, the SJ-100 is a better choice for fingerstyle players who prefer balanced tone across the instrument?s frequency range. FON: 5155G stamp on neck block Top: Spruce, sunburst finish Back and sides: Mahogany Neck: Mahogany Fretboard: Rosewood Frets: 20 Bridge: Rosewood ?flying bat? pin Tuners: Nickel-plated open gear Grover G-98 with metal buttons

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C. 1935 Oahu Model 69K De Luxe Jumbo

Lot 187: C. 1935 Oahu Model 69K De Luxe Jumbo

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Description: Harry Stanley and George Bronson formed the Oahu Company in Flint, Michigan during the late 1920s to capitalize on the Hawaiian guitar craze. In 1930 Stanley took solo ownership of the company and moved operations to Cleveland, Ohio, where the company remained until 1968. Most of the instruments that Oahu sold were aimed at Hawaiian steel players, but they also offered Spanish-style round-neck guitars, like this mid-1930s model 69K De Luxe Jumbo. Quite impressive both in craftsmanship and tone, these guitars were likely built under contract in Chicago by Regal. The inlay work on the fretboard and headstock is tasteful, and the pearl purfling and rosette ring are attractive. This is an early version of the 69K featuring maple back and sides, whereas later versions were rosewood. Serial number: None Top: Spruce Back and sides: Maple Neck: Maple Fretboard: Ebonized Frets: 19 Bridge: Rosewood pyramid pin Tuners: Nickel-plated Grover G-98 open gear with metal butter bean buttons

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