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Auction Description for Guernsey's: The Artistry of the Guitar - Day 1
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 1

by Guernsey's


136 lots with images

April 2, 2014

Live Auction

321 East 73rd St

New York, NY, 10021 USA

136 Lots
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1928 Gibson Nick Lucas Special

Lot 1: 1928 Gibson Nick Lucas Special

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Description: Most collectors only want guitars in original condition with few, if any, modifications, but this particular guitar may be one of the few examples where collectors would make an exception. In addition to being a very early 1928 Gibson Nick Lucas Special with an uncommon gloss black finish and ebony fretboard like Lucas specified for several of his personal instruments, this guitar is tastefully decorated with decoupage pinup girls strategically placed all over the guitar?s body and neck. ?Nick?s Bordello? replaces ?The Gibson? logo that normally would appear on the headstock, referring possibly to its original Nick Lucas namesake or perhaps an obscure house of ill repute in New Orleans, where this guitar allegedly originated. The Nick Lucas model is very collectible in-and-of itself, but the decoupage decorations also make this guitar a fine example of American folk art. The serial number on this guitar typically would date from 1926, but many early Nick Lucas Special guitars did not conform to Gibson?s serial number system at that time. Lucas played a similar (or possibly the same) guitar with a glossy black finish (sans pinup girls, of course) in the 1929 Warner Bros. film Gold Diggers of Broadway. Serial number: 83239. FON: 8989 Top: Spruce, black finish with decoupage decorations. Back and sides: Mahogany Neck: Mahogany Fretboard: Ebony Frets: 19 Bridge: Rosewood pyramid pin with slight bottom belly extension Tuners: Open gear three-on-a-plate with white plastic buttons

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1940 Gibson ES-300

Lot 2: 1940 Gibson ES-300

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Description: NO RESERVE. This 1940 ES-300 is virtually identical to the other example with serial number 96370, although it features the more common nickel-plated metal parts and standard Bakelite control knobs. It also has the standard single-bound tortoiseshell elevated pickguard. The maple back and sides on this guitar have very attractive quilted figuring. Serial number: 96520. FON: 1931F 24 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 Kluson open gear with metal buttons Other: Large diagonal single-coil pickup, master volume and tone controls

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1919 Gibson L-4

Lot 3: 1919 Gibson L-4

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Description: NO RESERVE. Gibson employee Thaddeus J. McHugh applied for a patent for his adjustable truss rod design on April 5, 1921 (#1,446,758), but this 1919 Gibson L-4 proves that Gibson was experimenting with this feature a few years before seeking a patent. This early example has the truss rod adjustment nut mounted underneath a cover on the headstock, which all these years later remains the preferred location for this feature. This guitar has a reasonable amount of playing wear and is missing its original elevated pickguard. It allegedly once belonged to J.J. Cale, the celebrated songwriter and guitarist who penned the songs ?After Midnight,? ?Cocaine,? and ?They Call Me the Breeze,? which were covered by artists like Eric Clapton and Lynyrd Skynyrd. Serial number: 49794 Top: Spruce, sunburst finish Back and sides: Birch Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge/tailpiece: Ebony, pin trapeze Tuners: Open gear three-on-a-plate Waverly with engraved base plates and white plastic buttons

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1935 Martin 000-28

Lot 4: 1935 Martin 000-28

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Description: Here is a very rare and desirable pre-war Martin 000-28 with a dazzling combination of herringbone and a sunburst finish. It is very similar to the sunburst 1931 OM-28 also in this auction, although it has the shorter 24.9-inch scale length that Martin started using on its 000 models in 1934. Some players prefer the slightly warmer tone and easier playability of these shorter scale 000 guitars, and like most pre-war flattop Martins this guitar sounds incredible. This 1935 000-28 features the 6:1 ratio Grover G-98 tuners that were specifically designed for 14-fret neck Martins with solid headstocks. Serial number: 59289 Top: Spruce, sunburst finish Back and sides: Brazilian rosewood Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge: Ebony belly pin Tuners: Individual 6:1 Grover G-98 open gear with metal butter bean buttons

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1929 Gibson L-5

Lot 5: 1929 Gibson L-5

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Description: Here is an early example of an L-5 with all of the standard late-1929 catalog features, most notably its squared-end, 19-fret fingerboard. Eddie Lang?s Gibson L-5 also had a 19-fret neck and very closely resembles this guitar, except Lang?s L-5 had a pointed-end fretboard. Lang started playing an L-5 in 1929, and his use of the model inspired many other dance orchestra guitarists to follow his lead. This example is also missing the floating pickguard. Serial number: 89354 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple with walnut center strip Fretboard: Ebony, Pearloid blocks inlays beginning at 3rd fret Frets: 19 Bridge/tailpiece: Ebony, gold-plated trapeze Tuners: Gold-plated open gear Grover G-98 with metal butter bean buttons

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C. 1934 Washburn Style 5238 DeLuxe Grand Concert

Lot 6: C. 1934 Washburn Style 5238 DeLuxe Grand Concert

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Description: NO RESERVE. Like the 1930 Style 5238 DeLuxe Grand Concert also in this Auction, this 1934 example was made by Regal; unlike the earlier version, however, it reverts to the 19-fret neck and ninth fret inlay seen on Washburn guitars made during the 1920s. This instrument features gold leaf flower-and-vine appliqué on its upper and lower bouts, pearl snowflake fretboard inlays, inlays on the ?smile? bridge, three-ring rosette, and single dome headstock. The tuners? baseplates, however, are not engraved. Serial number: 1809 Top: Spruce Back and sides: Rosewood, decal transfer decoration Neck: Mahogany Fretboard: Ebony Frets: 19 Bridge: Ebony ?smile? pin Tuners: Waverly open gear machine with plastic buttons

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1934 Euphonon

Lot 7: 1934 Euphonon

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Description: From 1933 through 1944, brothers Carl and August Larson made guitars that were sold under the Euphonon brand name. Euphonon instruments are not marked with any style numbers or model names, and because so many one-of-a-kind Euphonon guitars have surfaced it?s likely that the Larsons built many of these instruments on an individual basis. Euphonon guitars with five-digit serial numbers like this one are believed to be special order instruments. This guitar also features August Larson?s signature on its interior. This 1934 Euphonon features a jumbo 16-inch body with figured curly maple back and sides. The top purfling and rosette are abalone, and the headstock is decorated with rhinestones and the Larsons? signature mother-of-pearl inlay work. Like most other Larson-made guitars, the x-braced top is built under tension with a slight longitudinal arch that improves volume output and sustain. This guitar appears on page V of the color photo section of Robert Carl Hartman?s book, The Larsons? Creations. Serial number: 14421-8 Top: Spruce, natural finish Back and sides: Maple Neck: Maple with mahogany center strip Fretboard: Ebony Frets: 20 Bridge: Ebony flattened pyramid pin Tuners: Nickel-plated open-gear machine with engraved strip baseplates and ivoroid buttons

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1907 Gibson Style O

Lot 8: 1907 Gibson Style O

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Description: Gibson?s first guitar model, the Style O, may not be quite as exotic as the hand-carved guitars that Orville Gibson himself was making only a few years earlier, but the basic overall shape, major design features, and look are quite similar. As seen on this example, the size of the body was reduced from 18 to 16 inches, and the oval-shaped soundhole became smaller, as did the peghead, which is more streamlined than the bulky rounded paddle shape found on guitars produced only a few years prior. Interior bracing is also minimal. This 1907 Style O shows how Gibson quickly transformed from the rather old-fashioned style to a design that more closely resembled the modern archtop and flattop guitars of today within a surprisingly short period of only five years. Serial number: 7867 FON: 588 Top: Spruce, black finish Back and sides: Birch Neck: Mahogany with walnut center strip Fretboard: Ebonized Frets: 20 Bridge: Ebony flattened pyramid pin Tuners: Engraved three-on-a-plate open gear with white plastic buttons

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1946 D'Angelico Excel

Lot 9: 1946 D'Angelico Excel

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Description: John D?Angelico?s record book lists November 16, 1946 as this guitar?s date of manufacture and ?Del Castel? as the customer. Completed a little more than a year after the end of World War II, this guitar does not exhibit the usual compromises in material quality often seen in instruments produced shortly after the war. Because D?Angelico was a small shop that produced only limited quantities of instruments, quality was not affected as adversely, if at all, due to the usual stockpiling practices of individual luthiers. The attention to detail in the engraved headstock inlay and fretboard inlays on this guitar is stunning, as is the figuring in the flamed curly maple used for the neck, back, and sides. The ebony fretboard, gold-plated stairstep trapeze tailpiece, and gold-placed Kluson Sealfast tuners prove that D?Angelico was making no post-war compromises in quality. Serial number: 1732 Top: Spruce, natural finish Back and sides: Maple Neck: Maple Fretboard: Ebony, block inlays Frets: 20 Bridge/tailpiece: Ebony, gold-plated D?Angelico stairstep trapeze Tuners: Kluson Sealfast with keystone buttons

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1953 Epiphone Triumph Regent

Lot 10: 1953 Epiphone Triumph Regent

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Description: NO RESERVE. The Triumph Regent may not be as visually dazzling as its comparably sized counterpart the De Luxe Regent, but it?s still a very handsome guitar with its notched-diamond mother-of-pearl fretboard inlays and understated headstock inlay. With its 17 3/8-inch body featuring a spruce top and maple back and sides, it sounds identical to De Luxe Regent guitars from its era as well. The biggest differences between the Triumph and De Luxe are the Triumph?s nickel-plated hardware compared to the De Luxe?s gold and the less fancy maple, which usually lacked the figuring found on De Luxe guitars. Serial number: 65943 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple with mahogany center strip Fretboard: Rosewood Frets: 20 Bridge/tailpiece: Rosewood, nickel-plated Frequensator Tuners: Nickel-plated Epiphone ?E? with marbeloid buttons

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1961 Gibson Johnny Smith

Lot 11: 1961 Gibson Johnny Smith

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Description: NO RESERVE. Of the various hollow body archtop electric artist models that Gibson introduced in the 1960s, the Johnny Smith model was the most successful and enduring, remaining a fixture of the Gibson catalog until 1989. Developed at the same time as the Barney Kessel and Tal Farlow models and three years before the Trini Lopez model, the Johnny Smith was first offered as a single-pickup model upon its introduction in 1961 and later in an additional double-pickup version starting in 1963. The fact that the Johnny Smith was also Gibson?s most expensive artist model at the time did not affect its success. This 1961 Johnny Smith is one of only 28 that produced during the model?s first year. It has a 25-inch scale, floating mini-humbucker installed at the neck position, and an L-5-style tailpiece featured an engraved plastic Johnny Smith name plate. Serial number: 33872 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple with mahogany center strip Fretboard: Ebony Frets: 20 Bridge/tailpiece: Ebony with pearl inlays, gold-plated L-5-style Johnny Smith trapeze Tuners: Gold-plated Kluson Sealfast with metal tulip-shaped buttons Other: Floating mini-humbucker neck pickup, master volume control mounted on pickguard

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1932 Martin OM-18

Lot 12: 1932 Martin OM-18

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Description: Martin?s OM guitars were an instant success upon their introduction. By 1931 when production was in full swing, the OM-18 was one of their most popular models, outsold only by significantly cheaper models like the 1-17, 0-17, and 0-18. By 1934 when the company changed the model?s name to the 000-18, it was Martin?s second most popular model, falling behind only the favored 0-17. This 1932 OM-18 has the shaded brown finish that Martin introduced during the early 1930s. Typical of the OM model?s progressive design, it has all of Martin?s modern features?a belly bridge, pickguard, and solid ?paddle? headstock with the C.F. Martin & Co. gold silkscreened logo. With the exception of its bar frets, this guitar looks like it could have come from the Martin factory in recent years. Serial number: 50692 Top: Spruce Back and sides: Mahogany 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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1900 Manuel Ramírez Flamenco

Lot 13: 1900 Manuel Ramírez Flamenco

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Description: Manuel Ramírez (1864-1916) learned how to build guitars from his brother José Ramírez and eventually opened his own shop in the early 1890s located on Madrid?s Plaza de Santa Ana. In 1897, Ramírez moved his workshop to Calle Arlabán 10 where it remained until late 1912. Many of the luthiers that he trained and who worked at his shop went on to become some of the finest classical and flamenco guitars makers of the early 20th century, including Modesto Borreguero, Domingo Esteso, Enrique Garcia, and Santos Hernandez. When Ramírez died in 1916, his widow continued to run the workshop, where Esteso and Hernandez remained until Ramírez?s widow died in 1921. Why this guitar?s label is marked with serial number 1 is unknown, as it certainly isn?t the first guitar made by Ramírez or to come out of his workshop. Considering the year also marked on the label is 1900, perhaps Ramírez wanted to identify it as his first guitar of the 20th century. The style of the label is quite different from those preceding it and those seen on guitars from his workshop made later in the 1900s, and it reads ?Manuel Ramírez, Constructor de Guitarras, Segunda Epoca, Año 1900 No. 1, Arlabán 10 ? Madrid.? Antonio de Torres had printed the words segunda epoca, which means ?second season,? on his labels starting in 1887, and perhaps Ramírez was imitating Torres, although by 1900 he hadn?t really been making guitars long enough to truly enter a second phase. Perhaps the number 1 on this label is there to identify this guitar as being the first of Ramírez?s second epoch. Regardless, the segunda epoca label was short-lived, replaced a short while later by the much simpler label seen on the 1912 guitar in this auction. The aesthetics of this guitar are relatively plain, particularly the rosette, which is just a series of simple rings. There are a few flourishes of style, however, including the triangular inlays on either side of the bridge and the wonderfully detailed circle and diamond pearl inlays on the ebony friction tuner buttons, which are also engraved. The guitar is as light as a feather and produces brilliant tone that even flamenco players today would admire. Label: Manuel Ramírez, Constructor de Guitarras, Segunda Epoca, Año 1900 No. 1, Arlabán 10 ? Madrid Top: Spruce Back and sides: Cypress Neck: Three piece Spanish cedar neck Fretboard: Ebony Frets: 19 Bridge: Tie block Tuners: Ebony friction with engraved pearl inlaid buttons

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1936 Gibson Super 400

Lot 14: 1936 Gibson Super 400

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Description: This is the first style of the Super 400, which became Gibson?s top-of-the-line model upon its introduction in 1934. Despite making its $400 retail price (the equivalent of about $7,000 today) and debut during the Great Depression, the Super 400 was very successful, particularly with professional guitarists who demanded only the best. Measuring 18 inches across the widest part of its body, the Super 400 was the largest archtop model that Gibson offered, measuring a full inch bigger than the Advanced L-5 also introduced in 1934. This 1936 still has the narrower 12 1/4-inch upper bout, which Gibson widened to 13 5/8 inches later in 1936. Other notable ?first edition? features include the gold-plated open gear Grover G-98 tuners and the hand-etched Super 400 trapeze tailpiece. The characteristic ?mottled? pickguard is missing from this example. Serial number: 94003 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple with mahogany center strip Fretboard: Ebony Frets: 20 Bridge/tailpiece: Rosewood, gold-plated Super 400 ?Y? center trapeze Tuners: Gold-plated brass Grover G-98 with metal buttons

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1935 Martin C-2

Lot 15: 1935 Martin C-2

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Description: NO RESERVE. Like the 1932 C-2 also in this auction, this C-2 has a carved, arched top and numerous Style 28 appointments, including slotted diamond fretboard inlays and a ?zig-zag? back strip. This is another fine example from Martin?s short-lived production of archtop models. Serial number: 59637 Top: Spruce, sunburst finish Back and sides: Brazilian Rosewood Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge/tailpiece: Ebony, nickel-plated trapeze with ?Martin? engraved on baseplate Tuners: Nickel-plated individual Grover G-98 open gear with metal butter bean buttons

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C. Late 1940's Stromberg Ultra Deluxe

Lot 16: C. Late 1940's Stromberg Ultra Deluxe

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Description: The Ultra Deluxe is a rare model that wasn?t a standard part of Stromberg?s catalogue; however, as a small, independent shop that built custom instruments, few of the guitars the Strombergs produced could in essence be called catalogue models. With its engraved fretboard inlays, rear headstock overlay, gold-plated hardware, and figured maple neck, sides, and back, this Ultra Deluxe is certainly fancier than most existing Stromberg Deluxe models. Interestingly enough, the top is not quite as attractive as the rest of the guitar, featuring a wavy grain pattern and unbound three-segment f-holes. On a few occasions the Strombergs were known to use reclaimed wood to build guitars (long before it became fashionable to do so) and that may have been the case here. Serial number: 522 Top: Spruce, natural finish Back and sides: Maple Neck: Maple with two mahogany center strips Fretboard: Rosewood with engraved pearl block inlays Frets: 20 Bridge/tailpiece: Rosewood, gold-plated engraved Stromberg trapeze with Y and arrow center section Tuners: Gold-plated Grover G-98 open gear with butter bean buttons

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1950 Gibson Super 400CN

Lot 17: 1950 Gibson Super 400CN

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Description: Gibson didn?t resume post-war production of the natural finish cutaway Super 400, officially known as Super 400CN, until 1950. This is one of only seven Super 400CN guitars that Gibson made the first year that production resumed. Typical of the pre-war blonde Super 400s, this example is made with the finest materials available as the natural finish could not hide any flaws. This example does however have a rosewood fretboard as by this time Gibson?s supply of ebony had temporarily run out. This example?s curly maple back has unusual and rare bubble figuring. Serial number: A4521 FON: 17382 Top: Spruce, natural finish Back and sides: Maple Neck: Maple with mahogany center strip Fretboard: Rosewood Frets: 20 Bridge/tailpiece: Rosewood, gold-plated Super 400 ?Y? center Varitone trapeze Tuners: Gold-plated Kluson Sealfast with white plastic buttons

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C. 1956 Epiphone FT-210 Deluxe Cutaway

Lot 18: C. 1956 Epiphone FT-210 Deluxe Cutaway

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Description: Epiphone offered the FT-210 Deluxe Cutaway flattop guitar for only three years between 1954 and 1957. Some featured a vine-pattern headstock inlay like the one seen on the sunburst example also in this auction, but this blonde example features a flower headstock inlay design, similar to the one used on Epiphone?s Broadway archtop model and seen on many other FT-210 Deluxe Cutaway guitars as well. Measuring 17 3/8 inches across the widest part of its lower bout, the FT-210 Deluxe Cutaway is almost ½ inch wider than a Gibson J-200. It also has a carved, arched back that contributes to the guitar?s impressive volume output and projection. Jazz guitarist Harry Volpe often played an Epiphone FT-210 Deluxe Cutaway during the 1950s. Serial number: 69624 Top: Spruce, natural finish Back and sides: Maple Neck: Maple Fretboard: Rosewood Frets: 20 Bridge: Rosewood rectangular pin Tuners: Gold-plated Epiphone ?E? with marbeloid buttons

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1914 Gibson K-4 Mandocello

Lot 19: 1914 Gibson K-4 Mandocello

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Description: NO RESERVE. The mandolin reigned supreme as the most popular stringed instrument in the United States at beginning of the 20th century through the early 1920s, closely followed in popularity by the banjo. During this period, many musicians formed mandolin orchestras consisting of multiple mandolin-style instruments inspired by the Classical string quartet, with the mandolin playing the role of the violin, the mandola a substitute for the viola, the mandocello like a cello, and the mando-bass the equivalent of a double bass. Gibson made all of these instruments except the mando-bass in two styles: a simple rounded teardrop shape and the more elaborate Florentine style, with a two-point body, upper bass bout scroll, and scroll on the headstock. This Florentine-style 1914 K-4 mandocello is the largest of Gibson?s Florentine-style mandolin instruments. It features an oval soundhole, three extended frets for the two highest sets of strings, pearl double flowerpot headstock inlay, and Handel tuners with decorative inlays on the tuner buttons. Serial number: 22245 FON: 2266 Top: Spruce, sunburst finish Back and sides: Maple Neck: Mahogany Fretboard: Ebony Frets: 24 Bridge/tailpiece: Ebony, ?The Gibson? engraved tailpiece Tuners: Four-on-a-plate Handel open gear with white ivoriod inlaid buttons

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1955 Martin D-28

Lot 20: 1955 Martin D-28

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Description: NO RESERVE. This is a great example of a D-28 from the mid-1950s period that?s preferred by many players. Notable features include its original Kluson ?ridge back? enclosed tuners and graduated dot fretboard inlays. In 2010, Martin offered the limited edition D-28 1955 CFM IV guitar in celebration of CEO Chris Martin?s 55th birthday, who was born on July 8, 1955. While that model was built as a painstaking replica of the original 1955 D-28, it did not have the Brazilian Rosewood back and sides that one finds on the real deal, like this particular guitar. Serial number: 144138 Top: Spruce Back and sides: Brazilian Rosewood Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge: Ebony belly pin Tuners: Enclosed Kluson ridge back with metal buttons

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C. 1935 B & D Senorita S-1

Lot 21: C. 1935 B & D Senorita S-1

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Description: The Bacon Banjo Company operated in Groton, Connecticut from 1906 until 1940 when Gretsch purchased the company. In 1922, David Day left Vega to work for Bacon, and shortly afterwards his move was immortalized by the B&D trademark that appeared on the headstocks of the company?s instruments. Bacon specialized primarily in building banjos, but the company also offered a variety of mandolins and guitars that likely were made by other manufacturers. With its jumbo body and 14-fret neck, the B&D Señorita, built by Regal, was designed to compete with guitars like the Martin dreadnought and Gibson Jumbo. The scalloped X-braced top produces impressive volume output and rich tone. John Fahey played a B&D Señorita and was pictured with one on the cover of his album Requia. Serial number: 34887 Top: Spruce, sunburst finish Back and sides: Rosewood Neck: Mahogany Fretboard: Rosewood, dot inlays Frets: 19 Bridge: Rectangular pin Tuners: Nickel-plated Grover G-98 open gear with butter bean buttons

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1914 Martin 000-28

Lot 22: 1914 Martin 000-28

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Description: Built in 1914, the Martin 000-28 predates both World Wars. Interestingly, this guitar?s neck has 20 frets, but Martin did not display this feature on style 28 guitars until its 1917 catalog. Other appointments include herringbone purfling surrounding the top and fretboard inlays at only the fifth, seventh, and ninth frets. Although the build is not heavy enough to support steel strings, its X-braced top is strong enough for silk and steel strings. The materials used to build this guitar?Adirondack spruce, Brazilian rosewood, Spanish cedar?are stunning. Serial number: 12045 Top: Spruce Back and sides: Brazilian rosewood Neck: Spanish cedar Fretboard: Ebony Frets: 20 Bridge: Ebony pyramid pin Tuners: Waverly machine with white plastic buttons

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C. 1935 Prairie State

Lot 23: C. 1935 Prairie State

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Description: NO RESERVE. Were it not for the interior reinforcement tube and laminated neck seen on this guitar, this Prairie State could easily be mistaken for a jumbo 14-fret Euphonon from the same era. This guitar appears to have the same proportions as the late-?30s Euphonon guitar that was one of Gene Autry?s favorite instruments, although this guitar?s appointments are not as fancy as those seen on his Euphonon. The headstock is tastefully decorated with two dot inlays and an engraved cloverleaf pattern at the top, and the neck features contrasting center strips. Serial number: 1077 Top: Spruce Back and sides: Brazilian Rosewood Neck: Mahogany Fretboard: Ebony Frets: 19 Bridge: Ebony flattened pyramid pin Tuners: Nickel-plated Grover G-98 open gear with metal buttons

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C. 1950 Stromberg Master 400

Lot 24: C. 1950 Stromberg Master 400

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Description: Swedish immigrant Charles Stromberg and his son Elmer built guitars together in a small workshop in Boston, Massachusetts from the early 1930s through 1955. (Elmer died only a few months after his father passed away.) Like D?Angelico, the Strombergs specialized in acoustic archtop guitars that were built-to-order for a clientele made up almost exclusively of professional musicians. Stromberg players of note include Irving Ashby with Nat King Cole, jazz guitarist Barry Galbraith, and Freddie Green of the Count Basie Orchestra. Although Stromberg serial numbers only go as high as 636, it is estimated that the Strombergs made about a total of about 1,100 guitars. Another notable guitarist who played Stromberg instruments is Hank Garland. While Garland is best known for the Byrdland model that he and Billy Byrd designed for Gibson, Garland owned and played instruments from a wide variety of manufacturers, including Bigsby, D?Angelico, Del Pilar, Epiphone, and Stromberg in addition to the numerous Gibson models in his arsenal. One of the most sought-after studio guitarists in Nashville during the 1950s, Garland was likely one of the first to bring multiple guitars to sessions to provide the ideal sound for each recording. Garland played on hundreds of recordings in Nashville during the 1950s until 1961, when he suffered serious injuries due to an automobile accident. Some of the records he played on include numerous singles with Elvis Presley (?Little Sister,? ?Are You Lonesome Tonight,? and many others), ?I Fall to Pieces? with Patsy Cline, ?The Hot Guitar? with Eddie Hill, various rockabilly sides with Eddie Bond, Patty Page?s ?Just Because,? Bobby Helms? ?Jingle Bell Rock,? and many memorable hits. Garland also released numerous instrumental recordings under his own name, bookended by his signature single ?Sugarfoot Rag? recorded in 1949 and his visionary jazz breakthrough album Jazz Winds in a New Direction, released in 1961 just before his accident. Garland was always a fan of jazz music, and during a trip to New York City for a recording session with Eddie Albert in the early 1950s he met jazz guitarist Barry Galbraith, who showed Garland his short scale Stromberg guitar. Garland loved the instruments playability, and he ordered a similar Stromberg for himself. The Stromberg?s short scale inspired him to include the same feature on his Gibson Byrdland model. When Garland acquired this Stromberg Master 400 is unknown, but it was likely after he ordered his short scale model. The Master 400 is a mammoth archtop with a body measuring 19 inches across the bottom bout. This guitar has a Stromberg gold-plated tailpiece that was not so subtly inspired by that of the Gibson Super 400, featuring a similar Y-shaped center section with two additional cross pieces forming an arrow design. The tuners are the same ones found on an Epiphone Emperor and even are embossed with Epiphone?s trademark ?E? letter logo. Garland?s signature is on the back of the lower bass bout as well as on this guitar?s case. Serial number: 546 Top: Spruce, natural finish Back and sides: Maple Neck: Maple with two mahogany center strips Fretboard: Ebony Frets: 20 Bridge/tailpiece: Ebony, gold-plated Stromberg trapeze with Y and arrow center section Tuners: Gold-plated Epiphone ?E? with marbeloid buttons

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1939 Gibson J-35

Lot 25: 1939 Gibson J-35

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Description: Initially named the Trojan model during its first few months of production in 1936, the J-35 as the model later became known was one of Gibson?s most popular pre-war flattop guitars. By the time Gibson discontinued the model in 1942, they had produced about 2,500 J-35 guitars. The J-35 actually outsold the Martin D-18 during its brief period of production and probably would have continued to do so if Gibson hadn?t replaced it with the equally popular J-45 in 1942. This blonde example dates from 1939, the first year that Gibson produced the J-35 with a natural finish. It also has the rounded neck profile and rounded heel that started to appear on the J-35 during that year. Other notable features include the single-layer binding on the back and the gorgeous diagonal firestripe pickguard. FON: 9445F 17 Top: Spruce, natural finish Back and sides: Mahogany Neck: Mahogany Fretboard: Rosewood Frets: 19 Bridge: Rectangular rosewood pin Tuners: Open gear three-on-a-plate Kluson with plastic buttons

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1997 Martin 000-45JR Jimmie Rodgers Limited Edition

Lot 26: 1997 Martin 000-45JR Jimmie Rodgers Limited Edition

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Description: NO RESERVE. Martin produced this limited-edition replica of Jimmie Rodgers? custom 1927 Martin 000-45 in commemoration of the 100th anniversary of Rodgers? September 8, 1897 birth. The original was the guitar that Rodgers is seen holding in his famous 1929 ?The Singing Brakeman? photo and features his name inlaid on the fretboard and ?Blue Yodel? inlaid on the headstock. The word ?thanks? was painted on the guitar?s back. Martin president C. Frederick Martin presented the guitar to Rodgers on July 27, 1927 in Washington D.C., and Rodgers used the guitar to make numerous popular recordings from the late 1920s through 1933 when he died. Martin built this reproduction using very high quality materials, including Adirondack red spruce, Brazilian rosewood, and fossilized ivory for the nut and bridge pins. While the word ?thanks? was painted on back of the original guitar, Martin supplied a decal so owners could choose whether to affix it or not. The Waverly Sloane tuners feature engraved baseplates and ivoroid buttons. This guitar is number 26 of the 100 that Martin himself had built. Serial number: 599322 Top: Spruce Back and sides: Brazilian rosewood Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge: Ebony rectangular pin Tuners: Waverly Sloane open gear with engraved baseplates and ivoroid buttons

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C. 1928 Prairie State 427

Lot 27: C. 1928 Prairie State 427

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Description: NO RESERVE. Prairie State was one of several brands of guitars (including Euphonon and Maurer) built by August and Carl Larson. Prairie State guitars are similar to many 12-fret Maurer and 14-fret Euphonon models, but they are further distinguished by a stabilizing tube mounted inside the body, laminated soundboard braces, and laminated neck. The Larson brothers? outstanding craftsmanship and meticulous attention to detail are fully evident on this guitar, particularly in the engraved inlays. The Brazilian Rosewood on this guitar?s back is notable for its straight grain pattern. Serial number: 258 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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C. Late 1940's Stromberg G-1

Lot 28: C. Late 1940's Stromberg G-1

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Description: NO RESERVE. Even though the G-1 was one of Stromberg?s least upscale models, it still is much fancier than many other flagship archtop models made by other companies during the late 1940s. This example?s engraved nitrocellulose headstock overlay is still in very fine condition, with no signs of deterioration often seen in this feature. This model features an adjustable truss rod with a nut that is accessed by removing the bone nut. It also has a floating DeArmond FHC pickup with the volume control unit mounted to the pickguard. Serial number: 524 Top: Spruce, natural finish Back and sides: Maple Neck: Maple with two mahogany center strips Fretboard: Ebony Frets: 20 Bridge/tailpiece: Rosewood with triangular inlays, nickel-plated Stromberg trapeze with Y center section Tuners: Open gear Grover G-98 with metal buttons Other: DeArmond FHC floating pickup, volume control unit mounted to floating pickguard

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1906 Gibson F-2 Artist Mandolin

Lot 29: 1906 Gibson F-2 Artist Mandolin

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Description: This 1906 Gibson F-2 Artist mandolin is very similar to the 1905 F-2 also sold in this Auction. The biggest difference is the design of the inlaid tortoiseshell pickguard, which has a less elaborate shape and a different pearl inlay design in the center. Serial number: 5300 Top: Spruce, black finish Back and sides: Walnut Neck: Cherry with walnut center strip Fretboard: Ebony Frets: 24 Bridge/tailpiece: Ebony, ?The Gibson? tailpiece Tuners: Four-on-a-plate Handel open gear with ivoriod inlaid buttons

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2000 Martin OM-45 Deluxe Custom

Lot 30: 2000 Martin OM-45 Deluxe Custom

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Description: Numbering up to only 14, the original 1930 Martin OM-45 Deluxe is one of most rare and desirable guitars ever made. However, reissues of this coveted instrument are also exceptionally rare, as Martin has only made a handful of reproductions even though it is one of their most requested models. In 1998 Martin finally acquiesced and made another 14 OM-45 Deluxe guitars called the Limited Edition OM-45 Deluxe Golden Era. These guitars sold out in an instant. This limited run was also made as close as possible to the original model, with a non-adjustable truss rod, solid pearl inlays, and historically accurate banjo tuners. As if this model wasn?t already rare enough, this is the only know example with a sunburst finish. Serial number: 779849 Label: 4/4 (Inside of the Guitar) Top: Adirondack Spruce Back and sides: Brazilian rosewood Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge: Ebony belly pin Tuners: Gold-plated reproduction banjo tuners with solid carved mother of pearl tuner buttons

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1954 Gibson Super 400CN

Lot 31: 1954 Gibson Super 400CN

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Description: By most historical accounts, 1954 was the year that rock and roll music emerged as a definitive style of American music. That was the year that Big Joe Turner recorded ?Shake, Rattle and Roll?, Bill Haley and His Comets released ?Rock Around the Clock?, and Elvis Presley made his debut with the single ?That?s All Right?. Gibson offered a variety of spectacular electric guitars during this year, including the Les Paul model, ES-295, and even electric versions of its L-5 and Super 400 models, but peak of the company?s craftsmanship during this period was still represented by its top-of-the-line archtop acoustic model, the Super 400C. This beautiful blonde 1954 Gibson Super 400CN belonged to Brian Setzer: a man who can fully appreciate its transitional role from the big band days to the birth of rock and roll. Setzer played this guitar with his rock and roll big band, the Brian Setzer Orchestra. Serial number: A18226 FON: Y4656-5 Top: Spruce, natural finish Back and sides: Maple Neck: Maple with mahogany center strip Fretboard: Ebony Frets: 20 Bridge/tailpiece: Rosewood, gold-plated Super 400 ?Y? center Varitone trapeze Tuners: Gold-plated Kluson Sealfast with white plastic buttons

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1997 Martin D-45 Custom

Lot 32: 1997 Martin D-45 Custom

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Description: NO RESERVE. This is a one-of-a-kind Martin D-45 built by the Martin Custom Shop in 1997. Unlike the typical D-45, which has rosewood back and sides, this guitar has a mahogany body. Other custom touches include the pre-1934 45-style ?torch? headstock inlay and gold-plated Waverly tuners with engraved buttons. The mahogany body gives this D-45 very warm, alluring tone that is not as crisp or booming as a rosewood D-45. Serial number: 604644 Top: Spruce Back and sides: Mahogany Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge: Ebony belly pin Tuners: Gold-plated Waverly open gear with engraved buttons

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C. 1939 Regal Prince 1170

Lot 33: C. 1939 Regal Prince 1170

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Description: NO RESERVE. Measuring 18 inches wide, 4 ¼ inches deep, and featuring a 25 3/8-inch scale, the massive Regal Prince 1170 model was second only to Regal?s flagship Crown model archtop. Notable features include its ?zipper? purfling and troubadour figure inlay, which was crafted for Regal by Joe Phetteplace. The ?BP? initials on the lower treble bout stand for Barbara Pittman, a female rockabilly artist and childhood friend of Elvis Presley who recorded four singles for the Sun and Phillips International labels in between 1956 and 1960: ?I Need a Man? (Sun), ?Two Young Fools in Love? (Phillips International), ?Cold Cold Heart? (Phillips International), and ?The Eleventh Commandment? (Phillips International). In the early 1960s Pittman moved to California and recorded music with the Righteous Brothers and for movie soundtracks. Serial number: 175 Top: Spruce, sunburst finish Back and sides: Mahogany Neck: Mahogany Fretboard: Rosewood Frets: 20 Bridge/tailpiece: Ebony, nickel-plated trapeze with chevron center piece Tuners: Enclosed nickel-plated Regal

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1962 Conde Hermanos Flamenco

Lot 34: 1962 Conde Hermanos Flamenco

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Description: NO RESERVE. Domingo Esteso?s nephews Faustino, Julio, and Mariano Conde worked for Esteso?s widow producing guitars bearing the ?Viuda y Sobrinos de Esteso? label from 1937 through 1960 when she died. From 1960 through 1989, the Conde brothers made guitars with ?Sobrinos de Domingo Esteso? labels. Faustino and Mariano died in 1988 and 1989 respectively, and today their family members continue to make guitars bearing the Conde name. Paco de Lucía, Sabicas, Al Di Meola, Bob Dylan, and John Williams are just a few of the famous guitarists who have played Conde Hermanos guitars. This flamenco guitar dated 1962 appears to have the message ?Para Enrique Rivas de sus amigos Conde? (?For Enrique Rivas from your friends Conde?) handwritten on its label. It is a concert-grade instrument with decorative tuners and excellent flamenco tone. 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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1950 Gibson SJ-200

Lot 35: 1950 Gibson SJ-200

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Description: NO RESERVE. The SJ-200 is Gibson?s equivalent of the Martin D-45?a top-of-the-line model with elegant, fancy appointments that is highly prized by players and collectors alike. Developed during the mid 1930s as Gibson?s competitor to the D-45, the Super Jumbo 200 (as it was initially called before the SJ-200 name was officially adopted), quickly found favor with professional guitarists, particularly cowboy and Western screen stars like Gene Autry, Ray ?Crash? Corrigan, Tex Ritter, Roy Rogers, Jimmy Wakely, and Ray Whitley. Corrigan?s SJ-200, which has a 1936 factory order number and numerous distinctive 1936 features found only on his SJ-200, is thought to be the first ever made. The most desirable SJ-200 guitars are the ones made prior to 1947 featuring rosewood backs and sides. Pre-war examples are particularly rare and desirable as only about 100 were made, and 10 of these were special orders with customized cosmetic options. The warm tones of rosewood make these guitars more versatile than the later version made of maple, but the maple SJ- and J-200s (Gibson shortened the model name in 1955) are fine rhythm instruments with brilliant, crisp tone and impressive volume projection that cuts through a dense mix of electric instruments. Elvis Presley famously played a blonde J-200 during his early years, removing the model from its cowboy roots and giving it an updated image as an iconic rock and roll instrument. This 1950 SJ-200 is a visually stunning guitar, featuring the model?s distinctive engraved floral pattern pickguard, curvaceous rosewood moustache bridge with four semi-rectangular mother-of-pearl inserts, and ?pineapple? or ?rising sun? fretboard inlays, which mirror the crown headstock inlay that made its debut on this model. This example?s sunburst finish glows, and curly maple back is exquisitely figured. The top is surrounded by 7-ply binding, while the back features a decorative wood marquetry center strip. Anyone looking for the highly desirable 1950s era SJ/J-200 is well advised to consider this example. The J-200 remains a favorite of countless players today. Guitarists who have regularly recorded and performed with a J-200 include Bob Dylan, the Edge, Emmylou Harris, George Harrison, Jimmy Page, Tom Petty, Pete Townshend, and the man who made his J-200 sing and holler like nobody else?blues legend the Reverend Gary Davis. Serial number: A6381 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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C. 1933 Larson NTW Special

Lot 36: C. 1933 Larson NTW Special

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Description: NO RESERVE. This guitar may be quite plain by the usual Larson brothers? standards, but it has several features that identify it as their work, most notably the flattened pyramid bridge and the lock style of the lettering on the headstock, which the Larsons used on several instruments that they built for performing artists. The ?NTW? letters on this guitar stand for Natalie Whiting, about whom little is known, but she likely was a performer on Chicago?s WLS Radio ?National Barn Dance?. The Larsons made numerous instruments for WLS performers, including Gene Autry, Patsy Montana, and Luther Ossenbrink, a.k.a. Arkie the Arkansas Woodchopper. With its Brazilian rosewood back and sides, slotted headstock, 12-fret neck, and small body size, this guitar is comparable to a late 1920s Martin 00-28. This guitar appears on page IV 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: 19 Bridge: Ebony flattened pyramid pin Tuners: Slotted machine with white plastic buttons

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1950 Martin D-28

Lot 37: 1950 Martin D-28

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Description: NO RESERVE. Although this 1950 D-28 may not have the coveted herringbone purfling, it still is an incredible guitar with the signature crisp tone that has made the D-28 the guitar of choice for bluegrass flatpickers. It also has the graduated dot fretboard inlays typical of Martin dreadnoughts from this era. Serial number: 115300 Top: Spruce Back and sides: Brazilian Rosewood Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge: Ebony belly pin Tuners: Kluson with metal buttons

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C. 1890's Washburn Style 208 Concert

Lot 38: C. 1890's Washburn Style 208 Concert

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Description: The inlay work on Washburn style x08 instruments like this 13 1/8-inch Style 208 Concert is simply dazzling. The rosette ring and top purfling - which feature pearl inlays set into black mastic - are particularly stunning. The pearl lyre inlay at the base provides the crowning touch. The sound of most turn of the century Washburns is as beautiful as these guitars look. The distinctive Durkee bridge with carved shell-shaped ends provided ample support for steel strings. Washburn guitars built for steel strings were available on a custom order basis as far back as 1889, several decades before Martin began making flattop models designed for steel strings. Serial number: 20316 Top: Spruce Back and sides: Brazilian Rosewood Neck: Cedar Fretboard: Ebony Frets: 18 Bridge: Ebony Durkee pin Tuners: Open gear machine with engraved baseplates and inlaid ivoroid Handel buttons

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C. 1920's Raphael Ciani Flattop

Lot 39: C. 1920's Raphael Ciani Flattop

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Description: Raphael Ciani built mostly mandolins and a few guitars in his workshop at 57 Kenmare Street on New York?s Lower East Side during the 1910s and ?20s. His nephew John D?Angelico was only nine years old when started working in the shop in 1914, and D?Angelico took over the business when Ciani died in 1923. In 1932, D?Angelico opened his own namesake guitar workshop across the way at 57 Kenmare Street. D?Angelico learned to build stringed instruments from his uncle, and it is believed that D?Angelico actually made this guitar. The collector says that he bought this guitar from D?Angelico?s apprentice James D?Aquisto, who told him that this guitar was displayed in D?Angelico?s shop. The guitar has Ciani?s label featuring the A. Galiano name and Masonic square and compass design printed on it. The workmanship on this guitar is outstanding, from its intricately detailed fretboard inlays and multi-colored top, rosette, and back center strip marquetry to the floral pattern inlaid on its pickguard, which bears more than a passing resemblance to the design later used on the Martin OM-45 DLX. Label: ?A. Galiano, Raphael Ciani, Fabbricante di Mandolini e. Chittare, Garentite,? no serial number Top: Spruce, natural finish Back and sides: Maple Neck: Mahogany Fretboard: Ebonized Frets: 19 Bridge: Ebony moustache-shaped pin Tuners: Machine with engraved baseplates and plastic buttons

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1929 Francisco Simplicio Classical

Lot 40: 1929 Francisco Simplicio Classical

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Description: While not as elaborately embellished as the Francisco Simplicio Presentation Classical guitar also in this auction, this guitar built in 1929 is still an exquisite example of Simplicio?s craft. This example?s headstock features a relief-carved vine pattern, and the multi-colored diagonal-pattern marquetry is understated and elegant. Simplicio?s label is affixed inside and features his signature and handwritten serial number and year of completion. The guitar?s French polish finish shows a few signs of playing wear on the back and on the upper treble bout where the guitarist?s left hand came into contact with the body. The classic tonewood combination of a European spruce top and Brazilian rosewood back and sides provides exemplary tone with the warmth, fullness, and projection that classical players demand from a concert instrument. Label: 1929 Serial Number: 238 Top: European spruce Back and sides: Brazilian rosewood Neck: Mahogany Fretboard: Ebony Frets: 19 Bridge: Tie block Tuners: Machine with engraved baseplates and mother-of-pearl buttons

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1954 Epiphone FT-210 Deluxe Cutaway

Lot 41: 1954 Epiphone FT-210 Deluxe Cutaway

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Description: NO RESERVE. In essence, the Epiphone FT-210 Deluxe Cutaway is the company?s flattop equivalent of their archtop De Luxe Regent. This jumbo body flattop is also comparable to Gibson?s maple J-200 guitars made during the ?50s, but the FT-210 Deluxe Cutaway has the added advantage of its cutaway body design. Interestingly, the FT-210 Deluxe made its debut in 1939 as a non-cutaway model that lasted only three years, and Epiphone resurrected the model more than a decade later in 1954 as a cutaway model. Most examples have natural finishes, but a few, like this guitar, have a sunburst finish. The cloud fretboard inlays are similar to those of the De Luxe, and the vine headstock inlay is similar to a design Epiphone used in the ?30s. This guitar once belonged to Douglas B. Green (a.k.a. Ranger Doug) of the cowboy and Western revival group Riders in the Sky. Serial number: 67732 Top: Spruce, sunburst finish Back and sides: Maple Neck: Maple Fretboard: Rosewood Frets: 20 Bridge: Rosewood rectangular pin Tuners: Gold-plated Epiphone ?E? with marbeloid buttons

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1919 Gibson Style O

Lot 42: 1919 Gibson Style O

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Description: Gibson made a few minor changes on the Style O in late 1918, as seen on this 1919 example. The lighter colors of the red mahogany sunburst finish is the most immediately noticeable feature, but Gibson also changed the floating pickguard to a wider design supported by two bars instead of just one. Serial number: 49835 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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1928 Gibson L-5

Lot 43: 1928 Gibson L-5

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Description: The L-5 featured a neck that meets the body at the 14th fret from the day Gibson first introduced the model in late 1922, so this unusual L-5 with a 12-fret neck and dot inlay fretboard was likely a special custom order. With its bridge located at the center of the lower bout and 12-fret neck, this guitar is an impressive rhythm instrument with a loud, assertive voice. Like the other 1928 L-5 in this auction, this example also has the side-oriented 3-ply fretboard binding. Serial number: 86885 FON: 9879 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 pearl buttons

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1958 Gibson J-200

Lot 44: 1958 Gibson J-200

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Description: NO RESERVE. The most striking feature of this 1958 Gibson J-200 is its unusual sunburst finish, which lacks the dark shading typically seen along the edges of the guitar?s lower bout. The back, however, has the usual dark shading surrounding its entire perimeter. The rosewood moustache bridge is also lighter than usual, which suggests that this guitar experienced prolonged exposure to sunlight, but oddly only on the front below the soundhole. It?s also possible that this guitar exhibits workmanship and materials variations occasionally seen in Gibson instruments from this period. Serial number: A27497 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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1917 Gibson Style O

Lot 45: 1917 Gibson Style O

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Description: NO RESERVE. This 1917 Style O has the common sunburst finish, but its individual tuners are an exception to the three-on-a-plate tuners usually installed on this model. The attention to detail in early Style O guitars is quite impressive, from the dot inlay in the center of the scroll design to the carved contours on the back of the body at the neck heel. Serial number: 35205 FON: 3387 Top: Spruce, sunburst finish Back and sides: Birch Neck: Mahogany with walnut center strip Fretboard: Ebony Frets: 22 Bridge/tailpiece: Ebony, pin trapeze Tuners: Individual open gear with white plastic buttons

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1940 Gibson ES-300

Lot 46: 1940 Gibson ES-300

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Description: NO RESERVE. This is the first variant of the Gibson ES-300 archtop electric model introduced in 1940. The most distinctive feature of this version is it large, diagonal single-coil pickup, which stretches from the neck position at the low E string polepiece to the bridge position at the high E string polepiece. Gibson produced only about 60 ES-300 guitars with this pickup before switching to a more conventional pickup design. The ES-300 is also Gibson?s first electric model to feature the crown headstock inlay, introduced on the SJ-200 and eventually becoming a signature Gibson decoration on various models ever since. This example has unusual gold-plated metal parts, its original pickguard is missing, and the control knobs on this example are very unusual and may or may not be original. The figuring of the curly maple on the guitar?s back is attractive and exudes a warm, glowing hue. Serial number: 96370 Top: Spruce, natural finish Back and sides: Maple Neck: Maple with mahogany center strip Fretboard: Rosewood Frets: 20 Bridge/tailpiece: Rosewood, gold-plated trapeze with arrows and diamond motif Tuners: Gold-plated Kluson open gear with metal buttons Other: Large diagonal single-coil pickup, master volume and tone controls

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1935 Martin F-9

Lot 47: 1935 Martin F-9

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Description: If one were to ask the average vintage guitar collector which Martin guitar was their most expensive model in 1935, most would likely say the D-45. In actuality, the archtop F-9 was Martin?s most expensive pre-war model, selling for $250 compared to the D-45?s $200 price tag. The F-9 is exceptionally rare. Martin made only a total of 72 between its introduction in 1935 and final year of production in 1942. Over the years quite a few were converted to flattop guitars, as players undervalued their appeal as an archtop model and exploited the F-9?s deluxe appointments and materials, which are very similar to those of a D-45. The number of F-9 guitars that still remain in original condition is unknown, but it is likely to be very, very few. Take one look at this beautiful F-9 and it?s difficult to understand why anyone would want to tamper with Martin?s original vision and design. The tight-grained spruce top with its shaded brown/sunburst finish is stunning, and the multi-layer black and white binding is tastefully understated. The fretboard is inlaid with three-ply strips that run along the inner edge of both E strings, and ivoroid hexagons are inlaid at the first, third, fifth, seventh, ninth, twelfth, fifteenth, and seventeenth frets. The gold-plated patent applied for trapeze tailpiece was specially made for Martin by the Grover Company, and it features the Martin name engraved in block text surrounded by engraved borders. The buttons of the Waverly tuners are also engraved. With its 16-inch body width?the largest Martin offered at the time?this was Martin?s answer to the Gibson L-5, but in some respects it outclassed Gibson?s popular archtop. Archtop aficionados may gravitate towards D?Angelico, Epiphone, Gibson, or Stromberg guitars from this era, but the F-9 is worthy company in this crowd, with a tone of its own that is vastly underappreciated. Serial number: 59296 Top: Spruce, sunburst finish Back and sides: Brazilian Rosewood Neck: Mahogany Fretboard: Ebony, hexagnal ivoriod inlays Frets: 20 Bridge/tailpiece: Ebony, gold-plated Grover trapeze with ?Martin? engraved on baseplate Tuners: Gold-plated individual Grover G-98 open gear with engraved metal butterbean buttons

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1915 Gibson L-4

Lot 48: 1915 Gibson L-4

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Description: NO RESERVE. The 1915 Gibson L-4 is not significantly different than the original 1912 version. It retains the same black-finished spruce top, oval-shaped soundhole, diamond center-ring rosette, and two-bar suspended pickguard. The most noticeable difference is the brilliant reddish hue of the stained birch back and sides as seen on this example. The maple bridge, which resembles a banjo or violin bridge, deviates from the substantially heftier ebony bridge usually found on Gibson L-4 guitars directly preceding and constructed after this example. Gibson did use maple bridges for a brief period on a few Style U harp guitars and Style O guitars made in 1915 as well, so this is a very uncommon but not unprecedented deviation from the standard ebony bridge. Serial number: 22940 FON: 2476 Top: Spruce, black finish Back and sides: Birch Neck: Mahogany Fretboard: Ebony Frets: 20 Bridge/tailpiece: Maple, pin trapeze Tuners: Open gear three-on-a-plate Waverly with engraved base plates and white plastic buttons

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C. 1890's Washburn Style 309 Grand Concert Presentation

Lot 49: C. 1890's Washburn Style 309 Grand Concert Presentation

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Description: With the World?s Columbian Exposition scheduled to take place in their hometown of Chicago in 1893, the Lyon & Healy Company undoubtedly wanted to dazzle everyone and prove that their Washburn brand stringed instruments were the finest in the United States, if not on the planet. Washburn did earn that distinction by winning a bronze medal (the expo?s highest award) for their instruments?a fact repeated for years to come on Washburn instrument labels and in their advertisements. It is highly possible that this guitar is Washburn?s show-stopping achievement that earned them such lofty accolades at the exposition. This guitar is much fancier than any other listed in Washburn?s catalogues prior to 1893 (and after for that matter), but it has numerous features that are typical of Washburn 308 and 309 models from the early 1890s, including the Durkee bridge with shell-shaped ends and top purfling and rosette ring made from pearl inlays inset in black mastic. It also has a 13 ¾-inch body: Washburn?s largest size for its most ornate models during the early 1890s. Distinctive (and possibly unique) attributes include the pearl fan-shaped inlays with brass inserts at the ends of the Durkee bridge, the ivory insets for the headstock slots, a unique lyre inlay at the base with a contrasting center strip extending up to the bridge, and an incredibly detailed inlays covering the entire fretboard with an assortment of flower, leaf, lyre, and star figures. Additionally, the highly figured Koa seen on the sides and bookmatched back were not standard features of Washburn?s top-of-the-line 308 and 309 Grand Concert models of this era. Like the other anomalous turn-of-the-century Washburn in this Auction, it has no serial number, which suggests it was not a production instrument. Unfortunately there is no photographic or written evidence of exactly which instruments Washburn displayed at the 1893 World?s Columbian Exposition, but chances are very good this guitar was one of them. It?s also likely this guitar made a repeat appearance at the 1894 Antwerp Universal Exposition where Washburn was awarded a gold medal. Serial number: None Top: Spruce Back and sides: Koa Neck: Cedar Fretboard: Ebony Frets: 18 Bridge: Ebony Durkee pin with pearl and brass inlaid shell-shaped ends Tuners: Open gear machine with engraved silver baseplates and pearl buttons

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1959 D'Angelico Excel

Lot 50: 1959 D'Angelico Excel

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Description: D?Angelico?s shop record book notes a completion date of April 10, 1959 for this guitar, which was made for Jack Liebraud. The listing also notes ?Excel Imported,? in reference to the imported German maple with stunning flame figuring that D?Angelico used to build this guitar. D?Angelico starting noting the use of imported woods in his record book in 1957, as previously he had used mostly domestic materials. This sunburst Excel features a cutaway and a floating pickup mounted to the fingerboard to allow the guitar?s top to vibrate without any interference. The pickup?s single volume control is mounted on the floating pickguard. The rear of the headstock features an overlay decorated with two distinctive mother-of-pearl inlays. Serial number: 2073 Top: Spruce, sunburst finish Back and sides: German maple Neck: German maple Fretboard: Ebony, block inlays Frets: 20 Bridge/tailpiece: Ebony, gold-plated D?Angelico stairstep trapeze Tuners: Grover Imperial stairstep

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