A periodic round up of some of the rare and interesting vintage guitars for sale on the web just now: guitars, hard to find parts, catalogs and guitar memorabilia . Anything interesting that catches our eye - maybe a typically expensive guitar going for a great price - something that very rarely comes up, or even just an item with a great story. Got a suggestion for this page? let us know - you can promote your own stuff; if you tell us why it's interesting, it's more likely to be included.
Disclaimer: unless explicitly stated, vintageguitarandbass is not the vendor of any item shown on this page, nor will it be held liable for any unsatisfactory transaction. Please do your own research, look at feedback ratings (where applicable) and deal only with trusted sellers.
This one is for Billy Fury fans. UK readers of a certain age will know who Billy Fury was. In the late 1950s and early 1960s he was huge. His story is deeply entwined with the story of British rock and roll. Like Hank Marvin, and Rory Storm, Fury used an Antoria guitar - this was a time when American guitars were not available in the UK, and money was certainly tight. This guitar is not especially valuable in itself, but alongside the other items in the lot and the story "this is the actual one he won his audition with Larry Parnes with" this guitar is historically very important. Naturally this isn't an inexpensive listing!
If you are a fan of early British popular music, definitely one to check out. See it on ebay.co.uk
This is such a beautiful guitar, and in superb condition. Levin produced this guitar in Sweden in the days before Strats and Les Pauls, when a large body (17" in this case) helped with a loud acoustic response. It has a hand carved Spruce top, with mahogany neck, back and sides. But it's the wonderful art-deco headstock that really appeals to me. This one has been fitted with a 1950s Kjell pickup too. Not at a give-away price, but a stunning example of a truly beautiful, and highly collectable guitar.
This guitar is in the Netherlands, but ships throughout Europe. See it on ebay.co.uk
This is a really nice and very interesting guitar. By mid-1981, Gibson RD Artist production had effectively ended, and attention was focused on a new model, the Gibson Victory. Now this is at a time when Gibson were in the process of moving their manufacture operations from the legendary Kalamazoo factory, to the newer Nashville plant. The RD series had been produced in Kalamazoo, and although the earliest Victory guitars were made there, by October/November they were being shipped from both plants, and by the end of 1981 exclusively from Nashville. So by the beginning of 1982, the RD was discontinued, and Victory production was exclusively at Nashville.
It's no surprise that the people at Kalamazoo took the surplus RD bodies, paired them up with surplus Victory necks, and made, in very limited quantities, an RD/Victory variant we see here. This lovely tobacco sunburst example has a serial number of 82912017, showing it was stamped in Kalamazoo on day 291 of 1982 (October 18th 1982). The seller of this guitar describes it as a 'prototype' Gibson RD, though it is my belief that this is not the case - just using up stock. It's production date is beyond that of all other RDs and even Victorys. Although rare and unusual, this is certainly not a unique guitar - there is some discussion (and images of other examples) in the forum here. The guitar itself has the older style RD77 body / circuitry with just one toggle switch (alongside the pickup selector), though it has the 24 3/4" scale of the RD79. The neck, fretboard and headstock are all Victory style: note the fretboard is rosewood rather than ebony, and the dot markers are along one edge, as opposed to the usually centralised block markers of the RD Artist. Aswell as taking the Firebird/Victory headstock shape, the headstock logo is a typical silk-screened Gibson, rather than the more ornate inlaid version.
Have a look at this fine and interesting guitar on ebay.com
The Gibson ES-175D is an absolute classic. THE archetypal jazz guitar. But with new examples selling for between $£€3000-4000 (check prices), it makes sense to buy a vintage instrument. After all, guitars built in Gibson's golden age at Kalamazoo are more desirable and hold their value far better than guitars built today. This mid-seventies ES-175 is a typical Norlin-period instrument with a decal serial number (thankfully still present) and maple neck - not quite golden age, but still a very well built guitar.
The project comes with no parts, and no fretboard, but looks solid. With a bit of work and a few components this guitar will sing again, and (unless bidding gets silly) for a fraction of the price of any other Gibson ES-175 on the market. Check it out at ebay.co.uk
The Vox Challenger was one of the earliest Vox guitar models, made by Crucianelli in Italy primarily for the UK market. This was a time when semi-acoustic guitars were very much in fashion, but not something Vox were capable of producing in the UK, at least in any quantity. By the mid-60s, hollow body production had transferred to Eko (still in Italy), and these double Florentine cutaway models were discontinued.
This guitar is fairly rare, and looks to be in good condition, despite a missing scratchplate and control knobs. In my experience these Crucianelli Vox's sometimes suffer from a high action (often relating to minor movement around the heel area) and although it is not mentioned in the description, may be worth asking about. Fixable, but worth knowing. A cool old Vox. See it on ebay.co.uk
Hofner produced several broadly 'strat-style' solid bodies in the 1960s, most notably the Hofner 176 (or Hofner Galaxie, in the UK). This one is being sold with a $9.99 start price and no reserve. It's a nice guitar, and looks to be in good condition. As is often the case from private sellers on ebay, it has been poorly described (this one more so than usual.. apparently it "might need a tune up"!) This uncertainty always deters bidders, and could result in a bargain. Obviously, this lack of description can be used to hide flaws, but often is just down to a seller who genuinely doesn't know (or care) what they have. This could sell for a very low price!
This Hofner is in Quebec, Canada - see the pics on ebay.ca
The Hofner Verithin is just that. Very Thin. just look at the side view images to see how thin. Naturally it is also very light. These guitars were very popular in early sixties Britain, though sunburst examples were much less common than the typical cherry red guitars. This one has had several hardware 'upgrades' but none look totally irreversible - though the non-original pickup surrounds will have made some screw holes that will not be covered by the correct original parts. The seller is honest, suggesting "a bit of a fiddle to get the right sound and it could do with a little attention". This could imply electrical problems, and/or a high action requiring a neck reset (very common in older Hofner guitars, but no problem for an experienced luthier.
The start price for this guitar was 99 pence, with no reserve, and it's currently well below market value. The wood/finish is in beautiful condition, and although restoring this guitar is not difficult, the uncertainty of the project should keep the price low. This could represent a great deal for someone slightly handy and capable of performing a restoration. Check it out on ebay.co.uk
The Committee was right at the top of Hofner's guitar line; beautifully appointed and a fine playing guitar. Check out the wonderfully quilted maple back, with binding extending into the back from the guitar's rims; the hugely ornate headstock and the incredible inlays on the fretboard and headstock. The Committee is truly a work of art. And this example is in stunning condition. You don't see many cleaner!
But best of all, this guitar is available on ebay.co.uk with no reserve and start price sub £100. The price (at time of writing) is still below half of what this should sell for. Look out for a bargain!
The Gibson ES-350T was launched in 1955, as a thinline version of the ES-350. The 350T immediately outsold the 350, and had effectively replaced it by 1956. With gold hardware, the Byrdland-style wire-loop tailpiece and rich sunburst finish, this truly is a beautiful jazz guitar!
1950s Gibson guitars don't go cheap. The web is full of seriously priced instruments in dealers stores. This guitar is listed on eBay with no reserve and a 0.01c start price. It has already attracted a lot of bids, but the price is still very low for the guitar it is. Where it will end is anybodies guess, but this could represent an excellent deal for the lucky bidder. See this beauty on ebay.com
The Gibson ES-120T was the brand's entry-level 1960s thinline, but like most 1960s student Gibsons, it is actually a really nice guitar. Today, student level guitars are made of lesser woods with cheap finishes, but back then, they used much the same woods as on higher end guitars (Brazilian rosewood and mahogany) and a labor-intensive nitrocellulose finish. Costs were reduced by stripping back all unnecessary appointments and only the simplest of electronics. This guitar has just one Melody Maker PU-380 pickup, with single volume and tone control. The ES-120T is a really nice playing guitar, admittedly with limited tonal variation and upper fretboard access. You wouldn't want it as your only guitar, but certainly a very nicely made, and great playing addition to your arsenal.
Pictures are limited, but it is claimed to be in mint condition. It is listed at just £700 (in order to raise money for Christmas!). Assuming there are no issues (headstock repair, missing serial number etc), this is a very low price for a 1960s Gibson. This won't be available for long! This ES-120T is for sale in Prenton, Merseyside, and can be seen on gumtree
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Scan of 1971 Selmer guitar catalogue showing the range of electric and acoustic guitars distributed by the company: guitars by Gibson, Yamaha, Selmer, Hofner and Suzuki. 1960s Selmer had always placed Hofner at the front end of their catalogues, no doubt these were the better sellers - but into the 1970s Hofner were slipping somewhat and only appear at the tail end of this publication, pride of place going to Gibson, and to a lesser extent Yamaha. In fact this is the last Selmer catalogue to include the many Hofner hollow bodies (Committee, President, Senator etc) that had defined the companies output for so many years - to be replaced in the 1972 catalogue by generic solid body 'copies' of Gibson and Fender models. A number of new Gibson models are included for the first time: the SG-100 and SG-200 six string guitars and the SB-300 and SB-400 basses.
Scan of 1968/1969 Selmer guitar catalogue (printed July 1968), showing the entire range of electric and acoustic guitars distributed by the company: guitars by Hofner, Gibson, Selmer and Giannini. Selmer were the exclusive United Kingdom distributors of Hofner and Gibson at the time, and this catalogue contains a total of 18 electric guitars, 7 bass guitars, 37 acoustics, and 2 Hawaiian guitars - all produced outside the UK and imported by Selmer, with UK prices included in guineas. This catalogue saw the (re-)introduction of the late sixties Gibson Les Paul Custom and Les Paul Standard (see page 69) and the short-lived Hofner Club 70. Other electric models include: HOFNER ELECTRICS: Committee, Verithin 66, Ambassador, President, Senator, Galaxie, HOFNER BASSES: Violin bass, Verithin bass, Senator bass, Professional bass GIBSON ELECTRICS: Barney Kessel, ES-330TD, ES-335TD, ES-345TD, ES-175D, ES-125CD, SG Standard, SG Junior, SG Special GIBSON BASSES: EB-0, EB-2, EB-3 - plus a LOT of acoustics branded Gibson, Hofner, Selmer and Giannini
Hofner Colorama was the name UK distributor Selmer gave to a series of solid and semi-solid guitars built by Hofner for distribution in the UK. The construction and specifications of the guitars varied over the period of production, but by 1961 it was a totally solid, double cutaway instrument, with a set neck, translucent cherry finish, six-in-a-row headstock, and Hofner Diamond logo pickups. Available as a single or dual pickup guitar, this sngle pickup version would have been sold in mainland Europe as the Hofner 161.
Commodore was a brand applied to a series of guitars produced in Japan at the well-respected Matsumoku plant from the late 1960s to the mid 1970s - and sold primarily (perhaps exclusively?) in the United Kingdom. The models bearing the Commodore name were all guitars available from different distributors with different branding. Although there may have been some minor changes in appointments (specifically headstock branding) most had the same basic bodies, hardware and construction. Equivalent models to the Commodore N25 (and this is by no means an exhaustive list) include the Aria 5102T, Conrad 5102T(?), Electra 2221, Lyle 5102T, Ventura V-1001, Univox Coily - and most famously the Epiphone 5102T / Epiphone EA-250.
The Hofner Colorama was the name given by Selmer to a series of solid (and semi-solid) body Hofner guitars distributed in the United Kingdom between 1958 and 1965. The Colorama name actually applied to some quite different guitars over the period, but in 1960 it was a very light, semi-solid, set necked guitar with one (Colorama I) or two (Colorama II, as seen here) Toaster pickups. Although an entry-level guitar, it was very well-built, and a fine playing guitar; certainly a step up (at least in terms of craftsmanship) from many of the Colorama guitars that would follow, and a good deal of the guitars available in Britain circa 1960.
By the end of the 1960s, a decision had been made to move Epiphone guitar production from the USA (at the Kalamazoo plant where Gibson guitars were made), to Matsumoto in Japan, creating a line of guitars and basses significantly less expensive than the USA-built models (actually less than half the price). The Matsumoku factory had been producing guitars for export for some time, but the 1820 bass (alongside a number of guitar models and the 5120 electric acoustic bass) were the first Epiphone models to be made there. These new Epiphones were based on existing Matsumoku guitars, sharing body shapes, and hardware, but the Epiphone line was somewhat upgraded, with inlaid logos and a 2x2 peghead configuration. Over the course of the 70s, the Japanese output improved dramatically, and in many ways these early 70s models are a low point for the brand. Having said this, there are a lot worse guitars out there, and as well as being historically important, the 1820 bass can certainly provide the goods when required.
Production of Bill Lawrence's Gibson Marauder began in 1974, with production peaking in 1978. But by 1980 the model was officially discontinued, though very small numbers slipped out as late as spring 1981. Over 7000 examples shipped between 1974 and 1979, and although no totals are available for 1980 and 1981, it is unlikely production reached three figures in either of these years. These final Marauders were all assembled at the Gibson Nashville plant, and had some nice features not available through the later years of production, such as a rosewood fretboard, and in this case, an opaque 'Devil Red' finish. It's a great looking and fine playing guitar!
When Epiphone production moved from Kalamazoo to the Matsumoku plant in Japan, a whole new range of electric, flattop and classic acoustic guitars was launched. Between late 1970 and 1972 the new models were launched and refined. This 'folder' catalog contains various inserts released over these years detailing four electric six-strings (ET-270, ET-275, ET-278, and thinline EA-250), three bass guitars (ET-280, ET-285, and thinline EA-260), three folk/steel acoustics, four jumbo flattop acoustics, two 12-string jumbos, four classic acoustics, and a banjo.
'Gibson Specials' was part of the June 1981 pre-owners manual series, but unlike the other folders contained a mish-mash of different guitars: limited editions, test marketing and close outs. "You will find the unusual, the brand-new, and the bargain within this folder". End of line 70s guitars like the Marauder, S-1, and L-6S Custom mixed in with brand new models the The V, The Explorer and the Flying V Bass.
Rose-Morris were selling Shaftesbury-branded Rickenbacker copy instruments from the late 1960s right through the 1970s. The 3263 bass was one of the first models, (alongside the 3261 six string and 3262 twelve string) available from late 1968 until about 1974. The earliest incarnation was a set neck bass, produced very briefly in Japan. But production quickly moved to Italy. This bolt-on neck example was built by Eko, in Recanati, using the same hardware and pickups as fitted to Eko, and Vox basses built around the same time. It's certainly a fine looking bass, and not a bad player either.
This very early, and pretty rare British-built guitar is branded Hohner London. Hohner were, of course, a German company, better known for their harmonicas and accordions, but they were keenly expanding into guitars at the birth of the 1960s. This model, along with the Hohner Amazon and (particularly) the Hohner Holborn, bear some similarity with Vox guitars of the same period; furniture manufacturer Stuart Darkins constructed bodies and necks for both brands, with Fenton Weill assembling them using their hardware and pickups. These guitars do have some hardware peculiarities, and they are not the most adjustable of instruments, but they actually play very nicely, being solidly built out of some very nice woods. Check out the video on this page.
The Vox Super Ace was a mid-priced British solid body electric guitar, produced by JMI at their factory in Dartford, Kent. It was broadly modelled on the Fender Stratocaster, and a sibling model to the dual-pickup Vox Ace. Both the Ace, and Super Ace (along with several other models), were redesigned in 1963 with a new body shape, headstock style, and pickup layout - only increasing the resemblance to the aforementioned Fender. The Super Ace had a 1963 price tag of £47 5S. It's a pretty nice playing guitar with some lovely sounds - check out the videos on this page, and in the Vintage Guitar and Bass supporting members area
The Vox New Escort was Vox's version of the Fender Telecaster, at a time when American guitars were out of reach for most British musicians. It was made by JMI in England, for the British market, and unlike the majority of other models, didn't have an Italian-made equivalent. But the New Escort wasn't a slavish Fender copy, adding Vox's stylish teardrop headstock to the tele-style body, with a stop tailpiece and two Vox V2 single coil pickups. And it's a pretty substantial, and nice playing guitar, with a very comfortable neck. Check out the images, specifications, and watch a video of it in action. There is also extra content in the vintageguitarandbass supporting members area.
Catalog scan. The 1969 Fender Lovin' Care catalog consisted of 48 pages of electric guitars, basses, amplifiers, steel guitars, acoustic guitars, banjos and keyboards. Like the previous catalog, this featured the company's guitars in a variety of interesting settings around California, from the Whiskey-A-Go-Go, to the Hollywood Bowl. Several instruments were making their first appearance amongst it's pages: the Telecaster bass, Montego and LTD jazz guitars, and the Redondo acoustic. It was the final catalog appearance, however, of the Electric XII, Bass V, Duo-Sonic, Coronado I and Coronado Bass I.
The Eko Ranger series of guitars was incredibly popular in the second half of the 1960s and through the 1970s, selling in very large numbers. The Ranger Folk was 1 1/4" smaller, and 1" shallower than the Ranger VI and XII - and with a narrower waist. Not a bad guitar; a little quiet, but pretty playable. These were great value in 1973, and because they sold so many, they are easy to find and excellent value today.
The Symphonic bass was built in the UK, by Vox parent company JMI. It was the Vox equivalent to the Fender Precision bass, and was one of the most expensive Vox guitars produced. It was actually a great playing bass, rather similar to the Precision in feel and sound, but was probably just too expensive compared to an actual Fender and consequently sold poorly. When Vox hit financial problems in 1968, unsold guitars and basses were passed on to Dallas Arbiter, who briefly sold the excess Symphonic bass stock as model 4537. This bass, although with a neck date of February 1966, was most likely one of the unsold Vox guitars sold on by Dallas Arbiter. Check out the bass, and the two video demos through 1960s Ampeg and WEM amplifiers.
The 1968 Shaftesbury 'Electric Guitars' catalog was just four pages long, and contained four guitar models: the six string Barney Kessel-style 3264; and three Rickenbacker-styled semi-acoustic models: the six-string 3261, the twelve string 3262 and the 3263 bass. Shaftesbury was the house-brand of major UK distributor Rose-Morris, and seems to have been launched as a response to the company's loss of it's distribution deal with Rickenbacker. The guitars were mid-priced, and built in (initially) Japan, and later Italy, by Eko
1970 Rose-Morris catalog, dated April 1970. It featured 6 electric guitars, 32 acoustic guitars, 3 basses and 1 steel guitar. It contains the following instruments, over 20 pages: Electric guitars: Shaftesbury 3261, 3262, 3264, 3265, 3400; Top Twenty 1970; Bass: Shaftesbury 3263, 3266; Top Twenty 1971; Acoustic guitars: Eko Rio Bravo, Rio Bravo 12, Ranchero, Ranchero 12, Colorado, Ranger, Ranger Folk, Ranger 12; Aria 1674, 1675, 1676, 1679, 1680, 1695, 'John Pearse' Jumbo, 'John Pearse' Folk; Rose-Morris 15-11, Kansas, Georgian, Florida; Suzuki 1663, 1664, 1665, 3054, 3055, 3060; Tatay 1713, 1714, 1715; Peerless 3052; Steel guitar: Aria 3425
The sixteen-page 1971 Rose-Morris catalog featured electric guitars by Rose-Morris' own brand, Shaftesbury, and budget brand Top Twenty; aswell as acoustics by Eko, Aria, and for the first time Ovation. The catalog contains the following instruments: Electric guitars: Shaftesbury 3261, 3264, 3265, 3400, 3402; Top Twenty 1970; Bass: Shaftesbury 3263, 3266; Top Twenty 1971; Acoustic guitars: Ovation: Balladeer, 12 String, Glen Campbell, Glen Campbell 12 string; Eko Rio Bravo, Rio Bravo 12, Ranger, Ranger Folk, Ranger 12, Colorado, Ranchero, Ranchero 12, Studio 'L'; Rose-Morris Florida; Aria 'John Pearse' Jumbo, 'John Pearse' Folk
A detailed look at an early 1970s Fender Precision bass guitar in custom black finish, with rosewood fretboard. 1972 list price, $307.50. The Fender Precision had been shipping since at least very early 1952 - with just one re-design circa 1957. This example, then, shows a model already two decades old, but barely changed since the '57 revamp. Fender got it right first time around, and although there are numerous minor cosmetic differences, the essence of this bass is effectively the same as it was in '52: a simple, single pickup instrument with a GREAT sound. Check out the demo video through an old Ampeg B15. It's no wonder this is the bass that everybody wants!
The Vox Stroller was the brand's entry level electric solid body guitar, fitted with just one pickup and a fixed tailpiece. Although aimed at student guitarists, it wasn't a terrible instrument, but did lack somewhat in adjustability, having no accessible truss rod and only a floating rosewood bridge. But this example is actually quite an improvement on earlier versions, with a standard 1/4" jack and a solid mahogany body. 1967 price £18 2s. JMI ceased UK guitar production in late '67, and combined with decreasing demand for the Stroller, this surely must be one of the last examples shipped.
A nice example of the Vox Clubman II bass, built by JMI in Dartford, Kent in 1963. This is a lightweight bass, short (30") scale and very easy to play. It is an early example, and as such has a thin black scratchplate and side mounted, coaxial output jack. JMI offered left handed examples of their solid body Vox guitars and basses at 10% premium. Production numbers are unclear, but left-handed examples rarely come up for sale
Not to be confused with the Gibson ES Artist launched by Gibson in 1979; this ES Artist was an early model designed by the Gibson research and development team in Kalamazoo in 1977, the instruments themselves constructed by Gibson artist Chuck Burge. It was planned for launch as a high end semi acoustic with 335-style construction (central maple block) and innovative circuitry - but was pulled at the last minute, being deemed too expensive. Apparently, several examples were produced with varying specifications, though exactly how many actually left the Kalamazoo plant is unclear. Certainly two guitars were sold to LaVonne Music by Gibson in around 1980. Read more about the development of this guitar, with details from Chuck Burge and the story of it's sale to LaVonne music
The Hofner Committee was a truly beautiful guitar produced in Germany, primarily for the UK market. It was a large bodied (initially 17 1/2") guitar with a carved spruce top, available as an acoustic or electric guitar. By the early sixties the carved top was replaced with a laminate, and although still a very fine guitar, the earlier carved top examples, with frondose headstock (like the example shown here) are far more highly prized amongst musicians and vintage guitar collectors.
The Gretsch Chet Atkins Tennessean, or model 6119 was Gretsch's best selling hollow body of the 1960s. This wonderfully faded example from 1965 was originally Dark Cherry Red, but has turned a mid-orange brown. The original color, however, can be seen underneath the pickup surrounds. 1965 specs: maple body, two-piece neck, Brazilian rosewood fretboard and Hi-Lo 'Tron single coil pickups. Nickel plated Gretsch Bigsby tailpiece.
The 1965 Gretsch catalog, or catalog #32, featured 10 hollow body electric guitars, including the newly launched Gretsch Viking; four solid body electrics, including the Astro Jet - making it's only catalog appearance; just one bass, the single pickup PX6070; nine acoustics and 12 tube amplifiers. Pride of place went to the Chet Atkins Country Gentleman that adorned both the front and back covers. 24 pages, six of which are in full color.
Loose frets are especially problematic in certain old guitars, but are generally very easy to fix. You'll be amazed at the difference you can make with just a few tools, a bit of knowledge, and a little time. Fixing loose frets can eliminate fret buzz, remove sharp fret ends, and greatly improve the tone of any guitar. If your luthier bill will be greater than the value of your guitar, definitely time to have a go yourself!
Hagstrom guitars were distributed in the mid-1960s United States by Merson of USA. This eight page 'worlds fastest playing neck' catalog, printed in two-colors contained six solid body electrics, three solid body basses, two electric acoustic guitars, two electric acoustic basses and five acoustics.
The President was produced by Hofner in Bubenreuth, Germany, specifically for Selmer, who distributed the brand in the United Kingdom, Australia, New Zealand, South Africa, and other commonwealth nations. The President was a hollow body electric acoustic, available as a full body or thinline, and with blonde or brunette finish. It was a great playing guitar that sold fairly well in the second half of the 1950s, throughout the 1960s, and into the very early 1970s. The example shown here is a full-body depth guitar in blonde - and as a 1965 guitar, one of the last to feature the rounded Venetian cutaway. From late 1965 until 1972, the President sported a sharp Florentine cut. Naturally, such an electric acoustic suggests jazz and blues, but many of the original British Hofner President players were part of the rock 'n roll, skiffle and beat scenes of the late 50s and early 60s.
"The Choice of Professional and Student Musicians Everywhere" This eight page catalogue was included as an insert in the 1963 annual "school music" issue of Downbeat magazine (September 1963). As well as keyboards and pedal steels, this catalog contains seven guitars, three basses and ten amplifiers - from student guitars such as the Musicmaster and Duotone to professional models like the new Jaguar.
