Here we’re looking at a Martin 2-17 #25 built during early 1930 in Nazareth, Pennsylvania, showing a 1929 feature – a straight saddle. Not long after this guitar was built, Martin shifted to slanted saddles, giving the bass strings a little more length for intonation purposes. Apparently 449 were built during 1930 with this saddle, and 50 with the slanted saddle.
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Seen here is a new Sergei de Jonge Classical Guitar with an elevated fingerboard, pairing a Cedar top with Black Limba for the sides, back and neck. The bracing is Spruce, the body blocks and linings are Mahogany. The bridge is Indian Rosewood and the fingerboard is Ebony. As is the case for most of de Jonge’s guitars, the finish is a hand-applied French Polish.
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From 2006 at the Custom Shop, this Fender Custom American Telecaster sports a sunburst finish and a Glendale bridge plate and saddle set. The Fender Custom American Telecaster starts with a rather full, large ‘C’ profile, AAA grade birdseye Maple neck with an Indian Rosewood fingerboard, paired with a lightweight Ash body.
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Here’s a fantastic piece from early 1959, a Gretsch 6128 Duo Jet in Black Top finish. Just after this guitar was built, Gretsch altered the design to add a zero fret to the fingerboard. This is a great looking, playing and sounding guitar. It is one of the lightest electrics available at just over seven pounds (3.2kg), it plays well, and these Filter ‘Tron pickups are very good sounding. Introduced in 1954 just after the solid body, Pine capped 6130 Roundup, the chambered Duo Jet was aimed directly at Gibson’s Les Paul model, with a similar shape but very different yet hidden construction differences.
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Here we’re looking at a Gibson Style A ‘Snakehead’ Black-top mandolin in A-1 trim from 1927 in overall good and largely original condition. The ‘Snakehead’ term refers to the tapered headstock, an innovation by Lloyd Loar that reduced string friction at the nut. ‘Snakehead’ models were built from 1923 to 1927.
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This PRS SC-245 10 Top in dark cherry sunburst is a thing of beauty, in very good clean and original condition. The SC-245 model has been in and out of production twice, from 2007 to 2009 and then 2013 to 2016.
Here we’re looking at a first-year PRS SC-245 10 Top, built during 2007 in Stevensville, Maryland. Based on the Singlecut body design, this guitar has a spectacular, highly figured bookmatched Quilted Maple top on a Mahogany back.
This Sergei de Jonge Steel String Guitar pairs a Sitka Spruce top with Padauk for the sides, back, head plate, backstrap and rosette. Built during 2018 in Chelsea Quebec, it is in very good, clean condition, and delivers a full, rich and complex sound. Like many guitars from the de Jonge shops, this model has a French Polish finish, providing protection to the woods with a minimal imposition on the guitar’s vibration.
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Shown here is a Lakland USA Bob Glaub 44-64 Bass with Rosewood fingerboard and Sonic Blue finish, built during 2017 in Chicago, Illinois. Bob Glaub is a highly experienced American bassist who has long worked with Jackson Browne and many other top rank artists.
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Shown here is an original condition Gibson SG Standard with optional Bigsby from 1973, in Walnut finish and originally sold at Mamelok LTD in Manchester, England, which closed in 1993. The Gibson SG Standard launched with the SG name in 1963, but really first appeared in 1961 as a radical redesign of the Les Paul model.
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Introduced in 1951 and still in production with relatively minor changes, the Fender Precision Bass is an example of a designer getting almost everything right. Immediately, it almost completely displacing the upright bass it was intended to challenge, and it has become one of the most-used and most-recorded instruments in history.
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This spectacular Bourgeois Custom D LSH Large Sound Hole, 2015- is part of a series of instruments offered around the 2015 Summer NAMM show. Dated to June 5, 2015 at Lewiston Maine, this pairs an Adirondack Spruce top with premium Brazilian Rosewood for the sides, back and head plate.
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The Cromwell G-4 archtop guitar was built by Gibson from 1935 to 1939 and sold to various retailers and catalog distributors. Inside this guitar, visible through the bass F-hole is a well-preserved yellow label reading ‘New York Band Instrument Company’ indicating that it was sold by that company, at the time a large music store in New York City, but gone by 1950.
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