D'Angelico Premier Gramercy Acoustic Sunburst DAPG200VSBCP Serial Number: CC161101686 $499.99 FREE Shipping on all USA Orders! Nov 17, 2017 I played an Epi MIK Broadway for a number of years. I took advantage of GC’s blow out sale on D’Angelico MIK Excel EXL-1. In this case the D’Angelico far exceeded the Broadway. Materials are superior, in my case an ebony versus rosewood fingerboard and flamed versus non-flamed maple on the Epi.
Vintage Guitars Info's
Other Vintage Guitar Makers:
Kay, D'Angelico, Stromberg, Hofner.
Contact the Vintage Guitar Info Guy.1958 Kay Barney Kessel Pro
- Picture Gallery, Other makers
There are lots of other cool makes of instruments out there. But theseare the 'big' ones that I have some information on. Note the Hofnersection has been greatly updated and moved to its own section, and removed from here.
Model Information for:
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Kay.
- Kay primarily manufactured 'department store' style, inexpensive guitars from the 1930's to the 1960's. But they also made some hi-end, qualityarchtop guitars. The most collectable Kays are any model with the 'Kelvinator'plastic headstock overlay with art deco patterns. Used from 1957 to 1960, this headstock was named after the brand of refrigerator that looked quite similar.This overlay was injection molded with clear acrylic plastic and thenback-painted either white or black, with gold highlights in the crestand gold dots outside of the crest. Starting in late 1960, Kay switched to a less expensive 'half' Kelvinator that used just the triangle Kay crest from the full Kelvinator, screwed to a simple black plastic headstockveneer. This 'half' Kelvinator dropped the black or white back-painted acyrlic 'lunchcountertop' surround with gold dots. This design only lasted till the end of 1961 when the Kelvinator headstock was completely dropped.
1957-1960 Kay full
'Kelvinator' Headstock
- Note that Kay also made guitar with other brand names on theheadstock. These are still Kay's, just they are made for department storetype companies. This includes Spiegel ('Old Kraftsmen'), Montgomery Ward('Sherwood Deluxe'), Sears and Roebuck ('Silvertone'), and Orpheum through the 1950's and 1960's. The most common name (other than 'Kay') isby far 'Old Kraftsmen'.
Kays are notorious for having bad neck sets and broken truss rod systems.Usually, this can be corrected by a good repair person for around$150 to $200.
- Barney Kessel Artist.
- Single cutaway archtop, 15 1/2' wide, veneer maple body, spruce top, bound F-holes, 1 or 2 single coil 'Gold K' pickups, block fingerboard inlays starting at the 1st fret, rosewood fingerboard, 'Barney Kessel' signature on the silver colored acrylic pickguard, 'Kelvinator' peghead, chrome Melita bridge, nickel Grover tuners, sunburst or blond finish. Available 1957 to 1961. In 1960, Barney Kessel's signaturewas removed from the pickguard.
- Barney Kessel Jazz Special.
- Completed with the Gibson L-5CES. Single cutaway archtop, 17' wide, veneer maple body, spruce top, bound F-holes, 1 or 2 singlecoil 'Gold K' pickups, split-block fingerboard inlays, ebony fingerboard, 'Barney Kessel' signature on the silver colored acrylic pickguard, 'Kelvinator' peghead, chrome Melita bridge, chrome Grover Imperial tuners, sunburst or blond finish. Available 1957 to 1961. In 1960, Barney Kessel's signaturewas removed from the pickguard.
- The Upbeat.
- Kay's less expensive alternative to the Barney Kessel Jazz Special. Singlecutaway archtop, 17' wide, veneer maple body, rosewood fingerboard with pearloid block inlays starting at the 3rd fret, rosewood bridge, closedback individual Kluson tuners with metal buttons, large scalloped pickguardsometimes with silver sparkle, sunburst, blond or black finish. Available with 1 or 2 'Gold K' single coil pickup from 1957 to 1959.In late 1959, 3 pickup 'ES-5' type model available. Made from 1957 to 1961.Full Kelvinator headstock from 1957 to 1960, half Kelvinator headstock in 1961.
- 15' wide, single cutaway, flat top semi-hollow maple body, blond top andsunburst back and sides, 1 or 2 blade pickups, block fingerboard inlaysstarting at the 3rd fret, rosewood fingerboard, trapeze tailpiece,rosewood bridge fixed to top. Available 1952 to 1960. Tortoise shell pickguard from 1952 to 1957, black pickguard from 1958 to 1960.
pre-1958 K-161
- Jazz II.
- 15 1/4' wide, double cutaway fully hollow 2' thick veneer maple body (likean ES-330), rosewood fingerboard with 'shark fin' inlays starting at the3rd fret, two 'Gold K' single coil pickups, bolt-on maple neck, Bigsbyvibrato and aluminum bridge, silver painted scalloped acrylic pickguard,half Kelvinator headstock, nickel Grover tuners, bound top, back and fingerboard, blond or sunburst finish. Available 1961 to ?.
- K-11 acoustic archtop.
- Completed with the Gibson L-7C, Single custaway acoustic archtop, 17' wide veneer maple body, spruce top, rosewood fingerboard, block or 'shark fin' fingerboard inlays starting at the 3rd fret, large scalloped pickguard, closed back individual Klusontuners with metal buttons, trapeze tailpiece, blond or sunburst finish. Available 1953 to 1959. Starting in 1958 came with a full Kelvinator headstock.
1961 Kay Jazz II with semi-Kelvinator
- K-27 Flattop.
- Same size as a Gibson J-200. 17' wide veneer maple body, spruce top withX-bracing, ebonyfingerboard, pearl block inlays starting at the 1st fret, small screwed-onpickguard, belly bridge. Available 1952 to 1963. Starting in 1958 came with a full Kelvinator headstock. By 1961, a half Kalventor headstock was used.
- K-23 Flattop.
- Same size as a Gibson J-200. 17' wide veneer maple body, spruce top with X-bracing, rosewoodfingerboard, pearloid block inlays starting at the 3rd fret, small screwed-onpickguard, rectangle bridge. Available 1952 to 1963. Starting in 1958 came with a full Kelvinator headstock. By 1961, a half Kalventor headstock was used.
- Kay Professional Cutaway Flattop.
- Same size as a Gibson J-200. 17' wide veneer maple body with cutaway, spruce top with X-bracing, rosewood fingerboard, pearloid block inlays starting at the 3rd fret, small screwed-onpickguard, belly bridge. Available 1955 to 1959.
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Harmony Guitars.
I do *not* collect Harmony guitars, and franklydon't know a lot about them. But I get constant questionson them. This is all I know, so please do not email mewith any Harmony questions.Harmony was THE department store guitar until theearly 1970s for cheap flat top and arch top guitars. Usually the stores would re-brand theguitar to their store guitar name (like Silvertone or Catalina, etc.)But I am constantly asked when they are made.Inside there are usually some ink-stamped numbers,as seen in the picture below. In this picture, thedark numbers (0129H929) represent the Harmony guitarmodel. In this case model Harmony ('H') H929. The light blue number(f-70) represents Fall 1970, which was when thisguitar was made. Harmony used this type of markingsfrom the 1950s to the 1970s.
Internal Harmony marking for model H929
made in the Fall of 1970 (F-70).
Hofner Archtop Guitars.
- See the new and updated Hofner section by clickinghere.
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1954 D'Angelico Excel
D'Angelico.
Vestax D'angelico Serial Numbers
- Players and collectors consider D'Angelico Excel and New Yorker models tobe amoung the finest archtop guitars ever made. They are extremelycollectable. Note that John D'Angelico died in 1964, and his apprenticeD'Aquisto finished his last few models that were 'work in progress'.
Serial Numbers 1932 to 1964.
- D'Angelico serial numbers are not strictly chronological. Some overlapsin date ranges occur.
- Style B:
- 16 5/8' wide, parallel bracing (possibly a few with 'X' bracing afterWWII), unbound F-holes, peghead with broken-scroll pediment framing ornamental cupola (button), pointed angels on scroll. Available 1936 to 1948.
- Excel:
- Available in late 1934, the first Excels were 16 5/8' wide, had'straight' f-holes, and engraved fingerboard inlays. Then in late1937 the body changed to 17' wide and curved single bound f-holes.All models have multiple bound top and back, block inlays, peghead with broken scroll pediment framing ornamental cupola (button), rounded angles on scroll, and in 1943 stairstep tailpiece. It is thought that hestarted using 'X' bracing just after WWII. Available 1934 to 1964.
- New Yorker:
- 18' wide, X-braced top, triple bound F-holes, black bindinglines on body sides and side of fingerboard, split-block fingerboard inlays, gold plated parts, skyscraper peghead logo. Some examples withpeghead with broken scroll pediment framing ornamental cupola (button) androunded angles on scroll). Available 1936 to 1964.
- Excel Special:
- 17' wide, New Yorker trimmed Excel. Available 1943 to 1964.
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1953 Stromberg Master 400
Stromberg.
- Stromberg's workmanship is generally considered amoung the best, thoughnot quite as good as D'Angelico archtops. Stromberg's late model guitarsfrom the 1950's have great sound that makes them quite collectable. The early models with multiple top braces do not sound as good, but are collectable because of the Stromberg's reputation.
- G-1:
- tailpiece with 2 horizontal plates and 4 vertical tubes, triplebound top and back, bound pickguard, notched-diamond or 4-point fingerboardinlays, bound peghead, nickel plated parts.
- Deluxe and Deluxe Cutaway:
- 17 3/8' wide, tailpiece with 3 cutouts and Y-shaped center section,bound pickguard with stairstep treble side, bound F-holes, bound ebonyfingerboard with pointed end, 'Deluxe' on peghead, natural or sunburstfinish, gold plated parts.
- Master 300:
- 19' wide, bound stairstep pickguard, block inlay.
- Master 400:
- 19' wide, heavy tailpiece with 5 cutouts, bound pickguard withstairstep treble side, bound F-holes, pointed end ebony fingerboard withslashed-block inlays, celluloid peghead veneer with '400' engraved, goldplated parts, sunburst or natural finish. Cutaway models very rare.
D'angelico Serial Numbers
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archtop.com
1933 D'Angelico, First Model Archtop
Status: Forpricing and hold status for this instrument, please check our Instrumentspage here. If this instrument does not appear on the Instrumentspage it has been sold, and is no longer available. Photos and descriptions of Previously Sold instruments may by found here. To be notified of examples of this or any other model in the future, please contact [email protected].
Serial number: 1030, stampedinside back
Body size at lower bout: 16 1/2' Scale length: 24 3/4'. Nut width: 1 11/16' Body depth: 3 1/4'
Finish: Sunburst finish, nitrocellulose lacquer type
Materials: Solid handcarved flame maple back, sides and neck; solid bookmatched handcarved spruce top; mother of pearl block fingerboard inlays; ornate floral peghead inlay, three-ply body and headstock binding, bound fingerboard.
Hardware: All original nickel hardware includes open-back Grover tuners, pickguard support and tailpiece; adjustable compensated ebony bridge; triple-bound bakelite pickguard.
Notes: The instruments of master builder John D'Angelico are widely regarded as representing the pinnacle of the modern luthier's craft. We are pleased therefore to announce the arrival of an instrument from the very beginning of his illustrious career. Stamped with serial number 1030, this would appear to have been completed sometime in mid-1933.
This remarkable instrument dates from DAngelico's earliest days as an independent luthier, and represents the only model he offered in those formative years. It also clearly demonstrates the maestro's earliest influence as well: Gibson's pioneering L-5 archtop guitar. Introduced late in 1922, Lloyd Loar's L-5 was so widely influential that it was copied almost universally by guitar builders great and small, but by none more successfully than John D'Angelico.
This earliest of D'Angelico's offerings precedes the model names that made him famous. Before the Excel and New Yorker, before the Style A, B and Special, if you went to the little shop on Kenmare St. for a guitar, this is what you got. And the young luthier from Little Italy didn't waste time reinventing the wheel: from the tapered 'snakehead' headstock to the pointed fingerboard finial, this guitar is an unabashed tribute to the Gibson original, right down to the pickguard, block inlays, and the formal 'Cremona' style sunburst.
The similarity extends under the hood as well. The bracing, scale length, nut width, and body depth all mirror the L-5 closely: D'Angelico's customizations were limited to a slightly increased body width, and the graceful floral peghead inlay and banner logo. But while Gretsch and others were content to ape Gibson's cosmetics, D'Angelico had an ace up his sleeve. Blessed with a background in violin making, he would have readily understood the vital process of tap-tuning the top and back plates of this new guitar design, an advantage few of his contemporaries would have grasped.
While most of his creations were sold directly to individual customers, D'Angelico's handwritten ledger shows that a number of his guitars were commissioned by retailers like Gravois Music and Silver and Horlund. And three of D'Angelico's earliest instruments were built for Selmer, famed retailer of band instruments, and the early Maccaferri style gypsy guitars. These latter all bear the Selmer logo, rather than D'Angelico, in the headstock banner: one of which, #1062 from May of 1934, is shown here. This intriguing guitar, however, shows no engraving in the headstock banner at all: the pearl is completely blank. Its purchaser is not listed in the early ledgers, so we have no idea who might have commissioned it originally, but it remains the only D'Angelico guitar we've seen with its banner still unengraved.
Well played and well maintained, the guitar remains in fine shape, with back, sides and neck hand carved from handsomely figured tiger flame maple, and the bookmatched quartersawn spruce top carved to very fine tolerances. The fingerboard is fashioned from dark clear ebony, inlaid with clear mother-of-pearl. The original dark sunburst finish shows some normal playwear, with some scattered nicks and scratches confined mostly to the upper lacquer. A short crack on the bass side upper bout, and another running from the tailpiece under the pickguard have soundly resealed and cleated. Some thumbwear on the neck appears to be covered with some older clear lacquer, which may extend to the back and sides as well. The multi-ply binding on the body appears original, tight, and in excellent condition, as is the original bound black pickguard. Interestingly, the soundholes are bound with a remarkable 5 plies, extravagant on any guitar, and the binding on the neck was installed without side dots. The first fret inlay is uncommon on these earliest examples as well, and the maker's original registration dots are found on the back near the heel and endblock, as usual in these instruments.
The original gold Grover G-30 tuners are in fine working order, and the tailpiece is an original by Grover as well, seen only on the earliest D'Angelico archtops. Finally the bridge contains a bone insert, an extremely rare feature on a D'Angelico's instrument. We have re-created this unique design, installed it on the original ebony base, and included the original saddle in the case. The neck has a solid gentle 'C' profile that is neither clubby nor veed, and quite comfy in the hand. The fingerboard is straight, and the action is smooth and low over a fresh high-precision setup. The voice is warm and woody, with excellent projection and a full, throaty resonance.
D'Angelico did not designate his archtops with specific model names until late 1934 or '35, at which time he upsized the bodies to the 17' dimension they retained throughout the rest of his career. Accordingly, these early 16' guitars are the rarest of all D'Angelico archtops, built in small numbers only in the first two years of production. Owned for decades by a gentleman named Louis Fanizzi, the instrument has been kept in his family since his passing over three decades ago. Bearing one of the serial numbers missing in the pages of D'Angelico's earliest ledger, this remarkable instrument has been previously unknown outside the family until now.
Combining unparalleled musicality, rarity and historic importance, this master creation is an outstanding instrument at the very dawn of the modern archtop guitar. One only: call now.
Setup: The frets have been precision leveled, crowned and polished as necessary; bridge height adjusted; bridge compensation set; string slots at nut and bridge inspected; bridge foot contour inspected; bridge radius inspected; bridgewheels and tuners lubricated; fingerboard and bridge oiled; body and neck cleaned and hand polished.
This instrument is strung with medium gauge bronze strings (.013-.056). The guitar will accommodate lighter or heavier gauge strings, according to preference. String action is set at 4/64' to 5/64' at the 12th fret, with moderate relief for acoustic playing with medium strings. The action may be lowered or raised to your requirements with the adjustable bridge.
Case: Deluxe arched black plush lined hardshell case.
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