Find out all you need to know need to know about the best and most rare vintage guitars from the Sixties! Besides bigger brands such as Fender and Gibson, several smaller brands flourished in this decade, and names such as Airline, Supro, Teisco and Hagstrom are today very desirable. Find the current Blue Book value and worth of your new and used guitars, both acoustic, electric and amplifier. The number one source of guitar and amplifier pricing and information so you can find the price and value of your used guitars and amplifier. Use this site for a pricing guide and source of information on all guitars. Airline brand guitars were a Montgomery Wards brand instrument made by Kay, Harmony and Valco. 1958-1968, 2004 to present. Made famous by Jack White of the White Stripes. As with the Silvertone radio, Sears Silvertone guitars are considered prized pieces of many guitar collections, particularly models such as the 1963 'amp-in-case' guitar, which featured an amplifier built into the guitar's carrying case.
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. Aoc e2343f drivers. 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 Pro.
- Single cutaway archtop, 13' wide, veneer maple body, spruce top, no F-holes, 1 or 2 singlecoil 'Gold K' pickups, block fingerboard inlays starting at the 3rd fret, 'Kelvinator' peghead, 'Barney Kessel' signature on the silver colored acrylic pickguard, chrome open back Grover tuners, rosewood bridge, sunburst or blond finish. Available 1957 to 1961. In 1960, Barney Kessel's signaturewas removed from the pickguard.
- 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.
Airline Acoustic Guitar Serial Numbers List
- 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.
- K-22 Flattop.
- Same size as a Gibson J-200. 17' wide mahogany body, spruce top with ladderbracing, rosewood fingerboard, pearloid block inlays starting at the 3rd fret, small screwed-onpickguard, rectangle bridge. Available 1952 to 1963. Fingerboard inlayschanged to 'double parallelagrams' in 1955.
- 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.
- 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.
Airline Acoustic Guitar Serial Numbers Pre 1975
- 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.
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Summary of Rory’s Equipment
Rory’s main and best-known guitar was a 1961 Fender Stratocaster that he acquired for £100 in 1963. According to the legend, this was the first Stratocaster to ever reach Ireland, and prior to Rory, it spent some time with Jim Conlon of the Royal Showband. Over the years, Rory modified his Stratocaster somewhat extensively – most importantly changing the pickups, and moving over to the master tone configuration.
Aside from the Stratocaster, he often used a 1960s Fender Telecaster as well as a 1950s Fender Esquire. Both of these guitars were also modified, but more so the Esquire, which at one point sported three single-coil pickups, as opposed to one (stock).
Of course, Rory didn’t only use Fenders. His first electric guitar, for instance, was a Rosetti Solid 7, and he often pickup up his red 1957 Gretsch Corvette for slide, on occasions even preferring it to the Esquire.
Regarding acoustic guitar, Rory most often used a 1968 Martin D-35, which was probably his favorite. For slide, he loved using the 1932 National Duolian Resonator.
Rory played his electric guitars most often through a vintage Vox AC30 combo amp. Starting from around the late 70s, he began pairing the AC30 with amps such as Marshall 2104 JMP 50-watt Combo, Marshall Bass Head, or a Fender Twin. However, he most liked the combination of his trusty AC30 and a vintage Fender Bassman 4×10.
As far as effects, even though most people wouldn’t expect this since Rory is viewed as an old-school guitarist, according to his nephew Daniel, Rory archive counts more than 100 effect pedals. Most of these were probably bought out of curiosity and weren’t used much, but Rory did count heavily on a number of them.
For example, he used Dallas Rangebooster extensively during the 70s. When the pedal went out of production and became harder to find, he began using various “drive” pedals such as Boss DB-5 Driver, Ibanez Tube-Screamer, and the unique and rare Boss FA-1 FET. He also used compression extensively (MXR Dyna Comp), and occasionally used a flanger (usually a Boss BF-2).