Gibson Vintage
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Gibson Vintage
First Determine the Type of Guitar and the Model.
Sometimes there is a tag inside the guitar stating the "style" or model.
If the model is hollow, look on the inside for any tags and made
note of any ink stamps (sometimes the model is ink stamped inside the guitar).
But unfortunately, especially on the low to mid line models,
usually there is NO tag or label inside the guitar specifying what it is.
If this is the case, start at the beginning and first determine what
type of guitar you have.
These are several different types of Gibson guitars made.
Once this is known, go directly to the section about
that type (listed in the blue table of contents text above),
and look at the model pictures and descriptions that matches your guitar.
Here are the general types of Gibson guitars:
Once the type of guitar is determined, figuring out the exact model is
MUCH easier! (just go to one of the above six linked webpages that describes your guitar,
and compare each model specs to your guitar, until you find the one that matches).
Next Determine the Year or Approximate Year.
Gibson guitars usually have a FON (Factory Order Number), a serial number, or both
(but sometimes neither!) Various serial number systems were used by Gibson,
and often the same serial number could be used in the 1950s, 1960s, and 1970s.
See the serial number/FON section for details.
Duplicate or no serial/FON number doesn't make things easy, but there are other traits that allow the
serial number to make sense (see the General Specs section
for more details). Also mid to top end instruments usually have a label inside
the guitar with the serial number. Guitars with no label are usually lower end instruments
(or are a solidbody guitar!)
Probably the first thing when trying to determine the year on an old Gibson
is whether the guitar was made "pre-WW2", during WW2, or "post-WW2". This is easy to do, as Gibson
used different peghead logos for pre-WW2, "wartime", and post-WW2
(see the General Specs section for more details).
Knowing the general era of the Gibson guitar will make Gibson's rather complicated
serial number/FON systems less tangled.
Next Determine the Exact Model.
There are several general questions which can be asked in determining a guitar's model,
once the type of guitar (flat top, arch top, etc.) has been determined:
Finally Determine the Originality.
Originality of an instrument is very important. Modifications (any modifications),
are a bad thing in the eyes of a collector. This will greatly influence
value. Modifications can often be determined by looking at the model
specs for a particular year guitar in this web page (after the approximate year
is determined), and compare to your instrument.
Cutaway archtop models made from 1946 to 1959 are also very collectible, but
are not as much as the pre-war Advance Premier models. Non-cutaway
post-war models are interesting but not very collectible.
Archtop cutaway models made from 1960 to 1969 are also very good
instruments, but are not nearly as collectible as the pre-1960 models
and are more utility instruments.
Flat tops of the 1940's and 1950's are also excellent
instruments. Since they are much more common, they are also easier and
less expensive to obtain.
Gibson flat tops of the 1960's and 1970's seem to be
inferior in tone and construction to the same models of the 1950's. This is
generally blamed on adjustable bridges that were standard on all models in
the 1960's. Also the end of "sloped" shoulder body styles helped alienate
players and collector alike.
Postwar full depth, non-cutaway models were generally designed as student
models and are not very valuable. Post-war Gison electric archtops with
cutaways from the 1950's are considered to be excellent and collectible.
The deluxe models, such as the
L-5CES ,
Super 400CES
from the 1950's are very collectible. The
laminated body models, such as the
ES-5 ,
ES-350 ,
ES-175 and
ES-295 are
not worth as much as the solid wood model, but are valuable.
Thinline, semi-hollow electrics from 1958 to 1964 are very cool and
wanted by players and collectors. The ES-335, which had the lowest
list price of the
ES-335 /
ES-345 /
ES-355 group, is considered to be the
most collectible (even though it is the plainest).
The Varitone/Stereo system of the ES-345/ES-355 is
less desirable than the simple ES-335 design. Also, the stop tailpiece
setup of the ES-335 is more collectible than the vibrato or trapeze tailpiece systems.
Vintage Double neck Gibson Collectibility.
Left: Pre-WW2 pearl script logo. Note no
letters drop below the other letters.
Middle: Post-WW2 pearl 1948-1951 style logo
with connecting dot. The "G" and the "n" drop below the
other letters, and the open "b" and open "o" (open at the top of the letters)
were used in their pearl logos until 1969.
Right: "Pantograph" logo used from 1969 to 1984. Note the closed
"b" and "o".
Pre-war Script Gibson logo, Pearl or White.
Left: Gold post-war logo on a Les Paul Junior. The "i" dot
was always attached on all of these post-war gold logos.
Middle: Pearl post-war logo with detached "i" dot on a
1957 Les Paul. This style logo with detached "i" dot was used
from 1951 to 1969, and again from 1985 to present.
Right: War-time gold script "only a Gibson is Good Enough"
logo on a Southern Jumbo, as used from 1943 to 1945.
Post-war block Gibson logo, Pearl or Gold.
"Post-war" Gibson block logo used 1948-present. The post-war logo has the
"G" and the "N" with a tail that drops below the other letters.
Prior to 1925, Gibson used mostly spirit varnish.
The spirit varnish was a combination of shellac (blonde or orange/seedlac)
and small amounts of alcohol (spirit). This is very similar to Behlen's Violin Varnish
(still available today.) This spirit varnish produces a eggshell crazing patina.
Around 1918 is when Gibson started
experimenting with Nitrocellulose laquer, and by 1925 all models were using lacquer.
In 1918 the lacquer experimentation process began on less expensive models like
the opaque white top A3, L3, and Sheraton Brown "A" models.
Note that all staining was done with water based aniline dyes directly on the wood.
As for binding, all bindings were scraped clean of varnish and stain at the
end of the finishing process. Early on, this left the binding "raw".
Then with the advent of sprayed lacquer, after the binding was scraped,
a clear top coat were applied over the entire instrument (including the scraped binding.)
During the early 1920s, Gibson also used a oil/spirit combination finish on
higher end instruments. For example some Lloyd Loar mandolins had this finish.
This was short lived though.
Left: Orange "union made" label as used from 1964 to 1969.
Note the "union made" designation to the left of the
"Gibson" insignia. When Gibson was bought by Norlin in 1969, thousands of these
labels were discarded (and replaced with white and purple
"Norlin" labels). These blank unused labels were snatched
up by many guitar dealers, and are still available today.
Rigth: White label used from 1908 to 1932. This particular label
is from a 1929 L-4 model.
Seen through this f-hole is
the "Norlin" white rectangle
label (with purple and black
triangles), used from 1970
to 1984.
1970's style neck with a volute.
Also note the "made in USA" stamp.
Left: wrap-around "uncompensated" smooth stud bridge/tailpiece unit on
a 1960 Les Paul TV Special (note the black covered P-90 "soapbar" pickup).
This style bridge/tailpiece was used from 1953 to 1961. In 1961, it
changed to a "compensated" style unit with "stairsteps" for each
string.
Right: tunematic bridge ("no wire") and stop tailpiece
on a 1957 goldtop Les Paul (note the partial shown white covered P-90 "soapbar"
pickup at the bottom of the picture). Tunematic bridges started showing
up on many Gibson models in 1955.
Left: Top to bottom: P-90 pickup, Alino pickup,
Humbucking pickup, "double white" humbucking
pickup (with metal cover removed).
Right: P-90 pickup (top) and a P.A.F. humbucking
pickup with a nickel plated cover (bottom).
The pointed pickguard used on
most Gibson flattops from 1955
to the 1970's. Note this 1955
Southern Jumbo's "double
parallelagram" fingerboard inlays
and the "belly up" style bridge
(opposed to Martin's bridges which
had a belly down towards the endpin).
Pickguards.
Most Gibson pickguards prior to the mid-1970's were made from celluloid.
This material can deteriote with time (the tortoise colored pickguards
especially exhibit this trait).
Flattop pickguards: from the 1930's to 1955, Gibson flattop pickguards
were usually "teardrop" in shaped. But in early 1955, most models
changed to a "pointed" pickguard that followed the shape of the guitar
(except for the point). The J-200 was an exception to this rule; it's
pickguard stayed the same shape, but the material and the designed
changed. Prior to 1955, the J-200 has an engraved celluloid pickguard.
Starting in 1955, this changed to an injection molded styrene pickguard
that was cheaper to make.
Pickguard Bevels: on Gibsons that used a solid black pickguard, the
material was a layered black/white/black/white/black design. The edges
were cut beveled to make them look like they had binding. In 1966, the bevel
changed from being very wide and flat, to a narrow and steeper cut.
Top row: on the left is the first Gibson electric knob as used on ES model guitars
from 1947 to early 1950 (no numbers). Next to it is the ugliest pre-1970 Gibson knob, known
as the "amp" knob, used from late 1966 to the mid-1970's (but not on all models).
Middle row, left to right: Tall numbered gold knob, used from 1950 to 1952,
"speed" knob as used from 1953 to 1955, "bonnet" knob as used from 1955 to
1960, "metal top bonnet" knob or "reflector" knob as used from mid-1960 to mid-1970s (on many, but
not all models).
Bottom row, left to right: switch tips used. The left switch tip was used
on multiple pickup models from after WW2 to about 1960. This knob is bakelite and very
amber in color. Next to it is the 1960 version where the switch tip changed to a plastic material
that stayed white, and had a visible seam.
Bottom row black knobs, left to right: depending on the color of the guitar,
some models starting in the early 1950's used black versions of the above gold knobs.
These correspond to the same years as the above gold versions.
Kluson Deluxe Tuner specs (models including 3-on-a-plate and "tulip"
designs):
PegHead Markings other than Serial Numbers ("seconds")
All second instruments are usually worth less than the same guitar that is
not a second (given condition as the same). BGN instruments are worth less
than a second instrument because these tend to have some fairly serious
cosmetic flaw.
An ES-125tc from the 1960's,
as seen through the bass side
"f" hole.
Model Body Markings (non-Artist models).
Post-WW2 (1947-1960), Gibson offered 3 different cases.
The "low grade" case was an "alligator" softshell case, essentially made of
rigid cardboard with a sparse brown lining. This case also often had a hard thin
brown plastic handle that cracked very easily. The "medium grade" case was a
wooden case with a smooth brown outside and usually a sparse green lining
(though different color interiors are seen). The
"best grade" (known as the "faultless" case) was the "California Girl"
case, as it is known.
This wooden case has a rich brown outside (like a tanned California girl),
and a very plush and rich pink inside. The handle on the medium and high
grade cases was leather covered metal.
Note some models (such as the Les Paul) did not have a
medium grade case available (either got the 'gator
case or the Cal Girl case). But the most desirable Les Paul California Girl case
is the model with a curved top and *five* latches so it seems. This
5 latch case was sold with Les Paul Juniors, Specials and Standards
during the late 1950s. Though any 1950s era of these three LP models
could also have a four latch case.
Most 1950's Gibson cases had a small (1.5" by 1")
brass plaque on the outside with "Gibson" and a star stamped in it. This
was located on the side of the case by the handle. Note during this period
there where three different manufacturers making cases for Gibson, all with
the same basic specs, but slightly different shapes (Lifton, Geib, Stone).
Geib cases are seen mostly in the early 1950's, and Lifton cases in the mid
to late 1950's. Stone cases are seen throughout the 1950's, but not to the
extent of the other two manufacturers.
During the 1960's, the Alligator case was still available for low-end
models (SG Juniors, Melody Makers, ES-125, etc.) until 1965. The new low-end
case was a black softshell with a plush deep red lining. The medium grade
case was dropped entirely and the new high grade case was black on the outside,
and yellow on the inside. The black outside changed from smooth to rough
during different periods of the 1960's. Also the handle changed from a
leather covered metal to a hard molded plastic type about 1963.
The small brass Gibson plaque was still used until the later 1960's.
In the 1970's, the new high-end case
was still a wooden case with a black outside, but a deep red inside.
Most 1970's cases had "Gibson" silkscreened on the outside of the case
in white. Also made during the 1970's is the "protector" case; a huge
thing made completely out of molded plastic. This case was very popular
for Les Pauls.
A picture of a mid-1950's Les Paul brown case is
here .
This is not the most desirable of the Les Paul brown cases, as it has
a flat top and four latches (typically this style of brown case was
sold with Les Paul Specials and Juniors). Starting about mid to late
1958, the brown Les Paul case changed to a five latch model. This is
considered the "Sunburst" case (even though most 1958 models still
use the older four latch case).
Late 1980's and 1990's reissue cases are copies of the 1950's brown/pink Cal
Girl case. These newer cases have a tag on the inside pick pocket that says
"Made in Canada". Also, these cases have a pink interior satin cover that
goes over the top of the guitar before closing the case. And they also have
a combination lock on the main exterior latch and a leather handle. There
were also some early 1980's brown reissue cases (mostly for Les Pauls and
Korina reissues) that are starker versions of the Canadian reissue case.
Most recently Gibson has copied the original 1950's Cal Girl case more
exactly on their "historic" series reissues.
Gibson Serial Numbers and Factory Order Numbers (How to Find the
Year).
This following information applies to all Gibson instruments including
guitars, mandolins, lapsteels, basses and others.
This information was compiled from
these sources: A.R. Duchossior, W. Carter, G. Gruhn, E. Whitford,
D. Vinopal, D. Erlewine.
From 1902 to 1976, Gibson instruments may have a serial number, a FON (Factory
Order Number or code letter), both, or neither.
To make things even more interesting, they sometimes wrote the serial number
or factory order number with a near-invisible pencil,
sometimes ink-stamped it (in disappearing ink it seems), and sometimes
pressed it into the wood. And the placement of
these serial numbers and FON's (factory order numbers) can be different,
depending on the era. Gibson serial number consistency was never given much
thought, as Gibson changed serial number system many times.
Hence, some serial numbers may be duplicated in different years. This is
especially noticable during the 1960's.
Many people ask, "How can I tell the difference between a serial number
and a factory order number?". Sometimes this is difficult, but you have to
look at the format of the number, and the general era of the instrument.
Does it have a pre-WW2 script "Gibson" logo? If so, then just look at the
pre-WW2 serial number and factory order number info. This would be the
single biggest question to ask, as pre-WW2 and post-WW2 instruments are
numbered quite differently. Also, examine the placement and style of the
numbers and make sure it follows the schemes described.
Another question asked is, "The FON number says the instrument is 1958,
yet the serial number says 1959; why are they different?". There is
a very logical reason for this. The FON number is stamped on the instrument
very early in the manufacturing process. Most times, the serial number
is applied as one of the last steps (especially on pre-1961 hollow body
instruments) when the instrument is nearly finished. Depending on
the demand for the instrument, it could take Gibson up to 6 months to
finish the instrument. Hence the FON number could be one year, and
the serial number the next year.
It wasn't till 1977 that Gibson came up with a good serial
number system that will last them indefinately.
This new serial number system allows determination of
the exact date the instrument was stamped with the serial number, and
the factory of manufacturer.
Quick Overview: Serial Number/FON Identification by Era.
Gibson Factory Order Numbers, 1902 to 1945 - Overview.
Gibson Factory Order Numbers, 1942 to 1951.
Gibson Solidbody instruments 1952 to 1960:
All models, NO "made in U.S.A." stamped on peghead, 1961 to 1969:
All models, "made in U.S.A." stamped-on the peghead, 1970 to present.
Stamped on the back of the peghead. The "U.S.A." is below the "Made in",
which is below the stamped-on serial number. All stamps in the same size type.
Used from 1970 to present:
Stamped in serial numbers, used from 1961 to 1969.
The 1964 number on the left is still a "pressed in"
number, though gibson has inked the impression to make it
more readable (they started doing this about 1963 or 1964, when
serial numbers went to six digits). The number in the middle is from 1964 (on an ES-335), and
the number in the right is from 1961 (on an Les Paul TV
Special).
Note the lack of "Made in USA", thus denoting
these are pre-1970 guitars.
Gibson Serial Numbers, Feb 1961 to 1970.
Exceptions to the 1977 and later 8 digit serial numbers.
Vintage reissue and custom shop models use a different serial number format.
1994 Electric Gibsons.
In 1994 only, the Nashville Gibson factory numbered all instruments
with a 94xxxxxx style number. The final 6 digits ranked the instruments
over the whole year's production.
1994 Centennial Electric Models.
Inked on serial number in a YYYY-MM format. This funky formatting
keys the YYYY number to a ranking of the model according to the years
of centenial (1894 corresponds to #1, 1994 corresponds to #101, etc).
The MM was the month of the model within the series, ranging from 1 to 14
(but only 12 models were actually produced, plus 2 prototypes).
Les Paul Classic, 1990-present.
The LP Classic have a 1950s style inked serial number with the first
digit decoding to the last digit of the year.
Vintage Reissues and Custom Shop Models, 1982 to present.
These models have their own serial number system, and are not
covered in this document.
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