Additional pictures for each collectible vintage guitar maker are posted here. The vintage guitar pictures with the source listed as "VGI" are my personal collection. Hence they are vintage guitars I either own now, or owned in the past. I took these pictures, and then paid to have them scanned. They are not published anywhere else. Likewise, any pictures labeled as "source: guitar show" are pictures I took of vintage guitars at a show, and are also not published anywhere else. I would greatly appreciate them being left here for your enjoyment.

Most of the vintage guitar pictures with the source labeled as "unknown" were "hi-jacked" from other internet sites over the years. I wish I kept information on were I got them all, but I didn't. I provide "credits" where I can remember their source. If you see a vintage guitar picture that is yours, email me and I'll give you credit here. Sorry about that.

• 1936-1937 No.32 metal body, gold krinkle paint. Source: VGI.
• 1938-1940 No.47 "Lumalite". Body is made of aluminum with an incredible fake-flamed sunburst finish. Source: VGI.
• 1936-1937 No.62 metal body, "Spanish Dancer". Source: VGI.

Epiphone.

• 1961 Epiphone Casino. This is a very early, first year Casino. Note the original single layer tortoise shell pickguard. This guitar also sports a metal "badge" Epiphone peghead logo. All later 1961 and beyond Casinos used a white multi-layer pickguard and a pearl "Epiphone" peghead logo. Only a few month of Casino production used this pickguard and metal peghead badge. This sunburst (or is it Royal Tan?) finish is extremely faded. Source: VGI.
• Epiphone Coronets, 1962 and 1964. The red Coronet is the pre-1963 3+3 tuner arrangement, in cherry red. The green 1964 model has a "bat wing" peghead. The translucent green finish is original, and is pored filled with a whitish-silver filler to show the grain. This finish is known as "silver fox". Note the treble side horn is larger on the red 1962 model. Source: VGI.
• 1969 Epiphone Sorento "Special". Normal Epiphone Sorrento's don't look like this! The label inside the bass f-hole has the word "special" written next to the model name, and boy they weren't kidding! Normal Sorentos are a single sharp cutaway, thinbody guitar. This double sharp cutaway, thick (3") body looks more like a Barney Kessel. Note the wrong bridge is installed. Source: VGI.
• 1962 Coronet, cherry red. This solidbody electric model was conceived by Gibson when they started Epiphone production in 1958. Originally a squared edge slab body with a NY pickup, in 1960 the model was changed to the 2nd generation Coronet with rounded edges and a P-90 pickup. By 1963 there was a 3rd generation Coronet with 6 tuners on-a-side. This is the 2nd generation model. Source: VGI.
• 1967 Broadway, cherry red. Before Gibson bought Epiphone in 1957, Epi made this model from 1931 till they sold the company. When Gibson took over, they kept the model alive, but made it an electric archtop instead of acoustic. 1967 was the only year Gibson made this guitar available in cherry red. Source: VGI.
• 1954 Deluxe Zephyr Regent with DeArmond pickups, sunburst. Backed by a matching tweed Epi amp. Source: VGI.
• 1955 Deluxe Zephyr Regent with New York pickups, blond. Source: VGI.
• 1954 FT210 Deluxe cutaway flat top, blond. Essentially a cutaway J-200 with an arched maple back and mahogany/walnut laminate neck. Source: VGI.
• 1960 Sheraton. with New York pickups. Source: VGI.
• 1942 Emperior, blond, non-cutaway, wrong tailpiece. Source: VGI
• 1953 Emperior Zephyr Regent, electric, cutaway, sunburst, 3 New York pickups. Source: VGI

Fender.

• 1956 Stratocaster in sunburst. This guitar, dated 5/56, has an Ash body. Within a few months, Fender switched to using Alder for the body wood, and changed the peghead string tree from a round button to a rectangle "butterfly" clip. Source: VGI.
• 1965 Stratocaster in sunburst. Note the original "green" celluloid pickguard. Usually by early 1965 these pickguards were stopped being used and replaced with more "white" plastic pickguards. Source: VGI.
• 1968 Stratocaster in sunburst. Lacquer neck with a transition logo (1/68) with a polyester finish body. Source: VGI.
• 1959 Telecaster Custom. The first year for the Custom Telecaster was 1959, and this model is body dated 5/59. I beleive this to be a very early Custom because of the shape of the cutaway (it's slightly different than a regular Tele). Customs are different than regular Teles in that they have binding around the top and back of the body, have a sunburst finish, and have an alder body. They didn't sell very well and hence are somewhat rare. Source: VGI.
• 1958 Stratocaster. A stock 1958 Strat in sunburst and a tweed case. Source: VGI.
• 1962 Jaquar Pink Sparkle. With matching pink sparkle peghead, the owner claims this guitar is original. Since the peghead decal did look original, I would have to agree. The sparkles are much larger than the standard Fender metallic finishes. A very rare color (too bad it's not a Strat or Tele). Source: guitar show.
• 1963 Strat, Sonic Blue. A great color. Source: guitar show.
• 1963 Strat, black over sunburst. First time this guitar was painted sunburst at the Fender factory. But for some reason they choose to paint it again in black. You can see the sunburst finish at the right forearm area. This was a very common practice and was an economical way for Fender to use up rejected sunburst finished bodies without having to strip them. Source: guitar show.
• 1952 Precision Bass. January 1952 pbass, 1 of the first 200 made. Original brown gig bag. Source: VGI.
• 1959 Electric Mandolin, maple neck, anodized pickguard. Source: VGI.
• 1953 Esquire, black guard. Source: unknown.
• 1959 Jazzmaster, blond with gold parts. Source: VGI.
• 4 Stratocasters. Starting from the back, a 1956 Strat, a 1964 Candy Apple Red Strat, a 1955 Strat, a 1962 Blond Strat. All lying in a tweed case. Source: VGI.
• 1954 Stratocaster, sunburst, form fit "poodle" case. Source: unknown.
• 1957 Stratocaster, full-sized clear plastic, used for 1957 NAMM show to demonstrate the inter-workings of the Strat. Source: unknown.
• 1958 Stratocaster, gold metallic finish. Mistakenly called "Shoreline Gold", but its really a true custom-color gold. Shoreline Gold wasn't even available till it was introduced in 1959 as a Pontiac color. All of Fender's custom colors (except Blond and Candy Apple Red) where actually automobile colors. Source: John Pedan.
• 1958 Stratocaster, beat to death, Dakota Red. Source: VGI.
• 1961 Stratocaster, original Fiesta Red over Dakota Red over Sunburst. Source: VGI
• 1962 Stratocaster, Olympic White. A little beat-up, but you can see the original Olympic White finish is over a (rejected) sunburst finish. No clear coat or undercoat (other than the sunburst) was used by Fender on this example. Source: VGI.
• 1962 Stratocaster, blond. Source: VGI.
• 1964 Stratocasters. The left one is Dakota Red, the right one is Candy Apple Red. Source: VGI. Note this picture was stolen and used on a coin-operated bartop trivia game!
• 1964 Stratocaster, "Daphne Blue", a 1958 Cadillac color. Source: unknown.
• 1964 Strat Firemist Gold. A great special order guitar. Firemist Gold was a 1965 Fender custom color, so this may actually be the first Firemist Gold guitar Fender produced in mid 1964. Also has gold plated parts and a maple cap neck. The neck is two pieces but instead of a rosewood fingerboard, it's maple. Source: guitar show.
• 1956 Telecaster, blond. Source: VGI.
• 1968 Telecaster, blue floral, sister of the "paisley" Tele. Source: unknown.
• 1955 Tele, 1956 Strat, 1959 L.P. The 1955 Telecaster has an original sunburst finish. The 1956 Strat has an original green/blue metallic finish. A 1959 Les Paul sunburst is in front. Source: Joe Menza.

Gibson Intro.

• Gibson Headstocks, 1950's Gibson logo (open "b", "o") with "crown" inlay, 1970's Gibson logo (closed "b", "o") with "flowerpot" inlay, 1960's Gibson logo (open "b", "o") with "diamond" inlay. Source: Unknown.
• Gibson Pickups, "P-90" pickup, "Alnico" pickup, "Humbucking" pickup with cover, Humbucker without cover showing "double white" coils originally only used 1959 to 1960, Humbucker pickup underside showing "P.A.F." decal. Source: unknown.
• Gibson P.A.F. Pickups. Top and bottom side of these famous pickups. Source: VGI.

Gibson Flattops.

• Four J-45s. From right to left: 1943 J-45 with "banner" peghead logo and mahogany top (far right), 1946 J-45 with old style script "Gibson" peghead logo (but no "banner) and rectangle bridge, 1952 J-45 with modern "Gibson" logo and upper belly bridge and 19 frets, 1959 J-45 with larger pickguard and 20 frets and red in the sunburst (far left).
• 1946 J-45. Just after WW2, Gibson stopped using the "banner" script logo ("only a Gibson is good enough") because of an advertising campaign used by Epiphone (their largest competitor). Epi advertised their guitars as "when 'good enough' isn't good enough". This J-45 still uses the the war-time script logo, but lacks the "good enough" banner. By 1947 Gibson coverted most models to their new "post-war" block logo. Note the smaller rectangle bridge. Gibson started using a "belly" bridge just a couple of years later. Source: VGI.
• 1954 J-200 in sunburst. A transition guitar with a white "Gibson" label, but the newer style injection molded styrene pickguard with no border line. Source: VGI.
• 1930's Roy Smeck Stage Deluxe hawaiian flat top model. Note the very small sunburst finish. Source: VGI.
• 1964 Everly Brothers flat top with custom-ordered white celluloid pickguards instead of the usually tortoise. This one-of-a-kind Everly Brothers looks like the J-200's the Brothers used in the late 1950's. Source: VGI.
• 1963 J-185e/Everly custom flattop. Everly Brothers body and pickguards in sunburst, J-185 fingerboard inlays, J-160e pickup system. Bought from a Gibson factory employee in Kalamazoo, Michigan by a friend of mine in 1993. Thin body depth like an Everly Brother model. Source: Dr. Lenny Thatch.
• 1939 J-200 flat top, sunburst, rosewood back and sides. Source: unknown.
• 1955 J-200 flat top, sunburst. Source: VGI.
• 1967 J-200 flat top, Sunburst, tuneamatic bridge. Source: VGI.
• 1952, 1957 Gibson J-200. Note the pickguards on the J-200's. The 1952 pickguard is engraved celluloid with a border line around the edge. This pickguard style was used from 1939 to late 1954. The 1957 pickguard is injection molded styrene with no line and a slightly different design. This style was used from late 1954 to 1984. Source: VGI.
• 1952, 1957 Gibson Jumbo flat tops. The guitar on the left is a 1952 J-200, center is a 1957 J-185, and on the right is a 1957 J-200 with factory ordered pearl name inlays. The same J-200's as above, but with a J-185 thrown in for good measure. Source: VGI.

Gibson Archtops, Thinlines.

• 1937 Gibson L-12 in sunburst. Non-cutaway Gibson archtop with larger body style (17" which started in 1935). Notice the "bubble" figured maple on the back. Source: VGI.
• 1948 L-12P in sunburst. A very rare model that is just one step below an L-5C. One of the best overall sounding archtops I've owned. Source: VGI.
• 1952 Gibson ES-140 in sunburst. These 3/4 scale, thick body guitars are kinda neat, but fairly useless because of the short scale. Source: VGI.
• 1960 EB-2 bass in blond. The 1960 variant of this bass features the baritone tone selector switch, and the pickup poles moving to the center of the pickup. Note the pickup cover on this bass is from a 1964 model; it should be black and not nickel. Source: VGI.
• 1961 ES-335 in sunburst with a stop tailpiece. Source: VGI.
• 1964 ES-335 in sunburst with a stop tailpiece. Note the cutaway "ears" are pointier than on earlier 335's. Source: VGI.
• 1959 L-7c archtop, cutaway, sunburst. Source: unknown.
• 1956 Super 400ces archtop, sunburst, Alnico pickups. Source: unknown.
• 1965 Super 400ces, original red finish and custom headstock, complete with 2 P.A.F. pickups. Even though P.A.F.'s were basically used up by 1962, the high-end Gibsons with gold parts sometimes have them till 1965. Because the pole spacing is different on the neck pickup and they sold less of the high-end guitars, there was less demand for gold P.A.F.'s. Hence you may see them on guitars after 1962. Guitar: Alex Lutzski. Photo: Frankie Fan.
• 1964 Tal Farlow laminate archtop, sunburst. Source: unknown.
• 1937 ES-250 archtop, Charlie Christian model, sunburst. Source: unknown.
• 1942 ES-300 archtop, sunburst, short diagonal pickup. Compare this to the 1940 model with the large 6.25" long diagonal pickup pictured above. Note this war-time guitar wasn't finished till after WWII because of a lack of parts, and is marked "CULL". This was a term Gibson used for a "second". In this case the top split before being finished. All parts except the pickup and the knobs are post-WWII parts. Source: VGI.
• 1962 ES-330 fully hollow thinline, sunburst, dot neck but with chrome pickup covers. Notice looks like an ES-335, but neck joins body at 16th fret, P-90 pickups, trapeze tailpiece, and not semi-hollow. An ES-335 neck joins the body at the 19th fret, has Humbucking pickups, a stop tailpiece (1958-1964) anchored to the solid internal maple block, and is hence semi-hollow. Source: unknown.
• 1958 ES-335 semi-hollow thinline, sunburst, dot neck, long pickguard. Source: unknown.
• 1962 ES-335 cherry red with block position markers. Source: VGI
• 1959 ES-335, 345 thinlines. Notice the difference between the 335 and 345 models: nickel vs. gold parts, dots vs. double parallelagram inlays, mono vs. stereo varitone. Source: VGI.
• 1959 ES-345 sunburst. Source: VGI
• 1960 ES-345 semi-hollow thinline, blond, long pickguard. Source: unknown.
• 1961 ES-355. Lilly is holding a cherry red model with a sideways vibrola. Source: Joe Menza.
• 1958, 1960 ES-350 laminate archtop, sunburst. Shows difference in round (1958) and sharp (1960) cutaways. Source: unknown.
• 1951 ES-5 laminate archtop, blond, P-90 pickups, no switch model. Source: unknown.
• 1958 ES-5 Switchmaster laminate archtop, sunburst, P.A.F. pickups. Source: unknown.
• 1958 ES-1235 doubleneck, sunburst, 6 string and mandolin necks. This thick body style has a spruce top and is hollow with no "F" holes. Source: unknown.
• 1958 ES-1275 doubleneck, white, 6 string and 12 string necks. Same body style as above. Source: unknown.

Gibson Solidbody Electric.

• 1965 Firebird, Golden Mist. 1965 was the last year for full reverse Firebirds, and this is one of them in the custom color Golden Mist. When this color was shot, it was originally a bronze gold color. But with age and the yellowing of the clear lacquer over the gold, it has become a LesPaul colored gold. Note at the back of the peghead where someone sanded the finish in a crude attempt at defacing the serial number; you can see the original bronze "Golden Mist" color where the yellowed lacquer has been removed. Source: VGI.
• 1959 EDS-1275. Special ordered in white, this double neck 6 string/12 string guitar has a carved spruce top. Source: guitar show.
• 1958 Explorer solidbody, early example, original case. Source: unknown.
• 1964 Firebird VII solidbody, custom color Les Paul Gold or "Golden Mist" with a very yellowed clear coat. Source: unknown.
• 1965 Firebird III in Cardinal Red. This is a transitional model with P-90 pickups, a flat peghead (no ledge), and standard tuners. But note the full reverse body style. My favorite Firebird varient; full reverse yet lighter weight with the standard tuners, and that P90 sound! Source: VGI.
• 1958 Flying V solidbody, original case. Source: unknown.
• 1958 Les Paul Special Tenor. My buddy Joe swears this guitar is original, but I have my doubts. It's a single cutaway, cherry red, Tenor (4 string) Les Paul Special with metal pickguard and control plates. Definately a special order. But I've never seen a single cutaway L.P. Special in cherry red (they're always Limed Mahagony where the double cutaway ones are cherry red, unless it's a TV special), and I've never seen metal control plates and pickguard that were original. Also weird is the tuneamatic bridge, which wasn't used on Les Paul Specials. But there are no other holes indicating the normal wrap-around tailpiece. Inked on serial number, which leads me to believe that maybe the finish is correct. The original owner claims he ordered the guitar this way. Source: Joe Menza.
• 1954 Les Paul Goldtop solidbody, "wrap around" tailpiece. Source: unknown.
• 1957 Les Paul Goldtop, mint with tags. Source: Joe Menza.
• 1960, 1954 Les Paul Standard models. The 1960 Les Paul sunburst is a fairly plain, late model. The 1954 Les Paul Goldtop is lefthanded and original. Source: VGI.
• 1959 Les Paul Sunburst, nicknamed the "Gorby" burst. Note the mis-matched flamed maple top, and the complete fading of the "unburst". Source: VGI.
• 1959 Les Paul Sunburst, only slightly faded and with amazing figure. Nicknamed the "Pin" 'burst. Source: Joe Menza.
• 1959 Les Paul Sunburst Modified. Don't do this to your 1959 Les Paul! Converted to left handed with an added cutaway, and more holes than swiss cheese. Source: unknown.
• 1960 Les Paul Sunburst, with 1959 specs including "old style" sunburst with mild fading, old style knobs, large neck style. Nicknamed the "Phantom" 'burst. Source: VGI.
• 1959 Les Paul Standard solidbody, lightly faded sunburst. Source: Vic Depra.
• 1959 Les Paul Standard solidbody, extremely faded sunburst. Source: Vic Depra.
• 1959 Les Paul Standard solidbody, almost no fade sunburst. Source: Vic Depra.
• 1959, 1960 Les Paul Standard solidbodies, sunburst. The 1959 model on the left with the Bigsby my friend Colin bought in 1988 and later sold to help buy an Italian sports car that he later lost his ass on. He should have kept the guitar! The 1960 model on the right has the pickup covers removed showing the "zebra" neck pickup and the "double white" bridge pickup. Notice the difference in the two sunbursts. 1960 models don't fade like 1958-1959 models. The 1959 model on left is just beginning to fade. The "rust" color of the sunburst is often the first fade step. Source: Colin Cripps.
• 1959 Les Paul Standard solidbody, sunburst, pictured on the cover of American Guitars. Source: Vic Depra.
• 1955, 1959 Les Paul Junior solidbodies. The 1955 model is the single cutaway. The 1959 model is a "TV" junior with double cutaways. Source: unknown.
• 1956, 1959 Les Paul Special solidbodies. 1956 is single cutaway, 1959 is double cutaway. Source: unknown.
• 1961 Les Paul TV Special, yellow finish, slab double cutaway body. Note the wide distance between the neck and the neck pickup, making a more stable neck joint. Source: VGI

Gibson LapSteels, Ukes.

• 1936 EH-150 mini Lapsteel. A special order EH-150 in blond, and about 2/3 the size of a normal EH-150. Note the "Charlie Christian" pickup, and the original black case with red "racing strip" around the edge. Source: guitar show.
• 1956 Century lapsteel. Gibson's second most fancy post-war lapsteels. Notice the "salmon" color. The knobs are white and the P90 pickup cover is pink! Has a stop tailpiece like a Les Paul Junior, and an inked-on serial number. Source: VGI.
• 1939 EH-150 double neck lapsteel. A special order pre-war lapsteel. Source: guitar show.
• 1939 EH-150 lapsteel, 7 strings, ES-300 style diagonal pickup. Source: VGI.
• 1948 UltraTone lap steel. Source: Mike Meadows (embedded).
• 1930's Uke, painted. Source: unknown.

Gretsch.

• Gretsch pickups. DeArmond (upper left), Filter'tron (upper right), HiLoTron (lower left), SuperTron (lower right). Source: unknown.
• 1956 Chet Atkins 6120, Rancher 6022. Cow and Catus models. The 6120 is of course Chet Atkin's signiture model, the 6022 is the flat top cow and catus model. Source: VGI.
• 1955 Chet Atkins 6120, cow & cactus model, fixed arm bigsby. Source: VGI
• 1956 Chet Atkins 6120, cow & cactus model, swivel arm bigsby. Source: VGI
• 1957 Chet Atkins 6120, humptop inlays. Source: VGI
• 1956 Chet Atkins 6120, White Falcon 6136. The 6120 has humptop inlays and DeArmond pickups. The 6136 White Falcon has vertical logo, engraved inlays, "G" tailpiece. Source: VGI.
• 1956 White Falcon 6136, Cadillac tailpiece, engraved position markers, vertical logo, DeArmond pickups. Source: VGI.
• 1960 Chet Atkins 6120 left handed, thick body. For this year the 6120 should have neoclassic inlays. But because it's lefthanded, this 6120 uses the older style humptop inlays. Also note the lack of a Chet Atkins signature on the pickguard. Probably because it doesn't fit on a left handed pickguard. Also note the lefthanded Bigsby. Source: VGI
• 1956 SilverJet 6129 solidbody. Source: unknown.
• 1963 DuoJet Sparkle top, "champange" pink. Double cutaway model in a rare color. Source: VGI.

Martin.

• 1935 Martin 000-28 sunburst. Martin usually didn't finish guitars in sunburst. Unfortunately an oversize bridge was installed before I purchased the guitar. These pre-WW2 rosewood herringbone 000 size Martins are great guitars. Serial number of this guitar is 60924. Source: VGI.
• 1935 Martin 000-28 sunburst TWIN. Is this the same guitar as above? NO! This is it's brother! Serial number 60919, only five numbers from the previous sunburst 000-28 martin guitar. This example too has a replacement oversize bridge. Source: Mac Carter.
• 1927 Martin OO-45. A very rare and top-of-the-line style. Lots of pearl and abalone trim. Completely original except for the bridge pins. This guitar was owned by the brother of a famous 1920's Hawaiian Olympic swimmer named "Duke". Source: VGI.
• 1927 Martin OO-45. A closeup view of this fantastic guitar. Source: VGI.
• 1944 D-28, full pre-war specs. Heringbone trim, scalloped braces, split diamond fingerboard inlays. Source: VGI.
• 1946 D-28, herringbone, dot inlays. Source: VGI.
• 1948 O-17t. An all mahogany Martin in Tenor version. Source: VGI
• Style 5 Koa Uke. Source: unknown.

National.

• Resonator System, single cone versus tricone system internal workings. Source: unknown.
• 1936 National Style 35 Tricone. A very well worn Style 35. This squareneck tricone is known as the "lute player" model, because of the sandblasted luter player on the back. The sandblasting was originally airbrushed with colored enamel over the sandblasting on many Style 35's (towards 1940 National stopped doing this to save money). Unfortunately, most of the color has worn off. You can still see just a bit left of the orange and blue on the lute player. Source: VGI.
• 1933 Tricone Style 1 1/2 Electric Squareneck, prototypical electric tricone National. Very interesting, one-of-a-kind electric tricone. Uses standard resonator coverplate with a large maple 1" thick pancake underneath. The top of the maple pancake is painted black to hide it's presence under the coverplate. The maple pancake fits in the soundwell and holds the pickup and controls. The resonator cones are removed from this system and discarded. Note the absence of the standard National tailpiece. Instead the strings stop just after the pickup, much like a Gibson stop tailpiece. I've seen National "Silvo" black & white electric coverplates on single-cone instruments. But i've never seen an electric tricone (if you've seen one, email me). The body has an engraved border making this a "Style 1 1/2" tricone. Source: VGI
• 1933 Duolian, green krinkle finish, flat-cut F-holes, 12 fret neck. Source: VGI
• 1937 Duolian, piano finish metal body, missing pickguard. Source: VGI.
• 1935 Duolian, "custom color" gold krinkle finish, 14 fret neck, open headstock. A one-of-a-kind National. I've never seen another in this color. Source: VGI.
• 1934 Style O, 12 fret neck, rolled F-holes. Source: VGI.
• 1934 Style O's. The one on the left has a 12 fret neck, the one on the right has a 14 fret neck. Notice how the 14 fret model's body is compressed to give access to 14 frets. Also notice the difference in the cover plates. The 14 fret model has the "crow's feet" cover plate. Source: VGI.
• 1937 Style O, banner logo, square wood neck, palm trees on side. Source: VGI.
• 1929 Tricone Style 2 1/2, roundneck, extra engraving, celluloid peghead veneer. Source: VGI.
• 1938 Tricone Style 35, back and sides. Source: unknown.
• 1938 Tricone Style 97, front. Source: unknown.
• 1938 Tricone Style 97, surfer back. Source: unknown.
• 1929 Triolian, bakelite neck, metal body, polychrome finish. Source: VGI.
• 1930 Triolian Peghead. Closeup of bakelite peghead. Source: VGI.
• 1931 Triolian back, polychrome. Source: unknown.
• 1932 Triolian, with rare green krinkle finish. Serial number 87b. Source: VGI.

Rickenbacker.

• 1958 Rickenbacker Capri. Original 3 pickups and a vibrato, thick body 345 Capri with dot fingerboard inlays. Source: VGI.
• 1949 Rick BD-6 lapsteel. This post-war bakelite model is the "deluxe" version because of the peghead cover. Source: VGI.
• 1966 Model 330, fireglo. Source: Route 66 Guitars, photographer: Jeff Veitch (embedded).
• 1971 Model 331 lightshow. Source: unknown.
• 1958 Model 360 capri. Source: unknown.
• 1959 Model 360f fullbody, Mapleglo. Source: unknown.
• 1963 Model 360-12, 12 string, old body style. Source: Route 66 Guitars, photographer: Jeff Veitch (embedded).
• 1957 Model 365 prototype. Source: Route 66 Guitars, photographer: Jeff Veitch (embedded).
• 1968 Model 375, Mapleglo. Source: unknown.
• 1958 Mandolin solidbody, Mapleglo. Only 12 made in the original series. Source: unknown.
• 1935 Style B & 1937 Silver Hawaiian. The Style B bakelite model has 7 strings and nickel cover plates. Source: VGI

Other Makers.

• 1946 D'Angelico New Yorker, blond, non-cutaway. Source: unknown.
• 1964 D'Angelico New Yorker Special, sunburst, cutaway, New Yorker features, Excel sized body. Source: unknown.
• 1958 Kay 161, labeled as an "Old Kraftsmen". Source: VGI
• 1961 Kay Jazz2. Thinline, fully hollow, double cutaway with a half Kelvinator peghead. Source: VGI
• 1960 Kay Upbeat, black, 3 pickups, half Kelvinator peghead. Source: VGI
• 1959 Kay Artist, 1967 Hofner Model 360, blond. Source: VGI.
• 1959 Kay Jazz Special. Source: VGI.