If you have an instrument you would like to sell and think it would fit-in on this site, please contact me via email or phone (206-300-4501). You will find my consignment rates are quite competitive. Thanks, John.
This is one of the best Benedettos I've had--a fine sounding and playing rig. $9,950
Almost 20 years old now this spectacular dreadnaught size guitar has some of the nicest vertical-grain Brazilian rosewood I have seen in a modern instrument. It is a fine sounding and playing guitar. Sold
From my personal collection this has a recent re-fret. It is a great playing little guitar with a well balanced and punchy tone. $4,550
This guitar has a '52 f.o.n. but was not shipped until early '54. The neck looks to have been reset at one point. It plays beautifully and has a wonderful full tone. There may be some small finish touch-up on back of the neck but otherwise looks to be completely original save the frets and pickguard. Gibson shipped a total of 13s L-5CN in 1954. NEW PRICE--$13,500
This is John Monteleone's take on a gypsy guitar designed in collaboration with Mario Maccaferri. It has a bit of play-wear but is a fine sounding and playing instrument. Sold
This is a fine playing and moderately priced 7-string guitar. The frets have been expertly replaced and has a Buscarino tail-piece installed (a major improvement in my opinion). Sold
I love these guitars. It affords maximum portability and comfort with all the amplified sound of a full sized archtop. This one is slightly deeper than the prototype that Bill Frisell uses. It is in brand new condition save a few lacquer checks and tiny dings. Sold.
This early Emerald City has different headstock design and neck profile than the current version. The rather flat neck profile and the open-book headstock were redesigned shortly after this beautiful example was built. It is in fabulous condition and speaks with a great deep-tone. Sold
This is a striking guitar both visually and tonally. The Metropolitan Reserve is an uncatalogued model in the Andersen Stringed Instruments line. It is a standard Metropolitan with German wood upgrades and ebony (instead of the stock pearl) tuner buttons. This guitar has an untinted finish which shows off the subtle character of the tightly figured wood. Twenty (or so) Metropolitans have been made so far, but this is the only one with European woods. Sold.
The Metropolitan Special was the predecessor to the Andersen Streamline model. They were originally made for me in partnership with The Pioneer Music Co. of Portland Oregon. A total of 10 were made before the model was dropped in favor of the Streamline. This guitar was of the last batch of four that I set aside as my favorite. It is similar to a Streamline in specifications except for the Model 17 style composite tailpiece rather than a metal one. Sold.
This is the first 16-inch Andersen guitar made. This was built as a display instrument for a New York City area trade show. The oval sound hole works well with the smaller body adding bass and warmth reminiscent of a much larger guitar. It is fun to play and is particularly well suited for finger-style. Sold.
Even at the list price of $5,500 the Andersen Streamline has to be the best deal going. This one is virtually new and even a better deal. It works great as an acoustic or electric guitar and has the sweet tone and dead-on evenness characteristic of all Andersen archtops. Sold
This is from the first batch of Streamlines. It sounds and plays great as they all do. I think this is the best deal going on an handmade archtop guitar even at the list price of $5,500. This one is virtually new in condition at a very attractive price. Sold
Even at the list price of $5,500 the Andersen Streamline has to be the best deal going. This one is virtually new and even a better deal. It works great as an acoustic or electric guitar and has the sweet tone and dead-on evenness characteristic of all Andersen archtops. Sold.
The #300 instrument produced by Steven Andersen was this special version of the Streamline model. It is from the first batch of Streamlines built and features elegant woods, a gold plated tailpiece and macassar ebony trimmings. Like all Andersen guitars it has an extremely even tone and plays wonderfully. Sold.
This mandolin has a sweet tone and is extraordinarily even in response. The tone extends from a rich bottom and midrange to a solid high end. The top is of Engelmann spruce. The back, sides, and neck are nicely figured tight-grain maple. The finish is a light brown sunburst with a hint of red. It is in excellent condition with only a handful of small dings on the face and headstock, a few belt buckle marks, and some finish wear on the neck. The frets on the flat fretboard show some wear, but it plays cleanly in all positions. The original case needs a new handle, but otherwise is in good condition. It is an instrument that has been well cared for and played a fair amount. It has, no doubt, spent the last few years unplayed and in its case. Sold.
Dana Bourgeois's archtop guitars are characterized by the fine workmanship and choice of woods that guitarist have come to associate with his more well know flattop guitars. This model is similar to the A-350 that is still available while the A-250 has been discontinued. It has the unusual feature of translucent black finish on the neck and has a strong woody tone. Sold.
A fine example of John Buscarino's work this guitar is in excellent condition except for some impressions in the finish around the bass-side f-hole. These make great gigging instruments. Sold.
The Monarch is the result of the collaboration of John Buscarino with his mentor, Robert Benedetto. The only major departure from the Benedetto school is the use of a hinged tailpiece rather than the cello-gut style pioneered by Mr. Benedetto. This guitar has not only the stylish design, but also nicely chosen woods and the superb workmanship one would expect in a much more expensive Benedetto. It has a very sensitive response and slender neck reminiscent of an early '60s L-5. Sold.
The Virtuoso model is the top of line in the Buscarino catalog. It is trimmed with bird's eye maple binding and violin-style purfling around the f-holes. Top grades of woods are used all around with a German spruce top and a highly flamed western maple back. The light binding in contrast with the beautiful sunburst makes for a striking appearance. It has a open, lively tone and plays well through out its range. The laminated tailpiece and pickguard are a nice touch. The neck is a modern rather slender profile. This is all around a very impressive guitar built by one of the most respected practitioners of the craft. Sold.
The only bad thing about Collings archtops is there are not enough of them. It takes so long to get one they are, for all practical purposes: unavailable. This beautiful guitar is strongly in the tradition of D'Angelico/D'Aquisto both tonally and visually but with a character all its own. Nothing is overdone nor under-worked. Undoubtedly, over time, these will be among the most collectable of archtop guitars. Sold.
This beautiful instrument is a one-off that made its first appearance at a NAMM show in the winter of 2000. It is in the tradition of later works by D'Aquisto and speaks with an extraordinarily powerful voice. It has a ding or two and a few lacquer-checks but is otherwise in fine condition. Collings archtops are not easy to come by. Don't miss this opportunity. Sold.
Collings Guitars of Austin Texas makes some of the finest fretted instruments available today. They all show impeccable workmanship, choice woods, and stellar tone. The D-1 model pays homage to the legendary Martin D-18 models of the mid '30s. Be sure to check out interesting figured mahogany back visible in the photos. Its the next best thing to a prewar vintage piece at a fraction of the cost. Sold.
This instrument is virtually unplayed and has the classic Collings dreadnaught sound. Its tone is punchy and responsive. You will like it. The Martin case is not only in great shape, but is super-light weight. Sold.
This early D'Angelico is a fine playing and sounding guitar with an old refinish most likely by D'Angelico.
This looks like D'Aquisto refinished and rebound this guitar. It was once owned and used by New York City guitarist, Peter Rogine. It has a very modern feel and sound for its age. Sold.
This guitar has been rebound and refinished by master repairman Tom Marcel. The repair work is top notch and brings a new life to a well played-in guitar. Sold.
This has to be the best sounding D'Angelico I have encountered. It combines great tone with powerful projection. Rebound by Steven Andersen some 15 years ago. Sold.
This instrument has seen heavy professional use. It has a big warm extraordinary tone that the best of the '50s D'Angelicos possess. There are a repaired headstock fracture and seam separation. Its has also been refretted. Sold.
This is a great sounding and playing New Yorker. It was originally natural and was refinished by D'Aquisto when brought to him for repairs. It also has some repaired top cracks but is a bargain by today's standards. Here is a rare chance to get that distinctive D'Angelico tone with a wonderful D'Aquisto violin finish. Sold.
Great sounding. Great playing. Sold.
One of the last of approximately six of these built, this guitar represents D'Aquisto's first firm step away from traditional design of archtop guitars. This soundhole design marked the beginning of his--and countless other builders--experimentation with designs bearing little resemblance to the violin f-holes they are descended from. Although some earlier New Yorkers carry similar sound holes, the Avant Garde was the first model to incorporate them as a basic feature. Art Deco details and wooden binding help raise this guitar from the level of craft to that of art. It speaks with a huge voice. Sold.
This is a beautiful early work by Jimmy D'Aquisto in the style of John D'Angelico.
This is the first New Yorker Classic built, marking the beginning of D'Aquisto's use of wooden-binding, unbound f-holes, and plain fingerboards as regular features. Sold
This is a splendid example of the first D'Aquisto model to significantly deviate from his stock New Yorker and Excel designs so well defined by the early 1970s. This was the guitar Mr. D'Aquisto always wanted to build: unbound f-holes, wooden bindings, no fingerboard inlays or unnecessary decorations. Most collectors now believe D'Aquisto's greatest work comes from this period and this is a prime example. Sold.
This is the only straight braced D'Aquisto I have seen. It projects with great power but retains the unique tone only brought to life by D'Aquisto instruments. This has a barely visible scarf-joint headstock repair undoubtedly done by D'Aquisto. I have seen several D'Angelicos and D'Aquistos with repaired in this manner. Sold.
The New Yorker Special is arguably the model most identified with James L. D'Aquisto and his now legendary guitars. Its 17-inch body and lush violin finish typifies the core of D'Aquisto's work. It is a joy to play, having a slender neck and a well defined tone that can only come from a D'Aquisto creation. Sold.
In my view this is the quintessential modern acoustic jazz-guitar. Jimmy D'Aquisto's timeless design from his most celebrated decade combines with his incomparable violin-style finish to make this instrument the holy grail of archtops. Playing an 18-inch D'Aquisto is an experience like no other for the lover of fine guitars. While the New Yorker Deluxe is not the rarest of D'Aquisto models, it must ultimately be his greatest contribution to the art of instrument making. Sold.
Michael Dunn is well known not only a builder of Selmer style guitars but as an accomplished player of them. His Mystery Pacific model is based on the early Selmer-made creations of Mario Maccaferri. It differs having 14-frets clear of the body rather than 12 but retains the internal sound chamber used on most of the D-shaped sound-hole guitars made outside of Paris by the Selmer saxophone company in the early '30s. This particular guitar is one of my favorites as it has a more friendly neck profile than most guitars of this genre. Mr. Dunn has succeeded in creating an instrument that embodies the essence of the Hot Club sound and look while retaining many qualities unique to his own vision. Sold
This is a guitar in spectacular condition with its original French-fit leather covered case.
It has a reproduction pick-guard, tail-piece bracket and new frets but otherwise all original parts.
The back center seam has been professionally re-glued. It has the huge tone one expects from these
This is an outstanding example of Epiphone's flagship model both in tone and condition. The tailpiece has been recently repaired and re platted without damage to the original engraving. The pickguard has been restored utilizing the original bindings. The body bindings have been reglued in a few places and is tight throughout. Sold.
The Epiphone De Luxe seems to be a much rarer guitar than the larger Emperors. Measuring 17 1/4 inches at the lower bout this one is in great shape. In many ways, I prefer the more L5-like tone of the De Luxe to the Emperors. This guitar is fun to play, has lots of cut and is a splendid all around guitar. It has been re-fretted with large frets and two holes have been added to the pickguard no doubt for a DeArmond pickup setup. It shows a small amount of binding shrinkage on the back through the waist, but the Frequensator tailpiece is in good condition with no fatigue cracks. The photos will also reveal some small finish wear on the treble side. Sold
Nice weight and feel. The neck appears to have been oversprayed at one time but all else is original. Sold.
This instrument has been used extensively in performance and recording by Bill Frisell. Included are a three-page letter from Mr. Frisell detailing its use and modifications, a signed copy of Chip Taylor and Carrie Rodriguez CD that the guitar was featured on, a signed program of The Great Flood with Mr. Frisell and the guitar pictured, and a signed color copy of a Downbeat cover with Mr. Frisell and the guitar. Sold
This early Byrdland ('56 F.O.N. w/'57 serial) is in remarkable shape and has original Grover Imperial gears. To some, this is the pinnacle of Gibson archtops. Sold.
The Citation was originally built from 1969 to 1974 as the flagship of the Gibson fleet. The premier batch of 15 guitars was finished in varnish rather than the typical lacquer used by Gibson on their production models. While reissued in the '80s and '90s this original batch of high-grade arch-tops are among the most collectible guitars of the era. Sold.
By all accounts this guitar is the last of the original batch built with a varnish finish. It has a wonderful feel, a beautiful tone and a unique sensitivity of response. It is a one-of-a-kind guitar utilizing an experimental bracing pattern based on the Kasha principals implemented by Abe Wechter and Richard Schneider while at Gibson. It was originally built for jazz guitarist Mike Elliot, who worked for Gibson presenting guitar clinics in the late '70s with (among others) Howard Roberts. Mike says, "My number 15 was an Abe Wechter experiment, and was given to me as a welcome aboard gift when I joined Gibson. I ran into the guy who had the other number 15 at a NAMM show a long while back. It was made several years after mine, and is lacquer finish." Sold.
This guitar is a beautiful reproduction of the original fifteen Citations down to the fine woodworking details and varnish finish. This is the pinnacle of the modern Gibson archtop. The original leather-covered case and fabric case-cover are included. Sold
The Citation has been the flagship of the Gibson line since its introduction in 1969. Is was reintroduced in 1993 after a ten year hiatus and is currently the best Gibson has to offer. Choice woods and a beautiful finish are among the highlights of this guitar.
Except for some finish wear on the back of the neck and a few light scratches this guitar is in near mint condition. The frets are in good shape, it plays great, and has the classic single P-90 sound found on Herb Ellis and early Jim Hall recording. Once owned and used by Bill Frisell it is all original except for some added copper shielding around the pickup coil to help reduce hum. I really like the subtle sunburst. It comes with its original hardshell brown Lifton case with felt lining. Sold
This guitar is well used but is in fine playing condition. It is a great working guitar for someone who wants the vintage sound and look without paying a collector's sum. Sold
Single pickup ES-175s have always been one of my favorite guitars. This wonderfully warm sounding P.A.F. equipped one is certainly no exception. It plays extremely well due in part to a expert refret job by Portland Oregon repairman, David Zogg. It has a few dings here and there but is overall in really nice condition. The ES-175 must be one of the most recorded guitars in the history of jazz having been used by Jim Hall, Herb Elis, Joe Pass, Wes Montgomery, Pat Metheny and countless others. Sold
Originally this guitar was build with an Epiphone-style Mystro vibrola but is currently set-up with a stop-tailpiece. The original vibrola-tailpiece and custom-made plaque are included. It is one of the very last A series serial numbers (17 before the last one issued: A-36147) and it also carries an early impressed number making it likely from February of 1961. Andre Duchossoir has documented ES-335 #A36127 as also having two such numbers in his definitive work, Gibson Electrics--The Classic Years. This is a fine playing instrument. Sold
There is a bit of finish touch-up on the neck, but otherwise very clean and original. Sold
A very early twin-pickup version with script-logo. Sold.
There is a great deal of wear and tear on this guitar but is has a great vibe and wonderful tone. Original gears and tail-piece are still onboard but the knobs and pickguard are replacements. New frets have brought this old warhorse back to life. It was formerly owned and used by the well known East St. Louis musician, Earl Gibson once a member of the Sensational Ink Spots. Now you can own Gibson's Gibson. Sold
Except for some superficial belt-buckle wear and replaced tuning gears this guitar would qualify as mint condition. It has a very playable neck and is complete with original hang-tags. Sold.
Extraordinary condition!! Sold
This guitar has been partially refretted, has a new nut and the mini-jack on the pickguard has been replaced with a 1/4-inch endpin jack. There is a small amount of plating wear on the tailpiece but otherwise fine original condition. It plays beautifully and is a marvelous example of a late '60s Smith. It has nice flame on the sides. The back is very nice with the figure being somewhat irregular and a bit understated. Sold.
A great player's guitar, it has been professionally re-fretted and is ready to go. The tailpiece has been re-plated--so unfortunately the engraving is gone--and a 1/4-inch jack has been installed in the side. It is a beautiful guitar with nice flame and a patina that reflects its many years of professional use. It has a great sound and feel. Sold.
One of the best sounding Johnny Smith guitars I've played, this was reportedly made for the Chicago summer NAMM show in 1983. An end-pin jack has been installed but is otherwise in extraordinary original condition. Sold.
This is a really nice example with a great neck profile. Sold.
With the exception of the replaced fingerboard, this guitar is in exceptional original condition. The case alone is the cleanest one I have even encountered. It also happens to be a fabulous sounding and playing instrument with the classic tone of an x-braced L-5. Sold.
Originally setup as a left-handed guitar, this was owned and used by well known guitarist and television personality Frankie Remley. Mr. Remley played in the Phil Harris big band in the 30s and later was a fixture on the Jack Benny television and radio shows. The guitar plays well and presents a fine punchy tone. It has new frets and some repairs to the pick-guard. As it was likely built as a left handed guitar the saddle, nut and pickguard are probably not original. Sold
This exceptional instrument is a very early natural finish L-5. It's all original except for an expert re-fret and the tail-piece bracket. Sold.
This instrument is an extraordinary collectors piece. Sold.
While it is impossible to know for sure, my guess is this guitar was made for Roy Smeck himself. The unusual headstock inlay and tailpiece are clearly original to this guitar. The original tuners (apparently prewar style open-backs) have been replaced with later model Imperials. The frets have also been replaced but the guitar appears to be otherwise original. The finish is in remarkable shape except for some playing wear on the neck. At one time, it had a DeArmond pickup mounted, but is no longer with it. This has to be a one-of-kind! Sold.
Extraordinary condition!! This example is all original except for the carefully crafted reproduction pickguard made by master repairman Mark Simon. I can't imagine a nicer example exists. Sold.
This is the cleanest '50s guitar I have ever encountered. With the exception of a few lacquer-checks and some light belt-buckle impressions it is as new, including original hang-tags. All that, and it plays and sounds great! Sold.
This is another fine playing instrument with a new fret job and Johnny Smith floating pickup. The fretboard binding has been replaced and the tailpiece re-lacquered but otherwise seems to be all original and in fine shape. It has a particularly nice electric sound. Sold.
This fine players-guitar seems to be an original factory bar-pickup (Charlie Christian) that was converted to a P.A.F. humbucking and refinished natural. The repair work is all top notch. It carries a '59 batch number and an early '60 serial number and has a classic '60 neck profile. Sold
Most of you who have dealt with me understand that I am not in the habit of exaggerating the condition in my description. This guitar is--without question--the cleanest 40-year old guitar I have ever encountered. One pickup has the P.A.F. decal and the other has none. The case is in spectacular condition as well. Include are the original hang-tags, allen wrench, case keys and instructions. Sold.
One of a kind. Sold.
While originally built as a purely acoustic guitar this has had a Gibson BJB floating pickup attached to the pickguard and an end-pin jack installed through the tailpiece. Typical of this era, it has a wonderful spruce top, the neck is nicely flamed, and the backs and sides are of lightly figured German maple. This guitar plays well and has a strong tone. Sold.
This instrument is generally in fine condition except for the lacquer break at the heal-cap. It plays and sounds well. Sold.
This Custom shop guitar comes complete with its original tags, Certificate of Authenticity, and label signed by James W. Hutchins. The subtle sunburst is quite beautiful and it performs well as an electric guitar due in part to the CES style bracing pattern. Sold
This is great sounding early post-war guitar. It is all original except the reproduction pickguard. The original frets show a bit of wear but it plays well and has a great feel. Sold
This instrument is in spectacular condition. Sold
This is a wonderful swing guitar overflowing with the charisma of the '30s. It has that distinctive tone only found in a pre-war Gibson. It is completely original except for possibly a beautifully made reproduction pickguard utilizing the original bindings. Sold.
Cutaway L-12s were made only for a few years in the late '40s and early '50s making them quite rare. With a sunburst back and neck, plus gold parts, the appointments are far more like the L-5 of the period than the more common L-7 models. This guitar has seen a lot of use but still is in fine condition. It has a strong lively tone and plays comfortably having new frets slightly taller than stock Gibson ones of the period. This would be a great guitar to have while you are waiting for that perfect cutaway L-5 to turn up. Sold
As seen on page 70 of Guitars--The Tsumura Collection. Sold.
A wonderful guitar with lush woods and in beautiful condition. It has the classic early '60s Gibson neck and is currently set up with an alternate Gibson style pickguard and Armstrong pickup. It is original except for the Super 400 style late-model pickguard, an end-pin jack and a small amount of plating wear on the tailpiece. Sold.
Of the dozen or so Anniversary Model Super 400s made, this is apparently the only acoustic version (with original floating BJB Johnny Smith pickup). All others were twin-pickup CES models and share few of the special details on this guitar. This instrument, which was made in the last months of the Kalamazoo production, displays features specified by renowned Super 400 collector Dr. Tom Van Hoose. These include: 1930s style tuner buttons, an engraved tailpiece, the inside of the back is signed by all the Gibson craftsmen involved, a unique design on back of headstock, and 1930s style arching. Sold.
This is a great Gibson Custom Shop guitar. The guitar is in mint condition except for a top ding on the lower bout that has dented the finish (see photo). It is a cross between a Super-400 and a Wes Montgomery model. Stunning detailing, lush tone, and superb woods make this the ideal acoustic-electric instrument. Sold.
Included with this superb example are photos of Tal with this guitar and a second pickguard signed by the bebop giant himself. I doubt a cleaner one exists. Sold.
The Guild Artist Award has always been one of the best values in carved arch top guitars. This instrument is certainly no exception having fine workmanship, beautiful woods, and exceptional playability at a modest price. Sold
This is undoubtedly one of the best sounding Guilds I have encountered. This was made when the DeArmond 1100 pickup was stock for this guitar it has a great electric sound. Sold.
Owned and used by Bill Frisell. Included with the guitar is a letter from Mr. Frisell detailing it's use and two signed CDs it was used on. Only a handful of these unusual flattops designed by the legendary Steve Klein were made. Sold
This guitar, built in the spirit of a Maccaferri Grande Bouche, has much fuller tone than one normally associates with the Selmer style guitars. That, plus a modern-profile neck will make it an ideal crossover guitar for many players. It maintains the basic character of a classic Gypsy-Jazz guitar with added color and sensitivity. It may lack some of the shear power often characterized by instruments of this school of lutherie, but can be played with a much lighter touch. Sold
This is a beautiful sounding and playing little Martin. It looks like the finish may have been touched up in one or two places and the neck has been reset. Otherwise, all original and is a stunning guitar--as one expects from this period. Sold.
This D-18 has the wonderful touch and tone one always hopes to find. Pre-war Martins seem to live up to their lofty reputation more than most any other vintage guitar. This fine example is no exception. The bridge appears to be a slightly oversize replacement but is an excellent reproduction and the guitar is otherwise in great original shape. It is currently set up rather low for easy playing but could easily be turn into a real powerhouse with a higher saddle. Sold.
Except for some lacquer checking and a few nicks the guitar is in remarkable shape. It has a deep woody tone and is setup with medium action for a strong acoustic presence. It is all original except for the case and the finish still has a high gloss. This is one of the nicest '50s D-18 I've seen in some time. Sold.
Here is a fine example of the skilled workmanship and unique designs of the Portland Oregon builder, Ted Megas. It has a fabulous violin finish and punchy sound. It is the first one I've had in the shop and I find it quite impressive. Sold.
John Monteleone is most certainly the heir apparent to the throne of the New York School of archtop guitar building. Playing this instrument will reveal that his reputation is richly deserved. Not only is it beautiful in styling but it has a strong, smooth tone and carries the 7th string quite well. With a starting price of close to $30,000 and a three year wait for a new one, this guitar is also moderately priced. Sold.
John Monteleone is most certainly the heir apparent to the throne of the New York School of archtop guitar building. This is his successful take on a laminated top electric rig. Sold.
This blues-classic is set-up for slide playing and has a new cone. All in all its in good shape with a few dings around the edges. Sold.
Shelley D. Park is one of my favorite builders of Selmer style guitars. This is an elegant guitar possessing a clear responsive tone, perfect for Gypsy-jazz rhythm or lead work. Sold.
This circa 1933 tenor guitar is quite likely one the earliest Eddie Freeman model Selmer guitars made. It has a round sound-hole with a multicolored rosette. According to François Charle--author of The Story of Selmer Maccaferri Guitars--"..it seems to be one of the prototypes made for Eddie Freeman himself." It has no label and no Eddie Freeman nameplate. It was restored in the atelier of Maurice Dupont and has several splints and refinished. It has an extremely powerful voice. Sold
Strombergs are among the rarest and most sought after vintage guitars. Why? Play a few notes and it will become clear. Yes, it sounds even better than you think. Unfortunately, this guitar is not original. The cutaway was added at some point and it has been refinished. Sold.
We are lucky to have several fine builders of archtop guitars here in the Northwest and Seattle in particular. Bryant Trenier is one of the latest to enter the fray and has been building some very impressive guitars the last few years. It is particularly nice to fine a young builder who isn't slavishly pumping out Benedetto copies. You can learn more about Bryant and his guitars from his website Trenier Hand Crafted Jazz Guitars. This is a fine sounding and playing guitar with beautiful arching, careful craftsmanship, built very much in the style and spirit of an '80s D'Aquisto. Clearly, Bryant is a welcome addition to the acoustic archtop scene. Sold
This stunning guitar is variant of Trenier's 17/Excel model. One of the nicest examples yet from Bryant's New York State shop. Sold
Among the growing number of archtop builders Bryant Trenier stands out as one of my favorites. He has been building some very impressive guitars the last few years and continues to improve with each instrument. This is a fine sounding and playing guitar with beautiful modern styling, careful craftsmanship, and is built very much in the style and spirit of a late-period D'Aquisto. You can learn more about Bryant and his guitars from his website Trenier Hand Crafted Jazz Guitars. Sold.