Well, you could always go to your local music store and get an estimate. You may learn a few things there. But, what do you know about their background and expertise? About their honesty? Well without saying too much negative about the local music stores, I will just say most of them are not experts in this field and probably are basing quotes on local pricing values and their limited knowledge, not qualifying them as an expert.

There are also books and websites! If you plan on using a book or website, most importantly look at the year it is published. Old information and old price estimates or quotes is about worthless. The older the more useless, because the vintage acoustic guitar and vintage electric guitar are like classic and antique cars. The value is based on many different factors. To begin with the year, the make, and the model. Then of course, is this a limited number or limited edition, or special version. Is this a special order item or mass produced or a small production or limited number quality.

And the Quality, of course the closer to perfect condition and like new the more valuable in most eyes. But, on the other hand, an antique guitar in original condition such as original parts and paint and scratches, scuffs, pings, dents, etc would be worth much more than one that had been restored repaired and repainted to look like new. Even worse would be updating the parts to new type or something other than OEM (Original Equipment Manufacturer) It is usually worth more 100% original or as close as possible. Keep the instrument original!

Most important factor in determining value is the demand. No matter the condition or age or other qualities, if there is not a demand for the vintage acoustic guitar and vintage electric guitar then the value is down no matter the age or rareness or other factor or quality. I has to be a vintage guitar that is in demand, one that people are willing to pay for! Either because of actual value or perceived value due to demand! It is worth what someone is willing to pay! Based on these many factors and what part of the United States you are in or what part of the World you are in. And the value or perceived value there!
So, how do we know? Like classic and antique cars, all these factors are broken down and took into consideration and put in book form. These books are like a car blue book, not precise, especially for the older, rarer, and more in demand, etc. But the book is just an estimate based on the market value and sometimes the location too, just to give a starting point and a ball park value or perceived value! It really pays to use the book as starting point and then do your homework! Do all the research so you will know exactly what you got! And what it is worth! Whether you are buying or selling you don’t want to find out later that you didn’t make a fair deal, because you didn’t know or take the time to do your homework. Knowledge is power.

Of course sometimes on non vintage valuable guitars it is worth restoring, repairing and even customizing! Depending on value, needs, and wants. Value is truly perceived and rarely a set price. ONLY ballparks!

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Nickel Grover Rotomatic tuners are an engineering marvel, with abundant style and performance exactly suited for the J-45. With a gear ratio of 14:1, the Rotomatics deliver precision tuning in a durable housing that provides maximum protection for the gear and string post. All moving parts are cut for exact meshing, eliminating the possibility of slippage. A countersunk tension screw lets players regulate the tuning tension to any degree. A special lubricant inside the gear box provides smooth and accurate tuning stability.
The top of the J-45 is made from AA-grade Sitka spruce, while the back and sides are constructed from pattern grade Honduras mahogany, giving the J-45 its world renowned full, balanced expression, warm bass, and excellent projection. Selecting the right wood, and the formula to dry it out, are two of the most central procedures to Gibson’s guitar-building process. Beginning with its first catalog in 1903, Gibson has assured its customers that every guitar would be built using woods with the most durable, elastic, and sonorous qualities, and today’s guitars from Gibson Acoustic are no different.

The pickguard for the J-45 is Gibson’s standard plain tortoise tear drop shape, which has been used on the J-45 since its introduction in 1942. As with all of Gibson’s pickguards, the coloring and binding are all done by hand.
A rosette is the beautiful, hand-crafted circle around the sound hole, and can be one of the most ornamental elements of any acoustic guitar. It is also one of the most subtle and complicated woodworking decorations on any acoustic guitar. The rosette on the J-45 is a simple single-ring rosette consisting of three-ply binding, adding a stylish, understated elegance to the J-45 Standard.

The fingerboard of Gibson’s J-45 is constructed from the highest grade rosewood on earth, which is personally inspected and qualified by Gibson’s team of skilled experts before it enters the Gibson factories. The resilience of this durable wood makes the fingerboard extremely balanced and stable, and gives each chord and note unparalleled clarity and bite. The J-45s dot inlays are made of genuine mother of pearl, measuring approximately ¼-inch in diameter, and are inserted into the fingerboard using a process that eliminates gaps. The fingerboard also sports a rolled edge instead of the usual right angle where the fingerboard surface meets the neck; Gibson Acoustics’ rolled edges are slightly beveled for an extremely smooth and comfortable feel, enhancing the playability of the J-45.

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For some people, selling goods at the Treasure Hunters Roadshow in Middletown has been music to their ears — particularly if the good was a guitar.
The Roadshow, which evaluates valuables and antiques, has been at the Manchester Inn since Tuesday; today, Oct. 24, is its last day.
Many items, even if they’re antiques, haven’t been fetching high prices in the weak economy, said Greg Taylor, a manager at the Middletown show. However, gold, silver and guitars are the exceptions.
“Gold and silver prices are so high, and with vintage guitars, the wood they used can’t be reproduced today,” Taylor said.
For example, earlier this week in Middletown, someone brought in a Gibson ES 330 from the early 1960s. It sold for $300 when it was new, but a collector bought it for $4,500, said Taylor.
Someone else brought in a gold coin from 1871 that had a face value of $20, but sold for $3,500.
The Treasure Hunters Roadshow looks somewhat similar to “Antiques Roadshow” on PBS, but experts there appraise items for insurance purposes, Taylor said. The Treasure Hunters Roadshow buys items for collectors and gives the sellers a check.
As of Friday afternoon, 312 people had visited the show since it started Tuesday. Taylor didn’t have local sales figures but said a typical week brings in $100,000 or more.
Kim Holt of Middletown came to sell off some coins and “did pretty well.”
A man from Springboro, who asked not to be identified, was trying to sell a Disney toy train set that he guessed dated from the 1940s or ’50s. He was offered $300 for it, but decided to try his luck on eBay, where the same set sold for $600.

It may sound like rock-opera fiction, but it happens: Weekend Warrior hits garage sale and buys dusty old Fender guitar for $50 (or, cleans attic and finds the Gibson he bought in high school for $100). He visits a guitar shop in "Antiques Road Show" fashion -- and discovers the "beat-up axe" is a vintage collectible, worth $10,000. Or $20,000. Or $100,000.

The vintage guitar market has declined like other investments in this recession. But if you have cash to seed a small collection, why not start a fun hobby that's financially savvy? After all, when your 401K takes a beating, you're broke. When your vintage guitar takes a beating, it may continue to appreciate anyway, just because it looks so cool. Besides, who ever plugged a stock portfolio into a Vox amplifier and woke the neighbors?

I tapped a veteran vintage guitar expert, Wayne Sefton, owner of Midwest Buy and Sell in Chicago since 1990, for tips on what to look for when building your own collection. (His Web site is being revised; visit his MySpace page here.) Sefton has sold instruments to Wilco, Franz Ferdinand and Death Cab for Cutie. And in a 2002 Chicago Tribune article (now only available via an old Geocities link), I rated Wayne's shop as Chicago's coolest and friendliest, along with Terry Straker's Guitar Works in Evanston, Ill.

Here are Wayne's five tips for starting a valuable vintage guitar collection on a budget -- in this case, less than $5,000 per instrument, usually 10-years-old or more.

1) Buy brands collectors love. Sefton says Fender and Gibson are heritage brands bound to rise in value. Rickenbackers (played by the Beatles, Byrds and Tom Petty) are a bargain because even the rarest often sell for under $5,000. "They're great American-made guitars," Sefton says.) Avoid overseas brands.

2) Beware eBay. Guitars get bid into a frenzy there. "There's also a lot of shill bidding going on," Sefton warns. "They'll start stuff at $2,000 you can easily buy for $1,500 elsewhere." Plus, you can't pick up and play the guitar if it's halfway across the country.

3) Get an honest appraisal. Guitar Center chain stores can't do it; they may even try to give much less than your attic axe is worth. But guitar genius George Gruhn of Gruhn's Guitars in Nashville, does appraisals for the bargain price of $50. Many (including this writer) think Gruhn's is the best in the business, and so does Sefton. "I' do written appraisals for free, but that's because I'm a nice guy," he says, laughing.

4) Inspect for cracks, replacement parts and playability. A re-glued neck, refinish, or new tuners can drive a guitar's value down, Sefton says. If the guitar is all original and "mint," that's great. But so are older Fender Stratocasters and Gibson Les Pauls with that "road-worn" look. "Make sure the neck is good and playable," Sefton adds.

5) Relationships matter. Sefton takes time to educate and advise his customers, steering them toward smart investments. (Instruments I've bought on his advice have appreciated up to 300%.) "Get to know who you're dealing with," Sefton says, noting that a dealer wanting your money is far different from a dealer earning your loyalty.

Rediscovering his inner Hendrix inspired Jazz Festival marketing vice-president Jacques-Andre Dupont to launch musical instrument shows and a blues camp.

If Jacques-André Dupont hadn’t had one of those benign midlife crises, it’s entirely possible that a depressed 15-year-old kid wouldn’t be healed by playing the blues this summer. If Dupont hadn’t rediscovered his inner Hendrix, guitar fanatics from all over the world might not have a place in Montreal to gather every year and talk guitar geek. Most important, if a meeting with Montreal International Jazz Fest sponsors hadn’t been cancelled at the last minute, he might never have walked into Steve’s Music Store in Toronto.
That unexpected visit to the music store in 2003 was the turning point. Dupont, the marketing and business development vice-president of the jazz festival’s company, Equipe Spectra, had just turned 40. He hadn’t picked up a guitar in a couple of decades, but with his meeting called off and time on his hands, he walked into Steve’s.
And he emerged with a Gibson ES-335.
“I took the train home and there was space to play,” Dupont said during a recent interview at an Eggspectations restaurant in the Plateau Mont-Royal. On the train ride, he hammered out some remembered blues licks. “I was like a kid,” he said. “From there, I got crazy.”
It wasn’t long before Dupont started collecting vintage guitars, creating, in the process, a Web site to connect with other collectors. Before long, the business and marketing man was right-braining his energy into promoting music-making as part of the festival. When his bosses, jazz fest honchos Alain Simard and André Ménard, gave him the green light, the Montreal Musical Instrument Show was born.
The first show in 2005 offered not only a showcase for all kinds of musical instruments, but hands-on attractions like lessons on how to play guitar in an hour (the main secret: knowing the chords A, E and D), djembe jams and successful workshops by the likes of Pat Metheny and John McLaughlin.
This year, the instrument show is back, featuring the usual displays, activities and the 100% Guitar series, which offers free nightly shows at the new MMIS-GM Pavilion.
An offshoot of the instrument show, focusing on Dupont’s first musical love, was inevitable. The Montreal Guitar Show made its solo debut in 2007. Classes, concerts and interactive activities for would-be fretburners became as successful as the guitar exhibitions showcasing the world’s best luthiers.
During the guitar show’s second year, singer-songwriter Francis Cabrel bought $70,000 worth of instruments, Dupont said.
“There are more guitars sold every year than all other instruments put together,” Dupont said. “Have you ever heard of a clarinet hero?”
This year, nine ticketed Guitarissimo concerts at Cinquième Salle of Place des Arts, by Stanley Jordan and Russell Malone, among others, are also part of the event. Free shows at the Hyatt Regency Hotel between July 3 and 5 make up the Guitar Guitar series. The guitar show itself moves to the Palais des Congrès, near the jazz festival site.
As always, Dupont said, state-of-the-art instruments by the world’s best luthiers will make it the place for guitar fanatics from all over the globe to admire, discuss, buy, sell, try out and generally drool over some wondrous high-end axes. And this year, acoustic and electric models will each get their own room for exhibitors, mini-concerts, lectures and workshops, Dupont said.
If one of Dupont’s jazz festival projects seems close to his heart, it’s the Blues Camp, which, he said, was born of his desire to bring teenagers into the jazz festival. The day camp, offered in French, gives young musicians between 13 and 17 a chance to immerse themselves in the magic 12 bars in all their manifestations over a seven-day period.
While drums, piano, bass, horns and harmonica figure into the camp’s daily schedule, guitar – a staple of modern blues – is a heavy presence.
The rules are intricate, with an audition process that whittles about 400 applicants from all over Quebec down to 100 finalists. More rigourous interviews leave 55 standing. That group will spend an intensive week soaking up instruction from teachers and mentors, writing songs and forming bands – six groups, divided according to age. On the last day of the festival, the bands play an outdoor show on the Club Jazz TD Canada Trust stage.
Dupont said he has observed the life-changing effect of the event during the interview process. “I hear so many things like ‘I tried to kill myself and the guitar was the way I found to survive,’ or ‘I lost my mother and my dad this year and music is the way I get through.’ I even saw a 13-year-old boy who said to me: ‘I want to be the next Nina Simone,’ ’’ Dupont said.
“I see the impact,” he said. “I see that we do a job not enough people are doing. There’s less and less music in schools. Somebody has to step up to the plate.”
The Montreal International Jazz Festival’s third Montreal Guitar Show will be at the Palais des Congrès July 3 to 5. The fourth annual Blues Camp runs from July 6 to 12. The fifth annual Montreal Musical Instrument Show will be at the Village de la musique from July 10 to 12, although some activities are offered throughout the festival.

The Montreal International Jazz Festival runs from Tuesday to July 12. For further details, go to montrealjazzfest.com or montrealgazette.com/festivalcentral

In 1902, the Gibson Mandolin-Guitar Mfg. Co, Ltd. was founded to market the instruments.

During the 1920s the Gibson company was responsible for many innovations in guitar and mandolin design. In 1922, the Gibson F5 mandolin model was introduced. That particular model later became known as the ultimate bluegrass mandolin. Gibson soon became the leading manufacturer of archtop guitars, particularly the L-5 model. In 1936 they introduced their first "Electric Spanish" model, the ES-150, generally recognized as the first commercially successful electric guitar.

1996 Gibson Les Paul Studio Limited Edition Gem Series TopazAs a result of the strong sales of the Fender Telecaster in 1950, Gibson decided to make a solid-body guitar. This was despite the fact that Gibson, like most other guitar manufacturers, was contemptuous of the concept of a solid-body guitar. Although guitarist Les Paul was one of the pioneers of solid-body electric guitar technology, the guitar that became known as the Les Paul was developed with very little input from its namesake. After the guitar was designed, Les Paul was asked to sign a contract to endorse the guitar to be named after him. At that point he asked that the tail piece be changed, and that was his only contribution. (Ironically, this tailpiece was changed in 1954.) The Les Paul was released in 1952. The late 1950s saw the introduction of the "humbucker" pickup, as well as a number of innovative new designs, including the eccentrically-shaped Explorer and Flying V and the semi-hollowbody ES-335. The Les Paul was offered in several models, including the Custom, the Standard, the Studio, the Supreme, the Special and the Junior. In 1961, the body design of the Les Paul was changed, due to the demand for a double-cutaway body design. Les Paul did not care for the new body style and let his endorsement lapse, and the new body design then became known as the SG (for "solid guitar"). The Les Paul returned to the Gibson catalogue in 1968 due to the influence of players such as Keith Richards, Eric Clapton and Peter Green. Both the Les Paul and the SG later became very popular with hard rock and heavy metal guitarists; Jimmy Page of Led Zeppelin, the twin-lead line-up of Scott Gorham and Brian Robertson of Thin Lizzy, Duane Allman, Slash of Guns N' Roses and Velvet Revolver, and Ace Frehley of Kiss are known for their preference for a Les Paul. Pete Townshend of The Who, Angus Young of AC/DC, Frank Zappa of Mothers of Invention and Tony Iommi of Black Sabbath are some of the more well-known SG players.

Between 1974 and 1984 production of Gibson guitars was shifted from Kalamazoo to Nashville, Tennessee. The Gibson Guitar Corp. was within three weeks of going out of business before it was bought by Henry E. Juszkiewicz, David H. Berryman, and Gary A. Zebrowski in January 1986. The survival and success of Gibson today is largely attributed to this change in ownership. Currently, Juszkiewicz stands as CEO and Berryman as president of the company. More recently new production plants have been opened in Southern and rural areas, such as Memphis, Tennessee as well as Bozeman, Montana. The Memphis facility is used for semi-hollow and custom shop instruments, while the Bozeman facility is dedicated to acoustic instruments.

In 1994, Gibson CEO Henry Juszkiewicz first heard about the SmartWood program while attending the Rainforest Alliance's annual gala concert. He reasoned that, by establishing relationships with environmentally farsighted operations, Gibson could secure a sustainable timber supply, thereby ensuring its guitar building future.

Four years later (1998), Gibson had revealed the fruits of those relationships with the Les Paul SmartWood Exotics. The new line consisted of six guitars featuring tops fashioned from unusual, "smartly" harvested tropical woods. Each guitar listed for $1299 new, and in the spirit of philanthropy, Gibson donated a portion of the profits from the SmartWood guitar sales to the Rainforest Alliance.

Today, one model of Gibson guitars (Robot Guitar) can tune itself in less than 10 seconds using robotic technology developed by Gibson and Tronical Gmbh. While the product was advertised in the American-United States-popular press as a "world's first" similar-some external-systems have been in use for decades for example to tune guitars made by Fender Musical Instruments Corporation and Washburn Guitars.

The Gibson Dove is a flattop steel string acoustic guitar made by Gibson Guitar Corporation. First made in 1962 in Kalamazoo, Michigan, it was Gibson's second square-shouldered dreadnought (based on the Martin D-style dreadnought), after the introduction of the Gibson Hummingbird in 1962. Both guitars have solid spruce tops and engraved pickguards. The Dove has solid maple back and sides instead of the solid mahogany used for the Hummingbird, and the Dove has a longer scale length (25.5" vs 24.75"). The Dove's longer scale length and maple back and sides make it a louder, brighter guitar than the Hummingbird. The double parallelogram fingerboard inlays, the two doves on the bridge, and the dove on the pickguard are mother of pearl. The Dove has factory installed active electronics powered by a 9-volt battery. The original Doves had Gibson's tune-o-matic bridge. While the tune-o-matic bridge seemed like a technological improvement at the time, the metal bridge had negative effects on tone and volume. The Scotty Moore web site has photos of several different Dove bridge types; tune-o-matic, adjustable, and fixed. In 1968 the internal bracing of the Dove was made heavier; while this made a sturdier guitar that was less likely to be returned to Gibson for warranty work, the volume of the guitar was reduced and the tone suffered. In 1985 Gibson's new owners began to address the quality issues that were affecting the company's products and reputation. By 1992 production of Gibson acoustic guitars was shifted to Bozeman, Montana. While until recently Gibson said the Dove was the "Legendary 1962 model with all the original details!" , in 2007 the Dove became one of Gibson's Modern Classics. Among the features of the Modern Classics are "Big Sky" radiused fingerboard edge, bone nut, and Tusq saddle. Since it's been stated that“'The Modern Classics are designed for the contemporary player...we are convinced these are also the most playable acoustic guitars available today'...[and have] The industry’s lowest action and finest playability ”, these new model Doves will be easier to play but have a bit less volume and projection than the older models (although the improved nut and saddle materials may offset that somewhat). For a number of years the Dove has been a Custom Shop instrument available in special limited runs.

Vintage Guitar Value For 2008 :
1962 - 1964 > $5000 to $7000
1965 - 1967 > $3500 to $4500
1968 - 1970 > $3000 to $3500
1971 - 1983 > $2400 to $2700
1984 - 1996 > $1700 to $2200

Gibson Dove guitars have increased in value an average of 18% a year since 2000.

In 1985 Gibson made a 90th anniversary dove model which is worth about $1500 to $1900.

Prices are according to 4 different price guides.

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The Gibson Hummingbird is an acoustic guitar model produced by the Gibson Guitar Corporation. Unlike the other flat-top Gibson acoustics, the Hummingbird was Gibson's first square-shoulder dreadnought, similar to the dreadnoughts produced by C.F. Martin & Company. Introduced in 1960, the Hummingbird was Gibson's second-most expensive acoustic guitar, behind the Gibson J-200, until the introduction of the Gibson Dove in 1962, (a blend between the Hummingbird and the J-200.) The Hummingbird, features a mahogany back and sides, a decorative pickguard with a hummingbird design, and split-parallelogram mother of pearl fretboard and headstock inlays, spruce top and rosewood bridge. The standard finish is cherry sunburst, although some natural finish models were produced. The Gibson Hummingbird was winner of Acoustic Guitar's Player's Choice Award for the Dreadnought Category in 2000, and was described thus: "The Hummingbird has a very wide range of sound, from gutsy and loud, to sweet and soft. Superb for all styles of playing, whether just chording or playing intricate solo's".Vintage Guitar Price Values For 2007 :
1960 - 1962 > $4200 to $4700 (mahogany)
1963 - 1964 > $3800 to $4200 (maple optional)
1965 - 1968 > $2500 to $3500 (natural finishes were added in 65)
1969 - 1983 > $1500 to $2500
1984 - 1999 > $1200 to $1700

Gibson Hummingbird guitars made between 1960 – 1962 have increased in value an average of 15% per year since 2000. Those made in 1963 and 1964 have increased in value 11% per year; 1965 to 1968 7%; 1969-1983 5%; and 1999 3%.

Pre-65 models are very difficult to find and were made in limited quantities . Prices above are according to 4 different vintage guitar price guides and rounded off to the nearest dollar.

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